Abbey Simon, St. Louis Symphony Orchestra And Leonard Slatkin Rachmaninoff: Piano Concertos Nos. 1 & 4

Bella Davidovich (born in 1928) won the prestigious Warsaw International Chopin Competition in 1949, sharing first prize with pianist Halina Czerny-Stefanska. This is a rare recording of Chopin's two Piano concertos, with a warm sense of music. The piano has a weak presence, as if Chopin himself were playing. The London Symphony Orchestra, under Sir Neville Marriner, is not only an accompanist, but it has a full powerful presence. Enjoy this jewel!

Alexander Ullman was the winner of the 2011 Franz Liszt International Piano Competition in Budapest. He studied at the Purcell School, the Curtis Institute and the Royal College of Music. His teachers include William Fong, Leon Fleisher and Dmitri Alexeev. Alexander’s debut album on Rubicon was a recital of great Russian ballet music arranged for piano – Tchaikovsky, Prokofiev and Stravinsky – and received enthusiastic reviews from around the world. This album is his first concerto recording – the two Liszt Concertos are coupled with the B minor Sonata.

The St. Louis Symphony and their music director Stéphane Denève present a wonderful program featuring two of the most accomplished American composers in history: Leonard Bernstein with his Serenade and John Williams with his Concerto for violin and orchestra, both performed by star James Ehnes, one of the most exceptional North American violinists. John Williams himself was present at the recording of his violin concerto, working together with the St. Louis Symphony, Denève, and Ehnes.

Nikolay Rimsky-Korsakov’s Scheherazade is one of the most popular suites in the entire orchestral canon. The work’s imperishable melodies and sonorities were an influence on Stravinsky and have been referred to by innumerable cinema composers ever since. The musical narrative draws on The Arabian Nights, appealing to the imagination with its haunting beauty and enchantingly exotic atmosphere. The entire world of Bedrich Smetana’s beloved opera The Bartered Bride is captured in the Overture, the rousing nature of its dances a further celebration of Czech national resurgence in the 19th century. The Elite Recordings for Vox by legendary producers Marc Aubort and Joanna Nickrenz are considered by audiophiles to be amongst the finest sounding examples of orchestral recordings.

This sequence of Wagner’s preludes and overtures ranges across his compositional output, from Rienzi, his first distinctive opera, through the stirring Prelude to Act I of Die Meistersinger von Nürnberg and the Ride of the Valkyries from Die Walküre, to his last work, Parsifal from which we hear the Good Friday Music. They are performed by the St. Louis Symphony under the Polish conductor Jerzy Semkow who was the orchestra’s music director from 1975 to 1979.

The playing by the orchestra is super-human. This recording is by far the best performance in their already excellent series.

Sequiera Costa is a legend among pianists. In 1951 he was honoured with the Grand Prix de Paris at the Marguerite Long International Competition. Since receiving that momentous honour, he has played an important role in music history in our time. Dmitri Shostakovich invited him to join a distinguished body of jurors, which included Sviatoslav Richter, Dimitri Kabalevsky, Aram Khachaturian and Emil Gilels, for the First International Tchaikovsky Piano Competition in Moscow. As the youngest member of this prestigious jury, he was only a few years older than Van Cliburn, the winner of the competition.

More superlative performances of early 19th-century concerto repertoire from Howard Shelley and his Tasmanian Orchestra. Following on the heels of Moscheles and Herz, this time it’s Kalkbrenner, another of those virtuosi hugely acclaimed in their time and now forgotten. Kalkbrenner’s music bridges the gap between the classical and romantic styles and such was his fame that his presence in Paris resulted in that city becoming the pianistic centre of the romantic movement in the 1830s with Chopin, Liszt and Thalberg all basing themselves there; indeed Chopin originally planned to study with the older composer, only declining when Kalkbrenner told him he must not play in public for three years while under his tutelage.