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Ma Vlast (Speakers Corner)
Smetana's symphonic poem "Má Vlast" consists of several individual compositions which the composer put together at a later date to form a cycle and is one of the greatest testimonies to Czech national music. The Bohemian countryside and sagas are reflected in the tone poem From "Bohemia's Woods and Fields", while the programmatic "Moldau" occupies a rightful place among the most outstanding works to have been written in the late 19th century. Thanks to its popular folk melodies, its clearly structured and recognizable "programme", and brilliant orchestration, the work has never failed to arouse the enthusiasm of a wide public.
Rafael Kubelik conducted numerous first-class orchestras both in the concert hall and in the recording studio, and won a deserved reputation as the Smetana connoisseur. He is to be congratulated on his choice of the Vienna Philharmonic Orchestra for this recording: gentle and transparent in the gossamer-light orchestral passages, powerful and smooth when playing as a full tutti. This thoroughly satisfying performance is further enhanced by its excellent recording technique and is to be recommended to all collectors.
- The Vienna Philharmonic Orchestra
- Rafael Kubelik (conductor)
Recording: April 1958 at Sofiensaal, Vienna by Gordon Parry
Production: Eric Smith
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. Vysehrad
2. Vltava (Moldau)
4. From Bohemia's Meadows and Forest
6. Blanik$69.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
From The New WorldRafael Kubelik conducts the Berlin Philharmonic for this audiophile recording of Dvorak's Symphony No. 9 from The New World.
Rafael Kubelik, conductorSymphony No. 9 in e minor, Op. 95
From the New World (Aus der Neuen Welt)
1. Adagio - Allegro molto
3. Scherzo: Molto vivace
4. Allegro con fuoco$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Mahler: Symphony No. 1 In DGUSTAV MAHLER
Symphony No. 1
Symphonieorchester des Bayerischen Rundfunks
Rafael KubelikGustav 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$25.99Vinyl LP - Sealed Buy Now
Mahler Symphony No. 1Cut 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]."
• 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
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$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Brahms: Violin Sonatas No. 1 & No. 3
Features Gioconda De Vito On Violin And Edwin Fischer On Piano
Gioconda De Vito was an Italian violinist born on July 22, 1907. She began formal violin lessons with an uncle, who was a professional violinist, at the age of 8. Three years later, she entered the Pesaro Conservatory. She graduated two years after that and started her career as a soloist. By age 17, she was teaching at the Conservatory in Bari. At age 25, she won an international violin competition in Vienna. She was then hired (supposedly through the influence of Mussolini) to teach at the Academy of Santa Cecilia in Rome. Since the Second World War interrupted her solo career, her London debut, which was very successful, didn't happen until 1948. She subsequently performed frequently in the major European venues, sometimes appearing with other important artists, including Yehudi Menuhin, Isaac Stern, Rafael Kubelik, and Furtwangler. She also twice played for the Pope (Pius XII). De Vito was one of several famous female violinists of the early Twentieth Century who were quickly forgotten by the general public - Ginette Neveu and Janine Andrade were two others. In 1961, she retired from playing and virtually from the violin itself. She was then only 54 years old. Although she toured Europe and other countries (Australia, Russia, India, Israel), she never played in the U.S. A highly admired player, she was nevertheless, almost an anachronism during her career. Her repertoire was old fashioned and did not include the concertos of Stravinsky, Prokofiev, Sibelius, Elgar, Bartok, Barber, Shostakovich, Khachaturian, Korngold, Glazunov, Berg, Walton, or Szymanowski. It is said that she was such a meticulous player, that she worked on the Brahms concerto for fifteen years before she played it in public.
- Prone To ViolinsJohannes Brahms (1833 - 1897): Violin Sonata No. 1 in G, Op. 78
1. Vivace ma non troppo
3. Allegro molto moderato
Johannes Brahms (1833 - 1897): Violin Sonata No. 3 in d minor, Op. 108
6. Un poco presto e con sentimento
7. Presto agitato$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now