Tchaikovsky - 1812 Overture : Kenneth Alwyn : London Symphony Orchestra - 180g LP

Product no.: SXL2001

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Tchaikovsky - 1812 Overture : Kenneth Alwyn : London Symphony Orchestra - 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 / Decca SXL 2001 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Limited Edition - Mastered by Tony Hawkins - Pressed  at Pallas Germany

This Speakers Corner 25 Years pure Analogue
For music, Speakers Corner's Decca LPs were an easy choice. Speakers Corner not only used the true master tapes in the creation of its reissues, but also the actual equipment with which so many of the original pressings were created. Along with this, Decca engineer Tony Hawkins cut the lacquers. The results speak for themselves. The Audio Beat

Masterpeice!!!Wonderful sound ,Like your really there cannon shots  LP Review

Tchaikovsky was responsible for five compositions which may be grouped under the heading of pieces d'occasion. These were, in order of composition, the Festival Overture on the Danish National Hymn, Op. 15, written in honour of the marriage of the Tsarevich to the Princess Dagmar of Denmark, the Festival Overture "1812", Op. 49, the Marche Slave, Op. 31, the Coronation March written for the crowning of Tsar Alexander III in 1883, and finally the Jurists' March of 1885, written to commemorate the jubilee of the St. Petersburg Law School.

All these works have two things in common - each makes use of Alexis Feodorovich Lvov's great National Hymn "God preserve the Tsar", written in 1833, and each has constantly been subjected to the ridicule of the unintelligent critic who regards all music that is easily assimilated, clamorous and colourful as being unworthy of survival. But in spite of this two of the pieces referred to above - the "1812" Overture and the Marche Slave - have remained popular items in the concert room.

Capriccio Italien, Op. 45:
As the titles implies, the work is in the form of a free fantasia. The fanfare which opens the Capriccio was the bugle-call of the Italian Royal Cuirassiers, whose barracks adjoined the hotel where Tchaikovsky stayed in Rome; each morning he was awakened by this splendid sound. During the course of the piece no less than five separate tunes are introduced, the first two of which are heard more than once. The Capriccio, a masterpiece of orchestration, is scored for more than the usual complement of instruments: a third flute, cor anglais and two cornets are called for, and also harp and an array of percussion instruments.

The London Symphony Orchestra. Kenneth Alwyn (conductor). Grenadier Guards. This was Kenneth Alwyn's gramophone debut. He shows a flair for Tchaikovsky rare in English conductors, and all three performances generate a real intensity and excitement. The climax to 1812 is really spectacular.

The English conductor Kenneth Alwyn studied at the Royal Academy of Music, London from 1947 to 1950, his special subjects being piano, organ and viola. After taking the conductors' course at the Academy, he joined the Saddler's Wells Theatre Ballet as assistant conductor in September, 1952. Four years later he became a member of the senior company at Covent Garden, of which he was appointed associate conductor in June, 1957.

• 180 Gram Virgin Vinyl
• High Quality Pressing
• Pure Analogue Audiophile Mastering

Kenneth Alwyn, conductor
London Symphony Orchestra
The Band of H.M. Grenadier Guards

Tchaikovsky (1840 - 1893)

1. 1812 Overture, Opus 49
2. Capriccio Italien, Opus 45
3. Marche Slave, Opus 31

Tchaikovsky - 1812 Overture : Kenneth Alwyn : London Symphony Orchestra - 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
We use the Original Tapes and work with only the Best Mastering Studios Worldwide
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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