Alayrac Overtures

The overtures to Offenbach's operettas are peculiar creations, for they were seldom written by the composer and in most cases were never intended for his theatrical productions. Offenbach found them tedious and superfluous, preferring instead to present his works without any introductory music beyond a few measures. Only two of the overtures in this collection were actually composed by Offenbach, those for La fille du tambour-major and Monsieur et Madame Denis. .

Johann Christoph Graupner (1683-1760) was a German Baroque composer with over 1,500 published works to his credit, yet hardly anyone recognizes his name anymore. He worked as Kapellmeister at the Hesse court in Darmstadt for almost fifty years, composing both secular and religious music, and he might have gotten the music director's post in Leipzig that went to J.S Bach instead had Graupner's patron allowed him leave.

Beethoven - Symphonies Nos. 6, 7 & 8, Overtures (1993) {Karl Böhm, VPO} {2CD Deutsche Grammophon 437 928-2 rec 1969-72}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 619 Mb | MP3 @320 -> 306 Mb
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© 1969-72, 1993 Polydor / Deutsche Grammophon | 437 928-2
Classical / Symphonies

Karl Böhm's Beethoven is, on balance, the best complete cycle available from Deutsche Grammophon. This will come as a surprise to many, given the fact that the label relentlessly promotes performances by Herbert von Karajan (three complete cycles!) and Leonard Bernstein, but for quality of playing, as well as superb sound, these versions are just about unbeatable. And at a "twofer" price, the complete set on three pairs of discs is a terrific value. –David Hurwitz

Stanisław Moniuszko was Poland’s leading opera composer in the 19th century, and his work has been said to bridge the gap between Chopin and Szymanowski. His skill as a born melodist is apparent in the beautiful and inspired overture to Paria, while the dramatic Halka was the work which brought him national acclaim. An affinity with Liszt’s tone poems can be heard in the substantial overture Bajka, while the scene for The Haunted Manor is set with its atmospheric Intrada.

Otto Klemperer was born on 14th May 1885 in Breslau, Silesia (now Wroclaw, Poland) and died on 6th July 1973 in Zurich and hence next year we mark 40 years since his passing. Although disfigured by a stroke suffered whilst a brain tumour was being removed he became a world-renowned conductor whose recordings became and remain touchstones for the EMI catalogue.

Sir John Eliot Gardiner and the London Symphony Orchestra join forces once again in the latest instalment of their exploration of Mendelssohn’s symphonies. Mendelssohn’s Symphony No 5, commonly known as the ‘Reformation’ Symphony, was written in 1830 to commemorate the 300th anniversary of the Augsberg confession – a seminal event in the Protestant Reformation. Allusions to the symphony’s title and inspiration can be heard throughout the music itself; the Dresden Amen is cited by the strings in the first movement whilst the finale is based on Martin Luther’s well-known chorale Ein feste Burg ist unser Gott (‘A Mighty Fortress is Our God’). Coupled with this are two of Mendelssohn’s overtures, Calm Sea and Prosperous Voyage and Ruy Blas, both of which were inspired by literary works. Calm Sea and Prosperous Voyage, based on two short poems by Goethe, depicts the journey of sailors at sea with a still adagio opening ultimately giving way to a triumphant homecoming. Completing the album, the overture Ruy Blas was commissioned by the Leipzig Theatre as an overture to Victor Hugo’s tragic drama of the same name.

The brief biographical note duplicated in each of the three booklets (these CDs were previously available separately and were recorded over several years) tell a rather sad tale of yet another famous and successful composer destined to die young, in debt, and unmourned by a hard-hearted public. That he was a close friend of none other than Mozart for twenty years of his short life draws the parallel still closer. It is too easy to see the post J.S.Bach period as one consisting of a gap followed by Haydn and Mozart. In fact the sons of Bach included several very fine musicians indeed; Johann Christian is one, with the other most significant being Carl Philipp Emanuel. These two have only to be heard to alert the listener to their importance. Sons of Bach they may have been, but clones they were not.