Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates. | |  | Beethoven - Symphonies Nos. 3 & 6
Beethoven: | Symphony No. 3 in E flat major, Op. 55 'Eroica' The Cleveland Orchestra, Christoph von Dohnanyi Symphony No. 6 in F major, Op. 68 'Pastoral' The Cleveland Orchestra, Christoph von Dohnanyi Leonore Overture No. 3, Op. 72b The Cleveland Orchestra, Christoph von Dohnanyi Fantasia for Piano, Chorus and Orchestra in C minor, Op. 80 Rudolf Serkin (piano), Faye Robinson (soprano), Mary Burgess (soprano), Lili Chookasian (contralto), Kenneth Riegel (tenor), David Gordon (baritone) & Julien Robbins (bass) Boston Symphony Orchestra & Tanglewood Festival Chorus, Seiji Ozawa |
| | | Usually despatched in 4 - 5 working days. |
|
|
| |  | Beethoven - Symphonies Nos. 4, 8 & 9
| | | Usually despatched in 4 - 5 working days. |
|
|
| |  | Beethoven - Symphony No. 7Live Recording Salzburg 1957
Among the countless concerts that Karl Böhm conducted with the Vienna Philharmonic Orchestra at the Salzburg Festival were not only a number of inevitable repeats of standard works from the mainstream symphonic repertory but also a number of surprises and genuine trouvailles. One such concert occurred in 1957, when Böhm joined forces with a young firebrand to perform a rarely heard early work by Richard Strauss, who at the time of its composition was widely regarded as a member of the avant-garde. Returning to Salzburg for the first time since his Festival début six years earlier, Friedrich Gulda performed the Burleske in D minor, once described by Hans von Bülow as "inhumanly difficult".When von Bülow declined to give its first performance, that honour fell to Eugen d'Albert. For Gulda, there was no knuckle-breaking cascade of notes, no insane accelerando or dynamic outburst that was so "inhuman" that it could not be placed in a meaningful and thrilling musical context with the help of Böhm and the Vienna Philharmonic.The result is a rewarding re-encounter firmly with the 'Romantic' tradition. “Jazzy Strauss in the best possible way: a sensational performance surfaces.” Gramophone Magazine, December 2008 | | | Usually despatched in 3 - 4 working days. |
|
|
| |  | Rudolf BuchbinderLive Recording 2004 Salzburg Festival
Little would be gained by describing the exceptional standing of a pianist like Rudolf Buchbinder, who has consistently confirmed his command of his instrument over a period of several decades. Buchbinder brings to these works an expert's true grasp of style, a sovereign technique and an unerring ability to find his way through the fashionable manifestations of 'historically correct' performing practice. Central to this recital in the Großes Festspielhaus was the 'Appassionata' Sonata, but his readings of Johann Sebastian's English Suite and Schumann reveal no less skill and thoughtfulness. | | | Usually despatched in 3 - 4 working days. |
|
|
| |  | 90 Years of Leonard Bernstein
Beethoven: | Symphony No. 9 in D minor, Op. 125 'Choral' (Ode to Freedom) Bernstein's Historical Concert in Celebration of the Fall of The Berlin Wall. Recorded at the Schauspielhaus Berlin (GDR), 1989. June Anderson, Sarah Walker, Klaus König & Jan-Hendrick Rootering Bavarian Radio Chorus & Orchestra, members of the Orchestra of the Kirov Theatre, Leningrad, Staatskapelle Dresden, LSO, New York Philharmonic & Orchestre de Paris | Brahms: | Symphony No. 1 in C minor, Op. 68 Bernstein's Artistic Commitment to Israel in the run-up to the Yom Kippur War. Great Concert Hall, Jerusalem, 1973 Israel Philharmonic Orchestra Symphony No. 3 in F major, Op. 90 Bernstein's Artistic Commitment to Israel in the run-up to the Yom Kippur War. Great Concert Hall, Jerusalem, 1973 Israel Philharmonic Orchestra | Bruckner: | Symphony No. 9 in D Minor Bernstein's last concert with the Vienna Philharmonic. Großer Musikvereinssaal,Vienna, 1990 | Franck, C: | Symphony in D minor Théâtre des Champs-Élysées, 1981 Orchestre National de France | Milhaud: | La Création du Monde, Op. 81 Théâtre des Champs-Élysées, 1976 Orchestre National de France Le Boeuf sur le toit, Op. 58 Théâtre des Champs-Élysées, 1976 Orchestre National de France | Mozart: | Piano Concerto No. 17 in G major, K453 Großer Musikvereinssaal,Vienna, 1981 Leonard Bernstein (piano & conductor) Vienna Philharmonic Orchestra Symphony No. 39 in E flat major, K543 Großer Musikvereinssaal,Vienna, 1981 Vienna Philharmonic Orchestra |
Five outstanding DVDs with performances by Leonard Bernstein. Celebrating Bernstein's 90th anniversary on 25th August 2008. Luxurious presentation with digipack and slipcase. Extensive booklet with exclusive photos, essays, timeline and greeting from the Bernstein Society. “The latest taping is drawn from his final series of concerts with the Vienna Philharmonic and it's profoundly impressive. Bernstein directed only two Bruckner symphonies in his maturity but, with his own health declining fast, he seems to identify with the unfinished Ninth as never before. The Franck from 1981 is at the opposite pole from the fleet-footed Gallic conception associated with Pierre Monteux. The Paris audience goes mad for the reading, unsurprising given the sheer intensity achieved, even if the work's structure falls apart.” Gramophone Magazine, December 2008 | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Sir Georg Solti conducts Beethoven & Schubert
One of the legendary liaisons of the 20th century between conductor and orchestra is that of Sir Georg Solti and the Chicago Symphony Orchestra. Solti himself described it as a "love affair". Solti, one of the greatest conductors of the 20th century, was a testament to the elegance and impeccable taste of Central European music making. His remarkable partnership with the Chicago Symphony Orchestra began in 1954; he was named Music Director in 1969 and held this post for a phenomenal 22 years. Beethoven's beautiful First Symphony is sometimes labelled a 'fitting farewell to the 18th-century'. Schubert composed his 'Unfinished' Symphony No.8 at the tender age of 25. After it was discovered and performed 37 years after his death, it quickly became one of the most universally beloved works in the symphonic repertoire. BONUS: Sir Georg Solti gives a very personal introduction to Schubert's Symphonies "There is no limit to the orchestra's technical ability; the only limit is the conductor's imagination, and the musicians love to be stretched to the limit, to improve the performance…My philosophy became 'Let them play'." Sir Georg Solti “Solti comes across vividly: lean, watchful, not without charm (more in Beethoven than in Schubert). The Chicagoans, though, look as impassive as the old VPO and only more woman-friendly by a margin of one.” BBC Music Magazine, October 2008 *** | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Beethoven - Symphonies Nos. 2 & 7
Beethoven’s Symphonies Nos. 2 and 7 make up the fifth and final instalment of the Symphony Cycle with conductor Osmo Vänskä and Minnesota Orchestra; a cycle which has received universal praise. The first instalment in Osmo Vänskä’s and Minnesota Orchestra’s Beethoven cycle was released in December 2004 and was immediately praised for the performances as well as for the state-of-the-art sound. The following discs have if anything strengthened the case for this cycle. With such forerunners it is not surprising that the present disc, closing the cycle, has been eagerly awaited. The disc opens with Symphony No. 2, completed in 1802 during one of the darkest periods of the composer’s life, as he was struggling to reconcile himself with his encroaching deafness. Under the circumstances, as Beethoven specialist Barry Cooper points out in his liner notes, a striking feature of the work is ‘its thoroughly optimistic character throughout – it is almost as if he was using the symphony as a means of escape.’ Following it is the Seventh Symphony in which the strong rhythmic drive that pervades all four movements has made it a favourite in the concert hall – among its admirers is found Richard Wagner who famously dubbed it ‘the apotheosis of the dance’. ‘Vänskä's Beethoven looks set to be a front-runner among the historically unprejudiced cycles now available.’ International Record Review “…these are performances that can hold their own with the best, and the quality of the recording… immaculate. …a superb conclusion to a worthwhile cycle.” BBC Music Magazine, December 2008 ***** “What is truly outstanding here is the transparency of the texturing and the meticulous integration of phrase shape and accent within the rhythmic continuum. Everything is audible but since Vänskä is not a didactic conductor nothing is italicised or underlined.” Gramophone Magazine, January 2009 “This coupling of the Second and Seventh symphonies points up what Rob Cowan has called Vänskä's ability to 'focus the music's rhythmic profile with unwavering control'. Not that the performances are control-orientated. Even where the metronomes are good and speed is of the essence, as in the finale of the Second Symphony, quickness does not preclude ease.
In the Seventh Symphony, Vänskä keeps the harmonic drama in as sharp a focus as the rhythmic.
The pulse may be quicker, the sound tauter, but the epic first movement breathes here much as Klemperer would have allowed it to breathe.
With Vänskä, old insights are not necessarily invalid insights. In the Allegretto and thirdmovement Trio there is a reversion, not to oldfashioned Teutonic slowness, but to thoughtful tempi that are on the measured side of quick.
What is truly outstanding here is the transparency of the texturing and the meticulous integration of phrase shape and accent within the rhythmic continuum. Everything is audible but since Vänskä is not a didactic conductor nothing is italicised or underlined. That said, the violins' extraordinarily precise articulation of the Second Symphony's notorious seventh bar, with its arch of double-dotted trilled quavers and interior grace notes, may shock collectors used to the old pre-Bärenreiter fudges.
The BIS recording has exceptional clarity, with finely judged reverberation times, and a dynamic range that catches every gradation of the orchestra's scrupulously judged sound profile right down to pianissimi of quite astonishing beauty and restraint.” Gramophone Classical Music Guide, 2010 “Both symphonies are played with great care and affection, while Vänskä's conducting is consistently and admirably lucid. The dividends are enormous when it comes to the elusive Second Symphony - few rival versions have quite so effortlessly captured its Janus-faced nature” The Guardian, 14th November 2008 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |  | Cult Opera of the 1970sThe Box Set In The Style Of The 70s
Richard Cassilly, Cristina Deutekom, Dietrich Fischer-Dieskau, Gottlob Frick, Nicolai Gedda, Franz Grundheber, Sena Jurinac, Theo Lingen, Edith Mathis, Inge Meysel, Bernhard Minetti, Kurt Moll, Lucia Popp, Liselotte Pulver, Anja Silja, Hans Sotin & Tatiana Troyanos Hamburg State Opera, Marek Janowski, Leopold Ludwig, Sir Charles Mackerras, Bruno Maderna & Horst Stein Directed by Rolf Liebermann, Leopold Lindtberg & Sir Peter Ustinov Recording Date: 2008
Place of recording: THE HAMBURG STATE OPERA
Running Time: ca. 1.320 min
Picture Format: 4:3 Color
Sound Format: Mono
Menu Languages NTSC: D, F, GB, SP
Subtitle Languages NTSC: D, F, GB, I, SP
| | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Lerner Quartet
| | | Usually despatched in 2 - 3 working days. |
|
|
| |  |
From a DG perspective, we could have declared 2007 the Beethoven year as many of our stars dedicated their talents to the composer’s works. Mikhail Pletnev’s Beethoven project even stretches into 2008 with this recording of the Fifth Piano Concerto, Emperor With this release – once again with his Russian National Orchestra under Christian Gansch – Pletnev accomplishes his marathon undertaking of recording each of Beethoven’s five piano concertos and nine symphonies The previous releases of the enigmatic Russian master’s Beethoven project have received the highest praise: “I genuinely wondered if even five stars weren’t insulting to playing of such glorious, playful penetration” wrote the reviewer in BBC Music Magazine while the Frankfurter Allgemeine Zeitung wrote of Pletnev’s playing: “in terms of sheer pianism there seem to be no limits.” “There’s life and surprise in every bar” wrote The Times of Pletnev’s Beethoven. It’s a statement that sums-up his approach to the music: “The most important thing for me is that the music must have an immediate emotional effect on people, not only as a masterpiece from the past. Every phrase, every moment of joy should be lived as it’s lived in our real lives,” he explains This release of the Emperor Concerto promises to be the event for all lovers of piano repertoire and of Beethoven’s works
“Pletnev’s pianistic mastery remains breathtaking” The Telegraph | | | Usually despatched in 2 - 3 working days. |
|
|
| |
|
Gramophone Awards 2009
Gramophone Magazine
