The best classical recordings of the ’50s and ’60s, compromised in every imaginable way, are sonically and musically head and shoulders above virtually anything that has come after them. The music lives and breathes on those old LPs. Playing them you find yourself in the Living Presence of the musicians. You become lost in their performance. Whatever the limitations of the medium they seem to fade quickly from consciousness. What remains is the rapture of the pure musical experience.
That’s what happens when a good record meets a good turntable.
We live for records like these. It’s the reason we all get up in the morning and come to work, to find and play good records. It’s what this site is all about — offering the audiophile music lover recordings that provide real musical satisfaction. It’s hard work — so hard nobody else seems to want to do it — but the payoff makes it all worthwhile. To us anyway. Hope you feel the same.
This work is difficult to find with anything but harsh sound. Such powerful and exciting orchestration must surely be problematic to capture on tape.
But Mercury managed to do it, a feat few others labels can claim.
This side one is truly DEMONSTRATION QUALITY, thanks to its superb low-distortion mastering. It’s yet another exciting Mercury recording. The quiet passages have unusually sweet sound.
This kind of sound is not easy to cut. This copy gets rid of the cutter head distortion and coloration and allows you to hear what the Mercury engineers accomplished.
The balanced tonality is key, especially when you have such lively brass and strings. The top is correct, even sweet, and you can’t say that about very many Mercs. Exceptionally tight bass too.
I don’t know of a better performance or a better recording of the work.
Dorati breathes fire into the famous Tchaikovsky Romeo and Juliet on side 2. Unfortunately, the sound is never as good in our experience as it is on side one.
Clear horns, a big hall — if it were a bit less bright it would probably have earned another plus.