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 sites. We highly recommend downloading from to Qobuz where you can download or stream in high quality, for the same price as iTunes medium quality. Here are some best selling Beulah albums at Qobuz.

New downloads

What the Critics Say

" The 1951 SULLIVAN concoction ballet Pineapple Poll, ... is especially delightful when performed by its begetter, Sir Charles Mackerras. Beulah have already reissued the Eastman Wind Ensemble recording of the suite but their new reissue is better still, especially when coupled as it is here with that other Mackerras confection, this time from VERDI, The Lady and the Fool. There’s a budget-price Classics for Pleasure coupling of both suites with Mackerras and the LPO, but the Beulah reissue on 1PS10 restores the Royal Philharmonic Orchestra (1962, ADD/stereo) and the Philharmonia (1955 ADD/mono), both with Mackerras. It’s due for release in March 2017.

" This definitive account of Pineapple Poll when first released and again when reissued took a whole LP, as did The Lady and the Fool in 1956. With more generous selections than on the CFP album – the complete Lady, not just the suite – Beulah give us over 97 minutes. The 1962 recording has come up as fresh as paint and the 1955 is very good for its age, clear if a trifle dry and with a touch of end-of-side insecurity in the Epilogue. "

Brian Wilson at MUSICWEB INTERNATIONAL where you can read the full review

"A more significant memorial to (Tibor) Paul’s work in Australia is a 1957 performance of Britten’s Les Illuminations, in which the tenor soloist was Richard Lewis. The performance was given in Melbourne, with Paul conducting the Victoria Symphony Orchestra. The recording is clear but with some distortion on Lewis’s heavier notes. Those who find Peter Pears’s timbre too strangulated to compensate for his artistry will surely welcome Lewis’s fuller tone, though he, too, has a looser vibrato than one might wish. Paul conducts with a good deal of point. Since the tempi seem perfectly gauged to Lewis’s voice, and in the absence of any other recorded performance by Lewis, there is no reason to suppose that Paul had anything to do with the fact that this, at 25’ 09”, could be the slowest performance on record. The Pears/Britten takes 22’ 16”; Pears with Colin Davis live at the Concertgebouw in 1966 has a virtually identical timing. This may be a natural consequence of Lewis’s fuller timbre, though we can hear, as early as the violin solo that concludes “Fanfare”, that Paul was inclined to tweak the music towards Mahlerian post-romanticism. Despite Britten’s later insistence that the cycle should be sung by a tenor – it was originally sung by the Swiss soprano Sophie Wyss – my own favourite is Suzanne Danco. Backed by Ernest Ansermet’s magical, and unromantic, ear for texture, this 1953 Suisse Romande performance is a wonderful celebration of light and, incidentally, possibly the fastest ever, at 20’ 22”. Again, the tempi may be a consequence of a light vocal timbre and an easy technical fluency. There is no sense of hurry, any more than there is any sense of heaviness in the Lewis/Paul version."

Christophr Howell at Musicweb International

Music for Christmas

8PD12
1PDR18
1PD65
2PDR24