{"title":"Benny Goodman","description":"\u003cp\u003e1909–1986. American clarinetist. in the Swing Era tradition.\u003c\/p\u003e\n\u003cp\u003eKing of Swing; legendary jazz clarinetist who brought jazz to mainstream audiences in the 1930s-40s. Known for Carnegie Hall concert and his big band.\u003c\/p\u003e","products":[{"product_id":"schubert-the-symphonies-roy-goodman-hanover-band-255794","title":"Schubert: The Symphonies \/ Roy Goodman, Hanover Band","description":"Classical Music","brand":"Nimbus","offers":[{"title":"CD","offer_id":44624926703850,"sku":"710357527029","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1458351_534a97cc-b35e-4f81-9b3b-52b048543874.jpg?v=1778324462"},{"product_id":"louie-mozetich-barnes-canadian-harp-music-7318590006498","title":"Louie \/ Mozetich \/ Barnes: Canadian Harp Music","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44711235518698,"sku":"7318590006498","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262914.jpg?v=1778319487"},{"product_id":"beethoven-l-van-overtures-2","title":"Beethoven, L. 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This great-value 70-track 3-CD set brings together a significant proportion, but excluding vocal performances, of the titles he recorded in Trio, Quartet, Quintet, Sextet and Septet environments the heyday of his swing orchestra, often recording with artists drawn from the current incarnation of his bands. It comprises recordings on the Victor, Columbia and Okeh labels, and not surprisingly features a host of significant jazz personalities, including Teddy Wilson, Gene Krupa, Lionel Hampton, Charlie Christian, Cootie Williams, Count Basie, Red Norvo, Slam Stewart, John Kirby, Fletcher Henderson, Johnny Guarnieri, Georgie Auld and many more. It's a thoroughly enjoyable anthology of small band jazz that defies being categorised, ranging across both well-known standards and original compositions, and allows us to hear Benny and his colleagues swinging and improvising in some star-studded line-ups","brand":"ACROBAT","offers":[{"title":"CD","offer_id":44945481498858,"sku":"824046910327","price":25.04,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3888078-2676261.jpg?v=1778373954"},{"product_id":"benny-goodman-hits-collection-vol-2-1939-53","title":"BENNY GOODMAN HITS COLLECTION VOL. 2 1939-53","description":"Benny Goodman HITS COLLECTION VOL. 2 1939-53 - This collection comprises all hits with his orchestra and small bands during these years on the Victor, Columbia, Okeh \u0026amp; Capitol labels. It features his No.1 hits from these years Darn That Dream, There'll Be Some Changes Made, Somebody Else Is Taking My Place, Jersey Bounce and Taking A Chance On Love. The collection includes performances by featured vocalists such as: Louise Tobin, Mildred Bailey, Martha Tilton, Helen Forrest, Peggy Lee, Art Lund, Lou McGarrity, Dick Haymes, Jane Harvey, Dottie Reid, Peggy Mann, Liza Morrow, Eve Young, Matt Dennis, Lillian Lane, Al Hendrickson, Jimmy Ricks, Nancy Reed and Helen Ward.","brand":"ACROBAT","offers":[{"title":"CD","offer_id":44945485594858,"sku":"824046913724","price":23.85,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4240324-3030162.jpg?v=1778354352"},{"product_id":"the-very-best-of-benny-goodman","title":"VERY BEST OF BENNY GOODMAN","description":"Twenty tracks including \"St Louis Blues,\" \"One O' Clock Jump,\" \"In a Sentimental Mood,\" \"Goody Goody,\" \"Moon glow,\" \"Sing Sing Sing (Pts 1 \u0026amp; 20)\" and many more.","brand":"RCA","offers":[{"title":"CD","offer_id":45004837748970,"sku":"090266373024","price":12.02,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/341338.jpg?v=1778375868"},{"product_id":"mozart-horn-concertos-5028421946443","title":"Mozart: Horn Concertos","description":"In the most complete edition possible, this recording features Mozart's horn concertos including the unfinished movements and the first movement of K412 in which Mozart wrote some scandalous text. Herman Jeurissen did all the research and is one of the top horn players in the world. The Netherlands Chamber Orchestra is conducted by an inspired Roy Goodman.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012851257578,"sku":"5028421946443","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2248438.jpg?v=1778319201"},{"product_id":"in-concert-8","title":"In Concert","description":"SteepleChase is proud to announce the inaugural release of the “In Concert” series of previously unissued live recordings from Falkoner Centret in Copenhagen, where numerous prominent American bands and soloists performed for the very appreciative audiences in the late 50s. The Swing King Benny Goodman (1909-86) toured Europe in 1959 with his 10-piece band featuring vibraphonist Red Norvo and adding vocalist Anita O’Day on two tracks. This well-attended concert is from October 17, 1959.\nBENNY GOODMAN (cl), RED NORVO (vib), RUSS FREEMAN (p), JIMMY WYBLE (g), RED WOOTEN (b), JOHN MARKHAM (dr), JACK SHELDON (tp, voc*). FLIP PHILLIPS (ts), JERRY DODGION (as, fl), BILL HARRIS (tb), ANITA O’DAY (voc*)","brand":"SteepleChase","offers":[{"title":"CD","offer_id":46012855419114,"sku":"716043650125","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4179129-3298006.jpg?v=1778245852"},{"product_id":"giants-of-the-big-band-era-expanded-version","title":"GIANTS OF THE BIG BAND ERA: EXPANDED VERSION","description":"This is another re-issue of a title previously released by Acrobat and now deleted, but much in demand, so it has been re-packaged, with eight tracks added, presented in chronological order. It comprises 48 tracks tracing the recordings of the King Of Swing in all configurations of his outfits from his Trio through to his big band, focusing mainly on the era from 1935 to the early '40s, but also including some tracks from the late '40s and early '50s. As a budget-priced 2CD set, it represents fantastic value, and is a fine showcase not only for his renowned clarinet styling but also the fine arrangements and the sound of which he was one of the creators and pioneers.","brand":"ACROBAT","offers":[{"title":"CD","offer_id":46025220391146,"sku":"824046202521","price":13.02,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2199928.jpg?v=1778372071"},{"product_id":"serenades-sonatas-for-flute-harp-shulman-goodman-235558","title":"Serenades \u0026 Sonatas for Flute \u0026 Harp \/ Shulman, Goodman","description":"\u003cp\u003eThis programme has been nurtured from a selection of pieces inspired by English gardens, including Vaughan Williams’ lovely ‘Fantasia on Greensleeves,’ spreading out towards French and Italian repertoire that evokes pastoral settings of birdsong, fountains and springs, and topped with a light-hearted musical picnic dessert. Along the way we are treated to the exquisite melody of Elgar’s Chanson de matin and the nostalgic atmosphere of William Alwyn’s ‘Naiades.’ Nino Rota’s film music credits include The Godfather, and his sublime and festive Sonata adds a celebratory touch to the personal joy of these performers’ many years of musical friendship. The combination of flute and harp always creates an atmosphere of beauty, with contrasting but complementary sonorities that have been exploited by a multitude of composers over the years. The pastoral theme of this program has been carefully chosen to include music from the Baroque and Romantic eras right up to the contemporary.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025604661482,"sku":"747313394777","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3572613.jpg?v=1778275157"},{"product_id":"yale-university-archives-benny-goodman-vol-1-94639","title":"Yale University Archives - Benny Goodman, Vol. 1","description":"Classical Music","brand":"Nimbus","offers":[{"title":"CD","offer_id":46025607545066,"sku":"710357270024","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1437869.jpg?v=1778324460"},{"product_id":"surround-yourself-beethoven","title":"SURROUND YOURSELF BEETHOVEN","description":"Classical Music","brand":"Nimbus","offers":[{"title":"DVD","offer_id":46025941614826,"sku":"710357900495","price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/722951_f2b9f7e7-add4-464d-ab8b-9e4faf919f46.jpg?v=1778187405"},{"product_id":"schubert-f-symphonies-chamber-music-piano-music-lie","title":"Schubert, F.: Symphonies \/ Chamber Music \/ Piano Music \/ Lie","description":"Classical Music","brand":"Nimbus","offers":[{"title":"CD","offer_id":46025942728938,"sku":"710357176623","price":69.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/203270_e626df7e-b2e8-4c64-a840-e186eba025d5.jpg?v=1778294948"},{"product_id":"mozart-the-hanover-band","title":"Mozart: The Hanover Band","description":"Classical Music","brand":"Nimbus","offers":[{"title":"CD","offer_id":46025979461866,"sku":"710357709326","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2500454.jpg?v=1778320784"},{"product_id":"trumpet-concertos-haydn-hummel-et-al-niklas-95320","title":"Trumpet Concertos - Haydn, Hummel, Et Al \/ Niklas Eklund","description":"The Haydn and Hummel Concertos were composed for a brand new instrument invented by Anton Weidinger - who was a member of the court orchestra in Vienna - a trumpet with keys which increased both the range and flexibility of the instrument.","brand":"Naxos","offers":[{"title":"CD","offer_id":46025986736362,"sku":"636943480625","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/532747.jpg?v=1778188731"},{"product_id":"jazz-giants","title":"JAZZ GIANTS","description":"Classical Music","brand":"Profil","offers":[{"title":"CD","offer_id":46026132848874,"sku":"881488901955","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1641124.jpg?v=1778332700"},{"product_id":"beethoven-symphonies-1-9-roy-goodman-hanover-68329","title":"Beethoven: Symphonies 1-9 \/ Roy Goodman, Hanover Band, Et Al","description":"At what point does a recording become ‘historic’? Anyone remembering                     some of the very earliest and sometimes highly dodgy period                     instrument recordings with young Harnoncourt and others in the                     1960s and 1970s might approach this kind of early authentic                     instrument project with some trepidation. The 1980s was a boom                     period for period performance recordings, and the symphonies                     of Beethoven were and still are something of a pinnacle for                     any orchestra. The Hanover Band was one of if not the earliest                     to record a complete cycle on authentic instruments, alongside                     Roger Norrington’s Beethoven cycle with the London Classical                     Players originally on EMI Classics Reflexe from 1987-1989 and                     now available on Virgin Classics (see \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2001\/Dec01\/Beethoven_symphonies_Norrington.htm\"\u003ereview\u003c\/a\u003e).                     Also from the 1980s comes Christopher Hogwood with The Academy                     of Ancient Music on Decca’s L’Oiseau Lyre label. In fact, the                     experience with these and Roy Goodman’s Hanover Band is by no                     means the hair-shirt one you might expect. We’ve come a long                     way since 1983, but this pioneering bunch of musicians can still                     speak to us even from all those years back in the 20\u003csup\u003eth\u003c\/sup\u003e                     century. \u003cbr\u003e                      \u003cbr\u003e                      Criticism has been levelled at these recordings in the past                     for their excess of resonance, and indeed the church acoustic                     used is a major feature in each. The Nimbus label used ‘ambisonic’                     recording techniques, and these CDs are labelled as being UHJ                     encoded. I’ve become something of a fan of SACD of late, but                     have seldom heard any of the Nimbus releases actually de-coded                     and presumably heard as they were originally intended. The stereo                     effect is always good enough, and I must admit to having a soft                     spot for the old Nimbus releases with their single ‘soundfield’                     microphone technique. These Beethoven symphonies are quite a                     rich listening experience, but the first disc with Symphonies                     1 and 2 suffers most from acoustic ‘smoke’ around the sound,                     and the timpani are also rather boomy compared to the rest of                     the recordings, which were made in All Saints Tooting rather                     than St. Giles, Cripplegate. What you do notice almost immediately                     is the relative softness of the winds against the strings. True,                     period winds are softer than modern instruments where string                     instruments are still almost exactly the same, metal as opposed                     to gut strings aside. The beginning of the \u003ci\u003eSymphony No. 1\u003c\/i\u003e                     does immediately show up this contrast though, the needle sharp                     daring of Beethoven’s pizzicato opening in the strings accompanied                     by a mellow band of woodwinds and horns who are somewhere ‘way                     over there’. \u003cbr\u003e                      \u003cbr\u003e                    The quirky qualities in the recording are something you can                     get used to, and one has to accept that you just won’t hear                     absolutely everything. Having tried to get used to John Eliot                     Gardiner’s Archiv recording from the 1990s with the Orchestre                     Révolutionaire et Romantique I can also report that being able                     to hear absolutely everything is not necessarily always the                     Holy Grail when it comes to Beethoven symphonies. Gardiner is                     pretty much \u003ci\u003ethe \u003c\/i\u003ereference in these works when it comes                     to period instrument recordings, but these can also be something                     of a rough ride as well – rather uncompromising in some ways,                     to the extent that I’ve not played them much, and certainly                     haven’t trawled them out when referencing modern instrument                     recordings. Goodman’s Hanover Band is a little softer edged,                     not so much in the performances but certainly in recordings                     which you can listen to for longer periods without feeling you                     are constantly having to feel ‘impressed’. I’m afraid the first                     two symphonies are a bit too ‘far out’ as recordings to be regarded                     as truly successful, Listen to those upward scales in the winds                     in the final section of the last movement of the \u003ci\u003eSymphony                     No. 1 \u003c\/i\u003eand you have to strain sometimes to make out what’s                     going on. The opening of the \u003ci\u003eSymphony No. 2 \u003c\/i\u003ealso reveals                     some strain in intonation in some wind sections, and the strings                     can be shown to be a bit scrappy when exposed. There is a great                     deal of verve and excitement in the performances and I can find                     much to enjoy in them, but in isolation they wouldn’t receive                     much of a recommendation. \u003cbr\u003e                        \u003cbr\u003e                    A few years later, a different location, and everything snaps                     into crisper focus with the \u003ci\u003eSymphony No. 3\u003c\/i\u003e. The drums                     are played with harder sticks and are much better in proportion,                     the winds and brass are still backed up a bit, but cut through                     the strings more effectively and have a better definition. This                     is the kind of recording which brought the value of period instruments                     to the fore, with lither textures, a more chamber-music footprint                     on the score when compared to the likes of the Berlin Philharmonic,                     and a set of timbres which revealed the music in unexpected                     and refreshing ways. Not everything is perfect, but the sense                     of expectancy and discovery outweigh occasional weaknesses and                     the mild foibles of the recording. There are delights everywhere,                     from the weight of the \u003ci\u003eMarcia funebre \u003c\/i\u003eto the squirty                     natural horns in the \u003ci\u003eScherzo \u003c\/i\u003eand massive tumult mixed                     with big holes of Haydnesque strangeness of the \u003ci\u003eFinale\u003c\/i\u003e,                     you can imagine something of what the crowds must made of it                     all the first time it was played. An attack of newness had indeed                     broken out, and the \u003ci\u003eSymphony No. 3 \u003c\/i\u003eis magnificent and                     extraordinary in this recording. The \u003ci\u003eSymphony No. 4 \u003c\/i\u003eis                     more neo-classical and optimistic in its outlook, but this performances                     scholarly examination of dynamics, tempo and articulation makes                     it another bracing listen. The \u003ci\u003eAdagio \u003c\/i\u003ein particular is                     something of a trot with a long-legged steed than a real slow                     movement, but I like it, and the musical narrative of all of                     these movements is a path to savour. Some slightly sour violin                     moments on occasion take a little away from good wind solos,                     but again the sum is greater than the parts, and this is a performance                     which would hopefully still grab wild applause even today. \u003cbr\u003e                        \u003cbr\u003e                    The \u003ci\u003eSymphony No. 5 \u003c\/i\u003eis always going to be a crucial work,                     and I’m not entirely convinced by the opening here in this,                     another one of the earliest recorded in the set. Sustained notes                     in the strings are undecided whether to vibrato or not, and                     the lead violin is distractingly up-front. If you can stand                     back from this a bit, there are good horn moments and the pace                     and drama are all there, but that string mix is troubling throughout.                     The extreme contrast between really quite close and fairly distant                     instruments also makes ensemble coherence that much more difficult.                     There is still plenty of good playing here and some remarkable                     moments, such as the hushed and surreal opening to the final                     \u003ci\u003eAllegro\u003c\/i\u003e,\u003ci\u003e \u003c\/i\u003ebut real enjoyment is something of an                     uphill struggle in this case. The \u003ci\u003eSymphony No. 6 \u003c\/i\u003eis a                     good deal more entertaining though the generalised sound and                     large acoustic fights against the detail and chamber-music aspect                     of the playing in the tuttis. This is a strange set of contradictions,                     but what I mean is that it sounds more symphonic and grander                     than it needs to or perhaps even should be. This is however                     not a small-scale performance, and the dynamic shading is as                     well observed and constructed as one could hope for, with the                     antiphonally placed violins a nice touch which adds to the sense                     of openness in the music, if making headphone listening a tad                     disorientating at times. The muted strings in the \u003ci\u003eSzene am                     Bach \u003c\/i\u003eare lovely, and those exquisite harmonic changes later                     on are very nicely turned. Lyrical expressiveness turns out                     to be a strong feature of the Hanover Band as well as their                     punchy rhythmic drive as the peasant’s merrymaking moves into                     a fearsomely potent \u003ci\u003eSturm\u003c\/i\u003e. The joyful song is gorgeous,                     though the accompanying figures in the strings are sometimes                     a bit over-present. In all, this is a \u003ci\u003ePastoral \u003c\/i\u003ewhich                     can be relished. \u003cbr\u003e                        \u003cbr\u003e                    The last three symphonies are all from 1988, the last phase                     of recording, and less prone to the troublesome sense of danger                     which inhabits some of the earliest. The lyrical against dramatic                     qualities in this symphony work very well in this case, with                     the wind sonorities having sufficient impact to steer the harmonic                     pace. That funeral-march \u003ci\u003eAllegretto \u003c\/i\u003emoves forward with                     a satisfying momentum, and\u003ci\u003e \u003c\/i\u003ebuilds towards some tremendous                     sonorities. The swiftly urgent \u003ci\u003ePresto \u003c\/i\u003ecrackles with energy,                     and has to be topped by the \u003ci\u003eAllegro con brio \u003c\/i\u003eand is,                     though the greater extremes of volume result in some less usual                     acoustic effects, some of the wind notes being heard more through                     their reflection than from the original attack. The \u003ci\u003eSymphony                     No. 8 \u003c\/i\u003eis also very good, with plenty of theatricality through                     its lighter textures. Roy Goodman manages some nice moments                     of \u003ci\u003eritardando \u003c\/i\u003eas well, heightening certain expressive                     corners to great effect. This is sunny but also seriously weighty                     music making, creating an eighth which is imposing as well as                     generously warm hearted and boisterous. \u003cbr\u003e                        \u003cbr\u003e                    If I appear to skim a little over these last symphonies it is                     only because they are less problematic in terms of performance                     and recording quality than some of the others. Not without their                     usual minor momentary problems, I’m still happy to endorse them                     without going into minute detail. The monster \u003ci\u003eSymphony No.                     9 \u003c\/i\u003edoes however demand greater attention. Ambitious music                     demands scale and stature, and the recording here does rise                     to the challenge, providing decent enough balance and filling                     the acoustic better than in some cases. There does appear to                     be some spot miking now, so for instance the horns pop up in                     your left ear more closely than previous experience would lead                     you to expect. The bass section is less powerful in the balance                     which is a shame, as a firm bottom is something you really need                     to carry this work properly. The first movement is good enough,                     though its vast canvas sometimes lacks clear direction – perhaps                     as much an artefact of Beethoven’s deafness as Goodman’s leadership.                     The \u003ci\u003eMolto vivace \u003c\/i\u003esecond movement extends a vaguely unsettling                     feeling that we’re hearing a product of encroaching madness                     as well as genius. The music is driven on with a consistency                     of pace and within fairly narrow expressive parameters, giving                     the mind little chance to hook itself onto moments which are                     normally pointed out with greater expressive contrast. I remember                     one of my lecturers at the RAM pointing out what a ‘bad’ piece                     of music the 9\u003csup\u003eth\u003c\/sup\u003e Symphony was, and I think hearing                     this version makes me realise what he meant for the first time.                     It’s truly eccentric and not less than crazy, but all done so                     gloriously and with such daring panache that we’re all left                     agape with a kind of awe of disbelief – we can’t really ‘get’                     it, so it must be wonderful. \u003cbr\u003e                      \u003cbr\u003e                    Well, there are wonderful things about Beethoven’s \u003ci\u003eSymphony                     No. 9\u003c\/i\u003e, but this is one of those recordings which challenges                     preconceptions and forces a re-evaluation. The final \u003ci\u003ePresto-Allegro                     assai \u003c\/i\u003ethrows down the gauntlet one last time, making the                     low strings ‘sing’ that recitatief before the vocal entry, and                     this is done with great declamatory style here. With a relatively                     hectic pace established, the first quiet entry of that famous                     tune takes us more by surprise. It pops out like a sketchy doodle.                     We all know what it’s going to grow into, but in this case it                     has a good deal of work needed before achieving adulthood –                     an effect I admire. As for the singers, Michael George is a                     bit jowly in tone colour in the solo but is a fine bass, and                     the members of the quartet blend well enough together. The choir                     is very fine, but perhaps a little recessed in the sound. More                     recent research has the \u003ci\u003eAllegro assai vivace \u003c\/i\u003ea good deal                     swifter than we get it here, and it sounds bizarre now to go                     back to that now discredited tempo of one beat per half bar                     rather than one beat per bar – twice as fast in effect. Being                     used to John Eliot Gardiner’s generally faster tempi makes the                     first choral \u003ci\u003eFreude, schöner, Götterfunken \u003c\/i\u003esound a bit                     clunky by comparison, and the rhythmic emphases enhance the                     vertical rather than the horizontal, although there are some                     remarkable moments. The brass in general tends to sound a bit                     isolated, and doesn’t mould too well into the general orchestral                     picture, but this is still a performance which leaves an exhaustingly                     intense and powerful impression. \u003cbr\u003e                        \u003cbr\u003e                    This is indeed a ‘historical’ recording, in the sense of its                     being a milestone – or at the very least part of a significant                     moment in recording history, when the period instrument movement                     came of age and proved itself capable of challenging the old                     order of symphonic orchestras. There is much to be enjoyed in                     this cycle, and much which frustrates. I don’t think by any                     standard it can make a claim to be anyone’s first choice for                     a set of Beethoven’s symphonies, but that’s no longer the point                     with this recording and probably never was. This is a version                     which can live next to your box sets by Karajan or anyone else,                     and be brought out when you feel the need for a change of sonority                     and a different angle on familiar music. To be frank, I hadn’t                     expected it to have stood the test of time as well as it has.                     We have indeed moved on, and performance techniques, instruments                     and aspects of interpretation have all been refined and adjusted                     as the years have progressed. Just as with modern instrument                     recordings, there is no one option with period instrument versions                     of these symphonies. Roy Goodman\/Monica Huggett and The Hanover                     Band can however still make a splash. \u003cbr\u003e                      \u003cbr\u003e                    -- Dominy Clements, MusicWeb International [11\/2011]","brand":"Nimbus","offers":[{"title":"CD","offer_id":46026137338090,"sku":"710357514425","price":37.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/620925.jpg?v=1778189195"},{"product_id":"goodman-benny-benny-goodman-vol-3-live-at-the-rainbow","title":"GOODMAN, Benny: Benny Goodman, Vol. 3 - Live at the Rainbow","description":"Classical Music","brand":"Nimbus","offers":[{"title":"CD","offer_id":46026180886762,"sku":"710357272325","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1588527.jpg?v=1778333265"},{"product_id":"jeepers-creepers","title":"Jeepers Creepers","description":"Jeepers Creepers","brand":"Gift of Music","offers":[{"title":"CD","offer_id":46026201727210,"sku":"658592124927","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3633447-3187541.jpg?v=1778276748"},{"product_id":"big-band-classics-1931-1940","title":"BIG BAND CLASSICS (1931-1940)","description":"BIG BAND CLASSICS (1931-1940)","brand":"Gift of Music","offers":[{"title":"CD","offer_id":46026344562922,"sku":"658592122824","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3633436-3142544.jpg?v=1778276730"},{"product_id":"lazy-day-classics-calm-music-for-an-indulgent-moment","title":"Lazy Day Classics: Calm music for an indulgent moment","description":"Calm music to help you while away a lazy day and be a little self-indulgent! 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