Bach - Violin Concerto : Yehudi Menuhin : Robert Masters Chamber Orch Christian Ferras - 180g LP


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Bach - Violin Concerto : Yehudi Menuhin : Robert Masters Chamber Orch Christian Ferras - 180g LP

Product no.: ASD346

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Bach - Violin Concerto : Yehudi Menuhin : Robert Masters Chamber Orch Christian Ferras - 180g LP
£23.99
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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 / HMV - ASD346  - 180 Gram Virgin Vinyl 

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

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

Johann Sebastian Bach: Violin Concertos BWV 1041 and 1042, Double Concerto BWV 1043 - Yehudi Menuhin, Christian Ferras  Festival Chamber Orchestra / Robert Masters Chamber Orchestra | Yehudi Menuhin
 
When sound recordings of important works from the early years of stereophony still remain significant to this day, then one really ought to investigate the audible reasons for their durability. Hereby, it is unnecessary to comment on the importance of Bach's masterworks for violin and orchestra.
 
Rather more, the music lover is invited to listen to the passionately fervent performer Yehudi Menuhin. Just how the soloist and Festival Chamber Orchestra succeed in transforming the score into unreservedly impressive music is absolutely unique.
 
Menuhin's violin sings out bright and clear, without seeming cool, and remains powerful even in the piano passages. In the A minor Concerto the soloist and lively, circling continuo are well balanced and attuned to one another, and carry the musical proceedings along together. Christian Ferras proves himself to be on a par with Menuhin in the Double Concerto, in which the violins play along in a lively chiaroscuro. Instinctively the protagonists discover an ideal rapprochement between romantic emotion and baroque directness, which makes this recording so valuable and timeless. Two top EMI employees - producer Peter Andry and sound engineer Robert Gooch — must be expressly named here for setting down so authentically this event in London's Kingsway Hall for posterity.
 
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.
 
Recording: October 1958, September and December 1959 by Neville Boyling
Production: Peter Andry
 
Musicians
Christian Ferras violin 
Yehudi Menuhin conductor, violin
Festival Chamber Orchestra
Robert Masters Chamber Orchestra
 
Violin Concerto In A Minor, BWV.1041
Allegro
Andante
Allegro Assai
Double Concerto In D Minor, BWV.1043
Vivace
Largo Ma Non Tanto
Allegro
Concerto In E Major, BWV.1042
Allegro
Adagio
Allegro Assai
 
Bach - Violin Concerto : Yehudi Menuhi : Robert Masters Chamber Orch Christian Ferras - 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
 
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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