tag:blogger.com,1999:blog-65786881262658213602024-03-17T23:04:26.550-04:00Miles to MozartAn exploration of the incredible world of classical and jazz recordingsaqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.comBlogger314125tag:blogger.com,1999:blog-6578688126265821360.post-1903196649128405912024-03-16T15:55:00.003-04:002024-03-16T16:18:52.950-04:00Columbia SAX 5280: Szell conducts Mozart<p><span style="font-size: x-large;">COLUMBIA SAX 5280</span></p><p><span style="font-size: x-large;">Szell Conducts Mozart</span></p><p><span style="font-size: large;">Overture to the Marriage of Figaro</span></p><p><span style="font-size: large;">Sinfonia Concertante in E flat, K. 364</span></p><p><span style="font-size: large;">Symphony No. 28 in C, K. 200</span></p><p><span style="font-size: large;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5CLLuXZ-MoVShWI8ke59SIDGxS6Eto4sg4A16Ps2taVuR73W7tavO9-zlgbEij016luGKQOdmaAl8-5QQc46yPVsjDBDGA3H2beuMMyfXcVRro6Rc3u6rjmsX1AALQZdS3vAHzELhX3iPLaUMer5i5js91M-RObdzxm2RXG8tC6MZMLn3_3G7WJjmasA/s2483/SAX%205280%20F.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2481" data-original-width="2483" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5CLLuXZ-MoVShWI8ke59SIDGxS6Eto4sg4A16Ps2taVuR73W7tavO9-zlgbEij016luGKQOdmaAl8-5QQc46yPVsjDBDGA3H2beuMMyfXcVRro6Rc3u6rjmsX1AALQZdS3vAHzELhX3iPLaUMer5i5js91M-RObdzxm2RXG8tC6MZMLn3_3G7WJjmasA/w400-h400/SAX%205280%20F.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPEDVRN5iXDu_Rx8UVKehD4-vKAKHLxtr9sLVQL3T7zC8mEZlnqexRyqmw8GIMHjPxsne_bAZpdGprubRIVJs9awgOzaosdu8inGhpHcLPQhnHSSmlXOS_nj1CS5U4ztApW-gl02KWm-uHifSgCnrd7JjT2K0f28wzIRAT0slJ1yNSplFviiXr3ub2EHU/s2490/SAX%205280%20B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2481" data-original-width="2490" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPEDVRN5iXDu_Rx8UVKehD4-vKAKHLxtr9sLVQL3T7zC8mEZlnqexRyqmw8GIMHjPxsne_bAZpdGprubRIVJs9awgOzaosdu8inGhpHcLPQhnHSSmlXOS_nj1CS5U4ztApW-gl02KWm-uHifSgCnrd7JjT2K0f28wzIRAT0slJ1yNSplFviiXr3ub2EHU/w400-h399/SAX%205280%20B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaqPg6cS0M3JaEr-XpPF8EW9E1n0qZ0FvZZkhLJrPpUUnRlwa171GCtGipP6xyjtcOJx-ltz3026z44mypSHy8kO5ROmj5umU2FbNHkb2bDqINemruc8G6umfrDaVMTN3_M1AKvAQGCmuhCxpIkp3O7alYzq9OgBypTgyoiPxunOCgxG4jzjPDSCPF-ro/s2004/SAX%205280%20L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1990" data-original-width="2004" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaqPg6cS0M3JaEr-XpPF8EW9E1n0qZ0FvZZkhLJrPpUUnRlwa171GCtGipP6xyjtcOJx-ltz3026z44mypSHy8kO5ROmj5umU2FbNHkb2bDqINemruc8G6umfrDaVMTN3_M1AKvAQGCmuhCxpIkp3O7alYzq9OgBypTgyoiPxunOCgxG4jzjPDSCPF-ro/w400-h398/SAX%205280%20L.jpg" width="400" /></a></div><br /><span style="font-size: x-large;">ARTISTS:</span><p></p><p><span style="font-size: large;">Rafael Drurian, violin</span></p><p><span style="font-size: large;">Abraham Skernick, viola</span></p><p><span style="font-size: large;">George Szell, conductor</span></p><p><span style="font-size: large;">Cleveland Orchestra</span></p><p><br /></p><p><span style="font-size: x-large;">LABEL/PRESSING:</span></p><p><span style="font-size: large;">Semi-circle (first)</span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: x-large;">MATRIX NUMBERS:</span></p><p><span style="font-size: large;">YAX 3331-3</span></p><p><span style="font-size: large;">YAX 3332-4</span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: x-large;">PRICE RANGE:</span></p><p><span style="font-size: large;">Median $149, Max $511 (Popsike)</span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: x-large;">COMMENTS:</span></p><p><span style="font-size: large;">It has been a long time since I last wrote a post about the highly sought after UK Columbia SAX releases of recordings from George Szell and the Cleveland Orchestra. I reviewed many of them on this blog about 10 years ago. At that time, my conclusion after listening to these records was that they were nice enough but, in my humble opinion, not sonically worth the high price of admission. Ten years later, I still stand by that assessment. However, I still do wonder if the UK releases offered any tangible sonic improvements over the US Epic or CBS versions. If one studies the matrix numbers, one can see that a number of the UK SAX releases had different numbers than their US counterparts. In some cases, like the one I will discuss below, the UK albums even had different repertoire than the US ones. That leads me to think that the UK Columbia engineers probably remastered some of these recordings for the UK releases. If that is the case, then there is reason to believe that the UK releases might sound different, or even better. One would have to do a direct A/B comparison to know. </span></p><p><span style="font-size: large;">This question intrigued me, so once again I set out to do the experiment. I discovered that SAX 5280, <i>Szell Conducts Mozart</i>, has the EMI matrix numbers YAX 3331-3 and 3332-4. The repertoire on this record includes the Overture to <i>The Marriage of Figaro</i>, the Sinfonia Concertante for violin and viola, and Symphony No. 28. There is a corresponding US Columbia record, MS 6858, that has almost the same program but replaces the Sinfonia Concertante with Symphony No. 33 (the Sinfonia Concertante appeared on a separate US Columbia release, MS 6625). The matrix numbers on this are XXSM112490-1F and XXSM112491-1F. So, not exactly the same record for comparison, but probably the closest I'd be able to get with the performances of the Overture and Symphony No. 28.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNm7-jYsc6_Us1oIdJAiH6qUSVMfGx4me6aDSeSoUlzJS31NVRggI9LgkA3Y8HYw61cVuVX8NigSr56QqbmG2kvJTE0ZewednWPv7tKrd_BoQabF2bL3M-coGni2cnR58fICiviOC38KNXCcRh-65zHArW8QoWHWnApj49p1BujxuUgF4zMGqvLUt7eMM/s2489/MS%206858%20F.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2481" data-original-width="2489" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNm7-jYsc6_Us1oIdJAiH6qUSVMfGx4me6aDSeSoUlzJS31NVRggI9LgkA3Y8HYw61cVuVX8NigSr56QqbmG2kvJTE0ZewednWPv7tKrd_BoQabF2bL3M-coGni2cnR58fICiviOC38KNXCcRh-65zHArW8QoWHWnApj49p1BujxuUgF4zMGqvLUt7eMM/s320/MS%206858%20F.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqw0rHNC54xMDNdEGvkLGawrCA_aIiwdYLdG7QDdTXEI7zftsk-N3FGQstDe1IjmOuKR-PHfisztlljB0SRS1Em6dfH-EyHLY_Qptvnr4QQQpq9h945PwJIGAFOlBag3uoUnq5CY8MWb1529xxaldNk6onZURMdZ7ds8xzTbUmExTIgACf5sTQ8nkzYA/s2497/MS%206858%20B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2481" data-original-width="2497" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqw0rHNC54xMDNdEGvkLGawrCA_aIiwdYLdG7QDdTXEI7zftsk-N3FGQstDe1IjmOuKR-PHfisztlljB0SRS1Em6dfH-EyHLY_Qptvnr4QQQpq9h945PwJIGAFOlBag3uoUnq5CY8MWb1529xxaldNk6onZURMdZ7ds8xzTbUmExTIgACf5sTQ8nkzYA/s320/MS%206858%20B.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif6mbcN80_wwcrGl0k469xGeO0tEVcUcUUFfdnkr3Y_0zRrqgSLqgPsRcCcf8Y1GLDJ_hjHI7Eypm863ImrtLd4fC9s5Nfg0lJezuqAahw36PWv3KIcmjvYOfkmJhl7TZrU5xfyLPfY16iu2dPZylumi2LITZfHKam2cTOGv-EJsLZSTvqh5T9Jnym7_o/s2327/MS%206858%20L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2302" data-original-width="2327" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif6mbcN80_wwcrGl0k469xGeO0tEVcUcUUFfdnkr3Y_0zRrqgSLqgPsRcCcf8Y1GLDJ_hjHI7Eypm863ImrtLd4fC9s5Nfg0lJezuqAahw36PWv3KIcmjvYOfkmJhl7TZrU5xfyLPfY16iu2dPZylumi2LITZfHKam2cTOGv-EJsLZSTvqh5T9Jnym7_o/s320/MS%206858%20L.jpg" width="320" /></a></div><br /><span style="font-size: x-large;"><br /></span><p></p><p><span style="font-size: large;">Let's start with the Overture. This piece always brings back memories of my childhood when my family would pile into our Oldsmobile station wagon and my dad would pop in the factory cassette that came with the car. The opening track on side A was the Overture to <i>The Marriage of Figaro</i>, and my dad would turn up the volume so we could hear the work in all its glory. It's four minutes of joyous, uplifting music. Szell and the Clevelanders take it at a pretty spirited tempo (3:57, quite a bit faster than Klemperer's recording with the Philhamonia at 4:52 but comparable with Bernstein's recording with the NY Philharmonic at 3:56), and it sounds like what one would expect from Szell - energetic, disciplined. Unfortunately, I feel that neither the SAX nor the CBS release do the performance justice. In both cases, dynamics and treble are compressed, and the strings sound dry to my ears. Maybe there just wasn't much that the UK engineers could do to salvage this one. Somewhat of a disappointment. The <a href="https://milestomozart.blogspot.com/2015/07/sax-2587-klemperers-mozart-overtures.html">Klemperer recording</a>, albeit a little bit slower, sounds much better and the tone and clarity of the winds is truly excellent.</span></p><p><span style="font-size: large;">The Symphony No. 28, however, is an entirely different story. Here, the sound really opens up in comparison with the Overture, and the dynamic range is wider on both the SAX and the CBS. The sound is fuller, and you can hear more air and space around the orchestra. The presentation is just a bit more recessed on the CBS and a bit closer up on the SAX. The winds are lovely, crisp and clear. What is <b>noticeably</b> different between the SAX and the CBS is the low end. The bass on the SAX is markedly deeper and more resonant than on the CBS. This really gives the performance more heft and, to my ears, gives the SAX the upper hand on this performance.</span></p><p><span style="font-size: large;">I'll refrain from commenting on the Sinfonia Concertante for now, until I get my hands on the CBS release for comparison. </span></p><p><span style="font-size: large;"><span>So, in this case, what the UK engineers did with the source material improved the sound of the SAX release, but not uniformly. The Symphony No. 28 sounded fuller overall with deeper bass, but the Overture was really no different than on the CBS. </span><span>I'll leave it to you to decide whether or not to fork out $150 or more for the difference. To my knowledge, there was no UK reissue of this SAX on any of the EMI budget labels.</span></span></p><p><span style="font-size: large;">What I'd still like to know is:</span></p><p><span style="font-size: large;">1. What source material did UK Columbia receive from Epic or CBS to produce the SAX releases of the Szell recordings?</span></p><p><span style="font-size: large;">2. Did the UK Columbia engineers remaster all of this source material?</span></p><p><span style="font-size: large;">3. How was the decision made to switch the repertoire on some of the SAX releases, since this seems like it would have been quite a bit more work for the engineers?</span></p><p><span style="font-size: large;">If anyone has answers to these questions and would be willing to share, I would greatly appreciate it!</span></p><p><br /></p>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com0tag:blogger.com,1999:blog-6578688126265821360.post-47435675457746950872024-02-24T00:19:00.012-05:002024-02-27T11:26:06.975-05:00Bargain finds at Shabby Records - Solomon performs Beethoven's Third Piano Concerto<p><span style="font-size: x-large;"></span></p><div class="separator" style="clear: both; text-align: center;"><div><span style="font-size: x-large; text-align: left;"><br /></span></div><p style="text-align: left;"></p><h1 style="text-align: left;"><span style="font-size: x-large;">EMI HMV BSD 751<br /></span><span style="font-size: x-large;">Beethoven: Concerto No. 3 in C minor, Op. 37 (1956)</span></h1></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMhLBPncYWOnJPSerOgNxw4xzVTV-nhtstWwfrj3AQROg91X-15ihJ3IOc5FJWTtf-wx4cWGb3WotNFQNQOOu-2EC_ZjY8HX_kJ7_FKqdAz7FX27tM8hSYir7y5ObAtiM6i_7atAm-Pw6VE_0CvN9TkX5rfk7eVDLL-Ddz_X8BSDotYDG42ep2JML7VtM/s2492/BSD%20751%20F-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2481" data-original-width="2492" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMhLBPncYWOnJPSerOgNxw4xzVTV-nhtstWwfrj3AQROg91X-15ihJ3IOc5FJWTtf-wx4cWGb3WotNFQNQOOu-2EC_ZjY8HX_kJ7_FKqdAz7FX27tM8hSYir7y5ObAtiM6i_7atAm-Pw6VE_0CvN9TkX5rfk7eVDLL-Ddz_X8BSDotYDG42ep2JML7VtM/w400-h399/BSD%20751%20F-2.jpg" width="400" /></a></span></div><span style="font-size: x-large;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHZdYMJto81f90ViY4IPfu93LTL6mrSkqnHTqC7BYkuIfrlCJZiqq63Mn1chPO67LqpKkv2FuudOtoBgCCZGe5HubjS4duqgg5zoN3HIW3cbk869XhVcO_DtMi7UTZBstu_nNbQBw3n_VfD6j9BaW4fXx0Yeb6N4or43bhBiESyulKeVoV4xDSav4G5uE/s2507/BSD%20751%20B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2481" data-original-width="2507" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHZdYMJto81f90ViY4IPfu93LTL6mrSkqnHTqC7BYkuIfrlCJZiqq63Mn1chPO67LqpKkv2FuudOtoBgCCZGe5HubjS4duqgg5zoN3HIW3cbk869XhVcO_DtMi7UTZBstu_nNbQBw3n_VfD6j9BaW4fXx0Yeb6N4or43bhBiESyulKeVoV4xDSav4G5uE/w400-h396/BSD%20751%20B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-sDr8jvZyAZjwqJ4HtS0jq8Ifh5T0AykqaKnejFLOJ8oGX1GtzIrVy8pHA4Rx67VG1SOIx5k2oOPQkXXNizd_Jk6W3IxJ-sR63AdUlIfg5letxUjTE_9_w5dW6JI5BB5Ec_9T_U_3UAv5LY2mlBqCvvDXu3WKFks3aMxzK3XKXjNc0jstZ_uo6g5WxuE/s1830/BSD%20751%20L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1825" data-original-width="1830" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-sDr8jvZyAZjwqJ4HtS0jq8Ifh5T0AykqaKnejFLOJ8oGX1GtzIrVy8pHA4Rx67VG1SOIx5k2oOPQkXXNizd_Jk6W3IxJ-sR63AdUlIfg5letxUjTE_9_w5dW6JI5BB5Ec_9T_U_3UAv5LY2mlBqCvvDXu3WKFks3aMxzK3XKXjNc0jstZ_uo6g5WxuE/w400-h399/BSD%20751%20L.jpg" width="400" /></a></div></span><br /><h2 style="text-align: left;"><span style="font-size: x-large;">ARTISTS:</span></h2><div style="text-align: left;"><span style="font-size: large;">Solomon, piano<br /></span><span style="font-size: large;">Herbert Menges, conductor<br /></span><span style="font-size: large;">Philharmonia Orchestra</span></div><h2 style="text-align: left;"><span style="font-size: x-large;">LABEL/PRESSING:</span></h2><p><span style="font-size: large;">White/gold</span></p><div style="text-align: left;"><h2 style="text-align: left;"><span style="font-size: x-large;">STAMPERS: </span></h2><p style="text-align: left;"><span style="font-size: large;">OYEA 36-9<br /></span><span style="font-size: large;">OYEA 37-13</span></p></div><h2 style="text-align: left;"><span style="font-size: x-large;">PRICE RANGE:</span></h2><div style="text-align: left;"><span style="font-size: large;">Median $30, max $109</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><h2 style="text-align: left;"><span style="font-size: x-large;">COMMENTS:</span></h2><div><span style="font-size: large;">Shabby Records is a little gem of a record shop located in the coastal town of Haugesund (population 37,855), Norway, not far from the harbor. According to its <a href="https://shabbyrecords.com/#vinyl" target="_blank">website</a>, it has been in business since 1989. They sell vinyl records, CDs, and DVDs of a wide variety of musical genres, including classical. It is here that I was fortunate enough to come across this interesting 10 inch EMI/HMV record for 70 Krone, which comes out to just under $7. For some reason, their credit card reader just wouldn't accept mine, so the owner held onto my records while I jogged over to the nearest ATM (called a "minibank") a couple of blocks away where I could withdraw some local currency.</span></div><div><span style="font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgiA1E9VqMiUNheQqjvTK-FDHjaN9-UXcvn4sgIgcgAyOy0YBG91dv3AWRk91qmV1mtZQdAdozWaGhcYG178vknNqrnOsbTssf_TXlso-8jIVDQobvWn6fXjQsZ6cVV6aLiq8oT0O7VFzniWZvf1LDkHGN2NT0a7NNM1L5Wfi_VmOTlcMWKL-FSpPpMn8/s2731/20521DF3-7597-4613-A6B1-265377371F19.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2731" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgiA1E9VqMiUNheQqjvTK-FDHjaN9-UXcvn4sgIgcgAyOy0YBG91dv3AWRk91qmV1mtZQdAdozWaGhcYG178vknNqrnOsbTssf_TXlso-8jIVDQobvWn6fXjQsZ6cVV6aLiq8oT0O7VFzniWZvf1LDkHGN2NT0a7NNM1L5Wfi_VmOTlcMWKL-FSpPpMn8/s320/20521DF3-7597-4613-A6B1-265377371F19.jpg" width="320" /></a></div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3uQpxT9CJI3fYJrihMbjwvx1JzS8wmnxsS4gPqBA6jTYunS4_F6PZnSjqPQ1Ul5TtJ25V9Mhqk6uOdGo9M1tOcyx0TL-Oo9PXpCq4Ys4XP_FCU-qZ5CgtMIdakQxnu0OKXKkTmsLMwnzM5moso_eVy3nr8o7w76KIkdoEAFil3F6iamvsTSXbIhiD53g/s2049/IMG_1533.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2049" data-original-width="1537" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3uQpxT9CJI3fYJrihMbjwvx1JzS8wmnxsS4gPqBA6jTYunS4_F6PZnSjqPQ1Ul5TtJ25V9Mhqk6uOdGo9M1tOcyx0TL-Oo9PXpCq4Ys4XP_FCU-qZ5CgtMIdakQxnu0OKXKkTmsLMwnzM5moso_eVy3nr8o7w76KIkdoEAFil3F6iamvsTSXbIhiD53g/s320/IMG_1533.jpeg" width="240" /></a></div><div style="font-size: x-large;"><span style="font-size: x-large;"><br /></span></div><span style="font-size: large;">Solomon Cutner (1902-1988), known professionally only by his first name Solomon, was a highly talented British pianist whose name is seldom mentioned these days. He made over 100 recordings (many for EMI/HMV), including the concertos and sonatas of Beethoven, Brahms, and Schumann, among many others. Interestingly, he performed the world premiere of Arthur Bliss' piano concerto in 1939 at the New York World's Fair. His musical career was sadly cut short by a stroke in 1956 that left his right arm paralyzed. At the time of the stroke, he was in the middle of recording the complete Beethoven piano sonatas, which he unfortunately never completed. Solomon never returned to the stage but lived for another 32 years. I came across a nicely written <a href="https://www.thepianofiles.com/solomon-at-120/" target="_blank">tribute</a>, which I encourage you to check out if you are interested in learning more about this past master.</span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">Most of Solomon's recordings were made before the age of stereo, but he did leave us with a few early stereophonic records, this being one of them. The others were EMI/HMV ASD 294 (Beethoven Piano Concerto No. 1) and EMI/HMV ASD 272 (Schumann/Grieg Piano Concertos). These were all recorded in 1956, shortly before his stroke. I found this information via a <a href="https://www.arsc-audio.org/journals/v10/v10n2-3p188-209.pdf" target="_blank">Solomon discography</a> compiled by Michael H. Gray.</span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">This is an enjoyable performance of Beethoven's third piano concerto. The third is one of my favorite of the five concerti and the only one in a predominantly minor key (although the gorgeous middle movement is in E major). Back in the day when my piano teacher encouraged me to pick up a concerto to work on, she suggested this one. I balked and went with the Gershwin Concerto in F.</span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">This EMI/HMV 10 inch is not my reference recording but is worth considering if you can find it for a low price (see releases below). I definitely would not pay the Popsike prices quoted above. Solomon plays with such a beautiful and warm tone, which I find to be the highlight of this record. The sonics of my particular pressing are only okay for early stereo, certainly not in the same league as some of the better EMI/HMV and UK Columbia stereo records of the late 1950s and early 1960s. The soundstage is somewhat cavernous. Strings can sound a little bit muddy at times, and there is a bit of distortion during loud climactic passages. But hey, for $7, I'm not complaining. It's still a keeper with its beautifully laminated cover.</span></div><div><span style="font-size: large;"><br /></span></div><h2 style="text-align: left;"><span style="font-size: x-large;">RELEASES:</span></h2><div><span style="font-size: large;">There have been a number of vinyl releases of this recording:</span></div><div><ul style="text-align: left;"><li><span style="font-size: large;">HMV ALP 1546 (mono)</span></li><li><span style="font-size: large;">EMI SLS 5026 (boxed set of the five concerti)</span></li><li><span style="font-size: large;">World Record Club T 540, ST 540</span></li><li><span style="font-size: large;">Angel Seraphim (S) 60019 (US release)</span></li><li><span style="font-size: large;">Regal SREG 1053 (Spanish release)</span></li></ul><div><span style="font-size: large;">I have not heard any of these but would wager that the EMI boxed set, WRC, and Regal could sound cleaner and more dynamic than the original pressing. If any of you have experience with these, please share your thoughts. We'd love to hear from you.</span></div></div><div><span style="font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrY8maNNBGVJDfuj9xH5d0Em8v3b32aLzHKJ8e1G7_McMzYwoWl2yuGfbQEuBUnAFaXIlXymB1ei4a1Vhkpu9b5z2_JpzDWwUHRB6XhgJQNZmzD-Q8pgG_NjLOS1kaqhb-OHTArV8dkmdz9DXY23ovOPj86xpIvQMe2YngD1lZKnfGtPQqzgTTN3m3SU0/s1818/ALP1546.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1794" data-original-width="1818" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrY8maNNBGVJDfuj9xH5d0Em8v3b32aLzHKJ8e1G7_McMzYwoWl2yuGfbQEuBUnAFaXIlXymB1ei4a1Vhkpu9b5z2_JpzDWwUHRB6XhgJQNZmzD-Q8pgG_NjLOS1kaqhb-OHTArV8dkmdz9DXY23ovOPj86xpIvQMe2YngD1lZKnfGtPQqzgTTN3m3SU0/s320/ALP1546.jpg" width="320" /></a></div></div><div><span style="font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2_8fAjShenBi4YTGRQZLKeaLynduHRhyphenhyphenommvC07qTG0_QKneXtiYi1wh98iyYtyMnSLw49dEiXmj0TR2Aa-9OR3XCvznCiaAlqfaFMULkQ-CKBXvqWoXz5FUjfahe5_MC633NpIZxGs7XqjJPiz9pq6fjysB_jlkpYxNpyox5lXzuHALc3E3iWk9_YkU/s600/SLS%205026.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2_8fAjShenBi4YTGRQZLKeaLynduHRhyphenhyphenommvC07qTG0_QKneXtiYi1wh98iyYtyMnSLw49dEiXmj0TR2Aa-9OR3XCvznCiaAlqfaFMULkQ-CKBXvqWoXz5FUjfahe5_MC633NpIZxGs7XqjJPiz9pq6fjysB_jlkpYxNpyox5lXzuHALc3E3iWk9_YkU/s320/SLS%205026.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdFLl134c1PY0d8ZWfqCona7OfP6F6NUcUk4kDg7G1mlMmS6AzVcKwhHkdCLXvwZCwKeUeMOJs3vY3eE25yaaJcMqgTvwh0iyADLLXrUu9BWXm09PvSV0ieFvhmIm__7GxDvVqxWLm8i3GxsJwvqvWVEs1YqNei9IRQF_zR528qGqP3IzIjvH5J-BpOyw/s599/WRC%20ST%20540.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="595" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdFLl134c1PY0d8ZWfqCona7OfP6F6NUcUk4kDg7G1mlMmS6AzVcKwhHkdCLXvwZCwKeUeMOJs3vY3eE25yaaJcMqgTvwh0iyADLLXrUu9BWXm09PvSV0ieFvhmIm__7GxDvVqxWLm8i3GxsJwvqvWVEs1YqNei9IRQF_zR528qGqP3IzIjvH5J-BpOyw/s320/WRC%20ST%20540.jpeg" width="318" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12iS4GJoEKVLt_biK5OGEuCcIq8TBAWE4rhGtuT33x_DDBUwbwsd4PrmrgFBZ1V-8MymsitS46o2Fy0JyTcmgNcXgCp0U4LoW6bJf8RU_0JEYA_5aik9HDZJXMvXSxjzxG94jOgDfOrUAeRtNShnHKKPXileJgRchsQN_Dt-_A20mBE-1S20Lc5zVpsA/s1000/S%2060019.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="990" data-original-width="1000" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12iS4GJoEKVLt_biK5OGEuCcIq8TBAWE4rhGtuT33x_DDBUwbwsd4PrmrgFBZ1V-8MymsitS46o2Fy0JyTcmgNcXgCp0U4LoW6bJf8RU_0JEYA_5aik9HDZJXMvXSxjzxG94jOgDfOrUAeRtNShnHKKPXileJgRchsQN_Dt-_A20mBE-1S20Lc5zVpsA/s320/S%2060019.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE6GjFVurqKFkrUwKOVVotRLovOktX2mZNE7IpZBS-vQbnebY4TtIwF9rmXNsJR2NGz-EHV_fgDl0ED6S7K6XoAoCZeICJz3_nmqtokTXoRpPlWpQf2xKcFli-lL4rvWiyuBiBezp9wT042uOCqo3k3UUX4saVh_HdPzcvYkgA3PsS83d5hIIZPyS-Yfs/s599/R-9664580-1484494436-3314.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="599" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE6GjFVurqKFkrUwKOVVotRLovOktX2mZNE7IpZBS-vQbnebY4TtIwF9rmXNsJR2NGz-EHV_fgDl0ED6S7K6XoAoCZeICJz3_nmqtokTXoRpPlWpQf2xKcFli-lL4rvWiyuBiBezp9wT042uOCqo3k3UUX4saVh_HdPzcvYkgA3PsS83d5hIIZPyS-Yfs/s320/R-9664580-1484494436-3314.jpg" width="320" /></a></div><br /><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">Here is a link to a Youtube video of this recording:</span></div><div><span style="font-size: large;"><br /></span><span style="font-size: x-large;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/BDlS4vwW6Fs" width="320" youtube-src-id="BDlS4vwW6Fs"></iframe></div><br /></span></div><div><span style="font-size: large;">For more on the Beethoven piano concertos on vinyl, check out Meles' <a href="https://milestomozart.blogspot.com/2015/02/beethoven-not-your-forte-piano.html" target="_blank">dedicated post</a> on this topic from February 2015.</span></div><div><br /></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;"><br /></span></div><div><br /></div><p><br /></p><div style="text-align: left;"><br /></div>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com10tag:blogger.com,1999:blog-6578688126265821360.post-3564643839308440542024-02-22T14:06:00.006-05:002024-02-22T15:19:36.748-05:00... And we're back!<p>Dear fellow music lovers, audiophiles, and collectors,<span></span></p><a name='more'></a><p></p><p>This month marks 12 years since we first began writing this blog. It has been a real pleasure for us to share our musical explorations with you and in return to hear about yours. After a pause of seven years starting in 2017, we are pleased to announce that we will be resuming writing for this blog. Thank you so much to all of our readers and followers worldwide who have continued to use our site during this time and fueled our ongoing discussions of collectible classical (and jazz) recordings. Your enthusiasm has given us more than enough reason to revive Miles to Mozart.<span></span></p><!--more--><p></p><p>Stay tuned for more content to come.</p>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com8tag:blogger.com,1999:blog-6578688126265821360.post-2691367388857168862017-03-04T08:17:00.001-05:002017-03-04T08:59:06.171-05:00Readers' Poll: Favorite Chamber Music Recordings<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMrqSoMRvzM3nP6BaODJWprZgEhsg3rC46xSXCxddO1gnVwiGsvFkEK_13Ed6tUNevoENaW8CqQpWEm-a0qhjt3l3FWHhWUlNK9UkYDeutZGv-GEgFWQ8Jx0GL-rGpv2Vg7e57rnZIedw/s1600/Guarneri.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMrqSoMRvzM3nP6BaODJWprZgEhsg3rC46xSXCxddO1gnVwiGsvFkEK_13Ed6tUNevoENaW8CqQpWEm-a0qhjt3l3FWHhWUlNK9UkYDeutZGv-GEgFWQ8Jx0GL-rGpv2Vg7e57rnZIedw/s320/Guarneri.png" width="320" /></a></div>
<span style="font-size: x-large;">This week, we'd like to ask our readers:</span><br />
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<span style="font-size: x-large;"><i>What are your favorite chamber music recordings?</i></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLqbnMTQMZT2RnonzHkAov5ZduLViR9Vl7b-Gs4YuHFJJwzHXVQI_OAdsAYYIDky8wat_wkoRkRwr0nj7DmMxjtXoIMKySgOsXZ1wCO4LRYdaPbtgEtFlN8jk-L7wrFxr0ttVqWnn_Uw/s1600/Souvenir-de-Florence-Janine-Jansen-Friends.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLqbnMTQMZT2RnonzHkAov5ZduLViR9Vl7b-Gs4YuHFJJwzHXVQI_OAdsAYYIDky8wat_wkoRkRwr0nj7DmMxjtXoIMKySgOsXZ1wCO4LRYdaPbtgEtFlN8jk-L7wrFxr0ttVqWnn_Uw/s320/Souvenir-de-Florence-Janine-Jansen-Friends.jpg" width="320" /></a><span style="font-size: x-large;"><i><br /></i></span>
<span style="font-size: x-large;">Feel free to share with us your favorite recording(s), analog or digital, on the basis of performance and/or sound quality. All thoughts are welcome!</span><br />
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<span style="font-size: large;"><br /></span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com9tag:blogger.com,1999:blog-6578688126265821360.post-88595757308729370842017-02-26T18:38:00.000-05:002017-02-26T18:55:19.541-05:00Analogue Productions RCA/Decca Reissues Part 3: LSC-2077 and LSC-2336<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmTVD_dkjs4Y-b6eiH7vmM0wV3dUElve6llcm86FZEu1vR2wmDYTGuRJAXCYZVHUNMbap8996IGVBPABHUQx-T9mArfRDnktS4t9bbppQrrNsOuR-Kr-6SY-igdTkIRPTd8b0tQsp-8ZY/s1600/LSC-2077+AP+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmTVD_dkjs4Y-b6eiH7vmM0wV3dUElve6llcm86FZEu1vR2wmDYTGuRJAXCYZVHUNMbap8996IGVBPABHUQx-T9mArfRDnktS4t9bbppQrrNsOuR-Kr-6SY-igdTkIRPTd8b0tQsp-8ZY/s320/LSC-2077+AP+F.jpg" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5wMhP-JhgjLFTk69dmI4XTuYj4qwiPBkNHDANt9VqoJ9zjT7gGgoH2rgy4OtkjWLqhMFpFePsdrXMolc1LNYGX-sZbRKD0k3W7k8psbMEsQ0PBfU2a9k9aCtpXYgZt6hvp5bAGbQfLRk/s1600/LSC-2336+AP+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5wMhP-JhgjLFTk69dmI4XTuYj4qwiPBkNHDANt9VqoJ9zjT7gGgoH2rgy4OtkjWLqhMFpFePsdrXMolc1LNYGX-sZbRKD0k3W7k8psbMEsQ0PBfU2a9k9aCtpXYgZt6hvp5bAGbQfLRk/s320/LSC-2336+AP+F.jpg" width="320" /></a><span style="font-size: large;">It appears that Analogue Productions is now following its intended release schedule for these Decca/RCA reissues. Less than two weeks from the time I received the Royal Ballet Gala Performances and Venice arrived the shipment containing these two LPs. The original pressings of both of these recordings have been previously reviewed on our site (<a href="http://milestomozart.blogspot.com/2015/08/rca-living-stereo-decca-recordings.html">LSC-2077</a> and <a href="http://milestomozart.blogspot.com/2013/08/lsc-2336-underrated-gem-in-living.html">LSC-2336</a>).</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>AAPC 2077 (LSC-2077): </b>This reissue is a marked improvement compared with the original Shaded Dog. I find that it sounds more like the Decca Eclipse (ECS 674) -- more modern, less "tubby". The original recording was troubled by a deep but constricted soundstage as well as heavy, boomy bass. The reissue, like the Eclipse, opens up the soundstage a little bit (it is still far from wide but sounds less like a mono recording) and significantly cleans up the bass, which is now much tighter. The brass, which originally had a nasal tone on the original, now have a far more natural sound. Clarity and transparency on the reissue are also much better and benefit from the super quiet vinyl surfaces. If you treasure these performances, I think this is the pressing to own, unless you can land the Decca Eclipse for a bargain. Rating: <b>8/10</b>. </span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>AAPC 2336 (LSC-2336): </b> I've thought of this record as one of the hidden gems in the RCA catalog. The musical program is highly enjoyable, and the original Shaded Dog was characterized by excellent balance, a wide soundstage, and a rich midrange with lush strings and crisp and clear horns. The reissue is brighter, more forward in presentation, and more transparent than the original. There was virtually no surface noise on my pressing, making backgrounds essentially as black as can be. String tone heard throughout the recording, and especially notable in Grieg's second of two <i>Elegiac Melodies </i>(<i>The Last Spring</i>), is gorgeous. Rating: <b>9/10</b></span><br />
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<br />aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com3tag:blogger.com,1999:blog-6578688126265821360.post-79054820257040195402017-02-19T17:01:00.000-05:002017-02-20T15:01:17.620-05:00Analogue Productions RCA/Decca Reissues Part 2: The Royal Ballet Gala Performances and Venice<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDlTOD1EspSrpybnLqd7xFEIahRs5kFMzOCZv80XFTRj0HlKqTJmLfz8OR99C4iuehjF6LIbnrk2zaoUNSOirGtwaLnopdLJceRhlZ4cWckPOYMvVY2LuDZNYfk0ENw0DM_XZVaknCiHg/s1600/LSC-6065+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDlTOD1EspSrpybnLqd7xFEIahRs5kFMzOCZv80XFTRj0HlKqTJmLfz8OR99C4iuehjF6LIbnrk2zaoUNSOirGtwaLnopdLJceRhlZ4cWckPOYMvVY2LuDZNYfk0ENw0DM_XZVaknCiHg/s320/LSC-6065+F.jpg" width="316" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix4dNracXfk_dA1tTSMe23C5LxQfZGKie3OKRUWouwwRPT_zk3kp4L1pVZgda7sAwVV-8XvwIX2KBk7b1osLRbm1pBM7ZtxFJ6hFCy23AsnHthglRa1ku0_qFAJCFzXwbd3F8IMbaGerE/s1600/LSC-2313+AP+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix4dNracXfk_dA1tTSMe23C5LxQfZGKie3OKRUWouwwRPT_zk3kp4L1pVZgda7sAwVV-8XvwIX2KBk7b1osLRbm1pBM7ZtxFJ6hFCy23AsnHthglRa1ku0_qFAJCFzXwbd3F8IMbaGerE/s320/LSC-2313+AP+F.jpg" width="318" /></a> <span style="font-size: large;"><span style="font-family: inherit;">Greetings from Boston, where, after two consecutive snow storms within the past week and a half, it is now a balmy 59 degrees Fahrenheit in the middle of February! After much eager anticipation, batch two of Analogue Productions' RCA/Decca reissues has finally arrived! With this batch comes the very welcome reissue of</span><span style="font-family: inherit;"> </span><b style="font-family: inherit;">LDS-6065: The Royal Ballet Gala Performances</b><span style="font-family: inherit;"> and</span><span style="font-family: inherit;"> </span><b style="font-family: inherit;">LSC-2313: Venice </b><span style="font-family: inherit;">(see previous review</span><span style="font-family: inherit;"> </span><a href="http://milestomozart.blogspot.com/2015/02/rca-living-stereo-lsc-2313-soltis.html" style="font-family: inherit;">here</a><span style="font-family: inherit;">). You can find our initial reviews of the first batch of releases in this series</span><span style="font-family: inherit;"> </span><a href="http://milestomozart.blogspot.com/2016/02/analogue-productions-new-brew-rcas.html" style="font-family: inherit;">here</a><span style="font-family: inherit;"> and</span><span style="font-family: inherit;"> an addendum </span><a href="http://milestomozart.blogspot.com/2016/12/analogue-productions-rcadecca-reissues.html" style="font-family: inherit;">here</a><span style="font-family: inherit;">.</span></span><br />
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<span style="font-size: large;">I was very much looking forward to receiving these LPs, in particular, the Royal Ballet Gala Performances. Most classical audiophile collectors can appreciate the rarity and collectibility of LDS-6065, both in its original pressing as well as in its Classic Records reissues (both 33 rpm and 45 rpm, mastered by Bernie Grundman). On popsike.com, the price range for the Royal Ballet Gala Performances (including either the original or reissues) depends upon whether you search for "LSC-6065" ($36-$1885) or "LDS-6065" ($25 to $4208!). Up until a couple of weeks ago, if you wanted a copy, you would have had to be willing to pay a small fortune. A few years ago, I sold my original copy, the discs of which were in VG to VG+ condition; the cover of the cloth box had heavy water damage along the bottom. Regardless of its shape, a buyer in China was still willing to pay $240 for the set. Well, thanks to AP, we now have a chance to own this album for a far more reasonable price. </span><br />
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<span style="font-family: inherit; font-size: large;">In general, AP's production quality with these reissues has been high. </span><span style="font-family: inherit; font-size: large;">Although it would have been nice if AP had reproduced the cloth-bound box that housed the original Royal Ballet Gala Performances, both of these albums come with beautifully laminated gatefold covers with full-color reproductions of the original booklets (see photos below). Someone commented in a review of the Royal Ballet Gala reissue on the Acoustic Sounds website that the picture of the dancers on the album cover was blurred, but it appears that that is also the case on the covers of the original and the Classic Records reissue. The vinyl weighs in just about 200 grams as advertised (I measured 195 g and 215 g for Royal Ballet Gala and exactly 200 g for Venice). Bernie Grundman mastered AAPC 6065 (it is unclear if this is the same as what he did for Classic Records) and Willem Makkee mastered AAPC 2313.</span><br />
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<span style="font-family: inherit; font-size: large;">Here are some of my thoughts on the sonic qualities of these reissues:</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaixoQ6ef9MOjtFevytnpCOfbDKweGAMhNnMmJBeMExgP3uKmCUswy_kj2wYFSttwPogyAnvBzYcJT9TIUc4WoHy6VozLQVBbtbF9E9YdZZY-A9AX4F4MEAvU1vX6sxiD8JIZOE7c3Z6g/s1600/LSC-6065+TOP.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaixoQ6ef9MOjtFevytnpCOfbDKweGAMhNnMmJBeMExgP3uKmCUswy_kj2wYFSttwPogyAnvBzYcJT9TIUc4WoHy6VozLQVBbtbF9E9YdZZY-A9AX4F4MEAvU1vX6sxiD8JIZOE7c3Z6g/s320/LSC-6065+TOP.jpg" width="320" /></a><span style="font-family: inherit; font-size: large;"><b>AAPC 6065 (LDS-6065): </b>The vinyl surfaces are extremely quiet, and I detected minimal if any surface noise during my listening. I don't know how this compares with the Classic Records reissues, which I suspect are also quiet, and I will leave that to my blogging colleague Meles to comment. The black backgrounds really permit a lot of low level detail to b</span><span style="font-family: inherit; font-size: large;">e revealed during soft musical passages. As an example, the harp solo in the <i>Waltz of the Flowers </i>from Tchaikovsky's <i>Nutcracker Suite</i> glistens with clarity.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfrV8q3FCY7krDCVdakK8AAxKvWFBB-0plrxcmlpnLdj_h1664GQiBcqDXBCSSFTJgkyAxEMtqBTIdkULfebYrbk3C5hnybqqePifiWNZTR4klqHUtD9xNndhTeqk6unrftqnlJiUUzZQ/s1600/LSC-6065+B1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfrV8q3FCY7krDCVdakK8AAxKvWFBB-0plrxcmlpnLdj_h1664GQiBcqDXBCSSFTJgkyAxEMtqBTIdkULfebYrbk3C5hnybqqePifiWNZTR4klqHUtD9xNndhTeqk6unrftqnlJiUUzZQ/s320/LSC-6065+B1.jpg" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0ASYFdrxPKiTUPBPslp5MLwOH5vgnawKDVLoWeq67r2l1zRspJAjhLejkkyX9I95X7Cp9d2oqenF5K7vCj7v6Atu_MqB5KJRObNQmACKXu6CDJi773FCPq0C3kzYP0gAz7e3EkT1Gacs/s1600/LSC-6065+B2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0ASYFdrxPKiTUPBPslp5MLwOH5vgnawKDVLoWeq67r2l1zRspJAjhLejkkyX9I95X7Cp9d2oqenF5K7vCj7v6Atu_MqB5KJRObNQmACKXu6CDJi773FCPq0C3kzYP0gAz7e3EkT1Gacs/s320/LSC-6065+B2.jpg" width="320" /></a><span style="font-family: inherit; font-size: large;">There is a wide range of dynamics across the potpourri of ballet excerpts. Much of the music is performed at medium to soft listening levels, but periodically we get bursts of energetic orchestral tuttis. Overall, the orchestra sounds well balanced. Clarity, transparency, and imaging are excellent, although I have to agree with Jonathan Valin's assessment (see below) that there can be a hard left-right separation at times. The soundstage is deep and expansive, and one can really appreciate the acoustics and ambience of Kingsway Hall. I was also impressed by the rich midrange, sweet treble, and taut bass. </span><br />
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<span style="font-family: inherit; font-size: large;">Overall, I'm very happy with this reissue and am glad to add it to my collection. Thanks to the folks at AP for bringing this back into circulation! Rating: <b>9+/10</b></span><br />
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<span style="font-family: inherit; font-size: large;">Just for your reference, here is an excerpt from Jonathan Valin's notes on the original pressing from </span><i style="font-family: inherit; font-size: x-large;">The RCA Bible</i><span style="font-family: inherit; font-size: large;">:</span><br />
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<span style="font-family: inherit; font-size: large;">"#1 on CBK's Top RCA list (and in the hearts of thousands). The ROHO is here set farther back than it is on other Kingsway greats (like 2225 and 2449). The stage is tremendously wide, deep, and exceptionally well scaled and the orchestra gloriously rich in texture with phenomenal transparency, inner detail and fidelity of tone -- making for quite the majestic panorama. While midrange texture is excellent, the mids are not quite as lively and immediate as, say, 2225, which of course is more closely miked. However the low end dynamics outdo the <i>Brew</i>. In particular the <i>Coppelia</i> has wonderful bass clarity and extension: there is a forte passage toward the end in which the low brass are playing a dotted rhythm above the basses; not only are both lines clearly audible but the brass are reproduced with such fine focus that you can almost count them too. Unfortunately, CBK's remarks notwithstanding, this is a truly dull performance of Delibes. Indeed most of the performances on this disc are rather staid as I suppose befits a Royal Gala. (Note: this fine record does suffer a bit from left/right/hole-in-the-middle staging.)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBXLtmXxfeKEQ2ovxkNpOY1v_hPjDqXr2AVUr_azNdYR6qMFK2tPymbgfGUKBNv7j-zyJVfupT52HfegaXtcpQp2sMj3muDaXmG9WovlEm4CmvnAzHG2e6fkyxALNeAtql4ArWOlWvgLI/s1600/LSC-2313+AP+T.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBXLtmXxfeKEQ2ovxkNpOY1v_hPjDqXr2AVUr_azNdYR6qMFK2tPymbgfGUKBNv7j-zyJVfupT52HfegaXtcpQp2sMj3muDaXmG9WovlEm4CmvnAzHG2e6fkyxALNeAtql4ArWOlWvgLI/s320/LSC-2313+AP+T.jpg" width="320" /></a><span style="font-family: inherit; font-size: large;"><b>AAPC 2313 (LSC-2313): </b>You can find our review of the original </span><span style="font-size: large;">Shaded Dog pressing <a href="http://milestomozart.blogspot.com/2015/02/rca-living-stereo-lsc-2313-soltis.html">here</a>.</span><br />
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<span style="font-family: inherit; font-size: large;">This reissue lives up to the reputation of the</span><span style="font-family: inherit; font-size: large;"> and, in my A/B comparison, is better in some aspects. I found myself favoring the reissue for a few different reasons:</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDx66pnhDGQrV21mTKO_gCtg8Db_tRMbVf95ExgLpkGZQz5hJzgkgJgIn7DuVvRxFbps4vm91N36QCp25SbvlZ7BaLFyKIBltV2nqozmE_TKXEhyphenhyphenFVHhjZOts0-GhR5Htkes-c8erRTM8/s1600/LSC-2313+AP+R.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDx66pnhDGQrV21mTKO_gCtg8Db_tRMbVf95ExgLpkGZQz5hJzgkgJgIn7DuVvRxFbps4vm91N36QCp25SbvlZ7BaLFyKIBltV2nqozmE_TKXEhyphenhyphenFVHhjZOts0-GhR5Htkes-c8erRTM8/s320/LSC-2313+AP+R.jpg" width="320" /></a><br />
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<li><span style="font-size: large;">Surfaces were, not surprisingly, far quieter on the reissue.</span></li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhulhqgtNLrb-IMNstuaVTOPwRygzWTm7GRsV_OZXQhkuv9AcuFSBu6EhBrW74XacLlbJ4PtNshqRrCFpUS8-58FO4CwhTnJlPQO6wm9o7npYqFqtTZt4nzEpWljf8o7hLbCele_Mle3lU/s1600/LSC-2313+AP+B.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhulhqgtNLrb-IMNstuaVTOPwRygzWTm7GRsV_OZXQhkuv9AcuFSBu6EhBrW74XacLlbJ4PtNshqRrCFpUS8-58FO4CwhTnJlPQO6wm9o7npYqFqtTZt4nzEpWljf8o7hLbCele_Mle3lU/s320/LSC-2313+AP+B.jpg" width="320" /></a>
<li><span style="font-size: large;">Clarity and transparency are better on the reissue, and dynamics are more impactful. This is more noticeable in louder passages of music (eg, side 2 with Rossini's <i>Semiramide Overture</i> and Ponchielli's <i>Dance of the Hours</i>).</span></li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG2pYimGfS9mDuK8rLTpu7aK1-oHaMdMpmMceP3yYf_TwpbmmDA8ilofbr9TLW-eplqCfFWG2bDGo9RkYQWzQ7Fr_LDhZ2La7bXf-BJLQKxLJpkWOWuNbRDk0-NCtWJlQDpVGDXuKUdeg/s1600/LSC-2313+AP+L.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG2pYimGfS9mDuK8rLTpu7aK1-oHaMdMpmMceP3yYf_TwpbmmDA8ilofbr9TLW-eplqCfFWG2bDGo9RkYQWzQ7Fr_LDhZ2La7bXf-BJLQKxLJpkWOWuNbRDk0-NCtWJlQDpVGDXuKUdeg/s320/LSC-2313+AP+L.jpg" width="320" /></a>
<li><span style="font-size: large;">In general, the orchestra sounds less recessed and slightly more forward in presentation on the reissue. This is an improvement from the "cavernous" staging that Jonathan Valin mentioned in his review in <i>The RCA Bible.</i></span></li>
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<span style="font-size: large;">Rating: <b>9/10</b> </span><br />
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<br />aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com11tag:blogger.com,1999:blog-6578688126265821360.post-25797466795194811032016-12-17T15:56:00.004-05:002017-02-20T14:57:47.307-05:00Living Stereo: The Remastered Collector's Edition ... finally, the rarities released!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3eOiA1JU_6xWSG0l0Su55GBhFrNwXez4JYZUSqnB4SekqlIHKX4nL0xY8EWA1hC2eOo4XlMi1GRLWqzanOL0NnkifCbfFHk16YVjP66_JDj_V7oqnNHgFtD0y6xxCkbNrpGkUY-v6n_E/s1600/814bdeYGrLL._SX522_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3eOiA1JU_6xWSG0l0Su55GBhFrNwXez4JYZUSqnB4SekqlIHKX4nL0xY8EWA1hC2eOo4XlMi1GRLWqzanOL0NnkifCbfFHk16YVjP66_JDj_V7oqnNHgFtD0y6xxCkbNrpGkUY-v6n_E/s320/814bdeYGrLL._SX522_.jpg" width="320" /></a></div>
<span style="font-size: large;">Now here is a boxed set that I have been anticipating for a while! I realize that we focus most of our posts on vinyl recordings, but from time to time, I like to cover some CD releases, particularly those of analog recordings that have never before been issued in digital format.</span><br />
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<span style="font-size: large;">Many of the heavy hitter recordings in the RCA Living Stereo catalog have been remastered and reissued in digital format (CD, XRCD, SACD) over the years. Two Living Stereo box sets (each with 60 CDs) have been previously released. Most of these albums have been the "sonic highlights" of the RCA catalog, the titles that generally appeal to most classical audiophiles. However, for the longest time, some of the rarer titles in the Living Stereo series went neglected. Well, at last, someone has decided to give justice to these precious recordings.</span></div>
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<span style="font-size: large;">At the end of October of this year, Sony Classical released a third boxed set: <b>Living Stereo: The Remastered Collector's Edition</b>. This is another set of 60 CDs, remastered in 24-bit/192 kHz, each one a mini-replica of the original LP (with no additional tracks). Supposedly, 48 of these 60 have never been previously issued in digital format. Now I read a complaint or two on the Amazon website about how the recordings in this boxed set were the "scraps" of the RCA catalog. I could hardly disagree more. Just because we don't have Heifetz, Rubinstein, Reiner, Munch, and Monteux does not mean that these recordings are of any less caliber. What really drew my eyes to this set were the rare <i>chamber music </i>and <i>solo instrumental</i> recordings of the RCA Living Stereo catalog that have been <i>very</i> hard to find on vinyl. While I won't be able to discuss my thoughts on every CD in this set, I thought I might share with you some of the highlights. As examples (in no particular order):</span></div>
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<li><span style="font-size: large;">The recordings of the <b>Festival Quartet</b>, which consisted of violinist Szymon Goldberg, violist William Primrose, cellist Nikolai Graundan, and pianist Victor Babin. I reviewed one of the original LPs (<a href="http://milestomozart.blogspot.com/2015/07/rca-living-stereo-lsc-2330-at-home-with.html">LSC-2330</a>) back in July 2015. In my humble opinion, these are rare gems in the RCA catalog and beautiful chamber performances. I still own the three Brahms Piano Quartet albums (LSC-2330, LSC-2473, LSC-2517) and have previously owned the Faure Piano Quartet album (LSC-2735), but the one that has eluded me has been the Schubert Trout Quintet recording (LSC-2147). That one is extremely hard to find and almost always fetches a high price on the auction market. Well, those of us who are interested can finally listen to most of these on CD! This boxed set gives us <b>LSC-2147, LSC-2330, LSC-2473, LSC-2517, </b>and <b>LSC-6068; </b>LSC-2735 is sadly not included.<b> </b>Listening to the Schubert Trout Quintet, I noticed some light analog hiss, but the performance was wonderful, and the sound was intimate and well-balanced. I wish I could provide you with a comparison with the original vinyl, but maybe someday I will, if I ever land a copy of the LP. LSC-2330 on CD sounded remarkably close to the original LP; the latter had perhaps just the slightest touch of extra warmth, but otherwise I found it difficult to find noticeable differences between the two. My reactions were relatively similar for LSC-2473 and LSC-2517, and in the case of LSC-2517, I actually found myself enjoying the sound of the CD more than the original LP. </span></li>
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<li><span style="font-size: large;"><b>LSC-2456: Lalo: Symphonie Espagnole </b>(Szeryng/Hendl/CSO). Whoever called this recording one of the "scraps" of the RCA catalog needs to have his or her head examined. This has long been considered an audiophile favorite and has been reissued on vinyl by Classic Records; it will also be reissued by Analogue Productions (hopefully in 2017) as part of its RCA/Decca series. In comparison with the original Shaded Dog, the CD fares decently and captures the essence of the performance, but there is more fullness and body to the tone of Szeryng's violin on the LP. Szeryng is also given a more forward presentation on the LP. Nevertheless, this is a certainly a welcome digital reissue.</span></li>
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<li><span style="font-size: large;"><b>LSC-2421: Henryk Szeryng in Recital </b>(Szeryng/Reiner)<b>.</b> Definitely one of the main reasons I wanted this set. The Shaded Dog sells for a mean of $234 (highest price $1115!) and is super hard to acquire. Since I will probably never own a copy, I am more than happy to be able to listen to this recording on CD. Yes, there is some slight analog tape hiss, but it does not detract from the power and beauty of Szeryng's performance. It's a virtuosic program: tracks include Vitali's <i>Chaconne in G minor</i>, Tartini's <i>The Devil's Trill </i>(transcribed by Kreisler) and <i>Variations on a Theme by Corelli </i>(transcribed by Francescatti), Gluck's <i>Melodie </i>(transcribed by Kreisler), Kreisler's <i>Allegretto in the style of Boccherini</i>, Schumann's <i>Prophetic Bird </i>(transcribed by Heifetz), Halftter-Heifetz's <i>Danza de la Gitana</i>, and Wienawski's <i>Scherzo-Tarantelle</i>.</span></li>
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<li><span style="font-size: large;"><b>LSC-2646: Liliane Garnier Recital </b>(Garnier/Globenski). Ahh, another rare gem! I believe this was released in Canada, which may be why we don't see it surface often. Ebay prices have been around $175 for the Shaded Dog. Liliane Garnier, a French-born violinist who moved to Canada, gives a commanding performance of works such as Wienawski's <i>Polonaise Brilliante</i>, Beethoven's <i>Romance in F major</i>, Paganini's <i>Caprice No. 20</i>, and Ravel's <i>Tzigane</i>,<i> </i>among others. Garnier's violin is beautifully captured on this recording. I wonder how the Shaded Dog sounds! </span></li>
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<li><span style="font-size: large;"><b>LSC-2250: Encores by Kogan</b> (Kogan/Mitnik). Here's a Shaded Dog that never saw the light of day. I'm not sure what the story is behind this, but this was apparently issued on vinyl only in mono (LM-2250), and the mono sells for upwards of $50 on Ebay. Of course, it seems that any Leonid Kogan recording sells for nothing short of a small fortune. I don't believe that this recording is new to CD. It's a charming album that mixes some oft-played (Debussy's <i>Clair de Lune, </i>Kreisler's <i>Caprice Viennois</i>)<i> </i>with some less commonly performed (Shostakovich's <i>Four Preludes</i>, Prokofieff's <i>Masques [from "Romeo and Juliet"], </i>Glazunoff's <i>Entr'acte [from "Raymonda"]</i>) works. </span></li>
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<li><span style="font-size: large;"><b>LSC-2553: Shostakovich: Cello Sonata; Schubert: "Arpeggione" Sonata </b>(Shafran/Pecherskaya). This Daniel Shafran recording is another RCA rarity. The Shaded Dog has a mean auction price of just about $300. I sold my copy a few years ago and am very pleased to now have it on CD. It sounds like an intimate recital in your living room, with Shafran on the right and Pecherskaya at the piano on the left. Both the Shostakovich and Schubert works are given lovely performances</span></li>
<li><span style="font-size: large;"><b>LSC-2373: Presenting Jaime Laredo </b>(Laredo/Sokoloff). This is violinst Jaime Laredo's debut RCA recording after having won First Prize at the 1959 Queen Elizabeth of Belgium International Music Competition. I've never owned this in stereo on vinyl, so I was very interested in hearing the CD. The sound is clear and immediate, the performance highly enjoyable. I especially liked the <i>Berceuse</i> and <i>Jota</i> from Falla's <i>Suite Populaire Espagnole, </i>Wienawski's <i>Scherzo-Tarantelle</i>, and Bach's <i>Air on a G String.</i></span></li>
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<span style="font-size: large;">Okay, those are just a handful of some of the highlights in this set. I haven't even begun to mention the Juilliard String Quartet recordings of Debussy and Ravel (<b>LSC-2413)</b>, Schubert (<b>LSC-2378</b>), and Beethoven (<b>LSC-2626, LSC-2632)</b>, or Piatigorsky's cello recital (<b>LSC-2293</b>), or the piano duo albums of Vronsky and Babin (<b>LSC-2417, LSC-2648</b>), or the solo piano albums of Andre Tschaikowsky (<b>LSC-2354</b>, <b>LSC-2360</b>), or Howard Mitchell's recording of the Shostakovich 5th Symphony with the National Symphony Orchestra (<b>LSC-2261</b>). My bottom line: this boxed set was worth the purchase for me, and I look forward to discovering the other albums within. </span></div>
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<span style="font-size: large;">Here's another plus: in contrast with the CD sleeves in the prior two RCA Living Stereo boxed sets, the ones with this third set are made from higher quality, thicker cardboard and are near exact replicas of the LP covers (including the back covers). You might need a magnifying glass to read some of the liner notes, but they are there in entirety. Even the CDs appear as facsimiles of the LP labels (although the dog is not shaded). Nicely done!</span></div>
aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com4tag:blogger.com,1999:blog-6578688126265821360.post-52684219714422807652016-12-17T13:21:00.001-05:002017-02-20T14:54:57.966-05:00Analogue Productions RCA/Decca Reissues ... Revisited<span style="font-size: large;">Greetings to all of you from snowy Boston! It has been six months since our last post on this blog, and we apologize for the inactivity. It has been a busy time for both of us, but we are hoping to gradually roll out some posts over the coming weeks.</span><br />
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<span style="font-size: large;">Those of you who have been following us for some time may remember that 10 months ago, I posted my <a href="http://milestomozart.blogspot.com/2016/02/analogue-productions-new-brew-rcas.html">original review</a> of the first two of Analogue Productions' reissues of some of the most sought after RCA/Decca Living Stereo recordings (LSC-2225 and LSC-2449). While I was initially very pleased with how the records appeared out of the box, I discovered a couple of issues with the records that I expressed in my post. First, while these LPs were marketed as being 200 gram vinyl, both of them weighed in at 180 grams. Secondly, with the reissue of LSC-2449, the vinyl had some defect that caused a "wobble" in the sound. Incidentally, AP subsequently recalled both of those reissues, stating that they were not of the quality that Chad Kassem had intended. As subscribers to the series, we were told that we would be issued replacement records. And so, we patiently waited.</span></div>
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<span style="font-size: large;">Nine months later, they finally arrived. Acoustic Sounds must've assumed that we held on to the original outer jackets, because both records arrived in QRP inner sleeves with no outer jacket. Small matter, I suppose, though it was fortunate that both records arrived well insulated and unscathed from shipment.</span></div>
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<span style="font-size: large;">First things first. I weighed both LPs. The reissue of LSC-2449 weighed in at exactly 200 grams, while the reissue of LSC-2225 weighed in at 215 grams. Okay, a good start.</span></div>
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<span style="font-size: large;">Next, I decided to play LSC-2449 first, since this was the one that had issues with "wobble". I am pleased to report that the problem has been rectified. The record plays very cleanly </span><span style="font-size: large;">(a few occasional very soft pops excepted) </span><span style="font-size: large;">and delivers at least the same dynamics, clarity, imaging, and soundstaging as my "defective" copy, but unhampered by any significant audible defects. I think I still marginally prefer my Classic Records reissue of this album, which is a tad bit brighter sounding and packs a little more punch, but I am upgrading my original sound rating from 8+ to 9/10.</span></div>
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<span style="font-size: large;">I was already very pleased with the sound of the first AP reissue of LSC-2225, but I figured I would see if this 200 gram copy sounded any different than the previous 180 gram copy. I decided to do an A/B comparison using the Saint-Saens' <i>Dance Macabre</i>, the first track on side 2, as the reference work. Honestly, I couldn't readily discern any sonic differences between the two. I'll stand by my original sound rating of 10/10. </span></div>
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<span style="font-size: large;">So many thanks to AP for taking the time to repress these records and providing replacements free of charge to us subscribers. I don't know what the release schedule will be for the remaining reissues in this series, but I am definitely looking forward to (hopefully) receiving them in 2017. </span></div>
aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com0tag:blogger.com,1999:blog-6578688126265821360.post-68377273450859479502016-06-05T10:30:00.000-04:002016-06-05T10:32:19.190-04:00Weekend Roundup<span style="font-size: x-large;"><b>Weekend Roundup for June 4-5th, 2016</b></span><br />
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<span style="font-size: large;">Well, it's been busy these past several weeks, and this was the first weekend in a while that I was able to take the lid off my turntable and enjoy some vinyl. Here are a few of my thoughts on some of the listening highlights:</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvsnuX1kw6kNQ7n42IR0RnCjCN62HS2xmOQeo5QcrUZrikPL6k5B5Hl5yhy-gzYxBdkYmeQf7zq0G-ziqsbGVRG3SpHTpPS607URLrTEnsVQTPxixW1Ep4QbNJhDiGt3kJEPdxAOXLUVY/s1600/SAX+2526+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvsnuX1kw6kNQ7n42IR0RnCjCN62HS2xmOQeo5QcrUZrikPL6k5B5Hl5yhy-gzYxBdkYmeQf7zq0G-ziqsbGVRG3SpHTpPS607URLrTEnsVQTPxixW1Ep4QbNJhDiGt3kJEPdxAOXLUVY/s320/SAX+2526+F.jpg" width="320" /></a></div>
<span style="font-size: large;"><b>Columbia SAX 2526</b></span><br />
<span style="font-size: large;"><b>Brahms: Piano Concerto No. 1 in D Minor</b></span><br />
<span style="font-size: large;">Leon Fleisher, piano</span><br />
<span style="font-size: large;">George Szell, conductor</span><br />
<span style="font-size: large;">Cleveland Orchestra</span><br />
<span style="font-size: large;">(BC 1003 A-1E/B-1E)</span><br />
<span style="font-size: large;"><b>Performance: 10/10</b></span><br />
<span style="font-size: large;"><b>Sound: 7.5/10</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrig4tVzZKHnGr00hl8QM0mKYRkZo6fgXYNIso0rBhBZ0qdk9KUrjS0FKQuu7B6-fTW19MNGTcE1V-q9FCXEyDgZP6tTmpZWIK3yu-WpUfPLvJiGCjyF2RfpDAB5R3BdkKcLFswoRwpzI/s1600/SAX+2526+R.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrig4tVzZKHnGr00hl8QM0mKYRkZo6fgXYNIso0rBhBZ0qdk9KUrjS0FKQuu7B6-fTW19MNGTcE1V-q9FCXEyDgZP6tTmpZWIK3yu-WpUfPLvJiGCjyF2RfpDAB5R3BdkKcLFswoRwpzI/s320/SAX+2526+R.jpg" width="318" /></a><span style="font-size: large;">I picked up this semi-circle label first pressing from Spiral Classics a few years ago.</span><span style="font-size: large;"> </span><span style="font-size: large;">This recording may not have demonstration quality sound, but the sonics are still very good and capture the spirit of the performance, which is outstanding. Fleisher's recordings with Szell and the CO of the Brahms (and Beethoven) piano concertos have long been praised and considered by many to be some of the finest performances of these works. On this LP, the piano is clearly and warmly presented and slightly more forward relative to the orchestra, which otherwise provides a well-balanced and fitting accompaniment. One small reservation I have is the drier-sounding orchestral string tone that is often the case on CBS recordings of the era. I have not heard the original US Epic release of this title (which should be acquirable at a fraction of the cost of the SAX), but I would wager that this UK pressing boasts slightly quieter vinyl surfaces and may be the better sounding pressing overall. I'm not entirely sure what additional remastering work if any was done by EMI for this UK release, but there are two matrix numbers on each side. For instance, side A has BC 1003 A-1E as well as XXSB-43706-1L; side B has BC 1003 B-1E and XXSB-43707-1AJ. The latter numbers look like Epic/CBS matrix numbers. This recording was digitally remastered in the late 1990s by Sony and can be purchased as part of a Fleisher budget boxed with the Beethoven concertos or with the recent Fleisher complete album collection with mini-LP sleeves with the original cover art. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju_QR9ZS5lg2lu1QmQRGCMY8UjNAqqji1Zkb6RS9OGrSKjCtJAuSbBDQPPc-vZtMPn7lYcXEsRjGFT8VxQvTRZq7Dr9fGCJK65o-K4IWKxA_WHaazI5ZCETLVs_3u2rEs_cc5U8-WTl0I/s1600/SRCS+105+F.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: large;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju_QR9ZS5lg2lu1QmQRGCMY8UjNAqqji1Zkb6RS9OGrSKjCtJAuSbBDQPPc-vZtMPn7lYcXEsRjGFT8VxQvTRZq7Dr9fGCJK65o-K4IWKxA_WHaazI5ZCETLVs_3u2rEs_cc5U8-WTl0I/s320/SRCS+105+F.jpg" width="320" /></span></a></div>
<b style="font-size: x-large;"><span style="font-size: large;">Lyrita SCRS 150</span></b><br />
<b style="font-size: x-large;"><span style="font-size: large;">Moeran: Violin Concerto</span></b><br />
<span style="font-size: large;">John Georgiadis, violin</span><br />
<span style="font-size: large;">Vernon Handley, conductor</span><br />
<span style="font-size: large;">London Symphony Orchestra</span><br />
<span style="font-size: large;">(ZLY 5209-1A, 5210-1A)</span><br />
<span style="font-size: large;"><b>Performance: 8.5/10</b></span><br />
<span style="font-size: large;"><b>Sound: 9/10</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXb6DfY_CWTv6eosU60rVP_BjQP_0V1QfYUee6TA-olKX3ixm0hWI-VIKCWowtErA1jzkRwpyZ1AsLNnB4Z3JH4aw3KX5XS3cQT5dFlamwHvvfRg68l05xTWrjnyxfRzes9KGFVoWJLjE/s1600/SRCS+105+R.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXb6DfY_CWTv6eosU60rVP_BjQP_0V1QfYUee6TA-olKX3ixm0hWI-VIKCWowtErA1jzkRwpyZ1AsLNnB4Z3JH4aw3KX5XS3cQT5dFlamwHvvfRg68l05xTWrjnyxfRzes9KGFVoWJLjE/s320/SRCS+105+R.jpg" width="320" /></a><span style="font-size: large;">I'm a big fan of the Moeran violin concerto, with its beautiful sweeping melodies and pastoral nature. I believe this LP was the very first commercial recording of this work. John Georgiadis gives a passionate, lyrical performance and is suitably backed by conductor Vernon Handley and the LSO. As with so many of the Lyrita releases, the sound quality here is superb, with excellent clarity and dynamics (marvelous brass), expansive soundstaging, and deep and taut bass. Interestingly, I discovered through Google that John Georgiadis, from the age of 26, was the LSO leader for 11 years and then went on to pursue a career as a conductor (he's been musical director of the London Virtuosi, Bristol Sinfonia, and Bangkok Symphony). </span><br />
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<span style="font-size: large;">If you like the Moeran concerto, I'd also highly recommended the digital recordings from Lydia Mordkovitch (Vernon Handley/Ulster Orchestra) and Tasmin Little (Sir Andrew Davis/BBC Philharmonic), both on the Chandos label.</span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9ANrKOJ3_UDe3k9GNuMcDIzkYojpnAWExN9cK47EM_P0AYNom5oxVLsg71fl6Lh0W2fYHKKotUQwswhP2UVzthh5ejolCqkIamhxcZ_9zabCOPHbsckWKEn7KSW-wyMxzk6yL4auFNI/s1600/CS+6337+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9ANrKOJ3_UDe3k9GNuMcDIzkYojpnAWExN9cK47EM_P0AYNom5oxVLsg71fl6Lh0W2fYHKKotUQwswhP2UVzthh5ejolCqkIamhxcZ_9zabCOPHbsckWKEn7KSW-wyMxzk6yL4auFNI/s320/CS+6337+F.jpg" width="320" /></a></span></div>
<span style="font-size: large;"><b>London CS 6337</b></span><br />
<span style="font-size: large;"><b>Bruch: Scottish Fantasia</b></span><br />
<span style="font-size: large;"><b>Hindemith: Violin Concerto</b></span><br />
<span style="font-size: large;">David Oistrakh, violin</span><br />
<span style="font-size: large;">Jascha Horenstein, Paul Hindemith, conductors</span><br />
<span style="font-size: large;">London Symphony Orchestra</span><br />
<span style="font-size: large;">(3W/3W)</span><br />
<span style="font-size: large;"><b>Performance: 10/10</b></span><br />
<span style="font-size: large;"><b>Sound: 9/10</b></span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM6xq_C3veQeiBhRI07AfiQQt465WHt90Fnhgmk_McnYXyuH1wdyqCxohd2zutOhnLCH15veUjljvbFBOEu-cE2jblYC2VK-MSbupbC4qQtOlppFkW3_HN-Enrag1wTDRQ3PdDPJzFif0/s1600/CS+6337+R.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM6xq_C3veQeiBhRI07AfiQQt465WHt90Fnhgmk_McnYXyuH1wdyqCxohd2zutOhnLCH15veUjljvbFBOEu-cE2jblYC2VK-MSbupbC4qQtOlppFkW3_HN-Enrag1wTDRQ3PdDPJzFif0/s320/CS+6337+R.jpg" width="320" /></a>A long-time TAS Harry Pearson Super LP List recording, this LP is worth its accolades. Oistrakh's performance of the Bruch Scottish Fantasia is probably my "desert island" recording of the work -- I find it a little warmer than the Heifetz/Sargent RCA recording of around the same time -- and the Hindemith is a classic with the composer as conductor. The dynamics on this recording are quite powerful, and Oistrakh's violin is just beautifully captured. I've never owned a blueback FFSS copy of this album, but this narrow band FFRR that I picked up for $8 on E-bay is a bargain and still packs a punch. Also worthy is the Speakers Corner 180g reissue, which I used to own and can still be purchased new for around $35.<b> </b>The Decca is in a different league in terms of cost, with an average E-bay price of $257 according to popsike.com. Two days ago, a wide-band ED1 copy just sold for $1034! My two cents: you can't go wrong with the London.</span><br />
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<span style="font-size: large;">Well, that wraps things up for this weekend. Happy listening, and as always, your thoughts, insights, perspectives, and comments are always welcome.</span><br />
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<span style="font-size: large;"><br /></span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com4tag:blogger.com,1999:blog-6578688126265821360.post-78259141433997362292016-05-04T13:24:00.000-04:002016-05-04T13:24:11.756-04:00Readers' Poll: Most Surprising and Disappointing Discoveries<div class="separator" style="clear: both; text-align: center;">
<a href="https://viewfromacouch.files.wordpress.com/2010/05/high-fidelity-records.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="177" src="https://viewfromacouch.files.wordpress.com/2010/05/high-fidelity-records.jpg" width="320" /></a></div>
<span style="font-size: large;">Thanks to everyone for sharing your stories about your best classical LP bargain finds! For this week's poll, we would like to ask:</span><br />
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<span style="font-size: large;"><i>Which classical LPs were some of the biggest surprises for you? There are different ways to look at his question. For example, were there albums that you picked up on a whim but that turned out to be hidden gems? Were there albums that you found in the bargain bin for cheap, only to discover later that they were rare and valuable records? Or were there albums that, simply put, just surprised you? An LP with the same music on both sides?</i></span><br />
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<span style="font-size: large;"><i>Conversely, which classical LPs ended up being the biggest disappointments? Were there albums for which you paid decent money, thinking that they'd be gems, but instead they turned out to be duds? Albums that on the surface had a lot of potential but failed to live up to expectations?</i></span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com13tag:blogger.com,1999:blog-6578688126265821360.post-33759540787326506072016-04-26T22:17:00.001-04:002016-04-26T22:17:49.336-04:00Readers' Poll: Best Bargain Find<div class="separator" style="clear: both; text-align: center;">
<a href="http://i.ytimg.com/vi/z5ziBCarxEk/hqdefault.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://i.ytimg.com/vi/z5ziBCarxEk/hqdefault.jpg" height="240" width="320" /></a></div>
<span style="font-size: large;">This week's Readers' Poll question takes a detour from the usual "reference recording" to ask you:</span><br />
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<span style="font-size: x-large;"><i>Which album in your collection would you consider to be your greatest "bargain find"?</i></span><br />
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<span style="font-size: large;">Is it that $1 blue-back original wide-band Decca found at the used book sale? Blue and silver Columbia SAX for less than 1 GBP at the local thrift shop? We've all had at least one of these hidden treasure discoveries and we'd love to hear about yours!</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com40tag:blogger.com,1999:blog-6578688126265821360.post-62217686221114789162016-04-26T21:59:00.002-04:002016-04-26T22:04:37.884-04:00Readers' Poll Results: Brahms Symphony No. 1<span style="font-size: large;">Thanks to all our readers for their responses this past week!</span><br />
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<span style="font-size: large;"><b>Columbia SAXF 5001 (French pressing, boxed set)</b></span><br />
<span style="font-size: large;">Otto Klemperer, Philharmonia Orchestra</span><br />
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<span style="font-size: large;"><b>Decca LXT 5292 (mono)</b></span><br />
<span style="font-size: large;">Josef Krips, Vienna Philharmonic Orchestra</span><br />
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<span style="font-size: large;"><b>Decca SXL 6796</b></span><br />
<span style="font-size: large;">Zubin Mehta, Vienna Philharmonic Orchestra</span><br />
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<span style="font-size: large;"><b>EMI ASD 2401</b></span><br />
<span style="font-size: large;">Sir John Barbirolli, Vienna Philharmonic Orchestra</span><br />
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<span style="font-size: large;"><b>EMI ASD 2871 (also in EMI SLS 5009 boxed set)</b></span><br />
<span style="font-size: large;">Sir Adrian Boult, London Philharmonic Orchestra</span><br />
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<span style="font-size: large;"><b>EMI CFP 131 (EMI ASD 350) </b></span><br />
<span style="font-size: large;">Rudolf Kempe, Berlin Philharmonic</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>Regal SREG 1017 (EMI ASD 350) </b></span><br />
<span style="font-size: large;">Rudolf Kempe, Berlin Philharmonic</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>World Record Club T464</b></span><br />
<span style="font-size: large;">Franz Konwitschny, Leipzig Gewandhaus Orchestra</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com0tag:blogger.com,1999:blog-6578688126265821360.post-46691980947570950982016-04-15T22:01:00.001-04:002016-04-15T22:41:30.173-04:00Decca SXL 6119: Ansermet conducts Russian Delights<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEFp_80xuNgk5p6UJJO3hRshxgU-cLJ9Ja0NSsFyuCZq2sPP4VdY8TZXyMLTsUHBFIGVc4lsOvR_3mOTWqQZCZKEE-6wHXoA2AdRPXTs5YlLR7eturaLRJ-Maw5uG2MmbXatkiD0oT5I0/s1600/SXL+6119+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEFp_80xuNgk5p6UJJO3hRshxgU-cLJ9Ja0NSsFyuCZq2sPP4VdY8TZXyMLTsUHBFIGVc4lsOvR_3mOTWqQZCZKEE-6wHXoA2AdRPXTs5YlLR7eturaLRJ-Maw5uG2MmbXatkiD0oT5I0/s320/SXL+6119+F.jpg" width="320" /></a></div>
<span style="font-size: x-large;"><b>Decca SXL 6119</b></span><br />
<br />
<span style="font-size: x-large;"><b>Russian Delights</b></span><br />
<span style="font-size: x-large;"><b><br /></b></span>
<span style="font-size: large;">Ernest Ansermet, conductor</span><br />
<span style="font-size: large;">L'Orchestre de la Suisse Romande</span><br />
<span style="font-size: large;"><span style="font-size: medium;"><br /></span>
<span style="font-size: medium;"><b>Pressing:</b> UK, ED2</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;"><br /></span>
<span style="font-size: medium;"><b>Condition:</b> NM-</span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRnk2_Gs-T0Dv5e00MpvZ7WjPYM7V382Zb7h5phiVTeqbCmg2cImHN7Nl27XBEEJPHHLuQwt8viLVA7wkN7er3W_6mgBfa530TX2RQcCsP1TAzCK90YGGpsMtgVywDLY-3TWd9Rsam8tA/s1600/SXL+6119+R.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRnk2_Gs-T0Dv5e00MpvZ7WjPYM7V382Zb7h5phiVTeqbCmg2cImHN7Nl27XBEEJPHHLuQwt8viLVA7wkN7er3W_6mgBfa530TX2RQcCsP1TAzCK90YGGpsMtgVywDLY-3TWd9Rsam8tA/s320/SXL+6119+R.jpg" width="320" /></span></a><span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><b>Date first published:</b> 1964</span><br />
<span style="font-size: large;"><span style="font-size: medium;"><br /></span>
<span style="font-size: medium;"><b>Stampers:</b></span></span><br />
<span style="font-size: large;">ZAL-6319-2E</span><br />
<span style="font-size: large;">ZAL-6320-2L</span><br />
<span style="font-size: large;">Mother number: 1, 1</span><br />
<span style="font-size: large;">Buckingham codes: I, BB</span><br />
<span style="font-size: large;"><span style="font-size: medium;"><br /></span>
<span style="font-size: medium;"><b>Performance: </b>8.5/10</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;"><br /></span>
<span style="font-size: medium;"><b>Sound:</b> 8.5/10</span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqwxtD9umbqDZIvjyWHtVE_WJat0vFK33s8vutn429z00kANi4vkMpgyfr58HI1I7KwWR35pwkPJYHdabN_opTIuxx1_vaWC14UeP1UYCfjQo6ogpSqQuCrRBr8vRMFAzNrCA1KAZaOv0/s1600/SXL+6119+L.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqwxtD9umbqDZIvjyWHtVE_WJat0vFK33s8vutn429z00kANi4vkMpgyfr58HI1I7KwWR35pwkPJYHdabN_opTIuxx1_vaWC14UeP1UYCfjQo6ogpSqQuCrRBr8vRMFAzNrCA1KAZaOv0/s320/SXL+6119+L.jpg" width="320" /></span></a><span style="font-size: large;"><br /></span><br />
<span style="font-size: large;"><b>Price Range:</b> $24-366 (mean $92) on popsike.com</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Comments: </b>Here is another enjoyable potpourri of Russian orchestral favorites by Mussorgsky and Glinka. Although this LP doesn't usually make it to the well-known audiophile recording lists, it is, in my humble opinion, a gem and certainly one of my favorite London/Decca's. <i>Night on the Bare Mountain</i> may drag a bit in terms of tempo and doesn't have quite the terror of contemporaneous recordings by Matacic, Giulini, Leibowitz, or Pretre, but Ansermet and the OSR still manage to maintain a decent level of intensity throughout. The movements from <i>"Khovanschchina"</i> are sensitively played, though, I have honestly never been particularly drawn to this work. The Overture to <i>Russlan and Ludmilla, Waltz Fantasy, </i>and <i>Jota Aragonesa</i> are more successful and a delight to listen to from start to finish.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">There is much to praise about the sonics of this recording. The orchestra is presented with mostly excellent clarity (there is just a touch of very low-level distortion at times), imaging, and transparency across a wide and expansive soundstage. Dynamics are certainly a strong point of this album and, combined with the deep bass (most notable with the percussion), give powerful impact to the more dynamic musical passages.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">This LP shows up about 9-10 times per year on the auction market, which is relatively rare for a Decca, though based on the most recent going prices it doesn't look like you'll have to break the bank to get a decent copy. That being said, a NM copy just sold for $227 earlier this month. The London version of this recording, CS 6405, is generally cheaper and may be the copy to seek, unless you have to have the more colorful laminated Decca cover.</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com2tag:blogger.com,1999:blog-6578688126265821360.post-27609264023557684962016-04-15T20:48:00.001-04:002016-04-20T23:13:03.648-04:00Readers' Poll: Brahms Symphony No. 1, Op. 68<div class="separator" style="clear: both; text-align: center;">
</div>
<i style="font-size: xx-large;">What are your favorite vinyl performances and recordings of Johannes Brahms' Symphony No. 1 in C Minor, Op. 68?</i><br />
<span style="font-size: x-large;"><i><br /></i></span><span style="font-size: x-large;"><br /></span><br />
<span style="font-size: x-large;">Please click on the <b>comments</b> link below to tell us your top choices.</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com9tag:blogger.com,1999:blog-6578688126265821360.post-32094793883399328472016-04-15T20:42:00.002-04:002016-04-15T20:42:59.390-04:00Readers' Poll: Stravinsky's The Rite of Spring (Le Sacre du Printemps)<div class="separator" style="clear: both; text-align: center;">
<a href="https://upload.wikimedia.org/wikipedia/en/1/1c/Stravinsky_picasso.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://upload.wikimedia.org/wikipedia/en/1/1c/Stravinsky_picasso.png" width="215" /></a></div>
<span style="font-size: large;">Fewer responses this week, but here they are!</span><br />
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<span style="font-size: large;"><b><br /></b></span><br />
<span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;"><b>CBS MS 6010</b></span><br />
<span style="font-size: large;">Leonard Bernstein, New York Philharmonic</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>CBS MS 6319</b></span><br />
<span style="font-size: large;">Igor Stravinsky, Columbia Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>CBS S 72804 (German pressing) (MS 7293)</b></span><br />
<span style="font-size: large;">Pierre Boulez, Cleveland Orchestra</span><br />
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<span style="font-size: large;"><b>Decca SXL 6691 (or London CS 6885)</b></span><br />
<span style="font-size: large;">Sir Georg Solti, Chicago Symphony Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>EMI/HMV ASD 313 (or EMI CFP 129 or Regal SREG 1024)</b></span><br />
<span style="font-size: large;">Igor Markevitch, Philharmonia Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Mercury Living Presence SR 90253</b></span><br />
<span style="font-size: large;">Antal Dorati, Minneapolis Symphony</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com2tag:blogger.com,1999:blog-6578688126265821360.post-72548706256674209422016-04-06T10:02:00.002-04:002016-04-20T23:13:19.157-04:00Readers' Poll: Stravinsky's The Rite of Spring (Le Sacre du Printemps)<div class="separator" style="clear: both; text-align: center;">
</div>
<i style="font-size: xx-large;">What are your favorite vinyl performances and recordings of Igor Stravinsky's The Rite of Spring (Le Sacre du Printemps)?</i><br />
<span style="font-size: x-large;"><i><br /></i></span><span style="font-size: x-large;"><br /></span><br />
<span style="font-size: x-large;">Please click on the <b>comments</b> link below to tell us your top choices.</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com6tag:blogger.com,1999:blog-6578688126265821360.post-73936446938881586222016-04-06T09:57:00.001-04:002016-04-06T09:57:18.560-04:00Readers' Poll Results: Tchaikovsky's Violin Concerto<span style="font-size: large;">Thank you as always for your responses -- a diversity of favorite recordings for this work! Here are the results of our most recent poll:</span><br />
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<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>Columbia/CBS MS 6298</b></span><br />
<span style="font-size: large;">David Oistrakh, Eugene Ormandy/Philadelphia Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Columbia SAX 2323 (WRC ST562)</b></span><br />
<span style="font-size: large;">Leonid Kogan, Constantin Silvestri/Paris Conservatoire Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Crossroads 22 16 0224 (WRC R-00066)</b></span><br />
<span style="font-size: large;">Hyman Bress, Sir Adrian Boult/London Philharmonic Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Decca LXT 2970 (mono) (ACL 25)</b></span><br />
<span style="font-size: large;">Mischa Elman, Sir Adrian Boult/London Philharmonic Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Decca SXL 2279 (London CS 6215)</b></span><br />
<span style="font-size: large;">Ruggiero Ricci, Sir Malcolm Sargent/London Symphony Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Decca SXL 6493 (London CS 6710)</b></span><br />
<span style="font-size: large;">Kyung-Wha Chung, Andre Previn/London Symphony Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Deutsche Grammophon SLPM 139028</b></span><br />
<span style="font-size: large;">Christian Ferras, Herbert von Karajan/Berlin Philharmonic Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Deutsche Grammophon 2532 001</b></span><br />
<span style="font-size: large;">Gidon Kremer, Lorin Maazel/Berlin Philharmonic Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Deutsche Grammophon 419 241-1</b></span><br />
<span style="font-size: large;">Anne Sophie-Mutter, Herbert von Karajan/Vienna Philharmonic Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>EMI ASD 2813</b></span><br />
<span style="font-size: large;">Igor Oistrakh, David Oistrakh/Moscow Philharmonic Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>London CS 6011 (Decca SXL 2029 or SPA 183)</b></span><br />
<span style="font-size: large;">Alfredo Campoli, Ataulfo Argenta/London Symphony Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Philips SGL 5815 (Fontana SFL 14059)</b></span><br />
<span style="font-size: large;">Michele Auclair, Robert Wagner/Innsbruck State Symphony Orchestra</span><br />
<br />
<span style="font-size: large;"><b>RCA Living Stereo LSC-2129</b></span><br />
<span style="font-size: large;">Jascha Heifetz, Fritz Reiner/Chicago Symphony Orchestra</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>RCA Red Seal Dynagroove LSC-3014</b></span><br />
<span style="font-size: large;">Itzhak Perlman, Eric Leinsdorf/Boston Symphony Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Remington R-19920 (mono)</b></span><br />
<span style="font-size: large;">Michele Auclair, Kurt Woss/Austrian Symphony Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Westminster WST 14017</b></span><br />
<span style="font-size: large;">Erica Morini, Artur Rodzinski/Philharmonic Symphony Orchestra of London</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>World Record Club ST 574 (Capitol SP 8512)</b></span><br />
<span style="font-size: large;">Nathan Milstein, William Steinberg/Pittsburgh Symphony Orchestra</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com0tag:blogger.com,1999:blog-6578688126265821360.post-7926079227422408532016-03-28T10:24:00.001-04:002016-03-28T10:24:28.369-04:00Readers' Poll: Tchaikovsky's Violin Concerto<div class="separator" style="clear: both; text-align: center;">
<a href="http://en.tchaikovsky-research.net/thumb.php?f=Photo055.gif&width=300" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://en.tchaikovsky-research.net/thumb.php?f=Photo055.gif&width=300" height="320" width="225" /></a></div>
<i style="font-size: xx-large;">What are your favorite vinyl performances and recordings of Pyotr Ilyich Tchaikovsky's Violin Concerto?</i><br />
<span style="font-size: x-large;"><i><br /></i></span><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><br /></span><br />
<span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;">Please click on the <b>comments</b> link below to tell us your top choices.</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com8tag:blogger.com,1999:blog-6578688126265821360.post-61853020304598518172016-03-26T22:56:00.000-04:002016-03-26T22:57:20.228-04:00EMI HMV ASD 304: Popular Movements from Symphonies<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4qfx7hCZloWzqclztB4ARpjuoHNarm7vpL1ljDqeis9okTuDgkIDJOLkc9GDCVhdeRn7cuqfm2HYLWhO8FXVH1m8w6y3G1pkrFZymWl8vCjmSOm3mCVMZA3Xe-YUI5WH12d95c_bH0Pc/s1600/ASD+304+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4qfx7hCZloWzqclztB4ARpjuoHNarm7vpL1ljDqeis9okTuDgkIDJOLkc9GDCVhdeRn7cuqfm2HYLWhO8FXVH1m8w6y3G1pkrFZymWl8vCjmSOm3mCVMZA3Xe-YUI5WH12d95c_bH0Pc/s320/ASD+304+F.jpg" width="316" /></a></div>
<span style="font-size: x-large;"><b>EMI HMV ASD 304</b></span><br />
<span style="font-size: x-large;"><b>Popular Movements from the Symphonies</b></span><br />
<br />
<span style="font-size: large;"><b><br /></b></span>
<span style="font-size: large;"><b>Andre Cluytens, conductor</b></span><br />
<span style="font-size: large;"><b>Vienna Philharmonic Orchestra</b></span><br />
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<span style="font-size: large;"><b>Pressing: </b>UK, ED1, gold/cream</span><br />
<span style="font-size: large;"><br /></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk1cESQjwbKpO_hC6gTl7sTZatMHqL7OHaKPWmgEYOMvFcw-2TP8FuC8KE3SN80OzLHW-pjw_WIOnzHrB1wrlP-1cCTMCm8k1c8jJZGc_GHpfhABPrJSS9bDot467ERoannY57KIBTDC4/s1600/ASD+304+R.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk1cESQjwbKpO_hC6gTl7sTZatMHqL7OHaKPWmgEYOMvFcw-2TP8FuC8KE3SN80OzLHW-pjw_WIOnzHrB1wrlP-1cCTMCm8k1c8jJZGc_GHpfhABPrJSS9bDot467ERoannY57KIBTDC4/s320/ASD+304+R.jpg" width="318" /></a><span style="font-size: large;"><b>Condition: </b>VG+</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Date first published: </b>1959</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Stampers:</b></span><br />
<span style="font-size: large;">2YVH 9-1, 10-4</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Performance: 6-7/10</b></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Sound: 7/10</b></span><br />
<span style="font-size: large;"><br /></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNzuJ5WH_HKM-BY20rb9P7QjNAhX1Dc_F2zIH7G6ERN6E0mXDTcp3HvI1LdaolsawRravZAFk35ioNf_DsUHgis2W6JqTITgL0pssbUYVOq5i0t0-ue1IgdM561tTEGICRg1rRNwTO2FU/s1600/ASD+304+L.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNzuJ5WH_HKM-BY20rb9P7QjNAhX1Dc_F2zIH7G6ERN6E0mXDTcp3HvI1LdaolsawRravZAFk35ioNf_DsUHgis2W6JqTITgL0pssbUYVOq5i0t0-ue1IgdM561tTEGICRg1rRNwTO2FU/s320/ASD+304+L.jpg" width="320" /></a><span style="font-size: large;"><b>Price range: </b>$37-300 (mean $94) on popsike.com</span><br />
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<span style="font-size: large;"><b>Comments:</b> A somewhat atypical EMI release containing a potpourri of symphonic movements by Beethoven, Mozart, Mendelssohn, Dvorak, and Tchaikovsky that is among the rarer birds in the EMI/HMV early stereo catalog. While I am generally a fan of Andre Cluytens the conductor, I wouldn't exactly put this recording on my "must-have" list of his discography. The performances are not the most inspired to my ears, and unfortunately none of them left an indelible mark on me. The first movement of Beethoven's 5th and third movement of the 8th are among the better performances here. In contrast, the first movement of Mozart's 40th fails to do much of anything, and the third movement of Tchaikovsky's 4th sounds too polite when compared with more passionate interpretations by <a href="http://milestomozart.blogspot.com/2014/10/tchaikovsky-4th-round-up.html">Mravinsky, Markevitch, and Muti</a>. The addition of the opening movement of Mozart's <i>Eine Kleine Nachtmusik </i>makes the album title a bit of a misnomer, but I suspect it was thrown in for popular appeal. The <i>Largo</i> movement of Dvorak's New World Symphony is sadly tainted by a rather bland and blase sounding English horn solo. The record concludes with the third movement of Tchaikovsky's 6th that also lacks in intensity, especially when juxtaposed with Mravinsky or <a href="http://milestomozart.blogspot.com/2013/03/sax-2388.html">Giulini</a>. The sound is warm and tubey with decent dynamics and bass depth. My copy revealed some mild distortion in more dynamic passages in the Tchaikovsky 6th. In summary, this one is primarily for die-hard Cluytens collectors. </span><br />
<br />
<br />aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com3tag:blogger.com,1999:blog-6578688126265821360.post-9875573746898688022016-03-26T21:15:00.000-04:002016-03-26T21:15:03.546-04:00Readers' Poll Results: Elgar's Enigma Variations<div class="separator" style="clear: both; text-align: center;">
<a href="https://upload.wikimedia.org/wikipedia/commons/c/ce/Edward_Elgar.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://upload.wikimedia.org/wikipedia/commons/c/ce/Edward_Elgar.jpg" width="319" /></a></div>
<span style="font-size: large;">It looks like Barbirolli and Boult may have been the favorites, but we had a pretty good spread of recording recommendations this week:</span><br />
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<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>Contour Classics 2870 440</b></span><br />
<span style="font-size: large;">Norman Del Mar, Bournemouth Symphony Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Decca ACL 55 (mono)</b></span><br />
<span style="font-size: large;">Sir Adrian Boult, London Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>Decca SXL 6795 (London CS 6984)</b></span><br />
<span style="font-size: large;">Sir Georg Solti, Chicago Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>Deutsche Grammophon 2530 586</b></span><br />
<span style="font-size: large;">Eugen Jochum, London Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>EMI HMV ALP 1464</b></span><br />
<span style="font-size: large;">Sir Edward Elgar, Royal Albert Hall Orchestra</span><br />
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<span style="font-size: large;"><b>EMI HMV ASD 548</b></span><br />
<span style="font-size: large;">Sir John Barbirolli, Philharmonia Orchestra</span><br />
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<span style="font-size: large;"><b>EMI HMV ASD 2750</b></span><br />
<span style="font-size: large;">Sir Adrian Boult, London Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>EMI HMV SXLP 20007</b></span><br />
<span style="font-size: large;">Sir Malcolm Sargent, Philharmonia Orchestra</span><br />
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<span style="font-size: large;"><b>Lyrita SRCS 77</b></span><br />
<span style="font-size: large;">Andrew Davis, New Philharmonia Orchestra</span><br />
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<span style="font-size: large;"><b>Philips 6500 481</b></span><br />
<span style="font-size: large;">Bernard Haitink, Concertgebouw Orchestra, Amsterdam</span><br />
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<span style="font-size: large;"><b>Pye Records GSGC 4057</b></span><br />
<span style="font-size: large;">Sir John Barbirolli, Halle Orchestra</span><br />
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<span style="font-size: large;"><b>RCA Living Stereo LSC-2418 (SB 2108 or VICS 1107)</b></span><br />
<span style="font-size: large;">Pierre Monteux, London Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>World Record Club WRC ST 158 (EMI CFP 40022)</b></span><br />
<span style="font-size: large;">Sir Adrian Boult, London Philharmonic Orchestra</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com0tag:blogger.com,1999:blog-6578688126265821360.post-78877325280536524692016-03-18T23:09:00.001-04:002016-03-18T23:09:11.067-04:00Readers' Poll: Edward Elgar's Enigma Variations<div class="separator" style="clear: both; text-align: center;">
<a href="http://media.gettyimages.com/photos/score-of-the-first-page-of-the-enigma-variations-op-36-by-edward-picture-id534981987" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://media.gettyimages.com/photos/score-of-the-first-page-of-the-enigma-variations-op-36-by-edward-picture-id534981987" height="320" width="237" /></a></div>
<i style="font-size: xx-large;">What are your favorite vinyl performances and recordings of Edward Elgar's Enigma Variations?</i><br />
<span style="font-size: x-large;"><i><br /></i></span><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><br /></span><br />
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<span style="font-size: x-large;">Please click on the <b>comments</b> link below to tell us your top choices.</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com13tag:blogger.com,1999:blog-6578688126265821360.post-90449885248067127062016-03-18T23:04:00.000-04:002016-03-18T23:04:20.184-04:00Readers' Poll Results: Debussy's La Mer<div class="separator" style="clear: both; text-align: center;">
<a href="https://upload.wikimedia.org/wikipedia/commons/f/f9/Claude_Debussy_ca_1908,_foto_av_F%C3%A9lix_Nadar.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://upload.wikimedia.org/wikipedia/commons/f/f9/Claude_Debussy_ca_1908,_foto_av_F%C3%A9lix_Nadar.jpg" width="237" /></a></div>
<b><span style="font-size: x-large;">Claude Debussy: La Mer</span></b><br />
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<span style="font-size: large;">Our apologies for the delay in posting the results of this poll, but here they are:</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>Columbia SAX 2463</b></span><br />
<span style="font-size: large;">Carlo Maria Giulini, Philharmonia Orchestra</span><br />
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<span style="font-size: large;"><b>Columbia SAX 2532</b></span><br />
<span style="font-size: large;">George Szell, Cleveland Orchestra</span><br />
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<span style="font-size: large;"><b>Decca LW 5267 (mono)</b></span><br />
<span style="font-size: large;">Ernest Ansermet, L'Orchestre de la Suisse Romande</span><br />
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<span style="font-size: large;"><b>Decca Phase Four PFS 4220</b></span><br />
<span style="font-size: large;">Leopold Stokowski, London Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>Deutsche Grammophon SLPM 138 923</b></span><br />
<span style="font-size: large;">Herbert von Karajan, Berlin Philharmonic Orchestra</span><br />
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<span style="font-size: large;"><b>HMV ALP 1228 (mono)</b></span><br />
<span style="font-size: large;">Guido Cantelli, Philharmonia Orchestra</span><br />
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<span style="font-size: large;"><b>London CS 6024 (Decca SDD 214)</b></span><br />
<span style="font-size: large;">Ernest Ansermet, L'Orchestre de la Suisse Romande</span><br />
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<span style="font-size: large;"><b>Mercury Living Presence SR 90010</b></span><br />
<span style="font-size: large;">Paul Paray, Detroit Symphony Orchestra</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>Philips 9500 359</b></span><br />
<span style="font-size: large;">Bernard Haitink, Concertgebouw Orchestra, Amsterdam</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com0tag:blogger.com,1999:blog-6578688126265821360.post-4732298696370949622016-02-07T15:08:00.000-05:002016-12-17T13:23:37.655-05:00Analogue Productions' New Brew: RCA's Devilish Decca Discs<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiYQ4u8i3x6ZDpcq9vxFYI5dyiEChbwNqiTu8VxJskA0LzjpfpXyfmQegDpbSZnKwuwzDqF6HAOIS5hVB6IMRRxs1YIk7Z-JdUIbO_cqd6vDo3zQzDy_-BPKYCrRMdpn8gP3XsC-NsV7I/s1600/LSC-2449+AP+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiYQ4u8i3x6ZDpcq9vxFYI5dyiEChbwNqiTu8VxJskA0LzjpfpXyfmQegDpbSZnKwuwzDqF6HAOIS5hVB6IMRRxs1YIk7Z-JdUIbO_cqd6vDo3zQzDy_-BPKYCrRMdpn8gP3XsC-NsV7I/s320/LSC-2449+AP+F.jpg" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Gj2iDPBuWOhYwvb6Esmw11u6uggS1xTC8JYGZDl6QVnsyHLs6nDJ8Fj_RPSX7X0Z2fhsT4gMHBn5ATPhiZoqDqKAeXFWDKX-FF1wt75i-PB-9k1434zWdBo0eMt6IvI6QsZXAHP-egE/s1600/LSC-2225+AP+F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Gj2iDPBuWOhYwvb6Esmw11u6uggS1xTC8JYGZDl6QVnsyHLs6nDJ8Fj_RPSX7X0Z2fhsT4gMHBn5ATPhiZoqDqKAeXFWDKX-FF1wt75i-PB-9k1434zWdBo0eMt6IvI6QsZXAHP-egE/s320/LSC-2225+AP+F.jpg" width="320" /></a><span style="font-size: large;">The wait is over ... Analogue Productions (AP) has finally released the first two LPs in its new RCA/Decca Living Stereo reissue series. For collectors, this may be an audiophile's dream come true for many reasons. First, AP has chosen to reissue some of the <i>finest</i> sounding recordings in the RCA/Decca catalog (see <a href="http://milestomozart.blogspot.com/2015/08/rca-living-stereo-decca-recordings.html">RCA Living Stereo: The Decca Recordings Part 1</a>, <a href="http://milestomozart.blogspot.com/2015/08/rca-living-stereo-decca-recordings-part.html">Part 2</a>, <a href="http://milestomozart.blogspot.com/2015/08/rca-living-stereo-decca-recordings-part_19.html">Part 3</a>, and <a href="http://milestomozart.blogspot.com/2015/08/rca-living-stereo-decca-recordings-part_26.html">Part 4</a>), including such sonics greats such as:</span><br />
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<span style="font-size: large;">LSC-2077 <i>Strauss: Til Eulenspiegel, Death and Transfiguration</i></span><br />
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<span style="font-size: large;">LSC-2225 <i>Witches' Brew</i></span></div>
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<span style="font-size: large;">LSC-2285 <i>Walton: Facade, Lecocq: Mamzelle Angot</i></span></div>
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<span style="font-size: large;">LSC-2298 <i>Borodin: Symphony No. 2</i></span></div>
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<span style="font-size: large;">LSC-2313 <i>Venice</i></span><br />
<span style="font-size: large;">LSC-2327 <i>Bizet: L'Arlesienne Suites, Chabrier: Espana</i></span></div>
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<span style="font-size: large;">LSC-2336 <i>Finlandia</i></span></div>
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<span style="font-size: large;">LSC-2400 <i>Ballet Music from the Opera</i></span></div>
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<span style="font-size: large;">LSC-2405 <i>Sibelius: Symphony No. 5</i></span></div>
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<span style="font-size: large;">LSC-2449 <i>Gounod: Faust Ballet Music, Bizet: Carmen Suite</i></span></div>
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<span style="font-size: large;">LSC-6065 <i>The Royal Ballet Gala Performances</i></span></div>
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<span style="font-size: large;">LSC-6094 <i>Iberia</i></span></div>
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<span style="font-size: large;">Secondly, these are also some of the <i>rarest</i> and most valuable recordings in the RCA/Decca catalog, with originals still fetching prices in the hundreds (e.g. <i>Witches' Brew, </i>LSC-2449) to thousands (e.g. <i>Royal Ballet Gala</i>) of dollars. Classic Records made some really great reissues in the 1990s and 2000s, but those are out of print and some fetch prices that are just as high. Just try searching for Classic Records reissues of <i>Royal Ballet Gala</i> on E-bay ... and try buying a copy for less than $500-1000. Well, thanks to Chad Kassem and the folks at AP for all their hard work in obtaining the original analog tapes and producing these reissues for the rest of us! These are 33 1/3, 200-gram LPs pressed at Quality Record Pressings. All but two of the releases were mastered from the original analog master tapes </span><span style="font-size: large;">by Willem Makkee </span><span style="font-size: large;">using a Neumann VMS 80 cutting lathe. APC 2327 and APC 6065 were mastered by Bernie Grundman, whom we know has a long history with these recordings. It will be interesting to see how these releases affect the auction market for the originals and the Classic Records reissues, which have up until now dominated the market because of their rarity.</span></div>
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<span style="font-size: large;">As soon as I heard about the subscription, I called up Acoustic Sounds to reserve one. Even though it was the day just after the announcement, they were already down to number 69 in the numbered series, but I was happy nonetheless to take this. That was back at the beginning of December. Subscriptions have sold out. Now we're into February, and the series has taken off, with two LPs being mailed out at a time. I love that AP didn't wait until the end of the subscription to send out the real goodies (not that there are any duds in this series, but you know what I mean). What better way to kick things than with <i>Witches' Brew </i>and the highly coveted LSC-2449?</span></div>
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<span style="font-size: large;">My copies arrived in the mail today, and I am very happy to be able to share some thoughts with you ... </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJrcrvwy2OAaH9c-JNvszeBr-bn7QxlQwoiJCbPdvCqcY0p43oIflVmSIlnSKR7NnhOMv9mRVQdhzQyMgw42725pCjVptqhWDod-_odbi-a4ovVJbeV4Uhe2SKOLmGZo778E8uW4n9Fo/s1600/LSC-2449+AP+SEALED.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJrcrvwy2OAaH9c-JNvszeBr-bn7QxlQwoiJCbPdvCqcY0p43oIflVmSIlnSKR7NnhOMv9mRVQdhzQyMgw42725pCjVptqhWDod-_odbi-a4ovVJbeV4Uhe2SKOLmGZo778E8uW4n9Fo/s320/LSC-2449+AP+SEALED.jpg" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Ty4zSMmAFCBrgtmz2uY1wY5lgKgKBIEkfSswa_oMiDsBPKuLkSEFKupjy412cJN2YljFqlMGbVx841PEyv_0B65uOTE1jySBtKmnwgPXPCsTQ_5r8ZB325n400pkhqmUdHiFgHFq4iE/s1600/LSC-2449+AP+SHEEN.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Ty4zSMmAFCBrgtmz2uY1wY5lgKgKBIEkfSswa_oMiDsBPKuLkSEFKupjy412cJN2YljFqlMGbVx841PEyv_0B65uOTE1jySBtKmnwgPXPCsTQ_5r8ZB325n400pkhqmUdHiFgHFq4iE/s320/LSC-2449+AP+SHEEN.jpg" width="320" /></a><br />
<span style="font-size: large;">Each record comes nicely sealed in plastic sleeves just like most of the AP releases pressed by QRP. Upon opening the sleeve, I was already impressed by the weight and gloss of the album cover. Similar to AP's other 200 gram reissues, this one comes in a thick, high-gloss cardboard cover ("original Stoughton Printing heavyweight tip-on jacket facsimiles" according to the inside pamphlet). You can see how glossy he cover is in the photo I took to the left. Both the front and back covers are essentially exact replicas of the original covers, except for the fine print at the bottom of the back cover. As you can see, the pressing number is printed in gold at the top left of the back cover. The LP itself is housed in a nice standard QRP protective sleeve. Just for curiosity's sake, I decided to weigh the records on my digital scale, and interestingly, both measured in not at 200g but at exactly 180g. I'm not sure this makes a huge sonic difference, though it might have an impact on VTA for those who adjust for the extra thickness of a 200g record. I couldn't detect any visible imperfections on my copies.</span></div>
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<span style="font-size: large;">And now for some sonic impressions:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKWJZ1_2knK7VM6Td1DVDpKu6D0KIWT6CnL9affTjaDzDnRFgFfmiUDvofjQrhnpwzR1x_gujDMR99MXL25RIU5A4R0YOm4Xx0Ci2ittxT2KI9B4txWpDkQE-tfbxufbNBFTVKEvjPHII/s1600/LSC-2449+AP+R.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKWJZ1_2knK7VM6Td1DVDpKu6D0KIWT6CnL9affTjaDzDnRFgFfmiUDvofjQrhnpwzR1x_gujDMR99MXL25RIU5A4R0YOm4Xx0Ci2ittxT2KI9B4txWpDkQE-tfbxufbNBFTVKEvjPHII/s320/LSC-2449+AP+R.jpg" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw4s7snddYcAF527bFT54Kr98uO3wH6Te4GjcVat-aLQ5k5DU6_ivrwL74MHO7MvGbtnEjrmSP9Y98sRaj6ZmNkKhPCtwV-d8xK7eWtyS1XRAR_tKiIkbm2cY0XcchalZoxvZ6Z0gulr0/s1600/LSC-2449+AP+L.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw4s7snddYcAF527bFT54Kr98uO3wH6Te4GjcVat-aLQ5k5DU6_ivrwL74MHO7MvGbtnEjrmSP9Y98sRaj6ZmNkKhPCtwV-d8xK7eWtyS1XRAR_tKiIkbm2cY0XcchalZoxvZ6Z0gulr0/s320/LSC-2449+AP+L.jpg" width="320" /></a><span style="font-size: large;"><b>APC 2449 (LSC-2449): </b>I have never owned the original but have reviewed the <a href="http://milestomozart.blogspot.com/2015/07/classic-records-reissue-rca-living.html">Classic Records 33 1/3 180 gram reissue</a>, so I think my expectations for this AP reissue were -- perhaps unfairly -- high. After all, this is one of the rarest and most valuable RCA shaded dogs in the catalog. The AP surfaces are extremely quiet, so you can really appreciate a great deal of low level detail on this recording. The soundstage throughout is both wide and deep, and clarity and imaging are excellent. Dynamic range is pretty impressive though the impact of orchestral tuttis is perhaps not quite as powerful as on my Classic 180g pressing during A/B comparison. The Classic 180g also has brighter treble, which, to my ears, gives the music and performance more brilliance. The AP has less treble boost but could be interpreted as having a more natural overall balance. My AP pressing, as pristine as it is, also seemed to have some issues with "wobble" at times. This was most audible in musical passages in which strings or horns play long notes and sounds almost as if all them are playing with very slow and fat vibrato. First I though it might be an issue of pitch stability with my turntable, but the wobble was </span><span style="font-size: large;">definitely absent during identical passages on my Classic Records pressing during the A/B comparison. I may contact AP directly about this issue to see if there is an explanation. </span><span style="font-size: large;">Bottom line: if you don't own this album yet, this reissue is probably worth getting for $35, but if you've already got the original or Classic, hang on to it. 8+/10.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjllaHJ_PhlK18SkJjy327lbIcz7evoKQMTMDMdSMlLNvteLakdeZIFvnnJQ1EWaDM5MUvewhIOclMUejrlv0oB6Ixtrlar2YoBc2ZREHunLgM74fIaNqij8TvfVtW2JkfwOcqaEd-uAeE/s1600/LSC-2225+AP+SHEEN.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjllaHJ_PhlK18SkJjy327lbIcz7evoKQMTMDMdSMlLNvteLakdeZIFvnnJQ1EWaDM5MUvewhIOclMUejrlv0oB6Ixtrlar2YoBc2ZREHunLgM74fIaNqij8TvfVtW2JkfwOcqaEd-uAeE/s320/LSC-2225+AP+SHEEN.jpg" width="320" /></a><span style="font-size: large;"><b>APC 2225 (LSC-2225) <i>Witches' Brew</i>:</b> I was particularly eager to hear this one, because, as those of you who have read my <a href="http://milestomozart.blogspot.com/2015/08/rca-living-stereo-decca-recordings.html">prior blog post</a>, you know that while I very much liked the original shaded dog, there was definitely room for improvement. It got an 8+/10 in my book. Part of the problem had to do with the bass, which suffered from boominess and some distortion. I can say that this AP reissue handily addresses this and the results are a marked improvement. Not only is the bass tighter </span><span style="font-size: large;">and </span><span style="font-size: large;">cleaner but it has </span><span style="font-size: large;">even greater </span><span style="font-size: large;">depth and </span><span style="font-size: large;">impact than on the original. In addition, surfaces are super quiet, making for a black background that really allows for more clarity and detail to be appreciated. Dynamics pack a huge punch. Similar to the original shaded dog, the soundstaging on this album is stunning in its width and depth, and I dare say that it is even more "holographic" on the reissue. Malcolm Arnold's rarely recorded <i>Overture to Tam O'Shanter</i> is definitely a sonic highlight of this album, particularly with its use of percussion.<i> </i>Now I have not heard any of the Classic Records reissues -- and I know that my co-blogger Meles and my friend Ejeden have praised these in the past -- so I can't make a just comparison between the AP and these. Perhaps Ejeden, whom I know also purchased a subscription, can comment on any differences between the two. However, I can say that to my ears the AP reissue beats out the original and makes for an even more enjoyable listening experience. 10/10.</span></div>
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<span style="font-size: large;">Thanks to Chad Kassem, Willem Makkee, Bernie Grundman, and the rest of the production team for making these treasures of the RCA/Decca catalog widely available once again. This reissue series is off to a promising start, and I am looking forward to listening to the second batch.</span><br />
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<span style="font-size: large;"><b>Update (12/17/16): </b> AP subsequently recalled these pressings and replaced them in November 2016. If you are interested, you can read my thoughts on the replacements <a href="http://milestomozart.blogspot.com/2016/12/analogue-productions-rcadecca-reissues.html">here</a>.</span></div>
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aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com13tag:blogger.com,1999:blog-6578688126265821360.post-12423237146662628752016-02-05T19:49:00.001-05:002016-02-05T19:49:32.202-05:00Readers' Poll: Claude Debussy's La Mer<div class="separator" style="clear: both; text-align: center;">
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<i style="font-size: xx-large;">What are your favorite vinyl performances and recordings of Claude Debussy's La Mer?</i><br />
<span style="font-size: x-large;"><i><br /></i></span><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;">Please click on the <b>comments</b> link below to tell us your top choices.</span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com24tag:blogger.com,1999:blog-6578688126265821360.post-48022572972159886092016-02-05T19:40:00.001-05:002016-02-06T17:31:41.307-05:00Readers' Poll Results: Berlioz's Symphonie Fantastique<div class="separator" style="clear: both; text-align: center;">
<a href="http://a5.files.biography.com/image/upload/c_fit,cs_srgb,dpr_1.0,h_1200,q_80,w_1200/MTE1ODA0OTcyMDg0NTk0MTg5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://a5.files.biography.com/image/upload/c_fit,cs_srgb,dpr_1.0,h_1200,q_80,w_1200/MTE1ODA0OTcyMDg0NTk0MTg5.jpg" height="200" width="200" /></a></div>
<b><span style="font-size: x-large;">Hector Berlioz: Symphonie Fantastique</span></b><br />
<b><span style="font-size: large;"><br /></span></b>
<span style="font-size: large;">Well, thanks to an enthusiastic response this week, we have a pretty diverse list. Berlioz himself would be proud.</span><br />
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<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>CBS SPR-21</b></span><br />
<span style="font-size: large;">Leonard Bernstein, New York Philharmonic Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Chesky CR1</b></span><br />
<span style="font-size: large;">Massimo Freccia, Royal Philharmonic Orchestra</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>Columbia SAX 2537</b></span><br />
<span style="font-size: large;">Otto Klemperer, Philharmonia Orchestra</span><br />
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<span style="font-size: large;"><b>Decca 7659 (French Decca)</b></span><br />
<span style="font-size: large;">Carlos Paita, London Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>Deutsche Grammophon 2530 358</b></span><br />
<span style="font-size: large;">Seiji Ozawa, Boston Symphony Orchestra </span><span style="font-size: large;"></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>EMI/HMV ASD 399 (or Concert Classics SXLP 30295)</b></span><br />
<span style="font-size: large;">Sir Thomas Beecham, Orchestre National de la Radiodiffusion Francaise</span><br />
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<span style="font-size: large;"><b>EMI/HMV ASD 2945</b></span><br />
<span style="font-size: large;">Jean Martinon, Orchestre National de L'O.R.T.F.</span><br />
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<span style="font-size: large;"><b>Philips A 00.123L (mono)</b></span><br />
<span style="font-size: large;">Willem Van Otterloo, Berlin Philharmonic</span><br />
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<span style="font-size: large;"><b>RCA Living Stereo LM-1900 (mono or Classic Records stereo)</b></span><br />
<span style="font-size: large;"><b>RCA Living Stereo LSC-2608</b></span><br />
<span style="font-size: large;">Charles Munch, Boston Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>RCA Living Stereo LSC-2362</b></span><br />
<span style="font-size: large;">Pierre Monteux, Vienna Philharmonic Orchestra</span><br />
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<span style="font-size: large;"><b>Reference Recordings RR-11 (2 LP set)</b></span><br />
<span style="font-size: large;">Varujan Krojian, Utah Symphony Orchestra</span><br />
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<span style="font-size: large;"><b>Westminster WL-5268 (mono)</b></span><br />
<span style="font-size: large;">Hermann Scherchen, London Symphony Orchestra</span><br />
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<span style="font-size: large;"></span>aqlamhttp://www.blogger.com/profile/14158533801520443218noreply@blogger.com5