Authorized & Certified VPI Dealer

A World of Vinyl

Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl - LP20
Home > Products for: '

Stravinsky

'
  • 1
  • 2
Results per page:
  • Stravinsky: Symphonies (Speakers Corner) Stravinsky: Symphonies (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky: Symphonies (Speakers Corner)

    It is well known that the mature Stravinsky was candidly scathing about some of his early compositions. However, he did subscribe a measure of academic value to his very first symphony, if only to show how one should not compose. In the following decades he wrote his so-called neo-classical symphonies, but these too found no mercy in the eyes and ears of avant-garde extremists, and are thus among the most underestimated orchestral compositions of the 20th century.



    The new aspiration to write with clarity and simplicity, and so turning away from late-romantic and impressionistic expression, is already found in the key of C major, which has no accidentals. But the compositional technique is tricky: sharp polytonal melodies grow out of tonal islands, which, however never result in pleasant-sounding cadences even after numerous attempts to do so.



    The Symphony in Three Movements, too, breaks with tradition as regards its formal structure, which Stravinsky himself regarded as naïve. All the more intricate, however, is the ingenious melodiousness, which is unfolded with ballet-like rhythms by the whole orchestra.



    This fresh, bold music definitely needs to be performed by an astute and dauntless ensemble - such as West-Swiss Orchestre de la Suisse Romande conducted by Ernest Ansermet, an ardent champion of modern works.




    Recording: April 1960 at Victoria Hall, Geneva (Switzerland), by Roy Wallace

    Production: Ray Minshull



    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.




    This title is not eligible for discount.

    Igor Stravinsky: Symphony In C (1940)
    Symphony In Three Movements (1945) - Orchestre de la Suisse Romande conducted Ernest Ansermet
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky: Les Noces (Speakers Corner) Stravinsky: Les Noces (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky: Les Noces (Speakers Corner)

    Although ten years separate the gigantic composition Le Sacre du Printemps and the dance cantata Les Noces, the more recent work has several things in common with its scandalous predecessor. Originally Stravinsky planned to use a vast orchestra of 150 musicians, but decided after numerous attempts to settle for four pianos, percussion, voices and mixed chorus.


    Concealed behind the innocuous title is not a peasant wedding but once again an archaic ritual, »which takes possession of several of the central figures, drives them on and eventually crushes them with its unrelenting movement« (AndrÉ Boucourechliev, Igor Stravinski, Fayard 1982). Ballet, rhythmic dance through and through, fuses with Russian melodic song and thereby exudes a folkloristic exoticism.


    Rarely performed yet zestful and a sheer delight for the ears is the burlesque tale Renard, a musical fable about Reynard the crafty Fox, the Cock, the Cat, and the Ram.
    Stravinsky himself conducted this recording made with a grand line-up of America's top composers at the piano keyboard - Samuel Barber, Lukas Foss, Aaron Copland and Roger Sessions. One certainly can't ask for more authenticity on record than these contemporary witnesses.


    Musicians:



    • Columbia Chamber and Percussion Ensembles

    • Igor Stravinsky (conductor)




    Recording: September 1962 at American Legion Hall, Hollywood, and January 1962 at Manhattan Center, New York, by Edwin Michalski
    Production: John McClure




    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.


    This title is not eligible for discount.

    1. Les Noces ("The Wedding")
    2. Renard ("The Fox")
    3. Ragtime For Eleven Instruments
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - Firebird (Speakers Corner) Stravinsky - Firebird (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Firebird (Speakers Corner)

    Ernest Ansermet's long friendship with Igor Stravinsky enabled him to witness the birth of some of the composer's most important creations. This proved to be of incalculable worth in his interpretation of the works he premiered for Stravinsksy.



    Here Ansermet directs the OSR in a performance of Stravinsky's The Firebird. It is the composer's first major ballet, brought him world fame and continues to gain in popularity to this day. The story - which combines the motifs of several Russian fairy tales with a magic Firebird, a vanishing castle, an evil magician, and a hero who saves the maiden - inspired Stravinsky to write some of his most fascinating and mysterious music.



    The OSR is fully equal to its fine reputation. Ernest Ansermet's competence as an interpreter is evident throughout.



    Acoustically, this pressing offers advantages over the original. Here the orchestra resonates with a full, natural and mellow sound that blossoms into a veritable garden of tonality extending around and behind the loudspeakers.
    This new edition of Stravinsky's The Firebird is a true stereophonic delight.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording date and venue: May 1955 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker




    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.



    This title is not eligible for discount.

    Ernest Ansermet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - The Rite Of Spring Stravinsky - The Rite Of Spring Quick View

    $34.99
    Buy Now
    x

    Stravinsky - The Rite Of Spring

    While he was finishing the score of The Firebird, the idea came to Stravinsky for a pagan, ritual scenario. The background history of Le Sacre du printemps is well known: while the modernists praised the work, the conservative public thought they were being hoaxed. The reason for their irritation and the scandalous fiasco of the premiere is still audible to this day. Stravinsky carries the aggressive, hammering rhythms to the extreme, casting them in atonal harmonies which feed on the alternation between a »red-hot and a mild mixture«, as Stravinsky put it.


    Dorati urges on his ensemble with robust tempi, and the orchestra is quick to respond to all the refinements of the tightly knit movement. It appears to cope effortlessly with the extremes of contrast and manages to amalgamate the rhythmic excesses with the tenderness of the numerous tiny motifs and figures which seem to sprout like flowers out of hard rock. The excellent recording technique captures both the extreme loudness and the finely pulsating tones, resulting in a sound in which no detail goes unheard. The listener can be sure that this Stravinsky deserves the rating 'excellent' - both for the interpretation and for the sound.

    Musicians:



    • Antal Dorati (conductor)

    • Igor Stravinsky (composer)

    • The Minneapolis Symphony Orchestra




    Recording: November 1959 at the NorthropMemorial Auditorium, Minnesota, USA, by C.R. 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.


    This title is not eligible for discount.

    1. The Rite Of Spring Part I
    2. The Rite Of Spring Part II
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky: Violin Concerto (Speakers Corner) Stravinsky: Violin Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky: Violin Concerto (Speakers Corner)

    For many years Stravinsky was reluctant to write a concerto for the violin. He felt he was too unfamiliar with the instrument and its particular properties, and it would be too problematic and too much of a challenge to create a large work for the violin. That he finally acquiesced is due in part to persuasion from Paul Hindemith and support from the violinist Samuel Dushkin, who gave him valuable advice during its development.
    With its four-movement form and the descriptive titles of the movements -Toccata, Aria and Capriccio - the Violin Concerto in D testifies to Stravinsky's intensive preoccupation with Baroque forms, which he employs with rhythmic and metric imagination and irony. Stravinsky himself said that the work stinked of violin, but the orchestra is also very present so that one is reminded of a concerto grosso. The author Ernst MÜller (Analogue Audio Association Bulletin) praised the work euphorically, especially for its revelatory character and the tremendous dynamics of this Columbia recording. You can hear all the details, the winds are precise, and the orchestral accompaniment is simply grandiose


    Musicians:



    • Isaac Stern and the Columbia Symphony Orchestra

    • Igor Stravinsky (conductor)




    Recording: February and June 1961 at American Legion Hall, Hollywood, by Edwin Michalski
    Production: John McClure




    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.


    This title is not eligible for discount.

    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky: Petrushka (Speakers Corner) Stravinsky: Petrushka (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky: Petrushka (Speakers Corner)

    The highly controversial reactions of the public could hardly have inspired Stravinsky to believe that, of all his compositions, his early ballets would bring him world fame one day. But just how the composer set the story of the puppet Petrushka to music is doubtless one of the greatest achievements ever in ballet music. Petrushka's wild behaviour puts the orchestra's patience to a hard test. Eventually the ensemble takes its revenge with a vengeance and eventually causes the puppet to collapse.



    DECCA is certainly to be congratulated for winning Ernest Ansermet for the present recording. No other conductor was granted the opportunity of following so closely all his life the creative process of this great composer. With its infallible perception of Stravinsky's compositional language, the Orchestre de la Suisse Romande - long regarded by connoisseurs as one of the very best ensembles - admirably presents the varied colouring of the highly complex score, from the picturesque trills and slurs, to the lyrical, cantabile wind passages, and on to the unrelenting, hammering ostinati. Right from its very first release, the music and the performance have ensured that this recording has been dubbed "legendary".




    Recording: May1958 at Victoria Hall, Geneva by Roy Wallace / Production: James Walker



    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.


    This title is not eligible for discount.

    1. The Shrovetide Fair
    2. In Petrushka's Room
    3. In the Moor's Room
    4. The Shrovetide Fair (Evening)
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Lieutenant Kije/ Stravinsky: Song of the Nightingale Prokofiev: Lieutenant Kije/ Stravinsky: Song of the Nightingale Quick View

    $39.99
    Buy Now
    x

    Prokofiev: Lieutenant Kije/ Stravinsky: Song of the Nightingale

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


    Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound


    Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!


    One of the most sought-after Living Stereos and deservedly so, especially for the Song of the Nightingale which is one of Mohr and Layton's finest efforts. The sound is truly wonderful on the Stravinsky too. The original 3-track session tapes were used in mastering for this LP in the Analogue Productions reissue series.


    This title is not eligible for discount.

    Sergei Prokofiev (1891-1953)
    Lieutenant Kije, Op. 60


    Igor Stravinsky (1882-1971)
    Song Of the Nightingale

    Fritz Reiner with the Chicago Symphony Orchestra
    $39.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mussorgsky - Pictures From An Exhibition - Muti Mussorgsky - Pictures From An Exhibition - Muti Quick View

    $34.99
    Buy Now
    x

    Mussorgsky - Pictures From An Exhibition - Muti

    Riccardo Muti conducts the Philadelphia Orchestra through readings of Mussorgsky's Pictures From An Exhibition and Stravinsky's The Firebird Suite. Produced and engineered by Christopher Bishop and Michael Gray. Cut at Abbey Road Studios from the original stereo analogue master tapes and pressed on 180g vinyl.


    This title is not eligible for discount.

    1. The Gnome/The Old Castle/In The Tuileries/Bydlo/Ballet of the Chicks in their Shells/Two Old Jews (Goldenberg and Schmuyle)/The Market Place at Limoges/The Catacombs
    2. Cum mortuis in lingua mortua
    3. The Hut on Fowls Legs (Baba Yaga) The Great Gate of Kiev
    4. Introduction/Dance of the Firebird/Round Dance of the Princesses/Infernal Dance of King Kastchei/Berceuse/Finale
    Riccardo Muti
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - Sacre du Printemps (Speakers Corner) Stravinsky - Sacre du Printemps (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Sacre du Printemps (Speakers Corner)

    To be sure: no other 20th-century ballet music has ever created such a commotion as this ancient rite of spring: it began with a turmoil which developed into a full-scale brawl at the premiere performance in the concert hall, was sung hymns of praise and suffered devastating reviews by critics who tore the work apart, and led up to the musico-philosophical libel written in the Fifties by that self-acclaimed "chief enemy" of Stravinsky, W. A. Adorno.



    This thrilling, epoch-making masterpiece remains fascinating to this very day thanks to its bloodcurdling rhythms, its secretive, intertwined melodies, and the boiling, seething, and lashing of the titanic instrumental forces. And Sir Georg Solti and his phenomenal orchestra certainly ensure that all this is brought over to the listener. The notes of the lyrical passages simply fly out of the loudspeakers with the lightness and airyness to which one is accustomed with DECCA recordings from this era. But one can still be astounded by this audiophile work of art: such a gentle, voluminous, lashing and pounding sound-storm is only normally heard live in the concert hall. And precisely because this recording sounds so marvellous, it tops the vinyl charts in the American specialist magazine The Absolute Sound.



    Musicians:



    • The Chicago Symphony Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1974 at Medinah Temple, Chicago (USA) by Kenneth Wilkinson and James Lock

    Production: Ray Minshull





    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.



    This title is not eligible for discount.

    Sir Georg Solti with Chicago Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky - Petruchka (Speakers Corner) Stravinsky - Petruchka (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Petruchka (Speakers Corner)

    Petrushka was born of Stravinsky's vision of a long-haired musician hammering indiscriminately at the piano keys and engaging in a furious contest with the orchestra which »answers with vehement protests and acoustic fisticuffs«. As was the case with The Rite of Spring and The Firebird, Sergei Diaghilev and his Russian ballet had their share in ensuring that the 'burlesque' in four scenes would be suitable for the stage.
    The clown-doll Petrushka revels in his spiteful teasing and pranks at the Shrovetide fair.


    The orchestra contributes swirling dance figures, blaring brass and scurrying strings to his high-spirited clownery - but then the Moor enters and dances with the Ballerina, arousing jealousy in Petrushka. Although the clown-doll does not survive this bitter-sweet story, he triumphs at the end, his ghost mocking the crowd at the fair.
    This highly inventive music combines folksong, popular music and the waltz, all bound together by exhilating rhythms which are often taken to thunderous extremes. With its outstanding sound, this recording is a must-have in any Stravinsky collection.


    Recording: May 1959 at the Northrop Memorial Auditorium, Minnesota, USA, by C.R. Fine
    Production: Wilma Cozart-Fine and Clair Van Ausdall


    Musicians:



    • Antal Dorati (conductor)

    • Igor Stravinsky (composer)

    • The Minneapolis Symphony Orchestra



    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.


    This title is not eligible for discount.

    1. Petrouchka - Burlesque Scenes In Four Tableaux - The Shrovetide Fair; Russian Dance
    2. Petrouchka - Burlesque Scenes In Four Tableaux - In Petrouchka's Room
    3. Petrouchka - Burlesque Scenes In Four Tableaux - In The Moor's Room; Dance Of The Ballerina And The Moor
    4. Petrouchka - Burlesque Scenes In Four Tableaux - Grand Carnival - Dance Of Gypsies, Coachmen And Grooms; The Maskers; Death Of Petrouchka
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Firebird & Jeu De Cartes The Firebird & Jeu De Cartes Quick View

    $44.99
    Buy Now
    x

    The Firebird & Jeu De Cartes

    Claudio Abbado is one of those rare conductors who seem to get more youthful and enquiring with age, while at the same time his music-making takes on an ever greater profundity. - Daily Telegraph, London


    Abbado has recorded for Deutsche Grammophon since 1967, amassing a discography that includes the entire symphonic works of Beethoven, Brahms, Mahler, Mendelssohn, Schubert and Ravel and more than 20 complete opera recordings.


    Claudio Abbado conducting the London Symphony Orchestra performing Stravinsky's Firebird and Jeu De Cartes.

    Side 1:


    1. Introduction

    2. L'oiseau de feu et sa danse / The Firebird's Dance / Der Feuervogel und sein Tanz/The Firebird and its Dance

    3. Variation de l'oiseau de feu / Variation: Der Feuervogel / Variation of the Firebird

    4. Ronde des princesses /Reigen der Prinzessinnen / The Princesses' Round

    5. Danse infernale du roi Kastchei / Hollentanz des Konigs Kaschtschei / Infernal Dance of King Kastchei's

    6. Berceuse / Wiegenlied / Lullaby

    7. Finale


    Side 2:


    Jeu De Cartes / Kartenspiel / Card Game (1936) Ballet en trois donnes / Ballett in drei Runden / Ballet in Three Deals


    1. Premiere donne / Erste Runde / First Deal (Alla breve - Moderato assai - Tranquillo)

    2. Deuxieme donne / Zweite Runde / Second Deal (Alla breve - Marcia - Variazioni I-V - Coda - Marcia

    3. Troisieme donne / Dritte Runde / Third Deal (Alla breve - Valse - Presto - Tempo del principio)


    Igor Stravinsky
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Copland - Appalachian Spring / Billy The Kid (Speakers Corner) Copland - Appalachian Spring / Billy The Kid (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Copland - Appalachian Spring / Billy The Kid (Speakers Corner)

    Aaron Copland is among those Americans whose compositions have found worldwide recognition. Measured against his long lifespan (1900-1990), his creative phase was relatively short, and indeed he hardly composed at all from the Sixties onwards. His most important works were his answer to the musical crisis of the Thirties, and he has gone down in history as having greatly influenced the development of New Music in the USA.



    The ballets Appalachian Spring (1944) and Billy the Kid (1938) are considered to be key works of their day. Both have folkloric traits, which brought Copland the reputation of having a penchant for borrowed melodies. In reality, the well-known tunes are very subtly treated and modified, and are incorporated into large-scale, defined forms. Now and again, melodic echoes of Mahler's music or highly rhythmic exposed passages reminiscent of Stravinsky flash through. The ballet Billy the Kid is thoroughly American. Arranged in orchestral 'wide-screen sound', as it were, cowboy melodies glow with the very best Wild West tradition, and are bedded in a dramaturgy which is almost ripe for a film soundtrack. The signal to Hollywood is virtually unmistakable. That is America.




    Recording: June 1961 by C.R. Fine and Robert Eberenz

    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.



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Copland: Appalachian Spring, Billy the Kid - The London Symphony Orchestra conducted by Antal Dorati
    Antal Dorati with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky: The Rite Of The Spring Stravinsky: The Rite Of The Spring Quick View

    $22.99
    Buy Now
    x

    Stravinsky: The Rite Of The Spring

    From pagan savagery to refined Classical elegance via a masterpiece of oblique ritual, these recordings trace Stravinsky's eventful musical journey of creative curiosity and unquenchable originality. Sir Simon Rattle has long been acclaimed as a conductor of vivid insights in this music, and the Berliner Philharmoniker's virtuosity makes this a disc of aptly balletic power and poetry.
    1. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): I Introduction / Introduction
    2. Le Sacre du Printemps / The Rite of Spring, Part II: La Sacrifice (The Sacrifice): II Cercles mystÉrieux des adolescents / Mystic Circles of the Young Girls

    3. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): III Danses des adolescents / Dances of the Young girls

    4. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): IV Jeu du rapt / Ritual of Abduction

    5. Le Sacre du Printemps / The Rite of Spring, Part II: La Sacrifice (The Sacrifice): V Action rituelle des ancêtres / Ritual Action of the Ancestors
    6. Le Sacre du Printemps / The Rite of Spring, Part II: La Sacrifice (The Sacrifice): VI Danse sacrale (L'Elue) / Sacrificial Dance

    7. Symphonies of Wind Instruments

    8. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): VIII Le Sage / The Sage
    9. Le Sacre du Printemps / The Rite of Spring, Part I: L'Adoration de la Terre (Adoration of the Earth): IX Danse de la terre / Dance of the Earth
    Sir Simon Rattle
    $22.99
    Vinyl LP - Sealed Buy Now
  • Stravinsky - Firebird (Speakers Corner) Stravinsky - Firebird (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stravinsky - Firebird (Speakers Corner)

    The Firebird can almost be described as a work of fate, since it is not only the first of several ballets that Stravinsky wrote for Sergei Diaghilev and his Ballets Russes but also marks his international breakthrough as a composer. In comparison with his other earlier stage works, the ecstatic, sharply contoured Rite of Spring for example, The Firebird, with its melodic character, is a far gentler work altogether.


    There are unmistakable reminiscences of the musical language of Rimsky-Korsakov and Tchaikovsky as well as snatches of late-Romantic harmonies; all this lends the music the charm of Russian tradition.
    In his performance, Dorati chooses the golden mean in that he has his ensemble produce a highly colourful but by no means glaring sound. Thus the listener is given the opportunity to follow the development of the finely chiselled motifs which are so characteristic of this early composition. Happily, the chamber-music-like transparency is preserved even in the loud, more exposed passages - the sound leaves the loudspeakers with a sprightly, athletic tread, as it were.


    Musicians:



    • Antal Dorati (conductor)

    • Igor Stravinsky (composer)

    • The London Symphony Orchestra



    Recording: June 1959 at Watford Town Hall, London, by C. R. Fine and Robert Eberenz
    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.


    This title is not eligible for discount.

    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stravinsky: The Firebird (Pre-Order) Stravinsky: The Firebird (Pre-Order) Quick View

    $54.99
    Buy Now
    x

    Stravinsky: The Firebird (Pre-Order)


    Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at RTI!


    Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!


    Antal Dorati conducts the London Symphony Orchestra for this 1960 recording of Stravinsky's Firebird Suite.


    Features:

    • Numbered Deluxe Laminated Double Gatefold Jackets

    • Only 2500 Numbered Limited Edition Copies Worldwide!

    • Audiophile 180g, 45rpm Vinyl

    • Double LP

    • Pressed at RTI

    • Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Musicians:

    London Symphony Orchestra

    Antal Dorati, conductor


    Recorded 1960


    This title is not eligible for discount.

    1. Igor Stravinsky - The Firebird Suite
    Antal Dorati & The London Symphony Orchestra
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed PRE-ORDER Buy Now
  • HIVE1 HIVE1 Quick View

    $20.99
    Buy Now
    x

    HIVE1

    Written and recorded throughout 2013 and 2014, HIVE1 marks a new direction for Tyondai Braxton: his first album in six years, since 2009's Central Market, and his first recording for Nonesuch, where he joins formative influences such as Morton Subotnick and John Adams. Most significantly--after having several of his large-scale orchestral works performed by the Los Angeles Philharmonic, London Sinfonietta, and Wordless Music Orchestra--HIVE1 is the composer's first fully realized work of purely electronic music since his earlier loop-based music in the early 2000s, and an unmistakable swerve away from Braxton's signature materials and musical concerns to date.


    Where the dominant influence on Central Market was the Stravinsky of Petrushka and The Rite of Spring, HIVE1 draws more from the mid-20th century avant-garde, a world inhabited by the likes of Varèse, Xenakis, and Stockhausen--along with the more contemporary examples of Florian Hecker, Carston Nicolai/Raster Noton, and Braxton's frequent collaborator Ben Vida, who appears as a performer in HIVE1. Where Central Market was scored for a small army of strings, guitars, horns, kazoos, and singers, the music of HIVE1 derives from the abrasive textures and manipulation of organic and synthesized sounds.

    1. Gracka
    2. Boids
    3. Outpost
    4. Studio Mariacha
    5. Amlochley
    6. Galaveda
    7. K2
    8. Scout1
    Tyondai Braxton
    $20.99
    Vinyl LP - Sealed Buy Now
  • A Church That Fits Our Needs A Church That Fits Our Needs Quick View

    $19.99
    Buy Now
    x

    A Church That Fits Our Needs

    A Church That Fits Our Needs, the second album by North Carolina group Lost In The Trees, is underway, announcing itself as a work of vaulting ambition, a cathedral built on loss and transformation. In the summer of 2009, Ari Picker, writer, composer and architect of the band, lost his mother, an artist in her own right, when she took her own life. Picker was in the midst of releasing his bands debut album, All Alone in an Empty House, a collection of folk-inflected songs that surprised with its orchestral arrangements, to an acclaim usually reserved for seasoned veterans: both heart wrenching and beautiful, said Paste, while the Huffington Post called the album spellbinding in its musical ambition, touching in its intimacy, and often overwhelming in its emotional honesty. Picker took the loss of his mother and set about transforming the events into a tribute, composing, writing lyrics, his mothers picture above his writing desk: the same picture that now graces the albums cover. I wanted to give her a space, in the music, to be, and to become all the things she didnt get a chance to be when she was alive.


    The result is A Church That Fits Our Needs, an album that can stand beside musical journeys like Neil Youngs Tonights the Night and Bon Ivers For Emma, Forever Ago. Pickers astonishing voice, an instrument that veers from Carl Wilsons emotional purity to the otherworldly abstractions of Thom Yorke, opens our window into this intensely emotional music. While this might sound like a somber affair, A Church That Fits Our Needs is anything but. Picker, a classically trained composer, has Shostakovich and Stravinsky at his fingertips, but the music on this album speaks just as much to his love of Phil Spector and old film scores. Above all this is pop music, in the way that A Day In the Life or Radioheads No Surprises are pop music, seeking to present complex ideas to the widest possible audience. This is the album Picker set out to make, a celebration of the woman he calls a warrior, and a testament to the power of music to heal and transcend.

    1. Moment One
    2. Neither Here Nor There
    3. Red
    4. Golden Eyelids
    5. Icy River
    6. Tall Ceilings
    7. Moment Two
    8. This Dead Bird Is Beautiful
    9. Garden
    10. Villain (Ill Stick Around)
    11. An Artists Song
    12. Vines
    Lost In The Trees
    $19.99
    Vinyl LP - Sealed Buy Now
  • Silver Kobalt Silver Kobalt Quick View

    $14.99
    Buy Now
    x

    Silver Kobalt

    In between work for Björk, The Cinematic Orchestra and Anoushka Shankar, the prodigious Hang player and percussionist Manu Delago has inked a deal with Tru Thoughts to release his own new album, 'Silver Kobalt'. The ambitious LP draws lines from pop to the avant-garde.


    Aged just 30, Manu Delago is the world's leading Hang player (with 5 million YouTube views for his DIY performance video "Mono Desire") and possesses equally virtuosic skills as a percussionist and drummer alongside ever maturing instincts as a songwriter and producer. The accessible yet startlingly original sound of 'Silver Kobalt' draws on the experience and ideas built up by the London based Austrian native across a high-flying and diverse career to date. From overachieving teenaged rock bands, through extensive classical training; from his exploits at the cutting edge of art pop as the lynchpin of Björk's band, to a London Symphony Orchestra commission which saw him playfully subverting their expectations; this endlessly curious artist has been honing his own style rich in melody, wit and invention.


    The title, 'Silver Kobalt', plays on the strangely linked themes of magnets, goblins and human behaviour. Throwing a pair of small magnets in the air one day, Delago recorded their frantic, thrumming sound for the track "Plus Minus"; he also experimented with the detuning effect of a magnet on the Hang. Magnet fascination deepening, he read that some rare elements are permanently magnetised, of which one is cobalt. Then, up popped the pleasing story that cobalt was actually named after the German word for 'goblin' ('kobold') by hapless silver miners who suspected little kobolds had taken all the silver and left them with this substance. Further reading revealed also that all humans contain cobalt which we need to survive. "I really enjoyed this string of information", he says. "As well as this fun idea of little goblins within us, it really struck a chord because I had been thinking a lot about attraction and repulsion - what makes people magnetically drawn to some things, away from others - and that is a strong theme in the music. 'Silver Kobalt' tied it all together."


    Tying together the many sonic threads is co-producer Matt Robertson (Björk, The Prodigy, The Streets, Bat For Lashes), following his work on Delago's acclaimed 2013 LP 'Bigger Than Home', the record on which he began to truly develop his current sound. This is a sound that revolves around the unique timbre of the Hang, but encompasses much more, from acoustic percussion, bassoon, piano and chimes to multi-layered beats and a variety of synths.


    The hypnotic, nursery rhyme-like Hang melody of lead single "Disgustingly Beautiful" feat. Isa Kurz opens the album; the affecting vocals of Kurz (also the pianist and violinist on record and in the live outfit Manu Delago Handmade) ride a bass-heavy undercurrent, with added beats from Grammy nominated producer j.viewz. On the spiky yet melodically catchy "Plus Minus", the aforementioned magnet theme is extended into the composition, with two main lines that are pulled together and pushed apart. "Drumheart feat. Anil Sebastian" is pristine bassy pop lifted onto another plane by the haunting, androgynous vocals of the up-and-coming singer.


    Stealthily moving into a fascinating instrumental section, "Down to the Summit" (which, unusually, uses the Indian drone instrument Surpeti for harmony) leads to the punchy, subby Hang sound and four-handed piano tinkering of "Wandering Around" and on to the joyful "Simon is Psychling", which calls to mind a DJ with speakers on a bike, circling a big field, one lap bringing a bassoon solo, another an industrial noise-fest. Restoring calm, "Sun In The North feat. Isa Kurz" is a potent lyrical snapshot from a day on the beach on Reunion Island in the Indian Ocean, its rhythms inspired by playing with Indian musicians there. Cobalt gets its glory in the shape-shifting "Chemical Reaction feat. Rahel", and the lovelorn "Dearest" was conceived on tour in Australia where Delago captured the fairytale vocals of celebrated Australian folk singer Katie Noonan. "Almost Thirty", in Delago's words, "draws a bow from Eurotrash Dance Music to Austrian folk music, with some brainy immature rhythm ejaculations in between"; a banger that skirts the border between strange-town and club-land, it is a thrilling way to see out both his third decade on Earth and the album.


    Having been given his first drum kit aged two, also learning the accordion and piano in childhood, Manu Delago was a professional performer by his teens, but it was in 2003, when he began playing the Hang - an enchanting new sound sculpture from Switzerland - that he discovered his passion for writing music. On graduating from the university Mozarteum in Innsbruck, he moved to London and studied at Guildhall School of Music & Drama and Trinity College of Music. With this pedigree, the lessons learned from collaborating with his heroes, and influences from The Prodigy to Bon Iver, Michael Jackson to Stravinsky and Beyonce to Rage against the Machine, his music is as impeccably realised as it is impossible to classify. Delago has featured heavily in the world's media, having toured on six continents and played festivals including Shambala, Green Man, Haldern Pop, Reeperbahn, Eurosonic and Popfest Vienna.

    1. Disgustingly Beautiful feat. Isa Kurz
    2. Plus Minus
    3. Drumheart feat. Anil Sebastian
    4. Down to the Summit
    5. Wandering Around
    6. Simon is Psychling [sic]
    7. Sun in the North feat. Isa Kurz
    8. Dearest feat. Katie Noonan
    Manu Delago
    $14.99
    Vinyl LP - Sealed Buy Now
  • Coma Ecliptic Coma Ecliptic Quick View

    $33.99
    Buy Now
    x

    Coma Ecliptic

    Grandiose, dynamic, heavy, melodic, technically challenging: these are all words that fall equally short when trying to describe Between the Buried and Me's sonic offerings. When tasked with explaining the band's previous effort, The Parallax II: Future Sequence, Decibel Magazine claimed that the album offers more substance than most bands put forth in entire careers and Metal Hammer simply stated that it was utterly captivating. Where does a burgeoning progressive act go from there? The answer is found in their seventh full-length album, Coma Ecliptic. Spanning just over an hour, the album stands as a significant step in the evolution for the group as a whole, as well as the individual musicians: vocalist / keyboardist Tommy Rogers, guitarists Paul Waggoner and Dustie Waring, bassist Dan Briggs, and drummer Blake Richardson.


    Tommy Rogers posits: Coma Ecliptic is a new life for BTBAM. Throughout the process we worked harder than we ever have and really pushed the BTBAM sound to a new identity. In a world of repetition, I'm very proud to be a part of something that is extremely rewarding, as well as frightening. When you don't push yourself you will never know what the outcome is. The outcome is Coma Ecliptic.


    What is Coma Ecliptic? It can be interpreted as a modern rock opera, and another ambitious concept album from a band that has completely mastered that format. Dan Briggs comments: Spending the last year immersed in a world of Quadrophenia, Operation Mindcrime, The Wall- as well as Sondheim and Lloyd Webber musicals, Stravinsky and Mussorgsky symphonic suites; writing an over the top, dramatic and forward thinking rock opera was the most natural thing to do. The story follows the wanderings of an unidentified man, stuck in a coma, as he journeys through his past lives. Each song is its own episode in a modern day, sort of The Twilight Zone-esque fashion. The unidentified man enters each world and is offered a choice: stay, or move on to the next in search of something better, something more perfect. The man does find his ideal life, but then is offered the ultimate choice of life or death. He chooses life and wakes up to his own actual reality. It's at that moment he realizes that he had been in a coma - everything that happened had been dreams and false memories. After awakening, we find the man outside finally experiencing reality, and he sees what he has been missing: the world is beautiful, the air is fresh, and the people appear to be happy, and then he falls over dead. The take away from this is to make the best of your life. People are constantly searching for something better without taking the time to appreciate the things they have. What we need may already be here, and is hopefully real. We may all be in a coma in another life.


    Musically, Coma Ecliptic boasts a series of emotive peaks and valleys that drive the narrative along with the lyrics. Tracks such as Memory Palace, while sounding wholly unique, clearly have a distinct BTBAM flavor to which fans have grown so attached. The Coma Machine brings to mind prog in the most classic sense; think YES and King Crimson passages with the added layer of modern metal heaviness. Dim Ignition highlights Rogers' continuing development as a keyboardist, but don't fret, there's still plenty of speed, technically challenging guitar, bass, and drum runs, and quirkiness throughout. What makes these parts work is the interplay of the heavy and technical with the simpler, almost cinematic, soft passages; that is the power of Coma Ecliptic. The listening experience is a journey, and when Life in Velvet brings the album to a sudden, triumphant end, fans will surely be reaching for the replay button. But what does the band think? Rogers adds: If you asked me what this record sounds like, I would tell you BTBAM. With every listen I still find new exciting moments that each member has put into these songs. After all these years we still push each other to try new things and push our individual skills to the next level. It is an absolute thrill to write with such an inspiring group of people. Briggs continues: Writing with a focus on storytelling and just crushing melodic themes set the tone early on before we were even in the rehearsal room together. Put your velvet capes on and get ready for a journey!

    1. Node
    2. The Coma Machine
    3. Dim Ignition
    4. Famine Wolf
    5. King Redeem / Queen Serene
    6. Turn on the Darkness
    7. The Ectopic Stroll
    8. Rapid Calm
    9. Memory Palace
    10. Option Oblivion
    11. Life in Velvet
    Between The Buried And Me
    $33.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Masterpieces (Pure Pleasure) Masterpieces (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Masterpieces (Pure Pleasure)

    When Ellington went into the studio in 1950 to record the longer tracks on this LP, his orchestra was a bridge between its late-1940's configuration (the 5-man trumpet section) and its mid-1950's personnel. The sax section had settled into the form it would have for most of the ensuing two decades (old-timers Hodges and Carney and newcomers Procope, Hamilton and Gonsalves); the trombone section had long-timer Lawrence Brown as well as Tyree Glenn and newcomer Quentin Jackson; and the drummer was still Sonny Greer, who had anchored the rhythm section since the beginning.


    The arrangements and orchestrations all bear the hallmarks of Ellington's collaboration with Billy Strayhorn in the late 1940's: they are lush, symphonic, impressionistic, and densely (and adventurously) harmonic. Mood Indigo, in particular, is a 15-minute tone-poem with shifting colors and key relationships as Ellington and Strayhorn bring the melody through a wide variety of guises, from Glenn's wah-wah trombone solo to Shorty Baker's lyrical waltz to orchestral and piano passages which do homage to the influence which Ravel and Stravinsky had on both of them.


    The Tattooed Bride is the only new piece from the original Masterpieces by Ellington LP, and it is a beauty. The others of the original tracks -- Sophistocated Lady and Solitude -- are not laid out as inventively in their harmonics or structure. Of the group, Solitude is perhaps the weakest, but this is a relative term. Ellington would go on to pen many more extended, symphonic works, but none would have quite the multicolored, impressionistic tone-pallate that these do. And Strayhorn's presence would not be as pronounced in those future works as it is here: the orchestration and harmonies in particular bear his mark. These are masterpieces indeed: great works of art by two of our greatest composers/orchestrators, and played by one of the greatest orchestras in Afro-American music. - Andrew R. Weiss

    Musicians:



    • Duke Ellington, Billy Strayhorn (piano)
    • Cat Anderson, Clark Terry, Ray Nance (trumpet)
    • Quentin Jackson (trombone)
    • Johnny Hodges (reeds)
    • Mercer Ellington (french horn)
    • Russell Procope (clarinet, reeds)
    • Wendell Marshall (bass)
    • Louie Bellson (drums)




    About Pure Pleasure



    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, Pure Pleasure 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 existent 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 Pure Pleasure 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 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 and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Mood Indigo
    2. Sophisticated Lady
    3. The Tattooed Bride
    4. Solitude
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Violin Recital Violin Recital Quick View

    $49.99
    Buy Now
    x

    Violin Recital

    Audiophile 180 Gram Vinyl Cut at Emil Berliner Studio


    Pressed at Pallas in Germany


    Violinist and composer Nathan Milstein performs a recital of music by Geminiani, Schubert, Liszt, Stravinsky, Kodaly, Mussorgsky, as well as one of his own works. Milstein is accompanied by Georges Pludermacher on piano.


    In 1942 Nathan Milstein became a naturalized American citizen. After the end of World War II in 1945, Milstein appeared regularly in all of the principal music centers of the world. He performed with most of the great orchestras and gave numerous recitals. He celebrated the 50th anniversary of his American debut in 1979 by giving a number of solo recitals and appearing as soloist with American orchestras. As an avocation, he began painting and drawing, arts in which he achieved a certain degree of self-satisfaction. He also engaged in teaching; held master classes at the Juilliard School of Music in N.Y., and also in ZÜrich. Milstein was renowned for his technical virtuosity and musical integrity. He composed a number of violin pieces, including Paganiniana (1954) and He also prepared cadenzas for the violin concertos of Beethoven and Brahms.


    Features:

    Audiophile 180g Vinyl

    Cut at Emil Berliner Studio

    Pressed at Pallas GmbH Germany


    Musicians:

    Nathan Milstein, violin

    Georges Pludermacher, piano


    This title is not eligible for discount.

    Geminiani
    Sonata in A Major
    1. Andante - Vivace - Allegro
    Schubert
    Rondeau brilliant h-moll
    2. Andante - Allegro - Piu mosso
    Milstein
    Paganiniana
    3. Theme: Var: 1: Animato - Var II: Maestoso - Var IV: Lento - Var V: Marcato - Var VI: Amoroso - Var VII: Liberamente - Piu mosso
    Liszt
    Consolation No. 3 Des-dur
    4. Lento piacido
    Stravinsky
    5. Chanson russe
    Kodally
    II Pleut dans la ville
    6. Allegro malinconico
    Mussorgsky
    Hopak
    7. Vivace - Scherzando
    Nathan Milstein
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • O Shudder O Shudder Quick View

    $17.99
    Buy Now
    x

    O Shudder

    Six years into Dutch Uncles' flourishing career, the idiosyncratic art-popologists return with new album O Shudder which sees them further distilling and refining their signature sound, marrying rock bombast with classical arrangements, acoustic instrumentation with smart synthetic pop.O Shudder is Dutch Uncles' most direct record to date, the sound of a wildly witty band well and truly finding their stride, whilst lyrically tackling the growing pains of being twentysomething in a generic Northern suburbia; according to hip swivelling front man Duncan Wallis, the album covers themes including "pregnancy, social media, terrorism, divorce, sexual dysfunction, job seeking, health scares, doubt, love".With O Shudder, Dutch Uncles continue their fascinating, wonky ascent which has seen them play enormodomes with emo punk rock behemoths and self confessed Dutch Uncles acolytes Paramore, supporting and being supported by like minded left-field pop adventurers Wild Beasts, Outfit, Field Music, and Everything Everything, have a burger named after them by one of Manchester's premiere eateries and prefigure Future Islands' dance moves meme in their video for 2013 single Flexxin.The album was recorded with long term collaborator Brendan Williams in three locations; at a studio in the heart of the Welsh valleys, above a Salford pub, 'The Kings Arms', (incidentally where C4 comedy Fresh Meat is filmed) and, for the acoustic instruments, in the natural reverb of Salford's Peel Hall. The band were meticulous in tweaking their synth sounds so they'd fit seamlessly with the harp, xylophone, marimba, string and woodwind sounds that populate the record. Sources of inspiration for the record included The Blue Nile, Kate Bush's third album, Never For Ever, Igor Stravinsky, Japan and lyrically John Cooper Clarke, Sparks, Ian Dury and Prefab Sprouts' album From Langley Park to Memphis. All set to o shudder and stun, and induce plenty of hip swivelling, Dutch Uncles have delivered on their youthful potential and, with O Shudder, solved their own particular Rubix's cube, bringing their unclassifiable pop music into clear and precise focus.
    1. Babymaking
    2. Upsilon
    3. Drips
    4. Decided Knowledge
    5. I Should Have Read
    6. In N Out
    7. Given Thing
    8. Don't Sit Back (Frankie Said)
    9. Accelerate
    10. Tidal Weight
    11. Be Right Back
    Dutch Uncles
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tchaikovsky The Nutcracker Tchaikovsky The Nutcracker Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky The Nutcracker


    180g Audiophile Vinyl!


    Cut From The Original Analogue EMI Master Tapes At Abbey Road Studios!


    A tall imposing figure, so tall, in fact, that he often dispensed with a podium, Efrem Kurtz was a distinguished Russian conductor, who had studied with Glazunov and Tcherepnin and was a pupil of Arthur Nikisch. Kurtz had a broad symphonic and operatic repertory and conducted the premieres of works by Copland, Barber, Walton, Hindemith, Stravinsky, Shostakovich and Khachaturian. But he was most highly regarded for his interpretations of Russian music.


    Kurtz was a familiar name to the record collector of the 1950s and embarked upon a series of Tchaikovsky ballet recordings with the Philharmonia Orchestra for EMI in 1958. HIQ has already released Swan Lake and the release The Sleeping Beauty is in preparation. Of this Nutcracker highlights Gramaphone wrote: This is probably as good a selection as could reasonably be expected.


    Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process.


    In the original review in The Gramophone of November 1958, R.F. remarked: The orchestral quality is superb, and the dynamic contrasts tremendous. If you can hear the opening pizzicato notes of the Sugar-Plum Fairy, the end of the Valse des Fleurs will have your neighbours banging on the wall in desperation.


    Recorded March 1958, Kingsway Hall, London. Recording Producer: Peter Andry. Balance Engineer: Neville Boyling


    Features:

    • Hi-Q Records Supercuts 180g Vinyl

    • Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios!

    • Superior Audiophile Pressing

    • Features Original Album Artwork

    • This recording is not otherwise generally available in any format.


    Musicians:

    Philharmonia Orchestra

    Efrem Kurtz, conductor


    This title is not eligible for discount

    The Nutcracker Op. 71
    Side One:
    1. Overture
    2. No. 2 - Marche • No. 3 - Petit Galop Des Enfants Et EntrÉe De Parents • No. 8 - Scène • No. 9 - Valse Des Flocons De Neige
    3. No. 12 - Divertissement; Le Chocolat; Le CafÉ


    Side Two:
    1. No. 12 - Divertissement: Le ThÉ; TrÉpak; Danse Des Mirlitons
    2. No. 13 - Valse Des Fleurs
    3. No. 14a - Pas De Deux
    4. No. 14b - Pour Le Danseur • No. 14c Pour La Danseuse • No. 14d - Coda • No. 15 - Valse Finale

    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Symphony No. 7 (Out Of Stock) Beethoven Symphony No. 7 (Out Of Stock) Quick View

    $34.99
    x

    Beethoven Symphony No. 7 (Out Of Stock)


    Cut from the Original Analogue EMI Master Tapes at Abbey Road Studios!



    Otto Klemperer (1885-1973) is remembered more as an old man whose last years embraced the refinement of analogue stereo recording and the burgeoning of color television (his performances of Beethoven Symphonies at the Royal Festival Hall were captured by the BBC). As a young man though, he was at the vanguard of much of the new music of the 20th century, and was friends with Mahler (assisting at the premiere of Mahler's 8th Symphony) and championed works by Janacek, Schoenberg, Stravinsky and Hindemith, as well as being a composer himself. Arguably his greatest legacy is the raft of superb recordings he made for EMI from 1954 until 1971, with his interpretations of Beethoven and Brahms symphonies particularly celebrated.


    Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional "advance" playback head, ensuring a completely analogue process.


    In the original 1972 review in the GRAMOPHONE they wrote:

    "The main object of this new recording, I imagine, is to give us [Klemperer's] commanding version of this symphony in a really up to date recording and in this HMV's engineers have been highly successful. The remastered version of his older recording still sounds very well but one has only to compare a few bars to be convinced of the greater superiority of this new edition. It has a more immediate presence which increases the impact of this magisterial reading of the score, while the extremely well defined string bass draws attention to important points one might otherwise overlook; as for example, the place in the slow movement where the accompaniment to the main tune changes from quavers into triplets... As most readers will know by now, you must take Klemperer's Beethoven on his own terms: and his own terms are both impressive, and what is more important, often extraordinarily revealing."



    This title is not eligible for discount.

    Ludwig van Beethoven (1770-1827)

    Symphony No. 7


    Side One:

    1. 1st Movement: Poco sostenuto - Vivace

    2. 2nd Movement: Allegretto


    Side Two:

    1. 3rd Movement: Presto - Assai meno presto

    2. 4th Movement: Allegro con brio


    Jean-Philippe Rameau (1683-1764) (Otto Klemperer arrangements)

    Gavotte with Six variations

    Otto Klemperer
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • 1
  • 2
Go to top