- You’ll find STUNNING Shootout Winning Triple Plus (A+++) Living Stereo sound throughout this vintage (but not original) RCA pressing of these wonderful classical compositions
- The rich, textured sheen of the strings the RCA engineers achieved in the ’50s and ’60s is a joy to hear throughout these pieces
- This is something the Heavy Vinyl crowd will never experience, because that sound just does not exist on modern remastered records the way it does on these vintage pressings
- The Tubey Magical richness is off the charts on this copy – if you want to know what kind of sound wins shootouts around these parts, this pressing will show you
- To see more of the best orchestral recordings with top quality sound we’ve done shootouts for, click here
- If you’re a fan of Rachmaninoff and/or Rubinstein, this Living Stereo from 1960 belongs in your collection.
- The complete list of titles from 1960 that we’ve reviewed to date can be found here.
Until we heard the right later pressings, we had always been disappointed with this TAS List recording, wondering what all the fuss was about.
Well, now we know. The early Shaded Dog pressings have consistently worse sound than the reissues we are offering here.
We never offered the record in Hot Stamper form because we didn’t think the sound of the originals was all that impressive, TAS List or no TAS List.
Mystery solved, and truly Hot Stampers have now been made available to the discriminating audiophile.
Harry’s list, as was so often the case, did not provide the information needed to hear the recording properly. Did Harry ever have a good pressing? We’ll never know.
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 Rhapsody On A Theme Of Paganini / Nights In The Gardens Of Spain 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 1960
- 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. 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 Rhapsody On A Theme Of Paganini / Nights In The Gardens Of Spain
- 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.
- Powerful 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.
Shootout Criteria (WTLF)
What are sonic qualities by which a record — any record — should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.
When we can get many of the qualities above to come together on the side we’re playing we provisionally award it a Hot Stamper grade, which may or may not be revised over the course of the shootout as we hear what the various other copies sound like. Once we’ve been through all our side ones, we then play the best of the best against each other and arrive at a winner. Other copies have their grades raised or lowered depending on how they sounded relative to the shootout winner. Repeat the process for the other side and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.
That’s why the most common grade for a White Hot stamper pressing is Triple Plus (A+++) on one side and Double Plus (A++) on the other. Finding the two best sounding sides from a shootout on the same LP certainly does happen, but is sure doesn’t happen as often as we would like (!) — there are just too many variables in the mastering and pressing processes to insure consistent quality.
It may not be rocket science, but it’s a science of a kind, one with strict protocols that we’ve developed over the course of many years to insure that the results we arrive at are as accurate as we can make them.
The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing — or your money back.
Rhapsody On A Theme Of Paganini, Op.43 – Rachmaninoff
Nights In The Gardens Of Spain – De Falla
First Movement: En El Generalife
Second Movement: Danza Lejana; Third Movement: El Los Jardines De La Sierra De Cordoba
Wiki on Rhapsody on A Theme of Paganini and Nights In The Gardens of Spain
Rhapsody on a Theme of Paganini
After a brief introduction, the first variation is played before the theme. Paganini’s theme is stated on strings with the piano picking out salient notes, after the first variation. Rachmaninoff likely got the idea of having a variation before the theme from the finale of Beethoven’s Eroica symphony. Variations II to VI recombine elements of the theme. The pauses and rhetorical flourishes for the piano in variation VII herald a change of tempo and tone. The piano next gravely intones the Dies Irae, the “day of wrath” plainchant from the medieval Mass of the Dead, while the orchestra accompanies with a slower version of the opening motif of the Paganini theme. The piece is one of several by Rachmaninoff to quote the Dies Irae plainchant melody.
Inversion of the melody
The slow eighteenth variation is by far the most well-known, and it is often included on classical music compilations without the rest of the work. It is based on an inversion of the melody of Paganini’s theme. In other words, the A minor Paganini theme is played “upside down” in D flat major. Rachmaninoff himself recognized the appeal of this variation, saying “This one, is for my agent.”
Nights In The Gardens Of Spain
Nights in the Gardens of Spain (Spanish: Noches en los jardines de España), G. 49, is a piece of music by the Spanish composer Manuel de Falla. Falla was Andalusian and the work refers to the Hispano-Arabic past of this region (Al-Andalus).
Falla began this work as a set of nocturnes for solo piano in 1909, but on the suggestion of the pianist Ricardo Viñes he turned the nocturnes into a piece for piano and orchestra. Falla completed it in 1915 and dedicated it to Viñes. However the pianist at the first performance was neither Viñes nor Falla (who was a skilled pianist), but José Cubiles. The first performance was given on April 9, 1916, at Madrid’s Teatro Real, with the Orquesta Sinfónica de Madrid conducted by Enrique Fernández Arbós.
Viñes first played the work in its San Sebastián premiere, shortly after the world premiere, with the same orchestra. Arthur Rubinstein was in the audience that night, and he introduced the work to Buenos Aires. The Paris premiere took place in January 1920, with the pianist Joaquín Nin playing under Fernández Arbós. The composer himself was the soloist at the London premiere in 1921, at a Queen’s Hall concert under the baton of Edward Clark.
The work depicts three gardens:
- En el Generalife (In the Generalife): The first gardens are in the Generalife, the jasmine-scented gardens surrounding the Alhambra.
- Danza lejana (A Distant Dance): The second garden is an unidentified distant one in which there is an exotic dance.
- En los jardines de la Sierra de Córdoba (In the Gardens of the Sierra de Córdoba): The third set of gardens are in the Sierra de Córdoba.
The score calls for piano, three flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, cymbals, triangle, celesta, harp, and strings. Performances usually run in the range of 22 to 26 minutes.