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Ashkenazy plays JS Bach & Chopin - Vinyl Edition

Ashkenazy plays JS Bach & Chopin - Vinyl Edition


Bach, J S:

Keyboard Concerto No. 1 in D minor, BWV1052

Chopin:

Piano Concerto No. 2 in F minor, Op. 21


“Chopin's Piano Concerto No.2, recorded in 1965 with the LSO under David Zinman has great sensitivity and distinction of phrase.” Gramophone Magazine

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Decca - 4832252

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$24.25

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Chopin: Piano Concerto No. 2 & Ravel: Piano Concerto for the Left Hand

Chopin: Piano Concerto No. 2 & Ravel: Piano Concerto for the Left Hand


Chopin:

Piano Concerto No. 2 in F minor, Op. 21

Ellen Ballon (piano)

London Symphony Orchestra

Ravel:

Piano Concerto in D major (for the left hand)

Jacqueline Blancard (piano)

L’Orchestre de la Suisse Romande


The Eloquence label has restored to modern circulation many recordings of the Swiss conductor Ernest Ansermet, but few of them have been as overlooked as this pair of concertos, which are now released internationally for the first time on CD, in new digital remasterings. French music found Ansermet in his element, and he was a concerto accompanist of renowned sensitivity: ‘the slow movement is particularly sweetly felt,’ as Gramophone remarked in its March 1951 review of the Chopin F minor concerto. In his booklet note, François Hundry (author of the authoritative biography of Ansermet) remarks on the frisson and Romantic sensibility which pianist and conductor create together in this, their only partnership on record.

The Canadian-born pianist Ellen Ballon (1898–1969) was especially renowned for her performances of Chopin and Villa-Lobos. Arthur Rubinstein, no less, once hailed her as ‘the greatest pianistic genius I have ever met’. After a prodigious start to her career, she studied with Rafael Joseffy and Josef Hofmann in New York and then Wilhelm Backhaus in Vienna. Over the course of half a century, she played at the White House for three different US presidents.

Like Ballon, Jacqueline Blancard (1909–1994) made several solo recordings for Decca, of Mozart, Schumann and Brahms. She is hardly better known now, though she gave the Swiss premiere of Ravel’s Concerto for the Left Hand with Ansermet in 1937, made its first recording the following year (for Polydor under Charles Munch) and then recorded both Ravel concertos for Decca (reissued on Eloquence, 480 0070) with Ansermet, who evidently held his fellow Swiss musician in high esteem. Issued here is not that 1953 recording but yet a third, made in 1949.

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Australian Eloquence - ELQ4825193

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Ravel, Dutilleux & Delage

Ravel, Dutilleux & Delage

Recorded live at the Barbican Hall, 13th January 2016


Delage:

Quatre Poèmes hindous

Julia Bullock (soprano)

Dutilleux:

L'Arbre des songes (Concerto for violin and orchestra)

Leonidas Kavakos (violin)

Metaboles

Ravel:

Daphnis et Chloé - Suite No. 2

Le Tombeau de Couperin


LSO Live has been filming concerts in the Orchestra’s Barbican home since 2012 and we’re proud to bring these acclaimed performances to DVD & Blu-ray for the first time. Recorded in January 2016, this beautiful programme of French music was chosen by Music Director Designate Sir Simon Rattle and features world class soloists Leonidas Kavakos and Julia Bullock.

Book-ending this concert are two works by the master of orchestral texture, Maurice Ravel. First, Le tombeau de Couperin; an expertly orchestrated version of a 1914-17 piano piece that brings sharpness to the original’s classical dance rhythms. The work calls for an oboe soloist of virtuosic skill, which is expertly handled here by LSO Principal Olivier Stankiewicz. At the other end, Rattle closed the concert with the popular second suite from Daphnis et Chloé.

Following Stankiewicz’s display of woodwind mastery, violinist Leonidas Kavakos presents his intepretation of a modern classic, Henri Dutilleux’s violin concerto L’arbre des songes. Composed between 1983 and 1985, the title translates as ‘The Tree of Dreams’ and the work is based on a process of continual growth and renewal, as the composer explained: ‘All in all the piece grows somewhat like a tree, for the constant multiplication and renewal of its branches is the lyrical essence of the tree.’ Rattle also presents a second work by Dutilleux, 1964’s Métaboles. Written for George Szell and the Cleveland Orchestra, it is a diverse sequence of orchestral études given symphonic coherence by stealthy motivic evolution.

Rounding out the programme, American soprano Julia Bullock shines in Maurice Delage’s Quatre poèmes hindous. Written in 1912 for a chamber ensemble of two flutes, oboe, two clarinets, harp, and string quartet, this hidden gem has been described as ‘one of the first attempts to introduce the melodic and rhythmic forms of Indian music to the language of Western music’.

Audio 2.0 stereo | 24 bit 48 kHz PCM

Notes in En, Fr, Ge

Total playing time: 95m 40s

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LSO Live - LSO3038

(DVD Video + Blu-ray - 2 discs)

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Rachmaninov & Khachaturian: Piano Concertos

Rachmaninov & Khachaturian: Piano Concertos


Khachaturian:

Piano Concerto in D flat major

London Philharmonic Orchestra, Rafael Frühbeck de Burgos

Rachmaninov:

Piano Concerto No. 3 in D minor, Op. 30

London Symphony Orchestra, André Previn


Although Alicia de Larrocha was justly crowned in her own lifetime as the Queen of Spanish piano music, the larger-scale Romantic concertos were also within her repertoire during the first half of her long career, until her finger-span could not accommodate the outsize hand-stretches required by Rachmaninov’s music in particular. To such works as Eloquence has reissued in a series devoted to her Decca recordings (see www.eloquenceclassics.com), Larrocha brought the same articulate clarity, palette of colours, rhythmic buoyancy and depth of expression that distinguished her recordings of Albéniz and Granados. As Raymond Tuttle remarks in the booklet-note appreciation of de Larrocha’s art, ‘these recordings, made during her glory days, remind us once again of her versatility and how completely she identifies with this music’.

Along with Brahms’s Second, the Third Concerto of Rachmaninov is the most arduous and demanding within the central repertoire, both on account of sheer length and the torrents of notes with which the concerto’s passion is poured out. While fully in command of such passages as the famously taxing first-movement cadenza, however, Larrocha unerringly locates the more playful side of the concerto as well as giving the slow movement a performance of especial, limpid grace. In this she is aided by insightful accompaniment from the London Symphony Orchestra and André Previn, who became prized as Rachmaninov interpreters during the 1970s through celebrated accounts of the symphonies and the concertos (with Ashkenazy).

As the critic Felix Aprahamian once observed, ‘Alicia de Larrocha never puts a finger wrong’: true no less in the more unfamiliar territory of the concerto by Aram Khachaturian, which enjoyed decades of popularity after its composition in 1936 before the composer’s Armenian-tinged, cinematically conceived Romantic idiom fell out of fashion. At the climax of the impassioned slow movement, its sweeping melody is played on both piano and flexatone, a musical saw which produces unearthly glissandi, somewhat like an ondes martenot.

“The slow movement of the Piano Concerto as interpreted by a Spanish pianist and a Spanish conductor sounds evocatively like Falla and the finale is also infectiously jaunty.” Penguin Guide, 1996 (Khachaturian)

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Australian Eloquence - ELQ4820725

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Elgar: Cello Concerto & Sea Pictures - Vinyl Edition

Elgar: Cello Concerto & Sea Pictures - Vinyl Edition


Elgar:

Cello Concerto in E minor, Op. 85

Jacqueline du Pré (cello)

Sea Pictures, Op. 37

Janet Baker (mezzo-soprano)


At the premiere of Elgar’s Cello Concerto in 1919, John Barbirolli – himself a cellist – was playing in the London Symphony Orchestra. When he recorded the work in 1965 he chose Jacqueline du Pré as soloist and she remains inextricably linked with this elegiac, but passionate work. Barbirolli’s special affection for Elgar’s music is just as evident in the glorious account of Sea Pictures with Janet Baker and the Philharmonia Orchestra.

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Warner Classics - 9029587188

(Vinyl)

$20.50

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Prokofiev: Violin Concertos Nos. 1 & 2 - Vinyl Edition

Prokofiev: Violin Concertos Nos. 1 & 2 - Vinyl Edition


Prokofiev:

Violin Concerto No. 1 in D major, Op. 19

London Symphony Orchestra, Lovro von Matačic

Violin Concerto No. 2 in G minor, Op. 63

Philharmonia Orchestra, Alceo Galliera


David Oistrakh (violin)

One of the 20th century’s greatest violinists, David Oistrakh named Sergei Prokofiev among his close friends.

This album features the composer’s two contrasting violin concertos – the audacious No. 1, completed in 1917, and the more restrained No. 2, composed in 1935, shortly before Prokofiev returned to Russia.

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Warner Classics - 9029587185

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Orff: Carmina Burana

Orff: Carmina Burana


Penelope Walmsley-Clark (soprano), John Graham-Hall (tenor), Donald Maxwell (baritone)

London Symphony Orchestra, Richard Hickox

“A muscular Carmina, rhythmically deliberate in places, but with oomph and gravitas in the big choral apostrophes. The soloists impress, especially John Graham-Hall in his scorched-swan moment.” BBC Music Magazine, August 2017 ****

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Alto - ALC1336

(CD)

$6.25

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Verdi: Requiem

Verdi: Requiem


Recently appointed Principal Guest Conductor of the London Symphony Orchestra, Gianandrea Noseda gathered together an outstanding cast of Italian stars for these searing performances of Verdi’s Requiem to open the LSO’s 2016/17 season.

Originally destined to be a collaboration of movements from Italian composers to honour the death of Rossini, the Requiem evolved into a memorial for the Italian writer and poet Alessandro Manzoni, whom Verdi revered, and premiered on 22 May 1874 – exactly a year after Manzoni’s death.

The most complex and dramatic sequence is the 'Dies irae' (Day of wrath). The vivid text of the Last Judgement allows Verdi's operatic talents to flourish amidst the drama and pathos. The main theme erupts in violent fury of brass and percussion while the chorus roars a descending scale pattern of intimidating catastrophe and fear. In a momentary lull, a single trumpet in the orchestra opens a simple fanfare, answered quietly by a trumpet out in the concert hall. The fanfare builds in intensity and numbers until the four trumpets on stage and four house trumpets, often spatially arranged for maximum effect, join the full orchestra for a blazing opening to the choral entrance of the 'Tuba mirum' (The trumpet shall sound).

Whilst not a devout Catholic, Verdi was influenced by a profound sense of higher power: combining his gifts for the theatrical with his admiration for the great Italian liturgical music of the past, he created a passionate and deeply moving masterpiece, beloved of performers and audiences alike.

“this is an impressively disciplined account of the mighty score, with expressive Italian soloists, a superb choir (trained by Simon Halsey) and the LSO on top form.” Sunday Times, 3rd April 2017

“Under Gianandrea Noseda, this live recording by the London Symphony Orchestra, LSO Chorus and evenly matched vocal quartet of Erika Grimaldi (soprano), Daniels Barcellona (mezzo soprano), Francesco Meli (tenor) and Michele Pertusi (bass), play honestly and powerfully to its strengths. Noseda paces it with dramatic verve and fresh intensity. The chorus has focus, girth and versatility. The soloists strike that fine balance between discipline and indulgence. There are many moments that will send shivers up the spine.” The Scotsman, 18th April 2017

“Michele Pertusi is exemplary, with a lovely legato quality…Erika Grimaldi is at her best when projecting the drama of the text…the LSO Chorus are superb throughout, as are the LSO themselves. The strings and brass, especially, respond to Noseda’s direction with refinement and panache” Gramophone Magazine, June 2017

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Super Audio CD

Format:

Hybrid Multi-channel

LSO Live - LSO0800

(SACD)

$10.00

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Min Kym: Gone - The Album

Min Kym: Gone - The Album


Brahms:

Violin Concerto in D major, Op. 77: II. Adagio

Philharmonia Orchestra, Sir Andrew Davis

Violin Sonata No. 3 in D minor, Op. 108 - Allegro

Ian Brown (piano0

Chausson:

Poème for Violin & Piano, Op. 25

Gordon Back (piano)

Elgar:

Salut d'amour, Op. 12

Gordon Back (piano)

Lalo:

Symphonie espagnole, Op. 21: Rondo - Allegro

London Symphony Orchestra, Barry Wordsworth

Massenet:

Meditation (from Thaïs)

Gordon Back (piano)

Paganini:

Caprice for solo violin, Op. 1 No. 16 in G minor

Prokofiev:

Sonata in D major for solo violin, Op. 115: Moderato

Saint-Saëns:

Introduction & Rondo capriccioso, Op. 28

Gordon Back (piano)


Min Kym (violin)

Born in South Korea and raised in the UK, Min Kym began playing the violin at the age of six. At sixteen she became the youngest ever foundation scholar at the Royal College of Music; at twenty-seven, the first recipient of the Heifetz Prize. The legendary conductor George Solti praised her “exceptional natural talent, mature musicality, and mastery of the violin.” Min had her Stradivarius stolen at a sandwich shop in London in 2010 just as her career was about to kick off. The story struck high waves in media, but being traumatized Min could not play anymore. In 2013 the violin was then found under mysterious circumstances…

Min has now written a book about her story, her love to the instrument and what this incident did to her life.

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Warner Classics - 9029583830

(CD)

$11.00

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Tchaikovsky: Symphony No. 6, Manfred Symphony, Romeo and Juliet & Capriccio italien

Tchaikovsky: Symphony No. 6, Manfred Symphony, Romeo and Juliet & Capriccio italien


Tchaikovsky:

Symphony No. 6 in B minor, Op. 74 'Pathétique'

Wiener Philharmoniker, Claudio Abbado

Romeo & Juliet - Fantasy Overture

Boston Symphony Orchestra, Claudio Abbado

Capriccio italien, Op. 45

Berliner Philharmoniker, Ferdinand Leitner

Manfred Symphony, Op. 58

London Symphony Orchestra, Yuri Ahronovitch


A collection of all of Tchaikovsky’s symphonies and ballet suites from the rich archives of Deutsche Grammophon.

All the performances have been justifiably critically appraised. This volume includes Tchaikovsky’s final symphony, the ‘Pathétique’ and the tone poem Romeo and Juliet – both recorded by Claudio Abbado in the early 1970s – as well as a rare recording of the Manfred Symphony by Yuri Ahronovitch and Ferdinand Leitner’s bright 1959 account of the Capriccio italien.

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Australian Eloquence - ELQ4826184

(CD - 2 discs)

$12.25

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