- This wonderful classical masterpiece makes its Hot Stamper debut with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish
- Both sides boast full brass and especially clear, solid, present piano, one with practically no trace of vintage analog tube smear
- It’s an extraordinary recording, and so amazing on this pressing that after playing it, you may agree with us that few other classical Demo Discs are in its league
- Dynamic, huge, lively, transparent and natural – with a record this good, your ability to suspend disbelief will require practically no effort at all
- Incredible Shootout Winning Triple Plus (A+++) sound or close to it on both sides and reasonably quiet DG vinyl make this one powerful Demo Disc set
- Without a doubt some of THE BEST SOUND we have ever heard for this recording!
- The huge space of a real concert hall seemingly transported right into your listening room
- Richter is magnificent – our favorite performance of the Tchaikovsky First bar none
This reasonably quiet White Hot Stamper DG pressing has without a doubt some of THE BEST SOUND we have ever heard for this recording! Dynamically, Powerfully Hot, with the huge space of a real concert hall seemingly transported right into your listening room. With this copy, all you need do is close your eyes and your speakers will disappear, replaced by Karajan and the VSO at the height of their glorious powers.
On both sides the piano is weighty, solid and powerful. Once the needle has dropped you will quickly forget about the sound and simply find yourself in the presence of some of the greatest musicians of their generation.
Audio Myths Exploded
Yes, both the originals and the reissues can be good on this record. Don’t buy into that audiophile canard that “original equals better.”
Two Stunning Sides
Really, really BIG and really, really CLEAR like no other copy we played. It’s nothing less than phenomenal! Lively, present and real, with sweet strings and a big bottom end.
The piano is clearly present and solid. The heavy compression of most copies is much less of a problem here; the levels stay correct right through to the big finish (which is really really big).
If you have the transparency in your system to be able to hear it (we didn’t even three years ago), listen for how clearly both the left and right hand can be heard at the piano. It’s shocking how big and clear these sides are, yet still as rich and as solid as any we played. That’s what we call White Hot Stamper sound.
What to Listen For (WTLF)
The pizzicato playing of the strings early in the piece are a great test. Transients, transparency and spaciousness will vary dramatically in these three areas on every pressing you play. This one excelled in every one of these areas. A true Demo Disc.
THE Tchaicovsky First Piano Concerto Recording
Since this is our favorite performance of the Tchaikovsky First Piano Concerto of all time. Even the copies with minor shortcomings in the sound are so good that we quickly find ourselves ignoring them and being lost instead in the performance. (more…)
- This stunning vintage RCA Living Stereo pressing boasts wonderful Double Plus (A++) sound throughout, with vinyl that is as quiet as any Shaded Dog from 1961 is ever going to play
- This pressing has the real Living Stereo magic in spades, but unlike most of the RCA concerto recordings, Richter, the brilliant soloist featured here, is not overly spotlighted, hence the much more natural “concert hall” sound
- The piano is part of the orchestra, and properly sized, allowing the contributions of the other musicians in the orchestra to be heard more clearly, laid out as they are so elegantly across a huge and deep Boston Symphony Hall stage
- This wonderful Romantic era piano concerto makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish
- Both sides of this vintage Victrola pressing are big, full-bodied, clean and clear, with a wonderfully preset piano and three-dimensional space around the musicians
- 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
- I used to think that the Classic was better than the Victrola, but that was a long time ago, and I hear a lot of midrange magic on this LP that I don’t think you can find on practically any modern remaster, by Classic Records or anyone else
- The Classic will be quieter though – we had a devil of a time finding Vics pressings with audiophile quality vinyl
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…)
Here are more records with the potential to sound better
on certain reissue pressings compared to the originals
The Large Tulip early pressings are the best on this record, right?
Nope. It’s just another Record Myth, as explained in the commentary for our recent Hot Stamper 2-pack. That pair of pressings was all the proof we required to back up our contention that either label can be the best on this classic DG recording. Original is better? Again, not so much. Original can be better fits more with our experience.
To pull off this kind of Mind Boggling sound from start to finish we combined an amazing side one on the Large Tulips label with an amazing side two on the Small Tulips label. And what a finish — side two earned a grade of A+++, being a full step above even our hottest other side two, and we played a lot of copies, more than a dozen in fact. (more…)
This fairly quiet Large Tulips early DG pressing in the heavy cardboard outer sleeve has THE BEST SOUND we have ever heard for this recording! Believe me, they don’t all sound like this! This copy is airy and sweet; just listen to the flutes — you can really hear the air moving through them. There is still some congestion in the loudest passages, but that’s unfortunately not something we can do anything about. Since it’s on every copy we’ve ever played we just have to assume it’s part of the recording.
Of the twenty or so clean copies we’ve auditioned over the last year or two, this one is clearly in a league of its own, with a price to match.
THE Tchaicovsky First
Since this is the best performance of the Tchaikovsky First Piano Concerto of all time, the minor shortcomings in the sound are easy to overlook. The piano sounds solid and full bodied. I don’t know of another performance of this work that gets the sound of the piano better. You can really hear the percussive quality of the instrument. It’s amazing how many piano recordings have poorly mic’ed pianos. They’re either too distant, lack proper reproduction of the lower registers, or somehow smear the pounding of the keys into a blurry mess. The piano sound is what first impressed me when a friend of mine brought the record over for me to hear. Of course I bought it on the spot.
And the texture of the strings is out of this world — you won’t find a DG that gets with better string tone, and 99% of them are worse. This record does not sound like your typical DG: hard, shrill, and sour. DG made good records in the ’50s and ’60s and then proceeded to fall apart, like most labels did. This is one of their finest recordings. It proves that at one time they knew what they were doing.
This recording really only has one shortcoming, which is that in some sections, when it gets loud, it tends to be a bit congested. Other places are very dynamic. I’m guessing somebody dialed in too much compression in those spots, but who’s to say? (more…)
- With two seriously good Double Plus (A++) sides, this was one of the better copies we played – reasonably quiet vinyl too
- The 1958 master tape has been transferred brilliantly using “modern” cutting equipment (from 1968, not the low-rez junk they’re forced to make do with these days), giving you, the listener, sound and surfaces that are hard to fault
- The cello does not have that “fat” sound some audiophiles seem to like – Decca knew more about recording chamber music in 1958 than practically all the audiophile labels that would come along later, the ones that managed to make a mess of the very idea of audiophile quality sound (you know who I mean)
The piano and the strings have that Golden Age Tubey Magical sound we love. It’s been years since I’ve had the opportunity to play this record; most copies are just too beat up to bother with, so I was glad to find a number in minty condition.
Now what I hear in this recording is sound that is absolutely free from any top end boost, much the way live music is. There’s plenty of tape hiss and air; the highs aren’t rolled off, they’re just not boosted the way they normally are in a recording. (more…)
- This superb album of Grieg’s piano music returns to the site with outstanding Double Plus (A++) sound or BETTER from start to finish on this fairly quiet Shaded Dog pressing
- These sides are big, full-bodied, clean and clear, with a wonderfully preset piano and plenty of 3-D space around all of the players
- Some old record collectors (like me) say classical recording quality ain’t what it used to be – here’s the proof
- “But Grieg’s Concerto is much more than a vehicle for pianistic virtuosity. It has been described as a “tone poem for piano and orchestra” in which an array of colors and moods unfolds. From the beginning of the first movement’s first theme, the piano and the instruments of the orchestra enter into an almost constant dialogue.”
This Shaded Dog pressing is exceptionally lively and dynamic. The sound is BIG and BOLD enough to fill up your listening room and then some. The piano is clean and clear, and the strings are rich and textured. Artur Rubinstein’s performance of this wonderful work is superb, as is his performance of the shorter coupling works on side two.
Living Stereo MAGIC. This is wonderfully recorded music. It has a very natural orchestral perspective and superb string tone. It also boasts a correctly-sized piano, which is quite unusual for Rubinstein’s recordings. (more…)
- Shootout Winning Triple Plus (A+++) grades on both sides make this a Sibelius Violin Concerto with top sonics and a performance to match – fairly quiet vinyl too
- It’s some of the best sound we have ever heard for the work, right up there with our longtime favorite, the Heifetz on Living Stereo (LSC 2435)
- One of the truly great 1958 All Tube recordings from Kingsway Hall, captured faithfully in all its beauty by Alan Reeve & Gordon Parry on this very disc
- “In the easier and looser concerto forms invented by Mendelssohn and Schumann I have not met a more original, a more masterly, and a more exhilarating work than the Sibelius violin concerto.”
The best Shaded Dog pressings of the Heifetz performance on RCA (LSC 2435) are the equal of this London. RCA presents the violin more immediately in the soundfield. Decca’s engineers integrated the violinist into the orchestra, which of course is the way it would be heard in the concert hall. To our ears, both approaches work exceptionally well — when you have at your disposal exceptional pressings of each. We had copies of both that were Hard to Fault, which made for a very enjoyable shootout.
Note that it has been close to ten years since our last big shootout for the work. That’s how long it takes to find enough clean London, Decca and RCA pressings for recordings such as these. Noisy, second-rate copies are everywhere. Top quality early pressings in clean condition come our way less than once a year. There are literally thousands of clean, vintage classical pressing sitting in our stockroom, waiting for a few more copies to come our way so that we can finally do a shootout.
With engineering in the legendary Kingsway Hall, there is a richness to the sound of the strings that is exceptional, yet clarity and transparency are not sacrificed in the least.
It’s practically impossible to hear that kind of string sound on any recording made in the last thirty years (and this of course includes practically everything pressed on Heavy Vinyl). It may be a lost art but as long as we have these wonderful vintage pressings to play it’s an art that is not being lost on us. (more…)