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  • Beethoven: 9 Symphonies (Box Set) Beethoven: 9 Symphonies (Box Set) Quick View

    $179.99
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    Beethoven: 9 Symphonies (Box Set)

    7x 180 Gram Vinyl Box Set


    Newly Remastered At Half-Speed Affording A Greater Fidelity Of Higher Frequencies And An Epic Improvement In Sound Quality


    Newly-Cut Lacquers From Emil Berliner Studios From The Original Analog Tapes


    Lift-off Lid Box With Adapted Original Cover Of The Original 1980 Release


    Leonard Bernstein's legendary Beethoven Symphony cycle with the Vienna Philharmonic, from 1977-1979. Newly
    remastered at half-speed affording a greater fidelity of higher frequencies and an epic improvement in sound
    quality. Newly-cut lacquers from Emil Berliner Studios from the original analog tapes, 180-gram vinyl in a numbered
    edition, lift-off lid box with adapted original cover of the original 1980 release. 2018 is the 100th Anniversary of
    Leonard Bernstein's birth.

    Leonard Bernstein
    $179.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 7 LPs Sealed Buy Now
  • Beethoven: Symphony No. 9 Beethoven: Symphony No. 9 Quick View

    $29.99
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    Beethoven: Symphony No. 9

    " undoubtedly a great performance: the power of this interpretation is so compelling, its beauty so moving, and the solo quartet is, I imagine, as good as you could find " - Gramophone

    A historic version of one of the most famous classical works ever, recorded at the occasion of the re-opening of the Bayreuth Festspielhaus in 1951.

    LP 1
    1. Symphony No. 9 in D Minor, Op. 125 'Choral': I. Allegro ma non troppo, un poco maestoso
    2. Symphony No. 9 in D Minor, Op. 125 'Choral': II. Molto vivace - Presto - Molto vivace - Presto


    LP 2
    1. Symphony No. 9 in D Minor, Op.125 'Choral': III. Adagio molto e cantabile - Andante moderato
    2. Symphony No. 9 in D Minor, Op. 125 'Choral': IV. Presto - Allegro ma non troppo - Allegro assai

    Wilhelm Furtwangler
    $29.99
    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
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    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
  • Beethoven: Triple Concerto (Speakers Corner) Beethoven: Triple Concerto (Speakers Corner) Quick View

    $34.99
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    Beethoven: Triple Concerto (Speakers Corner)

    Why does the piano part seem comparatively simple in contrast to the violin and cello parts, which make the highest demands on the instrumentalists? And why on earth do three musicians play in concert with an orchestra? As interesting as these questions are with regard to Beethoven's cryptic Triple Concerto, there is a multitude of ways to approach this exceptional work by the great symphonist. In the gallantry of the expression, and keeping in mind the demand for playable parts for his invited circle of musical connoisseurs, Beethoven developed his very own concertante tonal language. This language is brought to life by Rudolf Serkin (piano), Jaime Laredo (violin) and Leslie Parnas (cello) in that they enter continually newly arranged dialogues and thereby offer the listener a warm palette of colours and melodies.



    The orchestral antagonists - the Marlboro Festival Orchestra - weaves a chamber music-like, delicate and wonderfully transparent carpet of sound, upon which Beethoven's characteristic woodwind instruments are bedded like roses. Thanks to these attributes, this recording appears to take place in the luminous glow of a private house and thus conveys a charming yet stimulating atmosphere.



    Musicians:



    • Rudolf Serkin (piano)

    • Jaime Laredo (vocals)

    • Leslie Parnas (cello)

    • and the Marlboro Festival Orchestra concucted by Alexander Schneider




    Recording: May 1962 at Columbia 30th Street Studio, New York, by Ed Michalski and John Johnson

    Production: Thomas Frost



    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
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wiener Philharmoniker - 175th Anniversary Edition (Box Set) Wiener Philharmoniker - 175th Anniversary Edition (Box Set) Quick View

    $139.99
    Buy Now
    x

    Wiener Philharmoniker - 175th Anniversary Edition (Box Set)

    Celebrating the Wiener Philharmoniker's 175th anniversary with a special vinyl release: A limited, numbered edition
    of 1842 sets. Includes the first release of Bruckner's Symphony No. 2 with Riccardo Muti. Schumann's Symphony
    No. 3 and Cello Concerto conducted by Leonard Bernstein. Includes three other legendary recordings: Carlos
    Kleiber's Beethoven's 7th Symphony; Claudio Abbado's Brahms' Hungarian Dances; Herbert von Karajan
    conducting Wagner Orchestral Works and Liebestod.
    Wiener Philharmoniker
    $139.99
    Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • Beethoven: Symphony No. 9 (Speakers Corner) (Awaiting Repress) Beethoven: Symphony No. 9 (Speakers Corner) (Awaiting Repress) Quick View

    $69.99
    Buy Now
    x

    Beethoven: Symphony No. 9 (Speakers Corner) (Awaiting Repress)

    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.


    and that the lacquer discs are newly cut.


    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Beethoven: Symphony No.5 In C Minor, Op.67 Beethoven: Symphony No.5 In C Minor, Op.67 Quick View

    $25.99
    Buy Now
    x

    Beethoven: Symphony No.5 In C Minor, Op.67

    One of four legendary LP albums that represent Carlos Kleiber's entire orchestral output for Deutsche
    Grammophon, now available individually. These LPs were expertly produced from the recent 24-bit remastered
    recordings, which are as faithful to the original analogue sources as possible. Manufactured on 180-gram vinyl, each record comes with its original LP front and back covers.
    1. Allegro con briobr
    2. Andante con moto
    3. Allegro
    4. Allegro
    Carlos Kleiber
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 3 (Eroica) (Speakers Corner) Beethoven: Symphony No. 3 (Eroica) (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Symphony No. 3 (Eroica) (Speakers Corner)

    Recordings of classical repertoire in the Fifties and Sixties were made during a time of technical development, which is hardly given a thought in our day with its global digitization and mass reproduction. To appreciate the improvement offered by analogue recording technology as opposed to a high-quality mono reproduction, one can do no better than listen to the present rendition of Beethoven's Symphony No. 3. Bruno Walter and his handpicked Columbia Symphony Orchestra present this major orchestral work with its heroic, revolutionary character as a grand symphonic undertaking. Thanks to the new studio technology, Beethoven's 'new path', and his daring experiment with musical form and content is revealed with previously unheard of depth and amplitude. Just how prudently Walter approaches the score is shown again and again in the highly detailed reconstruction and finely chiseled rendition of passages for small ensembles. Instead of depending upon brusque contrasts of the elements, Walter's conducting concentrates on exposing the wealth of differing styles and tonality in the score. This strategy of balancing out the contrasts blazed a trail for today's unremitting search for the much-heralded original sound.

    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:

    • Ludwig van Beethoven (composer)
    • The Columbia Symphony Orchestra conducted by Bruno Walter

    Recording: January 1958 at Legion Hall, Hollywood (CA)

    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.

    Symphony No. 3 In E-Flat Major, Op. 55 ("Eroica")
    1. Allegro Con Brio
    2. Funeral March (Adagio Assai)
    3. Scherzo (Allegro Vivace) - Trio
    4. Finale (Allegro Molto - Poco Andante)
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Emperor; Concerto No. 5 (Speakers Corner)

    The Concerto No. 5 in E flat major for Piano and Orchestra, composed in 1809 at the time of Napoleon's siege and occupation of Vienna, was Ludwig van Beethoven's last work in this form. The heroic optimism at the heart of the Concerto finds expression in the majesty of its design and the innovative virtuosity of the solo part. The dialect between piano and orchestra creates an electric atmosphere of brooding depth and sweeping grandeur. Beethoven's choice of key, the E-flat major, was not arbitrary but gave voice rather to the wild pathos in his own soul.



    Clifford Curzon's interpretation of the score is intelligent and refined, his execution characterized by introspective discipline.



    The exemplary interplay between Curzon and Hans Knappertsbusch evokes the chiaroscuro latent in each of the Emperor's three movements. The Vienna Symphony Orchestra displays its customary brilliance throughout.



    This DECCA recording, one of the very earliest in stereo, is convincing both musically and tonally. More than a document, it is a milestone in musical history.





    Musicians:



    • Sir Clifford Curzon

    • Vienna Philharmonic Orchestra

    • Hans Knappertsbusch (conductor)




    Recording: June 1957, Sofiensaal, Vienna by Gordon Parry

    Production: Erik 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.


    and that the lacquer discs are newly cut.


    1. First Movement - Allegro
    2. Second Movement: Adagio Un Poco Mosso
    3. Third Movement: Rondo (Allegro)
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Violin Sonata Op. 96 & Op. 25 Beethoven: Violin Sonata Op. 96 & Op. 25 Quick View

    $34.99
    Buy Now
    x

    Beethoven: Violin Sonata Op. 96 & Op. 25

    200-Gram Vinyl Plated And Pressed At Quality Record Pressings


    Mastered By Kevin Gray At Cohearent Audio


    Stereophile's Recording of the Month For February 1984


    Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about. - Stereophile, February 1984


    David Abel, violin, Julie Steinberg, piano. This composition occupies a special place among Beethoven's creations because it shows a unique quality: there is an Olympian elegance, a profound gentleness that pervades the entire work. Nowhere does Beethoven the earth shaker appear. Even the scherzo movement does not disturb this sustained thoughtfulness.


    Violin and piano begin trading short thematic statements in quick exchange from the first notes of the first movement. Parallel arpeggios create a growing intensity. The middle section of the movement is characterized by abrupt modulations and an increased pace of exchanges. A striking procedure is the use of a seemingly interminable trill, nearly heartstopping in its intensity.


    The second movement, Adagio expressivo, one of Beethoven's floating Adagios, is based on the compulsion of a slow intense bass movement. The serenity of this movement is not disturbed by elaborate decoration from both instruments. And this stillness is further emphasized by a fourteen measure repeating pedal point (nearly one fifth of the movement) which closes it. The Scherzo sustains the serious character of the entire work. The last movement begins not only with a quick alternation of themes between the violin and piano, but a soft and loud alternation, as well, which adds to the feeling of growing intensity. An interrupted rondo is the plan, but the interruptions are of a major kind: another sensuous adagio and a daring fugato lead to a presto outburst concluding the movement.


    David Wilson had already recorded piano by the time he began working with world-class musicians Steinberg and Abel in the Mills College Concert Hall in Oakland, California, though it was the first time he recorded a violin. Experimenting with different microphone positions in an attempt to capture what he calls the delicious geometry of sound emanating from Abel's Guarneri and Steinberg's Hamburg Steinway D, he ended up hanging his Schoeps CMC-36 microphones from a ladder high above the instruments. Of the results, he says, I'd put the recording up against any chamber music recording. It has to be my favorite.


    Reached at their home in Oakland, Steinberg and Abel, whose trio with percussionist William Winant has commissioned music from the likes of John Harbison, Lou Harrison, Paul Dresher, Somei Satoh, and Gordon Mumma (for starters), reminisced about their time with Wilson.


    The session was free of the time pressure and tension that can really get in the way of the final outcome, says Abel. If we wanted to stop for a bite, or go outside to rest for a while, that was not a problem... Dave kept open to what was happening in the moment, as in a concert. He understood about not making a 'perfect' recording, and instead left the small imperfections... that make the final result sound human and real. One could not ask for better.


    This title is not eligible for discount.

    1. Violin Sonata No.10 in G Major, Op. 96 - I. Allegro moderato play
    2. Violin Sonata No.10 in G Major, Op. 96 - II. Adagio espressivo play
    3. Violin Sonata No.10 in G Major, Op. 96 - III. Scherzo Allegro play
    4. Violin Sonata No.10 in G Major, Op. 96 - IV. Poco allegretto play
    5. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - I. Moderato malinconico play
    6. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - II. Andante sostenuto e misterioso play
    7. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - III. Allegro con brio, ma non troppo mosso
    David Abel & Julie Steinberg
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner)

    The performance history of Beethoven's Piano Concertos is, it appears, bound up with a paradoxical situation. On the one hand, every great pianist must almost feel destined to perform these works at least once in his lifetime. But on the other hand, so many heroes of the schellac era have left future generations their excellent recordings that these are filled with awe and respect, their otherwise nimble fingers become lame - and often only a mediocre recording is the result.



    The present recording, a milestone among the multitude of televised recordings made in they heyday of analogue recording technique, is highly impressive for its depth of musical focus, even without any visual support. Benedetti Michelangeli's performance is a far cry from sugar-sweet pedaling and showy virtuosity, rather he displays a highly individual understanding of the intricately constructed musical material. Each phrase blossoms out to become a unique event in time composed. The soloist and the excellent orchestra here give a performance which sums up all Beethoven's famous compositions and in which the pianist's amazing sensitivity penetrates even the smallest detail.



    Musicians:



    • Arturo Benedetti Michelangeli (piano)
    • The Vienna Symphonic Orchestra

    • Carlo Maria Giulini (conductor)



    Recording: September 1979 at Musikverein, Grosser Saal, Vienna by Klaus Hiemann

    Production: Cord Garben



    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.


    and that the lacquer discs are newly cut.


    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: String Quartet No.7 I n F, Op.59 No.1 - 'Rasumovsky No.1'; Beethoven: String Quartet No.7 I n F, Op.59 No.1 - 'Rasumovsky No.1'; Quick View

    $34.99
    Buy Now
    x

    Beethoven: String Quartet No.7 I n F, Op.59 No.1 - 'Rasumovsky No.1';

    Beethoven: String Quartet No.7 In F, Op.59 No.1 - Rasumovsky No.1; String Quartet No.8 In E Minor, Op.59 No.2 -Rasumovsky No. 2; String Quartet In C, Op.59 No.3 - Rasumovsky No. 3


    Celebrating the Amadeus Quartet's 70th anniversary, Deutsche Grammophon presents Beethoven's Razumovsky
    Quartets in their 1959 recording on vinyl. Gatefold features the original cover and liner notes. 180g pressing,
    mastered from original sources; incl. voucher for a free digital download. For those who relish the sound of
    interpretations considered to the last detail, yet with no loss of spontaneity and with all eccentricity and willfulness
    purged, these records must be heard. (New York Times)

    LP 1
    1. Beethoven: String Quartet No.7 In F, Op.59 No.1 - Rasumovsky No.1 / String Quartet No.8 In E Minor, Op.59
    No.2 -Rasumovsky No. 2


    LP 2
    1.Beethoven: String Quartet No.8 In E Minor, Op.59 No.2 -Rasumovsky No. 2; String Quartet In C, Op.59 No.3 -
    Rasumovsky No. 3

    Amadeus Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Symphonies Nos. 4 & 5 (Speakers Corner)

    Schoenberg, Zemlinsky, Korngold - Bruno Walter knew them all: musicians who sought refuge from the henchmen of the Nazi Party in the New World and found artistic fulfilment there. And they all knew him and his meteoric rise to success at all the great houses in Europe. Formed by working with Gustav Mahler in Hamburg, under whose wing he rose from rÉpÉtiteur to Chorus Director and then to Kapellmeister, Walter took on further posts as Chief Conductor in Vienna, Munich and Leipzig where the talented artist matured to become a true maestro.


    Just when the aged Walter was wanting to retire into private life, Columbia motivated him to record several symphonic works - including Beethoven's Symphonies - at a time when stereo recording, with its previously undreamt technical possibilities, was just dawning. Even without any knowledge of the still existent recordings of the rehearsals of the Fourth and Fifth Symphonies, the final recording reflects the lifelong experience and meticulousness of the great conductor. In a taut and relaxed manner, and certainly not mellowed with age, Walter brings the scores to glow. The players weave a web that holds the formal symphonic components together with sophistication and richly contrasted, whereby the conductor's love for tonal detail manifests itself in easily identifiable instruments.


    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:



    • Ludwig van Beethoven (composer)
    • The Columbia Symphony Orchestra conducted by Bruno Walter

    Recording: January and February 1958 at American Legion Hall, Hollywood, USA


    Production: John McClure


    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.

    Symphony No. 4 In B-flat Major, Op. 60
    1. Adagio; Allegro Vivace
    3. Adagio
    3. Allegro Vivace. Trio. Un Poco Meno Allegro
    4. Finale: Allegro Ma Non Troppo
    Symphony No. 5 In C Minor, Op. 67
    5. Allegro Con Brio
    6. Andante Con Moto
    7. Scherzo (Allegro Vivace)

    8. Finale: Allegro
    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Perlman Sound The Perlman Sound Quick View

    $23.99
    Buy Now
    x

    The Perlman Sound

    No one could deny that Itzhak Perlman holds a special place in the world of music - and no one could define it more eloquently than his old friend and colleague, the pianist and conductor Daniel Barenboim: It is quite impossible to imagine today's violin heritage without the absolute musical genius of Perlman. The most obvious manifestation of that genius is the famous Perlman Sound - lustrous, warm and generous, its impact compounded by often astounding virtuosity; and yet Perlman makes it all look so easy. In fact, he communicates a positive joy in his playing.


    Perlman Sound is released as a primer for the deluxe 59-album boxed set Itzhak Perlman: the Complete Warner Recordings, and may be a good option for fans who don't have enough shelf space for this expansive edition. This collection explores his artistry from the finest concerto highlights (Mendelssohn, Brahms, Beethoven, Tchaikovsky, Korngold, Sibelius, The Four Seasons), to virtuoso solo and chamber repertoire (Paganini Caprice No.24, Bach Partita No.3, the MÉditation from Thaïs, Flight of the Bumblebee, Zapateado) and klezmer and jazz selections. The duo partners and conductors are some of the 20th century's biggest classical stars, many of whom count among Perlman's dearest friends and collaborators.

    1. Thais: Meditation
    2. Vocalise, Op. 34, No. 14
    3. Zigeunerweisen, Op. 20
    4. Meditation, Op. 32
    5. Russian Fantasy (arr. Kreisler)
    6. Souvenir d'un lieu cher, Op. 42: No. 2 Scherzo in C Minor (Arr. Glazunov)
    7. Legende, Op 17
    8. The Old Refrain (arr. Kreisler)
    9. Schon Rosmarin
    Itzhak Perlman
    $23.99
    Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale Quick View

    $34.99
    Buy Now
    x

    Beethoven: Symphony No. 6 in F Major, Op. 68 Pastorale


    The Famed Recording Returns In A Premier Vinyl Reissue From Analogue Productions!


    Mastered From The Original Tapes By Ryan Smith At Sterling Sound


    Plated And Pressed At Quality Record Pressings On 200-gram Vinyl!


    Deluxe Old-style Tip-on Gatefold Jacket With Additional Photos From The Sony Music Archives!


    Bruno Walter helped shape the very essence of interpretive style among conductors. Walter's rendition of Beethoven's sixth symphony is perhaps the greatest ever recorded - his reading of the score comes off sounding like a piece of literature or poetry, but that is a great thing and perfectly blends with the music to create a benchmark recording.


    And here, once again, Analogue Productions has taken a classic and shaped it to make the premier reissue of this famed LP. Ryan Smith at Sterling Sound mastered this album from the original analog tapes. The cut lacquers were plated and pressed to 200-gram vinyl by our own Quality Record Pressings. The Stoughton Printing old-style tip-on gatefold jacket has been upgraded handsomely by a series of rarely-seen photos of Walter from the Sony Music Archives. Everything about this reissue radiates quality.


    Written in 1808, Beethoven's Symphony No. 6 in F Major (Pastoral), Op. 68, is deemed one of the most influential by the famed composer. Unlike the vast majority of assumed names by which his works have become known, Beethoven directed from the very outset that his sixth symphony be titled Pastoral Symphony, or a recollection of country life. It was a musical approach to the forces of nature that inspired Beethoven.


    Walter's late life was marked by stereo recordings with the Columbia Symphony Orchestra, an ensemble of professional musicians assembled by Columbia Records for recordings.


    Originally released in 1958, this recording still sounds fresh, with a broad soundstage, persuasive depth, and a remarkable sense of air and presence. Simply because of Walter's vibrant, fluid interpretation, taking into account both variable tempi and heightened accents, the result is one of the most passionate, awe-inspiring recorded versions of this symphony that's ever been recorded.


    This title is not eligible for discount.

    1. I. Allegro ma non troppo (The awakening of joyful feelings upon arrival in the country)
    2. II. Andante molto moto (The Brook)
    3. III. Allegro (Village Festival)
    4. IV. Allegro (The Storm)
    5. V. Allegretto (Shepherd's Song)
    Bruno Walter
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Sonaten Op. 109, 110 Beethoven: Sonaten Op. 109, 110 Quick View

    $22.99
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    x

    Beethoven: Sonaten Op. 109, 110

    Maurizio Pollini: Beethoven: Sonaten Op. 109, 110
    1. Klaviersonate Nr.30 E-Dur Op.109
    2. Klaviersonate Nr.31 As-Dur Op.110
    Maurizio Pollini
    $22.99
    Vinyl LP - Sealed Buy Now
  • The Complete Concerto Recordings (Box-Set) The Complete Concerto Recordings (Box-Set) Quick View

    $109.99
    Buy Now
    x

    The Complete Concerto Recordings (Box-Set)

    With this special LP limited edition box set, Deutsche Grammophon pays tribute to an extraordinary musical
    partnership. The 6LP set collects all the concerto recordings made by pianist Martha Argerich with conductor
    Claudio Abbado over more than 45 years, covering works by Beethoven, Chopin, Prokofiev, Tchaikovsky and many others. "Between them Argerich and Abbado generate a heady world of romance and electricity," BBC Music Magazine 2014.
    LP1
    PROKOFIEV Piano Concerto No. 3 | RAVEL Piano Concerto in G
    Berliner Philharmoniker


    LP2

    CHOPIN | LISZT Piano Concertos No. 1

    London Symphony Orchestra


    LP3
    TCHAIKOVSKY Piano Concerto No. 1
    Berliner Philharmoniker


    LP4
    BEETHOVEN Piano Concertos Nos. 2 & 3
    Mahler Chamber Orchestra


    LP5
    MOZART Piano Concertos Nos. 20 & 25
    Orchestra Mozart


    LP6
    RAVEL Piano Concerto in G | RAVEL Gaspard de la nuit
    London Symphony Orchestra

    Martha Argerich and Claudio Abbado
    $109.99
    Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • Berlioz: Symphonie Fantastique (Speakers Corner) Berlioz: Symphonie Fantastique (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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
  • Beethoven: Symphony No. 5 Beethoven: Symphony No. 5 Quick View

    $21.99
    Buy Now
    x

    Beethoven: Symphony No. 5

    Beethoven was Wilhelm FurtwÄngler's guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum - and a constant sense of imaginative freshness - through the interrelationship of form, harmony, texture, rhythm and tempo. No work appeared more frequently in FurtwÄngler's concert programmes than Beethoven's Fifth. Between 1918 and his death in 1954, he conducted more than a hundred performances, including a superbly realized 1937 HMV studio recording with the Berlin Philharmonic and this formidable studio remake with the Vienna Philharmonic, further proof of his astonishing ability to penetrate a work to its core yet preserve it as a living entity.
    1. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): I. Allegro con brio
    2. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): II. Andante con moto
    3. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): III. Allegro -
    4. Symphony No. 5 in C minor Op. 67 (2010 Remastered Version): IV. Allegro - Presto
    Wilhelm Furtwangler
    $21.99
    Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No.7 In A, Op.92 (Awaiting Repress) Beethoven: Symphony No.7 In A, Op.92 (Awaiting Repress) Quick View

    $25.99
    Buy Now
    x

    Beethoven: Symphony No.7 In A, Op.92 (Awaiting Repress)

    One of four legendary LP albums that represent Carlos Kleiber's entire orchestral output for Deutsche
    Grammophon, now available individually. These LPs were expertly produced from the recent 24-bit remastered
    recordings, which are as faithful to the original analogue sources as possible. Manufactured on 180-gram vinyl, each record comes with its original LP front and back covers.
    1. Poco sostenuto - Vivace
    2. Allegretto
    3. Presto - Assai meno presto
    4. Allegro con brio
    Carlos Kleiber
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Bach Keyboard Concertos (Speakers Corner) (Awaiting Repress) The Bach Keyboard Concertos (Speakers Corner) (Awaiting Repress) Quick View

    $95.99
    Buy Now
    x

    The Bach Keyboard Concertos (Speakers Corner) (Awaiting Repress)

    The attempts that have been made to describe Glenn Gould's complex personality are endless in number, as are his surprising and often eccentric interpretations. Whether he is considered to be a sensitive maniac, neurotic individualist or uncompromising genius - Gould polarises, provokes and fascinates us long after his death in 1982. As early as 1964 the Canadian pianist ceased to give concerts, since he found appearing before an audience completely unacceptable and preferred to concentrate on studio recordings.



    Way in front of composers of the Viennese Classical era, which he did not take particularly seriously - although his performances keenly reflect Beethoven's rhythmicity - comes his personal deity: Bach. Gould's notorious strictness gives form to the minutest of figure in the score. He weaves his way through Bach's music and thereby articulates its tightly knit and multi-facetted depths. No lecturing keyboard proponent this, but a creative co-composer who imbues the spirit of the music with life and sonority. Upon the release in 1980 of the 80th Birthday Edition with its wealth of visual and tonal material, the music journalist Werner Theurich wrote that »no one had ever played more raptly, or more intensively. That Gould's performances are nothing but heavenly can be seen and felt. The rest is pure music.«




    Recording: April 1957, May 1967 and February 1969 at Columbia 30th Street Studio, New York City, by Fred Plaut

    Production: Andrew Kazdin




    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.

    The Bach Keyboard Concertos J. S. Bach: Keyboard Concertos Nos. 1-5 and 7
    L. v. Beethoven: Piano Concerto No. 1 - Glenn Gould, the Columbia Symphony Orchestra conducted by Vladimir Golschmann and Leonard Bernstein
    Glenn Gould
    $95.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 3 LPs Sealed AWAITING REPRESS Buy Now
  • Beethoven: Sonatas For Piano and Cello (Speakers Corner) (Awaiting Repress) Beethoven: Sonatas For Piano and Cello (Speakers Corner) (Awaiting Repress) Quick View

    $69.99
    Buy Now
    x

    Beethoven: Sonatas For Piano and Cello (Speakers Corner) (Awaiting Repress)

    Possessing a complete recording of Beethoven's Cello Sonatas gives far more satisfaction than merely having the set to fill the shelves. On the one hand it offers one the opportunity to compare Beethoven's art of composition at various stages in his life. And on the other hand one can already recognise in the early Opus 5 how he breaks with the traditional sonata in which the solo instrument merely provides an accompaniment and treats the two instruments as equal partners in the creation of the movements.



    Richter and Rostropovich devote themselves to their task with verve and freshness. The two early works are marked by the rich and full sound of the cello and an elegantly performed piano part, while the two Russian musicians foster a contemplative, introverted style in the A major Sonata. This respectful approach also lends itself well to the C major Sonata where the free, fantasia-like character with wide-ranging shading is shown off to advantage. Beethoven's break with the traditional sonata-form layout is carried to extremes in the D major Sonata, where the cello ignores the powerful theme on the piano in the first movement. The work's brittleness is effectively revealed by the two musicians in the transition from the sensitive Adagio to the austere, freely worked final Fugato, while their resolute and analytical approach to the work and technical prowess on their instruments is highly rewarding.



    Musicians:



    • Mstislav Rostropovich (cello)

    • Sviatoslav Richter (piano)



    Recording: June 1962 at RosenhÜgel Studios, Vienna, and July 1961 at Walthamstow Assembly Hall, London, by C.R. Fine

    Production: 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. Sonata for Cello & Piano No. 1 in F, Op. 5 No. 1

    2. Sonata for Cello & Piano No. 2 in G minor, Op. 5 No.2
    3. Sonata for Cello & Piano No. 3 in A, op. 69
    4. Sonata for Cello & Piano No. 4 in C, op. 102 No. 1
    5. Sonata for Cello & Piano No. 5 in D, op. 102 No. 2
    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Brahms - Sonata for Cello and Piano (Speakers Corner) (Awaiting Repress) Brahms - Sonata for Cello and Piano (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Brahms - Sonata for Cello and Piano (Speakers Corner) (Awaiting Repress)

    The original pressing just doesn't hold a candle to this re-issue! Lovingly re-mastered from the original Mercury Living Presence analog tapes, Speakers Corner has done an astounding job on this album. Hear Starkers bold and natural cello and Seboks piano reproduced with perfect clarity and tonality. The performances are exceptional; lively and heartfelt. The sound quality is purely first rate. Outstanding music, impeccably performed, and the sound quality is the best youll hear! It just doesnt get better than this!



    Brahms' Cello and Piano Sonatas could well be described as 'romantic expression dressed in classical garb,' filled as they are with the same musical philosophy that is to be found in many of his instrumental works. Although 21 years lay between the two compositions, Brahms remained true to the formal musical language of the Viennese masters, and this brought him and other composers of his time the reproach of imitating Beethoven.



    The unmistakable personal style of Brahms is reflected in the sweeping first movement which is in the manner of a serious song and calls for sensitive but by no means feeble bowing. Starker's wiry, austere playing keeps a check on any excessive emotion and instead brings the music to life in great detail.



    Musicians:



    • Janos Starker (cello)

    • Gyorgy Sebok (piano)




    Recording: June 1964 at Watford Town Hall, London, by C.R.Fine and Robert Eberenz

    Production: 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.



    and that the lacquer discs are newly cut.


    1. Sonata for Cello and Piano No. 1 in E minor, op. 38

    2. Allegro Non Troppo

    3. Allegretto Quasi Minuetto

    4. Allegro


    5. Sonata for Cello and Piano No. 2 in F major, op. 99

    6. Allegro Vivace

    7. Adagio Affetuoso

    8. Allegro Passionato

    9. Allegro Molto

    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Uncharted Uncharted Quick View

    $38.99
    Buy Now
    x

    Uncharted

    Import

    The Piano Guys have become a YouTube sensation with their clever and inspiring takes on popular music and creative videos that accompany them. From Beethoven to Adele, their eclectic mix of Classical, film score, Rock and Pop favorites resonate with audiences across generations and from all walks of life. Their 2012 debut album The Piano Guys [MOVCL020] reached No. 1 on the Billboard New Age Albums and Classical Albums charts.


    Several of the group's YouTube videos have over 20 million views. As of October 2016 The Piano Guys' YouTube channel had more than a billion total video views and over five million subscribers. In June 2011, The Piano Guys won the Most Up-and-Coming Channel award in the YouTube On the Rise contest with Michael Meets Mozart with Schmidt and Nelson.


    The latest album by the trio Uncharted includes the classical versions of Hello (AdÉle), The Jungle Book, Indiana Jones And The Arabian Night as well as the never heard before tracks Pirates Of The Caribbean, Holding On and Okay.

    1. Fight Song / Amazing Grace
    2. A Sky Full of Stars
    3. Hello / Lacrimosa
    4. Okay
    5. Themes from Pirates of the Caribbean
    6. Celloopa
    7. The Jungle Book / Sarabande
    8. Holding On
    9. Can't Stop the Feeling
    10. Tour de France
    11. Uncharted
    12. Indiana Jones and the Arabian Nights
    The Piano Guys
    $38.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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