Mozart - Sinfonia Concertante : David and Igor Oistrakh : Kyril Kondrashin - 180g LP


Mozart - Sinfonia Concertante : David and Igor Oistrakh : Kyril Kondrashin - 180g LP

Product no.: SXL6088

In stock

Mozart - Sinfonia Concertante : David and Igor Oistrakh : Kyril Kondrashin - 180g LP
£23.99
Price includes VAT, plus delivery


Possible delivery methods: UK Tracked with Signature, Airmail Standard, UK Express, Airmail Tracked with Signature, UK Standard

Speakers Corner / Decca SXL 6088 - 180 Gram Virgin Vinyl - 4260019710437

AAA 100% Analogue - Limited Edition SXL 6088 Decca

Pure Analogue Audiophile Mastering - Pressed  at Pallas Germany

The Absolute Sound Super Disc List 2016  TAS Harry Pearson Super LP List

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head   20 Years pure Analogue
 
Mozart: Sinfonia concertante for Violin, Viola and Orchestra (K. 364), Duo for Violin and Viola (K. 423)
 
David and Igor Oistrakh and the Moscow Philharmonic Orchestra conducted by Kyrill Kondrashin
 
“Now I am going to compose a Sinfonia concertante”, wrote Mozart to his father, quite unsuspecting that his contribution to this hybrid of concerto and symphony would not bring the immediate approval and success to which he was accustomed. But opinions have changed drastically since then, especially since the Sinfonia concertante K. 364 has far greater depth to it than its title suggests. The wealth of melodic ideas, subtly allotted alternately to the soloist and the orchestra, testifies to the fact that this is one of Mozart’s mature orchestral masterpieces which he composed while in Vienna.
 
The superb performers in this DECCA recording guarantee that the listener will not only enjoy the deceptive merriment of the outer movements but will be deeply moved by the sad Andante. What bad luck for rival performances! But when father and son take up their bows, this is the recording to beat all recordings! 
 
On the B side, the Duo for Violin and Viola, K. 423 is a welcome bonus since it offers a wonderful opportunity for a display of virtuosity and counterpoint. And of course the old question pops up once again as to who is the better master of his instrument: father or son?
 
The answer is simple: neither the one nor the other! – Both, of course!

 

September 1963 in Decca Studio No.3, London  Kenneth Wilkinson / Production: Erik Smith and Ray Minshull
 

Musicians:
David Oistrakh, viola
Igor Oistrakh, violin
Kyrill Kondrashin, conductor
Moscow Philharmonic Orchestra

Selections: 
Mozart (1756 - 1791)
Sinfonia Concertante for violin, viola and orchestra K. 364
Side One:
1. Allegro maestoso
2. Andante
Side Two:
3. Presto
Duo for violin and viola in G K. 423
4. Allegro
5. Adagio
6. Rondeau, Allegro

 

Mozart\u0020\u002D\u0020Sinfonia\u0020Concertante\u0020\u003A\u0020David\u0020and\u0020Igor\u0020Oistrakh\u0020\u003A\u0020Kyril\u0020Kondrashin\u0020\u002D\u0020180g\u0020LP

                               
20 Years pure Analogue
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head
 
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! 

 

Customers who bought this product also bought

* Prices include VAT, plus delivery

Browse these categories as well: CLASSICAL, Home page