Artykuł CHOPIN<br />Klavierkonzert Nr. 1 in e-moll, op. 11<br />Maurizio Pollini, Paul Kletzki, Philharmonia Orchestra pochodzi z serwisu Cleartone.

 Recorded on 20, 21 & 23 September 1960 (Symphony No.5) and 5 & 6 January 1959 (Finlandia) at London’s famous Kingsway Hall venue.

• Produced by Walter Legge and Engineered by Douglas Larter (Harold Davidson – Finlandia)

• Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS80 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional playback head.

 Pressed on 180g vinyl to audiophile standards

 Featuring the original album artwork

 “There is some wonderful playing from the Philharmonia, of course, especially beautifully soft, feathery, string playing. The scherzo itself is played with great brilliance”, GRAMOPHONE, September 1961

Artykuł SIBELIUS<br />Symphony No.5 in E flat major, Op.82<br />Herbert von Karajan, The Philharmonia Orchestra pochodzi z serwisu Cleartone.

„Rudolf Kempe has the true and significant gift of the truly great conductor. He is able and willing to lavish the same care and affection on good light music as on that of the supreme masters.“ So enthused W. A. Chislett on the 48 years old Kempe, who, by the time this recording of operatic overtures and waltzes was made, had gained a reputation as an opera conductor, having directed the Dresden Opera, the Vienna State Opera, the Bavarian State Opera (succeeding Solti) and conducted at Bayreuth. He was a favourite at Covent Garden but declined the director’s job. Kempe was a conductor of international repute, with long associations with the Royal Philharmonic, Zurich Tonhalle and Munich Philharmonic, as well as his last, short-lived appointment as chief conductor of the BBC Symphony Orchestra. Kempe died on 12 May 1976 aged 65.

Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional ‚advance‘ playback head, making the cut a totally analogue process. Pressed on 180g vinyl to audiophile standards using the original EMI presses by The Vinyl Factory in Hayes, England. Featuring the original album artwork, this recording is not otherwise generally available in any format. It contains rarely heard or recorded pieces by Heuberger and Reznicek.

In the original December 1958 review of the mono release W. A. Chislett of the GRAMOPHONE concluded: „… This is superb in every way, warm, intimate, beautifully phrased and poised and very finely recorded. How good in particular it is to hear Lehar’s charming waltz given a full dress performance complete with prelude and postlude.“ ..and on the stereo release the following August, Chislett added: „…they all sound richer and warmer in the two-channel version.“

Recorded on 20-22 February 1958 at the Grosser Saal, Musikverein, Vienna. Produced by the legendary Victor Olof and engineered by Harold Davidson.

Artykuł SUPPE, LEHAR, STRAUSS Johann<br />Nights in Vienna<br /> Rudolf Kempe, Vienna Philharmonic pochodzi z serwisu Cleartone.

• Taking advantage of the television programme’s success, EMI recorded Previn and the LSO at the Kingsway Hall, London on 15 December 1974 and 19 & 20 May 1975 in a programme of popular music typical of the series.

• Produced and engineered by Christopher Bishop and Christopher Parker respectively.

• Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS80 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional playback head.

 Pressed on 180g vinyl to audiophile standards

 On Harry Pearson’s TAS (The Absolute Sound) List

 Featuring the original album artwork

 “Plainly with a big potential market to be won, EMI has encouraged the idea of making the sound larger than life, but it is still beautifully textured—an excellent demonstration record whether in the skittering horn calls at the start of Previn’s signature tune, the percussion in the Walton march, the harps in La Valse (a little closer than real but the playing certainly deserves it) or the flutes on their repeated notes at the start of L’Apprenti Sorcier.”, Edward Greenfield, GRAMOPHONE, September 1975

Artykuł WALTON, DUKAS, ALBINONI, RAVEL, DVORAK<br />Music Night <br /> Andre Previn, London Symphony Orchestra pochodzi z serwisu Cleartone.

Recorded at London’s famous Kingsway Hall venue on 5 & 6 May 1972

Produced and engineered by the legendary EMI team of Christopher Bishop and Christopher Palmer

Pressed on 180g vinyl to audiophile standards

Featuring the original album artwork

“If anyone still has a lingering suspicion that a former Hollywood film composer and jazz pianist might compromise on musical standards, let him here this… with superb recording which allows for inner clarity in a rich texture, with fine discipline and sharp rhythmic pointing (sforzandos meticulously observed), the musical qualities are reinforced… this is a record to satisfy the most discriminating…” Edward Greenfield, GRAMOPHONE, July 1973.

EMI made the recording in both stereo and quadraphonic, an early attempt at surround sound for the now defunct SQ vinyl format. HiQ has used the superior balance of the stereo master tapes.

Artykuł TCHAIKOVSKY<br />Overture 1812 / March Slave / Romeo and Juliet<br /> Andre Previn, London Symphony Orchestra pochodzi z serwisu Cleartone.