Stuart offers the most thorough discography of the works and recordings of Igor Stravinsky to date as well as a chronicle of the composer's recording career. As the first discography to list all of Stravinsky's recorded compositions, including concert and broadcast performances, both pre- and post-World War II, as well as all LP issues, this volume displays the wide range of Stravinsky's talent. The significance of Robert Craft's contribution to the continued exposure of Stravinsky's works after 1948 is well documented, as are the piano performances recorded by Stravinsky's son. A lengthy introductory essay traces Stravinsky's recording history from his early use of the pianola through the advent of more sophisticated musical technology which enabled the composer to become the composer-performer. The discography itself lists 191 studio performances, catalogs recorded issues, and details unpublished recordings. The chronological index of Stravinsky's compositions which follows is cross-referenced to the recordings already cited, thereby showing each recording relative to the date of the work's composition. This extensive listing of recordings, combined with the narrative account of Stravinsky's recording history provides the collector with a valuable updated guide to almost all of the composer's works.

This great London orchestra made its debut in a recording session shortly before its first public concert in 1932 and now has well over a thousand recordings to its credit. All are dated and detailed for the first time in this meticulous study researched from primary sources. Commercial sessions account for most of the 1300 entries, but the main chronological sequence also includes live recordings and videos. Copious indexing allows access to the main chronological listings via performers, repertoire, record companies, or locations. The study can also be read as a cross-section of the work of the classical recording industry. Appendixes cover film soundtracks, recordings made by the London Philharmonic Choir independently of the orchestra, controversial attributions, and principal players in the orchestra. Indexes of (and notes on) the recorded repertoire, conductors who have recorded with the orchestra, and the studios, halls, and churches used as recording venues are supplemented by a comprehensive general index of soloists, singers (including full casts of operas), producers, engineers, and recording companies, giving easy access to a wealth of information, most of which has previously been unpublished.