Including this amazing Bolero, the best copy we’ve ever heard!
- Both sides here earned our highest grade of Triple Plus, making this the best copy to ever hit the site
- Full, rich, spacious, BIG and present, with energetic performances the likes of which you may have never heard
- Side one has outstanding depth – the snare drum sounds like it’s located at least fifty feet behind the speakers
- One of the best Ansermet recordings with the Suisse Romande from Victoria Hall – best performances too
Side two sounded so much better than any copy I have ever heard that I was sorely tempted to give it our coveted Four Plus grade, for the kind of sound that breaks all the rules. Cooler heads have since prevailed, but that doesn’t detract in the least from side two of this remarkable pressing, which has by far the best sound for The Sorcerer’s Apprentice I have yet to hear.
We are rarely able to find a quality recording or performance of Bolero or The Sorcerer’s Apprentice, so this pressing comes as a welcome addition to the classical offerings on the site.
The sound is clear, with wonderful depth to the stage. As a rule, the classic ’50s and ’60s recordings of Ansermet and the Suisse Romande in Victoria Hall are as big and rich as any you may have ever heard. These recordings may just be the ideal blend of clarity and richness, with depth and spaciousness that will put to shame 98% of the classical recordings ever made.
Tubey and clear, with both the snare and the flute coming from so far back in the hall! OUTSTANDING energy and dynamic power.
Turn it up and it really comes to life like LIVE MUSIC. It’s big, wide and believable. We loved it!
The Sorcerer’s Apprentice (Dukas)
ZERO compression. ZERO distortion when loud. Which means it has ZERO compressor distortion, something not five out of a hundred Golden Age recordings can claim. Nice extended top too.
There is depth and richness to beat the band, as well as clarity and tonal correctness that let you forget the recording and just enjoy the music. This piece is not quite as transparent as the Ravel, but still has earned every one of its Three Pluses.
The timbre of the brass is right on the money. As we have noted before, the brass of the Suisse Romande is some of the best to have ever been committed to analog tape.
Again, this side had OUTSTANDING energy and dynamic power the likes of which we have never heard.
La Valse (Ravel)
Boasting some of the best sound of the three works we played on this copy. Again, with that wonderously huge hall adding a sense of space that will allow your speakers to disappear. The performers are not too close, which is very much in keeping with live music.
In his tribute to Ravel after the composer’s death in 1937, Paul Landormy described the work as follows:
“….the most unexpected of the compositions of Ravel, revealing to us heretofore unexpected depths of Romanticism, power, vigor, and rapture in this musician whose expression is usually limited to the manifestations of an essentially classical genius.”
Production and Engineering
Michael Brenner was the producer, Roy Wallace the engineer for these sessions from February of 1963 in Geneva’s glorious sounding Victoria Hall. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording.