_Composers – Liszt

Rachmaninoff and Liszt / Favorite Classics for Piano / Pennario on Capitol

More of the music of Franz Liszt (1811-1880)

More Classical ‘Sleeper” Records We’ve Discovered

We found White Hot Stamper sound on side two of this solo piano recording.

It’s big, rich and above all REAL sounding, with natural studio space. The legendary soloist Leonard Pennario is presented here at the height of his powers.

Superb choice of material, from Clair De Lune to Liebestraum to the Hungarian Rhapsody No . 2.

On the rare Stereo pressing of course — we want to hear all that studio space reproduced, just as your two ears would have heard it (more or less).

Side One

Graded Super Hot for the huge, solid-sounding piano, played with such verve and skill. The musical power on this side is stupendous. 

Side Two

Even better! No smear, with incredible clarity, and no sacrifice in weight or richness.

All of which adds up to a top quality piano recording in every way.

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Liszt, Ludwig, Grundman and Sax

Liszt & Weber / Ballade No. 2, Mephisto Waltz / Bar-Illan

The Liszt side here actually has the best sound, earning a seriously good grade of A++ to A+++.

This is one of the few audiophile-label recordings I have ever played that actually sounds NATURAL and CORRECT. This is a very real sounding piano; there are not many recordings that can capture that instrument’s weight, but this one sure does.

Side One

A++ sound, very open and real. This is a big piano with a solid bottom end playing in a big room. A trace of smear on the transients keeps it from the full Three Plus grade.

Side Two

A++ to A+++, less smeary so we raised the grade a bit. The music is dark and somewhat “out there” but the sound is AMAZING. 

A top quality solo piano recording from an “audiophile” label? I wouldn’t have believed it if I hadn’t heard it for myself.

That’s not really being fair, though. Some of us remember that Robert Ludwig cut another “audiophile” pressing, this one for Athena, and did a great job on it. (The other four records Athena released before they went out of business were awful, including the one mastered by Doug Sax.)

I suspect that if Ludwig hadn’t stopped cutting records years ago, we would not be complaining nearly as much as we do about the sound of the modern Heavy Vinyl pressings currently inundating the market.

Bernie and Doug really started letting the record lovers of the world down beginning as far back as the ’90s.

The muddy messes Doug Sax cut for Analogue Productions and the awful Living Stereo records Bernie cut for Classic Records were sad chapters in both men’s body of work. Here were two of the All Time Greats. Their fall was precipitous and painful for those of us who never gave up on analog. In those dark days they mastered one record after another so unlike the amazing sounding ones they had made in the ’70s and well into the ’80s.

We have nothing personal against either one of them, of course. We just haven’t liked the sound of very many of the records they’ve mastered for the last thirty years, and we have never been shy about saying so.

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Liszt / The Music of Franz Liszt / Fiedler

More of the music of Franz Liszt (1811-1880)

  • This vintage Shaded Dog pressing of these wonderful orchestral showpieces boasts outstanding Double Plus (A++) grades on both sides
  • 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
  • Classic superb Living Stereo Sound throughout – big and open with an especially clean and extended top end (great fun on those huge cymbal crashes Liszt favored)
  • Powerful, rich, dynamic and life-like orchestral reproduction, set in a huge hall
  • “The Hungarian-born composer and pianist Franz Liszt was strongly influenced by the music heard in his youth, particularly Hungarian folk music, with its unique gypsy scale, rhythmic spontaneity and direct, seductive expression.”
  • If you’re a fan of orchestral showpieces such as these, this Living Stereo from 1960 belongs in your collection.
  • The complete list of titles from 1960 that we’ve reviewed to date can be found here.

This is, in our opinion, one of the most underrated Living Stereo treasures in the Golden Age canon — but not by this critic (here reviewing the CD):

In the early days of stereo, RCA released an all-Liszt LP by Arthur Fiedler and the Boston Pops that has remained in my memory as one of the finest things the popular maestro ever committed to disc…

Two works, the Hungarian Rhapsody No. 2 and the high energy Rákoczy March, have been out for some time, coupled with “Hi-Fi Fiedler”. Now RCA has added to this current disc the two main pieces, Mazeppa and Les Preludes, from the original collection. They are as wonderful as ever – among the best, if not the best, performances of this music. Fiedler doesn’t dawdle or toy around with the melodies; he lets Liszt’s Romantic vision speak for itself, helping it along with brisk tempos and incisive phrasing. Seldom have the fanfares in Les Préludes had such bite and majesty.

ClassicsToday

The rich, textured, rosin-on-the-bow lower strings on this record are to die for. Find me a modern record with that sound and I will eat it. And by “modern record” we hasten to include both modern recordings and modern remasterings of older recordings. NO ONE alive today can make a record that sound like this. To call it a lost art is to understand something that few vinyl-loving audiophiles appear to have fully grasped since the advent of the Modern Reissue, which is simply this: compared head to head, they are simply not competitive.

After twenty years of trying and literally hundreds of failed examples, both the boutique and major labels of today have yet to make a record that sounds as powerful or as life-like as this RCA from the old days.

Fortunately for us record lovers and collectors, we at Better Records are not trying to make a record sound the way these sides do, we’re just trying to find ones that do, and folks, we found some very, very good sides here.

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Tchaikovsky / 1812 Overture – Classic Records and the TAS List

More of the music of Peter Ilyich Tchaikovsky (1840-1893)

Reviews and Commentaries for the 1812 Overture

This is a classic case of Live and Learn.

We used to like the Classic Records pressing of LSC 2241 a lot more than we do now. Our system was noticeably darker and apparently far less revealing when we last auditioned the Classic back in the ’90s, and those two qualities did most of the heavy lifting needed to disguise its shortcomings. We mistakenly noted:

HP put the Shaded Dog pressing (the only way it comes; there is no RCA reissue to my knowledge) on his TAS List of Super Discs, and with good reason: it’s wonderful!

The rest of our commentary still holds up though:

But for some reason he also put the Classic Records Heavy Vinyl reissue on the list, and that record’s not even passable, let alone wonderful. It’s far too lean and modern sounding, and no original Living Stereo record would ever sound that way, thank goodness. 

If they did few audiophiles would still be paying the top dollar collector prices that the Shaded Dog commands to this day.

Updated Thoughts on the Classic Records Heavy Vinyl Reissue

The Classic on Heavy Vinyl (LSC 2241) is lean and modern sounding. No early Living Stereo pressing sounds like it in our experience, and we can only thank goodness for that. If originals and early reissues did sound more like the Classic pressings, my guess is that few would collect them and practically no one would put much sonic stock in them.

Apparently most audiophiles (including audiophile record reviewers) have never heard a classical recording of the quality of a good original pressing (or good ’60s or ’70s reissue). If they had Classic Records would have gone out of business immediately after producing their first three Living Stereo titles, all of which were dreadful and recognized and identified as such by us way back in 1994.

Here are some Hot Stamper pressings of TAS List titles that actually have audiophile sound quality, guaranteed. And if for some reason you disagree with us about how good they sound, we will be happy to give you your money back.

Here are some others that we do not think qualify as Super Discs.

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The “Not-So-Golden-Age” of RCA, Mercury, London and Others

Well Recorded Classical Albums – The Core Collection

Hot Stamper Pressings of Classical Albums from The Core Collection

We ran into a number of copies of this title that had what we like to call that “Old Record Sound,” which is surprisingly common on even the most revered Golden Age labels, RCA included.

No top, no real bottom, congested climaxes and a general shrillness to the sound — we’ve played Living Stereos by the dozens that have these shortcomings and many more.

Some audiophiles may be impressed by the average Shaded Dog pressing, but I can assure you that we here at Better Records are decidedly not of that persuasion.

Something in the range of ten to fifteen per cent of the major label Golden Age recordings we play will eventually make it to the site. The vast majority just don’t sound all that good to us. (Many have second- and third-rate performances and those get tossed without ever making it to a shootout.)

TRACK LISTING

Side One

Liebestraum / Composed By – Franz Liszt
Gayne Ballet Suite: Lullaby / Composed By – Khatchaturian
Moonglow And The Theme From “Picnic”
Dancing Through The Years

Side Two

Jalousie / Composed By – Gade
Fantasia On “Greensleeves” / arr. Vaughan Williams
Hernando’s Hideaway / Written-By – Jerry Ross, Richard Adler
The Bohemian Girl: Overture / Composed By – Balfe

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Liszt / Rhapsodies / Stokowski – Classic Records Reviewed

More of the music of Franz Liszt (1811-1880)

Our Favorite Recording of Liszt’s Hungarian Rhapsodies

Sonic Grade: F

The lower strings are wonderful on the original — wall to wall, with that rosiny texture we love. I wrote at the time — this is twenty or so years ago — that the Classic pressing took that rich, dark sound and brightened it up, ruining it in the process.

Cellos and double basses just don’t sound like that. On the best pressings of LSC 2471 their timbre is Right On The Money. Of course, that’s the real thing, not some audiophile rebutchering. 

Now if you’re a Classic Records fan, and you like that brighter, more detailed, more aggressive sound, the original is probably not the record for you.

We don’t like that sound and we don’t like most Classic Records. They may be clean and clear but where is the RCA Living Stereo Magic that made people swoon over these recordings in the first place?

Bernie manages to clean that sound right off the record, and that’s just not our idea of hi-fidelity.

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Falla / Ritual Fire Dance – Entremont

More Columbia Classical Recordings

More Classical “Sleeper” Recordings We’ve Discovered with Demo Disc Sound

  • Philippe Entremont’s delightful 1967 release returns with superb sound on both sides
  • It’s solid and weighty like no other, with less smear, situated in the biggest space, with the most energetic performances
  • These sides are big, full-bodied, clean and clear, with a wonderfully present piano and plenty of 3-D space around it
  • Some old record collectors (like me) say classical recording quality ain’t what it used to be – here’s all the proof anyone with two working ears and top quality audiophile equipment needs to make the case
  • Dynamic, huge, lively, transparent and natural – with a record this good, your ability to suspend disbelief requires practically no effort at all

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Liszt / Piano Concertos Nos. 1 and 2 / Kondrashin / Richter

More of the music of Franz Liszt (1811-1886)

More Classical Masterpieces

  • The finest Liszt 1st and 2nd Piano Concertos we know of for their performances, and unquestionably for sonics (when the sonics are this good!)
  • The best pressings of this title are more like LIVE MUSIC than any classical recording you own (outside of one of our Hot Stamper pressings of course, those can be every bit as good) or your money back
  • So big, rich and transparent we guarantee you have never heard a better piano concerto recording (unless you already one of our White Hot copies!)

*NOTE: Unlike Concerto No. 1, The Second Piano Concerto opens very quietly, so there will likely never be a vintage pressing of the album that will get that opening to play like a CD. Expect to hear some random ticks, a small price to pay to hear this wonderful performance on top quality analog.

Richter and Kondrashin deliver the finest Liszt 1st & 2nd Piano Concertos I know of, musically, sonically and in every other way. Richter’s performance here is alternately energetic and lyrical, precisely as the work demands. The recording itself is explosively dynamic. The brass is unbelievably full, rich and powerful. You won’t find a better recording of this music anywhere, and this pressing just cannot be beat.

Big and rich (always a problem with piano recordings: you want to hear the percussive qualities of the instrument, but few copies can pull it off without sounding thin). We love the BIG, FAT, Tubey Magical sound of this recording! The piano is solid and powerful — like a real piano.

Huge amounts of hall space, weight and energy, this is DEMO DISC QUALITY SOUND by any standard. (more…)

Liszt, Enesco, Smetana / Rhapsodies / Stokowski

More of the music of Franz Liszt (1811-1880)

Our Favorite Recording of the Hungarian Rhapsodies

This RCA Living Stereo LP (LSC 2471) has SUPERB SOUND!

I’m a big fan of this title. The string tone is rich and dark and just wonderful. If you want an exciting record with outstanding Living Stereo sound — dynamic, with strings to die for, and an energetic performance, this is the one!

Don’t let the White Dog fool you. I doubt if the average Shaded Dog is any better.

[I suspect that the Shaded Dog has the potential to be better, but when this review was written I did not.]

This record sounds just right to me. Listen to how clear and correct the triangle is. 

I wonder if the Shaded Dog copies would be cut that clean. Without one here to compare there’s no way to know.

[We have since compared them and our Shaded Dogs were slightly better than any of the White Dogs.]

The Classic version sounds okay until you play it next to the real McCoy. Then you hear how brightening up the strings ruins everything.

Here are some of the other records we’ve discovered that are good for testing string tone and texture.

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Where Cheap Turntables Fall Flat – The Music of Franz Liszt

More Classical and Orchestral Music

Best Orchestral Performances with Top Quality Sound

Classical music is unquestionably the ultimate test for proper turntable/arm/cartridge set-up. The Liszt recording you see pictured is a superb choice for adjusting tracking weight, VTA, azimuth and the like.

One of the reasons $10,000+ front ends exist is to play large scale, complex, difficult-to-reproduce music such as Liszt’s two piano concertos. You don’t need to spend that kind of money to play this record, but if you choose to, it would surely be the kind of record that can show you the sound your tens of thousands of dollars has paid for.

It has been my experience that cheap tables more often than not collapse completely under the weight of a mighty record such as this.
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