The darker brass instruments like tubas, trombones and french horns are superb here. Other Golden Age recordings of the work, as enjoyable as they may be in other respects, do not fully reproduce the weighty quality of the brass, probably because of compression, limiting, tube smear, or some combination of the three.
The brass on this record has a power like no other. It’s also tonally correct. It’s not agressive. It’s not irritating. It’s just immediate and powerful the way the real thing is when you hear it live. That’s what really caught my ear when I first played Ansermet’s recording.
There is a blast of brass at the end of Catacombs that is so big and real, it makes you forget you’re listening to a recording. You hear every brass instrument, full size, full weight. I still remember the night I was playing that album, good and loud of course, when that part of the work played through. It was truly startling in its power. (Back then I had the Legacy Whisper speaker system, the one with eight 15″ woofers. They moved air like nobody’s business. If you want to reproduce the power of the trombone, the loudest instrument in the orchestra, they’re your man.)
Some of Ansermet’s recordings with the Suisse Romande are absolutely the best I’ve ever heard. It was a magical combination of the right hall, the right engineers, the right orchestra and the right technology — the pure tube ANALOG technology of the ’50s and ’60s!
Another thing this recording has going for it is DYNAMICS. This is a dynamic piece of music. Few recordings I have ever heard have the dynamic constrasts that this one does. It really gets loud when it needs to. The best pressings sound completely uncompressed. Although I’m sure there has to be compression of one kind or another, the listener is rarely made aware of it.
Dynamics such as these are thrilling. They let the music come alive. Here at Better Records we are fans of big speakers and loud music and that combination is exactly what allows this record to be as powerful and moving as it is. We love that sound and see no need to apologize for it.
The big finish with cymbal crashes and that amazing gong is worth the price of the album — when and if you can find one that’s not compressed and distorted from bad mastering or abuse. If you can find a more thrilling climax to a more powerful orchestral work you must have one helluva classical collection. My hat’s off to you.
The third quality this record has is tremendous, powerful deep BASS. As you know, bass drum thwacks are called for throughout this composition. This is one of the few recordings where those bass notes don’t get “clipped” because the cutting amplifiers have run out of juice. That’s a sound that’s common to many Living Stereos. We put up with it because we like all the other qualities they have, but it’s a shortcoming of many of the tube cutting amplifiers from that era. The deep bass on this record is prodigious, as Dr. Strangelove might say. It really rocks the room.
If you prize Golden Age richness, lushness and Tubey Magic, this copy is going to be hard to beat. The hall is huge with tremendous depth and lovely reverberation. (Our Disney Hall here in L.A. does not have this kind of sound at all I regret to say.)
I used to think Ansermet’s reading was ponderous, but this copy [from 2013] is making me want to change my mind. Is it more lively than others? Is the stereo that much improved since last I heard the London? We have no way of knowing. All we do know is that we were enjoying Ansermet’s performance more than ever before.
This record also includes Liszt’s The Huns which, at least on this pressing, has a badly squashed midrange and does not deserve a sonic grade at all.