Hot Stamper Pressings of the Music of Rimsky-Korsakov Available Now
Some notes about the compression effects we heard on side two of a Blueback pressing of The Christmas Eve Suite album back in 2012. We wrote:
Side two is even more transparent and high-rez than side one. The texture on the strings and the breathy quality of the woodwinds make this a very special pressing indeed.
The horns are somewhat smeary and do get a bit congested when loud.
There is more compression on this side two than there was on the best copy we played, and that means low level detail is superb, but louder parts, such as when the more powerful brass instruments come in, can present problems.
Note how good The Flight of the Bumble Bee sounds here.
Compression is helping bring out all the ambience and detail in the recording, and there’s no downside because the orchestra is playing softly, unlike the piece that precedes it.
A classic case of compression having sonic tradeoffs.
Side One
This side one had top end extension, good presence and clarity, all qualities that are often in short supply on vintage classical pressings such as these.
We were also impressed with the depth of the soundstage and the textured strings. This copy however was not quite as full-bodied and powerful down low as the best we played.
[We no longer put the shortcomings of the records we offer for sale in the listings. However, we do occasionally detail the strengths and weaknesses of the copies we play in our shootouts to help guide you in your own listening of these same titles.]
The Original Sexier Cover
Note that the earlier cover has more skin showing, which contradicts the conventional narrative that the 50s were more prudish than the 60s.
Rimsky-Korsakov
Rimsky-Korsakov’s orchestral works are especially celebrated for their imaginative use of instrumental forces. Though this is true even of early works such as Sadko and Antar, their sparer textures pale compared to the luxuriance of the more popular works of the 1880s. While a principle of highlighting “primary hues” of instrumental color remained in place, it was augmented in the later works by a sophisticated cachet of orchestral effects, some gleaned from other composers including Wagner, but many invented by himself.
As a result, these works resemble brightly colored mosaics, striking in their own right and often scored with a juxtaposition of pure orchestral groups. The final tutti of Scheherazade is a prime example of this scoring. The theme is assigned to trombones playing in unison, and is accompanied by a combination of string patterns. Meanwhile, another pattern alternates with chromatic scales in the woodwinds and a third pattern of rhythms is played by percussion.
Wikipedia
Further Reading
- Hot Stamper Decca and London pressings available now
- More reviews and commentaries for the music of Rimsky-Korsakov
- Classical and orchestral recordings with advice on what to listen for
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