Florent Schmitt - Oriane et le Prince d'amour; In Memoriam; Ronde burlesque (Pierre Stoll)

Information

Composer: Florent Schmitt

1. Oriane et le Prince d'amour, Op. 83
2. In Memoriam, Op. 72
3. Ronde burlesque, Op. 78
4. Légende, Op. 66 (for viola & orchestra)

Eckart Schloifer, viola (4)
Staatsphilharmonie Rheinland-Pfalz
Pierre Stoll, conductor

Date: 1987
Label: Cybelia

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Dmitri Shostakovich - Symphony No. 13 "Babi Yar" (Kirill Kondrashin; BRSO - 1980)

Information

Composer: Dmitri Shostakovich

1. Symphony No. 13 in B flat minor, Op. 113 - "Babi Yar": 1. Babi Yar (Adagio)
2. Symphony No. 13 in B flat minor, Op. 113 - "Babi Yar": 2. Humour (Allegretto)
3. Symphony No. 13 in B flat minor, Op. 113 - "Babi Yar": 3. In the Store (Adagio)
4. Symphony No. 13 in B flat minor, Op. 113 - "Babi Yar": 4. Fears (Largo)
5. Symphony No. 13 in B flat minor, Op. 113 - "Babi Yar": 5. Career (Allegretto)

John Shirley-Quirk, bass
Bavarian Radio Symphony Chorus' Men
Bavarian Radio Symphony Orchestra
Kirill Kondrashin, conductor

Date: 1980
Label: Philips

Kirill Kondrashin is the conductor who conducted the premier of Shostakovich's 13th symphony on 18 December 1962 with the Moscow Philharmonic and bass soloist Vitaly Gromadsky, after Evgeny Mravinsky refused to conduct the work.

John Shirley-Quirk is the bass soloist in the Western premier of this symphony on 14 September 1971 with Charles Groves conducting the Royal Liverpool Philharmonic.

This recording, which is made in 1980, has some text lines that censored in Kondrashin's previous Melodiya performances.

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Ferruccio Busoni - Piano Works (Geoffrey Douglas Madge)

Information

Composer: Ferruccio Busoni

CD1:

• (01-24) 24 Preludes, Op. 37, BV 181
• (25-26) 2 Tanzstücke, Op. 30a, BV 235a
• (27) Vierte Ballettszene, Op. 33a, BV 238

CD2:

• (01-03) Racconti fantastici, Op. 12, BV 100
• (04-05) Variationen und Fuge in freier Form über Fr. Chopin's C-moll Präludium (Op. 28 No. 20), Op. 22, BV 213
• (06-11) Macchiette Medioevali, Op. 33, BV 194
• (12-17) 6 Stücke, Op. 33b, BV 241

CD3:

• (01-07) Elegien, BV 249
• (08-12) Suite Campestre, Op. 18, BV 81
• (13) Variationen und Fuge in freier Form über Fr. Chopin's C-moll Präludium (Op. 28 No. 20), Op. 22, BV 213 (2nd Version)

CD4:

• (01) Fantasia contrappuntistica, BV 256
• (02) Choral-Vorspiel und Fuge über ein Bachsches Fragment, BV 256a
• (03) Nuit de Noël, BV 251
• (04-07) Indianisches Tagebuch I, BV 267
• (08) Fantasia nach J.S. Bach, BV 253

CD5:

• (01) Sonatina, BV 257
• (02) Sonatina seconda, BV 259
• (03-07) Sonatina ad usum Infantis, BV 268
• (08) Sonatina in diem nativitatis Christi MCMXVII, BV 274
• (09) Sonatina brevis. In signo Joannis Sebastiani Magni, BV 280
• (10) Sonatina super Carmen (Kammer-Fantasie über Bizets "Carmen"), BV 284
• (11-13) 3 Albumblätter, BV 289
• (14) Notturni. Prologo, BV 279
• (15) Perpetuum mobile, BV 293

CD6:

• (01-04) An die Jugend, BV 254
• (05-11) 5 Kurze Stücke zur Pflege des Polyphonen Spiels, BV 29
• (12-13) Prélude et étude en arpèges, BV 297
• (14-16) Toccata, BV 287

Geoffrey Douglas Madge, piano
Date: 1987
Label: Philips

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Ernest Bloch - Symphony in C sharp minor; Poems of the Sea (Dalia Atlas)

Information

Composer: Ernest Bloch

1. Symphony in C sharp minor: I. Lento - Allegro agitato ma molto energico
2. Symphony in C sharp minor: II. Andante molto moderato
3. Symphony in C sharp minor: III. Vivace
4. Symphony in C sharp minor: IV. Allegro energico e molto marcato
5. Poems of the Sea: I. Waves (Poco agitato)
6. Poems of the Sea: II. Chanty (Andante misterioso)
7. Poems of the Sea: III. At Sea (Allegro vivo)

London Symphony Orchestra
Dalia Atlas, conductor
Date: 2011
Label; Naxos
http://www.naxos.com/catalogue/item.asp?item_code=8.573241

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Review

The LSO play Bloch’s Symphony in C sharp minor marvellously and Dalia Atlas conducts it with understanding and conviction. She is of the opinion ‘that this is Bloch’s greatest and best work’; I shall further quote her in describing it as ‘a large-scale neo-romantic symphony, written when the composer was only 20 and scored for a Mahlerian-sized orchestra in the perfect neo-romantic form customary at the time. Like the symphonies of Mahler, Bruckner, Richard Strauss and others the work reveals exceptional depth and maturity. Without searching for external influences, Bloch attempted solely to express his innermost self.’

The richness and colour of the orchestration are very striking indeed. The first movement is too long but well structured; the slow movement is agreeably lyrical; the scherzo, opening tellingly with trumpet fanfares, is ‘virtuosic’. The finale includes a fugue and closes with a triumphant march, taken from the second movement, but then concludes quietly and tranquilly.

All in all it is undoubtedly impressive, when played with such conviction and so well recorded too. But in the end, I ask, is it really a masterpiece as Dalia Atlas seems to suggest? I fear not. Although it is in many ways rewarding to listen to and interesting to study, it is, for me, not a memorably great work.

Listening to the atmospheric music of the Poems of the Sea, inspired by Walt Whitman, which acts as a coupling, one discovers an evocative magic, a feeling of inspiration, missing in the symphony. This too is played very well indeed.

-- Ivan March, Gramophone

More reviews:
http://www.musicweb-international.com/classrev/2013/Oct13/Bloch_symphony_8573241.htm
http://www.allmusic.com/album/ernest-bloch-symphony-in-c-sharp-minor-poems-of-the-sea-mw0002564591
http://www.theguardian.com/music/2013/nov/17/bloch-symphony-c-sharp-minor-review
http://www.classicstoday.com/review/finally-another-bloch-symphony-c-sharp-minor/
http://www.amazon.com/Bloch-Symphony-sharp-minor-Poems/dp/B00E3ISHMI

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Ernest Bloch (July 24, 1880 – July 15, 1959), born in Geneva to Jewish parents, was a 20th-century Swiss-born American composer. He was mostly known for his compositions on Jewish subjects such as Baal Shem and Schelomo, although he also wrote music in many other styles.

https://en.wikipedia.org/wiki/Ernest_Bloch

http://www.allmusic.com/artist/ernest-bloch-mn0001512379/biography

***

Dalia Atlas (born 1933 in Haifa, Israel) is a classical orchestral conductor. She has a rich repertoire includes about 750 scores and recorded more than twenty CD's. Atlas is a noted champion of Ernest Bloch's music, being the founder and the Head of "The Ernest Bloch Society in Israel" as well as "Honorary Vice President" of the "Ernest Bloch International Society", London, UK.

http://www.dalia-atlas.com/

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Charles Villiers Stanford - Piano Concerto No. 3; Cello Concerto (Malcolm Binns; Alexander Baillie) mp3

Information

Composer: Charles Villiers Stanford

1. Cello Concerto in D minor: 1. Allegro molto moderato - Cadenza
2. Cello Concerto in D minor: 2. Molto adagio
3. Cello Concerto in D minor: 3. Allegretto non troppo
4. Piano Concerto No. 3 in E flat major, Op. 171 (orch. Geoffrey Bush): 1. Allegro moderato
5. Piano Concerto No. 3 in E flat major, Op. 171 (orch. Geoffrey Bush): 2. Larghetto - Scherzando - Adagio - Cadenza
6. Piano Concerto No. 3 in E flat major, Op. 171 (orch. Geoffrey Bush): 3. Allegro

Alexander Baillie, cello (1-3)
Malcolm Binns, piano (4-6)
Royal Philharmonic Orchestra
Nicholas Braithwaite, conductor

Date: 2007

Label: Lyrita

http://www.wyastone.co.uk/stanford-cello-concerto-piano-concerto-no-3.html

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Charles Villiers Stanford - Irish Rhapsodies (Vernon Handley)

Information

Composer: Charles Villiers Stanford

CD1:

1. Irish Rhapsody No. 1 in D minor, Op. 78
2. Irish Rhapsody No. 2 in F minor, Op. 84 "Lament for the Son of Ossian"
3. Irish Rhapsody No. 3 for cello & orchestra, Op. 137
4. Irish Rhapsody No. 4 in A minor, Op. 141 "The Fisherman of Loch Neagh and what he saw"

CD2:

1. Irish Rhapsody No. 5 in G minor, Op. 147
2. Irish Rhapsody No. 6 for violin & orchestra, Op. 191
3. Clarinet Concerto in A minor, Op. 80: 1. Allegro moderato
4. Clarinet Concerto in A minor, Op. 80: 2. Andante con moto, ma più tranquillo
5. Clarinet Concerto in A minor, Op. 80: 3. Allegro moderato
6. Concert Piece for organ & orchestra, Op. 181
7. Oedipus Rex, incidental music, Op. 29: Prelude

Raphael Wallfisch, cello (CD1 3)

Lydia Mordkovitch, violin (CD2 2)

Janet Hilton, clarinet (CD2 3-5)

Gillian Weir, organ (CD2 6)

Ulster Orchestra

Vernon Handley, conductor

Date: 1986-1991

Label: Chandos

https://www.chandos.net/products/catalogue/CHAN%207002

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Dmitri Shostakovich - Symphony No. 4 (Kirill Kondrashin; RCO - 1971)

Information

Composer: Dmitri Shostakovich

1. Symphony No. 4 in C minor, Op. 43: 1. Allegretto poco moderato
2. Symphony No. 4 in C minor, Op. 43: 2. Moderato con moto
3. Symphony No. 4 in C minor, Op. 43: 3. Largo - Allegretto

Royal Concertgebouw Orchestra
Kirill Kondrashin, conductor

Date: 1971
Label: RCO Live
This is tracks 2-4 from the 1st disc of "Anthology of the Royal Concertgebouw Orchestra" Volume 4.
http://www.allmusic.com/album/anthology-of-the-royal-concertgebouw-orchestra-vol-4-live-the-radio-recordings-1970-1980-mw0001392356

***

Kondrashin conducted the premier of Shostakovich's 4th symphony in 1961. He made the first recording in 1962 for Melodiya (here) with the Moscow Philharmonic (there is another recording with the same orchestra on Melodiya (here), part of the complete symphonies box set, listed as recorded in 1966, sounded like the 1962's performance to my ears, but better remastered). The second recording of this symphony Kondrashin made is with the Staatskapelle Dresden in 1963 (here), a mono radio broadcast but the sound is fairly good with deep bass, just a little muddy (ClassicsToday's review).

So, this 1971's recording with the Concertgebouw is the 3rd (or 4th) recording of Kondrashin's DSCH 4 and the only one made in the West (so far released). It has the best sounding, has one of the best orchestras, and has Kondrashin in his peak. Compare to other recordings listed above, it's truly "definitive in every way".

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Clara Schumann - Piano Works (Konstanze Eickhorst)

Composer: Clara Schumann

1. Soirées Musicales, Op. 6: 1. Toccatina
2. Soirées Musicales, Op. 6: 2. Notturno
3. Soirées Musicales, Op. 6: 3. Mazurka
4. Soirées Musicales, Op. 6: 4. Ballade
5. Soirées Musicales, Op. 6: 5. Mazurka
6. Soirées Musicales, Op. 6: 6. Polonaise
7. Scherzo No. 1 in D minor, Op. 10
8. Scherzo No. 2 in C minor, Op. 14
9. Pièces fugitives, Op. 15: 1. Larghetto
10. Pièces fugitives, Op. 15: 2. Un poco agitato
11. Pièces fugitives, Op. 15: 3. Andante espressivo
12. Pièces fugitives, Op. 15: 4. Scherzo
13. Variations on a theme by Robert Schumann in F sharp minor, Op. 20
14. Romance in A minor, Op. 21 No. 1
15. Romance in B minor, Op. posth.

Konstanze Eickhorst, piano
Date: 1986
Label: CPO

https://www.jpc.de/jpcng/cpo/detail/-/art/Clara-Wieck-Schumann-1819-1896-Klavierwerke/hnum/5863079

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Clara Schumann (née Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital and the tastes of the listening public. Her husband was the composer Robert Schumann, and ogether they encouraged Johannes Brahms. She was the first to perform publicly any work by Brahms and later premiered some other pieces by him.
http://en.wikipedia.org/wiki/Clara_Schumann

***

Konstanze Eickhorst (born 6 May 1961, in Bremen) is a German pianist. Eickhorst was a pupil of Karl-Heinz Kämmerling in Hanover and Vlado Perlemuter in Paris. Eickhorst won the IX Clara Haskil (1981) and IV Géza Anda (1988) competitions. A member of the Linos Ensemble, she has been active at an international level as a soloist and a chamber musician, and has recorded for CPO. She teaches at the Musikhochschule Lübeck. She has chaired the European Piano Competition at Bremen since 2007 and is in addition a member of the artistic organising committee.
https://en.wikipedia.org/wiki/Konstanze_Eickhorst

http://www.konstanze-eickhorst.com/

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Clara Schumann - Complete Songs (Dorothea Craxton)

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Composer: Clara Schumann

1. 3 Lieder, Op. 12: 1. Er ist gekommen
2. 3 Lieder, Op. 12: 2. Liebst du um Schonheit
3. 3 Lieder, Op. 12: 3. Warum willst du and're fragen
4. Die gute Nacht
5. 6 Lieder, Op. 13: 1. Ich stand in dunkeln Traumen
6. 6 Lieder, Op. 13: 2. Sie liebten sich beide
7. 6 Lieder, Op. 13: 3. Liebeszauber
8. 6 Lieder, Op. 13: 4. Der Mond kommt still gegangen
9. 6 Lieder, Op. 13: 5. Ich hab' in deinem Auge
10. 6 Lieder, Op. 13: 6. Die stille Lotosblume
11. 6 Lieder aus Jucunde, Op. 23: 1. Was weinst du Blumlein (2nd version)
12. 6 Lieder aus Jucunde, Op. 23: 2. An einem lichten Morgen (2nd version)
13. 6 Lieder aus Jucunde, Op. 23: 3. Geheimes Flustern
14. 6 Lieder aus Jucunde, Op. 23: 4. Auf einem grunen Hugel
15. 6 Lieder aus Jucunde, Op. 23: 5. Das ist ein Tag
16. 6 Lieder aus Jucunde, Op. 23: 6. O Lust, O Lust
17. Der Abendstern
18. Am Strande
19. Ihr Bildnis (1st version of Op. 13 No. 1)
20. Volkslied
21. Sie liebten sich beide (1st version of Op. 13 No. 2)
22. Loreley
23. O weh des Scheidens
24. Mein Stern
25. Beim Abschied
26. Das Veilchen
27. Der Wanderer
28. Der Wanderer in der Sagemuhle
29. Walzer

Dorothea Craxton, soprano
Hedayet Djeddikar, fortepiano
Date: 2009
Label: Naxos
http://www.naxos.com/catalogue/item.asp?item_code=8.570747

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Review

The available selection of Clara Schumann's songs has been increasing, which is all to the good; they reveal a composer whose thinking was closely connected with that of her husband, who had the talent to keep up with what he was doing, and whose musical language in the realm of the art song kept developing even as Robert turned away from the genre. This Naxos release takes an unusual approach: it is, essentially, a historically authentic performance of the songs. Swiss-German pianistHedayet Djeddikar uses an 1828 Stein piano owned by Clara Schumann herself, and the accompaniments take on the subtle colors made possible by fortepiano performance. Djeddikar has an especially nice way with Schumann's treatment of the upper register in the accompaniment, which adds a fantastic, melancholy, or playful note depending on the circumstances. Soprano Dorothea Craxton tries for an intimate vocal approach to match the piano and the charming sonic ambiance of the Schumannhaus in Zwickau. This is a good idea in principle, but Craxton's sound has little support in her upper register. She sounds fine in small doses, especially in limpid pieces like "Die gute Nacht" from the Four Songs by Friedrich Rückert, Op. 12. But over the course of the entire program of 29 songs the shaky intonation at crucial moments may result in aural fatigue. This release is a classic example of an original approach awaiting other performers to come along with improved execution. Texts and translations (into English only) are available only online.

-- James Manheim, AllMusic

More reviews:
http://www.musicweb-international.com/classrev/2009/Mar09/Schumann_C_songs_8570747.htm

http://www.amazon.com/Schumann-Complete-Songs-Craxton/dp/B001LKLKQG

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Clara Schumann (née Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital and the tastes of the listening public. Her husband was the composer Robert Schumann, and ogether they encouraged Johannes Brahms. She was the first to perform publicly any work by Brahms and later premiered some other pieces by him.
http://en.wikipedia.org/wiki/Clara_Schumann

***

Dorothea Craxton graduated from the Staatliche Musikhochschule in Cologne with the Artists’ Diploma and continued her studies with Anna Reynolds and Barbara Schlick. She has appeared as a soprano in numerous oratorio and concert performances of ancient music, as well as contemporary music, including premières, and in chamber music. She gives regular Lieder recitals and in recent years has given particular attention to the work of women composers of the romantic period—especially Clara Schumann and Fanny Hensel—both published and unpublished songs.

http://www.naxos.com/person/Dorothea_Craxton/49276.htm

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Charles Koechlin - Music for Chamber Ensembles (Ensemble Initium; Ensemble Contraste)

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Composer: Charles Koechlin

• (01-12) Paysages et Marines, Op. 63b
• (13-21) Deux Sonatines, Op. 194
• (22-27) Septuor à vents, Op. 165
• (28-31) Sonate à sept, Op. 221

Ensemble Initium
Édouard Sabo, flute
Armel Descotte, oboe (28-31) & oboe d'amour (13-21)
Hélène Gueuret, oboe (22-27)
Guillaume Deshayes, English horn
François Lemoine, clarinet
Cédric Carcelès, saxophone
Frank Sibold, bassoon
Stéphane Bridoux, French horn
&

Ensemble Contraste
Johan Farjot, piano & harpsichord
Arnaud Thorette, violin
Mathilde Borsarello-Herrmann, violin (13-21; 28-31)
Maria Mosconi, viola
Raphaël Aubry, viola (13-21)
Antoine Pierlot, cello
Gauthier Herrmann, cello (13-21)

Date: 2011
Label: Timpani
http://www.timpani-records.com/1c1193.php

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Review

'... Michel Fleury's remarks on Koechlin in the Timpani booklet bear the title 'Open Air Music', alluding to the idea that Koechlin was an 'outdoor' kind of composer. Certainly in this splendid recording nature's big, bold canvases are very much in evidence, nowhere more so than in the retrospective Paysages et Marines ('Landscapes and Seascapes'), one of Koechlin's key works. The spirited Wind Septet is also available on the Brilliant Classics triplex (9266), where it suffers quite severe distortion towards the adrenalised end, microphones unable to cope with a combination of volume and high pitches. Timpani's engineers show Brilliant how it should be done. The two French chamber ensembles Contraste and Initium, one wind-based, one strings, give elegant, expressive readings of some of Koechlin's most imaginatively scored works.'

-- Byzantion, MusicWeb International

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Charles Koechlin (27 November 1867 – 31 December 1950) was a French composer, teacher and writer on music. He was a political radical all his life and a passionate enthusiast for such diverse things as medieval music, The Jungle Book of Rudyard Kipling, Johann Sebastian Bach, film stars (especially Lilian Harvey and Ginger Rogers), traveling, stereoscopic photography and socialism. Koechlin was enormously prolific. Despite his lack of worldly success, Koechlin was apparently a loved and venerated figure in French music.
http://en.wikipedia.org/wiki/Charles_Koechlin

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http://nocturna-artificialia.blogspot.com/2014/09/charles-koechlin-oeuvres-pour-ensembles.html

Charles Gounod - Symphonies Nos. 1 & 2 (Michel Plasson)

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Composer: Charles Gounod

1. Symphony No. 1 in D major: I. Allegro molto
2. Symphony No. 1 in D major: II. Allegro moderato
3. Symphony No. 1 in D major: III. Scherzo. ma non troppo presto
4. Symphony No. 1 in D major: IV. Finale. Adagio - Allegro vivace
5. Symphony No. 2 in E flat major: I. Adagio - Allegro agitato
6. Symphony No. 2 in E flat major: II. Larghetto (non troppo)
7. Symphony No. 2 in E flat major: III. Scherzo. Allegro molto
8. Symphony No. 2 in E flat major: IV. Finale. Allegro leggiero assai

Orchestre National du Capitole de Toulouse
Michel Plasson, conductor
Date: 1979
Label: EMI

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Review

Though I was well aware that Gounod had written symphonies, I have to confess that this is the first time I am conscious of their having come my way. My ancient edition of Grove dismissed them as "of no importance". That, at least, was a promising indicator, since such words are commonly applied to unpretentious and utterly charming music. Thus it turns out.

The First Symphony has been labelled as the model for the youthful Symphony in C of Bizet, who indeed was encouraged by Gounod himself to accept a commission to arrange the work for piano duet. The similarities of style are certainly striking, and though this was clearly a case of pupil outclassing the master, the Gounod work has plenty to offer in the same captivating style. The Second Symphony is a little weightier, with a solemn opening and a touch of Beethoven to add to the shades of Schubert and Mendelssohn; but the solemnity never lasts for long before the sparkle bursts through again.

Michel Plasson, already noted for his Rachmaninov, Offenbach, Saint-Saëns and Massenet interpretations, now shows a similar feel for Gounod's transparent melodic lines, keeping the music moving along when the shifts of rhythm might in other hands produce a stodgy effect, and making the most of the frequent surges from momentary solemnity to renewed gaiety. His Toulouse orchestra serves him admirably, particularly in the important woodwind contributions. EMI's recording is especially successsful in creating a spacious but crisp sound. Music of no importance it may be, but the record makes a diverting and persuasive case for it.

-- Gramophone [8/1980] Reviewing original LP

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Charles Gounod (17 June 1818 – 17 October or 18 October 1893) was a French composer. Gounod is best known for his operas Faust and Romeo et Juliette and for his Ave Maria (1859). Though his reputation began to fade even before he died, he is still generally regarded as a major figure in nineteenth century French music. Stylistically, he was a conservative whose influence nevertheless extended to Bizet, Saint-Saëns, and Massenet.
http://en.wikipedia.org/wiki/Charles_Gounod

***

Michel Plasson (born 2 October 1933, Paris, France) is a French conductor. Plasson was principal conductor of the Orchestre et Chœurs du Capitole de Toulouse from 1968 to 2003 and now has the title of "Honorary Conductor", or conductor emeritus. Plasson's recordings were mainly made for EMI/Virgin, and focused upon works by French composers.
http://en.wikipedia.org/wiki/Michel_Plasson

http://www.allmusic.com/artist/michel-plasson-mn0000926073/

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Charles Ives - Holidays Symphony; Three Places in New England (Eugene Ormandy)

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Composer: Charles Ives

1. A New England Holiday Symphony: I. Washington's Birthday
2. A New England Holiday Symphony: II. Decoration Day
3. A New England Holiday Symphony: III. The Fourth of July
4. A New England Holiday Symphony: IV. Thanksgiving and Forefather's Day
5. Three Places in New England (Orchestral Set No. 1): I. The "St. Gaudens" in Boston Common (Col. Robert Gould Shaw and his Colored Regiment)
6. Three Places in New England (Orchestral Set No. 1): II. Putnam's Camp, Redding, Connecticut
7. Three Places in New England (Orchestral Set No. 1): III. The Housatonic at Stockbridge

Temple University Concert Choir
Philadelphia Orchestra
Eugene Ormandy, conductor

Date: 1974
Label: RCA

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Bohuslav Martinů - Piano Concertos (Emil Leichner)

Composer: Bohuslav Martinů

CD1:

1. Piano Concerto No. 1 in D major, H. 149: I. Allegro moderato
2. Piano Concerto No. 1 in D major, H. 149: II. Andante -
3. Piano Concerto No. 1 in D major, H. 149: III. Allegro
4. Piano Concerto No. 2, H. 237: I. Allegro moderato
5. Piano Concerto No. 2, H. 237: II. Poco andante
6. Piano Concerto No. 2, H. 237: III. Poco allegro
7. Piano Concertino, H. 269: I. Allegro moderato (comodo)
8. Piano Concertino, H. 269: II. Lento
9. Piano Concertino, H. 269: III. Allegro

CD2:

1. Piano Concerto No. 3, H. 316: I. Allegro
2. Piano Concerto No. 3, H. 316: II. Andante poco moderato
3. Piano Concerto No. 3, H. 316: III. Moderato. Allegro
4. Piano Concerto No. 4 "Incantations", H. 358: I. Poco allegro
5. Piano Concerto No. 4 "Incantations", H. 358: II. Poco moderato
6. Piano Concerto No. 5 in B flat major "Fantasia concertante", H. 366: I. Poco allegro risoluto
7. Piano Concerto No. 5 in B flat major "Fantasia concertante", H. 366: II. Poco andante
8. Piano Concerto No. 5 in B flat major "Fantasia concertante", H. 366: III. Poco allegro

Emil Leichner, piano
Czech Philharmonic Orchestra
Jiří Bělohlávek, conductor
Date: 1989
Label: Supraphon

More info & reviews:
http://www.supraphon.com/en/catalogue/on-line-database/detail/?idtitulu=652
http://www.amazon.com/Martinu-Piano-Concertos-Bohuslav/dp/B0000262OH

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Arnold Bax - Chamber Music (Nash Ensemble)

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Composer: Arnold Bax

1. Nonet for flute, oboe, clarinet, harp, string quartet & double bass: I. Molto moderato - Lento
2. Nonet for flute, oboe, clarinet, harp, string quartet & double bass: II. Allegro - Lento espressivo
3. Oboe Quintet: I. Tempo molto moderato - Allegro moderato - Tempo primo
4. Oboe Quintet: II. Lento espressivo
5. Oboe Quintet: III. Allegro giocoso - Più lento - Vivace
6. Elegiac Trio for flute, viola & harp
7. Clarinet Sonata: I. Molto moderato
8. Clarinet Sonata: II. Vivace - Pochittino meno posso (Lento)
9. Harp Quintet

The Nash Ensemble

Philippa Davies, flute

Gareth Hulse, oboe

Michael Collins, clarinet

Marcia Crayford, violin

Iris Juda, violin (Quintets)

Elizabeth Wexler, violin (Nonet)

Roger Chase, viola

Christopher van Kampen, cello

Duncan McTier, double bass

Skaila Kanga, harp

Ian Brown, piano & conductor (Nonet)

Date: 1996

Label: Hyperion

http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA66807

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Arnold Bax; Frederick Delius; Frank Bridge - English Spring (Mark Elder) mp3

Information

Composer: Arnold Bax; Frederick Delius; Frank Bridge

1. Bax - Spring Fire: I. In the Forest before Dawn
2. Bax - Spring Fire: II. Daybreak and Sunrise
3. Bax - Spring Fire: III. Full Day
4. Bax - Spring Fire: IV. Woodland Love - Romance
5. Bax - Spring Fire: V. Maenads
6. Delius - Idylle Printemps
7. Delius - The March of the Spring
8. Bridge - Enter Spring

Hallé Orchestra
Mark Elder, conductor

Date: 2011
Label: Hallé

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