BERLIOZ REQUIEM HERMANN SCHERCHEN
THIS VINYL COPY COMES FROM MY PRIVATE COLLECTION AND WAS BOUGHT BY ME AROUND 1966 OR 1967
RE ISSUED THE VINYL DOCUMENT
Scherchen's is the longest performance ever recorded, more than 20 minutes longer than Ormandy, Beecham or Fournet.
Collectors have been waiting a long time for this historic recording to be issued in stereo, and here it is—finally!! The performance has been issued on CD at least twice before, the latest being on Ades (14.085), but not in stereo. The reason for this is that when the recording was made in 1958 there were two different companies involved, one recording in stereo, the other mono. Rights to the stereo version have been denied to companies that wished to issue it in that format; now the pioneering independent new label Rediscovery has taken over. Presumably these CDs were made from the stereo Sonotape issued more than four decades ago. Rediscovery's transfer is very good. There is a touch of distortion in some of the louder choral passages, but it is minimal—and the difference that stereo makes in a work such as this is major.
THIS VINYL COPY COMES FROM MY PRIVATE COLLECTION AND WAS BOUGHT BY ME AROUND 1966 OR 1967
RE ISSUED THE VINYL DOCUMENT
Scherchen's is the longest performance ever recorded, more than 20 minutes longer than Ormandy, Beecham or Fournet.
Collectors have been waiting a long time for this historic recording to be issued in stereo, and here it is—finally!! The performance has been issued on CD at least twice before, the latest being on Ades (14.085), but not in stereo. The reason for this is that when the recording was made in 1958 there were two different companies involved, one recording in stereo, the other mono. Rights to the stereo version have been denied to companies that wished to issue it in that format; now the pioneering independent new label Rediscovery has taken over. Presumably these CDs were made from the stereo Sonotape issued more than four decades ago. Rediscovery's transfer is very good. There is a touch of distortion in some of the louder choral passages, but it is minimal—and the difference that stereo makes in a work such as this is major.
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