This wonderful performance and famous recording has an interesting lineage, from the original 1961 UK Decca first pressing (up to $1600 for a NM copy on Discogs) to the much cheaper, good-sounding London “Blueback” version, then back to Germany for the all-analogue, highly-regarded Speakers Corner vinyl ($50 or so on Discogs) to Japan for the Super Analogue LP, ending up in 2009 as one of the very special choices for Japan’s famous ESOTERIC SACD remastering treatments. This rare SACD can sell for up to $800 on eBay. This was also released on vinyl at the same time and now sells for up to $750 on Discogs. And it’s from the same DSD file as the SACD remaster.

The recording info of the 2009 vinyl release from Discogs:

Digitally re-mastered using ESOTERIC equipment. Specially tuned direct lacquer cutting equipment. No equalizer, limiter, or filters were used for this cutting process. "Master press disc" provides true original master sound quality.

I’m reporting on its lineage because, in the here and now, 2023, the vinyl Renaissance is in full flower and many collectors insist on a pure analogue remastering/recutting chain if the company is asking big bucks. These new Esoteric vinyl releases are about $100/each. FYI, eBayers are already trying to flip both the new Esoteric vinyl releases for double the price!

Like all well-mannered “Japanese Pressings”, the Esoteric releases ship with the ubiquitous “OBI” strip.

Companies such as Analogue Productions, Craft Recordings, Blue Note Tone Poet Series, Impex Records, DG The Original Source and other leading companies proudly display the pure AAA chops on the front and centre hype sticker. And unlike other companies, they don’t obfuscate.

Esoteric is another company that lays it all out there. But, to my eyes, it’s a little confusing. Here’s the updated, 2023 “Esoteric Mastering” definition from their site:

The analog vinyl records of the "Masterpiece Collection", have been reissued by re-mastering the original master tapes, exclusive for the vinyl records.
The mastering process employs the newly established the "Esoteric Mastering" system, including ESOTERIC's top-of-the-line equipment "Master Sound Discrete DAC"
and "Master Sound Discrete Clock". In addition, the MEXCEL cables are sparingly employed to achieve a flawless high-quality sound as the master data.

You can check out all the information here.

So, what do you think? Although camouflaged somewhat, I feel there is digital in the chain.

I did reach out to Esoteric for clarification. I did not receive an answer.

But the proof’s in the pudding. If it sounds great and echoes what we love about vinyl sound, then what the hell? Just enjoy.

So how does it sound?

Splendid, in a word. I hear no digital artifacts. Simply the warm, resonant detailed sounds common to the very best Decca production/engineering (Minshull, Brown in the Sofiensaal, Vienna).

The Esoteric engineers always respect the original source; that’s why their SACDs sound so damn good. The engineers have really tried to differentiate from the DSD 2009 release and have taken care to retain the very best from vinyl playback.

The performance is famous for a reason. The tempos are judged perfectly; everything unfolds in a natural, unforced way. Kertész brings out all the Bohemian charm, is reverential in the beautifully played slow movement and is very dramatic, but not too hectic in the finale. The 1961 Vienna Phil was in pretty good shape and the strings sound like their famous selves. The clarity of the recording and pressing does reveal some weaknesses in the ensemble, some horn fluffs and a dodgy second flute in his opening movement solo.

The Sofiensaal, Vienna, home to Decca’s recording sessions.

The famous acoustics only serve to enhance the orchestra’s corporate sound, and the timpani sound is especially good in the space. Kertész seats the orchestra exactly as they are at home in the equally beautiful sounding Musikverien—basses in the rear, timps far left, horns back right. So the famous timpani parts of the “Scherzo” sound both emphatic and with a resonating kettle. The Brit engineers from Decca and EMI really knew how to capture the elusive inner sound of a timpani.

The pressing is flawless and the vinyl is totally silent.

Because there is such a microscope on the performance and recorded space, there is a little congestion in the large, fff tuttis in the opening movement. It’s a fleeting problem and in no way detracts from the overall brilliance of the recording and remastering. Probably, more of a Kertész balancing problem, anyway.

As for comparisons, I prefer the new vinyl copy to my SACD. The violins especially produced a glorious cantabile sound and the vinyl remaster captures every bit of sweetness and light. The SACD is a great effort, but not as sweet and light. Then there’s that kettle ringing in the “Scherzo”. The SACD gets the initial thump but the resonance eludes it. The resonance is heard on the vinyl recut. And lots of tiny analogue “tells” boost this new Esoteric vinyl to the top of my list. And is so beautifully done, will be included in the Audiophilia Dream List © when it updates later this week. If this is one of your grail records and as it’s such a special record, buy now or cry later. The vultures have already begun to circle on eBay and Discogs.

This is not the first LP with some digital in the chain to make the Dream List. And as we move forward, I’m sure it won’t be the last. I’m a pure analogue guy when the truth is told and tapes are available. I don’t like the obfuscation let alone the outright lying. Just tell us the chain truth. We can make the decision. It seems Esoteric has done that as my confusion abates. Good for them. Next up is the Fistoulari Tchaikovsky recut/remaster. We’ll see if it reaches the lofty heights of the fabulous Esoteric Kertész New World.

The Esoteric distributor provided me with press copies for evaluation and review. But I’ve linked her site here if you’d like to enquire about a purchase (No direct Esoteric financial affiliation).

Further information: Esoteric Japan