The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus*
Side Two: Mint Minus Minus
- A STUNNING pressing of this TAS List Piano Concerto recording with Shootout Winning Triple Plus (A+++) sound from first exquisite note to last
- The Franck piece has no condition issues, but the Saint-Saens has a fairly serious one I am sorry to report
- With huge amounts of hall space, weight and energy, this is DEMO DISC QUALITY SOUND by any standard
- Some old record collectors (like me) say classical recording quality ain't what it used to be - here's all the proof anyone with two working ears and top quality audiophile equipment needs to make the case
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $150
- On side one, one-quarter inch into the second movement, a mark makes ten to fifteen moderate pops, followed by ten light ticks and ten moderate pops.
Sometimes the copy with the best sound is not the copy with the quietest vinyl. The best-sounding copy is always going to win the shootout, the condition of its vinyl notwithstanding. If you can tolerate the problems on this pressing you are in for some amazing classical music and sound. If for any reason you are not happy with the sound or condition of the album we are of course happy to take it back for a full refund, including the domestic return postage.
Harry Pearson put this recording on his TAS List of Super Disc LPs, and with good reason -- the sound is wonderfully relaxed and natural. This Shaded Dog pressing is exceptionally lively and dynamic. The sound is BIG and BOLD, enough to fill up your listening room and then some. The piano is clean and clear, and the strings are rich and textured.
The great Artur Rubinstein's performance of these wonderful works is superb.
Our Shaded Dog pressing here offers plenty of Living Stereo Magic. This wonderful record boasts a natural orchestral perspective and superb string tone. It also presents the listener with a correctly-sized piano, which is fairly unusual for Rubinstein's recordings.
This vintage Living Stereo 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 listening to Rubinstein playing live, 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 Classical Release 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 1958
- 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.
What We're Listening For on Saint-Saens Piano Concerto No. 2
- 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.
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.
Saint-Saëns – Concerto No. 2 In G Minor
- First Movement: Andante Sostenuto
- Second Movement: Allegro Scherzando
- Third Movement: Presto
Franck – Symphonic Variations
Saint-Saens Piano Concerto No. 2
The Piano Concerto No. 2 in G minor, Op. 22 by Camille Saint-Saëns was composed in 1868 and is probably Saint-Saëns' most popular piano concerto. It was dedicated to Madame A. de Villers (née de Haber). At the première, the composer was the soloist and Anton Rubinstein conducted the orchestra. Saint-Saëns wrote the concerto in three weeks and had very little time to prepare for the première; consequently, the piece was not initially successful. The capricious changes in style provoked Zygmunt Stojowski to quip that it "begins with Bach and ends with Offenbach."