Gershwin - Porgy and Bess : Solisten, Lorin Maazel, Cleveland Orchestra/Chorus - 180g 3LP Box Set


Gershwin - Porgy and Bess : Solisten, Lorin Maazel, Cleveland Orchestra/Chorus - 180g 3LP Box Set

Product no.: SET609-11

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Gershwin - Porgy and Bess : Solisten, Lorin Maazel, Cleveland Orchestra/Chorus - 180g 3LP Box Set
£84.95
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Possible delivery methods: UK Tracked with Signature, Airmail Standard, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Decca SET 609-11  - 180 Gram Virgin Vinyl 

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

The Absolute Sound Super Disc List   TAS Harry Pearson Super LP List

In 1935, George Gershwin, the pioneer of jazz, Porgy and Bess, was the stony path of his career from the badly paid songwriter to the triumphant composer of America. The unbroken success of this unique stage set, which can only be performed by black ensembles, surely lies in its stylistic mixture of serious music symphonic and jazz-pierced popular music. Just as exclusive as a production outside of the American continent is the present recording on record from 1975, which without exception all previously submitted cross-sections and soundtracks leave.

Masterful in interpretation and sound, Lorin Maazel's collaborators unfold the thrilling drama of milieus, with the famous evergreens such as "Summertime", "It is not necessarily so" and "Buzzard Song" finally in the coherent context of the fully-composed large form Shine. This 3-LP box is music for the lonely island, a production on which the Decca can be proud because of the undivided enthusiastic jubilation of the international trade press. We are also proud to be able to offer this milestone of American music history once again on vinyl.

Choir – The Cleveland Orchestra Children's Chorus, The Cleveland Orchestra Chorus
Composed By – Gershwin
Conductor – Lorin Maazel
Libretto By – DuBose Heyward
Liner Notes – Lehman Engel
Lyrics By – DuBose Heyward, Ira Gershwin
Orchestra – The Cleveland Orchestra
Performer – Arthur Thompson, Barbara Conrad , Barbara Hendricks, Florence Quivar, Francois Clemmons, Leona Mitchell, McHenry Boatwright, Willard White

Comes with a 30 page-booklet/libretto. 

Tracklist
Porgy And Bess
A1    Introduction And Act 1, Scene 1    
A2    Catfish Row    
A3    A Summer Evening (Start)    
A4    Jazzbo Brown Blues    
A5    Summertime    
A6    A Woman Is A Sometime Thing    
A7    Here Comes De Honey Man    
A8    They Pass By Singin''    
B1    Oh Little Stars (Conclusion Act 1)    
2. Act 1, Scene 2;
B2    Serena's Room    
B3    The Following Night    
B4    Gone, Gone, Gone    
B5    Overflow    
B6    My Man's Gone Now    
B7    Leavin' For The Promise' Lan'    
1. Act 2, Scene1;
C1    Catfish Row - A Month Later    
C2    It Takes A Long Pull To Get There    
C3    I Got Plenty O' Nuttin    
C4    Buzzard Song    
C5    Bess, You Is My Woman    
C6    Oh, I Can't Sit Down    
1. Act 2, Scene 2
D1    Kittiwah Island - Evening    
D2    The Same Day    
D3    I Aint Got No Shame    
D4    It Aint Necessarily So    
D5    What You Want Wid Bess?    
2. Act 2, Scene 3;
D6    Catfish Row-Before Dawn    
D7    A Week Later (Start)    
D8    Oh, Doctor Jesus    
D9    Strawberry Woman    
D10    Crab Man    
D11    I Loves You, Porgy    
E1    1 Act 2, Scene 3 (Conclusion)    
2. Act 2, Scene 4;
E2    Serena's Room-Dawn Of The Following Day    
E3    Oh, Hev'nly Father    
E4    Oh, De Lawd Shake The Heavens    
E5    Oh, Dere's Somebody Knockin' At De Do''    
E6    A Red Headed Woman    
3. Act 3, Scene1;
E7    Catfish Row-The Next Night    
E8    Clara, Clara    
E9    Death Of Crown    
1. Act 3. Scene 2;
F1    Catfish Row-The Next Afternoon    
F2    There's A Boat Dat's Leavin' Soon For New York    
2. Act 3, Scene 3;
F3    Catfish Row-A Week Later    
F4    Good Mornin'    
F5    Sistuh!    
F6    Oh, Bess    
F7    Oh Where Is My Bess    
F8    Ow Lawd, I'm On My Way

Gershwin\u0020\u002D\u0020Porgy\u0020and\u0020Bess\u0020\u003A\u0020Solisten\u002C\u0020Lorin\u0020Maazel\u002C\u0020Cleveland\u0020Orchestra\u002FChorus\u0020\u002D\u0020180g\u00203LP\u0020Box\u0020Set

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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