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  • Mendelssohn: Piano Concertos Nos. 1 & 2 (Speakers Corner) Mendelssohn: Piano Concertos Nos. 1 & 2 (Speakers Corner) Quick View

    $34.99
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    Mendelssohn: Piano Concertos Nos. 1 & 2 (Speakers Corner)

    That Mendelssohn was a genial composer and piano virtuoso is very evident in his piano concertos. Written in his youth, his first piano concerto is full of Élan and power, with grand gestures in the themes and an early masterly command of symphonic development, which is continued - though rather more subtly in the second. This music also testifies to the 22-year-old's superb command of his favourite instrument. To this day young pianists at music competitions all over the globe emulate such artistry.


    Such Olympian efforts were not for Rudolf Serkin, who approached the virtuoso works at the end of the Fifties with all the maturity of a 'grandseigneur'. With amazing accuracy and the most delicate touch he unfolds the tightly-knit music, illuminating the flowing melodies and figures with a candid, clear brightness and thereby painting a warm, romantic and colourful landscape with finely- yet firmly-drawn lines. Thanks are due to the wonderful recording technicians whose expertise has made this LP a true masterpiece.



    Musicians:



    • Rudolf Serkin and the Columbia Symphony Orchestra

    • Eugene Ormandy (conductor)




    Recording: December 1957 and October 1959 at Broadwood Hotel, Philadelphia, by Stan Tonkel

    Production: Thomas Frost





    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. Piano Concerto No. 1 In G Minor
    I- Molto
    II- Presto
    III- Molto Allegro E Vivace


    2. Piano Concerto No. 2 In D Minor
    I- Allegro
    II- Adagio
    III- Finale

    Felix Mendelssohn-Bartholdy
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner) Quick View

    $34.99
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    Mozart: Piano Concertos Nos. 11 & 20 (Speakers Corner)

    If you want to get to the bottom of the cheerfulness and gallantry in Mozart's oeuvre, you can do no better than taking as a contrast one of his compositions that has always been described as gloomy and demonic.

    Putting aside the often-cited vocal heavyweights such as Don Giovanni and Requiem, Mozart's Piano Concerto No. 20, K. 466 occupies a distinguished position as a resonant counterpart to the charming music he wrote for social occasions in that it takes on a new dimension in his instrumental music. The choice of a minor key, unusual for a concerto, lends a dramatic tone to the composition, whereby the soloist and orchestra engage with one another in sharp contrast. Rudolf Serkin, one of the greatest interpreters of Mozart's piano works, allows the immense energy of this concerto to slip through his fingers with due care. He battles his way through the weighty first movement with enthusiasm and verve, lets his fingertips dance daintily through the cantilena of the Romance, and then rousingly celebrates the passionate and fiery Finale with a bell-like touch.

    On the reverse side the Festival Orchestra rounds off this inspiring performance with the filigree and charmingly effervescent Concerto in F major, K. 413 from Mozart's Viennese period - as cheerful as it is gallant.

    Musicians:

    • Rudolf Serkin (piano)
    • The Marlboro Festival Orchestra conducted by Alexander Schneider

    Recording: August 1957 in Marlboro, VT

    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.


    Piano Concerto No. 20 In D Minor

    I- Allegro
    II- Romance
    III- Rondo; Allegro Assai
    Piano Concerto No. 11 In F Major
    I- Allegro
    II- Larghetto
    III- Tempo Di Menuetto
    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Triple Concerto (Speakers Corner) Beethoven: Triple Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Beethoven: Triple Concerto (Speakers Corner)

    Why does the piano part seem comparatively simple in contrast to the violin and cello parts, which make the highest demands on the instrumentalists? And why on earth do three musicians play in concert with an orchestra? As interesting as these questions are with regard to Beethoven's cryptic Triple Concerto, there is a multitude of ways to approach this exceptional work by the great symphonist. In the gallantry of the expression, and keeping in mind the demand for playable parts for his invited circle of musical connoisseurs, Beethoven developed his very own concertante tonal language. This language is brought to life by Rudolf Serkin (piano), Jaime Laredo (violin) and Leslie Parnas (cello) in that they enter continually newly arranged dialogues and thereby offer the listener a warm palette of colours and melodies.



    The orchestral antagonists - the Marlboro Festival Orchestra - weaves a chamber music-like, delicate and wonderfully transparent carpet of sound, upon which Beethoven's characteristic woodwind instruments are bedded like roses. Thanks to these attributes, this recording appears to take place in the luminous glow of a private house and thus conveys a charming yet stimulating atmosphere.



    Musicians:



    • Rudolf Serkin (piano)

    • Jaime Laredo (vocals)

    • Leslie Parnas (cello)

    • and the Marlboro Festival Orchestra concucted by Alexander Schneider




    Recording: May 1962 at Columbia 30th Street Studio, New York, by Ed Michalski and John Johnson

    Production: Thomas Frost



    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.

    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cello Concertos Cello Concertos Quick View

    $44.99
    Buy Now
    x

    Cello Concertos

    The greatest cellist of modern time -- well, who could argue with a statement like that? After all, Mstislav Rostropovich is a supreme virtuoso, a charismatic performer, and a sublime interpreter and virtually every one of his recordings is as good as it gets for the repertoire. The key word, of course, is virtually: while Rostropovich's Dvorák concerto with Karajan, his Beethoven sonatas with Richter, his Brahms sonatas with Serkin, and above all his Shostakovich sonata with Shostakovich are definitive, can one say the same of his Boccherini, Vivaldi, and Tartini concertos with Paul Sacher? Or could one say that Rostropovich does not so much play the music of the great Italian Baroque composers as overwhelm it, that his virtuosity, his charisma, and his interpretations are more than the music can bear and that the listener is left not with fond memories of the music but instead with the overpowering impression of an unstoppable musical personality having his way with the music. The results are initially awe-inspiring but may ultimately prove to some to be empty. Accompanied -- the more appropriate word might be enabled -- by Sacher and the Collegium Musicum ZÜrich, the greatest cellist of modern times came, saw, and conquered the finest cello concertos of Baroque times. Whether that's a good thing or not is up to the listener.

    - All Music Guide


    Musicians:

    Mstislav Rostropovich, cello

    Side 1:
    Luigi Boccherini (1743-1805)
    Concerto for Violoncello and Strings No. 2 in D major
    1. Allegro
    2. Adagio
    3. Allegro


    Antonio Lucio Vivaldi (1678-1741)
    Concerto for Violoncello, Strings and Continuo in C major (P. 31)
    4. Allego
    5. Largo
    6. Allegro


    Side 2:
    Giuseppe Tartini (1692-1770)
    Concerto for Violoncello and Strings in A major
    1. Allegro
    2. Larghetto
    3. Allegro assai


    Antonio Lucio Vivaldi (1678-1741)
    Concerto for Violoncello, Strings and Continuo in G Major (P. 120)
    4. Allegro
    5. Largo
    6. Allegro

    Antonio Vivaldi
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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