Beethoven - String Quartet in A Minor Op. 132 : LaSalle Quartett - 180g LP


Beethoven - String Quartet in A Minor Op. 132 : LaSalle Quartett - 180g LP

Product no.: DGG 2530 728

In stock

Beethoven - String Quartet in A Minor Op. 132 : LaSalle Quartett - 180g LP
£23.99
Price includes VAT, plus delivery


Possible delivery methods: UK Tracked with Signature, Airmail Standard, UK Express, Airmail Tracked with Signature, UK Standard

Speakers Corner / Deutsche Grammophon - DGG 2530 728 - 4260019714763

180 Gram Virgin Vinyl -  Pressed at Pallas Germany

Pure Analogue Audiophile Mastering - Limited Edition

Ludwig van Beethoven: String Quartet in A minor, Op. 132 - LaSalle Quartett
Walter Levin, Henry Meyer (v); Peter Kamnitzer (va); Lee Fiser (vc)
 
Beethoven’s lifelong occupation and pioneering work with the string quartet can be divided up into three creative phases. Beginning with the youthful, fresh Quartets op. 18 which soon became highly popular with the public shortly after their composition, then on to the compact and intensive sounding Quartets op. 59, Beethoven continued to develop his style right up to his late period between 1822 and 1826.
 
The opinions of his contemporaries of his late works range from extremely moving and haunting to Chinese and show that the rhapsodic style was considered alien and wilful, and the structure of the various movements a cause for bafflement.
 
In the Quartet in A minor, most attention is focussed on the slow movement, which Beethoven headed with the words “Heiliger Dankgesang” (“Holy song of thanksgiving”). The movement with its hymnal melody is fully in the tradition of a protestant chorale, but this sacred grandeur is twice contrasted with optimistic, dance-like sections, “Neue Kraft fühlend” (“feeling new strength”).
 
In the meantime, the world-famous LaSalle Quartet has gone down in history; their superb sound, fine intonation and unerring understanding of the highly sensitive late Beethoven is now brought to life once again on this recording.
 

Musicians: 
LaSalle Quartet
Walter Levin, violin
Henry Meyer, violin
Peter Kamnitzer, viola
Lee Fiser, cello

Selections: 
Ludwig van Beethoven (1770-1827)
String Quartet in A minor, Op. 132
Side A:
1. Assai sostenuto - Allegro
2. Allegro ma non tanto
Side B:
3. Molto adagio. Heiliger Dankgesang eines Genescenen an die Gottheit, in der lydischen Tonart (Canzona di ringraziamento offerta alla divinita da un guarito, in modo lidico) - Andante, Neue Kraft fuhlend (Sentendo nuova forza) - Molo Adagio. Mit innigster Empfindung (Con intimissimo sentimento)
4. Alla marcia, assai vivace - Piu allegro - attacca
5. Allegro appassionato - Presto

Recording: December 1975 at Beethoven-Saal, Hannover (Germany), by Klaus Scheibe

Production: Rainer Brock
 
Beethoven: String Quartet , Op. 132
 
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.

 

Browse this category: CLASSICAL