London Symphony Orchestra

Orchestra

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Handel Favourites

Handel Favourites


includes

Handel:

Largo from Xerxes (instrumental arrangement)

Music for the Royal Fireworks, HWV351

Oboe Concerto No. 3 in G minor, HWV 287

Arrival of the Queen of Sheba (from Solomon)


Released or re-released in last 6 months

Alto - ALC1340

(CD)

$6.50

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Beethoven: Symphonies Nos. 3 & 8

Beethoven: Symphonies Nos. 3 & 8


Beethoven:

Symphony No. 3 in E flat major, Op. 55 'Eroica'

Recorded at Walthamstow Town Hall, October 1988

Symphony No. 8 in F major, Op. 93

Recorded at Watford Town Hall, August 1988


Released or re-released in last 6 months

Alto - ALC1353

(CD)

$6.50

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Bruch: Violin Concerto No. 1 & Scottish Fantasy

Bruch: Violin Concerto No. 1 & Scottish Fantasy


Brahms:

Hungarian Dance No. 9 in E minor

arr. for violin Joachim

with Vladimir Yampolsky (piano)

Hungarian Dance No. 8 in A minor

arr. for violin Joachim

with Vladimir Yampolsky (piano)

Hungarian Dance No. 5

arr. for violin Joachim

with Vladimir Yampolsky (piano)

Bruch:

Violin Concerto No. 1 in G minor, Op. 26

London Symphony Orchestra

Scottish Fantasy, Op. 46

London Symphony Orchestra


Released or re-released in last 6 months

Alto - ALC1356

(CD)

$6.50

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Score

Score

deluxe edition


Disc 1

Game of Thrones Medley

May it Be

For the Love of a Princess

Love Story

Cinema Paradiso

Moon River

Love Theme from The Godfather

My Heart Will Go On

Rain Man Theme

Cavatina

Malena

Schindler's List Main Theme

Titles from Chariots of Fire

Now We are Free

Disc 2

Intro

Love Theme from The Godfather

For the Love of a Princess

Moon River

Cinema Paradiso

Rain Man Theme

Cavatina

Love Story

Schindler's List Main Theme

My Heart Will Go On

Now We are Free

Game of Thrones Medley

Smooth Criminal

Thunderstruck

Smells Like Teen Spirit

You Shook Me All Night Long

Highway to Hell

Satisfaction

Back in Black

With or Without You

Credits


2CELLOS, music s most electric and dynamic instrumental duo, go to the movies for their latest album, Score. Bringing 2CELLOS game-changing sound and style to the most popular melodies ever written for classic and contemporary movies and television, Score finds Croatian cellists Luka Sulic and Stjepan Hauser exploring a more traditional sound-world. Joining them here is the London Symphony Orchestra with conductor/arranger Robin Smith at the helm. The album is co-produced by Sulic and Hauser with Nick Patrick (Jackie Evancho, Il Divo, Placido Domingo). On Score, themes that drove some of the biggest block-busters in film and television history are featured in fresh new treatments including an arrangement of Ramin Djawadi s melodies that score Game of Thrones, Oscar-winning themes from James Horner s Titanic ( My Heart Will Go On ), John Williams Schindler s List and Vangelis s Chariots of Fire, as well as For the Love of a Princess from Braveheart (also by Horner); May It Be from The Lord of the Rings: The Fellowship of the Ring (introduced in the film by Enya); the inspiring Now We Are Free from Gladiator, by the film s composer Hans Zimmer, Lisa Gerrard and Klaus Badelt and more.

Released or re-released in last 6 months

Sony - 88985461102

(CD - 2 discs)

$17.75

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Mahler: Symphonies Nos. 1 & 3

Mahler: Symphonies Nos. 1 & 3


Mahler:

Symphony No. 1 in D major 'Titan'

Symphony No. 3

Helen Watts (mezzo-soprano)

Wandsworth School Boys Choir & Ambrosian Opera Chorus


For years, admitted Sir Georg Solti to High Fidelity magazine in January 1967, ‘Mahler bored me. He came to me, or I came to him, eight or nine years ago. Up to then his symphonies were all pieces and bits. Now I see their form. I love them. It is not enough to like music. You must love. And love means change.’

By the time he was to record the First Symphony, with the London Symphony Orchestra, by modern standards he did so at a comparatively ripe age of 52. But the critics were immediately struck by the youthful dynamism of Solti’s conception, which was entirely apt to a work conceived by a composer in his early twenties. When High Fidelity came to survey all the Mahler symphony recordings on record in September 1967, this version of the First was declared ‘probably the best both in interpretation and in recording’, even up against stiff competition from more experienced Mahlerians such as Jascha Horenstein and Rafael Kubelík.

So began one of the defining Mahler cycles on record. To begin with, it was an international affair, made with the principal orchestras of London (Nos. 1-3 and 9), Amsterdam (No.4), and Chicago (Nos. 5-8). The London and Amsterdam recordings were later remade in Chicago, during the digital era, but Solti’s initial interpretations retain a special freshness. They are mostly swifter than the remakes, though not rushed. Slow movements such as the Third Symphony’s final, glorious Adagio unfold naturally, with a sweeping passion that may be closer to the composer’s original conception than the dirge-like tread of many later interpreters. The Ninth has also been reissued by Eloquence on a complementary issue (482 7163).

In the mid-1960s, too, the LSO was the perfect orchestra for the job: a virtuoso ensemble with a brass section famed the world over. It was the British orchestra of choice for the world’s Mahler interpreters, playing the symphonies in concert far more frequently than their rivals and making recordings such as these of phenomenal accuracy and intensity.

“The spacious parts of the first movement and finale are given plenty of time to unfold unhurriedly, and the brashly triumphant ending is put across in real style, with the trumpets and horns hitting every note like a bull’s-eye at a rifle range. As a combination of top-class recording, orchestral playing and conducting, this is one of the finest recordings I have ever listened to.” Gramophone Magazine, September 1964 (Symphony No. 1)

Released or re-released in last 6 months

Australian Eloquence - ELQ4827177

(CD - 2 discs)

$12.75

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Elgar: The Black Knight, Scenes from the Bavarian Highlands

Elgar: The Black Knight, Scenes from the Bavarian Highlands


Elgar:

The Black Knight, Op. 25

Scenes (6) from the Bavarian Highlands, Op. 27


Richard Hickox brought these two neglected works into the record catalogue to critical acclaim. In an Editor’s Choice review in 1996 – the year of its release – Gramophone stated: ‘Elgar completed The Black Knight in 1893 and it provided him with his first big success. The text tells of a sinister, unnamed ‘Prince of mighty sway’, whose appearance at the King’s court during the feast of Pentecost has disastrous consequences. Elgar’s score boasts much attractive invention, some of it strikingly eloquent and prescient of greater offerings to come. The choral writing is always effective, the orchestration already vivid and assured.

Released or re-released in last 6 months

Chandos - up to 40% off

Chandos Classics - The Hickox Legacy - CHAN10946X

(CD)

Normally: $8.75

Special: $7.00

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Brahms: Ein Deutsches Requiem, Op. 45

Brahms: Ein Deutsches Requiem, Op. 45


This reissue is a moving experience in itself, and not only for returning to the catalogue a superlative recording of Brahms’s masterpiece, not the best known at the time of its release in 1991, but also for the exceptional soloists, majestically accompanied by Hickox and his LSO and Chorus. Gramophone praised the ‘fine soloists’, especially the ‘resonance and ease’ of the bass baritone, David Wilson-Johnson. The review also acclaimed the ‘sheer generosity of style and sound’ as well as the choir and orchestra, ‘excellent and wellbalanced, both in themselves and with each other’. Overall, the ‘Hickox gives a remarkably satisfying performance’. Despite its large-scale conception, Brahms’s Requiem remains the product of a very private world, the personal communication of the philosophy of one man, ‘such a great soul – and yet he doesn’t believe in anything’, as Dvorák once remarked.

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Chandos - up to 40% off

Chandos Classics - The Hickox Legacy - CHAN10945X

(CD)

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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.

Released or re-released in last 6 months

Australian Eloquence - ELQ4825193

(CD)

$9.25

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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)

Released or re-released in last 6 months

Australian Eloquence - ELQ4820725

(CD)

$9.25

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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.

Released or re-released in last 6 months

Warner Classics - 9029587188

(Vinyl)

$21.25

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