William Turner Walton

This 60-disc box set contains 60 original ‘Living Stereo’ recordings

This is the first time a comprehensive collection of these iconic recordings has been created.

Each album comes complete with its original LP artwork.

An extensive booklet is included with the liner notes from each original album.

Includes recordings by such great artists as Jascha Heifetz, Charles Munch, Fritz Reiner, Julian Bream, Leontyne Price and Arthur Rubinstein

LIVING STEREO – THE HISTORY

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz. This began a practice of simultaneously recording orchestras with both stereophonic and monaural equipment. Other early stereo recordings were made by Toscanini and Guido Cantelli respectively, with the NBC Symphony Orchestra; the Boston Pops Orchestra under Arthur Fiedler; and the Chicago Symphony Orchestra under Fritz Reiner. Initially, RCA used RT-21 quarter-inch tape recorders (which ran at 30 inches per second), wired to mono mixers, with Neumann U-47 cardioid and M-49/50 omnidirectional microphones. Then they switched to an Ampex 300-3 one-half inch machine, running at 15 inches per second (which was later increased to 30 inches per second). These recordings were initially issued in 1955 on special stereophonic reel-to-reel tapes and then, beginning in 1958, on vinyl LPs with the logo ‘Living Stereo’. Sony Music and successor companies have continued to reissue these recordings on CD. Another 1953 project for RCA was converting the acoustically superior building Webster Hall into its East Coast recording studio. It operated this studio venue from 1953 to 1968.

This 2CD set reveals two sides of Walton, the composer of music for the voice. CD1 features the extravagant side of the composer with multiple choirs and a huge orchestra for swaggering performances of the Coronation Te Deum and Belshazzar’s Feast, both with Sir Georg Solti conducting. CD2, with all items released on CD for the first time, features the more intimate side of the composer, with settings of choral miniatures, from the earliest setting (Drop, drop, slow tears of 1917) up to the 1972 Jubilate. Simon Preston’s LP was released on Argo to mark Walton’s 70th birthday. The remainder of the items come from a L’Oiseau-Lyre LP coupling songs by Walton and Machonchy and performed by Heather Harper. A Song for the Lord Mayor’s Table was commissioned by the Worshipful Company of Goldsmiths for the first City of London Festival; the texts were chosen by the English dramatist and poet Christopher Hassall and the poems come mostly from 18th-century verse related to London. The collection is rounded off with Walton’s Three Songs to poems by Dame Edith Sitwell date from 1932, all based on the composer’s Façade.

Paul Tortelier had the lean, ascetic look of an El Greco saint, yet possessed the turbulent idealism of Don Quixote, whom he portrayed so memorably in Richard Strauss’s tone poem. Tortelier was born in Paris in 1914, months before the outbreak of the Great War. Though the family knew poverty, it was his mother’s dream that her son should be a cellist. He started to learn the instrument at the age of six and at 12 he entered the Paris Conservatoire where he won several prizes before leaving at 16 to play freelance in cafés and cinemas in the days of silent films. A year later he made his professional debut playing Lalo’s Concerto at the Concerts Lamoureux. In 1935 he went to the Monte-Carlo Orchestra as principal cellist and two years later played Don Quixote under Strauss’s own direction. He began his solo career in 1938 in Boston, but this was interrupted by the war, during which he remained in Paris. In 1947 he played Don Quixote in Beecham’s Richard Strauss festival in London to great acclaim. This effectively relaunched his international career and he went on to become one of the world’s most distinguished cellists. He died suddenly in 1990 at the age of 76.

Bach’s solo Cello Suites were always an integral part of Tortelier’s repertoire and CD 1 opens with the first three movements of Suite No.1 in G. Following this is another Baroque work, the Cello Concerto in D by Vivaldi, in which Tortelier also directs the English Chamber Orchestra. Next comes the finale from Haydn’s Cello Concerto No.2 in D recorded with Jörg Faerber conducting the Wurtemburg Chamber Orchestra in Heilbronn. We then hear movements from Beethoven’s Cello Sonata No.4 in C with the French pianist Eric Heidsieck, and Brahms’s Cello Sonata No.2 in F in which the pianist is Tortelier’s daughter, Maria de la Pau. The CD ends with Tortelier’s third EMI recording of his signature work, Don Quixote by Richard Strauss with the Staatskapelle Dresden under Rudolf Kempe.

CD 2 begins with the first two movements of another of the works central to Tortelier’s repertoire, Elgar’s Cello Concerto, a performance of which won him a prize while he was studying at the Paris Conservatoire. This is followed by an extract from the Walton Cello Concerto conducted by Paavo Berglund and then Paganini’s variations on an operatic aria by Rossini to show off Tortelier’s technical skill as a virtuoso of his instrument, this recording conducted by Tortelier’s cellist wife, Maud Tortelier. Next comes a group of encore pieces, including the inevitable ‘Flight of the Bumblebee’ and ‘Le Cygne’, culminating in Three Miniatures for two cellos composed by Tortelier himself and played here with his wife Maud as the second cellist. The programme finishes with a spirited performance of Tchaikovsky’s ‘Rococo’ Variations with the Northern Sinfonia of England conducted by Tortelier’s son Jan Pascal Tortelier.

Recorded at Henry Wood Hall, London on 7 & 8 March 2012.

The London Philharmonic Orchestra takes part in the Thames Diamond Jubilee Pageant on 3 June as part of the 1000 boat flotilla celebrating the Queen’s 60th anniversary. Its musicians will play works chosen for their association with British history and London landmarks, recorded here to capture the spirit of the occasion and to serve as a memento of a unique day.

Highlights of the music include Percy Grainger’s Country Gardens, Jupiter from Gustav Holst’s The Planets, Thomas Arne’s Rule, Britannia!, the James Bond Theme, The Dam Busters by Eric Coates and two works by Elgar – Nimrod from Enigma Variations and Pomp & Circumstance March No. 1. The CD closes out with a performance of the National Anthem.

This new album recollects and celebrates some of the choral music heard on royal occasions during the lifetime of HM Elizabeth II. The music chosen reflects the personal choices and commission by the Royal Family for weddings, funerals, and anniversaries.

Featuring John Rutter’s celebratory royal wedding anthem This is the day, written for the marriage of Prince William and Kate Middleton at Westminster Abbey in 2011. Newly orchestrated exclusively for this recording, it reminds us of the event that captivated the attention of the nation last year. The CD also includes a new arrangement for unaccompanied choir of the Londonderry Air to the text I would be true, and an orchestration of Schubert’s beautiful Psalm 23 - The Lord is my Shepherd by John Rutter for this recording.

The potential of music as a means of adding dignity and grandeur to state occasions has surely been lost on a few rulers in history. Portraits of antique kings and queens are more often admired (or the reverse) for their artistic qualities, as opposed to the enhancement in the status of their subjects they were originally intended to confer. Similarly, the appeal of ceremonial music from former ages is for modern listeners primarily aesthetic.

This 75-minute collection brings together music heard at a staggering variety of British royal occasions. Zadok the Priest has been included in every coronation service held in that building ever since the coronation of King George II and Queen Caroline in Westminster Abbey on 11 October 1727. There is music for the coronation of King James II in 1685 (Purcell’s I was glad), and a later setting of the same verses by Parry for the coronation of Edward VII in Westminster Abbey on 9 August 1902.

Of course, there’s music for Queen Elizabeth II – Walton’s Coronation Te Deum and Orb and Sceptre for the coronation on 2 June 1953 and Bliss’s march Welcome the Queen, which commemorated the return of the monarch from her Commonwealth tour in 1954.

The British national anthem hardly needs an introduction. Benjamin Britten’s distinctive arrangement was first performed in Leeds on 7 October 1961 and has been heard countless times since.