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Mozart Violin Concertos'
Wolfgang Schneiderhan - Mozart:Violinkonzerte No. 4Here 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.
Wolfgang Schneiderhan (violin/conductor)
Berlin Philharmonic Orchestra1. 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
6. Rondeau: Tempo di Menuetto - Allegro$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Mozart: Violin Concertos No. 4 & 5Recorded 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
6. Rondeau. Tempo di Menuetto$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
SPCO-SPE-6088xWolfgang Amadeus Mozart
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!
- 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.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
ACSO-APO-2652xSir Malcolm Sargent
Bruch - Concerto in G Minor / Mozart - Concerto in D MajorRCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!
Remastered From The Original Master Tape And Cut At 33 1/3 Rpm By Ryan Smith At Sterling Sound
Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!
RCA Living Stereo Reissue Series No. 2 - 25 Newly-Remastered Classical Mainstays!
Analogue Productions' RCA Living Stereo Reissue Series No. 2, with 25 newly remastered mainstay classical albums, will delight and astound your ears with their clarity and warm, rich tone. As with our first highly-regarded LSC series, shortcomings of previous editions have been improved upon - from the mastering, to the LP pressing, to the sharp-looking glossy heavyweight Stoughton Printing tip-on jackets that faithfully duplicate the original artwork, Living Stereo logo, Shaded Dog label and all!
Mastered by Ryan K. Smith at Sterling Sound from the original 2-track master tapes, cut at 33 1/3, and plated and pressed at Quality Record Pressings - makers of the world's finest-sounding vinyl LPs, - no other editions match these for the quietest 200-gram platters available.
Violinist Jascha Heifetz, playing with the New Symphony Orchestra of London, conducted by Sir Malcolm Sargent. Heifetz was the leading figure among the extraordinary group of Russian Jews who dominated violin playing in the second and third quarters of the 20th century.
As a technician he had no superior, and, of all the artists of his time and later, only two or three could even offer a challenge to his electrifying precision of execution. His diamond-point tone and quick vibrato afforded his playing a clarity of line that some felt was almost too perfect, even cold. Most conductors and other violinists - and audiences - felt differently and a Heifetz concert inevitably drew sell-out crowds.
This title is not eligible for discount.Bruch: Concerto For Violin And Orchestra No. 1 In G Minor, Op. 26
1. Vorspiel. Allegro Moderato; Adagio
2. Satz: Adagio
3. Satz: Finale. Allegro Energico
Mozart: Concerto In D Major Nr. 4, KV 218
4. Satz: Allegro
5. Satz: Andante Cantabile
6. Satz: Rondeau$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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
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$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now