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  • Berlioz: Symphonie Fantastique (Speakers Corner) Berlioz: Symphonie Fantastique (Speakers Corner) Quick View

    $34.99
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    Berlioz: Symphonie Fantastique (Speakers Corner)

    Beethoven had just finished writing his symphonies when - in 1830 - a young Frenchman created a sensation with his completely novel and exuberant orchestral music. Based on classical music form, Berlioz composed his »massive instrumental composition« as a five-movement musical drama. Such a stroke of genius, in which the ego and grief thereof are described, had never been heard before in the French Romantic period.


    Berlioz employs a very large orchestra with a big timpani section, four bassoons and military brass to present the young artist - an autobiographically motivated character - who dreams his way through the various episodes, hallucinating and frenzied. Here it is clear that it is Berlioz' declared intention to express the artist's visions radically and unmistakably in music - beginning with the ever-recurring delusional 'idÉe fixe' via a terrifying opium intoxication and ending up with the nightmare of his own burial.


    Of the many high-quality, often highly impassioned performances, this particular one by Dimitri Mitropoulos is certainly a benchmark recording. The great conductor makes the rhythms pulsate; he skilfully mixes the wealth of sound colouring, and blends the orchestral instruments so subtly that one notices previously unheard details with every listening.


    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:



    • Hector Berlioz (composer)
    • The New York Philharmonic Orchestra conducted by Dimitri Mitropoulos



    Recording: February 1957 in New York




    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. I - Reveries; Passions
    2. II - Un Bal
    3. III - ScÉne Aux Champs
    4. IV - Marche Au Supplice
    5. V Songe D'Une Nuit Du Sabbat
    Hector Berlioz
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Romeo And Juliet (Speakers Corner) Prokofiev: Romeo And Juliet (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Romeo And Juliet (Speakers Corner)

    Dimitri Mitropoulos was certainly not one of the recording industry's favourites. His repertoire was far too modern and was judged too risky by record companies since it did not guarantee a commercial success. This was very probably the reason that he was replaced by the charismatic Leonard Bernstein as Principal Conductor of the New York Philharmonic Orchestra. But his audiences loved him all the more, perhaps because they wanted to be challenged when listening to his music-making.



    Just how worthwhile such a challenge can be is proved by this recording from his New York period: Prokoviev's Ballet Suites with their richly orchestrated music are totally effective even when not staged. From the carefree gaiety of a Folk Dance, then to the lyrical sweetness of the Love Theme, right up to the Death Of Tybalt with Prokofiev's hard, grim orchestral vehemence, Mitropoulos gets his New York Philharmonic to pull out all the stops. Not only is the stereophonic sound truly excellent for the technical standard of its day: the superb recording technique and heartfelt artistic dedication have resulted in a recording which possesses all that is needed to underline the legendary greatness of this Greek maestro.




    Recording: November 1957 at St George Hotel, Brooklyn, NY, by Fred Plaut/ Stan Tonkel

    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.

    Serge Prokofiev: Romeo And Juliet Ballet, Op. 64 (Excerpts) - The New York Philharmonic Orchestra conducted by Dimitri Mitropoulos
    Sergei Prokofiev
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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