Philharmonia Orchestra

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French Music: Albert Roussel

French Music: Albert Roussel


Roussel:

Suite in F major, Op. 33

Recorded, March 19, 1957

Detroit Symphony Orchestra, Paul Paray

Symphony No. 3 in G minor, Op. 42

Recorded, September 25, 1961

New York Philharmonic Orchestra, Leonard Bernstein

Bacchus et Ariane, Op. 43 - Suite No. 2

Recorded by René Challan, Wagram Hall, November 5-16, 1963

Orchestre de la Société des Concerts du Conservatoire de Paris, André Cluytens

Symphony No. 4 in A major, Op. 53

Recorded in London, November 1949

Philharmonia Orchestra, Herbert von Karajan


Albert Roussel, much-travelled midshipman inspired by visions from the East, successfully endows the intrinsic classicism of the symphony with both dryness and impressionist lushness. Distinguished conductors, impressed by Roussel’s powerful, luminous and ultimately classical composition, perform this unique collection of four masterpieces, Bacchus et Ariane offering a balanced dose of sense and sensibility.

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Praga Digitals - DSD350138

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Beethoven: Piano Concertos No. 1 & 2

Beethoven: Piano Concertos No. 1 & 2


Beethoven:

Piano Concerto No. 1 in C Major, Op. 15

Piano Concerto No. 2 in B flat major, Op. 19


This one-off partnership on record between the mercurial Argentinean pianist and scholarly Italian conductor may have looked unlikely on paper, but it struck sparks in early Beethoven, as the critical response at the time recognised. Martha Argerich is, as Gramophone’s reviewer acknowledged in September 1986, a brilliant technician, ‘but there is also a fantastic streak in her make-up, a capacity for creative fantasy, which is needed if areas of these remarkable works are to be brought fully and vividly to life. In both these early concertos, her touch is light and expert’.

The pianist herself makes much the same point in a Swiss TV documentary, where she expresses bafflement that critics lavish such praise over her technique: she sees it as a means to an end. In this she would have won the hearty approval of the composer. Such accounts as we have of his teaching, from Carl Czerny and Ferdinand Ries among others, continually stress that Beethoven’s work with students at the bench focused on the care they took to turn and shape a phrase, to emphasize or attack here, to shade there. The mechanics of technique he expected the students to look after for themselves.

Argerich went on to re-record the Second with another Italian conductor, Claudio Abbado, in 2003, but the rhythmic discipline of the early reading has worn well over the years, with its ‘robust and passionate’ slow movement (Jed Distler in Classics Today).

“Martha Argerich, piano. What is there to say? These accounts of Beethoven’s first two concertos remain very highly regarded and for good reason. They are exciting as hell.” Classics Today, 2012

“The conjunction of Martha Argerich and Giuseppe Sinopoli in Beethoven produces performances which give off electric sparks, daring and volatile. Argerich’s contribution in phrase after phrase brings highly individual pointing … Very distinctive and stimulating performances.” Penguin Guide, 1966

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Australian Eloquence - ELQ4828145

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Tchaikovsky: Esther Yoo

Tchaikovsky: Esther Yoo


Tchaikovsky:

Violin Concerto in D major, Op. 35

Swan Lake: Pas de deux

Swan Lake: Danse Russe

Sérénade Mélancolique for Violin & Orchestra in B minor, Op. 26

Valse-scherzo in C major for violin & orchestra (or violin & piano), Op. 34

Souvenir d'un lieu cher, Op. 42: Mélodie in E flat major


Following the success of her debut, Sibelius∙Glazunov Violin Concertos achieving Gold in South Korea, Esther Yoo reveals her second album Tchaikovsky which has one of the most famous classic repertoire, Tchaikovsky Violin Concerto and short works of Tchaikovsky such as Pas de Deux, Danse Russe from Swan lake, Sérénade mélancolique, Valse-Scherzo and Souvenir d’un lieu cher.

Born in New Jersey, the U.S., she came to international attention as she won the First Prize in the Junior Section of the International Henryk Wieniawski Violin Competition in 2006. She became the third prizewinner of the 10th International Sibelius Violin Competition in 2010 and the fourth in the Queen Elisabeth Competition in 2012. She has performed with renowned conductors such as Lorin Maazel and Vladimir Ashkenazy since she was a teenager.

“Yoo is best at the more introspective side of the work, namely a thoughtful first-movement cadenza and muted songfulness in the Canzonetta…Best here are Ashkenazy and the Philharmonia, natural grace personified.” BBC Music Magazine, August 2017 ***/****

“Yoo, the youngest-ever winner of the Queen Elisabeth Competition in 2012, is clearly already an accomplished artist. Her dark, aristocratic tone is treasurable, yet one senses she isn’t forcing unnecessarily for vulgar effect. She plays with compact vibrato and can pare her sound down to a fine pianissimo without her 1704 ‘Prince Obolensky’ Stradivarius ever sounding undernourished…a most attractive disc” Gramophone Magazine, August 2017

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DG - 4815032

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$13.25

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Balakirev: Symphonies Nos. 1 and 2

Balakirev: Symphonies Nos. 1 and 2

Russian Symphonies Volume 1


Balakirev:

Symphony No. 1 in C major

Kingsway Hall, London, November 1949

Philharmonia Orchestra, Herbert von Karajan

Symphony No. 2 in D minor

Recorded in Radio Moscow, May 1966

Moscow Radio Symphony Orchestra, Gennadi Rozhdestvensky


A logical, albeit rare, association of symphonies by Balakirev, the composer of Islamey and Tamara He was the cornerstone of the Russian Mighty Five: César Cui, Aleksandr Borodin, Modest Mussorgsky, Nikolay Rimsky-Korsakov and Mily Balakirev, who in the 1860s banded together in an attempt to create a truly national school of Russian music; free of the stifling influence of Italian opera, German lieder, and other western European forms. In this album two prestigious conductors do them justice.

Symphony No.1 in C major is a romantic and well constructed work, performed by the early Karajan/Walter Legge team and the Philharmonia was certainly a crack ensemble at the time. The Second Symphony, which has, with some justice, been described as a paler copy of the First, brings an opening movement which under Rozhdestvensky’s baton moves forward strongly, generating much Slavic energy. Here tuttis are noticeably brash, but certainly not dull.

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Praga Digitals - PRD250363

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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

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Saint-Saëns & Myakovsky: Cello Concertos

Saint-Saëns & Myakovsky: Cello Concertos


Miaskovsky:

Cello Concerto in C minor, Op. 66

Saint-Saëns:

Cello Concerto No. 1 in A minor, Op. 33


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Warner Classics - Mstislav Rostropovich Cellist of the Century - 9029589226

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Nielsen: Flute & Clarinet Concertos

Nielsen: Flute & Clarinet Concertos


Nielsen:

Flute Concerto, FS119

Samuel Coles (flute)

Clarinet Concerto Op. 57 (FS129)

Mark Van de Wiel (clarinet)

Aladdin Suite, Op. 34


The Philharmonia Orchestra and Paavo Järvi perform two of Nielsen's characteristically fiery concertos, orchestral principals Samuel Coles (flute) and Mark van de Wiel (clarinet) stepping up as the intrepid soloists.

“Samuel Coles neatly personifies the fastidious Gilbert Jesperson, maintaining elegance and integrity…Mark van de Wiel is equally convincing as the choleric Aage Oxenvad, responding angrily to the orchestra, and in the virtuoso cadenzas equally capable of picking a fight with himself” BBC Music Magazine, June 2017 ****

“Paavo Järvo presides over a splendidly stylish and invigorating Nielsen anthology featuring the Philharmonia at the top of its game throughout.” Gramophone Magazine, June 2017

“a true virtuoso with a vibrant tone… What makes this recording outstanding, however, is his obvious rapport with the rest of the orchestra and conductor Paavo Jarvi and the clarity of the sound” MusicWeb International, May 2017

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Signum Philharmonia Orchestra - SIGCD477

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Ligeti: Le Grand Macabre

Ligeti: Le Grand Macabre


Hungarian-born composer György Ligeti is one of the late 20th-Century’s most influential creative figures. This recording was made under the composer’s supervision & captures the live performance of the opera ‘Le Grand Macabre’ at Paris’ Theatre du Chatelet. Esa-Pekka Salonen, known for his brilliant interpretations of contemporary music, conducts the Philharmonia Orchestra, the London Sinfonietta Voices & soloists. This recording comes with full libretto. World-premiere recording of the 1997 version. Based on the theatre piece ‘La Balade du Grand Macabre’ by Michel de Ghelderode, Ligeti’s ‘Le Grand Macabre’ is a surreal, darkly whimsical vision of a modern world – much of the action is set in a place called Breughelland – that is approaching apocalypse. The libretto is by the composer & Michael Meschke (the great puppet theatre expert). The opera had its world premiere in Stockholm in 1978, but Ligeti made a number of revisions to the score over the next two decades. A final revised version had its premiere at the 1997 Salzburg Festival, in a production staged by Peter Sellars, which was later presented at the Theatre du Chatelet in February 1998, when this recording was made.

Sony - S2K62312

(CD - 2 discs)

$11.25

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Beethoven: Symphonies Nos. 5 & 7

Beethoven: Symphonies Nos. 5 & 7


Beethoven:

Symphony No. 5 in C minor, Op. 67

Symphony No. 7 in A major, Op. 92


Vladimir Ashkenazy recorded three of the Beethoven symphonies for Decca and this coupling of two of the most popular date from the early 1980s. They are grand and expressive readings, at once thrilling and visionary.

“the slow movement […] has that feeling of spontaneous live performance which has marked most of Ashkenazy’s conducting on record … The recording […] is wide-ranging in the spread of stereo and warmly atmospheric” Gramophone Magazine (Symphony No. 5)

“a warmly spontaneous, generally direct reading taken at sensible unexaggerated speeds […] there are few modern Beethoven recordings so satisfying or more alive than this with sound – recorded in Kingsway Hall – which sets new standards against any rival version, full and spacious yet warmly co-ordinated” Gramophone Magazine, November 1984 (Symphony No. 7)

Australian Eloquence - ELQ4824951

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Verdi: La Traviata

Verdi: La Traviata

1980 Recording


Renata Scotto (Violetta Valéry), Sarah Walker (Flora Bervoix), Cynthia Buchan (Annina), Alfredo Kraus (Alfredo Germont), Renato Bruson (Giorgio Germont), Suso Mariategui (Gastone), Henry Newman (Barone Douphol), Richard Van Allan (Marchese d’Obigny), Roderick Kennedy (Dottore Grenvil), Max-René Cosotti (Giuseppe) & Christopher Keyte (Commissionario)

Philharmonia Orchestra, Ambrosian Opera Chorus & Band of the Royal Marines, Riccardo Muti

2 CD Hardback, cloth-bound book + dust jacket

Riccardo Muti and Renata Scotto collaborated frequently, both in the recording studio and the opera house. Muti, a supreme Verdian, brings dramatic urgency and delicate lyricism to the score of La traviata while Scotto interprets Violetta with a wealth of perception and artistry.

Original digital recording

Full libretto: IT with translations in EN, DE, FR

Summer Opera Sale

Warner Classics Deluxe Opera Series - 2564648318

(CD - 2 discs)

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