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Beethoven: Concerto for Violin and Orchestra (Speakers Corner) (Awaiting Repress)
Beethoven's only violin concerto is certainly one of the most lovely works ever written for this instrument. The symphonically conceived work is admired for its highly lyrical and expressive character and as such belongs in the repertory of all great violinists. Numerous performances, often all too sentimental or exaggerated, are available on record - but this Deutsche Grammophon production from 1962 is a refreshing exception. With a tender, serene timbre and perfect intonation, the soloist Wolfgang Schneiderhan allows the spirit of the score to breathe throughout. The captivating and poetic music is further enhanced by the Berlin Philharmonic who play with a sonority that has yet to be equalled. The strings with the swell and subsidence of their carpets of sound, the subtle and finely balanced woodwinds, the double basses which murmur darkly at the very bottom of their register - all effuse a feeling of consecration and peaceful transfiguration in this concerto, a concerto which has never seen its like in two centuries.
The balance engineers achieved a remarkable feat when documenting this epoch-making work, for this recording is certainly one of the very best to come from Deutsche Grammophon in the Sixties.
Recording: May / July 1962 at the Jesus-Christus-Kirche, Berlin by GÜnter Hermanns / Production: Wolfgang Lohse
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.Beethoven: Concerto for Violin and Orchestra
Wolfgang Schneiderhan and the Berlin Philharmonic Orchestra conducted by Eugen Jochum$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
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
Beethoven: Triple Concerto in CFerenc Fricsay conducts the Berlin Radio Symphony Orchestra and pianist Geza Anda, violinist Wolfgang Schneiderhan and cellist Pierre Fournier on a performance of Beethoven's Triple Concerto in C major, Op 56. 180g vinyl pressing from Clearaudio.
The widespread interest both in the technical capabilities of solo instruments and in the symphony, whose formal outlines became established toward the end of the 18th century, accounts for the popularity at that time of "concertante symphonies" in which several solo instruments (strings, wind) combined to oppose the orchestra. Despite the popularity, Beethoven was correct when he wrote about his Triple Concerto "that a concertante with these three solo parts is something new."
The novelty lay in the usage of this connection with the piano. The difference between the piano's method of tone production and that of the other instruments alongside the piano's "mechanics" resulted in tonal problems. These problems arose both within the solo trio and in its relationship to the orchestra. Beethoven, who was interested throughout his whole career in experiments to extend the scope of instrumental music, here combined the styles of chamber music and of concertante symphonic writing to great effect.
Ferenc Fricsay (conductor)
Berlin Radio Symphony Orchestra Geza Anda (piano)
Wolfgang Schneiderhan (violin)
Pierre Fournier (cello)1. Allegro
2. Largo (attacca)
3. Rondo alla polacca$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now