Todas as edições de Don Juan, Op. 20 (Tone Poem After Lenau)

Richard Strauss - Boston Symphony Orchestra, Serge Koussevitzky

Don Juan, Op. 20 (Tone Poem After Lenau)

Richard Strauss - Boston Symphony Orchestra, Serge Koussevitzky

Don Juan, Op. 20 (Tone Poem After Lenau)

2x Vinil 7"Álbum de Estúdio

Data de Lançamento: 1950
Ano Original: 1950
País: Estados Unidos
Catálogo #: WDM 1289
Faixas: 4

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Don Juan, Op. 20 (Tone Poem After Lenau)

A
Part 1
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Créditos
Compositor
Richard Strauss
B
Part 2
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Créditos
Compositor
Richard Strauss
C
Part 3
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Créditos
Compositor
Richard Strauss
D
Concluded
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Créditos
Compositor
Richard Strauss

Preços e histórico

Detalhes da edição

Selo (2): RCA Red Seal
WDM 1289
RCA Red Seal
WDM-1289
Formato (1): 2x Vinil 7" 45 RPM, Mono, 7 polegadas · Red

Notas

Translucent Red Vinyl. Auto-coupled release ("drop-automatic"). Recorded October 29, 1947 at Symphony Hall, Boston. Released 4/49. 78 rpm: M-1289 (12-0790/1), DM-1289 (12-0792/3). 45 rpm: WDM-1289. LP: LM-1177 (Siegfried Idyll / Don Juan, Op. 20). 78 rpm matrix and take numbers: [side # matrix and take# side # matrix and take#] 1 D7-RC-7900-1 (1) 2 D7-RC-7901-1 (1) 3 D7-RC-7902-1A (1) 4 D7-RC-7903-1A(2) Notes on the recording of "Don Juan": These recordings illustrate the subject of Victor's "safety lacquers." In the pre-tape era, Victor's masters were two 78 rpm tablets, recorded simultaneously, that were manufactured into standard shellac surface 78s. In case one master was damaged in processing, they could make use of the other. After about 1940, as an additional precaution they recorded a third record containing the same music, the safety lacquer. This kind of record is also often referred to as an "acetate" or a "transcription." In the event of the loss of 78 rpm parts for a given side, the safety lacquer could be played in order to generate more 78 parts. This involved recutting and an inevitable loss of sound quality. For this reason Victor avoided recutting, but as time went by and they were able to do so with higher quality, they resorted to it more frequently. In the years before they began making safety lacquers, recutting had to be done from existing 78 rpm parts. However, lacquers were preferable for this purpose. Very excellent sound could be recorded on the outer grooves of these records. Because of their very quiet surfaces (at least when they were new), they could be recorded at lower levels than could 78s intended for commercial issuance. This enabled them to be reproduced in higher fidelity because phono pickups (cartridges) could track them with less distortion than they could the higher level 78s. In the 1940s Columbia did all of their master recording in the United States on these transcriptions, and recut from them in their studios to form their 78 rpm masters. In the early years of the LP era, they drew upon these acetates to make some very fine sounding reissues. There are some very fine sounding recordings made by Igor Stravinsky conducting the New York Philharmonic Orchestra in about 1940 that were recorded in this manner. Similarly, it is probable that Victor's very fine sounding LP editions of the Symphony Hall recordings from October 29, 1947 (Strauss: Don Juan, LM-1177; Ravel: Mother Goose, LM1012) were made not from 78 rpm parts, but from 16-inch lacquers. This cannot be proved, because the archival documents covering reissues do not usually designate whether the part dubbed was a 78 rpm metal one or a safety lacquer. The same matrix number was used to designate both. This was true not only of documents detailing reissues of78s on LP, but also of recut 78 rpm sides. Thus, it is not possible to determine whether the Strauss work on LM-1177 and the Ravel work on LM-1012 were taken from lacquers or from 78 parts. However, both of these recordings feature brilliant semi high fidelity sound. No other pre-magnetic tape recording that Koussevitzky made for Victor has sound quality this high. They are only marginally less impressive than Koussevitzky's 1949 and 1950 LPs made on tape. At the same time, the 78 rpm versions sound poor. Their low quality late postwar surfaces do not help matters, but the difference in quality is more fundamental than that. There was no magnetic tape in this country until the spring of 1948. These recordings, made over six months prior to that, could only have been made on 78s, and simultaneously on 16-inch acetates. The safety lacquers, with their potential for excellent sound, are the most probable source for these LPs. If the safety lacquers are still in existence in the BMG/RCA vaults, they have the potential of yielding higher fidelity sound than we have ever heard before from these records. This is possible because the 78 rpm metal parts, from which reissues are usually drawn, are the result of at least three stages of manufacturing. Back in the days when they were made, every stage took a material toll in terms of sound quality. However, the safety lacquers are first generation records. They probably have not been thought of as a good source for reissues because of surface noise problems. Their castor oil plasticizer tends to exude and cake itself onto their surfaces, causing terrible noise when one tries to play them. However, the means now exist to clean them up. Modern noise reduction equipment could also be put to good use. Although these records are nearing the end of their life span, a good many of them could be reclaimed. Master tapes could be assembled, drawing upon both 78 rpm parts and safety lacquers. Castor oil loss and other problems caused by the ravages of time are not the only concern. It can only be hoped that over the years RCA managers did not weed the safety lacquers from the vaults to conserve space and scrap their aluminum bases, not realizing their value and potential. - Edward D. Young, SERGE KOUSSEVITZKY: A COMPLETE DISCOGRAPHY, PART I

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Créditos e produção

3 funções · 3 créditos · 4 empresas · 4 relações

Créditos

Compositor: Richard Strauss
Maestro: Serge Koussevitzky
Orchestra: Boston Symphony Orchestra

Empresas e locais

Proprietário da marca: Radio Corporation Of America
Gravadora: RCA Victor Division Of Radio Corporation Of America
Prensado por: RCA Records Pressing Plant, Indianapolis
Gravado em: Symphony Hall, Boston

Perguntas frequentes

Quem compôs as músicas de Don Juan, Op. 20 (Tone Poem After Lenau), de Richard Strauss - Boston Symphony Orchestra, Serge Koussevitzky?

As composições de Don Juan, Op. 20 (Tone Poem After Lenau), de Richard Strauss - Boston Symphony Orchestra, Serge Koussevitzky, são creditadas a Richard Strauss.

Onde foi gravada a edição de 1950 de Don Juan, Op. 20 (Tone Poem After Lenau), de Richard Strauss - Boston Symphony Orchestra, Serge Koussevitzky, que indica Estados Unidos como país ou mercado de lançamento?

A edição de 1950 de Don Juan, Op. 20 (Tone Poem After Lenau), de Richard Strauss - Boston Symphony Orchestra, Serge Koussevitzky, que indica Estados Unidos como país ou mercado de lançamento, foi gravada em Symphony Hall, Boston.

Qual empresa prensou a edição de 1950 de Don Juan, Op. 20 (Tone Poem After Lenau), de Richard Strauss - Boston Symphony Orchestra, Serge Koussevitzky, que indica Estados Unidos como país ou mercado de lançamento?

Quais empresas fonográficas estão associadas à edição de 1950 de Don Juan, Op. 20 (Tone Poem After Lenau), de Richard Strauss - Boston Symphony Orchestra, Serge Koussevitzky, que indica Estados Unidos como país ou mercado de lançamento?

As empresas fonográficas associadas à edição de 1950 de Don Juan, Op. 20 (Tone Poem After Lenau), de Richard Strauss - Boston Symphony Orchestra, Serge Koussevitzky, que indica Estados Unidos como país ou mercado de lançamento, são RCA Victor Division Of Radio Corporation Of America.

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Don Juan, Op. 20 (Tone Poem After Lenau)

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Don Juan, Op. 20 (Tone Poem After Lenau)

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