WAGNER: DER RING DES NIBELUNGEN (HIGHLIGHTS)

Real and Right and True marked the debut of prolific Australian composer Calvin Bowman on Decca (Australia). The album title is derived from a set of nine poems by celebrated Australian cartoonist, writer and painter Michael Leunig, whose beautiful painting 'Autumn Harvest' also graces the cover artwork. Bowman specializes in artsong and has, to date, written nearly a hundred songs with more constantly on the way. He is a laureate of the Ned Rorem Award for Song Composition, the Diana Barnhart American Song Competition, and the English Poetry and Song Society Artsong Award. Bowman is the only Australian composer to ever have been exclusively featured on the prestigious Decca label aside from Percy Grainger. His songs have been lauded by many luminaries including Barbara Bonney, Sir Neville Marriner and Lee Hoiby, and are recognized for their technical prowess and humanity. In this remarkable debut offering, three of Australia's finest singers - Sara Macliver, Paul McMahon and Christopher Richardson - join forces to record over fifty of Bowman's acclaimed artsongs. Full texts are included.

On two days in October 2016, Russian pianist and conductor Vladimir Ashkenazy and Australian cellist Catherine Hewgill went into the studio to make their first recording together. An all-Russian program, it features the Cello Sonatas of Shostakovich and Prokofiev with the added pendant of the Rachmaninov Vocalise in an arrangement by American cellist Leonard Rose. This is their first recording for Decca (Australia). The recording, entitled From Darkness to Light, 'reflects the many very dark passages in each of the two sonatas, which ultimately seem to resolve themselves into the possibility of universal light and hope,' says Ms. Hewgill, Principal Cellist of the Sydney Symphony Orchestra. 'I very much enjoyed working on this recording with Katie Hewgill. She is a very artistic and highly professional musician. Also, as I am Russian, it certainly feels very natural to me to identify with this great music,' says Vladimir Ashkenazy. Prokofiev's Cello Sonata sees the composer on his very best behavior. The astringent harmonies, the motoric rhythms, and the sardonic, sarcastic and pessimistic temperaments that characterized so much of his earlier music have been replaced with a more palatable lyricism, and an apparent willingness to please, instead of provoking. Shostakovich's Cello Sonata was written in the wake of a spell of notoriety. It was written in 1934, the same year as the premiere of his 'shocking' opera Lady MacBeth of the Mtsensk District and was completed on 19 September that year, a week before he turned 28 and was his first important chamber work.

A song recital new to CD from a peerless lyric soprano, coupled with classic recordings of Ravel and Verdi. In 1971 Andrew Porter wrote that Margaret Price's voice was among the things that make one 'glad to be alive'. In the 1960s she had recorded for a small Welsh label a recital of Welsh, German and Italian songs that would become signature items for her over the coming decades. Reissued in 1969 by L'Oiseau-Lyre, the album makes it to CD for the first time in this compilation. In favourites such as Schubert's Heidenr�slein, Verdi's Ave maria and five Welsh folksongs, Price is on sovereign form, with a gleaming upper register and engagingly fresh phrasing. Also from the early 70s is a rare foray into contemporary music inspired by her Welsh heritage, with Alun Hoddinott's setting of a text by Emyr Humphries, Roman Dream. She recorded this for Argo along with a set of Gaelic folksongs by Phyllis Tate; these, too, are transferred to CD for the first time. More familiar delights are offered on CD2, with Deutsche Grammophon capturing her voice in full and glorious maturity in a 1987 album of Verdi songs and a recording of Ravel's opulent, oriental song-cycle Sh�h�rezade, in which she is sensitively partnered by the London Symphony Orchestra under a long-time musical partner, Claudio Abbado; together in 1971 they had recorded the Altenberg-Lieder of Berg which fill out CD1. Thus Price sings in five languages through the course of the compilation, and shows herself a gifted word-painter in each of them: it's a comprehensive tribute to the art of a soprano esteemed by Sir Georg Solti as 'a musician's singer and a conductor's singer'.

Sir Adrian Boult's first Messiah for Decca, newly remastered and coupled with a rare L'Oiseau-Lyre recording of the Bach Magnificat, new to CD. When this Messiah was released in 1954, critics were quick to recognise it as exemplifying the English oratorio tradition at it's finest. Boult used a large chorus - the London Philharmonic Choir, singing with superb discipline and clarity of articulation - but he rejected both the monumental style of performance cultivated by Sir Malcolm Sargent and the anachronistic trappings of Sir Thomas Beecham's Handel. Boult slimmed down the LPO to chamber-orchestra dimensions, though he did not neglect the oratorio's moments of grandeur, pathos and splendour. Almost everywhere, the recorded sound belies it's age. With mono this vivid and with bass frequencies this powerful, few will pine for stereo. Each orchestral section is sharply delineated: a glint of oboe timbre here, a welcome emphasis on the bottom line's crunchy bassoon timbre there. In fact his stereo remake from seven years later (with the London Symphony Orchestra) has a more old-fashioned feel, due at least in part to a more operatically scaled team of soloists. In 1954 Boult's cast was led by the elegant and imperious soprano of Jennifer Vyvyan. The male soloists, too, found favour with Benjamin Britten when casting his operas; the recording is particularly valuable as a rare example on records of the artistry of the American tenor George Maran: always well-focused, assured from top to bottom of the register. More British singers on top form may be enjoyed in the coupling, a recording of Bach's Magnificat made in 1955 for L'Oiseau-Lyre by the London-based Kalmar Chamber Orchestra and St Anthony Singers. The Swiss conductor Pierre Colombo, little known now, presides over a rhythmically vital account, lent a further 'period' feel by the stylish contributions of both the countertenor Alfred Deller and the slender, pure-toned soprano member of the Deller Consort, Eileen McLoughlin. This reissue is further enhanced by a new essay by R.J. Stove, contextualising both the works and these marvellous performances.

Romanticist and classicist, modernist and conservative, the violinist Joseph Szigeti defied classification. His wide repertoire ranged from Bach to Bart�k and beyond, and he played it all with skill and understanding, becoming known as 'the thinking man's virtuoso'. Issued internationally and complete, for the first time on CD in this Limited Edition original-jackets collection, these Mercury recordings were made in New York and London during the autumn of Szigeti's career, between 1959 and 1961. The original Mercury tapes have been given new high-definition transfers at Abbey Road Studios, and then remastered by Thomas Fine.

In March 1959 and May 1963, respectively, Vera Lynn and Kenneth McKellar - two of Decca's best-selling exclusive artists - went into the studio to record albums of nursery rhymes. Simply, but deliciously scored, with several touches of humour, the two collections were brought together by Decca in 1976 and issued as "The Wonderful World of Nursery Rhymes". A gatefold sleeve for the 1976 LP (SPA 485) was commissioned and it included an illustration that encompassed all 54 nursery rhymes featured on the album. Now, for the first complete CD reissue of that LP, the same illustration is used and the original sequencing of the nursery rhymes retained. Additionally, the lyrics for all the nursery rhymes are printed in the booklet, ensuring that this becomes something of a collector's item as well as the perfect gift for the young at heart.

From her legendary debut through the succeeding years, Jeanne Demessieux brought virtuosity allied to intellect and sensitivity, and went on to become the glory of the French organ school. This 8-CD celebration of one of the instrument's most spoken-of, yet enigmatic figures, brings together for the first time her complete Decca recordings and a previously unpublished BBC Radio broadcast, and is released to mark the centenary of her birth. It includes Demessieux's legendary Franck recordings; her recordings from St. Mark's, North Audley Street, London, many released for the first time since the original 78s; little-known recordings of sacred songs with Demessieux accompanying the Belgian soprano, Suzanne Danco; and an improvisation on a submitted theme from the only extant BBC radio broadcast with Demessieux, which also includes Bach, Buxtehude, Widor and Messiaen. All recordings have been carefully remastered by Mark Obert-Thorn and Chris Bernauer. The accompanying booklet includes details of Demessieux's unpublished recordings, rare photos and facsimiles of some of her programs, extensive notes, including details of some of the recording sessions; and notes on the instruments and full specifications for each of the five organs.

A clear crowd favorite at the 2016 Sydney International Piano Competition with his incendiary technique and warm stage presence, Moye Chen was awarded the George Frederick Boyle Prize and was signed to Universal Music Australia shortly after. On this luscious recording, the Chinese pianist coalesces four worlds as he traces the journey of three composer-pianists who, like Chen himself, followed their destinies to the 'New World'. Russians Sergei Rachmaninov and Vladimir Horowitz both found renewed fame in America, and Percy Grainger's uncommon musical versatility found a second voice when he moved from Australia via England to America. Who can fail to be seduced by Gershwin's Love Walked In in the smoochy transcription by Percy Grainger? Or his Londonderry Air. Vladimir Horowitz, one of the greatest virtuosos of all time, makes an appearance as both composer and transcriber. Rachmaninov is one of Moye Chen's many specialties and he presents a range of pieces from this composer's output - the gorgeous Melodie, the cheeky transcription of the 'Menuet' from Bizet's L'Arl�sienne, and the all-engulfing Second Sonata.

Over the course of the 1990s, the Scottish pianist Gordon Fergus-Thompson recorded five albums of Scriabin on the ASV label. Long unavailable, they are compiled and reissued here for the first time complete with original booklet essays by Bryce Morrison. Interviewed in 1995, at roughly the halfway point of the series, Fergus-Thompson remarked that he found 'an essential continuity in Scriabin's language. There's a special sort of logic in the progress from the First to the Tenth Sonata. Scriabin was a new, entirely original kind of composer/pianist and even in his earliest works his flightiness and volatility are paramount. It's an extraordinary experience playing and recording this music, alternately exhilarating and unnerving.' Renowned both for his Debussy and his Rachmaninov, Fergus-Thompson is thus ideally equipped to elucidate the transient, haunted world of Scriabin. His playing strikes a balance between precision and spontaneity, between intellect and emotion. He faithfully mirrors the development of Scriabin's style as it departs from the sideways romance of the Op. 3 Mazurkas and becomes increasingly fragmented, full of tensions abruptly set up and terminated. At the point where the series itself was terminated in 2001, Fergus-Thompson had recorded the complete Etudes, Preludes and many other shorter pieces as well as six of the ten sonatas (Nos. 2-5, 9 and 10). Throughout the series, critics noted his refined tonal elegance, fully conveyed by the spacious and detailed ASV recording, and his innate feeling for Scriabin's superfine intricacy and exotically perfumed harmonies in the later music.

AGE OF BEL CANTO

Newly remastered and gathered under one roof for the first time, the Decca recordings of Hans Knappertsbusch conducting Bruckner: a legendary combination. For record collectors in the 1950s and 60s, the names of Bruckner and Knappertsbusch ('Kna') were practically synonymous. At a time when the composer's symphonies were routinely compared to Gothic cathedrals, the rough grandeur, steady pulse and towering climaxes of these readings marked out the conductor as an architect of symphonic majesty. Record companies did not have to work hard to cultivate this image, thanks to Knappertsbusch's craggy visage, imposing presence on the podium and decades of Wagnerian experience at Bayreuth. At a time when Wagner's Parsifal was still experienced as a primarily sacred music drama, the major works of Bruckner were likewise understood in semi-sacred terms as concert-hall rites, and who better to pierce their mysteries than Parsifal's pre-eminent interpreter? Knappertsbusch began recording Bruckner for Decca in 1954, with the Third. The Fourth and Fifth quickly followed, also from Vienna, and then the Eighth arrived as an appendix from Munich, first issued on the Westminster label in 1963. By then the conductor's readings of Romantic repertoire had become less impulsive, even more monumental in concept, but still lightened by a natural feeling for the dance rhythms in Bruckner's scherzos and L�ndler themes. Knappertsbusch persisted in conducting from editions prepared by Bruckner's pupils, notably the Schalk brothers, with their liberal re-scorings and cuts, to the finales in particular - all outlined in a perceptive booklet essay by Antony Hodgson. In the light of recent scholarship and a more nuanced perspective on Bruckner's evolving intentions with the composing and revising of his symphonies, these performances gain a certain, compelling authenticity of their own. No Brucknerian can afford to be without them.

Three exceptionally rare Decca LPs of a much prized French pianist, newly remastered and released on CD for the first time. Rheumatism forced Agnelle Bundervo�t to retire from the platform at the peak of her career in the late 1950s, though she continued to pass on to her students at the Conservatoire of Versailles the beautifully defined articulation, mastery of high expressive contrasts, and remarkable rhythmic drive that distinguish the recordings of Schumann, Brahms and Liszt on this collection, which will attract the attention of all pianophiles. One of those students was Fr�d�ric Gaussin, who contributes a personal memoir and authoritative survey of her life and career to this Eloquence collection. He remembers Bundervo�t as a very demanding teacher: 'implacable but fair, generous, an acute psychologist, a spiritual person, dispensing pieces, studies and writing exercises with the knowledge and far-sightedness of a world-class physician'. Born in 1922, Bundervo�t began to learn the piano at the age of four, and within three years she was enrolled at the conservatoire in Marseilles. She was accepted at the Paris Conservatoire by the age of ten, even though she was too young to undertake the formal program of study, but the pedagogue Lazare-Levy recognized her exceptional intellect, prodigious technique and innate musical gifts. She was awarded the conservatoire's Premier Prix for six years in succession, and her talents extended beyond the piano to singing, organ playing and choir directing. Her first album, a Bach recital, was awarded a Grand Prix du Disque, but she was dissatisfied with the engineering of the Ducretet-Thomson recording; the trio of Decca albums (recorded in 1955-57) enjoys a far wider dynamic range and a much richer timbral palette, more faithfully capturing the elegance and refinement of her playing in the flesh. They hardly reflect the breadth of her repertoire, which took in much new music, but they now count as a precious testament to a notable if now little-known inheritor of the French piano tradition.

A landmark tribute to Roger Desormiere, a great French conductor of the mid-twentieth century, including many recordings new to CD. A car crash in March 1953 cruelly cut short the career of Roger Desormiere, who at the age of 53 had already established a reputation as one of the most insightful French conductors of his or any previous era. The resulting stroke left him barely able to communicate, incapable of work. His pupils, including Pierre Boulez, were distraught, but Desormiere clung on for thirteen painful years, eventually dying a broken man. Desormiere's legacy on disc is a case of what might have been. Record companies showed little interest in recording the modern repertoire of which he was so stylish and dedicated an interpreter, at least the equal in this regard of Hans Rosbaud and Rene Leibowitz. His one indisputable classic of the gramophone is the 1941 HMV recording of Pelleas et Melisande, but he recorded much else for several different labels. The present set brings together all his Decca recordings for the first time, made in mono between 1947 and 1951, newly remastered and constituting a substantial tribute to a musician of manifold gifts. As a regular conductor of both the Ballets Suedois and the Ballets Russes in Paris, Desormiere gave the premieres of Satie's last two ballets; Decca captured his mastery of ballet conducting in suites of Scarlatti, Chopin, Delibes and Tchaikovsky. Of music from his own time there is Poulenc's Les Biches, and the Divertissement of Ibert from 1951 (his final Decca recording), both done with the most refined ear for orchestral texture. His disc of lyric and coloratura arias with Janine Micheau unites him with a singer who, like him, brought a light touch to everything she did. On a visit to London in May 1947 Desormiere undertook his only recording assignment for Decca in the UK, recording in a single day Bizet's Jeux d'enfants and Patrie Overture, Debussy's Marche ecossaise and Chabrier's Habanera, in Kingsway Hall, with Sidney Beer's body of freelance players, the National Symphony Orchestra. Every other recording was made with the Paris Conservatoire Orchestra, and each one has a character as Parisian as the Tuileries and the Bateaux-mouches.

O Lungo Drom translates as 'The Long Road' in Romanes. This large-scale work, scored for a chamber ensemble including soprano, baritone, flute, clarinet, cimbalom, piano and string quartet, integrates texts from all around the world into an oratorio to create a Lied of the scattered Sinti and Roma. Members of the minority have lived in Europe for over 700 years. Since that time, they have been subjected to constant discrimination and persecution - punctuated by infernal periods of enslavement and genocide. 'The Long Road' is a road of longing, of yearning, a path that leads to and from remembrance; each step and footprint on this road, imbued with a profound sense of Fernweh, embraces hope and beauty through resilience and consolation. O Lungo Drom sets the words of thirteen different poets and writers from this minority in ten languages and Romanes dialects. Full texts and translations are included.