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Albeniz – Suite Espanola
The Suite espanola, written by the piano virtuoso and composer Isaac Albeniz, is one of the most outstanding works in the history of Spanish music. Albeniz invites the listener to join him on a musical journey through eight great Spanish cities, each steeped in tradition, investing each scene with local colouring as an homage.
Antill – Corroboree / Ginastera – Panambi
In 1947, Sir Eugene Goossens gave the first performance of this composition that documents the Australian Aboriginal dance known as a "Corroboree". This longplay record was cut directly from the original 35mm magnetic film using an "all tube" cutting system for maximum fidelity.
Apres Un Reve : Gary Karr and Harmon Lewis
Gary Karr, acclaimed as »the world's leading solo bassist« (Time magazine), is, in fact, the first solo doublebassist in history to make that pursuit a full-time career. It is a career that adds new lustre to his already lustrous 1611 Amati doublebass which was given to him by the widow of Serge Koussevitzky.
Bach – Suites For Unaccompanied Cello Complete
Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker’s full-bodied sound and technical brilliance are complemented by his finely chiseled interpretation that lends immense expression to Bach’s thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach’s Cello Suites are ‘polyphony for a solo instrument’.
Bach: 6 Solo Cello Suites
As can be easily inferred from his career path, Enrico Mainardi was a cellist whose artistic viewpoint was a grafting of the German school of cello playing influenced by Neue Sachlichkeit to the musical background of his motherland Italy. He recorded the monaural cycle for the Archiv label between April 1950 and October 1955. Mainardi's Bach is leisurely and contemplative. His playing meditates on the auspicious meaning of the work - it is a musical delta of courteous low notes, a magical prayer of an aged monk. This is a masterful performance, and its value is somewhat different from the performances of today. Recording: in mono
Bartok – Concerto for Orchestra
For years, the Concerto for Orchestra has been not only the most-played of Bartok's works, but also the most frequently performed among other contemporary scores. Since its original release on LP in the mid-1950s, Fritz Reiner's rendition of the Concerto for Orchestra has stood as the standard against which all other recordings of the work are measured.
Bartok – Dance Suite for Orchestra, Two Portraits
Bartók composed his Dance Suite as the result of a commission from the city fathers of Budapest to celebrate the 50th anniversary of the union of the two towns Pest and Buda. While on his travels, Bartók liked to collect old folksongs, and he used this opportunity to express the act of fraternity in his music in the manner of a hidden programme. As he himself stated, he made use of Arabian, Hungarian and Romanian influences in the Suite, whose dances are linked together by means of ritornello-like interludes.
Beethoven – Complete Incidental Music to Goethe’s Egmont
Ludwig van Beethoven - Complete Incidential Music to Goethe's Egmont Pilar Lorengar, Klaus-Jrgen Wussow and the Vienna Philmarmonic Orchestra conducted by Georg Szell "It is a happy state of events to see two great masters unite in a glorious work and thus fulfil every wish of the thoughtful connoisseur. Beethoven has proved that he alone - among many composers - was certainly the one to comprehend the tender and at the same time powerful poem deep in his innermost soul: every tone which the poet struck resounded in his heart like a string tuned at the very same pitch and vibrating at the same rate, and so the music was created which now threads its way and binds all together like a brightly coloured ribbon woven from brilliant tones." Such were E.T.A. Hoffmann's enthusiastic words about Beethoven's Egmont: indeed very little else needs to be added - except that this recording has been newly pressed and is now available on the DECCA label once again.
Beethoven – Concerto for Piano and Orchestra No. 1
The performance history of Beethoven’s Piano Concertos is, it appears, bound up with a paradoxical situation. On the one hand, every great pianist must almost feel destined to perform these works at least once in his lifetime. But on the other hand, so many heroes of the schellac era have left future generations their excellent recordings that these are filled with awe and respect, their otherwise nimble fingers become lame – and often only a mediocre recording is the result.
Beethoven – Concerto No. 5 (Emperor)
Beethoven's Emperor (Concerto No. 5, Op. 73 in E-flat Major) was composed in 1809. I have heard nothing except good comments concerning the Emperor Concerto, but the reviews point to little else than the unique structural departure from previous concerti and the moods of the movements as robust and calm. Beethoven's intention, I feel, was primarily to produce a point/counterpoint study of that remarkable melody created with a few notes in the upper range by the right hand. It appears approximately five minutes into the first movement and again ten minutes later. The robust themes preceding and following those appearances are in themselves a study in power; a series of rich chords expressing, in effect when held against the crystalline theme, the contrast between masculine and feminine.
Beethoven – Sonatas for Piano & Cello
Possessing a complete recording of Beethoven’s Cello Sonatas gives far more satisfaction than merely having the set to fill the shelves. On the one hand it offers one the opportunity to compare Beethoven’s art of composition at various stages in his life. And on the other hand one can already recognise in the early Opus 5 how he breaks with the traditional sonata in which the solo instrument merely provides an accompaniment and treats the two instruments as equal partners in the creation of the movements.