Klassic Haus Conversations

I have finished and posted on Klassic Haus Restorations this CD transfer of the perennial choral favorite, John Stainer’s “The Crucifixion”, from the classic 1961 EMI/Angel recording, the first professional taping of the piece. This recording has been used as a teaching tool for decades; I first heard it in high school back in the 60s, and later used it myself in preparation for a performance in which I was singing. Herbert Bardgett chooses perfectly paced tempi, and his chorus, the Leeds Philharmonic Choir, is superbly disciplined and responds well to his direction. Alexander Young and Donald Bell are the soloists; both sing with conviction and sensitivity. I have included the short comments from the website below:

KHCD-2011-030 (STEREO) – John Stainer: The Crucifixion – Alexander Young, tenor; Donald Bell, bass; Eric Chadwick, organ: Leeds Philharmonic Choir/Herbert Bardgett, conductor – Stainer’s Crucifixion was for generations a staple piece for church choirs and amateur choral societies, especially during the Lenten season. This recording, made in 1961 by EMI, was the first professionally produced taping of this exemplar of  19th century English choral music. Alexander Young gives his solo work the usual exceptionally sweet-toned,  musically sensitive performance, and Donald Bell is perfectly cast as the voice of Jesus. The Leeds Philharmonic Choir provides well-disciplined support, producing a superb, balanced sound rivaling professional choirs. Herbert Bardgett conducts with sensitivity, eschewing overtly Romantic tempi and ritardandi in service to the message of the work. This transfer used a domestic blue-label, red leatherette spine Angel release; the recording was cut at a low level (as was the English EMI disc issued in Europe), so I raised the levels to a more realistic soundstage.

I was hoping to post this before Lent began, but got behind in production. Still, it is available once again, and hopefully will serve as a continued reference, both as a teaching tool and a source of inspiration and meditation.

Cheers – Curt Timmons

I have posted three more CDs on Klassic Haus Restorations, the fruit of my labors from the end of February. March is turning out to be a busy month for me, as well; I have more travel coming up, as well as continuing projects for Klassic Haus. I’m hoping things will settle down for a while after my travels, and I can get back up to speed, finishing up the 2nd Series 2011 CDs. I’m close to posting my 100th CD!

Here are short comments on the CDs posted:

 KHCD-2011-027-2CD (STEREO) – Joseph Haydn: The “Paris” Symphonies: No. 82 in C “L’Ours”; No. 83 in g minor “La Poule”; No. 84 in E-flat; No. 85 in B-flat “La Reine”; No. 86 in D; No. 87 in A – The Orchestra of Naples/Denis Vaughan – One of the most important foreign commissions Haydn received in the 1780s came from Paris. About 1784 Haydn was asked to write six symphonies for the concert de la Loge Olympique orchestra. The symphonies seem to have been performed in 1787, and were the smash hits of the Parisian concert season. Although not stated in the program notes, the performing editions used in these recordings include harpsichord. These transcriptions, from an RCA 3-LP set published in 1967, highlight the superbly disciplined Orchestra of Naples, founded and directed by Denis Vaughan, and recorded in the vibrant acoustics of the Palazzo Reale in Naples.

 KHCD-2011-028 (STEREO) – Brahms: Symphony No. 2 in D, Op. 73; Shostakovich: Symphony No. 1 in F, Op. 10 – Pittsburgh Symphony Orchestra/William Steinberg – Continuing the series of reissues of the legendary Command Classics recordings made by the Pittsburgh Symphony under William Steinberg, this transfer contains both the first recording made by Enoch Light’s team in Soldiers and Sailors Memorial Auditorium, and one of the last in the series. The Brahms was a sonic spectacular from its first release, and this transfer is made from a near mint gold label, heavy platter Command disc. The Shostakovich is a bit more distant in recorded perspective, much as the Beethoven symphonies in the Command series; the disc used has the vibrant sound,  low-end depth, and broad soundstage found in first pressings. Interpretations are thoughtful as always, with Steinberg’s signature fresh approach to standard classics.

KHCD-2011-029 (MONO) – Tchaikovsky: Suite No. 2 in C, Op. 53; Concerto in E-flat for Piano and Orchestra, Op. 75; Concert-Fantasia for Piano and Orchestra, Op. 56 – Noel Mewton-Wood, piano/Winterthur Symphony Orchestra/Walter Goehr – This disc is a companion to KHCD-2010-016 (Tchaikovsky Suites No. 1 & No. 3) with same forces, recorded by Concert Hall Society in the early 50s. The 2nd Suite is given a fleet and detailed reading; the single movement 3rd Piano Concerto is insightful and masterfully played by young keyboardist Newton-Wood, coupled with the seldom-heard Concert-Fantasia. Two discs were used for the transfer of the Suite No. 2 (one copy,  graciously provided by Steve Haller, had a first-issue dark reddish-brown label, red vinyl disc in restorable condition); the Concerto and Concert-Fantasia was transferred from a good-condition later edition disc. There is some slight congestion in louder passages, but does not detract from the overall soundscape which is quite good mono.  The result is a CD that sounds better than the vinyl copies, and preserves performances that deserve to be heard again

I enjoyed producing these three CDs; two of them (The Haydn set and the Steinberg Brahms/Shostakovich) because the copies I had were in such great shape;  the other CD because the Tchaikovsky recordings were a challenge, due to the source materials. The results are very enjoyable recordings sounding better than they ever did on vinyl.

Please check these CDs out on my website, as well as the other transfers – many treasures to serach through! Cheers – Curt Timmons

These CD is a transfer of a mono LP (Stravinsky’s “Rite of Spring”) and a selection of Russian concert favorites in stereo, both Capitol LPs I found during last year’s trip to Denver, CO (still working through that stack!) The following are the comments I posted on Klassic Haus Restorations:

KHCD-2011-026 (MONO/STEREO) – Stravinsky: The Rite of Spring (1953 mono); Moussorgsky: Night on Bare Mountain; Tchaikovsky: Marche Slav; Glinka: Kamarinskaya; Borodin: Dance of the Polovetsian Maidens (1958 stereo) – Pittsburgh Symphony Orchestra/William Steinberg – The Pittsburgh Symphony recorded for Capitol Records from 1952 to 1959 in the Syrian Mosque auditorium, a building once known for its superior acoustics (it was razed in the ’90s). This collection consisting of mono and stereo recordings capture the PSO with its music director William Steinberg in compelling traversals of Stravinsky’s “Rite” and a Russian concert program, derived from a green label/gold print Capitol mono and a side-logo rainbow circle stereo LP, both in very good condition.

Both the mono and stereo recordings on this Klassic Haus CD are prime examples of Capitol’s excellent classical recordings with the Pittsburgh Symphony. EMI issued CDs in the 90’s of some of the recordings made by Capitol between 1952 and 1959, but, as is the case with EMI from time immemorial, they were soon deleted from the catalogue. PLease check out my site and listen to the sample MP3; I think you may enjoy what you hear!

Thanks for checking in! – Curt Timmons

I’m back from travelling to Kansas City, KS, and have been tryng to get back “in the groove” with new releases. I am posting two more CD transfers, this one devoted to Karl Ristenpart’s second recording of Bach’s “Die Kunst der Fuge”  BWV 1080 (The Art of The Fugue). The following are the comments I posted on the Klassic Haus Restorations website with the CD:

KHCD-2011-025-2CD (STEREO) – J. S. Bach: Die Kunst der Fuge, BWV 1080 (The Art of The Fuge, orchestral realization by Marcel Bitsch and Claude Pascal) – Chamber Orchestra of The Saar/Karl Ristenpart – Karl Ristenpart recorded Die Kunst der Fuge with the Saar Chamber Orchestra twice, in stereo; the first on Octtober 29, 1963 for Erato which included Counterpoint 1 through7, and 12 through 16, arranged for chamber orchestra by Helmut Winschermann. The second recording, from which this transcription was derived, was recorded on June 16-19, 1966, by Club Français du Disque, and issued domestically on a Nonesuch 2-LP set. The orchestral realization was by Marcel Bitsch and Claude Pascal. Their version attempts not to “glorify” the work in an overblown 19th-century orchestration; rather, it renders the internal structure perceptible to the listener by choice of instruments. The result is clarity itself, and is beautifully played by members of the Chamber Orchestra of the Saar.

This transfer was a request from one of my many Klassic Haus followers (thanks to all of you!) I try to fulfill requests, finding the best sources available for the requested media, and carefully restore and transfer to CD. If anyone out there has a “wish list” of LPs or tapes they are trying to find, I am willing to search for them and transfer them to CD. Please contact me at info@klassichaus.us with any requests you may have.

Thanks for checking in! – Curt Timmons

February has been a busy travel month for me, so I haven’t posted as many new CDs on Klassic Haus Restorations as I have in past months. The ones I have managed to post, though are of great interest; the most recent being this recording with the great Karl Ristenpart conducting 2 Bach cantatas, one (BWV 56) receiving a second recording. Brief comments from the website follow:

KHCD-2011-024 (STEREO) – J. S. Bach: Cantata BWV 169 “Gott soll mein herze haben” – Eva Bornemann, contalto; Günter Karau, organ; Cantata BWV 56 “Ich will den Kreuzstab gernen tragen” – Jakob Stämpfli, bass; Erich Bolz, oboe; Chamber Orchestra of The Saar/Karl Ristenpart – Continuing with reissues of the recorded legacy of Karl Ristenpart,  this disc is a transcription of a 1965 traversal of two of Bach’s solo cantatas. No. 56 receives a second recording by Ristenpart (the first was an Archiv recording made in June, 1951 with Dietrich Fischer-Dieskau as soloist). Sensitive, intimate performances, well recorded by Club Français du Disque, and first issued on 2 Nonesuch LPs.

I am currently working on “Die Kunst der Fuge” BWV 1080 with Ristenpart conducting, and hope to have it posted by this weekend. More Ristenpart to come, as well as the Tchaikovsky Suite No. 2 with Walter Goehr conducting, some William Steinberg/Pittsburgh SO/Capitol recordings never reissued, and some exciting Dorati/Minneapolis on mono Mercurys. Please keep checking back! Cheers – Curt Timmons

I have just posted three new CDs on Klassic Haus Restorations. I had plenty of spare time to work on them this week – we were snowed in here in Broken Arrow, Oklahoma by the Blizzard of 2011. Quite a spectacle for South-Central folk; the snow hit late Monday night and stopped around 3 PM Tuesday. We received 14 inches.  I didn’t leave my house until Thursday afternoon, after my son and I spent the morning shovelling the driveway. Our residential streets are just now becoming passable; Downtown Tulsa is just now digging out.

Below are comments on the CDs:

KHCD-2011-021 (STEREO) – Dvorák: Serenade in E for Strings, Op. 22 – Czech Chamber Orchestra/Joseph Vlach; Serenade in d minor for Winds, ‘cello, and Bass – Prague Chamber Harmony/Martin Turnovský – Nearly all of Dvorák’ artistic traits are evident in these wonderful Serenades. The features that he took from the Czech folk song and which gave his music its decided Slavonic flavor are mixed within each movement. And, as a melodist, Dvorák is unsurpassed. Both of these Serenades are played with the special stylistic flair and timbre that only Czech ensembles can produce. Transcribed from a domestic Crossroads LP, licensed to Epic/Columbia by Supraphon.

KHCD-2011-022 (STEREO) – Bach for Band – Toccata and Fugue in d minor; Wachet Auf; Three-Part Invention in D; Minuet in G; Badinerie; Fugue from Toccata in e minor; “Little” Fugue in g minor; Air on the G String; Chorales Nos. 5 & 8 from Cantata No. 80; Bist Du Bei Mir; Sinfonia to Cantata No. 29 – London Symphonic Band/Gerallt Leslie Williams – Bach transmogrified, in this instance by Gerallt Leslie Williams, with his highly skilled arrangements, and forty professional players making up the London Symphonic Band,  gathered to put them into splendid effect. Transcribed from a mint Columbia LP recorded in 1971, this is indeed a “splendid noise”, with bombast as well as subtlety abounding.

KHCD-2011-023-2CD (STEREO) – J. S. Bach: Brandenburg Concerti BWV 1046-1051 – Collegium Aureum – Third in the continuing series of Bach Brandenburg Concerti releases by Klassic Haus. This performance is by Collegium Aureum, the early-music ensemble formed by the recording company Harmonia Mundi, and was released in 1965 on an RCA Victrola 2-LP set. Soloists include Gustav Leonhardt on harpsichord and Edward H. Tarr on clarin trumpet. Sonics on the discs were a bit bright, so I have tamed the high end a bit to render a more realistic soundstage. Recorded in one of the many Schlosses used as venues by Collegium Aureum, if you listen very carefully at the end of some of the movements’ reverb tails, it’s possible to hear bird chirping! Not in any way distracting, it actually brings the recording into a more personal state, rendering it more “live”, as it were. Very enjoyable performances, not at all ascetic as some other early-music groups.

February is going to be a busy travel month for me, so I may not be posting new titles until near the end of the month. Please keep in touch! – Cheers – Curt Timmons

I have just finished posting Vols. 1-5 of  the English Cathedral Choir Series on Klassic Haus Restorations that I worked on this month. These CDs are transcriptions of LPs from the extraordinary series the Argo label published in the early to mid-60s, featuring English cathedral and chapel choirs performing mostly English repertoire. These 5 CDs cover 4 cathedral choirs and 1 chapel choir, and have many rarely-heard pieces by lesser-known composers, as well as more familiar works. Comments posted on the website follow:

KHCD-2011-014 (STEREO) – English Cathedral Choir Series, Vol. 1: Evensong for Ash Wednesday – Choir of King’s College, Cambridge/David Willcocks – First in a series of 5 CDs devoted to the English Cathedral Choir, this recording, derived from an Argo LP from 1964, is a setting of  the Ash Wednesday Service as observed by King’s College, Cambridge. Works by Allegri, Byrd, Farrant, and Purcell, as well as lesser-know composers Joseph Pring, Matthew Camidge, and Thomas Causton are featured, with readings by the Chaplain, Dean and Director of Music of King’s College. The unmistakable sound of King’s College Choir, led by David Willcocks, provides the perfect setting for a time of solemn contemplation during the season of Lent, or any other occasional where peace and reflection may be enhanced by music.

KHCD-2011-017 (STEREO) – English Cathedral Choir Series, Vol. 2 – Hymns for All Seasons – Choir of St. John’s College, Cambridge/George Guest – Continuing the English Cathedral Choir Series on Klassic Haus is this collections of hymns representing seasons of the Church year. The album, from an Argo LP recorded in 1964, is lead by George Guest who was organist and choirmaster at St. John’s College in Cambridge UK from 1951 to 1991, who transformed the choir into one of the most renowned English choirs, recording more than 60 albums and touring the world. The vocal sound of St. John’s has been described as more “cosmopolitan” than the Choir of King’s College, Cambridge. Certainly possessing a unique quality unrivaled by others, this selection of hymns is a delight, and useful as a reference as well as inspirational source.

KHCD-2011-018 (STEREO) – English Cathedral Choir Series, Vol. 3 – English Cathedral Music 1770-1860: Thomas Attwood Walmisley: Magnificat and Nunc Dimittis in d minor; John Nares: The souls of the righteous; John Goss: If we believe that Jesus died; Samuel Wesley: In exitu Israel; Samuel Sebastian Wesley: The Wilderness; Thou wilt keep him in perfect peace; Blessed be the God and Father – Choir of St. John’s College, Cambridge/George Guest – Church music in England at the beginning of the 19th century had sunk to an appalling state, causing Samuel Sebastian Wesley (represented on this disc with 3 pieces) to publish a pamphlet titled a few words on Cathedral Music and the Musical System of the Church, and a plan of reform. The decline of standards of performance were decried, the tearing down and defacing of organs was found abhorrent, and the terrible physical state of church music books bemoaned. Given such an unsympathetic climate, it is surprising that any church music of value was produced during this period, yet the eight pieces on this disc, derived from an Argo LP of 1964, prove that by no means everything was of mediocre quality. Sung with commitment and particular grace and style, the Choir of St. John’s College Cambridge bring these minor masterpieces back to life.

KHCD-2011-019 (STEREO) – English Cathedral Choir Series, Vol. 4 – Sing Joyfully: A recital of anthems from Tallis to Britten – The Choir of St. Michael’s College, Tenbury/Lucian Nethsingha – The Chapel of St. Michael’s College, Tenbury, is set amongst the orchards of Worcestershire, and it is in this peaceful place that the Choir of St. Michael’s College call home. This choir, made up of choristers studying at the college as well as non-choristers, has a lighter sound than the other choirs represented in this series, and the music presented in this recital fits their unique timbre perfectly. Transcribed from an Argo LP of 1965.

KHCD-2011-020 (STEREO) – English Cathedral Choir Series, Vol. 5 – 150 Years of English Church Music: Works by Battishill, Blow, Boyce, Croft, Greene, Purcell, and Wise – Salisbury Cathedral Choir/Christopher Dearnley – Salisbury Cathedral is one of the finest Gothic buildings in Europe, and it within this superb acoustical setting that the Salisbury Cathedral Choir presents this collection of works by English composers spanning 150 years. The Choir is  lead by Christopher Dearnley , who was Assistant Organist, Salisbury Cathedral 1954-57, Music Master, Cathedral School 1954-57, and Organist and Master of the Choristers 1957-67. Taken from an Argo LP of 1961, this recital includes works of great beauty by minor composers as well as the genius of Henry Purcell.

 I will be on the road with business trips at the beginning of February. Mid-February I will working on more Karl Ristenpart LPs, including his recordings of Bach Cantatas No. 56 & 169, and the second recording he made of the Art of The Fugue, both with the Chamber Orchestra of The Saar. I also will begin work on Denis Vaughan’s  1967 RCA recordings of Schubert symphonies and Haydn’s “Paris” symphonies, both sets featuring the Orchestra of Naples. Keep checking back! – Cheers – Curt Timmons

This new CD on Klassic Haus Restorations can be found under the Concerti tab. Following are comments on the disc:

KHCD-2011-015 (STEREO) – Telemann: Concerto in D for 3 Trumpets, Timpani, 2 Oboes, Strings and Continuo; Concerto in D for Trumpet, 2 Oboes, Strings, and Continuo; Ouverture in C for 3 Oboes, Strings and Continuo; Vivaldi: Concerto in a minor for Piccolo RV 445; Concerto in C for Piccolo RV 444 – Saar Chamber Orchestra/Karl Ristenpart – Telemann wrote innumerable concerti and orchestral suites. This particular collection, from a mid-60s Nonesuch LP features two “entertainment” concerti and a musically graceful, highly individual Ouverture. Karl Ristenpart conducts the Saar Chamber Orchestra with an acute sense of form and style, with Maurice  André, Michel Lagorce and Jacques Mas on trumpets; Helmut Winschermann, Erich Bolz and Ludwig Trenz on oboes. The Vivaldi Piccolo concerti are from another Nonesuch LP, with Roger Bourdin as piccolo soloist.

I am constantly searching for clean LP copies of Karl Ristenpart’s recordings. I am especially interested in his Bach Cantata recordings released in stereo on Nonesuch. Please keep in touch, and let me know if you come across ant of these discs; I would be interested in obtaining them. Cheers – Curt Timmons

These CDs had been released on Klassic Haus Restorations several week ago, but I am just now getting around to post comments. The Vaughan Williams CD, with Eugene Goossens conducting the Cincinnati Symphony in “A London Symphony” from a 1941 RCA 78 set I originally transcribed in 1978, has garnered praise from one customer:

“The two discs arrived Tuesday. Many thanks. I have only had a chance to listen to the two Vaughan Williams symphonies but you have a real winner here.  Your issue of the Goossens performance of no. 2 is vastly superior to the Beulah disc; I listened to both.  You present greater detail, and a clarity of sound that the other release can only guess at! The power of this interpretation really comes across here. For the composer’s own rendition of no. 4, I have this on three other CDs, including an expensive Pearl set, but your issue holds it own with any and in the case of that Pearl issue, is greatly superior.  I have said this before but in your reissues the mid-range comes out so very well. Many thanks.” Walter W., PA 

Here are the comments I posted on the Klassic Haus site regarding the CDs above:

KHCD-2011-006 (MONO) – Vaughan Williams: A London Symphony (Symphony No. 2, 1920 revision) – Cincinnati Symphony/Eugene Goossens; Symphony No. 4 in f minor – BBC Symphony/Ralph Vaughan Williams –  Two classic 78 sets, that I transcribed directly from the discs to reel tape in1978. With updated restoration programs, I have cleaned up my earlier side-join and declicking work done in 2002, and feel confident in releasing these recordings on the Klassic Haus label. The “London Symphony” recording preserves the only recording of the 1920 revision, with Eugene Goossens leading the Cincinnati Symphony in a 1941 RCA recording that is fleet as well as appropriately atmospheric. Vaughan Williams’ visceral Fourth Symphony, recorded by EMI in 1937,  is given a galvanizing reading, with the BBC Symphony playing on the edge of their seats, the composer at the helm. I have added some “air” around the proceedings, to open up the somewhat dry, studio-bound soundstage; otherwise, no reverb or other artificial additions have been made.

KHCD-2011-007 – Vivaldi: Gloria RV 589; Pergolesi: Magnificat -Elizabeth Vaughan/Janet Baker/Ian Partridge/Christopher Keyte/King’s College Choir/Academy of St. Martin-in-the-Fields/David Willcocks – This transcription is from the 1964 Argo recording, the performances using music editions published by Walton Music. Unmistakable in timbre, precise in execution, sensitive in performance practice, these recordings preserve the unique sound of the King’s College choir and the superb cathedral acoustics. The LP used for this transcription was never opened before I set stylus-to-vinyl, so little in the way of restoring was needed. A superb addition to a Baroque choral collection!

KHCD-2011-008-2CD – Vivaldi: “L’Estro Armonico” – 12 Concerti Op. 3 – I Musici – Vivaldi’s collection “Harmonic Invention” was unique in its diversity of instrumental form and sonority, revealing him asa great craftsman and a tireless experimenter. This 2 CD set is derived from a clean 2 LP Philips set recorded in 1963, and displays I Musici’s extraordinary virtuosic talents.

KHCD-2011-009-2CD – J. S. Bach: Brandenburg Concerti BWV 1046-1051 – The Ars Rediviva Ensemble/Milan Munclinger – Another “Brandenburg” set, second a series of  planned releases in 2011 of different recordings of these timeless concerti. This recording, from a Crossroads/Supraphon 2 LP set of 1965, features the Ars Rediviva Ensemble of Prague. The Ensemble was originally formed in 1951 by Milan Munclinger (a flutist and conducting student of  the great Vaclav Talich) during a revival of Baroque music in Czechoslovakia. The performances display well-chosen tempi, and discreetly miked balances with occasional subtle highlighting of solos. The LPs were in good condition and required little in cleanup; a slight damping of treble was required to eliminate some harshness in several of the concerti. The result is a very satisfying collection, with admirable performances and a fine recording from the well-respected Supraphon label in a licensing collaboration with Epic/Columbia.

Please check out these unique performances. I am always looking out for great recordings from the Golden Age of the LP, and I hope to continue making them available. I have five more CDs that I am releasing this weekend; check back here for updates! Cheers – Curt Timmons