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  • Prokofiev: Romeo And Juliet (Speakers Corner) Prokofiev: Romeo And Juliet (Speakers Corner) Quick View

    $34.99
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    Prokofiev: Romeo And Juliet (Speakers Corner)

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



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




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

    Production: Howard H. Scott




    About Speakers Corner



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



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



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



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



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



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

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

    $35.99
    Buy Now
    x

    Prokofiev For Two

    Pianists Martha Argerich and Sergei Babayan have recorded two selections from Prokofiev's music for stage and screen in magnificent two-piano transcriptions by Babayan. Prokofiev for Two, set for release worldwide via Deutsche Grammophon, captures for posterity the sense of mutual inspiration felt by these kindred spirits, palpable in their live performances together. The album features Babayan's twelve-movement transcription of numbers from the ballet Romeo and Juliet and his seven-movement suite transcribed from Prokofiev's incidental music for Hamlet and Eugene Onegin, film score for The Queen of Spades and opera War and Peace.


    Martha Argerich and Sergei Babayan first met in Brussels in 1991 when, on a whim, he looked her up in the phonebook and, to his own surprise, found her name and telephone number listed. His call from a phone box in the city started a strong friendship that led to numerous joint appearances in Europe and America. After one performance of Rachmaninov's "Suite No.2" and other works for two pianos, Babayan told Argerich of his dream to transcribe pieces from Romeo and Juliet for their next duo date. "She was very inspired by the idea," he recalls. "It was the greatest pleasure - and an honor - to create something that we would play together." Babayan's take on Prokofiev, coupled with a suite of rarities from the composer's stage and film music, can be heard in Prokofiev for Two.


    The freshly transcribed Prokofiev score received its premiere performance as part of the Martha Argerich Project at the 2013 Lugano Festival. Argerich and Babayan have since performed this work together with the revised Romeo and Juliet suite several times, most recently in concert at Stuttgart's Liederhalle last November.


    Martha Argerich is already renowned for her interpretations of Prokofiev's music. The Argentine-born artist, hailed as one of the greatest pianists of all time, included the composer's turbulent "Toccata" in her Deutsche Grammophon recital debut album, recorded in 1960. She reinforced her international reputation seven years later with a landmark recording for the yellow label of Prokofiev's "Third Piano Concerto" with the Berliner Philharmoniker and Claudio Abbado. "I have loved Prokofiev ever since I can recall," notes Argerich. "And people think he loves me too sometimes! I love the way Sergei [Babayan] plays Prokofiev and many other things. The first solo recital of his I heard was Bach's Goldberg Variations and I was incredibly impressed by it. I very much liked his proposal that we should play his transcription of Romeo and Juliet and feel very honored that he dedicated it to me."


    Babayan's love for Prokofiev, like Argerich's, is deeply rooted, dating back to his childhood in Armenia and student days at the Moscow Conservatoire. Having left the USSR for the first time in 1989, he settled in the U.S. Time and again, Babayan has paid tribute to Prokofiev, playing several of his piano concertos with Valery Gergiev including at the 2015 BBC Proms in a monumental concert with the London Symphony Orchestra featuring all five of the works.


    His new Prokofiev transcriptions are both dedicated to Martha Argerich. "This project happened because of my love for Prokofiev, my love for Martha and my love for the ballet Romeo and Juliet," reflects Babayan. The idea of transcribing Romeo and Juliet first arose decades ago while he was studying Prokofiev's colorful instrumentation in close detail with an orchestra. Already aware of Argerich's playing, he was further inspired after hearing a pirate recording of her 1981 Carnegie Hall performance of the "Ten Pieces Op.75" from Romeo and Juliet. "I listened and was immediately drawn to learn the cycle. But I felt that Prokofiev used chamber-like numbers for his selection of music for his transcription for solo piano. If you first became acquainted with the ballet through this piano score, you would never guess or understand the whole tragic, violent, and dark nature of the original work. Of course, the ballet contains lyrical, romantic music; music filled with humor and dance movement. But it also contains music for the "Death of Tybalt" - music of love and hate."


    Believing it would be impossible for music of such powerful emotion to be conveyed by two hands, and aware of Prokofiev's own fondness for transcription, Babayan felt driven to exploit the full expressive force and tonal richness of two pianos. His created version contains what Martha Argerich, with a wry laugh, calls "difficult and demanding" technical and musical challenges. Both musicians, however, agree that transcription is "an act of love" and Babayan's experience with Romeo and Juliet soon led him to explore some of the composer's lesser-known works and create the second suite on this album. As he points out, this music will be new to most listeners. For example, only fragments of the film score for The Queen of Spades have ever been performed or recorded. He underlines its imaginative and innovative qualities, adding, "I'm sure if Prokofiev had lived longer he would have used the material for The Queen of Spades for a new movie, symphony, quartet or maybe even a piano duo. This music stayed on the shelf and it was my luck to hear it."


    Prokofiev for Two is driven by the passion and power of an ideal keyboard partnership. Martha Argerich considers playing in duo with Babayan to be "a thing of alchemy - a discovery". For his part, Babayan says the experience of performing with Argerich is like joining a conversation with a divine being, one in which "you cannot be mundane or ordinary ... Martha will somehow pull out the best from you."

    Martha Argerich & Sergei Babayan
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Prokofiev: Symphony No. 5 (Discontinued) Prokofiev: Symphony No. 5 (Discontinued) Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Symphony No. 5 (Discontinued)

    It has been said that the Fifth Symphony embodies the highest achievements of Prokofiev the orchestrator,uniting an intoxicating many-colored palette with a clean discipline of orchestral development. Nowhere in recorded form have these orchestral colors been captured with such startling fidelity in large part due to the efforts of Everest as a pioneer in the art of 35MM magnetic tape recording under the supervision of Bert Whyte. These Prokofiev 5th sessions were recorded in 1959 at Walthamstow Town Assemby Hall, London (location of many Wilkinson / Decca recordings) with Sir Malcolm Sargent conducting the London Symphony and directly onto 3 channels of 35MM magnetic tape. The original edited 3 track 35MM master tapes were used for this historic project of remastering for the Classic Everest 35MM LP and HDAD Series. Using a specially modified Ampex 1551, with Len Horowitz running the tape machine, Bernie Grundman does the honors of transferring to lacquer these 45+ year old gems of recorded history. For the first time ever LP lovers can hear what was captured onto those tracks all those years ago in amazing fidelity and with a Presence that is lost in most recordings. Not to be missed!

    1. Prokofiev: Symphony No. 5 in B flat major, Op. 100
    Sir Malcolm Sargent with The London Symphony Orchestra
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Alexander Nevsky Prokofiev: Alexander Nevsky Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Alexander Nevsky

    RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!


    Remastered 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!


    Fritz Reiner conducting the Chicago Symphony Orchestra. Featuring soloist Rosalind Elias (Mezzo-Soprano), and Margaret Hillis, chorus director.


    This title is not eligible for discount.

    Fritz Reiner with the Chicago Symphony Orchestra
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev & Ravel Piano Concertos (Awaiting Repress) Prokofiev & Ravel Piano Concertos (Awaiting Repress) Quick View

    $44.99
    Buy Now
    x

    Prokofiev & Ravel Piano Concertos (Awaiting Repress)

    Prokofiev's great Third Piano Concerto has been Martha Argerich's signature piece since she won competitions with it at the age of 16 in 1957. If you're used to Bryon Janis' reading on Mercury or have never heard Argerich play Prokofieff, you're in for a shock. The only other artist I can think of who played the Third with this kind of energy at this breakneck tempo was Prokofiev himself, and Prokofiev's performance is all speed and slop. Despite its power and pace, Argerich's is far more agile, deeply thought out, and various - built upon the precise articulation of rhythmic and dynamic contrasts. Be they fortissississimo or pianissississimo, presto or adagio, every note, every chord, every bravura run and leaping flourish is sounded with passion and precision. It's as if Argerich is uttering one long, complex, fully articulate sentence in one long thrilling breath. Abbado and the Berlin Phil keep up with her, though it often seems (as it often does with distinctive pianists in distinctive performances) as if Argerich is conducting as well as soloing. Full credit goes to DG's engineers, whose close miking of the piano perfectly serves the clarity of line and muscular poetry of Argerich's sensational reading. A must-own disc. - Jonathan Valin, The Absolute Sound, October 2011, Issue 216


    Features:

    • 180 gram Vinyl

    • Made in Germany


    Musicians:

    Martha Argerich, piano

    Berlin Philharmonic

    Claudio Abbado, conductor

    Serge Prokofieff (1891-1953)
    Piano Concerto No. 3 in C Major, Op. 26
    1. Satz: Andante - Allegro
    2. Satz: Thema - Andantino
    a. Variation: L'istesso tempo
    b. Variation: Allegro
    c. Variation: Allegro moderato
    d. Variation: Andantino meditativo
    e. Variation: Allegro giusto Thema - L'istesso tempo
    3. Satz: Allegro ma non troppo


    Maurice Ravel (1875-1937)
    Piano Concerto in G Major
    1. Satz: Allegramente
    2. Satz: Adagio assai
    3. Satz: Presto

    Martha Argerich
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Prokofiev: Violin Concertos Prokofiev: Violin Concertos Quick View

    $22.99
    Buy Now
    x

    Prokofiev: Violin Concertos

    One of the 20th century's greatest violinists, David Oistrakh named Sergei Prokofiev among his close friends. This album features the composer's two contrasting violin concertos - the audacious No. 1, completed in 1917, and the more restrained No. 2, composed in 1935, shortly before Prokofiev returned to Russia.
    1. Violin Concerto No. 1 in D Major, Op. 19: I. Andantino
    2. Violin Concerto No. 1 in D Major, Op. 19: II. Scherzo (Vivacissimo)
    3. Violin Concerto No. 1 in D Major, Op. 19: III. Moderato - Allegro moderato
    4. Violin Concerto No. 2 in G Minor, Op. 63: I. Allegro moderato
    5. Violin Concerto No. 2 in G Minor, Op. 63: II. Andante assai
    6. Violin Concerto No. 2 in G Minor, Op. 63: III. Allegro ben marcato
    David Oistrakh
    $22.99
    Vinyl LP - Sealed Buy Now
  • Peter & The Wolf Peter & The Wolf Quick View

    $41.99
    Buy Now
    x

    Peter & The Wolf

    Import


    180 Gram Audiophile Vinyl + Insert


    Classical Music On Vinyl Release: Packed In Sturdy PVC Collector's Bag




    David Bowie Narrates Prokofiev's Peter And The Wolf (1978) is a classical music album containing David Bowie's narration of Sergei Prokofiev's 1936 composition Peter And The Wolf. The music is performed by the Philadelphia Orchestra conducted by Eugene Ormandy. The album reached number 136 on the US Pop Albums chart.


    Side One contains the narration by David Bowie of public domain material originally written by Prokofiev. The second side of this LP features Eugene Ormandy conducting Benjamin Britten's Young Person's Guide To The Orchestra with the Philadelphia Orchestra. Ormandy and the aforementioned musicians from Philly also back up Bowie on side one.


    Critics lauded the album, saying Bowie 'found his most charming guise since Hunky Dory.' He tells the well-known fable with his usual eloquence and style, and gives instructions at the beginning for kids to understand how the music corresponds to characters in the story. The accompaniment from the Philadelphia Orchestra is first rate.


    The Music On Vinyl re-release includes detailed liner notes on the project by Mary Campbell, specifically geared to introduce children to the sounds of the individual instruments in the symphony orchestra. Both Prokofiev and Britten wrote their respective pieces with this aim in mind.

    1. Peter and the Wolf, Op. 65 (A Musical Tale for Children)
    2. Young Person's Guide to the Orchestra, Op. 34
    David Bowie
    $41.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Complete Concerto Recordings (Box-Set) The Complete Concerto Recordings (Box-Set) Quick View

    $109.99
    Buy Now
    x

    The Complete Concerto Recordings (Box-Set)

    With this special LP limited edition box set, Deutsche Grammophon pays tribute to an extraordinary musical
    partnership. The 6LP set collects all the concerto recordings made by pianist Martha Argerich with conductor
    Claudio Abbado over more than 45 years, covering works by Beethoven, Chopin, Prokofiev, Tchaikovsky and many others. "Between them Argerich and Abbado generate a heady world of romance and electricity," BBC Music Magazine 2014.
    LP1
    PROKOFIEV Piano Concerto No. 3 | RAVEL Piano Concerto in G
    Berliner Philharmoniker


    LP2

    CHOPIN | LISZT Piano Concertos No. 1

    London Symphony Orchestra


    LP3
    TCHAIKOVSKY Piano Concerto No. 1
    Berliner Philharmoniker


    LP4
    BEETHOVEN Piano Concertos Nos. 2 & 3
    Mahler Chamber Orchestra


    LP5
    MOZART Piano Concertos Nos. 20 & 25
    Orchestra Mozart


    LP6
    RAVEL Piano Concerto in G | RAVEL Gaspard de la nuit
    London Symphony Orchestra

    Martha Argerich and Claudio Abbado
    $109.99
    Vinyl LP Box Set - 6 LPs Sealed Buy Now
  • Prokofiev - Romeo & Juliet Suites 1 and 2 (Speakers Corner) Prokofiev - Romeo & Juliet Suites 1 and 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Prokofiev - Romeo & Juliet Suites 1 and 2 (Speakers Corner)

    As is widely known, ballet suites are the 'little sisters' of large ballet compositions that have been compiled by the composer mostly at a later date for performance in the concert hall. Prokofiev's Romeo and Juliet is another story however. Strangely enough, his two Suites were given their first performance before the premiere of the complete Ballet. The applause can still be heard echoing through the world of music. This music is one of the pillars of a good record collection - and with good reason! Both Suites contain a wealth of delightful melodies that are given substance by colourful harmonic writing. Just how Prokofiev can ideally sound is brought to us by Stanislaw Skrowacziewski and the Minneapolis Symphony Orchestra. In the first Suite he lets his musicians sweep with Élan through the Burlesque, the splendour of the Love Theme is full of lyrical intensity, and rises to a forceful climax filled with sharp dissonances in Death of Tybalt.



    The Second Suite, too, is of the very highest standard, both from an artistic and recording point of view. The characteristic themes and motifs are well contoured and brought to the fore while embedded in a fresh and natural carpet of sound which is sometimes filled with immense warmth.
    It is clearly noticeable that all participants have given much time and thought to this first-rate production. And the listener will certainly enjoy giving over a good portion of his leisure time to this delightful music.




    Recording: April 1962 at Northrop Memorial Auditorium, Minneapolis, USA,

    by C.R. Fine and Robert Eberenz / Production: Wilma Cozart




    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.



    Stanislaw Skrowaczewski with Minneapolis Symphony
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Scriabin & Prokofiev: Piano Sonatas (Speakers Corner) Scriabin & Prokofiev: Piano Sonatas (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Scriabin & Prokofiev: Piano Sonatas (Speakers Corner)

    Glenn Gould's highly self-willed art of piano playing has not only contributed to the building of a myth around his artistic personality, but also placed several works from the vast piano repertoire under the magnifying glass (as it were) in musical life. One such work is Scriabin's Piano Sonata No. 3 whose psychological, cyclical programme is held together by the theme, which recurs throughout the four movements. Unlike many other recordings, in Gould's hands the piece takes on a pleasantly non-romantic pathos. Gould subdivides the various states of mind through many breathing spaces and softens the tone to pianissimo, thus forcing the listener to hold his breath and concentrate wholly upon the finely woven counterpoint.



    In contrast, Prokofiev's Piano Sonata in B flat major is overwhelmingly raging with its hammering staccatos, yet not omitting to add a bold, and at times derisive character. The slow second movement is at times bell-like, and filled with a great radiance and a fine sparkle. It is followed by a final movement, which lasts several minutes and has a steely, aggressive nature. As incomparable as the works are in their structure, they both explore the mental extremes of human emotions.



    Recording: July 1967 / January, February and June 1968 at Columbia 30th Street Studio by Fred Plaut

    Production: Andrew Kazdin




    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.

    Alexander Scriabin: Piano Sonata No. 3 in F sharp minor, Op. 23
    Serge Prokofiev: Piano Sonata No. 7 in B flat major, Op. 83 - Glenn Gould
    Glenn Gould
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Lieutenant Kije/ Stravinsky: Song of the Nightingale Prokofiev: Lieutenant Kije/ Stravinsky: Song of the Nightingale Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Lieutenant Kije/ Stravinsky: Song of the Nightingale

    RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!


    Remastered 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!


    One of the most sought-after Living Stereos and deservedly so, especially for the Song of the Nightingale which is one of Mohr and Layton's finest efforts. The sound is truly wonderful on the Stravinsky too. The original 3-track session tapes were used in mastering for this LP in the Analogue Productions reissue series.


    This title is not eligible for discount.

    Sergei Prokofiev (1891-1953)
    Lieutenant Kije, Op. 60


    Igor Stravinsky (1882-1971)
    Song Of the Nightingale

    Fritz Reiner with the Chicago Symphony Orchestra
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mendelssohn & Prokofiev Mendelssohn & Prokofiev Quick View

    $34.99
    Buy Now
    x

    Mendelssohn & Prokofiev

    RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!


    Remastered 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!


    This 1958 3-track recording has Heifetz teamed up with Munch and the Boston Symphony. Cutting the lacquer directly from the original session master tapes has increased the transparency and 3-dimensional imaging on this reissue over original pressings. The performance, as always with the last century's top violinist, is almost without compare. If you have an original copy (white or shaded) you'll be shocked - this reissue has diaphonously beautiful string tone, superior low end dynamics and very deep bass.


    This title is not eligible for discount.

    1. Concerto in E Minor, op. 64 (Mendelssohn)
    2. Concerto No. 2 in G Minor, op. 63 (Prokofieff)
    Charles Munch
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Classical Symphony (Speakers Corner) Prokofiev: Classical Symphony (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Prokofiev: Classical Symphony (Speakers Corner)

    Thankfully musical genres have been spared from being described with new buzz words such as 'Kleinkunst' which could be translated as 'Small Arts'. But music in small forms - maybe set down on just a few pages of manuscript paper - certainly exists. Prokofiev's miniature, the Symphonie classique, combines several superlatives as regards both its musical notes and form: it is only 15 minutes long, contains a wealth of melodic ideas, and is the most performed of all Prokofiev's symphonies.



    This four-movement composition employs traditional forms such as the sonata form in the outer movements and the pre-Classical dances menuet and gavotte. The work's carefree esprit, serenade-like humour, and courtly elegance is delightful throughout and culminates in a high-spirited 'sturm und drang' Finale.



    On the B side is Glinka's Kamarinskaya Fantasia, only eight minutes long but captivating with its extremely closely-knit compositional style, and his Overture to A Life for the Tsar - a showpiece whose leitmotifs are truly forward-looking. Alongside these classical-romantic musical gems, Borodin's In The Steppes of Central Asia acts as an ideal programmatic amalgamation of the Orient and the Occident, and fits perfectly into this choice of repertoire.




    Recording: February and March 1961 at Victoria Hall, Geneva (Switzerland), by Roy Wallace

    Production: Michael Bremner




    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. Classical Symphony In D Major, Op. 25
    2. Kamarinskaya - Fantasy
    3. In The Steppes Of Central Asia
    4. A Life For The Czar (Ivan Susanin) - Overture
    Sergei Prokofiev
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Henderson - Prokofiev:  Peter And The Wolf / Saint-Saens: Carnival of the Animals (Speakers Corner) Henderson - Prokofiev: Peter And The Wolf / Saint-Saens: Carnival of the Animals (Speakers Corner) Quick View

    $34.99
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    Henderson - Prokofiev: Peter And The Wolf / Saint-Saens: Carnival of the Animals (Speakers Corner)

    For those who enjoy a pun, Saint-Saëns's Carnival of the Animals and Prokofiev's symphonic tale for children Peter and the Wolf might well be described as "beastly". And this recording makes no exception for it is, indeed, quite spectacular! Both works are introduced by the roaring and screaming of the inhabitants of London Zoo. The individual orchestral instruments are introduced during the course of the music and are commented upon by a human voice in a narrative.



    The characters and animals are each given a characteristic theme which is presented by a particular instrument or register. While Prokofiev wrote his composition with a pedagogic purpose in mind, Saint-Saëns's main aim was to create a piece of musical fun. The mischievous work not only offers a lively depiction of various animals and even hollow-sounding fossils (by means of the xylophone), but also contains numerous tongue-in-cheek references to works by great composers.



    These two musical masterpieces combine humour with education in a thoroughly fascinating and enchanting manner and are equally loved by children and adults alike. The interpretation and sound of this DECCA LP certainly earns first prize for being "beastly"!





    Musicians:



    • Beatrice Lillie

    • Animals of the London Zoo

    • London Symphony Orchestra

    • Skitch Henderson (conductor)




    Recording: February 1960 at Kingsway Hall, London by Kenneth E. Wilkinson

    Production: John Culshaw





    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.



    Henderson - Prokofiev / Saint-Saens and The London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Symphony No. 5 (Speakers Corner) Prokofiev: Symphony No. 5 (Speakers Corner) Quick View

    $34.99
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    Prokofiev: Symphony No. 5 (Speakers Corner)

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


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


    Musicians:



    • New York Philharmonic Orchestra

    • Sergei Prokofiev (composer)

    • Leonard Bernstein (conductor)




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

    Production: John McClure



    About Speakers Corner



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



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



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



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



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



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


    I. Andante
    II. Allegro Marcato
    III. Adagio
    IV. Allegro Giocoso
    Leonard Bernstein
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Symphony #5 (Discontinued) Prokofiev: Symphony #5 (Discontinued) Quick View

    $33.99
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    Prokofiev: Symphony #5 (Discontinued)

    It has been said that the Fifth Symphony embodies the highest achievements of Prokofiev the orchestrator,uniting an intoxicating many-colored palette with a clean discipline of orchestral development. Nowhere in recorded form have these orchestral colors been captured with such startling fidelity in large part due to the efforts of Everest as a pioneer in the art of 35MM magnetic tape recording under the supervision of Bert Whyte. These Prokofiev 5th sessions were recorded in 1959 at Walthamstow Town Assemby Hall, London (location of many Wilkinson / Decca recordings) with Sir Malcolm Sargent conducting the London Symphony and directly onto 3 channels of 35MM magnetic tape. The original edited 3 track 35MM master tapes were used for this historic project of remastering for the Classic Everest 35MM LP and HDAD Series. Using a specially modified Ampex 1551, with Len Horowitz running the tape machine, Bernie Grundman does the honors of transferring to lacquer these 45+ year old gems of recorded history. For the first time ever LP lovers can hear what was captured onto those tracks all those years ago in amazing fidelity and with a Presence that is lost in most recordings. Not to be missed!


    Sir Malcolm Sargent with The London Symphony Orchestra
    $33.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chopin - Scherzo No. 3 / Brahms -  Rhapsodies (Speakers Corner) Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner) Quick View

    $34.99
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    x

    Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner)

    The debut recording by the Argentinian pianist Martha Argerich took the public by the storm all over the world - and the applause has still not subsided! A mere glance at the repertoire shows that she was reaching for the stars. To bring five composers together on an LP of roughly 45 minutes length means nothing other than speaking five different musical languages - and Martha Argerich proves herself a master of them all! The demonic opening of the Scherzo in C sharp minor gives way to an iridiscent dialogue which sings and sparkles beyond compare. The Barcarolle rocks gently along; Prokofiev's Toccata is filled with dynamic force and nervous agitation; Ravel's Jeux d'eau is pensive and introverted, with the water rippling in a circular motion. As a contrast, the two famous Brahms Rhapsodies are performed with passion, impetuosity and occasionally the required heaviness.



    This recording is surely one of the brightest candles to burn anew on Deutsche Grammophon's birthday cake.



    This record was part of the 3-LP Set "The Conductors" and is now available again.



    Musicians:



    • Martha Argerich (piano)




    Recording: July 1960 at Beethoven-Saal, Hannover by Heinz Wildhagen

    Production: Prof. Elsa Schiller





    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.


    and that the lacquer discs are newly cut.



    1. No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp
    2. Minor, Op.39
    3. Rhapsody, Op.79: No.1 Agitato In B Minor
    4. Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
    5. Toccata, Op. 11
    6. Jeux D'Eau: Tres doux
    7. Barcarole In F Sharp Major, Op. 60
    8. Hungarian Rhapsody No.6:
    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Spheres Spheres Quick View

    $29.99
    Buy Now
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    Spheres

    Award-winning violinist Daniel Hope presents an eclectic and accessible mix of neo-Baroque, minimalist and soundtrack favourites, including works and
    arrangements by contemporary masters like Ludovico Einaudi, Arvo PÄrt, Karl Jenkins, Max Richter, Gabriel Prokofiev, Alex Baranowski and many more
    "Spheres" features a curated collection of repertoire celebrating the idea, first brought forward by Pythagoras, that planetary movement creates its own
    kind of music, bringing beauty, harmony and simplicity to our complex solar system. This idea has fascinated philosophers, musicians, and
    mathematicians for centuries.


    An album of broad consumer appeal, featuring a number of world premieres, and destined to drive interest in the digital space.


    Music of reflection, contemplation and relaxation, this album can sell to admirers of Einaudi, Philip Glass, Karl Jenkins and others, as well as the wider,
    "chill-out" market.


    Featured as main soloist on Max Richter's acclaimed "Vivaldi Recomposed", Hope is known for an effortless classical sound and intriguing approach to
    repertoire.

    LP 1
    1. Imitazione delle Campane
    2. Andante
    3. Echorus
    4. Cantique de Jean Racine, Op.11
    5. 15. Adagio sognando
    6. Berlin By Overnight
    7. Biafra
    8. Lento
    9. Passaggio

    10. 8. Andante


    LP 2
    1. Fratres For Violin, String Orchestra And Percussion
    2. Eliza Aria
    3. Musica Universalis

    4. Spheres
    5. Benedictus
    6. Prelude
    7. Trysting Fields

    8. Nachspiel

    Daniel Hope
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Mozart: Piano Concerto No.25 & No.20 Mozart: Piano Concerto No.25 & No.20 Quick View

    $25.99
    Buy Now
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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
  • Brahms: Violin Sonatas No. 1 & No. 3 (Out Of Stock) Brahms: Violin Sonatas No. 1 & No. 3 (Out Of Stock) Quick View

    $34.99
    x

    Brahms: Violin Sonatas No. 1 & No. 3 (Out Of Stock)


    Features Gioconda De Vito On Violin And Edwin Fischer On Piano


    Gioconda De Vito was an Italian violinist born on July 22, 1907. She began formal violin lessons with an uncle, who was a professional violinist, at the age of 8. Three years later, she entered the Pesaro Conservatory. She graduated two years after that and started her career as a soloist. By age 17, she was teaching at the Conservatory in Bari. At age 25, she won an international violin competition in Vienna. She was then hired (supposedly through the influence of Mussolini) to teach at the Academy of Santa Cecilia in Rome. Since the Second World War interrupted her solo career, her London debut, which was very successful, didn't happen until 1948. She subsequently performed frequently in the major European venues, sometimes appearing with other important artists, including Yehudi Menuhin, Isaac Stern, Rafael Kubelik, and Furtwangler. She also twice played for the Pope (Pius XII). De Vito was one of several famous female violinists of the early Twentieth Century who were quickly forgotten by the general public - Ginette Neveu and Janine Andrade were two others. In 1961, she retired from playing and virtually from the violin itself. She was then only 54 years old. Although she toured Europe and other countries (Australia, Russia, India, Israel), she never played in the U.S. A highly admired player, she was nevertheless, almost an anachronism during her career. Her repertoire was old fashioned and did not include the concertos of Stravinsky, Prokofiev, Sibelius, Elgar, Bartok, Barber, Shostakovich, Khachaturian, Korngold, Glazunov, Berg, Walton, or Szymanowski. It is said that she was such a meticulous player, that she worked on the Brahms concerto for fifteen years before she played it in public.


    - Prone To Violins

    Johannes Brahms (1833 - 1897): Violin Sonata No. 1 in G, Op. 78
    1. Vivace ma non troppo
    2. Adagio
    3. Allegro molto moderato
    Johannes Brahms (1833 - 1897): Violin Sonata No. 3 in d minor, Op. 108
    4. Allegro
    5. Adagio
    6. Un poco presto e con sentimento
    7. Presto agitato
    Gioconda De Vito
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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