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Beethoven Piano Concerto

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

    $34.99
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    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: Emperor; Concerto No. 5 (Speakers Corner) Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
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    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
  • Mozart: Piano Concerto No.25 & No.20 Mozart: Piano Concerto No.25 & No.20 Quick View

    $25.99
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    Mozart: Piano Concerto No.25 & No.20

    The first new release for ten years from Martha Argerich and Claudio Abbado is their first ever album of concertos by Mozart. The legendary pianist and conductor add the sublime music of Mozart to their unrivalled, multi award-winning DG discography of concertos by Tchaikovsky, Chopin, Ravel, Prokofiev, Beethoven and Liszt.


    Both concertos were recorded with Claudio Abbado's Orchestra Mozart, at concert performances at the 2013 Lucerne Festival that had critics searching
    for new superlatives. The album contrasts two very different works. Written in D minor, the key of the Queen Of the Night and the opening of Mozart's Requiem, the darkly dramatic No.20, K.466 has a stormy, operatic temperament that looks forward eighteen months to the premiere of Don Giovanni.


    With its majestic and radiant opening and a march famously reminiscent of the Marseillaise, No.25 in C major, K.503 is the culmination of the twelve transcendent concertos Mozart wrote in Vienna between 1784 and 1786. This release is Martha Argerich's first recording of solo concertos by Mozart on Deutsche Grammophon.

    1. Allegro maestoso [Live]
    2. Andante [Live]
    3. Allegretto [Live]
    4. Allegro [Live]
    5. Romance [Live]
    6. Rondo (Allegro assai) [Live]
    Martha Argerich / Claudio Abbado / Orchestra Mozart
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Triple Concerto in C Beethoven: Triple Concerto in C Quick View

    $44.99
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    Beethoven: Triple Concerto in C

    Ferenc Fricsay conducts the Berlin Radio Symphony Orchestra and pianist Geza Anda, violinist Wolfgang Schneiderhan and cellist Pierre Fournier on a performance of Beethoven's Triple Concerto in C major, Op 56. 180g vinyl pressing from Clearaudio.


    The widespread interest both in the technical capabilities of solo instruments and in the symphony, whose formal outlines became established toward the end of the 18th century, accounts for the popularity at that time of "concertante symphonies" in which several solo instruments (strings, wind) combined to oppose the orchestra. Despite the popularity, Beethoven was correct when he wrote about his Triple Concerto "that a concertante with these three solo parts is something new."


    The novelty lay in the usage of this connection with the piano. The difference between the piano's method of tone production and that of the other instruments alongside the piano's "mechanics" resulted in tonal problems. These problems arose both within the solo trio and in its relationship to the orchestra. Beethoven, who was interested throughout his whole career in experiments to extend the scope of instrumental music, here combined the styles of chamber music and of concertante symphonic writing to great effect.


    Musicians:

    Beethoven (composer)

    Ferenc Fricsay (conductor)

    Berlin Radio Symphony Orchestra Geza Anda (piano)

    Wolfgang Schneiderhan (violin)

    Pierre Fournier (cello)

    1. Allegro
    2. Largo (attacca)

    3. Rondo alla polacca
    Ferenc Fricsay
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Triple Concerto (Speakers Corner) Beethoven: Triple Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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
  • Tchaikovsky: Klavierkonzert Tchaikovsky: Klavierkonzert Quick View

    $44.99
    Buy Now
    x

    Tchaikovsky: Klavierkonzert

    A win at the International Chopin Piano Competition in 1965, at age 24, officially put Martha Argerich on the musical map. An exciting and mercurial artist, Argerich has recorded extensively throughout a career that has encompassed works by Bach through Beethoven, Schumann, Liszt, Debussy, Ravel and Bartók among others.



    Here, the multiple Grammy-winner and 2012 Gramophone Hall of Fame inducted Argentinian pianist performs Tchaikovsky's Concerto No. 1 In B Flat Minor For Piano & Orchestra, Op. 23 with accompaniment from the Royal Philharmonic Orchestra as conducted by Charles Dutoit. "The very fine sound of the horns right at the start augurs well and the wonderful weight and quality of Martha Argerich's opening if chords suggest that at any rate one need have no worries about the quality of this recording...The present record is really superb. So is Argerich, giving a performance of great range and of much subtlety...Praise must go, too, to the conductor, Dutoit who accompanies excellently and with notably good phrasing." - Gramophone/1971


    Musicians:


    Chaikovsky (composer)

    Charles Dutoit (conductor)

    Martha Argerich (piano)

    Royal Philharmonic Orchestra


    1. 1st Movement: Allegro Non Troppo E Molto Meastoso - Allegro Con Spirito
    2. 2nd Movement: Andantino Semplice - Prestissimo
    3. 3rd Movement: Allegro Con Fuoco
    Martha Argerich
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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