I am considering the following box since I can only find a track or two by Biggs on the following LP, which I have never listened to again in forty years ...
Looks like the only Kubelik Smetana Symphonic Poems CD I can find on Amazon is the following and it is not a DG recording ...
The rest of my Schnabel Beethoven Sonata LPs and a sample label. I have LM-2151 through LM-2158 except for LM-2154. All issued 1957.
I have a good number of Schnabel's CD's on Naxos Historical, which were all reconstructed/remastered by either Ward Marston or Mark Obert-Thorn from the original 78 RPM shellacs ...
And finally, this HMV concerto recording made 6/5,7/46, Abbey Road Studios. Producer: Walter Legge. Engineer: Robert Beckett. 1953 RCA matrix code.
Just out of curiosity, why does the record label say "Non-Breakable"? Vinyl is generally non-breakable anyway ...
I guess it was near enough to the beginnings of vinyl that they were still emphasizing its superiority to brittle shellac.
I still remember vividly how I shattered a few of my late father's 78 RPM shellacs as a five-year old without getting myself in trouble. At the time, it seemed fun to see the record break into umpteen pieces ...
Now on the turntable, works by Richard Strauss. This record is a compilation of previously released recordings by Columbia Masterworks. I like Richard Strauss and I like the variety on this album... so for me, it's all good. CBS Records, US press, 1984.
IIRC the Handel cycle with Boult are the very recordings for which the organ was modified to take it up to modern pitch.
Simon Preston and Ton Koopman both recorded these Handel Organ Works albeit at a much later time and I have those recordings ... I also have those works by Daniel Chorzempa on 4 PentaTone SACD's It is a given all of the above would sound better than the Biggs box. If I do get the Biggs' box, it would be strictly for historical reason.
The players on this excellent 1980 LP: Charles Treger (violin), Walter Trampler (viola), Leslie Parnas (cello) & Richard Goode (piano). Oddly, there are no credits for producer, engineer or venue, but the mastering engineer (Bill Kipper, Masterdisk Corp.) is listed.
Probably because it’s only appeared in a review in a German stereo magazine from 1966. The liner notes of the original Wenziner LP box also tell the story, but leave out the Biggs part.
