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  • Shostakovich: Cello Concerto No. 2 (Speakers Corner) Shostakovich: Cello Concerto No. 2 (Speakers Corner) Quick View

    $34.99
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    Shostakovich: Cello Concerto No. 2 (Speakers Corner)

    The world of music expects something special from the dedicatees of major compositions, especially when the honoured person himself performs the work either on stage or in the recording studio. Among such personages is Mstislav Rostropovich, the great maestro of the cello, who studied and successfully collaborated with Dmitri Shostakovich while still a student at the Moscow Conservatory and who later gave the premiere performances of his Cello Concertos.



    The Cello Concerto No. 2 from 1966 was composed around the same time as the highly emotional choral Symphonies Nos. 13 and 14 and displays a similar character of gloom and grim drama. The soloist presents the dark theme out of the depths and soon enters into brighter regions full of aggressive layers of sound. A wild conflict between soloist and orchestra follows, whereby the forced gaiety of the cello rages.
    As a contrast, the soloist is in perfect harmony with the piano in Glazunov's Chant du MÉnestrel. Supported by warm chords, Rostropovich lets his instrument soar to the heights in a cultivated and thoughtful fashion and proves once again that he is truly a great interpreter of Russian music.




    Recording: August 1975 at Boston Symphony Hall by Hans-Peter Schweigmann

    Production: Thomas Mowrey




    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.

    Dmitri Shostakovich: Concerto for Violoncello and Orchestra No. 2
    Alexander Glazounov: Chant du Menestrel - Mstislav Rostropovich and the Boston Symphony Orchestra conducted by Seiji Ozawa
    Dmitri Shostakovitch
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Moths Moths Quick View

    $15.99
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    Moths

    Jacob Morris is from Athens, Georgia. He started playing cello in Austin, TX at the age of four, and played with his musical family until he left home. The unique music community that is Athens attracted him years back. and since then he has supported some of its finest musicians and songwriters playing cello, guitar, bass, and keys with artists such as Ham 1, Vic Chesnutt, Liz Durrett, Madeline, and currently Patterson Hood of the Drive-By Truckers. Taking cues from the psychedelic pop and folk of this robust scene, Jacob has crafted a stellar debut with his Moths album.
    1. Sidewind
    2. Flowers (Myrtle)
    3. Spider
    4. Lost Twilight
    5. Dusty
    6. Wet Cigarette
    7. Dirty Dove
    8. Glass
    9. Landscapes
    10. Click of Your Watch (take 1)
    Jacob Morris
    $15.99
    Vinyl LP - Sealed Buy Now
  • Cello Concertos Cello Concertos Quick View

    $44.99
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    Cello Concertos

    The greatest cellist of modern time -- well, who could argue with a statement like that? After all, Mstislav Rostropovich is a supreme virtuoso, a charismatic performer, and a sublime interpreter and virtually every one of his recordings is as good as it gets for the repertoire. The key word, of course, is virtually: while Rostropovich's Dvorák concerto with Karajan, his Beethoven sonatas with Richter, his Brahms sonatas with Serkin, and above all his Shostakovich sonata with Shostakovich are definitive, can one say the same of his Boccherini, Vivaldi, and Tartini concertos with Paul Sacher? Or could one say that Rostropovich does not so much play the music of the great Italian Baroque composers as overwhelm it, that his virtuosity, his charisma, and his interpretations are more than the music can bear and that the listener is left not with fond memories of the music but instead with the overpowering impression of an unstoppable musical personality having his way with the music. The results are initially awe-inspiring but may ultimately prove to some to be empty. Accompanied -- the more appropriate word might be enabled -- by Sacher and the Collegium Musicum ZÜrich, the greatest cellist of modern times came, saw, and conquered the finest cello concertos of Baroque times. Whether that's a good thing or not is up to the listener.

    - All Music Guide


    Musicians:

    Mstislav Rostropovich, cello

    Side 1:
    Luigi Boccherini (1743-1805)
    Concerto for Violoncello and Strings No. 2 in D major
    1. Allegro
    2. Adagio
    3. Allegro


    Antonio Lucio Vivaldi (1678-1741)
    Concerto for Violoncello, Strings and Continuo in C major (P. 31)
    4. Allego
    5. Largo
    6. Allegro


    Side 2:
    Giuseppe Tartini (1692-1770)
    Concerto for Violoncello and Strings in A major
    1. Allegro
    2. Larghetto
    3. Allegro assai


    Antonio Lucio Vivaldi (1678-1741)
    Concerto for Violoncello, Strings and Continuo in G Major (P. 120)
    4. Allegro
    5. Largo
    6. Allegro

    Antonio Vivaldi
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner) Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner) Quick View

    $34.99
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    Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner)

    Schumann rapidly composed his Cello Concerto in only two weeks during an extremely productive creative phase. Its first performance was quite another story. Although the piece was written first and foremost for this beautiful instrument, so Schumann, no cellist showed any desire to perform the work in concert. Initially the cellist Robert Bockmhl from Frankfurt had shown interest in the piece, but then declined to play it after Schumann had refused to comply with his wishes for certain changes. This led to the unfortunate fact that Schumann did not live to see the work's premiere. Things went quite differently with Edouard Lalo, who described himself as a self-taught composer; an excellent cellist himself, Lalo could be sure that his work would be heard in the concert hall.



    Both works are connected by the pioneering attempt to establish the cello as a solo instrument in concert life in the 19th century. Right from the fifth bar of the Schumann concerto Janos Starker is able to display his mastership in the expansive main theme. He enjoys to the full the opportunities to explore the instrument's range of tone and expression, and this he does with clarity and a full tone. In the Lalo too he demonstrates his absolute virtuosity: in the lyrical passages he delights us with a melting cantabile, in the Saltarello finale he demonstrates his perspicacity and fills the triumphant writing with elegance and tonal resonance. Luckily this music has found its way to one of today's most outstanding cellists.




    Recording: July 1962 at Watford Town Hall, United Kingdom, by C. Robert Fine

    Production: Wilma Cozart-Fine and 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. Robert Schumann: Concerto for cello and orchestra in A minor, op. 129
    2. Édouard Lalo: Concerto for cello and orchestra in D minor
    Janos Starker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 2Cellos 2Cellos Quick View

    $34.99
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    2Cellos

    Young Croatian cellists Luka Sulic and Stjepan Hauser, together known as 2CELLOS, have achieved sensational success by taking the cello to a new level. Their playing style has broken down the boundaries between different genres of music, from classical and film music to Pop and Rock. 2CELLOS have no limits when it comes to performing live and are equally as impressive when playing Bach and Vivaldi as they are when rocking out AC/DC. Their debut album is a thrilling collection of chart-topping Rock and Pop songs performed in their signature style.


    2CELLOS rose to fame in 2011 when their version of Michael Jackson's ''Smooth Criminal'' took the world by storm. The YouTube video became a massive viral sensation leading to a record deal with Sony Masterworks and an invitation to join Sir Elton John on his worldwide tour. The song charted at No. 10 on the Billboard Hot 100 Digital Songs Chart and landed the 2CELLOS' debut album in the Top 100.


    In addition to many sold out solo tours (US, Japan, Europe) and collaborations with the Red Hot Chili Peppers, Queens of the Stone Age and George Michael, the duo have also appeared on major TV shows such as The Tonight Show with Jay Leno, The Ellen DeGeneres Show, The Bachelor and many others. Together with the Chinese classical superstar pianist Lang Lang, they appeared at the CCTV New Year's Gala for more than 1 billion viewers.

    1. Where The Streets Have No Name
    2. Misirlou (Theme From Pulp Fiction)
    3. Use Somebody
    4. Smooth Criminal
    5. Fragile
    6. The Resistance
    7. Hurt
    8. Welcome To The Jungle
    9. Human Nature
    10. Viva La Vida
    11. Smells Like Teen Spirit
    12. With Or Without You
    2Cellos
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bach: Unaccompanied Cello Suites Bach: Unaccompanied Cello Suites Quick View

    $34.99
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    Bach: Unaccompanied Cello Suites

    180 Gram Audiophile Virgin Vinyl, 3 LP Set


    Yo Yo Ma's Classic album from the 18 time Grammy Award Winner. This is One of Yo-Yo Ma's most influential and successful albums and is available for the first time on 180 Gram Vinyl!
    He was also the Winner of the 1984 Grammy® Award for Best Classical Performance Instrumental - Soloist or Soloists (Without Orchestra).

    LP1
    1. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; PrÉlude
    2. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Allemande
    3. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Courante
    4. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Sarabande
    5. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Menuett
    6. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007; Gigue
    7. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; PrÉlude
    8. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Allemande
    9. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Courante
    10. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Sarabande
    11. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Menuett
    12. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008; Gigue


    LP2
    1. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; PrÉlude
    2. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; Allemande
    3. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; Courante
    4. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; Sarabande

    5. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; BourrÉe

    6. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009; Gigue

    7. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; PrÉlude

    8. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; Allemande
    9. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; Courante
    10. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; Sarabande

    11. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; BourrÉe
    12. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010; Gigue


    LP3
    1. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; PrÉlude
    2. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Allemande
    3. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Courante
    4. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Sarabande

    5. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Gavotte
    6. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011; Gigue
    7. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; PrÉlude
    8. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Allemande
    9. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Courante
    10. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Sarabande
    11. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Gavotte
    12. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012; Gigue

    Yo-Yo Ma
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Plays Metallica By Four Cellos (Awaiting Repress) Plays Metallica By Four Cellos (Awaiting Repress) Quick View

    $27.99
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    Plays Metallica By Four Cellos (Awaiting Repress)

    Includes 3 Bonus Tracks Never Before Available


    Take four cellos, mix with a quartet of Finnish classical-music students who possess a note-for-note knowledge of metal giants Metallica, and beat gently. Viola! You have a truly stirring album that provides tangible evidence of the dramatic passages and intricate arrangements that classical music and heavy metal share.


    On Enter Sandman and Creeping Death, the exquisite playing of the cellists intensifies the darkness and emotion of Metallica. In the process the strength and versatility of the group's songwriting is given more credence.


    Perhaps the most remarkable element of the album is the faithfulness that's shown to the original songs, right down to faultlessly following the vocal melodies. With Plays Metallica by Four Cellos, Apocalyptica have proved that the universal language of good music is unbound by genre. Here is a clever concept brilliantly realized.


    --Steffan Chirazi

    1. Enter Sandman
    2. Master Of Puppets
    3. Harvester Of Sorrow
    4. The Unforgiven
    5. Sad But True
    6. Creeping Death
    7. Wherever I May Roam
    8. Welcome Home (Sanitarium)
    9. Battery (Bonus Track)
    10. Nothing Else Matters (Bonus Track)
    11. Seek And Destroy (Bonus Track)
    Apocalyptica
    $27.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Imaginary Cities Imaginary Cities Quick View

    $25.99
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    Imaginary Cities


    Chris Potter: tenor and soprano saxophones, bass clarinet

    Adam Rogers: guitars

    Craig Taborn: piano

    Steve Nelson: vibraphone, marimba

    Fima Ephron: bass guitar

    Scott Colley: double bass

    Nate Smith: drums

    Mark Feldman: violin

    Joyce Hammann: violin

    Lois Martin: viola

    Dave Eggar: cello


    Imaginary Cities is the recording premiere of saxophonist Chris Potter s new Underground Orchestra. At the core of this larger ensemble is the personnel of his long-established Underground quartet with Adam Rogers, Craig Taborn and Nate Smith now joined by two bassists, a string quartet, and Potter s old comrade from Dave Holland Quintet days, vibes and marimba man Steve Nelson. The title composition is a suite, panoramic in its reach, with movements subtitled Compassion , Dualities , Disintegration and Rebuilding . The scope of the work, and its contrasting moods and thematic development, inspire some of Potter s finest playing. His saxes fly high above his idealized cityscapes or launch into dialogues or group improvising with its gifted inhabitants. Four further pieces Lament , Firefly , Sky and Shadow Self extend the feeling of the suite, successfully combining both tightly written material and very open areas involving all members of the orchestra. References are multi-idiomatic and multicultural, and Potter, who counts Charlie Parker with Strings amongst his formative enthusiasms, had Arabic and Indian string sections in mind, as well as contemporary composition, when shaping this material. Imaginary Cities was recorded in December 2013 in New York s Avatar Studio and produced by Manfred Eicher. Release of the album is followed by US performances with the Underground Orchestra in New York and San Francisco.

    1. Lament
    2. Imaginary Cities (Pt. 1, Compassion)
    3. Imaginary Cities (Pt. 2, Dualities)
    4. Imaginary Cities (Pt. 3, (Disintegration)
    5. Imaginary Cities (Pt. 4, Rebuilding)
    6. Firefly
    7. Shadow Self
    8. Sky
    Chris Potter, Underground Orchestra
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Dracula Soundtrack Dracula Soundtrack Quick View

    $29.99
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    Dracula Soundtrack


    Official Release Date 10/31/2016


    Limited To 2000 Copies


    First Time On Vinyl


    Orange Mountain is pleased to announce for the first time on vinyl Philip Glass's 1998 score to the 1931 film DRACULA starring Bela Lugosi. For his new score, Philip Glass tapped the all-star Kronos Quartet and wrote specifically for them. In the late-1990s Universal Pictures approached composer Philip Glass to compose a new score for one of its classic monster movies. Glass chose to compose a score for Tod Browning's 1931 Dracula because it never had an original score. He composed the work for string quartet to evoke an ancient sound and now almost 20 years later Glass and Kronos continue to perform the music live to film around the world. In the end Glass's music gave the film new life, perhaps adding something that had been missing before there was music: structure and pacing and above all a new sense of mystery and soul.


    DRACULA album was originally available on Nonesuch in the late-1990s.

    This is the first time DRACULA is available on vinyl.


    Music by Philip Glass and Kronos Quartet:

    David Harrington, violin

    John Sherba, violin

    Hank Dutt, viola

    Joan Jeanrenaud, cello


    Features:

    Double LP, 180 gram black vinyl

    gatefold jacket

    Mastered by Michael Riesman

    Manufactured by: United Record Pressing

    LP 1
    1. Dracula
    2. Journey to the Inn
    3. The Inn
    4. The Crypt
    5. Carriage without a Driver
    6. The Castle
    7. The Drawing Room
    8. ''Excellent, Mr Renfield''
    9. The Three Consorts of Dracula
    10. The Storm
    11. Horrible Tragedy
    12. London Fog
    13. In the Theatre
    14. Lucy's Bitten
    15. Seward Sanatorium
    16. Renfield


    LP 2
    1. In His Cell
    2. When the Dream Comes
    3. Dracula Enters
    4. Or a Wolf
    5. Women in White
    6. Renfield in the Drawing Room
    7. Dr. Van Helsing and Dracula
    8. Mina on the Terrace
    9. Mina's Bedroom/The Abbey
    10. The End of Dracula

    Philip Glass & Kronos Quartet
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Dalmak Dalmak Quick View

    $25.99
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    Dalmak

    180g LP Audiophile Pressing Includes Art Poster


    Fourth Album From Modern Contemporary / Instrumental Rock Ensemble Led By Percussionist Bruce Cawdron (Godspeed You! Black Emperor) & Cellest Rebecca Food (Silver Mr Zion, Saltland, Set Fire To Flames)


    Partly Recorded In Istanbul With Four Turkish Guest Players


    Mixed By Jace Lasek (The Besbard Lakes, Wolf Parade, Suuns)


    When Esmerine surfaced with La Lechuza in 2011, the album signaled many things: the band's first new recordings in six years, an expanded line-up, and a song cycle inspired by and dedicated to the life and untimely death of a dear friend and fellow musician. What wasn't immediately clear was whether this acclaimed record would mark the opening of a new chapter for the band, or stand alone as a singular work of eulogy and homage driven by emotion and circumstance.


    Esmerine's new album Dalmak emphatically confirms that the group has indeed continued writing, exploring and collaborating - definitively extending its horizons in this new iteration of the band's trajectory. Bruce Cawdron (marimba) resigned from his seat as drummer for Godspeed You! Black Emperor in 2012, allowing him to focus more fully on Esmerine alongside co-founder and cellist Rebecca Foon (Silver Mt. Zion, Set Fire To Flames); the two
    principals also recruited percussionist Jamie Thompson (Unicorns, Islands) and multi-instrumentalist Brian Sanderson as full-time members to solidify the group as a writing and performing quartet.


    European tours in 2011-2012 brought Esmerine to Istanbul, where the group's enthusiastic reception led to an invitation for an artist residency in the city. Dalmak is the fruit of that visit: the majority of the album was recorded in Istanbul, where compositions by the band's four Canadian musicians were augmented by a number of Turkish guest players.


    Dalmak is a Turkish verb with many connotations: to be absorbed in, to dive into, to bathe in, to contemplate, to plummet. As a title for Esmerine's new album, "dalmak refers in a literal sense to immersion in the culture and music of Istanbul but also appropriately evokes the range of music that emerged from this immersion: a collection of songs that shift between meditative pulsing and enveloping restraint to headlong flights into rhythm and groove. With Dalmak, Esmerine presents some of its most richly minimal and intimate music alongside what is surely its most explosive, energized and ornate. The album is a tour-de-force of cross-cultural music-making, emotive but unsentimental,
    deeply textured and detailed but never precious or pedantic, superbly guided throughout by a balance of DIY rock, new folk and modern classical/contemporary sensibilities.


    With initial recording by Barkin Engin and Metin Bozkurt in Istanbul, Esmerine laid down the
    live bed tracks for the up-tempo rhythmic songs at the album's core: Lost River Blues, Barn Board Fire and Translator's Clos. Marimba, cello, drums, tenor banjo, bass and trumpet are joined by bendir, darbuka, erbane, meh, barama, saz and electric guitar from local players for these centerpiece tracks, where extended melodic themes and short solos are passed around and woven through staccato grooves and polyrhythmic vamps in deeply
    satisfying fashion. The sessions continued back in MontrÉal at Breakglass, where Cawdron and Foon tracked the more studied cello and marimba songs Learning To Crawl and White Pine, and where the album's gorgeously saturated warmth, depth and propulsive grit was achieved courtesy of Breakglass head engineer Jace Lasek (The Besnard Lakes,
    Wolf Parade, Suuns) and Ian Ilavsky, who mixed the album alongside Rebecca and Bruce.


    We're thrilled to present this new album from Esmerine and to document the continued evolution of Bruce Cawdron and Rebecca Foon, two musicians with whom Constellation has enjoyed a decade-long relationship spanning multiple projects. Dalmak is a distinct and exciting highlight in their diverse and adventurous discographies.

    1. Learning To Crawl
    2. Lost River Blues I
    3. Lost River Blues II
    4. Barn Board Fire
    5. Hayale Dalmak
    6. Translator's Clos I
    7. Translator's Clos II
    8. White Pine
    9. Yavri Yavri
    Esmerine
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bach: 1-6 Solo Cello Suites (Speakers Corner) Bach: 1-6 Solo Cello Suites (Speakers Corner) Quick View

    $95.99
    Buy Now
    x

    Bach: 1-6 Solo Cello Suites (Speakers Corner)

    Today it is difficult to understand that despite the tremendous Bach renaissance that took place in the 19th century many compositions by the Cantor of St. Thomas's Church in Leipzig had been underrated. The Cello Suites, for example, have been regarded for almost 300 years as purely a set of tricky etudes that every virtuoso in the making simply must tackle. What recording engineers and their equipment can bring to the ears is quite astounding. So it was back in the Thirties with Pablo Casal's legendary recording against which every cellist is measured today and to whose perfection he aspires.



    Janos Starker's recording of the Suites from 1965 makes a lasting impression on the listener, even when compared with other recordings from the digital era, and even record producers who are well used to recorded excellence have been highly impressed. For Charlotte Gilbert of the Mercury record label, these recording sessions were one of five truly great events in all her 20 years of recording experience.



    Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker's full-bodied sound and technical brilliance are complemented by his finely chiselled interpretation that lends immense expression to Bach's thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach's Cello Suites are 'polyphony for a solo instrument'.



    Musicians:



    • Janos Starker (cello)




    Recording: April 1963, September and December 1965 at ballroom Studio A at Fine Recording Studios, New York, by C. Robert Fine and Robert Eberenz

    Production: Wilma Cozart



    Format: 3LPs 33rpm / Box, booklet



    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.



    Janos Starker
    $95.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Beethoven: Sonatas For Piano and Cello (Speakers Corner) Beethoven: Sonatas For Piano and Cello (Speakers Corner) Quick View

    $69.99
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    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
  • The Goat Rodeo Sessions The Goat Rodeo Sessions Quick View

    $29.99
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    The Goat Rodeo Sessions

    The last time cellist Yo-Yo Ma teamed with bassist Edgar Meyer and mandolin player Chris Thile (of Nickel Creek and Punch Brothers fame) for a classical/bluegrass hybrid, the result was the gold-selling Songs of Joy & Peace. Here, Ma, Meyer, and Thile are joined by fiddler Stuart Duncan in a different kind of string quartet.


    The slang phrase goat rodeo, according the Urban Dictionary, is about the most polite term used by aviation people (and others in higher risk situations) to describe a scenario that requires about 100 things to go right at once if you intend to walk away from it. That may be overstating the case for a group of musicians, most of whom have worked together and succeeded before, but it also carries a rural connotation that is appropriate for music that is, for the most part, closer to bluegrass than classical. The tunes were written by Duncan, Meyer, and Thile, and Ma's role is largely supportive. After the fast pieces Attaboy and Quarter Chicken Dark, Helping Hand is the first slower number, with Thile switching to guitar and Duncan taking over the mandolin for a musical conversation between the two instruments.


    Where's My Bow? is a violin/cello/bass trio with Thile sitting out, and it is one of the few tracks that leans more toward the classical side, boasting a big, dramatic finish. The more exotic Here and Heaven finds both Thile and Meyer at times playing the Renaissance instrument the gamba, as Duncan picks up a fretless banjo, all of them backing a vocal duet between Thile and Aoife O'Donovan of Crooked Still. Meyer moves to piano for the slow, thoughtful Franz and the Eagle, another piece that has more of a classical bent.


    The rest of the album is in a progressive bluegrass mode, Less Is Moi mixing several short themes and allowing room for improvisation, and 13:8 taken quickly, with Duncan and Thile interacting briskly. It doesn't really seem as if 100 things had to go right for The Goat Rodeo Sessions to work; it only required four or five talented musicians to play and sing in sympathetic unity, and that they did, making this a satisfying experience for more adventurous classical and bluegrass fans.

    LP1
    1. Attaboy
    2. Quarter Chicken Dark
    3. Helping Hand
    4. Where's My Bow?
    5. Here and Heaven
    6. Franzand the Eagle


    LP2
    1. Less is Moi
    2. Hill Justice
    3. No One But You
    4. 13:8
    5. Goat Rodeo

    Yo-Yo Ma
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Dvorak: Cello Concerto & Saint-Saens: Cello Concerto No. 1 Dvorak: Cello Concerto & Saint-Saens: Cello Concerto No. 1 Quick View

    $29.99
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    Dvorak: Cello Concerto & Saint-Saens: Cello Concerto No. 1

    This key recording is being released on double LP as part of the celebration of Rostropovich - Cellist of the Century.
    LP 1
    1. Cello Concerto in B Minor, Op. 104: I. Allegro
    2. Cello Concerto in B Minor, Op. 104: II. Adagio ma non troppo


    LP 2
    1. Cello Concerto in B Minor, Op. 104: III. Finale (Allegro moderato)
    2. Cello Concerto No. 1 in A Minor, Op. 33: Allegro non troppo
    3. Cello Concerto No. 1 in A Minor, Op. 33: Allegretto con moto
    4. Cello Concerto No. 1 in A Minor, Op. 33: Allegro non troppo

    Mstislav Rostropovich
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Elgar: Cello Concerto, Sea Pictures Elgar: Cello Concerto, Sea Pictures Quick View

    $23.99
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    Elgar: Cello Concerto, Sea Pictures

    At the premiere of Elgar's Cello Concerto in 1919, John Barbirolli - himself a cellist - was playing in the London Symphony Orchestra. When he recorded the work in 1965 he chose Jacqueline du PrÉ as soloist and she remains inextricably linked with this elegiac, but passionate work. Barbirolli's special affection for Elgar's music is just as evident in the glorious account of Sea Pictures with Janet Baker and the Philharmonia Orchestra.
    1. Cello Concerto in E Minor, Op. 85: I. Adagio - Moderato
    2. Cello Concerto in E Minor, Op. 85: II. Lento - Allegro molto
    3. Cello Concerto in E Minor, Op. 85: III. Adagio
    4. Cello Concerto in E Minor, Op. 85: IV. Allegro - Moderato - Cadenza - Allegro, ma non troppo - Adagi
    5. Sea Pictures, Op. 37: I. Sea Slumber-Song
    6. Sea Pictures, Op. 37: II. In Haven (Capri)
    7. Sea Pictures, Op. 37: III. Sabbath Morning at Sea
    8. Sea Pictures, Op. 37: IV. Where Corals Lie
    9. Sea Pictures, Op. 37: V. The Swimmer
    Jacqueline Du Pre
    $23.99
    Vinyl LP - Sealed Buy Now
  • Janos Starker Dvorak Cello Concerto (Pre-Order) Janos Starker Dvorak Cello Concerto (Pre-Order) Quick View

    $54.99
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    Janos Starker Dvorak Cello Concerto (Pre-Order)


    Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!


    Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!


    Renowned cellist Janos Starker is joined by The London Symphony Orchestra conducted by Antal Dorati for this 1962 recording of Dvorak's Cello Concerto alongside Bruch's Kol Nidrei.


    Features:

    • Numbered Deluxe Laminated Double Gatefold Jackets

    • Only 2500 Numbered Limited Edition Copies Worldwide!

    • Audiophile 180g, 45rpm Vinyl

    • Double LP

    • Pressed at RTI

    • Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Musicians:

    Janos Starker, cello

    The London Symphony Orchestra

    Antal Dorati, conductor


    Recorded July 1962 at Wembley Town Hall, London.


    This title is not eligible for discount.

    Antonin Dvorak - Violoncello Concerto
    1. Allegro
    2. Adagio Ma Non troppo
    3. Final (Alelgro Moderato)
    Max Bruch
    4.Kol Nidrei, Op. 47
    Antal Dorati & The London Symphony Orchestra
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Dvorak: Cello Concerto; Bruch: Kol Nidrei Dvorak: Cello Concerto; Bruch: Kol Nidrei Quick View

    $18.99
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    Dvorak: Cello Concerto; Bruch: Kol Nidrei

    Newly presented on 180g heavyweight vinyl, Decca are proud to present an iconic Mercury Living Presence album
    from the analogue era back on vinyl. Presented with original artwork and pressed at Optimal GmbH, each release
    has been carefully mastered from the original Decca analogue tapes at Abbey Road Studios.


    This LP includes Dvorak's Cello Concerto and Bruch's Kol Nidrei performed by Janos Starker with the London Symphony Orchestra conducted by Antal Doráti.

    1. Allegro
    2. Adagio ma non troppo
    3. Finale (Allegro moderato)
    4. Kol Nidrei, Op.47
    Janos Starker / London Symphony Orchestra / Antal Dorati
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bach 6 Cello Suites: Pierre Fournier Bach 6 Cello Suites: Pierre Fournier Quick View

    $89.99
    Buy Now
    x

    Bach 6 Cello Suites: Pierre Fournier

    Special Limited & Numbered Edition Of 1,500 Vinyl Linen Boxes


    Includes Booklet With Notes In English, German And French


    Pierre Fournier's recordings of Bach's Cello Suites have been landmark interpretations ever since their first release in 1961. In February 2017 we will make these legendary recordings available again for vinyl aficionados and present them in the original Archiv Edition style, in a special limited & numbered edition of 1,500 vinyl linen boxes, with booklet notes in English, German and French.

    1. Suite For Cello Solo No.1 In G Major, BWV 1007
    2. Suite For Cello Solo No.2 In D Minor, BWV 1008
    3. Suite For Cello Solo No.3 In C Major, BWV 1009
    4. Suite For Cello Solo No.4 In E Flat, BWV 1010
    5. Suite For Cello Solo No.5 In C Minor, BWV 1011
    6. Suite For Cello Solo No.6 In D Major, BWV 1012
    Pierre Fournier
    $89.99
    Vinyl LP Box Set - 3 LPs Sealed Buy Now
  • J.S. Bach Suite For Cello Solo J.S. Bach Suite For Cello Solo Quick View

    $99.99
    Buy Now
    x

    J.S. Bach Suite For Cello Solo

    Audiophile 180 Gram Virgin Vinyl Cut at Emil Berliner Studio


    Pressed at Pallas in Germany


    Mastered from the Original Masters of Universal Music


    Cellist Mischa Maisky performs Cello Solo Suites 1-6 by J.S. Bach on this 180g 3LP Box Set.


    Born in 1948 in Riga, Latvia, Mischa Maisky received his first music lessons there at the Children's Music School and Conservatory. In 1962 he entered the Leningrad Conservatory. In 1965 his debut with the Leningrad Philharmonic earned him the nickname "Rostropovich of the Future". One year later he was a prizewinner at the International Tchaikovsky Competition in Moscow and began his studies with Rostropovich at the Moscow Conservatory while pursuing a concert career throughout the former Soviet Union. After being imprisoned in a labour camp near Gorky for 18 months in 1970, he emigrated from the USSR.


    In 1974, he studies with the legendary Gregor Piatigorsky, thus becoming the only cellist to have studied with both Piatigorsky and Rostropovich.


    In 1985, he signed his first exclusive contract with Deutsche Grammophon where recorded Schumann's Concerto with Bernstein and the Wiener Philharmoniker (released 1986) and Bach's Cello Sonatas with Martha Argerich and Bach's Six Solo Suites.


    This title is not eligible for discount.

    Johann Sebastian Bach
    LP 1 - Side A:
    Suite For Cello Solo No. 1
    1. Prelude
    2. Allemande
    3. Courante
    4. Sarabande
    5. Menuet I-II
    6. Gigue
    Side B:
    Suite For Cello No. 2
    1. Prelude
    2. Allemande
    3. Courante
    4. Sarabande
    5. Menuet I-II
    6. Gigue


    LP 2
    Side C:
    Suite For Cello No. 3
    1. Prelude
    2. Allemande
    3. Courante
    4. Sarabande
    5. Bouree I-II
    6. Gigue
    Side D:
    Suite For Cello No. 4
    1. Prelude
    2. Allemande
    3. Courante
    4. Sarabande
    5. Bouree I-II
    6. Gigue


    LP 3
    Side E:
    Suite For Cello No. 5
    1. Prelude
    2. Allemande
    3. Courante
    4. Sarabande
    5. Gavotte I-II
    6. Gigue
    Side F:
    Suite For Cello No. 6
    1. Prelude
    2. Allemande
    3. Courante
    4. Sarabande
    5. Menuet I-II
    6. Gigue

    Mischa Maisky
    $99.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Britten / Schumann - Cello Sonata (Speakers Corner) Britten / Schumann - Cello Sonata (Speakers Corner) Quick View

    $34.99
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    x

    Britten / Schumann - Cello Sonata (Speakers Corner)

    The cello has always been held in high esteem for its warm, noble timbre and range of expression. So it is no wonder that numerous solo pieces have been written for the instrument. In this recording, the cellist Mstislav Rostropovich, together with the great Benjamin Britten at the piano, have left the accustomed pathway to perform three less well-known - but nevertheless excellent - works from the 19th and 20th century.



    Robert Schumann's FÜnf StÜcke im Volkston allows the cellist to bring out the whole beauty of his instrument. Well-paced tempi, a crystal-clear tone, and an exquisitely precise piano part emphasize the unique character of this music - a work which points the way towards modern times.



    The mysterious tonal and harmonic world of the Impressionists is evoked by Debussy's Sonata for Piano and Cello. Written in the aftermath of the First World War, it reflects human tragedy and a feeling of oppression and anxiety.



    Britten's Cello Sonata was tailormade for Rostropovich and dedicated to the great cellist. The two musicians, both of them technical perfectionists, provide an inspired performance - beginning with the thrilling dialogue of the very first bars, via a lyrical elegy, right up to the gripping Finale in 6/8 time. To sum it up: top marks for music, tonal quality and choice of repertoire.





    Musicians:



    • Mstislav Rostropovich (cello)

    • Benjamin Britten (piano)






    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.



    Mstislav Rostropovich
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms - Sonata for Cello and Piano (Speakers Corner) Brahms - Sonata for Cello and Piano (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Brahms - Sonata for Cello and Piano (Speakers Corner)

    The original pressing just doesn't hold a candle to this re-issue! Lovingly re-mastered from the original Mercury Living Presence analog tapes, Speakers Corner has done an astounding job on this album. Hear Starkers bold and natural cello and Seboks piano reproduced with perfect clarity and tonality. The performances are exceptional; lively and heartfelt. The sound quality is purely first rate. Outstanding music, impeccably performed, and the sound quality is the best youll hear! It just doesnt get better than this!



    Brahms' Cello and Piano Sonatas could well be described as 'romantic expression dressed in classical garb,' filled as they are with the same musical philosophy that is to be found in many of his instrumental works. Although 21 years lay between the two compositions, Brahms remained true to the formal musical language of the Viennese masters, and this brought him and other composers of his time the reproach of imitating Beethoven.



    The unmistakable personal style of Brahms is reflected in the sweeping first movement which is in the manner of a serious song and calls for sensitive but by no means feeble bowing. Starker's wiry, austere playing keeps a check on any excessive emotion and instead brings the music to life in great detail.



    Musicians:



    • Janos Starker (cello)

    • Gyorgy Sebok (piano)




    Recording: June 1964 at Watford Town Hall, London, by C.R.Fine and Robert Eberenz

    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 and Piano No. 1 in E minor, op. 38

    2. Allegro Non Troppo

    3. Allegretto Quasi Minuetto

    4. Allegro


    5. Sonata for Cello and Piano No. 2 in F major, op. 99

    6. Allegro Vivace

    7. Adagio Affetuoso

    8. Allegro Passionato

    9. Allegro Molto

    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schubert: Complete Trios For Piano And Cello (Speakers Corner) (Awaiting Repress) Schubert: Complete Trios For Piano And Cello (Speakers Corner) (Awaiting Repress) Quick View

    $69.99
    Buy Now
    x

    Schubert: Complete Trios For Piano And Cello (Speakers Corner) (Awaiting Repress)

    Anyone who takes an interest in Schubert's late works will sooner or later come across clichÉ-like interpretations of his music that have been associated with a foreboding of his early death. Robert Schumann on the other hand was more objective when he looked at the score of Schubert's two great Piano Trios: he characterised that in E flat major as effectual, masculine and dramatic, and the sister work in B flat major as languishing, feminine and lyrical. Both masterpieces have in common highly varied movements, which must be approached with great insight, a deeply felt sustained lyricism, and a courageous approach as regards the bold themes. That this recording with the Beaux Arts Trio has taken on a benchmark status might well lie in the fact that the three musicians amalgamate romantic fire with analytical aplomb which results in Schubert pure. With their non-stop ebb and flow of melodies, wonderfully indulgent sound colouring and a fiery tour de force through the miraculously winding harmonic paths, the Beaux Arts Trio prove themselves to be among the very best of all Schubert interpreters.



    Having taken their final bow at a concert in Leipzig in September 2009 after 54 years, the time is certainly ripe for an audiophile re-release of this superb recording.





    Recording: February 1966





    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. Piano Trio In B Flat Major Sonata
    2. Piano Trio In E Flat Major Notturno
    3. Piano Trio In B Flat Major OP. 99
    4. Piano Trio In E Flat Major OP. 100
    Franz Schubert
    $69.99
    180 Gram Audiophile Virgin Vinyl LP- 2 LPs Sealed AWAITING REPRESS Buy Now
  • Nostalgia Suite Nostalgia Suite Quick View

    $49.99
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    x

    Nostalgia Suite

    The Roger Kellaway Cello Quartet made two albums for the A & M label in 1971 and 1973, The group's name presented a puzzle to some people. It seemed to connote four celli. In fact it was a chamber group built around the sound of one cello, that of the brilliant Edgar Lustgarten, and featuring the virtuosic piano of Kellaway, the powerful and sensitive bass of Chuck Domanico, and the rich, coloristic percussion of Emil Richards. Roger wrote all the group's music.


    ''The idea,'' Roger says, ''was for it to be a marriage of wood - cello, marimba, bass, and piano. Also, I wanted to prove that a band of that instrumentation had the flexibility to do anything. And I was afraid the drums would fill up the spaces between the instruments, which is why we didn't have a drummer.''


    But throughout the life of the Cello Quartet, Roger maintained a second group, a trio, whose purpose was (among other things) hard swinging. Roger was actually somewhat afraid of putting the two concepts together, but in time he began to feel a need to do so. And at this point, drummer and percussionist Joe Porcaro became a member of the group, thereby transforming it into the Cello Quintet. Joe is, in addition to being a fine jazz drummer, a symphony percussionist. He and Emil Richards are both natives of Hartford, Conn., and in fact went to high school together. Joe played with the Hartford Symphony. It is this background Roger feels, that makes him so sensitive to the purposes and textures of the Cello Quartet - pardon, Quintet. ''If the drummer can't hear the cello'', Roger said, ''then he's playing too loud. And Joe is simply perfect for this group.''


    Porcaro, in fact, does one of the most difficult things a drummer can be called on to do: he swings quietly. It is a natural physiological tendency of a drummer (or any instrumentalist, for that matter) to push when he is involved in the high energy of swinging. Any musician knows that it is harder to play softly than loud. But I think it is particularly difficult for a jazz drummer to put out an excited and exciting pulse softly. Certainly few drummers can do it. Joe is one who can. ''Another thing,'' Roger says. ''Joe works beautifully with Emil, and this gives Emil more freedom to play melodic instruments, such as chimes. And Joe's abilities as a percussionist mean that at times we can have two percussion players.''


    ''The album represents only one aspect of why the drums were added. I've been interested in a maximum of versatility, and in a way the Nostalgia Suite was written to show the possibilities of swinging with the cello.''


    ''At this point in my life, when I?ve had 25 years or so of involvement with the pop market as well as with jazz and classical music, seeing so many of my colleagues beating their brains out trying to get a hit single, it almost seems novel that I've been able to hold onto my roots. I've dealt with the AM singles market too, but I've never forgotten where I came from, and that?s what the Nostalgia Suite is about.''


    ''There is no other piece in our repertoire like it, It is an entity unto itself. It is essentially a bebop piece, and it may come as a surprise to people who are familiar with the other albums. But it should not be considered the new sound of the group. I just wanted to hear bebop by the Cello Quartet.''


    ''As a matter of fact, we first did it with the Quartet, without drums, at Shelly's Manne Hole. Shelly couldn?t stand it. He'd grab a stick and start playing on Emil's cymbals. He kept saying, 'Man, this piece needs drums.' I began to think that perhaps he was right. Joe Porcaro was the logical choice, because he could, as an excellent percussionist, enable us to continue doing the mellow sounds of the group.''


    ''This album could be thought of, then, as an extension of the previous albums, a broadening out. The way I think about the group and the people in it is that we can do any kid of music from Jelly Roll Morton to Ravi Shankar to Luciano Berio.''


    ''I have never thought of the Cello Quartet and now the Quintet as a jazz or a classical band. It is its own band.''

    1. Ungh!
    2. Won't You Come and Feed Me
    3. The Escalator As Applied To Anti-War
    4. He Bluezd While She, In All Her Blessed Blather...Blushed
    5. May I Interest You In A Little Recreation While You Sleep? They Whispered
    6. Let's Cook It Right
    Roger Kellaway Cello Quintet
    $49.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Plays The Music Of John Williams Plays The Music Of John Williams Quick View

    $39.99
    Buy Now
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    Plays The Music Of John Williams

    180 Gram Audiophile Vinyl

    PVC Protective Sleeve

    Includes 4-Page Booklet

    15th Anniversary

    Unique Collaboration Between John Williams And Yo-yo Ma

    Available On Vinyl For The First Time!

    Yo-Yo Ma Plays the Music of John Williams is a 2002 album of John Williams compositions performed by Yo-Yo Ma and the Recording Arts Orchestra of Los Angeles.

    For an instrument with such rich expressive powers, the cello has long suffered from a shortage of great concertos. Leave it to John Williams, the composer best known for his popular, emotionally charged scores to Star Wars, ET, and many other blockbuster movies, to ride to the rescue with a new Cello Concerto, an intense, expressive, and rhythmically vital offering tailor-made for Yo-Yo Ma's dexterous touch.

    Like the composer's Violin Concerto, this one is imbued with impressionistic textures and colors, but there's also a hard-driving, modern edge. Call it 21st-century Ravel. Williams wrote the concerto with Ma in mind, and it's a test of even Ma's formidable technique. It also boasts powerful orchestral writing, especially for the percussion and brass.

    Three other premieres are included on the album as well. The Elegy for Cello and Orchestra is a lyrical and atmospheric tone poem, with shades of FaurÉ at every turn of phrase. The expressionistic Three Pieces for Solo Cello, though, seem more akin to Benjamin Britten's solo cello suites in their abstract, concentrated intensity. Heartwood is another tender and sensitive reverie. It gradually builds in strength but ends as it began, with a whisper of tranquil serenity.

    Ma's virtuosity is dazzling, and his engagement with the music is typically deep. He makes clear that Williams's music isn't just for the movies; indeed, with his new concerto, Williams has done the cello a great service.

    Yo-Yo Ma Plays the Music of John Williams celebrates its 15th anniversary this year and is now finally available on vinyl for the first time. A 4-page booklet with an extensive story written by John Williams is included.

    LP 1
    1. Concerto for Cello and Orchestra
    - I. Theme and Cadenza
    - II. Blues
    - III. Scherzo
    - IV. Song
    2. Elegy for Cello And Orchestra


    LP 2
    1. Three Pieces for Solo Cello
    - I. Rosewood
    - II. Pickin'
    - III. the Long Way North
    2. Heartwood

    Yo-Yo Ma
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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