EPIC LP BC 1009: SCHUBERT - Symphony No 7 - SZELL, OOP 1960s CAN
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Background on this item -
George Szell (June 7, 1897 – July 30, 1970), originally György Széll, György Endre Szél, or Georg Szell, was a Hungarian-born American conductor and composer. He is remembered today for his long and successful tenure as music director of the Cleveland Orchestra, and for the recordings of the standard classical repertoire he made in Cleveland and with other orchestras.

Szell came to Cleveland in 1946 to take over a respected if undersized orchestra, which was struggling to recover from the disruptions of World War II. By the time of his death he was credited, to quote the critic Donal Henahan, with having built it into "what many critics regarded as the world's keenest symphonic instrument." Through his recordings, Szell has remained a presence in the classical music world long after his death, and his name remains synonymous with that of the Cleveland Orchestra. While on tour with the Orchestra in the late 1980s, then-Music Director Christoph von Dohnányi remarked, "We give a great concert, and George Szell gets a great review."

Szell was born in Budapest but grew up in Vienna. He began his formal music training as a pianist, studying with Richard Robert. One of Robert's other students was Rudolf Serkin; Szell and Serkin became lifelong friends and musical collaborators. In addition to the piano, Szell studied composition with Eusebius Mandyczewski (a personal friend of Brahms), and with Max Reger for a brief period. Although his work as a composer is virtually unknown today, when he was fourteen Szell signed a ten-year exclusive publishing contract with Universal Edition in Vienna. In addition to writing original pieces, he arranged Bedřich Smetana's String Quartet No. 1, From My Life, for orchestra.

At age eleven, Szell began touring Europe as a pianist and composer, making his London debut at that age. Newspapers declared him "the next Mozart."  Throughout his teenage years he performed with orchestras in this dual role, eventually making appearances as composer, pianist and conductor, as he did with the Berlin Philharmonic at age seventeen.

Szell quickly realized that he was never going to make a career out of being a composer or pianist, and that he much preferred the artistic control he could achieve as a conductor. He made an unplanned public conducting debut when he was seventeen, while vacationing with his family at a summer resort. The Vienna Symphony's conductor had injured his arm, and Szell was asked to substitute. Szell quickly turned to conducting full-time. Though he abandoned composing, throughout the rest of his life he occasionally played the piano with chamber ensembles and as an accompanist. Despite his rare appearances as a pianist after his teens, he remained in good form. During his Cleveland years he occasionally would demonstrate to guest pianists how he thought they should play a certain passage.

In 1915, at the age of 18, Szell won an appointment with Berlin's Royal Court Opera (now known as the Staatsoper). There, he was befriended by its Music Director, Richard Strauss. Strauss instantly recognized Szell's talent and was particularly impressed with how well the teenager conducted Strauss's music. Strauss once said that he could die a happy man knowing that there was someone who performed his music so perfectly. In fact, Szell ended up conducting part of the world premiere recording of Don Juan for Strauss. The composer had arranged for Szell to rehearse the orchestra for him, but having overslept, showed up an hour late to the recording session. Since the recording session was already paid for, and only Szell was there, Szell conducted the first half of the recording (since no more than four minutes of music could fit onto one side of a 78, the music was broken up into four sections). Strauss arrived as Szell was finishing conducting the second part; he exclaimed that what he heard was so good that it could go out under his own name. Strauss went on to record the last two parts, leaving the Szell-conducted half as part of the full world premiere recording of Don Juan.

Szell credited Strauss as being a major influence on his conducting style. Much of his baton technique, the Cleveland Orchestra’s lean, transparent sound, and Szell's willingness to be an orchestra builder all came from Strauss. The two remained friends after Szell left the Royal Court Opera in 1919; even after World War II, when Szell had settled in the United States, Strauss kept track of how his protégé was doing.

In the fifteen years during and after World War I Szell worked with opera houses and orchestras in Europe: in Berlin, Strasbourg — where he succeeded Otto Klemperer at the Municipal Theatre — Prague, Darmstadt, Düsseldorf, and Glasgow, before becoming principal conductor, in 1924, of the Berlin Staatsoper, which had replaced the Royal Opera. In 1930, Szell made his United States debut with the Saint Louis Symphony Orchestra. At this time he was better known as an opera conductor than an orchestral one.

EPIC Records LP item - YELLOW record labels with BLACK lettering (see pictures)
Record Made in CANADA
Pressing is in STEREO
Record Speed: 33 1/3 rpm
Record Made in: 1960s
Record Catalog Number: BC 1009

This listing is for a very rare, out of print LP featuring the music of -
Franz SCHUBERT

Performers on this disc include -
George Szell, conductor
The Cleveland Orchestra

Music and/or LP Title -
Symphony No. 7 in C Major

CONDITION Details:
LP JACKET:
The LP jacket is in Near Mint minus condition.
There are NO seam splits - the jacket is completely intact, and shows only some very mild shelf wear, primarily at the seams and corners.  
The jacket has NO drill holes or saw marks of any kind - see pictures with this listing for more detail.  
The jacket has NO hand writing on the front, but the back of the jacket has a price written on it using black marker at the top, left corner - see the pictures with this listing for more details.
The cover has clean and sharp colors - see pictures with this listing for more detail.

The LP (vinyl) itself:
The LP is in NEAR MINT minus condition!
The LP retains most of the original gloss and sheen!
The record has NO visible marks that we could discern - obviously well taken care of.  
This is the copy you have always wanted in your collection - any picky audiophile or collector should be happy with this one.
The LP may have a slight spider mark or two (caused by sliding the LP in and out of the inner sleeve and are usually not audible on most audio systems, depending of course, on the sensitivity of your turntable, arm and cartridge).
We play tested the LP on our audio system and it performed in Near Mint minus condition for a record of this vintage.  
There are NO significant spindle marks on the record labels.

Please understand that this is a vintage LP record - as such, one cannot expect the vinyl to sound like a brand new, audiophile pressing! Some noise is inevitable - for best results, always properly clean your LPs before playing them (even brand new LPs).

The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

A Short Note About LP GRADING -
Mint {M} = Only used for sealed items.
Near Mint {NM} = Virtually flawless in every way.
Near Mint Minus {NM-} = Item has some minor imperfections, some audible.
Excellent {EXC} = Item obviously played and enjoyed with some noise.
Very Good Plus {VG+} = Many more imperfections which are noticeable and obtrusive.

Don't let this rarity slip by!!!

  • Item #: EPIC LP BC 1009 NM
  • Manufacturer: Epic Records
  • Condition: Used

EPIC LP BC 1009: SCHUBERT - Symphony No 7 - SZELL, OOP 1960s CAN

Price: $29.99
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