London Philharmonic Orchestra

In the winter of 1947 Bruno Walter returned to London to conduct some concerts with an orchestra that he had appeared with several times since the end of the War – the London Philharmonic, which at that time was attracting a very impressive list of celebrity conductors, thanks to brilliant managing by its former viola player, Thomas Russell. He had been a vitally major force in the success of the Orchestra’s rebirth as a self-governing orchestra in 1940 when Sir Thomas Beecham, its founder and Music Director since 1932, was no longer able to maintain it. As the LPO’s elected business secretary, Russell managed its affairs with such outstanding acumen that the orchestra became a national symbol of survival and cultural ideals for the people of England during the war. That can be seen in the wartime film Battle for Music, which was made around the story of its survival in the toughest of circumstances. Although after the war the orchestral headlines in England were the creation of two outstanding new virtuoso ensembles, the Philharmonia in 1945, and the Royal Philharmonic in 1946, the LPO’s thriving status and reputation with audiences and international conductors continued for a few more years yet, before a temporary change in its fortunes was to set in. As well as playing with Bruno Walter, it was giving notably prestigious concerts with Victor de Sabata, Ernest Ansermet, Erich Kleiber, Charles Münch, Paul Paray, Eduard van Beinum, and, before long, Serge Koussevitsky. The players were very proud of their associations with these artists, and the studio recordings they made with some of them give us a good idea of the profound effect these great conductors had on the musicians’ range of performing styles. In 1990, three years after the Music Performance Research Centre, now Music Preserved, was set up, I donated to the archive all the Agate Collection recordings I had found. This was only possible because of a new legally binding donations procedure for unauthorised off-air recordings. Now that Music Preserved has reached an agreement with Testament, this is the second of those unique documents that is being officially issued for the very first time.

Extracted from the booklet note Jon Tolansky, 2008

Although they were separated due to a period of creative despair which interrupted his work, both the second Piano Concerto and the Moments Musicaux date from Rachmaninov’s early period, during which he was active primarily as a composer rather than a pianist. This explains the character of the second Piano Concerto, which partakes of both chamber music and symphony, despite the dazzling virtuosity of the solo piano part.

Pianist Dejan Lazic was born in Zagreb, Croatia, and grew up in Salzburg where he studied at the ‘Mozarteum’. He is quickly establishing a reputation worldwide as “a brilliant pianist and a gifted musician full of ideas and able to project them persuasively” (Gramophone). The New York Times hailed his performance as “full of poetic, shapely phrasing and vivid dynamic effects that made this music sound fresh, spontaneous and impassioned”. After his recent, highly successful Edinburgh Festival recital, The Scotsman wrote: “Dejan Lazic shines like a new star”. As recitalist and soloist with orchestra, he has appeared at major venues and at numerous international festivals across Europe, North and South America, Asia, and Australia. Alongside his solo career, Dejan Lazic is also a passionate chamber musician and active as a composer. The London Philharmonic Orchestra was founded in 1932 by Sir Thomas Beecham and is recognised as one of the world’s great orchestras. The young conductor Kirill Petrenko, hails from Omsk via Austria and appointments in Meiningen and at the Komische Oper Berlin, confirms his concern for clarity and vividness in this recording as a guest conductor of the LPO.

Osmo Vänskä conducts the London Philharmonic Orchestra in thrilling live recordings of works by Bax and Rachmaninov, two composers renowned for their sweeping romanticism. As his tone poem unfolds, Bax’s music evokes legendary images of Tintagel whilst also reflecting a passionate love affair. Similarly, Rachmaninov’s third and most expressive symphony is a work of intense lyricism, unified by a melancholic and emotional melody.

This is a previously unavailable recording of two live performances.

Osmo Vänskä is a highly praised recorded conductor. He is currently recording the complete Beethoven symphony cycle with the Minnesota Orchestra.

In this recording Vänskä brings his innate understanding of Sibelius to Bax, one of Sibelius’s contemporaries. Vänskä can give the same voice to Rachmaninov as any great Russian conductor. He has a distinguished profile on both sides of the Atlantic. He is Chief Conductor of the Minnesota Orchestra and also has an active European career.

‘The players revelled in its glamorous seascape.’ The Guardian concert review on Bax, December 07

‘Drawing a surging performance that was by turns panoramic and passionate, the Finnish conductor proved himself a potent advocate for this neglected British composer… [This was followed by] a glittering and luxuriant performance of Rachmaninov’s Symphony No 3.’ The Sunday Telegraph concert review on Bax and Rachmaninov, December 07

Recorded live at Southbank Centre’s Royal Festival Hall on 30 November 1975 (The Chagall Windows), 31 October 1976 (Philharmonic Concerto) and 10 February 1983 (Concerto for Orchestra).

The London Philharmonic Orchestra has enjoyed relationships with some of the most distinguished composers since it was founded in 1932. None were closer to the ensemble than Malcolm Arnold, who began his musical career from within its very ranks. A mutual and productive respect between the Orchestra and John McCabe has grown from their first collaborations in 1972; the composer’s own description of the Orchestra’s musicians as ‘ courteous colleagues of great musical insight’ exemplifies a vigorous and moving partnership.

Bernard Haitink has enjoyed a long and distinguished career as an orchestral and operatic conductor. Besides being a previous Principal Conductor of the London Philharmonic Orchestra, Haitink has also been Chief Conductor of the Royal Concertgebouw Orchestra and Music Director of Glydebourne Festival Opera. Sir Georg Solti is one of the great conductors of the twentieth century. During his life he won 32 Grammy awards and recorded over 250 discs for Decca. His conducting posts included Music Director of the Royal Opera House, Covent Garden and Music Director of the Chicago Symphony Orchestra.

This recording has only been previously available as part of the London Philharmonic Orchestra’s 75th Anniversary Box Set, Volume 2 (LPO0098)

These live recordings of three modern classics reflect the London Philharmonic Orchestra’s strong commitment to contemporary composers. The first two are breakthrough works from 1990 by British composers Thomas Adès and James MacMillan, the third a spectacular concerto by Jennifer Higdon, one of America’s most successful composers. Marin Alsop and Colin Currie give impassioned performances revealing the full range of emotions contained in the music. Marin Alsop has made many previous recordings with the London Philharmonic Orchestra. These include the entire set of Brahms symphonies and a number of contemporary works by the orchestra’s Composer in Residence Mark-Anthony Turnage.

One of the great conductors of our time, Carlo MariaGiulini has, like Richter, been a regular feature on BBC Legends. His best sellers on the label have been choral notably two Verdi Requiems (BBCL40292 and BBC41442), Britten's War Requiem (BBCL40462), Bach's B Minor Mass (BBCL40622) and Faure's Requiem (BBCL42212).

The Brahms Requiem from the 1978 Edinburgh Festival has never been issued before and in fact the DG studio taping nine years later in 1987 is Giulini's only other performance on record.

The Edinburgh Festival performance from 1978 features two major international soloists - Dietrich Fischer-Dieskau (baritone) and Ileana Cotrubas (soprano). Fischer-Dieskau is a legend in his own time, notably in the art of lieder, while Ileana Cotrubas is without doubt one of the great opera singers having performed most of the leading conductors including a notable La Traviata with Carlos Kleiber.

The Edinburgh Festival Chorus under John Currie was one (and still is) one of the best international choruses and appeared with Giulini on many occasions during the annual Festival.

Shostakovich’s Tenth Symphony was first performed shortly after Stalin’s death in 1953. This was the first of his works to be completed without the restraints of strict communist artistic control hanging over him. A dark and tragic tone is projected throughout the symphony and the distinct contrasts create a dramatic and intense work.

Recorded live at the Royal Albert Hall during the 1986 BBC Proms under conductor Bernard Haitink, the London Philharmonic Orchestra gives a compelling account of this monumental symphony. He instinctively knows with this symphony when to increase tension and when to relax - and whilst relaxing he never loses your attention, there is always direction and an onward undercurrent. The tiny rays of sunshine in the otherwise ominous slow opening are perfectly judged examples of this.

Great musical portraits of people and places mainly from the time of Gainsborough. Schubert's 'Rosamunde' and Beethoven's 'Emperor' rub shoulders with Haydn's London and Mendelssohn's Scotland. An entirely orchestral programme.