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View full details Read reviews Listen to samples. Their strong identification with the [Barber] Sonata is immediately evident in this recording. They bring a remarkable unanimity of ensemble to the dialogue and make light work of some rhythmically Presto Recording of the Week, 5th November Gramophone Magazine, November , Editor's Choice. Presto Recordings of the Year, Finalist Add CD to basket. Add download to basket. View full details Read reviews Listen to samples Watch videos. Lise Davidsen soprano , Leif Ove Andsnes piano.

Everything here Presto Recording of the Week, 7th January Gramophone Magazine, January , Recording of the Month. Brahms: The Symphonies. Gewandhausorchester, Riccardo Chailly. Powerfully conceived, they are rhythmically alert, without an ounce of undue sentiment and never for an instant losing sight of Gramophone Magazine, October , Disc of the Month.

Gramophone Awards, , Recording of the Year. Building a Library, April , Also recommended. Add CDs to basket. Janine Jansen violin , Antonio Pappano piano. She conjures up the mood of each piece with seemingly effortless and flawless technique Presto Recording of the Week, 10th September Presto Editor's Choice, June Gramophone Magazine, August , Editor's Choice. Elsewhere there are passages where her characteristic commitment to textual expression becomes overvehement Yet much of her more delicate A kaleidoscopic collection of orchestral Prokofiev in the s, as recorded by Decca engineers in London, Paris and Copenhagen, featuring both rarities and classics.

Once upon a time Peter and the Wolf was the best known of them, with six recordings to its credit in the days before LP. Nowadays the Fifth Symphony is far more frequently heard in concert; this taut and thrilling account is the work of the Danish conductor Erik Tuxen, a legendary interpreter of Sibelius and his fellow countryman Nielsen. Despite its title, Russian Overture from does not straightforwardly conform to principles of Soviet nationalism in music with its abrupt cuts from comic capers to sweeping Russian melody.

The music on this pair of CDs falls into one of two categories: ballet music from an opera, or ballet music that was not originally intended for dancing at all, but that was subsequently adapted for that purpose. The exception is Don Quixote, a full-length ballet with an original score. Many famous conductors had unusual lives, but the life of Anatole Fistoulari was more unusual than most.

He became a British citizen in The Decca Sound in Hamburg and Paris: a trio of s Tchaikovsky albums, including a pair of symphony recordings previously unpublished on CD. The aim of conducting, as he sees it, is to bring out the message of the composer and not the skill.

Carl Schuricht was a no less welcome guest to the podium of the Paris Conservatoire Orchestra at that time. For EMI they made an admirably unfussy cycle of Beethoven symphonies, preserving the French Beethoven tradition at its most fleet and balletic, while their Decca recordings displayed the same virtues in the music of Schumann, Wagner and Tchaikovsky.

These mono recordings of the Capriccio Italien and the Theme and Variations finale of the Third Orchestral Suite have only previously been available on CD as part of a larger box; their extrovert temperament makes them a fine complement to Wolff in the Fourth Symphony.

This new collection invaluably gathers up all the Tchaikovsky recordings he made for Decca between and The first of them was the fantasy overture based on Hamlet, a recording produced in Kingsway Hall by the young John Culshaw. Later the same month came the Overture, recorded without cannon or bells but possessed of a strength and dignity not always present in more bombastic accounts.

It was on that evening that he decided that he had to become a conductor. At the beginning of June Boult and the LPO were joined by the year-old violinist Mischa Elman for the Violin Concerto, and Elman rekindled in the sessions something of the golden tone which had propelled him to youthful fame as a pupil of Leopold Auer, to whom Tchaikovsky had originally dedicated the concerto.

These are all mono recordings, whereas the Third Suite and Third Symphony were recorded in both mono and stereo, made in Paris and London respectively. Boult was apparently perplexed by the invitation to conduct the Paris Conservatoire Orchestra, but he secures from them playing of rare affection in the once-popular Theme and Variations movement.

This compilation issues the stereo version of the Suite for this first time on a Decca CD. Only a truncated version of the Capriccio Italien from predates these accounts of the Fourth and Sixth symphonies in the Kleiber discography.

They were made in Paris — Decca apparently esteemed the playing of the Conservatoire Orchestra in Russian repertoire — and are precious testaments to the particular attack and vigour he inspired from orchestras in this music. All his histrionic ability went into rehearsal: there he gestured, danced, chattered, pantomimed his way into the subconscious of his players until the right musical utterance came out of their fingers and lungs.

The sessions marked his debut for Decca, at least in concertos, and he was most sympathetically partnered by Sir Malcolm Sargent — the preferred conductor of Jascha Heifetz on his appearances in London. Two further Decca recordings followed, in and , both impressive in their ways and technologically advanced but hardly superseding the folksy bravura and legerdemain of his initial efforts.

Distinctions 5 de Diapason. He made this album in March , conducting the orchestra with whom he enjoyed the longest and most fruitful relationship of his career, the London Symphony Orchestra. After some troubled times in the early s, when Davis suffered a breakdown and the orchestra passed him over in favour of Istvan Kertesz as music director, they hit a sweet spot together in this album and several others such as the early volumes of their Berlioz and Tippett series together.

The Symphonic Variations remains a comparatively neglected work — astonishingly so, given its tremendous charm. When Hans Richter first conducted the work in Vienna, he declared that he could never remember a new piece achieving such a popular success. Davis certainly did so, and conducted the Variations throughout his career, including late in life with the LSO, but this first recording enjoys a particularly unfettered freedom of expression.

Copied out between and , the Eton Choirbook is the most substantial extant source of English liturgical polyphony from the late 15th and very early 16th centuries. What we contemplate in these buildings we may hear mirrored by the music of the Eton Choirbook. From the s onwards attempts were made to perform and record pieces from the Eton Choirbook but they were hampered both by the technical demands of the music — often as thrilling as it is rhythmically complex and metrically unstable — and by its relative unfamiliarity to English cathedral choirs.

Only in was a successful attempt madeby Argo to record a selection on two albums, which are united here. The performers constituted an astute combination of an all-male choral foundation from St Margaret Street in London with the professional ensemble of the Purcell Consort of Voices, directed by their founder Grayston Burgess, who died in The singing is robust rather than ethereal, and the albums blazed a trail both for this repertoire and style of performance which has been emulated by many professional early-music groups during the past half-century.

Filling out this 2CD set is a third Purcell Consort of Voices album of 15th-century repertoire recorded by Argo and never previously issued complete on CD. A landmark event in his career occurred in , when he took over performances of Don Giovanni in London from Carlo Maria Giulini, and record labels soon took notice of his Mozartian gifts and inclinations.

He began to work regularly with the LSO in the early s, and it was a relationship that quickly bore fruit in the recording studio with Symphonies Nos. Symphonies Nos. Newly remastered and gathered under one roof for the first time, the Decca recordings of Hans Knappertsbusch conducting Bruckner: a legendary combination.

Knappertsbusch began recording Bruckner for Decca in , with the Third. The Fourth and Fifth quickly followed, also from Vienna, and then the Eighth arrived as an appendix from Munich, first issued on the Westminster label in No Brucknerian can afford to be without them. She had to dare. Cecilia Bartoli appears on this album cover nude, androgynous, in a full beard and with hair down to her shoulders, delving deeper into the legend surrounding Farinelli, already explored with questionable sensationalism in the world of cinema and replaced with more correct historical precision in Patrick Barbier's brilliant book dedicated to the famous Neapolitan castrato.

The now-lost voice of castratos made eager crowds go wild at the time, the singers carrying a certain mythical aura around them, attributed to the confusion of their gender, bathed in an ambiguous eroticism.

These music lovers have not however disappeared: they're the ones rushing to hear the Italian singer's vocal prowess both in concert and on disc. For this opus dedicated to Farinelli, Cecilia Bartoli has chosen well-known melodies from the repertoire of the famous singer, varying her vocal fireworks she is so renowned for with some more dramatic, introspective tunes. Cecilia Bartoli conjures up Porpora, Hasse, Giacomelli, Caldara and Riccardo Broschi, Farinelli's own brother in a thrilling spectacle which aims, if not to uncover a hypothetical voice of the past, to replicate the chills it could produce thanks to her passion and dedication to the art.

Another two decades elapsed before a new generation of cellists took up the mantle of Casals in the LP era. The original LPs have long been sought after and fetched exorbitant prices. This new Eloquence reissue sheds light on both the French cello school and on the ever-evolving nature of Bach interpretation. The booklet includes a new essay from Peter Quantrill, placing both the suites and the recording in context. Installed in and built by the Austrian firm of Hradetzky, the four-manual organ at the Royal Northern College of Music was just four years old when Gillian Weir recorded this album.

She draws from it a robust, vibrant sound and a dazzling array of French-accented colours in a showpiece recital which shows off both organ and organist to best advantage.