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Two's Company / Original Broadway Cast

Sony Masterworks

$17.99 Apr 20, 2015

Bette Davis was making a triumphant return to Broadway in the 1952 revue Two’s Company … until the show began its previews, when she promptly collapsed onstage on opening night. Davis was perhaps in over her head (song, dance and comedy were not her strong points) in this otherwise charming revue, with a score largely by Vernon Duke (music) and Sammy Cahn and Ogden Nash (lyrics). Two’s Company was one of the last of the sophisticated, satirical revues, a kind of show that television killed off, and its reputation has been held hostage to Davis’s troubled involvement. But Sheldon Harnick, Horton Foote and Peter DeVries were among those contributing material to the show, and the choreographer was no less than Jerome Robbins. Hiram Sherman won a Tony for his expert comedy work in this fascinating relic of Broadway’s past.

Music by VERNON DUKE
Lyrics by OGDEN NASH
Additional Lyrics by SAMMY CAHN
Musical Supervisor and Conductor: MILTON ROSENSTOCK
Production under the supervision of JOHN MURRAY ANDERSON

1. Overture 4:31
2. Theatre Is a Lady - Peter Kelley, Chorus 2:50
3. Turn Me Loose on Broadway - Bette Davis 2:24
4. It Just Occurred to Me - Peter Kelley, Deborah Remsen, Chorus 3:40
5. A Man’s Home Hiram Sherman 3:00 6. Roundabout - Ellen Hanley 3:18
7. Roll Along, Sadie - Bette Davis, Hiram Sherman, Chorus 4:49
8. Out of the Clear Blue Sky - Peter Kelley, Sue Hight 3:10
9. Esther - David Burns 2:28
10. Haunted Hot Spot - Ellen Hanley 2:51
11. Purple Rose - Bette Davis, Hiram Sherman, Chorus 6:00
12. Just Like a Man - Bette Davis 4:37
13. Finale - Bette Davis, Company 1:20

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Two's Company / Original Broadway Cast
Sony Masterworks Apr 2015
CD
$17.99

I AM THREE

SUNNYSIDE

$16.49 Jun 07, 2005

Here we present three interpretations of Mingus's music by three different repertory bands: 1. The Mingus Big Band, which just completed a fourteen-year tenure of Thursday nights at Manhattan's Fez under the Time Cafe, 2. The Mingus Orchestra, distinguished form it's older sibling by it's more exotic instrumentation that includes bassoon, bass clarinet and French horn as well as guitar and 3. The 7-piece Mingus Dynasty, the original repertory band formed in 1979. This album features wonderful compositions from Mingus Big Band and Orchestra Dynasty.

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I AM THREE
SUNNYSIDE Jun 2005
CD
$16.49

The Indispensable Count Basie

RCA

$24.99 Jun 03, 2011

Track Listing

Disc 1:
1. Bill's Mill
2. Brand New Wagon
3. One O'Clock Boogie
4. Futile Frustration
5. Swingin' the Blues
6. St. Louis Boogie
7. Basie's Basement
8. Backstage at Stuff's
9. My Buddy
10. Shine on Harvest Moon
11. Lopin'
12. I Never Knew
13. Sugar
14. Jungle King, The
15. I Ain't Mad at You
16. After You've Gone
17. House Rent Boogie
18. South

Disc 2:
1. Don't You Want a Man Like Me
2. Seventh Avenue Express
3. Sophisticated Swing
4. Guest in a Nest
5. Your Red Wagon
6. Money Is Honey
7. Just a Minute
8. Robbin's Nest
9. Hey Pretty Baby
10. Bye Bye Baby
11. Just an Old Manuscript
12. She's a Wine-O
13. Shoutin' Blues
14. Wonderful Thing
15. Mine Too
16. Walking Slow Behind You
17. Normania
18. Rat Race
19. Sweets

Personnel includes: Count Basie (piano, organ); Taps Miller, Jimmy Rushing (vocals); Preston Love, Rudy Rutherford, Charlie Price (alto saxophone); Buddy Tate, Paul Gonsalves (tenor saxophone); Jack Washington (baritone saxophone); Ed Lewis, Emmett Berry, Clark Terry, Snooky Young, Harry Edison (trumpet); Ted Donnelly, George Matthews, Eli Robinson, Bill Johnson, Dickie Wells, George Washington (trombone); Freddie Green (guitar); Rodney Richardson, Walter Page (bass); Shadow Wilson, Jo Jones (drums).

Recorded in Los Angeles, California; New York, New York; Chicago, Illinois between January 3, 1947 and February 2, 1950. Includes liner notes by Don Waterhouse.

This is part of RCA's Jazz Tribune series.

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The Indispensable Count Basie
RCA Jun 2011
CD
$24.99

Chamber Music For Trumpet & Winds / Basch, Asperen

Deutsche Harmonia Mundi

$17.99 Feb 07, 2011

Tracks:
1. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - ALLEGRO
2. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - RIGAUDON I + II
3. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - ARIA
4. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - GIGUE-DUETT
5. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - ANGLAISE I + II
6. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - SORABANDE
7. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - HORNPIPE I + II
8. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - MENUET I + II + III
9. GOTTFRIED FINGER - SONATA IN C MAJOR - ADALGIO - ANDANTE
10. GOTTFRIED FINGER - SONATA IN C MAJOR - ALLEGRO
11. GOTTFRIED FINGER - SONATA IN C MAJOR - GRAVE - ( ALLEGRO)
12. TOMASO ALBINONI - CONCERTO IN C MAJOR - SINFONIA
13. TOMASO ALBINONI - CONCERTO IN C MAJOR - AFFECTTUOSO
14. TOMASO ALBINONI - CONCERTO IN C MAJOR - PRESTO
15. JOHANN CHRISTOPH PEZEL - SONATA C MAJOR
16. GEORG PHILIPP TELEMANN - CONCERTO IN D MAJOR - LARGO
17. GEORG PHILIPP TELEMANN - CONCERTO IN D MAJOR - VIVACE
18. GEORG PHILIPP TELEMANN - CONCERTO IN D MAJOR - SICILIANO
19. GEORG PHILIPP TELEMANN - CONCERTO IN D MAJOR - VIVACE
20. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - ALLEGRO
21. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - LARGO
22. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - MARCHE
23. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - ALLA BREVE
24. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - VIVACE

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Chamber Music For Trumpet & Winds / Basch, Asperen
Deutsche Harmonia Mundi Feb 2011
CD
$17.99

Sibelius Edition Vol 8 - Orchestral Music

BIS

$59.99 Apr 01, 2009

Click here to view all 13 volumes of The Sibelius Edition

3332860.az_SIBELIUS_Orchestral_Works_Osmo.html

SIBELIUS Orchestral Works • Osmo Vänskä, cond; 1 Neemi Järvi, cond; 2 Jaakko Kuusisto (vn); 4 cond; 3 Leonidas Kavakos (vn); 5 Dong-Suk Kang (vn); 6 Marko Ylönen (vc); 7 Lahti SO; 1,3 Gothenburg SO 2 • BIS 1921 (6 CDs: 420:41)

Overture in E. 1 Scène de ballet. 1 Karelia: Complete music; 1 Overture; 2 Suite. 1 Impromptu. 2 Presto. 1 Press Celebrations Music. 1 Menuetto. 1 Coronation March. 1 March of the Pori Regiment. 1 Overture in a. 1 Romance in C. 1 Cortège. 1 Pan and Echo. 1 The Countess’s Portrait. 1 Violin Concerto: (1903–04); 1 (1905). 5 Rakastava. 1 2 Serenades. 2,6 2 Serious Melodies (2 versions). 1,2,6,7 6 Humoresques. 2,6 Academic March. 2 March of the Finnish Jäger Battalion. 1 3 Pieces, op. 96. 1 Suite mignonne. 1 Suite champêtre. 1 Suite caractèristique. 1 Morceau romantique. 1 Suite for Violin and Strings. 1,6 Andante festivo. 1 Processional. 1 Preliminary and alternative versions 1,3,4

Sibelius wrote a colossal amount of music for the orchestra. Already issued in BIS’s Sibelius Edition are boxes devoted to the tone poems (Vol. 1), theater music (Vol. 5, including the full scores plus the suites drawn from the composer’s incidental music), and voice and orchestra (Vol. 3); still to come, of course, is the volume of symphonies (Vol. 12, projected). That makes 21 or 22 well-filled CDs. Then there’s the present set, Vol. 8, which consists of everything else: works for violin and orchestra (about two CDs), music for patriotic pageants (one-and-a-half discs), and various occasional pieces, suites, and other works that don’t fit any of the above categories. The Sibelius quote with which annotator and project advisor, Andrew Barnett, begins his program notes could well serve as an epigram for the entire project: “I am myself a man of the orchestra. You must judge me from my orchestral works.”

Most of the contents of this set were first issued on single CDs: the Karelia music on BIS 915, the Press Celebrations Music on 1115, the two versions of the Violin Concerto on 500, the remaining works for violin and orchestra on 472, and various smaller works on 1265, 1445, 1485, and 1565. Items appearing here for the first time are the Karelia Suite, Menuetto, Romance, March of the Finnish Jäger Battalion , the three French-titled Suites, opp. 98 and 100, and the Processional , as well as several preliminary and alternative versions.

The sheer quantity of material here makes it most practical to discuss the works by category. Along with the Violin Concerto, the most important music in this set is that provided by Sibelius for two patriotic pageants during the Russian crackdown of the 1890s. Thinly disguised as benefits, the first in 1893 for education in the Viipuri district, the second in 1899 for the Press Pension Fund (the Russians had banned a Finnish newspaper), the Karelia and Press Celebrations pageants in reality served as nationalist rallies. The Karelia music, written the year after Kullervo and only two years after Sibelius’s first orchestral works, consisted of an Overture and music for eight tableaux; the Eighth Tableau quotes the song that would later become Finland’s national anthem. The Overture was published independently as op. 10, and three of the eight tableaux were adapted to form the Karelia Suite , op. 11. The remaining music—the entire score totals 50 minutes—is well worth hearing; particularly striking are the runic singing of Tableau 1 and the “siege” music of Tableau 6. In the runic singing, I prefer the earthy female voices used in Tuomas Ollila’s recording for Ondine to the bland baritones used here; otherwise, Vänskä’s version is more compelling. BIS includes Järvi’s energetic 1982 recording of the Overture (to avoid redundancy, one supposes), but gives the Suite in a new recording by Vänskä. I’m not sure why: there are plenty of fine recordings of the Suite already, and Sibelius collectors serious enough to consider this volume doubtless already have their favorite versions; mine is the RCA/Decca recording by Alexander Gibson, not currently available.

The Press Celebrations Music is almost as extensive, comprising a prelude and music for six tableaux; the final movement, “Finland Awakes,” with a new ending, became Finlandia , published as op. 26/7 in the expectation that the entire score would follow. In fact, only three other tableaux were published in revised form as Scènes historiques I , op. 25. The various stages of revision of Finlandia can be heard in Vol. 1 of the Edition; in the original, instead of the familiar apotheosis of the hymn tune, the ending consists of a series of bombastic fanfares. The Press Celebrations score is also included on the Ondine disc, but Vänskä is the clear winner.

The other major work here, of course, is the Violin Concerto. Kavakos and Vänskä give a compelling performance of the familiar 1905 revised version; it’s a performance of extremes, with the many technical challenges met head-on and the more lyrical music played with great sensitivity. Fans of Oistrakh on the one hand or Heifetz on the other won’t want to discard their favorites, but Kavakos offers yet another good option. The real story, though, is the 1991 version of Sibelius’s original score by the same artists; I believe it remains the only recording of the 1903–04 version. The comparison is intriguing; longtime Fanfare subscribers can find David K. Nelson’s detailed review in 14:6. It is impossible to discuss the two versions at length here, but two points should be made: first, the original is both longer and more difficult, including several fascinating passages that were later cut; second, as is almost invariably true, Sibelius’s final thoughts are his best. The revised version eliminates some interesting digressions and much extraneous detail, making it more cohesive and giving it more impact. The original version is still well worth hearing, not only because the comparison is so interesting, but also because it does include a good deal of music later eliminated. The two versions were originally issued in tandem, but here the original version is placed in an “appendix” on the last disc of the set, along with early or alternative versions of other works.

Kang and Järvi give sympathetic readings of the Two Serenades and the Serious Melodies ; the latter are also given, in the appendix, in Sibelius’s cello version by Ylönen and Vänskä. Only the Humoresques are a bit of a letdown. These superb pieces, written in 1917–18 when Sibelius was working on the Fifth Symphony under horrible conditions, are technically demanding and musically complex; they should be far better known, but their format—six short pieces totaling about 20 minutes—seems to have no niche in today’s concert programs. Kang and Järvi are less volatile, less exciting than Aaron Rosand on an ancient Vox LP. I have not heard the recordings of the violin-and-orchestra works by Tetzlaff or Kuusisto; Robert Maxham gave the former a mostly favorable review in 26:6, but the latter does not appear in the Fanfare Archive.

The many other pieces in this set can be addressed only briefly. Sibelius’s first orchestral works were the Overture in E Major and the Scène de ballet , both written in 1891; in 31:1, I preferred Järvi to Vänskä in the former, the reverse in the latter. The Overture in A Minor was written to fill out the program for the premiere of the Second Symphony; supposedly it was composed in a single evening. It certainly is far thinner in substance than the Symphony; its introduction, striking in its use of the trumpets, fails to go anywhere. The well-known Romance in C Major is given a rather perfunctory reading; Pan and Echo , a “Dance Intermezzo” sometimes grouped with the tone poems, is a striking miniature.

Rakastava (“The Lover”), a three-movement work for string orchestra with triangle and timpani written in 1911, the time of the Fourth Symphony, is a small masterpiece. It actually grew out of a much earlier choral work (thus perhaps explaining the anomalous opus number 11), and it was revised in 1912, Sibelius being dissatisfied with the arrangement. Again the final version is far superior to the earlier one, included in the appendix. Vänskä gives a sympathetic account.

Most of the remaining works are of minor importance; the Three Pieces , op. 96, and the three suites that followed, written between 1919 and 1922, are all essentially salon music; the Suite for Violin and String Orchestra, written in 1929 and thus one of Sibelius’s final compositions, is likewise not consequential. The Andante festivo , a 1938 arrangement of a work composed in 1922 for string quartet, is notable not only for its noble formality, but also because the recording of Sibelius’s live broadcast for the New York World’s Fair is the only surviving document of his conducting. That recording shows that almost everyone, including Vänskä, takes the piece too quickly; Vänskä’s version here has a timing of 5:10 versus Sibelius’s 6:55. Finally, the Processional is an arrangement of one of several songs Sibelius wrote for the Finnish Masonic lodge in 1927, again making it one of his last works.

The contents of this set range from some of Sibelius’s finest, most important works to some of the least significant products of his mature years. If you don’t have the single CD of the two versions of the Violin Concerto, or either of the pageant scores, or if you absolutely must have every scrap of orchestral music he created, this set’s for you. Collectors who have been acquiring each volume of the Edition as it is released will find this one of the more rewarding ones. Essential for Sibelians.

FANFARE: Richard A. Kaplan

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Sibelius Edition Vol 8 - Orchestral Music
BIS Apr 2009
CD
$59.99

Pierre Boulez Edition - Boulez: Pli Selon Pli, Livre pour Cordes / BBC SO

Sony Masterworks

$17.99 Dec 29, 2011

Will Boulez record Pli selon pli a third time with one of his currently preferred American orchestras in Chicago or Cleveland? As his longest complete composition to date, this 'portrait of Mallarmé' seems more and more like a definitive testament to that peculiarly French kind of expressionism which Boulez has made his own, and it is already 15 years since his second recording, with Phyllis Bryn-Julson and the BBC SO, indicated a more expansive approach to its intricately woven textures, and to the tensions and balances that can be found between its strongly contrasted movements. The earlier CBS/Sony version, now reissued on CD for the first time, has a special historical status as embodying the composer's view of the work near the time of its actual completion, when forcefulness, and even ferocity, seemed to count for more as foils to the music's moments of relative restraint than the sustained densities so strongly emphasized in the second recording. Even if you have the later disc, this one is of great significance, and its value is enhanced by the addition of the potently expressive Livre pour cordes. This is only a part of what Boulez intends as a complete recasting of his youthful .work for string quartet, and, as it happens, the first of the two movements we hear in this recording was superseded in 1989 by another reworking, as yet unrecorded. Such are the delights and frustrations of the Boulez project: fortunately he has not forbidden reissue of this initial and far from negligible version of Livre.

-- Gramophone [7/1996]

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Pierre Boulez Edition - Boulez: Pli Selon Pli, Livre pour Cordes / BBC SO
Sony Masterworks Dec 2011
CD
$17.99

Sense And Sensibility - Original Soundtrack

Sony Masterworks

$17.99 Jun 25, 2012

Track Listing
1. Weep You No More Sad Fountains
2. Particular Sum, A
3. My Father's Favorite
4. Preying Penniless Woman
5. Devonshire
6. Not a Beau for Miles
7. All the Better for Her
8. Felicity
9. Patience
10. Grant Me an Interview
11. All the Delights of the Season
12. Steam Engine
13. Willoughby
14. Miss Grey
15. Excellent Notion
16. Leaving London
17. Combe Magna
18. To Die for Love
19. There Is Nothing Lost
20. Throw the Coins
21. Dreame, The

Personnel includes: Robert Ziegler (conductor); Jane Eaglen (vocals); Peter Manning (concertmaster); Jonathan Snowdon (flute); Richard Morgan (oboe); Robert Hill (clarinet); Tony Hymas (piano).

Recorded at Air Studios - Lyndhurst Hall, Lyndhurst, England. Includes liner notes by Ang Lee.

Personnel: Jonathan Snowden (flute); Robert Hill (clarinet); Richard Morgan (oboe); Tony Hymas (piano).

Liner Note Author: Ang Lee.

Recording information: Air Studios, Lyndhurst Hall, London, England.

Patrick Doyle began his career in film music writing scores for Kenneth Branagh's films -- but he didn't receive his first Oscar nomination until he wrote this one for Branagh's then-wife, Emma Thompson (whose magic touch with the Academy landed her almost annual nominations in the 1990s). Since then, Doyle seems to have joined the small group of score writers who get voted in year after year by the old boys' club that is the Academy's musical wing. However, this is not Doyle's best work -- most of it simply recycles melodic phrases from his previous stuff. Nonetheless, Sense and Sensibility has a pleasant romanticism in its orchestrations, and the vocal solos by renowned soprano Jane Eaglen are quite good. ~ Darryl Cater

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Sense And Sensibility - Original Soundtrack
Sony Masterworks Jun 2012
CD
$17.99

Music Of Spain - Rodrigo, Falla, Albeniz / Williams, Entremont, Ormandy, Stokowski

Sony Masterworks

$24.99 Apr 22, 2011

The Rodrigo concerto (double woodwind, 2 horns, 2 trumpets and strings) needs real virtuoso playing—it is one of those works which are harder than they sound—but is most skilfully written. The cheerful first movement, starting up with typical Iberian belatedness from apparently idle introductory strumming, may make the most immediate effect, but undoubtedly the finest part of the work is the introspective Adagio, which shows that in the right hands even such seemingly cliché-bound elements as melancholy cor anglais solos and quasi-flamenco fiorilure can still be moving. Williams's reading differs somewhat from Bream's (which I still think superb): he takes the first movement a thought slower and just misses Bream's élan, but gives the finale actually more bite: he plays the slow movement sensitively, less dramatically and more dreamily than Bream (and incidentally changes the notes of the final arpeggio). It is a throughly musical performance, a worthy rival to that by his distinguished fellow-countryman.

-- Gramophone [7/1966]
reviewing Concierto de Aranjuez on LP

-------

This is not a record for purists, but never before on disc have I heard a performance of the vividly atmospheric Falla ballet anything like so involving as this. Stokowski may indulge in some souping up of the texture in the haunting "Pantomime", but I confess that that is how I have always wanted to hear it, and the brisk songs and dances (not just the "Ritual Fire Dance") have a dramatic bite that conveys the freshness of excitement that must have attended the first appearance of a ballet which so patently extended from Russia to Spain the new and exotic medium developed by Diaghilev. Diaghilev himself certainly appreciated its potential quickly enough with the ensuing Three Cornered Hat.

Shirley Verrett makes a superb soloist, characteristically rich-toned most of the time but from time to time flinging at us impressive imitations of raucous flamenco chest-tone. The recording, larger than life, dates from the early sixties, but it is still impressive, rich and atmospheric.

-- Edward Greenfield, Gramophone
reviewing El Amor Brujo on LP

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Music Of Spain - Rodrigo, Falla, Albeniz / Williams, Entremont, Ormandy, Stokowski
Sony Masterworks Apr 2011
CD
$24.99

PITTSBURGH

WHIRLWIND RECORDINGS

Vinyl

$36.49 Aug 19, 2022

He may not have known it before, but Toronto-born, New York-based guitarist Matthew Stevens, prized for his forceful, distinctive electric sound was an ideal candidate to make an album fully devoted to solo acoustic guitar: the intimate, unadorned, straightforwardly titled 'Pittsburgh'. September 2020, Stevens was hunkering down in his wife's family's hometown of Pittsburgh, while navigating his way through the crisis. He had with him a vintage Martin 00-17, a small-body mahogany guitar. Practicing daily on the Martin, he began generating a series of short song "starts" - ideas and sketches he thought might lead somewhere. Then one rainy Pittsburgh day, Stevens' bike slid out from under him and he broke his right elbow. Rather than getting derailed musically, he became immersed in a creative process that led straight to 'Pittsburgh': a document of those short song "starts" from the notebook, now hatched as completed compositions. "Playing this music became a big part of my rehab," Stevens recalls. As the album took shape, it became clear to Stevens that he was headed in the direction of a wholly unaccompanied recital, with no overdubs or sound layering of any kind. Just him and this special Martin, two Neumann U89 mics and enough peace of mind across two separate sessions to make 'Pittsburgh' the triumph that it is. 1. Ambler 2. Purpose Of A Machine 3. Buckets 4. Can Am 5. Foreign Ghosts 6. Northern Touch 7. Cocoon 8. Ending Is Beginning 9. Blue Blues 10. Broke 11. Miserere

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PITTSBURGH
WHIRLWIND RECORDINGS Aug 2022
Vinyl
$36.49

INTRODUCING JOE SANDERS

CRISS CROSS

$20.21 Feb 21, 2012

Criss Cross is proud to present the leader debut of bassist Joe Sanders, who is most widely known on the international scene for his long association with pianist Gerald Clayton's Trio, and is often heard with the best and brightest of his New York City peer group, of whom he convenes three - pianist Luis Perdomo, alto saxophonist Wil Vinson, and drummer Rodney Green (rising star vocalist Gretchen Parlato joins the mix on Sanders' Journey and Sorrow) for a diverse recital comprising 7 strikingly melodic, harmonically sophisticated originals that cover a range of stylistic food groups, as well as 2 jazz standards (Cedar Walton's Hindsight and Pat Metheny's Question and Answer) and a songbook chestnut (The Things We Did Last Summer).

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INTRODUCING JOE SANDERS
CRISS CROSS Feb 2012
CD
$20.21

V7: ORGAN WORKS
Aeolus Sep 2014
SACD
$21.99

BEETHOVEN: THE 9 SYMPHONIES

WARNER CLASSICS

SACD

$63.99 May 26, 2023

Beethoven was Wilhelm Furtwängler's guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum - and a constant sense of imaginative freshness - through the interrelationship of form, harmony, texture, rhythm and tempo. These recordings, all made in the late 1940s and early 1950s, in the Musikverein in Vienna and at concerts in London, Bayreuth and Stockholm, have been remastered in 192kHz/24-bit at Art & Son Studio (in 2021 for the 7 recordings included in The Complete Wilhelm Furtwängler on Records and newly for this edition for the 3 other ones), bringing their sound more alive than ever before and for the first time here on a physical medium.

As a bonus the 5th Symphony live performance from 1950 in Copenhagen restored in HD from an excellent condition analogue source has been added.

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BEETHOVEN: THE 9 SYMPHONIES
WARNER CLASSICS May 2023
SACD
$63.99

CLASSIQUES ET INEDITS 1929-56

Frémeaux

$32.99 May 01, 2008

"Hollywood legend Judy Garland left her mark on 20th century American art through her movies, stage performances, radio and songs. Her peerless ‘Over the Rainbow’ was voted ‘song of the century’ and five of her recordings entered the Grammy Hall of Fame. Lawrence Schulman presents an exceptional anthology with the first album featuring Judy Garland’s greatest hits and the second offering titles from private collections which have never been issued previously. The rarity of these recordings compensates the quality of sound which is inferior to studio recordings. A new aspect of this timeless icon from America’s Golden Age." Patrick Fremeaux FReMEAUX & ASSOCIeS ISSUES 25 NEVER-BEFORE-HEARD JUDY GARLAND TRACKS French Label Unveils 79-Year-Old Film Soundtracks and 72-Year-Old Radio Broadcasts Fremeaux & Associes is proud to announce the release of a new box set of two compact discs Judy Garland: Classiques et Inedits 1929-1956 [Judy Garland: Classic and Previously Unreleased Recordings 1929-1956] that contains forty Judy Garland recordings, most of which have been unavailable for up to seven decades. Culled from studio sessions and private collections from around the world, the anthology, whose tracks were trans-ferred by Grammy Award winner Jon M. Samuels in New York and remastered by Art & Son Studio in Paris, has been in preparation for over a year. It includes well-known and lesser-known Garland classics, but also collectors’ items many of which are previously unreleased, such as her screen debut at First-National—Vitaphone Pictures in 1929, 20 rare radio appearances of which 19 are new on CD, the first re-lease of a song she herself composed, and surround sound reproductions done for the set’s director, Lawrence Schulman, by the Australian sound engineer and award-winning radio host Robert Parker shortly before his death in 2004. The two tracks that open the first CD, "Blue Butterfly" and "Hang on to a Rainbow", are both from Vitaphone discs done by the 7 ½ Frances Gumm for early talkies in 1929 – almost a decade before "Over the Rainbow"! The collection encompasses all the labels for which Garland recorded during her career, from the earliest Decca side "Stompin’ at the Savoy", to her last MGM recording Get Happy, and beyond to her Columbia and Capitol sessions. Of special interest on the first CD are "Send My Baby Back to Me", "Heartbroken", "Without a Memory", and "Go Home, Joe", all recorded in 1953. Robert Parker, well-known for extracting stereo from vintage jazz and popular recordings, transferred them from DJ vinyl 78s into surround in 2002. This is the first time any Garland studio session has been heard in surround. A regular guest on the radio during her movie heyday, Garland sometimes tried her hand at standards and novelty numbers she never performed on film or record. These coveted collectors’ items, released sparingly over the years, make up the collection’s second CD, which includes her first preserved radio appearance from 1935 wherein she belts "Broadway Rhythm", as well as "Swing Low, Sweet Chariot" in 1938, "Goody Goodbye" in 1939, "In Spain They Say “Si-Si”" in 1940, "Daddy" in 1941, and "You and I" in 1951. Other new items to be savored are "Love’s New Sweet Song", a song Garland herself composed with husband David Rose in 1941 for a radio show, and a never-before-heard private record of her performing "Someone to Watch Over Me" for a Democratic Party dinner in 1944. “The fact that so many Garland radio performances have never been released so many decades after their broadcast is astounding” states Schulman. The 32-page brochure in French and in English contains liner notes by Schulman, as well as a detailed discography. Fremeaux & Associes, founded by Patrick Fremeaux and Claude Colombini, and recipient of the Grand Prix in honorem of the Charles Cros Academy, has built a catalogue over the years of some 25,000 references distributed in 32 countries. With of over 1000 awards, the label takes pride in striving to rehabilitate the sound heritage of the 20th century to make our collective memory permanently available to future generations.

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CLASSIQUES ET INEDITS 1929-56
Frémeaux May 2008
CD
$32.99

Mozart: Flute Quartets / Galway, Tokyo String Quartet

RCA

$17.99 Jun 15, 2007

According to Roger Lustig's well-researched programme notes, Mozart's self-declared dislike for the flute says more about the circumstances surrounding the composition of his works for the instrument than it does about any real hatred for the instrument itself. Furthermore, the performances of the Flute Quartets by James Galway and the Tokyo Quartet, here under review, speak equally eloquently for Mozart's evident care in their composition—this despite Hans Keller's dismissal of them.

The first two quartets, K285 and K285a were written in 1776/7 for the Dutch nobleman Dejean. The playing here is full of Mozartian grace and sensuous melodiousness. At the beginning of the possibly inauthentic C major Quartet, K285b, Galway achieves a delightful liquid quality. The later Quartet, K298 is more substantial and draws playing of haunting intensity from Galway and the Tokyo. The slow tempo of this Quartet's second movement is slower than in the Bennett/Grumiaux version on Philips whose performance has a much more jaunty feel to it. Galway's disc is rounded off with his own arrangement of the Oboe Quartet, K370, whose sumptuous slow movement and elegant finale make this an attractive added bonus. One minor reservation: it is useful to have individual variations separately tracked (K285b.2 and K298.1) but, in the earlier Quartet, there is an annoying click on my disc as the tracks change.

The principal difference between the Galway/ Tokyo and the Bennett/Grumiaux versions reflects the recordings and the circumstances surrounding them. Galway's choice of slower tempos might well have been conditioned, at least in part, by the spacious church acoustic in which it was recorded. The Bennett/Grumiaux was recorded in 1969, but the digital transfer is excellent. These are both fine discs, so choice will be determined by personal taste.'

-- Gramophone [6/1993]

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Mozart: Flute Quartets / Galway, Tokyo String Quartet
RCA Jun 2007
CD
$17.99

Works For Organ

Kontrapunkt

$22.99 Jan 15, 1996

Two of the most original contemporary composers Gubaidulina and Górecki wrote a number of intriguing pieces which evolve around organ. Denmark’s leading organist Jens E. Christensen has quite a few releases on Kontrapunkt including highly acclaimed “Iberian Organ Music” (32035) and “J.S. Bach/Orgelbüchlein” (32136/7).

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Works For Organ
Kontrapunkt Jan 1996
CD
$22.99

Out of Vienna

Alpha

$20.99 Mar 20, 2026

The Leonkoro Quartet, founded in 2019 and winner of multiple prestigious awards in 2022 - nine prizes at the Wigmore Hall International Competition, including first prize, BBC Radio 3 New Generation Artists, Jurgen Ponto Foundation Music Prize, first prize at the Bordeaux Competition - joins Alpha Classics for several recordings. First stop: Vienna and it's influence on the musical landscape of the early 20th century. Berg completed his Suite lyrique on 5 October 1926: combining theatricality and rigorous architecture, free atonality and dodecaphonism, this suite expresses the composer's passionate love for Hanna Fuchs at that time. Erwin Schulhoff, born in Prague in 1894, was discovered by Dvorak and studied in Vienna from the age of 12; he dedicated his Five Pieces to Darius Milhaud, as he also studied in Paris with Debussy around 1913, ultimately dying in a prison camp in Bavaria in 1942. In his Opus 5, described by Glenn Gould as 'sensual' expressionism, Webern mourns the death of his mother on 7 September 1906.

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Out of Vienna
Alpha Mar 2026
CD
$20.99

Mix & Match

The Royal Edition - Russian Orchestral Music / Bernstein

Sony Masterworks

$17.99 Feb 10, 2010

Bernstein's charisma is effectively demonstrated in a collection of Russian music... [P]redictably energetic...are Glinka's Ruslan and Ludmilla Overture and Glière's Russian Sailors' Dance from The Red Poppy... But the highlights are lyrical, with Bernstein suitably atmospheric in a fine account of Borodin's In the steppes of Central Asia and giving a coolly poised reading of the beautiful Prelude to Khovantschina of Mussorgsky (with glowing orchestration from Rimsky-Korsakov).

-- Gramophone [7/1985]

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...Prokofiev's Scythian Suite, which [Bernstein] does well; I have not heard all the other available recordings but I should imagine that none surpasses this one in brilliance of colour, excitement and virtuosity.

-- Gramophone [10/1969, reviewing the original LP release of the Scythian Suite]

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These very popular examples of colourful Russian music are very well played and recorded in a style to emphasise brightness, thus enabling us to hear clearly some of the inner parts that are sometimes obscured.

-- Gramophone [12/1967, reviewing the original LP release of the Glinka, Mussorgsky, and Ippolitov-Ivanov works]

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The Royal Edition - Russian Orchestral Music / Bernstein
Sony Masterworks Feb 2010
CD
$17.99

Prelude Pretentieux
Channel Classics Jan 2007
SACD
$21.99

MONK LIVE IN PARIS 1967 VOL. 1

RHYTHM-A-NING ENT.

Vinyl

$34.99 Apr 24, 2026

A Newly Unearthed and Fully Restored Recording of Thelonious Monk's 1967 Paris Concert - Long Considered One of the Most Elusive Performances of his European Tour This marks the first official release from the Monk Estate. Monk Live in Paris, 1967 Volume One will be Available on 180-Gram Vinyl on April 24, 2026, via the Thelonious Monk Estate's Rhythm-A-Ning Entertainment Captured at the Height of Monk's Creative Powers, this Historic Performance Showcases the Pianist and Composer with His Classic Quartet: Charlie Rouse (tenor saxophone), Larry Gales (bass), and Ben Riley (drums) For it's first 70 years, the profound art of jazz made originality, singularity and unrestricted vision prime requisites of it's expression - not just in musicality, but also in personality, image, style and demeanor. The unparalleled composer/pianist/visionary Thelonious Sphere Monk epitomized every aspect of this in exponential form. As a result, he occupies a unique position in the Jazz Pantheon. Every aspect of this extraordinary man epitomizes jazz expression at it's most compelling level. His visual presence - his headwear, his glasses, his sartorial style - matched with his remarkably profound verbal statements, the way he danced around the piano during other musicians' solos; and even more importantly, his brilliant compositions that are both starkly angular, yet gorgeously lyrical, and matched by his piano playing which made dissonance and fractured rhythms so utterly delightful, make Thelonious Monk stand out dynamically even amidst his other transcendent peers. Capitalizing on all of this, the Monk Estate is launching a comprehensive plan to launch a new ongoing series of archival recordings under it's authorized control of material that has been circulated for years as bootlegs - and is doing so with clever brand marketing that will further express the legendary presence and spirit of this singular iconoclast. The initial release, Monk Live in Paris, 1967 Volume One, is very special, not only for it's merging of these elements, but also because it showcases Monk's longstanding quartet featuring tenor man Charlie Rouse and the bass/drums tandem of Larry Gales and Ben Riley, who are joined by five very special guest horn men. Alto saxophonist Phil Woods, trombonist Jimmy Cleveland, Ray Copeland and tenor titan Johnny Griffin (Rouse's predecessor in the quartet) perform in various permutations - with the full nonet, including trumpet legend Clark Terry, coming together in Volume Two of this wonderful concert recording (to be released October 9, 2026). Volume One includes four Monk classics (an apt description of virtually every one of his compositions) - 'Epistrophy, ' with a scorching, growlingly muscular Griffin solo and a lyrical and adventurous Copeland solo; the deliciously syncopated 'Evidence, ' with sparkling Rouse, another terrific solo by Copeland; and bluesy, wickedly swinging Woods. On both extended pieces, the four horns provide densely harmonic thematic statements and some adventurous riffing that spurs on the soloists for a spontaneous feeling with a jam session atmosphere of jubilant excitement. 'We See, ' again highlights Rouse and Copeland; with the beautiful 'Ruby, My Dear' just featuring the original quartet completing the package. Of course, Monk brings his totally singular piano stylings to each piece; and Gales and Riley both offer their own outstanding contributions as well. Monk's son, T. S. Monk, says Monk Live in Paris was chosen to showcase the caliber of musicians who traveled with Monk, though not excluding Charlie Rouse, who is most familiar to his public. 'Giants like Rollins and Coltrane, Abdul Malik, Roy Haynes or Art Blakey, Mingus and Max Roach spent much time with Monk, but they didn't travel that much, ' Monk says. 'People are quite aware of his touring and recording quartet, his colleagues as a young man at Minton's Playhouse, like Dizzy, Bird, Charlie Christian, Red Rodney, Kenny Clarke and so on. His touring with larger ensembles especially in Europe, not as much. The Clark Terry's, Phil Woods, Thad Jones', the Jimmy Cleveland's, Johnny Griffin's and others highlight the respect his peers had for him. Men in some cases that often led their own bands. These musicians traveled for the art as much as the money! In some cases, more so! They all loved Monk and their presence is a tribute to his artistry. ' 'Thelonious Monk never wrote music to fit a system, ' TS Monk says. 'He wrote to expand imagination and move the culture forward. We've spent years navigating piracy, legacy structures, and an industry not always built for artist control. This album release marks a shift - stewarded independently, handled with intention, and delivered directly to listeners. Legacy isn't something you just inherit - it's something you defend and reinvent. This is a milestone not just for our family, but for anyone who believes in art over formula. ' The recording is presented as a 180-gram audiophile pressing and was selected by Thelonious Sphere Monk III as the first in a new series of previously unreleased, rare live recordings, mastered by Rudy Van Gelder. The album cover artwork was designed by Japanese graphic designer and artist Gaku Inada. Vinyl: 180 Gram, Blue Vinyl Packaging: single pocket jacket with a polylined sleeve and insert Mastering and Lacquer Cutting: Warren Defever at Third Man Mastering Plating & Pressing by: United Record Pressing Graphic Designer: Gaku Inada https://theloniousmonk. Store/ https://www. #facebook. com/theloniousmonk https://www. #instagram. com/theloniousmonk Performed at the Salle Pleyel in Paris, November 3, 1967 RAY COPELAND trumpet (tracks A2, A3, B2) PHIL WOODS alto saxophone (tracks A2, A3) JOHNNY GRIFFIN tenor saxophone (tracks A2, A3) CHARLIE ROUSE tenor saxophone (all tracks) JIMMY CLEVELAND trombone (tracks A2, A3) THELONIOUS MONK piano (all tracks) LARRY GALES bass (all tracks) BEN RILEY drums (all tracks) Tracklist: Side A: Artist Introduction (2:00) Epistrophy (9:45) Evidence (14:24) Side B: Ruby, My Dear (7:40) We See (13:59)

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MONK LIVE IN PARIS 1967 VOL. 1
RHYTHM-A-NING ENT. Apr 2026
Vinyl
$34.99

France Revisited, Vol. 2

Divine Art

$25.99 Apr 17, 2026

On 17 April 2026, Divine Art is delighted to present France Revisited, Vol. 2, the second volume of French music for piano four hands from Piano A Deux, the husband and wife team of Robert and Linda Stoodley. France Revisited, Vol.2 includes Gabriel Faure's Dolly Suite, George Onslow's Sonata No.2 in F Minor, Op 22, and the Hungarian Rhapsody No.2 by Franz Liszt, arranged for four hands by Franz Bendel with new cadenzas by Piano A Deux - this is the premiere recording. Faure's Dolly Suite is a charming set of six duets for four hands, written for the daughter of Emma Bardac, who eventually married Debussy. The Suite was often re-visited by Faure, and in 1906 was arranged for orchestra by Henri Rabaud. The piano duets were first premeired by Alfred Cortot and edouard Risler in 1898. Born in France but of English descent, George Onslow's music found approval from elites like Robert Schumann and Felix Mendelssohn, being crowned the "French Beethoven" by his publisher and other contemporaries, although later falling out of favour. During their research into less well-known composers, Piano A Deux discovered Onslow's duet sonatas in a dusty library drawer. The Opus 7 Duo Sonata was recorded for the first volume of France Revisited and the Sonata No.2 in F Minor, Opus 22 is heard in this second volume. Given many performances by Chopin and Liszt, it is conceived on a grand scale, symphonic in structure and reflects the Beethovenian aspects of Onslow's style. Liszt's Hungarian Rhapsody No.2 is probably one of the best-known solo pieces in the piano repertoire, from a composer who stands like a colossus in the pianist world, crossing geographical boundaries. Piano A Deux have taken Bendel's arrangement for four hands, adapted it and written their own cadenzas, returning the piece to it's virtuosic persona. An adventurous piano duo with a wide repertoire which includes major classical works and their original arrangements from the world of opera, film and musical theatre, Piano A Deux have performed in countries like Singapore, Italy, Germany and Finland to standing ovations. Meanwhile their concerts on cruise ships have won them a large following of seasoned concertgoers as well as new audiences who are delighted by their unique themed programs, exquisite music-making and charisma blended with humour." Novel programming presented with charm, humour and drama, combined with their original arrangements has won them many fans worldwide. Surprisingly, Robert & Linda met online, not through music. They married in 2008 and "Piano À Deux" was formed in 2010. Piano A Deux have been hailed as being worthy of taking on the mantle of longtime Divine Art recording artists Goldstone and Clemmow, a duo whose career was aborted by the untimely death of Anthony Goldstone. Their playing in 'France Revisited' Vol 1 was praised as "piano four hands... at it's very best.."

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France Revisited, Vol. 2
Divine Art Apr 2026
CD
$25.99

Mix & Match

Campagnoli: 6 Flute Quartets / Il Demetrio

Brilliant Classics

$13.99 Mar 23, 2018

Bartolomeo Campagnoli was a violinist by training, who worked in the courts and capitals of Baroque-era Europe, with posts in Rome, Dresden and then in Leipzig, where he was leader of the venerable Gewandhaus orchestra. Thus most of his own compositions are for strings, focused on his own instrument, and often with pedagogical or commercial aims in mind, such as the 41 Capricci for solo viola and the 7 Divertimenti for solo violin. There is also an extensive Method – in 132 separate lessons! – which was first published by Ricordi in 1797, and reprinted and translated many times. It was around this time that he wrote the six delightful, serenade-like works on this album, scored for flute and string trio. Often the flute engages in vivacious dialogue with the upper voice of the trio, within the tradition of similar works by Tartini, Rolla and Mercadante. The predominant mood is light, the expression airy and untroubled. The exception to this is the Fourth Sonata in E minor – the only minor-key quartet of the set, and the only one cast in three movements, with a central Andante grazioso of a suave gravity that would not have disgraced the young Mozart. Founded by the violinist Maurizio Schiavo, the ensemble Il Demetrio is a historically informed chamber group specializing in music of the Baroque era, undertaking much original research of their own to unearth little-known compositions from Italian libraries.

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Campagnoli: 6 Flute Quartets / Il Demetrio
Brilliant Classics Mar 2018
CD
$13.99

ALBINONI CONCERTOS SONATA ADAGIO

ALTO

$11.49 Aug 10, 2021

that Albinoni wrote excellent solo concertos is clear enough from this record, all players involved are splendid... very well recorded. These will please admirers of I Musici, the group is well-balanced and the soloists admirable. The oboe concerto No.2 is splendid, while the finale of No.5 is irresistible. Of the violin concertos Nos.7 and 10 are outstanding... Op.5 is an altogether tauter piece, and indeed a very distinguished one by any standards, with an exquisite central Adagio(Gramophone)

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ALBINONI CONCERTOS SONATA ADAGIO
ALTO Aug 2021
CD
$11.49

Concussion (Original Motion Picture Soundtrack)

Sony Masterworks

$11.98 Dec 18, 2015

Sony Classical is proud to announce the release of the Original Motion Picture Soundtrack "Concussion", composed by James Newton Howard. Will Smith stars in a dramatic thriller based on the incredible true David vs. Goliath story of Dr. Bennet Omalu, the brilliant forensic neuropathologist who made the first discovery of CTE, a football-related brain trauma, in a pro player. Will Smith stars in Concussion, a dramatic thriller based on the incredible true David vs. Goliath story of American immigrant Dr. Bennet Imalu, the brilliant forensic neuropathologist who made the first discovery of CTE, a football-related brain trauma, in a pro player and fought for the truth to be known. Omalu’s emotional quest puts him at dangerous odds with one of the most powerful – and beloved – institutions in the world. James Newton Howard is one of the most prominent film score composers, known for orchestrally oriented scores, with a selection ranging from relationship dramas to romantic comedies to large-scale action pictures. He is also a composer/arranger/orchestrator and record producer. He has written or arranged songs for Barbra Streisand, Bob Seger, Rod Stewart, Rickie Lee Jones, Cher, Randy Newman, Chaka Khan, Toto, Earth, Wind & Fire, Glenn Frey, and Olivia Newton-John. His song “The Hanging Tree” - performed by Jennifer Lawrence for The Hunger Games: Mocking Jay OST - has been all over the charts worldwide. 1.Concussion 2.Dr. Bennet Testifies 3.Strzelczyk Visits Webster 4.Webster’s Autopsy 5.Jacked Up 6.The Head as a Weapon 7.Bennet and Prema 8.Strzelczyk Loses It 9.Published – Marry Me 10.We Used to Be Warriors 11.Tell the Truth 12.I Am Offended 13.Shakespeare 14.News Conference 15.Hello Little One 16.Prema Followed 17.Be At Peace 18.Bennet’s Decision 19.Concussion End Titles 20.In the Darkness - Lisbeth Scott

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Concussion (Original Motion Picture Soundtrack)
Sony Masterworks Dec 2015
CD
$11.98

THIS IS JAZZ 2 / VARIOUS
GHB JAZZ FOUNDATION Dec 1999
CD
$20.94

L'ETRANGER

Frémeaux

$32.99 Oct 01, 2002

June 1942, a small book was published: “L’Etranger” (The stranger). The unknown author was a 28 years old who was to soon modify the history of both literature and philosophy of th 20th century, expressing the absurdity of the human destiny. This man is Albert CAMUS, who was awarded the Nobel prize in 1957. On April 7, 8 and 9 1954, Albert CAMUS recorded the integrality of his most famous work “L’Etranger” for the National Radio. This 3-CD set offers a restored edition of this reading by Albert Camus himself (in French) of “L’Etranger”. Includes a 16 pages booklet written by Roger Grenier, who Camus helped to become a journalist for “Combat”, and who wrote a intellectual biography on Albert Camus.

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L'ETRANGER
Frémeaux Oct 2002
CD
$32.99