- STUNNING Shootout Winning Triple Plus (A+++) sound or very close to it on both sides of this original RCA Victor Shaded Dog pressing with glorious Living Stereo sound from 1962
- If you love the sound of a big bass drum, the Concerto in F is the work for you, and the engineers know how to capture both the bass and the space surrounding it
- The rich, textured sheen of the strings that Living Stereo made possible in the ’50s and early ’60s is clearly evident throughout these pieces, something that the Heavy Vinyl crowd will never experience, because that sound just does not exist on modern records
- Everything that is wrong with the low-res Classic reissue – boosted mids, strings lacking in texture and sheen, etc., is nowhere to be found on these incredible sides
We reviewed the Classic Records pressing and had a few thoughts about string tone and texture we wanted to discuss:
I must admit Classic Records did a passable job with this one. The two things that separate the good originals from the reissue are in some ways related. Classic, as is their wont, boosted the upper midrange, and that, coupled with their transistory mastering equipment, makes the strings brighter, grainier and yet somehow lacking in texture and sheen compared to the originals (a clear sign of a low-res cutting chain).
Once you recognize that quality in the sound of a record it’s hard to ignore, and I hear it on every Classic Record I play. (This commentary has more on the subject.)
RCA is more famous for its string tone than anything else. If the strings on the Classic Records LPs don’t bother you, you can save yourself a lot of money by not buying authentic RCA pressings — and get quieter vinyl to boot.
Here are some other records that are good for testing string tone and texture.
This vintage Living Stereo 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 The Best Sides Of Concerto In F / Cuban Overture / “I Got Rhythm” Variations 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 1962
- 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.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We’re Listening For On Concerto In F / Cuban Overture / “I Got Rhythm” Variations
- 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.
Concerto In F For Piano And Orchestra
–First Movement: Allegro
–Second Movement: Adagio: Andante Con Moto Poco Accelerando
Concerto In F For Piano And Orchestra
–Third Movement: Allegro Agitato
I Got Rhythm Variations For Piano And Orchestra
George Gershwin (born Jacob Gershwine; September 26, 1898 – July 11, 1937) was an American pianist and composer, whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs “Swanee” (1919) and “Fascinating Rhythm” (1924), the jazz standards “Embraceable You” (1928) and “I Got Rhythm” (1930), and the opera Porgy and Bess (1935), which included the hit “Summertime”.
Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career as a song plugger but soon started composing Broadway theater works with his brother Ira Gershwin and with Buddy DeSylva. He moved to Paris intending to study with Nadia Boulanger, but she refused him, afraid that rigorous classical study would ruin his jazz-influenced style; Maurice Ravel voiced similar objections when Gershwin inquired on studying with him. He subsequently composed An American in Paris, returned to New York City and wrote Porgy and Bess with Ira and DuBose Heyward. Initially a commercial failure, it came to be considered one of the most important American operas of the twentieth century and an American cultural classic.
Gershwin moved to Hollywood and composed numerous film scores. He died in 1937 of a malignant brain tumor. His compositions have been adapted for use in film and television, with several becoming jazz standards recorded and covered in many variations.
Fiedler was appointed the eighteenth conductor of the Boston Pops Orchestra in 1930. While the position of conductor of the Boston Pops both prior to and after Fiedler tended to be a phase of a conductor’s career, Fiedler made it his life’s work, having the position for a half-century.
With Fiedler’s direction, the Boston Pops reportedly made more recordings than any other orchestra in the world, most of them for RCA Victor, with total sales exceeding $50 million. His recordings began in July 1935 at Boston’s Symphony Hall with RCA Victor, including a world premiere recording of Jacob Gade’s “Jalousie”, which eventually sold more than a million copies, and the first complete recording of Rhapsody in Blue by George Gershwin (with Jesús María Sanromá as soloist; around that time they also made the first recording of Edward MacDowell’s Second Concerto). In 1946, he conducted the Boston Pops in one of the first American recordings devoted to excerpts from a film score, Dmitri Tiomkin’s music for the David O. Selznick Technicolor epic Duel in the Sun. RCA Victor released an album of ten-inch 78-rpm discs complete with photographs from the film.
Fiedler’s June 20, 1947, recording of Gaîté Parisienne by Jacques Offenbach was eventually released by RCA as their first long-playing classical album (RCA Victor LM-1001), in 1950. He recorded the same music in 1954 in stereo and began making regular stereo recordings in 1956. A number of Fiedler’s recordings were released as 45-rpm “extended play” discs, beginning in 1949, such as Tchaikovsky’s Marche Slave and Ketèlbey’s In a Persian Market (RCA Victor ERA-2). Besides recording light classics, Fiedler also recorded music from Broadway shows and Hollywood film scores, as well as arrangements of popular music, especially the Beatles. He and the Boston Pops occasionally recorded classical works that were favorites, but not considered as “light” as most of the pieces that he conducted. He made but a single recording with the Boston Symphony Orchestra: Dvorak’s New World Symphony. There were also recordings of chamber music by his Sinfonietta. Fiedler and the Boston Pops recorded exclusively for RCA Victor until 1970 (though the label has continued to issue many new Fiedler/Boston Pops compilations and unreleased recordings), when they switched to Deutsche Grammophon for classical releases with co-owned Polydor Records for his arrangements of pop music compositions and then London Records. His last album, devoted to disco, was titled Saturday Night Fiedler.