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Beethoven Concerto #5'
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.
- 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)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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
CHOPIN | LISZT Piano Concertos No. 1
London Symphony Orchestra
TCHAIKOVSKY Piano Concerto No. 1
BEETHOVEN Piano Concertos Nos. 2 & 3
Mahler Chamber Orchestra
MOZART Piano Concertos Nos. 20 & 25
RAVEL Piano Concerto in G | RAVEL Gaspard de la nuit
London Symphony Orchestra$109.99Vinyl LP Box Set - 6 LPs Sealed Buy Now
Beethoven: Violin Concerto In D, Op. 61/ Kogan
Full Analog Mono Production
Recorded June 29 and 30, 1957, originally by EMI Music France. Leonid Borisovich Kogan was born on Nov. 14, 1924, in the Ukraine. His father played the violin as an amateur and the sound so fascinated the boy that by age 3 he would not go to sleep unless he had the fiddle beside him. After age 5 he began taking lessons on the instrument. He made his first public appearance playing, at age 10. His official concert debut came playing the Brahams Concerto with the Moscow Philharmonic in 1941. For the celebrated violinist, his interpretation of the Beethoven Concerto was one of the glories of his era; none of his contemporaries played it with such consistent stylistic command or such intellectual and spiritual penetration.1. Violin Concerto in D, Op.61
2. I Allegro ma non troppo
3. II Larghetto
4, III Rondo (Allegro)$34.99180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now