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  • Amadeus Soundtrack Amadeus Soundtrack Quick View

    $99.99
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    Amadeus Soundtrack


    Deluxe 180 Gram Vinyl Box Set


    Includes Poster & Illustrated Bootlet


    Includes Liner Notes


    Fantasy Records presents the GRAMMY® Award-winning score to the 1984 hit film, Amadeus, in a highly collectable,
    deluxe vinyl box set. This edition marks the first time that the entire score is available on vinyl in one
    package. This special box set features the 3-LP, 180-gram vinyl album, a poster and an illustrated booklet, complete
    with original liner notes, detailed information on each track, a full story line, as well as new liner notes by original
    conductor Sir Neville Marriner.

    LP 1
    1. W.A. Mozart: Symphony No. 25 in G Minor, K. 183; 1st Movement
    2. Giovanni Battista Pergolesi:Stabat Mater; Quando Corpus Morietur and Amen
    3. Early 18th Century Gypsy Music: Bubák and Hungaricus
    4. W.A. Mozart: Serenade for Winds, K. 361; 3rd Movement
    5. W.A. Mozart: Die EntfÜhrung aus dem Serail (The Abduction from the Seraglio, K. 384); Turkish Finale
    6. W.A. Mozart: Symphony No. 29 in A, K. 201; 1st Movement
    7. W.A. Mozart: Concerto for Two Pianos, K. 365; 3rd Movement
    8. W.A. Mozart: Mass in C Minor, K. 427; Kyrie
    9. W.A. Mozart: Symphonie Concertante, K. 364; 1st Movement


    LP 2
    1. W.A. Mozart: Piano Concerto in E Flat, K. 482; 3rd Movement
    2. W.A. Mozart: Le Nozze di Figaro (The Marriage of Figaro, K. 492); Act III, Ecco la Marcia.
    3. W.A. Mozart: Le Nozze di Figaro (The Marriage of Figaro, K. 492); Act IV, Ah Tutti Contenti
    4. W.A. Mozart: Don Giovanni, K. 527; Act II,Commendatore scene
    5. W.A. Mozart: Zaide; Aria, Ruhe Sanft
    6. W.A. Mozart: Requiem, K. 626. Introitus (Eternal Rest Give to Them, O Lord)
    7. Dies Irae (Day of Wrath)
    8. Rex Tremendae Majestatis (Awe-Inspiring King)
    9. Confutatis (When those Cursed Enter Flames)
    10. Lacrimosa (Mournful Day)
    11. W.A. Mozart: Piano Concerto in D Minor, K. 466; 2nd Movement


    LP 3
    1. W.A. Mozart: Die Zauberflöte (The Magic Flute, K. 620); Overture
    2. W.A. Mozart: Die Zauberflöte (The Magic Flute, K. 620); Aria (No. 14), Queen of the Night (Der Hölle Rache Kocht)
    3. W.A. Mozart: Masonic Funeral Music, K. 477
    4. W.A. Mozart: Piano Concerto in D Minor, K. 466; 1st Movement
    5. Antonio Salieri: Axur, Finale
    6. W.A. Mozart: Eine Kleine Nachtmusik (Seranade), K. 525; 1st Movement
    7. W.A. Mozart: Concerto for Flute and Harp, K. 299; 2nd Movement
    8. W.A. Mozart: Six German Dances (Nos. 1-3), K. 509
    9. Giuseppe Giordani: Caro Mio Ben
    10. W.A. Mozart: Die EntfÜhrung aus dem Serail (The Abduction from the Seraglio, K. 384) Chorus of the Janissaries (Arr.) / Ich Möchte Wohl (Ein Deutsches
    Kriegslied, K. 539) (Arr.)

    Sir Neville Marriner
    $99.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 3 LPs Sealed Buy Now
  • Mozart Requiem (Speakers Corner) (Awaiting Repress) Mozart Requiem (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
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    Mozart Requiem (Speakers Corner) (Awaiting Repress)

    Among all those sacred compositions that deal with the end of life, Mozart's Requiem penetrates one's heart and soul like no other apocalyptic work. One reason for this is surely the rather mysterious story surrounding its composition, a mixture of truth and legend, which arose during the arduous last months of the ailing Salzburg composer. Although the various developmental stages and the extent to which Mozart's pupils participated in the composition may never be fully clarified, the mystical power of the enigmatic fragments remains constant to this day.



    Sir Colin Davis lends an immediate relentlessness to the sounds of despair that is already apparent in the tense, pulsating opening bars, and which is taken to the very limits of playability in the climactic Dies irae. While the swift tempi might appear rather surprising, they serve to dampen any sort of opera-like sentimentality of which many recordings are guilty. The consolatory timbre in the vocal parts make them come across as oases of calm in the prevailing atmosphere of biting cold, fearsome drama, and flickering hope, all of which breathes musical life into this mass for the dead.



    Musicians:



    • Soloists

    • The John Alldis Choir

    • The BBC Symphony Orchestra

    • Sir Colin Davis (conductor)





    Recording: September 1967 at Watford Town Hall, London, by Martin Vos

    Production: Harold Lawrence




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Introitus
    2. Kyrie
    3. Sequentia
    4. Offertorium
    5. Sanctus
    6. Benedictus
    7. Agnus Dei
    8. Communio
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Wolfgang Amadeus Phoenix Wolfgang Amadeus Phoenix Quick View

    $19.99
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    Wolfgang Amadeus Phoenix

    Born out of restlessness and a steady hunt for inspiration, Wolfgang Amadeus Phoenix is a career-defining album, filled with the band's signature melding of synthetics and organics, sharp, danceable rhythms, infectious choruses with a considerable dose of aural panache, and candy-colored pop sensibilities. Staying true to what makes Phoenix so special, a sense of whimsical breeziness envelopes these songs in a state of utter pop perfection.


    After a triumphant worldwide tour behind It's Never Been Like That, Phoenix, comprised of Thomas Mars (vocals), Laurent 'Branco' Brancowitz (guitars), Christian Mazzalai (guitars) and Deck D'Arcy (keyboards), decided to head out to the Montmartre house of friend, Philip Zdar of Cassius, to record in his studio. From opener and first single Lisztomania, it's clear that Phoenix is light-year's beyond anything they've done before. 1901 leaps out of the speakers with its fizzy power synths, rollicking drums and anthemic chours. Fences is velvet-smooth and soulful, with shimmering keys, chugging acoustic guitars and Thomas' lovelorn croon. Closing track Armistice is coiled and sinister, ending the album with staggered keyboard notes left hanging in the balance.

    1. Lisztomania

    2. 1901
    3. Fences
    4. Love Like A Sunset Pt. 1
    5. Love Like A Sunset Pt. 2

    6. Lasso
    7. Rome
    8. Countdown
    9. Girlfriend
    10. Armistice
    Phoenix
    $19.99
    Vinyl LP - Sealed Buy Now
  • Works of W. A. Mozart Works of W. A. Mozart Quick View

    $18.99
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    Works of W. A. Mozart

    Jaap Schroeder, Marilyn McDonald,violins


    Judson Griffin,Melissa Graybeal, violas


    Richard Myron, double bass


    Stephen Hammer, oboe


    And the Smithsonian Chamber Orchestra and the Smithsonian String Quartet

    Side 1 Serenade in D major
    Side 2 Serenade in D major (cont'd)
    Side 3 Quartet in D major for flute & strings
    side 4 Sinfonia Concertante in E flat major for violin and viola
    side 5 Quartet in G minor for fortepiano and strings

    side 6 Quartet in Eflat major for fortepiano and strings
    side 7 Trio in E flat for clarinet, viola and fortepiano
    side 8 Ein Musikalischer Spass in F major
    side 9 Eine Kleine Nachtmusik in G major
    side 10 String Quartet in D major
    side 11 Quartet in A major for clarinet and strings
    side 12 concerto in A major for basset clarinet
    Wolfgang Amadeus Mozart
    $18.99
    Vinyl LP - 6 LPs Buy Now
  • Beethoven: String Quartet No.7 I n F, Op.59 No.1 - 'Rasumovsky No.1'; (Pre-Order) Beethoven: String Quartet No.7 I n F, Op.59 No.1 - 'Rasumovsky No.1'; (Pre-Order) Quick View

    $34.99
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    Beethoven: String Quartet No.7 I n F, Op.59 No.1 - 'Rasumovsky No.1'; (Pre-Order)

    Beethoven: String Quartet No.7 In F, Op.59 No.1 - Rasumovsky No.1; String Quartet No.8 In E Minor, Op.59 No.2 -Rasumovsky No. 2; String Quartet In C, Op.59 No.3 - Rasumovsky No. 3


    Celebrating the Amadeus Quartet's 70th anniversary, Deutsche Grammophon presents Beethoven's Razumovsky
    Quartets in their 1959 recording on vinyl. Gatefold features the original cover and liner notes. 180g pressing,
    mastered from original sources; incl. voucher for a free digital download. For those who relish the sound of
    interpretations considered to the last detail, yet with no loss of spontaneity and with all eccentricity and willfulness
    purged, these records must be heard. (New York Times)

    LP 1
    1. Beethoven: String Quartet No.7 In F, Op.59 No.1 - Rasumovsky No.1 / String Quartet No.8 In E Minor, Op.59
    No.2 -Rasumovsky No. 2


    LP 2
    1.Beethoven: String Quartet No.8 In E Minor, Op.59 No.2 -Rasumovsky No. 2; String Quartet In C, Op.59 No.3 -
    Rasumovsky No. 3

    Amadeus Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner)

    The amazing skill of two great virtuosos, Joseph Leutgeb and Anton Stadler, inspired Mozart to compose the concertos heard here. Made in 1959, this DECCA recording gives us an excellent idea of how the concertos would have sounded in Mozart's day, thanks to two of today's very best instrumentalists - the clarinettist Gervase de Peyer and the horn player Barry Tuckwell.



    Amazing lightness, warmth of tone and perfect intonation are the hallmarks of the soloist and London Symphony Orchestra conducted by Peter Maag in the clarinet concerto, which Mozart completed only a few weeks before his death. The two horn concertos heard here were also written during Mozart's final creative period in Vienna. Just one hearing is enough to let them be remembered for all time - for these concertos employ to the full the horn's rich and widely varied range of expression. Broad arching melodies, tripping runs and merry hunting calls in the final movements guarantee musical enjoyment, and for this we owe our thanks to both the past and present masters of their instruments in this delightful recording.





    Musicians:



    • Gervase de Peyer (clarinet)

    • Barry Tuckwell (horn)

    • London Symphony Orchestra

    • Peter Maag (conductor)




    Recording: November 1959 at Kingsway Hall, London by Kenneth E. Wilkinson
    Production: Ray Minshull





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Eine Kleine Nachtmusik (Speakers Corner) Mozart - Eine Kleine Nachtmusik (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Eine Kleine Nachtmusik (Speakers Corner)

    Mozart wrote the Divertimento No. 1 at the age of six, while A Musical Joke and Eine kleine Nachtmusik were composed shortly before his death.



    From what one hears, apparently only a few music lovers enjoy listening to Eine kleine Nachtmusik. Far too often has it been performed routinely rather than being filled with life. This recording is quite different: living up to his reputation, Karl MÜnchinger proves that this favourite can be imbued with significance.



    The historical roote of the serenade lie in the suite which consists of varied contrasting dance movements. In the spirit of this tradition, MÜnchinger offers a clear and unfussed interpretation which is absolutely credible and has a freshness rarely heard. The ensemble plays both cheerfully and and wittily. In A Musical Joke, Mozart parodies amateurish composers of his own era, and the orchestra quite obviously participates in the fun.
    This LP is distinguished by its musical and tonal balance and is one of DECCA's best sound recordings.





    Musicians:



    • Stuttgart Chamber Orchestra

    • Karl MÜnchinger (conductor)




    Recording: November 1960, Victoria Hall at Geneva by Roy Wallace

    Production: James Walker





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Sinfonia Concertante (Speakers Corner) Mozart - Sinfonia Concertante (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Sinfonia Concertante (Speakers Corner)

    "Now I am going to compose a Sinfonia concertante", wrote Mozart to his father, quite unsuspecting that his contribution to this hybrid of concerto and symphony would not bring the immediate approval and success to which he was accustomed. But opinions have changed drastically since then, especially since the Sinfonia concertante K. 364 has far greater depth to it than its title suggests. The wealth of melodic ideas, subtly allotted alternately to the soloist and the orchestra, testifies to the fact that this is one of Mozart's mature orchestral masterpieces which he composed while in Vienna.



    The superb performers in this DECCA recording guarantee that the listener will not only enjoy the deceptive merriment of the outer movements but will be deeply moved by the sad Andante. What bad luck for rival performances! But when father and son take up their bows, this is the recording to beat all recordings!



    On the B side, the Duo for Violin and Viola, K. 423 is a welcome bonus since it offers a wonderful opportunity for a display of virtuosity and counterpoint. And of course the old question pops up once again as to who is the better master of his instrument: father or son? The answer is simple: neither the one nor the other! - Both, of course!



    Musicians:



    • David and Igor Oistrakh

    • The Moscow Philharmonic Orchestra

    • Kyrill Kondrashin (conductor)




    Recording: September 1963 at DECCA Studio No. 3 in West Hampstead, London by Kenneth Wilkinson

    Production: Erik Smith und Ray Minshull





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Symphony 40 & 41 (Speakers Corner) Mozart - Symphony 40 & 41 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Symphony 40 & 41 (Speakers Corner)

    Like all the works he composed during his extremely productive years in Vienna, Mozart's last two symphonies are remarkable for their ambitious and demanding individuality, despite the fact that they were written in the amazingly short space of only six weeks. Any inference to the dire circumstances in which the composer was living at the time might possibly be detected in the grave character of Symphony No. 40 in G minor. The so-called Jupiter-Symphony, however, which owes its name to the Roman god, brims over with an endless joy of life. The powerful final movement with its combination of fugal technique, rondo and sonata form is quite rightly regarded as a unique compositional achievement in the classical era.
    The Mozart specialist Carlo Maria Giulini, who only enters the recording studio when he is quite totally sure of a thing, has set down a performance here which does without orchestral fireworks and concentrates on a seemingly endless flow of melody. The orchestral playing is light, airy and unpretentious, the strings as soft as silk - what more could Mozart have wished for.



    Musicians:



    • New Philharmonia Orchestra

    • Carlo Maria Giulini (conductor)




    Recording: October/ November 1965 at Kingsway Hall, London by Kenneth Wilkinson

    Production: Ray Minshull





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner)

    Let us recall that great American and citizen of the world who trod every musical pathway and who held his audience riveted with unbounding energy and charisma. Whether as a composer of operas or musicals, performer, conductor or mentor, "Lenny" felt at home everywhere. And all who were privileged enough to get to know him can confirm this, whether they experienced him as a circumspect teacher who taught interested amateurs about church music, or even as a pianist bawling out hit songs in a bar.



    Quality was guaranteed with records sporting the words "Bernstein conducts ...", and no music lover ever missed adding such gems to his collection. But most recordings of Bernstein as a master of the keyboard lie buried in the archives.



    Where some musicians fail due to a lack of perspicacity or false self-judgement, Bernstein appears to take himself beyond his normal bounds in his double function as solo pianist and conductor. His interpretation of Mozart is richly nuanced but free of all romantic trimmings; his Mozart is what we have learned to value over the past few years of the present century. This recording is absolutely first class, both musically and technically, and is thus a true collector's object.



    Musicians:



    • Vienna Philharmonic Orchestra

    • Leonard Bernstein (conductor)




    Recording: March 1966 at Sofiensaal, Vienna by Gordon Parry

    Production: Erik Smith





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beruehmte Arien Aus Mozart Beruehmte Arien Aus Mozart Quick View

    $32.99
    Buy Now
    x

    Beruehmte Arien Aus Mozart

    Import


    Recitals vocal songs and arias - Hermann Prey sings Mozart arias 180g

    1. Der VogelfÄnger bin ich ja (1. Akt)
    2. Ein MÄdchen oder Weibchen wÜnscht Papageno sich! (2. Akt)
    3. Papagena! Papagena! Papagena!
    4. Rivolgete a lui lo sguardo (1. Akt)
    5. Donne mie la fate a tanti (2. Akt)
    6. Fin ch'han dal vino calda la testa (1. Akt)
    7. Deh vieni alla finestra (2. Akt)
    8. Metà die voi qua vadano
    9. Ho capito, signor (1. Akt)
    10. Bravo, signor padrone! - Se vuol ballare, signor contino
    11. Non più andrai, farfallone amoroso
    12. Tutto è disposto - Aprite un po'quegli' occhi
    13. Hai già vinta la causa! - Vedrò, mentre io sospiro
    Wolfgang Amadeus Mozart
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Gran Partita Mozart: Gran Partita Quick View

    $34.99
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    Mozart: Gran Partita

    Can a small ensemble perform a monumental work? Absolutely, as is demonstrated so impressively by Mozart's Serenade for Winds in B flat major, K. 361. Just a handful of musicians - 13 in all - enchant us for well over 45 minutes with a superb and inimitable serenade of symphonic proportions. In this highly original composition one must constantly admire the thrilling presence of the players who perform brilliantly both as soloists and in pairs. Bowing to the traditions of the Viennese Divertimento, Mozart unfolds his artistic and entertaining ideas before his good-humoured audience, both those of then and of now. The small forms, such as the courtly Minuet and the cheerful Laendler, provide a marked contrast to the sanctified Adagio and the blithe Rondo-Finale in the manner of a drinking song.
    The Stuttgart Winds perform with freshness and inspiration, and the sound is further enhances by Tacet's recording engineer Andreas Spreer, using half-speed mastering to achieve the best-possible sound. The contemporary author Johann Friedrich Schink would have had much pleasure from this deceleration of speed that improves the quality of sound; he described his pleasure at a concert in the following words: » every instrument was played by a maestro - oh what an effect - glorious and grandiose, inspired and sublime.«


    Recording: October 2012 by Andreas Spreer

    Production: Andreas Spreer

    Wolfgang Amadeus Mozart: Serenade in B-flat major, KV 361 (Gran Partita) - Stuttgart Winds
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Quick View

    $34.99
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    Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner)

    If you want to get to the bottom of the cheerfulness and gallantry in Mozart's oeuvre, you can do no better than taking as a contrast one of his compositions that has always been described as gloomy and demonic.

    Putting aside the often-cited vocal heavyweights such as Don Giovanni and Requiem, Mozart's Piano Concerto No. 20, K. 466 occupies a distinguished position as a resonant counterpart to the charming music he wrote for social occasions in that it takes on a new dimension in his instrumental music. The choice of a minor key, unusual for a concerto, lends a dramatic tone to the composition, whereby the soloist and orchestra engage with one another in sharp contrast. Rudolf Serkin, one of the greatest interpreters of Mozart's piano works, allows the immense energy of this concerto to slip through his fingers with due care. He battles his way through the weighty first movement with enthusiasm and verve, lets his fingertips dance daintily through the cantilena of the Romance, and then rousingly celebrates the passionate and fiery Finale with a bell-like touch.

    On the reverse side the Festival Orchestra rounds off this inspiring performance with the filigree and charmingly effervescent Concerto in F major, K. 413 from Mozart's Viennese period - as cheerful as it is gallant.

    Musicians:

    • Rudolf Serkin (piano)
    • The Marlboro Festival Orchestra conducted by Alexander Schneider

    Recording: August 1957 in Marlboro, VT

    About Speakers Corner

    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky), but even in this particular case we used the analogue tapes for cutting.

    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    Piano Concerto No. 20 In D Minor

    I- Allegro
    II- Romance
    III- Rondo; Allegro Assai
    Piano Concerto No. 11 In F Major
    I- Allegro
    II- Larghetto
    III- Tempo Di Menuetto
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Best of Tacet 2008 (Discontinued) (On Sale) Best of Tacet 2008 (Discontinued) (On Sale) On Sale Quick View

    $34.99 $26.24 Save $8.75 (25%)

    Buy Now
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    Best of Tacet 2008 (Discontinued) (On Sale)

    The Best Of Tacet 2008 - Werke von Wolfgang Amadeus Mozart, FrÉdÉric Chopin, Franz Liszt, Ludwig van Beethoven, Johann Sebastian Bach


    Recording: throughout 2008 at various locations by Andreas Spreer

    Production: Andreas Spreer


    This title is not eligible for discount.

    1. Wolfgang Amadeus Mozart
    Sonata in A minor KV 310 (300d),
    1st movement Allegro Maestoso


    2. Frederic Chopin
    Nocturne B flat mino op. 9 No. 1


    3. Franz Liszt
    La Campanella


    4. Ludwig van Beethoven
    Sonata A major op. 2 No. 2,
    4th movement, Rondo. Grazioso


    5. Ludwig van Beethoven
    Sonata D major op. 31 no. 2
    "Sturm-Sonate",
    3rd movement, Allegretto


    6. Franz Liszt
    Zwei Konzertetuden.
    "Gnomenreigen" in F sharp major


    7. Wolfgang Amadeus Mozart
    Trio in B flat major KV 502,
    1st movement, Allegro


    8. Johann Sebastian Bach
    Suite III B mino BWV 814,
    Sarabande

    Various Artists
    $34.99 $26.24 Save $8.75 (25%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) (On Sale) Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) (On Sale) On Sale Quick View

    $34.99 $26.24 Save $8.75 (25%)

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    Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) (On Sale)

    In spite of the varying degrees of popularity of Mozart's numerous piano concertos, no one would seriously consider ranking them by quality. It would certainly prove an impossible task, for each and every one of these intense yet often playful compositions could be considered the most perfect of its genre. In view of this, one should concentrate on each work's highly individual character and this can hardly be more contrasting than in the present two pieces. Thanks to the joyous, energetic disposition of No. 19 in F major, K. 259, it appears to be filled with the exuberant spirit of Mozart's Viennese period - a time when he amazed audiences with his dexterity at the keyboard. As a contrast, the mood of the late No. 27 in B flat major, K. 595, which was performed in a small circle, is introvert and mellow. The old adage that Mozart's final concerto was a gesture of farewell and filled with a premonition of death is certainly not substantiated by Haskil and Fricsay's performance. Through the subtle and flowing clarity of her piano part under the tense and elastic opposition of the orchestra, the soloist banishes the question of the end of time into the background and so pays hommage to the relaxed and self-assured mastery of the Salzburg composer.





    Musicians:



    • Clara Haskil (piano)

    • Bayerisches Staatsorchester

    • Ferenc Fricsay (conductor)




    Recording: September 1955 at Jesus-Christus-Kirche, Berlin, by Harald Baudis and May 1957 at Herkules Saal, Munich by Werner Wolf

    Production: Wolfgang Lohse / Otto Gerdes




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Concerto for Piano and Orchestra No. 19 F major, K. 459
    2. Concerto for Piano and Orchestra No. 27 B flat major, K. 595
    Wolfgang Amadeus Mozart
    $34.99 $26.24 Save $8.75 (25%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bruckner: Symphony No. 5 / Mozart: Symphony No. 36 (Speakers Corner) Bruckner: Symphony No. 5 / Mozart: Symphony No. 36 (Speakers Corner) Quick View

    $69.99
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    x

    Bruckner: Symphony No. 5 / Mozart: Symphony No. 36 (Speakers Corner)

    Eugen Jochum was a modest man who did not use the media to draw attention to himself but rather to document his musical intentions. And right from the very beginning he focussed on magnitude. Aged only 23, he made his debut in Munich with Bruckner's Symphony No. 7 and so laid the foundations for his lifelong devotion to the Austrian composer's works, as is demonstrated by his complete recording of the Symphonies that was made during the years 1958-1967. The present account of the Fifth Symphony was recorded roughly half way through his thorough exploration and study of Bruckner's symphonic works. From the very beginning, the Concertgebouw Orchestra strides majestically towards the Finale with its sonorous brass sound in the chorale, and fugal sections. A divine atmosphere is guaranteed - quite literally - by the work being performed in the hallowed halls of the Benedictine Abbey in Ottobeuren to celebrate its foundation 1200 years ago.



    Jochum's fresh and scholarly account of Mozart's "Linz" Symphony reminds us of his superb mastery of the Viennese Classics. The music, which ranges from festive cheerfulness to abrupt gloominess, is resolutely conducted - with the happy result that the hackneyed image of Jochum as an otherworldly specialist of the Romantic era is completely abolished. Measured against the conductor's self-concept as a universal medium for expressing the ideas of the great maestros, the present recording is a befitting portrait of his superb versatility on the rostrum.





    Recording: May 1964 at Benedictiner Abbey, Ottobeuren, Germany, by Henk Jansen

    Production: Jaap van Ginneke



    Format: 2LPs 33rpm



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Anton Bruckner: Symphony No. 5 in B flat major
    2. Wolfgang Amadeus Mozart: Symphony No. 36 in C major, K.425 (Linz)
    Wolfgang Amadeus Mozart
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mozart: Requiem Mozart: Requiem Quick View

    $22.99
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    Mozart: Requiem

    Wolfgang Amadeus Mozart left a major work unfinished when he died in Vienna in December 1791, just a few weeks short of his 36th birthday. In a strange yet poetic irony it was the setting of the Requiem Mass.


    Many myths have grown up around the Requiem and the last few months of the composer's life. Over recent decades, Amadeus, the play by Peter Shaffer that became an Oscar-winning movie in 1984, has played a key role in perpetuating and amplifying them.


    This recording features Helen Donath, soprano, Christa Ludwig, mezzo-soprano, Robert Tear, tenor, and Robert Lloyd, bass.

    1. Mozart: Mass No. 19 in D Minor, K. 626, 'Requiem': I. Requiem aeternam
    2. Mozart: Mass No. 19 in D Minor, K. 626, 'Requiem': III. Dies irae
    3. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Tuba mirum
    4. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Rex tremendae
    5. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Agnus Dei
    6. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Confutatis
    7. Mozart: Mass No. 19 in D Minor, K. 626, 'Requiem': VII. Lacrimosa
    8. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Domine Jesu
    9. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Hostias
    10. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Sanctus
    11. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Benedictus
    12. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Agnus Dei
    Carlo Maria Giulini
    $22.99
    Vinyl LP - Sealed Buy Now
  • Best of Tacet 2009 Best of Tacet 2009 Quick View

    $34.99
    Buy Now
    x

    Best of Tacet 2009

    The Best Of Tacet 2009 - Works by Felix Mendelssohn-Bartholdy, Franz Schubert, Ludwig van Beethoven, Johann Sebastian Bach, Antonin Dvorák, Camille Saint- Saens, Wolfgang Amadeus Mozart


    Recording: throughout 2009 at various locations by Andreas Spreer

    Production: Andreas Spreer


    This title is not eligible for discount.

    1. Felix Mendelssohn-Bartholdy
    Quartet op. 44 no. 1 D major,
    3rd mov., Andante espressivo ma con moto


    2. Franz Schubert
    Four Impromptus Op. 90, D899,
    Allegro E Flat Major


    3. Ludwig van Beethoven
    Quartet in D major op. 18 no. 3,
    1st movement, Allegro


    4. Johann Sebastian Bach
    The Art of Fugue BWV 1080, Contrapunctus 5


    5. Ludwig van Beethoven
    Serendade D major op. 8,
    5th movement, Allegretto alla Polacca


    6. Antonin Dvorak
    Trio for piano, violin and violoncello
    In E mino "Dumky" op. 90,
    1st movement, Lento maestoso - Allegro


    7. Camille Saint-Saens
    Carnival of the Animals, Finale


    8. Wolfgang Amadeus Mozart
    Quartet in D major KV 285,
    2nd movement, Adagio


    9. Wolfang Amadeus Mozart
    Piano Quartet in G minor KV 478,
    3rd movement, Rondeau


    10. Felix Mendelssohn - Bartholdy
    Octet in E flat major op. 20,
    2nd movement, Andante

    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Mass in C Minor (Speakers Corner) Mozart: Mass in C Minor (Speakers Corner) Quick View

    $34.99
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    x

    Mozart: Mass in C Minor (Speakers Corner)

    It is not often that incomplete works enjoy great popularity. And it is even rarer that a torso should exercise such great importance in music history, but this is the case with Mozart's Great Mass, K. 427. The C minor Mass is always spoken of as if it were complete: it is spoken of with reverence, eyes looking towards Heaven, lost in the beauty of the music, transported to celestial heights. Mozart combines the compositional style of the Baroque masters with the more modern style of the Viennese Classic. Lofty arioso sections alternate with tremendous choral sections for up to eight parts whose splendid and spectacular timbre broke the bounds of tradition and set new standards for the genre.



    This Mass is, of course, not merely performed but celebrated, as the Berlin RSO under its Principal Conductor Ferenc Fricsay has so admirably demonstrated in this recording. Precise entries, strict tempi, a polished orchestral timbre and vocal soloists so brilliant one might think they were standing in one's own front room lend this recording top marks for musical quality and repertoire value.




    Musicians:



    • Maria Stader

    • Hertha Töpper

    • Ernst Haefliger

    • Ivan Sardi

    • Chorus

    • The Berlin Radio Symphony Orchestra

    • Ferenc Fricsay (conductor)




    Recording: September/ October 1967 at the Haus des Rundfunks, Berlin by Werner Wolf

    Production:Otto Gerdes





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Piano Concerto 20 & 21 (Speakers Corner) Mozart - Piano Concerto 20 & 21 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Piano Concerto 20 & 21 (Speakers Corner)

    Friedrich Gulda is known to all. He is the musical wizard with the embroidered cap, an artist who is equally at home in jazz, the Viennese lied, or the works of the Viennese Classic. Gulda might have only performed a small number of his Austrian compatriot's 27 piano concerto but with these few he certainly created a sensation. That the present recording of the Concertos Nos. 20 and 21, even after 25 years, is still regarded as ranking among the very best performances is something that can be heard after just a few bars. The minor-key first movement of No. 20 begins with a measured tempo and precise articulation, then the piano joins in with almost sober clarity and proceeds to lead a concentrated, tightly enmeshed conversation with the orchestra.



    The C major Concerto sparkles brightly with its thrilling, virtuoso part-writing and transparent, almost chamber-like instrumental ensemble. Details left only fleetingly touched and casual phrasing will be sought in vain in this highly analytical interpretation of Mozart's musical intentions. The listener will do well here to forget the popular concept of a fun-loving, high-spirited Mozart and to recognize the ardent, passionate side of the composer.



    Musicians:



    • Friedrich Gulda (piano)

    • Vienna Philharmonic Orchestra

    • Claudio Abbado (conductor)




    Recording: September 1974 at Grosser Saal, Musikverein, Vienna, by GÜnter Hermanns

    Production: Rainer Brock





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Concerto for Piano and Orchestra No. 20 in D Minor
    Allegro
    Romance
    Rondo


    Concerto for Piano and Orchestra No. 21 in C Major, K. 467
    Allegro maestoso
    Andante
    Allegro vivace assai

    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bankrupt! Bankrupt! Quick View

    $19.99
    Buy Now
    x

    Bankrupt!

    Phoenix have announced the release date for the Australian edition of their forthcoming record Bankrupt!, their first studio album in 4 years.


    So far from the album, we've been treated to lead single Entertainment, a catchy indie rock number dressed in shiny synths, picking up where Phoenix last left off.


    Guitarist Laurent 'Branco' Brancowitz has described Bankrupt! as an album of greater depth than previous Phoenix releases:


    "This album has more layers. The more you listen, the more you hear, and the more you really understand what's going on. At the same time, we wanted it to be really fluid and simple like a sphere made of marble. You just see a sphere, but there's a guy who polished it for a year."


    The follow-up to 2009s Grammy Award-winning Wolfgang Amadeus Phoenix, the French quartet have lofty expectations to live up to with Bankrupt!.

    1. Entertainment
    2. The Real Thing
    3. SOS in Bel Air
    4. Trying to Be Cool
    5. Bankrupt!
    6. Drakkar Noir
    7. Chloroform
    8. Don't
    9. Bourgeois
    10. Oblique City
    Phoenix
    $19.99
    Vinyl LP - Sealed Buy Now
  • Leck Mich Im Arsch/Mountain Girl Leck Mich Im Arsch/Mountain Girl Quick View

    $6.99
    Buy Now
    x

    Leck Mich Im Arsch/Mountain Girl

    In the grand tradition of peanut butter meeting Iggy's chest or Bing Crosby getting down with David Bowie, Third Man Records is ecstatic to present the latest in a long-line of unexpected musical pairings, Insane Clown Posse and Mozart.


    Back in '82, ahem, 1782, Wolfgang Amadeus Mozart wrote a piece that's been left out of the spotlight ever since. The title of the piece is Leck Mich Im Arsch or literally translated to English as Lick me in the arse. Understandably this piece has figuratively been swept under the rug. So who better to give this piece its due respect than the wildly successful, much misunderstood, and divisive Southwest Detroit rappers Insane Clown Posse?


    With fellow Southwest Detroit-born Jack White at the production helm and musical backing by Nashville's very own Jeff the Brotherhood, this 2011 version of ''Leck Mich Im Arsch'' marries Mozart's melody (and lyrics sung in operatic German) with ICP's poignant lyrical addition in English and Jeff the Bs monster-riffs, letting the whole thing tie together in the most beautiful of ways.


    The b-side Mountain Girl finds Violent J and Shaggy 2 Dope telling tall tales about a shotgun wedding, meth problems and moonshine, all pretty common-fare for a twangy country song birthed in Nashville. 7 vinyl single, fold-over picture sleeve in poly bag. Produced by Jack White.

    1. Leck Mich Im Arsch


    2. Mountain Girl

    Insane Clown Posse
    $6.99
    Vinyl LP 7 Single - Sealed Buy Now
  • Mozart: Notturno for Four Orchestras (Speakers Corner) Mozart: Notturno for Four Orchestras (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Notturno for Four Orchestras (Speakers Corner)

    Bad weather in Salzburg, particularly during the dark and wet months of December and January, placed a large role in the creation of Mozart's Notturni. Domestic music-making offered the upper classes a little cheer during the dreary winter months. Serenades by the Salzburg maestro were performed for entertainment and greatly influenced chamber and symphonic music.



    The Overture to Lucio Silla is from an opera which tells the story of the bloody political dispute of the Roman general Lucio Silla. This highly developed work deviated from the norms of compositions, and this was perhaps the reason why it was not as popular in Milan as Mozart's other works with the result that he receoved no more commissions from Italian opera houses.



    The music written for the historical drama Thamos, König von Ägypten was unique for Mozart, although this kind of music was not unusual for its day. The so-called entr'actes served to fill the time between scenes or acts.



    Peter Maag and the London Symphony Orchestra stage an excellent performance with their exquisite tone, exemplary dynamics and shaping of this wonderful music which reveals the splendidly colourful scores of one of the greatest musical phenomena: Wolfgang Amadeus Mozart.



    Recording: December 1959 at Kingsway Hall by Kenneth E. Wilkinson / Production: Erik Smith




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

    1. Andante
    2. Allegretto garzoso
    3. Minuetto
    4. Marcia
    5. Minuetto, Rondo
    6. Molto Allegro
    7. Andante
    8. Molto Allegro
    9. Maestoso
    10. Andante
    11. Allegro
    12. Allegro vivace assai
    Peter Maag with London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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