Constantin Silvestri

[Il Grande Inquisitor]

I took delivery today of the new Icon box of Constantin Silvestri's complete EMI recordings and, after a busy day scribbling, have just rewarded myself by spinning the first disc - all Russian fare via three orchestras: the Philharmonia in Ruslan & Ludmila and Prince Igor Overtures, the Orchestre de la Société des Concerts du Conservatoire in the Polovtsian Dances and the Bournemouth Symphony Orchestra in Borodin's In the Steppes of Central Asia, plus a Tchaikovsky trio: 1812, Capriccio italien and the Polonaise from Eugene Onegin.

The Polonaise goes with tremendous élan and I was quite struck by the blazing brass of the BSO and the almost Russian oboe tone!

One quibble so far - why, over a fifteen CD box, six of which are devoted to Russian music, could EMI have not found a way to present Tchaikovsky's Fifth without it being split over two discs?

[Dave2002]

One quibble so far - why, over a fifteen CD box, six of which are devoted to Russian music, could EMI have not found a way to present Tchaikovsky's Fifth without it being split over two discs?

I really dislike that problem, though most of us now can fix it by ripping to hard drive, or by burning a new CD. It's pretty shoddy though, and I thought most companies had now given this practice up. Turns a possibly good product into a second rate one. I await my copy.

[Hornspieler]

I took delivery today of the new Icon box of Constantin Silvestri's complete EMI recordings and, after a busy day scribbling, have just rewarded myself by spinning the first disc - all Russian fare via three orchestras: the Philharmonia in Ruslan & Ludmila and Prince Igor Overtures, the Orchestre de la Société des Concerts du Conservatoire in the Polovtsian Dances and the Bournemouth Symphony Orchestra in Borodin's In the Steppes of Central Asia, plus a Tchaikovsky trio: 1812, Capriccio italien and the Polonaise from Eugene Onegin.


The Polonaise goes with tremendous élan and I was quite struck by the blazing brass of the BSO and the almost Russian oboe tone!

One quibble so far - why, over a fifteen CD box, six of which are devoted to Russian music, could EMI have not found a way to present Tchaikovsky's Fifth without it being split over two discs?

Enjoy your weekend!

Hornspieler

[Il Grande Inquisitor]

I'm currently spinning Manfred, played by the Orchestre National de la Radiodiffusion Française; exciting performance, sometimes a little wilful and not quite as searing as his live Bournemouth performance, on BBC Legends.

I've been informed by Rob Cowan this evening that this Silvestri box will be his disc of the week on Essential Classics the week after next.

[pastoralguy]

I opened this box just now and picked 'Manfred' at random. Not one of my favourite pieces but his has really grabbed me! My Quad speakers are coping manfully with the demands placed on them.

[Dave2002]

This set arrived recently, and I started with Stravinsky+ Bartok + Hindemith.

One thing - comparing with this earlier set http://www.allmusic.com/album/silves...t-mw0001846634 I wonder if in fact the Icon set is complete. I've not checked everything yet, but there are some Brahms and Dvorak pieces which don't immediately pop up in the listings. Maybe I need to refer to the booklet.

The listing at presto is here - http://www.prestoclassical.co.uk/r/EMI/7233472

Perhaps the earlier collection didn't only have EMI recordings?

[Nick Armstrong]

It seems to me desirable to copy over to here Hornspieler's story this morning on another thread, in case people missed it...

A little anecdote:

Our very first commercial recording with Silvestri for HMV , was of the 1812 overture (with the band of the Royal Marines), March Slave, and Capriccio Italienne.

During rehearsal of the latter, in the final bars Silvestri took off at such a breakneck speed that the orchestra fell off the rails, section by section. Our Principal Trumpet, the late, great, Rodney Senior felt the need to say something.

Rodney: "Mr Silvestri?"

Silvestri: "Yes, Mr Rodney?"

Rodney: "Are you going to beat that last section in two or in four?"

Silvestri: (Sheepish grin) "Yes"

There's no answer to that!

[umslopogaas]

I have several Constantin Silvestri recordings on vinyl. They are all on the HMV label except for the Enesco Rumanian Rhapsodies (10" mono Supraphon) and the very collectible Tchaikovsky violin concerto with Kogan (Columbia). I couldnt comment on how good the Kogan performance is, but collectors will certainly tear your arm off to get hold of it.

[Barbirollians]

I have several Constantin Silvestri recordings on vinyl. They are all on the HMV label except for the Enesco Rumanian Rhapsodies (10" mono Supraphon) and the very collectible Tchaikovsky violin concerto with Kogan (Columbia). I couldnt comment on how good the Kogan performance is, but collectors will certainly tear your arm off to get hold of it.

You can get it on CD for £3.22 !

http://www.amazon.co.uk/Tchaikovsky-Piano-Concerto-Violinconcerto-Leonid-Kogan/dp/B009FCX6GY/ref=sr_1_1?ie=UTF8&qid=1360933677&sr=8-1

It is very good by the way - I have it on EMI Encore.

[umslopogaas]

Thanks Barbirollians, all I can say is that collectors are not logical beings! The advantages of CD over vinyl are obvious, but it doesnt stop people paying lots of money for a recording in an obsolete medium when they can get the same recording in superior sound in a superior medium for very little. Given what the vinyl version sells for, I think I should get the CD in case I actually want to play it, I hardly dare handle the LP in case I drop it.

[Ferretfancy]

Thanks Barbirollians, all I can say is that collectors are not logical beings! The advantages of CD over vinyl are obvious, but it doesnt stop people paying lots of money for a recording in an obsolete medium when they can get the same recording in superior sound in a superior medium for very little. Given what the vinyl version sells for, I think I should get the CD in case I actually want to play it, I hardly dare handle the LP in case I drop it.

umslopogaas

I've made a small argument in favour of logical behaviour on the homoeopathy thread, but for a collector? Never! Irrationality is part of the fun!

Incidentally, I gather that it is not enough to find a specially rare or collectable LP, the disc must be an early pressing with the correct matrix or stamper number, and must not be a re-cut. Some years ago, I came across an original copy of Alexander Gibson's "Witches Brew" LP selling for £200, although it has appeared in many other guises, crazy really.
The most I've ever paid for an LP was £22 for a stereo demo disc entitled " Bob and Ray throw a Stereo Spectacular" but that was pure nostalgia for those early days when trains rattled through our living rooms!

[umslopogaas]

Ferretfancy, that's true, but collectors come with all sorts of leanings. Some are fetishistic about matrix numbers and that sort of thing. There is some sort of logic about these obsessions. As I'm sure you know, vinyl was stamped using metal dies, rather like money. As they stamped, the dies wore out, so late pressings are not as good as early ones. If you are going to hand over serious money for an LP, these details matter. Personally, I dont pay much attention, so long as its clearly original and not a re-issue, and its in good nick, I'll have it. There has come a point in my life when the limiting factor on my appreciation of recordings is neither the quality of the source or the quality of the recording, but the quality of my ears.

Not sure about re-cuts, but it is certainly true that some classic recordings were re-issued in later years on cheaper labels. The sound of the re-issue was probably better than the original, but to a collector, the re-issue is uninteresting, he (they are always male) will want the original. Hence the £200 price tag for 'Witches Brew'. It sold in small numbers, most copies were wrecked on inadequate equipment, then the audiophile gurus put it on their all-time-great list and everybody wanted it. I've got a pretty good copy and I wouldnt part with it for several multiples of £200. Well OK, but it will have to be a very big multiple.

Mine is the UK RCA issue, code SB 2020, which was originally issued in the USA with code LSC 2225. It was the US issue that won all the plaudits, whether or not the UK issues are up to the same standard is contentious. I've seen it said that it all depends on whether the Americans pressed them for the UK market (in which case they will be just as good as the discs made for the US market), or whether they sent the tapes to the UK for us to make our own versions (in which case, maybe not so good). It is undoubtedly true that the UK could and did make fine LPs, but the technology originated in the USA, and though I have a lot of RCA UK issues and would dream of a complete set, a complete set of the American originals is beyond my dreams. Or bank balance.

By the way, there is a german company issuing very high quality LP reproductions of famous recordings from the late fifties and early sixties (eg Decca SXL 2012 Grieg's Peer Gynt music cond. Fjeldstad). They look and sound very good, but are to be avoided as investments. Collectors only want the originals.

[Ferretfancy]

Ferretfancy, that's true, but collectors come with all sorts of leanings. Some are fetishistic about matrix numbers and that sort of thing. There is some sort of logic about these obsessions. As I'm sure you know, vinyl was stamped using metal dies, rather like money. As they stamped, the dies wore out, so late pressings are not as good as early ones. If you are going to hand over serious money for an LP, these details matter. Personally, I dont pay much attention, so long as its clearly original and not a re-issue, and its in good nick, I'll have it. There has come a point in my life when the limiting factor on my appreciation of recordings is neither the quality of the source or the quality of the recording, but the quality of my ears.

Not sure about re-cuts, but it is certainly true that some classic recordings were re-issued in later years on cheaper labels. The sound of the re-issue was probably better than the original, but to a collector, the re-issue is uninteresting, he (they are always male) will want the original. Hence the £200 price tag for 'Witches Brew'. It sold in small numbers, most copies were wrecked on inadequate equipment, then the audiophile gurus put it on their all-time-great list and everybody wanted it. I've got a pretty good copy and I wouldnt part with it for several multiples of £200. Well OK, but it will have to be a very big multiple.

Mine is the UK RCA issue, code SB 2020, which was originally issued in the USA with code LSC 2225. It was the US issue that won all the plaudits, whether or not the UK issues are up to the same standard is contentious. I've seen it said that it all depends on whether the Americans pressed them for the UK market (in which case they will be just as good as the discs made for the US market), or whether they sent the tapes to the UK for us to make our own versions (in which case, maybe not so good). It is undoubtedly true that the UK could and did make fine LPs, but the technology originated in the USA, and though I have a lot of RCA UK issues and would dream of a complete set, a complete set of the American originals is beyond my dreams. Or bank balance.

By the way, there is a german company issuing very high quality LP reproductions of famous recordings from the late fifties and early sixties (eg Decca SXL 2012 Grieg's Peer Gynt music cond. Fjeldstad). They look and sound very good, but are to be avoided as investments. Collectors only want the originals.

Thanks for those interesting insights. As for Witches Brew, I remember the original well, but I only have the partial transfer on Decca " World Of " plus a couple of tracks on CD, and they will suffice! I do have very good audio, but like you I'm sure the old ears are not what they were, also having listened critically for a living before early retirement has sometimes detracted a bit from my pleasure from iffy recordings. There are always times when the radio in the kitchen can still give pleasure!

[Karafan]

This set arrived recently, and I started with Stravinsky+ Bartok + Hindemith.

One thing - comparing with this earlier set http://www.allmusic.com/album/silves...t-mw0001846634 I wonder if in fact the Icon set is complete. I've not checked everything yet, but there are some Brahms and Dvorak pieces which don't immediately pop up in the listings. Maybe I need to refer to the booklet.

The listing at presto is here - http://www.prestoclassical.co.uk/r/EMI/7233472

Perhaps the earlier collection didn't only have EMI recordings?

I have the older set and have ordered the newer so will cross check them Dave when I receive the ICON box.

Btw, those interested in Silvestri are directed with enthusiasm to the following two books:-

http://www.romanianmusicaladventure.org/bio.html

The Wessex Sound Archive also hold umpteen musical notebooks belonging to Silvestri, with lists of his recordings in his own hand, which they have digitised. Interesting reading!

K.

[Karafan]

Can see no discrepancies between the Disky and EMI sets, save the EMI including the Tchaikovsky symphonies....