More of the Music of Brahms
- Dorati and the LSO’s dynamic performance of these 16 Hungarian Dances debuts on the site with INSANELY GOOD Shootout Winning Triple Plus (A+++) sound throughout this early Mercury pressing
- These sides are doing everything right – they’re rich, clear, undistorted, open, spacious, and have depth and transparency to rival the best recordings you may have heard
- You’d be hard-pressed to find a copy that’s this well balanced, yet big and lively, with such wonderful clarity in the mids and highs
This vintage Mercury 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 16 Hungarian Dances 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 1965
- 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.
Standard Operating Procedures
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, 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 a number of these qualities to come together on the side we’re playing, we provisionally give it a ballpark Hot Stamper grade, a grade that is often revised during the shootout as we hear what the other copies are doing, both good and bad.
Once we’ve been through all the side ones, we play the best of the best against each other and arrive at a winner for that side. Other copies from earlier in the shootout will frequently have their grades raised or lowered based on how they sounded compared to the eventual shootout winner. If we’re not sure about any pressing, perhaps because we played it early on in the shootout before we had learned what to listen for, we take the time to play it again.
Repeat the process for side two and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.
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.
What We’re Listening For On 16 Hungarian Dances
- 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.
Side One
No. 10 in F
No. 3 In F
No. 18 In D
No. 17 In F-Sharp Minor
No. 19 In B Minor
No. 20 In E Minor
No. 12 In D Minor
No. 15 In B-Flat
No. 4 In F-Sharp Minor
Side Two
No. 5 In G Minor
No. 6 In D
No. 7 In A
No. 21 In E Minor
No. 11 In C
No. 2 In D Minor
No. 1 In G Minor
Hungarian Dances
Hungarian Dances is a set of 21 dances composed by Johannes Brahms. Originally intended for two pianists, the dances were published in that form in two sets in 1869 and in 1880. Some were orchestrated by Brahms himself, and others were orchestrated by his colleagues, including Antonín Dvořák.
The Hungarian Dances capitalized upon two musical trends of the 19th century. One such trend was for dance-style pieces written for piano four-hands (a single piano played by two pianists). The other was for compositions inspired by Europe’s diverse blend of minority cultures, particularly the Roma (Gypsy) culture, which was, if not specifically Hungarian, at least strongly identified with that nation.
Both Hungarian-style music and piano four-hands music made early entrances into Brahms’s life. He discovered the excitement of Central European folk music as a youth and began writing piano duets while still in his 20s. One important influence was the Hungarian violinist Eduard Reményi, whom Brahms had heard in concert at age 17. Three years later Brahms served as Reményi’s accompanist at the piano. Brahms’s familiarity with piano four-hands music and his exposure to authentic Hungarian dances led him to try his hand at composing Hungarian-style pieces, for which he knew there would be a ready-made audience.
Most of the dances are rapid, energetic pieces. Imitating the mercurial spirit of Hungarian folk music, some of the dances change tempo midway, as in the fourth dance, where a languid, melancholy introduction gives way to exuberance. The fifth dance begins with a quick tempo, then becomes even more frenzied.
-Betsy Schwarm, britannica.com