Janos Starker - Dvorak: Violincello Concerto/Bruch: Kol Nidrei

Janos Starker performs with the London Symphony Orchestra conducted by Antal Dorati performing Dvorak's Cello Concerto in B minor, Op. 104, and Bruch's Kol Nidrei

The 2LP classic now mastered and pressed at 45 RPM!

Cut directly from the original 3-track, first-generation master tapes!

45 RPM mastering enables full dynamics present on the master tapes!

Mastered by Ryan K. Smith at Sterling Sound using an AMPEX ATR-100 Tape Machine customized with 3-track flux magnetics heads

Plated and pressed at Quality Record Pressings, makers of the world's finest-sounding LPs!

 

"Chad Kassem never does anything half-way. It's either all in or nothing at all for today's acknowledged King of vinyl records. Here Chad gave Tom Fine (son of Mercury's original founders Robert Fine and Wilma Cozart Fine) and Ryan Smith (mastering engineer at Sterling Sound) free reign to give this famed Mercury Records recording the remastering it richly deserves. Nothing was left to chance. ... This new Acoustic Sounds reissue — whether it's the Fine/Smith treatment or the different master tape (or both?) — markedly improves on the original recording's sense of space, dynamics and solidity/stability of Starker's 'image' while minimizing the Mercury string sound. One last thing. The time Tom and Ryan spent cutting multiple masters to get one quiet cut really paid dividends in the end. This is a super quiet recording allowing the tiniest nuances of the original recording to emerge unscathed. Highly recommended." — Myles B. Astor, senior editor Positive Feedback.com for the 2019 PF Writers' Choice Awards. Read the whole review and see the other winners from the 2019 PF Writers' Choice Awards here.

"This new 45 RPM remastered reissue by Tom Fine and Ryan Smith might just be the first analog reissue that is hands down better than the original (and my original is a minty RFR P17 US cleaned before playing). No ifs, ands or buts. No excuses needed. ... Tom Fine and Ryan Smith turned to the original backup 1/2-inch master tape for this release. No detail was too small and Tom and Ryan had to cut several lacquers until they achieved the desired quietness. ... Dorati and the LSO have never sounded better. While the Dvorak captures everyone's attention, it's perhaps the performance of Bruch's Kol Nidrei that is the hidden gem on this recording. The low end, extension and the sound of Starker's cello is off the charts. Starker's cello is revealed like never before on this reissue; the detail, tone and solidity of his cello is stunning. ... Highly recommended!" — Myles B. Astor, senior editor, Positive-Feedback.com

These newly remastered Mercury Living Presence reissue LPs represent the state of the art of all-analog technology and production. Led by remastering supervisor Thomas Fine, son of high-fidelity recording pioneers C. Robert Fine and Wilma Cozart Fine of Fine Recording Inc. in New York City, these reissues were cut at 45 RPM directly from first-generation 3-track master tapes. A 3-2 channel mix was made directly to the cutting lathe, no "cutting master" tape stage, digital source or digital delay was used.

Thomas Fine made the 3-2 mixes with mastering engineer Ryan K. Smith at Sterling Sound's new facility in Nashville, Tennesee. Smith manually controlled groove margin and depth on his Neumann VMS-80 lathe, working with no preview signal and bypassing the lathe's margin-control computer. In doing so, he cut these sides the same way the original LP was cut by George Piros, who was Fine Recording Inc's VP and head of mastering. As with the original LP, no "sweetening" equalization or dynamic range control was used.

Hungarian-American cellist János Starker epitomized refined elegance and superbly subtle bow work. Starker, who died in April 2013, was one of the 20th century's most renowned cellists. The Dvorak Cello Concerto and Bruch's Kol Nidrei were recorded July 6, 7 and 10, 1962 at Watford Town Hall outside London. Three Schoeps M210 microphones, set in omnidirectional pattern, were hung across the front of the orchestra, with the players positioned on the floor of the hall in order to best utilize its acoustics.

The microphones direct fed 3-track recorders: a 1/2" tape machine and a 35mm magnetic film recorder. Both first-generation tapes and first-generation films were edited into production masters. At the original session, Wilma Cozart Fine was the Recording Director, Harold Lawrence was the Musical Supervisor, C. Robert Fine was the Chief Engineer and Technical Supervisor, and Robert Eberenz was the Associate Engineer.

The original LP was cut from the 35mm film, and the Mercury Living Presence logo on the front cover included the 35mm designation. Over time, the 35mm mag-film material deteriorated and the master is now not in good playable condition. Meanwhile, the 1/2" magnetic tape has held up well and still sounds as good as the day it was recorded.

This 2LP set, cut at 45 RPM, allows for the full dynamics present on the master tapes to shine through masterfully, as the wider-spaced grooves let your stereo cartridge track more accurately. Stoughton Printing old-style tip-on gatefold jacket. Plated and pressed at Quality Record Pressings, makers of the world's finest-sounding LPs.

 

Side 1

Antonin Dvork

Opus 104

Allegro

Side 2

Antonin Dvork

Opus 104

Adagio ma non troppo

Side 3

Antonin Dvork

Opus 104

Finale. Allegro moderato

Side 4

Max Bruch

Kol Nidrei, Opus 47

Customer Reviews (5.00 Stars) 4 person(s) rated this product.

Calm and Explosive posted on 11/03/2022 5 Stars Reviewer: Brian VanPelt The pressing is very quiet. I played this album much louder than normal specifically to listen for surface noise. Speakers Corner (SC) also has this record, but my copy of the SC version has a lot of surface noise, which is unfortunate, because large segments of the album are fairly low in volume, so any surface noise will be heard. I cannot listen through the SC version of this album. Now, this QRP pressed Starker album is extraordinary. First of all, Starker's violoncello is perfectly captured, with beautiful tone. The bass seems to extend to the subsonic. There are a few times. like at the end of side 3, when the orchestra explodes all of the sudden; that is worth the price of admission alone. It is cool to have a solo cello for long stretch, then out of nowhere, an entire orchestra plays at once, which is something to be heard. This is an excellent release. Low noise, great dynamics.

Astonishing! posted on 12/30/2021 5 Stars Reviewer: Gordon Johnson I never once ever thought I'd hear this recording quite like this, astonishing! I should have invested sooner, at the very least it would have saved the outlay on an SACD. The downside would be finding another 45rpm pressing that comes close to this, from the mastering through plating and onto pressing, here we have a worthy support for one of Starker's standout performances. Don't own it? Then that leads to one more question, why not?

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