Speakers Corner / Columbia MS1 - 180 Gram Virgin Vinyl
AAA 100% Analogue - Audiophile Mastering - Columbia Masterworks MS1
Pressed at Pallas in Germany - Limited Edition
Columbia ML 6017 ( ML 5211 , ML 7294 & ML 7001 ) Mono & Stereo
AAA 100% Analogue This Speakers Corner LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head 20 Years pure Analogue
The Absolute Sound Super Disc List TAS Harry Pearson Super LP List
As always for Gould fans and audiophiles, who don’t have everything, weren’t born and/or old enough to be collectors when the originals appeared, finding good quality, reasonably priced originals (from whichever country) is well-nigh impossible, so this box is self-recommending - Classical Source
Bach Keyboard Concerto No.1 in D minor, BWV1052 Keyboard Concerto No.2 in E major, BWV1053 Keyboard Concerto No.3 in D major, BWV1054 Keyboard Concerto No.4 in A major, BWV1055 Keyboard Concerto No.5 in F minor, BWV1056 Keyboard Concerto No.7 in G minor, BWV1058 Beethoven Piano Concerto No.1 in C, Op.15 Glenn Gould (pianoforte) Columbia Symphony Orchestra Leonard Bernstein [BWV1052] Vladimir Golschmann Recorded at Columbia 30th Street Studio, New York, May 1957 & 1967 and February 1969 Fred Plant – Recording engineer Howard H. Scott & Andrew Kazdin – Producers Remastered by Masterdisk, New York Mono & Stereo 3LP 180-gram Boxed Set Columbia Masterworks: The Glenn Gould Bach Keyboard Concertos
"The Bach Keyboard Concertos" J. S. Bach: Keyboard Concertos Nos. 1-5 and 7 / L. v. Beethoven: Piano Concerto No. 1 - Glenn Gould, the Columbia Symphony Orchestra conducted by Vladimir Golschmann and Leonard Bernstein
The attempts that have been made to describe Glenn Gould’s complex personality are endless in number, as are his surprising and often eccentric interpretations. Whether he is considered to be a sensitive maniac, neurotic individualist or uncompromising genius – Gould polarises, provokes and fascinates us long after his death in 1982. As early as 1964 the Canadian pianist ceased to give concerts, since he found appearing before an audience completely unacceptable and preferred to concentrate on studio recordings.
Canadian wunderkind Glenn Gould was the talk of the town in the late '50s and early '60s, and the "Jubilee Edition" of selected albums, with original artwork and notes, revives some of the large amount of music he recorded in those years and fills out the picture of what he was like beyond the solo Bach recordings for which he was most famous. In Beethoven he ranged from daring to completely off the wall. Later on, Gould would outrageously use the concerto format as a way of facilitating his withdrawal from concertizing, but this release was one of his most successful in the field, partly because the sheer stolidity of Vladimir Golschmann's Columbia Symphony Orchestra provides the perfect foil for Gould's excesses. He constantly seems to be racing ahead of the orchestra, seemingly almost pushing it to catch up, and the result is a crisp, fun delineation of the solo and orchestral realms. In the finale of the Beethoven Piano Concerto No. 1, where Gould's rhythmically edgy treatment of the opening solo is answered by a perfectly straight orchestral antecedent, the effect is arresting, and even in the Bach Keyboard Concerto No. 5 in F major, BWV 1056, where the oversized orchestral strings overwhelm the scale of the music,
Way in front of composers of the Viennese Classical era, which he did not take particularly seriously – although his performances keenly reflect Beethoven’s rhythmicity – comes his personal deity: Bach. Gould’s notorious strictness gives form to the minutest of figure in the score. He weaves his way through Bach’s music and thereby articulates its tightly knit and multi-facetted depths. No lecturing keyboard proponent this, but a creative co-composer who imbues the spirit of the music with life and sonority. Upon the release in 1980 of the 80th Birthday Edition with its wealth of visual and tonal material, the music journalist Werner Theurich wrote that »no one had ever played more raptly, or more intensively. That Gould’s performances are nothing but heavenly can be seen and felt.
The rest is pure music.
Recording: April 1957, May 1967 and February 1969 at Columbia 30th Street Studio, New York City, by Fred Plaut
Production: Andrew Kazdin
J. S. Bach (composer)
Ludwig Van Beethoven (composer)
Vladimir Golschmann (conductor)
Leonard Bernstein (conductor)
Glenn Gould (piano)
Columbia Symphony Orchestra
Glenn Gould The Bach Keyboard Concertos Track Listing:
1. Bach - Keyboard Concerto No. 1 in D minor, BWV 1052 / Leonard Bernstein - Columbia Symphony Orchestra
2. Bach - Keyboard Concerto No. 2 in E major, BWV 1053 / Vladimir Golschmann - Columbia Symphony Orchestra
3. Bach - Keyboard Concerto No. 3 in D major, BWV 1054 / Vladimir Golschmann - Columbia Symphony Orchestra
4. Bach - Keyboard Concerto No. 4 in A major, BWV 1055 / Vladimir Golschmann - Columbia Symphony Orchestra
5. Bach - Keyboard Concerto No. 5 in F minor, BWV 1056 / Vladimir Golschmann - Columbia Symphony Orchestra
6. Bach - Keyboard Concerto No. 7 in G minor, BWV 1058 / Vladimir Golschmann - Columbia Symphony Orchestra
Glenn Gould, Piano ~ Beethoven: Concerto #2 in B-flat Major, Op. 19; J.S. Bach: Concerto #1 in D Minor for Piano (sic) & Orchestra / Leonard Bernstein conductor
20 Years pure Analogue
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes.
Vinyl’s newfound popularity has led many other companies to jump 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 from which to master: CDs, LPs, digital files and even MP3s.
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive.
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source!
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers.
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers.
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
Audiophile Vinyl - Made in Germany For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade!