In 1897 Bram Stoker wrote a story expressing the most persistent nightmare of the human condition, and now for over a century Dracula has reigned supreme as the undisputed masterpiece of horror writing. We have all grown up beneath the shadow of the elegant Count, at once an attractive, brutal and erotic creature of the night. Read by David Horovitch, Jamie Parker, Joseph Kloska, Alison Pettitt and cast, this Complete Classic Unabridged Edition, spans a total of 14 CDs. David Horovitch's long and distinguished theatre career includes many West End, National Theatre and RSC stage appearances. Among his many readings for Naxos Audiobooks are Lampedusa's The Leopard, Dickens's Nicholas Nickleby, Ovid's Metamorphoses and Conrad's Heart of Darkness. Known for roles in film, TV and theatre, Jamie Parker has read Hardy's Far From the Madding Crowd and Under the Greenwood Tree for Naxos Audiobooks. Joseph Kloska has appeared in over 100 plays, readings and live broadcasts for the BBC.

Jonathan Nott is since 2000 principal conductor of the Bamberg Symphony. Such a lengthy collaboration is rare nowadays, and it has produced unique results with this Schubert-Cycle and the Mahler Symphonies. Successful concert tours, guest performances and engagements as orchestra-in-residence at such festivals as Edinburgh and Lucerne are proof of the international reputation of the Bamberg Symphony and their principal conductor, a success not solely based on the classical and romantic standard repertoire but also on works by Boulez, Berio, Lachenmann and Ligeti.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

The 32 Piano Sonatas by Ludwig van Beethoven are often referred to as the ‘New Testament’ of the keyboard literature, following on the ‘Old Testament’ of J.S. Bach's 48 preludes and fugues in the Well-Tempered Clavier. Composed over a period of almost three decades, from 1795 to 1822, the sonatas constitute a fascinating panorama of an artistic career which underwent numerous changes – not to say upheavals – but nevertheless remained remarkably consistent. Ever since the first recording of the entire cycle, by Artur Schnabel in the 1930s, a number of the world's leading pianists have given us their performances of this monumental collection on disc. One of the latest cycles is that of Ronald Brautigam, released on single discs between 2004 and 2010. Performed on the fortepiano, as part of a series of Beethoven's complete solo keyboard works, Brautigam's recordings have been described as ‘riveting’, ‘compelling’ and ‘revolutionary’. The eight discs with the 32 sonatas are now being released as a boxed set, along with a ninth disc containing the early, unnumbered sonatas. Contributing factors to the ‘refreshing directness’ that reviewers have experienced in these performances are the widely praised recorded sound and the carefully selected instruments, built by Paul McNulty after originals from 1788-1819 by the foremost Viennese makers of fortepianos. For this boxed set, the original SACD format has been retained – along with the possibility of listening to the performances in surround – thus offering the opportunity of sharing the experience of one reviewer: ‘One has almost the impression of being a contemporary of Beethoven’s: one of the first, infinitely startled – not to say shocked – witnesses to this music’ (Süddeutsche Zeitung).

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REVIEW:

Much of the playing here is sensational. Notice the pronounced rhetorical emphasis yet intensely focused dotted rhythms in the Pathétique’s introduction, or the revelatory continuity from one variation to the next in Op 14 No 2’s uncommonly quick central movement. Those who think that even Brautigam’s sturdy fortepiano cannot approximate an orchestra should check out Op 22’s first movement, where the full-bodied octaves and brilliantly judged ‘Rossini’ crescendo just before the recapitulation make a pulverising impact.

And what about the Moonlight finale’s controlled fury and slashing momentum that remain musical to the core, or how those Op 10 No 1 and 2 finales rock and roll while retaining maximum linear clarity? Few others rightly feel Op 10 No 3’s Minuet as one beat to a bar and effectively spin out the left-hand counterlines. Among the heroic middle-period works, perhaps Brautigam’s Waldstein and Appassionata make a cogent case for period instruments in regard to textural differentiation between registers, shorter pedal resonances, and being able to truly perceive rather than merely infer each pitch within low-lying chords and runs, abetted by Brautigam’s subtle yet expressively powerful tempo modifications and telling accents.

Brautigam’s late sonatas are never less than masterful.

– Gramophone

"...impeccably, splendidly remastered...I love these recordings and what they represent. And I want everyone I know and everyone I don't know to hear them." - Lloyd Schwartz, University of Massachusetts Boston, New York Arts online journal, for NPR.

In this series of concerti, one senses a progression. The first six, all in major keys with clear, luminous themes, rely on a varied and singing virtuosity. Magnificently written for the flute, they remain – although more developed – in the tradition. The following concerti show the “French Mozart” at the peak of classical style, but also forward looking, notably through a more demonstrative conception of the Soli and the orchestration. The variety and quality of these concertos reveal François Devienne as one of the great masters of flute literature, and of the concertante genre in France.

This six-disc set of Tchaikovsky concert performances, recorded 1984-2009, features more than a dozen orchestral works, including the composer’s last three symphonies, the Manfred, The Tempest and other symphonic poems. Three of the recordings are first-time releases. The Moscow Radio Symphony Orchestra, founded 1930, is internationally recognized as one of Russia's most prestigious and versatile orchestras. Vladimir Fedoseyev has, since 1974, held the position of Artistic Director and Chief Conductor of the orchestra, now known as the Tchaikovsky Symphony Orchestra.

In Volume V (Chapters XLVII-LVI), Edward Gibbon further explores the influence of Christianity on the fall of the Roman Empire. He looks at the growth of the worship of Christian images and the resulting persecution by Leo III, emperor of the East. The conflict is intensified as a split develops between the Eastern and Western churches, a weakness that encourages attacks from Lombardy. Gibbon then moves to the foundation of the Moslem religion and the attempts by the Arabs to besiege Constantinople.]

The second installment of Stefano Molardi’s survey of the complete organ works of J.S. Bach offers a program built around the mood and emotional impact of the featured works (either by similarity or contrast), centering around one of the greatest of the master’s cycles, the Dritter Clavierübung, a set of chorale preludes structured as an “organ mass”. Mr. Molardi selected two historical organs that Bach may have known, or at least of a kind he may have been familiar with, for these recordings.

The third volume of the Musical portraits series is dedicated to André-Modeste Grétry (1741-1813). This 5CD box set includes highlights of several operas (La caravane du Caire, L'amant jaloux, Le jugement de Midas), his Six Quartets, op. 3 (Paris, 1773) and some partial adaptations of his operas (by Mozart and Franck, among others). These works demonstrate Grétry‘s fine melodic sensibility, harmonic panache and accomplished artistry.

This 5-disc set features four outstanding 20th century conductors, William Steinberg (1899-1978), Dimitri Mitropoulos (1896-1960), Igor Markevitch (1912-83) and Gennadi Rozhdestvensky (b. 1931) thrillingly directing several Great Choral Classics of the 19th century, including Beethoven’s Missa Solemnis and Verdi’s Requiem. Sopranos Galina Vishnevskaya and Dame Janet Baker, among other stellar singers, feature prominently in these performances.