This is true, and indeed that Philips Japan CD was issued with no input or authority from any
Mercury team members or, indeed, the Polygram technical bosses in Holland.
In choosing the CD reissues, three things were left out by choice of the original producer (my
mother). She had her reasons, she's not here to go into them, and I won't try to state them because
I probably don't know all the mitigating facts. The three recordings that were specifically kept out
of CD reissue were Dupre at St. Sulpice, all the Szigeti records and the two records made on the
massive convention center organ in Atlantic City (having listened to those recordings, I can tell
you that one big factor is that the organ was out of tune).
What Mike Gray said about the quality of Szigeti's work for Mercury is correct, and one can assume
that was one among other factors in the decision not to reissue those records on CD. Another factor
is that Henryk Szeryng made brilliant violin records for Mercury and then for Philips, and most or
all of his Philips catalog was in print on CD at that time. Philips also had their own fiddlers from
the olden days out in their Duo series, and in the 1990s was promoting a new crop of violin stars.
-- Tom Fine
----- Original Message -----
From: "Gray, Mike" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Sunday, February 10, 2013 10:39 PM
Subject: Re: [ARSCLIST] Mercury question for Tom Fine
>I shouldn't reply before Tom, but I'm on a roll tonight ...
> Because Szigeti's technique by the late 50s was quite shaky, it took dozens of edits, sometimes
> within a run, to keep his violin part 'in tune'. So far as I know, the Brahms was never issued on
> Golden Imports, and perhaps for that same reason, on Mercury American CD. The only LP/CD issues
> are the Japanese ones taken from two-track mix-down tape.
> Mike G.