My main mega-threads on FFS:

COULD-BE-FILM-MUSIC "CLASSICAL CORNER" (Programme Music)
Thread 121898

THE CONCERTO COLLECTION (Concertante Works)
Thread 130729

VOCAL AND CHAMBER MUSIC COLLECTION
Thread 184702



In this blog, I am going to focus on albums which - for one reason or another - do not fit into the
above three. Be it that the material is too well-known, or of another genre (like piano music, e.g.),
or that it duplicates works already posted in those. Still, I think even these albums will be of interest
to some of you (Hopefully, more than some!). There are always film film music lovers who are just
getting into classical music, and, basically, this thread is for you!

To minimize my work load, I will not compile lengthy notes with each release here, and instead just
throw you a line or two, or three. But no more than three. ;)

The posts will be in mp3(320) only. Booklets included where possible. All of these are my own rips.


No.1
Late Romantic

We all know Maurice Ravel's famous, brilliantly colourful orchestration of Modest Mussorgsky's
Pictures at an Exhibition. But there are many others, including this one, by Sergei Gorchakov,
from 1955, which sounds a lot more "Russian" than Ravel's (but retains the solo trumpet for the "Promenade(s)").



Music Composed by Modest Mussorgsky
Orchestrations by Sergei Gorchakov & Nikolai Rimsky-Korsakov
Played by the Cracow Radio Symphony Orchestra
Conducted by Karl Anton Rickenbacher

"Swiss conductor Karl-Anton Rickenbacher was born in Basel in 1940 and studied with Herbert Ahlendorf at the Berlin
conservatory and privately with Herbert von Karajan and Pierre Boulez. He began his career as a r�p�titeur and staff
conductor at the Opernhaus Z�rich (1967–69) and the St�dtische B�hnen Freiburg (1969–75), during which time his
development was decisively influenced by another great conductor, Otto Klemperer. Subsequently he shifted his
activities to the concert hall and was appointed general music director of the Westphalian Symphony Orchestra in
Recklinghausen (1976–85) and principal conductor of the BBC Scottish Symphony Orchestra in Glasgow (1978–80).
At the same time, he began appearing regularly in Europe, North America, and Japan as a guest conductor. His large
discography—chiefly in collaboration with the Bamberg, Bavarian Radio, Berlin Radio, and Budapest Symphony
orchestras—includes a number of first recordings of works by Beethoven, Wagner, Bruckner, Liszt, and Mahler, as
well as Humperdinck, Hindemith, Milhaud (awarded the Grand Prix du Disque), Zemlinsky, and Hartmann (Cannes
Classical Award). In 1999 his recording of Le Bourgeois gentilhomme (with a text by Sir Peter Ustinov) won the
German Echo Preis as Best Classical Recording of the Year. He won an Echo Prize again the following year for his
recording of Messiaen’s oratorio La Transfiguration, and another in 2001 for a CD in the Unknown Richard Strauss
series. He died in 2014."



Source: RCA/BMG CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 138 MB (incl. booklet)

Download Link - http://depositfiles.com/files/2v52v9w6b

Enjoy! Don't share! Buy the original! And please click on "Reputation" button if you downloaded this album! :)


---------- Post added at 04:49 PM ---------- Previous post was at 04:34 PM ----------




No.2
Modern: Tonal

B�la Bart�k was one of the great innovators of 20th century music. However, it was the fairly conventional
Concerto for Orchestra, one of his last works, that has turned out to be his most popular - simply because
it's so colourful and approachable. In contrast, the thorny ballet The Miraculous Mandarin caused an uproar
when premiered in Cologne (under Mayor Konrad Adenauer, later a long term chancellor of Germany).



Music Composed by B�la Bart�k
Played by The Philharmonia Orchestra
Conducted by Hugh Wolff

"These new discs of two of Bart�k’s orchestral masterworks are up against stiff competition. The only one which
comes near to measuring up to it is the Philharmonia with Wolff. The orchestral sound has a fierce immediacy which
pins your ears back. Compared to this the Slatkin is strangely bloodless. The orchestra needs to writhe and spit in
The Miraculous Mandarin, one of the most blood-curdling scores ever written, but the St Louis SO sounds tame.
Similarly in the finale of the Concerto for Orchestra, the gathering tornado in the strings sounds like a mild susurration
in the Slatkin version; the Wolff recording, though a touch slower, is more exciting. Slatkin’s version bears the original
ending to the Concerto as well as Bart�k’s second ending, written on Koussevitzky’s advice. One has to ask: was it
really worth the bother, when there’s only 11 seconds between them, and Koussevitzky was so obviously right
when he said the first ending was too abrupt? Overall, if it’s a choice between these two, the Wolff wins."
BBC Music Magazine



Source: Teldec CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 193 MB (incl. booklet)

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Enjoy! Don't share! Buy the original! And please click on "Reputation" button if you downloaded this album! :)


---------- Post added at 05:04 PM ---------- Previous post was at 04:49 PM ----------




No.3
Late Romantic

Neither Richard Strauss nor Edvard Grieg were natural symphonists. So it's not surprising that both composers'
endeavours in this genre were early efforts. The two pieces are very much within the framework of romantic, non-programmatic
symphonies of their day.



Music by Richard Strauss & Edvard Grieg
Played by the Symphonieorchester des Bayerischen Rundfunks
Conducted by Karl Anton Rickenbacher



Source: Koch Schwann CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 152 MB (incl. booklet)

Download Link - http://depositfiles.com/files/qv074v1sa

Enjoy! Don't share! Buy the original! And please click on "Reputation" button if you downloaded this album! :)


---------- Post added at 05:17 PM ---------- Previous post was at 05:04 PM ----------




No.4
Late Romantic

Czech composer Anton�n Dvor�k composed some of the most famous and popular music of the
19th century, above all his ever-green New World Symphony. But he was also a master of smaller
forms, of which the beautiful picture-postcard vignettes of the Czech Suite and Legends can tell.



Music Composed by Anton�n Dvor�k
Played by the Scottish Chamber Orchestra
Conducted by Jos� Serebrier



Source: ASV Classics CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 155 MB (incl. booklet)

Download Link - http://depositfiles.com/files/v05ugpx6n

Enjoy! Don't share! Buy the original! And please click on "Reputation" button if you downloaded this album! :)

Biggest thanks! Great idea wimpel69, your mp3's are realy superb. These recordings are hard to find. Rickenbacher does a series of rare Strauss works on Koch. There are some nice finds.

Great stuff wimpel69

No.5
Late Romantic

Siegfried Wagner, son of Richard, was completely overshadowed, naturally, by his father's oeuvre.
A student of Engelbert Humperdinck's, his own operas and orchestral works very much reflect the
influence of his teacher, rather than that of his father.



Music Composed by Siegfried Wagner
Played by the Berlin Radio Symphony Orchestra
Conducted by Heinrich Hollreiser

"Heinrich Hollreiser (June 24, 1913 – July 24, 2006) was a German conductor. Born in Munich, he attended the
State Academy of Music there and went on to serve as the conductor at the opera houses in Wiesbaden, Darmstadt,
Mannheim, and Duisburg. From 1942-1945, he served as the principal conductor of the Bavarian State Opera,
while serving as the music director at the Opera in D�sseldorf. From 1945-1951, he conducted concerts for the
Berlin Philharmonic and Bamberg Symphony Orchestra, as well for the Hamburg, Cologne, and Frankfurt
Radio Symphony Orchestras. He also made several guest appearances in Madrid and Barcelona. After 1951,
he served as principal conductor of the Vienna State Opera, conducting the Austrian premiere of Stravinsky's
The Rake's Progress."



Source: Koch Schwann CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 114 MB (incl. booklet)

Download Link - https://mega.nz/#!N6RAWRxT!ctuzeppFTdVLZXIHPkrwq6PMsc-QvYvHRBwSLWDmy5Q
/>
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---------- Post added at 05:55 PM ---------- Previous post was at 05:43 PM ----------




No.6
Late Romantic

Richard Wagner was the first film composer; of course he was completely unaware of that,
since films hadn't been invented yet. But his leitmotiv technique has had profound influence
on the film composers of the 20th century, i.e. until Hans Zimmer came along.



Music Composed by Richard Wagner
Played by the London Philharmonic Orchestra
Conducted by Karl Anton Rickenbacher



Source: EMI CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 119 MB (incl. booklet)

Download Link - https://mega.nz/#!lrwDxAoQ!4AmqYEUc8FXN82j3noIUIVBwkHO5oVcXVNXyIf26hnQ

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---------- Post added at 06:10 PM ---------- Previous post was at 05:55 PM ----------




No.7
Modern: Tonal

British composer Benjamin Britten wrote some of the 20th century's most accessible operas and orchestral music,
such as the popular Four Seascapes and Passacaglia from "Peter Grimes" and the educating The Young Person's
Guide to the Orchestra. His powerful Sinfonia da Requiem caused quite a controversy, so much so that
the Japanese government that had commissioned it cancelled its premiere.



Music Composed by Benjamin Britten
Played by the Royal Liverpool Philharmonic Orchestra
Conducted by Libor Pesek

"Performances and digital recording quality are satisfying. Pešek is notably tender and favours this aspect over the drama.
The first movement and finale of the Sinfonia are ravishing in this respect. We are reminded of the finer string writing of
Roy Harris and its emotional kernel as well as the influence of Shostakovich. Pešek is up against stern analogue competition
from another part of the same stable: LSO/Previn. The latter’s 1970s EMI Classics recording, originally issued in quadrophonic,
remains a force in the land and still sounds wonderful. Pešek is, by contrast, understated and lacks the last degree of
spectacular bite that I associate with the Previn. Previn’s Anglophile tendencies were well known though otherwise limited
to RVW and Walton; so far as early 20th century Brits are concerned; he never moved into Moeran or Bax territory, more’s
the pity. His Britten in this case was clearly aided by EMI's elite technical team of the two Christophers - Bishop and Parker.
They were also onsite for Previn's Spring Symphony. Their results form an exemplar for the control desk fraternity to this day.

All these comments extend to the Grimes pieces. By the way, I am delighted to see the Passacaglia included. The whole
has a suitably symphonic sound. So far as Britten's own Decca versions are concerned they are in a class of their own and
extend to include the YPG which was not part of the Previn package. By the way Pešek's YPG is in 6 tracks, grouping
families of variations with one track for each group and for the Theme and for the final Fugue."
Musicweb



Source: Virgin Classics CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 156 MB (incl. booklet)

Download Link - https://mega.nz/#!d7ohGapL!phkzEj4_UqewKxlH9U3CM1MhC_f1Erht4vA0Kc41pZQ

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---------- Post added at 06:24 PM ---------- Previous post was at 06:10 PM ----------




No.8
Modern: Americana

Aaron Copland, for a considerable time in his career, wrote music "for the masses". I.e. he wrote
in a 20th century interpretation of "American folk music", filtered through the technique of Igor Stravinsky.



Music Composed by Aaron Copland
Played by the Orquesta Filarm�nica de la Ciudad de M�xico
Conducted by Enrique B�tiz

"B�tiz once rhapsodized about the Hispanic embrace of the primitive side of life, so it's hardly surprising that "primitive"
strong rhythms and bright colors dominated the interpretations of Mexican music he set to disc for ASV through the early
'90s. In these recordings, one could correctly guess that B�tiz was once a child prodigy pianist who idolized Vladimir
Horowitz, for B�tiz adapts Horowitz's hard brilliance to the orchestra. The tendency may be inherent to this conductor's
personality. Some musicians in the Mexico City Philharmonic complained that B�tiz verbally abused them in rehearsal.
And like other temperamental conductors, B�tiz channeled his aggression into a performance style that favored incisive
attacks, firm accents, and fleet tempos. This is not to imply that B�tiz is always a speed demon; his very broad version
of the Brahms Symphony No. 2 recorded for RCA shows an entirely different side of the conductor. B�tiz is far less
concerned with setting down a performance for the ages than with documenting a performance of the moment,
something fluid and evolving, caught in an aural snapshot."



Source: EMI CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 156 MB (incl. booklet)

Download Link - https://mega.nz/#!x34BiLZS!mOR_6Y1AOzEfCubBN-5n8yu4Qzd2sRO1sKaqOW1KUCs
/>
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---------- Post added at 07:13 PM ---------- Previous post was at 06:24 PM ----------




No.9
Impressionism

No other composer before or since has evoked the power and colours of the sea as vividly as Claude Debussy.
Equally imaginative and dynamic are the same composer's Images.



Music Composed by Claude Debussy
Played by the Czech Philharmonic Orchestra
Conducted by Libor Pesek

"Libor Pesek had one of the most important international careers of any Czech conductor during the later decades
of the 1900s. Although he began cutting back his activities at the turn of the century, he remains active after stepping
down from permanent positions. He is a particular advocate of the music of Josef Suk and Vitezslav Nov�k.

Pesek graduated in 1956 and immediately set up an ensemble called Prague Chamber Harmony, which he led, took
on tours, and recorded with. From this start, he rose through the ranks of small and provincial orchestras: The Sebastian
Orchestra, the North Bohemia Orchestra in Teplice, and the Chamber Philharmonic in Pardubice. He led the last of these
from 1970 to 1977 and brought it to a nationally recognized high standard. He also worked with the Dvorak Chamber
Orchestra and conducted the Frysk Orkester of Leeuwardenu, Netherlands.

During this period, he had the first opportunity to conduct the Czech Philharmonic, in 1972. In 1981 he was appointed
permanent conductor of the Czech Philharmonic, while frequently guest conducting throughout Europe, North America,
and Japan. He also was, briefly, the conductor of the Slovak Philharmonic. In 1987, he became the Principal Conductor
of the Royal Liverpool Philharmonic, in England. He stepped down from his position with the Czech Philharmonic in 1990.
However, at that time he kept his musical ties to Prague by becoming principal guest conductor of the Prague Symphony
Orchestra. He toured extensively, and appeared as guest conductor with many major orchestras and at the leading
music festivals. He resigned from the Royal Liverpool Orchestra in 1997, expressing an intention to slow down the pace
of his professional life. The orchestra named him lifetime conductor laureate, which will allow him to conduct four
weeks a year."



Source: Supraphon CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 141 MB (incl. booklet)

Download Link - https://mega.nz/#!8zoRARpA!ekgorXMMF9SfSgDpxFmcID8WmWLcR4aoHTUvKsGhY2M

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Apparently, some FFS snitch worked overtime yesterday and already got 4 of the 9 updates deleted.

No.10
Romantic

Best remembered for his outstanding piano works and the rather more controversial symphonies, Robert Schumann (1810-1856) also
composed a number of attractive overtures - some of them as intros to theatrical scores, some as standalone concert items.



Music Composed by Robert Schumann
Played by the Berliner Symphoniker
Conducted by Lior Shambadal

"I thought at first that the recording lacked bass a little, but what has happened is that Shambadal has balanced Schumann's
recalcitrant orchestration with such a fine ear that it is shorn of its usual muddiness. Nobody listening to the brilliant, even
gleaming, sound that comes off this disc would imagine that Schumann is widely considered a poor orchestrator.

Shambadal also obtains a fiery, spine-tingling response from the orchestra in the fast passages and much poetry in the softer
ones (I am thinking of The Bride from Messina in particular, also the dying away at the end of Manfred), with a wide dynamic
range. He is one of those conductors who can vary his basic tempo without losing sight of it, so the structure of each piece
is ideally clear. In short, everything you could want from a Schumann conductor is to be found here. I had not encountered
Shambadal before (he is in his early fifties, comes from Israel and has been conductor of the present orchestra since 1997)
and I shall listen to his further discs with great interest.

If there is a reservation to be made about this CD it regards Schumann himself. The Manfred and Genoveva pieces are
justly well-known, and The Bride of Messina is a fine piece. But Hermann und Dorothea is little more than a romp on a
very well-known tune (the booklet doesn't let the cat out of the bag so neither will I) and Julius Caesar is a mere ragbag
of stock dramatic gestures which never gel to make real music. Whatever would people say if a British composer had
written it?

Still, the record's so cheap that the three good works are worth double the price on their own, and you may not agree
with me over the other two."
Musicweb



Source: Arte Nova CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 130 MB (incl. booklet)

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---------- Post added at 03:06 PM ---------- Previous post was at 02:55 PM ----------




No.11
Modern: Americana

Premi�red in 1946, a year after the end of World War II, Aaron Copland�s iconic Third Symphony was described by the composer
as �a wartime piece�or, more accurately, an end-of-war piece�intended to reflect the euphoric spirit of the country at the
time.� The fourth movement, heard on this recording in its original uncut form, opens by quoting one of his most well-
known pieces, Fanfare for the Common Man. Copland described the Three Latin American Sketches �as being just
what the title says. The tunes, the rhythms and the temperament of the pieces are folksy, while the orchestration is
bright and snappy and the music sizzles along.�



Music Composed by Aaron Copland
Played by the Detroit Symphony Orchestra
Conducted by Leonard Slatkin

"The joys � and sorrows � of a comparative review are what makes them so much fun to write. In the process of
these (re)-evaluations, two early hopefuls � Levi and Slatkin Mark 1 � must now be considered also-rans. However,
the odds on J�rvi have improved significantly, and the joint winners � Bernstein and Copland � have now been
confirmed. At the outset, I was sure Slatkin Mark 2 would be among the frontrunners, and so it proves. Indeed,
while some conductors grow dull with age, Slatkin just gets sharper; and that�s why more Copland from this
source is such a pleasing prospect.

A heady, hyper-bold account of Copland�s original score, superbly recorded; go for it."
Musicweb



Source: Naxos CD (My rip!)
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File Size: 128 MB (incl. booklet)

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---------- Post added at 03:40 PM ---------- Previous post was at 03:06 PM ----------




No.12
Modern: Tonal

One of the most imitated concert composers in film music, Sergei Prokofiev's Romeo and Juliet is one of his few full-length
ballets (with Cinderella, The Stone Flower). Rather than settling for the popular three suites compiled by the composer,
conductor Libor Pesek chose an open selection of highlights in the ballet's chronological order.



Music Composed by Sergei Prokfiev
Played by the Royal Liverpool Philharmonic Orchestra
Conducted by Libor Pesek

"Libor Pe�ek offers a fulsome selection of Romeo and Juliet excerpts�more than 71 minutes� worth. Rather than the usual
suites, Pe�ek�s selections follow the order of their appearance in the full ballet, thereby creating a cogent narrative (as
opposed to Prokofiev�s own suites that, while not necessarily following the story line, are nonetheless dramatically effective).
Pe�ek proves a fine ballet conductor, ever alert to the music�s rhythm, energy, and color. He beautifully shapes Folk Dance,
Friar Lawrence, and Juliet�s Funeral, taking care to highlight rhythms and accents while pointing up the music�s drama.
The balcony scene flows smoothly yet surges with unabashed feeling at the climaxes.

For those who prefer a through-told narrative and are not interested in the complete ballet, Pe�ek�s warm and
naturally balanced recording fills the bill quite nicely."
Classics Today



Source: Virgin Classics CD (My rip!)
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File Size: 184 MB (incl. booklet)

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---------- Post added at 04:01 PM ---------- Previous post was at 03:40 PM ----------




No.13
Modern: Tonal/Brass

The music of Dmitri Shostakovich lends itself to arrangements for brass, and this version of his witty Symphony No.9
is very successful. In addition, you get excerpts from the composer's little-heard "musical" Moscow, Cheryomushki.



Music Composed by Dmitri Shostakovich
Played by the Rundfunk-Blasorchester Leipzig
Conducted by Jan Cober

"Jan Cober (born 1951) is a lecturer in Clarinet and Wind/Brass Band Conducting and a research coach at Conservatorium
Maastricht. He also teaches at the Brabants Conservatorium in Tilburg and at various Conducting degree programmes in the
Netherlands and abroad.

He grew up in the musical town of Thorn in Limburg and as a young man played clarinet with the famous Koninklijke
Harmonie of Thorn. He studied Clarinet, Wind/Brass Band Conducting, and Orchestral Conducting at Conservatorium
Maastricht. He became Principal Clarinettist with the Netherlands Radio Philharmonic Orchestra and The Hague
Philharmonic and continued his conducting studies with Willem van Otterlo, Ferdinand Leitner and Neeme J�rvi.
For over 25 years, Jan Cober was a member of the Residentie Wind Quintet.

He has conducted a number of high-quality amateur wind bands in Limburg (with which he has regularly given very
successful performances), the wind ensemble of the European Community, and the Nationaal Jeugd Harmonie Orkest,
which he also founded. He works worldwide as a guest conductor, from Spain to Japan and from Portugal to Australia.
He was Principal Conductor of the Swiss Army Band and the Rundfunk-Blasorchester Leipzig, and Artistic Director of
the Bl�serakademie Sachsen."



Source: Amos CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 112 MB (incl. booklet)

Download Link - http://depositfiles.com/files/8wjy6tn1w

Enjoy! Don't share! Buy the original! And please click on "Reputation" button if you downloaded this album! :)

Congratulations on your new blog,wimpel!
An amazing collection of well-known works in hard-to-find versions, colorful arrangements and simply new pleasant surprises one never imagined to find!

No.14
Modern: Tonal

Igor Stravinsky's half-hour ballet Le Sacre du Printemps (The Rite of Spring) was the greatest "scandal success" in classical
music history (rivalled only, perhaps, by the premiere of George Antheil's Ballet M�canique), but is now a "must play" concert item
for every major conductor and orchestra.



Music by Igor Stravinsky & B�la Bart�k
Played by the Yomiuri Nippon Symphony Orchestra
Conducted by Sylvain Cambreling

"There are good things here and Altus has achieved a decent match between two separate acoustics: the Tokyo
Metropolitan Theatre for The Rite of Spring and Suntory Hall for The Miraculous Mandarin. Note how the bass
clarinet presents itself in The Rite�s introduction, and the clarity of the gathering woodwind minions later on.
Come �The Augurs of Spring� and the approach shifts to proficient autopilot, or seems to, although as before
textures are extremely uncluttered. Big drums in �The Ritual of Abduction� have impact, the �Procession of the
Sage� builds well and the �Dance of the Earth� is especially exciting. What the First Part lacks is the sort of animal
drive that characterises Peter E�tv�s (Junge Deutsche Philharmonie), Igor Markevitch (stereo Philharmonia
recording) and Ant�l Dorati (stereo Minneapolis recording). The woodwinds again excel at the start of �The
Sacrifice�, though I�d have liked rather more in the way of tonal substance from the strings. There�s good pacing
and some effectively held clarinet tone in the �Evocation of the Ancestors�, while the closing �Sacrificial Dance�
is taut and propulsive.

The Miraculous Mandarin�s opening cityscape lacks menace (there�s no organ), the �Decoy Games�, although
well played, aren�t insinuating enough and the final chase keeps the adrenaline flow at a fairly low ebb. It�s a
good performance, with some oily glissandos where needed and, like The Rite, enjoys textural transparency.
But although there are moments where the tension mounts (the Mandarin�s first appearance, for example),
much of the performance lacks the right sort of intensity. Anaemic would perhaps be too harsh a judgement
but it at least gives you a clue as to where I�m coming from. Sylvain Cambreling is an intelligent conductor
who has the music securely in his grasp and the Yomiuri Nippon Symphony Orchestra is a well-groomed
ensemble"
Gramophone



Source: Altus CD (My rip!)
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File Size: 139 MB (incl. booklet)

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No.15
Modern: Tonal

Leos Jan�cek's operas have long been in the core repertoire of opera houses around the world, but it is the modest
(Military) Sinfonietta, composed within just a few days, that turned out to be his No.1 hit. While the Violin Concerto
comes across as abrupt and unfinished, the suite from the opera The Cunning Little Vixen has always been a popular concert item.



Music Composed by Leos Jan�cek
Played by the SWR Symphony Orchestra, Baden-Baden
With Christiane Edinger (violin)
Conducted by V�clav Neumann



Source: Arte Nova CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 139 MB (incl. booklet)

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No.16
Late Romantic

Guntram (1887 - 93), the first of Richard Strauss' fifteen operas, is a three-act work which shows the composer
fully under the influence of Wagner's music dramas. Following Wagner's example, Strauss also provided his own text for the work;
the libretto. The soaring melodies that are more typical of Strauss' mature works are present in Guntram, and here and
there the opera contains some outstanding music. Strauss revised Guntram from 1934 to 1940 for revivals that were staged
in 1940 and 1942. For the most part, Strauss cut his youthful work in order to tighten the dramatic flow and to improve the
orchestration.



Music Composed by Richard Strauss
Played by the Orchestra Filarmonica Marchigiana
With Alan Woodrow (tenor) & Elisabeth Wachutka (soprano)
And Andrea Martin (baritone) & Hans-Peter Scheidegger (bass)
Conducted by Gustav Kuhn

"A critic commenting on the live performance of this opera that has been released as this recording wrote: "Gustav Kuhn...
created tone colours and melodic-harmonic contrasts of all shades. One could almost call this a model performance..."
True in as much as I found my ears time and again being seduced through the vocal line to attend to the fabulous
orchestral colours which Richard Strauss created for his first opera. Not surprisingly for Strauss still had to perfect his
vocal technique; a technique he would bring to perfection in operas such as Der Rosenkavalier; Arabella;
Ariadne Auf Naxos; and Capriccio."
Musicweb



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File Size: 272 MB (incl. booklet)

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---------- Post added at 03:10 PM ---------- Previous post was at 02:34 PM ----------




No.17
Modern: Neo-Classical

Simply one of the finest recordings of Ottorino Respighi's picture-postcard views of Roman attractions, with
fine attention to detail. Every film music lover should, must know these wonderful tone pictures.



Music Composed by Ottorino Respighi
Played by the Orchestre Symphonique de Montr�al
Conducted by Charles Dutoit

"Since Ozawa's recording appeared four years ago, the recommendation has been clear for these brilliant showpieces,
the playing highly polished as this virtuoso music demands, yet warmly atmospheric too and superbly recorded with no
deterioration on exceptionally long sides. DG has, alas, now deleted that superb record (2530 890. 6/79), but in
compensation Dutoit and the Montreal orchestra follow up their outstanding success in other colourful orchestral music
with a record that stands alongside the DG issue, in some ways even more beautiful, giving these display pieces an
extra degree of expressiveness without overloading them. So the very opening of the Pines of Rome representing
children playing at the Villa Borghese is usually played for brilliance above all, as it is by Ozawa. The initial impression
from Dutoit is much gentler. One registers above all the beauty of sound, the shimmer and transparency to make this
genuine laughter music, which with children playing it surely should be. The climax of the second movement near the
catacombs then has the syncopations given a jazzy freedom, and the nightingale of the third movement is placed
more evocatively, where with Ozawa it sounds rather as if a stray bird has got into the concert hall. Comparisons
in the other two works bring comparable contrasts, though 12 very different movements make generalizations difficult.

The advantage over the 1979 DG analogue recording is not so striking as I had expected�the bass drum in the final
march movement of the Pines of Rome is even more ominous in that earlier recording�but nonetheless the Decca
sound, with its ability to give clarity to even the biggest, most complex tutti, is to be preferred, with extra range in
the bass, which gives the organ pedal a heart-stopping impact. All in all another outstanding success for one of North
America's most responsive orchestras, with playing not just brilliant, but relaxed and joyful."
Gramophone



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No.18
Modern: Neo-Classical

In the last decade of the 19th and the beginning of the 20th century, two generations of musicians, one against the other,
lived side by side: one having a late-romantic education, and leaving a mark on the stage with masterpieces like Cavalleria
Rusticana, Pagliacci, Andrea Ch�nier, Adriana Lecouvreur with Giacomo Puccini as a glorious and sound leader, the other being
a host of composers born around 1880 (the so-called generazione dell�Ottanta, generation of the 80s, including Pizzetti, Respighi,
Casella, Malipiero) who would meticolously commit themselves to get Italy free from the melodrama oppression and set Italy
at the same level of the great European countries (France and Germany), equipping it with an important repertoir of symphonic,
instrumental and vocal chamber music. The Quartetto Mitja and the Orchestra Nazionale Artes - conducted by
Andrea Vitiallo - here perform the first and the last of the quartets by Malipiero and the Sinfonia �degli archi�,
three fundamental works to understand how the recovery of the tradition is crucial in the aesthetics of the Italian historical
twentieth century.



Music Composed by Gian Francesco Malipiero
Played by the Orchestra Nazionale Artes
With the Quartetto Mitja
Conducted by Andrea Vitello

"The quartets are recorded close, but the symphony was recorded in a very reverberant hall that flatters
the strings beautifully�this is a gorgeous recording, much better sound and performance than the Moscow
Symphony under Almeida. Quartet 1 and the symphony alone make this disc worth your time and money."
American Record Guide



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No.19
Late Romantic

Contrary to popular belief, there is nothing specifically "English" about Edward Elgar's music at all.
Instead, his music is firmly grounded in the Germanic tradition of the late 19th century. Splendid stuff though.



Music Composed by Edward Elgar
Played by the Bournemouth Symphony Orchestra
Conducted by George Hurst

"No English composer has composed an orchestral work finer than the Enigma Variations, and each new performance
seems somehow to uncover another aspect of its limitless imaginative variety. The Bournemouth Symphony Orchestra
plays this music frequently in concert, and the players therefore have the music ‘under their fingers’. The result is that
instrumental solos are splendidly assured, ensemble passages are precise and climaxes full-bodied. To George Hurst, a
seasoned Elgarian, goes the credit for the cogency of the whole conception, since his performance is far more than the
sum of the parts. The wistful, truly enigmatic, nature of the theme is conveyed at the opening, and the special personality
of each variation emerges in turn. The Coronation March, another example of Elgar’s penchant for creating ceremonial
music of lasting value, also shows his complete mastery of the orchestra. This performance of In the South, however,
proves less satisfying, largely because the recorded sound fails to provide an appropriate resonance. The opening sweep
consequently lacks majesty, and the violins in particular do not convey the urgency and intensity Elgar demands.
The more intimate music at the heart of the work is much more successful, and again the solo contributions are
distinguished."
BBC Music Magazine



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No.20
Early Romantic

A particularly lovely rendition of 8 of Giaochino Rossini's jaunty opera overtures.



Music Composed by Gioachino Rossini
Played by the Orchestre Symphonique de Montr�al
Conducted by Charles Dutoit



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No.21
Modern: Tonal

Two impressive works for string orchestra: Benjamin Britten's paean to his beloved composition teacher, Frank Bridge,
and B�la Bart�k's folk-inflected Divertimento.



Music by Benjamin Britten & B�la Bart�k
Played by the Polish Chamber Orchestra
Conducted by Jerzy Maksymiuk

"Music-making of crisp discipline and unswerving dedication, very well recorded (the sessions in fact date from 1985).
The Bartok is especially impressive � an invigoratingly lean, idiomatic display. If Maksymiuk doesn�t always plumb the
depths of its companion, the Polish players� bracingly assured response makes this a version worth hearing.
Short measure, then, but high quality.'"
Gramophone



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No.22
Modern: Neo-Classicsim

In his finely shaded account of Respighi's Roman tone poems, conductor J�sus L�pez-Cobos chose to drop the
flamboyant Roman Festivals in favour of a rarely recorded work, the Metamorphoseon Modi XII.



Music Composed by Ottorino Respighi
Played by the Cincinnati Symphony Orchestra
Conducted by Jes�s L�pez-Cobos

"Instead of Roman Festivals, Jes�s L�pez-Cobos and his team give us Metamorphoseon Modi XII. It's an inventive and
surprisingly intimate partner to the two resplendent tone poems. One of many commissions for the Boston Symphony
Orchestra's 50th Anniversary, it's rarely played or recorded. God knows why not; the piece is emotionally gripping while
giving the soloists of the orchestra a real chance to shine. The conductor and his Cincinnati forces give one of the finest
readings currently on disc, and the sound remains a marvel. While not the flashiest Respighi program on the market,
it's certainly underrated, and a great buy for those who demand top-quality sound."
Classical Net



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No.23
Impressionism

A generous collection of popular, as well as lesser-known, symphonic poems and rhapsodies by
the born-in-England, French-in-spirit composer Frederick Delius.



Music Composed by Frederick Delius
Played by the Hall� and London Philharmonic Orchestras
Conducted by Vernon Handley

"Vernon Handley has until now recorded only short pieces by Delius and it is good to find this perceptive conductor offering
us major works, especially these particular four. The only one of them available in a modern, digital, recording is A Song
of Summer and that is in a two-disc set, "The Fenby Legacy" (Unicorn-Kanchana, DK P9008-9, 10/81), and therefore an
expensive 'buy' if you particularly want that work (though the album as a whole offers riches indeed). The nearest the
others have to a recent recording is Eventyr under Sir Charles Groves (HMV ASD2804, 8/72) and to hear that analogue
recording now emphasizes just how much Delius's music gains from digital sound, with its clarification of the composer's
sometimes thick scoring. The astonishing thing is that In a Summer Garden, a favourite work, is available in only two
other recordings, both fairly elderly, and there is no remotely modern recording at all of Brigg Fair, one of Delius's
most popular pieces. This CfP offering is therefore a bargain in every way.

Handley has the Halle playing well for him and this record is too much to be treasured to be other than
recommended very warmly. It is a feather in CfP's cap as well as in Handley's."
Gramophone



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No.24
Modern

The piano music of Alan Hovhaness is suffused with his particular brand of mysticism,
just as much as his orchestral works. Enjoy!



Music Composed by Alan Hovhaness
Played by Alessandra Pompili (piano)

"Hovhaness' admirers often tend to overlook the piano works in favour of his big orchestral statements. Nevertheless there's
much to enjoy in these compact pieces which are here drawn from a wide time frame, spanning Op.36 to Op.390. The Twelve
Armenian Folk Songs were composed around 1943 but not published until two decades later. The melodies are attractive in
themselves but, more than that, they are most attractively played by Alessandra Pompili who shows a very strong affinity
with all the music in this 52-minute disc. She plays the 'unfamiliar melodies' - in the composer's words - with simplicity and
a real degree of affection in an acoustic that tends to the dry, though on balance I'd rather that than a billowing sound in
these pieces.

Ghazal and Ghazal-Sufi date from 1938 and here the bass line underlies a weaving lyric right hand melody line. The former,
which is the longer, has a tolling, melancholy-sounding motif whilst the latter is the more rarefied in expression. This is, it
would seem the first ever recording of both pieces. Composed in 1959 whilst Hovhaness was in the Kashmir, Shalimar reflects
his huge enthusiasm for Indian music. Formally, he introduced the idea of borders in this suite in an attempt to suggest the
carpet-like designs of Moghul gardens. As much as rhythm drives this music, there is a huge amount of nature painting
involved, the composer evoking the now-silent fountains through the memory of their music. Much is coolly flowing,
beautifully expressive and often hypnotically rhythmic but there is also the Bachian element of the Third Interlude.
Helpfully each incident - there are eight in all - is separately tracked.

The 'Cougar Mountain' Sonata, Op.390 dates from 1985 and returns to his love of nature - of vistas and expanse. As well as
a slow opening movement there is a lament, a slumber song and, as finale, a dance. There are hints of Ravel in the early
part of the sonata and the stomping dance with which the sonata ends certainly generates considerable dynamism.
Its compact nature still allows a rich sense of characterisation to emerge. The Fantasy, Op.15 - again this is a first
recording - was written in 1938 but was later re-worked and absorbed into the Blue Job Mountain Sonata, Op.340.
It's an unusually alternating work for Hovhaness, in which lyricism and percussiveness sit on opposite sides of the
equation. Finally there is Dark River and Distant Bell which, with its oriental mood, was originally intended for
harpsichord or clavichord. This is its first appearance on disc in piano guise.

Pompili, then, is a splendid young exponent of Hovhaness' music. That dry sound does help to clarify and centralise the
piano writing without sounding off-puttingly objectified. Liner notes are in Italian and English and worth a detour, as
indeed is this disarmingly well-played disc."
Jonathan Woolf, Musicweb



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No.25
Modern: Impressionism

Michael Tilson Thomas and the San Francisco Symphony release an all-Debussy
album featuring Images pour orchestre, Jeux, and La plus que lente.
This album brings the vivid landscapes of Images, impassioned playfulness of
Jeux, and the sensuality of La plus que lente together in a collection
that exquisitely illustrates the French composer�s mastery with orchestration.



Music Composed by Claude Debussy
Played by the San Francisco Symphony
Conducted by Michael Tilson Thomas

"Since he became the music director and conductor of the San Francisco Symphony, Michael Tilson Thomas
has largely focused his attention on presenting the symphonies of Gustav Mahler in splendid audiophile recordings,
for which he has received critical and popular praise. So his first hybrid SACD of works by Claude Debussy comes
as a surprise, not only because the sound world is quite different from Mahler's, but Tilson Thomas' interest in
Debussy has seemed less obsessive over the years. However, if this 2016 album of Images pour orchestre, the
ballet Jeux, and La plus que lente suggests anything, it's that Tilson Thomas loves this richly evocative music
just as much as he does Mahler's, and this could be the start of a similarly exquisite series of recordings.
The conductor's interpretive insight and attention to detail are evident, and the San Francisco Symphony
shimmers with exotic tone colors and luscious textures, so the combination of Tilson Thomas' meticulous
conducting and the musicians' versatility yields a magical recording that is a showcase for what they can do.
Recommended tracks for sampling are the opening of Images, which is one of the most recognizably
"impressionist" passages in Debussy's works, and the opening of Jeux, which has a similar feeling of mystery
and atmosphere, though listeners should also try the waltz, La plus que lente, which is something of a rarity
in the orchestral version."
Blair Sanderson, All Music





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No.26
Modern: Tonal

The premiere of Zolt�n Kod�ly's five-scene opera--actually, Singspiel--H�ry J�nos, Op.15
at the Budapest Royal Opera on October 16, 1926 was an unqualified success (Kod�ly still felt it necessary
to continue work on the opera, however: a final version didn't appear until 1927), and Kod�ly wasted
little time before drawing up a concert suite of its most colorful music. This H�ry J�nos Suite, Op.35a
has since proven even more popular than its opera brother (father?), and is easily the composer's best-known,
and quite possibly also his best, creation.

The suite has six musical numbers, lasting about twenty minutes altogether, and requires a fairly standard
large orchestra. (Kod�ly also made an arrangement of it for brass band, and the famous Hungarian violinist
Joseph Szigeti fashioned a version for violin and piano.) No.1, "Prelude: A Fairy Tale Begins", opens with
a dramatic flourish--vehement pizzicati from the strings, some trills in the winds, and a chromatic whirl
upwards--and then a broad, serious idea emerges from the low strings and is taken up in turn by each of
the upper string sections. Mid-way through, a Daphnis and Chloe-like curtain of woodwind figures (remember
the sunrise music in Ravel's famous 1911 ballet?) builds up to a mighty but suddenly cut-off climax.
A quiet, five-note epilogue from the oboe, with brass support, offers an F major resolution to the
uncertain C pedal at the start of the piece.



Music Composed by Zolt�n Kod�ly
Played by the Budapest Philharmonic Orchestra
With Magda Tisza (contralto)
Conducted by J�nos Ferencsik

"One of the leading Hungarian conductors of his time (and there were numerous ones), J�nos Ferencsik chose to
remain an integral part of Hungarian musical life. While others of the generation between Szell and Reiner, on one
hand, and Solti, on the other, elected to become international stars, Ferencsik stayed active and present in Budapest.
Exemplary performances of Hungarian music, however, did not preclude stylish work in a broader repertory. Following
studies at the Budapest National Conservatory, Ferencsik was engaged as an assistant conductor at the State Opera
in 1927, rising to a position of full conductor in 1930. Thereafter, he pursued a double career track as both opera and
symphony conductor. In 1930 and 1931, he served as an assistant conductor at Bayreuth, coaching many of the festival's
most prominent singers. In the post-WWII period, he conducted at the Vienna Staatsoper from 1948 to 1950, returning
in 1964. In 1953, he was made music director of the Budapest Opera, as well as principal conductor of the Hungarian
National Philharmonic Orchestra, where he remained until the end of his life. Four years later, he led the London
Philharmonic Orchestra in his first time conducting in the British Isles. His American debut came in 1962 when he led
performances of Carmen, Der Rosenkavalier (with Schwarzkopf), and Falstaff at San Francisco to broad acclaim.
To the press, he asserted "In art and love, one must not lie!" Ferencsik returned in 1963 to conduct Rossini's Barber
and Mozart's Cos� fan tutte, and in 1977, for a glowing Ariadne auf Naxos with Leontyne Price. At Edinburgh in 1963,
Ferencsik brought his Hungarian company to perform a Bart�k triptych. Aside from appearances at the Vienna
Staatsoper, Ferencsik performed at the city's music festivals and at Salzburg. For his services to Hungarian music,
Ferencsik was liberally recognized. Among other honors, he received the Excellence Award and was twice the
recipient of the coveted Kossuth Prize. His recorded legacy is substantial, much of it available on budget labels.
In addition to a variety of Hungarian compositions, Ferencsik recorded a number of Austro-German works to
positive effect. In his later years, he held a professorship at the Franz Liszt Academy."



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No.27
Romantic

British conductor Karel Mark Chichon continues to thrill international audiences with his temperament,
passion and musicianship. In recognition to his services to music, Her Majesty Queen Elizabeth II of England
made Chichon an Officer of the Most Excellent Order of the British Empire (OBE) in June 2012. In 2016 he was
elected a Fellow of the Royal Academy of Music in recognition of his achievements within the profession.

Born in London in 1971, Chichon hails from Gibraltar. He studied at the Royal Academy of Music (London)
and was assistant conductor to Giuseppe Sinopoli and Valery Gergiev. He has been Chief Conductor of the
Deutsche Radio Philharmonie Saarbr�cken Kaiserslautern since 2011, enjoying critically acclaimed
seasons and receiving praise for his profound interpretation of a wide repertoire and transformative music-
making with the DRP.



Music Composed by Anton�n Dvor�k
Played by the Deutsche Radio Philharmonie Saarbr�cken Kaiserslautern
Conducted by Karel Mark Chichon

"I must admit that I do enjoy hearing these works played by Czech or Slovak orchestras. They seem to be some
of the few world class orchestras who have managed to retain a genuine regional sound. That having been said
I have been greatly impressed by this disc in every respect. Much of the credit for this has to go to Karel Mark
Chichon who allows the music to speak so freshly and spontaneously. As the cycle develops it will be interesting
to hear if he moulds his approach to the demands of the later symphonies too. Apparently the next release in the
set will be of Symphony No.5 which on the strength of this disc would seem to suit Chichon and his players
perfectly - so I will wait to hear that with great interest. Big-boned, open-hearted music played with sensitivity,
brilliance and panache."
Musicweb



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No.28
Romantic

The second volume in Chichon's new Dvor�k cycle is no less distinguished and includes the mature Symphony No.5,
the evocative tone poem In Nature's Realm and the sprightly Scherzo Capriccioso.



Music Composed by Anton�n Dvor�k
Played by the Deutsche Radio Philharmonie Saarbr�cken Kaiserslautern
Conducted by Karel Mark Chichon

"Maestro Chichon conducts the symphony with plenty of verve and excitement. His idiomatic phrasing
draws out the Slavic character of the music, proving that one doesn�t have to be Czech to �get� this
music. Going into this, I was unsure what to expect from this conductor and orchestra in this repertoire,
but Chichon�s conducting won me over. Of course he was not alone in that�the orchestra is fully complicit
in a good way. This band is really good and clearly demonstrates that even provincial orchestras
possess extraordinary chops."
Fanfare



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No.29
Romantic

Anton�n Dvoř�k�s Third Symphony (1873) raised him from obscurity of Prague's music scene.
Dvoř�k had played viola under Bedřich Smetana and was familiar with his fame as a Czech opera composer.
Now in his early thirties, it was Dvoř�k�s turn to become a �national composer�. Apart from the patrioti
c hymn Dědicov� B�l� hory (�The Heirs of the White Mountain�), which was first performed in March 1873
by the 300-strong Hlahol Choir, it was primarily the Third Symphony, premi�red a year later, which made
Dvoř�k�s name known nationally. The principal theme of the opening movement consolidated the young Dvoř�k�s
reputation as a melodically gifted composer.

The symphony was jointly published alongside Dvoř�k�s Fourth Symphony in 1911 by Simrock (Berlin
and Leipzig) following the composer's death in 1904. As was the case with his First Symphony, Dvorak's
Fourth is written in a minor key; the romantic orchestration uses harp and an expanded percussion section,
instead of the English horn and tuba that were used in the Third. With the Fourth, Dvoř�k establishes
the prototype of nationalism in symphonic music, moving from its passionate opening restlessness to the
vision of a glorious future for the Czech nation in the finale.



Music Composed by Anton�n Dvor�k
Played by the Deutsche Radio Philharmonie Saarbr�cken Kaiserslautern
Conducted by Karel Mark Chichon

"The voice of the mature composer is heard more clearly in No.4: from the opening the first movement is unmistakeably
Dvoř�kian with its interplay of two themes. Even his toying with Wagner in the slow movement is subsumed into a personal
statement. Once again among single-CD versions it�s Neeme J�rvi and the SNO who provide my comparison, though their
coupling of the ten Biblical Songs (CHAN8608) may be less appealing than Chichon�s Third Symphony. Gunzenhauser
couples a less convincing account of No.8, though the bargain price and the fact that you may also have a better version of
No.8 may mitigate that. (Naxos 8.550269).

Chichon takes the first movement faster than J�rvi or Libor Pe�ek (Supraphon, with the Czech Philharmonic) but slightly
more slowly than Gunzenhauser. Much as I like those other performances, it�s Chichon who gets closest to the heart of
this movement for me. In the other movements, tempi in all three recordings are pretty well in agreement. Overall, while
Chichon persuades me that it would have been a loss if No.3 had not been published, he convinces me that No.4 is fully
worthy to be ranked with the works which Dvoř�k didn�t disown."
Musicweb



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No.30
Late Romantic

Charles Villiers Stanford (1852-1924) began work on the �Irish� Symphony in May 1886 shortly
after hearing Hans Richter conduct the English premiere of Brahms�s new Fourth Symphony in London on May 10.
In all likelihood, Brahms�s masterpiece provided a major incentive for the Irishman to produce a work of a
similar epic nature. The need to complete other commissions meant that Stanford was not able to resume work
on the symphony until February 1887, and the final two movements were written during the Easter vacation.
Richter was delighted with the work and conducted it at St. James�s Hall on June 27. It was an immediate
success and its promulgation was greatly assisted by its publication in full score by Novello as well as
in an arrangement by Charles Wood for piano duet.



Music Composed by Sir Charles Villiers Stanford
Played by the American Symphony Orchestra
Conducted by Leon Botstein

"The American Symphony Orchestra is a New York-based American orchestra founded in 1962 by Leopold Stokowski
whose mission is to demystify orchestral music and make it accessible and affordable for all audiences. Leon Botstein is
the orchestra's music director and principal conductor. They perform regularly at Carnegie Hall and Symphony Space in
New York City, and are also the resident orchestra of the Richard B. Fisher Center for the Performing Arts at Bard College,
Annandale-on-Hudson. Its concertmaster is Erica Kiesewetter.

Stokowski was 80 years old when he founded the orchestra. He served as music director together with assistant Amos
Meller until May 1972 when, at the age of 90, he returned to England. Following Maestro Stokowski's departure, Kazuyoshi
Akiyama was appointed music director from 1973 to 1978. Music directors during the early 1980s included as principal
conductors, Moshe Atzmon and Giuseppe Patan�. In 1985, John Mauceri assumed the post as music director. In 1991,
Catherine Comet left her post at the end of her tenure with the orchestra and was succeeded by Bard College
president Leon Botstein."



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An excellent Dvorak series by Mr. Garanca...
Many thanks. I hope he concludes the whole symphonies.

No.31
Late Romantic

Alexander Glazunov's lovely Violin Concerto played by veteran soloist Oscar Shumsky, who became only a star in his autumn years.
Add to that the wonderfully colorful ballet The Seasons, marvellously played here by the RSNO under Neeme J�rvi.



Music Composed by Alexander Glazunov
Played by the Royal Scottish National Orchestra
With Oscar Shumsky (violin)
Conducted by Neeme J�rvi

"Those devoted to Glazunov will specially welcome the coupling from Chandos of his two most popular works.
It makes one wonder why so apt and attractive a linking has not become common�maybe a question of virtuoso
violinists not wanting to risk the idea of being taken as a subsidiary attraction.

With Oscar Shumsky there is no danger of that. The concerto may be placed after the ballet, a much longer work,
but with Shumsky's strong, clear tone, recorded with greater warmth and sweetness than on many of his earlier
recordings, and with the solo instrument placed rather close, his strong, positive view of the work comes over
powerfully.

Jarvi's performance of the complete Glazunov ballet is characteristically vigorous and colourful. The only CD riva
l is the digital transfer of Svetlanov's analogue recording of the mid 1970s with the Philharmonia, an outstanding
EMI recording of the period. The new Chandos digital recording brings extra range and brilliance, but the very
reverberant acoustic tends to cloud the opening of the most celebrated passage in the ballet, the exhilarating
Bacchanal at the start of the fourth scene, ''Autumn''. Svetlanov's EMI recording is far clearer in setting the sharp
rhythm before the surging melody enters. The performances present a clear contrast too, when Svetlanov regularly
adopts slower speeds and generally a more relaxed approach than Jarvi. That goes with extra refinement and
point in the playing of the Philharmonia. Svetlanov's is still a red-blooded performance, but Jarvi is more thrustful
still. In the ''Valse des bleuets'', for example, from the third scene, ''Summer'', Jarvi is faster and spikier, where
Svetlanov is more relaxed and sensuous."
Gramophone



Source: Chandos Records CD (My rip!)
Format: mp3(320), DDD Stereo
File Size: 137 MB (incl. covers & booklet)

Download Link - https://mega.nz/#!crRyRCpQ!-ohWclDzxv_qveG9jJeHjA6gNuPSfjfzVVBFKPO7NI0
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---------- Post added at 12:02 PM ---------- Previous post was at 11:44 AM ----------




No.32
Modern: Tonal

Aram Khachaturian's big-boned Violin Concerto and the lesser-known Concerto Rhapsody in one neat package.



Music Composed by Aram Khachaturian
Played by the Royal Philharmonic Orchestra
With Nicolas Koeckert (violin)
Conducted by Jos� Serebrier

"Recorded at the Colosseum, Town Hall, Watford, England 10�11 April 2008, these two virtuoso display pieces for violin and
orchestra embrace the idiosyncratic Armenian voice of Aram Khachaturian (1903�1978). The Concerto-Rhapsody in B-flat Minor
dates from the period in the 1960s that produced a trio of such works�for cello, piano, and violin�the last dedicated to Leonid
Kogan, who premiered the work 7 October 1962. The violin part features any number of scale-figures, often modal in nature,
over a harp and plucked-string and woodwind accompaniment. The musical episodes more than not exploit the folk-balletic
impulse, and more than one passing reference implies Gaynah or Spartacus. The music seems to divide itself into sections
that alternate and repeat, the more melodic of the sequences floating in a colorful, gypsy style that rarely offends the ear.
Rather, Khachaturian takes Wagner�s concept of seamless melody one step further, having forged a tapestry of nocturnal
sounds that, after some thirteen minutes, breaks off in a scherzo with percussion and brass, enlarged shades of Stravinsky�s
violin writing for L�Histoire du Soldat or the second movement from Prokofiev�s D Major Concerto. The last pages might pay
tribute to the Bartok Second Concerto.

The more familiar Violin Concerto in D Minor (1 940), cast for legendary David Oistrakh, has solo Koeckert (b. 1979) frolicking
in vivacious, oriental, languorous colors in the outer movements, singing a love song in the Andante sostenuto. Huge pedal
points and vigorous rhythms, along with etched timbres from horns, woodwinds, strings, and tympani make the Concerto a
naturally fascinating study in royal colors. Serebrier�s harpist exerts much effort to provide a damask background for the
violin�s flights of fancy, a step away from Borodin�s Polovtsian Dances. In the quieter passages, Serebrier�s excellent capacity
for subito provides a chamber music transparency to the proceedings. Typical of Serebrier�s color-vision, that innate gift
augmented by studies with Stokowski, the second movement overflows with erotic motion, any number of veiled suggestions
arising from the composer�s low woodwinds. The last movement, the ultimate Khachaturian whirling dervish, flutters,
breezes, and sizzles by in due acrobatic virtuosity�a lucid reading full of musical abandon. For all of Koeckert�s fine and
blistering wizardry, his silken and elegant tone, the liner notes provide no clue as to the instrument he plays�but should
it turn out to be a Guarnerius, Amati, or Stradivarius, it would seem fitting given the stellar quality of his sound."
The Audiophile Audition



Source: Naxos CD (My rip!)
Format: mp3(320), DDD Stereo
File Size: 147 MB (incl. cover & booklet)

Download Link - http://depositfiles.com/files/v79r2lkyj

Enjoy! Don't share! Buy the original! And please click on "Reputation" button if you downloaded this album! :)

Thanks Wimpel. You do a great job here.

No.33
Late Romantic

A Symphony in all but name, Alexander Zemlinsky�s lavishly scored �symphonic fantasy� Die Seejungfrau (1903) is his most
frequently performed large-scale work beside the Lyric Symphony. Based on Hans Christian Andersen�s fairy tale of the mermaid
who sacrifices herself out of unrequited love for a prince, the work places greater emphasis on thematic development than on mere
illustration. Written over three decades later, when Zemlinsky�s music was taking on a more astringent manner, the Sinfonietta is
remarkable for its nervous energy, anguished passion and sheer virtuosity.



Music Composed by Alexander Zemlinsky
Played by the New Zealand Symphony Orchestra
Conducted by James Judd

"This new recording competes very favourably with the two earlier Chandos recordings of Die Seejungfrau�The attractiveness
and accessibility of Zemlinsky�s Fantasy has ensured its increasing popularity. It is extraordinarily evocative music�wonderfully
tuneful. Little wonder that Zemlinsky influenced Korngold�s use of luscious orchestration�The work, conceived in the grand
Late-Romantic tradition, is scored for a large orchestra. Influences of Richard Strauss, especially, and Tchaikovsky are clear.
There is atmospheric material for the opening scene on the seabed, powerfully evocative music for the storm that shipwrecks
the prince, erotic, voluptuous, perfumed music for the mermaid�s dreaming of love and immortality and of yearning and sweet
devotion for her unresponsive prince.

Judd�s reading is sumptuously evocative of the sea in its calm and stormy turbulence; and fully committed to the work�s heart-
rending emotional drama. The Fantasy, as conceived by Zemlinsky, is more concerned with thematic development than literal
�mickey-mousing� evocations. The Naxos sound engineering is first class too.

The Sinfonietta of 1934 is quite a different matter. Three decades after The Mermaid Zemlinsky was on a much more astringent
path, one closer to that trodden by Stravinsky, Mahler and Hindemith. The style and elegance of Zemlinsky�s old Vienna was
fast disappearing. Here there is a much spikier outlook, a sardonic tread to the music, an air of disillusion. Bitter, ironic wit is
juxtaposed with the occasional nostalgic backward-glancing, sweet lyricism�all tinged with heavy poignancy. Brutality jostles
dreaming. Judd probes deeply into this extraordinary work�s fatalism and disenchantment�I would not like to be without this
terrifically exciting and evocative new album by the New Zealand Orchestra. At super bargain price it has to be irresistible."
Musicweb



Source: Naxos CD (My rip!)
Format: mp3(320), DDD Stereo
File Size: 146 MB (incl. covers & booklet)

Download Link - https://mega.nz/#!szoF0LwY!opRpmR-WTrJ4B19mlo7mfYIy_X7aafMATjZl_OkfU8w
/>
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No.34
Impressionism/Neo-Classical

HIP expert Sir Roger Norrington puts his spin on Vaughan Williams, and the results
can be quite idiosyncratic, especially in the Fantasia on a Theme by Thomas Tallis.



Music Composed by Ralph Vaughan Williams
Played by the London Philharmonic Orchestra
Conducted by Sir Roger Norrington



Source: Decca CD (My rip!)
Format: mp3(320), DDD Stereo
File Size: 198 MB (incl. covers & booklet)

Download Link - https://mega.nz/#!V3x02CRZ!h9nbErkbfeISvBeWgwnkUwi23Qu-s3vaXg-Ex1l5nn4
/>
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---------- Post added at 05:35 PM ---------- Previous post was at 05:28 PM ----------




No.35
Impressionism/Neo-Classical

Another album in Sir Roger Norrington's Vaughan Williams survey, which was never completed.
You can find Symphonies Nos. 4 & 6 in my "could-be-classical" thread.



Music Composed by Ralph Vaughan Williams
Played by the London Philharmonic Orchestra
Conducted by Sir Roger Norrington



Source: Decca CD (My rip!)
Format: mp3(320), DDD Stereo
File Size: 199 MB (incl. covers & booklet)

Download Link - https://mega.nz/#!Rv4B0RiS!-v8HWrEWP6GVz_ZvV7yIv583tALSt55S3fafoyCeeZo
/>
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No.36
Modern: Impressionism/Tonal

A trio fo 20th century guitar concertos, including Manuel Ponce's Concerto del Sur, which IMHO is the finest of them all.



Music by Joaqu�n Rodrigo, Manuel Ponce & Heitor Villa-Lobos
Played by Orquesta Sinf�nica Carlos Ch�vez
With Juan Carlos Laguna, Alfonso Moreno & Rafael Jimenez (guitar)
Conducted by Fernando Lozano



Source: Forlane CD (My rip!)
Format: mp3(320), DDD Stereo
File Size: 217 MB (incl. covers & booklet)

Download Link - https://mega.nz/#!IzB1Ub6Q!7iQ65ZyTc4VABx-8R8jrkIwPu3D9NuI18woL1SEV2uw
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No.37
Modern: Neo-Romantic

This twofer was meant as Volume 1 of a prospective series of works by forgotten English composer Algernon Ashton (1859-1937).
Due to poor sales, the series never materialized, although there's much attractive music in these piano sonatas.



Music Composed by Algernon Ashton
Played by Leslie De'ath (piano)





Source: Dutton Epoch CD (My rip!)
Format: mp3(320), DDD Stereo
File Size: 317 MB

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No.38
Late Romantic

Charles Hubert Parry's piano music hasn't attracted a lot of attention, so this early 1990s recording
on the small Priory label is one of the very few albums available. It features the charming, if
lightweight Shulbrede Tunes, a set of character pieces not dissimilar from Elgar's Wand of Youth suites,
the more substantial Theme and Variations in D minor and another suite, Hands across the Centuries, in
which Parry explores various older dance forms, much like he did in his English and Lady Radnor's Suites.



Music Composed by Sir Charles Hubert Parry
Played by Peter Jacobs (piano)

"Peter Jacobs has etched out a career built largely on the performance of works by lesser-known and neglected
English and French composers of the late nineteenth and twentieth centuries. In fact, some of the composers
championed by the energetic and courageous Jacobs might better be described as little known or virtual unknowns
to most listeners: Henry Balfour Gardiner, Alan Bush, John Foulds, Billy Mayerl, Benjamin Dale, Betty Roe, and
Trevor Hold. He is also associated with music by familiar names -- Vaughan Williams and Frank Bridge, for instance.
But this pair are hardly famous for their keyboard music, and thus, performance of their piano works even entails
a measure of risk. Jacobs' recital programs have often included works by more mainstream composers, such as
Haydn, Beethoven, Schubert, Chopin, and Poulenc, but he has rarely recorded anything in the standard repertory,
some Faur� works excepted. Jacobs has made numerous recordings for several labels, including Hyperion,
Olympia, Continuum, Priory Records UK, and Altarus.



Source: Priory Records CD (My rip!)
Format: mp3(320), DDD Stereo
File Size: 168 MB

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No.39
Modern: Tonal

Two things are astounding about Edmund Rubbra's solo piano music: Although he himself was
no mean pianist (he played in a piano trio for several years) he wrote comparatively few works for
the instrument - they all fit neatly on one CD - and no sonatas. The second peculiarity is that almost
all of it was composed in the middle and towards the end of his long career.

The most substantial pieces here are the "longer" single-movement works, like the opening
Prelude and Fugue on a Theme of Cyril Scott, or the Fantasy Fugue (op.161!), or the
Introduction, Aria and Fugue. Rubbra also wrote series of Eight Preludes and of Four Studies.

The Nine Teaching Pieces, a work of the 1950s, is an amusing conclusion to this album. Like William
Alwyn and some other British composers of the day, Rubbra was asked to provide a set of short
character pieces of increasing difficulty for young piano students. Appealingly, the first of these
pieces is performed here by the pianist's then-little daughter - in order to show what kind of level
of student the first study, "Question and Answer", was meant for.



Music Composed by Edmund Rubbra
Played by Michael Dussek (piano)

"Michael Dussek has led an exceptionally varied and successful career, performing throughout the world
as soloist, chamber musician and singer's accompanist.

He has partnered many of today's leading instrumental and vocal soloists, including violinists Ryu Goto,
Cho-Liang Lin, Anne Akiko Meyers, Gil Shaham, Antje Weithaas and Xue Wei; cellist Ofra Harnoy, flautist
James Galway, oboist Douglas Boyd; and singers Susan Bullock, Bernarda Fink, Christopher Maltman, Ian
Partridge and Jean Rigby.

Michael has played in many of the world's major concert halls, including London's Royal Festival Hall, Royal
Albert Hall, Wigmore Hall, Royal Opera House; Amsterdam's Concertgebouw, Madrid's Auditorio Nacional,
Tokyo's Suntory Hall, Osaka's Symphony Hall, Seoul Arts Centre and major concert venues in Beijing,
Bonn, Brussels, Helsinki, Hong Kong, Paris, Prague, Toronto and Taipei."





Source: Dutton Epoch CD (My rip!)
Format: mp3(320), DDD Stereo
File Size: 140 MB

Download Link - https://mega.nz/#!Z6wBCbbB!jWBseLo6H-4fbFUfW22PgZ0LErCV6_8mFlnTEgklEIo
/>
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No.18
Modern: Neo-Classical

In the last decade of the 19th and the beginning of the 20th century, two generations of musicians, one against the other,
lived side by side: one having a late-romantic education, and leaving a mark on the stage with masterpieces like Cavalleria
Rusticana, Pagliacci, Andrea Ch�nier, Adriana Lecouvreur with Giacomo Puccini as a glorious and sound leader, the other being
a host of composers born around 1880 (the so-called generazione dell�Ottanta, generation of the 80s, including Pizzetti, Respighi,
Casella, Malipiero) who would meticolously commit themselves to get Italy free from the melodrama oppression and set Italy
at the same level of the great European countries (France and Germany), equipping it with an important repertoir of symphonic,
instrumental and vocal chamber music. The Quartetto Mitja and the Orchestra Nazionale Artes - conducted by
Andrea Vitiallo - here perform the first and the last of the quartets by Malipiero and the Sinfonia �degli archi�,
three fundamental works to understand how the recovery of the tradition is crucial in the aesthetics of the Italian historical
twentieth century.



Music Composed by Gian Francesco Malipiero
Played by the Orchestra Nazionale Artes
With the Quartetto Mitja
Conducted by Andrea Vitello

"The quartets are recorded close, but the symphony was recorded in a very reverberant hall that flatters
the strings beautifully�this is a gorgeous recording, much better sound and performance than the Moscow
Symphony under Almeida. Quartet 1 and the symphony alone make this disc worth your time and money."
American Record Guide



Source: Tactus CD (My rip!)
Format: mp3(320k), DDD Stereo
File Size: 148 MB (incl. booklet)

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Hello, could you please reupload this?
Thank you.

Hello,
I tried to submit a post but I don't know if I was successful, so I'm trying again. Please forgive me if this will result in a double message, I'm not accustomed to writing in this forum (as you can tell by my posts count).
I wondered if you could please reupload the Malipiero in this post (Thread 217967).
Thank you.

Hello,
I tried to submit a post but I don't know if I was successful, so I'm trying again. Please forgive me if this will result in a double message, I'm not accustomed to writing in this forum (as you can tell by my posts count).
I wondered if you could please reupload the Malipiero in this post (Thread 217967).
Thank you.

I have asked the thread to be deleted since the links are all down and I don't have the time nor inclination to re-up them all.

This is the Malipiero album for your convenience: https://mega.nz/#!VXB0nDrB!SVxM44I8DA9mwrTDQWbhv4eiQlxFHbL4dV2r2mhnh1Q

Thank you very much!
I'm sorry to hear of the thread's deletion, I hope you'll continue your commendable work in the others though.