Most rarest LSC since it followed MERCURY’s SR-90054 1812/Dorati release. The 1812 originally released in 1956 as the LM-1999, but when the Dorati came out in 1958, Victor tried to match that release with Reiner’s recording, but the Reiner couldn’t hold a candle to the SR-90054, thus if faded into obscurity. Thus with limited pressings, if one found, this would be a 1s/1s pressing.
Thanks for the great comment. My pressing of this one is indeed 1S/1S. I haven’t yet done a comparison of it with the Dorati 1812 on Mercury, but I have many copies of that record, so I’ll have to do so soon. Fun!
The 1812 on this record is interesting, because it’s done completely without special effects (i.e., the cannon fire is done with bass drum), but it, for me, is severely disfigured by a big cut. Why the decision was made to cut out a chunk of the music, I can’t imagine. And I wonder why the Brahms Tragic Overture was never joined with Symphony No. 3 to match the mono version of that release.
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Most rarest LSC since it followed MERCURY’s SR-90054 1812/Dorati release. The 1812 originally released in 1956 as the LM-1999, but when the Dorati came out in 1958, Victor tried to match that release with Reiner’s recording, but the Reiner couldn’t hold a candle to the SR-90054, thus if faded into obscurity. Thus with limited pressings, if one found, this would be a 1s/1s pressing.
Hi, op712.
Thanks for the great comment. My pressing of this one is indeed 1S/1S. I haven’t yet done a comparison of it with the Dorati 1812 on Mercury, but I have many copies of that record, so I’ll have to do so soon. Fun!
The 1812 on this record is interesting, because it’s done completely without special effects (i.e., the cannon fire is done with bass drum), but it, for me, is severely disfigured by a big cut. Why the decision was made to cut out a chunk of the music, I can’t imagine. And I wonder why the Brahms Tragic Overture was never joined with Symphony No. 3 to match the mono version of that release.