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  • Mahler - Symphony #1 (Speakers Corner) Mahler - Symphony #1 (Speakers Corner) Quick View

    $34.99
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    Mahler - Symphony #1 (Speakers Corner)

    "What kind of a world is this which produces such sounds and forms to portray itself?" said Mahler of his First Symphony and gave the world his answer in the music.



    What at first sounds like "endless Spring" is transformed grotesquely to become an irreal collage. Just how deceptive is this idyllic landscape through which the wayfarer wanders? Distant fanfares, furtive melodies and strange cuckoo calls disturb the seemingly peaceful depiction of Nature before the cheerful theme melody pushes to the fore. But this peace is transient too. The wayfarer begins to increase his pace, he is not the hunter but the hunted in a hostile world. This symphony neither portrays nor describes - it presents the esthetic counterpart of reality.



    In view of the recent revival of Mahler and the resultant new recordings of his works, this early DECCA recording cannot be too highly praised. The disc guarantees not only a masterly performance but sumptuous sound and transparency. The owner of this particular recording of the Titan Symphony certainly needs no other and has every right to ask, "What kind of a record is this which produces such sounds...?"



    Musicians:



    • London Symphony Orchestra

    • Sir Georg Solti (conductor)




    Recording: January and February 1964 at Kingsway Hall, London by Gordon Parry / 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.



    1. Langsam, Schleppend, Wie Ein Naturlaut
    2. KrÄftig Bewegt, Doch Nicht Zu Schnell
    3. Feierlich Und Gemessen, Ohne Zu Schleppen
    4. StÜrmisch Bewegt
    Gustav Mahler
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mahler - Symphony #3 (Speakers Corner) Mahler - Symphony #3 (Speakers Corner) Quick View

    $69.99
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    Mahler - Symphony #3 (Speakers Corner)

    "My symphony will be something the world has never heard before. The whole of Nature will be lent a voice in it and will impart such deep secrets as those one might imagine in one's dreams." Mahler's vision of music which reflects the world finds its monumental culmination in his Third Symphony. The god Pan awakes to dull drum beats and rumbling basses. From afar a lied theme feels its way to the fore. The mild season of Spring dawns with song, sounds of nature and the budding of vegetation; then at last Summer marches in, grotesquely distorted in its exuberance, expressing the dualism of the innocence of Nature and its terrifying primeval force. Only in the finale are these contrarieties united in glorious harmony - although an undercurrent of doubt is always present.



    Sir Georg Solti and the London Symphony Orchestra are absolutely ideal for performing this mammoth, highly complex, multi-layered work. With fairly brisk tempi, clearly differentiated strings, and the usual excellent brass, Solti gives a gripping performance which no Mahler fan should miss - even if already has other recordings of the work in his collection.



    Musicians:



    • The London Symphony Orchestra

    • Sir Georg Solti (conductor)





    Recording: January 1968 at Kingsway Hall, London by Gordon Parry and James Lock

    Production: David Harvey




    Format: 2LPs 33rpm / gatefold sleeve, booklet



    About Speakers Corner



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



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



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



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



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



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



    Gustav Mahler
    $69.99
    180 Gram Audiophile Virgin 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
  • Mahler - Symphony #2 (Speakers Corner) (On Sale) Mahler - Symphony #2 (Speakers Corner) (On Sale) On Sale Quick View

    $69.99 $48.99 Save $21.00 (30%)

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    Mahler - Symphony #2 (Speakers Corner) (On Sale)

    The search for the extra-musical world in Gustav Mahler's philosophical and programmatic works will doubtless continue to occupy future generations of music scholars. Today's music lovers, however, are wholly satisfied with the highly varied interpretations and impressive sound reproduction - which is precisely what Mahler himself wished for his rugged works. For decades Mahler's dramatic musical masterpieces were misunderstood and scorned as "kapellmeister music". Luckily interest in his works was revived and all nine symphonies were recorded in the 1960s by the recently deceased conductor Sir Georg Solti. Right up to this very day, his cycle has clearly lost nothing of its aura, its reputation for "never having been surpassed" - how could it otherwise have been so successful for so many years in the light of all the highly competitive, more recent recordings?



    After the success of the new pressing of Mahler's First Symphony (DECCA SXL 6113), it was high time that the Resurrection-Symphony became available on LP once more. And the result is most impressive. One can only hope that the complete Mahler cycle will one day be resurrected in vinyl.



    Musicians:



    • Heather Harper

    • Helen Watts

    • London Symphony Orchestra and Chorus

    • Sir Georg Solti (conductor)





    Recording : May 1966 at Kingsway Hall, London by Gordon Parry

    Production: David Harvey



    Format: 2LPs 33rpm / gatefold sleeve, booklet



    About Speakers Corner



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



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



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



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



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



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



    Gustav Mahler
    $69.99 $48.99 Save $21.00 (30%)
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs 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
  • Das Lied von Der Erde Das Lied von Der Erde Quick View

    $32.99
    Buy Now
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    Das Lied von Der Erde

    Import


    Peter Schreier, Birgit Finnila, Berlin Symphony Orchestra / Kurt Sanderling.

    1. Das Trinklied vom Jammer der Erde (Schon winkt der Wein im gold'nen Pokale)
    2. Der Einsame im Herbst (Herbstnebel wallen blÄulich Überm See)
    3. Von der Jugend (Mitten in dem kleinen Teiche)
    4. Von der Schönheit (Junge MÄdchen pflÜcken Blumen)
    5. Der Trunkene im FrÜhling (Wenn nur ein Traum das Leben ist)
    6. Der Abschied (Die Sonne scheidet hinter dem Gebirge)
    Gustav Mahler
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms: Alto Rhapsody (Speakers Corner) Brahms: Alto Rhapsody (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Brahms: Alto Rhapsody (Speakers Corner)

    Johannes Brahms: Alto Rhapsody, Song Of Destiny / Gustav Mahler: Songs Of A Wayfarer


    The Alto Rhapsody, Song Of Destiny and Song Of A Wayfarer. Each of these three vocal compositions is unique in its expression and construction, yet the frayed emotional worlds of all three works are connected by a multitude of fine threads. The Alto Rhapsody, which Brahms wrote as a wedding gift for Clara Schumann's daughter Julie, in whom he was himself in love, demonstrates with almost Wagnerian weight the anger that the disappointed Brahms must have felt while composing. The Song Of Destiny too, with its sonorous E major waves of harmony, soon announces in C minor the finiteness of existence as Hölderin's poem demands. That finally a hopeful, conciliatory - though unsure - moment lingers is reflected in the musical means. Many emotions and vagaries are emulated in Mahler's song cycle. The journeyman sets off on his wanderings in order to forget his unhappy liaison and strides through the ups and downs of mixed emotions and painful heartache. Drumrolls and march rhythms reflect the real world and sounds of nature, dissonances and a change between major and minor keys show the way from dreams, reality and feelings. The recording with Mildred Miller and the Columbia Symphony Orchestra under Bruno Walter has achieved reference status and is sure of a place in the TAS Super LP List given out by The Absolute Sound.

    Musicians:


      Mildred Miller (vocals)
    • The Occidential College Concert Choir and the Columbia Symphony Orchestra
    • Bruno Walter (conductor)



    Recording: June 1960 and January 1961 at Columbia Studios, Hollywood

    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.


    Brahms: Alto Rhapsody, Op. 53
    Brahms: Song Of Destiny, Op. 54
    Songs Of A Wayfarer (Leider Eines Fahrenden Gesellen)
    I. Wenn Mein Schatz Hochzeit
    II. Ging Heut' Morgen Über's Feld
    III. Ich Hab' Ein GlÜhend' Messer
    IV. Die Zwei Blauen Augen
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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