Originally posted on February 25, 2017, repeatedly updated in March to include results of further research. Various additions made in January-February 2018 following readers’ comments. Update 2 August 2019 to include recently published high-resolution downloads.
You can skip the introduction and jump directly to the discographies:
– of Omega’s CD reissues (1994-1997)
– of Omega’s SACDs (2000-2002)
– of DCC’s 180g LPs (1994-7)
– of Madacy Records (2006)
– of Classic Records dual DVD-CDs (2008-2010)
– of Classic Records 200g LPs
– of King Records’ SACDs (2014-2016)
– of Countdown Media’s high resolution downloads and on-demand CD-Rs (2014-2016)
Everest started out in the early days of stereo (first releases end of 1958) as an audiophile label established by earlier sound engineer become electronics inventor and businessman Harry Belock (his main company, Belock Instrument Corporation, dealt in missiles, guidance control, instruments and computers), who recorded (with his sound engineer and producer Bert Whyte) on 35mm three-track magnetic film rather than on the customary half-inch tape. The investments were huge and, despite the glowing reviews, the sales were slow, so in 1962 (not 1960 as Wikipedia claims, or mid-1961 as claimed by other sources) it was the end of that short (but later to acquire legendary status) adventure. The company’s assets were sold: in March 1961, the Belock studio in Bayside, Queens, and recording equipment (including the unused 35mm film) to another sound engineer, Robert Fine, who put them to great use for the labels Mercury Living Presence and Command; and, in February 1962, the Everest company, including copyrights and physical supports, to businessman Bernard (“Bernie”) Solomon (1927-2007). Some sources (including Wikipedia) say that Solomon was Belock’s accountant, but although he was a CPA, this is not true. His main experience in music before the acquisition of Everest was being the business manager of singer Gene Autry and Autry’s own publishing/licensing companies, and the founder, in 1959, of the Diners’ Record Club (which closed its operations in 1963). It is Belock Instruments Corporation’s purchase of the Record Club in April 1961 that first got Solomon in contact with Everest – yes, by way of paradox, it is Everest that bought Solomon before Solomon bought Everest. All these historical minutiae are drawn from contemporary reports in The Billboard, and they can be considered the most accurate information about the passing of Everest from Belock to Solomon. For more about the early history of Everest as recounted by contemporary sources, see here (link will open a new tab). Over the years, Solomon added the labels Counterpoint/Esoteric, Concert Disc (originally the label of the Fine Arts Quartet – see my discography of Concert Disc and its predecessors, Webcor and Concertapes), Baroque (of Montreal) and others to the roster of labels under his control.
Solomon’s obituary reveals that he was also a great art collector. Had I known that the business of selling records could lead you to this, I would have done so myself rather than spending a life and a fortune on the buyer’s side! That said, Everest-lovers can brand Bernie Solomon with the seal of infamy: he’s the guy who downgraded the original Everest super hi-fi recordings to cheap, badly pressed, low-sonic quality products for the supermarket – and his misdeeds in that respect continued way into the CD era, as will be evidenced hereafter.
Eventually, in the early 1990s, license to reissue and physical supports came in the hands of another Solomon, one who in turn deserves to be an object of worship from Everest fans: Seymour Solomon, through his company Omega Record Group. Seymour Solomon and his brother Maynard (no family relation to Bernard, although some sources claim otherwise, maybe through confusion between Bernard and Maynard) were the founders of Vanguard Classics in the early LP days and, in the early 1990s, his company Omega also owned Vanguard’s classical catalog (the non-classical part, including the prized recordings of Joan Baez which had assured Vanguard’s cash flow, had been sold out – but Vanguard is another story). Together with a substantial program of Vanguard reissues, Solomon reissued a batch of the original Everest recordings on CD, from 1994 to 1997, apparently transferred directly from the 35mm films (although, again, there are conflicting reports about this; it may have been from back-up three-track tapes), usually in stupendous hi-fi sound (and not just good “for the vintage”) that revealed to an entirely new generation (including myself) the sonic splendor of those original Everest recordings. Solomon also had plans in the early 2000s to issue some of those recordings in SACD form, but those plans were cut short after only two releases by his death in 2002. Omega folded after Solomon’s death and I have no information about what became of the digital masters he had made for his own reissues. Anyway nothing happened on the reissue front for a few years thereafter.
In the very years when Solomon was reissuing the Everest catalog, between 1994 and 1997, sound engineer and restorer Steve Hoffman published six Everest recordings on 180g LPs on the audiophile and now defunct Compact Classics label. In a private correspondence Steve gave me a few details about the sources he worked from, and he’s allowed me to quote him:
“Can’t remember too much but we licensed a bunch of stuff from Bernie S., jazz, pop, etc. including Everest stuff. Bernie had all the originals, some had been delivered to PolyGram in NJ for some reason (we got the Shost. Symp #2 [Steve means #5, Stokowski’s recording] back from them on the original three-track with edits) but most came from Bernie. He had the two track reductions, the 1/2″ stuff and the film. I remember that we had to deal with Omega for the last issue, the Shostakovich but I think by that time they had struck a deal with Bernie and so they had a bunch of stuff, PolyGram had a bunch, it was all over the place.
Thing is, there were 35mm originals, 35mm safeties, intermingled, scattered, in no order, some decomposing in metal cans, some lucky in plastic cans (so no bad chemical interaction). On one, we just used the two track reduction mix that was done in 1962, nothing else would play, can’t remember which album that was.
Regarding Everest titles that DCC did, I think there were only 6. We picked those because the sources were not totally messed up. But on a few of them we had to cut and paste from the 35mm to the two track and so on because segments were damaged. The Shost. #5 was the easiest, all there and I even included some studio chatter from the conductor to the orchestra at the beginning of side two.
Just remember (in ol’ Bernie’s defense) that music licenses back then (and even now) were NON-EXCLUSIVE. In other words, Bernie or Capitol or RCA or whomever, could license the same piece of music to 10 different companies at the same time. Nothing shady about that. But in Bernie’s case he actually sent the friggin’ masters out instead of making dupes! That was crazy.”
All those who heard them praised the sonic quality of those reissues, declaring that they sounded even better than the original Everest LP releases.
By 2006 the Everest copyrights and physical supports found themselves in the ownership of a Canadian firm, Madacy Entertainment, who had acquired them from Bernie Solomon, and were held by its subsidiary Countdown Media, essentially a licensing firm. The Krips Beethoven symphonies were remastered and published under the Madacy Records label in a “tin-can” box, but nothing else from the Everest treasury seems to have been directly exploited at the time by Madacy or Countdown Media. In 2011 Countdown Media and the Everest assets together with it were acquired by BMG, and they are still today in their possession.
In December 2008, on a forum from ARSC, the Association for Recorded Sound Collections, traces of which can be found online, the then President of the Licensing Division, Mark Jenkins, gave alarming news about the condition of the masters:
“The Everest 35mm masters were in VERY poor condition. The storage containers we received them in were decades old, rusty, and the vinegaring process had already started in many of them. They were immediately transferred to new stable containers; however, I have been unable to locate a few of the tapes that evidently (from what I have been told) had already deteriorated beyond retrieval prior to our purchase of them.
As for the other portions of the catalogue, certain areas (such as the Fine Arts Quartet recordings) were actually in fair condition, and many of these have already been transferred, and will eventually appear on digital retail sites such as classical.com. We’re still in the process of getting through all of the material in order to make it available again in disc-on-demand, as well as digital (and in some cases CD) formats.”
Yet, around that time, Madacy / Countdown licensed the rights and 35mm masters of a number of Everest recordings to Classic Records of Los Angeles, a prized audiophile label. Classic Records released a number of those recordings in dual form, DVD-audio with two channel 24/192 on one side & three-channel 24/96 on the other, and regular two-track CD. There were 17 releases by my count – the plans to issue the Beethoven symphonies by Joseph Krips apparently never materialized. About Classic Records (purchased in 2010 by Acoustic Sounds), see this and this. The acoustic results are said to be great, marred only by some amount of wow and flutter on some of the tapes, due to deterioration of the original masters. Classic Records’ main focus was in fact high-quality LPs, and they also released those recordings on 200g vinyl LPs. For the background to this, see here, the presentation of an ultra-rare test pressing of one LP from that series that sold on eBay on March 3, 2017.
Also in 2008, a number of Everest recordings reappeared on CD, now reissued by a British company, Harkit records (and said to be licensed from a Criterion Music Company, but both shared the same managing director), but usually in shorter programs than Seymour Solomon’s Omega CDs, not transferred from the magnetic films but from secondary supports of lesser quality, and sometimes, from personal experience and various reviews and comments online, in botched transfers. In fact, it turns out that Harkit’s reissues were illegitimate, made apparently from authorizations unduly given by Bernie Solomon and based on physical sources handed out by him, probably the same that served for his own, pre-Omega and sonically botched releases on his own Bescol label. See this and this.
Finally, from 2014 to 2016, King Records of Japan also reissued a number of Everest recordings on SACD. In a private correspondence from March 28, 2017, Lutz Rippe, Mastering Technician for classical music at Countdown Media, gave heartening news about the availability of the Everest catalog and the condition of the original masters:
“We have the original master tapes here in Hamburg which we used for the series of reissues which we started around 2010. These reissues include high resolution download versions (96kHz/24bit and 192kHz/24bit) including digital booklets, currently available on HDtracks, as well as Mastered for iTunes versions (including booklets) available on iTunes. CD versions are available from Amazon’s Disc-On-Demand service. The following internet page, which we have set up, gives an overview on the catalog and the availablity on iTunes and Amazon:
The Classic Records releases you mentioned were made by Bernie Grundman Mastering in Hollywood using the original master tapes, which we had provided for this project.
The King Records releases you mentioned in your Everest discography are based on our new digital transfers made here in Hamburg in the recent years from the original master tapes.
The condition of the tapes is somewhat varying but generally good to satisfying. As our 35mm playback machine is equipped with a very sophisticated laser shrinkage detector and a specially developed playback head we were able to get stunning results during our analog to digital transfers. Here is a short impression of this technique:
The program of reissues and high-resolution downloads indicated by Lutz Rippe is especially important, as it brings back, in addition to those recordings already reissued to CD in the mid-1990s by Seymour Solomon and by others in other formats, some of the other original Everest recordings which had NOT yet been reissued in state-of-the-art, high resolution transfers (a few are still missing though). I will give the list of those further down.
Of related interest is that Countdown is also in the process of reissuing parts of the Concert Disc catalog. As mentioned above, Concert Disc was originally the label of the Fine Arts Quartet of Chicago, and it issued a lot of recordings by the New York Woodwind Quintet also (and by both groups united). It first entered Everest’s purview through a distribution agreement still in the Belock era, and progressively got under Everest’s control in the Solomon days, although I haven’t been able to establish for sure if the label was actually sold at one point to Solomon. But some of the Concert Disc recordings found their way as reissues under the Everest moniker. This is why and how the Fine Arts’ complete Beethoven quartets cycle was reissued by Seymour Solomon’s Omega/Everest. For more on Concert Disc and its digital reissues, see my Concert Disc discography.
Excellent and obviously well-informed, though at times slightly inaccurate Wikipedia article on Everest (which I read only after initially posting this page, and which sent me asking Countdown Media for further information, which they very kindly provided). Also here and here (links will open .pdf documents in new tab), a very detailed article in two parts by David Patmore and Lonn Henrichsen on the history of Everest Records, kindly provided by Lutz Rippe and originally published by the magazine Classical Record Collector. I am taking the liberty of making them public here because, sadly, Alan Sanders’ magazine now seems defunct.
My discography then leaves out the infamous CD reissues by Harkit records, which are absolutely to be avoided (they should have been called Hackit, really). I heard the Harkit reissue of Rudolf Schwarz’ Mahler 5th Symphony, and it was a shameful mess (see below, under Omega’s “legitimate” reissue, 9032). So beware before you buy one of those Hakit reissues. Because they might easily be confused with Seymour Solomon’s state-of-the-art Omega reissues, the label logo you should be looking for is this:
I’ve also voluntarily avoided to mention any reissues by Bescol (the CD label of the ever infamous Bernie Solomon) – never heard any but from what I’ve read they were of greatly inferior sonic quality, coming from nth generation dubs.
In some cases however, the Everest recordings reissued in the mid-1990s by Seymour Solomon’s Omega had been previously reissued (in the late 1980s and early 1990s) on other labels, like Philips (in their Legendary Classics collection), EMI, Price-Less, Pantheon or Phoenix. When I’ve been able to compare, the transfers were okay, but not nearly as good as those of Omega. I’ve listed those previous reissues, or at least those I am aware of, as appendixes to my Omega discography. But frankly, they are only a stop-gap or B-plan to Omega’s state-of-the-art reissues or the later ones, whose prices on the primary or secondary market now tend to run pretty high.
For all I provide barcode information when it exists, because – here’s a priceless discographer’s tip –, due to the great vagaries of listing, this is the surest way to find the items on commercial websites.
I now have all those Solomon’s reissues (I took the occasion of working on the publication of this discography to buy the few issues that I was missing – found them at affordable prices too, inluding Stokowski’s Peter & the Wolf). They didn’t provide the recording dates – only the release dates, by month and year. I’ve tried to gather and provide the exact recording dates – still a work in progress. All those for the London Symphony Orchestra (LSO) and the London Philhamonic Orchestra (LPO) come from Philip Stuart’s two masterful discographies and can be considered authoritative. His LSO discography can be downloaded from CHARM, the Research Center for the History and Analysis of Recorded Music (addendum January 2022: and the latest, 2022 edition from the London Symphony Orchestra’s website). His previous LPO discography, from 1997, is a hard-covered, hard-book, published by Greenwood Press, and calls for an investment upon which no serious record collector can possibly flinch (ISBN 0-313-29136-5). (Addendum January 2022:) In 2021, Philip Stuart also published a chronological listing and discography of the Everest Belock 1958-1960 recordings, which, to the datings already provided in his two discographies of the London orchestras, adds datings – some of them, by the discographer’s own admission, tentative – of the American recordings, and a long introduction replete with information on the label’s history. It can be obtained for free here (when at top of the page, search “Everest – The Belock Recordings. A Chronological Discography by Philip Stuart”).
Dating for Stokowski is less precise but (January 2022 emendation) originally came from Enno Rikiena’s authoritative online Stokowski discography, and were the best we could have at the time, until someone came up with comprehensive discographies of the Houston Symphony Orchestra and the so-called “Stadium Symphony Orchestra”. The latter was long considered a contractual alias for the New York Philharmonic, but even James H. North, who did a comprehensive discography of the New York Philharmonic’s official recordings, confirmed in a private correspondence that he didn’t have that information, and so did Kevin Schottmann, the very kind archivist of the New York Philharmonic. Based on that absence of information from the official sources and other considerations, Philip Stuart, in his 2021 discography of the Everest Belock recordings, opined that it was in fact a pick-up orchestra of New York musicians, and came up with very precise datings of some of the sessions, and likewise for Stokowski’s Houston recordings, some of them at odds with those of Rikiena. Henceforth I will use Stuart’s datings.
Dating for William Steinberg’s apparently single session with Everest comes from his entry on Wikipedia (P.S. 29 January 2018: but see Frank’s comment below for precisions on that). The dating for Stravinsky’s Ebony Concerto (EVC 9049) comes from an online listing of Woody Herman and his band’s 1958 recording schedule for Everest. Dates are given in European style, dd/mm/yy.
Omega Everest CDs (1994-97)
Omega’s CD numbering started with the letters EVC. I have them all except 9050, the sampler. I’ve reviewed a few on Amazon.com, and until I find the time to import them here, I provide the links to the Amazon reviews: click on the label numbers in blue.
9000 Falla Three-Cornered Hat: Barbara Howitt, Enrique Jorda LSO (23-24/11/59) / Bartok Dance Suite: Ferencsik LPO (24-25/11/58) barcode 723918900025 (1994)
Bartok also on Price-Less D25335 (045863253323) with Kodaly Psalmus Hungaricus (9008)
9001 Vaughan Williams Symph. No. 9: Boult, LPO (26, 27, 29, 30/8/58) / Malcolm Arnold Symph. No. 3: Arnold, LPO (19/11/58) 723918900124 (1994)
Note, from Philip Stuart: “The composer [Vaughan Williams] had been expected to attend these sessions (as he had attended the Decca recordings of the previous symphonies) but he died in the early hours of 26 Aug 58, as Boult explained in a short spoken introduction to the record”.
Arnold also reissued in 1988 on Phoenix PHCD 102 (094629301020) with Scottish Dances (9006)
9002 Stravinsky Rite of Spring / Rachmaninoff Symphonic Dances: Goossens, LSO (28 & 30/10/59: Stravinsky), (25/8/58: Rachmaninoff) 723918900223 (1994)
Rachmaninoff also on Price-Less D 22654 (045863226525) with Khachaturian Gayaneh (9020)
9003 Copland Appalachian Spring, Gould Spirituals: Susskind, LSO (16 & 17/8/58) / Gershwin American in Paris: Steinberg Pittsburgh (13, 14, 16/2/60), 723918900322 (1994)
Gould also reissued in 1990 on Bay Cities BCD 1016 (094659101621) with Antheil Symph. No. 4 (9039); Gershwin also on Price-Less D 18347 (no barcode) with Rhapsody in Blue (9038) and Concerto in F (Eugene List-Samuel Adler, non-Everest)
9004 Strauss Don Juan, Till Eulenspiegel, Salomé’s Dance (Stadium SO New York 12/10/58), Thomas Canning Fantasy on a Hymn (Houston SO (30-31/3/60): Stokowski 723918900421 (1994)
Strauss also Price-Less D 1323X (no barcode) with Wagner Wotan’s Farewell (9024)
9005 Shostakovich Symph. No. 6: Boult, LPO (26, 27, 29, 30/8/58) / Symph. No. 9: Sargent, LSO (27/10/59) 723918900520 (1994)
9006 Vaughan Williams Job, Wasps-Overture: Boult, LPO (28/11/58: Job, 26, 27, 29, 30/8/58: Wasps) + Arnold Scottish Dances: Arnold, LPO (19/11/58) 723918900629 (1994)
Arnold also reissued in 1988 on Phoenix PHCD 102 (094629301020) with Symph. No. 3 (9001)
9007 Villa Lobos Little Train of the Caipira, Antill Corroboree, Ginastera Panambi ballet-suite op. 1a: Goossens, LSO (24 & 25/8/58), Estancia ballet-suite op. 8a (26/11/58) 723918900728
Villa Lobos & Ginastera also on Price-Less D 24924 (045863249227) with Villa Lobos (9023)
9008 Bartok Concerto for Orchestra: Stokowski Houston SO (30-31/3/60) / Kodaly Psalmus Hungaricus: Ferencsik LPO (24-25/11/58), 723918900827 (1994)
Psalmus also on Price-Less D25335 (045863253323) with Bartok Dance Suite (9000)
9009 Hindemith Violin Concerto: Joseph Fuchs, Goossens LSO (30-31/5/59), Symphony in E flat: Boult LPO (10-13/8/58) 723918900926 (1994)
9010/4 Beethoven Symphonies: Krips LSO (11-13, 16, 18-27/1/60) (Jennifer Vyvyan, Shirley Carter-Verrett, Rudolf Petrak, Donald Bell in Symph. No. 9) 723918901022 (1994)
CDs individually listed released as 9100 barcode 723918910024 (1,5), 9101 723918910123 (2,6), 9102 723918910222 (4,7), 9103 723918910321 (3,8), 9104 723918910420 (9)
9015 Liszt Sonata, Mephisto Waltz (release 3/61), Piano Concerto No. 1, Hungarian Fantasy (rel. 6/60): Jorge Bolet, Robert Irving, Symphony of the Air (“Jan-May? 1960” and “Jan-June? 1960” dating Philip Stuart) 723918901527 (1997)
Note: Funérailles, recorded at the same sessions, was not included in the Everest CD reissue, already filled to 71 minutes, but as a bonus track in 9043-4.
Also on Price-Less D 13221 (no barcode); Sonata and Mephisto Waltz reissued 2007 on Alto ALC 1011 (with Piano Concertos, Rochester Philharmonic, David Zinman), barcode 894640001110
9016 Brahms Symph. No. 3: Stokowski Houston (18/3/59) / Symph. No. 4: Steinberg Pittsburgh (13, 14, 16/2/60) 723918901626 (1995)
9017 Berlioz Symphonie Fantastique: Goossens LS0 (29-30/5/59) 723918901725 (1995)
9018 Respighi Pines, Fountains (Sargent LSO 21, 23, 24/10/59), Feste Romane (Goossens LSO 18/8/58) 723918901824 (1995)
Also on Price-Less D 24770 (045863247728)
9019 Prokofev Chout: Susskind, LSO (15/8/58) / Lt. Kijé: Sargent LSO (27/10/59) 723918901923 (1995)
9020 Khatchaturian Gayne Ballet Suite: Fistoulari LSO (2/11/59) 723918902029 (1995)
Also on Price-Less D 22654 (045863226525) with Rachmaninoff Symphonic Dances (9002)
9021 no issue. About this, Jerry Gennaro, whose request was the factor that set in motion the publication of this discography, provided in a private correspondence a very convincing explanation, noting that on the back of the sampler CD, EVC 9050, Sargent’s Pictures at an Exhibition had been assigned label number 9021. Apparently there was a change of plans and eventually it was published in a twofer, EVC 9043, but 9021 was not filled in by another release and remained orphan.
9022 Mahler Symph. No. 1: Boult LPO (10-13/8/58) 723918902227
9023 Villa Lobos Uirapuru, Bachiana Brasileira No. 1 “Modinha”, Prokofiev Cinderella-suite, Ugly Duckling, Debussy-Stokowski Children’s Corner: Stokowski Stadium SO New York (8/10/58: Villa Lobos, Cinderella, 3/10/58: Ugly Duckling, Debussy) 723918902326 (1995)
Villa Lobos also on Price-Less D 22924 (045863249227) with Villa Lobos & Ginastera (9007). Cinderella also on Price-Less D 22697 (045863226921) with Shostakovich Symph. No. 5 (9030)
9024 Wagner Walküre Wotan’s Farewell & Magic Fire Music, Parsifal Good Friday Spell & Act III Symphonic Synthesis: Stokowski Houston SO (30-31/3/60): Walküre), (25-26/3/59: Parsifal) 723918902425 (1995)
Wotan’s Farewell & MFM also on Price-Less D 1323X (no barcode) with Strauss (9004)
9025 Tchaikovsky Manfred Symphony: Goossens LSO (23, 26/5/59) / Sibelius Tapiola Tauno Hannikainen LSO (7/11/59) 723918902524 (1996)
9026 Mozart Serenade 11 + 12: New York Woodwind Soloists, Newell Jenkins (“Jun-Oct? 1959” dating Philip Stuart) 723918902623 (1996)
9027 The music of Foster, Kern (symphonic arrangements by Robert Russell Bennett), Berlin (symphonic arrangements by Raoul Poliakin): William Steinberg Pittsburgh SO (13, 14, 16/2/60, Foster & Kern), Raoul Poliakin & The Poliakin Orchestra & Chorale (rel. 3/60, Berlin) 723918902722 (1996)
9028 A Chopin Piano Recital (Polonaise op. 53, “Minute”-Waltz op. 64-1, Fantaisie-Impromptu op. posth. 66, Nocturne op. 9-2, Etude op. 10-12 “Revolutionary”, Polonaise op. 40-1 “Military”, Etude op. 10-3, Waltz op. 64-2, Prelude op. 28-15, Etude op. 10-5 “Black Key”): Jorge Bolet (“Apr-Jun? 1960” dating Philip Stuart) 723918902821
9029 Arthur Benjamin: Concerto quasi una fantasia, Concertino: Lamar Crowson, LSO, Benjamin (14/11/58) 723918902920 (1996)
9030 Shostakovich Symph. No. 5: Stokowski Stadium SO New York (1/10/58) 723918903026 (1996)
Also on Priceless D 22697 (045863226921) with Prokofiev Cinderella (9024), Philips Legendary Classics 422 306-2 (028942230620) w. Scriabin Poem of Ecstasy (9037)
9031 Invitation to the Waltz – Favorite Waltz Masterpieces: Weber Invitation to the Dance, Strauss Jr, Tchaikovsky, Berlioz, Richard Strauss Rosenkavalier-Waltz Medley. Raoul Poliakin, Stadium SO New York (“Dec? 1958” dating Philip Stuart) (+ complements by Sargent and Goossens) 723918903125 (1995)
9033 Strauss Heldenleben: Leopold Ludwig LSO (1-2/6/59) (+ Strauss Rosenkavalier-Waltzes: Poliakin -see 9031) 723918903323
9034 Lili Boulanger: Du Fond de l’Abîme, Psaume 24, Psaume 129, Vielle Prière Bouddhique, Pie Jesus. Oralia Dominguez, Lamoureux Orchestra, Igor Markevitch (“Aug-Dec 1958?” dating Philip Stuart) 723918903422 (1995)
Also reissued in 1992 by EMI Classics, Collection “L’Esprit français”, CDM 7 64281 2 barcode 077776428123
9035 Sibelius & Tchaikovsky Violin Concertos, Tchaikovsky Melodie op. 42 No. 3: Tossy Spivakovsky, Tauno Hannikainen LSO (5/11/59: Sibelius), Walter Goehr (9/11/59: Tchaikovsky) 723918903521 (1995)
9036 Johann Strauss Jr. A Night in Venice. Adaptation & lyrics by Ruth & Thomas Martin. Original Cast “of the memorable Michael Todd Production”, dir. Thomas Martin (“Dec 1958-Mar 1959?” dating Philip Stuart) 723918903620 (1995)
9037 Scriabin Poem of Ecstasy: Stokowski Houston SO (19/3/59) / Tchaikovksy Francesca da Rimini, Hamlet: Stadium SO New York (7/10/58) 723918903729 (1996)
Scriabin also Philips Legendary Classics 422 306-2 (028942230620) with Shostakovich Symph. No. 5 (9030), Pantheon D 1032X (no barcode); Tchaikovsky also on Price-Less D 25327 (045863253224)
9038 Ferde Grofé Grand Canyon Suite, Piano Concerto (world premiere recording, dedicated to and played by): Jesús María Sanromá, Rochester PO, Ferde Grofé (“Feb? 1960” dating Philip Stuart) / Gershwin Rhapsody in Blue: Jesus Maria Sanromá, Pittsburgh SO, William Steinberg (13, 14, 16/2/60) 723918903828 (1997)
Grofe also on Phlips Legendary Classics 422 304-2 (028942230422), Gershwin on Price-Less D 18347 (no barcode) with American in Paris (9003) and Concerto in F (Eugene List-Samuel Adler, non-Everest)
9039 Antheil Symph. No. 4: Goossens, LSO (12/11/58) / Copland Statements: Copland, LSO (17/11/58) 723918903927 (1996)
Antheil also reissued in 1990 on Bay Cities BCD 1016 (094659101621) with Gould Spirituals (9003)
9040 Copland Symph. No. 3, Billy the Kid: Copland LSO (17 & 18/11/58) 723918904023 (1996)
Also on Philips Legendary Classics 422 307-2 (028942230729)
9041 Chavez Symphonies Nos. 1, 2, 4: Stadium SO of New York, Chavez (“Dec 1958-Mar 1959?” dating Philip Stuart) 723918904122 (1996)
Also on Philips Legendary Classics 422 305-2 (028942230521)
9042 Stravinsky Petrushka, Symphony in 3 movements: Goossens, LSO (15 & 17/5/59, 27/8/58) 723918904221 (1996)
Also reissued in 1989 on Philips Legendary Classics 422 303-2 (028942230323) with Ebony Concerto (9049)
9043-4 (2 CD) Tchaikovsky Symph. No. 5 (20/5 & 3/6/59), Mussorgsky/Ravel Pictures at an Exhibition, Night on Bald Mountain (26/10/59), Prokofiev Symph No. 5 (18-29/5/59): Sargent LSO + bonus track Liszt Funérailles Bolet 0723918904320 (1997)
9045-6 Mozart S40: Ludwig LSO (21/11/59), Violin Concerto No. 3: Joseph Fuchs, Goossens LSO (2/6/59), Schubert S8: Ludwig LSO (17/11/59), Schumann Piano Concerto: Peter Katin Goossens LSO (26-28/5/59), Dvorak Symph. No. 9: Ludwig LSO (16/11/59) 0723918904528 (1997)
9047 Rimsky Sheherazade: Goossens LSO (1/11/59) + Encores: Raymond Paige, Stadium SO of New York (“Dec 1958-Mar 1959?” dating Philip Stuart) 723918904726 (1997)
9048 Prokofiev Peter and the Wolf: version with narrator (Captain Kangaroo-Bob Keeshan) and orchestral version only: Stokowski, Stadium SO New York (3/10/58) / Chopin-Stokowski Mazurka op. 17-4, Prelude op. 28-24, Walz op. 64-2 / Fikret Amirov Aserbaidjan Mugam: Stokowski, Houston SO (18/3/59: Amirov, 30-31/3/60: Chopin) 0723918904825 (1997)
Note: as on the original LP, SDBR 3043 (mono LPBR 6043) Peter and the Wolf comes in two versions: with narrator and orchestra alone
9049 Milhaud Création du Monde, Stravinsky Soldier’s Tale-suite: John Carewe, LSO Chamber Ensemble (13/11/58) / Ebony Concerto: Woody Herman & His Orchestra, John LaPorta (clarinet solo) (12/58) 723918904924 (1997)
Ebony Concerto also reissued in 1989 on Philips Legendary Classics 422 303-2 (028942230323) with Petrushka, Symphony in Three Movements (9042)
9050 The Sound of Everest (sampler) 723918905020 (1994)
9051-2 Beethoven Early Quartets (op. 18): Fine Arts Quartet (No 1 & 3 presumably recorded in 1959 or 1960, others between 1963 an 1966, re: the – not entirely accurate – discography of the Fine Arts Quartet) 723918905129 (1996)
Also on Pantheon D 22743 (045863227423)
Note: the Fine Arts Quartet’s Beethoven cycle was originally published on Concert Disc, the Fine Arts Quartet’s own label and later an affiliate label of Everest. The date 1969 given by the CD sets is that of the reissue of the complete quartets under the Everest moniker, SDBR 3255 but they were recorded between 1960 and 1965
9053-5 Beethoven Middle Quartets: Fine Arts (recorded 1965 or before) 723918905327 (1996)
Also on Pantheon 24835 (045863248329)
9056-8 Beethoven Late Quartets: Fine Arts (recorded summer 1963 except op. 131, presumably 1961, and Op. 127, presumably 1962) 723918905624 (1996).
Re review in High Fidelity July 1964: “The present set grows out of a complete cycle of the Beethoven quartets which the Fine Arts played in Chicago during the 1962-63 season. The recording of Op. 131 here included is that previously issued by the group [Concert Disc CS 211, 1961], and the remaining works were taped during the summer of 1963, prior to the departure of Mr Irving Ilmer as viola of the ensemble”. See also ad for Acoustic Research, Inc. in High Fidelity Feburary 1963, p. 37: “The Fine Arts Quartet has just recorded Beethoven’s Quartet in E flat major, Opus 127”.
Also on Pantheon D 25386 (045863253828)
9059 Mahler Symph. No. 9: Leopold Ludwig LSO (17-20/11/59) 723918905921 (1997)
9060 Khatchaturian Piano Concerto: Peter Katin, Hugo Rignold LSO (10/11/59) / Franck Variations Symphoniques: Peter Katin, Goossens LSO (26-28/5/59) 723918906027 (1997)
Omega Everest SACDs
VSD 504 Copand Appalachian Spring / Gould Spirituals SACD 0723918050461 (2000)
VSD 512 Villa Lobos Antill Gossens Everest SACD 0723918051260 (2002)
DCC 180g LPs (1994-7)
LPZ 1001 Tchaikovsky Francesca da Rimini, Hamlet Stokowski 010963100112 (1994)
LPZ 1002 Strauss Don Juan, Till, Stokowski 010963100211 (1994)
LPZ 1003 Villa Lobos Uirapuru, Prokofiev Cinderella 010963100310 (1994)
LPZ 2016 Shostakovich Symph. No. 5 Stokowski 010963201611 (1996)
LPZ 2034 Copland Appalachian Spring, Spirituals 010963203417 (1997)
LPZ 2035 Copland Billy The Kid, Statements 010963203516 (1997)
Madacy Records (2006)
TC2 52319: Beethoven: Complete Symphonies. LSO, Krips. 5 CDs in “Tin Can” box set, barcode 628261231928 (2006)
Thanks to “Ron” in the comments for calling my attention to this set. I had initially left it out from the discography, thinking it was one of those cheap and sonically abysmal reissues of Bernie Solomon. In a private correspondence, Lutz Rippe from Countdown Media confirmed that he was indeed the author of the remasterings “using the original 35mm tapes”. So by all means the reissue belongs to this discography. He added that he subsequently made further sonic improvements, and it is those improved versions that are used for the on-demand CDs from Countdown Media on sale on Amazon. To the best of his knowledge it’s the only Everest material that Madacy released at the time.
Post-script from 16 March 2023: on the friendly prompting of reader John Bar in the comments, I pulled out of my shelves the Tin Can edition, which I had acquired in the meanwhile, as well as the mystery “Fat Boy” edition also referred to in the comments, and made a comparative assessment of their respective sonics. The verdict is that the sonics of Tin Can are usually very similar, and possibly exactly the same, as those of Seymour Solomon’s 1994 Everest remastering. When there are differences, they are in the disfavor of Tin Can (less transparency), but they are slight and perceptible only in close comparative listening. The one disappointment appears to be the Finale of the 9th Symphony , perceptibly more opaque than its Everst counterpart – and I don’t hear such a sonic blemish in the other three movements. The Fat Boy edition is a cheap and sonically sub-par release that, as I anticipated, doesn’t belong to this discography.
Classic Records DVD + CD “under license from Countdown Media” (2008-2010)
“This HDAD+ package contains two discs, one is a two-sided DVD-10 containing two channel 24 bit/192 kHz data and three-channel 24 bit/96 kHz data on one side, playable on DVD Audio players, and on the other side two channel 24 bit 96 kHz data and three channel Dolby AC-3, playable on DVD video players. The second disc included is a standard two-channel CD containing 16 bit/44.1 kHz data playable on all CD and DVD players. Transferred directly from the original 35mm three-track film by Bernie Grundman from Bernie Grundman Mastering and Len Horowitz from History of Recorded Sound at Bernie Grundman Mastering, Hollywood.”
All label numbers introduced by CHDD. Contents mirror those of original Everest LPs back in the late 1950s/early 1960s. For some reason, most of those issues can be found on commercial website under two different barcodes. I’m not sure if it has to do with Classic Records before and after it was purchased by Acoustic Sounds, or with the dual nature of the releases, DVD and CD. Note that one program is conspicuously absent from the list: Eugene Goossens’ recording of Antill’s Corroboree and Ginastera’s Panambi. Classic Records released it in LP form and as all the rest have their duplicates on LP, I would have expected to find that one on the list of dual DVD-CD reissues; yet I’ve found no trace of it yet.
2014 Hindemith Violin C° Mozart VC 3 Fuchs Goossens, barcode 0601704201498, 0601704020143
2015 Respighi Fountains, Pines of Rome Sargent, 0601704201597, 0601704020150
2016 Khachaturian Gayne Ballet Suite Fistoulari, 0601704201696, 0601704020136 (note: barcode discrepancy unexplained)
2017 Mussorgsky Pictures at an Exhibition, Night on Bald Mountain Sargent, 0601704201795, 0601704020174
2018 Shostakovich S9 Prokofiev Lt Kijé Sargent 0601704201894
note: barcode 0601704020181 appears to be for John Lee Hooker The Healer
2019 Falla Three Cornered Hat Jorda, 0601704201993, 0601704020198
2022 Berlioz Symphonie Fantastique Goossens, 0601704202297, 0601704202266
2023 Stravinsky Rite Goossens, 0601704202396, 0601704202365
2024 Prokofiev Symph. No. 5 Sargent, 0601704202495, 0601704202464
2025 Tchaikovsky Symphony No. 5 Sargent, 0601704202594, 0601704202563
2026 Scriabin Amirov Stokowski, 0601704202693, 0601704202617
2027 Khachaturian Piano Concerto Katin Rignold, 0601704202792, 0601704202716
2028 Bartok Concerto for Orchestra Stokowski, 0601704202891, 0601704202815
2029 Wagner Chopin Canning Stokowski, 0601704202990, 0601704202914
2030 Sibelius Violin Concerto, Tapiola Spivakovsky Hannikainen, 0601704203096, 0601704203065
2031 Tchaikovsky Violin Concerto Spivakovsky Goehr, 0601704203195, 0601704203164
2033 Villa Lobos Little Train of the Caipira / Ginastera Estancia Panambi Goosens, 0601704203393, 0601704203362
And here’s the list of their LPs.
Here, not only the contents, but even the label numbering mirror the original LP releases of the late 1950s/early 1960s. My list of Classic Records LPs comes from the website of Acoustic Sounds, the audiophile retailer that purchased all of Classic Records stock in 2010 and that still has copies of most for sale. They come in two forms: “normal” 200g vinyl and, for a few of them, test-pressing 200g vinyl. Because some are now sold out and because some test pressings may never have been released (see below), my list is probably incomplete at this point and I am still researching. I’ve come up with Internet listings of 45 RPM, one-sided pressings (as here, or in the eBay sale mentioned below) that Acoustic Sounds makes no mention of, so I suspect that Classic Records released their Everest LPs in still other formats (they were noted for doing this). Also, I’ve seen mention of 20 releases, and my list has only 19 (counting Krips’ Beethoven set as one). I’ve kept here the prefix used by Acoustic Sounds, but the actual LPs bear the same letter-prefix as the original Everest LPs, SDBR, which makes it even more problematic to try and distinguish between the different formats. Apparently none of their LPs had a barcode.
AEVC 3003Q Antill Corroboree Ginastera Panambi Goosens
AEVC 3032Q Scriabin Poem of Ecstasy, Amirov Stokowski
AEVC 3034Q Prokofiev Symph No. 5 Sargent
AEVC 3037Q Berlioz Symphonie Fantastique Goossens
Sold-out from Acoustic Sounds
AEVC 3039Q Tchaikovsky Symph. No. 5 Sargent
AEVC 3040Q Hindemith Mozart Violin Concerto Fuchs Goossens
AEVC 3041Q Villa Lobos Little Train of the Caipira, Ginastera Estancia, Panambi Goossens
If you wonder why Classic Records released the same recording, Panambi, on two different LPs, this one and 3003 – the question should have been asked decades ago to Harry Belock!
AEVC 3045Q Sibelius Violin Concerto, Tapiola Spivakovsky Hannikainen
AEVC 3047Q Stravinsky The Rite of Spring Goossesns
AEVC 3049Q Tchaikovsky Violin Concerto, Melody Spivakovsky Goehr
AEVC 3051Q Respighi Pines & Fountains of Rome Sargent
AEVC 3052Q Khachaturian Gayne Ballet Suite Fistoulari
AEVC 3053Q Mussorgky Pictures at an Exhibition, Night on Bald Mountain Sargent
AEVC 3054Q Prokofiev Lnt Kije, Shostakovich Symph. No. 9 Sargent
AEVC 3055Q Khachaturian Katin Rignold
AEVC 3057Q Falla Three Cornered Hat Jorda
AEVC 3065QCV (10 LPs, bonus 45rmp disc) Beethoven Krips
Although this one is no longer available from Acoustic Sounds, they confirm that, unlike the dual DVD-CD version, this set HAS actually been released
AEVC 3069Q Bartok Concerto for Orchestra Stokowski
AEVC 3070Q Wagner Chopin Canning Stokowski
200g Vinyl Test Pressing
TEVC 3003Q Antill Corroboree Ginastera Panambi Goossens
TEVC 3034Q Prokofiev Symph. No. 5 Sargent
TEVC 3039Q Tchaikovsky Symph. No. 5 Sargent
TEVC 3040Q Hindemith Mozart Violin Concertos Fuchs Goossens
TEVC 3049Q Tchaikovsky Violin Concerto Spivakovsky Goehr
TEVC 3055Q Khachaturian Piano Concerto Katin Rignold
TEVC 3069Q Bartok Concerto for Orchestra Stokowski
TEVC 3070Q Wagner Chopin Canning Stokowski
Note: on March 3, 2017 – this morning as I write – a copy of an unreleased test pressing of Beethoven’s Symphony No. 7 by Krips has gone on eBay for 150 dollars. This is how it was presented:
“This auction is for an UNRELEASED, STILL SEALED, NUMBERED (7 of 20), 45rpm 3LP Test Pressing Box Set. This set consists of 3 single sided discs, for optimal sound performance, of the Classic Records 200gram reissue of Beethoven’s “Symphony No. 7 In A Major, Op. 92” with Josef Krips conducting the London Symphony Orchestra. This title was planned, but never released as a 200g set at 45rpm on clarity vinyl, thereby making this an ultra collectible set.
These highly collectible test pressings are from the first stamper. Test pressings reflect the closest you can get to the lacquers and hence have a special collectible value and store of value.
Only a very small number of these unreleased sets exist and thus this is a special opportunity to hear your favorite title on Classic’s 200g Super Vinyl Profile at 45 rpm – it doesn’t get any better than this! Set packaged in original box with artwork. Each disc is packaged in a white jacket.
ULTRA RARE item… Good luck! “
It’s a bit confusing that the set’s photos seem to be for the complete symphonies. I’ve inquired with the seller for more information, and have also tried getting in touch with Michael Hobson, the founder of Classic Records. Stay tune.
King Records SACDs (2014-6)
KKC 4024 Antill Corroboree Ginastera Panambi Goossens (2014) 4909346008182
KKC 4025 Scriabin Stokowski 4909346008199
KKC 4026 Berlioz Symphonie fantastique Goossens 4909346008205
KKC 4027 Grofé Gran Canyon Suite, Concerto piano Sanromá Rochester Grofé 4909346008212
KKC-4028 Shostakovich S9, Kijé Sargent (2014) 4909346008229
KKC 4032 Stravinsky Rite of Spring Goossens (2015) 4909346009639
KKC 4033 Villa Lobos Little Train, Ginastera: Estancia, Panambi Goossens 4909346009646
KKC 4034 Falla Three-Cornered Hat Jorda 4909346009653
KKC 4035 Respighi Pines, Fountains Sargent 4909346009660
KKC 4036 Bartok Concerto for Orchestra Stokowski (2015) 4909346009677
KKC 4037 Beethoven S1 + 8 Krips (2015) 4909346009929
KKC 4038 Beethoven S 2 + 4 Krips 4909346009936
KKC 4039 Beethoven S3 Krips 4909346009929
KKC 4040 Beethoven S5, Egmont Ov Krips 4909346009950
KKC 4041 Beethoven S6 Krips 4909346009967
KKC 4042 Beethoven S7 Krips 4909346009974
KKC 4043 Beethoven S9 Krips 4909346009981
KKC 4050 Stravinsky Petrouchka Goossens 4909346011021
KKC 4051 Khachaturian Gayne Fistoulari 4909346011038
KKC 4052 Boulanger Markevitch 4909346011045
KKC 4053 Liszt Bolet 4909346011052
KKC 4054 Stokowski Wagner Chopin Canning (2016) 4909346011069
High-Resolution downloads and on-demand CD-Rs from Countdown Media
Like Classic Records, Countdown Media has reissued its Everest catalog with the same programs as the original LPs. It conveniently provides, then, the catalog of the original Everest LPs, at least up to the release of Krips’ Beethoven cycle. That’s when the catalog was sold to Bernie Solomon and licensed recordings began to show up under the Everest moniker.
The barcodes are those of Amazon.com entries for the on-demand CDs, but remember that all these recordings can also be bought for download from iTunes and HDTracks. I’ve put in bold type those that had never been reissued in audiophile releases in the CD era. I’ve put in italics the few that are still missing from Countdown Media’s reissues. Regretably, the Shostakovich 5th Symphony by Stokowski and Antheil’s 4th Symphony by Goossens are among those (but – August 2019 update – Chavez by Chavez, Vaughan Williams’ Job and Arthur Benjamin’s Concertos were released in 2018 – only as downloads, I haven’t found any entry on Amazon for on-demand CDs), as well as 3024, Villa-Lobos’ Sinfonia Concertante for cello orchestra and arrangements of Bach’s Preludes & Fugues from the Well-Tempered Clavier, that one never reissued in audiophile form. About this, in an e-mail from March 13, 2017, Countdown Media’s Lutz Rippe told me that “if the condition of the master tapes is good enough, those will be released as soon as possible”.
Note: I have not found the entry and barcode for the on-demand CD or download on Amazon.com, but the recording is available indeed for high-res. download from iTunes and HDTracks.
Note: I have not found the entry and barcode for the on-demand CD or download on Amazon.com, but the recording is available indeed for high-res. download from iTunes and HDTracks.
Note: version with speaker only, TT 25′ (see Everest-Omega EVC 9048)
Note: entry for on-demand CD not found on Amazon.com, but available as download from Amazon.com, HDTracks and iTunes
Note: I haven’t been able to establish the exact recording date, but Everest signed the Rochester Philharmonic in February 1960, together with the Pittsburgh Symphony, and the recording with Pittsburgh followed immediately after)
See note about dating under 3060. Bloomfield and the Rochester Philharmonic played the 5th Symphony in Concert in January 1960 (from The Democrat and Chronicle From Rochester, New York, January 21, 1960)