Arthur BROWN, conductor
Gaspar CASSADO, cellist
(Céline) CHAILLEY-RICHEZ, pianist
and Musicologists: Sigmund SPAETH, John W. FREEMAN, Irving KOLODON, Louis BIANCOLLI,
Betty REINMAN, Max de SCHAUENSEE, Irving SABLOSKY, Jerome BOEHM (also spelled
CURTISS, manager Webster pressing plant
von (Ernö) DOHNANYI, composer pianist/conductor
ENESCO (George Enescu), violinist/conductor
H. GABOR, founder, owner and producer
GUENTHER / Günther), conductor
HALASZ, conductor/recording director
HELSINKI UNIVERSITY CHORUS
JOHNSON, conductor and the Cincinnati Symphony Orchestra
LUBOSHUTZ and Genia NEMENOFF,
and Alice PASHKUS, violin pedagogues
(George) SEBASTIAN, conductor
STEINWEISS and other artists and designers for the Remington label: Curt
John WITT, H. KAEBETZ, SLONEVSKY, ALBITZ, RADO, Rudolph DE HARAK, etc.
WEIDLICH, pianist and conductor
Covers of Curt John WITT
Friedrich WüHRER, pianist
on the lighter side
PAULEE, mezzo soprano
accompanied by Heinz SANDAUER and his Orchestra
- 78 RPM Jazz
OPEN REEL TAPE EDITIONS
CORPORATION OF NEW ENGLAND - Remington Record Pressery, Webster, Massachusetts
NULL'S REMINGTON SERIES
on the Varèse-Sarabande
SMITH reviews early pressings in The New Republic
site was first begun in 1999 and published in its basic structure and concept
which is maintained up to this day.
It is about REMINGTON RECORDS,
the various artists who recorded for it, the uniqueness of the label, it is about
its owner and producer DONALD H. GABOR,
and tells about the other labels he created.
The site is updated and
extended when eventually more details do become available. Links will be added
and activated in time.
REMINGTON SITE contains historical documentation and is intended for educational
and informational use only.
Images on these pages were created from the covers
of recordings, material in my personal collection (magazines, program notes,
booking ads, brochures and articles), and from material submitted to me by artists
themselves and contributors.
biographical and historical data of artists, producers and other people involved
are compiled from liner notes of a specific lp, old encyclopedia, magazines, books
and many other sources. Various details have also been submitted by the artists
themselves or their relatives, and/or several contributors. Data about releases
are taken from old editions of a variety of catalogs, advertisements, booking
ads, reviews in record magazines, all in my personal collection.
(if not expired) are reserved, and remain with the various copyright owners, including
may view these pages for personal and/or academic use only.
Copying and multiplying
the contents in part or as a whole by means of photocopy, print and/or proliferating
it by means of electronic carriers and/or via electronic media, without the written
consent of Rudolf A. Bruil, owner and publisher of this website, is prohibited
by international copyright law.
No financial gain can be made from the contents
of this site by third parties.
am indebted to:
Ryan Barna (USA)
Dominique Chailley (France)
Ursula Erhart-Schwertmann, cellist (Austria)
Mme Fabian Gastellier-Hathorn (France)
Timothy Gaspar (USA)
Mr. and Mrs. Laszlo Halasz (USA)
Mrs. Roswitha Heintze, conductor/pianist
Dr. Klaus Holzapfel (Germany)
Mrs. Patricia Jaeger, violin teacher
Alexander Jenner, pianist (Austria)
Mrs. Felicitas Karrer, pianist
Franz Krahberger (Austria)
Heinrich Köhler, cellist (Germany)
Doris Köhler (Germany)
Yorgos Manessis (Greece)
Tom Null, former
producer of Varèse-Sarabande and Citadel Records (USA)
Mrs. Jutta Obrowski
David Reskind (USA)
Mrs. Regina Resnik (Italy)
Stefanos Theodoridis (Greece)
Mrs. Frieda Valenzi, pianist (Austria)
Dr. Marco J. de Vries (Netherlands)
Mrs. Deborah Yardley Beers, pianist (USA)
...and other important sources.
sellers on the internet ask exorbitantly high prices. Most of the time these prices
are definitely not in relation to the offered quality of both engineering, performance
and historic value. Most
records offered are of course second hand and have usually been played on simple
equipment with a ceramic or crystal cartridge with low compliance, as was the
custom in the nineteen fifties. Therefor the groove is often damaged. These sellers
may also have been inspired by the existence of The REMINGTON Site, not by love
for music, sound judgement and knowledge (otherwise they would not spell the names
of the artists wrong).
If the price is high, always ask what the return policy
is beforehand. And: read what the description is. VG ++ is not the same for all
my recommendations of recordings after entering THE
1995-2020 by Rudolf A. Bruil