Label: Analogue Productions – AAPC 2367 (LSC-2367 RCA Living Stereo )
AAA 100% Analogue, Mastered By Ryan Smith at Sterling Sound
Limited Edition – Pressed at QRP Quality Record Pressings
The Absolute Sound Super Disc List – TAS Harry Pearson Super LP List
If you intend to own but a single classical record in your collection, make it this one.Sound 9/10 Music 9/10 Analogue Planet Michael Fremmer
Winner of a Gruvy Award, chosen by AnalogPlanet’s editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed.
This is a disc whose sonics I have never been wild about (though it was always one of HP’sfavorites). My complaint was the cavernous hole in stage center, which made Earl Wild’s piano sound tiny, distant, and swamped withreverberation. Here mastering magic has been done by Kassem and his crew. The central piano track, apparently not properly mixed(or mixed at all) back in ’59, has been given the prominence it should always have had Don’t worry: The “stage” ambience (usually a bit of a misnomer, given that the BPO was seldom recorded on the stage of Symphony Hall, more often in the “orchestra section” of the hall, after the first-floor seats had been removed and the balcony seats damped with blankets) has not been lost; it’s just no longer overcooked, making a scintillating performance that much more immediate and exciting – TheAbsoluteSound
With Rhapsody in Blue, George Gershwin, a popular songwriter, established himself as a serious composer.
His American in Paris tells the story of a trip through the streets and cafes of France.
A first rate orchestra (The Boston Pops), a distinguished conductor (Arthur Fiedler), and a superb pianist (Earl Wild) combine to make this recording something to be treasured.