Thank you for Ernst Boehe

Wimpel, what about some Lutoslawski Symphs.? There are some very good pieces.
Still checking the thread, ATM discovering composers in #80 U^^. Im slow, i know.

Sure. I got a lot of Lutoslawski. ;)



No.306

Another potpourri of Mexican orchestral works, this entry focussing on Manuel Ponce, the country's
first significant "national composer". His Ferial (Divertimento Sinf�nico), Instantaneas Mexicanas and
Estampas Nocturnas are joined by Silvestre Revueltas' short Toccata and Carlos Ch�vez's Chapultepec
(Republican Overture).



Music Composed by Manuel Ponce, Silvestre Revueltas & Carlos Ch�vez
Played by the Royal Philharmonic Orchestra
Conducted by Enrique B�tiz

"Manuel Ponce was a Mexican pianist and composer whose style underwent a profound change in midlife;
his works are clearly divisible into two types. The earlier style was derived primarily from the brilliant salon
style of Moszkowski and Chaminade, and is represented by numerous light works for the piano and a huge
quantity of sentimental songs. After studying with Dukas, Ponce developed a style that combined French
Impressionism and neo-Classical contrapuntal techniques. Most of his guitar music and the majority of his
more serious and larger works were written in this style. In addition to the songs and early piano works, Ponce
composed a piano concerto, several large symphonic works for orchestra, the Concierto del sur for guitar and
orchestra, which was premiered by Segovia, some chamber music, two piano sonatas, and a large quantity
of guitar music.

Born in 1882, Ponce had no important teachers during his childhood in Mexico. In 1895 he was made
organist of Saint Diego, Aguascalientes, and in 1900 he went to Mexico City to study piano with Vicente
Ma�es. From 1901 until 1904 he supported himself as an organist, teacher and music critic back in Aguascalientes.
Ponce left for Europe in 1904, giving his first recital abroad in St. Louis on the way. He stayed in Berlin,
teaching and concertizing until his return to Mexico City in 1909 to succeed Castro as the piano instructor
at the Mexico City Conservatory. During this time, his compositions became fairly popular in Latin countries, and
his renown grew; he became conductor of the National Symphony Orchestra from 1917-1919. In 1925, Ponce
moved to Paris and edited a music periodical; it was during this period that he studied with Dukas and
reformulated his compositional style. He returned to Mexico in 1933, and remained there until his death.
Many of Ponce's earlier works have faded into obscurity, but some of his songs, particularly Estrellita (1914),
became enormously popular, and are still occasionally performed. Although most of his guitar pieces have
become part of the standard repertory, his major works are seldom performed outside of Mexico."
All Music



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No.307

The fact that his father was one of the finest composers in the entire history of music
and that Franz Liszt(!) was his grandfather must have put quite a lot of pressure on
Siegfried Wagner (1869-1930) - too much pressure, in fact. Although he composed
prolifically (operas, too!), he never really managed to break away from his father's
style. The three tone poems recorded here: Sehnsucht (Longing), Scherzo "Und wenn die
Welt voll Teufel w�r" (And if the world were full of devils) and the large-scale Gl�ck
(Happiness) are a case in point. The lush, even opulent late romanticism is similar
to the music of Richard, as well as of his student Engelbert Humperdinck (who, in
turn, taught Siegfried). But it's well-crafted none the less.



Music Composed by Siegfried Wagner
Played by the Philharmonisches Staatsorchester Hamburg
Conducted by Werner Andreas Albert

"Siegfried Wagner had the best musical pedigree that a composer could conceivably have:
the son of Richard Wagner and the grandson of Franz Liszt (through Liszt's daughter Cosima). His ancestry
proved to be a decidedly mixed blessing, however, as the younger Wagner -- despite working in a different
musical era -- was never fully able to step outside of the long shadow cast by his father, even as he
engendered the jealousy of musical rivals.

The younger Wagner, in celebration of whom the "Siegfried Idyll" was written, was privately educated for
the first 14 years of his life; apart from anything taught him by his father, his earliest musical training came
from Franz Liszt and Ernst Hausburg. Following Richard Wagner's death in 1883, he studied with Wagner
acolyte Engelbert Humperdinck in Frankfurt. Despite his interest in music and his early training, Siegfried Wagner
chose architecture as a field of study for two years, touring the world as far as India in the course of his
training and exposure to design. Finally, in 1892, he turned back to music, beginning four years of work at
Bayreuth, working under his mother and conductor Hans Richter with the intention that he would ultimately
become Bayreuth's director. Wagner conducted part of the Ring cycle at the 1896 Bayreuth Festival, and
five years later he staged The Flying Dutchman, all in preparation for his taking charge of the festival,
which he did in 1906.

Despite his duties in the service of his father's music, Wagner found time to compose, completing his first
published work, the opera Der Barenhauter (1898), which premiered in Munich the following year to great a
cclaim. Alas, this first success proved very difficult to match, and none of his subsequent operas remained
long in the repertory or received enthusiastic critical responses.

Between his father's direct impact on his life and Siegfried's subsequent study with Humperdinck, it would
be extraordinary if the younger Wagner's music were devoid of any resemblance to that of his father. One
can perceive the elder Wagner's influence manifesting in the scoring of lengthy orchestral passages of Der
Barenhauter, as well as parts of the vocal writing, although thematically this and his other stage works
were far removed from his father's work -- he preferred librettos that dealt with subjects derived from fairy
tales and the supernatural, and focused on the psychology of his characters.

Der Barenhauter, the only one of Wagner's operas to have been recorded officially, most resembles Humperdinck's
work in mood and texture. Scholars have also detected the influence of such contemporaries as Jean Sibelius
and Gustav Mahler in his music. Of his other works, Herzog Wildfang (1901) is notable for a libretto that
parodied the libretto of Die Meistersinger Von Nurnburg, and An allem ist Hutchen schuld (1914) achieved some
popularity in Germany.

Wagner's work at Bayreuth received acclaim at various points during the 24 years that he directed the festival --
for his stagings as well as his designs -- but he also endured resentment from rival musicians. Ultimately, his
genealogy proved something of an undoing to his own musical reputation. Following Siegfried Wagner's death,
the family did its best to suppress performances of his music, casting its lot with the more popular and profitable
works of Richard Wagner, and it was only with lapsing of various copyrights, and the formation of the Siegfried
Wagner Society in 1972, that his music was made available again, first in concert editions and more
recently in full performances."
All Music





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No.308

William Russo, better known as Bill Russo (June 25, 1928 – January 11, 2003), was an American jazz musician.
He is considered one of the greatest jazz composers and arrangers. A former student of the jazz pianist Lennie Tristano,
Russo wrote ground-breaking orchestral scores for the Stan Kenton Orchestra in the 1950s, including 23 Degrees
N 82 Degrees W, Frank Speaking, and Portrait of a Count. One of the more famous works he wrote for the Kenton
Orchestra is Halls Of Brass, specially composed for the brass section, without woodwinds or percussion. The section
recording this piece, featured such jazz artists as Buddy Childers, Maynard Ferguson and Milt Bernhart, was much-
respected by symphony brass musicians. At the beginning of the 1960s Russo moved to England, where he founded
the London Jazz Orchestra. He was a contributor to the Third Stream movement that sought to close the gap
between jazz and classical music. He returned to his native city of Chicago in 1965, where he founded Columbia
College's music department and became the director of its Center for New Music. The two compositions here,
entitled Street Music and Three Pieces for Blues Band and Symphony Orchestra, are examples of
how Russo combined both jazz and classical instruments. The album was a great success in its day, and it has
continued to be re-released several times since.

Also included is George Gershwin's fanciful tone poem An American in Paris, which, of course,
needs no further introduction.



Music Composed by William Russo & George Gershwin
Played by the San Francisco Symphony Orchestra
With Corky Siegel (harmonica/piano( & the Siegel Schwall Band
Conducted by Seiji Ozawa

"It might seem odd to pair this suave Gershwin classic with the rough-hewn music of William Russo,
but the audio-tourism of An American in Paris is certainly a forerunner (along with Duke Ellington’s Harlem)
to Street Music. Russo’s work, subtitled “A Blues Concerto”, forms a sort of ethno-musical travelogue in
which the tourist, guided by Corky Siegel’s ubiquitous harmonica and piano, encounters disparate styles
ranging from Greek to Asian to Deep South blues, all against a symphonic (and initially Brahmsian)
backdrop. Actually, the briny timbre of Siegel’s solos often clashes rudely with that of the other
“street musicians”, which creates a compelling sonic drama.

In contrast to the dovetailing sections of Street Music, Three Pieces for Blues Band and Orchestra
are self-contained entities. Russo’s striking combination of blues band (harmonica, guitar, bass, and drums)
and symphonic ensemble vividly recreates the sound world of those 1970s action movies starring
Burt Reynolds and Charles Bronson. Seiji Ozawa pulls off both pieces brilliantly by getting the San
Francisco players to let loose and really get into the groove.

In this company it’s striking just how European Gershwin’s American in Paris sounds–the bluesy trumpet
solo is about the only passage certifiably made in the USA. But never mind; Ozawa plays this busy,
swinging music with great style and panache, reminding us once again just what an electrifying work
this must have been when new. DG’s remastered recordings sound newly minted and do an excellent
job of balancing the soloists (even the electric guitar and bass) in realistic perspective with the orchestra."
Classics Today (9/10)



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Now this is an old recording that still is part of my collection! It must be years since I listened to this LP so thanks for the reintroduction.

Wimpel, do you have by any chance this disc?
Lucien Cailliet FTW!
RACHMANINOV: Symphonic Dances (http://www.theclassicalshop.net/Details.aspx?CatalogueNumber=CV%205143)

Sorry, no. I got the Symphonic Dances by Rachmaninov, of course, but in different recordings.

Meanwhile, I've managed to re-upload several posts from page 4 of this thread, now fully functional again for the time being:

http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2194988

No.309

Alexander Moyzes was the son of Mikulaš Moyzes, an important figure in the development of Slovak national music in the
years leading up to 1918 and the establishment of Czechoslovakia. He was born in 1906 in north-west Slovakia and
learned at first with his father before entering in 1925 the Prague Conservatory, where he studied organ, conducting
and composition. He graduated in 1929, the occasion of his First Symphony, and went on to study in the master class
of Vitezslav Nov�k, from which he graduated in the following year with his Overture for Orchestra, Opus 10. It was
Novak too who directed his concentration on Slovak music, the source of his inspiration.

Moyzes has particular distinction as a symphonist, his Ninth Symphony having been completed in 1971. His suite for large
orchestra, Dances from Gemer, Opus 51, was written in 1956, the period of his Seventh Symphony. Its four
characteristic movements epitomise the national music of Slovakia in form and idiom. With Eugen Suchoň and J�n Cikker,
Moyzes is considered one of the three leading composers of his generation in Slovakia. He succeeded in creating a style
of composition that was thoroughly Slovak in inspiration, yet nevertheless took account of contemporary trends in
European music, a synthesis that he was to consolidate in his later years.

The suite Down the River V�h draws overt inspiration from the scenery of Slovakia, for which Moyzes had a
particular affection, and was started in 1935 for the Czechoslovak Radio Orchestra. He returned to the work after the
war, developing it into its present form. The suite opens with sources of the river, surrounded by the peaks of the Tatra
mountains, from which it flows. The water tumbles down over the rocks, meeting as a river in the valley, and flowing on
in a majestic hymn to the Morava and the Danube. The second movement finds the river passing through flowery meadows,
where a shepherd plays his pipe, the sound echoing into the dusk as the sun sets. The river grows wilder and there is
thunder and lightning, while river raftsmen negotiate the rapidly swirling waters through the gate of Slovakia, guarded
by the old castle of Strecno. In Romance Moyzes recalls olden times, trumpeters calling noble guests to feasting in the
castle, while the peasants suffered, protected only by outlaws who robbed the rich to help the poor. The suite ends
as the V�h grows in size, rushing on to meet the Danube in the summer sunshine, with snatches of folk song and
dance to be heard through its surging waters.



Music Composed by Alexander Moyzes
Played by the Slovak Radio Symphony Orchestra
Conducted by Ondrej Lenard

"A capable conductor whose name might otherwise have meant little in the West, Ondrej Len�rd has gained
currency through a series of recordings released on the Marco Polo and Naxos labels, including a number of CDs
devoted to the music of Johann Strauss II. He also led a recording of Havergal Brian's massive Gothic Symphony,
allowing the public to hear the work for the first time. Eventually, he came to conduct abroad, winning particular
favor in Vienna and the Far East.

While still a student at the Academy of Fine Arts in Bratislava, Len�rd was engaged as chorus master for the
Bratislava Opera Chorus. For his graduation concert at the Academy, he appeared before the Slovak Philharmonic,
beginning a long association with that ensemble. In 1964, Len�rd was appointed official chorus master of the Slovak
National Theatre. Five years later, he was engaged as principal conductor of Bratislava's Czechoslovak Radio Symphony.
With that orchestra, he toured and recorded extensively in a relationship that was to endure for decades. Successful
appearances in the Far East led to his appointment as standing guest conductor of Tokyo's Japan Shinsei Symphony
Orchestra in 1978.

In 1984, another prestigious appointment placed Len�rd in the position of principal conductor of the Slovak National
Theatre in Bratislava; in the new millennium, he was made general manager of the opera company. During his many years
there, he has overseen the careers of such star-quality singers as tenor Peter Dvorsk�, bass Sergej Kopc�k, and
dramatic soprano Eva Urbanov�. Elsewhere, he forged a positive relationship with the Vienna Staatsoper, Naples' Teatro
San Carlo, and the Houston Grand Opera. Guest appearances in many European centers, in Brazil, Canada, and other
parts of the United States, contributed to the conductor's growing reputation for mastery of his resources in the opera
house and on the concert stage.

Given the title of principal conductor of the Slovak Philharmonic in 1991, Len�rd has led the orchestra in both subscription
concerts and in festival performances. Among the latter were acclaimed performances of Verdi's Manzoni Requiem at
the 1993 Smetanova Litomyšl Festival. In 1995, Smetana's Vltava was hailed as outstanding and, in 1999, Len�rd won
particular commendation for a performance of Honegger's Jeanne d'Arc au b�cher."



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---------- Post added at 03:24 PM ---------- Previous post was at 02:30 PM ----------




No.310

Anatol Konstantinovich Lyadov (the last name is often spelled "Liadov"), 1855-1914, was the son and grandson of
noted conductors who led musical ensembles at the Mariinsky Theater and the St. Petersburg Philharmonic,
respectively. The young Lyadov showed exceptional talent and was admitted to the Conservatory. While
admiring his native talent, his main teacher, Nikolai Rimsky-Korsakov, was forced to expel him for unexplained
absences. He was later permitted to take the graduation exams, and passed them easily. He became a noted
professor and ethnomusicologist (publishing over 120 folk songs). He married in 1884, a match that gave him
considerable wealth and a large estate at Polinovka.

His music is beautiful, exceptionally skilled and imaginative, with an impressionistic mood (though not the
Debussyian style that word usually denotes). He was said to be shy and diffident. Either because of exceptional
lack of confidence or laziness he was incapable of completing more than a few large-scale works. He wrote some
piano pieces and songs, a few choruses, and about a dozen small but evocative orchestral works, some of which
were fragments from his unfinished opera Zoryushka. His inability to finish a commission from Diaghilev to write
the score for a ballet, The Firebird, led, famously, to its being given to the young Igor Stravinsky and launching
that composer to international fame.



Music Composed by Anatoly Liadov
Played by the Krasnoyarsk Symphony Orchestra
Conducted by Ivan Shpiller

"Liadov specialised in brief and sometimes concentrated tone poems, in dances and in atmospheric genre
miniatures. These are good performances with a small measure of imperfect ensemble recorded in a very lively
and resonant hall. Contrast the struttingly grand Pushkin and Rubinstein polonaises with the touching and soulful
About Olden Times; the latter’s Slavic melancholy is worn on its sleeve. Strangely the melody reminded me of
John Foulds’ Gaelic Lullaby before it sets off in a typically lively way reminiscent of Borodin and Kalinnikov. Nenie
has a nervy and Tchaikovskian character. The ticking pulse of Musical Snuffbox is utterly charming so if you
already warm to The Nutcracker – and who doesn’t – this will instantly win you over. The blare and oppression
of Dance of the Amazons connotes something tougher. And further out along that branch we come to Fragment
from The Apocalypse - a work seemingly caught up in the same visionary Theosophical mysteries as Scriabin in
his Poem of Ecstasy. In this work ringing grandeur rides high in massive combers of sound. The Eight Russian
Folk Songs can be enjoyed in the same company as Balakirev’s folk-themed overtures. The disc ends with Liadov’s
most celebrated tone poems. Kikimora, the story of a tiny spiteful witch is most touching and is spun with gold
and silver in the great tradition of Kouchka nationalism. Its magic can be related to a later but much more
familiar work – the creepy exoticism of Stravinsky’s The Firebird. The same magic arches over The Enchanted
Lake in a sweetly sorrowing impressionistic shimmer. Lastly there’s another piece of gruff witchery in the shape
of the wicked hag Baba-Yaga. She was recalled in Bax’s book Farewell My Youth. Here she is keenly portrayed
in spitting Mussorgskian fury as she blunders through the Russian forests with monstrous mortar and pestle.

The brief notes are by Dr David Doughty and usefully hold the listener’s hand through these discoveries.

Interesting to see that this vivid recording was produced by the son of Kirill Kondrashin, Pyotr Kondrashin.

Anyone with a taste for Russian nationalism needs to hear the Liadov orchestral works. This disc is an apt
way of getting to know them in vividly recorded and dedicated performances."
Musicweb International



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No.311

Alfredo Casella (1883-1947) was an outstanding if uneven composer who led several of his
contemporaries -- Respighi, Malipiero, Pizzetti, and others -- in a struggle to modernize Italian
music. His interests as a composer and as an author of articles on music were highly cosmopolitan,
as may be gathered from his early enthusiasms for Debussy, the Russian nationalists, Strauss,
Bart�k, and Schoenberg. Yet Casella was also intensely inspired by Italian culture, both its
folkways and its Futurism movement. His early works, particularly his first two symphonies
(1905 and 1909), were extremely modernistic for their time; that is, they were influenced by
Richard Strauss (as is the symphonic poem Italia, featured here) and Gustav Mahler (Casella
even transcribed the latter's Seventh Symphony for piano, four hands). But Casella eventually
settled into an energetic, spiky neo-Classicism owing much to Stravinsky and something to Ravel.



Music Composed by Alfredo Casella & Ottorino Respighi
Played by the Moldavian National Symphony Orchestra
Conducted by Silvano Frontalini

"La Boutique fantasque or The Magic Toy Shop is a ballet conceived by L�onide Massine
who wrote the choreography and the libretto Ottorino Respighi wrote the music based on
piano pieces by Gioachino Rossini. Its world premiere was at the Alhambra Theatre in London
on 5 June 1919, performed by Sergei Diaghilev's Ballets Russes. Lydia Lopokova and Massine
played the roles of the can-can dancing dolls in the original performance with
Enrico Cecchetti as the shopkeeper. The story of the ballet has similarities to Die Puppenfee
("The Fairy Doll" of Josef Bayer), an old German ballet which had been performed by
Jose Mendez in Moscow (1897) and by Serge and Nicholas Legat in Saint Petersburg (1903)
in the early twentieth century. Others note the similarities to Hans Christian Andersen's
The Steadfast Tin Soldier. Massine's story centers around the love story between two can-can
dancer dolls in a toy shop. Its general theme is lightly satirical, incorporating elements of
comedy, national folk dance and mime as well as classical choreography, and its story
unfolds in three acts."
Wikipedia



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No.312

Witold Lutoslawski (1913-1994) was the leading progressive figure in Polish music of the second half of the
twentieth century. Born in Warsaw, he showed an exceptional musical talent at an early age, with his first compositions
dating from 1922. He studied piano, violin, and composition (with Witold Maliszewski, a pupil of Rimsky-Korsakov),
graduating from the Warsaw Conservatory in 1937. Two years, at the beginning of World War II, Poland was
occupied by the Nazi Germany; and Nazi repression included censorship on artistic expression. Lutoslawski
survived the difficult war years as well as the subsequent Stalinist period by writing for radio, film, and theatre.
In addition, he arranged folk-songs and composed music for children.

Considered too formalist, his concert music was rarely performed. His first substantial orchestral work, The
Symphonic Variations was premiered in 1939. It is a work firmly rooted in tonality with a folk-like theme that is
varied in a kaleidoscopic way. His first stylistic period culminated in the folk-influenced, three-movement
Concerto for Orchestra (1954).

With the cultural thaw which started in the late '50s, his reputation began to grow, at home and abroad,
as did his compositional style, with twelve-tone techniques appearing in Funeral Music (1958). In this work,
Lutoslawski continually resolves ascending scales with semi-tone intervals that tend to anchor tonal
centers within keyless regions. In Jeux V�nitiens (1961), Lutoslawski took his first step into a "limited
aleatory music" -- after hearing a performance of John Cage's Concerto for Piano in 1960. Lutoslawski's
elegant String Quartet (1964) utilizes four rhythmically independent strands simultaneously, yielding
wonderfully dense and elastic textures. In the Live pour orchestra (1968) the work's four main sections
are connected by controlled aleatory passages. Most of his subsequent works were orchestral, fully
chromatic, orchestrated in a manner suggesting Debussy and Ravel, and consistently develop an
opposition between aleatory and metrical textures. Lutoslawski went on to compose nearly twenty
major orchestral works, including Symphony No. 3 (1982), for which he was awarded the prestigious
Grawemeyer Award, and his final Symphony No. 4 (1992), commissioned and premiered by the Los
Angeles Philharmonic.

He also composed works for distinguished soloists, such as Dietrich Fischer-Dieskau, (&Les espaces
du sommeil), Heinz and Ursula Holliger (Concerto for Oboe and Harp), Anne-Sophie Mutter, Chain II,
Mstislav Rostropovich (cello concerto), and Krystian Zimmerman (Piano Concerto). Lutoslawski's
extensive experience conducting his own works helped him to refine his musical language, his later
works becoming more lyrical and harmonically transparent.



Music Composed by Witold Lutoslawski
Played by the Polish National Radio Symphony Orechestra
With the Camerata Silesia
Conducted by Antoni Wit

"This further installment in Naxos’ Lutoslawski series opens with the Three Postludes, works
that occupy a key position in the composer’s output since they define a move away from his
serially-influenced middle period works toward a more plainly-stated, direct personal style. Antoni
Wit secures a taut, powerful account, with the complex running passagework and dense orchestration
of No. 2 effectively reproduced by the clear, well-balanced recording from the Fitelberg Concert Hall,
Katowice. Lutoslawski’s own 1976 recording of No. 1, with the same orchestra, has been issued
on EMI’s Matrix label; Wit obviously takes this as his lead but gets a much finer recording
and also presents the trilogy in full.

Arguably the most intriguing works here are the Preludes & Fugue for 13 solo strings. The principals
of the PNRSO play these pieces with enough flair and spirited self-confidence to challenge if not
surpass the performances on either of the two recordings made by Lutoslawski himself. Both of
those feature the Polish Chamber Orchestra, though sonically the 1976 EMI account is vastly superior
to the Polski Nagrania remake. On balance, you’ll get the best of all worlds with Wit’s capable
performance on this Naxos disc. Of the remainder of this collection–mostly short fanfares written
for various notable occasions–only the three-minute-long Mini Overture written for the Philip Jones
Brass Ensemble in 1982 has been widely recorded. The Polish brass players are a sonorous,
well-blended team, but if you’re not overly keen on Eastern-European brass playing and prefer
something with more cut and thrust to it, there’s a particularly incisive alternative by the Stockholm
Chamber Brass on BIS. No doubt most listeners will want this recording for the Preludes & Fugue
rather than for this slight brass piece, and on that score, these performances–especially at the
Naxos price–simply can’t be ignored."
Classics Today (8/9)

"We must thank Naxos and Wit for their committed efforts in recording 20th century Polish music,
especially of their continuing series of Lutoslawski's complete orchestral works. Lutoslawski is one of the
most innovative composers of the mid-late 20th century, and the recording here (as in other volumes)
brings together works from both Lutoslawski's earlier, folk-inspired era (Concerto and Overture) and
the latter, semi-aleatoric era (Poems and Mi-Parti).

The Camerata Silesia demonstrate full confidence in the semi-aleatoric processes going on in the
'Three Poems', based on Michaux's surrealist poetry. Lutoslawski's new style was gradually taking
form, and so this work is rather experimental in nature, paving way for the coming vocal masterpieces
'Paroles tissees' and 'Les Espaces du Sommeil'. His semi-aleatoric style is well suited to the hissing
and shouting required by the text in 'Le Grand Combat'. This is great fun to listen to. The last poem
of the work, 'Repos dans le malheur', an ultra-condensed requiem in a sense, is hauntingly beautiful.
(There is a misprint on the CD. 'Repos' should be track 6, while 'Combat' should be track 5.)

'Mi-Parti' is one of my favourite Lutoslawski works. Although written in the seventies, its long, beautiful
catilenas predate the composer's Symphony No. 4 and 'Les Espaces du Sommeil' in the coming
decade or so (they are recorded on vol. 1 and vol. 3 respectively). There are lush string sonorities,
with flute bird-calls above, and the piece gradually builds up to a climax, followed by a wistful coda
(played by strings) ascending into heaven. Indeed, 'Mi-Parti' would've served well as a short
symphony. Analyzing on a more academic aspect, Lutoslawski employs 'vertical/harmonic serialism'
here (as opposed to Schoenbergian horizontal/melodic serialism'). Chords are built using all 12 notes
of the chromatic scale, yet Lutoslawski spaces the notes widely, so that the harmonies sound
amazingly consonant, even neo-romantic, especially by the use of major and minor thirds/sixths.
The two-part structure (as implied by the title) is a signature of Lutoslawski's later works
(Symphonies Nos 2, 3, and 4).

'Overture for Strings' brings us back to the composer's earlier neo-classical era. A harmless
little piece with quirky harmonies that make one smile."
Amazon Reviewer



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No.313

One critic has described American composer Jeremy Beck as “an original voice celebrating music.
Without self-consciousness, without paralyzing abstraction, Beck reminds us that music is movement, physically
and emotionally.” A recent finalist in the Utah Arts Festival competition for the 2013 Chamber Music Commission
and awarded Second Prize in the Boston Chamber Orchestra’s 2011-2012 Commission Competition, Peabody Opera
included his Review in its 2011-2012 season. Review was one of three finalists in the 2010 National Opera
Association’s Chamber Opera Competition and was previously included in Opera America and Houston Grand
Opera’s 2009 New Works Sampler.

Beck’s Songs of Love and Remembrance was awarded Third Prize in the 2012 Ali�nor International Harpsichord
Composition Competition and his String Quartet No. 2 (“Fathers & Sons”) was a Finalist in the 2011 New England
String Quartet International Composition Competition. Beck’s work has recently been heard in chamber music
performances at the Dallas Festival of Modern Music and his String Quartet No. 5 has been recorded by the Da
Kappo Quartet for release in 2013.

Beck’s 2011 CD, IonSound Project (innova 797), distributed by Naxos, features chamber music performed by
the ensemble-in-residence at the University of Pittsburgh. In his review of this recording, critic Daniel Coombs
has said that Beck is “one of the multi-talented, gifted individuals making … positive contributions to the
American new music scene and deserves wider recognition[.] … His music is uplifting, buoyant [as well as] …
emotional and sensitive to both the performer and the listener.”

About Beck’s 2008 CD of chamber music, Never Final, Never Gone (innova 696), another critic stated
“Beck’s music is well worth hearing and Innova deserves thanks for putting another relevant voice in front
of the public eye.”

Beck’s first two innova CD’s were included by Gramophone in its June 2006 Reviews: The best new recordings
from North America. pause and feel and hark (innova 650), released in 2006, features some of his chamber
music, including Black Water for soprano and piano. A monodrama based on the novel by Joyce Carol Oates,
reviewers have found Black Water “enthralling … stunning in its intensity” while Oates herself has written of
her “admiration for [this] beautiful and haunting composition.” Co-Opera recently presented the Australian
premiere of Black Water at the 2012 Adelaide Fringe Festival before taking it on tour to Sydney, Melbourne,
and elsewhere in Australia.

Reviews of Beck’s Wave (innova 612) — a Slovak Radio Symphony Orchestra CD devoted to his music and
released in 2004 — describe his Sinfonietta for string orchestra as “harmonically inventive, thoroughly engaging …
sinewy and gorgeous” and Death of a Little Girl with Doves for soprano and orchestra as displaying “imperious
melodic confidence [and] fluent emotional command.” At its world premiere, this operatic soliloquy based on
the life of sculptor Camille Claudel was appraised as flowing “seamlessly through the use of a dazzling variety
of instrumental and vocal color … a fresh, exciting piece by a major talent.”



Music Composed by Jeremy Beck
Played by the Slovak Radio Symphony Orchestra
With Rayanne Dupuis (soprano)
Conducted by Kirk Trevor

"Here we have a cross-section of Jeremy Beck's music. Whether it is representative we can only take on trust
as his music has, until now, made little progress beyond New York, Yale, Chicago and Minneapolis.

Beck is certainly communicative; no ivory tower intellectual. Equally there is resilience and fibre in his writing.
His music is taut and engaging and is helped here by better than merely worthy advocacy from a Guildhall-trained
conductor and a Slovak orchestra. Everyone invested a full three days in setting down these recordings and
the refreshing results are patent.

The satirical State of the Union was written in Connecticut in reaction to George H. W. Bush's State of the
Union speech projecting the image of a USA confident and at peace with itself? Beck saw it differently. His seething
Bernstein-inflected music reflects disillusion, angst, violence and superficial values. It falls into three sections
played attacca: March of the Politicians, Lullaby (for an Urban Child), Revels.

The four movement Sinfonietta reaches for a more profound region. It will be highly accessible to anyone who
enjoys the string music of Vaughan Williams or Tippett. Beck’s tumultuously gorgeous scoring has its own ‘signature’
lacking both the psychological acid one finds in William Schuman and the tart alkaline rasp of Rawsthorne to
mention only two major twentieth century contributors to the genre.

Regrettably the song-cycle Death of a Little Girl with Doves starts with hardly any pause after the quiet farewell
of the Sinfonietta's moderato finale. The crashing of gears is soon forgotten. The text sequence was written
by the composer. It tells a heart-rending story of Camille Claudel (1863-1943) the sister of Paul Claudel, the poet,
writer and diplomat. Camille was a talented young sculptress, studio assistant to Auguste Rodin, ultimately his
lover. Their separation may well have precipitated her mental collapse and then her thirty year confinement in
an asylum. The storyline and the words put into the mouth of Claudel are fictionalised but carry a potent emotional
charge. The success of the recording owes a great deal to the clarity of diction, sheer musicality and acting
ability of the soprano Rayanne Dupuis. The words are set out in the insert but Dupuis is in any event easy to
understand. There is a full orchestra and the music is rife with incident both touching and dramatic. Dupuis has
to tackle a wide range of expression and style: full operatic temperament, parlando, ardent sentiment, speech
(including a cello accompanied reading of the mother's letter to her daughter in the asylum), and word sound-play.
Comparison can be made with Britten but in his 1930s phase (at tr. 8 [9.35] - the masterly Our Hunting Fathers),
Barber (Knoxville, The Lovers), Rorem and maybe a touch of Roy Harris (Canticle of the Sun and Give Me the
Splendid Silent Sun). Other figures suggested include Sondheim in his more operatic mode, Copland's The Tender
Land and Oskar Morawetz's From the Diary of Anne Frank. This is a deeply attractive and touching piece of
writing which I recommend urgently for its imperious melodic confidence, fluent emotional command and
yielding tenderness.

A lovely disc made fully compelling by the song-cycle and one that is likely to leave most listeners keen to
hear more from Jeremy Beck. Let's now have Death of a Little Girl with Doves in the 2005 Proms please.
Imaginative sopranos with good diction and adventurous and capable music directors should be seeking
out this disc. Do not delay."
Musicweb International



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No.314

Englishman Joseph Holbrooke was an industrious, working class composer whose ambitious and
extensive oeuvre betrays his equally considerable obscurity. The son of an English music hall musician
and teacher, Holbrooke sometimes used the name "Josef" to distinguish himself from his father, also named
"Joseph." Gaining his diploma from the Royal Academy of Music in 1896, Holbrooke made his public debut
as concert pianist that year; at RAM he had also met his lifelong friend and supporter, Granville Bantock.
By 1897, Holbrooke was working as a teacher and musical director based out of the London suburb of
Haringey, leading small groups in touring music shows. It was a peripatetic existence, but things
changed dramatically for Holbrooke in the year 1900 when three of his orchestral pieces were heard;
August Manns led the symphonic poem The Raven at Crystal Palace, Bantock premiered Holbrooke's
The Skeleton in Armour with the New Brighton Orchestra and Henry Wood presented his Symphonic
Variations on "Three Blind Mice" at the Proms. By the end of 1900, Holbrooke was regarded as one
of the top young composers in England.

In 1908, Thomas Beecham premiered Holbrooke's Apollo and the Seaman -- sometimes referred to
as the Apollo Symphony -- with a multimedia element in the form of magic lantern slides shown in
the darkened concert hall that provided a visual narrative to go along with the piece; these got
out of sync with the music and handed Holbrooke his first failure. However, the funeral march from
Apollo was a favorite of Captain Robert Scott and was much played at memorials held for Scott
after he perished on an ill-fated Antarctic expedition in 1912. Apollo also attracted the attention
of Lord Howard de Walden, who, with Holbrooke, embarked on a cycle of music dramas based on
Welsh folklore -- The Children of Don, Dylan, and Bronwen -- known under the umbrella
title of The Cauldron of Annwn. These ambitious works occupied both Holbrooke and de Walden from
1908 and 1920, and the collaboration also resulted in a number of smaller pieces based on Cyrmic
themes. De Walden remained Holbrooke's benefactor until his own death in 1946, funding concerts
Holbrooke led, frequently devoted to young British composers, supporting recordings of Holbrooke's
works, publications, and the like.

While Holbrooke's Piano Concerto No. 1 (1907) -- which had been premiered by Harold Bauer --
and his light music helped keep Holbrooke in the public mind, interest in Holbrooke began to decline
sharply after the end of World War I. This was in spite of the fact that Holbrooke enthusiastically
adopted the rhythms of jazz into his music, writing pop fox trots and other things of the kind during
the 1920s. At this time, Holbrooke began to suffer from deafness, which did not affect his musical
creativity but did make more difficult for him the business of conducting and simply communicating
with the outside world. With de Walden's death, Holbrooke simply drifted into obscurity, dying at
age 80 the same year as his contemporary Ralph Vaughan Williams. However, he left a comparable
output: in addition to works already mentioned, he composed eight symphonies, a second piano
concerto, additional symphonic poems, much chamber music, and no less than 35 pieces based
on the works of Edgar Allan Poe.



Music Composed by Joseph Holbrooke
Played by the Ukrainian National Symphony & Slovak Radio Symphony Orchestras
Conducted by Adrian Leaper & Andrew Penny

"Joseph Holbrooke was one of the great hopes of British music in the early years of the century; but
by the time of his death in 1958 his music was seldom performed. A recent CD of historical recordings
(Symposium, 4/93) gave a hint of what we might have been missing- but this new collection provides a
far better chance to judge the justice or otherwise of the composer's neglect.

Holbrooke gained much inspiration from Edgar Allen Poe, whose writings inspired three of the works here.
Like Poe, Holbrooke enjoyed conflict and confrontation, and the prevailing tone of the music here is of
dark brooding. Holbrooke was uniformly praised for the mastery of his orchestration and the boldness of
his harmonies; but his penchant for huge forces and unusual orchestral instruments (including concertinas
and sarrusophones) meant he was not always taken seriously (as anyone who has read Beecham's A Mingled
Chime will know). It was with The Raven in 1900 that Holbrooke first made his mark, and one cannot
but be impressed with what a young man of 21 did with the orchestra. Perhaps, though, it is the orchestral
prelude to his cantata The Bells that most grabs the attention. From the Ravelian opening to the grand
climax in which massed bells ring out it is impressive stuff. Can we expect a Holbrooke revival? I somehow
doubt it; but Marco Polo earn the warmest gratitude for giving us the opportunity to judge for ourselves.
Purchasers of their Bantock and Brian recordings will not want to miss out on this rewarding collection."
Gramophone



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No.315

John Joubert was born in Cape Town in 1927. Aged 19 he won a scholarship to study at the Royal Academy of Music
in London and has lived and worked in England ever since. Joubert’s long composing career encompasses all genres from
symphonic, operatic and chamber works to the ever-popular choral miniatures, Torches and There is no rose. The two
Symphonies and three String Quartets are recent additions to a growing catalogue of recordings from across
his work list. Latest major commissions include An English Requiem for the 2010 Three Choirs Festival and Concerto for
Cello and Chamber Orchestra for Raphael Wallfisch as part of the 2012 Cultural Olympiad. Joubert will be featured
composer at the new music wells 73-13 festival in June 2013 to include a new mass setting and anthem for the choir
of Wells Cathedral.

William Alwyn is represented by two excerpts from his early operatic outing, The Fairy Fiddler (1924-26),
which was never completed- It is the work of a composer barely 20 and the Prelude is a lovingly attractive piece
- affluent in green countryside hues though the Irish brogue is not that assertive. It broods and hums to itself in mists
and mellow fruitfulness and dawn's first stirrings. There’s a touch of bosky Bax or leafy Howells at work here.
The Derrybeg Fair is more rapturous showing an influence from Ravel mixed in with a Harty-like
whirling exultation.

Born to an Italian father and English mother, Carlo Martelli (*1935) was a viola player who entered film scoring
through his friendship with Gerard Schurmann. After his successful horror film scores of the 1960s (he worked as music
director for Hammer Films, and wrote the score to The Curse of the Mummy's Tomb, 1964), his serious concert
scores were consistently rejected by The British Broadcasting Corporation because they were neither atonal nor
modernist. Discouraged, Martelli gave up composition under his own name in the 1970s and undertook some
ghost-writing and orchestration chores for others. However, by the 1980s he was encouraged to write again for
string quartets and found that his light music pieces were once again acceptable to the BBC.



Music by John Joubert, William Alwyn & Carlo Martelli
Played by the Royal Scottish National Symphony Orchestra
Conducted by Martin Yates

"On 11 and 12 January the Dutton Epoch team were in Glasgow with Martin Yates conducting the Royal Scottish
National Orchestra. They recorded the Symphony by Carlo Martelli and the Second Symphony by John Joubert with
orchestral music from William Alwyn's early opera The Fairy Fiddler for release at the end of May (CDLX 7270).

After the amount of snow that had fallen in December it was very much touch and go whether this session would
take place, but in the event the weather warmed up while we were in Glasgow even if the Dutton van had driven
there through a snowy landscape. I had long wanted to find a way of recording Carlo Martelli's gripping and dramatic
youthful Symphony (written when he was 19) which I had first encountered in the early 1960s. When it was first
played - at the Festival Hall - by the London Symphony Orchestra in October 1957 conducted by Norman del Mar it
was given high praise by the press, The Times' critic describing it as 'a work not only of exceptional promise but of
heartening achievement'. It soon received several broadcasts, one of which I was fortunate in chancing on. I was
delighted with it, and Martelli seemed a promising name to look out for. However like that other British composer who
seemed destined for big things in the late 1950s, Stanley Bate, Martelli then disappeared off the musical radar and
apart from a Serenade for Strings which I once heard played by the Welbeck String Orchestra I looked in vain.
Decades later I began to encounter the name again in light music programmes and it became apparent that Martelli's
career had been a victim of that BBC change of stylistic direction in the early 1960s. So to be present while the
symphony was recorded by a top line orchestra was for me a personal ambition finally achieved, and it was especially
good to see the composer at the sessions as his youthful and energetic score unfolded. The orchestra seemed to
enjoy it too and I am confident that lovers of British music of that period will want to revisit this involving and very
approachable score. To quote that 1957 review again 'the language is direct and diatonic, but gives the impression
of spontaneous originality'.

Dutton needed another symphonic revival from the mid-century to couple with it and another long-standing gap in
the recorded repertoire was chosen - John Joubert's Second Symphony. This was first performed, also at the Festival
Hall, in 1971 when the composer had conducted, but has not been heard for some time. In a symphony responding
to the events of the Sharpeville massacre in 1960, John Joubert in his programme note tells how he was inspired by
the example of Alan Paton's novel Cry the Beloved Country. He draws a fascinating parallel with Shostakovich's
Eleventh Symphony noting 'but there Shostakovich uses Russian political songs as symphonic material, I resolved
to make use of three African melodies to give my work a similar sense of urgency and immediacy of purpose'. This is
a tremendously vivid and dramatic score finely caught by the RSNO under the direction of Martin Yates. The third of
Joubert's African themes is a Zulu lament whose final appearance on solo horn gives the music a tragic and elegiac
climax, though the work ends in violent conflict. This is a major score of the mid-twentieth century which will surely
find many admirers when this vivid recording is issued.

The two symphonies made for a rather short CD programme. To provide a contrast the orchestra also recorded
two delightful previously unrecorded short pieces by William Alwyn which were suggested by the Alwyn Trust.
As so often with such discoveries, we immediately feel it is a mystery why we have never heard such attractive
music before. These orchestral encores are the Prelude and 'Derrybeg Fair' music from William Alwyn's very early
opera The Fairy Fiddler (1922 rev 1925, 1929). This is enchanting and colourful music which make a splendid
contrast to the striving of the two symphonies on this programme."
Lewis Foreman



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thanks for the Joubert, Alwyn and Martelli!

No.316

Sinfon�a a Granada comprises five movements or scenes.

I. ‘… landscapes with dream factories’ - At the root of the guitaristic rhythm of the brisk buler�as
of the orchestra, a voice relates how the diverse kaleidoscope of the city is encapsulated in its history, its
dawns, its late violets, its song, its colours, its light, its landscapes with fabrics of dreams that bring us in a state
of fascination to experience ‘love for Granada’.

II. ‘Going up to the Alhambra’ - As if in a dream ‘let us go up to the Palace’. The
tinkling guitar invites us ‘to listen to the water’s voice’. The harp sounds, the song sounds, the scene lights up.
Let us go up to kindle The light of the dawn.

III. ‘The Land and the Sea’ - The vivid rhythm of the buler�as resounds through the
countryside and on the sea of Granada. Country dwellers and mariners tell of their troubles and laments.
In a distant tavern an anguished voice and a guitar can be heard: "Time rolls on between what is lost
yet remains."

IV. Dance of Sacromonte - A couple of years ago I was spending the night in the
company of the great flamenco singer, Enrique Morente, and other friends in the narrow streets of Sacromonte. A
gypsy girl came out of a cave some distance from us. She was very graceful with long hair, and carrying a
guitar. The tapping of her shoes resonated loudly in my ears. Her silhouette, lit up by the moon, stood out
marvellously in the night. That image fascinated me. Although Sinfon�a a Granada was dedicated to the
Regional Government of Granada, the scene inspired me to write Dance of Sacromonte, which I dedicate also to
those dancers and singers, male and female, whose names will never be known but who contributed so much
to the world of flamenco and the musical life of Granada.

V. A Snow Painted Sky - This calm and serene song takes us to the quietness of
the Sierra Nevada. The snows bring us near the sky of Granada.
Lorenzo Palomo



Music Composed by Lorenzo Palomo
Played by the City of Granada Orchestra
With Mar�a Bayo (soprano), Jos� Luis Estell�s (clarinet)
And Vicente Coves (guitar), Luis Garc�a Montero (narrator)
Conducted by Jean-Jacques Kantorow

"The genius of Spanish nationalism in the early twentieth century was that it seemed to mesh with modern
ideals, primarily French ones, rather than standing at an opposite pole. The impulses thus generated have
lasted for a century now, and they're tweaked but not altered fundamentally in this pair of works by
contemporary Spanish composer Lorenzo Palomo. He has found success in the U.S. and the rest of
continental Europe, as well as in Spain, and from this pair of works it's easy to see why. Especially
effective is the Sinfon�a a Granada for soprano, guitar, and orchestra (there is also a narrator),
composed in 2007 in response to a commission from the Regional Government of Granada specifying
that the work should help "to establish bonds of union and brotherhood between the people of the
different territories of our province." Whether an orchestral composition can do this is debatable;
Palomo appears to have met this requirement with texts by poet Lu�s Garc�a Montero (who is also the
narrator) describing scenes from around the region. The music itself uses the rich heritage of flamenco
guitar and other Andalusian materials in a way that will seem familiar to audiences yet lies quite a
distance removed from the great Spanish standards. Palomo atomizes the material and his ensemble,
using, for example, flamenco rhythms in the Dance of Sacromonte movement (track 9) in fully
recognizable guise but with the addition of irregularities and details that force the listener to hear
them in modern structural terms. The Cantos del alma (2002) are written for the combination of
soprano, clarinet, and orchestra, inspired by Schubert's song "The Shepherd on the Rock"; the
orchestral textures are once again mostly sparse, with the focus remaining on the solo parts.
Soprano Mar�a Bayo (Austrian, not Spanish) has a voice of just the right size for this music; the
City of Granada Orchestra under the versatile Jean-Jacques Kantorow has the moves of this music
down cold; in general it's hard to think of a way the performance could have been substantially
improved. In general, Palomo produces something consistently lively and interesting even while
working under rather strict constraints. Enjoyment for many listeners will be hampered by the
absence of printed texts; they appear on a Naxos website that proved inaccessible on
multiple attempts."
All Music



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No.317

Nigel Westlake's professional career as a clarinettist commenced in 1975 at the age of 17.
His music studies include contemporary music performance, composition, screen composition,
orchestration and conducting with leading practitioners in Australia and Europe.

Westlake's film work includes the feature films Babe, Babe - Pig in the City, Children of the Revolution,
A Little Bit of Soul, The Nugget and the Imax films Antarctica, Imagine, The Edge and Solarmax.
His television credits include documentaries, telemovies, news themes and station idents. Several of his
compositions were incorporated in feature international T.V. broadcasts during the Sydney Olympics 2000.

He has received numerous awards for his compositions including the Gold Medal at the New York
International Radio Festival and several APRA and Screen Composer Guild awards for his film and
concert music. The feature film Babe won the Golden Globe award in 1996 for best feature
musical/comedy.



Music Composed by Nigel Westlake
Played by the Tasmanian Symphony Orchestra
With Timothy Kain (guitar)
Conducted by David Porcelijn

"Nigel Westlake is a clarinettist but even so not many composer-executants put themselves on the line whilst
wielding the bass clarinet as Westlake does in Invocations. This is a constantly changing, ever-colourful work,
long on prismic patterns amidst some angular Bergian moments. Westlake, being Westlake, there are so
back-beaty moments too in the second of the four movements, lightly bluesy as well – a bent glissando signals
the widening of the palette. So indeed does the rather coolly aloof solo violin line. The German Romantics’ motto
Frei aber Einsam might have been the creed for the slow movement with its expressive withdrawn quality.
And the finale wraps it all up with some rhythmically charged drama.

Antarctica – suite for guitar and orchestra is a slightly earlier work. It began as a film score (an IMAX presentation)
but this is a reworking and includes material not utilised in the film score. Rather than a Vaughan Williams-
inspired affair Westlake is precise in his aural and visual reference points. Short motifs, jagged and abrasive –
splendidly suggested by brief cymbal “cracks”- are added to the guitar’s more amiable patterns. The Wooden Ships,
the second movement, carries with it a gentle romance, full of rich lyricism though its B section bears a more
ominous and discordant charge. The Penguin Ballet functions as a kind of scherzo – graceful underwater but
surprisingly gruff and unsteady on land. The Ice Core is the finale. Westlake manages to conjure up ice floe and
ice cracks with brilliant precision – yet this kind of writing is never crass or obvious. He blends and fuses colours
with impressionist security and deploys sharp sounds as defiantly as any Vorticist.

Finally there is the (lower-case) out of the blue for string orchestra. This was written at a difficult time for the
composer following a car crash. It certainly does evoke blues in the central, slow section but the spareness of
writing is the thing that most strikes one. It’s also minimalist in its control of dynamics. Elsewhere though
there’s plenty of rhythmically propulsive animation and a sense that corners have been turned and all is
for the better.

The Australian Composer Series notches up another success here. Full marks to the resident band, the
Tasmanian Symphony Orchestra here under David Porcelijn, for being such convincing advocates for so
much good contemporary Australian writing."
Jonathan Woolf, Musicweb



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No.318

Another volume in Chandos’ series devoted to the orchestral works of Vincent d’Indy, nicknamed
‘The Samson of Music’ by Faur�, for his work as a composer, conductor, and teacher. His style was
essentially eclectic, strongly influenced by Beethoven and Wagner, into which he frequently
incorporated folk melodies.

Based on a folk tune from the Tourtous, the Symphonie sur un Chant montagnard fran�ais is one of
the composer’s best-loved works. The highly atmospheric work is scored for piano and orchestra;
however, far from engaging in conflict with the orchestra, the soloist here operates on equal terms.
The solo part is performed by the internationally acclaimed Louis Lortie.

The symphonic poem Saugefleurie tells the story of the tragic love between Saugefleurie, a lonely
yet charming little fairy, and the King’s son, based on a poem from the Contes de f�es by Robert de
Bonni�res, a friend of the composer’s. The Wagnerian influence is apparent throughout; however, in
terms of orchestration and sonority the work remains characteristically French.

Among the now forgotten works of the French poet, novelist, and dramatist Catulle Mend�s is the play
M�d�e, based on the Greek myth of Medea, who murdered her two sons in revenge for her
rejection by her lover Jason, the leader of the Argonauts. D’Indy wrote incidental music to the play
in 1898, and later preserved it in the form of an orchestral suite in five movements, recorded here.

Also on the theme of doomed love is d’Indy’s first opera, Fervaal, a work of Wagnerian scale and
proportions, and clearly displaying the influence of Parsifal in the complex network of leitmotifs. At
the same time, in its historical setting at the time of the Saracen invasion, and in its musical
evocation of local colour, it reflects the earlier Parisian Grand Op�ra of Meyerbeer and Hal�vy.



Music Composed by Vincent d'Indy
Played by the Iceland Symphony Orchestra
With Louis Lortie (piano)
Conducted by Rumon Gamba

"British-born conductor Rumon Gamba is Principal Conductor and Musical Director of
Norrlandsoperan and Chief Conductor to the Aalborg Symfoniorkester, having served
between 2002- 2010 as Chief Conductor and Music Director of the Iceland Symphony
Orchestra. He regularly conducts the BBC Orchestras and has appeared at the BBC Proms
on a number of occasions. He is an exclusive recording artist for Chandos.

A champion of new music, Rumon Gamba has given several high profile premieres. Following
his successful opera debut conducting Candide with the English National Opera he returned
in spring 2011 for the world premiere of Nico Muhly’s Two Boys. He also conducted the
Swedish premiere of Poul Ruders’ Dancer in the Dark and Mark-Anthony Turnage’s Blood on
the Floor, both with NorrlandsOperan, the Icelandic premiere of Mark-Anthony Turnage’s
Scherzoid, and the world premiere of Brett Dean’s Viola Concerto with the BBC Symphony
Orchestra.

Rumon Gamba has worked with orchestras such as the Orquesta Nacionales de Espana,
the London Philharmonic and Tokyo Symphony orchestras; forthcoming engagements include
his debut with WDR Rundfunkorchester, and returns to the Royal Philharmonic Orchestra,
Orquesta Sinfónica del Principado de Asturias, the Berner Symphonie-Orchester, Tivoli
and Helsingborg Symphony orchestras.

In North America Rumon Gamba has worked with the New York Philharmonic, Toronto and
Indianapolis Symphony orchestras, NAC Orchestra Ottawa and the Florida Orchestra.
He has worked with all the major Australian orchestras and conducted the New Zealand
Symphony Orchestra and the Hong Kong, Osaka and Nagoya Philharmonic orchestras."



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D'Indy played by Lortie!
An unbeatable combination!
Thank you, wimpel!

Hey wimpel,
I very much enjoy your thread, some great classical music here (already bought some of those CDs).
Do you possibly have the Natursymphonie by Siegmund von Hausegger? I would very much enjoy that.

Cheers,
aca2

No.319

The son of a well-known lawyer and music critic, Siegmund von Hausegger (1872-1948) enjoyed a
long career in music as a conductor and made a very limited, but, at the time, seemingly notable
contribution as a composer. He was initially trained in music by his father Friedrich von Hausegger
(1837-1899) who, despite being a lawyer by profession, wrote and advocated extensively on music
(and authored a university textbook on music education near the end of his life). Friedrich, who was
also a very early devotee of Wagner's work and theories, established an environment that encouraged
musical creativity almost above all else, and reportedly even brought in professional soloists,
and an orchestra and choir to perform a student work of his son's that proved too difficult for the
forces at his school. All of this positive reinforcement led to Hausegger's composing of the one-act
opera Helfrid, from his own libretto, at the age of 18. His second opera, the three-act Zinnober,
adapted from the work of E.T.A. Hoffmann, was conducted at its 1898 premiere by Richard Strauss.

Hausegger held various conducting posts over the turn of the century and beyond, in Berlin, Hamburg,
and Munich. His output as a mature composer is limited to five orchestral works, of which the best known
today is the Naturesymphonie (Nature Sympony), scored for large orchestra, organ, and chorus,
which has been recorded as recently as 2006. Hausegger was, at one point early in the 20th century,
pegged by some critics in the German-speaking world as a potential successor to Wagner, Mahler, and
Strauss; but his boldly conceived, neo-Romantic style and large-scale conceptions fell out of favor
after the First World War, and he ended up instead becoming much more influential as a conductor in the
decades that followed.



Music Composed by Siegmund von Hausegger
Played by the West German Radio Symphony Orchestra
With the West German Radio Chorus
Conducted by Ari Rasilainen

"Bruckner buffs may recognize the name of Siegmund von Hausegger as the conductor who, in 1932,
championed Bruckner's Ninth Symphony by presenting it for the first time in its original, unaltered form.
Apart from this, his name has largely been lost to history. Considering his importance as a conductor
in his time and the quality and quantity of his compositional output, this is truly a shame. Fortunately
for listeners, this CPO album provides a magnificent performance of one of his most grandiose works,
his "Nature Symphony." Composed in 1911, the symphony employs a massive orchestra that, like
Mahler, is used with razor-sharp precision. The liner notes of the album (which are annoyingly filled
with as much social commentary as historical information) provide detailed, step-by-step overviews
of the nature scenes being depicted and the Goethe writings that inspired them. Little known works
cannot be successfully recorded without top-notch performances. The WDR Radio Chorus and
Symphony Orchestra of Cologne, under the baton of Ari Rasilainen give listeners just such a
performance. Whether performing with full orchestral forces or a mere one or two instruments,
the technical precision and musical integrity of the musicians is abundantly clear, allowing
listeners to focus on the content of the music rather than the technical details of the performance."
All Music



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No.320

Abraham Lincoln (1809–1865), sixteenth President of the United States, has inspired as many works of literature,
fine art, and music as any statesman in history—his deeds and principles resonate in every age.
To prepare this collection celebrating the bicentennial of Lincoln’s birth, the Nashville Symphony, Leonard Slatkin,
and Naxos considered some ninety pieces of music ranging from large symphonies and requiems to chamber
works and songs. Of the eight selected works, some set Lincoln’s own immortal words (Copland: Lincoln Portrait,
Persichetti: A Lincoln Address) and some set words of poets inspired by Lincoln (Ives: Lincoln, the Great Commoner,
Harris: Abraham Lincoln Walks at Midnight). The purely instrumental selections draw their inspiration from
events in Lincoln’s life (Bacon: Ford’s Theatre), from Carl Sandburg’s famous biography of Lincoln
(Gould: Lincoln Legend), from emotions on contemplating Lincoln’s ideals (McKay: To a Liberator),
and from a folk-tune Lincoln used as a campaign song (Turok: Variations on an American Song: Aspects of
Lincoln and Liberty).



Music by Aaron Copland, Roy Harris, Morton Gould, Charles Ives,
Vincent Persichetti, George McKay, Ernst Bacon & Paul Turok

Anthony LaMarchina (cello)
Sharon Mabry (mezzo-soprano)
Barry Scott (narrator)
Mary Kathryn van Osdale (violin)

Nashville Symphony Orchestra and Chorus
Conducted by Leonard Slatkin

"The longest piece of music is Ernst Bacon’s Ford’s Theatre, a 30-minute suite of 12 short pieces originally
conceived as incidental music to a play by Paul Horgan called Death, Mr. President. Evidently the play was
not a success. Each of the pieces is suggested by an incident that took place during the week preceding
Lincoln’s assassination…One movement, entitled “The River Queen,” has some lovely moments; and the
music is pleasant… Morton Gould’s Lincoln Legend… is a 17-minute symphonic poem in several sections of
contrasting moods and dynamics. Through it are interwoven various American songs, most notably The
Old Grey Mare and The Battle Hymn of the Republic…Roy Harris’s…1953 setting of Vachel Lindsay’s Abraham
Lincoln Walks at Midnight… is actually one of the more interesting pieces on this program, with some
arresting moments…Barry Scott offers a fine reading of Lincoln’s words, and Leonard Slatkin, one of today’s
most sympathetic and effective advocates for the American symphonic school, leads a sensitive performance
[of Vincent Persichetti’s A Lincoln Address]…Aaron Copland’s A Lincoln Portrait… still moves me deeply—
the text, the music, the whole thing. Like the Gould work, this piece weaves American folk tunes into the
symphonic fabric. But it works because Copland does not twist them out of their natural settings; the
context in which he places them is in keeping with their characters. Again Barry Scott provides an
excellent rendition of the text, and Slatkin leads one of the most well-shaped performances of the work
I have ever heard. He and the Nashville Symphony are excellent throughout these recordings, but this is
most noticeable to me in the two works I know best. I am not privy to the machinations behind the scenes
concerning Slatkin, the Nashville Symphony, and Naxos, but while the other record companies ignore the
American symphonic repertoire, Naxos is bringing this music much-deserved attention. Like Schwarz and
the Seattle Symphony, Slatkin and Nashville are a winning combination."
Fanfare



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Sung texts can be found at:
http://www.naxos.com/sharedfiles/PDF/8.559373-74_sungtext.pdf#

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Dear wimpel69, personally I'm deeply grate to you for this splendid thread of unknown or little known music.
I hope that you continue to offer us again rare albums...we must to do justice to all composers!
Thank you sincerely again.

I will continue this thread, but at a slower pace than before. ;)



No.321

This third volume of Marco Polo’s acclaimed edition of Igor Markevitch’s Complete Orchestral Music
presents two of his most intriguing works: R�bus, an enigmatic ballet commissioned by L�onid Massine
but never performed as such, and Hymnes, one of Markevitch’s most experimental compositions
(the ‘hymns’ are wordless and completely secular) to which, shortly before his death, he appended
the Hymne � la Mort.



Music Composed by Igor Markevitch
Played by the Arnhem Philharmonic Orchestra
Conducted by Christopher Lyndon-Gee

"Rebus is a masterwork of the 20th century, its neglect indicative of the public’s lack of
knowledge of the composer, Igor Markevitch. It had been commissioned by the famous
choreographer, Leonid Massine, but it was never performed as such, its premiere given in
1931 as a concert work. The name is derived from a once popular word-game, its five
movements explained in the disc’s enclosed programme notes together with the meaning
and the relevance of the named movements. It has Prokofiev as its precursor, with a
smattering of Poulenc, and a nodding acquaintance with Auric. Insistent rhythms drive
the music forward, the colours unusual, and at times extremely difficult for an orchestra to
put together. Yet it’s neglect is as much due to the composer who suffered a severe and
never understood illness, and on his recovery in the late 1940’s he moved to a life as a
touring conductor and renounced the success that his works had enjoyed. He did however
change the fourth part of Hymnes shortly before his death in 1983 so as to incorporate
a previously composed Hymne a la Mort. It was a rather bizarre experiment in wordless
Hymns, and whether it works in that respect is questionable, though as a piece of music
it is easy to like, the Hymne a la Mort a quite disturbing score. I have heard Rebus in a live
concert by a famous name orchestra since this 1966 recording and it was just as much
of a struggle as the Arnhem orchestra find. Hymnes is a little easier and they make out
a very good case for further listening. Reliable sound quality."
David's Review Corner



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Thanks again for this thread :)

"Also Sprach Zarathustra (of 2001: A Space Odyssey fame)"

It pains me to think that most people have never heard this music beyond it's opening. The rest of the composition evokes imagery of such mystery and power that it surpasses even the best film scores of today. This is, without a doubt my most favorite classical piece of all time.

No.322

Pierre-Octave Ferroud was born in 1900 in Lyons and was killed in a car accident in Hungary
in August 1936. In this short period of time he established himself as a major figure in French music.
As a critic he contributed regularly to Paris Soir and from time to time to other publications, providing
himself in this way with a means of subsistence. He gained in Paris and in many travels throughout
Europe a number of international contacts, and through the foundation of his chamber music ensemble,
Triton, was able to introduce to French audiences contemporary music from abroad. He was
also successful as a composer, with performances of his works by distinguished musicians and
under well-known conductors. These works, contributions to almost every form of music, reflect
the French aesthetic of the inter-war period in a thoroughly personal musical idiom, making some
use of both imaginative caricatures and strict principles of construction. Pulsating rhythms and
harmonic sharpness, keeping melodic tonality in a tonal centre, characterize most of his works.

In his compositions Ferroud returned again and again to the orchestra and his nuanced techniques
of instrumentation won critical praise, even from sceptics. His early works, for example the Sarabande
and Andante cordial, show a clear but conscious debt to French tradition and especially to
Ravel, among others. From 1923 Ferroud lived in Paris and the first compositions of this period,
Au Parc Monceau, Types and Foules, delight in descriptive writing. In the mid-1920s he
shifted his aesthetic position towards classicisme, initially in his critical writing and subsequently in
his compositions. His musical idiom became more linear, transparent and at the same time formally
complex, as in the Violin Sonata of 1929. In instrumental writing he now finds no place for
particular illustrative detail. Although in the S�r�nade he wanted certain associations to be
made through the titles of the movements, this is far removed from the caricatures and genre
pictures of the earlier years. The Symphony in A takes up completely the broadened
development towards musique pure and was the turning-point from which Ferroud’s musical
idiom appeared more easily comprehensible.



Music Composed by Pierre-Octave Ferroud
Played by the W�rttembergische Philharmonie Reutlingen
Conducted by Patrick Davin

"Pierre-Octave Ferroud was a short-lived French composer who died in a car accident in Hungary.
A Lyonnais he wrote as a music critic for Le Soir and with his ensemble Triton he introduced
much contemporary music to international audiences. A number of his works were premiered
by Pierre Monteux. His music stylistically lies between the French romantics like Ropartz and
Tournemire and the extra-sec neo-classicists.

The 24 second Waltonian Sonnerie is a tartly clashing fanfare written for a French Radio
production of Victor Hugo’s Cromwell. It was Ferroud’s last work.

The Symphony in A Major is three movement work spanning 25 minutes It has much of
Honegger’s bustle and bubbling energy with some Prokofiev and other Russian influences which
he perhaps picked up from Tournemire’s Moscow symphony. There is repose too with chirping
birdsong. Some of this is Stravinskian but not dry. It also has some Copland-like brightness.
The andante is sometimes funereal, sometimes bucolically Stravinskian. There are occasional
wild whoops from the brass; altogether sweepingly unpredictable. It sometimes sounds like
Roy Harris in his ‘Ruralia America’ mode, perhaps imbibed from Boulanger. The finale
Allegro con brio is brilliant suffused with flashing and thrusting energy. It receives an
urgent spur from the conductor.

The Sarabande is music-box like with a gentleness drawing on the Forlane dance form
and itself modelled on Ravel’s Le Tombeau de Couperin. This work was the vehicle for
Ferroud coming to the attention of the French musical public. It was written first for piano duet.

The Eventail march (recorded previously by Chandos amongst others) is part of a collaborative
work. It is half jolly - half stern, with flashes of Prokofiev in his best but still slightly annoying
absurdist mode as in the opera The Love Of Three Oranges.

The Dreamy three movement serenade opens with a Ravelian Berceuse. There is an icy
edge to the melodic element. Then follows a romantic grand Pavane with much clock-ticking
and bell-tolling sound images. Finally there is a most unspiritual Spiritual. It is skittishly playful
with jazz age moments. This is serious light music or light serious music. In any event it
closes rather inconsequentially.

The Chirurgie Suite is based on music written for a play by Chekhov. It opens in a satisfying
mystery like something from the necromancer’s cave. There is a hint of Mussorgsky and the
exotic east (so beloved of the French - viz Roussel). This resolves into a careworn march
with wrong-note harmony and clashing bell-notes.

There are quite a few resemblances to Louis Aubert’s style. Aubert’s toweringly impressive
(and not to be missed) sea sketch Le Tombeau de Chateaubriand is on Marco Polo 8.223531.
(We need more Aubert please).

The final Andante Cordial is ethereal and Ravelian evoking summers in the long grass and an
unchained playfulness. Cordial - yes - heart-reviving music; simple but not simple-minded.

The notes are full and informative as befits an issue of almost totally unknown music. They
are in English, German and French The writer is Ruth Melkis-Behler.

A recommended issue. Once again Marco Polo push out the bounds of French music. The
cover is attractively adorned with Camille Pissaro’s The Avenue de Op�ra under Morning Snow."
Musicweb International



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5 Stars on the Lincoln Portraits from Naxos! Thanks so much!

No.323

John Fernstr�m (6 December 1897–19 October 1961) was a Swedish composer. Fernstr�m was born in Ichang,
China, where he also spent most part of the first ten years of his life at the mission his father directed, except for a
couple of years in Sweden. He resided permanently in the Swedish province of Sk�ne from 1907 and started to
study the violin at the conservatory in Malm�.

The Sixth Symphony is a big structure lasting more than 47 minutes. It is in four movements. The first is
reflective of Nielsen's dynamic and stomping power - also to be heard in slightly different livery in Rosenberg in his
third and sixth symphonies. The second movement speaks peacefully from a sleepy hollow. The chipper third
movement is strong with upstart woodwind chirruping and hiccuping along and thunderous drum punctuation.
The finale seems to be a phantasm of an early Sibelian symphonic tempest with the blurt and rasp of the First
Symphony prominent and references back to the chipper third movement giving a degree of cohesion.

The Flute Concertino was described by Rangstr�m as ‘a butterfly at twilight with gold dust on its wings’.
So he wrote after a Stockholm performance in spring 1943. Fernstr�m and his brother-in-law (Gustaf Paulson)
were captivated by the poetry of the American Carl Sandburg. The Concertino is for flute, small orchestra and
women's choir and the words set a poem ‘New Moon’ by Sandburg. This exalts the fanciful poetry of a twilight
buzzing with fireflies and moonlit Red Indian images, unsaddled ponies, night-rides and silver foxes gazing at
the moon. His intention was to capture the vague melancholy fantasy of the poem.

The Capricious Troubadour was written during autumn 1930 at about the same time as the Fourth Symphony
and the Symphonic Variations. Fernstr�m had just returned from a year's study at Sondershausen in
Germany and planned to put the lessons learnt there into practice. Accordingly we hear in this four movement
(Preludium, cantabile, giocoso, finale) suite many Sibelian touches alongside gestures linking with Mahler and Weill.
The parallels with Sibelian theatrical suites are clear enough with a super-fine Bergian dusting but a robust galloping
open-air feeling in the Finale. The dominance goes to the same light and playful divertissement mood-set as Larsson
and certain works by Von Koch.



Music Composed by John Fernstr�m
Played by the Swedish Radio Symphony Orchestra
Conducted by Mikko Franck

"John Fernstr�m was one of the most prolific composers of his generation and his music often contained exotic elements.
He was somewhat overshadowed by the more radical music that dominated concert programmes in Sweden in
the 1950s, but in recent times Fernstr�m’s music has come to be appreciated more and more. In the broadly
conceived sixth symphony Fernstr�m makes imaginative use of a rich palette of orchestral colours. “A butterfly
at twilight with gold-dust on its wings” was how the composer Ture Rangstr�m described Fernstr�m’s Flute Concertino.
The work captures the mood of Carl Sandburg’s poem “New Moon”, which depicts a night ride in the Indian west.
The Capricious Troubadour is a humorous bagatelle in which Fernstr�m is in excellent spirits. This is No. 6 in the
series Musica Sveciae Modern Classics."



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Thanks Wimpel69, fantastic thread!

Fernstr�m is wonderful!
Thanks, wimpel!

No.324

A companion piece to the upload of Lincoln memorials: Two works inspired by the
words and deeds of Marthin Luther King Jr. - Joseph Schwantner's
New Morning to the World (for narrator and orchestra) and Nicolas Flagello's
The Passion of Martin Luther King (with choir).



Music Composed by Joseph Schwantner & Nicolas Flagello
Played by The Oregon Symphony
With the Portland Symphonic Choir
And Raymond Bazemore (narrator)
Conducted by James DePreist

"Joseph Schwantner wrote New Morning for the World, subtitled "Daybreak of Freedom,"
in 1982 as a memorial to Martin Luther King, whom he called "a man of great dignity and
courage whom I had long admired." The American Telephone and Telegraph Company
commissioned the work for a tour of the Eastman Philharmonia. That orchestra gave New
Morning for the World its first performance on the 54th anniversary of King's birth, January
15, 1983, at Washington D.C.'s John F. Kennedy Center for the Performing Arts (coincidentally,
King's birthday was declared a national holiday in the United States later that same year).
David Effron conducted and Willie Stargell, the former first baseman of the Pittsburgh Pirates,
acted as narrator.

King's own words, compiled from several of his speeches, provide the narrated text. The work
opens with explosive drums, shimmering percussion, and a forceful brass theme perhaps evoking
King's violent death. The following theme for strings may represent his vision of peace.
Schwantner's typically colorful orchestration is very much on display, and the sonorous declamation
of King's words by the narrator is both dramatic and musical in its own right. Around ten minutes
into this 25-minute piece, a new motive in the strings appears; it is reminiscent of some of
Samuel Barber's most lyrical ideas). The tempo increases behind the narrator's repeated refrain
"How long? Not long..." as the work's opening theme returns and builds to an energetic climax.
The Barber-like theme returns as the narrator moves into the words of the famous "I have a dream"
speech. In the quiet apotheosis, the orchestra hums quietly in the background, an effect Schwantner
calls the "celestial choir" and which he has used in other works."
Chris Morrison, Rovi





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No.325

Joby Talbot’s ballet scores for Alice’s Adventures in Wonderland and Fool’s Paradise
were both created in collaboration with celebrated choreographer Christopher Wheeldon, who first
approached Talbot after hearing his piano trio The Dying Swan. This latter work was originally
commissioned by the British Film Institute in 2002 as a new score for the 1917 silent film of
the same name by Russian director Evgenii Bauer, itself illustrating the assorted trials of
a delicate ballerina in monochrome peril. The score’s yearning propulsion and exquisite
dissonances evidently suggested to Wheeldon a greater kinetic potential, and so
The Dying Swan for piano trio blossomed into Fool’s Paradise for string orchestra and a new life in
ballet, premiering with New York-based dance company Morphoses at Sadler’s Wells Theatre in
London in September 2007.

Alice’s Adventures in Wonderland, whose score is the first commissioned by The Royal Ballet for a
full-length narrative dance work in 20 years, won over not only London audiences but those in Canada
and the US, flocking to its premiere North American season with the National Ballet of Canada in June
of 2011. The production was sold out well in advance of its close and ended as the company’s
highest-grossing production of all time. Joby’s score was received with extraordinary relish by both
audiences and critics, who praised variously its energy, sophistication, wit, colour, danceability
and richness of expression.



Music Composed by Joby Talbot
Played by the Royal Philharmonic Orchestra
Conducted by Christopher Austin

"Two years after the Royal Ballet premiered its new ‘Alice’, the score by Joby Talbot is finally
released as an album. Anna Britten finds its capricious, often classically hued magic
well worth waiting for.

Providing the Royal Ballet with its first full-length narrative ballet score in almost 20 years must have
been an immense and intimidating task. But if ever a contemporary British composer was heaven-
sent to bring the zany world of Lewis Carroll’s children’s classic to life - and, crucially, give it
mainstream audience-friendly appeal - it was Joby Talbot. Having previous enjoyed a successful
collaboration with choreographer Christopher Wheeldon on a smaller dance project (‘Fool’s Paradise’,
also included here), this versatile purveyor of everything from madrigals to TV themes was declared
a must-have right from the 2011 production’s outset.

And he rose to the challenge. As heard on this long-awaited recording, Talbot’s capricious, colourful,
percussion-heavy orchestral score bubbles with incident, memorable themes, emotionally intelligent
motifs and witty instrument pairings (the Queen of Hearts is, literally, a highly strung solo violin)
and deftly conjures every plot point it should, whilst leaving just enough breathing space for
occasional introspection. Minimalistic inflections, such as those in the urgent, jangling ‘Setting
Up The Courtroom’, jostle with affectionate gestures to classical ballet - the sweetly melancholic
‘Alice Alone’, in which our heroine wanders lost and pining for her sisters, is particularly captivating,
as is the joyful final ‘Flower Garden’ pas de deux.

The Royal Philharmonic Orchestra under Christopher Austin’s baton delivers a flawless and
energetic performance, drawing out every ingenious flourish and limning each individual sound in
silver. If little dancers-in-waiting aren’t still twirling to this, years from now, we’ll eat our
‘In This Style 10/6’ hats."
Sinfini Music



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No.326

Another album of opulent late romantic symphonic poems by English composer Granville Bantock:

As might be expected of a man of exceptionally wide culture, boundless curiosity, and unlimited energy,
Bantock was a composer of works that were not only on the largest scale, but also heroic and exotic in theme.
The themes that inspired Bantock were often exotic: tales of the Orient, tales of Celtic and Classical mythology -
tales, in short, to compensate for life in prosaic, materialistic Britain.

The Pagan Symphony is a case in point. Here Bantock’s dream is of classical antiquity. According to
his daughter, Myrrha, he began work on the symphony in 1923. The published orchestral score, however,
firmly attaches the date 3 September 1927 (and the place, Paris) to the first bar, and 20 June 1928 to the last,
some 1,046 bars later. It may well be that the initial sketches were made at the earlier date, but it is clear that
the final details and orchestration belong to 1927/28. As with the Hebridean Symphony (1913) and
the Celtic Symphony (1940) (uploaded earlier), the Pagan Symphony is cast in one continuous
movement which falls into a number of sections which provide the element of contrast that is characteristic
of the separate movements of traditional symphonic form.

Bntock was much influenced by Liszt and Wagner and it is significant that his most successful early works
were those that depended either upon words or were illustrative of some poetic or dramatic programme.
Typical are the six tone poems he composed between 1900 and 1902, of which Fifine at the Fair is third
in order of composition. Almost all his orchestral works, whether or not they are actually labelled ‘tone poems’,
have a strong programmatic underlay: this was an age when composers revelled in the descriptive
powers of music and had no economic inhibitions about the size of orchestras.



Music Composed by Sir Granville Bantock
Played by the Royal Philharmonic Orchestra
Conducted by Vernon Handley

"British composer Sir Granville Bantock (1868-1946) was a conductor and educator as
well as a composer. A friend and admirer of Richard Strauss, his music was strongly influenced
by Liszt and Wagner. A master of orchestration, he wrote many symphonic works as well as
operas, chorus and music for solo voices and instruments. Often his music was based on
rather exotic subjects: tales of the Orient, tales of Celtic and Classical mythology.

This Hyperion CD offers two of his finest and best-known works. Pagan Symphony was
composed in 1927-8, an episodic one-movement work of about 36 minutes' duration. Bantock
said of it, "the music may be described as a vision of the past, when the Greek god Dionysus
(Bacchus) was worshipped as the bestower of happiness and plenty, the lover of truth and beauty,
the victor over powers of evil. Immortal Aphrodite appears for a brief moment as the goddess of
Love, to remind the world of her supreme power and glorious beauty." The score includes a
gentle, soft opening, pastoral scenes, a scherzo, fanfare, and evocation of Aphrodite. It is all
quite grand, indeed. The other major work is Fifine at the Fair, a tone poem subtitled "In Defence
of Inconstancy." Sir Thomas Beecham championed this work, recording it, with some small
cuts, with the RPO in 1949 (available on EMI 63405). This is the third of Bantock's six tone
poems, completed in 1911, based on Robert Browning's 1872 poem, which muses on man's
inconstancy when distracted by a thing of beauty he finds irresistible. In this the hero is on
the "sea of life," tempted by the exotic dancer, Fifine. Eventually he realizes this is just a
fleeting passion and returns to his forgiving wife, Elvire. The score is highly evocative, with
a brilliant carnival scene, and Fifine represented by a lengthy clarinet solo (played on the
Beecham recording by Jack Brymer, on the Handley by Roy Jowitt). Two of Bantock's ventures
into Celtic mythology conclude this disc, two Heroic Ballads, completed in 1944, "Cuchullan's
Lament" and "Kishmul's Galley."

Performances on this Hyperion CD are magnificent, the sonic quality rich and full, with a
very wide dynamic range. You will not find French horns recorded more vividly that what is
heard on this CD (try the opening of "Kishmul's Galley." If you enjoy this CD, you surely
also will wish to investigate two other CDs in the series: Hyperion CDA 66450 (Celtic Symphony,
The Witch of Atlas, The Sea Reivers, A Hebridean Symphony), and Hyperion CDA66810
(The Cyprian Goddess, Helene, Dante and Beatrice) all also featuring the RPO/Handley
and highly recommended."
Classical CD Review



Source: Hyperion CD (my rip!)
Format: mp3, 3230k/s (CBR), DDD Stereo
File Size: 186 MB

Download Link (re-up) - https://mega.co.nz/#!EIw1kQBT!N4HURQSpDQPMl1IsaJyvhF8_QLcKAMUqqhiofHD x-xM

Enjoy! Don't share! Buy the original! :)

The Talbot is great fun and Bantock's orchestral palette would make R. Strauss envious!
Thanks again, wimpel!

Dear wimpel, many files of this thread are no more available on Depositfiles.
Do you think to re-post them in future?
Thanks for all.

Please note that some links are already dead. If you find such a link, please send me a PM!

I have downloaded a bunch from this thread, so I could help re-upload dead ones if I grabbed them. :)

That would be helpful, because I simply cannot replace all the dead links myself. :)

If you're missing a particular release, please point me directly to the posting in question.

I have most of the shares up to page 12 (10 pages left to download ^^"). If there's anything from there, Lukas70, I could also help out :'D

Check out wimpel's posts I liked. The ones I didn't liked mean I didn't/couldn't download :'D

No.327

Andr�s Gaos (1874-1959) was a Galician composer and violinist. He studied violin, counterpoint
and composition at the Madrid Music Conservatory between 1885 and 1888. After that, he moved
first to Paris, then to Brussels to advance his studies with Eug�ne Ysaye (violin) and
Francois-Auguste Gevart (composition). Gaos later emigrated to Argentina where he taught
at the Montevideo Conservatory.

Most of Gaos music remained unknown during his lifetime. The Symphony No.2, recorded here,
was only premiered in 1974, sixteen years after the composer's death. The works on this
album are all premiere recordings.



Music Composed by Andr�s Gaos
Played by the Orquesta Sinf�nica de Galicia
With Ondrej Lewit (violin)
Conducted by Victor Pablo P�rez

"Gaos was always immersed with greater or lesser dedication in his creative work, something that
has a priority interest within this summary: We would like to highlight that his work was marked
by a permanent lack of recognition of those surrounding him. In the family background of his descendants,
the lack of interest about his creations was an every day occurrence, with the logical exception of his
wives Am�rica Montenegro and Luisa Guillochon, and also of the last of his 8 children, Andr�s
Gaos Guillochon.

Though having a personality which was not too much extrovert and certainly reserved as regards as
his private life, Gaos seldom disguised his feelings and musical appreciations. In several opportunities
and to different interlocutors, somebody heard him say that his favourite composers were: Chopin,
Schumann and Grieg, whereas his preferred sonata for violin and piano was Cesar Franck’s. In the
lyric field, he always admitted that his favourite opera was “Fausto” by Gounod.Those who shared
with him his cheerful and witty character also remember that he was reluctant to make comments
or boast about his past successes; additionally we never heard him moan about the lack of interest
and indifference with which his works were received.

Let’s make clear for the specialists and those interested in him, that a great part of Gaos’s production
does not carry the Opus number, and when we do find it, the numbering is arbitrary and it neither
indicates a correlative order, nor the existence of works with previous numbering; as Gaos would declare
at family talks and, as it can be proved through a thorough analysis. However, in some occasions,
it can be observed that closed Opus numbers or correlative ones can coincide with works written
in the same period.

Without pretending to explain the inexplicable, let’s mention that the critics that accompanied his
recitals were always very complimentary, and this dazzle in front of the virtuous could have perhaps
darkened his acceptance as composer.

Even without participating in vanguard tendencies, Gaos is an authentic composer of his time and
above all a born melodist; though his phrases are not easily taken in at a first audition, not
because they are placed in an incomprehensible category, but for their deepness.

These Gaosian melodies run the risk of passing unnoticed if they are not listened again. Once a contact
has been made, there is bound to be a “connection” which conditions the listener to get back to
his music and become interested in other works of the same author.

Despite the indifference of his environment, which prevented Gaos from becoming a prolific composer,
his creations are extensive and cover different genres; and have the strange privilege of keeping
an astonishing level of inspiration which can be appreciated in all his productions.

What is really pitiful is that some valuable sheet music of his undeniable talent was lost for ever due
to the fact that throughout his life he never got one single musical “order”. If that had happened,
it would have encouraged his creative work and would have enriched our universal heritage.

Unlike painting, literature or other arts, the final result of the musical creation remains hidden and
intangible, waiting for the participation of the “performer” who would give life to it. In orchestral pieces
this particularity of the music acquires greater relevance like the painter when he mixes his palette,
the composer combines the sounds of different instruments to achieve the tones that are suitable
for its expression. It is then understood, that the subsequent verification on part of the author of
a happy or unwise choice is only possible with the irreplaceable orchestral intervention.

Gaos was not lucky as he did not belong to the “chosen” group of those who saw in life his orchestral
pieces be performed. At his death, in 1959, great part of his symphonic creations were in the dark.
Let’s remember that his Symphony No.2 “In the Mountains of Galicia” fully made its debut 15 years
after his death, and Gaos was only able to listen to his last movement “Country Dance” premiered in
1954. The worldwide premiere of his Symphony No. 1 took place in the Galician cities of Ourense
and Vigo in May 2005. Anyway, there are still several of his works which have not been performed
yet and which require the participation of an orchestra, among them are his Opera in one act and
7 scenes “Forbidden Love” (circa 1915), where the first scene “Dance” and the 6th one “Storm”
are exclusively orchestral. This contribution to the lyrical theatre made by the composer who was
born in La Coru�a is structured in the Argentine folklore on libretto and Spanish wording by Gaos
himself, who places the dramatic action in the province of Tucum�n (Argentina) in 1816.

We also would like to highlight other of Gaos’s lyrical pieces which belongs to the “Light Genre” where
singing parts alternate with dialogues and speeches and, like his only opera, they are filled with Creole
Folklore. This kind of creations which were very popular in Buenos Aires during the first half of the XX
century, formed a genre called “Lyrical Comedies”. For this genre, Gaos set to music the following titles:
“The last Violets”, “Facundo” and “X-Rays”.
Andres Gaos Website



Source: Arte Nova CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 148 MB

Download Link (re-up): https://mega.nz/#!SYM0VBSB!HZUCONoLuhza0yDPhlpvUWftlAbwyiZH-YADI_RVn_k

Enjoy! Don't share! Buy the original! :)

Herr Salat can help with a number of dead links that I would be interested in (thanks!), which leaves the following:

Page 9, Julo G�mez (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2214798)
Page 9, Mozart Canargo Guarnieri (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2215478)
Page 9, Stevan Hristic (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2212682)
Page 10, Domenick Argento (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2219216)
Page 11, Anton Rubinstein (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2221665)
Page 13, Henri Rabaud (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2228086)
Page 14, David Stock (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2229356)
Page 14, Johan Svendsen (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2228712)

Posting this here rather than messaging, so others can see as well. Anything that can be done to re-up these would be highly appreciated. This thread is a real find for the more obscure (and rewarding) side of classical music.

Herr Salat sent me some upload links. I will incorporate them into their respective posts on Monday.

Cheers, wimpel69 :)

If it's possible, I'd like to request the following to be re-uploaded:

No. 55 Tom�s Br�ton
No. 62 Zhou Long - No. 80 "Impressions of the Sea"

Thanks in advance, all the work done by wimpel69 and the people who reupload is highly appreciated.

I have now incorporated the re-ups that Herr Salat sent me, they can be found in their respective postings.

This is the list so far:

Augusta Holm�s: Orchestral Works [Marco Polo]
Page 3, Post 53 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2191450)
Re-Upload Link:
https://mega.co.nz/#!5U0HnArA!BkbjBReXRsVkQEvO5ljsmT8cOx5yUFwCQMinrPH tII8

Ernst Boehe: From Odysseus' Journeys- Symphonic Poems Vol.1+2
Page 6, Post 129 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2199456)
Re-Upload Link:
https://mega.co.nz/#!AQ03warI!chePtnOzYoCFsceH0TqOPgTGsS5Igd6wv4WPGqH ZDc0
https://mega.co.nz/#!sBcGlZRJ!dYGXVTUzId1C_1bHF_vomVMzumRHIKeLAQTo_Xy n7b0

Francisco Mignone: Orchestral Works [Bis]
Page 7, Post 166 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2207883)
Re-Upload Link:
https://mega.co.nz/#!ZFNh3CJY!W10f3mIlOXgxLDwA5vU1bRULx9A8B5HqdmSFOrC nFos

Andr�s Isasi: Orchestral Works [Claves]
Page 7, Post 170 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2208007)
Re-Upload Link:
https://mega.co.nz/#!gYcjDDTL!FyYzVxCpLQdTBQ49E7c1wz804GhF3PvhBLyDUXz Roec

Tang Jian-Ping, Bright Sheng, Ma Shui-Long, Chen Yi - Chinese Recorder Concertos
Page 6, Post 136 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2200121)
Re-Upload Link:
https://mega.co.nz/#!RclmnRyB!SP6GXk6KMwXCQzb0HDy95woQO9sfwZjEtDMzlkN EyU0

Ludolf Nielson: Lakshmi
Page 7, Post 172 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2208108)
Re-Upload Link:
https://mega.co.nz/#!sYNQwYZC!bp40kU_GVNR8XsKbl9MJVE74H6YwotNmT5wMIP9 Rjus

Michael Daugherty: Metropolis Symphony
Page 5, Post 106 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2196680)
Re-Upload Link:
https://mega.co.nz/#!xIdklTJY!QnniXmmgSNhmH3QeETQmOBrp23xw-l2FUyVmdxihVFk

Zhou Long: Rhymes
Page 5, Post 101 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2196495)
Re-Upload Link:
https://mega.co.nz/#!QEthCJqB!eKTyixL6646MqMqxYg4kIwN6nzAnZeSwlPDiPxo bp18

Thanks to Herr for his efforts! :)

Herr is using MEGA for his uploads, and I've also started using MEGA for my latest postings.

How are the initial impressions of Kim's new network? Have links been taken down already?

No.328

Heroic Jewish resistance to German barbarity during the Holocaust was indelibly manifested in the
Warsaw Ghetto Uprising in 1943. Facing imminent deportation to death camps and preferring, if
necessary, to die with dignity in battle, thousands of Jews rose up in armed defiance of their
tormentors. Their fierce but doomed struggle�against unimaginable horrors and overwhelming
odds�began during Passover, the Festival on which Jews recount the story of the Exodus from
Egypt through a canonized narrative, or haggada. After the war, American composer Max Helfman,
a legendary champion of Jewish music, immortalized the uprising in his dramatic choral tone poem
Di Naye Hagode (The New Haggada), based on Itzik Fefer's epic Yiddish poem The Shadows
of the Warsaw Ghetto. For Fefer, who was murdered in Stalin's postwar terror against Soviet
Jewry, both Germany's genocide and the episodes of armed Jewish response had become the Jewish
people's new, central, and most relevant narrative. Like the Passover haggada, this story must be
told and retold, lest a single Jew of the Warsaw Ghetto ever be forgotten. Fefer's poem conveys
modern Jewish determination to resist and to remember, and that resolve�to remember forever�
is underscored by Helfman's powerful music. Di Naye Hagode is presented here in its
world premiere recording.



Music Composed by Max Helfman
Played by Slovak Radio Symphony & Young Musicians' Foundation Orchestras
With Theodore Bikel & Cantor Raphael Frieder (narrators)
And the Choral Society of Southern California & Slovak Chamber Choir
Conducted by Nick Strimple & Samuel Adler

"Helfman was born in Radzyn, Poland. In 1909 he and his family emigrated to America. Helfman
took up various organist and choirmaster positions in New Jersey and Manhattan until in 1929
he went to the Curtis Institute in Philadelphia. There he studied composition with Rosario
Scalero and conducting with Fritz Reiner. Until his move to the American west coast in 1954
he was engaged with the music of religion and of social commentary. His move westwards came
with his appointment as director of the newly-founded College of Jewish studies in Los Angeles.
He also held a similar position in the city�s Sinai Temple, one of the country�s largest synagogues.
In 1958 he headed University of Judaism in the city. His casual attitude to his compositions
resulted over the years in their being scattered to the four winds. It is only now, and gradually,
that his scores are being collected and catalogued. There is still much to be done.

The documentation of the whole Naxos Milken series is sovereign. One doggedly repeated blemish
is the failure to print the sung Yiddish text with side by side translation. All you get in the booklet
is the English. You can go to the Milken Archive website and find the Yiddish and English
although when I tried this for the Helfman it was not there ... or at least not yet.

The choral tone poem Di Naye hagode (The New Narrative) is here recorded in 23 separately
tracked episodes spanning just short of three quarters of an hour. Rather like the collective
composition the Genesis Suite recorded on Naxos Milken 8.559442 (review) , this is a work
for orator, chorus and orchestra. Helfman wrote it inspired by the memory of the sacrifice of
the Jews of the Warsaw Ghetto following the 1943 uprising against the Nazis. It was written
only five years after those events. Its text is from the Yiddish epic poem Di shotns fun
varshever geto (The Shadows of the Warsaw Ghetto) by Itsik Fefer (1900-1952). Fefer
was a Ukrainian-born communist Jew who was shot by the NKVD in Lubyanka on the
avowed grounds of Jewish nationalism and spying for America. Fefer numbered
Paul Robeson among his friends.

The music of the choral tone poem is vivid and filmic - a touch of Waxman about it and
even a hint of Rozsa but without the Hungarian �twist�. The tone is sweetly illustrative -
melodramatic, a little posterish and instantly accessible. There is no Berg or Schoenber
g in this music. On the contrary movements such as Riboyne-sheloylem (tr. 4) embrace
sentimental Broadway; can that be a touch of South Pacific in the vocalise La - la - la -
la - laaaah and again in Di Fon (tr. 16). A Linder April echoes with the recollection of
birdsong (tr. 6). The brutality of the SS suppression is portrayed in the blasting and
hammering of Di Shlakht (tr. 11) where the choral singing emulating catastrophe and
carnage recalls similar prescient choral episodes in Tippett�s pre-war A Child Of Our
Time. As a counterbalance to the violence there are far more movements where
the singing is carefree and spring-like as in the sweetly elevated female singing in
Zey Zaynen Gekumen (tr. 12). In trs. 13 and 14 the enchanting lilt of street dances
contrasts with the image of the teenage partisan whose worldly goods are reduced
to two hand grenades, a gun and a flag. As the narrator says - it was not very long
ago that his thoughts were about playing in the Warsaw streets. The finale is Aza
Der Gebot Iz in which spirituality and celebration meet in apotheosis and in the sort
of exuberant singing found in Roy Harris�s Folksong Symphony; the latter soon out
on Naxos with Marin Alsop conducting the Colorado Symphony.

Hag Habikkurim is again in a series of short episodes. The music here is almost unrelievedly
joyous, perfumed, dancing with delicate delight. The two outer movements are
characterised by a determined teeth-gritted trudging march. As with the choral
tone poem the singing is largely unison but is beautifully judged. The excerpts from
the Torah Service give us an insight into an even grander liturgical work - that feels
like an oratorio. It is extremely impressive and in the first movement the simultaneous
juxtaposing of quiet high vocal strata and the rumblingly deep bass is memorable.
This is a work of reverence and exaltation.

Another stride forward in documenting American Jewish music. While no original,
Helfman�s sincere embrace of colourful melodic music is well worth hearing for
its vivid and instantly captivating ways."
Musicweb International



Source: Naxos "Milken Archive" CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 189 MB (incl. booklet)

Download Link: https://mega.co.nz/#!TpRFgACD!RfDM736gG_rFXQXJ-P8D5j8_jyEZ6qexs1y4Ap8lihA

Enjoy! Don't share! Buy the original! :)

I don't need google chrome May i employ Mega despite it?

MEGA will ask Firefox users (such as myself) to install a plugin to facilitate downloads, but I think you can use any browser. Upload and download work nicely for me now.

Interesting, thanks as always wimpel69!

Sorry it doesn't work however thanks.

Works fine for me with Firefox and IE.

I have replaced the dead links in the following posts with fresh re-ups provided by Herr Salat and Akashi San:

Ottorino Respighi: The Roman Trilogy
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/#post2183595

Flor Alpaerts, Arthur Meulemans, Georges D'Hoedt: Orchestral Works
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/#post2184109

Granville Bantock: Hebridean Symphony, Celtic Symphony
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/#post2184272

Isaac Alb�niz: Ib�ria
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/2.html#post2189999

Alexander Zemlinsky: Die Seejungfrau (The Mermaid)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/2.html#post2187856

Tomas Br�ton: Andalusian Sketches
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2195136

Debussy, Mendelssohn, Liadov, Bridge: Impressions of the Sea
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2198585

Thanks to the uploaders! Cheers, wimpel69

Isaac Alb�niz: Ib�ria
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/2.html#post2189999


Allow me to respond to that with....




Isaac Alb�niz: Ib�ria (orchestrated by Peter Breiner)
Golovschin Igor ; Moscow Symphony Orchestra

ALBENIZ: Iberia (orch. P. Breiner) - 8.553023 (http://www.naxos.com/catalogue/item.asp?item_code=8.553023)
ALBENIZ Iberia (http://www.classicalcdreview.com/iberia.htm)
Iberia from Hell Naxos C - Classics TodayClassics Today (http://www.classicstoday.com/review/review-5384/)




Lame 3.98r MP3 320K (my rip)
http://filewinds.com/dhlmma53wmfe/Albeniz-Breiner.rar.html


As wimpel says, "Enjoy! Don't share! Buy the original!"

Thanks for that one! I've been curious about Breiner's version for quite some time. :)


No.329

Elizabeth Maconchy was born in Broxbourne, Hertfordshire, on March 19, 1907, but spent
her childhood in Ireland. There was no radio or concerts and her only musical experience was what
she could create for herself at the piano. Her composition studies at the Royal College of Music,
London, where she delighted in exploring Bart�k, Berg, and Janacek, were under Charles Wood and
Vaughan Williams, who, with Holst, was impressed by her originality. Under a Blumenthal traveling
scholarship to Prague, she made her debut as a composer when her Piano Concerto was
performed by the Prague Philharmonic Orchestra in 1930; a few months later The Land was premiered
by Henry Wood at the Promenade Concerts with brilliant success. In spite of a long bout with
tuberculosis, the demands of raising a family, and persistent prejudice against a female composer,
the compositions continued to flow out and her works were played often in Britain and abroad,
with some concerts devoted entirely to her work. She received many awards, including a Daily Telegraph
award for chamber music in 1933 and a medal from the Worshipful Company of Musicians for services to
chamber music in 1970. She also received Edwin Evans prizes in 1948 and 1969 and many other awards.
She was created a Dame in 1987. Dame Elizabeth was Vice-President of the Composers' Guild and its
chairlady, President of the SPNM, and Vice-President of the Society of Woman Musicians and of the
Workers' Music Association, working tirelessly throughout her life to promote new music.

Her compositions, many of which were commissions by leading performers and festivals throughout the
country, include concertos and symphonies, many chamber pieces, a large body of vocal music, three
ballets, five operas, and an operetta. She is particularly well known for her thirteen string quartets, which
are available on CD from Unicorn Kanchana. The music is characterised by a passion which gives vitality
to the more formal arguments. It has wit, economy and intellectual control, in a richly expressive
harmonic idiom.



Music Composed by Elizabeth Maconchy
Played by the BBC Scottish Symphony Orchestra
With Clelia Iruzun (piano)
Conducted by Odaline de la Martinez

"Next year (2012) will see Lorelt's twentieth anniversary. They are a small label but one with
a mission that has added pearly grit to the diverse world that is classical music on record.
All credit to Odaline de la Martinez, its guiding hand and kindly light. Lorelt majors in
contemporary, in the music of female composers and in the music of Latin-American
composers.

Before setting up the label she had conducted and recorded Dame Ethel Smyth's opera
The Wreckers for Conifer (CDCF250) in 1994 and Smyth's (never 'Dame Smyth', Lorelt)
orchestral music (Symposium) including the wonderful Double Concerto for Chandos (CHAN9449).
I hope that she will record Smyth's The Prison; it's much needed and de la Martinez would make
a penetrating job of this fabled work which was championed by Boult on the BBC in the 1930s.
The Smyth Mass is already on an EMI-Virgin disc but by another conductor, Philip Brunelle.

Lorelt already have one Maconchy disc which is uniform in cover style - Choral Music. Landscapes by
William le Fanu are common to these discs and also to the Lyrita which overlaps with the Symphony.

The Land and the Concertino date from Maconchy's earliest years of continental success. A
favoured pupil of Vaughan Williams, her music has only the lightest shading of his influence.
The music usually feels more twentieth century 'European' than English pastoral. The parallels
are more strongly with Bart�k though you can hear RVW at 2:56 in the chattering Concertino.
There are also occasional flurries of Lambert, Grainger (1:05) and de Falla.

The Land is in four movements each inspired by seasonal segments of Vita Sackville-West's
poem and in the score each has a superscription of lines from the poem: Winter, Spring, Summer, Autumn.
Winter is one huge tolling movement toward climax. Spring rushes along with a bustle at first
close to Tippett but at times touching base with Bliss. Maconchy's Summer reaches longingly through
the heat-haze towards RVW's �scholar gipsy� but the background pulse has the softly indomitable
pulse of Holst's Neptune. Raucous wild-eyed Autumn reminds me of Constant Lambert's lively
Horoscope. It also has the same headlong belligerence as the Glazunov Autumn but a very
different language.

The Music for Woodwind and Brass is gaunt and wintry. Designed for Thaxted church in Essex -
Holst's stamping ground - it was written for 20 players disposed in accordance with the layout
of the building. It's a moody and chastening piece which suggests autumn's skeletal leaves
and wintry thoughts with occasional braying onslaughts from some savage apocalypse.

The Symphony is not new to the catalogue. It has also been recorded by Lyrita where it comes
with the Serenade. The Allegro molto is a joyous affair. It's a sort of blend of Tippett's Double
Concerto, carnival and spiky Bart�k. There's a tenderly impassioned Lento, a delicately dancing
Allegro scherzando again echoing Tippett and adding the tricky street rhythms of Rio to the
broth. The Passacaglia includes some skirls that are reminiscent of their equivalents in Britten's
Serenade (The Splendour Falls). The players are divided into two string groups. The recording
places the players assertively in the foreground.

Among Maconchy's long worklist we know the string quartets from the Unicorn project reissued
by Forum. We need a recording of the fine large-scale cantata Abelard and Heloise broadcast
circa 1978 by the BBC.

You can read an article about Maconchy by Nicola LeFanu, the composer�s daughter, herself a
distinguished composer. Maconchy�s Oboe Quintet was recorded in 1933 during those early
wonder years. This can be heard on Dutton CDBP 9762 from The Griller Quartet and Helen Gaskell (oboe).

This disc, superbly documented, designed and musically executed is now the Maconchy orchestral
collection of choice. It is less severe than the decidedly impressive Lyrita yet more immediately
captivating. Just don't expect leafy byways. Maconchy knows joy but her pleasurable way tends
towards the serious."
Rob Barnett, MusicWeb





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File Size: 175 MB (incl. artwork, booklet)

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Enjoy! Don't share! Buy the original! :)

No.324

A companion piece to the upload of Lincoln memorials: Two works inspired by the
words and deeds of Marthin Luther King Jr. - Joseph Schwantner's
New Morning to the World (for narrator and orchestra) and Nicolas Flagello's
The Passion of Martin Luther King (with choir).



Music Composed by Joseph Schwantner & Nicolas Flagello
Played by The Oregon Symphony
With the Portland Symphonic Choir
And Raymond Bazemore (narrator)
Conducted by James DePreist
Source: Koch International CD (my rip!)


Download Link: DepositFiles (http://dfiles.eu/files/9xhhogizs)



These works are a great tribute to a great man.
I am privileged to be able to listen.
thank you very much

http://www.classical.net/music/recs/reviews/k/kch37293a.php

http://en.wikipedia.org/wiki/Joseph_Schwantner:_New_Morning_for_the_World;_Nico las_Flagello:_The_Passion_of_Martin_Luther_King

Kevin Kaska Triple Concerto download plase album

Thank you guys, wimpel69, Herr Salat and Akashi San!

I just scanned pages 12 & 13 of this thread, and a large number of those uploads are dead. I have marked the respective posts with a clear LINK DOWN! sign.

It's the transient nature of all open file-sharing. At first I speculated whether certain naming conventions would prompt a deletion more quickly than others, or whether the bigger labels are more actively pursuing the shares than the smaller ones. But I've reached the conclusion that those deletions were probably all made by bots, and that there is, as in every other aspect of life, no rhyme nor reason to these deletions.

I shall be moving forward, as I'm more interested in sharing new music, otherwise I'd be eternally occupied with keeping the old ones alive.

Well said, wimpel!

Kevin Kaska Triple Concerto download album

I have re-upped the Waxman "Song of Terezin"

http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2228051

I have re-upped the Waxman "Song of Terezin"

http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2228051

A lot of Thanks!

No.330

The son of a mathematician, Dmitry Borisovich Kabalevsky was born in St Petersburg in 1904 and was intended
by his father for some similar vocation to his own. Kabalevsky, however, showed considerable artistic promise,
whether as pianist, poet or painter. After the Revolution he moved with his family to Moscow, where he continued
his general education, while studying painting and, at the Scriabin Musical Institute, the piano. It was his interest
in this last and his obvious proficiency that led him to reject the course that his father had proposed at the Engels
Sodo-Economic Science Institute in 1922 and he turned instead to the piano, teaching, playing, like Shostakovich,
in cinemas and now beginning to compose. In 1925 he entered the Moscow Conservatory, resolved to further his
increasing interest in pedagogical music. Here he studied first with the leading theorist Georgy Catoire and then
with Prokofiev's friend and mentor, the composer Myaskovsky.

Kabalevsky's opera Colas Breugnon had its first performance in Leningrad in 1938 and was revised in 1953
and again in 1969. The libretto was based on Romain Rolland's novel Le martre de Clamecy, a work that suited the
political principles of Soviet Russia, with its general theme of the unprincipled exploitation of the people by their masters.
The overture is a portrait of the protagonist and the opening Prologue has Breugnon writing an account of his life.
The first act is set near Clamecy in Burgundy. Peasant girls are working in the vineyards. Colas Breugnon, a gifted
wood-carver, joins Selina. They are in love, but Colas Breugnon will not propose. Gifliard, equerry to the Duke, enters
and tells him that he will marry Selina. The two men fight, with Colas Breugnon encouraged by the girls, especially
by Jacqueline, who is in love with him. A bell is heard, announcing the return of the Duke from Paris, accompanied by
soldiers and guests. An Intermezzo accompanies an exchange between citizens and soldiery.

The Comedians, a suite for small orchestra, was written in 1940, taken from music for the play The Inventor
and the Comedian, by the Soviet writer M. Daniel. The Galop enjoys particular popularity in music that
demonstrates Kabalevsky's light touch with a score that is pure entertainment.

A more sombre note intrudes into the Suite from incidental music for Shakespeare's tragedy Romeo and Juliet.
Written in 1956, the music starts, in its Introduction with enmity and love, the division between the love of Romeo
and Juliet and the enmity of Montagues and Capulets. Morning in Verona is followed by Preparation for the Ball, at
which the two lovers will meet, and a Procession of the Guests. A Quick Dance is followed by a Lyrical Dance, as
the lovers meet, and a scene in the cell of Friar Laurence, whose well intentioned intervention is the cause of the
tragedy. A rapid Tarantella leads to music for the lovers and their final death in the Capulet tomb.



Music Composed by Dmitri Kabalevsky
Played by the Moscow Symphony Orchestra
Conducted by Vasily Jelvakov

"This disc is largely a carefree romp mixed with some lyrical and dramatic music, all
evidently scored with skill. The Muscovites play with rhythmic panache and
commitment under Jelakov."
BBC Music Magazine



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File Size: 159 MB (incl. cover, booklet)

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Enjoy! Don't share! Buy the original! :)

The Dov Seltzer "Requiem for Yitzhak" is also back:

http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/18.html#post2252085

The Dov Seltzer "Requiem for Yitzhak" is also back:

http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/18.html#post2252085
Thanks again!

Thanks for the Kabalevsky, wimpel!

No.331

Toshiro Mayuzumi (1929-1997) was one of the most important Japanese composers,
enjoying an international reputation in the period after World War II. He was born in 1929 in
Yokohama, a city that had developed after Japanese isolationism came to an end and therefore
relatively free from Japanese traditions and conventions. Mayuzumi�s father was a sea-captain,
and Mayuzumi, was brought up in this unique environment, which nurtured his yearning for
the exotic, including Asia, America and Europe.

Drawing on these diverse influence, Mayuzumi came to hold a leading position in Japanese music,
even before his studies in Paris. In his Divertimento for Ten Instruments (1948), he showed
a complete command of the neo-classical techniques of Stravinsky, Milhaud and Ibert, and created
a kind of stateless music, appropriate for a man from Yokohama. In Sphenogramme for Eight
Players (1950), he displays exotic elements, making use of ethnic styles from India and Indonesia,
and by using Ifukube-style ostinato in many places. The work was given an award in the ISCM
(International Society of Contemporary Music) Festival in 1951 and was performed in Frankfurt.
In Symphonic Mood he summed up his musical experiences in war-time, using elements
from Latin music and Southeast Asian music. His skilful, powerful orchestration amazed Japanese
composers, earning him a reputation as an enfant terrible of the post-war music world.

Bugaku is ballet music commissioned by the New York City Ballet. It was completed on
23rd March 1962 and had its premi�re in New York on 20th March 1963, choreographed by
George Balanchine and conducted by Robert Irving. The work reflects dance music, a form of
gagaku, with its samai (left dance) and umai (right dance), echoed in the two parts
of the composition.

Mandala Symphony was completed in 1960 and on 27th March had its premi�re in Tokyo by
Hiroyuki Iwaki and the NHK Symphony Orchestra. Inspired by his interest in Buddhism, the
Mandala Symphony draws on the doctrine of the maha-vairocana, which is infinite
and covers every corner of the real world, once regarded as the world of pains. It reflects
a kind of pantheism in which the entire world is the incarnation of mahavairocana.



Music Composed by Toshiro Mayuzumi
Played by the New Zealand Symphony Orchestra
Conducted by Takuo Yuasa

"Anyone hearing this disc would have to conclude that Toshiro Mayuzumi was certainly among the
most accomplished of modern day, Japanese composers. The four works included here display different
facets of his creative output. "Bogaku" was commissioned by the New York City Ballet and is based
on ancient Japanese imperial dances. Anyone who remembers the old Denon LP of this will recall
that it's extremely powerful music, masterfully orchestrated and an audiophile's dream come true,
if properly recorded, as it is here. Batten down your speakers! The "Mandala Symphony" was
inspired by Buddhist teaching and certainly sounds Japanese. Its two movements represent the
descent of Buddha to enlighten man and man's ascent to seek enlightenment. They're joined
musically through two "hexatone" rows based on the overtones of bells found in Japanese, Buddhist
temples. Again, the orchestration is simply amazing and the sonic effect, dramatically overpowering.
The program also includes two much earlier works, both of which are indicative of the composer's
early preoccupation with French impressionism. They also show Latin American as well as
Southeast Asian influences, which were acquired during the World War II years, but the lion's
claws of Mayuzumi's dynamism show through in a number of places. "Symphonic Mood" was
described by the composer as a musical expression of nostalgia, while the "Rhumba Rhapsody,"
which receives its premiere performance here, was in some ways an early sketch for the second
half of the former. If you like this music, by all means investigate that of Toshiro's teachers,
Kunihiko Hashimoto and Akira Ifukube."
Classical Lost and Found



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Thank you very much for a chance to get to know the music of Toshiro Mayuzumi wimpel69!

Epic Shares! Thanks so much!

Thanks. You're most welcome. :)


No.332

English composer Roger Quilter (1877-1953) remains known primarily for his distinguished
art song output, although he also produced choral, instrumental, and stage works. He had to
work hard at composition, for it never came naturally, but his output shows a composer with
exceptional sensitivity and seemingly effortless grace. Indeed, he was a fan of light and graceful
music, from Schubert to Maude Val�rie White to Gershwin. Quilter never had to make a living,
but he was a philanthropic artist, helping to found and administer the Musicians' Benevolent Fund,
as well as privately aiding his colleagues. After a productive and benevolent artistic life, Quilter
experienced a period of mental decline that ended with his death.

Quilter was educated at prestigious Eton College, later going abroad to Germany to study with
Ivan Knorr at Frankfurt's Hoch Conservatory. All students in Frankfurt in the 1890s, Percy Grainger,
Cyril Scott, Norman O'Neill, Balfour Gardiner, and Quilter became known as the "Frankfurt Group."
As a song composer, Quilter became well established in 1900 when Denham Price gave a
performance of his Songs of the Sea at the Crystal Palace in London, and also when tenor
Gervase Elwes premiered To Julia in 1905 and Seven Elizabethan Lyrics in 1908. On occasion
Quilter would accompany his songs in public performance, and he did record many of them
with close friend and colleague Mark Raphael.

His only attempt at opera, Julia (1936), was a failure, but several pieces from it were extracted
and published as separate songs (e.g., Love at the Inn). His light orchestral music was more
successful, including A Children's Overture (1919), written for the Promenade Concerts and
conducted by Henry Wood. That work and Quilter's popular incidental music for the fairy play
Where the Rainbow Ends (1911) were both inspired by Walter Crane's illustrated book of
nursery rhymes, Baby's Opera.



Music Composed by Roger Quilter
Played by the Slovak Radio Symphony Orchestra
Conducted by Adrian Leaper

"This CD is one of the more substantial offerings in the Marco Polo British Light Music Series. This
was a genre of music that my generation and above listened to in the pram and perhaps even in
utero when the Light Programme existed! The major composer Frederick Delius was multi-faceted
but he had a strain of gentle music amongst his many faces that certain younger contemporaries
picked up upon and explored in various ways. Composers like Bax and Alwyn saw things in his big
music, like 'A Song of Summer' and 'Paris' and they took this away and produced works inspired by
this side of his oeuvre, producing immense orchestral structures and complex harmonic tapestries.
Roger Quilter was of the other sort who was interested in the 'little' Delius. He and others like Cyril
Scott picked up Delius' smaller orchestral pieces and songs and took these as their primary source
of inspiration. In these composers, the woodwind melodies and the gentle, sliding chromatic
harmonies are immediately recognisable of one who has worshipped at the temple of Grez-sur-Loing.
Roger Quilter, an exact contemporary of Vaughan Williams, was born of the aristocracy and
despaired of becoming an artist due to his blue blood and his lifelong financial security. He was
essentially a miniaturist whose major medium was the song but he also worked frequently with
staged works, writing incidental music for theatrical productions, two ballets and an opera.
His poetical imagination was of the world of fantasy and this fact can derived from the names
of the titles on this CD: 'Where the Rainbow ends'; Merry Pranks; Goblins; A Frolicsome Friend'.
However,it must not be presumed from this that Quilter's music itself is lightweight and mere puffs
per se. He had a sound musical education, studying four and a half years in Frankfurt at the
renowned Hoch Conservatory under Iwan Knorr. He was a practical musician who knew exactly
what he wanted to do. He never dabbled in 'modern' compositional methods and remained faithful
to a tuneful tonality throughout his life as a matter of personal taste. He was not interested in
creating a sensation. He wanted to compose music that gave pleasure to wide audiences and
in that he succeeded. He was very well cultured and widely read and set 120 songs to a
bewildering variety of texts. The music on this CD, a selection of his orchestral pieces reveals a
gentle, cultivated man whose music somehow throws light on an important yet frequently
forgotten trait of Englishness that is best exemplified to me by the manner of my late father:
kind, unpretentious and yet imbued with a quiet dignity which transcends class or privilege.
This is a first class CD with 69 minutes of music that goes well with its sister Marco Polo CD
with music by the aforementioned Cyril Scott. The Czecho-Slovak Radio Symphony manage
this quintessentially English music perfectly in phrasing and balance, both areas that some
orchestras might find difficult with such delicate material. Adrian Leaper knows this music
very well and brings it off to a tee. It is as if the Light Music Programme has come back
to life and we are back in the 1950's!"
Amazon Reviewer



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No.333

The value of this set lies less in David Epstein's version of Piston's The Incredible Flutist
(good though it is - but there are already two superior versions in this thread) than in the virtually unknown
works by William Grant Still (From the Black Belt, Darker America), Ulysses Kay (Six Dances),
Peggy Stuart Coolidge (Rhapsody for Harp and Orchestra, New England Autumn, Pioneer Dances, Blue
Planet & Spirituals in Sunshine and Shadow), and Daniel Gregory Mason (Prelude and Fugue for Piano
and Orchestra). Kay's, Still's and Coolidge's pieces in particular invite comparison with Gershwin and the
American symphonic jazz.

Most of these worthwhile recordings were made by Siegfried Landau(er), a Jewish refugee from
Germany, who, for a few years, became music director of the Westphalian Symphony Orchestra of
Recklinghausen and recorded a lot of music during a brief period.



Music by William Grant Still, Ulysses Kay, Peggy Coolidge, Daniel Mason & Walter Piston
Played by the Westphalian Symphony, Music for Westchester & M.I.T. Symphony Orchestras
With Mary Louise Boehm (piano) & Astrid von Wurtzler (harp)
Conducted by Siegfried Landau(er), Paul Freeman & David Epstein

"Siegfried Landau (September 4, 1921 � February 20, 2007) was a
German-born American conductor and composer.

He was born in Berlin, the son of Ezekiel Landau, an Orthodox rabbi, and Helen (Grynberg) Landau.
He was a music student at the Stern and Klindworth-Scharwenka Conservatories in Germany. His
family emigrated to London in 1939. In 1940, Landau came to New York City and was a pupil of
Pierre Monteux. In 1943, he became a faculty member of the New York College of Music (after
1968 absorbed into New York University's Steinhardt School of Culture, Education and Human
Development).

Landau joined the Brooklyn Philharmonic (then called the Brooklyn Philharmonia) in 1955, an
orchestra comprised at that time of freelance musicians in the New York City area with a focus
on contemporary or infrequently performed classical music. His tenure as the orchestra's music
director was from 1955 to 1971, when he resigned after the orchestra had reduced its season
and programming opportunities during a period of financial difficulty. From 1961 to 1981, he
was the conductor of the Music for Westchester Symphony (later the White Plains Symphony),
until he left the orchestra over disputes with the board of directors regarding programming.
He led the Chattanooga Opera Association from 1960 to 1973. In Europe, he was
Generalmusikdirektor of the Westphalian Symphony Orchestra from 1973 to 1975.

Landau's compositions included music for a dance drama, The Dybbuk, by Anna Sokolow.
Landau was also a teacher at the Jewish Theological Seminary and the music director
for Shearith Israel Synagogue, Manhattan.

Landau married Irene Gabriel in 1954, and they had two sons, Robert and Peter. Landau
often conducted the music for Gabriel's dance company in the 1950s and 1960s. Landau
and Gabriel moved into their Brushton home in upstate New York in the 1980s. They died
in a fire which destroyed the residence. Their sons survived them."


Siegfried Landau in 1961, working with school children.



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Enjoy! Don't share! Buy the original! :)

I have this CD and it is a delight. Credit to Naxos for bringing Toshirō Mayuzumi wider exposure at a reasonable price.

kevin kaska album Triple Concerto please download

Yours seems to be a very special form of autism (or, depending on age, Alzheimer's).

Thanks for the incredible flutist et al. set!

No.334

American composer Jennifer Higdon (*1962) teaches at Curtis and has garnered
a lot of attention and interest where it counts -- commissions from major performers and
orchestras, Guggenheim fellowships, residencies with major ensembles and festivals, and
acclaim from critics and audiences alike. With the Telarc CD City Scape, Higdon has another
rare honor to add to her cap -- a living composer who has two new, large-scale orchestral works
recorded by a major classical firm. Higdon does deliver the goods -- she writes big, dynamic
orchestral music that seems to pick up the American populist thread right where it was left
behind in the early '50s, after which the steamroller of international serialism began to flatten
all other forms of concert music in its wake. Higdon's music does not incorporate techniques
derived from minimalist practices, perhaps some see this as a weak way composers once used
to get back to traditional tonality. These are full-blooded, "big city" orchestral pieces with
an expanded sense of tonality, yet if Higdon needs to put a plain old major triad in the
brass section she goes right ahead and adds it, rather than trying to find ways to work around it.

Higdon's Concerto for Orchestra was premiered by the Philadelphia Orchestra on June 12, 2002.
It is reminiscent of William Schuman with a dash of Messiaen added for color. The shadow of
Stravinsky and Copland lurk behind City Scape, Higdon's work written under commission for the
artists heard here, Robert Spano and the Atlanta Symphony Orchestra, and premiered on
November 14, 2002. Both are tightly constructed, well-orchestrated pieces that are unlikely
to offend the most puritan of ears, yet they are serious in tone and never dissolve into a
truculent manner that says to the audience "like me."



Music Composed by Jennifer Higdon
Played by the Atlanta Symphony Orchestra
Conducted by Robert Spano

"The first movement [of 'City Scape'], 'SkyLine,' bolts from the gate and moves forward with
jaunty, propulsive optimism. Even when the mood grows calm, there's a sense of motion,
an unstoppable pulse - an anticipation that something grand is about to happen.
Throughout the movement, percussion is almost always the most prominent section -
not to create exotic sounds but to accent, to underline, to magnify the moment. The
movement ends with cresting excitement. And it's all done without gloom or wink-wink
irony. Higdon is, like, totally over the postmodern experience.

"[In the second movement,] the mood grows somber yet more plaintive and plain-spoken
than 'deep'. No, this is innocent, almost childlike expression, without wisdom but unburdended
by bitter world-weariness. Simple. Direct. There are also Aaron Copland-style windswept,
open harmonies - identifiable Americana... Higdon's expressive force is sincere, comforting
and quite disarming.

"The rondo finale [is] ... forward-propelled and jumpy, with nifty interludes of all-percussion,
or that sound like neo-classical Stravinsky. A fugue-like ending takes the symphony
to a cheery climax."
Atlanta Journal-Constitution



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No.335

Brazil had a minor involvement in the First World War, but the country was transformed by the impact of the conflict.
It initially declared itself neutral, but the torpedo attack on Brazilian ships by German submarines in 1917 provoked
national outrage, obliging the government to align itself against the Germanic coalition, by patrolling the south
Atlantic. Coffee, Brazil�s only export product, was no longer deemed an essential commodity during the conflict,
and this forced the country to diversify its economy and begin to establish an industrial infrastructure, which
led to prosperity in the 1920s.

It is within this context that Heitor Villa-Lobos' Symphonies 3 ("War") and 4 ("Victory") were
commissioned. In 1920 the King and Queen of Belgium visited Rio de Janeiro and the symphonies commemorating
the armistice were performed in a concert held as a tribute to the visiting monarchs. The three symphonies that
form the �War tryptich� were based on texts by the historian Luiz d�Escragnolle Doria, which were of very poor
poetic and philosophical quality, and whose content seems more appropriate for awakening civic and pacifist
values among high-school students.

Both symphonies require a very large orchestra. In addition to the full orchestra, with piano, harps and celesta,
there is a fanfare of bugles, cornets and other military instruments, creating a gripping effect. The Third Symphony
also includes an ad libitum choir; whilst the Fourth adopts an �inner group� of requintas (high-pitched
clarinets) and saxophones, creating the effect of spatial dislocation. This orchestral extravagance has led
some scholars to detect an affinity with Respighi; however, the two composers must have achieved similar
results via very different means.



Music Composed by Heitor Villa-Lobos
Played by the Sao Paulo Symphony Orchestra
Conducted by Isaac Karabtchevsky

"By the end of World War I Heitor Villa-Lobos was 30 years old and had composed the symphonic poem
Amazonas, the first of his breakthroughs in incorporating Brazilian material into a modern rather than Romantic-
nationalistic idiom. A full turn in this direction was yet to come, however, and the two symphonies heard here
are not characteristically Brazilian in style. They were part of a trilogy commissioned by the Brazilian
government to celebrate end of World War I (in which Brazil fought on the Allies' side); the third work,
the Symphony No. 5 ("Peace"), has apparently been lost. The two remaining works are sprawling
programmatic pieces that gleefully overflow with ideas even if they could be called diffuse. The Symphony
No. 3 finale quotes both "La Marseillaise" and the Brazilian national anthem, but not even the Symphony
No. 4 ("Victory") has a militaristic mood. It is, if anything, subdued. The Symphony No. 3 ("War")
ends almost in mid-battle and features a unique second movement depicting the uneasy circulation of
rumors in a run-up to a war. The diversity of elements gives the music a collage-like feel, and the
somewhat deliberate performances by the S�o Paulo Symphony Orchestra under Isaac Karabtchevsky
captures this quality nicely; you don't feel that Karabtchevsky is trying to force the music in directions
it won't support."
All Music





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No.336

The Belgian composer Marcel Poot, born in Vilvoorde, Brussels on 7th May 1901, taught harmony from
1939 to 1940 and counterpoint from 1940to 1949, and later became director, from 1949 to 1966, at the
Royal Conservatory of Music in Brussels. He was one of the most remarkable musical personalities of his
generation of Belgian composers, and left behind an extensive selection of mainly instrumental works for
orchestra and chamber ensembles. He died in 1988.

Marcel Poot's lively and spirited style of composition reveals youthful mischievousness and an uninhibited
lust for life, expressed in lively rhythms and often short melodic themes. Poot's music is seldom backed by
deep thoughts, but the refined musical taste of the composer protects him from superficiality by an innate
sense of balance in the formal build-up of his works, which as a rule are classical in structure. Poot's
modernism was never dogmatic, but a spontaneous synthesis of old and new, averse to systems and
experiments. That is why Poot is in many ways a neo-classicist, even though he never admitted to
this or any other style of composition. The Sixth Symphony was completed in May 1978.
Like the Fourth, it is also in three movements, and is a free adaptation of classical form.

The ballet Pygmalion was written to a script from Reno Jonglet and was first performed in the
Koninklijke Muntschouwburg in May 1957. The story behind the ballet is a paraphrase of a fragment
from the ancient myth surrounding the legendary sculptor Pygmalion, who lived on the island of
Cyprus. He opted for a celibate life, because he abhorred the behaviour and life-style of the women
around him. It is said that he once sculptured a life-size statue in ivory of a woman of astonishing
beauty, whom he named Galatea. To revenge herself on his dismissive behaviour towards women
in general, the goddess Venus made sure that Pygmalion fell madly in love with the statue, which
she then brought to life. This is in fact the beginning of the passage in the story that Marcel Poot
uses in his ballet (Awakening of Galatea. Dances and scenes of love).

According to ancient myth Pygmalion married Galatea, who also bore him a son, Paphos, who
founded the city hearing his name, which was dedicated to love. However here any resemblance
to Jonglet's and Poot's scenario finishes. They bring on jesters (Intermezzo des bouffons -
Intermezzo of the jesters), have the company perform erotic dances (Sarabande) and drive
Pygmalion to despair, where Galatea seems no better than the women that he so despised
Danse de Galathee (Dance of Galatea), Desespoir et mort de Pygmalion (Despair and death
of Pygmalion).

Poot dedicated the Vrolijke Ouverture to his teacher Paul Dukas, under whom he had
studied for some time in Paris in the thirties. In 1930 Marcel Poot won the Rubens Prize, and
the accompanying scholarship allowed him to study further in the French capital. The Vrolijke
Ouverture was very popular and helped Poot to become known abroad. It was also the
first score of Marcel Poot which was published by Universal Edition in Vienna.



Music Composed by Marcel Poot
Played by the Moscow Symphony Orchestra
Conducted by Fr�d�ric Devreese

"Marcel Poot wrote seven symphonies, at different periods of his career. From the moment
that the first three symphonies were composed, however, it appears that the young composer
handled the symphonic genre with some hesitation and prudence, while the last four symphonies
clearly show that the retired, older Poot felt himself fundamentally attracted to the symphonic
form. The First Symphony (1929) is more looked upon as a sort of exercise, in which the
young composer follows the example of Ravel, Stravinsky and Richard Strauss, seasoned with
the new sounds of the roaring twenties, as they sounded when played by cinema pianists and
jazz musicians. The Second (1938) and most surely the Third Symphony (1952), written after
an interval of nine and fourteen years respectively, point to an emotional change and a deeper
feeling. Poot�s language has become more dramatic and also more romantic, a trend that is
no longer found in the last four symphonies. After eighteen years, the Fourth Symphony (1970)
heralded a consecutive series of mature symphonic works, a Fifth (1974), a Sixth (1978)
and a Seventh Symphony (1980)."





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Someone could please Re-Up The Peter Boyer Album...or upload the "New Beginings" Album...of Peter Boyer...please...

Peter Boyer.7z (http://www.mediafire.com/?28zmh90vrr5w1d5)

Thanks Akashi San, I have also replaced the dead link in the original post.

Thanks....

No.337

The reputation of Charles Tomlinson Griffes (1884-1920) as the "American Impressionist" mainly rests
on his three best-known piano suites: the Three Tone-Pictures, op.5 (1910-1911); the
Fantasy Pieces, op.6 (1915); and the instant suite. They are all the result of Griffes' encounter with
French Impressionist music in the shape of Ravel's Jeux d'eaux. In the Roman Sketches, Griffes retains French
Impressionist harmony, but reasserts his penchant for clear-cut melodies and employs the harmonies to
create a flow that carries the music rather than mainly coloring it in Debussy's fashion.

The Roman Sketches is a substantial suite of four pieces between three and a half and seven minutes
in length. They are inspired by the poetry of William Sharp, published in a collection called Sospiri di Roma
(Sighs of Rome). While Sharp's poems are not highly regarded now, they elicited some of Griffes' most
personal and characteristic music. Each of the four movements flows naturally from the imagery of the poems,
yet stands on its own as a fully satisfying musical composition that, if anything, conveys the pictures Sharp
intended to portray better than the poet did. Considered purely in terms of their compositional technique
the Sketches are nothing short of masterly in addition to being exceptionally beautiful and atmospheric
pieces of music. Originally composed for solo piano, two of the four pieces were later orchestrated by Griffes.
For the present recording, Craig Leon fashioned orchestral versions of the remaining two.

Erich Wolfgang Korngold (1897-1957) lived longer than Griffes but he lived so many lives, he might as
well have been three composers -- the youthful Austrian prodigy who had operas playing at the court opera
in Vienna by the time he was 13, the mature American master who defined Hollywood movie music, and the
late intercontinental itinerant composer who didn't quite succeed in breaking back into the concert hall. Those
who already know his ravishing early operas or his dashing mature movie scores will not be surprised by the
lyricism of his melodies and the beauty of his string orchestra scoring in this Symphonic Serenade.



Music by Charles Tomlinson Griffes & Erich Wolfgang Korngold
Played by the London Symphony Orchestra
Conducted by Simone Pittau

"Griffes is known as America’s most notable impressionistic composer, who sadly died at age 35 or he
might have had a profound influence on American music. Combining his music with Korngold is appropriate
because both composers were influenced by the French Impressionists, had studied in Germany, and
were adept at orchestration. Griffes transcribed his piano piece The White Peacock for full orchestra
and it has become his best-known work, but before the end of his life never got to orchestrating the
two center movements of his four-part suite: Nightfall and The Fountain of Aqua Paola. The last,
Clouds – his impressionistic take on the same subject covered by Debussy in his Nocturnes – was
transcribed but had some discrepancies.

Composer, arranger, ethnomusicologist Craig Leon – who also produced this CD – transcribed the
two center movements for orchestra and corrected the problems with Clouds. Therefore this recording
is the world premiere of the complete orchestral version of the Roman Sketches, and most welcome.
All four portions convert most effectively to orchestral garb, making one feel that Griffes could
have had a successful career as a composer for films if only he had lived longer.

Korngold’s Symphonic Serenade is for strings only and shows the composer’s orchestration skills in
the variety of rich textures and sounds he achieves in spite of this limitation. Strong melodic content
is a feature of Korngold’s music and is heard in all four movements of the work. The long slow
movement communicates intense passion under the influence of Mahlerian expressionism. The Finale
has a lovely melody and a perpetuum mobile section, ending the serenade with the feeling that this
is one of the composer’s lighter works rather than a full-fledged symphony. Sonics are excellent."
Audaud Com



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Thanks for the Korngold/Griffes!
A rare combination!

No.338

Stephen Dodgson was born in London on the 17th March 1924 and lived there with few interruptions
until his death at the age of 89 in 2013. He received his musical training at the Royal College of Music, and
was subsequently a member of its teaching staff in theory and composition. After serving with the Royal Navy
during the war years he spent a year studying with Bernard Stevens. In 1950 he obtained a travelling scholarship to
Italy. Through the next 15 years he was a part time teacher / lecturer in a succession of schools and colleges.
From this period onwards he was much employed by the BBC as provider of incidental music for many major
radio drama productions, as well as a frequent and familiar broadcaster of reviews and other musical topics.
Stephen Dodgson`s compositions cover almost every genre, including opera ("Margaret Catchpole" 1979)
seven piano sonatas, seven string quartets and much other chamber music. There is also a substantial body
of music for orchestra, chorus and solo voices. Although not a player himself he is one of the few composers
to write with understanding for the guitar and his numerous works for this instrument - solo, in ensemble,
chamber music and concertos - have brought him world-wide recognition.

The five Essays for Orchestra featured here, cast in a moderately advanced, freely tonal language
are not actually intended as program music, but would make fine film music nonetheless, due to their
sense of drama and orchestral colour.



Music Composed by Stephen Dodgson
Played by the Royal Scottish National Orchestra
Conducted by David Lloyd-Jones

"Stephen Dodgson is the approachable face of contemporary music. After the success of Dodgson�s
String Quartets on Dutton Epoch, we are now pleased to release a survey of Dodgson�s orchestral
movements that he calls �Essays for Orchestra�. Dodgson�s memorable treatment of the orchestra
is exciting and lyrical by turns, and is played in fine style by the Royal Scottish National Orchestra
conducted by David Lloyd-Jones. Hearing the first five played as a sequence gives a musical
experience of symphonic dimensions, but the advantage of having them on CD is that favourite
numbers can be lifted out at any time."





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Thank you so much for Korngold's Symphonic Serenade. I have been very curious about this performance for quite some time. Thank you for Broughton's Lost in Space as well... Truly dazzling music you have shared with us. :)

TIA to Herr Salat

No.339

Poul Schierbeck (1888-1949) grew up in a doctor�s family in Copenhagen where music was a
favourite pastime. After taking his school leaving exam he began studying law but soon abandoned
this in favour of music studies with Carl Nielsen and Thomas Laub (composition), Paul Hellmuth
(organ) and Henrik Knudsen (piano). He made his debut as a composer in 1915 and was engaged
the next year as organist at Skovshoved Church, a post he held until his death. In 1919 he married
the singer Sylvia Larsen, and the same year he was awarded the grant Det Ancker�ske Legat,
which made possible a study trip to Italy via London and Paris. His journey home took in Switzerland
and Germany.

At the centre of Schierbeck�s output stands the opera F�te galante with a libretto by Max Lobedanz.
It was performed seven times successfully with Sylvia in the main role at the Royal Theatre in the
1931-32 season, but was then taken off the bill and only performed again in 1960. Otherwise
Schierbeck aroused most attention as a composer of songs, art songs as well as songs in the more
popular genres, and seventeen cantatas. His rare talent for instrumentation, a subject he taught
at the Royal Academy of Music in Copenhagen from 1931 on, was recognized early. A fruitful
collaboration with the film director Carl Theodor Dreyer led to music for several of the latter�s short
films, and for the major film Vredens dag (Day of Wrath) (1943). Five years later, when Dreyer
created the film Ordet (The Word) after Kaj Munk�s drama, the music was put together
posthumously from compositions by Schierbeck. The last major work has managed to complete
was Queen Dagmar for soloists, chorus and orchestra to a text by Mogens Lorentzen based
on a famous episode from medieval Denmark.

If Poul Schierbeck came to look like a strangely solitary figure in Danish musical life, this may
be because he was born, so to speak, midstream between two generations: a large generation
of composers born in the 1860s - including Louis Glass, Carl Nielsen, Alfred Toft and Fini
Henriques - and a group born in the 1890s - Knud�ge Riisager, J�rgen Bentzon, Ebbe Hamerik
and Finn H�ffding; followed by the �stragglers� Bernhard Christensen and Svend Erik Tarp from
1906 and 1908. However apart from Schierbeck, only a few of the composers we still remember
today were born at the end of the 1880s: Launy Gr�ndahl, Emil Reesen and N.O. Raasted.
For the older generation he was a talented young man from a good middle-class home, who
might well kick over the traces slightly, especially in the direction of French music, but who
otherwise carried on the tradition of Danish music beautifully, often in a freer, more dissonant
tonal idiom. The younger generation, for their part, might well find in him inspiration for a
more international orientation than the generation of the 1860s, but for them he quite lacked
the revolutionary drive that was characteristic of several of the personalities of that generation.
In this �interval� Schierbeck developed a style that was all his own. Among his pupils J�rgen
Jersild (b. 1913) and Leif Kayser (b. 1919) were undoubtedly those who followed closest in
the footsteps of the master.

On this album you will find a delightful mix of vocal/orchestral works, the song-cycle
The Chinese Flute being one of Schierbeck's best-remebered pieces.



Music Composed by Poul Schierbeck
Played by the South Jutland Symphony Orchestra
With Susanne Lange (soprano)
Conducted by Michael Sch�nwandt

"Michael Sch�nwandt is one of the leading conductors of Scandinavia. He frequently appears on
recordings on the Marco Polo-Dacapo and Chandos labels, and conducts throughout Europe
with frequent appearances in America. Sch�nwandt was educated at Copenhagen University
and went on for higher studies at the Royal Academy of Music from 1975 to 1977. The year
he left the Academy he made his conducting debut in Copenhagen. After his initial appearance
with the Royal Danish Opera in 1979 he began attracting international attention. He became
the principal conductor of the Collegium Musicum of Copenhagen in 1981.

In 1984 he made his first appearance on the podium of the Royal Opera House, Covent
Garden conducting I Capuleti ed I Montecchi. His American debut was with the San Francisco
Opera in 1992 in the original version of Verdi's Don Carlos. He was appointed principal
conductor of the Danish National Radio Orchestra in 1989 and principal conductor of the
Berlin Symphony Orchestra in 1992. He has an extensive discography. These include the
complete symphonies of Gade, made with the Collegium Musicum of Copenhagen, of Weyse
with the Royal Danish Orchestra, the Berlioz Requiem and Schumann's Manfred and two
of his symphonies with the Berlin Symphony Orchestra. He has made numerous recordings
of Danish music with composers from Lange-M�ller, Kuhlau, Gade, and Hartmann through
Nielsen to Schierbeck and Poul Ruders. His recording of Strauss' opera Salome was
nominated the 1999 Gramophone Award as best Twentieth Century Opera Recording
of the Year, and his Dacapo recording of the Nielsen First and Sixth symphonies received
the Danish Music Award 2000.

In 2006, he conducted a Ring cycle at the Royal Opera in Copenhagen and his later
recordings included The Very Best of Rachmaninov (2008) and J.P.E. Hartmann: The
Key Masterpieces (2009) for Dacapo."





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No.340

Leos Jan�cek (1854-1928) is regarded as the greatest Czech composer of the early
twentieth century. In his early works, which included the opera S�rka (1888), and numerous
vocal and instrumental works, Jan�cek followed a traditional, Romantic idiom, typical of late
nineteenth century music. Having completed S�rka, however, Jan�cek immersed himself in the
folk music of his native Moravia, gradually developing an original compositional style. Eschewing
regular metrical phrasing, Jan�cek developed a declamatory method of setting the voice that
follows the natural rhythmic patterns of the Czech language. Characteristically, Jan�cek
allowed these patterns to inform the music itself. In addition, Jan�cek's harmonies, forms and
orchestration are highly idiosyncratic. His music favors repetitive patterns, often set in stark
contrast to longer, more lyrical, lines, or large blocks of sound.

This album features purely orchestral arrangements made by Peter Breiner from Jan�cek's
operas Jenufa and The Excursions of Mr. Broucek. Arrangements of vocal lines for
instruments have always been viewed critically (i.e., negatively) by classical commentators,
but it cannot be denied that, as such, they make great faux film music. ;)



Music Composed by Leos Jan�cek (arr. Peter Breiner)
Played by the New Zealand Symphony Orchestra
Conducted by Peter Breiner

"Jan�ček�s operas have become recognised as some of the finest of the 20th century,
and his reputation is more often than not enhanced by each new production that hits
the boards or the recorded catalogue. We�ve recently been treated to a fine recording of
The Excursions of Mr Brouček, and my reference for Jenůfa is the venerable 1977-78
Supraphon recording with the Brno Jan�ček Opera forces under Franti�ek J�lek.

The best known of Jan�ček�s �suites from the opera� would have to be that of the Cunning
Little Vixen, which, as well as From the House of the Dead was also arranged into a suite
by Franti�ek J�lek, but has appeared most frequently in a re-orchestration by Vacl�v Talich.
Significantly in this context, Sir Charles Mackerras returned to the original for his own
recording, and in the same way Peter Breiner�s impressive arrangements also have to
stand up against Jan�ček�s own orchestral sound.

Without a comparison of the scores it�s not a straightforward business, untangling differences
between originals and arrangements in detail, and I don�t propose to make the attempt
here. It may partially be due to differences in modern recording, ideal concert hall conditions
rather than the �Opera house� situation, or at the very least a recording set up which no longer
has to take a variety of singers into consideration, but these suites sound more sumptuous
and grand than anything I�ve heard from these pieces in the past. Jan�ček�s own orchestral
palette in both of these operas is rich and full of fascinating colour and variety, and Breiner
takes all of this on board. Take something like Are you feeling sad, Jenůfa however, and there is
none of the restless urgency of that opening as you hear it from J�lek. Much as I admire the
playing and sound, this is a rather well-fed Jenůfa, and there are few places here where the
tragic drama of the opera isn�t covered with some kind of glitzy, sometimes almost Hollywood
gloss.

The same comments apply to Brouček. You only have to compare the magical twists, turns
and quicksilver contrasts of the opening under the baton of Jiř� Bělohl�vek with the rather
more thick and ponderous tread of the same passages with the New Zealand Symphony
Orchestra. Agreed, we�re not entirely comparing like with like, and as concert suites rather than
accompaniments to stage drama these arrangements work very well indeed. I like the creative
and convincing way Breiner has brought sometimes disparate material together to create new
movements. These arrangements and performances do however paint a rather different picture
of Jan�ček�s operas than the one you might hope to hear in an opera production.

Some collectors of recorded music may not have much time for warbling opera singers on CD,
and will be missing some wonderful music as a result. Suites like these can release fine
compositional work from their dramatic context and win new audiences as a result. For this
I applaud Peter Breiner for his work on these two operas, and will certainly be on the lookout
for subsequent volumes. For me, the big-boned symphonic approach does remove some of the
intimacy and excitement of Jan�ček�s works as original operas, and I think I would have preferred
a little more lightness of touch and swiftness of pacing to help bring this feeling back. This said,
these are fine performances and stunningly dynamic recordings, with some fine low drum rumbles
and plenty of sparkle and colour in the spectrum. If you know and love the operas already
this disc probably won�t further enhance your appreciation, but if you want some refreshingly
new orchestral music and an alternative view on Jan�ček then this is a very strong
contender indeed."
Musicweb International



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No.341

Yasushi Akutagawa was born in Tokyo in 1925, the son of one of the leading Japanese writers
of the first half of the century, Ryunosuke Akutagawa. He studied in Tokyo with Akira Ifukube and
Kunihiko Hashimoto, guided by the aesthetic philosophy of rough manliness of the former and
the lyricism of the latter. He was greatly influenced by the music of Shostakovich and Prokofiev,
which was widely heard in Japan after the war, and he played an important part in the musical
exchange between Japan and the Soviet Union. He died in 1989. Some of Akutagawa's works
were played under the direction of leading Russian conductors, including Anosov and Gergiev.
His compositions include an opera, Orpheus of Hiroshima, Ellora Symphony, a cello
concerto, and some hundred examples of music for the cinema, of which the best-known to
Westerners is probably The Village of the Eight Gravestones (via a 1980s Var�se vinyl).

Rapsodia was commissioned by Bunka-cho (The Agency for Cultural Affairs) and completed on 12th
September 1971. It is scored for triple or quadruple wind, and a variety of percussion, and was first
performed in Tokyo on 4th October of the same year. The composer describes the work as
music in which a sorcerer waves his short wand. He might have been thinking of Dukas�s L�Apprenti sorcier
or Walt Disney�s film Fantasia, in which Dukas�s music is used. It is easy to imagine the sorcerer as the
composer himself.

Ellora Symphony comes from the beginning of Akutagawa�s second period. The vivid Allegro based on
the ostinato technique of the first period is still prominent, but lyricism is replaced by dark, chromatic
and cluster-like chords. Ellora is the name of a town in the Deccan in India, where there is a famous temple
consisting of over thirty rock caves spreading over 25 kilometres. The caves dug between the sixth and
seventh centuries are for Buddhists, the ones between the seventh and ninth for Hindus, and the others,
made between the ninth and twelfth centuries for Jainas. Three different religions from three different ages sit
together in Ellora. Akutagawa conceived an Asia-oriented symphony, which differs from western symphonies,
where everything is in order and moves forward to a climax. What he intended was music without any
conception of beginning, ending and centre, music where the masculine and feminine infinitely cross together
and life is renewed for ever.

Trinita Sinfonica was the early product of Akutagawa�s first period and brought him his first
success. Scored for double wind, the work was completed on 30th August 1948.



Music Composed by Yasushi Akutagawa
Played by the New Zealand Symphony Orchestra
Conducted by Takuo Yuasa

"Akutagawa was an active and influential composer, a conductor and director of JASRAC (the Japanese
copyright collection service, similar to our MCPS/PRS Alliance). His works are strongly influenced by
Stravinsky and his teacher Akira Ifukube. Ifukube, like Stravinsky, had a penchant for ostinati that
evidently rubbed off on the young Akutagawa. He visited the Soviet Union, and brought Shostakovich's
Symphony No. 4 to Japan for the first time.

The Rapsodia boasts an amazingly arresting opening, brass glissing away before embarking on a Bart�k-
slanted tribute to Dukas' Sorcerer's Apprentice - a link I noted before I read Morihide Katayama's excellent
introduction to Akutagawa in the accompanying booklet. The Stravinsky influence here is more of the
early Rimsky-Korsakov pupil than that of the later works. Certainly the oriental within the occidental is
evident here; the occidental to the fore, by the way. Those ostinati I mentioned a little earlier generate
a fair head of steam, especially when as cleanly performed as here.

The Ellora Symphony takes its inspiration from a town in the Deccan in India that boasts a temple made
up of a sequence of rock caves. The composer was inspired by the seemingly infinite and chaotic layout
of the caves and also by the explicit sexual content of some of the cave decorations. Akutagawa mirrors
the labyrinthine caves in creating music that steps away from the 'directional movement towards climaxes'
paradigm. Instead it celebrates the infinite crossing of masculine and feminine where 'life is renewed
forever' - to quote and paraphrase the booklet notes.

The opening is slow and ritualistic, rather than sensuous. The excellent recording reproduces the crescendi
with real presence - there is a very good sense of space here. Alas this music can appear rather diffuse
as Akutagawa's sudden juxtapositions become tiring and even predictable. There is no doubting the
composer's mastery of atmosphere creation - he can set one up within seconds - and there is plenty of
internal energy here, but a lot of this sounds just like film music.

Finally the early Trinita Sinfonica of 1948, a work whose first movement exudes real humour entirely in
keeping with its 'Capriccio' label. This contrasts with the lullaby-like 'Ninnerella' - lovely plaintive bassoon
solo. The finale is a wonderful way to end an interesting, if not life-changing, disc. There is a distinct
Rimskian jollity about this bright and extrovert five-minutes that will surely leave a smile on your face."
Musicweb International



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No.342

Percy Aldridge Grainger (1882-1961) was known during his lifetime as a virtuoso pianist and arranger
of popular English folk song. His primary contribution to music, however, lies in his prolific output as a
composer of expert and highly original works. Grainger's early years were spent in Melbourne where
he studied first with his mother, and later with Louis Pabst. From 1895-1899 he attended the Hoch
Conservatory in Frankfurt, Germany, and then settled in London in 1901. The next 10 years or so were
devoted to a combination of concert touring and folk song collection. Grainger's early reputation was
as a brilliant and eccentric pianist, and it was this talent that not only provided his income for the
rest of his life, but also brought him into contact with other composers. Grieg and Delius, in particular,
had great influence on Grainger's development of a sympathy and sensitivity toward unique national
and folk styles.

In 1914, Grainger moved to New York, beginning a long career as a composer, arranger, collector
of folk music, and educator; he became an American citizen in 1918. In his own compositions,
Grainger experimented with nontraditional rhythms, forms, and instrumental combinations in an
attempt to create what he called "free music." He also created a large body of more traditional
works and arrangements intended for more popular consumption, motivated, no doubt, by his
experience with the Edwardian music hall and later with the U.S. Army Band.

Igor Stravinsky's ballet Petrouchka made a big splash when it was first performed in
the UK. Many English composer then wrote pieces that were stylistically very close to the
Stravinsky classic, sometimes bordering on rip-offs. Grainger's own "mock"-ballet The Warriors is
one such piece that comes dangerously close to being a Petrouchka clone, and yet it
his highly colorful and very entertaining. It is one of the few purely orchestral works of
his on a larger scale. The other pieces on this album are entirely more typical: The charming
suite In a Nutshell and the popular Lincolnshire Posy.



Music Composed by Percy Aldridge Grainger
Played by the City of Birmingham Symphony Orchestra
Conducted by Simon Rattle

"No beating about the bush: here is a simply marvellous Grainger
anthology. Good as Richard Hickox�s recent BBC PO account of In a
nutshell was, Rattle�s surpasses it in terms of rhythmic point and
bracing character (the very opening bars of �Arrival Platform Humlet� at
once reveal an extra spring and subtlety about the CBSO�s exhilaratingly
clean-limbed response). Although Hickox is never less than sympathetic,
Rattle makes us even more aware of the startling originality of
Grainger�s vision, its unhinged wildness and inventiveness � attributes
even more to the fore in The Warriors. This extraordinary creation,
described by the composer himself as �an orgy of war-like dances,
processions and merry-making, broken, or accompanied, by amorous
interludes�, has already been handsomely served on CD by Geoffrey Simon
and John Eliot Gardiner. Rattle�s stunning new version strikes me as the
best one of all, possessing a mastery of texture and irresistible
choreographic flair to remind us that the piece had its origins in a
commission (proposed by Beecham, but ultimately scrapped) for
Diaghilev�s Ballets Russes.

There are plenty of other treats in store. At the behest of Leopold
Stokowski, Grainger made the present reworking of Country Gardens in
1950. It is quirkily scored, harmonically eventful and hugely
entertaining. The delectable arrangements of Ravel�s �La vallee des
cloches� (the only performance here which has been previously released)
and Debussy�s �Pagodes� are quite captivating in their imaginative,
ear-tickling sonorities (the instrumentation of the former includes
parts for vibraphone, marimba, dulcitone and other �tuneful percussion�,
the latter for harmonium, celesta and no fewer than four pianos). Both
receive exquisite treatment on this occasion. Train music is an
intriguing torso dating from 1901. The teenage composer�s ambition
evidently knew no bounds, for he began to score the work for an
orchestra of about 150 players, comprising 100 strings and an enormous
woodwind section (eight oboes, six bassoons, etc.). It�s heard here in a
reduced orchestration by the American Grainger authority, Eldon
Rathburn.

Finally, Rattle and his admirable Birmingham forces give us an
exceptionally perceptive Lincolnshire Posy. Not only do the fabulous
blend and immaculate intonation of the CBSO�s wind and brass really take
the breath away, but Rattle�s interpretation is also full of insight.
Most remarkable of all is �Rufford Park Poachers� � a provocatively
spacious conception, full of tragic grandeur; �Lord Melbourne�, too, is
memorable, acquiring a fierce, hard-edged intensity wholly apt for a
�War Song� (to quote Grainger�s own alternative title).

Immaculate production-values and presentation.
One for every reader�s shopping-list."
Andrew Achenbach, Gramophone





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No.343

Michael Torke, born in Milwaukee in 1961, has emerged as a contemporary composer whose
music has been received with uncharacteristic warmth by traditional classical audiences and
newcomers to "serious" music alike. Torke's music is characterized by a fusion of styles that range
from lush Romanticism to pop- and jazz-influenced idioms. Typically, the composer makes use of
colorful timbres, minimalism-influenced repetition, and dance rhythms. A number of his works
have proven especially adaptable as dance scores; a number were specifically commissioned by
dance ensembles.

Torke pursued formal musical studies at the Eastman School of Music, where he earned degrees
in piano performance and composition; his principal teachers there included Christopher Rouse
and Joseph Schwantner (composition) and David Burge (piano). His subsequent period of study
with Jacob Druckman at Yale yielded two of his earliest successes, both of which demonstrate
the composer's penchant for combining classical form and technique with "popular" content:
Bright Blue Music (1985), commissioned by the New York Youth Orchestra, and
The Yellow Pages (1985). The former was the earliest entry in an extensive series of
color-themed works that eventually came to include Ecstatic Orange (1985),
Green (1986), Purple (1987), Copper (1988), Red (1991), and others.



Music Composed by Michael Torke
Played by the Baltimore Symphony Orchestra
Conducted by David Zinman

"Yes, two of the five works here also appear on the Javelin album. That leaves three
works uncovered: Purple, Ash, and Ecstatic Orange. So the choice to acquire this album
in addition to Javelin is ultimately driven by a referendum on the merit of these three works
in their own right. For my money, the acquisition of this earlier album is more than justified
by the presence of Ash. What makes Ash distinctive is the clever Beethovenian conceit that
Torke dishes up. The illusion of linear progress is created in individual sections, but at the
macro level this sense of purpose, like water to a thirsty Tantalus, is pulled away. Form
follows function, however, and Torke is putting the Beethovenian idiom to an entirely different
use than the archetype did. This is assuredly not parody, but a transmutation in the service
of a fresh, modern aesthetic. It's as if the IDEA of Debussy's impressionism is being
realized with Beethovenesque building blocks (cobbled from the idiom farthest removed
from Debussy's).

On this album, the best works are Green, Ash, and Bright Blue music, in that order.
Ecstatic Orange stands out as the dissonant member of the set, while Purple comes off
as an effective interlude (a breather, as it were) bridging the effervescent Green to Ecstatic
Orange. While some have inferred associative relationships between music and color on
Torke's part, I don't think we should lump him in with Scriabin on this account."
Amazon Reviewer



Source: Decca "Argo" CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 123 MB

Download Link - https://mega.co.nz/#!UYAGQICJ!FH5OpwWYHKFGrm3-5OYIzh7SNb4ZgLdBHZWlp6ju-eA

Enjoy! Don't share! Buy the original! :)

No.344

Although he was indicted (along with Shostakovich, Prokofiev, and a number of other prominent Soviet musicians)
for "formalism," in the infamous Zhdanov decree of 1948, Aram Khachaturian was, for most of his long
career, one of the Soviet musical establishment's most prized representatives. Born into an Armenian family, in
Tbilisi, in 1903, Khachaturian's musical identity formed slowly, and, although a tuba player in his school band
and a self-taught pianist, he wanted to be a biologist, and did not study music formally until entering Moscow's
Gnesin Music Academy (as a cellist) in 1922.

During the vicious government-sponsored attacks, in 1948, on the Soviet Composers' Union (in which
Khachaturian, an active member since 1937, also held an administrative function) Khachaturian took a great
deal of criticism. However, although he was officially censured for employing modernistic, politically incorrect
musical techniques which fostered an "anti-people art," Khachaturian's music contained few, if any, of the
objectionable traits found in the music of some of his more adventuresome colleagues. In retrospect, it was
most likely Khachaturian's administrative role in the Union, perceived by the government as a bastion of
politically incorrect music, and not his music as such, which earned him a place on the black list of 1948.

This album features a number of "occasional pieces" that solidify Khachaturian's image as an established
and revered composer in the USSR, it even includes an Ode to Lenin, and a Festive Poem, two pieces
that must clearly have gone down well with the authorities. All his music is sustained by a robust sense of
melody and colorful, sometimes brash and strident orchestrations. Loud, is.



Music Composed by Aram Khachaturian
Played by the Armenian Philharmonic Orchestra
Conducted by Loris Tjeknavorian

"ASV's commitment to Khachaturian yields further dividends here; not all of it is equally
memorable - and this release too turns up some rather strange pieces - but overall this one
can be recommended to anyone interested in colorful, Soviet realist music not quite on the
level of sophistication of Shostakovich or even Kabalevsky. The four-movemented Lermontov
Suite is overall a poignant - in fact downright gloomy - work, rather Tchaikovskian at times
(especially the Valse), but drawing overall more on Glazunov and Rimsky-Korsakov. Colorful
and dark it is, but nothing quite stays in the memory when it's over. The Russian Fantasy is
written in a similar vein (that is relying on those past models), and is a rather attractively
colorful work, if not very profound.

The Ode in Memory of Lenin is mournful and dark for the most part, but painted in somewhat
garish colors and relying on appropriately unsophisticated national hollering and braying.
Not exactly a work to grow fond of in any way, it is still worth a listen, though. The same
cannot really be said for the banal and mostly loud Greeting Overture; lots of noisy effects
and clamor, but the thematic material is ridiculously thin. On the other hand, the main work
here, the 20 minute Festive Poem is a very worthwhile one. It's certainly an exuberant
score, again loud and clangorous and merrily noisy, but there are some fine tunes and
themes here as well and if you aren't expecting anything profound, it'll be easy to enjoy
yourself.

The performances are generally good enough, but somewhat rough. This isn't music that
requires much interpretative subtlety, however, and the Armenian PO manages, for the
most part, to convey the energy and brashness of the scores. Sound quality is fair but
a little boomy. All in all, this is a worthwhile disc, perhaps mostly recommended to
enthusiasts"
Amazon Reviewer





Source: ASV CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 151 MB

Download Link - https://mega.co.nz/#!JFQnVapA!f2hkqEvdwyvZTjTDObYT0Fl_-7QGUKB69XjOCxmHtrg

Enjoy! Don't share! Buy the original! :)

No.345

The multifaceted and multi-award winner Tan Dun has made an indelible mark
on the world music scene with a creative repertoire that spans the boundaries of
classical music. The Symphonic Poem on Three Notes describes an evolutionary arc
from nature through industry and back to nature, the traditional orchestra augmented
with a range of unorthodox sound sources such as wind, stones and car brake drums.
The drama of Orchestral Theatre centres on memories of ritual from the composer�s
childhood, linking folk music styles to Western atonality, while the Concerto for
Orchestra describes the exoticism of Marco Polo�s geographical, musical and
spiritual journeys.



Music Composed and Conducted by Tan Dun
Played by the Hong Kong Philharmonic Orchestra

"As the title implies, the Symphonic Poem is based on three notes�what makes this all so
absorbing is the way in which Tan Dun uses a plethora of percussive and other effects�to
propel the piece forward. Clearly the members of the Hong Kong Philharmonic are having a
ball and the effect is often thrilling.

With the 35‑minute Concerto for Orchestra we encounter Tan in true concert mode�and,
being inspired by the journeying of Marco Polo, it retains a distinctly programmatic flavour.
More importantly, it gives us a chance to experience the splendid Hong Kong Philharmonic
at its most assured. This is a vivid demonstration of true orchestral virtuosity, with Tan
Dun�s experimental effects superbly realised, and all captured in fulsome sound� "
Gramophone



Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 150 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!ikxjjb7a!a96QPVy0K_QTD3RAeCUKnhKpxqpJejVnFBZCLCJ RtfQ

Enjoy! Don't share! Buy the original! :)

Love the Tan Dun! Naxos strikes again! Thanks!

thanks for the Janacek / Peter Breiner duo! Any chances to see some booklet scans for the Khachaturian?

As requested, booklet scans for the Khachaturian:
https://mega.co.nz/#!ZJlkDRTA!JSO4vDXAbzUV7fWstawo8kVdJbJ4s_RmF-rm08MvF3k

No.344




Music Composed by Aram Khachaturian
Played by the Armenian Philharmonic Orchestra
Conducted by Loris Tjeknavorian


Source: ASV CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 151 MB

Download Link - https://mega.co.nz/#!JFQnVapA!f2hkqEvdwyvZTjTDObYT0Fl_-7QGUKB69XjOCxmHtrg

Enjoy! Don't share! Buy the original! :)




As requested, booklet scans for the Khachaturian:
https://mega.co.nz/#!ZJlkDRTA!JSO4vDXAbzUV7fWstawo8kVdJbJ4s_RmF-rm08MvF3k

thank you very much
Wimpe & Yen_
You are all good!

Here is more torque with an adjustable wench (wrench I mean)!
FLAC: FilePost.com: Download torkecolor.rar - fast & secure! (http://filepost.com/files/33748c74/torkecolor.rar) (credit Lenstry)

The Khachaturian rarities were jolly interesting!
Speaking of Khachaturian and Tjeknavorian, anyone has these discs?


(ARAM IL'YICH KHACHATURIAN 1903 - 1978)
1. ODE TO JOY - The Spring Sun Rises ( 1956 ) *bd
THREE CONCERT ARIAS *a
2. No.1 Poem : If I Were A Scarlet Coral
3. No.2 Legend : Every night Someone comes to the waters
4. no.3 Dithyramb : You are Carriend to the place
5. BALLAD OF THE MOTHERLAND - Maybe somewhere the sky is blue ( 1961 ) *c
6. POEM ( rev.1961 ) *d
7. MARCH OF ZANGEZUR ( 1938 )

6 POEM ( rev.1961 ) (1/2) - Khachaturian - YouTube (http://www.youtube.com/watch?v=R_oiIt8P69k)

Thank you very much for Aram Khachaturian.

The Khachaturian rarities were jolly interesting!
Speaking of Khachaturian and Tjeknavorian, anyone has these discs?


(ARAM IL'YICH KHACHATURIAN 1903 - 1978)
1. ODE TO JOY - The Spring Sun Rises ( 1956 ) *bd
THREE CONCERT ARIAS *a
2. No.1 Poem : If I Were A Scarlet Coral
3. No.2 Legend : Every night Someone comes to the waters
4. no.3 Dithyramb : You are Carriend to the place
5. BALLAD OF THE MOTHERLAND - Maybe somewhere the sky is blue ( 1961 ) *c
6. POEM ( rev.1961 ) *d
7. MARCH OF ZANGEZUR ( 1938 )

6 POEM ( rev.1961 ) (1/2) - Khachaturian - YouTube (http://www.youtube.com/watch?v=R_oiIt8P69k)






Yes, I got this.

Yes, I got this.

Cheers mate!
And booklet scans please. Should you upload it, please bear in mind the scans!




By the way, I think that the uploads of Sterling Records would fit the bill for this thread.
The are orchestral rarities and discoveries.
http://odeonmusic.blogspot.gr/search/label/Sterling
http://www.sterlingcd.com/

I already uploaded the disc, but to the "Concerto" thread, since the main work is the Piano Concerto. :)

But there are no scans since I ripped the disc long ago for personal use when I didn't have the time to scan booklets.


No.346

This is an intriguing collection of contemporary works from China (incl. Singapore and Taiwan), composed for
the traditional ensemble of folk instruments but in a concert music style that adopts methods used in Western
orchestral music. Like so much Chinese music, most of the pieces here are tone poems or character
pieces, often inspired by folk or fairy tales or important historical figures. The style varies between the folk-like,
almost romantic strains of the concluding Poem of Neptune by Wang Ming-Hsin and the more aggressive,
occasionally avantgarde language of Liu Xing's Symphony No.2 for Chinese Orchestra and
of Phoon Yew-Tien's The Sky Builder. As you may expect, instrumental timbres are much
more garish than those of western symphonic orchestras, like e.g. that of the suona (a Chinese trumpet
that sounds somewhat like an emotionally disturbed donkey). Results are often extremely colorful,
and uch of this music would fit in nicely with a historical/martial arts epic.

The HUGO label has been instrumental in introducing modern Chinese composers for a decade and a half,
in both Western- and traditional Chinese styles. Please refer to the booklet (in Chinese and English) for details.



Music by Liu Xing, Phoon Yew-Tien, Yi Ke, Liu Yuen & Wang Ming-Hsin
Played by the Kaoshiung City Chinese Orchestra
Conducted by Yan Hui-Chang

"Under the tutelage of composer Leong Yoon Pin and Elaine Dobson, Phoon Yew Tien is
Singapore's most recorded classical music composer. Phoon is not only well-grounded in both Eastern
and Western musical vocabularies, his output covers the entire spectrum of chamber music, songs,
music for theatre and concert hall. He has earned a fine reputation as a significant composer, both
in Singapore and in the international arena.

For three consecutive years, 1977 to 1979, he won the Distinguished Prize in the National Song
Writing Competition - the prizes were awarded for the works Our Song in 1977, Nanyang University
(1978) and Song for Workers (1979). While attending the Queensland Conservatorium of Music on a
Singapore Symphony Orchestra scholarship, Phoon was awarded the Dulcie Robertson Prize in
composition thrice (1980, 1981 and 1983), for best composition.

In 1984, Phoon won the prestigious Yoshiro Irino Memorial Prize for Composition, awarded by the
Asian Composers League, one of the highest awards to be given to a young Asian composer. In
1996, 1997,2001 and 2004, he was also awarded the top Local Serious Music Award by the
Singapore Composer and Authors Society (COMPASS).

On 14th April 2000, the Singapore Symphony Orchestra premiered his Variants on an Ancient Tune
as one of a series of new works commissioned for the 20th anniversary of the orchestra. On 12th
October 2000, the Beijing China Film Orchestra performed works by Phoon Yew Tien in his solo
composition concert in Beijing Concert Hall. The concert was jointly presented by the government
of the People's Republic of China and the Singapore National Arts Council. He was also commissioned
by the Singapore National Arts Council to compose a large scale work ( Confucius - A Secular Cantata )
for the Singapore Arts Festival 2001.

Since 1987, Phoon's compositions and arrangements have been performed and recorded by the
orchestras such as the Singapore Symphony, the Russian Philharmonic, Shanghai Philharmonic,
Shanghai Music Conservatory Symphony, , Shanghai Music Conservatory Chinese Orchestra,
Singapore Chinese Orchestra ,Hong Kong Chinese Orchestra and the Kaohsiung City Chinese
Orchestra of Taiwan."


:::?????? Kaohsiung City Chinese Orchestra:::??::: (http://www.kcco.org.tw/main.php)



Source: Hugo Classics CD (my rip!)
Format: mp3, 320k/s (CBR) DDD Stereo
File Size: 176 MB (incl. booklet)

Download Link - https://mega.co.nz/#!VJwFhLhb!fQyFXwg0x_DtNckaaAdFJhNLaRIxFKOk0zKSHCK dDqg

Enjoy! Don't share! Buy the original! :)

No.347

This is a neat collection of lighter-hearted short orchestral works by three most
distinguished Welsh composers of the 20th century: Alun Hoddinott, William Mathias
and Daniel Jones.



Music by Alun Hoddinott, William Mathias & Daniel Jones
Played by the Royal Philharmonic, Philharmonia, National UK Youth & BBC Welsh Symphony Orchestras
Conducted by Charles Groves, Arthur Davison & Bryden Thomson

"It is certainly not a common occurrence to find oneself reviewing an issue dedicated to music by
three Welsh composers, but this CD is not only a voyage of discovery of a still obscure musical world,
but alsoa gild-edged opportunity to enjoy some of the best British pieces composed during the
second half of the 20th century.

Maybe the only qualm I have is the way the programme is distributed. Alun Hoddinott (1929-2008) is
represented by five works while William Mathias (1934-92) and Daniel Jones (1912-93) are only credited
with one each. Still, in spite of this imbalance, there is much to enthuse about. Hoddinott's three sets
of dances are punctuated by many jubilant and rambunctious moments, interspersed with others that
are less bouncy but more reflective.

The Concerto Grosso #2 is a showcase of virtuosity while the "Jack Straw" overture dedicated to the
14th century English rebel has a baleful dramatic opening, but culminates with a vividly exciting climax.
Mathias' "Celtic Dances" represent the musical characteristics of all four British countries and each
piece evokes the mythological past of each nation, albeit in modern terms. Finally, Jones' "Dance
Fantasy" is a short work but there is an air of stately grandeur about it. A certain lightness of touch
also permeates this set of unbroken variations, which has become the composer's most performed work.

The playing is vibrant and committed, with orchestras and conductors excellent advocates of this
brilliant but sadly neglected repertoire. A thrilling disc excellently annotated and remastered."
Classical Net





Source: Lyrita CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Stereo
File Size: 150 MB

Download Link - https://mega.co.nz/#!6xJRBD6Z!CIUickWH9v8Nafq_vilCrh8_7HNv1tJGaKfV37l pHLw

Enjoy! Don't share! Buy the original! :)

Allow me to post it in FLAC, because the disc was a pleasant surprise.

Download Khach Lemontov ASV rar (http://filewinds.com/9yscp2crw2fi/Khach_Lemontov_ASV_.rar.html)





================================================== =================================================



FILM MUSIC Composed by Aram Khachaturian
Played by the Armenian Philharmonic Orchestra
Conducted by Loris Tjeknavorian
https://www.hdtracks.com/index.php?file=catalogdetail&valbum_code=743625096620



FLAC DOWNLOAD
Download Khach FilmM ASV rar (http://filewinds.com/jsrvifv2nh6i/Khach_FilmM_ASV_.rar.html)



1. Pepo: Ov
2. Pepo: Pepo's Song
3. Undying Flame: Intro (Ov)
4. Undying Flame: Bruno's Return To His Homeland
5. Undying Flame: Rebels Capture Bruno In The Forest
6. Undying Flame: Bruno At The Consistory Court
7. Undying Flame: Banishment And Wanderings
8. Undying Flame: Dance Before The Queen
9. Undying Flame: The Battle And Christ
10. Undying Flame: Finale
11. Secret Mission: Ov
12. Secret Mission: The Pilot
13. Secret Mission: The Ardennes
14. Secret Mission: Surrender
15. Secret Mission: Armaments-Finale
16. Admiral Ushakov: Ov
17. Admiral Ushakov: Battle
18. Admiral Ushakov: Funeral
19. Admiral Ushakov: Russian Sailors In Naples (The Review Of The Fleet)
20. Admiral Ushakov: Finale
21. Prisoner No.217: Ov
22. Prisoner No.217: Murder
23. Prisoner No.217: In The Prison
24. Prisoner No.217: Work-Recapulation-Finale

Thanks for the film music album! :)



No.348

Fanfares, whether used in logos, main titles or as incidental music, have always played a big part in
movie scores. In 1998, the Auckland Philharmonia commissioned eleven fanfares from local New Zealand-born
or based composers to be premiered by the orchestra in the year leading up to 31 December 1999 and the
turn of the millennium. Each fanfare was to be approximately three minutes long and both reflect the
composer�s feelings about the twentieth century as well as give a vision for the future.



Christopher BLAKE: Auckland!
Eve de CASTRO ROBINSON: Other echoes
John RIMMER: Vulcan
Juliet PALMER: Secret Arnold
John PSATHAS: Luminous
Lisa MERIDAN-SKIPP: firecracker
John ELMSLY: Resound!
Dorothy BUCHANAN: Peace
Chris CREE BROWN: Y2K Pacemaker
Philip DADSON: MAYA
David HAMILTON: Zarya

Played by the Auckland Philharmonia
various conductors

"Collections of fanfares are if not unheard of at least unusual. There have been previous collections.
I can think of the RCA anthology of British fanfares reissued on Chandos and the Koch anthology
based on those commissioned by Eugene Goossens in the 1940s.

The present anthology is taken from concert performances of works for full orchestra. They strain at
the bounds of what we expect from a Fanfare. All are lucidly recorded with great resonance and
with applause. The composers are not household names in the international concert world. The
Blake is a work of fresh grandeur. The Castro-Robinson reflects flighty modernism: Ariel careering
around the skies with hints of Pettersson, Messiaen, Rautavaara (those arctic birds are very familiar)
and Turnage. Rimmer's grim gruff brassy expostulation took me back to Arthur Butterworth's
Symphony No. 1 - especially the finale. Palmer's work is oddly titled, a rich Schoenbergian mix with
The Wailers it wont come easy and Only You by Portishead. More attractive than you might imagine.
Psathas's work is a Petterssonian lament for a friend who moved from New Zealand to China but
was overwhelmed by the pressure to assimilate into a culture so radically different. The Meridan-Skipp
work is fragmentary - flooded with explosive squeals and ringing ticking effects. The Elmsly bends
minimalism with Arnold like lyrical release and percussive rush. The Buchanan is alive with sounds
associated with Pacific culture, woody drum rhythms, Gareth Farr's excitement and Lilburn's Sibelian
rise and fall. Much the same qualities seem at first to shake and shimmer through MAYA with added
pepper and with shouts by the men of the orchestra however this seems a rough draft rather than
fully conceived statement. Brown harries us with piercing bird shriek string figures and angry brass -
not the most appealing work on the disc. Hamilton uses the Russian word for 'sunrise' in a five
minute crescendo rising from a crystalline pp, developing with rustling vitality and punchy
affirmation into the rolling fanfares so typical of Lilburn and Hanson.

None of these works are archetype fanfares. They might just as easily be called tone poems.
They are challenging but yield results with moderately rugged persistence."
Musicweb



Source: Atoll CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 132 MB

Download Link - https://mega.co.nz/#!EIxm1AjK!dnAjs1Mn2ACtqG_PqljPR25a29pOhr4G9Hd3sZ4 qVwM

Enjoy! Don't share! Buy the original! :)

No.349

Bronisław Kazimierz Przybylsk (1941-2011) was a Polish composer. A graduate of the PWSM in Ł�dź,
where he received diplomas in music theory (in 1964) and composition (in 1969); he continued his studies
in 1975-77 with R. Haubenstock-Ramati at the Hochschule f�r Musik und Darstellende Kunst in Vienna.
Since 1963 he had lectured at the PWSM (now the Academy of Music) in Ł�dź, since 1991 as chair of
the composition department, from 1992 as Professor. He has won, among others awards: third prize
(in 1972) and second Prize (in 1974, first was not awarded) at the G. Fitelberg Composition Competition
in Katowice, II and III prizes (in 1972 and 1974) at the Composition Competition of the Polish Radio and
Television in Warsaw, awards at the H. Wieniawski International Composition Competition in Poznań (1976),
the Minister of National Defense�s Award, third degree (in 1973), the Minister of Culture and Art�s Award,
first degree (in 1980) and the Prime Minister's Award (in 1981). In 1999 he received the Knight's Cross
of the Order of the Polonia Restitua. Chamber works and solo music dominate Przybylski�s output, in
which the composer experiments with materials, texture and form, however his orchestral works
are most significant.

His orchestral works tend to be more traditional, although contemporary techniques are invoked
throughout. This upload features the Sinfonia Polacca, the suite Folklore, To Warsaw
and Return, all concerned (to some extent) with Polish national/musical identity.

Please note that this posting features only one of the two CDs included in the original album!



Music Composed by Bronislaw Przybylski
Played by the Polish Radio and Television & the Polish National Radio Symphony Orchestra
Conducted by Szymon Kawalla & Antoni Wit

"He was a prominent composer and a highly respected teacher and organizer of musical life in his
native town. He graduated from the State Higher School of Music in Ł�dź (now the Music Academy),
where he studied music theory with Franciszek Wesołowski (diploma in 1964) and composition with
Tomasz Kiesewetter (diploma in 1969). He continued his compositional studies with Bolesław
Szabelski in Katowice (1965-67) and Roman Haubenstock-Ramati at the Hochschule f�r Musik
und darstellende Kunst in Vienna (1975-77).

From 1963 till the end of his life, he served as a member of faculty of his Alma Mater (from 1992 as professor).
He was Deputy Rector for academic affairs (1978-81), Dean of the Department of Composition and Music
Theory (1987-90) and Head of the Faculty of Composition (from 1991). For over twenty years
(from 1987) he led a composition class, also lecturing in Germany, the Netherlands and Luxembourg.
He was the initiator of the biannual �Musica moderna� sessions at the Academy. Launched in 1982,
they featured a wide range of concerts and lectures on contemporary music.

Bronisław Kazimierz Przybylski was a prize-winner of numerous competitions, including two major
international events: the UNESCO International Composers� Rostrum in Paris (1984, Fourth Prize
for A Varsovie for orchestra) and Premio di Composizione per letteratura pedagogica CEMEX Opere
segnalate, Castelfidardo (1995, for Maskerade for accordion solo). His honours included the award
from Minister of Culture and Art (1974, 1980, 1991), the Honorary Badge of Merit of the City of Ł�dź,
the Gold and Silver Crosses of Merit, the medal of the Commission for National Education, the Prime
Minister�s Award for his achievements in the art for children, the Knight�s Cross of the Order of
Reborn Poland and the awards from the Rector of the Music Academy in Ł�dź. He was a member
of the ZAiKS Authors and Composers Association (from 1971) and the Polish Composers� Union
(from 1975, also Chairman of its Ł�dź Branch from 1986).

B.K. Przybylski�s works were featured at many prestigious festivals in Poland and abroad, including the
Warsaw Autumn, Poznań Musical Spring, Musica Polonica Nova in Wrocław, the Festival of Premieres
in Katowice, the World Music Days in Tel-Aviv, Musikprotokoll in Graz and the Composers� Rostrum in
Paris. They were also performed in many European countries, the United States, Canada, Mexico,
Japan, the Republic of South Africa and New Zealand.

B.K. Przybylski died in his home town Ł�dź on 4 April 2011, after a short and serious illness."



Source: DUX Records (my rip!, CD2 of 2)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 183 MB (incl. booklet)

Download Link - https://mega.co.nz/#!TwwTTT5A!cgV4PQri7F93ZLHj3_ntBThr7UpbfguFFg6tULc f-ac

Enjoy! Don't share! Buy the original! :)

No.350

Herbert Hamilton Harty (1879-1941) had a successful career in more than just one musical arena.
He was a church organist, composer, conductor, and piano accompanist, with all of his efforts being
well-respected by his peers. His musical training began with his father, an organist in the Northern Ireland
village where he was born. Bertie learned viola, piano, and counterpoint from him. Still a teenager, Harty
was engaged as organist in Bray, near Dublin. While there, he first met the Italian composer Michele
Esposito, professor of piano at the Royal Irish Academy of Music, who told Harty that his thumbs were
too small for him to be a good pianist. However, after listening to Harty play, Esposito changed his mind
and became a mentor to him.

In 1897, a national competitive music festival was started in Dublin, the Feis Ceoil, where Harty became
the official accompanist. This was where he first accompanied and befriended John McCormack. Harty
entered his own String Quartet, Op.1, in the composition competition in 1900 and was met with
praise from the press. He entered chamber or orchestral works annually after that, winning in 1904 for
his An Irish Symphony. He himself conducted the performance, receiving an ovation and
admitting later that it was his first time conducting an orchestra. Harty had moved to London in 1900
to seek his fortune. He became known for his skillful accompaniment of vocalists and instrumentalists,
such as Joseph Szigeti and Fritz Kreisler. After the success of his conducting premiere, he began
conducting in England. He was named permanent conductor of the Hall� Orchestra in 1920. During his
tenure, he introduced the music of Bax, Sibelius, Casella, Berlioz, Moeran, and Strauss to Manchester
audiences and expanded the orchestra's reputation throughout the country.

All three works, the Irish Symphony, the tone poem With the Wild Geese, and the rhapsody
In Ireland, for flute, harp and orchestra, are among Harty's most popular and best-remembered.
He wrote in an eclectic style that embraced influences of composers from Dvor�k to Rachmaninov.



Music Composed by Hamilton Harty
Played by the RT� National Symphony Orchestra of Ireland
Conducted by Proinssi�s � Duinn

"How could a album of Irish orchestral music miss that features three of the most popular
works of one of Ireland's most celebrated composers, Sir Hamilton Harty (1879-1941), one
of Ireland's most accomplished orchestras, the National Symphony of Ireland, and an Irish
conductor with the name of Proinnssias O Duinn? Tie it up in good sound and a budget
price and you have the well-known definition of a bargain on your hands.

All the works on the disc are pretty much tone poems, evocations of Irish life in war and
play. The leadoff selection is the 18-minute piece "With the Wild Geese" (1910), a varied
and moody work depicting an Irish regiment of soldiers fighting with the French in 1745.
The second, shorter, piece, "In Ireland" (1918, orchestrated in 1935), describes city life in
Dublin. Finally, "An Irish Symphony" (1904) arrives in four movements, with the suggestive
names "On the Shores of Lough Neagh," "The FairDay," "In the Antrim Hills," and "The Twelfth
Night." Its the quick, second-movement scherzo that is probably most familiar, quoting as it
does several popular Irish melodies. In fact, all the music is reminiscent of a hundred Irish folk
tunes you've probably heard over the years, none of them particularly memorable but all of
them contributing to the music's overall entertainment value. This is not classical music of
any high or noble bent, just pleasant, sometimes nostalgic, often relaxing, occasionally
cheering, and ultimately rewarding music.

The Naxos sound is up to the task, too, with good dynamics, a reasonably wide frequency
response except perhaps in the very lowest registers, and a fine degree of sparkle.
It's sound that fits the music, and I heartily recommend it."
Sensible Sound



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No.351

Although the composer Joaquim Serra (1907-1957) is extremely famous within Catalonia,
he is unfortunately far less well-known to audiences beyond his homeland. This first CD of his orchestral
works, which we have taken such pride and enjoyment in recording, could therefore have an important
part to play in winning more widespread recognition for him and his works.

Serra wrote extensively, with 52 sardanas, ballets, variations and poems, for cobla, the typical, usually
eleven-member, Catalan band that accompanies dances such as the sardana, but was less prolific when
it came to symphonic and chamber compositions. The times in which he lived were of course less than
conducive to orchestral writing; there were neither many orchestras in Spain then, nor many well-
established concert societies or performance venues. Serra also lived through the tragedy of the
Civil War and the harshest years of the Franco dictatorship before his early death in 1957.
Nevertheless, his music is truly full of character: it has an extraordinary lyricism, underpinned
by appealing harmonic writing, an absolute mastery of orchestration, displaying both his understanding
of instrumental colour and a limpid, intricate and fluid use of counterpoint, and a unity of thematic
ideas, whose interpretation and development are always tinged with a fresh Catalan flavour, evoking
fresh mountain air, the scent of the Mediterranean and local dance rhythms.

Puigsoliu is a small-scale symphonic poem, originally written for cobla, of such beauty, optimism,
lyricism, originality and harmony, that I could not resist the temptation to orchestrate it. This
was in fact the composer�s last work and was first performed only three months before his death.

Impressions camperoles (Rural Impressions), dated 1927, is a very typically Catalan work, with
additional influences from French Impressionism. Albada (Dawn) is a perfect and poetic depiction of
daybreak. Mainada jugant (Children Playing) recalls those far-off, fun-packed days of children�s games.
Sota els pins (Beneath the Pines) is very serene, contemplative and tender. La vall dels ecos (The Valley
of Echoes) is a very short movement of great originality, in which the brief thematic ideas are repeated
by muted trumpets, thereby providing the echo effect. Festa represents the elation of the dances
which are part of any Catalan festivity. The joyful and masterly combination of the two principal
themes is particularly noteworthy.

Rom�ntica, as its title suggests, is a passionate melody, soaring high on the strings, with a
short central section dominated by three solo interventions. Dues estampes simf�niques is a work
full of Spanish folk colour, very characteristic of its time. The two estampes are sparkling and brilliantly
orchestrated, Serra taking Andalusian folk-tunes and imbuing them with a Mediterranean quality. The
first includes an habanera in the central section and the second a relaxed and inspired nocturne,
also in the central section and played by the cor anglais.



Music Composed by Joaquim Serra
Played by the El Vall�s Symphony Orchestra
With Emili Brugalla (piano)
Conducted by Salvador Brotons

"The Catalan composer Joaquim Serra wrote prolifically for cobla, the typical eleven-strong
Catalan band. These works and his concert output are completely unknown outside Catalonia.
This is why the present release is most welcome. All the works here clearly show that Serra�s
music, though often typically Catalan in tone and mood, bears the imprint of French
Impressionism and, to a certain extent, of Respighi and � of course � of early de Falla.
This is quite obvious in the delightful Impressions camperoles of 1927. This colourful work
opens with a lovely Albada ("Dawn"). A lively Scherzo ("Children Playing") is followed by a
beautiful Pastorale ("Beneath the Pines") and "The Valley of Echoes" in which tune fragments
are tossed around the orchestra. The last movement is an exuberant Fiesta.

The Variations for orchestra and piano (and not the other way round!) is the most ambitious
and substantial work in this selection. It often brings d�Indy�s Symphonie c�venole to mind.
It is a beautifully crafted piece of music in which Serra�s unquestionable orchestral mastery
is fully displayed.

The Two Symphonic Sketches (no date given, but most likely dating from the same period)
are lighter in mood and character, but again quite attractive; as is Rom�ntica (again no
date given).

Puigsoliu, Serra�s last completed work, was originally written for cobla, but is heard here in
Salvador Brotons� excellent orchestral transcription. Another engaging piece of music of
great charm.

When listening to these attractive works, I often thought of some early 20th Century
French composers, of Respighi and of early de Falla, though Serra�s music has some
welcome unpretentious freshness of its own which is one of its most endearing qualities,
besides his remarkable orchestral flair.

Brotons and his players obviously enjoy themselves very much and their committed
performances serve the music well. A minor master, maybe, but there is much to enjoy
in this delightful and colourful music."
Musicweb



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File Size: 145 MB (incl. cover, booklet)

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No.352

After an increasingly musical adolescence, Australian composer Gerard Brophy (*1953) began his studies in the
classical guitar at the age of twenty-two. In the late seventies he worked closely with Brazilian guitarist
Turibio Santos and the Argentine composer Mauricio Kagel before studying composition at the NSW
State Conservatorium of Music.

He has been commissioned and performed by some of the world�s leading ensembles, including the
Melbourne, Queensland, Tasmanian, West Australian, Sydney and New Zealand Symphony Orchestras:
the Malaysian Philharmonic; and the BBC Philharmonic and Symphony Orchestras, to name a few. Over
recent years he has developed a keen interest in collaborating with artists from other disciplines and
he is particularly active in the areas of ballet, dance and electronica. He has also been involved in
exciting collaborations with musicians from other cultures among them the great Senegalese master
drummers, the N�Diaye Rose family, and the timbila virtuoso Venancio Mbande from Mozambique.

Forbidden Colours by the Tasmanian Symphony Orchestra was released Apr 14, 2009
on the ABC Classics label. The sensual music of Gerard Brophy ranges across a world of music,
from the African Portuguese fusion of Brazil in Maracat� and the middle eastern flavours of
Republic of Dreams to the mesmerising rhythms of Mantras. This album also features
two earlier works, the intricate, virtuoso piano concerto Le r�veil de l'ange (The Awakening of
the Angel) and Forbidden Colours, a gossamer web of delicate orchestral colour.



Music Composed by Gerard Brophy
Played by the Tasmanian Symphony Orchestra
With Lisa Moore (piano) & Philip South (darabukka)
Conducted by Dobbs Franks and Kenneth Young

"For more than six decades the Tasmanian Symphony Orchestra has been at the
forefront of concert life in Tasmania.

Established in 1948 and declared a Tasmanian Icon in 1998, the TSO gives over 60
concerts annually including seasons in Hobart and Launceston, and appearances in
Tasmanian regional centres. In recent years the TSO has performed at City Recital Hall
Angel Place in Sydney, Melbourne Recital Centre and the Adelaide Festival. International
touring has taken the orchestra to North and South America, Greece, Israel, South Korea,
China, Indonesia and Japan.

Resident in Hobart�s purpose-built Federation Concert Hall, the TSO has a full complement
of 47 musicians. Marko Letonja is the orchestra�s Chief Conductor and Artistic Director.

With more than 60 CDs in its catalogue including 20 titles in the Australian Composer Series
and 10 in the Romantic Piano Concerto Series, the TSO is known and heard nationally and
internationally. Among the TSO�s award-winning recordings are Mozart Arias with Sara
Macliver, and Baroque Guitar Concertos with Slava Grigoryan. TSO concerts are recorded
by ABC Classic FM and broadcast and streamed throughout the world.

Mindful of its mission to be a source of pride for all Tasmanians, the TSO performs a wide
variety of music. Vladimir Ashkenazy, Daniel Barenboim, Alfred Brendel, Lisa Gasteen, Nigel
Kennedy, Sara Macliver, Howard Shelley, Teddy Tahu Rhodes and Richard Tognetti are among
the soloists who have appeared with the orchestra. Popular and jazz artists who have
performed with the orchestra include Rhonda Burchmore, Kate Ceberano, Natalie Cole,
Roberta Flack, Tim Minchin, James Morrison, Anthony Warlow, Human Nature and The Whitlams."



Source: ABC Classics (my rip!)
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No.353

Stimulated by Stravinsky�s Rite of Spring, Akira Ifukube (1914-2006) taught himself
composition, while working as a forestry officer. His works, characterized by persistent ostinato,
percussive sounds and multi-cultural melodies and rhythms, have something in common with
the music of Orff, Khachaturian and Revueltas. Ifukube wrote scores for some 300 films, collaborating
in particular with Kurosawa, Naruse and Joseph von Sternberg. His music for the popular Gojira
series of monster films is widely known.

Sinfonia Tapkaara was inspired by the primitive dances and songs of the ancient Japanese
tribe, the Ainu, who stomped their feet to worship the earth. Ritmica Ostinata is a single
movement �minimalist� piano concerto alternating passages of increasingly propulsive energy with static,
dream-like interludes. The Symphonic Fantasia No.1 is a concert arrangement by the composer
himself, of his music for monster films including the famous Gojira theme.



Music Composed by Akira Ifukube
Played by the Russian Philharmonic Orchestra
With Ekaterina Saranceva (piano)
Conducted by Dmitry Yablonsky

"Akira Ifukube (b. 1914) is best known as the composer of the scores to the various Godzilla films.
His Symphonic Fantasia No. 1 is in fact an arrangement of themes from the various monster movies,
and a very skillful one. Ifukube�s style takes its inspiration from Stravinsky and the French neo-classicists
(such as Roussel), and from nationalist composers of the same period such as Falla. Folk-tinged melodies
mingle with bracing passages full of driving, syncopated rhythms. Sinfonia Tapkaara, for example, has
much in common with the sound of Portuguese composer Joly Braga Santos (if you�ve been following that
series on Marco Polo, compare the finale to the last two movements of Santos� Divertimento No. 1).
Its slow movement features a lovely tune that begins like the Romance from Prokofiev�s Lt. Kij�. Ritmica
Ostinata for piano and orchestra sounds like a continuation of Colin McPhee�s Tabuh-Tabuhan, with its
Asian-influenced ostinatos and minimalist aesthetic. Original it may not be, but it�s tremendous fun,
very well-written, and though drawing on familiar elements, the mix is Ifukube�s own.

King Records in Japan has issued a series of discs devoted to Ifukube�s works in various media. These
are not easy to find here, and ordering them from Japanese sources is quite expensive. That makes this
Naxos disc especially welcome. The performances are all very good ones, full of the necessary driving
energy, and Dmitry Yablonsky has his ensemble in good shape. In Ritmica Ostinata, pianist Ekaterina
Saranceva does a particularly fine job with a part that requires lots of endurance and a sharp
rhythmic sense. The engineering also balances the solo instrument correctly, as a leading voice
embedded within the orchestral textures rather than front and center at all times. This is the kind of
disc that really deserves popular success beyond the usual classical music crowd, and Naxos might
do well to invest some time and effort in making more of Ifukube�s concert pieces available. They
could have a genuine hit on their hands."
Classics Today (9/9)



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File Size: 143 MB (incl. cover, booklet)

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One final upload before my beer-drenched sabbatical. :)

Maybe it's just me, there's still a peculiarly detached, cookie-cutter professionalism to Japanese soundtracks (and the later post-1985 Gojira scores, made after Ifukube had retired) that sounds mechanical. I can't really put my finger on what it is that makes this music sound a tad faceless, if professionally assembled, but when I listen to an Ifukube score I can immediately recognize his style, as his strong musical personality shines through in every score of his. I would definitely recommend this composer's Sinfonia Tapkaara (if you don't have it already).

Thanks for Sinfonia Tapkaara!! :'D

No.354

Mario Castelnuovo-Tedesco (1895-1968), born in Florence, Italy, studied composition and pianoforte at the Istituto
Musicale Cherubini and later at the Liceo Musicale of Bologna. His mentors were Pizzetti and Casella,
members of the influential and progressive Societ� Italiana di Musica, a group of composers (including
Malipiero and Respighi), with whom Castelnuovo-Tedesco became closely associated.
In 1938, as a result of Mussolini�s anti-Jewish edicts, Castelnuovo-Tedesco decided to leave for the
United States.

The art of William Shakespeare was a recurring fascination for Mario Castelnuovo-Tedesco. In the early
1920s he set to music 33 songs from the plays as well as 35 sonnets. In addition to the eleven Overtures featured here,
he also wrote two Shakespeare operas, The Merchant of Venice and All's Well That Ends Well.

The overtures were composed in the following order:

La bisbetica domata (The Taming of the Shrew), op.61 (1930)
La dodicesima notte (Twelfth Night), op.73 (1933)
Il mercante di Venezia (The Merchant of Venice), op.76 (1933)
Giulio Cesare (Julius Caesar), op.78 (1934)
Il racconto d�inverno (The Winter�s Tale), op.80 (1935)
A Midsummer Night�s Dream, op.108 (1940)
King John, op.111 (1941)
Antony and Cleopatra, op.134 (1947)
The Tragedy of Coriolanus op.135 (1947)
Much Ado about Nothing, op.164 (1953)
As You Like It, op.166 (1953)



Music Composed by Mario Castelnuovo-Tedesco
Played by the West Australian Symphony Orchestra
Conducted by Andrew Penny

"All of the overtures were conceived as stand-alone concert works, not as curtain-raisers
to operas or incidental music to staged productions of the plays, and not as film music to accompany
the rolling of the opening credits. As such, C-T�s overtures avoid storytelling; they do not attempt
in a few minutes� time to telescope the action of the plots. Instead, they take their cue from one or
more specific events in the plays and develop a strictly musical narrative around them. This downplays
programmatic associations and lends each overture a sense of structural integrity as a complete
entity unto itself, worked out entirely in formal musical terms.

Over time, the overtures grew, not necessarily in length�though the 1947 Antony and Cleopatra
expanded to nearly 18 minutes�but in ambition of orchestration. Where the 1930 Taming of the
Shrew employs strings, double woodwinds, four horns, two trumpets, timpani, harp, piano, and
percussion�hardly a modest-sized orchestra�the later overtures triple the winds and add English
horn, contrabassoon, tuba, a second harp, tubular bells, glockenspiel, castanets, and a battery of
various drums. Moreover, augmented string sections now find their parts frequently divided, and
section leaders are highlighted in many striking solo passages. �The more grandiloquent moments,�
observe Andrew Penny and Graham Wade in their booklet note, �anticipate the epic sweep of
Mikl�s R�zsa�s film scores for Ben Hur or Quo Vadis of the 1950s.�

While certain parallels may exist, it should be emphasized that C-T�s overtures are serious
symphonic works. They are not the stuff of movie soundtracks or, in arrangements, of summer-
evening pops concerts. They are, however, not truly of their time�a statement that could apply to
Respighi as well�in that they are big, bold, brightly painted musical billboards in a post-Romantic/
Impressionist style that feature many of the same exoticisms and techniques one hears in scores
like Respighi�s Roman Trilogy.

I take Naxos at its word that these are world premiere recordings; therefore, it is taken as an article
of faith that other versions for comparison purposes do not exist. No matter, for the performances
here by Andrew Penny and his West Australian Symphony Orchestra sound aces to me, and the
recording has plenty of headroom for maximum impact in the music�s most massively scored
passages. I can�t imagine why anyone would not be taken with these highly attractive scores.
Definitely recommended."
Fanfare



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Herr Salat has kindly re-upped albums from several older posts. Since I don't have the time to place them into their old, individual posts, I will just append them here and put them back in later:


Alberto Ginastera - Panambi, Estancia
7.html#post2208694 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2208694)

Re-Up Link:
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Anthony DiLorenzo - Dracula, the Seduction
6.html#post2205656 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2205656)

Re-Up Link:
https://mega.co.nz/#!0RdQlIhR!XKqcXyUJbkJird_by7Ak2ySPOUBHTzfufTrUlru racM

Avshalomov; Silver; Meyerowitz - Jewish Tone Poems
5.html#post2196680 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2196680)

Re-Up Link:
https://mega.co.nz/#!0NdAkKBA!aCe7uFwedmnF9uw6yelK2SZfnRNUaLis8o-zjZuFCBU

Du Ming-Xin, et al. - The Red Detachment of Women
4.html#post2194375 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2194375)

Re-Up Link:
https://mega.co.nz/#!1I1CwTKR!dHuCTVCg2jOyoiMzjNv7Kw9Q3VcCLtTD4Qcs6eU 4UNI

Engelbert Humperdinck - Fairy-Tale Music
4.html#post2195263 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2195263)

Re-Up Link:
https://mega.co.nz/#!dQM0mbBZ!cpKeiTPDa7E0Xufyyb65LV-wB0tjHY5qNcfmU91-VdA

Florence Price - The Oak, Mississippi River Suite, Symphony No.3
5.html#post2197170 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2197170)

Re-Up Link:
https://mega.co.nz/#!cZlWmDSD!EUIcehuQwmmpNtWfkXc_11d1QiJdzcgiyW473Pm U4GI

Geirr Tveitt - Prillar, Sun God Symphony
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Re-Up Link:
https://mega.co.nz/#!oRdD1aJK!MSnreUKC6O6m89GoBYteAm1jZdsH9xc2i59JWnd Lf6g

In Celebration of Israel (Weill, Chajes, Fromm, Helfman, Secunda, Scharf)
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Ingolf Dahl - Defining Dahl
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Jarmil Burghauser - The Ways
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Joseph Guy Ropartz - Pecheur d'Islande, Rhapsodie pour Violoncelle, Oedipe � Colone
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Karol Rathaus - The Last Pierrot, Symphony No.1
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Latin American Ballets (Villa-Lobos- Uirapur�, Ch�vez- Horse Power Suite; Ginastera- Estancia)
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Manuel de Falla - The Three-Cornered Hat, Nights in the Gardens of Spain
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Morton Gould - Fall River Legend
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Re-Up Link:
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Philip Feeney - Dracula (Ballet in 3 Acts)
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Tanz Grotesk- Der Geburtstag der Infantin (Schreker); Die Monds�chtige (Schulhoff); Der D�mon (Hindemith)
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Re-Up Link:
https://mega.co.nz/#!9AkVDKzS!erTSKyEqxByETNJOqDMfyWkjjeJn2pEMnGYukat HBQA

Tikhon Khrennikov - Napoleon Bonaparte
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Re-Up Link:
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Walter Leight - Overture Agincourt, A Midsummer Night's Dream, etc.
5.html#post2197244 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2197244)

https://mega.co.nz/#!dUVXEJqJ!dizeRiHJbjAuoQxGrwZaChCgatkjl6wFZEMtjLM EC3g

Thanks again to Herr Salat for his efforts! :)

The Shakespeare Overtures are excellent music, although I prefer Vol. 1 to Vol. 2. Castelnuovo-Tedesco has long been a favorite, especially his first guitar concerto with its sublimely beautiful Andantino alla Romanza second movement. Thanks... scott

No.355

Gerard Schurmann was born of Dutch parents in the former Dutch East Indies in 1924, but lived
in England from childhood until 1981, when he settled in the United States. He studied composition
with Alan Rawsthorne, who became a lifelong friend, piano with Kathleen Long and conducting with
Franco Ferrara. The recipient of numerous international awards and commissions, Gerard Schurmann
has written music for a wide variety of media. His catalogue of concert works includes Six Studies
of Francis Bacon (1968) and Variants (1970) for orchestra, The Gardens of Exile (1989-90)
for cello and orchestra, the opera-cantata Piers Plowman(1979-80), the choral cantata The Double
Heart (1976), concertos for Violin and Piano and many solo instrumental works, songs and chamber
music. Schurmann's Concerto for Orchestra was commissioned by Lorin Maazel and the Pittsburgh
Symphony Orchestra and first performed by them for their centenary anniversary concert in March 1996,
with conductor Edo de Waart. The piece was subsequently recorded on the Chandos label, alongside
Schurmann�s Violin Concerto, featuring the BBC Philharmonic conducted by the composer. Gaudiana
(2000-2001), a set of Symphonic Studies for Orchestra that draws its inspiration from the work of
the Catalan architect Antoni Gaudi, was written for and first performed by the Barcelona Symphony
Orchestra in 2005. Gerard Schurmann has now made his home in the USA, but continues to have
close musical ties with England and Europe.

In the film music comunity Schurmann is best known for his scores for Konga, Horrors of the Black Museum,
Hammer's The Lost Continent and the 1984 Claretta. He also orchestrated, and partly co-composed,
Maurice Jarre's Oscar-winning score for Lawrence of Arabia.



Music Composed and Conducted by Gerard Schurmann
Played by the BBC Symphony Orchestra

"In Six Studies of Francis Bacon, which received its first performance at the Dublin Festival last night conducted
by the composer, Gerard Schurmann has brought off an entirely successful translation into orchestral sound of
the impact of the painter who was his friend for several years. Not only is the range of Bacon's own art from
the grotesque and savage to a kind of uneasy repose conveyed in vivid outline, the composer has added an
extra dimension in his own response. Through the medium of a large orchestra deftly controlled, and some
impressively rich harmonisation, Schurmann suggests emotions ranging from shocked awe to comedy."
David Williams, Daily Mail


Francis Bacon: A Study of Gerard Schurmann

Source: Chandos CD (my rip!)
Format: mp3, 320k/s (CBR), ADD/DDD Stereo
File Size: 123 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!pIp2lDYR!a5hezABVctupbzl_5sVqbS6bFEhr5mf-n-F3zeCbs0g


Enjoy! Don't share! Buy the original! :)

No.356

Henry Kimball Hadley was born in Somerville, Massachusetts, on December 20, 1871. His father was a music
teacher in the Somerville public schools, his mother was a singer and pianist, and his brother, Arthur Hadley,
was a talented cellist who played with the Boston Symphony Orchestra. Obviously endowed with musical talent,
and encouraged by the praise of friends and critics, Hadley now devoted himself more diligently than ever before
to intensive musical study. Violin was studied under Henry Heindl and Charles Allen, harmony under Stephen A.
Emery, and counterpoint and composition with George W. Chadwick, whose influence on the young composer
was very marked. By his twenty-first birthday, Hadley had composed a string quartet, and a dramatic overture
for orchestra. In 1924 Henry Hadley was elected to the American Academy of Arts and Letters , and in 1933
he founded the National Association for American Composers and Conductors, which endowed the Henry
Hadley Memorial Library (the Americana Collection), now housed at the New York Public Library. He died in 1937.

The Ocean was composed, for the most part, in the autumn of 1920, but was not finally completed
until October of 1921. Hadley conducted its first performance at Carnegie Hall with the New York Philharmonic
on November 17, 1921. The music is based upon suggestions derived from a poem by Louis K. Anspacher
(1878-1947), entitled Ocean Ode. Hadley had stated that he concentrated his imagination upon certain particular
stanzas, rather than upon the poem as a whole. "Moreover," wrote Hadley, "I have not followed these strophes
in the order in which they appear in the Ode. I intended the first section to be (after a short introduction of
majestic harmonies for full orchestra) the Allegro proper of the work, suggesting the elements 'let loose'
with all the fury and tumult of a tempestuous sea.

Hadley composed his rhapsody, The Culprit Fay in 1908. It won the $1,000 prize of the National
Federation of Music Clubs in 1909. Hadley conducted its first performance with the Theodore Thomas
Orchestra in May 1909, at Grand Rapids, Michigan. The work quickly became popular and was taken on
tour by other conductors, most prominently Frederick Stock in Chicago, Cincinnati and Detroit, and
Victor Herbert in New York and Memphis, Tennessee. Hadley's rhapsodic orchestral treatment of Drake's
charming, airy and magical poem effectively paints the adventures of a fairy (within a background of
Hudson River scenery), who loves a mortal maid. As punishment he is ordered by the fairy king to
catch a drop of the water raised by a sturgeon's leap in the bright moonshine, and the last faint spark
of a shooting star. When the tasks are successfully completed he wins redemption and is welcomed
back into the company of his peers. General merriment breaks out until the cock crows to signalize
the coming of dawn and the end of the festivities. Brilliantly orchestrated, Hadley's The Culprit Fay
has the orchestral shimmer of Dukas' The Sorcerer's Apprentice with the added romantic flair of
Richard Strauss' tone-poems.

Between 1897 and 1935, Hadley composed five symphonies. Symphony No.4 in D minor, Opus 64
was composed for the Norfolk, Connecticut Festival and was first performed (conducted by the
composer) at a meeting of the Litchfield County Choral Union held in the Music Shed on the grounds
of Carl Stoeckel's residence at Norfolk on June 6, 1911. Hadley conducted the work many times after
that, including at Queen's Hall, London, and at the Worcester Festival in Massachusetts.



Music Composed by Henry Kimball Hadley
Played by the National Symphony Orchestra of Ukraine
Conducted by John McLaughlin Williams

"Henry Kimball Hadley (1871-1937) came from a highly musical Massachusetts family and
showed considerable compositional promise early in his life (he completed his first opera
at age 17). A major figure in Hadley's development was George Chadwick, with whom
he studied counterpoint and composition before continuing his musical education in
Vienna. Hadley's music shows an accomplished technique and, as with that of many
American composers of his generation, it bears heavy European influence (though in
Hadley's case, it also contains occasional traces of his home soil). The Ocean, composed
between 1920 and 1921, is as atmospheric as its title suggests, displaying Hadley's skill
at evocative orchestration. The musical language sounds at first to be purely impressionistic,
but further along there are indications of the German post-romantic style, especially
Zemlinsky. The Culprit Fay (1908) revels in the pre-impressionist sounds of Paul Dukas
(La Peri comes to mind) as it relates Drake's fairy-tale poem.

It's surprising that Hadley's Symphony No. 4, composed three years later, sounds stylistically
like a much earlier work, with roots firmly planted in the 19th century. The four movements
act as a musical compass, describing the four regions of the globe: North portrays the frigid
artic regions in terse declamations reminiscent of Richard Strauss' Macbeth; East is spiced
by "oriental" modes and colors; South, the most "American"-sounding movement, captures
that region's flavor with the use of ragtime melodies; and West combines adventurous
"outdoors" music with Native American melodies and rhythms in a movement that not
surprisingly brings to mind Dvorak's New World Symphony. This is really fine music and
you can't help but wonder how it all but disappeared from modern concert programs.
But if it had received anything like the wholly persuasive and committed (as well as
enjoyable) performances provided by John McLaughlin Williams and the National
Symphony Orchestra of Ukraine, it certainly shouldn't have. This team once again has
put together an irresistibly fresh and rewarding program, and Naxos has captured
it all in fine sound."
ClassicsToday



Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 165 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!QQoQWb4R!S15iSh4eX6HtJryqraZjSFg_aiQ6iROitCG-0dwiDME

Enjoy! Don't share! Buy the original! :)

Thanks for the wonderful Hadley music (no relation to the British composer!).

I have re-upped the Jeff Manookian Symphony of Tears and Flute Concerto:

http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/18.html#post2251442

No.357

William Kraft (b. 1923, Chicago) has had a long and active career as composer, conductor, percussionist, and teacher.
Until June of 2002, he was chairman of the composition department and holds the Corwin Chair at the University of
California Santa Barbara. From 1981-85, Mr. Kraft was the Los Angeles Philharmonic�s Composer-in-Residence; for
the first year under Philharmonic auspices and the subsequent three years through the Meet The Composer program.
During his residency, he was founder and director of the orchestra�s performing arm for contemporary music, the
Philharmonic New Music Group. Mr. Kraft had previously been a member of the Los Angeles Philharmonic for 26
years; eight years as percussionist, and the last 18 as Principal Timpanist. For three seasons, he was also
assistant conductor of the orchestra, and, thereafter, frequent guest conductor. He also composed music for the
films Avalanche (1978) and Fire and Ice (1983).



Music Composed by William Kraft
Played by the Los Angeles Philharmonic, Alabama & Utah Symphony Orchestras
With Mary Rawcliffe (soprano), Jonathan Mack (tenor) & the Pasadena Boys Choir
Conducted by Andr� Previn, Paul Polivnick & Christopher Wilkins (conductor)

"Those with an acquired taste for angry, complex, 12-tone-sounding social protest music
will find William Kraft's Contextures II: The Final Beast (1985-1986) a superior specimen. Kraft
always keeps the music sounding purposeful, even when--as in this eight-movement song cycle
for soprano, tenor, and boys' chorus--the harmonic center is lost in an atonal fog. The anti-war
work also explores Kraft's interest in layering textures, and even incorporates a Renaissance ensemble
into the mix. Contextures II is the sequel to Contextures: Riots of the '60s (1967/68), which the
Los Angeles Philharmonic and Zubin Mehta were rehearsing in 1968 when word came of Dr. Martin
Luther King's assassination. The recording of that work made a few days later conveys a remarkably
intense feeling. Contextures II literally begins as the earlier work ended, exactly quoting its last few
measures. ("We Shall Overcome" is hidden in the texture.) The same orchestra, now led by Andr�
Previn, achieves a similar spirit, and Joanna Nickrenz's outstanding engineering is a worthy match
for the justly praised first Contextures recording.

Interplay (1982-84) and Of Ceremonies, Pageants, and Celebrations (1986/87) also were premiered
by the Los Angeles Philharmonic, but here these "easier", more tonal-sounding works are recorded
by two different orchestras. Soloists are all first rate, and the three conductors all achieve a
high musical standard. It is a tribute to the general rise in the level of orchestral playing in America
that the Alabama Symphony and Utah Symphony sound nearly equal to their Los Angeles counterpart.
This First Edition release is a re-issue of Nonesuch 79229-2 and comes with the original liner notes.
Nickrenz's skills as a recordist are reflected in the fact that despite featuring three different
orchestras recorded in three different halls, the album sounds like a single entity with consistent sound."
Classics Today



Source: Louisville First Edition CD (my rip!)
Format: mp3, 320k/s, ADD Stereo
File Size: 143 MB

Download Link - https://mega.co.nz/#!D5YFlYCJ!eg0c6iDttiYBOP7Z8sn1oRaD6Jxa0HzxO85exMO X76U

Enjoy! Don't share! Buy the original! :)

No.358

"This is a journey to far away regions, far from Earth, but not far from human emotions". That is how Charles Koechlin
characterized Vers la Vo�te �toil�e, his "Nocturne for Orchestra", which he finished in 1939. Its title means
"Watching the Universe of Stars". The "starry sky" fascinated Koechlin for his entire lifetime, so he seriously thought
about making astronomy his profession before deciding to study composition. His love for the stars was kindled
after Koechlin had read "Astronomie Populaire" by Camille Flammarion, which was published in 1880. The (for Koechlin)
uncommon, nearly neo-romantic style and the harmonics, which remind of Mahler, make Vers la Vo�te �toil�e a
unique example of Koechlin's musical involvement with the cosmos. It is dedicated to the memory of
Camillle Flamarion.

In the recording at hand, the twelve-minute piece is joined by Le Docteur Fabricius, Koechlin's most extensive
work for orchestra, which also was his last big one. With the aesthetic approach that he realizes here, Koechlin
opposed the French neo-classicism, which was still modern during the 1940s. According to him, this was nothing
but "severe cult (�), music which is supposed to mean nothing". Not having been played after its first performance
in 1949, the world premiere recording of this "po�me symphonique by the Radio-Sinfonieorchester Stuttgart des
SWR under the direction of Heinz Holliger is a unique document of the polystylism and the tone colour
alchemy of Charles Koechlin.



Music Composed by Charles Koechlin
Played by the Stuttgart Radio Symphony Orchestra
Conducted by Heinz Holliger

"Okay, I�m going to try to describe this, Charles Koechlin�s final major orchestral work, completed
in 1946, premiered in 1949 (the year before his death), and then totally ignored until now. The
music begins with the description of the gloomy manor of Dr. Fabricius, who describes in three dark
polytonal chorales the sadness of the human condition. This in turn leads to a wild �revolt� against
the uncaring universe in the form of an insane fugue, largely atonal, that includes the themes of
sadness and culminates in an incredible passage for full orchestra, organ, and Ondes Martenot
blasting out the choral �Aus tiefer Not� (i.e., De profundis), sounding very much like the opening
of the Fifth Door in Bart�k�s Bluebeard�s Castle.

From this point on, the music calms down to a contemplation of the cosmic oneness of it all
(Le Ciel �toil�), and 10 minutes of increasing hopefulness leads at last to La Joie and a calm
final chorale. It all lasts about 50 minutes, and if you love crazy late-Romantic orchestral music
at its most extravagant and eccentric, then baby, your ship has come in! Heinz Holliger and the
Stuttgart Radio Symphony Orchestra play the living daylights out of this irascible, improbable,
and ultimately quite lovable curmudgeon of a piece, attacking the �revolt� fugue with unbridled
virtuosity and getting into the mystical �innigkeit� side of things as only a very serious
German band can in Le Ciel �toil�.

Vers la Voute �toil�e sounds very much like that ��toil� section of the larger work, only
with a sonorous climax attached. It makes the perfect introduction to Le Docteur Fabricius,
which (in case you cared) is based on a philosophical novel by the composer�s uncle Charles
Dollfus. I�m not rushing out to read the original, particularly when instead I can enjoy
Koechlin�s no doubt far more remarkable take on it. Gloriously rich and natural recorded
sound puts the final touch on one of the most surprising and rewarding releases of this
or any other year. Keep it coming, H�nssler and SWR!"
Classics Today http://i1084.photobucket.com/albums/j415/wimpel69/p10s10-4_zpsfea67f84.gif



Source: H�nssler CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 173 MB (incl. cover)

Download Link - https://mega.co.nz/#!cNhTDSyD!R_CXz3bpaE0cHZekCsGzHU4Nt54TUBk_SYKcZGS 6cXA


Enjoy! Don't share! Buy the original! :)

Thanks!
Koechlin's artistry deserves to be better known!

wimpel, these are great!!

Music For All: NEW-UP. CALA. Maurice Ravel - Five O'Clock Foxtrot: Geoffrey Simon, London PO. FLAC 24bit-88.2kHz 5.1, 2.0 (http://organ-music-for-all.blogspot.gr/2013/05/new-up-cala-maurice-ravel-five-oclock.html)

RAVEL: ?Five O?Clock Foxtrot? = Five O?Clock Foxtrot; Bol�ro; Pavane for a Dead Princess; Tzigane for Violin and Orchestra; La Valse; Piece in the form of a Habanera; Daphnis and Chlo� Suite 2 ? Philharmonia Orchestra/Geoffrey Simon ? Cala Records - (http://audaud.com/2007/06/ravel-five-oclock-foxtrot-five-oclock-foxtrot-bolero-pavane-for-a-dead-princess-tzigane-for-violin-and-orchestra-la-valse-piece-in-the-form-of-a-habanera-daphnis-and-chloe-suite-2-philh/)



http://organ-music-for-all.blogspot.gr/2013/05/new-up-cala-maurice-ravel-five-oclock.html






Music For All: NEW-UP. CALA. Saint-Saens - Requiem, Organ Symphony: Geoffrey Simon, London PO. FLAC 24bit-88.2kHz 5.1, 2.0 (http://organ-music-for-all.blogspot.gr/2013/05/new-up-cala-saint-saens-requiem-organ.html)

SA-CD.net - Saint-Sa�ns: Requiem, Organ Symphony - Simon (http://www.sa-cd.net/showtitle/4599)

SAINT-SAENS: Overture to La Princesse Jaune; Requiem; ?Organ Symphony? ? Tinuke Olafimihan, sop./Catherine Wyn-Rogers, contralto/ Anthony Roden, tenor/ Simon Kirkbride, bass/ Choruses/Michael Kibblewhite/London Philharmonic/Geoffrey Simon ? Cala - Au (http://audaud.com/2007/09/saint-saens-overture-to-la-princesse-jaune-requiem-%e2%80%9corgan-symphony%e2%80%9d-tinuke-olafimihan-sop-catherine-wyn-rogers-contralto-anthony-roden-tenor-simon-kirkbride-bass-choruses/)







------------------------------------------------------------------------------------------------------------------------------------------------


Odeon: Schreker ? Orchestral works ? Vassily Sinaisky (Vol.1) (http://odeonmusic.blogspot.gr/2013/05/schreker-orchestral-works-vassily.html)










Odeon: Schreker ? Orchestral works ? Vassily Sinaisky (Vol.2) (http://odeonmusic.blogspot.gr/2013/05/schreker-orchestral-works-vassily_15.html)

SCHREKER IS GREAT-listen to Die Gezeitnechen prelude.Maravilla!

and of course some Eiji Oue powah


Music For All: UPGRADE. Eiji Oue, Minnesota Orchestra: Exotic Dances from the Opera. SACD-ISO, FLAC 24bit 88.2kHz 2.0 (http://organ-music-for-all.blogspot.gr/2011/11/eiji-oue-minnesota-orchestra-exotic.html)

SA-CD.net - Exotic Dances from the Opera - Eiji Oue (http://www.sa-cd.net/showtitle/6072)

?Exotic Dances from the Opera? ? Minnesota Orchestra/ Eiji Oue ? Reference Recordings (vinyl) - Audiophile Audition (http://audaud.com/2012/09/exotic-dances-from-the-opera-minnesota-orchestra-eiji-oue-reference-recordings-vinyl/)

Thanks for these additional albums! :)



No.359

Antal Dor�ti, KBE (9 April 1906 – 13 November 1988) was a Hungarian-born conductor and composer
who became a naturalized American citizen in 1947. He was born in Budapest, where his father Alexander
Dor�ti was a violinist with the Budapest Philharmonic Orchestra and his mother Margit Kunwald was a piano teacher.
He studied at the Franz Liszt Academy with Zolt�n Kod�ly and Leo Weiner for composition and B�la Bart�k for
piano. His links with Bart�k continued for many years: he conducted the world premiere of Bart�k's
Viola Concerto, as completed by Tibor Serly, with the Minneapolis Symphony Orchestra in 1949,
with William Primrose as the soloist. He made his conducting debut in 1924 with the Budapest Royal Opera.

As well as composing original works, he compiled and arranged pieces by Johann Strauss II for the
ballet Graduation Ball (1940), premiered by the Original Ballet Russe in Sydney, Australia, with himself
on the conductor's podium. For Ballet Theatre (later renamed American Ballet Theatre) he created
scores for the ballets Bluebeard (1941) from music by Jacques Offenbach and The Fair at Sorochinsk
(1943) from music by Modest Mussorgsky.



Music Composed by Antal Dorati
Played by the Aalborg Symphony Orchestra
With Sharon Bezaly (flute)
Conducted by Moshe Atzmon

"Although Hungary-born Antal Dor�ti (1906-1988) considered himself a composer who conducted, it
is as a conductor he will be best remembered. His many recordings, especially for Mercury and Decca,
will ensure that. His conducting appointments were largely in the States – Minneapolis (now
Minnesota), Washington and Detroit – and in London with the BBC Symphony and Royal
Philharmonic Orchestras. In 1941 Dor�ti followed his countryman Bart�k to America. It is the
muse of Bart�k – night-atmosphere and harmonic note clusters – that hovers over Dor�ti’s
music. Add Stravinsky and, perhaps, Roberto Gerhard. Rhythmic clarity (a hallmark of Dor�ti’s
conducting), textural delineation and linear structures are the characteristics of Dor�ti’s mature
composing style. This is particularly well represented in the Sette pezzi (1961), a half-hour collection
beginning with a mysterious prelude before the crystal-clear scoring and driving momentum of
’Assalto’. The snaky syncopation of the following ’Vortice’ suggests choreography – Sette Pezzi
actually derives from his ballet score Magdalena. Imbued with ambience, colour and great imagination,
nothing is predictable, and the whole, whether in rhythmic dexterity or long sensuous lines,
gratifies the ear and the senses. Night Music, the flute joined by strings, two horns and harp,
is a five-movement nocturnal journey (from evening to dawn) in which the flute shows its lyrical
and cavorting side in dance-related forms. Sharon Bezaly plays with sensitivity, agility and
impressive depth of timbre. The closing ’Postludio’ has string chords that remind of the slow
movement of Bart�k’s Second Piano Concerto; the flute sings from darkest night. American
Serenade (for strings) was written early into Dor�ti’s ’new world’ sojourn, a time of creative
hiatus and of building his conducting career. It’s an attractive mix of Hungarian elements, nostalgic
refrains and a more popular cut; Victor Herbert came to mind. The opening ’Spiritual’ has a
Magyar accent amidst the soulful expression. The concluding ’Dance’, syncopated and gently
outgoing, will find a home with anyone who knows Samuel Barber’s Serenade and David Diamond’s
Rounds. BIS has previously released Dor�ti’s two symphonies (composer-conducted on CD-408).
What is needed now is a recording of Im Herbst (baritone and orchestra). Meanwhile a cordial
welcome is extended to this excellent release, which is beautifully recorded in terms of balancing
warmth and focus, and the performances exude commitment."
Classicalsource



Source: BIS CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 188 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!NI4ShRBJ!HJtBTzX7nUhhIOCrOsrjHyFLLrMpw7JNB001ZCV jiwc

Enjoy! Don't share! Buy the original! :)



---------- Post added at 10:22 AM ---------- Previous post was at 09:50 AM ----------

As requested, I have re-upped Zhu Jian-Er's The Heroic Poems (album #238):

http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/15.html#post2244077

No.360

The Hall� returns with a collection of lesser known English orchestral works which display full range of
colour and highly accomplished playing of the award-winning ensemble under its Musical Director,
Sir Mark Elder.

Arnold Bax�s Spring Fire (Symphony) has a soundworld which blends lush chromaticism, broad
melodies and brilliant orchestral sonorities. It remained unperformed during the composer�s life-time but
has consistently been championed by Sir Mark Elder who describes the work as being �one of the glories
of late romanticism ... a high point of English Impressionism in which one can hear the truly unique
and individual voice of Bax.� It is certainly one of the composer's most colorful, least clotted orchestral works,
on a par with Bax's more famous shorter tone poems which I posted early in this thread.

Frederick Delius�s Idylle de Printemps is a fairly early work in which the composer works in a genre
which he would later make his own; that of an orchestral impression or tone-poem inspired by nature or
the seasons. It is contrasted with the more mature The March of Spring which is taken from one of the
greatest orchestral scores.

Frank Bridge�s Enter Spring offers a contrast to the typical �pastoral impression�, with music of
bracing vigour which made a striking impression at its premiere on the 14-year old Benjamin Britten who
described being �knocked sideways by a riot of colour and harmony�. Mark Elder�s account of Bridge�s
rhapsody provides the best possible advocacy for a work that is one of the least-known masterpieces
of British music between the world wars�. a brilliantly extrovert display of his skill as a colourist,
sustained by an irresistible rhythmic energy. The Hall� plays it with fabulous finesse�



Music by Arnold Bax, Frederick Delius & Frank Bridge
Played by the Hall� Orchestra, Manchester
Conducted by Sir Mark Elder

"This is a welcome recording of Bax's underrated Spring Fire symphony which has rarely
seen a recording, the most recent being Bryden Thomson on Chandos in the late 1980's.
[sic!: It was Vernon Handley!] Elder's version benefits from some fine recording balance
and is of similar intensity with imaginative orchestral playing and superb power in
selected passages.

The Delius works are also not very widely known especially the Idyll and this receives
suitably romantic account from Elder and his Hall� forces although the Beecham recording
still holds pride of place. "The March of Spring" is also very dreamy and beautiful especially
in its concluding section. Elder is also a dab hand at Frank Bridge's expansive Enter Spring,
probably his finest work although I still retain fond affection for the late Sir Charles Groves'
recording on EMI which was my introduction to the piece.

As hinted at previously, the Hall� sound is true top quality throughout and with detailed
notes on the works, this is an essential addition to the growing Hall� British music
collection."
Classical Net



Source: Hall� Orchestra Records (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 174 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!VBonVIZR!RZwT9VIeUe0MvDoTyA4Bv1ZQ6WA562ywHvcOydg AKh4

Enjoy! Don't share! Buy the original! :)

And of course Gliere!! Especially the lesser-known orchestral works by Gliere (as recorded by Vassily Sinaisky + BBC PO) were a revelation!


Odeon: Gli�re ? Symphony No.1, Suite 'The Red Poppy' ? Downes (http://odeonmusic.blogspot.gr/2012/12/gliere-symphony-no1-suite-red-poppy.html)







Odeon: Gli�re - Symphony No. 2, Zaporozhy Cossacks - Downes (http://odeonmusic.blogspot.gr/2012/06/gliere-symphony-no-2-zaporozhy-cossacks.html)






Odeon: Gliere - Symphony No. 3 'Ilya Muromets' - Downes (http://odeonmusic.blogspot.gr/2012/06/gliere-symphony-no-3-ilya-muromets.html)







Odeon: Glinka, Borodin, Tchaikovsky, Rimsky-Korsakov, Gli�re - Russian Favorites - Slatkin (http://odeonmusic.blogspot.gr/2012/03/glinka-borodin-tchaikovsky-rimsky.html)







Blogger Musical (Beautiful Classical Music): The Gliere Orchestral Collection (http://i-bloggermusic.blogspot.gr/2012/09/the-gliere-orchestral-collection.html)

No.361

Another collection of colorful program works for Chinese orchestra!



Music by Law Wing-Fai, Richard Tsang, Ng Tai-Kong & Chang Ming-Chi
Played by the Hong Kong Chinese Orchestra
Conducted by Yan Hui-Chang

"Law Wing-Fai (*1949), described as the "most inspired composer in Hong Kong"
by the South China Morning Post music critic Harry Rolnick, has a long list of honours
over the past twenty years that recognizes his position as a leading composer. From as
early as 1982, his major awards include Irino Memorial Award presented at the
Asian Composers' Conference and Festival, the Hong Kong Film Award for Best
Original Score, 'Composer of the Year' by the Hong Kong Artists' Guild, etc."



Source: Hugo Classics CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 140 MB

Download Link - https://mega.co.nz/#!box0TYBS!NJRWKVGG7huNbGo1dzUPjQyBocVztr0lgqsQQRz Z1H8

Enjoy! Don't share! Buy the original! :)

wimpel, do you have these　２　discs?













Khachaturian: Spartacus; Ippolitov-ivanov / Tjeknavorian --- Armenian Philharmonic Orchestra
Gayaneh: Suite by Aram Khachaturian
Masquerade: Suite by Aram Khachaturian
Spartacus Suite No 1 by Aram Khachaturian
Caucasian Sketches Suite no 1, Op. 10 by Mikhail Ippolitov-Ivanov



Download Khach Ippo Tjekn rar (http://filewinds.com/22kr3ams9s6s/Khach-Ippo-Tjekn.rar.html)




1 Gayaneh Suite - 1 Sabre Dance
2 Gayaneh Suite - 2. Dance of the Young Maidens
3 Gayaneh Suite - 3. Mountaineer's Dance
4 Gayaneh Suite - 4. Lullaby
5 Gayaneh Suite - 5. Lezghinka

Masquerade Suite
6 Masquerade Suite - 1. Waltz
7 Masquerade Suite - 2. Nocturne
8 Masquerade Suite - 3. Mazurka
9 Masquerade Suite - 4. Romance
10 Masquerade Suite - 5. Galop

Spartacus Suite
11 Spartacus Suite - 1. Variation of Aegina and Bacchanalia
12 Spartacus Suite - 2. Scene and Dance with Crotalums
13 Spartacus Suite - 3. Adagio of Spartacus and Phrygia
14 Spartacus Suite - 4. Dance of Gaditanae and Victory of Spartacus

Caucasian Sketches
15 Caucasian Sketches - 1. In the Mountain Pass
16 Caucasian Sketches - 2. In the Village
17 Caucasian Sketches - 3. In the Mosque
18 Caucasian Sketches - 4. Procession of the Sardar




A neat info page for Reinhold Gliere
Reinhold Gli�re (http://www.reinhold-gliere.net/default.htm)

I've got that disc with The Valencian Widow, etc, not the other one.

And thanks again for the additional album. I think you're a bit overenthusiastic concerning Reinhold Gli�re's music though.
While his Ilya Muromets (which I posted earlier, in the Botstein version) is a masterpiece of epic program music,
and there are a lovely Concerto for Coloratura Soprano and one for Harp as well, a lot of his output, including the other symphonies,
his other ballets (except The Red Poppy) and much occasional music are rather generic and faceless. ;)


No.362

Joly Braga Santos (1924-1988) was one of the most significant and prolific Portuguese
composers of the twentieth-century. Santos began his studies at the Lisbon Conservatory in 1934,
starting out primarily as a violinist; in time he would devote increasing attention to composition.
Santos left the Lisbon Conservatory in 1943 just shy of earning his certificate, and instead entered
into two years of private study with the most prominent Portuguese composer of the day, Lu�s de
Freitas Branco. Branco imparted to Santos a great deal of his personal approach to orchestration,
which was vivid and colorful in the manner of Respighi. That influence is clearly audible in Santos'
Symphony No. 1, Op. 1, of 1947. That same year, Santos also joined the staff of Portuguese
radio as a musical director.

Altogether, Santos composed six symphonies, which are considered the core of his output. The
four early symphonies, written between 1947 - 1950, are neo-Classical works that are modal in
nature and to some extent derived from folk music. Although Santos never espoused serialism,
he was keenly aware of developments in greater Europe during the 1950s and adopted non-tonal
elements in his work.

The Second Symphony was composed in 1947 and follows the traditional four movement pattern.
The music is held together by a structural motif, not quite a “leitmotif” but similar in its purpose to
establish a common link between over-all different movements or sections. Encruzilhada (Crossroads)
is a ballet composed in 1967 for the Gulbenkian Ballet Company in Lisbon. It is based on a quite simple and
innocent story: in a village, peasants celebrate the engagement of a young couple. Suddenly some city
dwellers appear. To amuse themselves, they persuade the bride to accompany them. She falls into the
hands of rioters and women who want to lead her away from a more reputable life. She escapes and returns
to her village and to the arms of her lover. The composer uses clearly identifiable folklore, such as popular
dances from different origins. He enriches the music, however, by a poly tonal treatment which creates a
strong expressionistic atmosphere, precisely because he believed that all kinds of influences converge,
and can be found in the urban folklore of all countries.

If you like his music, you can find another album in this threads, with the ballet Alfama, release No.190.



Music Composed by Joly Braga Santos
Played by the Bournemouth Symphony Orchestra
Conducted by �lvaro Cassuto

"Joly Braga Santos' Second Symphony, at 48 minutes, has all of the urgency and
ambition of a young man's enthusiastic revelry in writing for a really large orchestra.
The composer was all of 23 when he wrote it, and early or not, the piece sustains its length
with little apparent effort. As usual in the first four symphonies, the influences of Vaughan
Williams and Respighi aren't too far away, but that's all they are. There's no mistaking a
tremendous individual talent at work here. Just listen to the gorgeous slow movement--melodically
distinctive and magnificently scored (the evocative coda features a mysterious timpani duet
under ethereal strings). Even the finale, a highly sectional amalgam of slow introduction, allegro,
fugue, and slow epilogue leading to a grandiose conclusion, hangs together remarkably well,
borne on the wings of the composer's unflagging inspiration. The coupling, a short ballet entitled
Crossroads, takes Portuguese folk music as its source of inspiration, but belongs to the
composer's later, spikier period. Marvelously scored for chamber orchestra, Santos' use of folk
melodies and rhythms shows the same sort of naturalness and ease typical of Bartok in, say,
the Dance Suite. In other words, the music's roots don't compromise its modernity. As with
all the discs in this remarkable series, the composer's friend and colleague Alvaro Cassuto leads
performances of great warmth, intensity, and color. He captures the quiet intimacy of the
symphony's pastoral third movement as well as the epic bigness of vision of its climaxes. Under
his baton, the Bournemouth Symphony plays with tremendous conviction and confidence,
and the recorded sound is terrific. Don't miss this one!"
Classics Today http://i1084.photobucket.com/albums/j415/wimpel69/p10s10-4_zps3597a5c3.gif



Source: Marco Polo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 156 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!FR432DQb!Pqs13n6gWEwRGaXhar6FYiD-mGEzIYFlQ3GkyHVpYP8

Enjoy! Don't share! Buy the original! :)

I've got that disc with The Valencian Widow, etc, not the other one.

And thanks again for the additional album. I think you're a bit overenthusiastic concerning Reinhold Gli�re's music though.
While his Ilya Muromets (which I posted earlier, in the Botstein version) is a masterpiece of epic program music,
and there are a lovely Concerto for Coloratura Soprano and one for Harp as well, a lot of his output, including the other symphonies,
his other ballets (except The Red Poppy) and much occasional music are rather generic and faceless. ;)


Yes please post it with some nice booklet scans! If it is not too much, please FLAC it!!



Actually the Chandos series is really elemental, because it unveils Gliere! If you think it generic and faceless, then I rest my case. I can only thank Chandos for recording those. I really relished the exotic Gliere of the unhackneyed selection overtures and orchestral works in disc 5 (of the series).
As the reviewer points it out, I think it should be interesting and worth to explore more orchestral works by Gliere.


There is plenty more Gliere to come too. Let us not slight unheard on the basis of the titles alone the overture Twenty Five Years of the Red Army 1943, the marching song Hitler's End Will Come, Victory Overture 1944, the Fantasy for the Komintern-Festival - for military wind orchestra (1924), March of the Red Army for wind orchestra (1924), Festive Overture for the 20th Anniversary of the October-Revolution (1937), The friendship of the peoples - Overture on the 5th anniversary of the Soviet Constitution (1941), the Glory of the Soviet Army Cantata, the ballet Chrysis, the Trizna symphonic poem, the Imitation of Jezekiel - symphonic poem for narrator and orchestra (1921) not to mention the operas Rachel from the 1920s and Leila and Mejnun from 1940.

I wonder if � beyond the unrecorded Gliere - there is any chance of hearing the numerous Lev Knipper symphonies, Ivan Dzerzhinsky�s piano concertos and operas and Yuri Shaporin�s profoundly impressive trilogy of choral-orchestral works? The world of Russian music collectors waits to snap up the first commercial recordings of these works

Reinhold GLIERE The Gliere Orchestral Collection - CHANDOS CHAN106795X [RB]: Classical Music Reviews - October 2011 MusicWeb-International (http://www.musicweb-international.com/classrev/2011/Oct11/Gliere_CHAN106795X.htm)



Reinhold Gliere: Festive Overture, op. 72 (1937) - YouTube (http://www.youtube.com/watch?v=nx7gxMQJrW0)
Solemn overture for large symphonic orchestra in G major
for the 20th Anniversary of the October Revolution
Instr: 5, 4, 5, 4 - 8, 6, 3, 2 - 2 pairs of timpani, percussion, 2 harps, strings


Russian Composers database (http://www.russiancomposers.org.uk/index.php)
Onno van Rijen's Shostakovich & Other Soviet Composers Page (http://home.wanadoo.nl/ovar/)


Wimpel, do you have any of Lev Solin's orchestral works??
Solin (http://www.russiancomposers.org.uk/page1097.html)
Lev Solin. Sheet Music (http://www.levsolincomposer.com/sheetmusic.html)
Because I recently bought this disc, and respected his enthralling piano transcriptions. Huzzah to the Lev Solin powah!!!!!!!!!!!!!!!!!!!!!!
Transcriptions Vol 3 PIANO 21 P21 045-N [BR]: Classical Music Reviews - March 2013 MusicWeb-International (http://www.musicweb-international.com/classrev/2013/Mar13/Katsaris_transcriptions_P21045N.htm)




Odeon: Kalinnikov ? Symphonic Works ? Svetlanov (http://odeonmusic.blogspot.gr/2013/05/kalinnikov-symphonic-works-svetlanov.html)

Gliere es sin duda uno de los mas grandes sinfonistas y su "illya Murometz" es insuperable.La mejor versi�n para mi es la de Harold Haberman con la Royal P.O.Insuperable,luego sigue Rhaklin,Downes,Botstein,Scherchen.Stokowski,Johano s.

The Stokowski version of Ilya Muromets is deeply flawed. It cuts the piece by about 50%
because the conductor felt that it was overlong. :( - The Farberman (!) version is very slow, even broader than Downes's.
IMHO that doesn't serve the music very well.


No.363

Today Edgar Bainton (1880-1956) is known principally for his famous anthem �And I Saw A New Heaven�,
originally published in 1928, but during the first thirty years of the twentieth-century regular performances
of his choral works and part-songs kept his name at the forefront of a developing English Musical Renaissance.
Edgar Bainton was born in London in 1880, but spent his early life in coventry, where his father was a
congregational minister. He won a music scholarship to King Henry VIII Grammar School at 11, and at 16 won
a place at the Royal College of Music, later studying composition with Sir Charles Villiers Stanford and winning
the Hopkinson and Tagore Medals for outstanding achievement. After many years teaching in
Newcastle-upon-Tyne (from 1901 to 1934) Bainton and his family emigrated to Australia in order to
take up his appointment as director of the New South Wales Conservatorium, Sydney. He remained in
Australia until his death in 1956, by which time he was regarded as an Australian composer and
music and name in the United Kingdom were virtually forgotten. His output includes three symphonies,
two operas, various other orchestral works (including a Concerto Fantasia for Piano) and many
songs and part-songs.

Rutland Boughton (1878�1960) was an English composer who became well known
in the early 20th century as a composer of opera and choral music. A pupil of Charles Villiers Stanford
and Walford Davies, Boughton's output included three symphonies, several concertos, part-songs,
songs, chamber music and opera (which he called "music drama" after Wagner). His best known
work was the opera The Immortal Hour. His Bethlehem (1915), based on the Coventry
Nativity Play and notable for its choral arrangements of traditional Christmas carols also became
very popular with choral societies worldwide. Through the Boughton Trust, many of his major works
have been recorded and are available on disc. From 1927 until his death in 1960, he lived
at Kilcot near Newent, Gloucestershire.



Music by Edgar Bainton & Rutland Boughton
Played by the Royal Scottish National Orchestra
Conducted by Martin Yates

"To mark the fiftieth anniversary of the death of the composer Rutland Boughton (1878-1960),
the RSNO and Martin Yates have recorded three of his romantic Edwardian tone poems. Love and
Spring, Op.23, Troilus & Cressida (Thou & I), Op.17 and A Summer Night, Op.5 - these are completely
forgotten repertoire, but even after the first play-through all involved were puzzled as to why such
entrancing music should have gone unplayed for a century. The programme is made even more
attractive by being coupled with three similar Edwardian-era tone poems - Paracelsus, Op.8,
Pompilia, Op.11 and Prometheus, Op.19 - by Boughton's friend Edgar Bainton. If you like
gorgeously scored, tuneful music, these are for you."





Source: Dutton Epoch CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 176 MB

Download Link - https://mega.co.nz/#!jhAVhLyI!XuFzg3OewaAfF3RM5FQ7_VQvj2IvND5_MhxJI6W oFgs


Enjoy! Don't share! Buy the original! :)

wimpel, these is some hardcore stuff that needs to be brought into light! Ecstatic and rapturous material!



Odeon: Hugo Alfv�n ? Symphony No.5 ? Neeme J�rvi (http://odeonmusic.blogspot.gr/2013/05/hugo-alfven-symphony-no5-neeme-jarvi.html)









Odeon: Hugo Alfv�n ? Symphony No.4 ? Neeme J�rvi (http://odeonmusic.blogspot.gr/2013/05/hugo-alfven-symphony-no4-neeme-jarvi.html)








Odeon: Hugo Alfv�n ? Symphony No.3 ? Neeme J�rvi (http://odeonmusic.blogspot.gr/2013/05/hugo-alfven-symphony-no3-neeme-jarvi.html)







Odeon: Hugo Alfv�n ? Symphony No.2 ? Neeme J�rvi (http://odeonmusic.blogspot.gr/2013/05/hugo-alfven-symphony-no2-neeme-jarvi.html)







Odeon: Hugo Alfv�n ? Symphony No.1 ? Neeme J�rvi (http://odeonmusic.blogspot.gr/2013/05/alfven-symphony-no1-njarvi.html)






Odeon: A Swedish Pastorale - Larsson, Roman, Atterberg, Rosenberg, Alfven - J.-O. Wedin (http://odeonmusic.blogspot.gr/2012/06/swedish-pastorale-larsson-roman.html)









Odeon: Evgeny Svetnlanov Edition ? Historical Russian Archives (http://odeonmusic.blogspot.gr/2013/05/evgeny-svetnlanov-edition-historical.html)








Odeon: Alexander Gauk edition [Historical Russian Archives] (http://odeonmusic.blogspot.gr/2013/03/alexander-gauk-edition-historical.html)







Odeon: Lyapunov - Orchestral music - Svetlanov (http://odeonmusic.blogspot.gr/2012/06/lyapunov-orchestral-music-svetlanov.html)







Odeon: Balakirev - Symphony No. 1 - Svetlanov (http://odeonmusic.blogspot.gr/2012/08/balakirev-symphony-no-1-svetlanov.html)






Odeon: Borodin ? Symphonies & Orchestral Works ? Svetlanov (http://odeonmusic.blogspot.gr/2012/11/borodin-symphonies-orchestral-works.html)






Odeon: Lyapunov ? Symphonic works ? Svetlanov, Ziuraitis (http://odeonmusic.blogspot.gr/2013/03/lyapunov-symphonic-works-svetlanov.html)

Thanks for linking all these Russian works.

What I was trying to do in this thread was to introduce people to isolated works by certain lesser-known
composers from around the world so that they can go out and explore more of those on their own. :)

Si bien la de Stokowski es la mas recortada .todas las otras versiones estan recortadas.Solo la de Faberman esta completa y ademas respeta los tempi indicados por Gliere,asi que el lugar comun de decir que es "demasiado lenta" no tiene sustento.La obra no tiene ninguna necesidad de apurarse.

Is it possible to reupload the Bartok album? I'm curious to find out this version of the full complete ballet of the Miraculous Mandarin. It's so hard to find the complete ballet even in the form of a live performance. So far I have only heard the complete by Marin Alsop.

Si bien la de Stokowski es la mas recortada .todas las otras versiones estan recortadas.Solo la de Faberman esta completa y ademas respeta los tempi indicados por Gliere,asi que el lugar comun de decir que es "demasiado lenta" no tiene sustento.La obra no tiene ninguna necesidad de apurarse.

The board language is English. Please show respect.

---------- Post added at 02:44 PM ---------- Previous post was at 02:04 PM ----------

[/COLOR]


No.144

Isotaro Sugata was born on the 15th November 1907 to a rich family in the port city of Yokohama. As a child he
attended a missionary school founded by the American Baptist Free Mission Society at Kanto Gakuin,
encouraged by the hymns he heard to study piano, violin, theory and singing. His education came to an end
in 1927, when he contracted tuberculosis, thereafter to concentrate on composition. From 1928 he started
taking private lessons with noted composers in Japan. His first teachers were K�s�ak Yamada and Kiyoshi
Nobutoki, who had both studied in Berlin and taught him academic music theory in the German tradition.
Dissatisfied with that he turned to post-Debussy music.

Symphonic Overture and Peaceful Dance of Two Dragons were both composed in celebration of the
2600th Year of the Emperor. The year 1940 fell on the 2600th year of Japan�s own official year system, which
is based on the year of the enthronement of Emperor Jinmu, the mythical first emperor of Japan. These
works were among those commissioned from Japanese and distinguished foreign composers to mark the
occasion. Symphonic Overture was a product of the study of Hindemith under Pringsheim. Taking Hindemith�s
symphony Mathis der Maler, as a model, above all for its first movement, it was completed on 10th December
1939 and won a prize at the Competition Celebrating the 2600th Year of the Emperor held by the NHK.
Peaceful Dance of Two Dragons attempts to combine the style of Gagaku, Japanese ancient imperial
music, and Sugata�s interest in Stravinsky and Bart�k.

The Rhythm of Life, music for ballet, was completed on 20th September 1950 and belongs to
Sugata�s last years. In this work he recalls the starting point of his creative life. Like his two earliest works
Yokohama and Sakura, this work quotes various materials from Stravinsky�s Le sacre du printemps,
Petrushka and L�oiseau de feu, forming an idiosyncratic patchwork of Japanese melodies and
fragments from Stravinsky, in a cut-and-paste manner. Its compositional technique even
foresees postmodernism.



Music Composed by Isotaro Sugata
Played by the Kanagawa Philharmonic Orchestra
Conducted by Kazuhiko Komatsu

"Akira Kurosawa's film Sanshiro Sugata (1943) was about a young man who leaves his country home to study Jujitsu
in the city, but on his way manages to master Judo instead, and becomes a renowned master of the art. Japanese
composer Isotaro Sugata was not a fictional character; he began life with a wealthy family in Yokohama, and once
he discovered music as his vocation he went through a series of masters, trying to get a grip on Western scoring in
order to create a unique blend of his own with traditional concepts. Sugata's journey brought him into contact with
pedagogue Klaus Pringsheim, and by the mid-'30s, Sugata was making a name for himself. His reputation sidelined by
the outbreak of war, Sugata fled to a small town in the center of Honshu for safe haven. Unlike Sanshiro Sugata,
this city dweller never made it back out of the country; Isotaro Sugata remained there in obscurity, composing still,
but unable to practice his craft professionally or to obtain performances, dying in 1952 at age 44. Sugata's music
manuscripts were lost until the late '90s; the recordings on Naxos' Sugata: Peaceful Dance of Two Dragons are not
only the first recordings of this music, but in the case of two of the four works are also practically first performances.
Dancing Girl in the Orient (1941) and ballet The Rhythm of Life (1950) were not heard in public when minted new and
had no prospect of it, owing either to war or Sugata's self-isolation. Conductor Kazuhiko Komatsu and the Kanagawa
Philharmonic Orchestra have been advocating the work of Sugata through reviving his scores, and do so passionately
here -- as the orchestra of Kanagawa Prefecture, it is the symphonic body closest to the port city of Yokohama,
Sugata's birthplace.

It's a terrible shame that Japan lost touch with Sugata, as judging from these works he was surely one of the most
talented figures among composers of early Japanese orchestral music. The ballet music The Rhythm of Life is obviously
the showstopper of the set, with its echoes of Stravinsky and warring trombones; however, Peaceful Dance of Two
Dragons (1940) really does seem like a very successful merger between the technical resources of the West and the
traditional music of Japan. The Symphonic Overture (1939) comes straight out of his study with Pringsheim and has a
slightly neo-classic, Hindemithian flavor. Dancing Girl in the Orient (1941) draws from the example of Rimsky-Korsakov
and sounds almost like Alfred Newman with a Japanese accent. Indeed, Sugata's music would have been an easy match
for the Japanese film industry of the period, and it seems unconscionable that he would not at least try to find work
there. It is as though Sanshiro Sugata had managed to learn Jujitsu, but not Judo, and had become a warrior, but
not a legend."
All Music



Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 120 MB (incl. cover, booklet)

Download Link: DepositFiles (http://depositfiles.com/files/dxxv6c0pp)

Enjoy! Don't share! Buy the original! :)



Have a nice weekend. :D[/QUOTE]

Is it possible to re-upload this too?

Done:

https://mega.co.nz/#!gVQxSLRb!Mii7tjhrQucg7f31aqoua3VuxcAl9RIwcenPkkm bu-M

But please do not quote an entire posting! It's enough to name the No. and the composer/works.

mi lenguaje es el espa�ol y esto no muetra ninguna falta de respeto

mi lenguaje es el espa�ol y esto no muetra ninguna falta de respeto

Yes it is. This is an english forum so write in english, if you dont want to write in english, pretty simple, dont post. Its easy. Im spanish too and i understand this since my frist day here.

Well... I queued the following ones in my Jdownloader and now its a shame they're dead. Can I ask for a reupload? I will wait for months/years of course:



172: Florencio Asenjo: A Thousand and One Nights, Don Quiiote
186
191: Maurice Ravel: Daphnis et Chloe, La Valse
192
193: Richard Strauss: Also Sprach Zarathustra, Don Juan, Till Eulenspiegel
194: Claude Debussy: La Mer, Nocturnes, Printemps
195: B�la Bart�k: Concerto for Orchestra, The Miraculous Mandarin (Complete)
196: Stravinsky
197: Olivier Messiaen: Turangalila Symphony, L'Acension
303: Bate: Symphony No.3 - Arnell: Robert Flaherty, Black Mountain - Chisholm: Dante
318: Vincent d'Indy: Symphonie sur un Chant montagnard francaix, M�d�e, Saugefleurie
319: Siegmund von Hausegger: Nature Symphony

Teddyb3ar, I have the disc of Pierne's Cydalise and here's my rip - it's in MP3 V0: https://mega.co.nz/#!lYYiRZDa!JlMRRygM91ni6cRXrJgtiCbz_rcXPk7c5BdGqNg RPEg
I also have archived some of the albums you are requesting and will get to them if wimpel doesn't.

Cheers.

@Akasahi San, please do. I javen't archived the original RAR sets myself so I have to reconvert/reassemble
them for each re-up, for which I simply don't have the time. So, thanks! :)

Now you know why I switched from depositfiles to MEGA. ;)

@guilloteclub - The language of this board is English. It's not my own native language either, but I do respect the rules.
If everybody were writing in their native languages soon we would have a Babel of sorts here. So if you're not willing to adapt,
then please just don't post. And if you want to argue the language issue further, this thread isn't the place for it! (BTW: Nobody's
being mocked if his or her English is poor (look at Yannis's postings for reference!)

I have re-upped the Fernando Lopes-Graca disc of release No.304 (by mistake, I had forgotten I already uploaded this one):

https://mega.co.nz/#!BYoUmCCB!ODoDVg_fvzdlfQPZ6e9pEjzbyH1nXf7DXN4bUpC CYeU

P.S.: I'm now re-uppig the Carl Davis score CYRANO. )

"Cuando una persona hace una cosa soberanamente est�pida, siempre la hace por los m�s nobles motivos."

"When a person does something supremely stupid, always done by the noblest motives."

Oscar Wilde

I have re-upped Carl Davis's ballet CYRANO (No. 292):

https://mega.co.nz/#!9JIx2Irb!Mqsj5xDBgDw1FfoH5keRXwW--s52gvuwRHOK5c_XO2s

I also re-upped two other releases, Henry Cowell's Atlantis ballet etc. ("Dancing with Henry", No.250):
https://mega.co.nz/#!9YYlRAaA!elJE7jGMjUVhTKYdMwLyUGcGBC1qKKo2ZBMH8Qg ZHU8

as well as Aaron Avshalomov's Violin Concerto and The Hutungs of Peking (No.253):
https://mega.co.nz/#!lJhUDCBD!PoZGHhtlwNkO23E5g_OXLTbbdfoed5WIJ3AEEI0 gf9A

If Akashi San could name the archives he doesn't have maybe I can fill in the rest.

I meant to re-up the ones I have but couldn't find the time to do so, sorry about that! I'll have to check my computer once I get home from work . :D

Can you please kindly re-up the following:

No.29
Remick Warren: King Arthur, The Crystal Lake, The Fountain, Suite
No.58
Victor de Sabata: Tone Poems
No.93
Antonio G�mezanda - Orchestral Works
No.113
Elena Kats-Chernin: The Wild Swans, Piano Concerto 2, Mythic
No.123
Scott Steidl: Fire Dreams
No.148
Julo G�mez: Orchestral Works (El Pelele, Maese P�rez - el organista, etc)

I'll be very grateful!

Further re-ups:

Henri Rabaud, Marouf, etc. (No. 210):
https://mega.co.nz/#!jxg3kDbK!VTz47w2-W86ccMBJw407PiJPt00bYUDpgXSss6umeX0

Richard Honoroff, Shoah, etc. (No.167):
https://mega.co.nz/#!y950gYLI!Q2PSaCpqAdBUP35b1H8uYBb2znBotkTtVSCR_-Udoqg

Finally found the time to replace the original, dead links with Herr Salat's re-ups in the original posts:


Herr Salat has kindly re-upped albums from several older posts. Since I don't have the time to place them into their old, individual posts, I will just append them here and put them back in later:



Thanks again to Herr Salat for his efforts! :)

Another two re-ups:

Elena Kats-Chernin, The Wild Swans (No.113):
https://mega.co.nz/#!cEZXna7a!P_H773YDECO3S3erfyKKDHtFYxgHaQOS0J4BiAU UnYY

Scott Steidl, Fire Dreams (No.123):
https://mega.co.nz/#!JVQEDYRC!NX2TZl2qqrMWOmu5fyxx5Q0rbv9VnkYcW2PtqT5 K5T4

And another two:

Arnold Schoenberg, Darius Milhaud, Ernst Toch etc, Genesis Suite (No.150):
https://mega.co.nz/#!kQAWzRyC!f25go1r-MjTEwFdhbNOW_yQ-zb8WI8fW4yDegwhsVuM

Hakon B�rresen, Symphony No.2 (The Sea) (No.157):
https://mega.co.nz/#!oQomVYJa!OZu0NSGXWoSkWjktD0jvWRrcnUUaxaPHg5L60z1 tfPU

Thanks for all the re-upload efforts.

If anybody could re-up the following:
148. Julo G�mez: Orchestral Works (link (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2214798))
162. Dominick Argento: Valentino Dances, A Ring of Time, Le Tombeau d'E.A.Poe (link (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2219216))
212. Johan Svendsen: Norwegian Rhapsodies Nos. 1-4, Zorahayda, Artists' Carnival (link (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2228712))

That would be much appreciated. This thread is such a rich resource of unusual classical music!

Two new re-ups:

Dominick Argento, Valentino Dances, etc (No.162):
https://mega.co.nz/#!bx4yiKwT!MWzh53eIf_lGRwjTh19pfHDR3_8J8Q3oeaiEkJF Ic58

Julius Harrison, Worcester Suite etc. (No.214):
https://mega.co.nz/#!qwolwSDB!YGkXP2p7Q1VWbC7U-DpxUhtwoYYRNTzJfUFt96lzgqU

The new re-up of the Waxman and Zeisl requiems should work (No.209):
https://mega.co.nz/#!fsRhBDrL!OsQvYlDcma170lhoatlSUE466HlzI-W7DRFhSi6QJWs

Also, Johan Svendsen's Norwegian Rhapsodies, etc. (No.212):
https://mega.co.nz/#!u8g1hTaZ!IhkIyhT9A3AuCEq4r69hSBV9Ioh2zowlcqWtNtN 6geM

Finally got some time for re-uploading. I should have more in my HDD, but here are five albums for the time being:

298. Jacques Ibert: Suite from "Diane", La Licorne (complete) - https://mega.co.nz/#!gQ5H0CxK!cedKTWNP5qgzbPYLK-HXAGujubwrqrxRfA6vPCIl66A

29. Remick Warren: King Arthur, The Crystal Lake, The Fountain, Suite - https://mega.co.nz/#!tUh11ARI!PjoH-Xoq1g7Y7KCrFfV8ukUeqQUrj9ft3c73uTFG3wU

267. Jeajoon Ryu: Sinfonia da Requiem, Violin Concerto - https://mega.co.nz/#!1JgDVCYY!MFubZUXymcLh2PWcOWCHfweRAFlw0Gr-7PtrkBIIjO8

187. George Chadwick: Sketches, Tam O'Shanter, Melpomene, Rip Van Winkle - https://mega.co.nz/#!VUQxSapC!Mz7xbQCvmVusOVA69DIujkWFg1AoFTqluX-0r9o_3Ac

284. John Foulds: Music-Pictures, Indian Suite, Henry VIII, Suite francaise - https://mega.co.nz/#!8ZABSZ5Z!KTgYXENlyPUFkgM4kJUJvU_C0iAm8tslAo6awcd X2JA

Two more:

Jes�s Ar�mbarri, Fantasia espanola, etc. (No.161):
https://mega.co.nz/#!BIQxgDJC!JXpmRRlLl_h-GWrSg7E0ymx5u4AEFAegKCoNlvhpybY

Lam Do-Ming, The Insect World, etc. (No.168):
https://mega.co.nz/#!JYQGVKIY!Wlc_GwGhSSrRsZIJYlr5dSpJfM9kkHxfh7NLQTh _m7o

No.364

John Estacio was born in Newmarket, Ontario in 1966. Raised in the farming community of the Holland Marsh,
Ontario, Estacio took piano and accordion lessons, and played church organ every Sunday. As a teenager,
he created soundtracks for short student films, played trumpet, and performed in high school productions of
Broadway musicals. He majored in composition at Wilfrid Laurier University in Waterloo, Ontario studying with
Glenn Buhr and Peter Hatch. He earned his post-graduate degree at the University of British Columbia where he
studied composition with Stephen Chatman.

In 1992, his first major orchestral work, Visoes da Noite, won second-prize in the Winnipeg Symphony Orchestra�s
Canadian Composers Competition. Saudades for orchestra was premiered at the WSO�s New Music Festival in 1993.
From 1992 to 2000, Estacio was Composer in Residence of the Edmonton Symphony Orchestra. During his residency,
Estacio created several orchestral works, participated in novel audience outreach programs, and created the Young
Composers Project. A Farmer�s Symphony (1994), Borealis (1997), Flights of Fancy (1999), Frenergy (1998),
Triple Concerto for Piano, Violin and Cello (1997), Variations on a Memory (1995), Victims of Us All (1996), Wondrous Light (1997)
and The Twins and the Monster (2001) a children�s tale for actress and orchestra with text by Tololwa M. Mollel,
were all written for the ESO.



Music Composed by John Estacio
Played by the CBC Edmonton Symphony Orchestra
Conducted by Mario Bernardi

"The title track Frenergy (1998) is first up. Estacio�s combination of �frantic� and �energy� into this work speaks as well to its nature
and verve as any worded description could. A Farmer�s Symphony (1994) was intended as a tribute to those that tilled the land �
though it was not, Estacio was often at pains to point out, a work that either included �farmer songs� or was intended to be heard
only by farmers. No, rather the three movements of the work were all musical illustrations and evocations of the sounds and
impressions one is exposed to on a farm.

The elegiac strings-only work, Such Sweet Sorrow, takes its title from Act II, scene two of Shakespeare�s Romeo and Juliet, while
the vibrant and engaging Bootlegger�s Tarantella which follows, has more of a folksong feel. The final three works on the CD have
celestial origins. The first of these, Solaris, is a concert overture meant to accompany a performance of Gustav Holst�s The Planets.
John Estacio felt that the Sun deserved its own place in a program about our corner of the galaxy. Having spent much of his life in
Canada�s more southern places, John Estacio had never seen the Aurora Borealis for himself until his arrival in Edmonton. The natural
display fired his imagination, resulting in Borealis and Wondrous Light."



Source: CBC Records CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 150 MB (incl. cover, booklet)

Download Link: https://mega.co.nz/#!bkRS0bSZ!Hxp_0yF2hTOvGvEJNI0ifAJh6ChNOxHtlaFkHAR th7o

Enjoy! Don't share! Buy the original! :)

Another four:

Hugo Alfv�n, Synn�ve of Solbakken (No.206):
https://mega.co.nz/#!RERDkLCT!ADotASi0WlG0G9nUzlzCUxKeWl46JIPSzPa0lIS V2Ds

Philippe Gaubert, Symphony, Chants de la Mer (No.208):
https://mega.co.nz/#!Nc5V0arL!eGydZj_gv0ww9A7LayVl4gi8fpBycNDVGmNQqW3-sus

A.J. Potter, Sinfonia "De Profundis" (No.239):
https://mega.co.nz/#!tN5AiDyb!e_FMrhOiBEB9674Edj85NXhYjYJrACPnIQCu2Q5 BTVg

Swedish Orchestral Favorites (No.240):
https://mega.co.nz/#!dc5nGBaS!dqthN1VwFmlTxoFxDAW_u1ts2OA2HjvaIaXaCEa Kz6U

Another trio will be available tomorrow: Borup-J�rgensen, Sommasvit - Khachaturian, Gayaneh/Spartacus - Thomson, Kurka, Filling Station etc.

Philippe Gaubert, Symphony, Chants de la Mer (No.208):
https://mega.co.nz/#!Nc5V0arL!eGydZj_gv0ww9A7LayVl4gi8fpBycNDVGmNQqW3-sus

A.J. Potter, Sinfonia "De Profundis" (No.239):
https://mega.co.nz/#!Nc5V0arL!eGydZj_gv0ww9A7LayVl4gi8fpBycNDVGmNQqW3-sus



Please check, the links are both for Philippe Gaubert,
Thanks

Axel Borup-J�rgensen, Sommasvit (No.248):
https://mega.co.nz/#!0RASQAwY!PiGQ7zW-mFkJA-cdw10F2krVaBxB61M5KVG8s9QSwU8

George Lloyd, Symphony No.4, "The Arctic" (No. 276):
https://mega.co.nz/#!sRABiKbR!c5jgo0mdCu-EMXtlL__1FgYoGW8XFgPYoMjuMkM3q4A

Aram Khachaturian, Spartacus & Gayaneh Suites (No. 245):
https://mega.co.nz/#!QBZRlSQD!UfzKeD09bAbur0jD3FzjekdphIxHbezahY45P-aA8zE

Robert Kurka, Symphony No.2, Virgil Thomson, Filling Station (No. 277):
https://mega.co.nz/#!5U4UVb6B!W14RTEfF9gKFYd0dNj-VPz8qRck2H1fsvtjlwRd8clo

Potter link corrected.

---------- Post added at 09:44 AM ---------- Previous post was at 09:09 AM ----------

George McKay, Symphony for Seattle, etc (No. 244):
https://mega.co.nz/#!8IhR0aaK!S3C1xyUsZ7SFbdFdjKdDb32xOzBb9X65lxVOvsp Iaq4

Odeon: Franz Schreker ? Orchestral Works ? Gielen, Rickenbacher (http://odeonmusic.blogspot.gr/2013/03/franz-schreker-orchestral-works-gielen.html)







Odeon: Khachaturian - Orchestral works - Khachaturian (http://odeonmusic.blogspot.gr/2013/02/khachaturian-orchestral-works.html)







Odeon: Khachaturian - Piano Concerto, Violin Concerto - Khachaturian (http://odeonmusic.blogspot.gr/2012/10/khachaturian-piano-concerto-violin.html)








Odeon: Khachaturian - Symphony No.2, Gayane, Spartacus - Khachaturian (http://odeonmusic.blogspot.gr/2012/10/khachaturian-symphony-no2-gayane.html)








Odeon: Gennady Rozhdestvensky Edition ? Historical Russian Archives (http://odeonmusic.blogspot.gr/2013/05/gennady-rozhdestvensky-edition.html)

Further re-ups:

Bohuslav Martinu, Thunderbolt P-47, etc. (No.7):
https://mega.co.nz/#!P15ASSpB!aGsvG0BUfrqM3apKLSQT6zJoMFwpjpDw_Lhd2yX ihio

Granville Bantock, Celtic Symphony, etc. (No.8):
https://mega.co.nz/#!bsRmERiD!CYdTNCnpT0qJsnRCcBqLd3_mA2RM5lYEquM4Tgg WQ2c

Zhu Jian-Er, A Wonder of Naxi, etc (No.10):
https://mega.co.nz/#!P8p2iAKA!elLDQBHeS-WwbJw-uFO7xkf6LjMpK_9Vr38f9-p6kBU

Odeon: Max Reger ? Suite in Olden Style, Serenade ? Horst Stein (http://odeonmusic.blogspot.gr/2013/06/max-reger-suite-in-olden-style-serenade.html)






Odeon: Max Reger ? Variations and Fugue on Hiller, Ballet Suite ? Horst Stein (http://odeonmusic.blogspot.gr/2013/06/max-reger-variations-and-fugue-on.html)







Odeon: Max Reger ? Orchestral works ? Hermann Scherchen (http://odeonmusic.blogspot.gr/2013/06/max-reger-orchestral-works-hermann.html)






Odeon: Max Reger ? Mozart-Variationen, Beethoven-Variationen ? Horst Stein (http://odeonmusic.blogspot.gr/2013/02/max-reger-mozart-variationen-beethoven.html)







Odeon: Reger ? Concert in Olden Style, Sinfonietta ? Horst Stein (http://odeonmusic.blogspot.gr/2013/01/reger-concert-in-olden-style.html)







Odeon: Reger - Hiller-Variationen; Balletsuite - Davis (http://odeonmusic.blogspot.gr/2012/06/reger-hiller-variationen-balletsuite.html)







Odeon: Reger - Symphonischer Prolog zu einer Trag�die, 2 Romanze f�r Violine und Orchester (http://odeonmusic.blogspot.gr/2012/01/reger-symphonischer-prolog-zu-einer.html)















one more interesting blog
Free Classical Music For Downloading | CDs DVDs BoxSets HD Blu-ray | (http://classicalmuzic.net/)

No.365

Roy Harris was one of the leading symphonists of his generation who, with his near contemporaries
Copland, Hanson, Piston, Sessions and Sowerby, built on the work of their nineteenth-century predecessors
and made a lasting contribution to the expanding American symphonic tradition. Born, so the legend goes, in a
log cabin in the state of Oklahoma in 1898, Harris was raised by farmers of Scottish and Irish descent whose
pioneering forebears were stagecoach riders. Moving from this remote frontier territory to a farm in the San
Gabriel Valley, California, at the age of five, Harris was to take up the piano and clarinet. In the early 1920s
he studied privately in the evenings and drove a dairy truck by day. Recognition eventually came from
Howard Hanson and Aaron Copland, which led Harris to a period of study in Paris with Nadia Boulanger,
a visit made possible by two Guggenheim awards. He was a prolific composer who wrote in nearly every
genre, but his reputation mostly rests on his sixteen symphonies which span the years 1933 to 1976.

Symphony No.6 (Gettysburg) was written in response to a commission from the Blue Network
(a forerunner of the American Broadcasting Association), its creative stimulus provided by direct quotations
from Abraham Lincoln�s famous Gettysburg Address of 1863. References to Lincoln�s speech head each of
its four movements; Awakening, Conflict, Dedication and Affirmation. The work, fashioned for a large
orchestra and dedicated to �the Armed Forces of Our Nation�, was first performed in Boston in April 1944
conducted once again by Koussevitzky.

Always interested in writing distinctly American music, Aaron Copland turned to the pioneering poetry
of Emily Dickinson for this 1950 song cycle, originally scored for voice and piano. The composer later
selected eight of the twelve poems he had originally set for a new version with orchestra, which is the one
featured here. The songs (employ extraordinary "text-painting," as Copland explains: "I followed the natural
inflection of the words of the poems, particularly when they were conversational. There is a certain amount
of what is called 'word-painting'--an occasional bird-call, flutterings, and grace notes in the introduction to
the first song 'Nature, the Gentlest Mother,' the bugle-like melody for the voice in 'There Came a Wind Like
a Bugle,' and so forth." And though the songs explore tonality in a contemporary way, with some chromaticism
and polytonality, the songs all demonstrate folk-like qualities. Many begin and end with almost identical music
(like a refrain of a hymn) or simply provide a natural musical declamation of text that brings the listener
to a deeper understanding of Dickinson's poems.



Music by Roy Harris & Aaron Copland
Played by the Pacific Symphony Orchestra
With Marni Nixon (soprano)
Conducted by Keith Clark

"Soprano Marni Nixon (*1930) developed a highly successful career dubbing the singing for famous
actresses in movie musicals from the late 1950s and early 1960s. She has also sung opera, appeared
as soloist in orchestral concerts and taken roles in Broadway and off-Broadway musical productions.

Marni McEathron Nixon came from a family of minor show business performers. She began study of the
violin at age four, later sang with her sisters in local productions, and had a few bit roles in movies.
She eventually abandoned the violin and began vocal studies with Carl Ebert, Boris Goldovsky, and Sarah
Caldwell. Nixon retained an interest in film work and often appeared as an extra in films of the late 1940s.
Her vocal talents were soon recognized and her first significant breakthrough occurred when she sang the
voices of angels in the 1948 film classic Joan of Arc, which starred Ingrid Bergman. Her first dubbing
assignment came the following year, with the release of the 1949 film The Secret Garden, wherein she
sang for actress Margaret O'Brien. In 1950, Nixon married composer Ernest Gold; their union would produce
three children. She and Gold collaborated in recordings of some of his songs, a reissue of which
appeared in the early 1990s. The couple divorced in 1969. Nixon's first major assignment came in the
1956 film version of the Rogers and Hammerstein classic The King and I, for which she dubbed the
singing of Deborah Kerr. An Affair to Remember (1957) followed, wherein she once again sang for Kerr.
Nixon's next success came with her behind-the-scenes vocals for Natalie Wood in the 1961 film
version of Leonard Bernstein's West Side Story. Lerner and Loewe's My Fair Lady (1964) was her next
major project, wherein she dubbed for Audrey Hepburn's Eliza Doolittle. According to Nixon, the key to
a successful dub was "They have to share themselves with you. Once they realize you're like a sponge
and aren't going to take over their performance, it's fine." In other words, she would try to adapt
herself to the actress' characterization as well as singing style."

When the big musical film productions began fading in the mid-1960s, Nixon's dubbing career quickly
withered. From 1969 to 1971, she taught at the California Institute of Arts. In the 1970s, she moved
to Seattle and joined the Seattle Opera Company. She also hosted a children's television program
there called Boomerang, which garnered four Emmy awards. In 1980, Nixon became a faculty membe
r at the Santa Barbara Music Academy of the West. In 1983, she married Albert Block. Nixon has
continued to sing in operas and musicals, and in orchestral concerts as well. She has appeared with
many major American orchestras, including the Cleveland Orchestra and the New York Philharmonic,
as well as ensembles abroad, such as the Israel Philharmonic. She has sung classical repertory
ranging from Mozart to Webern and Stravinsky."
All Music



Source: Var�se Sarabande CD (my rip)
Format: mp3, 320k/s (CBR), DDD Stereo + FLAC
File Size: 115 MB (mp3), 225 MB (FLAC)

Download Link: [This is a Var�se release, please send me a PM if you want the links!]

Enjoy! Don't share! Buy the original! :)

Frederic Curzon, Robin Hood etc. (No.228):
https://mega.co.nz/#!QQwGyTgA!eK1zpTL1ilXKi4hFpcmFeWQVNH1mKIKpnSI9274 AZGQ

Anthony Hedges, Breton Sketches, etc. (No.228):
https://mega.co.nz/#!QMQiUZLL!AAbCZHBBhgwoB0EzKuWQrRlcCG0B9dlLT5nmukr snQI

Wimpel thanks for a marvelous thread~~

No.366

As a youth, Aram Khachaturian (1903-1978) absorbed the folk music of his native Armenia and the neighboring
states of Georgia and Azerbaijan, and these elements found their way into his rhythmically and melodically vivid
compositions. Khachaturian composed incidental music to Lope de Vega�s comedic play La viuda de Valencia (The Widow
of Valencia) for a 1940 Moscow production. It is one of his most colorful and delightful scores, and he later created
a suite of six brief excerpts. The following year, Khachaturian was commissioned to compose incidental music for a
revival of Mikhail Lermontov�s Masquerade in celebration of the author�s centenary. It has remained one
of his most successful works.

The Battle of Stalingrad is one of the composer's surprisingly infrequent film scores.



Music Composed by Aram Khachaturian
Played by the Armenian Philharmonic Orchestra
Conducted by Loris Tjeknavorian

Source: Alto/Regis CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 164 MB

Download Link - https://mega.co.nz/#!IMICBaIL!NCC_xmyJPhzJnrsPG9o4V0hYV3oaTe0E2NYbODS HgIA

Enjoy! Don't share! Buy the original! :)

Re-Ups:

Lalo Schifrin, Symphonic Impressions of Oman (No. 229):
https://mega.co.nz/#!gMAgCKyY!XgPuZFas6CHRpn7Rvgc5H2bCiaBdOoNZ5xqbcfW X3bA

Edgar Bainton, Concerto Fantasia, etc. (No. 231):
https://mega.co.nz/#!odYADQRY!OFw-piv20FCueGYoi2Ozs2ZUTxkcBPYLkaD0Fq6Nl6A

Granvile Bantock, Pagan Symphony, etc (No. 326):
https://mega.co.nz/#!EIw1kQBT!N4HURQSpDQPMl1IsaJyvhF8_QLcKAMUqqhiofHD x-xM

---------- Post added at 09:46 AM ---------- Previous post was at 09:20 AM ----------

Victor Herbert, Columbus Suite, etc. (No. 283):
https://mega.co.nz/#!UQQwwCqB!HiWunG_g3GYhWtS5-lWklUejnRQDrV9CaEE0SdC9iUU

---------- Post added at 10:23 AM ---------- Previous post was at 09:46 AM ----------


Finally got some time for re-uploading. I should have more in my HDD, but here are five albums for the time being:

298. Jacques Ibert: Suite from "Diane", La Licorne (complete) - https://mega.co.nz/#!gQ5H0CxK!cedKTWNP5qgzbPYLK-HXAGujubwrqrxRfA6vPCIl66A

29. Remick Warren: King Arthur, The Crystal Lake, The Fountain, Suite - https://mega.co.nz/#!tUh11ARI!PjoH-Xoq1g7Y7KCrFfV8ukUeqQUrj9ft3c73uTFG3wU

267. Jeajoon Ryu: Sinfonia da Requiem, Violin Concerto - https://mega.co.nz/#!1JgDVCYY!MFubZUXymcLh2PWcOWCHfweRAFlw0Gr-7PtrkBIIjO8

187. George Chadwick: Sketches, Tam O'Shanter, Melpomene, Rip Van Winkle - https://mega.co.nz/#!VUQxSapC!Mz7xbQCvmVusOVA69DIujkWFg1AoFTqluX-0r9o_3Ac

284. John Foulds: Music-Pictures, Indian Suite, Henry VIII, Suite francaise - https://mega.co.nz/#!8ZABSZ5Z!KTgYXENlyPUFkgM4kJUJvU_C0iAm8tslAo6awcd X2JA

I wanted to replace the dead links with these by Akashi, but do they work for everyone? I tried to start several of those downloads several times over three days, and not once did a download start for me.

Wimpel, all links worked (because i dl'ed them) and are working (teste 5 mins ago) mate. So dont hesitate replacing them.

PD: Thanks to Herr, Akashi, Wimpel and everyone who are making FFShrine a wonderful place!

I replaced them, checked them again. Not one of them will start for me. Weird.

I noticed Mega.co.nz was very erratic the past few days, sometimes no problem, sometimes refusing downloads for hours (other files than these).

Further re-ups:

Colin McPhee, Tabuh-Tabuhan, etc. (No. 233):
https://mega.co.nz/#!kNRmgKpA!DDleOl9YcaY5ub2orbugPkPtroBTGZXTLyOdfKH 6Gw0

David Amram, American Dance Suite, etc (No. 234):
https://mega.co.nz/#!pER32LQT!ZxCZ9QYP-q7crGa_f5H4O3SWyEZoIivxnJTPFBP1ph0

Copland, Gould, Harris, Persichetti, etc - Lincoln Portraits (No. 320):
https://mega.co.nz/#!IQR2UAjD!ax5iq23YM-Zv54q3O4pVjwi3aZxZM_2tU2Te6XItpUw

Jon Leifs, etc - Icelandic Orchestral Works (No. 264):
https://mega.co.nz/#!5QBjHQpA!M0P2xjwY3R5wBrsrMnntozWUFKNqw0wBXGCM6hN 9C0c

---------- Post added at 09:59 AM ---------- Previous post was at 09:05 AM ----------


No.367

English composer Frederic Austin (1872-1952) was brought up in Birkenhead and became a composition
teacher at the Liverpool College of Music where he met fellow composer, Cyril Scott. It was through Scott that
he met many other major composers of his day, such as Balfour Gardiner, Percy Grainger, Bax, Delius, Vaughan
Williams and Holst. As a composer, Austin wrote many songs, instrumental and chamber music, incidental
music, a concertino for piano and orchestra and film scores. His most important works are two
overtures, �Richard II� and �The Sea Venturers�, a symphonic poem �Isabella�, Symphonic
Rhapsody: Spring and Palsgaard: Danish Sketches. Austin was perhaps best known in his day as
a professional singer and was particularly known for his performances of contemporary works such as
Richard Strauss�s operas and Debussy�s Pelleas et Melisande. He also gave the first English performance
of Delius�s �Sea Drift�. In 1924 Austin was appointed Artistic Director of the British National Opera Company.



Music Composed by Frederic Austin
Played by the Royal Liverpool Philharmonic & Royal Northern College of Music Orchestras
And the Bournemouth Symphony Orchestra
Conducted by Douglas Bostock & Ronald Corp

"My favourite work here is the most recent: The Sea Venturers (1934)- Austin's friend Beecham performed it as
a tribute to Austin, after the composer died in 1952. It is powerful sea music in the spirit of Bax (another friend of
Austin's). It reminded me even more of another fine, largely forgotten composer - Philip Sainton, whose movingly
eloquent 'Nadir' was a revelation to me. Austin's fine 'The Sea Venturers' is perhaps even more in the spirit of Sainton's
seascape 'The Island'. Above all I found 'The Sea Venturers' to be both memorable and, in the quieter passages,
moving. Bernard Herrmann also came to mind! In fact I enjoyed every work on this CD, especially the Symphony from
1913. 'Spring' is the same performance as once appeared on the Classico label - another eloquent work. Austin was
rather overshadowed by the better known composers of the English Musical Renaissance, not least by Vaughan
Williams who was also born in 1872, but he is a composer, like Sainton or Rootham, deserving of recognition. His
warm-hearted music possesses a slumbering power which I find very appealing."
Amazon Reviewer





Source: Dutton Epoch CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 163 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!kZxD3JhK!GCdBRnN2_LVhornjsuUG_hJgdj05Rt7kZXIVNs3 EES8

Enjoy! Don't share! Buy the original! :)

Re-Up:

Jean Cras, Journal de bord, etc (No. 101):
https://mega.co.nz/#!Dth2maBR!eLF-x24qY0oOjvQThtm563LiZ3Z2Jwr3K9VCtoT0ktU

Please note that this re-upload now also includes CD 2 of this set, featuring Cras's Piano Concerto and Leg�nde for Cello and Orchestra.

Thanks for vice-admiral Cras complete set, wimpel!

Finally got some time for re-uploading. I should have more in my HDD, but here are five albums for the time being:

298. Jacques Ibert: Suite from "Diane", La Licorne (complete) - https://mega.co.nz/#!gQ5H0CxK!cedKTWNP5qgzbPYLK-HXAGujubwrqrxRfA6vPCIl66A

29. Remick Warren: King Arthur, The Crystal Lake, The Fountain, Suite - https://mega.co.nz/#!tUh11ARI!PjoH-Xoq1g7Y7KCrFfV8ukUeqQUrj9ft3c73uTFG3wU

267. Jeajoon Ryu: Sinfonia da Requiem, Violin Concerto - https://mega.co.nz/#!1JgDVCYY!MFubZUXymcLh2PWcOWCHfweRAFlw0Gr-7PtrkBIIjO8

187. George Chadwick: Sketches, Tam O'Shanter, Melpomene, Rip Van Winkle - https://mega.co.nz/#!VUQxSapC!Mz7xbQCvmVusOVA69DIujkWFg1AoFTqluX-0r9o_3Ac

284. John Foulds: Music-Pictures, Indian Suite, Henry VIII, Suite francaise - https://mega.co.nz/#!8ZABSZ5Z!KTgYXENlyPUFkgM4kJUJvU_C0iAm8tslAo6awcd X2JA

Item 29 downloads, but seems to have a corrupt structure using 2 different expanders.

Same for item 187.

Correction... I found a third expander that successfully handled both files.

No.368

Jerr� Tanner is an American composer of symphonic and operatic music. He studied orchestration with
Pulitzer Prize winning composer Wayne Peterson at San Francisco State University where Tanner earned an advanced
degree in composition. He has received numerous awards and grants from such diverse sources as ASCAP, the (Hawaii)
State Foundation on Culture and the Arts, the Los Angeles Chapter of the National Association of American Composers
and Conductors, the National and Hawaii Bicentennial Commissions, the Huntington Hartford Foundation in Los Angeles,
Meet-the-Composer, and two Margaret Fairbank Jory Copying Assistance grants administered by the American Music Center.

In 1997 he was awarded the Artist Fellowship in Music Composition from the State of Hawaii. He received grants from
the Hawaii Community Foundations to create recital and concert settings of Monarchy period songs for solo voice,
TTB, SSA and SATB choruses. In 1998 tenor Keith Ikaia Purdy gave the premiere of the solo settings in Wiesbaden,
Germany and later performed orchestral settings with l'Orchestre de la Suisse Romande.

In 1999 he received an ACF Continental Harmony commission for the State of New Mexico where he created "Keepers
of the Land", a choral/orchestral symphony for the Spencer Theater in Alto, and in 2001 the North Carolina project, a
tribute to 19th century Admiral Charles Wilkes, "High Seas to High Shoals", a set of eleven variations on a naval
theme, for the Gaston County Symphonic Band.

His recordings include Boy with Goldfish with the London Symphony Orchestra and �The Kona Coffee Cantata�
with the Prague chamber Orchestra for Albany Records; �Aukele (the Swimmer)� with the Polish Radio and Television
Symphony Orchestra, concert aria "Fragrant Harbor (Hong Kong)" and an orchestral Suite from his Hawaiian opera
for youth "The Singing Snails" both performed by the Slovak Radio Symphony Orchestra, and the Warrior�s Aria from
his Symphony No. 1 �The Naupaka Floret� with the Moravian Philharmonic, all released on Vienna Modern Masters.



Music Composed by Jerr� Tanner
Played by the London Symphony Orchestra
And the Nigel Brooks Chorale
With Leon Siu and Mala Elliott (vocalists)
Conducted by Lee Holdridge

"This "heroic fantasy for soloists, chorus and orchestra" is based on the Hawaiian legend paintings of Kona artist John Thomas
and has some of the most beautiful music written in this century. Jerre Tanner has a fascination with other cultures (he
has written works inspired by Hong Kong, the Bosphorus and ancient Mexico), but only uses those cultures as inspiration.
His musical modalities are quite tonal and melodic. As it is, Boy With Goldfish is sung in both Hawaiian and English, with
the mic placement precise enough that the English is quite distinct. Repeated listenings have not diminished the
unexpected pleasure of this disc. Find it. Buy it. Enjoy it."
Classical Pulse



Source: Albany Records CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 176 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!D0QQGZxZ!PIKLSRJKeLws2WD_wfmNZGJRkklkZYepR9MXLN0 HAyI

Enjoy! Don't share! Buy the original! :)

Re-Ups:

John Casken, Darting the Skiff, etc. (No. 262):
https://mega.co.nz/#!QMok2Z6A!E3cMonnCyNpTZ7We0eTMXz38i3M_uzY0WYPj0_V nL8M

Lorenzo Palomo, Sinfonia a Granada, etc. (No. 316):
https://mega.co.nz/#!cFQyGK5L!LOwUlVDe8Rlt2Fpz1fPt1kJeiKgPwENyF_OAkp0 j6NM

Nigel Westlake, Antarctica Suite, etc. (No. 317):
https://mega.co.nz/#!JIRgnQgY!NjzZ-UahYs-8p5mH0xD0I3jIIcknWDr9uYMPC56LOT4

Nicolas Flagello, The Passion of Martin Luther King (No. 324):
https://mega.co.nz/#!MFo3zBoC!LkbK6m3bqQO4xwyeLD4YsFoAZONBXEK1pSSa0Fe SZno

---------- Post added at 10:56 AM ---------- Previous post was at 10:05 AM ----------

Noam Sheriff, Mechaye Hametim (Revival of the Dead) (No. 266):
https://mega.co.nz/#!pBIUHSza!ZCGvgyV1Kzp_llMZAutCWR8CeTVB1WznWnhJm3S OJ7Y

Sorry, I'm asking again, but are there any chances for re-ups?
No.58
Victor de Sabata: Tone Poems
No.93
Antonio G�mezanda - Orchestral Works
No.148
Julo G�mez: Orchestral Works (El Pelele, Maese P�rez - el organista, etc)
Thanks for your attention.

Victor de Sabata, Three Tone Poems (No. 58):
https://mega.co.nz/#!XgAEBL7A!abXLiWGeOM7H72PQb7RuNn-KuuU95CIK2i5yjRLCrn0

---------- Post added at 06:56 PM ---------- Previous post was at 06:02 PM ----------

Antonio Gomezanda, Orchestral Works (No. 93):
https://mega.co.nz/#!boACHbjT!Vg9-1HA-oWU9F3v1xPDoh0ZUS7FeSRdgTL6YquVG4Fs

And, finally:

Julio G�mez, Complete Orchestral Works (No. 148):
https://mega.co.nz/#!XooTmCjA!XN1jqGz1GSK3zR32mftscCo6n1N-tv53j4KiesttbSw

Thank you so much, Sir! Really appreciate!
Very grateful for all your shares!

Love the BIS releases! All of them are must-DL!


Music For All: NEW-UP. BIS. Seascapes: Sharon Bezaly, Lan Shui,Singapore Symphony Orchestra. SACD-ISO, FLAC 24bit 88.2kHz 2.0 (http://organ-music-for-all.blogspot.gr/2013/06/new-up-bis-seascapes-sharon-bezaly-lan.html)







Odeon: Sibelius - The Lemmink�inen Suite - N.J�rvi (http://odeonmusic.blogspot.gr/2012/09/sibelius-lemminkainen-suite-njarvi.html)







Odeon: Sibelius - Pohjola's Daughter; Tapiola; Impromptu for Strings - N.J�rvi (http://odeonmusic.blogspot.gr/2012/08/sibelius-pohjolas-daughter-tapiola.html)









Odeon: Sibelius - Symphony No. 7; Kuolema - J�rvi (http://odeonmusic.blogspot.gr/2012/08/sibelius-symphony-no-7-kuolema-jarvi.html)








Odeon: Sibelius - Symphony No. 6; Suite from 'Pelleas & Melisande' - N.J�rvi (http://odeonmusic.blogspot.gr/2012/08/sibelius-symphony-no-6-suite-from.html)








Odeon: Sibelius - Symphony No. 5; Andante Festivo; Karelia-Overture - N.J�rvi (http://odeonmusic.blogspot.gr/2012/08/sibelius-symphony-no-5-andante-festivo.html)








Odeon: Sibelius - Symphony No. 4; Canzonetta; The Oceanides - N.J�rvi (http://odeonmusic.blogspot.gr/2012/08/sibelius-symphony-no-4-canzonetta.html)







Odeon: Sibelius - Symphony No. 3; Suite from "King Kristian II" - N.J�rvi (http://odeonmusic.blogspot.gr/2012/08/sibelius-symphony-no-3-suite-from-king.html)








Odeon: Sibelius - Symphony No. 2, Romance - N.J�rvi (http://odeonmusic.blogspot.gr/2012/08/sibelius-symphony-no-2-romance-njarvi.html)








Odeon: Sibelius - Symphony No. 1; Finlandia - N.J�rvi (http://odeonmusic.blogspot.gr/2012/08/sibelius-symphony-no-1-finlandia-njarvi.html)








Odeon: Sibelius - Kullervo, op. 7 - J�rvi (http://odeonmusic.blogspot.gr/2012/04/sibelius-kullervo-op-7-jarvi.html)

Another re-up:

Benjamin Britten, War Requiem (No. 269):
https://mega.co.nz/#!dFhj1QCD!ELQ6pXolTc6pnBV38bAJVUbJXYJNx6lL4jmVorw 6oF0

Tsobanian, is that your blog or are you linking to someone else's?

What do people here recommend? I don't know what to download. I'm not familiar with much classical music at all.

What I was trying to do in this thread was to introduce people to isolated works by certain lesser-known composers from around the world so that they can go out and explore more of those on their own. :)

Tsobanian, is that your blog or are you linking to someone else's?

I am liking to sb else's, because they have too much awesomeness (as do your posts)! That's is why I am putting the screens in spoiler tags, so as not to distrub your continuity. If you feel that I am raining on your parade, I will bail out.

No, you're not raining on my parade. It's just that in the scope of this thread I want to direct people towards many
different composers and styles rather than present them with an entire body of work.

That's also why I don't simply provide links but compile (and in a few cases myself provide) information on the composer,
the works and the album as such with every posting, which is actually quite a lot of work. Although I'm not entirely convinced
that people do read the info before they click on the links. ;)


No.369

The pianist and composer Edward MacDowell (1860-1908) was one of the first American composers to achieve
any degree of international fame. He studied in Paris, eventually at the Conservatoire, before moving to study the piano
with Carl Heymann at the Hoch Conservatory in Frankfurt, where he had composition lessons with Joachim Raff.
There was encouragement from Liszt and further years spent in Europe until his return to the United States in 1888.
There he succeeded in establishing himself as a teacher, pianist and composer, with appointment as the first
Professor of Music at Columbia,a position he held until 1904. His last years were clouded by mental illness.

The Orchestral Suite No.1 in D minor was begun in 1890, shortly after the MacDowells had returned from
Germany, although the In October movement was not written until 1893 The premiere of the complete work was
given by the Boston Symphony Orchestra under Emil Pauer two years later. As in so much of his music, MacDowell
relies heavily on literary and natural influences for the five sections of the piece. In a Haunted Forest could
have come straight from the pages of a children's storybook, a wild orchestral ride full of chromatic swoops, its
mysterious beginning giving way to pulsating energy. Summer Idyll and In October are contrasted nature
studies, the latter jaunty with hunting-horns. The final pair of movements are respectively a gentle pastorale and a
Mendelssohnian scherzo full of typically filigree woodwind instrumentation laid over a gathering accelerando.
MacDowell's first biographer describes the suite, rather approvingly, as "fastidious" music and elsewhere makes
the intriguing observation that MacDowell's work in general is "agreeably free of the fevers of sex".

Although published as Opus 48, the "Indian" Suite (Orchestral Suite No.2) was actually the first of the
two orchestral suites to be completed It dates from 1892 but did not receive its first performance until 1896 in a
concert with the Boston Symphony Orchestra which also included MacDowell performing his own first Piano Concerto.
In many ways, the "Indian" Suite is an ambitiously symphonic piece of work for a composer who was better known
for (and temperamentally suited to) miniatures. The first movement, Legend, sets the tone, a grandiose and stormy
evocation of the "once-great past of a dying race" which uses material attributed by Theodore Baker to the Iroquois
and Chippewa tribes. This gives way to a gentle Love Song, which apparently takes its melodic germ from the
Iowas, though the opening flute solo also has rhythmic echoes of the Scotch snap. In Wartime, the lively third
movement, is based on the music of the Atlantic Coast and then comes a Dirge, drawn from a woman's song of lament
from the Kiowa. The elegiac mood of this music inspired one contemporary critic to describe it as "the most profoundly
affecting threnody since the Gotterdammerung Trauermarsch". Certainly MacDowell himself was proud of it; "Of all
my music, the Dirge in the "Indian" pleases me most. It affects me deeply and did when I was writing it, In it a
woman laments the death of her son; but to me it seemed to express a world-sorrow." The suite finishes with the
vital and brilliant Village Festival, and MacDowell closes the circle with a brief reassertion of the dramatic atmosphere
of the first movement.

MacDowell's earliest tone poem, Hamlet and Ophelia, was originally a pair of separate works which the composer
later conflated In July 1884, the 23-year old MacDowel1 and his new wife had visited London where they saw productions
of several Shakespeare plays including Hamlet, Othello and Much Ado About Nothing, He was particularly impressed by
the performances of Sir Henry Irving and Ellen Terry. Maybe because of this, MacDowell's Hamlet tone poem chooses
not to depict the action of the play (unlike, say, Tchaikovsky's Romeo and Juliet) but rather gives character sketches
of two of its principal characters, an attempt at psychodrama bearing very much a Lisztian hallmark.



Music Composed by Edward MacDowell
Played by the Ulster Orchestra
Conducted by Takuo Yuasa

"I�ll say one thing: Naxos gives great notes. Reacting against Dvor�k�s suggestion that American
composers look to Negro Spirituals and other ethnic music for inspiration, Edward MacDowell retorted:
�Purely national music has no place in art. What Negro melodies have to do with Americanism still remains
a mystery to me. Why cover a beautiful thought with the badge of slavery rather than with the stern
but at least manly and free rudeness of the North American Indian�? What we must arrive at is the
youthful optimistic vitality and the undaunted tenacity of spirit that characterizes the American Man.�

So speaks the true voice of the oppressor. Really, a nicer guy never got run over by a horse-drawn cab.
Still, this little extract teaches us two useful lessons. First, what a composer says about music in general
doesn�t necessarily have anything to do with what he actually writes. After all, �youthful optimistic vitality�
and �undaunted tenacity of spirit� are about the last qualities that come to mind when listening to the
pieces on this disc�more like faux Mendelssohn with a Liszt spritzer. Second, the fact that a composer
may not be particularly agreeable, or even especially intelligent, doesn�t detract from the purely musical
value of his output (if any, of course).

MacDowell�s two suites for orchestra have waited a long time to appear on CD, and the fact that they
may not be all that audacious or exciting does not detract from their considerable charm, attractive
fund of melody, and apt scoring. Takuo Yuasa and the Ulster Orchestra lavish genuine care on these
pieces, playing with real dedication and more than enough sympathy to justify the composer�s pride in
the Indian Suite�s �Dirge� as one of his finest achievements. The Second Suite is, in fact, a very
substantial work that does not deserve its obscurity. And yet we have to wonder just what a composer
whose music was approvingly described in his own lifetime as �agreeably free of the fevers of sex�
could make of Hamlet & Ophelia; and whatever the music�s qualities, let us just say that it fully lives up
(if that�s the word) to MacDowell�s chaste reputation. As noted, Naxos� documentation is exceptional,
and the sound fine."
Classics Today (9/8)



Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 149 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!QUYWzBJK!W7qIc2GtCWqZ7gNd6MSyI04y8DlD4_jMvefZbKt KWFk

Enjoy! Don't share! Buy the original! :)

What do people here recommend? I don't know what to download. I'm not familiar with much classical music at all.

Many of these are lesser known romantic and impressionistic tone poems. That doesn't denote the quality, as many of these are very fine. You might do well to familiarize yourself with some of the "classics" of classical music first. But go to the first page and pick up Respighi's Roman Trilogy. You won't be disappointed.

Another re-up:

Joby Talbot, Alice's Adventures in Wonderland (No. 325):
https://mega.co.nz/#!jlBxGLiI!N_cPVkh0ZMTfgM-lOg1wvHFAsN54iWaqpFDlmWBCgPY

---------- Post added at 12:12 PM ---------- Previous post was at 11:19 AM ----------

Also:

Carlo Alberto Pizzini, Orchestral Works (No. 139):
https://mega.co.nz/#!yhh2AIDL!EDwlyCQ8HCqjqMqm33Apw0ss9ydtmQQOm6g9PYg 0Yqk

---------- Post added at 12:52 PM ---------- Previous post was at 12:12 PM ----------

And:

Ildebrando Pizzetti, Piano Concerto, Cabiria Suite (No. 81):
https://mega.co.nz/#!mowH1LiC!JoJuKxXsTqCEr6-uE30bXDhPoeNdNX0t2PxTmiPkcNE

I just watched the complete Alice ballet (ROH -Talbot) some days ago. It was an exhilarating experience!
Thank you so much for the re-up!

And the second Pizzetti disc of No.81 as well, featuring his wonderful Concerto dell'Estate (Summer Concerto):
https://mega.co.nz/#!asADlTII!GEwukWPxY4OXSy1eZ5mvLlYnXzxpeDUZp-O2o1lbs3o

The two Ernest Bloch releases of No.82:

https://mega.co.nz/#!zlAAnQzD!BvdKCHGGOvJjKqB2fnzwrSbd06AgVU0DE-oU9VMPeR4

https://mega.co.nz/#!yxQkUZhT!Z40UqCHraWg4UkCPF_Hqilz7fG9CFTDnMkN6WUz SIlg

Thanks again for all the goodies Wimpel. I got quite impressed with some Lloyd's symphonies and works. �Could you have more interesting things from Lloyd?

This week i've been hearing some spanish composers like Granados, Albeniz, etc. I excepted a whole different thing but somehow, i like them. I think i heard too on a Radio show and De Larrocha was playing them or something like that but i got quite impressed as i sais before.



What do people here recommend? I don't know what to download. I'm not familiar with much classical music at all.


This is like "Ei, what anime composer/film composer would you recommend" <- A queestion you can easily take to write an "small" a list xD.

Buff. Depends. �Are you totally new on classical music? If so, you would want to hear first some "mainstream" classics like Schubert, Mozart, Beethoven, Bach, Brahms, etc. Those typical names. But if you prefer not to and have been hearing some film scores you can see what composers here do some scores for films, Gould, Copland, Rota, etc. Anyways all depends of what each one likes and not, for example, i love those Arnold Bax works, Sibelius (which some years ago i didnt know nothing bout him and now i love his works!), Barber, Respighi, Lloyd, Lam (and could go like ages with this xD), etc. Also I recommend you to take a look at other Wimpel's thread like Shostakovich one's (you will like this for sure), Tansman, Tcherepnin, Sibelius, etc. Which focus more on a plenty work series. That will be a nice way to start.

And on the other hand taking a look at "the big orchestral action music thread" would be another interesting thing to do because there you will found also some other classical pieces (along anime composers, film scores and jap material) which could fill too your tastes.

My 2 cents and sorry for my english U^^.

No.370

Boris Parsadanian (1925–1997) was an Armenian-Estonian composer. Born in Kislovodsk, Russia,
his initial studies were conducted under Litinsky at the Studio of the Armenian House of Culture. His studies
were interrupted by World War II, for which he was decorated for his service. He resumed his post-war
studies as a violin student at the Gnessin School in Moscow until his graduation in 1950.

Parsadanian's first two symphonies betray the influence of Shostakovich, but these are vividly dramatic
and purposeful works with an obvious political context (the subtitles are "In Memory of the 26 Comissars
of Baku" (No.1) and "Martyros Sarian" (No.2)).

The 26 Baku Commissars were Bolshevik and Left Socialist Revolutionary (SR) members of the Baku Soviet Commune.
The commune was established in the city of Baku (the capital of the briefly independent pre-Soviet Azerbaijan
Democratic Republic, now the Republic of Azerbaijan). The commune, led by Stepan Shahumyan, existed until
26 July 1918 when the Bolsheviks were forced out of power by a coalition of Dashnaks, Right SRs, and Mensheviks.
After their overthrow, the Baku commissars attempted to leave Baku but were captured by the Centrocaspian
Dictatorship and imprisoned. According to the Soviet historiography, on 14 September 1918, during the fall of
Baku to Ottoman forces, Red Army soldiers broke into their prison and freed the commissars; they then boarded
a ship to Krasnovodsk, where they were promptly arrested by local authorities and, on the night of 20 September
1918, executed by a firing squad between the stations of Pereval and Akhcha-Kuyma on the Transcaspian Railway.



Music Composed by Boris Parsadanian
Played by the USSR Radio/Television and the USSR State Symphony Orchestras
Conducted by Evgeny Svetlanov

"Yevgeny (or Evgeny) Feodorovich Svetlanov was one of the twentieth century's leading Russian
conductors. He came from a musical and theatrical family: His father was a soloist in the Bolshoi
Theater and his mother was an artist in a mime theater. Svetlanov was a 1951 graduate of the Gnesin
Institute where he studied composition with Mikhail Gnesin and piano with Mariya Gurvich; later,
Svetlanov continued his studies with Yury Shaporin in composition and Alexander Gauk in conducting
at the Moscow Conservatory.

While Svetlanov was still a student, he conducted with the All-Union Radio (1953) and also first
conducted the State Symphony Orchestra in 1954. Svetlanov became an assistant conductor at the
Bolshoi Theater in 1955, and in 1962, he was appointed to the position of principal conductor.
During his time there, Svetlanov became a favorite for the fresh, colorful sound he brought to the
Russian opera repertory, particularly in operas of Nikolay Rimsky-Korsakov and in Tchaikovsky's
The Queen of Spades. It was he who led the Bolshoi on its historic visit to the stage of La Scala in Milan.

In 1965, Svetlanov became the principal conductor of the U.S.S.R. State Symphony Orchestra, now
known as the Russian State Symphony Orchestra), and remained in that position until 1999, when he
retired. This position became the basis of Svetlanov's conducting and recording career. Svetlanov
decided to undertake a comprehensive program of recording all the major orchestral music of Russian
composers from Glinka to Myaskovsky, a span of something more than a century. Svetlanov also
recorded the music of Russian composers of later days, such as Shostakovich, Prokofiev, Shchedrin,
Knipper, Shebalin, Khachaturian and Eshpa�. Over his lifetime, Svetlanov managed to collect several
Soviet state awards, including People's Artist of the U.S.S.R. in 1968, the 1975 Lenin Prize, and the
Glinka Prize in 1975. In 1979, Svetlanov was named principal guest conductor of the London
Symphony Orchestra; he also worked with the Residentie Orchestra of the Hague and leading
orchestras of Japan, France, and Sweden. In 1998, Russian president Boris Yeltsin observed
Svetlanov's seventieth birthday with national honors. Upon Svetlanov's death, English critic David
Wilkins recalled the conductor as "an essential champion of the soul of Russian music."

Svetlanov was also a composer and wrote symphonic, chamber, and vocal music, including a piano
concerto. He was married to Russian soprano Larisa Avdeyeva. Svetlanov's life was portrayed in
the Soviet film biography Dirizhor (The Conductor)."
All Music



Source: Russian Disc CD (my rip!)
Format: mp3, 320k/s (CBR), AAD Stereo
File Size: 178 MB

Download Link - https://mega.co.nz/#!dBpC1LDK!fMYZ8RajOulbbaz8PBeHIxWMWItQFoLgOr4ieVX DJGU

Enjoy! Don't share! Buy the original! :)

Well, after 5 full days I've finally worked through all 28 pages, and downloaded the 154 items currently still available.

There are now 229 items requiring re-uploads.

The numbers do not add up to the 370 items posted by Wimpel, as others have posted additional un-numbered items.

There are no "Mega" links that are currently inactive.

I won't simply list all the items that do need to be re-uploaded, as 229 seems rather much; but I will reduce that list as re-uploads are posted.

I have not downloaded any of the Tsobanian items as they are from external blogs, and are not part of the thread's original intention.


If any new re-uploads are requested that I have downloaded from this thread, and are now on one of my HD's then I'll see what I can do about helping. Mega seems to be a reliable hoster, but they appear not to allow anonymous uploads. For the moment I will use Packupload.

Many thanks to Wimpel and Herr Salat, and others for all your efforts.

No.371

One of the most important 20th century Greek composers, leader of the modern Greek "national school", Manolis Kalomiris
was born in Smyrna (today's town of Izmir in Turkey) in 1883 and died in Athens in 1962. His activities as composer, author, teacher,
critic and manager shaped Greek musical life to a considerable extent during the first half of the 20th century.

He started his musical education in Athens and Constantinople and completed it in Vienna between 1901 and 1906. After spending
four years as a piano teacher in Kharkov, in what is today the Ukraine and was then part of Imperial Russia, he settled permanently
in Athens, in 1910. He founded two of the most important Conservatories in Greece as well as the Union of Greek Composers, he
served for a time as director of the National Opera and in 1945 he was the first musician to be elected member of the Athens
Academy. His large output includes 3 symphonies, and 5 operas and hundreds of songs.

The Palamas Symphony (1955, Συμφωνία αρ.3, Παλαμική) is Kalomiris's third symphony, composed after the Levendia Symphony [ Symphony of
Manliness ] (1920) and The Symphony of the Good and Innocent People (1931). The Palamian Symphony was completed in the
spring of 1955 and first performed by the Athens State Orchestra on 22 January 1956 in Athens, under the direction of the
great Greek conductor Andreas Parides (1910-2000) to whom the work is dedicated. All three symphonies are related to the great
Greek poet Costis Palamas; the Levendia Symphony is dedicated to him, The Symphony of the Good and Innocent People borrows
its title from one of Palamas's verses and the Palamian Symphony proudly bears the poet's name. Kalomiris wrote:

" Whatever good and pure I have produced is most of the times inextricably bound to Palamian verse, to the Palamian Idea.
Today, in my declining years and before I set out on the ultimate journey, I wish for yet once more to sing against the backdrop
of His divine lyre. And I set the Palamian Symphony as an altar, a monument of my faith to the ever-lasting Greek Art and the
Poet who symbolizes it. " The work was received with great enthusiasm and was praised to the skies by almost the entire
Athenian circle of musicians and intellectuals. The Palamian Symphony stands as one of the greatest landmarks, not
only in modern Greek music but also in Greek art and beyond. The contribution of Greek symphonic music to the challenging
terrain of European symphonic composition has not yet been duly appreciated, yet the experience of listening today to such
a work as the Palamian Symphony suggests that such contribution is far from negligible.

The Three Greek Dances, even though composed separately, much earlier and at different times, were joined together
in 1934 to form an integral dance suite. The first dance, Ballos, based on the two-beat rhythm typical of this popular
dance from the Greek islands, was initially composed for piano about 1917. Idyllic Dance, which borrows its motifs from
Kalomiris's first opera The Master Builder (1916), was composed in 1924 by commission of the Grassi concerts, which
also undertook the work's inaugural performance in Paris. It is in fact a fantasy, lacking a characteristic rhythmic pattern.
In concert programmes of the time, this dance was also referred to as The Singer's Intermezzo, since its theme has
been borrowed from the whistle flute played by the character of the young singer in that opera. Dance from Tsakonia
( Tsakonikos ) originates from the composer's second opera The Mother's Ring (1917). Written in the traditional
five-beat rhythm, the original theme of this dance is embellished with phrases and themes from the opera.



Music Composed by Manolis Kalomiris
Played by the Athens State Orchestra
With Nikitas Tsakiroglou (narrator)
Conducted by Byron Fidetzis

"Manolis Kalomiris (1883�1962) has often been called the Father of Modern Greek classical music.
He is a prolific composer, and an extremely gifted one at that. I was familiar with his name but had
never heard any of his music before. This rectifies a definite delinquency in my musical education.
If you like Hindemith, or any number of modern tonal American composers, Bartok, and Shostakovich,
there is no way you cannot like this music. The pieces here are all very accessible, exciting,
and full of that long lost sense of discovery when you first listen. Triptych was a work designed to
honor the memory of the celebrated Greek national hero (of Cretan origin) Eleftherios Venizelos, the
man who launched the modern nationalist movement in Greece and fought for the autonomy of
Crete and its �merger� with Greece. The piece is a powerful one, with a particularly affecting slow
movement March funebre. It was premiered on the day that another of the composer�s mentors
died, Costis Palamas, a great poet. This led to the genesis of the Symphony No. 3, �Palamian�, a
major work in four movements marred only in my mind by the unfortunate use of a narrator�who
adds little that couldn�t be put in some well done program notes.

The Three Greek Dances deserve a place with those of Grieg, Dvorak, and Arnold, characteristic of
the culture, lively, and refreshing to listen to. The Destruction of Psara is a very short two-minute
work that makes for nice filler but seems to me rather insubstantial.

Who would have guessed that the Athens State Symphony could play so well? They rip into this
music with a nationalistic fervor and succeed in a highly competent manner, with no detectable
weaknesses in the orchestra anywhere. This is a real eye-opening disc, and one that will pay repeated
rewards on multiple hearings. The Naxos sound, recorded at the ASO�s recording venue and hall, is
excellent, spacious with fine qualities that show the orchestra to good advantage. Be bold, and try it!"
Audiophile Edition



Source: Naxos (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 152 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!PlREFaDD!D6jTYGIFgvkSv6TWiL-lfVExGVBrEurBVuSc6-gm8yE

Enjoy! Don't share! Buy the original! :)

Excellent post!
Thank you very much for Manolis Kalomiris, wimpel69.
It's a pity though that:
1) "Naxos" has made such a mistake on the cover ('Palamanian' instead of 'Palamian')
2) The Editor of "Audiophile Edition" hasn't realized yet that the Athens State Symphony
(KOA in Greece) is for more than 100 years one of the best in the world.

Thanks for the post!
I've spent years trying to get hold (unsuccessfully) of a wonderful Kalomiris work called "Magic Herbs" which I heard years ago at the Herodion. A most beautiful song cycle.
I wish someone could post it!

Many of these are lesser known romantic and impressionistic tone poems. That doesn't denote the quality, as many of these are very fine. You might do well to familiarize yourself with some of the "classics" of classical music first. But go to the first page and pick up Respighi's Roman Trilogy. You won't be disappointed.

As said above, Respighi's Roman Trilogy is a good place to start. This is colorful and sweeping orchestral music, very hard to dislike. ;) - Someone unfamiliar with classical music should probably start with the broadest and most filmmusic-y part, "Roman Festivals". If one likes Mikl�s R�zsa's music for biblical/historical epics AT ALL, he or she should fall in love with those.

Since the posts, incl. the re-up, were gone again already, I once again re-upped them, this time to MEGA. Count on a fat, determined German slob (I'm German, I am allowed to say that) to provide us with a safe harbor for our uploads. Here they are:

Respighi, The Roman Trilogy (No.4):
https://mega.co.nz/#!O5YDUAAZ!YUJ8qgmXbyyK8FmlsaKj62jGqT9hxZlZtle80rs prHU

Respighi, Belkis - Queen of Sheba, Church Windows (No.4):
https://mega.co.nz/#!n8B0VA7Q!UmXv5x6OzHpE8RjszSn3I2C1L4kKlWlcZ3YR7PW HLqA

If those are appreciated, one may consider Pizzetti's orchestral works next, which are not that different. Malipiero, Casella, Pizzini, Castelnuovo-Tedesco are all a good fit as far as this particular kind of music is concerned.

---------- Post added at 05:01 PM ---------- Previous post was at 04:12 PM ----------

And since Bax seems to en vogue again, here's a re-up of some of his finest tone poems. One of the best, maybe the best orchestral Bax disc of all time.

Arnold Bax, Tintagel et al (No.5):
https://mega.co.nz/#!booBnB5Z!fMhUD2SrWXU3WsIhiS-rplyKMHNN-OwhGU2IquMRIw4

---------- Post added at 05:17 PM ---------- Previous post was at 05:01 PM ----------


Excellent post!
1) "Naxos" has made such a mistake on the cover ('Palamanian' instead of 'Palamian')

Thanks for pointing that out. I changed the title according to the one given on the Kalomiris Foundation website.

Many of these are lesser known romantic and impressionistic tone poems. That doesn't denote the quality, as many of these are very fine. You might do well to familiarize yourself with some of the "classics" of classical music first. But go to the first page and pick up Respighi's Roman Trilogy. You won't be disappointed.

Yep, Respighi is great. You could look at those "99 Classical Pieces for $1" deals that Amazon has on all the time too, they're often greatest-hits-ish.

Thank you once more for Arnold Bax, Tintagel et al (No.5).
This music is wonderful!

Alpaerts, Meulemans, D'HOedt - Flemish Orchestral Works (No.6):
https://mega.co.nz/#!6kAEhQxD!UWR4IQNTEnz6S6yvPfXdKHxpkWs-0NuH4hzjmFQ4HGU

No.372

During the 1920s many French composers reacted against the Wagnerian influences of the late
nineteenth century, the impressionism of Debussy, and the dominating atmosphere of the circle
around C�sar Franck, and turned instead to the everyday world � the circus, the music hall, the
fairground and jazz � for inspiration. The two French ballet scores presented here combine many
of these elements and being collaborative efforts, provide a unique cross-section of the work of a
dozen composers � some well-known, others barely mentioned in textbooks on the period.

The �Jeanne� of L��ventail de Jeanne was a Parisian hostel and patroness of the arts who also ran a
children�s ballet school. In the spring of 1927 she capriciously presented ten of her composer friends
with leaves from her fan, asking each of them to write a little dance for her pupils. The first
performance took place in 1927. The children were dressed in fairytale costumes and the d�cor
was enlivened by a set designed with mirrors. Such was its success that two years later it was
performed at the Paris Opera with the little Tamara Toumanova, who was later to become a famous
international ballet star.

Jean Cocteau, the Parisian aesthete, asked the composers which made up the Les six Fran�ais to
write the music for a new stage work for the Swedish Ballet. Cocteau�s project was to be a surrealist
fantasy which the author described as a spectacle � �a sort of secret marriage between Ancient-Greek
Tragedy and a Christmas Pantomime�. The story of Les Mari�s de la Tour Eiffel takes place on the
newly built Eiffel Tower of the 1890s and satirises a petit-bourgeois wedding party celebrating the
bride and groom�s nuptials with a banquet and wedding photograph. However, the words
�Watch the Birdie!� are the signal for some strange apparitions to materialise through the
lens of the camera!



Music by Maurice Ravel, Arthur Honegger, Francis Poulenc, Germaine Tailleferre, Jacques Ibert, Florent Schmitt,
And by Georges Auric, Albert Roussel, Alexis Rouland-Manuel, Pierre-Octave Ferroud & Marcel Delannoy
Played by the Philharmonia Orchestra
Conducted by Geoffrey Simon

"I listened to these two on-act pastiche ballets on a broiling hot, humid June night when it
was 84 degrees in my living room and said, �who needs air conditioning! This is better than
AC!�� What gorgeous playing and sound in All saints� Church Tooting (a suburb of London)."
American Record Guide


Les Six

Source: Chandos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 129 MB (incl. cover booklet)

Download Link - https://mega.co.nz/#!Ac5iVTLJ!HeUydBO8Lm0CGS2TkJxsjmF1p5cT5Db_R7Niao7 UKvA

Enjoy! Don't share! Buy the original! :)

No.373

Karel Husa, winner of the 1993 Grawemeyer Award and the 1969 Pulitzer Prize for Music,
is an internationally known composer and conductor. An American citizen since 1959, Husa was
born in Prague, Czechoslovakia, on August 7, 1921. After completing studies at the Prague Conservatory
and, later, the Academy of Music, he went to Paris where he received diplomas from the Paris
National Conservatory and the Ecole normale de musique. Among his teachers were Arthur Honegger,
Nadia Boulanger, Jaroslav Ridky, and conductor Andre Cluytens.

Fresque, part of a larger work. Three Fresques for Orchestra, is the most tonal of the
works included in the present recording and is a product of Husa's studies with Arthur Honegger.
It was first performed by the Society for Contemporary Music Radio Orchestra in Prague on
27th April 1949, under the direction of Vaclav Smetacek. Honegger's influence is apparent, with
formal, harmonic and rhy1hmic reminiscences of that composer's Pacific 231. In Fresque Husa
has created a work that corresponds to a large-scale fresco, his harmonic language, rhythms
and orchestration depicting different pigments in the painting. Darker hues are represented by
the piano, low, muted brass and woodwind, while lighter colours are suggested by the brighter
timbres of piccolo, flute and strings.

Reflections, written in 1982 and 1983, is dedicated to the memory of Edward B. Benjamin
and was commissioned by the North Carolina Arts Council, the National Endowment for the Arts
and Mrs. Edward B. Benjamin Sr. It was composed for Sheldon Morgenstern and the Eastern
Music Festival and perhaps best symbolizes Husa�s synthesis of the old and new. Neither classical
nor romantic in style, Symphony No.2 is a reflection of multi- movement symphonic form, with all
three movements closely related by modes, scales and rhythmic elements. The ensemble used is
the size of that for late Mozart and early Beethoven symphonies, with the addition of harp and
percussion. This is contrasted with a more contemporary harmonic idiom. In Reflections Husa
frequently establishes a screen of quarter tones from which melodic lines weave in and out.

Karel Husa's Music for Prague 1968 was first performed in its orchestral version on 31st
January 1970, with the composer conducting the Munich Philharmonic Orchestra. The first
performance of the original version for wind band took place in Washington D.C. on 31st
January 1969, with Kenneth Snapp conducting the Ithaca College Concert Band in a concert
for the Music Educators' National Conference. The work was written in response to the communist
seizure of power once more in Czechoslovakia in 1968. In this powerful and moving composition
Husa uses elements of serialism, but, unlike many of his contemporaries, he does this in atonal
context. It is not serialism itself that interests him, but the compositional procedures and
manipulations that can be derived from its use. Music for Prague has those quarter-tone
harmonies and dramatic crescendos that have become a characteristic of his work.
Contemporary improvisational sections can be found side by side with intricate passages
for percussion ensemble.



Music Composed by Karel Husa
Played by the Slovak Radio Symphony Orchestra
Conducted by Barry Kolman

"The best orchestral playing I have heard from Bratislava.
This is a most successful disc, and I recommend it to all."
Fanfare



Source: Marco Polo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 129 MB (incl. booklet)

Download Link - https://mega.co.nz/#!rghmQAiR!NxJKBliuZ6ieNhYk9KNvdBvl_rsS02pphFdar56 jNXA

Enjoy! Don't share! Buy the original! :)

Re-Ups:

Alexander von Zemlinsky, Die Seejungfrau (The Mermaid) (No.11):
https://mega.co.nz/#!O94SmYwT!XL_ldWFmyLCHRo8KErY2vFSPbWlO7LLW6CH_jl7 yTW0

Vincent d'Indy, Jour d'�t� a la Montagne (A Summer's Day in the Mountains) (No.12):
https://mega.co.nz/#!Wt4FCSAb!JwN-hSgXeX6lFO5ECpZlvgnQAkN1dwB2uFgSBRIOJzY

These are two fabulous extended symphonic poems, The Mermaid is one of the most brilliantly orchestrated works in all late-Romantic music, while the impressionistic Summer's Day is a wonderful symphonic travelogue. Don't miss 'em.

Coming back to the question of "newbies" who are just discovering classical music, I don't think that a "99 Cent Classical Spectacular" would be the way to go.

Firstly, if a user of this board wants to explore classical music, one may safely assume that he/she was previously exposed to SOME form of orchestral music via film scores, whether it was John Williams (thus: Sergey Prokofiev, Igor Stravinsky, Aaron Copland, Richard Strauss, Pyotr Tchaikovsky, Erich Korngold), Jerry Goldsmith (i.e. B�la Bart�k, Igor Stravinsky, Alban Berg, Aaron Copland, Richard Strauss), James Horner (from: [PLACE ANY CLASSICAL WORK KNOWN TO MAN HERE]) or Hans Zimmer (i.e. The Royal Philharmonic Play Queen, The Grateful Dead Symphony) - so it would make little sense to be listening to things like Dvor�k, Beethoven, Haydn, Mozart, Schumann, or Bruckner first. That's just too far off the mark.

Rather it's, broadly speaking, the period between the late 19th century (tone poems by Richard Strauss) and the beginning of WWII (later Bart�k, Stravinsky)that should be the starting point for a film music fan who wants to know what kind of music film scores evolved from. The terms late Romantic, impressionist(ic), neo-classical, "gem��igte Moderne" (a wonderful term in German for which there is no direct translation; it means "moderate modernism", or "classical modernism" in English), "neue Sachlichkeit" (again, German: something like "new objectivity", or, in one word, Hindemith) readily spring to mind that describe the kinds of music most commonly used in film scores.

For someone starting out in the classical music world it is best to investigate the more accessible composers. Ravel, Vaughan Williams and especially Copland.

Stay away from anything German. Too heavy. Especially the operas that go on for three or four weeks.

Gramaphone magazine use to have a section "IF you like this, you might try this-" And it was very helpful and fun. Now you have to read the CD booklet closely and learn who taught who and what other composers were at work during a certain period.

No one in the film music realm, other than Korngold, lead me to classical music.

Thanks for all your work (I have switched to liking the posts I dl'ed, in order not to clog the thread). Just a question to all: I have been trying to dl #370 (parsadinian) about 12 times over the past days, and I get an error every time. Other MEGA files are OK. Is it just me?

Thanks for all your work (I have switched to liking the posts I dl'ed, in order not to clog the thread). Just a question to all: I have been trying to dl #370 (parsadinian) about 12 times over the past days, and I get an error every time. Other MEGA files are OK. Is it just me?

It just took 5 mins... I guess it's just you.