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Corelli: Concerto Grosso No. 8 (Speakers Corner)
The musical press has showered praise upon the Stuttgarter Kammerorchester and its founder and conductor Karl MÜnchinger for their spectacular performances. This DECCA recording now presents a delightful choice of works performed by this South German ensemble.
The programme opens in a splendidly festive Baroque spirit with Arcangelo Corelli's famous Christmas Concerto, a work which is typical for the concerto grosso form with its alternation of tutti and solo passages. The instrumental soloists in particular dazzle with their finely chiselled playing and ravishing tone over the gentle sway of the strings. MÜnchinger has achieved a veritable miracle with his arrangement of Johann Pachelbel's Canon, originally composed for the organ, for each and every instrument of the orchestra enhances the magic of this music. Carlo Ricciotti's Concertino No. 2 offers us an insight into the various musical forms of the early 18th century.
The programme ends with Christoph Willibald Gluck's vigourous Chaconne whose splendour and pomp is taken to new dramatic heights by the Stuttgarter Kammerorchester.
Light a candle and settle down for a delightful evening of entertainment: this excellent recording ensures that you will enjoy every minute to the full - and not just at Christmas time.
Recording : October/ November 1960 at Victoria Hall, Geneva by Roy G. 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.Corelli: Concerto Grosso No. 8 / Pachelbel: Canon / Ricciotti: Concertino No. 2
Gluck: Chaconne - Stuttgart Chamber Orchestra conducted by Karl MÜnchinger$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now