Ouch… 
I will guess your cleaners will deny everything - and refuse to believe it was them - or have any idea as to the cost of the damage.
Clueless… 
I look forward to reading about the results, despite sympathising over why it is necessary.
1 Like
Every cloud … etc. They are all very good cartridges, just go with the flavour you prefer.
Oh dear, that doesn’t look good! Somehow I suspect @IanRobertM will be proven right in that your cleaner will deny it.
If you were to swap to another Linn cartridge, would you still get the Linn part-ex value for the Krystal?
1 Like
I would hope that the answer is ‘Yes’ - but only Linn can say…?
1 Like
I must be looking in the wrong place, as I can’t see a cantilever, however jauntily displaced it may be.
Does your own household insurance cover his sort of thing (if the cleaners don’t have cover), or would that involve a huge hit on your no claims bonus?
Assuming the very best, and that Linn will offer a part exchange, what is the final cost likely to be?
I’m not sure who manufactures the Krystal, but is there any point in speaking to Goldring (or whoever it may be) to find out whether there’s a less expensive way of getting a replacement?
Enjoy the TV tonight! (Sorry, unfair of me!)
Hi Clive,
That’s a yes on trade in value. I think it doesn’t matter what state the old cartridge is in. I believe its £250 towards a new Krystal or £300 towards a Kendo (or Kandid).
2 Likes
It’s definitely bent to buggery!
1 Like
That might sway your decision. If it’s within your budget, I can strongly recommend the Kandid. I went Krystal to Kandid when they offered the “free” Karousel deal, but the Kandid is just sublime, especially in an Aro!
2 Likes
1 Like
I see a grey stub, and something threadlike going off to the left of the photo, so that must be it.
1 Like
Just about managing to slum it with the ND555 
Christa Ludwig and the NYPO sounding pretty tremendous in Mahler’s Der Abscheid right now!
1 Like
Is that with Lennie?
Yes I think so - the Core has misidentified the disc,so not totally sure. I’m off after it finishes to dig out the CD and check by track timings. It’s a superb recording - with the Obelisks I’m on the Podium next Lennie!
Don’t let looking for the conductor spoilt the Mahler, for goodness sake.
I was amused by the mistype of 'Abschied, as your version would come dangerously close to translating as ‘Sh*t Off’, which I don’t think was Gustav’s intention at all. (In fact, I don’t think that it’s a German word at all.)
PS: System won’t allow an “i” in the asterisked word, which rather spoils the fun!
Had to stop for a bit and cook anyway…
I was right about Christa Ludwig, but it’s actually Klemperer on the podium with me in 1967 with the Philharmonia&New Philharmia Orchestras on EMI.
Walter Legge production, Douglas Larter and Robert Gooch the engineers.
Amazing sound.
P.s. Are you any nearer escaping yet Graham?
1 Like
Ah, that makes sense.
That is rather an infamous recording. Walter Legge, its producer, (who was (a) EMI’s senior recording producer (b) Elisabeth Schwarzkopf’s ‘Svengali’-type husband and (c) founder of the Philharmonia Orchestra as EMI’s in-house recording ‘band’) had a falling out with, and formally disbanded the Philharmonia as an orchestra, half way through that very recording. The members of the orchestra stayed in place and reformed themselves, outside EMI’s remit, as the New Philharmonia Orchestra.
That is why the record cover (as in your photo) lists two orchestras on the recording.
I think, but stand to be corrected, that it was the only record ever to show the two orchestras, as there were no other orchestral recordings being made by EMI when this kerfuffle took place. (So you have a collector’s item of sorts.)
I think (but, again, this is subject to anyone else correcting) that the New Philharmonia started making recordings for record companies other than EMI pretty well straight away, but Otto Klemperer, principal conductor of both, remained an exclusive EMI recording artist.
Another reason for the fame of this particular record is the rare presence of Fritz Wunderlich (his name translates from German, very aptly, as Fred Wonderful). He was a memorable Tamino on Boehm’s Berlin Philharmonic recording of ‘The Magic Flute’ for DGG, and he sang on various operetta recordings for the German EMI Electrola label. He died not long after making the Mahler and Mozart recordings, when he slipped on stairs leading down to a basement in his home (going to get bottles of booze).
[Dealing quickly with my own Great Escape, since you ask. I had a formal meeting with two separate doctors this morning (as required by the relevant safeguarding legislation), and a decision on my continued mandatory detention is required within four working days. We shall see. No chickens being counted, but I asked one of the care home staff to sit in, and she says that it went well.]
3 Likes
Thanks, that’s very interesting Graham. I was wondering what was going on there with the 2 orchestras! Highly commended if anyone can find it. Mine’s a 99p charity shop purchase from I don’t know where or when. A lucky find I think.
Good news on the meeting. I hope you can finally meet that TKR and all that Vinyl at home soon!
Gosh, thanks for reminding me about all the new LPs and the TKR. I have been waiting so long now (or so it seems) that I had almost forgotten!!
Anyway, enjoy the Mahler! And consider, if you don’t have it, looking for a copy of Klemperer’s pretty much contemporaneous recording of Mahler’s Ninth. Klemperer had a famously truculent way of approaching Mahler, whom he had known well in pre-Nazi Austria and Germany.
We are lucky to have Klemperer and Bruno Walter (also a close friend of Mahler, who conducted the premières of some of the symphonies) and the near-definitive Mahler recordings that they made.
Bruno Walter conducted the Vienna Philharmonic in the first ever recording of Mahler’s Ninth in the days immediately before the Nazi Anschluß of Austria. Fred Gaisberg produced the live recording for EMI, made ‘as the lights were going out across Europe’, leading to the start of the Second World War. I have never seen a recording on LP, but it was one of the very first EMI CDs in their ‘Great Recordings Of The Century’ series, with a silver cover showing Bruno Walter in the Green Room in Vienna immediately before the recording was made.
The recording is an extraordinary aural record of a bygone age, with the string players sliding and scooping their bows in a sound that was disappearing forever when this recording was made. Of course, the orchestra lost so many of its Jewish members (the orchestra’s leader Arnold Rosé escaped to London) with the advent of the Nazis. The sound really is unique, and I cannot recommend it highly enough to any devotees of Mahler’s music.
A former girlfriend of mine (now a senior QC, or KC, as we must call them now), who was a talented cellist - and knew so much more about classical music than I do - refused to listen to this Bruno Walter recording, She found it too emotionally distraught, and I see why she felt this. It’s not an easy listen, but it packs one hell of an emotional charge.
2 Likes
Thanks Graham. I will look for the Klemperer Mahler 9. I like his way with Mahler and Bruckner. Both can get strange with a conductor who thinks he can ‘add’ to it. It was this copy of Klemperer’s Mahler 7
that helped convince me that Vinyl was the right way for me to go with my classical listening. The 2 inner movements here are sublime.
Likewise, Klemperer’s Bruckner 4 gave me clarity on Bruckner. Nobody gets close to this 4th.
