Classical Vinyl Records

Nikolay Andreyevich Rimsky-Korsakov (1844-1908)
Scheherazade, Op. 35

Max Bruch (1838-1920)
Scottish Fantasy, Op. 46

Wolfgang Amadeus Mozart (1756-1791)
Concerto in D Major

Wolfgang Amadeus Mozart (1756-1791)
Symphonie Concertante in E-Flat K.364 for Violin and Viola

Track Listing:
Franz Liszt (1811-1886)
Hungarian Rhapsody No. 2 in C-Sharp Minor

Georges Enesco (1881-1955)
Roumanian Rhapsody No. 1 in A, Op. 11

Bedrich Smetana (1824-1884)
The Moldau
The Bartered Bride: Overture

Josef Strauss (1827-1870)
My Life Is Love And Laughter
(Mein Lebenslaud ist Lieb' und Lust)

Johann Strauss, Jr.
Roses From The South, Op. 388
Treasure Waltz, Op. 418 (from The Gypsy Baron)
Thunder And Lightning Polka, Op. 324

Tchaikovsky: from Swan Lake
1. Scene - Act II
2. Dance of the Little Swans (Pas de Quarte) - Act II
3. Scene* - Pas de Deux - Act II
4. Waltz - Act II
*solo violin: Charles Taylor
Schumann: from Carnival*
5. Pierrot
6. Reconnaissance
7. Aveu
8. Pantalon et Columbine
*Orchestration by Glazounov, Rimsky-Korsakov, Liadov and Tcherepnin for original Diaghileff production
Tchaikovsky: from the Sleeping Beauty
9. Introduction - The Lilac Fairy - Prologue
10. Rose Adagio - Pas d' Action - Act I
11. Waltz - Act I
Chopin: from Les Sylphides*
12. Overture: Prelude in A major, Opus 28, No. 7
13. Mazurka in C major, Opus 67, No. 3
14. Grande Valse Brillante in E flat major, Opus 18
*Orchestration by Roy Douglas

Rapsodie Espagnole
Pavan for a Dead Princess

Sergey Rachmaninoff (1873-1943)

Isle of the Dead, Op. 29

Rapsodie Espagnole
Pavan for a Dead Princess

Sergey Rachmaninoff (1873-1943)

Isle of the Dead, Op. 29

1. Waltz - Allegretto (Faust)
2. Ensemble - Adagio (Faust)
3. Dance of the Nubians (Faust)
4. Cleopatra's Dance (Faust)
5. Dance of the Trojan Maidens (Faust)
6. Helen's Dance (Faust)
7. Bacchanalia (Faust)
8. Funeral March of a Marionette (Faust)
9. Prelude: Entr'acte - Aragonaise (Carmen)
10. Habanera; Changing of the Guard (Carmen)
11. Intermezzo: Smugglers' March (Carmen)

Rimsky-Korsakov's Antar Symphonic Suite Op.9: Largo - Allegro giocoso - Allegretto vivace, Allegro, Allegro risoluto alla marcia, Allegretto vivace - Andante amoroso
Ivanov's Caucasian Sketches Op.10: In The Mountain Pass, In The Village, In The Mosque, Procession of the Sardar
Gliere's Russian Sailors' Dance from the ballet The Red Poppy Op.70.

1. Malourous Qu'o Uno Fenno
2. Lo Fiolaire
3. Bailero
4. Chut, Chut
5. La Delaissado
6. Deux Bourees
7. Trous Bourees
8. Lou Boussu
9. Oi Ayai
10. Passo Pel Prat
11. Lou Coucut
12. Brezairola

Disc Two:

1. L'Antoueno
2. Postouro, Se Tu M'Aymo
3. Pastorale
4. Quand Z'Eyro Petitoune
5. Pastourelle
6. Te, L'Co, Te!
7. Uno Jionto Postouro
8. He! Beyla-z-y Dau Fe
9. Obol, Din Lo Coumbelo
10. La Pasrouletta e Lou Chibalie
11. Jou L'Pount D'o Mirabel
12. La Pastoura Als Camps

13. La Haut, Sur Le Rocher
14. Lou Diziou Be
15. Pour Lenfant
15. Pour Lenfant

Johannes Brahms (1833-1897)
Variations on a Theme of Haydn, Op. 56a.

Production notes: Recorded in England

Liner notes: The light ballet has always been among the most popular of genres, and more than any other form of ballet it is dependent upon its musical score. Some serious ballets have achieved acclaim even though set to music that simply will not stand up independently in the concert hall. But a light ballet without a tuneful, agreeable, sophisticated score is unthinkable and it is no mere coincidence that such compilations as Ga??Parisienne, La Boutique Fantasque, Graduation Ball and the others˜Fa?de and Mamzelle Angot very much among them˜set the audience wiggling as soon as the curtain goes up.

Fa?de remains in the repertory of the Royal Ballet, and it has been one of the company's steady successes since 1935. The curious thing is that William (now Sir William) Walton's spoofing score was greeted with yells of opposition when it was originally introduced in 1922. At that time there was no idea that it ever would be made into a ballet.

Track Listing:
Side 1 - Facade

Fanfare
Scotch Rhapsody
Valse
Tango - Pasodoble
Swiss Yodelling Song
Country Dance
Polka
Noche Espagnole
Popular Song
Old Sir Faulk
Tarantella Sevillana

Side 2 - MAMZELLE ANGOT

Overture
Act I: No. 3 - Mazurka; No. 5 - Tempo di Marcia
Act II: No. 8 - Tempo di Gavotte; No. 11
Act III: No. 13 - Finale

Prokofieff: Lieutenant Kije, Op. 60
Stravinsky: Song of the Nightingale

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Track Listing:
1. Evocación (Iberia)
2. El Corpus en Sevilla (Iberia)
3. Triana (Iberia)
4. El Puerto (Iberia)
5. El Albaicín (Iberia)
6. Exaltación (Fantásticas)
7. Ensueño (Fantásticas)
8. Orgia (Fantásticas)

Janos Starker’s recording of the Suites from 1963 and 1965 makes a lasting impression on the listener, even when compared with other recordings from the digital era, and even record producers who are well used to recorded excellence have been highly impressed. For Charlotte Gilbert of the Mercury record label, these recording sessions were one of five truly great events in all her 20 years of recording experience. Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker’s full-bodied sound and technical brilliance are complemented by his finely chiselled interpretation that lends immense expression to Bach’s thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach’s Cello Suites are ‘polyphony for a solo instrument’.

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This title is not eligible for further discount.

Track Listing:
1. Dance Suite
2. Deux Portraits (Two Portraits), Op. 5
3. Mikrokosmos: Bourree (From the Diary of a Fly)

The present recording, a milestone among the multitude of televised recordings made in they heyday of analogue recording technique, is highly impressive for its depth of musical focus, even without any visual support. Arturo Benedetti Michelangeli’s performance is a far cry from sugar-sweet pedaling and showy virtuosity, rather he displays a highly individual understanding of the intricately constructed musical material. Each phrase blossoms out to become a unique event in time composed. The soloist and the excellent orchestra here give a performance which sums up all Beethoven’s famous compositions and in which the pianist’s amazing sensitivity penetrates even the smallest detail.

This is an exact reproduction of the 1979 Deutsche Grammaphon release.

This title is not eligible for further discount.

This title is not eligible for further discount.

The present recording, a milestone among the multitude of televised recordings made in they heyday of analogue recording technique, is highly impressive for its depth of musical focus, even without any visual support. Arturo Benedetti Michelangeli’s performance is a far cry from sugar-sweet pedaling and showy virtuosity, rather he displays a highly individual understanding of the intricately constructed musical material. Each phrase blossoms out to become a unique event in time composed. The soloist and the excellent orchestra here give a performance which sums up all Beethoven’s famous compositions and in which the pianist’s amazing sensitivity penetrates even the smallest detail.

This is an exact reproduction of the 1979 Deutsche Grammaphon release.

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Track Listing:
1. First Movement - Allegro
2. Second Movement: Adagio Un Poco Mosso
3. Third Movement: Rondo (Allegro)

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This title is not eligible for further discount.

Recording: September 1959 at Kingsway Hall, London by Alan Reeve / Production: James Walker

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This title is not eligible for further discount.

Reiner’s penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.

From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 – or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.

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The passionate and grandiose opening movement is followed by an Adagio full of tranquillity and quiet devotion; the solemn atmosphere is taken to exalted heights by the soloist and orchestra only to fade out pianissimo. Although the forceful, belligerent Finale occasionally conjures up the dark powers of the first movement, the work ends in a confident and cheerful vein. It is amazing how the sheer presence of the emotions in this composition have been captured on the present DECCA recording from 1962. This is not only true of the gripping interpretation but also of the recording itself which remains transparent and brilliant throughout.

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Track Listing:
Brahms: Piano Concerto No. 1 in D minor Op. 15
Maestoso
Adagio
Rondo: Allegro non troppo

Brahms' Cello and Piano Sonatas could well be described as 'romantic expression dressed in classical garb,' filled as they are with the same musical philosophy that is to be found in many of his instrumental works. Although 21 years lay between the two compositions, Brahms remained true to the formal musical language of the Viennese masters, and this brought him – and other composers of his time – the reproach of imitating Beethoven.

The unmistakable personal style of Brahms is reflected in the sweeping first movement which is in the manner of a serious song and calls for sensitive but by no means feeble bowing. Starker's wiry, austere playing keeps a check on any excessive emotion and instead brings the music to life in great detail.

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Track Listing:
Sonata for Cello and Piano No. 1 in E minor, op. 38
Allegro Non Troppo
Allegretto Quasi Minuetto
Allegro

Sonata for Cello and Piano No. 2 in F major, op. 99
Allegro Vivace
Adagio Affetuoso
Allegro Passionato
Allegro Molto

In his performance, John Barrows concentrates upon bringing out the compositional layout of the work, which largely dispenses with a display of virtuosi fireworks. The sonorous tonal character of the horn and its range of expression – from lyrical to mournful – are shown off to great effect. In the rapid Finale, however, Barrows pays tribute to the various playing techniques offered by this aristocratic instrument. With blaring staccatos and organ-like bass notes, he goads his fellow musicians to join him in a musical hunt, as it were, and they take up his challenge with thrilling effect.

This title is not eligible for further discount.

This title is not eligible for further discount.

Track Listing:
1. Violin Concerto in D Major, Op. 77

From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 – or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.

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The London Symphony Orchestra, conducted by Jascha Horenstein gives a sonorous interpretation of the melancholic which, according to Bruch, depicted an aged minstrel who, while gazing upon the ruins of an ancient keep, ponders over the splendid days gone by. The well-known slender but warm timbre of David Oistrakh’s violin is well suited to this music which was inspired by Scotland.

David Oistrakh demonstrates his versatility in this performance of Hindemith’s Violin Concerto, written in 1939, where he effortlessly mesmerises the audience with breakneck cascades of scales. With many years of experience in the performance of modern music, the London Symphony Orchestra, led by the composer himself, prove that they are a match for this work.

This 1962 Decca recording engineered by Arthur Lilly and Alan Reeve at Walthamstow Town Hall in London offers first class interpretations of two great masterpieces from differing eras that have been acclaimed widely and have reached far beyond the circle of Oistrakh fans.

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This title is not eligible for further discount.

Track Listing:
1. No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp 2. Minor, Op.39
3. Rhapsody, Op.79: No.1 Agitato In B Minor
4. Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
5. Toccata, Op. 11
6. Jeux D'Eau: Tres doux
7. Barcarole In F Sharp Major, Op. 60
8. Hungarian Rhapsody No.6:

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The programme opens in a splendidly festive Baroque spirit with Arcangelo Corelli’s famous Christmas Concerto, a work which is typical for the concerto grosso form with its alternation of tutti and solo passages. The instrumental soloists in particular dazzle with their finely chiselled playing and ravishing tone over the gentle sway of the strings. Münchinger has achieved a veritable miracle with his arrangement of Johann Pachelbel’s Canon, originally composed for the organ, for each and every instrument of the orchestra enhances the magic of this music. Carlo Ricciotti’s Concertino No. 2 offers us an insight into the various musical forms of the early 18th century.

The programme ends with Christoph Willibald Gluck’s vigourous Chaconne whose splendour and pomp is taken to new dramatic heights by the Stuttgarter Kammerorchester.

Light a candle and settle down for a delightful evening of entertainment: this excellent recording ensures that you will enjoy every minute to the full – and not just at Christmas time.

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The majority of works on this recording were found by the ensemble in two slavic codices and the Leutschau Virginal Book – a collection of music made in the middle of the 17th century in Hungary. These sources contain not only dance movements for performing at court which have been known since the Renaissance but also sacred and profane songs. Due to the fact that most of these works are only noted down as a particelle, just the melody and a bass line, one is even more appreciative of the wealth of instruments used by the Clemencic Consort. As is usual in historical performance practice, each movement is given a different instrumentation and inner voices have been added to produce an intricate web of instrumental parts. Despite all the historical authenticity, the producers relied on thoroughly modern analogue recording techniques to achieve a sound recording of the very highest level.

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Track Listing:
1. Otodik Tancz
2. Duch Pane swu Swatuny (Grace au Saint-Esprit)
3. U naseho Barty (Notre vieux Barty)
Erdelyi Hajdutanc (Danse des Heiduques)
Chodila, Chodila (La bien-aime qui louche)
4. Pro Clarinis XXIII et XXII
5. Chorea hungarica
Chorea Tancz
6. Pargamasca
Corant
Sarabanda
Coranda
Gagliarda
7. Tantz
Chorea Tantz
Ritka
8. O Gloriosa Domina
9. Alia chorea No. 8
Lopatkowany tanecz
Klobucky tanecz
Proportio
Alia chorea - Alia hungarica
10. Pro Clarinis III et XI
11. Lapozskas tancz
Tancz
Apor Lazar tancza
12. Olach tancz (1 partie)
Alia chorea
Alia polonica
Nerada robyla
Olach tancz (2 partie)

Turina’s Danzas fantásticas are noted for their sumptuous orchestration and marked rhythms. A better choice to round off this first-class recording, dedicated to Spanish tradition, is almost impossible to imagine.

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Track Listing:
1. Evocación (Iberia)
2. El Corpus en Sevilla (Iberia)
3. Triana (Iberia)
4. El Puerto (Iberia)
5. El Albaicín (Iberia)
6. Exaltación (Fantásticas)
7. Ensueño (Fantásticas)
8. Orgia (Fantásticas)

Debussy's compatriot, Ravel, went to even greater lengths in his Daphnis and Chloe Suites. As the instrumental distribution leads one to suspect – full orchestra plus 15 percussion instruments, chorus and wind machine – the work is a full-fledged modern-age French choreographic symphony and one of the greatest compositions of its time. It is almost superfluous to mention that a thrilling performance of both works can only be achieved by the very best of symphony orchestras

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Track Listing:
1. Claude Debussy: Nocturnes: Nuages, Fêtes, Sirènes
2. Maurice Ravel: Daphnis et Chloé Suite Nr. 2
3. Claude Debussy: Nocturnes: Nuages (Clouds), Fêtes (Festivals), Sirènes (Sirens)
4. Maurice Ravel: Daphnis and Chloé Suite No. 2

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The 1963 tour took him from Damascus to Kabul and New Delhi, to Bombay and Ankara, and only the Duke knew how to capture such diverse impressions in music. And only such soloists as Johnny Hodges, Paul Gonsalves and Lawrence Brown right up to Harry Carney were capable of spinning out the ideas which Ellington conjured up on the piano. 'Isfahan', the Pearl of Persia, was full of 'poetry', as the Duke himself put it and Johnny Hodges certainly knows how to underline this view in his soulful, smooth and velvety solo. In 'Depk' Jimmy Hamilton and Harry Carney bring to our mind’s eye the dance of six boys and girls. 'Mount Harissa', a mountain outside Beirut, is portrayed by Paul Gonsalves, while 'Amad' with its ornamentation gives Lawrence Brown the opportunity for a solo. In 'Agra', Harry Carney’s baritone sax leads us through the famous Taj Mahal. To close the LP, 'Ad Lib On Nippon' presents an impression of the people of Tokyo and so we come to the end of our journey through several cultures in the Near and Far East - countries full of poetry and glorious impressions. There’s no place for war and destruction in these compositions by Duke Ellington.

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Track Listing:
1. Tourist Point of View
2. Bluebird of Delhi (Mynah)
3. Isfahan
4. Depk
5. Mount Harissa
6. Blue Pepper (Far East of the Blues)
7. Agra
8. Amad
9. Ad Lib on Nippon

Starker has found worthy fellow musicians in Antal Dorati and the London Symphony Orchestra. The conductor and soloist set a benchmark in how to work together as a team in concert in that it is less the often-lamented emulation than the interpretation, which stands in the foreground in this performance. Rather, the two protagonists commit themselves to a chamber-music-like reading, which is distinguished by the dynamically moderate intonation of the orchestra and the slender tone of the soloist throughout. An ever-welcome encore is found on side two with Bruch’s Kol Nidrei, performed with verve and a good portion of romantic, melting sweetness, which allows this evergreen to flourish.

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Track Listing:
1. Dvorak: Violoncello Concerto
2. Bruch: Kol Nidrei

To capture Dvorák’s score in sound has always proved a challenge for both orchestra and recording team. This aim has been more than fulfilled in the present recording with the Vienna Philharmonic Orchestra led by István Kertész: the primeval power of the weighty brass, the glorious revelling of the strings, and the lyrical solo passages are all captured here. Musicianship of the highest degree combined with audio-technical perfection lend this recording, made in the early days of stereophony, the status of an historical sound document which, despite numerous other recordings, has no reason to fear competition.

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Recording: March 1971 at Newcastle City Hall, UK, by Eddy Offord Production: Greg Lake

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Track Listing:
1. Promenade/The Gnome/Promenade/The Sage/The [medley] (Lake/Mussorgsky/Palmer) - 1:58
2. The Gnome (Mussorgsky/Palmer) - 4:18
3. Promenade (Lake/Mussorgsky) - 1:23
4. The Sage (Lake) - 4:42
5. The Old Castle (Emerson/Mussorgsky) - 2:33
6. Blues Variation (Emerson/Lake/Palmer) - 4:22
7. Promenade (Mussorgsky) - 1:29
8. The Hut of Baba Yaga (Mussorgsky) - 1:12
9. The Curse of Baba Yaga (Emerson/Lake/Palmer) - 4:10
10. The Hut of Baba Yaga (Mussorgsky) - 1:06
11. The Great Gates of Kiev/The End (Lake/Mussorgsky) - 6:37
12. End/Nutrocker (Fowley) - 4:26

As so often before in this genre, the Swiss conductor Ernest Ansermet proves once again in this DECCA recording that he is a power to be reckoned with. The Orchestre de la Suisse Romande executes the slightest nuance, the most exquisite of figures and gentlest lyrical tone with meticulous precision. Powerful rolls of thunder, the click of castanets, lively rhythms and rich sonority conjure up a picture of fiery Spanish temperament so tangibly before our eyes that any comment on the recording quality appears almost superfluous. In a nutshell: this record is, quite simply, incredibly good This title is not eligible for further discount.

This title is not eligible for further discount.

Track Listing:
1. Prélude (Op. 80)
2. La Fileuse (Op. 80)
3. Malto Adagio (Op. 80)
4. Siciliene (Op. 80)
5. Pénélope (Prelude)
6. Overture (Op. 112)
7. Menuet (Op. 112)
8. Gavotte (Op. 112)
9. Pastorale (Op. 112)
10. En Bateau (Petite Suite)
11. Cortege (Petite Suite)
12. Menuet (Petite Suite)
13. Ballet (Petite Suite)

Fennell and the Eastman Wind Ensemble treat the arrangements with such care and respect that no one will miss the delightfully warm carpet of sound of the strings in the original version. Where lyrical sentiment is called for, the high woodwinds play airily and precisely and are supported by a sonorous, organ-like base which gradually builds up to dramatic musical exuberance. Even when the highest dynamic range has been reached, no particular register is dominantly in the foreground but blends in to produce powerful, harmonious surges of sound. These arrangements bring together dynamic agility, complete transparency and musicality. One really cannot wish for more Wagner than is offered on this LP.

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This title is not eligible for further discount.

This is an exact reproduction of the 1962 Decca stereo record.

Composed in the spirit of the Baroque, the Water Music and Royal Fireworks Music were written by the highly regarded George Frideric Handel on commissions from Kings George I and George II of England.

The remarkable premiere of the Water Music a suite of instrumental airs, fanfares, dances, and other delights was played in 1717 by musicians in a barge who entertained the King and his entourage on a banquet held on board the royal barge which travelled up and down the river Thames. According to reports at the time, Handel's new work was greeted with unanimous acclaim. Music appeared equally fitting for the solemn but festive commemoration of a peace treaty. The Royal Fireworks Music originally scored for brass, oboes and bassoons, plus timpani and the bizarre serpent horn was composed in 1749 for the victory gala in London's Green Park celebrating the Peace of Aix-La-Chapelle.

In both pieces Georg Szell and the London Symphony Orchestra conjure up the full splendour of baroque tonality. Orchestra and conductor are clearly in a festive mood. The strings show rare form, lush and radiant. The brass are brilliant but never shrill. The atmosphere is transparent, the spatial effects are impressive.

For the outstanding quality of this recording we are indebted not least to its inspired recording engineer, Kenneth E. Wilkinson.

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Originally issued on RCA Living Stereo the is another fine re-issue from the Speakers Corner label

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Track Listing:
1. Peter Gunn
2. Sorta Blue
3. The Brothers Go to Mother's
4. Dreamsville
5. Session at Pete's Pad
6. Soft Sounds
7. Fallout!
8. The Floater
9. SLow and Easy
10. A Profound Gass
11. Brief and Breezy
12. Not from Dixie

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Track Listing:
1. Rockin' Daddy
2. I Ain't Superstitious
3. Sitting on Top of the World
4. Worried About My Baby
5. What a Woman!
6. Poor Boy
7. Built for Comfort
8. Who's Been Talking?
9. Red Rooster
10. Do the Do
11. Highway 49
12. Wang Dang Doodle

That a slave uprising can not only be expressed in music but can also take place on an international dimension is admirably demonstrated by the maestro personally in this recording where Khachaturian takes on the role of leader of the Vienna Philharmonic Orchestra.

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This title is not eligible for further discount.

Track Listing:
1. Die Meistersinger: Prelude
2. Tannhauser: Overture
3. Tristan Und Isolde: Prelude and Liebostod
4. Parsiful: Prelude

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Track Listing:
1. Vysehrad
2. Vltava (Moldau)
3. Sarka
4. From Bohemia's Meadows and Forest
5. Tabor
6. Blanik

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Track Listing:
1. Introitus
2. Ceremmnie De La Remise De La Crosse Au Maitre De La Fete
3. La Messe Des Anes Et Des Buveurs
4. Procession De La Fete Dieu

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Track Listing:
1. Fons vitae/Dementia praecox angelorum Supra solmamirevt
2. Extravagans/Laurea minima/In vitro
3. Oratio pro-folia/Fama volat Citrus - Hesperides
4. Principalis. Fermescens/Inica exacta Adverso flumine
5. Parsimonia aristocraciae
6. Subtilis/De profundis - Extra muros
7. Vulgaris - Sine populi notione Vagula et blandula
8. Nordica et desolata/Aurea mediocritas
9. Nobilissima/Degradans et corruptae
10. De pastoribus/Mathematica dies irae /Crepuscularis/Sine nomine/Tristis est anima mea/Equites fortis armaturae/Audaces fortuna juvat/Sine praeputium/Ecclesiastica
11. Theatralis et hipocritae/Ruralis Alter indica perfecta
12. De Tolerentia aetherea/Fuga ficta et carrus triumphalis

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Track Listing:
1. George Enesco: Two Roumanian Rhapsodies, Opus II (No.1 in A Major/ No. 2 in D Major)
2. Franz Liszt: Hungarian Rhapsody No. 2 / Hungarian Rhapsody No. 3

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

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This title is not eligible for further discount.

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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This title is not eligible for further discount.