Rachmaninov - Piano Concerto No. 3 : Byron Janis : Antal Dorati : London Symphony - 180g LP


Rachmaninov - Piano Concerto No. 3 : Byron Janis : Antal Dorati : London Symphony - 180g LP

Product no.: SR90283

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Rachmaninov - Piano Concerto No. 3 : Byron Janis : Antal Dorati : London Symphony - 180g LP
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Speakers Corner / Mercury - SR90283 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Limited Edition - Pure Analogue Audiophile Mastering - Pressed at Pallas Germany

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

…one of the greatest recordings of the past century." HP's The Golden Dozen LPs, Harry Pearson, The Absolute Sound,

"Speakers Corner has given these recordings the respect they deserve. The packaging is gorgeous: a black album titled "The Living Presence of 20th Century Music" and displaying the Mercury logo holds the three records with their original covers and liner notes. In addition, there are informative annotations on the music and Dorati, and a history of Mercury Living Presence...They sound at least as good and in some ways better than the originals...There are no negatives and not enough superlatives to describe these magnificent reissues. It's rare that performance, sound, and musical value combine at this level in a recording." - Arthur B. Lintgen, The Absolute Sound, 

Serge Rachmaninov: Piano Concerto No. 3 in D minor, op. 30 - Byron Janis (Piano) and the London Symphony Orchestra conducted by Antal Dorati

Rachmaninov’s Third Piano Concerto, fondly referred to as 'Rach 3' or even 'Rachi 3' in dealer circles, has enjoyed a constantly growing popularity over the last few years. One reason may well be that the market has been flooded with recordings of the work, many of which attempt to outshine their rivals with massive sound effects instead of winning over the listener with musical transparency. Well, as everyone knows only too well, a first-class recording not only demands a world-class soloist but also a top notch orchestra and conductor. That’s no surprise to anyone!
 
This early stereo LP with the pianist Byron Janis and conductor Antal Dorati was and still is an enormous success, as is proved by the fact that it is regarded as a work of reference even in this age of the silver disc. Janis performs with a controlled passion, like a fine mechanic who watches with the greatest of care over the structural elements which have been entrusted to him. His playing is precise and lucid down to the smallest detail, even in the minutest trill. Dorati has his ensemble enter gently with punctilious timing and allows the fullness and energy of this late-romantic score to unfold before us. How wonderful that this particular 'Rach 3' is available once again to eager audiophile listeners!
 
June 1961 in  Watford Town Hall, London, with C.R. Fine and Robert Eberenz
Production: Wilma Cozart
 
Musicians: 
London Symphony 
Antal Dorati, conductor
Byron Janis, pianist
 
Selections:
Sergei Rachmaninoff (1873-1943)
Piano Concerto No. 3 in D minor, Op. 30
1. First Movement: Allegro non Tanto
2. Second Movement: Intermezzo / Adagio
3. Third Movement: Finale / Alla Breve

Rachmaninov - Piano Concerto No. 3 : London Symphony Orchestra conducted by Antal Dorati - 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.
 
60 Years 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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