Strauss EIN HELDENLEBEN Classic Records 45rpm 4 x Lacquers Bernie Grundman VG
$
160
$ 160
Sold For
Oct 21, 2025
Sold Date
Aug 2, 2025
Start Date
1
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USA
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Description
Richard Strauss EIN HELDENLEBEN Classic Records LSC 1807 45rpm 4 x Lacquers Bernie Grundman Very Good
Label:
Classic Records – LSC-1807-45Series:
Living StereoFormat:
Lacquers x 4, 12", Reissue, Remastered, Stereo, Test PressingsCountry:
USReleased:
2009Genre:
ClassicalStyle:
RomanticTracklist: Ein Heldenleben, Op. 40 (A Hero's Life) A 1 Part I
A2 continued
B1 Part 2
B2 Conclusion
- Manufactured By – Classic Records
- Recorded on March 6, 1954 at Orchestra Hall.
- Composed By – Richard Strauss
- Conductor – Fritz Reiner
- Orchestra – Chicago Symphony Orchestra
- Remastered By – Bernie Grundman
- Violin – John Weicher, violin solo
- Engineer – Leslie Chase
- Lacquers cut by Bernie Grundman
- Matrix / Runout ( Side A Runout Etched): LSC-1807-A1-45 Bernie Grundman (signature)
- Matrix / Runout ( Side A Runout Etched): LSC-1807-A2-45 Bernie Grundman (signature)
- Matrix / Runout ( Side A Runout Etched): LSC-1807-B1-45 Bernie Grundman (signature)
- Matrix / Runout ( Side A Runout Etched): LSC-1807-B2-45 Bernie Grundman (signature)
On March 6, 1954, Fritz Reiner and the Orchestra recorded together for the first time. For RCA at Orchestra Hall, they committed to disc two works by Richard Strauss: the Dance of the Seven Veils from Salome and Ein Heldenleben. “A single condenser microphone, noted for its uniform response and broad pick-up, was suspended approximately 16 feet above the conductor’s podium to secure the exact balance desired by Dr. Reiner between instrumental choirs of the Orchestra,” according to the liner notes from the original RCA release. “At the time this recording was made, a special microphone set-up was used to make a separate stereophonic recording of the same performance as part of RCA Victor’s continuing policy of development and research in recording techniques.” “Reiner brought out the opulence of Strauss’s orchestration but never wallowed indulgently in the more episodic moments; instrumental textures were clarified so that transparency of sound was paramount; and climaxes were carefully prepared so that they did not appear bombastic. To successfully balance such a large orchestra while projecting seemingly spontaneous playing was a notable achievement,” wrote Kenneth Morgan in his biography Fritz Reiner: Maestro and Martinet. “Ein Heldenleben, to a critic for Harper’s Magazine [in November 1954], confirmed Reiner as probably the greatest Strauss conductor alive: ‘the razor’s edge combination of lean, hard clarity on a vast orchestral scale and perilously high tension emotionalism is exactly suited to his disciplined directing.’ ”
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