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Rites Of Spring

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  • Stravinsky - The Rite Of Spring Stravinsky - The Rite Of Spring Quick View

    $34.99
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    Stravinsky - The Rite Of Spring

    While he was finishing the score of The Firebird, the idea came to Stravinsky for a pagan, ritual scenario. The background history of Le Sacre du printemps is well known: while the modernists praised the work, the conservative public thought they were being hoaxed. The reason for their irritation and the scandalous fiasco of the premiere is still audible to this day. Stravinsky carries the aggressive, hammering rhythms to the extreme, casting them in atonal harmonies which feed on the alternation between a »red-hot and a mild mixture«, as Stravinsky put it.


    Dorati urges on his ensemble with robust tempi, and the orchestra is quick to respond to all the refinements of the tightly knit movement. It appears to cope effortlessly with the extremes of contrast and manages to amalgamate the rhythmic excesses with the tenderness of the numerous tiny motifs and figures which seem to sprout like flowers out of hard rock. The excellent recording technique captures both the extreme loudness and the finely pulsating tones, resulting in a sound in which no detail goes unheard. The listener can be sure that this Stravinsky deserves the rating 'excellent' - both for the interpretation and for the sound.

    Musicians:



    • Antal Dorati (conductor)

    • Igor Stravinsky (composer)

    • The Minneapolis Symphony Orchestra




    Recording: November 1959 at the NorthropMemorial Auditorium, Minnesota, USA, by C.R. 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. The Rite Of Spring Part I
    2. The Rite Of Spring Part II
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - Petruchka (Speakers Corner) Stravinsky - Petruchka (Speakers Corner) Quick View

    $34.99
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    x

    Stravinsky - Petruchka (Speakers Corner)

    Petrushka was born of Stravinsky's vision of a long-haired musician hammering indiscriminately at the piano keys and engaging in a furious contest with the orchestra which »answers with vehement protests and acoustic fisticuffs«. As was the case with The Rite of Spring and The Firebird, Sergei Diaghilev and his Russian ballet had their share in ensuring that the 'burlesque' in four scenes would be suitable for the stage.
    The clown-doll Petrushka revels in his spiteful teasing and pranks at the Shrovetide fair.


    The orchestra contributes swirling dance figures, blaring brass and scurrying strings to his high-spirited clownery - but then the Moor enters and dances with the Ballerina, arousing jealousy in Petrushka. Although the clown-doll does not survive this bitter-sweet story, he triumphs at the end, his ghost mocking the crowd at the fair.
    This highly inventive music combines folksong, popular music and the waltz, all bound together by exhilating rhythms which are often taken to thunderous extremes. With its outstanding sound, this recording is a must-have in any Stravinsky collection.


    Recording: May 1959 at the Northrop Memorial Auditorium, Minnesota, USA, by C.R. Fine
    Production: Wilma Cozart-Fine and Clair Van Ausdall


    Musicians:



    • Antal Dorati (conductor)

    • Igor Stravinsky (composer)

    • The Minneapolis Symphony Orchestra



    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. Petrouchka - Burlesque Scenes In Four Tableaux - The Shrovetide Fair; Russian Dance
    2. Petrouchka - Burlesque Scenes In Four Tableaux - In Petrouchka's Room
    3. Petrouchka - Burlesque Scenes In Four Tableaux - In The Moor's Room; Dance Of The Ballerina And The Moor
    4. Petrouchka - Burlesque Scenes In Four Tableaux - Grand Carnival - Dance Of Gypsies, Coachmen And Grooms; The Maskers; Death Of Petrouchka
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - Sacre du Printemps (Speakers Corner) Stravinsky - Sacre du Printemps (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Sacre du Printemps (Speakers Corner)

    To be sure: no other 20th-century ballet music has ever created such a commotion as this ancient rite of spring: it began with a turmoil which developed into a full-scale brawl at the premiere performance in the concert hall, was sung hymns of praise and suffered devastating reviews by critics who tore the work apart, and led up to the musico-philosophical libel written in the Fifties by that self-acclaimed "chief enemy" of Stravinsky, W. A. Adorno.



    This thrilling, epoch-making masterpiece remains fascinating to this very day thanks to its bloodcurdling rhythms, its secretive, intertwined melodies, and the boiling, seething, and lashing of the titanic instrumental forces. And Sir Georg Solti and his phenomenal orchestra certainly ensure that all this is brought over to the listener. The notes of the lyrical passages simply fly out of the loudspeakers with the lightness and airyness to which one is accustomed with DECCA recordings from this era. But one can still be astounded by this audiophile work of art: such a gentle, voluminous, lashing and pounding sound-storm is only normally heard live in the concert hall. And precisely because this recording sounds so marvellous, it tops the vinyl charts in the American specialist magazine The Absolute Sound.



    Musicians:



    • The Chicago Symphony Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1974 at Medinah Temple, Chicago (USA) by Kenneth Wilkinson and James Lock

    Production: Ray Minshull





    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.



    Sir Georg Solti with Chicago Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky: The Rite Of The Spring Stravinsky: The Rite Of The Spring Quick View

    $22.99
    Buy Now
    x

    Stravinsky: The Rite Of The Spring

    From pagan savagery to refined Classical elegance via a masterpiece of oblique ritual, these recordings trace Stravinsky's eventful musical journey of creative curiosity and unquenchable originality. Sir Simon Rattle has long been acclaimed as a conductor of vivid insights in this music, and the Berliner Philharmoniker's virtuosity makes this a disc of aptly balletic power and poetry.
    1. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): I Introduction / Introduction
    2. Le Sacre du Printemps / The Rite of Spring, Part II: La Sacrifice (The Sacrifice): II Cercles mystÉrieux des adolescents / Mystic Circles of the Young Girls

    3. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): III Danses des adolescents / Dances of the Young girls

    4. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): IV Jeu du rapt / Ritual of Abduction

    5. Le Sacre du Printemps / The Rite of Spring, Part II: La Sacrifice (The Sacrifice): V Action rituelle des ancêtres / Ritual Action of the Ancestors
    6. Le Sacre du Printemps / The Rite of Spring, Part II: La Sacrifice (The Sacrifice): VI Danse sacrale (L'Elue) / Sacrificial Dance

    7. Symphonies of Wind Instruments

    8. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): VIII Le Sage / The Sage
    9. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): IX Danse de la terre / Dance of the Earth
    Sir Simon Rattle
    $22.99
    Vinyl LP - Sealed Buy Now
  • Anachronous (Discontinued) (On Sale) Anachronous (Discontinued) (On Sale) On Sale Quick View

    $12.99 $9.09 Save $3.90 (30%)

    Buy Now
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    Anachronous (Discontinued) (On Sale)

    TUBERS: Organic creations, blooming beneath the soil while drawing nutrients from their surroundings, soon to be unearthed, cooked, and consumed by native populations. Also, Floridian slang for two populations. The first; those who float upon inflatable inner tubes in aimless, lackadaisical delight down the states many freshwater springs. The second; those who seek adventure tucked away in the innermost furl of a wave just before it washes ashore. Finally, four longtime friends who make music for the purpose of challenging themselves and hopefully those around them. They draw inspiration from their namesakes and channel these feelings through guitars, throats, and drums. Angular riffs swerve throughout the mix atop surf-influenced rhythms, with the aggressive trappings of previous efforts remaining apparent but not overbearing. They speak in dialects and metaphors, fluctuating seamlessly amongst obtuse structures, shifting momentums, and rolling cascades. Features members of TWELVE HOUR TURN, TRUE NORTH, STRIKEFORCE DIABLO, ASSHOLEPARADE, WE MODERNS, and others. For fans of Obits, Rites of Spring, Wipers, Milemarker, and Fugazi. No Export to Europe.
    1. High Tide It's Inside
    2. The Expense Of Flight
    3. Coconut Thunder
    4. In The Snow
    5. Unmutual
    6. 68
    7. Small Signs Big Posts
    8. Cut The Grease
    9. These Quantum Leaps Are Killing Me
    10. Pale Sunbather
    11. 40 XL
    12. Anachronous
    Tubers
    $12.99 $9.09 Save $3.90 (30%)
    Vinyl LP - Sealed Buy Now
  • HIVE1 HIVE1 Quick View

    $20.99
    Buy Now
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    HIVE1

    Written and recorded throughout 2013 and 2014, HIVE1 marks a new direction for Tyondai Braxton: his first album in six years, since 2009's Central Market, and his first recording for Nonesuch, where he joins formative influences such as Morton Subotnick and John Adams. Most significantly--after having several of his large-scale orchestral works performed by the Los Angeles Philharmonic, London Sinfonietta, and Wordless Music Orchestra--HIVE1 is the composer's first fully realized work of purely electronic music since his earlier loop-based music in the early 2000s, and an unmistakable swerve away from Braxton's signature materials and musical concerns to date.


    Where the dominant influence on Central Market was the Stravinsky of Petrushka and The Rite of Spring, HIVE1 draws more from the mid-20th century avant-garde, a world inhabited by the likes of Varèse, Xenakis, and Stockhausen--along with the more contemporary examples of Florian Hecker, Carston Nicolai/Raster Noton, and Braxton's frequent collaborator Ben Vida, who appears as a performer in HIVE1. Where Central Market was scored for a small army of strings, guitars, horns, kazoos, and singers, the music of HIVE1 derives from the abrasive textures and manipulation of organic and synthesized sounds.

    1. Gracka
    2. Boids
    3. Outpost
    4. Studio Mariacha
    5. Amlochley
    6. Galaveda
    7. K2
    8. Scout1
    Tyondai Braxton
    $20.99
    Vinyl LP - Sealed Buy Now
  • Daphnis et Chloe Daphnis et Chloe Quick View

    $54.99
    Buy Now
    x

    Daphnis et Chloe

    Pierre Monteux's Magnificent Account of Ravel's Daphnis et Chloe with the London Symphony Orchestra is one of the Very Best! A proficient and Classically trained violinist, Pierre Monteux, he premiered Stravinsky's Petrushka (1911), Ravel's Daphnis et Chloe (1912), The Rite of Spring (1913), Debussy's Jeux (1913)!

     

    On this 180 Gram Audiophile 2LP 45rpm Pressing you'll hear extraordinarily lush harmonies, pointed French phrasing, an absence of sentimentality, and an intuitive feeling for Ravel's meshing of classic-erotic. A Masterpiece for Orchestra! "Monteux's interpretation fits the piece like a glove. Flowing tempos knit the orchestral fabric together effortlessly into the "choreographic symphony" of the work's subtitle, without stinting on atmosphere or sheer color. The opening is mysterious but not sluggish. Ravel's sunrise reaches a glorious apotheosis, with the choir well-balanced in the mix. The quicker bits have plenty of excitement and glitter." - Classics Today "From the mysterious, exotic opening of the introduction, Monteux and the LSO capture the lushness and richness of the harmonies with an unbridled sense of French passion. The many different sections are linked through Ravel's subtle and delicate transitions; they achieve a real transparency under Monteux's clear hand... The clarity of the choral singing is excellent -- the frequently subtle changes of pitch, often lost in murkiness in other performances, are gently but clearly emphasized here with taste. Monteux, a violinist by training, compels his LSO string players to play Ravel's harmonics with a real core and edge to the sound, minus the usual French wispiness." - All Music Guide

     

    Features:

    • Numbered Deluxe Laminated Double Gatefold Jackets

    • Only 2500 Numbered Limited Edition Copies Worldwide!

    • 180g Vinyl

    • 45rpm

    • Pressed at RTI

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

    • Originally released as London CS 6147 "London Blueback"

     

    Musicians:

    London Symphony Orchestra - Pierre Monteux, conductor

    Chorus of the Royal Opera House, Covent Garden - Douglas Robinson, chorus master

     

    This title not eligible for discount.
    Daphnis et Chloe (Complete Ballet)
    London Symphony Orchestra
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Stravinsky - Firebird (Speakers Corner) Stravinsky - Firebird (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Firebird (Speakers Corner)

    The Firebird can almost be described as a work of fate, since it is not only the first of several ballets that Stravinsky wrote for Sergei Diaghilev and his Ballets Russes but also marks his international breakthrough as a composer. In comparison with his other earlier stage works, the ecstatic, sharply contoured Rite of Spring for example, The Firebird, with its melodic character, is a far gentler work altogether.


    There are unmistakable reminiscences of the musical language of Rimsky-Korsakov and Tchaikovsky as well as snatches of late-Romantic harmonies; all this lends the music the charm of Russian tradition.
    In his performance, Dorati chooses the golden mean in that he has his ensemble produce a highly colourful but by no means glaring sound. Thus the listener is given the opportunity to follow the development of the finely chiselled motifs which are so characteristic of this early composition. Happily, the chamber-music-like transparency is preserved even in the loud, more exposed passages - the sound leaves the loudspeakers with a sprightly, athletic tread, as it were.


    Musicians:



    • Antal Dorati (conductor)

    • Igor Stravinsky (composer)

    • The London Symphony Orchestra



    Recording: June 1959 at Watford Town Hall, London, by C. R. Fine and Robert Eberenz
    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.



    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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