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  • The Bach Keyboard Concertos (Speakers Corner) The Bach Keyboard Concertos (Speakers Corner) Quick View

    $95.99
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    The Bach Keyboard Concertos (Speakers Corner)

    The attempts that have been made to describe Glenn Gould's complex personality are endless in number, as are his surprising and often eccentric interpretations. Whether he is considered to be a sensitive maniac, neurotic individualist or uncompromising genius - Gould polarises, provokes and fascinates us long after his death in 1982. As early as 1964 the Canadian pianist ceased to give concerts, since he found appearing before an audience completely unacceptable and preferred to concentrate on studio recordings.



    Way in front of composers of the Viennese Classical era, which he did not take particularly seriously - although his performances keenly reflect Beethoven's rhythmicity - comes his personal deity: Bach. Gould's notorious strictness gives form to the minutest of figure in the score. He weaves his way through Bach's music and thereby articulates its tightly knit and multi-facetted depths. No lecturing keyboard proponent this, but a creative co-composer who imbues the spirit of the music with life and sonority. Upon the release in 1980 of the 80th Birthday Edition with its wealth of visual and tonal material, the music journalist Werner Theurich wrote that »no one had ever played more raptly, or more intensively. That Gould's performances are nothing but heavenly can be seen and felt. The rest is pure music.«




    Recording: April 1957, May 1967 and February 1969 at Columbia 30th Street Studio, New York City, by Fred Plaut

    Production: Andrew Kazdin




    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.

    The Bach Keyboard Concertos J. S. Bach: Keyboard Concertos Nos. 1-5 and 7
    L. v. Beethoven: Piano Concerto No. 1 - Glenn Gould, the Columbia Symphony Orchestra conducted by Vladimir Golschmann and Leonard Bernstein
    Glenn Gould
    $95.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 3 LPs Sealed Buy Now
  • Beethoven: Sonatas Nos. 30-32 (Speakers Corner) Beethoven: Sonatas Nos. 30-32 (Speakers Corner) Quick View

    $34.99
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    Beethoven: Sonatas Nos. 30-32 (Speakers Corner)

    Ludwig van Beethoven: Piano Sonatas No. 30 in E major op. 109, No. 31 in A-flat major op. 110, No. 32 in C minor op. 111


    Myths abound when it comes to the late works of important composers. It is debatable as to whether this is due to their timelessness, or their often extensive form, which makes great demands on the listener, or simply the supreme skill with regard to the composer's own musical language, which is demonstrated in mature works. It is commonly understood that a performer of late works should treat them with due respect and possess an exceptional command of his instrument. But not so with Glenn Gould, who at the tender age of 23, shortly after his recording debut for the Columbia label of Bach's Goldberg Variations, dared to perform Beethoven's last three Piano Sonatas.


    Gould, as always analytical, yet supremely flowing, carves out the tightly-knit contrapuntal structure of the fast movements. The slow movements are finely perceived though free of contemplative sentiment and waft gently through the air, here somewhat drily dabbed at, then again singing and full of round, melodious piano sound. Bar for bar it is noticeable that the young Gould knows exactly what he is doing and with whom he is dealing. Here in the hands of this young maestro Beethoven's spirit is certainly compelling and intoxicating.

    Musicians:



    • Ludwig van Beethoven (composer)

    • Glenn Gould (piano)




    Recording: June 1956 at Columbia 30th Street Studio, New York, by Fred Plaut in mono

    Production: Howard H. Scott




    About Speakers Corner



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



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



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



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



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



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


    1. Sonata No. 30 In E Major, Op. 109 - Vivace, Ma Non Troppo, Sempre Legato
    2. Sonata No. 30 In E Major, Op. 109 - Prestissimo
    3. Sonata No. 30 In E Major, Op. 109 - Andante Molto Cantabile Ed Espressivo; Variations I-VI
    4. Sonata No. 31 In A-Flat Major, Op. 110 - Moderato Cantabile Molto Espressivo
    5. Sonata No. 31 In A-Flat Major, Op. 110 - Allegro Molto
    6. Sonata No. 31 In A-Flat Major, Op. 110 - Adagio No Non Troppo (Beginning)
    7. Sonata No. 31 In A-Flat Major, Op. 110 - Fuga (Conclusion)
    8. Sonata No. 32 In C Minor, Op. 111 - Maestoso; Allegro Con Brio Ed Appassionato
    9. Sonata No. 32 In C Minor, Op. 111 - Arietta (Adagio Molto Semplice E Cantabile)
    Glenn Gould
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Concerto No 4 Beethoven Concerto No 4 Quick View

    $32.99
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    x

    Beethoven Concerto No 4

    So much has been said and written about Glenn Gould's Bach recordings that some classical music listeners may have overlooked his fabulous renditions of the Beethoven piano concertos. Impex is hoping to change this. Hearing Gould's magnificent pianism, along with the inspired conducting of Leonard Berstein, recorded in the vast acoustical space of the Manhattan Center, we are certain you will find Gould's Beethoven concertos have a rightful place alongside his celebrated Goldberg Variations.

     

    With so many workaday renditions of Beethoven concertos, audiophiles rightly tend to look for inspired performances; and every recording by Glen Gould is certainly inspired. Gould is often erratic, but he was also daring, constantly exploring. His lyrical ebb-and-flow reading shines a new light on this well-loved work. With all-analog mastering by Kevin Gray and Impex's usual attention to detail on all facets of production, this new 180-gram pressing will make this Gould and Bernstein triumph a favorite of audiophiles everywhere.

     

    Features:


    • 180 Gram Vinyl

    • Numbered, Limited Edition

    • All-Analog Mastering by Kevin Gray

    • Recorded in Vast Acoustic Space of Manhattan Center

    • Strictly Limited to 2,500 Pressings


     

    Musicians:


    • Glenn Gould, pianist

    • Leonard Bernstein, conductor

    • New York Philharmonic, orchestra 

    Ludwig Van Beethoven (1770-1827)
    Concerto No. 4 in G Major for Piano and Orchestra, Op. 58
    1. I. Allegro moderato
    2. II. Andante con moto
    3. III. Rondo: Vivace
    Glenn Gould
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Scriabin & Prokofiev: Piano Sonatas (Speakers Corner) Scriabin & Prokofiev: Piano Sonatas (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Scriabin & Prokofiev: Piano Sonatas (Speakers Corner)

    Glenn Gould's highly self-willed art of piano playing has not only contributed to the building of a myth around his artistic personality, but also placed several works from the vast piano repertoire under the magnifying glass (as it were) in musical life. One such work is Scriabin's Piano Sonata No. 3 whose psychological, cyclical programme is held together by the theme, which recurs throughout the four movements. Unlike many other recordings, in Gould's hands the piece takes on a pleasantly non-romantic pathos. Gould subdivides the various states of mind through many breathing spaces and softens the tone to pianissimo, thus forcing the listener to hold his breath and concentrate wholly upon the finely woven counterpoint.



    In contrast, Prokofiev's Piano Sonata in B flat major is overwhelmingly raging with its hammering staccatos, yet not omitting to add a bold, and at times derisive character. The slow second movement is at times bell-like, and filled with a great radiance and a fine sparkle. It is followed by a final movement, which lasts several minutes and has a steely, aggressive nature. As incomparable as the works are in their structure, they both explore the mental extremes of human emotions.



    Recording: July 1967 / January, February and June 1968 at Columbia 30th Street Studio by Fred Plaut

    Production: Andrew Kazdin




    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.

    Alexander Scriabin: Piano Sonata No. 3 in F sharp minor, Op. 23
    Serge Prokofiev: Piano Sonata No. 7 in B flat major, Op. 83 - Glenn Gould
    Glenn Gould
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms: 10 Intermezzi For Piano Brahms: 10 Intermezzi For Piano Quick View

    $25.99
    Buy Now
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    Brahms: 10 Intermezzi For Piano

    Gould was prouder of this recording than almost any other: "It's the sexiest interpretation of Brahms's Intermezzi you've ever heard-and I really think it is perhaps the best piano playing I have done. You know what an incurable romantic I am anyway."
    1. Intermezzo No. 1 in E-flat Major, Op. 117 - Andante moderato
    2. Intermezzo No. 2 in B-flat minor, Op. 117 - Andante non troppo e con molta espressione
    3. Intermezzo No. 3 in C-sharp minor, Op. 117 - Andante con moto
    4. Intermezzo No. 6 in E-flat minor, Op. 118 - Andante, largo e mesto
    5. Intermezzo No. 4 in E Major, Op. 116 - Adagio
    6. Intermezzo No. 7 in A minor, Op. 76 - Moderato semplice
    7. Intermezzo No. 6 in A Major, Op. 76 - Andante con moto
    8. Intermezzo No. 1 in B minor, Op. 119 - Adagio
    9. Intermezzo No. 1 in A minor, Op. 118 - Allegro non assai, ma molto appassionato
    10. Intermezzo No. 2 in A Major, Op. 118 - Andante teneramente
    Glenn Gould
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bach: Sonata and Partitas, Vol. 1 Bach: Sonata and Partitas, Vol. 1 Quick View

    $20.99
    Buy Now
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    Bach: Sonata and Partitas, Vol. 1

    Nonesuch Records releases an album of three Bach works recorded by mandolin virtuoso and MacArthur Fellow Chris Thile in 2013. Bach: Sonatas and Partitas, Vol. 1 comprises three works written for solo violin: Sonata No. 1 in G minor, BWV 1001; Partita No. 1 in B minor, BWV 1002; and Sonata No. 2 in A minor, BWV 1003. The album was produced by Thile's friend, mentor, and frequent collaborator, the double bassist and composer Edgar Meyer.


    Thile explains his connection to the composer: "Bach was my first meaningful experience with-for lack of a better word-classical music. It was the second recording of Glenn Gould playing the Goldberg Variations. Gould plays with the kind of rhythmic integrity that I had previously only associated with non-classical music: music with a groove, with a pocket, that made you move. Gould was playing that music like my heroes play fiddle tunes. It humanized the whole thing for me and the heavens opened up and Bach came down. I started devouring all the Bach I could get my hands on."


    He continues, "This record to me is not about this iconic violin music played on the mandolin-like, 'Oh boy, what fun, he's playing a weird instrument!' It's about Bach being one of the greatest musicians of all time, the solo violin music being some of his best work, and the mandolin having the potential to cast it in a new and hopefully interesting light.


    Chris Thile, whom London's Independent calls "the most remarkable mandolinist in the world," is the founding member and lead vocalist of Punch Brothers. With broad influences including progressive bluegrass, classical, rock, and jazz, Thile transcends the borders of conventionally circumscribed genres, creating a distinctly American canon and a new musical aesthetic. Thile will be touring this summer with Yo-Yo Ma, Stuart Duncan, and Edgar Meyer, with whom he released last year's The Goat Rodeo Sessions, which won two Grammys in 2013.


    As a soloist, Thile has released five previous albums. In 2011, Nonesuch Records released the Grammy-nominated Sleep with One Eye Open, an album of duets with guitarist Michael Daves. Thile has also collaborated with a pantheon of musical innovators from multiple genres including BÉla Fleck, Brad Mehldau, and Hilary Hahn. For more than 15 years, Thile played in the wildly popular band Nickel Creek, with which he released three albums, sold two million records, and was awarded a Grammy.


    The New Yorker's Alec Wilkinson said of Punch Brothers: "each musician has a deep command of his instrument their technique and specific sensibilities have given Punch Brothers a sound that is strikingly coherent and singular, even if they haven't yet settled on a genre Each of the musicians plays with grace, thoughtfulness, and force to a degree that is not duplicated by any band I am aware of." Their latest album, the critically acclaimed Who's Feeling Young Now?, was released in 2012 on Nonesuch Records.


    MUSICIANS

    Chris Thile, mandolin


    PRODUCTION CREDITS

    Produced by Edgar Meyer

    Recorded and Mixed by Richard King

    Recorded January 12-17, 2013, at The Barn, Washington, MA

    Mastered by Robert C. Ludwig at Gateway Mastering Studios, Portland ME


    Illustration by Oliver Jeffers

    Design by Rory Jeffers

    Photography by Ryan Mastro


    Executive Producer: Robert Hurwitz

    1. Sonata No. 1 in G Minor, BWV 1001: I. Adagio
    2. Sonata No. 1 in G Minor, BWV 1001: II. Fuga: Allegro
    3. Sonata No. 1 in G Minor, BWV 1001: III. Siciliana
    4. Sonata No. 1 in G Minor, BWV 1001: IV. Presto
    5. Partita No. 1 in B Minor, BWV 1002: I. Allemanda
    6. Partita No. 1 in B Minor, BWV 1002: II. Double
    7. Partita No. 1 in B Minor, BWV 1002: III. Corrente
    8. Partita No. 1 in B Minor, BWV 1002: IV. Double: Presto
    9. Partita No. 1 in B Minor, BWV 1002: V. Sarabande
    10. Partita No. 1 in B Minor, BWV 1002: VI. Double
    11. Partita No. 1 in B Minor, BWV 1002: VII. Tempo di Borea
    12. Partita No. 1 in B Minor, BWV 1002: VIII. Double
    13. Sonata No. 2 in A Minor, BWV 1003: I. Grave
    14. Sonata No. 2 in A Minor, BWV 1003: II. Fuga
    15. Sonata No. 2 in A Minor, BWV 1003: III. Andante
    16. Sonata No. 2 in A Minor, BWV 1003: IV. Allegro
    Chris Thile
    $20.99
    Vinyl LP - Sealed Buy Now
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