Kertész’ orchestral Mozart has been well documented on Eloquence with many releases appearing on CD for the first time. Now, restored to the catalogue, is his dramatic, muscular reading of the ‘Requiem’. Stretching to 79 minutes, the disc is filled out with selections from the composer’s Masonic Music, with the ‘Maurerische Trauermusik’ bearing an uncanny resemblance […]
Continuing its exploration of Britten rarities,this Decca Eloquence release features Peter Pears as both tenor as well as director (of the Wilbye Consort) and the much-loved harpist Osian Ellis. While the Pears/Britten recording of Britten’s folk song arrangements is well known, the recording with Pears and Ellis is a decided rarity. Using this as a […]
Colin Davis recorded Handel’s ‘Messiah’ twice for Philips – in the 1960s with an English cast and then in the 1980s with British soprano and tenor soloists, a German alto and an American bass, not to mention a German orchestra and chorus. It’s a warm and voluble reading and was for a short while available […]
As with his Seventh symphony, Bruckner began his Eighth without a commission and without any specific promise that it would be performed. Nowadays, it’s one of his most often performed symphonies. It also happens to be his longest symphony – one, with its sheer breath of scope, asks for the listener to adjust his or […]
Frederick Fennell and the Eastman Wind Ensemble were one of the pioneering ensembles, inextricably associated with Mercury Living Presence and boasting some of the finest wind players in the United States. This rare recording which includes the much-requested ‘Lincolnshire Posy’, features seminal 20th-century music for this ensemble, not easily found elsewhere.
While Mozart is regularly touted as a teenage wonder, experts say there’s nothing he wrote as a teenager that could rival Mendelssohn’s Octet – a work beloved of audiences and ensembles alike. One of Decca’s earliest digital recordings was of the string orchestra version of this piece by the Israel Philharmonic under Zubin Mehta. Lusciously […]
This and the other two 2CD sets – 4800834 and 4800837 – represent all of Ansermet’s Prokofiev recordings for Decca (with the exception of a mono recording of the March & Scherzo from The Love for Three Oranges – the stereo version appears here).
The three 2CD Tchaikovsky/Ansermet sets represent his complete Tchaikovsky recordings for Decca.Ansermet’s recording of ‘The Nutcracker’ is in a league of its own, and many will find fascinating his own sequencing of numbers from ‘Swan Lake’ and ‘The Sleeping Beauty’. Refined, yet passionate, many of the pieces on these recordings make their first international appearance […]
The three 2-CD Tchaikovsky/Ansermet sets, The Sleeping Beauty, The Nutcracker and Swan Lake, represent his complete Tchaikovsky recordings for Decca. Ansermet’s recording of The Nutcracker is in a league of its own and many will find fascinating his own sequencing of numbers from Swan Lake and The Sleeping Beauty. Refined, yet passionate, many of the […]
The three 2CD Tchaikovsky/Ansermet sets, The Sleeping Beauty, The Nutcracker and Swan Lake, represent his complete Tchaikovsky recordings for Decca. Ansermet’s recording of The Nutcracker is in a league of its own and many will find fascinating his own sequencing of numbers from Swan Lake and The Sleeping Beauty. Refined, yet passionate, many of the […]
Making its first international appearance on CD, is Ansermet’s complete recording of a favourite ballet score – ‘Coppélia’ – its toy-box effects deliciously captured by Ansermet and the Suisse Romande. Ansermet only recorded selections from ‘Sylvia’ and they appear here, together with the rare 1960 recording of the second ‘Daphnis et Chloé’ suite which, for sheer […]
As a companion to the 2CD set of ‘Paris’ Symphonies, this CD presents the rest of Ansermet’s Haydn recordings – two symphonies (recorded in 1965), the Trumpet Concerto (dating from 1957) and as a pendant, the Hummel Trumpet Concerto (recorded in 1968). The readings are certainly on a larger scale than that which we expect […]
