Edward William Elgar

Volume XVII of Regent’s critically acclaimed and collectible English Cathedral Series.

The first solo recording of the magnificent new Harrison and Harrison organ of St Edmundsbury Cathedral played by the cathedral organist, James Thomas and assistant organist, David Humphreys.

A varied programme of English and French music to demonstrate the versatility of this newly built organ.

Barbirolli and the Halle Orchestra were well known for their performances of the music of Elgar. These studio recordings were made in 1956 and 1957 and have been digitally remastered. The French cellist Andre Navarra was mentored by Pablo Casals.

A romp through the gamut of concert band marches – Sousa, Alford et al and some intriguing arrangements of marches from the core classical canon. The choice of RM Band is also intriguing – this particular band was merged with the other Marines bands in 1983, a victim of that year’s strategic defence review.

Originally released on Olympia and now fully remastered and released at mid price, this CD offers the listener the original two piano version of Holst’s “Planets”, Elgar’s own version of the two piano version of his “Serenade Op. 20” plus pieces by Frank Bury and Edgar Bainton – essential listing for lovers of English music.

With CDs approaching forty in number and a busy concert schedule stretching back more than a quarter of a century, the British piano duo Goldstone and Clemmow is firmly established as a leading force. Described by Gramophone as ‘a dazzling husband and wife team’, by International Record Review as ‘a British institution in the best sense of the word’, and by The Herald, Glasgow, as ‘the UK’s pre-eminent two-piano team’, internationally known artists Anthony Goldstone and Caroline Clemmow formed their duo in 1984 and married in 1989. Their extremely diverse activities in two-piano and piano-duet recitals and double concertos, taking in major festivals, have sent them all over the British Isles as well as to Europe, the Middle East and several times to the U.S.A., where they have received standing ovations and such press accolades as ‘revelations such as this are rare in the concert hall these days’ (Charleston Post and Courier). In their refreshingly

presented concerts they mix famous masterpieces and fascinating rarities, which they frequently unearth themselves, into absorbing and hugely entertaining programmes; their numerous B.B.C. broadcasts have often included first hearings of unjustly neglected works, and their equally enterprising and acclaimed commercial recordings include many world premières.

In the year celebrating the 30th anniversary of his winning the Gold Medal at the Tchaikovsky Competition, cellist Antonio Meneses offers a release with two firsts: the world-premiere recording of Hans Gál’s Cello Concerto, and his first recording of the Elgar Cello Concerto.

This year Antonio Meneses celebrates the 30th anniversary of winning the Gold Medal at the Tchaikovsky Competition, which launched the cellist’s brilliant international career and a string of acclaimed recordings including a half dozen for Avie. His latest for the label includes a couple of firsts: the world-premiere recording of the Cello Concerto by Hans Gál, and Antonio’s first recording of the Elgar Concerto. Bringing the Gál Concerto to light reveals the two works’ commonality. With beautiful, broad orchestral brushstrokes, neither is a dazzling virtuoso showpiece, rather both are lyrical, contemplative, elegiac. Both were written in the UK, Elgar’s in the Sussex countryside where he retired, Gál’s in Edinburgh where he settled after escaping Nazi persecution in the 1930s.

Elgar wrote his last major work in the aftermath of World War I, by which time his music had gone out of fashion - a circumstance difficult to fathom today. Gál’s Cello Concerto was completed in the years following World War II. Throughout his long career Gál adhered steadfastly to his lyrical compositional style which was usurped by post-war modernism. Today his music is being rediscovered and appreciated anew. The Elgar regained popularity in the 1960s, the decade when the Gál was last performed. As Antonio says of the latter, “This concerto by Gál could be considered one of the greatest discoveries in a long time, at least in the cello repertoire. It's a really beautiful concerto!"

Following the success of Ben Breen’s first CD for Tall Poppies (Brahms Sonatas, TP172), he has teamed up again with veteran pianist Milton Kaye, for their second recording together. Sadly Milton Kaye has now passed away, so this CD is the last in his long legacy of contributions to the recording industry.

The music presented here is a selection of the salon music popular in the early 20th century. This music serves to present the personality and virtuosity of the performers, and each piece was often used as an encore after a strenuous recital. The works fitted well on the early twelve-inch 78 rpm discs, and these were often played on the radio. It is through these pieces that the musicians often gained a huge and devoted following.

As Milton Kaye has so often accompanied legendary violinists, such as Jascha Heifetz and Oscar Shumsky, that this music is in his blood. Australian violinist Ben Breen, a somewhat younger musician, has taken this style of music-making and made it his own. For this recording he has borrowed a gorgeous 1715 Guarneri violin which contributes significantly to the warmth of tone. His energy and virtuosity are partnered by Kaye’s understanding and experience.

"One of the most intimate works of this century", wrote the British musicologist Sir Donald Tovey of Elgar's Violin Concerto in B Minor.

Bach's Violin Concerto in A Minor, probably written in 1720, is restrained – with a gradual development of tension through the contrast between the solo part and the orchestral accompaniment. Israeli-born Pinchas Zukerman has kept his face and music before the public for more than four decades with his wide range of activities: he is a world-class violinist, violist, conductor and administrator. He has recently announced his decision to step down as music director of Ottawa’s National Arts Center Orchestra. He remains as chief guest conductor at the RPO.

Recorded live at the Mann Auditorium, Tel-Aviv 8/4/2006 [Elgar] 29/12/1986 [Bach]