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.
> >
>
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