Vinyl. Our way of life since 2004 (877) 929-8729

VPI Dealer Authorized & Certified
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
LP20 - 20% Off Vinyl
Home > Products for: '

Solti

'
  • 1
Results per page:
  • Strauss: Elektra (Speakers Corner) Strauss: Elektra (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Strauss: Elektra (Speakers Corner)

    Richard Strauss was filled with doubt as to whether he would be capable of expressing in music the crazed revenge of Elektra after writing his opera Salome with its shocking story. It is quite understandable that he had trouble in composing the work, although such difficulties are not in the least evident during the course of the drama or in the musical flow. Drawing on natural sources, the forceful melodies make use of polyphonic, complex motifs and extreme dissonances. Here and there, Strauss's typical chordal harmonies gleam through, though hardly audible, taking the harsh dissonances and chromaticism to the very extremes of atonality.




    Sir Georg Solti, whose outstanding Strauss interpretations constitute the focus of his life's work, leads the enormous orchestra through the highly complex score and provides his singers with a powerful but finely chiselled sound. Birgit Nilsson personifies an icy-cold Elektra consumed with hatred, and her counterpart Regina Resnik as Clytemnestra is no less extreme in her role. Gerhard Stolze, one of the greatest singers of his time, masters the exhausting role of Aegistheus, and Tom Krause is highly convincing as the determined Orestes. The phenomenal acoustics of Vienna's Sofiensaal provided an ideal recording venue, and the audible quality of the sung text is excellent - although the final bloodbath can scarcely be expressed in words.




    Recording: June, September and November 1966 at Sofiensaal, Vienna, by Gordon Parry and James Brown

    Production: John Culshaw and Christopher Raeburn



    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.


    A Part 1: Wo Bleibt Elektra?

    B Part 2: Was Willst Du?
    C Part 3: Oresti! Orest Is Tot!

    D Part 4: Nein, Du Sollst Mich Nicht Umarmen
    Richard Strauss
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Symphony No. 9 (Speakers Corner) Beethoven: Symphony No. 9 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Beethoven: Symphony No. 9 (Speakers Corner)

    It was clear from the start that Beethoven's Ninth Symphony, with its air of solemnity in the final chorus, which calls for brotherly love just as the New Year comes in, would become a musical part of our world's cultural legacy. Hundreds of minds, Beethoven researcher Karl Nef prophesied, have been set in motion by this music in the most varied ways, and it will continue not only to bestow pleasure upon countless thousands, but also to stimulate mental life right at the most fundamental level.



    There are certainly only a very few truly cerebral interpretations which stand out from the fathomless mass of recordings. One of those upon which "The Absolute Sound" journal has stamped its coveted seal of approval is the recording with Georg Solti and his perfectly honed symphony musicians from Chicago. Here, this usually somewhat daring baton-wielder plumbs the very depths of the score and allows Beethoven's rich abundance of ideas to ferment into a great whole.



    The four soloists prove their worth as first choice for the richly detailed and balanced synopsis of this fissured work. They captivate us as much in the solo as in the group singing with their natural and expressive intonation. The dry, very present sound highlights the fact that this is an artistic performance at the highest level.




    Musicians:



    • Pilar Lorengar, Stuart Burrows, and other soloists

    • The Chicago Symphony Chorus & Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1972 in the Krannert Centre of the University of Illinois, Chicago, by Kenneth Wilkinson and Gordon Parry

    Production: David Harvey



    Format: 2LPs 33rpm / gatefold sleeve



    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.


    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Venice Venice Quick View

    $39.99
    Buy Now
    x

    Venice

    200-Gram Vinyl Pressed At Quality Record Pressings


    Mastered From The Original Analog Master Tapes By Willem Makee


    Deluxe Die-Cut Tip-On Gatefold Jacket From Stoughton Printing


    Includes Book Filled With Liner Notes, Images, And More


    Georg Solti, conducting the Orchestra of the Royal Opera House, Covent Garden. Originally released in 1959. Ravishing string tone and superior dynamics. Indisputably beautiful string tone in Act One of Traviata. About a minute or so into the last band on side one, one hears the famous Underground subway rumbling beneath Kingsway Hall. The Underground, the Aldrich-Holborn line, was a constant factor to be addressed by Decca engineers.


    Recorded in Kingsway Hall

    Producer: Michael Bremner

    Engineer: Kenneth Wilkinson

    1. La Traviata: PRELUDE TO ACT I
    2. L'Italiana in Algeri: OVERTURE
    3. La Traviata: PRELUDE TO ACT III
    4. The Tales of Hoffmann: BARCAROLLE
    5. Semiramide: OVERTURE
    6. La Gioconda: DANCE OF THE HOURS
    Sir Georg Solti
    $39.99
    200 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
  • Mahler: Symphony No.8 Mahler: Symphony No.8 Quick View

    $49.99
    Buy Now
    x

    Mahler: Symphony No.8

    Decca is releasing their greatest recordings on vinyl and all are mastered at Abbey Road Studios from original
    analogue tapes and pressed on 180g heavyweight vinyl by OPTIMAL. This release features Sir Georg Solti leading
    the Chicago Symphony in Mahler's spectacular Symphony no. 8. ''This performance is still hailed as something of a benchmark - spine-tingling and electrifying.'' (BBC Music Magazine)
    1. Hymnus, Veni, Creator Spiritus
    2. Final Scene From Goethe's Faust
    3. Uns Bleibt Ein Erdenrest
    4. Blicket Auf - Alle Reuig Zarten
    Sir Georg Solti
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mahler - Symphony #3 (Speakers Corner) Mahler - Symphony #3 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    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
  • Beethoven: Piano Concerto No.4 in G; Overture 'Leonore No.3' Beethoven: Piano Concerto No.4 in G; Overture 'Leonore No.3' Quick View

    $25.99
    Buy Now
    x

    Beethoven: Piano Concerto No.4 in G; Overture 'Leonore No.3'

    . . . in one word is superb. The range of Ashkenazy's tone is tremendous Sir Georg Solti's accompaniment is righton the spot and his Chicago orchestra is recorded with a fine depth of sound. - Gramophone Magazine
    Beethoven: Piano Concerto No.4 in G Major, Op.58
    1. Allegro moderato
    2. Andante con moto
    3. Rondo (Vivace)


    Beethoven: Leonore No.3, Op.72b
    4. Overture

    Vladimir Ashkenazy / Sir Georg Solti
    $25.99
    Vinyl LP - Sealed Buy Now
  • Rachmaninov: Piano Concerto No. 2 / Balakirev: Islamey (Speakers Corner) Rachmaninov: Piano Concerto No. 2 / Balakirev: Islamey (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Rachmaninov: Piano Concerto No. 2 / Balakirev: Islamey (Speakers Corner)

    Rachmaninov's piano works, and in particular his Second Piano Concerto, have fired the enthusiasm of music lovers throughout the world. Dedicated to the psychologist Dr. Nikolai Dahl who had cured the composer of depression, the Second Piano Concerto was given its premiere in Moscow on 10 November 1901 with Rachmaninov himself at the piano and has proved itself to be one of the most successful of its genre among Russian piano repertory. The introduction itself with its powerful sequence of chords rivets the audience's attention and makes each and every listener eager to hear what is yet to come. Katchen's interpretation is particularly impressive for its austere and powerful introduction, but the lyrical passages too - superabundant in this work - are filled with a delightful, dreamy lightness. Tchaikovsky's influence, a Russian soulfulness, and a certain melancholic yearning in the opulent melodies - all are brilliantly portrayed by the pianist. And he finds an ideal partner in the London Symphony Orchestra conducted by Sir Georg Solti. Solti proves yet again that he is a master of phrasing and interwoven part-writing; resolutely, with elegance and sharply pointed rhythm, he leads the soloist and orchestra to a brilliant finish.




    Recording: June 1958 at Kingsway Hall, London by Kenneth Wilkinson / Production: 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.

    Rachmaninov: Concerto No. 2 for Piano and Orchestra / Balakirev: "Islamey" - Julius Katchen, the London Symphony Orchestra conducted by Sir Georg So
    Sir Georg Solti
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mahler Symphony No. 1 Mahler Symphony No. 1 Quick View

    $34.99
    Buy Now
    x

    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
  • Schubert: Trout Quintet Schubert: Trout Quintet Quick View

    $24.99
    Buy Now
    x

    Schubert: Trout Quintet

    Sviatoslav Richter is universally acknowledged to be one of the greatest pianists of the 20th century, renowned for his virtuoso technique and the depth of his interpretations. Dmitri Shostakovich said about him: "Richter is an extraordinary phenomenon. The enormity of his talent staggers and enraptures. All the phenomena of musical art are accessible to him." He trained at the Moscow Conservatory under Heinrich Neuhaus, who considered Richter "already a complete artist, who had the ability to build a piece so that it seemed to lie before him like an immense landscape, revealed to the eye at a single glance.


    The Borodin Quartet was founded in 1945 at the Moscow Conservatoire - the first cellist a certain Mstislav Rostropovich was replaced after few weeks by Valentin Berlinsky - was also close to Shostakovich, who personally consulted them on each of his quartets. The Borodin Quartet, celebrated for penetrating phrase and warm sound, was Richter favorite chamber music partner.


    Georg Hörtnagel is a German double bassist who used to play with Bayerische Staatsoper during the Georg Solti era.


    About this Austrian live recording from June 1980 GRAMOPHONE said: "This is a performance of high quality. Sviatoslav Richter in particular precisely catches the cheerful mood of the music and the underlying shadows of which one should sometimes be conscious, and he plays those simple tunes in octaves so freshly that you'd think he'd only just discovered their charms."

    1. Piano Quintet in A Major, D. 667, Trout: I. Allegro vivace
    2. Piano Quintet in A Major, D. 667, Trout: II. Andante
    3. Piano Quintet in A Major, D. 667, Trout: III. Scherzo (Presto)
    4. Piano Quintet in A Major, D. 667, Trout: IV. Tema (Andantino)
    5. Piano Quintet in A Major, D. 667, Trout: V. Finale (Allegro giusto)
    Sviatoslav Richter
    $24.99
    Vinyl LP - Sealed Buy Now
  • Mahler - Symphony #2 (Speakers Corner) Mahler - Symphony #2 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Mahler - Symphony #2 (Speakers Corner)

    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
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Rossini Overtures Rossini Overtures Quick View

    $34.99
    Buy Now
    x

    Rossini Overtures

    Cut at Abbey Road Studios from the Original Stereo Analogue Master Tapes


    Sir Colin Davis conducts the Royal Philharmonic Orchestra for this audiophile recording of Overtures by Rossini.


    This is one of Sir Colin Davis's early recordings before his signed to Philips, made when he was establishing his name as a conductor and was Musical Director at Sadler's Wells Opera Company in London, having come to their notice by conducting successful performances of Don Giovanni at the Royal Festival Hall standing in for Klemperer when he fell ill and The Magic Flute at Glyndebourne standing in for Beecham when he was taken ill. Davis went on to be chief conductor of the BBC Symphony Orchestra in 1967 and in 1971 succeeded Sir Georg Solti as Music Director of the Royal Opera House, Covent Garden. He has since held posts with many international orchestras, including a ten year stint as chief conductor of the LSO in 1995. His repertoire is broad but he particularly associated with the music of Berlioz, Mozart and Sibelius.


    Recorded on April 22, June 18 and October 23, 1961 at No. 1 Studio, Abbey Road, London. Produced by the legendary Peter Andry and engineered by Edward Huntley.


    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.


    In the original August 1962 review of the stereo release W. A. Chislett of the GRAMOPHONE wrote:
    ...Old war horses as they may be Mr. Davis approaches them as new works with splendid effect...There is brilliance and bite too where called for and some truly Rossinian crescendos. The Royal Philharmonic Orchestra gives of its very best, particularly in the many beautifully shaped solos for the woodwind and there is a magnificent attack from the brass section. The recording engineers are also on their best behaviour. The range of dynamics is very wide, but even with the wick turned well up the fortissimi are rich and round. But above all else this fine record is distinguished for the freshness of approach displayed by the conductor... the...recording...is first-class on both sides.


    This title is not eligible for discount.

    Gioachino Rossini
    Overtures
    1. Guillaume Tell - Overture
    2. La Gazza ladra - The Thieving Magpie - Overture
    3. Semiramide - Overture
    4. Il Signor Bruschino - Overture
    5. L'Italiana in Algeri - The Italian Girl in Algiers - Overture
    Colin Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mahler - Symphony #1 (Speakers Corner) Mahler - Symphony #1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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
  • Nights In Vienna Nights In Vienna Quick View

    $34.99
    Buy Now
    x

    Nights In Vienna

    180 Gram Audiophile Vinyl Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios


    Rudolf Kempe has the true and significant gift of the truly great conductor. He is able and willing to lavish the same care and affection on good light music as on that of the supreme masters. So enthused W. A. Chislett on the 48 years old Kempe, who, by the time this recording of operatic overtures and waltzes was made, had gained a reputation as an opera conductor, having directed the Dresden Opera, the Vienna State Opera, the Bavarian State Opera (succeeding Solti) and conducted at Bayreuth. He was a favourite at Covent Garden but declined the director's job. Kempe was a conductor of international repute, with long associations with the Royal Philharmonic, Zurich Tonhalle and Munich Philharmonic, as well as his last, short-lived appointment as chief conductor of the BBC Symphony Orchestra. Kempe died on 12 May 1976 aged 65.


    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 180 gram vinyl to audiophile standards using the original EMI presses by The Vinyl Factory in Hayes, England. Featuring the original album artwork, this recording is not otherwise generally available in any format. It contains rarely heard or recorded pieces by Heuberger and Reznicek.


    In the original December 1958 review of the mono release W. A. Chislett of the GRAMOPHONE concluded: ... This is superb in every way, warm, intimate, beautifully phrased and poised and very finely recorded. How good in particular it is to hear Lehar's charming waltz given a full dress performance complete with prelude and postlude. ..and on the stereo release the following August, Chislett added: ...they all sound richer and warmer in the two-channel version.


    Recorded on 20-22 February 1958 at the Grosser Saal, Musikverein, Vienna. Produced by the legendary Victor Olof and engineered by Harold Davidson.


    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

    This recording is not otherwise generally available in any format


    Musicians:

    Rudolf Kempe, conductor

    Vienna Philharmonic Orchestra


    This title is not eligible for discount.

    1. Morning, Noon and Night in Vienna (Suppe)
    2. Overture Der Opernball (Heuberger)
    3. Overture Die Fledermaus (Johann Strauss II)
    4. Gold und Silber - Waltz (Lehar)
    5. Overture Donna Dianna (Reznicek)
    6. Spharenklange Waltz (Josef Strauss)
    7. Radetzky March (Johann Strauss I)
    Rudolf Kempe
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 1
Go to top