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Georg Solti--Beethoven: Symphony No. 9

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  • Beethoven: Symphony No. 9 (Speakers Corner) Beethoven: Symphony No. 9 (Speakers Corner) Quick View

    $69.99
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    Beethoven: Symphony No. 9 (Speakers Corner)

    It was clear from the start that Beethoven's Ninth Symphony, with its air of solemnity in the final chorus, which calls for brotherly love just as the New Year comes in, would become a musical part of our world's cultural legacy. Hundreds of minds, Beethoven researcher Karl Nef prophesied, have been set in motion by this music in the most varied ways, and it will continue not only to bestow pleasure upon countless thousands, but also to stimulate mental life right at the most fundamental level.



    There are certainly only a very few truly cerebral interpretations which stand out from the fathomless mass of recordings. One of those upon which "The Absolute Sound" journal has stamped its coveted seal of approval is the recording with Georg Solti and his perfectly honed symphony musicians from Chicago. Here, this usually somewhat daring baton-wielder plumbs the very depths of the score and allows Beethoven's rich abundance of ideas to ferment into a great whole.



    The four soloists prove their worth as first choice for the richly detailed and balanced synopsis of this fissured work. They captivate us as much in the solo as in the group singing with their natural and expressive intonation. The dry, very present sound highlights the fact that this is an artistic performance at the highest level.




    Musicians:



    • Pilar Lorengar, Stuart Burrows, and other soloists

    • The Chicago Symphony Chorus & Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1972 in the Krannert Centre of the University of Illinois, Chicago, by Kenneth Wilkinson and Gordon Parry

    Production: David Harvey



    Format: 2LPs 33rpm / gatefold sleeve



    About Speakers Corner



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



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



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



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



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



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


    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Symphony No. 9 Beethoven: Symphony No. 9 Quick View

    $37.99
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    Beethoven: Symphony No. 9

    Ludwig van Beethoven's "Symphony No. 9 in D
    minor, Op. 125" (also known as "the Choral"), is
    Beethoven's final complete symphony. Completed
    in 1824, the symphony is one of the best-known
    works in classical music. "Egmont Overture, Op.
    84" by Ludwig van Beethoven, is a set of incidental
    music pieces for the 1787 play of the same name
    by Johann Wolfgang von Goethe. It consists of an
    overture followed by a sequence of nine pieces
    for soprano, male narrator and full symphony
    orchestra. Beethoven wrote it between October
    1809 and June 1810. The "Leonora Overture No.
    3, Op. 72a was composed in 1806, and is the most
    successful of the three Leonora overtures.
    LP 1: SYMPHONY NO. 9 IN D MINOR "CHORAL", OP. 125
    1. I. Allegro ma non troppo, un poco maestoso
    2. II. Molto vivace
    3. III. Adagio molto e cantabile 1


    LP 2:
    1. IV. Presto
    2. IV. Presto - Allegro assai 1
    3. Egmont Overture, Op. 84
    4.Leonore Overture NO. 3, Op. 72a

    Ferenc Fricsay / Berlin Philharmonic Orchestra
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Bruckner: Symphony No. 9 Bruckner: Symphony No. 9 Quick View

    $25.99
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    Bruckner: Symphony No. 9

    In January 2014, music lovers worldwide were saddened to learn that Claudio Abbado had passed away.


    Deutsche Grammophon feels immensely blessed and proud to be releasing together with Accentus Music Bruckner's Symphony no. 9 in D minor, which
    was recorded as part of Abbado's final concert.


    "Mr. Abbado led an otherworldly account of Bruckner's 9th Symphony. Never have I heard as magisterial and moving performance of the work as that
    given by the 80-year-old maestro and his fabulous Lucerne Festival Orchestra. (Wall Street Journal)


    Afitting tribute to an irreplaceable artist, who was one of the greatest conductors and most inspiring musical figures of our time.


    With this record, Deutsche Grammophon and Accentus Music wish to pay tribute to the maestro and honor what would have been his 81st birthday at the
    end of June.

    1. Feierlich. Misterioso [Live At KKL, Lucerne / 2013]
    2. Scherzo (Bewegt lebhaft) - Trio (Schnell) [Live At KKL, Lucerne / 2013]
    3. Adagio (Langsam, feierlich) [Live At KKL, Lucerne / 2013]
    Claudio Abbado/Lucerne Festival Orchestra
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Symphony No. 9 Beethoven: Symphony No. 9 Quick View

    $29.99
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    Beethoven: Symphony No. 9

    " undoubtedly a great performance: the power of this interpretation is so compelling, its beauty so moving, and the solo quartet is, I imagine, as good as you could find " - Gramophone

    A historic version of one of the most famous classical works ever, recorded at the occasion of the re-opening of the Bayreuth Festspielhaus in 1951.

    LP 1
    1. Symphony No. 9 in D Minor, Op. 125 'Choral': I. Allegro ma non troppo, un poco maestoso
    2. Symphony No. 9 in D Minor, Op. 125 'Choral': II. Molto vivace - Presto - Molto vivace - Presto


    LP 2
    1. Symphony No. 9 in D Minor, Op.125 'Choral': III. Adagio molto e cantabile - Andante moderato
    2. Symphony No. 9 in D Minor, Op. 125 'Choral': IV. Presto - Allegro ma non troppo - Allegro assai

    Wilhelm Furtwangler
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Mahler Symphony No. 1 Mahler Symphony No. 1 Quick View

    $34.99
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    Mahler Symphony No. 1

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


    Grammy Award Winner 1972: Best Orchestral Performance


    Carlo Giulini conducts the Chicago Symphony Orchestra for this performance of Mahler's First Symphony on audiophile vinyl.


    Carlo Maria Giulini (1914-2005) made his American debut with the Chicago Symphony Orchestra as far back as 1955 but he was appointed Principal Guest Conductor in 1969, an appointment very much instigated by the Music Director of the CSO, Sir Georg Solti, who needed someone to share conducting duties whilst Solti was still running the Royal Opera House, Covent Garden. Giulini made several magnificent recordings with the CSO for EMI during this period, including another Grammy Award-winning recording: the Brahms Violin Concerto with Itzhak Perlman, available on (HIQLP033.)


    Recorded on 30 March 1971 at the Medinah Temple, Chicago, with producer Christopher Bishop and engineer Carson Taylor.


    Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process.


    Pressed on 180g vinyl to audiophile standards using the original EMI presses by The Vinyl Factory in Hayes, England.


    In the original August 1971 review in the GRAMOPHONE Edward Greenfield remarked:

    "If you want a Mahler First above all for beauty of tone and phrasing and precision of ensemble, then this is a plain first choice. In addition Giulini's qualities suit this work. For all the orchestral sophistication, he has a transparent honesty which accords well with Mahler in 'Wayfaring Lad' mood. Nor does he use the Chicago orchestra's virtuosity to whip up excitement in fast tempi... Giulini's, sumptuously beautiful all through and never merely slick and over-polished, is certainly one to add to the list of top recommendations, not least for the gorgeousness of the recorded sound... which is even richer than in the three finely-recorded rivals which I list [Solti, Kubelik and Horenstein]."


    Features:

    • Hi-Q Records Supercuts 180g Vinyl

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

    • Superior Audiophile Pressing

    • Features Original Album Artwork


    Musicians:

    Chicago Symphony Orchestra

    Carlo Maria Giulini


    This title is not eligible for discount.

    Mahler
    Symphony No. 1 in D
    1. Langsam. Schleppend, Wie ein Naturlaut
    2. Kraftig bewegt, doch nicht zu schnell
    3. Feierlich und gemessen, ohne zu schleppen
    4. Sturmisch bewegtbewegter, wie im Anfang
    Gustav Mahler
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Shostakovich - Symphony No. 5 (Speakers Corner) Shostakovich - Symphony No. 5 (Speakers Corner) Quick View

    $34.99
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    Shostakovich - Symphony No. 5 (Speakers Corner)

    One of the most fascinating aspects of Dmitri Shostakovich's music was and still remains his aesthetic ambiguity, the likes of which is almost impossible to find in modern music. The Fifth Symphony in particular is regarded as an excellent example of how, during Stalin's regime, Shostakovich outwardly remained true to the regulations concerning art while still managing not to forfeit his own artistic freedom and identity. Conceived in a classical vein, the work is filled with powerful motion and Russian song, even going almost as far as late-Romantic transfiguration. But this idyll is deceptive. Again and again the apparent harmony is disrupted by biting sarcasm: the spirited main theme of the first movement soon stiffens into a march-like farce, while in the untroubled second movement a shrill motif in the winds tears apart the cheerful mood.



    Skrowacziewski amalgamates the contrasting tender sweetness of the violins and the violence of the attacking wind instruments in his precise and sparing interpretation, which is free of sugary expression and forced dynamics. His well-balanced conducting, combined with the wonderfully transparent recorded sound creates an ideal basis for identifying all the details which Shostakovich composed 'between the lines of the staff'.




    Recording: March 1961 at Northrop Memorial Auditorium, Minneapolis, USA, by C.R. Fine and Robert Eberenz

    Production: Wilma Cozart Fine




    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.



    Stanislaw Skrowaczewski
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Henryk Gorecki: Symphony No 3 Henryk Gorecki: Symphony No 3 Quick View

    $24.99
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    Henryk Gorecki: Symphony No 3

    One of the most affecting works of the late 20th century, Symphony No. 3, featuring the London Sinfonetta and soprano Dawn Upshaw, proved spellbinding to a diverse international audience. TIME calls it "a transcendental meditation on mortality and redemption."
    1. I. Lento - Sostenuto Tranquillo Ma Cantabile
    2. II. Lento E Largo - Tranquillissimo
    3. III. Lento - Cantabile-Semplice
    David Zinman, Dawn Upshaw, London Sinfonietta
    $24.99
    Vinyl LP - Sealed Buy Now
  • Mahler: Symphony No. 5 Mahler: Symphony No. 5 Quick View

    $34.99
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    Mahler: Symphony No. 5

    "Fiery, demonic and triumphant, this is one of the benchmark Bernstein recordings."-Gramophone


    As part of Deutsche Grammophon's continued commitment to making iconic recordings available on high-quality, 180-gram vinyl, the label will release Leonard Bernstein's legendary performance of Mahler's Symphony no. 5 with the Vienna Philharmonic.

    LP 1
    Part 1
    1. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt - Plötzlich schneller. Leidenschaftl
    2. StÜrmisch bewegt. Mit größter Vehemenz - Bedeutend langsamer - Tempo I subito [Live]


    LP
    Part 2
    1. Scherzo (KrÄftig, nicht zu schnell) [Live]
    Part 3
    2. Adagietto (Sehr langsam) [Live]
    3. Rondo-Finale (Allegro) [Live]

    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Symphony No. 3 Symphony No. 3 Quick View

    $54.99
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    Symphony No. 3

    The marvelous Swiss conductor Peter Maag leads the London Symphony Orchestra performing Mendelssohn's Scotch or Scottish Symphony, recorded in 1960. A gloriously warmhearted and energetic performance, Maag's interpretation has set the recorded standard for this work! The recording captures wonderful chemistry between Peter Maag and the London Symphony Orchestra. It's Mendelssohn performance at its best, which is saying a lot!


    This title is not eligible for discount.

    LP1 - Side A:
    1. Overture The Hebrides (Fingal's Cave), Op. 26
    LP1 - Side B:
    Symphony No. 3 in A minor (The Scotch), Op. 56
    1. Andante con molto


    LP2 - Side C:
    1. Vivace non troppo
    2. Adagio
    LP2 - Side D:

    1. Allegro vivacissimo - Allegro maestoso assai

    Felix Mendelssohn
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Beethoven: Symphony No. 5 Beethoven: Symphony No. 5 Quick View

    $21.99
    Buy Now
    x

    Beethoven: Symphony No. 5

    Beethoven was Wilhelm FurtwÄngler's guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum - and a constant sense of imaginative freshness - through the interrelationship of form, harmony, texture, rhythm and tempo. No work appeared more frequently in FurtwÄngler's concert programmes than Beethoven's Fifth. Between 1918 and his death in 1954, he conducted more than a hundred performances, including a superbly realized 1937 HMV studio recording with the Berlin Philharmonic and this formidable studio remake with the Vienna Philharmonic, further proof of his astonishing ability to penetrate a work to its core yet preserve it as a living entity.
    1. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): I. Allegro con brio
    2. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): II. Andante con moto
    3. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): III. Allegro -
    4. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): IV. Allegro - Presto
    Wilhelm Furtwangler
    $21.99
    Vinyl LP - Sealed Buy Now
  • Mahler Symphony No. 2 Mahler Symphony No. 2 Quick View

    $54.99
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    Mahler Symphony No. 2

    Audiophile 180g Vinyl Cut at Emil Berliner Studio!


    Pressed at Pallas in Germany!


    Leonard Bernstein conducts the New York Philharmonic for this recording of Mahler's Second Symphony.


    Bernstein's second Mahler cycle recorded for Deutsche Grammophon involved recordings by orchestras closely linked to Mahler's compositional and conductorial output, including the New York Philharmonic. Mahler himself conducted the New York Philharmonic during a brief tenure between 1909 and his death in 1911.


    Although there are many similarities between the first and second cycles, Bernstein's later conducting style is often slower and more heavily expressive than his more youthful approach in the 1960s.


    Presented as a Deluxe 2 180 Gram Vinyl Box Set!


    Features:

    Audiopihle 180g Vinyl

    Cut at Emil Berliner Studio

    Pressed at Pallas GmbH Germany


    Musicians:

    New York Philharmonic

    Leonard Bernstein, conductor


    This title is not eligible for discount.

    Gustav Mahler
    Symphony No. 2
    LP 1
    1. Allegro maestoso (Totenfeier)
    2. Andante moderato
    3. (Scherzo) In ruhig fieBender Bewegung


    LP 2
    1. Urlicht. Sehr feierlich, aber schlicht
    2. Im Tempo des Scherzos
    3. (Fortsetzung / conclusion / conclusione)

    Leonard Bernstein
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mendelssohn: Symphony No. 3 Mendelssohn: Symphony No. 3 Quick View

    $24.99
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    Mendelssohn: Symphony No. 3

    Gustavo Dudamel's official debut concert with the Vienna Philharmonic at the Musikverein.
    1. Andante con moto - Allegro un poco agitato - Assai animato - Andante come prima
    2. Vivace non troppo
    3. Adagio
    4. Allegro vivacissimo - Allegro maestoso assai
    Gustavo Dudamel
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mahler: Symphony No.8 Mahler: Symphony No.8 Quick View

    $49.99
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    Mahler: Symphony No.8

    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 Sir Georg Solti leading
    the Chicago Symphony in Mahler's spectacular Symphony no. 8. ''This performance is still hailed as something of a benchmark - spine-tingling and electrifying.'' (BBC Music Magazine)
    1. Hymnus, Veni, Creator Spiritus
    2. Final Scene From Goethe's Faust
    3. Uns Bleibt Ein Erdenrest
    4. Blicket Auf - Alle Reuig Zarten
    Sir Georg Solti
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • I Hear A Symphony I Hear A Symphony Quick View

    $37.99
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    I Hear A Symphony

    Like no other, Motown's founder Berry Gordy knew how to market 'his' acts. The Supremes (later named Diana Ross & The Supremes) were his mainstream Pop offering, bridging the gap between Soul and popular music, while even incorporating Classic themes (like A Lover's Concerto was inspired by Bach).


    I Hear A Symphony (1966) contains some of the best tunes written by famed producing trio Holland-Dozier-Holland, as well as great cover versions of popular songs like Unchained Melody and the Beatles' Yesterday.

    1. Stranger In Paradise
    2. Yesterday
    3. I Hear A Symphony
    4. Unchained Melody
    5. With A Song In My Heart
    6. Without A Song
    7. My World Is Empty Without You
    8. A Lover's Concerto
    9. Any Girl In Love (Knows What I'm Going Through)
    10. Wonderful, Wonderful
    11. Everything Is Good About You
    12. He's All I Got
    The Supremes
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sibelius Symphony No 4 Sibelius Symphony No 4 Quick View

    $34.99
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    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
  • Sibelius: Symphony No. 2 in D Sibelius: Symphony No. 2 in D Quick View

    $21.99
    Buy Now
    x

    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
  • Mahler: Symphony No. 1 In D Mahler: Symphony No. 1 In D Quick View

    $25.99
    Buy Now
    x

    Mahler: Symphony No. 1 In D

    GUSTAV MAHLER


    Symphony No. 1

    Dietrich Fischer-Dieskau

    Symphonieorchester des Bayerischen Rundfunks

    Rafael Kubelik

    Gustav Mahler (1860 - 1911)
    Symphony No.1 in D
    1. 1. Langsam. Schleppend
    2. 2. KrÄftig bewegt
    Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelik


    Gustav Mahler (1860 - 1911)
    Symphony No.1 in D
    1. 3. Feierlich und gemessen, ohne zu schleppen
    2. 4. StÜrmisch bewegt

    Gustav Mahler
    $25.99
    Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 3 (Eroica) (Speakers Corner) Beethoven: Symphony No. 3 (Eroica) (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Symphony No. 3 (Eroica) (Speakers Corner)

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

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

    Musicians:

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

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

    About Speakers Corner

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

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

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

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

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

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

    Symphony No. 3 In E-Flat Major, Op. 55 ("Eroica")
    1. Allegro Con Brio
    2. Funeral March (Adagio Assai)
    3. Scherzo (Allegro Vivace) - Trio
    4. Finale (Allegro Molto - Poco Andante)
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Symphony No. 7 (Awaiting Repress) Beethoven Symphony No. 7 (Awaiting Repress) Quick View

    $34.99
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    Beethoven Symphony No. 7 (Awaiting Repress)


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



    Otto Klemperer (1885-1973) is remembered more as an old man whose last years embraced the refinement of analogue stereo recording and the burgeoning of color television (his performances of Beethoven Symphonies at the Royal Festival Hall were captured by the BBC). As a young man though, he was at the vanguard of much of the new music of the 20th century, and was friends with Mahler (assisting at the premiere of Mahler's 8th Symphony) and championed works by Janacek, Schoenberg, Stravinsky and Hindemith, as well as being a composer himself. Arguably his greatest legacy is the raft of superb recordings he made for EMI from 1954 until 1971, with his interpretations of Beethoven and Brahms symphonies particularly celebrated.


    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, ensuring a completely analogue process.


    In the original 1972 review in the GRAMOPHONE they wrote:

    "The main object of this new recording, I imagine, is to give us [Klemperer's] commanding version of this symphony in a really up to date recording and in this HMV's engineers have been highly successful. The remastered version of his older recording still sounds very well but one has only to compare a few bars to be convinced of the greater superiority of this new edition. It has a more immediate presence which increases the impact of this magisterial reading of the score, while the extremely well defined string bass draws attention to important points one might otherwise overlook; as for example, the place in the slow movement where the accompaniment to the main tune changes from quavers into triplets... As most readers will know by now, you must take Klemperer's Beethoven on his own terms: and his own terms are both impressive, and what is more important, often extraordinarily revealing."



    This title is not eligible for discount.

    Ludwig van Beethoven (1770-1827)

    Symphony No. 7


    Side One:

    1. 1st Movement: Poco sostenuto - Vivace

    2. 2nd Movement: Allegretto


    Side Two:

    1. 3rd Movement: Presto - Assai meno presto

    2. 4th Movement: Allegro con brio


    Jean-Philippe Rameau (1683-1764) (Otto Klemperer arrangements)

    Gavotte with Six variations

    Otto Klemperer
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Prokofiev: Symphony No. 5 (Speakers Corner) Prokofiev: Symphony No. 5 (Speakers Corner) Quick View

    $34.99
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    Prokofiev: Symphony No. 5 (Speakers Corner)

    Prokofiev's Symphony No. 5 is one of just a handful of traditional Russian works that have advanced to become a celebrated repertoire piece in the area of conflict between socialist artistic realism and conservative modernism. Although, in contrast to his colleague Shostakovich, Prokofiev toed the party line and was highly privileged, which made it very difficult to believe his later claim that his art was free of politics, his music has touched the hearts of concertgoers all over the world.


    In the present recording, the cosmopolitan Leonard Bernstein and the New York Philharmonic present the whole beauty of the melodies that unfold in the first movement with full orchestral radiance. Cheerfulness as a »hymn to free and happy Man« is given voice in the clarinet theme of the burlesque second movement with its imaginative changes. Reminiscences of the Symphonie classique appear to be intentional. In the finale, Prokofiev proves himself to be a confident master of the classical-romantic canon form, which uses the theme of the first movement and new motifs to create far more than just a melodious apotheosis. Jagged, sharp and percussive final bars round off this supreme orchestral firework, which makes great demands on every single musician.sound of America.


    Musicians:



    • New York Philharmonic Orchestra

    • Sergei Prokofiev (composer)

    • Leonard Bernstein (conductor)




    Recording: February 1966 at the Philharmonic Hall of Lincoln Center, New York

    Production: John McClure



    About Speakers Corner



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



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



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



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



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



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


    I. Andante
    II. Allegro Marcato
    III. Adagio
    IV. Allegro Giocoso
    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky - Symphony No. 5 (Speakers Corner) Tchaikovsky - Symphony No. 5 (Speakers Corner) Quick View

    $34.99
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    Tchaikovsky - Symphony No. 5 (Speakers Corner)

    Recordings of Tchaikovsky's late symphonies with the Leningrad Philharmonic under Mravinskij were a legend even in the days of mono recording technique. It comes as no surprise therefore to learn that Tchaikovsky fans were overjoyed when these three great symphonies were released at last on the Yellow Label in top hi-fi quality at the beginning of the Sixties. Masterful performances, as thrilling as live recordings, now became available - recordings which were far superior to all others on the market. Even when the purported 'miracle' of digital recording technique began to take over and industrial record production had become a matter of course, Mravinsky's recordings were still available in a 2CD set. There are reasons enough to re-release the Fifth Symphony as an individual LP, without going into lengthy discussions about which of Tchaikovsky's late symphonies is the most important. Those who treasure a mono version or a Mravinsky recording from an unknown source in their collection are now given the opportunity to compare their version with the present re-release. All others can congratulate themselves on possessing a milestone recording, a true work of reference, for no other Mravinskij sounds better than this one.




    Musicians:



    • The Leningrad Philharmonic Orchestra

    • Jewgenij Mrawinskij (conductor)




    Recording: November 1960 at Musikverein Großer Saal, Vienna, by Harald Baudis

    Production: Karl-Heinz Schneider





    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. Satz: Andante - Allegro Con anima
    2. Satz: Andante cantabile, con alcuna licenza
    3. Satz: Allegro moderato
    4. Satz: Finale: Andante maestoso - Allegro vivace

    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak: Symphony No. 8 (Speakers Corner) Dvorak: Symphony No. 8 (Speakers Corner) Quick View

    $34.99
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    Dvorak: Symphony No. 8 (Speakers Corner)

    In comparison with Dvorák's cyclical Ninth Symphony, the Eighth always seems to fade into the background somewhat, although it is actually far more venturesome as regards its formal structure than its later sister-work. The wealth of poetic mood paintings, heartfelt melodies and seemingly improvisational episodes were described by the composer as unique ideas upon which he elaborated in a completely new way, and which were intentionally far removed from his other symphonies.



    In spite of the highly individual movements, the whole composition is full of airy, lyrical contrasts. The transitional passages are gentle and flowing, as for example in the chorale-like opening which leads into the disciplined, spirited main theme of the first movement. This is followed by a rhapsodic slow movement and a waltz-like Allegretto, and finally a strangely interwoven amalgamation of sonata form and set of variations.



    During the course of his short career, István KertÉsz championed Dvorák's Symphonies in that he was the very first to record the complete works for the DECCA label. For this reason alone, the recording constitutes an excellent performance by the London Symphony Orchestra led by its Hungarian principal conductor.



    Recording: February 1963 at Kingsway Hall, London, by Arthur Lilley

    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.



    1. Symphony No. 8 in G major, Op. 88
    2. Scherzo capriccioso Op. 66
    Antonin Dvorak
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sibelius Symphony No. 2 in D Major Sibelius Symphony No. 2 in D Major Quick View

    $34.99
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    x

    Sibelius Symphony No. 2 in D Major

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


    Paul Kletzki is best remembered today for his conducting career and many recordings but less well known is his pre-war career as a composer. Born in Poland in 1900, he joined its Philharmonic Orchestra at the age of fifteen as a violinist. After serving in the First World War, he studied philosophy at the University of Warsaw before moving to Berlin in 1921 to continue his studies. During the 1920s his compositions were championed by Arturo Toscanini; and Wilhelm FurtwÄngler, who permitted Kletzki to conduct the Berlin Philharmonic Orchestra in 1925.


    Because he was Jewish, he left Nazi Germany in 1933 and moved to Italy, however due to the anti-semitism of the Italian Fascist regime he moved to the Soviet Union in 1936. He later went to live in Switzerland. From 1942 onwards Kletzki wrote no more compositions; having lost much of his family in the holocaust, Nazism had destroyed his spirit and his will to compose.


    His conducting skills then came to the fore. Kletzki was invited by EMI's Walter Legge to conduct the newly-formed Philharmonia Orchestra in London and many fine recordings were made (including this Sibelius record in early stereo) for EMI. In 1954 he was appointed chief conductor of the Liverpool Philharmonic Orchestra and between 1958 and 1961 he was principal conductor of the Dallas Symphony Orchestra. From 1966 until 1970 he was the General Music Director of the Orchestre de la Suisse Romande. He died in 1974.


    In the original June 1956 review M. M. of the GRAMOPHONE wrote: Kletzki makes an impetuous attack on the music which is virtually completely successful, carried along by a marvellous quality of both orchestral playing and recording... Whether it is a sweep of full-bodied tone, a biting attack, a resonant pizzicato, or a sensitive solo that is called for, it is always there; even to tunes from the basses with a distinctly above-average proportion of note to rumble. And all of it set off by a brilliant quality of recording with fine internal balance... The new Kletzki... addresses the listener directly and convincingly.


    Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process.


    Pressed on 180g vinyl to audiophile standards at the Vinyl Factory, Hayes, using the old EMI Records presses.


    Recorded in stereo on 15 & 16 July 1955 at the Kingsway Hall, London. Produced by the legendary Walter Legge and engineered by Douglas Larter and Neville Boyling.


    This title is not eligible for discount.

    Jean Sibelius (1865 - 1957)
    Symphony No. 2 in D Major, Op. 43
    Side One:
    1. I. Allegretto
    2. II. Tempo andante, ma rubato
    Side Two:
    1. III. Vivacissimo
    2. IV. Finale (Allegro moderato)
    Paul Kletzki
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sibelius Symphony No. 5 Finlandia (Awaiting Repress) Sibelius Symphony No. 5 Finlandia (Awaiting Repress) Quick View

    $34.99
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    Sibelius Symphony No. 5 Finlandia (Awaiting Repress)

    Before he was appointed music director for life of the Berlin Philharmonic, Karajan was closely associated with the Philharmonia in its early years, although he never held an official title with the orchestra. The founder of the Philharmonia and legendary EMI Producer, Walter Legge, was against appointing an official principal conductor but it was Karajan who built the orchestra into one of the finest ensembles in the world, and made numerous recordings for EMI, including all the Beethoven symphonies and stereo gems like this Sibelius recording.


    Recorded on 20, 21 & 23 September 1960 (Symphony No.5) and 5 & 6 January 1959 (Finlandia) at Londons famous Kingsway Hall venue. Produced by Walter Legge and Engineered by Douglas Larter (Harold Davidson Finlandia).


    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.


    This title is not eligible for discount.

    Jean Sibelius (1865-1957)
    Side One:
    Symphony No.5 in E flat major, Op.82
    1. First Movement: Tempo molto moderato - Allegro moderato Presto
    2. Second Movement: Andante mosso, quasi allegretto

    Side Two
    Symphony No.5 in E flat major, Op.82, (cont.)
    1. Third Movement: Allegro molto
    Tone Poem
    2. Finlandia, Op.26
    Herbert Von Karajan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
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