Hot Stamper Pressings with Jascha Heifetz Performing
- An original Shaded Dog pressing of these classical violin performances with two stunning Nearly Triple Plus (A++ to A+++) Living Stereo sides – just shy of our Shootout Winner
- It’s also fairly quiet at Mint Minus Minus, a grade that even our most well-cared-for vintage classical titles have trouble playing at
- This copy had the balance of clarity and sweetness we were looking for in the tone of the violin, and the orchestra sounds amazing – so rich and full-bodied
- These sides are doing practically everything right – they’re rich, clear, undistorted, open, spacious, and have depth and transparency to rival the best recordings you may have heard
- Although the Shaded Dog originals, now that we know which stampers are the best, will always win our shootouts, the White Dog reissues still sound quite good to us, just not as good
- There are about 150 orchestral recordings we think offer the best performance coupled with the highest quality sound. This record has earned a place on that list, beating out Heifetz’s other performance for RCA, LSC 2377
If you want a recording that is going to put your system to the test,this is that record!
The violin is real. The piano is also very well recorded, and the balance between those two instruments on this recording is perfection.
This vintage Shaded Dog 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 Beethoven’s “Kreutzer” Sonata and Bach’s Concerto For Two Violins 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 1961
- 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 “Kreutzer” Sonata / Concerto For Two Violins
- 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
Sonata No. 9 In A, Op. 47 (“Kreutzer”) – Beethoven
First Movement: Adagio Sostenuto
Second Movement: Andante Con Variazioni
Side Two
Sonata No. 9 In A, Op. 47 (“Kreutzer”) – Beethoven
Third Movement: Finale: Presto
Concerto For Two Violins In D Minor – Bach
First Movement: Vivace
Second Movement: Largo Ma Non Tanto
Third Movement: Allegro
Concerto for Two Violins (Bach)
The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer’s most successful works.
Manuscript copies of (parts of) the concerto were produced around 1730–1740, in 1760, around 1760, around 1760–1789, and in the early 19th century. The concerto was first published in 1852, by Edition Peters, edited by Siegfried Dehn. In the first volume of his Bach biography (1873), Philipp Spitta describes the concerto as a product of the composer’s Köthen period (1717–1723). After describing Bach’s other extant violin concertos, those in E major (BWV 1042) and A minor (BWV 1041), he adds:
The D minor concerto is without doubt the finest of the set, and is held in due esteem by the musical world of the present day. Two solo violins are here employed, but it is not, strictly speaking, a double concerto, for the two violins play not so much against one another, as both together against the whole band. Each is treated with the independence that is a matter of course in Bach’s style. In the middle movement, a very pearl of noble and expressive melody, the orchestra is used only as an accompaniment, as was usual in the adagios of concertos.
-Wikipedia
Further Reading