Genre > Classical

“My symphony will be something the world has never heard before. The whole of Nature will be lent a voice in it and will impart such deep secrets as those one might imagine in one's dreams.” Mahler’s vision of music which reflects the world finds its monumental culmination in his Third Symphony. The god Pan awakes to dull drum beats and rumbling basses. From afar a lied theme feels its way to the fore. The mild season of Spring dawns with song, sounds of nature and the budding of vegetation; then at last Summer marches in, grotesquely distorted in its exuberance, expressing the dualism of the innocence of Nature and its terrifying primeval force. Only in the finale are these contrarieties united in glorious harmony – although an undercurrent of doubt is always present. Sir Georg Solti and the London Symphony Orchestra are absolutely ideal for performing this mammoth, highly complex, multi-layered work. With fairly brisk tempi, clearly differentiated strings, and the usual excellent brass, Solti gives a gripping performance which no Mahler fan should miss - even if already has other recordings of the work in his collection.

Mahler: Symphony No. 3 - The London Symphony Orchestra conducted by Sir Georg Solti

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“What kind of a world is this which produces such sounds and forms to portray itself?” said Mahler of his First Symphony and gave the world his answer in the music. What at first sounds like “endless Spring” is transformed grotesquely to become an irreal collage. Just how deceptive is this idyllic landscape through which the wayfarer wanders? Distant fanfares, furtive melodies and strange cuckoo calls disturb the seemingly peaceful depiction of Nature before the cheerful theme melody pushes to the fore. But this peace is transient too. The wayfarer begins to increase his pace, he is not the hunter but the hunted in a hostile world. This symphony neither portrays nor describes – it presents the esthetic counterpart of reality. In view of the recent revival of Mahler and the resultant new recordings of his works, this early DECCA recording cannot be too highly praised. The disc guarantees not only a masterly performance but sumptuous sound and transparency. The owner of this particular recording of the Titan Symphony certainly needs no other and has every right to ask, “What kind of a record is this which produces such sounds...?”

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The search for the extra-musical world in Gustav Mahler’s philosophical and programmatic works will doubtless continue to occupy future generations of music scholars. Today’s music lovers, however, are wholly satisfied with the highly varied interpretations and impressive sound reproduction – which is precisely what Mahler himself wished for his rugged works. For decades Mahler’s dramatic musical masterpieces were misunderstood and scorned as “kapellmeister music”. Luckily interest in his works was revived and all nine symphonies were recorded in the 1960s by the recently deceased conductor Sir Georg Solti. Right up to this very day, his cycle has clearly lost nothing of its aura, its reputation for “never having been surpassed” – how could it otherwise have been so successful for so many years in the light of all the highly competitive, more recent recordings?

After the success of the new pressing of Mahler’s First Symphony (MUSD-SC-6113), it was high time that the Resurrection-Symphony became available on LP once more. And the result is most impressive. One can only hope that the complete Mahler cycle will one day be resurrected in vinyl.

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Mantovani creates such a lush and intense violin sound that that many critics believed it was the result of recording tricks, an assumption that Mantovani easily disproved with his numerous concerts. This record demonstrates the whole spectrum of one of the 20th century's most genial arrangers: 'I Dream Of Jeannie' is a wonderful example of the truly remarkable strings which is counterbalanced by such numbers as the sparkling 'Camp town Races' for example. Arranging folk songs for large orchestra can be somewhat perilous in that they easily become insignificant but Mantovani is in no danger of this here.

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The organ, queen of instruments, stood for centuries solely in the service of church music. Widor, who as an organist felt himself bound to follow the traditions of Johann Sebastian Bach, was daring enough to undertake an historically significant step by founding the French organ school. Its representatives strove for the authentic performance of Bach’s works and redefined the almost boundless possibilities of their instrument in their own compositions. Widor’s Organ Symphonies, which were certainly intended to incorporate orchestral characteristics, are notable for their finely worked counterpoint, prominent rhythm, sure sense of form, and massive tonal effects, as is impressively demonstrated here in this performance of the Allegro from Symphony No. 6. The introvert 'Salve Regina' is in a very different vein, conjuring up mystic spheres with its Gregorian melodies. Likewise, Dupré’s Prelude and Fugue is imbued with a sacral character, whereby the scurrying Prelude culminates in a powerful main section. His 'Triptyque' provides a rather more worldly contrast with its dance-like nature, and nicely rounds off this record which offers an excellent cross-section of the art of two giants of the organ. What is more, the 6,900 organ pipes of New York’s St. Thomas Church ensure that the listener will enjoy a truly powerful sound.

1. Allegro (Symphony No. 6, Opus 42)
2. Salve Regina
3. Prelude and Fugue in G Minor, Opus 7
4. Triptyque, opus 51

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Richard Wagner once described his fellow composer Felix Mendelssohn as a painter of landscapes in music. Mendelssohn obviously had no objections to this judgment when he set off for England with the intention of »raking together« folk melodies that he heard there.

What he harvested during his travels only came to fruition twelve years later in the form of his “Scottish” Symphony, now heard in this wonderful performance by Peter Maag and the London Symphony Orchestra. Maag’s intelligent conducting retains a balance between magical romantic timbre and analytical objectivity, whereby a wholly intentional underlying elegiac mood even spreads its veil over the hymnal third movement and the thrilling finale. His well-moulded interpretation is supported by a clearly stratified orchestral sound which is a real joy to hear, remaining pure and refined, even in the sonorous tutti. And what could be more fitting to round off this “Scottish” programme than the concert overture “The Hebrides“? Many a Mendelssohn lover would say that this recording should be cast in iron for posterity. But instead, here it is on four 45rpm discs – a real collectors item!

1. Fingal's Cave, Overture for Orchestra, Op. 26
2. Andante con moto-Allegro un poco agitato (No. 3)
3. Vivace non troppe (No. 3)
4. Adagio (No. 3)
5. Allegro Vivacissimo-Allegro maestoso assai (No. 3)
6. Allegro vivace (No. 4)
7. Andante con moto (No. 4)
8. Con moto moderato (No. 4)
9. Saltarello:Presto (No. 4)

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Felix Mendelssohn composed the concert overture to A Midsummer Night’s Dream in 1826 while the remaining incidental music, composed for a performance of Shakespeare’s famous play, was written many years later. His well known Wedding March and the other important numbers of A Midsummer Night’s Dream are included in this sought-after DECCA recording. This composition is Mendelssohn’s most important stage works and a great favourite, which explains why it is so frequently performed (especially the overture) and recorded. World-class musicians like the soloists Jennifer Vyvyan, Marion Lowe and the London Symphony Orchestra, conducted by Peter Maag, and supported by the Women’s Chorus of the Royal Opera House, Covent Garden, give a masterly performance of this delightful work which offers an insight into Mendelssohn’s early and late compositional styles. The quality of the performance leaves nothing to be desired and the listener is carried away to a world of dreams, not only during a summer night.

1. Overture Opus 21
2. Scherzo Opus 61 No. 1
3. 'You Spotted Snakes' Opus 61 No. 3
4. Intermezzo Opus 61 No. 5
5. Nocturne Opus 61 No. 7
6. Wedding Marche Opus 61 No. 9
7. Dance Of The Clowns Opus 61 No. 11
8. Finale Opus 61 No. 12

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The amazing skill of two great virtuosos, Joseph Leutgeb and Anton Stadler, inspired Mozart to compose the concertos heard here. Recorded November1959 at London's Kingsway Hall, this DECCA recording gives us an excellent idea of how the concertos would have sounded in Mozart's day, thanks to two of today's very best instrumentalists – the clarinettist Gervase de Peyer and the horn player Barry Tuckwell.

Amazing lightness, warmth of tone and perfect intonation are the hallmarks of the soloist and London Symphony Orchestra conducted by Peter Maag in the clarinet concerto, which Mozart completed only a few weeks before his death. The two horn concertos heard here were also written during Mozart’s final creative period in Vienna. Just one hearing is enough to let them be remembered for all time – for these concertos employ to the full the horn’s rich and widely varied range of expression. Broad arching melodies, tripping runs and merry hunting calls in the final movements guarantee musical enjoyment, and for this we owe our thanks to both the past and present masters of their instruments in this delightful recording.

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Mozart wrote the Divertimento No. 1 at the age of six, while A Musical Joke and Eine kleine Nachtmusik were composed shortly before his death.

From what one hears, apparently only a few music lovers enjoy listening to Eine kleine Nachtmusik. Far too often has it been performed routinely rather than being filled with life. This recording is quite different: living up to his reputation, Karl Münchinger proves that this favourite can be imbued with significance.

The historical roote of the serenade lie in the suite which consists of varied contrasting dance movements. In the spirit of this tradition, Münchinger offers a clear and unfussed interpretation which is absolutely credible and has a freshness rarely heard. The ensemble plays both cheerfully and and wittily. In A Musical Joke, Mozart parodies amateurish composers of his own era, and the orchestra quite obviously participates in the fun.

This LP is distinguished by its musical and tonal balance and is one of DECCA’s best sound recordings.

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It is not often that incomplete works enjoy great popularity. And it is even rarer that a torso should exercise such great importance in music history, but this is the case with Mozart’s Great Mass, K. 427. The C minor Mass is always spoken of as if it were complete: it is spoken of with reverence, eyes looking towards Heaven, lost in the beauty of the music, transported to celestial heights. Mozart combines the compositional style of the Baroque masters with the more modern style of the Viennese Classic. Lofty arioso sections alternate with tremendous choral sections for up to eight parts whose splendid and spectacular timbre broke the bounds of tradition and set new standards for the genre.

This Mass is, of course, not merely performed but celebrated, as the Berlin RSO under its Principal Conductor Ferenc Fricsay has so admirably demonstrated in this recording. Precise entries, strict tempi, a polished orchestral timbre and vocal soloists so brilliant one might think they were standing in one’s own front room lend this recording top marks for musical quality and repertoire value.

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Friedrich Gulda is known to all. He is the musical wizard with the embroidered cap, an artist who is equally at home in jazz, the Viennese lied, or the works of the Viennese Classic. Gulda might have only performed a small number of his Austrian compatriot?s 27 piano concerto ? but with these few he certainly created a sensation. That the present recording of the Concertos Nos. 20 and 21, even after 25 years, is still regarded as ranking among the very best performances is something that can be heard after just a few bars. The minor-key first movement of No. 20 begins with a measured tempo and precise articulation, then the piano joins in with almost sober clarity and proceeds to lead a concentrated, tightly enmeshed conversation with the orchestra.

The C major Concerto sparkles brightly with its thrilling, virtuoso part-writing and transparent, almost chamber-like instrumental ensemble. Details left only fleetingly touched and casual phrasing will be sought in vain in this highly analytical interpretation of Mozart?s musical intentions. The listener will do well here to forget the popular concept of a fun-loving, high-spirited Mozart and to recognize the ardent, passionate side of the composer.

Concerto for Piano and Orchestra No. 20 in D Minor
Allegro
Romance
Rondo

Concerto for Piano and Orchestra No. 21 in C Major, K. 467
Allegro maestoso
Andante
Allegro vivace assai

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“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!

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Like all the works he composed during his extremely productive years in Vienna, Mozart’s last two symphonies are remarkable for their ambitious and demanding individuality, despite the fact that they were written in the amazingly short space of only six weeks. Any inference to the dire circumstances in which the composer was living at the time might possibly be detected in the grave character of Symphony No. 40 in G minor. The so-called Jupiter-Symphony, however, which owes its name to the Roman god, brims over with an endless joy of life. The powerful final movement with its combination of fugal technique, rondo and sonata form is quite rightly regarded as a unique compositional achievement in the classical era. The Mozart specialist Carlo Maria Giulini, who only enters the recording studio when he is quite totally sure of a thing, has set down a performance here which does without orchestral fireworks and concentrates on a seemingly endless flow of melody. The orchestral playing is light, airy and unpretentious, the strings as soft as silk – what more could Mozart have wished for.

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MOZART/SYMPHONY #36/PIANO CONCERTO NO. 15/LEONARD BERNSTEIN-VIENNA PHILHARMONIC ORCHESTRA

This is a Speakers Corner re-issue of the original Decca release that is the same in every detail.

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MUSSORGSKY/PICTURES AT AN EXHIBITION/BYRON JANIS/MINNEAPOLIS SYM ORC (2LP 180g)

This two-LP set includes as a very special bonus the piano-only version of Pictures at an Exhibition cut at 45 RPM. This is how this work was originally composed though no recording of that version has previously been released. The full symphonic version of Pictures at an Exhibition is cut here at 33 1/3. The orchestral version of Mussorgsky’s musical picture gallery has always been one of the most popular works ever heard in concert halls all over the world. Originally written for the piano, the unsuccessful composer never heard the work in all its symphonic glory, although many of his contemporaries had often been tempted to arrange his works. As early as 1891, ten years after his death, Mikhail Tushmalov – a pupil of Rimsky-Korsakov – presented a first version. However, it is Maurice Ravel’s orchestral version from 1922 that remains unsurpassed to this day. His arrangement amalgamates the original force and angularity of the piano with the brilliance of a modern orchestra.The transparent and powerful performance by the Minneapolis Symphony Orchestra is complemented by an equally fascinating version from one of Mercury’s main pianists, Byron Janis. In listening to the two interpretations one after the other it becomes clear as to how closely Ravel remained true to the original version while still managing to imbue his genial orchestral version with his own tonal conception. The solo piano recording, released for the first time on vinyl, will certainly be of special interest to record collectors.

1. Gnomus
2. Il Vecchio Castello
3. Tuilleries, Disput D'Enfants Apres Jeux
4. Bydlo
5. Ballet of the Chickens in Eggs
6. Samuel Goldenberg and Schmuyle
7. Limoges
8. Catacombs
9. The Hut on the Fowl's Legs
10. The Great Gate at Kiev

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PROKOFIEV/ROMEO & JULIET SUITES 1 & 2/STANISLAW SKROWACZIEWSKI - MINNEAPOLIS SYMPHONY (MERCURY)

As is widely known, ballet suites are the 'little sisters' of large ballet compositions that have been compiled by the composer mostly at a later date for performance in the concert hall. Prokofiev’s Romeo and Juliet is another story however. Strangely enough, his two Suites were given their first performance before the premiere of the complete ballet. The applause can still be heard echoing through the world of music. This music is one of the pillars of a good record collection - and with good reason. Both Suites contain a wealth of delightful melodies that are given substance by colorful harmonic writing. Just how ideal Prokofiev can sound is brought to us by Stanislaw Skrowacziewski and the Minneapolis Symphony Orchestra. In the first Suite he lets his musicians sweep with elan through the Burlesque, the splendor of the Love Theme is full of lyrical intensity and rises to a forceful climax filled with sharp dissonances in Death of Tybalt. The Second Suite, too, is of the very highest standard, both from an artistic and recording point of view. The characteristic themes and motifs are well contoured and brought to the fore while embedded in a fresh and natural carpet of sound which is sometimes filled with immense warmth. It is clearly noticeable that all participants have given much time and thought to this first-rate production. And the listener will certainly enjoy giving over a good portion of his leisure time to this delightful music.

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This title is not eligible for further discount.

This title is not eligible for further discount.

RACHMANINOFF/PIANO CTO 3/BYRON JANIS/DORATI--LSO

This early stereo LP with the pianist Byron Janis and conductor Antal Dorati was and still is an enormous success, as is proved by the fact that it is regarded as a work of reference even in this age of the silver disc. Janis performs with a controlled passion, like a fine mechanic who watches with the greatest of care over the structural elements which have been entrusted to him. His playing is precise and lucid down to the smallest detail, even in the minutest trill. Dorati has his ensemble enter gently with punctilious timing and allows the fullness and energy of this late-romantic score to unfold before us. How wonderful that this particular 'Rach 3' is available once again to eager audiophile listeners!

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This title is not eligible for further discount.

RAVEL/BOLERO/ANSERMET

Among the innumerable recordings of Maurice Ravel’s Boléro, the present one made by DECCA with the Orchestre de la Suisse Romande under Ernest Ansermet is of particular note. The impressive mounting crescendo over an ostinato bass, leading through the work from the very first bar right up to the last note, goes hand in hand with ever increasing intensity and excitement and hardly permits the listener to draw a breath. As in the Boléro, Ravel’s La Valse, a choreographed poem for orchestra composed in 1920, is based on a single rhythmic idea, the Viennese waltz, which lends the work increasing impetus throughout the course of the music.

Although Arthur Honegger’s Pacific 231, composed in 1923 and dedicated to Ernest Ansermet, is more modern and has a more complex structure, here too a great arc of tension determines the progress of the music until shortly before the end. The orchestra accelerates in tempo and then decelerates – due to the motivic writing – towards the end thus evoking the sound of a locomotive: the Pacific 231 namely. The great success of the first performance of Paul Dukas’s L'Apprenti sorcier (The Sorcerer’s Apprentice) in 1897, a scherzo composed in 1895 and based on a ballad by Goethe, certainly comes as no surprise when one listens to this recording by the OSR under Ansermet. The composition is filled with a wealth of surprising moments which are presented here with exactitude and subtlety in even the tiniest detail.

1. Bolero (Ravel)
2. Pacific 231 (Honegger)
3. The Sorcerer's Apprentice (Dukas)
4. La Valse (Ravel)

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RAVEL DEBUSSY/MA MERE NOCTURNOS

Ravel’s ballet music Ma Mère l’Oye, originally written for piano, four hands, was inspired by Charles Perrault’s fairy tale. Ravel mostly wrote music for small forms which is reflected by the short movements of the suite. The world renowned Orchestre de la Suisse Romande, led by the conductor best suited to this kind of music, Ernest Ansermet, bring out the vivacious and colourful elements of the work. The orchestra’s timbre is well suited to the gentle shading of the music, as is shown in the final Jardin féerique. Completed by Debussy in 1899, the three Nocturnes reveal the aesthetics of a composer who put Nature above Art. Debussy endeavoured to achieve a natural flow and consistency in his music without slavishly copying the sounds of nature. Although Nuages (Clouds), Fêtes (Festivals) and Sirènes (Sirents) are night pieces, they are seen with a view to light and shadow: two optic conditions that influence the music. The artists give an amazingly transparent and differentiated performance of the music. The present recording should not be missed by any lover of Impressionist music.

1. Prélude et Danse du Rouet (Ravel)
2. Pavane da la Belle au bois dormant (Ravel)
3. Petit Poucet (Ravel)
4. Laideronnette Impératrice des Pagodes (Ravel)
5. Les entretiens de la Belle et de la Bête (Ravel)
6. La jardin férique (Ravel)
7. Nuages (Debussy)
8. Fêtes (Debussy)
9. Sirènes (Debussy)

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RESPIGHI/ANCIENT DANCES/DORATI/HUNGARY PHILHARMONIC (180g IMPORT LP)

One of the Best Mercury Living Presense LPs of All Time Now Available on 180 Gram Audiophile Vinyl from Speakers Corner!

The common practice in concert houses today of performing early music on modern orchestral instruments is owed largely to the endeavors of Ottorino Respighi. His free transcription of Renaissance works for the lute (1932) opened the way to the rediscovery of forgotten rhythms and timbres. Although Respighi altered the structure of the music by dissecting phrases right down to their basic elements, re-ordering them and redefining their sonority by the use of heavy brass and timpani, the art of the ancient maestri remained unscathed. Cadences and harmonic idioms are given a modern coloring at the most, but are never destroyed. Antal Dorati and his famous Philharmonia Hungarica have all that is needed to bring the score to life. Even in opulent passages the individual instruments can be heard distinctly. This works particularly well in the first two suites in which each movement is treated to a process of refinement by means of differing orchestration. That the third suite, written purely for stringed instruments, soars away, just like the proverbial Aeolian harp is only to be expected from this orchestra.

Respighi - Ancient Dances - Dorati - Hungary Philharmonic Track Listing

Suite 1 for Orchestra
Suite 2 for Orchestra
Suite 3 for Strings

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RESPIGHI/BIRDS/BRAZILIAN IMPRESSIONS/DORATI-LSO

It was Respighi’s fascination with ancient dances and songs that inspired him to write his bird suite. His great love for such music makes itself felt in every single movement of this work. While Respighi imbued each of the bird portraits with his very own sound colouring typical of his time, there is an original masterpiece by a Renaissance or Baroque composer lurking in the background.

The marchlike 'Intrada', based on a piece by Bernardo Pasquini (1637-1710), is further refined by a gradual building-up of the instrumental apparatus and comes to a final climax full of pomp and glory in which the brass are given prominence. Ornithological elements are easily identified in the movements which follow: the dove’s cooing and billing is are underlined by a sighing, rhythmic base; the hen is heard clucking with a characteristic motif, and the song of the nightingale is brought to us by the flute over a mysterious murmuring on the low strings. The cuckoo is then heard, followed by a repeat of the initial theme, thus bringing to perfect completion 'Gli Ucelli' ('The Birds'), a colourful bird show which knows no rival in modern music.

The 'Impressioni brasiliano' ('Brazilian Impressions') is also a seldom heard jewel in both the concert hall and on record. Although the three-movement work has a subtle rhythm which runs throughout the work, it is far removed from the well-known 'Europeanised' samba adaptations which are so often heard. The suite is remarkable for its tender, impressionistic colouring which demands to be heard time and time again.

Recording: July 1957 in Watford Town Hall, London, by C.R. Fine
Production: Wilma Cozart and Harold Lawrence

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RIMSKY-KORSAKOV/EASTER FESTIVAL-OSR

How dull the world would be without fairy tales! In Slavonic countries, numerous generations have uttered these words and taken especial heed to pass on to their children the wonderful stories which all begin with the words “Once upon a time ...”. In this country, such matters seem to be of less importance when one considers how rare it is to see a Russian fairy-tale opera on the programme.

If you do not happen to have tickets for the Bolshoi Theatre in your pocket, then you really must listen to the Orchestral Suite from The Tale of Tsar Saltan: a delightful 20 minutes of highlights from one of opera’s masterworks. Introduced by a blaring fanfare in every case, each of these wonderfully expressive musical gems is filled with highly original melodies, exquisite rhythms and brilliant orchestration.

The B Side offers a foretaste of a Russian “Midsummer Night’s Dream”: based on Ukrainian folk melodies, the Overture to May Night evokes a vivid picture of elves and water-nymphs.

The Russian Easter Festival Overture, with its liturgical elements, provides a contrast to the lyrical fairy-tale music and rounds off this delightful Rimsky-Korsakov portrait which no music lover should fail to include in his collection.

1. Tsar's Departure and Farewell (Op. 57)
2. Tsaritsa and her son afloat in the cask (Op. 57)
3. The Three Wonders (Op. 57)
4. May Night
5. Russian Easter Festival, Op. 36

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RIMSKY-KORSAKOV/MUSIC OF DUBINUSHKA

Rimsky-Korsakov was not only a masterly composer of great operas and eloquently powerful symphonies but a genius when it came to the smaller forms, and ample proof is provided by this delightful compilation on the DECCA label. The fairytale, programmatic music of the Christmas Eve Suite conjures up a fantastic world where the stars and planets dance and play above a snowy landscape until the witches’ sabbath begins and Vakula appears on his satanic warhorse. Brimming over with a wealth of highly varied Slavonic dance rhythms, genial instrumentation, and delightful melodies, this Suite offers nothing but pleasure the whole year through.The musical picture Sadko tells the story of a seafaring hero who is obliged to entertain Neptune at his court with music. Dancing water-spirits evoke a terrible storm from which Sadko only manages to escape with his life thanks to Saint Nicholas. Further attractions are to be found on the B side, namely the pre-revolutionary march Dubinushka (“The little oak stick”), and of course the immensely popular Flight of the Bumble-Bee which is sheer magic in this full orchestral version. If by now your mouth is watering for a taste of these Russian delicacies, just help yourself!

1. Christmas Eve Suite
2. Sadko - Musical picture, Op 5
3. The flight of the Bumble - Bee
4. Dubinushka Op. 62

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RODRIGO/CONCERTO ANDALUZ/MARRINER/ACADEMY OF ST. MARTIN IN THE FIELDS (LP)

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ROGER SESSIONS/THE BLACK MASKERS/COLIN McPHEE/TABUH-TABUHAN/HOWARD HANSON - EASTMAN-ROCHESTER ORCHESTRA ( MERCURY )

Originally released as Mercury SR90103. Recorded at the Eastman Theater in Rochester, New York by C.R. Fine in January and May of 1956.

Roger Sessions is cited as being one of his native America�s truly great composers. He has often been described as the 'American Brahms' due to the musical independence of his compositions in which traditional musical forms play an important role. One astounding fact is that Sessions does not sound in the least 'American', for neither jazz elements nor folk melodies are to be found in his music.

Sessions� highly individual style made itself heard and lent character to his complete incidental music for Leonid Andreyev�s drama 'The Black Maskers' as early as 1923. The four symphonically conceived movements are filled with a sharply jagged rhythm, a well-developed feeling for a contrapuntally ramified skeletal framework, and a masterly use of all the possibilities offered by a large orchestra.

Colin McPhee�s 'Tabuh Tabuhan' is rich in exotic harmonies. Subtitled a 'Toccata for Orchestra', the work is based on Balinese melodies which the composer brings to life on western instruments. In addition to two pianos, which are used both rhythmically as well as melodically, an instrumental nucleus consisting of marimba, xylophone and glockenspiel provides a folkloristic undertow. By this means, McPhee achieves an explosive mixture of percussive South Sea magic and occidental polyphony which is rarely to be encountered elsewhere. It is superfluous to say that this recording is like a rare and precious pearl in the repertoire.

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ROSSINI/OVERTURES/PIERINO GAMBA - LONDON SYMPHONY ORCHESTRA

Although Gioacchino Rossini wrote 39 operas, they are rarely heard today – with the exception of The Barber of Seville. Many of his overtures have, however, remained extremely popular. This record presents five of them which were composed between 1812 and 1829. Rossini’s orchestral works are famous for the magic of the almost inevitable “Rossini crescendo”. The composer is said to have been so disheartened by the failure of his last opera William Tell that he gave up composing, and took his talents into the kitchen. He was an excellent cook and one can well imagine how the rich melodic inspiration of his overtures was transferred to his menus.

Pierro Gamba’s masterly interpretations convey the structure of the compositions, while the London Symphony Orchestra certainly sets off the fireworks.

The sound quality has lost nothing of its brilliance and musically the recordings are of a very high standard, clear and animated.

1. The Thieving Magpie
2. The Silken Ladder
3. The Barber of Seville
4. Seimramide
5. William Tell

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MSTISLAV ROSTROPOVICH AND BENJAMIN BRITTEN/CELLO SONATAS/BRITTEN: Sonata In C For Cello And Piano, Op.65/SCHUMANN: Funf Stucke Im Volkston/DEBUSSY: SOnata For Cello And Piano.

The cello has always been held in high esteem for its warm, noble timbre and range of expression. So it is no wonder that numerous solo pieces have been written for the instrument. In this recording, the cellist Mstislav Rostropovich, together with the great Benjamin Britten at the piano, have left the accustomed pathway to perform three less well-known – but nevertheless excellent – works from the 19th and 20th century.

Robert Schumann’s Fünf Stücke im Volkston allows the cellist to bring out the whole beauty of his instrument. Well-paced tempi, a crystal-clear tone, and an exquisitely precise piano part emphasize the unique character of this music – a work which points the way towards modern times. The mysterious tonal and harmonic world of the Impressionists is evoked by Debussy’s Sonata for Piano and Cello. Written in the aftermath of the First World War, it reflects human tragedy and a feeling of oppression and anxiety.

Britten’s Cello Sonata was tailormade for Rostropovich and dedicated to the great cellist. The two musicians, both of them technical perfectionists, provide an inspired performance – beginning with the thrilling dialogue of the very first bars, via a lyrical elegy, right up to the gripping Finale in 6/8 time. To sum it up: top marks for music, tonal quality and choice of repertoire.

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Towards the end of 1951, Roy Eldridge moved from Europe, where he had made numerous recordings with top jazz musicians, back to New York. This move coincided with the founding of Norman Granz's new label Norgran and it goes without saying that the name came up of the small man Roy (nicknamed 'Little Jazz') whenever a trumpeter was required for a studio session. Like no other, Eldridge was able to switch without a hitch between swing and bebop and, like Dizzy Gillespie, he was also a showman par excellence. 'Rockin' Chair' is his most famous number and it's not only the title track here but also the best tune on a record that contains a selection of songs from three very different sessions. Among the four numbers with strings and arrangements by George Williams, the melancholy 'I Remember Harlem' is highly recommended. Then there are four rhythm 'n' blues numbers which are set alight by the scorching tones of tenor sax player Buddy Tate. That Roy Eldridge is a highly original singer has been known ever since he worked with Gene Krupa; 'Jumbo The Elephant,' a typical jump number, harks back to these days. The four numbers from 1952 with Oscar Peterson at the piano or organ are without a doubt the highlights of these recordings.

I See Everybody's Baby
Little Jazz
Basin Street Blues
I Remember Harlem
Rockin' Chair
Easter Parade
Roy's Riff
Wrap Your Troubles In Dreams
Baby What's the Matter With You
Yard Dog
Sweet Lorraine
Jumbo the Elephant

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SCHUBERT/SYMPHONY 9/JOSEF KRIPS - LONDON SYMPHONY ORCHESTRA

This is Schubert’s longest symphony, and its music has been described as heavenly. The symphony is typically and specifically Schubertian in its form, occupying a position in the history of music between Beethoven, Bruckner and Mahler – right on the threshold which separates classicism from romanticism. It is hard to say if Josef Krips ever succeeded in making a finer recording. The presentation has a direct, unforced spontaneity, confirming that Krips had an intuitive understanding of Schubert’s compositions. The orchestra plays with dynamic vivacity without ever sounding aggressive. The interpretation of the two final movements is delightful in its airy exhilaration: swaying in a dance-like rhythm, tripping lightly through virtually every key there is, and in between, in the Scherzo, the gravity of the trio. The Finale, again, is merry in character with triplets rushing past, and the listener revels in every single repetition as the magnificence of this work reveals itself. The inspired orchestra does full justice to the music and renders an interpretation in the Viennese tradition at its very best. This recording simply cannot be surpassed in terms of performance or sound quality – it is a must not only for the lover of Schubert’s music.

1. First Movement: Andante
2. First Movement: Allegro Ma Non Troppo
3. Second Movement: Andante Conmoto
4. Third Movement: Scherzo
5. Fourth Movement: Allegro Vivace

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SCHUBERT/PIANO QUINTET IN A MAJOR: TROUT QUINTET/CLIFFORD CURZON with members of the VIENNA OCTET

In the summer of 1819, Franz Schubert stayed in the Austrian town of Steyr where he began work on the composition of the five-movement Piano Quintet in A major, op. 114 (D 667) which was commissioned by the cellist Sylvester Paumgartner. The work was completed in the autumn and soon achieved great popularity under the name of Trout Quintet, which it owes to the Andantino fourth movement – a set of variations on the song of the same name. The work has remained highly popular right up to the present day and so it comes as no surprise to find this highly praised recording, made with such renowned artists as the pianist Clifford Curzon, the violinist Willi Boskovsky and other members of the Vienna Octet, being released once again. The ensembles refreshing performance reflects the sparkling lightness and virtuosity of the work. The well-balanced recording with its full tone certainly deserves a place in every music lovers collection.

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SHOSTAKOVICH/SYM NO 5/SKROWACZEWSKI/MINNEAPOLIS SYM (180g IMPORT LP)

Shostakovich Symphony #5 from the Original Mercury Living Presence Master Tapes!

One of the most fascinating aspects of Dmitri Shostakovich's music was and still remains his aesthetic ambiguity, the likes of which is almost impossible to find in modern music. The Fifth Symphony in particular is regarded as an excellent example of how, during Stalin's regime, Shostakovich outwardly remained true to the regulations concerning art while still managing not to forfeit his own artistic freedom and identity. Conceived in a classical vein, the work is filled with powerful motion and Russian song, even going almost as far as late-Romantic transfiguration. But this idyll is deceptive. Again and again the apparent harmony is disrupted by biting sarcasm: the spirited main theme of the first movement soon stiffens into a march-like farce, while in the untroubled second movement a shrill motif in the winds tears apart the cheerful mood. Skorwacziewski amalgamates the contrasting tender sweetness of the violins and the violence of the attacking wind instruments in his precise and sparing interpretation, which is free of sugary expression and forced dynamics. This Speakers Corner pressing, from the original Mercury Living Presence analog master tapes will blow you away!

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SIBELIUS/VIOLIN CONCERTO IN D MINOR, OP. 47/TCHAIKOSKY/SERENADE MELANCOLIQUE, OP. 26/RUGGIERO RICCI/FJELSTAD-LSO

The violin had got me completely under its spell; for ten years it was my greatest wish to become a great violin virtuoso …«, confessed Finland’s national composer Jean Sibelius in later years. Although he began a career as a violin virtuoso too late, as a composer he profited enormously from his intimate knowledge of the instrument and the possibilities it offered. This is particularly apparent in his Violin Concerto with its wonderful synthesis of virtuosic expression and technical bravura, its classical symphonic form, its outward effects and inner substance. This late-Romantic, brilliantly coloured work is certainly one of the most rewarding for every soloist. A specialist in the field of 19th-century bravura pieces and master of an effortless technique and suppleness, the great American violinist Ruggiero Ricci certainly possessed all the requirements for a brilliant performance of this concerto. And Øivin Fjeldstad is the perfect partner for Ricci in more ways than one in this wonderfully lively recording: thanks to his training as both a conductor and a violinist, he ensures a perfect balance between soloist and orchestra; and as a Norwegian he is, of course, completely au fait with Scandinavian repertoire, and guarantees – both here and in other recordings with the London Symphony Orchestra – a truly nordic touch.

1. Sibelius-Violin Concerto in D Minor, Op. 47
2. Tchaikovsky-Serenade Melancolique Op. 26
3. Scherzo from Souvenir d'm lieu cher, Op. 42

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Janos Starker, whose elegant style and impeccable musicianship are the delight of audiences the world over, performs the Schumann, Lalo and Saint-Saens Cello Concertos on 35mm film. This LP was pressed on the world's quietest vinyl at Pallas in Germany. Any Starker fan or fan of the cello needs this record!

Track Listing:

1. Robert Schumann: Concerto for cello and orchestra in A minor, op. 129
2. Édouard Lalo: Concerto for cello and orchestra in D minor

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During Richard Strauss' life Herbert von Karajan was one of the pioneers who championed with great enthusiasm the oeuvre of the composer from Garmisch. Strauss listened with great satisfaction to a performance by Karajan and afterwards, with a twinkle in his eye, called him a rascal. Karajan's continued devotedness to Strauss' works knows no comparison. He has left us with a wealth of first-class recordings made over the decades – from crackling shellac right up to the introduction of digital technology. The Fantastic Variations on a Theme of Knightly Character, or just Don Quixote for short, bring together highly varied contrasts in a complex score. Ten variations, brimming over with pictorial music, relate the dramatic experiences of the Knight of mournful countenance and his rustic squire: their ambling departure into the world, bitter combat and heroic triumph over the giant windmills, and finally understanding and a return homewards from the journey within himself.

Teil:Introduction
Thema
Variations I-III
Variations IV-X
Finale

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Ernest Ansermet’s long friendship with Igor Stravinsky enabled him to witness the birth of some of the composer’s most important creations. This proved to be of incalculable worth in his interpretation of the works he premiered for Stravinsksy.Here Ansermet directs the OSR in a performance of Stravinsky’s The Firebird. It is the composer’s first major ballet, brought him world fame and continues to gain in popularity to this day. The story – which combines the motifs of several Russian fairy tales with a magic Firebird, a vanishing castle, an evil magician, and a hero who saves the maiden – inspired Stravinsky to write some of his most fascinating and mysterious music.

The OSR is fully equal to its fine reputation. Ernest Ansermet’s competence as an interpreter is evident throughout. Acoustically, this pressing offers advantages over the original. Here the orchestra resonates with a full, natural and mellow sound that blossoms into a veritable garden of tonality extending around and behind the loudspeakers. This new edition of Stravinsky’s The Firebird is a true stereophonic delight.

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That art cannot be mechanized, but demands freedom and belongs to all mankind is a lesson that had to be learned by the emperor of China in Hans Christian Andersen's fairytale. The emperor imprisoned a nightingale in a golden cage so that he alone could enjoy its song. An inventor's attempt to imitate the nightingale's song by means of a mechanical bird brought the emperor only a short-lived pleasure: the cogwheels wore down, and the bird's music became a farce. But it was not only the birdsong, which suffered. The emperor became ill and took to his bed. Only the song of the real nightingale can bring him back from death's door. Stravinsky set the fairytale to music in a symphonic poem which is filled with colorful sound of the Far East. Characteristic for the powerful musical language of this early work are reminiscences of stylistic elements from The Rite Of Spring and The Firebird. The repertoire on this LP is enhanced by a sonorous Scherzo, the mock tango, and the dramatic and far too rarely performed Etudes for Orchestra.

1. Scherzo a la Russe
2. Fireworks
3. Tango
4. Four Etudes fro Orchestra
5. The Song Of The Nightingale (Symphonic Poem)

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Deutsche Grammophon is celebrating its 100th birthday. And while corks are popping, what better occasion is there to go into the archive, search out a few of the precious magnetic tapes and commit the recording to black, shiny vinyl. Having satisfied CD buyers with an extensive special edition at the turn of the year, attention is now being turned towards the LP buyer. The choice certainly wasn't easy, but this release is now part of three outstanding LPs from three decades of stereo recordings on the unsurpassed Yellow Label. The recording of the symphonic poem Ein Heldenleben with the Berlin Philharmonic has made history: it was Herbert von Karajan's very first stereo recording for Deutsche Grammophon. Insiders know that the extraordinary quality of this production was responsible for the artist's lifelong commitment to the company.

Ein Heldenleben Op. 40

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TARENTULE-TARENTELLE/LATE MEDIEVAL FOLK MELODIES AND DANCES/PANIAGUA (180g LP)

Long before modern science established the fact, it was recognized that music had the power to heal. The present album is dedicated to the tarantella, a dance form whereby a couple was surrounded by a circle of others and which was supposed to cure the long-term effects of a toxic spider bite. 'Concocted' by Italian and Spanish musicians whose names have long faded into oblivion, the musical antidotes (so the title of the first piece) were rediscovered by scholars in the 17th century and brought together in book form. Gregorio Paniagua, director of the Atrium Musicae de Madrid, shows great craftsmanship in the Baroque arrangements of the melodies. He creates his historical sound-world with impeccably played gamba parts, the purest of harp tones and gentle cloudlike chords on the positive organ. At times cacophonous percussion adds a little spice to the sound, and here and there a flute makes itself heard. These sharp accents, although melodious and pleasing to the ear, conjures up a vision of rustic, frenzied dancing.

1. Antidotum Tarentulae (Anonyme)
2. Chorea (Anonyme)
3. Primus modus Tarentella (Anonyme) - Secundus modus Tarentella - Tertius modus Tarentella
4. Les Barricades mystérieuses (F. Couperin)
5. Tarentella Neapoli Tonum Phrygium (Anonyme)
6. D'après une basse obstinée de Buxtehude (G. Paniagua)
7. Ritornello Tarentella Neapoli (Anonyme)
8. Laetatus sum. Psalmus 121 (C. Monteverdi)
9. Tarentela (Anonyme)
10. Tarentella. Alia clausula (Anonyme)
11. Tarentelas 1a, 2a & 3a (Anonyme)
12. Tarentella. Tono hypodorico (Anonyme)
13. La Tarentela (G. Sanz)
14. Scotish Gigg (Anonyme)
15. Tarentela (Anonyme)
16. Tarentelas (S. de Murcia)
17. Country Dance: Running Footman (Anonyme)
18. La Tarentela (D. Fernandez de Huete)
19. Ballet des sorciers (M. Praetorius)
20. Tarentela I (Anonymes)
21. Tarentela II (Anonymes)
22. Tarentela III (Anonymes)
23. Tarentela IV (Anonymes)
24. Tarentela V (Anonymes)
25. Tarentela VI (Anonymes)
26. Nana Andaluza (Anonyme)
27. Taranto d'Almeria (G. Paniagua)

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TCHAIKOVSKY/1812/CAPRICIO/ALWYN-LONDON SYMPHONY ORCHESTRA

The 1812 Overture, Tchaikovsky's musical tribute to celebrate victory over Napoleon's army, is one of those 19th-century works which is seldom performed in the concert hall due to the enormous number of instruments it requires. This programmatic symphonic work with its battlefield participants; male-voice choir, bell chimes, percussion, and cannon-fire; requires the utmost from everyone involved, from the tutti strings right up to the balance engineer. The gratifying result of a production made with only the very best ingredients can now be enjoyed once again with this re-release of a DECCA recording. The London Symphony Orchestra, led by Kenneth Alwyn, has achieved a remarkable feat, their rich timbre enhancing every nuance of this closely-knit score. Sonorous strings and polished brass wind passages ensure that the listener's attention will be riveted right to the very last bar. Less nerve-racking but certainly no less riveting in its beauty and lightness are the well-known Capriccio italien and the popular Marche slave. The purchaser of this LP can congratulate himself that he now possesses three of Tchaikovsky's greatest showpieces

1. 1812 Overture
2. Capriccio Italien
3. Marche Slave

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TCHAIKOVSKY - MENDELSSOHN - CONCERTO FOR VIOLIN AND ORCH - MILSTEIN - ABBADO - VIENNA (180g IMP LP)

Although he has lived in the USA since 1929 and even took on American citizenship in 1942, Nathan Milstein is often referred to as perhaps the last Russian among all Russian violinists due to his art of playing - which is governed wholly by intellect. This does not mean that Milstein plays in an academic or cool manner, his art is thoughtful and controlled - in the very best sense of the meaning. And this should certainly not be equated with deliberateness. On the contrary. Milstein’s tremendous virtuosity, particularly in the fiendishly difficult final movements of Tchaikovsky’s and Mendelssohn’s concertos, takes both works to new heights. Although never a forceful presence since he employs relatively little vibrato and thus achieves a slender tone, Milstein’s playing is filled with amazing assertion and luminance, and is quite fascinating for its extraordinary purity. And this is precisely what enhances his interpretation of these two great classical concertos, lending them a legendary grace, a feeling of rightness - that there is no other way. The Vienna Philharmonic, with their great tradition, provide support of the first order, and Claudio Abbado proves once again that he is a more than circumspect master of the baton.

Concerto for Violin and Orchestra in D major, Op. 35
Allegro Moderato
Canzonetta Andante
Finale Allegro Vivacissimo

Concerto for Violin and Orchestra in E Minor, Op. 64
Allegro molto Apassionato
Andante
Allegretto non troppo - allegro molto vivace

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When the evenings grow longer, the autumn leaves begin to fall and Jack Frost calls during the night, then it is time to conjure up the magic world of Tchaikovsky’s Nutcracker while relaxing in front of a crackling fire. In this double album you will hear the delightfully varied ballet music in its entirety and not just the usual highlights. Each and every one of the highly individual numbers, be it a dance, a march or a waltz, is enchanting with its ever varying orchestral colouring, here merry and impudent and tripping along lightly without a care in the world, there sturdy and vigourous, even coarse.

The Orchestre de la Suisse Romande, led by its conductor of many years standing, Ernest Ansermet, is very much at home in Russian repertoire and masters the occasional immense difficulties of the score with bravado. The DECCA team has once again proved its worth and leaves any nuts which still need to be cracked to the hi-fi equipment – the airy strings, the delicate triangles, the thrill of cymbals clashing, and the wooden clack of the castanets. And if, by an amazing coincidence, the heating should fail when you are listening to this record, there is no reason to worry – this music is guaranteed to warm the cockels of your heart and keep Jack Frost from the door.

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Made during the pioneering days of stereo technology when everyone was vying for a piece of the cake, it is hard to believe that this absolutely top-notch recording of Tchaikovsky’s Pathetique has never been brought to the ears of music lovers until today. And it is even more unbelievable since it was made by a first-class orchestra, the Berlin Radio Symphony Orchestra, and conducted by one of the greatest conductors of the 20th century, Ferenc Fricsay. The reasons for the non-release are a matter of speculation because those responsible have kept them under their hat.

Not even the man behind the microphone, Werner Wolf, can recall making this recording - although a yellowed recording protocol discloses carefully noted details about the recording venue and date. No wonder that the tapes never got made into records. It is not with a little pride and much joyful anticipation that the announcement can be made: the record is spinning on the turntable at last.

And at long last a gap in Fricsay’s repertoire can be closed. Specially recommended: listen to the wonderful clarity of the upper strings which is preserved even in the softest passages.

Symphony No. 6 in B minor, Op. 74 (Pathetique)
Satz: Adagio - Allegro non troppo
Satz: Allegro con grazia
Satz: Allegro molto vivace
Satz: Finale. Adagio lamentoso

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Here is a true delight for all ballet fans and music-lovers. This recording of what is probably Tchaikovsky’s most popular ballet, Swan Lake, by Ernest Ansermet and his orchestra in a masterly performance is now available as a new pressing in vinyl. The Russian composer’s first ballet is offered here on a double LP and although not a complete recording, this compilation (with a minimum of cuts) certainly comprises the most beautiful and expressive scenes, losing nothing in the process. “Ballet specialist“ Ansermet and his wonderfully balanced Orchestre de la Suisse Romande offer here a recording which you’ll want to hear again and again for it captures both the tragic moments of the fairy tale and the festive dance scenes. The precise winds in, for example No. 4, provide a marked contrast to the lively and exciting tutti (No. 5), while the gentle woodwinds blend charmingly with the dreamlike cantilena of the strings (No. 11). The various characteristics of the festive national dances (Polkas, Mazurkas, Hungarian Dance etc.) are performed with temperament, verve and rhythm, but it is the waltzes with their sweet dreaminess which invite the listener most of all to put on their dancing shoes and join in the dance.

1. Swan Lake

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Recordings of Tchaikovsky’s late symphonies with the Leningrad Philharmonic under Mravinskij were a legend even in the days of mono recording technique. It comes as no surprise therefore to learn that Tchaikovsky fans were overjoyed when these three great symphonies were released at last on the Yellow Label in top hi-fi quality at the beginning of the Sixties. Masterful performances, as thrilling as live recordings, now became available – recordings which were far superior to all others on the market. Even when the purported ‘miracle’ of digital recording technique began to take over and industrial record production had become a matter of course, Mravinsky’s recordings were still available in a 2CD set. There are reasons enough to re-release the Fifth Symphony as an individual LP, without going into lengthy discussions about which of Tchaikovsky’s late symphonies is the most important. Those who treasure a mono version or a Mravinsky recording from an unknown source in their collection are now given the opportunity to compare their version with the present re-release. All others can congratulate themselves on possessing a milestone recording, a true work of reference, for no other Mravinskij sounds better than this one.

1. Satz: Andante - Allegro Con anima
2. Satz: Andante cantabile, con alcuna licenza
3. Satz: Allegro moderato
4. Satz: Finale: Andante maestoso - Allegro vivace

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This title is not eligible for further discount.

Three famous and famous-sounding Ballets by Stravinsky, all conducted by Antal Dorati and packaged together here by Speakers Corner. This extensive 180g Import 3 LP Box Set also includes a slip case and deluxe 12 page booklet.

Stravinsky Ballets Dorati Included Works:

Mercury SR90216 Stravinsky: Petrouchka/Dorati/The Minneapolis Symphony Orchestra. Petrushka was born of Stravinsky’s vision of a long-haired musician hammering indiscriminately at the piano keys and engaging in a furious contest with the orchestra answering with vehement protests and acoustic fisticuffs. As was the case with The Rite of Spring and The Firebird, Sergei Diaghilev and his Russian ballet had their share in ensuring that the “burlesque” in the four scenes would be suitable for the stage.

The clown-doll Petrushka revels in his spiteful teasing and pranks at the Shrovetide fair. The orchestra contributes swirling dance figures, blaring brass and scurrying strings to his high-spirited clownery but then the Moor enters and dances with the Ballerina, arousing jealousy in Petrushka. Although the clown-doll does not survive this bitter-sweet story, he triumphs at the end, his ghost mocking the crowd at the fair.

This highly inventive music combines folksong, popular music and the waltz, all bounded together by exhilating rhythms which are often taken to thunderous extremes. With its outstanding sound, this recording is a must-have in any Stravinsky collection.

Mercury SR90226 Stravinsky: The Firebird/Dorati/The London Symphony Orchestra. The Firebird can almost be described as a work of fate, since it is not only the first of several ballets that Stravinsky wrote for Sergei Diaghilev and his Ballets Russes but also marks his international breakthrough as a composer. In comparison with his other earlier stage works, the ecstatic, sharply contoured Rite of Spring for example, The Firebird, with its melodic character, is a far gentler work altogether. There are unmistakable reminiscences of the musical language of Rimsky-Korsakov and Tchaikovsky as well as snatches of late-Romantic harmonies; all this lends the music the charm of the Russian tradition.

In his performance, Dorati chooses the golden mean in that he has his ensemble produce a highly colorful but by no means glaring sound. Thus the listener is given the opportunity to follow the development of the finely chiselled motifs which are so characteristic of this early composition. Happily, the chamber-music-like transparency is preserved even in the loud, more exposed passages and the sound leaves the loudspeakers with a sprightly, athletic tread.

Mercury SR90253 Stravinsky: The Rite of Spring/Dorati/The Minneapolis Symphony Orchestra. While he was finishing the score of The Firebird, the idea came to Stravinsky for a pagan, ritual scenario. The background history of Le Sacre du printemps is well known: while the modernists praised the work, the conservative public thought they were being hoaxed. The reason for their irritation and the scandalous fiasco of the premiere is still audible to this day. Stravinsky carries the aggressive, hammering rhythms to the extreme, casting them in atonal harmonies which feed on the alternation between a red-hot and a mild mixture, as Stravinsky put it.

Dorati urges on his ensemble with robust tempi, and the orchestra is quick to respond to all the refinements of the tightly knit movement. It appears to cope effortlessly with the extremes of contrast and manages to amalgamate the rhythmic excesses with the tenderness of the numerous tiny motifs and figures which seem to sprout like flowers out of hard rock. The excellent recording technique captures both the extreme loudness and the finely pulsating tones, resulting in a sound in which no detail goes unheard. The listener can be sure that this Stravinsky deserves the rating "excellent" both for the interpretation and for the sound.

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This release is a compilation of Stokowski/Houston performances recorded at the Houston Civic Center by Bert Whyte and originally released in 1960. Compositions include Stokowski arrangements of “Wotan’s Farewell” and “Magic Fire Music” from Wagner’s “Die Walkure,” “Mazurka in A minor,” “Prelude in D minor” and "Waltz in C sharp minor” by Chopin. Also included is the not often performed or recorded “Fantasy on a Hymn Tune” composed by Thomas Canning. The LP, as are all reissues from this series, was cut DIRECTLY FROM THE 35mm MAGNETIC FILM using a vintage Westrex 1551 tape machine, with specially built playback electronics that are vastly superior to any others used on these machines to playback the original 35mm tapes. The Len others used on these machines to playback the original 35mm tapes. The Len Horowitz / History of Recorded Sound specially modified 1551, fitted with brand new playback heads matched to the revolutionary playback electronics was stationed at Bernie Grundman Mastering in Hollywood. With Len Horowitz running the playback machine and Bernie Grundman mastering from the three track 35mm tapes, Classic Records has been able to cut the legendary sound and performances DIRECTLY FROM THE 35mm MAGNETIC FILM through Classic's "ALL TUBE" tape playback system and cutting system at Bernie Grundman Mastering in Hollywood. The LP's are pressed on Classic's 200g Super Vinyl Profile making it possible to get ever nuance out of the non-distorted grooves that make SVP sound superior to all other records on the market today. Authentic tip on construction jackets with all original artwork and labels add to this must have deluxe LP edition as part of the Classic Everest 35MM LP Series.

Richard Wagner (1813-1883)
1. Wotan’s Farewell
2. Magic Fire Music from "Die Walkure"

Frederic Chopin (1810-1849)
3. Mazurka in A minor, Op. 17 No. 4
4. Prelude in D minor, Op. 28, No. 24
5. Waltz in C sharp minor, Op. 64, No. 2 (transcribed for orchestra by Stokowski)

Thomas Canning
6. Fantasy on a Hymn Tune by Justin Morgan for Double String Quartet and String Orchestra

The Tchaikovsky Violin Concerto, like the Beethoven and Brahms companion concertos, requires a true virtuoso to reveal it in its proper light. Fortunately, such a virtuoso was Tossi Spivikovsky, who accompanies Walter Goehr conducting the London Symphony Orchestra to a rousing performance. The LP, as are all reissues from this series, was cut directly from the 35mm magnetic film using a vintage Westrex 1551 tape machine, with specially built playback electronics that are vastly superior to any others used on these machines to playback the original 35mm tapes. The Len Horowitz / History of Recorded Sound specially modified 1551, fitted with brand new playback heads matched to the revolutionary playback electronics was stationed at Bernie Grundman Mastering in Hollywood. With Len Horowitz running the playback machine and Bernie Grundman mastering from the three track 35mm tapes, Classic Records has been able to cut the legendary sound and performances through Classic's "ALL TUBE" tape playback system and cutting system at Bernie Grundman Mastering in Hollywood.

The LP's are pressed on Classic's 200g Super Vinyl Profile making it possible to get every nuance out of the non-distorted grooves that make SVP sound superior to all other records on the market today. Authentic tip on construction jackets with all original artwork and labels add to this must have deluxe LP edition as part of the Classic Everest 35MM LP Series.

Sibelius’ only violin concerto, was completed in 1903 and contains segments that require virtuosity to do full justice to its technical and interpretive intricacies. Just such a virtuoso, in Tossy Spivakovsky, plays violin on this Everest recording of Tauno Hannikainen conducting the London Symphony Orchestra. The recording is another Bert Whyte sonic triumph on 35MM film. In addition to the concerto, Whyte and team recorded Sibelius’ last tone poem, Tapiola, referred to by many as a consummate masterpiece written with extraordinary simplicity and directness. The LP was cut directly from the 35mm magnetic film using a vintage Westrex 1551 tape machine, with specially built playback electronics that are vastly superior to any others used on these machines to playback the original 35mm tapes. The Len Horowitz / History of Recorded Sound specially modified 1551, fitted with brand new playback heads matched to the revolutionary playback electronics was stationed at Bernie Grundman Mastering in Hollywood. With Len Horowitz running the playback machine and Bernie Grundman mastering from the three track 35mm tapes, Classic Records has been able to cut the legendary sound and performances directly from the 35mm magnetic film through Classic's "ALL TUBE" tape playback system and cutting system at Bernie Grundman Mastering in Hollywood.

The LP's are pressed on Classic's 200g Super Vinyl Profile making it possible to get every nuance out of the non-distorted grooves that make SVP sound superior to all other records on the market today. Authentic tip on construction jackets with all original artwork and labels add to this must have deluxe LP edition as part of the Classic Everest 35MM LP Series.

-Portable turntable with protective dustcover and integrated carrying handle
-Fits inside a standard 12" record case
-Battery powered by 6 "D" cells (not included) or AC wall adapter (included)
-Built-in speaker
-33, 45, and 78 RPM settings w/ +/- 10% pitch control, ton and volume controls
-Plays all standard sized records up to 12"
-Line outputs and 1/4" and 1/8" headphone outputs
-Removable stylus
-45 RPM adapter included

Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of the works of Niccolo Paganini, but equally accomplished across a wide variety of repertory for the instrument. His playing is characterized by a taut, visceral tone and a disciplined musical approach that avoids self-indulgence. Having also established himself as a successful conductor, chamber musician and teacher, Accardo may be considered one of the most accomplished and influential musicians of his generation. Recorded with the London Philharmonic, this 2-LP set from Clearaudio Germany, re-mastered from the original analog tapes, rightly honors this Deutsche Grammaphon classic set.

Track Listings:

1. La Risata del Diavolo
2. La campanella
3. Capriccio per violino solo graph
4. Adagio con sentimento flebile
5. Rondo galante. Andautino gaio
6. Intrduzione e variazioni su
7. Capriccio per violino solo n.24
8. Polacca.Andantino vivace
9. Capriccio per violino solo n.1
10. Rondo.Allegro spirtuoso
11. Capriccio per violino solo n.13
12. Sonata moto perpetuo

Une symphonie imaginaire is Minkowski’s own collection of 17 orchestral pieces from 11 of Rameau’s operas, compiled into a dramatic cycle that represents both the world of French Baroque dance music and the origins of French symphonic music. What emerges is a programme that is as dramatic as it is delightful and easily accessible!

With this recording the musical universe of Rameau is captured in an entirely new programme concept by one of the most popular interpreters of French Baroque music. Marc Minkowski has collected about 20 orchestral pieces from 11 of Rameau’s operas and has put them together into a dramatic cycle that represents both the world of French Baroque dance music and the origins of French symphonic music.

Track Listing:

1. Overture
2. Scène funèbre
3. Air tendre
4. Premier Tambourin / Deuxième Tambourin
5. Air tendre pour les Muses
6. Contredanse
7. Air gracieux
8. Gavottes pour les Heures et les Zéphirs
9. Orage
10. Prélude
11. 1. La poule
12. Musette tendre en rondeau, Tambourin en rondeau
13. Ritournelle
14. Rigaudons
15. Danse des Sauvages
16. Entrée de Polymnie
17. Chaconne

2-LP Box Set from the Deutsche Grammophon Vaults! Mastered by Clearaduo Germany

'Do you know any merry music? I do not!” Where else does Franz Schubert’s statement obtain justification, if not in his song cycle “Die schöne Müllerin” (“The Fair Miller-Maid”)? Twenty “Lieder” (songs) that announce love and anguish and that, against their tragic background, with all their simplicity and perfection, represent Schubert’s highly peculiar mood of a homeless artist. The rushing of the millstream, interlocutor of the young miller who wanders the countryside, forms the unifying bond for the singular Lieder. But if you only see the popular touch in Schubert’s music, you neglect the opportunity to become aware of the other sphere that no other composer could hide as subtly behind an ostensible idyll as Schubert did. The “Encores” from “Heidenröslein” (“The Hedge Rose”) to “Der Einsame” (“The Lonesome”) mirror the cosmos of the romantic artist looking for the meaning in a stranger world.

Fritz Wunderlich was fully-aware of the special challenge behind the Lieder: “I came to the Lied very late. Not because I did not have an affinity to it, but because I knew that I could only sing Lieder when I had gained full control over my voice. That is the most important prerequisite for the Lied. You cannot have even the smallest technical difficulty under any circumstances. The Lied is my measure of whether I am really able to sing. I have been giving Lieder recitals for some years now because I feel that I am gradually learning to truly sing.”

Fritz Wunderlich (1930-1966) epitomises the lyric tenor and is considered to be one of the greatest German singers ever – and rightly so! With this interpretation of Schubert’s “Die schöne Müllerin”, he proves to be an excellent Lieder singer, too. His clear, bright voice, well-balanced in every register, never misses the brilliancy and is always paired with artistic maturity, compelling intensity and elegance – an expressiveness sought-after until today!

In July, 2006, the 40th anniversary of this recording is being commemorated: This most eminent interpretation of Franz Schubert’s song cycle had been recorded from 2nd to 5th July, 1966, only eleven weeks before the tragic accidental death of Wunderlich that shocked the world. But until today, the recording sounds as prevailing as then –Wunderlich’s “Fair Miller-Maid” hasn’t lost anything of her attractiveness. Not to forget the close co-operation with Hubert Giesen, his fatherly friend and “a luckily chosen accompanist, whose unison with the singer and sense of musical joy” has been of particular importance to Wunderlich. This record truly deserves to be called “One of the Legendary Recordings of the Century”!

243 pg. Paperback Book

ISBN: 0-06-093698-3

You don't have to be an opera fan to appreciate this beautifully written memoir by world-famous tenor Andrea Bocelli. Born among the vineyards of Tuscany, Bocelli was still an infant when he developed glaucoma. Music filtering into his room soothed the unsettled child. By the age of twelve he was completely blind, but his passion for music brought light back into his life.

Here Bocelli reveals the anguish of his blindness and the transcendent experience of singing. He writes about his loving parents, who nurtured his musical interests, the challenges of learning to read music in Braille and of competing in talent shows, his struggles with law school, and his desire to turn an avocation into a way of life. He describes falling in love and singing in piano bars until his big break in 1992, when a stunned Pavarotti heard him sing "Miserere". The international acclaim and success that have followed Bocelli ever since have done nothing to dull his sense of gratitude and wonder about the world. No classical music fan can afford to be without this engaging and humble memoir of a fascinating and triumphant star.

Miklos Rozsa (1907-1995)
Concerto for Violin and Orchestra

Arthur Benjamin (1893-1960)
Romantic Fantasy (for Violin, Viola and Orchestra)