Classical music is unquestionably the ultimate test for proper turntable/arm/cartridge set-up. The Liszt recording you see pictured is a superb choice for adjusting tracking weight, VTA, azimuth and the like.
One of the reasons $10,000+ front ends exist is to play large scale, complex, difficult-to-reproduce music such as Liszt’s two piano concertos. You don’t need to spend that kind of money to play this record, but if you choose to, it would surely be the kind of record that can show you the sound your tens of thousands of dollars has paid for.
It has been my experience that cheap tables more often than not collapse completely under the weight of a mighty record such as this. (more…)
You can feel the cool air in the hall! Some audiophiles buy organ records to show off their subwoofers. Records like this can do that but records this good have musical qualities far beyond simple demonstrations of bass reproduction. Karl Richter understands this music perfectly and makes it come alive in a way I’ve never heard any other musician.
For those of you who think technology marches on — which of course it does in some ways — this 1954 recording shows that they could capture the authentic sound of the real instrument with the equipment of the day. Maybe they could even capture it better back in those days. I certainly can’t think of a better organ record than this, and musically I don’t think there are too many organists in Richter’s class.
All in all, practically the best of its kind, if not THE best.
This recording was released through Mercury, recorded by Robert Fine and Wilma Cozart, mastered by George Piros, the legendary Mercury team of renown. It is instructive to note that the Philips mastering is dramatically superior to the mediocre Mercury mastering, which may strike you as counterintuitive, but is nonetheless a fact. It’s precisely the reason we play records all day here at Better Records. You can’t judge a record by its credentials. The only way to know how it sounds is to play it, and to really know how it sounds you must play it against a sizeable number of other copies.
Then, and only then, can you talk knowledgeably about the sound. (Note to forum posters: this means you.)(more…)
This A++++ Beyond White Hot Stamper 2-pack has sound that must be experienced to be believed! The finest Liszt 1st & 2nd Concertos we know of for performance and unquestionably for sound when they sound like this. More like LIVE MUSIC than any classical recording I have played in longer than I care to remember – both sides are so big, rich and transparent we guarantee you have never heard a better piano concerto.(more…)
This collection of WONDERFUL solo piano works, here performed by one of our favorite pianists. Sviatoslav Richter, has SUPERB Living Stereo sound, earning a Super Hot Stamper sonic grade on side one. On this White Dog original pressing the piano is present and clear, with no smear whatsoever. Although the sound is big and rich, without more weight to the piano — the kind you rarely hear outside of a live event — we could not award the full Three Pluses. In practically every other way the sound was Hard To Fault (HTF). (more…)
Phil is a long time customer who shares my love for this powerful performance. He knows full well how bad most copies sound — he has a few of his own to prove it. When he saw this beauty in the mailer he did what any self-respecting record lover would do: he jumped on it. Even at $500 he feels he got his money’s worth, and that’s a lot of money for a Deutsche Grammophon record, the kind that no record store in the world would charge more than ten or twenty dollars for. If only we could find more like it…(more…)
This pressing has Beyond White Hot Stamper (A++++) sound on both sides – sound that must be experienced to be believed! – relatively quiet vinyl too
The finest Liszt 1st and 2nd Piano Concertos we know of for their performances, and unquestionably for sonics (when the sonics are this good!)
More like LIVE MUSIC than any classical recording I have played in longer than I care to remember
So big, rich and transparent we guarantee you have never heard a better piano concerto recording – this is a game changer, the first time a single pressing of the album has earned grades these high on both sides
NOTE: *Unlike Concerto No. 1, The Second Piano Concerto opens very quietly, so there will likely never be a vintage pressing of the album that will get that opening to play like a CD. Expect to hear some random ticks, a small price to pay to hear this wonderful performance on top quality analog.
Please note: we award the Four Plus (A++++) grade so rarely that we don’t have a graphic for it in our system to use in the grading scale shown above. We rarely find records with this kind of sound, just a few times a year at most — this is the only one on the site at this time. (more…)
This London pressing has Super Hot Stamper sound on side two, the Violin Concerto side. Here the violin sounds superb — rich, sweet and natural. The brass on this side is HUGE, which is a bit shocking for a later London from 1971. Once you get past the ’60s the sound of most Londons is opaque and flat (which describes perfectly far too many Londons with Solti at the helm), but not so here. The stage is as deep and wide as any vintage Golden Age recording we’ve played recently, and we’ve played plenty. (more…)
The original 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…)
As you may know, this is a ridiculously difficult Shaded Dog to find in clean condition. Its companion, the Brahms disc with Richter (LSC 2466), is ten times more common and not half as good.
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.(more…)