The man is simply a legend, wrote The Guardian on the occasion of Sir Neville Marriner's 90th birthday in 2014. After his death in 2016 it celebrated "a life of music-making of the highest quality that gave pleasure to many." Over his long career, Marriner built a substantial and admired discography, becoming one of the most-recorded and best-selling conductors of all time. He is associated above all with the Academy of St Martin in the Fields, the chamber orchestra he founded with a group of colleagues in 1958. Prominent in this richly varied collection, the Academy consistently embodies a fresh and stylish spirit that proved transformational in Baroque and Classical repertoire and illuminated music from the 19th and 20th centuries. Marriner's distinction and influence as a conductor is further demonstrated by recordings he made with the Radio-Sinfonieorchester Stuttgart, Staatskapelle Dresden, London Symphony Orchestra, Northern Sinfonia, Los Angeles Chamber Orchestra and Minnesota Orchestra.

Verve Label Group - Marriner Conducts Beethoven - Sir Neville Marriner - 15 April 2024 marks the centenary of the birth of Sir Neville Marriner, widely considered to have the most extensive discography of any single musician. He recorded for most of Decca's imprints - L'Oiseau-Lyre, Decca, Argo, and by acquisition, Philips Classics. He also recorded extensively for EMI and, in the final chapter of his discographical history, Hanssler Classics. - Known and celebrated for his recordings of Baroque music and of Mozart, Marriner also made highly-desired recordings of Beethoven with 'his' Academy of St. Martin in the Fields - a chapter in his recorded history being gathered together for the first time. - In September 1970 he set down recordings of Beethoven's first two symphonies for Philips. These were first included in a 4-LP set entitled 'The Rise of the Symphony' (6707 013). One more symphony, No. 4, coupled with a string-orchestra transcription of the 'Grosse Fuge' was set down in December 1974. Perhaps a complete Beethoven symphony cycle was never envisaged at the time, for it wasn't until the 1980s that recordings of Beethoven symphonies gathered momentum, starting with the 'Eroica' in 1982 and concluding with the Ninth in April 1989. - Two recordings of the Violin Concerto were also made: with long-standing leader of the Academy, Iona Brown (herself also a conductor) in January 1980 for Argo, and quite surprisingly, again in December that year with Gidon Kremer for Philips, who incorporated two of the Schnittke cadenzas into his performance. These were rounded out with a disc of a selection of charming Minuets, German Dances and Contredanses, also for Philips, in 1978.

LIMITED EDITION. A unique collection of L'Oiseau-Lyre, Argo, Decca and Philips albums in original covers, showcasing both the genius of Handel and the musicianship of the classic ASMF/Marriner pairing at it's most stylish. Even while a member of the London Symphony Orchestra in the early 1950s, Neville Marriner had made recordings for L'Oiseau-Lyre as a violinist in the Jacobean Ensemble. Accordingly, he took a tape of a concerto grosso to the label's legendary owner, Louise Hanson-Dyer. The artists on it were his new ensemble, the Academy of St. Martin in the Fields. This modest demonstration tape ultimately led to more than 500 recordings, and the success of the Academy with Marriner as the world's most recorded partnership. Handel was an integral part of the Academy's work firstly for L'Oiseau-Lyre, then for Argo, finally for the Dutch label Philips. (Marriner and the Academy also recorded music by Handel for EMI.) Without including later duplicate versions, this box compiles for the first time all the ASMF/Marriner albums made for the Decca family of labels as well as Philips between 1961 and 1997, amounting to a comprehensive survey of the composer's orchestral music, ornamented with Acis and Galatea, Messiah, Jephtha and the Coronation Anthems. Critics from the outset praised not just the energy of the Academy and Marriner in Handel's Concerti grossi, but also their Polish, at a time when period-instrument versions were technically unreliable. Soloists such as the oboist Roger Lord emerged naturally from an ensemble of soloists in the first place. A succession of keyboard players pays testament to the determination of Marriner to find a degree of authenticity in 18th-century music that worked practically for him and his colleagues. First of all his friend Thurston Dart, who researched the sources for much of the music played here, and the mercurial choir director and harpsichordist George Malcolm. In a later generation came Andrew Davis and Christopher Hogwood, the organist on the Argo Messiah which was recorded using his edition. All the vocal works are cast from strength, including Elly Ameling and Philip Langridge in Messiah, Jill Gomez and Robert Tear in Acis and Galatea, and Anthony Rolfe Johnson and Emma Kirkby in Jephtha. Tear is also heard in a lesser-known 1969 album of German and English arias. From 1997, Dmitri Hvorostovsky is heard in Handel excerpts from his 'Arie antiche' album, testifying to the durability of a marriage between ensemble, conductor and composer which survived tumultuous artistic change. Further highlights include the classic Fireworks/Water Music pairing from 1971, ballet music from Ariodante and Alcina (also Argo), the Concerti a due cori from 1979 and the digital-era Philips album of Coronation Anthems, as well as a curiosity: two choruses from Messiah recorded in the studio as a promotional item for the forthcoming recording on Philips of the complete oratorio from Dublin. Handel was their home territory, as Peter Quantrill illustrates in a booklet essay discussing the history of the Academy and Marriner with Handel's music. Philip Stuart, author of Marriner and the Academy: A Record Partnership, contributes a 'sessionography'.

With the delightful original LP cover illustrations, this 'original jackets' presentation collects together for the first time the 33 Haydn Symphonies recorded by Sir Neville Marriner and the Academy of St. Martin in the Fields over a twenty-year period, from 1970-1990. Both the Polish and refinement of these performances, as well as the recording quality "of exceptional vividness and presence" (Gramophone), received widespread critical acclaim. Begun in 1970 with an album of Symphonies Nos 52 & 53, this series of Haydn recordings soon concentrated on symphonies with nicknames (none of them supplied by the composer). They attracted widespread praise for the precision of their playing, the excellence of the Philips engineering and the unassuming Polish and refinement of the readings, the only complaint being made that Marriner and his ensemble could not venture into all those other symphonic marvels which happened not to have attracted a nickname. Only towards the end of the series, in 1981, did they yield to this criticism by completing a set of the Paris symphonies with beautifully pointed accounts of Nos. 84, 86 and 87. However, with 33 individual symphonies eventually recorded, the series covers a substantial fraction of Haydn's legacy. Marriner took a flexible attitude to thorny academic issues such as whether or not to use a harpsichord continuo: 'The most important thing is to be practical, ' he said, and the series conveys a meeting of minds across the centuries between two supremely practical musicians. Some of these recordings last saw the light of day in a 1996 box of the 'named' symphonies. However, the present compilation restores the original couplings with 'original jacket' artwork. The booklet includes many session photographs of Marriner and the Academy in their natural habitat, as well as an enticing array of editorial contributions: from Max Harrison on Haydn's inexhaustible invention as a symphonist, from Philip Stuart on the ins and outs of the ASMF Haydn discography, from Rob Cowan on Sir Neville Marriner as a director of unfailing style and vitality in this repertoire, and a personal memoir from Costa Pilavachi who worked with Marriner in his capacity as A&R manager and later head of the Philips Classics label.

As a music laboratory of great influence in the southern states of America, New Orleans was instrumental in the development of American popular music, and soul in particular. Fantastic New Orleans artists and producers mixed religious and secular music, Indian and Caribbean sounds, voodoo, Jazz and Zydeco… Their soul music was born out of the fusion between those influences and the language and emotions of Gospel, creating a universal idiom that stood the world on its head. In the 32 page booklet accompanying this essential anthology, Bruno Blum provides a commentary of the metamorphosis of Negro spirituals, blues and rock into pure New Orleans soul, thanks to such legendary artists as Lee Dorsey, Irma Thomas, Snooks Eaglin or Eddie Bo. Patrick FReMEAUX

2007 collection by the New Orleans legend and member of the Neville Brothers. Features all his A-sides spanning the years 1969-79 plus even more great cuts from the man. 22 tracks including 'Tell It Like It Is', 'You Don't Love Me Anymore', 'Cry Me a River' and more. Acrobat.