Wednesday, May 25, 2016
Harry Christophers (Stu Rosner photo) Harry Christophers, one of today’s finest Handel interpreters, promises to deliver an emotional wallop in the master’s big and dramatic three-hour oratorio Saul. Acclaimed baritone Jonathan Best sings the title role of the Israelite king who reluctantly yields his throne to David. A triumph at its 1739 premiere, Saul receives its first-ever complete H+H performance on Friday at 7:30pm and Sunday at 3pm at Symphony Hall. Tickets here . Period Instrument Orchestra and Chorus with Frances Kelly, harp; Jonathan Best, bass-baritone (Saul); Iestyn Davies, countertenor (David); Robert Murray, tenor (Jonathan); Elizabeth Atherton, soprano (Merab); Joélle Harvey, soprano (Michal) FLE: Handel was a creature of the opera house to begin with, yet because of changes in taste, and because of censors and religious objections, he created his English oratorio style. How different really is Handel’s oratorio from his opera? Harry Christophers: Not very different, that’s the principal thing. Handel was an incredible businessman and, as a Brit, you know, gosh, we’re so thankful for Handel coming to our shores and doing something about our dearth of music. And as you say, the English public began to get fed up with opera and they wanted something slightly different. For him to dream up the idea of Biblical oratorio subjects is incredible, but I’m a firm believe in that he never ever left being a man of opera, because what he brings to the oratorio is his incredible insight into character. Saul is the first major oratorio he wrote in England and actually probably one of the biggest orchestrally, but it’s that sense that the libretto is still there and the stage is still there in his mind. Most of those oratorios are sort of ‘day in the life’. Take Samson, it’s the last day in his life, but in the three hours we watch and listen to him, you get insights into Samson himself, into Delilah and into Noah. Here in Saul this incredible … you know this way Handel winds up his Saul and through his orchestral writing actually begins to make Saul rage, then he turns that rage into hatred and that hatred into madness and toward the end that madness turns into actually acceptance of his lot in life. But he is never, never going to shy away from being the king. You know that’s just one element. That’s just the major character. Do you think this is King Lear? Oh God, yes. It’s a pity that the libretto’s not quite as good! But you can see why so many wonderful theater directors, opera directors, take oratorio onto the stage and make wonderful productions out of it. Peter Sellars has just done a wonderful production of Saul at Glyndebourne last summer. You mentioned Sellars in the context of Saul, so I have to mention that he did it with a Boston chorus about the time he was bringing Vanessa Redgrave to read with the BSO. In his slightly staged Saul he asked the chorus of Israelites to fight and writhe over loose change on the floor. Really I didn’t know that: good Lord. It had something to do with political policy and Israelis, and of course the choristers refused to do it. So there was some unpleasantness. His amazing one [20 years ago] was Theodora . I think he transformed the whole idea of oratorio onstage with that production at Glyndebourne. Did he change the book? No, no, but it was a very, very modern production. It was incredible for the way he used the chorus in the production. The difficulty of putting oratorio onto the stage is actually for the chorus, because it’s the most difficult thing to learn. If you look at Handel’s operas, the chorus has very little to do if anything in some of them, but in the oratorios their parts are phenomenally demanding. The counterpoint is great and no bar is quite the same, so that imitation so very difficult to learn. And Sellars put this whole series of actions and choreography in them that actually was a bit like sign language, sign-interpreting the music; it was very clever. But you know it’s interesting what the English public will like at the time and of course two secular oratorios, Semele and Athalia, were both disasters—too much sex and all that sort of thing. But the oratorios of course were perfect. The Old Testament stories remain fascinating today, in the same way as Shakespeare. You can interpret it in so many different ways and bring so much of it to things that happen in the modern day. Yet at the same time it doesn’t need the staging. No. Especially in an approach like yours, which really seems attentive to the emotion and the narrative. I need to go through the process of putting these works on the stage, so when I first did Saul, and for most of the Handel oratorios I’ve done, the very first time I’ve done it, I’ve done it in the stage version, in the depths of England. The beauty of opera is being able to work with singers for weeks on end and you’re getting into it and finding ways into the character. Sadly, when you’re putting on concert versions you don’t have the time to do that. So here, I’m in bringing oratorios to Boston with H+H that I know sort of inside and out and I know what I want to do. And the cast I bring, most of whom I’ve already performed with in some way, can respond to all the stretching. Harry Christophers and the Sixteen (file photo) You seem to be more interested in more than merely the dotted rhythms. Oh my God, you bet! Funny enough, that was one of the reasons all those years ago, I started the Sixteen. We could take the time to introduce ourselves to pieces we’d never heard of before. It started making us look into Handel, Purcell, Bach in a different way. But what was happening is that you were getting many, many performances of particularly Handel oratorios, where they were just a collection of 58, 62 movements. Each movement had lots of style, beautiful style, lots of wonderful things going on, but there was no continuity, no sense of drama. There was no sense of how to approach the end of the oratorio, how you’re going to set this out, and most Handel oratorios are slow-moving and the drama escalates. Actually Saul isn’t slow to start, you’re thrust straight into massive choruses at the beginning. David’s killed Goliath; you’re already there. Then you have to find ways to get from the end of a chorus into a recit, from a recit into an aria, to an aria … and there’s no formula except by taking the libretto and taking the text and making the text work for you. Handel does this for us; you just gotta to trust in him. Have you ever needed to stage Messiah to get into his character? That’s the only one that’s different, isn’t it? Because you’ve got many, many choruses to the number of arias. It’s a totally different beast in many ways, and all the text is from the Bible. The chorus is a character. The chorus is a character, yeah! Jennens doesn’t get enough praise really, because that libretto is just brilliant. And yes, as you say, the chorus are the pivotal role and they take on so many different personalities in that. Whereas, of course, here in Saul, his first oratorio, they take on the character very much of a Greek chorus, commenting on what’s just happened and bringing that to the people, you know, the end of Part 1. It’s a shock and you know it’s sort of saying to people, “What the heck’s going to happen?” And you had to end oratorios in Handel’s day. All the terror and madness and rage and murder and everything and battles, all forgotten. Do you think, when you are talking about the early-music movement of the ’50s and ’60s, that they were probably reacting against the big honking Parrys and Waltons and Beechams? Then, later, you are reacting against the ’50s-’60s dudes. I remember I was glad and all that sort of things only from choir school. I didn’t have music in my family. Although I was introduced to music at a very early age, I was 9 when I went to Catholic choir school and I was suddenly thrust into the world of Cathedral music, it was just amazing, you know, phenomenal! And one of the beauties, you look back on those days, you don’t appreciate it at the time, but I look back on the organist and choirmaster who was a total maverick. I didn’t know that then. But he was amazing. There was a boys’ voice service on a Thursday, so we, all the boys, 36, 40 of us, we all sang that evensong on a Thursday. Adam Wicks didn’t put down timid little pieces for an anthem. We did the arias from Handel oratorios from Bach passions; alto ones and soprano ones—40 kids singing, so we got the enjoyment of singing. When I reached senior school, I sang, I played the clarinet and played sport, and it wasn’t really until I got to Oxford that I started realizing more about music. My tastes in music, my repertoire, were limited at school to clarinet pieces. I played Mozart, Brahms, Poulenc, whatever, Busoni, a lot of hard rock; a lot of Led Zepplin, Black Sabbath, all those sorts of things. I remember a secret meeting at school, one kid going, you know, he must have been 16 or 17, saying, “Come, you gotta listen to this piece!” and it was Stravinsky’s Rite of Spring, you know! This was 1969. It was a revelation? My God, it was total revelation. I was sold, straightaway! But when I went to Oxford my loves were Liszt; I got into all sorts of Mahler, but through Oxford I got a love for Renaissance music. We sang stacks of it. You know, I really started thinking that Byrd, Tallis, Sheppard, White, Victoria, Palestrina, Lasso, Josquin, all these composers, wow, fantastic! But I didn’t hear my first full performance of Messiah until I left Oxford. I’d never heard him before except that I might have sung, as a rather bad tenor, the odd aria from Jephtha or Samson or something like that … but I know you know I didn’t work on them. I studied music at the end of Oxford but I didn’t go on to study music. You took minor orders, apparently, when you were a vicar at Westminster Abbey? No! That’s one of these wonderful British terms! I sang in the choir and we were called lay vicars. It had bugger at all to do with the priesthood! (laughter) that’s so funny…. I tell you what it was, a great name, because when I was trying to rent a flat and they asked, “What’s your occupation?” I said, “I’m a lay vicar” and I instantly got it, because the agent had no qualms about it: I was a reputable person. But I didn’t inform them the next year, ‘I’m a singer.’ I note that your four-part name includes Tudor. Are you in the line of succession? My mom was from a well-known family. Mum and Dad got married in the war, and my dad was from a farming family from Devon. It was a classic case of nouveau poor upper-class meeting lower-class. But our family tree does go all the way back to a Tudor earl in Glendower whose first wife married Henry VII. Do you want to restore that dynasty? No! My mother’s family has a lot to answer for. I’ve been called Harry from birth and then of course my dad goes off to sign the ol’ thing and he’s called Richard so he decides put Richard in front of it and call me Richard Henry Tudor, so I’m vested with these names, none of which I’m called! (laughter) Parents! They’ve got a lot to answer for, you know? Now you mentioned your sort of transgressive love of rock music, do you model Mick Jagger in your style of conducting? Because you do cover more space than would be enclosed by a normal platform. I think it was Richard Morrison of the Times who called me the Mick Jagger of early music, but anyway, I’m very pleased with that. I’ve never used a podium and neither does Simon Rattle. We both wanted to get in amongst. That’s the thing about period music: there shouldn’t be any hierarchy. Meaning no one needs to conduct? My position is to bring the best out of what’s happening in front of me and to mold it. These players know far more about their respective instruments than I could ever know in a month of Sundays, which is great. It’s a marvelous way of feeding off each other. Harry Christophers conducts H + H Period Orchestra (Stu Rosner photo) Did you start out, would you say, as a choral man? I see you drawing beautiful arcs in the air the way a choral man does and an orchestra leader doesn’t as often? I was a singer and I spent the first six years of my career as a singer and yes, I formed the Sixteen, and that’s still going wonderfully strong, so I’ve sort of been branded, and I don’t mind being branded as a choral person. But I actually ever conducted only one choir, until I came here; I don’t do choirs. So in that sense I’m not a choral man, not like Eric Ericson or Willcocks. Those people are brilliant; they’ve spent their lives going around conducting various choirs. Is that a ghetto? It’s a world I’m not interested in much. But what I did do very early on, when I was still singing and wanted to conduct, I went to conduct smaller orchestras in Europe—actually most of them now are terribly well-known, it’s great. I remember conducting at the very early stage with Avanti! Chamber Orchestra , which Pekka Salonen had just formed in Finland and also Deutsche Kammerphilharmonie Bremen, now conducted by Daniel Harding. All were embryonic orchestras in those days, and so those sorts of chamber music orchestras, they had a love for period music but also contemporary music, and that was just what I wanted to do. To produce programs that had contemporary and early music. So most of my conducting always had a mixture of Britten and Stravinsky and Henze and things like that, plus programs which reflect back on to earlier stuff. As I say, I was very lucky: I sang for three years in the BBC Singers, which strangely enough I didn’t want to do. I’d left Westminster Abbey and I wanted to conduct; I wanted to sort of devote myself to building up the Sixteen and then the manager and conductor of the BBC said there was a tenor vacancy, and said, “Harry, would you like to become a member of the BBC Singers?” and I said, “John, I don’t really want to sing. I don’t get any satisfaction out of singing anymore. I want to build up my conducting” and he said, “Come on, Harry, you just got engaged, you just bought a flat, you know you’ve got to live.” I said, “Yeah, well, okay, but, uh …” “We’re gonna pay you a salary, you can be away as much as you want to conduct; we’ll support you.” And I thought, “Oh, don’t look a gift horse in the mouth.” It’s amazing how fate dictates your life, really, so I sang for the best part of three years with the BBC singers. I worked with the likes of Boulez, Rozhdestvensky, Ozawa, Norrington. Boulez thought we were the bee’s knees. We recorded all the Schoenberg male voice songs, which are ridiculously difficult. Because that’s one thing about the BBC Singers: we could all sight-read. You put a piece of music in front of us and we were what you call dial-a-note people: we could just read it and it was amazing. But through it I learnt many other things, from watching these guys conduct. I also learnt a lot about how not to conduct by the people who weren’t so good. Moreover, I learned more about how not to rehearse from the majority of people who didn’t know how. Conductors who get singers going till 5:30, and the just one more time, just one more time … you get to the performance and there’s nothing more to give and you’re all bored. There’s no spark. What for me keeps Messiah alive for me, 200-300 performances later, is that I don’t have to rehearse it that much. You use different soloists a lot, so you actually need to rehearse with them. Do you just accompany them? Well, a little bit of both. I have been a singer. I can sort of tell what they can do or what they can’t do. So I know maybe how far to stretch them in a tempo slower or faster or whatever it is. When you hear a bass, for instance, having difficulty getting around the “Nations” or something and they say, “Well, I’d like to have it a little bit faster…” I’d say, “Let’s try it a little bit slower, because that might suit you better.” And it’s a question of balance, and having four soloists actually makes me subtly change how I might get from A to B, so it keeps my interpretation alive, although my basic ideas are much the same each time. But then certain things will alter, and I keep it fresh. It has to be spontaneous. By and large, the singers that I am bringing here are people I’ve struck up a relationship with, at some stage. You seem to have different people with you. We try to bring some changes, and I try to hear, when I am over here, as many American singers as I can. The thing here in the States is that you have some wonderful, wonderful singers, but you don’t have enough rock music happening to actually get people to change their ideas. I don’t hear your singers following some particular style of early music at all. They’re more plummy English oratorio singers. They are, but ones who respond to the text and the style. They’re aware. I think that’s the wonderful thing. You get someone like Matthew Brook, who is doing Christus in the St. John Passion, and then he’s doing Creation—he’s text-led, but he was in the Sixteen for the past 10 years. Christopher Purley, who has come many times. I saw Chris as Saul in the amazing production in Glyndebourne, which is coming out on DVD later this year—I really encourage you to buy it, it’s a most frightening production, an incredible production. Not a note cut—it is absolutely incredible, phenomenal cast and…. I’ll have to ask you a devil’s advocate question on Messiah in Symphony Hall: If you didn’t care about economic issues, would you like to have those forces in a smaller hall to increase the volume of sound? Yeah, I think so. You are blessed in Boston for having so many fantastic halls—Jordan, Sanders…, and gosh, if we did all our concerts there, we would sort of fit it like a glove. Yet the Sixteen has done Messiah in the Barbican in London, in the Musikverein in Vienna, and massive halls, Sydney Opera House, big hall in Tokyo; it’s not a problem. So I think for a Boston audience, because of the predominance of concerts people are going to hear, if the audience is going to hear the BSO, they’re hearing a full stage, they’re hearing modern instruments. It might be difficult for quite a few of them for them to adjust their ear to us. I think the ear automatically turns up the volume sometimes, and becomes habituated to a lower level. I had suggested in one of my reviews that following the Beecham style three or four of the biggest choruses could have double the personnel and maybe even the Symphony Hall organ played down a half-tone for those choruses. Where would that be if you brought it down half a tone … 437? It would be hard. You could tune to it You couldn’t, really, because by and large we use a Valloti temperament, so we have your 3rds and 5ths going into an awful lot of problems. Actually we’re using Young in Saul, which helps the pluckers, particularly in three-flat, four-flat keys—there’s quite a lot in E-flat. It helps that we’re keeping our thirds and our fifths slightly lower. [But] it would be a problem. Even with a chamber organ, and there are certain things — you’ll find that Ian Watson will leave out the third sometimes — you’ll have to be leaving out too many. I’m a bit of a purist on that; I wouldn’t use the big organ on those things. What about a bigger chorus for a few of the numbers? Interestingly enough, when I came here, the chorus was larger, but actually didn’t make any more sound. When the Sixteen (you know there’s always 18) do Messiah, we never had a problem, and it doesn’t matter where we are. I’ve thought the H+H chorus reached a real height with Creation last season, and they’re really getting what I want in Messiah through repetition each year. It is the finest professional chorus in the city, no question about it. They’re great, and you know part of it is we’re building this up. It’s amazing how many really good singers there are in Boston, but inviting them into our chorus, we are also building their careers, a lot of these singers, like of Margot Rood, and Sonja and Stefan, Emily Marvosh, can come out and sing front of stage at Symphony Hall. That’s quite brilliant and they deserve it. So I see my role as one here nurturing new talent. For them to be doing a stepout aria or a full role, as Sonia and Emily did for the John Passion, they did really well, because it’s so much better for them than to be doing a Messiah in Nether Wallop. The original Covent Garden Theater showing Handel’s large pipe organ in 1743. What about having a larger portative made? I’ve seen pictures of the organ Handel used at first Covent Garden. John Elliot Gardner had an organ made by Robbin Jennings, who’s the chap who’s made this little carillon that we use for Saul … and that was a big beast. The thing with them comes back to practicality. All these instruments, be they chamber organs or harpsichords, have to be used; they can’t just be brought up every three months. That’s where these Klopp chamber organs are absolutely brilliant, because they are incredibly reliable. They still have to be played a lot and you know we’re finding that this instrument is improving with age. We’ve got tuners who know historic temperaments. But there is a major organ part in Saul, is there not? There are the organ concertos …. I’m not going to have it front of stage and hopefully it will carry well enough in the back. Yes, of course, I would like something a bit bigger but we haven’t got it. We’re also going to hear a carillon that is something like a glockenspiel. Yeah, very similar. Like in the last week’s Magic Flute. The one and the same; I couldn’t believe my luck. Robin Jennings made this little carillon for John Elliot for the Magic Flute. Our harpsichord tuner has just replaced all the bars with 415 ones. It’s a simple thing. You can see it there; it’s really small. We couldn’t believe our luck. Justin Blackwell is going to play it. It is absolutely brilliant. You gotta really hammer it. But isn’t it fantastic? When Handel was writing Saul, Jennens would go visit him, and said, “God, Handel’s head is full of maggots; he’s got this instrument he’s having built! He’s got a carillon!” It evokes the beginnings of Saul’s rage. (singing) “Saul, you’ve slain thousands … But David, you’ve slain ten thousands,” and there’s a repetition there. And he gets more and more irate, and it’s just wonderful to wind him up. When I did Jephtha, I created this tableau from a painting. The difficulty with oratorio is that, of course you’re lucky here because everybody’s got the text in the program so you can sort of follow along, you can follow the libretto. But you sort of want them to be following everything that’s happening on stage. It would be nice to semi-stage in some way but we haven’t got the time to do it. Use blocking ? I’ve got four soloists with two soloist platforms on opposite sides, so at least the audience can relate to a characters who won’t be in the same place. Some of the best arguments on stage are done this way, with the people as far away as possible, stage right, stage left…and it’s just simple things like that. Many of us close our eyes. Yes, it’s makes it easier doesn’t it. Handel makes it easier in this case to imagine the stage in your mind. BTW, Does Mick Jagger respect your work? I don’t know! I don’t know! I’ve met Roger Daltrey of the Who. I was really chapped when we did a concert in Melbourne at the beginning of last year; Roger had apparently tried to find me after the concert. He sent me a note and said,“I’ve twice been reduced to tears when at a concert. The first time was when you came to Australia 5 years ago and the second was this concert and I just happened to notice on your Wikipedia, it says that one of your school boy era’s group was Jethro Tull; I used to be the keyboard player and I just retired from that group.” You know Ken Russell’s Tommy movie? Oh yes, very well. But you know, these people were hell raisers in their days and now of course they’re pillars of society. Mick Jagger goes to cricket. Something very interesting with Tommy. When Pete Townsend wrote it he had an interview on radio, it was actually on BBC 3 the classical program. And they were talking about his influences on it. What’s amazing about so many of these pop stars is that is the variety of music that they’ve listened to but they don’t really know what they’ve listened to he says, “I got the inspiration for Tommy by hearing Purcell’s Dido.” And what the reasons were, all these little scenes, not the story but the little scenes, when you think of Dido you know in an hour you’ve got these little scenes. Ken Russell was really in accord with the music. Absolutely! And he remembers, Pete Townsend, because he came from the same county I was born in, and he went into a classical record shop, and he was about 18 when he went to this classical record shop and he went to buy it and he said, “I heard this thing”, and he sang a bit of it, and he said, “I think it’s by Beethoven, something like that and the guy behind the desk said, “No, it’s by Purcell.” And Pete Townsend thought well, “fuck you” and he said I wanted to buy it but I’m not going to buy it because this bloke’s so snooty to me, this kid in his leathers and his long hair. But, he did and he said and also the idea, clashes in music and he was talking about suspensions you know there are suspensions in Purcell. And on the by and by, he uses clashes in his own pop music you know. Chromaticism? But only in a pop way, totally simplistic and he got the idea from that. And I heard, this only a few months ago, in an incredible documentary with Jimmy Page of Led Zeppelin about Stairway to Heaven saying, “The whole inspiration for me was to make it like a Bach bourrée.” He didn’t know what a Bach bourée was but then you sort of hear it and you think, well, yeah… So you and Pete come by your rock childhood honestly? We do! I drive my wife out of the kitchen. You know, I like cooking so the kitchen’s my area. Say if it’s a Sunday morning and I stick on Led Zeppelin. I stick on everything on a Sunday morning, it’s my time. But I remember an interview with Eric Clapton and asking what do you listen to after a concert, after a gig and he said, “I listen to Wagner.” And they say what do I listen to after I concert and I listen to after a gig and I say Led Zeppelin. Part of the reason I listen to Led Zeppelin, you know in the car is because I want to keep awake on the way back. (laughter) But I mean there’s certain areas of music I’ve had great difficult with sort of romantic opera. I have big difficulty with Wagner. Maybe one day I’ll get into it. Just as listening to Bruckner and the only reason I did I was doing a television program on Brahms and Bruckner on vocal stuff and I found it fascinating. Not tedious? No and I found Bruckner’s Catholicism fascinating and so I bought Barenboim’s set of Bruckner Symphonies. I’m beginning to just one by one and I’ve listened to two and it’s taken me a year. Last words on Saul, on the singers and the production? Saul is the first full scale oratorio he wrote it’s the biggest orchestrally alongside Israel in Egypt. It’s massive—just gargantuan. I love the orchestration, it’s just fantastic. The way he uses three trombones. The big thing people will find slightly different is that we have a harp solo. The harp is also part of the continuo section. I’m a firm believer that the harp wasn’t just brought it just to play some little bit. Just to play that little aria in Esther, just to play the harp concerto in Alexander’s Feast. We know there were harps around in England and there were one of two good ones who played in the continuo section. Certainly is more dynamically able to shape than harpsichord. Oh YES. And of course again, we don’t know what Handel did in his day. Today we take many, many liberties with this. I make use of it, the harpsichord, the theorbo, the harp and the cello occasionally as continuo instruments in the recits so there are a variety of colors just to enhance, that’s my semi-staging in a way, that’s enhancing the action and the libretto Saul and David by Rembrandt You’re taking liberties!? Oh, I always take liberties. I take the word authentic with a few pinches of salt. The main thing for me is, it’s essential that you work from a good edition and I’ve had the benefit of a lifetime of works from Anthony Hicks who suddenly died it must be four years ago the first time I did the first time I did Saul and he did much research. Doesn’t anyone talk about Winton Dean or his work anymore? Oh God yes! He’s my bible. When I do any Handel oratorio for the first time or any Handel opera for that matter, I read his chapters from those beautiful tomes. He was a great example of that British dilettante who knows more than the experts. Oh gosh yes, and so was Anthony Hicks. He was basically an IT person who just had a love of music. I find those people are so refreshing because all they want is for the music to be performed and … They’re not interested in academic cant. Which I can’t stand! So what are you going to watch after the show? After the show!? (laughter) I’m going to have a last meal…and I’m enmeshed in the latest series of House of Cards! It’s not as good as the British version though really. Ian Richardson was amazing. I think Kevin Spacey is just amazing. He reminds me of an aria in which Saul is being ever so gracious, and I don’t believe a word of it. Real Kevin Spacey, one on one with the camera. The post Saul’s Rage and Handel’s Maggots appeared first on The Boston Musical Intelligencer .
5/24/16 Debussy #6 +1CD String Quartet (+ Brahms's Op. 51/1) by the Ceruti Quartet (2008) 5/24/16 Debussy #5 +1CD Images & other piano pieces by Zoltan Kocsis (1988) 5/24/16 Debussy #5 1CD set Préludes & Etudes by Georges Pludermacher (2003) 5/21/16 Debussy #2 +1CD set The complete Mélodies with Ameling, von Stade, Command, Mesplé & Souzay 5/21/16 Debussy #2 +3CDs Mélodies by Christopher Maltman, Véronique Gens and Gérard Souzay 5/19/16 Debussy #5 +1CD Estampes, Pour le piano, Suite bergamasque etc. by Bruno Canino (a rip by Corrado D.) 5/19/16 Debussy #3 +1CD La mer, Préludes & Nocturnes by Jean Martinon in Paris (1974) 5/19/16 Odd Couple +1Bonus, Chopin for Cello & Piano with Piatigorsky, Bonucci & Amfitheatrof (encode by Corrado D.) 5/18/16 Debussy #6 +1CD Sonatas for Cello + Flute, Viola & Harp by Lincoln Center Chamber Music Society (2007) 5/18/16 Musique Française #2 +1CD set Ravel's Piano Music by Jean-Efflam Bavouzet (2003) (a rip by Corrado D.) 5/17/16 Musique Française #3 +1CD Ravel's Ma Mère l'Oye & Prokofiev's Cinderella by piano duo Argerich & Pletnev 5/17/16 Debussy #5 +1CD Préludes by Steven Osborne (2006) 5/17/16 Debussy #5 +1CD Préludes Book 1 & Children's Corner by Nelson Freire (2009) 5/17/16 Debussy #5 +1CD set, Préludes etc by Samson François (1970) (includes 5 Etudes) 5/17/16 Debussy #5 +1CD Images, Pour le piano & Suite bergamasque by Cécile Ousset (1986) 5/16/16 Summer Nights #8 +1CD set Brahms' Symphonies by Antal Dorati (a rip by Corrado D.) 5/16/16 Brahms +2CDs Piano Quartets by J. Demus & the Barylli + Richter & the Borodin (2nd) (rips by Corrado D,) 5/15/16 A Weimar Rhapsody +1CD Krenek Piano Sonatas Nos. 2 & 4 + G. Washington's Variations. (M. Korzhev, 2007) 5/15/16 Musique Française #1 +1CD Koechlin and Jolivet's Chamber Music with Flute (Philippe Racine, 1989) 5/13/16 Debussy #3 +1CD Jeux, Images, Prélude, Danses with Serge Baudo in Prague (1977) 5/13/16 Debussy #5 +1CD Alice Ader's rare album with Images, Estampes, Martyre de S-S, Masques etc. (1989) 5/5/16 Stravinsky #2 +1CD Sacre du printemps (+ Bartok & Boulez) by P. Boulez in Salzburg with the GMJO (1997) 5/5/16 Stravinsky #2 +1DVD Le rossignol by J. Conlon in Paris (Dessay/McLaughlin/Simcic/Urmana/Naouri) (1999) 5/5/16 Bartok #5 +1CD Miraculous Mandarin & Dance Suite by B. Maderna in Monte-Carlo (1968) (a rip by Corrado D.)5/4/16 Massenet Operas: +CD Don Quichotte at Mariinsky theater, Furlanetto/Gergiev 5/4/16 Early Music Collections: New links 5/3/16 Brahms +1CD The Quartets for Voices & Piano by the Kammerchor Stuttgart, A. Rothkopf & F. Bernius (1983)5/3/16 Brahms +1CD The String Quintets by the Hagen SQ & G. Caussé5/3/16 Brahms +1CD set The String Quartets (Italiano SQ) & Clarinet Sonatas (G. Pieterson & H. Menuhin)5/3/16 Brahms +2CDs Piano Sonata No. 3 by Lupu & String Sextets by Carmignola, Brunello etc. (rips by Corrado D.)5/3/16 Brahms +1CD Die schöne Magelone with Andreas Schmidt and Jörg Demus (1988) 5/3/16 Opera Favourites #1 +1DVD Offenbach's Les Contes d'Hoffmann by F. Chaslin in Macerata 2004 5/2/16 Summer Nights #8 +1CD set Brahms's Symphonies by B. Haitink in London (2004) 5/2/16 Summer Nights #8 +1CD Brahms's 2nd Symphony by C. Davis in Munich (1988) 5/2/16 Brahms +1CD Cello Sonatas by du Pré & Barenboim (1968) 5/2/16 Brahms +1CD Late Piano Pieces by Radu Lupu (1970) 5/2/16 Brahms +2CDs Ballades Op. 10 by Gould (1983) & Brendel (+ Weber's Grand Sonata) (1990) 5/2/16 Brahms +3CDs Piano Sonata No. 3 by Barenboim (1996), Perahia (1991), Kissin (2001) 4/27/16 Brahms +1CD/1Bonus Violin C.to: D. Oistrakh & Pedrotti (1961, rip by Corrado D.) + Fischer & Sinopoli (2000) 4/27/16 Brahms +1CD set Piano Concertos by Freire & Chailly (2006) 4/27/16 Brahms +4CDs Piano Concertos by Pollini & Abbado, Ax & Haitink, Donohoe & Svetlanov 4/27/16 Brahms +3CDs Violin Sonatas: Zukerman & Neikrug (1992), Tetzlaff & Vogt (2002), Mutter & Orkis (2010) 4/25/16 Rachmaninov #1 +3CDs the 3 Operas (Aleko, The Miserly Knight, Francesca da Rimini) by N. Järvi (1996) 4/23/16 Wintery Romantics +1Bonus Dvorak Symphony No. 7 by I. Fischer in Rome (2006) 4/23/16 Strauss #1 +1Bonus Le bourgeois gentilhomme by Christopher Hogwood in Milan (2005) 4/23/16 Rachmaninov #1 +1CD Symphony No. 1 & Isle of the Dead by M. Pletnev and the RNO (2000) 4/23/16 Rachmaninov #2 +1Bonus, 3rd Concerto by B. L. Gelber & E. Krivine in Geneva (1988) 4/23/16 Rachmaninov #2 +1CD set The Concertos in E. Wild & J. Horenstein's great recording in London (a rip by Odeon) 4/23/16 Rachmaninov #2 +3CDs Ashkenazy/Haitink; Glemser/Wit; Zilberstein/Abbado classic recordings of concertos 4/23/16 Rachmaninov #1 +2CDs Preludes by Weissenberg (1969) & 2nd Symphony by I. Fischer (2003) (rips by Sasha) 4/22/16 Schumann Piano Trio Op. 63 & Ravel's by the Trio di Bolzano (1954) (a rip by Corrado D.) 4/22/16 Prokofiev #1 +1CD set 5th Symphony by L. Maazel in Cleveland (1977) (+ Rimsky's orch. works) (a rip by Sasha) 4/22/16 Wagner's Ring +4DVDs The entire Ring des Nibelungen in J. Levine's fundamental Met production for DGG 4/21/16 Wagner's Die Walküre +1DVD the great Boulez 1980 production (Hofmann, Altmeyer, McIntyre, Jones, Schwarz) 4/20/16 Wagner's Tristan und Isolde 2DVDs Z. Mehta in Munich (1998) and J. Levine in NYC (1999) 4/20/16 Wagner's Die Meistersingers +1DVD J. Levine's 2001 release (Morris, Heppner, Mattila, Allen, Pape, Polenzani) 4/20/16 Liszt's Sonata: +1CD Peter Donohoe's 1989 recording (including Berg and Bartok's Sonatas) 4/20/16 Wintery Romantics +1CD Tchaikovsky and Dvorak: Serenade for Strings by C. Davis in Munich (1987) 4/20/16 Hindemith +1CD Reger's Clarinet Quintet & String Quartet by Karl Leister and the Vogler Quartett (1999) 4/20/16 Stravinsky #2 Apollon Musagète & Cantata by Esa-Pekka Salonen, new rip and scans available. 4/20/16 Summer Nights #8 +1CD set Brahms The Symphonies by Gustav Kuhn in Bolzano (a rip by Corrado D.) 4/19/16 Rachmaninov #1 +2CDs 2nd Symphony by S. Bychkov (1990) & Symphonic Dances by E. Batiz (1991) 4/19/16 Rachmaninov #1 +1CD 6 Choruses Op. 15 (+ Scriabin's 1st Symphony) by Valeri Polyansky (2004) 4/19/16 Rachmaninov #1 +1CD set & 1CD Preludes and Etudes-Tableaux by N. Lugansky, M. Petkova & L. McCawley 4/18/16 Wintery Romantics +6 CDs Scriabin Sonatas, Etudes, Piano Concerto, Poème de l'extase, Prometheus 4/18/16 Schubert #2 +1CD Symphony No. 9 'Great' by Daniel Barenboim in Berlin (1985) 4/18/16 Prokofiev #1 +1CD Symphonies Nos. 5 & 1 by André Previn in Los Angeles (1986) 4/17/16 Wintery Romantics +1CD Piano Trio by Perlman, Harrell, Ashkenazy (1980) 4/17/16 Wintery Romantics + 3CDs Tchaikovsky's 5th (Ormandy 1981) & 6th (Gergiev 1995), Ballet Suites by Karajan 4/17/16 Wintery Romantics +1CD Tchaikovsky's Violin Concerto by V. Mullova and S. Ozawa (+ Sibelius) (1985) 4/17/16 Wintery Romantics +1CD set Tchaikovsky's Symphonies Nos. 4, 5, 6 by Gergiev and the Vienna Philh. (2004) 4/16/15 De Fesch Concerti - Musica ad Rhenum: New links 4/15/16 Musique Française #2 +1CD Respighi's Sinfonia Drammatica by Daniel Nazareth in Bratislava (1986) 4/15/16 Stravinsky #1 +1Bonus, Oedipus Rex by Jeffrey Tate in Turin 1999 (Moser, Lipovsek, von Kannen, Kapellmann) 4/15/16 Opera Favourites #3 +1DVD Levine's Trovatore at the Met 1988 (Pavarotti, Marton, Milnes, Zajick, Wells) 4/15/16 Summer Nights #1 +1CD Erwin Schulhoff's piano works by Ulrich Urban (1993) 4/15/16 Messiaen +1CD Turangalila-Symphonie with R. Chailly (J-Y. Thibaudet, p.; T. Harada, o.M.) (a rip by Cunctator) 4/14/16 Wintery Romantics +1CD Sibelius & Nielsen, Violin Concertos, by Maxim Vengerov & Daniel Barenboim (1996) 4/14/16 Summer Nights #12 +1CD B. Walter Violin Sonata & K. Goldmark 1st Suite by P. Graffin & P. Devoyon (2000) 4/14/16 Stravinsky #2 +2CDs Petrushka by D. Zinman in Baltimore & Symphony in 3 Movs. by J. Conlon in Rotterdam 4/14/16 Stravinsky #2 +1DVD Gergiev and the Vienna Philh. in Salzburg for The Firebird (+ Prokofiev & Schnittke) 4/14/16 Strauss Great Operas #2 +1DVD Ariadne auf Naxos by Colin Davis in Dresden (2000) 4/14/16 In the Name of Music +1CD Orff's Catulli Carmina & Trionfo di Afrodite by Franz Welser-Möst (1995)4/14/16 In the Name of Music +3CDs Orff's Carmina Burana by Z. Mehta (1992), A. Previn (1993) & R. Shaw (1980) 4/14/16 Hindemith +2CDs F. Schmidt's 4th Symphony (F. Welser-Moest) and Selected Organ Works (A. Juffinger) 4/14/16 Wintery Romantics +1CD Moritz Moszkowski's piano works by Seta Tanyel (1993) 4/14/16 Shostakovich #2 +1CD Piano Sonatas Nos. 2, 3, 4 by Nikolai Miaskovsky in Lydia Jardon's recording (2007) 4/13/16 Summer Nights #2 +1CD Zemlinsky's Lyrische Symphonie by Riccardo Chailly in Amsterdam (1993) 4/13/16 Darmstadt #2 +1Bonus File: Nono's Il canto sospeso with Mario Venzago in Milan 2000 (+ Berg's Op. 6) 4/13/16 Bartok #1 +1Bonus File: Piano Concerto No. 3 with Roberto Cominati e Juraj Valcuha in Turin (2007) 4/13/16 Stravinsky #2 +1CD Esa-Pekka Salonen 1988 recording of The Firebird and Jeu de Cartes in London 4/13/16 Stravinsky #2 +2CDs Haitink's Berlin Philh. recordings of The Firebird, Scènes de Ballet & Petrushka (1988/9) 4/13/16 Summer Nights #11 +1CD Joseph Suder's Piano Concerto and piano pieces by Margarita Höhenrieder (1988) 4/13/16 Selig im Glauben (Wagner's Parsifal) +2DVD sets: Levine in NYC (1992) and Nagano in Baden-Baden (2004) 4/13/16 Debussy #6 +1CD String Quartet (+ Zemlinsky's 2nd String Quartet) by the Casals String Quartet (2004) 4/13/16 Summer Nights #2 +1CD Zemlinsky, Marx, Schreker: Lieder by Dorothy Dorow & Massimiliano Damerini (1980)4/13/16 Summer Nights #2 +1CD Zemlinsky's Psalm 23 & Symphony in B-Flat by Riccardo Chailly in Berlin (1987)4/13/16 Summer Nights #2 +1CD Zemlinsky's Lyrische Symphonie by Giuseppe Sinopoli in Vienna (1995)4/13/16 Summer Nights #2 +2CDs Zemlinsky by James Conlon (Eine florentinische Tragödie & Lyrische Symphonie) 4/13/16 Opera Favourites #2 +1DVD Puccini's La fanciulla del West by Nello Santi in London (1983) 4/13/16 Opera Favourites #2 +1DVD Puccini's La Bohème by Lamberto Gardelli in London (1982) 4/13/16 Summer Nights #5 +1CD Clemens Non Papa's Missa Pastores by the Tallis Scholars under Peter Phillips (1987) 4/13/16 Stravinsky #2 +2CDs Le sacre du printemps by B. Haitink in Berlin (1995) and M. Alsop in Baltimore (2006) 4/13/16 Stravinsky #1 +2CDs Oedipus Rex: Colin Davis' 1983 and Esa-Pekka Salonen's 1991 recordings. 4/13/16 Stravinsky #2 +2CDs Esa-Pekka Salonen for Apollo, Cantata, Concerto and Works for Piano & Orchestra (1988-90) 4/12/16 Contrappunti Italiani +1CD Scarlatti Sonatas in Ivo Pogorelich's classic 1991 recording 4/12/16 Wintery Romantics +2CDs Szymanowski's Piano Music by Marc-André Hamelin (2002) & Roland Pöntinen (2008) 4/12/16 Wintery Romantics +1CD Scharwenka's 2nd Sonata, Romanzero with Seta Tanyel (1992) 4/12/16 Wintery Romantics +1CD Rimsky-Korsakov's Scheherazade with L. Maazel and the Berlin Philh. (1985) 4/12/16 Prokofiev #2 +2CDs Piano Sonatas Nos. 1-5 and 9 & 10; Piano Sonatinas (P. Donohoe) + Cello Sonata (Wallfisch) 4/12/16 Prokofiev #1 +1CD Symphony No. 2 with Valery Gergiev and the USSR TV & Radio Symphony (1988) 4/12/16 Prokofiev #1 +1CD Alexander Nevsky with Riccardo Chailly in Cleveland (1983) 4/12/16 Prokofiev #1 +1CDs set Alexander Nevsky & Ivan the Terrible with Mstislav Rostropovich and the LSO (1991) 4/12/16 Prokofiev #1 +1CD Violin Sonatas with Erik Schumann & Henri Sigfridsson (2007) 4/12/16 Prokofiev #1 +1CD Complete works for Cello and Piano with Raphael Wallfisch & John York (1999) 4/8/16 Cello Sonatas New links 4/4/16 Schumann +1CD set The Symphonies by Gustav Kuhn and the Haydn Orchestra (2010) (a rip by Corrado D.) 4/4/16 Hindemith +1CD Reger: 4 Solo Violin Sonatas by Ulrike-Anima Mathé (1995) 4/3/16 Hindemith +1CD Reger's Clarinet Quintet by Wenzel Fuchs & the Berlin Philharmonic String Quartet (1999) 4/3/16 Hindemith +1CD set Reger's Cello Sonatas by Alban Gerhardt and Markus Becker (2008) 4/3/16 Hindemith +1CD set Reger's Complete Works for Clarinet & Piano (Ib Hausmann & Nina Tichman, 1998) 4/3/16 Hindemith +1CD Reger: 2 Violin Sonatas by H. Schneeberger & J-J. Dünki (1991) 4/3/16 Hindemith +1CD Reger's Mozart Variations (+Schumann, Weber & Naumann) by Blomstedt in Dresden (1990) 4/3/16 Hindemith +1CD Reger: 3 Solo Violin Sonatas by Ulrike-Anima Mathé (1993) 4/3/16 American Classics +1CD Korngold's Symphonic Serenade + Griffes' Roman Sketches by S. Pittau and the LSO 4/3/16 Contrappunti Italiani +1CD Busoni pieces by G. Andaloro & M. Vacatello (+Franck, Handel, Liszt, Chopin) (2005) 4/3/16 Contrappunti Italiani +1CDset Malipiero's complete String Quartets by the Orpheus String Quartet (1991) 4/3/16 Contrappunti Italiani +1CD Busoni's Turandot Suite + Casella & Martucci's orchestrals works: Riccardo Muti (1992)4/3/16 Contrappunti Italiani +1CD Busoni's Piano Concerto by Garrick Ohlsson & Christoph von Dohnányi (1989) 4/3/16 Contrappunti Italiani +2CDs Busoni's 6 Sonatinas both by Roland Pöntinen (1999) and Michele Campanella (1981) 4/3/16 Contrappunti Italiani +1CD Busoni: Elegies and Sonata by Bruce Wolosoff (rare CD 1986) 3/30/16 Schumann +1CD Alicia de Larrocha for Piano Concerto (C. Davis) + Piano Quintet (Tokyo SQ) 3/30/16 Summer Nights #8 +1CD Brahms' 1st Symphony by Sawallisch in London (1991) (a rip by Corrado) 3/29/16 Summer Nights #1 +1CD Lieder by Korngold, Schreker, Weigl & Schoenberg by S. Kimbrough & D. Baldwin 3/29/16 Mahler Das Lied von der Erde +1CD K. Sanderling 1985 recording (with P. Schreier & B. Finnilä) (a rip by Juan F.) 3/28/16 Summer Nights #8 +1CD Brahms' Symphony No. 3 with Carlo Maria Giulini in Vienna 1991 3/28/16 Strauss #2 +1DVD Giuseppe Sinopoli and the Staatskapelle Dresden: Eine Alpensinfonie (+Wagner's Rienzi Ov.) 3/26/16 Mahler Das Lied von der Erde +1DVD Semyon Bychkov in Cologne (with Torsten Kerl & Waltraud Meier) 3/26/16 Wintery Romantics +2CDs Gorecki's 3rd Symphony (Zinman) and Khachaturian's Ballet Suites (Simonov) 3/26/16 Wintery Romantics +3CDs Lyapunov, Paderewski, Moszkowski's Piano C.tos; Moszkowski, Karlowicz's Violin C.tos 3/26/16 Wintery Romantics +2CDs Borodin's Symphonies by V. Gergiev (Rotterdam, 1990) and M. Ermler (Moscow, 2000) 3/26/16 Wintery Romantics +1CD Borodin's String Quartets Nos. 1 & 2 by the Borodin Quartet (1966) 3/25/16 Hindemith +2CDs Bernstein's and Eschenbach's recordings of Orchestral Works (with Midori for the Violin C.to) 3/25/16 Debussy #1 +1CD Montserrat Caballé for La damoiselle élue (and Chausson's Poème), Wyn Morris conducting. 3/25/16 Second Viennese School Ess.ls #3 +2CD Berg's Violin C.to (van Keulen) + Orchestral Works (M. Venzago, cond.) 3/25/16 Second Viennese School Ess.ls #3 +1CD Berg's Kammerkonzert conducted by Hindemith (1959) 3/24/16 A Weimar Rhapsody +1CD Krenek's Quartets Nos. 1 & 7 by the Petersen String Quartet (2003) 3/24/16 Strauss Operas #2 +2DVDs Abbado's (1989) and Böhm's (1981) Elektra in Vienna 3/24/16 In the Name of Music +4CDs Wolf's Lieder Bär & Fischer-Dieskau + Italienisches Liederbuch (Cotrubas/Allen & Oelze/Blochwitz) 3/24/16 In the Name of Music +1CD Pfitzner's Lieder selection with J. Kaufmann, C. Prégardien & A. Schmidt (1997) 3/24/16 In the Name of Music +2CDs Mendelssohn's Symphony No. 2 'Lobgesang' by Abbado (1985) and Chailly (2005) 3/24/16 Wagner Romantic Masterpieces +1DVD James Levine's celebrated Lohengrin at the Met 1986. 3/24/16 Strauss #4 +1CD Don Quixote in Pierre Fournier's classic Szell/1960 recording in Cleveland (a rip by Sasha) 3/18/16 Schubert #2 +1CD Symphony No. 3 by Ilan Volkov (+ Haydn's Symphony No. 46 & Mendelssohn's Melusine) 3/18/16 Schumann +1CD Brigitte Engerer's late studio recording (2003), including Mendelssohn, Chopin and Liszt. 3/18/16 Schumann +2CDs Concerto (+Grieg's) by Kovacevich & C. Davis (1971); Symphonic Etudes by Brendel (1990) 3/18/16 Schubert #3 +1CD New Rip and original scans of Winterreise by Hampson and Sawallisch (1997) 3/17/16 Poulenc +2CDs Sonatas by Pascal Rogé & Friends & Gloria by Andrew Davis (+ Stravinsky's Psalms Symphony) 3/17/16 Strauss #4 +1CD Pfitzner and Strauss Orchestral music from Operas, with Thielemann at the Berlin Deutschen Oper 3/16/16 Wintery Romantics +2CDs Grieg's Lyric Pieces (Andsnes, 2001) and 3 Violin Sonatas (Amoyal & Chiu, 1999) 3/16/16 The long Goodbye +1CD Beethoven's 9th Symphony in Karajan's classic London recording (1955) (a rip by Sasha) 3/15/16 Liszt +1CD Piano Sonata (+Scriabin's 2nd Sonata) by Ivo Pogorelich (1992) 3/15/16 Musique Française #1 +1CD Saint-Saëns' Symphony No. 3 with Peter Maag and Daniel Chorzempa (1986) 3/15/16 Mahler Lieder +1CD Des Knaben Wunderhorn by Charles Mackerras (with A. Murray and T. Allen) (1990) 3/15/16 Summer Nights #1 +1CD Korngold's Lieder by Steven Kimbrough and Dalton Baldwin (1984) 3/15/16 Mahler 9 +1CD Myung-Whun Chung and the Seoul Philharmonic Orchestra 3/14/16 Musique Française #1 +1CD Dutilleux's Correspondance and 'Tout un monde lontain...' with Salonen (2011) 3/14/16 Second Viennese School Ess.ls #3 +1CD Boulez's rec.of Schoenberg's Suite Op. 29 & Op. 4 in the Sextet version 3/13/16 Strauss #4 +1CD Lieder with Soile Isokoski and Marita Viitasalo (the studio recording on Ondine) 3/12/16 American Classics +1CD Vernon Duke's Violin Concerto and Sonata by Elmira Darvarova and Scott Dunn 3/12/16 Shostakovich #1 +1BONUS Symphony No. 4: Jukka-Pekka Saraste & the Orchestra Sinfonica della RAI (2004) 3/12/16 Strauss Operas #2 +1DVD Der Rosenkavalier: Franz Welser-Möst's production in Zürich (2004) 3/11/16 Summer Nights #10 +1CD Keith Emerson's Piano Concerto in Emerson's recording from 1977 (J. Mayer, LPO) 3/11/16 Bartok's Voices #5 +1CD Georg Solti's Hungarian Connections, works by Bartok, Weiner, Kodaly, Liszt (1993) 3/11/16 Strauss Great Operas #1 +1CD set Kurt Masur's Ariadne auf Naxos in Dresden (1988) 3/11/16 Strauss Great Operas #1 +1DVD James Levine's Ariadne auf Naxos in New York (1988) 3/11/16 Strauss Great Operas #1 +1CD set with James Levine's Ariadne auf Naxos in Vienna (1987) 3/11/16 Musique Française #2 +1CD Milhaud's orchestral music and Harp Concerto (F. Cambreling) with Kent Nagano 3/11/16 Musique Française #1 +1CD Dukas' complete piano music by Laurent Wagschal (2013) 3/10/16 Remembering Harnoncourt's early recordings: +1CD Music at the Court of Mannheim 3/10/16 Menotti's The Medium +1DVD the 1977 classic video recording with Maureen Forrester as Madame Flora 3/10/16 Gershwin +1DVD Simon Rattle's Porgy & Bess (Glyndebourne 1993) 3/10/16 Debussy #6 +1CD Transcriptions for 2 Pianos of Jeux + Stravinsky's Sacre & Bartok's Portraits by Bavouzet & Guy 3/10/16 Debussy #6 +1CD Violin Sonata (+ Pierné's and Fauré's 1st) by C. Giovaninetti & I. Aoyagi (2013) 3/10/16 Debussy #6 Violin Sonata (+ Brahms' 2nd & Schubert's 1st Sonatina) Simone Bernardini & Vanessa Benelli-Mosell 3/10/16 Debussy #3 +1CD Printemps, La boite à joujoux, Children's Corner with Dutoit in Montréal (1994) 3/10/16 Second Viennese School Ess.ls #8 +1DVD Berg's Wozzeck in 1987 Claudio Abbado's production in Vienna 3/10/16 Second Viennese School Ess.ls #8 +1DVD Berg's Lulu in 2002 Franz Welser-Möst's production in Zürich 3/10/16 Second Viennese School Ess.ls #8 +1DVD Berg's Lulu in 1996 Andrew Davis' production in Glyndebourne 3/9/16 Bartok #5 +1CD Concerto for Orchestra with the Purcell School Orchestra conducted by Lionel Friend (1997) 3/9/15 Malcolm Arnold Symphonies - new links added 3/9/16 Summer Nights #3 +1CD Wagner scenes with tenor William Lewis and conductor Gabor Ötvös 3/4/16 Weill +1CD set 'Street Scene' in John Mauceri's 1990 classic recording for Decca 3/4/16 Strauss Operas #1 +1DVD Levine's Elektra (1980, B. Nilsson, L. Rysanek, M. Dunn, D. McIntyre, R. Nagy) 3/4/16 Stravinsky #1 +1DVD Ozawa's Oedipus Rex (1993), directed by Julie Taymor (P. Langridge, J. Norman, B. Terfel) 3/2/16 Ein Bach... +1CD Catalan keyboardist Miquel Villalba's splendid recording of the Goldberg Variations 3/2/16 Ein Bach... +1CD Glenn Gould's must-have 1981 recording of the Goldberg Variations for CBS 3/2/16 Ein Bach... +1CD Angela Hewitt's rare early Canadian recording of Concertos BWV 1052-3-6 with M. Bernardi 3/2/16 Ein Bach... +7CDs Murray Perahia's Concertos, English Suites, Partitas and Goldberg Variations for Sony 3/2/16 Ein Bach... +1CD set: Anner Bylsma's classic recording of the Cello Suites (1991) 2/21/16 Spanish School #2 +1CD Ginastera's Estancia Suite & Harp Concerto (Barrera) under Josep Pons (2003) 2/21/16 Wintery Romantics +1CD Magdalena Kozena's recording of Martinu, Dvorak & Janacek's Love Songs (2000) 2/21/16 Wintery Romantics +1CD Clifford Curzon and Vienna Philh. Quartet for Dvorak and Franck's Piano Quintets 2/11/16 Contrappunti Italiani +1 Bonus File: Vanessa Benelli Mosell for Busoni's Chopin Variatons (2006) 2/6/16 Musique Française #3 +1CD Fischer-Dieskau's historic 1975 recording of Ravel, Poulenc and Fauré's songs 2/6/16 Wintery Romantics +1DDL Sibelius and Goldmark, Violin Concertos by Bell and Salonen (2000) 2/6/16 Wintery Romantics +1DDL Sibelius, Symphony No. 2 by Salonen and the LA Philh. (2007) 2/5/16 Shostakovich #1 +1CD Jansons's recrding of Symphonies Nos. 2 & 12 in Munich (2005) 2/5/16 Shostakovich #1 +2CDs New rips for Jansons's Symphonies Nos. 3 + 14 & 13 on EMI 2/4/16 Ein Bach... +1CD set Goldberg-Variationen in Tessa Uys's rare recording for Claremont (2000) 2/4/16 Intense Bruckner +1DVD Audio Rip: Sinopoli's 4th Symphony in Tokyo with the Philharmonia Orchestra (1988) 2/4/16 Musique Française #2 +1CD Franck & Debussy by Kenneth Weir (+ Rachmaninov's Chopin Variations) (2001) 2/4/16 Debussy #3 +1CD Images and Nocturnes with Dutoit in Montréal (1988) 2/4/16 Debussy #4 +1CD Etudes & Estampes by Véronique Pélisséro (1991) 2/4/16 American Classics +1CD Leroy Anderson's Favourite Orchestral Pieces conducted by Leonard Slatkin (1993) 1/28/16 Recorder music #1 New rips and links 1/27/16 Musique Française #1 +1LP Franck's Piano Quintet and Prélude, Choral et Fugue by J-P. Collard and Muir SQ 1/27/16 Debussy #6 +1LP String Quartet (+ Ravel's), by the Alban Berg Quartett on EMI (1984) 1/27/16 Summer Nights #4 +1LP Roger Woodward's recording of Beethoven's Op. 111 & Op. 57 for RCA (1973) 1/24/16 Opera Favourites #2 +1CD set Levine's Manon Lescaut (Decca, 1993) 1/21/16 Opera Favourites #1 +1CD set Karajan's 1982 recording of Carmen for DGG 1/18/16 Ein Bach... +1CD set Johannes-Passion in Harnoncourt's classic recording for Teldec (1993) 1/17/16 Ein Bach... +1CD set The Cello Suites in Rostropovich's classic 1991 EMI recording 1/16/16 Debussy #2 +1DDL Songs (including Chansons de Bilitis) + Ravel and Chausson by DeGaetani & Kalish (1979) 1/15/16 Musique Française #3 +1CD Ravel's Gaspard de la nuit (+ Elliott Carter's piano works) by Pierre-Laurent Aimard 1/14/16 Shostakovich #2 +1CD set Preludes and Fugues Op. 87 (+Bach from WTC Book 1) selections: Mustonen 1/14/16 Bartok's Voices #5 Additional links for 5CD-box Dorati conducts Bartok (Mercury Living Presence) 1/13/16 Summer Nights #10 +1CD Elgar & Walton's Violin Sonatas by Daniel Hope & Simon Mulligan (2000) 1/12/16 Summer Nights #2 +1CD Reger's Mozart Variations (Salonen) & Romantic Suite (Zagrosek) in Baden-Baden 1/11/16 Summer Nights #5 +5CDs Vivaldi by Onofri & Antonini, Harnoncourt, Hogwood, Petri, Kermes & Marcon 1/8/16 Debussy #5 +1CD Alice Ader's recording of Préludes 1 & Jeux (2002) (previously posted in Feb. 2012) 1/7/16 Opera Favourites #2 +1CD set Puccini's Turandot in Molinari-Pradelli's 1965 recording in Rome 1/7/16 Opera Favourites #2 +1CD set Puccini's Fanciulla del West in Lorin Maazel's 1991 recording in Milan 1/6/16 Debussy #5 +1CD Préludes by Pascal Rogé (2004 recording) 1/5/16 Debussy #4 +1CD set The Piano Music in Daniel Ericourt's rare recording (1962) (a rip by DanseDePuck) 1/5/16 Debussy #5 +1CD set Préludes, Images and Estampes by Claudio Arrau (1981) (a rip by OdeonMusico) 1/5/16 Opera Favourites #2 +2CD sets Puccini: Maazel's Manon Lescaut (1992) & Chailly's La Bohème (1992) 1/5/16 Wintery Romantics +1CD Maazel's Mussorgsky: Pictures and Night in Cleveland for Telarc (1978) 1/3/16 Summer Nights #4 +1CD Beethoven's 9th Symphony by Donald Runnicles in Atlanta (2003) 1/2/16 Strauss Oktoberfest #3 +1CD Vier letzte and Lieder Selection with Soile Isokoski & Marek Janowski (2002) 1/2/16 Strauss Great Operas #2 +1CD set Der Rosenkavalier by Andrew Davis (1995) 12/31/15 Orlando di Lasso: +1CD Moduli Quinis Vocibus, Herreweghe, with extra links (bzzz) 12/29/15 Opera Favourites #2 +1CD Puccini's Suor Angelica by Bartoletti in Rome (1973) (a rip by Juan) 12/23/15 Hindemith +1CD performs his Piano Duet Sonata, 3rd Violin Sonata, Der Schwanendreher (a rip by bzzz) 12/22/15 Debussy #5 +1CD the Préludes by Philippe Bianconi (2012) 12/22/15 Summer Nights #10 +1CD Elgar's Cello Concerto & Enigma Vars. by J. Lloyd Webber & Menuhin (1985) 12/22/15 Ein Bach... +1CD Cantatas BWV 140 & 147 with John E. Gardiner (1990) 12/16/15 Summer Nights #10 +1CD Walton's 2nd Sym., Hindemith Variations and Partita (G. Szell 1959) (a rip by Sasha) 12/16/15 Summer Nights #10 +1CD Carols from Trinity College, Cambridge, conducted by Richard Marlow (1988) 12/16/15 English Baroque Music: New links 12/14/15 Mahler 2 +1CD V. Neumann's recording for Supraphon Fidelio in 1980 12/14/15 Liszt +1CD Gyula Kiss' recording of the 2 Piano Concertos and Totentanz (1976) 12/13/15 O Tuneful Voice (Bronze Series) Added new link with tracks Nos.20-22 repaired using CueTools. 12/13/15 American Classics +1CD Rozsa, Gould and Menotti Orchestral Music by David Amos and the LSO (1990) 12/13/15 Rachmaninov #2 +1CD 2nd Concerto by Cécile Ousset & Simon Rattle (+Grieg's Concerto with Marriner) 12/9/15 Debussy #5 +4CDs Préludes Book 1 (or both) by S.D. Lasry, M. Pollini, O. Maisenberg, Y. Egorov. 12/9/15 Debussy #5 +2CDs Selected Works by M. Lympany and R. O'Hora 12/9/15 Musique Française #1 +1HQ DDL Frank Martin's Mass for Double Choir with Robert Shaw (1994) 12/8/15 Spanish School #2 +1HQ DDL Villa-Lobos' Etudes and Preludes for Guitar with Alvaro Pierri 12/8/15 Spanish School #2 +1HQ DDL S. Isbin with the NYP and J. Serebrier for Rodrigo, Villa-Lobos and Ponce 12/8/15 Spanish School #2 +1CD Falla's Popular Songs by Ann Murray + Ginastera's Estancia (Harth-Bedoya cond.) 12/7/15 Summer Nights #10 +4CDs Holst's The Planets by Yoel Levi, Zubin Mehta, Eugene Ormandy, André Previn. 12/7/15 Debussy #6 +1LP String Quartet (+ Ravel's) by the Quatuor Parrenin on EMI (1970) 12/7/15 Summer Nights #5 +2CDs Handel's Organ Concertos (A. Frigé) and Selected Secular Cantatas (J. Baird) 12/7/15 Composer Alexandre Guilmant: new links 12/5/15 Debussy #4 +1CD box The Piano Music (including a MUST-HAVE recording of the Etudes) by Albert Ferber 12/5/15 Debussy #4 +4CDs The Etudes recordings by Jean-Pierre Armengaud, Monique Haas, Roland Krüger, Ju-Ying Song 12/5/15 Strauss Great Operas #2 +1CD box Edo de Waart's 1976 Der Rosenkavalier in Rotterdam 12/4/15 Summer Nights #10 +3CDs Grainger by Gardiner, Howell's Hymnus paradisi, Elgar by du Pré & Barenboim 12/4/15 Summer Nights #4 +6CDs Beethoven by Rostropovich/Richter, Serkin/Ozawa, Buchbinder, Gieseking, Maazel 12/3/15 Second Viennese School Ess.ls #4 +1LP Schoenberg's Erwartung by Susan Davenny-Wyner (+ Wolpe's Symphony) 12/2/15 Wintery Romantics +1CD Alexander Ardakov's recording of selected Piano works by Glinka, Scriabin, Chopin 12/1/15 Opera Favourites #1 +2CDs Humperdinck's Hansel & Gretel recorded by Donald Runnicles in Munich (1994) 12/1/15 Musique Française #3 +1CD Ravel's Gaspard and Tombeau in Charles Rosen 1959 recording for Epic 12/1/15 Darmstadt #3 +1CD Charles Rosen recording of Boulez 1st Sonata and excerpts from 3rd Sonata (1972) 11/27/15 Summer Nights #9 +1CD Brahms' Deutsches Requiem/Levine (a rip by Juan) + Selected Lieder from original LP 11/24/15 Musique Française #2 +1LP Ravel' for 2 Pianos and Piano Duet with Maria Tipo & Alessandro Specchi (1979) 11/24/15 Prokofiev #2 +1LP Tedd Joselson's rare recording of Sonatas Nos. 2 & 8 (RCA, 1976) 11/23/15 The Odd Couple +3CDs Mozart's Violin Concertos (Kavakos & Camerata S.) + "Gran Partita" by I Fiati di Parma 11/23/15 The Odd Couple +2CDs Mozart's K. 467& 595 (R. Serkin/Abbado) + 488 & 537 (F. Gulda/Harnoncourt) 11/20/15 Summer Nights #6 +1CD Rameau's Grands motets in Hervé Niquet's 1992 recording 11/18/15 Schoenberg Piano Music +1LP the rare 1970 J. von Vintschger recording for Turnabout Vox 11/18/15 Debussy #5 +1CD Debussy, Ravel, Stravinsky for Piano Duet with Moneta & Rota Piano Duo (1990) 11/18/15 Debussy #5 +1CD Debussy & Ravel's Music for 2 Pianos and Piano Duet by Collard & Béroff (1982) 11/18/15 Debussy #6 +2CDs Debussy & Ravel's chamber works and Songs with chamber ensemble by the Nash Ens. 11/18/15 Debussy #3 +8CDs Orchestral works with Boulez, Lombard, Salonen, Volkov, Krivine, Rattle, F. de Burgos 11/17/15 Summer Nights #5 +1CD Couperin's Livre de Clavecin (6th, 8th, 18th Ordres) by Angela Hewitt (2002) 11/17/15 Ein Bach... +3CDs Tureck in St. Petersburg + Anderszewski Partitas 1,3,6 + Baroque music for Oboe and Organ 11/15/15 Summer Nights #7 +2CDs Brahms' Piano Concertos by M. Tirimo and the LPO (K. Sanderling & Y. Levi) 11/15/15 Strauss Oktoberfest #2 +1CD Zarathustra (Skrowaczewski) + Symphonia Domestica (Seaman) (NYO of GB) 11/12/15 Summer Nights #8 +1CD Brahms's Serenades in Haitink's classic Philips recording (1981) 11/12/15 Stravinsky #2 +1CD Gatti's 2011 recording with the ONF: Sacre and Petrushka 11/12/15 Stravinsky #2 +1CD Chamber Orchestra Works by the Endymion Ensemble under J. Whitfield (1987). Rare. 11/12/15 Stravinsky #2 +1CD Boulez's 1975 classic Firebird recording with the New York Philharmonic 11/12/15 Stravinsky #2 +2CD Sacre, Firebird, Petrushka & Pulcinella by Yakov Kreizberg and the Monte-Carlo Philh. 11/12/15 Stravinsky #2 +1CD Rattle and the National Youth Orchestra of GB (Sacre) + Dorati and the RPO (Firebird) 11/11/15 Prokofiev #2 +1CD Peter & the Wolf by M. Harth-Bedoya in Fort Worth + Saint-Saens' Carnaval des animaux 11/10/15 Locatelli - Complete Flute Sonatas: New links 11/10/15 Wintery Romantics +1CD Dvorak's Cello Concerto & Tchaikovsky's Rococo with Rostropovich & Karajan 11/10/15 Mahler Lieder +1CD Y. Minton and P. Boulez for Rückert Lieder + Wagner's Wesendonck (1979) 11/10/15 Hindemith +1CD Quartet with Clarinet and Piano with E.Brunner etc. (1999) (a rip by bzzz) 11/10/15 Summer Nights #7 +2LPs Brahms' Ballades Op. 10 by E. Gilels and by W. Kempff 11/9/15 Schumann +1LP Mehta's recording of the 3rd Symphony with the Vienna Philharmonic (Decca 1983) 11/9/15 Summer Nights #8 +1LP Mehta's Brahms's 1st Symphony with the Vienna Philharmonic (a transfer by Enrico B) 11/9/15 Rachmaninov #2 +1CD Leon McCawley's recording of the 3rd Concerto with Charles Groves conducting (1990) 11/9/15 Intense Bruckner +1CD Muti's 4th with the Berlin Philharmonic (1985) 11/9/15 Second Viennese School Ess.ls #1 +1 Bonus: Schoenberg's Phantasy Op. 47 by Irvine Arditti & Noriko Kawai 11/8/15 Poulenc +1LP & 1CD L'Histoire de Babar, with R. Gérôme & J. Février and with J. Moreau & J-M. Luisada 11/8/15 Second Viennese School Ess.ls #3 + 1LP Schoenberg's Chamber Works by de Leeuw (1986) 11/7/15 Second Viennese School Ess.ls #3 +1Double LP: Schoenberg's Complete Chamber Choir Works by de Leeuw 11/6/15 Second Viennese School Ess.ls #6 +1CD Dorow & de Leeuw: Webern's complete Soprano and Chamber Orchestra 11/6/15 Second Viennese School Ess.ls #6 +1LP Dorow & de Leeuw for Webern, Dallapiccola, Schoenberg & Stravinsky 11/4/15 Sgorby Rips #1 +1CD Sammartini's Quintetti e Quartetti by Ensemble Aglàia (2007) (a rip by Davide) 10/29/15 Dutch Organists #Part2: New links 10/27/15 Essential American Classics +1LP Wolpe, Lieberson, Stravinsky: piano works Peter Serkin (1985) 10/27/15 Second Viennese School Ess.ls #3 +1LP Serenade Op. 24, Boulez's classic recording of 1963 for Wergo. 10/27/15 Schoenberg Piano Music +1CD Paul Jacobs' legendary Nonesuch recording (1975) (a rip by BZ) 10/27/15 Mendelssohn Chamber Music: New links 10/25/15 Mendelssohn New links 10/24/15 Hindemith +1CD 4 Violin Sonatas with Oleg Kagan & Sviatoslav Richter (1978) (a rip by bzzz) 10/23/15 Glories of the Italian Piano School +1CD Domenico Nordio & Giorgia Tomassi (Beethoven & Pärt) 10/23/15 Glories of the Italian Piano School +1CD Geza Hosszu-Legocki & Giorgia Tomassi (Franck & Beethoven) 10/23/15 Glories of the Italian Piano School +1CD Giorgia Tomassi's unreleased recording of Chopin's Préludes (1997) 10/23/15 Rachmaninov #2 +1CD Glemser's recording of 2nd and 3rd Concertos under Wit (1996) (a rip by Lupo2004) 10/22/15 Summer Nights #7 +1CD Brahms's Violin Sonatas by Cristopher White and Melanie Reinhard (1999) 10/21/15 Rare Grooves #1 +3LPs Böhm's Eroica; Argerich's Bach and Muti's Verdi (4 Pezzi Sacri) 10/21/15 Dutch Organists #1 New links 10/20/15 Rare Grooves #2 +1LP Debussy Images, Faune and La mer by Paul Paray and the Detroit SO (1957) 10/19/15 Glories of the Italian Piano School +1CD Ciani & Gavazzeni for Mozart's K. 466 & K. 491 (1970/1973) 10/19/15 Rachmaninov #2 +1CD Noriko Ogawa's recording of 2nd and 3rd Concertos in Malmö under Hughes (1997) 10/16/15 Darmstadt #5 +3LPs Xenakis's Choral and Orchestral works with Constant and Tabachnik (a rip by Sotise) 10/16/15 Darmstadt #5 +1LP Rare album with Levinas's Orchestral Works ripped by friend Sotise (Adès MFA 1985) 10/15/15 American Classics +1CD Bernstein's Dybbuk (Complete Ballet), first recording (1974) 10/15/15 Wintery Romantics +1CD: Rimsky-Korsakov's Scheherazade by John Mauceri and the LSO (1987) 10/1/15 Glories of the Italian Piano School +1DDL: Tomassi with Accardo for Beethoven's 'Kreutzer' & 'Spring' (2004) 10/1/15 Glories of the Italian Piano School + 1 Bonus: Dino Ciani plays Brahms's 1st Piano Concerto (Turin, 1969) 10/1/15 Messiaen +1LP: Paul Jacobs' rare recording of the Quatre études de rythme + Busoni, Stravinsky, Bartók (1976) 9/29/15 Strauss Great Operas #2 +2CD sets: Der Rosenkavalier. Karajan's (1956) and Bernstein's (1971) recordings 9/29/15 Strauss Great Operas #2 +1CD set: Die ägyptische Helena conducted by Gérard Korsten in Cagliari (2001) 9/27/15 Rare Grooves #2 +1LP Rimsky-Korsakov's Russian Easter etc. with Ernest Ansermet (1958) (a rip by Enrico B) 9/26/15 Mahler 3 +1CD set: V. Neumann's great Prague early digital recording for Supraphon (1981) 9/26/15 Mahler Lieder +1CD Christianne Stotijn's Rückert and Selected Lieder + Brahms Alto Rhapsody (2006) 9/25/15 Second Viennese School Ess'ls #2 +1CD Berg's Kammerkonzert by the Baton Rouge Chamber Players 9/25/15 Messiaen +1CD Cinq rechant by the BBC Singers/S. Cleobury (+ Choral works by Villette, Poulenc, Caplet) 9/25/15 In the Name of Music +1CD Mendelssohn's 2nd Symphony ('Lobgesang') by Richard Hickox (2002) 9/24/15 Mahler Das Lied von der Erde +1CD, Donald Runnicles (2008) 9/24/15 Strauss Oktoberfest #2 +2CDs The Piano Music by Stefan Vladar & The Piano Trios by Odeon Trio 9/24/15 Strauss Oktoberfest #3 +2CDs Alpensinfonie: Masur & ONF (2007) and M. Jansons & BBC Welsh (1991) 9/22/15 Schoenberg Piano Music +2CDs Roland Pöntinen's & Madalena Soveral's fabulous complete recordings 9/22/15 Schoenberg Piano Music +1CD, Claude Helffer's classic recording for HM (1969) (a rip by John F) 9/22/15 Schoenberg Operas +1CD set, Georg Solti's reference recording of Moses und Aron in Chicago 1985 for Decca 9/21/15 Messiaen +1CD, Cinq Rechants + Stockhausen's Choruses for Doris and Xenakis choral works (Chandos, 1998)9/21/15 Messiaen +1DDL, Fête Des Belles Eaux by the Sextet of Ondes Martenot of Montréal (ATMA 2008) 9/18/15 Summer Nights #1 +1 Bonus: Martinu, Krasa and Schulhoff conducted by Christopher Hogwood (Milan, 2003) 9/18/15 Hindemith +1Bonus: Hindemith in Italy, conducting his music plus Brahms's, Webern's and Blacher's at RAI 9/18/15 Hindemith +1CD Violist A. Tamestit & P. Järvi beautiful CD (also including pianist M. Hadulla) (2012) 9/18/15 Summer Nights #10 +1CD set, Lloyd Webber's rock opera masterpiece Jesus Christ Superstar (London cast 1996) 9/18/15 Weill +1CD Dessau's Symphony No. 2, In memoriam Brecht, Les voix etc. by Roger Epple on Capriccio (2009) 9/18/15 Rare Grooves +1LP Liszt & Wagner Preludes with Mehta & the WP (1967) (a stunning LP transfer by Enrico B) 9/17/15 Prokofiev #2 +1CD Boris Giltburg's recording of the War Sonatas (6th, 7th and 8th) (2012) 9/16/15 Poulenc +1CD Chamber Music with Woodwinds and Piano Duet Sonata by the Ensemble Petra (1999) 9/16/15 Darmstadt #2 +1CD Carter's Sonata (+ Bartók's and Dutilleux's) by Claire-Marie Le Guay on Accord (2000) 9/15/15 Darmstadt #2 +2CDs Including a new rip of Maderna's Oboe Concertos by Holliger & Bertini (1993) 9/14/15 Darmstadt #2 +2 Bonus: Donatoni's Le ruisseau (Brunello); Maderna Grande Aulodia + Nono's A Carlo Scarpa 9/14/15 American Classics +2CDs Herrmann & Diamond Chamber M. + Donald Fagen's milestone album The Nightfly 9/14/15 Schumann +1CD: Fischer-Dieskau's reference recording of Dichterliebe, Myrten and Liederk. Op. 39 (1979) 9/14/15 American Classics +1CD: Ives's "Concord" Sonata by Aimard and Songs by Graham on Warner (2004) 9/14/15 Darmstadt #2 +1CD Maderna's 3 Oboe Concertos by Fabian Menzel and Michael Stern on Col Legno (1996) 9/13/15 Darmstadt #4 +1CD Carter's one act opera "What Next?" in Péter Eötvös's première recording for ECM 9/11/15 Debussy #1 +1CD Thierry Fischer's recording of Le martyre de Saint Sébastien (BBC MM, 2011) 9/11/15 Debussy #5 +2CDs Benedetti Michelangeli's historic recordings of the Préludes for DG (1978 & 1988) 9/11/15 Debussy #4 +1CD Charles Rosen's reference (and first ever) recording of the Etudes (1955) 9/11/15 Summer Nights #12 +1LP Grumiaux and Haitink for Bruch 1st Violin Concerto (a transfer by Enrico B) 8/4/15 Schubert on Modern Instruments: new links for Oktett in D, by Cherubini Quartett 8/4/15 Schubert on Modern Instruments: new links for Richard Goode 8/3/15 Rare Grooves#1 +6 LPs mostly Enrico B's outstanding transfers of great out-of-print material 8/2/15 Intense Bruckner +9CDs with classic recordings by Solti, Chailly, Abbado, Wand, Karajan, Harnoncourt 7/25/15 Buxtehude & Pachelbel Organ Works - New links 7/18/15 Darmstadt #3 +1CD Pollini's classic DGG recording of Boulez's 2nd Piano Sonata (1978) 7/17/15 American Classics +1CD (NEW RIP) Lieberson's Neruda Songs with Hunt Lieberson & Levine (BSO) 7/16/15 Tristan und Isolde +1CD box, Georg Solti's classic recording (1960) (a rip by Cecco) 7/16/15 Selig im Glauben (Parsifal) +1CD box, Georg Solti's classic recording (1972) (a rip by Cecco) 7/15/15 Strauss Operas #1 +1CD box, Leinsdorf recording with Caballé, Milnes and the LSO (1968) (a rip by Cecco) 7/14/15 Die Meistersinger +2CD box, Solti 1975 Vienna (a rip by Cecco) and Kempe 1957 Berlin (a rip by A. Zaccaria) 7/13/15 Tristan und Isolde +1CD box, Fritz Reiner's historical London recording (1936) (a rip by Andrea Zaccaria) 7/2/15 Second Viennese School Ess'ls #2 +2DT Berg's Violin Concerto by Carmignola/Inbal & Kavakos/Harding 7/2/15 Second Viennese School Ess'ls #2 +1CD Berg's Violin Concerto's & Kammerkonzert, I. Stern (Bernstein/Abbado) 6/30/15 Darmstadt #3 +1CD Boulez's Piano Sonatas and 12 Notations by Pi-Hsien Chen (2004) 6/30/15 Summer Nights #7 +1DT: J. du Pré with R. Goode and T. Schippers, Brahms & Mendelssohn (live in Spoleto) 6/30/15 Bartok #4 +1CD Violin Concertos by Midori & Mehta (1990) previously only on LP rip (courtesy of Cecco) 6/30/15 Bartok #5 +1CD Concerto for Orchestra & 4 Pieces by Leon Botstein and the London Philharmonic (2000) 6/29/15 Summer Nights #9 +2CDs (incomplete) Franck Symphonie with the Berlin Philh. (Mehta 1995 & Giulini 1986) 6/16/15 German Baroque New link: Fischer Musica Sacra 6/6/15 Bruckner +1CD Ozawa's 7th with the Saito Kinen Orchestra (2004) (Courtesy of Cecco) 5/27/15 Summer Nights #8 +2CD Mehta and the IPO, Brahms' 1st Symphony and Mozart Sinfonia Concertante K.364 5/27/15 Musique Française #2 +1CD Milhaud Piano Concertos + Carnaval d'Aix by C. Helffer and D. Robertson (1992) 5/27/15 Rachmaninov #2 +1CD 3rd Concerto by Jorge Luis Prats and Enrique Bátiz (1989) 5/27/15 Summer Nights #10 +1CD Howell's Music for String & Orchestra, by Richard Hickox (1992) 5/27/15 Wintery Romantics +1LP Tchaikovsky's 2nd Piano Concerto by Magaloff and C. Davis (a rip by Enrico B.) 5/22/15 Second Viennese School Ess'ls #9 +1CD Chamber Concerto by J-F. Heisser (a rip by Ranapipiens) 5/19/15 Hindemith +1CD Trumpet Sonata by Ole E. Antonsen & Wolfgang Sawallisch (EMI, 1996) 5/19/15 Prokofiev #1 +1CD "Romeo & Juliet" excerpts with Kurt Masur and the Gewandhaus Orchestra (1987) 5/19/15 Summer Nights #5 +1CD Wagner Opera Scenes with W. Meier and L. Maazel (1997) 5/19/15 Strauss #1 +1CD Horn Concertos with B. Tuckwell & V.Ashkenazy and the RPO on Decca (1990) 5/19/15 Wintery Romantics +1CD Tchaikovsky, Dukas, Enescu, Mussorgsky showpieces, E. Mata & the Dallas SO (1988) 5/14/15 Schumann +1CD Piano Concerto by R. Serkin/Ormandy 1965, and same from an outstanding LP rip by Enrico B. 5/14/15 Strauss #3 +1CD Zarathustra and Don Juan with Alan Gilbert and the NYP 5/14/15 Musique Française #1 +2CDs completing Eschenbach's Roussel Symphony cycle in Paris on Ondine 5/5/15 Strauss #2 +2CDs A Cappella Choral Works (Danish Radio Choir 1993) & Alpensinfonie by Michalakis (2000) 5/5/15 Contrappunti italiani +1CD Busoni's Piano Concerto with Peter Donohoe & Mark Elder (1988 on EMI) 5/5/15 Second Viennese School Ess'ls #1 +1CD Verklärte Nacht + Metamorphosen & Siegfried-Idyll by Levine (1991) 5/5/15 Debussy #5 +1CD Images I, II & Oubliées + Estampes & Berceuse Heroique by Fou Ts'Ong (1990) 5/5/15 Schumann +1CD String Quartets Op. 41 with the Eroica Quartet (2001) (a rip by Der Wanderer) 5/4/15 Webern +1LP Chamber Music with P.Serkin and the Tashi Ensemble (1983), + Takemitsu's Piano Works 5/4/15 Rare Grooves #2 +1LP: Vivaldi Concertos with Ayo and I Musici (1968) (a rip by Enrico B.) 5/4/15 Prokofiev +1LP Violin Concerto No. 2 (+ Sibelius'): Szeryng & Rozhdestvensky 1965 (a rip by Enrico B.) 5/4/15 Bruckner +1DVD: Sinopoli's 4th with the Philharmonia Orchestra in Tokyo 1988 (NHK Classical DVD) 4/29/15 Telemann +1CD Collegium Musicum '90 - Hickox - Donner Ode 4/17/15 Haydn - Complete Baryton Trios - Esterhazy Ensemble Added working link for dsic 16 and cover image for disc 13 4/17/15 Summer Nights #10 +3CDs Elgar Symphonies (C. Davis 2001), 3rd (P. Daniel) & Serenade (Orpheus CO) 4/16/15 Baroque Music in the Netherlands: New links (Koopman, Huggett, Hazelzet, Mathot, vdMeer) 4/16/15 Summer Nights #4 +1CD Mozart's Divertimenti and Serenata notturna with I Musici (a rip by Enrico B.) 4/16/15 Willem de Fesch: New links 4/15/15 Stravinsky #2: +1LP Symphony in C, Symphonies for Wind, 4 Etudes, Suites (Ansermet. A rip by Enrico B.) 4/15/15 Schubert New links Paul Badura-Skoda, playing Sonata D960 & Klavierstücke 4/15/15 Summer Nights #10 +2CDs Walton's Belshazzar's Feast (Terfel & Litton) and the Symphonies (Ashkenazy) 4/15/15 Summer Nights #10 +1CD Holst's The Planets (Y. P. Tortelier in Manchester) 4/13/15 Sibelius +1CD The NZSO & Inkinen: Scènes historiques and King Christian Suite 4/11/15 Entartete Lieder +1CD Dagmar Krause - Supply & Demand 4/11/15 Schubert: +1CD Quintet in C, by the Arcanto Quartett 4/9/15 Liszt +1CD Symphonic Poems (including Les Préludes) with Zubin Mehta and the Berlin Philh. (1994) 4/9/15 American Classics: 1CD Gershwin Porgy & Bess highlights, American in Paris, Cuban Ov. by Mehta & the NYP 4/9/15 Summer Nights #2: +1CD: Rezniček and Korngold's 1st String Quartets by the F. Schubert Quartett of Vienna 4/9/15 Schubert Essentials #1: +2CDs Works for Piano Duet by Anne Queffélec & Imogen Cooper (Erato, 1978) 4/9/15 Debussy #4: +4CDs The Complete Piano Music by Paul Crossley with one of the finest accounts of the Etudes 4/8/15 Musique Française #1: +1LP Frank Martin's Der Cornet (Rilke), Lipovšek & Zagrosek (1984) 4/8/15 Rare Grooves +1LP Grofé's Grand Canyon and Alfvén's Swedish Rhapsody by Ormandy in Philly (CBS, 1958) 4/8/15 Rare Grooves #2 +1LP Vivaldi, Capuzzi & Paisiello: Concertos with I Musici (Philips 1964. A rip by Enrico B.) 4/7/15 Rare Grooves #2 +1LP: Goldmark's Rustic Wedding Symphony by Jesús López-Cobos (1981) 4/7/15 Rare Grooves #2 +2 LPs: Mendelssohn 3rd (A. Davis), Schoenberg's Verklärte Nacht & Suite in G (Scimone) 4/7/15 Summer Nights #3: +1CD Mendelssohn's 3rd ("Scottish") Symphony + Beethoven's 1st by Osmo Vänskä 4/7/15 Summer Nights #4: +1CD Mozart's 'Jeunhomme' Piano Concerto with McCawley and Leaper (1996) 4/7/15 Wintery Romantics: +1CD Silvestrov's 5th Symphony and Postludium with Lubimov and Roberston (Sony, 1995) 4/7/15 Summer Nights #1: +1CD Glière's 'Ilya Muromets' Symphony by Edward Downes in Manchester (1991) 4/7/15 Summer Nights #1: +1CD Borodin's 3 Symphonies by José Serebrier in Rome (1989) 4/7/15 Second Viennese School Essentials #7: +2CDs Schoenberg's Moses und Aron by Sylvain Cambreling (2012) 4/7/15 Wintery Romantics: +1CD Tchaikovsky Suites (Nutcracker & Swan Lake), Mehta & the Israel Philh. (Decca, 1979) 4/7/15 Summer Nights #7: +1CD Brahms Hungarian Dances, 5 Studies and 2 Rhapsodies by Louis D. Alvanis (1994) 4/7/15 Ein Bach...: +1LP: Daniel Varsano's recording of the Goldberg Variations (CBS, 1980) 4/7/15 Debussy #2 +1LP: Mélodies (including Baudelaire & Mallarmé sets) by Hugues Cuenod (1979) 4/7/15 Musique Française #2 +2CDs Wagschal for Fauré's Nocturnes (2009) + Satie by Ciccolini (and Tacchino) (1986) 4/7/15 Easter Passion Music: New links 3/22/15 German Baroque chamber Music New links in the comments 3/21/15 London Baroque - Trio Sonatas: new links in the comments 3/21/15 Vivaldi - Musica ad Rhenum : new link in the comments 3/19/15 Shostakovich #1 +1CD Bernstein's 5th (NYP, Tokyo 1979) & Cello Concerto with Ma & Ormandy in Philly 1982 3/19/15 Mahler 1 +1CD Solti's recording with the LSO (Decca, 1964), a new rip by Sgorby 3/19/15 Darmstadt #3: +1CD rip by Sgorby of already posted Ligeti by Cerha (Wergo) 1971 (previously on LP rip) 3/16/15 Debussy #4 The Complete Solo Piano Music by Aldo Ciccolini on EMI (1991) (a rip by Sgorby) 3/16/15 Strauss #3 +2CDs 4 last Songs Schwarzkopf & Szell (1966) and Harper & Del Mar (1981) 3/15/15 Strauss #3 +1CD Ein Heldenleben by Haitink and the CSO (2009) 3/15/15 Stravinsky #2 +1CD The Firebird (complete) & Chant du rossignol by Kitajenko and the Danish Radio SO 1991 3/14/15 Summer Nights #1 +1CD Respighi's Belfagor, Belkis and Church Windows (Ashkenazy, Netherlands Radio Philh.) 3/14/15 Shostakovich #1 +1CD Hypothetically Murdered Suite + Pushkin Romances (Kharitonov & Elder) 1992 3/14/15 Shostakovich #2 +1CD 1st Violin Concerto (+ Glazunov Violin C.to) with Perlman & Mehta on EMI 1988 3/12/15 Prokofiev #1 +1CD Li & Ozawa's for the 2nd Piano Concerto (+ Ravel's G Major Concerto) (DGG, 2007) 3/12/15 Mahler 8 +2CDs Leif Segerstam's recording in Copenhagen for Chandos (1994) + 10th Adagio 3/12/15 Summer Nights #8 +1CD Andrew Davis recording of Brahms's 4th + the Zigeunerlieder (BBC 1996) 3/12/15 Musique Française #1 +3CDs: Boulanger's Faust et Hélène; Franck by Firkušný & Flor; Debussy & Takemitsu 3/12/15 Debussy #4 +1CD Livia Rev's recording of the Etudes (+ Suite Bergamasque, D'un cahier, Berceuse) (Saga 1980) 3/5/15 Mahler 5 +2CDs Frank Shipway and the RPO (1996) (Symphony + No. 1 by Yuri Simonov) 3/5/15 Spanish School #3 +2CDs Ginastera by Santiago Rodriguez (1984) & Mompou by Ester Pineda (1992) 3/4/15 Bartok #4 +1LP 2nd Piano Concerto and 4 Pieces for Orchestra, Weissenberg and Ormandy (1970) 3/3/15 Musique Française #2 +1CD Debussy for Piano Duet & 2 Pianos by Pascal & Ami Rogé (2011) 3/3/15 Gershwin +1CD Rhapsody in Blue (Daniel Adni in Bournemouth), Addinsell's Warsaw C.to & Rózsa's Spellbound 3/3/15 Wintery Romantics +1CD Nielsen's 2nd Symphony (A. Davis) and Sibelius's 5th (Bamert) with the BBC SO 3/3/15 Prokofiev #1 +1CD Salonen and the Berlin Philharmonic: Romeo & Juliet (Excerpts) (CBS 1986) 3/1/15 Spanish School #3 +2CDs Albeniz & Granados selection by J.M. Pinzolas + "My Piazzolla" by Cecilia Pillado 3/1/15 Debussy #1 +1CD Jeux (Eötvös), Prélude (Robertson), Satie's Parade (Porcelijn), Roussel's BeA's 2nd Suite (Weller) 2/28/15 Debussy #4 +3CDs: Anne Queffélec's 12 Etudes, Ravel's Concertos & Miroirs, Fauré's Violin Sonatas (with P. Amoyal) 2/28/15 American Classics +2CDs: Copland The Populist by Tilson Thomas & MacDowell Symphonic Poems by Krueger 2/28/15 Debussy #2 +1CD Claudette Leblanc's album of Mélodies (with Valerie Tryon) (1989) 2/28/15 Summer Nights #5 +1CD Mackerras' recording of Berlioz Symphonie fantastique (with the RPO, 1994) 2/28/15 Summer Nights #4 +1CD Mackerras' recording of Beethoven 9th for EMI (Liverpool 1991) 2/27/15 Des Horizons #2 +1LP Debussy's Chansons de Bilitis & Satie's Socrate cond. by Friedrich Cerha (1969) 2/27/15 Des Horizons #2 +1CD Debussy and Ravel Music for 2 Pianos, by Pascal & Ami Rogé 2/27/15 Debussy #4 (Etudes) +1DDL: Nelson Goerner's recording of Etudes Livre II, plus Images Livre I & Estampes 2/27/15 Des Horizons #1 +1LP, Munch's last recordings in Paris, Ravel Concerto in G (w. Henriot-Schweitzer) & Honegger 2/26/15 Wintery Romantics +1LP: Maazel early recording of Tchaikovsky's 4th Symphony in Vienna for Decca (1965) 2/26/15 Des Horizons #1 +1CD Canteloube's complete Chants d'Auvergne by von Stade and De Almeida (CBS 1985) 2/26/15 Strauss Operas #2 +1CD set: Die Frau ohne Schatten, the complete Sawallisch recording for EMI (1987) 2/22/15 Des horizons de la musique française #2 +1CD Chabrier's Piano Music by Hewitt (2004) (a rip by Alan) 2/22/15 Rachmaninov #1 +1CD 2nd Symphony by Farberman & the RPO (1978) (a rip by Sgorby) 2/22/15 Summer Nights #9 +1CD Respighi Antiche Danze e Arie per Liuto by Ozawa (DGG 1979) (a rip by Sgorby) 2/22/15 Wintery Romantics +1CD Tchaikovsky's Nutcracker by Gergiev (Philips 1998) (a rip by Alan) 2/21/15 Wintery Romantics +6CDs Tchaikovsky Complete Symphonies: Temirkanov and the RPO (BMG) (a rip by Sgorby) 2/21/15 Wintery Romantics +2CDs Tchaikovsky Swan Lake (Complete) with Sawallisch (EMI 1994) 2/13/15 The World of Debussy #5 +1LP Rip, Teddy Teirup plays "La boîte a joujoux" (+ Ravel's Sonatine) 2/10/15 Bohemian Composers of the 17th Century New links added 2/7/15 Music from the Renaissance #2 New links added 2/3/15 Shostakovich #2 +1CD Cello Concerto No. 1 by Amit Peled 2/3/15 Summer Nights #5 +1CD Cello works by H. Eccles, Couperin, Fauré & Ligeti (Amit Peled with Eliza Ching) 2/3/15 Summer Nights #10 +1CD Elgar's Cello Concerto by Amit Peled 2/02/15 Keyboard Music on Harpsichord New links completed 1/30/15 Brahms's Concertos +1CD Violin Concerto & Sonata No. 2 by Vengerov & Barenboim (1998) 1/30/15 Second Viennese School Essentials #4 +1CD Karl Weigl's String Quartets Nos. 1 & 5 by the Artis Quartett Wien 1/30/15 Schoenberg: Piano Music +1CD Pi-Hsien Chen's reference recording of the complete set (1996) 1/30/15 Des Horizons #1 +1CD d'Indy's Symphonie sur un chant montagnard with Marek Janowski 1/30/15 American Classics +2CDs Thomas Hampson's Songs by Ives, Griffes, MacDowell & Glass Syms 2 & 3 by M. Alsop 1/30/15 Brahms Piano & Chamber Music Gems +1CD Andrea Bonatta's recording of 8 Klavierstücke, Paganini, Rhapsodies 1/29/15 Keyboard Music on harpsichord Added new links 1/28/15 HIF Biber and comtemporaries Added new links 1/12/15 Wintery Romantics +9CDs & 1DDL: Tchaikovsky's Ballets and Symphonies - Courtesy of Sasha 1/7/15 De l'Hoyer- Music for Two Guitars + Added new links 1/1/15 Just: Piano Trios Op. 2 & Op. 13 +1CD: Just Op. 2; Added new links for Op 13 2014 12/19/14 Mozart in Mannheim: Sacred Music by Holzbauer & Mozart Added new links 12/19/14 Schubert - Works for Fortepiano - Jan Vermeulen Added new links (BZ's Rip) 12/5/14 Summer Nights #9 +1CD Scriabin Symphony No. 3 & Poème de l'extase (Sinopoli, NYP 1989) 12/5/14 Summer Nights #9 +5CDs: Mendelssohn Piano Concertos (and 2 Pianos + Bruch), Symphonies 3 & 4, Quartet No. 5 12/2/14 L'Armonica- Music for Glass Harmonica Added new links 11/26/14 Summer Nights #5 +1CD: Tilson Thomas (and Fleming) for Villa-Lobos (RCA, 1996) 11/26/14 Italian Flute Concertos Added new download links. 11/26/14 Summer Nights #6 +4CDs: Muti for Pergolesi's Stabat Mater and Rota's Film Music; Herreweghe for Rameau's Les Indes galantes and Rossini's Stabat Mater in Giulini's 1982 recording on DGG 11/26/14 Summer Nights #3 +1CD Paganini's 1st Violin Concerto by Chang and Sawallisch in Philadelphia (1994) 11/26/14 Summer Nights #4 +3CDs Beethoven's Late String Quartets by the Takács Quartet (2003) 11/22/14 Christopher Hogwood & The Academy of Ancient Music - Mozart Concertos (Clarinet, Oboe, Flute & Harp, Bassoon) New rip and download links 11/21/14 American Classics +7CDs: Nagano's Bernstein Mass, Barber and Ives Songs sets (Studer/Hampson; DeGaetani) 11/21/14 American Classics +5CDs for the great Jazz avant-garde of the late 50s: Tatum, Davis, Evans, Monk, Brubeck 11/21/14 American Classics +6 LPs Bernstein & Copland originals + Bolcom's 3 Ghost Rags' signature rec. by Paul Jacobs 11/20/14 Prokofiev #2: +1LP Cello Sonata (+ Strauss' Cello Sonata) with Frédéric Lodéon and Daria Hovora 1975 on RCA 11/20/14 Prokofiev #2: +1LP Cinderella Suite, Leonard Slatkin/Saint Louis Symphony 1985 on RCA 11/20/14 Prokofiev #2: +1LP Romeo & Juliet Suites, Riccardo Muti/Philadelphia 1981 on EMI 11/18/14 Strauss Great Operas #2: +2CDs Daphne (Fleming, Botha, Larsson, Schade, K. Youn, WDR, Bychkov on Decca) 11/18/14 Strauss Great Operas #1: +2CDs Elektra (Polaski, Schwanewilms, Palmer, Grundheber, WDR, Bychkov on Profil) 11/11/14 Bach: St John's Passion (arr. Robert Schumann) Added new download links. 11/11/14 Druschetzky: Quartetto, Serenata, Quintetto Added new download link. 11/11/14 Music by: Bruni, Cambini, Ferrer & Terzetti Added new download links. 11/05/14 18th Century Women Composers: Music for the Solo Harpsichord, Vol. 1 Added new download link. 11/05/14 18th Century Women Composers: Music for the Solo Harpsichord, Vol. 2 Added new download link. 10/29/14 American Classics +1HQDDL Adams' The Dharma at Big Sur (Josefowicz/Adams) + Kraft's Timpani Concerto 10/27/14 Prokofiev #2 +2CDs 'October Cantata' (Elder '96) and 2nd Violin Sonata + Webern + Respighi (Mutter/Orkis '00) 10/18/14 Carl Friedrich Abel: Ouvertures & Sinfonias Added new links 10/15/14 Gershwin +1CD Weissenberg and Ozawa: Rhapsody in Blue, 'I Got Rhythm' Variations (1983) 10/15/14 Summer Nights #10 +1CD Elgar's 1st Symphony + P&C Marches 1,3,4 by Andrew Davis and BBC SO 10/15/14 Summer Nights #1 +1CD Khachaturian's Piano Concerto & Prokofiev's 3rd: Dickran Atamian & Gerard Schwarz 10/15/14 Summer Nights #6 +1CD Honegger's 2nd Symphony + Strauss' Metamorphosen by Gerard Schwarz 10/15/14 Summer Nights #4 +1CD Beethoven's 9th Symphony by Enrique Bátiz 10/14/14 Summer Nights #9 +1CD Mendelssohn's 2nd Symphony ('Lobgesang') by Andrew Litton (Thanks to Nzguy) 10/10/14 After Baroque: Music for the Natural Trumpet Added new links 9/29/14 Summer Nights #9 +1CD Brahms's 4 Serious Songs: Kurt Moll & Cord Garben 9/27/14 Summer Nights #9 +3CDs Brahms Requiem (G. Albrecht), Grieg/Sibelius Quartets (Emerson) & Sibelius Syms 3&7 9/27/14 Summer Nights #10 +3CDs Elgar Violin Concerto (Hahn/C. Davis), Delius Partsongs, Terfel's "The Vagabond" 9/22/14 Weber: Operatic Works on Period Instruments Added link for Weber's Oberon & Abu Hassan 9/16/14 Gallay & Reicha: Trios & Quartet for Horn Added link for new rear inlay with side panels. 9/11/14 Jommelli: Armida abbandonata (1770) Added new links 9/11/14 Summer Nights #5 +1CD Handel Suites for Keyboard: Keith Jarrett (Piano) 9/11/14 Rachmaninov #2 +1CD Concertos Nos. 1 & 2: Zimerman & Ozawa with the BSO 9/10/14 Poulenc Tribute +1CD Les Animaux modèles & Sinfonietta, Darlington and the Luxembourg Philh. 9/10/14 Summer Nights #8 +11 original CDs of Brahms Symphonies by C. Davis, Sawallisch, Giulini, Dohnanyi and Chailly 9/2/14 Mozart: The Nannerl's Notebook Added new links 9/2/14 Summer Nights #5 Berlioz Nuits d'Eté, Norman & C. Davis (1979) 9/1/14 Lessel: Fortepiano Concertos Added new links + Bonus Disc 9/1/14 La Chasse: Mozart, Vogler, Haydn, Endler Added new links 9/1/14 Alla Turca: Music by Mozart, Gluck & M. Haydn Added new links 8/11/14 String Quartets by Vanhal, Wranitzky & Jadin Added new links (Old links were missing tracks, cue, logs etc) 7/23/14 Handel: Tolomeo Added new links 7/20/14 Mozart: Piano Quartets Added new links 7/19/14 Wagner: Der fliegende Holländer (Paris version, 1841) Added new links 7/14/14 Webern Lieder with Piano (compl.): Barainsky, Doufexis, Hesse and Geçer (1994) 7/12/14 Mozart: Piano Concertos Hogwood/ Levin/ AAM New link for Concertos 1-4 7/4/14 Orfeo Ed Euridice: Kuijken-Bernius-Minkowski-Gardiner-Haenchen New link for Haenchen by Saoshya 7/3/14 Debussy #1 +1CD Le Martyre de Saint Sébastien by Daniele Gatti with Isabelle Huppert as récitant 7/2/14 Gluck Megapost (Happy 300th Birthday!) New links for Echo et Narcisse added courtesy of Saoshya 7/2/14 Beethoven: Quintet Arrangements (Symphonies-Overtures-Chamber Music) Added a new EAC rip of the Beethoven Symphony No.3 to replace the digital download. Includes full scans of booklet. Very rare! 7/1/14 Boccherini: Quintets opus 56 and opus 57 New links added courtesy of Saoshya 7/1/14 Strauss #3 +1CD Ein Heldenleben by Günther Herbig (1985) and Tod und Verklärung by John Pritchard (1980) 7/1/14 Des horizons #2 +1CD Ravel's Violin Sonatas, Pasquier and Engerer on Harmonia Mundi (1990) 7/1/14 Bartok #1 +1CD Mark Elder's Bluebeard's Castle with G. Howell and S. Burgess (1992) 6/29/14 Beethoven: Quintet Arrangements (Symphonies-Overtures-Chamber Music) Added new disc of Beethoven Quintet Arrangements Symphonies Nos.s 1 & 8, Piano Sonatas No. 8, Locrian Ensemble 6/26/14 Boccherini: Quintets opus 56 and opus 57 Added new DL links 6/26/14 Zelter: Goethe Lieder Volumes 1 & 2 Added new DL links for both discs 6/25/14 Debussy #2 +1CD Christiane Oelze's "Locas por Amor" album. Songs by Debussy, Granados, Wolf, Turina, Mompou. 6/25/14 Debussy #5 +2Cds Images, Estampes + Ravel's Gaspard & Valses + Schumann's Kreisleriana: Sergio Fiorentino. 6/22/14 Weill +3CDs, Dreigroschenoper's original recording with Lotte Lenya (1930) and 2 Stratas' Songs albums from the 80s 6/22/14 Mozart: Piano Concertos Hogwood/ Levin/ AAM Added new DL links for Concertos 11-13 & 19-20. 6/19/14 Vanhal- Klavierquartett op. 40 Added new DL links 6/19/14 Byström- 3 Sonatas for Keyboard & Violin, Op. 1 Added new DL links 6/19/14 Hummel: Chamber Music + 1CD Grand Sonata for mandolin & Piano 6/15/14 Cimarosa: Le Sonate Per Fortepiano, Vols. 1 - 3 New Links added 6/13/14 Beethoven: Quintet Arrangements (Symphonies-Overtures-Chamber Music) +1 Digital download of the SACD Beethoven's Symphony No. 3 and Overtures arranged for String Quartet 6/8/14 Mozart: 3 Piano Concertos K107; Symphony No 14 New Links added 6/8/14 Mozart: Piano Concerti Nos 1-4, Pasticci / Bilson New Links added 6/8/14 Mendelssohn String Symphonies New Links added 6/4/14 Berg Concertos +1CD Berg's Violin Concerto (and Brahms's) with Capuçon and Harding on Virgin Classics (2011) 6/4/14 Brahms Piano & Chamber Gems +1CD David Lively's recording of Sonata Op. 5 and Ballades Op. 10 (1993) 6/4/14 Prokofiev Vol. 1 +2CDs: Bernstein's 5th with the IPO and Mark Elder's October Cantata + Shostakovich Symphony No. 2 6/4/14 Debussy #5 Préludes +1CD Catherine Collard's recording for RCA (1993) 5/30/14 M Haydn: Chamber Music Added new links (Hotfile link is dead) 5/29/14 Piano Trios! Piano Trios! +2CDs Schubert Piano trios & Tchaikovsky Piano Trios. Posted on behalf of Arscan 5/27/14 Strauss #3 +1CD 'Also sprach Zarathustra' Mehta & the Israel Philharmonic on Decca (The Anniversary Season 2007) 5/27/14 Mahler Lieder +1CD Charles Mackerras's Des Knaben Wunderhorn on Virgin Classics (1990) 5/24/14 Des horizons #1 +1CD Koechlin's Seven Stars Symphony and Ballade on EMI with Pellié, Rigutto and Myrat (1982) 5/21/14 Bartók #5 +1CD Boulez's classic recordings of Concerto for Orchestra and Music for Strings... on CBS 5/20/14 Shostakovich #1 +1CD Vladimir Ashkenazy and the Royal Philharmonic Orchestra (1992): Symphonies Nos. 9 and 15 5/20/14 Des horizons #1 +1CD Leonard Bernstein's 1982 recording of Franck's Symphony in D Minor with the ONF 5/19/14 Messiaen +3CDs, Steven Osborne's and Y. Loriod's 20 Regards + P. Serkin & Y. Takahashi's Visions de l'Amen 5/19/14 Mahler 2 +1CD Solti's recording for Decca in Chicago (1981). Davide's rip/scans 5/15/14 Debussy #5 Préludes +1CD Debussy Images I & II and Pour le Piano + Chopin selected works by Ivan Moravec 5/15/14 Debussy #5 Préludes +1HQDDL Newena Popow's recording for Blumlein (2008) 5/15/14 Debussy #5 Préludes +1CD Steven Osborne's recording for Hyperion 5/15/14 Debussy #5 Préludes +4CDs Ogawa and Thiollier, Préludes, Images I & II, Images oubliées, Estampes etc 5/14/14 Debussy #4 Etudes +1CD Noriko Ogawa's 2007 recording for BIS 5/14/14 Debussy #4 Etudes +1CD François-Joel Thiollier 1997 recording for Naxos 5/9/14 Des horizons #2: +1CD Ravel's Piano Music, Samson François's classic 1967 recordings for EMI 5/9/14 Debussy #5 Préludes +1CD Samson François's classic 1970 recordings for EMI (incl. Images, 5 Etudes etc...) 5/9/14 Debussy #4 Etudes +2CDs Jeffrey Swann (1988) and Walter Gieseking's reference recording on EMI (1956) 5/7/14 Mahler 3 +1CD Mehta's 1978 recording for Decca with M. Forrester and the Los Angeles Philharmonic 5/3/14 Mahler 8 +1CD Donald Runnicles recording at the 2010 Edinburgh Festival 5/3/14 Rachmaninov Vol. 1 +1CD 2nd Symphony with Edward Downes and the BBC Philharmonic (1994) 5/3/14 Prokofiev Vol. 1 +1CD 5th Symphony with Christoph Eschenbach and the Houston Symphony Orchestra (rare CD 1994) 5/3/14 Mahler 5 +2CDs Solti and the Tonhalle-Orchester Zürich (1997) and Saraste with the Finnish Radio SO (1991) 4/29/14 Messiaen +1DDL Colin Andrews, organ: L'Ascension and Messe de la Pentecôte (2010) 4/28/14 Mahler 6 +1CD James Levine and the London Symphony Orchestra (1979) 4/27/14 Mahler 7 +1DDL Mehta and the Israel Philharmonic Orchestra on Decca (2007) 4/27/14 Mahler 5 +1CD Tennstedt and the LPO (1988) 4/27/14 Mahler Das Lied von der Erde +1CD Haitink and the Gustav Mahler Jugend Orchester, Mahler Feest 1995 4/17/14 Mahler 4 +1CD Simon Rattle's and the CBSO 4/8/14 Debussy Etudes +1DDL Jan Michiels (on Erard 1892 piano) "Le Tombeau de Debussy" 3/30/14 Intense Bruckner +3CDs Wand's 4th in Munich, Haitink's 7th in Chicago and 9th classic Concertgebouw recording 3/28/14 LAMENTATIONS OF JEREMIAH +1CD Lassus - Lamentationes Jeremiae Prophetiae - Herreweghe (1989) 3/27/14 LAMENTATIONS OF JEREMIAH +1CD Zelenka - Lamentationes Jeremiae Prophetiae - Jacobs (1983) 3/25/14 Mahler 9 +1DDL Tilson Thomas and the San Francisco Symphony (2005) 3/25/14 Mahler 7 +1CD Barenboim and the Staatskapelle Berlin (2006) 3/4/14 Mahler Das Lied von der Erde +1CD Karajan's recording from 1975 (new rip from MIMIC's member Sasha) 3/3/14 Haydn Rarities: Nelson Mass & Mass Brevis in F (Re-instrumented Versions) Added missing scans and additional commentary in the comments section. 2/13/14 Spanish School #1 +1DDL Falla Orchestral Works & 7 Canciones: Simon Boliva
Antonín Dvořák (1841-1904) Symphonic Poems, op. 107-110: The Wild Dove, The Noon Witch, The Golden Spinning Wheel, The Water Goblin Royal Concertgebouw Orchestra Nikolaus Harnoncourt Warner Classics 2564 60221-2 (2006) [flac, cue, log, scans] Antonín Dvořák Cello Concerto, op. 104 Peter Ilyich Tchaikovsky (1840-1893) Rococo Variations Mstislav Rostropovich Boston Symphony Orchestra Seiji Ozawa Erato ECD 88224 (1987) [flac, cue, log, scans] Antonín Dvořák Symphony No. 9, op. 95 Three Overtures, op 91-93: In Nature's Realm, Carnival, Othello Czech Philharmonic Orchestra Vladimir Ashkenazy Ondine ODE 962-2D (2002) [flac, cue, log, scans] Antonín Dvořák Symphony No. 7, op. 70 Symphony No. 8, op. 88 Berliner Philharmoniker Rafael Kubelik Deutsche Grammophon 457 902-2 (1998). Recorded 1966 & 1971 [flac, cue, log, scans]
The Orchestre symphonique de Montréal and its Boston / Ozawa-linked music director Kent Nagano bring two blockbusters and a sumptuous tone poem to Symphony Hall on the third stop of its bicoastal US tour. The March 16th program will start at 8 pm with Debussy’s sensual Prelude to the Afternoon of a Faun and will conclude with Stravinsky’s never de trop Rite of Spring. Piano sensation Daniil Trifonov will play Prokofiev’s blistering Piano Concerto No. 3. Able to “lift listeners out of their seats,” wrote Melinda Bargreen from the Seattle Times, and his only visit to Boston this year lets us enjoy the young charger. BMInt had a pleasant encounter with conductor Kent Nagano. FLE: Touring 10 cities in 10 days represents a huge logistical undertaking whether for Barnum & Bailey or a major orchestra. Are you glad you just have to show up and wave your wand, or do you miss the elephants? KN: [laughter] Touring has become, ironically, more complicated because of all of the modern kinds of transportation that we have, and it is a very full tour. Fortunately, since we do tour quite a bit, we’re used to the routine, and thankfully until now we’ve been working with really very well-organized presenters, so I think if a tour is carefully thought out and organized it really does minimize the ‘circus’ aspect and maximizes the intensity when musicians have a chance to play the same repertoire. Because although we’re bringing three programs, we’re not rotating them that often. So it is fascinating and stimulating to play the same repertoire in a different acoustics for a different public every night. Absent the Third Beethoven Piano Concerto, which you play once, everything you’re doing falls within a 19-year compositional window: La Valse, Afternoon of a Faun, Jeux, Firebird, Rite of Spring…. That’s a narrow period. This is your 10th anniversary, the orchestra’s something like 40th: why such a narrow time span for this tour? It’s a very good question. There are a couple of reasons. One, that narrow time span occurred about 100 years ago. Prokofiev, Stravinsky, and Debussy were all in the very intense Parisian crucible of creativity, where major steps were coming not only in the arts but also in the sciences, and in literature. The whole movement or opening up of society seemed to be nearly fueled by a kind of industrial revolution. Of course [it occurred with] the horrors of the First World War, the systematic mechanical destruction that we then seemed to open up in a very dynamic and violent way, the doorway all the way into the 20th century. Consider that huge transition: if you count Schoenberg and the Second Viennese School at the same time, and if you remember that this was just coming on shortly after Gustav Mahler passed away , and if you think of the emergence and the opening up of the new world in Canada and the United States, and if you take historically this huge transitional energy and look at our time today, then there are a lot of parallels. We thought a lot about what we should bring on the tour. All of the pieces are part of the orchestra’s tradition—very much tied to our performance romance past, not only with Charles Dutoit more recently but even from the very beginning. Wilfred Pelletier founded the orchestra right around this period we’re speaking about. This has been a part of the orchestra’s language. Quebec is French-speaking but also we’re German-speaking, we’re Italian-speaking, English-speaking. We’re open and cosmopolitan as we witness things changing so rapidly, and so radically, particularly on the technical side. This has a profound impact on how we experience the arts—we felt it would be a very provocative program. And you don’t really have to, at this stage in the history of the orchestra, provide an encyclopedic program showing you can play music of every period, because people already know that. So showing that you can program interestingly probably makes more of an impression now. Well, of course for us we always try to program interestingly. For us here in Quebec, that’s how we built our full houses, that’s how we argued that we should build a new hall. In Boston of course you have one of the great concert halls of the world: it must be said Symphony Hall is just one of the leading acoustics of Western civilization. But we in Quebec needed to make an artistic, an aesthetic, and a social argument why we needed a hall, and we were able to build one just a few years ago. Part of it was because we felt that music should be felt interesting by people who live in the 21st century; it should be felt as pertinent; it should be felt as relevant. And for us that meant that the status quo has no meaning. And it’s true that in addition to one of most recent recordings of the complete Beethoven symphonies we’ve recorded much French repertoire and other discs of even earlier repertoire. We approach every program as a clean slate and try to ask ourselves what is the most pertinent program for this particular time and this particular place. This was the program that we came up with as a team to bring to the United States. Maison symphonique de Montreal I don’t know Maison symphonique de Montréal. Is it democratic in seating like the Berlin Philharmonie, with audience surrounding the players? It’s very similar to KKL Lucerne . Also it’s similar in terms of architecture to Suntory Hall in Tokyo, but fundamentally it’s a return to the shoebox shape. In that sense it’s quite similar to Symphony Hall. It’s about the same dimensions, and the only difference is that our hall goes a little bit taller and we have designated chorus seats behind the orchestra which we open up to the public in a kind of a surround. …back to your placement in Quebec and talking about the French language—if you were putting a sign on your building it would have to be in French and English, but is anyone telling you you have to play as much British music as you play French music? Perhaps there isn’t as much British music from which to draw. [laughter] That’s a pretty good question! No, no. All of Canada is bilingual: there are two official languages of Canada, and in Quebec, of course, from a historical and a traditional point of view, the French language occupies a very important place in the community, so everyone speaks French. That said, the public and the orchestra are much more cosmopolitan than one might think. There are places in Montreal where only Italian is spoken, for example. There is a very serious and profound German community here, where you only hear German being spoken, and the orchestra is very fortunate to have a sophisticated, curious, aware public. And so one never feels pushed to do a certain kind of repertoire. Rather than insisting on equal time for British and French and whatever else, the only thing that one really feels here is an expectation and insistence that we play great repertoire. So there are no repertoire police? Funnily enough, the “police” tend to get activated if somehow the proper balance isn’t there. We’ve introduced quite a few areas of the repertoire that had been underbalanced during my time, so quite a bit of Johann Sebastian Bach, quite a bit of Beethoven, Haydn, Mozart, and now the audiences have responded so strongly that if it’s not there, then we might hear about it. I was reading through your promotional material, and considering the dramatic and emotional pieces that are on this tour, why do they say, “Kent Nagano is an ideal conductor to keep sentimentality and bombast down”? Won’t you be breathing fire in Firebird and getting misty-eyed during Afternoon of a Faun? Well [laughter], everything is relative. You should talk to my wife about me being bombastic; I think she’ll give you a different point of view. I don’t see why that characteristic was featured in the PR; it didn’t sound like a very exciting thing to brag about. With all the great orchestras, one is keenly aware of a very strong character, and part of the Quebec character is an intensity, a very, very, highly emotionally charged way of performing, but at the same time possessing a clarity that comes from clear precision. Our Quebec language with its European sensibilities carries a very strong streak of both the Germanic and the Latin history as a part of our tradition; we also have English as a part of our tradition. They converge into a place called the New World. When you’re dealing with such a highly combustible combination, it sometimes helps to be able to guide it. We’re excited to be able to bring our very distinct and unique way of playing to Symphony Hall. Talking about combustion brings up Firebird. When you’re conducting it in a concert version, you’re the only dancer. Is your mentor Seiji Ozawa also your choreographer? [laughter] Yes, Mr. Ozawa remains, a very important figure for me. However, Firebird is based upon a personal exposition to Stravinsky that goes way, way before I worked with Ozawa—back to the early years when I was still studying the piano and studying composition. And anyone who studies composition of course analyzes and studies the Firebird. It’s one of the most brilliant exercises in use of the orchestra and harmony. In German we call it ein Erzählerung, which means to say using harmony to somehow underline a story. What we will be doing for our Firebird is sonically depicting a series of tableaux and a series of movements such that the audience will be able create their own choreographies. The movement comes through sound, harmony, and texture leading up to a series of brilliant and colorful tableaux as lie within this ingenious score. There’s always a risk when you do something like Firebird or Sacre du Printemps that it simply becomes an orchestral showpiece, because they are virtuoso and brilliantly orchestrated and the orchestra really shines as in instrument. On the other hand, these pieces were part of a ‘total art form.’ Bringing the drama and theatricality onto the stage at the same time as you’re playing as a burning virtuoso instrument is the central part of our mission in that piece. Are you thinking of dancers? I don’t think of a specific dancer, a prima ballerina or a single soloist dancer. However, the progression of the series of pictures, the progression of the series of tableaux, the confrontation among various characters, the love story, the oppression of society, the cruelty of the dominating, dictating force—all of these become a part of the general structure and the general form of the piece. They also help control the tempi and how one guides a transition from one section to another. Yet if they are character-based, that’s a little bit different from saying that have in mind a specific choreography or a specific dancer to follow. But do you have to choose tempi that are danceable, or are you not thinking about that at all? A waltz should be danceable, a minuet should be danceable. If not, then there’s something fundamentally uncoordinated with the context of the settings in which the piece was written. Choreography translates rhythm, far, far away from mathematical subdivisions of a beat. Rhythm is not at all only a metronome, rhythm, especially when you think of movement, has to do with color, it has to do with weight, rhythm has to do with flexibility and rubati. Rhythm means independence. It implies color and shadow and darkness; it also implies intensity. It must convey a feeling of going forward or a feeling of going backward from a regular pulse. When you think of movement, it does have an effect on how you think of rhythm, which of course has some sort of influence on what tempi you choose. Two quick questions related to opera. Your bio says that when you were in Boston you worked in an opera house, and I wasn’t aware that we had one then. To be honest, I’m speaking of Sarah Caldwell. I lost a bit of touch with the opera community in Boston when she passed away. Boston has always had a great opera tradition; there used to be an opera house there many, many years ago, and during the years I was there working with Miss Sarah Caldwell in a former movie theater called the Orpheum and later in a former movie theater called the Savoy [ed.: the Orpheum is within the shell of the Boston Music Hall; the Savoy, now called the Boston Opera House, was originally the Keith Memorial Theater. Eben Jordan’s 1901 Opera House was demolished by Northeastern University in 1957. Opera Place off Huntington Ave. remains as the only clue to the existence of the true opera house Boston has ever had]. They were adapted so they could be used as a theater space or as an opera performance space during the 1970s and 1980. Is opera still performed in Boston? We have a lot of smaller companies now performing before 100 or 200 people. Our one large company, the Boston Lyric Opera, plays in the Shubert, and we have Odyssey Opera doing some concert and one staged opera each year. There’s a big opera audience, especially if one includes the Met HD in theaters, but there’s nothing like a full-season company. But you do conduct a fair amount of opera in Europe. At the moment, I’m fulltime general director of the Hannover Staatsoper and it’s a fulltime season there. Before that I was head of the Bayerische Staatsoper in Munich and those are really kind of extensions of my time with Placido Domingo in Los Angeles with the opera company there. I’ve always tried to balance time in the theater with time on the symphonic stage, though somehow the repertoire, at least for me, seems to be artificially divided historically speaking. One grew out of the other, so they really shouldn’t be divided. One helps the other, so I’ve always kept both very, very active. At the moment some significant things are taking place in Hamburg. There’s an opera house just north of Columbus Circle in New York that’s probably making lots of calls to conductors these days. If Peter Gelb called you, you’d pick up the phone, wouldn’t you? I speak with everybody, but sure, of course, of course. The Orchestre symphonique de Montréal at Symphony Hall March 16 at 8 pm Debussy Prelude to the Afternoon of a Faun Prokofiev Piano Concerto No. 3 in C Major Stravinsky Rite of Spring Kent Nagano, conductor Daniil Trifonov, piano Tickets The post Cosmopolite Nagano Rides In On Montréal Express appeared first on The Boston Musical Intelligencer .
It was during the historical months which saw the Berlin wall tumble down that Kurt Masur recorded his exquisite Symphonies cycle, roughly at the same time, Harnoncourt, a Berliner, gifted us with one of the most celebrated cycles ever. The two venerable Maestros, whose musical ideas - albeit so different in many ways - have always been marked by a constant research for authenticity, have now left us bereft of their rigorous approach to the Masters, of their humble sensitivity. Not only we remember them with deep gratitude, but we are also pleased to add a few others gems by other great interpreters of their time. Ludwig van Beethoven Symphony No. 1 Op. 21 in C Major Symphony No. 3 Op. 55 in E-Flat Major 'Eroica' The Chamber Orchestra of Europe Nikolaus Harnoncourt Teldec 9031-75708-2 (1990) Ludwig van Beethoven Symphony No. 2 Op. 36 in D Major Symphony No. 5 Op. 67 in C Minor The Chamber Orchestra of Europe Nikolaus Harnoncourt Teldec 9031-75712-2 (1990) Ludwig van Beethoven Symphony No. 4 Op. 60 in B-Flat Major Symphony No. 7 Op. 92 in A Major The Chamber Orchestra of Europe Nikolaus Harnoncourt Teldec 9031-75714-2 (1990) Ludwig van Beethoven Symphony No. 6 Op. 68 in F Major 'Pastoral' Symphony No. 8 Op. 93 in F Major The Chamber Orchestra of Europe Nikolaus Harnoncourt Teldec 9031-75709-2 (1990) Ludwig van Beethoven Symphony No. 9 Op. 125 in D Minor 'Choral' Charlotte Margiono, Soprano; Birgit Remmert, Mezzo-Soprano Rudolf Schsching, Tenor; Robert Holl, Bass Arnold Schoenberg Chor The Chamber Orchestra of Europe Nikolaus Harnoncourt Teldec 9031-75713-2 (1991) Ludwig van Beethoven Missa solemnis Op. 123 Eva Mei, Soprano; Marjana Lipovšek, Mezzo-Soprano Anthony Rolfe Johnson, Tenor; Robert Holl, Bass Arnold Schoenberg Chor The Chamber Orchestra of Europe Nikolaus Harnoncourt Teldec 9031-74884-2 (1992) Ludwig van Beethoven Die Geschöpfe des Prometheus Op. 43 The Chamber Orchestra of Europe Nikolaus Harnoncourt Teldec 4509-90876-2 (1993) Ludwig van Beethoven Symphony No. 1 Op. 21 in C Major Symphony No. 5 Op. 67 in C Minor Gewandhausorchester Leipzig Kurt Masur Philips 426 782-2 (1987-1989) Ludwig van Beethoven Symphony No. 2 Op. 36 in D Major Symphony No. 7 Op. 92 in A Major Gewandhausorchester Leipzig Kurt Masur Philips 432 994-2 (1989-1990) Ludwig van Beethoven Symphony No. 3 Op. 55 in E-Flat Major 'Eroica' Symphony No. 8 Op. 93 in F Major Gewandhausorchester Leipzig Kurt Masur Philips 434 913-2 (1992) Ludwig van Beethoven Symphony No. 4 Op. 60 in B-Flat Major Symphony No. 6 Op. 68 in F Major 'Pastoral' Gewandhausorchester Leipzig Kurt Masur Philips 434 919-2 (1991-1992) Ludwig van Beethoven Symphony No. 9 Op. 125 in D Minor 'Choral' Sylvia McNair, Soprano; Jard van Nes, Mezzo-Soprano Uwe Heilmann, Tenor; Bernd Weikl, Baritone Rundfunkchor Leipzig & Gewandhaus-Kinderchor Gewandhausorchester Leipzig Kurt Masur Philips 434 919-2 (1991) Ludwig van Beethoven Symphony No. 5 Op. 67 in C Minor Wiener Philharmoniker Carlos Kleiber DGG 415 861-2 (1975) Ludwig van Beethoven Symphony No. 9 Op. 125 in D Minor 'Choral' Coriolan (Overture) Op. 62 Gundula Janowitz, Soprano; Hilde Rössel-Majdan, Contralto Waldemar Kmentt, Tenor; Walter Berry, Baritone Wiener Singverein Berliner Philharmoniker Herbert von Karajan DGG 447 401-2 (1963-1966) Ludwig van Beethoven Symphony No. 9 Op. 125 in D Minor 'Choral' Solveig Kringelborn, Soprano; Felicity Palmer, Mezzo-Soprano Thomas Moser, Tenor; Alan Titus, Baritone Staatsopernchor Dresden Staatskapelle Dresden Giuseppe Sinopoli DGG 453 997-2 (1997) Ludwig van Beethoven Piano Concerto No. 4 Op. 58 in G Major Piano Sonata No. 30 Op. 109 in E Major Piano Sonata No. 31 Op. 110 in A-Flat Major Hélène Grimaud, Piano New York Philharmonic Kurt Masur Teldec 3984-26869-2 (1999) Ludwig van Beethoven Piano Concerto No. 4 Op. 58 in G Major Piano Sonata No. 23 Op. 57 in F Minor 'Appassionata' Piano Sonata No. 32 Op. 111 in C Minor Quintet Op. 16 in E-Flat Major Symphony No. 5 Op. 67 in C Minor Carol Rosenberger, Piano David Shifrin, Clarinet; Allan Vogel, Oboe Robin Graham, Horn; Ken Munday, Bassoon London Symphony Orchestra Gerard Schwarz Delos 3703 & 3027 (1989) Ludwig van Beethoven Piano Concerto No. 5 Op. 73 in E-Flat Major 'Emperor' Arturo Benedetti Michelangeli, Piano Wiener Symphoniker Carlo Maria Giulini DGG 419 249-2 (1979) Ludwig van Beethoven Piano Concerto No. 5 Op. 73 in E-Flat Major 'Emperor' Rudolf Serkin, Piano Boston Symphony Orchestra Seiji Ozawa Telarc 80065 (1981) Ludwig van Beethoven Piano Concerto No. 1 Op. 15 in C Major Piano Concerto No. 2 Op. 19 in B-Flat Major Wiener Philharmoniker Krystian Zimerman DGG 437 545-2 (1991) Ludwig van Beethoven Piano Concerto No. 3 Op. 37 in C Minor Piano Concerto No. 4 Op. 58 in G Major Krystian Zimerman, Piano Wiener Philharmoniker Leonard Bernstein DGG 429 749-2 (1989) Ludwig van Beethoven Piano Concerto No. 5 Op. 73 in E-Flat Major 'Emperor' Krystian Zimerman, Piano Wiener Philharmoniker Leonard Bernstein DGG 429 748-2 (1989) Ludwig van Beethoven Piano Concerto No. 4 Op. 58 in G Major Franz Schubert Symphony No. 9 D. 944 in C Major 'Great' Richard Wagner Lohengrin, Prelude Act 1 Evgeny Kissin, Piano The MET Orchestra James Levine DGG 028948105533 (2013) Ludwig van Beethoven Piano Concerto No. 2 Op. 19 in B-Flat Major Piano Concerto No. 5 Op. 73 in E-Flat Major 'Emperor' Evgeny Kissin, Piano Philharmonia Orchestra James Levine Sony SK 62926 (1996) Ludwig van Beethoven Piano Concerto No. 3 Op. 37 in C Minor Piano Concerto No. 4 Op. 58 in G Major Mitsuko Uchida, Piano Royal Concertgebouw Orchestra Kurt Sanderling Philips 446 082-2 (1994) Ludwig van Beethoven The 5 Piano Concertos Choral Fantasy Op. 80 Daniel Barenboim, Piano John Alldis Choir New Philharmonia Orchestra Otto Klemperer EMI 7 63360 2 (1968) Ludwig van Beethoven The 5 Piano Concertos Murray Perahia, Piano Royal Concertgebouw Orchestra Bernard Haitink Sony S3K 44 575 (1986) Ludwig van Beethoven The 5 Piano Concertos Piano Sonata No. 23 Op. 57 in F Minor 'Appassionata' András Schiff, PianoStaatskapelle Dresden Bernard Haitink Teldec 0630-13159-2 (1996) Ludwig van Beethoven Triple Concerto Op. 56 in C Major Choral Fantasy Op. 80 Beaux Arts Trio Gewandhausorchester Leipzig Kurt Masur Philips 438 005-2 (1993) Ludwig van Beethoven Piano Trio Op. 70 No. 1 in D 'Ghost' Piano Trio Op. 97 in B-Flat 'Archduke' Beaux Arts Trio Philips 412 891-2 (1979-1981) Ludwig van Beethoven The Violin Sonatas Anne-Sophie Mutter, Violin Lambert Orkis, Piano DGG 457 619-2 (1998) Ludwig van Beethoven Violin Sonata No. 9 Op. 47 in A Major 'Kreutzer' Violin Sonata No. 10 Op. 96 in G Major Gidon Kremer, Violin Martha Argerich, Piano DGG 447 054-2 (1994) Ludwig van Beethoven The String Quartets Amadeus Quartet DGG 463 143-2 (1959/1963) Ludwig van Beethoven String Quartet No. 9 Op. 59 No. 3 in C Major 'Razumovsky' String Quartet No. 10 Op. 74 in E-Flat Major 'Harp' Amadeus Quartet Decca 421 364-2 (1987) Ludwig van Beethoven String Quartet No. 12 Op. 127 in E-Flat Major String Quartet No. 14 Op. 131 in C-Sharp Minor Cleveland Quartet Telarc 80425 (1995) Ludwig van Beethoven Piano Sonata No. 29 Op. 106 in B-Flat 'Hammerklavier' Piano Sonata No. 26 Op. 81a in E-Flat 'Les adieux' Alfred Brendel, Piano Philips 446 093-2 (1994-1995) Ludwig van Beethoven Piano Sonata No. 8 Op. 13 in C Minor 'Pathétique' Piano Sonata No. 9 Op. 14 No. 1 in E Major Piano Sonata No. 10 Op. 14 No. 2 in G Major Piano Sonata No. 11 Op. 22 in B-Flat Major Alfred Brendel, Piano Philips 442 774-2 (1994) Ludwig van Beethoven Piano Sonata No. 30 Op. 109 in E Major Piano Sonata No. 31 Op. 110 in A-Flat Major Piano Sonata No. 32 Op. 111 in C Minor Alfred Brendel, Piano Philips 446 701-2 (1995-1996) Ludwig van Beethoven Piano Sonata No. 24 Op. 78 in F-Sharp Major Piano Sonata No. 21 Op. 53 in C Major 'Waldstein' Piano Sonata No. 31 Op. 110 in A-Flat Major Stephen Kovacevich, Piano EMI 7 54896 2 (1992) Ludwig van Beethoven Piano Sonata No. 30 Op. 109 in E Major Piano Sonata No. 12 Op. 26 in A-Flat Major Piano Sonata No. 19 Op. 49 No. 1 in G Minor Piano Sonata No. 20 Op. 49 No. 2 in G Major Bagatelles Op. 126 Stephen Kovacevich, Piano EMI 5 56148 2 (1996) Ludwig van Beethoven Piano Sonata No. 16 Op. 31 No. 1 in G Major Piano Sonata No. 17 Op. 31 No. 2 in D Minor 'Tempest' Piano Sonata No. 18 Op. 31 No. 3 in E-Flat Major Stephen Kovacevich, Piano EMI 5 55226 2 (1994) Ludwig van Beethoven Piano Sonata No. 29 Op. 106 in B-Flat 'Hammerklavier' Piano Sonata No. 26 Op. 81a in E-Flat 'Les adieux' Bagatelles Op. 119 Stephen Kovacevich, Piano EMI 5 57398 2 (2002) Ludwig van Beethoven Piano Sonata No. 11 Op. 22 in B-Flat Major Piano Sonata No. 12 Op. 26 in A-Flat Major Piano Sonata No. 21 Op. 53 in C Major 'Waldstein' Maurizio Pollini, Piano DGG 435 472-2 (1997) Ludwig van Beethoven Piano Sonata No. 17 Op. 31 No. 2 in D Minor 'Tempest' Piano Sonata No. 21 Op. 53 in C Major 'Waldstein' Piano Sonata No. 25 Op. 79 in G Major Piano Sonata No. 26 Op. 81a in E-Flat 'Les adieux' Maurizio Pollini, Piano DGG 427 642-2 (1988) Ludwig van Beethoven Piano Sonata No. 14 Op. 27 No. 2 in C-Sharp Minor 'Moonlight' Piano Sonata No. 26 Op. 81a in E-Flat 'Les adieux' Piano Sonata No. 17 Op. 31 No. 2 in D Minor 'Tempest' Daniel Barenboim, Piano DGG 427 803-2 (1983) Ludwig van Beethoven Piano Sonata No. 31 Op. 110 in A-Flat Major Piano Sonata No. 32 Op. 111 in C Minor Daniel Barenboim, Piano DGG 423 371-2 (1981) Ludwig van Beethoven Piano Sonata No. 32 Op. 111 in C Minor Frédéric Chopin Scherzo No. 1 Op. 20 in B Minor Andante spianato et Grande Polonaise Op. 22 in E-Flat Major Mazurka Op. 33 No. 4 in B Minor Arturo Benedetti Michelangeli, Piano Ermitage 432-2 (1990) Ludwig van Beethoven Piano Sonata No. 14 Op. 27 No. 2 in C-Sharp Minor 'Moonlight' Johannes Brahms Variations on a Theme by Paganini Op. 35 César Franck Prélude, Choral et Fugue Evgeny Kissin, Piano RCA 0902668910 2 (1997) Flac & Scans Previous Beethoven post by Davide from August 2014 here
By Jacob Stockinger You might remember that at holiday time, The Ear offered a series of roundups of the best recordings and classical music gifts of the past year. The idea is to use them as holiday gift guides. One of those days was Grammy Day. This past Monday night, the winners of the 58th annual Grammy were announced. The Ear notes that there were a few items of special local and regional interest. The late Twin Cities composer Stephen Paulus, whose works was often commissioned and premiered in Madison by the Festival Choir of Madison and groups at the University of Wisconsin-Madison School of Music , was nominated for several works. And he won in two categories. In addition, producer Judith Sherman, who already has several Grammys to her credit, was nominated again and won again. She is also the producer to the two recordings of the six centennial commissions by the Pro Arte Quartet at the University of Wisconsin-Madison . The last one – with a string quartet by Belgian composer Benoit Mernier and a Clarinet Quintet by Canadian composer Pierre Jalbert – will be released this spring. In addition, violinist Augustin Hadelich (below), who has turned in outstanding and memorable performances with the Madison Symphony Orchestra , received his first Grammy for a recording of the late French composer Henri Dutilleux. Plus, the critically acclaimed Chicago-based record company Çedille (below top), which has celebrated its 25th anniversary and which specializes in Midwest artists as well as unusual repertoire of both old and new music, had several nominations and won a Grammy for a recording of the new music group Eighth Blackbird. Two other superb artists who record for Çedille and have performed in Madison with the Wisconsin Chamber Orchestra are violinists Rachel Barton Pine and Jennifer Koh. Here are all the winners in classical music for the 2016 Grammys. All the nominees are listed and the winners are noted with three asterisks (***): BEST ENGINEERED ALBUM, CLASSICAL ***Ask Your Mama (below): Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum & Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan & San Francisco Ballet Orchestra) Label: Avie Records Dutilleux: Métaboles; L’Arbre Des Songes (Tree of Dreams); Symphony No. 2, ‘Le Double’: Dmitriy Lipay, engineer; Alexander Lipay, mastering engineer (Ludovic Morlot , Augustin Hadelich & Seattle Symphony) Label: Seattle Symphony Media Monteverdi: Il Ritorno D’Ulisse In Patria : Robert Friedrich, engineer; Michael Bishop, mastering engineer (Martin Pearlman , Jennifer Rivera, Fernando Guimarães & Boston Baroque) Label: Linn Records Rachmaninoff: All-Night Vigil: Beyong Joon Hwang & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy, Phoenix Chorale and Kansas City Chorale ) Label: Chandos Saint-Saëns: Symphony No. 3, ‘Organ’: Keith O. Johnson and Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Michael Stern and Kansas City Symphony) Label: Reference Recordings 73. PRODUCER OF THE YEAR, CLASSICAL Blanton Alspaugh: • Hill: Symphony No. 4; Concertino Nos. 1 & 2; Divertimento (Peter Bay, Anton Nel & Austin Symphony Orchestra ) • Rachmaninoff: All-Night Vigil (Charles Bruffy, Phoenix Chorale & Kansas City Chorale) • Sacred Songs Of Life & Love (Brian A. Schmidt & South Dakota Chorale) • Spirit Of The American Range (Carlos Kalmar & The Oregon Symphony) • Tower: Violin Concerto; Stroke; Chamber Dance (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony) Manfred Eicher: • Franz Schubert (András Schiff) • Galina Ustvolskaya (Patricia Kopatchinskaja, Markus Hinterhäuser & Reto Bieri) • Moore: Dances & Canons (Saskia Lankhoorn) • Rihm: Et Lux (Paul Van Nevel, Minguet Quartet & Huelgas Ensemble) • Visions Fugitives (Anna Gourari) Marina A. Ledin, Victor Ledin: • Dances For Piano & Orchestra (Joel Fan, Christophe Chagnard & Northwest Sinfonietta) • Tempo Do Brasil (Marc Regnier) • Woman At The New Piano (Nadia Shpachenko) Dan Merceruio: • Chapí: String Quartets 1 & 2 (Cuarteto Latinoamericano) • From Whence We Came (Ensemble Galilei) • Gregson: Touch (Peter Gregson) • In The Light Of Air – ICE Performs Anna Thorvaldsdottir (International Contemporary Ensemble) • Schumann (Ying Quartet) • Scrapyard Exotica (Del Sol String Quartet ) • Stravinsky: Petrushka (Richard Scerbo & Inscape Chamber Orchestra) • What Artemisia Heard (El Mundo) • ZOFO Plays Terry Riley (ZOFO) ***Judith Sherman: • Ask Your Mama (George Manahan & San Francisco Ballet Orchestra) • Fields: Double Cluster; Space Sciences (Jan Kučera, Gloria Chuang & Moravian Philharmonic Orchestra ) • Liaisons – Re-Imagining Sondheim From The Piano (Anthony de Mare) • Montage – Great Film Composers & The Piano (Gloria Cheng) • Multitude, Solitude (Momenta Quartet) • Of Color Braided All Desire – Music Of Eric Moe (Christine Brandes, Brentano String Quartet, Dominic Donato, Jessica Meyer, Karen Ouzounian, Manhattan String Quartet & Talujon) • Rzewski: The People United Will Never Be Defeated! (Ursula Oppens) • Sirota: Parting The Veil – Works For Violin & Piano (David Friend, Hyeyung Julie Yoon, Laurie Carney & Soyeon Kate Lee) • Turina: Chamber Music For Strings & Piano (Lincoln Trio) BEST ORCHESTRAL PERFORMANCE Bruckner: Symphony No. 4: Manfred Honeck, conductor (Pittsburgh Symphony Orchestra ) Label: Reference Recordings Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Ludovic Morlot, conductor (Seattle Symphony) Label: Seattle Symphony Media ***Shostakovich: Under Stalin’s Shadow – Symphony No. 10 (below): Andris Nelsons, conductor (Boston Symphony Orchestra ) Label: Deutsche Grammophon Spirit Of The American Range: Carlos Kalmar, conductor (The Oregon Symphony) Label: Pentatone Zhou Long and Chen Yi: Symphony ‘Humen 1839’: Darrell Ang, conductor (New Zealand Symphony Orchestra ) Label: Naxos BEST OPERA RECORDING Janáček: Jenůfa: Donald Runnicles, conductor; Will Hartmann, Michaela Kaune & Jennifer Larmore; Magdalena Herbst, producer (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin) Label: Arthaus Monteverdi: Il Ritorno D’Ulisse In Patria: Martin Pearlman, conductor; Fernando Guimarães & Jennifer Rivera; Thomas C. Moore, producer (Boston Baroque) Label: Linn Records Mozart: Die Entführung Aus Dem Serail: Yannick Nézet-Séguin, conductor; Diana Damrau, Paul Schweinester & Rolando Villazón; Sid McLauchlan, producer (Chamber Orchestra Of Europe) Label: Deutsche Grammophon ***Ravel: L’Enfant Et Les Sortilèges; Shéhérazade (belw): Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus & SKF Matsumoto Children’s Chorus) Label: Decca Steffani: Niobe, Regina Di Tebe: Paul O’Dette & Stephen Stubbs, conductors; Karina Gauvin & Philippe Jaroussky; Renate Wolter-Seevers, producer (Boston Early Music Festival Orchestra) Label: Erato BEST CHORAL PERFORMANCE Beethoven: Missa Solemnis: Bernard Haitink, conductor; Peter Dijkstra, chorus master (Anton Barachovsky, Genia Kühmeier, Elisabeth Kulman, Hanno Müller-Brachmann & Mark Padmore; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) Label: BR Klassik Monteverdi: Vespers Of 1610: Harry Christophers, conductor (Jeremy Budd, Grace Davidson, Ben Davies, Mark Dobell, Eamonn Dougan & Charlotte Mobbs; The Sixteen) Label: Coro Pablo Neruda – The Poet Sings: Craig Hella Johnson, conductor (James K. Bass, Laura Mercado-Wright, Eric Neuville & Lauren Snouffer; Faith DeBow & Stephen Redfield; Conspirare) Label: Harmonia Mundi Paulus: Far In The Heavens: Eric Holtan, conductor (Sara Fraker, Matthew Goinz, Thea Lobo, Owen McIntosh, Kathryn Mueller & Christine Vivona; True Concord Orchestra; True Concord Voices) Label: Reference Recordings ***Rachmaninoff: All-Night Vigil (below): Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale) Label: Chandos BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE Brahms: The Piano Trios: Tanja Tetzlaff, Christian Tetzlaff & Lars Vogt. Label: Ondine ***Filament (below and in a YouTube video at the bottom): Eighth Blackbird. Label: Cedille Records Flaherty: Airdancing For Toy Piano, Piano & Electronics: Nadia Shpachenko & Genevieve Feiwen Lee. Track from: Woman At The New Piano. Label: Reference Recordings Render: Brad Wells & Roomful Of Teeth. Label: New Amsterdam Records Shostakovich: Piano Quintet & String Quartet No. 2: Takács Quartet & Marc-André Hamelin. Label: Hyperion BEST CLASSICAL INSTRUMENTAL SOLO ***Dutilleux: Violin Concerto, L’Arbre Des Songes (below): Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony) Track from: Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’ Label: Seattle Symphony Media Grieg & Moszkowski: Piano Concertos: Joseph Moog; Nicholas Milton, conductor (Deutsche Radio Philharmonie Saarbrücken Kaiserslautern) Label: Onyx Classics Mozart: Keyboard Music, Vol. 7: Kristian Bezuidenhout. Label: Harmonia Mundi Rachmaninov Variations: Daniil Trifonov (The Philadelphia Orchestra) Label: Deutsche Grammophon Rzewski: The People United Will Never Be Defeated! Ursula Oppens (Jerome Lowenthal). Label: Cedille Records photo BEST CLASSICAL SOLO VOCAL ALBUM Beethoven: An Die Ferne Geliebte; Haydn: English Songs; Mozart: Masonic Cantata: Mark Padmore; Kristian Bezuidenhout, accompanist. Label: Harmonia Mundi ***Joyce & Tony – Live From Wigmore Hall: Joyce DiDonato; Antonio Pappano, accompanist. Label: Erato Nessun Dorma – The Puccini Album. Jonas Kaufmann; Antonio Pappano, conductor (Kristīne Opolais, Antonio Pirozzi & Massimo Simeoli; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia) Label: Sony Classical Rouse: Seeing; Kabir Padavali: Talise Trevigne; David Alan Miller, conductor (Orion Weiss; Albany Symphony) Label: Naxos St. Petersburg: Cecilia Bartoli; Diego Fasolis, conductor (I Barocchisti) Label: Decca BEST CLASSICAL COMPENDIUM As Dreams Fall Apart – The Golden Age Of Jewish Stage And Film Music (1925-1955): New Budapest Orpheum Society; Jim Ginsburg, producer. Label: Cedille Records Ask Your Mama: George Manahan, conductor; Judith Sherman, producer. Label: Avie Records Handel: L’Allegro, Il Penseroso Ed Il Moderato, 1740: Paul McCreesh, conductor; Nicholas Parker, producer. Label: Signum Classics ***Paulus: Three Places Of Enlightenment; Veil Of Tears & Grand Concerto (below): Giancarlo Guerrero, conductor; Tim Handley, producer. Label: Naxos Woman At The New Piano: Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers. Label: Reference Recordings BEST CONTEMPORARY CLASSICAL COMPOSITION Barry: The Importance Of Being Earnest: Gerald Barry, composer (Thomas Adès, Barbara Hannigan, Katalin Károlyi, Hilary Summers, Peter Tantsits & Birmingham Contemporary Music Group) Label: NMC Recordings Norman: Play: Andrew Norman, composer (Gil Rose & Boston Modern Orchestra Project) Track from: Norman: Play. Label: BMOP/Sound ***Paulus: Prayers & Remembrances (below): Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra). Track from: Paulus: Far In The Heavens. Label: Reference Recordings Tower: Stroke: Joan Tower, composer (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony). Track from: Tower: Violin Concerto; Stroke; Chamber Dance. Label: Naxos Wolfe: Anthracite Fields: Julia Wolfe, composer (Julian Wachner, The Choir Of Trinity Wall Street & Bang On A Can All-Stars) Label: Cantaloupe Music Tagged: Arts , Augustin Hadelich , Baroque , Beethoven , Belgium , Berlin , Bernard Haitink , Boston , Boston Symphony Orchestra , Brahms , Bruckner , Canada , Cecila Bartoli , Cedille , Cello , Chamber music , Chandos , China , Chinese composers , Chinese music , choral music , Chorale , Classical music , Compact Disc , concerto , Decca , Deutsche Grammophon , divertimento , Dutilleux , Early music , eighth blackbird , English , French-Canadian , Grammy , Grieg , Handel , Harmonia Mundi , Haydn , Hyperion , Jacob Stockinger , Janacek , Joan Tower , Johann Sebastian Bach , Joyce DiDonato , Kansas City , Ludwig van Beethoven , Madison , Marc-André Hamelin , Mark Padmore , Monteverdi , Mozart , Music , Nashville , Naxos , opera , Orchestra , organ , Ozawa , Phoenix , Piano , Piano Quintet , Piano Trio , Pittsburgh Symphony Orchestra , Pro Arte Quartet , Puccini , quintet , Rachmaninoff , Rachmaninov , Ravel , Rm , Rolando Villazon , Saint-Saens , Schubert , Schumann , Seattle , Shostakovich , Sonata , songs , Stephen Paulus , Stravinsky , String quartet , symphony , Takacs Quartet , Terry Riley , trio , United States , University of Wisconsin-Madison School of Music , University of Wisconsin–Madison , Violin , vocal music , Wisconsin , Wisconsin Chamber Orchestra , YouTube