Here are more records with the potential to sound better
on very specific reissue pressings in comparison to the best originals
The Large Tulip early pressings are the best on this record, right?
Nope. It’s just another Record Myth, as explained in the commentary for our recent Hot Stamper 2-pack. That pair of pressings was all the proof we required to back up our contention that either label can be the best on this classic DG recording. Original is better? Again, not so much. Original can be better fits more with our experience.
To pull off this kind of Mind Boggling sound from start to finish we combined an amazing side one on the Large Tulips label with an amazing side two on the Small Tulips label. And what a finish — side two earned a grade of A+++, being a full step above even our hottest other side two, and we played a lot of copies, more than a dozen in fact.
With this pair of pressings, all you need do is close your eyes and your speakers will disappear, replaced by Karajan and the VSO at the height of their glorious powers.
On both sides the piano is weighty, solid and powerful. Once the needle has dropped you will quickly forget about the sound and simply find yourself in the presence of some of the greatest musicians of their generation.
Audio Myths Exploded
Yes, both the originals and the reissues can be good on this record. Don’t buy into that audiophile canard that “original equals better”. This 2-pack proves that both labels can have shockingly good sound.
That said, both of our best side two’s were on the later label; make of it what you will. Other than that the grades were all over the place.
What to Listen For (WTLF)
The pizzicato playing of the strings early in the piece are a great test. Transients, transparency and spaciousness will vary dramatically in these three areas on every pressing you play. This one excelled in every one of these areas. A true Demo Disc.
What to Listen For (WTLF)
If you have the transparency in your system to be able to hear it (we didn’t even three years ago), listen for how clearly both the left and right hand can be heard at the piano. It’s shocking how big and clear this side two is, yet still as rich and as solid as any we played. That’s what we call White Hot Stamper sound.
THE Tchaicovsky First Piano Concerto Recording
Since this is our favorite performance of the Tchaikovsky First Piano Concerto of all time. Even the copies with minor shortcomings in the sound are so good that we quickly find ourselves ignoring them and being lost instead in the performance.
I don’t know of another recording of the work that gets the sound of the piano better. On the better copies the percussive quality of the instrument really comes through. It’s amazing how many piano recordings have poorly miked pianos. The badly recorded pianos are either too distant, lack proper reproduction of the lower registers, or somehow smear the pounding of the keys into a blurry mess.
Or is it a mastering issue? Or a pressing issue? To be honest, it’s all three.
On the best copies the rich texture of the strings is out of this world — you will have a very hard time finding a DG with better string tone. This record does not have the shortcomings of the average DG: it’s not hard, shrill, or sour. DG made plenty of good records in the ’50s and ’60s, then proceeded to fall apart, like most labels did. This is one of their finest. It proves conclusively that at one time — 1962 to be exact — they clearly knew what they were doing.
Richter Owns the Work
Richter is brutal at the piano. He pounds the hell out of it, which is precisely what the work demands. Karajan, in contrast to his partner in all of this, has the orchestra play especially sweetly, the opposite of what you would expect from the man. Thankfully he is able to summon the brute power of the orchestra when called for. I’ve never been a fan of Karajan; I know of few of his recordings that are compelling. What his reputation as a great conductor is based on is frankly a mystery to me. Having said that, on this record he is wonderful. I cannot begin to fault his work here in any way.
What’s shocking is how lifeless the famous Van Cliburn (LSC 2252) recording is. Granted we did not have ten copies to play, but the ones we did play were the smallest and most compressed classical recording we listened to all day. They went into the trade pile and we will never buy another.
This DG recording has little competition in terms of sonics. Furthermore, we feel strongly that it has no competition in terms of performance. It’s simply the best.
Most Copies Do Not Sound Good…
So What Else Is New?
My good friend Robert Pincus turned me on to this recording close to twenty years ago. Since then I’ve had the chance to audition dozens of clean copies of it and have found rather shocking amounts of pressing variablity. I was, naively of course, expecting to be able to find good copies to shoot out and offer on the site on a regular basis.
Much to our chagrin we discovered that many of the clean copies we were lucky enough to find tended to sound compressed, harsh, lacking in ambience, and missing the full weight of the piano, one of the qualities that makes this recording such an exceptionally powerful listening experience. This explains why our shootouts are so infrequent. Who knows when the next one will be. The record gods appear to be more and more capricious with each passing day.
We Was Wrong, Part One
In a previous Hot Stamper commentary (2008) we noted:
These rare and early DG LPs are the only way to hear it! I discovered to my chagrin that sometimes they don’t sound good, but that is not the case here! This copy is wonderful.
We now know that even the later copies with the small tulips labels can have wonderful sound. Live and learn, that’s what makes record collecting fun, right?
Having said that, it’s still true that the early Deutsche Grammophons tend to sound somewhat better than the stuff they were pressing in the ’70s. (This is of course also true for other labels that went to pot, notably Angel and Philips.)
We Was Wrong, Part Two
In another Hot Stamper commentary (2009) we noted:
This recording really only has one shortcoming, which is that in some sections, when it gets loud, it tends to be a bit congested. Other places are very dynamic. I’m guessing somebody dialed in too much compression in those spots, but who’s to say?
On even the best copies there is still some congestion in the loudest passages, but that’s unfortunately not something we can do anything about. Since it’s on every copy we’ve ever played we just have to assume it’s part of the recording.
Having made scores of improvements in the years since that comment was made — to the stereo, to the room, to our record cleaning process, to the quality of the electricity that feeds everything — this time around we did not notice the above mentioned congestion, not on the best copies anyway. Years ago we simply could not clean and play this record, any record, as well as we can now, proof positive of the progress you can make in audio if you really work at it.