- This classical masterpiece returns to the site with Shootut Winning Triple Plus (A+++) sound from first note to last – exceptionally quiet vinyl for a vintage pressing as well
- Dynamic, huge, lively, transparent and natural – with a record this good, your ability to suspend disbelief will require practically no effort at all
- “Tchaikovsky possessed a remarkable talent for instrumentation, instinctively scoring his works to obtain a maximum variety of color and the widest possible range of tonal effects. His “Capriccio Italien”, vibrant with the raw colors of its Italian song and dance rhythms, is one of his most popular works and shows the composer’s complete mastery of orchestration.”
We’ve had copies of the album in the past, but they sure never sounded like this! From both an audiophile and music lover’s perspective, you would have a hard time finding a record that holds this much appeal to both groups.
The orchestra is big and rich, and there is lovely sheen to the strings. The piano is surrounded by plenty of space, with great depth to the hall. The weight and bite of the brass are near perfection. The top is extended and open. And the loud passages are big and stay smooth, with very little congestion even at the climax of the work. So LIFELIKE this way.
This vintage pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What Amazing Sides Such as These Have to Offer Is Not Hard to Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1966
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We’re Listening For on this wonderful recording
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
From the Liner Notes
Tchaikovsky possessed a remarkable talent for instrumentation, instinctively scoring his works to obtain a maximum variety of color and the widest possible range of tonal effects. His “Capriccio Italien”, vibrant with the raw colors of its Italian song and dance rhythms, is one of his most popular works and shows the composer’s complete mastery of orchestration. Its music passes vigorously from the opening trumpet call (echoes of the Cuirassiers) through a slightly melancholy phase to a climax of power and brilliance reminiscent of the popular Italian dance, the Tarantella.
Side One (Tchaikovsky)
Capriccio Italien, Op. 45
Waltz from “Engene Onegin”
Side Two (Rimsky-Korsakov)
Waltz From “Eugene Onegin”
Scene And Gypsy Song
Fandango Of The Asturias
Wikipedia’s Entry for Capriccio Espagnol
Capriccio Espagnol, Op. 34, is the common Western title for an orchestral work based on Spanish folk melodies and written by Nikolai Rimsky-Korsakov in 1887. Rimsky-Korsakov originally intended to write the work for a solo violin with orchestra, but later decided that a purely orchestral work would do better justice to the lively melodies.
The Capriccio consists of five movements and is scored for 2 flutes, piccolo, 2 oboes (one doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings.
The piece is often lauded for its orchestration, which features a large percussion section and many special techniques and articulations, such as in the fourth movement when the violinists, violists, and cellists are asked to imitate guitars (the violin and viola parts are marked “quasi guitara”). Despite the critical praise, Rimsky-Korsakov was annoyed that the other aspects of the piece were being ignored. In his autobiography, he wrote:
The opinion formed by both critics and the public, that the Capriccio is a magnificently orchestrated piece — is wrong. The Capriccio is a brilliant composition for the orchestra. The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument, brief virtuoso cadenzas for instruments solo, the rhythm of the percussion instruments, etc., constitute here the very essence of the composition and not its garb or orchestration. The Spanish themes, of dance character, furnished me with rich material for putting in use multiform orchestral effects. All in all, the Capriccio is undoubtedly a purely external piece, but vividly brilliant for all that. I was a little less successful in its third section (Alborada, in B-flat major), where the brasses somewhat drown the melodic designs of the woodwinds; but this is very easy to remedy, if the conductor will pay attention to it and moderate the indications of the shades of force in the brass instruments by replacing the fortissimo by a simple forte.