Various Artists
Danses Anciennes De Hongrie Et De Transylvanie / Clemencic Consort

This vintage import pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.

What The Best Sides Of Danses Anciennes De Hongrie Et De Transylvanie Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1978
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange -- with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren't veiled or smeary of course. So many things can go wrong on a record. We know, we've heard them all.

Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.

Tube smear is common to most vintage pressings. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.

Size and Space

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small -- they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies -- my notes for these copies often read “BIG and BOLD” -- create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that -- a copy like this one -- it’s an entirely different listening experience.

What We're Listening For On Danses Anciennes De Hongrie Et De Transylvanie

• Energy for starters. What could be more important than the life of the music?
• The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
• Powerful bass -- which ties in with good transient information, also the issue of frequency extension further down.
• Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
• Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

TAS List

Harry Pearson put this record on his TAS list of super discs. Being on the TAS list doesn’t guarantee great sound, but Better Records does. If you don’t think a record sounds as good as we’ve described, we’ll always happily take it back and refund your money. Good luck getting ol’ Harry to send you a check when the TAS-approved pressings you pick up don’t deliver.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.

Side One

all artists are credited as 'anonymous'

• Ötödik Tancz
• Duch Pane Swu Swatuny (Grâce Au Saint-Esprit)
• U Naseho Bárty (Notre Vieux Barty)
• Erdélyi Hajdutanc (Danse Des Heiduques)
• Chodila, Chodila (La Bien-Aimé Qui Louche)
• Pro Clarinis XXIII, XXII
• Chorea Hungarica
• Chorea Tancz
• Pargamasca
• Corant
• Sarabanda
• Coranda
• Gagliarda
• Tantz
• Chorea Tantz
• Ritka
• O Gloriosa Domina

Side Two

• Alia Chorea Nº 8
• Lopatkowaný Tanecz
• Klobucký Tanecz
• Proportío
• Alia Chorea - Alia Hungarica
• Pro Clarinis III Et XI
• Lapozskas Tancz
• Tancz
• Apor Lazar Tancza
• Olach Tancz (1eme Partie)
• Alia Chorea
• Alia Polonica
• Nerada Robýla
• Olach Tancz (2e Partie)

About Clemencic Consort

The Clemencic Consort is an early-music ensemble comprised of international artists under the direction of René Clemencic. It performs in varying combinations of voices and instruments, depending on the programme.

Singers and instrumentalists from around the world have made it their task to interpret music from the Middle Ages to the Baroque period on historical instruments. They set great store on lively authenticity, but at the same time they consciously avoid "the wagging finger." The programmes are structured in such a way that they convey a colourful overall impression of the respective period.

The Clemencic Consort devotes particular attention to the production of Baroque operas, in both staged and concert performances.

[It] has made many works from earlier periods accessible to a wider audience, often for the first time.

A characteristic feature of the ensemble is its varying composition and size, which can range from two to 50 performers.

www.clemencic.at