Bert Whyte and Everest
Jerry
quite impressed with the sound quality. These are no longer
available (the Vanguard Classics website indicates that they
declined to acquire rights from Omega Record Group), and
one wonders about the fate and safety of the original master tapes.
In any event, I wonder if readers who (like me) lived through those
heady days of early stereo could contribute some insight into
the origins, history, and demise of the Everest label.
I seem to recall that the first issues in the 3000 series (was there
an SDBR 3000 or did it start with SDBR 3001) were excellent,
but that, as time went on and the HQ moved (or was sold) to
the west coast, the pressings deteriorated and the catalog was
diluted with in-licensed material.
Might anyone actually possess an Everest catalog (if there ever
was such a thing) to know where the original Everest originals
stopped and the in-licensed material started.
david gideon
Jerry <GPGe...@aol.com> wrote:
> In any event, I wonder if readers who (like me) lived through those
> heady days of early stereo could contribute some insight into
> the origins, history, and demise of the Everest label.
Everest began as a division of Belock Instruments, driven by Mr Belock
himself, who wanted to get involved in the record business. He went top
quality, with Bert Whyte and Tutti Camarata playing prominent roles. I
THINK the releases started with SDBR 3001.
At first the idea was to record off-beat items not widely available, so
you got Ginastera, Antill, Anthiel, etc. After the first batch of
releases, they began using 35mm magnetic film rather than tape. Around
this time, they began recording standard repertoire items as well:
Scheherazade, Beethoven symphonies, etc.
Neither the classical nor the popular lines were profitable for Belock,
and after a few years the company had to stop the bleeding. (This was
marked by a "blind item" in a newspaper column about a "small but well
known" record label that was about to go out of business.) The Everest
label was sold to a west coast entrepeneur named Bernard Solomon.
(Somewhere along the line Solomon also acquired the Concert-Disc label
from the Fine Arts Quartet.) If I recall correctly, some or all of the
35mm recording equipment was acquired by Command, but I'd have to look
that up to be sure.
Solomon kept the Everest titles in print, but the label was downgraded
to budget status. He also bought the rights to recordings from many
other labels: Decca, Concert Hall, Esoteric, Oceanic, Club Francaise,
etc, and brought them out under the Everest banner. The canonical
Everest recordings stopped and the licensed material began with a batch
of about six releases by Heinrich Hollreiser, Hans Hagen, Paul Sacher,
etc that marked the first of the faux-Everest LPs. The Hollreiser (a
Brahms Symphony 1) was Everest 3101; it's probable that was the first
of the non-originals. A few Everest originals did appear after that,
including at least one that had not been approved by the artist and had
never appeared on the original Everest line (Stoky's Prokofieff Ugly
Duckling and Debussy Children's Corner).
The Belock Everests were pressed by American Decca (silver label) and
then by Everest themselves (plum label). The first pressings of the
Solomon budget Everest's weren't horrible (they had a black label), but
as label designs changed the pressings degraded. When new LP masters
had to be made, Solomon did not go back to the original tapes or films,
but rather to 1/4-inch half-track safety dubs. Sonics and quality
control continued to deteriorate; more distortion, limiting, reversed
channels, etc. It was these compromised sources that were made
available to Bescol and Price-Less when these budget labels brought out
some CDs with Everest material years ago. Obviously, the quality of
these releases was inferior to the Vanguard versions.
There are still some classical Everests that have not been given
official CD releases. These include the Theodore Bloomfield LPs of
Sibelius, Ravel, and Debussy, and two Beethoven Overtures conducted by
Josef Krips (recorded at the Everest studios in Bayside, Long Island,
with a pickup orchestra, as fillers for the Beethoven Symphonies). The
Bloomfield sessions were close-miked and had very little warmth; the
studio-bound overtures sounded even dryer. These could probably be
improved considerably with a bit of judicious enhancement via modern
DSP simulation techniques, but Vanguard decided against it.
dg
--
CD issues of long-unavailable classic performances from Scherchen, Stokowski,
Paray, Steinberg, and more, exclusively from: http://www.rediscovery.us
Free downloads and podcast: http://www.rediscoverypodcast.us
Jerry
the history of Everest. It offers far more detail than I ever expected
to
uncover and confirms some of my recollections. Certainly, the Bescol
CD
re-issue of the Krips Beethoven cycle was a travesty. I threw it away
years ago
and replaced it with the 'Vanguard/Everest' CD set.
Missing from the Vanguard/Everest CD re-issue series (in addition to
those you mentioned) is SDBR 3024 (Villa-Lobos conducting Villa-Lobos
and Bach).
Am surprised that Vanguard/Everest didn't include that one in their
nearly-complete
re-issue program, unless it was intended to be EVC-9021, a number that
I've
never been able to identify.
Your revelation (to me) that Krips' two Beethoven Overtures were done
with a
contracted orchestra could explain why Vanguard didn't include them on
the
CD set when they could easily have been included.
Regards,
Jerry
tomdeacon
I own a complete set of the original LPs produced by Everest. These are
identified by David Gideon by their particular label identification.
I also own a complete set of the CDs produced under the Everest label
by the former owners of the Vanguard label, most, if not all, of which
were produced from the original masters, sometimes even the 35 mm
masters.
Everest had sound quality similar to that of MLP, but unfortunately
they did not have the same artistic quality, Stokowski excepted, of
course.
Certainly they all figure importantly in the history of stereophonic
sound in the late 1950s and early 1960s. But mostly for their sound
quality and not for their musical value.
TD
alanwa...@aol.com
I don't have knowledge about Everest but I remember Camarata. I have a
treasured LP (Decca) of orchestrations of Erik Satie called "The Velvet
Gentleman" (arranged Camarata) on which there is much wonderful playing
by the orchestra. I assume this is the same chap. I keep hoping but,
so far as I know, it has never been issued on CD.
I would be interested in knowing more about Mr Camarata if anyone has
information.
Kind regards,
Alan M. Watkins
Jerry
With access to the Everest LPs and CDs, is it possible
to determine identity of these two?
LP - SDBR - 3048
CD - EVC 9021
kerrison1...@yahoo.co.uk
and the Wolf with someone called Captain Kangaroo narrating, and the
inner sleeve is a full colour ad for other Everest LPs, though not SDBR
3068 unfortunately. Among those shown however are Goossens and the LSO
(a) in a coupling of Rachmaninov's Symphonic Dances and Respighi's
Roman Festivals; (b) in Berlioz's Fantastic Symphony; and (c) in
Stravinsky's Petrushka; Leopold Ludwig and the LSO in Ein Heldenleben;
Sir Adrian Boult and the LPO in (a) Mahler's 1st Symphony and (b)
Vaughan Williams's 9th Symphony; Aaron Copland and the LSO in Billy the
Kid and Statements for Orchestra; Sir Malcolm Sargent and the LSO in
Tchaikovsky's 5th Symphony; Leopold Stokowski and the Houston Symphony
in Brahms's 3rd Symphony and with the New York Stadium Symphony in
Shostakovich's 5th. This inner sleeve is dated 1959 and if memory
serves all of these were Bert Whyte recordings and sounded stunning in
their day. If anyone can add to this list of the original Everest
recordings, and make it complete, it would make fascinating reading.
Did every single item come out on CD ... ?
Paul Goldstein
kerrison1...@yahoo.co.uk says...
Beethoven Symphonies Nos. 4 & 7/London SO/Josef Krips Everest 9102
Falla Three Cornered Hat (London SO/Enrique Jorda); w/Bartok Dance Suite (London
PO/Janos Ferenscik) Everest 9000
Grofe Grand Canyon Suite, Piano Concerto/Jesus Maria Sanroma/Rochester PO/Ferde
Grofe (w/Gershwin Rhapsody in Blue/Sanroma/Pittsburgh SO/William Steinberg)
Everest 9038
Khachaturian Gayne Ballet Suite/London SO/Anatole Fistoulari Everest 9020
Respighi The Pines of Rome, The Fountains of Rome, Roman Festivals/London SO/Sir
Malcolm Sargent (PR, FR)/Sir Eugene Goossens Everest 9018
Shostakovich Symphony No. 6/London PO/Sir Adrian Boult (w/Symphony No. 9/London
SO/Sir Malcolm Sargent) Everest 9005
R. Strauss Don Juan, Till Eulenspiegel, Salome Dance of the Seven Veils
(w/Canning Fantasy on a Hymn Tune*)/Stadium SO of New York/*Houston SO/Leopold
Stokowski Everest 9004
Stravinsky Petrouchka (Original Version), Symphony in Three Movements/London
SO/Sir Eugene Goossens Everest 9042
London SO/Sir Eugene Goossens Villa-Lobos The Little Train of the Caipira,
Antill Corroboree, Ginastera Suites from Panambi and Estancia Everest 9007
All of these are superbly recorded. The one I play the most is the last, but
all are enjoyable without quite being world-beaters musically.
--
NewsGuy.Com 30Gb $9.95 Carry Forward and On Demand Bandwidth
Mark Melson
wonderful TV show for small children in the U.S. in th 1950s and 60s,
I believe on CBS. Any recording of "Peter and the Wolf" issued in the
U.S. during that time would have had terrific sales potential. I
remember him as a gentle man with an impish xense of humor.
Mark Melson
Bob Harper
> FYI, Captain Kangaroo was a character played by Bob Keeshan who had a
> wonderful TV show for small children in the U.S. in th 1950s and 60s,
> I believe on CBS. Any recording of "Peter and the Wolf" issued in the
> U.S. during that time would have had terrific sales potential. I
> remember him as a gentle man with an impish xense of humor.
>
> Mark Melson
>
sank. So soon forgotten? I hadn't noticed that he's from the UK, which
would explain it. Your description of the late Bob Keeshan is exactly right.
Bob Harper
tomdeacon
Unless a particular CD has gone missing - highly possible in my library
- I cannot locate the CD number you mention. What is the repertoire?
That might help.
I do note the existence of EVC 9020 - Khachaturian Gayne Ballet - and
EVC 9022 - Mahler # 1 with Boult. Perhaps 9021 was not issued.
Ditto for the LPs, which are not grouped together, but either with the
artist or composer. Repertoire and artist are necessary in order for me
to proceed.
TD
tomdeacon
Ditto.
Very hard to read "someone called Captain Kangaroo" and not feel
terribly ancient. Of course I am, but I didn't think others were too.
TD
William Sommerwerck
> terribly ancient. Of course I am, but I didn't think others were too.
Nobody has mentioned he played Clarabelle on "Howdy Doody". Now, that's old.
Matthew B. Tepper
letters to be typed in news:IdidnbPDnZ7...@comcast.com:
> Mark Melson wrote:
>> FYI, Captain Kangaroo was a character played by Bob Keeshan who had a
>> wonderful TV show for small children in the U.S. in th 1950s and 60s,
>> I believe on CBS. Any recording of "Peter and the Wolf" issued in the
>> U.S. during that time would have had terrific sales potential. I
>> remember him as a gentle man with an impish xense of humor.
>
> Thanks. When the OP said 'someone called Captain Kangaroo' my heart sank.
> So soon forgotten? I hadn't noticed that he's from the UK, which would
> explain it. Your description of the late Bob Keeshan is exactly right.
Indeed. Keeshan was also the original Clarabell the Clown on another
iconic 1950s children's television show, "Howdy Doody." However, despite
the urban legend, he did serve in the U.S. Marines, but was not part of the
Normandy invasion.
One further reason "Captain Kangaroo" is worthy of note here is that it was
the host show for the cartoon "Tom Terrific," in an episode of which the
villain Crabby Appleton once copyrighted the alphabet, a fictional event I
often cite to pour scorn on those who would stretch copyright law beyond
the bounds of anything logical.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
I ask you to judge me by the enemies I have made. ~ FDR (attrib.)
david gideon
<jmmelso...@sbcglobal.net> wrote:
> Any recording of "Peter and the Wolf" issued in the
> U.S. during that time would have had terrific sales potential.
The original LP was unusual in that one side had the work with
Keeshan's narration; on the flip side was the work with no narration
whatsoever. The idea was that the listener could do a sort of karaoke
and provide home grown narration.
In fact this was a hastily decided-upon arrangement, made necessary by
the fact that Stokowski withheld release approval for the music that
was supposed to fill out the second side: Prokofieff's Ugly Duckling
and excerpts from Debussy's Children Corner (which would eventually
appear later--still without approval--when Bernard Solomon coupled them
with Stoky's Cinderella).
Jerry
by artist or composer. I have no idea of content of either.
The CD EVC 9021 stands out because it is a missing number
in the 'catalog' insert included with most of the Everest/Vanguard
CDs. I suspect that it was never used, since the numbering
seems unbroken before and after 9021.
P.S. Not only do I recall that Bob Keeshan started out
as Clarabelle, but I will now confess for all the world to
see that that I once sat in the Peanut Gallery. Tickets
were provided by Colgate (the sponsor at the time) and
took place on one of the floors in Rockefeller Center
(conceivably not that far from 8H). Of course, that
was long before Everest.
Sacqueboutier
I have several of these releases on CD and more on open reel.
I agree with Tom here. Although the conducting is quite good in most of
these releases, much of the orchestral playing is quite poor.
Surprisingly, the
worst is the London Symphony. I can only guess that they were sight-reading
their way through these recordings (for economic reasons, I'm sure). They
sound like rank amateurs under Goosens. Much better of course are the
NY Stadium sym (the NYP) and the Houston Symphony under Stoky. The
Shostakovich 5th in this series is one of the great recordings of the
piece. Same
goes for the Tchaikovsky disc of Francesca and Hamlet.
--
Best wishes,
Sacqueboutier
Sacqueboutier
> FYI, Captain Kangaroo was a character played by Bob Keeshan who had a
> wonderful TV show for small children in the U.S. in th 1950s and 60s,
> I believe on CBS. Any recording of "Peter and the Wolf" issued in the
> U.S. during that time would have had terrific sales potential. I
> remember him as a gentle man with an impish xense of humor.
>
> Mark Melson
...and a former US Marine during WWII (though I believe it is an urban
myth that
he was awarded the Congressional Medal of Honor for heroism during the battle
for Iwo Jima).
--
Best wishes,
Sacqueboutier
Sacqueboutier
<gizzle...@comcast.net> said:
I've never heard this. True? I think Willard Scott played Clarabelle.
--
Best wishes,
Sacqueboutier
Sacqueboutier
> Bob Harper <bob.h...@comcast.net> appears to have caused the following
> letters to be typed in news:IdidnbPDnZ7...@comcast.com:
>> Mark Melson wrote:
>>> FYI, Captain Kangaroo was a character played by Bob Keeshan who had a
>>> wonderful TV show for small children in the U.S. in th 1950s and 60s,
>>> I believe on CBS. Any recording of "Peter and the Wolf" issued in the
>>> U.S. during that time would have had terrific sales potential. I
>>> remember him as a gentle man with an impish xense of humor.
>>
>> Thanks. When the OP said 'someone called Captain Kangaroo' my heart sank.
>> So soon forgotten? I hadn't noticed that he's from the UK, which would
>> explain it. Your description of the late Bob Keeshan is exactly right.
>
> Indeed. Keeshan was also the original Clarabell the Clown on another
> iconic 1950s children's television show, "Howdy Doody." However,
> despite the urban legend, he did serve in the U.S. Marines, but was not
> part of the Normandy invasion.
>
> One further reason "Captain Kangaroo" is worthy of note here is that it
> was the host show for the cartoon "Tom Terrific," in an episode of
> which the villain Crabby Appleton once copyrighted the alphabet, a
> fictional event I often cite to pour scorn on those who would stretch
> copyright law beyond the bounds of anything logical.
I should have read your post before posting earlier. I heard the urban
legend as Iwo Jima.
--
Best wishes,
Sacqueboutier
ansermetniac
Willard Scott was the first Ronald McDonald
Abbedd
Any man who afflicts the human race with ideas must be prepared to see them misunderstood.
- HL Mencken
Matthew B. Tepper
following letters to be typed in
That is indeed an urban legend. Although he enlisted a couple of weeks
before his 18th birthday, it was still too late for him to see action in
either the European or Pacific theaters.
Brendan R. Wehrung
I'd think you would have been a Mr. Dressup fan. My niece used to come
from New York and that was the first thing she wanted to do, was watch him.
Brendan
Brendan R. Wehrung
Kawabonga!
Brendan
kerrison1...@yahoo.co.uk
immaculate on many of these releases (Stokowski's "Till Eulenspiegel",
despite being played by the NYPO under its summer season name, falls
apart at one point and has a glaring wrong entry on the clarinets in
another) but for the most part these Everest performances make up in
panache, verve and excitement what they lack in technical finesse. I
still have a soft spot for Sargent's Prokofiev 5 and Boult's
Shostakovich 6, while Goossen's "Scheherazade" is as exciting as any,
and superbly recorded with both richness and clarity. The Everest CD of
"Scheherazade" incidentally (EVC9047) has as its coupling a series of
encores (Flight of the Bumble-Bee, Sabre Dance, etc.) brilliantly
played by the NY Stadium Orchestra under Raymond Paige. That's another
name unfamiliar to me but he certainly obtained terrific results on
this disc.
Sacqueboutier
Thank you. I confused the two. As I came upon this planet only in
1960, I missed the
Howdy Doody Era.
--
Best wishes,
Sacqueboutier
Sacqueboutier
I just listened to the Estancia Suite. the sound is excellent. The
orchestra...strings,
winds, and brass...sounds like a community group. No uniformity in
ensemble. No
uniformity in attack. No sense of balance. Poor tone quality from all
sections. (The
excellent recorded sound emphasizes this.) As a final death throe, the trumpet
completely peters out in the final movement. He just didn't have the
chops to play
the piece! Was this Phillip Jones?
--
Best wishes,
Sacqueboutier
kerrison1...@yahoo.co.uk
Dances' ... an exciting and highly persuasive performance, superbly
phrased, tempos just right, with a genuine feeling for the music, well
balanced and recorded. I know that Ormandy and the Philadelphia have
more polish and brilliance but I'm happy to have both versions. Some
years ago The Gramophone recommended as its top choice an LSO CD of
'Scheherazade' as being finer than Beecham and all the others. To me it
sounded like the whole thing was played through on auto-pilot so I
never returned to it. There's such a thing as over-rehearsing to the
point where there law of diminishing returns sets in and the players
get bored with having to repeat the same passages over and over again.
I don't get that feeling with the best of the Everests in my collection
('Estancia' not being one I'm familiar with!).
Matthew B. Tepper
typed in news:8ag6429vc3gitsrt8...@4ax.com:
> On Sun, 16 Apr 2006 21:23:43 GMT, "Matthew B. Tepper"
> <oy兀earthlink.net> wrote:
>
>> One further reason "Captain Kangaroo" is worthy of note here is that it
>> was the host show for the cartoon "Tom Terrific," in an episode of which
>> the villain Crabby Appleton once copyrighted the alphabet, a fictional
>> event I often cite to pour scorn on those who would stretch copyright
>> law beyond the bounds of anything logical.
>
> "Rotten to the core."
And possibly the writers' nasty reference to Sen. Joseph R. McCarthy, who
came from Appleton, Wisconsin.
> No doubt today's entrepreneurs learned on Crabby's knee and have taken
> him at his word. The problem is that those who run the patent office
> don't get the joke.
I'm more inclined to blame:
1) the legislators who have been bought in order to have the copyright
laws extended to ridiculous limits; this would include my own Congressman,
Howard Berman (a fully owned division of the Walt Disney Corporation); and
2) the alleged "trade industries" such as the RIAA, which *used* to do
worthwhile things such as establish standard equalization curves, but which
now use the standard Mafia tactics of intimidation to achieve their goals.
Journalists (if there are any of you out there who are still independent)
please copy, and write for more info.
Matthew B. Tepper
following letters to be typed in
> I just listened to the Estancia Suite. the sound is excellent. The
> orchestra...strings, winds, and brass...sounds like a community group.
> No uniformity in ensemble. No uniformity in attack. No sense of
> balance. Poor tone quality from all sections. (The excellent recorded
> sound emphasizes this.) As a final death throe, the trumpet completely
> peters out in the final movement. He just didn't have the chops to play
> the piece! Was this Phillip Jones?
I thought that was Philip Smith.
ansermetniac
<oy兀earthlink.net> wrote:
>Sacqueboutier <nos...@nocomspamcast.net> appears to have caused the
>following letters to be typed in
>news:2006041707502675249-nospam@nocomspamcastnet:
>
>> I just listened to the Estancia Suite. the sound is excellent. The
>> orchestra...strings, winds, and brass...sounds like a community group.
>> No uniformity in ensemble. No uniformity in attack. No sense of
>> balance. Poor tone quality from all sections. (The excellent recorded
>> sound emphasizes this.) As a final death throe, the trumpet completely
>> peters out in the final movement. He just didn't have the chops to play
>> the piece! Was this Phillip Jones?
>
>I thought that was Philip Smith.
Philp Smith = NY
Philip Jones = London
Matthew B. Tepper
following letters to be typed in
> On Mon, 17 Apr 2006 14:39:26 GMT, "Matthew B. Tepper"
><oy兀earthlink.net> wrote:
>
>>Sacqueboutier <nos...@nocomspamcast.net> appears to have caused the
>>following letters to be typed in
>>news:2006041707502675249-nospam@nocomspamcastnet:
>>
>>> I just listened to the Estancia Suite. the sound is excellent. The
>>> orchestra...strings, winds, and brass...sounds like a community group.
>>> No uniformity in ensemble. No uniformity in attack. No sense of
>>> balance. Poor tone quality from all sections. (The excellent
>>> recorded sound emphasizes this.) As a final death throe, the trumpet
>>> completely peters out in the final movement. He just didn't have the
>>> chops to play the piece! Was this Phillip Jones?
>>
>>I thought that was Philip Smith.
>
> Philp Smith = NY
> Philip Jones = London
Thanks. I wonder if Messrs. Smith and Jones have aliases?
ansermetniac
<oyþ@earthlink.net> wrote:
>ansermetniac <anserm...@hotmail.com> appears to have caused the
>following letters to be typed in
>news:cua742l4dt4jbfgah...@4ax.com:
>
>> On Mon, 17 Apr 2006 14:39:26 GMT, "Matthew B. Tepper"
>><oyþ@earthlink.net> wrote:
>>
>>>Sacqueboutier <nos...@nocomspamcast.net> appears to have caused the
>>>following letters to be typed in
>>>news:2006041707502675249-nospam@nocomspamcastnet:
>>>
>>>> I just listened to the Estancia Suite. the sound is excellent. The
>>>> orchestra...strings, winds, and brass...sounds like a community group.
>>>> No uniformity in ensemble. No uniformity in attack. No sense of
>>>> balance. Poor tone quality from all sections. (The excellent
>>>> recorded sound emphasizes this.) As a final death throe, the trumpet
>>>> completely peters out in the final movement. He just didn't have the
>>>> chops to play the piece! Was this Phillip Jones?
>>>
>>>I thought that was Philip Smith.
>>
>> Philp Smith = NY
>> Philip Jones = London
>
>Thanks. I wonder if Messrs. Smith and Jones have aliases?
Pete Duel and Ben Murphy
Sacqueboutier
> Sacqueboutier <nos...@nocomspamcast.net> appears to have caused the
> following letters to be typed in
> news:2006041707502675249-nospam@nocomspamcastnet:
>> I just listened to the Estancia Suite. the sound is excellent. The
>> orchestra...strings, winds, and brass...sounds like a community group.
>> No uniformity in ensemble. No uniformity in attack. No sense of
>> balance. Poor tone quality from all sections. (The excellent recorded
>> sound emphasizes this.) As a final death throe, the trumpet completely
>> peters out in the final movement. He just didn't have the chops to play
>> the piece! Was this Phillip Jones?
>
> I thought that was Philip Smith.
He's the present principal trumpet of the NYP. Phillips Jones played
in the LSO and founded
the ensemble bearing his name.
--
Best wishes,
Sacqueboutier
Sacqueboutier
> ansermetniac <anserm...@hotmail.com> appears to have caused the
> following letters to be typed in
> news:cua742l4dt4jbfgah...@4ax.com:
>> On Mon, 17 Apr 2006 14:39:26 GMT, "Matthew B. Tepper"
>> <oyþ@earthlink.net> wrote:
>>
>>> Sacqueboutier <nos...@nocomspamcast.net> appears to have caused the
>>> following letters to be typed in
>>> news:2006041707502675249-nospam@nocomspamcastnet:
>>>> I just listened to the Estancia Suite. the sound is excellent. The
>>>> orchestra...strings, winds, and brass...sounds like a community group.
>>>> No uniformity in ensemble. No uniformity in attack. No sense of
>>>> balance. Poor tone quality from all sections. (The excellent
>>>> recorded sound emphasizes this.) As a final death throe, the trumpet
>>>> completely peters out in the final movement. He just didn't have the
>>>> chops to play the piece! Was this Phillip Jones?
>>>
>>> I thought that was Philip Smith.
>>
>> Philp Smith = NY
>> Philip Jones = London
>
> Thanks. I wonder if Messrs. Smith and Jones have aliases?
You set him up for that one, didn't you?
[grin]
--
Best wishes,
Sacqueboutier
Sacqueboutier
What, no Roger Davis?
--
Best wishes,
Sacqueboutier
ansermetniac
Before Duel's suicide
Alan Cooper
>And I just listened to Goossens and the LSO in Rachmaninov's 'Symphonic
>Dances' ... an exciting and highly persuasive performance, superbly
>phrased, tempos just right, with a genuine feeling for the music, well
>balanced and recorded.
Did you listen to the LP or the CD? The former (my "imprint"
recording of the work) was originally issued in a two-record set
(SDBR-3004), c/w Respighi's Feste Romane. In the notes, the engineers
sing their own praises, and explain that it was necessary to spread
each work out over two record sides in order to avoid compression of
the wide dymanic range. They conclude: "...unfettered by the
technical restrictions, we believe we have produced a stereo disc
which for sheer quality of sound and the excitement of truly
uninhibited dynamics has no peer." Modest, eh? :-) It sounded
wonderful on my first stereo system, but after dozens of playings on
sub-par equipment, it sounded more like a bowl of Rice Krispies with
milk. I still enjoy Boult's performance, which allows the work to
breathe (unlike Ashkenazy's), but my favorite nowadays is Jansons.
AC
Matthew B. Tepper
Who, me?
Alan Cooper
"dymanic" for "dynamic' is one of my better typos, I think.
AC
kerrison1...@yahoo.co.uk
to the other work on it, 'The Rite of Spring', also Goossens / LSO.
This again is interesting because it's not treated as a
hell-for-leather orchestral showpiece but rather as ballet music, which
is of course what it started out as. How often it gets ballet
performances these days, as opposed to concert performances, is another
question, but with Goossens you get the feeling throughout that the
music is eminently danceable.