Harpsichord Concerti by J S Bach conducted by Karl Ristenpart

This really nice Nonesuch LP was one of my very first records, bought some 30 years ago when I wa in high school. I used to visit the old Strawberries Records (a Boston chain long time gone..I think bought by Sam Goody) on Friday nights as my dad would drive me down to the local mall where it was located. Strawberries had a good selection of $2.95 albums which were perfect for the high school kid on a budget!

Karl Ristenpart recorded a substantial number of Bach recordings during the 60's with his very fine Chamber Orchestra of the Saar. Especially notable was a very popular, and omnipresent item for Nonesuch, of Bach's Magnificat. I think Ristenpart, along with Karl Richter, really dusted the cobwebs off of Bach and their efforts helped to spawn the movement toward period performance practices. Certainly, what we have here are four concertos for one and more harpsichords which are splendidly rendered and very tastefully performed. They really do sparkle and are a joy to listen to some 40 years+ after being recorded.

You know, I really miss the old Nonesuch LP label. I grew up on it and really built a good collection of LP's and performances from it. I still have my first Nonesuch LP, The Art of the Baroque Trumpet with Edward H Tarr - a great, great record. It's too bad that Warner/Elektra (or whatever that conglomerate is called now) lets the awesome collection from Nonesuch rot away in some warehouse. Many gems are in that collection, including this one!

Enjoy...full notes etc. in the download.

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The incomparable Clara Haskil playing who else? Mozart!

What better way is there to celebrate Christmas Eve then with a fine bottle of wine and Clara Haskil playing?  Here we have concertos K466 and K488 impeccably rendered by perhaps the greatest interpreter of Mozart during the last century....well in my opinion. Haskil is so...tasteful...that's it in a nutshell. Everything is played with such sensitivity and clarity, it unfolds so naturally with a dose of spontaneity. On top of that, both conductors, Paumgartner and Sacher,  provide vital support as they enter and absorb Haskil's genious with this music. Magnificent!

Merry Christmas!

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Reine Gianoli and Paul Badura Skoda in Mozart's Two Piano Concerto K 242

Charm Nick at Grumpy's Classics Cave recently posted the pianist Reine Gianoli performing Bach. I'm going to piggy back on that with this offering of Mozart's Two Piano Concerto K 242. Unfortunately, the flip side with K 365 was in a bad shape and beyond my restorative abilities.

There is some very fine playing going on here between Gianoli and Badura Skoda. The latter is probably one of the finest Mozartian's of the last century. I think that Hermann Scherchen leads a suitable accompaniment without the mannerisms that he was sometimes known for. Admittedly, I had not heard of Gianoli before I picked up this record. Listening to her here and on Charm Nick's posting in Bach reveals a strong player with good technique who also has an almost willful approach to the music. In fact, I believe that Gianoli imparts a lot of herself in the music, maybe bordering on over the top. Well, you be the judge.

An interesting discovery, nonetheless.

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Schubert's Incidental Music to "Rosamunde" conducted by Dean Dixon

I was lucky to find a decent copy of this first ever recording of the Incidental Music to Schubert's Rosamunde led by the fine, and underrated,  Dean Dixon. I've spoken in the past on Dixon; truly a man of great abilities who appeared on the American musical scene "before his time" as the old cliche goes. It's a damn shame that his greatest success was in Europe, with its more liberal racial climate and, not in his home country. Only toward the end of his life did he begin to gain recognition here - he died at the terribly young age of 61.

This recording is a fascinating and satisfying affair. Dixon strives for clarity and his brisk tempos would be more in line with period performance practice then the romantic, big bodied approach that Schubert was typically given during the early 50's when Westminster recorded this performance. I like Dixon's way, he doesn't linger or get overly sentimental and nothing is forced, in short, he lets the music speak for itself. His efforts are well supported by Ferdinand Grossman's fine Academy Chamber Choir and the famed contralto Hilde Roessel-Majden. Interestingly, the overture to Alfonso und Estrella is included as the opening number.

My opinion is that had Dixon lived, he would've achieved greater fame in the US and been counted as one of the major podium presences of his time. Instead, we have here a document of an immensely talented man whom the fates dealt not the best hand.

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George Singer conducts Dvorak's New World Symphony with the Tonkuenstler Orchestra

The name of George Singer is probably all but forgotten today, however we are fortunate to have this well interpreted Dvorak "New World" Symphony as a momento of his work.

Singer was a Czech born musician of Jewish heritage who emigrated to what was then Palestine prior to WW II. He was a very important part of the musical establishment in Palestine, later Israel, and conducted virtually all the orchestras and opera companies there. After the war, he was contacted by Don Gabor of Remington Records to conduct a number of recordings, most made with the reconstituted Tonkuenstler Orchestra, often referred to as the Austrian Symphony, Viennese Symphonic Society and a whole lot of other pseudonyms. Among Singer's recordings were this one, a good Les Preludes and some fine renditions of a handful of Slavonic Dances by Dvorak.

The recording here is well interpreted and it is evident that Singer was comfortable with this very Czech music since he himself grew up with it. Everything sounds very right, not forced and natural though the orchestra is decidedly second tier, often dropping into third tier status. The real problem, admittedly is the brittle sound of this Plymouth re-release of  a Remington original. Plymouth was a bargain label and what deficiencies Remington had in pressings are magnified here. Still, I encourage everyone to have a listen to this fine performance by a solid, an unfortunately, rather forgotten musician.

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Mitropoulos + Minneapolis = FUN!

Here's a fun one...from Harmony HL 7129, the great Dimitri Mitropoulos conducting his Minneapolis Symphony in The Sorcerer's Apprentice, a couple Slavonic Dances by Dvorak, the coronation march from Meyerbeer's 'The Prophet," Lalo's overture to Le roi d'Ys, and Gliere's Russian Sailors Dance.

I love the work of Mitropoulos. Everything he put his hand to created a kind of electricity and nervous energy. These "lollipops" as Beecham would say, positively sparkle under Mitropoulos. The orchestra is with him every step of the way and these pieces come off sounding more important then they really are.

Enjoy!

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Gunther Schuller conducts Beethoven and Brahms

About a dozen years ago, Gunther Schuller wrote a brilliant, but controversial, book called "The Compleat Conductor." In the book, Schuller analyzed, with score in hand, a selection of musical works by listening and comparing  various conductor's approaches of the works. The results are often surprising, critical, and not without throwing a few literary punches.

As a companion to the book, Schuller recorded the Beethoven 5th and Brahms 1st symphonies with a handpicked New York pickup orchestra and here Schuller took great pains to offer a realization, as he calls it, that is meticulously faithful to the score and the composer's instructions.

I picked up this disc the other day at my favorite used music store for two bucks and was, totally blown away by what I heard: details emerged that had been submerged for years, orchestral warmth was stressed, and the muisicans sounded like they were playing these warhorses  with a fresh new face.

Below is a review by Michael McDonough which speaks, with great eloquence, on what Schuller has accomplished. I'd like to share this with you, the reader.

Do we really need another recording of these two symphonies? There are, after all, countless others by legendary conductors, and didn't Claudio Abbado's recent Fifth on Deutsche Grammophon sell only 500 copies?

Composer-conductor Gunther Schuller has thought long and hard about these things, and his recording of the two most famous C minor symphonies ever written has a different aim than most: he wants to get to the core of these scores. But that's not easy when you consider the interpretive excesses visited upon them, and the "tradition" these have spawned.
 
Schuller clears these away: he takes Beethoven's metronome markings at face value and makes them work. Much of the Fifth's dynamism, of course, comes from its rhythm, and its speeds -- and their relation to each other -- clarify its structure. Schuller also gets his players, drawn from New York's finest orchestras, to pay special attention to dynamics so that you hear the rightness of Beethoven's scoring -- not flashy but completely effective. His no-nonsense approach shows how Beethoven's form gets its weight from carefully balanced instrumental color, and the nuances Schuller draws from his players is amazing. Rarely has this hoary old war-horse sounded so vigorous.

 The story of Brahms' struggles with his First -- he was cowering in Beethoven's shadow, etc. -- have obscured its magnificence. It's also probably a harder nut to crack than the Fifth because Brahms' wrote no metronome markings. Schuller therefore had to arrive at workable speeds on his own -- c 92 for Movement 1, c 50-55 for 2, c 92-76 for 3, c 100-126 for 4 -- which feel organic. Brahms has marked 1 and 2 as un poco sostenuto (somewhat sustained) and sostenuto (sustained), and Schuller follows this tempo description but finds lots of variety within it. His players also get the tension between repression and revelation -- Brahms the bourgeois vs. Brahms the man of passion -- which is at the heart of this music. And, unlike many conductors, he doesn't soup up the big string tune beginning in measure 28 of the Andante, which is Movement 2, but lets its intensity grow naturally which is ultimately more thrilling.

 Schuller's performers also articulate the rhythm with great precision, observing Brahms' minutely detailed syncopations and his frequent use of two against three. This allows the percussive character of the music, which is also a large part of its modernity, to come through. Schuller's scrupulous attention to both spirit and letter lets Brahms' orchestra, whether at full tilt or up close and personal, make its expressive points. Symphonies, after all, are objective, public affairs and private ones, too, and Schuller and his band happily make both sides matter. I also doubt you'll ever hear a contrabassoon with this much bite.

Since this recording is in print, I will decline to post a transfer. The recording is on Maestro Schuller's own label and I certainly don't want to infringe on his much deserved sales. I do encourage you to visit the site and buy this disc. It will be the best $15 that you ever spend!
 
Link to GM Recordings Site

Bach's Cantata BWV 30 performed by the Brattleboro Bach Festival under Blanche Honegger Moyse

Here's my second posting from Vermont: Blanche Honegger Moyse conducting soloists Benita Valente, Mary Burgess, Seth McCoy and Leslie Guinn along with the orchestra and chorus of the Brattleboro VT Bach Festival in Bach's Cantata BWV 30. The recording on the Ars Nova label dates from the early 70's.

Moyse was a longtime participant and fixture in Vermont musical life. Along with directing the Brattleboro Bach Festival she was closely associated with the Marlboro Music Festival and with the college where the festival takes place. Among her admirers, and close colleagues were Rudolf Serkin, Alexander Schneider and Pablo Casals to name a few. She was, I believe, a niece or cousin of Arthur Honegger and she was married to the great flutist Louis Moyse, son of another great flutist Marcel Moyse.

Moyse was one of the pioneers in performance of Bach cantatas in the Northeast United States. Along with Craig Smith at Emmanuel Church in Boston, she introduced the masterpieces of Bach during a time when much of his body of work was unknown. Though her chorus in Brattleboro is decidedly on the amateur side and much of the orchestra is pickup in nature, the fervor and commitment of her work is readily apparent. This is inspired music making.

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Music from Marlboro - Haydn and Beethoven Trios with Rudolf Serkin

I'm heading north into Vermont with the next two post offerings.

The Marlboro Music Festival takes place in the village of Marlboro Vermont and it is one of the great summer music festivals. Throughout the years it has featured some of the greatest musicians of our times from Rudolf Serkin, Alexander Schneider, Louis Moyse and of course, the supreme artistry of Pau Casals. Casals loved Marlboro for the bucolic setting and the ability to iimmerse himself fully with his beloved chamber music.

Here we have a recording issued by the Marlboro Recording Society of Beethoven and Haydn trios. The artists featured are Rudolf Serkin and Richard Stoltzman. I do not think this LP has ever been issued in CD format and I place the recording date somewhere around 1980. Further details are listed in the download.

I hope that you enjoy it. Serkin is effervescent.

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Oistrach conducts Bach and Handel from Moscow

Everyone knows that David Oistrach was a superb violinist, technically without par and with a sound so individual and special...where are these guys today? Many don't realize that he was also a very fine conductor, no mere beater of time!

Oistrach loved Bach and Handel and this recording of him conducting the soloists of the Moscow Philharmonic in Bach's Suite in b and Handel/Harty's Water Music Suite provide ample evidence of his podium gifts. The results here are tasteful, elegant  and wholly appropriate to the style of the baroque.

From a Melodiya LP that I purchased in Bulgaria some years ago, recorded some 40 years ago, give or take.

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A Bach Festival with E Power Biggs and BSO Brass

Biggs, the BSO brass and Bach!  During the 50's and 60's, organist E Power Biggs made a number of recordings with members of the Boston Symphony, introducing much repertoire of the baroque period to American audiences. This recording features music of Bach and several contemporaries, mostly chorale preludes and such. The full program is included in the download.

The BSO brass section was a very, very good one, anchored by two of the best, and more celebrated orchestral trumpeters of their time: Roger Voisin and Armando Ghitalla. Though very different players in style, Voisin being the epitome of the French sound and Ghitalla the more warmer "American" style, the pair did complement each other rather well. Many readers might be familiar that with the story of how Leinsdorf demoted Voisin in his efforts to dismantle the BSO's long time "French" sound. It was often said that the best French orchestra in the world was the BSO!

Make no mistake, these pioneering efforts on behalf of Biggs, Voisin et al...paved the way for later musicians and opened up the eyes and ears of concert goers to the many major and minor masters of the Baroque and early classical periods. A debt of gratitude is owed by all!

Enjoy!

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Koussevitzky and the LPO in Beethoven and Mozart from 1934

Serge Koussevitzky was certainly one of the most important, and colorful, personalities of the American concert stage during the 20th century. Although arguably the greatest friend to the American mid century composer, much scurrilous rumor has circulated that his achievements in Boston were artificial; he could not read music well and relied on at-home pianists to practice his conducting of  various pieces of music. In fact, some have claimed that the results he achieved were due in part to excellent section leaders, among them Richard Burgin the longtime concertmaster master, who actually carried and shaped Koussevitzky's performances in lieu of the maestro's inadequacies.

Well, here we have two strong, and quite individual, performances from Beecham's LPO that firmly dispel any doubts of Koussevitzky's prowess on the podium. Outside of  a Mengelbergian tempo change that is rather abrupt in the first movement of Mozart's Symphony No. 40, the readings of the Mozart and the Beethoven Eroica are clean, powerful, earthy, and thoroughly engaging. They are also a testament to what a fine orchestra Beecham built, probably the best in London during this time period. There is no doubt that Koussevitzky is the star and was fully able to communicate his wishes during this guest appearance.

Enjoy these transfers from Camden LP's. Koussevitzky would record both works again with his BSO, a better orchestra, but this first crack at both symphonies is indeed satisfying.

LINK for Mozart

LINK for Beethoven

Swan Lake Excerpts played by the Ballet Theatre Orchestra under Joseph Levine

Joseph Levine and his Ballet Theatre Orchestra made a number of very good recordings for Capitol during the 1950's. I especially like his Billy the Kid Suite and  Gould's Fall River Legend. Well, here is Maestro Levine leading extended excerpts from Swan Lake.

I think that the music is wonderfully realized by this small, but fine orchestra. In fact, the forces here are more in line with  what you would expect while attending the ballet. Here, much detail is revealed and the winds are not overwhelmed by massed strings. Levine is wholly convincing.

Enjoy!

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Yet More Bulgarian Classics - Music of Pancho Vladigerov

I recently had a request for music by Pancho Vladigerov and here it is....from a 20+ year old Balkanton cd which I picked up some 20 years ago in a Bulgarian bazaar. Normally, I would not transfer from a cd but this is what I have in my collection. The disc features Vladigerov's most famous composition, "Vardar." A full listing of tracks is included in the download.

Enjoy!

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Charles Munch and the BSO in Don Quixote

Ah....Munch and the BSO! Like champagne and cavier, isn't it? I never heard a Munch BSO recording that I didn't find compelling; his combination of driving passion  and the BSO's smooth sound and razor precision certainly produced much to gush about!

Admittedly though, we really don't associate Munch with Richard Strauss but here we have an "on the edge of your seat" performance of Don Quixote featuring the great Gregor Piatigorsky with BSO greats Richard Burgin and Joseph DePasquale lending impeccable support. This Don Quixote is unlike any other you know and you probably know well Karajan, Beecham, Reiner and Kempe to name a few. It's subtleties are few but Munch manages to steer this music on, avoiding  sections that, in the wrong hands, can, and will bore the listener. I've always found this large tone poem the most difficult to engage myself in but Munch's performance kept me focused throughout.

So..maybe not a version for everyone, but still, a reminder of Charles Munch as a presence and a personality who had definite ideas and COULD communicate them to an orchestra, achieving sparkling though sometimes controversial results.

Enjoy this 1953 RCA recording.

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Havergal Brian's Symphony No. 4 with the "Edinburgh Youth Symphony"

Havergal Brian certainly was one of the most original, and possibly misunderstood, composers of the 20th century. Largely self taught, he is unique in that his early compositions required massive forces  and were sprawling affairs, while his later works were often quite compact in structure and instrumentation. As a composer, he wrote in practically every medium.

Here's an offering of Brian's 4th Symphony "Das Siegeslied" from an Aries LP. The performance is attributed to the Edinburgh Youth Symphony and Chorus but in fact, it is from a BBC Radio broadcast of 1974. John Poole conducts the London Philharmonic and BBC choruses with Felicity Palmer as soprano soloist. Interestingly, Brian set the text in German, it is said to attain performances in Germany since his work was generally not accepted in his native England. I could find no evidence that a German performance took place of this work.

This is a fascinating work, as most of Brian is. One thing is for sure, you can't peg him easily!

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Bernard Hermann conducts Raff's Symphony No. 5 "Lenore"

Conductor/Composer Bernard Hermann almost singlehandedly resurrected the nearly forgotten Joachim Raff with this beautiful recording of Raff's wonderful "Lenore" Symphony. A programmatic work, like most of Raff's symphonies, it contains lovely lyrical passages which depict idyllic nature scenes as well as stirring marches that lift the spirit, propelling the listener forward and upward. In spite of some just criticisms of Raff's body of  opuses, I will say that this symphony is a strong, determined and vital work; its a shame that it does not appear in the concert hall more regularly. In short, a solid 19th century work that suggests  Liszt, Goldmark, Bruch, Wagner and even Mahler at times.

Bernard Hermann prepared this recording well. He had a great orchestra at his disposal and a recording team led by the legendary Bob Auger. Outside of few clicks and pops (this Nonesuch record was in a fair shape), I think the end result came out rather well.

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More from Hans Swarowsky

Yes...a few more items from the esteemed Hans Swarowsky. We have here Tchaikovsky's Little Russian Symphony form a Parliament LP and Saint Saens' Organ Symphony from a Urania LP. Professor Swarowsky conducts the Vienna Philharmusica Symphony Orchestra in both works; this orchestra is obviously a pseudonym for the famed Philharmonic, the Symphoniker, the Tonkuenstler, the Volksoper....who knows? Well, I'm sure someone out there has the answer!

These are good performances, well played with no mannerisms or eccentricities.  I find both works enjoyable and recorded  sound is pretty good  for the late 50's to mid 60's. LP pressings are budget so results are somewhat variable on that end. My hope is that this offering will lead to other transfers of Swarowsky's art.

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Haydn - Missa in angustiis "Nelson Mass" conducted by Hans Swarowsky

Hans Swarowsky - the name has featured for soooo many years as the conductor of such pseudonymous orchestras as the Bamberg Philharmonic, Philharmonia Slavonica, South German Philharmonic and London Festival Orchestra (the last not to be confused with Ross Pople's REAL orchestra.) Many have thought Maestro Swarowsky to in fact be a pseudonym but he was very real but unfortunately his name has been used as a rather scurriously to hide the real identities of other conductors...my, this is getting tooooo confusing!

The fact is that Swarowsky was one of the leading conducting teachers of the last century and his students have included Zubin Mehta and I believe Claudio Abbado. He was the Jorma Panula of his day and well regarded by his pupils for his insight, musicianship and broad repertoire. I heard years ago Mehta positively gush over Swarowsky during an on air interview.

Here is a real Swarowsky recording and it is a highly dramatic reading of Haydn's Nelson Mass, transferred from a Nonesuch LP. Haydn's masses are magnificent choral works and in the right hands, THE RIGHT HANDS, there is little that can better them for melody, spiritual meaning and inspiration. Listen to this recording and you will understand why Mozart referred to Haydn as "Papa"...the ultimate compliment!

This is big band and big choral Haydn. Those approaching this recording through John Elliot Gardiner glasses might be in for a seismic shock. However, the message and strong interpretation make them a vital statement for our times. At least I think so.....

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Union of Bulgarian Composers Recordings - Part 2

I received a number of requests for a second posting of recordings by Bulgarian composers from my collection of Balkanton recordings made in conjunction with the Union of Bulgarian Composers.

This second offering features works written after 1950 and those who like decided modern works in that spiky style with dissonances, tone clusters, sudden meter adjustments etc. will find much to admire here. I think that this, along with the first posting, offer a nice survey of how Bulgarian music progressed stylistically during the first three quarters of the 20th century.

The works offered are Mara Petrova's Overture My Motherland, Alexander Raichev's Third Symphony, Dimitar Hristov's Concert Miniatures and Alexander Tanev's Divertimento-Concertante for Piano and Orchestra.

I hope you, the listener, find much to enjoy here.

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Wagner as a Young Man: Symphony in C and Polonia Overture

I dug out another rather interesting one from my basement: a very good copy of the album above, issued on Urania and billed as stereo though I have my doubts if it is "authentic" stereo.

During the 50's and 60's Urania issued quite a few recordings dedicated to obscure or little played compositions by well known masters and not so well known ones. This particular lp features two of Wagner's earliest works, the Symphony in C and Polonia Overture. Let me say this: if you love the Wagner of the Ring Cycle, there is little here to identify the composer with his much greater, and musically advanced later works. These two compositions are very much indebted to Spohr, Mendelssohn and Schumann and were written to gain the attention of these composers. However, the story goes that Wagner sent along the score to his symphony to Mendelssohn and the latter either lost it or threw it away. Wagner must have thought high enough of the work because in old age he had it performed for his beloved Cosima.

Ok, both of these works deserve the occasional listen for if anything, they illustrate how Wagner grew so very much as a composer. Performances here by two East German radio orchestras are fine, though hardly the last word. In order to fill out a cd, I've included  the Ride of the Valkyries and Siegfried Idyll, from another Urania disc, conducted by the uber-kapellmeister Franz Konwitschny. The Siegfried Idyll is especially well done and if there is interest,  I can transfer the balance of the two lp's that Konwitschny made of highlights from the Ring. Sound is good and its all quite idiomatic.

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Prokofiev conducted by Eduard van Remoortel and the St Louis SO

Here's what appears to be a rather rare find - Eduard van Remoortel conducting the St Louis Symphony Orchestra in Prokofiev's Suite from the Love for Three Oranges and the Scythian Suite on Columbia.

Many of you might know Remoortel from his series of recordings for VOX made mostly in Bamberg and Vienna during the 50's and 60's. I recall a rather fine Grieg disc as well as a convincing Beethoven 7 from London. Anyway, Remoortel had a rather brief and painful stay in the States as music director of the St Louis SO during the late 50's and early 60's. Following the long, and well regarded tenure of Vladimir Golschmann and, being a very young man (not yet in his mid 30's), didn't help the situation. On top of that Remoortel was apparently unhappy with many musicians and he tried to fire a good number though with mixed results. Bottom line, on paper  a failed effort and Remoortel would not hold another significant American appointment, guesting in Europe instead until his early death around the age of 50 in 1977.

Well...its not ALL negative! This is a fine recording by a very good, second tier orchestra. Golschmann had excelled in this repertoire and the STLSO was well prepared for these recordings. Remoortel's efforts are solid and I think this is a fine testament to his musicianship. To fill out  a cd, I've included Golschmann conducting Chout of a  few years earlier, that  being a Capitol record. Enjoy!

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Bulgarian Classics - works of Stainov, Ikonomov, Atanassov and Hadjiev

During the mid 90's, I lived in Bulgaria and worked in the Peace Corps mission there. During that time, I immersed myself in Bulgarian culture especially,  the rich musical traditions of this wonderful country.

In  the capital Sofia, the Union of Bulgarian Composers had a retail store and I must've purchased 30 LP's that state recording company Balkanton had produced in cooperation with the UBC. During the socialist years, UBC members were virtually guaranteed performances and recordings if they produced a body of work deemed acceptable by the State. That said, some works on these recordings are admittedly banal while others are genuine achievements and they really need to be heard by a wider audience.

I've chosen works by four composers and these compositions date from the first half of the 20th century.
Petko Stainov - Thracian Dances; Boyan Ikonomov - Pastorale & Shar Mountain; Parashkev Hadjiev - Violin Concerto and  Georgi Atanassov's First Symphony. The last entry is of special importance since it is billed as the first symphony ever by a Bulgarian composer.

In all of these works, you will hear echoes of Richard Strauss, Debussy,  and Prokofiev. The Atanassov symphony itself, is  a fine candidate for a modern performance; maybe a company like CPO can explore it? I hope that you, the listener, will find my program enjoyable. I picked and chose diverse works, from three different records, which add up to a very generously filled cd. The recordings all feature the UBC logo, as seen above, on the cover. No details are given on recording dates but I would venture to guess between 1970 and 1980 since all are stereo but not digital.

Enjoy!

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