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Bruckner: Symphony No. 5 / Thielemann, Vienna Philharmonic

Sony Masterworks

$5.99 ~~$11.98~~ Save 50% Sep 02, 2022

Sony presents the next installment of Christian Thielemann’s complete cycle of Anton Bruckner’s symphonies with the Vienna Philharmonic - the orchestra’s first Bruckner cycle under a single conductor.

The Vienna Philharmonic premiered four of Anton Bruckner’s nine symphonies, including No. 4 in 1881 and has enjoyed a unique relationship with the Austrian composer’s music since 1873. Christian Thielemann, Principal Conductor of the Staatskapelle Dresden, Artistic Director of the Salzburg Easter Festival since 2013 and Music Director of the Bayreuth Festival, is his generation’s most esteemed interpreter of the Romantic Austro-German repertoire. In the midst of a mutually stimulating relationship with the Vienna Philharmonic, he conducted his first New Year’s Concert with the orchestra in 2019.

REVIEW:

From expectant pizzicatos and hallowed strings to the blazing brass at the finish, for eighty-two minutes Christian Thielemann and the Vienna Philharmonic engage and illuminate us with this majestic, sonorous and deeply expressive account of the mighty Fifth (Nowak’s edition), captured during March last year in the Golden Hall of the Musikverein, resplendently and with focus within the generous acoustic.

It’s an eloquent and powerful performance, detailed, dynamic, as capable of cathedral hush and awe as being sonically magnificent in Heaven-reaching fortissimos, the latter avoiding coarseness and brass-heavy balances. Drama, too, in the way Thielemann adjusts tempos without losing the movements’ threads and invests such as a quiet bass line with significance.

-- Colin's Column

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Bruckner: Symphony No. 5 / Thielemann, Vienna Philharmonic
Sony Masterworks Sep 2022
CD
~~$11.98~~ $5.99

Gunning: Symphony No. 5 - String Quartet No. 1
Discovery Music and Vision Jan 2013
CD
$20.99

Bernstein: Symphony No 2; Shostakovich: Symphony No 5 / Bernstein, New York Philharmonic

Orfeo

$16.99 Aug 10, 2010

In that same year - the last before the opening of the new "Great" Festspielhaus - Leonard Bernstein came as a guest with the New York Philharmonic, of which he was chief conductor. Thus one of the most impressive musical personalities of the age arrived together with one of the American orchestras richest in tradition. Bernstein's own work The Age of Anxiety, his Second Symphony for Piano and Orchestra (with Seymour Lipkin as piano soloist, negotiating agilely a musical language that ranged from Romanticism to jazz), impressed the public as much as did Dmitri Shostakovich's Fifth Symphony, in which Bernstein realized brilliantly its grandiose climaxes and plumbed its musical depths.

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Bernstein: Symphony No 2; Shostakovich: Symphony No 5 / Bernstein, New York Philharmonic
Orfeo Aug 2010
CD
$16.99

Dvorak: Symphony No. 5; In Nature's Realm; Scherzo Capriccioso

SWR

$10.49 ~~$20.99~~ Save 50% Oct 09, 2015

Written during the summer of 1875, Antonín Dvorák's Symphony No. 5 in F Major, Op. 76 is considered the first work in which Dvorák found his way to a new symphonic idiom. It's noticeable inflections of Bohemian folklore, accompanied by almost Schubertian phrases, infuse the symphony with light and give it buoyancy. Two of Dvorák's many one-movement orchestral pieces, In Nature´s Realm Op. 91 and the Scherzo capriccioso Op. 66, serve as considerable, substantial encores. Karel Mark Chichon (OBE) is Chief Conductor of the Deutsche Radio Philharmonie Saarbru¨cken Kaiserslautern.

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Dvorak: Symphony No. 5; In Nature's Realm; Scherzo Capriccioso
SWR Oct 2015
CD
~~$20.99~~ $10.49

Robertson: Symphonies No. 4 & 5 / Armore, Bratislava Symphony

Navona

$16.99 Jan 08, 2021

In an age accustomed to three-minute pop songs being the norm, does the world need more full-length symphonies? Yes, says New Zealand Canadian John Robertson with his new release, SYMPHONY NO 4 & 5. Like their predecessors, these orchestral works make no sacrifices in terms of scale and style: they aim to be grand, aesthetic compositions, and are intended to be enjoyed as such. Symphony No. 4 and Symphony No. 5 bear the opus numbers 73 and 76, respectively – quite a feat, and even more impressive when one considers that composing wasn't Robertson's primary career. Instead, young Robertson had made the sensible choice to go into the insurance business. Nonetheless, the desire to invent music stuck. A competition win in 1987 eventually cemented this pastime as a worthwhile pursuit. Like Robertson's previous symphonies, No. 4 and No. 5 exhibit a strong adherence to a kind of neoclassical aesthetic, with influences of 20th-century composers sprinkled throughout. Unlike the previous orchestral works, however, these later symphonies are darker, more mature, more mysterious and generally more collected. Nestled in between is Meditation: In Flanders Fields, op. 70, a poem colored by long, winding symphonic lines and nebulous harmonies. It's a clever choice both in terms of style and content, working perfectly as a musical palate cleanser between the larger symphonic pieces. Together, these works represent more than the sum of their parts: they aren't just unrelated compositions, but an apt snapshot of Robertson's later oeuvre.

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Robertson: Symphonies No. 4 & 5 / Armore, Bratislava Symphony
Navona Jan 2021
CD
$16.99

Vaughan Williams: Symphony No 5, Dona Nobis Pacem

SOMM Recordings

$20.99 Oct 01, 2007

A priceless document.

“Vaughan Williams may not have been a great technical conductor, but he knew how his music should sound”. The words are those of RVW’s friend and biographer, the distinguished critic, Michael Kennedy. I suggest that anyone hearing this revelatory CD would be bound to agree with that verdict.

Because Vaughan Williams was not thought to be a great conductor he was rarely invited to record his own music. This is in stark contrast to, say, Elgar, Walton or Britten, all of whom recorded their own music extensively. Yet the evidence of that boiling, incandescent recording of his Fourth Symphony that RVW set down with the BBC Symphony Orchestra on 11 October 1937 shows that he was a vivid communicator of his own works (Dutton CDAX 8011). That’s long been a prized part of my own collection, as has the recording of Dona Nobis Pacem, in an earlier transfer, but I never thought we’d uncover a recording of him conducting what is perhaps his finest symphony.

This performance of the Fifth comes from the 1952 Henry Wood Promenade concerts at which all six of the symphonies that RVW had written to date were played in honour of his forthcoming eightieth birthday. It’s worth remembering that the symphony had been premièred at the Proms just nine years earlier, also under the composer’s baton. According to Alan Sanders’ very interesting note the broadcast was recorded off-air onto a long-playing acetate disc by an engineer named Eric Spain. The results are quite remarkable. To be sure, there is some surface noise but it is never intrusive and a remarkable amount of detail and perspective has been captured. There seems to have been no attempt made to edit out the audience noise between movements and this adds to the sense that we are eavesdropping on an event. However, no applause is retained at the end and while I usually like to hear some applause at the end of a live recording – a minority view, I suspect – on this occasion I don’t mind.

As to the performance, well it’s a very fine one. There are a few orchestral fluffs but nothing too serious. Vaughan Williams gives a reading that is direct and unfussy but one that also conveys admirably the wonderful poetry of this radiant symphony. The first movement proceeds serenely yet it has a quiet inner strength. When the music quickens (at 5:11) RVW obtains lightness from the strings but the melody in the wind and brass has a hint of darkness. When the climax of the movement arrives (8:10) it has an unforced majesty.

Much of the music of the second movement is characterised by what I’d term a rugged, rustic lightness. In places it suggests to me the ‘Rude Mechanicals’ of A Midsummer Night’s Dream. There are some occasional frailties in the playing but generally speaking the BBCSO responds well, giving a delightful account of the piece. At the very end the music dissolves up into the ether.

How moving it is to hear Vaughan Williams direct the glorious slow movement, containing as it does so much music from Pilgrim’s Progress, the visionary work that had occupied him for so many years. He achieves a real hushed intensity at the very start and there’s a lovely cor anglais solo. This ravishing movement shows Vaughan Williams’s lyrical gifts at their peak. Everything about this reading seems so right and he builds up to a glowing climax before allowing the music to die away in peaceful tranquillity.

The finale is a joyful movement and it comes across as such in its creator’s hands. There’s a real sense of hope in this music, despite its genesis in the dark days of war and RVW puts that across effortlessly. The gentle benediction of the coda is handled sensitively and with satisfying simplicity. The composer said of his Fourth symphony that it was what he “meant” and I think that’s true also of this deeply satisfying performance of the Fifth.

It used to be thought by some commentators, mistakenly but understandably, that the Fourth symphony was a depiction of the gathering political storms in Europe in the 1930s. In fact the cantata Dona Nobis Pacem is, surely, a much more direct artistic response to those menacing times and it’s amazing to find that Vaughan Williams, having produced such a searing work in the run-up to the Second World War, then penned a pacific work like the Fifth symphony while the conflict was at its height.

The performance of Dona Nobis Pacem presented here was given just a month after the work received its first performance from the Huddersfield Choral Society under Albert Coates. When Vaughan Williams came to broadcast it for the BBC he had the services of the same two soloists who had taken part in the première. This performance has appeared on CD before (Pearl GEMM CD9342) but this present release is claimed as its first authorised release. Presumably the source for this Somm issue is the BBC itself for Alan Sanders comments that this “is one of the Corporation’s few pre-war music recordings to have survived”. The Pearl booklet states that the source for their issue is “a private acetate transcription”.

I can state unequivocally that an A/B comparison shows that this Somm transfer completely supersedes the Pearl effort. The Somm disc is brighter, clearer and has an almost visceral impact compared with the Pearl. Not only that, the new transfer reports much more detail in both the loud and soft passages. Indeed, following with a vocal score I was amazed at how much inner detail is revealed – for example in the third section where the choir divides into eight parts, singing quietly and unaccompanied (cue 14 in the vocal score). It is simply staggering how vividly this recording speaks to us more than seventy years after it was made.

And the performance is vivid too. In the first movement Renée Flynn’s voice is caught with real presence – as is the case throughout the performance – and she sings marvellously. When the orchestra and chorus enter Vaughan Williams obtains some impassioned results. The second movement is a setting of RVW’s beloved Walt Whitman, as are the third and fourth movements. “Beat! beat! drums!” the choir sings. It’s a frenzied movement and Vaughan Williams whips up a real storm. The brass and percussion sound really vivid. The chorus parts are not easy, as I know from personal experience, but the BBC Chorus acquits itself valiantly. They’re rhythmically accurate – no mean feat in itself, especially in unfamiliar music - and the composer inspires them to singing of genuine fervour.

The third movement, ‘Reconciliation’, is at the centre of the work in more ways than one. Roy Henderson is a most dignified and moving soloist. Here there’s further evidence of Vaughan Williams’s conducting skill, for examples of subtle rubato abounds in his account of this movement and this could not have been achieved by someone who didn’t know what they were doing on the podium. It’s a most beautiful movement and the performers rise to great eloquence, none more so than Henderson, especially as he sings of the soldier finding his enemy’s corpse in its coffin. Whitman is, for my taste, somewhat mawkish here but Vaughan Williams in his music and Henderson in his singing transcend that.

The third and final Whitman setting is the celebrated ‘Dirge for Two Veterans’. There’s great cumulative power in the march that forms the basis of much of this movement. Vaughan Williams builds the tension purposefully and with skill and patience. The huge climax at “I hear the great drums pounding” is powerfully achieved as is the potent passage for orchestra alone a few pages later (5:09). The text is portentous at times, as Whitman so often is, but Vaughan Williams’s music has strength and conviction and this enables him to avoid sentimentality.

The fifth movement opens with a masterstroke. Over the sparest of accompaniments the baritone soloist sings lines from the celebrated speech made in the House of Commons by the radical MP, John Bright (1811-1889), in opposition to the Crimean War on 23 February 1855: “The Angel of Death has been abroad throughout the land.” Here Henderson’s hushed singing is hypnotically powerful. He’s quite chilling without any theatricality and he generates a tremendous atmosphere before the choral outburst, “Dona nobis pacem”. The movement ends on a more hopeful note with a chorus that, to me, anticipates the concluding pages of the Christmas work, Hodie (1954). Despite all the trials and tribulations of the 1930s Vaughan Williams could retain a sense of hope, if not optimism.

Dona Nobis Pacem is in many ways a work of its time but, in the sentiments that it expresses, it’s surely a work for our times also. It’s sincere and impassioned and a very fine piece. I’m surprised and disappointed that it’s not heard more often. It’s both moving and exciting to hear it under the composer’s own direction at a time when it was so new and also at a time when it was so relevant to the events that had moved him to write it. In this excellent new transfer the performance comes vividly to life. As I listened I found myself wondering how many of the performers may subsequently have become victims of the war that was not then far off.

In this year (2008) that marks the fiftieth anniversary of Vaughan Williams’s death I hope there will be many fine performances, broadcasts and recordings to celebrate his life and music. The year has started auspiciously with Tony Palmer’s wonderful new film biography, O Thou Transcendent. However, this superb release from Somm may turn out to be the most invaluable of all the anniversary tributes. It’s a mandatory purchase for all lovers of Vaughan Williams’s music and, frankly, a priceless document.

-- John Quinn, MusicWeb International

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Vaughan Williams: Symphony No 5, Dona Nobis Pacem
SOMM Recordings Oct 2007
CD
$20.99

OHKI: Japanese Rhapsody / Symphony No. 5, 'Hiroshima'
Naxos Oct 2006
CD
$19.99

SIBELIUS: TONE POEMS, SYMPHONIES 4 & 5

WARNER CLASSICS

SACD

$20.39 ~~$23.99~~ Save 15% Sep 25, 2026

Fourth release in the Warner Classics series of Herbert von Karajan Hybrid SACDs with a new HD 192/24 remastering from the original tapes. "Karajan is a great master," wrote Jean Sibelius in 1955, while the conductor said that Sibelius "is a composer who cannot really be compared to anyone else". Gramophone added in 1981: "No living conductor has done more for the music of Sibelius than Herbert von Karajan." In the tone poems and the two symphonies in this collection, Karajan explores with the magnificent Berlin Philharmonic the music's mysteries, unfolds it's structures and releases it's exhilarating power.

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SIBELIUS: TONE POEMS, SYMPHONIES 4 & 5
WARNER CLASSICS Sep 2026
SACD
~~$23.99~~ $20.39

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. 7
DUX Jan 2008
CD
$21.99

SYMPHONIES NOS.2, 3 & 5
Lyrita Sep 2006
CD
$20.99

Brotons: Symphony No. 5, 'Mundus Noster'

Naxos

$13.99 ~~$19.99~~ Save 30% Jul 30, 2013

Internationally renowned and award-winning composer Salvador Brotons brings classical music into the here and now, depicting our contemporary world in his Fifth Symphony. It's first three movements are musical representations of the more negative aspects of the human condition, before the slow, final section offers a positive resolution. The Oboe Concertobrings out both lyrical expressiveness and virtuoso thrills from the soloist, and the Four Pieces for String Orchestra was the prize-winning work which brought acclaim and recognition to Brotons at the age of seventeen.

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Brotons: Symphony No. 5, 'Mundus Noster'
Naxos Jul 2013
CD
~~$19.99~~ $13.99

Beethoven/Liszt: Symphony V & VII

Centaur Records

$9.49 ~~$18.99~~ Save 50% Jan 17, 2020

As is well known, Liszt wrote transcriptions of all nine Beethoven Symphonies. Here Frederic Chiu gives brilliant performances of Nos. 5 and 7. With a vibrant concert schedule, a legacy of 27 albums, and a stream of accolades from around the globe, pianist Frederic Chiu occupies a special place in the world of classical music. His non-traditional approach including interdisciplinary collaborations, integration of new technologies and emphasis on audience engagement distinguish Mr. Chiu as a maverick and innovator, a 21st Century artist.

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Beethoven/Liszt: Symphony V & VII
Centaur Records Jan 2020
CD
~~$18.99~~ $9.49

Beethoven: Symphonies Nos 5 & 6 / Klemperer, Vienna Symphony Orchestra
Archipel Jan 2012
CD
$10.99

SYMPHONY NO. 6
MDG Sep 2007
CD
$23.99

Schubert: Symphony No. 5 - Brahms: Serenade No. 2 / Gardiner, Orchestre Revolutionnaire et Romantique

SDG

$9.99 ~~$19.99~~ Save 50% Aug 31, 2018

This is a disc of pure delight.

This brilliant release features a live recording of the Orchestre Revolutionnaire et Romantique led by Sir John Elliot Gardiner performing Schubert’s Symphony No. 5 and Brahms’ Serenade No. 2 in A Major. The recorded concert took place in November 2016 inside the stunning acoustics of the Concertgebouw, Amsterdam. Schubert’s Symphony No. 5 was written mainly in September 1816 and was completed on October 3 of that same year just six months after the completion of his prior symphony. In character, the writing is often said to resemble Mozart; Schubert was infatuated with the composer at the time he composed it. Brahms’ second Serenade was written in 1859 and dedicated to Clara Schumann. The five movement work is scored for chamber orchestra, including double woodwinds but omitting violins, trumpets, trombones and percussion.

-----

REVIEW:

In matters of colour and timing, the playing of this early-Romantic repertoire has undergone its own revolution in the past 30 years. Under Goodman and Mackerras, even Minkowski, the Minuet of Schubert’s Fifth is neat but plain by comparison with Gardiner. Every phrase of the Andante is weighted and cherished. For its combination of tenderness, gravity and springtime joys, the performance may be set alongside Klemperer’s Philharmonia (with a first flute, Marlen Root, who has nothing to fear by comparison with Gareth Morris). The conclusion is quickly faded, but applause is retained after the Brahms. It’s a disc of pure delight.

– Gramophone

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Schubert: Symphony No. 5 - Brahms: Serenade No. 2 / Gardiner, Orchestre Revolutionnaire et Romantique
SDG Aug 2018
CD
~~$19.99~~ $9.99

Tchaikovsky: Symphony No. 5 & Francesca Da Rimini / Jarvi, Zurich Tonhalle Orchestra

Alpha

$20.99 Nov 13, 2020

Paavo Järvi, Principal Conductor and Music Director of the Tonhalle-Orchester Zürich since October 2019, here launches a complete recording of Tchaikovsky’s symphonies, the first in both his rich discography and that of the Swiss orchestra: ‘When I think of the Fifth Symphony, I think of vulnerability and hope. It looks directly into our soul. It is perhaps the finest of his symphonies. The famous horn solo moves me and enriches me every time I hear it… Unlike the Sixth, the Fifth still holds out hope for life.’ The symphonic poem Francesca da Rimini op. 32 completes the programme. This dark and violent ‘symphonic fantasy after Dante,’ a drama of jealousy, was premiered in 1877, at the same time as Swan Lake.

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Tchaikovsky: Symphony No. 5 & Francesca Da Rimini / Jarvi, Zurich Tonhalle Orchestra
Alpha Nov 2020
CD
$20.99

BEETHOVEN: SYMPHONIES 3 & 5
LPO Mar 2019
CD
$15.99

Dvorak: Symphonies Nos. 4, 5 & 6 / Neumann, Czech Philharmonic
Supraphon Jan 2003
CD
$37.99

Bax: Complete Symphonies; Orchestral Works / Lloyd-Jones, RSNO

Naxos

$54.99 Jan 13, 2023

Sir Arnold Bax wrote his seven symphonies between 1921 and 1939, embracing a prolific period that drew inspiration from a variety of sources. From the dramatic impact of the Second Symphony through to the seascapes of the Fourth and hints of Sibelius in the later works, Bax’s powerful symphonic world is one of surprising and at times stormy vigor contrasting with the most intense lyrical expressiveness and serenity. The selection of additional orchestral works evoking nature and atmospheric landscapes fascinates and rewards in equal measure, providing an essential overview of Bax’s music in critically acclaimed recordings.

REVIEW:

Listeners should come away mightily impressed by David Lloyd-Jones's clear-headed conducting of this intoxicating repertoire.

-- Gramophone

Past praise of previously released individual volumes included in this set:

Symphony No. 1 - In the Faery Hills - Garden of Fand

This first disc in the Naxos Bax series offers warmly idiomatic readings of two early symphonic poems, as well as the First Symphony…finely detailed. In the two symphonic poems, more specifically inspired by Irish themes, Lloyd-Jones draws equally warm and sympathetic performances from the Scottish Orchestra, bringing inner clarity to the heaviest scoring. First-rate sound...

-- Penguin Guide

Symphony No. 4, Nympholept, Picaresque Comedy Overture

The RSNO handle the difficulties of these scores well, with some wonderful solo playing from oboes and horns. The conductor David Lloyd-Jones allows those refulgent textures time to breathe, without letting the music sprawl.

-- Times of London

Symphony No. 5 - The Tale the Pine-Trees Knew

Lloyd-Jones's intelligent, meticulously observant and purposeful direction pays handsome dividends, and that a well-drilled RSNO in turn responds with sensitivity and enthusiasm. In short, another terrific coupling within what is turning out to be one mightily rewarding enterprise.

-- Gramophone

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Bax: Complete Symphonies; Orchestral Works / Lloyd-Jones, RSNO
Naxos Jan 2023
CD
$54.99

Bartok: Piano Concerto No 2; Tchaikovsky: Symphony No 5
Orfeo Apr 1992
CD
$16.99

Gary Bertini conducts Mahler's Symphony No. 5

SWR

$20.99 Apr 11, 2025

'The Fifth is a cursed piece. Nobody understands it,' said Gustav Mahler in March 1905 after a performance of his Fifth Symphony in Hamburg. He had been working on his new symphony for almost three years before it premiered on 18 October 1904: in Cologne, with the Gurzenich Orchestra and Gustav Mahler at the podium. To many of his contemporaries, the work seemed too bold, too radical - perhaps also insufficiently explained, given that programmatic explanations had been added to the so-called 'Wunderhorn' Symphonies Nos. 2 to 4. Not only the number and the order of the movements seemed new, but stylistically Mahler also broke new ground with his Fifth. But now, all at once, his musical language changed, a transformation that evidently gave him some unease later. Shortly before his death, he made corrections to the instrumentation. Today the work is considered the beginning of his new creative phase, which culminated in his Ninth Symphony and it's one of his most popular symphonies. Gary Bertini was born in Bessarabia (now Moldova) in 1927. After the Second World War, he studied at the Milan Conservatory, then at the Tel Aviv Academy of Music (where he graduated in 1951), and finally at the Paris Conservatory and the ecole Normale de Musique. He founded and directed first the Rinat Choir - later named the Israel Chamber Choir - and then the Israel Chamber Ensemble with which Bertini made numerous appearances in Europe and the USA. Over the years, he has been principal conductor of the Frankfurt Opera and the Cologne Radio Symphony Orchestra, artistic director of the New Israel Opera, and music director of the Rome Opera and the Tokyo Metropolitan Symphony Orchestra. Bertini's breadth of repertoire was very impressive, reaching from the 16th century to contemporary composers.

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Gary Bertini conducts Mahler's Symphony No. 5
SWR Apr 2025
CD
$20.99

DVORAK: SYMPHONIES NOS 5 & 6

MELBOURNE SYMPHONY

SACD

$14.66 Nov 22, 2024

The first in a new cycle of Dvorak symphony recordings, Dvorak: Symphonies 5 & 6 is the second release from the Melbourne Symphony Orchestra and it's Chief Conductor and Artistic Advisor, Jaime Martin, on the MSO's own record label. Recorded in 2023 at Hamer Hall, Arts Centre Melbourne, these performances-under Concertmasters Dale Barltrop (Symphony No.5) and Tair Khisambeev (Symphony No.6)-were artistic highlights of the MSO's second season under Martin's baton. The artwork approach to the MSO's Dvorak cycle profiles iconic scenes from across Melbourne and the state of Victoria, beginning with the Twelve Apostles of the Great Ocean Road, a day trip from Hamer Hall.

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DVORAK: SYMPHONIES NOS 5 & 6
MELBOURNE SYMPHONY Nov 2024
SACD
$14.66

SYMPHONY NO. 6
MDG Sep 2007
CD
$24.99

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