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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.
> >
>