This Super Hot side one (coupled with an A+ side two) gives you a TOP performance with very good to excellent sound from first note to last. All of which makes this a Must Own copy of the work, surely the most well-known and beloved violin concerto in the classical repertoire.
Grumiaux displays wonderful energy to his playing throughout the recording. What a performance! And the vinyl is lovely, especially on side one.
A++, big, rich, sweet and smooth — above all the sound on this side is natural and energetic. Slightly dark with a touch of smear, this is very close to the best we heard.
A+, Big and lively, but there is some smear to the sound and the violin can get a little screechy in parts.(more…)
This import pressing has some astonishing qualities, qualities we are not used to hearing on vintage Golden Age recordings such as this (or or any other recordings, truth be told). This 1964 release — our pressing is the whiteback reissue, which we tend to prefer — has 3-D-like clarity and spaciousness that we could hardly believe. The stage is DEEP and you can hear all the way to the back of it. The width of the stage is dramatically wider than practically any record I can remember playing in the last year or two. I felt as though my listening room got bigger when playing this record.
And the dynamics are explosive. This pressing can really get LOUD when it wants to.
In some respects it’s hard to beat. But not, alas, hard to fault.
It lacks weight down low, whomp as we like to call it.
This remastered Victrola version of the original Living Stereo pressing (LSC 1901) is guaranteed to KILL any and all originals — Shaded Dogs, White Dogs, Red Seals — you name it, this pressing will beat the pants off of it, guaranteed. I’ve played many copies of the earlier RCAs and I have surely never heard one sound like this, with so much LIFE and CLARITY. Where is all the old cutter head distortion, congestion and frequency limiting? It’s sure not here!
Side one is Super Hot (A++) and side two is EVEN BETTER, earning our coveted Top Grade of A Triple Plus! You may have noticed that not many vintage RCA recordings make it to the site with stellar grades such as these, so that makes this a very special pressing indeed.(more…)
Amazing White Hot Stamper Decca sound on both sides, top performance too
The first copy to make it to the site, and it’s as quiet as Decca can press it
So transparent, sweet, open and relaxed, this copy raises the bar for the sound of ballet music
The most popular ballet in the world with out of this world analog sound — it’s a match!
This London UK import may be the best single disc version of the ballet we have ever played. The Ansermet is surely comparable but I find it hard to believe that it could be any better. This is the one folks, assuming you do not want a (nearly) complete performance of the work. (For that we recommend the 2 LP box set with Ansermet.)
Lovely string tone and texture, rich bass, a big hall, no smear, lovely transparency — the sound is White Hot and hard to fault.
Highlights of the recording on this side:
A clear snare at the back of the hall, a good test of transparency (of the record and of your system and room).
Full horns and strings, never becoming blary or shrill.
How many records have all these qualities, one out of a hundred?(more…)
This superb classical release makes its Hot Stamper debut here with outstanding Double Plus (A++) sound or BETTER throughout
The orchestra is big, rich and tubey here, yet the dynamics and transparency are first rate
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
Excellent sound, more mid-hall than some other RCAs. This is the Victrola version of the Shaded Dog of Festival. Some of these pieces are amazing in Reiner’s hands, Marche Slave, for example. Russlan and Ludmilla is also superb here. The sound is quite dynamic and powerful with very little distortion or noticeable compression. Reiner is excellent on music like this.
It should go without saying that this pressing kills the awful Classic Records pressing.
Outstanding Double Plus (A++) sound from start to finish – this Decca recording of the 1812 from 1958 is the only one we know of that can show you the power of Live Music for this important work
This UK pressing is BIG, lively, clear, open and resolving of musical information like no copy of the 1812 you’ve heard
The two coupling pieces, Marche Slave and the Capriccio Italien, also have rich, powerful, weighty brass and lower strings
The most exciting and beautifully played 1812 we know of – we encourage you to compare this to the best orchestral recording in your collection and let the chips fall where they may
There is some noticeable low frequency rumble under the quietest passages of the music for those of you with the big woofers to hear it!
The lower strings are rich and surrounded by lovely hall space. This is not a sound one hears on record often enough and it is glorious when a pressing as good as this one can help make that sound clear to you.
The string sections from top to bottom are shockingly rich and sweet — this pressing is yet another wonderful example of what the much-lauded Decca recording engineers (Kenneth Wilkinson in this case) were able to capture on analog tape all those years ago.
The 1958 master has been transferred brilliantly using “modern” cutting equipment (from 1970, not the low-rez junk they’re forced to make do with these days), giving you, the listener, sound that only the best of both worlds can offer.(more…)
An outstanding pressing of Heifetz’s amazing 1958 recording for RCA in glorious Living Stereo sound, earning solid Double Plus (A++) grades on both sides – fairly quiet vinyl too
A superb pressing, with lovely richness, warmth, and real immediacy throughout – the overall sound is rich, sweet and Tubey Magical
Heifetz is a fiery player – this pressing will allow you to hear the subtleties of his bowing in a coherent, natural and realistic way
The texture and harmonic overtones of the strings are near perfection – as we listened we became completely immersed in the music on the record, transfixed by the remarkable virtuosity he brings to this difficult and demanding work
For those of you who have only the Classic pressing, with this pressing you are in for a world of better sound. The Classic is both aggressive and lacking in texture at the same time, the worst of both worlds.Bernie’s cutting system is what I would call Low Resolution — the harmonics and subtleties of the sound simply disappear.(more…)