This seems to be the non-classical Vanguard.

Steve Smolian

-----Original Message-----
From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of David Lewis
Sent: Thursday, August 10, 2017 1:17 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] FW: [ARSCLIST] classical music LPs to CDs

Well, Vanguard has changed hands as I thought it might:

http://www.concordmusicgroup.com/news/concord-music-group-acquires-famed-independent-labels-vanguard-sugar-hill-welk-music-group/

best,

UD

On Thu, Aug 10, 2017 at 1:06 PM, Steve Smolian <[log in to unmask]> wrote:

> Two further search threads.
>
> Concert Hall was owned by fitst name? Josefowitz.  Their European 
> branch issued two Seefried LPs which I own- I'm a very big fan.  I 
> believe the violinist Lila Josefowicz (various spellings) is related.
>
> Some years ago I was involved in a reissue project involving the 
> Period label and similar- Stradavarius, Oxford, etc., though much of 
> it never came out.  This was through a connection to the late Bernie 
> Solomon of excruciating Everest fame who claimed he had permission to 
> issue this stuff but on a non-exclusive basis and had the paper work to back up this claim.
> In the course of this project, I had conversations with a 
> representative of the Canadian company, Madacy (?) who claimed the 
> Period and Remington tapes were in their possession, as were masters 
> of lots of the other early classical mono LP labels, including 
> Everest.  They reissued a group of Everest items though some were for 
> deluxe download only, as I recall.  At some point in the proceedings, 
> contact between this company and myself ceased from their end-- no 
> more phone calls or emails from them and no response to any from my 
> side.  It felt as if lawyers had stepped in but I couldn't confirm 
> this.  The Florida company for which I had worked went on to other things.
>
> Madacy is related to record company in Hamburg that recorded and owns 
> or owned the 101 strings (25-1/4 instruments?) catalog and thus 
> presumably these masters.  I forget the German company name at the 
> moment.  Anyway, this is a rabbit hole thatneeds exploring.
>
> Steve Smolian
>
> ----Original Message-----
> From: Association for Recorded Sound Discussion List [mailto:
> [log in to unmask]] On Behalf Of John Haley
> Sent: Thursday, August 10, 2017 10:51 AM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] FW: [ARSCLIST] classical music LPs to CDs
>
> Gary is right about MHS.  They licensed any number of distinguished 
> European recordings, but I believe that they also made some of their 
> own recordings early on.  As I recall, the company was founded by a 
> cellist named something like Naida, who appears as a player on some of 
> the earlier chamber music recordings.  I had a lot of MHS recordings 
> in my youth (still have them) and loved many of them.  It was an 
> education in baroque music, with the likes of Kurt Redel, Marie-Claire 
> Alain, Jean Pierre Rampal, Karl Ristenpart (fantastic conductor!), I 
> solisti Veneti, and many more very great musicians.  I bought the MHS 
> Goberman Vivaldi recordings, which I still have somewhere, but too 
> many of them are clearly rough sight-reading.  The quality of the 
> pressings was almost always excellent. I know someone who is a friend 
> of one of the descendants of the owner of the label, and this thread 
> reminds me to follow up about what happened to the MHS master tapes.
>
> As for Remington and related labels, I have followed that trail some 
> years ago.  With a few exceptions, the masters are lost.  The owner of 
> the label died and his widow sold everything to a guy who was indicted 
> and convicted for fraud.  The Feds seized all the assets, including 
> the Remington masters, and they were never seen again, undoubtedly 
> destroyed (one cannot find that out).  A few of them survived because 
> they were loaned out and not returned, and about a dozen of those were 
> later reissued in fine pressings on Varese Sarabande. I don't know 
> where those masters are now--the guy who did the reissues, with whom I 
> spoke, won't say and won't let anyone access them.  .
>
> Dave, don't you think that the Concert Hall label and assets were 
> simply bought by someone in the UK?  It would be wonderful to find out 
> where those master tapes went.
>
> Best,
> John Haley
>
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> On Thu, Aug 10, 2017 at 9:46 AM, Gary A. Galo <[log in to unmask]> wrote:
>
> > Everything MHS issued was legitimate and under license. They never 
> > used pseudonyms.
> >
> > Gary
> >
> >
> >
> > -----Original Message-----
> > From: Association for Recorded Sound Discussion List [mailto:
> > [log in to unmask]] On Behalf Of Nick Morgan
> > Sent: Thursday, August 10, 2017 9:42 AM
> > To: [log in to unmask]
> > Subject: [ARSCLIST] FW: [ARSCLIST] classical music LPs to CDs
> >
> > Living in the UK, we don't see as many MHS LPs (or CDs) as you, but 
> > I have seen many of the European discs they originated from, and 
> > I've never seen any name changes beyond those deemed necessary to 
> > make maybe unfamiliar European ensemble names more transparent to US buyers.
> >
> > I'm no expert on the history of MHS - I wish I was - but I don't 
> > believe they would have needed to use pseudonyms, as they didn't (to 
> > my knowledge) issue European radio tapes which might have fallen off 
> > the back of a lorry, but licensed commercial European originations 
> > on a totally legit (and always
> > acknowledged) basis. I'd welcome any correction.
> >
> > I believe MHS also originated material itself, or at least co-produced.
> > One example is the Bach Cello Suites recorded by Nikolaus 
> > Harnoncourt; another is his Marin Marais LP. Both were licensed by 
> > Harmonia Mundi France, and are often assumed to be HM originations - 
> > but I don't think that's right. Seems odd, I know, that MHS should 
> > have a hand in these but in fact it had issued some of his earlier 
> > recordings made in Europe by Metronome and Amadeo. I'd love to know 
> > more but I fear that MHS's paper archive, if there was one, may already have bitten the dust.
> >
> > In fact, I'd love it if ARSC could look into the feasibility of a 
> > register of record company archives, not to mention master tapes - 
> > which would also include a register of known losses and destructions.
> > But I realise that's a very big, erm... ask.
> >
> > Nick
> > -----Original Message-----
> > From: Association for Recorded Sound Discussion List [mailto:
> > [log in to unmask]] On Behalf Of Richard L. Hess
> > Sent: 10 August 2017 13:53
> > To: [log in to unmask]
> > Subject: Re: [ARSCLIST] classical music LPs to CDs
> >
> > On 2017-08-10 12:55 AM, Paul Stamler wrote:
> > >
> > > Tracing what became of the 1950s labels (and their master tapes) 
> > > might make a nice article for the ARSC Journal.
> > >
> >
> >
> > And that brings to my mind, what happened to Musical Heritage Society?
> > I lost track of them when I left NYC in 1981 (if not before), but I 
> > understand that they moved from their over-stuffed Broadway office 
> > to some place in New Jersey. I have a bunch of their LPs. They 
> > offered an interesting way to explore music at reduced cost. Of 
> > course you always had to send that blasted coupon back every month 
> > or you got something you didn't want!
> >
> > My understanding was that many of their recordings were repurposed 
> > European recordings. Were they guilty of changing the names of the 
> > players/ensembles like some others?
> >
> > Cheers,
> >
> > Richard
> > --
> > Richard L. Hess                   email: [log in to unmask]
> > Aurora, Ontario, Canada                             647 479 2800
> > http://www.richardhess.com/tape/contact.htm
> > Quality tape transfers -- even from hard-to-play tapes.
> >
>