Paul Paray

French composer Hector Berlioz wrote a number of "overtures," many of which have become popular concert works. They include true overtures, intended to introduce operas, but also independent concert overtures that are in effect the first orchestral tone poems.

This disc of popular works by Emmanuel Chabrier marks the beginning of a new series of French repertoire, performed by the Orchestre de la Suisse Romande under its newly appointed Artistic Director, Neeme Järvi.

The Radio Legacy is a compilation of the seven part Anthology of the Royal Concertgebouw Orchestra, the four box sets devoted to the orchestra s chief conductors Willem Mengelberg, Eduard van Beinum, Bernard Haitink and Riccardo Chailly, and also featuring more recent recordings with Mariss Jansons.

This new collection of 55 CDs from the acclaimed audiophile label offers a wealth of recordings from the 1950s and 1960s in an unrivaled range of repertory. This ranges from solo Bach played by harpsichordist Rafael Puyana to American composer and conductor Howard Hanson in his own works as well as music by fellow-Americans. Key artists include Antal Dorati in works ranging from Beethoven to Bartok and Berg; Frederick Fennell, Rafael Kubelík, Paul Paray and Janos Starker.

Ferras began studying the violin with his father, who was a pupil of Marcel Chailley. He entered the Conservatoire de Nice as a student of Charles Bistesi in 1941, and in 1943 obtained the First Prize. In 1944 he went to the Conservatoire de Paris. In 1946 he won the First Prize in both disciplines (violin and chamber music), and started his performing career with the Pasdeloup orchestra under the conductor Albert Wolff, and later Paul Paray.

An Italian grand requiem written around the axle of the 19th and 20th centuries might almost be predictable. It will be operatic. It will doff the hat to Verdi. It will have its vulgar moments. It will be recorded by an Italian orchestra on an Italian label like Dynamic, Bongiovanni, Aura or Nuova Era. Wrong, in this case, on most counts…..This is commendable revival. A requiem in which the Fauré-like reticence of plainchant meets the drama of apocalyptic visions.

Rob Barnett @ musicweb-international.com

For many listeners, Henryk Szeryng would be the No. 1 choice for a recording of the Brahms Violin Concerto. His interpretation is technically flawless, emotionally involved, and deeply probing; it makes Jascha Heifetz, for example, sound slightly offhand. In this French-made video from 1962, the Paris Conservatoire is not the best possible orchestra, but it is more than adequate and Paul Paray is an excellent conductor.