Mendelssohn Symphony No. 3180g LP (Vinyl)
Otto Klemperer conducting the Phiharmonia Orchestra. Mendelssohn was one of the most gifted musicians of his age. Beginning to compose at the age of eleven he soon showed a degree of precociousness beside which even Mozart's must appear as less amazing. Mendelssohn enchants by an easy flow of graceful, elegantly tailored melody, by the perfection of his form and, in his orchestral works, by his instrumentation which is vivid, colorful and light. & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Philharmonia Orchestra & lt;br & gt; Otto Klemperer, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Felix Mendelssohn-Bartholdy (1809-1847) & lt;br & gt; & lt;/b & gt;1. & lt;b & gt;Overture & quot;The Hebrides & quot; (Fingal's Cave), Op. 26 & lt;br & gt; Symphony No. 3 in A minor ( & quot;Scotch & quot;) & lt;/b & gt; & lt;br & gt; 2. Andante con moto & lt;br & gt; 3. Allegro un poco agitato & lt;br & gt; 4. Assai animato & lt;br & gt; 5. Andante come prima & lt;br & gt; 6. Vivace non troppo & lt;br & gt; 7. Adagio & lt;br & gt; 8. Allegro vivacissimo & lt;br & gt; 9. Allegro maestoso assai
Ida Haendel Ida Haendel Plays Sibelius 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;This item not eligible for any further discount offers! & lt;/b & gt; & lt;br & gt; & lt;br & gt; Master violinist Ida Haendel plays Sibelius serenades, violin concerto, and Humoreske No. 5 with the Bournemouth Symphony Orchestra conducted by Paavo Berglund. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Ida Haendel, violin & lt;br & gt; Bournemouth Symphony Orchestra & lt;br & gt; Paavo Berglund, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; & lt;b & gt;Jean Sibelius (1865-1957) & lt;br & gt; Violin Concerto in D Minor, Op. 47 & lt;/b & gt; & lt;br & gt; 1. 1st Movement: Allegro moderato & lt;br & gt; 2. 2nd Movement: Adagio di molto & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. 3rd Movement: Allegro ma non tanto & lt;br & gt; & lt;b & gt;Serenade No. 1 in D Major, Op. 69a & lt;/b & gt; & lt;br & gt; 2. Andante assai & lt;br & gt; & lt;b & gt;Serenade No. 2 in G minor, Op. 69b & lt;/b & gt; & lt;br & gt; 3. Lento assai & lt;br & gt; 4. Humoreske No. 5 in E flat Major, Op. 89 No. 3
Wagner Siegfried The Ring Cycle 180g 5LP (Vinyl)
The most coveted performance of Wagner's legendary epic Ring Cycle was in fact recorded by Decca in Stereo live at the 1955 Bayreuth Festival. But until now, that lost performance has remained but a memory. & lt;br & gt; & lt;br & gt; Thrillingly conducted by Joseph Keilberth (called by Astrid Varnay, & quot;a conductor with so much love, who was always there for you & quot;), the cycle provides the opportunity to hear complete for the first time on commercial release the definitive performances of Hans Hotter, Astrid Varnay and Paul Kuen, in addition to the much-loved Siegfried of Wolfgang Windgassen, here heard in his prime. & lt;br & gt; & lt;br & gt; These live Bayreuth performances were taped by a Decca team led by Peter Andry and including the noted engineers Kenneth Wilkinson and Roy Wallace, with Gordon Parry as assistant. Using a new six-channel mixer designed by Wallace, the team made both stereo and mono recordings of each opera. Three microphones were placed in the sunken orchestra pit and three were hanged from a lighting bridge about 20 feet above the stage. & quot;This was brilliant; it worked beautifully, & quot; remembers Wallace. The company prepared for an expected release, but John Culshaw, recently returned to Decca, vetoed the project. He disliked & quot;live & quot; recordings and already had plans for a studio Ring with Solti, which began four years later. Decca's recording vividly captures in wonderful stereo sound the unique acoustic and stage/pit balance of the Bayreuth Festival theatre with its sunken orchestra, in addition to preserving the leading singers from a Wagnerian golden age in live performance. & lt;br & gt; & lt;br & gt; The revelations are the remarkable early stereo sound quality and Keilberth's elemental conducting. This Siegfried has an inexorable sweep that will take your breath away. The singing too is of a kind that you just don't hear today. The classical-record event of the year. Five stars. & lt;br & gt; & lt;br & gt; & quot;At the time Keilberth never seemed to receive his due his command of every aspect of this vast score is unerring in balance, detail and overall Schwung. No opera house or recording has since rivaled the cast assembled here, not even the Decca set, by which time Hotter, Windgassen and Neidlinger were all some ten years older. In 1955 all three are at the peak of their form. Don't take my word for it: buy the discs and experience Wagner as he was supremely performed in those special days. & quot; - Gramophone & lt;br & gt; & lt;br & gt; & quot;Magnificent is the only word for it. This is teamwork on an exalted scale. Keilberth was the first among equals in Wagner. & quot; The Independent & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Wolfgang Windgassen & lt;br & gt; Hans Hotter & lt;br & gt; Paul Kuen & lt;br & gt; Astrid Varnay & lt;br & gt; Gustav Neidlinger & lt;br & gt; Maria von Ilosvay & lt;br & gt; Joseph Greindl & lt;br & gt; Ilse Hollweg & lt;br & gt; Joseph Keilberth, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Richard Wagner (1813-1883) & lt;br & gt; Siegfried (Second Day of Stage Festival)
WAGNER GOTTERDAMMERUNG 6 LP BOX SET (Vinyl)
& lt;img src= & quot;/content/images/stereophilerecordstodiefor.jpg & quot; & gt; & lt;br & gt; & lt;br & gt; Richard Wagner was born in May 22, 1813 in Leipzig, Germany. Wagner is acknowledged as the master of German opera, and one of the most progressive composers in history. & lt;br & gt; & lt;br & gt; As a youth Wagner was fascinated by literature, particularly the plays of William Shakespeare. Through his teens he was increasingly attracted to composing. His opera based on the novel & quot;Rienzi, Last of the Tribunes, & quot; was produced in Dresden in 1842, and was a success. His next production, & quot;The Flying Dutchman & quot; (1843), was also a hit. Near the end of the 1840s Wagner began work on his monumental cycle of four musical dramas collectively titled & quot;Der Ring des Nibelungen (The Ring of the Nibelungs). & quot; This cycle, comprised of & quot;Das Rheingold, & quot; & quot;Die Walkure, & quot; & quot;Siegfried & quot; and & quot;Die Gotterdammerung, & quot; took 22 years to complete, and stands as one of the most remarkable and influential achievements in Western music. & lt;br & gt; & lt;br & gt; & quot;Only on the shoulders of this great social movement can true art lift itself from its present state of civilized barbarianism, and take its post of honour. & quot; -Richard Wagner & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Opera In A Prologue and Three Acts
Michael Rabin Mosaics Volume 2 180g LP (Vinyl)
& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians. & lt;br & gt; & lt;br & gt; Violinist Michael Rabin is accompanied by pianist Brooks Smith for this recording of previously unpublished music from the lost Capitol tapes. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Michael Rabin, violin & lt;br & gt; Brooks Smith, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; Antonin Dvorak (1841-1904) & lt;br & gt; & lt;/b & gt; 1. Slavonic Dance in E Minor, Op. 72, No. 2 & lt;br & gt; & lt;b & gt;Fritz Kreisler (1875-1962) & lt;/b & gt; & lt;br & gt; 2. Tambourin Chinois, Op. 3 & lt;br & gt; & lt;b & gt;Claude Debussy (1862-1918) & lt;/b & gt; & lt;br & gt; 3. La Fille Aux Cheveux De Lin & lt;br & gt; & lt;b & gt;Fredric Kroll (1945b) & lt;br & gt; & lt;/b & gt; 4. Banjo and Fiddle & lt;br & gt; & lt;b & gt;Pablo de Sarasate (1844-1908) & lt;br & gt; & lt;/b & gt; 6. Introduction & amp; Tarantelle, Op. 43 & lt;br & gt; & lt;b & gt;Side Two: & lt;br & gt; Manuel de Falla (1876-1946) & lt;br & gt; & lt;/b & gt; 1. Danse Espagnole No. 1 (La vida breve) & lt;br & gt; & lt;b & gt;Robert Schumann (1810-1856) & lt;/b & gt; & lt;br & gt; 2. Vogel als Prophet (Waldszenen, Op. 82) & lt;br & gt; & lt;b & gt;Fritz Kreisler & lt;/b & gt; & lt;br & gt; 3. La Chasse (After Cartier) & lt;br & gt; & lt;b & gt;Frederic Chopin (1810-1849) & lt;/b & gt; & lt;br & gt; 4. Nocturne in E flat, Op. 9, No. 2 & lt;br & gt; & lt;b & gt;Henryk Wieniawski (1835-1880) & lt;/b & gt; & lt;br & gt; 5. Polonaise Brilliante No. 1 in D, Op. 4
Mendelssohn & Mozart Violin Concertos (Johanna Martzy) 180g LP (Vinyl)
Wolfgang Sawallisch conducts the Philharmonia Orchestra with Johanna Martzy on violin. & lt;br & gt; & lt;br & gt; Violinist Johanna Martzy had a quality of inhabiting a piece from the inside and saw little need to gussy up the surface. & lt;br & gt; & lt;br & gt; The Hungarian violinist, Johanna Martzy, received instruction from Jenö Hubay before entering the Budapest Academy of Music at age 10. She made her debut in Budapest when she was 13, and graduated from the Academy in 1942. & lt;br & gt; & lt;br & gt; After winning 1st prize in the Geneva Competition in 1947, Johanna, Martzy toured widely; first played in England in 1953 and in the USA in 1957. She acquired a fille reputation as a soloist and chamber music artist. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Johanna Martzy, violin & lt;br & gt; Philharmonia Orchestra & lt;br & gt; Wolfgang Sawallisch, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side 1 & lt;br & gt; Wolfgang Amadeus Mozart 1756-1791 & lt;br & gt; Violin Concerto No.3 in G, K.216 & lt;/b & gt; & lt;br & gt; 1 Allegro & lt;br & gt; 2 Adagio & lt;br & gt; 3 Rondo: Allegro & lt;br & gt; & lt;br & gt; & lt;b & gt;Side 2 & lt;br & gt; Felix Mendelssohn 1809-1847 & lt;br & gt; Violin Concerto in E minor, Op.64 & lt;/b & gt; & lt;br & gt; 1 Allegro molto appassionato & lt;br & gt; 2 Andante & lt;br & gt; 3 Allegretto non troppo Allegro molto vivace
Bruch & Lalo Violin Concerto in G & Symphonie Espagnole 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Violinist Christian Ferras is joined by the Philharmonic Orchestra conducted by Walter Susskind for this recording of Bruch's Violin Concerto in G alongside Lalo's Symphonie Espagnole. & lt;br & gt; & lt;br & gt; The French violinist, born at Le Touquet in 1933, began studying the violin with his father. In 1941 he entered the Conservatoire de Nice as a student of Charles Bistesi and, in 1943, obtained the First Prize. & lt;br & gt; & lt;br & gt; In 1944 he moved to the Conservatoire de Paris and won the First Prize in 1946 for both violin and chamber music. & lt;br & gt; & lt;br & gt; Ferras began his career in the U.S. by playing Brahms' concerto conducted by Charles Munch in 1959. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Christian Ferras, violin & lt;br & gt; Philharmonic Orchestra & lt;br & gt; Walter Susskind, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Max Bruch (1838-1920) & lt;br & gt; Violin Concerto No. 1 in G minor, Op. 26 & lt;/b & gt; & lt;br & gt; 1. Vorspiel: Allegro moderato & lt;br & gt; 2. Adagio & lt;br & gt; 3. Finale: Allegro energico & lt;br & gt; & lt;b & gt;Edouard Lalo (1823-1892) & lt;br & gt; Symphonie Espagnole, Op. 21 & lt;/b & gt; & lt;br & gt; 4. I. Allegro non troppo & lt;br & gt; 5. II. Schersanco: Allego molto & lt;br & gt; 6. III. Andante & lt;br & gt; 7. IV. Rondo: Allegro
Leonid Kogan Beethoven: Violin Concerto In D 180g LP (Mono) (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl! Full Analog Mono Production! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Recorded June 29 and 30, 1957, originally by EMI Music France. Leonid Borisovich Kogan was born on Nov. 14, 1924, in the Ukraine. His father played the violin as an amateur and the sound so fascinated the boy that by age 3 he would not go to sleep unless he had the fiddle beside him. After age 5 he began taking lessons on the instrument. He made his first public appearance playing, at age 10. His official concert debut came playing the Brahams Concerto with the Moscow Philharmonic in 1941. For the celebrated violinist, his interpretation of the Beethoven Concerto was one of the glories of his era; none of his contemporaries played it with such consistent stylistic command or such intellectual and spiritual penetration. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; Full Analog Mono Production & lt;br & gt; 180g Vinyl LP & lt;br & gt; First LP Release & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Leonid Kogan, violin & lt;br & gt; Paris Conservatoire Orchestra & lt;br & gt; Andre Vandernoot, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Ludwig Van Beethoven (1770-1827) & lt;br & gt; Violin Concerto in D, Op. 61 & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. I Allegro ma non troppo & lt;br & gt; & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. II Larghetto & lt;br & gt; 2. III Rondo (Allegro)
Ida Haendel A Classical Recital 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Master violinist Ida Haendel performs A Classical Recital - including Corelli's La Folia and Tartini's Devil's Trill Sonata - with Geoffrey Parsons on piano. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Ida Haendel, violin & lt;br & gt; Geoffrey Parsons, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; Arcangelo Corelli (1653-1713) & lt;/b & gt; & lt;br & gt; 1. La Folia & lt;br & gt; & lt;b & gt;Pietro Nardini (1722-1793) & lt;/b & gt; & lt;br & gt; 2. Sonata & lt;br & gt; I. Adagio - Allegro con fuoco & lt;br & gt; II. Larghetto & lt;br & gt; III. Allegretto grazioso & lt;br & gt; & lt;b & gt;Side Two: & lt;br & gt; Giuseppe Tartini (1692-1770) & lt;/b & gt; & lt;br & gt; 1. Sonata in G Minor ('The Devil's Trill') & lt;br & gt; II. Allegro energico & lt;br & gt; III. Allegro assai & lt;br & gt; & lt;b & gt;Tomaso Antonio Vitali (1663-1745) & lt;/b & gt; & lt;br & gt; 2. Chaconne
Lalo Symphonie Espagnole 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Kyril Kondrashin conducts the Philharmonia Orchestra for this recording of Lalo's Symphonie Espagnole and Tchaikovsky's Serenade Melancolique. & lt;br & gt; & lt;br & gt; The EMI recording dates from 1960 and is of very good quality, brilliant and with plenty of body and a realistic portrayal of the soloist. Violinist Leonid Kogan's assurance and sensibility throughout are impressive, and the finale has a fine sparkle. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Leonid Kogan, violin & lt;br & gt; Philharmonia Orchestra & lt;br & gt; Kyril Kondrashin, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Edouard Lalo (1823-1892) & lt;br & gt; Side A: & lt;/b & gt; & lt;br & gt; Symphonie Espagnole, Op. 21 & lt;br & gt; & lt;br & gt; & lt;b & gt;Side B: & lt;/b & gt; & lt;br & gt; Symphonie Espagnole, Op. 21 (continued) & lt;br & gt; & lt;br & gt; & lt;b & gt;Pyotr Ilyich Tchaikovsky (1840-1893) & lt;/b & gt; & lt;br & gt; Serenade Melancolique
Canteloube Songs of the Auvergne 180g LP (Vinyl)
In the early 1930's, the French soprano Madeliene Grey made a famous recording of some of Joseph Canteloube's arrangements of folk songs from the mountainous French Auvergne region. But it was not until 1973 that this recording of a similar selection by Victoria de los Angeles brought Canteloube's attractive settings, with their colourful orchestrations, to a wider public. Chausson's gently flowing, romantic and even sensual Poeme de la'amour et de la mer makes an effective vehicle for the great Spanish soprano's beautiful voice and fine artistry. There are two vocal sections to the work, separated by a short orchestral interlude. In both works, De los Angeles' vivid vocal characterization is strongly supported by Lamoureux Orchestra under Jean-Pierre Jacquillat, all the richness, warmth and atmosphere of the original recordings are effectively re-created. & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Chausson (Poeme De L'Amour Et De La Mer, Op. 19) & lt;br & gt; 2. Canteloube (Chants D'Auvergne)
Dvorak/Piano Concerto In G 180g LP (Vinyl)
When this performance was first issued by HMV in 1977, Dvorak's Piano Concerto was usually played in a revised version of the solo part, edited by Vilem Kurz. Sviatoslav Richter went back to the composer's much more difficult original version, and this performance became famous for the great Russian pianist's triumph over the technological problems posed by the composer's keyboard writing, and for the insight and poetry of his playing. & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Piano Concerto in G minor, Op. 33
Strauss Don Quixote 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;TAS Super LP List! Special Merit: Classical & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt;Don Quixote is the last but one in the series of tone poems that Strauss wrote during the 1880's and '90's. It was composed in 1897, a year after Also Sprach Zarathustra and a year before Ein Heldenleben. the work is scored for large orchestra, including six horns and a tenor tuba; the list of percussion instruments includes a wind machine. The overall form consists of an Introduction, a Theme followed by Ten Variations and a Finale. & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Berlin Philharmonic Orchestra & lt;br & gt; Rudolf Kempe, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Richard Strauss (1864-1949) & lt;br & gt; Don Quixote, Op.35 & lt;/b & gt; & lt;br & gt; (Fantastic Variations on a Knightly Theme) & lt;br & gt; & lt;b & gt;Till Eulenspiegel lustige Streiche, Op. 28 & lt;/b & gt;
Herbert von Karajan Mozart Horn Concertos 180g LP (Vinyl)
Dennis Brain was a British virtuoso horn player largely responsible for popularizing the horn as a solo classical instrument. Along with Herbert von Karajan and the Philharmonia Orchestra, Brain recorded the definitive versions of Mozart's horn concertos. & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Philharmonia Orchestra & lt;br & gt; Herbert Von Karajan, conductor & lt;br & gt; Dennis Brain, horns & lt;br & gt; & lt;br & gt; & lt;b & gt; Selections: & lt;br & gt; Wolfgang Amadeus Mozart (1756-1791) & lt;br & gt; Concerto No. 1 in D Major, K. 412 & lt;/b & gt; & lt;br & gt; 1. Band 1: First Movement Allegro & lt;br & gt; 2. Band 2: Second Movement Rondo (Allegro) & lt;br & gt; & lt;b & gt;Concerto No. 3 in E flat major, K. 447 & lt;/b & gt; & lt;br & gt; 3. Band 3 : First Movement Allegro & lt;br & gt; 4. Band 4 : Second Movement Romanza (Larghetto) & lt;br & gt; 5. Band 5 : Third Movement Allegro & lt;br & gt; & lt;b & gt;Concerto No. 2 in E flat major, K. 417 & lt;/b & gt; & lt;br & gt; 6. Band 1 : First Movement Allegro Maestoso & lt;br & gt; 7. Band 2 : Second Movement Andante & lt;br & gt; 8. Band 3 : Third Movement Rondo (Allegro) & lt;br & gt; & lt;b & gt;Concerto No. 4 in E flat major, K. 495 & lt;/b & gt; & lt;br & gt; 9. Band 4 : First Movement Allegro Moderato & lt;br & gt; 10. Band 5 : Second Movement Romanza (Andante) & lt;br & gt; 11. Band 6 : Third Movement Rondo (Allegro Vivace)
Nathan Milstein/Bach Concerto In D Minor 180g LP (Vinyl)
He could well have been the most nearly perfect violinist of his time. - Harold Schonberg & lt;br & gt; & lt;br & gt; These EMI recordings show Milstein at his best. The remastering is excellent and the original recording quality is superb by any standard. And the performances? Well, it's Milstein! & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Chamber Orchestra & lt;br & gt; Nathan Milstein, violins & lt;br & gt; Erica Morini, violins & lt;br & gt; Betty Fischer, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; J. S. Bach (1685-1750) & lt;br & gt; Concerto in D minor for Two Violins and Strings & lt;/b & gt; & lt;br & gt; 1. 1st Movement: Vivance & lt;br & gt; 2. 2nd Movement: Largo, ma non tanto & lt;br & gt; 3. 3rd Movement: Allegro & lt;br & gt; & lt;br & gt; & lt;b & gt;Vivaldi (C1675-1741) & lt;br & gt; Concerto in D minor for Two Violins, Cello and Strings (Op. - 'L'estro armonico' No. 11) & lt;/b & gt; & lt;br & gt; 4. 1st Movement: Allegro - Adagio - Allegro & lt;br & gt; 5. 2nd Movement: Largo & lt;br & gt; 6. 3rd Movement: Allegro & lt;br & gt; & lt;br & gt; & lt;b & gt;J.S. Bach & lt;br & gt; Sonata in C major for Two Violins and Figured Bass & lt;/b & gt; & lt;br & gt; 7. 1st Movement: Adagio & lt;br & gt;8. 2nd Movement: Alla breve & lt;br & gt;9. 3rd Movement: Largo & lt;br & gt;10. 4th Movement: Gigue (Presto)
Michael Rabin Tchaikovsky Violin Concerto, Etc. 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Classical Violin with a depth of feeling & amp; gracious charm, Michael Rabin at his best! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Violinist Michael Rabin is joined by the Philharmonia Orchestra conducted by Alceo Galliera for this recording of compositional works by Tchaikovsky & amp; Saint-Saens. & lt;br & gt; & lt;br & gt; Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Michael Rabin, violin & lt;br & gt; Philharmonia Orchestra & lt;br & gt; Alceo Galliera, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; Pyotr Ilyich Tchaikovsky (1840-1893) & lt;/b & gt; & lt;br & gt; Violin Concerto in D Major, Op. 35 & lt;br & gt; 1. First Movement: Allegro Moderato - Moderato Assisi & lt;br & gt; & lt;b & gt;Side Two: & lt;br & gt; Camille Saint-Saëns (1835-1921) & lt;br & gt; Introduction & amp; Rondo Capriccioso, Op. 28 & lt;/b & gt; & lt;br & gt; 1. Second Movement: Canzonetta & lt;br & gt; 2. Third Movement: Finale
Michael Rabin Bruch Scottish Fantasy, Etc. 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Violin virtuoso Michael Rabin performs on this rare Columbia recording, pressed on 180 Gram Vinyl! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians. & lt;br & gt; & lt;br & gt; Sir Adrian Boult founded the BBC Symphony Orchestra which set standards of excellence in the orchestra world. In 1950, he took over the leadership of the London Philharmonic Orchestra and revived its reputation, which had been on the decline after its peak in the 1930s. From the mid-1960s until his retirement after his last sessions in 1978 he recorded extensively for EMI. Boult's legacy includes his influence on prominent conductors to follow including Colin Davis and Vernon Handley. & lt;br & gt; & lt;br & gt; The Philharmonia Orchestra is one of the leading orchestras in Great Britain. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Michael Rabin is a very remarkable young violinist, and admirably equipped to give us our first LP recording of Wieniawski's rarely heard first concerto. It's not much of a concerto, considered dispassionately, but it is a stout vehicle for technical display, and that is just what Rabin, discreetly abetted by Boult and the Philharmonia, provides. He rides this aged war-horse with an almost Quixotic conviction that is enjoyable and rather touching. & quot; & lt;/b & gt;- Gramophone.net, J.N., June 1958 Issue & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Michael Rabin, violin & lt;br & gt; Philharmonia Orchestra & lt;br & gt; Sir Adrian Boult, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; Max Bruch (1838-1920) & lt;br & gt; Scottish Fantasy Op. 46 & lt;/b & gt; & lt;br & gt; 1. First Movement: Introduction (Adagio cantabile) & lt;br & gt; 2. Second Movement: Allegro & lt;br & gt; 3. Third Movement: Allegro & lt;br & gt; 4. Fourth Movement: Allegro guerrioro mecolico & lt;br & gt; & lt;br & gt; & lt;b & gt;Side Two: & lt;br & gt; Henryk Wieniawski (1835-1880) & lt;br & gt; Violini Concerto Op. 14, No. 1 in F Sharp minor & lt;/b & gt; & lt;br & gt; 1. First Movement: Allegro Moderato & lt;br & gt; 2. Second Movement: Preghiera (larghetto) & lt;br & gt; 3. Third Movement: Rondo (Allegro gloloso)
Michael Rabin Glazounov & Paganini Violin Concertos 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Pressed on Dead-Quiet 180 Gram Audiophile Grade Vinyl! Wonderful Violin Sound! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians. In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1 in E flat and the Glazounov Violin Concerto in A Minor. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Michael Rabin, violin & lt;br & gt; Philharmonia Orchestra & lt;br & gt; Lovro von Matacic, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Alexander Glazounov (1865-1936) & lt;br & gt; Concerto in A Minor, Op. 82 & lt;br & gt; & lt;/b & gt; 1. Moderato - Animato - Tranquillo - Andante sostenuto & lt;br & gt; 2. Agitato - ANdante sostenuto - Moderato - Piu animato - Tranguillo & lt;br & gt; 3. Cadenza - Allegro - Quasi allegretto - Piu animato & lt;br & gt; & lt;br & gt; & lt;b & gt;Niccolo Paganini (1782-1840) & lt;br & gt; Concerto No. 1 in D Major, Op. 6 & lt;/b & gt; & lt;br & gt; 1. Band 1 - First Movement - Allegro maestoso - Cadenza (by Flesch) - Allegro maestoso & lt;br & gt; 2. Band 2 - Second Movement - Adagio espressivo & lt;br & gt; 3. Band 3 - Third Movement - Rondo (Allegro spiritoso)
Ida Haendel Elgar Violin Concerto 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Renowned violinist Ida Haendel plays Elgar's Violin Concerto while Sir Adrian Boult conducts the London Philharmonic Orchestra. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Ida Haendel, violin & lt;br & gt; London Philharmonic Orchestra & lt;br & gt; Sir Adrian Boult, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Edward Elgar (1857-1934) & lt;br & gt; Violin Concerto in B minor, Op. 61 & lt;br & gt; Side One: & lt;/b & gt; & lt;br & gt; 1. 1st Movement: Allegro & lt;br & gt; 2. 2nd Movement: Andante & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. 3rd Movement: Allegro molto
Dvorak Symphony No. 5 Op. 95 from "The New World" 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;This item not eligible for any further discount offers! & lt;/b & gt; & lt;br & gt; & lt;br & gt; Constantin Silvestri conducts the Orchestre National De La Radiodiffusion Francaise for this recording of Dvorak's Symphony No. 5 Op. 95 from & quot;The New World & quot;. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Orchestre National De La Radiodiffusion Francaise & lt;br & gt; Constantin Silvestri, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Antonin Dvorak (1841-1904) & lt;br & gt; Symphony No. 5, Op. 95 & lt;br & gt; Du Noveau Monde & lt;br & gt; Side I: & lt;/b & gt; & lt;br & gt; 1. I. Adagio - Allegro molto & lt;br & gt; 2. II. Largo & lt;br & gt; & lt;b & gt;Side II: & lt;/b & gt; & lt;br & gt; 1. III. Scherzo (Molto vivace) & lt;br & gt; 2. IV. Allegro con fuoco
Bizet L'Arlesienne & Carmen Suites 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; & lt;b & gt;This item not eligible for any further discount offers! & lt;/b & gt; & lt;br & gt; & lt;br & gt; Andre Cluytens conducts the Paris Conservatoire Orchestra for this recording of Bizet's L'Arlesienne Suties 1 & amp; 2 alongside the Carmen Suite. & lt;br & gt; & lt;br & gt; The Carmen Suite was assembled after Bizet's death and brought the operatic masterpiece into the concert hall. The overture is fresh and rousing, the toreador theme marches in proudly and purposefully, followed by the destiny motif in the minor key which burns itself into ones ear and mind. With every bar it becomes obvious that this suite is not so much a series of excerpts but rather the true substance of its creator's musical ideas. & lt;br & gt; & lt;br & gt; All that remained of the five-act play L'Arlesienne after its unsuccessful premiere was Bizet's incidental music, which he himself orchestrated lavishly and premiered with success. Similar to Carmen, popular melodies are treated with the composer's own unique style to make them ageless. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; & amp;bull; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Paris Conservatoire Orchestra & lt;br & gt; Andre Cluytens, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Georges Bizet (1838-1875) & lt;br & gt; Side One: & lt;br & gt; L'Arlesienne & lt;br & gt; Suite No. 1 & lt;/b & gt; & lt;br & gt; 1. No. 1: Prelude (Solo saxophone: Michel Nouaux) & lt;br & gt; 2. No. 2: Minuetto & lt;br & gt; 3. No. 3: Adagietto & lt;br & gt; 4. No. 4: Carillon & lt;br & gt; & lt;b & gt;Suite No. 2 & lt;/b & gt; & lt;br & gt; 5. No. 1: Pastorale & lt;br & gt; & lt;b & gt;Side Two: & lt;/b & gt; & lt;br & gt; 1. No. 2: Intermezzo & lt;br & gt; 2. No. 3: Menuet (Michel Debost, flute; Michel Nouaux, alto saxophone; Bernard Gallais, harp) & lt;br & gt; 3. No. 4: Farandole & lt;br & gt; & lt;b & gt;Carmen - Suite No. 1 & lt;/b & gt; & lt;br & gt; 4. Prelude, Act 1 & lt;br & gt; 5. Entr'acte, Act 2 & lt;br & gt; 6. Entr'acte, Act 3 (Michel Debost, flute; Bernard Gallais, harp) & lt;br & gt; 7. Entr'acte, Act 4
Michael Rabin The Magic Bow 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;Once Again Available On 180g Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; The Hollywood Bowl Symphony Orchestra performs works by Kreisler, Massenet, Sarasate and others, conducted by Felix Slatkin and featuring Michael Rabin on violin. Beautiful full-dimensional stereo. & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; & amp;bull; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; The Hollywood Bowl Symphony Orchestra & lt;br & gt; Felix Slatkin, conductor & lt;br & gt; Michael Rabin, violin & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Fritz Kreisler (1875-1962) & lt;/b & gt; & lt;br & gt; 1. Caprice Viennois & lt;br & gt; & lt;br & gt; & lt;b & gt;Grigoras, Ionica Dinicu (1889-1949) & amp; Jascha Heifetz (1901-1987) & lt;/b & gt; & lt;br & gt; 2. Hora Staccato & lt;br & gt; & lt;br & gt; & lt;b & gt;Jules Massenet (1842-1912) & lt;/b & gt; & lt;br & gt; 3. Meditation From Thais & lt;br & gt; & lt;br & gt; & lt;b & gt;Pablo de Sarasate (1844-1908) & lt;/b & gt; & lt;br & gt; 4. Zigeunerweisen & lt;br & gt; & lt;br & gt; & lt;b & gt;Niccolo Paganini (1782-1840) & amp; Fritz Kreisler & lt;/b & gt; & lt;br & gt; 5. Moto Perpetuo & lt;br & gt; & lt;br & gt; & lt;b & gt;Fritz Kreisler & lt;/b & gt; & lt;br & gt; 6. The Old Refrain & lt;br & gt; & lt;br & gt; & lt;b & gt;Rimsky-Korsakov-Heifetz & lt;/b & gt; & lt;br & gt; 7. The Flight Of The Bumble Bee & lt;br & gt; & lt;br & gt; & lt;b & gt;Camille Saint-Saens (1835-1921) & lt;/b & gt; & lt;br & gt; 8. Introduction And Rondo Capriccioso
Carl Schurict Bruckner Symphony No. 9 in D minor 180g LP (Vinyl)
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& lt;p & gt; & lt;strong & gt;All Analogue 180g Virgin Vinyl LP! & lt;br & gt;Lacquers Cut At Abbey Road Studios! & lt;br & gt;Cut From Original Master Tapes! & lt;/strong & gt; & lt;/p & gt;
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& lt;p & gt;During his long career Carl Schuricht (1880-1967) made a fair number of commercial recordings; but he never was given consistent opportunities by any one record company, and in his lifetime he did not enjoy the reputation that should have been his. The fact that so many of his live performances have been issued in recent years confirms his present status as one of the finest representatives on record of the old Austro-German romantic school of conducting. That style was particularly suited to the music of Bruckner, and Schuricht made three notable recordings of Bruckner symphonies towards the end of his life for HMB.
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In each case the orchestra was the Vienna Philharmonic, a body whose tradition in playing the Austrian composer's symphonies goes back to the time of the first performances. The first of these three recordings, dating from December 1961, was of Bruckner's Ninth Symphony, his last and in fact unfinished work in this form, which yet ends satisfyingly with a long, magnificently eloquent slow movement. This is a particularly fine example of earlier EMI stereo recording, and the VPO's inimitable sonority and depth of tone are beautifully captured in a suitably warm acoustic. The conductor's interpretation has all the wisdom and experience of old age (81 years), but Schuricht also shows remarkable vitality in his conducting. Testament's new 180-gram pressings have been carefully cut so as to preserve all the beauty and bloom of the original recording.
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Testament LPs are cut onto lacquer from the original master tapes at Abbey Road Studios using full analogue techniques throughout production and pressed onto 180-gram virgin vinyl. & lt;/p & gt;
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& lt;li & gt;100% Analogue - Cut using full analogue techniques throughout production & lt;/li & gt;
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& lt;th & gt;Vienna Philharmonic Orchestra & lt;/th & gt;
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& lt;th & gt;Carl Schuricht & lt;/th & gt;
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& lt;h5 & gt;Symphony No. 8 In C Minor & lt;/h5 & gt;
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Otto Klemperer Stravinsky: Petrushka 180g LP (Vinyl)
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& lt;p & gt; & lt;strong & gt;180g Vinyl LP! & lt;br & gt;
First Time On Vinyl! & lt;/strong & gt; & lt;/p & gt;
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& lt;p & gt; & quot;This recording of Petrushka dates from the spring of 1967. Klemperer was 81, not in the best of health, but in his hyperactive phases, of which this was one, still capable of conjuring great music-making. In February that year he recorded Mahler's Ninth:
one of the great Mahler Ninths on record. This was followed by a strangely lively account of Bruckner's Fifth, an LP comprising Mozart's C major Piano Concerto, K503 (with Barenboim as soloist) , and the C minor Serenade, K388, and - a bolt from the
blue - Petrushka. & lt;/p & gt;
& lt;p & gt;The cue for his Petrushka project was the indisposition of Paul Kletzki which left the New Philharmonia without a conductor for its next London concert. It was the orchestra's artistic adviser, Lord Harewood, who then charmed Klemperer into taking over
the engagement, which he agreed to on condition that Petrushka be included in the programme. & lt;/p & gt;
& lt;p & gt;Klemperer and Petrushka went back a long way. He first conducted it in the theatre as part of a double-bill in Cologne in May 1922 on the occasion of the world premiere of Zemlinsky's opera Der Zwerg. Richard Strauss was there to hear Der Zwerg but went
away marvelling at Petrushka. Five years later, it was the turn of Hindemith and Schoenberg to be bowled over when Klemperer conducted Petrushka as part of a choreographically disappointing but musically thrilling triple-bill at the Kroll Opera in Berlin.
He also conducted it in concert: in Los Angeles. & lt;/p & gt;
& lt;p & gt;Klemperer never disguised the fact, either as a young man or as a very old one, that he found Stravinsky difficult to conduct. But where The rite barely interested him, Petrushka clearly held him in thrall. The psychopathology of Petrushka - the lonely
sexually driven grotesque, fascinated by an etiolated ballerina and brutalized by his rival, the fatuous blackamoor, all three the vulnerable creations of a dispassionate, all-powerful puppet-master - was sufficiently close to Klemperer's own sense
of himself and the world to be of more than casual interest. & lt;/p & gt;
& lt;p & gt;Unsurprisingly, his reading is both momentous and unusual, light years away from those glitzy, virtuosic readings (Dorati's admired Minneapolis recording a representative example) which place Petrushka, emotionally and intellectually, somewhere between
Rimsky-Korsakov and the witty cartoon cruelties of Scott Bradley's music for Tom and Jerry. & lt;/p & gt;
& lt;p & gt;For this 1967 recording, EMI stayed put in Abbey Road, treating the music to another of those big, open, slightly bludgeoning recordings which it and Klemperer in his last years tended to favour. The opening minutes of the performance, the morning bustle
of the Shrovetide Fair, have no special merit. The performance is high on decibels, relatively low on graphic (let alone choreographic) allure. With the entry of the Charlatan puppeteer, however, the true drama gets underway: announced by a stentorian
sff burp low on the double bassoon (6'09'') and a flute cadenza charged with pathos and tragic foreboding. & lt;/p & gt;
& lt;p & gt;Typically, Klemperer takes the first puppet dance, the 'Danse russe', at a tempo that observes the score's written marking (Allegro giusto) while ignoring the metronome mark. Compare this with Stravinsky's own recording, and the composer's version is
clearly superior in Russianness and danceability. But Klemperer is never flat-footed. As Lord Harewood puts it in his autobiography, The Tongs and the Bones (Weidenfeld & amp; Nicolson: 1981), Klemperer's slow tempos were rarely soggy because of the 'spring
and elasticity that he somehow gave the accompaniment'. & lt;/p & gt;
& lt;p & gt;The two scenes that follow - Petrushka in his cell and the blackamoor scene - stand at the very heart of the drama and are superbly characterized by Klemperer and his players: terrifying, bleak, desperately sad. The savagery of the trombone and trumpet
outbursts (shades of strangely similar outbursts in the first movement of Mahler's Third) are genuinely shocking and there is a further Mahlerian echo in Klemperer's characterization of the ballerina's cornet tune, and the waltz (cornet, flutes, bassoon)
which follows it: gawky, sad and utterly devoid of feeling. & lt;/p & gt;
& lt;p & gt;In the final tableau, the shrovetide fair at nightfall, the EMI recording comes fully into its own. Klemperer's weighty characterization of these final episodes - the coachmen's dance, the entrance of the bear, the revels of the masqueraders - gives the
music a Mussorgskian dimension and, with it, a terrible sense of imminent nemesis. & lt;/p & gt;
& lt;p & gt;Why, then, was the performance never issued? The sessions, it seems, were not easy. In such circumstances producers and technicians often end up missing the wood because of the tangle of fallen trees. In this case, a decision was taken - wrongly, it now
seems - to put together a master mainly made up of takes from the marginally less troublesome but musically tired final session. It was an easy way out but it pleased no one, and EMI withheld the recording. Klemperer was not convinced, but when he was
later presented with the 'evidence' - not the session tapes but the producer's final edit - he agreed that it wasn't worth issuing. & lt;/p & gt;
& lt;p & gt;This is itself a story riven with pathos. Deep down, Klemperer knew - or thought he knew - that the thing had worked. But it was not until Paul Baily and Stewart Brown came to review the tapes 30 years later that it became clear that the earlier takes
did indeed contain a fascinating performance waiting to be edited into shape. The original production team thought otherwise. Now, like the apparition of Petrushka's double in the ballet's final tableau, this strange and wonderful thing returns, transformed,
to haunt the survivors. & lt;/p & gt;
& lt;p & gt;No such problems afflicted the fill-up, the 1963 Philharmonia recording of the Pulcinella Suite, one of the young Klemperer's favourite jeux d'esprit. Produced by Walter Legge, it was released in 1965 on a disc that included Klemperer's fine account of
the Symphony in Three Movements. It is vividly played (the Vivo for trombone and double-bass is outrageously grand) , but by 1963 Klemperer's reading had become not so much neo-classical as neo-Gothic in character, dauntingly anachronistic. & quot; - Richard
Osborne, Gramophone & lt;/p & gt;
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& lt;th & gt;Otto Klemperer & lt;/th & gt;
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& lt;h4 & gt;Igor Stravinsky (1882-1971) & lt;/h4 & gt;
& lt;h5 & gt;Petrushka: 1947 Version & lt;/h5 & gt;
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& lt;li & gt;First Tableau - The Shrovetide Fair & lt;/li & gt;
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Maria Callas Puccini Tosca 180g 2LP (Vinyl)
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& lt;p & gt; & lt;strong & gt;TAS Super LP List! Special Merit: Operas and Oratorios & lt;/strong & gt; & lt;/p & gt;
Sardou wrote the play La Tosca for Sarah Bernhardt in 1887. Puccini was drawn to the subject even while still at work on La Boheme (1896). Tosca came out in 1900 in Rome when Puccini was 41. & lt;br & gt; & lt;br & gt; This opera in three acts is about Floria Tosca and Mario Cavaradossi are in love and all they want is to be left alone. Baron Scarpia, however, wants Floria for his physical needs. He arrests Mario for aiding a fugitive and tells Tosca she can save him by giving herself to him. She agrees, but the kiss he has so longed for is the fatal kiss of a knife blade. He had promised to set up a false execution for Mario, but the treachery of Scarpia is revealed as Mario is killed. Tosca vows to meet Scarpia in front of God as she leaps over the side of the building to her death. & lt;br & gt; & lt;br & gt; This historic, mono version of Puccini's Tosca was recorded at the Teatro alla Scala in 1953, featuring soprano Maria Meneghini Callas and tenor Giuseppe Di Stefano and The Orchestra and Chorus of La Scala Opera House, Milan conducted by Victor De Sabata. & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; 180g Vinyl & lt;br & gt; Double LP & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;/b & gt; & lt;br & gt; 1. Acts I-III
Beethoven Violin Concerto in D Major 180g LP (Vinyl)
Violinist Leonid Kogan performs Beethoven's Violin Concerto in D Major along with the Paris Conservatoire Orchestra conducted by Constantin Silvestri. & lt;br & gt; & lt;br & gt; 1806 was the year after the composition of Fidelio, the year of its first revision, and the year in which Beethoven wrote three sunny masterpieces, the serenest and most loving of which is certainly this violin concerto. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Leonid Kogan, violin & lt;br & gt; Paris Conservatoire Orchestra & lt;br & gt; Constantin Silvestri, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Ludwig van Beethoven (1770-1827) & lt;br & gt; Violin Concerto in D Major, Op. 61 & lt;/b & gt; & lt;br & gt; 1. Allegro ma non troppo - Cadenza (by Joachim) - Tempo I & lt;br & gt; 2. Larghetto & lt;br & gt; 3. Rondo (Allegro) - Cadenza (by Joachim) - Tempo I
Tchaikovsky Violin Concertos 180g LP (Vinyl)
Violinist Leonid Kogan performs Tchaikovsky's Violin Concerto in D Major along with the Paris Conservatoire Orchestra conducted by Constantin Silvestri. & lt;br & gt; & lt;br & gt; These two works are closely connected and it is interesting to have them recorded together. Both date from the year 1878, when Tchaikovsky had fled abroad after his abortive marriage and was staying with his brother Modest on the Lake of Geneva. Visiting them was Yosif Yosifovich Kotek, a student from Tchaikovsky's composition class at the Moscow Conservatoire, who had also distinguished himself in the violin class. They had previously played together Brahms' first symphony, which Tchaikovsky found 'dark, cold and pretentious'. At Clarens, however, they found Lalo's & quot;Symphonie Espagnole & quot; much more to their taste and it was his enthusiasm for this music that caused the composer to drop his work on the G Major piano sonata and embark on the violin concerto. & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Leonid Kogan, violin & lt;br & gt; Paris Conservatoire Orchestra & lt;br & gt; Constantin Silvestri, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; Pyotr Ilyich Tchaikovsky (1840-1893) & lt;br & gt; Concerto in D Major, Op. 35 & lt;br & gt; & lt;/b & gt; 1. First Movement: Allegro moderato - Cadenza - Allegro moderato & lt;br & gt; & lt;b & gt;Side Two: & lt;br & gt; Pyotr Ilyich Tchaikovsky & lt;br & gt; Concerto in D Major, Op. 35 & lt;br & gt; & lt;/b & gt; 1. Second Movement: Canzonetta (Andante) & lt;br & gt; 2. Third Movement: Finale (Allegro & lt;br & gt; 3. & lt;b & gt;Meditation in D minor, Op. 42 & lt;br & gt; & lt;/b & gt;
Ida Haendel Bravissima! 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl LP! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; Master violinist Ida Haendel plays favorite violin encores from Paganini, Schubert, Ravel, Dvorak, Copland and more along with pianist Geoffrey Parsons. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Ida Haendel, violin & lt;br & gt; Geoffrey Parsons, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; Niccolo Paganini (1782-1840) & lt;/b & gt; & lt;br & gt; 1. La Clochette, Op. 7 & lt;br & gt; & lt;b & gt;Franz Schubert (1797-1828) & lt;/b & gt; & lt;br & gt; 2. Ave Maria & lt;br & gt; & lt;b & gt;Maurice Ravel (1875-1937) & lt;/b & gt; & lt;br & gt; 3. Habanera, Op. 21 No. 2 & lt;br & gt; 4. Piece en forme de Habanera & lt;br & gt; & lt;b & gt;Antonin Dvorak (1841-1904) & lt;/b & gt; & lt;br & gt; 5. Songs My Mother Taught Me, Op. 55 No. 4 & lt;br & gt; & lt;b & gt;Aaron Copland (1900-1990) & lt;/b & gt; & lt;br & gt; 6. Hoe-Down (from & quot;Rodeo & quot;) & lt;br & gt; & lt;b & gt;Side Two: & lt;br & gt; Giuseppe Tartini (1692-1770) & lt;/b & gt; & lt;br & gt; 1. Andante - Presto & lt;br & gt; & lt;b & gt;Pablo de Sarasate (1844-1908) & lt;/b & gt; & lt;br & gt; 2. Zapateado, Op. 23 No. 2 & lt;br & gt; & lt;b & gt;Felix Mendelssohn (1809-1847) & lt;/b & gt; & lt;br & gt; 3. On Wings of Song & lt;br & gt; & lt;b & gt;Carl Maria von Weber (1786-1826) & lt;/b & gt; & lt;br & gt; 4. Air Russe and Rondo & lt;br & gt; & lt;b & gt;Ernesto Halffter (1905-1989) & lt;/b & gt; & lt;br & gt; 5. Danza de la Gitana & lt;br & gt; & lt;b & gt;Bela Bartok (1881-1945) & lt;/b & gt; & lt;br & gt; 6. Rumanian Folk Dances
Beethoven Violin Concerto in D 180g LP (Vinyl)
Violinist David Oistrakh is joined by the French National Radio Orchestra conducted by Andre Cluytens for this recording of Beethoven's Violin Concerto in D Major. & lt;b & gt; & lt;br & gt; & lt;br & gt; & quot;1806 was the year after the composition of Fidelio, the year of its first revision, and the year in which Beethoven wrote three sunny masterpieces, the serenest and most loving of which is certainly this violin concerto. He dedicated it, not to the co-operative lady friend of the movement, but to his boyhood friend Stephan von Breuning, a character who emerges more finely from the tale of Beethoven's life than any of his other friends. & lt;br & gt; & lt;br & gt; & quot;The concerto was written for Franz Clement who, at 26, was conductor and leader (two more or less synonymous posts, since baton-waving was not invented) of the famous Theater an der Wien. The concerto was written quickly, but only just completed in time for the first performance on 23 December; Clement is said to have sight-read his part, but this is not too stunning a feat, since he had been advising Beethoven on the layout of the solo, and may even have influenced the nature of the Rondo theme. At the premiere Clement played the new work in two parts, the Larghetto being preceded by an interval and a group of solos - one of these was a sonata for one-stringed fiddle played upside down. Czerny was mightily impressed by Clement's performance, but the concerto was thought insignificant until Joseph Joachim popularized it later in the century. Concert-goers of a past generation speak with reverent phrases of his interpretation, and claim it has never been equaled since; for younger folk the Beethoven violin concerto means Fritz Kreisler, and it is curious that he excelled in just those passages singled out by Joachim's eulogists, the G minor passage in the middle of the first movement, and the deathly hushed second tune of the Larghetto. & lt;br & gt; & lt;br & gt; & quot;Both these great players have left fine sets of cadenzas to the concerto. David Oistrakh plays those by Kreisler on the present record. The cadenzas by Beethoven to the concerto were designed for the adaptation as a piano concerto which he made in 1807, and dedicated to von Breuning's wife. The first movement cadenza was scored for piano and obbligato drums - it has been transcribed in our own time for violin and drums by Max Rostal. & quot; & lt;/b & gt; - from liner notes by William Mann & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;David Oistrakh's strong, aristocratic reading on HMV Concert Classics is a fine one. The EMI recording is undoubtedly superior, with a spacious acoustic and warm, resonant orchestral tone. The reading is characteristically assured, the soloists's phrasing and sense of line impeccable. & quot; & lt;/b & gt; Penguin Record Guide. & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; David Oistrakh, violin & lt;br & gt; French National Radio Orchestra & lt;br & gt; Andre Cluytens, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Ludwig van Beethoven & lt;br & gt; Violin Concerto in D Major, Op. 61 & lt;/b & gt; & lt;br & gt; 1. Allegro ma non troppo - Cadenza - Tempo I & lt;br & gt; 2. Larghetto & lt;br & gt; 3. Rondo (Allegro - Cadenza) Tempo I
Michael Rabin Paganini Violin Concerto No. 1 180g LP (Vinyl)
The Philharmonia Orchestra conducted by Sir Eugene Goossens. & quot;Young Rabin dashed off the Paganini First Concerto in D Major with pyrotechnics so dazzling as to inspire one spectator to call out loudly: 'We have a second Paganini God bless you.' & quot; So wrote Eugene Moore in the Philadelphia Evening Bulletin, regarding Michael Rabin's performance at Robin Hood Dell. Such admiration has been gracing the ears of Michael Rabin ever since he made his recital debut at Carnegie Hall in 1950. The First Movement alternates between measure of diabolical difficulty, really joyous in their exhibitionism, and passages which are not only lyrical but tender. Many of Paganini's trademarks are to be found here: the running consecutive double stops, the artificial harmonies, the flying staccati, the incredible scuttling up and down the fingerboard. & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Michael Rabin, violin & lt;br & gt; Philharmonic Orchestra & lt;br & gt; Sir Eugene Goossens, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Niccolo Paganini (1782-1840) & lt;/b & gt; & lt;br & gt; 1. Concerto No. 1 in D Major & lt;br & gt; & lt;br & gt; & lt;b & gt;Henryk Wieniawski (1835-1880) & lt;/b & gt; 2. Concerto No. 2 in D Minor
Elgar Cello Concerto 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;TAS Super LP List! Special Merit: Classical & lt;/b & gt; & lt;br & gt; & lt;br & gt;Available Again for a Limited Time! & lt;/font & gt; & lt;br & gt; & lt;br & gt; Elgar Cello Concerto featuring Jacqueline du Pre and Sea Pictures featuring Janet Baker with The London Symphony Orchestra conducted by Sir John Barbirolli. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;From the cello's muscular declamation that opens Elgar's Cello Concerto to the soaring flights of melody in the third movement and the contrasts between skittish optimism and contemplative melancholy in the finale, you are aware that this emotionally laden masterpiece, the last great work from the Edwardian English composer, was being performed by a mature master of the instrument. Yet when she made this recording in 1965, Jacqueline du Pre was a slightly built 20-year-old, musically wise beyond her years. & quot; & lt;/b & gt; - John Atkinson, Stereophile Magazine February 2013, p. 60 & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; The London Symphony Orchestra & lt;br & gt; Sir John Barbirolli, conductor & lt;br & gt; Jacqueline du Pre, soloist & lt;br & gt; Janet Baker, contralto & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Edward Elgar (1857-1934) & lt;br & gt; Concerto in E Minor, Op. 85 & lt;/b & gt; & lt;br & gt; 1. Adagio - Moderato & lt;br & gt; 2. Lento - Allegro molto & lt;br & gt; 3. Adagio & lt;br & gt; 4. Allegro, ma non troppo & lt;br & gt; & lt;b & gt;Sea Pictures, Op. 37 & lt;/b & gt; & lt;br & gt; 5. Sea Slumber Song & lt;br & gt; 6. In Haven & lt;br & gt; 7. Sabbath Morning At Sea & lt;br & gt; 8. Where Corals Lie & lt;br & gt; 9. The Swimmer
Dvorak Symphony No. 7 180g LP (Vinyl)
Dvorak's Seventh Symphony performed by the London Philharmonic Orchestra conducted by Carlo Maria Giulini. & lt;br & gt; & lt;br & gt; & lt;b & gt; & quot;Giulini's conducting incorporates elements of Furtwangler's and Toscanini's styles. His dynamism and purity of sound are reminiscent of Toscanini, but the spacious, Romantic approach reminds one of Furtwangler. His particular attentiveness to inner voices results in a rich sound. Giulini eschews podium theatrics or autocratic attitudes. Instead, he approaches the musicians as co-workers serving the music. & quot; & lt;/b & gt; All Music Guide & lt;br & gt; & lt;br & gt; Features: & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; London Philharmonic Orchestra & lt;br & gt; Carlo Maria Giulini & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Antonín Dvorak (1841-1904) & lt;br & gt; Symphony No. 7 in d minor & lt;/b & gt; & lt;br & gt; 1. First Movement - Allegro maestoso & lt;br & gt; 2. Second Movement - Poco adagio & lt;br & gt; 3. Third Movement - Scherzo (Vivace) & lt;br & gt; 4. Fourth Movement - Allegro
NATHAN MILSTEIN VIVALDI FOUR CONCERTI 180g LP (Vinyl)
While Vivaldi was imitated and paraphrased for several decades in the 18th century, his style is actually quite inimitable. His admirers could add to but not originate the formula. This is why his singular voice speaks to us now with such genuine directness and individuality. & lt;br & gt; & lt;br & gt; Nathan Milstein performs four memorable Vivaldi concerti for violin. & lt;br & gt; & lt;br & gt; Musicians: & lt;br & gt; Nathan Milstein, violin & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Antonio Vivaldi (1675-1741) & lt;br & gt; Concerto in A Major F.I No. 106 & lt;/b & gt; & lt;br & gt; 1. Band 1 - 1st Movement: Allegro molto & lt;br & gt; 2. Band 2 - 2nd Movement: Largo & lt;br & gt; 3. Band 3 - 3rd Movement: Allegro & lt;br & gt; & lt;br & gt; & lt;b & gt;Concerto in C minor F.I No. 2 & lt;/b & gt; & lt;br & gt; 4. Band 4 - 1st Movement: Allegro & lt;br & gt; 5. Band 5 - 2nd Movement: Andante & lt;br & gt; 6. Band 6 - 3rd Movement: Allegro & lt;br & gt; & lt;br & gt; & lt;b & gt;Concerto in C Major F.I No. 3 & lt;/b & gt; & lt;br & gt; 7. Band 1 - 1st Movement: Allegro & lt;br & gt; 8. Band 2 - 2nd Movement: Largo & lt;br & gt; 9. Band 3 - 3rd Movement: Allegro & lt;br & gt; & lt;br & gt; & lt;b & gt;Concerto in A Major F.I No. 5 & lt;/b & gt; & lt;br & gt; 10. Band 4 - 1st Movement: Allegro molto & lt;br & gt; 11. Band 5 - 2nd Movement: Largo & lt;br & gt; 12. Band 6 - 3rd Movement: Allegro
Michael Rabin Mosaics 180g LP (Vinyl)
& lt;b & gt; & lt;font color= & quot;#FF0000 & quot; & gt;Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation! & lt;/font & gt; & lt;/b & gt; & lt;br & gt; & lt;br & gt; Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians. & lt;br & gt; & lt;br & gt; Violinist Michael Rabin is accompanied by pianist Leon Pommers for this recording of compositional works by Debussy, Chopin, Scriabin, Elgar and more! & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Michael Rabin, violin & lt;br & gt; Leon Pommers, piano & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Side One: & lt;br & gt; Frederic Chopin (1810-1849) & lt;br & gt; & lt;/b & gt; Nocturne, Op. 27 & lt;br & gt; & lt;b & gt;Henryk Wieniawski (1835-1880) & lt;br & gt; & lt;/b & gt; Caprice in A minor & lt;br & gt; & lt;b & gt;Frederic Mompou (1893-1987) & lt;br & gt; & lt;/b & gt; Jeunes filles au jardin & lt;br & gt; & lt;b & gt;Alexander Scriabin (1872-1915) & lt;br & gt; & lt;/b & gt; Etude in Thirds & lt;br & gt; & lt;b & gt;Claude Debussy (1862-1918) & lt;br & gt; & lt;/b & gt; La plus que lente & lt;br & gt; & lt;b & gt;Pablo Sarasate (1844-1908) & lt;br & gt; & lt;/b & gt; Habanera & lt;br & gt; & lt;b & gt;Side Two: & lt;br & gt; Edward Elgar (1857-1934) & lt;br & gt; & lt;/b & gt; La Capricieuse & lt;br & gt; & lt;b & gt;Carl Engel (1883-1944) & lt;br & gt; & lt;/b & gt; Sea-Shell & lt;br & gt; & lt;b & gt;Pablo Sarasate & lt;br & gt; & lt;/b & gt; Zapsteado & lt;br & gt; & lt;b & gt;Maurice Ravel (1875-1937) & lt;/b & gt; & lt;br & gt; Piece en forme de habanera & lt;br & gt; & lt;b & gt;Sergei Prokofiev (1891-1953) & lt;/b & gt; & lt;br & gt; March (Love for Three Oranges) & lt;br & gt; & lt;b & gt;Josef Suk (1874-1935) & lt;/b & gt; & lt;br & gt; Burleska
Mozart & Mendelssohn Violin Concertos (Leonid Kogan/OSCC) 180g LP (Vinyl)
& lt;font color= & quot;#FF0000 & quot; & gt; & lt;b & gt;180g Vinyl Reissue! & lt;/b & gt; & lt;/font & gt; & lt;br & gt; & lt;br & gt; 180-gram reissue from Testament Records of the rare recording featuring Constantin Silvestri conducting the Orchestre de la Societe des Concerts du Conservatoire with violinist Leonid Kogan. & lt;br & gt; & lt;br & gt; & lt;b & gt;Features: & lt;/b & gt; & lt;br & gt; 180g Vinyl LP & lt;br & gt; & lt;br & gt; & lt;b & gt;Musicians: & lt;/b & gt; & lt;br & gt; Leonid Kogan, violin & lt;br & gt; Orchestre de la Societe des Concerts du Conservatoire & lt;br & gt; Constantin Silvestri, conductor & lt;br & gt; & lt;br & gt; & lt;b & gt;Selections: & lt;br & gt; Wolfgang Amadeus Mozart (1756-1791) & lt;br & gt; Violin Concerto No. 3 in G, K.216 & lt;/b & gt; & lt;br & gt; 1. Allegro - Cadenza - Tempo I & lt;br & gt; 2. Adagio - Cadenza - Tempo I & lt;br & gt; 3. Rondo (Allegro - Andante - Allegretto - Tempo I) & lt;br & gt; & lt;br & gt; & lt;b & gt;Felix Mendelssohn-Bartholdy (1809-1847) & lt;br & gt; Violin Concerto in E minor, Op. 64 & lt;/b & gt; & lt;br & gt; 1. Allegro molto appassionato & lt;br & gt; 2. Andante & lt;br & gt; 3. Allegretto non troppo - Allegro molto vivace
Carl Schurict Bruckner Symphony No. 8 in C minor 180g 2LP (Vinyl)
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& lt;p & gt;Originally released 1964, The Vienna Philharmonic Orchestra, conducted by Carl Schuricht, performs Bruckner's Eighth Symphony. Testament is an artist-based label, not restricted to any particular period of recording history, and its releases are selected from the archives of some of the largest record companies and radio stations in the world. With the permission and cooperation of these companies and stations.
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Testament releases previously unpublished and deleted recordings from their archives, using their original master tapes and 78rpm metal parts for CD remastering. Testament also has access to their extensive photographic archives and comprehensive research facilities.
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Testament is thus in a unique position and one that is enjoyed by no other independent record company specializing in the reissue of archive recordings.
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Testament LPs are cut onto lacquer from the original master tapes at Abbey Road Studios using full analogue techniques throughout production and pressed onto 180-gram virgin vinyl. & lt;/p & gt;
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& lt;li & gt;Lacquers cut at Abbey Road Studios & lt;/li & gt;
& lt;li & gt;Cut from original master tapes & lt;/li & gt;
& lt;li & gt;100% Analogue - Cut using full analogue techniques throughout production & lt;/li & gt;
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& lt;/section & gt;
& lt;section id= & quot;musicians & quot; & gt;
& lt;h3 & gt;Musicians & lt;/h3 & gt;
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& lt;th & gt;Vienna Philharmonic Orchestra & lt;/th & gt;
& lt;td & gt; & lt;/td & gt;
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& lt;th & gt;Carl Schuricht & lt;/th & gt;
& lt;td & gt;conductor & lt;/td & gt;
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& lt;section id= & quot;selections & quot; & gt;
& lt;h3 & gt;Selections & lt;/h3 & gt;
& lt;h4 & gt;Anton Bruckner (1824-1896) & lt;/h4 & gt;
& lt;h5 & gt;Symphony No. 8 In C Minor & lt;/h5 & gt;
& lt;h6 & gt;Side One: & lt;/h6 & gt;
& lt;ol & gt;
& lt;li & gt;1st Movement: Allegro moderato & lt;/li & gt;
& lt;/ol & gt;
& lt;h6 & gt;Side Two: & lt;/h6 & gt;
& lt;ol & gt;
& lt;li & gt;2nd Movement: Scherzo (Allegro moderato) & amp; Trio (Poco andante) & lt;/li & gt;
& lt;/ol & gt;
& lt;h6 & gt;Side Three: & lt;/h6 & gt;
& lt;ol & gt;
& lt;li & gt;3rd Movement: Adagio & lt;/li & gt;
& lt;/ol & gt;
& lt;h6 & gt;Side Four: & lt;/h6 & gt;
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& lt;li & gt;4th Movement: Finale & lt;/li & gt;
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& lt;/section & gt;
Leonid Kogan and Elisabeth Gilels Sonatas For Two Violins 180g LP (Vinyl)
& lt;header & gt;
& lt;p & gt; & lt;strong & gt;180g Vinyl LP Reissue! & lt;/strong & gt; & lt;/p & gt;
& lt;/header & gt;
& lt;p & gt; & lt;strong & gt;This item not eligible for any further discount offers! & lt;/strong & gt; & lt;/p & gt;
& lt;p & gt;Leonid Kogan and Elisabeth Gilels perform sonatas for two violins composed by Leclair, Telemann and Ysaye. & lt;/p & gt;
& lt;section id= & quot;features & quot; & gt;
& lt;h3 & gt;Features & lt;/h3 & gt;
& lt;ul & gt;
& lt;li & gt;180g Vinyl & lt;/li & gt;
& lt;/ul & gt;
& lt;/section & gt;
& lt;section id= & quot;musicians & quot; & gt;
& lt;h3 & gt;Musicians & lt;/h3 & gt;
& lt;table & gt;
& lt;tr & gt;
& lt;th & gt;Leonid Kogan & lt;/th & gt;
& lt;td & gt;violin & lt;/td & gt;
& lt;/tr & gt;
& lt;tr & gt;
& lt;th & gt;Elisabeth Gilels & lt;/th & gt;
& lt;td & gt;violin & lt;/td & gt;
& lt;/tr & gt;
& lt;/table & gt;
& lt;/section & gt;
& lt;section id= & quot;selections & quot; & gt;
& lt;h3 & gt;Selections & lt;/h3 & gt;
& lt;h4 & gt;Side One: & lt;/h4 & gt;
& lt;h5 & gt;Jean-Marie Leclair (1697-1764) & lt;/h5 & gt;
& lt;h6 & gt;Sonata No.3 in C Major, Op. 3 No. 3 & lt;/h6 & gt;
& lt;ol & gt;
& lt;li & gt;First Movement: Adagio - Vivace & lt;/li & gt;
& lt;li & gt;Second and Third Movements: Adagio - Allegro & lt;/li & gt;
& lt;/ol & gt;
& lt;h6 & gt;Sonata No. 1 in G Major, Op. 3 No. 1 & lt;/h6 & gt;
& lt;ol start= & quot;3 & quot; & gt;
& lt;li & gt;First Movement: Allegro & lt;/li & gt;
& lt;li & gt;Second and Third Movements: Allegro ma poco - Allegro & lt;/li & gt;
& lt;/ol & gt;
& lt;h5 & gt;Georg Philipp Telemann (1681-1767) & lt;/h5 & gt;
& lt;h6 & gt;Canonic Sonata No. 1 in G Major For Two Violins & lt;/h6 & gt;
& lt;ol start= & quot;5 & quot; & gt;
& lt;li & gt;First Movement: Vivace & lt;/li & gt;
& lt;li & gt;Second and Third Movements: Adagio - Allegro & lt;/li & gt;
& lt;/ol & gt;
& lt;h4 & gt;Side Two: & lt;/h4 & gt;
& lt;h5 & gt;Eugene Ysaye (1858-1931) & lt;/h5 & gt;
& lt;h6 & gt;Sonata No. 1 in C Major For Two Violins & lt;/h6 & gt;
& lt;ol & gt;
& lt;li & gt;First Movement: Poco lento maestoso - quasi moderato & lt;/li & gt;
& lt;li & gt;Second Movement: Allegretto poco lento & lt;/li & gt;
& lt;li & gt;Third Movement: Allegro vivo e con fuoco - moderato amabile & lt;/li & gt;
& lt;/ol & gt;
& lt;/section & gt;
