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H. Andriessen: Symphonic Works, Vol. 4 / Porcelijn, Netherlands Symphony

CPO

$18.99 Jun 23, 2017

Today Hendrik Andriessen is primarily known as the composer of some magnificent works for the organ, a few choral works mainly performed by amateur choirs, and some masses for the Roman Catholic service. In reality, Andriessen was for many decades a driving force in the Netherlands, as a versatile composer, a performing musician, a much loved teacher, the author of articles and books on music, the director of the Conservatories of Ultrecht and The Hague, and finally as a professor of musicology at the Catholic Univeristy in Nijmegen. Within a time span of some seventy years he has written a large oeuvre of instrumental and vocal works, from symphonies to songs, from masses to operas, from chamber music to organ works. The Netherlands Symphony Orchestra is the symphonic orchestra of the Province of Overijssel. This orchestra from Enschede performs with passionate dedication and virtuosity, and its broad, varied, and always exciting programs have earned it a firm place in this region and beyond. With its employmen tof historical instruments instead of modern ones in the performance of classical works, the ensemble has distinguished itself both in its immediate environment, throughout the Netherlands, and in foreign countries as a unique cultural ambassador on behalf of the Province of Overijssel.

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H. Andriessen: Symphonic Works, Vol. 4 / Porcelijn, Netherlands Symphony
CPO Jun 2017
CD
$18.99

Brian: Symphonies No 22, 23 And 24, English Suite / Walker, New Russian Symphony

Naxos

$13.99 ~~$19.99~~ Save 30% May 28, 2013

Havergal Brian may be a “cult composer”, but he’s surely one of the better ones. His music, even from its early days, was always strange, imaginative, and distinctive, and this disc, containing some very early and very late works, makes the point tellingly. Symphonies Nos. 22-24 form a trilogy. They were all composed between 11:30am and 9pm on May 26th, 1965, when the composer was 137 years old. Okay, just kidding, but 1965 is correct, and Brian was an impressive 89 at the time, which is astonishing enough. Symphony No. 22, “Symphonia brevis”, contains just two movements and lasts nine minutes. March rhythms predominate, alongside the gnarly, virtually atonal counterpoint that characterizes much of Brian’s late work. It sounds unappealing, but the music is so big in gesture and broad in its contrasts that it really does capture and hold your attention. Symphony No. 23, again in two movements but this time lasting all of 14 minutes, is more colorful and also a touch less angular, with some very beautiful moments of lyric calm. No. 24 consists of single, 16-minute movement, in which much of the storm and stress of the previously two works is resolved in lighter, brighter textures and more obviously diatonic thematic material. All three symphonies share an emphasis on march rhythms, and those characteristic brass and percussion effects (giant crescendos, deep tuba lines, three snare drums, unisons for xylophone and glockenspiel, cymbal crashes that hang over the bar lines) typical of Brian, and no one else. The advantage to having them all together, though, lies in the fact that you really can hear that Brian’s language has a wide range of expression, here displayed over a comparatively small space.

The English Suite No. 1 dates from 1905-6; that’s right, sixty years earlier than the three symphonies. Rich in invention, and much more obviously melodic, its six movements start with a march, and continue with a waltz, and character piece called “Under the Beech Tree”, an Interlude, Hymn, and finally a concluding Carnival, which pokes good-natured fun at God Save the King/Queen and other popular tunes. The Interlude is rather amazing, an experiment piece whose outer sections consist of pure texture (sound clip). It reveals Brian’s individuality even at this relatively early stage in his career—although he was already pushing 30 when the Suite was composed.

The performances here are very good. The New Russian State Symphony Orchestra sounds remarkably confident in Brian’s idiosyncratic sound world. The brass play very well, and the ensemble projects what have to be some very ungrateful string parts with astonishing conviction. Much of the credit must belong to conductor Alexander Walker, who keeps the music moving smartly along, and relishes the opportunities it offers for lyrical expression as well as instrumental color. Certainly this is one of the best issues in Naxos’ ongoing Brian cycle, especially as the sonics are also very tactile and vivid. Fans of the composer will rejoice.

-- David Hurwitz, ClassicsToday.com

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Brian: Symphonies No 22, 23 And 24, English Suite / Walker, New Russian Symphony
Naxos May 2013
CD
~~$19.99~~ $13.99

Shostakovich, D.: Symphony No. 8
Delos Jan 1997
CD
$18.99

Vaughan Williams: Symphony No 5, Three Portraits, Tuba Concerto / Previn

RCA

$17.99 Jan 21, 2010

The great inner strength and glories of this music are revealed here by fabulously eloquent playing. This performance of the Fifth Symphony is the pinnacle of Previn’s Vaughan Williams cycle - a major achievement.

The major offering is the seraphic Fifth Symphony. This is a supreme work, packed with thematic references to RVW’s opera (or ‘Morality’ as he called it), Pilgrim’s Progress, which at the time the symphony was written was still very much work in progress.

The long lines of the first movement are most lovingly shaped by Previn. The strings sing and soar marvellously and the horns contribute burnished tone. It seems to me that everything about the account of this movement, pacing, dynamic control and contrast, and sympathetic playing is just ‘right’. Later, when the tempo picks up the strings are dexterous and light and the interjections of the wind and brass introduce a suitable note of foreboding, which will be familiar to anyone who knows Pilgrim. The brief climax is convincingly built before the return of the luminous material with which the movement began (Track 1, 7’58")

The scherzo is brilliantly poised and gossamer light. This music always seems to me to be suggestive of A Midsummer Night’s Dream. That’s certainly the case here. Then comes the glorious Romanza. A featherbed of hushed strings is the foundation for the beautiful melody, heard first on the cor anglais. In Pilgrim’s Progress (Act 1, scene 2) this theme movingly sets the words "He hath given me rest by His sorrow, and life by His death", sung by Pilgrim himself. This movement is, surely, one of the most moving creations in English music and Previn and the LSO do it full justice. The music, though beautiful, also has great inner strength and its glories are revealed here by some fabulously eloquent playing. If the performance of this symphony is a highlight of Previn’s cycle (which I believe it is) then the performance of this slow movement must be counted the pinnacle of the entire set. Here is just over twelve minutes of balm for the soul. Then the quietly radiant finale is a delight. This is RVW at his most outgoing and beneficent. The whole performance is a major achievement.

The Three Portraits from "The England of Elizabeth" consist of music extracted by Muir Matheson from a score that RVW had been invited to compose in 1955 by British Transport Films. The company had produced a short documentary about [16th century] Elizabethan England in order to promote tourism in Shakespeare country. Matheson’s three movement suite doesn’t contain vintage Vaughan Williams but it’s enjoyable and so far as I know there is no other recording.

The Tuba Concerto is a delightful piece, even if it too is not top-drawer RVW. As the notes point out the composer took a good deal of trouble to learn the capabilities of the tuba which he then exploited to the full. John Fletcher is a splendid soloist. He’s athletic in the outer movements and in the central Romanza he displays a poetic vein to the tuba which may surprise some listeners.

-- John Quinn, MusicWeb International

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Vaughan Williams: Symphony No 5, Three Portraits, Tuba Concerto / Previn
RCA Jan 2010
CD
$17.99

Lloyd: The Symphonies Nos. 7-12

Lyrita

$32.99 Apr 05, 2024

Lloyd became a symphonist despite himself. When he was in his twenties he seemed destined to be a composer of operas and it is likely that, had the vicissitudes of war not intervened, he would have written music for the stage exclusively. In an article for the June 1939 issue of the Musical Monthly Record, Harry Farjeon wondered why music for Lloyd was ‘not centred in the concert hall but in the theatre’ and quoted the young composer as being ‘interested only in opera’. There are strong traces in the symphonies of what might have been: the intensely lyrical, cantabile nature of the writing, the intermezzo-like movements, the opera buffa qualities of the finales and the feeling for the long line which runs through those supple and sweeping melodies all denote a born opera composer. In the event his operatic aspirations were cruelly cut short and it is to his courageous, life-affirming twelve symphonies that we must look to chart his development, recovery and eventual triumph.

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Lloyd: The Symphonies Nos. 7-12
Lyrita Apr 2024
CD
$32.99

Shostakovich, D.: Symphony No. 8, Op. 65
Berlin Classics Apr 2006
CD
$21.99

Schmidt: The Symphonies / Berman, BBC National Orchestra of Wales

Accentus Music

$54.99 Jan 19, 2024

Franz Schmidt 150 (1874-1939)

“In conversations about Franz Schmidt the recurring theme emerging for many is that listening to a performance of his music at a young age became the turning point in their lives the realization of how powerful music can be,” says Jonathan Berman, whose longtime love of Franz Schmidt’s work has its origins in a performance preparation for his Fourth Symphony.

Berman’s passion for Schmidt’s work and the composer’s upcoming 150th birthday in 2024 were key reasons for the conductor to approach the BBC National Orchestra of Wales to record all four symphonies together – a major project that also marks Jonathan Berman’s CD debut.

The recordings were realized between 2020 and 2022 at BBC Hoddinott Hall, the home of the BBC NOW in Cardiff. In November 2023, Accentus Music releases all four symphonies in a high-quality box set that will also be made available across all digital platforms. BBC Music Magazine wrote about the digital pre-release of the first symphony in March 2021: “Jonathan Berman and the BBC National Orchestra of Wales deliver a terrific performance which provides a fine alternative to the excellent version from Paavo Järvi. […] What really makes this new recording so enticing is the sheer energy and enthusiasm with which conductor and orchestra communicate the vigour and optimism of the opening movement.”

Produced in association with BBC Radio 3 and BBC National Orchestra of Wales.

REVIEW:

Following their highly acclaimed streamed recording of his First Symphony, Jonathan Berman and the BBC National Orchestra of Wales have now completed their Franz Schmidt symphony cycle. Packaged together in this sumptuously designed and luxuriantly recorded set, the performances of all four symphonies, released in celebration of the 150th anniversary of his birth, pay worthy tribute to an undeniably major late-Romantic Austrian composer who, despite the passage of time, continues to divide opinion.

With almost evangelical zeal, Berman staunchly defends Schmidt from his detractors by providing some insightful personal observations in the booklet notes and by investing sufficient energy and dedication in his interpretations to allow the music to speak directly and fervently to the listener.

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Schmidt: The Symphonies / Berman, BBC National Orchestra of Wales
Accentus Music Jan 2024
CD
$54.99

Complete Symphonies, Vol. 1

CPO

$18.99 Oct 02, 2026

In 1785, Antonin Reicha went to Bonn with his unchle Joseph to play flute in the court orchestra there. There he met Ludwig van Beethoven, ten months his junior. Soon they started a friendship that survived despite the long distance. Whilst Beethoven established himself in Vienna, Reicha achieved the highest acclaim in Paris as a composer and above all as a teacher. Cesar Franck, Hector Berlioz, Louise Farrenc and Friedrich von Flotow are only a few of his illustrious pupils who learned their trade with the help of Reicha's astute technical prowess. It is not easy to sum up what he achieved. He wrote dozens of wind quintets, string quartets, other works of chamber music, highly original piano works as well as four symphonies and several overtures. His experimentation most likely evoked "Homeric laughter" from his famous Viennese friend. And how could it be otherwise, when pieces such as the overture - which can be heard on the first CD of our complete symphonic recording - throw even modern sensibilities off balance with their constant disruptions of metre without one being able to say why one keeps losing count... Only repeated listening helps!

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Complete Symphonies, Vol. 1
CPO Oct 2026
CD
$18.99

Shostakovich: Symphony No. 15 / Haitink, BRSO

BR Klassik

$19.99 Jan 24, 2025

BERNARD HAITINK conducts: SHOSTAKOVICH: SYMPHONY No. 15 in A major op. 141. The Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long and intensive artistic collaboration, which came to an abrupt end with Haitink's death in October 2021. BR-KLASSIK now presents outstanding and previously unreleased live recordings of their concerts from past years. This recording of Shostakovich's Fifteenth Symphony documents a concert given in February 2015 in Munich's Philharmonie i'm Gasteig. Haitink first conducted a Munich subscription concert in 1958, and from then on was a regular guest with the Bavarian Radio Symphony Orchestra - either in the Herkulessaal of the Residenz or in the Philharmonie i'm Gasteig. This congenial collaboration lasted for more than six decades. The orchestra musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem throughout the world. With him, the symphonies of Dmitri Shostakovich were always in the best of hands. Haitink's driving principle was to make the sound architecture of a musical composition, with it's complex interweaving, transparently audible; extreme sensitivity of sound was combined with a clearly structured interpretation of the score. As the last symphony in the oeuvre of the Russian composer Dmitri Shostakovich, the Fifteenth is a kind of symphonic conclusion. Although the composer set out to write a "happy symphony" and this epithet has since become commonplace, everything cheerful in it has a dimension that is exaggerated into the bizarre and grotesque. The work also contains musical references, for example to Rossini's "William Tell" overture, Wagner's "The Ring of the Nibelung" (the so-called "fate motif") and "Tristan and Isolde", and Alban Berg's "Wozzeck". Quotations from Shostakovich's own earlier works also appear. The symphony was composed in 1971 in Repino, a suburb of St Petersburg. The world premiere took place on January 8, 1972, under the baton of the composer's son Maxim.

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Shostakovich: Symphony No. 15 / Haitink, BRSO
BR Klassik Jan 2025
CD
$19.99

Prokofiev: Symphony No. 2 / Polyansky, Russian State Symphony
Chandos Jun 2002
CD
$21.99

SYMPHONY NO. 3 - 10 SONGS

LPO

$15.99 Feb 12, 2016

Rachmaninoff's Symphony No. 3 exudes an essential Russianness reacting both the country's distinctive character and the exiled composer's nostalgia for the homeland he left in 1917. Contrastingly, the natural beauty of Rachmaninoff's country estate, Ivanovka, is evoked in 10 Songs, delicately orchestrated by the grandfather of the London Philharmonic Orchestra's Principal Conductor and Artistic Advisor Vladimir Jurowski and sung here by Vsevolod Grivnov. Jurowski conducts the London Philharmonic Orchestra in live concert recordings of this fascinating combination of works.

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SYMPHONY NO. 3 - 10 SONGS
LPO Feb 2016
CD
$15.99

VI Ouvertures à 4 ou 6 (1736)

CPO

$18.99 Aug 15, 2025

Telemann remains a paradox: The deeper one delves into his oeuvre, the more boundless his legacy seems - like entering a mysterious treasure trove where the eyes gradually adjust to the wealth amassed within, yet never fully grasp it's true extent. The sheer abundance of his orchestral works and concertos seems to grow exponentially with each new publication. When previously lost compositions unexpectedly resurface - such as these six overtures from 1736, of which only a single printed copy had survived - we are left speechless. Suddenly, an exquisite assortment unfolds before us, featuring "classical" Baroque dance forms interspersed with exotic elements such as the Polonaise and Murky, imaginative character sketches, and various fashionable pieces, all presented in a kaleidoscope of colors. How effortlessly time flies by!

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VI Ouvertures à 4 ou 6 (1736)
CPO Aug 2025
CD
$18.99

KEEPING SCORE: SYMPHONY NO 5
SFS MEDIA Nov 2009
Blu-Ray
$26.49

Dittersdorf: Six Symphonies / Shepherd, Cantilena
Chandos Nov 1987
CD
$43.99

Shostakovich: Symphony no. 14
Challenge Classics Oct 2014
SACD
$20.99

Shostakovich, D.: Symphony No. 11, "The Year 1905"
Delos Jan 2003
CD
$18.99

Bruckner: Symphony No. 5 (Organ Version) / Giesen

Gramola Records

$21.99 Sep 06, 2019

Anton Bruckner's Fifth Symphony is one of the most moving and magnificent of his symphonic works. Matthias Giesen, who has been working for more than 20 years as the organist and stablemaster of the Monastery of St. Florian, where Bruckner started his musical training as a choirboy, presents his transcription for organ of this monumental opus on this recording for Gramola. Matthias Giesen refined his rendition of Bruckner's Fifth on the Bruckner organ of St. Florian, which can be heard on this recording, but also on numerous other organs for many years in order to do justice to the work both in terms of technical and musical matters. In 2017, Giesen presented his adaptation of the "Fantastic", which Bruckner himself never heard in orchestral version during his lifetime, for the first time to an enthusiastic audience.

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Bruckner: Symphony No. 5 (Organ Version) / Giesen
Gramola Records Sep 2019
CD
$21.99

SYMPHONY 7
SFS MEDIA Oct 2005
SACD
$21.99

Santtu conducts Shostakovich - Symphony No. 10

Signum Classics

$20.99 Mar 14, 2025

Santtu conducts Shostakovich: Symphony No. 10 is the fifth album from Philharmonia Records. Largely interpreted as depicting Stalin's regime in Russia, the orchestra delivers tragedy, violence and gloom before the brief but triumphant finale. Conducted by Santtu-Matias Rouvali, this performance was recorded at Southbank Centre's Royal Festival Hall in April 2024.

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Santtu conducts Shostakovich - Symphony No. 10
Signum Classics Mar 2025
CD
$20.99

Menschheit - Orchestral Works

Challenge Classics

$16.99 Oct 02, 2026

Erwin Schulhoff's Menschheit brings together some of the Czech composer's most compelling and deeply personal orchestral works, written in the aftermath of the First World War. At it's heart are the rediscovered vocal symphonies Landschaften and Menschheit, visionary song cycles that reflect on loss, renewal, spirituality and the fate of humanity through richly expressive poetry and sumptuous orchestral colours. Influenced by Mahler yet unmistakably individual, these works reveal Schulhoff at a pivotal moment in his artistic development, transforming the trauma of war into music of profound emotional depth, culminating in a message of hope and human resilience. Performed by the Residentie Orkest The Hague under the direction of Jun Markl, with mezzo-soprano Barbara Kozelj, this live recording also showcases Schulhoff's dazzling stylistic versatility through his jazz-inspired Suite for Chamber Orchestra and his exuberant orchestration of Beethoven's beloved Rage Over a Lost Penny. Recorded in the exceptional acoustics of Amare in The Hague - one of Europe's most modern and inspiring concert halls and home of the Residentie Orkest - this album celebrates both the rediscovery of a remarkable musical voice and the artistic excellence of one of the Netherlands' leading orchestras.

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Menschheit - Orchestral Works
Challenge Classics Oct 2026
CD
$16.99

Kerem: Symphony No. 3, 'For The Victims Of Communism' - Lame

Toccata

$10.49 ~~$20.99~~ Save 50% May 28, 2013

Estonian violinist Kerem (b.Tallinn, 1981) is familiar as a performer in Britain as well as at home. He is also a prolific composer, with over 100 works to his credit, 3 symphonies among them. The three-movement 3rd Symphonny (2003) and the Lamento for viola and strings (2008–9) lie downstream from Shostakovich and Boris Tishchenko, and were inspired by the idea of the struggle of the individual voice against oppressive ideology.

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Kerem: Symphony No. 3, 'For The Victims Of Communism' - Lame
Toccata May 2013
CD
~~$20.99~~ $10.49

Vaughan Williams: Symphony No 8, Job / Boult

ICA Classics

DVD

$26.99 Oct 25, 2011

VAUGHAN WILLIAMS Symphony No. 8. Job • Adrian Boult, cond; London PO • ICA ICAD 5037 (DVD: 73:05) Live: London 12/10/1972

To my knowledge, this is the first time this entire concert has been issued intact. Previously the Eighth Symphony appeared on a DVD (now out of print) with a performance from a concert eight months earlier of the Beethoven Violin Concerto with these same forces and violinist Nathan Milstein. That disc was given a very tepid review by Jerry Dubins in Fanfare 31: 1, criticizing the Beethoven as “off skew” due to intonation lapses by Milstein and lack of proper synchronization between the audio and visual tracks, and a “solid but less than rafter-ringing” rendition of the Eighth Symphony. Here the symphony opens the concert, given to mark the centenary of the composer’s birth. While I would agree that it does not equal Boult’s own studio recording with the same orchestra for EMI made almost four years before, it is still an estimable reading in Boult’s distinctive style, which in this particular work is far more low-key and introspective than in the hands of some other conductors. A significant factor in the lesser degree of impact is the recorded perspective, which is rather distant; even turning up the volume knob on my stereo receiver could not give it a presence equal to the studio version. A remarkable feature is that this performance differs notably in conception from that set down by EMI, as can be seen by the respective timings—11:09, 3:55, 8:35, and 4:44 for the studio account versus 10:44, 4:11, 7:26, and 5:47 here, with the 10:44 of the first movement including almost a minute of introductory applause. The change in proportions—significantly faster in the first and third movements, and markedly slower in the fourth—gives the piece a rather different feel, though even after several hearings I am not sure how to describe it, as the variations between the two do not follow a consistent pattern. That there is a substantial difference is a sufficient point of interest in and of itself for admirers of this conductor’s art.

With Job the competition between the 1970 EMI studio version and this live performance is much closer; the overall timings and conceptions of the two are virtually identical, and here the live performance has more presence. This video version does offer one advantage its studio counterpart lacks; at the start of each section, it displays for several seconds the corresponding (and striking) drawings from William Blake’s Illustrations of the Book of Job that inspired the composer. Boult had a unique and authoritative association with this work; in 1934 the composer dedicated the work to him, and he made four studio recordings of it before any other conductor made even one. That alone would make this an invaluable historical document; that value is increased by the fact that, apart from the aforementioned Beethoven concerto and a Beethoven romance for violin and orchestra with Yehudi Menuhin, this disc contains what are to my knowledge the only commercially released filmed performances of the man who ranks alongside Thomas Beecham as one of the two greatest British conductors of the last century.

The film quality itself is excellent for its vintage; images and colors are as sharp and clear as the analog film technology of the periods allows, and there are no signs of film deterioration. Camerawork is discreet, appropriate in focus, and free from the jittery itch of some current film producers to jump about every few seconds. Boult himself, 83 at the time, comes on stage slowly but not at all stiffly. Like Charles Munch he favors a fishing-pole length baton, but unlike the French maestro his movements are restrained, economical, and graceful rather than feverishly energetic, the very image of English patrician nobility. But do not mistake a lack of theatrical demonstrativeness for artistic dullness; this is music-making of great integrity and conviction. To fans of Vaughan Williams and Boult alike, this release is unhesitatingly recommended, particularly for the fine account of Job.

FANFARE: James A. Altena

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Vaughan Williams: Symphony No 8, Job / Boult
ICA Classics Oct 2011
DVD
$26.99

Bruckner: Symphony No 7 / Young, Hamburg Philharmonic

Oehms Classics

SACD

$19.99 Apr 14, 2015

The celebrated Bruckner cycle by the Hamburg Philharmonic under Simone Young saw its completion during the 2014–15 season. On 30 August 2014, this mature, practiced Brucknerian orchestra recorded Bruckner’s radiant Seventh Symphony in the Laeiszhalle, heard live on this CD. With the beauty of its themes and its moving homage to Bruckner‘s great, intimidating model, Wagner, this Symphony - ranking among the composer’s finest orchestral statements - offers a particularly impressive listening experience.

REVIEWS:

The most apposite word I can apply to Simone Young's approach to Bruckner is 'fluidity.' She allows the lyrical melodies of the first two movements to unfold naturally and with a good sense of structural cohesion.

-- BBC Music Magazine

I enjoyed this performance very much. I also liked the sound on this SACD which has presence and definition. There’s a good front-to-back perspective and all sections of the orchestra have been well served by the engineers. In particular the brass, so important in Bruckner’s sound-world, register very satisfyingly yet never excessively.

-- MusicWeb International

This is one of those performances where you feel from the opening phrases that everything is just right. The music soars, yet has all the heft and depth one could want. Orchestral balances are excellent… Above all, the spirit of Bruckner, often felt in the concert hall but so elusive in recordings, is present. This is a glorious Bruckner Seventh.

-- Fanfare

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Bruckner: Symphony No 7 / Young, Hamburg Philharmonic
Oehms Classics Apr 2015
SACD
$19.99

TCHAIKOVSKY: SYMPHONY NO.5 RIMSKY-KORSAKOV: KITEZH

LSO LIVE

SACD

$15.99 Oct 21, 2022

History, heritage, and fate combine in this recording from Gianandrea Noseda and the London Symphony Orchestra, bringing together the music of Tchaikovsky and Rimsky-Korsakov. Tchaikovsky's Fifth Symphony, brimming over with drama and emotional intensity, charts a course from darkness to a final, life-affirming glimmer of optimism. Composed in 1888 and conducted by Tchaikovsky for it's November premiere that year, the symphony makes use of a recurring main 'Fate theme' to bring together the work's four movements. Rimsky-Korsakov dug deep into Russian legends and folk tales for his opera. "The Legend of the Invisible City of Kitezh". Follow the mythical, magical story of the 'Russian Atlantis' in this orchestral suite, told through the composer's glittering orchestral palette.

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TCHAIKOVSKY: SYMPHONY NO.5 RIMSKY-KORSAKOV: KITEZH
LSO LIVE Oct 2022
SACD
$15.99

SYMPHONY NO. 3
SFS MEDIA Jan 2010
CD
$13.49