Classical Music Vinyl 12 Items

Ryuichi Sakamoto's first world release, released in 1987 and reissued in analog format.

This solo album, Sakamoto's seventh in total, was co-produced with Bill Laswell for worldwide release and features top musicians from different genres, including Sly Dunbar and Bootsy Collins. Based on an electronic sound, but fusing organic and ethnic musical elements such as Okinawan and Balinese traditional music, the album was recorded in Tokyo and New York, and released in more than 20 countries around the world, making it a milestone in his solo career.

With Solo Piano, Glass presents himself 'unplugged' - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. 'Metamorphosis' was written in 1988 and takes it's name from a play based on Kafka's short story. It's second track, 'Metamorphosis Two', formed the basis of one of the main musical themes in the film 'The Hours'. It is also the song that the American rock band Pearl Jam uses as their introduction music to concerts. 'Mad Rush' was written for the occasion of the Dalai Lama's first visit in New York City. 'Wichita Vortex Sutra' is the result of a chance meeting between two long-time friends, Glass and poet Allen Ginsberg, in a bookstore in the East Village. 'We decided on the spot to do something together, reached for one of Allen's books, and chose the poem 'Wichita Vortex Sutra'.Solo Piano is available as a limited edition of 2000 individually numbered copies on black & white marbled vinyl and includes an 8-page booklet.

Die populärsten DDR-Kinderchöre singen 43 der schönsten Kinderlieder. Nur hier die Originalaufnahmen, u. a. mit dem Kinderchor des Deutschlandsenders. Wieder auf Schallplatte mit 33 Umdrehungen

The two emerging explorations of aquatic themes on 1989’s Les Nouvelles Musiques de Chambre Volume 2 were a unique insight into the respective compositional approaches of its two central figures. The split album featured the Italian composer Gigi Masin on side-a with delicate piano movements rippling above undulating electronics. Its second track ‘Clouds,’ has become an ambient standard with Bjork, Nujabes and cloud-rap duo Main Attrakionz all sampling its rich and euphoric tones.

Side-b belonged to Charles Hayward and the twenty three minute sound portrait ‘Thames Water Authority’. A founding member of post-punk and avant groups This Heat and Camberwell Now, Hayward’s natural inclination towards percussive instrumentation is highlighted by shape-shifting cymbal recordings that trace the expansive systems that meander beneath Greater London. The track later appeared on his tribute album to Mark Rothko, fusing its symmetry with artistic abstraction.

P-vine is thrilled to reissue Les Nouvelles Musiques de Chambre Volume 2 on limited edition vinyl with an iconic Japanese obi strip attached.

The gala evening at the Paris Opera on December 19, 1958 was announced in the press as ''the greatest show in the world'. Maria Callas, at the height of her glory, performed for the first time in front of a Parisian audience. The diva delivered all the facets of her art through the Italian classics that she loved, with the theatrical genius that is proper to her. Paris gave her a triumphant evening!

The original recording of this evening, broadcast in Eurovision throughout Europe, has been newly restored with the greatest care.

Presentation by Benoît Duteurtre, novelist, essayist and music critic.

Excerpts from Norma by Bellini Excerpts from Il Trovatore by Verdi Excerpts from Il barbiere di Seviglia by Rossini Complete second act of Tosca by Puccini'

Secrets Of The Blue Bag', Moore's second solo LP for Polydor, was issued in 1972 but recorded in the Fall of 1971, just a bit before Slap Happy were backed by Faust on the recording sessions of their first album. Anthony Moore was joined by soprano Geeske Hof-Helmers, violinists Toni Sen and Patrick Strub, celloist Rolph Braun and Wolf Schreiber on fagott.



The missing link between British "art-rock" and the German "krautrock" scenes!



This is a 500 copies only reissue done in collaboration with Anthony Moore himself. Comes housed in its original artwork.

British experimental musician, composer, performer and producer Anthony Moore was a founding member of Slap Happy and has worked with Henry Cow, Kevin Ayers, and Pink Floyd among other great names in the British scene. In 1971 he moved to Hamburg, Germany, and worked in the boiling experimental scene of the city. As a result, two LPs were issued on Polydor in 1971 and 1972, right before forming Slap Happy with old school pal Peter Blegvad and Dagmar Krause.



"Pieces From a Cloudland Ballroom" is the first of those early solo LPs by Moore on Polydor. It was released in 1971 under the production of Uwe Nettlebeck and featured Anthony Moore on conduction, Ulf Kenklies, Glyn Davenport and Gieske Hof-Helmers on vocals, plus Werner 'Zappa' Diermeier on hi-hat.



Pure minimalist experimentation with echoes of Richard Young's "Advent" or even Moondog, done just a month after Faust (who included Werner 'Zappa' Diermeier) recorded their first LP. The missing link between British "art-rock" and the German "krautrock" scenes!



This is a 500 copies only reissue done in collaboration with Anthony Moore himself. Comes housed in its original artwork.

Albert Alan Owen was born in Wales in 1948 to parents of Welsh and Latvian heritage. His family later moved to Zimbabwe, where his father took up a teaching position. There, Owen was deeply influenced by local music and culture, while also exploring American RnB and jazz. It was during this period that he became acutely aware of the harsh inequalities under British colonial rule, which instilled in him a lifelong aversion to discrimination and racism.

In 1967, Owen returned to Europe to pursue his studies and enrolled at the Royal Academy of Music in London. He went on to spend time in Paris, studying composition with the eminent Nadia Boulanger and piano under Jacques Février, a favorite pianist of Ravel’s and Poulenc’s. Owen's focus shifted almost entirely to composition, and the acquisition of a Fender Rhodes electric piano marked the beginning of a divorce from his classical Western training. This transition allowed him to merge his passion for African and African-American music with the impressionistic styles of Ravel and Debussy while exploring the innovative realm of electroacoustic composition. These formative experiences framed Owen’s career as a composer and educator at the Royal Academy of Music and London’s Working Men’s College. He eventually returned to Wales, where he continues to reside. In 1979, 29-year-old Albert Alan Owen released “Keyboards & Strings”, a light magical chamber music masterpiece. Transcending the formal conventions of its era, “Keyboard & Strings” is an acoustic and electric piano piece, where the violin is met by synths and electronics.

As is often the case in Albert Alan Owen’s most intimate works, there is a sense of ethereal beauty that emerges from the music, akin to the emotional state one might experience while contemplating a Félix Vallotton landscape or the unfathomable mystery of dawn’s first light. Quiet, profound, and immersive, “Keyboard & Strings” stands out as an electronic-age tone poem, a rare gem that transcends time and place.

Edition of 500 copies, screen printed cover. Includes two inserts: a replica of the original insert and the english translation.

Henry Krutzen is a relatively shadowy figure in the history of experimental sound. Between the early 80s and the 2010s, there are only a handful of albums that bear his name, and very little information about them. A multi-instrumentalist and composer who studied percussion, saxophone, and harmony in various schools and jazz clinics across Belgium, over the years he played in a diverse range of musical projects across the idioms of jazz, new wave, heavy metal, experimental, chanson française, world music and progressive rock, before relocating to Brazil during the early 2000s.

“Silances”, originally released by Igloo Records - the Belgian imprint founded in 1978 by Daniel Sotiaux - sitting alongside astounding and remarkably unique albums by Leo Küpper, Jacques Bekaert, Henri Chopin, Arthur Pétronio, André Stordeur, and numerous others, is an entirely singular gesture at the borders of sound poetry, musique concrète, and radical electroacoustic practice that draws upon disparate elements of drone, jazz, minimalism, ecstatic tribalism, and various traditions of music from across the globe. Decades on from its original release it remains as striking, unique, and compelling as it did upon its release.

In a note that Krutzen penned in 2022 when he was contacted for the reissue of “Silances”, Krutzen recalls: “Since I was 16, I had been experimenting with concrete music with a technician friend and we used all a teenager’s room could offer to make sounds into music: faucets, glasses of water, metal springs on ladders, objects of any kind… I had hours of recordings I pitched to Daniel [Sotiaux], to see if he was interested in making an album. I also had other ideas I wanted to be able to develop. What a joy when he accepted to work on the project! So I got to work. First, I set up a vocal improvisation quartet, and we spent long afternoons rehearsing using input I provided… We went into the studio and recorded almost two hours of improvisation, from which I then chose the best moments for the final product”.