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Sibelius: Finlandia, Karelia Suite, Etc / Sakari, Iceland So
Naxos
Available as
CD
$19.99
Sep 01, 2000
SIBELIUS: Finlandia / Karelia Suite / Lemminkainen Suite
American Classics - Russell: Rhapsody, Middle Earth, Etc
Naxos
Available as
CD
RUSSELL: Rhapsody for Horn and Orchestra / Middle Earth
Grieg: Holberg Suite, Erotikk, Elegiac Melodies / Tognetti, Australian Chamber Orchestra
BIS
Available as
SACD
$21.99
Mar 01, 2012

There have been more than a few excellent recent releases of Grieg’s music for string orchestra, notably on Naxos, including orchestrations of his String Quartet in G minor. The Quartet took a lot of heat when it first came out on account of its acres of double-stops and consequent “orchestral” sound, and truth is that it makes an absolutely terrific piece for larger ensemble, losing very little in translation. Tognetti’s arrangement really is as good as any, and as you can well imagine he has his crack ensemble playing the piece to a fare-thee-well, with all of the passion and drive that one could possibly ask for.
The Naxos releases divided discs between the quartet arrangements (including Grieg’s incomplete Quartet in F major) and all of the remaining works for string orchestra. Tognetti presents a mixture. His arrangement of Erotikk, from the Lyric Pieces, is charming and effective, and rather more sensual than the keyboard original. The Two Elegiac Melodies are touching, fluid, and less heavy in these performances than when played by larger forces; but the highlight of the disc must be the performance of the Holberg Suite.
Even though it has been done to death, this version stands out for the vivacious charm and witty phrasing of its Praeludium (sound sample attached), and for the rustic brilliance of the concluding Rigaudon. In between, the Gavotte also has a welcome spring to its step, and as with the Elegiac Melodies the two slower movements never bog down in excessive sentiment. Mind you, sentiment in this music, and plenty of it, isn’t necessarily a bad thing, but if you are going to use smaller forces, this is surely the way to do it. Sonically, this is absolutely state of the art: clear, pure, and tactile in the best way. If the coupling appeals, go for it.
-- David Hurwitz, ClassicsToday.com
Sweelinck: Psaumes De David / Marlow, Trinity College Choir
Conifer Records
Available as
CD
$17.99
Sep 15, 2010
Although it is for his keyboard music that Sweelinck is remembered today, it's a curious fact (pointed out by Richard Marlow in his insert-note to this release) that it was his vocal music—and virtually all of it at that—that made it into print during his lifetime. One of his most notable achievements was to set all of the Psalms in French (the favoured language of the amateur circles for which this music was probably intended), an exercise that occupied his entire creative life and found its monument in four volumes of superb psalm-settings, published between 1604 and 1621. This new recording offers 15 pieces from the third book, published in 1614, and gives notice of the variety and ingenuity to be found in Sweclinck's vocal output, encompassing as it does robust antiphony in Venetian style, elegantly fluid counterpoint, and imaginative manipulation of his original psalm melodies in a manner not a million miles removed from that of a Bach organ chorale. The most striking characteristic on first hearing, however, must be Sweelinck's charming touches of word-painting, evident above all in the first and last pieces on the disc: Psalm 150, with its depiction of the laudatory tabour ("bou-bou-bou-bou-bour"!); and Psalm 148, whose sinister evocation of the. whales of the deep is followed immediately by a vivid representation of fire, hail, snow and ice.
The mixed voices of the Trinity College Choir are on good form here. Though their sound is not quite as sharply focused—and hence not as contrapuntally lucid—as that of some other ensembles around at the moment, they produce a nicely blended sound that is never less than easy on the ear. But it is Richard Marlow's astute and imaginative direction that really makes this a recording worth hearing; his sensitivity and responsiveness to the constant changes of choral texture are tireless, while a willowy, declamatory springiness to the vocal delivery and an ability to give the music a firm rhythmic impetus help him to delineate both the form and sense of each piece. This disc multiplies the number of Sweelinck's vocal works currently in the catalogue by 16—and it also provides 77 minutes of the most intelligent and lively choral music-making.
-- Gramophone [8/1992]
The mixed voices of the Trinity College Choir are on good form here. Though their sound is not quite as sharply focused—and hence not as contrapuntally lucid—as that of some other ensembles around at the moment, they produce a nicely blended sound that is never less than easy on the ear. But it is Richard Marlow's astute and imaginative direction that really makes this a recording worth hearing; his sensitivity and responsiveness to the constant changes of choral texture are tireless, while a willowy, declamatory springiness to the vocal delivery and an ability to give the music a firm rhythmic impetus help him to delineate both the form and sense of each piece. This disc multiplies the number of Sweelinck's vocal works currently in the catalogue by 16—and it also provides 77 minutes of the most intelligent and lively choral music-making.
-- Gramophone [8/1992]
Film Music Classics - Korngold: Captain Blood; Young, Et Al
Naxos
Available as
CD
$19.99
Feb 22, 2005
Brahms: The Motets / Richard Marlow, Trinity College
Conifer Records
Available as
CD
$17.99
Sep 17, 2010
This disc was originally available as Conifer CDCF 178.
Dvorak: Violin Concerto - Legends, Op. 59
BIS
Available as
CD
Classical Music
Musica Proibita
Bongiovanni
Available as
CD
$18.99
Jan 01, 2006
Classical Music
Mendelssohn: Double Concerto, Octet / Tognetti, Leschenko, Australian Chamber Orchestra
BIS
Available as
SACD
$21.99
Feb 01, 2013
Until this recording arrived for review I had been unaware of how good the Australian Chamber Orchestra was. What a superb group of musicians! With the exception of the pianist Polina Leschenko all other participants are members of this fine orchestra including violin soloist Richard Tognetti who also leads the Octet. As usual BIS have blessed the project with a first class recording that allows all details to tell and yet to remain within a believable acoustic space.
If I were to pick any holes I would rather like to have heard the Concerto on a period piano instead of the modern concert grand which has a good deal more power than is required for this essentially 18th century music. The thorough notes by Horst A. Scholz tell us that Mendelssohn composed the Concerto for Violin and Piano in May 1823 at the ripe old age of 14. It is less the antecedent of Hummel that one hears than the influence of Carl Philip Emmanuel and even Johann Christian Bach. There is no problem whatever with a young protégé emulating his predecessors when it is done so beautifully. The concerto is a joy to hear providing you do not expect the Mendelssohn of the Violin Concerto in E minor of 1844 or of the mature symphonies. Both soloists play with wonderful accuracy and joie de vivre. The three movement form is absolutely to the classical standard except for the considerable length of the opening Allegro which runs for nearly 18 minutes, a length even Mozart rarely reached.
The real shock is that only two years elapsed before the entirely characteristic Octet for Strings was composed. Here at 16 we have a fully fledged Mendelssohn. Despite the large number of earlier chamber pieces this was his real breakthrough and a complete masterpiece. The form of the double quartet is not unknown, Spohr wrote four but the first of these only predated Mendelssohn's Octet by two years and is far more a work for two string quartets, as the name implies. Mendelssohn composes for a full integrated group of four violins, two violas and two cellos. He even states on the title page that the work must be played 'in the style of a symphony'. Few other pieces like this are in the repertoire even today. The eight strings of the Australian Chamber Orchestra play with finesse and vitality such that they fear no comparisons with the competition, even the most prestigious. There being almost no repertoire for a string octet all performances on record are by groups brought together, or extracted, for the occasion.
Those seeking a recording should consider the present issue very seriously because the coupling is unusual and the whole is better recorded that any other I know.
-- Dave Billinge, MuscWeb International
If I were to pick any holes I would rather like to have heard the Concerto on a period piano instead of the modern concert grand which has a good deal more power than is required for this essentially 18th century music. The thorough notes by Horst A. Scholz tell us that Mendelssohn composed the Concerto for Violin and Piano in May 1823 at the ripe old age of 14. It is less the antecedent of Hummel that one hears than the influence of Carl Philip Emmanuel and even Johann Christian Bach. There is no problem whatever with a young protégé emulating his predecessors when it is done so beautifully. The concerto is a joy to hear providing you do not expect the Mendelssohn of the Violin Concerto in E minor of 1844 or of the mature symphonies. Both soloists play with wonderful accuracy and joie de vivre. The three movement form is absolutely to the classical standard except for the considerable length of the opening Allegro which runs for nearly 18 minutes, a length even Mozart rarely reached.
The real shock is that only two years elapsed before the entirely characteristic Octet for Strings was composed. Here at 16 we have a fully fledged Mendelssohn. Despite the large number of earlier chamber pieces this was his real breakthrough and a complete masterpiece. The form of the double quartet is not unknown, Spohr wrote four but the first of these only predated Mendelssohn's Octet by two years and is far more a work for two string quartets, as the name implies. Mendelssohn composes for a full integrated group of four violins, two violas and two cellos. He even states on the title page that the work must be played 'in the style of a symphony'. Few other pieces like this are in the repertoire even today. The eight strings of the Australian Chamber Orchestra play with finesse and vitality such that they fear no comparisons with the competition, even the most prestigious. There being almost no repertoire for a string octet all performances on record are by groups brought together, or extracted, for the occasion.
Those seeking a recording should consider the present issue very seriously because the coupling is unusual and the whole is better recorded that any other I know.
-- Dave Billinge, MuscWeb International
DUBUGNON: Piano Quartet / Incantatio / Frenglish Suite
Naxos
Available as
CD
$19.99
Jan 01, 2003
DUBUGNON: Piano Quartet / Incantatio / Frenglish Suite
Viva España And Mexico
Naxos
Available as
CD
$19.99
Jan 18, 2005
Viva España And Mexico
EVENING IN PARIS (AN)
Naxos
Available as
CD
EVENING IN PARIS (AN)
Opera Arias (Soprano): Tebaldi, Renata - BOITO, A. / GIORDAN
IDIS
Available as
CD
$16.99
Apr 03, 2006
Classical Music
Schütz: Psalms Of David / Marlow, Pearce, Morgan, Et Al
Conifer Records
Available as
CD
$17.99
Sep 15, 2010
SCH¸TZ: PSALMS OF DAVID MARLO
Stravinsky: Mass; Gesualdo: Responsoria / Richard Marlow
Conifer Records
Available as
CD
$17.99
Aug 22, 2008
STRAVINSKY: MASS GESUALDO: RE
Mozart: The Romantic Mozart
Naxos
Available as
CD
$19.99
Jan 01, 1900
Mozart: Romantic Mozart (The)
Night Music 1 - Classical Favourites For Relaxing
Naxos
Available as
CD
$19.99
Jan 01, 1900
Includes work(s) by various composers.
Classics At The Movies-sci Fi
Naxos
Available as
CD
$19.99
Aug 10, 2004
The Classics at the Movies: Sci-Fi
Classics at the Movies: Adventure
Naxos
Available as
CD
$19.99
Jan 01, 2001
Classics at the Movies: Adventure
The Best Of Beethoven
Naxos
Available as
CD
$19.99
Jun 23, 1997
Classical Music
French Orchestral Selections [2 CDs]
Vox
Available as
CD
$29.99
Apr 14, 2010
French Orchestral Selections
Poulenc: The Sacred Music For Unaccompanied Choir / Marlow
Conifer Records
Available as
CD
An assured and impressive performance, with expressive dynamic shadings, pure intonation, and intelligent phrasing.
...John Rutter and Richard Marlow with their Cambridge choirs here cover all Poulenc's sacred choral music except the Stabat mater... Both sets of performances are very good, with fine balance, expressive dynamic shadings, pure intonation, intelligent phrasing and excellent enunciation—so good that it seems a pity their programmes should overlap for the Penitential and Christmas motets and the three others. The main difference between them is that the acoustics of Trinity College chapel are more resonant than that of University College School hall, used by Rutter (though this has certainly no lack of warmth): as a result, the College choir, already splendidly firm of voice, produces a notably rich sonority... The Regent Chamber Choir...snatches off ends of phrases too abruptly. This habit is very marked in Poulenc's angular and Stravinskyan Mass, in which weight and fullness of tone are lacking in the men (e.g. at the start of the "Gloria"), as becomes very obvious when compared with Marlow's assured and impressive performance (with a very sweet-toned soprano in the "Agnus Dei").
-- Gramophone [10/1988, comparing this CD with Collegium 506 and Regent/Target 101]
...John Rutter and Richard Marlow with their Cambridge choirs here cover all Poulenc's sacred choral music except the Stabat mater... Both sets of performances are very good, with fine balance, expressive dynamic shadings, pure intonation, intelligent phrasing and excellent enunciation—so good that it seems a pity their programmes should overlap for the Penitential and Christmas motets and the three others. The main difference between them is that the acoustics of Trinity College chapel are more resonant than that of University College School hall, used by Rutter (though this has certainly no lack of warmth): as a result, the College choir, already splendidly firm of voice, produces a notably rich sonority... The Regent Chamber Choir...snatches off ends of phrases too abruptly. This habit is very marked in Poulenc's angular and Stravinskyan Mass, in which weight and fullness of tone are lacking in the men (e.g. at the start of the "Gloria"), as becomes very obvious when compared with Marlow's assured and impressive performance (with a very sweet-toned soprano in the "Agnus Dei").
-- Gramophone [10/1988, comparing this CD with Collegium 506 and Regent/Target 101]
Mendelssohn: Octet, String Symphony no 9 / Tognetti, Australian CO
Sony Masterworks
Available as
CD
$17.99
Dec 29, 2010
MENDELSSOHN: OCTET, STRING SYM
Vaughan Williams: Symphonies No 6 & 8, Nocturne / Hickox
Chandos
Available as
CD
This selection is also available as a Super Audio CD (SACD).
ESSENTIAL GIULIANI 2
MNRK ONE MUSIC
Available as
CD
$17.63
Sep 04, 2015
ESSENTIAL GIULIANI 2
