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  • West Side Story West Side Story Quick View

    $39.99
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    West Side Story

    West Side Story is the soundtrack to the 1961 film by the same name. All music is composed by Leonard Bernstein and lyrics written by Stephen Sondheim. When released, the soundtrack spent 54 weeks at No. 1 on Billboard's album charts, giving it the longest run at No. 1 of any album in history. Perhaps Michael Jackson's Thriller comes close, on the grounds that West Side Story was listed on a chart for stereo albums only at a time when many albums were recorded in mono.


    In 1962, it won a Grammy award for Best Sound Track Album - Original Cast and Johnny Richards orchestrations of the movie score (on Kenton's West Side Story) also winning a Grammy in 1962 for Best Large Ensemble Jazz Album further bolstering the popularity of the movie and soundtrack. In the United States, it was the best-selling album of the 1960s, certifying three times Platinum in over two decades.


    This At The Movies edition contains 4 previously unreleased tracks. The 2LP package is presented in a gatefold sleeve, housed in a sturdy PVC collector's bag.

    LP1
    1. Overture*
    2. Prologue
    3. Jet Song
    4. Something's Coming
    5. Dance At The Gym
    6. Maria
    7. America


    LP2
    1. Tonight
    2. Gee, Officer Krupke!
    3.Intermission Music*
    4. I Feel Pretty
    5. One Hand, One Heart
    6. Quintet
    7. The Rumble
    8. Somewhere
    9. Cool
    10. A Boy Like That And I Have A Love
    11. Finale (Somewhere)*
    12. End Credits*


    *Bonus Tracks

    Leonard Bernstein & Stephen Sondheim
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No.6 In F, Op.68 - Pastoral Beethoven: Symphony No.6 In F, Op.68 - Pastoral Quick View

    $24.99
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    Beethoven: Symphony No.6 In F, Op.68 - Pastoral

    Recorded Live At Musikverein, Vienna In 1978 With The Wiener Philharmoniker


    The Vienna Philharmonic Orchestra, conducted by Leonard Bernstein, plays the Symphony No. 6 in F major, Op. 68 Pastoral by Ludwig van Beethoven (1770-1827). Recorded live at the Vienna Musikvereinssaal.

    1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande: Allegro ma non troppo
    2. Szene am Bach: (Andante molto mosso)
    3. Lustiges Zusammensein der Landleute (Allegro)
    4. Gewitter, Sturm (Allegro)
    5. Hirtengesang. Frohe und dankbare GefÜhle nach dem Sturm: Allegretto
    Leonard Bernstein
    $24.99
    Vinyl LP - Sealed Buy Now
  • Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner) Quick View

    $34.99
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    Gershwin: Rhapsody In Blue, An American In Paris (Speakers Corner)

    This fast and furious orchestral work with piano, which begins with what must surely be the most famous clarinet glissando of modern times, was composed with the intention of presenting as many facets as possible of music from the New World in the short space of around 15 minutes. In his Rhapsody In Blue Gershwin wanted to »paint a musical kaleidoscope of America - our enormous melting pot, our typical national traits, our blues, our seething city life«. With this in mind, Leonard Bernstein made a number of recordings of the work and among the many excellent recordings that he made as a conductor or as a soloist, this present version with the Columbia Orchestra, from 1959, is especially of note. Bernstein takes on a double function as conductor and soloist and manoeuvres his way safely and surely through the highly diversified score to create a well-rounded picture filled with hefty orchestral dynamics and finely chiselled solo playing. In Gershwin's freely composed work the soloist and orchestra do not resort to bombastic shock effects or egomaniac keyboard acrobatics, and so this the work can be described as rhapsodic in the very best sense of the word.
    Most fittingly, on the B side there is another freely composed work - the autobiographical sketch entitled An American In Paris. The superb New York musicians paint the impressions of a visitor to the hectic French capital city - that too is the sound of America.


    Musicians:



    • The Columbia Symphony Orchestra

    • New York Philharmonic Orchestra

    • George Gershwin (composer)

    • Leonard Bernstein (conductor)




    Recording: June 1959 and December 1958 at St George Hotel, Brooklyn, New York, by Fred Plaut and Frank Bruno

    Production: John McClure



    About Speakers Corner



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



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



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



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



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



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



    This title is not eligible for discount.

    1. Rhapsody In Blue
    2. An American In Paris
    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bizet: Carmen (Speakers Corner) Bizet: Carmen (Speakers Corner) Quick View

    $95.99
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    Bizet: Carmen (Speakers Corner)

    This is a problem recording, and even fans of Leonard Bernstein and Marilyn Horne will find it odd« writes a large mail-order media company about this Carmen production. However, discerning listeners who submerge themselves in the music will soon conclude that the problem is rather to be found among the many highly acclaimed and styled-up other recordings that present the fiery musical portrait as a sanitized, spirited indoor ballet. This is very different from Bernstein, who hints at the work's inevitable tragedy already in the agonisingly weighty clashing cymbals of the surprisingly slow opening. His rustic-sounding street scenes are filled with vaudeville, raw and authentic, and so typical of how people behave when they dance out-of-doors. This Carmen is far closer to the cracking Westside Story than a saturated Traviata.


    Marilyn Horne in the title role lends the full-blooded Carmen such an incredible voice in all manner of moods that one can hardly believe that we are listening to just one singer. One minute we hear the bright voice of a young girl lusting for life, and in the next minute the mezzo-like pained cry of a man-killing heroine.
    James McCracken has a distinctive dry voice, which is full of rousing passion, and is ideal in the role of Don JosÉ. He is complemented by the dramatic, powerful baritone Tom Krause as the torero Escamillo.


    Harry Pearson, the founder and former Editor in Chief of the specialist magazine The Absolute Sound, accorded this outstanding recording a regular mention in his 'super disc' list - no problem!

    Musicians:



    • Marylin Horne

    • James McCracken

    • The Manhattan Opera Chorus and the Metropolitan Opera Orchestra conducted by Leonard Bernstein



    Recording: September and October 1972 im Manhattan Center, New York von
    GÜnter Hermanns

    Production: Thomas W. 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.


    This title is not eligible for discount.

    LP 1
    1. Prelude
    First Act
    2. Introduction
    3. March And Chorus Of Urchins
    4. Chorus And Scene
    5. Habanera
    6. Scene
    7. Dialogue
    8. Duet
    9. Chorus

    10. Chanson And Melodrama

    11. Chanson Et Duet
    12. Finale


    LP 2
    1. Entracte
    Second Act
    2. Chanson
    3. Chorus And Ensemble
    4. Couplets / Chorus
    5. Quintet
    6. Chanson
    7. Duo
    8. Finale
    Third Act
    9. Entracte

    10. Introduction


    LP 3
    1. Trio
    2. Ensemble
    3. Air
    4. Duo
    5. Finale

    6. Entracte

    Fourth Act
    7. Chorus

    8. Chorus

    9. Final Duo

    Georges Bizet
    $95.99
    180 Gram Audiophile Virgin Vinyl LP Box Set - 3 LPs Sealed Buy Now
  • Prokofiev: Symphony No. 5 (Speakers Corner) Prokofiev: Symphony No. 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Symphony No. 5 (Speakers Corner)

    Prokofiev's Symphony No. 5 is one of just a handful of traditional Russian works that have advanced to become a celebrated repertoire piece in the area of conflict between socialist artistic realism and conservative modernism. Although, in contrast to his colleague Shostakovich, Prokofiev toed the party line and was highly privileged, which made it very difficult to believe his later claim that his art was free of politics, his music has touched the hearts of concertgoers all over the world.


    In the present recording, the cosmopolitan Leonard Bernstein and the New York Philharmonic present the whole beauty of the melodies that unfold in the first movement with full orchestral radiance. Cheerfulness as a »hymn to free and happy Man« is given voice in the clarinet theme of the burlesque second movement with its imaginative changes. Reminiscences of the Symphonie classique appear to be intentional. In the finale, Prokofiev proves himself to be a confident master of the classical-romantic canon form, which uses the theme of the first movement and new motifs to create far more than just a melodious apotheosis. Jagged, sharp and percussive final bars round off this supreme orchestral firework, which makes great demands on every single musician.sound of America.


    Musicians:



    • New York Philharmonic Orchestra

    • Sergei Prokofiev (composer)

    • Leonard Bernstein (conductor)




    Recording: February 1966 at the Philharmonic Hall of Lincoln Center, New York

    Production: John McClure



    About Speakers Corner



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



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



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



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



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



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


    This title is not eligible for discount.

    I. Andante
    II. Allegro Marcato
    III. Adagio
    IV. Allegro Giocoso
    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner)

    Let us recall that great American and citizen of the world who trod every musical pathway and who held his audience riveted with unbounding energy and charisma. Whether as a composer of operas or musicals, performer, conductor or mentor, "Lenny" felt at home everywhere. And all who were privileged enough to get to know him can confirm this, whether they experienced him as a circumspect teacher who taught interested amateurs about church music, or even as a pianist bawling out hit songs in a bar.



    Quality was guaranteed with records sporting the words "Bernstein conducts ...", and no music lover ever missed adding such gems to his collection. But most recordings of Bernstein as a master of the keyboard lie buried in the archives.



    Where some musicians fail due to a lack of perspicacity or false self-judgement, Bernstein appears to take himself beyond his normal bounds in his double function as solo pianist and conductor. His interpretation of Mozart is richly nuanced but free of all romantic trimmings; his Mozart is what we have learned to value over the past few years of the present century. This recording is absolutely first class, both musically and technically, and is thus a true collector's object.



    Musicians:



    • Vienna Philharmonic Orchestra

    • Leonard Bernstein (conductor)




    Recording: March 1966 at Sofiensaal, Vienna by Gordon Parry

    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.



    This title is not eligible for discount.

    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bernstein: West Side Story - Highlights Bernstein: West Side Story - Highlights Quick View

    $24.99
    Buy Now
    x

    Bernstein: West Side Story - Highlights

    Bernstein: West Side Story - Highlights, originally released in 1985, features vocals by Kiri Te Kanawa, JosÉ Carreras, Tatiana Troyanos, Kurt Ollmann and Marilyn Horne. Orchestra and chorus conducted by Leonard Bernstein.
    1. Jet Song
    2. Something's Coming
    3. Maria
    4. Tonight
    5. America
    6. Cool
    7. One Hand, One Heart
    8. Tonight (Ensemble)
    9. I Feel Pretty
    10. Somewhere
    11. Gee, Officer Krupke
    12. A Boy Like That
    13. I Have A Love
    14. Taunting Scene
    15. Finale
    Leonard Bernstein
    $24.99
    Vinyl LP - Sealed Buy Now
  • Mahler: Symphony No. 5 Mahler: Symphony No. 5 Quick View

    $34.99
    Buy Now
    x

    Mahler: Symphony No. 5

    "Fiery, demonic and triumphant, this is one of the benchmark Bernstein recordings."-Gramophone


    As part of Deutsche Grammophon's continued commitment to making iconic recordings available on high-quality, 180-gram vinyl, the label will release Leonard Bernstein's legendary performance of Mahler's Symphony no. 5 with the Vienna Philharmonic.

    LP 1
    Part 1
    1. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt - Plötzlich schneller. Leidenschaftl
    2. StÜrmisch bewegt. Mit größter Vehemenz - Bedeutend langsamer - Tempo I subito [Live]


    LP
    Part 2
    1. Scherzo (KrÄftig, nicht zu schnell) [Live]
    Part 3
    2. Adagietto (Sehr langsam) [Live]
    3. Rondo-Finale (Allegro) [Live]

    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Wiener Philharmoniker - 175th Anniversary Edition (Box Set) Wiener Philharmoniker - 175th Anniversary Edition (Box Set) Quick View

    $139.99
    Buy Now
    x

    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
  • Berlioz - Harold In Italy Berlioz - Harold In Italy Quick View

    $34.99
    Buy Now
    x

    Berlioz - Harold In Italy

    Cut at Abbey Road Studios from the Original Stereo Analogue Master Tapes


    Leonard Bernstein was one of the most recorded conductor/composers in history and whereas most of his work was released on CBS (Sony) and Deutsche Grammophon, during the 1970s several notable EMI recordings came out of his association with the Orchestre National de France (including Berlioz's Symphonie Fantastique.


    EMI had recorded Orchestre National de France (also known as Orchestre National de l'Office de Radiodiffusion TÉlÉvision Française (ORTF)) for many years under its chief conductor Jean Martinon. However, largely as a result of the concerts he gave in the 1970s, Bernstein immediately struck up a rapport with the orchestra and the result was magic: The French orchestra play beautifully for Bernstein, and they also sense the ebb and flow of tempo which he imparts to the music. as the GRAMOPHONE wrote in 1977.


    Recorded on 3 November 1976 at the famous Salle Wagram, Paris.


    Produced by John Mordler and engineered by Paul Vavasseur.


    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.


    In the original November 1977 review of the EMI LP, JW of the GRAMOPHONE wrote that the:
    "...performance can be recommended as a brilliant and colourful encounter with one of Berlioz's most enjoyable scores" of the last movement JW wrote: "Bernstein makes it thrilling, but not in the frenetic manner which would regard tension as an end in itself, rather than a product of potent feeling. This is a splendidly delivered climax to a work which Bernstein clearly admires. He draws beautifully sharp, clean playing from the orchestra (the brass, in particular, has a cut which exactly suits Berlioz's scoring); and he is given a comparable sound."


    This title is not eligible for discount.

    Hector Berlioz (1803-1869)
    Harold In Italy, Op. 16
    1. I. Adagio - Allegro ma non troppo (Harold In the Mountains)
    2. II. Allegretto (Procession of Pilgrims)
    3. III. Allegro Assai - Allegretto (Serenade)
    4. IV. Allegro frenetic (Orgy of the Brigands)
    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bela Bartok: Concerto for Violin and Orchestra No. 2 (Speakers Corner) Bela Bartok: Concerto for Violin and Orchestra No. 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bela Bartok: Concerto for Violin and Orchestra No. 2 (Speakers Corner)

    Bartók's Second Violin Concerto combines a potent mixture of traditional concerto writing, compositional history and biographical upheavals. It was one of the last works he wrote before emigrating to the USA, and its classical three-movement form unites a mature feeling for form, sparkling musicality and exceptional violinistic sophistication.


    Bartók employs the inexhaustible sources of tonal writing with superb mastery to produce his own distinctive tonal language. In his dissonantly sharpened, expressive, even audacious music one can recognise peasant dance, cantilena, variation movement, rondo form, and twelve-tone themes, which however remain tonal.


    During his career spanning 60 years Isaac Stern recorded this major contemporary work several times and demonstrates once again his superb mastery of his instrument in this particular recording. With bravura he conjures up eruptive snatches of melody out of the rhapsodic depths, allows the slow movement to glow with pastoral sentiment, and tears through the vast variations finale with a perfect command of the score, his instrument and his creative prowess.


    Musicians:



    • Isaac Stern and the New York Philharmonic Orchestra

    • BÉla Bartók (composer)

    • Leonard Bernstein (conductor)




    Recording: January 1958 at Columbia 30th Street Studio, New York, by Jack Ashkinzy

    Production: Howard H. Scott



    About Speakers Corner



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



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



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



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



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



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


    This title is not eligible for discount.

    1. Allegro Non Troppo
    2. Andante Tranquillo
    3. Allegro Molto
    Leonard Bernstein & Isaac Stern
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Concerto No 4 Beethoven Concerto No 4 Quick View

    $44.99
    Buy Now
    x

    Beethoven Concerto No 4

    So much has been said and written about Glenn Gould's Bach recordings that some classical music listeners may have overlooked his fabulous renditions of the Beethoven piano concertos. Impex is hoping to change this. Hearing Gould's magnificent pianism, along with the inspired conducting of Leonard Berstein, recorded in the vast acoustical space of the Manhattan Center, we are certain you will find Gould's Beethoven concertos have a rightful place alongside his celebrated Goldberg Variations.

     

    With so many workaday renditions of Beethoven concertos, audiophiles rightly tend to look for inspired performances; and every recording by Glen Gould is certainly inspired. Gould is often erratic, but he was also daring, constantly exploring. His lyrical ebb-and-flow reading shines a new light on this well-loved work. With all-analog mastering by Kevin Gray and Impex's usual attention to detail on all facets of production, this new 180-gram pressing will make this Gould and Bernstein triumph a favorite of audiophiles everywhere.

     

    Features:


    • 180 Gram Vinyl

    • Numbered, Limited Edition

    • All-Analog Mastering by Kevin Gray

    • Recorded in Vast Acoustic Space of Manhattan Center

    • Strictly Limited to 2,500 Pressings


     

    Musicians:


    • Glenn Gould, pianist

    • Leonard Bernstein, conductor

    • New York Philharmonic, orchestra 


    This title is not eligible for discount

    Ludwig Van Beethoven (1770-1827)
    Concerto No. 4 in G Major for Piano and Orchestra, Op. 58
    1. I. Allegro moderato
    2. II. Andante con moto
    3. III. Rondo: Vivace
    Glenn Gould
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • West Side Story West Side Story Quick View

    $54.99
    Buy Now
    x

    West Side Story

    Mastered by George Marino at Sterling Sound


    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    One of the first Broadway musical scores to be overtly jazz-influenced was Leonard Bernstein's West Side Story, a tale of rival street gangs in the inner city. In 1962, pianist Oscar Peterson put his light-swing signature on the already popular score, making it, in the words of one critic, a delight to hear again and earning him a Grammy nomination.


    Originally released in 1962


    Oscar Peterson, piano

    Ray Brown, bass

    Toots Thielemans, harmonica


    This title is not eligible for discount.

    1. Something's Coming
    2. Somewhere
    3. Jet Song
    4. Tonight
    5. Maria
    6. I Feel Pretty
    7. Reprise
    Oscar Peterson
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - Sealed Buy Now
  • Apres Un Reve Apres Un Reve Quick View

    $49.99
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    Apres Un Reve

    All Analogue AAA Recording


    Mastered by Kevin Gray from the Original Analogue Tapes


    Pressed at Pallas in Germany


    Gary Karr performs with Harmon Lewis on piano for an offering of classical pieces by composers that include Gershwin, Wagner, Hindemith, and more.


    For bassists, this album should have been titled Hindemith Sonata. Karr's non-academic approach to this romantic music is very compelling and different from most interpretations.


    Gary Karr, acclaimed as the world's leading solo bassist (Time Magazine), is, in fact, the first solo doublebassist in history to make that pursuit a full-time career. It is a career that adds new lustre to his already lustrous 1611 Amati doublebass which was given to him by the widow of Serge Koussevitzky.


    Since his debut with Leonard Bernstein and the New York Philharmonic in 1962, Karr has performed as soloist on six continents with orchestras, including the Chicago Symphony, London Philharmonic Orchestra, Hong Kong Philharmonic, Montreal Symphony, Simon Bolivar Orchestra (Caracas, Venezuela), Jerusalem Symphony, Oslo Philharmonic, Zurich Chamber Orchestra, and with all the major orchestras of Australia.


    This title is not eligible for discount.

    Gabriel Faure (1845-1924)
    1. Apres Un Reve


    Antonio Lorenziti (1740-1789)
    2. Gavotte


    Enrique Granados (1867-1916)
    3. Madrigal In A Minor


    Christoph Willibald Gluck (1714-1787)
    4. Melodie (Reigen seliger Geister)


    George Gershwin (1898-1937)
    5. Summertime


    Richard Wagner (1813-1883)
    6. Q Du Mein Holder Abendstern from Tannhauser


    Johnny Green (1908-1989)
    7. Playful Rondo


    Paul Hindemith (1895-1963)
    8. Sonata For Double Bass And Piano:
    1st Mov.: Allegretto
    2nd Mov.: Scherzo, Allegro assai
    3rd Mov.: Molto adagio

    Gary Karr
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kol Nidrei Kol Nidrei Quick View

    $49.99
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    Kol Nidrei

    All Analogue AAA Recording


    Mastered by Kevin Gray from the Original Analogue Tapes


    Pressed at Pallas in Germany


    Gary Karr performs with Harmon Lewis on piano and pipe organ for a handful of classical pieces by Bach, Wilder, Koussevitzky, and others.


    The Kol Nidrei was the musical impetus that put Karr on the path toward a solo career. He first performed this music in a synagogue at the age of eleven and still considers it his most personal piece.


    Gary Karr, acclaimed as the world's leading solo bassist (Time Magazine), is, in fact, the first solo doublebassist in history to make that pursuit a full-time career. It is a career that adds new lustre to his already lustrous 1611 Amati doublebass which was given to him by the widow of Serge Koussevitzky.


    Since his debut with Leonard Bernstein and the New York Philharmonic in 1962, Karr has performed as soloist on six continents with orchestras, including the Chicago Symphony, London Philharmonic Orchestra, Hong Kong Philharmonic, Montreal Symphony, Simon Bolivar Orchestra (Caracas, Venezuela), Jerusalem Symphony, Oslo Philharmonic, Zurich Chamber Orchestra, and with all the major orchestras of Australia.


    This title is not eligible for discount.

    Max Bruch (1838-1920)
    1. Kol Nidrei, Op.47


    Ernest Bloch (1880-1959)
    2. Prayer from Sketches From Jewish Life


    Serge Koussevitzky (1874-1951)
    3. Chanson Triste, Op.2


    Alec Wilder (1907-1980)
    4. Small Suite For Contrabass And Piano: Romantically / Quasi Jazz
    5. Scherzo, Op.12-No.2


    Johann Sebastian Bach (1685-1750)
    6. Largo from Concerto For Cembalo No.5 in F minor, BWV1056~2nd Mov
    7. Deep River

    Gary Karr
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Arpeggione Sonata Arpeggione Sonata Quick View

    $49.99
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    Arpeggione Sonata

    All Analogue AAA Recording


    Mastered by Kevin Gray from the Original Analogue Tapes


    Pressed at Pallas in Germany


    This release features Gary Karr performing with Harmon Lewis on piano for a group of classical pieces, folk songs, and carols by Schubert, Rachmaninoff, Saint-Saens, and more.


    Although it features Schubert's Arpeggione Sonata, the gem on this recording is a Canadian folksong, When I Wake Up in the Morning. It has been a staple encore piece of the Karr/Lewis Duo for 30 years since they lived in Nova Scotia.


    Gary Karr, acclaimed as the world's leading solo bassist (Time Magazine), is, in fact, the first solo doublebassist in history to make that pursuit a full-time career. It is a career that adds new lustre to his already lustrous 1611 Amati doublebass which was given to him by the widow of Serge Koussevitzky.


    Since his debut with Leonard Bernstein and the New York Philharmonic in 1962, Karr has performed as soloist on six continents with orchestras, including the Chicago Symphony, London Philharmonic Orchestra, Hong Kong Philharmonic, Montreal Symphony, Simon Bolivar Orchestra (Caracas, Venezuela), Jerusalem Symphony, Oslo Philharmonic, Zurich Chamber Orchestra, and with all the major orchestras of Australia.


    This title is not eligible for discount.

    Franz Schubert (1797-1828)
    Arpeggione Sonata
    1. 1st Mov.: Allegro moderato
    2. 2nd Mov.: Adagio
    3. 3rd Mov.: Allegretto


    Segei Rachmaninoff (1873-1943)
    4. Vocalise, Op.34 No.14


    Camille Saint-Saens (1835-1921)
    5. Le Cygne


    Scott Joplin (1867-1917)
    6. The Entertainer


    Rentaro Taki (1879-1903)
    7. Kojo No Tsuki
    8. When I Wake Up In The Morning


    Three Catalonian Carols
    9. El Noi De La Mare
    10. Fum, Fum, Fum
    11. El Cant Dels Ocells

    Gary Karr
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Songs Of Prayer Songs Of Prayer Quick View

    $49.99
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    Songs Of Prayer

    All Analogue AAA Recording


    Mastered by Kevin Gray from the Original Analogue Tapes


    Pressed at Pallas in Germany


    For this collection of songs of prayer, Gary Karr performs with Harmon Lewis on organ. Selections from Mozart, Schubert, Bizet, and more are represented on this release.


    The soulful sound of the doublebass with organ is perfectly suited for this kind of meditative music. The performance is so absorbing that it demands the listener's full attention. This music was so successful with this combination of instruments that the Karr/Lewis Duo planned to release more CDs of this spiritual nature.


    Gary Karr, acclaimed as the world's leading solo bassist (Time Magazine), is, in fact, the first solo doublebassist in history to make that pursuit a full-time career. It is a career that adds new lustre to his already lustrous 1611 Amati doublebass which was given to him by the widow of Serge Koussevitzky.


    Since his debut with Leonard Bernstein and the New York Philharmonic in 1962, Karr has performed as soloist on six continents with orchestras, including the Chicago Symphony, London Philharmonic Orchestra, Hong Kong Philharmonic, Montreal Symphony, Simon Bolivar Orchestra (Caracas, Venezuela), Jerusalem Symphony, Oslo Philharmonic, Zurich Chamber Orchestra, and with all the major orchestras of Australia.


    This title is not eligible for discount.

    1. Eili, Eili (Invocation)


    Adolphe-Charles Adam (1803-1856)
    2. O Holy Night


    Jacques Arcadelt (1507-1568)
    3. Ave Maria


    Georges Bizet (1838-1875)
    4. Agnus Dei (Intermezzo)


    Leigh Harline (1907-1969)
    5. When You Wish Upon A Star


    Franz Schubert (1797-1828)
    6. Ave Maria


    Alan Hovhaness (1911-2000)
    7. Prayer Of Saint Gregory
    8. Nobody Knows De Trouble I've Seen
    9. Swing Low, Sweet Chariot!


    Wolfgang Amadeus Mozart (1756-1791)
    10. Ave, Verum Corpus, K.618

    Gary Karr
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • West Side Story (Original Broadway Cast) West Side Story (Original Broadway Cast) Quick View

    $45.99
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    West Side Story (Original Broadway Cast)


    Cut From The Original 3-track Tapes By Ryan Smith At Sterling Sound


    Legendary 1957 Stereo Recording Spread Across 2LPs For The First Time


    Produced By Goddard Lieberson And Recorded By Fred Plaut And Edward T. Graham At Columbia 30th Street Studio


    Stoughton Old Style Tip-on Gatefold Jacket Includes Rare Photos From The Original Recording Sessions


    2LP 180-Gram Vinyl Pressed And Plated At RTI


    Much has been written about West Side Story, which began as a transmogrification of Romeo and Juliet as a feud between the Jews and Gentiles living on the East side in modern-day New York, only to morph into a confrontation between two street gangs, one American the other Puerto Rican, on the upper West side of the city. Initially, Leonard Bernstein, its composer, was to have written both music and lyrics, but Stephen Sondheim was eventually brought in to handle the latter. With Arthur Laurents contributing the book, and Jerome Robbins devising the staging, the show opened to great acclaim on September 26, 1957 at the Winter Garden, where it played 732 performances, and was subsequently revived several times on Broadway and around the country. But it was the film version, made three years later with Natalie Wood as Maria, that ensured its popularity worldwide. Though there are many recorded versions of the percussive score available, the original cast album, with its fresh, spontaneous performances, remains the standard by which all others are measured.

    LP 1
    1. Prologue
    2. Jet Song
    3. Something's Coming
    4. The Dance at the Gym
    5. Maria
    6. Tonight
    7. America

    8. Cool
    9. One Hand, One Heart


    LP 2
    1. Tonight (Quintet and Chorus)
    2. The Rumble
    3. I Feel Pretty
    4. Somewhere (Ballet)
    5. Gee, Officer Krupke

    6. A Boy Like That / I Have a Love
    7. Finale

    Various Artists
    $45.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Prokofiev: Romeo And Juliet (Speakers Corner) Prokofiev: Romeo And Juliet (Speakers Corner) Quick View

    $34.99
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    Prokofiev: Romeo And Juliet (Speakers Corner)

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



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




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

    Production: Howard H. Scott




    About Speakers Corner



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



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



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



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



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



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


    This title is not eligible for discount.

    Serge Prokofiev: Romeo And Juliet Ballet, Op. 64 (Excerpts) - The New York Philharmonic Orchestra conducted by Dimitri Mitropoulos
    Sergei Prokofiev
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Piazzolla: Salvatore Accardo (Out Of Stock) Piazzolla: Salvatore Accardo (Out Of Stock) Quick View

    $49.99
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    Piazzolla: Salvatore Accardo (Out Of Stock)

    Two genuine art pieces for orchestra and solo violin are on the program on this record: Astor Piazzolla's composition Tanti Anni Prima in a version for string orchestra and solo violin, and composer Leonard Bernstein's five-movement Serenade for Violin, String Orchestra, Harp and Percussion. Piazzolla's Tanti Anni Prima shows the grand master of tango nuevo of his tender, lyrical side, the turn of Italian violin virtuoso Salvatore Accardo and his Orchestra Da Camera Italiana will serve excellently. Bernstein's Serenade, however, is a virtuoso tour de force that demands not only a soloist but also a few strings and percussion machine operators. But Accardo proved himself as a soloist and as an orchestra conductor in top form. The transparent and detailed room-filling sound of this recording, making Bernstein's colorful arrangement here in addition, a special experience. The recording was purely analog Giulio Cesare Ricci absorbed through Neumann microphones at a Ampex two-track analog machine. Even the one-stage cut is implemented as pure analog. The LP was pressed in Germany on high quality 180-gram virgin vinyl. Strictly limited to 496 pieces!
    Astor Piazzolla
    1. Tanti anni prima


    Leonard Bernstein
    Serenade for Violin, String Orchestra, Harp and Percussion
    2. Lento, Allegro
    3. Allegretto
    4. Presto
    5. Adagio
    6. Molto tenuto, Allegro molto vivace

    Leonard Bernstein
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Yes And Also Yes (Out Of Stock) Yes And Also Yes (Out Of Stock) Quick View

    $19.99
    x

    Yes And Also Yes (Out Of Stock)

    The title for Mike Doughty's new album, Yes And Also Yes, was the headline of his profile during an unsuccessful foray into online dating. Most of the songs found here were written at the legendary artists' colony Yaddo, where Leonard Bernstein, Aaron Copland, James Baldwin, Truman Capote, Flannery O'Connor, Carson McCullers, Sylvia Plath and a lot of all-time giants once worked.

    The album was recorded in a studio in Koreatown, Manhattan from July of 2010 to April of 2011 and was produced by Pat Dilett. Supporting musicians include Andrew 'Scrap' Livingston on bass and Thomas 'Doveman' Bartlett on piano. Features the Christmas song, Holiday, where Doughty duets with Roseanne Cash as well as Into the Un, a rejected Twilight soundtrack song about goth kids on LSD in a train station.
    1. Na Na Nothing
    2. Into the Un
    3. Day By Day By
    4. Holiday (What Do You Want?) with Rosanne Cash
    5. Russell
    6. Strike the Motion
    7. Have At It
    8. Makelloser Mann
    9. The Huffer and the Cutter
    10. Rational Man
    11. Telegenic Exes #1 (Hapless Dancers)
    12. Weird Summer
    13. Vegetable
    14. Telegenic Exes #2 (Astoria)
    Mike Doughty
    $19.99
    Vinyl LP - Sealed Temporarily out of stock
  • Adagio d'Albinoni (Out Of Stock) Adagio d'Albinoni (Out Of Stock) Quick View

    $49.99
    x

    Adagio d'Albinoni (Out Of Stock)

    All Analogue AAA Recording


    Mastered by Kevin Gray from the Original Analogue Tapes


    Pressed at Pallas in Germany


    One of the most popular Gary Karr King Record Pressings Ever! The superior sonics of King's pressing and mastering techniques are reproduced in all of their analog glory.


    Gary Karr, acclaimed as the world's leading solo bassist (Time Magazine), is, in fact, the first solo doublebassist in history to make that pursuit a full-time career. It is a career that adds new lustre to his already lustrous 1611 Amati doublebass which was given to him by the widow of Serge Koussevitzky.


    Since his debut with Leonard Bernstein and the New York Philharmonic in 1962, Karr has performed as soloist on six continents with orchestras, including the Chicago Symphony, London Philharmonic Orchestra, Hong Kong Philharmonic, Montreal Symphony, Simon Bolivar Orchestra (Caracas, Venezuela), Jerusalem Symphony, Oslo Philharmonic, Zurich Chamber Orchestra, and with all the major orchestras of Australia.


    Gary Karr performs on this release with Harmon Lewis on pipe organ for a group of classical pieces by Beethoven, Bach, and more.


    This title is not eligible for discount.

    Tomaso Albinoni (1671-1751)
    1. Adagio In G Minor


    Ludwig Van Beethoven (1770-1827)
    2. Sonatine


    Cesar Franck (1822-1890)
    3. Piece V


    George Frideric Handel (1685-1759)
    4. Sonate No.9 In B Minor


    Johann Sebastian Bach (1685-1750)
    5. Ave Maria

    Gary Karr
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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