_Composers – Rimsky-Korsakov

Tchaikovsky – Capriccio Italien / Ormandy

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

More of the music of Rimsky-Korsakov (1844-1908)

  • Dynamic, huge, lively, transparent and natural – with a record this good, your ability to suspend disbelief will require practically no effort at all
  • “Tchaikovsky possessed a remarkable talent for instrumentation, instinctively scoring his works to obtain a maximum variety of color and the widest possible range of tonal effects. His “Capriccio Italien”, vibrant with the raw colors of its Italian song and dance rhythms, is one of his most popular works and shows the composer’s complete mastery of orchestration.”
  • If you’re a fan of orchestral showpieces such as these, this is a Columbia from 1966 that belongs in your collection.
  • The complete list of titles from 1966 that we’ve reviewed to date can be found here.

We’ve had copies of the album in the past, but they sure never sounded like this! From both an audiophile and music lover’s perspective, you would have a hard time finding a record that holds this much appeal to both groups.

The orchestra is big and rich, and there is lovely sheen to the strings. The piano is surrounded by plenty of space, with great depth to the hall. The weight and bite of the brass are near perfection. The top is extended and open. And the loud passages are big and stay smooth, with very little congestion even at the climax of the work. So LIFELIKE this way. (more…)

Heavy Vinyl Super Discs – “Nobody should have to listen to sound like that.”

More of the music of Sergei Rachmaninoff (1873-1943)

This entry links up a few of the commentaries I wrote as I went back through the Classic catalog, comparing their pressings to both originals and reissues. We take to task Classic Records, The Absolute Sound, and Chesky, as you will see below.

This commentary was written in 2005, prompted at the time by a rave review in TAS for one of the new Speakers Corners Mercury reissues. I detestecheskd the sound of the first one I heard, and subsequent releases only confirmed that the mastering of the Mercury catalog for Speakers Corner was abominable, an affront, in my none-too-humble opinion, to all right-thinking audiophiles.

Here is what their Heavy Vinyl version sounded like.

Here is what a real Mercury pressing sounds like…

when you get hold of an exceptionally good one and know how to clean it.

As for my commentary, it should be obvious that these awful remastering labels have not gone out of business, but instead have prospered, making millions of dollars from audiophiles eager to lay down their hard earned money for these Heavy Vinyl pressings. (more…)

Rimsky-Korsakov / Scheherazade / Ansermet / Suisse Romande

More of the music of Rimsky-Korsakov (1844-1908)

Reviews and Commentaries for the music of Rimsky-Korsakov

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  • This outstanding pressing earned solid Double Plus (A++) grades or BETTER on both sides
  • These copies will go head to head with the hottest Reiner pressing and are guaranteed to blow the doors off of it
  • The top end is natural and sweet – THIS is the way the solo violin in the left channel is supposed to sound
  • Extraordinary Demo Disc sound – the brass has weight and power on that powerful first movement like nothing you’ve ever heard in your life outside of live performance
  • Finding the best sounding pressings of this exceptional recording was a turning point for us – here was sound we had never experienced for the work, and what a THRILL it was

We did a monster shootout for this music in 2014, one we had been planning for more than two years. On hand were quite a few copies of the Reiner on RCA; the Ansermet on London (CS 6212, his second stereo recording, from 1961, not the earlier and noticeably poorer sounding recording from in 1959); the Ormandy on Columbia, and a few others we felt had potential.

The only recordings that held up all the way through — the fourth movement being THE Ball Breaker of all time, for both the engineers and musicians — were those by Reiner and Ansermet. This was disappointing considering how much time and money we spent finding, cleaning and playing those ten or so other pressings.

Here it is seven years later and we’re capitalizing on what we learned from the first big go around, which is simply this: the Ansermet recording on Decca/London can not only hold its own with the Reiner on RCA, but beat it in virtually every area. The presentation and the sound itself are both more relaxed and natural, even when compared to the best RCA pressings.

The emotional content of the first three movements (all of side one) under Ansermet’s direction are clearly superior. The roller-coaster excitement Reiner and the CSO bring to the fourth movement cannot be faulted, or equaled. In every other way, Ansermet’s performance is the one for me. We did a monster shootout for this music in 2014, one we had been planning for more than two years. On hand were quite a few copies of the Reiner on RCA; the Ansermet on London (CS 6212, his second stereo recording, from 1961, not the earlier and noticeably poorer sounding recording from in 1959); the Ormandy on Columbia, and a few others we felt had potential. (more…)

Gresham’s Law and The State of Reviewing As Seen by Us in 2015

Even twenty years ago reviewers noted that tracks on compilations such as this had better sound than the albums from which they were taken, proof that they were listening critically and comparing pressings.

What happened to reviewers of that caliber?

I can tell you what happened to them: they left audio, driven out according to the principle that underlies Gresham’s Law: bad reviewers drive out good ones. Which leaves you with the type that can’t tell how truly awful most modern Heavy Vinyl Reissues are. A sad state of affairs if you ask me, but one that no longer impacts our business as we simply don’t bother to buy, sell or play most of them.

Reviewer malpractice? We’ve been writing about it for more than 25 years.

More Living Stereo Recordings


This reasonably quiet RCA Shaded Dog LP has DEMONSTRATION QUALITY SOUND on BOTH sides. It is without a doubt THE best sounding copy we have ever heard*.

White Hot, with some of the best 1959 Living Stereo we’ve ever heard. Explosive dynamics, HUGE space and size, with unerringly correct tonality, this is a Demo Disc like no other. When “in -the-know” audiophiles discuss soundstaging and depth, they had better be talking about a record that sounds like this. Shockingly real – proof positive that the cutting systems of the day are capable of much better sound than we normally assume.  (more…)

Rimsky-Korsakov / Scheherazade / Ansermet – Not the Sound or the Performance You Want

Our Favorite Performance of Scheherazade – Ansermet with the Suisse Romande

Hot Stamper Decca and London Pressings Available Now

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In our experience this is not the recording of the work to buy, on either Decca or London. Of the two recordings by Ansermet, we much prefer the one made with the Suisse Romande to that of the Paris Conservatoire.

We did a monster shootout for this music in 2014, one we had been planning for more than two years. On hand were quite a few copies of the Reiner on RCA; the Ansermet on London (CS 6212, his second stereo recording, from 1961, not the earlier and noticeably poorer sounding recording from in 1959); the Ormandy on Columbia, and a few others we felt had shown potential.

The only recordings that held up all the way through — the fourth movement being THE Ball Breaker of all time, for both the engineers and musicians — were those by Reiner and Ansermet.

This was disappointing considering how much time and money we spent finding, cleaning and playing those ten or so other pressings.

Here it is a year later and we’re capitalizing on what we learned from the first big go around, which is simply this: the Ansermet recording on Decca/London can not only hold its own with the Reiner on RCA, but beat it in virtually any area. The presentation and the sound itself are both more relaxed and natural, even when compared to the best RCA pressings.

The emotional content of the first three movements (all of side one) under Ansermet’s direction are clearly superior. The roller coaster excitement Reiner and the CSO bring to the fourth movement cannot be faulted, or equaled. In every other way Ansermet’s performance is the one for me. (more…)

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…)

Rimsky-Korsakov / Capriccio Espagnol & Enesco, Smetana, et al.

More of the music of Rimsky-Korsakov (1844-1908)

We just did a new shootout for this title, so expect to see killer copies of record number 8 from the set on the site soon!

Credit must go to my good audiophile friend Robert Pincus for turning me on to the Readers Digest sets in general and this set in particular. Most of it is no better than decent, but the best records in the set are superb, as you can read in our older review below.

Yet Another Record We’ve Discovered with (Potentially) Excellent Sound

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


A SUPERB White Hot side one coupled with a better than Super Hot (A++ to A+++) side two, back to back on one disc, is a surprise indeed.This is only the second time a disc from a Reader’s Digest box set has made it to the site, and we’re continuing with more exciting orchestral music — Capriccio Espagnol (side two) and the Romanian Rhapsody No. 1 (side one) are the two longest pieces on record 8 of the set, and both of them are knockouts on this pressing.

This is truly DEMONSTRATION QUALITY SOUND! Records do not get much more spacious, open, transparent, rich and sweet. Kenneth Wilkinson was the man behind the board for many of these RDG recordings, this very one in fact, and as you will hear, he was pretty much in a league of his own as a recording engineer in the early days of stereo. This record should provide you with all the proof you need.

Play it up against the best of the RCAs, Londons and Mercs from the period and you will see what I mean. And of course it will completely DESTROY any pressing you may have on Heavy Vinyl, from any label, at any playback speed, of any music. (more…)

Holiday For Strings / Fiedler / Boston Pops

More Music Conducted by Arthur Fiedler

More Living Stereo Recordings

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  • Holiday For Strings finally arrives on the site with stunning Shootout Winning Triple Plus (A+++) sound throughout
  • This is a true Demo Disc quality recording, with lovely Living Stereo strings – close your eyes and the three-dimensional soundstaging will make your speakers disappear
  • This is a sweetheart of a recording – big, clear, rich, dynamic, transparent and energetic, and will surely put to shame most of the Living Stereo pressings you own (unless you bought them from us)
  • “Nowhere in the world is there a surer guarantee of more richly varied musical delights than that promised by this conductor’s precise baton, his infallible ear and memory, the prodigious range of his taste, his interpretative verve.”

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The Tale of Tsar Saltan and Our Rare Four Plus Grade

See all of our Rimsky-Korsakov albums in stock

More entries in our Well Recorded Classical Albums – The Core Collection

Well Recorded Classical Albums from The Core Collection available on our site

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  • This AMAZING side one with the complete Tsar Saltan was so good we gave it our rare 4+ grade
  • We freaked out when we heard this side – it took the sound beyond anything we had ever experienced for the work
  • It’s so rich and real, with huge WHOMP factor down low, as well as clear, uncolored brass and robust lower strings – wow!
  • We figure about one out of a hundred sides earn our Four Plus grade – you can’t get much more rare than that

James Walker was the producer, Roy Wallace the engineer for these sessions from April of 1959 in Geneva’s glorious Victoria Hall. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording.

The gorgeous hall the Suisse Romande recorded in was possibly the best recording venue of its day, possibly of all time. More amazing sounding recordings were made there than in any other hall we know of. There is a solidity and richness to the sound beyond all others, yet clarity and transparency are not sacrificed in the least.

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Rimsky-Korsakov / Scheherazade – Yes, Sometimes There Is Only One Set of Magic Stampers

In 2015 we wrote:

There are certain stampers that seem to have a consistently brighter top end. They are tolerable most of the time, but the real magic can only be found on the copies that have a correct or even slightly duller top. Live classical music is never “bright” the way recordings of it so often are.

It’s rarely “rich” and “romantic” the way many vintage recordings are — even those we rave about — but that’s another story for another day.

We recently did the shootout again, and now with a much more clear, accurate upper midrange and an even more extended top end, the stampers that we used to find “brighter than ideal” are almost always just too damn bright, period.

We will never buy another copy with those stampers.

We was wrong and we don’t mind admitting it.

Which leaves one and only one stamper that can win a shootout. Another stamper we like well enough to offer to our discriminating customers, but after that it is all downhill, and steeply.

Of course the right stampers are the hardest ones to find too. All of which explains why you rarely see a copy of the album for sale on our site.

More of the music of Rimsky-Korsakov (1844-1908)

Reviews and Commentaries for the Music of Rimsky-Korsakov

More Stamper and Pressing Information

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