RAFAEL KUBELÍK – The Mercury Masters RAFAEL KUBELÍK – The Mercury Masters RAFAEL KUBELÍK – The Mercury Masters


RAFAEL KUBELÍK – The Mercury Masters
Label
Mercury Living Presence/Eloquence
Catalogue No.
484302
Barcode
4843028
Format
10-CD
About
TRACK LISTING / ARTISTS

CD 1
MODEST MUSSORGSKY (1839–1881)
Orchestrated by Maurice Ravel (1875–1937)
Pictures at an Exhibition

CD 2
BÉLA BARTÓK (1881–1945)
Music for Strings, Percussion and Celesta, Sz. 106
Irwin Fischer, celesta
Edward Metzenger, timpani
Allen Graham, Lionel Sayers, Thomas Glenecke, percussion

ERNEST BLOCH (1880–1959)
Concerto Grosso for String Orchestra with Piano Obbligato*
George Schick, piano
*FIRST INTERNATIONAL RELEASE ON CD

CD 3
ANTONÍN DVOŘÁK (1841–1904)
Symphony No. 9 in E minor, Op. 95 ‘From the New World’

CD 4
PIOTR ILYICH TCHAIKOVSKY (1840–1893)
Symphony No. 4 in F minor, Op. 36
FIRST INTERNATIONAL RELEASE ON CD

CD 5
PIOTR ILYICH TCHAIKOVSKY (1840–1893)
Symphony No. 6 in B minor, Op. 74 ‘Pathétique’
FIRST INTERNATIONAL RELEASE ON CD

CD 6
JOHANNES BRAHMS (1833–1897)
Symphony No. 1 in C minor, Op. 68
FIRST INTERNATIONAL RELEASE ON CD

CD 7
BEDŘICH SMETANA (1824–1884)
Má vlast

CD 8
WOLFGANG AMADEUS MOZART (1756–1791)
Symphony No. 38 in D major, KV 504 ‘Prague’
Symphony No. 34 in C major, KV 338*
*FIRST INTERNATIONAL RELEASE ON CD

CD 9
PAUL HINDEMITH (1895–1963)
Symphonic Metamorphosis on Themes by Carl Maria von Weber

ARNOLD SCHOENBERG (1874–1951)
Fünf Orchesterstücke, Op. 16

CD 10
PERSPECTIVE, THE FIRST REEL AND EXPERIMENTAL STEREO
Interview with Wilma Cozart Fine (Interviewer: Sedgwick Clark)

ERNEST BLOCH (1880–1959)
Concerto Grosso – First reel of tape, 23 April 1951*
PREVIOUSLY UNPUBLISHED

BERT WHYTE – THE EXPERIMENTAL STEREO RECORDINGS
BEDŘICH SMETANA (1824–1884)
Tábor (Má vlast) – stereo*

WOLFGANG AMADEUS MOZART (1756–1791)
Symphony No. 38 in D major, KV 504 ‘Prague’ – excerpts (stereo)*
*FIRST RELEASE ON MERCURY LIVING PRESENCE

Chicago Symphony Orchestra
RAFAEL KUBELÍK

Recording information

CD 1
Recording Producer: Wilma Cozart
Recording Supervisor: David Hall
Recording Engineers: C. Robert Fine, George Piros
Recording Location: Orchestra Hall, Chicago, USA, 23–24 April 1951
Recording Specifications: Neumann U-47 microphone, telephone line patch to Universal Recording, Ampex 300 tape recorder
Tape to Digital Transfer Engineer: Jared Hawkes (Abbey Road Studios)
Remastering Engineer: Thomas Fine
Original Mercury Release: MG 50000: October 1951

CD 2
Recording Producer: Wilma Cozart
Recording Supervisor: David Hall
Recording Engineers: C. Robert Fine, George Piros
Recording Location: Orchestra Hall, Chicago, USA, 23–24 April 1951
Recording Specifications: Neumann U-47 microphone, telephone line patch to Universal Recording, Ampex 300 tape recorder
Tape to Digital Transfer Engineer: Jared Hawkes (Abbey Road Studios)
Remastering Engineer: Thomas Fine
Original Mercury Release: MG 50001: October 1951

CD 3
Recording Producer: Wilma Cozart
Recording Supervisor: David Hall
Recording Engineers: C. Robert Fine, George Piros
Recording Location: Orchestra Hall, Chicago, USA, November 19–20, 1951
Recording Specifications: U-47 mic, Ampex 300 tape recorder
Tape to Digital Transfer Engineer: Craig Thompson (Abbey Road Studios)
Remastering Engineer: Thomas Fine
Original Mercury Release: MG 50002: February 1952

CD 4
Recording Producer: Wilma Cozart
Recording Supervisor: David Hall
Recording Engineers: C. Robert Fine, George Piros
Recording Location: Orchestra Hall, Chicago, USA, November 19–20, 1951
Recording Specifications: U-47 mic, Ampex 300 tape recorder)
Tape to Digital Transfer Engineer: Craig Thompson (Abbey Road Studios)
Remastering Engineer: Thomas Fine
Original Mercury Release: MG 50003: February 1952

CD 5
Recording Producer: Wilma Cozart
Recording Supervisor: David Hall
Recording Engineer: C. Robert Fine
Recording Location: Orchestra Hall, Chicago, USA, 21–22 April 1952
Recording Specifications: U-47 mic, recording truck with Fairchild tape recorder
Remastering Engineer: Thomas Fine
Original Mercury Release: MG 50006: September 1952

CD 6
Recording Producer: Wilma Cozart
Recording Supervisor: David Hall
Recording Engineer: C. Robert Fine
Recording Location: Orchestra Hall, Chicago, USA, 21–22 April 1952
Recording specifications: U-47 mic, recording truck with Fairchild tape recorder
Remastering Engineer: Thomas Fine
Original Mercury Release: MG 50007: September 1952

CD 7
Recording Producer: Wilma Cozart
Recording Supervisor: David Hall
Recording Engineer: C. Robert Fine
Recording Location: Orchestra Hall, Chicago, USA, 4–6 December 1952
Recording Specifications: U-47 mic, recording truck, Fairchild tape recorder
Tape to Digital Transfer Engineer: Jared Hawkes (Abbey Road Studios)
Remastering Engineer: Thomas Fine
Original Mercury Release: OL-2-100 / MG 50013–14: January 1953

CD 8
Recording Producer: Wilma Cozart
Recording Supervisor: David Hall
Recording Engineer: C. Robert Fine
Recording Location: Orchestra Hall, Chicago, USA, 4–6 December 1952 (Symphony No. 34); USA, 3–5 April 1953 (Symphony No. 38)
Recording Specifications: U-47 mic, recording truck, Fairchild tape recorder (Symphony No. 34); Schoeps M201 microphone, recording truck, Fairchild tape recorder (Symphony No. 38)
Tape to Digital Transfer Engineer: Jared Hawkes (Abbey Road Studios)
Remastering Engineer: Thomas Fine
Original Mercury Release: MG 50015: September 1953

CD 9
Recording Producer: Wilma Cozart
Recording Supervisor: David Hall
Recording Engineer: C. Robert Fine
Recording Location: Orchestra Hall, Chicago, USA, 3–5 April 1953
Recording Specifications: Schoeps M201 mic, recording truck, Fairchild tape recorder
Tape to Digital Transfer Engineer: Jared Hawkes (Abbey Road Studios)
Remastering Engineer: Thomas Fine
Original Mercury Release: MG 50024: September 1955

CD 10
Mercury Recording Producer: Wilma Cozart
Mercury Recording Supervisor: David Hall
Recording Engineers: John Quinn (interview); C. Robert Fine (Bloch); Bert Whyte (Smetana, Mozart)
Recording Location: Orchestra Hall, Chicago, USA, 23 April 1951 (Bloch); 6 December 1952 (Smetana); 3 April 1953 (Mozart), The Mix Place, New York, USA, 1996 (interview)
Tape to Digital Transfer Engineer: Thomas Fine (Bloch); Mark Obert-Thorn (Smetana, Mozart)
Remastering Engineer: Thomas Fine

Reviews

“One of the most startling successes of the early years of LP recording… The result is remarkable for the undistorted opulence and realism of the sound.” The Record Guide, 1955 (Mussorgsky/Ravel)

“Mercury has exceeded itself… and the orchestra sounds like a real virtuoso group under Kubelík’s propulsive baton.” Gramophone, January 1952 (Bartók/Bloch)

“So sensational that one needs a bucketful of adjectives to describe it.” Gramophone, October 1952 (Mussorgsky/Ravel)

“A very distinguished account… which quite outclasses previous recordings.” Gramophone, February 1953 (Dvořák)

“Now the crown for the hiest-fiest, most startlingly realistic recording must go to this remarkable disc – which is, moreover, equally remarkable for the brilliance of the performances… Definitely my Record of the Year.” Gramophone, September 1955 (Hindemith/Schoenberg)

“Both works are presented with masterly certainty of touch.” The Times, October 1955 (Hindemith/Schoenberg)

“Forceful, sometimes hard-driven but decidedly attractive performances, finely recorded.” The Times, December 1955 (Mozart)

“The Chicago Symphony Orchestra recordings from 1951 through 1953, in their single aural perspective of the orchestra, represent an occasion on which the recording of the symphony orchestra reached true artistry.” High Fidelity, March 1973

“The performance has qualities Kubelík has never surpassed. This is probably the most deeply felt Ma Vlast we have… the only one that anyone will have any interest in hearing 25 years from now.” High Fidelity, July 1976 (Smetana)