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Folklórico

Folklórico


Pipo Romero, Pipo Romero (acoustic guitar), Manolo Nieto (bass), Antonio Serrano (harmonica), Paquito Gonzalez (percussion), Marino Saiz (violin), David Moreira (violin), Yerav Jimenez (bass), Rayco Gil (congas)

Released or re-released in last 6 months

Legacy Recordings - G010003776686A

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George Lloyd: Symphony Nos. 6 & 7

George Lloyd: Symphony Nos. 6 & 7


Lloyd, G:

Symphony No. 6

Symphony No. 7


BBC Northern Symphony Orchestra, Edward Downes

‘I just write what I have to write’. The artistic credo of George Lloyd (1913-1998) conveys the directness and emotional honesty of his music. He wrote in a traditional idiom enriched by a close study of selected models, Verdi and Berlioz chief among them. His music is not derivative, however. It is distinctive and written with integrity. There is a remarkable consistency to his output, most of which was created spontaneously and without the incentive of a commission. He was fortunate enough to discover his individual and versatile musical voice at an early age. The deceptively artless quality of his scores stems from a rigorous grounding in composition techniques.

Lloyd had found a champion of his music in conductor Edward Downes (1924-2009). Downes conducted the first performance of Lloyd’s Eighth Symphony (1961, orchestrated 1965) with the BBC Northern Symphony Orchestra, broadcast on Radio 3 on 4 July 1977. Many listeners were stopped in their tracks by the work’s melodic strength and imaginative scoring. This turning point in the composer’s fortunes marked the beginning of the public’s demand for performances and recordings of his music. In the succeeding five years Downes tirelessly promoted and disseminated Lloyd’s works.

“The present two symphonies make for a pointed contrast in all respects. The Sixth (1956) is the shortest of the cycle…the much larger Seventh could hardly be more different…The work gave rise to much soul-searching but ultimately earned praise from those otherwise unreceptive to this composer. Downes endows it with unstinting drama, and is no less inside its diverting predecessor.” Gramophone Magazine, Awards Issue 2017

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Lyrita - REAM1135

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Anthology Of Russian Symphonic Music Volume 2

Anthology Of Russian Symphonic Music Volume 2


Alexandrov, Anatoly:

Symphony No. 1 in C major, Op. 92

Boiko:

Gypsy Rhapsody for piano and orchestra in D minor, Op. 60

Guzul Rhapsody in C minor, Op. 61

Volga Rhapsody in C major, Op. 62

Carpathian Rhapsody for violin and orchestra in D major, Op. 63

Cortège solennel for orchestra, Op. 77

Eshpai:

Concerto Grosso for orchestra with solo trumpet, piano, vibraphone and double bass

Galynin:

Piano Concerto No. 1

Glazunov:

Symphony No. 1 in E major, Op. 5 'Slavyanskaya'

Symphony No. 2 in F sharp minor, Op. 16

Symphony No. 3 in D major, Op. 33

Symphony No. 4 in E flat major, Op. 48

Symphony No. 6 in C minor, Op. 58

Symphony No. 7 in F major, Op. 77 'Pastoral'

Symphony No. 8 in E flat major, Op. 83

Overture No. 1 on Three Greek Themes, Op. 3

Overture No. 2 on Three Greek Themes, Op. 6

Triumphal March, Op. 40

Cortege solennel, Op. 50

Ballade in F major Op. 78

March on a Russian Theme, Op. 76

Ouverture solennelle, Op. 73

Cortege solennel in B flat major, Op. 91

From the Middle Ages, Op. 79

Stenka Razin

From Darkness to Light - orchestral fantasy, Op. 53

Finnish Fantasy, Op. 88

Introduction and Dance of Salome, Op. 90

THE SONG OF THE VOLGA BOATMEN Op. 97

Finnish Sketches, Op. 89

Poème lyrique Op. 12

Mazurka in G major, Op. 18

Romantic Intermezzo, Op. 69

Chopiniana, Op. 46

Concerto ballata in C major for cello and orchestra, Op. 108

Les (The Forest), Op. 19

More (The Sea), Op. 28

Oriental Rhapsody, Op. 29

Theme with Variations for Strings in G minor, Op. 97

Suite caractéristique, Op. 9

Scènes de ballet, Op. 52

Carnaval, Op. 45

Lady Soubrette

Scene Dansante, Op. 81

Raymonda, Op. 57

Glière:

Solemn Overture for the 20th anniversary of the October Revolution

Khachaturian:

Violin Concerto in D minor

Concerto-Rhapsody for Cello in D minor

Khrennikov:

Symphony No. 1 in B flat, Op. 4

Symphony No. 2 in C minor, Op. 9

Symphony No. 3 in A, Op. 22

Violin Concerto No. 1 in C, Op. 14

Violin Concerto No. 2 in C, Op. 23

Cello Concerto No. 2, Op. 30

Piano Concerto No. 1 in F, Op. 1

Piano Concerto No. 2 in C, Op. 21

Piano Concerto No. 3 in C, Op. 28

Fragments from the ballet Love for Love, Op. 24

Adagio (The Hussar Ballad)

Kompaneyets:

Rhapsody in Folk Style

Mazaev:

The Krasnodonians

Miaskovsky:

Symphony No. 3 in A minor, Op. 15

Symphony No. 4 in E minor, Op. 17

Cello Concerto in C minor, Op. 66

Symphony No. 5 in D major, Op. 18

Symphony No. 7 in B minor, Op. 24

Symphony No. 9 in E minor, Op. 28

Symphony No. 18 in C major, Op. 42

Symphony No. 14 in C major, Op. 37

Symphony No. 21 in F sharp minor, Op. 51

Symphony No. 17 in G sharp minor, Op. 41

Symphony No. 22 in B minor, Op. 54 'Symphony-Ballad '

Symphony No. 24 in F minor, Op. 63

Symphony No. 25 in D flat major, Op. 69

Symphony No. 27 in C minor, Op. 85

Symphony No. 26 in C major, Op. 79

Mosolov:

The Iron Foundry

Pakhmutova:

Russian Suite

Prelude 'To the Memory of Podolsk Cadets'

Concerto for Orchestra in E major

Ode to Setting Fire

Overture 'Youth'

Parsadanian:

David of Sassoun

Peiko:

Symphony No. 4 in B minor

Prokofiev:

Symphony No. 1 in D major, Op. 25 'Classical'

Peter and the Wolf, Op. 67

Overture on Hebrew Themes, for orchestra, Op. 34b

Rachmaninov:

Symphony No. 1 in D minor, Op. 13

Symphony No. 2 in E minor, Op. 27

Symphony No. 3 in A minor, Op. 44

Prince Rostislav

Aleko: suite

Caprice Bohémien, Op. 12

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

Vocalise, Op. 34 No. 14 - arrangement for orchestra

Scriabin:

Symphony No. 1 in E major, Op. 26

Symphony No. 2 in C minor, Op. 29

Symphony No. 3 in C minor, Op. 43 'The Divine Poem'

Shchedrin:

Piano Concerto No. 1

Piano Concerto No. 2

Piano Concerto No. 3

Concerto for Orchestra No. 1 'Tschastuschi' (Naughty Limericks)

Suite from the Opera “Not Love Alone”

The Little Humpbacked Horse: Girls' Round Dance

Anna Karenina

Symphony No. 1

Concerto for Orchestra No. 2 'The Chimes'

Shostakovich:

Symphony No. 1 in F minor, Op. 10

Symphony No. 5 in D minor, Op. 47

Symphony No. 6 in B minor, Op. 54

Symphony No. 9 in E flat major, Op. 70

Symphony No. 7 in C major, Op. 60 'Leningrad'

Symphony No. 10 in E minor, Op. 93

Cello Concerto No. 1 in E flat major, Op. 107

Cello Concerto No. 2 in G minor, Op. 126

Violin Concerto No. 1 in A minor, Op. 99

Festive Overture, Op. 96

Romance (from The Gadfly)

Tahiti Trot (Tea for Two), Op. 16

Stravinsky:

The Rite of Spring

Weinberg:

Sinfonietta No. 1, Op. 41

Rhapsody on Moldavian Themes, Op. 47 No. 1

Zaborov, G:

Symphony No. 1


The second set continues the publication of Evgeny Svetlanov’s Anthology of Russian Symphonic Music, a larger-than-life project knowing no equals in the world history of sound recording.

Complete recordings of Alexander Glazunov’s orchestral music (eight symphonies, ballets and all orchestral works – 17 CDs in all!) open the second part of the Anthology. Most of them were made in 1989 and 1990. The set also includes an earlier, never before released recording of the Concerto Ballata for cello and orchestra featuring Mstislav Rostropovich.

Evgeny Svetlanov had very special feelings for the symphonic music of Rachmaninoff and Scriabin.  To him these names were eternal beacons in the world of Russian music. The music of the outstanding domestic symphonist Nikolai Myaskovsky, who combined his strong personality with fundamental continuity of classical traditions, was particularly brightly realized in the great conductor’s interpretations. The set comprises 14 of the composer’s 27 symphonies and his cello concerto.

The second part of the Anthology also includes recordings of a number of symphonic and instrumental concertos by Dmitri Shostakovich and some of the

pieces by Soviet classical composers such as Sergei Prokofiev, Aram Khachaturian and Reinhold Glière.

Contemporary repertoire was always important in Svetlanov’s concert and studio activities. So the Anthology includes a symphony by Anatoly Alexandrov, a piano concerto by German Galynin, Symphony No. 4 by Nikolai Peiko, Sinfonietta No. 1 by Mieczyslaw Weinberg and other little know pages of Soviet music – orchestral pieces by Alexandra Pakhmutova, Rostislav Boiko, Alexander Mosolov, Zinovy Kompaneyets, Arkady Mazayev and Grigory  Zaborov. Svetlanov’s recordings of most of these works have never been released previously and see the light of day for the first time.

Evgeny Svetlanov was also known for his enduring creative collaboration and friendship with Tikhon Khrennikov,  Andrei  Eshpai  and  Rodion  Shchedrin,  the leading composers of their era.

The bonus of the second set comprises recordings on which Evgeny Svetlanov appears as a pianist and … reciter! The Melodiya LP with him reading Vladimir Mayakovsky’s poems was a surprise even for the conductor’s longtime admirers. Mayakovsky’s poetry definitely reflected  the great, tragic and rebellious spirit of the epoch – this is what makes it akin to the large-scale symphonic opuses of Shostakovich, Myaskovsky and Khachaturian.


Extra postage costs:
As this set is very heavy (we estimate around 4kg) we unfortunately need to charge extra postage on deliveries to addresses outside of the UK.
Prices vary by country - Please contact us for further details.

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Melodiya - MELCD1002481

(CD - 56 discs)

Normally: $501.75

Special: $411.50

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JS Bach: Partitas Nos. 4 & 6

JS Bach: Partitas Nos. 4 & 6


Bach, J S:

Partita No. 4 in D major, BWV828

Cantata BWV147 'Herz und Mund und Tat und Leben': Jesu, bleibet meine Freude

Partita No. 6 in E minor, BWV830


Anton Batagov (piano)

Firma Melodiya presents a recording of J.S. Bach’s Partitas performed by Anton Batagov.

Johann Sebastian Bach and Anton Batagov. Who could ever think until recently that these names would cross? A promising pianist, prize-winner and Tatiana Nikolayeva’s alumni, he refused the anticipated career in his early youth and chose to continue with quite different music. The first performer of minimalist music in this country and a composer with a distinctive style, he resumed his “classical” performances not long ago. However, he refuses to keep a beaten path again.

As a principled antagonist of “authentism,” he plays any music in a poignantly contemporary fashion, sensing the breath of today in it. There might be something that creates an affinity between him and Glenn Gould, but the great Canadian pianist sensation and reading of Bach was totally different. Batagov hears Bach in a different way, drastically changing tempos, articulation and strokes as he repeats.

“Each note, each intonation, each chord of Bach’s music carries the truth next to which all the rest is inessential, therefore it sounds uncompromising and at times even merciless despite its blinding beauty. There is no path to light that wouldn’t run over Calvary,” he assumes.

His religious rendition of Bach’s partitas (he perceives No.4 as a Christmas mystery, and No.6 as a reflection of the Holy Passion) only naturally includes an arrangement of the chorale Jesus bleibet meine Freude played by the pianist between two cycles as a connecting link and dramatic core of the recording.

Anton Batagov recorded Bach’s music on the grand piano manufactured by Bösendorfer of Vienna (now a subsidiary of Yamaha) in a room of ZIL Culture Centre, a memorable location in Moscow where the necropolis of Simonov Monastery used to be.

“Batagov exploded the entire structure and texture of partitas, split them into atoms. After a ‘big bang,’ when the dance element disappears completely, a new universe is created in front of us, with Bach as its dome just the same.” – Radio Russia programme “Baroque Practice”

Recorded at Constructor Hall, ZiL cultural centre, Moscow, December 2016

Piano: Bösendorfer 225

Microphones: Elation km901

Recorded, mixed, edited and mastered by Anastasia Lukina

“More than any composer’s music, Bach’s can go at different speeds, as the Russian pianist Anton Batagov shows here in extreme form...Yet Batagov’s provocative approach brings out the audacity of Bach’s harmonies, and the sound and clarity of his playing, on a lovely Bösendorfer, are a delight.” Sunday Times, 10th September 2017

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Melodiya - MELCD1002500

(CD - 2 discs)

$21.00

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Under One Sun

Under One Sun


Billy Drewes (soprano saxophone), Michael Ward-Bergeman (accordion), Leo Blanco (piano), Roberto Occhipinti (double bass), Salar Nader (tabla), Ali Paris (qanun), Jamey Haddad (percussion), Luisito Quintero (percussion), Dominick Farinacci (trumpet), Jay Ashby (trombone), Olivia Pidi (trumpet), Wyeth Aleksei (trumpet), Lee Allen (trombone), Miguel Santos (tuba)

Hadra des Femmes de Taroudant

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Oberlin Music - OC17-04

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From Beethoven to Present - The Sound of the Horn

From Beethoven to Present - The Sound of the Horn


Beethoven:

Horn Sonata in F major, Op. 17

Schumann:

Adagio and Allegro in A flat major, Op. 70

Widmann, J:

Air for solo horn


Mischa Greull (horn), Seung-Yeun Huh (piano), Andreas Janke (violin)

Mischa Greul feels connected to the Horn Trio by Johannes Brahms in many ways. As a little boy, he used to be quite at home in the Brahmshaus, which was Brahms’s place of residence in Rüschlikon at Lake Zurich in the summer of 1874. During his childhood, it was where his grandparents lived, and their pride in living in such a historic house was passed on to him. Before becoming a member of the Zurich Tonhalle Orchestra, he lived in Baden-Baden where Brahms composed his Opus 40, which has become a constant part of Mischa Greul’s repertoire. Beethoven’s Opus 17 sonata for piano and horn could be interpreted as the dialogue of a married couple. Schumann‘s Adagio and Allegro Opus 70 is all about the fusion of sound. For many horn players it is considered a unique jewel of the horn repertoire. The Air for solo horn by Jörg Widmann is Greul’s latest discovery, according to the composer a “piece of nature about closeness and distance”.

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Solo Musica - SM268

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$16.00

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JS Bach & John Cage – Chorales

JS Bach & John Cage – Chorales


includes

Bach, J S:

Cello Suites Nos. 1-6, BWV1007-1012


Julius Berger (cello) & Immanuel Jun Berger (treble voice)

"Johann Sebastian Bach’s suites for cello solo are arguably the purest form of music, works that require no explanation or background knowledge. My colleague and friend, Prof. Peter Langgartner from the Mozarteum University of Salzburg pointed out to me that the Prelude of the first suite contains Luther’s chorale “Vom Himmel hoch, da komm’ ich her” (from Heaven above, from thence I come). I had always presumed so and was grateful for confirmation that the cello suites make allusions to chorales and religious messages. I have therefore found a musical way of opening a spiritual door to the suites and added chorales to Suites 1, 3, and 5 in the mould of sounds from John Cage’s work One 8, chorales that in my opinion are definitely consistent with messages conveyed in the suites. Cage said the purpose of music is “to cleanse the soul and bring it peace, thus making it amenable to divine influences”." - Julius Berger

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Solo Musica - SM270

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JS Bach; John Cage – Chorales - Vinyl Edition

JS Bach; John Cage – Chorales - Vinyl Edition


includes

Bach, J S:

Cello Suites Nos. 1-6, BWV1007-1012


Julius Berger (cello) & Immanuel Jun Berger (treble voice)

Johann Sebastian Bach’s suites for cello solo are arguably the purest form of music, works that require no explanation or background knowledge. My colleague and friend, Prof. Peter Langgartner from the Mozarteum University of Salzburg pointed out to me that the Prelude of the first suite contains Luther’s chorale “Vom Himmel hoch, da komm’ ich her” (from Heaven above, from thence I come). I had always presumed so and was grateful for confirmation that the cello suites make allusions to chorales and religious messages. I have therefore found a musical way of opening a spiritual door to the suites and added chorales to Suites 1, 3, and 5 in the mould of sounds from John Cage’s work One 8, chorales that in my opinion are definitely consistent with messages conveyed in the suites. Cage said the purpose of music is “to cleanse the soul and bring it peace, thus making it amenable to divine influences”.

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Solo Musica - SMLP271

(Vinyl - 3 discs)

$72.25

Usually despatched in 2 - 3 working days.

Queen Elisabeth Competition, Violin 1967: Gidon Kremer

Queen Elisabeth Competition, Violin 1967: Gidon Kremer


Gidon Kremer, Gidon Kremer and Marina Bondarenko, Gidon Kremer, Grand Orchestre Symphonique de la RTB and Daniel Sternefeld, Gidon Kremer, National Orchestra of Belgium and René Defossez

Grand Orchestre Symphonique de la RTB, National Orchestra of Belgium, Daniel Sternefeld, René Defossez

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MUSO - MU018D

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Queen Elisabeth Competition, Violin 1971: Edith Volckaert

Queen Elisabeth Competition, Violin 1971: Edith Volckaert


Edith Volckaert, Edith Volckaert, René Defossez and Grand Orchestre Symphonique de la RTB, Edith Volckaert (soloist), Edith Volckaert, Grand Orchestre Symphonique de la RTB and René Defossez, Edith Volckaert, Michael Gielen and National Orchestra of Belgium, Edith Volckaert, National Orchestra of Belgium and Michael Gielen

Grand Orchestre Symphonique de la RTB, National Orchestra of Belgium, René Defossez, Michael Gielen

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MUSO - MU019D

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