Schubert - The `Trout ` Quintet : Vienna Octet : Clifford Curzon - 180g LP

Product no.: SXL2110

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Schubert - The `Trout ` Quintet : Vienna Octet : Clifford Curzon - 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 2110 - 180 Gram Virgin Vinyl - AAA 100% Analogue

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

Speakers Corner 25 Years Pure Analogue  This LP is an Entirely Analogue Production

If you enjoy classical music on LP, you have to appreciate the steady diet of excellence from Speakers Corner. This LP was impeccably flat with nary a tick. Even the album cover is selfless, with little hint of origin beyond "Columbia Records." Keep ‘em coming! Whether you’re an ardent Schubert fan or just like to have a bit of every period in your classical collection, put this one on your list. - theAudiobeat

The recording is outstanding, During my research for the DG CD release, I listened to other performances, many of which had superior recordings, especially the excellent András Schiff, Alois Posch, and Hagen Quartet 1999 Decca CD release. Then I listened to this Vienna Decca LP. Truly remarkable. The 'presence' of the musicians, the immediacy of the hall, and sounding like no CD of the Trout you'll ever hear. The timbral accuracy of both piano and strings is uncanny. And with echt-Wiener style, unmatched. Problems? Short on time and some brief, dodgy intonation (sharp) from Johann Krump, Double-Bass. Other than that, a flawless LP and very highly recommended. Audiophilia

52 years after it was masterfully captured by the recording engineers at Decca, this recording of Schubert's 'Trout' Quintet by Curzon and members of the Vienna Octet remains polarizing. You either love or hate it. Hopefully this re-edition by Speakers Corner might help bridge some of the differences as it finally reveals the dense and rich sonorities the previous CD releases utterly failed at conveying. Technically, the octet is "in the room". The grunting double bass, agile fiddle and emotional cello are all well sized, well positioned and superbly voiced. A major complaint about this recording were the whiney violin and dry cello. The great news is that this vinyl re-edition proves once and for all that those where CD artifacts. Nothing now stands in the way of musical enjoyment . - 6Moons

But the music-making was of the highest order when I returned to comparatively uncompressed material—such as my favorite recording of Schubert's "Trout" quintet, by Clifford Curzon and members of the Vienna Octet (LP, Decca/Speakers Corner SXL 2110). -Stereophile

Schubert: Quintet for Piano, Violin, Viola, Violoncello and Double-Bass (Trout Quintet)

Sir Clifford Curzon and Members of the Vienna Octet

This performance has been much admired by critics since its arrival nearly 30 years ago. An English pianist and Viennese chamber ensemble make the most of Schubert's melodies and rapid changes of harmonic color. The sound quality of the record is like having the musicians in for an evening of music in your house. Recorded in Nov. 1957. John Culshaw, producer; James Brown, engineer. Rated 18/20 in London Blueback Guide.

In the summer of 1819, Franz Schubert stayed in the Austrian town of Steyr where he began work on the composition of the five-movement Piano Quintet in A major, op. 114 (D 667) which was commissioned by the cellist Sylvester Paumgartner. The work was completed in the autumn and soon achieved great popularity under the name of Trout Quintet, which it owes to the Andantino fourth movement – a set of variations on the song of the same name.

The work has remained highly popular right up to the present day and so it comes as no surprise to find this highly praised recording, made with such renowned artists as the pianist Clifford Curzon, the violinist Willi Boskovsky and other members of the Vienna Octet, being released once again.  The ensembles refreshing performance reflects the sparkling lightness and virtuosity of the work.

The well-balanced recording with its full tone certainly deserves a place in every music lovers collection.

Clifford Curzon, piano
Willi Boskovsky, violin
Vienna Octet

Franz Schubert (1797 - 1828) Piano Quintet in A Major

1. Allegro vivace
2. Andante
3. Scherzo
4. Theme and Varation
5. Allegro giusto

Schubert - the `Trout ` Quintet , Vienna Octet : Clifford Curzon - 180g LP


25 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.
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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