Kiril Methodius

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.

RCO - Anthology of the Royal Concertgebouw Orchestra, Volume 4, 1970-1980 (2006) {14CD Box Set, RCO 06004} (Complete Artwork)
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 5.16 Gb | MP3 @320 -> 2.42 Gb
Full Artwork @ 600 dpi (jpg) -> 362 Mb | 5% repair rar
© 1970-80, 2006 Radio Netherlands Music / RCO LIve | RCO 06004
Classical / Orchestral

Naturally, this 14-disc set of live recordings of the Concertgebouw Orchestra from 1970 through 1980 is only for the hardest of hardcore collectors. Who else would be interested in a collection that mixes Beethoven with Boulez, Baird and Berio, Tchaikovsky with Lutoslawski, Ginastera and Caplet, Rachmaninov with Reger, and Martin and Walton? But for the hardest of the hardcore, this set will be filled with delights. Where else could one find Karel Ancerl's suave account of Haydn's "Oxford" Symphony, Eugen Jochum's sweet account of Reger's Serenade in G major, Kiril Kondrashin's thrilling account of Sibelius' En Saga, Elly Ameling's seductive account of Berg's Der Wein, or Paul Badura-Skoda's evocative account of Martin's Second Piano Concerto?