Sir Adrian Boult

Conductor

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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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Tchaikovsky: Piano Concerto No. 1 & Concert Fantasy

Tchaikovsky: Piano Concerto No. 1 & Concert Fantasy


Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

New Symphony Orchestra of London, Edric Cundell

Concert Fantasy, Op. 56

London Philharmonic Orchestra, Sir Adrian Boult


Peter Katin (piano)

On this reissue, Tchaikovsky’s ever-popular Piano Concerto No. 1 is coupled with a relative rarity – the Concert Fantasy. Peter Katin was not the first pianist to make a studio recording of Tchaikovksy’s Concert Fantasy – that honour went to Tatiana Nikolayeva in 1950 – but his 1958 recording with Sir Adrian Boult was the first in stereo. Katin, who was born in London in 1930 and died on 19 March 2015 at the age of 84 studied at the Royal Academy of Music, and made his professional debut in Wigmore Hall when he was eighteen. He is associated with the Romantic repertoire, particularly with Chopin, but also is admired for his performances of music by Mozart and Schubert. His extensive discography includes not only performances on modern pianos, but also several recordings made on restored period instruments, in which he developed a strong interest, later in his career. These Tchaikovsky recordings receive their first release on Decca CD.

“the orchestra does well, and Katin gives us the fine clarity and control which always distinguish his playing” Gramophone Magazine, January 1959 (Concert Fantasy)

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Rachmaninov: Piano Concertos Nos. 1 & 2

Rachmaninov: Piano Concertos Nos. 1 & 2


Rachmaninov:

Piano Concerto No. 1 in F sharp minor, Op. 1

London Philharmonic Orchestra, Sir Adrian Boult

Piano Concerto No. 2 in C minor, Op. 18

New Symphony Orchestra of London, Sir Colin Davis


Peter Katin (piano)

Pianist Peter Katin died on 19 March 2015 at the age of 84. He was born in London in 1930, and by the time he was twelve he was a student at the Royal Academy of Music. He made his professional debut in Wigmore Hall six years later. Early in his career, he was particularly admired for his performances of works from the Classical era, but he caused a sensation in 1953 when he performed Rachmaninov’s Piano Concerto No. 3. (One reviewer wrote, ‘The young English pianist was greeted, after this breathtaking display, with the hearty and prolonged applause that we generally confine to established public idols.’) The Rachmaninov recordings reissued here date from 1958 (Concerto No. 1) and 1959 (Concerto No. 2). In addition to Katin’s virtuosity, they feature intelligent conducting from Sir Adrian Boult and Sir Colin Davis, and engineering which is almost as impressive today as it was more than five decades ago.

“[the Piano Concerto No. 2] is all brought off very well and there are many passages of great felicity” Gramophone Magazine, September 1964

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Rimsky-Korsakov: Scheherazade & Russian Easter Festival Overture

Rimsky-Korsakov: Scheherazade & Russian Easter Festival Overture


Rimsky Korsakov:

Scheherazade, Op. 35

London Symphony Orchestra, Pierre Monteux

Russian Easter Festival Overture, Op. 36

first release on CD

London Philharmonic Orchestra, Sir Adrian Boult


In his most famous orchestral composition, Scheherazade, Rimsky-Korsakov, like Beethoven in his ‘Pastoral’ Symphony before him, was more interested in evoking feelings and impressions than in spoon-feeding listeners a pre-digested program. So the titles he provided for its four movements, were indicative rather than based on particular stories from the Arabian Nights.

Pierre Monteux’s recording, taped in Kingsway Hall in June 1957 was first issued on RCA (at the time when the label had a collaborative release arrangement with Decca). Since then the recording has repatriated to Decca who first issued it on LP in 1970 and then on CD in 1988 as part of its ‘Weekend Classics’ series. It is now restored to circulation as part of Eloquence’s on-going exploration of the recorded legacy of Monteux.

That same year, Rimsky-Korsakov also completed the Russian Easter Festival Overture, also known as ‘Bright Holiday’, in keeping with the Russian Orthodox name for Easter. Many of the melodies heard in this work were taken from the Obikhod, a collection of liturgical chants dating back many centuries, and first published in 1772. Rimsky-Korsakov had a deep appreciation for Russia’s pagan and early Christian history.

Sir Adrian Boult’s recording of the Overture also hails from 1957, and like Monteux’s Schehrazade first appeared on RCA. Decca released it in 1971 as part of its Eclipse series. This is its first release on Decca CD.

“The London Symphony Orchestra plays extremely well … Hugh McGuire is an admirable violin soloist – I was especially trateful to hear those long and very high E’s at the end so securely held… Monteux’s very great perception of the wizardry of the scoring is in its own way the equal of Beecham’s and he is specially notable for the way he builds each movement. The recording is splendid…” Gramophone Magazine, November 1958 (Scheherazade)

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Dvořák & Schumann: Cello Concertos

Dvořák & Schumann: Cello Concertos


Dvorak:

Cello Concerto in B minor, Op. 104

Schumann:

Cello Concerto in A minor, Op. 129


Mstislav Rostropovich (cello)

R.P.O & Leningrad, Adrian Boult & Rozhdestvensky

Alto - ALC1261

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Sir Adrian Boult conducts Elgar & Wagner

Sir Adrian Boult conducts Elgar & Wagner


Elgar:

Symphony No. 2 in E flat major, Op. 63

Royal Albert Hall, London, 24 July 1977

Wagner:

Tannhäuser: Overture and Venusberg Music

Studio 1, BBC Maida Vale, London, 8 December 1968

with BBC Chorus


Sir Adrian Boult (1889–1983) studied in England and at Leipzig, Germany, with early conducting work in London for the Royal Opera House and Sergei Diaghilev’s ballet company. His first prominent post was conductor of the City of Birmingham Orchestra in 1924. When the British Broadcasting Corporation appointed him director of music in 1930, he established the BBC Symphony Orchestra and became its chief conductor. The orchestra set standards of excellence (famously conducted by Toscanini) that were rivalled in Britain only by the London Philharmonic Orchestra (LPO), founded two years later.

After leaving the BBCSO in 1950, Boult took on the chief conductorship of the LPO and under his guidance its fortunes were revived. He retired as its chief conductor in 1957. In the latter part of his career he worked with other orchestras, including the London Symphony Orchestra, the Philharmonia Orchestra, the Royal Philharmonic Orchestra, and his former orchestra, the BBC Symphony, conducting them in concerts and recordings until 1978, in what was widely called his ‘Indian summer’.

Boult was very closely associated with Elgar’s music throughout his career and recorded the Second Symphony five times (in 1944, 1956, 1963, 1968 and 1975 – all in the studio).

This live Proms performance recorded in stereo from 1977 ‘shows Boult in his late eighties working with the passion and energy of a much younger man’ (Martin Cotton). His relatively fast tempi are closer to his first recording made in 1944 with the BBCSO.

Elgar wrote to Boult ‘I feel that my reputation in the future is safe in your hands’ following a performance of his Symphony No.2.

The Overture and Venusberg Music from Wagner’s Tannhäuser are a new addition to the Boult discography and come from a live studio performance in stereo from the Maida Vale Studios in 1968.

Gramophone described ICA's recording of Boult's live performance of Elgar’s Symphony No.1 (ICAC5063) as ‘Boult at his inimitable best’.

“what treasure-trove it comprises...Not only do the BBC SO play with heartfelt commitment...but the 88-year-old Boult directs with unerring grip and thrusting vigour...So where's the rub? Well, the boomy, cavernous sound leaves a lot to be desired...if you can contend with the problematic sound, there's heaps to admire here on purely artistic grounds.” Gramophone Magazine, December 2013

ica classics Legacy - ICAC5106

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Clifford Curzon plays Mozart & Schubert

Clifford Curzon plays Mozart & Schubert

Recorded live at the Royal Albert Hall & Usher Hall, September 1961


Mozart:

Piano Concerto No. 27 in B flat major, K595

London Philharmonic Orchestra, Sir Adrian Boult

Schubert:

4 Impromptus, D899

Moments Musicaux, D780: No. 3 in F minor


The performance of the Impromptus, D.899, heard here, confirms Curzon’s place as one of the great Schubert players of his generation. Indeed, the audience was so impressed that they couldn’t help applauding between each Impromptu. Not only does Curzon manage to play with a range of emotion, from limpid tenderness to controlled aggression, but his attention to the sound he produces from the piano never fails to impress. This was one of Curzon’s most salient attributes; for him the sound he made at the keyboard was paramount and it is his combination of cerebral interpretation, no doubt acquired in part from two years study with Artur Schnabel, coupled with his acute attention to sound, that made Curzon such a unique pianist.

Listening to the first Impromptu one can hear that it is not just the beauty of sound that Curzon is concerned with, but the balance between the hands, parts and voices, and the way the harmony of the left hand supports Schubert’s glorious melodies. Indeed, it is good to have Curzon in a live performance of this work as, although he recorded a short studio recital of works by Liszt and Schubert for the BBC in December 1961, he omitted the first and most substantial Impromptu playing only the last three.

One of the highlights of the 1961 Edinburgh Festival was Curzon’s performance of Mozart’s last Piano Concerto, K.595 in B flat. He later travelled to London to perform the work again at the Proms and it is this performance that is heard on this CD.

Curzon is supported by the London Philharmonic Orchestra with Sir Adrian Boult, who had not appeared at the Proms since 1958. The orchestral playing is at once smooth and elegant with string and wind playing beautifully shaped and phrased by the conductor, matching Curzon’s style to perfection.

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The Essential Wagner

The Essential Wagner


Wagner:

Der fliegende Holländer: Overture

Summ' und brumm', du gutes Rädchen 'Spinning Chorus' (from Der fliegende Holländer)

Johohoe! Traft ihr das Schiff im Meere an 'Senta's Ballad' (from Der fliegende Holländer)

Steuermann, laß die Wacht! (from Der fliegende Holländer)

Tannhäuser: Overture

Dich, teure Halle (from Tannhauser)

O du, mein holder Abendstern (from Tannhäuser)

Begluckt darf nun dich 'Pilgrims' Chorus' (from Tannhauser)

Einsam in trüben Tagen (from Lohengrin)

Entweihte Götter (from Lohengrin)

Bridal Chorus 'Treulich geführt' (from Lohengrin)

In fernem Land (from Lohengrin)

Das Rheingold: Entrance of the Gods into Valhalla

Die Walküre: Ride of the Valkyries

Siegmund heiß ich und Siegmund bin ich! (from Die Walküre)

Hoho! Hoho! Hohei! Schmiede, mein Hammer, ein hartes Schwert! (from Siegfried)

Götterdämmerung: Siegfried's Funeral March

Die Meistersinger von Nürnberg: Overture

Morgenlich leuchtend im rosigen Schein 'Prize Song' (from Die Meistersinger von Nürnberg)

O sink hernieder, Nacht der Liebe (from Tristan und Isolde)

Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde)

Lohengrin: Prelude to Act 1

Lohengrin: Prelude to Act 3


The best-loved and most popular works by Richard Wagner, performed by the world’s leading artists, in an accessible format at budget price.

Warner Classics - 9733992

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Sir Adrian Boult conducts Elgar & Holst

Sir Adrian Boult conducts Elgar & Holst


Elgar:

Enigma Variations, Op. 36

London Symphony Orchestra

Holst:

The Planets, Op. 32

The Geoffrey Mitchell Choir & London Philharmonic Orchestra


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Mozart: Piano Concertos Nos. 20 & 23

Mozart: Piano Concertos Nos. 20 & 23


Mozart:

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 23 in A major, K488


Hungarian pianist Annie Fischer suffered reprisals for her Jewish background, but after the Second World War she enjoyed her international breakthough with Mozart playing of gentle elegance, supple virtuosity and dramatic power.

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