Pro-ject Authorized & Certified VPI Dealer

A World of Vinyl

(877) 929-8729
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
25% Off Vinyl - LP25
Home > Products for: '

Berlin Philharmonic

'
  • 1
  • 2
Results per page:
  • OR: The Originals OR: The Originals Quick View

    $109.99
    Buy Now
    x

    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
  • Prokofiev & Ravel Piano Concertos Prokofiev & Ravel Piano Concertos Quick View

    $44.99
    Buy Now
    x

    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
    Buy Now
    x

    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
    Buy Now
    x

    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
    Buy Now
    x

    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
  • Mozart: Die Zauber Flote (The Magic Flute) Mozart: Die Zauber Flote (The Magic Flute) Quick View

    $44.99
    Buy Now
    x

    Mozart: Die Zauber Flote (The Magic Flute)

    Karl Bohm conducts the Berlin Philharmonic Orchestra and vocal accompaninists Evelyn Lear (soprano), Roberta Peters (soprano), Lisa Otto (soprano), Fritz Wunderlich (tenor), Dietrich Fischer-Diesku (baritone) and Franz Crass (bass) on a performance of Mozart's Die Zauber Flote (The Magic Flute). 180g vinyl pressing from Clearaudio.


    Musicians:


    Mozart (composer)

    Karl Bohm (conductor)

    Berlin Philharmonic Orchestra

    Evelyn Lear (soprano)

    Roberta Peters (soprano)

    Lisa Otto (soprano)

    Fritz Wunderlich (tenor)

    Dietrich Fischer-Dieskau (baritone)

    Franz Crass (bass)

    1. Ouveture

    2. Zu Hilfe! Zu Hilfe!

    3. Der Vogelfanger bin ich ja

    4. Dies Bildnis ist bezaubernd schon

    5. O zittre nicht, mein leiber Sohn

    6. Bei Mannern, welche Liebe fuhlen

    7. O Isis und Osiris

    8. Alles fuhlt der Lieve Freuden

    9. Der Holle Rache kocht in meinem Herzen

    10. In diesen heil'gen Hallen

    11. Seid uns zum zweiten Mal wilkommen

    12. Ach, ich fuhl's, es ist verschwunden

    13. O Isis und Osiris

    14. Ein Madchen oder Weibchen

    15. Pa-pa-pa

    16. Die Strahlen der Sonne / Heil sei euch

    Geweihten

    Karl Bohm
    $44.99
    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
    Buy Now
    x

    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
    Buy Now
    x

    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
    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
  • Strauss: Also Sprach Zarathustra (Speakers Corner) Strauss: Also Sprach Zarathustra (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Strauss: Also Sprach Zarathustra (Speakers Corner)

    The opening fanfare from Richard Strauss's Also sprach Zarathustra (Thus spoke Zarathustra) is known to everyone since it was 'rediscovered' in Stanley Kubrick's film 2001: A Space Odyssey and consequently employed time and again in TV ads. At the turn of the century, however, renowned music critics asked themselves whether they should even bother to listen to the rest of the work, a symphonic poem, which - they presumed - was a narration in music of Nietzsche's book. In what is probably his most famous orchestral composition, Strauss, however, freely associated the words of the Saxon poet and philosopher when putting them into music by using the key of C major to depict nature, and the greatly contrasting key of B major for humanity.



    Once again Herbert von Karajan proves himself a distinguished tour guide through the wistful, secretive and bleak sound world through which Strauss has his questing hero wander. And the Berlin Philharmonic thank him with captivating, meltingly beautiful violins, deep growling basses, and steely winds. One recalls with pleasure the legendary leading violinist Michel SchwalbÉ, who plays the solo part with immense feeling and profundity. Enhanced by a perfected analogue recording technique, this disc is a wise choice when it comes to Strauss.




    Musicians:



    • The Berlin Philharmonic Orchestra

    • Herbert von Karajan (conductor)




    Recording: January and March 1973 at Jesus-Christus-Kirche, Berlin, by GÜnter Hermanns

    Production: Dr. Hans Hirsch




    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. Von den Hinterweltlern
    2. Von der großen Sehnsucht

    3. Von den Freuden und Leidenschaften
    4. Das Grablied
    5. Von der Wissenschaft
    6. Der Genesende
    7. Das Tanzlied
    8. Nachtwandlerlied
    Richard Strauss
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Concerto for Violin and Orchestra (Speakers Corner) (Awaiting Repress) Beethoven: Concerto for Violin and Orchestra (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Concerto for Violin and Orchestra (Speakers Corner) (Awaiting Repress)

    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.

    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 AWAITING REPRESS Buy Now
  • Beethoven: Symphony No. 9 Beethoven: Symphony No. 9 Quick View

    $37.99
    Buy Now
    x

    Beethoven: Symphony No. 9

    Import


    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.

    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.


    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.



    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.



    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
  • 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.


    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.


    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.



    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
  • Tchaikovsky - Symphony No. 5 (Speakers Corner) Tchaikovsky - Symphony No. 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - Symphony No. 5 (Speakers Corner)

    Recordings of Tchaikovsky's late symphonies with the Leningrad Philharmonic under Mravinskij were a legend even in the days of mono recording technique. It comes as no surprise therefore to learn that Tchaikovsky fans were overjoyed when these three great symphonies were released at last on the Yellow Label in top hi-fi quality at the beginning of the Sixties. Masterful performances, as thrilling as live recordings, now became available - recordings which were far superior to all others on the market. Even when the purported 'miracle' of digital recording technique began to take over and industrial record production had become a matter of course, Mravinsky's recordings were still available in a 2CD set. There are reasons enough to re-release the Fifth Symphony as an individual LP, without going into lengthy discussions about which of Tchaikovsky's late symphonies is the most important. Those who treasure a mono version or a Mravinsky recording from an unknown source in their collection are now given the opportunity to compare their version with the present re-release. All others can congratulate themselves on possessing a milestone recording, a true work of reference, for no other Mravinskij sounds better than this one.




    Musicians:



    • The Leningrad Philharmonic Orchestra

    • Jewgenij Mrawinskij (conductor)




    Recording: November 1960 at Musikverein Großer Saal, Vienna, by Harald Baudis

    Production: Karl-Heinz Schneider





    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. Satz: Andante - Allegro Con anima
    2. Satz: Andante cantabile, con alcuna licenza
    3. Satz: Allegro moderato
    4. Satz: Finale: Andante maestoso - Allegro vivace

    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Romeo And Juliet (Speakers Corner) Prokofiev: Romeo And Juliet (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Romeo And Juliet (Speakers Corner)

    Dimitri Mitropoulos was certainly not one of the recording industry's favourites. His repertoire was far too modern and was judged too risky by record companies since it did not guarantee a commercial success. This was very probably the reason that he was replaced by the charismatic Leonard Bernstein as Principal Conductor of the New York Philharmonic Orchestra. But his audiences loved him all the more, perhaps because they wanted to be challenged when listening to his music-making.



    Just how worthwhile such a challenge can be is proved by this recording from his New York period: Prokoviev's Ballet Suites with their richly orchestrated music are totally effective even when not staged. From the carefree gaiety of a Folk Dance, then to the lyrical sweetness of the Love Theme, right up to the Death Of Tybalt with Prokofiev's hard, grim orchestral vehemence, Mitropoulos gets his New York Philharmonic to pull out all the stops. Not only is the stereophonic sound truly excellent for the technical standard of its day: the superb recording technique and heartfelt artistic dedication have resulted in a recording which possesses all that is needed to underline the legendary greatness of this Greek maestro.




    Recording: November 1957 at St George Hotel, Brooklyn, NY, by Fred Plaut/ Stan Tonkel

    Production: Howard H. Scott




    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.

    Serge Prokofiev: Romeo And Juliet Ballet, Op. 64 (Excerpts) - The New York Philharmonic Orchestra conducted by Dimitri Mitropoulos
    Sergei Prokofiev
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Big Band And Quartet In Concert (Speakers Corner) Big Band And Quartet In Concert (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Big Band And Quartet In Concert (Speakers Corner)

    Thelonious Monk could walk from his flat to New York's famous Philharmonic Hall on the corner of 64th Street and Broadway when he made his very first appearance there with his Big Band in December 1963. And the other musicians could get there on the underground: Phil Woods, Steve Lacy, Thad Jones - all of them were members of Monk's closest circle of collaborators. It is no wonder then that the well-known themes were highly agreeable and harmonious. I Mean You, Four In One and Epistrophy resounded through the auditorium, the audience was thrilled, Thelonious laughed and danced and a short while later fans could listen to parts of the concert on a recording released by Columbia Records. In a break for a smoke, Monk sat himself down at the piano and played Darkness On The Delta - nocturnal atmosphere pure.


    Does it bear the patina of times long past? Absolutely not! Thelonious Monk is as red-hot as he ever was.



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Steve Lacy (soprano saxophone)

    • Phil Woods (alto saxophone, clarinet)

    • Gene Allen (bassoon, clarinet)

    • Eddie Bert (trombone)

    • Thad Jones (cornet)

    • Nick Travis (trumpet)

    • Butch Warren (bass)

    • Frank Dunlop (drums)


    Recording: December 1963 at Lincoln Center, Philharmonic Hall, New York

    Production: Teo Macero



    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 Mean You
    2. Evidence
    3. (When It's) Darkness On The Delta
    4. Oska T.
    5. Played Twice
    6. Four In One
    7. Epistrophy
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Aventine (Awaiting Repress) Aventine (Awaiting Repress) Quick View

    $22.99
    Buy Now
    x

    Aventine (Awaiting Repress)

    'Aventine' is the second studio album from Agnes Obel. It is the follow up to her critically acclaimed debut album 'Philharmonics' (2010), which has sold 450,000 copies across Europe, achieving Platinum status in France and Belgium, five times Platinum in her native Denmark, where Agnes picked up five Danish Music Awards (the Danish Brits) in 2011.


    Originally from Copenhagen, Agnes has lived in Berlin since 2006, where 'Aventine' was recorded at her Chalk Wood Studios between January and May this year. Like 'Philharmonics', the new album was written, arranged, and produced by Agnes, who provides piano and vocals. Anne M_ller, who has also played with Nils Frahm, adds cello, with Mika Posen of Timber Timbre playing the violin and viola on 'The Curse', 'Pass Them By' and 'Fivefold'. Robert Kondorossi of Budzillus plays guitar on 'Pass Them By'.


    While touring 'Philharmonics' I kept on getting all these ideas for recording, and I wanted to explore the cello and other string instruments says Agnes of 'Aventine'. I recorded everything quite closely, miking everything closely in a small room, with voices here, the piano here - everything is close to you. So it's sparse, but by varying the dynamic range of the songs I could create almost soundscapes. I was able to make something feel big with just these few instruments.

    1. Chord Left
    2. Fuel to Fire
    3. Dorian
    4. Aventine
    5. Run Cried the Crawling
    6. Tokka
    7. The Curse
    8. Pass Them By
    9.Words Are Dead
    10. Fivefold
    11. Smoke & Mirrors
    Agnes Obel
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Citizen Of Glass Citizen Of Glass Quick View

    $22.99
    Buy Now
    x

    Citizen Of Glass

    Danish-born singer-songwriter Agnes Obel is back with her highly anticipated third studio album, Citizen Of Glass. Featuring lead single 'Familiar', the album was recorded, mixed and produced by Obel in Berlin.


    Obel was at an early age guided into music by the influence of her parents, who would play and listen to a blend of the classical greats, folk music and contemporary pop. She learnt to play piano as a child but it was her move to Berlin in 2006 that prompted her to take her music to the next level. Her debut Philharmonics was released in 2010, a quiet phenomenon that spent seven consecutive weeks at number 1 and sold in excess of 100,000 copies in her homeland alone. The release of Aventine in 2013 cemented her status as a household name across mainland Europe and as an icon to piano players throughout the world. With combined sales of over a million copies of her first two albums and in excess of 250 million track streams, plus critical acclaim and commercial success already under her belt, she is now perfectly poised for true breakthrough success in the UK and US too.


    Already respected by an impressive list of musicians and media, Obel remains a truly global artist with a rare ability to connect with a broad audience across many boundaries.

    1. Stretch Your Eyes
    2. Familiar
    3. Red Virgin Soil
    4. It's Happening Again
    5. Stone
    6. Trojan Horses
    7. Citizen Of Glass
    8. Golden Green
    9. Grasshopper
    10. Mary
    Agnes Obel
    $22.99
    Vinyl LP - Sealed Buy Now
  • 1
  • 2
Go to top