Elgar: The Dream of Gerontius, Op. 38

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Elgar: The Dream of Gerontius & Cello Concerto

Elgar: The Dream of Gerontius & Cello Concerto


Elgar:

The Dream of Gerontius, Op. 38

Mark Tucker (tenor), Lilli Paasikivi (mezzo-soprano) & David Wilson-Johnson (bass baritone)

Sydney Philharmonia Choirs & TSO Chorus

Cello Concerto in E minor, Op. 85

Jian Wang (cello)


Sydney Symphony, Vladimir Ashkenazy

Vladimir Ashkenazy directs a stirring performance of two of Elgar’s mightiest works. The Dream of Gerontius is regarded by many as Elgar’s masterpiece. Elgar himself wrote at the end of the manuscript “This is the best of me…” Jian Wang is the soloist in the composer’s final orchestral masterwork, the Cello Concerto.

“Ashkenazy conducts with heaps of spirit, tingling drama and red-blooded commitment to the cause, and he draws an unstintingly fresh and laudably disciplined response from his massed cohorts...The coupling...has to be one of the most communicative accounts of Elgar's masterpiece to have come my way in recent years.” Gramophone Magazine, May 2012

“The chorus are well trained and disciplined although they are not as crisp or characterful as some...Worth hearing for a magnificent Angel but thereafter only fitfully engaging.” MusicWeb International, June 2012

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Elgar’s Interpreters on Record - Volume 6

Elgar’s Interpreters on Record - Volume 6


Elgar:

The Dream of Gerontius, Op. 38

Sung in German


Julius Patzak (tenor), Ira Malaniuk (mezzo-soprano) & Ludwig Welter (bass)

Chorus and Orchestra of Austrian Radio, Hans Swarowsky

The Elgar Society is proud to release this first commercial recording of The Dream of Gerontius performed in German. Licensed from Austrian Radio (ORF), the recording was made in Vienna in January 1960.

The Elgar Society formed in 1951 and The Dream of Gerontius is the 29th issue. In 2007 the Society worked in conjunction with the London Philharmonic Orchestra to produce a box set of Elgar’s recordings in order to commemorate the 150th anniversary of Elgar’s birth.

This release has its roots in the first (disastrous) performance of Gerontius in October 1900. Julius Buths, the music director of the Lower Rhine Festival, was present and despite the work’s lacklustre reception he saw potential. Buths set about translating the text into German for a performance he wanted to conduct in December 1901. By May 1902 Gerontius was being toasted by Richard Strauss prompting Elgar to write to Novello, his publisher, with excitement and enthusiasm: ‘It was worth some years of anguish-now I trust over- to hear him call me Meister!’

Elgar owed much to Germany and the German speaking world for, as journalist and music critic Michael Kennedy points out in his notes in the booklet accompanying this release, ‘Elgar would be delighted by the existence of this performance. Until 1914 his reputation in Germany was as high or even higher than in his own country’.

Of the soloists on this recording, tenor Julius Patzak will attract the most attention. In 1931 Patzak married the grandaughter of the famous operatic singer Gustav Walter. This assisted with launching the ‘amateur’ Patzak and he sang with the Vienna Staatsoper from 1945 until his retirement in 1960. Patzak was in great demand as a soloist in oratorios and as a leider singer, with the ORF being one of the last recordings to capture his voice. He died in Bavaria in January 1974 at the age of 75.

It is hoped that this release will stimulate renewed interest in The Dream of Gerontius, particularly in the German speaking world.

Booklet notes and full sung text are included in German and English.

Informed annotations penned by music critic Michael Kennedy.

“The performance manifests absolute belief in the work by all concerned: the great Julius Patzak (then 62), the mezzo Ira Malaniuk, Ludwig Welter (superb as the Angel of the Agony), chorus, orchestra and the conductor, Hans Swarowsky, whose grasp of the score is complete.” Sunday Times, 10th August 2008 ****

“Elgar in German has a distinguished history: here's a great Gerontius. In 1960 Julius Patzak was 62 and nearing the end of his honoured career. The qualities that made him a great Florestan are still there to make him a great Gerontius. …the chorus… shines... Hans Swarowsky conducts with feeling and authority...” Gramophone Magazine, October 2008

“[Malaniuk] is very convincing as The Angel. Her tone is rich and full and she sings the part with fine expression and understanding....[Welter] has a fine, authoritative voice and he brings no little presence to both roles...[Swarowsky] seems to me to have the full measure of this score and an understanding of it.” MusicWeb International, 14th May 2014

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Elgar - The Dream of Gerontius

Elgar - The Dream of Gerontius


Berlioz:

Symphonie fantastique, Op. 14

live 2nd January 1947

The Halle Orchestra

Elgar:

The Dream of Gerontius, Op. 38

recorded 20th November 1957

Jon Vickers, Constance Shacklock & Marian Nowakowski

RAI Orchestra


“Vickers doesn't disappoint, singing with an intensity and a care for the sound and sense of every word that are well nigh ideal. As the Angel, Constance Shacklock, gravely beautiful if occasionally too grand, is first-class, too. The drama Barbirolli brings to the work is recognisable from his later studio account, but here the live sound is at best adequate and at worse unacceptable, with a microphone placed so close to the conductor that at times he seems to be duetting with Vickers. The orchestra and chorus do their best, which isn't quite good enough; it's Vickers who makes this a must-have.” The Guardian, 23rd May 2008 ***

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Elgar: The Dream of Gerontius

Elgar: The Dream of Gerontius


Elgar:

The Dream of Gerontius, Op. 38

Severn Suite, Op. 87


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Elgar: The Dream of Gerontius & Parry: Blest Pair of Sirens & I was glad

Elgar: The Dream of Gerontius & Parry: Blest Pair of Sirens & I was glad


Elgar:

The Dream of Gerontius, Op. 38

Parry:

Blest Pair of Sirens

I Was Glad


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Elgar: The Dream of Gerontius, Op. 38

Elgar: The Dream of Gerontius, Op. 38


Matthew Best (bass), Sarah Fryer (mezzo soprano), William Kendall (tenor)

Bournemouth Symphony Chorus, Waynflete Singers Choir, Bournemouth Symphony Orchestra, David Hill

Naxos - 8553885-86

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Barbirolli in New York: The 1959 Concerts

Barbirolli in New York: The 1959 Concerts


Barbirolli:

An Elizabethan Suite

Recorded 10th January, 1959

Brahms:

Violin Concerto in D major, Op. 77

Recorded 18th January, 1959

Berl Senofsky (violin)

Elgar:

The Dream of Gerontius, Op. 38

Recorded 25th January, 1959

Richard Lewis (tenor), Maureen Forrester (contralto), Morley Meredith (baritone)

Westminster Choir

Introduction & Allegro for strings, Op. 47

Recorded 3rd January, 1959

William Lincer (viola), John Corigliano & Leopold Rybb (violin) & Laszlo Varga (cello)

Haydn:

Symphony No. 88 in G major

Recorded 10th January, 1959

Holst:

The Planets: Mars

The Planets: Mercury

The Planets: Uranus

The Planets: Jupiter

Recorded 18th January, 1959

Mahler:

Symphony No. 1 in D major 'Titan'

Recorded 10th January, 1959

Vaughan Williams:

Symphony No. 8 in D minor

Recorded 3rd January, 1959


Barbirolli conducted the New York Philharmonic from 1936 to 1943 and returned to New York in 1959 to conduct the orchestra in a series of concerts featuring English repertoire rarely heard by Americans. Here are the best performances of Sir John’s visit, previously unissued, in state-of-the-art digital restorations. Includes “Dream of Gerontius” with Richard Lewis, a very fine Gerontius.

“[Gerontius] anticipates the superlative studio recording Barbirolli and Lewis made together with Janet Baker five years later, though Maureen Forrester is a more than capable Angel here and the baritone, Morley Meredith, is arguably superior to his later equivalent...The mono sound is patchy but just about serviceable, but Barbirolli fans won't worry about that.” The Guardian, 23rd September 2010 ***

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Elgar - Choral Works

Elgar - Choral Works


Elgar:

The Music Makers, Op. 69

The Dream of Gerontius, Op. 38

The Apostles, Op. 49

The Kingdom, Op. 51

Coronation Ode, Op. 44


London Philharmonic Choir & Orchestra & New Philharmonia Orchestra, Sir Adrian Boult

An illustrated talk by Sir Adrian Boult featuring Sir Adrian’s recordings with the London Philharmonic Orchestra

EMI Budget Box Sets - 3679312

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Simon Rattle conducts British Music

Simon Rattle conducts British Music


Adès:

Asyla

Arnold:

Guitar Concerto, Op. 67

Julian Bream (guitar)

Debussy:

Estampe No. 1 - Pagodes

(arr. Grainger)

Elgar:

Enigma Variations, Op. 36

Grania and Diarmid, Op. 42 - Incidental Music

Falstaff - Symphonic Study in C minor, Op. 68

Violin Concerto in B minor, Op. 61

Nigel Kennedy (violin)

The Dream of Gerontius, Op. 38

Dame Janet Baker (mezzo), John Mitchinson (tenor), John Shirley-Quirk (bass-baritone)

CBSO Chorus

Pomp and Circumstance March No. 4 in G major, Op. 39 No. 4

Grainger:

In a Nutshell, suite

Train Music

Country Gardens

Lincolnshire Posy

The Warriors

Malcolm Wilson, Roderick Elms and Wayne Marshall (pianos)

Holst:

The Planets, Op. 32

Knussen:

Flourish with Fireworks

Matthews, C:

Pluto, the Renewer

Maw, N:

Odyssey

Ravel:

La Vallee des Cloches (Miroirs No. 5)

(arr. Grainger)

Turnage:

Drowned Out

Kai

Ulrich Heinen (cello)

Three Screaming Popes

Momentum

Ceres

Vaughan Williams:

The Lark Ascending

Nigel Kennedy (violin)

On Wenlock Edge

Robert Tear (tenor)

Songs of Travel

Thomas Allen (baritone)

Walton:

Cello Concerto

Lynn Harrell (cello)

Symphony No. 1 in B flat minor

Belshazzar's Feast

Thomas Hampson (baritone)


EMI Simon Rattle Edition - 6975882

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$52.00

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Malcolm Sargent: The Great Recordings

Malcolm Sargent: The Great Recordings


Arne:

Rule, Britannia (from Alfred)

God save the Queen

Bax:

Morning Song (Maytime in Sussex)

Beethoven:

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

Berlioz:

Le carnaval romain Overture, Op. 9

Bliss:

Piano Concerto in B flat major

Britten:

Simple Symphony, Op. 4

The Young Person's Guide to the Orchestra, Op. 34

Coleridge-Taylor:

Hiawatha's Wedding Feast

Delius:

A Song before sunrise

Songs of Farewell

Dohnányi:

Suite for Orchestra Op. 19 (1908-09)

Elgar:

Enigma Variations, Op. 36

Serenade for Strings in E minor, Op. 20

The Dream of Gerontius, Op. 38

German:

Henry VIII – Incidental music

Nell Gwyn: suite

Grieg:

Lyric Suite, Op. 54

Handel:

Messiah

Dame Isobel Baillie, Gladys Ripley, James Johnston, Norman Walker

Overture in D minor

Holst:

St Paul's Suite, Op. 29 No. 2

The Perfect Fool, Op. 39/H 150: Ballet Music

Beni Mora, Op. 29 No. 1

The Planets, Op. 32

Ibert:

Suite Elisabethaine

Mendelssohn:

Elijah, Op. 70

Parry:

Jerusalem

Rossini:

La Boutique fantasque

Il barbiere di Siviglia Overture

Guillaume Tell Overture

Il viaggio a Reims Overture

Semiramide Overture

La scala di seta Overture

Rubbra:

Piano Concerto in G, Op. 55

Schubert:

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

Sibelius:

Symphony No. 1 in E minor, Op. 39

Symphony No. 5 in E flat major, Op. 82

Pohjola's Daughter, Op. 49

Finlandia, Op. 26

En Saga, Op. 9

Lemminkäinen Suite, Op. 22: The Swan of Tuonela (No. 2)

Karelia Suite, Op. 11

Smetana:

The Bartered Bride Overture

Má Vlast

Vaughan Williams:

The Wasps Overture

Fantasia on Greensleeves

Fantasia on a Theme by Thomas Tallis

Serenade to Music

Toward the Unknown Region

Romanza

Wagner:

Die Meistersinger von Nürnberg: Overture

Walton:

Belshazzar's Feast

Façade (excerpts)

Symphony No. 1 in B flat minor

Warlock:

Capriol Suite


Malcolm Sargent’s reputation as one of the great popularisers of classical music in Britain arose not only through his long association with the Henry Wood Promenade Concerts (1947–67), but was in evidence much earlier through chief conductorships of the Hallé (1939–42), Liverpool Philharmonic (1942–8) and BBC Symphony Orchestras (1950–57).

By the time he became a fixture at the Proms in 1947 (now as Sir Malcolm: he was knighted in 1947) his was one of the best-known names in England. In personality, showmanship and energy he was ideal for the nightly concerts.

Sargent amassed a commercial discography of imposing breadth and variety. His first HMV recordings date from as far back as 1924 with excerpts from Vaughan Williams’s opera Hugh the Drover captured by the pre-electric acoustic process, and his career with the company ended in 1966 with Walton’s First Symphony.

Sargent’s wide-ranging repertoire extended from the Handel oratorios on the one hand to the Gilbert and Sullivan operettas on the other: ‘Messiah and The Mikado have been the twin pillars of my career,’ he once joked; it was hardly true, though his inspirational handling of choral bodies ensured that Handel’s oratorios and others such as Mendelssohn’s Elijah would be indelibly associated with him all his life.

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