Chopin & Liszt - Concertos for Piano and Orchestra : Martha Argerich : Claudio Abbado : LSO- 180g LP

Product no.: SLPM139383

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Chopin & Liszt - Concertos for Piano and Orchestra : Martha Argerich : Claudio Abbado : LSO- 180g LP
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Deutsche Grammophon  -  DGG SLPM 139383 - 180 Gram Virgin Vinyl

AAA 100% Analogue -  Pressed at Pallas Germany

Pure Analogue Audiophile Mastering - Limited Edition

Speakers Corner  25 Years Pure Analogue
 
Frédéric Copin: Concerto for Piano and Orchestra No. 1 / Franz Liszt: Concerto for Piano and Orchestra No. 1 - Martha Argerich and the London Symphony Orchestra conducted by Claudio Abbado
 
There has never been a more exciting pianist that Martha Argerich. Throughout her career, any appearance by her guarantees sellout crowds and an evening of memorable, not to say insane, music making. She has always drastically limited her repertoire--about a dozen concertos, a few more solo and chamber works — and will not perform or record solo recitals at all any more. But every single thing that she has recorded is a prime recommendation, plain and simple. She's one of the very few artists whose recordings one should collect just because of whom she is: Unique and incomparable. These two concertos perfectly illustrate her gifts as an interpreter. Your ears will be glued to your speakers.
 
The virtuoso concerto is often criticised by audiences chatting in the concert-hall foyer as being superficial and narcistic, but a brilliant soloist performing with a dramatic and sonorous orchestra certainly has no need for excuses. Let’s be honest: we all want to enjoy the brilliance and ecstasy of such music. Putting Chopin’s brilliant youthful work, with which he took Paris by the storm, alongside Liszt’s symphonically structured work with its manifold improvisatory passages is rather like comparing apples and oranges. However, a compilation of the two works on one record is highly desirable, especially when the youthful and athletic Martha Argerich is at the keyboard. She lends Chopin’s dominant piano part elegance, pearly lightness, and brings out his exquisite harmonies to create haunting poetry in music. 
Just as effortlessly she brings the sharp contrasts between lyrical airiness and extreme tension to perfection in Liszt’s E flat major concerto. With shivers running down the spine, one eagerly awaits Argerich playing the forceful passages, where her complete control is particularly evident in the phenomenal chordal passages.
 
Aufnahme: Feburar 1968 in der Walthamstow Townhall, London von Heinz Wildhagen
 
This 1968 recording was re-issued in CD format by DGG in 1996 as part
of their hot-selling series "The Originals - Legendary recordings from the
Deutsche Grammophon catalogue". Music lovers all know why this
particular one deserves to be a legend. And vinyl lovers will treasure this
Speakers Corner re-issue on LP. - 6Moons Review

 

Produktion: Rainer Brock
Musicians:
London Symphony Orchestra
Claudio Abbado, conductor
Martha Argerich, piano 
 
Selections:
Frédéric Chopin (1810-1849)
Piano Concerto No. 1 in E minor
1. Allegro maestoso
2. Romance - Larghetto
3. Rondo - Vivace 
 
Franz Liszt (1811-1886)
Piano Concerto No. 1 in Es major
1. Allegro maestoso
2. Quasi adagio
3. Allegretto vivace - Allegro animato
4. Allegro marziale animato
 
Chopin & Liszt - Concertos for Piano and Orchestra : Martha Argerich : Claudio Abbado - 180g LP
 

 

                               
25 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.
 
PALLAS
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! 
 

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