Academy of St Martin in the Fields

Orchestra

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Arne, CPE Bach & JC Bach: Harpsichord Concertos

Arne, CPE Bach & JC Bach: Harpsichord Concertos


Arne:

Keyboard Concerto No. 5 in G minor

played on harpsichord

Harpsichord Sonata No. 1

FIRST RELEASE ON CD

Overture 1 in E minor

Bach, C P E:

Sinfonia in B flat major, Wq. 182/2 (H658)

FIRST RELEASE ON CD

Twelve Variationen über die Folie d'Espagne, Wq118/9/H263

FIRST RELEASE ON CD

Harpsichord Concerto in C minor, Wq. 43/4 (H474)

Bach, J C:

Harpsichord Concerto in A major, T 297/l(ii)


There were many worlds in George Malcolm’s (1917–1997) universe – organist, harpsichordist, pianist, composer, choral director and conductor – and this one demonstrates his unique skill as a solo performer who, throughout his career, more than any other individual defined the harpsichord’s identity in England. After World War II Malcolm became the most famous English harpsichordist of his day, with a brilliant technique, superb musicianship and an idiosyncratically modern approach to playing which, for his audiences, came to exemplify the very nature of the instrument itself. In celebration of the centenary of his birth (28 February 1917).

The present release explores George Malcolm’s work from the 1960s as soloist with the Academy of St. Martin in the Fields in concertos by Carl Philipp Emanuel, Johann Christian Bach and Thomas Arne. In addition to the concertos there are also samples of Malcolm’s brilliant solo playing, including the F-major Sonata by Arne (as close to Scarlatti as an English composer ever came) and an exotic set of variations on ‘Les Folies d’Espagne’ by C.P.E. Bach. His brilliant, mercurial style is well suited to the younger generation Bachs, so different in outlook from their famous father and his dense, contrapuntal language. These recordings of the solo works and the J.C. Bach concerto were made using a large two-manual Goble harpsichord, while the familiar sound of the Thomas Goff instrument is heard in the concertos by C.P.E. Bach and Arne.

Notes are by Peter Watchorn, an Australian-born, US-based harpsichordist, one of whose teachers, Harold Lobb, was also an associate of Malcolm.

‘a stimulating record … splendidly recorded. The brilliance of both composers is most effectively conveyed and the wildness of some of the modulations and the mercurial quality of the faster movements of both the Bach symphony and concerto are arresting’ (Arne, C.P.E. Bach) Gramophone, November 1968

‘George Malcolm plays [the C.P.E. Bach concerto] with his usual astonishing expertise, and he is also superb in the variations on “La folia” by the same composer. Much of the credit in this excellent disc must be given to the string playing by Neville Marriner and his players … the Academy of St. Martin in the Fields sound [is] marvellously alive and buoyant … Argo are to be warmly congratulated’ (Arne, C.P.E. Bach) Gramophone, July 1968

‘[the J.C. Bach Concerto] is splendidly played here, with strong rhythms and plenty of nervous vitality … the recording is excellent.’ (J.C. Bach) Gramophone, October 1969

“George Malcolm plays [the C.P.E. Bach concerto] with his usual astonishing expertise, and he is also superb in the variations on “La folia” by the same composer. Much of the credit in this excellent disc must be given to the string playing by Neville Marriner and his players … the Academy of St. Martin in the Fields sound [is] marvellously alive and buoyant … Argo are to be warmly congratulated” Gramophone Magazine

“George Malcolm plays [the C.P.E. Bach concerto] with his usual astonishing expertise, and he is also superb in the variations on “La folia” by the same composer. Much of the credit in this excellent disc must be given to the string playing by Neville Marriner and his players … the Academy of St. Martin in the Fields sound [is] marvellously alive and buoyant … Argo are to be warmly congratulated” Gramophone Magazine, July 1968 (Arne, CPE Bach)

“[the J.C. Bach Concerto] is splendidly played here, with strong rhythms and plenty of nervous vitality … the recording is excellent.” Gramophone Magazine, October 1969 (JC Bach)

Released or re-released in last 6 months

Australian Eloquence - ELQ4825117

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$8.50

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Slava - The Glory of Rostropovich

Slava - The Glory of Rostropovich


Bach, J S:

Cello Suite No. 1 in G Major, BWV1007: Prelude

Beethoven:

Variations (12) on "Ein Mädchen oder Weibchen" for Cello and Piano, Op. 66

Vasso Devetzi (piano)

Chopin:

Cello Sonata in G minor, Op. 65: Largo

Alexander Dedyukhin (piano)

Debussy:

Clair de Lune (from Suite Bergamasque)

Alexander Dedyukhin (piano)

Dvorak:

Cello Concerto in B minor, Op. 104 - Adagio ma non troppo

Adrian Boult

Fauré:

Après un rêve, Op. 7 No. 1

Alexander Dedyukhin (piano)

Haydn:

Cello Concerto No. 2 in D major, Hob. VIIb:2 (Op. 101): Adagio

Academy of St Martin in the Fields

Prokofiev:

Adagio for cello & piano (from Cinderella), Op. 97bis

Alexander Dedyukhin (piano)

Rachmaninov:

Vocalise, Op. 34 No. 14

Alexander Dedyukhin (piano)

Saint-Saëns:

Cello Concerto No. 1 in A minor, Op. 33 Allegro non troppo

Malcolm Sargent

Schumann:

Cello Concerto in A minor, Op. 129; Langsam ; Seht lebhaft

Leonard Bernstein

Strauss, R:

Don Quixote, Op. 35 - Epilogue - Sehr ruhig - Don Quixote's mind clears (Death of Don Quixote)

Kirill Kondrashin

Tchaikovsky:

Variations on a Rococo Theme, Op. 33: Variation 3 - Andante sostenuto

Seiji Ozawa


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Warner Classics - 9029584964

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Boyce: Symphonies Nos. 1-8, Op. 2

Boyce: Symphonies Nos. 1-8, Op. 2


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Up to 25% off Capriccio

Capriccio Encore - C8006

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Albrecht Mayer: Vocalise

Albrecht Mayer: Vocalise


Bach, J S:

Magnificat in D major, BWV243: Esurientes implevit bonis

arr. Andreas N. Tarkmann

Sinfonia Varsovia

Debussy:

Clair de Lune (from Suite Bergamasque)

arr. Chris Hazell

Academy of St Martin in the Fields

Fauré:

Pavane, Op. 50

arr. Chris Hazell

Academy of St Martin in the Fields

Hahn, R:

A Chloris

arr. Chris Hazell

Academy of St Martin in the Fields

Handel:

Trio Sonata, HWV 393 in G minor

arr. Andreas N. Tarkmann

Jakub Haufa (violin), Monika Razynska (harpsichord)

Lascia ch'io pianga (from Rinaldo)

Sinfonia Varsovia

Sarabande from Suite in D minor, HWV437

Solomon: Will the Sun Forget to Streak?

arr. Andreas N. Tarkmann

Sinfonia Varsovia

Verdi prati (from Alcina)

arr. Andreas N. Tarkmann

Sinfonia Varsovia

Humperdinck:

Abendsegen 'Abends will ich schlafen gehn' (Hänsel und Gretel)

arr. Joachim Schmeisser

The King’s Singers

Marcello, A:

Adagio from Oboe Concerto in D minor

New Seasons Ensemble

Marcello, B:

Se morto mi brami

New Seasons Ensemble

Mozart:

Ma che vi fece, o stelle...Sperai vicino il lido, K368

Mahler Chamber Orchestra, Claudio Abbado

Ravel:

Pavane pour une infante défunte

arr. Chris Hazell

Academy of St Martin in the Fields

Schumann:

Romance in A major, Op. 94 No. 2

Markus Becker (piano)

Vivaldi:

The Four Seasons: Winter, RV297: Largo

New Seasons Ensemble

Weismann, J:

Variations for oboe and piano, Op. 39: Var. IV – Lento, molto tranquillo

Markus Becker (piano)


“Breathing is key – it carries the soul and with it, the oboe starts to sing.” – Albrecht Mayer about his quest for the perfect cantabile line

Vocalise is a compilation of favourite pieces from Albrecht Mayer’s recent releases in which the oboe more than lives up to its reputation as a wind instrument remarkable for its singing tone.

The artist personally selected this collection ranging widely from Baroque arias of great virtuosity to the charm of the French chanson.

Even as a boy soprano with the Bamberg Cathedral Choir, Albrecht Mayer was already fascinated by the human voice, and although he later decided against pursuing a career as a singer and chose instead to become an oboist, he is unquestionably a magician who as soon as he breathes life into his instrument casts his spell on his listeners’ hearts and minds with the beauty of his playing, transforming the oboe into an irresistible vox humana.

“Albrecht achieves these incredible textures and beauty of tone which no other oboist seems to come close to …” – Nigel Kennedy

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Early Music

DG - 4796843

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Murray Perahia: The Bach Album

Murray Perahia: The Bach Album


The finest moments of Murray Perahia’s Bach playing. A x25 track piece of work, carefully selected from his legendary Bach recordings for Sony Classical. The essence of a great interpreter’s dedication to Bach’s masterworks.

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Sony - 88985344472

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$9.00

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For the Love of Brahms

For the Love of Brahms


Brahms:

Double Concerto for Violin & Cello in A minor, Op. 102

Academy of St Martin in the Fields

Piano Trio No. 1 in B major, Op. 8

Jeremy Denk (piano)

Schumann:

Violin Concerto in D minor, WoO 23: II. Langsam

coda by Benjamin Britten


Joshua Bell (violin) & Steven Isserlis (cello)

Violinist Joshua Bell and cellist Steven Isserlis are joined by two acclaimed musical forces - pianist Jeremy Denk and the Academy of St Martin in the Fields, of which Bell is Music Director – in a landmark joint recording, For the Love of Brahms (Sony Classical). Available September 30, 2016, the new album is a unique project that features works of Brahms and Schumann that Bell calls “music about love and friendship.”

Bell, Isserlis and Denk unite here in Brahms’s first published chamber work, the Piano Trio in B Major, Op. 8 in its rarely performed original 1854 version. Isserlis also joins Bell – as violin soloist and director – and the Academy of St Martin in the Fields in Brahms’s last orchestral work, the celebrated Double Concerto (for Violin and Cello) in A Minor, Op. 102. Bell, Isserlis and members of the Academy also offer the first recording of an unusual coupling: the slow movement of Schumann’s rarely heard Violin Concerto, in a version for string orchestra made by Benjamin Britten, who also added a short coda.

“I met Steven almost 30 years ago at a music festival, and he has been my close friend and frequent chamber music partner ever since. Jeremy and I have also shared a long-lasting friendship and we have recorded and performed together for more than a decade,” states Bell. “Therefore it is fitting that we all come together on this record to play music that is so deeply rooted in love and friendship.” Earlier this year, Bell, Isserlis and the Academy performed the Brahms Double Concerto to critical acclaim on an 11-date European tour, which Bell play-directed. The tour also featured the Schumann, and this recording followed. “Steven and I have performed the Double concerto of Brahms many times over the years, and I am so pleased that we found the perfect collaborators in the Academy of St. Martin in the Fields so we could finally record this piece that means so much to us,” adds Bell.

For the Love of Brahms continues Joshua Bell’s long and acclaimed partnership with the London-based Academy of St Martin in the Fields. Since 2011, Bell has been the orchestra’s principal conductor, succeeding its founder Sir Neville Marriner and the only other person to hold that title. Bell’s most recent Sony Classical recordings with the orchestra include Vivaldi’s The Four Seasons, a Bach concerto collection, and Bell’s first recording solely as a conductor, of Beethoven’s Fourth and Seventh Symphonies.

“[Bell and Isserlis] are distinct musical personalities yet they work together extremely well in Brahms’s interpretatively perilous Double Concerto – Bell’s sweet-toned ardour is at once anchored and buoyed by Isserlis’s gruffer, more ruminative style” Gramophone Magazine, Awards Issue 2016

“Here’s an unconducted Double Concerto transformed into pure chamber music, in which two old friends spar amicably with the lithe support of the Academy of St Martin in the Fields. There’s an intriguing, subtly competitive friction between violinist Joshua Bell and cellist Stephen Isserlis, the one so glossy and fluent, the latter more gnarly and individual, each audibly inspiring – and often provoking – the other” BBC Music Magazine, Christmas 2016 *****

Presto Discs of 2016

Finalist

BBC Music Magazine

Concerto Choice

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Sony - 88985321792

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Mozart: Piano Concertos Nos. 12 & 17

Mozart: Piano Concertos Nos. 12 & 17


Mozart:

Piano Concerto No. 12 in A major, K414

Piano Concerto No. 17 in G major, K453


Austrian pianist Alfred Brendel is one of the most important exponents of the German-Viennese classic and romantic traditions, whose intellectual rigor and poetic spirit has enriched the public for more than 60 years.

The main focus throughout his extensive concert and recording career has been on interpreting Haydn, Mozart, Beethoven, Schubert, Schumann and Brahms.

Being one of the founding fathers of the German-Viennese classical tradition, Wolfgang Amadeus Mozart’s contribution to music history speaks for itself. More specifically, one of his greatest achievements in composition is the piano concerto. While improvising and experimenting from the keyboard, he masterly combined instrumental and operatic styles. This interaction between instrumental and operatic elements can particularly be heard in the last movement of Mozart’s Piano Concerto No. 17, which on this album is coupled with his Piano Concerto No. 12. This latest release in PENTATONE’s remastered Classics series presents a 1970 Philips Classics recording of the two piano concertos in a performance by Alfred Brendel, with the Academy of St Martin in the Fields conducted by Sir Neville Marriner.

Wolfgang Amadeus Mozart, Alfred Brendel, the Academy of St Martin in the Fields and Sir Neville Marriner. It doesn’t get much better than that.

Super Audio CD

Format:

Hybrid Multi-channel

Pentatone Remastered Classics - PTC5186236

(SACD)

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Vivaldi: Bassoon Concertos

Vivaldi: Bassoon Concertos


Vivaldi:

Bassoon Concerto, RV 474 in C major

Bassoon Concerto, RV 488 in F major

Bassoon Concerto, RV 501 in B flat major 'La notte'

Bassoon Concerto, RV 477 in C major

Bassoon Concerto, RV 497 in A minor

Bassoon Concerto, RV 467 in C major


It would be no exaggeration to name Antonio Vivaldi as the “pioneer of the bassoon concerto”. The first milestone in the emancipation of the bassoon, until the beginning of the 17 century exclusively used as a basso continuo instrument, for which the part wasn’t even written out, was a series of nine virtuoso bassoon sonatas published by Giovanni Antonio Bertoli in 1645. Then came Antonio Vivaldi, who didn’t only write probably the first solo concerto for bassoon ever composed, but who also created the largest group of works ever written for the instrument until then: 39 solo concertos, all of excellent quality. There was only one instrument for which Vivaldi wrote more concerti, namely the violin. It is most likely an indication of Vivaldi’s fondness of the bassoon. Unfortunately there are no historical sources to determine for whom Vivaldi wrote the bassoon concerti, but given their technical demands and the quality of the musical writing, one can assume they were written for an accomplished virtuoso. Perhaps they were composed for one of the members of the orchestra of the Ospedale della Pietà, a home for abandoned and orphaned children in Venice, where Vivaldi was violin teacher and music director for more than 30 years. Under his direction the orchestra became one of the most famous ensembles in Europe.

This album combines six bassoon concerti by Vivaldi, performed by Uruguayan bassoonist Gustavo Núñez, who holds the position of principal bassoonist with the Royal Concertgebouw Orchestra and who is considered one of the best bassoonists of his generation. He is accompanied by the Academy of St Martin in the Fields, by many considered as one of the world’s most admired chamber orchestras.

“Gustavo Nuñez’s fluency is well-nigh impeccable, as is the clarity and crispness of the Academy of St Martin in the Fields strings…these colourful, polished performances are delightful” BBC Music Magazine, June 2016 ****

Super Audio CD

Format:

Hybrid Multi-channel

Early Music

Pentatone - PTC5186539

(SACD)

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Mozart: Double Piano Concertos

Mozart: Double Piano Concertos


Mozart:

Concerto for Three Pianos & Orchestra, K242 (Version for Two Pianos)

Concerto for 2 Pianos and Orchestra No. 10 in E flat, K365

Sonata for Piano duet in D major, K381


Lucas Jussen (piano), Arthur Jussen (piano)

Academy of St. Martin in the Fields, Sir Neville Marriner

“It’s not quite that only their mother can tell them apart, but on hearing them play these two duet concertos, even she might struggle...The Jussen boys have found perhaps the perfect collaborator in Sir Neville Marriner, who has conducted more Mozart than most; the Academy acquit themselves well.” Gramophone Magazine, January 2016

GGramophone Magazine

Editor's Choice - January 2016

DG - 4812130

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John Williams plays Bach

John Williams plays Bach


Bach, J S:

Violin Concerto No. 2 in E major, BWV1042

arr. for guitar by John Williams

Academy of St Martin in the Fields, Kenneth Sillito

Sonata for solo violin No. 2 in A minor, BWV1003: Andante sostenuto

arr. for guitar by John Williams

Partita for solo violin No. 2 in D minor, BWV1004: Chaconne

arr. for guitar by John Williams

Lute Suite No. 3 in G minor, BWV995

Lute Suite No. 1 in E minor, BWV996


John Williams (guitar)

Sony musicforyou - 88875070802

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$7.75

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