This 1979 London original English pressing of violin showpieces has Super Hot Stamper sound on side two, which came as a bit of a shock to us after playing side one, which is as congested and opaque as one would expect from such a late London recording. Side two is fabulous — full-bodied, rich and sweet. Even though it may have been recorded in 1977, the engineer is Kenneth Wilkinson, and the hall is Kingsway — not many bad recordings can be attributed to either.
But bad mastering or bad pressing quality are surely not the fault of either; when the record doesn’t come out of the oven right, the sound is going to suffer, and the sound on this side one is insufferable all right. But side two is GLORIOUS; it has wonderful music played with the greatest skill and feeling. (more…)
This White Hot Stamper original Blue Angel pressing has some of the most exquisite sound for a violin/orchestral recording we have ever heard here at Better Records. I do not think there is any Heifetz album on RCA Shaded Dog (or otherwise) to compete with it. We would rank this Angel recording/pressing with the best of Rabin and Milstein on Capitol, as well as the wonderful Ricci and Campoli discs on London/Decca. In other words, this is one of the best sounding violin-led orchestral recordings we have yet to play, and we’ve played them by the hundreds and hundreds. (Practice makes perfect they say.)
So clear, so three-dimensional, so relaxed, rich and sweet — can it get any better? I’d have to say not much!
It’s the Chausson piece that earned our highest grade of Three Pluses, a work that is certainly less well-known than the legendary Saint-Saens Third. Both are superb examples of the kind of sophisticated, melody-driven music the French Romantic school was producing in the latter part of the 19th century. You may become as big a fan of the Chausson as we happily admit to being now, having heard this wonderful pressing.(more…)