RCA Living Stereo: The Decca Recordings Part 3
RCA Living Stereo: The Decca Recordings (Part 3)
Part 3 of our ongoing series on the Decca-recorded RCA shaded dogs continues with some of the really outstanding orchestral recordings by conductors Jean Martinon, Raymond Agoult, Anatole Fistoulari, and Alexander Gibson.
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Shostakovich: The Age of Gold Ballet Suite, Symphony No. 1
Jean Martinon, conductor
London Symphony Orchestra
(6S/5S, A1/A1, Rockaway)
Performance: 10/10
Sound: 9/10
RCA Bible rating*: 10++/NR/very good
In my humble opinion, not just one of the best Decca/RCA collaborations but also one of the best RCA Living Stereo records. This one has just about all the characteristics to make it a real winner. Combine top notch performances by the LSO and Martinon with excellent clarity and imaging, beautiful midrange textures, and powerful dynamics. While perhaps not the final word on depth, bass here is tight, well-defined, and undistorted. Valin adds in The RCA Bible: "Dynamic, wonderfully textured, and quite three-dimensional, this disc's only flaws are a smidgen of dryness in the strings, a slight overall opacity, and a bit of spotlighting on brass & winds. (The bass is also a bit over-reverberant in the 3rd movement.)" Original against original, I actually find this marginally more impressive overall than Witches' Brew.
RCA Living Stereo LSC-2326
Clair de Lune
Raymond Agoult, conductor
London Proms Symphony
(Classic Records 180g)
Performance: 8/10
Sound: 8/10
RCA Bible rating: 10+/tops/very good
A lovely recording of tranquil and romantic musical chestnuts, sensitively played. I previously owned an original shaded dog in ratty VG condition but unfortunately sold it before I could commit its sonic qualities to memory. The Classic Records 180g reissue (picked up used but NM for $20) has a lower noise floor and excellent transparency, enabling plenty of fine detail to be revealed (e.g. pages turning, occasional chair creaking on stage). Very nice midrange textures. String tone is lush and resonant, though violins can exhibit a little brightness in certain louder passages. Not exactly the album to demonstrate the power of your hi-fi system but rather one to test its musicality.
RCA Living Stereo LSC-2400
Ballet Music from the Opera
Anatole Fistoulari, conductor
Paris Conservatoire Orchestra
(1S/1S, A1/A1, Indianapolis)
(Classic Records 180g reissue)
Performance: 10/10
Sound: 9+/10
RCA Bible rating: 10++/NR/excellent
Another one of my top RCAs and reference recordings and easily the best sounding recording of ballet music from the opera (see also Fricsay/BRSO and Karajan/Philharmonia). The transparency and realism of this recording are incredible. Gorgeously reproduced midband complemented by well-extended highs and lows (low-end bass can occasionally become over-reverberant, as in the conclusion of the high-energy Samson and Delilah). High-impact dynamics with plenty of slam also make for a highly enjoyable listen. So how is the Classic Records reissue? My A/B comparison reveals that the Classic has blacker backgrounds, improved clarity, and more controlled bass but is noticeably brighter and lacking in tube warmth. Hall acoustics are also better conveyed on the original shaded dog. Price range for an original runs $22-762 (mean $122), making it one of the more costly RCAs. The out of print Classic Records reissue is also no slouch: $32-211 (mean $94). My recommendation: hold out for an original -- it's got that extra tube magic!
RCA Living Stereo LSC-2405
Sibelius: Symphony No. 5, Karelia Suite
Alexander Gibson, conductor
London Symphony Orchestra
(1S/1S, A1/A1, Indianapolis)
Performance: 9
Sound: 8+
RCA Bible rating: 10++/NR/very good
One of the best sounding analog recordings (maybe the best) of the Sibelius Fifth Symphony and Karelia Suite: transparent, beautifully textured, dynamic, with an expansive soundstage. Clearly better than the Karajan SAX (semi-circle pressing) that I own. I have yet to hear the Karajan DG 138 793, Maazel Decca SXL 6236, and Bernstein CBS 73152, but I'd wager that none of these are in the same league. Solid-state Colin Davis on Philips has always been a reference recording for performance. The LP boasts a very low noise floor, good low-level detail, very decent dynamics, and deep and controlled bass, but I find that it just lacks the more natural balance, staging, and hall acoustics of the tube-recorded RCA.
Concise thoughts from the RCA Bible: "Typical Decca goodie. Large, notably transparent, well-scaled "stage" in which the orchestra is set back farther than the usual Decca/RCA. Not the last word on immediacy or dynamics or deep bass."
*The RCA Bible ratings are stated in the order of reviewer (Jim Mitchell's Catalogue / Tom Port / Jonathan Valin). If only one rating is present, it is Valin's. NR = not rated.
Part 3 of our ongoing series on the Decca-recorded RCA shaded dogs continues with some of the really outstanding orchestral recordings by conductors Jean Martinon, Raymond Agoult, Anatole Fistoulari, and Alexander Gibson.
Shostakovich: The Age of Gold Ballet Suite, Symphony No. 1
Jean Martinon, conductor
London Symphony Orchestra
(6S/5S, A1/A1, Rockaway)
Performance: 10/10
Sound: 9/10RCA Bible rating*: 10++/NR/very good
In my humble opinion, not just one of the best Decca/RCA collaborations but also one of the best RCA Living Stereo records. This one has just about all the characteristics to make it a real winner. Combine top notch performances by the LSO and Martinon with excellent clarity and imaging, beautiful midrange textures, and powerful dynamics. While perhaps not the final word on depth, bass here is tight, well-defined, and undistorted. Valin adds in The RCA Bible: "Dynamic, wonderfully textured, and quite three-dimensional, this disc's only flaws are a smidgen of dryness in the strings, a slight overall opacity, and a bit of spotlighting on brass & winds. (The bass is also a bit over-reverberant in the 3rd movement.)" Original against original, I actually find this marginally more impressive overall than Witches' Brew.
RCA Living Stereo LSC-2326Clair de Lune
Raymond Agoult, conductor
London Proms Symphony
(Classic Records 180g)
Performance: 8/10
Sound: 8/10
RCA Bible rating: 10+/tops/very good
A lovely recording of tranquil and romantic musical chestnuts, sensitively played. I previously owned an original shaded dog in ratty VG condition but unfortunately sold it before I could commit its sonic qualities to memory. The Classic Records 180g reissue (picked up used but NM for $20) has a lower noise floor and excellent transparency, enabling plenty of fine detail to be revealed (e.g. pages turning, occasional chair creaking on stage). Very nice midrange textures. String tone is lush and resonant, though violins can exhibit a little brightness in certain louder passages. Not exactly the album to demonstrate the power of your hi-fi system but rather one to test its musicality.
Ballet Music from the Opera
Anatole Fistoulari, conductor
Paris Conservatoire Orchestra
(1S/1S, A1/A1, Indianapolis)
(Classic Records 180g reissue)
Performance: 10/10
Sound: 9+/10
RCA Bible rating: 10++/NR/excellentAnother one of my top RCAs and reference recordings and easily the best sounding recording of ballet music from the opera (see also Fricsay/BRSO and Karajan/Philharmonia). The transparency and realism of this recording are incredible. Gorgeously reproduced midband complemented by well-extended highs and lows (low-end bass can occasionally become over-reverberant, as in the conclusion of the high-energy Samson and Delilah). High-impact dynamics with plenty of slam also make for a highly enjoyable listen. So how is the Classic Records reissue? My A/B comparison reveals that the Classic has blacker backgrounds, improved clarity, and more controlled bass but is noticeably brighter and lacking in tube warmth. Hall acoustics are also better conveyed on the original shaded dog. Price range for an original runs $22-762 (mean $122), making it one of the more costly RCAs. The out of print Classic Records reissue is also no slouch: $32-211 (mean $94). My recommendation: hold out for an original -- it's got that extra tube magic!
Sibelius: Symphony No. 5, Karelia Suite
Alexander Gibson, conductor
London Symphony Orchestra
(1S/1S, A1/A1, Indianapolis)
Performance: 9
Sound: 8+
RCA Bible rating: 10++/NR/very goodOne of the best sounding analog recordings (maybe the best) of the Sibelius Fifth Symphony and Karelia Suite: transparent, beautifully textured, dynamic, with an expansive soundstage. Clearly better than the Karajan SAX (semi-circle pressing) that I own. I have yet to hear the Karajan DG 138 793, Maazel Decca SXL 6236, and Bernstein CBS 73152, but I'd wager that none of these are in the same league. Solid-state Colin Davis on Philips has always been a reference recording for performance. The LP boasts a very low noise floor, good low-level detail, very decent dynamics, and deep and controlled bass, but I find that it just lacks the more natural balance, staging, and hall acoustics of the tube-recorded RCA.
Concise thoughts from the RCA Bible: "Typical Decca goodie. Large, notably transparent, well-scaled "stage" in which the orchestra is set back farther than the usual Decca/RCA. Not the last word on immediacy or dynamics or deep bass."
*The RCA Bible ratings are stated in the order of reviewer (Jim Mitchell's Catalogue / Tom Port / Jonathan Valin). If only one rating is present, it is Valin's. NR = not rated.
Hi,
ReplyDeleteAnyone hazard a guess as to who the "London Proms Symphony Orchestra" is? A scratch orchestra put together by Sidney Sax perhaps? Or a change of name because of contractual reasons? Would be interesting to hear some opinions.
Perhaps it might have been the New Symphony Orchestra of London (and who were they?) - much used by RCA, Decca and Reader's Digest at about this time?
Cheers,
Douglas (UK)
I also found this on wikipedia in the same article on Raymond Agoult:
Delete"The New Symphony Orchestra of London and the London Proms Symphony Orchestra (recording orchestras) are listed on these recordings. These are apparently the same orchestra since for Clair de Lune, RCA listed the London Proms Symphony Orchestra and the later London reissue listed The New Symphony Orchestra of London."
The UK original SF 5054 lists the orchestra as the New Symphony Orchestra of London. I wonder if it was a mistake on the LSC or it was intentional.
DeleteChasing squirrels here (and non-responsive), but I'm wondering in a similar vein if anyone knows whether Raymond Agoult was a pseudonym for someone. And if so, for whom. And why it was used.
ReplyDeleteEric
Looked up Raymond Agoult on wikipedia ... looks like he was a legitimate conductor:
Deletehttps://en.wikipedia.org/wiki/Raymond_Agoult
Another link to Agoult:
Deletehttp://www.turnipnet.com/mom/raymondagoult.htm
Thank you for your replies.
DeletePleased to see that "aqlam" has accessed Turnipnet website for information. It is an endless source of information about musicians who worked for the BBC. Fascinating read and wallow in nostalgia. Brian Reynolds who maintains these pages has written this information up, and amplified it, in a book entitled "Music While You Work - an era in broadcasting" (Book Guild, 2006).
Cheers,
Douglas (UK)
Douglas, thanks for your reply. I stumbled across the website by accident but was very happy to do so. I learned more about Agoult and the London orchestras than I thought I ever would. Thanks for raising the question!
Delete