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Mozart Requiem

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  • 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: Requiem Mozart: Requiem Quick View

    $22.99
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    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
  • Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Quick View

    $34.99
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    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.


    This title is not eligible for discount.

    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
  • Mozart Requiem (Speakers Corner) (Out Of Stock) Mozart Requiem (Speakers Corner) (Out Of Stock) Quick View

    $34.99
    x

    Mozart Requiem (Speakers Corner) (Out Of Stock)

    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.




    This title is not eligible for discount.

    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 Temporarily out of stock
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