Speakers Corner / Columbia MS 6006 - 180 Gram Virgin Vinyl
AAA 100% Analogue - MS 6006 Columbia Masterworks
Mastered by Kevin Gray at Cohearant Audio - Pressed at Pallas in Germany - Limited Edition
Peter Tchaikovsky: Symphony No. 6 ( "Pathetique")
The New York Philharmonic Orchestra under the direction of Dimitri Mitropoulos.
Let them rack their brains over a program that shall remain a mystery to everyone." These words coming from Tchaikovsky himself gave ample grounds for a myriad of extra-musical interpretations of his last symphony, his swan song. For example, the slow, doleful final movement instead of a fiery allegro was a daring break with traditional musical form and sparked conjectures about the composer's approaching death, which overtook him only nine days later.
But even without such biographical references and programs, the "Pathétique" has stirred people's hearts and minds. The impression left by the first movement, in which the hectic main theme struggles to assert itself against threatening chords on the strings and where the open end is calmed by a grandiose consolatory song on the violins, is as indelible as a watermark in Tchaikovsky's composition. Among all the various recordings of this work, this particular reading by Dimitri Mitropoulos is a sure favorite. His masterly interpretation of the highly sensitive score finds the ideal path between sentiment and sentimentality. The maestro conveys the sharp contrasts coherently and in a well-balanced manner, allowing the melodies to flow powerfully but restrainedly. This conductor is no magistrate, but an advocate of the written notes.
"Let them break through a program that should remain for all a mystery only the heads." But these words gave Tchaikovsky sufficient grounds for rich non-musical interpretations of his last symphony, the stated closing words of his work. Around the slow plaintive finale instead of crashing Allegro finale is a bold intervention in the traditional canon represents and fed speculation on the imminent death of overtook the composer just nine days after the premiere.
But even without biographical references and programmatic stirred the "Pathetique "has always been unprepared minds. Because the impression as in the first movement the hectic main theme up fighting from the menacing string chords and is pacified to open end of the grandiose, comforting song of the violins, is so indelibly in Tchaikovsky's work as a watermark.
Takes the circle of many recordings of Dimitri Mitropoulos a favorite role: His reproduction of highly sensitive score mastered the fine line between sentiment and sentimentality. Balanced and positively conveys the master the sharp contrasts that melodies can be powerful and yet freely flow of broadband effects. This conductor will be no judge, but lawyer of the score.
Musicians:
New York Philharmonic Orchestra
Dimitri Mitropoulos, conductor
Selections:
Peter Illyich Tchaikovsky (1840-1893)
Symphony No. 9 in B minor, Op. 74 "Pathetique",
Side A:
1. Adagio; Allegro Non Troppo
2. Allegro Con Grazia
Side B:
1. Allegro Molto Vivace
2. Finale: Adagio Lamentoso
Recorded November 1957
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!
