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Chamber Music - Released January 24, 1995 | Marco-Polo

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Classical - Released October 25, 2002 | Cello Classics

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Classical - Released January 1, 2004 | Decca (UMO)

One is at first dubious. Song of the Birds (aka Cello Concerto No. 2 by Herbert Murrill)? Philharmonic Variations by Haydn Wood? One has of course heard of Edmund Rubbra and his Soliloquy for cello and orchestra sounds faintly familiar. But who is George Dyson and what is his Prelude, Fantasy and Chaconne for cello and orchestra? Who are the composers and what are these works? The short answer is that these are works for cello and orchestra composed by Englishmen in the years surrounding WWII. The shorter answer is: two bright pieces and two dull pieces. Cellist Raphael Wallfisch brings his customary virtuosity and sensitivity to all his performances. Conductor Vernon Handley brings his usual strength and stolidness to all his performances. The BBC Concert Orchestra brings its standard competence and professionalism to all its performances. But while Rubbra's soulful Soliloquy and Dyson's splendid Prelude, Fantasy and Chaconne sound superb in Wallfisch and Handley's performances, there is nothing they or anyone else could do to breathe life into Wood's dreary Philharmonic Variations or Murrill's dismal Song of the Birds. And it doesn't help that White Line's digital sound is dim and dull throughout. For folks who have to have everything Rubbra or Dyson ever wrote, this disc will fill out a shelf. For the casual listener, this disc will induce creeping catatonia. © TiVo
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Chamber Music - Released July 1, 2007 | Nimbus Records

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Classical - Released November 1, 2007 | Nimbus Records

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Classical - Released January 1, 2008 | Nimbus Records

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Chamber Music - Released May 1, 2010 | Nimbus Records

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Classical - Released November 1, 2010 | Nimbus Records

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Classical - Released February 4, 2012 | Cello Classics

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Chamber Music - Released September 1, 2012 | Nimbus Records

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Duets - Released March 1, 2013 | Nimbus Records

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Classical - Released January 1, 2014 | Nimbus Alliance

Booklet
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Chamber Music - Released June 3, 2014 | Naxos

Booklet
This release appears to be a sampler of several albums of British cello-and-piano music recorded between 2005 and 2010 for the British Music Society in presumably a single limited-edition run. Lovers of 20th century chamber music will be glad to have it, for the composers represented are sparsely heard even in Britain; William Busch, who died in 1945 after walking through a snowstorm to return to his young son, does not even appear on Wikipedia. All four of the works, even the Cello Sonata No. 2 of Arnold Cooke, composed in 1980, are in a conservative tonal idiom, but "Romantic" would not be quite the right word. The influence of Shostakovich, who had been proclaimed the greatest composer in the world by William Walton, looms over most of these works, which are heavily contrapuntal. The Partita, Op. 35, of Kenneth Leighton, from 1959, consists of an Elegy, a Scherzo, and a theme and six variations; it could be programmed profitably along with a cello sonata by Shostakovich or Prokofiev. The most purely Brahmsian piece is the Cello Sonata No. 2 in G minor, Op. 66, of the curiously named William Wordsworth, which achieves an epic intensity and does not really feel conservative. Nothing here is of earthshaking importance, but all four pieces have personality and did not deserve the oblivion to which they were consigned by a dictatorial modernism. © TiVo
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Classical - Released November 1, 2014 | Lyrita

Booklet
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Classical - Released January 6, 2015 | Naxos

Booklet
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Classical - Released March 1, 2015 | Nimbus Records

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Classical - Released May 27, 2016 | Chandos

Booklet
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Cello Concertos - Released July 6, 2018 | CPO

Booklet Distinctions 5 de Diapason
Born in 1911 and 1903 respectively, these German composers – who were, unfortunately for them, born Jewish – Franz Reizenstein and Berthold Goldschmidt were exiled from Germany in 1934 and 1935, but their stories were very different. From 1932 Goldschmidt had made a serious name for himself following the performance of one of his operas in Mannheim. But he was already 29 and had some serious musical and social baggage behind him, not only in the form of a job assisting Erich Kleiber at the Berlin production of Wozzeck. So when he came to Britain, he was already well-regarded. But the unfortunate Reizenstein was only 21 when he came to London, where he wanted to continue the studies he had started with Hindemith in Berlin... Happily for him, he found a space under the benevolent wing of Vaughan Williams, and eventually took English nationality and even became a teacher in the Royal College of Music. As for Goldschmidt, who was already famous and whose opera The Magnificent Cuckold was to have been first performed in 1933 – an ill-fated year – he found himself classed as a "degenerate artist", which prompted his departure shortly after. Neither of the two composers would give into the atonal, serialist Schönbergian torrent, let alone the post-war avant-garde: and so their music was soon thought of as old hat... Goldschmidt even quit composing in 1958, and didn't return to it until the end of his life, once the serialist dictatorship had fallen amid much derision. The two cello concertos supplied here by the great Raphael Wallfisch were written and performed in the 1950s, and then largely forgotten for decades, in spite of the support of the equally-great Feuermann. Here, we find a language which is at once classical and modern, in the tradition of Hindemith and Vaughan Williams, and surely Shostakovitch too – these are works that richly deserve a rediscovery. Unlike the Reizenstein concerto, the Goldschmidt one is not a world premiere. © SM/Qobuz