_Composers – Mozart

Mozart / Piano Concerto No. 17 and No. 21 – Anda

More of the Music of Wofgang Amadeus Mozart (1756-1791)

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  • This STUNNING classical masterpiece finally returns to the site with Nearly Triple Plus (A++ to A+++) sound on the first side and nearly Super Hot Stamper sound on the second
  • Spacious, three-dimensional and real beyond practically any DG recording you’ve heard – you hear into the soundstage on this record like you will not believe
  • If you want to do your own sonic comparison of two of the very best concertos from this era, this is the perfect copy to do it with
  • “Mozart’s piano concertos are filled with assured transition passages, modulations, dissonances, Neapolitan relationships and suspensions. Today, at least three of these works (nos 20, 21 and 23) are among the most recorded and popular classical works in the repertoire…”

The string tone here is especially rich and sweet, yet full of texture and that lovely rosiny quality that vintage pressings capture so well. (Sometimes capture so well. We’ve played plenty of copies with a smeary quality that robs the strings of their lovely sheen.)

The piano is beautifully recorded as well. Geza Anda’s performance is hard to fault here. You will have a very hard time finding better recordings of these Mozart piano concertos, of that we have no doubt. (more…)

Bruch & Mozart / Violin Concertos – Were We Wrong?

More Recordings Featuring the Violin

Living Stereo Orchestral Titles Available Now

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Many years ago we wrote the following review for LSC 2472:

Superb sound. The violin is wonderful on both sides. The Mozart is absolutely gorgeous; the best I’ve ever heard it.

The orchestra on the Bruch side gets a little congested in the louder passages, which is typical for records of this era.

Laredo plays these pieces beautifully. The Bruch is an especially romantic work and his violin sings sweetly and with deep emotion throughout. The Mozart is more spritely and he plays it with the light touch it requires. You will have a hard time finding a better violin concerto record. This ranks with the best of them.

More recently we got in a nice 1S/1S pressing that sounded thick and dark, even after a good cleaning.

Were we wrong years ago? Hard to say. That copy from many years ago is gone.

Three things we always keep in mind when a pressing doesn’t sound like we remember it did, or think it should:

  1. Our standards are quite a bit higher now, having spent decades critically listening to vintage classical pressings by the hundreds.
  2. Our stereo is dramatically more revealing and more accurate than it used to be.
  3. Since no two records sound the same, maybe the one from long ago actually did sound as good as we thought at the time.

All things considered, the consensus would now be that LSC 2472 is very unlikely to be as good a record as we used to think it was.

A classic case of Live and Learn and also a case of Progress in Audio, probably.

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Glazunov / Violin Concerto – Heifetz / Hendl – A Classic Records Winner

Hot Stamper Pressings with Jascha Heifetz Performing

Hot Stamper Pressings Featuring the Violin

Reviews and Commentaries for Recordings Featuring Jascha Heifetz

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This is a 180g Classic LP with very good sound, the best of the violin concertos Classic has released to date and one of the best Classic classical titles ever.

This is one of the early 180 pressings which tend to be quieter than the later 200 gram pressings.

Original pressings of this late Heifetz/Hendl/CSO performance tend to be edgy, which has been remedied on this reissue through cutting directly from the three-track masters by Bernie Grundman. Grundman has also tuned the balance between Heifetz and the Orchestra to better integrate the phenomenal bowing and intonation that Heifetz is famous for with the power of the Chicago Symphony. Another 10++ performance and recording – not to be missed! – Liner Notes


FURTHER READING

Classic Records – Classical (more…)

Mozart – Clarinet and Horn Concertos / Maag

More of the music of Wolfgang Amadeus Mozart (1756-1791)

More music conducted by Peter Maag

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  • An outstanding copy of this wonderful classical release with solid Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too
  • Big, clear, present and transparent, with a HUGE bottom end, you better believe that this is some Demo Disc sound
  • Both sides are open, high-rez, and spacious, with depth like you will not believe and some of the least shrill string reproduction we have ever heard for this music (which is the main problem we run into on the album)

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London Records Takes You on A Journey Into [Potentially Very Good] Stereo Sound

Decca and London Hot Stamper Pressings Available Now

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[Written a very long time ago!]

INSANELY GOOD vintage Decca sound from 1958 — bigger, richer and more Tubey Magical than 9 out of 10 (or more!) records we’ve ever played from the pre-’60s early stereo Golden Age. How they got this one so right is beyond me. We were sorely tempted to grade it White Hot, but chose instead to err on the side of modesty and call it A++ to A+++ or better (which is practically White Hot when you think about it).

Can it be that THIS was the first stereophonic sound music lovers of the world were exposed to on LP? (Stereo tapes may have existed in 1954, but they had to wait until 1958 to be transferred to vinyl.) Could we possibly have fallen so far in only fifty years? Judging by the quality of the sound on this copy — dramatically better than others we’ve played, and quieter too — the answer can only be a resounding yes. If you like your sound BIG and LUSH, this record is guaranteed to blow your mind.

Chabrier’s Espana with Argenta gets things off to an amazing start — when have you heard it sound better?!

Capriccio Espagnol (Rimsky-Korsakov), Mozart’s Concerto Piano Concerto No. 27 and Stravinsky’s The Rite of Spring are included here as well, all with audiophile sound to die for.

Both Sides are KILLER

A++ to A+++, big, spacious, Tubey Magically Rich, as well as tonally Right On The Money (ROTM), the sound here is Hard To Fault (HTF) — IF one is willing to accept the euphonic colorations of the equipment used at the time. We know the sound isn’t real — one would never hear it sound this way in the concert hall — but we love it anyway!

Heavy Vinyl

Rather surprisingly there is a Heavy Vinyl import reissue of this album available, at a cost of $50, not cheap by any means and undoubtedly a pale shadow of this London Blueback LP. There is simply no chance in the world that a recording of this fidelity could be mastered and pressed properly these days — we sure haven’t heard one, and we’ve played them by the hundreds. We implore anyone who made the mistake of buying such a modern record to pick this one up and hear what they couldn’t possibly know they were missing, but is nevertheless clearly audible on this very pressing for all to enjoy. (more…)

Glazounov / Violin Concerto / Heifetz

More Violin Recordings

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Super Hot Stamper sound on side two of this Shaded Dog pressing, which is the side with Mozart’s Symphonie Concertante for violin and viola. The sound is wonderful, with lovely 1964 RCA Living Stereo Tubey Magic, presenting the violin solidly with spot-on timbre.

Side one, the Glazounov, earned a nearly-as-good sonic grade of A+ to A++. The violin on this side is full-bodied and present just the way we like it.

Side Two

A++, the body of the violin is reproduced here especially well, along with the rosiny texture of the strings. This side is a bit smooth and dark compared to the best we played, so we are calling it Super Hot. Its faults are few, its strengths many.

Side One

A+ to A++. The orchestra is rich, but there is some Old School smear to the strings and an Old School lack of top end. Overall the sound is quite good within these limitations. (more…)

Mozart / Symphonies No. 40 & 41 with Giulini on London./Decca


More Amadeus Mozart (1756-1791)

More Symphonies No. 40 & 41 / Giulini

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Full brass; full, rich, tonally correct strings; smooth higher up, never screechy — what’s not to like? It was the best side one we heard all day.

  • Superb sound on both sides for two of Mozart’s greatest symphonies
  • Exceptionally quiet Mint Minus Decca vinyl doesn’t hurt either 
  • Giulini is masterful here, bringing both of these great works to life
  • The 1965 Wilkinson sound is rich and tubey yet clear (on this copy!)

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Mozart / Symphonies No. 40 & 41 / Giulini – Speakers Corner (Reviewed in the ’90s)

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Sonic Grade: B?

A fairly good Speakers Corner Decca. They released this title on Heavy Vinyl in 1998; it was one of the few Speakers Corner classical recordings we used to carry and recommend.  It of course has the usual shortcomings.

Below are some thoughts from a recent classical listing that we hope will shed some light on our longstanding aversion to the sound of modern remasterings. The Heavy Vinyl Scorecard in our Commentary sections has a great deal more on the subject as well.


This original pressing has the kind of Tubey Magical Midrange that modern records cannot even 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 a real concert hall, this is the record for you. It’s what Golden Age 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 new records do not, ever.

Transparency

What is lost in these newly remastered recordings? Lots of things, but the most obvious and bothersome is TRANSPARENCY.

Modern records are just so damn opaque. We can’t stand that sound. It drives us crazy. Important musical information — the kind we hear on even second-rate regular pressings — is simply nowhere to be found. That audiophiles as a group — including those that pass themselves off as champions of analog in the audio press — do not notice these failings does not speak well for either their equipment or their critical listening skills.

It is our contention that no one alive today is capable of making records that sound as good as the vintage ones we sell.

Once you hear this Hot Stamper pressing, those 180 gram records you own may never sound right to you again. They sure don’t sound right to us, but we are in the enviable position of being able to play the best properly-cleaned older pressings (reissues included) side by side with the newer ones. This allows the faults of the current reissues to become much more recognizable, to the point of actually being quite obvious. When you can hear the different pressings that way, head to head, there really is no comparison. (more…)

Letter of the Week – Mozart / Piano Concertos / Geza Anda

Mozart / Piano Concerto No. 17 & No. 21 / Anda

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom,     

The Mozart is wonderful. It blows away my first pressing, flat edge hard board copy that I had heretofore revered. Love it. A brilliant recording.

Phil

Glad to hear it! We sold our original close to ten years ago so it’s good to know this pressing can beat it. Those originals are hard to find; haven’t seen a clean copy since.

TP

Mozart/ Symphony 32 & 38/ Maag

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An exceptionally QUIET copy for an early Blueback pressing. The sound is old-fashioned Decca, which seems to suit this music quite well. The hall is reverberant, as it would have been in Mozart’s day, and the perspective is mid-hall. The string tone is excellent. Some of the louder passages might be a bit strained, but overall the sound is correct for this music. 

Maag and the LSO are of course Mozart experts and the performances here do not disappoint. A rare title and a lovely one.