Mozart - Clarinet Concerto : Peter Maag : London Symphony Orchestra : - 180g LP

Mozart - Clarinet Concerto : Peter Maag : London Symphony Orchestra : - 180g LP

Product no.: SXL2238

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Mozart - Clarinet Concerto : Peter Maag : London Symphony Orchestra : - 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 / Decca - SXL 2238 - 180 Gram Virgin Vinyl - AAA 100% Analogue

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

Speakers Corner 25 Years Pure Analogue  This LP is an Entirely Analogue Production
The only thing you must ask yourself is how come you don’t have it in your collection yet. Really. -6Moons
Mozart: Clarinet Concerto, Horn Concertos Nos. 1-3 - Gervase de Peyer, Barry Tuckwell, London Symphony Orchestra conducted by Peter Maag
The amazing skill of two great virtuosos, Joseph Leutgeb and Anton Stadler, inspired Mozart to compose the concertos heard here. Made in 1959, this DECCA recording gives us an excellent idea of how the concertos would have sounded in Mozart's day, thanks to two of today's very best instrumentalists – the clarinettist Gervase de Peyer and the horn player Barry Tuckwell. 
Amazing lightness, warmth of tone and perfect intonation are the hallmarks of the soloist and London Symphony Orchestra conducted by Peter Maag in the clarinet concerto, which Mozart completed only a few weeks before his death. The two horn concertos heard here were also written during Mozart’s final creative period in Vienna. Just one hearing is enough to let them be remembered for all time – for these concertos employ to the full the horn’s rich and widely varied range of expression. Broad arching melodies, tripping runs and merry hunting calls in the final movements guarantee musical enjoyment, and for this we owe our thanks to both the past and present masters of their instruments in this delightful recording.
The performance of the Clarinet Concerto is as fine as any available, fluent and lively, with masterly phrasing in the slow movement and a vivacious finale. The coupling, Maag's superb account of the Prague Symphony, is one of the best in the catalogue, and with excellent recording this is a wholly desirable disc. There is smooth velvety richness about dePeyer's playing that is the result of flawless execution. The long cantilena of the slow movement demonstrates his flawless breath control. Maag's accompaniment matches each soloist's artistry perfectly. This one goes to the top. Recorded on November 25-26, 1959 in Kingsway Hall. Ray Minshull, producer; Kenneth E. Wilkinson, engineer.
London Blueback Guide gives this a high rating of 19 /20
 November 1959 in the  Kingsway Hall, London ,  Kenneth E. Wilkinson / Production : Ray Minshull
Peter Maag, conductor
London Symphony Orchestra 
Some reviews need not be long. This is one of those. In the late 50s, Decca was at the very top of their recording art, the summit which I judge pretty much any modern recording against. Add to that lofty status two of the most talented soloists of the past century, the LSO and Peter Maag with some of Mozart’s most famous and easily enjoyable concerti and you arrive at an all-star cast and performance.
You can’t do much better. Actually, I don’t know that I could name anybody who has done better. What else can I say?
This is one of the most Mozartean recordings I know of, full of finesse and refinement as well as pep and liveliness. Instrument tonal colors are spectacular in the orchestra as well as with the soloists. It has little dashes of color just pop up light bursting flowers all over the broad and deep soundstage. It is not demanding music at least for the listener—the soloists surely would I have a very different opinion—and it is played to be fully enjoyable. That’s what on this disc, bliss pure and simple. I could waste your time with lengthy comparisons to other versions I own but why? This is the one for posterity and Speakers Corner brings it back to us in absolutely pristine condition.
The only thing you must ask yourself is how come you don’t have it in your collection yet. Really. -6Moons
Wolfgang Amadeus Mozart (1756 - 1791)
Clarinet Concerto in A Major K.622
1. 1st Movement Allegro
2. 2nd Movement Adagio
3. 3rd Movement Rondo; Allegro
Gervase De Peyer
Horn Concerto No.1 in D Major K.412
4. 1st Movement Allegro
5. 2nd Movement Allegro
Horn Concerto No.3 in E Flat Major K.447
6. 1st Movement Allegro
7. 2nd Movement Romanze; Larghetto
3. 3rd Movement Allegro
Barry Tuckwell

Mozart - Clarinet Concerto : London Symphony Orchestra : Peter Maag -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.
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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