Schubert - 16 Lieder : Elly Ameling and Dalton Baldwin - 180g LP

Schubert - 16 Lieder : Elly Ameling and Dalton Baldwin - 180g LP

Product no.: 6500704

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Schubert - 16 Lieder : Elly Ameling and Dalton Baldwin - 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 / Philips  - 6500 704  - 180 Gram Virgin Vinyl -

AAA 100% Analogue - Limited Edition - Audiophile Mastering - Pressed at Pallas 

This Speakers Corner production was manufactured 100% analogously, with the use of the analogue mastertape and analogue mastering. All royalties and mechanical rights have been paid.
The German art song took on great importance in western culture as regards the history of music. As a genre of its own, the short but very condensed compositions demand the highest technical prowess and iron will from their interpreters in order to achieve the optimal musical and declamatory performance. A list of the truly great voices among German lied performers and their mostly congenial partners on the piano is therefore fairly short.
 The Dutch singer Elly Ameling is one of the most outstanding representatives of her art for which she has received numerous international prizes. With a soprano voice as bright as a bell, a flawless intonation, and captivating effortlessness, she unfolds line for line Romantic feelings for love, faith and nature. In each immaculately articulated word and every perfectly rounded phrase, the singer proves once and again that she is at one with the poetry, without every becoming academic. 
Dalton Baldwin yet again demonstrates that he is an astute creator of moods and emotions, in that he employs the wide spectrum of expression offered by his instrument to maximum effect and keeps the dynamics fully under control. All in all, this is a wonderfully diverse collection of Schubert lieder of the highest order.
Elly Ameling was another soprano with a well-nigh-perfect technique. Born in Rotterdam in 1933, she possessed a beautifully honed lyric voice that was equally at home in Bach, Frank Martin or Hugo Wolf. Every note and word is given due weight and expression, nothing is exaggerated, the middle of the voice has (for its type) unusual richness, vibrancy, and a surprising array of colour. Whichever song one listens to there is an acute response to the text, and Ameling completely avoids sounding monochrome or facile. Only one, Nacht und Träume, doesn’t suit the voice, needing to be more sinister, with the sense of fear that its greatest interpreters, as Janet Baker with Geoffrey Parsons so memorably conveyed on their 1981 HMV LP of Schubert songs (ASD 4054). She is fortunate to be partnered by Dalton Baldwin, one of the great accompanists. Together they offer an object lesson in the art of Schubert Lieder interpretation.
Im Abendrot, D799; Die Sterne, D939; Nacht und Träume, D827; Der leibliche Stern, D861; Rosamunde, D797 – IIIb: Der Vollmond strahlt; Der Einsame, D800; Schlummerlied, D527; An Sylvia, D891; Das Mädchen, D652; Minnelied, D429; Die Liebe hat gelogen, D751; Du liebst mich nicht, D756; An die Laute, D905; Der Blumenbrief, D622
4 Refrainlieder, D866 – III: Die Männer sind méchant!;Seligkeit, D433
Elly Ameling (soprano) & Dalton Baldwin (piano) 
Franz Schubert (1797-1828)
1. Im Abendrot
2. Die Sterne
3. Nacht und Träume
4. Der liebliche Stern
5. Romance from,,Rosamunde
6. Der Einsame
7. Schlummerlied
8. An Silvia
9. Das Mädchen
10. Minnelied
11. Die Liebe hat gelogen
12. Du liebst mich nicht
13. An die Laute
14. Der Blumenbrief
15. Die Männer sind méchant!
16. Seligkeit
Recording: June 1972 and August 1975
20 Years pure Analogue
This Speakers Corner production was manufactured 100% analogously, with the use of the analogue mastertape and analogue mastering. All royalties and mechanical rights have been paid.
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.
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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