Classical Corner Classical Music Corner (thread #53)

I'm still experimenting, but in general, there seems to be more "air" and the higher passages seem both less distorted while being clearer. But it's subtle. If you're not actively paying attention it doesn't seem so big. I also haven't compared on headphones where other differences might be more audible. Also, if you like Wagner and appreciate the importance of recording history, the extras are just amazing. You get Culshaw's wonderful book on recording the Ring and you get all the libretti in German and English. You also get the full text accompaniments for the Cooke 2 CD set exploring the music from the Ring illustrated with passages from the opera. It's a great way to get deeper into the opera. And you get a DVD about Solti and the Ring.

I'm willing to bet that as we shift to the age of downloads and abandon CDs, sets like this (especially those which are numbered and limited) will acquire collector status in 15 to 20 years.

 

I had the same reaction to two landmark releases earlier this month in a different musical category - the MFSL SACDs of Frank Sinatra's Songs for Swingin' Lovers and A Swingin' Affair.

As to the mega-box - according to a review on Amazon, it is the 1997 mastering of the Ring.

 

https://www.artsjournal.com/slipped...i-classics-to-warner-does-not-run-smooth.html

Quote from the discussion at the above link.

Certainly the loss of the distinctive EMI logo is a retrograde step and may well confuse and alienate collectors who have faithfully followed the label down the last 115 years. It’s really the equivalent of marketing Aston Martin cars under the banner of Chevrolet. However, I can point out that the budget box series WILL have the Warner logo not the EMI one. It’s all such a pity.

The Aston Martin / Chevrolet analogy is right on the money. It is a pity that there will be no more EMI Classics.

When I was still working in music retail as a product manager and head shipper/receiver not 20 years ago there were still 6 major record companies in Canada that had offices in Calgary with branch managers, sales and promo reps, including A&M, BMG, EMI, MCA, Polygram and Sony. With Universal and Warner divvying up EMI, that leaves what, 3 majors in the music industry? Universal, Sony/BMG and Warner. And all the local offices closed shop years ago.

 

Was playing: Ottorino Respighi – Feste romane, Pini de Roma
Nikolai Rimsky-Korsakov – Le Coq d'or — Suite
— The Cleveland Orchestra — Lorin Maazel (Decca)



Particularly enjoyed some of the brass on Feste romane.

 

You know, maybe I'm just insensitive, but honestly I can't get all worked up over the loss of that EMI square thing. After all, it itself displaced the old, more colorful HMV (The Gramophone Company) and English Columbia marks of much greater heritage, among others, and this collector really has no sentimental attachment to it. As to Warner's competence, or lack thereof, as a classical marketer, I gather that some wags used to refer to "EMI" as meaning "Every Mistake Imaginable," so maybe it will actually be an improvement. If Warner keeps the catalogue in print and accessible with adequate documentation, as at least one post up the line suggested has happened in a case or so, I'm grateful and perfectly happy to let the Warner folks take credit for what is, after all, now their own property.

Sorry if I'm raining on the parade here....

 

My old records still say EMI on them, and have the HMV dog. Look!

<---

 

This is a beautiful record...all the way from the UK.

 

No matter. All records released by American labels were garbage in terms of press quality ...

 

I got the Rubinstein box for $112 from Amazon. It's pretty amazing. I have listened to the first 27 CDs.

 

I assume they'd have to pay to use Nipper & 'Columbia', but why not include EMI as well as Warner in the packaging? I also wonder if they'd have to pay to use 'Capitol' should they reissue some of those classical recordings.

 

I know this is a strongly held opinion of yours, but I have not found this blanket generalization to be true. I assume I'm a lot less demanding than you. Of course, I'm buying the records used & paying $1 or less per LP.

 

Well, because EMI doesn't own those recordings any more. As an independent record company, it doesn't exist. Sony did the same thing when it bought Columbia--formerly Columbia recordings were rebadged as Sony Classical, although the "Masterworks" sub-heading did persist on some special issues of the older material. This sort of thing happens all the time when there are mergers and acquisitions: Polydor, Telefunken, Archiv, Edison Bell "The Winner," Siemens Speziale, Meisterklasse, Brunswick, Westminster, Command--all long since subsumed into other companies and gone from the market as a regular matter.

 

Yes, the way Sony dropped 'Columbia' from their CD reissues seemed wrong to me. Obviously I don't understand the corporate mind. If they own the name as well as the recordings, why not use it along with Sony, Warner,or whatever?

 

Most corporations want their brand names to be ubiquitous and to wipe out thoughts of other brands. If the good feeling towards an older defunct brand is strong enough they will adopt it (e.g. Singer sewing machines have almost nothing to do with the original Singer except the name). But if they perceive the benefit to be small, they much prefer to upset old-timers than to lose the benefits of being **ALL POWERFUL**. In a way, this is further testimony to their feeling that classical music is an unimportant part of the market and that those who love its heritage are an even more insignificant segment except when it comes time to sell those big box sets.

 

Not really. It depends on multiple factors. LPs made in the USA 1950-1963 are often very good. Starting with RCA's 'Dynagroove' things started to go downhill. Come the oil embargo of the 70's and things really started to fall apart. But I have old 'Capitol' classics, 'Shaded Dogs' and a few 6-eye Columbias that sound great. Right now I'm getting better results off of my old Classical LPs than ever before. And even some of my 'Pressed in the USA' London 'STS' titles come up very well.

 

And let's not forget those amazing original Mercuries.

 

Those usually give me trouble. On the other hand, there's some Mercury issues of Dinah Washigton that blow me away. Probably has something to do with the 'Queen.' I also have a very good import re-press of Dorati's recording of Prokofiev's "Scythian Suite." Sounds like most of the Mercuries I encounter were played on vintage record-eating equipment. Somehow I encounter fewer problems with Shaded Dogs [mono's are still plentiful and usually are in better condition] and earlier Columbia issues.

 

I don't remember much about Mercury classical LPs, but back in my wholesale record days in the early seventies I had to eat a ton of Every Picture Tells A Story returns. Those pressings were crapola as were other contemporary Mercury rock issues of the day. Pissed me off.

 

Indeed, my tolerenace threshold for pops and clicks is very low. Only DG, Philips, London and German/British EMI records could meet my standard ...

 

I didn't start buying classical until the CD era; before that I just listened to Classical FM. The LP buying arose gradually as I started to
look through used records & realized a lot was available at low prices, including many recordings that I had not seen before. I didn't
expect the LPs to be really quiet & have discovered my tolerance is pretty high.

 

Most of my RCA and Columbia recordings are on CD since I did not buy many records on those labels ...

 

I have actually had better luck with Mercuries than RCAs, I am sure it's a lot of luck.

 

Here's a nice one I got recently for 10 cents: London CS 6208, released 1/62. Recorded in Victoria Hall, Geneva, Oct.-Nov. 1960.
Producer: James Walker. Engineer: Roy Wallace. Mastering: Stan Goodall. Sounds great.

 

Just found that DECCA is going to release a bunch of CD's "Most wanted recitals", with some very interesting titles, many of them never before released on CD. At the moment they are listed only at the Presto Classical site:

http://www.prestoclassical.co.uk/s/Most+Wanted+Recitals

 

I'll say—managed to snag three perfectly delightful sounding copies of my favorite—Iberia, Reiner Chicago Symphony Orchestra. Thirty years back it was near mint in shrink from a used LP store beneath Leopold's on Durant, Berkeley. Today's copies come from Rasputin's, Fresno, one mono, one stereo, decent if not perfect condition. And yes, if I get the coin I'd be interested in a more recent cutting of that disc. The Gold Seal CD is nothing to write home about.