Magic Marmalade 26th Sep 2017
| | ReviewThis was an intriguing find...
...And for more than a couple of reasons:
I do come across Decca monos (LXTs) quite often now, but usually leave them in case a stereo (SXL - or other) )turns up, but what got my attention with this one at first glance was the catalogue number - being a 6000 series mono - which I can't recall having seen before, as these monos usually have 2000 or maybe 5000 numbers... The stereo SXLs usually go by 2 and 6 thousands, so I decided to look a little closer, and noticed the date was 1968, which seemed very late for a mono of the classical variety (thought they'd all gone stereo by then)...
...Having also noticed the hole punch in the top right of the sleeve (which goes through the inner sleeve too), I thought of a couple of reasons why this might be: 1) a possible promo, 2) an import/export, or 3), and most likely I feel, a deleted issue, which would square with my thoughts about the mono / stereo / date; A thought which further cemented itself when I saw that the inner sleeve was for a stereo record...
(So they were just sticking the records - stereo or mono - in stereo inners by this time)
This also had some of the shrink wrap still around it when I found it, which also had the punch in the corresponding location, so this must have been punched when still wrapped. So I think this might be one of the last orange label LXTs.
The vinyl is of the lovely thick, stiff variety they made them of a few years earlier, which contemporary stereos abandoned in favour of a more flexible (though still thick) vinyl.
As for the music on it, it's just a violin and a piano recital of these sonatas, with the spotlight on the violin, and the piano simply accompanying, and adding a little colour, but they wind and weave intricately, and at a nice pace.
...The clarity and precision of the recording makes this a bright, full mono which fills the audio "field", and is very detailed. In fact, I have a few solo and duo recital records now, and I have to say I cannot imagine what would be gained through presenting such intimate works in stereo - you might not actually be able to tell if it was stereo or mono if you didn't already know - so I'm developing a rule of thumb regarding the mono / stereo issues... Which is that if it is just a couple of performers - up to say, a quartet even - then you won't really be losing anything important by opting for the mono issues, which is to say, that you may have to pay considerably more for a stereo, but not really be buying anything extra worth writing home about. And it's only really with big works, which involve a whole orchestra, or an operatic performance, that you would really get the benefit of the stereo stage.
But this is a wonderful collection of pieces which is going to get a lot more listens, and is my new favourite album (for this week, at least :).
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