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  • 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
  • Mercury Living Presence Vol 3 Mercury Living Presence Vol 3 Quick View

    $109.99
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    Mercury Living Presence Vol 3

    MERCURY LIVING PRESENCE - The Collector's Edition Vol. 3
    LP1: Respighi: Roman Festivals; Church Windows
    Minneapolis Symphony Orchestra, Antal Doráti


    LP2: Wienerwalzer Paprika
    Philharmonia Hungarica, Antal Doráti


    LP3: Bloch: Concerti Grossi Nos. 1 & 2
    Eastman-Rochester Orchestra, Howard Hanson


    LP4: Franck: Symphony in D Minor
    Detroit Symphony Orchestra, Paul Paray


    LP5: Ballet For Band
    Eastman Wind Ensemble, Frederick Fennell


    LP6: Paray Conducts Wagner
    Detroit Symphony Orchestra, Paul Paray

    Various Artists
    $109.99
    180 Gram Audiophile Virgin Vinyl LP - 6 LPs Sealed Buy Now
  • Sibelius: Symphony No. 2 in D Sibelius: Symphony No. 2 in D Quick View

    $21.99
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    Sibelius: Symphony No. 2 in D

    Sibelius: Symphony No.2 in D
    Various Artists
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky: The Firebird Stravinsky: The Firebird Quick View

    $21.99
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    Stravinsky: The Firebird

    Antal Dorati was a veteran ballet conductor and a personal friend of Stravinsky. His recording of The Firebird was a legend in its own time... All of Stravinsky's complete ballets--as opposed to the suites-- have dead spots, moments when the music sort of stops and lurches about, illustrating something happening onstage. That's why the composer made the suites in the first place. However, many of his most fascinating orchestral ideas occur precisely in these dead spots, which is why many conductors and audiences prefer the works complete. Trust Dorati: he's the most reliable guide to this music, and his orchestra gives him a virtuoso response. --David Hurwitz
    1. Igor Stravinsky - The Firebird Suite
    Antal Dorati & The London Symphony Orchestra
    $21.99
    Vinyl LP - Sealed Buy Now
  • Ravel: Daphnis et Chloe Ravel: Daphnis et Chloe Quick View

    $25.99
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    Ravel: Daphnis et Chloe

    Decca is releasing their greatest recordings on vinyl and all are mastered at Abbey Road Studios from original
    analogue tapes and pressed on 180g heavyweight vinyl by OPTIMAL. This release features Ernest Ansermet and
    l'Orchestre de la Suisse Romande in Ravel's complete ballet, Daphnis et ChloÉ. ''Every details of Ravel's
    masterpiece seems to speak with the full panoply of French wind coloring and an utterly idiomatic sense of
    rhapsodic ecstasy that can't be matched." (Gramophone)
    1. Introduction et danse religieuse
    2. Scène - Danse gÉnÉrale
    3. Danse grotesque de Dorcon - Scène
    4. Danse lÉgère et gracieuse de Daphnis
    5. Scène - Danse de Lyceion - Scène (Les pirates)
    6. Scène - Danse lente et mystÉrieuse
    7. Introduction
    8. Danse guerrière
    9. Scène - Danse suppliante de ChloÉ
    10. Lever du jour - Scène,
    11. Daphnis et ChloÉ miment l'aventure de Pan et Syrinx
    12. Danse gÉnÉrale
    Ernest Ansermet
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Phase Four Stereo Concert Series (Box Set) Phase Four Stereo Concert Series (Box Set) Quick View

    $139.99
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    Phase Four Stereo Concert Series (Box Set)


    Limited-Edition, Numbered LP Set With A Detailed Booklet


    Original LP Front And Back Covers


    Cover Art In Style Of The 40 CD Box Set


    Lift-off Rigid LP Box


    Full-Colour Booklet


    The Pressings From Record Industries Will Be On 180 Gram Vinyl Stock


    Lacquers Cut By Sean Magee At Abbey Road Studios


    In the 1960s Decca pioneered the use of a multi 10-channel console mixer which created recordings with an unprecedented sense of spatial realism and
    movement - Phase 4 Stereo. Following in the footsteps of Decca's highly-successful label heritage sets (The Decca Sound, Mercury Living Presence),
    this generous selection of the very best of Phase 4 promises to amaze a new generation of fans.


    Two of the titles included in the set are on the TAS List - the Holy Grail of vinyl fidelity. This is a list of recordings recommended by The Absolute Sound
    magazine under the direction of Harry Pearson.


    Box Set Includes:

    Hermann: Fantasy Film World (PFS 4309)

    Rozsa: Music From Ben Hur (PFS 4394)

    Mozart: Yellow River Concerto (PFS 4299)

    Rimsky-Korsakov: Scheherazade (PFS 4062)

    Bizet: Carmen & L'Arlesienne Suites (PFS 4127)

    Dvorak: New World Symphony (PFS 4128)

    LP 1 - Dvorák: Symphony No.9 in E minor "From the New World"
    1. Adagio - Allegro molto
    2. Largo
    3. Scherzo (molto vivace)
    4. Allegro con Fuoco


    LP 2 - The Fantasy Film World of Bernard Hermann
    1. Journey to the Centre of the Earth
    2. The Seventh Voyage of Sinbad
    3. The Day the Earth Stood Still
    4. Fahrenheit 451


    LP 3 - Bizet: Carmen & L'ArlÉsienne Suites
    1. Les toreadors
    2. Aragonaise
    3. Intermezzo
    4. Les dragons d'Alcala
    5. Habanera
    6. La garde montante
    7. Danse bohème
    8. PrÉlude
    9. Minuetto
    10. Adagietto
    11. Carillon
    12. Farandole


    LP 4 - Rósza: Music from Ben Hur
    1. Fanfare To Prelude
    2. Star Of Bethlehem And Adoration Of The Magic
    3. Friendship
    4. The Burning Desert
    5. Arrius's Party
    6. Rowing Of The Galley Slaves
    7. Parade Of The Charioteers
    8. The Mother's Love
    9. Return To Judea
    10. Ring For Freedom
    11. Lepers' Search For The Christ
    12. Procession To Calvary
    13. Miracle And Finale


    LP 5 - Rimsky-Korsakov: Scheherazade
    1. The Sea and Sinbad's Ship
    2. The Story of the Calender Prince
    3. The Young Prince and the Young Princess
    4. Festival at Bagdad - The Sea - The Shipwreck against a rock surmounted by a bronze warrior (The Shipwreck)


    LP 6 - Yellow River Concerto; Mozart: Piano Concerto No. 21
    1. Prelude: The Song Of The Yellow River Boatmen
    2. Ode To The Yellow River
    3. The Yellow River In Wrath
    4. Defend The Yellow River
    5. Allegro
    6. Andante
    7. Allegro vivace assai

    Various Artists
    $139.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • Morricone 60 Morricone 60 Quick View

    $35.99
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    Morricone 60

    Morricone 60 is the first album of Ennio Morricone's greatest hits conducted, recorded and curated by Morricone himself - and aims to create a legacy for his fans to enjoy. It sees the celebrated Maestro performing some of his greatest film music from The Good, the Bad and the Ugly to his recent Academy Award-winning score for Quentin Tarantino's The Hateful Eight (released earlier this year on Decca). The album marks Ennio Morricone's 60th anniversary as a composer and conductor and features brand new recordings with the Czech National Symphony Orchestra, with whom he's collaborated on major international movie scores.
    LP 1
    1. Once Upon A Time In The West - The Man With The Harmonica
    2. The Good, The Bad And The Ugly - The Fortress
    3. The Good, The Bad And The Ugly - Main Theme
    4. Once Upon A Time In The West - Jill's Theme
    5. A Fistful Of Dynamite - Main Theme
    6. The Good, The Bad And The Ugly - The Ecstasy Of Gold
    7. Chi Mai
    8. H2S - Main Theme
    9. Metti, Una Sera A Cena - Second Theme
    10. Croce D'Amore
    11. Once Upon a Time in America - Deborah's Theme


    LP 2
    1. The Mission - Gabriel's Oboe
    2. The Mission - Falls
    3. The Mission - On Earth As It Is In Heaven
    4. Cinema Paradiso - Nuovo Cinema Paradiso
    5. Cinema Paradiso - Love Theme
    6. Queimada - Abolisson
    7. The Hateful Eight - Stage Coach To Red Rock
    8. The Hateful Eight - Bestiality
    9. For A Few Dollars More - Main Theme
    10. Fistful Of Dollars - Titoli
    11. The Lady Caliph - La Califfa
    12. The Untouchables - Death Theme

    Ennio Morricone
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • The Black Maskers / Tabuh-Tabuhan The Black Maskers / Tabuh-Tabuhan Quick View

    $21.99
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    The Black Maskers / Tabuh-Tabuhan

    Backed by The Eastman-Rochester Orchestra, Howard Hanson conducts Roger Sessions' Suite From The Black Maskers on side one and Colin Mcphee's Tabuh-Tabuhan (Toccata For Orchestra) on side two of this classic reissue, originally released in 1959.
    1. Dance - Suite From The Black Maskers - Roger Sessions

    2. Scene - Suite From The Black Maskers - Roger Sessions

    3. Dirge - Suite From The Black Maskers - Roger Sessions
    4. Finale - Suite From The Black Maskers - Roger Sessions

    5. Ostinatos - Tabuh-Tabuhan (Toccata For Orchestra) - Colin McPhee
    6. Nocturne - Tabuh-Tabuhan (Toccata For Orchestra) - Colin McPhee

    7. Finale - Tabuh-Tabuhan (Toccata For Orchestra) - Colin McPhee
    Howard Hanson & The Eastman-Rochester Orchestra
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Let It Bleed Let It Bleed Quick View

    $32.99
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    Let It Bleed

    Ranked 32/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    UK Import

    DSD


    Let It Bleed is the eighth British and tenth American album by English rock band The Rolling Stones, released in December 1969 by Decca Records in the United Kingdom and London Records in the United States. Released shortly after the band's 1969 American Tour, it is the follow-up to 1968's Beggars Banquet and the last album by the band to feature Brian Jones as well as the first to feature Mick Taylor.

    1. Gimme Shelter
    2. Love In Vain

    3. Country Honk

    4. Live With Me

    5. Let It Bleed

    6. Midnight Rambler

    7. You Got The Silver

    8. Monkey Man

    9. You Can't Always Get What You Want
    The Rolling Stones
    $32.99
    180 Gram Audiophile Virgin Vinyl LP -Sealed Buy Now
  • The Three-Cornered Hat (Speakers Corner) The Three-Cornered Hat (Speakers Corner) Quick View

    $34.99
    Buy Now
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    The Three-Cornered Hat (Speakers Corner)

    The very fact that Manuel de Falla composed his ballet El sombrero de tres picos (The Three-Cornered Hat) for the ambitious impresario Serge Diaghilev and his epoch-making Ballets Russes indicates the historical importance of this work. Although the Impressionistic character of the musical language reflects his studies with Debussy, the composer never once renounces his native origins. Overflowing with the thrilling rhythms and electrifying melodies of Spanish folkmusic, this work achieved worldwide popularity virtually overnight.



    As so often before in this genre, the Swiss conductor Ernest Ansermet proves once again in this DECCA recording that he is a power to be reckoned with. The Orchestre de la Suisse Romande executes the slightest nuance, the most exquisite of figures and gentlest lyrical tone with meticulous precision. Powerful rolls of thunder, the click of castanets, lively rhythms and rich sonority conjure up a picture of fiery Spanish temperament so tangibly before our eyes that any comment on the recording quality appears almost superfluous. In a nutshell: this record is, quite simply, incredibly good.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: February 1960 at Victoria Hall, Geneva by Roy Wallace

    Production: James Walker





    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.



    Ernest Ansermet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner)

    The amazing skill of two great virtuosos, Joseph Leutgeb and Anton Stadler, inspired Mozart to compose the concertos heard here. Made in 1959, this DECCA recording gives us an excellent idea of how the concertos would have sounded in Mozart's day, thanks to two of today's very best instrumentalists - the clarinettist Gervase de Peyer and the horn player Barry Tuckwell.



    Amazing lightness, warmth of tone and perfect intonation are the hallmarks of the soloist and London Symphony Orchestra conducted by Peter Maag in the clarinet concerto, which Mozart completed only a few weeks before his death. The two horn concertos heard here were also written during Mozart's final creative period in Vienna. Just one hearing is enough to let them be remembered for all time - for these concertos employ to the full the horn's rich and widely varied range of expression. Broad arching melodies, tripping runs and merry hunting calls in the final movements guarantee musical enjoyment, and for this we owe our thanks to both the past and present masters of their instruments in this delightful recording.





    Musicians:



    • Gervase de Peyer (clarinet)

    • Barry Tuckwell (horn)

    • London Symphony Orchestra

    • Peter Maag (conductor)




    Recording: November 1959 at Kingsway Hall, London by Kenneth E. Wilkinson
    Production: Ray Minshull





    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
  • Tchaikovsky - Nutcracker (Speakers Corner) Tchaikovsky - Nutcracker (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Tchaikovsky - Nutcracker (Speakers Corner)

    When the evenings grow longer, the autumn leaves begin to fall and Jack Frost calls during the night, then it is time to conjure up the magic world of Tchaikovsky's Nutcracker while relaxing in front of a crackling fire.



    In this double album you will hear the delightfully varied ballet music in its entirety and not just the usual highlights. Each and every one of the highly individual numbers, be it a dance, a march or a waltz, is enchanting with its ever varying orchestral colouring, here merry and impudent and tripping along lightly without a care in the world, there sturdy and vigourous, even coarse.



    The Orchestre de la Suisse Romande, led by its conductor of many years standing, Ernest Ansermet, is very much at home in Russian repertoire and masters the occasional immense difficulties of the score with bravado. The DECCA team has once again proved its worth and leaves any nuts which still need to be cracked to the hi-fi equipment - the airy strings, the delicate triangles, the thrill of cymbals clashing, and the wooden clack of the castanets. And if, by an amazing coincidence, the heating should fail when you are listening to this record, there is no reason to worry - this music is guaranteed to warm the cockels of your heart and keep Jack Frost from the door.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: October / November 1958 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker




    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.



    Pyotr Ilich Tchaikovsky
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Stravinsky - Sacre du Printemps (Speakers Corner) Stravinsky - Sacre du Printemps (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Sacre du Printemps (Speakers Corner)

    To be sure: no other 20th-century ballet music has ever created such a commotion as this ancient rite of spring: it began with a turmoil which developed into a full-scale brawl at the premiere performance in the concert hall, was sung hymns of praise and suffered devastating reviews by critics who tore the work apart, and led up to the musico-philosophical libel written in the Fifties by that self-acclaimed "chief enemy" of Stravinsky, W. A. Adorno.



    This thrilling, epoch-making masterpiece remains fascinating to this very day thanks to its bloodcurdling rhythms, its secretive, intertwined melodies, and the boiling, seething, and lashing of the titanic instrumental forces. And Sir Georg Solti and his phenomenal orchestra certainly ensure that all this is brought over to the listener. The notes of the lyrical passages simply fly out of the loudspeakers with the lightness and airyness to which one is accustomed with DECCA recordings from this era. But one can still be astounded by this audiophile work of art: such a gentle, voluminous, lashing and pounding sound-storm is only normally heard live in the concert hall. And precisely because this recording sounds so marvellous, it tops the vinyl charts in the American specialist magazine The Absolute Sound.



    Musicians:



    • The Chicago Symphony Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1974 at Medinah Temple, Chicago (USA) by Kenneth Wilkinson and James Lock

    Production: Ray Minshull





    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.



    Sir Georg Solti with Chicago Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Henderson - Prokofiev:  Peter And The Wolf / Saint-Saens: Carnival of the Animals (Speakers Corner) Henderson - Prokofiev: Peter And The Wolf / Saint-Saens: Carnival of the Animals (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Henderson - Prokofiev: Peter And The Wolf / Saint-Saens: Carnival of the Animals (Speakers Corner)

    For those who enjoy a pun, Saint-Saëns's Carnival of the Animals and Prokofiev's symphonic tale for children Peter and the Wolf might well be described as "beastly". And this recording makes no exception for it is, indeed, quite spectacular! Both works are introduced by the roaring and screaming of the inhabitants of London Zoo. The individual orchestral instruments are introduced during the course of the music and are commented upon by a human voice in a narrative.



    The characters and animals are each given a characteristic theme which is presented by a particular instrument or register. While Prokofiev wrote his composition with a pedagogic purpose in mind, Saint-Saëns's main aim was to create a piece of musical fun. The mischievous work not only offers a lively depiction of various animals and even hollow-sounding fossils (by means of the xylophone), but also contains numerous tongue-in-cheek references to works by great composers.



    These two musical masterpieces combine humour with education in a thoroughly fascinating and enchanting manner and are equally loved by children and adults alike. The interpretation and sound of this DECCA LP certainly earns first prize for being "beastly"!





    Musicians:



    • Beatrice Lillie

    • Animals of the London Zoo

    • London Symphony Orchestra

    • Skitch Henderson (conductor)




    Recording: February 1960 at Kingsway Hall, London by Kenneth E. Wilkinson

    Production: John Culshaw





    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.



    Henderson - Prokofiev / Saint-Saens and The London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Bobby Darin Story - Greatest Hits The Bobby Darin Story - Greatest Hits Quick View

    $30.99
    Buy Now
    x

    The Bobby Darin Story - Greatest Hits

    First Time 180 Gram Vinyl Of Bobby Darin's Greatest Hits


    Mastered Impeccably By Joe Reagoso From The Rare Stereophonic Atlantic Records Tapes


    Features The Rare Early Alternate White Cover Artwork From 1961


    The legendary Bobby Darin was truly an entertainer of iconic stature. At a very young age he learned how to play a plethora of instruments. This rudimentary love of music followed him closely throughout his early career where he teamed up with future superstar Don Kirshner (The Monkees/Kansas) and began their publishing and writing partnership in New York City at the Brill Building. In the late 50's he ultimately cut his first #1 hit single Splish Splash, soon following it up with other huge sides like the phenomenal Mack The Knife for Atlantic Records, kick-starting the beginnings of a soon to be worldwide superstar, troubadour and entertainer career unlike the world has ever known.


    In 1961 after many chart topping pop albums and a bevy of hit singles and awards, more fame followed as the brass at Atlantic Records honored their young superstar Bobby Darin with his first hits collection, the top ten charter The Bobby Darin Story . The album was a blockbuster at retail, making this a crossover hit with both pop and jazz audiences, proving once again that his career was of historic merit.


    Filled with more hits than a jukebox, the amazing album cooks with smashes like Dream Lover, his early Decca Records hit Early In The Morning, the smooth sounds of Beyond The Sea, plus more hits like the rockin' Lazy River and Plain Jane which truly makes this Lp a treasure trove of Bobby Darin classics.


    In total, the album showcases 12 important recordings which have truly gone on to become international classics for all time. In honor of the Man, the Music and the Legend, Friday Music is very proud and honored to announce the first time 180 Gram Audiophile Vinyl release of the Atlantic Records classic greatest hits collection The Bobby Darin Story


    As a first installment in our exciting Bobby Darin 180 Gram Audiophile Vinyl Series, we are very pleased to present this masterwork in all its rare stereophonic glory. Mastered impeccably from the Atlantic Records stereo tapes by Joe Reagoso at Friday Music Studios and at Capitol Mastering in Hollywood, The Bobby Darin Story will be a much anticipated audiophile dream release for his fans everywhere!


    For this exclusive presentation, we are also including the super rare white cover version artwork not seen in decades A history making album from a historic legend, a first time audiophile vinyl dream come true From your friends at Friday Music Stay tuned for more Bobby Darin original Atlantic Records audiophile vinyl and remastered compact disc recordings from Friday Music.

    1. Splish Splash
    2. Early In The Morning
    3. Queen Of The Hop
    4. Plain Jane
    5. Dream Lover
    6. Mack The Knife
    7. Beyond The Sea
    8. Clementine
    9. Bill Bailey
    10. Artificial Flowers
    11. Somebody To Love
    12. Lazy River
    Bobby Darin
    $30.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Lalo: Symphonie Espagnole / Ravel: Tzigane (Speakers Corner) Lalo: Symphonie Espagnole / Ravel: Tzigane (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Lalo: Symphonie Espagnole / Ravel: Tzigane (Speakers Corner)

    Whenever the Orchestre de la Suisse Romande and Ernest Ansermet, their conductor of many years standing, entered the hall for a recording session, all lovers of high quality LPs looked forward to yet another addition to their collection. And when this wonderful ensemble was joined by such a unique artist as Ruggiero Ricci, who had appeared in the Carnegie Hall at the early age of nine, then their joy knew no bounds. The present re-release offers all fans of fiery rhythms and sumptous symphonic sound a wonderful opportunity to revel in a musical treat in audiophile quality.



    Lalo's highly virtuosic and therefore seldom performed Symphonie espagnole glows with a rich sound palette full of southern temperament as only a large orchestra can. Ruggiero Ricci rivets the listener's attention with his pithy tone, his amazing cascades of sound and melancholy gypsy melodies.
    For all those who cannot get enough of Ricci's captivating playing, a brilliant encore is provided by Ravel's Tzigane - a true showpiece of 20th-century violin repertory.



    Sheer delight for the ears and the soul - and certainly not limited to fans of virtuoso violin playing.



    Recording: March 1959 at Victoria Hall by Roy Wallace / Production: James Walker





    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 non troppo (Lalo)
    2. Scherzando- Allegro molto (Lalo)
    3. Intermezzo (Lalo)
    4. Andante (Lalo)
    5. Rondo (Allegro) (Lalo)
    6. Tzigane (Ravel)
    Ernest Ansermet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rachmaninov: The Piano Concertos; Paganini Rhapsody Rachmaninov: The Piano Concertos; Paganini Rhapsody Quick View

    $59.99
    Buy Now
    x

    Rachmaninov: The Piano Concertos; Paganini Rhapsody


    Mastered Using 24-Bit 96khz Hi-Res Transfers From The Original Analogue Tapes At Abbey Road Studios


    The Rachmaninov Piano Concertos and Paganini Rhapsody, performed by Vladimir Ashkenazy and the London
    Symphony Orchestra under the baton of AndrÉ Previn, are among the most iconic recordings in Decca's catalog.
    Now Ashkenazy's magnificent achievement returns to vinyl, in a luxurious 3LP set. Presented with original artwork
    and pressed on 180g vinyl, the LPs have been carefully mastered using 24-bit 96khz hi-res transfers from the
    original analogue tapes at Abbey Road Studios.

    Piano Concerto No. 4, Opus 40
    I - Allegro Vivace (Alla Breve)
    II - Largo; III - Allegro Vivace
    Rhapsody On A Theme Of Paganini, Opus 43
    Vladimir Ashkenazy / Andre Previn
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Tchaikovsky - The Sleeping Beauty (Speakers Corner) Tchaikovsky - The Sleeping Beauty (Speakers Corner) Quick View

    $95.99
    Buy Now
    x

    Tchaikovsky - The Sleeping Beauty (Speakers Corner)

    His symphonies are ballets, his ballets are symphonies; such has often been said about Tchaikovsky's lengthy dance compositions. This opinion is not entirely due to the fact that these works had to please the audience without being danced to after Diaghilev's legendary ballet company was dissolved. Rather more, Tchaikovsky's instrumental and incidental music is pervaded by movement and dance rhythms that act as a musical scaffolding.



    Almost as legendary as the incomparable heritage of Russian music is the reputation of the Orchestre de la Suisse Romande, whose recordings are famed for their lush and saturated sound colouring. Ansermet transforms the score into a veritable firework of sound, without ever straining after cheap effects by means of a thunderous sound; the strings are clean and warm in all registers, the brass volleys blare out keenly, and the percussion is dauntlessly resolute. This performance and Decca's customary excellent sound recording render great homage to this music. All the more reason to be glad that this particular Sleeping Beauty has been awakened at long last.





    Recording: March and April 1959 at Victoria Hall, Geneva (Switzerland), by Roy Wallace

    Production: James Walker



    Format: 3LPs 33rpm



    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. The Sleeping Beauty
    Pyotr Ilich Tchaikovsky
    $95.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Strauss: Elektra (Speakers Corner) Strauss: Elektra (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Strauss: Elektra (Speakers Corner)

    Richard Strauss was filled with doubt as to whether he would be capable of expressing in music the crazed revenge of Elektra after writing his opera Salome with its shocking story. It is quite understandable that he had trouble in composing the work, although such difficulties are not in the least evident during the course of the drama or in the musical flow. Drawing on natural sources, the forceful melodies make use of polyphonic, complex motifs and extreme dissonances. Here and there, Strauss's typical chordal harmonies gleam through, though hardly audible, taking the harsh dissonances and chromaticism to the very extremes of atonality.




    Sir Georg Solti, whose outstanding Strauss interpretations constitute the focus of his life's work, leads the enormous orchestra through the highly complex score and provides his singers with a powerful but finely chiselled sound. Birgit Nilsson personifies an icy-cold Elektra consumed with hatred, and her counterpart Regina Resnik as Clytemnestra is no less extreme in her role. Gerhard Stolze, one of the greatest singers of his time, masters the exhausting role of Aegistheus, and Tom Krause is highly convincing as the determined Orestes. The phenomenal acoustics of Vienna's Sofiensaal provided an ideal recording venue, and the audible quality of the sung text is excellent - although the final bloodbath can scarcely be expressed in words.




    Recording: June, September and November 1966 at Sofiensaal, Vienna, by Gordon Parry and James Brown

    Production: John Culshaw and Christopher Raeburn



    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.


    A Part 1: Wo Bleibt Elektra?

    B Part 2: Was Willst Du?
    C Part 3: Oresti! Orest Is Tot!

    D Part 4: Nein, Du Sollst Mich Nicht Umarmen
    Richard Strauss
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Hi-Fi A La Espanola Hi-Fi A La Espanola Quick View

    $18.99
    Buy Now
    x

    Hi-Fi A La Espanola

    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 Spanish-influenced pieces performed by the Eastman-Rochester "Pops" Orchestra conducted by Frederick Fennell.

    1. Brazilian Sleigh Bells
    2. Andalucia
    3. Malaguena
    4. Intermezzo
    5. Jamaican Rumba
    6. Batuque
    7. Amparito Roca
    8. Ritual Fire Dance
    9. The Bullfighter's Prayer Op.34
    10. Brazilian Dance
    Frederick Fennell / Eastman-Rochester Pops Orchestra
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky - 1812 Overture (Speakers Corner) Tchaikovsky - 1812 Overture (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - 1812 Overture (Speakers Corner)

    The 1812 Overture, Tchaikovsky's musical tribute to celebrate victory over Napoleon's army, is one of those 19th-century works which is seldom performed in the concert hall due to the enormous number of instruments it requires. This programmatic symphonic work with its battlefield participants - male-voice choir, bell chimes, percussion, and cannon-fire - requires the utmost from everyone involved, from the tutti strings right up to the balance engineer.



    The gratifying result of a production made with only the very best ingredients can now be enjoyed once again with this re-release of a DECCA recording. The London Symphony Orchestra, led by Kenneth Alwyn, has achieved a remarkable feat, their rich timbre enhancing every nuance of this closely-knit score. Sonorous strings and polished brass wind passages ensure that the listener's attention will be riveted right to the very last bar.
    Less nerve-racking but certainly no less riveting in its beauty and lightness are the well-known Capriccio italien and the popular Marche slave. The purchaser of this LP can congratulate himself that he now possesses three of Tchaikovsky's greatest showpieces.





    Musicians:



    • London Symphony Orchestra

    • Kenneth Alwyn (conductor)




    Recording: May 1958 at Kingsway Hall, London by Kenneth E. Wilkinson

    Production: Michael Williamson




    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. 1812 Overture, Op. 49
    2. Capriccio Italien, Op. 45
    3. Marche Slave, Op. 31
    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Decca Sound - Mono Years (Box Set) The Decca Sound - Mono Years (Box Set) Quick View

    $109.99
    Buy Now
    x

    The Decca Sound - Mono Years (Box Set)

    This limited-edition LP set features six outstanding recordings from Decca's earliest high fidelity history, celebrating the technological breakthroughs that brought full-frequency range recording (ffrr) and high fidelity to the world 70 years ago.
    LP1
    Igor Stravinsky (1882-1971)


    Petrouchka - Version 1911 -


    Scene 1:
    1. The Shrovetide Fair - The Crowds - The Conjuring-Trick
    Scene 2:
    2. Petrouchka's Room
    Scene 3:
    3. The Moor's Room - Dance Of The Ballerina
    Scene 4:
    4. The Shrovetide Fair Evening


    LP2
    Ludwig van Beethoven (1770-1827)


    Symphony No. 5 in F, Op. 68 Pastoral
    1. Erwachen Heiterer Empfindungen Bei Der Ankunft Auf Dem Lande: Allegro Ma Non Troppo
    2. Szene Am Bach: Andante Molto Mosso
    3. Lustiges Zusammensein Der Landleute Allegro
    4. Gewitter, Sturm Allegro
    5. Hirtengesang. Frohe Und Dankbare) GefÜhle nach dem Sturm (Allegretto)


    LP3
    Benjamin Britten (1913-1976)


    Four Sea Interludes from Peter Grimes, Op. 33a
    1. Dawn (Original Version)
    2. Sunday Morning (Original Version)
    3. Moonlight (Original Version)
    4. Storm (Original Version)
    From Peter Grimes, Op.33b
    5. Passacaglia
    6. The Young Person's Guide To the Orchestra, Op. 34


    LP4
    Isaac Albeniz (1860-1909)


    Iberia - Orchestrated Arbos - Book 1:
    1. Evocación
    2. El Corpus En Sevilla
    Book 2:
    3. Triana
    Book 1:
    4. El Puerto
    Book 3:
    5. El Albaicín
    Joaquin Perez turina (1882-1949)


    Danzas Fantasticas
    1. Exaltación
    2. Ensueño
    3. Orgía


    LP5
    Edouard Lalo (1823-1892)


    Namouna, Suite No. 1
    1. PrÉlude
    2. SÉrÉnade
    3. Thème VariÉ
    4a. Parade De Foire; 4b. Fête Foraine
    Namouna, Suite No. 2
    1. Danse Marocaine
    2. Mazurka
    3. La Siesta
    4. Pas De Cymbales
    5. Danse Des Esclaves


    LP6
    Sergey Vasilyevich Rachmaninov (1873-1943)


    Sonata for Cello and Piano in G minor, Op. 19
    1. Lento - Allegro Moderato
    2. Allegro Scherzando
    3. Andante
    4. Allegro Mosso

    Various Artists
    $109.99
    180 Gram Audiophile Virgin Vinyl LP - 6 LPs Sealed Buy Now
  • Handel - Water Music - Fireworks Music (Speakers Corner) Handel - Water Music - Fireworks Music (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Handel - Water Music - Fireworks Music (Speakers Corner)

    Composed in the spirit of the Baroque, the Water Music and Royal Fireworks Music were written by the highly regarded George Frideric Handel on commissions from Kings George I and George II of England.



    The remarkable première of the Water Music - a suite of instrumental airs, fanfares, dances, and other delights - was played in 1717 by musicians in a barge who entertained the King and his entourage on a banquet held on board the royal barge which travelled up and down the river Thames. According to reports at the time, Handel's new work was greeted with unanimous acclaim.



    Music appeared equally fitting for the solemn but festive commemoration of a peace treaty. The Royal Fireworks Music - originally scored for brass, oboes and bassoons, plus timpani and the bizarre serpent horn - was composed in 1749 for the victory gala in London's Green Park celebrating the Peace of Aix-La-Chapelle.



    In both pieces Georg Szell and the London Symphony Orchestra conjure up the full splendour of baroque tonality. Orchestra and conductor are clearly in a festive mood. The strings show rare form, lush and radiant. The brass are brilliant but never shrill. The atmosphere is transparent, the spatial effects are impressive.



    For the outstanding quality of this recording we are indebted not least to its inspired recording engineer, Kenneth E. Wilkinson.






    Musicians:



    • London Symphony Orchestra

    • George Szell (conductor)




    Recording: August 1961 at Watford Town Hall, Watford by Kenneth E. Wilkinson
    Production: John Culshaw





    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.



    Georg Szell with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Sinfonia Concertante (Speakers Corner) Mozart - Sinfonia Concertante (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Sinfonia Concertante (Speakers Corner)

    "Now I am going to compose a Sinfonia concertante", wrote Mozart to his father, quite unsuspecting that his contribution to this hybrid of concerto and symphony would not bring the immediate approval and success to which he was accustomed. But opinions have changed drastically since then, especially since the Sinfonia concertante K. 364 has far greater depth to it than its title suggests. The wealth of melodic ideas, subtly allotted alternately to the soloist and the orchestra, testifies to the fact that this is one of Mozart's mature orchestral masterpieces which he composed while in Vienna.



    The superb performers in this DECCA recording guarantee that the listener will not only enjoy the deceptive merriment of the outer movements but will be deeply moved by the sad Andante. What bad luck for rival performances! But when father and son take up their bows, this is the recording to beat all recordings!



    On the B side, the Duo for Violin and Viola, K. 423 is a welcome bonus since it offers a wonderful opportunity for a display of virtuosity and counterpoint. And of course the old question pops up once again as to who is the better master of his instrument: father or son? The answer is simple: neither the one nor the other! - Both, of course!



    Musicians:



    • David and Igor Oistrakh

    • The Moscow Philharmonic Orchestra

    • Kyrill Kondrashin (conductor)




    Recording: September 1963 at DECCA Studio No. 3 in West Hampstead, London by Kenneth Wilkinson

    Production: Erik Smith und Ray Minshull





    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
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