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STRAUSS, Johann, WAGNER, CHOPIN, DVORAK, SOUSA, Leonard Bernstein, George Szell, New York Philharmonic

Western Electric Sound - 09/10 - Invitation of Encore / Romantic Serenade

Western Electric Sound - 09/10 - Invitation of Encore / Romantic Serenade image
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Various Artists - Western Electric Sound [(Disc 9)] 01. Radetzky March. Op 228 (3:24) 02. Leichtes Blut Polka (2:32) 03. Under The Double Eagle (3:22) 04. Artists Quadrille Op201 (4:49) 05. Im. Krapfenwald'l (4:12) 06. Les Sylphides (4:11) 07. Semper Fidelis (2:46) 08. Annen - Polka Op 117 (4:08) 09. Scythian Suite (3:00) 10. Egyptian March Op.335 (4:06) 11. Slavonic Dance In E Minor (4:06) 12. Vergen Gungszug Op 281 (2:45) 13. Colonel Bogey March (3:03) 14. Washington Post March (2:38) 15. Chatterbox Fast Polka Op.245 (3:09) 16. Bolero Ravel (5:15) Various Artists - Western Electric Sound (Disc 10) 01. Serenade No.13 In G Major For Strings, KV 525-I Allegro (5:35) 02. Serenade (3:18) 03. Traumerel (3:19) 04. Serenade For Strings In C Major, op.48-II Walzer (3:36) 05. Nocturnes Op.Post In C Sharp Minor (4:01) 06. Torna A Surriento (3:08) 07. Divertimento In D KV 136 (6:07) 08. Yorna A Surriento (4:02) 09. Standchen (2:40) 10. Minuet In G (2:47) 11. Ein Musikalischer Spa, K 522 -III (6:50) 12. Moonlight Sonata (5:49) 13. Divertimento In F KV 138 Presto (1:54)
  • Leonard Bernstein - conductor
  • George Szell - conductor
  • New York Philharmonic - orchestra
  • STRAUSS, Johann
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Nr kat.: HD200-09_10
Label  : ABC Int. Records

AAD is a Digital Copy Of
The Master Tape

Every recording needs an appropriate venue. Whether it be a concert hall or church, a recital room or theatre, the place where musician gather and microphones are assembled must have an acoustic that is right not just for the style of music, but also for the special needs of recording. But a hall or theatre which seems to a concert-goer will not necessarily give the best sound when heard via two channels stereo. These are problems for any recording organization, but at Western Electric, from the arrival of stereo, we have sought a carefully poised balance of sound qualities which has made us especially critical when it comes to choosing auditoria for recording. We love the acoustics of good halls, and continue to believe that a stereo recording should always carry a sonic signature from its venue. But unless this happens naturally in response to our carefully evolved microphone procedures, we know that a location is unlikely to be suitable. A hall may need some acoustic treatment, but it has to be basically right to serve for the best recording. We have always been particularly proud of such precise recording tradition. This has been our practice of promising the balance of every recording via a two channel mix on the spot, during the sessions, so that everyone can hear how the final result will sound. In short, we do not manipulate the balance across a multitude of tracks, once an artist has given a recording his assent. “The performer is supreme, in a partnership of mutual trust” is how I would sum up the ethic underlying our policy. These Western Electric Legends recordings remind us of the remarkable artistry of some of the twentieth-century’s greatest performers –but I also believe they bear witness to a unique and continuing tradition of music recording.


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