nat-class

The best pressings of these classical and orchestral recordings have exceptionally natural sound.

Schubert – The Trout Quintet / Curzon / Vienna Octet

More of the Music of Franz Schubert

  • Boasting two seriously good Double Plus (A++) sides, this vintage Ace of Diamonds pressing is doing just about everything right
  • It’s simply bigger, more transparent, less distorted, more three-dimensional and more REAL than most of what we played – this is music you cannot help but be drawn into
  • 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
  • When you hear how good this record sounds, you may have a hard time believing that it’s a budget reissue from 1968, but that’s precisely what it is.
  • Some budget reissues are so good, they can actually win shootouts

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 often are in a recording.

A few years back I had a chance to see a piano trio perform locally; they even played a piece by Schubert. The one thing I noticed immediately during their live performance was how smooth and natural the top end was. I was no more than ten feet from the performers in a fairly reverberant room, and yet the sound I heard was the opposite of what passes in some circles for Hi-Fidelity.

This is the opposite of those echo-drenched recordings that some audiophiles seem to like, with microphones placed twenty feet away from the performers so that they are awash in “ambience.” If you know anything about us, you know that this is not our sound.

I have never heard live music sound like that and that should settle the question. It does in my mind anyway. The Chesky label (just to choose one awful audiophile label to pick on) is a joke and always will be. How anyone buys into that phony sound is beyond me, but any audio show will prove to you that there is no shortage of audiophiles who love the Chesky “sound,” and probably never will be.

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Tchaikovsky / Symphony No. 6 / Monteux

More of the Music of Tchaikovsky

  • This RCA Gold Seal released in 1976 (AGL1-1522) features STUNNING Shootout Winning Triple Plus (A+++) sound or very close to it throughout
  • Tonally correct from top to bottom and as transparent as practically any vintage recording we’ve heard, the combination of clarity and Tubey Magic here is hard to beat
  • This copy is cut clean, and its dynamics and energy are fully intact, which just goes to show how much better the master tape must be than we’ve been led to believe by the original Shaded Dogs pressings and the awful Bernie Grundman pressing released by Classic Records
  • Not all of these later pressings sound like this one, so if you want to find your own, good luck, you sure aren’t likely to run across one of this quality, and the way we know that is that of all the copies that we played, this one was clearly the best
  • If you’re a classical music aficionado, this recording from the earliest days of stereo in 1955 belongs in your collection.
  • When you hear how good this record sounds, you may have a hard time believing that it’s a budget reissue from the 70s, but that’s precisely what it is
  • Even more extraordinary, the right copies are the ones that win shootouts

This Hot Stamper copy of this correctly remastered version of LSC 1901 (which just happens to be a recording from the earliest days of stereo, 1955!) is guaranteed to kill any and all original Shaded Dogs, as well as the more common reissues; White Dogs, Red Seals, Victrolas, Classic Heavy Vinyl, you name it — this pressing will beat the pants off of it and in the process show you precisely what is wrong with each and every one of them.

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Prokofiev / Symphony Nos. 1 & 7 – Our Favorite “Classical” Symphony

More of the music of Sergei Prokofiev

  • This stunning classical recording returns to the site for only the second time in three years, here with solid Double Plus (A++) sound throughout this British EMI import – exceptionally quiet vinyl too
  • Previn has a spritely take on the first symphony, which is precisely what it needs and, every bit as important, the LSO has the chops to bring his vision to life
  • “[The Classical Symphony] is rather a brilliant display of charm, gaiety and good humor as well as a delightful and respectful homage to the early masters whom Prokofieff had at one time so scornfully rejected.”
  • There are about 150 orchestral recordings we think offer the best performances with the highest quality sound. This record is certainly deserving of a place on that list.

This superb release contains one of my favorite performances of the Classical Symphony, and it also carries the distinction of having the best combination of sonics and performance that we have ever heard on vinyl. (There is a recording by Previn and the LA Phil from 1986 with a performance to die for; unfortunately, it comes with the kind of mid-80s tear-your-head-off digital shrillness that makes the CD medium the worn-out joke we analog lovers know it to be.)

The First Symphony happens to be one of my favorite classical works of all time, right up there with The Planets and Pictures at an Exhibition. I wouldn’t want to go to a desert island without all three.

This remarkable pressing has exceptional transparency and dynamics, allowing the energy and precision of the performance to shine through. Truly a sublime recording that belongs in any music collection, whether you’re a fan of classical music or not.

If I had to choose one piece of classical music that I would never want to live without, it would have to be the performance of Prokofiev’s First Symphony found on this very side one. It’s a work of such joy that I’ve never failed to be uplifted by it (except when the performance is too slow, which it often is).

This is a difficult piece to pull off. Most of the time either the orchestra is not up to the task or the conductor misunderstands the work. Previn has a spritely take on the piece, which is precisely what it needs and, every bit as important, the London Symphony has the chops to bring his vision to life.

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Haydn / Symphony No. 94 / Fjeldstad

More of the Music of Joseph Haydn

  • With solid Double Plus (A++) Living Stereo sound or BETTER on both sides, this original RCA Camden pressing of Fjeldstad and the Oslo Phil’s outstanding performance is doing just about everything right
  • 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
  • This copy is simply bigger, more transparent, less distorted, more three-dimensional and more REAL than most of what we played
  • 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
  • There are about 150 orchestral recordings we think offer the best performances with the highest quality sound. This record is certainly deserving of a place on that list.

This vintage RCA Living Stereo Camden LP has stunning Hot Stamper sound on both sides. It’s one of the best Camdens, if not actually the best. In true Living Stereo fashion, a natural, realistic concert hall perspective unfolds before you. The sound is rich, smooth, sweet and tubey, with lovely sheen on the strings — what’s not to like?

Fjeldstad’s performance is excellent as well. Fjeldstad, you may remember, is the man behind the definitive Peer Gynt on Decca (SXL 2012). His recordings may not be common but they have never disappointed. If you can’t own all 104 of Haydn’s symphonies, make sure that at least this one is in your collection.

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Beethoven / “Kreutzer” Sonata & Bach / Concerto For Two Violins / Heifetz

Hot Stamper Pressings with Jascha Heifetz Performing

Reviews and Commentaries for Recordings Featuring Jascha Heifetz

  • With two solid Double Plus (A++) Living Stereo sides, this original Shaded Dog pressing of these classical violin performances will be very hard to beat
  • This copy had the balance of clarity and sweetness we were looking for in the tone of the violin, and the orchestra sounds amazing – so rich and full-bodied
  • These sides are doing pretty much everything right – they’re rich, clear, undistorted, open, spacious, and have depth and transparency to rival the best recordings you may have heard
  • Although the Shaded Dog originals, now that we know which stampers are the best, will always win our shootouts, the White Dog reissues still sound quite good to us, just not as good
  • There are about 150 orchestral recordings we think offer the best performance coupled with the highest quality sound. This record has earned a place on that list, beating out Heifetz’s other performance for RCA, LSC 2377

If you want a recording that is going to put your system to the test, this is that record! That violin is real. The piano is also very well recorded, and the balance between those two instruments on this recording is perfection.

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Falla – El Amor Brujo / El Retablo De Maese Pedro / Ansermet / Argenta

More of the music of Manuel De Falla (1876-1946)

More Classical and Orchestral Recordings

  • This vintage London Stereo Treasury Import LP of Falla’s wonderful classical works boasts superb Double Plus (A++) grades or close to them from first note to last
  • Side two is big, rich, open, and natural sounding with wonderfully full vocals and a more three-dimensional sound than most other copies we played, and side one is not far behind in all those areas
  • The Argenta recording of El Retablo de Maese Pedro (Master Peter’s Puppet Show) is High Fidelity Audiophile Demo Disc Quality Gold, with bells, drums, voices, trumpets, strings, woodwinds and more, all sounding so real it will take your breath away.
  • Our favorite performance with top quality sound is found on a 1967 Decca with Fruhbeck De Burgos at the helm, but the Ansermet we are presenting here is still a very good record if you know what to look for

This Golden Age tape has been mastered brilliantly with “modern” mastering equipment from 1967, 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 can be pretty sure of two things when you hear a record of this quality: one, the original won’t sound as good, having been cut on much cruder equipment.

And two, no modern recutting of the tapes by the likes of Speakers Corner for example could begin to capture this kind of naturalistic sound. I have never heard a Heavy Vinyl pressing begin to do what this record is doing. This STS may be a London budget reissue pressing, but it was mastered by Decca, pressed in England on high quality vinyl, using fairly fresh tapes, and mastered about as well as a record can be mastered. The sound is REAL and BELIEVABLE.

When have you ever heard a modern remastering with this kind of depth and width to the soundstage? I have yet to have the pleasure and I’ve played scores of them, close to a hundred I would guess. We used to carry all that Heavy Vinyl back in the day and I played them and reviewed them as they came out, rejecting a good 80% right from the get go. None, not one, ever sounded like this.

This price for a reissue might seem to be a stretch, but we know an amazing record when we hear one, and we know that the next copy that comes along is very unlikely to sound as good as this one does. That’s simply “regression toward the mean,” a reality we have learned to respect. We don’t sell our records based on their reputations. We sell them based on the sound inscribed in their grooves, and these are some mighty fine grooves on both of these sides.

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Beethoven / Septet / Members of the Vienna Octet

More of the music of Ludwig van Beethoven

  • With excellent Double Plus (A++) grades on both sides, the sound on this import pressing is classic Decca from 1959 – rich, smooth and completely free of the hi-fi-ish qualities some audiophiles seem to admire by the likes of Reference, Telarc, Wilson and the like
  • This record was cut by real Decca engineers — in 1969 they certainly still knew what they were doing
  • Both sides are full, rich, spacious, big and present, with very little smear and a very healthy dose of Tubey Magic
  • We’ve been raving about this album forever, first on Blueback and on UK Stereo Treasury, and now on Ace of Diamonds – all three can be superb
  • Although the London and Decca originals will always win our shootouts, the reissues still sound quite good to us, just not as good, and that can even include the lowly Stereo Treasury pressing, which had exactly the same stamper numbers as the Ace of Diamonds pressing you see here
  • When you hear how good this record sounds, you may have a hard time believing that it’s a budget reissue from the late-’60s, but that’s precisely what it is
  • 1960 was a great year for classical recordings – other Must Own orchestral releases can be found here.

We normally do not put as much effort into finding top quality pressings of chamber music as we do for the large orchestral works favored by audiophiles (or at least the audiophiles who are willing to spend the money to buy our records), works such as Scheherazade and The Planets. However, if more of them sounded as good as this one we would be more than happy to do just that. (more…)

Schubert – The Trout Quintet / Curzon / Vienna Octet

More of the music of Franz Schubert (1797-1828)

More Classical Recordings Featuring the Violin

  • With two outstanding sides earning solid Double Plus (A++) grades, this vintage London LP was one of the better copies we played in our recent shootout
  • It’s simply bigger, more transparent, less distorted, more three-dimensional and more REAL than much of what we played – this is music you cannot help but be drawn into
  • 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
  • The cello does not have that “fat” sound some audiophiles seem to like – Decca knew more about recording chamber music in 1958 than practically any of 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.)
  • 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.

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…)

Beethoven and Richter – Our Favorite Performance on Vinyl

More of the Music of Ludwig van Beethoven

  • A stunning copy of this wonderful concerto performance that boasts a Shootout Winning Triple Plus (A+++) side two mated to a solid Double Plus (A++) side one, and reasonably quiet vinyl for a Shaded Dog from 1961
  • 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 to be heard more clearly, laid out as they are so elegantly across a huge and deep Boston Symphony Hall stage

In orchestral music, when it comes to clarity there is nothing close to the sound of the live performance, but some records, this one especially, give you the sense that you are hearing it all. Audio may be an illusion but it can be a very convincing one.

The spaciousness and three-dimensionality of the recording are also exceptional. Through the efforts and skill of the RCA engineers, that striking openness in the recording is somehow combined with an electrifying immediacy in the sound of the piano, no mean feat. One rarely hears both, except of course live (and not always even then).

There may be other performances of merit, but I know of no recording of this music with better sound. If you are demonstrating naturalistic sound, not bombastic Hi-Fi spectacularity, this pressing more than qualifies as a Demo Disc.

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Strauss / Schubert – Dances of Old Vienna / Boskovsky

More Classical and Orchestral Recordings

  • An original UK Decca pressing of this wonderful sounding record boasting STUNNING Shootout Winning Triple Plus (A+++) grades from first note to last
  • Tonally correct from top to bottom and full of Tubey Magic, it’s unbelievably spacious and three-dimensional, with depth to rival any recording you may own
  • The violin (played by Boskovsky himself) is immediate, real and lively here – there is a transparency and ease to the sound that is not often heard in recordings from any era, making this a very special record indeed
  • Gordon Parry and James Lock handled the engineering duties for Decca and their work here is hard to fault

Wow, what a find! This is a WONDERFUL sounding record with vintage Decca/London sound. There is not a trace of hyped-up sound to be found on this record.

So spacious! This is a fairly small ensemble, not a huge orchestra, playing in a lively hall, exactly the kind of hall in which this music was meant to be heard. The reason everything on this disc sounds right is that the venue, the sound and the music are authentic to these works in practically every detail.

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