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  • Beethoven: Symphony No.5 In C Minor, Op.67 Beethoven: Symphony No.5 In C Minor, Op.67 Quick View

    $29.99
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    Beethoven: Symphony No.5 In C Minor, Op.67

    One of four legendary LP albums that represent Carlos Kleiber's entire orchestral output for Deutsche
    Grammophon, now available individually. These LPs were expertly produced from the recent 24-bit remastered
    recordings, which are as faithful to the original analogue sources as possible. Manufactured on 180-gram vinyl, each record comes with its original LP front and back covers.
    1. Allegro con briobr
    2. Andante con moto
    3. Allegro
    4. Allegro
    Carlos Kleiber
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven - Symphonies (Box Set) (On Sale) Beethoven - Symphonies (Box Set) (On Sale) On Sale Quick View

    $199.99 $149.99 Save $50.00 (25%)

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    Beethoven - Symphonies (Box Set) (On Sale)

    180 Gram Box Set Includes 24 Page Booklet and Liner Notes by Richard Osborne


    Limited edition. Karajan recorded the Complete Symphonies of Beethoven no fewer than 4 times for Deutsche Grammophon but this first 1963 recording was financially, the most daring; artistically, the most radical; and commercially, the most successful. This limited facsimile edition comes in an LP box with hinged lid in grey linen and features masters from the original ATP files, pressed on eight 180 gram heavyweight LPs at OPTIMAL. 24-page original LP leaflet, and liner notes by Richard Osborne.


    This item is not eligible for discount.

    1. Adagio molto - Allegro con brio
    2. Andante cantabile con moto
    3. Menuetto (Allegro molto e vivace)
    4. Finale (Adagio - Allegro molto e vivace)
    5. Adagio molto - Allegro con brio
    6. Larghetto
    7. Scherzo (Allegro)
    8. Allegro molto,
    9. Allegro con brio
    10. Marcia funebre (Adagio assai)
    11. Scherzo (Allegro vivace)
    12. Finale (Allegro molto),
    13. Adagio - Allegro vivace
    14. Adagio
    15. Allegro vivace
    16. Allegro ma non troppo
    17. Allegro con brio
    18. Andante con moto
    19. Allegro
    20. Allegro
    Herbert Von Karajan
    $199.99 $149.99 Save $50.00 (25%)
    180 Gram Audiophile Virgin Vinyl LP Box Set - 8 LPs Sealed Buy Now
  • Beethoven Piano Sonata No. 30 & 31 Beethoven Piano Sonata No. 30 & 31 Quick View

    $39.99
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    Beethoven Piano Sonata No. 30 & 31

    Audiophile 180 Gram Virgin Vinyl Cut at Emil Berliner Studio


    Pressed at Pallas in Germany


    Mastered from the Original Masters of Universal Music


    Pianist Emil Gilels performs Beethoven's Piano Sonatas Nos. 30 & 31 on audiophile 180g vinyl.


    Features:

    Audiophile 180g Virgin Vinyl

    Cut at Emil Berliner Studio

    Pressed at Pallas GmbH Germany

    From the Original Masters of Universal Music

    Audiophile Lacquer Discs Cut by the Expert Maarten de Boer


    Musicians:

    Emil Gilels, piano


    This title is not eligible for discount.

    Ludwig van Beethoven
    Side A:
    Piano Sonata No. 30, E-Dur Op. 109
    1. Vivace Ma Non Troppo - Adagio Espressivo - Tempo 1
    2. Prestissimo
    3. Gesangvoll, Mit Innigster Empfindung (Andante Molto Cantabile Ed Espresivo) & Variazioni
    Side B:
    Piano Sonata No. 31, AS-Dur, Op. 110
    1. Moderato Cantabile Molto Espressivo
    2. Allegro Molto
    3. Adagio, Ma Non Troppo - Fuga - Allegro, Ma Non troppo
    Emil Gilels
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Symphonie NO.6 Beethoven Symphonie NO.6 Quick View

    $44.99
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    Beethoven Symphonie NO.6

    Karl Bohm conducting the Wiener Philharmoniker, performing Ludwig Van Beethoven's Symphonie Nr.6.


    Musicians:


    Wiener Philharmoniker

    Karl Bohm, conductor

    Ludwig Van Beethoven (1770-1827)

    Symphony No. 6 in F Major, Op. 68 Pastoral


    1. Awaking of Cheerful Feelings Upon Arrival in the Country

    2. Scene at the Brook

    3. Merry Gathering of Country People

    4. Thunderstorm

    5. Sheperd's Song - Happy and Thankful Feelings after the Storm.

    Karl Bohm
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Triple Concerto Beethoven Triple Concerto Quick View

    $34.99
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    Beethoven Triple Concerto

    Oistrakh, Rostropovich and Richter join the Berlin Philharmonic Orchestra conducted by Herbert von Karajan for a truly legendary recording event!


    EMI waited many years to get these legendary artists together for this recording and the result was one of the greatest recordings this work has ever received.


    Produced by Peter Andry and pressed on 180g Audiophile Vinyl.


    This latest issue has been newly cut at EMI's Abbey Road Studios from the original stereo EMI Master tapes.


    Even in these days of star-studded casting on record, the line-up for this latest version of the Triple Concerto is nothing short of breathtaking. So breathtaking I was worried that my expectations would run ahead of all possible achievement. But not so. This is a marvelous performance that will clearly remain a classic for years to come. - Edward Greenfield, Gramophone, September 1970


    Features:
    180g Audiophile Vinyl

    Cut from original EMI Master Tapes at EMI's Abbey Road Studios

    Features original album artwork, including original insert of notes


    Musicians:

    David Oistrakh, violin

    Sviatoslav Richter, piano

    Mstislav Rostropovich, cello

    Berlin Philharmonic Orchestra

    Herbert von Karajan, conductor


    This title is not eligible for discount.

    Ludwig van Beethoven (1770-1827)
    Triple Concerto
    Concerto for Violin, Cello and Piano in C Major, Op. 56
    1. Allegro
    2. Largo
    3. Rondo alla Polacca
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 9 (Speakers Corner) Beethoven: Symphony No. 9 (Speakers Corner) Quick View

    $69.99
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    Beethoven: Symphony No. 9 (Speakers Corner)

    It was clear from the start that Beethoven's Ninth Symphony, with its air of solemnity in the final chorus, which calls for brotherly love just as the New Year comes in, would become a musical part of our world's cultural legacy. Hundreds of minds, Beethoven researcher Karl Nef prophesied, have been set in motion by this music in the most varied ways, and it will continue not only to bestow pleasure upon countless thousands, but also to stimulate mental life right at the most fundamental level.



    There are certainly only a very few truly cerebral interpretations which stand out from the fathomless mass of recordings. One of those upon which "The Absolute Sound" journal has stamped its coveted seal of approval is the recording with Georg Solti and his perfectly honed symphony musicians from Chicago. Here, this usually somewhat daring baton-wielder plumbs the very depths of the score and allows Beethoven's rich abundance of ideas to ferment into a great whole.



    The four soloists prove their worth as first choice for the richly detailed and balanced synopsis of this fissured work. They captivate us as much in the solo as in the group singing with their natural and expressive intonation. The dry, very present sound highlights the fact that this is an artistic performance at the highest level.




    Musicians:



    • Pilar Lorengar, Stuart Burrows, and other soloists

    • The Chicago Symphony Chorus & Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1972 in the Krannert Centre of the University of Illinois, Chicago, by Kenneth Wilkinson and Gordon Parry

    Production: David Harvey



    Format: 2LPs 33rpm / gatefold sleeve



    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.


    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Symphony No.7 in A, Op.92 Beethoven: Symphony No.7 in A, Op.92 Quick View

    $18.99
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    Beethoven: Symphony No.7 in A, Op.92

    The London Symphony Orchestra, conducted by Antal Doráti, performing Beethoven's Symphony No. 7.
    1. First Movement: Poco Sostenuto; Vivace
    2. Second Movement: Allegretto
    3. Third Movement: Presto; Presto Meno Assai; Presto
    4. Fourth Movement Allegro Con Brio
    5. Fidelio Overture, 72b
    Antal Dorati & The London Symphony Orchestra
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Piano Recital (On Sale) Piano Recital (On Sale) On Sale Quick View

    $44.99 $35.54 Save $9.45 (21%)

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    Piano Recital (On Sale)

    The Finish pianist Paavali Jumppanen is well known as an interesting and versatile artist for his interpretations of both works for piano solo and chamber music. His repertoire ranges from classical compositions for piano up to the avant-garde. In recent years he has performed the complete Beethoven Piano Sonatas in several concert cycles.
    Paavali Jumpannen chose the repertoire for his first Direct-to-Disc recording with several aspects in mind: »I wanted to include those compositions for which I feel a special affinity in this new and exciting project. At the same time, I wished to put together a programme which would revive memories of the 'Golden Age' of the gramophone record.


    Recording: January 2012 at Meistersaal, Emil Berliner Studio, Berlin, by Stephan Flock and Maarten de Boer

    Production: Rainer Maillard & Stephan Flock


    This title is not eligible for discount.

    Jean Sibelius: Impromptu in B minor, op. 5 No.5
    Richard Wagner: Isoldens Liebestod (transcr. Franz Liszt)
    Ludwig v. Beethoven: Piano Sonata No. 30 in E major, op. 109 - Paavali Jumppanen
    Paavali Jumppanen
    $44.99 $35.54 Save $9.45 (21%)
    180 Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bundeslied / Opferlied Bundeslied / Opferlied Quick View

    $29.99
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    Bundeslied / Opferlied

    Import


    Gertraud Prenzlow (alto), Ingeborg Springer (mezzo-soprano), Gunter Kootz (piano), Adele Stolte (soprano), Jutta Vulpius (soprano), Gustav Schmahl (violin)


    Leipzig Radio Chorus, Grosser Chor des Berliner Rundfunks, Berlin Radio Symphony Orchestra, Berlin Radio Orchestra, Leipzig Gewandhaus Orchestra, Franz Konwitschny, Helmut Koch

    Side 1
    1. Gewandhausorchester Leipzig - Fantasie Fuer Klavie


    Side 2
    1. Springer, Ingeborg - Opferlied (Die Flamme Lodert)
    2. Kurzweg, Ehm - Bundeslied Fuer 2 Solo- Und 3 Chors
    3. Schmahl, Gustav - Die Weihe Des Hauses (Schauspiel
    4. Chor Woo 98
    5. Berliner Rundfunk-Sinfonie-Orchester - Meeresstill

    Ludwig Van Beethoven
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bizet - L'Arlesienne & Carmen Bizet - L'Arlesienne & Carmen Quick View

    $34.99
    Buy Now
    x

    Bizet - L'Arlesienne & Carmen

    180 gram Audiophile Vinyl Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios!


    Although associated mainly with the Berlin Philharmonic Orchestra, Herbert von Karajan was effectively (though never officially) the chief conductor of the Philharmonia Orchestra (which EMI Producer Walter Legge had founded in 1945) from 1948 to 1954 and built the orchestra into one of the finest in the world. Although Karajan signed to Deutsche Grammophon in 1959, he would return to EMI in future years for occasional projects (like the Beethoven Triple Concerto on HIQLP006 and Mozart Symphonies on HIQLP023).


    In the original September 1959 review of the stereo release Thomas Hearns of the GRAMOPHONE wrote: ...this Karajan performance is in... the highest class...Karajan gets beautiful and brilliant performances, superb playing from the Philharmonia and a first-rate recording...


    Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process.


    Pressed on 180g vinyl to audiophile standards at the Vinyl Factory, Hayes, using the old EMI Records presses.


    This title is not eligible for discount.

    Georges Bizet (1838 - 1875)
    L'Arlesienne - Suite No.1
    1. Prelude
    2. Menuet
    3. Adagietto
    4. Carillon
    L'Arlesienne - Suite No.2
    5. Pastorale
    6. Intermezzo
    7. Menuet (from 'La jolie fille de Perth')
    8. Farandole
    Carmen - Suite
    9. I: Entr'acte (Act IV)
    10. II: Entr'acte (Act III)
    11. III: Entr'acte (Act II)
    12. IV: Prelude (Act I)
    Herbert Von Karajan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chopin - Scherzo No. 3 / Brahms -  Rhapsodies (Speakers Corner) Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner) Quick View

    $34.99
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    x

    Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner)

    The debut recording by the Argentinian pianist Martha Argerich took the public by the storm all over the world - and the applause has still not subsided! A mere glance at the repertoire shows that she was reaching for the stars. To bring five composers together on an LP of roughly 45 minutes length means nothing other than speaking five different musical languages - and Martha Argerich proves herself a master of them all! The demonic opening of the Scherzo in C sharp minor gives way to an iridiscent dialogue which sings and sparkles beyond compare. The Barcarolle rocks gently along; Prokofiev's Toccata is filled with dynamic force and nervous agitation; Ravel's Jeux d'eau is pensive and introverted, with the water rippling in a circular motion. As a contrast, the two famous Brahms Rhapsodies are performed with passion, impetuosity and occasionally the required heaviness.



    This recording is surely one of the brightest candles to burn anew on Deutsche Grammophon's birthday cake.



    This record was part of the 3-LP Set "The Conductors" and is now available again.



    Musicians:



    • Martha Argerich (piano)




    Recording: July 1960 at Beethoven-Saal, Hannover by Heinz Wildhagen

    Production: Prof. Elsa Schiller





    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. No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp
    2. Minor, Op.39
    3. Rhapsody, Op.79: No.1 Agitato In B Minor
    4. Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
    5. Toccata, Op. 11
    6. Jeux D'Eau: Tres doux
    7. Barcarole In F Sharp Major, Op. 60
    8. Hungarian Rhapsody No.6:
    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Sonatas Nos. 30-32 (Speakers Corner) Beethoven: Sonatas Nos. 30-32 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Sonatas Nos. 30-32 (Speakers Corner)

    Ludwig van Beethoven: Piano Sonatas No. 30 in E major op. 109, No. 31 in A-flat major op. 110, No. 32 in C minor op. 111


    Myths abound when it comes to the late works of important composers. It is debatable as to whether this is due to their timelessness, or their often extensive form, which makes great demands on the listener, or simply the supreme skill with regard to the composer's own musical language, which is demonstrated in mature works. It is commonly understood that a performer of late works should treat them with due respect and possess an exceptional command of his instrument. But not so with Glenn Gould, who at the tender age of 23, shortly after his recording debut for the Columbia label of Bach's Goldberg Variations, dared to perform Beethoven's last three Piano Sonatas.


    Gould, as always analytical, yet supremely flowing, carves out the tightly-knit contrapuntal structure of the fast movements. The slow movements are finely perceived though free of contemplative sentiment and waft gently through the air, here somewhat drily dabbed at, then again singing and full of round, melodious piano sound. Bar for bar it is noticeable that the young Gould knows exactly what he is doing and with whom he is dealing. Here in the hands of this young maestro Beethoven's spirit is certainly compelling and intoxicating.

    Musicians:



    • Ludwig van Beethoven (composer)

    • Glenn Gould (piano)




    Recording: June 1956 at Columbia 30th Street Studio, New York, by Fred Plaut in mono

    Production: Howard H. Scott




    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. Sonata No. 30 In E Major, Op. 109 - Vivace, Ma Non Troppo, Sempre Legato
    2. Sonata No. 30 In E Major, Op. 109 - Prestissimo
    3. Sonata No. 30 In E Major, Op. 109 - Andante Molto Cantabile Ed Espressivo; Variations I-VI
    4. Sonata No. 31 In A-Flat Major, Op. 110 - Moderato Cantabile Molto Espressivo
    5. Sonata No. 31 In A-Flat Major, Op. 110 - Allegro Molto
    6. Sonata No. 31 In A-Flat Major, Op. 110 - Adagio No Non Troppo (Beginning)
    7. Sonata No. 31 In A-Flat Major, Op. 110 - Fuga (Conclusion)
    8. Sonata No. 32 In C Minor, Op. 111 - Maestoso; Allegro Con Brio Ed Appassionato
    9. Sonata No. 32 In C Minor, Op. 111 - Arietta (Adagio Molto Semplice E Cantabile)
    Glenn Gould
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Complete Concerto Recordings (Box-Set) The Complete Concerto Recordings (Box-Set) Quick View

    $109.99
    Buy Now
    x

    The Complete Concerto Recordings (Box-Set)

    With this special LP limited edition box set, Deutsche Grammophon pays tribute to an extraordinary musical
    partnership. The 6LP set collects all the concerto recordings made by pianist Martha Argerich with conductor
    Claudio Abbado over more than 45 years, covering works by Beethoven, Chopin, Prokofiev, Tchaikovsky and many others. "Between them Argerich and Abbado generate a heady world of romance and electricity," BBC Music Magazine 2014.
    LP1
    PROKOFIEV Piano Concerto No. 3 | RAVEL Piano Concerto in G
    Berliner Philharmoniker


    LP2

    CHOPIN | LISZT Piano Concertos No. 1

    London Symphony Orchestra


    LP3
    TCHAIKOVSKY Piano Concerto No. 1
    Berliner Philharmoniker


    LP4
    BEETHOVEN Piano Concertos Nos. 2 & 3
    Mahler Chamber Orchestra


    LP5
    MOZART Piano Concertos Nos. 20 & 25
    Orchestra Mozart


    LP6
    RAVEL Piano Concerto in G | RAVEL Gaspard de la nuit
    London Symphony Orchestra

    Martha Argerich and Claudio Abbado
    $109.99
    Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • Beethoven: Kreutzer Sonata (Speakers Corner) Beethoven: Kreutzer Sonata (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Kreutzer Sonata (Speakers Corner)

    If one is to believe the comments of renowned contemporaries, the premiere of Beethoven's Kreutzer Sonata in a Viennese concert hall must have been a highly risky venture. The ink was still wet on the manuscript when the English violin virtuoso George Bridgetower received his part only a few hours before the performance, and Beethoven partially improvised the piano part using a half-completed manuscript - a good 30 minutes long! As a contrast, Zino Francescatti and Robert Casadeus have prepared themselves well for a well-founded, detailed and exciting rendering of this grand and complex chamber work. The slow introduction unfolds with anticipatory tension in the powerful key of A major, and then the violin enters into a fiery yet elegant dialogue with the evenly matched piano, all testifying to the absolute mastery of this exceptional duo. In the slow movement, the musical notions - carefully thought through yet not brooding - flow with intensity and melodic beauty. With joyous exuberance the two musicians present the final interplay, which alternates between melodic exaltation and sudden outbursts. This superb performance of one of the great showpieces of musical literature has certainly earned a hearty applause.

    Musicians:



    • Zino Francescatti (violin)
    • Robert Casadesus (piano)



    Recording: Spring 1958 in Paris



    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.

    Sonata No. 9 In A Major For Violin And Piano, Op. 47 (Kreutzer)
    Adagio Sostenuto: Presto: Adagio
    Andante Con Variazioni: Vars. I, II, III, IV
    Finale (Presto)


    Sonata No. 1 In D Major, Op. 12, No. 1
    Allegro Con Brio
    Tema Con Variazioni (Andante Con Moto)
    Rondo (Allegro)

    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Sonatas For Piano and Cello (Speakers Corner) Beethoven: Sonatas For Piano and Cello (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Beethoven: Sonatas For Piano and Cello (Speakers Corner)

    Possessing a complete recording of Beethoven's Cello Sonatas gives far more satisfaction than merely having the set to fill the shelves. On the one hand it offers one the opportunity to compare Beethoven's art of composition at various stages in his life. And on the other hand one can already recognise in the early Opus 5 how he breaks with the traditional sonata in which the solo instrument merely provides an accompaniment and treats the two instruments as equal partners in the creation of the movements.



    Richter and Rostropovich devote themselves to their task with verve and freshness. The two early works are marked by the rich and full sound of the cello and an elegantly performed piano part, while the two Russian musicians foster a contemplative, introverted style in the A major Sonata. This respectful approach also lends itself well to the C major Sonata where the free, fantasia-like character with wide-ranging shading is shown off to advantage. Beethoven's break with the traditional sonata-form layout is carried to extremes in the D major Sonata, where the cello ignores the powerful theme on the piano in the first movement. The work's brittleness is effectively revealed by the two musicians in the transition from the sensitive Adagio to the austere, freely worked final Fugato, while their resolute and analytical approach to the work and technical prowess on their instruments is highly rewarding.



    Musicians:



    • Mstislav Rostropovich (cello)

    • Sviatoslav Richter (piano)



    Recording: June 1962 at RosenhÜgel Studios, Vienna, and July 1961 at Walthamstow Assembly Hall, London, by C.R. Fine

    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. Sonata for Cello & Piano No. 1 in F, Op. 5 No. 1

    2. Sonata for Cello & Piano No. 2 in G minor, Op. 5 No.2
    3. Sonata for Cello & Piano No. 3 in A, op. 69
    4. Sonata for Cello & Piano No. 4 in C, op. 102 No. 1
    5. Sonata for Cello & Piano No. 5 in D, op. 102 No. 2
    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Concerto for Violin and Orchestra (Speakers Corner) Beethoven: Concerto for Violin and Orchestra (Speakers Corner) Quick View

    $34.99
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    x

    Beethoven: Concerto for Violin and Orchestra (Speakers Corner)

    Beethoven's only violin concerto is certainly one of the most lovely works ever written for this instrument. The symphonically conceived work is admired for its highly lyrical and expressive character and as such belongs in the repertory of all great violinists. Numerous performances, often all too sentimental or exaggerated, are available on record - but this Deutsche Grammophon production from 1962 is a refreshing exception. With a tender, serene timbre and perfect intonation, the soloist Wolfgang Schneiderhan allows the spirit of the score to breathe throughout. The captivating and poetic music is further enhanced by the Berlin Philharmonic who play with a sonority that has yet to be equalled. The strings with the swell and subsidence of their carpets of sound, the subtle and finely balanced woodwinds, the double basses which murmur darkly at the very bottom of their register - all effuse a feeling of consecration and peaceful transfiguration in this concerto, a concerto which has never seen its like in two centuries.



    The balance engineers achieved a remarkable feat when documenting this epoch-making work, for this recording is certainly one of the very best to come from Deutsche Grammophon in the Sixties.



    Recording: May / July 1962 at the Jesus-Christus-Kirche, Berlin by GÜnter Hermanns / Production: Wolfgang Lohse



    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.

    Beethoven: Concerto for Violin and Orchestra
    Wolfgang Schneiderhan and the Berlin Philharmonic Orchestra conducted by Eugen Jochum
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wilhelm Furtwangler - Berlin Philharmonic Wilhelm Furtwangler - Berlin Philharmonic Quick View

    $349.99
    Buy Now
    x

    Wilhelm Furtwangler - Berlin Philharmonic

    Strictly Limited-Edition Set Comprises Recordings Primarily Made Between 1947 and 1954


    Unrivaled Sonics: First Time Original RIAS Berlin Tapes Have Been Made Available


    With the great demand for the LP version of their internationally successful FurtwÄngler 12CD box set, Audite presents a selection of recordings in LP format for audiophile vinyl enthusiasts. Containing compositions by Beethoven, Bruckner, Schubert, Brahms and Wagner, the LP boxed set (comprising 14LPs on 180g vinyl) presents the principal works of the CD boxed set. The majority of the concerts given by Wilhelm FurtwÄngler and the Berlin Philharmonic between 1947 and 1954 were recorded by the RIAS Berlin. The original tapes from the RIAS archives have been made available for the first time for this edition so these recordings also offer unsurpassed technical quality.


    These RIAS recordings are documents of historical value: they contain a major part of FurtwÄnglers late oeuvre as a conductor, which was characterised by a high level of focus in different respects. Focus on repertoire which has at its core the symphonic works of Beethoven, Brahms and Bruckner (CD & LP box) and is supplemented by works by Bach and Handel and also by topical composers of the time, including Hindemith, Blacher and Fortner (CD box only): artists who were counted amongst the members of moderate modernism and who were not perceived to have been tainted by the cultural politics of the National Socialists.


    Focus was also a guiding principle in FurtwÄnglers concert programs which always feature a particular idea. His interpretations also demonstrate extremely high levels of focus: concentration and focus for him meant a contemporary decoding, a re-creation, which would express the fundamental content of a work. A number of works, the Third, Fifth and Sixth Symphonies by Ludwig van Beethoven as well as Johannes Brahms Third Symphony, are included in two interpretations. They reveal how FurtwÄngler was able to accentuate different aspects of a work whilst maintaining the same, clear basic conception, and how the actual interpretation depended on the context of the particular program.


    The production is part of Audite's series Legendary Recordings and bears the quality feature 1st Master Release. This term stands for the excellent quality of archival productions at Audite. All historical publications at Audite are based, without exception, on the original tapes from broadcasting archives. In general these are the original analog tapes, which attain an astonishingly high quality, even measured by todays standards, with their tape speed of up to 76 cm/sec. The remastering, professionally competent and sensitively applied, also uncovers previously hidden details of the interpretations.

    Ludwig van Beethoven (1770-1827)


    LP1 - Sides A/B: Symphony No. 6 in F Major, Op. 68 'Pastorale' (May 25, 1947)

    LP2 - Sides A/B:

    Symphony No. 5 in C minor, Op. 67 (May 25, 1947)

    LP3 - Sides A/B:

    Symphony No. 6 in F Major, Op. 68 'Pastorale' (May 23, 1954)

    LP4 - Sides A/B:

    Symphony No. 5 in C minor, Op. 67 (May 23, 1954)

    LP5 Sides A/B:

    Symphony No. 3 in E-flat Major, Op. 55 'Eroica' (June 20, 1950)

    LP6 - Side A:

    Symphony No. 3 in E-flat Major, Op. 55 'Eroica' (cont.) (June 20, 1950)

    LP6 - Side B:

    Symphony No. 3 in E-flat Major, Op. 55 'Eroica' (December 8, 1952)

    LP7 - Sides A/B:

    Symphony No. 3 in E-flat Major, Op. 55 'Eroica' (cont.) (December 8, 1952)


    Anton Bruckner (1824-1896)

    LP8 - Sides A/B:

    Symphony No. 8 in C minor (2nd version 1890 - Edition Robert Haas) (March

    15, 1949)

    LP9 - Sides A/B:

    Symphony No. 8 in C minor (cont.) (2nd version 1890 - Edition Robert Haas)

    (March 15, 1949)


    Franz Schubert (1797-1828)

    LP10 - Side A:

    Symphony No. 8 in B minor, D 759 'Unfinished' (September 15, 1953)

    LP10 - Side B:

    Symphony No. 9 in C Major, D.944 'The Great' (September 15, 1953)

    LP11 Sides A/B:

    Symphony No. 9 in C Major, D.944 'The Great' (cont.) (September 15, 1953)


    Johannes Brahms (1833-1897)

    LP12 - Sides A/B:

    Symphony No. 4 in E minor, Op. 98 (October 24, 1948)

    LP13 - Side A:

    Symphony No. 3 in F Major, Op. 90 (December 18, 1949)

    LP13 - Side B:

    Symphony No. 3 in F Major, Op. 90 (cont.) (December 18, 1949)

    Variations on a theme by Joseph Haydn, Op. 56a (June 20, 1950)

    LP14 Sides A:

    Symphony No. 3 in F Major,Op. 90 (April 27, 1954)

    LP14 Sides B:

    Symphony No. 3 in F Major, Op. 90 (cont.) (April 27, 1954)


    Richard Wagner (1813-1883)

    Tristan und Isolde (Prelude * Isoldes Liebestod) (April 27, 1954)


    Wilhelm Furtwangler
    $349.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 14 LPs Sealed Buy Now
  • Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale Quick View

    $34.99
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    x

    Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale


    The Famed Recording Returns In A Premier Vinyl Reissue From Analogue Productions!


    Mastered From The Original Tapes By Ryan Smith At Sterling Sound


    Plated And Pressed At Quality Record Pressings On 200-gram Vinyl!


    Deluxe Old-style Tip-on Gatefold Jacket With Additional Photos From The Sony Music Archives!


    Bruno Walter helped shape the very essence of interpretive style among conductors. Walter's rendition of Beethoven's sixth symphony is perhaps the greatest ever recorded - his reading of the score comes off sounding like a piece of literature or poetry, but that is a great thing and perfectly blends with the music to create a benchmark recording.


    And here, once again, Analogue Productions has taken a classic and shaped it to make the premier reissue of this famed LP. Ryan Smith at Sterling Sound mastered this album from the original analog tapes. The cut lacquers were plated and pressed to 200-gram vinyl by our own Quality Record Pressings. The Stoughton Printing old-style tip-on gatefold jacket has been upgraded handsomely by a series of rarely-seen photos of Walter from the Sony Music Archives. Everything about this reissue radiates quality.


    Written in 1808, Beethoven's Symphony No. 6 in F Major (Pastoral), Op. 68, is deemed one of the most influential by the famed composer. Unlike the vast majority of assumed names by which his works have become known, Beethoven directed from the very outset that his sixth symphony be titled Pastoral Symphony, or a recollection of country life. It was a musical approach to the forces of nature that inspired Beethoven.


    Walter's late life was marked by stereo recordings with the Columbia Symphony Orchestra, an ensemble of professional musicians assembled by Columbia Records for recordings.


    Originally released in 1958, this recording still sounds fresh, with a broad soundstage, persuasive depth, and a remarkable sense of air and presence. Simply because of Walter's vibrant, fluid interpretation, taking into account both variable tempi and heightened accents, the result is one of the most passionate, awe-inspiring recorded versions of this symphony that's ever been recorded.

    1. I. Allegro ma non troppo (The awakening of joyful feelings upon arrival in the country)
    2. II. Andante molto moto (The Brook)
    3. III. Allegro (Village Festival)
    4. IV. Allegro (The Storm)
    5. V. Allegretto (Shepherd's Song)
    Bruno Walter
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Sonaten Op. 109, 110 Beethoven: Sonaten Op. 109, 110 Quick View

    $22.99
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    Beethoven: Sonaten Op. 109, 110

    Maurizio Pollini: Beethoven: Sonaten Op. 109, 110
    1. Klaviersonate Nr.30 E-Dur Op.109
    2. Klaviersonate Nr.31 As-Dur Op.110
    Maurizio Pollini
    $22.99
    Vinyl LP - Sealed Buy Now
  • Beethoven - Sonatas Nos 8 & 10 Beethoven - Sonatas Nos 8 & 10 Quick View

    $32.99
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    x

    Beethoven - Sonatas Nos 8 & 10

    2,000 Only Limited Edition


    Mastered by Kevin Gray & Robert Pincus


    Pressed at RTI!


    For many classical music lovers, Beethoven's eighth
    violin sonata lives in the long, fiery shadow of the ninth, better known as the "Kreutzer". This is easy to understand, as the Kreutzer is a prime example of the stormy side of Beethoven - the one many listeners see as his most exciting and revealing trait. However, just as his eighth symphony is the kinder, gentler companion to his towering, formidable ninth, the eighth violin sonata, shorter
    and less aggressive than the ninth, shows a more lyrical side of Beethoven.


    For this release, RCA coupled the eighth sonata with the tenth, also in G Major. One of the loveliest of Beethoven's compositions for violin, the mood of the
    tenth sonata is the perfect complement to the eighth.


    Although RCA would often place Heifetz alongside great pianists like Rubinstein, it was with Emanuel Bay that he found the greatest chemistry. This new Impex LP is the long-overdue 180-gram debut of the famous Heifetz/Bay team. The two sonatas were recorded on October 16 and 17, 1952 using a single microphone. These monaural masterpieces come closer to capturing the true Heifetz tone than many concerto recordings of the stereo era and Impex's all-analog production, featuring mastering by Kevin "Dr. Groove" Gray & Robert "Mr. Record" Pincus and pressing at Record Technology Inc., preserves
    the incredible dynamic range of this historic session, without the unnatural EQ of the original
    LP. Strictly limited to 2,000 pressings, this will surely become the next great collectable reissue
    from Impex Records.

    1. Sonata No. 8 in G Major
    2. Sonata No. 10 in G Major
    Heifetz
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Quick View

    $34.99
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    x

    Beethoven: Emperor; Concerto No. 5 (Speakers Corner)

    The Concerto No. 5 in E flat major for Piano and Orchestra, composed in 1809 at the time of Napoleon's siege and occupation of Vienna, was Ludwig van Beethoven's last work in this form. The heroic optimism at the heart of the Concerto finds expression in the majesty of its design and the innovative virtuosity of the solo part. The dialect between piano and orchestra creates an electric atmosphere of brooding depth and sweeping grandeur. Beethoven's choice of key, the E-flat major, was not arbitrary but gave voice rather to the wild pathos in his own soul.



    Clifford Curzon's interpretation of the score is intelligent and refined, his execution characterized by introspective discipline.



    The exemplary interplay between Curzon and Hans Knappertsbusch evokes the chiaroscuro latent in each of the Emperor's three movements. The Vienna Symphony Orchestra displays its customary brilliance throughout.



    This DECCA recording, one of the very earliest in stereo, is convincing both musically and tonally. More than a document, it is a milestone in musical history.





    Musicians:



    • Sir Clifford Curzon

    • Vienna Philharmonic Orchestra

    • Hans Knappertsbusch (conductor)




    Recording: June 1957, 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.


    1. First Movement - Allegro
    2. Second Movement: Adagio Un Poco Mosso
    3. Third Movement: Rondo (Allegro)
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Our Beloved Revolutionary Sweetheart Our Beloved Revolutionary Sweetheart Quick View

    $22.99
    Buy Now
    x

    Our Beloved Revolutionary Sweetheart


    25th Anniversary Reissue


    Featuring New Liners And Photos


    When indie superstars Camper Van Beethoven signed with Virgin Records in the late 1980s, it seemed inconceivable. How could that band move to a
    major label without "selling out" and sacrificing all that made them great?


    The first three tracks on Our Beloved Revolutionary Sweetheart were a pop song, an instrumental and an adaptation of a folk dirge about death. Heck, the
    release even had a love song for Patty Hearst. No, Camper Van Beethoven didn't sell out. They just had better distribution now.


    Omnivore Recordings is proud to take everyone back to 1988, when musical worlds collided and Camper Van Beethoven helped break the mold and blur
    the lines between indie rock and "alternative." Suddenly, it was an even playing field and Our Beloved Revolutionary Sweetheart found itself in the bins
    next to Chicago and Cinderella. Produced by Dennis Herring (Elvis Costello, Counting Crows), the 25th anniversary of this landmark album finds it
    reissued for the first time since its original issue.


    Featuring new liners and photos, Our Beloved Revolutionary Sweetheart is being reissued in tandem with its acclaimed follow up
    Key Lime Pie, with full cooperation and input from the band themselves. These are the releases CVB fans have been dreaming of.


    It's been a few years since the end of the 1980s, but Camper Van Beethoven has always been timeless. Our Beloved Revolutionary Sweetheart proves
    that. It's even spelled out in the title: beloved, revolutionary and a real sweetheart.

    1. Eye Of Fatima (Pt. 1)
    2. Eye Of Fatima (Pt. 2)
    3. O Death
    4. She Divines Water
    5. Devil Song
    6. One Of These Days
    7. Turquoise Jewelry
    8. Waka
    9. Change Your Mind
    10. My Path Belated
    11. Never Go Back
    12. The Fool
    13. Tania
    14. Life Is Grand
    Camper Van Beethoven
    $22.99
    Vinyl LP - Sealed Buy Now
  • Heifetz-Piatigorsky Concerts Heifetz-Piatigorsky Concerts Quick View

    $32.99
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    x

    Heifetz-Piatigorsky Concerts


    180 Gram Vinyl Pressed At RTI


    Mastered By Kevin Gray & Robert Pincus From The Original Half-Inch Track Masters


    Extra Heavy Jacket With Tip-On And UV Gloss Coating


    Two friends, virtuosos without peer, get together in their living rooms to perform music by some of their favorite composers. Beethoven. Haydn. Rosza. Turin. Not for money or fame. For their friends. For each other. One day, they decide to put their favorite collaborations down on tape.


    Impex Records proudly presents an LP of the same uncompromising sonic and production standards of the artists themselves: Heifetz-Piatigorsky Concerts. Be one of a fortunate few who will possess the rewards of such an unmatched musical friendship.

    1. Beethoven - Trio Op. 1, No. 1 - Allegro
    2. Beethoven - Trio Op. 1, No. 1 - Adagio Cantabile
    3. Beethoven - Trio Op. 1, No. 1 - Scherzo
    4. Beethoven - Trio Op. 1, No. 1 - Finale
    5. Haydn - Divertimento for Cello - Adagio
    6. Haydn - Divertimento for Cello - Minuet
    7. Haydn - Divertimento for Cello - Allegro
    8. Rozsa - Tema con Variazioni
    Heifetz / Piatigorsky
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schubert: Octet In F Major (Speakers Corner) Schubert: Octet In F Major (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Schubert: Octet In F Major (Speakers Corner)

    Schubert's light and flowing Octet in F major is of great importance in both an historical and a compositional aspect. Thanks to its combination of string and wind instruments, it is akin in character to the cheerful divertimento and the contemplative serenade. That the commissioned work is very similar to Beethoven's popular Septet op. 20 with regard to the individual movements and the key relationships is by no means accidental - that was what was ordered. Schubert occupied himself with the almighty giant's composition, though for a different reason: with his own Octet he wanted to »pave his way towards writing a great symphony«, whose dramatic force and form is clearly suggested here.



    Steeped in the musical traditions of the city on the Danube, the Vienna Octet is the ideal ensemble to perform this work. Led by Willi Boskovsky, who became world famous as concertmaster of the Vienna Philharmonic Orchestra and conductor of the New Year's Day Concerts, the ensemble plays with great agility, joy and togetherness from the first note on. The sound of each individual instrument comes over vividly in a natural, chamber-music-like atmosphere.



    Musicians:



    • Philip Matheis (violin)

    • Gunther Breitenbach (viola)

    • Nikolaus Hubner (cello)

    • Johann Krump (bass)

    • Alfred Boskovsky (clarinet)

    • Josef Veleba (horn)

    • Rudolf Hanzl (bassoon)





    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.



    Octet in F Major for Clarinet, Horn, Basson and Strings, D 80
    Franz Schubert
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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