Klassic Haus Conversations

CMAS-003 (STEREO) – Schütz: The Christmas Oratorio (1664) – Edith Mathis, Angel; Georg Jelden, Evangelist; Claus Ocker, Herod; Windsbach Boys’ Choir/Hans Thamm – Renaissance Choral Christmas Music: Selections by Desprez, Gallus (Handl), Andrea & Giovanni Gabrieli, Schütz, Walter, Gesius, Praetorius, Vulpius, and Scheidt – The Christmas Oratorio of Heinrich Schütz was composed in 1664, when he was nearing 80 years old, and gradual deafness was driving him towards reclusion and spiritual introspection. It constitutes a perfect example of  his mature genius, with its quasi-plainsong recitatives and its Baroque concerted numbers. It is performed with original instruments, and sung with perfection by the Windsbach Boys’ Choir, and a trio of wonderful soloists, derived from an red leatherette-spine album, blue-label domestic Angel LP. The balance of the disc features three European choral groups performing familiar and not so familiar  Renaissance choral works, taken from an early pressing Nonesuch LP from 1966.

This was a “labor of love” disc; the Schütz had some unique tracking problems (skips, the bane of LPs and collectors) that I couldn’t solve when I first started working on it last year. I couldn’t release it for Christmas last year, and had to set it aside for other projects. I came back to it in early June this year, and with some judicious tracking adjustments with my Ortofon Super 10 cartridge along the way, I was able to record without skipping. The results may be heard on the CMAS-003-sample. I hope you enjoy it. The disc may be found at Klassic Haus Restorations, under the Choral/Vocal tab.

Keep checking back; many more titles in the works for July 2011! – Cheers – Curt Timmons

KHCD-2011-055 (STEREO) – Musiques
Royales a Notre Dame – Brass and Organ works by Mouret, De Lalande, and Lully – Maurice André, trumpet; Pierre Cochereau, organ; Brand and Wind Ensemble conducted by Armand Birbaum – 17th and 18th Century French Organ Masterworks: Music of  Piroye,  Marchand, F. Couperin, De Grigny & Clérambault – Pierre Froidebise plays the Great Organ of the Church Saint-Laurent d’Alkmaar – The glorious majesty and pomp of combined brass and organ is irresistible in sonic appeal, as the first half of this reissue reveals. Recorded in the sublime spaciousness of Notre Dame Cathedral, Paris, and first issued domestically on Turnabout, this recording features Maurice Andre on 1st trumpet, and also the unique brass timbre that only French players can reproduce. The second half of the disc, from a Nonesuch LP,  offers rare 17th and 18th century French organ masterpieces, played with suitable verve and sensitivity by organist Pierre Froidebise, performing on the Great Organ of the Church Saint-Laurent d’Alkmaar.

Many more reissued recordings will be featured during the month of July, so please check out Klassic Haus Restorations. I also accept requests; often times I can find a rare, favorite recording and reissue it upon request. I have several customer requests in the works for this month, and will be featured in a posting later.  Just ask, and I may be able to track it down!

Cheers – Curt Timmons

KHCD-ST004 (STEREO) –
Gould: World War I – Soundtrack to the 1964 CBS Documentary – Orchestra and
Band conducted by Morton Gould – One feature that placed “World War One” far and above other TV documentaries of the time (1964) was the soundtrack composed by Morton Gould. Each episode opens with the introduction which was equal in dramatic quality to the “Song of the High Seas” from “Victory At Sea” composed by Richard Rodgers (see KHCD-ST003, the 1954 first recording of the “Victory at Sea” score). The rest of the music for the series is dramatic, poignant, and simple. RCA records released a soundtrack album soon after the series was run on its classical LSC-series Red Seal label, and also briefly reissued in the 70s on the budget ANL-series label. This transcription offers this wonderful score again to collectors of soundtracks, and also to those who admire Morton Gould’s compositions.

This reissue, along with a growing collection of reissued Soundtracks, may be found at Klassic Haus Restorations.

Cheers – Curt Timmons

Two new Cincinnati Symphony reissues can be found on Klassic Haus Restorations; Bruckner’s 7th symphony and Tchaikovsky’s 6th symphony, both conducted by Max Rudolf. Rudolf’s Decca (US) recordings were often overshadowed by the big-name orchestras during the 60s, but the recordings and the interpretations transcribed were always at least quite good, and in some instances, as in the recordings featured here, outstanding. Max Rudolf’s reading of Bruckner’s most popular symphony is no nonsense, thoughtful, and solidly played by the Cincinnati Symphony (one of my favorite American orchestras). The Tchaikovsky taping is my favorite recording of his 6th symphony; again, no lingering or swooning, instead playing what is on the page. The third movement (Allegro molto vivace) is worthy of a demo on any modern audio rig; terrific wide-spread soundstage, with bass drum thwacks that will get you to sit up! The Cincinnati Music Hall acoustics, second to none, are captured in all its’ glory in both recordings.

The Wagner “Ring” selections played by the Pittsburgh Symphony with William Steinberg conducting come from a Command reel tape, and are companions to the CSO Tchaikovsky recording. Enoch Light’s production crew produced some spectacular recordings with the PSO during the early 60s, and this taping from 1962 is demo-class.  All of these recordings deserve to be reissued, and I hope you will check them out on my site. Cheers – Curt Timmons

I have doing a rebuild on the Klassic Haus Restorations website, trying to make it more user-friendly, so I have been out od the loop for May. I promise to do more updates, and perhaps add more interesting info to the blog other than blatant advertising! I do want others to add comments to what I am posting, and engage in conversation regarding classic LPs and the people who performed on them, as well as those responsible for producing them.

This entry features two classic Mercury mono recordings from 1953 and 1954, both considered to be audiophile demonstration-class discs during the 50s and well into the 60s. The LPs I had for transcription were mid-50s pressings, as they retain the wide-range open soundstage not found on later remasterings. Both discs had the original parchment inner sleeves found in vintage Mercury LP covers. I cleaned them using the Spin-Clean record cleaning system (as I do all my LPs). The results are breathtaking, and I think the CD preserves the sound quite well.

Here are the comments I posted on Klassic Haus:

 KHCD-2011-045 (MONO) – Respighi: Roman Festivals (1926); Church Windows (1926) – 1954 mono; Debussy: Three Nocturnes – 1953 mono – Minneapolis Symphony Orchestra/Antal Dorati – The recordings on this disc were the ultimate audiophile demo LPs in the early 50s, and for some time after that. The Mercury/Minneapolis Symphony series of recordings with Antal Dorati conducting were groundbreaking in many ways, and the vinyl discs are still coveted for their realistic, wide-range soundstage, not sounding “mono” at all! Two near-mint discs were used for this transfer, and this CD release preserves a sense of discovery in sheer music-making seldom found in present-day recordings.

I am adding more new titles as the month progresses, so please check in often! Cheers – Curt Timmons

This CD is the 100th release on Klassic Haus Restorations!

KHCD-2011-041 (STEREO) – Tchaikovsky: Symphony No. 5 in e minor, Op. 64 – Concertgebouw Orchestra of Amsterdam/Wolfgang Sawallisch; Rachmaninoff: Three Russian Folk Songs, Op. 41; Spring – Cantata, Op. 20 – John Shaw, bass-baritone; Cathedral Choir of St. Ambrose; New Philharmonia Orchestra/Igor Buketoff – 100th CD RELEASE – Tchaikovsky’s 5th Symphony is given a fresh, no nonsense and decisive reading by Wolfgang Sawallisch and the Amsterdam Concertgebouw Orchestra, from a promo white label domestic Philips release, mastered by Mercury in 1964 with an RFR matrix. The LP was a bit bass-shy (typical of domestically released Philips discs), so I have added some depth to the soundscape, revealing a satisfying, subtle bass response. The Rachmaninoff choral pieces, seldom recorded, were not released on CD when the companion 1812 Overture was reissued on a budget CD by BMG in the 1990s. Both the Three Russian Folks Songs and the expansive Spring cantata are given authoritative readings by Rachmaninoff expert Igor Buketoff and the New Philharmonia Orchestra, in a warm late 60s RCA recording engineered by Robert Auger.

I have other CDs I have not posted comments on, that have been released on Klassic Haus. I will rectify that in my next posts here; I will also be posting a new catalogue with all the titles currently available on the site up to April 2011. Please keep checking! – Cheers – Curt Timmons

There are few recordings available on CD of the work of conductor/composer Walter Goehr (1903-1960).  Although he worked primarly with 2nd or even 3rd-tier orchestras, he managed to raise their performance levels up several notches with his sympathetic approach to conducting. Most of his recordings were to found on budget subscription labels such as Concert Hall and Music Masterpieces Society (an offshoot of Concert Hall), and have not been reissued in any format. I have been trying to rectify that situation on Klassic Haus.  The recording featured here has the NDR (Hamburg) Chorus and Orchestra in performance of Haydn’s “Die Jahreszeiten” (The Seasons) with Teresa Stich-Randall, soprano, Helmut Kreschmar, tenor, and Erich Wenk, bass. The recording was originally released domestically on Nonesuch, licensed by Tono (Zürich), and is overall quite good, with decent balances between orchestra, chorus and soloists. Following are the comments posted on Klassic Haus Restorations:

KHCD-2011-035-2CD (STEREO) – Haydn: Die Jahreszeiten (The Seasons) – Teresa Stich-Randall, soprano; Helmut Kreschmar, tenor; Erich Wenk, bass; Symphony Orchestra and Chorus of the Norddeutsche Rundfunk, Hamburg/Walter Goehr –  The design of  “The Seasons” differs fundamentally from the structure of the Handelian oratorio, which is influenced by the spirit of musical drama. The “Seasons” is in the nature of a cantata cycle, and the illustrative element undoubtedly appealed to Haydn, who had attempted a similar task in 1761 when he wrote the symphonic triptych “Le Matin, “Le Midi” and “Le Soir” (Nos. 6, 7, and 8, see KHCD-2010-032). The “Seasons” has a distinct autobiographical ring; here speaks a man who was born in the country. lived most of his life in rural surroundings, and was deeply attached to nature. This 2-disc set, derived from a 3-LP set licensed to Nonesuch by Tono (Zürich), is an enthusiastic, well recorded sojourn through the German countryside. The NDR Chorus sings with lusty precision, and the soloists are at their lyrical best. Walter Goehr conducts with vigor and tenderness where required. A welcome reissue of Haydn’s pastoral picture book of Seasons.

I have more to come, fruit of the past two weeks of transcriptions – keep checking! Cheers – Curt TImmons

I have been a bit remiss recently with posting; I have been doing some transcription “catch-up” after all the travelling I did in March. I have 5 new releases, though, to show for my lack of communication. This disc is a reissue of the classic Edward Tarr LP, recorded by EMI in 1968, and released in the US on Nonesuch in 1969. It was a “must have ” disc for trumpet player for years; it featured some of the first recordings of actual original Baroque trumpets. Following are the comments I posted on Klassic Haus Restorations:

KHCD-2011-034 (STEREO) – The Art of The Baroque TrumpetWorks by Torelli, Franceschini, Charpentier, Altenburg, Fasch, Handel and anon. – Edward Tarr/Consortium Musicum/Fritz Lehann – No musical instrument has undergone more radical changes since the Baroque era than the trumpet. The valved instrument with which we are familiar has a total length somewhat over three feet. The Baroque instruments featured on this disc are valveless and have a total length of about seven feet. On a valveless brass instrument it is possible by lip tension alone to produce a series of tones in a fixed relationship to one another. Only in the fourth octave of this harmonic series do they lie in intervals of a second; and only in this highest register can diatonic melodies be produced on the Baroque trumpet. This transcription, from a Nonesuch LP released in 1969,  was one of the first to feature reconstructions of Baroque trumpets. The works of Franceschini, Charpentier, the anonymous German fanfares and the Altenburg chorale setting were recorded using long Baroque trumpets. The Italian sonatinas and the Altenburg concerto were recorded on “Jägertrompeten” (hunter’s trumpets in coiled form). The Torelli, Fasch, and Handel works were played on modern high valved trumpets. A listing of personnel in the recording is included on the back cover of the CD. An exhilarating collection, worthy of reissue.

More posts coming; some exciting reissues that I have much joy working on. Stay connected! – Cheers – Curt Timmons

I have just posted this transcription on Klassic Haus Restorations. The Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364, was written by Wolfgang Amadeus Mozart. At the time of its composition in 1779, Mozart was on a tour of Europe that included Mannheim and Paris. The composition’s complex orchestral dynamics reflects the increasing technical competence of the European orchestra of that era and was strongly influenced by Mozart’s visit to the Mannheim court orchestra during his European tour of 1777 to 1779. Mozart had been experimenting with the Sinfonia concertante genre and this work can be considered his most successful realization in this cross-over genre between Symphony and Concerto. The piece is scored in three movements for solo violin, solo viola, two oboes, two horns, and strings, the latter including two sections of violas. The solo viola part is written in D major instead of E flat major, and the instrument tuned a semitone sharper (scordatura technique), to give a more brilliant tone. This technique is uncommon when performed on the modern viola and is used mostly in performance on original instruments.

The Concertone (grand concerto) K. 190 for 2 violins, ‘cello and oboe was a product of the 17-year-old Mozart, adapting the aesthetics of the divertimento, was actually the first original and independent concerto of Mozart, written before the first genuine piano concerto (K. 175; the Köchel numbers are incorrect!). It is not performed as often as the Sinfonie Concertante, but deserves a better fate, for it is full of youthful charm.

Karl Ristenpart supports his soloists with the usual attention to detail and superb sense of line and pulse. This particular recording is an early Erato stereo transcription found on a Musical Heritage Society LP from 1966, so there is a bit more background hiss than the later Club Français du Disque recordings; but it still full-bodied and warm.

The Symphony in D is an arrangement of the “Posthorn” Serenade, and was possibly first heard in Vienna at one of Mozart’s “Akademien”. Günter Wand leads the Gürzenich Orchestra of Cologne in a stylish performance; this recording is from an unopened, late pressing Nonesuch disc.

I have just finished a transcription on “The Art of The Baroque Trumpet” with Edward Tarr, from another Nonesuch LP from 1969. I will post it later in the week.

Thanks for checking in! – Curt Timmons

Handel Organ Concerti Vol 1 with Rudolf Ewerhart and Collegium Aureum

 

Handel Organ Concerti Vol. 2 with Rudolf Ewerhart and Collegium Aureum

Even today listeners are captivated by the vitality, inspiration and dignity of the Organ Concerti of George Frideric Handel. Although Handel’s compositional style is rooted in the Central German cantoral practice of his homeland, his music is strongly influenced by the impressions gathered during his stay in Italy. The organ concerto form itself came into maturity when Handel began focusing on it in 1735. This came about when he inserted one of his organ concerti as entr’acte music during a performance of one of his oratorios. Its popularity prompted Handel to concentrate on the organ concerto as a viable composition form.

Rudolf Ewerhart performs on four different organs in this 2 volume, 4-CD release on Klassic Haus Restorations, transcribed from a Musical Heritage Society 4-LP set. I have kept the LP track sequence on these transcriptions, to facilitate the presentation of the four organs represented on the recording. I am offering each volume at a special price.

Following are the short comments found on my website:

KHCD-2011-031-2CD (STEREO) – Handel – Organ Concerti, Vol. 1: The Baroque Organ of the Parish Church in Körbecke (Concerti Nos. 4 in F, 10 in d minor & 16 in F) and the Gabler Organ of Weingarten Abbey (Concerti Nos. 5 in F, 6 in B-flat, 7 in B-flat, & 8 in A) – Rudolf Ewerhart, organist; Collegium Aureum/Reinhart Peters – These recordings made by Harmonia Mundi were guided by the idea of presenting Handel’s Concerti for Organ in performances on several instruments of varying sizes and types. Since Handel’s organ style shows elements of the South German – Italian manner as well as French techniques, the instruments chosen for this volume serve well the wealth of forms and variety of structure in Handel’s works on these discs.  Rudolf Ewerhart chooses tempi and registers appropriate for each movements of the concerti, as well as attention to the venues’ acoustics (all four churches recorded in this 2-volume set are very reverberant). The Collegium Aureum on original instruments play with verve and stylistic attention to detail. The source for this collection is a 4-LP Musical Heritage Society set in near-mint condition. A specially priced, 2-CD set.

KHCD-2011-032-2CD (STEREO) – Handel – Organ Concerti, Vol. 2: The “Trinity” Organ by Karl Joseph Riepp in Ottobeuren (Concerti Nos. 3 in g minor, 9 in B-flat, 11 in g minor, & 14 in A)and the Cabinet Organ of the Geertekerk in Utrecht (Concerti Nos. 1 in g minor, 2 in B-flat, 12 in F, 13 in B-flat, & 15 in d minor) – Rudolf Ewerhart, organist; Collegium Aureum/Reinhart Peters – Comments for Volume 1 apply as well for this set. Both volumes are specially priced, 2-CD sets.

I will begin work afresh in April on more Nonesuch recordings by Karl Ristenpart and the Saar Chamber Orchestra, some Command LPs with Pierre Dervaux and L’Orchestre de Concerts Colonne and L’Orchestra De La Societe Des Concerts Du Conservatoire with Andre Vandernoot, and Charles Munchconducting the Boston Symphony in a mono RCA collection of music by Wagner. Exciting stuff! – Cheers – Curt Timmons