Arkiv Outlet
3488 products
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SaleVerdi: Falstaff / Battistoni, Maestri, Salsi, Gandia, Pini
C Major Entertainment · Jun 2013DVD$26.99$13.49 -
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Sale4 Symphonies - Brahms, Dvorak, Sibelius, Nielsen / Dausgaard, Danish National Symphony Orchestra
C Major Entertainment · Jun 2012DVD$32.99$16.49 -
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SaleThe Original Three Tenors - In Concert, Rome 1990 / Carreras, Domingo, Pavarotti, Mehta [Blu-ray]
C Major Entertainment · Sep 2021Blu-Ray$35.99$17.99 -
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SalePlacido Domingo: Opera Gala - 50 Years at the Arena di Verona [Blu-ray]
C Major Entertainment · Jul 2020Blu-Ray$45.99$22.98 -
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SaleBeethoven's Ninth: Symphony for the World / Currentzis
C Major Entertainment · Jun 2020DVD$32.99$16.49 -
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SaleCastrucci: Sonatas for Violin, Cello, & Harpsichord / Elias, Kishi, Palmer-Jones
Centaur Records · Apr 2022CD$17.99$8.99 -
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SaleBach: V1 - Famous Cantatas / Koopman, The Amsterdam Baroque Orchestra and Choir
Challenge Classics · Nov 2021CD$13.99$6.99 -
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SaleBruckner: Symphony No. 7 / Haitink, Netherlands Radio Philharmonic
Challenge Classics · Oct 2021CD$20.99$10.49 -
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SaleLudwig van Beethoven: Piano Sonatas nos. 3, 23 & 30
Challenge Classics · Sep 2016SACD$20.99$10.49 -
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SaleBach: Sonatas for viola da gamba, BWV 1027-1029 / Sofronitsky
Challenge Classics · Jun 2022CD$18.99$9.49 -
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SaleThe Film Music Of Adrian Johnston - Brideshead Revisited / Davies
Chandos · Jul 2008CD$21.99$10.99
Salzburg Festival 2011 Opening Concert
Strauss: Arabella / Fleming, Hampson, Thielemann
2014 marks a year of celebration recognizing the 150th birthday year of the German late-Romantic orchestral, operatic and lied master composer, Richard Strauss (1864-1949). Arabella (premiered 1933, Dresden) was the last of the half dozen Strauss works to feature a libretto by the great Austrian writer Hugo von Hofmannsthal. This production, from the most recent Salzburg Easter Festival is, after Capriccio, the second of three Richard Strauss operas C Major is releasing in honor of the composer’s birth, life and work. The star-laden cast includes soprano Renèe Fleming, baritone Thomas Hampson, Albert Dohmen (Covent Garden, Wiener Staatsoper, MET) and Gabriela Benacková (Wiener Staatsoper, Covent Garden). With Christian Thielemann and the Staatskapelle Dresden, “the music of Richard Strauss is in the best of hands.” (ORF) “Thielemann gets the best out of the cast...especially Renée Fleming with her “luxurious” soprano …” FAZ
Richard Strauss
ARABELLA
Graf Waldner - Albert Dohmen
Adelaide - Gabriela Be?a?ková
Arabella - Renée Fleming
Zdenka - Hanna-Elisabeth Müller
Mandryka - Thomas Hampson
Matteo - Daniel Behle
Sächsischer Staatsopernchor Dresden
(chorus master: Wolfram Tetzner)
Staatskapelle Dresden
Christian Thielemann, conductor
Florentine Klepper, stage director
Martina Segna, set designer
Anna Sofie Tuma, costume designer
Bernd Purkrabek, lighting designer
Volker Michl, choreographer
Recorded live at Salzburg Easter Festival, 2014
Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.0br> Region code: 0 (worldwide)
Subtitles: German, English, French, Spanish, Chinese, Korean, Japanese
Booklet notes: English, German, French
Running time: 178 mins
No. of DVDs: 1
Stravinsky in Hollywood
Also available on standard DVD
Stravinsky in Hollywood, a film by Michael Capalbo, tells the story of an "old school" European artist knocking heads with the brash New World. The documentary uses a combination of existing archival footage (some never before seen), interviews with Stravinsky and his assistant Robert Craft, and premieres several big studio film scenes of the 40s with music Stravinsky wrote for them.
4 Symphonies - Brahms, Dvorak, Sibelius, Nielsen / Dausgaard, Danish National Symphony Orchestra
4 SYMPHONIES • Thomas Dausgaard, cond; Danish Natl SO • C MAJOR 710508 (DVD: 168:00) Live: Copenhagen 2009
BRAHMS Symphony No. 1. DVO?ÁK Symphony No. 9. SIBELIUS Symphony No. 5. NIELSEN Symphony No. 3
If, as I did, you were to begin your examination of this release with disc 1, track 1 (the Brahms symphony), you might well conclude that there was little need to continue. There is something rather too cool and casual about Dausgaard’s interpretation of this powerful music. It lacks inner tension. There is not enough contrast between ideas. Accents are in the wrong places. Short notes are cheated of their value. And that’s not all. The second movement just plods on, the third is charmless, the fourth frantic and lurches from one tempo change to the next. Listening to the complete symphony several times could not induce me to alter my initial unfavorable observations. Adding visual insult to aural injury, sight and sound are not synchronized, and the difference between the two is disturbing, to put it mildly.
But then came the Nielsen symphony. What a difference! Right from the opening moments it had all the vigor and élan and determination lacking in the Brahms. Rhythms were tight and crisp. The music bristled with enthusiasm and commitment. The finale positively beamed with Elgarian nobility and breadth, rising to an absolutely thrilling climax. What a joy! Nielsen’s Third had hitherto never been one of my favorite symphonies, but Dausgaard nearly made it so in this performance.
Does Dausgaard work his magic on the two remaining works as well? The answer, I’m glad to say, is yes. Furthermore, the synchronization problem that affected the Brahms symphony is only minimal in the Nielsen and nonexistent in Dvo?ák and Sibelius. The “New World” Symphony receives one of the finest performances I have heard. Dausgaard’s approach is no romantic wallow but rather a clean, purposeful traversal filled with taut rhythms, precise attacks and releases, glowing sound, and architectural strength. Dausgaard likewise makes a strong case for the Sibelius Fifth, never allowing momentum to sag, carefully propelling the music forward with masterly control. I am particularly impressed with the ease in which he handles the tempo change for the second part of the first movement. By the time the grand climax of the finale arrives, one feels a great journey has been completed.
All four performances were recorded live in Copenhagen’s Koncerthuset in 2009. The personnel changes from symphony to symphony, but both principal horns, both principal trumpets, and both timpanists are star players. Generally the woodwinds are excellent, but violins seem a bit thin for an orchestra that is otherwise so assured and well balanced. However, the basses make up for this deficiency with their huge, rich sound, heard at its best at the quiet endings of three of the Brahms movements and in some of the more powerful moments of the Dvo?ák symphony. Aside from the basses, the orchestra plays with a bright sound, textures are clear and clean, balances are well controlled.
The camerawork is devoted about 20 percent of the time to Dausgaard and his facial contortions, 10 percent to views of the full orchestra from afar, and 70 percent to the business of jerking the viewer’s eyes from one instrumental close-up to another—two seconds of a horn player’s embouchure, a second of flute keys, two notes from the timpani, etc. Who determined that this is what we want to see? I find it annoying to the point where I simply can’t bear to watch.
On ArkivMusic the price for these four symphonies is $27 ($40 for the Blu-ray version)—just under $7 a symphony, a good buy even without the inferior Brahms symphony, especially for performances as fine as the other three.
FANFARE: Robert Markow
The Original Three Tenors - In Concert, Rome 1990 / Carreras, Domingo, Pavarotti, Mehta [Blu-ray]
This very special release includes the legendary concert of the Original Three Tenors - José Carreras, Plácido Domingo and Luciano Pavarotti, conducted by Zubin Mehta at the Terme di Caracalla, Rome 1990 on the eve of the Football World Cup in Italy, watched by 1.6 billion spectators worldwide. For the first time available on Blu-ray, digitally remastered! This edition includes the new documentary The Three Tenors - From Caracalla to the World featuring recent interviews with José Carreras, Plácido Domingo, Zubin Mehta, Pavarotti‘s widow Nicoletta Mantovani, Lalo Shifrin, Brian Large, Mario Dradi, Paul Potts, Sir Bryn Terfel, Norman Lebrecht, Didier de Cottignies and many more. Previously unpublished backstage material shows the tenors unadorned and offers a fascinating insight into what takes place beyond the spotlight in Rome, 1990 and the sequel in Los Angeles, 1994. The film takes a completely new look at the concert legends. For the first time, they talk about José Carreras‘ struggles with leukemia, their rivalries and friendships, their spectacular contract poker and life as an opera star.
Placido Domingo: Opera Gala - 50 Years at the Arena di Verona [Blu-ray]
This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.
Also available on standard DVD
What a pompous and exquisite gala to celebrate opera legend Plácido Domingo in the breathtaking Arena di Verona! 50 years ago the young Madrilenian singer Plácido Domingo gave his debut at the ancient open-air theatre: the beginning of a lasting and exceptional relationship. To mark the anniversary, Domingo presents a programme entirely dedicated to Verdi, performing three of his most complex and majestic baritone roles. No effort was spared to create an unforgettable evening in a unique atmosphere in the completely sold-out amphitheatre, which has been at the heart of Italian entertainment for almost 2,000 years. Whether as Babylonian king Nabucco, Scottish general Macbeth or as Doge Simon Boccanegra: Domingo’s versatility and aura is more than impressive, with “top phrasing and articulation, his baritone with full and sonorous intonation and a unique timbre – all this substantiates his exceptional position” (Das Opernglas). At the side of Domingo shines an excellent cast including Anna Pirozzi and Arturo Chacón-Cruz, supported by a perfectly rehearsed ballet under the baton of conductor Jordi Bernàcer who sovereignly leads the Orchestra of the Arena di Verona from scene to scene. A triumphal, almost historic moment for Domingo and the Arena di Verona!
Beethoven's Ninth: Symphony for the World / Currentzis
To this day, Beethoven’s Symphony No. 9 is one of the most popular pieces of classical music in the world. But what is it about this global hit? The film charts the success of the symphony around the globe and encounters passionate amateur musicians and musical personalities. Watch as Greek conductor Teodor Currentzis works on Beethoven’s Ninth with his ensemble, MusicAeterna. Follow Chinese composer and Oscar winner Tan Dun as he creates a new composition inspired by the great Beethoven symphony. Experience the Orchestre Symphonique Kimbanguiste in the Democratic Republic of the Congo, as they play the Ninth. Visit a favela in Brazil, where Beethovens’s music helps people get off the streets. Be amazed as a choir of 10,000 in Japan sings the final chorus of Beethoven’s Ninth Symphony, with great enthusiasm. Learn how Paul Whittaker helps make Beethoven accessible for deaf people. And find out how British DJ Gabriel Prokofiev performs a symphonic remix of Beethoven’s Ninth.
Beethoven: In Search of New Paths / Koch
| Tobias Koch: “This recording of eleven Beethoven sonatas was made during several recitals entitled Beethoven – in search of new paths. These sonatas were written in short succession from 1797 to 1802: one practically led to the next. It was the same period in which Beethoven is said to have revealed to a friend that he was “dissatisfied with his previous works” and intended to “embark on a new path”. Indeed, in those years, the composer seems to have stepped on the turbo accelerator, innovating sonata form in a series of energetically concentrated experiments. Beethoven’s musical propositions are often bold, unconventional, and extreme, something which we often tend to overlook and smooth out with today’s knowledge of all that was to come. |
French Album / Jose Federico Osorio
Distinguished international pianist Jorge Federico Osorio brings his flair for French music to works of the Baroque, Romantic, and early 20th century eras by Jean-Philippe Rameau, Emmanuel Chabrier, Gabriel Fauré, Claude Debussy, and Maurice Ravel. Fittingly, Osorio opens The French Album with Fauré’s exquisite Pavane and concludes with the ever-popular Pavane pour une enfante défunte by Fauré’s student, Ravel. The Mexican-born, European-trained pianist offers eight of Debussy’s pictorial Préludes, each with its unique sound world, including the mystical La Cathédrale engloutie, one of the most stunning pieces ever composed for piano. Another audience favorite is Debussy’s evocative Claire de lune from his Suite bergamasque. Providing contrast, Rameau’s whimsical Les Tricotets conjures the back-and-forth motion of knitting needles. A set of Spanish-flavored works include Chabrier’s Cuban-inspired Habanera; Debussy’s lively La Puerta del Vino, depicting sailors carousing and enjoying their wine, and La soirée dans Grenade, where the piano imitates the sound of a guitar; and Ravel’s Alborado del gracioso, brimming with Iberian rhythms.
REVIEW:
What appears to be a hodgepodge of French pieces actually emerges as a carefully crafted program. Pianist Jorge Federico Osorio begins with Fauré’s famous Pavane, where his elegant phrasing and fluid “walking” tempo assiduously segue into a well-contrasted Debussy group. He brings a strong rhythmic profile and dry-point clarity to works dominated by rapid passagework such as Les collines d’Anacapri, Ce qu’a vu le vent d’Ouest, and Feux d’artifice, as well as Ravel’s Alborada del gracioso.
While Osorio certainly embraces the sensual undercurrents in Clair de lune, Voiles, Feuilles mortes, and La cathédrale engloutie, the climaxes have plenty of backbone. The pianist similarly integrates curvaceous lilt and unsentimental grit in Chabrier’s Habanera and Debussy’s habanera-like La Puerta del Vino and La soirée dans Grenade. Three selections from Rameau’s G major Suite stand out for Osorio’s care over ornaments, although his slightly heavy way with the final selection, Ravel’s Pavane, misses the animation and flexibility of the old Gieseking and Casadesus recordings. All told, an enjoyable and well-put-together recital.
– ClassicsToday.com (Jed Distler)
Limitless / Jennifer Koh
A New York Times 25 Best Classical Track Selection for 2019
Violinist Jennifer Koh’s Limitless, based on her groundbreaking recital project of the same name, bridges the modern divide between composer and instrumentalist, celebrates artistic collaboration, and revives the grand tradition of composers performing their own music. The album features world-premiere recordings of Koh-commissioned duets by a diverse roster of highly accomplished contemporary composers, which she performs with the composers themselves. Premieres include Quasim Naqvi’s The Banquet for violin and modular synthesizer, exploring a convergence between acoustic string and electronic sound worlds; Lisa Bielawa’s Sanctuary Songs for violin and voice, three settings of texts by American women poets of the 1920s; Du Yun’s give me back my fingerprints for violin and voice, representative of what The New York Times calls her “adventurously eclectic” style; and Tyshawn Sorey’s In Memoriam Muhal Richard Abrams, dedicated to Sorey’s beloved mentor, the avant-garde pianist, composer, and founding president of the Association for the Advancement of Creative Musicians (AACM). Limitless also offers the first recording of Nina C. Young’s Sun Propeller for violin and electronics, inspired by traditional Tuvan throat-singing; Wang Lu’s Her Latitude for violin and electronics, with a quasi-improvised piano part and electronically processed sounds of Buddhist chants and old Korean pop songs; and jazz luminary Vijay Iyer’s The Diamond for violin and piano, inspired by an early Buddhist text. The album concludes with Missy Mazzoli’s A Thousand Tongues for violin, piano, and electronics, an intense response to a line in a Stephen Crane poem; and Vespers for violin and electronics, “deliciously disorienting” (National Public Radio) with a soaring solo violin.
REVIEWS:
Koh, needless to say, is sensational throughout: responsive to each composer’s demands, and fiercely committed to making each piece sing true in collaboration with its creator. The project is a paradigm shift in thinking about composers who perform, and about representation on the concert platform; the result is a beautiful, compelling collection of intimate conversations and collective statements.
– National Sawdust
Part of Ms. Koh’s double-disc project of collaborations with composers who also perform alongside her, Du Yun: ‘Give Me Back My Fingerprints’ rises from quietly uneasy to rabid and raw, then back again. Violin lines emerge, as if from far away, to mingle with Ms. Du’s earthy, murmuring, sometimes choking voice.
– New York Times (Zachary Woolfe)
Notorious RBG in Song / Michaels, Kuang-Hao Huang
Soprano Patrice Michaels, “a formidable interpretative talent” (The New Yorker), and collaborative pianist extraordinaire Kuang-Hao Huang offer Notorious RBG in Song, an album of world-premiere recordings saluting the life and work of legal pioneer Ruth Bader Ginsburg in celebration of her completion of 25 years on the United States Supreme Court. Ginsburg, a longtime crusader for equal rights, has become a pop culture icon known as “Notorious RBG.”
Michaels, a vocalist of “spectacular and diverse gifts” (Journal of Singing) is also a gifted composer. Her nine-song cycle, ‘The Long View’, illuminates key aspects of Justice Ginsburg’s personal and professional life through letters, remembrances, conversations, and even Court opinions. The album concludes with songs by American composer Stacy Garrop, winner of many prestigious awards and commissions; JUNO Award-winning Canadian composer Vivian Fung; prolific art-song composer Lori Laitman; and an aria from Derrick Wang’s new comic opera, Scalia/Ginsburg.
American composer Stacy Garrop, recipient of many prestigious awards and commissions, based her deeply moving “My Dearest Ruth” on the farewell love letter the Justice’s husband, Georgetown University law professor Martin Ginsburg, wrote shortly before his death in 2010. The aria “You are Searching in Vain for a Bright-Line Solution,” from Derrick Wang’s opera Scalia/Ginsburg, which captured widespread media attention, crystallizes Justice Ginsburg’s views on interpreting the U.S. Constitution. JUNO Award-winning Canadian composer Vivian Fung’s humorous “Pot Roast à la RBG” provides directions for preparing the beef dish, using Justice Ginsburg’s own words as related in the text by daughter Jane Ginsburg. Prolific art-song composer Lori Laitman’s setting of the Emily Dickinson poem “Wider than the Sky” wasn’t written with Ginsburg in mind, but it was performed at her 80th birthday celebration because it perfectly embodied her intellectual breadth.
REVIEW:
This is a difficult production to review, not just because Supreme Court Justice Ruth Bader Ginsburg has become such a significant figure in modern American life, but because the range of her achievements—whether as a jurist or as a wife, mother, opera maven, attorney, professional colleague and feminist icon—resists purely musical treatment. That’s not a reason to hesitate in offering her this lovingly produced tribute. Like RBG herself, who responded to the notion that women had no place in the legal profession by going ahead and doing it anyway, Cedille General Manager Jim Ginsburg (her son) and singer Patrice Michaels (her daughter-in-law) have taken the plunge with evident gusto.
The main item here is The Longview, an imposing portrait of RBG in nine songs composed by Michaels for voice and piano in an attractive, post-modern tonal idiom. There are vivid and beautiful numbers here, especially the central Anita’s Story, a wonderful tale of the power of Ginsburg’s words to change a life; but for many listeners the main interest will lie in the eighth song’s quotations of Ginsburg’s own legal opinions. Imagine setting this to music to get an idea of what Michaels is up to: “I have said before and reiterate here that only an ostrich could regard the supposedly neutral alternatives as race unconscious.” What results from this effort is not so much a conventional song cycle as a theater piece—I could readily imagine it staged, particularly as Michaels, whose voice is hardly conventionally beautiful but whose intelligent artistry is beyond question, performs it here.
The remainder of the program consists of four songs by four different composers, all inspired by RBG’s life and legend. Vivian Fung’s “Pot Roast à la RBG” is the most amusing; Stacy Garrop’s “My Dearest Ruth”, a love letter written by husband Martin Ginsburg from his death bed, is the most touching. I suspect that more than a few tears were shed both here and elsewhere during this project. Through it all, Michaels receives ideally sensitive support from pianist Kuang-Hao Huang, while Cedille’s engineering, as usual, is first class. The final impression that emerges is a portrait of a family as much as of an individual—a very remarkable family indeed. I suspect that RBG may regard this as her greatest achievement of all.
– ClassicsToday.com (David Hurwitz)
Schubert's 1817 Sonatas / Sookkyung Cho
Schubert moved to Vienna in early 1817, which was the center of musical activities in Europe at that time. Schubert focused strongly upon composing piano sonatas, and the result was these four superb works. Korean-born pianist Sookkyung Cho brings these sonatas truly to life. Noted for her sensitive and imaginative (New York Concert Review) playing, Sookkyung Cho has been captivating worldwide audiences with her personal, thoughtful expressionist style. She has appeared in venues such as Alice Tully Hall at Lincoln Center, Weill Recital Hall at Carnegie Hall, Chicago Cultural Center, Sarasota Opera House, Baltimore Museum of Art, Montreal Conservatory, Beaux concerts de la releve in Quebec, Château de Fontainebleau in France, and Zijingang Theater at Zhejiang University in China, among others, and was recently heard on Chicagos WFMT.
On Paganini's Trail …
Castrucci: Sonatas for Violin, Cello, & Harpsichord / Elias, Kishi, Palmer-Jones
Bach: V1 - Famous Cantatas / Koopman, The Amsterdam Baroque Orchestra and Choir
| Bach's sacred music written before he went to Leipzig, including all the works from the Weimar period, are often lumped together as "early" cantatas. This is misleading and ultimately inaccurate, since Bach was already 38 years old when he moved from his post as Kapellmeister at Köthen in 1723 to take up his duties as Kantor at the Thomaskirche in Leipzig. In fact most of Bach's church cantatas date from the Leipzig years, as does the consolidation of the stylistic, structural and technical features of his vocal works, but even the repertoire composed before 1714 can hardly be termed “early". The works composed at Mühlhausen, demonstrating a striking sureness of touch in their conception, placed the 22-year-old among the finest contemporary cantata composers. Bach's earliest church cantatas are still clearly marked by 17th-century traditions. As well as the influences of older members of the Bach family, those of Buxtehude and Pachelbel the Elder, and Italian and French masters are evident, technically, structurally and stylistically. A particularly characteristic feature of the pre-Leipzig cantatas is Bach's exceptional delight in experimental and complex handling of an extremely wide range of instruments, with refined sound effects (such as the use of the bassoon) and poly- and homophonic settings and forms. |
Bruckner: Symphony No. 7 / Haitink, Netherlands Radio Philharmonic
Bernard Haitink was born and educated in Amsterdam. His conducting career began at the Netherlands Radio where in 1957 he became the Chief Conductor of the Radio Philharmonic Orchestra. The links between Bernard Haitink and the Radio Philharmonic Orchestra have withstood the test of time, even when his career was taking him all over the world. One fine example of this was Berlioz’s Damnation of Faust in 1998, later issued on CD(CC 72517). He returned on 15 June 2019, when he gave his very last concert in Amsterdam, with Bruckner Symphony no. 7, a work that has always been especially dear to him.
Ludwig van Beethoven: Piano Sonatas nos. 3, 23 & 30
Bach: Sonatas for viola da gamba, BWV 1027-1029 / Sofronitsky
Thomascantors in Dialogue
Alle Lust will Ewigkeit
EXTASIS
Parallel
Jean Michel Pilc had already planned on coming to Europe for concerts and master classes, and so a studio recording was arranged in the Netherlands. The result of both recordings is Parallel: a double album with two solo piano recordings, conceived in a completely new form, on both sides of the Atlantic Ocean. The album is a fascinating and exciting journey into Jean-Michel's realm of composed and improvised music that makes one want to listen to it over and over again. Jean-Michel writes: "Most people believe that growing up and aging goes hand in hand with gaining knowledge and wisdom. It may be comforting to think that life teaches you things and there is often something true about it. However, for me there is a parallel, deeper reality at work. The more I know, the more I have to unlearn. The music of this album- created in the last years, in two very different sessions with the invisible ink of improvisation- deals with this mysterious and constantly growing part of the unknown: create, forget, and recreate."
The Film Music Of Adrian Johnston - Brideshead Revisited / Davies
Directed by Julian Jarrold, Evelyn Waugh's novel, Brideshead Revisited receives its first cinematic adaptation this summer with a cast which includes Academy-Award winner Emma Thompson, Michael Gambon, Matthew Goode, Hayley Atwell and Ben Whishaw. The screenplay is written by Jeremy Brock and Andrew Davies. Brideshead Revisited follows the memoirs of Charles Ryder and his involvement with the Flyte family who own the Brideshead Estate. It relives the hedonistic days of 1920s Oxford University and tells an evocative story of forbidden love and the loss of innocence with particular focus on Charles's relationship with brother and sister, Sebastian and Julia and their mother, Lady Marchmain. Chandos is delighted to have been given the opportunity to record Adrian Johnston's soundtrack, the first original film score on Chandos Movies. Having won both BAFTA and Emmy Awards for his scores, Adrian Johnston has had an impressive career in television and film to date including Becoming Jane, Kinky Boots, The Mayor of Casterbridge and White Teeth. Adrian Johnston writes of the Brideshead Revisited recording "I was thrilled to have an opportunity to work with Chandos - a label whose philosophy I have always liked, and whose CDs of Philip Lane's fine film score reconstruction I have particularly admired. I know that to release a 'non historical' film score was somewhat of a departure for the label, but I hope that Brideshead Revisited can somehow exist as a Chandos product, and perhaps open up the way for future film music collaborations." The BBC Philharmonic is conducted by Olivier Award winner Terry Davies who has a wide range of credits in film, theatre and TV including Shakespeare in Love, Becoming Jane, House of Mirth and A Midsummer Night's Dream.