The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus Minus*
- An early UK Decca pressing of this wonderful sounding record with outstanding Double Plus (A++) grades throughout
- Side one is impossibly quiet at Mint Minus to Mint Minus Minus, a grade that practically none of our vintage classical titles - even the most well-cared-for ones - ever play at
- Tonally correct from top to bottom and full of Tubey Magic, it’s unbelievably spacious and three-dimensional, with depth to rival the best recordings 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 vintage recordings, and that, coupled with the Tubey Magic, richness and sweetness found throughout, make this a very special record indeed
- Marks in the vinyl are sometimes the nature of the beast with these early pressings - there simply is no way around them if the superior sound of vintage analog is important to you
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*NOTE: There is a mark that plays loudly for approx. 1/4" beginning about 1/2" into the second piece on side 2, Strauss's Tivoli-Rutsch.
Wow, what a find! This is a WONDERFUL vintage Decca / London record without a trace of hyped-up sound to be found.
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.
This vintage UK 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 hall with the players, 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 Dances of Old Vienna 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 1968
- 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 Dances of Old Vienna
- 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.
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.
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.
- Jugendfeuer (Strauss)
- Liebeslieder (Strauss)
- Four Waltzes & Four Ecossaises (Schubert)
- Die Guten Alten Zeiten (Strauss)
- Indianer (Strauss)
- Tivoli-Rutsch (Strauss)
- Exeter (Strauss)
- Pesther (Lanner)
- Four Waltzes & Two Ecossaises (Schubert)
- Jagers Lust (Lanner)