Liszt Ference Chanber Orchestra Vivaldi

"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…" - GRAMOPHONE

Franz Liszt - Tasso, Totentanz, Piano Music
Claudius Tanski (Piano) / Beethoven Orchester Bonn / Stefan Blunier
EAC+LOG+CUE | FLAC: 200 MB | Full Artwork | 5% Recovery Info
Label/Cat#: MDG "Gold" # 937 1678-6 | Country/Year: Germany 2011
Genre: Classical | Style: Romantic

Happy birthday, Franz Liszt! The Beethoven Orchestra Bonn under its conductor Stefan Blunier and the pianist Claudius Tanski present orchestral works and piano music by this Austro-Hungarian great, including the overture to Goethe’s Torquato Tasso and the Totentanz of 1849, on the occasion of the two hundredth anniversary of his birth. A finely nuanced extra comes in the form of an orchestration of La lugubre gondola by John Adams.

Franz Liszt - Tasso, Totentanz, Piano Music
Claudius Tanski (Piano) / Beethoven Orchester Bonn / Stefan Blunier
EAC+LOG+CUE | FLAC: 200 MB | Full Artwork | 5% Recovery Info
Label/Cat#: MDG "Gold" # 937 1678-6 | Country/Year: Germany 2011
Genre: Classical | Style: Romantic

Happy birthday, Franz Liszt! The Beethoven Orchestra Bonn under its conductor Stefan Blunier and the pianist Claudius Tanski present orchestral works and piano music by this Austro-Hungarian great, including the overture to Goethe’s Torquato Tasso and the Totentanz of 1849, on the occasion of the two hundredth anniversary of his birth. A finely nuanced extra comes in the form of an orchestration of La lugubre gondola by John Adams.

With the release of this live recording of Hector Berlioz's Symphonie fantastique, RCO Live celebrates the start of its collaboration with Daniele Gatti as the Royal Concertgebouw Orchestra's seventh chief conductor on 9 September 2016. His unconventional take on this spectacular score evokes the astonishment audiences must have experienced at the time of the 1830 premiere. It is exactly this sense of surprise and freshness - founded on a thorough knowledge of the score - and the sheer joy of making music together that prompted the members of the RCO to choose Daniele Gatti as their new chief conductor.

In Holland in the 1720s the transverse flute enjoyed considerable popularity among amateur musicians. Aware of that keen interest, the publisher Michel Le Cene decided in 1729 to present his customers with the very first collection of concertos for flute and orchestra. Vivaldi responded to his request by refurbishing several older works. Only one of them was already in the modern concerto form: the Concerto in F major for recorder and strings. Another four pieces were hybrid in form and still close to chamber works. The predominant role of the recorder or flute in those four concertos made them ideal for adaptation.

Various Artists - 101 Relaxing Classics (2016) {6CD Box Set Decca 478 5074 rel 2013}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.81 Gb | MP3 @320 -> 1.06 Gb
Full Artwork @ 300 dpi (png) -> 81 Mb | 5% repair rar
© 2013, 2016 Decca Music | 478 5074
Classical

With the stresses and strains of modern life to contend with, many turn to classical music for solace and this varied collection of over seven and a half hours of relaxing favorites is the perfect antidote to the pressures of modern life. The set is themed and starts with two CDs of choral music, many of which are vocal arrangements of familiar favorites. These are followed by CDs devoted respectfully to flute and harp, the classical guitar, piano and orchestral music. Those who enjoyed the 101 Adagios set will find much to enjoy here, and can be reassured that any duplication is kept to an absolute minimum and where it does occur, is in strikingly different arrangements. The artists at the helm of this relaxing journey include the choirs of King s College Cambridge and the New College Oxford, flautist William Bennett and harpist Marisa Robles, Pepe Romero, Vladimir Ashkenazy, Herbert von Karajan and Sir Georg Solti.

The Italian conductor Claudio Abbado is one of the most outstanding conductors of the 20th century. It was his unique ability to make sound and music shine (Deutschlandfunk Kultur), for which he was celebrated internationally by both the press and the audience. In addition to his long-standing relationship with the Berliner Philharmoniker and the Vienna Philharmonic, he has also been chief conductor of the London Symphony Orchestra for many years (1979 to 1986), with which he has recorded a rich discography over the years.

Following up on the success of Sony Classical’s recent large-scale Ormandy collections – his monaural discographies with the Minneapolis Symphony and Philadelphia orchestras – the label now presents the conductor’s stereo recordings from Philadelphia containing all recordings released from 1958 to 1963 (plus some fillers from later years) Eugene Ormandy took over the music directorship in Philadelphia from Leopold Stokowski in 1938 and held the position for 42 years. During that time his name and the orchestra’s became inseparable as he cultivated and further developed the voluptuous sound that originated with his predecessor.

Ferenc Fricsay died at only 48 years of age – suffering a death from illness that was as tragic as it was untimely. Even though Fircsay’s career as a recording artist barely lasted 12 years, almost every connoisseur of Classical music considers him a legend, the epitome of the enlightened master conductor, who was good at everything he touched, a role model for figures like Abbado or Harnoncourt. The sleek and slender aspects of Ferenc Fricsay’s conductorial style paved the way for many facets of what we consider informed conducting today, especially in Mozart, and he still (almost) equalled Furtwängler in transcendental romanticism – when it suited the music.

There is a story about Arnold Schoenberg that bears retelling now. He was in the midst of teaching a class at UCLA when a colleague burst in excitedly proclaiming "Arnold! I am just hearing Verklärte Nacht mit HORNS!" Amid much startled posturing the two rushed out to destinations unknown, leaving the class unacknowledged. But all the various arrangements of Schoenberg’s work (I’ve never heard it with horns, but the string orchestra version with timpani is quite a good one) don’t begin to compare with the numerous outrages wreaked upon this helpless Vivaldi composition.