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Sir Adrian Boult: A Musical Legacy, Vol. 5

London Philharmonic Orchestra

Classica - Uscito il 27 novembre 2020 | London Philharmonic Orchestra

Libretto
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Sir Adrian Boult: A Musical Legacy, Vol. 4

London Philharmonic Orchestra

Classica - Uscito il 20 novembre 2020 | London Philharmonic Orchestra

Libretto
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Vladimir Martynov: Utopia

London Philharmonic Orchestra

Classica - Uscito il 13 novembre 2020 | London Philharmonic Orchestra

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One of the benefits that has come with the influx of Russian conductors in the West, especially in Britain, is the assortment of music they have brought with them, music that may have had some fame in Russia but has been unknown in the West. Consider the music of Vladimir Martynov, here championed by Vladimir Jurowski and the London Philharmonic Orchestra and Choir. Martynov started out in the 1960s as a serialist and passed through phases of interest in electronic music, rock, and ethnic music from the Soviet republics before forming his own entirely distinctive take, often religious, on the minimalist influences coming from the Baltics and the U.S. Here, his is not the meditative minimalism of Arvo Pärt but a rather splashy kind with Romantic aspects including a prominent quotation from Schumann's Kinderszenen, Op. 15, jazzy interludes, handclaps, and an orientation toward exoticism (underlined by the specific Schumann quote, from Von fremden Ländern und Menschen). The original version of Utopia, from 2005, was commissioned by the Singaporean ambassador to Russia and was conceived as a Singaporean symphony, with a text from the Great Soviet Encyclopedia entry on that Southeast Asian city-state. Later, that was replaced by excerpts from the Tao te Ching, the source of the original text in the second of the work's two large sections, and here the entire text is translated into English. The album was recorded in 2019, making the line "Let people be respectful towards death and not leave their homes" strikingly prescient in 2020. The original text might actually be preferable, providing a juxtaposition of modern and granular with ancient and sacred, and no one else set the words of the Great Soviet Encyclopedia. Nevertheless, the work is entirely diverting, and Jurowski does well not to tone down its more garish qualities, coaxing the London Philharmonic Choir away from an English cathedral sound and toward a big American feel. The work would be ideal for presentation by American orchestras, and this recording may help make that happen. Abbey Road Studios, here as so often after all these years, produces a fine acoustic, spacious but never muddy. © TiVo
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Sir Adrian Boult: A Musical Legacy, Vol. 3

Sir Adrian Boult

Classica - Uscito il 30 ottobre 2020 | London Philharmonic Orchestra

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Sir Adrian Boult: A Musical Legacy, Vol. 2

Sir Adrian Boult

Classica - Uscito il 16 ottobre 2020 | London Philharmonic Orchestra

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Sir Adrian Boult: A Musical Legacy, Vol. 1

Sir Adrian Boult

Classica - Uscito il 02 ottobre 2020 | London Philharmonic Orchestra

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Symphony No. 11 in G Minor "The Year 1905"

London Philharmonic Orchestra

Classica - Uscito il 25 settembre 2020 | London Philharmonic Orchestra

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From the start, critical opinion has been split on Shostakovich's Symphony No. 11 in G minor, Op. 103 ("The Year 1905"). Is it of a piece with the cinematic potboilers Shostakovich wrote to get himself back into the good graces of the Soviet government after his denunciation by Stalin's cultural henchmen? Or was it, following the thinking of the composer's revisionist biographer Solomon Volkov, a subtle expression of support for the Hungarian uprising against Soviet domination in 1956, just as Shostakovich's symphony was being composed? The genius of this reading by Vladimir Jurowski and the London Philharmonic, recorded live, is that it doesn't really matter. The work is strongly programmatic, really to a greater degree than any other Shostakovich symphony, and lacks the venomous scherzo generally characteristic of the composer. Jurowski takes the listener through it with inexorable forward motion, clocking in at 13:33 in the first movement as compared with a good deal longer in many interpretations and more than 20 minutes in one of the symphony's most famous recordings, that of Mstislav Rostropovich with the London Symphony in 2004. For Jurowski, the mood of the work is less memorial than inexorable, and while listeners are free to accept or reject this, it is hard to argue that the conductor succeeds anything less than brilliantly in realizing his aims. The highlight is the truly shattering finale, where the Southbank Centre audience explodes at the end; so will listeners even in their own homes, and Jurowski gets extraordinary support from the LPO's engineering staff: the layers of sound shimmer uncannily. For Jurowski, the score is indeed cinematic, but, he asks, so what? © TiVo
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Zubin Mehta conducts Strauss and Rimsky-Korsakov

Zubin Mehta

Classica - Uscito il 27 marzo 2020 | London Philharmonic Orchestra

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Penderecki: Horn and Violin Concertos

Krzysztof Penderecki

Classica - Uscito il 28 febbraio 2020 | London Philharmonic Orchestra

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This release draws on live London Philharmonic Orchestra recorded performances from 2013 and 2015, all of them, except for that of the Violin Concerto No. 1, conducted by Krzysztof Penderecki, the composer of all four works. It pairs a Penderecki classic, the hair-raising Threnody for the Victims of Hiroshima (1960) with three newer works: the Violin Concerto No. 1, the Adagio for Strings (a transcription of the slow movement of the Symphony No. 3), and the Horn Concerto of 2008. While it's true that composers don't necessarily make the best conductors of their works, these are exceptionally compelling performances. Penderecki's career, even according to his own testimony, is conventionally divided into avant-garde and neo-Romantic phases, but what the composer-conductor shows here, is that the division isn't as thorough as it may seem. The Horn Concerto, not a commonly played piece, contains all of the blocks of sound and the structural use of texture that earlier Penderecki works do, and, of course, the grim pictorial quality of the "avant-garde" Threnody has an expressive Romantic aesthetic. All of these works get at another aspect of why Penderecki remains one of the most frequently played contemporary composers: he gives orchestral players a great deal to do, and they consequently play his music enthusiastically. As good a place as any to start with the more recent Penderecki. © TiVo
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Ravi Shankar: Sukanya

David Murphy

Opera - Uscito il 10 gennaio 2020 | London Philharmonic Orchestra

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At the height of his fame in the late 1960s and early 1970s, Ravi Shankar explored East-West fusions in both the pop and classical realms. Among his works are three concertos for sitar and orchestra. Late in life, he turned once again to the fusion question, and at his death in 2012, at age 92, he left an unfinished opera, Sukanya. It was shaped and completed by his daughter Anoushka Shankar and the conductor of the present performance, David Murphy. This recording, taken from a live performance in 2017, marks its world premiere. The libretto, taken from a story in the Indian epic poem The Mahabharata, is about a princess who marries a much older sage, is in English, and is a bit splashy, with echoes of Shankar's own life; Sukanya was the name of his third and final wife. Broad-strokes libretti are hardly unheard-of in the operatic world, and the music here qualifies as a profound breakthrough. Some of Shankar's earlier fusion pieces essentially used the Western orchestra as a giant device for establishing the tonal world of Indian music. He still does that in Sukanya, but he also does the converse, with Indian classical solos for the sitar and the oboe-like shehnai blooming into Western operatic vocal solos and duos. These work up to big climaxes of an entirely Western sort; the one at the end draws cheers that would be the envy of any opera house. The orchestral writing here is more sophisticated than in Shankar's earlier experiments of this kind, and the whole production has a kinetic feel that's immensely entertaining. It's also really unlike anything anyone else has ever done. Given that the work as it stands involved some tinkering from what Shankar left at his death, it's possible that some further reworking is warranted, and perhaps even under consideration, but the work as it stands offers a worthwhile evening at the theatre or in the listening room, and it makes one want to see the opera live and experience its choreographic and visual elements. © James Manheim /TiVo
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Ravi Shankar: Tilak Kalmod

David Murphy

Opera - Uscito il 06 dicembre 2019 | London Philharmonic Orchestra

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Fincham: Ring the Bells

Neville Creed

Canzoni di Natale - Uscito il 29 novembre 2019 | London Philharmonic Orchestra

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Mahler: Symphony No. 4

London Philharmonic Orchestra

Classica - Uscito il 19 luglio 2019 | London Philharmonic Orchestra

Hi-Res Libretto Riconoscimenti Gramophone Editor's Choice
While Vladimir Jurowski isn't recognized as a Mahler specialist, having recorded only three of the symphonies over the course of a decade, his recording of the Symphony No. 4 in G major may at least indicate an abiding interest in the composer's work, promising more recordings to come. Previously, Jurowski and the London Philharmonic Orchestra recorded Mahler's Symphony No. 2 in C minor, "Resurrection," and the Symphony No. 1 in D major, released in 2011 and 2013 respectively, and even though these recordings have pleased Jurowski's fans, they didn't raise wider expectations for a great Mahler cycle. This 2016 performance of the Fourth, released on LPO in 2019, is a bit like its predecessors, perhaps too relaxed and subdued to signify deep passions, while the gemütlich interpretation over-emphasizes the symphony's cheerfulness at the expense of its melancholy and macabre aspects. Add to this the shallow sound of the live recording in London's Southbank Centre Royal Festival Hall, and it might seem that this presentation is a bit underwhelming and of little interest to Mahler devotees. Yet for its low-key approach, this performance is consistent and unobtrusively controlled within its own modest parameters, and neither Jurowski nor the London Philharmonic Orchestra overdo Mahler's eccentricities, so this is as straightforward a reading of the Fourth as one is likely to find. © TiVo
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Rachmaninoff : Symphony No. 1 - Isle of the Dead

Vladimir Jurowski

Musica sinfonica - Uscito il 15 marzo 2019 | London Philharmonic Orchestra

Hi-Res Libretto Riconoscimenti 5 de Diapason
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Beethoven: Symphonies Nos. 3 & 5

Kurt Masur

Musica sinfonica - Uscito il 15 marzo 2019 | London Philharmonic Orchestra

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Genius of Film Music: Hollywood 1980s-2000s

Dirk Brossé

Colonne sonore - Uscito il 01 ottobre 2018 | London Philharmonic Orchestra

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Tchaikovsky: Symphonies Nos. 2 & 3

London Philharmonic Orchestra

Classica - Uscito il 01 ottobre 2018 | London Philharmonic Orchestra

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Poulenc: Piano Concerto, Organ Concerto & Stabat Mater

Alexandre Tharaud

Classica - Uscito il 01 agosto 2018 | London Philharmonic Orchestra

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Strauss: Alpine Symphony, Die Frau ohne Schatten & Dance of the Seven Veils

London Philharmonic Orchestra

Classica - Uscito il 01 giugno 2018 | London Philharmonic Orchestra

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Stravinsky: Petrushka & Firebird Suite

London Philharmonic Orchestra

Classica - Uscito il 01 aprile 2018 | London Philharmonic Orchestra

Libretto