More of the Music of Manuel de Falla
- With two INCREDIBLE Shootout Winning Triple Plus (A+++) sides, this vintage British EMI import pressing could not be beat
- Tons of energy, loads of detail and texture, superb transparency and excellent clarity – the very definition of DEMO DISC sound
- The best sides were always the biggest, clearest and most three-dimensional, assuming they were able to retain the rich, natural, balanced tonality that is inherently key to a good record, or a great one in this case
- Many of Rafael Frühbeck de Burgos’s releases are exceptionally well recorded, making him an audiophile favorite
- When you hear how good this record sounds, you may have a hard time believing that it’s a budget reissue from 1975, but that’s precisely what it is. Some budget reissues are so good, they can actually win shootouts
This vintage EMI import 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 The Three Cornered Hat 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 1964
- 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.
An Orchestra with Singers Needs This Kind of Space
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that — a copy like this one — it’s an entirely different listening experience.
What We’re Listening For On The Three Cornered Hat
- 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.
TRACK LISTING
Side One
Introduction
Part I – Afternoon, Dance Of The Miller’s Wife (Fandango) – The Grapes
Part II – Night, The Neighbour’s Dance (Seguidillas)
Side Two
Part II (Conclusion) Dance Of The Miller (Farucca) – The Corregidor’s Dance – Final Dance (Jota)
Wikipedia on The Three-Cornered Hat
El sombrero de tres picos (The Three-Cornered Hat or Le tricorne) is a ballet choreographed by Léonide Massine to music by Manuel de Falla. It was commissioned by Sergei Diaghilev and premiered in 1919. It is not only a ballet with Spanish setting but one that also employs the techniques of Spanish dance (adapted and somewhat simplified) instead of classical ballet.
In 1916-17, Manuel de Falla composed the music for Gregorio Martínez Sierra’s two-scene pantomime El corregidor y la molinera (The Magistrate and the Miller’s Wife), built on Pedro Antonio de Alarcón’s 1874 novel of the same title. The work premiered at Madrid’s Teatro Eslava on April 6, 1917.
Sergei Diaghilev of the Ballets Russes had been introduced to de Falla by Igor Stravinsky during the company’s first visit to Spain in 1916. He requested permission to use de Falla’s already-completed Noches en los jardines de España (Nights in the Gardens of Spain) and the work-in-progress El corregidor y la molinera for future choreographies, but only managed to secure permission for the latter.
In preparation for producing Spanish choreography, Diaghilev and Leonid Massine enlisted the services of dancer Félix Fernández García, who accompanied the two men with de Falla on a tour of Spain in July 1917, introducing them to dancers and performances in Zaragoza, Toledo, Salamanca, Burgos, Sevilla, Córdoba, and Granada. Massine, Pablo Picasso, and de Falla worked separately on the choreography, sets/costumes, and music for the ballet over subsequent months; after some delays, the ballet was eventually premiered in London at the Alhambra Theatre on 22 July 1919. De Falla was called home to Granada at the last moment to see his dying mother; the premiere was conducted in his stead by Ernest Ansermet.
Throughout the ballet, Falla uses traditional Andalusian folk music. The two songs sung by the mezzo-soprano are examples of cante jondo singing, which typically accompanies flamenco music and tells a sad story. At one point (the farruca), he quotes the opening of Beethoven’s 5th Symphony.