Corelli - Concerto grosso No. 8 : Karl Münchinger : Stuttgart Chamber Orchestra - 180g LP

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Corelli - Concerto grosso No. 8 : Karl Münchinger : Stuttgart Chamber 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 2265 - 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
 
Corelli: Concerto Grosso No. 8 / Pachelbel: Canon / Ricciotti: Concertino No. 2 / Gluck: Chaconne - Stuttgart Chamber Orchestra conducted by Karl Münchinger
 
The musical press has showered praise upon the Stuttgarter Kammerorchester and its founder and conductor Karl Münchinger for their spectacular performances. This DECCA recording now presents a delightful choice of works performed by this South German ensemble.
 
The programme opens in a splendidly festive Baroque spirit with Arcangelo Corelli’s famous Christmas Concerto, a work which is typical for the concerto grosso form with its alternation of tutti and solo passages. The instrumental soloists in particular dazzle with their finely chiselled playing and ravishing tone over the gentle sway of the strings. Münchinger has achieved a veritable miracle with his arrangement of Johann Pachelbel’s Canon, originally composed for the organ, for each and every instrument of the orchestra enhances the magic of this music. Carlo Ricciotti’s Concertino No. 2 offers us an insight into the various musical forms of the early 18th century.
 
The programme ends with Christoph Willibald Gluck’s vigourous Chaconne whose splendour and pomp is taken to new dramatic heights by the Stuttgarter Kammerorchester.
Light a candle and settle down for a delightful evening of entertainment: this excellent recording ensures that you will enjoy every minute to the full – and not just at Christmas time.
 
October/ November 1960 in the Victoria Hall,  Roy G. Wallace / Production: James Walker
 
Musicians:
Karl Münchinger, conductor
Stuttgart Chamber Orchestra
 
Selections: 
Arcangelo Corelli (1653 - 1713)
1. Concerto Grosso No. 8 in G minor
Johann Pachelbel (1653 - 1706)
2. Canon
 
Carlo Ricciotti (1681 - 1756)
3. Concertino No. 2 in G Major
Christoph Willibald Gluck (1714 - 1787)
4. Chaconne

Corelli: Concerto grosso No. 8 / Ricciotti: Gluck: Chaconne - Münchinger - 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.

 

The sound in both performances is outstanding. Anyone wanting to hear what is wrong with digital sound need only listen to the end of the Scherzo capriccioso. There is depth and width, huge presence, every section of the orchestra is clearly audible (the final timpani role is startlingly realistic) the timbre of each instrument can be heard, and the ersatz quality found in even the best quality 24bit high-resolution recordings is completely absent. With regard to the human voice, again there is a sense of richness and natural resonance that places Nilsson very firmly in your living room, and to hear her and the Vienna Philharmonic exult takes your breath away.

Both recordings were compared with first-label pressings, and in both cases the Speakers Corner discs have more projection, power and a better controlled bass. Cheap they are not, but if anyone wonders why increasingly large numbers of people rave about vinyl, then these discs demonstrate why.

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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