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Calm Radio is a music streaming alternative that offers calming music. Listen to classical and relaxation music for work and sleep, online jazz music with nature sounds, meditation and world music available on our Calm Radio app.
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CALM RADIO - DELIUS - Sampler
20min. ago
Yehudi Menuhin (Violin), Eric Fenby (Piano) - Delius: Viollin Sonata N...
1h. 20min. ago
Heather Harper (Soprano), Royal Choral Society, Royal Philharmonic Orc...
2h. 19min. ago
London Philharmonic Orchestra, Vernon Handley (Conductor) - Delius: Tw...
3h. 19min. ago
Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra, ...
4h. 18min. ago
Stressless Coupon Offer - Save 25% On All Memberships - Relaxation Li...
5h. 14min. ago
John Shirley-Quirk (Baritone), Royal Choral Society, Royal Philharmoni...
6h. 11min. ago
Moray Welsh (Cello), Israela Margalit (Piano) - Delius: Sonata For Cel...
7h. 14min. ago
Stressless Coupon Offer - Save 25% On All Memberships - Relaxation Li...
8h. 11min. ago
John Noble (Baritone), Liverpool Philharmonic Chorus, Royal Liverpool ...
9h. 10min. ago
London Philharmonic Orchestra, Vernon Handley (Conductor) - Delius: Tw...
10h. 9min. ago
Choir Of King's College, Sir Philip Ledger (Conductor) - Delius: ...
11h. 6min. ago
Royal Philharmonic Orchestra, Sir Malcolm Sargent (Conductor) - Delius...
12h. 4min. ago
Stressless Coupon Offer - Save 25% On All Memberships - Relaxation Li...
13h. 1min. ago
Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra, ...
13h. 59min. ago
Britten Quartet: Peter Manning (Violin), Keith Pascoe (Violin), Peter ...
14h. 58min. ago
John Noble (Baritone), Liverpool Philharmonic Chorus, Royal Liverpool ...
15h. 52min. ago
London Philharmonic Orchestra, Vernon Handley (Conductor) - Delius: Tw...
16h. 49min. ago
Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra, ...
17h. 48min. ago
Royal Philharmonic Orchestra, Sir Malcolm Sargent (Conductor) - Delius...
18h. 43min. ago
John Shirley-Quirk (Baritone), Royal Choral Society, Royal Philharmoni...
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CALM RADIO - DELIUS - Sampler    
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Stressless Coupon Offer - Save 25% On All Memberships - Relaxation Lives Here.
111 0
Limited Time Offer - Save 35% On All Memberships - Relaxation Lives Here.
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Yehudi Menuhin (Violin), Eric Fenby (Piano) - Delius: Viollin Sonata No. 3: Ii. Andante Scherzando
32 0
Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra, Sir Charles Groves (Conductor) - Delius: Koanga, Opera, Rt I/4: Prologue. Ha, Ha, Ha... Stop! Stop! I Am Quite Out Of Breath
26 0
Piers Lane (Piano), Royal Liverpool Philharmonic Orchestra, Vernon Handley (Conductor) - Delius: Piano Concerto In C Minor, Rt Vii/4
22 0
Limited Time Offer - Save 20% On All Memberships - Relaxation Lives Here.
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London Philharmonic Orchestra, Vernon Handley (Conductor) - Delius: Two Pieces For Small Orchestra - Ii. Summer Night On The River
20 0
Northern Sinfonia Of England, Richard Hickox (Conductor) - Delius: Air & Dance, For String Orchestra, Rt Vi/21
18 0
Halle Orchestra, Sir John Barbirolli (Conductor), Ambrosian Singers, John Mccarthy (Choir Master) - Delius: Appalachia (Variations On An Old Slave Song), For Baritone, Chorus & Orchestra, Rt Ii/2: Finale (Lento-Piu Mosso)
17 0
London Philharmonic Choir, London Philharmonic Orchestra, Sir Charles Groves (Conductor) - Delius: A Mass Of Life (Eine Messe Des Lebens), For Soloists, Chorus & Orchestra, Rt Ii/4: Second Part: 1. 'herauf! Nun Herauf' (Con Elevazione E Vigor
15 0
John Noble (Baritone), Liverpool Philharmonic Chorus, Royal Liverpool Philharmonic Orchestra, Sir Charles Groves (Conductor) - Delius: Sea Drift - 7. O Reckless Despairing Carols
14 0
Royal Choral Society, Royal Philharmonic Orchestra, Sir Malcolm Sargent (Conductor) - Delius: Songs Of Farewell - V. Now Finale To The Shore (Moderato Con Moto)
14 0
John Alldis Choir, Royal Philharmonic Orchestra, Meredith Davies (Conductor) - Delius: A Village Romeo & Juliet, Lyric Drama, Rt I/6: Scene 2. If Only We Two Always Stand Together
13 0
Royal Philharmonic Orchestra, Sir Charles Groves (Conductor) - Delius: North Country Sketches, For Orchestra, Rt Vi/20: 3. Dance
12 0
London Symphony Orchestra, Sir John Barbirolli (Conductor) - Delius: Irmelin Prelude
10 0
Heather Harper (Soprano), John Shirley-Quirk (Baritone), Royal Philharmonic Orchestra, Meredith Davies (Conductor) - Delius: Idyll - This Is Thy Hour (Piu Mosso)
9 0
Britten Quartet: Peter Manning (Violin), Keith Pascoe (Violin), Peter Lale (Viola), Andrew Shulman (Cello) - Delius: String Quartet: Ii, Quick And Lightly
8 0
Calmradioads - Sleep - Female End 20% - Relax - Mar6-2019
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John Shirley-Quirk (Baritone), Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra, Sir Charles Groves (Conductor) - Delius: Songs Of Sunset, For Mezzo-Soprano, Baritone, Chorus & Orchestra, Rt Ii/5: By The Sad Waters Of Separation (Wi
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Moray Welsh (Cello), Israela Margalit (Piano) - Delius: Sonata For Cello And Piano, Rt Viii/7: I. Allegro Ma Non Troppo
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  • Hallé Orchestra to hold competition for next assistant conductor

    classical-music.com | Fri, 22 Mar 2019 11:43:14 +0000

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    For the first time in its history, the Hallé Orchestra is sourcing its next assistant conductor from an international competition. The inaugural Siemens Hallé International Conductors Competition will be held from 20-22 February 2020, and will offer the winner a two-year contract as the orchestra’s assistant conductor. The Hallé hopes this process will attract a broader, more international range of conductors to choose from.

    The winning conductor will be mentored by the Hallé Orchestra’s music director Mark Elder, as well as receiving a cash prize of £15,000 and many guest conducting opportunities.

    The role of assistant conductor at the Hallé has previously been held by a clutch of major international figures including Edward Gardner, Andrew Gourlay and Ewa Strusińska.

     

    Applications for the Siemens Hallé International Conductors Competition are open from Wednesday 1 May to Monday 1 July 2019, with semi-finalists announced in September 2019. 

  • Six of the best musical scores for theatre

    classical-music.com | Fri, 22 Mar 2019 10:00:35 +0000

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    Sunday in the Park with George (1984) - Stephen Sondheim

    Stephen Sondheim’s masterpiece throws light on some eerily resonant truths about the process of making art, and the effect that process has on the lives of those around the artist.

    Its central character is George Seurat, the post-impressionist painter whose most celebrated work, A Sunday Afternoon on the Island of La Grande Jatte, is created out of a multitude of tiny multi-coloured dots.

    Sondheim parallels that pointillism and colour in the harmonically adventurous score and orchestration in a most ingenious way. Probably its most famous song is 'Finishing The Hat', a soliloquy on the artist’s preoccupation with his work while the outside world - the rest of life - passes by his window.


    Jake Gyllenhaal singing 'Finishing the Hat' in the 2017 Broadway production of Sunday in the Park with George

     

     

    Sweeney Todd (1979) - Stephen Sondheim

    Nowhere in Sondheim’s output does music feature so heavily, or arguably in such a central way to the drama, than in the score for Sweeney Todd.

    Its epic scale, dramatic force and sheer scale of underscoring and sung material puts it more in the realm of an opera than a musical.


    Sweeney Todd Live at the Lincoln Center (2014)

     

     

    Floyd Collins (1996) - Adam Guettel

    The plot for this 90s musical is simple enough: Floyd is a caver who gets his foot trapped deep underground. Yet the score is striking for its highly original (and unlikely) fusion of styles; one description of it might be 'Bartók meets country and bluegrass'.

    There are delightful numbers everywhere in this score, including 'Lucky' in Act 1, and 'The Dream' in Act 2. But the emotional highlight for me is the moving final number, 'Where Glory Goes', in which the dying Floyd Collins wonders what he can expect in the afterlife.

     

     

    London Road (2011) - Adam Cork

    Composer Adam Cork and playwright Alecky Blythe’s ground-breaking musical about the community affected by the Ipswich serial murders of 2006 broke new ground in musical theatre.

    It used a ‘verbatim' style, in which interviews with members of the community were recorded, transcribed and performed by the actors exactly as they were spoken, but the genius of Adam’s score was that this principle extended to having the music’s rhythmic patterns and pitch contours all following this scheme too. London Road was subsequently turned into a film, directed by Rufus Norris and starring Olivia Colman and Tom Hardy.


    The trailer for London Road (film)

     

     

    Oklahoma! (1943) - Rodgers & Hammerstein

    These days we take for granted that a musical should integrate its stage elements in a seamless believable way, with the songs and dances springing naturally from the dramatic demands of the characters and the text and advancing the plot.

    But this wasn’t always the case; in the early days of American musical theatre, the focus was very much on superficial humour and show-stopping numbers and effects that interrupted the flow of what (little) story there was.

    Rodgers and Hammerstein’s Oklahoma was one of the first important musicals to change this pattern. Alongside a story that features rounded and developing characters, the score is full of highly memorable tunes. The song 'Out Of My Dreams' and the ballet sequence based on it are utterly mesmerising.


    The song 'Oklahoma!' from Oklahoma

     

     

    The BBC Music Magazine team choose their favourites...

    Oliver Condy, editor:
    Carousel (1945) - Rodgers & Hammerstein


    The cast of Carousel perform 'Blow High, Blow Low' at the 2018 Tony Awards

     

    Jeremy Pound, deputy editor:
    Hair (1967) - Galt MacDermot


    The cast of Hair: The 50th Anniversary Production at West End Live

     

    Rebecca Franks, managing editor:
    Kiss me, Kate (1948) - Cole Porter

     

    Michael Beek, reviews editor:
    West Side Story (1957) - Leonard Bernstein and Stephen Sondheim


    Prologue from West Side Story

     

    Freya Parr, editorial assistant:
    Into the Woods (1986) - Stephen Sondheim


    The trailer for the Disney film adaptation of Into the Woods

     

    Adrian's War Horse: The Story in Concert has been re-released on CD and vinyl by BMG, narrated by Michael Morpurgo and Joanna Lumley. For more information, visit warhorseinconcert.com.

  • Jean Rondeau's recommendations for Early Music Day

    classical-music.com | Thu, 21 Mar 2019 11:11:43 +0000

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    Early Music Day celebrates its seventh year today with concerts held across Europe. To mark the occasion, we spoke to Early Music Day ambassador Jean Rondeau about the music he is listening to and enjoying at the moment.

    'In the past decade, we've discovered a lot of new composers from centuries ago, and I hope this movement of discovering older music will continue. It's a legacy that is important to continue working on.'

    Jean Rondeau's playlist is featured below:

     

  • What was Musorgsky's compositional style?

    classical-music.com | Thu, 21 Mar 2019 07:00:39 +0000

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    Audacious harmonies

    Musorgsky composed at the piano, and often discovered striking and unorthodox harmonies through extemporising. In this way, he hit upon the remarkable bell harmonies which open the coronation scene of his opera Boris Godunov.

     

    Language of the heart

    Musorgsky’s expressiveness derives to a degree from Schumann’s harmonic language. Yet one of his greatest achievements was the way his music reflects the fractured, multi-dimensional nature of the individual human soul or identity – whether the mighty yet tormented Tsar Boris or a humble peasant woman.

     


    Musorgsky's Boris Godunov at the Mariinsky Theatre in 2012

     

     

    Compare and contrast

    Particularly when Musorgsky’s music is without the thread of a vocal line, an idea is often not so much answered as complemented or contrasted with another idea. ‘Dawn on the Moscow River’ which opens Khovanshchina offers a brilliant depiction through a mosaic of musical ideas – a technique Stravinsky, for instance, was to push further in his music from Petrushka onwards.

     

    That martial sound

    An exception to the above technique, perhaps not surprisingly for a former guards officer, is when Musorgsky composes a march. For these, he structures the thematic material more conventionally: excellent examples include the festive march from Mlada, and the hair-raising march of the Streltsy in his incomplete opera Khovanshchina.

     


    Musorgsky's Khovanshchina

  • The best recordings of Vaughan Williams's Pastoral Symphony

    classical-music.com | Wed, 20 Mar 2019 10:00:21 +0000

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    The best recording

     

    London Symphony Orchestra/André Previn
    RCA 88875126952

    André Previn was principal conductor of the LSO for most of the 1970s, and during that period they made many wonderful recordings together. This A Pastoral Symphony was among the best of them, and it continues to set a high bar for other interpretations to aspire to.

    The LSO was packed with outstanding section leaders at the time, and the quality of the solo playing eclipses that on any other recording. Violinist John Georgiadis, clarinettist Gervase de Peyer and flautist William Bennett all make telling contributions, as do the oboe and viola soloists, while the important horn and trumpet solos in the second movement are plangently expressive.

    Previn’s shaping of the Pastoral has an organic, naturally unravelling quality that is deeply satisfying, and invites repeated listening. The dip and swell of VW’s string writing in the opening movement is sentiently registered, its uneasy dynamic surges unsettling the listener without grandstanding or over-emphasis.

     

     

    The third movement has a grungy, glowering demeanour owing much to the LSO’s unshakable corporate virtuosity and Previn’s rhythmic trenchancy. Again, though, Previn deftly avoids overstatement – the physical threat carried in the music is palpable, but there is no unnecessary pummelling. The jittery fugal coda is incisively delivered, and for once seems more than a quizzical afterthought.

    Heather Harper is an ideally steady, heartfelt soloist in the finale, her ‘distant’ placing (VW’s stipulation) not so distant that she is audibly in a different acoustic. The inherent sadness of the movement is mitigated by the dignified beauty of the LSO’s playing, shaped by Previn with unfailing sensitivity and insight. Together they find a moving positivity at the symphony’s conclusion, more stirringly articulated than in any other version.

    The classic analogue sound is another telling factor in Previn’s favour. No other CD version of the Pastoral holds Vaughan Williams’s subtly intertwining textures so clearly in focus, and there is a tonal richness and plenitude which often seems absent in digital recordings.

    Previn’s LSO cycle of the Vaughan Williams symphonies comes and goes in the CD catalogue, regularly finding itself deleted and then repackaged and reissued. It is, however, always available to download or stream. His Pastoral is a classic, the complete cycle an enduring cornerstone of the VW discography.

     

     

     

     

    Three other great recordings

     

    Bournemouth Symphony Orchestra/Kees Bakels
    Naxos 8.550733

    The Dutchman Kees Bakels was principal guest conductor of the Bournemouth Symphony when he made a near-complete cycle of the Vaughan Williams symphonies with the orchestra. Recorded in 1992, his Pastoral is a particularly fine interpretation, one of the most naturally flowing on disc. The recorded sound is a touch misty in tutti sections, but bass lines have a satisfying presence, and Patricia Rozario is a particularly evocative soprano soloist.

     

     

     

    London Philharmonia Orchestra/Roger Norrington
    Decca 458 3572

    Roger Norrington’s 1997 Pastoral is among the quickest versions you’ll come across, bringing an added edginess to the opening movement in particular. Nowhere, though, is it superficial – both the second and fourth movements are full of expressivity and emotion, and the London Philharmonic’s excellent playing is captured in a resonant, rangy Decca recording. Norrington’s Pastoral is texturally leaner than Previn’s, and filled with flickering monochrome shadings suggesting the ghostly legacy of wartime conflict. Cumulatively it’s a notably moving experience, and as an interpretation has been seriously underrated.

     

     

     

    Hallé Orchestra/Mark Elder
    Hallé CDHLL7540

    Vaughan Williams was once a pupil of Ravel, and no version of the Pastoral makes that clearer than Mark Elder’s 2013 recording with the Hallé orchestra. The opening movement in particular has a sensuality reminiscent of Ravel’s ballet Daphnis et Chloé, but it has the necessary dark undercurrent too. The third movement feels slightly rushed and scrambled, but there is no doubting the depth of feeling in both Elder’s interpretation and the Hallé’s playing.

     

     

     

    And one to avoid…

    Adrian Boult was a great Vaughan Williams conductor, but his 1968 Pastoral with the New Philharmonia Orchestra is not his finest moment. Phrasing is often curiously glib and flat, and at times the deeper emotions of the music seem glided over. Rhythms are also relatively listless, and ensemble can be sloppy. The stereo recording has a greater range than his 1953 mono recording with the London Philharmonic, but that earlier version has a fire and vibrancy that the re-make cannot equal.

     

  • A guide to Beethoven's Symphony No. 2

    classical-music.com | Tue, 19 Mar 2019 10:00:48 +0000

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    Premiere:
    Theater an der Wien, Vienna, 5 April 1803

    On 6 October 1802 in the village of Heiligenstadt on the outskirts of Vienna, Beethoven wrote an impassioned letter to his brothers Carl and Johann. Including instructions that it should be read after his death, the ‘Heiligenstadt Testament’ describes in bleak terms the composer’s despair at the onset of deafness.

    ‘How could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection?’ he wrote. ‘…What a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone heard a shepherd singing and again I heard nothing.’

     

    Tonality:

    It was also while staying at Heiligenstadt over the summer months of that year that Beethoven composed the bulk of his Second Symphony. Does the composer reflect in this work the frustrations expressed in his letter? In fact, cast in a sunny D major, the overall mood of the Second is largely upbeat.

    Here and there, though, there are moments that point towards the growling and fist-thumping composer of Beethoven’s later years. The score is scattered with brutal sforzandos and sudden, and dramatic, changes of dynamic markings. And listen out, too, for the moment at the end of the exposition in the long first movement when the key unexpectedly shifts from A major to an unusual and ever-so-slightly disconcerting D minor.

     

     


    Beethoven's Second Symphony, performed by the West-Eastern Divan Orchestra
    under Daniel Barenboim at the 2012 BBC Proms

     

    Rule-breaking:

    Taken as a whole, Beethoven’s Second is by no means a game-changer in the course of classical music – that would come with the Eroica two years later. There are, though, already plenty of signs here that he was itching to go his own way. Take for instance, the third movement, where he ventures a step further along the path he’d already began to tread in the First Symphony – where tradition would normally place a courtly and graceful minuet and trio, here Beethoven presents us with a decidedly rustic scherzo.

    And then there is the finale’s coda. Why follow convention by finishing with a charming little endpiece, when there’s the opportunity to go out in a blaze of timpani- and trumpet-adorned triumph? Here was a precedent that he would continue in the symphonies to follow.

     

     

    Reception:

    And the Second Symphony’s reception? Not great, with the descriptions of some critics almost matching the colour and inventiveness of the work itself. Complaining about its ‘barbaric chords’, Paris’s Tablettes de Polymnie reckoned that it sounded ‘as if doves and crocodiles were locked up together’. Vienna’s Zeitung für die elegante Welt, meanwhile, described it as ‘a hideously wounded, writhing dragon that refuses to die’. Posterity has treated it more kindly.

     

    Recommended recording:

    Skrowaczewski and his Saarbrucken players bring a rare fire and fury to the first movement. And few can match their bonhomie in the following two movements – as the music bounces from orchestral section to section, masterfully paced by the conductor, one gets the impression of players thoroughly enjoying each others’, and Beethoven’s, company.

    Saarbrucken Radio Symphony Orchestra/Stanisław Skrowaczewski
    OEHMS OC522

     

     

    Words by Jeremy Pound. This article first appeared in the December 2015 issue of BBC Music Magazine. 

  • Free Download: Elgar's Violin Concerto with Ning Feng

    classical-music.com | Tue, 19 Mar 2019 10:00:00 +0000

    'Not a bar of it is uninvolving, and the recorded sound is excellent'

    This week's free download is the second movement, Andante, from Elgar's Violin Concerto, performed by violinist Ning Feng with the Royal Liverpool Philharmonic Orchestra under Carlos Miguel Prieto. It was recorded on Channel Classics and was awarded four stars for performance and five for recording in the February issue of BBC Music Magazine.

    DOWNLOAD INSTRUCTIONS:

    If you'd like to enjoy our free weekly download simply log in or sign up to our website.

    Once you've done that, return to this page and you'll be able to see a 'Download Now' button on the picture above – simply click on it to download your free track.

    If you experience any technical problems please email support@classical-music.com. Please reference 'Classical Music Free Download', and include details of the system you are using and your location. If you are unsure of what details to include please take a screenshot of this page.

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  • Max Reger

    classical-music.com | Mon, 18 Mar 2019 12:10:05 +0000

    When not dismissed out of hand, Reger is often derided as the master of unwieldy German stodge. That’s unfair...

    Think of three great composers active in the first decade of last century, all with two-syllable names ending in ‘r’. Elgar... yes. Mahler... yes. But the third? Max Reger. Max Who? That’s just the trouble. Reger is well known in his native Germany, but his name has obstinately refused to travel abroad.

    Admittedly, Reger could be his own worst enemy.

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  • The BBC Music Magazine Playlist

    classical-music.com | Mon, 18 Mar 2019 11:37:20 +0000

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    Every Monday, the BBC Music Magazine team choose their favourite new recordings of the past week. The tracks are compiled into The Playlist, which can be accessed via the BBC Music Magazine's Apple Music page

     

    This week's playlist:

     

    The listings for previous playlists are featured below.

     

     

    Vol. 15

    Florence Price Symphony No. 1: IV. Finale (Fort Smith Symphony/John Jeter)

    Chopin Mazurka in B, Op. 56 No. 1 (Maurizio Pollini)

    Berlioz Le Carnaval Romain: Overture (Detroit Symphony Orchestra/Paul Paray)

    Reinecke Cello Sonata No. 1: III. Finale. Allegro molto ed appassionato (Martin Rummel, Roland Kruger)

    Mozart Piano Sonata No. 2: III. Presto (Peter Donohoe)

    Nils Frahm Sweet Little Lie (Nils Frahm)

    JS Bach Concerto for Violin and Oboe in C minor: I. Allegro (Isabelle Faust, Xenia Löffler, Bernhard Forck, Academy for Ancient Music)

    Zemlinsky Clarinet Trio in D minor (Version for Violin Cello & Piano): III. Allegro (Stefan Zweig Trio)

    Jean Français Imromptu for Flute and Strings: III. Scherzando (Ransom Wilson, BBC Concert Orchestra/Perry So)

    Robert Schumann Phantasiestücke, Op. 88: II. Humoreske. Lebhaft (Live) (Gautier Capuçon, Martha Argerich, Renaud Capuçon)

    Max Bruch Die Loreley, Op. 16, Act I: Ave Maria! (Michaela Kaune, Philharmonischer Chor Prag, Müncher Rundfunkorchester/Stefan Blunier)

    Anon Ther is No Rose of Swych Virtu (The Telling)

     

    Vol. 14

    Mozart Symphony No. 13: I. Allegro (Folkwang Kammerorchester Essen/Johannes Klumpp)

    Roxanna Panufnik The Sweet Spring (Blossom Street, Annabel Thwaite, Hilary Campbell)

    Robert Schumann Cello Concerto: III. Sehr lebhaft (Live) (Gautier Capuçon, Chamber Orchestra of Europe/Bernard Haitink)

    Weber Piano Sonata No. 2 in A-flat: II. Andante. Ben tenuto (Paul Lewis)

    Janáček String Quartet No. 2 ‘Intimate Letters’: II. Adagio – Vivace (Wihan Quartet)

    Sibelius Symphony No. 3: III. Moderato – Allegro (ma non tanto) (Orchestre de Paris/Paavo Järvi)

    André Campra Achille et Déidamie: ‘Timbales et trompettes’ (Le Concert Spirituel/Hervé Niquet)

    Corelli Concerto grosso in F: IV. Allegro (Marco Scorticati, Estro cromatico/Sara Campobasso)

    Trio Tapestry Sparkle Lights (Joe Lovano, Marilyn Crispell, Carmen Castaldi)

     

    Vol. 13

    Berlioz Symphonie fantastique: II. Un Bal (Transcribed for piano duet) (Jean-François Heisser, Marie-Josèphe Jude)

    Schubert Octet in F, III. Allegro vivace – Trio (OSM Chamber Soloists)

    Schumann Three Romances: I. Nicht Schnell (Stephen Waarts, Gabriele Carcano)

    Bernstein Mass: No. 2, Hymn & Psalm. A Simple Song (Arr. for voice, flute, electric guitar, harp and organ) (Anne Sofie von Otter, Sharon Bezaly, Fabian Fredriksson, Margareta Nilsson, Bengt Forsberg)

    Juan Crisostomo de Arriaga Médée: Hymen, viens dissiper une vaine frayeur (Berit Norbakken Solset, BBC Philharmonic/Juanjo Mena)

    Rzewski Four North American Ballads: No. 1, Dreadful Memories (After Aunt Molly Jackson) (Adam Swayne)

    Johannes Ciconia O rosa bella, o dolce anima mia (The Telling)

    Liszt Sardanapalo: Vieni! Risplendono festive faci (Damen des Opernchores des Deutschen Nationaltheaters Weimar, Staatskapelle Weimar/Kirill Karabits)

    Florence Price Symphony No. 4: IV. Scherzo (Fort Smith Symphony/John Jeter)

    Hoffmeister Double Bass Quartet No. 3 in D: I. Moderato (Niek De Groot, Minna Pensola, Antti Tikkanen, Tuomas Lehto)

     

     

    Vol. 12

    Mendelssohn Piano Concerto No. 2: III. Finale. Presto scherzando (Ronald Brautigam, Die Kölner Akademie/Michael Alexander Willens)

    Haydn Concerto per il Corno da caccia in D: I. Allegro (Premysl Vojta, Martin Petrák, Haydn Ensemble Prague)

    Dvořák Symphony No. 9 ‘From the New World’: III. Molto vivace (Bamberg Symphony Orchestra/Jakub Hrusa)

    Vivaldi Tito Manlio: ‘Combatta un gentil cor’ (Cecilia Bartoli, Serge Tizac, Ensemble Matheus/Jean-Christophe Spinosi)

    Giuseppe Sammartini Recorder Concerto in F: II. Siciliano (Lucie Horsch, The Academy of Ancient Music/Bojan Cicic)

    CPE Bach Solo in G: II. Allegro (Anaïs Gaudemard)

    Robert O’Dwyer Act I Scene I: An tráth a mbíonn an spéir fá scáil (Imelda Drumm, Irish National Opera Chorus, RTE National Symphony Orchestra/Fergus Sheil)

    Ami Maayani Toccata (Elisa Netzer)

    Tchaikovsky Swan Lake: Act III. No. 17 Scène: Entrée des invites (Fanfares) et la valse (Allegro) (London Symphony Orchestra/Anatole Fistoulari)

     

    Vol. 11

    Piazzolla Tango para una ciudad (Quinteto Astor Piazzolla)

    Schumann Cello Concerto in A minor: II. Langsam (Sol Gabetta, Kammerorcheser Basel/Giovanni Antonini)

    Schumann Zwölf Gedichte, Op. 35 No. 5, Sehnsucht nach der Waldgegend (Christian Gerhaher, Gerold Huber)

    Bruch Concerto for Clarinet and Viola in E minor: III. Allegro molto (Dimitri Ashkenazy, Anton Kholodenko, Royal Baltic Festival Orchestra/Mats Liljefors)

    Schoenberg Drei Klavierstücke Op. 11 No. 1: ‘Mässige Virtel’ (Jeremy Denk)

    Verdi et al. Messa per Rossini: 11. Agnus Dei (Veronica Simeoni, Orchestra del Teatro alla Scala di Milano/Riccardo Chailly)

    Ethel Smyth Violin Sonata in A minor: IV. Finale. Allegro vivace (Tasmin Little, John Lenehan)

    Berlioz Harold en Italie: 3. Sérénade d’un montagnard des Abbruzes à sa maîtresse (Tabea Zimmermann, Les Siècles/François-Xavier Roth)

    Xenakis Pléïades: IV. Mélanges (DeciBells, Domenico Melchiorre)

    Schubert Symphony No. 3: IV. Presto vivace (City of Birmingham Symphony Orchestra/Edward Gardner)

     

     

    Vol. 10 

    Vivaldi Il Giustino, Act II: Scene 1. Sento in seno ch’in pioggia di lagrime (Anastasio) (Accademia Bizantina, Ottavio Dantone, Silke Gäng)

    Gulda Concerto for Cello, Wind Orchestra and Band: I. Overture (Edgar Moreau, Raphaël Merlin, Les Forces Majeures)

    Roxanna Panufnik Magnificat & Nunc Dimittis: I. Magnificat (Richard Johnson, Exultate Singers/David Ogden)

    Tchaikovsky Symphony No. 4: IV. Finale (London Symphony Orchestra/Gianandrea Noseda)

    Weber Piano Sonata No. 2: III. Menuetto capriccioso. Presto assai (Paul Lewis)

    Francis Lai Love Story – Theme (Arr. Campbell) (Jess Gillam, BBC Concert Orchestra/Ben Dawson)

    Berlioz Harold in Italy: II. Marche de pèlerins chantant la prière du soir (Tabea Zimmermann, Les Siècles/François-Xavier Roth)

    Arthur Lourié A Phoenix Park Nocturne (Vladimir Feltsman)

    Ramin Djawadi The Rains of Castamere (Arr. Lawson) (VOCES8)

    Philip Glass Etude No. 2 (Jeremy Denk)

    Tallis Suscipe quaeso Domine (prima pars) (The Gentlemen of HM Chapel Royal, Hampton Court Palace/Carl Jackson)

    Debussy Livre I: II. Pour les tierces (Roger Muraro)

     

     

    Vol. 9

    Rachmaninov Prelude in G minor, Op. 23 No. 5 (Live at Philharmonie, Berlin) (Yuja Wang)

    Stravinsky The Firebird: Tableau II, XIX: Disparition du palais et des sortilèges de Kastchei, animation des chevaliers petrifies. Allegresse génerale (Royal Liverpool Philharmonic Orchestra/Vasily Petrenko

    Amy Beach Violin Sonata in A minor, Op. 34: II. Scherzo. Molto vivace (Tasmin Little, John Lenehan)

    Hauscha Dew and Spiderwebs (Hauschka)

    Frank Horvat The Thailand HRDs: No. 5, Boonsom Nimnoi (Mivos Quartet)

    Trad. Deep River (Arr. Coleridge-Taylor, Kanneh-Mason) (Sheku Kanneh-Mason, Isata Kanneh-Mason, Braimah Kanneh-Mason)

    Mendelssohn Lieder ohne Worte, Op. 19: No. 6 in G minor (Andante sostenuto) ‘Venetian Gondola Song’ (Jan Lisiecki)

    Wim Henderickx Nostalgia (Boho Strings)

    Mozart Così fan tutte, Act 1: Aria ‘Come scoglio’ (Héloise Mas, Alexander Sprague, Nazan Fikret, Francesco Vultaggio, European Opera Centre, Biagio Pizzuti, Royal Liverpool Philharmonic Orchestra/Laurent Pillot)

    Philip Glass Melodies for Saxophone (arr. for trumpet): No. 3 (Craig Morris)

    Giovanni Paisiello Partimento in F minor (Nicoleta Paraschievescu)

    Ramin Djawadi The Rains of Castamere (VOCES8)

    Triumphal Parade (Scottish National Jazz Orchestra/Tommy Smith)

     

    Vol. 8

    Josquin Des Prez Miserere mei, Deus, IJ. 50: I. Miserere mei, Deus (Cappella Amsterdam/Daniel Reuss)

    Scriabin Sonata N. 10, Op. 70 (James Kreiling)

    Kaija Saariaho Cloud Trio: I. Calmo, meditato (Jennifer Koh, Hsin Yun Huang, Wilhelmina Smith)

    Dowland Flow, my tears (Stile Antico)

    JS Bach Keyboard Partita in D, BWV 828: VII. Gigue (Federico Colli)

    Prokofiev Violin Concerto No. 2, III. Allegro ben marcato (Joseph Swensen, Scottish Chamber Orchestra)

    Bellini Norma: Casta Diva… Fine al rito (Orchestra E Coro Del Teatro Massimo Di Palermo, Jader Bignamini, Marina Rebeka)

    Lyatoshinsky Symphony No. 3 ‘To the 25th Anniversary of the October Revolution’: III. Allegro feroce (Bournemouth Symphony Orchestra/Kirill Karabits)

    Handel Armida abbandonata, HWV 105: ‘Ah crudele! E pur ten’ vai’ (Emmanuelle Haïm, Le Concert d’Astrée, Sabine Devieilhe

    David Lang Mystery Sonatas: No. 1, Joy (Augustin Hadelich)

    Antheil Archipelago ‘Rhumba’ (BBC Philharmonic Orchestra/John Storgards)

     

    Vol. 7

    Thea Musgrave Loch Ness (Daniel Trodden, BBC National Orchestra of Wales/William Boughton)

    Cheryl Frances-Hoad Love Bytes (Verity Wingate, Philip Smith, Beth Higham-Edwards, Anna Menzies, George Jackson)

    Lutosławski Symphony No. 1: III. Allegretto misterioso (Finnish Radio Symphony Orchestra/Hannu Lintu)

    Purcell King Arthur, Z628, Act 1: ‘I Call, I Call’ (Stefanie True, Vox Luminis/Lionel Meunier)

    Finzi Violin Concerto: I. Allegro (Ning Feng, Royal Liverpool Philharmonic Orchestra/Carlos Miguel Prieto)

    Brahms Two Rhapsodies, Op. 79 No. 2 in G minor – Molto passionato, ma non troppo allegro (Charles Owen)

    Copland Letters from Home (Version for Chamber Orchestra) (BBC Philharmonic Orchestra/John Wilson

    Szymanowski Nocturne and Tarantella in E minor, Op. 28: I. Nocturne (Jennifer Pike, Petr Limonov)

    Beethoven Fidelio, Op. 72: O welche Lust (James Gaffigan, Zürcher Sing-Akademie, Luzerner Sinfonieorchester)

    Liszt Études d’exécution transcendante d’après Paganini: No. 1 in G minor (Elisa Tomellini)

    Corelli Violin Sonata in C Op. 5 No. 3 (transcribed for viola da gamba): III. Adagio (Lucile Boulanger)

    Mozart String Quintet No. 5: IV. Allegro (Klenke Quartett, Harald Schoneweg)

     

    Vol. 6

    Saint-Saëns Ascanio, Acte I, Tableau 1: Scène 1 ‘Très bien!’ (Jean-François Lapointe, Joé Bertili, Chœrs de la Haute École de Musique de Genève/Guillaume Tourniaire

    Tchaikovsky Piano Concerto No. 1 III. Allegro con fuoco (Xiayin Wang, Royal Scottish National Orchestra/Peter Oundjian

    Purcell Come Ye Sons of Art (Birthday Ode for Queen Mary): ‘Strike the Viol, Touch the Lute’ (Tim Mead, Les Musiciens de Saint-Julien/François Lazarevitch)

    Aleksander Sedlar Savcho 3 (Nemanja Radulovic, Double Sense, Stéphanie Fontanarosa/Aleksander Sedlar)

    Barbara Strozzi Arie, Op. 8 No. 2: ‘Che si può fare’ (Emoke Baräth, Il Pomo d’Oro/Francesco Corti)

    Josef Suk 6 Piano Pieces, Op. 7: No. 1, Liebeslied (arr. for violin and orchestra) (Eldbjørg Hemsing, Antwerp Symphony Orchestra/Alan Buribayev)

    Scheidemann Pavana Lachrymae in D minor (Yoann Moulin)

    Beethoven String Quartet in E minor ‘Razumovsky’: III. Allegretto (Elias String Quartet)

    Mozart Violin Sonata in D Major, K306: III. Allegretto (Isabelle Faust, Alexander Melnikov)

    Moteverdi Vespro della Beata Vergine: VIII. Paslmus 126. Nisi Dominus a dieci voci (Bruno Boterf, Ludus Modalis)

     

    Vol. 5

    Tchaikovsky Swan Lake, Act 1 (1877 Version): No. 8, Danse des coupes. Tempo di polacca (State Academic Symphony Orchestra of Russia ‘Evgeny Svetlanov’/Vladimir Jurowski

    John Harbison Requim, Pt. 1: II. Sequence I. Dies irae (Nashville Chorus, Nashville Symphony/Giancarlo Guerrero)

    Richard Strauss 5 Lieder, Op. 41: No. 1, Wiegenlied (Arabella Steinbacher, WDR Symphony Orchestra/Lawrence Foster)

    Parry English Lyrics, Set 12: No. 7, The Sound of Hidden Music (Sarah Fox, Andrew West)

    Andrzej Panufnik I Kwartet smyczkowy: III. Postlude (Apollon Musagete Quartett)

    Chopin Piano Sonata No. 2: II. Scherzo (Live) (Eric Lu)

    Szymanowski Nocturne & Tarantella in E minor, Op. 28: II. Tarantella (Jennifer Pike, Peter Limonov)

    Einaudi Life (Live) (Angèle Dubeau, La Pietà)

    Giovanni Antonio Pandolfi Mealli 6 Sonatas for Violin and Continuo, Op. 3: Sonata No. 2 ‘La Cesta’ (Elicia Silverstein, Mauro Valli)

    Dvořák Piano Trio No. 4 in E minor: II. Poco adagio (Christian Tetzlaff, Tanja Tetzlaff, Lars Vogt)

    Florence Price Symphony No. 4: III. Juba Dance (Fort Smith Symphony/John Jeter)

    Mozart Piano Concerto No. 16: III. Allegro di molto (Jean-Efflam Bavouzet, Manchester Camerata, Gábor Takács-Nagy

    Haydn Piano Sonata in G major, Op. 30 No. 5: I. Allegro con brio (Roman Rabinovich)

    Johann Strauss I Radetzky-Marsch, Op. 228 (Christian Theilemann, Vienna Philharmonic

     

    Vol. 4

    Arvo Pärt Passacaglia (Victoria Mullova, Estonian National Symphony Orchestra/Paavo Järvi)

    Michael Higgins The Angel Gabriel (Sonoro/Neil Ferris)

    Debussy Cello Sonata in D minor: I. Prologue. Lent. Sostenuto e molto risoluto (Jean-Guiden Queyras, Javier Perianes)

    Massanet Hérodiade, Act 1: ‘Celiu dont la parole efface… Il est doux, il est bon’ (Salomé) (Elsa Dreisig, Orchestre national Montpellier Occitanie/Michael Schonwandt

    Poulenc Concerto for Organ, Strings and Timpani in G minor: I. Andante (Live) (James O’Donnell, London Philharmonic Orchestra/Yannick Nézet-Séguin)

    Schumann Fantasiestücke Op. 72: I. Zart und mit Ausdruck (Sol Gabetta, Bertrand Chamayou)

    Gurney Since I Believe in God the Father Almighty (Teberae/Nigel Short)

    Peter Gregson Bach: The Cello Suites: Recomposed by Peter Gregson – Suite No. 1 in G, BWV 1007: I. Prelude (Peter Gregson, Richard Harwood, Reinoud Ford, Tim Lowe, Ben Chappell, Katherine Jenkinson)

    JS Bach Concerto in D minor, BWV 974: III. Presto (Víkingur Ólafsson)

    Purcell King Arthur, Act 1: ‘Come If You Dare’ (Robert Buckland, Vox Luminis/Lionel Meunier)

    Messiaen La Nativité du Seigneur: V. Les enfants de Dieu (Richard Gowers)

    George Onslow String Quartet No. 29 in E-flat, Op. 73 Elan Quintet)

    Cécile Chaminade Arabesque No. 1, Op. 61 (Mark Viner)

    Enescu Strigoii, Pt. 3: Bătrânu-și pleacă geana și iar rămâne orb (Alin Anca, Rundfunk-Sinfonieorchester Berlin/Gabriel Bebeșelea)

    Max Richter Mary Queen of Scots: The Shores of Scotland

    Tchaikovsky Swan Lake, Act II (1877 version): No. 13a, Danses des cygnes I. Tempo di valse

     

     

    Vol. 3

    Emilie Mayer Symphony No. 4: IV. Presto (Neubrandenburg Philharmonie/Stefan Malzew)

    Weber Clarinet Quintet in B-flat Major: IV. Rondo - Allegro giocoso (Julian Bliss & Carducci String Quartet)

    John Hess Vous, qui passez sans me voir (Julien Behr, Orchestre de l'Opéra de Lyon/Pierre Bleuse)

    John Francis Wade Adeste fideles (arr. M Suzuki for Choir and Organ) (Bach Collegium Japan Chorus/Masato Suzuki & Masaaki Suzuki)

    Schumann Fantasiestücke: I. Zart und mit Ausdruck (Sol Gabetta, Bertrand Chamayou)

    Domenico Sarro Messa a 5 voci: 'Laudamus te' (Maxim Emelyanychev, Jakub Józef Orliński, Il Pomo d'Oro)

    Holst Invocation Op. 19 No. 2 (Guy Johnston, BBC Philharmonic Orchestra/Andrew Davis)

    Dowland Come, Heavy Sleep (Grace Davidson, David Miller)

    Schumann Humoreske Op. 20: II. Hastig (William Youn)

    RO Morris Love Came Down at Christmas (arr. Stephen Cleobury) (Stephen Cleobury, Henry Websdale, Choir of King's College, Cambridge)

    Tchaikovsky The Seasons Op. 37a: XII. December. Christmas (Barry Douglas)

    Berlioz Roméo et Juliette: Pt. 3, Finale - Oath of Reconciliation (San Francisco Symphony Orchestra & Chorus/Michael Tilson Thomas)

    Elgar Chanson de nuit (Hallé Orchestra/Mark Elder)

    James Burton Tomorrow Shalle Be My Dancing Day (Jack Hawkins, Michael Bell, James Adams, Joseph Wicks, Choir of St John's College, Cambridge)

     

    Vol. 2

    Julian Anderson Heaven is Shy of Earth: III. Gloria (With Bird) (Susan Bickley, BBC Symphony Orchestra & Chorus/Oliver Knussen)

    Richard Strauss Horn Concerto No. 1: III. Rondo. Allegro (Live) (William Caballero, Pittsburgh Symphony Orchestra/Manfred Honeck)

    Derek Bermel Murmurations: I. Gathering at Gretna Green (ROCO)

    Frank Martin Ballade for Flute & Piano (Bridget Bolliger, Andrew West)

    Debussy Violin Sonata in G minor: III. Finale. Très animé (Isabelle Faust, Alexander Melnikov)

    Anonymous Now May We Singen (ORA Singers/Suzi Didby)

    Rachmaninov Prelude in G minor Op. 23 No. 5 (Live at Philharmonie, Berlin/2018) (Yuja Wang)

    James Newton Howard Violin Concerto: II. Andante semplice (James Ehnes, Detroit Symphony Orchestra/Cristian Măcelaru)

    Sally Beamish In the Stillness (Sonoro/Neil Ferris)

    Parry Suite moderne (arr. J Dibble for Orchestra): III. Romanza. Lento (BBC National Orchestra of Wales/Rumon Gamba)

    Jonathan Dove A Brief History of Creation: X. Whales Return to the Sea (Hallé Children's Choir, Hallé Orchestra/Mark Elder)

    Purcell King Arthur, Act 1: 'Come if You Dare' (Robert Buckland, Vox Luminis/Lionel Meunier)

    Rachmaninov Piano Concerto No. 4 (Live at Kimmel Center, Philadelphia) (Daniil Trifonov, The Philadelphia Orchestra/Yannick Nézet-Séguin)

    Fagerlund Höstsonaten, Act 1: charlotte Andergast! Vilken konstnär! (Krista Kujala, Mari Sares, Jere Martikainen, Jarmo Ojala, Finnish National Opera Chorus, Finnish National Opera Orchestra/John Storgards

     

    Vol. 1

    Julian Anderson Heaven is Shy of Earth: III. Gloria (With Bird) (Susan Bickley, BBC Symphony Chorus, BBC Symphony Orchestra/Oliver Knussen)

    Zemlinsky Albumblatt (Erinnerung aus Wien) (William Youn)

    Schreker The Birthday of the Infanta: Suite I. Reigen (Berlin Radio Symphony Orchestra/JoAnn Falletta)

    Mozart Violin Concerto No. 1 K.207: III. Presto (Nikolaj Znaider, London Symphony Orchestra)

    Tchaikovsky The Seasons, Op. 37a, TH 135: XII. December. Christmas (Barry Douglas)

    Holst In the Bleak Midwinter (Sheku Kanneh-Mason, Isata Kanneh-Mason)

    Glazunov The Seasons ‘L’été: No. 9, Scène de l’été (Zagreb Philharmonic Orchestra/Dmitri Kitayenko

    JS Bach Prelude & Fugue BVW 855a: Prelude No. 10 in B minor (Vikingur Ólafsson)

    Magnus Lindberg Tempus fugit Pt. 1 (Finnish Radio Symphony Orchestra/Hannu Lintu)

    Gurney Since I Believe in God the Father Almighty (Tenebrae/Nigel Short)

    Tchaikovsky The Nutcracker Act 1: No. 6 Clara and the Nutcracker (Los Angeles Philharmonic/Gustavo Dudamel)

    Ravel Ma mère l’Oye Suite, M. 60: V. Le jardin féerique (Prague Philharmonia/Emmanuel Villaume)

    Eric Whitacre Deep Field: Earth Choir (Eric Whitacre Singers, Virtual Choir 5, Royal Philharmonic Orchestra/Eric Whitacre)

  • Five essential works by Elgar

    classical-music.com | Sun, 17 Mar 2019 10:00:42 +0000

    Rating: 
    0

    Serenade for Strings

    Elgar’s earliest masterpiece shows him already a master of writing for strings, with an infectiously lilting first movement, and a contemplative slow movement.

    Recommended recording:
    Sinfonia of London/John Barbirolli
    EMI 567 2402

     

     

    Enigma Variations

    Though the ‘Enigma’ title continues to intrigue scholars, this series of musical portraits of Elgar’s wife and friends remain ever-vivid, especially the noble ‘Nimrod’.

    Recommended recording:
    London Philharmonic Orchestra/Adrian Boult
    EMI 764 0152

     

     

    Dream of Gerontius

    Elgar’s dramatic oratorio, depicting the journey of a soul from death through purgatory to heaven, sounds in the best sense operatic rather than a stilted work for the church.

    Recommended recording:
    Richard Lewis, Janet Baker; Hallé Choir & Orchestra/John Barbirolli
    EMI 391 9782

     

     

    Symphony No. 2

    The more flamboyant of Elgar’s two finished symphonies, the Second characteristically contrasts opening swagger with a sense of brooding apprehension and reflection, and includes a nightmarish whirlwind for a scherzo.

    Recommended recording:
    Hallé Orchestra/John Barbirolli
    EMI 968 9242

     

     

    Cello Concerto

    Elgar’s final masterpiece, written in the aftermath of the First World War and shortly before the death of his wife Alice, is noble and restrained yet unmistakably expresses grief for an irretrievably lost era.

    Recommended recording:
    Jacqueline du Pré; LSO/John Barbirolli
    EMI 562 8862

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