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  • Debussy: La Mer, L.109; PrÉlude à l'après-midi d'un faune, L.86 / Ravel: Dapnis & ChloÉ, M.57b Debussy: La Mer, L.109; PrÉlude à l'après-midi d'un faune, L.86 / Ravel: Dapnis & ChloÉ, M.57b Quick View

    $21.99
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    Debussy: La Mer, L.109; PrÉlude à l'après-midi d'un faune, L.86 / Ravel: Dapnis & ChloÉ, M.57b

    Deemed "one of the maestro's finest achievements on record" (Penguin Guide, 1994), Herbert von Karajan and the Berlin Philharmonic's recording of Debussy's La Mer and Prelude à L'Après-midi d'un faune and Ravel's Daphnis et ChloÉ No. 2 is newly presented on 180g heavyweight vinyl, pressed at OPTIMAL.
    Claude Debussy - La Mer, L.109
    1. From Dawn Till Noon On The Sea
    2. Play Of The Waves
    3. Dialogue Of The Wind And The Sea


    Maurice Ravel
    1. Daphnis & Chloë - Suite No.2, M.57b


    Claude Debussy
    1. PrÉlude à l'après-midi d'un faune, L.86

    Berliner Philharmoniker / Herbert Von Karajan
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev & Ravel Piano Concertos Prokofiev & Ravel Piano Concertos Quick View

    $44.99
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    Prokofiev & Ravel Piano Concertos

    Prokofiev's great Third Piano Concerto has been Martha Argerich's signature piece since she won competitions with it at the age of 16 in 1957. If you're used to Bryon Janis' reading on Mercury or have never heard Argerich play Prokofieff, you're in for a shock. The only other artist I can think of who played the Third with this kind of energy at this breakneck tempo was Prokofiev himself, and Prokofiev's performance is all speed and slop. Despite its power and pace, Argerich's is far more agile, deeply thought out, and various - built upon the precise articulation of rhythmic and dynamic contrasts. Be they fortissississimo or pianissississimo, presto or adagio, every note, every chord, every bravura run and leaping flourish is sounded with passion and precision. It's as if Argerich is uttering one long, complex, fully articulate sentence in one long thrilling breath. Abbado and the Berlin Phil keep up with her, though it often seems (as it often does with distinctive pianists in distinctive performances) as if Argerich is conducting as well as soloing. Full credit goes to DG's engineers, whose close miking of the piano perfectly serves the clarity of line and muscular poetry of Argerich's sensational reading. A must-own disc. - Jonathan Valin, The Absolute Sound, October 2011, Issue 216


    Features:

    • 180 gram Vinyl

    • Made in Germany


    Musicians:

    Martha Argerich, piano

    Berlin Philharmonic

    Claudio Abbado, conductor

    Serge Prokofieff (1891-1953)
    Piano Concerto No. 3 in C Major, Op. 26
    1. Satz: Andante - Allegro
    2. Satz: Thema - Andantino
    a. Variation: L'istesso tempo
    b. Variation: Allegro
    c. Variation: Allegro moderato
    d. Variation: Andantino meditativo
    e. Variation: Allegro giusto Thema - L'istesso tempo
    3. Satz: Allegro ma non troppo


    Maurice Ravel (1875-1937)
    Piano Concerto in G Major
    1. Satz: Allegramente
    2. Satz: Adagio assai
    3. Satz: Presto

    Martha Argerich
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • From The New World From The New World Quick View

    $44.99
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    From The New World

    Rafael Kubelik conducts the Berlin Philharmonic for this audiophile recording of Dvorak's Symphony No. 9 from The New World.


    Musicians:

    Berlin Philharmonic

    Rafael Kubelik, conductor

    Symphony No. 9 in e minor, Op. 95
    From the New World (Aus der Neuen Welt)
    1. Adagio - Allegro molto
    2. Largo
    3. Scherzo: Molto vivace
    4. Allegro con fuoco
    Antonin Dvorak
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms: The Four Symphonies Brahms: The Four Symphonies Quick View

    $89.99
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    Brahms: The Four Symphonies

    Deutsche Grammophon presents a reissue of the 1964 recordings of Brahms' symphonies as performed by the Berlin Philharmonic and Herbert von Karajan.
    LP 1: Symphonie Nr. 1 C-moll Op. 68
    1. Satz: Un Poco Sostenuto - Allegro

    2. Satz: Andante Sostenuto

    3. Satz: Un Poco Allegretto E Grazioso
    4. Satz: Adagio - Più Andante - Allegro Non Troppo, Ma Con Brio


    LP 2: Symphonie Nr. 2 D-dur Op. 73
    1. Satz: Allegro Non Troppo

    2. Satz: Adagio Non Troppo

    3. Satz: Allegretto Grazioso (Quasi Andantino)

    4. Satz: Allegro Con Spirito


    LP 3: Symphonie Nr. 3 F-dur Op. 90
    1. Satz: Allegro Con Brio

    2. Satz: Andante

    3. Satz: Poco Allegretto

    4. Satz: Allegro


    LP 4: Symphonie Nr. 4 E-moll Op. 98
    1. Satz: Allegro Non Troppo

    2. Satz: Anadante Moderato

    3. Satz: Allegro Giocoso

    4. Satz: Allegro Energico E Passionato (Tema Con Variazioni)

    Herbert Von Karajan
    $89.99
    Vinyl LP - 4 LPs Sealed Buy Now
  • Wolfgang Schneiderhan - Mozart:Violinkonzerte No. 4 Wolfgang Schneiderhan - Mozart:Violinkonzerte No. 4 Quick View

    $44.99
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    Wolfgang Schneiderhan - Mozart:Violinkonzerte No. 4

    Here the Austrian violinist/conductor performs and conducts the Berlin Philharmonic Orchestra in a pairing of Mozart's Concerto for Violin and Orchestra No. 4 in D Major, K. 218 and Concerto for Violin and Orchestra No. 5 in A Major, K. 219. 180g vinyl pressing from Clearaudio.


    Musicians:


    Mozart (composer)

    Wolfgang Schneiderhan (violin/conductor)

    Berlin Philharmonic Orchestra

    1. Allegro

    2. Andante cantabile

    3. Rondeau: Andante grazioso - Allegro ma non troppo Concerto for Violin and Orchestra No. 5 in A Major, K. 219

    4. Allegro aperto

    5. Adagio

    6. Rondeau: Tempo di Menuetto - Allegro



     

    Wolfgang Schneirderhan
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mussorgsky: Pictures At An Exhibition / Ravel: BolÉro, M.81 Mussorgsky: Pictures At An Exhibition / Ravel: BolÉro, M.81 Quick View

    $21.99
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    Mussorgsky: Pictures At An Exhibition / Ravel: BolÉro, M.81

    Called "a splendid disc in every way" (Penguin Guide, 1994), Herbert von Karajan and the Berlin Philharmonic's
    recording of Mussorgsky's Pictures at an Exhibition and Ravel's Bolero is newly presented on 180g heavyweight
    vinyl, pressed at OPTIMAL.
    Modest Petrovich Mussorgsky - Pictures At An Exhibition - Orchestrated By Maurice Ravel
    1. Promenade
    2. Gnomus
    3. Promenade
    4. The Old Castle
    5. Promenade
    6. The Tuileries Gardens
    7. Bydlo
    8. Promenade
    9. Ballet Of The Chickens In Their Shells
    10. Samuel Goldenberg And Schmuyle
    11. The Market-place At Limoges
    12. The Catacombs (Sepulchrum romanum)
    13. Cum mortuis in lingua mortua


    1. The Hut On Fowl's Legs (Baba-Yaga)
    2. The Great Gate Of Kiev


    Maurice Ravel
    1. BolÉro, M.81

    Berliner Philharmoniker / Herbert Von Karajan
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • R. Strauss: Ein Heldenleben, Op.40, TrV 190 R. Strauss: Ein Heldenleben, Op.40, TrV 190 Quick View

    $25.99
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    R. Strauss: Ein Heldenleben, Op.40, TrV 190

    The most famous conductor of his age, Herbert von Karajan released over 300 albums for Deutsche Grammophon and enjoyed a long a fruitful partnership with the Berlin Philharmonic. Three of their legendary recordings together are available again on vinyl. Richard Strauss' Ein Heldenleben was Karajan's very first recording as the Berlin Philharmonic's music director and his first post-war recording for Deutsche Grammophon. It remains a reference Strauss recording.
    1. Der Held - Des Helden Widersacher - Des Helden GefÄhrtin - Des Helden Walstatt (I)
    2. Des Helden Walstatt (II) - Des Helden Friedenswerke - Des Helden Weltflucht Und Vollendung
    Herbert Von Karajan
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Violin Concerto Beethoven Violin Concerto Quick View

    $44.99
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    Beethoven Violin Concerto

    Anne-Sophie Mutter, a child prodigy, was exempted from school to dedicate herself to her art. Supported early in her career by Herbert von Karajan, he invited her to play with the Berlin Philharmonic when she was just 13 and she has built a strong reputation for championing contemporary music throughout her career. She has won the Grammy Award for Best Chamber Music Performance and the Grammy Award for Best Instrumental Soloist Performance among many other awards.


    Musicians:

    Berlin Philharmonic Orchestra

    Herbert von Karajan, conductor

    Anne-Sophie Mutter, violin soloist

    1. Allegro ma non Troppo
    2. Larghetto
    3. Rondo. Allegro
    Ludwig Van Beethoven
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 5 Beethoven: Symphony No. 5 Quick View

    $21.99
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    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
  • Night of Hunters Night of Hunters Quick View

    $34.99
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    Night of Hunters

    Night of Hunters is a 21st century song cycle that finds the enigmatic Tori Amos drawing on themes from Satie, Granados, Chopin and other great composers. Her twelfth studio album and her first for Deutsche Grammophon tells a modern love story that is only unraveled after a journey to Ireland's mythic past. The album is an all-acoustic work. Guests include such esteemed players as The Apollon Musagete Quartet and the Berlin Philharmonic clarinet soloist Andreas Ottensamer.


    With Night of Hunters, which she wrote and produced, Amos carries on the tradition of variations on a theme to create a bold new work while paying tribute to the mastery of the original compositions. In her own words: I have used the structure of a classical song cycle to tell an ongoing, modern story. The protagonist is a woman who finds herself in the dying embers of a relationship. In the course of one night she goes through an initiation of sorts that leads her to reinvent herself, allowing the listener to folllow her on a journey to explore complex musical and emotional subject matter. One of the main themes explored on this album is the hunter and the hunted and how both exist within us.

    1. Shattering Sea
    2. SnowBlind
    3. Battle of Trees
    4. Fearlessness
    5. Cactus Practice
    6. Star Whisperer
    7. Job's Coffin
    8. Nautical Twilight
    9. Your Ghost
    10. Edge of the Moon
    11. The Chase
    12. Night of Hunters
    13. Seven Sisters
    14. Carry
    Tori Amos
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Bizet - L'Arlesienne & Carmen Bizet - L'Arlesienne & Carmen Quick View

    $34.99
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    Bizet - L'Arlesienne & Carmen

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


    Although associated mainly with the Berlin Philharmonic Orchestra, Herbert von Karajan was effectively (though never officially) the chief conductor of the Philharmonia Orchestra (which EMI Producer Walter Legge had founded in 1945) from 1948 to 1954 and built the orchestra into one of the finest in the world. Although Karajan signed to Deutsche Grammophon in 1959, he would return to EMI in future years for occasional projects (like the Beethoven Triple Concerto on HIQLP006 and Mozart Symphonies on HIQLP023).


    In the original September 1959 review of the stereo release Thomas Hearns of the GRAMOPHONE wrote: ...this Karajan performance is in... the highest class...Karajan gets beautiful and brilliant performances, superb playing from the Philharmonia and a first-rate recording...


    Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process.


    Pressed on 180g vinyl to audiophile standards at the Vinyl Factory, Hayes, using the old EMI Records presses.


    This title is not eligible for discount.

    Georges Bizet (1838 - 1875)
    L'Arlesienne - Suite No.1
    1. Prelude
    2. Menuet
    3. Adagietto
    4. Carillon
    L'Arlesienne - Suite No.2
    5. Pastorale
    6. Intermezzo
    7. Menuet (from 'La jolie fille de Perth')
    8. Farandole
    Carmen - Suite
    9. I: Entr'acte (Act IV)
    10. II: Entr'acte (Act III)
    11. III: Entr'acte (Act II)
    12. IV: Prelude (Act I)
    Herbert Von Karajan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky, Glinka, Rimsky-Korsakov Capriccio Italien Etc Tchaikovsky, Glinka, Rimsky-Korsakov Capriccio Italien Etc Quick View

    $34.99
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    Tchaikovsky, Glinka, Rimsky-Korsakov Capriccio Italien Etc

    Hi-Q Records Supercuts 180 Gram Vinyl


    Cut At Abbey Road Studios From The Original Stereo Analogue Master Tapes


    A selection of delightful Russian music, brilliantly conducted and beautifully played... said the GRAMOPHONE on this album's stereo release in July 1960. This atmospheric and superbly recorded album displays all Kletzki's hallmark qualities: precision of ensemble, clarity of instrumental detail and warmth of orchestral sound and has long been a collector's item.


    Although Paul Kletzki is now remembered as primarily a conductor, it was as a composer that he first made his mark in the 1920s and 1930s. He came to the attention of Toscanini and Furtwangler, the latter who permitted Kletzki to conduct the Berlin Philharmonic Orchestra in 1925 and championed his many compositions. His bitter personal experiences of the Second World War, however, in which he lost many of his family, appeared to destroy his creative spirit and he stopped composing in 1942. The rest of his career was devoted to conducting. He made several recordings for EMI in the Fifties and Sixties.


    Recorded on August 30 and September 3 & 4, 1958 at the Kingsway Hall, London with legendary producers Victor Olof and Peter Andry (Capriccio Italien) and engineers Harold Davidson and Robert Gooch (Capriccio Italien). Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process.


    Pressed on 180g vinyl to audiophile standards using the original EMI presses by The Vinyl Factory in Hayes, England. Features the original album artwork.


    This title is not eligible for discount.

    Pyotr Ilyich Tchaikovsky (1840-1893)
    1. Andante Cantabile (from String Quartet No.1 in D major Op.11)
    2. Capriccio Italien, Op.45


    Nikolai Rimsky-Korsakov (1844-1908)
    1. Tsar Saltan Suite, Op.57


    Mikhail Glinka (1804-1857)
    2. Jota Aragonesa

    Paul Kletzki
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • OR: The Originals OR: The Originals Quick View

    $109.99
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    OR: The Originals

    Limited-Edition, Numbered-Box Set


    Re-Mastered At Optimal From Analogue Sources


    Original LP Front And Back Covers


    12-Page Leaflet


    The Originals - Legendary Recordings From The Deutsche Grammophon Catalogue


    CHOPIN: Piano Concerto No.1/LISZT: Piano Concerto No.1Martha Argerich/London Symphony Orchestra/Claudio Abbado139 383

    GRIEG: Lyric Pieces (selection)Emil Gilels2530 476

    HOLST: The Planets Boston Symphony Orchestra/William Steinberg2530 102

    R.STRAUSS: Also sprach ZarathustraBerliner Philharmoniker/Herbert von Karajan2530 402

    ORFF: Carmina BuranaChorus and Orchestra of the Deutsche Oper, Berlin/Eugen Jochum139 362

    TCHAIKOVSKY: Symphony No.6 „PathÉtique"Leningrad Philharmonic Orchestra/Evgeny Mravinsky138 659

    LP1
    Chopin: Piano Concerto No.1 / Liszt: Piano Concerto No.1
    FrÉdÉric Chopin (1810 - 1849)
    Piano Concerto No.1 In E Minor, Op.11
    1. Allegro maestoso
    2. Romance (Larghetto)
    3. Rondo (Vivace)
    Piano Concerto No.1 in E flat, S.124
    1. Allegro maestoso
    2. Quasi adagio - Allegretto vivace - Allegro animato
    3. Allegro marziale animato


    LP2
    Grieg: Lyric Pieces
    Edvard Grieg (1843 - 1907)
    Lyric Pieces, Op. 12
    1. Arietta
    Lyric Pieces, Op. 38
    2. Berceuse
    Lyric Pieces III, Op.43
    3. Butterfly
    4. Solitary traveler
    Lyric Pieces IV, Op. 47
    5. No. 2 Albumblatt
    6. No. 3 Melodie
    7. No. 4 Halling
    Lyric Pieces, Op. 54
    8. Notturno
    9. Scherzo
    Lyric Pieces, Op. 57
    10. Heimweh
    Lyric Pieces VII, Op.62
    11. No. 4 Baekken (Brooklet)
    12. No. 6 Hjemad (Homeward)
    Lyric Pieces, op.65
    13. In ballad vein
    Lyric Pieces, op.68
    14. Grandmother's Minuet
    15. At your feet
    16. At the cradle
    Lyric Pieces Op.71
    17. Once upon a time
    18. Puck
    19. Gone
    20. Remembrances


    LP3
    Holst: The Planets
    Gustav Holst (1874 - 1934)
    The Planets, Op.32
    1. Mars, the Bringer of War
    2. Venus, the Bringer of Peace
    3. Mercury, the Winged Messenger
    4. Jupiter, the Bringer of Jollity
    5. Saturn, the Bringer of Old Age
    6. Uranus, the Magician
    7. Neptune, the Mystic


    LP4
    Orff: Carmina Burana
    Carl Orff (1895 - 1982)
    Carmina Burana; Fortuna Imperatrix Mundi
    1. O Fortuna
    Uf dem Anger
    2. Were diu werlt alle min
    In Taberna
    3. In taberna quando sumusv
    Cour d'amours
    4. Veni, veni, venias


    LP5
    Strauss, R.: Also sprach Zarathustra, Op. 30
    Richard Strauss (1864 - 1949)
    Also sprach Zarathustra, Op.30
    1. Von den Hinterweltlern
    2. Das Nachtwandlerlied


    LP6
    Tchaikovsky: Symphony No.6 ,,PathÉtique
    Peter Ilyich Tchaikovsky (1840 - 1893)
    Symphony No.6 In B Minor, Op.74 -PathÉtique
    1. Adagio - Allegro non troppo
    2. Allegro con grazia
    3. Allegro molto vivace
    4. Finale (Adagio lamentoso - Andante)

    Various Artists
    $109.99
    180 Gram Audiophile Virgin Vinyl LP - 6 LPs Sealed Buy Now
  • Sibelius Symphony No. 2 in D Major Sibelius Symphony No. 2 in D Major Quick View

    $34.99
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    Sibelius Symphony No. 2 in D Major

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


    Paul Kletzki is best remembered today for his conducting career and many recordings but less well known is his pre-war career as a composer. Born in Poland in 1900, he joined its Philharmonic Orchestra at the age of fifteen as a violinist. After serving in the First World War, he studied philosophy at the University of Warsaw before moving to Berlin in 1921 to continue his studies. During the 1920s his compositions were championed by Arturo Toscanini; and Wilhelm FurtwÄngler, who permitted Kletzki to conduct the Berlin Philharmonic Orchestra in 1925.


    Because he was Jewish, he left Nazi Germany in 1933 and moved to Italy, however due to the anti-semitism of the Italian Fascist regime he moved to the Soviet Union in 1936. He later went to live in Switzerland. From 1942 onwards Kletzki wrote no more compositions; having lost much of his family in the holocaust, Nazism had destroyed his spirit and his will to compose.


    His conducting skills then came to the fore. Kletzki was invited by EMI's Walter Legge to conduct the newly-formed Philharmonia Orchestra in London and many fine recordings were made (including this Sibelius record in early stereo) for EMI. In 1954 he was appointed chief conductor of the Liverpool Philharmonic Orchestra and between 1958 and 1961 he was principal conductor of the Dallas Symphony Orchestra. From 1966 until 1970 he was the General Music Director of the Orchestre de la Suisse Romande. He died in 1974.


    In the original June 1956 review M. M. of the GRAMOPHONE wrote: Kletzki makes an impetuous attack on the music which is virtually completely successful, carried along by a marvellous quality of both orchestral playing and recording... Whether it is a sweep of full-bodied tone, a biting attack, a resonant pizzicato, or a sensitive solo that is called for, it is always there; even to tunes from the basses with a distinctly above-average proportion of note to rumble. And all of it set off by a brilliant quality of recording with fine internal balance... The new Kletzki... addresses the listener directly and convincingly.


    Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process.


    Pressed on 180g vinyl to audiophile standards at the Vinyl Factory, Hayes, using the old EMI Records presses.


    Recorded in stereo on 15 & 16 July 1955 at the Kingsway Hall, London. Produced by the legendary Walter Legge and engineered by Douglas Larter and Neville Boyling.


    This title is not eligible for discount.

    Jean Sibelius (1865 - 1957)
    Symphony No. 2 in D Major, Op. 43
    Side One:
    1. I. Allegretto
    2. II. Tempo andante, ma rubato
    Side Two:
    1. III. Vivacissimo
    2. IV. Finale (Allegro moderato)
    Paul Kletzki
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Concerto for Violin and Orchestra (Speakers Corner) Beethoven: Concerto for Violin and Orchestra (Speakers Corner) Quick View

    $34.99
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    Beethoven: Concerto for Violin and Orchestra (Speakers Corner)

    Beethoven's only violin concerto is certainly one of the most lovely works ever written for this instrument. The symphonically conceived work is admired for its highly lyrical and expressive character and as such belongs in the repertory of all great violinists. Numerous performances, often all too sentimental or exaggerated, are available on record - but this Deutsche Grammophon production from 1962 is a refreshing exception. With a tender, serene timbre and perfect intonation, the soloist Wolfgang Schneiderhan allows the spirit of the score to breathe throughout. The captivating and poetic music is further enhanced by the Berlin Philharmonic who play with a sonority that has yet to be equalled. The strings with the swell and subsidence of their carpets of sound, the subtle and finely balanced woodwinds, the double basses which murmur darkly at the very bottom of their register - all effuse a feeling of consecration and peaceful transfiguration in this concerto, a concerto which has never seen its like in two centuries.



    The balance engineers achieved a remarkable feat when documenting this epoch-making work, for this recording is certainly one of the very best to come from Deutsche Grammophon in the Sixties.



    Recording: May / July 1962 at the Jesus-Christus-Kirche, Berlin by GÜnter Hermanns / Production: Wolfgang Lohse



    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.


    This title is not eligible for discount.

    Beethoven: Concerto for Violin and Orchestra
    Wolfgang Schneiderhan and the Berlin Philharmonic Orchestra conducted by Eugen Jochum
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 9 Beethoven: Symphony No. 9 Quick View

    $37.99
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    Beethoven: Symphony No. 9

    Ludwig van Beethoven's "Symphony No. 9 in D
    minor, Op. 125" (also known as "the Choral"), is
    Beethoven's final complete symphony. Completed
    in 1824, the symphony is one of the best-known
    works in classical music. "Egmont Overture, Op.
    84" by Ludwig van Beethoven, is a set of incidental
    music pieces for the 1787 play of the same name
    by Johann Wolfgang von Goethe. It consists of an
    overture followed by a sequence of nine pieces
    for soprano, male narrator and full symphony
    orchestra. Beethoven wrote it between October
    1809 and June 1810. The "Leonora Overture No.
    3, Op. 72a was composed in 1806, and is the most
    successful of the three Leonora overtures.
    LP 1: SYMPHONY NO. 9 IN D MINOR "CHORAL", OP. 125
    1. I. Allegro ma non troppo, un poco maestoso
    2. II. Molto vivace
    3. III. Adagio molto e cantabile 1


    LP 2:
    1. IV. Presto
    2. IV. Presto - Allegro assai 1
    3. Egmont Overture, Op. 84
    4.Leonore Overture NO. 3, Op. 72a

    Ferenc Fricsay / Berlin Philharmonic Orchestra
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner) Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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.


    This title is not eligible for discount.

    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
  • Dvorak - Symphony 5 - New World (Speakers Corner) Dvorak - Symphony 5 - New World (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Dvorak - Symphony 5 - New World (Speakers Corner)

    Dvorák's long experience with classical forms finds its culmination in his final symphony, whose first performance took place in New York in 1893. The work still enjoys an unwaning popularity thanks to its finely contoured orchestration and its original themes, all of which are based on American folksongs and negro spirituals.



    To capture Dvorák's score in sound has always proved a challenge for both orchestra and recording team. This aim has been more than fulfilled in the present recording with the Vienna Philharmonic Orchestra led by István KertÉsz: the primeval power of the weighty brass, the glorious revelling of the strings, and the lyrical solo passages are all captured here. Musicianship of the highest degree combined with audio-technical perfection lend this recording, made in the early days of stereophony, the status of an historical sound document which, despite numerous other recordings, has no reason to fear competition.





    Musicians:



    • Vienna Philharmonic Orchestra

    • Istvan KertÉsz (conductor)




    Recording: March 1961 at Sofiensaal, Vienna by James Brown

    Production: Ray Minshull





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Istvan Kertesz with Vienna Philharmonic
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ma Vlast (Speakers Corner) Ma Vlast (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Ma Vlast (Speakers Corner)

    Smetana's symphonic poem "Má Vlast" consists of several individual compositions which the composer put together at a later date to form a cycle and is one of the greatest testimonies to Czech national music. The Bohemian countryside and sagas are reflected in the tone poem From "Bohemia's Woods and Fields", while the programmatic "Moldau" occupies a rightful place among the most outstanding works to have been written in the late 19th century. Thanks to its popular folk melodies, its clearly structured and recognizable "programme", and brilliant orchestration, the work has never failed to arouse the enthusiasm of a wide public.



    Rafael Kubelik conducted numerous first-class orchestras both in the concert hall and in the recording studio, and won a deserved reputation as the Smetana connoisseur. He is to be congratulated on his choice of the Vienna Philharmonic Orchestra for this recording: gentle and transparent in the gossamer-light orchestral passages, powerful and smooth when playing as a full tutti. This thoroughly satisfying performance is further enhanced by its excellent recording technique and is to be recommended to all collectors.





    Musicians:



    • The Vienna Philharmonic Orchestra

    • Rafael Kubelik (conductor)




    Recording: April 1958 at Sofiensaal, Vienna by Gordon Parry

    Production: Eric 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.




    This title is not eligible for discount.

    1. Vysehrad
    2. Vltava (Moldau)
    3. Sarka
    4. From Bohemia's Meadows and Forest
    5. Tabor
    6. Blanik
    Rafael Kubelik with Vienna Philharmonic Orchestra
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Respighi - Ancient Dances (Speakers Corner) Respighi - Ancient Dances (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Respighi - Ancient Dances (Speakers Corner)

    The common practice in concert houses today of performing early music on modern orchestral instruments is owed largely to the endeavors of Ottorino Respighi. His free transcription of Renaissance works for the lute (1932) opened the way to the rediscovery of forgotten rhythms and timbres. Although Respighi altered the structure of the music by dissecting phrases right down to their basic elements, re-ordering them and redefining their sonority by the use of heavy brass and timpani, the art of the ancient maestri remained unscathed. Cadences and harmonic idioms are given a modern coloring at the most, but are never destroyed. Antal Dorati and his famous Philharmonia Hungarica have all that is needed to bring the score to life. Even in opulent passages the individual instruments can be heard distinctly. This works particularly well in the first two suites in which each movement is treated to a process of refinement by means of differing orchestration. That the third suite, written purely for stringed instruments, soars away, just like the proverbial Aeolian harp is only to be expected from this orchestra.




    Recording: June 1958 at the large hall of the Konzerthaus, Vienna, Austria, by C.R. Fine

    Production: Wilma Cozart-Fine




    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.




    This title is not eligible for discount.

    Suite 1 for Orchestra
    Suite 2 for Orchestra
    Suite 3 for Strings
    Antal Dorati with Hungary Philharmonic
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky Violin Concerto Tchaikovsky Violin Concerto Quick View

    $49.99
    Buy Now
    x

    Tchaikovsky Violin Concerto

    Violinist Anne-Sophie Mutter is backed by the Vienna Philharmonic conducted by Herbert von Karajan for this audiophile recording of Tchaikovsky's Violin Concerto.


    Features:

    Audiophile 180g Virgin Vinyl

    Cut at Emil Berliner Studio

    Pressed at Pallas GmbH Germany

    From the Original Masters of Universal Music

    Audiophile Lacquer Discs Cut by the Expert Maarten de Boer


    Musicians:

    Anne-Sophie Mutter, violin

    Wiener Philharmoniker

    Herbert von karajan, conductor


    This title is not eligible for discount.

    1. Opening Applause
    2. Allegro Moderato
    3. Canzonetta, Andante - Attacca
    4. Finale, Allegro Vivacissimo
    5. Closing Applause
    Anne-Sophie Mutter
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Symphony No. 5 (Speakers Corner) Prokofiev: Symphony No. 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Symphony No. 5 (Speakers Corner)

    Prokofiev's Symphony No. 5 is one of just a handful of traditional Russian works that have advanced to become a celebrated repertoire piece in the area of conflict between socialist artistic realism and conservative modernism. Although, in contrast to his colleague Shostakovich, Prokofiev toed the party line and was highly privileged, which made it very difficult to believe his later claim that his art was free of politics, his music has touched the hearts of concertgoers all over the world.


    In the present recording, the cosmopolitan Leonard Bernstein and the New York Philharmonic present the whole beauty of the melodies that unfold in the first movement with full orchestral radiance. Cheerfulness as a »hymn to free and happy Man« is given voice in the clarinet theme of the burlesque second movement with its imaginative changes. Reminiscences of the Symphonie classique appear to be intentional. In the finale, Prokofiev proves himself to be a confident master of the classical-romantic canon form, which uses the theme of the first movement and new motifs to create far more than just a melodious apotheosis. Jagged, sharp and percussive final bars round off this supreme orchestral firework, which makes great demands on every single musician.sound of America.


    Musicians:



    • New York Philharmonic Orchestra

    • Sergei Prokofiev (composer)

    • Leonard Bernstein (conductor)




    Recording: February 1966 at the Philharmonic Hall of Lincoln Center, New York

    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.


    This title is not eligible for discount.

    I. Andante
    II. Allegro Marcato
    III. Adagio
    IV. Allegro Giocoso
    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms - Hungarian Dances (Speakers Corner) Brahms - Hungarian Dances (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Brahms - Hungarian Dances (Speakers Corner)

    Fritz Reiner dedicated himself to the interpretation of works by modern composers such as Richard Wagner, Richard Strauss and BÉla Bartók, and it suited him well to tackle works such as Brahms's Hungarian Dances and Dvorák's Slavonic Dances. These lively compositions require a conductor whose interaction with the orchestra is vivacious and animated. Reiner always demanded utmost concentration and perfection from his ensemble. Under his baton, the Vienna Philharmonic Orchestra plays with enthusiasm and without restaint; no trace of a sterile concert atmosphere is found in this recording.



    Reiner's penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.



    From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 - or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.





    Musicians:



    • Vienna Philharmonic Orchestra

    • Fritz Reiner (conductor)




    Recording: June 1960 at Sofiensaal, Vienna by James Brown

    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.



    This title is not eligible for discount.

    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky - Mendelssohn - Concerto for Violin (Speakers Corner) Tchaikovsky - Mendelssohn - Concerto for Violin (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - Mendelssohn - Concerto for Violin (Speakers Corner)

    Although he has lived in the USA since 1929 and even took on American citizenship in 1942, Nathan Milstein is often referred to as perhaps the last "Russian" among all Russian violinists due to his art of playing - which is governed wholly by intellect. This does not mean that Milstein plays in an academic or cool manner; his art is thoughtful and controlled - in the very best sense of the meaning. And this should certainly not be equated with "deliberateness". On the contrary. Milstein's tremendous virtuosity, particularly in the fiendishly difficult final movements of Tchaikovsky's and Mendelssohn's concertos, takes both works to new heights. Although never a forceful presence since he employs relatively little vibrato and thus achieves a slender tone, Milstein's playing is filled with amazing assertion and luminance, and is quite fascinating for its extraordinary purity. And this is precisely what enhances his interpretation of these two great classical concertos, lending them a legendary grace, a feeling of rightness - that there is no other way. The Vienna Philharmonic with their great tradition provide support of the first order, and Claudio Abbado proves once again that he is a more than circumspect master of the baton.



    This record was part of the 3-LP Set "The Conductors" and is now available again.





    Musicians:



    • Nathan Milstein (violin)

    • Vienna Philharmonic Orchestra

    • Claudio Abbado (conductor)




    Recording: September 1972 and March 1973 at Musikvereinssaal, Vienna by GÜnter Hermanns

    Production: Rainer Brock




    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.




    This title is not eligible for discount.

    Concerto for Violin and Orchestra in D major, Op. 35


    Allegro Moderato
    Canzonetta Andante
    Finale Allegro Vivacissimo


    Concerto for Violin and Orchestra in E Minor, Op. 64


    Allegro molto Apassionato
    Andante

    Allegretto non troppo - allegro molto vivace

    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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