Sometimes known as 'The Tragic' - a title suggested but then withdrawn by the composer - Mahler's Sixth Symphony embodies much of the inner turmoil and superstition of its composer. Conceived at perhaps one of the happiest periods of Mahler's life, it seems to foreshadow the personal tragedies that would later befall him - with his wife Alma writing that "The music and what it foretold touched us deeply." Esa-Pekka Salonen's work with the Philharmonia for the City of Dreams: Vienna 1900-1935 concert series has produced a number of powerful, live concert recordings for the Philharmonia series, including Schoenberg's Gurrelieder, Berlioz's Symphony Fantastique and Mahler's Symphony No.9 - all of which have been praised by criticsfollowing their release on Signum. ' ... the orchestral playing was of a very high order ... his command of the intensely difficult finale was wholly admirable, moving towards that astounding, deeply moving, coda with fine artistry.' Robert Matthew-Walker, Classical Source.com (Review of the concert of this recording)

For this monumental four-disc release, Lyrita has chosen the most influential and best loved symphonies by British composers, taken from previous Lyrita recordings. The best English ensembles are all included on this release, including the London Philharmonic Orchestra, Philharmonia Orchestra, BBC Welsh Symphony Orchestra, and the London Symphony Orchestra. All are conducted by the most respected interpreters of British music, such as Nicholas Braithwaite, Vernon Handley, Sir Adrian Boult, Myer Fredman, Sir Lennox Berkeley, and more. Over five hours of music is included in this box set. The booklet contains fascinating and detailed liner notes by Paul Conway which give a brief biography of each of these composers, as well as a detailed history of their featured work. This release is a must have for any aficionado of British symphonic music.

The Hungarian violinist Johanna Martzy was born in Temesvár, then in Hungary, today in Romania, on October 26, 1924, and was hailed as a wunderkind. At the age of seven, she became the last pupil to be taken under the wing of the great violin teacher Jenö Hubay, who had enabled artists like Joseph Szigeti and Sándor Végh to fly high. Ferenc Gabriel continued the girl's training after Hubay's death, helping her to win first prize at the Hubay Competition when she was seventeen. She took up studies at the Ferenc Liszt Music Academy in Budapest the following year and made her orchestral debut with the Tchaikovsky Concerto under the baton of Willem Mengelberg a year later. When Nazi Germany occupied Hungary in 1944, Johanna Martzy and her husband Béla Szillery fled via Austria and France to Switzerland. There she won the Concours International d'Exécution Musicale in Geneva in 1947, and her international career gradually gained momentum. She began making gramophone records in 1950; Ferenc Fricsay's recording of the Dvorák concerto for Deutsche Grammophon of 1953 is notable for its rousing intensity and still enjoys benchmark status. In 1954 and 1955 EMI's legendary record producer Walter Legge made the recording of Bach's Sonatas and Partitas for solo violin presented here.

In spite of a successful concert comeback in the 1960s, she was no longer in the top flight. It seems symbolical that it was in Budapest that she discovered she had hepatitis in 1969. Johanna Martzy steadily grew weaker and died in Switzerland on August 13, 1979, a year after the death of her husband. The present recordings remain a rare attestation of the brilliance of Johanna Martzy's playing, and it ensures her everlasting fame, at least among connoisseurs.

REVIEW:

The Hungarian violinist Johanna Martzy, who died in Zurich in 1979 at the age of only 54, experienced a short, steep international career at the beginning of the 1950s. She has remained an icon for insiders to this day and is considered the last great representative of the Hungarian violin school.

Profil has now refreshed the majority of their EMI recordings plus two Yellow Label concertos produced in 1952 and 1953 by Mozart (KV 218) under Jochum and the legendary Dvořák concerto under Fricsay and packed them into a 6-CD box set. The EMI bundle includes the two concertos by Brahms (1954) and Mendelssohn Bartholdy (1955) recorded with Paul Kletzki, which are still among the most expressive interpretations of the entire discography, as well as Schubert's (almost) complete works for violin and piano, and then also her legendary Abbey Road recordings of Bach's solo sonatas and partitas.

Martzy embodies the romantic Bach conception of the time, which aims for intensity, expressiveness, and flowing legato, and an aesthetic that wants to overwhelm the listener with beauty and dramatic stringency. At the same time, on her full-bodied, almost viola-like sonorous Bergonzi violin from 1733, she ignites such an inner fervor and draws such arcs of suspense that one cannot evade her infinitely spun, plastic lines. Every single tone is suggestively shaped and part of the flowing universe: drama and logic in one. And with the changing keys it also changes the respective basic color of its tone, i.e. from the darkened sonority of the D minor partita to the radiantly bright E major of the third partita. You can feel the objective and subjective power of this music at every moment: they are monologues of harrowing beauty.

Her interpretations of the concertos by Mozart, Mendelssohn Bartholdy, Brahms and Dvořák, glowing with intensity, shine as flawlessly clean, full-bodied and sonorous and at the same time as inwardly lively, as passionately urgent and lyrically shaped - she practices a kind of musical perfection that everyone Leaving virtuosity behind, proclaimed as a means to penetrate to the true inner, to the glowing human message, to enchant and shake us with pure, flowing heart energy. It's no wonder that Johanna Martzy enjoys iconic status in professional circles and that the few original LPs that have survived are sold at top prices.

-- Rondo (Germany, Attila Csampai)