Liszt Ference Chanber Orchestra Vivaldi

Among countless interpretations of Vivaldi's Four Seasons, which range from modernized performances for large string orchestra to period-style versions for much leaner ensembles, there are few as pared-down as Rachel Podger's performances with Brecon Baroque. Podger plays the virtuosic solo violin part and directs an ensemble consisting of two violins, one viola, and one cello, supported by a continuo of violone, theorbo, and harpsichord or chamber organ. This might give an impression of extreme austerity or thinness of sound, but the surprising richness of the group's textures suggests that tonal production counts more than the number of players.

Daniil Trifonov, winner of the 2011 International Tchaikovsky Competition, is probably the world's most exciting young pianist. On his first Mariinsky recording, he joins Valery Gergiev for a scintillating performance of Tchaikovsky's Piano Concerto No 1. Trifonov also presents a selection of recital repertoire including music by Tchaikovsky, Chopin and Liszt transcriptions of Schubert and Schumann lieder. In 2011, Trifonov gave his debut with the London Symphony Orchestra and has since performed with the Vienna Philharmonic and the Mariinsky Orchestra, as well as touring throughout the USA, Europe and the Far East. In the coming season he will make debuts with the New York Philharmonic, Boston Symphony and Chicago Symphony orchestras, as well as performing recitals at Salle Pleyel, Carnegie Hall, Suntory Hall and Wigmore Hall.

After a double album dedicated to Boccherini and acclaimed by critics, Ophélie Gaillard and the Pulcinella Orchestra reveal the incredible sound palette of Vivaldi, one of the most brilliant venetian musicians. Drawing on the finest cello works of the composer, Ophélie Gaillard’s selection places great emphasis on the concerto, for one, two or even four performers. It also includes an exclusive reconstruction of the Concerto RV 788. The vocal interventions of Lucile Richardot and Delphine Galou light up the program like rays of sun through the clouds. The album alternates between moments of great emotion, sometimes even dolorous as in the Largo of the Concerto RV 416 and moments of passion and frenzy (in the concertos RV 419 or 409) that evoke the Summer from the Four Seasons. This music thus unveils all its mysteries in the interplay of lights and shadows, giving its name to this recording.

A rare project of Vivaldi's Viola d'Amore Concerto performed with viola d'amore, mandolin & guitar orchestra! Vivaldi composed several concertos for solo viola d'amore for his students at the Pietà Conservatory.

This release has been sourced from the Richard Itter archive. The collection is very important for collectors because it has never been released before onto the market. Beecham caught 'live' often showed the mercurial side of his character and no performance was the same, either in the studio or in the concert hall. David Patmore confirms this in his booklet essay: 'What Beecham sought at all times was freshness, and his unpredictability was a way to achieve this'. So here we have different and valuable alternatives to the studio performances. All the performances included here are from Beecham's final years, between 1954 when he had fully established the Royal Philharmonic Orchestra and himself as central figures in England's musical life, to 1959 where he conducted extraordinarily memorable accounts of Haydn's Symphony No.101 and Brahms' Symphony No.2.

Vivaldi’s music enjoyed a cult following in Dresden after its introduction by the composer’s pupil Johann Pisendel, and listening to these works it is not hard to hear why. The two G minor concertos are scored for violin, two recorders, two oboes and strings (with an extra solo oboe in RV576), while the F majors both deploy a line-up of violin, two oboes, two horns and strings – rich stuff, reflecting the sumptuous sound-world of the Electoral orchestra.