BRUCH / MOZART, Violin Concertos HEIFETZ [RCA shaded dog stereo] USA EXC- LP
$
25
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Description
Heifetz*, Bruch*, Mozart*, New Symphony Orchestra Of London*, Malcolm Sargent* ?– Concerto In G Minor · Concerto In D Major Label: RCA Victor Red Seal ?– LSC-2652 Series: Living Stereo – Format: Vinyl, LP, Stereo Country: US Released: 1963 Genre: Classical Style: Classical, Romantic Tracklist Hide Credits Violin Concerto No. 1 In G-Minor, Op. 26 Composed By – Max Bruch A1.1 Vorspiel: Allegro Moderato 15:28 A1.2 Adagio A3 Finale: Allegro Energico 6:30 Violin Concerto No. 4 In D, K. 218 Cadenza – Jascha Heifetz Composed By – Wolfgang Amadeus Mozart B1 Allegro 8:02 B2 Andante Cantabile 6:20 B3 Rondeau 6:41 Credits Conductor – Sir Malcolm Sargent Engineer – K. E. Wilkinson* Orchestra – New Symphony Orchestra Of London* Producer – Eric Smith* Sleeve Notes – Samuel Chotzinoff Violin – Jascha Heifetz Notes Recorded in England Shaded dog label, red with silver writing.
USA STEREO FIRST PRESSING VINYL ALBUM ON DEEP GROOVED SHADED DOG LABEL WITH ORIGINAL COMPANY INNER SLEEVE.
SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. CORNER BUMPS. INNER SLEEVE[S] VERY GOOD+ WITH NO SEAM SPLITS.
DISC[S]: EXCELLENT MINUS. NO SCRATCHES, JUST A FEW VERY LIGHT HAIRLINES. CLEAN LABELS.
Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?
First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl. Why experience the worse elements of both formats? These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared. They are nearly always compressed with murky transients and a general lifelessness in the overall sound. There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.
First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider. Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive. Inner details are clearer.
On first and early pressings, the music tends to sound more ‘alive’ and vibrant. The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.
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