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  • Beethoven: Concerto for Violin and Orchestra (Speakers Corner) Beethoven: Concerto for Violin and Orchestra (Speakers Corner) Quick View

    $34.99
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    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
  • Beethoven Violin Concerto Beethoven Violin Concerto Quick View

    $44.99
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    x

    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
  • Violin Recital Violin Recital Quick View

    $39.99
    Buy Now
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    Violin Recital

    Audiophile 180 Gram Vinyl Cut at Emil Berliner Studio


    Pressed at Pallas in Germany


    Violinist and composer Nathan Milstein performs a recital of music by Geminiani, Schubert, Liszt, Stravinsky, Kodaly, Mussorgsky, as well as one of his own works. Milstein is accompanied by Georges Pludermacher on piano.


    In 1942 Nathan Milstein became a naturalized American citizen. After the end of World War II in 1945, Milstein appeared regularly in all of the principal music centers of the world. He performed with most of the great orchestras and gave numerous recitals. He celebrated the 50th anniversary of his American debut in 1979 by giving a number of solo recitals and appearing as soloist with American orchestras. As an avocation, he began painting and drawing, arts in which he achieved a certain degree of self-satisfaction. He also engaged in teaching; held master classes at the Juilliard School of Music in N.Y., and also in ZÜrich. Milstein was renowned for his technical virtuosity and musical integrity. He composed a number of violin pieces, including Paganiniana (1954) and He also prepared cadenzas for the violin concertos of Beethoven and Brahms.


    Features:

    Audiophile 180g Vinyl

    Cut at Emil Berliner Studio

    Pressed at Pallas GmbH Germany


    Musicians:

    Nathan Milstein, violin

    Georges Pludermacher, piano


    This title is not eligible for discount.

    Geminiani
    Sonata in A Major
    1. Andante - Vivace - Allegro
    Schubert
    Rondeau brilliant h-moll
    2. Andante - Allegro - Piu mosso
    Milstein
    Paganiniana
    3. Theme: Var: 1: Animato - Var II: Maestoso - Var IV: Lento - Var V: Marcato - Var VI: Amoroso - Var VII: Liberamente - Piu mosso
    Liszt
    Consolation No. 3 Des-dur
    4. Lento piacido
    Stravinsky
    5. Chanson russe
    Kodally
    II Pleut dans la ville
    6. Allegro malinconico
    Mussorgsky
    Hopak
    7. Vivace - Scherzando
    Nathan Milstein
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Symphony No. 2 / Violin Romances Nos. 1 & 2 Symphony No. 2 / Violin Romances Nos. 1 & 2 Quick View

    $32.99
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    Symphony No. 2 / Violin Romances Nos. 1 & 2

    Import


    Symphony No. 2 in D major (1803), Opus 36, this symphony consists of four movements: * Adagio molto -- Allegro con brio, *Larghetto, *Scherzo: Allegro * Allegro molto. The Romance for Violin and Orchestra No. 1 in G major, Op. 40 is a composition for violin and orchestra by Ludwig van Beethoven, one of two compositions. The other was Romance No. 2 in F major, Op. 50. It was written in 1802, four years after the second romance, and was published 1803, two years before the publication of the second. Thus, this romance was designated as Beethoven's first.

    SYMPHONY NO. 2 In D Major, Op. 361.
    1. I. Adagio - Allegro con brio 10.192.
    2. II. Larghetto 10.353.
    5. III. Scherzo: Allegro 3.54
    4. IV. Allegro molto 6.26

    Berlin Philharmonic Orchestra,
    Herbert von Karajan - conductor
    Recorded at Jesus-Christus-Kirche, Berlin,
    December 1961 - January 19622.


    5. VIOLIN ROMANCE NO. 1 In G Major, Op. 40 7.23


    6. VIOLIN ROMANCE NO. 2 In F Major, Op. 50 8.46

    David Oistrakh - violin
    Royal Philharmonic Orchestra, Sir Eugene Goossens - conductor
    Recorded at Wembley Town Hall, London, February 1961

    Herbert Von Karajan
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Perlman Sound The Perlman Sound Quick View

    $23.99
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    The Perlman Sound

    No one could deny that Itzhak Perlman holds a special place in the world of music - and no one could define it more eloquently than his old friend and colleague, the pianist and conductor Daniel Barenboim: It is quite impossible to imagine today's violin heritage without the absolute musical genius of Perlman. The most obvious manifestation of that genius is the famous Perlman Sound - lustrous, warm and generous, its impact compounded by often astounding virtuosity; and yet Perlman makes it all look so easy. In fact, he communicates a positive joy in his playing.


    Perlman Sound is released as a primer for the deluxe 59-album boxed set Itzhak Perlman: the Complete Warner Recordings, and may be a good option for fans who don't have enough shelf space for this expansive edition. This collection explores his artistry from the finest concerto highlights (Mendelssohn, Brahms, Beethoven, Tchaikovsky, Korngold, Sibelius, The Four Seasons), to virtuoso solo and chamber repertoire (Paganini Caprice No.24, Bach Partita No.3, the MÉditation from Thaïs, Flight of the Bumblebee, Zapateado) and klezmer and jazz selections. The duo partners and conductors are some of the 20th century's biggest classical stars, many of whom count among Perlman's dearest friends and collaborators.

    1. Thais: Meditation
    2. Vocalise, Op. 34, No. 14
    3. Zigeunerweisen, Op. 20
    4. Meditation, Op. 32
    5. Russian Fantasy (arr. Kreisler)
    6. Souvenir d'un lieu cher, Op. 42: No. 2 Scherzo in C Minor (Arr. Glazunov)
    7. Legende, Op 17
    8. The Old Refrain (arr. Kreisler)
    9. Schon Rosmarin
    Itzhak Perlman
    $23.99
    Vinyl LP - Sealed Buy Now
  • Tchaikovsky Violin Concerto In D Major Tchaikovsky Violin Concerto In D Major Quick View

    $24.99
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    Tchaikovsky Violin Concerto In D Major

    The Tchaikovsky Violin Concerto, like the Beethoven and Brahms companion concertos, requires a true virtuoso to reveal it in its proper light. Fortunately, such a virtuoso was Tossi Spivikovsky, who accompanies Walter Goehr conducting the London Symphony Orchestra to a rousing performance. The LP, as are all reissues from this series, was cut directly from the 35mm magnetic film using a vintage Westrex 1551 tape machine, with specially built playback electronics that are vastly superior to any others used on these machines to playback the original 35mm tapes. The Len Horowitz / History of Recorded Sound specially modified 1551, fitted with brand new playback heads matched to the revolutionary playback electronics was stationed at Bernie Grundman Mastering in Hollywood. With Len Horowitz running the playback machine and Bernie Grundman mastering from the three track 35mm tapes, Classic Records has been able to cut the legendary sound and performances through Classic's ALL TUBE tape playback system and cutting system at Bernie Grundman Mastering in Hollywood.


    The LP's are pressed on Classic's 200g Super Vinyl Profile making it possible to get every nuance out of the non-distorted grooves that make SVP sound superior to all other records on the market today. Authentic tip on construction jackets with all original artwork and labels add to this must have deluxe LP edition as part of the Classic Everest 35MM LP Series.

    Pyotr Ilich Tchaikovsky
    $24.99
    200 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: Violin Concerto In D, Op. 61/ Kogan Beethoven: Violin Concerto In D, Op. 61/ Kogan Quick View

    $34.99
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    Beethoven: Violin Concerto In D, Op. 61/ Kogan


    Full Analog Mono Production


    Recorded June 29 and 30, 1957, originally by EMI Music France. Leonid Borisovich Kogan was born on Nov. 14, 1924, in the Ukraine. His father played the violin as an amateur and the sound so fascinated the boy that by age 3 he would not go to sleep unless he had the fiddle beside him. After age 5 he began taking lessons on the instrument. He made his first public appearance playing, at age 10. His official concert debut came playing the Brahams Concerto with the Moscow Philharmonic in 1941. For the celebrated violinist, his interpretation of the Beethoven Concerto was one of the glories of his era; none of his contemporaries played it with such consistent stylistic command or such intellectual and spiritual penetration.

    1. Violin Concerto in D, Op.61
    2. I Allegro ma non troppo
    3. II Larghetto
    4, III Rondo (Allegro)
    Andre Vandernoot
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Beethoven: Violin Sonata Op. 96 & Op. 25 Beethoven: Violin Sonata Op. 96 & Op. 25 Quick View

    $34.99
    Buy Now
    x

    Beethoven: Violin Sonata Op. 96 & Op. 25

    200-Gram Vinyl Plated And Pressed At Quality Record Pressings


    Mastered By Kevin Gray At Cohearent Audio


    Stereophile's Recording of the Month For February 1984


    Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about. - Stereophile, February 1984


    David Abel, violin, Julie Steinberg, piano. This composition occupies a special place among Beethoven's creations because it shows a unique quality: there is an Olympian elegance, a profound gentleness that pervades the entire work. Nowhere does Beethoven the earth shaker appear. Even the scherzo movement does not disturb this sustained thoughtfulness.


    Violin and piano begin trading short thematic statements in quick exchange from the first notes of the first movement. Parallel arpeggios create a growing intensity. The middle section of the movement is characterized by abrupt modulations and an increased pace of exchanges. A striking procedure is the use of a seemingly interminable trill, nearly heartstopping in its intensity.


    The second movement, Adagio expressivo, one of Beethoven's floating Adagios, is based on the compulsion of a slow intense bass movement. The serenity of this movement is not disturbed by elaborate decoration from both instruments. And this stillness is further emphasized by a fourteen measure repeating pedal point (nearly one fifth of the movement) which closes it. The Scherzo sustains the serious character of the entire work. The last movement begins not only with a quick alternation of themes between the violin and piano, but a soft and loud alternation, as well, which adds to the feeling of growing intensity. An interrupted rondo is the plan, but the interruptions are of a major kind: another sensuous adagio and a daring fugato lead to a presto outburst concluding the movement.


    David Wilson had already recorded piano by the time he began working with world-class musicians Steinberg and Abel in the Mills College Concert Hall in Oakland, California, though it was the first time he recorded a violin. Experimenting with different microphone positions in an attempt to capture what he calls the delicious geometry of sound emanating from Abel's Guarneri and Steinberg's Hamburg Steinway D, he ended up hanging his Schoeps CMC-36 microphones from a ladder high above the instruments. Of the results, he says, I'd put the recording up against any chamber music recording. It has to be my favorite.


    Reached at their home in Oakland, Steinberg and Abel, whose trio with percussionist William Winant has commissioned music from the likes of John Harbison, Lou Harrison, Paul Dresher, Somei Satoh, and Gordon Mumma (for starters), reminisced about their time with Wilson.


    The session was free of the time pressure and tension that can really get in the way of the final outcome, says Abel. If we wanted to stop for a bite, or go outside to rest for a while, that was not a problem... Dave kept open to what was happening in the moment, as in a concert. He understood about not making a 'perfect' recording, and instead left the small imperfections... that make the final result sound human and real. One could not ask for better.


    This title is not eligible for discount.

    1. Violin Sonata No.10 in G Major, Op. 96 - I. Allegro moderato play
    2. Violin Sonata No.10 in G Major, Op. 96 - II. Adagio espressivo play
    3. Violin Sonata No.10 in G Major, Op. 96 - III. Scherzo Allegro play
    4. Violin Sonata No.10 in G Major, Op. 96 - IV. Poco allegretto play
    5. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - I. Moderato malinconico play
    6. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - II. Andante sostenuto e misterioso play
    7. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - III. Allegro con brio, ma non troppo mosso
    David Abel & Julie Steinberg
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Triple Concerto (Awaiting Repress) Beethoven Triple Concerto (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    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: 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: Triple Concerto (Speakers Corner) Beethoven: Triple Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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: Triple Concerto in C Beethoven: Triple Concerto in C Quick View

    $44.99
    Buy Now
    x

    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
  • Bundeslied / Opferlied Bundeslied / Opferlied Quick View

    $32.99
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    x

    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
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Academy In Concert The Academy In Concert Quick View

    $34.99
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    The Academy In Concert

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


    Sir Neville Marriner leads the Academy Of St. Martin-in-the-Fields with violinist Iona Brown performing on Albinoni's Adagio in G minor.


    Sir Neville Marriner, now in his 90th year, began his career as a violinist, playing first in a string quartet and trio, then in the London Symphony Orchestra. It was during this period that he founded the Academy of St Martin-in-the-Fields, with the aim of forming a top-class chamber ensemble from London's finest players. Beginning as a group of friends who gathered to rehearse in Sir Neville's front room, the Academy gave its first performance in its namesake church in 1958. On the strength of this, the Academy was invited to make a record for a new company called L'Oiseau Lyre. "And thanks to a very generous review from Denis Stevens in The Gramophone, promoters noticed us" Sir Neville says. "We were able to do a German tour, and other record companies took notice. It was a fortuitous snowball. The only credit we can claim is that we decided always to have good players and never to go on the platform under-rehearsed." The Academy now enjoys one of the largest discographies of any chamber orchestra worldwide, and its partnership with Sir Neville is the most recorded of any orchestra and conductor.


    Recorded on 1-4 October 1973 at Studio 1 Abbey Road, London, with producer Christopher Bishop and engineer Stuart Eltham.


    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 using the original EMI presses by The Vinyl Factory in Hayes, England.


    In the original October 1974 review in the GRAMOPHONE W.A. Chislett remarked:

    "This is a splendid lightweight selection revealing Neville Marriner and his wonderful, hand-picked team at the top of their form in an admirably balanced programme, with, say, the gaiety and wit of the Beethoven Dances at the one end of the scale and the grave and dignified beauty of Pachebel st the other, and lots of bonnes-bouches in between... the whole record is a delight, whether the music be jolly or more sombre."


    Features:

    • Hi-Q Records Supercuts 180g Vinyl

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

    • Superior Audiophile Pressing

    • Features Original Album Artwork


    Musicians:

    Iona Brown, violin (1)

    Academy of St. Martin-in-the-Fields

    Sir Neville Marriner


    This title is not eligible for discount.

    Albinoni
    1. Adagio in G minor (arr. Giazotto)


    Mendelssohn
    2. Scherzo from Octet for Strings Op. 20


    Handel
    3. Minuet (Berenice)


    Mozart
    4. March in D, K335, No. 1


    Bach
    5. Sinfonia from Christmas Oratorio


    Pachelbel
    6. Canon in D Major


    Beethoven
    7. Twelve Contradances


    Handel
    8. Pastoral Symphony (from The Messiah)


    Bach
    9. Air from Suite No. 3 in D Major, BWV1068


    Mozart
    10. German Dance No. 3 (from K605)

    Neville Marriner
    $34.99
    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
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    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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