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"The Beulah record label has always been one of the most idiosyncratic, and therefore perhaps most interesting, of reissue marques. While the basic character of Beulah remains the same as in its Compact Disc days, the range of its present catalogue, driven now by the ease of downloading, has been extended in remarkable fashion. Browsing the Beulah catalogue is now rather like being in a 78rpm record shop: there are plenty of recordings of short pieces available to whet your appetite for either repertoire or artist, while at the same time there are numerous full length works available if you wish to consolidate your collection with, for instance, major symphonies. All of Beulah's transfers, as might be expected of a distinguished reissue label, are of very high quality." David Patmore writing in Classical Recordings Quarterly

"I’m grateful to Beulah for turning out so many very fine transfers, with no loss of the music but none of the surface noise. LP sound without the hassle. " Brian Wilson at Music Web Inernational



New for December

Many music lovers miss the sound from vinyl pressings. Many others have yet to discover how pleasant the sound can be. Most of our albums are mastered from vinyl LP pressings and earlier recordings (before 1953) from 78 rpm discs. It is our ability to recreate, in the digital age, the sound from the disc era that many of our customers find most enjoyable.

Unlike modern digital recordings tracks in our albums do contain some distortion, and the occasional surface noises, but for many listeners these "defects" are soon forgotten.

Our albums are available from many download and streaming sites.

We highly recommend downloading from qobuz where you can download or stream in high quality, for the same price as iTunes medium quality.

New albums


1PS53 Mario Lanza sings Italian Opera

qobuz

spotify

"Mario Lanza had, still has for many people, a valued place in popularising some of the big numbers of Italian opera: one step up, as it were, culturally from Josef Locke‘the people’s tenor’and perhaps one step down from the later Three Tenors, especially Luciano Pavarotti. It was, and is, all too easy to turn one’s nose up at the achievements of a singer who couldn’t read music, but his records sold 350,000 copies as late as the 1990s and he won acclaim from serious reviewers: following his release of extracts from Andrea Chénier, two of them included on this Beulah release, John Freestone wrote in Gramophone of the likelihood of his becoming ‘a power in the land of tenors’.

"The earliest of these recordings, Celeste Aida, first appeared along with Voi lo sapete(not included here) on 78s. AR (Alec Robertson) thought it ‘grievous that so opulent a voice ... should be wasted in a mere display of physical prowess’. I was less worried about the waste and more impressed by the singing than I expected, it’s quite some time since heard Lanza. As usuall, Beulah have brought up these recordings to sound well."

Brian Wilson at Musicweb International


1PS54 The rich voice of marian anderson

apple music

qobuz

spotify

"By the time that Anderson recorded the Alto Rhapsodyin 1952, with Fritz Reiner, time had robbed some of the rich timbre, and the reviewers were still too taken with Kathleen Ferrier’s recording to recommend the recording. Regular readers will know that I hold a heretical aversion to ‘Kath’s’ voice, at least as preserved on record. I’m sure that the 1952 recording has more body than the 1939 with Eugene Ormandy, but the latter–a classic of the gramophone –is wisely chosen for this reissue. Inevitably, the sound is somewhat boxy, but it’s good enough to remind us what a wonderful voice Anderson possessed, and all but the tiniest degree of swish has been cleaned up without preventing us from appreciatingthe voice.

"The Beulah reissue is worth its modest price for the Alto Rhapsody alone, but the rest of the programme is worth having, too. The great Alec Robertson, no less, thought Anderson more effective in classical repertoire than in spirituals.I may be inclined to agree, but I’m not complaining about her singing here."

Brian Wilson at Musicweb International


1PS55 reginald dixon at the wurlitzer organ of the tower ballroom blackpool

Coming soon


1PS56 cinema classics the gadfly henry  the fifth

Coming soon


4PS39 glenn miller 1942 1944

Coming soon

What the Critics Say


1PS48 Polish Piano Music

apple music

qobuz

spotify

"The pièce de résistance here is the Zarębski Quintet. The composer was a distinguished pupil of Liszt; the romantic influence is clear, but the quintet is not derivative in style. Overall, it’s a most impressive piece which doesn’t outstay its 37 minutes. There are recent recordings from the re-formed Warsaw Quintet and the Szymanowski Quartet with Jonathan Plowright(Hyperion CDA67905, with Żeleński: Piano Quartet in c minor, Op.61).

"I’m not sure of the date of the recording by the original Warsaw Quartet, as reissued on Beulah, while obviously not the equal of the Hyperion, is much more than adequate. The performance gives the music a little more time to breathe than the Hyperion and the playing is excellent: Szpilman was a fine pianist and the Warsaw Quartet included such luminaries as Bronsilaw Gimpel.

"The Mewton-Wood Chopin, released by Nixa in 1953, was highly regarded in its day, and its reissue is an important reminder of the delicate beauty of that performance. The recording is what you would expect for its date –not nearly as firm as the (live) Zarębski recording, but perfectly tolerable, with a little allowance;the piano sound is much better than that of the orchestra. If you have Stefan Askenase’s Chopin Second Piano Concerto (Beulah 1PS59), this version of No.1 would be the ideal match."

Brian Wilson at Musicweb International

Our top albums

December is a peak month for streaming our albums at Spotify
Below are our most popular albums in each category