CD Purchase

Dorati conducted the National Symphony from 1970 to 1977, and, always the orchestra builder, brought its performance standards up to higher levels of excellence. During his tenure in DC, Decca/London recorded and released several LPs, most of which have lapsed into obscurity. This Wagner collection is a fine example of the capabilities of the NSO during this period of  rebirth, coupled with outstanding sonics by the Decca team recording in Constitution Hall. Demonstration quality, restored from a near mint Decca LP.

 

 CD $12.00

A fine, well-recorded collection of  some lesser-known orchestral selections from Tchaikovsky’s operas, transcribed from a mint Philips LP. Magnificent playing by the Orchestra of the Royal Opera House, Covent Garden, sensitively conducted by Colin Davis. 

 

 

 

 CD $12.00

Three French orchestras are featured in this overview of well-know works by 19th century Russian masters. Igor Markevitch’s white-hot interpretation of Tchaikovsky’s “Francesca da Rimini” from a1959 DGG recording clearly trounces his later 1967 version with the New Philharmonia. The other Markevitch-led selections receive admirable performances by the Lamoureux Orchestra. The Rimsky-Korsakov Capriccio Espagnol and the Tchaikovsky Capriccio Italien were transcribed from a Command gold-label disc recorded in 1961, in wide-range 35mm-tape sonics. A great demo disc 

 

Rudolf Kempe (1910-1976) Principal Conductor to some of the leading orchestras and opera houses in Europe, was one of the last representatives of the great German conducting tradition of the 19th and 20th centuries. Throughout the world he was highly regarded for his baton technique which in its brilliance and clarity was second to none; for the authenticity of his interpretations of an uncommonly wide repertoire in both opera and concert; for his qualities as an educator and guiding spirit of orchestras; and for his integrity as a musician and as a man. This collection is a brief glimpse into the extraordinary talent of Kempe, featuring music of Romantic masters and of members of the Strauss family, in EMI/Angel recordings from the late 50s and early 60s. 

 

 

 

Ansermet recorded the Classical and Romantic repertoire late in his career, much to the surprise of some critics. His interpretations of Brahms' symphonies fit perhaps between Klemperer's dry-eyed approach, and Walter's firmly Romantic view. He eschews broad gestures, and cut right to the heart of the matter, and leaves one satisfied that all has been touched upon correctly. The 3rd Symphony receives a stellar performance, along with a well-paced Haydn Variations. Ansermet's Brahms is due a reassessment, and this disc provides ample rewards. 

 

Three brilliant pieces covering Korngold's non-movie-related orchestral pieces, highlighted by the 1947 Violin Concerto. He does borrow from his movie scores in the Concerto, however, but what wonderful music he borrows! Four  movies provide themes throughout the Concerto (1st movement borrows from "Another Dawn" and Juarez"; 2nd movement from "Anthony Adverse"; 3rd movement from "The Prince and The Pauper"). The incidental music from "Much Ado About Nothing" is from 1918, while Korngold still resided in Germany. The 1955 "Theme and Variations" was written as a challenge, to provide a work suitable for the limited personnel and skills of  school orchestras. Transcribed from an EMI/Angel LP, recorded in collaboration with Süddeutscher Rundfunk, Stuttgart. 

 

 

 

 

Although recognized primarily as a film composer,  Rózsa wrote extensively for the concert stage throughout his career. This collection is an overview of some of his most recognized concert pieces, recorded by RCA and Westminster, and conducted by the composer. Rare LPs in mint condition were used for this 2 CD set. 

 

Mercury records utilized the 35mm film recording technique in both classical and orchestral pop sessions from 1959 on through the 60s, just as Command,  and Everest. The "Perfect Presence Sound" series featured orchestral pop arrangements produced by Fine Recording, and recorded in their converted ballroom at Bayside Studios on Long Island, New York. They utilized up to 18 miics (unlike the minimilist 3-mic technique used in their classical series). The packaging was a laminated gatefold cover, and the LPs were pressed by RCA. The Cole Porter selections were arranged by Ray Wright for the first half of this disc. The Broadway Marches selections were recorded by Mercury's classical unit, with arrangements by John Krantz (a former member of the Eastman Wind Ensemble, coincidentally). Members of the Eastman-Rochester Orchestra were used for the sessions, recorded in the Eastman Theater. 

 

 

 

 

 

Two London Phase 4 LPs were used to create this special-priced 2 CD set. Henry Lewis' recording with the Royal Philhamonic of Strauss' Also Sprach Zarathustra received good reviews when it was released in 1968, but after the Phase 4 series was completed, never was re-released on CD (from what research I have done); this is the first CD issue of this sympathetically-played taping. Lorin Maazel's performances of Strauss' Death and Tranfiguration and Tchaikovsky's Francesca also receive well -balanced performances, with some subtle highlighting of solos and instrumental groupings, typical of the Phase 4 technique, but not glaringly so as in earlier Phase 4 recordings. Sonic blockbusters, ably performed, spectacularly recorded. 

 

The Orchestre de Paris held its first concert on November14, 1967 in the Théâtre des Champs-Elysées, with Charles Munch, its Artistic Director, conducting. Within a short period it began recording for EMI, releasing 3 albums in 1968. This set was the second in the Angel series, featuring the conducting assistant to Charles Munch, Jean-Pierre Jacquillat. La Marseillaise is the big piece here, with the Berlioz setting for chorus, soloists and orchestra. The other well-know works are performed idomatically and with much charm, from a near-mint red-spine, blue label domestic Angel LP. 

 

 

 

 

 

An interesting compilation of  works conducted by Georg Solti, recorded at the dawn of stereo by Decca in 1956-57, The Tchaikovsky 5th is played better than one would suspect, given the wayward temperment of the Paris Conservatory Orchestra. Solti belays any nonsense, bringing forth a recording that is suitably straightforward, with moments of great beauty. The Tchaikovsky is transcribed a blue-back sleeve, semi-matte finish red with silver print label CS-series London LP. The Rossini-Respighi La Boutique fantasque recording is one of the best ever made of that work (from 1957), and shines once again in this transcription, derived from an early orange full-size label Stereo Treasury Series LP. The Dukas is played with the correct amount of tongue-in-cheek, without any showy displays, serving the music well, as well as does Decca's marvelous early stereo reproduction. 

 

Svetlanov's reading of  Stravinsky's "Rite" is extraordinary in its power, grit, and lyricism, in a wide-range Melodiya/Angel recording. Kletzki's Schubert 8th is surprisingly well-behaved, the winds and brass reigning in the vibrato and the string body very smooth and refined; a winning interpretation. The Weber "Oberon" overture is very well done, and the Brahms "Tragic" Overture reminds one of Charles Munch's approach from the first emphatic chords; but Kletzki's trademark grip on tempi is felt throughout. A satisfying collection of Melodiya recordings from late 60s. 

 

 

 

 

A collection of  long out of print Nonesuch LPs, licensed by Club Français Du Disque, with whom Wand had a long and fruitful collaboration.

The Mozart performances are among the best to be heard, truly historic readings worth preserving. The Schoenberg/Webern/Stravinsky disc is also a contender for best performances of these well-known, seminal 20th century masterpieces. Both discs were factory sealed; the Mozart a mid-run pressing from the late 60s, the 20th century pieces a later-press disc. 

 

Last in the Steinberg/PSO Brahms Symphony cycle (the others are KHCD-2010-022 Brahms Symphonies Nos. 3&4; KHCD-2011-028 Brahms Symphony No. 2 & Shostakovich Symphony No. 1), finally released after a judicious remastering. I had first remastered the reel tape in 2009, but was not satisfied with the results, so I put the project aside until this year (2011). After spending some time relistening and readjusting, I was happy with the final remaster. It is a faithful reproduction of the reel tape. Steinberg's performances are to-the-point, well-recorded with a wide soundstage, and are most worthy of reissue. The Wagner selections with Ormandy and the Philadelphia Orchestra are breathtaking in beauty and grandeur. Most of Ormandy's Wagner recordings on Columbia have been ignored by the current copyright holders, which is a sad state of affairs. His interpretations are less fussy and much more beautiful than many currently in print. A wonderful release!  

 

 

 

 

Maurice Abravanel recorded extensively with his Utah Symphony Orchestra, and Vox/Turnabout produced many fine recordings of that ensemble during the 70s. This particular Turnabout LP was never  released on CD (from what research I have done to date). It's a fine collection of familiar (Bernstein & Gould) and not so familiar (Siegmeister & Nelhybel) works by American composers, nicely recorded (no credit for production is listed, but more than likely it is the Elite Recordings team Marc Aubort and Joanna Nickrenz who produced the recording). The Grofé was a "sonic spectacular" recorded in 1960 by RCA, and some subtle gimmickery was used to highlight or color some passages , but in the end it served the music very well. The Turnabout LP used for this transcription was a late pressing, purple label disc; the Grofé was a Quintessence LP reissue of the RCA recording. 

 

 

 

 

 

Magnificent mono recordings from 1953/1954, still hard to beat in terms of sheer visceral sound and never-to-be repeated performances. The unique sound of the Minneapolis Symphony under Antal Dorati exposed many a budding music enthusiast to the world of classical repertoire, not soon to be forgotten. Derived from two mint Mercury LPs with FR matrices, these continue to be benchmark recordings. 

 

One doesn't usually associated Sir Adrian Boult as a Berlioz conductor, but these performances of four Berlioz overtures soon dispel that notion. Taped originally by Nixa, licensed to Westminster, these are exciting performances, very well recorded. The rarely performed Symphonie Funèbre et Triomphale was the result of  a commission by the French goverment to Berlioz in 1840, to write a piece in celebration of the Revolution of July 1830, to accompany the transfer of remains of fifty victims of the Revolution to the Place de la Bastille. This performance, decidedly Teutonic in approach regarding tempi and demeanor, nevertheless is a spectacular rendition in good mono sound. This transcribed Urania recording uses the second version of the score, modified by Berlioz for a separate concert held in August 1840 which utilizes strings (in a subtle manner) as well as the original large wind band scoring, with a chorus singing words written by Antoni Deschamps in the final movement. 

 

 

 

 

 

 

Ormandy's recordings were mostly ignored during the rush to reissue recordings onto CD during the late 80s/early 90s. Two Columbia/Sony CD sets were briefly available, but soon pulled from the catalogue. This LP transfer offers a more authentic "vinyl" experience (minus the clicks!), much warmer in soundstage  than the clinical 90s digital remasterings. The Philadelphia Orchestra is unmatched in sonority these "big band" Beethoven performances, worthy mates to other recordings utilizing large orchestras. 

 

Berwald was a Swedish Romantic composer who was generally ignored during his lifetime. He made his living as an orthopedic surgeon and later as the manager of a saw mill and glass factory. His music is inventive, sometimes playful, occasionally quirky, always enjoyable. The Symphony No. 2 was not premiered until 1914.  Alfvén's Symphony No. 2 from 1899 established him as a serious composer of note in Sweden. The Berwald is derived from a European pressing RCA Victrola LP; the Alfvén is from a Swedish Society Discophil disc, both in near-mint condition.

 

 

 

 

 

Historic Columbia mono recordings from 1956 and 1946, respectively. Columbia's monos  have been largely ignored, especially Ormandy's legacy with the Philadelphia Orchestra. The 1956 Dvořák is a much finer recording than his later stereo version with the London Symphony on Columbia, with detail abounding amongst the serenity of the Largo and the fire of the Scherzo. The Miaskovsky symphony is given a typically careful reading, in fine 1946 mono. Certainly worth preserving, and worthy of repeated listening.