_Conductors – Solti

Mendelssohn / Symphony No. 4 – Gorgeous Cover, Bad Sound

More of the Music of Felix Mendelssohn

Reviews and Commentaries for the Music of Felix Mendelssohn

Awful sound. It’s bright, dry and flat, with strident strings.

The sound is much too unpleasant to be played on high quality modern equipment.

If your system is dull, dull, deadly dull, the way older systems tend to be, this record has the hyped-up, bright and aggressive sound that is sure to bring it to life in no time.

There are scores of commentaries on the site about the huge improvements in audio available to the discerning (and well-healed) audiophile. It’s the reason Hot Stampers can and do sound dramatically better than their Heavy Vinyl or audiophile counterparts: because your stereo is good enough to show you the difference.

With an old school system, you will continue to be fooled by bad records, just as I and all my audio buds were fooled thirty and forty years ago. Audio has improved immensely in that time. If you’re still playing Heavy Vinyl and other audiophile pressings, there’s a world of sound you don’t know you’re missing.

We discussed the issue in a commentary from years back entitled some stereos make it difficult to find the best sounding pressings. My advice is to get better equipment and that will allow you to do a better job of recognizing bad records when you play them.

A stereo that sounds like an old console, even one that has expensive new components — there are plenty of those sitting in audiophile’s listening rooms, bathing the listeners in an artificial blue light, perhaps as artificial as the quality of the sound  — is perfect for all your bad sounding Golden Age recordings. The signal goes in one end of the electronics and not much of it comes out the other, or at least not much of the good stuff comes out the other.

Or you could get that old console sound by powering your system with the Mac 30s you see below. They, like most vintage tube equipment, are very good at hiding the faults of old records (and plenty of new ones too).

If more early Londons had sound as bad as this Mendelssohn recording from 1959, we would happily admit that going the Heavy Vinyl route is an approach worth pursuing

Yes, of course there are a great many bad sounding vintage pressings — we should know, we’ve played them by the hundreds — but the number of bad modern Heavy Vinyl pressings would surely give them a run for their money and then some.

There are plenty of others besides this Mendelssohn disc that we’ve run into over the years with sonic shortcomings. Here are some of them, broken down by label.

  • London/Decca records with weak sound or performances
  • Mercury records with weak sound or performances
  • RCA records with weak sound or performances

Our Pledge of Service to You, the Discriminating Audiophile 

We play mediocre-to-bad sounding pressings so that you don’t have to, a free service from your record-loving friends at Better Records.

You can find this one in our hall of shame, along with others that — in our opinion — are best avoided by audiophiles looking for hi-fidelity sound. Some of these records may have passable, but the music is weak.  These are also records you can safely avoid.

We also have an audiophile record hall of shame for records that were marketed to audiophiles with claims of superior sound. If you’ve spent much time on this blog, you know that these records are some of the worst sounding pressings we have ever had the misfortune to play.

We routinely put them in our Hot Stamper shootouts, head to head with the vintage records we offer. We are often more than a little surprised at just how bad an “audiophile record” can sound and still be considered an “audiophile record.”

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Mussorgsky et al. / Night On Bare Mountain / Solti

More of the music of Modest Mussorgsky (1839-1881)

Hot Stamper Pressings of Orchestral Spectaculars Available Now

  • This vintage London pressing of these Russian Orchestral Showpieces earned STUNNING Shootout Winning Triple Plus (A+++) grades or close to them on both sides
  • Big and dynamic as all get out – the work is performed with a speed and precision that will make your jaw drop
  • Tons of energy, loads of rich detail and texture, superb transparency and excellent clarity – the very definition of DEMO DISC sound
  • Solti is clearly the man for this music – he’s on fire with this fiery material

Don’t go looking for the Tubey Magic of an earlier era. What you get instead is super-low distortion, full-bandwidth sound with deep powerful bass and more transparency than most later Londons.

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Beethoven – Symphony No. 3 (“Eroica”) / Solti

More of the music of Ludwig van Beethoven (1770-1827)

More Classical and Orchestral Recordings

  • Both sides of this original copy were giving us the rich and Tubey Magical Decca / London sound we were looking for, earning excellent Double Plus (A++) grades
  • 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
  • It’s simply bigger, more transparent, less distorted, more three-dimensional and more REAL than most of what we played
  • A top performance from Solti and the Vienna Phil – it’s classic Solti: fast-paced, exciting and powerful
  • Solti’s Beethoven recordings from 1959 are superb, with the 5th and 7th being every bit as good — it’s his later recordings, the ones from the early 1970s, that we find lacking

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Bartok / Concerto for Orchestra / Solti

More of the music of Bela Bartok (1881-1945)

More Must Own Classical and Orchestral Recordings

  • Huge hall, massive weight and powerful 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 the mid-60s 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.”
  • If you’re a fan of Bartok’s orchestral masterpiece, this London from 1965 belongs in your collection.
  • Watch out for Solti’s later recordings for Decca – they usually have an obvious shortcoming which we cannot abide in the classical records we play

Solti breathes life into these works as only he can and the Decca engineering team led by Kenneth Wilkinson do him proud.

“Solti was regarded as, above all, a superb Wagnerian. His performances and countless recordings of other nineteenth century German and Austrian music were also well-regarded, as were his Verdi and his frequent forays into such twentieth century repertory as Bartók, Shostakovich, and Stravinsky.”

There are about 150 orchestral recordings we’ve awarded the honor of offering the Best Performances with the Highest Quality Sound, and this record certainly deserve a place on that list.

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Beethoven – Symphony No. 3 (“Eroica”) / Solti

More of the music of Ludwig van Beethoven (1770-1827)

More Classical and Orchestral Recordings

  • Both sides of this vintage copy were giving us the rich and Tubey Magical Decca / London sound we were looking for, earning INCREDIBLE Shootout Winning Triple Plus (A+++) grades
  • It’s simply bigger, more transparent, less distorted, more three-dimensional and more REAL than all the others we played
  • A top performance from Solti and the Vienna Phil – it’s classic Solti: fast-paced, exciting and powerful
  • Solti’s Beethoven recordings from 1959 are superb, with the 5th and 7th being every bit as good — it’s his later recordings, the ones from the early 1970s, that fall short
  • And if you have an original Decca or London of this title, be prepared to be knocked out by how much better this later pressing sounds — knocked out like we were, truth be told

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London Orchestral Records from the 70s and the Problem of Opacity

Decca and London Hot Stamper Pressings Available Now

More Records that Are Good for Testing Transparency

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, especially those recorded in Royce Hall. If you have a high-resolution system, these recordings, like those on Classic Records Heavy Vinyl that 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 concert hall.

One thing you can say about live classical music, it is never opaque. (It can be dry though. Some concert halls have that sound.)

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.

Other Deccas and Londons that we’d cleaned and played and found to be disappointing can be seen here.

For more on the subject of opacity on record, click here and here.

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

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Boy, Was We Ever Wrong About Solti’s Rite of Spring

More of the music of Igor Stravinsky (1882-1971)

Reviews and Commentaries for the Music of Stravinsky

This is a VERY old and somewhat embarrassing commentary providing the evidence for just how wrong we were about the sound of Solti’s 1974 recording for Decca.

Here is what we had to say about the album in 2008:

This is an amazing recording, DEMO QUALITY SOUND, far better than the Decca heavy vinyl reissue that came out in the 2000s. [That part is no doubt true.]

This record is extremely dynamic; full of ambience; tonally correct; with tons of deep bass. Because it’s a more modern recording, it doesn’t have the Tubey Magic of some Golden Age originals, but it compensates for that shortcoming by being less distorted and “clean.” Some people may consider that more accurate. To be honest with you, I don’t know if that is in fact the case.

However, this record should not disappoint sonically and the performance is every bit as exciting and powerful as any you will find. The Chicago Symphony has the orchestral chops to make a work of this complexity sound effortless.

Skip forward to the present, roughly ten years later. We had three or four copies on hand to audition when we surveyed the work a couple of years ago in preparation for a big shootout.

The Solti did not make the cut. It was not even in the ballpark.

Our reasons are laid out in the post-it note you see to the left. We had three or four copies and even the best one still had the shortcomings you see listed, just to a lesser degree. (For more on the subject of opacity on record, click here and here.)

So in the eleven or twelve years from the time we played a pile of copies in 2008, to 2020 or thereabouts when we auditioned a new batch, this recording seems to have gotten a lot worse.

But that’s not what happened.

We’re under no illusions now that the album did not always have these sonic shortcomings, shortcomings that existed from the day copies came off the presses in England, some with London labels, others with Decca labels.

We simply did not have the cleaning system or the playback system capable of showing us what was wrong with their sound, and how much better other recordings were than they were.

And Harry Pearson was fooled as well. The Decca (SXL 6691) is on the TAS List to this day. Other records that have no business being on anything called a Super Disc List can be found here. Our list of Demonstration Quality Orchestral Recordings can be found here.

You may be aware that Speakers Corner remastered this recording  in the ’90s. We carried it and recommended it highly back in the day when we offered those kinds of records. At some point, 2007 to be exact, we wised up. We asked ourselves why we were selling mediocre records instead of Better Records. Since we didn’t have a good answer, we stopped ordering them and proceeded to sell off our remaining stock.

In 2008 I had been seriously involved with audio for more than 30 years. I had been an audiophile record dealer for more than twenty.

I thought I knew what good sound was.

Clearly I had a lot to learn.

This is, once again, what progress in audio in all about. As your stereo improves, some records should get better, some should get worse. It’s the nature of the game for those of us who constantly strive to improve the quality of our cleaning and playback.

And we’re still at it. With this much money on the line, we had better be able to deliver the goods every time out.

Our customers seem to like the records they’ve been getting. They’ve written us hundreds of letters telling us so.

And we especially like the letters they write to us once they’ve compared our Hot Stamper pressings to the copies they owned that were Half-Speed mastered or pressed on Heavy Vinyl, or both!

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Rachmaninoff / Piano Concerto No. 2 on Domestic STS – Would It Still Hold Up?

Reviews and Commentaries for the Music of Sergei Rachmaninoff

Classical and Orchestral Imports on Decca & London

This is a twenty year old review of a pressing we have not played in many years, so please take what we say with a very large grain of salt.

Beating that in mind, if you see one for cheap in your local record store, give it a good look and, for the five bucks they will probably be asking, take a chance to see if the record actually does have the sound we heard all those years ago.

Folks, what we are offering here is THE SLEEPER Hot Stamper pressing of all time. Side one earned an amazingly good grade of A++ with side two every bit as good. The buyer of this album is going to be SHOCKED when he sees what pressing it is. 

For those of you who cherish pressings for their best sound and performances — as opposed to the typical audiophile collector who prefers the “right” original labels on his records, of course produced only in the “right” countries — this is the record for you.

Hold it up for your (right-thinking or otherwise) audiophile friends to witness before you put it on your table and BLOW THEIR MINDS.

How did this kind of sound get produced so cheaply, so late in the game? From what tape, by what engineer? It is a mystery to me, one that is very unlikely to be explained to anyone’s satisfaction.

Side One

A++ Super Hot Stamper sound — 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 always so strikingly obvious in the presence of the real instrument).

A bit of compression holds it back from A+++. What a record!

Side Two

A++, not quite as rich as side one but lively, transparent, present, with zero smear (always a problem with piano recordings — you want to hear those hammers striking the strings clearly). 

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Beethoven / Symphony No. 5 – Solti

More of the music of Ludwig van Beethoven (1770-1827)

More Classical and Orchestral Masterpieces

  • This big and lively vintage London pressing of Beethoven’s masterpiece boasts superb Double Plus (A++) sound from top to bottom
  • 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
  • Good weight to the brass, huge hall space, wonderfully textured string tone – it’s all here and more
  • A top performance from Georg Solti and the Vienna Phil from 1959 – it’s classic Solti: fast-paced, exciting and powerful
  • This is Beethoven played with gusto – Solti brings this music to life like no other conductor we know of (with the exception of Dorati, perhaps)
  • Watch out for Solti’s later releases for Decca – they usually have an obvious shortcoming which we cannot abide in our classical recordings

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.

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.

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Stravinsky / Le Sacre du Printemps – Speakers Corner Reviewed

More of the music of Igor Stravinsky (1882-1971)

Reviews and Commentaries for the Music of Stravinsky

We used to think this was one of the better Speakers Corner Deccas.

Having recently played the London pressing of the same performance, cut by Decca of course, we think we are almost certainly wrong about the quality of the sound, but who knows? Maybe Speakers Corner remastered the record properly and fixed its shortcomings.

Hah, just joking. In our experience that has never happened and we think it is very unlikely that it ever will.

Years ago we wrote the following:

Wow! What a performance! What dynamic full bodied sound! To be fair, I pulled out my original London, one of those awful mid-’70s English pressings that are never quiet, and yes, some of the ambience on the original is missing here on the new version, but everything else seems right: dynamics, tonality, the frequency extremes (including some pretty awesome deep bass).

Some of the above could be right, the parts about the tonality and such. Speakers Corner could have added some bass and lower midrange to make the sound less thin, and taken out some of the upper midrange to make the loud passages less blary, but it certainly doesn’t solve the most serious issues we had with the recording, which is the fact that it is opaque and flat, two qualities that are the death of orchestral music on vinyl.

Here are the notes we made for the London.

The two paragraphs you see reproduced below are also full of bad advice we had given out in the past:

1. Can’t be sure we would still feel that way but I’m guessing this is a good record if you can pick one up at a cheap price. 

2. If you have a quiet original, great, consider yourself lucky. As few of you have any copy at all, I recommend this one. The alternative is to miss Solti’s energetic performance and the precision of the Chicago Symphony, one of the few orchestras capable of making sense out of this complex and infuriating work. (At least it used to infuriate audiences. Now our modern ears can take a difficult work like this and appreciate the complex rhythms and atonality as the expression of a truly original mind.

This paragraph we would still agree with wholeheartedly:

This is not music to play while you are having dinner. This is music to engage the mind fully. It belongs in any collection. Yours in fact. Unless you have small speakers, in which case you would be wasting your money, as small speakers cannot begin to reproduce the power of this work in the hands of Solti and the CSO [or anybody else for that matter].

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