Beethoven: Violin Concerto (1940) Heifetz/Toscanini

Ludwig van Beethoven Violin Concerto in D, Op. 61 1. Allegro ma non troppo (0:07) 2. Larghetto (21:19) 3. Rondo (30:03) Jascha Heifetz, violin Arturo Toscanini, conductor NBC Symphony Orchestra Recorded on March 11, 1940 in Studio 8H, Radio City, New York Heifetz recorded the Beethoven Concerto numerous times. The present one from 1940 is his first for RCA that was made in America. The coupling of him with Toscanini was a logical choice for RCA in 1940; putting two of the label’s biggest superstars together generally produced excellent results. This one certainly does not disappoint. The present recording was made on high fidelity transcriptions. Although every effort to control noise was used, some surface noise remains. Digital Transfer (1981): RCA New York Full Acoustic Restoration (2023): Paul Howard -The Yucaipa Studio TECH NOTES: Every once in awhile we feel compelled to give our new listeners a brief primer on what we are listening to on this channel. What we are hearing is the real acoustics of monaural recordings made before the 1960s. We do not hear in stereo. That is completely false. Hearing is a complex metabolic process that utilizes the nervous system in one of the most interesting ways in which it interacts with its environment. What we actually hear is a temporal relationship with people and things in our atmosphere; we identify the locations of things around us by the physical presence of objects through atmospheric (acoustic) displacement. Humans are less aware of this because of the role vision plays in this process, but we can close our eyes and still identify the location of sounds around us with complete accuracy. Microphones are just as sensitive to acoustic displacement as the human metabolic system. They are, in fact, based upon the same physics. Consequently, the principles used to make a stereo and mono recording in an acoustic environment are the same. The only difference is the presence of discreet panning. However, a monaural recording is acoustically identical to a stereo one. On this channel we apply a process of using software to emulate the metabolic process to identify the acoustic displacement of discreet sound in the real time environment that is present in mono recordings. (It took almost twenty years to develop it.) This is then used to create a new mix based upon the original acoustics in a six-channel temporal matrix. The result is not stereo, but something that can be more accurate and natural to listen to. The acoustic information we hear is the same as it was in the original recording environment. The true test of this is the sound itself. A “Fake Stereo“ signal is never true: it breaks down in headphones, and looks like exploding galaxies on test equipment, (You can’t fool an oscilloscope.). This is because steering of selective sampling cannot represent acoustics of real time in synthetic stereo, or put them in phase. In our process one can listen on headphones and determine quite clearly where everything in the original recording is located. On test equipment the signal looks exactly like a high-quality stereo recording. The bottom line: everything you are listening to is actual acoustics: what the microphones actually picked up in real time. ******** In order for our posts to remain commercial-free, we do not monetize on this channel. If you wish to support this kind of music and restoration you may make a donation to: