No I think it was RCA,they did both Leonard and The Saint Louis Symphony,and a couple of others
From: Tom Fine <[log in to unmask]>
To: [log in to unmask]
Sent: Monday, November 5, 2012 2:32 PM
Subject: Re: [ARSCLIST] Medinah Temple
I'm not sure what happened after the early 70's with Capitol and EMI regarding US classical recording. Carson Taylor retired in the mid-70's and I don't think anyone replaced him engineering for Capitol/Angel.
I think the last of the last US labels recording US orchestras was Telarc.
-- Tom Fine
----- Original Message ----- From: "Roderic G Stephens" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, November 05, 2012 3:48 PM
Subject: Re: [ARSCLIST] Medinah Temple
> A series of EMI releases of the Pittsburg/Steinberg recordings are available at ArkivMusic:http://www.arkivmusic.com/classical/Search?cx=011477110254701862377%3Abwrykxfy_di&cof=FORID%3A10&ie=UTF-8&google_search=1&searchingPage=ABC456&searching=1&role_wanted=-1&q=steinberg+pittsburgh+so
> --- On Mon, 11/5/12, Don Cox <[log in to unmask]> wrote:
> From: Don Cox <[log in to unmask]>
> Subject: Re: [ARSCLIST] Medinah Temple
> To: [log in to unmask]
> Date: Monday, November 5, 2012, 11:59 AM
> On 05/11/2012, Tom Fine wrote:
>> The whole issue with finding a suitable recording venue in Chicago,
>> after Orchestra Hall was ruined, shows that logistics and local
>> politics matter as much or more than acoustics and engineering
>> preferences. It's interesting that, given how acclaimed RCA's Chicago
>> recordings from the 50's and early 60's were, that the orchestra board
>> could be convinced to butcher the acoustic space so much. To some
>> classical music fans, those RCA records were the ultimate examples of
>> the recording art with an American orchestra in an American venue.
>> Mercury had similar problems in Detroit and Minneapolis, as much
>> politics and logistics as acoustical and engineering decisions.
> Likewise Kingsway Hall, the best recording space in London for
> orchestral music. It was demolished in 1984.
>> In Detroit, the Edsel Ford Auditorium was built by and named after the
>> Ford family, which was a primary or the primary sponsor of the Detroit
>> Symphony. From the first time my father set foot in that room, he
>> hated it acoustically. In the mono days, there were tricks that could
>> deployed to make the single-mic technique work, but when stereo
>> recording started, that venue became almost impossible (although there
>> were a few stereo recordings made in the Ford auditorium in the early
>> days of stereo). Old Orchestra Hall, known as the Paradise Theatre in
>> those days, was a better space, but it was literally falling apart and
>> was not in a good part of town. However, many Mercury sessions were
>> done there, leaky roof and all. The room has a nice sound to it,
>> although my father thought it sounded smaller than it was. Then, via
>> several sources, word trickled down about the superb auditorium in
>> Cass Technical High School. It ended up being an almost ideal
>> recording venue. The auditorium was in the middle of the huge
>> building, so it was well isolated. There were good and comfortable
>> control-room facilities in the school. And the sound was superb. It's
>> unfortunate that Cass was discovered rather late in the Mercury
>> relationship with Paul Paray and Detroit. But, all or almost all of
>> the 35mm magnetic-film recordings done in Detroit were done at Cass,
>> to the benefit of the sound quality.
>> In Minneapolis, the Northrop Auditorium was also non-ideal. It turned
>> out to be less ideal for single-mic mono than for stereo. The reason
>> was, it was so cavernous that sound got lost in the huge space. In the
>> mono days, various setups were used, mainly moving the strings out
>> onto the stage apron and, for a couple of sessions, using a tape-delay
>> reverb fed to a big Altec speaker in the rear of the auditorium so as
>> to make the room sound more live. What happened was that the sound
>> dissipated so much that the rear of the omni-directional mic barely
>> caught anything, so the recording sounded too dry. When the technique
>> changed to three spaced omnis, more reverb and room tone was captured,
>> so there was less of a problem. Switching to the Schoeps M201 mic for
>> the single-mic mono also helped a bit because it's more sensitive than
>> a Neumann U-47 and also has a different presence peak that tends to
>> pick up low-level high-frequency information better in that setup.
>> Very late in Mercury's relationship with the Minneapolis Symphony, the
>> auditorium at Edison High School, which I think was out in the
>> suburbs, was used. That room had a better sound, it was "warmer" and
>> more detailed. Like Cass, it's a pity it wasn't "discovered" earlier.
>> A similar search for a good venue took place when Command signed the
>> Pittsburgh Symphony. My father and Enoch Light checked out the
>> orchestra's performance venue, didn't like that. They also didn't like
>> the Syria Mosque, where Capitol had made its Pittsburgh recordings.
>> They found the Soliders and Sailors Hall, which had the unique
>> property of the stage being out into the cavernous space, so the whole
>> room had similar reverberant properties. This worked well for the
>> 6-mic technique that they devised for Command Classics. The Pittsburgh
>> Symphony went on to deliver a very good Beethoven cycle, and a good
>> Brahms cycle, and some other interesting recordings. Alas, Command
>> Classics never sold well, according to later interviews with Enoch
>> Light and others. In the late 60's and early 70's, ABC/MCA kept
>> cheapening the packaging and eventually let Pickwick put out
>> supermarket-counter versions of some records. Later-era ABC re-cuts
>> and pressings are far inferior to original-issues.
> Were these Pittsburgh recordings ever issued on CD ?
> -- Don Cox
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