Album Reviews

The very first London "Blueback" probably engineered by the great K.E. Wilkinson in London's superb sounding Kingsway Hall combines stunning sonics with an accessible, lyrical musical program. Mendelsohn wrote the Overture opus. 21 in 1826 when he was but 17 years old. The remainder was written almost two decades later, commissioned by Prussian King Frederick William IV as accompaniment to an 1843 performance of the play.

The very first London "Blueback" probably engineered by the great K.E. Wilkinson in London's superb sounding Kingsway Hall combines stunning sonics with an accessible, lyrical musical program. Mendelsohn wrote the Overture opus. 21 in 1826 when he was but 17 years old. The remainder was written almost two decades later, commissioned by Prussian King Frederick William IV as accompaniment to an 1843 performance of the play.

If you're of  a certain age, grew up in the New York metropolitan area and watched the old black and white silent cartoons produced by Paul Terry that were shown afternoons at 5PM on channel 13's "Junior Frolics" TV show narrated by "Uncle Fred" Sayles (who also announced wrestling matches in his spare time), the opening overture will sound very familiar. Sections of it accompanied the action as Farmer Gray chased the mice and various barnyard critters, firing a shotgun at them as he ran. In fact, as I remember it, classical music accompanied all of the cartoons. 

"Uncle Fred" Sayles

"The Wedding March" will be familiar to all since it's played during just about every wedding processional you've ever attended. Almost as well-known is the preceding "Nocturne." The performance by the London Symphony Orchestra and the Chorus of the Royal Opera House, Convent Garden conducted by Peter Maag with soloists Jennifer Vyvyan and Marion Lowe is the one that defines the work.

Fortunately this accessible, tuneful piece of music is made that much more thrilling thanks to the spectacular, if somewhat bright recording (the microphones used had a boost). But don't let that quibble stop you because otherwise this is a "you are there" recording featuring spectacular soundstaging and image depth. "Holographic" would not be hyperbole in decribing the image solidity. But more importantly, the instrumental harmonics are mostly life-like—especially the woodwinds and brass. It's difficult to believe this was recorded fifty years ago. 

With original Bluebacks averaging $40 online this double 45rpm edition pressed on dead quiet vinyl is not as expensive as it might at first seem. And unlike some ORG double 45 classical reissues, there are no side-ending fade-outs.

A superb reissue in every way.