{"title":"London Symphony Orchestra","description":null,"products":[{"product_id":"mahler-symphony-no-5-in-c-sharp-minor","title":"Mahler: Symphony No. 5 in C-Sharp Minor","description":"Classical Music","brand":"Vox","offers":[{"title":"CD","offer_id":44679417069802,"sku":"653269720525","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/0653269720525.jpg?v=1782786569"},{"product_id":"orchestral-music-russian-tchaikovsky-p-i-stravinsky","title":"Orchestral Music (Russian) - TCHAIKOVSKY, P.I. \/ STRAVINSKY,","description":"Classical Music","brand":"Nimbus","offers":[{"title":"CD","offer_id":44722601394410,"sku":"710357174926","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/294071.jpg?v=1778326334"},{"product_id":"carmina-burana-cantione-profanae","title":"CARMINA BURANA - CANTIONE PROFANAE","description":"Brilliantly recorded CD... choir makes us understand all about sexual abandon - 'I am bursting out all over' is a joy... soprano makes a rapturous contribution... delectable, ravishing climaxes\" (Penguin Guide 3 stars) \"the digital sound means we notice things not discovered before: the piano part, and superb tuba contributions... The clarity of the consonants when the chorus hisses out the words 'O fortuna' in the closing section is very telling... splendid playing - trumpets and horns are joyously thrusti ng, the solo bassoon most piquant, while in their round dance the strings are positively smoochy... this (Abbey Rd) version is demonstrati on class\" (Gramophone).","brand":"ALTO","offers":[{"title":"CD","offer_id":44908077678826,"sku":"5055354413360","price":11.01,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3582986.jpg?v=1778378444"},{"product_id":"bruckner-sym-no-4-romantic","title":"BRUCKNER SYM NO.4 ROMANTIC","description":"Great hushes, mighty crescendos, time for every duplet and triplet to be grounded and yet to resonate with momentum. This was Bruckner's maximal minimalism at it's most majestic (The Times) \"the LSO's principal horn (David Pyatt) here sets down a wonderful opening benchmark for what follows... Haitink's conducting is a master-class in the art of control while appearing to stand back and let everyone play their best... This version easily holds it's own with the best.\" (Classic FM magazine)","brand":"ALTO","offers":[{"title":"CD","offer_id":44908078203114,"sku":"5055354413582","price":11.01,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3765435_43f214b8-a0f2-4c04-b9b6-be5bd6076deb.jpg?v=1778378643"},{"product_id":"shostakovich-symphony-11-the-year-1905","title":"SHOSTAKOVICH: SYMPHONY 11 THE YEAR 1905","description":"A superb performance with excellent sound makes this a benchmark recording and my top CD choice of the year. Shostakovich fans ignore this release at their peril ! (MusicWeb) \"A searing new live account by Rostropovich, well-recorded and unmissable (he) has something unique to say about this work, transcending any doubts about his conducting... The finale is articulated with tremendous cut and thrust, the sheer heft of the strings mightily impressive... The brass project powerfully as they do in real life, the woodwind audibly composed of individual stylists, the strings sound virile. It's all here... Play loud or not at all.\" (Gramophone)","brand":"ALTO","offers":[{"title":"CD","offer_id":44908078432490,"sku":"5055354413667","price":11.01,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3765437.jpg?v=1778378624"},{"product_id":"berlioz-harold-in-italy-three-overtures","title":"BERLIOZ: HAROLD IN ITALY \u0026 THREE OVERTURES:","description":"Yet again Sir Colin Davis demonstrates his supreme mastery as a Berlioz interpreter... especially fascinating is to compare this latest Harold en Italie with earlier versions - the biggest contrast is the extra tautness of Davis's interpretation, with speeds consistently faster... The textures are sparer, sharper and lighter - bringing extra incisiveness all round. One other benefit is that the magnificent Tabea Zimmermann, is balanced as part of the orchestra. The beauty of her tone, with it's nut-brown colours on the C-string, is never masked, but the balance allows pianissimi of a delicacy never achieved by the 1975 version. In the introduction there is a repeat marked 'pianissimo possibile' - just what you hear in magic tones. (Gramophone)","brand":"ALTO","offers":[{"title":"CD","offer_id":44908078530794,"sku":"5055354413698","price":11.01,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3564542.jpg?v=1778378260"},{"product_id":"russia-romance-drama","title":"RUSSIA: ROMANCE \u0026 DRAMA","description":"Ahronovitch is direct and exciting and the title is well borne out by the performances. The recording is brilliant without being aggressively so, and has plenty of weight (with splendid brass sonorities in Night on the Bare Mountain) plus an effective ambience. The Sabre Dance has great energy and the Prokofiev March from Love for three oranges is nicely pointed, and it includes favourites such as the BBC TV Onedin Line theme - the Adagio from Spartacus. In short, this is excellent value and does much to recommend the L.S.O series.\"(Gramophone). (Tchaikovsky): \"recording spectacular, and the balance truthful... fusillade of canon at the end of '1812' is impressively realistic\" (Penguin Guide)","brand":"ALTO","offers":[{"title":"CD","offer_id":44908078563562,"sku":"5055354413711","price":11.01,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3819482.jpg?v=1778378888"},{"product_id":"movie-magic-20-big-themes-space-action-romance","title":"MOVIE MAGIC: 20 BIG THEMES SPACE ACTION \u0026 ROMANCE","description":"'Films are fantasy - and fantasy needs music' (Jack L Warner \/ Warner Bros.)","brand":"ALTO","offers":[{"title":"CD","offer_id":44908083151082,"sku":"5055354419690","price":11.01,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3844883_e2338e2e-bce0-4030-8de7-604251db939f.jpg?v=1778377967"},{"product_id":"tchaikovsky-the-nutcracker-3","title":"TCHAIKOVSKY: THE NUTCRACKER","description":"The Nutcracker, first seen in 1892, recounts the magical Christmas Eve of young Clara. Her adventures in the company of an enchanted prince inspired Tchaikovsky to such spellbinding numbers as the Dance of the Sugar Plum Fairy, the Waltz of the Flowers and a sparkling series of national dances.  In describing himself in an interview as \"a complete romantic\", Andr� Previn suggested just why his recordings of Tchaikovsky's three great ballet scores, made in the 1970s with the London Symphony Orchestra, have become classics of the catalogue. In their sweep, colour and surging emotion, they exemplify the spirit of late Romanticism, the musical aesthetic at the heart of Previn's repertoire. Over his 11 years as Principal Conductor of the LSO (1968-1979) he and his musicians became something of a media phenomenon, notably with their own series on BBC television, which helped to draw full houses for their concerts in London and on tour.","brand":"WARNER CLASSICS","offers":[{"title":"CD","offer_id":44947096568042,"sku":"5054197346507","price":12.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4154608-2914840.jpg?v=1778363531"},{"product_id":"shostakovich-symphony-no-8-noseda-london-symphony-76091","title":"Shostakovich: Symphony No. 8 \/ Noseda, London Symphony Orchestra","description":"\u003cp\u003eComposed against a cataclysmic backdrop of Stalinist oppression and the Second World War, Shostakovich's Symphony No.8 is a deeply affecting poem of suffering. The composer described it as, ''an attempt to reflect the terrible tragedy of war,'' and it contains some of the most terrifying music he ever wrote. Here, Gianandrea Noseda conducts the London Symphony Orchestra with intensity and understanding, allowing the music to tell its own story as it travels from darkness into light, yearning more for peace than for victory.\u003c\/p\u003e","brand":"LSO LIVE","offers":[{"title":"SACD","offer_id":45079964254442,"sku":"822231182221","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3568128-2621311.jpg?v=1778371821"},{"product_id":"someone-to-watch-over-me-48339","title":"Someone to Watch Over Me","description":"\u003cp\u003eElla Fitzgerald's iconic vocals are given new life by marrying newly recorded string arrangements from the London Symphony Orchestra. Recorded at Abbey Road Studios, and conducted by James Morgan and Jorge Callandrelli, this new approach to Ella's timeless music reinvigorates her catalog and is sure to excite and please long time Ella fanatics and classical music connoisseurs at the same time. Guest vocalist Gregory Porter also lends his incredible talent to \"People Will Say We're in Love\".\u003c\/p\u003e","brand":"VERVE","offers":[{"title":"CD","offer_id":45080599560426,"sku":"602557825381","price":15.2,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3710189.jpg?v=1778383077"},{"product_id":"alfred-cortot-the-warner-classics-edition","title":"Alfred Cortot - The Warner Classics Edition","description":"\u003cp\u003eHis exceptional touch and sense of phrasing, his deep and personal understanding of the most varied repertoires, or even the legendary trio he formed together with Jacques Thibaud and Pablo Casals, made Alfred Cortot the greatest pianist of his time. Master of many disciples, notably the brilliant Dinu Lipatti, Samson François and Clara Haskil, Cortot also had a lasting influence on the Russian piano school through Samuil Feinberg and Heinrich Neuhaus, the latter himself being the revered teacher of Sviatoslav Richter.\u003c\/p\u003e\u003cp\u003eAll of the recordings in this set had undergone careful sound restoration in 2012, in order to respect as closely as possible the original sound. The remastering was carried out under the expert control of Mr. Guthrie Luke, a former disciple of Alfred Cortot who attended many recording sessions by Cortot. These recordings do not represent a \"complete\" edition: the many rolls engraved by the artist for Duo-Art, Aeolian and Pleyela labels have not been reproduced here, most of them doubling the 78-RPM repertoire. The first recordings are acoustic; and the ones with an electric microphone appeared as early as 1926.\u003c\/p\u003e","brand":"WARNER CLASSICS","offers":[{"title":"CD","offer_id":45862022086890,"sku":"5054197471940","price":83.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4205540-2970830.jpg?v=1778371309"},{"product_id":"pablo-casals-the-complete-hmv-recordings-1926-1955","title":"Pablo Casals - The Complete HMV Recordings 1926-1955","description":"\u003cp\u003eThe Catalan cellist Pablo Casals (1876-1973) was first to bring to wider notice the works that open this set, J.S. Bach's solo cello suites. Thereafter we hear his celebrated partnership with Horszowski in Beethoven and the groundbreaking piano trio formed with Thibaud and Cortot in Haydn, Beethoven, Schubert, Schumann and Mendelssohn. From the symphonic repertoire come the concertos by Dvořák (with George Szell) and Elgar (Adrian Boult). 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Puckett's new Trumpet Concerto (2024), his second for the instrument, was written for the distinguished jazz trumpeter Sean Jones. It's a homage of sorts to another American classic conceived for a great jazz musician, Aaron Copland's Clarinet Concerto, which was commissioned and premiered by Benny Goodman. The work is a personal response to Jones's artistry, showcasing his dazzling high register and individual articulations and inflections that are unique to his playing.    The orchestral song cycle There Was a Child Went Forth was created for Grammy Award winning tenor Nicholas Phan. The music is accessible and inward, much like the verses by Walt Whitman. It's a work of celebration, composed in 2023 for the 225th anniversary of the United States President's Own Marine Band. Inspiration came from Phan's love of Whitman, and synergy from Whitman's written reviews of the Marine Band.'    The album's title track Short Stories is a string quartet concerto, which has been widely performed since it's 2013 premiere. Principal players of the London Symphony Orchestra shine as the soloists, at times playing as individuals, at others as a unit with their orchestral colleagues providing a resplendent accompaniment.","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012455911658,"sku":"822252275124","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4429780-3399407.jpg?v=1778209760"},{"product_id":"beethoven-brahms-wilhelm-backhaus-edition-early-recordings-1927-1939-881488230017","title":"Wilhelm Backhaus Edition - Early Recordings 1927-1939","description":"\u003cp\u003eEssentially, in the incredible ease and naturalness of his pianism, in the unassuming simplicity and absorption of the man, Backhaus was much the same artist and personality then. And he was far from unknown. Even before he won the Rubinstein Prize in 1905, Backhaus was internationally celebrated as a prodigious virtuoso. Backhaus never failed to win a succès d'estime among professional musicians. They always knew his qualities, always marveled at his instrumental perfection, his titanic mastery that scorned every complexity, his unsurpassed freedom and endurance. There was never a time when Backhaus could not toss off any or all of the Chopin études or the Brahms-Paganini variations with an imperturbable calm, an implacable security that left one open-mouthed. Not everyone, for only the pianists really knew what was happening before their eyes and ears, knew how to measure such achievement. There they all sat, in breathless astonishment and envy and despair. Backhaus was a shy, unaffected, recessive personality whose sensational capacities were so unsensationally projected that lay audiences remained totally unconscious of his fabulous accomplishments. (Gerhard Melchert)\u003c\/p\u003e","brand":"Profil","offers":[{"title":"CD","offer_id":46012457189610,"sku":"881488230017","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4169807-2941238.jpg?v=1778207937"},{"product_id":"falkenberg-debussy-the-moons-symphony-alsop-parry-london-symphony-orchestra-london-voices","title":"Falkenberg: The Moons Symphony \/ Alsop, London Symphony Orchestra","description":"\u003cp data-mce-fragment=\"1\"\u003eInternational award-winning composer Amanda Lee Falkenberg has composed a dynamic new work that merges music and science. The seven-movement symphony dramatizes past, present and future moon explorations, and highlights discoveries that have been made in our search for other worlds that could possibly sustain life.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThrough seven exhilarating movements, concertgoers will experience a stunning space adventure that focuses on the stories of these fascinating moons. But what uniquely defines this symphony is its planetary core message which culminates in the 7th movement, dedicated to Earth-Moon. This final movement offers a discovery of a different kind and provides a unique opportunity to view our planet united and whole, from the surface of the Moon, a breathtaking, life-changing experience referred to as THE OVERVIEW EFFECT. The impact of such a privileged sight has inspired a call to action from Astronauts and as a result  has propelled them to share this profound perspective shift with all of us here on Earth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThrough the persuasive and powerful forces of music, the symphony offers Earthlings a chance to contemplate who and where we are in the universe. In 42 minutes they will be taken on an emotional journey, marveling at the wonders of these moons, the beauty of our planet, and possibly even experience their own perspective shift as crew-mates aboard this spaceship we cruise, Earth. This is the story of THE MOONS SYMPHONY.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLearn more through the project's \u003ca href=\"https:\/\/www.youtube.com\/user\/musichfstudios\" target=\"_blank\"\u003eYouTube channel\u003c\/a\u003e!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrowing up in the Barossa Valley, composer Amanda Lee Falkenberg had a better view of the starry night sky than most. Such a view doubtless inspired this seven-movement choral symphony, a majestic evocation of three moons circling Jupiter, two orbiting Saturn and one from Uranus, as well as our own moon. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn inquisitive and intrepid explorer, Falkenberg involved astronomers and astronauts in her quest to summon up each moon as vividly and accurately as possible. This research is reflected not only in the music but in the economically expressive sung texts which she also composed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOut of hundreds of moons, Falkenberg’s choice illustrates enormous diversity: from Jupiter’s volcanic Io to oceanic depths of its sister Europa, then to the vast expanses of Saturn’s Titan, the mighty geysers of tiny Enceladus, the enormous canyons of Uranus’ Miranda and the magnetic force of Jupiter’s Ganymede. Finally, and most importantly, the symphony celebrates earthrise as seen from the surface of the moon, issuing a heartfelt call for all humanity to unite. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUnabashedly cinematic in style, Falkenberg’s score naturally pays homage Holst’s ground-breaking depiction of the planets, while also echoing film music great John Williams and occasionally Bernard Herrmann. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFalkenberg’s passionate and creative adaptation of the film music genre is firmly embraced by the committed artistry of the London Symphony under Marin Alsop and the warm cohesion and crystalline diction of the London Voices directed by Ben Parry, who recorded the choral music separately due to COVID restrictions. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan\u003eThe Moons Symphony \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003eoffers a precious and timely perspective on our own fragile planet that we would do well to heed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- Limelight\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012458336490,"sku":"635212073025","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129457-2878294.jpg?v=1778247905"},{"product_id":"rhapsody-brody-ziegler-london-symphony","title":"Rhapsody \/ Brody, Ziegler, LSO","description":"\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eOn her new album pioneering Romanian vocalist Teodora Brody joins forces with one of the world’s great orchestras to explore well-known classical repertoire from an entirely fresh perspective. Rising with style and energy to realise virtuosic orchestrations by Lee Reynolds, the London Symphony Orchestra voyage with Teodora through classical, jazz and Romanian folk traditions, resulting in a multi-faceted, truly unique musical experience. Born in Romania, and now based in Germany, Teodora Brody initially trained in classical jazz and rose to prominence in the late 1990s and early 2000s singing with legendary jazz pianist Johnny Raducanu. Acclaimed for her extraordinary vocal power and creative vision, Teodora pioneered the fusion of jazz with Doina – Romania’s improvisatory folk singing tradition – and is widely credited with introducing international audiences to this extraordinary, deeply emotive music.\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eIn 2004 the American government named Teodora a Romanian Cultural Ambassador to the USA, and in both 2007 and 2008 Teodora was awarded the prize for ‘Best International Jazz Contribution by a Romanian Artist’ by the Romanian Radio Broadcasting Company. 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George Lloyd approached the piano concerto form with imagination and individuality. His idiomatic solo writing avoids shallow virtuosity and empty rhetoric and there are no mighty tussles between piano and orchestral forces encountered in archetypal large-scale concertante scores. Instead, the composer offers a series of deeply personal attempts to reconcile time-honoured elements of display with symphonic preoccupations of long-range tonality, rhythmic energy and melodic growth. 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In recent years Palumbo has focused on works for full orchestra, exploring the possibilities of colors and textures – sometimes with the help of electronics – and putting the concept of ‘historical memory’ at the centre of his own composing.\u003c\/p\u003e\n\u003cp\u003eWith echoes seemingly coming from Alban Berg’s violin concerto, Palumbo’s own Concerto for Violin and Orchestra (2015) displays bittersweet lyricism. Characterized by a dramatic language and driven by a strong and varied rhythmic impulse, the single-movement work also offers transitional moments of static beauty typical of the composer’s usual finesse in the scoring. With its title echoing the past, Chaconne for 5-string electric violin and electronics (2019-20) highlights the different ways in which the electronics intertwine with the live electric violin, within a conception animated by a strong theatrical sense, like a script for a play that does not reject emotional gestures. About this work, the composer has remarked ‘I want the meaning of my music to be apparent from listening, without the need for verbal justification.’ Both works are championed by the violinist Francesco D’Orazio, a close collaborator of the composer and the dedicatee of the Chaconne.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCast in a single movement of around 30 minutes, the Violin Concerto (2015) starts out with sepulchral stirrings that gradually open out texturally and dynamically on to an evocative backdrop for the soloist to pursue a mainly lyrical and often imaginative discourse. While the violin is very much first among equals across what unfolds, its contribution stands out owing to the fastidiousness of Palumbo’s orchestration; notably during those later stages (of a piece in several arclike sections) when other instruments come briefly if tellingly to the fore to extend the music’s expressive remit. A final and evidently defining climax precedes its dying down towards the musing and even mystical serenity with which this work closes.\u003c\/p\u003e\n\u003cp\u003eFrancesco D’Orazio is the assured soloist both here and in Chaconne (2019-20), its scoring with electronics testament to the scrupulousness by which Palumbo approaches the medium. In the initial ‘Woven Lights’, a five-string electric violin is heard in the context of sampled sounds whose gestural immediacy decreases as these are drawn into a sonic continuum as unpredictable as it is imaginative. A long and often plangent cadenza makes way for ‘The Glows in the Dark’, the violin now surrounded by 30 pre-recorded variants of itself as this music assumes a rarefied while also capricious quality typified by tangible weightlessness.\u003c\/p\u003e\n\u003cp\u003eFrancesco Abbrescia has realised the electronics with audible sensitivity, and the London Symphony Orchestra respond with equal finesse to the astute conducting of Lee Reynolds. Warmly recommended[.]\u003c\/p\u003e\n\u003cp\u003e-- Gramophone\u003c\/p\u003e\n\u003cp\u003ePalumbo himself has mentioned Berg’s 1935 Violin Concerto as an inspiration for his own concerto of 2015, and connections are clear in the more recent piece’s sumptuous harmonies and deep lyricism (a wonder-filled section near the end even sounds uncannily like a John Williams movie score). There’s a sense of ever-expanding melody that soloist Francesco D’Orazio captures excellently in his warm, generous playing, with an expressive, finely controlled vibrato and abundant character across the rhapsodic writing; the London Symphony Orchestra provides spirited support under Lee Reynolds.\u003c\/p\u003e\n\u003cp\u003eD’Orazio swaps his Guarneri for a five-string electric fiddle in Palumbo’s two-movement Chaconne, which first pits the soloist against a shimmering electronic backdrop, and later against 30 mirror images of himself. It’s a volatile, sometimes elusive piece that blends fantasy and sonic adventurousness, and D’Orazio responds with far harder-edged, sometimes astringent playing that stands out beautifully against the composer’s washes of sound. The massed, high-pitched violins set microtonally apart in the Chaconne’s second movement make for a rather headache-inducing, if impressive, sonic texture, but it’s the piece’s uneasy relationship with more traditional tonality and playing, and its joyful celebration of the wild unpredictability of sound that make it particularly striking. Recorded sound is close, warm and clear throughout.\u003c\/p\u003e\n\u003cp\u003e-- The Strad\u003c\/p\u003e\n\u003cp\u003eOf the two scores the first is a Concerto for violin and orchestra. This is in a single-tracked 30-minute movement. A solution of tense foreboding and beetling catastrophe are the order of the day. The violin evokes thoughts of Ifrits rising like evocations of flame and driven upwards by superheated thermals. Palumbo embraces some ferociously stropped violent dissonance but weaves in a romantic style: Walton\/Berg. It is as if a sky-soaring Ariel is gripped by a mystical pilgrimage. There are moments of appeasing calm (8.40), hesitant wispy writing deep in the undergrowth (18.11). Pizzicati and precipitous slides recall Hovhaness with the solo instrument slipping frictionless and free. (28.00). All ends in silence. This work will appeal to those who warm to the Violin Concerto by Missy Mazzoli – also on BIS.\u003c\/p\u003e\n\u003cp\u003eA change of instrumental cams and gears comes with the other work: a Chaconne for five-stringed electric violin and electronics (2019–20). There’s no orchestra this time. The music is in two substantial movements:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWoven Lights\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Glows in the Dark\u003c\/em\u003e. The first of these has the soloist juxtaposed with sampled sounds and electronics. The second has D’Orazio’s solo plus 30 pre-recorded electric violin parts. Like the more conventionally scored Concerto this work is intricate and delicate: a jangling and twangling Prospero’s Island. It’s another impressively virtuoso piece – a thing of wonder.\u003c\/p\u003e\n\u003cp\u003eAs is BIS’s practice these days, the CD comes with a supportive essay and other written material. It’s all in a cleverly contrived card sleeve.\u003c\/p\u003e\n\u003cp\u003e-- MusicWeb International\u003c\/p\u003e\n\u003cp\u003eThe year 2023 has served contemporary music rather well on record. Among its many highlights, Vito Palumbo’s new album\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWoven Lights\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eburns bright indeed. Coming five years after the composer’s first BIS Records release, the second volume brings together two notable scores focusing on the violin – in its acoustic and electric raiments – featuring Francesco D’Orazio as soloist.\u003c\/p\u003e\n\u003cp\u003eThe album opens with Palumbo’s thirty-one-minute Violin Concerto (2015) in one movement, followed by the twenty-seven minute\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eChaconne\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2019–20) for electric violin (five strings) and electronics. Cast in two movements – which can also be performed separately – the latter features sampled sounds, electronic soundscapes devised by Francesco Abbrescia and up to thirty pre-recorded electric violin parts.\u003c\/p\u003e\n\u003cp\u003eDocumented on microphones at Abbey Road Studio 1, London on 17 September 2016, with D’Orazio joined by the London Symphony Orchestra under Lee Reynolds, the Violin Concerto is given an immersive workout on the new album. Although conceived as extended monolith, one hears traces of more traditional concerto scheme embedded within its awe-inspiring arch. Scored for solo violin and [orchestra], the violin concerto is awash with formidable instrumental writing, giving rise to an enthralling sequence of soundscapes.\u003c\/p\u003e\n\u003cp\u003eEmerging from nowhere, the music begins to take shape in various orchestral noises; tam-tam pulses, low drones, Tibetan bowls and ascending vibraphone patterns. Out of the string fabric, violent orchestral pulses are drawn as the introduction draws to its close, paving the way for the solo violin to enter the soundstage. Accompanied by glockenspiel and strings, soon joined by woodwinds, the soloist begins to unfold an endless melody – to put it in Birtwistlesque terms – colorized by muted brass. This leads to rousingly kinetic section with virtuoso violin figurations and percussive orchestral interjections, contrasted some pages later by cloud-like arpeggios.\u003c\/p\u003e\n\u003cp\u003eCooling down, the concerto flows into its meditative central section of dazzling color, where the soloist’s candle-lit musings are echoed by translucent orchestral chiaroscuro. Here, Palumbo draws some astounding textures from the solo instrument and the symphonic ensemble alike. However, the music does not linger. Jagged soundscapes re-emerge some four minutes later in a passage of splendid unrest. This, in turn, leads to astounding near-stasis of utmost sonorous focus. Almost imperceptibly, the textures grow increasingly volatile, channeling all their repressed energy into an inevitable burst of instrumental electricity. Out of the rumors, a shadowy section remains, marked by loose melodic threads hanging mid-air between the orchestral instruments and the solo violin – a high-point in the concerto’s musical subtlety.\u003c\/p\u003e\n\u003cp\u003eRippling figurations mark the transition into a toccata-like tour-de-force passage, featuring hyper-kinetic instrumental singing from the soloist, answered by fluid orchestral propulsion. Cooling down to a riveting hall of mirrors, characterized by slowly-rotating melodic arches and dream-like woodwind pulses, the music crossed the threshold back to the surreal realm from whence it first emerged. Transformed by its journey, the concerto fades into tangible silence.\u003c\/p\u003e\n\u003cp\u003eGiven in dream-of-a-performance by D’Orazio and the LSO with Reynolds, the Violin Concerto is served with full spectrum of timbral nuance. Unraveled in ever beautifully aligned layers, the interplay between the soloist and the orchestra comes off admirably throughout the entire musical quest. Embraced with absolute control over the musical narrative, D’Orazio’s take on the solo part is nothing short of remarkable. Peerless in their studio work, the members of the LSO deliver a wonderful take on the orchestral score. Guided by Reynold’s attentive podium sensibilities, the musical discussion between the LSO and their soloist are always spot-on, their sonorous clarity being enhanced by sensitive engineering and post-production.\u003c\/p\u003e\n\u003cp\u003eA concerto for the focused listener, Palumbo’s score keeps unlocking its sonorous secrets in the course of repeated iterations, lending itself marvelously even to the most zealous close examination.\u003c\/p\u003e\n\u003cp\u003eThe title track of the album, the eighteen-minute\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eWoven Lights\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003efirst movement of the\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eChaconne\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eseems to stem from some realm interrelated – somewhat – to the pensive central sections of the Violin Concerto. An ever-permuting interplay between the fully written-out electric violin part and its real-time computer-processed echoes, interwoven with sampled sounds of glass and metal, the movement is perhaps best described as the musical equivalent of northern lights – if one is to resort into simple analogies. Sonorous aurora of gorgeous blues and greens, the tapestries of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWoven Lights\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecall forth a plethora of associations related to time and space, yielding to transformative listening experience.\u003c\/p\u003e\n\u003cp\u003eBridged with a cadential passage, the music is carried over into\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eThe Glows in the Dark\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003esecond movement. An intricate web of live and pre-recorded parts, the eight-minute soundscape gazes into the open space and nebulae beyond, zooming in and out of musical cloud-formations resulting from multiples of the solo instrument. A quest into the unknown, aural apparitions travel across the resulting contrapuntal network, to a dazzling effect. Disappearing beyond our scopes, the music dissolves into interstellar space, calling forth the listener’s mental theater to complete its narrative.\u003c\/p\u003e\n\u003cp\u003eA superlative rendition from D’Orazio and Abbrescia, the fused creativity of solo instrumental performance and its electronic reimaginations yields to veritable sonic discovery, exploring strange new worlds through shared musical ritual. Fabulously realized on the new album, the\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eChaconne\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a milestone score.\u003c\/p\u003e\n\u003cp\u003e-- Adventures in Music\u003c\/p\u003e","brand":"BIS","offers":[{"title":"CD","offer_id":46012547367146,"sku":"7318590026250","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4160704-2923202.jpg?v=1778208221"},{"product_id":"ichmouratov-piano-concerto-viola-concerto-no-1","title":"Ichmouratov: Piano Concerto; Viola Concerto No. 1 \/ Sylvestre, Misbakhova, London Symphony","description":"\u003cp\u003eVolga-Tatar-born Canadian composer and conductor Airat Ichmouratov conducts the London Symphony Orchestra for this recording of two of his major works, Chandos’ third album dedicated to the works of this outstanding composer. Both concertos are recorded here by the soloists who premiered each work. Ichmouratov’s first viola concerto was conceived in 2004, whilst he was a conducting student at the Université de Montréal. His fellow Ph.D. candidate, the violist Elvira Misbakhova, wanted something new for her doctoral performance, preferably a concerto that combined lyrical impulses and virtuoso challenges. The resulting work is a large-scale piece in three movements that exploits and celebrated the naturally sombre character of the instrument. The Piano Concerto was written in six months in 2012 – 13 and then lingered in a drawer for almost a decade awaiting a soloist who could both do it justice and add finishing touches to the solo part. Jean-Philippe Sylvestre, a Montrealer with a fondness for the virtuoso tradition, was himself looking for a new concerto to champion. Ichmouratov gratefully acknowledges the contributions made to the solo part by Sylvestre, the concerto’s dedicatee.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"SACD","offer_id":46012555133162,"sku":"095115528129","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4211079-2990343.jpg?v=1778266306"},{"product_id":"pierre-monteux-live","title":"Pierre Monteux Live","description":"SOMM Recordings is thrilled to announce Pierre Monteux Live, a two-CD set comprised entirely of first releases including never-before-issued performances led by the renowned conductor. Among these is a legendary 50th Anniversary performance of Stravinsky's Rite of Spring with the composer in attendance, given a half-century to the day after Monteux himself conducted the storied Paris world premiere! This recording captures an extraordinary moment of historical continuity: between 1913 and 1963 five decades elapsed in the evolution of 20th-century music, in the taste and understanding of the public and in the lives of both creator and pioneering interpreter. The concert was broadcast live on the BBC from the Royal Albert Hall and performed by the London Symphony Orchestra who referred to Monteux affectionately as their \"Ma�tre\". Both the devoted playing and the emotional audience acclaim are preserved in vividly present sound. This set also commemorates the revered conductor - on the 60th anniversary of his death and ahead of the 150th anniversary of his birth - with moving testimony from LSO musicians involved in the landmark Stravinsky concert. These interviews were recorded between 1992 and 1995 by this set's producer, Jon Tolansky, co-founder of Music Preserved and the author of documentary features on�composers and performers. Monteux is also heard speaking on tape here, in a�1955 interview and a 1959 rehearsal of the LSO in Dvorak's Seventh Symphony, providing a window onto the man's intellect, work ethic and rapport with fellow musicians. Rounding out this set are still more never-before-issued recordings of Monteux conducting the BBC Northern Orchestra and Royal Philharmonic Orchestra in music by Haydn, Weber and Beethoven, as well as works by Ravel, who, like Stravinsky, was a composer Monteux knew personally. To the highly discriminating players of the RPO of 1960, Monteux was a favourite guest conductor. As�with The�Rite of Spring, he represented a direct link to the origins of Daphnis and Chloe, another Ballets Russes production that Monteux led in it's world premiere. The�RPO's Principal Clarinet, Jack Brymer, remembered \"this wonderfully energetic and meticulous little man\" who \"even in his eighties... had the touch of elegance, the humour, the exquisite good taste\" and \"could produce a sudden sforzato second to none by a tiny stab of his baton.\" The recordings of the performances in this album, all made privately off-air from various sources, have been fastidiously polished by Restoration Engineer Paul�Baily. His restoration of the recent Sir Adrian Boult Conducts (ARIADNE 5024-2) was honoured with the Preis der deutschen Schallplattenkritik (German Records Critics' Award) in the Historical Recordings�category.","brand":"SOMM Recordings","offers":[{"title":"CD","offer_id":46012558508266,"sku":"758871502825","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4339060-3184732_87826989-af0b-4ecd-9ffc-d5a0f4e0edfb.jpg?v=1778212487"},{"product_id":"dietrich-fischer-dieskau-a-centenary-tribute","title":"Dietrich Fischer-Dieskau: A Centenary Tribute","description":"SOMM Recordings is proud to mark the centenary of the legendary German baritone Dietrich Fischer-Dieskau (28 May 1925-18 May 2012) by adding to his canonical discography with live recital and concert recordings from the Music Preserved archive. Fischer-Dieskau was at the very height of his powers from 1960-75, and the performances on this album date from that period. A bonus CD contains two interviews conducted by Jon Tolansky-appearing here in their entirety for the first time-the 75th Birthday Interview (2000) and 80th Birthday Interview (2005).     The extraordinarily vast repertoire of Dietrich Fischer-Dieskau over his 45-year career comprised�lieder, operas,�cantatas,�and�oratorios.�He sang these in German, Italian, French, Russian, English, Hebrew, Hungarian, and Latin, from eras that spanned the Baroque to the latter part of the 20th century. Particularly, it was the controlled power and beauty of his voice, and the dramatic intensity and poetry of his interpretations, that led him to excel in the genre of German�lieder.�In this form he exerted a virtually unprecedented stylistic and interpretative influence-not only on the musical world of his day, but also on generations of performers to come.    SOMM's centenary tribute opens with four songs by Ferruccio Busoni, all being works that were written late in the composer's career. They come from a programme that Fischer-Dieskau gave with Gerald Moore in 1962.�    At the 1971 Helsinki Festival, Fischer-Dieskau presented a recital with Irwin Gage, which was devoted entirely to songs with texts by Johann Wolfgang von Goethe. The recital, described by a contemporary critic as \"a landmark event,\" featured compositions by contemporaries of Goethe, who lived from 1749 to 1832, such as the Countess Anna Amalia, Kapellmeister Johann Friedrich Reichardt, and Goethe's friend Carl Friedrich Zelter. The more familiar composers represented on this Goethe-inspired recital were active during the first part of the 20th century. They include Richard Strauss, Max Reger, and Ferruccio Busoni.     This tribute to Dietrich Fischer-Dieskau also includes six songs from a programme of works by Gustav Mahler, which was presented with his long-time collaborator, Karl Engel. Three of the songs are from Des Knaben Wunderhorn,�based on texts of German folk poems, and three are from the collection of five Ruckert-Lieder,�after poems written by�Friedrich Ruckert.    The musical component of this collection closes with a concert performance of three songs by Zoltan Kodaly, sung in Hungarian by Fischer-Dieskau. The composer proves himself an outstanding interpreter of his own music in conducting the London Symphony Orchestra.     In the two interviews included on the bonus CD, Dietrich Fischer-Dieskau discusses his early years, his teachers, the development of his career, and a small but revealing cross-section of his enormous repertoire.","brand":"SOMM Recordings","offers":[{"title":"CD","offer_id":46012565815530,"sku":"758871503822","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4413442-3364158.jpg?v=1778223143"},{"product_id":"berlioz-romeo-et-juliette-scriabin-le-poeme-de-l-extase-rozhdestvensky","title":"Berlioz: Romeo et Juliette; Scriabin: Le Poeme de l’extase \/ Rozhdestvensky","description":"\u003cp\u003eGennady Rozhdestvensky (1931–2018) was one of Russia’s greatest conductors along with Yevgeny Mravinsky; Kirill Kondrashin and Yevgeny Svetlanov. 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These recordings of the younger Wagner leading the Bayreuth Festival Orchestra, the Berlin State Opera Orchestra, and the London Symphony Orchestra were made soon after the introduction of the electrical recording process in April 1925. The painstaking audio restoration of these recordings by long-time SOMM collaborator, Lani Spahr, has been so expertly and stunningly achieved that it is difficult to believe they come from a century ago.    Siegfried Wagner was named for the young hero in Richard Wagner's Ring Cycle and immortalized in the Siegfried Idyll, included on this release. He was born to Richard Wagner and his future wife, Cosima (nee�Liszt), on 6 June 1869. Although Siegfried considered following a profession outside music (and, as a youth, studied architecture in Berlin and in Karlsruhe), it was inevitable that he would follow a career in music given the lineage of both his parents and his grandfather, Franz Liszt.     In addition to receiving instruction in music from Liszt, the thirteen-year-old Siegfried began his advanced musical studies in Frankfurt with Engelbert Humperdinck, a true disciple of Richard Wagner. Siegfried became an assistant at Bayreuth in 1892, immersing himself in his father's music under the strong influence of Cosima Wagner and the conductor Hans Richter. In 1895, he made his debut at Bayreuth conducting a complete Ring cycle. The debut was a considerable artistic success, and Siegfried's future as the true guardian of the Wagner inheritance was assured, as he took a greater share in the direction of the Bayreuth Festival. With Cosima's full endorsement, Siegfried assumed the general directorship from his mother in 1908.    Siegfried's busy professional life was devoted in the main to Bayreuth in the 1920s, but it was also during this time that he began a recording career devoted almost exclusively to his  father's and his own works. Apart from his evident qualities as a conductor of his father's music-heard here in the recorded legacy he left of his performances at Bayreuth and in Berlin and London-he was equally keen to establish himself as a composer. The first of his twelve completed operas, Der Barenhauter (Bearskin) inspired by the German fairytale, met with public and critical acclaim when it was produced in 1899. The acoustic recording of the overture is heard here.    Among the Richard Wagner works conducted by Siegfried Wagner on this historic release are well-known selections from Das Rheingold and Die Walkure from the Ring Cycle. 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In 1979 he was appointed principal guest conductor of the London Symphony Orchestra, music director of the Residentie Orchestra (The Hague 1992 - 2000) and the Swedish Radio Symphony Orchestra (1997- 1999). He frequently visited the UK, France, Italy, The Netherlands, Japan, Sweden, USA, and other countries. Svetlanov was a leading interpreter of Russian composers including Tchaikovsky, Shostakovich, Prokofiev, Rimsky-Korsakov, Rachmaninoff, Mussorgsky, Miaskovsky and Scriabin, but also a large number of non-Russian composers ranging from Debussy to Elgar. 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Each of these pieces displays Boyer’s vivid soundscapes and tuneful American sensibilities, from the cinematic sweep of \u003cem\u003eRolling River\u003c\/em\u003e to \u003cem\u003eRadiance\u003c\/em\u003e, composed especially for this album. Boyer’s GRAMMY-nominated \u003cem\u003eEllis Island: The Dream of America\u003c\/em\u003e (8.559246) has received over 250 performances and was televised by PBS.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"bodytext\"\u003eBoyer's description of [the London Symphony Orchestra] as “one of the world's greatest orchestras” isn't hyperbolic but rather accurate. It shouldn't be overlooked either that as conductor he was directly responsible for coaxing from the ensemble the inspired performances the recording features.\u003c\/p\u003e\n\u003cp class=\"bodytext\"\u003eThe fourth album by Boyer (b. 1970) and his third in the Naxos American Classics Series presents eight works, six of them world premiere recordings. The tone is often celebratory, even triumphant, as exemplified by the stately\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFanfare for Tomorrow\u003c\/em\u003e, commissioned for President Biden's January 2021 inauguration; but melancholy is also present in affecting settings such as\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eRolling River (Sketches on “Shenandoah”)\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand, naturally,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eElegy\u003c\/em\u003e. As performed by the LSO, the material packs a visceral punch that ensures no listener's attention will drift as the music plays. The orchestral sweep one hears in John Williams' music finds its place in Boyer's too.\u003c\/p\u003e\n\u003cp class=\"bodytext\"\u003eAll of the material on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBalance of Power\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis of recent vintage, the earliest work dating back to 2014 but most from the last two to three years. It opens rousingly with the aptly titled\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCurtain Raiser\u003c\/em\u003e, as ear-catching and exuberant an overture as one could ask for. Boyer's gift for orchestration is immediately apparent, as is the effervescence of the LSO's execution. Strings, percussion, and horns combine for a dynamic, five-minute exercise in uplift, the result a thrilling start to the album.\u003c\/p\u003e\n\u003cp class=\"bodytext\"\u003eThe evidence at hand suggests Boyer's name might be mentioned in the same breath as those of Barber, Bernstein, Ives, Adams, and especially Copland. Like them, he writes works that have popular appeal and engage with immediacy. They're also, however, impeccably crafted and in no way lacking in integrity. Boyer isn't calculating: while he's one of the most frequently performed American orchestral composers of our time (his Grammy-nominated\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEllis Island: The Dream of America\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis now one of the most-performed American orchestral pieces), his writing is sincere, honest, and authentic[.]\u003c\/p\u003e\n\u003cp class=\"bodytext\"\u003e--\u003cem\u003eTextura\u003c\/em\u003e\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012689645802,"sku":"636943991527","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4098115-2844860.jpg?v=1778241013"},{"product_id":"broughton-and-on-the-sixth-day-string-theory","title":"Broughton: And on the Sixth Day \u0026 String Theory","description":"Although Bruce Broughton is best known for his many film and television scores, over the past five decades he has composed scores for a diverse array of projects from film and TV to concert music and even theme parks. His work has been recognized with an Academy Award nomination for Best Original Score for the film \"Silverado\" (1985) and a record ten Emmy Awards for his musical compositions in television. This album presents a small selection of his concert works.","brand":"Naxos","offers":[{"title":"CD","offer_id":46012720152810,"sku":"636943995822","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4360132-3213622_369b0334-777b-4b4a-9870-3b9e4d0c001f.jpg?v=1778199375"},{"product_id":"the-young-friedrich-gulda","title":"The Young Friedrich Gulda","description":"\u003cp\u003eFriedrich Gulda was born in Vienna on May 16, 1930. He began his musical education at the Grossmann Conservatory and subsequently took private lessons from Felix Pazofsky. From 1942 to 1947 he studied piano at the Vienna Academy of Music under Bruno Seidlhofer and Music Theory and Composition under Joseph Marx. He gave his first public performance in 1944 and, two years later when just 16 years old, won the Geneva International Music Competition. Starting after the Second World War, as a 20-year-old, Gulda established himself as a piano soloist with an excellent international reputation and even performed at Carnegie Hall in New York City in 1950. In the 1950s he was celebrated and considered the leading interpreter of Beethoven in his generation. He founded his own Klassische Orchester Gulda for chamber music with members of the Vienna Symphony Orchestra.\u003c\/p\u003e\n\u003cp\u003eIn addition to Beethoven, Gulda’s repertoire encompasses works by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Franz Schubert, Frédéric Chopin, Claude Debussy, Maurice Ravel and Richard Strauss, whose Burleske in D minor and lieder are included in this release, with Gulda accompanying soprano Hilde Güden. Gulda was essentially an out-and-out contrarian who showed that a great genius can sometimes be only a step away from a certain madness. While Karl Böhm or Rubinstein admired him as a magnificently talented interpreter of Bach, Mozart and Beethoven, Gulda could also be provocative – including inciting his fellow concert pianists. Asked about Vladimir Horowitz, Gulda once responded: “Horowitz is a master. Because he is able to do – whatever he wants,” but also added: “But what he is after doesn’t interest me” (Joachim Kaiser).\u003c\/p\u003e\n\u003cp\u003eREVIEW:\u003cbr\u003e\u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell3_12_ASPxPopupControl1_ASPxLabel2\" data-mce-fragment=\"1\"\u003eFriedrich Gulda (1930-2000) was certainly never a conformist pianist. But he was less flamboyant in his youth than in his later years, and he did present new perspectives at the beginning of his career, which helped to provoke a change in thinking. The recordings in this CD box set date from this period. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell3_12_ASPxPopupControl1_ASPxLabel2\" data-mce-fragment=\"1\"\u003eHe recorded the freshly perky Mozart Sonata K. 576 in 1948, and both Concertos K. 503 and 537 in 1955 with the New Symphony Orchestra under Anthony Collins. Gulda’s fresh yet nuanced playing compensates for the weak orchestra’s playing. The Beethoven sonatas Nos. 4, 7, 8 and 19 show the still searching Gulda of 1955 on his way to the 1967 complete recording. The 3rd CD includes the concerto piece by Carl Maria von Weber and the Strauss Burlesque, as well as a set of Strauss songs that Gulda recorded with Hilde Güden in 1956. These are wonderful interpretations of rare freshness and suppleness. Güden’s silvery timbre and her confidently controlled, light vocal line coupled with Gulda’s spontaneous and sensitive playing make for an uncommonly natural performance. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell3_12_ASPxPopupControl1_ASPxLabel2\" data-mce-fragment=\"1\"\u003eRecorded in 1954, Chopin’s compositions, the 4 Ballades and the 1st Piano Concerto, are among Gulda’s ‘immortal’ recordings. In the 1st Piano Concerto, Gulda collaborates with the more traditional Adrian Boult, but it is precisely the contrast in temperament that leads to special tension and dynamics. This recording has been available several times on various labels, but here it definitely sounds in the best quality so far. Also very exciting are the four ballads, which he plays dramatically and narratively. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell3_12_ASPxPopupControl1_ASPxLabel2\" data-mce-fragment=\"1\"\u003eDebussy and Ravel, the composers represented on CDs Nos. 5 and 6 of this box, have been Gulda’s recurring preoccupation. The early recordings from 1953 and 1955 may not yet be as stylistically tested on the hard, sharp and pithy of jazz as the late recordings, but their analytically modern style, with clear, precise lines and contours and good transparency, shows the intellectual brilliance of these interpretations. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell3_12_ASPxPopupControl1_ASPxLabel2\" data-mce-fragment=\"1\"\u003eThe bottom line is that this encounter with the young Gulda is a very important one that should help one understand the older musician and could help bring respect to Gulda among those who did not appreciate his later work as much.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e-- Pizzicato\u003c\/p\u003e","brand":"Profil","offers":[{"title":"CD","offer_id":46012721889514,"sku":"881488190175","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4119057-2891777.jpg?v=1778241578"},{"product_id":"fritze-overtures-and-symphonies","title":"Fritze: Overtures and Symphonies","description":"Prize-winning composer Gregory Fritze has written over a hundred compositions for a variety of forces, and is also a greatly admired teacher. The four works on this album share programmatic perspectives. The city of London is evoked in a celebratory overture full of vitality, diversity, and pageantry; the two symphonies reflect Fritze's immersion in the warmth, landscape, and festive excitement of the city of Valencia; and the overture Waterplace Park, a popular meeting place in Providence, Rhode Island, is a jovial piece that features five unusual instrumental soloists.","brand":"Naxos","offers":[{"title":"CD","offer_id":46012723921130,"sku":"636943996423","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4478791-3499589_ae9eec73-02fe-4aae-81fb-d079e75b500c.jpg?v=1778218257"},{"product_id":"farnon-concorde-march","title":"Farnon: Concorde March","description":"In April 2019 we celebrated 50 years since the inaugural journey of the first UK-built Concorde, which flew from Filton, near Bristol, to RAF Fairford on 9th April, 1969. CRD Records has a special musical connection to this event: the Concorde March. This jubilant orchestral piece was commissioned by British Airways to mark the launch of Concorde, the first passenger supersonic airliner, a great feat of engineering and an emblem of the power of Anglo-French co-operation. Concorde March was written by the hugely popular and Grammy Award winning composer, Robert Farnon, and recorded by CRD in West Ham Central Mission (now Plaistow Memorial Community Church) with the London Symphony Orchestra and conducted by the composer, with recording engineer, Bob Auger. Originally released as a 7 inch vinyl single, the B side featured a new version of Robert Farnon's Holiday Flight.","brand":"CRD Records","offers":[{"title":"CD","offer_id":46012859875562,"sku":"0708093600120","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3679489-2461250.jpg?v=1778279210"},{"product_id":"berlioz-lelio-ou-le-retour-a-la-87689","title":"Berlioz: Lelio, ou Le retour a la vie \u0026 Romeo et Juliette \/ Fournet, Wallenstein","description":"Le retour à la vie - this extraordinary work, half-literary, half-musical reflected much of the thoughts and ideas also found in his letters of the time, using music that was largely written earlier in Paris. The genesis of the work was yet another love-affair gone wrong. The six musical numbers of Lélio are wholly diverse in subject and treatment, yet a sense of order is imposed by the literary format. It is a unique assemblage, there is nothing else quite like it in all musical history. Roméo et Juliette is counted third among Berlioz’s 4 symphonies. Another uniquely constructed work, it moves away from the purely symphonic towards the realm of opera. But Berlioz keeps the formal structure of a symphony firmly in his mind: the three principal instrumental sections – Fete chez Capulet, Scene d’amour, and La reine Mab – making a first movement, slow movement and scherzo encircled by elaborate vocal sections to begin and end.","brand":"Cameo Classics","offers":[{"title":"CD","offer_id":46012867444970,"sku":"5020926911025","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3919328.jpg?v=1778245365"},{"product_id":"early-recordings-5029365918923","title":"Early Recordings \/ Christoph Eschenbach","description":"EARLY RECORDINGS","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012868428010,"sku":"5029365918923","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1867216.jpg?v=1778328622"},{"product_id":"choreography-by-bournonville","title":"Choreography by Bournonville","description":"Classical Music","brand":"ICA Classics","offers":[{"title":"DVD","offer_id":46012904472810,"sku":"5060244550995","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2165955.jpg?v=1778290178"},{"product_id":"schoenberg-five-pieces-cello-concerto-brahms-quartet-234853","title":"Schoenberg: Five Pieces, Cello Concerto, Brahms Quartet Transcription \/ Sherry, Craft","description":"This is Schoenberg for people who hate Schoenberg. The Five Pieces for Orchestra, far from sounding radical or appallingly dissonant as they must have in 1909, now impress us as impressionistic, atmospheric, and evocative. The loony Cello Concerto after Monn and the Brahms Piano Quartet are both modern classics in the art of transcription, not to mention one composer's very strongly personalized view of his predecessors.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e Robert Craft's performances are uniformly impressive, particularly in the Cello Concerto. Its appallingly difficult solo part is handled with consummate intelligence and virtuosity by Fred Sherry, and the accompaniment hardly could be clearer or cleaner in texture. The Brahms is very good too, surpassed only by Craft himself in his earlier Sony recording with the Chicago Symphony. This newcomer, however, does enjoy much better sonics, and at the Naxos price makes an excellent bargain.\u003cbr\u003e --David Hurwitz, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46012919677162,"sku":"747313252428","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/987178.jpg?v=1778342036"},{"product_id":"brahms-deutsches-requiem-ein-095115194522","title":"BRAHMS: Deutsches Requiem (Ein)","description":"\u003cp\u003eThis reissue is a moving experience in itself, and not only for returning to the catalogue a superlative recording of Brahms's masterpiece, not the best known at the time of its release in 1991, but also for the exceptional soloists, majestically accompanied by Hickox and his LSO and Chorus. Gramophone praised the ''fine soloists'', especially the ''resonance and ease'' of the bass-baritone, David Wilson-Johnson. The review also acclaimed the ''sheer generosity of style and sound'' as well as the choir and orchestra, ''excellent and well-balanced, both in themselves and with each other''. Overall, the ''Hickox gives a remarkably satisfying performance''. Despite its large-scale conception, Brahms's Requiem remains the product of a very private world, the personal communication of the philosophy of one man, ''such a great soul - and yet he doesn't believe in anything'', as Dvorak once remarked.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012977905898,"sku":"095115194522","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3703057.jpg?v=1778301803"},{"product_id":"britten-spring-sym-sinfonia-da-requiem-the-young","title":"Britten: Spring Symphony; Sinfonia da Requiem; Young Person's Guide to the Orchestra","description":"This album combines three of Britten's enduringly popular, yet vastly distinctive works. Sir Simon Rattle leads us on an unexpected journey through this diverse collection of masterpieces. Written shortly after the outbreak of World War II, Sinfonia da Requiem meditates in part on the political populism which had, for the second time in just a few decades, plunged the world in to an existential crisis. In this piece, Britten's rich, yearning harmonies reveal a sombre and dramatic warning of the cost of conflict. From the darkness of war, we move towards the light with Britten's choral Spring Symphony. With it's mysterious reimagining of traditional English folk song and verse, the work depicts the gradual reawakening of the natural world when winter ebbs away, and spring begins to triumph. Britten let his imagination catch fire in The Young Person's Guide to the Orchestra. This brilliantly original showpiece is one of the composer's best-known pieces, and draws the album to a close.","brand":"LSO LIVE","offers":[{"title":"SACD","offer_id":46013002711274,"sku":"822231183020","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4301402-3147113.jpg?v=1778354668"},{"product_id":"elgar-caractacus-severn-suite-howarth-hickox-london-65564","title":"Elgar: Caractacus \u0026 Severn Suite \/ Howarth, Hickox, London Symphony","description":"This release is a re-issue of a 1992 recording, when Richard Hickox was serving as Associate Guest Conductor of the London Symphony Orchestra. Elgar wrote his Caractacus in 1898 for the Leeds Festival. The work shows his invention and orchestration skills, foreshadowing his most famous work, the Enigma Variations. A review by Gramophone asserted that “There can be nothing but praise for Richard Hickox’s fluent, sensitive direction and enthusiastic, full-blooded backcloth provided by the LSO… A typically ripe, wide-ranging Chandos recording into the bargain.”\u003cbr\u003e \u003cbr\u003e  -----\u003cbr\u003e \u003cbr\u003e  REVIEW:\u003cbr\u003e \u003cbr\u003e  Although the work itself is uneven, this 1992 recording is yet another classic recording from the late maestro, and well worth hearing when done as brilliantly as this.\u003cbr\u003e \u003cbr\u003e  – MusicWeb International","brand":"Chandos","offers":[{"title":"CD","offer_id":46013009592554,"sku":"095115245828","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3439704.jpg?v=1778306610"},{"product_id":"tchaikovsky-the-voyevoda-symphonies-nos-5-and-6","title":"Tchaikovsky: The Voyevoda \u0026 Symphonies Nos. 5 and 6","description":"The London Symphony Orchestra, led by formidable conductor Yondani Butt, presents this outstanding recording of Tchaikovsky’s Symphony No. 5, Symphony No. 6 ‘Pathetique,’ and The Voyevoda- Symphonic Ballad. 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