Johnson is) is matched by the performance. The music will speak for itself, but the superlative sound (what a conjuror Prof. Like all great LP productions, Arnold:Overtures is the perfect trifecta-music, sound, and performance. But both men told me what a lovely fellow he was, and, when focused, was ready to discuss music of all kinds.Д«ack to the gem. Sadly, for much of the 50s, 60s and 70s, Arnold suffered from severe depression and alcoholism. My father and Audiophilia writer Harry Curry got to work with Arnold in the late 50s he promised to write a piece for their jazz vocal group, The Concords. He was also a great lover of jazz, and the idiom influences much of his music. His film music is legendary, and he wrote many popular orchestral works, including nine symphonies. Arnold, already famous with audiophiles for his 'Dances' albums on magnificent EMIs and Lyritas and Overture to 'Tam O'Shanter'В on the famous Witches' Brew LSC, began his musical career as principal trumpet of the orchestra sitting before him on this recording. You'll hear melodies aplenty with glorious harmonies and intriguing rhythms. The music by England's great classical and film composer Malcolm Arnold (1921-2006), is splendid. For that, we should be ever thankful to HP and his magazine. Johnson's company)В with Snell Type B and modified Quad loudspeakers served as Reference's reference.ДЄ grant from The Absolute Sound helped get the production off the ground. A Versa Dynamics Model 1 Turntable with Lyra Clavis cart, specially modified CD player (think 1991), Spectral electronics (Prof.

The team was the regular Reference RecordingsвЂ™ wonderful cast of characters, headed by engineer Prof. In any case, the recording took place August 14 and 16, 1991. The London Philharmonic is so brilliant, they probably read through the repertoire with the red light on during the rehearsal then completed the rest with 'patch' sessions. It was probably bad enough to hoof it up to Watford (not London's most comely borough end of the line tube,В lousy roads or an expensive train), so a happy band gets the job done better and faster. A perfect amount of bloom, with volume in width and height and superb acoustics for massive and minuscule dynamics, and, most probably, a good canteen/bar for the orchestra's break (a very important factor, if you've ever worked with Brit bands). I'm not sure why London has the world's worst concert halls but the best recording locations-Watford Town Hall ensures spectacular sounds on this LP. Location, music, artists, repertoire, timing, producer and engineer. While we're here, let's look at why this album is so special. That said, I'm sure many of you have one for stardom.В Please comment below. The primary reason I'm writing this article is to give a copy of this brilliant album (newly remastered and pressed by Reference Recordings) to one of our readers, not simply to give you my nominee for heavenly vinyl status. Arnold: Overtures with the composer, Malcolm Arnold conducting the London Philharmonic Orchestra on Reference Recordings.

Reiner/Chicago has to have a couple of LSCs in there, right? But, you know, there is one,В no matter the year, the month, the day, the mood, which always places itself first among equals, pushed to the front of my line by its brilliance and unquantifiable musical kismet. Yet, to myself, Bill Evans' Waltz for Debby sometimes shoots to the front of my cerebral cortex or Dorati's LSO Firebird on Mercury. I always respond with it's too difficult to choose.

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