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  • From The New World From The New World Quick View

    $44.99
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    From The New World

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


    Musicians:

    Berlin Philharmonic

    Rafael Kubelik, conductor

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

    $139.99
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    Phase Four Stereo Concert Series (Box Set)


    Limited-Edition, Numbered LP Set With A Detailed Booklet


    Original LP Front And Back Covers


    Cover Art In Style Of The 40 CD Box Set


    Lift-off Rigid LP Box


    Full-Colour Booklet


    The Pressings From Record Industries Will Be On 180 Gram Vinyl Stock


    Lacquers Cut By Sean Magee At Abbey Road Studios


    In the 1960s Decca pioneered the use of a multi 10-channel console mixer which created recordings with an unprecedented sense of spatial realism and
    movement - Phase 4 Stereo. Following in the footsteps of Decca's highly-successful label heritage sets (The Decca Sound, Mercury Living Presence),
    this generous selection of the very best of Phase 4 promises to amaze a new generation of fans.


    Two of the titles included in the set are on the TAS List - the Holy Grail of vinyl fidelity. This is a list of recordings recommended by The Absolute Sound
    magazine under the direction of Harry Pearson.


    Box Set Includes:

    Hermann: Fantasy Film World (PFS 4309)

    Rozsa: Music From Ben Hur (PFS 4394)

    Mozart: Yellow River Concerto (PFS 4299)

    Rimsky-Korsakov: Scheherazade (PFS 4062)

    Bizet: Carmen & L'Arlesienne Suites (PFS 4127)

    Dvorak: New World Symphony (PFS 4128)

    LP 1 - Dvorák: Symphony No.9 in E minor "From the New World"
    1. Adagio - Allegro molto
    2. Largo
    3. Scherzo (molto vivace)
    4. Allegro con Fuoco


    LP 2 - The Fantasy Film World of Bernard Hermann
    1. Journey to the Centre of the Earth
    2. The Seventh Voyage of Sinbad
    3. The Day the Earth Stood Still
    4. Fahrenheit 451


    LP 3 - Bizet: Carmen & L'ArlÉsienne Suites
    1. Les toreadors
    2. Aragonaise
    3. Intermezzo
    4. Les dragons d'Alcala
    5. Habanera
    6. La garde montante
    7. Danse bohème
    8. PrÉlude
    9. Minuetto
    10. Adagietto
    11. Carillon
    12. Farandole


    LP 4 - Rósza: Music from Ben Hur
    1. Fanfare To Prelude
    2. Star Of Bethlehem And Adoration Of The Magic
    3. Friendship
    4. The Burning Desert
    5. Arrius's Party
    6. Rowing Of The Galley Slaves
    7. Parade Of The Charioteers
    8. The Mother's Love
    9. Return To Judea
    10. Ring For Freedom
    11. Lepers' Search For The Christ
    12. Procession To Calvary
    13. Miracle And Finale


    LP 5 - Rimsky-Korsakov: Scheherazade
    1. The Sea and Sinbad's Ship
    2. The Story of the Calender Prince
    3. The Young Prince and the Young Princess
    4. Festival at Bagdad - The Sea - The Shipwreck against a rock surmounted by a bronze warrior (The Shipwreck)


    LP 6 - Yellow River Concerto; Mozart: Piano Concerto No. 21
    1. Prelude: The Song Of The Yellow River Boatmen
    2. Ode To The Yellow River
    3. The Yellow River In Wrath
    4. Defend The Yellow River
    5. Allegro
    6. Andante
    7. Allegro vivace assai

    Various Artists
    $139.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • Moody Blues: Collected (Pre-Order) Moody Blues: Collected (Pre-Order) Quick View

    $42.99
    Buy Now
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    Moody Blues: Collected (Pre-Order)

    4 Page Booklet With Liner Notes And Photos

    Solid Selection Of Songs By The Band's Career, Including Go Now, Nights In White Satin, Never Comes The Day, Gypsy, I Never Thought I'd Live To Be A Hundred, I'm Just A Singer (In A Rock 'n Roll Band) And Many More

    The Moody Blues formed in the early 1960s in Erdington, Birmingham, England. Ray Thomas, John Lodge, and Michael Pinder had been members of El Riot & the Rebels. They disbanded when Lodge went to college and Pinder joined the army. The pair recruited guitarist/vocalist Denny Laine, band manager-turned drummer Graeme Edge, and bassist Clint Warwick. The five appeared as the Moody Blues for the first time in Birmingham in 1964.

    It was the single, Go Now (released later that year), which launched their career. The single became a huge hit in the U.K. and landed the number 1 spot in the charts. The band soon realised that their style of R&B-derived rock and pop was not working for them and decided to develop an original new style, featuring the symphonic sounds of the mellotron and Ray Thomas' flute.

    Assigned to make a rock and roll version of Antonin Dvorák's New World Symphony, Moody Blues insisted that they be given artistic freedom and be left without supervision. The result was Days of Future Passed (1967), which combined the band's tracks with orchestral interludes arranged and conducted by Peter Knight. The album plus two singles, Nights in White Satin and Tuesday Afternoon, became substantial hits.

    Their follow-up album was In Search of the Lost Chord (1968). The album was again a big success with hits as Ride My See-Saw and Voices in the Sky. Their next album On a Threshold of a Dream (1969) featured the sensitive ballad Never Comes a Day and was their first number 1 album in the U.K.

    The band's music continued to become more complex and symphonic, resulting in 1969's To Our Children's Children's Children, a concept album. It closes with the fan-favorite Watching and Waiting. To Our Children's Children's Children was also the first release of the group's own founded label, Threshold Records.

    Released in 1981, Long Distance Voyager was a success, reaching number 1 on Billboard and top 5 in the U.K. The album featured the hit, The Voice, written by Hayward.

    The remaining Moody Blues trio continues to tour and to this day the Moody Blues are one of classic rock's most enduring institutions, with world-wide sales of nearly 80 million albums and a following that continues to support the band. COLLECTED by Moody Blues is a careful selection of the distinctive sound of the band, presenting the different periods the band has gone through.

    LP 1
    1. Go Now
    2. Boulevard De La Madeleine
    3. Nights In White Satin
    4. Tuesday Afternoon (Forever Afternoon)
    5. Voices In The Sky
    6. Dr. Livingstone, I Presume
    7. Ride My See-saw
    8. Legend Of A Mind
    9. Never Comes The Day
    10. Dear Diary
    11. Gypsy (Of A Strange And Distant Time)

    12. Watching And Waiting
    13. I Never Thought I'd Live To Be A Hundred


    LP 2
    1. Candle Of Life
    2. Melancholy Man
    3. Question
    4. The Story In Your Eyes
    5. Isn't Life Strange
    6. I'm Just A Singer (In A Rock 'n Roll Band)
    7. Emily's Song
    8. King And Queen
    9. Had To Fall In Love
    10. Driftwood
    11. The Voice

    Moody Blues
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Dvorak - Symphony 5 - New World (Speakers Corner) Dvorak - Symphony 5 - New World (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Dvorak - Symphony 5 - New World (Speakers Corner)

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



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





    Musicians:



    • Vienna Philharmonic Orchestra

    • Istvan KertÉsz (conductor)




    Recording: March 1961 at Sofiensaal, Vienna by James Brown

    Production: Ray Minshull





    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Istvan Kertesz with Vienna Philharmonic
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak: Cello Concerto; Bruch: Kol Nidrei Dvorak: Cello Concerto; Bruch: Kol Nidrei Quick View

    $18.99
    Buy Now
    x

    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
  • Dvorak: Symphony No.9 in E Minor, Op.95 - From The New World Dvorak: Symphony No.9 in E Minor, Op.95 - From The New World Quick View

    $18.99
    Buy Now
    x

    Dvorak: Symphony No.9 in E Minor, Op.95 - From The New World

    Backed by The London Symphony Orchestra, Istvan Kertesz conducts Antonin Dvorak's Symphony No.9 in E Minor, Op.95 - From The New World, originally released in 1967. Presented with original artwork and pressed on 180-gram heavyweight vinyl at Optimal.
    1. Adagio - Allegro Molto
    2. Largo
    3. Scherzo (Molto Vivace)
    4. Symphony 9 Cont. 4. Allegro Con Fuoco
    5. Othello, Op.93, B.174
    Istvan Kertesz
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak: String Quintet In G Major (Speakers Corner) Dvorak: String Quintet In G Major (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Dvorak: String Quintet In G Major (Speakers Corner)

    A perusal of string quintets throughout history leaves one with the impression that their creators wish to bestow a powerful impact upon the small group of musicians. And it is no different with Dvoák's Quintet in G major: a double bass, instead of the usual second cello, paints with broad strokes in the lengthy score whose first movement almost takes on symphonic dimensions.


    Here, the insistent, broad theme is presented in snappy cascades of sound. The cantilena, supported by a scurrying second subject, is followed by a frenzied Scherzo, which is steeped in Czech folk music under Dvoák's distinctive style. The third movement (Poco andante) is highly meditative and is constructed with layers of one and the same basic motif, which soon is intensified with pulsating quavers and finally evolves in rising melodic elements.


    The Finale is filled with fresh melodies and spiced with subtle motivic development, which is pleasant on the ear in all its complexity. It is not surprising, therefore, that Dvoák won an important prize for his Quintet.

    Recording: June 1971 at Boston Symphony Hall by GÜnter Hermanns
    Production: Thomas Mowrey



    Musicians:



    • Joseph Silverstein (violin)

    • Max Hobart (violin)

    • Burton Fine (viola)

    • Jules Eskin (cello)

    • Henry Portnoi (bass)



    About Speakers Corner



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



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



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



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



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



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


    This title is not eligible for discount.

    1. Allegro Con Fuoco
    2. Intermezzo. Andante Religioso. Molto Adagio
    3. Scherzo. Allegro Vivace - Trio. L'Istesso Tempo, Quasi Allegretto
    4. Poco Andante

    5. Finale. Allegro Assai
    Antonin Dvorak
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak: Symphony No. 8 (Speakers Corner) Dvorak: Symphony No. 8 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Dvorak: Symphony No. 8 (Speakers Corner)

    In comparison with Dvorák's cyclical Ninth Symphony, the Eighth always seems to fade into the background somewhat, although it is actually far more venturesome as regards its formal structure than its later sister-work. The wealth of poetic mood paintings, heartfelt melodies and seemingly improvisational episodes were described by the composer as unique ideas upon which he elaborated in a completely new way, and which were intentionally far removed from his other symphonies.



    In spite of the highly individual movements, the whole composition is full of airy, lyrical contrasts. The transitional passages are gentle and flowing, as for example in the chorale-like opening which leads into the disciplined, spirited main theme of the first movement. This is followed by a rhapsodic slow movement and a waltz-like Allegretto, and finally a strangely interwoven amalgamation of sonata form and set of variations.



    During the course of his short career, István KertÉsz championed Dvorák's Symphonies in that he was the very first to record the complete works for the DECCA label. For this reason alone, the recording constitutes an excellent performance by the London Symphony Orchestra led by its Hungarian principal conductor.



    Recording: February 1963 at Kingsway Hall, London, by Arthur Lilley

    Production: Ray Minshull



    About Speakers Corner



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



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



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



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



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



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




    This title is not eligible for discount.

    1. Symphony No. 8 in G major, Op. 88
    2. Scherzo capriccioso Op. 66
    Antonin Dvorak
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cello Concertos Cello Concertos Quick View

    $44.99
    Buy Now
    x

    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
  • Dvorak Piano Trio Op. 65 Dvorak Piano Trio Op. 65 Quick View

    $44.99
    Buy Now
    x

    Dvorak Piano Trio Op. 65

    Hailed for its soul-stirring, captivating performances of supreme artistry, The Jung Trio has established itself as one of the most notable rising young ensembles of today. The group is comprised of sisters Jennie, Ellen, and Julie Jung, who each contributes her own singular warmth and impassioned sensibility to the collaborative force.


    The sisters were born and raised in Toronto, where they received their early music training as scholarship students in the Young Artist Performance Academy at the Royal Conservatory of Music. Initial successes include top prizes at the Canadian Music Competition, Kiwanis Music Festival, and the CIBC National Music Festival. Jennie Jung received her Bachelor of Music degree from the University of Toronto, pupil of Marietta Orlov. Following studies at Yale School of Music (Master of Music and Artist Diploma) with Claude Frank, she went on to receive a Doctor of Musical Arts at the Juilliard School in May, 2008. Ellen Jung completed studies in the Bachelor of Music program at the University of Toronto with Lorand Fenyves and David Zafer. She received her Master of Music and Artist Diploma from Yale as a student of Syoko Aki. Julie Jung studied with Shauna Rolston at the University of Toronto, where she graduated with a Bachelor of Music. She received her Master of Music from the New England Conservatory of Music as a student of Laurence Lesser, before joining her sisters at Yale, where she completed the Artist Diploma as a student of Aldo Parisot.


    Musicians:
    Jennie Jung, piano
    Ellen Jung, Violin
    Julie Jung, cello


    This title is not eligible for discount

    Anton Dvorak (1841-1904)
    Piano Trio In F Minor, Op. 65

    1. I. Allegro ma non troppo

    2. II. Allegro grazioso, Meno mosso

    3. III. Poco Adagio

    4. IV. Finale, Allegro con brio

    The Jung Trio
    $44.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner) Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner)

    The Cello Concerto op. 104 is the last orchestral piece Dvorák wrote during his stay in America. Unlike his Ninth Symphony which borrowed folkloric themes from the New World, the charming Cello Concerto reveals Dvorák's yearning for his Bohemian homeland.



    This piece demands masterly playing and interpretation from the soloist which is enhanced by a sumptuous sound in the strings and explosive brass. Dvorák reaches back to various musical passages from the first and second movements in the finale and so illustrates his style of composition in his later works.
    Yearning for the Old World must have motivated George Szell to briefly leave his adopted home, the USA, in order to set down this late-Romantic musical gem together with the master cellist Pierre Fournier and the Berlin Philharmonic.



    The artists were obviously inspired by this favourable constellation during the recording which sets the standards for artistic quality and perfection of sound technology. Indeed, this LP is among the most successful classical productions of the Sixties. Thirty years on, this recording is just as popular as it ever was.



    Recording: June 1961 at the Jesus-Christus-Kirche, Berlinby GÜnter Hermanns / Hans Weber





    About Speakers Corner



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



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



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



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



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



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


    This title is not eligible for discount.

    Dvorák: Concerto for Violoncello and Orchestra
    Pierre Fournier and the Berlin Philharmonic Orchestra conducted by George Szell
    Georg Szell with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak: Cello Concerto & Saint-Saens: Cello Concerto No. 1 Dvorak: Cello Concerto & Saint-Saens: Cello Concerto No. 1 Quick View

    $29.99
    Buy Now
    x

    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: Violin Concerto Dvorak: Violin Concerto Quick View

    $25.99
    Buy Now
    x

    Dvorak: Violin Concerto

    In a stunning recording career of over 35 years, Anne-Sophie Mutter has sold upwards of 10 million total albums.


    Renowned for her technical facility and limitless range of expressive colours, Mutter is the undisputed "Queen of the Violin" (Times of London) - a musical
    legend of our time.


    It is no exaggeration to call this recording an historic venture: in June, Mutter and the Berliner Philharmoniker, whose deep and lasting artistic relationship
    was forged in the 1970s, came together at the Berlin Philharmonie, to make their first studio album in almost 30 years.


    Here, she records Dvorák's Violin Concerto - the last of the great Romantic violin concertos not yet in her discography.


    Anne-Sophie Mutter has chosen to pair Dvorák's Violin Concerto with his fiery Mazurek Op. 49, and the Romance in F minor for violin and orchestra Op.
    11. The album also includes Dvorák's irresistible Humoresque, presented in its popular arrangement for violin and piano by Fritz Kreisler.


    All works on this recording exemplify the vivid colour, touching melancholy and folkloric tunefulness that are trademarks of Dvorák's style.

    1. Allegro ma non troppo - Quasi moderato
    2. Adagio, ma non troppo
    3. Finale (Allegro giocoso, ma non troppo)
    4. Romance In F Minor, Op.11
    5. Mazurek, Op.49
    6. Humoresque, Op.101, No.7
    Anne-Sophie Mutter & Berliner Philharmoniker
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Janos Starker Dvorak Cello Concerto (Pre-Order) Janos Starker Dvorak Cello Concerto (Pre-Order) Quick View

    $54.99
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    Janos Starker Dvorak Cello Concerto (Pre-Order)


    Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!


    Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!


    Renowned cellist Janos Starker is joined by The London Symphony Orchestra conducted by Antal Dorati for this 1962 recording of Dvorak's Cello Concerto alongside Bruch's Kol Nidrei.


    Features:

    • Numbered Deluxe Laminated Double Gatefold Jackets

    • Only 2500 Numbered Limited Edition Copies Worldwide!

    • Audiophile 180g, 45rpm Vinyl

    • Double LP

    • Pressed at RTI

    • Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Musicians:

    Janos Starker, cello

    The London Symphony Orchestra

    Antal Dorati, conductor


    Recorded July 1962 at Wembley Town Hall, London.


    This title is not eligible for discount.

    Antonin Dvorak - Violoncello Concerto
    1. Allegro
    2. Adagio Ma Non troppo
    3. Final (Alelgro Moderato)
    Max Bruch
    4.Kol Nidrei, Op. 47
    Antal Dorati & The London Symphony Orchestra
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed PRE-ORDER Buy Now
  • Music From Bohemia Music From Bohemia Quick View

    $34.99
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    Music From Bohemia

    The Royal Philharmonic Orchestra performs Smetana, Weinberger, and Dvorak conducted by Rudolf Kempe.


    Rudolf Kempe was associated with the Royal Philharmonic (RPO) from 1955. In 1960, he became its Associate Conductor, chosen by the orchestra's founder, Sir Thomas Beecham. From 1961 to 1962 he was Principal Conductor of the RPO, and from 1963 to 1975 its Artistic Director. A member of the RPO later said of Kempe, He was a wonderful controller of the orchestra, and a very great accompanist ... Kempe was like someone driving a racing-car, following the piano round the bends. Kempe abolished Beecham's male-only rule, introducing women into the RPO: an orchestra without them, he said, always reminds me of the army. In 1970, the RPO named him Conductor for Life, but in 1975, he resigned his post with the orchestra and died the following year, aged 65. His distinguished career in both the opera house and concert hall led to the first quadraphonic Beethoven cycle with the Munich Philharmonic for EMI in the mid '70s.


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


    Features:

    • Hi-Q Records Supercuts 180g Vinyl

    • Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios!

    • Superior Audiphile Pressing

    • Features Original Album Artwork


    Musicians:

    Rudolf Kempe, conductor

    Royal Philharmonic Orchestra


    This title is not eligible for discount.

    Bedrich Smetana (1824 - 1884)
    The Bartered Bride
    Side One:
    1. Overture
    2. Polka
    3. Furiant
    4. Dance of the Comedians
    Side Two:
    Antonin Leopold Dvorak (1841 - 1904)
    1. Scherzo Capriccioso, Op. 66
    Jaromir Weinberger (1896 - 1967)
    Schwanda the Bagpiper
    2. Polka
    3. Fugue
    Rudolf Kempe
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Always Foreign Always Foreign Quick View

    $19.99
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    Always Foreign

    The World is a Beautiful Place & I am No Longer Afraid To Die have announced the forthcoming release of their third full-length, Always Foreign. Due out on Epitaph, Always Foreign follows the Connecticut-bred collective's acclaimed 2015 album Harmlessness.


    Produced by TWIABP guitarist Christopher Teti, Always Foreign confronts everything from the opioid epidemic to xenophobia to emotional abuse in relationships. Throughout the album, TWIABP match their sprawling arrangements and layered lyricism with a raw emotionality.


    "When we started writing we were fresh off Trump being elected, so there's an anger to the album that's different from what we've done in the past," says TWIABP vocalist David F Bello. "There's a lot more resistance thinking throughout the songs-not in a way that's strictly anti-Trump, but also addressing things like white supremacy and controlling elements of the state."


    Along with Bello, Cyr, and Teti, the TWIABP lineup includes Tyler Bussey (guitar, banjo, synth, vocals), Dylan Balliett (guitar, vocals), Katie Dvorak (synth, vocals), and Steven K Buttery (percussion, vocals). Formed in Connecticut in 2009, TWIABP made their full-length debut with Whenever, If Ever (a 2013 release hailed as "revolutionary" by Pitchfork) and later delivered Harmlessness (praised as "bold and complex and dazzling" by Noisey and "grandiose and dramatic" by NPR).

    1. I'll Make Everything
    2. The Future
    3. Hilltopper
    4. Faker
    5. Gram
    6. Dillon and Her Son
    7. Blank #12
    8. For Robin
    9. Marine Tigers
    10. Fuzz Minor
    11. Infinite Steve
    The World Is A Beautiful Place And I Am No Longer Afraid To Die
    $19.99
    Vinyl LP - Sealed Buy Now
  • Brahms - Hungarian Dances (Speakers Corner) Brahms - Hungarian Dances (Speakers Corner) Quick View

    $34.99
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    Brahms - Hungarian Dances (Speakers Corner)

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



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



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





    Musicians:



    • Vienna Philharmonic Orchestra

    • Fritz Reiner (conductor)




    Recording: June 1960 at Sofiensaal, Vienna by James Brown

    Production: Erik Smith





    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • At Carnegie Hall (Pure Pleasure) At Carnegie Hall (Pure Pleasure) Quick View

    $34.99
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    At Carnegie Hall (Pure Pleasure)

    When Paul Robeson took the stage at Carnegie Hall in May of 1958, it had been 11 years since he had previously concertized freely in the United States. Blacklisted from the entertainment industry at home, and with the State Department unwilling to issue him a passport, he had fallen into eclipse as a singer and actor over the previous eight years. The concert recorded here, one of two at Carnegie Hall in May of 1958, marked his return. The performances on this record would also be his only stereo recordings -- all were, naturally enough, the work of Vanguard Records, the New York-based record company that was also the home to fellow blacklistees The Weavers.


    The singing legend is in excellent voice throughout, his rich bass-baritone reveling in performances of a repertory that encompassed Bach, Mussorgsky, Schubert, Dvorák, Beethoven, traditional gospel, Russian and Chinese folk songs, Old Man River from Show Boat, and monologues from Shakespeare and the opera Boris Godunov. With a piano accompaniment by Alan Booth, Robeson ranged across a huge part of his own performing history. The 60-year-old singer, despite the decade of artificially imposed inactivity, still had much of his vocal power intact and all his dramatic instincts, and makes every moment count in his performance, investing immense power in every note and nuance.


    Sadly, his Vanguard performances were to be his only work captured on modern recording equipment -- because of the blacklist, everything else predated the arrival of recording tape and the long-playing record. But the performance captured here, and those represented on Vanguard's The Essential Paul Robeson, show a man still capable of moving huge numbers of people with his voice -- and equally important, even at this late date, who had not lost the ability to walk a crowd through a vast and difficult range of repertory; his performances, even after ten years of professional exile, were also learning experiences, and consciousness-raising, which is why reactionaries in the United States were so afraid of him in the first place. And none of it has lost any of its power in the five decades since the actual event.


    Musicians:



    • Paul Robeson (vocals)

    • Alan Booth (piano)




    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 emphasize that Pure Pleasure 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 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 and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Every Time I Feel the Spirit
    2. Balm In Gilead
    3. Volga Boat Song
    4. Monologue From Othello (Shakespeare)
    5. O Thou Silent Night (Alexadnrov)
    6. Chinese Children's Song
    7. My Curly Headed Baby (G.H. Clutsam)
    8. Old Man River
    9. Going Home (Dvorak, arr. Fisher)
    10. Monologue from Boris Godunov (Mussorgsky)
    11. The Orphan (Mussorgsky)
    12. Christ lag in Todesbanden (J.S. Bach)
    13. Didn't My Lord Deliver Daniel
    14. Lullaby (Franz Schubert)
    15. O No John
    16. Joe Hill
    17. Jacob's Ladder
    Paul Robeson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Concert For Violin & Orchestra (Out Of Stock) Concert For Violin & Orchestra (Out Of Stock) Quick View

    $44.99
    x

    Concert For Violin & Orchestra (Out Of Stock)

    Johanna Martzy has hitherto only been heard on records here in the Brahms Concerto and that performance established her at once as a great player. This record entirely confirms the verdict. She has an unerring sense of tempo - how exactly right is her speed for the slow movement: and her freshness and rhythm in the finale are a delight. This is just the sort of performance this concerto needs and it is one that will commend the music to anyone who has so far not been particularly captivated by the work. ... The orchestral accompaniment is extremely well done. - Gramophone


    Musicians:

    Johanna Martzy

    Rias Symphonie-Orchester, Berlin

    Feren Fricsay, conductor

    Antonin Dvorak (1841-1904)
    Concert for Violin and Orchestra, A minor, Op. 53
    Antonin Dvorak
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Dvorak: Symphony No. 2 (Out Of Stock) Dvorak: Symphony No. 2 (Out Of Stock) Quick View

    $24.99
    x

    Dvorak: Symphony No. 2 (Out Of Stock)

    Dvorak

    Symphony No. 2 in D Minor, Op. 70
    1. Liszt - Hungarian Rhapsody No. 2 in C-Sharp Minor
    2. Enesco - Rumanian Rhapsody No. 1 in A, Op. 11
    3. Smetana - The Moldau: The Bartered Bride: Overture
    Pierre Monteux with London Symphony Orchestra
    $24.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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