In addition to Sir Adrian Boult’s (1889–1983) masterly conducting of Beethoven’s and Schubert’s symphonies, these live stereo performances include several new additions to the conductor’s illustrious discography: Rossini’s La scala di seta and Beethoven’s Die Weihe des Hauses Overtures, as well as Weber’s Euryanthe Overture which he last recorded in 1937.

Leopold Stokowski’s eminence as one of the truly great conductors of the 20th century over a career spanning more than six decades is exemplified in this set, which features live performances in stereo of symphonies and other works he conducted in concert during his final years and which, in many cases, he had premiered on record as well. In one of the many outstanding reviews of these live concerts, the distinguished Times critic William Mann wrote of the 1963 ‘Proms’ premiere of Mahler’s Symphony No.2: “A performance which was superb by any standards, meticulously loyal, noble and deeply felt out of long and thoughtful experience.” The set has been newly remastered to reflect Stokowski’s instructions on how he wanted his recordings to sound.

REVIEW:

A complete concert that the conductor gave in 1970 with the Netherlands Radio Philharmonic in 1970 makes for a particularly gratifying disc, because it contains a work that exists in no other Stokowski recording, Prokofiev’s Alexander Nevsky. It is a wild reading, with mostly quick tempos, although there are extremes in both directions.

— Fanfare

The Rautio Piano Trio returns to Resonus with this second volume of Beethoven’s Piano Trios, recorded on period instruments. The album features his Op. 11 trio – ‘Gassenhauer’ – together with his Piano Trio Op. 1 No. 3, showcasing the young composer’s early mastery of the genre; and his virtuosic Variations for Piano Trio Op. 44. This is the culmination of the Trio’s wider project charting the evolution of the piano trio from its emergence in the mid-eighteenth century, with the music of J.C. Bach, C.P.E. Bach, Mozart, and Haydn, through to Beethoven’s complex and mature realization of the genre.

Their second duo album on Signum Classics, Viktoria Mullova and Alasdair Beatson perform Beethoven’s Sonatas 6, 1, and 8. Just as in previous recordings, they use a copy of an 1805 Walter (a Viennese fortepiano) by Paul McNulty; together with violin strung with gut, these instruments are what Beethoven’s music craves, giving a rich texture and distinct colors between the registers.

New recordings of late Beethoven at his
most heroic and visionary.
Andrea Molteni plays Scarlatti with ‘ringing
tone and virtuosic agility’ reported Fanfare
magazine of the Italian pianist’s collection of
sonatas on Piano Classics (PCL10233). The
Art Music Lounge praised his bold
juxtaposition of Petrassi and Dallapiccola
(PCL10222) as ‘a strange but wonderful
album’, noting that ‘Molteni sparkles as he
rips through the music with energy and
élan’.
These qualities hold him in good stead for
the rigours of late Beethoven. With his
‘Hammerklavier’ Sonata of 1818, the
composer challenged pianists and listeners
alike to assimilate a work unprecedented in
its length and complexity. Motivically linked
by a descending third through the eventful
course of its four movements, the Sonata
opens with a precipitous Allegro. A mordant
Scherzo then introduces a long and
spiritually engaged slow movement, before
the mighty finale hurtles towards its epic
conclusion through a densely wrought
fugue. In each aspect, then, the Sonata
outlines blueprints for what would become
known as Beethoven’s late style, whether
expressed in solo, chamber, orchestral or
vocal music. The most celebrated single
result of that late style is the Grosse Fuge
which Beethoven wrote as the finale to his
String Quartet Op.131. Persuaded by his
publisher to substitute it for a less arduous
conclusion, Beethoven left this mighty fugue
to stand on its own, and so it has stood ever
since, as a ferocious yet rewarding exercise
of concentration and contrapuntal art.
Molteni presents it in a 19th-century
arrangement made by Louis Winkler which
has attracted surprisingly few recordings.
At the centre of Molteni’s recital, the Sonata
Op.110 offers salutary contrast. Here too are
examples of heroism, rustic humour and
melancholy, but distilled to an essence of
vitality.