2 TELARC LPs DVORAK & HOLST/FENNELL AUDIOPHILE

	£		51
	$		68

MY FEEDBACK WILL REASSURE YOU THAT I AM AN HONEST AND TRUSTWORTHY SELLER!!

UK SELLER: ITEM IN UK:

*****POSTAGE COSTS ARE AT  THE END OF THE ITEM DETAILS*****
===I AM ALWAYS HAPPY TO COMBINE POSTAGE=====

****IF YOU WANT RECORDED DELIVERY/TRACKING NUMBER PLEASE ASK FOR IT AFTER THE END OF THE AUCTION***

~~~~~~~~~~~~~~~~~~~~~~~~~~


2 TELARC LPS:

1) DG 10053 (1980): DVORAK: New World Symphony (No.9)
St Louis Symphony Orchestra conducted by Leonard Slatkin

2) 5038 (1978): HOLST Suites 1 & 2
HANDEL: Royal Fireworks Music
BACH: Fantasia in G
The Cleveland Symphonic Winds conducted by
Frederic Fennell
~~~~~~~~~~~~

Cut and pressed in Germany on super-quiet Teldec vinyl

TELARC's early LPs are rightly acknowledged as being among the finest sounding audiophile records ever released.

They were made by Robert Woods and Jack Renner using the Soundstream digital recording system.

Cut by Stan Ricker

This 16 bit / 50kHz system sounded far far superior to any other digital system in use at the time (with the possible exception of Decca's custom designed 18 bit system), producing results comparable to today's SACD format or possibly the early high density 35mm recordings made by Mercury..

The sound is huge, full and rich with astonishing dynamics and bass but with none of the usual criticisms usually applied to early digital recordings.
~~~~~~~~~~~~~~~~

(edited extract from the sleevenotes:)
The recording was made using three Schoeps/Studer transformerless omni-directional microphones (not unlike Decca's tree system). Their output was fed through a Studer 169 mixing console directly to the Soundstream recorder.

Mastering was accomplished by sending the digital playback signal directly into the electronics of a Neumann VMS 70, SAL 74 cutting system equipped with an SX 74 cutting head.
(This Neumann system which belongs to the JVC Cutting centre in Los Angeles is completely transformerless and and is especially designed for half-speed mastering).

Mastering was done at half-speed using Pyral lacquers and Adamant cutting styli. No limiting, filtering, compression, equalization or low-frequency crossover was used at any point in either the recording or mastering process. Monitoring was via ADS model BC8 Broadcast Monitor speakers.


Amazon review (Fennell):

It was nearly twenty-five years ago, but I can remember it as if it were yesterday. On a radio program of "new releases," a new recording of Handel's "Music for the Royal Fireworks" was being played. It was a wind band performance, instrumented much as Handel had called for originally. Since, as I recall, I was doing some household chores at the time, the music was largely in the background, sounding excellent but otherwise not particularly grabbing my attention.

Then, out of nowhere, THWUMP! A bass drum thwack that grabbed my attention like no other had before (and which my speakers thankfully survived). It took more than normal patience to await the conclusion of the performance to find out that what I had just heard was this premiere Telarc recording, led by an old-time musical hero of this wind ensemble music, Frederick Fennell. I had just been introduced to my first digitally-mastered recording (by stealth, if that matters), and I think I bought the LP the next day. And I know that I bought the CD version the minute I could put my hands on it, some half-dozen years later. Both versions remain in my library to this day.

Much to my delight, the LP turned out to also contain two of my favorite wind ensemble pieces (both of which I had the enjoyment of performing years earlier as a young instrumentalist): the two Suites for Band by Gustav Holst. Fennell had recorded these pieces about two decades earlier on a Mercury Living Presence LP, when he had been in charge of the Eastman Wind Ensemble. The sound on that Mercury LP was outstanding. But this first Telarc digitally-mastered LP was something else again.

Now, nearly a quarter-century later, this Fennell/Cleveland Winds recording still sounds fresh; it can still knock the wind out of those hearing it for the first time.

Telarc is well-established as one of the very best independent classical-music labels in the industry.

And the Telarc bass drum that "started it all"? Well, perhaps it's apocryphal that one drum was carried from venue to venue, to provide that "THWUMP" when needed. Then again, perhaps not.