There is a bit of bleed over just before the Concerto starts from a Tchaikovsky piece on the other side of the tape. Thankfully it’s the only place it’s noticeable.
P.S. - the dropout occurs in the second movement. It sounds to me that it wasn't really a dropout, but a split. If you joined the two pieces together, I think nothing would be missing. And WOW, what a tempo for the 3rd movement! This is a real gem of a performance!
Ah yes, it is the second movement - thanks! It could be a split - it was all on one tape, but of course he could have been moving things around to get onto a single tape.
Just a question: the fidelity of this recording suggests an FM broadcast, but FM was a rarity in those days, if it even existed. Do you know how this was achieved? By the way, an outstanding performance, well worthy of preserving! Thank you!
Great comment! It's a bit of a mystery because the quality is so good. I'm going to ask the family if they remember how these were recorded and will report back. I suspect a couple of things: 1) Reynolds had access to, or actually made, a radio with a line out. I really doubt in the early 50s radio sets had a line out - most people recording off the radio would have probably stuck a mic in front of a speaker. This recording would not have been as good with that mic in front of speaker technique. 2) Reynolds was able to record this simulcast at the Minneapolis radio station directly. Plausible - but not sure. 3) Reynolds had access to a tape from the NY Philharmonic from the local radio station - maybe it wasn't a live broadcast but media was sent to all the radio stations? I find this the least likely. I suspect the answer is 1 - he had a very strong radio connection and being the 50s there wasn't as much electrical interference. That combined with a line out and high-quality tape could result in such a quality recording. Also given all the other recordings off the radio that I have in the collection - I don't think 2 or 3 is how he did it. Several recordings that I have not put up because they are incomplete or flawed are obvious cases where he was trying to capture something as it was happening and in some cases starting the recording too late. Also in some cases he forgot to turn the radio off - resulting in awesome time capsules like the news program in this video: th-cam.com/video/IV-3VYTAxE8/w-d-xo.htmlsi=HJ_JLDnoJAfKcnwT
Interesting tidbit - on a reel I just found but couldn't use because it was incomplete, Reynolds wrote "Direct Line" on the box under the name of the radio station - KSTP. So maybe he was able to record this at the radio station or had some sort of special access as I speculated. Very cool.
@@MarchantTapeArchive Very cool indeed! You've probably hit on the answer. In the '50s and '60s, the Metropolitan Opera broadcasts were in very limited sound, but much later, some were reissued in amazingly good sound, because they were recorded from a direct line. This has to be the same thing.
![เจ็บที่ยังฮัก - ม่อน วรวิทย์ [ Official Mv ] จอนนี่มิวสิค](http://i.ytimg.com/vi/KALIGSRSjFs/mqdefault.jpg)
Morini was one of Szell's favorite violinists. She never made a commercial recording of this standard work.
No kidding! I didn’t know that.
I love this channel.
Thanks so much!
There is a bit of bleed over just before the Concerto starts from a Tchaikovsky piece on the other side of the tape. Thankfully it’s the only place it’s noticeable.
P.S. - the dropout occurs in the second movement. It sounds to me that it wasn't really a dropout, but a split. If you joined the two pieces together, I think nothing would be missing. And WOW, what a tempo for the 3rd movement! This is a real gem of a performance!
Ah yes, it is the second movement - thanks! It could be a split - it was all on one tape, but of course he could have been moving things around to get onto a single tape.
Just a question: the fidelity of this recording suggests an FM broadcast, but FM was a rarity in those days, if it even existed. Do you know how this was achieved? By the way, an outstanding performance, well worthy of preserving! Thank you!
Great comment! It's a bit of a mystery because the quality is so good. I'm going to ask the family if they remember how these were recorded and will report back. I suspect a couple of things:
1) Reynolds had access to, or actually made, a radio with a line out. I really doubt in the early 50s radio sets had a line out - most people recording off the radio would have probably stuck a mic in front of a speaker. This recording would not have been as good with that mic in front of speaker technique.
2) Reynolds was able to record this simulcast at the Minneapolis radio station directly. Plausible - but not sure.
3) Reynolds had access to a tape from the NY Philharmonic from the local radio station - maybe it wasn't a live broadcast but media was sent to all the radio stations? I find this the least likely.
I suspect the answer is 1 - he had a very strong radio connection and being the 50s there wasn't as much electrical interference. That combined with a line out and high-quality tape could result in such a quality recording. Also given all the other recordings off the radio that I have in the collection - I don't think 2 or 3 is how he did it. Several recordings that I have not put up because they are incomplete or flawed are obvious cases where he was trying to capture something as it was happening and in some cases starting the recording too late. Also in some cases he forgot to turn the radio off - resulting in awesome time capsules like the news program in this video: th-cam.com/video/IV-3VYTAxE8/w-d-xo.htmlsi=HJ_JLDnoJAfKcnwT
Interesting tidbit - on a reel I just found but couldn't use because it was incomplete, Reynolds wrote "Direct Line" on the box under the name of the radio station - KSTP. So maybe he was able to record this at the radio station or had some sort of special access as I speculated. Very cool.
@@MarchantTapeArchive Very cool indeed! You've probably hit on the answer. In the '50s and '60s, the Metropolitan Opera broadcasts were in very limited sound, but much later, some were reissued in amazingly good sound, because they were recorded from a direct line. This has to be the same thing.