{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,2,15]],"date-time":"2026-02-15T09:08:16Z","timestamp":1771146496257,"version":"3.50.1"},"reference-count":48,"publisher":"University of California Press","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":[],"published-print":{"date-parts":[[2023,4,1]]},"abstract":"<jats:title>Abstract<\/jats:title>\n               <jats:p>Between 1911 and 1913, Odeon records, in Berlin, produced and made available for sale five complete, four-movement symphonies, the first complete symphonies ever recorded. They were Beethoven\u2019s Fifth and Sixth Symphonies (August and November\u2013December 1911), and then Haydn\u2019s Symphony no. 94 (\u201cSurprise\u201d) and Mozart\u2019s Symphonies nos. 40 and 39 (in that order, March and April 1913). Each was performed by members of the Odeon company\u2019s orchestra, billed as the \u201cGro\u00dfes Odeon-Streich-Orchester.\u201d While no conductor is identified on the labels, it was surely Eduard K\u00fcnneke, Odeon\u2019s house conductor at that time. (Arthur Nikisch\u2019s Beethoven\u2019s Fifth with the Berlin Philharmonic would follow, from Grammophon records, in November 1913.) Odeon\u2019s decisions to record these five symphonies took place within two larger corporate contexts, 1907\u201313: first, that of what was becoming increasingly possible within the enabling yet constraining affordances of the era\u2019s music-recording industry; second, that of how those affordances were giving rise to the more innovative plans and economic gambles of recording extended classical works\u2014longer stretches of operetta and opera, high-prestige orchestral music, and, eventually, symphonies. Much of this history can be traced in reports, reviews, and advertisements in the contemporaneous German trade journal the Phonographische Zeitschrift. The whole is framed here within the contexts of recent media theory and varying views of the impact of sound recordings on twentieth- and twenty-first-century listening practices. As Antoine Hennion put it, \u201cThe disc has been powerful enough to introduce modern listeners to musical repertoires conceived with a different relationship in mind.\u201d<\/jats:p>","DOI":"10.1525\/jams.2023.76.1.113","type":"journal-article","created":{"date-parts":[[2023,4,25]],"date-time":"2023-04-25T16:52:24Z","timestamp":1682441544000},"page":"113-167","source":"Crossref","is-referenced-by-count":2,"title":["\u201cListen and Be Amazed!\u201d: Odeon, K\u00fcnneke, and the First Recordings of Complete Symphonies"],"prefix":"10.1525","volume":"76","author":[{"given":"James","family":"Hepokoski","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"408","reference":[{"key":"2025040223030282500_ref1","first-page":"271","article-title":"\u201cThe Curves of the Needle\u201d","volume-title":"Essays on Music","year":"1927"},{"key":"2025040223030282500_ref2","volume-title":"Essays on 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