- This superb classical release finally makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish – fairly quiet vinyl too
- Huge hall, weight and energy, this is DEMO DISC QUALITY SOUND by any standard
- The sound here is glorious, full of all of the qualities that make listening to classical music in analog so involving
- There are many great recordings of the work, and we had plenty to choose from, but for sonics and performance combined, Solti’s Decca recording from 1965 could not be beat
- “Solti’s Concerto for Orchestra with the LSO was one of the finest of its day and remains so. Highly recommended.”
- An outstanding reissue pressing of this superb recording with solid Double Plus (A++) sound on both sides
- I’ve known how good this reissue can sound for more than twenty years – it is guaranteed to beat any and every pressing you have of the work or your money back
- Big, clear, rich, dynamic, transparent and energetic – HERE is the sound that simply does not exist except in the world of the properly cleaned, properly pressed vintage LP
- On both of these sides you’ll hear rich strings, clear horns, a piano that is full-bodied and natural, with a solid low end (the kind you rarely hear on record but is nonetheless strikingly obvious in the presence of the real instrument)
- “Is the pulse even, building in steady crescendo, or do those famous opening measures find some subtle phrase within? Most settle for the former; not so, Katchen and Solti – and that pretty much describes the attitude of these artists in this piece altogether: searching for and finding the phrase within the obvious.”
Sonic Grade: F
Full of the worst kind of bright, phony string tone, MoFi’s trademark sound for classical recordings. Anyone who has ever attended a concert knows that strings in real life simply do not sound anything like they do on these MoFi records.
The London and Decca pressings of this recording are no great shakes either. Any pressing of this performance should be avoided.
Londons and Deccas from this era (1972 in this case) rarely sound very good to us. Here is what we specifically don’t like about their sound.
The average copy of this 1976 recording has that dry, multi-miked modern sound that the ’70s ushered in for many of the major labels, notably London and RCA. How many Solti records are not ridiculously thick and opaque? One out of ten? If that. We’re extremely wary of records produced in the ’70s; we’ve been burned too many times.
And to tell you the truth we are not all that thrilled with most of what passes for good sound on Mehta‘s London output either. If you have a high-resolution system, these recordings, like those on Classic Heavy Vinyl we constantly criticize, leave a lot to be desired.
Opacity is a real dealbreaker for us. Most of the classical records we play from later eras simply do not have the transparency essential to transporting us from our listening room into the concerto hall.
One thing you can say about live classical music, it is never opaque. Just the opposite. No recording in our experience — our experience being thousands upon thousand of them — can ever be remotely as transparent as live music.
If you have any doubts, next time you come home from the concert hall take a moment to put on a favorite recording of the same music. You may be in for quite a shock.
There actually is such a person who does, can you imagine?
Only an Audiophile True Believer could be fooled by sound so ridiculously unnatural.
But the world is full of such people. They bought into the Audiophile BS of Mobile Fidelity in the ’80s and apparently haven’t learned much since.
Now they think Heavy Vinyl is the answer to the world’s problems. The more things change…
If your stereo is any good at all, you should have no trouble hearing the sonic qualities of this album described below. If you are on this blog, and you have tried some of our Hot Stamper pressings, there is a good chance you’re hearing pretty much what we’re hearing. Why else why would you pay our prices?
One thing I can tell you: we would never charge money for a record that sounds as weird and wrong as this MoFi.
A well-known reviewer has many kind things to say about this pressing, but we think it sounds like a hi-fi-ish version of a ’70s London, which means it’s opaque and the strings are badly lacking in Tubey Magical sheen and richness.
The bass is like jello on the MoFi, unlike the real London which has fairly decent bass.
If a so-called “audiophile reviewer” cannot hear the obvious faults of this pressing, I would say there’s a good chance one or both of the following is true:
His equipment is not telling him what the record is really doing, and/or,
His listening skills are not sufficiently developed to notice the shortcomings in the sound.
The result is the worst kind of Reviewer Malpractice.
But is it really the worst kind? It seems to be the only kind! (more…)
One of our good customers had this to say about some Hot Stampers he purchased recently:
Saturday morning 06.15 waking up, checking messages, news and of course your site. Actually a daily routine.
Finding there Rachmaninov 2. For so many, as for me, an astonishing work.
So once again excited. Then checking reviews on the performance (you just take it for granted what an amazing thing this internet is). Searching, finding and reading about this specific performance is fun, thrilling in a way and in the process you learn more about the composer and piece.
The reviews show the performance as a stand out; for some brusque and maybe too fast leaving out the drama, but for many an exhilarating benchmark.
Afterwords going back to the better-record site to read about the recording. What a great story about Wilkie and the Decca tree.
And then of course being able to actually buy that record. What a privilege!
A big big thank you. (more…)
- This lovely Whiteback pressing is big and lively, earning seriously good Double Plus (A++) grades on both sides
- Good weight to the brass, huge hall space, wonderfully textured string tone – it’s all here and more
- A top performance from Solti and the Vienna Phil – it’s classic Solti: fast-paced, exciting and powerful
- This is Beethoven played with gusto – he brings this music to life like no other conductor we know of (with the exception of Dorati perhaps)
Solti’s Beethoven has always been underrated. In some respects it’s more satisfying than his ventures into the late Romantic repertoire on which his reputation largely rests. His Fifth Symphony, for example, has all of the drama and flair one could ask for in its outer movements, and his treatment of the Third’s epic funeral march is truly gripping, with a hair-raising fugato climax.
— David Hurwitz, ClassicsToday.com
We like our recordings to have as many of the qualities of Live Music as possible, and those qualities really come through on a record such as this, especially when reproduced on the full-range speaker system we use. It’s precisely this kind of big, clear, yet rich sound that makes audiophiles prize Decca/London recordings above those of virtually all other labels, and here, unlike in so many areas of audio, we are fully in agreement with our fellow record loving audiophile friends.
This Golden Age tape has been mastered brilliantly with “modern” mastering equipment (from the mid-’60s, 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.
You may have noticed that Beethoven’s symphonies rarely make it to the site. There’s a reason for this: most of the recordings of them don’t sound very good. We are happy to report that, at least when it comes to the Fifth, that problem has been solved, by this very record in fact.
The Leibowitz from Readers Digest that we like is tubier and richer, and more lyrical in performance.
The Solti from 1958 here is cleaner, clearer and both more exacting and lively. I would have a hard time choosing between them. (more…)
A distinguished member of the Better Records Orchestral Music Hall of Fame.
This London Mono Radio Promotion Copy is a stunner! DEMO QUALITY SOUND.
They even knew it back then — it was given the Hi-Fi Record Of The Month award! This orchestration and the sound of this music is ideal for audiophile listening.
The Sorcerer’s Apprentice that closes out side two has slightly better sound by the way — it’s quite good.
Sonic Grade: Unknown
In the late ’90s we described the sound of this pressing this way:
“Outstanding Rachmaninoff, dark and rich. Highly recommended.”
Since we have not played a copy of the album in over ten years, we have taken down our previous Sonic Grade of B as we have no idea how the record would fare today on our much-improved system.
For all we know it’s been recut, which is another problem with our old reviews of records we used to like: the new version could have very different sound from the one we played (and that’s not even taking into account the pressing variability, which we all know is sometimes huge).
Sonic Grade: Regular MoFi LP: F / UHQR: D
Both Hall of Shame pressings.
We recently auditioned an excellent sounding Decca Purple Label British import LP, the same performance, the same recording that Mobile Fidelity remastered (#510), but, thankfully, it sounded A WHOLE LOT BETTER!
I just listened to both and a catalog of the faults of the MFSL pressing would be quite lengthy. I won’t waste your time listing them. Although this recording is not perfect, the Decca pressing shows it in its proper light.
It finds the right balance between the multi-miked sound of the Super Disc List Mehta and a vintage recording from the Golden Age such as the famous Boult. The sound is very dynamic and the brass has tremendous weight. The MoFi is thin and bright.
Their UHQR is somewhat better, not quite as thin and phony up top, but not really very good either. Avoid them both.