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Living In The PastLiving in the Past is a double album quasi-compilation collection by Jethro Tull, which contains album tracks, out-takes, the Life Is a Long Song EP, and all of their singles except for Aeroplane, Sunshine Day, One for John Gee, 17 and the original United Kingdom version of Teacher (the United States single version was included instead). Many of the tracks only appeared as British releases before being compiled on Living in the Past for the first time in the American market!LP 1
1. Song for Jeffrey
2. Love Story
3. Christmas Song
4. Living in the Past
5. Driving Song
6. Sweet Dream
7. Singing All Day
8. Witches Promise
10. Just Trying To Be
1. By Kind Permission Of
2. Dharma for One
3. Wond'ring Again
4. Locomotive Breath
5. Life Is a Long Song
6. Up the 'Pool
7. Dr. Bogenbroom
8. For Later
9. Nursie$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Teacher Don't Teach Me NonsenseTeacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.
Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.
Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.1. Teacher Don't Teach Me Nonsense
2. Look and Laugh
3. Just Like That$19.99Vinyl LP - Sealed Buy Now
Inter-BeInter-Be is the debut album by Peter Wolf Crier, the Minneapolis-based duo of Peter Pisano and Brian Moen. The album was born on a single summer night when Pisano felt a torrent of creativity after what had felt, to him, like an interminably long dry spell. He shared the songs with Moen, and over the months that followed, at Moen's home, these rough-hewed tunes became what they are now: a confident collection of songs, but deceptive in that their very guts still reflect the thoughts of a man in transition.
Pisano's is not a new songwriting voice. He is best known for being part of the Wars of 1812, an ascendant Wisconsin-bred quartet. Their first album together, Status Quo Ante Bellum, was more than just an album. It was relocation and aspiration and Pisano's lyrical Eden. As the Wars went on hiatus, Pisano continued to hone his craft, keeping his days full as a teacher at a small private school while fine-tuning, at night, the songs that would soon become Inter-Be. Feeling confident in the songs, Pisano approached Moen, a seasoned drummer and engineer best known for his involvement in Laarks and Amateur Love. After being asked to add some percussive elements, Moen added his thundering drumrolls and perfectly timed fills, but he also added something much more: a melodic soundscape that would complete the evolution of the songs. So was born the partnership that is called Peter Wolf Crier.1. Crutch & Cane
2. Hard As Nails
3. Down Down Down
4. Untitled 101
5. For Now
6. You're So High
7. Demo 01
10. Saturday Night
11. In Response$16.99Vinyl LP - Sealed Buy Now
Pronounced Leh-nerd Skin-NerdRanked 401/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Perhaps people needed help pronouncing Lynyrd Skynyrd's name when the Florida band's debut album came out in 1973, but soon no one would need help recognizing - or requesting - the album's classic rock anthem Free Bird. With the exception of this nine-minute epic, Pronounced is actually quite lean and mean. Full of instantly recognizable Skynyrd standards like I Ain't the One, Gimme Three Steps, Poison Whiskey, Simple Man, and the ultimate rock ballad Tuesday's Gone, there isn't a single weak spot on it. By blending hard rock, blues, country, and the heart of the South with the distinctly sentimental voice and intelligent lyrics of Ronnie Van Zant, Lynyrd Skynyrd didn't just create an anthem with this album, they defined a genre. They also won themselves an opening slot on the Who's US Quadrophenia tour. Fun Fact: Leonard Skinnerd was a physical-education teacher at the band members' high school that busted their chops for having long hair.1. I Ain't the One
2. Tuesday's Gone
3. Gimme Three Steps
4. Simple Man
5. Things Goin' On
6. Mississippi Kid
7. Poison Whiskey
8. Free Bird$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
A Love SupremeRanked 47/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Right from the very first hearing, absolutely every single jazzcritic shared the same opinion - whether trained musicians or not, true or would-be jazz expert: "A Love Supreme" is John Coltrane's most important recording. And the rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making. It not only enabled him to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.
The first section, entitled "Acknowledgement", has a forceful bass line which runs throughout the whole work. The powerful sound increases in intensity, whereby the bass motif undergoes constant modulation, with John Coltrane's meditative singing creating immense tension.
In "Resolution" Coltrane's powerful, quasi hymnlike expression comes to the fore, with McCoy Tyner achieving equal intensity in his solo. "Pursuance", with its density, quick-as-lightning runs and block chords, gives us a taste of John Coltrane's later 'free' phase. "Psalm" is filled with the famous, almost static melodies rather like a fervent prayer which are so typical for John Coltrane. "A Love Supreme" has been a faithful companion and teacher of generations of saxophonists and its message goes way beyond Music and is still valid today.
John Coltrane (tenor saxophone)
McCoy Tyner (piano)
Jimmy Garrison (bass)
Elvin Jones (drums)
Recording: December 1964 in New York City by Rudy Van Gelder
Production: Bob ThielePart 1 - Acknowledgement
Part 2 - Resolution
Part 3 - Pursuance
Part 4 - Psalm$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Walk Me Home
The bass is dewey. The harmonies are starlit. The theremin is
ripe The racket they're able to muster together in the
process is enough to set them apart from the pack.
a perfect balance of subdued and rousing
moments hypnotically affecting harmonies - A.V. CLUB
...it went round and round in my head for more than a few
weeks, and kept me humming and hooked.
- CARRIE BROWNSTEIN
Magnificent...I've rarely heard an album that wields so many
weapons it's almost arduous not to be won over... 4/5
- TINY MIX TAPES
...probably not too far off from what [Brian] Wilson's been
attempting for his entire career. - FADER
...intimate and immediately likable... - STEREOGUM
In the wake of their 2011 album Strange Hearts, the three members of Secret
Cities branched off in different directions. Charlie Gokey delved into Roy
Orbison's ballads about losers in love while becoming a civil liberties attorney in
Washington, D.C. Alex Abnos locked in to New Orleans soul masters like King Floyd
& Dr. John as he became a journalist in New York City. And Marie Parker became
a teacher in the band's spiritual home of Fargo, North Dakota.
Having met at band camp and on an internet message board, the trio had made
music together for nine years without ever living together in the same city.
After recording two albums and a handful of singles via email, they decided it
was finally time to enter a real studio where they could play and record together
in real time. They chose San Francisco's Tiny Telephone studio, where Jay
Pellicci manned the controls for a week-and-a-half of the most spontaneous,
democratic, and visceral recording of their lives. They emerged with Walk Me
Home, an album that finally reflects their live chemistry and their diverging lives
and musical tastes. Appropriately enough -- it took years of traveling in different directions for Secret Cities to make an album that brought them closer
together than ever.1. Purgatory
2. Bad Trip
4. The Rooftop
7. Playing With Fire
8. Walk Me Home
9. The Cellar
10. Interlude 2
11. It's Always Summer
12. It's Always Winter
13. Sun Enclosure$16.99Vinyl LP - Sealed Buy Now
AfrodisiacThe best known song on 1973's Afrodisiac is "Jeun Ko Ku," a satire about gluttony and Fela's first major hit in West Africa. In Broken English, the title means "chop and quench," which, in turn, means "eat and die" in Standard English. Lyrically, the standout track is the closing "Je'Nwi Temi" ("don't gag me"), a critique of the Nigerian political/military establishment and a defence of free speech. Fela vows that he will always tell it like it is, no matter what. This proved to be prophetic stuff, given the police and army assaults, intended to silence him, which were just around the corner. "Alu Jon Jonki Jon" draws on the interaction between animals and humans that is part of Yoruba mythology, in a tale about a dog who betrays his friends. Like many of Fela's lyrics of the period, the lyric employs parable and metaphor to encourage ethical conduct in everyday life. In "Eko Ile," Fela sings that there is no place like home (Eko was the pre-colonial name of Lagos). Afrodisiac was recorded at EMI's Abbey Road studios in London. According to the original sleeve credits, the album was produced by Jeff Jarratt. Fela only infrequently employed outside producers on his albums. Sometimes the results were excellent: British dub master Dennis Bovell's Live In Amsterdam (1983); Ginger Baker's psychedelia-tinged He Miss Road (1975); and Wally Badarou's Teacher Don't Teach Me Nonsense (1986). On another occasion it was spectacularly bad: Bill Laswell's remix and overdubbing of Army Arrangement (1985), made while Fela was in jail in 1984 on currency smuggling charges. Friends smuggled a cassette of Laswell's version into Fela. Listening to it, he said later, was "worse than being in prison.' On Afrodisiac, Jeff Jarratt was clearly working under Fela's close direction. The sound is classic Africa 70: punchy, raw, "live in the studio."1. Alu Jon Jonki
2. Jeun Ko Ku (Chop 'n Quench)
3. Eko Ile
4. Je'nwi Temi (Don't Gag Me)$19.99Vinyl LP - Sealed Buy Now
VirtuosoPart maverick, part genius, total virtuoso, David Garrett, 25, has been surprising people since before he was four years old. It was then that his father gave him a violin (he was having a tantrum because his older brother had a violin teacher) and, without any lessons, the toddler picked it up and began playing. Fast forward just four years and David was already one of the foremost violinists in the world working with the most celebrated teachers and performing solos with legendary orchestras and conductors. With his natural talent, the input of the finest music teachers in the world and a spirit unusual in the sometimes fusty world of classical music, David has emerged as fully-formed, fully-rounded - not to mention highly attractive - artist. He has already played for Popes and princes and presidents (the German President saw David when he was just 11 and was so impressed he actually set about securing him a priceless 1718 Stradivarius: I used to leave violins on buses and in hotel rooms when I was younger, but not this one) but a whole new audience awaits.1. La Califfa
2. Carmen Fantaisie (with Paco Pena)
3. Nothing Else Matters
4. Csardas - Gypsy Dance
5. Duelling Banjos (Duelling strings)
6. Paganini Rhapsody (on Caprice 24)
8. The Flight of the Bumble Bee
11. Eliza's Song$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Schubert: Symphonies Nos. 8 & 3Carlos Kleiber conducts the Vienna Philharmonic Orchestra as they play Franz Schubert's 3rd and 8th Symphonies.
The year 1815 saw a veritable flood of music pour from the pen of the eighteen-year-old Franz Schubert: during that single year he produced no fewer than four operas and operettas, two symphonies, two masses, many sacred and secular choral pieces, sonatas and other works for piano, as well as some 145 lieder, among them the Erlkonig. Schubert wrote all this vast amount of music, which seemed to flow from him effortlessly, in his little room during the evenings. The position of assistant teacher exempted him from military service, and his daily nine hours of school duties did not stem his immense creative urge.
On the 24th of May, Schubert began the composition of his Third Symphony in D Major, which he finished on the 19th of July. This work, written with undisturbed facility directly in full score, is unproblematic. At that time, Schubert was untroubled by doubts concerning formal construction, or by a sense of the need to solve problems by exploring unknown territory. The last movement in particular, a Presto vivace in which the instruments toss the spritely theme about between them, also bears witness to the growing individuality of its composer, who was rapidly becoming a mature master of his art.
The secret of the Unfinished symphony has never been completely solved. Schubert wrote the two complete movements in 1822 and began a third movement, but for unknown reasons did not finish it. He evidently considered the two movements a work in their own right, to judge from his dedication of the score to the Steiermarkischer Musikverein. The artistic director of that association kept the score to himself, and it was not untnil 1865 that this symphony received its first performance. The occasion was a triumph, and it became a posthumous act of homage to the composer who had died so young.
Eduard Hanslick praised this symphony enthusiastically, declaring that it belonged among Schubert's most beautiful instrumental works. The Unfinished is more than that - its place is among the supreme achievements in the world of music.1. Symphony No. 8 in B minor, D. 759 Unfinished
- Allegro moderato
- Andante con moto
2. Symphony No. 3 in D major, D. 200
- Adagio maestoso - Allegro con brio
- Menuetto. Vivace
- Presto vivace$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
In RemembranceLimited Edition of 1000 On Purple Vinyl With A DVD Of All Four Ballet Dance Films
DFA Records is proud to announce the release of In
Remembrance, a multimedia project by acclaimed
contemporary artist Delia Gonzalez. Delia transplanted
from Miami to New York City in the mid-1990s, working
in various dance and guerilla theatre troupes. It was
around this time that she met synth wizard Gavin Russom,
beginning a series of multi-disciplinary collaborations,
one of the most notable being their album of cosmic
acid-house "The Days of Mars", released by DFA in 2005.
Single "Relevee" is oft-cited as one of the high points
of DFA's early years, especially the monstrous remix by
Detroit techno legend Carl Craig.
In Remembrance is the next landmark in Delia's artistic
pursuits. In Remembrance originates in a 2010 solo
show of the same name at Galleria Fonti in Naples, which
was further realized in 2012, with additional films, in the
exhibition "I Must Stop Here". The music was initially
inspired by a text by Henry Miller and a theory by spiritual
teacher George Gurdjieff, which states that "to play
scales is to become more in tune with your inner self."
This coincided conceptually with the music that Delia
had been making at the time. Both exhibitions consisted
of four 16mm ballet dance films, accompanied by music
composed by Gonzalez. In her words, "The film is meant to
re-create the fleeting sensation of inspiration - that sacred
feeling when suddenly your mind clears and you know
exactly what you're meant to create and become."
The films were exhibited for a third time at the Clocktower
Gallery in New York City in 2013, featuring a live electronic
adaption of the composition, performed with New York
underground musicians Bryce Hackford and Alice Cohen.
Bryce later contributed four remixes, which are included
on this album. Delia explains; "When I lived in Berlin I
became good friends with the artist and musician Viktor
Timofeev, who kept telling me about his best friend Bryce,
who he played music with. In 2012 we were all in Vienna
participating in a show entitled You Are Free. There I met
Bryce and I instantly loved him. In 2013 I moved to NYC
temporarily and ran into him at the New Museum and he
said, "we should get together and play". I took him up on
5. Remix I
6. Remix II
7. Remix III
8. Remix IV$24.99Colored Vinyl LP + DVD - 2 LPs Sealed Buy Now
Ben Sollee And Kentucky NativeAcclaimed cellist, composer, songwriter and activist Ben Sollee announces the release of Ben Sollee And Kentucky Native via Soundly Music. Tracing the origins of a traditional American genre back to early immigrants, Sollee takes a nontraditional approach, blending the influences of early Irish and Scottish musicians with the rhythms of Mexico, Africa, and India. This album is Sollee's most personally revealing work and a reflection of his native Kentucky, a place like many others, that's still helping refine the ever-changing Bluegrass genre.
Inspired by the interactions and collaborations of string musicians from all walks of life, Sollee and his bandmates recorded twelve songs in a cabin at the Bernheim Arboretum and Research Forest in Clermont, KY. Each song was captured live as an ensemble with a mobile, analog studio and with just a few overdubs. Together, they thoughtfully reimagined a revered style with world music characteristics. The moving arrangement of Carrie Bell features syncopated African-influenced rhythms, which contrast Sollee's melodic cello. Drawing inspiration from this side of the globe, Mechanical Advantage is built on the foundations of the Huapango musical-dance genre in Mexico. Sollee's vision, influenced by the people, culture, and environment around him, is elevated by lyrics reflecting life and human nature.
Pieces Of You is a compelling and idealistic composition inspired by Sollee's friendship with conceptual artist Louis Zoellar Bickett II and his art exhibit 'The Archive.' The piece, which shows no distinction between personal mementos and trash, reminds Sollee of everyday artifacts in his life. Objects like a U.S. Postal name badge given to him by his grandfather and the marked-up sheet music from his first cello teacher could be considered worthless, but to Sollee, each has a story. In Presence which is perhaps the most poetic and personal, he shares a personal affinity for lying on his back in the deep end of a pool finding solace in the peacefulness of the water, before the need to come back to the surface. Just like that, he is thrown back into the frenetic pace of the real world and existence.
Ben Sollee and Kentucky Native was produced by Alex Krispin. Musicians on the album include Jordon Ellis (Percussion), Bennett Sullivan (Banjo), Julian Pinelli (Fiddle), Jonathan Estes (Bass), Josh Hari (Bass) and Jonah Smith (Background Vocals). Sollee wrote all but two songs on the album (Emily's Song and Carrie Bell).1. Carrie Bell
3. Mechanical Advantage
4. Eva Kelley
5. The Holdout / Speed Breaker
6. Pieces of You
7. Two Tone Gal
8. Well Worn Man
9. Emily's Song
10. Moon Miner
11. The Wires$19.99Vinyl LP - Sealed Buy Now
200-Gram Vinyl LP Pressed At Quality Record Pressings
Mastered From The Original Analog Master Tapes By Kevin Gray At CoHEARent Audio
Stoughton Printing Old-Style Deluxe Film-lamination Tip-On Jacket
This is a gem of an audiophile record, a showcase for one of the truly great
20th century violinists - Nathan Milstein - whose skill and instrumental
mastery matches peers more widely and famously known: Perlman, Heifetz,
Haendel, Menuhin, Oistrakh, Szeryng and a handful of other soloists.
Clean copies of this album remain super desirable and regularly fetch in
excess of $500 from collectors.
The range of music undertaken in this collection - from the classical
expression of Mozart to the salon civilities of Saint-Saëns - confirms
what was served notice by Milstein's American debut with the Philadelphia
Orchestra in 1929 - a young artist of special consequence had arrived
among us. Here, Milstein is backed by The Concert Arts Orchestra
conducted by Walter Susskind for this recording of violin and orchestra
Milstein was a Russian Empire-born virtuoso violinist and American immigrant.
It was a concert by the 11-year- old Jascha Heifetz that inspired his
parents to make a violinist out of Milstein. At age 7, he started violin studies
(as suggested by his parents, to keep him out of mischief) with the eminent
violin pedagogue Pyotr Stolyarsky, also the teacher of renowned violinist
David Oistrakh. When Milstein was 11, Leopold Auer invited him to study
at the St. Petersburg Conservatory. Milstein made his American debut in
1929 with Leopold Stokowski and the Philadelphia Orchestra. He eventually
settled in New York and became an American citizen, but toured
repeatedly throughout Europe.
Milstein was a technical perfectionist, obsessed with articulating each note
perfectly. He would spend long hours working out fingerings which would
make passages sound more articulated. He arranged many works for violin
and wrote his own cadenzas for many concertos. As a recording artist with
Capitol Records, his discs of recital repertoire bloomed with musical taste
and stylistic versatility.
This title is not eligible for discount.1. Mozart: Adagio, K. 261
2. Mozart: Rondo, K. 373
3. Beethoven: Romance In F. Op, 50
4. Wieniawski: Legende
5. Novacek: Perpetual Motion
6. Stravinsky: Berceuse (The Firebird)
7. Saint-Saens: Introduction and Rondo Capriccioso$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
SPCO-SPE-332xWolfgang Amadeus Mozart
Mozart - Symphony #36 - Piano CTO 15 (Speakers Corner) (Pre-Order)
Let us recall that great American and citizen of the world who trod every musical pathway and who held his audience riveted with unbounding energy and charisma. Whether as a composer of operas or musicals, performer, conductor or mentor, "Lenny" felt at home everywhere. And all who were privileged enough to get to know him can confirm this, whether they experienced him as a circumspect teacher who taught interested amateurs about church music, or even as a pianist bawling out hit songs in a bar.
Quality was guaranteed with records sporting the words "Bernstein conducts ...", and no music lover ever missed adding such gems to his collection. But most recordings of Bernstein as a master of the keyboard lie buried in the archives.
Where some musicians fail due to a lack of perspicacity or false self-judgement, Bernstein appears to take himself beyond his normal bounds in his double function as solo pianist and conductor. His interpretation of Mozart is richly nuanced but free of all romantic trimmings; his Mozart is what we have learned to value over the past few years of the present century. This recording is absolutely first class, both musically and technically, and is thus a true collector's object.
- Vienna Philharmonic Orchestra
- Leonard Bernstein (conductor)
Recording: March 1966 at Sofiensaal, Vienna by Gordon Parry
Production: Erik Smith
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.$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
Onward And SidewaysCleveland born, songwriter/performer Joshua Radin has earned a loyal following for his wistful meditations and hit songs. His rootsy-pop track, "I'd Rather Be With You" from Simple Times topped the iTunes album chart at #1 and hit 'top 10' in ten different countries. The hushed, emotionally raw "Winter" and Closer from his 2006 album, We Were Here received a four-star review in Rolling Stone Magazine. Radin's compositions have a proven track record having been sound-tracked on shows like Grey's Anatomy, American Idol and House. His songs have been used more than 100 times in various films and television shows making him a 'behind the scenes' artist whose music is heard most everywhere.
In 2008, Ellen DeGeneres asked Joshua to perform at her wedding. Radin said, "I played six of my songs and Ellen and Portia just sat right in front of me looking at each other, crying, and looking at me. I actually teared up a little-that's never happened to me before."
Live performances have always been Radin's lifeblood. After stints as a screenwriter in New York and as an inner-city art teacher in Chicago, he moved to Southern California to test the waters as a musician. "More than drawing, I taught those kids in Chicago a general perspective of the world-looking at something and not being overwhelmed. And it's how I've always looked at life," he says. "I've always wanted to wake up every day and have the opportunity to be creative, to express what's going on in my head and heart, and to be able to connect with the world in that way. I may have started playing music later in life than my peers, but I love living with the idea that it's never too late."
When his father gave him a guitar on a whim for his birthday, Radin taught himself how to play. Soon after, in 2004, he wrote his first song, "Winter," about a fractured relationship with his longtime girlfriend. The song so moved his college friend Zach Braff, that the actor passed it along to a producer on his TV show, Scrubs. Three weeks later, it was played on the show. Buzz from the Scrubs show was fast and furious, crashing the NBC site and winning Radin thousands of new fans. Afterward, he worked hard to build a grassroots movement on social-media sites and continued to build his fan base.
For various albums, Radin has recruited 'dream teams' of musicians to enhance his sounds. Among them: pianist Benmont Tench (Tom Petty and the Heartbreakers), drummer Jim Keltner (Bob Dylan, John Lennon), and string arranger Jimmie Haskell (Simon and Garfunkel). Joshua has sold over two and a half million singles and over 700,000 full-length albums.
In 2015, Radin releases his sixth studio album, "Onward and Sideways." His first single, "Beautiful Day" features a duet with American, singer songwriter Sheryl Crow.1. We'll Keep Running Forever
3. Beautiful Day (feat. Sheryl Crow)
5. In Your Hands
6. Let Our Sun Shine Down
7. Another Beginning
8. Blow Away
9. Away We Go
10. Worlds Apart
11. One and Only
12. Old Friend
13. My Baby$18.99Vinyl LP - Sealed Buy Now
London Fog 1966
Collector's Edition Boxed Set Features Previously Unheard Concert Recordings From 1966 On CD And Vinyl
Includes 8 x 10 Prints Of Unseen Photos And Replica Memorabilia
Before The Doors took the music scene by storm in 1967, they were the house band at the London Fog, a Sunset Strip dive bar located just footsteps away from the world famous Whisky a Go Go, the future home of many of the band's most legendary performances. The Doors will open a virtual time capsule in December with LONDON FOG 1966, a Collector's Edition boxed set that features unearthed audio recorded at the club in May 1966. Previously unreleased and not even known to exist until recently, this marks the earliest recordings of the band and finds the quartet mixing blues covers with early versions of Doors originals.
LONDON FOG 1966 will be available as an individually numbered limited edition of 18,000 copies from Rhino/Bright Midnight Archives. Presented in a lift-top package designed to look like a vintage storage box, the set features seven songs on both CD and a 10-inch record that's made to resemble a test pressing. Noted Doors engineer Bruce Botnick recently mastered the audio for this collection.
Along with the unreleased music, the set is packed with memorabilia and historic liner notes to provide a true time capsule of that fabled night at the London Fog, including a poster, the set list handwritten by John Densmore, a program for the Royce Hall UCLA student film screening, plus a London Fog coaster. There are also liner notes included from Sunset Strip legend Ronnie Haran-Mellen, who was the talent booker at the Whisky a Go Go. Haran-Mellen saw The Doors live for the first time at the London Fog and then booked them as the permanent house band at the Whisky, leading to the band's signing to Elektra and meteoric rise to superstardom.
Also contributing liner notes is Nettie Peña, one of the lucky few to be in attendance at the London Fog for this fabled show. Peña was a pivotal force in this release coming together as she captured the audio on a ¼" reel to reel recorder, which was the property of the Los Angeles Unified School District. Her father was a teacher for LAUSD and let her borrow the recorder to take to the show. Peña also photographed the band that evening and five black and white 8x10 reprints of these unpublished photos are included in the Collector's Edition, featuring a fresh-faced Morrison on a cramped stage with John Densmore, Robby Krieger and Ray Manzarek.
The show featured on LONDON FOG 1966 took place the same year that The Doors recorded their eponymous debut. Released in January 1967, the album would become one of the most influential in rock history. Like many of the band's early concerts, the show captured on this deluxe set reflects the group's deep love for the blues with covers of standards like Muddy Waters' "Rock Me" and "I'm Your Hoochie Coochie Man." The set also includes raw performances of "Baby, Please Don't Go" (Big Joe Williams), "Don't Fight It" (Wilson Pickett), and "Lucille" (Little Richard).
During their residency at the London Fog, The Doors frequently worked out new songs on stage that would eventually appear on various studio albums. At this show, the band played two originals. The first, "Strange Days," would become the title track for the band's second studio album, which also came out in 1967. This is one of the only known live recordings of this track. The other Doors original, "You Make Me Real," wasn't officially released on a studio album until Morrison Hotel in 1970.
"To hear 'Strange Days,' that came out on their second album, in almost final shape so early on was truly amazing," says Jac Holzman, the President of Elektra Records who signed The Doors to their first recording contract.
Going back to the band's earliest days is a natural starting point for The Doors 50th anniversary celebration.1. Rock Me
2. Baby, Please Don't Go
3. You Make Me Real
4. Don't Fight It
5. I'm Your Hoochie Coochie Man
6. Strange Days
7. Lucille$49.9910 Vinyl LP + CD - Sealed Buy Now
WomanchildWhen CÉcile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world's most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild.
"She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace," Wynton Marsalis asserts. "I've never heard a singer of her generation who has such a command of styles," remarks pianist Aaron Diehl. "She radiates authority," critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances, and a few weeks later his colleague Stephen Holden announced that "Ms. McLorin Salvant has it all.... If anyone can extend the lineage of the Big Three-Billie Holiday, Sarah Vaughan and Ella Fitzgerald-it is this 23-year-old virtuoso."
Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant's first language was French. She immersed herself in the classical music tradition, long before she turned to jazz-starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.
There, thousands of miles away from jazz's land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the US, she gave concerts in Paris, recorded with Bonnel's quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and McLorin Salvant's contemporaries.
In the aftermath of McLorin Salvant's triumph at the Monk Competition, the jazz world eagerly awaited the winner's first US recording. Answering that call with WomanChild, McLorin Salvant draws on songs spanning three centuries of American music. "I like to choose songs that are a little unknown or have been recorded very few times," McLorin Salvant notes. "While these songs aren't recognized as standards, many should be because they are so beautifully crafted."
On the album, her repertoire ranges from the 19th century ballad "John Henry," refreshed in a spirited up-to- date arrangement, to McLorin Salvant's own 21st century waltz "Le Front CachÉ Sur Tes Genoux" which draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist James Chirillo and master drummer Herlin Riley.
The old and new rub shoulders throughout this album, but this singer's attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. So much so, that those who have seen McLorin Salvant in concert marvel at how she radiates the confidence and poise of a mature artist even though she is just at the dawn of her own career.
McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.
However, McLorin Salvant can't be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She is also currently continuing her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.
In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant's singing: "perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics." Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor's than a singer's. She draws out the story hidden inside the song, and can draw on the elements of her own personality and a full gamut of emotional stances-from the darkly troubling to the richly comic-in bringing lyrics to life.
"I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something beautiful and touching I try to get close to it, and share that with the audience."
On WomanChild, McLorin Salvant gives music lovers the chance to hear why the illustrious judges at the Monk Competition gave her top honors. McLorin Salvant is still a bit of a mystery, but she will hardly be a secret any longer.1. St. Louis Gal
2. I Didn't Know What Time It Was
5. Prelude/There's A Lull In My Life
6. You Bring Out The Savage In Me
7. Baby Have Pity On Me
8. John Henry
9. Jitterbug Waltz
10. What A Little Moonlight Can Do
11. Deep Dark Blue$35.99Vinyl LP - Sealed Buy Now
BeastImagine a creature laying dormant beneath the earth, in an inhuman slumber since a time long forgotten. This creature reawakens, cracks up through the ground and finds a world it barely recognizes. Chaos, disorder, brutality, bloodthirst and terror are all around. Seeking to restore some sense of order to its surroundings, the creature adopts the destructive nature it witnesses in man and begins a vengeful quest for power.
Mythology, fable and metaphor collide with "Beast", a blistering new album marking the return of DESPISED ICON. The genre-defining band is fully reawakened, poised to recapture the crown with the monstrous and merciless might of their potent expression. Featuring the men responsible for most of the band's now classic death metal catalog, "Beast" is a vicious commentary on the state of the world and the state of music itself.
This is old school DESPISED ICON reminiscent of "The Healing Process" (2005) and "The Ills Of Modern Man" (2007), but cast through an ultra-modern lens, carrying with it the experience and driven purpose of a band secure in their identity and their legacy. Without sacrificing the creative leaps of what many feared would be their final album, "Day Of Mourning" (2009), DESPISED ICON renew their focus on the collision of dual vocals, technical wizardry, precision dexterity and massive bottom end they helped to pioneer.
'The Aftermath' kicks off the album with brutal immediacy, encompassing the full scope of what's ahead with unrelenting attack and classic death metal flair. 'Inner Demons' will have guitar teachers and drum instructors pulling their hair out in frustrated angst, while songs like 'Bad Vibes' put the impossible sounding shred workouts on the backburner in favor of brute force. Throughout the album, deep grooves reminiscent of the best of OBITUARY, DYING FETUS, INTERNAL BLEEDING, or even BIOHAZARD pulse within the fierce aggression. There's melody to be found in songs like the French-language 'Drapeau Noir.' The dual vocal style DESPISED ICON fans love is as unrestrained as ever.
For many extreme music fans, it may be hard to remember a time before DESPISED ICON, given the massive influence they've subsequently had on the genre. But when the group formed back in 2002 and released "Consumed By Your Poison" the same year, there was little intersection between the sounds of classic death metal and the brute force of hardcore. The "metalcore" genre had been in full swing for some time and plenty of those bands had experimented with elements of death metal. But DESPISED ICON were among the first to fully embrace the signatures of the traditional death metal formula combined with a relentless embrace of breakdowns, part of an emerging new sound.
DESPISED ICON steadily built a following through hard touring with CRYPTOPSY, SUFFOCATION, IMMOLATION, DEICIDE, MORBID ANGEL, BEHEMOTH, HATEBREED and NAPALM DEATH. The diversity of sounds demonstrated by that list of bands is evidence of DESPISED ICON's broad appeal. Before too long, a new subgenre bubbled up from the underground, built around bands like DESPISED ICON, SUICIDE SILENCE, ALL SHALL PERISH, CARNIFEX and JOB FOR A COWBOY. Like many genre tags, "deathcore" became something of a controversial and uncomfortable albatross for many of the associated bands at various times. But the impact of what is unquestionably an exciting variation of extreme music is undeniable.
DESPISED ICON now boldly reclaims their legacy without reservation or apology. Since the time of the band's dissolution - the result of professional burnout, the shifting priorities and responsibilities that come with adulthood and the need for a creative recharge - the group's members were able to explore different textures with groups like OBEY THE BRAVE and HEAVEN'S CRY. The time apart has only strengthened their resolve when it comes to the purity of what DESPISED ICON means to them as well as to their worldwide fans.
From the savagely unhinged vocals to the inexhaustible pound of the blast beats, DESPISED ICON's new album is a swift reminder that this band is one of the originators of a powerful movement in extreme metal. The "Beast" is reawakened and ready to rumble. DESPISED ICON is back, ladies and gents, with no frills, no bullshit, and just total power.1. The Aftermath
2. Inner Demons
3. Drapeau Noir
4. Bad Vibes
5. Dedicated to Extinction
6. Grind Forever
7. Time Bomb
8. One Last Martini
10. Beast$19.99Vinyl LP - Sealed Buy Now
Island SongsThis musical project documents an ambitious undertaking by producer and composer Arnalds and a cast of collaborators. Weekly for seven weeks, Arnalds recorded each piece in a unique location in Iceland with local musicians including a music teacher, a brass band, a choir, and the singer Nanna Bryndís Hilmarsdóttir, from Of Monsters and Men.1. Arbakkinn
7. Doria$18.99Vinyl LP - Sealed Buy Now
Library Catalog Music Series: Music For Mysteries Of Mind SpaceLimited Edition
Comic Wow are sonic illustrators, alchemists, designers, dilettantes', poets, teachers, Socialists, and outdoorsmen whose advocacy of affordable colored cod pieces helped influence the look of thirty-third century America. Incidentally, they've also released music as Feathers. All pieces composed, performed, mixed and recorded by Eddie Alonso, Eric Rasco, John McEntire, Chris O'Malley, Ken Champion, Roy Silverstein, Paul Mertens, Tim Iseler, Jeremy Lemos and Matt Crum.1. Salad Days
2. Bad Ballet
3. Jazz Computer
4. Nice Chaps
5. Miami Song Tennis
6. Miami Song Tennis 2
7. Encore Electronics Flute Fax
8. Chimp on a Pew
9. Minor Hexagons
10. Water Music Treadmill
11. Meet the Vampeatles (Or, What if the Beatles were Vampires?)$14.99Vinyl LP - Sealed Buy Now
Dig That TreasureThis trio includes Nedelle Torrisi (former Kill Rock Stars artist, The Curtains, Why?, Xiu Xiu), Chris Cohen (The Curtains, Deerhoof, Cass McCombs), and Michael Carreira (music teacher). Every song here is a miniature journey, a free fantasia, a dreamy habitat built out of the minimum of material. Sudden rhythmic gestures and frequent key changes will leave you feeling pleasantly disoriented. The record is humbly inspired by the larger-than-life emotions of West Side Story, the joyfully percussive guitar gospel of Sister Rosetta Tharpe, The Wizard Of Oz's bittersweet escapism, the other-world sentimentality of Sun Ra's Spaceship Lullaby, and Henry Cowell's ethereal piano string strumming.1. Stop Watch
2. No Coins
3. Heaven Is Human
4. Water Witching Wishes
5. Shape Above, The
6. Cosmic Sing-a-Long
7. How Did the Actor Laugh?
9. We'll Never Dream Again
10. Dig That Treasure
11. Say You Will$14.99Vinyl LP - Sealed Buy Now
Diabolus In MusicaSalvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of the works of Niccolo Paganini, but equally accomplished across a wide variety of repertory for the instrument. His playing is characterized by a taut, visceral tone and a disciplined musical approach that avoids self-indulgence. Having also established himself as a successful conductor, chamber musician and teacher, Accardo may be considered one of the most accomplished and influential musicians of his generation.
London Philharmonic Orchestra
Charles Dutoit, condoctor
Salvatore Accardo, violinNiccolo Paganini (1782-1840)
1. La Risata Del Diavolo (temo)
2. La Campanella
3. Capriccio for Solo Violin No. 5
4. Adagio Flebile Con Sentimento
5. Rondo Galante. Andantino Gaio
6. Introduction and Variation on God Save the King, Op. 9
7. Capriccio for Solo Violin No. 24
8. Polacca. Andatino Vivace
9. Cappriccio for Solo Violin No. 1
10. Rondo. Allegro Spirituoso
11. Capriccio for Solo Violin No. 13
12. Sonata Moto Perpetuo$74.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
RegardsComprised of a classical music teacher, a philosophy student, a nanny/barber, and a professional poker player, Lee Corey Oswald have crafted a collection of twelve intriguing indie-punk classics all on one record. The band's clever, honest and thought-provoking lyrics combined with their 90's-esque indie sound, recall bands like Weezer and Knapsack, while their contemporary edge adds a dash of grit to the musical landscape of Portland.
Regards was recorded analog on reel to reel tape, capturing the band's spirit in the moment as they perform each track live to record.1. Always Never
2. Living Room
4. Soda and Cigarettes
8. Sarah, Work is a Four Letter Word
9. Batting a Thousand
10. Still Shut Out
12. Red Balloons$17.99Vinyl LP - Sealed Buy Now
The Heart Of The Cello"She clearly was born to play the cello," wrote the New York Times of Jacqueline Du PrÉ in 1967. Just five years later her career was cut tragically short by illness. This LP provides a treasurable memento of the "perfect balance of youth and maturity" that Du PrÉ's teacher, William Pleeth, found in her playing: "She approached each new experience with spontaneous pleasure and enthusiasm." Offering a vivid experience of her art in the concerto, not least her legendary Elgar, the album comprises recordings remastered in 24-BIT / 96kHz at London's famous Abbey Road Studios.1. Cello Concerto in E Minor, Op. 85: I. Adagio - Moderato
2. Cello Concerto in E Minor, Op. 85: II. Lento - Allegro molto
3. Cello Concerto in B Minor, Op. 104, B. 191: III. Finale (Allegro moderato)
4. Cello Concerto No. 1 in A Minor, Op. 33: I. Allegro non troppo
5. Cello Concerto in A Minor, Op. 129: II. Langsam - Etwas lebhafter - Schneller
6. Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft
7. Cello Concerto No. 1 in C Major, Hob. VIIb, 1: III. Allegro molto$23.99Vinyl LP - Sealed Buy Now
Rachmaninov Piano ConcertoThe Russian pianist Svjatoslav Richter is now regarded as one of the most outstanding artists of the present day. He was born in 1915 at Zhitomir in the Ukraine, the son of a musical family of German extraction. His father, who had been trained at the Vienna Conservatoire, was a highly regarded pianist and music teacher, who also did some composing; his mother was a gifted amateur musician. The artistic atmosphere of the family house had a decisive influence on the development of the brilliant boy, who was an excellent pianist by the time he had reached the age of eight. Ten years later he gave his first piano recital in Odessa, where he worked for a time as a chorus repetiteur. At the age of 22, he went to Moscow, where he completed his training under one of Russia's foremost piano teachers, Heinrich Neuhaus. For many years, Richter confined his activities as a piano soloist to Russia and eastern Europe. In 1959, however, he traveled by way of Helsinki to western Europe, where a few recordings had already made his name a legend. His concerts in the western world were sensational successes whose repercussions were felt for months afterwards, and he celebrated his greatest triumphs of all during his tour of the U.S.A. in 1960, traveling right across the continent to Los Angeles and San Francisco.1. Satz: Moderato
2. Satz: Adagio sostenuto
3. Satz: Allegro scherzando
1. No. 12, C Major, Op. 32, No. 1
2. No. 3, B Major, Op. 23, No. 2
3. No. 6, g minor, Op. 23, No. 5
4. No. 13, b minor, Op. 32, No. 2
5. No. 5 D Major, Op. 23, No. 4
6. No. 8 c minor, Op. 23, No. 7$44.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now