Everest Records (CD and other audiophile reissues discography)

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), 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. 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).

Dating for Stokowski is less precise but comes from Enno Rikiena’s authoritative online Stokowski discography, so they are the best we can have for the time being, until someone comes up with comprehensive discographies of the Houston Symphony Orchestra and the so-called “Stadium Symphony Orchestra” – in fact 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 doesn’t have that information, and likewise with Kevin Schottmann, the very kind archivist of the New York Philharmonic. 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, Salomé’s Dance (Stadium SO New York 10/58), Thomas Canning Fantasy on a Hymn (Houston 4/60): 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 (4/60) / 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, 723918901527 (1997)
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 (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, EVEC 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 (10/58: Villa Lobos, Cinderella, ’59: Debussy, Ugly Duckling) 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 (4/60: Walküre), (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 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 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 (10/59) 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 (+ complements by Sargent and Goossens) 723918903125 (1995)

9032 Mahler Symph. No. 5: Rudolf Schwarz, LSO (10 & 11/11/58) 723918903224 (1995)
just for information, here is my review of the dreadful Harkit reissue, just so you know what to avoid and why

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. Lamoureux Orchestra, Markevitch 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”, Thomas Martin 723918903620 (1995)

9037 Scriabin Poem of Ecstasy: Stokowski Houston SO (3/59) / Tchaikovksy Francesca da Rimini, Hamlet: Stadium SO New York (7/58) 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 / 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 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) 723918904726 (1997)

9048 Prokofiev Peter and the Wolf: version with narrator (Captain Kangaroo-Bob Keeshan) and orchestral version only: Stokowski, Stadium SO New York ’59 / Chopin-Stokowski Mazurka op. 17-4, Prelude op. 28-24, Walz op. 64-2 / Fikret Amirov Aserbaidjan Mugam: Stokowski, Houston SO (3/59: Amirov, 4/60: 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.


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

2032 Beethoven Krips 0601704203263
listing on acoustics sounds
listing on Amazon.com
This set has apparently never been released; Acoustic Sounds has confirmed that they never had any copies for sale

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”.

3001 Prokofiev Chout (“The Buffoon”)-Ballet Suite Susskind 848033023470
3002 Copland Appalachian Spring-suite, Morton Gould Spirituals Susskind 848033042600
3003 Antill Corroboree-Suite, Ginastera Panambi-Ballet Suite Goossens 848033004332
3004 Respighi Roman Festivals, Rachmaninoff Symphonic Dances Goossens (update August 2019: Respighi alone reissued by Countdown Media in 2018, no entry and barcode found for Amazon on-demand CD – search “Feste Romane” on HD-Tracks or iTunes Store)  
3005 Mahler Symph. No. 1 Boult  848033004189
3006 Vaughan Williams Symph. No. 9 Boult 848033012061
3007 Shostakovich Symph. No. 6 Boult 848033023500
3008 Hindemith Symphony in E-flat Boult 848033023531
3009 Stravinsky Ebony Concerto Woody Herman, Symphony in Three Movements Goossens  848033004196
3010 Shostakovich Symph. No. 5 Stokowski
3011 Tchaikvosky Francesca da Rimini, Hamlet Stokowski  848033023562
3012 Charles K.L. Davis sings Romantic Arias from Favorite Operas. Stadium Symphony Orchestra of New York, Wilfried Pelletier 848033023593
3013 Antheil (Symphony No. 4), Ginastera (Estancia Ballet-suite) Goossens (for Ginastera, see 3041)
3014 Mahler Symph. No. 5 Schwarz 848033042617
3015 Copland Billy the Kid Ballet Suite, Statements Copland 848033023623
3016 Villa Lobos Uirapuru, Modinha, Prokofiev Cinderella Stokowski 848033042624
3017 Milhaud La Création du Monde, Stravinsky L’Histoire du Soldat-suite. Carewe
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.
3018 Copland Third Symphony Copland 848033004219
3019 Vaughan Williams Job Boult (update August 2019: reissued in 2018 by Countdown Media, entry and barcode not found for Amazon on-demand CD, available on HD-Tracks and iTunes Store)
3020 Arthur Benjamin Concerto quasi una fantasia, Concertino Crowson Benjamin (update August 2019: same as above)
3021 Malcolm Arnold Four Scottish Dances, Symphony No. 3. Arnold  848033023654
3022 Kodaly Psalmus Hungaricus, Bartok Dance Suite Ferencsik 848033004226
3023 Strauss Till Eulenspiegel, Salome Dance, Don Juan Stokowski 848033023685
3024 Villa Lobos Symphony Concertante for cello orchestra, Bach Preludes & Fugues. The Violoncello Society, Villa Lobos
3025 Waltz Masterpieces (Weber, Johann Strauss II, Tchaikovsky, Richard Strauss). Stadium SO New York, Poliakin 848033004233
3026 Rimsky-Korsakov Scheherazade Goossens 848033004240
3027 Raymond Paige’s Classical Spice Shelf (Bizet, Brahms, Dinicu-Heifetz, Rimsky-Korsakov, Dvorak, Chopin, Berlioz, Shostkakovich, Mussorgsky, Khachaturian, Debussy, Offenbach-Dorati) Stadium SO New York 848033004257
3028 Johann Strauss A Night in Venice 848033023715
3029 Carlos Chavez Sinfonia India (No. 2), Sinfonia de Antigona (No. 1), Sinfonia Romantica (No. 4). Stadium Symphony Orchestra of New York, Chavez (update August 2019: released by Countdown Media in 2018, see on HD-Tracks, I haven’t found an entry and barcode for an Amazon on-demand CD)
3030 Brahms Symph. No. 3 Stokowski 848033042648
3031 Wagner Parsifal Good Friday Spell, Act III Synthesis. Stokowski 848033004264
3032 Scriabin Amirov Stokowski 848033004646
3033 Stravinsky Petrouchka Goossens 848033004271
3034 Prokofiev Symph. No. 5 Sargent  848033004288
3035 Tchaikovsky Manfred Goossens 848033023746
3036 Schumann Piano Concerto Franck Variations Symphoniques Katin Goossens 848033023777
3037 Berlioz Symphonie fantastique Goossens 848033004295
3038 Strauss Heldenleben Ludwig 848033004301
3039 Tchaikovsky Symph. No. 5 Sargent 848033004318
3040 Hindemith Mozart Violin Concertos Fuchs, Goossens 848033004325
3041 Villa Lobos Little Train of the Caipira, Ginastera Estancia-Ballet Suite, Panambi-Ballet Suite Goossens 848033009320
3042 Mozart Serenades 11 & 23 Newell Jenkins, Everest Woodwind Octet
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.
3043 Prokofiev Peter and the Wolf. Captain Kangaroo, Stokowski 848033042662
Note: version with speaker only, TT 25′ (see Everest-Omega EVC 9048)
3044 Grofé Grand Canyon Suite, Concerto for Piano Sanromá Rochester, Grofé 848033004349
3045 Sibelius Violin Concerto, Tapiola Spivakovsky, Hannikainen 848033004356
3046 Schubert Symph. No. 8, Mozart Symph. No. 40 Ludwig 848033004363
3047 Stravinsky Rite of Spring Goossens 848033004370
(SBDR 3048 was never released by the original Everest)
3049 Tchaikovsky Violin Concerto, Melody Spivakovsky Goehr 848033004387
3050 Mahler Symph. No. 9 Ludwig 848033004394
3051 Respighi Fountains of Rome, Pines of Rome Sargent 848033004400
3052 Khachaturian Gayne Fistoulari 848033004417
3053 Mussorgsky/Ravel Pictures at an Exhibition, Night on Bald Mountain Sargent 848033004424
3054 Shostakovich Symph. No. 9, Prokofiev Lnt Kijé Sargent 848033004431
3055 Khachaturian Piano Concerto Katin Rignold 848033004448
3056 Dvorak Symphony No. 9 Ludwig 848033004455
3057 Falla Three-Cornered Hat Jorda 848033004462
3058 Irving Berlin Great Man of American Music. A New Interpretation. Raoul Poliakin, His Orchestra and Chorale 848033004479
3059 Lili Boulanger Markevitch
Note: entry for on-demand CD not found on Amazon.com, but available as download from Amazon.com, HDTracks and iTunes
3060 Debussy Iberia, Ravel La Valse, Rhapsodie espagnole. Rochester Philharmonic, Theodore Bloomfield 848033004493
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)
3061 Ernst von Dohnanyi Plays his own music for Piano: Ruralia Hungarica op. 32a, Three Pieces op. 23, Three Etudes de Concert op. 28, Rhapsody op. 11-2, Strauss The Gipsy Baron Treasure Walz (arrgt)  848033010098
Note: Dohnanyi’s last recording, made in January 1960,a few weeks before his death on Feb. 9. Already CD-reissued by Philips Legendary Classics, 422 308-2 (02894223082)
3062 Liszt Piano Concerto No. 1, Hungarian Fantasy, Mephisto-Waltz 1. Bolet, Symphony of the Air, Robert Irving 848033004509
3063 Robert Russell Bennett: Commemoration Symphony to Stephen Foster, A Symphonic Story of Jerome Kern. Steinberg 848033023807
3064 Liszt: Piano Sonata, Funérailles, Mephisto Waltz 1. Bolet 848033004516
(Everest’s original SDBR 3065 was the set of Beethoven Symphonies. See individual listings below)
3066 Brahms Symph. No. 4 Steinberg 848033042679
3067 Gershwin Rhapsody in Blue, An American in Paris Sanromá Steinberg  848033004530
3068 Sibelius Symph. No. 5, Finlandia. Rochester Philharmonic, Theodore Bloomfield 848033004547
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)
3069 Bartok Concerto for Orchestra Stokowski 848033004554
3070 Wagner Chopin Canning Stokowski 848033004561
3071 A Great New Virtuoso Robert Bohnke pianist (Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Weber, Rachmaninoff, Liszt, Chopin, Brahms, Prokofiev) 848033042686
(SDBR 3072 & 73 not released by Everest)
3074 Beethoven Symph. No. 6 Krips 848033004578
(SDBR 3075 not released)
3076 Duo Piano Recital by Pierre Loboshutz & Genia Nemenoff: Mozart Sonata for Two Pianos K 448, Chopin Rondo for Two Pianos op. 73, Strauss-arrnt Luboshutz The Bat 848033042693
(SDBR 3077 & 78 not released)
3079 Jorge Bolet A Chopin Piano Recital 848033023838
(SDBR 3080 Jean Françaix, Paul Taffanel: Quintets for Winds. New York Woodwind Quintet, reissued from Concert Disc Connoisseur Series CS 222. See Concert Disc discography)
(SDBR 3081 Poulenc: Sextet, Riegger: Concerto for piano and woodwind quintet;. Frank Glazer, New York Woodwind Quintet, from Concert Disc CS 221. See Concert Disc discography)
 (SDBR 3082 Schubert Octet New York Woodwind Quintet, Fine Arts Quartet, from Concert Disc CS 220. See Concert Disc discography)
(SDBR 3083 was Dvorak Cello Concerto Casals, Casals Festival Orchestra Puerto Rico 1960, Alexander Schneider: unauthorized released, litigated by Casals and recalled)
(SBDR 3084 & 85 not released)
3086 Beethoven Symph. No. 5, Egmont Overture Krips 848033004585
3087 Beethoven Symph. No. 3 Krips 848033004592
3088 Beethoven Symph. No. 7 Krips 848033004608
3089 Beethoven Symph. No. 1 & 8 Krips 848033004615
(SBDR 3090 & 91 not released)
(SDBR 3092 Woodwind Encores: New York Woodwind Quintet)
Note: apparently released originally on Concert Disc CS 231, although this LP has a very elusive existence online. See Concert Disc discography
3110 Beethoven Symph. No. 9 Krips 848033004622
3113 Beethoven Symph. No. 2 & 4 Krips 848033004639


13 thoughts on “Everest Records (CD and other audiophile reissues discography)”

  1. This is a most comprehensive and valuable resource and I thank you heartily for pulling it together. Concerning the Steinberg/Pittsburgh Symphony Everest sessions in February 1960, the Wikipedia dates are derived from a feature in the February 14, 1960 Pittsburgh Press. Though the google scan is partly obscured, the article appears to state that “Recording sessions continue today [February 14] and Tuesday [February 16].” It is logical that the first session would have been Saturday February 13, because the Pittsburgh Symphony concerts were given Friday evening and Sunday afternoon. The earlier part of the week would have been devoted to rehearsal for the concert performances.

    Pittsburgh experienced a blizzard on Saturday night, and only 300 patrons attended the Sunday concert at Syria Mosque. Evidently the Sunday recording session was held though. A book on pianist Jesus Maria Sanroma confirms that Rhapsody in Blue was recorded on “a very…very difficult winter day.” The book also details that the piano did not arrive, because a miscommunication had scheduled it for a month later! The Pittsburgh Symphony rented its concert venue, Syria Mosque, at the time so had less control over such things than orchestras who had a permanent hall. In any case the decision was made to proceed with recording the orchestral sections of the Rhapsody, which were later married up with Sanroma’s solo part recorded elsewhere. Indeed the released recording exhibits the acoustical anomaly of two different venues upon close listening.

    Another article states that Steinberg’s Pittsburgh Symphony was to be the primary source for new Everest recordings of the standard repertoire. Unfortunately that concept ran aground on the company’s financial troubles, though the sale of the 35mm equipment to Robert Fine ultimately benefitted the conductor and orchestra when they signed with Command a year later. That enterprise produced an admirable series of audiophile recordings as well.

    1. Hi Frank (is it “Frank”?). Thank you so much for your comment, and many apologies for my tardiness in approving it and responding. I’ve been away from my own website for a while (reviewing fatigue !) and somehow it is not parametered to send me notifications when comments are made: I need to find the fix for that.

      About Command: yes and yes. I posted, years ago, huge essays on Amazon.com about Mercury Living Presence, on the occasion of the publication of the collection box sets of Wilma Cozart Fine’s CD reissues, which I absolutely need to reimport over here. The main question I asked was “what is it that DEFINES a “living presence” recording?” – considering that it wasn’t just to have been published on the “Mercury Living Presence” label, since Mercury also released licensed recordings from Philips and various others.

      So the answer to that was: the engineering of C. Robert Fine and his use of one (in the mono era) then three “Telefunken” (in fact Schoeps) microphones.

      And by that definition, the Command recordings made by Fine should by all means be included in a comprehensive list of “Living Presence” eg C. Robert Fine recordings.

      Sadly, Fine’s Command recordings have NOT been the object of such state-of-the-art CD reissues as those of Mercury. I don’t know what happened with the master tapes but, for all means and intents, they are as good as lost and that’s a tragedy. There was a reissue of Steinberg’s Beethoven cycle, on the label XXI, barcode 722056175029 – awful, dubbed from the LPs, a veritable fraud. In the early days of the CD MCA classics released symphonies 2 & 4 and 7 + Leonore 3 Overture (barcode 076732981023), together with Scherchen’s Westminster 1, 3, 6 & 8. Though far from perfect, the transfers were much better and obviously from some tape, so it must exist somewhere.

  2. The Krips/LSO Beethoven cycle also was issued in 2006 by Madacy packaged in a cheezy “Tin Can” box set. According to comments posted at Amazon.com, Lutz Rippe of Countdown Media mastered the recordings directly from the original 35-mm 3-track master tapes.

    1. Hi Ron, thanks so much for your comment, and many apologies for my tardiness in approving it and responding. I’ve been away from my own website for quite a while now – reviewing fatigue ! – and for some reason it is not parametered for sending me notifications when comments are made. I need to find the fix for that. I need to look further at your reference and I’ll return. Best, Disco

    2. Hi again Ron, I hope you’ll be reading this. Thanks again for pointing this one out to me. From a private correspondence with Lutz Rippe I can confirm that he was indeed the author fot he remasterings, from the original 35mm master tapes. I’ve added a new section to reflect that.

    3. I have lp/tape of 4 Beethoven Overtures (Egmont/Leonore No.3/Fidelio/Coriolan) Krips/LSO which – I assume – must have been recorded at the same time as the complete symphonies. The Egmont was issued with the 5th Symphony (Everest USA and World Record Club UK (EMI).) Also Egmont and Leonore No.3 on Everest SDBR 3119 (USA.) Coriolan & Fidelio only seem to appear on later budget releases (Concerto Classics UK/Melody Master Canada). Do you have any information on these overtures and any CD release of them please? (The Egmont is on the Countdown Media/Amazon CD.)

  3. Thanks for this hard work, a marvellous source of information, came across this when checking for
    Stravinsky: Petrouchka, Rite Of Spring / Goossens, London Symphony Orchestra.
    Disappointed to discover I’ve bought the Criterion version, although it sounds pretty good to my old ears.

    1. Hi Kenneth, thanks for these kind words. Andyou know, the Criterion edition of that specific CD may sound very good indeed and not just to your old ears. I’ve had (with Mahler’s Fifth Symphony) a bad surprise, and I’ve read unwelcoming comments about other issues, but I’ve also read some favorable comments about certain issues, and Criterion may have NOT botched all its reissues. And also, bear in mind, what Shakespeare’s says of the actors in Midsummer Night’s Dream – “the best in their kind are but shadows, and the worst are no worse if imagination amend them” – applies to record listening as well: the greatest Hi-Fi will always be a mere emulation of the truth of the acoustic instruments, and the worst recording is as good as the best, because we always reconstruct the reality of the music in our mind’s ear. The sound that comes out on headphones or loud-speakers is only the prod on which our imagination reconstructs a universe. Best regards.

  4. Thanks so much fo this really wonderful discography. I have fond memories of the Everest recordings when I was growing up and was looking for a complete listing so I could start to get them again. I have been getting made to order ones from Amazon which I think sound pretty good. Your article had a wealth of useful information Thanks again

    1. thanks for your kind comment Jay. It’s always a great reward of all this hard work (!) when my research meets an enthusiastic public !

  5. I am trying to pin down the Everest Fine Arts Quartet complete Beethoven Quartet cycle as to recording dates. To my ears, from the 1996 Omega/Vanguard 20 bit remastering (I find all of these 20 BIT SBM transfers very convincing) it has the unmistakable sound signature of the 35 mm recording process in the warmth and clarity of the midrange plus the dry precise acoustic of the Belock Recording Studio which are very prominent features of other Everest recordings. These to my knowledge, as an avid Everest vinyl as well as silver disc collector, were never released during the late Belock era on high quality LPs, so I assume the recording date was very late in 1960-61 and the transfer of the label and catalogue to Bernie Solomon in Hollywood to become a budget record and club label precluded their release until the mid 1969s on cheap LPs. I think a complete set was a licensed release by Murray Hill in the 1970s and there were licensed releases in the UK to Saga Records. The reason Solomon never issued these Beethoven quartets in a boxset on acquiring the catalogue isn’t hard to understand if one reads Giveon Cornfeld’s scathing account of working for him in Hollywood as his general manager.

    The Classic Records transfers of some of the 35mm Everest masters included the Krips symphony cycle but not the Fine Arts quartet cycle.

    The Fine Arts Quartet, as I understand it, had an enterprising and innovative approach to recording on their own label called Concert Discs employing a technique called “natural balance”. At some point Everest acquired this label and signed the Fine Arts Quartet along with another important ensemble to the Belock rosta, the New York Wind Soloists. There’s quite a list of genuine Everest recordings from 1959 to 1961 featuring both these groups of artists laid down in New York at the Belock Studio Bayside.
    I don’t believe the Everest Beethoven Quartets issued by Everest were simply the Concert Disc recordings carried over – they sound too good.

    However, specific verifiable information is lacking.

    Perhaps another call to Countdown Media will clear the mystery up. Especially if there was a log or label on the side of the can when in the 1990s Seymour Solomon of Vanguard dug the Everest horde out of the Hollywood garage in Beverly Hills where they had been stored for several decades.

    Apparently, the three track 35 mm masters are still in fairly good condition, because after 1961 in the budget era only two track half inch stereo tapes, sometimes dubbed to quarter inch tapes, were utilized in subsequent reissues thus leaving the film masters in excellent condition.

    The trouble is NOW! Hopefully the King Records SACD transfer will create the final state of the art archive digital copy which this important milestone in audio technology and the golden age of stereo sound deserves

    1. Hi David, thanks for your post. All my knowledge of the Fine Arts Quartet’s Beethoven cycle is on my discography of Concert Disc. I have no reason to believe that the Everest versions are NOT those published in the 1960s on Concert Disc. Your only basis to claim otherwise appears to be that the recording sounds too good to be Concert Disc’s, but that is to assume that Concert Disc’s recordings were sub-par, and they weren’t, judging from all their CD reissues. An argument contra your conjecture is that Concert Disc handed out their distribution to Everest as early as 1960. It’s very possible after all that the Fine Arts Quartet then used Belock’s technical equipment and sound engineer Bert Whyte to do their recordings, although this is only a guess, I don’t know that they actually did (I don’t have my Omega CD reissues handy at the moment to check if they offer any information about that). Also, keep in mind that most of the Beethoven cycle was first published on Concert Disc between 1963 and 1967. The publication then, if not the recordings themselves, POST-date and not pre-date Belock’s Everest.

      When High Fidelity reviewed Concert Disc SP 502 with the Last Quartets (12-16) in July 1964, they wrote this:

      “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, and the remaining works were taped during the summer of 1963, prior to the departure of Mr Irving Ilmer as viola of the ensemble”.

      I don’t think High Fidelity would have invented that so they must have known it from the performers, and that comes as close as I can get to a dating, at least of the last quartets. Note that the recording of op. 131 they refer to was originally published on Concert Disc CS 211 at the end of 1961. There was also an individual release of op. 127 on CS 233 that was listed in the Billboard in August 1963 and reviewed in Audio of October 1963, and both would be compatible with High Fidelity’s claim of a recording made in the summer of 1963, but then an ad for Acoustic Research published in High Fidelity of February 1963 referred to the same work, mentioning that the Fine Arts Quartet had “just finished recording” it. So: February, July, I don’t know…

      I have little indication for the early and middle quartets, whether they were also recorded in the summer of 1963 or later. They were released later (Middle Quartets on SP 506/3 at the end of 1965, Early Quartets on SP 507/3 at the end of 1967), but it doesn’t mean, of course, that they were recorded that late; they might have been left in the can for some years. In its review of the Early Quartets, High Fidelity (May 1968) wrote “These versions of the D major and C minor Quartets may well be the same performances that have been available on a single disc since about 1960 (at which time the violist was Irving Ilmer whose place has since been taken by Gerald Stanick)”. That single disc was CS 210, listed in The Billboard of March 2, 1959.

      That’s the best I can come up with. Apparently the present members of the FAQ don’t know, I’ve asked them, they are very welcoming, but they don’t have the archives of the early ensemble. As I write in my discography of Concert Disc, “The records and archive of the Fine Arts Quartet are held at the University of Wisconsin, and that is certainly where lies the answers to all these questions, but Wisconsin is just a little too far from where I live for me to go and check…”

      BTW it’s the New York Woodwind Quintet, not NY Wind Soloists. You may be confusing with the ensemble called the London Wind Soloists (with Jack Brymer as clarinetist).

      Cheers, Discophage.

  6. We are all in your debt for the compressive research into these recording masterpieces. I purchased most of the Krips/Beethoven symphonies from HD Tracks. The 1, 8, and 9th before HD Tracks updated their website this month (May 2020). They came with PDF liner notes. The rest, with the exception of 2 and 4 that I have yet to purchase do not seem to have liner notes – it looks like 2 and 4 are also missing liner notes. Even 1, 8, and 9 do not seem to have liner notes on the new web site. I pointed this out to them and got the usual reply – we put up what we get. I sent them the PDFs I got from their site before the change and the reply was that they were very busy. A bit disappointing, particularly so since the liner notes I have provide a listing of Everest Recordings.

    Can anyone help me with access to the web site the liner notes point to and referenced here:


    It requires login credentials but does not allow for the account set up.

Comments are welcome