Discussion:
Pristine Classical release: Clemens Krauss conducts Richard Strauss
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Andrew Rose
2011-10-07 13:45:16 UTC
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New release today:

Krauss conducts some of the finest of his friend Richard Strauss

This 32-bit XR remastering fixes recording faults - and sounds truly
magnificent





PASC309 Krauss conducts Strauss
Recorded 1950

Producer and Audio Restoration Engineer: Andrew Rose




STRAUSS Also sprach Zarathustra
STRAUSS Don Juan
STRAUSS Till Eulenspiegels lustige Streiche

Vienna Philharmonic Orchestra Clemens Krauss





Web page:
http://www.pristineclassical.com/LargeWorks/Orchestral/PASC309.php




Short Notes

Clemens Krauss and Richard Strauss formed a great bond in the 1930s and
1940s, with the conductor giving numerous premières of his friend's work
during this time.

As the age of the LP dawned, Decca sent its recording team to the
Musikverein in Vienna to capture Krauss and his Vienna Philharmonic
playing three of Strauss's finest tone poems for twin LP issues in 1950/51.

The early tape technology, coupled with the fact that these recordings
were still being made primarily with 78s in mind, resulted in flaws
which only now can be addressed - and these fabulous new XR-remastered
transfers finally testify to the superb sound captured by Decca in the
summer of 1950. Krauss is exemplary in these excellent, informed
readings of his great friend's work.




Review Decca original LP issue

Though he was born as late as five years after the production of Don
Juan (written when Strauss was 24), Clemens Krauss has always been
associated with Richard Strauss's music-he conducted the first
performances of the operas Arabella and Friedenstag-and is acknowledged
as one of his finest interpreters. Hence this batch of symphonic poems
will be a considerable attraction to those interested in the niceties of
authentic interpretation, while the general excellence of the Vienna
Phil's performance will appeal to everyone who appreciates first-rate
orchestral playing. As far as interpretation goes, in Till Eulenspiegel
Krauss has some unusual tempi and curious changes of speed which will
cause a raised eyebrow or two, but on the whole there are few surprises.

It is instructive to play these three in their chronological order-Don
Juan 1888; Till (after Macbeth and Tod und Verklärung), 1895;
Zarathustra, 1896. Strauss's flame burned too brightly and fiercely,
consuming itself: how swiftly, after that first brilliant start, the rot
set in! After Zarathustra there were only Quixote (1897) and Heidenleben
(1898) before the barren wastes of the Sinfonia Domestica, the Alpine
Symphony and subsequent silence. Even Zarathustra, for all the size of
its conception, does not escape the charges of pretentiousness and
sentimentality; and how commonplace is that Viennese-beer-house
Tanzlied! Still, there are many fine moments in the score, and in this
particular work the playing is really superb, while the recording, not
altogether satisfactory right at the start, is outstandingly good
later-there is a wonderfully rich tone, for example, from the
double-basses in their fugue subject (Von der Wissenschaft). This is the
only modern recording of this work available in England.

In the first two works the recording is less happy. Don Juan, while the
internal balance is good, is shallow and lacking in resonance, and there
is a bad waver of pitch on the G major chord after the "redhaired woman"
(before the Juan horn theme), which I suspect to be due to a faulty
tape-join. Till, recorded at a sharp pitch which is excruciating to
those who are sensitive to such things, has, especially in the strings,
something of that pinched quality peculiar to L.P. recordings.


Gramophone magazine, January 1951
(L.S.)






Notes On this recording

The recordings of Also sprach Zarathustra and Till Eulenspiegel were
both drawn from Decca's 1970 Eclipse reissue, whereas Don Juan was
transferred from their Ace of Clubs disc. Both presented issues that
have only been resolvable with the latest remastering technology.

The Eclipse LP combines a superior pressing with some really awful fake
stereo processing, which serves to present a particularly nasty, boxy
sound. By negating the fake stereo (and removing any phase errors it
introduced) and then re-equalising in XR processing, a much fuller,
clearer and more extended sound picture emerged, demonstrating what
marvellous performances had been captured in 1950.

Meanwhile Don Juan, whilst in better sound on the earlier mono pressing,
showed most clearly the fact that these recording had been made with
78rpm discs in mind - the central section (equivalent to two 78rpm
sides) was pitched significantly sharper than the two outlying sides.
This has been corrected with Capstan pitch stabilisation processing.
Elsewhere I've attempted to improve poor side joins, but one remains
unfortunately obvious in Zarathustra.

Finally, extensive frequency readings both of the music and the
electrical mains hum indicate that Krauss was using a tuning of A=449Hz,
and this has been restored to the final masters presented here.


Andrew Rose





MP3 Sample Also sprach Zarathustra - opening
http://tinyurl.com/PASC309
--
Andrew Rose

Pristine Classical: "The destination for people interested in historic
recordings..." (Gramophone)

www.pristineclassical.com
...it's-just-like-taking-candies-from-a-baby
2011-10-07 14:00:41 UTC
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Post by Andrew Rose
The recordings of Also sprach Zarathustra and Till Eulenspiegel were
both drawn from Decca's 1970 Eclipse reissue, whereas Don Juan was
transferred from their Ace of Clubs disc. Both presented issues that
have only been resolvable with the latest remastering technology.
Dumbarton Oaks
2011-10-07 14:10:53 UTC
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On 7 oct, 12:00, "...it's-just-like-taking-candies-from-a-baby"
Post by Andrew Rose
The recordings of Also sprach Zarathustra and Till Eulenspiegel were
both drawn from Decca's 1970 Eclipse reissue, whereas Don Juan was
transferred from their Ace of Clubs disc. Both presented issues that
have only been resolvable with the latest remastering technology.
Listening the mp3 sample the only thing that I found objectable were
pitch variations at the very beginning of the file.
The sound is wonderfull.
Pablo.
Ray Hall
2011-10-07 14:19:32 UTC
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Post by Andrew Rose
The recordings of Also sprach Zarathustra and Till Eulenspiegel were
both drawn from Decca's 1970 Eclipse reissue, whereas Don Juan was
transferred from their Ace of Clubs disc. Both presented issues that
have only been resolvable with the latest remastering technology.
How successful is this remastering? The Clemens Krauss Strauss was one
of the glories of the Eclipse label, notwithstanding the later peerless
Kempe recordings.

Ray Hall, Taree
Andrew Rose
2011-10-07 14:21:49 UTC
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Post by Ray Hall
Post by Andrew Rose
The recordings of Also sprach Zarathustra and Till Eulenspiegel were
both drawn from Decca's 1970 Eclipse reissue, whereas Don Juan was
transferred from their Ace of Clubs disc. Both presented issues that
have only been resolvable with the latest remastering technology.
How successful is this remastering? The Clemens Krauss Strauss was one
of the glories of the Eclipse label
I thought they sounded awful! The fake stereo gave it a real tubby, boxy
sound.
--
Andrew Rose

Pristine Classical: "The destination for people interested in historic
recordings..." (Gramophone)

www.pristineclassical.com
...it's-just-like-taking-candies-from-a-baby
2011-10-07 14:26:03 UTC
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I thought they sounded awful! The fake stereo gave it a real tubby, boxy sound.
noooooooooooooooooooooooooo......

Everything sounds Fabbo & Wunnerful when passed through the XR
Synthesizer!
Ray Hall
2011-10-07 17:23:37 UTC
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Post by Andrew Rose
Post by Ray Hall
Post by Andrew Rose
The recordings of Also sprach Zarathustra and Till Eulenspiegel were
both drawn from Decca's 1970 Eclipse reissue, whereas Don Juan was
transferred from their Ace of Clubs disc. Both presented issues that
have only been resolvable with the latest remastering technology.
How successful is this remastering? The Clemens Krauss Strauss was one
of the glories of the Eclipse label
I thought they sounded awful! The fake stereo gave it a real tubby, boxy
sound.
I was referring to the performance quality. As I recall, I thought the
sound was mono.

Ray Hall, Taree
Andrew Rose
2011-10-08 12:54:04 UTC
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Post by Ray Hall
Post by Andrew Rose
Post by Ray Hall
Post by Andrew Rose
The recordings of Also sprach Zarathustra and Till Eulenspiegel were
both drawn from Decca's 1970 Eclipse reissue, whereas Don Juan was
transferred from their Ace of Clubs disc. Both presented issues that
have only been resolvable with the latest remastering technology.
How successful is this remastering? The Clemens Krauss Strauss was one
of the glories of the Eclipse label
I thought they sounded awful! The fake stereo gave it a real tubby, boxy
sound.
I was referring to the performance quality. As I recall, I thought the
sound was mono.
The Eclipse LP I have (ECS 572) is "Mono recording electronically
reprocessed to give stereo effect on stereo equipment". Underneath that
reprocessing is fine sound and a fine performance - though the high
tuning of the orchestra fails to match the fixed lower pitch of the
organ, which sounds very much out of place in Zarathustra!
--
Andrew Rose

Pristine Classical: "The destination for people interested in historic
recordings..." (Gramophone)

www.pristineclassical.com
the-sick-moo-parlour
2011-10-08 13:43:20 UTC
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I don't know how you can have the Brass Neck to charge 'full-price'
for these el-cheapo dubbings of el-cheapo LP's.
Even @ 2 quid a time they'd be overpriced...
Presumably your Ace of Clubs 'Till Eulenspiegel' was scratched - as,
otherwise, any respectable 'transfer engineer' would have used that in
preference to the Eclipse 'stereo'.

It's only that this stuff is on CD that I've never considered
uploading it (have new copies of the 1950 Till/Juan original pressing
(hummy) + 3 subsequent transfers..so I didn't need to 'rely' on an
'Oxfam- LP stock' - which is mostly what you seem to have
LOL!!!!!!!!!!!!!!!!
the-sick-moo-parlour
2011-10-08 13:46:01 UTC
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I don't know how you can have the Brass Neck to charge 'full-price'
for these el-cheapo dubbings of el-cheapo LP's.
Even @ 2 quid a time they'd be overpriced...
Presumably your Ace of Clubs 'Till Eulenspiegel' was scratched - as,
otherwise, any respectable 'transfer engineer' would have used that in
preference to the Eclipse 'stereo'.

It's only that this stuff is on CD that I've never considered
uploading it (have new copies of the 1950 Till/Juan original pressing
(hummy) + 3 subsequent transfers..so I didn't need to 'rely' on an
'Oxfam- LP stock' - which is mostly what you seem to have
LOL!!!!!!!!!!!!!!!!
Dumbarton Oaks
2011-10-08 14:23:13 UTC
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Post by the-sick-moo-parlour
Presumably your Ace of Clubs 'Till Eulenspiegel' was scratched - as,
otherwise, any respectable 'transfer engineer' would have used that in
preference to the Eclipse 'stereo'.
Said the King of the no-crackle records......
Andrew Rose
2011-10-08 15:47:21 UTC
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Post by the-sick-moo-parlour
Presumably your Ace of Clubs 'Till Eulenspiegel' was scratched - as,
otherwise, any respectable 'transfer engineer' would have used that in
preference to the Eclipse 'stereo'.
No they wouldn't - the pressing of the Eclipse, er, eclipses that of the
AOC release, and any transfer engineer worth his or her salt can easily
undo the unwanted effects of the Eclipse 'stereo' with no side effects.
--
Andrew Rose

Pristine Classical: "The destination for people interested in historic
recordings..." (Gramophone)

www.pristineclassical.com
the-sick-moo-parlour
2011-10-08 14:32:24 UTC
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Post by Dumbarton Oaks
Said the King of the no-crackle records......
I told you (more than once) to remove my blog from your listings..

Funnily enough..the' crackly records' are downloaded in Very
Substantial Quantities..

...indeed..if I'd charged 'The Pristine Rate' for just the Mengelberg/
Beethoven Symphonies - that would have brought-in well over US$40,000
in a year if the downloads were all converted into 'paid fors'.

As far as i am concerned you, and your ilk, can keep-on creating your
WORTHLESS, computer-synthesized, 'noiseless' dross.

It's just surprising that anyone can stay in business selling such
inferior transfers (each and every one, when compared to mine, is
noticeably inferior in 'High-End' attributes such as Detail/Transient
Clarity...

..but, hey..I don't have 'tame/bent' reviewers' to dissemble on my
behalf...
the-sick-moo-parlour
2011-10-08 16:00:15 UTC
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...well then...I'll make an early point of disproving that (as am well-
acquanted with all the transfers I 'possess')...ACL 16 (2 early
copies) are matrices 7D/7D..which are the follow-ons to the 1955
recuts (5Dr/6Dr) - which doesn't have the 'treble edge' on ACL 16 -
but has more 'resolution' than 1A/1A from 1950

...so 'phut' go your sales on that 'chancer' as well! (I'm not
bothering with Zarathustra as only have the ECS - 1W/2W - but the 1955
Heldenleben transfer sounds good).
the-sick-moo-parlour
2011-10-08 22:26:35 UTC
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Post by Dumbarton Oaks
Many people doesn't know how a clean record sounds...
I'd never assumed 'many people' are THAT stoopid.

'Enjoy' PRISTINE sound... Mr Oiks says!!: LOL - now you're the one
who is STOOPID - as it makes everything sound like it's being replayed
via a kiddies Fisher-Price Record-Player!!

...but you can just stick to twiddling your "Dan Dare" knobs and
dials...to obtain 'pristine cleanliness' ..despite much of the music
disappearing down the metaphorical plug-hole.

Gurgle - Gurgle... Ha Ha Ha
Dumbarton Oaks
2011-10-08 22:05:39 UTC
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Post by the-sick-moo-parlour
Funnily enough..the' crackly records' are downloaded in Very
Substantial Quantities..
Many people doesn't know how a clean record sounds...
Kip Williams
2011-10-09 00:24:32 UTC
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Post by Dumbarton Oaks
Many people doesn't know how a clean record sounds...
I still remember one time when they played an extremely crackly
"Afternoon of a Faun" on KVOD out of Denver. After it was over, the
announcer said, "Kind of like sitting in front of a nice, warm fire,
isn't it?"


Kip W

Abbeddrose Bierce
2011-10-07 14:34:05 UTC
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On Fri, 7 Oct 2011 07:00:41 -0700 (PDT),
Post by Andrew Rose
Both presented issues that
Post by Andrew Rose
have only been resolvable with the latest remastering technology.
Crapola

A Bunker
Dumbarton Oaks
2011-10-08 10:14:15 UTC
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Post by Abbeddrose Bierce
Crapola
A Bunker
Thanks God was no liberated from audio, no -25 dB peaks.
Kepler
2011-10-07 15:55:56 UTC
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Are these the same recordings that appear on Testament CDs (SBT 1183
for Zarathustra, for example)? I'd guess those were done from tape
masters by 1950, but I would have to go home and check the booklets
for matrix numbers, etc.
- Jeff
pianomaven
2011-10-08 10:19:31 UTC
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Post by Kepler
Are these the same recordings that appear on Testament CDs (SBT 1183
for Zarathustra, for example)? I'd guess those were done from tape
masters by 1950, but I would have to go home and check the booklets
for matrix numbers, etc.
Correct.

TD
Andrew Rose
2011-10-08 12:58:23 UTC
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Post by Kepler
Are these the same recordings that appear on Testament CDs (SBT 1183
for Zarathustra, for example)? I'd guess those were done from tape
masters by 1950, but I would have to go home and check the booklets
for matrix numbers, etc.
- Jeff
I don't know, Jeff. They all sound pretty hacked around - I'm guessing
they were recording in chunks ready for 78rpm release rather than
recorded whole. The edits in Zarathustra aren't the best, especially at
the point I've faded our excerpt out - the entry of the next section
simply doesn't work but seems unfixable, certainly from the LPs.

I'm told the Testament pitching is lower than ours, which probably means
they dropped it to A440. I'm very confident that this was not the pitch
in use - Krauss comes in somewhere between A449 and 450.
--
Andrew Rose

Pristine Classical: "The destination for people interested in historic
recordings..." (Gramophone)

www.pristineclassical.com
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