Sold Date: November 1, 2022
Start Date: October 25, 2022
Final Price: $23.99 (USD)
Seller Feedback: 36903
Buyer Feedback: 0

This item is not for sale. Gripsweat is an archive of past sales and auctions, none of the items are available for purchase.

Mahler - Chicago Symphony Orchestra*, Georg Solti • Yvonne Minton – Symphony No. 5 In C# Minor / Songs From Des Knaben Wunderhorn Label:Decca – SET 471-2 Format: 2 x Vinyl Box Set Country:UK Released:1971 Genre:Classical Style:Neo-Romantic, Modern Tracklist Symphony No. 5 In C Sharp Minor A1Part 1. First Movement: Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt A2Part 1. Second Movement: Stürmisch Bewegt, Mit Grosster Vehemenz BPart 2. Third Movement: Scherzo. Kräftig, Nicht Zu Schnell C1Part 3. Fouth Movement: Adagietto. Sehr Langsam C2Part 3. Fifth Movement: Rondo-Finale. Allegro Songs From Des Knaben Wunderhorn D1Das Irdische Leben D2Verlor’ne Müh D3Wo Die Schönen Trompeten Blasen D4Rheinlegendchen Companies, etc. Record Company – The Decca Record Company Limited Printed By – Moore & Matthes Ltd. Lacquer Cut at – Decca Studios Pressed By – Decca Record Co. Ltd., Pressing Plant, UK. Credits Composed By – Gustav Mahler Conductor – Georg Solti Contralto Vocals – Yvonne Minton (tracks: D1 to D4) Design [Box Front And Booklet] – Decca Record Publicity Art Department* Horn [Solo] – Dale Clevenger (tracks: B) Lacquer Cut By – W (12) Liner Notes ["Georg Solti & The Chicago Symphony Orchestra"] – Roger Dettmer Liner Notes [Mahler's 5th] – Deryck Cooke Orchestra – Chicago Symphony Orchestra* Painting [Box Cover] – William Blake Photography By [Georg Solti] – Anthony Altaffer Photography By [Rodin's Bust Of Mahler] – Hans Wild (2) Text By [Booklet: English Translation Of Sung Texts] – Friedel Becker Trumpet [Solo] – Adolph Herseth (tracks: A1) Notes Box set with a laminated front cover, includes a 12-page booklet. Booklet info: Uncredited biographies on Gustav Mahler, Georg Solti and Yvonne Minton. Credited liner notes on "Georg Solti & The Chicago Symphony Orchestra" and on Mahler's 5th. All liner notes in English, only. Texts of "Songs From Des Knaben Wunderhorn" in German, with English credited translation. Printed in England by Moore & Matthes Ltd. Spine string: " Mahler: Symphony No. 5 / Songs From Des Knaben Wunderhorn DECCA Stereo SET 471-2". Center-labels info: Plumb label w/Silver text. DECCA’s “ffss Full Frequency Stereophonic Sound ffss” silver SmallBand on top of spindle hole. Copyrights rim text in English with "Made in England • The Decca Record Co. Ltd." on top. Matrix numbers printed on top of cat#.  Side identifier at the left of spindle hole with Decca 'Musical Notes' logo, all sides, at left.   ℗ 1970 (all labels) on bottom.. Inner sleeve: "10-71 Made In England R.S."  

UK DOUBLE VINYL ALBUM IN BOX WITH BOOKLET AND ORIGINAL COMPANY INNER SLEEVE.

BOX: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.   BOOKLET EXCELLENT MINUS. INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISC: VERY GOOD+. NO SCRATCHES, JUST A FEW LIGHT HAIRLINES. CLEAN LABELS.

Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?

First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.

First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are clearer, the music tends to sound more ‘alive’ and vibrant and you 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.