The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- An original RCA Red Seal pressing with seriously good Double Plus (A++) grades from first note to last
- On this superb copy you will hear deep bass notes; incredible dynamics from every area of the stage; masses of strings playing at the top of their registers with abandon; huge drums; powerful brass effects, and more
- Every sound an orchestra can produce is found on this record, and then some - it's the very definition of Demo Disc sound
- These wonderful works, undoubtedly some of the greatest Bernard Herrmann composed, should be part of any serious Orchestral Collection
- 5 stars: "... the best of the entire series by conductor Charles Gerhardt and the National Philharmonic Orchestra... every track is worthwhile and memorably played."
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The Citizen Kane Suite on this album is to die for -- big, bold, dynamic sound like few records you own. It’s a real desert island disc for me. (The CD, by the way, is actually quite good. I have it in the car and play it often.)
The Concerto Macabre for Piano and Orchestra (from “Hangover Square”) is superbly well-recorded and a brilliant piece of music as well.
This vintage RCA Red Seal 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 Citizen Kane (The Classic Film Scores of Bernard Herrmann) 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 even as late as 1974
- 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.
Taxing the Limits
An orchestral dreadnought such as this requires mastering and pressing of the highest quality. The music by its very nature taxes the limits of LP playback itself, with deep bass notes; incredible dynamics from every area of the stage; masses of strings playing at the top of their registers with abandon; huge drums; powerful brass effects -- every sound an orchestra can produce is found on this record, and then some.
You will hear plenty of sounds that defy description, that’s for sure. Some of the time I can hardly imagine what instrument or group of instruments could possibly be making some of these sounds.
What We're Listening For On Citizen Kane (The Classic Film Scores of Bernard Herrmann)
- 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.
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.
We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.
Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded that open and clear. And how many even dedicated audiophiles would have more than one of two clean, original copies with which to do a shootout? These records are expensive and hard to come by in good shape. Believe us, we know whereof we speak!
When you hear a copy do what this copy can, it’s an entirely different -- and dare I say, unforgettable -- listening experience.
What Are You Selling?
Record dealers that sell records based on their reputation -- and that means pretty much all of them -- are selling the hype. If they haven’t played the record, they can’t tell you what it sounds like, TAS List or no TAS List. The catalog number may be right, but finding the sound that lives up to the description can only be done one way: by playing the record.
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.
A Tough Record to Play
All Bernard Herrmann albums rank high on our Difficulty of Reproduction Scale. Do not attempt to play them using anything other than the highest quality equipment.
Unless your system is firing on all cylinders, even our hottest Hot Stamper copies -- the Super Hot and White Hot pressings with the biggest, most dynamic, clearest, and least distorted sound -- can have problems .
Your system should be thoroughly warmed up, your electricity should be clean and cooking, you've got to be using the right room treatments, and we also highly recommend using a demagnetizer such as the Walker Talisman on the record, your cables (power, interconnect and speaker) as well as the individual drivers of your speakers.
This is a record that's going to demand a lot from the listener, and we want to make sure that you feel you're up to the challenge. If you don't mind putting in a little hard work, here's a record that will reward your time and effort many times over, and probably teach you a thing or two about tweaking your gear in the process (especially your VTA adjustment, just to pick an obvious area most audiophiles neglect).
A Must Own Orchestral Showpiece
These wonderful works, undoubtedly some of the greatest Bernard Herrmann composed, should be part of any serious Orchestral Collection.
Others that belong in that category can be found here.
- On Dangerous Ground
- The Death Hunt
- Citizen Kane
- Snow Picture
- Theme And Variations (Breakfast Montage)
- Aria From Sal Amm Bo
- Rosebud And Finale
- Beneath the 12-Mile Reef
- The Sea
- The Lagoon
- The Undersea Forest
- The Octopus
- Hangover Square
- Concerto Macabre For Piano And Orchestra
- White Witch Doctor
- Talking Drums
- Prelude - The Riverboat
- Petticoat Dance
- The Safari
- The Lion
- Abduction Of The Bakuba Boy
- The Skulls
- Lonni Bound By Ropes
AMG 5 Star Rave Review
Citizen Kane: The Classic Film Scores of Bernard Herrmann is probably the best of the entire series by conductor Charles Gerhardt and the National Philharmonic Orchestra. Every track is worthwhile and memorably played, especially Beneath the 12-Mile Reef and the suite from Citizen Kane, the latter highlighted by Kiri Te Kanawa's performance of the Strauss-like aria from Salammbo.