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  • Strauss: Elektra (Speakers Corner) Strauss: Elektra (Speakers Corner) Quick View

    $69.99
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    Strauss: Elektra (Speakers Corner)

    Richard Strauss was filled with doubt as to whether he would be capable of expressing in music the crazed revenge of Elektra after writing his opera Salome with its shocking story. It is quite understandable that he had trouble in composing the work, although such difficulties are not in the least evident during the course of the drama or in the musical flow. Drawing on natural sources, the forceful melodies make use of polyphonic, complex motifs and extreme dissonances. Here and there, Strauss's typical chordal harmonies gleam through, though hardly audible, taking the harsh dissonances and chromaticism to the very extremes of atonality.




    Sir Georg Solti, whose outstanding Strauss interpretations constitute the focus of his life's work, leads the enormous orchestra through the highly complex score and provides his singers with a powerful but finely chiselled sound. Birgit Nilsson personifies an icy-cold Elektra consumed with hatred, and her counterpart Regina Resnik as Clytemnestra is no less extreme in her role. Gerhard Stolze, one of the greatest singers of his time, masters the exhausting role of Aegistheus, and Tom Krause is highly convincing as the determined Orestes. The phenomenal acoustics of Vienna's Sofiensaal provided an ideal recording venue, and the audible quality of the sung text is excellent - although the final bloodbath can scarcely be expressed in words.




    Recording: June, September and November 1966 at Sofiensaal, Vienna, by Gordon Parry and James Brown

    Production: John Culshaw and Christopher Raeburn



    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.


    A Part 1: Wo Bleibt Elektra?

    B Part 2: Was Willst Du?
    C Part 3: Oresti! Orest Is Tot!

    D Part 4: Nein, Du Sollst Mich Nicht Umarmen
    Richard Strauss
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Eine Alpensinfonie Op.64, TrV 233 Eine Alpensinfonie Op.64, TrV 233 Quick View

    $25.99
    Buy Now
    x

    Eine Alpensinfonie Op.64, TrV 233

    For his debut recording with the Wiener Philharmoniker in 2000, Christian Thielemann chose Richard Strauss'Alpine Symphony. This praised recording, which became classic in the meantime, is now available on vinyl for the first time. "Thielemann' s [Alpine Symphony] is, by a considerable margin, the finest account we have had since Karajan's . . . The performers' emotional commitment is stamped on every bar." GRAMOPHONE.
    1. Nacht [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    2. Sonnenaufgang [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    3. Der Anstieg [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    4. Eintritt in den WaldWanderung neben dem Bache [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    5. Am Wasserfall - Erscheinung [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    6. Auf blumige Wiesen [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    7. Auf der Alm [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    8. Durch Dickicht und GestrÜpp auf Irrwegen [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    9. Auf dem Gletscher [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    10. Gefahrvolle Augenblicke [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    11. Auf dem Gipfel [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    12. Auf dem Gipfel [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    13. Vision [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    14. Nebel steigen auf - Die Sonne verdÜstert sich allmÄhlich - Elegie - Stille vor dem Sturm [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    15. Gewitter und Sturm, Abstieg [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    16. Sonnenuntergang [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    17. Ausklang [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    18. Nacht [R. Strauss: Eine Alpensinfonie, Op.64, TrV 233]
    Christian Thielemann / Wiener Philharmoniker / Richard Strauss
    $25.99
    Vinyl LP - Sealed Buy Now
  • R. Strauss: Ein Heldenleben, Op.40, TrV 190 R. Strauss: Ein Heldenleben, Op.40, TrV 190 Quick View

    $25.99
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    R. Strauss: Ein Heldenleben, Op.40, TrV 190

    The most famous conductor of his age, Herbert von Karajan released over 300 albums for Deutsche Grammophon and enjoyed a long a fruitful partnership with the Berlin Philharmonic. Three of their legendary recordings together are available again on vinyl. Richard Strauss' Ein Heldenleben was Karajan's very first recording as the Berlin Philharmonic's music director and his first post-war recording for Deutsche Grammophon. It remains a reference Strauss recording.
    1. Der Held - Des Helden Widersacher - Des Helden GefÄhrtin - Des Helden Walstatt (I)
    2. Des Helden Walstatt (II) - Des Helden Friedenswerke - Des Helden Weltflucht Und Vollendung
    Herbert Von Karajan
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Strauss: Till Eulenspiegel/Death And Transfiguration Strauss: Till Eulenspiegel/Death And Transfiguration Quick View

    $34.99
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    Strauss: Till Eulenspiegel/Death And Transfiguration

    Mastered By Willem Makee From The Original Analog Tape


    200-Gram LP Plated And Pressed At Quality Record Pressings


    Fritz Reiner conducts the Vienna Philharmonic Orchestra. This Strauss recording uniting RCA star Fritz Reiner with the Vienna Philharmonic (one of Decca's star orchestras), was released in 1959, marking the first fruit of an agreement that in return for loaning RCA some of their artists, Decca was permitted to distribute RCA recordings throughout the U.K. and Europe. In addition, Decca agreed to record under license some of their own artists, in sessions paid for and sponsored by RCA, for release on the Red Seal label. High Fidelity, at the time of the original release, called it as fine an example as we have of Reiner's preeminent place among the living disciples of Richard Strauss.


    Recorded by Decca engineer James Brown in Vienna's Sofiensall, the sound is as tubby as a Bavarian burgher. The playing is, as advertised, first-rate.


    Producer: John Culshaw

    Engineer: James Brown


    This title is not eligible for discount.

    1. Till Eulenspiegel's Merry Pranks, Op. 28 (Till Eulenspiegels Lustige Streiche)
    2. Death And Transfiguration, Op. 24 (Tod Und Verklarung)
    Fritz Reiner
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Strauss: Vier Letzte Lieder Strauss: Vier Letzte Lieder Quick View

    $22.99
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    Strauss: Vier Letzte Lieder

    In 2015, we are celebrating the centenary of Elisabeth Schwarzkopf, one of the greatest singers of the 20th century. The sublime and moving culmination of Richard Strauss's love affair with the soprano voice, the Four Last Songs are interpreted by Schwarzkopf with insight, wisdom and gentle radiance. In the early years of his career George Szell was mentored by Richard Strauss himself, and he provides Schwarzkopf with an exquisitely sensitive orchestral context for all nine songs in this classic anthology.
    1. FrÜhling (Hesse) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    2. September (Hesse) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    3. Beim Schlafengehen (Hesse) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    4. Im Abendrot (Eichendorff) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    5. MuttertÄndelei, Op.43/2 (BÜrger) (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    6. Waldseligkeit, Op.49/1 (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    7. Zueignung, Op.10/1 (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    8. Freundliche Vision, Op.48/1 (Bierbaum) (Elisabeth Schwarzkopf/London Symphony Orchestra/George Szell)
    9. Die heiligen drei Könige, Op.56/6 (Elisabeth Schwarzkopf/George Szell/Radio-Sinfonie-Orchester Berlin)
    Elisabeth Schwarzkopf
    $22.99
    Vinyl LP - Sealed Buy Now
  • Strauss: Also Sprach Zarathustra (Speakers Corner) Strauss: Also Sprach Zarathustra (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Strauss: Also Sprach Zarathustra (Speakers Corner)

    The opening fanfare from Richard Strauss's Also sprach Zarathustra (Thus spoke Zarathustra) is known to everyone since it was 'rediscovered' in Stanley Kubrick's film 2001: A Space Odyssey and consequently employed time and again in TV ads. At the turn of the century, however, renowned music critics asked themselves whether they should even bother to listen to the rest of the work, a symphonic poem, which - they presumed - was a narration in music of Nietzsche's book. In what is probably his most famous orchestral composition, Strauss, however, freely associated the words of the Saxon poet and philosopher when putting them into music by using the key of C major to depict nature, and the greatly contrasting key of B major for humanity.



    Once again Herbert von Karajan proves himself a distinguished tour guide through the wistful, secretive and bleak sound world through which Strauss has his questing hero wander. And the Berlin Philharmonic thank him with captivating, meltingly beautiful violins, deep growling basses, and steely winds. One recalls with pleasure the legendary leading violinist Michel SchwalbÉ, who plays the solo part with immense feeling and profundity. Enhanced by a perfected analogue recording technique, this disc is a wise choice when it comes to Strauss.




    Musicians:



    • The Berlin Philharmonic Orchestra

    • Herbert von Karajan (conductor)




    Recording: January and March 1973 at Jesus-Christus-Kirche, Berlin, by GÜnter Hermanns

    Production: Dr. Hans Hirsch




    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. Von den Hinterweltlern
    2. Von der großen Sehnsucht

    3. Von den Freuden und Leidenschaften
    4. Das Grablied
    5. Von der Wissenschaft
    6. Der Genesende
    7. Das Tanzlied
    8. Nachtwandlerlied
    Richard Strauss
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On The Threshold Of A Dream On The Threshold Of A Dream Quick View

    $37.99
    Buy Now
    x

    On The Threshold Of A Dream

    Import


    On The Threshold Of A Dream is the fourth album by The Moody Blues, released in 1969. Like most Moody albums, On The Threshold Of A Dream follows a concept. It explores dreams, especially on the second side, which climaxes with the Voyage suite, inspired in part by Richard Strauss's Also Sprach Zarathustra.


    This album is oozing with bright, splashy creative flourishes in two seemingly contradictory directions that somehow come together as a valid whole. On The Threshold Of A Dream provided The Moody Blues with their first British #1 album and remained on the charts for an astonishing 70 weeks.


    The Moody Blues are regarded as one of the most innovative and successful rock bands in music history and you only have to put down the needle on this record to be convinced that this bold statement is indeed a fact.

    1. In The Beginning
    2. Lovely To See You
    3. Dear Diary
    4. Send Me No Wine
    5. To Share Our Love
    6. So Deep Within You
    7. Never Comes The Day
    8. Lazy Day
    9. Are You Sitting Comfortably
    10. The Dream
    11. Have You Heard (Part 1)
    12. The Voyage
    13. Have You Heard (Part 2)
    Moody Blues
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms - Hungarian Dances (Speakers Corner) Brahms - Hungarian Dances (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Brahms - Hungarian Dances (Speakers Corner)

    Fritz Reiner dedicated himself to the interpretation of works by modern composers such as Richard Wagner, Richard Strauss and BÉla Bartók, and it suited him well to tackle works such as Brahms's Hungarian Dances and Dvorák's Slavonic Dances. These lively compositions require a conductor whose interaction with the orchestra is vivacious and animated. Reiner always demanded utmost concentration and perfection from his ensemble. Under his baton, the Vienna Philharmonic Orchestra plays with enthusiasm and without restaint; no trace of a sterile concert atmosphere is found in this recording.



    Reiner's penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.



    From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 - or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.





    Musicians:



    • Vienna Philharmonic Orchestra

    • Fritz Reiner (conductor)




    Recording: June 1960 at Sofiensaal, Vienna by James Brown

    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.



    and that the lacquer discs are newly cut.


    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Deodato 2 (Speakers Corner) Deodato 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Deodato 2 (Speakers Corner)

    In his early years, Deodato, 'the gift of God', cultivated a highly original art of give and take in his music. His score for Stanley Kubrick's science fiction film A Space Odyssey 2001 - a funky, jazzed-up adaptation of Richard Strauss's bombastic orchestral work Also sprach Zarathustra - opened the ears of innumerable cinema-goers to classical music. On the present album Deodato again rocks and grooves with works from past eras: Gershwin's Rhapsody In Blue is reworked rhythmically and enriched, while Ravel's Pavane unfolds hesitatingly over a velvety carpet of sound. And why not win new fans for major musical works? Deodato, the master, and his complex musical apparatus impart a true Latin feeling to these covered works.


    The 'new' classic Nights In White Satin too, one of the most congenial gigantic hits from the 60s, is staged by Deodato as a miniature slow rock drama just as perfectly as he cultivates his own very pure funky style (Super Strut). In Deodato's arrangements, the powerful instrumental forces open out almost effortlessly and evolve into a gentle flow of sheer pleasure. Everything appears to be simple, although nothing is simple! And therein lies the uniqueness of 'the gift of God'.



    Musicians:



    • Eumir Deodato (keyboards)

    • Jon Faddis (trumpet, fluegel horn)

    • Wayne Andre (trombone)

    • Joe Temperley (bassoon)

    • Hubert Laws (flute)

    • John Tropea (guitar)

    • Stanley Clarke (bass)

    • Billy Cobham (drums)





    Recording: April and May 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor





    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. Nights In White Satin
    2. Pavane For A Dead Princess
    3. Skyscrapers
    4. Super Strut
    5. Rhapsody In Blue

    Deodato
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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