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Eloquence, c'est la collection des trésors oubliés des labels Deutsche Grammophon, Decca et Philips. Initiée par l'Australie, cette série de rééditions sait créer l'événement. Les albums offrent des couplages souvent inédits, avec une véritable connaissance de l'histoire discographique pour former une présentation cohérente et soignée. Le son, provenant des bandes originales anglaises, est traité de manière naturelle pour pouvoir rendre au mieux l'exceptionnelle qualité sonore qui a subjugué des générations de mélomanes dès l'orée de la stéréophonie dont Decca a été un des pionniers, développant ses propres micros et magnétophones. Une collection pour mélomanes et audiophiles exigeants pour un prix modique.

Albums

CD$12.99

Symphonic Music - Released February 7, 2020 | Decca

Distinctions 5 de Diapason
An original Philips album of two light-orchestral masterpieces by Dvořák, with the Serenade for Strings receiving a first international reissue on CD. While best known as a conductor of the central symphonic repertoire, and the operas of Berlioz and Tippett, Colin Davis always showed special affection for the music of Dvořák. He made this album in March 1968, conducting the orchestra with whom he enjoyed the longest and most fruitful relationship of his career, the London Symphony Orchestra. After some troubled times in the early 1960s, when Davis suffered a breakdown and the orchestra passed him over in favour of Istvan Kertesz as music director, they hit a sweet spot together in this album and several others such as the early volumes of their Berlioz and Tippett series together. The Symphonic Variations remains a comparatively neglected work – astonishingly so, given its tremendous charm. When Hans Richter first conducted the work in Vienna, he declared that he could never remember a new piece achieving such a popular success. Brahms thought equally highly of it, and perhaps valued the quality of wit which is rarely found in Dvořák’s music. Davis certainly did so, and conducted the Variations throughout his career, including late in life with the LSO, but this first recording enjoys a particularly unfettered freedom of expression. Affection also beams from every bar of the Serenade for Strings which Dvořák composed in 1876, the year before the Variations. This was a happy time for the composer, who was so often beset by suffering and personal tragedy, and it breathes the same joyous air as his Fifth Symphony and Second String Quintet, full of Czech and Viennese dance rhythms, which are handled by the LSO’s string section with rather more lightness of touch than on Davis’s later Philips recording with the BRSO. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$44.99

Solo Piano - Released September 13, 2019 | Decca

Distinctions 5 de Diapason
The early recordings of a keyboard lioness, long unavailable and new to CDNot generally given to extravagant effusions, William Glock (Controller of Radio 3 and the BBC Proms in the 1970s) had no doubt: ‘There is no one who plays the piano better in the world than she does. There is no one with a more fantastic command of the piano … not over felt, not under-felt, nothing rushed just to show off and yet the greatest playing I’ve heard for years’. He was referring to the French pianist Cécile Ousset, whose career had belatedly sparked to life and international recognition with appearances across the UK and US and a new contract with EMI Records. Yet prior to this Ousset had made several recordings since her success in the late 1950s at several major European competitions. She accumulated a considerable catalogue on Eterna, the East German label, but then Ousset signed to make recordings with Sofrason, the Société Française du Son. These were licensed for wider release by the French arm of Decca, but Sofrason went out of business in 1981 and the recordings have never been reissued – until now. This new Eloquence set includes an appreciation of Ousset’s art by the French pianophile Jean-Charles Hoffélé. These ‘French Decca’ recordings all date from 1971–76, and they include much solo repertoire that Ousset never recorded again, though they share similar qualities with the much-acclaimed concerto recordings that she made in the 1980s: an unsentimental palette of rubato and tone-colour, a fearless and brilliant command of articulation, and a uniquely French mastery of jeu perlé. The first album made an imaginative and attractive compilation of fin-de-siècle Parisians from Saint-Saëns to Satie. The second displayed her particular affinity with the Russian post-Romantics, Rachmaninov and Prokofiev; and the third coupled two landmarks of German-Romantic piano literature, by Brahms and Schumann. These all received a later international LP issue on the ‘Ace of Diamonds’ imprint and to very warm reviews. However, Ousset’s last recordings from this period encompassed the complete variations of Beethoven, issued by French Decca in two volumes (a 3LP and a 2LP box). Its disappearance particularly dismayed Ousset herself: ‘I made a big effort on that one,’ she remarked in a 1984 interview, ‘and it came off beautifully’. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$63.99

Classical - Released August 16, 2019 | Universal Music Australia Pty. Ltd.

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CD$18.99

Classical - Released July 12, 2019 | Universal Music Australia Pty. Ltd.

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CD$14.99

Full Operas - Released January 11, 2019 | Decca

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Symphonic Music - Released January 11, 2019 | Decca

Distinctions 5 de Diapason
The Tchaikovsky ballet score recordings by the Ukrainian-born conductor, Anatole Fistoulari, are prized ‘as being among the finest ever made’ (Gramophone). As a companion issue to the abridged Swan Lake and extended excerpts from The Nutcracker on Eloquence, this newly remastered set offers another pair of complete Decca albums both appearing for the first time on Decca CD: the abridged (mono) Sleeping Beauty made in Paris in 1952 and the Fourth Symphony from 1971, recorded in Phase 4 stereo. It is the sense of being present at a live performance that critics have always prized in Fistoulari’s ballet recordings. As an experienced conductor in the pit who (perhaps apocryphally) led his first opera performance at the age of 12, he had the still-rare knack of transferring the vital sense of dramatic narrative to the studio. Sleeping Beauty, the longest of Tchaikovsky’s ballets, was reduced in this version to roughly the length of The Nutcracker – an hour and three-quarters – which, when LPs required side turns every 25 minutes, was deemed quite sufficient by most critics and listeners who were still accustomed to attending similarly cut versions of the ballet live. Although Decca capitalised on Fistoulari’s talents as a concerto accompanist and ballet director, the records of him as a symphonic conductor are all too rare which makes this dynamic, spacious and detailed account of the Fourth Symphony all the more treasurable. The tension and complex form of the first movement – Tchaikovsky’s single most innovative symphonic movement – is superbly handled and he secures quiet string playing worthy of any ballet conductor in the pizzicato Scherzo. It makes a notable addition to the symphony’s discography on CD and a worthy tribute to the art of an unjustly neglected maestro. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
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Keyboard Concertos - Released October 26, 2018 | Decca Music Group Limited

Distinctions 5 de Diapason
CD$14.99

Symphonies - Released June 8, 2018 | Decca

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Symphonic Music - Released May 11, 2018 | Decca

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CD$21.49

Symphonic Music - Released May 11, 2018 | Universal Music Australia Pty. Ltd.

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Classical - Released January 1, 1978 | Universal Music Australia Pty. Ltd.

Distinctions 5 de Diapason - Gramophone Editor's Choice
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Full Operas - Released January 1, 1966 | Decca

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Full Operas - Released January 1, 1956 | Universal Music Australia Pty. Ltd.

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Symphonic Music - Released January 1, 1943 | Universal Music Australia Pty Ltd.

Distinctions 5 de Diapason