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  • Bach: 1-6 Solo Cello Suites (Speakers Corner) Bach: 1-6 Solo Cello Suites (Speakers Corner) Quick View

    $95.99
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    Bach: 1-6 Solo Cello Suites (Speakers Corner)

    Today it is difficult to understand that despite the tremendous Bach renaissance that took place in the 19th century many compositions by the Cantor of St. Thomas's Church in Leipzig had been underrated. The Cello Suites, for example, have been regarded for almost 300 years as purely a set of tricky etudes that every virtuoso in the making simply must tackle. What recording engineers and their equipment can bring to the ears is quite astounding. So it was back in the Thirties with Pablo Casal's legendary recording against which every cellist is measured today and to whose perfection he aspires.



    Janos Starker's recording of the Suites from 1965 makes a lasting impression on the listener, even when compared with other recordings from the digital era, and even record producers who are well used to recorded excellence have been highly impressed. For Charlotte Gilbert of the Mercury record label, these recording sessions were one of five truly great events in all her 20 years of recording experience.



    Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker's full-bodied sound and technical brilliance are complemented by his finely chiselled interpretation that lends immense expression to Bach's thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach's Cello Suites are 'polyphony for a solo instrument'.



    Musicians:



    • Janos Starker (cello)




    Recording: April 1963, September and December 1965 at ballroom Studio A at Fine Recording Studios, New York, by C. Robert Fine and Robert Eberenz

    Production: Wilma Cozart



    Format: 3LPs 33rpm / Box, 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.



    Janos Starker
    $95.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Janos Starker Dvorak Cello Concerto (Pre-Order) Janos Starker Dvorak Cello Concerto (Pre-Order) Quick View

    $54.99
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    Janos Starker Dvorak Cello Concerto (Pre-Order)


    Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!


    Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!


    Renowned cellist Janos Starker is joined by The London Symphony Orchestra conducted by Antal Dorati for this 1962 recording of Dvorak's Cello Concerto alongside Bruch's Kol Nidrei.


    Features:

    • Numbered Deluxe Laminated Double Gatefold Jackets

    • Only 2500 Numbered Limited Edition Copies Worldwide!

    • Audiophile 180g, 45rpm Vinyl

    • Double LP

    • Pressed at RTI

    • Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Musicians:

    Janos Starker, cello

    The London Symphony Orchestra

    Antal Dorati, conductor


    Recorded July 1962 at Wembley Town Hall, London.


    This title is not eligible for discount.

    Antonin Dvorak - Violoncello Concerto
    1. Allegro
    2. Adagio Ma Non troppo
    3. Final (Alelgro Moderato)
    Max Bruch
    4.Kol Nidrei, Op. 47
    Antal Dorati & The London Symphony Orchestra
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Brahms - Sonata for Cello and Piano (Speakers Corner) Brahms - Sonata for Cello and Piano (Speakers Corner) Quick View

    $34.99
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    Brahms - Sonata for Cello and Piano (Speakers Corner)

    The original pressing just doesn't hold a candle to this re-issue! Lovingly re-mastered from the original Mercury Living Presence analog tapes, Speakers Corner has done an astounding job on this album. Hear Starkers bold and natural cello and Seboks piano reproduced with perfect clarity and tonality. The performances are exceptional; lively and heartfelt. The sound quality is purely first rate. Outstanding music, impeccably performed, and the sound quality is the best youll hear! It just doesnt get better than this!



    Brahms' Cello and Piano Sonatas could well be described as 'romantic expression dressed in classical garb,' filled as they are with the same musical philosophy that is to be found in many of his instrumental works. Although 21 years lay between the two compositions, Brahms remained true to the formal musical language of the Viennese masters, and this brought him and other composers of his time the reproach of imitating Beethoven.



    The unmistakable personal style of Brahms is reflected in the sweeping first movement which is in the manner of a serious song and calls for sensitive but by no means feeble bowing. Starker's wiry, austere playing keeps a check on any excessive emotion and instead brings the music to life in great detail.



    Musicians:



    • Janos Starker (cello)

    • Gyorgy Sebok (piano)




    Recording: June 1964 at Watford Town Hall, London, by C.R.Fine and Robert Eberenz

    Production: Harold Lawrence




    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 for Cello and Piano No. 1 in E minor, op. 38

    2. Allegro Non Troppo

    3. Allegretto Quasi Minuetto

    4. Allegro


    5. Sonata for Cello and Piano No. 2 in F major, op. 99

    6. Allegro Vivace

    7. Adagio Affetuoso

    8. Allegro Passionato

    9. Allegro Molto

    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner) Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner)

    Schumann rapidly composed his Cello Concerto in only two weeks during an extremely productive creative phase. Its first performance was quite another story. Although the piece was written first and foremost for this beautiful instrument, so Schumann, no cellist showed any desire to perform the work in concert. Initially the cellist Robert Bockmhl from Frankfurt had shown interest in the piece, but then declined to play it after Schumann had refused to comply with his wishes for certain changes. This led to the unfortunate fact that Schumann did not live to see the work's premiere. Things went quite differently with Edouard Lalo, who described himself as a self-taught composer; an excellent cellist himself, Lalo could be sure that his work would be heard in the concert hall.



    Both works are connected by the pioneering attempt to establish the cello as a solo instrument in concert life in the 19th century. Right from the fifth bar of the Schumann concerto Janos Starker is able to display his mastership in the expansive main theme. He enjoys to the full the opportunities to explore the instrument's range of tone and expression, and this he does with clarity and a full tone. In the Lalo too he demonstrates his absolute virtuosity: in the lyrical passages he delights us with a melting cantabile, in the Saltarello finale he demonstrates his perspicacity and fills the triumphant writing with elegance and tonal resonance. Luckily this music has found its way to one of today's most outstanding cellists.




    Recording: July 1962 at Watford Town Hall, United Kingdom, by C. Robert Fine

    Production: Wilma Cozart-Fine and Harold Lawrence




    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. Robert Schumann: Concerto for cello and orchestra in A minor, op. 129
    2. Édouard Lalo: Concerto for cello and orchestra in D minor
    Janos Starker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak: Cello Concerto; Bruch: Kol Nidrei Dvorak: Cello Concerto; Bruch: Kol Nidrei Quick View

    $18.99
    Buy Now
    x

    Dvorak: Cello Concerto; Bruch: Kol Nidrei

    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 Dvorak's Cello Concerto and Bruch's Kol Nidrei performed by Janos Starker with the London Symphony Orchestra conducted by Antal Doráti.

    1. Allegro
    2. Adagio ma non troppo
    3. Finale (Allegro moderato)
    4. Kol Nidrei, Op.47
    Janos Starker / London Symphony Orchestra / Antal Dorati
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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