Eloquence Classics

“There is much that reflects Furtwängler’s great attention to dynamic relationships, his sense of architecture, and his ear for balance and color. He whips up quite a phenomenal bit of energy for the final coda.” Fanfare, July 2020 (Furtwängler – Brahms: Symphony No. 2)

“Mr. Riddle seems to get ample sonority and a good deal of variety out of the solo part, and the recording is clear and free from harshness.” Gramophone, February 1938 (Walton: Viola Concerto)

“[Harty] shows clearly how much of the work’s success was due to his inspired advocacy. He brings out the vehemence and passion very starkly, but also finds an underlying rock-like strength.” Gramophone, December 1993 (Harty – Walton: Symphony No. 1)

“It would be difficult to exaggerate the concentrated power of this music, which is superbly performed and recorded.” The Record Guide, 1955 (Van Beinum – Britten: Four Sea Interludes)

“The performance is not less than magnificent, and the brass in the Adagio give a splendid display of legato phrasing and rich, solemn tone.” The Record Guide, 1955 (Van Beinum – Bruckner: Symphony No. 7)

“The unfolding of the musical action is presented with a wonderful sense of drama; and Knappertsbusch draws playing of great sonority, tonal beauty and meaning from his orchestra.” The Record Guide, 1955 (Knappertsbusch – Wagner, Rienzi Overture)

“A good time is had by all, in a brightly coloured, forward recording.” Gramophone, December 1935 (Wood – Coates: London Suite)

“Here is an excellent example of Berlioz in his stirring celebratory mood.” Gramophone, December 1935 (Harty – Berlioz: Marche troyenne)

“The luminosities of Handel’s writing are made still more enlightening.” Gramophone, December 1935 (Harty – Handel: Suite)

“The finest technical achievement of the Decca Company up to date. There is nothing to criticise in it and everything to praise.” Gramophone, July 1936 (Wood – Vaughan Williams: A London Symphony)

“Very impressive, and the [Eroica] as a whole is vividly played … The outstanding item is a breathtaking account of Berlioz’s Carnaval romain Overture, which I have never heard surpassed.” Gramophone, July 1991 (De Sabata – Beethoven, Berlioz)

“What a performance! If anyone says it is too Italian for his ears, I will pay for his ears to be amputated forthwith. En Saga, too, is a revelation.” High Fidelity, July 1976 (De Sabata – Beethoven, Sibelius)

“En Saga unleashes an almost orgiastic outburst. By any reckoning, these performances are masterfully led and, for their time, remarkably realistic sounding.” High Fidelity, September 1977 (De Sabata – Sibelius, Berlioz, Wagner)

“One of Handel’s most glorious melodies sustained under Kleiber’s baton with hypnotic control… Beethoven’s Pastoral is another winner … Kleiber’s way with Sphärenklange and Der Zigeunerbaron is sheer perfection.” Gramophone, January 2020 (Kleiber – Handel, Beethoven, Strauss)

“An intelligent but not cramping respect for the composer’s instructions, an appreciation of what can be done with tiny variations of rhythm … and a mastery of diction that has become increasingly rare.” Gramophone, April 2004 (Ansermet/Danco – Ravel: Shéhérezade)

“Eduard Van Beinum coaxes his players to a performance that dazzles the listener by its sheer virtuosity. This, topped by a brilliant recording, is a breath-taking experience.” Tempo, Spring 1954 (Van Beinum – Britten)

“Unerringly paced and played with restrained beauty and great concentration.” Gramophone, July 2000 (Enescu – Schumann: Symphony No. 2)

“[Coppola] brings to this performance an altogether outstanding sympathy and a close understanding of Schumann’s essential warm-heartedness, while securing a cleanness of texture which is by no means common.” Gramophone, July 1949 (Coppola)

“Reminds us of a fine artist and times that were in some ways more musically propitious than our own.” Gramophone, July 1988 (Zecchi/Haskil – Beethoven, Piano Concerto No. 4)

“A most sensitive and artistic performance, and the sheer beauty of the orchestral playing is a delight.” Gramophone, July 1949 (Krauss – Strauss: Tod und Verklärung)

“An excellent demonstration of the orchestra’s colour and flexibility … Zecchi has the right touch, we can hear.” Gramophone, April 1949 (Zecchi – Rossini: La scala di seta)

“Joyce seizes the heady bravura of her role with thrilling vitality and precision. This, you feel, is going to be an extraordinary reading.” Gramophone, February 2018 (Fitelberg/Joyce – Tchaikovsky: Piano Concerto No. 2)

“A lively, straightforward reading that allows the music to speak for itself.” Gramophone, November 1950 (Kleiber – Mozart: Symphony No. 40)

“A fine achievement … The atmosphere is simple and kindly, but has too a touch of triumph and success about it.” Gramophone, December 1951 (Kleiber – Beethoven: Symphony No. 6)

“Jean Martinon seems to be a conductor of rare sensibility judging by his reading of this subtle score. The playing of the LPO is absolutely first-rate.” Gramophone, April 1950 (Martinon – Ravel: Le tombeau de Couperin)

“The performance is excellent; the finale in particular is deliciously poised, and played with a neatness and lack of fuss which is sheer joy. The recording is first-class.” Gramophone, October 1949 (Blech – Haydn, Symphony No.94)

“I like it at this sober pace, when you can hear all the accompaniments, and relish the point-to-point story-telling spirit.” Gramophone, July 1948 (Blech – Humperdinck: Hänsel und Gretel Overture)

“Strong body and piquancy in the recording … In grace, lightness and an angelic smile for childhood, the French are incontestable.” Gramophone, July 1948 (Désormière – Bizet: Jeux d’enfants)

“The Tchaikovsky suite brings the magic … The music enters with a brilliance and sparkle that had me remembering our first wonderment in the dying days of 78 at the extended range of Decca ffrr.” Gramophone, July 1979 (Celibidache – Tchaikovsky: Nutcracker Suite)