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Mendelssohn / Bruch - Violin Concerto / Scottish Fantasia / Campoli / Boult - Super Hot Stamper

The copy we are selling is similar to the one pictured above.

Super Hot Stamper

Mendelssohn / Bruch
Violin Concerto / Scottish Fantasia / Campoli / Boult

Regular price
$199.99
Regular price
Sale price
$199.99
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Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus

Side Two: Mint Minus Minus

  • An excellent London pressing with Double Plus (A++) sound from the first note to the last
  • It's also fairly quiet at Mint Minus Minus, a grade that most of our classical records, even the mintiest ones, cannot match
  • The Mendelssohn on London (CS 6010) with Ricci is also excellent, but ten times harder to find and quite a bit more expensive if you do
  • The Scottish Fantasy on side two contains some of the best sound we know for the work, close to our favorite, the Heifetz on Living Stereo (LSC 2603)
  • One of the truly great 1959 All Tube Kenneth Wilkinson "Decca Tree" recordings in Kingsway Hall, captured faithfully in all its beauty on this very disc
  • Referring to the Mendelssohn, Gramophon noted: "[Campoli's] virtuosity in the finale are as self-evident as is the excellence of the accompaniment under Sir Adrian Boult. There are many felicitous touches and the distinguished soloist plays magnificently throughout."

More of the music of Felix Mendelssohn (1809-1847) / More of the music of Max Bruch (1838-1920)

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The Bruch brings to mind some of Tchaikovsky's works. It's so sweet and melodic, it completely draws you into its world of sound. This is a work of unsurpassed beauty, music that belongs in any serious music collection.

As we noted above, Kenneth Wilkinson engineered in the legendary Kingsway Hall. There is a richness to the sound of the strings that is exceptional, yet clarity and transparency are not sacrificed in the least.

It's practically impossible to hear that kind of string sound on any recording made in the last thirty years (and this, of course, includes practically everything pressed on Heavy Vinyl). It may be a lost art but as long as we have these wonderful vintage pressings to play, it's an art that is not being lost on us.

It's also as wide, deep, and three-dimensional as any, which is, of course, all to the good, but what makes the sound of these recordings so special is the timbral accuracy of the instruments in every section.

This is the kind of record that will make you want to take all your heavy vinyl classical pressings and put them in storage. They cannot begin to sound the way this record sounds. (Before you put them in storage or on Ebay please play them against this pressing so that you can be confident in your decision to rid yourself of their unforgivable mediocrity.)

All Tube 1959

This vintage STS LP 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 This Wonderful Violin Concerto Record 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 1959
  • 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

What We're Listening For On This Superb Pressing

  • 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.
  • 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.

Musical Credits

  • Felix Mendelssohn - composer
  • Max Bruch - composer
  • Sir Adrian Boult - conductor
  • Alfredo Campoli - violin
  • Accompanied by The London Philharmonic Orchestra

Kingsway and The London Philharmonic

This record shows off Decca sound at its best. The full range of colors of the orchestra are here presented with remarkable clarity, dynamic contrast, spaciousness, sweetness, and timbral accuracy.

If you want to demonstrate to a novice listener why modern recordings are so consistently unsatisfactory, all you have to do is play this record for them. No CD ever sounded like this.

The richness of the strings, a signature sound for Decca in the Fifties and Sixties, is on display here for those who appreciate what was possible to capture on tape during the classical Golden Age. It's practically impossible to hear that kind of string sound on any recording made in the last thirty years (and this of course includes practically everything pressed on Heavy Vinyl).

It may be a lost art but as long as we have these wonderful vintage pressings to play it's an art that is not lost on us. I don't think the Decca engineers could have cut this record much better -- it has all the orchestral magic one could ask for, as well as the clarity and presence that are missing from so many other vintage Golden Age records.

Vinyl Condition

Mint Minus Minus 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

  • Mendelssohn Violin Concerto In E Minor, Op. 64
  • 1st Movement - Allegro Molto Appassionato
    2nd Movement - Andante
    3rd Movement - Allegro Molto Vivace

Side Two

  • Bruch Scottish Fantasia, Op. 46
  • Introduction
    1st Movement - Adagio Cantabile
    2nd Movement - Allegro
    3rd Movement - Andante Sostenuto
    4th Movement - Allegro Guerriero

Gramophone Magazine Review

Campoli plays most beautifully - the finale, in particular, is accurate and brilliant in the extreme.. Campoli's sweet-toned account of the Mendelssohn has given pleasure for many years. His lyrical feeling in the slow movement and his virtuosity in the finale are as self-evident as is the excellence of the accompaniment under Sir Adrian Boult. There are many felicitous touches and the distinguished soloist plays magnificently throughout. His account of the Brunch Scottish Fantasia is no less fine, and the recorded sound is amazingly fresh.