Click HERE to see the records we currently have on the site with the music of Tchaikovsky.
Click HERE to see the records with Tchaikovsky’s music that we’ve done Hot Stamper shootouts for (a substantially larger group as you can imagine).
On the better copies of the album pictured above, the lower strings are rich and surrounded by lovely hall space. This is not a sound one hears on record often enough and it is glorious when a pressing as good as this one can help make that sound clear to you.
The string sections from top to bottom are shockingly rich and sweet — this pressing is yet another wonderful example of what the much-lauded Decca recording engineers (Kenneth Wilkinson in this case) were able to capture on analog tape all those years ago.
The 1958 master has been transferred brilliantly using “modern” cutting equipment (from 1970, not the low-rez junk they’re forced to make do with these days), giving you, the listener, sound that only the best of both worlds can offer.
Side One (1812 Overture)
Dynamic and exciting!
The brass is big and clear, just the way it should be, as that is precisely the sound you hear in the concert hall, especially that part about being clear: live music is more than anything else completely clear. We should all strive for that sound in our reproduction of orchestral music.
Not many recordings capture the brass this well. (Ansermet on London comes to mind of course but many of his performances leave much to be desired. Here Alwyn is on top of his game with performances that are definitive.)
Side Two (Marche Slave/Capriccio Italien)
Every bit as good in its own, somewhat different, way. The changes in the sound should be very noticeable. We encourage you to listen for them.
You can be pretty sure of two things when you hear a record of this quality: one, the original won’t sound as good, having been cut on cruder equipment.
And two, no modern recutting of the tapes (by the likes of Speakers Corner for example, but you can substitute any company you care to name) could begin to capture this kind of natural orchestral sound.
I have never heard a Heavy Vinyl pressing begin to do what this record is doing. The Decca we have here may be a budget reissue pressing, but it was mastered by real Decca engineers, pressed in England on high quality vinyl, from fairly fresh tapes (twelve years old, not fifty years old!), then mastered about as well as a record can be mastered. The sound is, above all, REAL and BELIEVABLE.