Schubert Cluytens

André Cluytens, though born in Belgium, achieved fame as one of the supreme French conductors of his era, renowned for his refinement and the sheer joy of his music-making. In the mid-20th century he built a substantial, varied and distinguished discography and became the first conductor to record the complete Beethoven symphonies with the Berliner Philharmoniker. This 64-disc set, uniting all his recordings of orchestral, concerto and choral repertoire, embraces the mainstream and the esoteric, and includes numerous items making their debut on CD or retrieved from the archives and released for the very first time.

Here is a collection of the biggest musical institution in Germany performing works from the core of its repertoire: Mozart, Haydn, Beethoven & Schubert.

Here is a collection of the biggest musical institution in Germany performing works from the core of its repertoire: Mozart, Haydn, Beethoven & Schubert.

Here is a collection of the biggest musical institution in Germany performing works from the core of its repertoire: Mozart, Haydn, Beethoven & Schubert.

There were occasions during the three decades when the LP record ruled supreme - from the 1950s to the 1970s - when the chemistry between an orchestra, its conductor and their record company combined to work a magic that the commitment of long-term recording contracts quite often made possible. Karajan and the Philharmonia; Ansermet and the Suisse Romande; Dorati and the Minneapolis; Münch and the Boston Symphony, Cluytens and the Paris Conservatoire and Previn and the London Symphony are all prime examples of such collaborations. All of these produced recorded performances that are as fine today as they ever were and are all well-represented in the current CD catalogues. Until now there has been one successful recording collaboration that seems almost to have slipped under the radar: the Pittsburgh Symphony, William Steinberg and the Capitol Records producer, Richard C. Jones.

There were occasions during the three decades when the LP record ruled supreme - from the 1950s to the 1970s - when the chemistry between an orchestra, its conductor and their record company combined to work a magic that the commitment of long-term recording contracts quite often made possible. Karajan and the Philharmonia; Ansermet and the Suisse Romande; Dorati and the Minneapolis; Münch and the Boston Symphony, Cluytens and the Paris Conservatoire and Previn and the London Symphony are all prime examples of such collaborations. All of these produced recorded performances that are as fine today as they ever were and are all well-represented in the current CD catalogues. Until now there has been one successful recording collaboration that seems almost to have slipped under the radar: the Pittsburgh Symphony, William Steinberg and the Capitol Records producer, Richard C. Jones.

There were occasions during the three decades when the LP record ruled supreme - from the 1950s to the 1970s - when the chemistry between an orchestra, its conductor and their record company combined to work a magic that the commitment of long-term recording contracts quite often made possible. Karajan and the Philharmonia; Ansermet and the Suisse Romande; Dorati and the Minneapolis; Münch and the Boston Symphony, Cluytens and the Paris Conservatoire and Previn and the London Symphony are all prime examples of such collaborations. All of these produced recorded performances that are as fine today as they ever were and are all well-represented in the current CD catalogues. Until now there has been one successful recording collaboration that seems almost to have slipped under the radar: the Pittsburgh Symphony, William Steinberg and the Capitol Records producer, Richard C. Jones.

There were occasions during the three decades when the LP record ruled supreme - from the 1950s to the 1970s - when the chemistry between an orchestra, its conductor and their record company combined to work a magic that the commitment of long-term recording contracts quite often made possible. Karajan and the Philharmonia; Ansermet and the Suisse Romande; Dorati and the Minneapolis; Münch and the Boston Symphony, Cluytens and the Paris Conservatoire and Previn and the London Symphony are all prime examples of such collaborations. All of these produced recorded performances that are as fine today as they ever were and are all well-represented in the current CD catalogues. Until now there has been one successful recording collaboration that seems almost to have slipped under the radar: the Pittsburgh Symphony, William Steinberg and the Capitol Records producer, Richard C. Jones.

"Brilliant possession of the instrument, virtuosi technique, a versatile and expressive touch, an animated and emotional style of performance - these are the artistic traits possessed by Semyon Snitkovsky, that allow the brilliant musician to make deep, sincere connection with the audience." These words, spoken by David Oistrakh, come to mind every time one listens to any recording Snitkovsky made throughout his career. The violinist only lived to be 48 years old (1933-1981), but he left behind a large number of records. These records allow his listeners to enjoy the unique artistry that once thrilled audiences and critics in the former USSR and abroad. The CDs that are being released now, present Snitkovsky as a versatile interpreter of the solo, chamber, and solo with orchestra violin repertoire.