Contains Delius' most essential statements. Summer Night on the River, On Hearing the First Cuckoo, Brigg Fair and the Irmelin Prelude are simply magical in their effect, and Beecham's interpretations arise out of the depths of the music itself... passages such as the introduction to Brigg Fair, seem to be outside time, one yet again wonders at the poetic rightness of every nuance, the delicately exact textural balance. His identification with the composer is so complete that one is not sure whom to credit for some features... This (collection) must surely be recognised as a gem. Sleigh Ride and the Marche Caprice are entertaining enough, but all the rest are wonderful Delius - and conducted by someone who has remained the one and only Delius interpreter. Each performance is superb. (Gramophone)

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)

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)

A natural inheritor of Scriabinesque exoticism, Szymanowski brings out the best in Scriabin's most imaginative interpreters, which is why Gergiev proves such a convincing interpreter... excellent playing from the LSO. Matsuev has his feet... firmly planted on terra firma... The gorgeous return to lushness in the second movement suggests an almost Ravelian sensibility... Matsuev and Gergiev turn the finale into Szymanowski's danse generale. (Gramophone). "Stabat Mater is beautiful and Gergiev has the full measure of it's 23 gorgeous minutes." (MusicWeb).

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)

this may yet prove to be one of the finest Debussy cycles on record "Tirimo has a quite exceptional temperamental affinity... (he takes) us into Debussy's world and let's us experience it's magic... do acquire it if you appreciate fine Debussy playing" (Gramophone) "probably first choice for those wanting a modern digital recording of the complete set... playing is very fine, recording most realistic and natural" (Penguin Guide).

(9th) They capture not only the joyful irreverence but the sense of danger lurking beneath... solo wind playing is excellent throughout... brilliantly played and vividly recorded (CD Review) (15th) "with a superbly vivid Fifteenth, generally hard-driven � la Mravinsky but far more convincingly poised... first movement goes at a frightening lick, deserting the toy shop for the asylum, the slow movement lacks only the very last ounce of desolation and the finale, always intelligently conceived, is suitably emotive at the close. The sound has immediacy and enough depth." (Gramophone)

(Hymn) a fine and vital performance that vividly conveys the exultant and the mystical nature... Egdon Heath is unforgettable: often frightening and desolate, here and there calm and serene, but never sun-lit. Holst did indeed find in Hardy's description a map of his soul... I cannot imagine a better performance than this one (Folksongs) "all these settings are beautiful and are sung with warm tone and blend. The collection ends with the finest song of all, This have I done for my true love, an original piece that ranks with any short unaccompanied choral work by any composer. The recording... is first-rate" (Gramophone).

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)

(contains EMI's Great Recordings collection plus 6 more !) "the playing itself is certainly as beautiful as one could imagine, with good balance on the stereo between violin and piano." (Gramophone) "the kind of favourites that flecked his concerts with such consistent beauty. The subtlety of his vibrato usage and the sophistication he employs bring their own very true rewards. As indeed does the certain tristesse he finds in the final bars - unusually so." (MusicWeb)

These vignettes are touching... and spring from a love affair... most are full of strong poetic feeling and beauty of melodic line... 'An erotic diary for piano' (Gerald Abraham)... played with great sensitivity and subtlety... haunting music, fine pianism (Penguin Guide).

Superb performance all round (Andrew Palmer / Cathedral Music) (of Hymns collection) "Nothing is overstated or outlandish, and the singing has a very pleasing polished and bright sound. Highly recommended" (Music Web International).

The truly astonishing playing of the Orchestra... all sections cover themselves with glory... exciting sound of the off - stage horns, woodwind full and mellow-toned... The storm is impressive... and perfect tribute to the conducti ng (Gramophone).

(Sym.1) "a good performance, with a strong feeling of chamber music to it and a remarkable attention to (occasionally exaggeration of) the quieter dynamic markings (Sym.3) "a much better recorded account of the Third Symphony, is brilliantly played and very vividly characterized. I was particularly struck by Rozhdestvensky's use of solo instead of tutti strings in the slow section (with what justification I have no idea, but it is poignantly effective) and by his powerful dramatization of those huge orchestral recitatives that prepare for the choral finale: they are massively and balefully eloquent, qualities that rivals miss by taking them very fast." (Gramophone).

Tchaikovsky wrote the Children's Album and the Op.37 Sonata at the same time, and they're so different. It amazes me that these are so little known in UK. The Children's Album is fantastic - a masterpiece. He wrote three volumes of piano music, and what of it is known here?... The trouble is, Tchaikovsky is almost always played badly! There are two wrong ways: the Russian wrong way and the Western wrong way. Most Russians make a rough sound, full of violent emotions, heart on the sleeve. Westerners often have a refinement that the Russians lack, and which is an important part of Tchaikovsky too, but it has no power. (Mikhail Pletnev).

This is a special work. It begins with a dialogue between the soloists, cello and viola which seems very elaborated. Then starts a Handel-like concerto grosso sound which is in that context very mad. Soon join drums and electrical guitar to the orchestra. This is a great fun and could be called a remix of old classical music with modern parts... Orchestra, Soloists and Conductor are the best of that time in Russia (Discogs).

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).

These from his landmark complete cycle... all well received and I enjoyed hearing them again. B�hm is as excellent a Mozart conductor as Karajan, playing the quick movements in the most lively manner... Haffner is enjoyable, with a faster tempo in the finale, and plenty of momentum to the first movement. K318 has a vital and dramatic performance, The Linz minuet and finale both have sturdy, solid playing; a powerful performance... B�hm is really in his element with the Prague: the first movement is magnificent, superbly played, superbly architected. (Overall)... he shows an exceptional ability to bring subtle emphasis to the felicities of the writing... - (Gramophone).

Superb collection offers 76 minutes of the composer's best music, with wonderfully spontaneous performances demonstrating above all it's elegance and gentle grace.

USSR State Symphony Orchestra, Evgeni Svetlanov Classic Svetlanov from the mid-1970s. "These performances have passion and urgency... a natural feeling for idiomatic phrasing and rhythm... rarely if ever on disc has there been such a radiant account on disc of the lovely slow movement" (Penguin Guide). "... his masterpiece Tamara: this is a very good Tamara and every bit as colorful and mysterious" (Gramophone).

This 'po�me de l'extase is something else altogether... this develops into a thrillingly intense, even intimidating experience. Subtle refinement is scarcely on the agenda, yet the sheer theatrical fervour of this account is hard to resist, and those malignant sneers from muted USSR SO trombones at 8:27 onwards have to heard to be believed (was this particular passage ever more evil-sounding than here?). What a pity the applause was edited out-I was on my feet long before the end! (Gramophone)

Classical Music

Classical Music

Classical Music

Classical Music