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  • Bach: 1-6 Solo Cello Suites (Speakers Corner) Bach: 1-6 Solo Cello Suites (Speakers Corner) Quick View

    $95.99
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    Bach: 1-6 Solo Cello Suites (Speakers Corner)

    Today it is difficult to understand that despite the tremendous Bach renaissance that took place in the 19th century many compositions by the Cantor of St. Thomas's Church in Leipzig had been underrated. The Cello Suites, for example, have been regarded for almost 300 years as purely a set of tricky etudes that every virtuoso in the making simply must tackle. What recording engineers and their equipment can bring to the ears is quite astounding. So it was back in the Thirties with Pablo Casal's legendary recording against which every cellist is measured today and to whose perfection he aspires.



    Janos Starker's recording of the Suites from 1965 makes a lasting impression on the listener, even when compared with other recordings from the digital era, and even record producers who are well used to recorded excellence have been highly impressed. For Charlotte Gilbert of the Mercury record label, these recording sessions were one of five truly great events in all her 20 years of recording experience.



    Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker's full-bodied sound and technical brilliance are complemented by his finely chiselled interpretation that lends immense expression to Bach's thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach's Cello Suites are 'polyphony for a solo instrument'.



    Musicians:



    • Janos Starker (cello)




    Recording: April 1963, September and December 1965 at ballroom Studio A at Fine Recording Studios, New York, by C. Robert Fine and Robert Eberenz

    Production: Wilma Cozart



    Format: 3LPs 33rpm / Box, booklet



    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.



    Janos Starker
    $95.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Brahms - Sonata for Cello and Piano (Speakers Corner) (Awaiting Repress) Brahms - Sonata for Cello and Piano (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
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    Brahms - Sonata for Cello and Piano (Speakers Corner) (Awaiting Repress)

    The original pressing just doesn't hold a candle to this re-issue! Lovingly re-mastered from the original Mercury Living Presence analog tapes, Speakers Corner has done an astounding job on this album. Hear Starkers bold and natural cello and Seboks piano reproduced with perfect clarity and tonality. The performances are exceptional; lively and heartfelt. The sound quality is purely first rate. Outstanding music, impeccably performed, and the sound quality is the best youll hear! It just doesnt get better than this!



    Brahms' Cello and Piano Sonatas could well be described as 'romantic expression dressed in classical garb,' filled as they are with the same musical philosophy that is to be found in many of his instrumental works. Although 21 years lay between the two compositions, Brahms remained true to the formal musical language of the Viennese masters, and this brought him and other composers of his time the reproach of imitating Beethoven.



    The unmistakable personal style of Brahms is reflected in the sweeping first movement which is in the manner of a serious song and calls for sensitive but by no means feeble bowing. Starker's wiry, austere playing keeps a check on any excessive emotion and instead brings the music to life in great detail.



    Musicians:



    • Janos Starker (cello)

    • Gyorgy Sebok (piano)




    Recording: June 1964 at Watford Town Hall, London, by C.R.Fine and Robert Eberenz

    Production: Harold Lawrence




    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. Sonata for Cello and Piano No. 1 in E minor, op. 38

    2. Allegro Non Troppo

    3. Allegretto Quasi Minuetto

    4. Allegro


    5. Sonata for Cello and Piano No. 2 in F major, op. 99

    6. Allegro Vivace

    7. Adagio Affetuoso

    8. Allegro Passionato

    9. Allegro Molto

    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Dvorak: Cello Concerto; Bruch: Kol Nidrei Dvorak: Cello Concerto; Bruch: Kol Nidrei Quick View

    $18.99
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    Dvorak: Cello Concerto; Bruch: Kol Nidrei

    Newly presented on 180g heavyweight vinyl, Decca are proud to present an iconic Mercury Living Presence album
    from the analogue era back on vinyl. Presented with original artwork and pressed at Optimal GmbH, each release
    has been carefully mastered from the original Decca analogue tapes at Abbey Road Studios.


    This LP includes Dvorak's Cello Concerto and Bruch's Kol Nidrei performed by Janos Starker with the London Symphony Orchestra conducted by Antal Doráti.

    1. Allegro
    2. Adagio ma non troppo
    3. Finale (Allegro moderato)
    4. Kol Nidrei, Op.47
    Janos Starker / London Symphony Orchestra / Antal Dorati
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner) Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner) Quick View

    $34.99
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    Schumann and Lalo - Concerto for Cello and Orchestra (Speakers Corner)

    Schumann rapidly composed his Cello Concerto in only two weeks during an extremely productive creative phase. Its first performance was quite another story. Although the piece was written first and foremost for this beautiful instrument, so Schumann, no cellist showed any desire to perform the work in concert. Initially the cellist Robert Bockmhl from Frankfurt had shown interest in the piece, but then declined to play it after Schumann had refused to comply with his wishes for certain changes. This led to the unfortunate fact that Schumann did not live to see the work's premiere. Things went quite differently with Edouard Lalo, who described himself as a self-taught composer; an excellent cellist himself, Lalo could be sure that his work would be heard in the concert hall.



    Both works are connected by the pioneering attempt to establish the cello as a solo instrument in concert life in the 19th century. Right from the fifth bar of the Schumann concerto Janos Starker is able to display his mastership in the expansive main theme. He enjoys to the full the opportunities to explore the instrument's range of tone and expression, and this he does with clarity and a full tone. In the Lalo too he demonstrates his absolute virtuosity: in the lyrical passages he delights us with a melting cantabile, in the Saltarello finale he demonstrates his perspicacity and fills the triumphant writing with elegance and tonal resonance. Luckily this music has found its way to one of today's most outstanding cellists.




    Recording: July 1962 at Watford Town Hall, United Kingdom, by C. Robert Fine

    Production: Wilma Cozart-Fine and Harold Lawrence




    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. Robert Schumann: Concerto for cello and orchestra in A minor, op. 129
    2. Édouard Lalo: Concerto for cello and orchestra in D minor
    Janos Starker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Instinct Is Forever Instinct Is Forever Quick View

    $30.99
    Buy Now
    x

    Instinct Is Forever

    After recording and releasing 2012's critically acclaimed Dragged From Our Restless Trance LP via Forcefield Records, Bastard Sapling has ventured to push their other-worldly black metal creation further into the shattered abyss. After spending years crafting new material, they put their songs in the capable hands of Kevin Bernsten (Triac, Mutilation Rites, Ilsa) at Developing Nations in Baltimore, MD. Simultaneously starker and more serene than their previous efforts, Instinct Is Forever is a step forward in terms of Bastard Sapling's traditional Scandinavian influences being warped by their own geography and a new experimental approach. The new double LP, set to be co-released by Forcefield Records and Gilead Media on August 26, 2014, is armed with guest appearances by Windhand's Dorthia Cottrell, Evoken's Don Zaros, and Inter Arma's TJ Childers. Instinct Is Forever is sure to make a serious impact on North America's contribution to the medium.
    1. My Spine Will Be My Noose
    2. Subterranean Rivers Of Blood
    3. The Opal Chamber
    4. Elder
    5. The Killer In Us All
    6. Splintering Ouroboros
    7. Lantern At The End Of Time
    8. Every Life Thrown To The Eclipse
    9. Forbidden Sorrow
    Bastard Sapling
    $30.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • No Pop No Pop Quick View

    $19.99
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    No Pop

    Since their blown-out 2011 debut Hollandaze, Toronto trio Odonis Odonis has continued to push their sound further into the depths of post-apocalyptic experimentation. Following 2016's foreboding Post Plague, No Pop is the band's starker, more dance-floor-friendly fourth LP. Executed with precision, every sonic component of No Pop commands attention. Stripping down instrumentation to a handful of synths and an electronic drum kit, the band worked quickly to write and record, bringing demos and improvised takes into the studio and completing the recording process over the course of three days. The result is a focused blend of hard-hitting industrial, techno, and noise - but each track on No Pop is never just one of those elements.


    Pulsing rhythms lay the ground for textural soundscapes masterfully woven together to create a palpable sense of doom that is thick and satisfying. Taking its name from the anti-commercial No Pop movement, which infers that there is no expiration date on music nor is it limited by geographic or regional boundaries, No Pop is raw with emotion that's elevated by deft production. Each hypnotizing meditation captures an uncomfortably honest cynicism with a brush of humor, emphasized by sparse vocals that taunt the current dystopia of technology, human emptiness and the mundane. No Pop is the soundtrack of a sinking ship, and we're all happily aboard to go down with it.

    1. Night Beat
    2. Check My Profile
    3. Nasty Boy
    4. One
    5. Eraser
    6. Tracer
    7. Vision
    8. Fluke
    9. By The Second
    10. Needle
    Odonis Odonis
    $19.99
    Vinyl LP - Sealed Buy Now
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