In the 1960s the situation was rather different, although no less confusing. Some recordings at that time were specifically made for (or exclusively licensed to) record clubs and societies, and either never made it onto commercially available LPs or were only to be obtained for a limited period of time other than to subscribers. Other releases were only available in the UK as imports from certain specialist shops (mainly in London) and were almost impossible to obtain elsewhere even by order. These were sometimes reviewed in Gramophone as 'imports' but seemed only to maintain their presence in the catalogues for as long as the importers had LPs in stock. Many never even made it into the Gramophone catalogue.
With regard to stereo recordings of the Brahms serenades, the Bongartz readings (as Chris Howell acknowledges) didn't appear to have become available in the UK even in part until the 1970s. The Bruselow recordings were not reviewed by Gramophone until some months after the first Kertesz release, and in the absence of any details of the exact recording date for the latter (my CD copy give no information at all on the subject) it would appear that claims for the Kertesz LPs as the first stereo releases to be generally available could be regarded as justified.
Neither the Bongartz nor the Brusilow LPs survived for long in the UK catalogues, and both had vanished from the listings by the late 1970s when there was only one alternative set of both serenades listed apart from the Kertesz (that conducted by Boult).
The more important point which I was endeavouring to make, however, remains unchanged: that the record companies in the stereo era neglected the Brahms serenades for an unconscionably long time before issuing such recordings. And the Brahms serenades continue to be relatively neglected even today, despite the evident quality of the music which I am pleased to note Chris Howell agrees with me about.
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