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Dmitri Shostakovich

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

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    Shostakovich - Symphony No. 5 (Speakers Corner)

    One of the most fascinating aspects of Dmitri Shostakovich's music was and still remains his aesthetic ambiguity, the likes of which is almost impossible to find in modern music. The Fifth Symphony in particular is regarded as an excellent example of how, during Stalin's regime, Shostakovich outwardly remained true to the regulations concerning art while still managing not to forfeit his own artistic freedom and identity. Conceived in a classical vein, the work is filled with powerful motion and Russian song, even going almost as far as late-Romantic transfiguration. But this idyll is deceptive. Again and again the apparent harmony is disrupted by biting sarcasm: the spirited main theme of the first movement soon stiffens into a march-like farce, while in the untroubled second movement a shrill motif in the winds tears apart the cheerful mood.



    Skrowacziewski amalgamates the contrasting tender sweetness of the violins and the violence of the attacking wind instruments in his precise and sparing interpretation, which is free of sugary expression and forced dynamics. His well-balanced conducting, combined with the wonderfully transparent recorded sound creates an ideal basis for identifying all the details which Shostakovich composed 'between the lines of the staff'.




    Recording: March 1961 at Northrop Memorial Auditorium, Minneapolis, USA, by C.R. Fine and Robert Eberenz

    Production: Wilma Cozart Fine




    About Speakers Corner



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



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



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



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



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



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



    Stanislaw Skrowaczewski
    $34.99
    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
  • Borodin - String Quartet No. 2 / Shostakovich - Quartet No. 8 (Speakers Corner) (Awaiting Repress) Borodin - String Quartet No. 2 / Shostakovich - Quartet No. 8 (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
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    Borodin - String Quartet No. 2 / Shostakovich - Quartet No. 8 (Speakers Corner) (Awaiting Repress)

    Unlike his fellow countryman Tchaikovsky, it wasn't easy for Alexander Borodin to achieve the recognition due to him. As a professor of chemistry, Borodin found very little time for composing, but in spite of this he is considered one of the most important Russian symphonic composers of the 19th century. Borodin also created works for small ensembles; thanks to its beautiful, slow notturno, his String Quartet No. 2 is among the most important compositions in chamber music.



    Dmitri Shostakovich has often been honoured as one of the outstanding composers of this century. Shostakovich was devastated by the destruction of Dresden and the composition of the moving String Quartet No. 8 was his means of overcoming his war experiences. The intensity of this piece is augmented by the relaxed climax in the largo which brings his composition to a serene ending.
    The international career of the Moscow Philharmonic Quartet began in 1955 when it took on the honourable title "The Borodin Quartet". These 1962 recordings are masterly performances, full of great expressivity. Even the highest demands are met by the warm and full sonority.






    Recording: September 1962 at DECCA Studios, London by J. Clegg

    Production: E. Smith





    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.


    The Borodin Quartet
    $34.99
    180 Gram Audiophile Virgin 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
    Buy Now
    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
  • Duo (Schumann, Debussy, Shostakovich, Brahms) Duo (Schumann, Debussy, Shostakovich, Brahms) Quick View

    $25.99
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    Duo (Schumann, Debussy, Shostakovich, Brahms)

    Two of today's most passionate and inspirational artists join forces in the recital programme that brought audiences to their feet at the Menuhin Festival in
    Gstaad in Summer 2011. The chemistry between HÉlène Grimaud and Sol Gabetta left critics and audiences nothing short of euphoric and this first duo
    recording captures the revelatory magic of their collaboration.


    This is the first time, that either artist has embarked on a dedicated duo recording project and it goes far beyond a traditional musical collaboration. Based
    on a rare understanding on many levels - musical, emotional and personal, this fresh and strong encounter does not even raise the question of who
    accompanies whom. Finding new musical insights in familiar work, HÉlène and Sol present masterpieces in new light.


    The album reprises the same programme the duo performed in Gstaad: Robert Schumann's FantasiestÜcke, Claude Debussy's Sonata for Cello and Piano in D minor, Johannes Brahms Sonata for Cello and Piano No.1 in E minor and Dmitri Shostakovich's Sonata for Cello and Piano.


    "Grimaud doesn't sound like most pianists: she is a reinventor of phrasings, a taker of chances Her albums aren't merely proficient tours through the
    repertoire; they are highly personal explorations that can stand out among dozens of rival performances. Her strongly interpretive playing has made her
    a favorite among many conductors and reviewers." (The New Yorker). HÉlène's recordings have been best-sellers on the Yellow Label with more than 800.000 units sold altogether to date.


    Like Grimaud, in addition to performing traditional repertoire with the world's great orchestras, Sol Gabetta is a champion of new works and a passionate
    musical collaborator. Argentine-French of Russian origin, Sol is a best-selling, chart-storming artist, who is regarded as one of the great cellists of our day,
    impressing with her intriguing, full-bodied approach and a charismatic, conquering personality.

    LP 1
    1. Zart und mit Ausdruck
    2. Lebhaft, leicht
    3. Rasch und mit Feuer
    4. Prologue (lent)
    5. SÉrÉnade (ModÉrÉment animÉ)
    6. Finale (AnimÉ)


    LP 2
    1. Allegro non troppo
    2. Allegretto quasi minuetto
    3. Allegro - Più presto
    4. Allegro non troppo
    5. Allegro
    6. Largo
    7. Allegro

    Grimaud / Gabetta
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Schubert: Trout Quintet Schubert: Trout Quintet Quick View

    $24.99
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    Schubert: Trout Quintet

    Sviatoslav Richter is universally acknowledged to be one of the greatest pianists of the 20th century, renowned for his virtuoso technique and the depth of his interpretations. Dmitri Shostakovich said about him: "Richter is an extraordinary phenomenon. The enormity of his talent staggers and enraptures. All the phenomena of musical art are accessible to him." He trained at the Moscow Conservatory under Heinrich Neuhaus, who considered Richter "already a complete artist, who had the ability to build a piece so that it seemed to lie before him like an immense landscape, revealed to the eye at a single glance.


    The Borodin Quartet was founded in 1945 at the Moscow Conservatoire - the first cellist a certain Mstislav Rostropovich was replaced after few weeks by Valentin Berlinsky - was also close to Shostakovich, who personally consulted them on each of his quartets. The Borodin Quartet, celebrated for penetrating phrase and warm sound, was Richter favorite chamber music partner.


    Georg Hörtnagel is a German double bassist who used to play with Bayerische Staatsoper during the Georg Solti era.


    About this Austrian live recording from June 1980 GRAMOPHONE said: "This is a performance of high quality. Sviatoslav Richter in particular precisely catches the cheerful mood of the music and the underlying shadows of which one should sometimes be conscious, and he plays those simple tunes in octaves so freshly that you'd think he'd only just discovered their charms."

    1. Piano Quintet in A Major, D. 667, Trout: I. Allegro vivace
    2. Piano Quintet in A Major, D. 667, Trout: II. Andante
    3. Piano Quintet in A Major, D. 667, Trout: III. Scherzo (Presto)
    4. Piano Quintet in A Major, D. 667, Trout: IV. Tema (Andantino)
    5. Piano Quintet in A Major, D. 667, Trout: V. Finale (Allegro giusto)
    Sviatoslav Richter
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Way We Are (Discontinued) The Way We Are (Discontinued) Quick View

    $22.99
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    The Way We Are (Discontinued)

    Following their abstract masterpiece, The World I See, The Present returns with an album that delves ever deeper into the human psyche. Like an audio equivalent of Apocalypse Now, The Way We Are is by turns terrifying, enchanting, hallucinatory, and sharply focused. A psychedelic power-trio from a mythical dimension, The Present creates a strangely familiar music, as if they had already seen your dreams and your nightmares.


    In order to define the music, it might help to list some of the things it is not: it is not a pop album, neither is it a classical or jazz album. It's not an ambient album or a rock album either, but there are elements of all of these within its dense musical structure. Touchstones include the music of La Monte Young, Dmitri Shostakovich, Wolfgang Voigt, Cluster, Black Dice, Claude Debussy, Aphex Twin, Can, Arthur Russell, Boredoms, and Brian Eno-- and yet it sounds like none of these.


    What it is: a kaleidoscopic trip influenced by New York City, the ocean, mountains, the sun and the trees, Andy Warhol, Yukio Mishima, David Lynch, Friedrich Nietzsche, Buddhist mantra, mass transit, cats, birds and life. Life in all its myriad complexity and confusions, in all its transcendent beauty and its horrendous brutality.


    Their live show has been described as more of a sensory experience than a mere matter of listening and it's the title track-- a 35-minute epic the likes of which has not been heard since the glory days of Popul Vuh-- that best captures the band's extraordinary intensity.


    Once again this work is a collaboration with the artist Andrew Kuo, whose unique vision formed the cover of The World I See and whose work provides the visual counterpoint to The Present's sonic creation. Together, they make a totality that reflects so intensely and so clearly The Way We Are.

    Medman
    Saltwater Trails
    Space Meadow
    Shapeshifter
    Press Play
    The Way We Are
    The Present
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
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