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  • Mozart - Piano Concerto 20 & 21 (Speakers Corner) Mozart - Piano Concerto 20 & 21 (Speakers Corner) Quick View

    $34.99
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    Mozart - Piano Concerto 20 & 21 (Speakers Corner)

    Friedrich Gulda is known to all. He is the musical wizard with the embroidered cap, an artist who is equally at home in jazz, the Viennese lied, or the works of the Viennese Classic. Gulda might have only performed a small number of his Austrian compatriot's 27 piano concerto but with these few he certainly created a sensation. That the present recording of the Concertos Nos. 20 and 21, even after 25 years, is still regarded as ranking among the very best performances is something that can be heard after just a few bars. The minor-key first movement of No. 20 begins with a measured tempo and precise articulation, then the piano joins in with almost sober clarity and proceeds to lead a concentrated, tightly enmeshed conversation with the orchestra.



    The C major Concerto sparkles brightly with its thrilling, virtuoso part-writing and transparent, almost chamber-like instrumental ensemble. Details left only fleetingly touched and casual phrasing will be sought in vain in this highly analytical interpretation of Mozart's musical intentions. The listener will do well here to forget the popular concept of a fun-loving, high-spirited Mozart and to recognize the ardent, passionate side of the composer.



    Musicians:



    • Friedrich Gulda (piano)

    • Vienna Philharmonic Orchestra

    • Claudio Abbado (conductor)




    Recording: September 1974 at Grosser Saal, Musikverein, Vienna, by GÜnter Hermanns

    Production: Rainer Brock





    About Speakers Corner



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



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



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



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



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



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



    Concerto for Piano and Orchestra No. 20 in D Minor
    Allegro
    Romance
    Rondo


    Concerto for Piano and Orchestra No. 21 in C Major, K. 467
    Allegro maestoso
    Andante
    Allegro vivace assai

    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concerto No.25 & No.20 Mozart: Piano Concerto No.25 & No.20 Quick View

    $25.99
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    Mozart: Piano Concerto No.25 & No.20

    The first new release for ten years from Martha Argerich and Claudio Abbado is their first ever album of concertos by Mozart. The legendary pianist and conductor add the sublime music of Mozart to their unrivalled, multi award-winning DG discography of concertos by Tchaikovsky, Chopin, Ravel, Prokofiev, Beethoven and Liszt.


    Both concertos were recorded with Claudio Abbado's Orchestra Mozart, at concert performances at the 2013 Lucerne Festival that had critics searching
    for new superlatives. The album contrasts two very different works. Written in D minor, the key of the Queen Of the Night and the opening of Mozart's Requiem, the darkly dramatic No.20, K.466 has a stormy, operatic temperament that looks forward eighteen months to the premiere of Don Giovanni.


    With its majestic and radiant opening and a march famously reminiscent of the Marseillaise, No.25 in C major, K.503 is the culmination of the twelve transcendent concertos Mozart wrote in Vienna between 1784 and 1786. This release is Martha Argerich's first recording of solo concertos by Mozart on Deutsche Grammophon.

    1. Allegro maestoso [Live]
    2. Andante [Live]
    3. Allegretto [Live]
    4. Allegro [Live]
    5. Romance [Live]
    6. Rondo (Allegro assai) [Live]
    Martha Argerich / Claudio Abbado / Orchestra Mozart
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner) Quick View

    $34.99
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    Mozart: Concerto For Piano And Orchestra No. 19 & 27 (Speakers Corner)

    In spite of the varying degrees of popularity of Mozart's numerous piano concertos, no one would seriously consider ranking them by quality. It would certainly prove an impossible task, for each and every one of these intense yet often playful compositions could be considered the most perfect of its genre. In view of this, one should concentrate on each work's highly individual character and this can hardly be more contrasting than in the present two pieces. Thanks to the joyous, energetic disposition of No. 19 in F major, K. 259, it appears to be filled with the exuberant spirit of Mozart's Viennese period - a time when he amazed audiences with his dexterity at the keyboard. As a contrast, the mood of the late No. 27 in B flat major, K. 595, which was performed in a small circle, is introvert and mellow. The old adage that Mozart's final concerto was a gesture of farewell and filled with a premonition of death is certainly not substantiated by Haskil and Fricsay's performance. Through the subtle and flowing clarity of her piano part under the tense and elastic opposition of the orchestra, the soloist banishes the question of the end of time into the background and so pays hommage to the relaxed and self-assured mastery of the Salzburg composer.





    Musicians:



    • Clara Haskil (piano)

    • Bayerisches Staatsorchester

    • Ferenc Fricsay (conductor)




    Recording: September 1955 at Jesus-Christus-Kirche, Berlin, by Harald Baudis and May 1957 at Herkules Saal, Munich by Werner Wolf

    Production: Wolfgang Lohse / Otto Gerdes




    About Speakers Corner



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



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



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



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



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



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



    1. Concerto for Piano and Orchestra No. 19 F major, K. 459
    2. Concerto for Piano and Orchestra No. 27 B flat major, K. 595
    Wolfgang Amadeus Mozart
    $34.99
    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
    Buy Now
    x

    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
  • Mozart - Eine Kleine Nachtmusik (Speakers Corner) Mozart - Eine Kleine Nachtmusik (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Mozart - Eine Kleine Nachtmusik (Speakers Corner)

    Mozart wrote the Divertimento No. 1 at the age of six, while A Musical Joke and Eine kleine Nachtmusik were composed shortly before his death.



    From what one hears, apparently only a few music lovers enjoy listening to Eine kleine Nachtmusik. Far too often has it been performed routinely rather than being filled with life. This recording is quite different: living up to his reputation, Karl MÜnchinger proves that this favourite can be imbued with significance.



    The historical roote of the serenade lie in the suite which consists of varied contrasting dance movements. In the spirit of this tradition, MÜnchinger offers a clear and unfussed interpretation which is absolutely credible and has a freshness rarely heard. The ensemble plays both cheerfully and and wittily. In A Musical Joke, Mozart parodies amateurish composers of his own era, and the orchestra quite obviously participates in the fun.
    This LP is distinguished by its musical and tonal balance and is one of DECCA's best sound recordings.





    Musicians:



    • Stuttgart Chamber Orchestra

    • Karl MÜnchinger (conductor)




    Recording: November 1960, Victoria Hall at Geneva by Roy Wallace

    Production: James Walker





    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.


    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concertos Nos. 17 & 21 Mozart: Piano Concertos Nos. 17 & 21 Quick View

    $25.99
    Buy Now
    x

    Mozart: Piano Concertos Nos. 17 & 21

    Ashkenazy's cycle is unique in that one experiences the subtle shades of Mozart's music . . . Ashkenazy . . .uncovers all manner of subtle musical expression beneath the music's surfaces . . . he displays an independence of thought and spirit that has one rethinking what this music is about. - BBC Music Magazine
    Mozart: Piano Concerto No.21 in C Major, K.467
    1. Allegro
    2. Andante
    3. Allegro vivace assai


    Mozart: Piano Concerto No.17 in G Major, K.453
    4. Allegro
    5. Andante
    6. Allegretto - Finale: Presto

    Vladimir Ashkenazy
    $25.99
    Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concertos Nos. 20 & 24 Mozart: Piano Concertos Nos. 20 & 24 Quick View

    $24.99
    Buy Now
    x

    Mozart: Piano Concertos Nos. 20 & 24

    In January 2016, Decca celebrated Alfred Brendel's artistic achievements by releasing his complete Philips
    recordings in a single 114 CD set for the first time.


    Now, Decca proudly presents iconic Brendel albums from the
    analogue era on 180g heavyweight vinyl. Presented with original artwork and pressed at optimal GmbH, each
    release has been carefully mastered from original analogue sources at Abbey Road Studios. This LP includes
    Mozart's Piano Concertos K.466 and K.491.

    1. Allegro
    2. Romance
    3. Rondo (Allegro Assai)
    4. Allegro
    5. Larghetto
    6. Allegretto
    Alfred Brendel
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Requiem Mozart: Requiem Quick View

    $22.99
    Buy Now
    x

    Mozart: Requiem

    Wolfgang Amadeus Mozart left a major work unfinished when he died in Vienna in December 1791, just a few weeks short of his 36th birthday. In a strange yet poetic irony it was the setting of the Requiem Mass.


    Many myths have grown up around the Requiem and the last few months of the composer's life. Over recent decades, Amadeus, the play by Peter Shaffer that became an Oscar-winning movie in 1984, has played a key role in perpetuating and amplifying them.


    This recording features Helen Donath, soprano, Christa Ludwig, mezzo-soprano, Robert Tear, tenor, and Robert Lloyd, bass.

    1. Mozart: Mass No. 19 in D Minor, K. 626, 'Requiem': I. Requiem aeternam
    2. Mozart: Mass No. 19 in D Minor, K. 626, 'Requiem': III. Dies irae
    3. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Tuba mirum
    4. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Rex tremendae
    5. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Agnus Dei
    6. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Confutatis
    7. Mozart: Mass No. 19 in D Minor, K. 626, 'Requiem': VII. Lacrimosa
    8. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Domine Jesu
    9. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Hostias
    10. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Sanctus
    11. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Benedictus
    12. Mass No. 19 in D minor K626, 'Requiem' (1998 Digital Remaster): Agnus Dei
    Carlo Maria Giulini
    $22.99
    Vinyl LP - Sealed Buy Now
  • The Piano Guys The Piano Guys Quick View

    $42.99
    Buy Now
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    The Piano Guys

    Import


    180 Gram Audiophile Vinyl


    Gatefold Sleeve


    4-Page Booklet


    PVC Protective Sleeve


    The Piano Guys have become a YouTube sensation with their clever and inspiring takes on popular music and creative videos that accompany them. From Beethoven to Adele, their eclectic mix of Classical, film score, Rock and Pop favorites resonate with audiences across generations and from all walks of life.


    The band consists of American musicians Jon Schmidt, Steven Sharp Nelson, Paul Anderson, and Al van der Beek. Their 2012 debut album The Piano Guys reached number One on the Billboard New Age Albums and Classical Albums charts.


    Several of the group's YouTube videos have over 20 million views, while all of them have over 750 million. Their Youtube channel has over four million subscribers. In June 2011, The Piano Guys won the Most Up-and-Coming Channel award in the YouTube On the Rise contest with Michael Meets Mozart, featuring Jon Schmidt and Steven Sharp Nelson.

    1. Titanium / Pavane
    2. Peponi (Paradise)
    3. Code Name Vivaldi
    4. Beethoven's 5 Secrets
    5. Over the Rainbow/Simple Gifts
    6. Cello Wars
    7. Arwen's Vigil
    8. Moonlight
    9. A Thousand Years
    10. Michael Meets Mozart
    11. The Cello Song
    12. Rolling in the Deep
    13. What Makes You Beautiful
    The Piano Guys
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) (Awaiting Repress) Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
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    x

    Mozart - Clarinet Concerto - Horn Concerto (Speakers Corner) (Awaiting Repress)

    The amazing skill of two great virtuosos, Joseph Leutgeb and Anton Stadler, inspired Mozart to compose the concertos heard here. Made in 1959, this DECCA recording gives us an excellent idea of how the concertos would have sounded in Mozart's day, thanks to two of today's very best instrumentalists - the clarinettist Gervase de Peyer and the horn player Barry Tuckwell.



    Amazing lightness, warmth of tone and perfect intonation are the hallmarks of the soloist and London Symphony Orchestra conducted by Peter Maag in the clarinet concerto, which Mozart completed only a few weeks before his death. The two horn concertos heard here were also written during Mozart's final creative period in Vienna. Just one hearing is enough to let them be remembered for all time - for these concertos employ to the full the horn's rich and widely varied range of expression. Broad arching melodies, tripping runs and merry hunting calls in the final movements guarantee musical enjoyment, and for this we owe our thanks to both the past and present masters of their instruments in this delightful recording.





    Musicians:



    • Gervase de Peyer (clarinet)

    • Barry Tuckwell (horn)

    • London Symphony Orchestra

    • Peter Maag (conductor)




    Recording: November 1959 at Kingsway Hall, London by Kenneth E. Wilkinson
    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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Wolfgang Schneiderhan - Mozart:Violinkonzerte No. 4 Wolfgang Schneiderhan - Mozart:Violinkonzerte No. 4 Quick View

    $44.99
    Buy Now
    x

    Wolfgang Schneiderhan - Mozart:Violinkonzerte No. 4

    Here the Austrian violinist/conductor performs and conducts the Berlin Philharmonic Orchestra in a pairing of Mozart's Concerto for Violin and Orchestra No. 4 in D Major, K. 218 and Concerto for Violin and Orchestra No. 5 in A Major, K. 219. 180g vinyl pressing from Clearaudio.


    Musicians:


    Mozart (composer)

    Wolfgang Schneiderhan (violin/conductor)

    Berlin Philharmonic Orchestra

    1. Allegro

    2. Andante cantabile

    3. Rondeau: Andante grazioso - Allegro ma non troppo Concerto for Violin and Orchestra No. 5 in A Major, K. 219

    4. Allegro aperto

    5. Adagio

    6. Rondeau: Tempo di Menuetto - Allegro



     

    Wolfgang Schneirderhan
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Sinfonia Concertante (Speakers Corner) Mozart - Sinfonia Concertante (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Sinfonia Concertante (Speakers Corner)

    "Now I am going to compose a Sinfonia concertante", wrote Mozart to his father, quite unsuspecting that his contribution to this hybrid of concerto and symphony would not bring the immediate approval and success to which he was accustomed. But opinions have changed drastically since then, especially since the Sinfonia concertante K. 364 has far greater depth to it than its title suggests. The wealth of melodic ideas, subtly allotted alternately to the soloist and the orchestra, testifies to the fact that this is one of Mozart's mature orchestral masterpieces which he composed while in Vienna.



    The superb performers in this DECCA recording guarantee that the listener will not only enjoy the deceptive merriment of the outer movements but will be deeply moved by the sad Andante. What bad luck for rival performances! But when father and son take up their bows, this is the recording to beat all recordings!



    On the B side, the Duo for Violin and Viola, K. 423 is a welcome bonus since it offers a wonderful opportunity for a display of virtuosity and counterpoint. And of course the old question pops up once again as to who is the better master of his instrument: father or son? The answer is simple: neither the one nor the other! - Both, of course!



    Musicians:



    • David and Igor Oistrakh

    • The Moscow Philharmonic Orchestra

    • Kyrill Kondrashin (conductor)




    Recording: September 1963 at DECCA Studio No. 3 in West Hampstead, London by Kenneth Wilkinson

    Production: Erik Smith und 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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Masterpieces Masterpieces Quick View

    $34.99
    Buy Now
    x

    Masterpieces


    200-Gram Vinyl LP Pressed At Quality Record Pressings


    Mastered From The Original Analog Master Tapes By Kevin Gray At CoHEARent Audio


    Stoughton Printing Old-Style Deluxe Film-lamination Tip-On Jacket


    This is a gem of an audiophile record, a showcase for one of the truly great
    20th century violinists - Nathan Milstein - whose skill and instrumental
    mastery matches peers more widely and famously known: Perlman, Heifetz,
    Haendel, Menuhin, Oistrakh, Szeryng and a handful of other soloists.
    Clean copies of this album remain super desirable and regularly fetch in
    excess of $500 from collectors.


    The range of music undertaken in this collection - from the classical
    expression of Mozart to the salon civilities of Saint-Saëns - confirms
    what was served notice by Milstein's American debut with the Philadelphia
    Orchestra in 1929 - a young artist of special consequence had arrived
    among us. Here, Milstein is backed by The Concert Arts Orchestra
    conducted by Walter Susskind for this recording of violin and orchestra
    masterpieces.


    Milstein was a Russian Empire-born virtuoso violinist and American immigrant.
    It was a concert by the 11-year- old Jascha Heifetz that inspired his
    parents to make a violinist out of Milstein. At age 7, he started violin studies
    (as suggested by his parents, to keep him out of mischief) with the eminent
    violin pedagogue Pyotr Stolyarsky, also the teacher of renowned violinist
    David Oistrakh. When Milstein was 11, Leopold Auer invited him to study
    at the St. Petersburg Conservatory. Milstein made his American debut in
    1929 with Leopold Stokowski and the Philadelphia Orchestra. He eventually
    settled in New York and became an American citizen, but toured
    repeatedly throughout Europe.


    Milstein was a technical perfectionist, obsessed with articulating each note
    perfectly. He would spend long hours working out fingerings which would
    make passages sound more articulated. He arranged many works for violin
    and wrote his own cadenzas for many concertos. As a recording artist with
    Capitol Records, his discs of recital repertoire bloomed with musical taste
    and stylistic versatility.


    This title is not eligible for discount.

    1. Mozart: Adagio, K. 261
    2. Mozart: Rondo, K. 373
    3. Beethoven: Romance In F. Op, 50
    4. Wieniawski: Legende
    5. Novacek: Perpetual Motion
    6. Stravinsky: Berceuse (The Firebird)
    7. Saint-Saens: Introduction and Rondo Capriccioso
    Nathan Milstein
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Notturno for Four Orchestras (Speakers Corner) Mozart: Notturno for Four Orchestras (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Notturno for Four Orchestras (Speakers Corner)

    Bad weather in Salzburg, particularly during the dark and wet months of December and January, placed a large role in the creation of Mozart's Notturni. Domestic music-making offered the upper classes a little cheer during the dreary winter months. Serenades by the Salzburg maestro were performed for entertainment and greatly influenced chamber and symphonic music.



    The Overture to Lucio Silla is from an opera which tells the story of the bloody political dispute of the Roman general Lucio Silla. This highly developed work deviated from the norms of compositions, and this was perhaps the reason why it was not as popular in Milan as Mozart's other works with the result that he receoved no more commissions from Italian opera houses.



    The music written for the historical drama Thamos, König von Ägypten was unique for Mozart, although this kind of music was not unusual for its day. The so-called entr'actes served to fill the time between scenes or acts.



    Peter Maag and the London Symphony Orchestra stage an excellent performance with their exquisite tone, exemplary dynamics and shaping of this wonderful music which reveals the splendidly colourful scores of one of the greatest musical phenomena: Wolfgang Amadeus Mozart.



    Recording: December 1959 at Kingsway Hall by Kenneth E. Wilkinson / 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.

    1. Andante
    2. Allegretto garzoso
    3. Minuetto
    4. Marcia
    5. Minuetto, Rondo
    6. Molto Allegro
    7. Andante
    8. Molto Allegro
    9. Maestoso
    10. Andante
    11. Allegro
    12. Allegro vivace assai
    Peter Maag with London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Symphonies Nos. 35 & 41 (Speakers Corner) Mozart: Symphonies Nos. 35 & 41 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Symphonies Nos. 35 & 41 (Speakers Corner)

    Wolfgang Amadeus Mozart: Symphonies Nos. 35 K. 385 (Haffner) and 41 K. 551 (Jupiter)


    At flea markets in the colourful, pre-digital era, one could occasionally find Bruno Walter's Mozart recordings amongst other 'rarities'. Thin vinyl discs of dubious origin changed hands for a small sum, the cheap bootleg recording gave up the ghost after just a few rounds on the turntable and then vanished into thin air. What remained, however, was a musical impression that - from that moment onwards - influenced what one expected when listening to Mozart's symphonies. Is it the unifying sound with which Walter so harmonically interweaves the slender serenade-like character with the great symphonic idea in the Haffner Symphony? Does the magic of the fast finale, which Mozart wanted »to be played as swiftly as possible«, lie in the brisk tempo or in its clear structure?


    An answer to this and other questions is given by this new release of the Symphonies No. 35 and the unique Jupiter. The latter was a linchpin in the history of the genre; it not only terminated and consummated Mozart's creative period but also opened - as the first monumental piece - the way to the great symphonic works of the 19th century. The tightly knit finale in particular, with its sparkling mixture of strict counterpoint and galant style, is highly captivating thanks to its spirited and motivated, yet never overhasty, rendering, which can be enjoyed time and again on this production. And that's guaranteed!


    Musicians:


    • The Columbia Symphony Orchestra conducted by Bruno Walter


    Recording: January 1959 and February 1960 in Legion Hall, Hollywood (CA)


    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.


    Symphony No. 41, In C Major, K. 551 (Jupiter)
    I - Allegro Vivace
    II - Andante Cantabile
    III - Menuetto
    IV - Finale


    Symphony No. 35, In D Major, K. 385 (Haffner)
    I - Allegretto Con Spirito
    II - Andante
    III - Menuetto
    IV - Finale: Presto

    Bruno Walter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner)

    If you want to get to the bottom of the cheerfulness and gallantry in Mozart's oeuvre, you can do no better than taking as a contrast one of his compositions that has always been described as gloomy and demonic.

    Putting aside the often-cited vocal heavyweights such as Don Giovanni and Requiem, Mozart's Piano Concerto No. 20, K. 466 occupies a distinguished position as a resonant counterpart to the charming music he wrote for social occasions in that it takes on a new dimension in his instrumental music. The choice of a minor key, unusual for a concerto, lends a dramatic tone to the composition, whereby the soloist and orchestra engage with one another in sharp contrast. Rudolf Serkin, one of the greatest interpreters of Mozart's piano works, allows the immense energy of this concerto to slip through his fingers with due care. He battles his way through the weighty first movement with enthusiasm and verve, lets his fingertips dance daintily through the cantilena of the Romance, and then rousingly celebrates the passionate and fiery Finale with a bell-like touch.

    On the reverse side the Festival Orchestra rounds off this inspiring performance with the filigree and charmingly effervescent Concerto in F major, K. 413 from Mozart's Viennese period - as cheerful as it is gallant.

    Musicians:

    • Rudolf Serkin (piano)
    • The Marlboro Festival Orchestra conducted by Alexander Schneider

    Recording: August 1957 in Marlboro, VT

    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.


    Piano Concerto No. 20 In D Minor

    I- Allegro
    II- Romance
    III- Rondo; Allegro Assai
    Piano Concerto No. 11 In F Major
    I- Allegro
    II- Larghetto
    III- Tempo Di Menuetto
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Shawshank Redemption Soundtrack The Shawshank Redemption Soundtrack Quick View

    $42.99
    Buy Now
    x

    The Shawshank Redemption Soundtrack

    Import

    Insert / PVC Protective Sleeve


    Includes Original Songs By The Inkspots And Hank Williams


    Get busy living or get busy dying


    1994 proved to be an amazing good year for movie theaters, as these classic films saw the light of day; Pulp Fiction, Lion King, Forrest Gump, Natural Born Killers and The Shawshank Redemption.


    The Shawshank Redemption tells the story of Andy Dufresne (Tim Robbins), a banker who is sentenced to life in Shawshank State Penitentiary for the murder of his wife and her lover, despite his claims of innocence. During his time at the prison, he befriends a fellow inmate, Ellis Boyd Red Redding (Morgan Freeman), and finds himself protected by the guards after the warden begins using him in his money-laundering operation.


    The film received multiple award nominations (including seven Oscar nominations) and highly positive reviews from critics for its acting, story, and realism. It is considered to be one of the greatest films of the 90s. Readers of Empire magazine voted the film as the best film of the 90s, and it placed number 4 on Empire's list of The 500 Greatest Movies of All Time in 2008. In March 2011, the film was voted by BBC Radio 1 listeners as their favorite film of all time. The Shawshank Redemption is the highest-rated movie on IMDB with an average star count of 9.3, closely followed by The Godfather.


    The Shawshank Redemption score was composed by multiple (Grammy) award winner Thomas Newman. The score was nominated for an Academy Award for Best Original Score in 1994, which was Newman's first Oscar nomination.


    A central scene in the film features the soprano Letter Duet (Canzonetta sull'aria) from Mozart's The Marriage of Figaro, which is included on the soundtrack. Original songs by Hank Williams and The Inkspots are included as well.

    LP 1
    1. May
    2. Shawshank Prison (Stoic Theme)
    3. New Fish
    4. Rock Hammer
    5. An Inch Of His Life
    6. If I Didn't Care - The Inkspots
    7. Brooks Was Here
    8. His Judgement Cometh
    9. Suds On The Roof
    10. Workfield
    11. Shawshank Redemption


    LP 2
    1. Lovesick Blues - Hank Williams
    2. Elmo Blatch
    3. Sisters
    4. Zihuatanejo
    5. The Marriage Of Figaro/ "Duettino - Sull 'Aria" - Deutsch Oper Berlin/Karl Böhm
    6. Lovely Racquel
    7. And That Right Soon
    8. Compass And Guns
    9. So Was Red
    10. End Title

    Thomas Newman
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Shawshank Redemption: Original Motion Picture Score (Awaiting Repress) The Shawshank Redemption: Original Motion Picture Score (Awaiting Repress) Quick View

    $29.99
    Buy Now
    x

    The Shawshank Redemption: Original Motion Picture Score (Awaiting Repress)

    First Time Ever On Vinyl


    Deluxe Double LP Package


    Gatefold Jacket Highlighted With Embossed Gold Leaf


    A truly historic event for vinyl aficionados and music fans the world over - Thomas Newman's Academy Award and Grammy Award-nominated score for the hit film THE SHAWSHANK REDEMPTION is released on vinyl for the first time ever!


    Soundtrack album features the full 18-track score from award-winning composer Thomas Newman (The Green Mile, American Beauty, Spectre) plus three additional tracks featured during some of the most memorable scenes throughout the film performed by The Ink Spots and Hank Williams plus a stunning performance of Mozart's The Marriage of Figaro by the Deutsche Opera Berlin.


    This package features several images from the hit film plus exclusive liner notes by composer Thomas Newman.


    Since it's release in 1994, The Shawshank Redemption, with it's hauntingly beautiful, fan favorite score by composer Thomas Newman, has become a bona-fide classic as well as a regular fixture in American homes, appearing frequently on both basic and premium cable television, most notably throughout the holiday season.

    LP 1
    1. May
    2. Shawshank Prison (Stoic Theme)
    3. New Fish
    4. Rock Hammer
    5. An Inch Of His Life
    6. If I Didn't Care (Performed by the Ink Spots)
    7. Brooks Was Here
    8. His Judgement Cometh
    9. Suds on the Roof
    10. Workfi eld
    11. Shawshank Redemption
    12. Lovesick Blues (Performed by Hank Williams)


    LP 2
    1. Elmo Blatch
    2. Sisters
    3. Zihuatanejo
    4. The Marriage of Figaro / "Duettino - Sull 'Aria" (Performed by Deutsch Oper Berlin / Karl Bohm)
    5. Lovely Raquel
    6. And That Right Soon
    7. Compass and Guns
    8. So Was Red
    9. End Title

    Thomas Newman
    $29.99
    Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Mozart: Mass in C Minor (Speakers Corner) Mozart: Mass in C Minor (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart: Mass in C Minor (Speakers Corner)

    It is not often that incomplete works enjoy great popularity. And it is even rarer that a torso should exercise such great importance in music history, but this is the case with Mozart's Great Mass, K. 427. The C minor Mass is always spoken of as if it were complete: it is spoken of with reverence, eyes looking towards Heaven, lost in the beauty of the music, transported to celestial heights. Mozart combines the compositional style of the Baroque masters with the more modern style of the Viennese Classic. Lofty arioso sections alternate with tremendous choral sections for up to eight parts whose splendid and spectacular timbre broke the bounds of tradition and set new standards for the genre.



    This Mass is, of course, not merely performed but celebrated, as the Berlin RSO under its Principal Conductor Ferenc Fricsay has so admirably demonstrated in this recording. Precise entries, strict tempi, a polished orchestral timbre and vocal soloists so brilliant one might think they were standing in one's own front room lend this recording top marks for musical quality and repertoire value.




    Musicians:



    • Maria Stader

    • Hertha Töpper

    • Ernst Haefliger

    • Ivan Sardi

    • Chorus

    • The Berlin Radio Symphony Orchestra

    • Ferenc Fricsay (conductor)




    Recording: September/ October 1967 at the Haus des Rundfunks, Berlin by Werner Wolf

    Production:Otto Gerdes





    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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart - Symphony 40 & 41 (Speakers Corner) Mozart - Symphony 40 & 41 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Symphony 40 & 41 (Speakers Corner)

    Like all the works he composed during his extremely productive years in Vienna, Mozart's last two symphonies are remarkable for their ambitious and demanding individuality, despite the fact that they were written in the amazingly short space of only six weeks. Any inference to the dire circumstances in which the composer was living at the time might possibly be detected in the grave character of Symphony No. 40 in G minor. The so-called Jupiter-Symphony, however, which owes its name to the Roman god, brims over with an endless joy of life. The powerful final movement with its combination of fugal technique, rondo and sonata form is quite rightly regarded as a unique compositional achievement in the classical era.
    The Mozart specialist Carlo Maria Giulini, who only enters the recording studio when he is quite totally sure of a thing, has set down a performance here which does without orchestral fireworks and concentrates on a seemingly endless flow of melody. The orchestral playing is light, airy and unpretentious, the strings as soft as silk - what more could Mozart have wished for.



    Musicians:



    • New Philharmonia Orchestra

    • Carlo Maria Giulini (conductor)




    Recording: October/ November 1965 at Kingsway Hall, London by Kenneth Wilkinson

    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.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Violin Concertos No. 4 & 5 Mozart: Violin Concertos No. 4 & 5 Quick View

    $24.99
    Buy Now
    x

    Mozart: Violin Concertos No. 4 & 5

    Recorded With Nikolaus Harnoncourt & The Wiener Philharmoniker


    Pressed On 180-Gram Vinyl


    When Nikolaus Harnoncourt died in March 2016, the music world lost one of its most influential conductors. Deutsche Grammophon commemorates the first anniversary of his death presenting his remarkable historically informed recordings with Gidon Kremer and the Vienna Philharmonic on 180g vinyl.

    1. Allegro (Cadenza By Robert Levin)
    2. Andante cantabile (Cadenza By Robert Levin)
    3. Rondeau (Andante grazioso - Allegro ma non troppo) (Cadenza By Robert Levin)
    4. Allegro aperto

    5. Adagio

    6. Rondeau. Tempo di Menuetto
    Gidon Kremer
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Die Zauber Flote (The Magic Flute) Mozart: Die Zauber Flote (The Magic Flute) Quick View

    $44.99
    Buy Now
    x

    Mozart: Die Zauber Flote (The Magic Flute)

    Karl Bohm conducts the Berlin Philharmonic Orchestra and vocal accompaninists Evelyn Lear (soprano), Roberta Peters (soprano), Lisa Otto (soprano), Fritz Wunderlich (tenor), Dietrich Fischer-Diesku (baritone) and Franz Crass (bass) on a performance of Mozart's Die Zauber Flote (The Magic Flute). 180g vinyl pressing from Clearaudio.


    Musicians:


    Mozart (composer)

    Karl Bohm (conductor)

    Berlin Philharmonic Orchestra

    Evelyn Lear (soprano)

    Roberta Peters (soprano)

    Lisa Otto (soprano)

    Fritz Wunderlich (tenor)

    Dietrich Fischer-Dieskau (baritone)

    Franz Crass (bass)

    1. Ouveture

    2. Zu Hilfe! Zu Hilfe!

    3. Der Vogelfanger bin ich ja

    4. Dies Bildnis ist bezaubernd schon

    5. O zittre nicht, mein leiber Sohn

    6. Bei Mannern, welche Liebe fuhlen

    7. O Isis und Osiris

    8. Alles fuhlt der Lieve Freuden

    9. Der Holle Rache kocht in meinem Herzen

    10. In diesen heil'gen Hallen

    11. Seid uns zum zweiten Mal wilkommen

    12. Ach, ich fuhl's, es ist verschwunden

    13. O Isis und Osiris

    14. Ein Madchen oder Weibchen

    15. Pa-pa-pa

    16. Die Strahlen der Sonne / Heil sei euch

    Geweihten

    Karl Bohm
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bruckner: Symphony No. 5 / Mozart: Symphony No. 36 (Speakers Corner) Bruckner: Symphony No. 5 / Mozart: Symphony No. 36 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Bruckner: Symphony No. 5 / Mozart: Symphony No. 36 (Speakers Corner)

    Eugen Jochum was a modest man who did not use the media to draw attention to himself but rather to document his musical intentions. And right from the very beginning he focussed on magnitude. Aged only 23, he made his debut in Munich with Bruckner's Symphony No. 7 and so laid the foundations for his lifelong devotion to the Austrian composer's works, as is demonstrated by his complete recording of the Symphonies that was made during the years 1958-1967. The present account of the Fifth Symphony was recorded roughly half way through his thorough exploration and study of Bruckner's symphonic works. From the very beginning, the Concertgebouw Orchestra strides majestically towards the Finale with its sonorous brass sound in the chorale, and fugal sections. A divine atmosphere is guaranteed - quite literally - by the work being performed in the hallowed halls of the Benedictine Abbey in Ottobeuren to celebrate its foundation 1200 years ago.



    Jochum's fresh and scholarly account of Mozart's "Linz" Symphony reminds us of his superb mastery of the Viennese Classics. The music, which ranges from festive cheerfulness to abrupt gloominess, is resolutely conducted - with the happy result that the hackneyed image of Jochum as an otherworldly specialist of the Romantic era is completely abolished. Measured against the conductor's self-concept as a universal medium for expressing the ideas of the great maestros, the present recording is a befitting portrait of his superb versatility on the rostrum.





    Recording: May 1964 at Benedictiner Abbey, Ottobeuren, Germany, by Henk Jansen

    Production: Jaap van Ginneke



    Format: 2LPs 33rpm



    About Speakers Corner



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



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



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



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



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



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



    1. Anton Bruckner: Symphony No. 5 in B flat major
    2. Wolfgang Amadeus Mozart: Symphony No. 36 in C major, K.425 (Linz)
    Wolfgang Amadeus Mozart
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mozart Requiem (Speakers Corner) Mozart Requiem (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Mozart Requiem (Speakers Corner)

    Among all those sacred compositions that deal with the end of life, Mozart's Requiem penetrates one's heart and soul like no other apocalyptic work. One reason for this is surely the rather mysterious story surrounding its composition, a mixture of truth and legend, which arose during the arduous last months of the ailing Salzburg composer. Although the various developmental stages and the extent to which Mozart's pupils participated in the composition may never be fully clarified, the mystical power of the enigmatic fragments remains constant to this day.



    Sir Colin Davis lends an immediate relentlessness to the sounds of despair that is already apparent in the tense, pulsating opening bars, and which is taken to the very limits of playability in the climactic Dies irae. While the swift tempi might appear rather surprising, they serve to dampen any sort of opera-like sentimentality of which many recordings are guilty. The consolatory timbre in the vocal parts make them come across as oases of calm in the prevailing atmosphere of biting cold, fearsome drama, and flickering hope, all of which breathes musical life into this mass for the dead.



    Musicians:



    • Soloists

    • The John Alldis Choir

    • The BBC Symphony Orchestra

    • Sir Colin Davis (conductor)





    Recording: September 1967 at Watford Town Hall, London, by Martin Vos

    Production: Harold Lawrence




    About Speakers Corner



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



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



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



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



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



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



    1. Introitus
    2. Kyrie
    3. Sequentia
    4. Offertorium
    5. Sanctus
    6. Benedictus
    7. Agnus Dei
    8. Communio
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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