PAGANINI / SAINT-SAËNS, Violin Concertos RUGGIERO RICCI stereo Decca USA EXC- LP
$
21
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Description
Paganini*, Saint-Saëns*, Ruggiero Ricci, Cincinnati Symphony Orchestra, Max Rudolf ?– Concerto No. 2 In B Minor, Op. 7 ("La Campanella") / Concerto No. 1 In A Major, Op. 20 Label: Decca ?– DL 710106 Series: Gold Label Series – Format: Vinyl, LP, Album, Stereo Country: US Released: 15 Feb 1965 Genre: Classical Style: Romantic TracklistHide Credits Concerto No. 2 In B Minor, Op. 7 ("La Campanella") Composed By – Niccolò Paganini A1 Allegro Maestoso A2 Adagio B1 Rondo (La Campanella) Concerto No. 1 In A Major, Op. 20 Composed By – Camille Saint-Saëns B2 Allegro, Andante Expressivo, Allegro Credits Conductor – Max Rudolf Orchestra – Cincinnati Symphony Orchestra Violin – Ruggiero Ricci
USA STEREO PRESSING VINYL ALBUM WITH ORIGINAL COMPANY INNER SLEEVE.
SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. INNER SLEEVE[S] VERY GOOD+ WITH NO SEAM SPLITS.
DISC[S]: EXCELLENT. NO MARKS OR SCRATCHES. 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. 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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