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  • Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner) Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner) Quick View

    $34.99
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    Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner)

    The Cello Concerto op. 104 is the last orchestral piece Dvorák wrote during his stay in America. Unlike his Ninth Symphony which borrowed folkloric themes from the New World, the charming Cello Concerto reveals Dvorák's yearning for his Bohemian homeland.



    This piece demands masterly playing and interpretation from the soloist which is enhanced by a sumptuous sound in the strings and explosive brass. Dvorák reaches back to various musical passages from the first and second movements in the finale and so illustrates his style of composition in his later works.
    Yearning for the Old World must have motivated George Szell to briefly leave his adopted home, the USA, in order to set down this late-Romantic musical gem together with the master cellist Pierre Fournier and the Berlin Philharmonic.



    The artists were obviously inspired by this favourable constellation during the recording which sets the standards for artistic quality and perfection of sound technology. Indeed, this LP is among the most successful classical productions of the Sixties. Thirty years on, this recording is just as popular as it ever was.



    Recording: June 1961 at the Jesus-Christus-Kirche, Berlinby GÜnter Hermanns / Hans Weber





    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.

    Dvorák: Concerto for Violoncello and Orchestra
    Pierre Fournier and the Berlin Philharmonic Orchestra conducted by George Szell
    Georg Szell with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms: Piano Concerto No.1 In D Minor Brahms: Piano Concerto No.1 In D Minor Quick View

    $22.99
    Buy Now
    x

    Brahms: Piano Concerto No.1 In D Minor

    180 Gram Vinyl


    Newly presented on 180 gram heavyweight vinyl pressings, Decca are proud to present iconic albums 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. In this classic recording, pianist Clifford Curzon records Brahms' Piano Concerto no. 1 with George Szell leading the London Symphony.

    1. Maestoso - Poco più moderato
    2. Adagio
    3. Rondo (Allegro non troppo)
    Clifford Curzon
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Handel - Water Music - Fireworks Music (Speakers Corner) Handel - Water Music - Fireworks Music (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Handel - Water Music - Fireworks Music (Speakers Corner)

    Composed in the spirit of the Baroque, the Water Music and Royal Fireworks Music were written by the highly regarded George Frideric Handel on commissions from Kings George I and George II of England.



    The remarkable première of the Water Music - a suite of instrumental airs, fanfares, dances, and other delights - was played in 1717 by musicians in a barge who entertained the King and his entourage on a banquet held on board the royal barge which travelled up and down the river Thames. According to reports at the time, Handel's new work was greeted with unanimous acclaim.



    Music appeared equally fitting for the solemn but festive commemoration of a peace treaty. The Royal Fireworks Music - originally scored for brass, oboes and bassoons, plus timpani and the bizarre serpent horn - was composed in 1749 for the victory gala in London's Green Park celebrating the Peace of Aix-La-Chapelle.



    In both pieces Georg Szell and the London Symphony Orchestra conjure up the full splendour of baroque tonality. Orchestra and conductor are clearly in a festive mood. The strings show rare form, lush and radiant. The brass are brilliant but never shrill. The atmosphere is transparent, the spatial effects are impressive.



    For the outstanding quality of this recording we are indebted not least to its inspired recording engineer, Kenneth E. Wilkinson.






    Musicians:



    • London Symphony Orchestra

    • George Szell (conductor)




    Recording: August 1961 at Watford Town Hall, Watford by Kenneth E. 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.



    Georg Szell with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms - Piano Concerto 1 (45 RPM) Brahms - Piano Concerto 1 (45 RPM) Quick View

    $54.99
    Buy Now
    x

    Brahms - Piano Concerto 1 (45 RPM)

    This 1962 recording of Brahms's massive First Concerto was an instant classic when originally released. Pianist Clifford Curzon, Conductor George Szell and the London Symphony Orchestra unite for a Truly Stunning Performance! Clifford Curzon gets to the heart of the music, capturing the high drama of the symphonic opening movement, and his rapt concentration makes a profound effect in the Adagio, famous for his controversially slow tempo. Conductor George Szell is his equal here, conducting with passion and intensity. The way he screws up the tension in the orchestra's opening statement and then, through judicious rubato and a warming of the string tone, makes the second subject come alive is a mini-lesson in great conducting.


    This title is not eligible for discount.

    Johannes Brahms (1833-1897)
    Piano Concerto No. 1 in D minor, Op. 15
    LP1 - Side A:
    1. Maestoso
    LP1 - Side B:
    1. Maestoso (continued)


    LP2 - Side C:
    1. Adagio
    LP2 - Side D:
    1. Rondo: Allegro non troppo

    Johannes Brahms
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Strauss: Vier Letzte Lieder Strauss: Vier Letzte Lieder Quick View

    $22.99
    Buy Now
    x

    Strauss: Vier Letzte Lieder

    In 2015, we are celebrating the centenary of Elisabeth Schwarzkopf, one of the greatest singers of the 20th century. The sublime and moving culmination of Richard Strauss's love affair with the soprano voice, the Four Last Songs are interpreted by Schwarzkopf with insight, wisdom and gentle radiance. In the early years of his career George Szell was mentored by Richard Strauss himself, and he provides Schwarzkopf with an exquisitely sensitive orchestral context for all nine songs in this classic anthology.
    1. FrÜhling (Hesse) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    2. September (Hesse) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    3. Beim Schlafengehen (Hesse) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    4. Im Abendrot (Eichendorff) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    5. MuttertÄndelei, Op.43/2 (BÜrger) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    6. Waldseligkeit, Op.49/1 (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    7. Zueignung, Op.10/1 (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    8. Freundliche Vision, Op.48/1 (Bierbaum) (Elisabeth Schwarzkopf/London Symphony Orchestra/George Szell)
    9. Die heiligen drei Könige, Op.56/6 (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    Elisabeth Schwarzkopf
    $22.99
    Vinyl LP - Sealed Buy Now
  • Brahms - Piano Concerto 1 (Speakers Corner) Brahms - Piano Concerto 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Brahms - Piano Concerto 1 (Speakers Corner)

    Brahms originally intended his Piano Concerto No. 1 as a symphony and he extensively reworked his ideas before setting down the work in the form as we know it today. The composer's original intentions still shimmer through however, for the work goes far beyond mere concertante playing and a display of virtuoso brilliance by the soloist. The first movement in particular, with its relentless, threatening main theme, embodies Brahms's dramatic symphonic writing and even a conciliatory secondary theme offers no relief for it too must give way to the heavy, fateful initial theme.



    The passionate and grandiose opening movement is followed by an Adagio full of tranquillity and quiet devotion; the solemn atmosphere is taken to exalted heights by the soloist and orchestra only to fade out pianissimo.
    Although the forceful, belligerent Finale occasionally conjures up the dark powers of the first movement, the work ends in a confident and cheerful vein.
    It is amazing how the sheer presence of the emotions in this composition have been captured on the present DECCA recording from 1962. This is not only true of the gripping interpretation but also of the recording itself which remains transparent and brilliant throughout.



    Musicians:



    • Sir Clifford Curzon (piano)

    • London Symphony Orchestra

    • George Szell (conductor)




    Recording: May/ June 1962 at Kingsway Hall, London by Kenneth E. 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.



    1. Brahms: Piano Concerto No. 1 in D minor Op. 15

    2. Maestoso

    3. Adagio

    4. Rondo: Allegro non troppo

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