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Klára Würtz (piano)
Natioal Symphony Orchestra of the Ukraine, Nordwestdeutsche Philharmonie, Vladimir Sirenko, Arie van Beek
Piano Concerto in A minor, Op. 54
Ingrid Haebler (piano)
Royal Concertgebouw Orchestra, Eliahu Inbal
Cello Concerto in A minor, Op. 129
Lynn Harrell (cello)
Cleveland Orchestra, Neville Marriner
Konzertstück for four horns, Op. 86
Dale Clevenger, Richard Oldberg, Thomas Howell, Norman Schweikert (horns)
Chicago Symphony Orchestra, Daniel Barenboim
Introduction & Allegro appassionato in G major, Op. 92
Vladimir Ashkenazy (piano & conductor)
London Symphony Orchestra
Introduction and Allegro Op. 134
Vladimir Ashkenazy (piano)
London Symphony Orchestra, Uri Segal
Violin Concerto in D minor, WoO 23
Joshua Bell (violin)
Cleveland Orchestra, Christoph von Dohnanyi
Overture, Scherzo, and Finale, Op. 52
Wiener Philharmoniker, Sir Georg Solti
A unique collection, bringing together Schumann's Concertos and concertante works, including the first international release of Ingrid Haebler's recording of the Piano Concerto and Barenboim's of the Konzertstuck for Four Horns. The unjustly neglected Concert Pieces, Opp. 92 and 134 are given glorious readings by Ashkenazy, and both the Cello and Violin Concertos receive admirable performances from Lynn Harrell and Joshua Bell, respectively.
“Every orchestral thread gleams ...the cellist's most confidential whisper (and there are many) is never lost. (Cello Concerto)” Gramophone Magazine
“unlikely to be surpassed for a long time. (Violin Concerto)” Gramophone Magazine
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Martha Argerich in Montreal
Video Artists International takes great pride in the home video release of a very special concert by Martha Argerich, a legend among living pianists. In 1976, Miss Argerich was in the studios of the CBC Montreal network where she performed the Schumann Piano Concerto, Liszt’s Funérailles and Ravel’s Jeux d’eau.
The concerto receives a patrician performance with all the tonal beauty one would expect from this remarkable artist. The Ravel also benefits from her gorgeous tonal palette and evenness of touch. It is in the Liszt that one experiences the staggering virtuosity that is the other element of Argerich’s art. The left-hand octave passages in Funérailles are played with such awesome speed that the video cameras could barely capture the movement of the hand. As exhilarating to watch as to hear, Argerich on television is a major addition to the recorded work of one of the foremost talents of our day.
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Lars Sellergren plays Brahms, Franck, Beethoven and Schumann
Lars Sellergren became known after many years as the leading Swedish pianist in the Swedish Radio. And he certainly was versatile. He has an enormous amount of repertoare. This is the first volume in the series. It contains famous works, like the first Brahms concerto with Sixten Ehrling as conductor (performance highly praised by Ehrling and first class performances of the Schumann, concerto and the Franck, Symphonic Variations. His rendering of the Schumann concerto belongs to the legato school with more emphasis on detail than on exuberance.
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Schumann: Piano Concerto and Brahms: Violin Concerto
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Schumann & Grieg: Piano Concertos
This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.
Schumann: Piano Concerto etc.
Rafael Kubelik: Dvorak, Haydn, Mendelssohn, Schumann
Rafael Kubelík’s reputation as one of the most significant conductors of the 20th century rests not just on his work with the great orchestras of Berlin, Chicago or Munich (the latter of which are represented on Orfeo) but also of recordings he made with Cologne Radio Symphony Orchestra (today the WDR Symphony Orchestra Cologne). The earliest of the WDR archive recordings published here is of Dvorák’s Piano Concerto: a work that he performed at the first Prague Spring Festival in 1946, with the same soloist as on this recording, Rudolf Firkušný. The passionate lyricism of Firkušný’s playing and the intensity of the orchestral accompaniment under Kubelík achieve such mastery that these two artists are regarded as exemplary to this day in thsi work. The same is true of Kubelík’s interpretations of Robert Schumann which are considered definitive. Kubelík’s masterly sense of structure is also apparent in his recordings of Mendelssohn, a composer with whom Kubelík is seldom associated, though these performances lack for nothing in their flexibility of tempi and dynamics. And to close with, Orfeo offer recordings of two of Haydn’s London Symphonies: No. 101 'The Clock' and No. 102. Questions of authentic performance practice recede when one hears Kubelík perform Haydn with such playfulness, such verve in the fast movements and such unsentimental composure in the slow movements. Like all the other treasures offered here from the WDR archives, they cast new light on the work of this conductor whose 100th birthday was on 29 June 2014.
“Every one of these performances is marked by Kubelik’s direct but sensitive approach to music-making and there’s a great deal to enjoy here … The interesting notes by Rob Cowan are full of infectious enthusiasm as well as plenty of information.” International Record Review, December 2014
“The orchestra’s sonority remains warm throughout the various choirs, but there’s no lack of momentum when required…The re-mastering has been accomplished most sympathetically, and Orfeo’s latest release to celebrate Kubelík’s art can itself be very warmly commended.” MusicWeb International, December 2014
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