Beethoven: Symphony No. 6 in F major, Op. 68 'Pastoral'

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David Zinman conducts Beethoven

David Zinman conducts Beethoven


Beethoven:

Symphonies Nos. 1-9 (complete)

Ruth Ziesak (soprano), Birgit Remmert (contralto), Steve Davislim (tenor), Detlef Roth (bass)

The Creatures of Prometheus Overture, Op. 43

Egmont Overture, Op. 84

Coriolan Overture, Op. 62

Leonore Overture No. 1, Op. 138

The Ruins of Athens Overture, Op. 113

Leonore Overture No. 2, Op. 72a

Zur Namensfeier overture, Op. 115

Leonore Overture No. 3, Op. 72b

Fidelio Overture Op. 72c

König Stephan Overture, Op. 117

Consecration of the House Overture, Op. 124

Piano Concertos Nos. 1-5 (complete)

Yefim Bronfman (piano)

Triple Concerto for Piano, Violin, and Cello in C major, Op. 56

Yefim Bronfman (piano), Gil Shaham (violin), Truls Mork (cello)

Meeresstille und glückliche Fahrt, Op. 112

Violin Concerto in D major, Op. 61

Christian Tetzlaff (violin)

Romances Nos. 1 & 2 for violin and orchestra

Christian Tetzlaff (violin)

Fantasia for Piano, Chorus and Orchestra in C minor, Op. 80

Yefim Bronfman (piano)

Schweizer Kammerchor


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Sir Adrian Boult: From Bach to Wagner

Sir Adrian Boult: From Bach to Wagner


includes:

Bach, J S:

Brandenburg Concertos Nos. 1-6 BWV1046-1051 (complete)

Beethoven:

Symphony No. 6 in F major, Op. 68 'Pastoral'

The Ruins of Athens Overture, Op. 113

Brahms:

Symphonies Nos. 1-4 (Complete)

Variations on a theme by Haydn for orchestra, Op. 56a 'St Anthony Variations'

Tragic Overture, Op. 81

Academic Festival Overture, Op. 80

Mozart:

Symphony No. 41 in C major, K551 'Jupiter'

Symphony No. 35 in D major, K385 'Haffner'

Schubert:

Symphony No. 9 in C major, D944 'The Great'


Sir Adrian Boult was born on 8th April, 1889 in Chester and died on 22nd February 1983 in London and hence next year we mark 30 years since his passing. From an early age he was attending concerts, firstly in Liverpool, primarily with Hans Richter, and then in London, whilst a pupil at Westminster School, by Sir Henry Wood, Claude Debussy, Arthur Nikisch and Richard Strauss; he also met Elgar for whose music he was to do so much during his life. He started studying History at Christ Church, Oxford but changed to music graduating in 1912. Among musical friends at Oxford was Ralph Vaughan Williams with whose compositions he is much associated.

He spent a year studying in Leipzig where Arthur Nikisch had the greatest influence on him. He gained experience conducting for both the Royal Opera House, where he assisted in the first production there of Wagner’s Parsifal , and Serge Diaghilev’s ballet company. He was appointed conductor of the City of Birmingham Orchestra in 1924 and six years later the BBC made him director of music where he established the BBC Symphony Orchestra and became its chief conductor. During these years he introduced works by Bartók, Stravinsky and the Second Viennese School composers – Schönberg, Webern and Berg including his opera Wozzeck.

Forced to leave the BBC when he reached their retirement age, he became chief conductor of the LPO retiring in 1957. Although he worked with the other London Orchestras he was generally associated with them and this set of recordings bears this out. He became a champion of British music, giving numerous performances of Bliss, Britten, Delius, Tippett, Walton and Holst, whose Planets he had premiered, and the aforementioned Elgar and Vaughan Williams that he was primarily associated. His repertoire was wide from Baroque through to modern but it was the main period of Mozart to Brahms where he was pre-eminent. He continued conducting concerts and recordings until 1978.

“a fine collection of his late, ripe performances of mainstream classics, mostly with the LPO in the 1970s. A fascinating picture emerges of performance styles in transition: from Bach's Brandenburgs with jolly recorders to Wagner extracts full of fire and energy...but the pearl is Boult's unbeatably powerful and perfectly paced Schubert Ninth, thrilling and full-bodied.” The Observer, 7th October 2012

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Rudolf Kempe: The Genius of the Podium

Rudolf Kempe: The Genius of the Podium


Includes

Beethoven:

Symphony No. 1 in C major, Op. 21

Symphony No. 3 in E flat major, Op. 55 'Eroica'

Symphony No. 5 in C minor, Op. 67

Symphony No. 6 in F major, Op. 68 'Pastoral'

Brahms:

Symphony No. 3 in F major, Op. 90

Symphony No. 4 in E minor, Op. 98

Dvorak:

Symphony No. 9 in E minor, Op. 95 'From the New World'

Scherzo capriccioso, Op. 66

Humperdinck:

Hänsel & Gretel Overture

Hänsel & Gretel: Witch's Ride

Hansel und Gretel: Traumszene

Mascagni:

L'Amico Fritz: Intermezzo

Mendelssohn:

A Midsummer Night's Dream - incidental music, Op. 61

Offenbach:

Orphée aux Enfers Overture

Ponchielli:

La Gioconda (excerpts)

Rimsky Korsakov:

Scheherazade, Op. 35

Schubert:

Incidental music to Rosamunde, D797

Smetana:

The Bartered Bride Overture

The Bartered Bride: Three Dances (Polka, Furiant, Skocná - Dance of the Comedians)

Strauss, J, II:

Die Fledermaus Overture

Strauss, R:

Don Quixote, Op. 35

Tod und Verklärung, Op. 24

Salome: Dance of the Seven Veils

Till Eulenspiegels lustige Streiche, Op. 28

Ein Heldenleben, Op. 40

Kindskopf! Merkt auf, wir spielen mit in dem Stück (from Ariadne auf Naxos)

Sylvia Geszty (Zerbinetta), Teresa Zylis-Gara (Komponist)

An ihre Plätze, meine Damen und Herrn! (from Ariadne auf Naxos)

Theo Adam (Musiklehr)

Wagner:

Lohengrin: Preludes to Acts 1 & 3

Bridal Chorus 'Treulich geführt' (from Lohengrin)

In fernem Land (from Lohengrin)

Jess Thomas (Lohengrin)

Selig, wie die Sonne (from Die Meistersinger von Nürnberg)

Gerhard Unger (David), Elisabeth Grummer (Eva), Marga Hoffgen (Magdalene), Rudolf Schock (Walther), Ferdinand Frantz (Sachs)

Morgenlich leuchtend im rosigen Schein 'Prize Song' (from Die Meistersinger von Nürnberg)

Rudolf Schock (Walther)

Verachtet mir die Meister nicht (from Die Meistersinger von Nürnberg)

Ferdinand Frantz (Sachs)

Parsifal: Prelude to Act 1

Parsifal: Good Friday Music

Sankt Krispin, lobet ihn! (from Die Meistersinger von Nürnberg)

Heil! König Heinrich (from Lohengrin)

Morgenröte (from Lohengrin)

Was bringen die? Was tun sie kund? (from Lohengrin)

lhr tanzt? Was werden die Meister sagen? (from Die Meistersinger von Nürnberg)

Gerhard Unger (David)

Weinberger, J:

Schwanda the Bagpiper: Polka


The German conductor Rudolf Kempe (1910–1976) began his musical career playing the oboe in various symphony orchestras. He eventually graduated to being a conductor after working for several years as an operatic repetiteur. His modest manner on the podium belied his great authority in controlling an orchestra, and his warm but meticulously detailed interpretations of the main classical repertoire established him as one of the leading conductors of his time.

The programme begins with recordings of four Beethoven Symphonies that Kempe made with the Munich Philharmonic Orchestra in 1971–72 as part of a complete cycle that has been critically acclaimed, although it has not previously been widely available.

These are followed by Symphonies 3 and 4 by Brahms with the Berlin Philharmonic Orchestra and the Royal Philharmonic Orchestra respectively, two orchestras with which Kemper was closely associated throughout his career.

The next CD shows Kempe’s skill with descriptive ‘programme’ music in Mendelssohn’s delightful incidental music to Shakespeare’s ‘A Midsummer Night’s Dream’ and Rimsky-Korsakov’s colourful orchestral suite Scheherazade depicting a number of tales from the 1001 Arabian Nights.

Then comes music by three Bohemian composers: the opening of the famous ‘Largo’ from Dvorák’s ‘New World’ Symphony; the Polka from Schwanda the Bagpiper by Weinberger; and a suite from Smetana’s lively opera The Bartered Bride.

CDs 6 and 7 present several of the main orchestral works by Richard Strauss, including Don Juan., Ein Heldenleben, Till Eulenspiegel, Tod und Verklärung and Don Quixote, all except the last recorded with the Staatskapelle Dresden, an orchestra closely associated with the works of Richard Strauss.

CD 8 moves to the opera house and includes vocal extracts from Richard Strauss’s Ariadne auf Naxos and Wagner’s Lohengrin and Die Meistersinger von Nürnberg. The next CD covers orchestral pieces from opera, including a suite arranged by Kempe himself from Hansel und Gretel by Humperdinck

On CD 10 we find Kempe in lighter mood with the Vienna Philharmonic Orchestra in a programme of orchestral bon-bons that was called Vienna Philharmonic ‘On Holiday’ when it was originally released on LP. Tthe final CD covers some of the best loved music by the Strauss family. The very last track in the album is the waltz Gold und Silber by Franz Lehár, which Kempe considered the finest studio recording he ever made.

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Pierre Monteux with the Boston Symphony Orchestra

Pierre Monteux with the Boston Symphony Orchestra

10 stereo concerts from the 1958 & 1959 Seasons


Beethoven:

Grosse Fuge in B flat major, Op. 133

orch.Weingartner; 10th January 1958

The Creatures of Prometheus Overture, Op. 43

Recorded 9th August 1958

Violin Concerto in D major, Op. 61

Recorded 9th August 1958

Berl Senofsky (violin)

Leonore Overture No. 3, Op. 72b

Recorded 9th August 1958

Fidelio Overture Op. 72c

Recorded 8th August 1959

Symphony No. 6 in F major, Op. 68 'Pastoral'

Recorded 8th August 1959

Symphony No. 5 in C minor, Op. 67

Recorded 8th August 1959

Brahms:

Violin Concerto in D major, Op. 77

10th January 1958

Leonid Kogan (violin)

Academic Festival Overture, Op. 80

20th July 1958

Piano Concerto No. 1 in D minor, Op. 15

Recorded 20th July 1958

Leon Fleisher (piano)

Tragic Overture, Op. 81

Recorded 19th July 1959

Violin Concerto in D major, Op. 77

Recorded 24th July 1959

Isaac Stern (violin)

Chorale Preludes (11), Op. 122

arr. Thomson; recorded 24th July 1959

Debussy:

Le Martyre de Saint Sébastien - Fragments symphoniques

10th January 1958

Trois Nocturnes

Recorded 25th July 1958

Prélude à l'après-midi d'un faune

Recorded 19th July 1959

Glinka:

Ruslan & Lyudmila Overture

Recorded 25th July 1958

Hindemith:

Nobilissima Visione

Recorded 19th July 1959

Indy:

Symphonie sur un chant montagnard, Op. 25

Recorded 19th July 1959

Nicole Henriot-Schweitzer (piano)

Mendelssohn:

Symphony No. 4 in A major, Op. 90 'Italian'

Recorded 1st August 1959

Piano Concerto No. 1 in G minor, Op. 25

Recorded 1st August 1959

Rudolf Serkin (piano)

Milhaud:

Les Eumenides: Prelude to Act 3

Recorded 25th July 1958

Ravel:

La Valse

25th July 1958

Respighi:

Passacaglia in do minore di Giovanni Sebastiano Bach

Recorded 24th July 1959

Rimsky Korsakov:

Le Coq d'Or: Introduction & Cortège de noces

Recorded 19th July 1959

Schumann:

Manfred Overture, Op. 115

Recorded 1st August 1959

Introduction & Allegro appassionato in G major, Op. 92

Recorded 1st August 1959

Rudolf Serkin (piano)

Strauss, R:

Tod und Verklärung, Op. 24

10th January 1958

Don Juan, Op. 20

24th July 1959

Don Quixote, Op. 35

Recorded 23rd January 1959

Samuel Mayes (cello), Joseph de Pasquale (viola)

Stravinsky:

Three Movements from Petrushka

Recorded 20th July 1958

Tchaikovsky:

Symphony No. 4 in F minor, Op. 36

Recorded 25th July 1958

Symphony No. 5 in E minor, Op. 64

Recorded 19th July 1959

Wagner:

Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde): orchestral version

1st August 1959

Parsifal: Prelude to Act 1

Ich sah das Kind an seiner Mutter Brust (from Parsifal)

Margaret Harshaw (soprano)

Lohengrin: Prelude to Act 1

Einsam in trüben Tagen (from Lohengrin)

Margaret Harshaw (soprano)

Rienzi Overture

Der fliegende Holländer: Overture

Johohoe! Traft ihr das Schiff im Meere an 'Senta's Ballad' (from Der fliegende Holländer)

Margaret Harshaw (soprano)

Siegfried: Waldweben

Dich, teure Halle (from Tannhauser)

Margaret Harshaw (soprano)

Die Walküre: Ride of the Valkyries

Recorded 3rd August 1958


These are never-before-released Monteux live performances in state of the art digital restorations. The set includes works by Beethoven, Brahms, Glinka, Hindemith, Mendelssohn, Milhaud, Schumann, R. Strauss of which there are no studio recordings with Monteux. Soloists include Stern and Serkin.

West Hill Radio Archive - WHRA6034

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The Complete Beethoven Symphonies, Concertos & Overtures

The Complete Beethoven Symphonies, Concertos & Overtures


includes

Beethoven:

Romances Nos. 1 & 2 for violin and orchestra

Fantasia for Piano, Chorus and Orchestra in C minor, Op. 80

Violin Concerto in D major, Op. 61

Triple Concerto for Piano, Violin, and Cello in C major, Op. 56

Piano Concertos Nos. 1-5 (complete)

Symphonies Nos. 1-9 (complete)


Triumphing over deafness and turbulent political times, Ludwig van Beethoven singlehandedly changed the course of music history, laying down the foundations for the Romantic era. His nine symphonies grew out of the forms established in the time of Mozart and Haydn, but show a remarkable evolution which embraces heroic grandeur in the Third Symphony, patriotism and innovation in the Fifth Symphony, countryside imagery and narrative in the Sixth Symphony, and choral inspiration in the Ninth Symphony, the ‘Ode to Joy’ from which has become the Anthem for Europe.

Even Beethoven couldn’t entirely escape the influence of Mozart, and this lineage can be traced in the melodic grace to be found in the symphonies as well as the concertos. Imposing in their stature, the five Piano Concertos are filled with lively inventiveness as well as some of the most beautiful music ever to emerge from this genre. Beethoven’s single work in the popular symphonie concertante form is the ‘Triple’ Concerto, but it is the distinctive nobility of the Violin Concerto which has seen it gain an unassailable position as one of the greatest works in the repertoire.

Beethoven considered music ‘a higher revelation than all wisdom and philosophy’, with greatness of conception and painstaking craftsmanship his hallmarks. The Overtures are no exception in this, reflecting the drama and excitement of the theatre and including the opening of his only opera Fidelio.

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Edition Wilhelm Furtwängler - Complete Rias Recordings

Edition Wilhelm Furtwängler - Complete Rias Recordings

live recordings from 1947 to 1954


 

Werner Egk and his students interviewing W. Furtwängler

Bach, J S:

Orchestral Suite No. 3 in D major, BWV1068

Beethoven:

Symphony No. 6 in F major, Op. 68 'Pastoral'

Symphony No. 5 in C minor, Op. 67

Violin Concerto in D major, Op. 61

Yehudi Menuhin (violin)

Symphony No. 3 in E flat major, Op. 55 'Eroica'

Symphony No. 3 in E flat major, Op. 55 'Eroica'

Symphony No. 6 in F major, Op. 68 'Pastoral'

Symphony No. 5 in C minor, Op. 67

Blacher:

Concertante Musik, Op. 10

Brahms:

Symphony No. 4 in E minor, Op. 98

Symphony No. 3 in F major, Op. 90

Variations on a theme by Haydn for orchestra, Op. 56a 'St Anthony Variations'

Symphony No. 3 in F major, Op. 90

Bruckner:

Symphony No. 8 in C minor

2nd Version 1890, Edition Robert Haas

Fortner:

Concerto for violin & Large Chamber Orchestra

Gerhard Taschner (violin)

Gluck:

Alceste: Overture

Handel:

Concerto grosso, Op. 6 No. 10 in D minor, HWV328

Concerto grosso, Op. 6 No. 5 in D major, HWV323

Hindemith:

Concerto for Orchestra, Op. 38

Symphony 'Die Harmonie der Welt'

Mendelssohn:

A Midsummer Night's Dream Overture, Op. 21

Schubert:

Symphony No. 8 in B minor, D759 'Unfinished'

Rosamunde, D797: Overture

Symphony No. 8 in B minor, D759 'Unfinished'

Symphony No. 9 in C major, D944 'The Great'

Schumann:

Manfred Overture, Op. 115

Strauss, R:

Don Juan, Op. 20

Wagner:

Die Meistersinger von Nürnberg: Overture

Tristan und Isolde: Prelude & Liebestod

Götterdämmerung: Siegfried's Funeral March

Götterdämmerung: finale

Weber:

Der Freischütz Overture


The production presents the complete RIAS recordings with Wilhelm Furtwängler from 1947 to 1954 and is accompanied by a complimentary CD with previously unreleased live recordings of Furtwängler speaking about music interpretation. The majority of the concerts given by Wilhelm Furtwängler and the Berlin Philharmonic between 1947 and 1954 were recorded by the RIAS Berlin; all of these recordings are documented in this boxed set. The original tapes from the RIAS archives have been made available for the first time for this edition so these CDs also offer unsurpassed technical quality. Furthermore, some of the recordings are presented for the very first time, such as the Fortner Violin Concerto with Gerhard Taschner. These RIAS recordings are documents of historical value: they contain a major part of Furtwängler's late oeuvre as a conductor, which was characterised by a high level of focus in different respects. Focus on repertoire which has at its core the symphonic works of Beethoven, Brahms and Bruckner and is supplemented by works by Bach and Handel and also by topical composers of the time, including Hindemith, Blacher and Fortner: artists who were counted amongst the members of "moderate modernism" and who were not perceived to have been tainted by the cultural politics of the National Socialists. Focus was also a guiding principle in Furtwängler's concert programmes which always feature a particular idea. His interpretations also demonstrate extremely high levels of focus: concentration and focus for him meant a contemporary decoding, a re-creation, which would express the fundamental content of a work. A number of works - the Third, Fifth and Sixth Symphonies by Ludwig van Beethoven as well as Johannes Brahms' Third Symphony - are included in two interpretations.They reveal how Furtwängler was able to accentuate different aspects of a work whilst maintaining the same, clear basic conception - and how the actual interpretation depended on the context of the particular programme. The production is part of our series 'Legendary Recordings' and bears the sticker '1st Master Release'.This term stands for the excellent quality of archival productions at audite. All historical publications at audite are based, without exception, on original tapes from broadcasting archives. In general these are the original analogue tapes, which attain an astonishingly high quality, even measured by today's standards, with their tape speed of up to 76 cm/sec.The remastering - professionally competent and sensitively applied - also uncovers previously hidden details of the interpretations.Thus, a sound of superior quality results. CD publications based on private recordings from broadcasts or old shellac records cannot be compared with these.

“It is quite something to follow the trajectory of such an interpretive genius.” Louis Lortie, BBC Music Magazine, June 2013

Audite - AUDITE21403

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$66.25

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The Mravinsky Edition

The Mravinsky Edition


 

Evgeny Mravinsky tells stories about nature and talks about his life

Beethoven:

Symphony No. 1 in C major, Op. 21

Symphony No. 3 in E flat major, Op. 55 'Eroica'

Symphony No. 5 in C minor, Op. 67

Symphony No. 7 in A major, Op. 92

Symphony No. 6 in F major, Op. 68 'Pastoral'

Glazunov:

Raymonda Suite, Op. 57a

Glinka:

Ruslan & Lyudmila Overture

Mozart:

Symphony No. 33 in B flat major, K319

Symphony No. 39 in E flat major, K543

Mussorgsky:

Khovanshchina: Dawn on the Moscow River

Shostakovich:

Symphony No. 5 in D minor, Op. 47

Symphony No. 10 in E minor, Op. 93

Symphony No. 12 in D minor, Op. 112 'The Year 1917'

Tchaikovsky:

Symphony No. 5 in E minor, Op. 64

Symphony No. 6 in B minor, Op. 74 'Pathétique'

Francesca da Rimini, Op. 32

Wagner:

Götterdämmerung: Siegfried's Funeral March

Tristan und Isolde: Prelude & Liebestod

Die Walküre: Ride of the Valkyries

Tannhäuser: Overture

Lohengrin: Preludes to Acts I & 2

Die Meistersinger von Nürnberg: Overture


“Any view of Shostakovich is seriously incomplete without knowledge of Mravinsky's recordings. It was he who premiered Symphonies Nos. 5, 6, 8, 9 and 10 and although relations between composer and conductor cooled markedly in later years, for reasons not fully explained, the authority of the performances is undiminished…” Gramophone Magazine

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Rafael Kubelik: The Complete HMV Recordings

Rafael Kubelik: The Complete HMV Recordings


Bartók:

Two Portraits Op. 5

Concerto for Orchestra, BB 123, Sz.116

Beethoven:

Symphony No. 6 in F major, Op. 68 'Pastoral'

Berlioz:

La Damnation de Faust, Op. 24 (excerpts)

Borodin:

Prince Igor: Polovtsian Dances

Symphony No. 2 in B minor

Brahms:

Hungarian Dances

Dvorak:

Symphony No. 7 in D minor, Op. 70

Symphony No. 8 in G major, Op. 88

Scherzo capriccioso, Op. 66

Slavonic Rhapsody, Op. 45 No. 3

Gluck:

Iphigénie en Aulide: Overture

Janacek:

Sinfonietta

Taras Bulba

Martinu:

Les Fresques de Piero della Francesca, H. 352

Double Concerto for Strings, Piano & Timpani

Mendelssohn:

A Midsummer Night's Dream, Op. 61 (excerpts)

Calm Sea and Prosperous Voyage, Op. 27

Mozart:

Symphony No. 35 in D major, K385 'Haffner'

Serenade No. 13 in G major, K525 'Eine kleine Nachtmusik'

Cassation K63

Symphony No. 36 in C major, K425 'Linz'

Symphony No. 38 in D major, K504 'Prague'

Symphony No. 41 in C major, K551 'Jupiter'

Nielsen:

Symphony No. 5, Op. 50 (FS97)

Schubert:

Symphony No. 4 in C minor, D417 'Tragic'

Symphony No. 8 in B minor, D759 'Unfinished'

Symphony No. 9 in C major, D944 'The Great'

Symphony No. 3 in D major, D200

Smetana:

The Bartered Bride (highlights)

Má Vlast: excerpts

Tchaikovsky:

Symphony No. 4 in F minor, Op. 36

Symphony No. 5 in E minor, Op. 64

Symphony No. 6 in B minor, Op. 74 'Pathétique'

and Dvorak and Mozart overtures


Kubelík’s Czech identity is powerfully asserted with works by Smetana (including movements from Má vlast), Dvořák, Janáček and Martinů, but the box also includes Austro-German repertoire (Mozart, Beethoven Schubert, Mendelssohn, Brahms), Russian composers (Tchaikovsky, Borodin) and music by Bartók and Nielsen. Kubelík’s recordings for EMI, now Warner Classics, have been by far less exploited and reissued than his recordings for DGG, and numerous recordings, including early pre-war rare performanced with the Czech Philharmonic find here there first release on CD:

Smetana: Má vlast - Czech Philharmonic Orchestra - 1937

Dvořák: Carnival Ov., In Nature’s Realm, Othello - Czech Philharmonic Orchestra - 1946

Mendelssohn: Meeresstille und gluckliche Fahrt - Philharmonia Orchestra - 1949

Mozart: Overtures - Philharmonia Orchestra - 1951-1952

Gluck: Iphigenia in Aulis – Overture - Philharmonia Orchestra - 1952

Mendelssohn: A Midsummer Night’s Dream - Philharmonia Orchestra -1952

Bartók: Two Portraits, Op.5 - Royal Philharmonic Orchestra - 1958

Dvořák: Scherzo Capriccioso - Royal Philharmonic Orchestra - 1958

Borodin: Prince Igor - Polovstian Dances - Wiener Philharmoniker – 1960

The Czech conductor Rafael Kubelík was born in 1914, the son of the celebrated violinist Jan Kubelík. He studied at the Prague Conservatory and made his debut conducting the Czech Philharmonic at the age of 19 in 1934. Kubelík conducted a broad repertory, and championed many modern works over a career of nearly five decades. His performances of Czech works, such as Smetana's patriotic Má vlast , are considered especially authoritative. Kubelík made his first recordings for EMI while on tour to England in 1937 with the Czech Philharmonic; these were two movements from Smetana’s Má vlast. From 1942 to 1948 Kubelík was Music Director of the Czech Philharmonic, and in 1945 conducted Má vlast to celebrate the liberation of Prague from Nazi occupation. In 1948, the year the Communist Party took power in Czechoslovakia, Walter Legge of EMI invited him to record with the Philharmonia in London and Kubelík took this as an opportunity to defect to the West. “I am an anti-communist and an anti-fascist’, said Kubelík. ‘I do not think that artistic freedom can cope with a totalitarian regime.”. Despite invitations over the years from the regime in communist Czechoslovakia, Kubelík did not conduct again in his homeland until 1990, when – following the Czech ‘Velvet Revolution’ led by Vaclav Havel – he led Má vlast ' at the opening of the Prague Spring Festival. This was the only time Kubelík conducted in public after 1985, when he retired as a result of ill health. Over his international career, Kubelík held the position of Music Director for relatively brief and sometimes controversial periods with the Chicago Symphony Orchestra (1950-53), the Royal Opera House, Covent Garden (1955-58) and the Metropolitan Opera, New York (1971-74). By contrast, he spent nearly 20 years as Music Director of the Bavarian Radio Symphony Orchestra in the 1960s and 70s.

“A conductor renowned for his eloquent, deeply personalised interpretations ... His performances were considered highlights of the concert seasons by those who prized a warm, probing, grandly scaled style of music-making that was quickly being eclipsed by a more streamlined modern approach.” New York Times (obituary)

“One of the great re-creative musicians of the post-war era – a composer nourished by the masters he conducted, and a conductor fired by the urge to compose.” Gramophone

“Both performances confirm Kubelík as among the most sympathetic of Tchaikovsky conductors, a genuine listener who relates what he hears, not what he wants to confess through the music.” Gramophone

“There is much [in this set] that is splendid - it could hardly be otherwise given that, at his best, Kubelik was such an intelligent and exciting conductor…this generously filled set should find its way quicky into any Kubelik collection.” International Record Review, March 2015

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Herbert von Karajan: Beethoven

Herbert von Karajan: Beethoven


Beethoven:

Symphonies Nos. 1-9 (complete)

1982–84

Janet Perry, Agnes Baltsa, Vinson Cole, José van Dam

Wiener Singverein

Leonore Overture No. 1, Op. 138

Leonore Overture No. 2, Op. 72a

Leonore Overture No. 3, Op. 72b

Fidelio Overture Op. 72c

The Creatures of Prometheus Overture, Op. 43

König Stephan Overture, Op. 117

The Ruins of Athens Overture, Op. 113

Egmont Overture, Op. 84

Coriolan Overture, Op. 62

Zur Namensfeier overture, Op. 115

Consecration of the House Overture, Op. 124

Grosse Fuge in B flat major, Op. 133

arranged for orchestra

Egmont Incidental Music, Op. 84

Wellington's Victory, Op. 91 (Battle Symphony)

Musik zu einem Ritterballett, WoO 1

Gratulations-Menuett WoO 3

March for Military Music in F major WoO 18 "York March"

Berlin Philharmonic Wind Ensemble

Piano Concerto No. 1 in C Major, Op. 15

Christoph Eschenbach (piano)

Piano Concerto No. 2 in B flat major, Op. 19

Alexis Weissenberg (piano)

Piano Concerto No. 3 in C minor, Op. 37

Alexis Weissenberg (piano)

Piano Concerto No. 4 in G major, Op. 58

Alexis Weissenberg (piano)

Piano Concerto No. 5 in E flat major, Op. 73 'Emperor'

Alexis Weissenberg (piano)

Violin Concerto in D major, Op. 61

Anne-Sophie Mutter (violin)

Triple Concerto for Piano, Violin, and Cello in C major, Op. 56

Anne-Sophie Mutter (violin), Yo Yo Ma (cello) & Mark Zeltser (piano)

Missa Solemnis in D major, Op. 123

Lella Cuberli, Trudeliese Schmidt, Vinson Cole, José van Dam, Leon Spierer

Wiener Singverein


A legend in his lifetime for his interpretations of Beethoven, Herbert von Karajan recorded a large swathe of the composer’s oeuvre. On this specially priced 13-CD box set Karajan's complete Beethoven repertoire recorded by Deutsche Grammophon is presented for the first time – comprising his final, digital recordings of the Symphonies, the Piano Concertos (with Christoph Eschenbach and Alexis Weissenberg, nos. 2 - 5 specially licensed), Violin Concerto (Anne-Sophie Mutter) and Triple Concerto (with Mutter, Yo Yo Ma and Mark Zeltser), the Missa Solemnis, Overtures, Egmont Music, Wellington’s Victory, and a host of rarities, including the Grosse Fuge (arranged for orchestra), restored to the catalogue.

The packaging of this set is a capbox with 36-page booklet with new essay by Karajan biographer Richard Osborne.

To realise this set, Alexis Weissenberg’s recordings of the Piano Concertos nos. 2 – 5 have been licensed from EMI.

DG - 4779830

(CD - 13 discs)

$49.75

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Klaus Tennstedt: The Great EMI Recordings

Klaus Tennstedt: The Great EMI Recordings


Beethoven:

Symphony No. 3 in E flat major, Op. 55 'Eroica'

The Creatures of Prometheus Overture, Op. 43

Coriolan Overture, Op. 62

Egmont Overture, Op. 84

Symphony No. 6 in F major, Op. 68 'Pastoral'

Symphony No. 8 in F major, Op. 93

Fidelio Overture Op. 72c

Leonore Overture No. 3, Op. 72b

Brahms:

Symphony No. 1 in C minor, Op. 68

Ein Deutsches Requiem, Op. 45

Schicksalslied, Op. 54

Bruckner:

Symphony No. 4 in Eb Major 'Romantic'

Dvorak:

Symphony No. 9 in E minor, Op. 95 'From the New World'

Kodály:

Háry János, Op. 15

Mahler:

Symphony No. 1 in D major 'Titan'

Mendelssohn:

Symphony No. 4 in A major, Op. 90 'Italian'

Mussorgsky:

A Night on the Bare Mountain

Prokofiev:

Lieutenant Kijé Suite, Op. 60

Schubert:

Symphony No. 9 in C major, D944 'The Great'

Schumann:

Symphony No. 3 in E flat major, Op. 97 'Rhenish'

Symphony No. 4 in D minor, Op. 120

Konzertstück for four horns, Op. 86

Strauss, R:

Also sprach Zarathustra, Op. 30

Don Juan, Op. 20

Tod und Verklärung, Op. 24

Wagner:

Die Walküre: Ride of the Valkyries

Götterdämmerung: Siegfried's Rhine Journey

Götterdämmerung: Siegfried's Death & Funeral March

Das Rheingold: Entrance of the Gods into Valhalla

Siegfried: Waldweben

Leb wohl, du kühnes, herrliches Kind! (from Die Walküre)

Tannhäuser: Overture

Rienzi Overture

Lohengrin: Preludes to Acts 1 & 3

Die Meistersinger von Nürnberg: Overture


Klaus Tennstedt was born on 6th June 1926 in Merseburg a small Saxon town between Leipzig and Halle. He was a highly talented violinist and followed his father into the Halle Opera orchestra of which he was made leader whilst still in his teens. He also studied in Dresden and as a member of the fire brigade was detailed to dig bodies out of the rubble after the city was blitzed in 1944. A solo career awaited him but a growth on his left hand brutally cut this short at the age of 19 but, after months of depression, he emerged as the opera’s repetiteur. He naturally watched conductors but was not given an opportunity to try until, at an hour’s notice, he took over a performance.

The experience galvanised him to seek this path as a career but his refusal to join the Communist Party ensured that he was limited to poorer opera houses. In his mid-30’s he went to Berlin seeking a chance to defect, but it was not until March 1971, aged 44, when he was allowed to conduct in Gothenburg. The freedom in the West did not give him many major opportunities either; however the offer of the musical directorship of the Kiel Opera was offered and accepted. A manager from the Toronto Symphony Orchestra heard him and duly invited him to Canada.

A chance stand-in engagement in Boston conducting Bruckner’s Eighth Symphony was met with such ecstatic reviews and audience enthusiasm that he was offered dates with the finest orchestras. He was 48 and after his years spent in provincial theatres this sudden fame and fortune must have been overwhelming for such a sensitive man. Luckily for the musical world he then discovered the composer whose music would make his career; a composer who like himself, suffered from self-doubt: Gustav Mahler. He had had no chance to hear any of his music during his student years as it had been banned by the Nazis.

He was uniquely able to identify with Mahler’s life-and-death struggles and the shear intensity that he brought to the performances made them unforgettable. It could be argued that his concerts provided the stimulus for the major record companies to change their policy of recording exclusively in the studio to one of taping live and relying on careful editing to remove any blemishes.

His repertoire was far from limited to Mahler – the romantics from Beethoven to Richard Strauss all received thoroughly detailed and considered readings.

He was popular too with soloists – his experience as a repetiteur and soloist gave him an unique understanding of what they needed in an accompanist.

Everything seemed to be set fair but the angst that he would, like Mahler, die prematurely proved correct for in his 60th year throat cancer struck. Initially he was able to continue conducting if at a reduced pace, but gradually the disease took its awful toll. His final engagement was in Oxford where he rehearsed the University orchestra before receiving an honorary doctorate in June 1994.

It is highly appropriate that Klaus Tennstedt’s career should be reassessed in 2011 as it is the year that not only marks the centenary of Mahler’s death but also what would have been the year of Tennstedt’s 85th birthday.

Up to 50% off EMI and Warner Boxes

EMI - 0944332

(CD - 14 discs)

Normally: $46.00

Special: $29.90

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