LIVING STEREO SHADED DOG LP REINER FESTIVAL LSC-2423 1S

$

150

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·       FESTIVAL: THE WORKS OF RUSSIAN SCHOOL MASTERS: KABALEVSKY; BORODIN; TCHAIKOVSKY; MOUSSORGSKY AND GLINKA – FRITZ REINER CONDUCTING THE CHICAGO SYMPHONY ORCHESTRA.

·       ORIGINAL 1960 "RCA VICTOR LIVING STEREO" AUDIOPHILE, EXTENDED DYNAMIC RANGE, ANALOG VINYL LP LSC-2423

·       ORIGINAL U.S. PRESSING

·       ORIGINAL RED "SHADED DOG" RCA VICTOR LIVING STEREO LABEL WITH SILVER PRINT

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       BEAUTIFUL, WEAR-FREE LABELS

·       MATRIX STAMP IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD: K2RY-6712-1S (SIDE 1) AND K2RY-6713-1S (SIDE 2)

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       ORIGINAL DIE-CUT COVER.

·       CLEAN, WEAR-FREE LABELS

·       This album is NOT:

-        (a) later "dynagroove" living stereo (1963-64)

-        (b) later pressing on a "white top" doggie label (1964-66)

-        (c) any subsequent pressing made after 1966;

THIS IS THE GENUINE, AUTHENTIC, LIVING STEREO ALBUM.

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you'll get. GUARANTEED!)

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Side 1

KABALEVSKY

Colas Breugnon, Op. 24: Overture

TCHAIKOVSKY

Marche slave

BORODIN

Prince Igor: Act III: Polovski March

Side 2

MOUSSORGSKY

A Night on Bare Mountain

TCHAIKOVSKY

Marche miniature (from Suite No. 1 in D minor, Op. 43)

GLINKA

Russlan and Ludmilla: Overture

ORIGINAL LINER NOTES:

Several decades ago, in the first wild flush of enthusiasm for the novels of Dostoievsky, Turgenev and Tolstoy, an American scholar remarked that Russian fiction was like German music—"the best in the world." Whatever the truth of the twofold pronouncement, and most of us would not hesitate to subscribe to it if by German music we included Austrian music too, it implies a quality of strong universal appeal in Russian fiction. This appeal derived, in large part, from its confiding warmth and profound involvement in the human condition. There is nothing abstract or impersonal about the great Russian novels. They generate an immediate impact of feeling. Their pages throb with eager life and a passionate search for meaning and fulfillment. Conflict is enacted against a backdrop of measureless night and icy stillness. And over the Slavic expanse, from time to time, come echoes of a sensuous and inviting Orient.

So, in many ways, with Russian music. Perhaps not, all things considered, "the best in the world," but certainly, if one is to judge from audience polls of concert preferences, among the most enduring music in popularity. At its most characteristic, Russian music makes a direct and emphatic appeal. If questioned, thousands of music lovers everywhere would admit having been first drawn to the concert repertory through some overture, march, concerto or symphony by a Russian composer, in all likelihood Tchaikovsky. Like Russian fiction, Russian music seems always to be excited about something, constantly on the move toward some coveted goal. Momentum gathers as in a well-told story or drama. Whether it be a tone poem to a Shakespearean theme or a symphony with only a number to guide us, we are at once inveigled into a glowing circle of suspense and anticipation. Some tumultuous action is underway, maybe the grim pounding spectacle of marching masses, maybe a piano on a high adventure of the spirit.

Name your Russian composer, of those grouped here Tchaikovsky, Borodin, Moussorgsky, Glinka, Kabalevsky—and see for yourself if this isn't so. At the heart of each composition is a sustained pulse of excitement of some kind. In the overtures of Glinka and Kabalevsky a buoyant, even gay, exuberance provides the impetus. Theme and rhythm bustle ahead spiritedly, as if to stop were to wither and die. The melodies are coiling threads of grace slipping in and out of the swift fabric. Not a moment is lost in the hearty commotion that subsides only with the last chord. Both these overtures, one from the beginnings of Russian music-Glinka's Russlan and Ludmilla, one from the energetic new Russia of today— Kabalevsky's Colas Breugnon, are living entities of bounding gusto and bracing freshness.

Excitement of another order surges through Moussorgsky's flashing tapestry of a Witches' Sabbath. Jagged lightning rips across a spectral landscape. Dances of grotesque savagery follow in ghostly sequence. Through the wild night ring the grisly cries of hideous demons. A bewitched orchestra has sprung into unearthly life. Amid ominous shimmers and lurid flashes the Black Mass is celebrated. Suddenly there is a strange calm, of gentler spirits urging peace. But the frenzy returns, as strings, winds, brasses and drums once more go berserk. Finally a church bell sounds, and the foul hosts of evil fade back into the night. A clarinet chants a matchless theme of solace. Dawn spreads its mantle over the quiet scene. Once again the orchestra serves as a giant narrator endowed with infinite resources to compel attention. This is one of the great ghost stories of symphonic music, told with demonic effects of violins, woodwinds and brasses far beyond the reach of words. In its teeming color, crashing climaxes, folkish cut of theme and ceaseless tension, Night on Bare Mountain is Russian to the core.

So is Tchaikovsky's Marche slave. Mingled here with catchy Serbian tunes and the Russian anthem is a broad somber theme of inexorable motion, as of a grumbling continent on the march. Many would gladly vote this com- position their favorite concert march, after making due obeisance to Beethoven, Schubert, Wagner, Elgar, Prokofieff and our own inimitable Sousa. No less Slavic, but with the added bite of Tartar barbarism is the savage Polovskian march that opens the third act of Prince Igor and in the opera house is joined by the chorus to signal the arrival of the fearsome Khan. Those who know only the wild and sensuous dances from this opera may thus add another exotic item to their Polovskian shelf.

A special note of interest to stereo listeners concerns the exquisitely scored Marche miniature from Tchaikovsky's Suite No. 1. The instruments called for are piccolo, two flutes, two oboes, two clarinets, glockenspiel, triangle and first and second violins. In the stereo version the music is heard from the left only, thus coinciding with the actual location of the "miniature" orchestra on stage.

-         LOUIS BIANCOLLI (1960)

***

"RCA Living Stereo" recordings - mostly classical, but also a handful of pop and easy listening titles - were made under the supervision of the most knowledgeable technicians and engineers on earth. The sound is simply amazing. On mint or near mint copies , quiet passages are so quiet - and the surface noise so conspicuously absent - that you will not even realize that your stylus has hit the surface of the record until the music starts. The highs are high, and the lows are very low. You are going to need a subwoofer and a hypersensitive tweeter to express some of these tonal ranges appropriately. This is the music for the ears, heart, soul, mind and guts alike.

THIS IS A NO-RESERVE AUCTION!

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·                               CONDITION:

·                               RECORD

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we grade records under the strong, diffuse room light or discrete sunlight)

(a)            WE GRADE THE VINYL AS STRONG VG++, just a notch below NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)            The record is STILL in its original poly-lined stock inner sleeve, which has - apparently with success - shielded the vinyl from the harmful impact of elements over many years!

(c)             The record is apparently pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(d)            Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

(e)             Stereo pressing of this title is much rarer, and by far more preferable to its mono counterpart. The mix is more graphic, the sound resolution more precise, and the channel separation (which does not exist on mono version) adds a whole new dimension to the music. Also, the stereo mixes are (by definition) somewhat different than on the mono version. We estimate that mono copies of this album outnumber stereo copies by a ratio of at least 5:1.

(f)              Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER

THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-         Cover has some light ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and 10 being the most severe), we assess the severity of ring wear as 2 (front side) and 3 (back side)

-         Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record), probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearance to a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.

-         Cover shows some light yellowing on back side, apparently from aging.

-         Cover has a visible wrinkle (crease) in the cardboard base on the front panel

-         Cover has a small peel-off mark, probably from the careless removal of the price sticker (delicately camouflaged with a like-colored [black] marker; less than ¼ square inch in size).

NO OTHER IMPERFECTIONS ON THE COVER:

-         No split seams

-         No cut-out (drill) holes.

-         No cut-out corners

-         No saw-marks or indents

-         No stamps

-         No tearing: no chips, dents or nicks on the seams

-         No stains

-         No mold or mildew spots

-         No stickers or labels

-         No water damage

-         No razor marks, scratches, pressure marks, lines, streaks, or cuts.

-         No warping

-         No wax, glue, paint or liquid drops on the cover

-         No glue traces or wax residue.

-         No bar codes

-         No RIAA stamps or stickers.

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Generally, US POSTAGE is $5.80 FOR THE FIRST ITEM shipped via USPS PRIORITY MAIL (this includes a small $1.00 packaging surcharge).

INTERNATIONAL POSTAGE- and insurance rates vary from country to country. For SPECIFIC international and domestic postage and insurance rates ►click here. While you can be rest assured that our packaging is careful, sturdy and impact-proof, please note we are NOT responsible for uninsured items.

Media- and Surface Mail rates are available ONLY to orders of $200.00 or more. NO EXCEPTIONS.

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OUR REFUND POLICY :

Cash refund will be granted only for DEFECTIVE items, but we are flexible and reasonable in reviewing the merits of each individual case. We do NOT play-grade records and can only make reasonable inference on the item's condition based on its visual appearance. Every bid carries a risk that purchased item might play worse than its visual grade may indicate. Still sealed items MUST be returned sealed in order to be eligible for a refund. Please read our complete refund policy before placing a bid. ►Click here for the full text of our policy .

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