Some of the earliest masterworks of Jordi Savall plus his famous authentic Forerunners !

crisp, clear-sighted approach, all proceeds at a proper tempo and, where appropriate, with a spring in it's heels. The slow movements are sensitively expressive... this is basically how such works would have been heard in their time, you may feel this is the way it should be... The strings are 'authentic' and respectful of every element... I thoroughly enjoyed this and the superb recording "Ivor Bolton is close enough to be heard in realistic balance, (his) clean and incisive fingers bring the music to life in these most enjoyable recordings." (Gramophone)

He was very well thought of by Stanford, at the Royal College of Music; and not just out of sympathy with allowing a black composer a hearing in London. The Clarinet Quintet (that pleased Stanford) also received approval from Joachim. It is a very agreeable quintet, most acceptably performed and recorded, and as easy on the ear as it's more famous predecessors (Mozart and Brahms). Petite suite de concert: lovable music; Other of the piano music could have great appeal: especially so could the arrangements of Spiritual Melodies with their easygoing simplicity (MusicWeb)

altogether this is as tempting a Hummel collection as any we know... His G major (mandolin) Concerto here in even more agreeable form, as Op.73 Piano Concertino, and Martin Galling is even more persuasive, helped by a very spirited backing in Berlin... also La Galante, a lilting Rondo for solo piano... Zukerman and Faerber return for Hummel's Bassoon Concerto, impressive to be discussed in the same breath as Mozart's, particularly with this splendid soloist, who is deliciously jocular in the characterful finale. The disc concludes with Septet Militaire, Op.114: the very happy finale, with it's ingenious upward scale, is most felicitous (Gramophone)

this first important black female composer has become celebrated recently as we discover her works. This includes her best Symphony and major Suite (Alto)... *"history bears down on the opening of the Third Symphony... big moments where Price clearly feels the burden of the African American experience but allows it to fuel her soul. It's easy to forget that she's a contemporary of George Gershwin. In fact, (he) attended the premiere of Price's Symphony No.1. So how do we tell this story, recognising on the one hand... she's been neglected in this historiography, but... also she's very much a part of the American symphonic scene?" (*Gramophone)

(His) Symphony is a very likeable discovery. Both middle movements display a disarming melodic felicity and assurance, and admiring glances towards Dvor�k, although Stanford (his teacher) was never happy with the finale. It was first played by RCM students in 1896 (including Holst and Vaughan Williams !). Although it went down well, it gathered dust for over a century. Bostock's alert and affectionate lead enjoy making it's acquaintance... crisp and clear sound for this world premiere recording. In every respect, a solid thumbs-up [Gramophone] "The much-loved Hiawatha's Wedding Feast recalls the extraordinary excitement of it's first performance. Coleridge-Taylor was then 23 and the work an immediate and wild success. Parry suggested that because of the composer's West African father, "he loved plenty of sound, plenty of colour, simple and definite rhythms and, above all, plenty of tune". All these qualities kept it popular, and are admirably captured here: the Philharmonia provide the orchestral colour, and Sir Malcolm keeps the admirable Royal Choral Society on their rhythmic toes. Richard Lewis gives a suitably romantic Onaway! Awake, beloved ! Hiawatha's Wedding Feast has been done proud in every way" [Gramophone]

Amy Beach was one of the first prominent women composers in the United States. She is the first American woman to compose a symphony and to have it be performed by an orchestra. This recording presents some of Amy Beach's most popular works for piano. Originally released on KOCH this recording features pianist Virginia Eskin, a performer who has spent her career championing women composers. Alto is pleased to bring this recording back to international availability.

Heitor Villa-Lobos and Alberto Ginastera are two of the most popular South American classical composers to have lived. Paired here with composer Carlos Ch�vez, this recording features some of the best orchestral music Latin America has to offer.

For this box, ALTO has compiled ten albums by as many outstanding pianists of the 20th century. These include both exemplary recordings and new compilations by ALTO as well as live recordings from the catalogs of the great labels. The entire 20th century is covered from Artur Schnabel and Artur Rubinstein to Marta Argerich with works by composers they were highly celbrated for. The interested enthusiast doesn't get a random grab bag here, but rather a well-thought-out program that also impresses connoisseurs. 10 Giants of the Keyboard: Marta Argerich; Chopin, Brahms, Liszt, Ravel, Prokofiev Vladimir Ashkenazy; Chopin Alfred Brendel; Schubert including complete Impromptus Emil Gilels; Schumann, Chopin, Tchaikovsky GLenn Gould; Bach 1955 Goldbergs, Partitas, Fugues Vladimir Horowitz; Mozart, Mendelssohn, Schumann, Liszt, Scriabin, othrs Wilhelm Kempff; Mozart concerti Sviatoslav Richter; Iconic Schubert Artur Rubinstein; Chopin Favourites Artur Schnabel; Beethoven collection

Leopold Stokowski was one of the pre-eminent conductors of the early to mid 20th century. For the first time ever his complete recordings for the Everest and Vanguard labels are in one box set.

The complete Symphonies of Tchaikovsky along with other favourite orchestral works in one box set. Featuring famous Russian conductors such as Rozhdestvensky, Mravinsky, Svetlanov, Kogan and Kondrashin along with famous artists such as Richter, Oistrakh and Rostropovich.

Like Korngold, Herrmann was a consummate movie composer: his only Symphony -inventive, soundly constructed, always eventful and excitingly scored - successfully taps a harmonically tangy, neoromantic vein reminiscent of Barber at his best... The Devil & Daniel Webster (Suite) was assembled shortly after the film's score won it's Oscar... Herrmann treats several New England folk-tunes to his own special brand of orchestral wizardry. The score is both a gentle, sepia-tinted portrait of rustic Americana and a wickedly endearing account of Mr Scratch's devilish interventions... The 1943 berceuse For the Fallen, is a brief, but poignant lament for the soldiers killed in action... James Sedares and the NZSO are on top form throughout this valuable addition to Koch's concert works by acclaimed film composers" (Gramophone)

78+ minutes of classics in superb sound - (UK best-seller) originals plus 18 minutes with favourites for Pipes & Drums !

Cappelletti and Bamert's coupling is salutary in what little remains to apologize for in Respighi's music when played with real opulence and virtuosity. The fact is that the Concerto belies it's name: both have shrewdly perceived that Respighi's use of modality enables him to explore both early music and folklore... The lushness sounds much more natural in the context of a late-romantic violin concerto, with a big and bold performance of rich and dramatic gesture. Cappelletti, a striking and accomplished soloist, makes the most of the finale's punch and vigour, but also of the musing beauty of the slow movement. I now prefer this (version)... "romantic warmth is also a feature of Barra's Poema (suite), Respighi in neo-baroque lush harmonies with a baroque-size orchestra" (Gramophone)

[Symphony] "my ultimate recommendation goes not to Nonesuch's success, but to the moving recording on Koch Schwann - this is heartfelt music-making, pure and simple, that succeeds admirably in conveying the sorrow of these aptly named songs. Koch also provide better value for money with their inclusion of the very approachable Three Pieces in Old Style" [Totus tuus] "It's a simple, fetching, unaccompanied motet, written for Pope John Paul's visit to Poland" (Gramophone)

(5th Concerto) "Richter's account is a classic.it cannot be recommended too strongly.. this concerto could have sounded contrived BUT when put over with the rhythmic bite, the technical aplomb, and the pungency of characterisations that we see here.. a very different story !" (Penguin Guide 3 stars) (9th Sonata) "others are too sentimental.. I really do connect with Richter the most in Prokofiev." (Talking Classical) "Richter was possibly the greatest Prokofiev pianist who ever lived. He had a unique way of unlocking the music's pianistic beauty and poignant lyricism while still pushing it's steel-edged rhythms to the proverbial max" (Classics Today)

(Red Pony) Copland displaying his simple gifts for the ready folk-tune and here the Phoenix woodwinds have what it takes... It was interesting re-hearing his Tender Land suite. So skillful is Copland's orchestral transcription that one might easily be lulled into thinking this had been conceived solely for orchestra. As trumpets signal a new dawn over the open prairies, Laurie and Martin's love blossoms in some of the most generous music outside Appalachian Spring. That evocative solo trumpet again leads the emotional surge. No problems with the barn dancing 'Party Scene'. This is Steinbeck country just as surely as is The Red Pony. Sedares leads a spirited rendition, his warm and willing woodwinds stealing the honours" (Gramophone)

The Kyiv Patriarchate, established in 1992, was denounced by Moscow and the schism between the two Orthodox churches has become part of the geopolitical confrontation between Russia and Ukraine since 2014, even more so since Moscow Patriarch Kyrill has made warlike speeches. All Composers here were born in Ukraine. [Texts will be online at https://altocd. Com/product/alc1478/]

These present an even more formidable achievement... readings that are strong and positive as well as thoughtful... [No.1] crisp, lifted rhythms and a raptness to compare with Barenboim and Arrau, hold one's attention as a live performance would" [No.2] "That sense of spontaneity is similarly conveyed in the performance of the Second Concerto... formidable technique and warm, positive temperament... Tirimo is far from reticent as a soloist. He gives a commanding account" (both: Edward Greenfield / Gramophone & both 3 stars Penguin Guide) [2nd] "takes it's place among three or four best versions of this much-recorded work" (High Fidelity, USA

'Dominating my Critics' Choice for 1993 are Koch 's outstanding discs of concert works by esteemed film composers... Although the disc of Moross world premieres is especially exciting, both are distinguished not only by superb sound but also by wonderfully bold and intuitive performances that capture the distinctive style of each composer" (Gramophone) "his music's apparent simplicity and accessibility- is often quite sophisticated... this should not surprise us once we recognize counterpoint is basically the science of composition with melody; and the wellsprings of melody flowed for few composers more abundantly than for Moross" (Christopher Palmer)

[Villa Lobos] 'incorporates nationalistic musical elements of Brazil along with melodic, lullaby-like themes, to make a truly contrasting and interesting three-movement work.' (Classic FM) 'Brazilian sonorities and rhythms are a perfect match for the saxophone' (WFMT) [Glazunov] 'persistence paid off for Raschèr, who badgered Glazunov to write him a concerto. The Russian relented and the result - three short, pleasingly lyrical movements - was premiered by Raschèr' (BBC Music Magazine) 'Glaznov's Quartet is a foundational piece for the instrument' (WFMT)

Following the success of 10 Famous Cathedral Organs, this release Includes more Famous Cathedral organs with splendid sound. The Cathedrals are Westminster, Winchester, Salisbury, Hereford, Wells, Liverpool Anglican, St. Giles Edinburgh, Coventry and also King's College Chapel. Westminster Abbey, York Minster.

This Album was a Critics' Choice in Gramophone in 1993 when it was released on the Koch Label. The review was rapturous; "This Concerto is probably Rozsa's most celebrated concert work: it's impassioned romanticism remains wonderfully enthralling... Theme, Variations & Finale was inspired by a wistful melody and helped to make Rozsa's international reputation... Rozsa's rhapsodic intensity and dramatic shading would soon lead to a remarkable career in Hollywood... Vintner's Daughter, a picturesque set of variations, again shows the composer's melodic appeal and he uses the orchestral palette as seductively as in his film music"

Braithwaite has conducted British music to very good effect, and this shows him in equally favourable light... recorded sound is first class, and the orchestra of a high standard... (Suite) 'Nocturne' is the most deeply felt movement, and he conducts in a very expressive fashion. Cherry Ripe and Sir Roger de Coverley - Braithwaite brings out their cheerful, extrovert qualities effectively... He conducts sensitively in There is a willow... (Holst) The melancholia of the Lyric Movement is deeply felt... Fugal Concerto has more to offer than originally recognized (Gramophone)

Kondrashin's Fourth was made shortly after the first performance and is altogether outstanding. It is both spontaneous and imaginative... it's intensity of feeling and refinement of detail are matched by recording quality of striking range for it's period." (Gramophone) "Of the film scores... Hamlet was made of sterner stuff. This music is close in spirit to the major works he was working on at the time, you'll find many of the same textures and sometimes even the same music here." (Gramophone)