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  • Archiv Produktion: Classical Recordings 1956-1982 Archiv Produktion: Classical Recordings 1956-1982 Quick View

    $99.99
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    Archiv Produktion: Classical Recordings 1956-1982

    Numbered, Limited Edition 180 Gram Audiophile Vinyl


    5 LP Box Set


    Original LP Front And Back Covers


    16-Page Leaflet, With Introduction On Archiv, And Facsimiles Of The Inner Pages Of The Original Archiv Gatefold LPs


    Archiv Produktion: Classical Recordings 1956-1982 features:



    • Helmut Walcha playing famous Bach organ works one of Archivs first stereo recordings

    • Karl Richter early recordings of two joyous Bach cantatas, Jauchzet Gott in allen Landen BWV 51 and the wedding cantata Weichet nur, betrÜbte Schatten BWV 202

    • Nikolaus Harnoncourts Court Music by Muffat and Biber with Concentus Musicus Wien one of only two recordings he made on Archiv

    • Reinhard Goebel and Music Antiqua Kolns classic French Baroque programme, Le Parnasse Francais

    • Trevor Pinnock and The English Concert with Handel Concerti Grossi op. 6 nos. 9 12: an LP to die for, with the clarity and airiness of its recording, and the rhythm and feeling of its performances

    LP 1
    1. Toccata - Helmut Walcha
    2. Fugue - Helmut Walcha
    3. 1. Vivace - Helmut Walcha
    4. 2. Lento - Helmut Walcha
    5. 3. Allegro - Helmut Walchav
    6. 1. Prelude - Helmut Walcha
    7. 2. Fugue - Helmut Walcha
    8. 1. (Allegro Moderato) - Helmut Walcha
    9. 2. Adagio - Helmut Walcha
    10. 3. Allegro - Helmut Walchav


    LP 2
    1. Aria: Jauchzet Gott in Allen Landen - Maria Stader, MÜnchener Bach-Orchester, Karl Richter
    2. Recitativo: Wir Beten Zu Dem Tempel An - Maria Stader, MÜnchener Bach-Orchester, Karl Richter
    3. Aria: Höchster, Höchster Mache Deine GÜte Ferner Alle Morgen Neu - Maria Stader, MÜnchener Bach-Orchester, Karl Richter
    4. Chorale: Sei Lob Und Preis Mit Ehren - Maria Stader, MÜnchener Bach-Orchester, Karl Richter
    5. 1. Adagio: Weichet Nur, BetrÜbte Schatten - Maria Stader, MÜnchener Bach-Orchester, Karl Richter, Hedwig Bilgramv
    6. 2. Recit: Die Welt Wird Wieder Neu - Maria Stader, Hedwig Bilgram, MÜnchener Bach-Orchester, Karl Richter
    7. 3. Aria: Phöbus Eilt Mit Schnellen Pferden - Maria Stader, Hedwig Bilgram, MÜnchener Bach-Orchester, Karl Richter
    8. 4. Recit: D'rum Sucht Auch Amor Sein VergnÜgen - Maria Stader, Hedwig Bilgram, MÜnchener Bach-Orchester, Karl Richter
    9. 5. Aria: Wenn Die FrÜhlingslÜfte Streichen - Maria Stader, Hedwig Bilgram, MÜnchener Bach-Orchester, Karl Richter
    10. 6. Recit: Und Dieses Ist Das GlÜcke - Maria Stader, MÜnchener Bach-Orchester, Karl Richter, Hedwig Bilgram
    11. 7. Aria: Sich Üben Im Lieben - Maria Stader, MÜnchener Bach-Orchester, Karl Richter
    12. 8. Recit: So Sei Das Band Der Keuschen Liebe - Maria Stader, Hedwig Bilgram, MÜnchener Bach-Orchester, Karl Richter
    13. 9. Gavotte: Sehet in Zufriedenheit - Maria Stader, Hedwig Bilgram, MÜnchener Bach-Orchester, Karl Richter


    LP 3
    1. Ouverture - Concentus Musicus Vienna, Nikolaus Harnoncourt
    2. Les Courtisans - Concentus Musicus Vienna, Nikolaus Harnoncourt
    3. Rondeau - Concentus Musicus Vienna, Nikolaus Harnoncourt
    4. Les Gendarmes - Concentus Musicus Vienna, Nikolaus Harnoncourt
    5. Les Bossus - Concentus Musicus Vienna, Nikolaus Harnoncourt
    6. Gavotte - Concentus Musicus Vienna, Nikolaus Harnoncourt
    7. Sarabande Pour Le GÉnie de L'amitiÉ - Concentus Musicus Vienna, Nikolaus Harnoncourt
    8. Gigue - Concentus Musicus Vienna, Nikolaus Harnoncourt
    9. Menuet - Concentus Musicus Vienna, Nikolaus Harnoncourt
    10. 1. Sonata. Grave - Allegro - Concentus Musicus Vienna, Nikolaus Harnoncourt
    11. 2. Ballo. Allegro - Concentus Musicus Vienna, Nikolaus Harnoncourt
    12. 3. Grave - Concentus Musicus Vienna, Nikolaus Harnoncourt
    13. 4. Aria - Concentus Musicus Vienna, Nikolaus Harnoncourt
    14. 5. Giga - Concentus Musicus Vienna, Nikolaus Harnoncourt
    15. Sonata (Adagio-Presto) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    16. Die Pauern Kirchfahrt - Concentus Musicus Vienna, Nikolaus Harnoncourt
    17. Aria - Concentus Musicus Vienna, Nikolaus Harnoncourt
    18. 1. (Allegro Non Troppo) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    19. 2. (Poco Allegro) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    20. 3. (Adagio) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    21. 4. (Allegro) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    22. 5. (Adagio) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    23. 6. (Poco Allegro) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    24. 7. (Adagio) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    25. 8. (Allegro) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    26. 9. (Allegro) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    27. 1. Allegro - Concentus Musicus Vienna, Nikolaus Harnoncourt
    28. 2. (Presto) - Concentus Musicus Vienna, Nikolaus Harnoncourt
    29. 3. Presto - Adagio - Concentus Musicus Vienna, Nikolaus Harnoncourt
    30. Sonata - Concentus Musicus Vienna, Nikolaus Harnoncourt
    31. Die Liderliche Gesellschaft Von Allerley Humor - Concentus Musicus Vienna, Nikolaus Harnoncourt
    32. Presto - Concentus Musicus Vienna, Nikolaus Harnoncourt
    33. Der Mars - Concentus Musicus Vienna, Nikolaus Harnoncourt
    34. Presto - Concentus Musicus Vienna, Nikolaus Harnoncourt
    35. Aria - Concentus Musicus Vienna, Nikolaus Harnoncourt
    36. Die Schlacht - Concentus Musicus Vienna, Nikolaus Harnoncourt
    37. Lamento Der Verwundten Musquetirer (Adagio) - Concentus Musicus Vienna, Nikolaus Harnoncourt


    LP 4
    1. La Sonnerie de Sainte-Geneviève Du Mont de Paris - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    2. 1. Lentement / Gravement - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    3. 2. Vive / MarquÉ / Gay - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    4. 3. Lentement / Doux / RÉcit / Grave - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    5. 4. Doux / RÉcit / Vivement - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    6. 5. Lentement / Gravement - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    7. 1. Gravement - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    8. 2. Gayment - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    9. 3. Air (Tendrement) - Gravement - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    10. 4. LÉgèrement - Vivement - Musica Antiqua KÖLN, Henk Bouman, Reinhard Goebel
    11. 1. Un Peu Grave - Musica Antiqua KÖLN, Reinhard Goebel
    12. 2. LÉgèrement - Musica Antiqua KÖLN, Reinhard Goebel
    13. 3. Un Peu Gay - Musica Antiqua KÖLN, Reinhard Goebel
    14. 4. Sarabande - Musica Antiqua KÖLN, Reinhard Goebel
    15. 5. TRÈS Vivement - Musica Antiqua KÖLN, Reinhard Goebel
    16. 6. Gravement - Musica Antiqua KÖLN, Reinhard Goebel
    17. 7. Gigue - Musica Antiqua KÖLN, Reinhard Goebel


    LP 5
    1. Largo - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    2. Allegro - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    3. Larghetto - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    4. Allegro - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    5. Menuet - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    6. Gigue - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    7. 1. Ouverture - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    8. 2. Allegro - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    9. 3. Air (Lento) - Simon Standage, Elizabeth Wilcock, Trevor Pinnock, the English Concert
    10. 4. Allegro - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    11. 5. Allegro - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    12. 1. Andante Larghetto, E Staccato - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    13. 2. Allegro - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    14. 3. Largo, E Staccato - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    15. 4. Andante - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    16. 5. Allegro - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    17. 1. Largo - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    18. 2. Allegro - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    19. 3. Larghetto, E Piano - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    20. 4. Largo - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert
    21. 5. Allegro - Simon Standage, Elizabeth Wilcock, Anthony Pleeth, Robert Woolley, Trevor Pinnock, the English Concert

    Various Artists
    $99.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 5 LPs Sealed Buy Now
  • Sibelius Song Recital (Speakers Corner) Sibelius Song Recital (Speakers Corner) Quick View

    $34.99
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    Sibelius Song Recital (Speakers Corner)

    Jean Sibelius (1885-1957) composed songs from the beginning almost to the end of his lifetime. Shortly before his death, he arranged the piece, which closes this album, Kom nu hit, Död, and so opened a stylistic gateway to Modernity. All the songs in this collection were composed around 1900 and are filled with Late Romantic harmony, a glorious sound and emotional feeling. The song Svatar Rosor is immersed in an alternating bath of major and minor to evoke a dramatic and tragic mood, while the wonderfully colourful Den Första Kyssen, op. 37 no. 1 depicts in music a girl's dialogue with the evening star. And with Flickan kom ... op. 37 no. 5 and Var det en dröm op. 37 no. 4, a powerful vocal drama is placed alongside a lyrical gem. Of the latter work Sibelius allegedly said: »Here you are, this is my most beautiful song!

    Without a doubt, Kirsten Flagstad is the ideal singer for this repertoire. Her highly dramatic soprano voice rises monumentally over the surging orchestral sound but dims down appropriately and effortlessly in the hushed passages. Wagnerians, Strauss lovers and fans of grand romantic gesture will thoroughly enjoy this LP.




    Musicians:



    • Kirsten Flagstad (vocal)

    • Øivin Fjeldstad (conductor)






    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. Sibelius Song Recital
    Jean Sibelius
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner)

    Let us recall that great American and citizen of the world who trod every musical pathway and who held his audience riveted with unbounding energy and charisma. Whether as a composer of operas or musicals, performer, conductor or mentor, "Lenny" felt at home everywhere. And all who were privileged enough to get to know him can confirm this, whether they experienced him as a circumspect teacher who taught interested amateurs about church music, or even as a pianist bawling out hit songs in a bar.



    Quality was guaranteed with records sporting the words "Bernstein conducts ...", and no music lover ever missed adding such gems to his collection. But most recordings of Bernstein as a master of the keyboard lie buried in the archives.



    Where some musicians fail due to a lack of perspicacity or false self-judgement, Bernstein appears to take himself beyond his normal bounds in his double function as solo pianist and conductor. His interpretation of Mozart is richly nuanced but free of all romantic trimmings; his Mozart is what we have learned to value over the past few years of the present century. This recording is absolutely first class, both musically and technically, and is thus a true collector's object.



    Musicians:



    • Vienna Philharmonic Orchestra

    • Leonard Bernstein (conductor)




    Recording: March 1966 at Sofiensaal, Vienna by Gordon Parry

    Production: Erik Smith





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Decca Sound - The Analogue Years (Box Set) The Decca Sound - The Analogue Years (Box Set) Quick View

    $120.99
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    The Decca Sound - The Analogue Years (Box Set)

    In the late 1940s, the pioneering Decca recording engineers perfected a new set of microphone techniques that allowed the full range of frequencies to be
    fully heard by listeners for the first time, and the term 'full frequency range recording' was launched. It was a major revolution in sound quality, and the
    beginnings of high fidelity. Perfected with the birth of stereo in the mid-1950s, Decca's 'Full Frequency Stereophonic Sound' became a worldwide hallmark
    of sonic excellence and a golden age of classical recorded music was born. THE ANALOGUE YEARS presents a 50-Album overview across 6 LPs of the celebrated international recordings that emerged from the London-based record label in that pre-digital era.
    LP 1
    1.Ravel: L Enfant et les sortilèges


    LP 2
    1. Rossini: Overture to La Gazza Ladra
    2. Rossini: Overture to La Scala di Seta
    3. Rossini: Overture to Il Barbiere di Siviglia
    4. Rossini: Overture to Semiramide
    5. Rossini: Overture to Guglielmo Tell


    LP 3
    1. Bruch: Scottish Fantasy, Op.46
    2. Hindemith: Violin Concerto


    LP 4
    1. Sibelius: Symphony No.1 in E minor, Op.39
    2. Sibelius: Karelia Suite, Op.11


    LP 5
    1. Kodaly: Hary Janos Suite
    2. Kodaly: Dances of Galata
    3. Kodaly: Orzses Song & Chicken Song from Hary János


    LP 6
    1. Stravinsky: The Rite of Spring

    Various Artists
    $120.99
    180 Gram Audiophile Virgin Vinyl LP - 6 LPs Sealed Buy Now
  • Monk's Music Monk's Music Quick View

    $21.99
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    Monk's Music


    Special Vinyl Reissue


    This Is One Of Monk's Pivotal Recordings And Is An Essential Addition To All Jazz Collections.


    Monk's Music is often cited as one of the focal points of Thelonious Monk's six-year affiliation (1955-1961) with the Riverside label. Although the original
    disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk's signature compositions, but also
    some amazing interactions from the assembled ensemble. Joining Thelonious Monk (piano) during these two recording sessions are Ray Copeland
    (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass), and Art Blakey (drums).
    This special vinyl re-issue of Monk's classic album is not to be missed!


    Thelonious Monk: the legendary jazz pianist and composer, considered one of the giants of American music.

    1. Abide With Me
    2. Well You Needn't
    3. Ruby My Dear
    4. Off Minor
    5. Epistrophy
    6. Crepuscule With Nellie
    Thelonious Monk
    $21.99
    Vinyl LP - Sealed Buy Now
  • Music From Bohemia Music From Bohemia Quick View

    $34.99
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    Music From Bohemia

    The Royal Philharmonic Orchestra performs Smetana, Weinberger, and Dvorak conducted by Rudolf Kempe.


    Rudolf Kempe was associated with the Royal Philharmonic (RPO) from 1955. In 1960, he became its Associate Conductor, chosen by the orchestra's founder, Sir Thomas Beecham. From 1961 to 1962 he was Principal Conductor of the RPO, and from 1963 to 1975 its Artistic Director. A member of the RPO later said of Kempe, He was a wonderful controller of the orchestra, and a very great accompanist ... Kempe was like someone driving a racing-car, following the piano round the bends. Kempe abolished Beecham's male-only rule, introducing women into the RPO: an orchestra without them, he said, always reminds me of the army. In 1970, the RPO named him Conductor for Life, but in 1975, he resigned his post with the orchestra and died the following year, aged 65. His distinguished career in both the opera house and concert hall led to the first quadraphonic Beethoven cycle with the Munich Philharmonic for EMI in the mid '70s.


    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.


    Features:

    • Hi-Q Records Supercuts 180g Vinyl

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

    • Superior Audiphile Pressing

    • Features Original Album Artwork


    Musicians:

    Rudolf Kempe, conductor

    Royal Philharmonic Orchestra


    This title is not eligible for discount.

    Bedrich Smetana (1824 - 1884)
    The Bartered Bride
    Side One:
    1. Overture
    2. Polka
    3. Furiant
    4. Dance of the Comedians
    Side Two:
    Antonin Leopold Dvorak (1841 - 1904)
    1. Scherzo Capriccioso, Op. 66
    Jaromir Weinberger (1896 - 1967)
    Schwanda the Bagpiper
    2. Polka
    3. Fugue
    Rudolf Kempe
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mendelssohn: Piano Concertos Nos. 1 & 2 (Speakers Corner) Mendelssohn: Piano Concertos Nos. 1 & 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Mendelssohn: Piano Concertos Nos. 1 & 2 (Speakers Corner)

    That Mendelssohn was a genial composer and piano virtuoso is very evident in his piano concertos. Written in his youth, his first piano concerto is full of Élan and power, with grand gestures in the themes and an early masterly command of symphonic development, which is continued - though rather more subtly in the second. This music also testifies to the 22-year-old's superb command of his favourite instrument. To this day young pianists at music competitions all over the globe emulate such artistry.


    Such Olympian efforts were not for Rudolf Serkin, who approached the virtuoso works at the end of the Fifties with all the maturity of a 'grandseigneur'. With amazing accuracy and the most delicate touch he unfolds the tightly-knit music, illuminating the flowing melodies and figures with a candid, clear brightness and thereby painting a warm, romantic and colourful landscape with finely- yet firmly-drawn lines. Thanks are due to the wonderful recording technicians whose expertise has made this LP a true masterpiece.



    Musicians:



    • Rudolf Serkin and the Columbia Symphony Orchestra

    • Eugene Ormandy (conductor)




    Recording: December 1957 and October 1959 at Broadwood Hotel, Philadelphia, by Stan Tonkel

    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.


    1. Piano Concerto No. 1 In G Minor
    I- Molto
    II- Presto
    III- Molto Allegro E Vivace


    2. Piano Concerto No. 2 In D Minor
    I- Allegro
    II- Adagio
    III- Finale

    Felix Mendelssohn-Bartholdy
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sibelius Symphony No 4 Sibelius Symphony No 4 Quick View

    $34.99
    Buy Now
    x

    Sibelius Symphony No 4

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


    Born in London of an Italian father (a violinist at La Scala, Milan) and French mother, Sir John Barbirolli, CH (1899-1970), nÉ Giovanni Battista Barbirolli, was an English conductor and cellist. Although a conductor of international standing, succeeding Toscanini as music director of the New York Philharmonic from 1936-43, and having conducted many major orchestras like the Vienna Philarmonic and Berlin Philharmonic, he is remembered above all as conductor of the HallÉ Orchestra in Manchester, which he helped save from dissolution in 1943 and conducted for the rest of his life. Noted for his interpretations of Sibelius, Barbirolli and the HallÉ recorded all the Sibelius symphonies for EMI and these recordings were made just over a year before Barbirolli died.


    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.


    Recorded on 29-30 May and *5 August 1969 at the Kingsway Hall, London. Produced and engineered by the legendary two Christophers: Christopher Bishop and Christopher Parker respectively (*with additional engineer Martin Benge)


    In the original April 1970 review of the stereo release, Sibelius expert Robert Layton of the GRAMOPHONE was torn between the contemporaneous Maazel version on Decca and the Barbirolli: ...Sir John views the symphony as a whole as predominantly bleak with dark, shifting colourings whereas Maazel's conception is icy, unremitting and very powerful. Sir John's is the more complex and in some ways more interesting view and he has the advantage of quite superlative recorded sound. In fact this is one of the most vivid and full bodied recordings I have heard from this source and is richer in tone than its Decca rival... this new version can confidently be recommended alongside the Maazel and granted the odd reservation, my own preference is for this splendidly recorded newcomer.


    Features:

    Hi-Q Records Supercuts 180g Vinyl

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

    Produced and engineered by the legendary two Christophers (Christopher Bishop and Christopher Parker)

    Superior Audiophile Pressing

    Features Original Album Artwork


    Musicians:

    The Halle Orchestra

    Sir John Barbirolli, conductor


    This title is not eligible for discount.

    Jean Sibelius (1865 - 1957)
    Symphony No. 4 in A minor, Op. 63
    Side One:
    1. I. Tempo molto moderato, quasi adagio
    2. II. Allegro molto vivace
    3. III. Il tempo largo
    Side Two:
    1. IV. Allegro
    2. 'Rakastava' for String Orchestra, Op. 14
    3. Romance in C Major for String Orchestra, Op. 42
    Sir John Barbirolli
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Hailu Mergia & His Classical Instrument: Shemonmuanaye Hailu Mergia & His Classical Instrument: Shemonmuanaye Quick View

    $23.99
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    Hailu Mergia & His Classical Instrument: Shemonmuanaye

    Hailu Mergia is a one-man band. In 1985, master accordionist and veteran bandleader, arranger and keyboardist released the Hailu Mergia & His Classical Instrument cassette. In a nostalgic effort to bring back the vintage accordion sound of his youth, Hailu gave Ethiopian music a sonic makeover. He was already celebrated for his work with the groundbreaking Addis Ababa ethio-jazz and funk outfit Walias Band. With imagination and a visionary sense of the self-contained possibilities of modern music, he captured the popular sounds of the past using the modern tools of the day.


    The reissue of this recording brings back a moment when Ethiopian music was
    shifting from acoustic-based performances to recordings using more and more
    synthesized elements. While the resulting sound of that shift has its critics Hailu
    Mergia's initial experiments with switched-on solo instrumentals based on
    Ethiopian folk and popular music captures a singular feeling dripping in
    ambiance and a very human emotional energy

    1. Shemonmuanaye
    2. Sewnetuwa
    3. Laloye
    4. Wegene
    5. Hari Meru Meru
    6. Amrew Demkew
    7. Anchin Alay Alegn
    8. Ambasel
    9. Hebo Lale
    10. Belew Beduby
    11. Shilela
    Hailu Mergia
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Russian Orchestral Music Russian Orchestral Music Quick View

    $44.99
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    Russian Orchestral Music

    Russian Orchestal Music - Barenboim - Chicago Symphony Orchestra on 180g Import LP


    "There is no one quite like Daniel Barenboim today in the music world. General music director of the Berlin State Opera and its orchestra, the Berlin Staatskapelle; principal guest conductor at the Teatro Alla Scala in Milan; formerly music director of the Chicago Symphony and the Orchestre de Paris; for years a conductor at the Bayreuth and Salzburg festivals; a champion of new music since the 1950s; a chamber musician who has performed with every great singer and instrumentalist in half a century, from Gregor Piatigorsky and Dietrich Fischer-Dieskau to his late wife, the cellist Jacqueline du PrÉ, and the bass-baritone Thomas Quasthoff, Mr. Barenboim was a child prodigy who remains, despite a full-time conducting career, a towering figure at the keyboard." - Michael Kimmelman, New York Times


    Here, the 2003 Grammy-winner conducts the Chicago Symphony Orchestra in performances of Borodin's Polovtsian Dances, Mussorgsky's Night On The Bald Mountain, and Rimsky-Korssakoff's Russian Easter Overture and Capriccio Espagnol. 180g vinyl pressing from Clearaudio.


    "Beautiful though their melodies remain, the "Polovtsian Dances" mean less when, as here, deprived of voices. This is a very animated performance, however, with fine playing by the Chicago Symphony Orchestra and first-class recording, everything being absolutely distinct in well-proportioned stereo, and with virtually no tape hiss. Stich points have even more importance than usual in items like those by Rimsky-Korsakov, which are mainly studies in orchestral colour." - Gramophone/1977


    Musicians:


    Borodin (composer)

    Rimsky-Korssakoff (composer)

    Mussorgsky (composer)

    Daniel Barenboim (conductor)

    Chicago Symphony Orchestra


    1. Alexander Borodin - Polovtsian Dances - from the Opera "Prince Igor"

    2. Nikolai Rimsky-Korssakoff - Russian Easter Overture, Op. 36 - on Liturgical Themes for Large Orchestra

    3. Modest Mussorgsky - Night On The Bald Mountain, Op. post. - Concert Fantasy for Large ORchestra

    4. Nikolai Rimsky-Korssakoff - Capriccio espagnol op. 34

    I. Alborada: vivo e strepitoso

    II. Variazioni: Andante con moto

    III. Alborada: vivo e strepitoso

    IV. Scena e Canto gitano: Allegretto

    V. Fandango asturiano


    Daniel Barenboim
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Respighi: Belkis, Queen Of Sheba Suite, Pines Of Rome Respighi: Belkis, Queen Of Sheba Suite, Pines Of Rome Quick View

    $34.99
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    Respighi: Belkis, Queen Of Sheba Suite, Pines Of Rome


    Grammy-nominated: Best Engineered Album, Classical


    200-Gram Vinyl Pressing By Quality Record Pressings!


    Beautiful Gatefold Jacket


    Selected By Soundstage!.com As Best Audiophile Recording, 2001


    Que plays each piece to the hilt; I cannot imagine more precise, more lovingly conducted performances. As for the recording, I'm running out of superlatives - it is brilliant and weighty, with tremendous undistorted dynamics. - Peter Aczel, The Audio Critic


    Respighi has not sounded like this on disc since - well, let's say since never before ... Of the seven Que/Minnesota CDs I know, this is easily the grandest, musically as well as sonically. - Roger Dettmer, Classical CD Reviews


    Dazzling orchestral colors, is one one way to describe the music of Ottorino Respighi. Belkis, Queen of Sheba was conceived as an evening-long ballet with singing whose lavishness has kept it from view since its La Scala premiere. This is only the second recording of a suite prepared by the composer - for the first time with the tenor solo (sung by Chad Shelton), and with the movements in the correct order. The music's oriental perfumes and barbaric splendor guarantee the enthusiasm of anyone who hears it. Respighi's greatest hit The Pines of Rome (with extra brasses and organ!) bring a dazzling conclusion to this unusual, inventive program.

    1. The Pines of Rome
    2. The Pines of the Villa Borghese
    3. The Pines Near A Catacomb
    4. The Pines of the Janiculum
    5. The Pines of the Appian Way
    6. Belkis, Queen of Sheba-Suite
    7. Solomon's Dream
    8. The Dance of Belkis at Dawn
    9. War Dance
    10. Orgiastic Dance (Chad Shelton, tenor)
    Eiji Oue
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak: String Quintet In G Major (Speakers Corner) Dvorak: String Quintet In G Major (Speakers Corner) Quick View

    $34.99
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    Dvorak: String Quintet In G Major (Speakers Corner)

    A perusal of string quintets throughout history leaves one with the impression that their creators wish to bestow a powerful impact upon the small group of musicians. And it is no different with Dvoák's Quintet in G major: a double bass, instead of the usual second cello, paints with broad strokes in the lengthy score whose first movement almost takes on symphonic dimensions.


    Here, the insistent, broad theme is presented in snappy cascades of sound. The cantilena, supported by a scurrying second subject, is followed by a frenzied Scherzo, which is steeped in Czech folk music under Dvoák's distinctive style. The third movement (Poco andante) is highly meditative and is constructed with layers of one and the same basic motif, which soon is intensified with pulsating quavers and finally evolves in rising melodic elements.


    The Finale is filled with fresh melodies and spiced with subtle motivic development, which is pleasant on the ear in all its complexity. It is not surprising, therefore, that Dvoák won an important prize for his Quintet.

    Recording: June 1971 at Boston Symphony Hall by GÜnter Hermanns
    Production: Thomas Mowrey



    Musicians:



    • Joseph Silverstein (violin)

    • Max Hobart (violin)

    • Burton Fine (viola)

    • Jules Eskin (cello)

    • Henry Portnoi (bass)



    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. Allegro Con Fuoco
    2. Intermezzo. Andante Religioso. Molto Adagio
    3. Scherzo. Allegro Vivace - Trio. L'Istesso Tempo, Quasi Allegretto
    4. Poco Andante

    5. Finale. Allegro Assai
    Antonin Dvorak
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wonderwall Music Wonderwall Music Quick View

    $22.99
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    Wonderwall Music

    Remastered From The Original Analogue Master Tapes And Cut At Capitol Studios To Ensure Exceptional Audio Quality Throughout


    Pressed On 180-Gram Vinyl


    Released in November 1968, George Harrison's Wonderwall Music was the first solo album released by a member of The Beatles and the first LP to be released by Apple Records. The soundtrack music for director Joe Massot's debut feature-length film, Wonderwall, the predominantly instrumental album is an intricate, vibrant tapestry of Western rock music and compositions in an Indian classical style. In 1992, George recalled, "I decided to do it as a mini-anthology of Indian music, because I wanted to help turn the public on to Indian music." The booklet also includes a new essay of appreciation by the acclaimed musician, producer and composer Nitin Sawney and newly written historical notes by Kevin Howlett.

    1. Microbes
    2. Red Lady Too

    3. Tabla and Pakavaj

    4. In The Park

    5. Drilling a Home

    6. Guru Vandana

    7. Greasy Legs

    8. Ski-ing

    9. Gat Kirwani

    10. Dream Scene

    11. Party Seacombe

    12. Love Scene

    13. Crying

    14. Cowboy Music

    15. Fantasy Sequins

    16. On The Bed

    17. Glass Box

    18. Wonderwall To Be Here
    19. Singing Om
    George Harrison
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • World Spirituality Classics 1: The Ecstatic Music of Turiya Alice Coltrane World Spirituality Classics 1: The Ecstatic Music of Turiya Alice Coltrane Quick View

    $28.99
    Buy Now
    x

    World Spirituality Classics 1: The Ecstatic Music of Turiya Alice Coltrane

    Alice Coltrane remains a singular figure on the fringe of American music but her appeal is growing. While Coltrane's music is gaining wider acceptance there is an entire era of her recorded output that remains obscure, almost as if by design.


    Her four self-published, devotional albums of the eighties and nineties were recorded during a period in which she had withdrawn from secular life. They were manufactured and distributed in limited quantities amongst her spiritual community. Operating outside of the constraints of the commercial recording industry Coltrane was free of external pressures whether monetary or deadline. She recorded this music totally on her own terms. The resulting compositions synthesized her spiritual and musical outlook into a highly original work that is unique unto herself.


    Available commercially for the first time. Remastered, bucket loads of notes, available in all formats but 8-track. A loving tribute to an amazing woman. 2xLP comes with two booklets of liner notes.

    LP 1
    1. Om Rama
    2. Om Shanti
    3. Rama Rama
    4. Rama Guru
    5. Hari Narayan


    LP 2
    1. Journey To Satchidananda
    2. Er Ra
    3. Keshava Murahara
    4. Krishna Japaye (vinyl only)
    5. Ram Katha (alternate version, solo demo, unreleased, vinyl only)

    Alice Coltrane
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Prokofiev: Classical Symphony (Speakers Corner) Prokofiev: Classical Symphony (Speakers Corner) Quick View

    $34.99
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    Prokofiev: Classical Symphony (Speakers Corner)

    Thankfully musical genres have been spared from being described with new buzz words such as 'Kleinkunst' which could be translated as 'Small Arts'. But music in small forms - maybe set down on just a few pages of manuscript paper - certainly exists. Prokofiev's miniature, the Symphonie classique, combines several superlatives as regards both its musical notes and form: it is only 15 minutes long, contains a wealth of melodic ideas, and is the most performed of all Prokofiev's symphonies.



    This four-movement composition employs traditional forms such as the sonata form in the outer movements and the pre-Classical dances menuet and gavotte. The work's carefree esprit, serenade-like humour, and courtly elegance is delightful throughout and culminates in a high-spirited 'sturm und drang' Finale.



    On the B side is Glinka's Kamarinskaya Fantasia, only eight minutes long but captivating with its extremely closely-knit compositional style, and his Overture to A Life for the Tsar - a showpiece whose leitmotifs are truly forward-looking. Alongside these classical-romantic musical gems, Borodin's In The Steppes of Central Asia acts as an ideal programmatic amalgamation of the Orient and the Occident, and fits perfectly into this choice of repertoire.




    Recording: February and March 1961 at Victoria Hall, Geneva (Switzerland), by Roy Wallace

    Production: Michael Bremner




    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. Classical Symphony In D Major, Op. 25
    2. Kamarinskaya - Fantasy
    3. In The Steppes Of Central Asia
    4. A Life For The Czar (Ivan Susanin) - Overture
    Sergei Prokofiev
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pete Townshend's Classic Quadrophenia Pete Townshend's Classic Quadrophenia Quick View

    $25.99
    Buy Now
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    Pete Townshend's Classic Quadrophenia

    As a leading icon of the British music revolution of the 1960s, Pete Townshend made his name by creating the power chord, smashing guitars onstage, and penning anthems of teenage rebellion like My Generation.


    Now, at almost 70 years old and half a century after he penned the archetypal rock lyric Hope I die before I get old , Townshend has created a classical version of one of The Who s landmark albums Quadrophenia for a symphony orchestra, opera singer and choir.


    The new symphonised version of Quadrophenia, an album originally released by The Who in 1973, was orchestrated by Rachel Fuller, a professional composer, orchestrator and singer-songwriter in her own right and also the partner of Pete Townshend.


    It will be released by the Deutsche Grammophon label, internationally renowned for its repertoire of classical and opera music, and launched next summer with a world premiere concert at the Royal Albert Hall, performed by the Royal Philharmonic Orchestra and London Oriana Choir.


    The project is the latest chapter in Townshend s lifelong mission to break the three-minute mould of the traditional pop song and take rock music to a higher artistic level. In the 1960s he defined the concept of the rock opera with Tommy, taking it a stage further with Quadrophenia.
    Conceived and written by Townshend in 1973, Quadrophenia went on to become a feature film and a theatre production, and was performed in its entirety on The Who s most recent live tour. For the last three years Townshend has worked closely with Rachel Fuller on brand-new arrangements for orchestra, soloists and choir.


    Recorded with the Royal Philharmonic Orchestra in October 2014 at London s legendary Air Studios, the new incarnation of this classic rock opera is conducted by Robert Ziegler and features popular British tenor Alfie Boe on vocals, with Townshend himself on electric guitar and performing cameo vocal roles. Townshend will reprise his roles at the live world premiere at the Royal Albert Hall in London on 5 July 2015, alongside the RPO, Ziegler, Boe and other star guests.


    The rock superstar began work on the project as part of his plan to leave a legacy of all his work arranged for orchestra as sheet music, for future generations to enjoy. Townshend hopes the new work will go on to become a regular part of the orchestral repertoire and boost attendance at classical concerts.


    A lot of major symphony orchestras are in trouble because their audience is getting old and the younger audiences prefer softer stuff, such as film soundtrack music, he explains. I think that Quadrophenia would reinvigorate their audiences and bring in people who might not otherwise go to see a symphony orchestra perform without lights and fireworks and a movie screen.


    Rachel Fuller, who was born in the year Quadrophenia was first released, admits she had never heard The Who s album until several years after she first met Townshend in a London recording studio, while he was rehearsing for The Who s 1996 tour of that album and she was working with Ute Lemper.


    I loved it as soon as I heard it about ten years ago, she says. For me it's been an act of love to orchestrate it for Pete. It's also been a joy to work on because it is very orchestral by nature, even as a rock album, so it was very easy to arrange for an orchestra. And I've remained really faithful to the original tracks because he's the composer and I want to honour his work.

    1. I Am The Sea
    2. The Real Me
    3. Quadrophenia
    4. Cut My Hair
    5. The Punk And The Godfather
    6. I'm One
    7. The Dirty Jobs
    8. Helpless Dancer
    9. Is It In My Head?
    10. I've Had Enough
    11. 5:15
    12. Sea And Sand
    13. Drowned
    14. Bell Boy
    15. Doctor Jimmy
    16. The Rock
    17. Love Reign O'er Me
    Pete Townshend
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Afro Classic (Speakers Corner) Afro Classic (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Afro Classic (Speakers Corner)

    In the Seventies, fusion was a popular pigeonhole for music somewhere between jazz and pop. At the same time it was also an often used, belittling term employed by critics and representatives of 'pure' jazz, who never wanted to listen to it, let alone include any of the numerous LPs in their collection.



    Forty years later, the dust has settled. Flautist Hubert Laws' recordings not only for the Atlantic but also the CTI labels are treasured - especially the present LP, which was produced by the 'Master of Sound' Creed Taylor. Now these crossover numbers from the worlds of classic, jazz, pop and easy listening are available once more. Discover, for example, Al Kooper's composition Fire And Rain (more familiar are the versions from Blood, Sweat & Tears and James Taylor), the famous theme music from the film Love Story, and three classical compositions by J. S. Bach and Mozart. All have been given a facelift and with such super sidemen ranging from Ron Carter to Bob James and a superb Freddie Waits on the drums, they are a real treat.
    So cast aside any preconceptions and enjoy this meticulous production and the clear reproduction on vinyl.



    Musicians:



    • Hubert Laws (flute)

    • Don Sebesky (arranger)

    • Fred Alston, Jr. (bassoon)

    • Bob James (electric piano)

    • Gene Bertoncini (guitar)

    • David Friedman (vibraphone)

    • Ron Carter (bass)

    • Airto, Richie 'Pablo' Landrum (percussion)

    • Fred Waits (drums)




    Recording: December 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor





    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. Fire and Rain
    2. Allegro from Concerto No. 3 in D
    3. Theme from Love Story
    4. Passacaglia in C Minor
    5. Flute Sonata in F
    Hubert Laws
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Occult Classic (On Sale) Occult Classic (On Sale) On Sale Quick View

    $19.99 $15.79 Save $4.20 (21%)

    Buy Now
    x

    Occult Classic (On Sale)

    180 Gram Clear Vinyl


    The 'OCCULT CLASSIC' LP opens with the Rock City and
    AWOLNATION featured "Kill It 4 the Kids" single, whose
    whirlwind of lighters-up metal, signature bass growls and
    festival sized synthwork make up one of the release's many
    style hopping switch ups; including the Youtube flavored
    Baltimore Club of the "Dolphin on Wheels" collaboration with
    Dillon Francis, the rowdy dubstep-meets-drum & bass head
    banger, "Spitfire Riddim" with Madsonik, and the razor sharp
    bassline-backed electro thump of "Louder" with Tommy
    Trash.


    At times, the album feels like a snapshot of his adrenaline
    fueled live sets, which he's performed from some of the
    most iconic stages in the world (Coachella, Lollapalooza,
    EDC Las Vegas, Holy Ship! and the Mad Decent Block
    Party). In the midst of touring and working on music over
    the last few years, Kill the Noise has also received MTV
    Clubland's Music Video pick of the year twice (2012,
    2013), he's collaborated on official releases with Skrillex,
    Korn, Passion Pit, and Flux Pavilion, and he co-wrote and
    produced 2014's "Shell Shocked" from Paramount
    Picture's Teenage Mutant Ninja Turtles soundtrack
    alongside Wiz Khalifa, Juicy J, and Ty Dolla $ign.

    1. Kill It 4 The Kids (feat. AWOLNATION & Rock City)
    2. FUK UR MGMT
    3. Mine (with Bryn Christopher)
    4. I Do Coke (with Feed Me)
    5. Without A Trace (Feat. Stalking Gia)
    6. Tommy Trash - Louder (Feat. Rock City)
    7. Dolphin on Wheels (with Dillon Francis)
    8. Lose Ya Love
    9. Spitfire Riddim (feat. twoton with Madsonik)
    10. All in My Head (feat. AWOLNATION)
    Kill The Noise
    $19.99 $15.79 Save $4.20 (21%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Classic (On Sale) The Classic (On Sale) On Sale Quick View

    $22.99 $18.16 Save $4.83 (21%)

    Buy Now
    x

    The Classic (On Sale)

    I'm in the best place I've ever been in my life, declares Joan Wasser, and she's just recorded the album that proves it. The Classic, the fourth album of originals by the uniquely charismatic artist known as Joan As Police Woman, builds on the creative impetus and success of its 2011 predecessor The Deep Field, on which Joan strove to create music rooted in an intimate, elemental and uplifting brand of soul combined with her own unique serene, torch-singing temperament, with a more liberated feel than ever before. The result is a perfect reflection of her efforts to address - and solve - personal issues and so reject the singer-songwriter's traditional melancholic disposition for an unashamed lust for life. As graffiti in the artwork of her 2006 debut album Real Life read: Evolve and Be Brave.


    The Classic is named after one of its ten tracks. Part is to do with the way we recorded mostly live; the way records used to get made, she explains. But I wrote 'The Classic' itself as a classic girl-group doo wop song, and the lyric refers to classic old songs like Marvin Gaye and Tammy Terrell 'You're All I Need To Get By', Stevie Wonder's ' Joy Inside My Tears' and Danny & The Juniors' 'Rock'n'Roll Is Here To Stay'. And at the end, I spell out the name of the song, like Aretha Franklin did with 'R-E-S-P-E-C-T'! The song begins 'I am home in your arms' and it's solely joyful, expressing jubilation. Melancholy is still part of my life, but it's no longer leeching energy from my life.

    1. Witness
    2. Holy City
    3. The Classic
    4. Good Together
    5. Get Direct
    6. What Would You Do
    7. New Year's Day
    8. Shame
    9. Stay
    10. Ask Me
    Joan As Police Woman
    $22.99 $18.16 Save $4.83 (21%)
    Vinyl LP - 2 LPs Sealed Buy Now
  • Music Night Music Night Quick View

    $34.99
    Buy Now
    x

    Music Night

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


    When legendary record producer John Culshaw left Decca in 1967 to become Head of Music at BBC Television, he inaugurated and supervised several series of Andre Previn's Music Night, in which Previn would talk informally direct to camera and then turn and conduct the London Symphony Orchestra, whose members were dressed not in evening clothes but in casual sweaters or shirts. The programme attracted unprecedented viewing figures for classical music in the early and mid 1970s in the U.K.


    Taking advantage of the television programme's success, EMI recorded Previn and the LSO at the Kingsway Hall, London on 15 December 1974 and 19 & 20 May 1975 in a programme of popular music typical of the series. These recordings were produced and engineered by Christopher Bishop and Christopher Parker respectively.


    Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS80 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional playback head. Pressed on 180g vinyl to audiophile standards.


    This title is not eligible for discount.

    1. Signature Tune

    2. March: Orb and Sceptre
    3. Scherzo: The Sorcerers Apprentice
    4. Adagio in G minor
    5. Overture: Hansel and Gretel
    6. Choreographic Poem: La Valse
    7. Slavonic Dance No.9, Op.72, No.1
    Andre Previn
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Volume IV: The Classic Singles 88-93 Volume IV: The Classic Singles 88-93 Quick View

    $49.99
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    Volume IV: The Classic Singles 88-93

    UK Import - One Time Press


    Take the sweet soul vocals of Caron Wheeler. Add jazzy hip-hop beats and early Balearic rhythms. Mix with one of the most influential producers of the decade, Nellee Hooper, and pour through the musical uber-talent of Jazzie B. The result is Soul II Soul's seminal sound. Soul II Soul Vol 4 - the Classic Singles 1988-1993 is a greatest-hits album that contains Keep On Movin' and the phenomenal Back To Life. This is exceptional and innovative music whose rough edge keeps it fresh.

    - Ed Potton

    1. Back to Life (However Do You Want Me) [feat. Caron Wheeler]
    2. Keep On Movin' (Edit) [feat. Caron Wheeler]
    3. Get a Life
    4. A Dream's a Dream
    5. Missing You (feat. Kym Mazelle)
    6. Just Right (Extended Album Mix)
    7. Move Me No Mountain (Radio Mix)
    8. People
    9. Fairplay
    10. Jazzie's Groove (New Version)
    11. Wish (Juni Mix)
    12. Joy
    13. Keep On Movin' (Mafia And Fluxy Mix) (Feat. Caron Wheeler)
    14. Fairplay (Ethnic Boys Mix)
    15. Back To Life (However Do You Want Me) (Bonus Beats) (Feat. Caron Wheeler)
    Soul II Soul
    $49.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Hollywood Holidays: The Classic 1991 Radio Broadcast Hollywood Holidays: The Classic 1991 Radio Broadcast Quick View

    $37.99
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    Hollywood Holidays: The Classic 1991 Radio Broadcast

    1000 Only Limited Edition


    This remarkable release captures The Pixies at their finest, immediately before Christmas 1991, playing a show - broadcast by public radio network KCRW FM - at the Hollywood Palladium in Los Angeles.


    From the outset, this legendary New England four piece are at the very top of their game - opening with the savage rip-snorting blast of Rock Music, before powering into the gloriously riff-driven surf instrumental Cecilia Ann.


    Even when pausing for breath, the slower numbers like Gouge Away and Subbacultcha are tough-as-nails and seethe with a barely contained fury. In addition to the usual Francis-Santiago-Deal-Lovering quartet, this performance benefits from the added keyboard wizardry of the mighty Ubus Eric Drew Feldman, who beefs up The Pixies live sound still further.


    Eventually, Kim Deals dissatisfaction with Black Francis autocratic leadership style and almost complete domination of the songwriting credits, led to the band splitting apart in early 1993. They took an eleven year career-break - while Francis forged a solo career and Deal went on to achieve further success with The Breeders - and then reconvened in 2004 with the same line-up, albeit - save for a brace of digital singles and a contribution to the Warren Zevon tribute album - only in a live capacity. That much anticipated fifth studio album has yet to materialise.


    This December 1991 set is naturally heavily weighted towards the bands then current record, Trompe Le Monde, which had been released just three months earlier in September. All but two of its fifteen songs are represented here - Space (I Believe In) and the title track being the only omissions.


    Head On, originally by the Jesus and Mary Chain, is a rare cover version amongst the Black Francis compositions. The only other non-original here is Cecilia Ann, a number cut in the early 1960s by The Surftones. The latter was included on The Pixies 1990 album, Bossanova which also contributes Rock Music and Velouria.


    Delving a little further back in time, Gouge Away, Crackity Jones, Wave of Mutilation and Monkey Gone to Heaven are all drawn from Doolittle (1989). Thematically linked - and played back-to-back here - are Manta Ray and Dancing the Mantra Ray, both originally only released as single b-sides. Finally, there is Ed Is Dead, the lone representative from The Pixies debut EP, Come on Pilgrim, released in October 1987.

    LP 1
    1. Rock Music

    2. Cecilia Ann
    3. Gouge Away
    4. Motorway To Roswell
    5. Alec Eiffel
    6. Velouria
    7. Crackity Jones
    8. Distance Equals Rate Times Time
    9. Manta Ray
    10. Dancing The Manta Ray
    11. Lovely Day
    12. Subbacultcha


    LP 2
    1. Letter To Memphis
    2. Palace Of The Brine
    3. Ed Is Dead
    4. Wave Of Mutilation
    5. Monkey Gone To Heaven
    6. Bird Dream Of The Olympus Mons
    7. The Sad Punk
    8. The Navajo Know
    9. Planet Of Sound
    10. Head On
    11. U-Mass

    Pixies
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Music Is My Business Music Is My Business Quick View

    $17.99
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    Music Is My Business

    Fat Possum Records presents 1999 Blues Hall Of Fame inductee Roosevelt Sykes' piano blues classic, Music Is My Business, reissued on vinyl for the fist time in a decade. Recorded September 17, 1975, it also includes appearances by Johnny Shines & Louisiana Red.
    1. Music Is My Business
    2. Mistake In Life
    3. New York Boogie
    4. Dream Woman
    5. Stop Stoppin' Me
    6. Look Out For Yourself
    7. Some Right, Some Wrong
    8. Take Time Out
    9. Hot Pants
    10. A Good Woman
    11. Just A Smile
    12. Leavin' Chicago
    13. Funky Side
    14. Last Chance
    15. Who's That Pretty Woman
    16. How Long
    Roosevelt Sykes
    $17.99
    150 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • English String Music English String Music Quick View

    $34.99
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    English String Music

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


    This famous LP was recorded at the Kingsway Hall, London on May 10-11, 1962,
    except for the Tallis Fantasia which was recorded in the sonorous acoustic of the medieval Temple Church in the City of London a week later. The latter venue was suggested by the American composer and conductor Bernard Herrmann, a friend and admirer of Barbirolli since Sir Johns years in New York.


    From Herrmann's website:
    Herrmann insisted that it must be done in a stone building not a studio. So Herrmann suggested the Temple Church. The recording session was started at midnight to avoid traffic noise. According to Ursula Vaughan Williams (the composers widow): Coats and bags and thermos flasks were piled round the effigies of Crusader Knights. Bernard was there, listening to the balance, listening to the music, and the resulting record is by far the best ever made of the work.


    Produced by the legendary Victor Olof and engineered by Harold Davidson and Neville Boyling (Tallis).


    The album features the original album artwork and is pressed on 180g vinyl to audiophile standards.


    This title is not eligible for discount.

    Side One:
    Edward William Elgar (1857-1934)
    1. Introduction and Allegro for strings, Op. 47
    2. Serenade in e minor, Op. 20
    Side Two:
    Ralph Vaughan Williams (1872-1958)
    1. Fantasia on a theme by Thomas Tallis
    2. Fantasia on Greensleeves
    Elgar & Vaughan Williams
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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