Dvorák - Symphony No. 8 : Istvan Kertész : London Symphony Orchestra - 180g LP


Dvorák - Symphony No. 8 : Istvan Kertész : London Symphony Orchestra - 180g LP

Product no.: SXL6044

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Dvorák - Symphony No. 8 : Istvan Kertész : London Symphony Orchestra - 180g LP
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Speakers Corner / Decca - SXL 6044   - 180 Gram Virgin Vinyl - AAA 100% Analogue

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

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 2016  TAS Harry Pearson Super LP List

Antonín Dvorák: Symphony No. 8 (No. 4) op.88, Scherzo capriccioso op. 66 - Das London Symphony Orchestra conducted by Istvan Kertész
 
So no qualms whatsoever over the choice of material; the only questions are whether Speakers Corner have accessed good enough tapes and whether or not they’ve done their normal superb job on the cutting and pressing. The answer to both is a resounding "yes,"  - theAudiobeat
 
Both recordings were compared with first-label pressings, and in both cases the Speakers Corner discs have more projection, power and a better controlled bass. Cheap they are not, but if anyone wonders why increasingly large numbers of people rave about vinyl, then these discs demonstrate why - Clasicalsource
 
In comparison with Dvorák’s cyclical Ninth Symphony, the Eighth always seems to fade into the background somewhat, although it is actually far more venturesome as regards its formal structure than its later sister-work. The wealth of poetic mood paintings, heartfelt melodies and seemingly improvisational episodes were described by the composer as unique ideas upon which he elaborated in a completely new way, and which were intentionally far removed from his other symphonies.
In spite of the highly individual movements, the whole composition is full of airy, lyrical contrasts. The transitional passages are gentle and flowing, as for example in the chorale-like opening which leads into the disciplined, spirited main theme of the first movement. This is followed by a rhapsodic slow movement and a waltz-like Allegretto, and finally a strangely interwoven amalgamation of sonata form and set of variations.
 
 During the course of his short career, István Kertész championed Dvorák’s Symphonies in that he was the very first to record the complete works for the DECCA label. For this reason alone, the recording constitutes an excellent performance by the London Symphony Orchestra led by its Hungarian principal conductor.
 
Febr 1963 in the  Kingsway Hall, London, with  Arthur Lilley
 
Dvořák’s Eighth Symphony and Scherzo capriccioso inhabit a rather more urbane and genial world, but István Kertész’s approach to them is similarly direct. Thankfully, he did not see the first movement’s second subject (or any new theme or episode) as an excuse to grind to a halt, which means there is never any lack of impetus or momentum, nor is the structure of either work compromised. Kertész does mould the line, use rubato, strictly controlled tempo and dynamic variation, and pays close attention to detail and balance, and the results are marvellously idiomatic, expressive, and invigorating. As with Solti and the Vienna Philharmonic, Kertész's relationship with the LSO was very close, and it plays magnificently.
 
The sound in both performances is outstanding. Anyone wanting to hear what is wrong with digital sound need only listen to the end of the Scherzo capriccioso. There is depth and width, huge presence, every section of the orchestra is clearly audible (the final timpani role is startlingly realistic) the timbre of each instrument can be heard, and the ersatz quality found in even the best quality 24bit high-resolution recordings is completely absent. With regard to the human voice, again there is a sense of richness and natural resonance that places Nilsson very firmly in your living room, and to hear her and the Vienna Philharmonic exult takes your breath away.
 
Both recordings were compared with first-label pressings, and in both cases the Speakers Corner discs have more projection, power and a better controlled bass. Cheap they are not, but if anyone wonders why increasingly large numbers of people rave about vinyl, then these discs demonstrate why.

 

Production: Ray Minshull
 
Musicians:
London Symphony
Istvan Kertesz, conductor
:
Antonin Dvorak (1841 - 1904)
Side One:
1. Scherzo Capriccioso, Op. 66
Symphony No. 8 (No. 4) in G Major, Op. 88
2. Allegro con brio
Side Two:
Symphony No. 8 (No. 4) in G Major, Op. 88 (Continued)
1. Adagio
2. Allegretto grazioso
3. Allegro ma non trappo
 
Dvorák\u0020\u002D\u0020Symphony\u0020No\u002E\u00208\u0020\u003A\u0020London\u0020Symphony\u0020Orchestra\u0020\u003A\u0020Istvan\u0020Kertész\u0020\u002D\u0020180g\u0020LP
 
 
                               
20 Years pure Analogue
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head
 
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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