George Szell "Warner" Recordings

[drh8h]

Well, look what's coming:

https://www.jpc.de/jpcng/classic/detail/-/art/szell-the-warner-recordings-1934-1970/hnum/9788450

DH

[Mark Obert-Thorn]

It's interesting that they didn't go back further into his EMI catalog and include the Odeons and Parlophones he made in the 1920s (including some late acoustics, like a Brahms 2nd). But those are pretty hard to find, and they _have_ included here some 78 singles that haven't been available on reissues before.

Mark O-T

[Jerry]

On Thursday, April 9, 2020 at 8:54:21 AM UTC-4, drh8h wrote:

I believe that the real question that needs to be answered here regards the
sources and re-mastering for the EMI Cleveland sessions.

In the February 2015 issue of Stereophile (a copy of which I have but
for which I have no ready means to post here), issues are raised for
previous CD re-issues on two fronts: (1) the speed adjustment
to A ~ 446 vs. the orchestra's claimed A=440 and (2) the speculation
that original tapes were produced on a specific type recorder that
simultaneously recorded two independent "versions" (one straight set and
one set modified to reduce tape hiss on quieter passages).

It would be interesting to know if Warner's new effort includes any
specific details on the re-mastering process for this issue. Barring
that, one can hope that an independent expert on this forum would
address Stereophile's claims and speculation and how this new issue
compares to rpevious incarnations of the EMI Cleveland sessions.

Jerry

[drh8h]

Yes, they are conspicuously not saying it is complete for that reason. Among the missing is a Mozart Wind Serenade he never re-recorded, the first recording of Haydn's 88, Sorcerer's Apprentice and versions of the Beethoven 4 and Mozart 39. I read he once deputized someone to try to find the Symphony 39 recording, but the man came up empty handed. Plus there are some early electrical Odeon/Parlophones almost as rare at the acousticals. It's always the same two or three that show up on eBay and auctions. And not to forget accompaniments to various singers of the period, probably most famously the sole electrical by one of my favorites, Jacques Urlus, and piano performances with Bohnen.

DH