Peep Show From No. 5 2000 in Pdf

Another memorable pair of transfers from Michael Dutton–and in the first, a fine memorial to the pianism of Prokofiev himself. The concerto was recorded at Abbey Road in London in 1932, the year before Prokofiev returned to live in the Soviet Union after nearly two decades away. His playing in this famous performance crackles and bubbles along, while the LSO is on great form under Piero Coppola, who apparently brought Prokofiev to London for the occasion.

It's one measure of a great performance that it focuses the attention so entirely on the music that you forget everything else. Another is that it banishes all thought of other performances from your mind. That both circumstances should apply with a work as familiar and over-recorded as the 'Emperor' is cause for celebration. This is just such a performance - which by definition presupposes such a perfect a unanimity of approach on the parts of conductor and soloist that one almost forgets (and how ironically!) that this is a concerto at all.

The young Dutch violinist Noa Wildschut has been described as “a miracle of musicality”, while Anne-Sophie Mutter has singled her out as “undoubtedly one of the musical hopes of her generation”. For her debut as a Warner Classics recording artist, Noa has chosen a programme of Mozart that combines concertante and chamber works.

The crusaders' dilemma is clearly exemplified in the song Seigneur, saichies by Thibaut de Champagne. "He who does not leave at once for the land where Christ loved and died, and takes the cross … will hardly go to paradise" and yet in the words of another song by Thibaut "God, why did you create foreign countries? It has parted many lovers who have lost comfort of love and forgotten its joy." There was, though, a joy greater than this: "It is good to be God's servant, and not to be touched by danger or chance; Serve well and be rewarded well." (Conon de Bethune). It is still, even at a distance of 800 years very touching to read these words and to hear these songs; they retain a strong quality, which, in these performances, is captured very well.

On the surface, Shostakovich's last symphony is a strange bird. One wonders why the first movement keeps quoting the William Tell overture. Why does the fourth movement incorporate Wagner's fate theme from the Ring? And why the cello and violin solos? The answers, frankly, don't matter. Amidst all these oddities, there is great music to be heard here. This reissue features the American premiere of Shostakovich's Symphony No. 15, from 1972–with Eugene Ormandy leading the Philadelphia Orchestra–paired with the composer's second piano sonata performed by Emil Gilels.

Albinoni might be described as a specialist in the medium of the Concerto a cinque, of which he composed 54, published at intervals during almost half his productive life. The first six appeared in his Op 2 (1700), together with six sonatas from which they inherited some structural features, and were followed in 1707 by the 12 of Op 5. They were 'halfway houses' on the road to the violin concerto per se as we know it – and as Vivaldi established it four years later.Virtuoso passages for a solo violin appear only en passant in flanking movements and 'symmetrically' in the Adagios of Nos 3, 6, 9 and 12. Each Concerto is in three-movement form and all the finales are fugal, as they are in the Op 2, though in their simplicity they sound rather like rondos.

The Concert Overture is a hugely gifted young composer's homage to Richard Strauss, and fully worthy of its model in impetuousness, rich sonority and close-woven polyphony. The Second Symphony is no less rich but more disciplined, with Reger's influence added to (and modifying) that of Strauss, and with Szymanowski's own high colouring, sinuous melody and tonal adventurousness now in their first maturity. The Infatuated Muezzin songs are a high point of his middle period, Debussian harmony and florid orientalising arabesques fusing to an aching voluptuousness, colour now applied with the refinement of a miniaturist.

Richard Hickox continues his excellent Bruch cycle with warm-hearted and forceful readings of the First Symphony and the Third Violin Concerto. Compared with Masur's slightly ramshackle Leipzig performance, Hickox and the LSO provide an extremely fresh sounding performance of the First Symphony. Many opening horn calls and some delightful woodwind solos add to the charm of a work, which should have a firmer hold on the orchestral repertoire. As regards tempi, Hickox is akin to James Conlon and his expansive Cologne performance (EMI) but Chandos' bloom depicts some wonderful playing from the LSO especially in the irresistible Allegro guerriero.