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Sibelius Violin Concerto

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  • Sibelius Violin Concerto In D Minor Sibelius Violin Concerto In D Minor Quick View

    $34.99
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    Sibelius Violin Concerto In D Minor

    Limited Edition 200 Gram LP!


    Remastered and Cut at 33 1/3 rpm by Ryan Smith at Sterling Sound!


    Cut from the Original 2-Track Session Tapes!


    Pressed at Quality Record Pressings & Plated by Gary Salstrom!


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


    Heifetz playing Sibelius like no other. This 3-track transfer places Heifetz in proper proportion to the Chicago Symphony Orchestra under the direction of Walter Hendl (filling in for an ill Fritz Reiner). Produced by the legendary Jack Pfeiffer with Lewis Layton as the engineer - it doesn't get any better than this.


    This title is not eligible for discount.

    1. Sebelius Concerto in D minor, Op. 47
    Heifetz
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sibelius: Violin Concerto (Speakers Corner) Sibelius: Violin Concerto (Speakers Corner) Quick View

    $34.99
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    Sibelius: Violin Concerto (Speakers Corner)

    Not always do composers of instrumental works take the playability of their ideas into consideration. Jean Sibelius - himself an excellent violinist - must have been aware of the enormous challenges to the soloist, but he did not, however, envisage that the première of his violin concerto would be badly received due to the inadequacy of the violinist. That his op. 47 would become a showpiece of romantic violin repertoire is certainly not only due to the first-class soloists of our time, but also thanks to the work's broad and expressive melodies. In the short introduction of the second movement, the leaping intervals of the violin - as though from nowhere - develop into a broad symphonic dialogue with a late-romantic inflection, which is unleashed to create an emotional climax in the 20-bar main theme of the second movement. Seemingly purposely written for the nimble fingers of the world-class violinist, David Oistrakh and the evenly matched Philadelphia Orchestra present a superbly virtuosic and powerful rendering right up to the rousing finale. As an encore we hear The Swan Of Tuonela sing its tender, sublime song in a substantial solo on the cor anglais.

    Musicians:



    • David Oistrakh (violin)
    • Philiadelphia Orchestra conducted by Eugene Ormandy



    Recording: December 1959 and January 1960 at Broadwood Hotel, Philadelphia (PA)

    Production: Howard 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 emphasize 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. Allegro Moderato
    2. Adagio Di Molto
    3. Allegro Ma Non Tanto
    4. The Swan Of Tuonela, Op.22
    David Oistrakh
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sibelius -  Violin Concerto (Speakers Corner) Sibelius - Violin Concerto (Speakers Corner) Quick View

    $34.99
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    Sibelius - Violin Concerto (Speakers Corner)

    The violin had got me completely under its spell; for ten years it was my greatest wish to become a great violin virtuoso , confessed Finland's national composer Jean Sibelius in later years. Although he began a career as a violin virtuoso too late, as a composer he profited enormously from his intimate knowledge of the instrument and the possibilities it offered. This is particularly apparent in his Violin Concerto with its wonderful synthesis of virtuosic expression and technical bravura, its classical symphonic form, its outward effects and inner substance. This late-Romantic, brilliantly coloured work is certainly one of the most rewarding for every soloist. A specialist in the field of 19th-century bravura pieces and master of an effortless technique and suppleness, the great American violinist Ruggiero Ricci certainly possessed all the requirements for a brilliant performance of this concerto. And Øivin Fjeldstad is the perfect partner for Ricci in more ways than one in this wonderfully lively recording: thanks to his training as both a conductor and a violinist, he ensures a perfect balance between soloist and orchestra; and as a Norwegian he is, of course, completely au fait with Scandinavian repertoire, and guarantees - both here and in other recordings with the London Symphony Orchestra - a truly nordic touch.





    Musicians:



    • Ruggiero Ricci (violin)

    • London Symphony Orchestra

    • Øivin Fjeldstad (conductor)




    Recording: February 1958 at Kingsway Hall, London by Cyril Windebank

    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.


    1. Sibelius-Violin Concerto in D Minor, Op. 47
    2. Tchaikovsky-Serenade Melancolique Op. 26
    3. Scherzo from Souvenir d'm lieu cher, Op. 42
    Oivin Fjeldstad
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Perlman Sound The Perlman Sound Quick View

    $23.99
    Buy Now
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    The Perlman Sound

    No one could deny that Itzhak Perlman holds a special place in the world of music - and no one could define it more eloquently than his old friend and colleague, the pianist and conductor Daniel Barenboim: It is quite impossible to imagine today's violin heritage without the absolute musical genius of Perlman. The most obvious manifestation of that genius is the famous Perlman Sound - lustrous, warm and generous, its impact compounded by often astounding virtuosity; and yet Perlman makes it all look so easy. In fact, he communicates a positive joy in his playing.


    Perlman Sound is released as a primer for the deluxe 59-album boxed set Itzhak Perlman: the Complete Warner Recordings, and may be a good option for fans who don't have enough shelf space for this expansive edition. This collection explores his artistry from the finest concerto highlights (Mendelssohn, Brahms, Beethoven, Tchaikovsky, Korngold, Sibelius, The Four Seasons), to virtuoso solo and chamber repertoire (Paganini Caprice No.24, Bach Partita No.3, the MÉditation from Thaïs, Flight of the Bumblebee, Zapateado) and klezmer and jazz selections. The duo partners and conductors are some of the 20th century's biggest classical stars, many of whom count among Perlman's dearest friends and collaborators.

    1. Thais: Meditation
    2. Vocalise, Op. 34, No. 14
    3. Zigeunerweisen, Op. 20
    4. Meditation, Op. 32
    5. Russian Fantasy (arr. Kreisler)
    6. Souvenir d'un lieu cher, Op. 42: No. 2 Scherzo in C Minor (Arr. Glazunov)
    7. Legende, Op 17
    8. The Old Refrain (arr. Kreisler)
    9. Schon Rosmarin
    Itzhak Perlman
    $23.99
    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
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    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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