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

    $34.99
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    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
  • 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 Triple Concerto (Awaiting Repress) Beethoven Triple Concerto (Awaiting Repress) Quick View

    $34.99
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    Beethoven Triple Concerto (Awaiting Repress)

    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 AWAITING REPRESS Buy Now
  • Beethoven: Diabelli Variations, Op.120 Beethoven: Diabelli Variations, Op.120 Quick View

    $25.99
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    Beethoven: Diabelli Variations, Op.120

    180 Gram Vinyl


    Decca celebrates pianist Alfred Brendel's artistic achievements - and 85th Birthday - by presenting four iconic solo albums from the analogue era on 180 gram heavyweight vinyl pressed at optimal GmbH. Each vinyl release has been lovingly mastered from the original analogue tapes. This release is of Beethoven's Diabelli Variations, op. 120

    1. Tema & Variations I-XX [Beethoven: 33 Piano Variations In C, Op.120 On A Waltz By Anton Diabelli] Live In London / 1976
    2. Variations XXI-XXXIII [Beethoven: 33 Piano Variations In C, Op.120 On A Waltz By Anton Diabelli] Live In London / 1976
    Alfred Brendel
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Fred Beethoven Fred Beethoven Quick View

    $28.99
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    Fred Beethoven

    Blue Colored Vinyl


    Newly found unreleased album recorded across two winter time sessions at Nikkis favorite recording studio Woodbine Studios in Learnington Spa. The profile of the late Nikki Sudden has never been higher with the release of the highly acclaimed Box Set The Boy from Nowhere & the release by Numbero Uno of all the early albums on vinyl.

    1. Johnny B Goode
    2. Black Satin Suit
    3. Blenkinsop's Soup Kitchen
    4. Looking at You
    5. It's Gonna Be Alright
    6. Stereo Baby
    7. Summer Burn Down
    8. Forest Fire
    9. Debris
    10. Pin A Rose On Me
    11. Don't Look Back
    12. So Much To Learn
    Nikki Sudden
    $28.99
    Colored Vinyl LP - Sealed Buy Now
  • Beethoven Violin Concerto Beethoven Violin Concerto Quick View

    $44.99
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    Beethoven Violin Concerto

    Anne-Sophie Mutter, a child prodigy, was exempted from school to dedicate herself to her art. Supported early in her career by Herbert von Karajan, he invited her to play with the Berlin Philharmonic when she was just 13 and she has built a strong reputation for championing contemporary music throughout her career. She has won the Grammy Award for Best Chamber Music Performance and the Grammy Award for Best Instrumental Soloist Performance among many other awards.


    Musicians:

    Berlin Philharmonic Orchestra

    Herbert von Karajan, conductor

    Anne-Sophie Mutter, violin soloist

    1. Allegro ma non Troppo
    2. Larghetto
    3. Rondo. Allegro
    Ludwig Van Beethoven
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Concerto No 4 Beethoven Concerto No 4 Quick View

    $32.99
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    Beethoven Concerto No 4

    So much has been said and written about Glenn Gould's Bach recordings that some classical music listeners may have overlooked his fabulous renditions of the Beethoven piano concertos. Impex is hoping to change this. Hearing Gould's magnificent pianism, along with the inspired conducting of Leonard Berstein, recorded in the vast acoustical space of the Manhattan Center, we are certain you will find Gould's Beethoven concertos have a rightful place alongside his celebrated Goldberg Variations.

     

    With so many workaday renditions of Beethoven concertos, audiophiles rightly tend to look for inspired performances; and every recording by Glen Gould is certainly inspired. Gould is often erratic, but he was also daring, constantly exploring. His lyrical ebb-and-flow reading shines a new light on this well-loved work. With all-analog mastering by Kevin Gray and Impex's usual attention to detail on all facets of production, this new 180-gram pressing will make this Gould and Bernstein triumph a favorite of audiophiles everywhere.

     

    Features:


    • 180 Gram Vinyl

    • Numbered, Limited Edition

    • All-Analog Mastering by Kevin Gray

    • Recorded in Vast Acoustic Space of Manhattan Center

    • Strictly Limited to 2,500 Pressings


     

    Musicians:


    • Glenn Gould, pianist

    • Leonard Bernstein, conductor

    • New York Philharmonic, orchestra 

    Ludwig Van Beethoven (1770-1827)
    Concerto No. 4 in G Major for Piano and Orchestra, Op. 58
    1. I. Allegro moderato
    2. II. Andante con moto
    3. III. Rondo: Vivace
    Glenn Gould
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schubert & Beethoven Schubert & Beethoven Quick View

    $38.99
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    Schubert & Beethoven

    Regarded as one of the world's leading pianists, Grigory Sokolov plays late masterworks by Schubert, including the much-loved Impromptus in A-flat and G-flat Major, and Beethoven's longest piano sonata, Piano Sonata No. 29 (Hammerklavier), finishing with six impeccable encores by Rameau and Brahms. This recording is culled from well-received concerts in Warsaw and Salzburg.
    1. Schubert - 4 Impromptus, Op.90, D.899 - No.1 In C Minor (Allegro molto moderato)

    2. Schubert - 4 Impromptus, Op.90, D.899 - No.2 In E Flat Major (Allegro) 5:46

    3. Schubert - 4 Impromptus, Op.90, D.899 - No.3 In G Flat Major (Andante) 5:25

    4. Schubert - 4 Impromptus, Op.90, D.899 - No.4 In A Flat Major (Allegretto)

    5. Schubert - 3 KlavierstÜcke, D.946 - No.1 In E Flat Minor (Allegro assai)

    6. Schubert - 3 KlavierstÜcke, D.946 - No.2 In E Flat (Allegretto)

    7. Schubert - 3 KlavierstÜcke, D.946 - No.3 In C (Allegro)

    8. Beethoven - Piano Sonata No.29 In B Flat, Op.106 -Hammerklavier- Allegro

    9. Beethoven - Piano Sonata No.29 In B Flat, Op.106 -Hammerklavier- Scherzo (Assai vivace - Presto - Prestissimo - Tempo I)

    10. Beethoven - Piano Sonata No.29 In B Flat, Op.106 -Hammerklavier- Adagio sostenuto

    11. Beethoven - Piano Sonata No.29 In B Flat, Op.106 -Hammerklavier- Largo - Allegro risoluto

    12. Rameau - Premier livre de pieces de clavecin Suite In D Minor-Major - Les tendres plaintes

    13. Rameau - Premier livre de pieces de clavecin Suite In D Minor-Major - Les tourbillons

    14. Rameau - Premier livre de pieces de clavecin Suite In D Minor-Major - Les cyclopes

    15. Rameau - Premier livre de pieces de clavecin Suite In D Minor-Major - La follette

    16. Rameau - Nouvelles suites de pièces de clavecin Suite In G Major - Les sauvages

    17. Brahms - Intermezzi, Op.117 - In B Flat Minor
    Grigory Sokolov
    $38.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Beethoven (Live) (Pre-Order) Beethoven (Live) (Pre-Order) Quick View

    $35.99
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    Beethoven (Live) (Pre-Order)

    Evgeny Kissin Releases Beethoven Album To Launch New Exclusive Collaboration With Deutsche Grammophon After 25 Years


    Evgeny Kissin skyrocketed to international fame as a piano sensation in the 1980s.


    He entranced international audiences with captivating interpretations of Romantic masterworks during his teens, and has since flourished as one of the world's most charismatic and visionary performers. Today he is a living legend, one of the most iconic names and magnetic personalities in all of music..


    Kissin's discography so far contains landmark recordings for Deutsche Grammophon, critically acclaimed collaborations with the Berliner Philharmoniker, Herbert von Karajan and Claudio Abbado among them.


    Selected by the artist himself, this luxurious Beethoven double album represents Kissin's personal journey with the composer's solo work over the last decade and includes some of Beethoven's greatest and best-loved solo piano works such as the Moonlight Sonata or the Appassionata - most of them never released before.


    This album is a first in a series of releases renewing the relationship between Kissin and Deutsche Grammophon.

    LP 1
    1. Piano Sonata No.3 In C, Op.2 No.3
    2. Allegro Con Brio (Original Version)
    3. Adagio (Original Version)
    4. Scherzo Allegro (Original Version)
    5. Allegro Assai (Original Version)
    6. 32 Piano Variations In C Minor On An Original Theme, Woo 80 (Live At Le Corum, Montpellier / 2007)


    LP 2
    1. Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 -'Moonlight'
    2. Adagio Sostenuto (Original Version)
    3. Allegretto (Original Version)
    4. Presto Agitato (Original Version)
    5. 1. Allegro Assai (Original Version)
    6. Andante Con Moto (Original Version)
    7. Allegro Ma Non Troppo (Original Version)


    LP 3
    1. 1. Das Lebewohl Adagio - Allegro (Original Version)
    2. Abwesenheit Andante Espressivo (Original Version)
    3. Das Wiedersehen Vivacissimamente (Original Version)
    4. 1. Maestoso - Allegro Con Brio Ed Appassionato (Original Version)
    5. Arietta Adagio Molto Semplice E Cantabile (Original Version)

    Evgeny Kissin
    $35.99
    Vinyl LP - 3 LPs Sealed PRE-ORDER Buy Now
  • Beethoven Symphonie No.6 (On Sale) Beethoven Symphonie No.6 (On Sale) On Sale Quick View

    $44.99 $31.49 Save $13.50 (30%)

    Buy Now
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    Beethoven Symphonie No.6 (On Sale)

    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 $31.49 Save $13.50 (30%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schumann / Beethoven / Schubert Schumann / Beethoven / Schubert Quick View

    $18.99
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    Schumann / Beethoven / Schubert

    180 Gram Heavyweight Vinyl Pressing


    Blessed with a crystal-clear voice, exquisite diction and a natural lyricism, Fritz Wunderlich remains hugely admired, 50 years after his death, by fellow musicians and in his native Germany. The BBC Music Magazine placed Wunderlich among the Top 4 Tenors in the World, along with Plácido Domingo, Enrico Caruso and Luciano Pavarotti.

    1. Beethoven: Adelaïde, Op.46
    2. Beethoven: Resignation, WoO149
    3. Beethoven: ZÄrtliche Liebe, WoO 123 Ich liebe dich
    4. Beethoven: Der Kuss, Op.128
    5. Schubert: Im Abendrot, D.799
    6. Schubert: An die Laute, D. 905 (Op.81/2)
    7. Schubert: Die Forelle, D.550 (Op.32)
    8. Schubert: Lied eines Schiffers an die Dioskuren, D.360
    9. Schubert: Der Musensohn, D.764 (Op.92/1)
    10. Schumann: 1. Im wunderschönen Monat Mai [Dichterliebe, Op.48]
    11. Schumann: 2. Aus meinen TrÄnen sprießen [Dichterliebe, Op.48]
    12. Schumann: 3. Die Rose, die Lilie, die Taube, die Sonne [Dichterliebe, Op.48]
    13. Schumann: 4. Wenn ich in deine Augen seh [Dichterliebe, Op.48]
    14. Schumann: 5. Ich will meine Seele tauchen [Dichterliebe, Op.48]
    15. Schumann: 6. Im Rhein, im heiligen Strome [Dichterliebe, Op.48]
    16. Schumann: 7. Ich grolle nicht [Dichterliebe, Op.48]
    17. Schumann: 8. Und wÜßten's die Blumen, die kleinen [Dichterliebe, Op.48]
    18. Schumann: 9. Das ist ein Flöten und Geigen [Dichterliebe, Op.48]
    19. Schumann: 10. Hör' ich das Liedchen klingen [Dichterliebe, Op.48]
    20. Schumann: 11. Ein JÜngling liebt ein MÄdchen [Dichterliebe, Op.48]
    21. Schumann: 12. Am leuchtenden Sommermorgen [Dichterliebe, Op.48]
    22. Schumann: 13. Ich hab' im Traum geweinet [Dichterliebe, Op.48]
    23. Schumann: 14. AllnÄchtlich im Traume seh' ich dich [Dichterliebe, Op.48]
    24. Schumann: 15. Aus alten MÄrchen winkt es [Dichterliebe, Op.48]
    25. Schumann: 16. Die alten, bösen Lieder [Dichterliebe, Op.48]
    Fritz Wunderlich
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Piano Sonata No. 30 & 31 Beethoven Piano Sonata No. 30 & 31 Quick View

    $39.99
    Buy Now
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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 - Sonatas Nos 8 & 10 Beethoven - Sonatas Nos 8 & 10 Quick View

    $32.99
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    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 Symphony No. 7 (Awaiting Repress) Beethoven Symphony No. 7 (Awaiting Repress) Quick View

    $34.99
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    Beethoven Symphony No. 7 (Awaiting Repress)


    Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios!



    Otto Klemperer (1885-1973) is remembered more as an old man whose last years embraced the refinement of analogue stereo recording and the burgeoning of color television (his performances of Beethoven Symphonies at the Royal Festival Hall were captured by the BBC). As a young man though, he was at the vanguard of much of the new music of the 20th century, and was friends with Mahler (assisting at the premiere of Mahler's 8th Symphony) and championed works by Janacek, Schoenberg, Stravinsky and Hindemith, as well as being a composer himself. Arguably his greatest legacy is the raft of superb recordings he made for EMI from 1954 until 1971, with his interpretations of Beethoven and Brahms symphonies particularly celebrated.


    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, ensuring a completely analogue process.


    In the original 1972 review in the GRAMOPHONE they wrote:

    "The main object of this new recording, I imagine, is to give us [Klemperer's] commanding version of this symphony in a really up to date recording and in this HMV's engineers have been highly successful. The remastered version of his older recording still sounds very well but one has only to compare a few bars to be convinced of the greater superiority of this new edition. It has a more immediate presence which increases the impact of this magisterial reading of the score, while the extremely well defined string bass draws attention to important points one might otherwise overlook; as for example, the place in the slow movement where the accompaniment to the main tune changes from quavers into triplets... As most readers will know by now, you must take Klemperer's Beethoven on his own terms: and his own terms are both impressive, and what is more important, often extraordinarily revealing."



    This title is not eligible for discount.

    Ludwig van Beethoven (1770-1827)

    Symphony No. 7


    Side One:

    1. 1st Movement: Poco sostenuto - Vivace

    2. 2nd Movement: Allegretto


    Side Two:

    1. 3rd Movement: Presto - Assai meno presto

    2. 4th Movement: Allegro con brio


    Jean-Philippe Rameau (1683-1764) (Otto Klemperer arrangements)

    Gavotte with Six variations

    Otto Klemperer
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Beethoven: Symphony No. 9 Beethoven: Symphony No. 9 Quick View

    $37.99
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    Beethoven: Symphony No. 9

    Ludwig van Beethoven's "Symphony No. 9 in D
    minor, Op. 125" (also known as "the Choral"), is
    Beethoven's final complete symphony. Completed
    in 1824, the symphony is one of the best-known
    works in classical music. "Egmont Overture, Op.
    84" by Ludwig van Beethoven, is a set of incidental
    music pieces for the 1787 play of the same name
    by Johann Wolfgang von Goethe. It consists of an
    overture followed by a sequence of nine pieces
    for soprano, male narrator and full symphony
    orchestra. Beethoven wrote it between October
    1809 and June 1810. The "Leonora Overture No.
    3, Op. 72a was composed in 1806, and is the most
    successful of the three Leonora overtures.
    LP 1: SYMPHONY NO. 9 IN D MINOR "CHORAL", OP. 125
    1. I. Allegro ma non troppo, un poco maestoso
    2. II. Molto vivace
    3. III. Adagio molto e cantabile 1


    LP 2:
    1. IV. Presto
    2. IV. Presto - Allegro assai 1
    3. Egmont Overture, Op. 84
    4.Leonore Overture NO. 3, Op. 72a

    Ferenc Fricsay / Berlin Philharmonic Orchestra
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Symphony No. 5 Beethoven: Symphony No. 5 Quick View

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    Beethoven: Symphony No. 5

    Beethoven was Wilhelm FurtwÄngler's guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum - and a constant sense of imaginative freshness - through the interrelationship of form, harmony, texture, rhythm and tempo. No work appeared more frequently in FurtwÄngler's concert programmes than Beethoven's Fifth. Between 1918 and his death in 1954, he conducted more than a hundred performances, including a superbly realized 1937 HMV studio recording with the Berlin Philharmonic and this formidable studio remake with the Vienna Philharmonic, further proof of his astonishing ability to penetrate a work to its core yet preserve it as a living entity.
    1. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): I. Allegro con brio
    2. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): II. Andante con moto
    3. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): III. Allegro -
    4. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): IV. Allegro - Presto
    Wilhelm Furtwangler
    $21.99
    Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 9 Beethoven: Symphony No. 9 Quick View

    $29.99
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    Beethoven: Symphony No. 9

    " undoubtedly a great performance: the power of this interpretation is so compelling, its beauty so moving, and the solo quartet is, I imagine, as good as you could find " - Gramophone

    A historic version of one of the most famous classical works ever, recorded at the occasion of the re-opening of the Bayreuth Festspielhaus in 1951.

    LP 1
    1. Symphony No. 9 in D Minor, Op. 125 'Choral': I. Allegro ma non troppo, un poco maestoso
    2. Symphony No. 9 in D Minor, Op. 125 'Choral': II. Molto vivace - Presto - Molto vivace - Presto


    LP 2
    1. Symphony No. 9 in D Minor, Op.125 'Choral': III. Adagio molto e cantabile - Andante moderato
    2. Symphony No. 9 in D Minor, Op. 125 'Choral': IV. Presto - Allegro ma non troppo - Allegro assai

    Wilhelm Furtwangler
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Triple Concerto in C Beethoven: Triple Concerto in C Quick View

    $44.99
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    Beethoven: Triple Concerto in C

    Ferenc Fricsay conducts the Berlin Radio Symphony Orchestra and pianist Geza Anda, violinist Wolfgang Schneiderhan and cellist Pierre Fournier on a performance of Beethoven's Triple Concerto in C major, Op 56. 180g vinyl pressing from Clearaudio.


    The widespread interest both in the technical capabilities of solo instruments and in the symphony, whose formal outlines became established toward the end of the 18th century, accounts for the popularity at that time of "concertante symphonies" in which several solo instruments (strings, wind) combined to oppose the orchestra. Despite the popularity, Beethoven was correct when he wrote about his Triple Concerto "that a concertante with these three solo parts is something new."


    The novelty lay in the usage of this connection with the piano. The difference between the piano's method of tone production and that of the other instruments alongside the piano's "mechanics" resulted in tonal problems. These problems arose both within the solo trio and in its relationship to the orchestra. Beethoven, who was interested throughout his whole career in experiments to extend the scope of instrumental music, here combined the styles of chamber music and of concertante symphonic writing to great effect.


    Musicians:

    Beethoven (composer)

    Ferenc Fricsay (conductor)

    Berlin Radio Symphony Orchestra Geza Anda (piano)

    Wolfgang Schneiderhan (violin)

    Pierre Fournier (cello)

    1. Allegro
    2. Largo (attacca)

    3. Rondo alla polacca
    Ferenc Fricsay
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Triple Concerto (Speakers Corner) Beethoven: Triple Concerto (Speakers Corner) Quick View

    $34.99
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    Beethoven: Triple Concerto (Speakers Corner)

    Why does the piano part seem comparatively simple in contrast to the violin and cello parts, which make the highest demands on the instrumentalists? And why on earth do three musicians play in concert with an orchestra? As interesting as these questions are with regard to Beethoven's cryptic Triple Concerto, there is a multitude of ways to approach this exceptional work by the great symphonist. In the gallantry of the expression, and keeping in mind the demand for playable parts for his invited circle of musical connoisseurs, Beethoven developed his very own concertante tonal language. This language is brought to life by Rudolf Serkin (piano), Jaime Laredo (violin) and Leslie Parnas (cello) in that they enter continually newly arranged dialogues and thereby offer the listener a warm palette of colours and melodies.



    The orchestral antagonists - the Marlboro Festival Orchestra - weaves a chamber music-like, delicate and wonderfully transparent carpet of sound, upon which Beethoven's characteristic woodwind instruments are bedded like roses. Thanks to these attributes, this recording appears to take place in the luminous glow of a private house and thus conveys a charming yet stimulating atmosphere.



    Musicians:



    • Rudolf Serkin (piano)

    • Jaime Laredo (vocals)

    • Leslie Parnas (cello)

    • and the Marlboro Festival Orchestra concucted by Alexander Schneider




    Recording: May 1962 at Columbia 30th Street Studio, New York, by Ed Michalski and John Johnson

    Production: Thomas Frost



    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
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Kreutzer Sonata (Speakers Corner) Beethoven: Kreutzer Sonata (Speakers Corner) Quick View

    $34.99
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    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: 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: String Quartet, Op. 132 (Speakers Corner) Beethoven: String Quartet, Op. 132 (Speakers Corner) Quick View

    $34.99
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    Beethoven: String Quartet, Op. 132 (Speakers Corner)

    Beethoven's lifelong occupation and pioneering work with the string quartet can be divided up into three creative phases. Beginning with the youthful, fresh Quartets op. 18 which soon became highly popular with the public shortly after their composition, then on to the compact and intensive sounding Quartets op. 59, Beethoven continued to develop his style right up to his late period between 1822 and 1826. The opinions of his contemporaries of his late works range from »extremely moving and haunting« to »Chinese« and show that the rhapsodic style was considered alien and wilful, and the structure of the various movements a cause for bafflement.



    In the Quartet in A minor, most attention is focussed on the slow movement, which Beethoven headed with the words "Heiliger Dankgesang" ("Holy song of thanksgiving"). The movement with its hymnal melody is fully in the tradition of a protestant chorale, but this sacred grandeur is twice contrasted with optimistic, dance-like sections, "Neue Kraft fÜhlend" ("feeling new strength").



    In the meantime, the world-famous LaSalle Quartet has gone down in history; their superb sound, fine intonation and unerring understanding of the highly sensitive late Beethoven is now brought to life once again on this recording.



    Recording: December 1975 at Beethoven-Saal, Hannover (Germany), by Klaus Scheibe

    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.

    1. Assai Sostenuto - Allegro
    2. Allegro Ma Non Tanto
    3. Molto Adagio. Heiliger Dankgesang Eines Genesenen An Die Gottheit, In Der Lydischen Tonart (Canzona Di Ringraziamento Offerta Alla Divinità Da Un Guarito, In Modo Lidico) - Andante. Neue Kraft FÜhlend (Sentendo Nuova Forza) - Molto Adagio. Mit Innigster Empfindung (Con Intimissimo Sentimento)
    4. Alla Marcia, Assai Vivace - Più Allegro - Atacca
    5. Allegro Apassionato - Presto
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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