Mozart - Requiem Mass in D Minor K.626 - Sir Colin Davis : BBC Symphony Orchestra - 180g LP


Mozart - Requiem Mass in D Minor K.626 - Sir Colin Davis : BBC Symphony Orchestra - 180g LP

Product no.: 802862AY

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Mozart - Requiem Mass in D Minor K.626 - Sir Colin Davis : BBC Symphony Orchestra - 180g LP
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Speakers Corner / Philips - 802 862 AY - 180 Gram Virgin Vinyl - 4260019713780

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

As long as you can live with Davis’s interpretation, you’ll find much to encourage you to reach for this LP when you want to listen to Mozart’s parting shot to the musical world.  John Crossett, theaudiobeat.com, , 4.5/5 Sound

Among all those sacred compositions that deal with the end of life, Mozart’s Requiem penetrates one’s heart and soul like no other apocalyptic work. One reason for this is surely the rather mysterious story surrounding its composition, a mixture of truth and legend, which arose during the arduous last months of the ailing Salzburg composer. Although the various developmental stages and the extent to which Mozart’s pupils participated in the composition may never be fully clarified, the mystical power of the enigmatic fragments remains constant to this day.

Sir Colin Davis lends an immediate relentlessness to the sounds of despair that is already apparent in the tense, pulsating opening bars, and which is taken to the very limits of playability in the climactic "Dies irae." While the swift tempi might appear rather surprising, they serve to dampen any sort of opera-like sentimentality of which many recordings are guilty. The consolatory timbre in the vocal parts make them come across as oases of calm in the prevailing atmosphere of biting cold, fearsome drama, and flickering hope, all of which breathes musical life into this mass for the dead.

Among all those sacred compositions that deal with the end of life, Mozart's Requiem penetrates one's heart and soul like no other apocalyptic work.

One reason for this is surely the rather mysterious story surrounding its composition, a mixture of truth and legend, which arose during the arduous last months of the ailing Salzburg composer. Although the various developmental stages and the extent to which Mozart's pupils participated in the composition may never be fully clarified, the mystical power of the enigmatic fragments remains constant to this day.

Sir Colin Davis lends an immediate relentlessness to the sounds of despair that is already apparent in the tense, pulsating opening bars, and which is taken to the very limits of playability in the climactic Dies irae. While the swift tempi might appear rather surprising, they serve to dampen any sort of opera-like sentimentality of which many recordings are guilty.

The consolatory timbre in the vocal parts make them come across as oases of calm in the prevailing atmosphere of biting cold, fearsome drama, and flickering hope, all of which breathes musical life into this mass for the dead. "This recording is made more appealing by the top-notch engineering, which has created a sonic spectacular to enjoy even if the interpretation is missing a little something. Captured in London's Watford Town Hall, this is a clear, clean, tonally precise recording that bristles with air and has a wide-open sense of space.

The BBC Orchestra is spread out in front, with the soloists in front of it and the choir arrayed behind and almost seeming to surround the listener. Voices are distinct and alive. The strings are silky smooth but with just enough bite to make them believable. The bass is taut, deep and clear, underpinning the playing with a solid foundation."

"This recording is made more appealing by the top-notch engineering, which has created a sonic spectacular to enjoy even if the interpretation is missing a little something. Captured in London's Watford Town Hall, this is a clear, clean, tonally precise recording that bristles with air and has a wide-open sense of space. The BBC Orchestra is spread out in front, with the soloists in front of it and the choir arrayed behind and almost seeming to surround the listener. Voices are distinct and alive. The strings are silky smooth but with just enough bite to make them believable. The bass is taut, deep and clear, underpinning the playing with a solid foundation."- John Crossett theaudiobeat. 4.5/5 Sound!

Musicians:

Helen Donath, soprano

Yvonne Minton, contralto

Ryland Davies, tenor

Gerd Nienstedt, bass

Alan Harverson, chamber organ

John Alldis Choir

BBC Symphony Orchestra

Sir Colin Davis, conductor

Selections:


Wolfgang Amadeus Mozart (1756-1791)
Requiem Mass in D minor, K. 626


1. I. Introiutus
2. II. Kyrie
3. III. Sequentia: Dies irae
4. Tuba mirum
5. Rex tremendae
6. Recordare
7. Confutatis
8. Lacrimosa
9. IV. Offertorium: Domine Jesu
10. Hostias
11. V. Sanctus
12. VI. Benedictus
13. VII. Agnus Dei
14. VIII. Communio

Mozart - Requiem Mass in D Minor K.626 - Sir Colin Davis : BBC Symphony Orchestra - 180g LP

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.
 
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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