Klassic Haus Conversations

“A Festival of Lesson and Carols as sung in King’s College Chapel upon Christmas Eve 1958” has become a best seller on Klassic Haus Restorations. In fact, it sold more copies after the Christmas season than before! This recording is considered by many to be superior to later versions recorded by King’s. Here is an impression from one customer who purchased the CD, this one from the UK:

“The CD was safely received today. This is I believe the best version that they ever recorded. I bought my recording on vinyl in 1969 (Argo Records ) and I still have it in very good condition. However it is getting more difficult to find any decent equipment to play it on – hence the CD. Have you thought of offering Kings College copies of it to sell in their shop in the Chapel ?? They sell later versions. I do not know about copyright but Decca who aquired Argo do not seem to be interested in re-releasing it on CD even if they still have the original master.” Richard N., UK

This recording was derived from a near-mint Argo LP, and preserves the unique timbre of King’s College Choir Cambridge, with the then-new choir director David Willcocks conducting. What makes this particular recording so special is listening to the various speakers reading the Lessons; the striking differences in the accents of the speakers themselves adds to the quality of the production. I enjoyed restoring this disc, and I hope it continues to bring enjoyment to all who obtain it.

I have many new CDs that have been released on Klassic Haus Restorations; I will post the new titles later today. Thanks to all who have visited this blog in 2010, and have gone to the website from here to check out the CDs. I am trying to post at least 10 new CDs a month. I am beginning an English Cathedral Choir series, of which “Evensong for Ash Wednesday”, sung by the Choir of King’s College, Cambridge, with David Willcocks leading, will be released this weekend on Klassic Haus.

Keep checking back, for there is much in store at Klassic Haus Restorations! Thanks for your support. Cheers!  Curt Timmons

Welcome to 2011 (a bit early, I admit!) Here are 6 new titles I have posted on Klassic Haus Restorations, under the Orchestra Page 2 tab. I will have other genres to post during January 2011; I just ended up with orchestral titles dominating my restorations at the end of December, two of them (the Ristenpart-led discs) being customer requests.

The Karl Ristenpart recording of the Brandenburg Concerti (KHCD-2011-003-2CD, in stereo) is a revelation, especially in light of the more staid, proper early-music performances of late. The Chamber Orchestra of The Saar is joined by a stellar roster of soloists, including Jean-Pierre Rampal, Pierre Pierlot, and Robert Veyron-Lacroix, along with solo members of the orchestra. Ristenpart’s Haydn (KHCD-2011-004) is always enjoyable; his sense of pulse infusing each piece, the joy of music radiating from the speakers! Alexander Schneider’s Handel Concerti Grossi Op. 6 (KHCD-2011-002-3CD, a restoration I promised to complete back in late November), is another must-listen. The hand-picked ensemble is miked closely, so you can hear page turns, conductorial intakes-of-breath indicating entrances, and placing of bows upon strings before up-and down-strokes; very intimate and engaging. In spite of the Dynaflex discs (RCA’s  contribution to the degradation of the LP media), the  resulting transfer sounds wonderful. The Dorati-led Haydn opera overtures, sinfonias and ballet music (KHCD-2011-005) are the perfect solution for a relaxing bit of music listening. The Vaughan Williams disc (KHCD-2011-006) preserves  transcriptions I performed in 1978 of  two 78 sets to reel-to-reel tape. Both the “London Symphony” and the Vaughan Williams-conducted Symphony No. 4 have been released previously elsewhere; these remasterings, first performed in 2002 and later in 2010 with updated sound restoration programs, meet or exceed the earlier releases in terms of  suppressed surface noise and overall natural sound. Finally, Max Rudolf conducts the Cincinnati Symphony (KHCD-2011-001) in stylish performances of Haydn’s Symphony No. 57, No. 86 and No. 102, recorded by Decca (US) in the early and mid-1960s in Cincinnati’s glorious Music Hall.

I am planning a sereies of choral releases, feature English cathedral choirs recorded by Argo in the early 1960s, later in January, along with some other rare LPs. Please keep checking, and I appreciate your continued support and comments. Cheers! – Curt Timmons

  These CDs are the last of the 2010-series for Klassic Haus, and have been posted on the Klassic Haus website. Fans of Karl Ristenpart will delight in the discs of Schubert’s 1st and 2nd Symphonies (KHCD-2010-054), and Vivaldi’s 8 Concerti for Diverse Instruments (KHCD-2010-055); both of these CDs were requested by two devotees of Ristenpart’s recorded legacy. What a joy it was to bring these recordings back to life! The George Malcolm disc of Bach’s 2- and 3-Part inventions (KHCD-2010-053) was a Nonesuch LP that I played many a time during my keyboard studies at the University of Cincinnati Conservatory of Music. Hearing this disc again after 36 years brought back many memories! The Alexander Young recital of Britten’s Holy Sonnets of John Donne and Sonnets of Michelangelo (KHCD-2010-051) brought back memories of my voice studies at U Cincy (I was initially a voice major, before switching to conducting). My vocal coach had me listen to Alexander Young’s voice performing in many genres, primarily oratorio performance, but this was a special disc that opened my ears to Britten’s genius. This CD was produced by special request from a Westminster/Argo disc I found through Irvington Music, based in Oregon; They have an enormous collection of LPs and tapes, and it is a wonder to behold their collection online. I visit it almost every day.

Thanks for visiting, and I look forward to your comments in 2011 – Cheers! – Curt Timmons

I had posted these two titles on Klassic Haus Restorations last week, but hadn’t mentioned them here yet, so I am correcting that oversight. These two discs contain some rare delights.

The Scholars are one of Europe’s premier chamber vocal ensembles. The vocal ensemble formed in 1970 orginally of students at King’s College, Cambridge. The Scholars are  lively and diverse personalities with fresh voices honed in the incomparable, centuries-old English choral tradition. They are dedicated to taking first-class a cappella music to the widest possible audiences around the world. I have previous restored their first album, KHCD-2010-034 (STEREO) – English Choral Music in the Time of Henry VIII,  The Reformation,  and The Elizabethan Age, recorded in December, 1971. This Georgian Glees album (KHCD-2010-049) is derived from a Decca/L’Oiseux-Lyre LP published in 1979, and is authorized for reissue by The Scholars. Performed with panache and a remarkable sense of style, it is a great one-of-a-kind recording of seldom heard, very English chamber vocal music.

Two musical giants, Richter and Mravinsky, collaborate in what many think is the best recording ever of Tchaikovsky’s 1st concerto for piano (KHCD-2010-050). Recorded in 1958 by Melodiya, it transcribes a formidable interpretation, with the Leningrad Philharmonic providing rock-solid support. The rarely-played-and-recorded Rubinstein 4th Piano Concerto features the forceful personality and legendary keyboard skills of Oscar Levant, with Dimitri Mitropoulos leading the New York Philharmonic in sympathetic accompaniment, from a Columbia recording made in 1952.

 I have just posted this CD on Klassic Haus Restorations. Derived from two Westminster mono LPs, these are classic performances of sensitivity and command of the early Romantic idiom, and especially of Schubert’s unique “voice”. The following are notes posted with the disc on my website. Cheers – Curt

In 1823, Schubert suffered a serious illness which hospitalized him for a time, and which continued to plague him for the remaining six years of his tragically short life. This illness also influenced his general attitude toward life, and was in such a state of mind when he began work on his d minor String Quartet; it was not completed until two years later. The Quintet was a written on commission from Sylvester Paumgartner, music lover and amateur ‘cellist, who was specific regarding the commission itself; the piece must include the tune “Die Forelle”, written by Schubert two years before, as the basis for a variations movement, and the instrumentation must follow the model of a recently published quintet by Hummel. Both of these works receive committed performances, derived from two LPs, the Quartet as Vol. 7 in the complete Schubert Chamber Music on a blue label XWN-series Westminster disc, and the Quintet on an earlier  red label WL-series Westminster disc. All were well-recorded in wide-range mono and restorations resulted in a very enjoyable transfer

I ask all who purchase Klassic Haus Restorations CDs to review the discs, so I may get an impression of their listening experience of the recordings I have restored. Recently, two of my customers/e-mail acquaintances had purchased the Karl Ristenpart-led performances of Beethoven’s ‘Eroica” symphony (with Mozart’s K136 & 137 Divertimenti) on KHCD-2010-041, and Haydn’s “Morning”, “Noon”, and “Night symphonies on KHCD-2010-032. They graciously have allowed me to post their comments:

First, from Louis, in France:

“As promised, here are a few impressions after several listenings to both the CDs you sent me.

 First of all, the sound is very clear. No click, pop, hiss, hum or un-needed reverberation. Of course, Ristenpart benefited of some of the best sound engineers of the time. André Charlin , to name but him, engineered quite a few of his recordings. Then, the sound is very dynamic. The dynamic range is wide, nothing muffled here.Every instrument is well placed and can be heard clearly. Obviously, the digital transfer has been made very carefully and respectfully.

 Then for the music. Haydn’s symphonies (Morning, Noon, and Evening) are delightful pieces of music. They are played with both grace and strength. Ristenpart loved Haydn’s music, and this is audible in these renditions. Beethoven’s Eroica is something completely different. This is the first time I hear Ristenpart conducting a symphonic orchestra. Yet the subtlety is here, as with his Saar chamber orchestra. Beethoven’s driving force is here too. This record makes me regret even more that Ristenpart never had the opportunity to record his favorite composer, Mahler. Now, I would like to hear his Schubert’s symphonies. Hopefully, this wish might come true some day not too far away. Thanks again for those very welcome additions to my collection.”

Next, from Walter, in Pennsylvania:

“Ristenpart arrived Tuesday and I listened last evening.  It is excellent! A nice transfer. This is a vigorous account of the EROICA, lean but not dry, with a nice warm sound in the slow movement.  I never heard it before but I had his Beethoven 7th.  That’s a fine performance but this EROICA is at a higher level.  And Ristenpart in Mozart is something you can never get enough of. KR never feels rushed or nervous.  In all his musicmaking, he gives the impression hat he understands the importance of pulse in the music. Too many current practitioners in the music of Mozart and Haydn – well, other composers too – seem to think that tempo equals pulse, when we well know this not to be true. K.136 is so well-known, yet with Ristenpart it sounds so fresh.”

Thanks to both of these gentlemen for their postive comments. It is very gratifying to me to hear good reports on the work I have done in restoring these great performances, and reissuing them to be enjoyed once again.

I have several new CDs I will be releasing in the next week; keep in touch and check out my website for the most recent offerings. Cheers! – Curt

I have just posted this unique performance on Klassic Haus Restorations. This is not subtle Shostakovich, especially witnessed in this blistering account laid down by Melodiya in brash, muscular stereo, with a soundstage unique to the producer/engineer (Aleksander Grosman). Yevgeny Svetlanov-led recordings with the rough-and-ready USSR Symphony  always had an “in-your-face” quality that only the Russians could produce, and this set followed in that tradition. What a performance! No heart-on-sleeve, lingering on details, this; rather, Svetlanov soars through each movement, yet without a feeling of rushing. Appropriately brash, lryical, and ultimately triumphant, this is quite a recorded experience, and one of the classics from the Melodiya/Angel-EMI collaborations of the late 1960s. Cheers! – Curt

I have posted three new CDs on the Klassic Haus Restorations website, all recordings that I very much enjoyed restoring. The Rudolf/Cincinnati Symphony Beethoven “Eroica” is one of my favorite recordings of that revolutionary work; the recording is one of US Decca’s best in the Israel Horowitz-produced Cincinnati Symphony series, and the performance is incisive and well-paced. The Brahms “Tragic” Overture with the Pittsburgh Symphony led by William Steinberg comes from a Command reel tape that included the Third Symphony (issued on a separate CD: KHCD-2010-022).The Schütz “Musikalische Exequien” performance with the Westphalian Choir, soloists and instrumentalists led by Wilhelm Ehmann was originally on a Vanguard Everyman disc, itself a reissue made in 1967 of an early 60s Bach Guild recording. The extended solo and choral “obsequies” are sympathetically performed, with a select group of original Baroque instruments based on performance suggestions by Schütz, and scholarly research on performance practices of the time of  Schütz.  The Shapirra-conducted Bruckner Symphony in f minor was a rare EMI-Electrola disc, the first commercial recording of that work, along with the still seldom-recorded Overture in g minor. The recording was produced by Davis Mottley, and engineered by Robert Gooch (no recording venue mentioned; most probably one of the several church sanctuaries used by EMI as recording halls in the 70s). Check them out; each will have an MP3 sample. Cheers – Curt

 This recording of RK’s “Scheherazade” was an earlier restoration that I had bumped back releasing to accomodate customer requests for other titles. I am trying to get all the of 2010-series Klassic Haus CDs posted on my website before the end of the year. I have yet to do cover art for the remaining CDs, and some other projects have been pre-empting my efforts. I have 10 to go, and I may not get around finishing the Handel Concerti Grossi Op. 6 set with Alexander Schneider conducting as I promised for November. I may try for a December release. In the meantime, please check out this new release – here is an MP3 sample: KHCD-2010-043 sample  (low quality – there is a better quality sample on my website). Description of the disc contents, as found on klassichaus.us, follows below. Cheers! – Curt

KHCD-2010-043 (STEREO) – Rimsky-Korsakov: Scherherazade – Vienna State Opera Orchestra/Mario Rossi – Khatchaturian: Dance of the Shields and Adagio of Spartacus and Phrygia from “Spartacus” Ballet Suite – Monte Carlo Opera Orchestra/Edouard van Remoortel – Vanguard Records issued the “Scheherazade” recording as “Vanguard Stereophonic Demonstration Disc” in late 1959. Half of the LP back cover was devoted to how stereo discs were produced, type of playback equipment required, balance and phasing, and placement of loudspeakers. The recording itself is middle-distance perspective, with subtle highlighting of solo instruments (typical of some early stereo recordings). The CD was produced using a near-mint Stereolab black-label LP. The Khatchaturian recording, derived from a Philips Universo blue-label disc, was a filler for Herbert Kegel’s recording of Shostakovich’s “Execution of Stepan Rasin”. The Monte Carlo orchestra plays with appropriate brashness in the Dance of the Shields, and lyric passion in the Adagio.

I have just posted this new CD on Klassic Haus Restorations. I had actually done basic restoration work on the LP last year, but upon adding Adobe Audition as my primary noise reduction tool, I worked on the sound files once again, and was able to clean the audio up a bit more. I think it turned out very well. Check out the sample file: KHCD-2010-042-sample1 The description below is the same as found on my website. Cheers! – Curt

PS: The Fidelio Overture on the cover art and tray insert is listed as Op. 72b; it is actually Op. 72c – I have corrected the front cover and the tray info.

KHCD-2010-042 (STEREO) – Beethoven: Symphony No. 8 in F, Op. 93 – Leonore Overture No. 1, Op. 138 – Calm Sea and Prosperous Voyage, Op. 112 (with the Vienna Radio Chorus) – Fidelio Overture, Op. 72c – The Maelzel Canon for Vocal Quartet – Vienna New Symphony/Max Goberman – Max Goberman (1911 – 31 December 1962) studied conducting with Fritz Reiner.  He conducted ballets, Broadway musicals (including the original productions of Leonard Bernstein’s On the Town and West Side Story), and the classical repertoire. He was working on the first recording of the complete symphonies of Joseph Haydn, as well as the music of Vivaldi,  but died before these projects were completed. These Beethoven recordings are derived from a Library of Recorded Masterpieces LP (Goberman’s subscription series), made in the last three months of 1962 by the same production team that recorded in Vienna for Vanguard Records. Masterful performances of the 8th Symphony, Leonore Overture No. 1 and Fidelio Overture, with the addition of a rousing rendition of the cantata “Calm Sea and Prosperous Voyage” (the Vienna Radio Chorus is miked a bit forward, but balances overall are fine). The Maelzel Canon was originally an improvisation based on the ticking theme of the Allegretto of the 8th Symphony, and performed at an informal dinner with Beethoven’s friends, Johann Maelzel among them. Quite an enjoyable program, from a gifted conductor who died much too soon