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  • Dvorak: Cello Concerto (Awaiting Repress) Dvorak: Cello Concerto (Awaiting Repress) Quick View

    $23.99
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    Dvorak: Cello Concerto (Awaiting Repress)

    A true genius of the cello, full of joy and life, Jacqueline du PrÉ passed away on October 19th, 1987, after many years fighting multiple sclerosis and aged only 42. This LP comes from the 5-LP boxset released in November 2017 to mark the 30th anniversary of Jacqueline du PrÉ's passing; the three other ones will be released later, on a monthly basis. It uses the 24-BIT/96kHz remastering made at Abbey Road in 2011 for Japanese SACD version
    1. Antonín Dvorak - Cello Concerto In B Minor, Op. 104, B.191
    2. Antonín Dvorak - Silent Woods, Op.68, B.182
    Jacqueline Du Pre
    $23.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Palingenesis Palingenesis Quick View

    $23.99
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    Palingenesis


    'Palingenesis' is impossibly delicate, impeccably rendered neofolk; it is transporting and autumnal, bringing spectral figures into focus, exploring with curiosity and wonder the darkest heart of a vast folkloric wilderness. - Michael Nelson (STEREOGUM)


    Derived from the greek words for 'birth' [genesis] and 'again' [palin], the term Palingenesis refers to a variety of concepts of rebirth and recreation, ranging from the stoic idea of the continuing recreation of the cosmos, the christian belief in spiritual regeneration through baptism, or the originally pythagoreean concept of the souls' transmigration into a new body. NEBELUNG take up the energy behind these concepts, using them as archetypal images for mans' eternal strive for spiritual perfection in a meditation on death and decay, transformation and renewal.


    More than two years on the making, the release of PALINGENESIS defines a new era for NEBELUNG. Where its predecessors had been singing the hymn of autumn and night by the means of simply structured melancholic folk songs, PALINGENESIS takes on a different approach, transcending the boundaries of lyrics and song, sparing light and reason, and letting the music take on a direct and unaltered way to the depths of the subconscious. PALINGENESIS is a deep and transforming listen, with tracks built up like Mantras, tucking the listener into a dense and detailed tapestry of subtly woven, intertwining melodies and drones, rich in detail and structure, incorporating such a variety of acoustic instruments as both classical and steel stringed guitars, cello, accordion, indian harmonium, hammered dulcimer, glass harp, percussion and voice.

    1. Mittwinter
    2. Polaris
    3. Nachtgewalt
    4. Aufgang
    5. Wandlung
    6. Innerlichkeit

    Nebelung
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Fuck Off Get Free We Pour Light On Everything (Awaiting Repress) Fuck Off Get Free We Pour Light On Everything (Awaiting Repress) Quick View

    $25.99
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    Fuck Off Get Free We Pour Light On Everything (Awaiting Repress)


    Marks The 15th Anniversary Of The Band, Founded And Led By Efrim Menuck Of Godspeed You! Black Emperor


    First New SMZ Full Length Since GYBE's Return To Action In 2011


    Recorded In Quebec By Greg Norman (electrical Audio)


    Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of
    genre-defying protest music since its inception in 1999. Formed by Efrim Menuck, with
    Thierry Amar and Sophie Trudeau, the initial iteration of the band was a predominantly
    instrumental trio that forged a more intimate and ragged chamber-punk than Godspeed
    You! Black Emperor, in which group all three founding SMZ members also played (and
    continue to play). Through seven albums from 2000-2010, SMZ expanded its line-up and
    shifted towards an increasing use of lead and group vocals, with Menuck penning politically charged lyrics to anchor long-form multi-movement compositions that juxtaposed electrified
    guitars against a 4-piece string section of violins,cello and contrabass.


    Most recently, SMZ has pared back to five players, with Menuck's massive spectrum spanning electric guitar sound emerging as the spine around which two violins, bass (now
    more often electric than acoustic) and drums are deployed. SMZ have managed a handful
    of short tours in the past couple of years (in the gaps between GYBE commitments) and
    as anyone who has seen the band in its recent incarnation can attest, their current sound
    is more honed, laser-guided and bone-rattling than ever, melding hardcore, blues, garage
    and dark metal influences that have nothing to do with anything so quaint as "post-rock"
    (a tag the group has always and rightly rejected).


    Fuck Off Get Free We Pour Light On Everything is the first definitive document of
    the band's newfound sound and style as a quintet. It's also their first single LP-length
    work since the band's debut record as a trio almost 15 years ago, and features road tested pummeling rock-outs "Fuck Off Get Free (For The Island Of MontrÉal)", "Take
    Away These Early Grave Blues" and "What We Loved Was Not Enough" alongside the
    previously unheard lullabyes/minuets "Little Ones Run" and "Rains Thru The Roof At Thee
    Grande Ballroom (For Capital Steeze)" and the album centerpiece "Austerity Blues" with
    its closing lyric "Lord let my son live long enough to see that mountain torn down"
    sung in varying incarnations throughout the second half of this 14-minute epic.


    This lyric in many ways encapsulates Menuck's unflinching take on a world replete with
    shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance
    and defiance. There are few other musicians who deliver social critique with the courage
    and honesty of lines like "All our cities gonna burn / All our bridges gonna snap / All our
    pennies gonna rot / Lightning roll across our tracks / All our children gonna die". Feel-good
    music this is not; but neither can it reductively be tagged apocalyptic or world-weary.
    Fuck Off Get Free rages with scorn and with hope, utterly passionate but pointedly
    unromantic. Thee Silver Mt. Zion once again demonstrates, like few other bands working
    today, that there is much to fight for and against, and plenty more fight songs to sing.

    1. Fuck Off Get Free (for The Island Of Montreal)
    2. Austerity Blues
    3. Take Away These Early Grave Blues
    4. Little Ones Run
    5. What We Loved Was Not Enough
    6. Rains Thru The Roof At The Grande Ballroom (for Capital Steez)
    Thee Silver Mt. Zion Memorial Orchestra
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Heart Of The Cello The Heart Of The Cello Quick View

    $23.99
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    The Heart Of The Cello

    "She clearly was born to play the cello," wrote the New York Times of Jacqueline Du PrÉ in 1967. Just five years later her career was cut tragically short by illness. This LP provides a treasurable memento of the "perfect balance of youth and maturity" that Du PrÉ's teacher, William Pleeth, found in her playing: "She approached each new experience with spontaneous pleasure and enthusiasm." Offering a vivid experience of her art in the concerto, not least her legendary Elgar, the album comprises recordings remastered in 24-BIT / 96kHz at London's famous Abbey Road Studios.
    1. Cello Concerto in E Minor, Op. 85: I. Adagio - Moderato
    2. Cello Concerto in E Minor, Op. 85: II. Lento - Allegro molto
    3. Cello Concerto in B Minor, Op. 104, B. 191: III. Finale (Allegro moderato)
    4. Cello Concerto No. 1 in A Minor, Op. 33: I. Allegro non troppo
    5. Cello Concerto in A Minor, Op. 129: II. Langsam - Etwas lebhafter - Schneller
    6. Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft
    7. Cello Concerto No. 1 in C Major, Hob. VIIb, 1: III. Allegro molto
    Jacqueline Du Pre
    $23.99
    Vinyl LP - Sealed Buy Now
  • Imaginary Cities Imaginary Cities Quick View

    $25.99
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    Imaginary Cities


    Chris Potter: tenor and soprano saxophones, bass clarinet

    Adam Rogers: guitars

    Craig Taborn: piano

    Steve Nelson: vibraphone, marimba

    Fima Ephron: bass guitar

    Scott Colley: double bass

    Nate Smith: drums

    Mark Feldman: violin

    Joyce Hammann: violin

    Lois Martin: viola

    Dave Eggar: cello


    Imaginary Cities is the recording premiere of saxophonist Chris Potter s new Underground Orchestra. At the core of this larger ensemble is the personnel of his long-established Underground quartet with Adam Rogers, Craig Taborn and Nate Smith now joined by two bassists, a string quartet, and Potter s old comrade from Dave Holland Quintet days, vibes and marimba man Steve Nelson. The title composition is a suite, panoramic in its reach, with movements subtitled Compassion , Dualities , Disintegration and Rebuilding . The scope of the work, and its contrasting moods and thematic development, inspire some of Potter s finest playing. His saxes fly high above his idealized cityscapes or launch into dialogues or group improvising with its gifted inhabitants. Four further pieces Lament , Firefly , Sky and Shadow Self extend the feeling of the suite, successfully combining both tightly written material and very open areas involving all members of the orchestra. References are multi-idiomatic and multicultural, and Potter, who counts Charlie Parker with Strings amongst his formative enthusiasms, had Arabic and Indian string sections in mind, as well as contemporary composition, when shaping this material. Imaginary Cities was recorded in December 2013 in New York s Avatar Studio and produced by Manfred Eicher. Release of the album is followed by US performances with the Underground Orchestra in New York and San Francisco.

    1. Lament
    2. Imaginary Cities (Pt. 1, Compassion)
    3. Imaginary Cities (Pt. 2, Dualities)
    4. Imaginary Cities (Pt. 3, (Disintegration)
    5. Imaginary Cities (Pt. 4, Rebuilding)
    6. Firefly
    7. Shadow Self
    8. Sky
    Chris Potter, Underground Orchestra
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • 2Cellos 2Cellos Quick View

    $34.99
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    2Cellos

    Young Croatian cellists Luka Sulic and Stjepan Hauser, together known as 2CELLOS, have achieved sensational success by taking the cello to a new level. Their playing style has broken down the boundaries between different genres of music, from classical and film music to Pop and Rock. 2CELLOS have no limits when it comes to performing live and are equally as impressive when playing Bach and Vivaldi as they are when rocking out AC/DC. Their debut album is a thrilling collection of chart-topping Rock and Pop songs performed in their signature style.


    2CELLOS rose to fame in 2011 when their version of Michael Jackson's ''Smooth Criminal'' took the world by storm. The YouTube video became a massive viral sensation leading to a record deal with Sony Masterworks and an invitation to join Sir Elton John on his worldwide tour. The song charted at No. 10 on the Billboard Hot 100 Digital Songs Chart and landed the 2CELLOS' debut album in the Top 100.


    In addition to many sold out solo tours (US, Japan, Europe) and collaborations with the Red Hot Chili Peppers, Queens of the Stone Age and George Michael, the duo have also appeared on major TV shows such as The Tonight Show with Jay Leno, The Ellen DeGeneres Show, The Bachelor and many others. Together with the Chinese classical superstar pianist Lang Lang, they appeared at the CCTV New Year's Gala for more than 1 billion viewers.

    1. Where The Streets Have No Name
    2. Misirlou (Theme From Pulp Fiction)
    3. Use Somebody
    4. Smooth Criminal
    5. Fragile
    6. The Resistance
    7. Hurt
    8. Welcome To The Jungle
    9. Human Nature
    10. Viva La Vida
    11. Smells Like Teen Spirit
    12. With Or Without You
    2Cellos
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cello Concertos Cello Concertos Quick View

    $44.99
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    Cello Concertos

    The greatest cellist of modern time -- well, who could argue with a statement like that? After all, Mstislav Rostropovich is a supreme virtuoso, a charismatic performer, and a sublime interpreter and virtually every one of his recordings is as good as it gets for the repertoire. The key word, of course, is virtually: while Rostropovich's Dvorák concerto with Karajan, his Beethoven sonatas with Richter, his Brahms sonatas with Serkin, and above all his Shostakovich sonata with Shostakovich are definitive, can one say the same of his Boccherini, Vivaldi, and Tartini concertos with Paul Sacher? Or could one say that Rostropovich does not so much play the music of the great Italian Baroque composers as overwhelm it, that his virtuosity, his charisma, and his interpretations are more than the music can bear and that the listener is left not with fond memories of the music but instead with the overpowering impression of an unstoppable musical personality having his way with the music. The results are initially awe-inspiring but may ultimately prove to some to be empty. Accompanied -- the more appropriate word might be enabled -- by Sacher and the Collegium Musicum ZÜrich, the greatest cellist of modern times came, saw, and conquered the finest cello concertos of Baroque times. Whether that's a good thing or not is up to the listener.

    - All Music Guide


    Musicians:

    Mstislav Rostropovich, cello

    Side 1:
    Luigi Boccherini (1743-1805)
    Concerto for Violoncello and Strings No. 2 in D major
    1. Allegro
    2. Adagio
    3. Allegro


    Antonio Lucio Vivaldi (1678-1741)
    Concerto for Violoncello, Strings and Continuo in C major (P. 31)
    4. Allego
    5. Largo
    6. Allegro


    Side 2:
    Giuseppe Tartini (1692-1770)
    Concerto for Violoncello and Strings in A major
    1. Allegro
    2. Larghetto
    3. Allegro assai


    Antonio Lucio Vivaldi (1678-1741)
    Concerto for Violoncello, Strings and Continuo in G Major (P. 120)
    4. Allegro
    5. Largo
    6. Allegro

    Antonio Vivaldi
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bach: 1-6 Solo Cello Suites (Speakers Corner) Bach: 1-6 Solo Cello Suites (Speakers Corner) Quick View

    $95.99
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    Bach: 1-6 Solo Cello Suites (Speakers Corner)

    Today it is difficult to understand that despite the tremendous Bach renaissance that took place in the 19th century many compositions by the Cantor of St. Thomas's Church in Leipzig had been underrated. The Cello Suites, for example, have been regarded for almost 300 years as purely a set of tricky etudes that every virtuoso in the making simply must tackle. What recording engineers and their equipment can bring to the ears is quite astounding. So it was back in the Thirties with Pablo Casal's legendary recording against which every cellist is measured today and to whose perfection he aspires.



    Janos Starker's recording of the Suites from 1965 makes a lasting impression on the listener, even when compared with other recordings from the digital era, and even record producers who are well used to recorded excellence have been highly impressed. For Charlotte Gilbert of the Mercury record label, these recording sessions were one of five truly great events in all her 20 years of recording experience.



    Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker's full-bodied sound and technical brilliance are complemented by his finely chiselled interpretation that lends immense expression to Bach's thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach's Cello Suites are 'polyphony for a solo instrument'.



    Musicians:



    • Janos Starker (cello)




    Recording: April 1963, September and December 1965 at ballroom Studio A at Fine Recording Studios, New York, by C. Robert Fine and Robert Eberenz

    Production: Wilma Cozart



    Format: 3LPs 33rpm / Box, booklet



    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.



    Janos Starker
    $95.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Moths Moths Quick View

    $15.99
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    Moths

    Jacob Morris is from Athens, Georgia. He started playing cello in Austin, TX at the age of four, and played with his musical family until he left home. The unique music community that is Athens attracted him years back. and since then he has supported some of its finest musicians and songwriters playing cello, guitar, bass, and keys with artists such as Ham 1, Vic Chesnutt, Liz Durrett, Madeline, and currently Patterson Hood of the Drive-By Truckers. Taking cues from the psychedelic pop and folk of this robust scene, Jacob has crafted a stellar debut with his Moths album.
    1. Sidewind
    2. Flowers (Myrtle)
    3. Spider
    4. Lost Twilight
    5. Dusty
    6. Wet Cigarette
    7. Dirty Dove
    8. Glass
    9. Landscapes
    10. Click of Your Watch (take 1)
    Jacob Morris
    $15.99
    Vinyl LP - Sealed Buy Now
  • Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner) Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner) Quick View

    $34.99
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    Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner)

    Schumann rapidly composed his Cello Concerto in only two weeks during an extremely productive creative phase. Its first performance was quite another story. Although the piece was written first and foremost for this beautiful instrument, so Schumann, no cellist showed any desire to perform the work in concert. Initially the cellist Robert Bockmhl from Frankfurt had shown interest in the piece, but then declined to play it after Schumann had refused to comply with his wishes for certain changes. This led to the unfortunate fact that Schumann did not live to see the work's premiere. Things went quite differently with Edouard Lalo, who described himself as a self-taught composer; an excellent cellist himself, Lalo could be sure that his work would be heard in the concert hall.



    Both works are connected by the pioneering attempt to establish the cello as a solo instrument in concert life in the 19th century. Right from the fifth bar of the Schumann concerto Janos Starker is able to display his mastership in the expansive main theme. He enjoys to the full the opportunities to explore the instrument's range of tone and expression, and this he does with clarity and a full tone. In the Lalo too he demonstrates his absolute virtuosity: in the lyrical passages he delights us with a melting cantabile, in the Saltarello finale he demonstrates his perspicacity and fills the triumphant writing with elegance and tonal resonance. Luckily this music has found its way to one of today's most outstanding cellists.




    Recording: July 1962 at Watford Town Hall, United Kingdom, by C. Robert Fine

    Production: Wilma Cozart-Fine and Harold Lawrence




    About Speakers Corner



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



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



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



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



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



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



    1. Robert Schumann: Concerto for cello and orchestra in A minor, op. 129
    2. Édouard Lalo: Concerto for cello and orchestra in D minor
    Janos Starker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak: Cello Concerto & Saint-Saens: Cello Concerto No. 1 Dvorak: Cello Concerto & Saint-Saens: Cello Concerto No. 1 Quick View

    $29.99
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    Dvorak: Cello Concerto & Saint-Saens: Cello Concerto No. 1

    This key recording is being released on double LP as part of the celebration of Rostropovich - Cellist of the Century.
    LP 1
    1. Cello Concerto in B Minor, Op. 104: I. Allegro
    2. Cello Concerto in B Minor, Op. 104: II. Adagio ma non troppo


    LP 2
    1. Cello Concerto in B Minor, Op. 104: III. Finale (Allegro moderato)
    2. Cello Concerto No. 1 in A Minor, Op. 33: Allegro non troppo
    3. Cello Concerto No. 1 in A Minor, Op. 33: Allegretto con moto
    4. Cello Concerto No. 1 in A Minor, Op. 33: Allegro non troppo

    Mstislav Rostropovich
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Elgar: Cello Concerto, Sea Pictures Elgar: Cello Concerto, Sea Pictures Quick View

    $23.99
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    Elgar: Cello Concerto, Sea Pictures

    At the premiere of Elgar's Cello Concerto in 1919, John Barbirolli - himself a cellist - was playing in the London Symphony Orchestra. When he recorded the work in 1965 he chose Jacqueline du PrÉ as soloist and she remains inextricably linked with this elegiac, but passionate work. Barbirolli's special affection for Elgar's music is just as evident in the glorious account of Sea Pictures with Janet Baker and the Philharmonia Orchestra.
    1. Cello Concerto in E Minor, Op. 85: I. Adagio - Moderato
    2. Cello Concerto in E Minor, Op. 85: II. Lento - Allegro molto
    3. Cello Concerto in E Minor, Op. 85: III. Adagio
    4. Cello Concerto in E Minor, Op. 85: IV. Allegro - Moderato - Cadenza - Allegro, ma non troppo - Adagi
    5. Sea Pictures, Op. 37: I. Sea Slumber-Song
    6. Sea Pictures, Op. 37: II. In Haven (Capri)
    7. Sea Pictures, Op. 37: III. Sabbath Morning at Sea
    8. Sea Pictures, Op. 37: IV. Where Corals Lie
    9. Sea Pictures, Op. 37: V. The Swimmer
    Jacqueline Du Pre
    $23.99
    Vinyl LP - Sealed Buy Now
  • Haydn / Boccherini: Cello Concertos Haydn / Boccherini: Cello Concertos Quick View

    $22.99
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    Haydn / Boccherini: Cello Concertos

    This LP comes from the 5xLP boxset that was released in November 2017 for the 30th anniversary of death of Jacqueline du PrÉ. It uses the 24-BIT/96kHz remastering made at Abbey Road in 2011 for Japanese SACD versions. Jacqueline du PrÉ, performing with one of the conductors most closely associated with her career, brings characteristic exuberance, passion and colour to two cello concertos rooted in the 18th-century. In his memoir A Life in Music, Daniel Barenboim wrote: "I have never encountered anyone for whom music was such a natural form of expression as it was for Jacqueline She had a capacity to imagine sound such as I never met in any other musician."

    Haydn: Cello Concerto In C Major
    1. 1st Movement: Moderato - Cadenza - Tempo I
    2. 2nd Movement: Adagio - Cadenza - Tempo I
    3. 3rd Movement: Allegro Molto
    Boccherini: Cello Concerto In B Flat Major
    1. 1st Movement: Allegro Moderato - Cadenza - Tempo I
    2. 2nd Movement: Adagio Non Troppo
    3. 3rd Movement: Rondo (Allegro - Cadenza) - Tempo I
    Jacqueline Du Pre
    $22.99
    Vinyl LP - Sealed Buy Now
  • Schumann / Saint-Saens: Cello Concertos Schumann / Saint-Saens: Cello Concertos Quick View

    $22.99
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    Schumann / Saint-Saens: Cello Concertos

    This LP comes from the 5xLP boxset that was released in November 2017 for the 30th anniversary of death of Jacqueline du PrÉ; it uses the 24-BIT/96kHz remastering made at Abbey Road in 2011 for Japanese SACD versions. "It is good to be reminded of du PrÉ's vivid, intense and joyful music-making", wrote Gramophone of this pairing of cello concertos by Schumann and Saint-Saëns. "[The Schumann] has that kind of spontaneous freedom of line that made her account of the Elgar so famous. Her delicacy of response in the slow movement is matched by a romantic flair which carries the outer movements along so admirably. Barenboim directs a sympathetic accompaniment, following her subtle manipulation of rubato with complete understanding."
    Schumann: Cello Concerto In A Minor
    1. Cello Concerto in A Minor, Op. 129: I. Nicht zu schnell
    2. Cello Concerto in A Minor, Op. 129: II. Langsam - Etwas lebhafter - Schneller
    3. Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft
    Saint-Saens: Cello Concerto No. 1 In A Minor
    4. Cello Concerto No. 1 in A Minor, Op. 33: I. Allegro non troppo
    5. Cello Concerto No. 1 in A Minor, Op. 33: II. Allegretto con moto
    6. Cello Concerto No. 1 in A Minor, Op. 33: III. Un peu moins vite
    Jacqueline Du Pre
    $22.99
    Vinyl LP - Sealed Buy Now
  • Dvorak: Cello Concerto; Bruch: Kol Nidrei Dvorak: Cello Concerto; Bruch: Kol Nidrei Quick View

    $18.99
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    Dvorak: Cello Concerto; Bruch: Kol Nidrei

    Newly presented on 180g heavyweight vinyl, Decca are proud to present an iconic Mercury Living Presence album
    from the analogue era back on vinyl. Presented with original artwork and pressed at Optimal GmbH, each release
    has been carefully mastered from the original Decca analogue tapes at Abbey Road Studios.


    This LP includes Dvorak's Cello Concerto and Bruch's Kol Nidrei performed by Janos Starker with the London Symphony Orchestra conducted by Antal Doráti.

    1. Allegro
    2. Adagio ma non troppo
    3. Finale (Allegro moderato)
    4. Kol Nidrei, Op.47
    Janos Starker / London Symphony Orchestra / Antal Dorati
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Shostakovich: Cello Concerto No. 2 (Speakers Corner) Shostakovich: Cello Concerto No. 2 (Speakers Corner) Quick View

    $34.99
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    x

    Shostakovich: Cello Concerto No. 2 (Speakers Corner)

    The world of music expects something special from the dedicatees of major compositions, especially when the honoured person himself performs the work either on stage or in the recording studio. Among such personages is Mstislav Rostropovich, the great maestro of the cello, who studied and successfully collaborated with Dmitri Shostakovich while still a student at the Moscow Conservatory and who later gave the premiere performances of his Cello Concertos.



    The Cello Concerto No. 2 from 1966 was composed around the same time as the highly emotional choral Symphonies Nos. 13 and 14 and displays a similar character of gloom and grim drama. The soloist presents the dark theme out of the depths and soon enters into brighter regions full of aggressive layers of sound. A wild conflict between soloist and orchestra follows, whereby the forced gaiety of the cello rages.
    As a contrast, the soloist is in perfect harmony with the piano in Glazunov's Chant du MÉnestrel. Supported by warm chords, Rostropovich lets his instrument soar to the heights in a cultivated and thoughtful fashion and proves once again that he is truly a great interpreter of Russian music.




    Recording: August 1975 at Boston Symphony Hall by Hans-Peter Schweigmann

    Production: Thomas Mowrey




    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.

    Dmitri Shostakovich: Concerto for Violoncello and Orchestra No. 2
    Alexander Glazounov: Chant du Menestrel - Mstislav Rostropovich and the Boston Symphony Orchestra conducted by Seiji Ozawa
    Dmitri Shostakovitch
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Britten / Schumann - Cello Sonata (Speakers Corner) Britten / Schumann - Cello Sonata (Speakers Corner) Quick View

    $34.99
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    x

    Britten / Schumann - Cello Sonata (Speakers Corner)

    The cello has always been held in high esteem for its warm, noble timbre and range of expression. So it is no wonder that numerous solo pieces have been written for the instrument. In this recording, the cellist Mstislav Rostropovich, together with the great Benjamin Britten at the piano, have left the accustomed pathway to perform three less well-known - but nevertheless excellent - works from the 19th and 20th century.



    Robert Schumann's FÜnf StÜcke im Volkston allows the cellist to bring out the whole beauty of his instrument. Well-paced tempi, a crystal-clear tone, and an exquisitely precise piano part emphasize the unique character of this music - a work which points the way towards modern times.



    The mysterious tonal and harmonic world of the Impressionists is evoked by Debussy's Sonata for Piano and Cello. Written in the aftermath of the First World War, it reflects human tragedy and a feeling of oppression and anxiety.



    Britten's Cello Sonata was tailormade for Rostropovich and dedicated to the great cellist. The two musicians, both of them technical perfectionists, provide an inspired performance - beginning with the thrilling dialogue of the very first bars, via a lyrical elegy, right up to the gripping Finale in 6/8 time. To sum it up: top marks for music, tonal quality and choice of repertoire.





    Musicians:



    • Mstislav Rostropovich (cello)

    • Benjamin Britten (piano)






    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.



    Mstislav Rostropovich
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Sonatas For Piano and Cello (Speakers Corner) (Awaiting Repress) Beethoven: Sonatas For Piano and Cello (Speakers Corner) (Awaiting Repress) Quick View

    $69.99
    Buy Now
    x

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

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



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



    Musicians:



    • Mstislav Rostropovich (cello)

    • Sviatoslav Richter (piano)



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

    Production: Harold Lawrence



    About Speakers Corner



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



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



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



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



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



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


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

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

    $34.99
    Buy Now
    x

    Shostakovitch: Cello Concerto, Symphony No. 1 (Speakers Corner)

    Dmitri Shostakovich: Cello Concerto No. 1 in E-flat major op. 107; Symphony No. 1 in F minor, op. 10


    That every beginning has its magic may almost have become forgotten these days, when true world premieres of musical works are almost non-existent. But this special magic still remains in the present recording of Shostakovich's Cello Concerto No. 1, which was first heard with these artists in 1959. Shostakovich dedicated the work to his friend Mstislav Rostropovich who committed the virtuoso solo part to memory in only four days, before the concert took place. The cellist tackles the work dauntlessly right from the beginning and swirls the burlesque staccatos through space. With a lovely sound and quite in accordance with the title of the movement, Espressivo, the soloist lets the melody breathe, supported by wonderfully sonorous orchestral writing, answered by calls on the solo horn.


    The Finale makes itself heard with a robust inflection, which the soloist counters with an imperturbable steadfastness of rhythm that not only demands refinement but also playing in the top regions and double-stopped harmonics.


    That this recording is indisputably a work of reference is underlined by its coupling with the First Symphony, which is well worth listening to. Shostakovich composed this work as his graduation piece at the Leningrad Conservatory more than 30 years earlier.


    Musicians:


    • Mstislav Rostropovich and the Philadelphia Orchestra conducted by Eugene Ormandy


    Recording: November 1959 at Broadwood Hotel, Philadelphia, USA, by Stan Tonkel

    Production: Thomas Frost


    About Speakers Corner


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



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



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



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



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



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


    Concerto For Cello In E Flat, Op. 107
    I - Allegretto
    II - Moderato / III - Andantino - Allegro / IV - Allegro Non Troppo


    Symphony No. 1 In F Major, Op. 10
    I - Allegretto
    II - Allegro
    III - Lento
    IV - Allegro Molto

    Dmitri Shostakovitch
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schubert: Complete Trios For Piano And Cello (Speakers Corner) Schubert: Complete Trios For Piano And Cello (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Schubert: Complete Trios For Piano And Cello (Speakers Corner)

    Anyone who takes an interest in Schubert's late works will sooner or later come across clichÉ-like interpretations of his music that have been associated with a foreboding of his early death. Robert Schumann on the other hand was more objective when he looked at the score of Schubert's two great Piano Trios: he characterised that in E flat major as effectual, masculine and dramatic, and the sister work in B flat major as languishing, feminine and lyrical. Both masterpieces have in common highly varied movements, which must be approached with great insight, a deeply felt sustained lyricism, and a courageous approach as regards the bold themes. That this recording with the Beaux Arts Trio has taken on a benchmark status might well lie in the fact that the three musicians amalgamate romantic fire with analytical aplomb which results in Schubert pure. With their non-stop ebb and flow of melodies, wonderfully indulgent sound colouring and a fiery tour de force through the miraculously winding harmonic paths, the Beaux Arts Trio prove themselves to be among the very best of all Schubert interpreters.



    Having taken their final bow at a concert in Leipzig in September 2009 after 54 years, the time is certainly ripe for an audiophile re-release of this superb recording.





    Recording: February 1966





    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. Piano Trio In B Flat Major Sonata
    2. Piano Trio In E Flat Major Notturno
    3. Piano Trio In B Flat Major OP. 99
    4. Piano Trio In E Flat Major OP. 100
    Franz Schubert
    $69.99
    180 Gram Audiophile Virgin Vinyl LP- 2 LPs Sealed Buy Now
  • Brahms - Sonata for Cello and Piano (Speakers Corner) (Awaiting Repress) Brahms - Sonata for Cello and Piano (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

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

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



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



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



    Musicians:



    • Janos Starker (cello)

    • Gyorgy Sebok (piano)




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

    Production: Harold Lawrence




    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.


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

    2. Allegro Non Troppo

    3. Allegretto Quasi Minuetto

    4. Allegro


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

    6. Allegro Vivace

    7. Adagio Affetuoso

    8. Allegro Passionato

    9. Allegro Molto

    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Plays Metallica By Four Cellos (Awaiting Repress) Plays Metallica By Four Cellos (Awaiting Repress) Quick View

    $27.99
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    x

    Plays Metallica By Four Cellos (Awaiting Repress)

    Includes 3 Bonus Tracks Never Before Available


    Take four cellos, mix with a quartet of Finnish classical-music students who possess a note-for-note knowledge of metal giants Metallica, and beat gently. Viola! You have a truly stirring album that provides tangible evidence of the dramatic passages and intricate arrangements that classical music and heavy metal share.


    On Enter Sandman and Creeping Death, the exquisite playing of the cellists intensifies the darkness and emotion of Metallica. In the process the strength and versatility of the group's songwriting is given more credence.


    Perhaps the most remarkable element of the album is the faithfulness that's shown to the original songs, right down to faultlessly following the vocal melodies. With Plays Metallica by Four Cellos, Apocalyptica have proved that the universal language of good music is unbound by genre. Here is a clever concept brilliantly realized.


    --Steffan Chirazi

    1. Enter Sandman
    2. Master Of Puppets
    3. Harvester Of Sorrow
    4. The Unforgiven
    5. Sad But True
    6. Creeping Death
    7. Wherever I May Roam
    8. Welcome Home (Sanitarium)
    9. Battery (Bonus Track)
    10. Nothing Else Matters (Bonus Track)
    11. Seek And Destroy (Bonus Track)
    Apocalyptica
    $27.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Plays The Music Of John Williams Plays The Music Of John Williams Quick View

    $39.99
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    x

    Plays The Music Of John Williams

    Import

    180 Gram Audiophile Vinyl

    PVC Protective Sleeve

    Includes 4-Page Booklet

    15th Anniversary

    Unique Collaboration Between John Williams And Yo-yo Ma

    Available On Vinyl For The First Time!

    Yo-Yo Ma Plays the Music of John Williams is a 2002 album of John Williams compositions performed by Yo-Yo Ma and the Recording Arts Orchestra of Los Angeles.

    For an instrument with such rich expressive powers, the cello has long suffered from a shortage of great concertos. Leave it to John Williams, the composer best known for his popular, emotionally charged scores to Star Wars, ET, and many other blockbuster movies, to ride to the rescue with a new Cello Concerto, an intense, expressive, and rhythmically vital offering tailor-made for Yo-Yo Ma's dexterous touch.

    Like the composer's Violin Concerto, this one is imbued with impressionistic textures and colors, but there's also a hard-driving, modern edge. Call it 21st-century Ravel. Williams wrote the concerto with Ma in mind, and it's a test of even Ma's formidable technique. It also boasts powerful orchestral writing, especially for the percussion and brass.

    Three other premieres are included on the album as well. The Elegy for Cello and Orchestra is a lyrical and atmospheric tone poem, with shades of FaurÉ at every turn of phrase. The expressionistic Three Pieces for Solo Cello, though, seem more akin to Benjamin Britten's solo cello suites in their abstract, concentrated intensity. Heartwood is another tender and sensitive reverie. It gradually builds in strength but ends as it began, with a whisper of tranquil serenity.

    Ma's virtuosity is dazzling, and his engagement with the music is typically deep. He makes clear that Williams's music isn't just for the movies; indeed, with his new concerto, Williams has done the cello a great service.

    Yo-Yo Ma Plays the Music of John Williams celebrates its 15th anniversary this year and is now finally available on vinyl for the first time. A 4-page booklet with an extensive story written by John Williams is included.

    LP 1
    1. Concerto for Cello and Orchestra
    - I. Theme and Cadenza
    - II. Blues
    - III. Scherzo
    - IV. Song
    2. Elegy for Cello And Orchestra


    LP 2
    1. Three Pieces for Solo Cello
    - I. Rosewood
    - II. Pickin'
    - III. the Long Way North
    2. Heartwood

    Yo-Yo Ma
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Cult Cult Quick View

    $27.99
    Buy Now
    x

    Cult

    Finnish cello-based heavy rockers Apocalyptica want to be remembered as the band that brought balls back to heavy metal and the band that did so in a unique way. Since its inception, the band has been mining the classical form and structure, coming up with something totally unpredictable and utterly unforgettable. Twenty years into an inimitable and formidable career, they are still reinventing themselves and finding new sources of inspiration. That's not easy to do!


    Originally released in 2001, Cult was a landmark album for Apocalyptica, showing off their compositional skills as they incorporated original material into their blend of Metallica covers, classical reinterpretations, and stunning cello acrobatics.

    1. Path
    2. Struggle
    3. Romance
    4. Pray!
    5. In Memoriam
    6. Hyperventilation
    7. Beyond Time
    8. Hope
    9. Kaamos
    10. Coma
    11. Hall of the Mountain King
    12. Until It Sleeps
    13. Fight Fire with Fire
    14. Path
    Apocalyptica
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
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