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Moreover, IEHO, the usable instrumental records (properly homogenized of course) in the area where the proxy is sampled should be the ones used to scale each proxy individually.Something that either does not appear to be much done or at least not much noted. Anyhow, Jeniffer Marohasy and accomplice John Abbot have published a paper in a soon to be former Journal, Geo Res J, of which it could be said that it is Elsevier and it is history Geo Res J will be discontinued from January 2018 and is closed to new submissions.
Maybe that's it, Decca already has a great and the four separate installments at the same time?Deutsche Grammophon has yet to have a consistently good as what I would call a successful record.Philips has Böhm and Boulez, but neither set is to everyone's taste - the latter, twenty-three years after the fact, still being pretty contentious.A boutique label like Testament likely has similar concerns to the major companies, and would prefer to sell four pretty consarned expensive records, as opposed to one moderately expensive one.Let's be realistic, though, most serious music listeners will only have one in their collection (likely either Solti or Böhm).Save some of us some money, while offering a choice of purchases, that is.
It's pretty simple: I, and a lot of others, I suspect, would have bought the complete Keilberth , though I had what I will call a substantial and complete long-term audition).
Critics, both professional writers and serious listeners, for whom I have a lot of respect, have praised the earlier cycle to high Heaven.
It seems that, fifty-some years after he led the performances and now forty years after his death, Keilberth has entered the special Walhall for Wagner conductors.
In other words, Decca could have had two landmark (on Orfeo), but the sound is mono - and, at that, not as good as Keilberth's, speaking relatively.
This misadventure on Decca's part (i.e., coming off as a company dominated by internal politics and slightly slow-witted in missing this particular boat, plus missing the credit and the profit) shows me, at the very least, that the real innovation and important recordings in the classical record industry usually happens at the smaller labels.
Culshaw had it shelved back in 1955 so he could do his cycle with Solti, and - for better or worse, more of the former than the latter, though - Solti's cycle is still the benchmark.