Brahms - 10 Intermezzi For Piano : Glenn Gould - 180g LP


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Brahms - 10 Intermezzi For Piano : Glenn Gould - 180g LP

Product no.: MS6327

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Brahms - 10 Intermezzi For Piano : Glenn Gould - 180g LP
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Speakers Corner / Columbia - MS 6327- 180 Gram Virgin Vinyl - AAA 100% Analogue

Limited Edition -  Audiophile Mastering

Pressed at Pallas - MS 6237 Columbia Masterworks

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

Johannes Brahms: Intermezzi op. 76 no. 6 in A major, no. 7 in A minor; op. 116 No. 4 in E major; op. 117 no. 1 in B-flat major, no. 2 in B-flat minor, no. 3 in C-sharp minor; op. 118 no. 1 in A minor, no. 2 in A major, no. 6 in E-flat minor; op. 119 no. 1 in B minor - Glenn Gould 

Gould was prouder of this recording than almost any other: “It’s the sexiest interpretation of Brahms’s Intermezzi you’ve ever heard—and I really think it is perhaps the best piano playing I have done. You know what an incurable romantic I am anyway.”


If you mainly connect the name Brahms with opulent symphonies, passionate concertos and weighty piano music, you will be in for a big surprise when you listen to the Intermezzi op. 117. The music critic Eduard Hanslick talks of a more restrained, detached style and clearly means the calm, simple and immensely expressive flowing melodies, which characterize the late piano music of this Romantic composer. Just how sensitively the performer must tackle these precious miniatures is described by Clara Schumann with the words … the intellectual technique in them demands a fine comprehension and one must be very familiar with Brahms to play them as Brahms had imagined them

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When it comes to Brahms, Glenn Gould – famous for his analytically strict and emphatic interpretation of Bach’s keyboard works – proves himself to be a true poet and thinker at the keyboard. Driven by the melancholy force, his thoughts find their way, sometimes hesitantly, then moving on with a deep breath, as it were, to the next deceleration.
In op. 118 no. 1 the Canadian pianist begins with a passion that wrests expansive cascades of sound from the keyboard, then finds his way back to introvert mellifluous tones (op. 118 no. 2) and increases the drama in the will-o’-the-wispish and futile attempts to come to a redemptory final cadence (op. 118 no. 6). It would be hard to find a more closely-knit and intense rendering than on the present recording.
 
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Musicians:
Glenn Gould, piano

Selections:
Johannes Brahms (1833-1897)
Side A:

1. Intermezzo in E-flat Major, Op. 117, No. 1
2. Intermezzo in B-flat minor, Op. 117, No. 2
3. Intermezzo in C-Sharp minor, Op. 117, No. 3
4. Intermezzo in E-flat minor, Op. 118, No. 6
Side B:
1. Intermezzo in E Major, Op. 116, No. 4
2. Intermezzo in A minor, Op. 76, No. 7
3. Intermezzo in A Major, Op. 76, No. 6
4. Intermezzo in B minor, Op. 119, No. 1
5. Intermezzo in A minor, Op. 118, No. 1
6. Intermezzo in A Major, Op. 118, No. 2

Recorded September and November 1960 at Columbia Studio, New York.

Brahms - 10 Intermezzi For Piano : Glenn Gould - 180g LP

                               
20 Years pure 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

 
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.
 
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