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Bach, J S: | Brandenburg Concerto No. 2 in F Major, BWV1047 Recorded 4-13 July 1959, No.1 Studio, Abbey Road, London with Elaine Shaffer (flute) & George Malcolm (harpsichord) Bath Festival Chamber Orchestra Brandenburg Concerto No. 3 in G Major, BWV1048 Recorded 4-13 July 1959, No.1 Studio, Abbey Road, London with Elaine Shaffer (flute) & George Malcolm (harpsichord) Bath Festival Chamber Orchestra Brandenburg Concerto No. 5 in D major, BWV1050 Recorded 4-13 July 1959, No.1 Studio, Abbey Road, London with Elaine Shaffer (flute) & George Malcolm (harpsichord) Bath Festival Chamber Orchestra Musical Offering, BWV1079 Recorded: 11-14 November 1960, No.1 Studio, Abbey Road, London Bath Festival Ensemble Cantata BWV68 'Also hat Gott die Welt geliebt' with Victoria de los Angeles, Evelyn Rothwell Bath Festival Orchestra Cantata BWV199 'Mein Herze schwimmt im Blut' Recorded: 15-18 June 1964, Temple Church, London with Victoria de los Angeles, George Thalben-Ball Concerto for Oboe & Violin in C minor, BWV1060 Recorded: 19-20 April 1962, Abbey Road Studios, London with Leon Goossens Bath Festival Orchestra Violin Concerto No. 1 in A minor, BWV1041 Recorded 7-8 October 1958, Kingsway Hall, London Bath Festival Orchestra Violin Concerto No. 2 in E major, BWV1042 Recorded 7-8 October 1958, Kingsway Hall, London Bath Festival Orchestra Concerto for Flute, Violin & Harpsichord in A minor, BWV1044 Recorded 30 June 1965, No.1 Studio, Abbey Road, London with William Bennett (flute) & George Malcolm (harpsichord) Bath Festival Orchestra Violin Concerto No. 1 in A minor, BWV1041 Recorded 21 February 1936, Studio Albert, Paris Orchestre Symphonique de Paris, George Enescu Violin Concerto No. 2 in E major, BWV1042 Recorded 21 February 1936, Studio Albert, Paris Orchestre Symphonique de Paris, George Enescu Concerto for Two Violins in D minor, BWV1043 Recorded 4 June 1932, Studio Albert, Paris with George Enescu Orchestre Symphonique de Paris, Pierre Monteux Sonata for solo violin No. 1 in G minor, BWV1001 Recorded: 19 December 1935 & 3 February 1936, Studio Albert, Paris Partita for solo violin No. 1 in B minor, BWV1002 Recorded: 19 December 1935, Studio Albert, Paris Sonata for solo violin No. 2 in A minor, BWV1003 Recorded: 19 December 1935, Studio Albert, Paris Partita for solo violin No. 2 in D minor, BWV1004 Recorded: 23 May 1934, Studio Albert, Paris Sonata for solo violin No. 3 in C major, BWV1005 Recorded: 14 & 23 June 1934, Studio Albert, Paris Partita for solo violin No. 3 in E major, BWV1006 Recorded: 3 February 1936, Studio Albert, Paris | Bartók: | Violin Concerto No. 1, BB48a, Sz 36 Recorded: 24 February 1965 [1-2]; 28-29 September 1966 [3-5], Kingsway Hall, London New Philharmonia Orchestra, Antal Dorati Viola Concerto, BB 128, Sz. 120 (ed. Serly) Recorded: 24 February 1965 [1-2]; 28-29 September 1966 [3-5], Kingsway Hall, London New Philharmonia Orchestra, Antal Dorati Rhapsody for Violin & Orchestra No. 1, BB 94b, Sz. 87 Recorded: 8-9 February 1968, No.1 Studio, Abbey Road, London BBC Symphony Orchestra, Pierre Boulez Rhapsody for Violin & Orchestra No. 2, BB 96b, Sz. 90 (revised 1944 version) Recorded: 8-9 February 1968, No.1 Studio, Abbey Road, London BBC Symphony Orchestra, Pierre Boulez Romanian Folk Dances, Sz.56 (arr. Székely for violin & piano) Recorded: 20 April 1964, No.1 Studio, Abbey Road, London with Gerald Moore (piano) Violin Concerto No. 2, Sz 112 Recorded: 5-6 & 24 February 1965; 3 March 1966, Kingsway Hall, London New Philharmonia Orchestra, Antal Dorati 44 Duos for Two Violins, BB 104, Sz. 98 (extracts) Nos. 28, 31, 33, 36, 41 & 42. Recorded: 15 July 1965, No.1 Studio, Abbey Road, London with Neil Gotkovsky Sonata for Solo Violin, BB 124, Sz. 117 Recorded: 12 October 1957, No.3 Studio, Abbey Road, London Sonata for Solo Violin, BB 124, Sz. 117 Recorded: 2-3 June 1947, No.3 Studio, Abbey Road, London | Bazzini: | La Ronde des lutins, Op. 25 Recorded: 28 September 1934, Studio Albert, Paris with Marcel Gazelle | Beethoven: | Violin Concerto in D major, Op. 61 Recorded: 28-29 August 1947, Kunsthaus, Lucerne Lucerne Festival Orchestra, Wilhelm Furtwängler Romance No. 1 for Violin and Orchestra in G major, Op. 40 Recorded: 9 April 1953, Kingsway Hall, London Philharmonia Orchestra, Wilhelm Furtwängler Romance No. 2 for Violin and Orchestra in F major, Op. 50 Recorded: 9 April 1953, Kingsway Hall, London Philharmonia Orchestra, Wilhelm Furtwängler Romance No. 1 for Violin and Orchestra in G major, Op. 40 Recorded: 20, 22, 27 November & 16 December 1960, No.1 Studio, Abbey Road, London Philharmonia Orchestra, John Pritchard Romance No. 2 for Violin and Orchestra in F major, Op. 50 Recorded: 20, 22, 27 November & 16 December 1960, No.1 Studio, Abbey Road, London Philharmonia Orchestra, John Pritchard Violin Concerto in D major, Op. 61 Recorded: 5-7 February 1960, Musikvereinsaal, Vienna Wiener Philharmoniker, Constantin Silvestri Romance No. 1 for Violin and Orchestra in G major, Op. 40 Recorded: 16 & 18 November 1971, Kingsway Hall, London Menuhin Festival Orchestra Violin Concerto in D major, Op. 61 (cadenzas: Kreisler) Recorded: 16 & 18 November 1971, Kingsway Hall, London Menuhin Festival Orchestra Violin Sonata No. 9 in A major, Op. 47 ‘Kreutzer' Recorded: 28 November 1934, No.3 Studio, Abbey Road, London with Hephzibah Menuhin Violin Sonata No. 1 in D major, Op. 12 No. 1 Recorded: 16 February 1952, No.3 Studio, Abbey Road, London with Louis Kentner Violin Sonata No. 2 in A major, Op. 12 No. 2 Recorded: 11 & 13 December 1954, No.1 Studio, Abbey Road, London with Louis Kentner Violin Sonata No. 3 in E flat major, Op. 12 No. 3 Recorded: 16 February 1952, No.3 Studio, Abbey Road, London with Louis Kentner Violin Sonata No. 6 in A major, Op. 30 No. 1 Recorded: 15 December 1954, No.1 Studio, Abbey Road, London with Louis Kentner Violin Sonata No. 7 in C minor, Op. 30 No. 2 Recorded: 3 January 1955, No.1 Studio, Abbey Road, London with Louis Kentner Violin Sonata No. 8 in G major, Op. 30 No. 3 Recorded: 17 December 1954, No.1 Studio, Abbey Road, London with Louis Kentner Violin Sonata No. 10 in G major, Op. 96 Recorded: 9-10 October 1953, No.3 Studio, Abbey Road, London with Louis Kentner Violin Sonata No. 4 in A minor, Op. 23 Recorded: 11 & 13 December 1954, No.1 Studio, Abbey Road, London with Louis Kentner Violin Sonata No. 5 in F major, Op. 24 'Spring' Recorded: 22 September 1953, No.3 Studio, Abbey Road, London with Louis Kentner Violin Sonata No. 9 in A major, Op. 47 ‘Kreutzer' Recorded: 16-17 September 1953, No.3 Studio, Abbey Road, London with Louis Kentner Violin Concerto in D major, Op. 61 Recorded: 7-8 April 1953, Kingsway Hall, London Philharmonia Orchestra, Wilhelm Furtwängler | Berg: | Violin Concerto 'To the Memory of an Angel' (1935) Recorded: 8-9 February 1968, No 1 Studio, Abbey Road, London BBC Symphony Orchestra, Pierre Boulez | Berkeley, L: | Violin Concerto, Op. 59 Recorded: 2-3 April 1971, No.1 Studio, Abbey Road,, London Menuhin Festival Orchestra, Sir Adrian Boult | Berlin, I: | Puttin' on the Ritz Recorded: 15-16 July 1981, Abbey Road Studios, London with Stéphane Grappelli, Instrumental Ensemble, Nelson Riddle | Berlioz: | Harold en Italie, Op. 16 Recorded: 16, 22-23 October 1962, Kingsway Hall, London Philharmonia Orchestra, Colin Davis Reverie et Caprice, Op. 8 Recorded: 24 February 1964, No.1 Studio, Abbey Road, London Philharmonia Orchestra, John Pritchard | Bloch, E: | Violin Concerto in A minor Recorded: 18-19 June 1963, Kingsway Hall, London Philharmonia Orchestra, Pau Kletzki Suite for solo violin No. 1 Recorded: 16 April 1975, No.1 Studio, Abbey Road, London Abodah Recorded: 14 March 1939, No.3 Studio, Abbey Road, London with Hendrik Endt | Boulanger, L: | 3 Pieces for violin & piano Recorded: 27 December 1967, Abbey Road Studios, London with Clifford Curzon | Brahms: | Violin Sonata No. 3 in D minor, Op. 108 Recorded: 1 July 1936, Studio Albert, Paris with Hephzibah Menuhin Violin Concerto in D major, Op. 77 Recorded: 29-31 August 1949, Kunsthaus, Lucerne Lucerne Festival Orchestra, Wilhelm Furtwängler Hungarian Dance No. 1 in G minor (arr. Joachim) Recorded: 21 January 1936, Studio Albert, Paris with Marcel Gazelle Hungarian Dance No. 4 in B minor Recorded: 22 February 1936, Studio Albert, Paris with Marcel Gazelle Hungarian Dance No. 6 in D flat major Recorded: 28 November 1934, No.3 Studio, Abbey Road, London with Marcel Gazelle Hungarian Dance No. 7 Recorded: 21 January 1936, Studio Albert, Paris with Marcel Gazelle Hungarian Dance No. 17 in F sharp minor Recorded: 21 January 1936, Studio Albert, Paris with Marcel Gazelle Violin Concerto in D major, Op. 77 Recorded: 6-7 September 1957, Berlin Berliner Philharmoniker, Rudolf Kempe Double Concerto for Violin & Cello in A minor, Op. 102 Recorded: 15-16 November 1984, No.1 Studio, Abbey Road, London with Paul Tortelier London Philharmonic Orchestra, Paavo Berglund String Sextet No. 1 in B flat major, Op. 18 Recorded: 1-2 September 1963, Abbey Road Studios, London with Robert Masters, Cecil Aronowitz, Ernst Wallfisch, Maurice Gendron, Derek Simpson String Sextet No. 2 in G major, Op. 36 Recorded: 20-21 & 23 December 1964, Abbey Road Studios, London with Robert Masters, Cecil Aronowitz, Ernst Wallfisch, Maurice Gendron, Derek Simpson Hungarian Dance No. 12 in D minor (arr. Joachim) Recorded: 21 March 1938, No.3 Studio, Abbey Road, London with Ferguson Webster Horn Trio in E flat major, Op. 40 Recorded: 28-30 July 1966, No.1 Studio, Abbey Road, London with Alan Civil, Hephzibah Menuhin | Bruch: | Violin Concerto No. 1 in G minor, Op. 26 Recorded: 17-18 & 20-21 December, 1971, Kingsway Hall, London London Symphony Orchestra, Sir Adrian Boult Violin Concerto No. 1 in G minor, Op. 26 Recorded: 12 September 1956, Kingsway Hall, London Philharmonia Orchestra, Walter Susskind | Chausson: | Concerto in D major for piano, violin and string quartet, Op. 21 Recorded: 28 November 1954, Salle de l'Ancient Conservatoire, Paris with Louis Kentner, Quatuor Pascal Poème for Violin & Orchestra, Op. 25 Orchestre Symphonique de Paris, George Enescu | Corelli: | Violin Sonata Op. 5 No. 1 in D major (arr. Donington) Recorded: 9-10 November 1978; 11-12 July 1979, Abbey Road Studio, London with George Malcolm, Robert Donington Violin Sonata Op. 5 No. 5 in G minor (arr. Donington) Recorded: 9-10 November 1978; 11-12 July 1979, Abbey Road Studio, London with George Malcolm, Robert Donington Violin Sonata Op. 5 No. 12 in D minor (La folia) (arr. Donington) Recorded: 9-10 November 1978; 11-12 July 1979, Abbey Road Studio, London with George Malcolm, Robert Donington | Debussy: | Préludes - Book 1: No. 8, La fille aux cheveux de lin (arr. Hartmann) Recorded: 21 December 1935, Studio Albert, Paris with Marcel Gazelle Violin Sonata with Jacques Fevrier Sonata for Flute, Viola & Harp Recorded: 11-12 September 1974, Salle Wagram, Paris with Michel Debost, Lili Laskine | Dinicu: | Hora Staccato (arr. Heifetz) Recorded: 14 March 1939, No.3 Studio, Abbey Road, London with Hendrik Endt | Dvorak: | Slavonic Dance No. 2 in E minor, Op. 46 No. 2 (arr. Kreisler) Recorded: 22 February 1936, Studio Albert, Paris with Marcel Gazelle Violin Concerto in A minor, Op. 53 Recorded: 26 & 28 February 1936, Studio Albert, Paris Orchestre de la Société des Concerts du Conservatoire, George Enescu | Elgar: | Violin Concerto in B minor, Op. 61 Recorded: 14-15 July 1932, No.1 Studio, Abbey Road, London London Symphony Orchestra, Sir Edward Elgar Violin Sonata in E minor, Op. 82 Recorded: 8 April 1978, No.1 Studio, Abbey Road, London with Hephzibah Menuhin | Enescu: | Violin Sonata No. 3 in A minor, Op. 25 'dans le caractère populaire roumain' Recorded: 6 January 1936, Studio Albert, Paris with Hephzibah Menuhin | Falla: | Danse Espagnole (from La Vida Breve) (arr. Kreisler) Recorded: 23 May 1932, Studio Albert, Paris with Artur Balsam | Fauré: | Andante in B flat for Violin and Piano Op. 75 Recorded: 14-15 May & 23 September 1970, Abbey Road Studios, London with Jeremy Menuhin Berceuse, Op. 16 Recorded: 14-15 May & 23 September 1970, Abbey Road Studios, London with Jeremy Menuhin | Franck, C: | Violin Sonata in A major Recorded: 22 May 1955, No.3 Studio, Abbey Road, London with Louis Kentner | Gershwin: | Fascinatin' Rhythm (arr. Harris) Recorded: 21-23 May 1975, No.1 Studio, Abbey Road, London with Stéphane Grappelli, Instrumental Ensemble, Max Harris Soon Recorded: 21-23 May 1975, No.1 Studio, Abbey Road, London with Stéphane Grappelli, Instrumental Ensemble, Max Harris Summertime (from Porgy and Bess) Recorded: 21-23 May 1975, No.1 Studio, Abbey Road, London with Stéphane Grappelli, Instrumental Ensemble, Max Harris Nice Work If You Can Get It Recorded: 21-23 May 1975, No.1 Studio, Abbey Road, London with Stéphane Grappelli, Instrumental Ensemble, Max Harris Embraceable You Recorded: 21-23 May 1975, No.1 Studio, Abbey Road, London with Stéphane Grappelli, Instrumental Ensemble, Max Harris Liza Recorded: 21-23 May 1975, No.1 Studio, Abbey Road, London with Stéphane Grappelli, Instrumental Ensemble, Max Harris A Foggy Day (In London Town) Recorded: 28-29 October 1977, EMI Bovema Studios, Heemstede with Stéphane Grappelli, Pierre Michelot, Ronnie Verrell, Laurie Holloway 's Wonderful Recorded: 21-23 May 1975, No.1 Studio, Abbey Road, London with Stéphane Grappelli, Instrumental Ensemble, Max Harris The Man I Love Recorded: 28-29 October 1977, EMI Bovema Studios, Heemstede with Stéphane Grappelli, Pierre Michelot, Ronnie Verrell, Laurie Holloway I Got Rhythm (from Girl Crazy & An American in Paris) Recorded: 21-23 May 1975, No.1 Studio, Abbey Road, London with Stéphane Grappelli, Instrumental Ensemble, Max Harris He Loves And She Loves (arr. Riddle) Recorded: 15-16 July 1981, No.1 Studio, Abbey Road, London with Stéphane Grappelli Instrumental Ensemble, Nelson Riddle They Can't Take That Away From Me Recorded: 15-16 July 1981, No.1 Studio, Abbey Road, London with Stéphane Grappelli Instrumental Ensemble, Nelson Riddle They all laughed Recorded: 15-16 July 1981, No.1 Studio, Abbey Road, London with Stéphane Grappelli Instrumental Ensemble, Nelson Riddle Funny Face Recorded: 15-16 July 1981, No.1 Studio, Abbey Road, London with Stéphane Grappelli Instrumental Ensemble, Nelson Riddle Love Is Here to Stay (arr. Harris) Recorded: 14-15 June 1972, No.1 Studio, Abbey Road, London with Stéphane Grappelli Alan Clare Trio Oh, Lady Be Good! (arr. Harris) Recorded: 6 March 1973, Abbey Road Studios, London with Stéphane Grappelli Max Harris | Granados: | Danza española, Op. 37 No. 5 'Andaluza' (arr. Kreisler) Recorded: 21 March 1938, No.3 Studio, Abbey Road, London with Ferguson Webster | Grappelli: | Aurore Recorded: 14-15 June 1972 & 6-7 March 1973, Abbey Road Studios, London with Stéphane Grappelli Alan Clare Trio Jermyn Street Recorded: 14-15 June 1972 & 6-7 March 1973, Abbey Road Studios, London with Stéphane Grappelli Alan Clare Trio Alison Recorded: 15-16 July 1981, Abbey Road Studios, London with Stéphane Grappelli, Instrumental Ensemble, Nelson Riddle Amanda Recorded: 15-16 July 1981, Abbey Road Studios, London with Stéphane Grappelli, Instrumental Ensemble, Nelson Riddle | Grieg: | Violin Sonatas Nos. 1-3, Op. 8, 13 & 45 Recorded: 9-11 October 1957, No.1 Studio, Abbey Road, London with Robert Levin | Handel: | Violin Concerto Recorded: 1, 5-6 July & 27-28 December 1968, No.1 Studio, Abbey Road, London Menuhin Festival Orchestra Sonata in A Major for violin and continuo, HWV361, Op. 1 No. 3 Recorded: 5-6 March [1-12]; 25-26 & 28 April [13-24] 1967, No.1 Studio, Abbey Road, London with Ambrose Gauntlett, George Malcolm Sonata in E major for violin and continuo, HWV373, Op. 1 No. 15 Recorded: 5-6 March [1-12]; 25-26 & 28 April [13-24] 1967, No.1 Studio, Abbey Road, London with Ambrose Gauntlett, George Malcolm Sonata in A major for violin and continuo, HWV372, Op. 1 No. 14 Recorded: 5-6 March [1-12]; 25-26 & 28 April [13-24] 1967, No.1 Studio, Abbey Road, London with Ambrose Gauntlett, George Malcolm Sonata in D major for violin and continuo, HWV371, Op. 1 No. 13 Recorded: 5-6 March [1-12]; 25-26 & 28 April [13-24] 1967, No.1 Studio, Abbey Road, London with Ambrose Gauntlett, George Malcolm Sonata in F major for violin and continuo, HWV370, Op. 1 No. 12 Recorded: 5-6 March [1-12]; 25-26 & 28 April [13-24] 1967, No.1 Studio, Abbey Road, London with Ambrose Gauntlett, George Malcolm Sonata in G minor for violin and continuo, HWV368, Op. 1 No. 10 Recorded: 5-6 March [1-12]; 25-26 & 28 April [13-24] 1967, No.1 Studio, Abbey Road, London with Ambrose Gauntlett, George Malcolm Trio Sonata, HWV 393 in G minor Recorded: 4 December 1955, No.3 Studio, Abbey Road, London with Gioconda de Vito, John Shinebourne, Raymond Leppard | Haydn: | Violin Concerto No. 1 in C major, Hob.VIIa:1 Recorded: 11 February 1963, No.1 Studio, Abbey Road, London Bath Festival Orchestra | Kreisler: | Caprice Viennois, Op. 2 Recorded: 6 April 1943, No.3 Studio, Abbey Road, London with Marcel Gazelle Tambourin Chinois, Op. 3 Recorded: 31 December 1935, Studio Albert, Paris with Marcel Gazelle Schön Rosmarin Recorded: 21 December 1935, Studio Albert, Paris with Marcel Gazelle Praeludium and Allegro (in the style of Pugnani) Recorded: 21 January 1936, Studio Albert, Paris with Marcel Gazelle La Chasse (The Hunt) in the style of Jean-Baptiste Cartier Recorded: 21 December 1935, Studio Albert, Paris with Marcel Gazelle Sicilienne and Rigaudon (in the style of Francoeur) Recorded: 23 May 1932, Studio Albert, Paris with Artur Balsam Recitative & Scherzo Caprice, Op. 6 Recorded: 14 July 1932, No.3 Studio, Abbey Road, London with Marcel Gazelle | Lalo: | Symphonie espagnole, Op. 21 Orchestre Symphonique de Paris, George Enescu Symphonie espagnole, Op. 21 Recorded: 13-14 September 1956, Kingsway Hall, London Philharmonia Orchestra, Sir Eugene Goossens | Martin, F: | Polyptique Recorded: 5-6 September 1974, Victoria Hall, Geneva Menuhin Festival Orchestra & Das Züricher Kammerorchester, Edmond de Stoutz | McHugh: | I can't believe that you're in love with me Recorded: 14-15 June 1972 & 6-7 March 1973, Abbey Road Studios, London with Stéphane Grappelli Alan Clare Trio | Mendelssohn: | Violin Concerto in E minor, Op. 64 Recorded: 15-7 November 1971, Kingsway Hall, London London Symphony Orchestra, Rafael Frühbeck de Burgos Violin Concerto in E minor, Op. 64 Recorded: 2 May 1938, Studio Albert, Paris Orchestre Concerts Colonne, George Enescu Violin Concerto in E minor, Op. 64 Recorded: 25-26 May 1952, Jesus Christus Kirche, Berlin Berliner Philharmoniker, Wilhelm Furtwängler Violin Concerto in E minor, Op. 64 Recorded: 30 April 1958, No.1 Studio, Abbey Road, London Philharmonia Orchestra, Efrem Kurtz | Moszkowski: | Guitare, Op. 45. No. 2 (arr. Sarasate) Recorded: 20 May 1932, Studio Albert, Paris with Artur Balsam | Mozart: | Violin Concerto No. 4 in D major, K218 Recorded: 6 December 1954, Kingsway Hall, London Philharmonia Orchestra, John Pritchard Violin Concerto No. 3 in G major, K216 Recorded: 9 December 1935, Studio Albert, Paris Orchestre Symphonique de Paris, George Enescu Violin Concerto No. 7 in D major, KV 271a Recorded: 9 December 1935, Studio Albert, Paris Orchestre Symphonique de Paris, George Enescu Violin Concerto in D major 'Adelaide', KAnh.294a Recorded: 18-19 May 1934, Salle Pleyel, Paris Orchestre Symphonique de Paris, Pierre Monteux Violin Concerto No. 1 in B flat major K207 (cadenzas: Menuhin) Recorded: 4 July & 24 September 1963, Kingsway Hall, London Bath Festival Orchestra Violin Concerto No. 3 in G major, K216 Recorded: 14 June 1961, No.1 Studio, Abbey Road, London Bath Festival Orchestra Violin Concerto No. 5 in A major, K219 'Turkish' Recorded: 26 July 1961, No.1 Studio, Abbey Road, London Bath Festival Orchestra Violin Concerto No. 2 in D major, K211 (cadenzas: Menuhin) Recorded: 4, 15-16 July 1963, Kingsway Hall, London Bath Festival Orchestra Violin Concerto No. 4 in D major, K218 (cadenzas: Menuhin) Recorded: 1 July 1962, No.1 Studio, Abbey Road, London Bath Festival Orchestra Sinfonia Concertante for Violin, Viola & Orchestra in E flat major, K364 Recorded: 2 July 1962, No.1 Studio, Abbey Road, London with Rudolf Barshai Bath Festival Orchestra Violin Sonata No. 24 in F major, K376 Recorded: 29 March 1938, No.3 Studio, Abbey Road, London with Hephzibah Menuhin Violin Sonata No. 35 in A major, K526 Recorded: 24 June 1933, Salle Pleyel, Paris with Hephzibah Menuhin Violin Sonata No. 17 in C major, K296: Andante sostenuto Recorded: 13 November 1929, Small Queen's Hall, London with Hubert Giesen Violin Sonata No. 18 in G major, K301: Allegro Recorded: 7 May 1938, No.3 Studio, Abbey Road, London with Hephzibah Menuhin Violin Sonata No. 26 in B flat major, K378: Andantino Recorded: 7 May 1938, No.3 Studio, Abbey Road, London with Yalta Menuhin Divertimento No. 17 in D Major, K334: Minuet & Trio (arr. Emil Kross) Recorded: 15 July 1935, No.3 Studio, Abbey Road, London with Gerald Moore Violin Concerto No. 4 in D major, K218 (cadenzas: Menuhin) Recorded: 31 March 1943, Philharmonic Hall, Liverpool Liverpool Philharmonic Orchestra, Malcolm Sargent Concertone in C for 2 Violins and Orchestra, K190 Recorded: 18 July 1963, No.1 Studio, Abbey Road, London with Alberto Lysy, Derek Simpson Bath Festival Orchestra | Nielsen: | Violin Concerto, Op. 33 (FS61) Recorded: 28-29 September, 1952, Copenhagen Danish State Radio Symphony Orchestra, Mogens Wöldike | Novácek, O: | Perpetuum mobile - Concert Caprice Op. 5 No. 4 Recorded: 29 June, 1953, No.3 Studio, Abbey Road, London with Gerald Moore Perpetuum mobile - Concert Caprice Op. 5 No. 4 Recorded: 11 December 1930, Studio C, Small Queen's Hall, London with Hubert Giesen | Paganini: | Violin Concerto No. 1 in D major, Op. 6 Recorded: 18 May 1934, Studio Albert, Paris Orchestre Symphonique de Paris, Pierre Monteux Violin Concerto No. 2 in B minor, Op. 7 'La Campanella' Recorded: 11 December 1930, Studio C, Small Queen's Hall, London with Hubert Giesen Introduction & Variations on 'Dal tuo stellato soglio' from Rossini's 'Mosé in Egitto', MS23 (Op. 24) Recorded: 21 March 1938, No.3 Studio, Abbey Road, London with Ferguson Webster Moto perpetuo, Op. 11, MS 72 Recorded: 28 September 1934, Studio Albert, Paris with Marcel Gazelle Caprice for solo violin, Op. 1 No. 6 in G minor Recorded: 21 February 1936, Studio Albert, Paris with George Enescu Caprice for solo violin, Op. 1 No. 9 in E major 'The Hunt' Recorded: 21 January 1936, Studio Albert, Paris Caprice for solo violin, Op. 1 No. 13 in B flat major Recorded: 21 January 1936, Studio Albert, Paris Caprice for solo violin, Op. 1 No. 20 in D major Recorded: 21 January 1936, Studio Albert, Paris Caprice for solo violin, Op. 1 No. 23 in E flat major Recorded: 21 January 1936, Studio Albert, Paris Caprice for solo violin, Op. 1 No. 24 in A minor Recorded: 20 & 23 May 1932, Studio Albert, Violin Concerto No. 1 in D major, Op. 6 Recorded: 21-22 May 1955, No.1 Studio, Abbey Rod, London London Symphony Orchestra, Anatole Fistoulari | Panufnik, A: | Violin Concerto Recorded: 5 January 1975, No.1 Studio, Abbey Road,, London Menuhin Festival Orchestra, Sir Andrzej Panufnik | Poulenc: | Violin Sonata, FP 119 Recorded: 22 & 25 November 1971, Salle Wagram, Paris with Jacques Fevrier | Prokofiev: | Violin Sonata No. 1 in F minor, Op. 80 with Marcel Gazelle Recorded: 30 September & 1 October 1948, No.3 Studio, Abbey Road, London | Purcell: | 4-part Sonnata No. 9 in F major - 'Called for its excellence the Golden Sonata' Z810 3-part Sonnata No. 8 in G major - Z797 Recorded: 22, 25, 28 June; 2 July; 15 December 1964, Abbey Road Studios, London with Alberto Lysy, Robert Masters, Cecil Aronowitz, Walter Gerhard, Derek Simpson, Ambrose Gauntlett, Roy Jesson Fantasia No. 4 in G minor Recorded: 22, 25, 28 June; 2 July; 15 December 1964, Abbey Road Studios, London with Alberto Lysy, Robert Masters, Cecil Aronowitz, Walter Gerhard, Derek Simpson, Ambrose Gauntlett, Roy Jesson Fantazia 8 in D minor, Z. 739 Recorded: 22, 25, 28 June; 2 July; 15 December 1964, Abbey Road Studios, London with Alberto Lysy, Robert Masters, Cecil Aronowitz, Walter Gerhard, Derek Simpson, Ambrose Gauntlett, Roy Jesson Sonata in 3 parts in G minor, No. 6 Recorded: 22, 25, 28 June; 2 July; 15 December 1964, Abbey Road Studios, London with Alberto Lysy, Robert Masters, Cecil Aronowitz, Walter Gerhard, Derek Simpson, Ambrose Gauntlett, Roy Jesson Sonata in 3 parts in C, No. 2 Recorded: 22, 25, 28 June; 2 July; 15 December 1964, Abbey Road Studios, London with Alberto Lysy, Robert Masters, Cecil Aronowitz, Walter Gerhard, Derek Simpson, Ambrose Gauntlett, Roy Jesson Fantazia 7 in C minor, Z. 738 Recorded: 22, 25, 28 June; 2 July; 15 December 1964, Abbey Road Studios, London with Alberto Lysy, Robert Masters, Cecil Aronowitz, Walter Gerhard, Derek Simpson, Ambrose Gauntlett, Roy Jesson Fantazia Upon One Note in F major, Z. 745 Recorded: 22, 25, 28 June; 2 July; 15 December 1964, Abbey Road Studios, London with Alberto Lysy, Robert Masters, Cecil Aronowitz, Walter Gerhard, Derek Simpson, Ambrose Gauntlett, Roy Jesson | Ravel: | Vocalise-étude en forme de habanera Recorded: 6 April 1943, No.3 Studio, Abbey Road, London with Marcel Gazelle Tzigane Recorded: 20 & 23 May 1932, Studio Albert, Paris with Artur Balsam Piano Trio in A minor Recorded: 12 July 1960, No.1 Studio, Abbey Road, London with Gaspar Cassadó, Louis Kentner | Rimsky Korsakov: | Flight of the Bumble Bee (arr. Hartmann) Recorded: 23 May 1932, Studio Albert, Paris with Artur Balsam | Saint-Saëns: | Violin Concerto No. 3 in B minor, Op. 61 Recorded: 2-3 July 1953, Kingsway Hall, London London Symphony Orchestra, Gaston Poulet Introduction & Rondo capriccioso, Op. 28 Recorded: 14 September 1957, Kingsway Hall, London Philharmonia Orchestra, Sir Eugene Goossens Havanaise, Op. 83 Recorded: 14 August 1957, Kingsway Hall, London Philharmonia Orchestra, Sir Eugene Goossens | Sarasate: | Caprice Basque, Op. 24 Recorded: 21 December 1935, Studio Albert, Paris with Marcel Gazelle Danza Española No. 1: Malagueña, Op. 21, No. 1 Recorded: 14 March 1939, No.3 Studio, Abbey Road, London with Hendrik Endt Danza Española No. 2: Habanera, Op. 21, No. 2 Recorded: 21 December 1935, Studio Albert, Paris with Marcel Gazelle Danza Española No. 3: Romanza Andaluza, Op. 22, No. 1 Recorded: 28 November 1934, No.3 Studio, Abbey Road, London with Marcel Gazelle Danza Española No. 6: Zapateado, Op. 23, No. 2 Recorded: 21 January 1936, Studio Albert, Paris with Marcel Gazelle | Schubert: | Rondo brillant in B minor, D895 (Op. 70) Recorded: 6 May 1938, No.3 Studio, Abbey Road, London with Hephzibah Menuhin Ave Maria, D839 (arr. Menuhin) Recorded: 6 April 1943, No.3 Studio, Abbey Road, London with Marcel Gazelle Piano Trio No. 1 in B flat major, D898 Recorded: 31 May & 22 July [1-4] & 29-31 May & 22-23 July [5] 1968, No.1 Studio, Abbey Road, London with Maurice Gendron, Hephzibah Menuhin Notturno in E flat major for piano trio, D897 (Op. post.148) Recorded: 31 May & 22 July [1-4] & 29-31 May & 22-23 July [5] 1968, No.1 Studio, Abbey Road, London with Maurice Gendron, Hephzibah Menuhin Fantasie in C major for violin and piano, D934 Recorded: 22-23 April 1958, No.1 Studio, Abbey Road, London with Louis Kentner Piano Trio No. 2 in E flat major, D929 Recorded: 30 & 31 May 1968, No.1 Studio, Abbey Road, London with Maurice Gendron, Hephzibah Menuhin Piano Trio movement in B flat major, D28 Recorded: 30 & 31 May 1968, No.1 Studio, Abbey Road, London with Maurice Gendron, Hephzibah Menuhin | Sibelius: | Violin Concerto in D minor, Op. 47 Recorded: 20 June 1955, Kingsway Hall, London London Philharmonic Orchestra, Sir Adrian Boult | Spohr: | Duet for two violins, Op. 67 No. 3 Recorded: 4 & 6 December 1955, No.3 Studio, Abbey Road, London with Gioconda de Vito Duet for two violins, Op. 67 No. 2 Recorded: 4 & 6 December 1955, No.3 Studio, Abbey Road, London with Gioconda de Vito | Szymanowski: | Nocturne & Tarantella, Op. 28 with Marcel Gazelle Recorded: 21 December 1935, Studio Albert, Paris | Tchaikovsky: | Swan Lake, Op. 20 (excerpts) Recorded: 12 March; 25 & 30 April 1958, No.1 Studio, Abbey Road, London Philharmonia Orchestra, Efrem Kurtz Sérénade Mélancolique for Violin & Orchestra in B minor, Op. 26 Recorded: 18 February 1959, Kingsway Hall, London Royal Philharmonic Orchestra, Sir Adrian Boult Sleeping Beauty, Op. 66 (excerpts) Recorded: 22 April 1959, No.1 Studio, Abbey Road, London Philharmonia Orchestra, Efrem Kurtz | Tippett: | Fantasia Concertante on a Theme of Corelli Recorded: 22-23 October 1964, Kingsway Hall, London with Robert Masters, Derek Simpson Bath Festival Orchetra, Sir Michael Tippett | Vaughan Williams: | Violin Concerto in D minor 'Concerto Accademico' Recorded: 18 February 1952, No.1 Studio, Abbey Road, London London Philharmonic Orchestra, Sir Adrian Boult Violin Sonata in A minor Recorded: 5 October 1978, No.1 Studio, Abbey Road, London with Hephzibah Menuhin | Vieuxtemps: | Violin Concerto No. 4 in D, Op. 31 Recorded: 11 May 1951, No.1 Studio, Abbey Road, London Philharmonia Orchestra, Walter Susskind Violin Concerto No. 5 in A minor, Op. 37 Recorded: 71 December 1954, Kingsway Hall, London Philharmonia Orchestra, Anatole Fistoulari | Viotti: | Duo for 2 violins in G major Recorded: 6 December 1955, No.3 Studio, Abbey Road, London with Gioconda de Vito | Vivaldi: | The Four Seasons: Summer, RV315 Recorded: 10-11 April 1982, No.1 Studio, Abbey Road, London Polish Chamber Orchestra, Jerzy Maksymiuk The Four Seasons Recorded: 29 & 30 December 1979, No.1 Studio, Abbey Road, London with Paul Cocker Camerata Lysy Gstaad, Alberto Lysy Concerto, Op. 3 No. 11 'Con due Violini e Violoncello obligato', RV 565 Recorded: 28 & 30 December 1985, No.1 Studio, Abbey Road, London with Alberto Lysy, Eduardo Vassallo, Jeffrey Gilliam Camerata Lysy Gstaad Cello Concerto in A minor, RV420 Recorded: 28 & 30 December 1985, No.1 Studio, Abbey Road, London with Alberto Lysy, Jeffrey Gilliam Camerata Lysy Gstaad Concerto, Op. 3 No. 1 'Con quattro Violini obligati', RV 549 Recorded: 28 & 30 December 1985, No.1 Studio, Abbey Road, London with Alberto Lysy, Hu Kun, Mi-Kyung Lee, Jeffrey Gilliam Camerata Lysy Gstaad Violin Concerto, Op. 8 No. 10 in B flat major, RV362 'La Caccia' Recorded: 10-11 April 1982, No.1 Studio, Abbey Road, London Polish Chamber Orchestra, Jerzy Maksymiuk | Walton: | Violin Sonata Recorded: 8 May 1950, No.3 Studio, Abbey Road, London with Louis Kentner Violin Concerto (revised version) Recorded: 12-15 July 1969, No.1 Studio, Abbey Road, London London Symphony Orchestra, Sir William Walton Viola Concerto (revised version) Recorded: 9-11 October 1968, No.1 Studio, Abbey Road, London New Philharmonia Orchestra, Sir William Walton | Wieniawski: | Légende in G minor, Op. 17 Recorded: 2 May 1938, Studio Albert, Paris Orchestre Concerts Colonne, George Enescu Légende in G minor, Op. 17 Recorded: 24 February 1964, No.1 Studio, Abbey Road, London Philharmonia Orchestra, John Pritchard Souvenir de Moscou, Op. 6 (arr. Sarasate) Recorded: 21 January 1936, Studio Albert, Paris with Marcel Gazelle | Williamson: | Violin Concerto Recorded: 14-16 January 1971, No.1 Studio, Abbey Road,, London London Philharmonic Orchestra, Sir Adrian Boult |
This set of 50 CDs contains some of Sir Yehudi Menuhin's most celebrated EMI recordings, made during the 70-year period that he recorded for the Company, and commemorates the tenth anniversary of his death on 12 March 1999. Arguably the best-known classical musician of the 20th century, Yehudi Menuhin was born on 22 April 1916 in New York City. In 1918 his family moved to San Francisco where he had his first violin lessons, aged four, with Sigmund Anker. At seven he gave his first public performance accompanied by his then teacher, Louis Persinger. A year later, in 1925, he gave his first full-length recital, also with Persinger. 1926 saw him make his New York début and later that year he gave a performance of Lalo's Symphonie espagnole with the San Francisco Orchestra. In 1927, at the age of ten, Menuhin made his European début in Paris playing with the Lamoureux Orchestra under Paul Paray. Back in New York he gave his first concerto concert with the New York Symphony Orchestra under Fritz Busch and in 1928 he made his first recording for the Victor Company. 1929 was equally eventful for the young Menuhin: he was given a Stradivarius violin; made his Berlin début with the Berlin Philharmonic under Bruno Walter; began studies with Adolf Busch; he gave his début in London and made his first HMV recording. In 1931 Menuhin made his first concerto recording, Bruch Concerto No.1 in London for HMV and in 1932, at the age of 16, he made what was to become one of the most iconic classical recordings of all time when he went to EMI's new Abbey Road Studios to record the Elgar Concerto with the composer and the London Symphony Orchestra. This event put Menuhin firmly on the international map as one of the great violin virtuosi of the century and he continued to be a prolific recording artist for EMI, both as violinist and conductor, for the rest of his long career. | | | In stock - usually despatched within 1 working day. |
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| |  | Victor Hugo in MusicMélodies on the poems of Victor Hugo
Konstantin Wolff (baritone) & Trung Sam (piano) Composers who dared to set the poetic works of Victor Hugo knew they had a challenge on their hands! Yet they managed to extract from this monument of literature the texts that would most benefit from their music, and between them created a multiple portrait: here is every facet of the poet, from the ethereal or sensual lover to the committed political figure, contemplating the world in verse of biting irony or Romantic lyricism.The young Konstantin Wolff has audibly taken great pleasure in tackling these subtly nuanced evocations. “…Vidal's setting of "Chant d'exil"… provides the emotional high-point of the recital. This beautiful song, in which the poet regrets his exile from his homeland, is given a heartfelt rendition by Wolff and his accompanist, Trung Sam, who provides sterling support throughout. This is a lovely disc in which Wolff proves himself worthy of comparison with the past great baritone interpreters of the mélodie.” Gramophone Magazine, February 2009 “Victor Hugo notoriously hated it when anyone tried to set his work to music. Opera composers, by and large, ignored his protestations, though others tended to be a bit more circumspect. This exceptional recital by bass-baritone Konstantin Wolff and pianist Trung Sam chronicles the attempts of francophone song composers to grapple with Hugo's poetry both during and after his lifetime. It's a disc of surprises and occasional failures. Hugo clearly inspired most composers to give of their best, as well as to stray, on occasion, into unfamiliar territory: Saint-Saëns is represented by a clutch of unknown songs that should be repertory pieces, and Fauré gets uncharacteristically angry over the political implications of L'Absent. Lalo, as one might expect, turns Hugo into an impishly blatant eroticist, while Reynaldo Hahn is altogether more fin de siècle and discreet. Only Paul Vidal's settings seem inappropriately delicate. The wide vocal range of Liszt's famous Oh! Quand Je Dors, lies a bit awkwardly for Wolff, who otherwise sings with a virile, articulate elegance that is absolutely right both for the music and for Hugo's poetry. As an accompanist, Sam is spectacular, but never intrusive.” The Guardian, 13th February 2009 | | | In stock - usually despatched within 1 working day. |
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| |  | Fauré - Requiem
After studying music and choral and orchestral conducting in Paris, Vienna and Stockholm, Laurence Equilbey founded the choral group Accentus in 1991. In parallel with this, she created in 2002 the first training ensemble for young singers to be attached to the Conservatoire National de Région in Paris. This led her, in 2004, to create with Accentus the tenso programme, which brings together the finest European vocal ensembles for the purpose of research into and development of vocal art. Accentus is today an ensemble of 32 professional singers which appears at the leading French and international festivals. The choir collaborates regularly with prestigious conductors and orchestras including Pierre Boulez, Christoph Eschenbach, the Orchestre de Paris, Ensemble Intercontemporain, Concerto Köln, and the Akademie für Alte Musik. Critically acclaimed ever since its first recording, each of the groups CDs has received numerous prizes from the music press, and its recording of “Transcriptions” has sold more than 100,000 copies. A renowned figure in the world of Baroque music, French soprano Sandrine Piau performs regularly with such celebrated conductors as William Christie, Philippe Herreweghe, Christophe Rousset, Gustav Leonhardt, Sigiswald Kuijken, Ton Koopman, René Jacobs, Marc Minkowski, Fabio Biondi, Michel Corboz, Josep Pons and Louis Langrée. Internationally-acclaimed French baritone Stephane Degout graduated from the Conservatoire National Supérieur de Musique de Lyon and then became a member of the Atelier Lyrique de l’Opéra de Lyon. Degout gained international attention when he made a triumphant debut as Papageno at the Festival dAix-en-Provence in 1999. Gabriel Fauré composed his Requiem in D minor, Op. 48 between 1887 and 1890. His reasons for composing his Requiem are uncertain. One possible impetus may have been the death of his father in 1885, and his mother's death two years later on New Year's Eve 1887. However, by the time of his mother's death he had already begun the work, which he later declared was "composed for nothing … for fun, if I may be permitted to say so!" Originally written for smaller forces, the score was reworked for full orchestra by the composer between 1899 and1900. “There may be a more profoundly beautiful recording of Fauré's Requiem out there, but if so, I've not heard it. I defy any sensitive soul not to be transported into a state of near rapture by the unspeakably delicious Sanctus, the solo violin of Luc Héry floating ethereally above the choral and orchestral textures like a skylark in full song. ...Equilbey shapes and caresses every single phrase, every line, every note with the kind of loving care few conductors ever lavish on such a well known and technically undemanding score. The result is a genuinely revelatory reading.” Gramophone Magazine, August 2009 “Can there may be a more profoundly beautiful recording of Fauré's Requiem out there? We defy any sensitive soul not to be transported into a state of near rapture by the unspeakably delicious Sanctus, the solo violin of Luc Héry floating ethereally above the choral and orchestral textures like a skylark in full song.
What is it that makes this such a sublimely beautiful recording of a work which, let's face it, is more than generously represented in the catalogues? (For the record, this is the original scoring of the work – organ with chamber orchestra minus violins – which was finally published in 1969.) It's not just the lovely sound produced by the three dozen voices of Accentus, unquestionably one of the really top-notch choirs around at the moment, or the angelic voices of the Maîtrise de Paris which point us heavenwards in the closing In Paradisum. Nor can the credit for such unremitting loveliness be laid wholly at the feet of the members of the Orchestre National de France, handling this famous score with rare sensitivity and delicacy, or the wonderful pair of soloists. Stéphane Degout brings immeasurable poise to the Hostias, while Sandrine Piau's PieJesu has a wholly unaffected aura of purity and innocence – and has the string response to each line ever before been captured on disc with such utter gentleness? These are all exceptional elements, but the two things which transform this are the recording's location and Laurence Equilbey's inspired direction. The famous Parisian church of St Clotilde imbues the whole thing with an atmosphere of warmth and great tranquillity, the organ pedals perfectly proportioned (and superbly captured by the Naïve engineers), while Equilbey shapes and caresses every single phrase, every line, every note with the kind of loving care few conductors ever lavish on such a well known and technically undemanding score.
The result is a genuinely revelatory reading.” Gramophone Classical Music Guide, 2010 | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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| |  | NoëlFrench Romantic Music for Christmas
Bachchor Mainz, L'Arpa Festante München, Ralf Otto | | | In stock - usually despatched within 1 working day. |
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| |  | French Violin Sonatas
Antje Weithaas (violin) & Silke Avenhaus (piano) Following their highly acclaimed performances of the violin and piano sonatas by Schubert and Brahms, Antje Weithaas and Silke Avenhaus present this beautiful CD of music of French chamber music. | | | In stock - usually despatched within 1 working day. |
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| |  | Ravel, Debussy, Fauré - String Quartets
When the Quatuor Ebène was signed to Virgin Classics in early 2008. Alain Lanceron, the label’s President, said: “The Quatuor Ebène is the embodiment of the modern string quartet. The extraordinary way its members craft their sonority, their re-examination of quartet masterpieces, their readiness to engage with music beyond the traditional repertoire, their innovative and creative approach: all these factors have led us to invite them to add their lustre to Virgin Classics' roster of artists. We welcome them with enthusiasm – the same kind of enthusiasm they bring to everything they do." Formed in France in 1999, the Quatuor Ebène took its name from ebony, the precious and exotic wood used in instrument-making. The award-winning ensemble has since achieved an enviable international reputation for refined, dynamic musicianship, minutely responsive teamwork, an adventurous spirit and even a taste for improvisation. The Quartet’s repertoire ranges from Haydn and Mozart, cornerstones of the Classical repertoire, through the 19th and 20th centuries to contemporary composers and jazz. The Quatuor Ebène’s debut recording on Virgin Classics brings together the string quartets of the three emblematic French composers of the late 19th and early 20tb centuries: Fauré, Debussy and Ravel. The Debussy and Ravel quartets represent a traditional pairing in the catalogue, but they have rarely been coupled with the Fauré, his final work, composed in his late seventies. As it happens, Ravel dedicated his own quartet to Fauré, who was his teacher. “Interpreters of rare understanding and communicative flair” The Strad “There's a fluidity to the Ebène's playing… that suits the music's character, a mood of wistfulness too that the Ravel especially benefits from.” Gramophone Magazine, December 2008 “Dynamic ranges are wide, with Ravel's crescendos not underplayed in any mistaken attempt at classicism, and rubatos are applied with tactful expressivity.” BBC Music Magazine, November 2008 ***** “Among the many breathtaking moments on the Ebène Quartet's CD, there is one in particular that keeps calling one back. It occurs at around 1'14” into the Ravel's slow movement, the second set, which enters like a bittersweet memory before a literal recollection of the Quartet's opening motif. Other subtle details of interpretation include the chord at 2'03” that underpins a transformation of the first subject before the same chord leads directly into the second subject – and when it does, utterly changing in character, turning warmer, more openly inviting. The ebb and flow of the passage at 5'29” where the second subject rides above an arpeggiated accompaniment, music that looks both forwards to Debussy's own La mer and backwards to Rimsky's Sheherazade (or so it seems). There's a fluidity to the Ebène's playing of both works that suits the music's character, a mood of wistfulness too that the Ravel especially benefits from. This improvisatory approach is hardly surprising from an ensemble that is also celebrated for its jazz performances.
It was a brilliant idea to include Fauré's late Quartet which, in a sense, provides the linchpin for all three works, the Ravel having been composed in Fauré's class to mark the 10th anniversary of Debussy's quartet, and which is dedicated to Fauré. An extraordinary work by any standards, ethereal and other-worldly with themes that seem constantly to be drawn skywards, Fauré's Quartet responds well to the Ebène's sensitised approach.
Anyone requiring this particular trio of works won't be disappointed, which makes the various pairings of the Ravel and Debussy quartets on their own seem somewhat less enticing.” Gramophone Classical Music Guide, 2010 “it is the performance of the Fauré that makes this disc so rewarding. Late Fauré...is notoriously elusive, both melodically and harmonically. But the Ébène manage to make everything in the three-movement quartet seem perfectly logical, utterly natural and close in sensibility to the works by Debussy and Ravel that flank it.” The Guardian, 31st October 2008 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Un Frisson Français - A century of French song
Undoubtedly ONYX’s highlight of the year is the first recital disc for 5 years by the great American mezzo Susan Graham. Beloved by audiences the world over, this outstanding recording is sure to be much in demand worldwide. The unique programme provides a celebration of French song in an unusual way – instead of groups of songs by several composers Susan has opted for a single song by 22 different composers from Bizet to Poulenc. This is the programme she and Malcolm Martineau her regular accompanist took on tour in the USA and Europe in 2007/2008. Reviews were unanimous “confirms Susan Graham as the ideal package she is” (Music Web) “resistance is futile” (New York Times); superb, exquisite (Chicago Tribune) Susan Graham is particularly at home in French repertoire, one of the few non-French singers recognised by the French themselves when they made her a Commandeur dans L’Ordre des Arts et des Lettres. Susan refutes the idea that all French vocal music sounds the same: "This programme has everything: loud, soft, high, low, fast, slow, romantic, acidic." Includes some surprises- Saint-Saëns’ Danse Macabre for example, known by everyone as a orchestral showpiece but in fact first written as a song, but hardly ever performed as such; and some favourites such as Hahn’s À Chloris and Canteloube’s Brezairola, but far more discoveries such as the gorgeous Psyché by Paladilhe and Bachelet’s ecstatic Chère Nuit. “With Susan Graham in radiant form and Malcolm Martineau not just an accompanist but an active partner in the project, "Un frisson français" offers a unique survey of French mélodie from the mid-19th century to the mid-20th: 22 songs… one composer. A rich collection in excellent sound: no one is likely to be disappointed.” Gramophone Magazine, November 2008 “The familiar here appears in unusual contexts and alongside a scattering of rarities. The performers are at one in their fluency, delicate rubato and avoidance of Anglo-Saxon archness, within an acoustic that combines intimacy and atmosphere.” BBC Music Magazine, November 2008 ***** “With Susan Graham in radiant form and Malcolm Martineau not just an accompanist but an active partner in the project, 'Un frisson français' offers a unique survey of French mélodie from the mid–19th century to the mid–20th: 22 songs…one per composer.
Martineau describes the plan as a 'tasting menu', starting with Gounod, to whom he ascribes the launching of the genre of French mélodie. Even Ravel said that Gounod was 'the true founder of the mélodie in France' and his song 'Au rossignol' ('To the Nightingale') is included in the first of five sections – 'founding fathers', including Bizet, Franck, Lalo and Saint–Saëns. It is fascinating to hear the original version with piano of 'Danse macabre', Graham marvellously biting.
Martineau describes the sequence as 'loosely chronological', and one beauty of the scheme is that rare and forgotten composers are included, such as Paladilhe and Bachelet who are represented in late–Romantic mélodies with night and nature dominating themes. The third group – including Ravel and Debussy – takes us into the 20th century. Especially fascinating is André Caplet's setting of 'Le corbeau et le renard' ('The Crow and the Fox') with elaborate piano accompaniment.
Only rare songs are chosen for each composer and perhaps Martineau chose some of them for the colourful accompaniments, as in Chausson's fluttering accompaniment for his picture of the butterfly in 'Le papillon'. The fourth section has childhood as a common theme and the climactic section has only one song, much the longest, Poulenc's 'La dame de Monte-Carlo', to words by Jean Cocteau. It is like an encapsulated version of the operatic monodrama La voix humaine with the singer on the verge of a breakdown.
A rich collection in excellent sound: no one is likely to be disappointed.” Gramophone Classical Music Guide, 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | Victoria de los Ángeles: The Voice of an Angel
Bach, J C: | Ah! lamenta, oh bella Irene | Barbieri, F: | Canción de Paloma (from El Barberillo de Lavapiés) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Barrera Saavedra: | Adiós Granada (from Emigrantes) arr. de los Angeles Victoria de los Angeles (guitar) | Beethoven: | Oh! would I were but that sweet linnet, WoO. 154 No. 9 Eduard Drolc (violin), Irmgard Poppen (cello) He promised me at parting, WoO. 154 No. 12 They bid me slight my Dermot dear, WoO. 152 No. 8 Eduard Drolc (violin), Irmgard Poppen (cello), Gerald Moore (piano) | Bizet: | Carmen (highlights) Nicolai Gedda (Don Jose), Denise Monteil (Micaela), Marcelle Croisier (Frasquita), Monique Linval (Mercédès) Chœurs et Orchestre National da la Radiodiffusion Française, Sir Thomas Beecham | Brahms: | Wiegenlied, Op. 49 No. 4 (Lullaby) Dein blaues Auge, (No. 8 from Acht Lieder und Gesänge, Op. 59) Vergebliches Ständchen, Op. 84 No. 4 Gerald Moore (piano) Sapphische Ode, Op. 94 No. 4 Gerald Moore (piano) | Caballero: | Romanza de Pilar (from Gigantes y cabezudos) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Canteloube: | Songs of the Auvergne Orchestre des Concerts Lamoureux, Jean-Pierre Jacquillat | Catalani: | Ebben? Ne andrò lontana (from La Wally) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli | Chapí: | Canción de Pastora (from La patria chica) Rafael Frühbeck de Burgos Canción de la gitana (from La chavala) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos Carceleras from Las hijas de Zebedeo Sinfonia of London, Rafael Frühbeck de Burgos | Chueca: | La gran vía: Tango de la menegilda Rafael Frühbeck de Burgos La gran vía: Chotís del eliseo madrilène Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Debussy: | Fêtes galantes - Set 1 Gonzalo Soriano (piano) | Delibes: | Les filles de Cadix | Duparc: | L'Invitation au voyage Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre | Dvorak: | Als die alte Mutter (No. 4 from Zigeunermelodien, op. 55) Moglichkeit Der Apfel, Op. 38 No. 2 Gerald Moore (piano) | Falla: | La vida breve: ‘Vivan los que rien!' Alli está! Riyendo (from La vida breve) Philharmonia Orchestra, Stanford Robinson El sombrero de tres picos: Overture Philharmonia Orchestra with Chorus, Rafael Frühbeck de Burgos El Amor Brujo: excerpts Philharmonia Orchestra, Carlo Maria Giulini Siete Canciones populares españolas Gonzalo Soriano (piano) | Fauré: | Tristesse, Op. 6 No. 2 Au bord de l'eau, Op. 8 No. 1 (Prudhomme) Les roses d'Ispahan Op. 39 No. 4 Toujours!, Op. 21 No. 2 Gonzalo Soriano (piano) | Gounod: | Ah! Je ris de me voir (from Faust) Il se fait tard ! Adieu ! (from Faust) Nicolai Gedda (Faust), Boris Christoff (Mephistopheles) Orchestre du Théâtre National de l’Opéra, André Cluytens | Granados: | Tonadillas: No. 2, Callejeo Tonadillas: No. 11, El tra la la y el punteado Gerald Moore (piano) Goyescas: Quejas ó La Maja y el Ruiseñor New Philharmonia Orchestra, Rafael Frühbeck de Burgos Iban al pinar Gracia mía Alicia de Larrocha (piano) | Grieg: | Ich liebe Dich, Op. 5 No. 3 | Guridi Bidaola: | Jota (from Six canciones castellanas) Gerald Moore (piano) | Hahn, R: | L'Enamourée Trois jours de vendange Le rossignol des lilas Gonzalo Soriano (piano) | Handel: | Joshua: Oh! had I Jubal's lyre Gerald Moore (piano) | Haydn: | Schlaf in deiner engen Kammer Eduard Drolc (violin), Irmgard Poppen (cello) | Leoncavallo: | Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci) RCA Victor Orchestra, Renato Cellini | Lleó Balbastre: | Couplets babilónicos (from La corte del Faraón) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Lorca: | Canciónes (13) españolas antiguas: Anda, jaleo Canciónes (13) españolas antiguas: Los cuatro muleros Canciónes (13) españolas antiguas: Las tres hojas Canciónes (13) españolas antiguas: Los mozos de Monleón Canciónes (13) españolas antiguas: Las morillas de Jaén Canciónes (13) españolas antiguas: Sevillanas del Siglo XVIII Miguel Zanetti (piano) | Luna, P: | El Niño Judío: De España vengo Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Martini, J P: | Plaisir d'amour | Mascagni: | Voi lo sapete o mamma (from Cavalleria rusticana) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli | Massenet: | Allons! Il le faut pour lui-même!... Adieu, notre petite table (from Manon) Je marche sur tous les chemins (from Manon) Chœurs et Orchestre du Théâtre National de l’Opéra-Comique, Pierre Monteux Werther! Werther!…Je vous écris de ma petite chambre (from Werther) Va! Laisse couler mes larmes (from Werther) Orchestre de Paris, Georges Prêtre | Mendelssohn: | Auf Flügeln des Gesanges, Op. 34 No. 2 | Montsalvatge: | Canciones negras (5) Orchestre de la Société des Concerts du Conservatoire, Rafael Frühbeck de Burgos | Mozart: | Porgi amor (from Le nozze di Figaro) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli Ecco quel fiero istante, K346 Elisabeth Schwarzkopf (soprano), Dietrich Fischer Dieskau (baritone), Gerald Moore (piano) | Nin: | Granadina (from Cantos populares españoles) Gerald Moore (piano) | Offenbach: | Elle a fui, la tourterelle (from Les Contes d' Hoffmann) Orchestre de la Société des Concerts du Conservatoire, André Cluytens | Ovalle: | Azulao Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Puccini: | Si, mi chiamano Mimi (from La Bohème) O soave fanciulla (from La Bohème) Donde lieta usci (from La Bohème) Jussi Björling (Rodolfo), Robert Merrill (Marcello) RCA Victor Orchestra, Sir Thomas Beecham O mio babbino caro (from Gianni Schicchi) Orchestra del Teatro dell Opera di Roma, Tullio Serafin Ancora un passo…Spira sul mare (from Madama Butterfly) Jussi Björling (Pinkerton), Mario Sereni (Sharpless) Bimba dagli occhi pieni di malia (from Madama Butterfly) Jussi Björling (Pinkerton) Un bel di vedremo (from Madama Butterfly) Con onor muore (from Madama Butterfly) Coro e Orchestra del Theatro dell’Opera di Roma, Gabriele Santini | Purcell: | Let us Wander not Unseen (from The Indian Queen, Z630) Lost is my quiet for ever, Z502 Gerald Moore (piano) | Ravel: | La Flûte enchantée (Shéhérazade No. 2) Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre | Rossini: | Nacqui all'affanno, al pianto...Non più mesta (from La Cenerentola) Giuseppe Morelli Una voce poco fa (from Il barbiere di Siviglia) Royal Philharmonic Orchestra, Vittorio Gui | Sadero: | Era la vo Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Scarlatti, A: | Le violette Gerald Moore (piano) | Schubert: | Der Tod und das Mädchen, D531 Wohin? (No. 2 from Die schöne Müllerin, D795) An die Musik D547 Gerald Moore (piano) | Serrano: | Cancion de la gitana (from Le alegria del battallon) Rafael Frühbeck de Burgos Escena lírica (Los claveles) Rafael Frühbeck de Burgos Romanza de Gloria (Los de Aragón) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Stanford: | An Irish Lullaby | Tchaikovsky: | Schottische Ballade, Op. 46 No. 2 Gerald Moore (piano), Dietrich-Fischer Dieskau (baritone) | Toldrá: | Cançó de grumet (A l’ombra del Leidoner) Gonzalo Soriano (piano) | Turina: | Saeta en forme de Salve a la Virgen de la Esperanza, Op. 60 Poema en forma de canciones, Op. 19: No. 3, 'Cantares' Philharmonia Orchestra, Walter Susskind | Valls Gorina: | Canciones Sefarditas Jean-Claude Gérard (flute), Oscar Ghiglia (guitar) | Valverde: | Clavelitos Gerald Moore (piano) | Verdi: | Surta è la notte...Ernani! Ernani, involami (from Ernani) Era più calmo? (from Otello) Mia madre aveva...Piangea cantando...Ave Maria (from Otello) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli Come in quest'ora bruna (from Simon Boccanegra) Orchestra del Teatro dell’Opera di Roma, Gabriele Santini Libiamo, ne' lieti calici (from La Traviata) È strano! è strano!...Ah! fors è lui (from La traviata) Teneste la promessa...Addio, del passato (from La Traviata) Carlo del Monte (Alfredo) Coro e Orchestra del Teatro dell’Opera di Roma, Tullio Serafin | Villa-Lobos: | Bachianas Brasileiras No. 5: Aria (Cantilena) Bachianas brasileiras no 5 ; Dança (martelo) Orchestre National de la Radiodiffusion Française, Heitor Villa-Lobos | Wagner: | Dich, teure Halle (from Tannhauser) Einsam in trüben Tagen (from Lohengrin) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli | Yradier: | La Paloma Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos |
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| |  | Fauré - Requiem
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| |  | Faure - Violin Sonatas Nos. 1 & 2
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