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  • Brahms: Alto Rhapsody (Speakers Corner) Brahms: Alto Rhapsody (Speakers Corner) Quick View

    $34.99
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    Brahms: Alto Rhapsody (Speakers Corner)

    Johannes Brahms: Alto Rhapsody, Song Of Destiny / Gustav Mahler: Songs Of A Wayfarer


    The Alto Rhapsody, Song Of Destiny and Song Of A Wayfarer. Each of these three vocal compositions is unique in its expression and construction, yet the frayed emotional worlds of all three works are connected by a multitude of fine threads. The Alto Rhapsody, which Brahms wrote as a wedding gift for Clara Schumann's daughter Julie, in whom he was himself in love, demonstrates with almost Wagnerian weight the anger that the disappointed Brahms must have felt while composing. The Song Of Destiny too, with its sonorous E major waves of harmony, soon announces in C minor the finiteness of existence as Hölderin's poem demands. That finally a hopeful, conciliatory - though unsure - moment lingers is reflected in the musical means. Many emotions and vagaries are emulated in Mahler's song cycle. The journeyman sets off on his wanderings in order to forget his unhappy liaison and strides through the ups and downs of mixed emotions and painful heartache. Drumrolls and march rhythms reflect the real world and sounds of nature, dissonances and a change between major and minor keys show the way from dreams, reality and feelings. The recording with Mildred Miller and the Columbia Symphony Orchestra under Bruno Walter has achieved reference status and is sure of a place in the TAS Super LP List given out by The Absolute Sound.

    Musicians:


      Mildred Miller (vocals)
    • The Occidential College Concert Choir and the Columbia Symphony Orchestra
    • Bruno Walter (conductor)



    Recording: June 1960 and January 1961 at Columbia Studios, Hollywood

    Production: John McClure



    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.


    Brahms: Alto Rhapsody, Op. 53
    Brahms: Song Of Destiny, Op. 54
    Songs Of A Wayfarer (Leider Eines Fahrenden Gesellen)
    I. Wenn Mein Schatz Hochzeit
    II. Ging Heut' Morgen Über's Feld
    III. Ich Hab' Ein GlÜhend' Messer
    IV. Die Zwei Blauen Augen
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 3 (Eroica) (Speakers Corner) Beethoven: Symphony No. 3 (Eroica) (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Beethoven: Symphony No. 3 (Eroica) (Speakers Corner)

    Recordings of classical repertoire in the Fifties and Sixties were made during a time of technical development, which is hardly given a thought in our day with its global digitization and mass reproduction. To appreciate the improvement offered by analogue recording technology as opposed to a high-quality mono reproduction, one can do no better than listen to the present rendition of Beethoven's Symphony No. 3. Bruno Walter and his handpicked Columbia Symphony Orchestra present this major orchestral work with its heroic, revolutionary character as a grand symphonic undertaking. Thanks to the new studio technology, Beethoven's 'new path', and his daring experiment with musical form and content is revealed with previously unheard of depth and amplitude. Just how prudently Walter approaches the score is shown again and again in the highly detailed reconstruction and finely chiseled rendition of passages for small ensembles. Instead of depending upon brusque contrasts of the elements, Walter's conducting concentrates on exposing the wealth of differing styles and tonality in the score. This strategy of balancing out the contrasts blazed a trail for today's unremitting search for the much-heralded original sound.

    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:

    • Ludwig van Beethoven (composer)
    • The Columbia Symphony Orchestra conducted by Bruno Walter

    Recording: January 1958 at Legion Hall, Hollywood (CA)

    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.

    Symphony No. 3 In E-Flat Major, Op. 55 ("Eroica")
    1. Allegro Con Brio
    2. Funeral March (Adagio Assai)
    3. Scherzo (Allegro Vivace) - Trio
    4. Finale (Allegro Molto - Poco Andante)
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 6 in F Major, Op. 68 (Columbia Symphony Orchestra) (45 RPM) (Pre-Order) Beethoven: Symphony No. 6 in F Major, Op. 68 (Columbia Symphony Orchestra) (45 RPM) (Pre-Order) Quick View

    $49.99
    Buy Now
    x

    Beethoven: Symphony No. 6 in F Major, Op. 68 (Columbia Symphony Orchestra) (45 RPM) (Pre-Order)

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


    Now Cut At 45 RPM On 2LPs


    Mastered From The Original 3-track Tapes By Ryan Smith At Sterling Sound


    Deluxe Gatefold Tip-On Jacket From Stoughton Printing With Rare Photos


    200-Gram LPs Pressed At Acoustic Sounds' State-Of-The-Art Pressing Plant, Quality Record Pressings


    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.


    Now with Analogue Production's 45 RPM release, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.


    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
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Shostakovitch: Piano Concerto No. 2 Ravel: Piano Concerto In G Major Shostakovitch: Piano Concerto No. 2 Ravel: Piano Concerto In G Major Quick View

    $32.99
    Buy Now
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    Shostakovitch: Piano Concerto No. 2 Ravel: Piano Concerto In G Major

    To kick off the New Year in 1958, the New York Philharmonic and its music director Leonard Bernstein debuted a new piano concerto by Dimitri Shostakovich. The work, the second of his piano concertos, had been written ten months before for Shostakovitchs son, Maxim, who was 19 at the time. Bernstein, as pianist and conductor, not only performed the U.S. debut, but on January 6th he recorded the work for Columbia Records.


    One of the most versatile musicians of the 20th century, Bernstein was a great interpreter of the music of that era. Greatly moved by Shostakovichs music, he was one of the Soviet composers greatest champions. The Second Piano Concerto is often referred to as a fiery and youthful work, making it a perfect fit for the mercurial Bernstein. The performance captured here has the same consuming passion we know from his famous recording of Gershwins Rhapsody In Blue. It may well be the works definitive recording.


    Another work that will forever be associated with Bernstein as both pianist and conductor is Ravels Concerto in G. This jazzy and uplifting piece is a perfect playmate for the Shostakovich concerto. No one brought more to this work than Bernstein, who had been playing it with the New York Philharmonic since 1944. Like Ravel, Bernstein was greatly inspired by jazz and its clear (especially on this new LP!) that Bernstein understood the mood and syncopation of the piece like few before him.


    Impex Records new LP is a stunning time-capsule for classical record production during the golden era of early stereo: minimally miked, full of natural ambience and incredibly dynamic. The Shostakovich concerto was recorded in the enormous Colorama Ballroom of the Saint George Hotel, the location where Bernstein recorded Rhapsody In Blue and Tchaikovskys Romeo And Juliet. The Ravel was recorded on April 7th, 1958 in the magical acoustics of the 30th Street studio. We know the acoustics of this room from such famous recordings as Kind Of Blue, Time Out, Highway 61 Revisited, Barbara Streisands debut album, not to mention countless other records by Bernstein, Bruno Walter, and Simon and Garfunkel. - Robert Mr. Record Pincus

    1. Piano Concerto No. 2, Op. 101
    2. Piano Concerto in G Major
    Dmitri Shostakovitch
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale (Out Of Stock) Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale (Out Of Stock) Quick View

    $34.99
    x

    Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale (Out Of Stock)


    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 Temporarily out of stock
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