Top Producers – Richard Mohr

Respighi / Pines of Rome – A Shootout Twenty Years in the Making

More music conducted by Fritz Reiner

Reviews and Commentaries for The Pines of Rome

We did a monster shootout for this music in 2021, one we had been planning for more than twenty years. On hand were quite a few copies of the Reiner on RCA; the Ansermet on London; the Maazel on Decca and London (the Decca being on the TAS List), the Kempe on Readers Digest, and quite a few others we felt had at least the potential to sound good.

Allow me to back up a bit.

In the late-’70s, when I first started paying attention to the TAS Super Disc List, I read about the Pines of Rome with 1S stampers. I could never find one, and the Shaded Dogs and Red Seals that I did find never sounded all that good to me.

I know now that I did not have the stereo system back then (equipment, room, etc.) that could reproduce a recording of such difficulty.

In the ’80s, the Mobile Fidelity pressing of the Pines of Rome, like all of their classical releases, without exception, never sounded right to me either.

It was certainly better than the Classic Records release from 1995 of the Reiner Pines. That record was just too harsh sounding, with the shrill strings that Bernie Grundman was cutting on practically every title put out by that awful label. I fell for some of them — I actually raved about Witches’ Brew on Classic back then, an endorsement that mortifies me to this day — but most of their classical records were junk that I was selling for cheap to the audiophiles who fell for the favorable reviews written about Classic Records in the magazines. Some things never change!

In the ’90s, the Decca on Speakers Corner came along and sounded fine to me. Not great, but good enough to sell if you wanted a good, quiet Pines for $30. It might not be fair to blame Speakers Corner for the shortcomings of their pressing, since the vintage Deccas with Maazel we’ve played have pretty much the same problems as the modern heavy vinyl classical LP: smeary strings, and an obvious lack of depth and transparency

In 2006 we played a Red Seal pressing of LSC 2436 that we liked at the time, but that was on a darker and less revealing system. It was a year before we found out about the amazing Walker Enzyme Record Cleaning System, which came along in 2007 and changed everything for us.

Around 2010 we played what we thought was a fairly good sounding London with Ansermet conducting, but by 2016 that recording was no longer competitive. A nice old record, but the world is full of nice old records. We had set our sights on a Hot Stamper pressing of a great recording with a performance to match. It would take us another six years of wandering in the wilderness before we were finally able to find what we were looking for.

Cut to 2016

In 2016 we we began a serious survey of the recordings we had on hand, close to a dozen different performances I think, and found them all wanting, save three: this one (which is still on the TAS List), a Reader’s Digest pressing with Kempe (our second favorite), and a London with Kertesz.

The Prevatelli on London you see pictured was very compressed. When the music is supposed to get loud at the end of the Pines, it never does!  If more vintage Londons had sound as bad as the three or four copies we had on hand (it’s a fairly common used record, now I know why), we would happily admit that going the Heavy Vinyl route is a good idea.

And there certainly are a lot of bad vintage pressings — we should know, we’ve played them by the hundreds — but they pale up against the number of bad Modern Heavy Vinyl pressings.

Distortion

If a particular performance had any distortion or limitation problems in the higher frequencies, it was quickly rejected out of hand. Same with low end whomp and weight. On these works both are crucial.

No other pieces of music of which we are aware have so much going on up high and down low. This narrowed the field of potential Hot Stampers considerably. Great performances by top conductors could not get over these hurdles — high and low — time and time again.

For these reasons, it took us years to find the right recordings. We knew the Reiner would be hard to beat, but we kept trying record after record hoping that we could find one to wrest the crown away from what is widely considered the greatest recording of the works ever made.

We never did find something better. Our best Shaded Dog ended up winning the shootout. The best RCA pressings were doing everything right. There was plenty of top end, with virtually no harmonic distortion, and when I say plenty, I mean the right amount. Not many engineers managed to get all the highs correctly onto the tape, but Lewis Layton nailed it — in 1960!

What to Listen For

So many recordings had screechy strings and sour horns. When the music would get loud, and both the Pines and the Fountains get very loud indeed, assuming the recording will let it, the sound would become unbearably harsh and unpleasant. This is the opposite of what should happen, and it was obvious that those recordings would not make it past the first round.

All three of the finalists could claim enthusiastic performances with powerful energy and top quality orchestral playing. Still, with the best copies going head to head with each other, Reiner’s recording had more of all the qualities we were looking for.

How did the famous 1S/1S pressing fare? No idea. I haven’t seen one in twenty years. It may be better than the White Hot copy we are offering here. I certainly would not make the mistake of saying what it sounds without having played it. If someone has one and wants to send it to me to audition, I will love to give it a spin. 

Some recordings we played lacked transparency, as well as the relaxed sense of involvement that eases one’s ability to be tricked into thinking “you (really) are there.”

The famous 1977 Maazel recording for Decca, which was on the TAS List for a long time, suffered from a bad case of multi-miking and the transparency issue mentioned above. What do you expect from 1977?

This is of course the knock on the Modern Heavy Vinyl Pressing – where is the transparency? The space? The three-dimensional depth? If your stereo can reproduce these qualities — a big if, since even as recently as twenty years ago mine could not — you should have given up on these opaque and airless frauds years ago. 

Our Difficulty of Reproduction Scale

This album is especially Difficult to ReproduceDo not attempt to play it on anything but the highest quality equipment.

Classical music is unquestionably the ultimate test for proper turntable / arm / cartridge setup. The Pines of Rome would be 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 these two tones poems. 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 bought you.

It has been my experience that cheap tables (anything under $1k I would guess) more often than not collapse completely under the weight of a mighty record such as this. If you have one of those, this is probably not the record for you.

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Debussy / Images For Orchestra / Munch

The Music of Claude Debussy Available Now

Album Reviews of the Music of Claude Debussy

  • This is one of the most magnificent Golden Age Classical titles we have played in longer than I can remember – we put it in the top 1-2% of their best sounding releases, a nice place to be
  • This spectacular Demo Disc recording combines amazing richness with transparency, and even at its loudest, it is still smooth and sweet
  • It is very unlikely that all but a few of our best customers have any records in their collections that sound as good as this one!
  • The rich, textured sheen of the strings that Living Stereo made possible in the ’50s and early ’60s is clearly evident throughout these pieces, something that the Heavy Vinyl crowd will never experience, because that sound just does not exist on modern records
  • It’s also fairly quiet at Mint Minus Minus, and for recordings of Debussy, that is quiet indeed

DEMONSTRATION QUALITY SOUND! It’s also a better performance than the famous Reiner. Munch understands this music perfectly.

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The Reiner Sound – A Demo Disc for Energy, Dynamics and Top End

Reviews and Commentaries for TAS Super Disc Recordings

Reviews and Commentaries for Music Conducted by Fritz Reiner

This review was written in 2010. I don’t think we have found a Reiner Sound as nice as this one since then.

Wow, the first nice Reiner Sound on Shaded Dog to make it to our site. Why? Because the few copies we’ve run across that looked decent enough to clean and play were just too noisy to enjoy. Not many copies have survived the bad turntables of their day with all their top end and inner grooves intact, but we’re proud to say that this one has! 

This former TAS List record really surprised us on two counts. First, you will not believe how DYNAMIC the recording is. Of all the classical recordings we’ve played lately I would have to say this is THE MOST DYNAMIC of them all. 

I really don’t have the wattage to handle the explosively loud sections of these wonderful works, with their huge orchestral effects, dynamic contrasts that are clearly part of the composer’s intentions but ones that rarely make it from the concert hall to vinyl disc the way they do here. 

Second, there is simply an amazing amount of TOP END on this record. Rarely do I hear Golden Age recordings with this kind of ENERGY and extension up top. Again, it has to be some of the best I have heard recently.

This is of course one of the reasons the Classic reissue is such a disaster. With all that top end energy, Bernie’s gritty cutting system and penchant for boosted upper midrange frequencies positively guarantees that the Classic Reiner Sound will be all but unplayable on a proper system. Boosting the bass and highs and adding transistory harshness is the last thing in the world that The Reiner Sound needs.

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Tchaikovsky / Excerpts from The Nutcracker

Reviews and Commentaries for The Nutcracker

More of the music of Peter Ilyich Tchaikovsky (1840-1893)

This RCA reissue pressing of LSC 2328 has some of the BEST SOUND we have ever heard for The Nutcracker, and we’ve played them by the dozens, on the greatest Golden Age labels of all time, including, but not limited to, the likes of Mercury, RCA and London.

In a somewhat (but not too) surprising turn of events, the reissue pressing we are offering here beat all the originals and early reissues we could throw at it. Finally, this legendary Mohr/Layton production can be heard in its full glory!

If you like your Nutcracker exciting and dynamic, this is the copy for you.

Don’t buy into that record collecting / audiophile canard that the originals are better.

We like our recordings to have as many Live Music qualities as possible, and those qualities really come through on a record such as this when reproduced on the full-range speaker system we use.

A Wealth of Recordings

For our shootout we played Ansermet’s performance of the Suites on London, as well as pressings by Reiner and Fiedler, both of whom opted against using the Suites as Tchaikovsky wrote them, preferring instead to create a shorter version of the complete ballet with excerpts of their own choosing (shown below).

The CSO, as one might expect, plays this work with more precision and control than any other. They also bring more excitement and dynamic contrasts to their performance, adding greatly to our enjoyment of the music.

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Respighi / Pines of Rome / Reiner – Our Favorite for Performance and Sound

More music conducted by Fritz Reiner

More Orchestral Spectaculars

  • This Shaded Dog pressing of Reiner’s superb 1960 recording for RCA has glorious Living Stereo sound on both sides and plays reasonably quietly for such a vintage pressing
  • There were only three performances with truly audiophile quality sound, and the Shaded Dog pressing not only had the best performances, but the sound that the team of Mohr/Layton managed to record was second to none
  • If you know anything about these works, you know that have tons of top and bottom end, and it is the rare pressing that can capture both
  • The texture and harmonic overtones of the Living Stereo strings are near perfection – as we listened we became completely immersed in the music on the record, transfixed by the remarkable virtuosity Reiner and the CSO brought to these difficult and demanding works 60 years ago

A Long Time Coming

This shootout has been at least five years in the making, and the case could be made that something like fifteen is closer to the truth.. Around 2016 we surveyed the recordings of the work we had on hand, close to a dozen different performances I  think, and found them all wanting, save three: this one (which is still on the TAS List), a Reader’s Digest pressing with Kempe (our second favorite), and a London with Kertesz.

If a particular performance had any distortion or limitation problems in the higher frequencies, it was quickly rejected out of hand. Same with low end whomp and weight. On these works both are crucial.

No other pieces of music of which we are aware have so much going on up high and down low. This narrowed the field of potential Hot Stampers considerably. Great performances by top conductors could not get over these hurdles — high and low — time and time again.

For these reasons, it took us years to find the right recordings. We knew the Reiner would be hard to beat, but we kept trying record after record hoping that we could find one to wrest the crown away from what is widely considered the greatest recording of the works ever made.

We never did find something better. Our best Shaded Dog ended up winning the shootout. The best RCA pressings were doing everything right. There was plenty of top end, with virtually no harmonic distortion, and when I say plenty, I mean the right amount. Not many engineers managed to get all the highs correctly onto the tape, but Lewis Layton nailed it — in 1960!

So many recordings had screechy strings and horns. When the music would get loud, and both the Pines and the Fountains get very loud indeed, assuming the recording will let it, the sound would become unbearably harsh and unpleasant. This is the opposite of what should happen, and it was obvious that those recordings would not make it past the first round.

All three of the finalists could claim enthusiastic performances with powerful energy and top quality orchestral playing. Still, with the best copies going head to head with each other, Reiner had more of all the qualities we were looking for.

How did the famous 1S/1S pressing fare? No idea. I haven’t seen one in twenty years. It may be better than the White Hot copy we are offering here. I certainly would not make the mistake of saying what it sounds without having played it. If someone has one and wants to send it to me to audition, I will love to give it a spin. 

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Strauss – The Sound of this MoFi Pressing Makes My Head Hurt

More of the music of Richard Strauss (1864-1949)

Richard Strauss Recordings We’ve Reviewed

Is the painting on the cover that of a man whose head is hurting from the ridiculously bright string tone of this MoFi?

Doubtful. Impossible actually. But that’s exactly how my head feels when I play one of these awful MoFi classical releases.

Their rock, pop and jazz remasters were hit and miss in the old days, with some real winners hidden amongst the junk, but every one of their classical releases that I ever played was a dog.

One way you know you dealing with bad records and collector mentality? When you find one of these records in your local used record store, it is almost guaranteed to be pristine.

Good records get played. MoFi’s classical releases got collected and sat on a shelf.

Sonic Grade: F

Hall of Shame pressing and another MoFi LP reviewed and found to be yet another record perfectly suited to the Stone Age Stereos of the Past.

Can you believe this bright and phony sounding piece of junk was once on the TAS Super Disc List? Sad, isn’t it? At least Harry had the good sense to delete it way back in the ’80s, along with all the rest of the awful MoFi’s that were on it at the time.  

Hey, I sure liked a lot of my MoFi’s in the ’80s too. Thank god I didn’t have my own Super Disc list at the time. It would be every bit as embarrassing as Harry’s list is these days, although it’s really not Harry’s list these days anymore, or at least not exclusively his list. It now has lots of new stuff on there and much of it appears to be of dubious quality, but that’s pure prejudice on my part of course. I have never played most of the records and have no intention of finding out what they sound like. Much of it is music that does not appeal to me, and some of the new additions are on Heavy Vinyl, so why bother?


Debussy / La Mer / Reiner – Reviewed in 2005

The Music of Claude Debussy Available Now

Album Reviews of the music of Claude Debussy

1S RCA Shaded Dog. This is an exceptionally good sounding copy, full of that RCA Living Stereo magic. Excellent performance from Reiner as well. On a work like La Mer the timbre of the instruments is critical to the enjoyment of the piece, as they often play solo and in small groupings. This record captures those qualities perfectly.

This record also includes Strauss’ Don Juan, which never sounds good on this title and is best left unplayed. 

Respighi / Pines of Rome / Reiner – Reviewed (Inaccurately) in 2006

More Reviews and Commentaries for The Pines of Rome

Click Here to See Our Favorite Pines of Rome

Back in 2006 we liked Red Seal pressings of Living Stereo recordings a lot more than we do nowadays, so take this commentary with a huge grain of salt. Only the advent of top quality  cleaning equipment and our much improved playback quality made it possible for us to hear the earlier pressings in all their glory.

A lot of records that I used to like because they were cleaner and brighter — later Red Seal Living Stereos, some OJC jazz, some reissues of rock — sounded much better when my system was darker and less revealing. There are a lot of Live and Learn entries about these records, and this is one from 15 years ago that could (probably, the record is long gone and not around to be played) not be more wrong.

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Prokofiev / Concerto No. 3 / Hendl – An Old Review of the TAS List Favorite

More of the music of Sergei Prokofiev (1891-1953)

Reviews and Commentaries for the Music of Sergei Prokofiev

Good piano tone and dynamic too. Side two is not as good. It’s more compressed and smeared, but not too badly. If side one gets a 10, side two gets a 7 or so.

Performed by Van Cliburn, pianist, and the Chicago Symphony Orchestra under the direction of Walter Hendl. This performance also includes MacDowell’s ”Concerto No. 2”.


This is an Older Classical/Orchestral Review

Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we developed in the early 2000s and have since turned into a fine art.

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Saint-Saens / Introduction and Rondo Capriccioso / Friedman

  • A nearly White Hot side two with the complete Saint-Saens work
  • Side two has explosive dynamics and near-perfect violin reproduction
  • Side one has the first movement of the Paganini Concerto No. 1
  • A Mohr/Layton Living Stereo Shaded Dog pressing from 1962

Side Two – Paganini – 2nd / 3rd Movements / Saint-Saens – Introduction and Rondo Capriccioso 

A++ to A+++, nearly White Hot. Big and lively, and so involving. Huge space, great dynamics, so immediate and engrossing. 

It’s one of the best sounding violin-led orchestral recordings we have played in recent memory, and we’ve played them by the hundreds and hundreds. (Practice makes perfect as they say.)

Side two of this copy easily puts most of the TAS Super Discs to shame. I would venture to say that there’s a very good chance that you have NEVER heard a violin-led orchestral recording as good as this one (that is, unless you own some of our White Hot Stamper violin records).

Side One – Paganini – Concerto No. 1 – First Movement (more…)