Shostakovich - Cello Concerto No. 2 : Glazounov : Mstislav Rostropovich : Seiji Ozawa - 180g LP


Shostakovich - Cello Concerto No. 2 : Glazounov : Mstislav Rostropovich : Seiji Ozawa - 180g LP

Product no.: DGG2530653

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Shostakovich - Cello Concerto No. 2 : Glazounov : Mstislav Rostropovich : Seiji Ozawa - 180g LP
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Speakers Corner / Deutsche Grammophon - DGG 2530 653 - AAA 100% Analogue

180 Gram Virgin Vinyl -   Pressed at Pallas Germany - 2530 653 DG

Mastered by Maarten De Boer at Emil Berliner Studio - Limited Edition

AAA 100% Analogue This Speakers Corner LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head 25 Years pure Analogue
 
Symphony Hall, Boston has a near-perfect acoustic, but for some reason the recording team (which had the same producer as the Dvořák) seems to have added reverberation, and there is little sense of space around the image. And while the overall balance is just about acceptably forward, the sense of perspective and inner balance is awry, in that the wind and assorted percussion move forward outside of tutti passages and the side drum and xylophone are sometimes given even greater prominence; the score also calls for two harps, but these are often inaudible, while Rostropovich seems to be sat forward of the conductor and completely dominates the sound-stage, which is disappointing. However, when compared to a first-label German pressing the Speakers Corner disc has more presence and a better defined bass response Classicalsource
 
The world of music expects something special from the dedicatees of major compositions, especially when the honoured person himself performs the work either on stage or in the recording studio. Among such personages is Mstislav Rostropovich, the great maestro of the cello, who studied and successfully collaborated with Dmitri Shostakovich while still a student at the Moscow Conservatory and who later gave the premiere performances of his Cello Concertos.
 
 The Cello Concerto No. 2 from 1966 was composed around the same time as the highly emotional choral Symphonies Nos. 13 and 14 and displays a similar character of gloom and grim drama. The soloist presents the dark theme out of the depths and soon enters into brighter regions full of aggressive layers of sound. A wild conflict between soloist and orchestra follows, whereby the forced gaiety of the cello rages.
 
As a contrast, the soloist is in perfect harmony with the piano in Glazunov’s "Chant du Ménestrel". Supported by warm chords, Rostropovich lets his instrument soar to the heights in a cultivated and thoughtful fashion and proves once again that he is truly a great interpreter of Russian music.
 
Recording: August 1975 at Boston Symphony Hall by Hans-Peter Schweigmann
Production: Thomas Mowrey

Musicians: 
Mstislav Rostropovich, cello
Boston Symphony Orchestra
Seiji Ozawa, conductor

Selections: 
Side 1
Alexander Glazounov (1865-1936)
Chant du Menestrel
for Cello and Orchestra, Op. 71
Dmitri Shostakovich (1906-1975)
Concerto for Violoncello and Orchestra No. 2
1. Largo


Side 2
Dmitri Shostakovich (1906-1975)
Concerto for Violoncello and Orchestra No. 2 continued
2. Allegretto-attacca
3. Allegretto

 
Shostakovich - Cello Concerto No. 2 : Alexander Glazounov : Mstislav Rostropovich - 180g LP
 
AAA 100% Analogue   This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 25 Years pure Analogue
 
MADE FROM THE ORIGINAL MASTER TAPES
AAA 100% ANALOGUE - PURE ANALOGUE AUDIOPHILE MASTERING
We use the Original Tapes and work with only the Best Mastering Studios Worldwide
180 GRAM VIRGIN VINYL  PLATED & PRESSED AT PALLAS GERMANY
Faithful Reproduction of the Original Artwork and Labels
LIMITED EDITION Released in Limited Quantities
All Licences and Mechanical Rights Paid
 
                    Image result for pallas group germany vinyl pressing                  
 
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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