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Cello Concertos

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  • 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
  • The Heart Of The Cello The Heart Of The Cello Quick View

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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
  • 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
  • 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 & 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
  • 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
  • Shostakovich: Cello Concerto No. 2 (Speakers Corner) Shostakovich: Cello Concerto No. 2 (Speakers Corner) Quick View

    $34.99
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    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
  • 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
  • Shostakovitch: Cello Concerto, Symphony No. 1 (Speakers Corner) Shostakovitch: Cello Concerto, Symphony No. 1 (Speakers Corner) Quick View

    $34.99
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    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
  • 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
  • Beethoven: Triple Concerto (Speakers Corner) Beethoven: Triple Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Beethoven: Triple Concerto (Speakers Corner)

    Why does the piano part seem comparatively simple in contrast to the violin and cello parts, which make the highest demands on the instrumentalists? And why on earth do three musicians play in concert with an orchestra? As interesting as these questions are with regard to Beethoven's cryptic Triple Concerto, there is a multitude of ways to approach this exceptional work by the great symphonist. In the gallantry of the expression, and keeping in mind the demand for playable parts for his invited circle of musical connoisseurs, Beethoven developed his very own concertante tonal language. This language is brought to life by Rudolf Serkin (piano), Jaime Laredo (violin) and Leslie Parnas (cello) in that they enter continually newly arranged dialogues and thereby offer the listener a warm palette of colours and melodies.



    The orchestral antagonists - the Marlboro Festival Orchestra - weaves a chamber music-like, delicate and wonderfully transparent carpet of sound, upon which Beethoven's characteristic woodwind instruments are bedded like roses. Thanks to these attributes, this recording appears to take place in the luminous glow of a private house and thus conveys a charming yet stimulating atmosphere.



    Musicians:



    • Rudolf Serkin (piano)

    • Jaime Laredo (vocals)

    • Leslie Parnas (cello)

    • and the Marlboro Festival Orchestra concucted by Alexander Schneider




    Recording: May 1962 at Columbia 30th Street Studio, New York, by Ed Michalski and John Johnson

    Production: Thomas Frost



    About Speakers Corner



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



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



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



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



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



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

    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Triple Concerto in C Beethoven: Triple Concerto in C Quick View

    $44.99
    Buy Now
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    Beethoven: Triple Concerto in C

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


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


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


    Musicians:

    Beethoven (composer)

    Ferenc Fricsay (conductor)

    Berlin Radio Symphony Orchestra Geza Anda (piano)

    Wolfgang Schneiderhan (violin)

    Pierre Fournier (cello)

    1. Allegro
    2. Largo (attacca)

    3. Rondo alla polacca
    Ferenc Fricsay
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 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
  • Wiener Philharmoniker - 175th Anniversary Edition (Box Set) Wiener Philharmoniker - 175th Anniversary Edition (Box Set) Quick View

    $139.99
    Buy Now
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    Wiener Philharmoniker - 175th Anniversary Edition (Box Set)

    Celebrating the Wiener Philharmoniker's 175th anniversary with a special vinyl release: A limited, numbered edition
    of 1842 sets. Includes the first release of Bruckner's Symphony No. 2 with Riccardo Muti. Schumann's Symphony
    No. 3 and Cello Concerto conducted by Leonard Bernstein. Includes three other legendary recordings: Carlos
    Kleiber's Beethoven's 7th Symphony; Claudio Abbado's Brahms' Hungarian Dances; Herbert von Karajan
    conducting Wagner Orchestral Works and Liebestod.
    Wiener Philharmoniker
    $139.99
    Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • Plays The Music Of John Williams Plays The Music Of John Williams Quick View

    $39.99
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    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
  • Tabula Rasa Tabula Rasa Quick View

    $27.99
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    Tabula Rasa

    The Berlin based Estonian Arvo PÄrt is one of the most important composers of the post-war era. His postmodern style is equally inspired by traditional as by new methods and has earned him the reputation of being a visionary.


    Tabula Rasa stands as one of his most widely-performed compositions, as well as a fine example of his mature style. At once reverent, bleak and timeless, rich with otherwordly harmonies, Tabula Rasa aptly displays exactly why Arvo PÄrt is regarded as one of the most exceptional composers of the late 20th century.


    This 2LP set from Vinyl Passion includes: Tabula Rasa - Concerto for 2 Violins, Prepared Piano and String Orchestra (1971); Symphony No. 1 'Poliphonic' (1964); Collage On The Theme B-A-C-H (1964); and Concerto for Cello and Orchestra. To Mstislav Rostropovich (1966).

    LP1:
    Tabula Rasa: Concerto for 2 Violins, Prepared Piano and String Orchestra (1971)
    1. Ludus
    2. Silentium


    LP2
    Symphony No. 1 'Poliphonic' (1964)
    1. Kanons
    2. Prelude and Fugue
    Collage On The Theme B-A-C-H (1964)
    3. Toccata
    4. Sarabande
    5. Ricercar
    Concerto for Cello and Orchestra. To Mstislav Rostropovich (1966)
    6. Maestoso
    7. Largo
    8. Allegro

    Arvo Part
    $27.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • 5 Legendary Recordings (Box Set) (Out Of Stock) 5 Legendary Recordings (Box Set) (Out Of Stock) Quick View

    $64.99
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    5 Legendary Recordings (Box Set) (Out Of Stock)

    "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. Providing a treasurable memento of her art, this is a newly-assembled 5LP collection of masterworks for cello and orchestra from three centuries. It includes the Elgar Concerto, so closely associated with du PrÉ, and a 1968 recording of Strauss's Don Quixote which, after a complex genesis, was not released until 1995, the height of the CD era. Now, it makes its first appearance on LP. In each work, the cellist provides evidence of what her teacher, William Pleeth, described as the "perfect balance of youth and maturity".


    Warner Classics pays tribute to the beloved Jacqueline du PrÉ around the 30th anniversary of her passing with these 5 LPs of legendary recordings. A true genius of the cello, full of joy and life, Jacqueline du PrÉ passed away on October 19th, 1987, aged only 42, after many years of fighting multiple sclerosis. This is a limited edition with a beautiful artwork at a bargain price. Four of the five LPs are designed from the original LP covers, except the Strauss which has never been released on LP before. These four albums are the 24-BIT/96kHz remastered versions made at Abbey Road in 2011 for Japanese SACD versions.

    LP 1
    1. Edward Elgar - Cello Concerto In E Minor, Op. 85
    2. Edward Elgar - Sea Pictures, Op. 37


    LP 2
    1. Joseph Haydn - Cello Concerto No. 1 In C Major, Hob. Viib:1
    2. Luigi Boccherini - Cello Concerto In B-flat Major (Arr. Grutzmacher)


    LP 3
    1. Robert Schumann - Cello Concerto In A Minor, Op. 129
    2. Camille Saint-saëns - Cello Concerto No. 1 In A Minor, Op. 33


    LP 4
    1. Richard Strauss - Don Quixote, Fantastic Variations On A Theme Of Knightly Character For Cello, Viola & Orchestra, Op.35


    LP 5
    1. Antonín Dvorak - Cello Concerto In B Minor, Op. 104, B.191
    2. Antonín Dvorak - Silent Woods, Op.68, B.182

    Jacqueline Du Pre
    $64.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 5 LPs Sealed Temporarily out of stock
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