A distinguished member of the Better Records Orchestral Music Hall of Fame.
This London is energetic, dynamic, spacious, transparent, rich and sweet. James Walker was the producer, Roy Wallace the engineer for these 1961 sessions in Geneva’s glorious Victoria Hall. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording Technology.
We were impressed with the fact that this pressing excelled in so many areas of reproduction. The illusion of disappearing speakers is one of the more attractive aspects of the sound here, allowing the listener to inhabit the space of the concert hall in an especially engrossing way.
This is High Fidelity Audiophile Gold, with bells, drums, voices, trumpets, strings, woodwinds and more, all sounding so real it will take your breath away. The Golden Age tapes have clearly been mastered brilliantly onto this vintage London vinyl.
Music and Sound
For those of you who are not familiar with the work, it starts out with multiple castanets and a group of men shouting, all of which sounds amazing here.
All that commotion is followed by a woman singing from the back of the stage. She is obviously being picked up by the microphone at the front of the stage, so the huge amount of depth that creates in the recording is really quite remarkable.
When the brass comes in it sounds very natural, very tonally correct. Same with the strings. One thing these good Londons have going for them is dead on tonality. For those of us who prize that quality in a recording, it allows us to appreciate these wonderful performances all the more.
An Orchestra with Singers Needs This Kind of Space
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that — a copy like this one — it’s an entirely different listening experience.
Production and Engineering
As we noted above, James Walker was the producer, Roy Wallace the engineer for these sessions from 1961 in Geneva’s glorious sounding Victoria Hall.
The hall the Suisse Romande recorded in was possibly the best recording venue of its day, possibly of all time; more amazing sounding recordings were made there than any other hall we know of. There is a richness to the sound that exceeds all others, yet clarity and transparency are not sacrificed in the least. It’s as wide, deep and three-dimensional as any, which is of course all to the good, but what makes the sound of these recordings so special is the weight and power of the brass and the timbral accuracy of the instruments in every section.
This is the kind of record that will make you want to take all your Heavy Vinyl classical pressings and put them in storage. Practically none of them can ever sound the way this record sounds. Quality record production is a lost art, and it’s been lost for a very long time.
Part 1. Afternoon
Part 2. The Neighbour’s Dance (Seguidillas)
Part 2. The Miller’s Dance (Farruca)
Part 2. Conclusion
La Vida Breve – Interlude & Dance
San Francisco Orchestra Review
The premiere was a resounding triumph. Martínez Sierra summed it up: “There is no need to mention the success of The Three-Cornered Hat which was choreographed and danced by Massine—who studied Flamenco dances in depth and who admits to having found many beautiful poses in bullfighting—and designed and costumed by Picasso. Anyone interested in theatrical music will know that within a few months the work had earned the category of a ‘classic’ and since then has been placed in the annals of great ballets such as Petrushka and Schéhérazade.”
Ernest Ansermet is something of a legend in classical music lore. Like conductor Thomas Beechum, he did not have a lot of formal training. Also like Beechum, he formed his own orchestra: L’Orhestra de la Suisse Romande. And, should you be considering this recording, he conducted the premier of “El Sombrero de Tres Picos” in 1919, which makes him special indeed. This particular recording of the “Three-Cornered Hat” was made in 1961, and had the benefit of Decca’s state-of-art recording equipment.
Finally, this, from the liner notes: “There have been more technically polished recordings of these works by Falla; the ensemble here is not always faultless and the recording balances are not ideal; against that, they show a matchless sense of tempo and musical form, an acute sense of orchestral color combined with rhythmic energy.”