Si·T·E·!=I·Ei·C

W.STMINSiTER

With today's wealth of recorded material, it would seem that com­missioning a recording would be unnecessary. And yet, when Shure tried to find a disc that would showcase the phenomenal capability and realism inherent to their Stereo Dynetic cartridges (without resorting to a musically-sterile '"demonstration disc"), none seemed completely up to the task. Shure approached several artistically and technically acclaimed recording companies with this problem. After many pro­posed solutions (all of them good), we chose what seemed the most exciting and musically valid; a creation of Dr. Kurt List, musicologist, composer, and recording director of Westminster recording company. In his own words:

"The recording presents the orchestra as one instrument~a many faceted, varicolored instrument of broad dimension-in its concert-hall environment. Individual instruments are but facets of the orchestral entity and their individual sounds must not be stripped from the whole.

"For example, we show in one work (an excerpt from Tchaikovsky's Fifth Symphony) the exact placement of various instruments. Then, using several concertos-each of which features a different instrument -we demonstrate the coloration of each instrument in its orchestral position (rather than placing it front' and center as a commercial re­cording would). Thus, we show how each instrument comes forth as a part of the orchestra but in its relationship to all of the other instruments."

We think we have created something unique: an aural reference work describing the orchestra not in academic terms but as live music for the listener. The standard European seating arrangement is used (illus-

• •

SPECIALLY COMMISSIONED

STEREOPHONIC RECORDING/LS661

THE ORCHESTRA · THE INSTRUMENTS

Vienna State Opera Orchestra under the direction of their first conductor Franz Bauer-Theussl, with first desk soloists. Recorded August, 1960 m the Mozartsaal Concert Hall, Vienna, Austria. Created and supervised by Dr. Kurt List.

trated on the next page). Each musical segment of this record must be understood within the framework of this specific seating arrangement as laid out on side one, band one in an excerpt from the Tchaikovsky Fifth Symphony.

Other orchestras, of course, vary this arrangement according to their hall and therefore, other recordings often show different kinds of positioning.

It is our intention to show the individual instruments not only in their most familiar behavior, but also in their extreme ranges so that the listener can perceive each instrument's capability. We have done so especially with those instruments that are less familiar as solo instruments (such as the contrabass in the Dittersdorf Concerto with its extreme high and flageolet tones).

In most cases, classical concertos best demonstrate the prowess of each instrument. Only in cases where a symphonic piece used more characteristic elements of the specific instrument than a concerto (such as the flute in the Debussy, or the bass tuba in the Wagner) have we used a symphonic excerpt.

Each piece of music was selected for its semblance of a musical unity either by using a self-contained musical "block," or by creating such a "block" through artistic and musical editing.

We have recorded most of the instruments* commonly known in the orchestra with the addition of· one instrument less often used; the mandolin in the Respighi, and that only to show that the "unusual" integrates quite easily into the orchestral body.

\Ve also wished to present a wide range of styles using the great masters of the orchestra. Thus we range from the Baroque of Cimarosa and Handel over the Classic of Haydn and Mozart and the Romantic of Weber to the Modern of Respighi.

This recording is in no sense a "sampler" for Westminster records. In fact, most of the selections are not currently on Westminster recordings. Several are not Stereo-recorded by anyone.

Nor is this a dazzling display of virtuoso techniques. Since the record is concerned with the orchestra we have not chosen "virtuoso" soloists for the solo parts but the orchestra's regular first desk men for each group so that the orchestral integrity, unity, and integration is main­tained. A Heifetz may be more incisive and exciting, but factually, there are no orchestras with Heifetz-staffed string sections.

This is not an "exercise in high fidelity" ... not sound for sound's sake. It is, in fact, a brilliantly recorded, musically valid disc incor­porating superb separation and depth both left to right, and front to back. The overall dynamic and frequency range is astounding, rang­ing from a low of 43.6 c.p.s. (!) to above audibility; from barely audible music, to massive full-orchestra crescendos.

It is not a recording engineer's plaything.* There is virtually no technical tampering with the sound. No artificial separation has been built-in, no splicing-together of various "takes" to "improve" per­formance. Factually, it is less "gimmicked-up" or adulterated than most live radio broadcasts. True, we could have eliminated the sound of the flutists' breathing in the Debussy, or the occasional random noise in the hall (there were scores of performers and engineers present) but we did not. There is no such thing as a perfectly silent concert hall -except artificially.

It is one thing. It is an honest and accurate dissection and examin­ation of an orchestra and its components in all their colors, moods. drama and beauty.

• • The Vienna State Opera Orchestra was us,ed in this ambitious undertaking for several reasons. In addition to its great reputation for flexibility and versatility, it is a classical European-type orchestra for which most of the recorded music was originally written. Students of music and music lovers with an interest in orchestral techniques will notice that, in addition to the different seating arrangement (see next page), there is a striking tonal difference between the European and American orchestra. Where the "typical" American orchestra is ultra-precise and dynamically "contrasty," there is a more relaxed melodious quality to the European. This extends through to the soloists. Direct . listening comparisons between the Vienna State Opera orchestra members and American orchestra soloists will clearly show a noticeable and interesting difference in basic techniques and resulting sound quality and coloration. Note particularly the bassoon and clarinet solos wherein the Europeans strive for an almost completely "dispassionate" intonation, relying heavily on melodic line alone for lyric quality.

Through a multiplicity of specially selected microphones (each of which has a different recording curve) an average recorded sound for the orchestra was exactly matched to the pre-measured sound of the live orchestra.

By using a mixture especially constructed by Westminster's engineering staff, it was possible to reproduce the exact locations of all the instrumental groups. Thus the classical Vienna seating arrangement of the orchestra has been transferred faithfully to a 2-channel tape (not the 3-channel often used for the original recording and later "doctored" for 2-channel use). The recorder was a specially modified Ampex 300S. No tampering with the original sound or the original dynamics has taken place between the actual recording and the ultimate transfer to disc. The resulting sound is perfectly balanced left to right, and front to back.

*Note: Two bands originally intended for use in this recording were eliminated prior to making the disc. These were excerpts from the Dvorak Cello Concerto and the R. Strauss Concerto for Horn. Both instruments are adequately represented in other selections (see back page). Among the many reasons that led to our reluctant elimination of these excerpts was the desirability of shortening the overall length of the recording, thereby making it possible to substantially rai>e the recording level, and a reduction of surface noise in relation to the recorded material.

the Limited Edition recording was specially commissioned by; SHURE BROTHERS, INCORPORATED 222 Hartrey Avenue, Evanston, Illinois

Produced by WESTMINSTER RECORDING COMPANY Conceived by WILLIAM HART ADLER, INC. Printed in U.S.A.

MUSIC LOVER'S BOOKLET on the Selection, Playing and Preserving of Recordings. Available from Shure Brothers Inc., for 25c.

S·T·E·R·E-C

WESTMINSTER

THE ORCHESTRA • THE INSTRUMENTS

BAND ONE, SIDE ONE - THE FULL ORCHESTRA

TCHAIKOVSKY 5TH SYMPHONY / fourth movement, excerpt

The musical score shown here is a section from the finale of the Tchaikovsky 5th. It was chosen as our "typical" symphonic piece because it contains the nucleus of the modern orchestra without running into the extravagant or the extreme.

For those unfamiliar with a symphonic score, we will point out that the composer writes something for each instrument SEPARATELY. He doesn't simply compose a "tune" and leave it to an "ar­ranger" to work it out for an orchestra. Thus, the first violins play one thing, the second violins some­thing different, the violas, cellos, contrabass, trum­pets, trombones, etc. each have their own melodic line. When everybody plays together, the result is the extraordinary sound we're accustomed to in a symphonic composition.

Only the well trained musical ear can "strip­apart" the various instruments, although even un­trained ears can hear that occasionally one instru­ment is carrying the melody while others are accompanying the melody -either with a second melody (counterpoint), or embellishing the melody, or simply accompanying it.

This first band dissects the orchestra and puts it back together for you. The musical score at right encompasses the second half of measure 489 through measure 503 of the 4th movement.

FIRST PART of band one. The entire orchestra plays the excerpt shown at right.

SECOND PART of band one. Each instrument plays its own music from the beginning to measure 493 (marked with a star on top and bottom of the score). Note how the instruments sound, where they're located in the orchestra, and the relative "strength" of each instrument and instrumental section.

The individual instruments play their respective parts in the following sequence: (1) First Violins, (2) Second Violins, (3) Violas, (4) Cellos (Violon­cellos), (5) Contrabass (Double Bass), (6) The Woodwind section (Flutes, Oboes, Clarinets, Bas­soons), (7) The Brass section (Horns, Trumpets, Trombones, Tuba), (8) The Timpani ("Kettle Drums"). THIRD PART of band one. The instruments enter successively and additively, each playing its own part (as heard in the second part of this band), enabling you to hear the effect each instrument has on the overall tonal color of the orchestra. The point at which each instrument enters is indicated beneath the score. (Note how trumpet and oboes support each other in voicing the theme, also the manner in which the fiutes reinforce the violins, finally, how the "monotonous" timpani adds the final bit of emphasis to "round-out" the sound.)

1st VIOLIN

2nd VIOLIN

VIOLA

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FLUTE III (PICCOLO)

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HOW TO LIS EN

The illustration of the Vienna State Opera Orchestra's seating arrangement is your basic guide to this recording. All the music should be listened to with this seating arrangement in mind.

The normal stereo 2 or 3 speaker arrangement is recommended. Sit as close to dead-center as possible for optimum effect. Hi-fI stereo headphones may be used.

This record was made using the RIAA compensation curve. If you have an RIAA position on your preamplifier, use it. Set bass and treble controls "flat," that is, without emphasis or reduction of either control (unless you normally compensate with these controls).

The recording level is relatively high. therefore, you will be able to play this disc at a somewhat lower volume (or loudness) setting. The higher level also reduces surface noise in relation to the music.

'Ve recommend that you use only the Shure Stereo Dynetic cartridge at lightest possible tracking force in playing this disc. "rYe checked the recording with other cartridges and the results often proved disappoint­ing. Many cartridges could not track all the hands; some damaged grooves; others could not handle the

critical separation, dynamic and range requirements. (Especially true of the Wagner and Respighi bands:)

WHAT 0 LISTEN FOR First of all, the music itself was carefully selected and edited to make the recording a satisfying musical entity. Successive bands have good melodic and thematic contrast. Excerpts are as long as possible, with a logical and pleasing starting and ending point.

Listen for the position of individual instruments in solo passages ... not simply for the left-to-right ("ping-pong") effect, hut for the front-to-back spatial location. Once you're used to the sound, "color" and position of the instruments. you'll easily be able to isolate them even in non-solo parts.

The first band (Tchaikovsky) is an adventure in music in itself. Detailed notes on this music are given below ... th~ back page discusses each of the remaining 13 selections.

Incidentally. this recording is a magnificent introduction to the orchestra for children.

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FUNDAMENTAL FREQUENCY RANGE FROM 43.6cps TO 2092 cps

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THE ORCHESTRA· THE INSTRUMENTS Each of the remaining 13 bands features an individual instrument of the orchestra, played by a regular orchestra member, seated in hIS normal orchestral position. In a normally recorded concerto, the soloist would usually be stage front and to one side of the conductor. Refer to the dIagrams on the inside pages to get full benefit and enjoyment from these selections THE INSTRUMENTS

SELECTION, INSTRUMENT, SOLOIST

Side l~Band 2~VIOLIN LALO-SYMPHONIE ESPAGNOLE

5th Movement-Excerpt Measure 188 to measure 235

Soloist: Hans Groeizer

Side 1 ~Band 3~ TUBA WAGNER-FAFNER'S ENTRANCE

("SIEGFRIED") 2nd Act-beginning to measure 55

Soloist: Karl Huebel

Side l~Band 4~HARP HANDEL-CONCERTO FOR HARP

3rd Movement-Complete (without repetition) Soloist: Hubert lellinek

Side l~Band 5~MANDOLIN RESPIGHI-FESTE ROMANE, L'OTTOBRATA Excerpt-No. 24 to the 5th measure after No. 25

Soloist: Hermine Hinterberger

Side 1 ~Band 6~CONTRABASS DITTERSDORF-CONCERTO FOR

CONTRABASS 3rd Movement-Excerpt

2nd measure after No.3 to No.5, No. 11 to the end Soloist: Burkhard Kraeutler

Side 1 ~Band 7~FLUTE DEBUSSY-AFTERNOON OF A FAUN

Excerpt-Measure 1 to 5 measures after No.2, No. 10 to end

Soloist: Franz Opolensky

Side 2~Band l~TRUMPET HAYDN-CONCERTO FOR TRUMPET

3rd Movement-Excerpt Measure 125 to the end Soloist: Josef Poeschi

Side 2~Band 2--CLARINET WEBER-CONCERTO FOR CLARINET #l

1st Movement-Excerpt Measure 1 to measure 11

Measure 48 to measure 125 Measure 258 to the end of Movement

Soloist: Friedrich Fuchs

Side 2~Band 3~TROMBONE RIMSKI-KORSAKOV­

CONCERTO FOR TROMBONE 1st Movement~Excerpt

Measure 1 to the 1st measure after No.7, 2nd measure after No. 9 to the end of Movement

Soloist: Friedrich Wuertzler

Side 2~Band 4~OBOE CIMAROSA-CONCERTO FOR OBOE

1st Movement-Complete Soloist: Manfred Kautzky

Side 2~Band 5.~PERCUSSION RESPIGHI-FESTE ROMANE; LA BEFANA

Excerpt~No. 43 to the end Leader: Franz Janak

Side 2~Band 6~BASSOON MOZART-CONCERT FOR BASSOON

1st Movement-Excerpt Measure 98 to measure 151

Measure 161 to the end of Movemen't Soloist: Karl Dvorak

Side 2~Band 7~PIANO RACHMANINOFF-2nd CONCERTO

FOR PIANO 1st Movement-Excerpt

From Maestoso (Alia Marcia) After No. 10 to the end of Movement

Soloist: Franz Reuster

ABOUT THE MUSIC

SIDE ONE LaIc, under the stimulus of the great Spanish Violinist Pablo Sarasate, composed what is possibly one of the finest showcases for the capabilities of the modern violin in his Symphonie Espagnoie. It is not in any way a "symphony"-it is a kind of concerto that features the violin in its many-sided grandeur, more so than many "pure" con­certos. First performed by Sarasate himself in 1875, it remains a unique, popular wmk that very likely kept Lola from slipping into oblivion.

Wagner's RING DES NIBELUNGEN, a four-opera tour de force (of which Siegfried is opera #3) abounds in moody, mystical and magnificent musical imagery. Through the device of sub-themes (Leitmotivs), Wagner identifies and "interprets" the inner char­acter of the principals in this monumental work. This is one such sub-theme. With it, Wagner portrays Fafner; sinister, a wesorne, dreaded. . giant-turned-dragon who slays his own brother and is in turn slain by Siegfried. 1£ it sounds strange today, imagine how it affected the comparatively musically-naive audience of 1876!

Georg Friedrich Handel (1685 -1759) seemed to have two distinct musical "person­alities." When writing in the Oratorio form (Messiah, Esther, Athalia, etc.) he was very emotional and moving. In his purely orchestral compositions, he adhered to the more formal so-called "18th century Italian and English" style of composition. (Born in Germany, he became a naturalized English citizen.) It is a precise form of music'-­adhering to strict rules-composed for relatively "primitive" instruments. Handel is an unquestioned master of this type composition, a fact attested to by the remarkable melodic quality he achieves within these manifold limitations.

In Feste Romane, Respighi, a pupil of Rimski-Korsakov, demonstrates his singular ability as an outstanding orchestrator. Besides using a full orchestra, he calls upon an organ, bells, an army of percussionists. . and, the mandolin. Unusual as it may seem, this instrument integrates itself into the orchestral whole and provides us with a truly touching and lovely melodic effect. (The percussive side of Feste Romane is displayed on side 2, band 5.)

It has been said ot Karl Ditters von Dittersdorf (l 739-1799) that he was born a hundred years too soon, which is the extravagants' way of saying that he was an innovator. He was certainly a master of the early classical school of music with all its rigid disciplines -so much so that he could deviate from the prevailing rules and make the result palat­able to his tradition-bound contemporaries. The vigorous, yet enchanting music of this concerto shows the too-seldom featured Contrabass at its impressive best-'--especially in the very high notes.

Little need be said about this selection, for if ever music spoke for itself, Debussy's Afternoon of a Faun creates its own moods and mental images. Dating back tc the 1890's, it successtully refutes the argument that Debussy's music was "vague." It quite literally paints an aural picture. Scored for flutes, oboes, clarinets, cor anglois, bassoons, harps, cymbals, and strings, it represents the full flowering of the impres­sionistic school of music.

SIDE TWO This last, and possibly greatest concerto of "Papa" Haydn Was written for the precursor of the modern valved trumpet. It is a tribute to his taste that he did as much with this "primitive" instrument. The concerto itself demands the greatest interpretive sensitivity and skill, even with a modern instrument. The excerpt is gayety personified showing the "happy" side of a trumpet, as opposed to the regal, pompous feeling it often imparts (band 1, side 1).

Karl Maria von Weber (1786-1826) fully understood the clarinet and its scope. No small task, for this essential orchestral instrument has the widest range of all the wood­winds, and a range substantially greater than any of the brasses. It is also an instru­ment of many moods; in its low registers, solemn; in its high registers, gay. Weber seems to enjoy composing for this flexible instrument, {or he shows off its capabilities much as Lola does for the violin.

Originally written for band and orchestra, the Rimski-Kors;J.kov 0844-1908) trombone concerto gives solo prominence to a rarely heard brass solo instrument. The transcrip­tion presented here still retains much of the band's flavor and as such gives far more opportunity to examine the woodwinds and brasses as an orchestral entity than the usual string-filled passages of other works.

Domenico Cimarosa (1749-1801), developed a style for different than his contemporary von Dittersdorf. Possibly because he Was so deeply involved in writing for the theater, he has a flOWing, melodic character to his music that treats the solo instrument more like a vocalist. Among the most popular of his orchestral works, the oboe concerto displays this difficult, easily "overdone" instrument with complete charm.

Feste Romane, already discussed on side one, band 5, shows its other personality here. One ot the loudest and most percussive passages in music, this excerpt is written to portray the wild activity of Epiphany Eve in Italy's Piazza Navona. If, on first listening it sounds disorganized, be patient ... for this is superbly organized modern music with much humor.

Evidence suggests that Mozart composed at least 4 concertos for the bassoon~evi­dencing his high regard for this oft-maligned instrument. Two are alas lost (as are many Mozart works). This concerto (K 191), one of Mozart's earliest works in the concerto form was probably composed in one day-'--remarkable in itself, eve!! more so when you consider how well it shows the bassoon's capacity for eloquence.

Undoubtedly one of the most popular of all piano concertos, the Rachmaninoff was selected here because of its familiarity and universal appeal. Little need be said about this lush work except that it sh0ws, in a relatively short time, the entire range of the piano and many of the tonal qua lities possible with this remarkably versatile instrument.

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WHAT TO LISTEN FOR

A solo violin being played among other violins on the same side of the orchestra is a difficult stereo recording feat. Where normally you would hear the recorded soloist either stage center (hence from both speakers), or placed to the other side (thus have the soloist on one speaker, the balance of the violins on the other speaker), you now hear both from the same speaker, in their correct orchestral position. Modern stereo equip­ment can, and does, separate the sounds without resorting to an artificial "ping-pong" effect. (Note particularly the clean and clear closing solo trills.)

The contrabass tuba is seldom heard solo, yet, it is basic to the orchestra's depth and power, often torming the bass note on which orchestral chords are built. Here the tuba ranges to a low of 43.6 cycles per second! Yet, on good stereo equipment, the sound is "clean," well defined. It does not obscure or adulterate the sound from other, more hushed instruments, even when they both play from the same side of the orchestra. (Any "muddy" sound or resonances you hear are not in the recording which was very carefully checked both in the laboratory and in home music systems.)

Because of the many audible overtones it generates, the harp presents singular prob· lems in recording. In many recordings, it tends to "flood" the orchestra with sound rather than assuming a clearly defined "location" within the orchestra. Notice here how both harp and strings, often in equal balance and playing from the same side of the orchestra, retain their individual identities and positions. Note also how, in several passages, very, very little sound comes from the right channel ... yet without it, the stereo effect is lost.

Achieving a balance between the stacatto intonation of the mandolin and the sus­tained, flowing music that accompanies it calls for recording and sound re-creating equipment of the highest order. Note that the rapid, sharply defined, loud "plink-plink­plink" of the mandolin in no way affects the sound of the smoothly-played legato back· qround. Only a stereo cartridge of the highest order can separate these seemingly incompatible kinds of sound without inducing ruinous transient distortion.

Even an instrument with a voice as unique and powerful as a contrabass (Double Bass Viol) cannot be readily identified when it plays the same notes as other instruments of the full orchestra. This situation comes up in several sections of this recording-and the separation of soloist is complete. The Contrabass, right from the impressive opening through to the end is clearly defined, always in "perspective." Note that no effort is made to subdue the rest of the right channel instruments to achieve this objective.

You will be particularly interested in listening to the relative positions of the flute, harp, clarinet, oboe and muted 1st violins ... all of them seated relatively close together, playing in roughly the same range, and all on one side of the orchestra; yet each a little further forward, or to the right or left, and each clearly audible. This is the true test of stereo and stereo equipment. The bells near the end (with their long reverberation periods) are a delight to the critical listener's ear.

To keep the "feeling" of the earlier trumpet it was written for, the soloist intonates most notes with a sharp beginning and cut-off. This, coupled with the loud volume of the trumpet, often leads to distortion because the cartridge stylus is forced to make sudden starts and stops. A good cartridge will play these notes Virtually distortion free. Listen also to the position of the trumpet and compare it to its location in the full orchestra passages (where it carries the theme on band 1, side 1.)_

The opening of this band is a great vehicle for stereo listening. It places the clarinet in its precise orchestral position, well to the left and back in the orchestra. The balance between orchestra and clarinet is ideal throughout, and the left channel is never overbalanced to tavor the soloist. Compare its solo position with the clarinet· position in the Debussy on side 1 and notice how easy they are to "pinpoint."

This is a great opportunity to compare relative sounds of the brasses on the right and woodwinds on the lett. Listen within the brasses, too, for there is good separation between trumpets, horns, tuba, and trombone. Note particularly the balance between cymbal and soloist near the end, and the sharp definition of the trumpets at the very end.

Because the oboe is located almost dead center, and because its own sound waves go in and out of "phase," there is a great deal of "spill-over" from one channel to the other. Upon first listening to the master tapes, it occasionally sounded as if it were coming from the wrong side. Comparison with live orchestra showed that the oboe, when given solo prominence, tended to "flood" the orchestra. Rather than "weight" the music to make the oboe appear as coming completely from one side, the master tape Was untouched.

The uninhibited dynamic range of this band provides a critical test for even the finest stereo systems. The lateral excursions of the stylus are enormous. And yet, even though so much is happening at one time, the listener will have no difficulty in separating the various percussion instruments-nor in locating the orchestra' 5 regular instruments.

Composed for a small orchestra (2 oboes, 2 horns, strings, and bassoon), this band enables you to concentrate on these few instruments to the exclusion of other elements. Here again the oboes tend to "spill over" from one channel to the other, yet, beea use their sound is natural, they never bS80lne "lost." Note also the positions of first and second violins.

The piano, because of its many overtones and percussive character is considered one of the most difficult instruments to faithfully record. Couple this with the piano's place­ment on this recording-dead center, not off to one side as is customary-and the difficulty for accurate stereo portrayal is compounded. We are delighted with the results ... lifelike piano, equally balanced left and right, far forward in the orchestra.