Your basket is empty

Categories :

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$18.99

Symphonic Music - Released March 6, 2020 | Decca

Erich Kleiber’s major Tchaikovsky recordings, newly remastered and coupled with Ruggero Ricci’s debut recording for Decca. Only a truncated version of the Capriccio Italien from 1933 predates these accounts of the Fourth and Sixth symphonies in the Kleiber discography. They were made in Paris – Decca apparently esteemed the playing of the Conservatoire Orchestra in Russian repertoire – and are precious testaments to the particular attack and vigour he inspired from orchestras in this music. Despite being recorded under 78rpm conditions, in four- or five-minute sections, the Fourth Symphony is marked by a palpable symphonic rigour as well as the edgy brass which lends such intensity to Decca’s Paris recordings of Russian music. This Fourth dates from 1949; four years later Kleiber returned to Paris for the ‘Pathétique’, recorded on tape, with an especially compelling sense of line drawn through the symphony’s tragic finale. After his early death in January 1956, at the age of 65, his friend Jacques Barzun recalled watching Kleiber rehearse and perform in Paris, presumably for these recordings: ‘He did not seem to conduct, that is, to earn his fee on the podium. All his histrionic ability went into rehearsal: there he gestured, danced, chattered, pantomimed his way into the subconscious of his players until the right musical utterance came out of their fingers and lungs.’ In January 1950, when Ruggiero Ricci first recorded the Tchaikovsky Violin Concerto, he was 31 years old and had been performing in public for over 20 years. The sessions marked his debut for Decca, at least in concertos, and he was most sympathetically partnered by Sir Malcolm Sargent – the preferred conductor of Jascha Heifetz on his appearances in London. Two further Decca recordings followed, in 1961 and 1974, both impressive in their ways and technologically advanced but hardly superseding the folksy bravura and legerdemain of his initial efforts. (© Decca / Universal Music Australia Pty Ltd.)
CD$31.99

Symphonies - Released February 7, 2020 | Decca

Newly remastered and gathered under one roof for the first time, the Decca recordings of Hans Knappertsbusch conducting Bruckner: a legendary combination. For record collectors in the 1950s and 60s, the names of Bruckner and Knappertsbusch (‘Kna’) were practically synonymous. At a time when the composer’s symphonies were routinely compared to Gothic cathedrals, the rough grandeur, steady pulse and towering climaxes of these readings marked out the conductor as an architect of symphonic majesty. Record companies did not have to work hard to cultivate this image, thanks to Knappertsbusch’s craggy visage, imposing presence on the podium and decades of Wagnerian experience at Bayreuth. At a time when Wagner’s Parsifal was still experienced as a primarily sacred music drama, the major works of Bruckner were likewise understood in semi-sacred terms as concert-hall rites, and who better to pierce their mysteries than Parsifal’s pre-eminent interpreter? Knappertsbusch began recording Bruckner for Decca in 1954, with the Third. The Fourth and Fifth quickly followed, also from Vienna, and then the Eighth arrived as an appendix from Munich, first issued on the Westminster label in 1963. By then the conductor’s readings of Romantic repertoire had become less impulsive, even more monumental in concept, but still lightened by a natural feeling for the dance rhythms in Bruckner’s scherzos and Ländler themes. Knappertsbusch persisted in conducting from editions prepared by Bruckner’s pupils, notably the Schalk brothers, with their liberal re-scorings and cuts, to the finales in particular – all outlined in a perceptive booklet essay by Antony Hodgson. In the light of recent scholarship and a more nuanced perspective on Bruckner’s evolving intentions with the composing and revising of his symphonies, these performances gain a certain, compelling authenticity of their own. No Brucknerian can afford to be without them. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$57.49

Classical - Released November 1, 2019 | Universal Music Australia Pty. Ltd.

Distinctions 5 étoiles de Classica
The complete Decca recordings of a much-loved English pianist, including previously unissued material, newly remastered and issued with a comprehensive introduction to her early life and recording career.When Moura Lympany first visited Decca’s West Hampstead studios in 1941 to record a pair of Preludes by Rachmaninov, even the composer himself had committed no more than seven of them to disc, and Eileen Joyce (with Lympany, a fellow pupil of the legendary piano pedagogue Tobias Matthay) had recorded only six. But the ecstatic critical reception to her first recordings – noting the strength of her tone and the subtle play of rubato – enabled her to complete the set within 18 months. The complete set has been previously reissued by Eloquence, but in this box set of her complete Decca recordings it has been coupled with her remake of the cycle for LP, produced by John Culshaw using Decca’s new ‘ffrr’ technology. In the interim period she had been wooed away from Decca by Walter Legge at HMV, but she returned both to re-record staples of her repertoire and to add works such as Balakirev’s fiendishly difficult Islamey and the Third Concerto of Rachmaninov: both commanding and original accounts. Here also comparisons can be made between her later and her lesser-known early recordings of the Second Concerto by Saint-Saens and the big Romantically styled concerto by Khachaturian which had become a signature work after giving the UK premiere in 1940 . Also in 1947, Lympany recorded Chopin’s B minor Sonata for Decca, but the results were not released. Now available for the first time, her performance displays an extraordinary insight into one of the great Romantic masterworks, and the subtle sensuality she imparts to the Largo may well be one of the most moving accounts on record. Eloquence has also unearthed a pair of superb live broadcasts: the quirky and lighthearted First Piano Concerto by Alan Rawsthorne (recorded in 1945, with the BBCSO conducted by Sir Adrian Boult), and a landmark work of 20th-century pianism, the Sonata by Samuel Barber, from December 1950. No collector of pianists and great piano recordings will want to be without this comprehensive tribute to Lympany’s art. The extensive booklet is superbly annotated with a reminiscence by Bryce Morrison and a fascinating note by Stephen Siek, as well as several rare and some previously unseen photographs from the Moura Lympany Archive.
CD$57.49

Classical - Released October 18, 2019 | Universal Music Australia Pty. Ltd.

CD$63.99

Symphonic Music - Released October 18, 2019 | Decca

A feast of Haydn and Mozart under the sure and stylish baton of Karl Münchinger, including several recordings making their first international appearance on CD.This box of Münchinger’s legacy in Classical-era repertoire picks up where the Eloquence set of his Baroque recordings (484 0160) left off, with six symphonies of Haydn. He had founded the Stuttgart Chamber Orchestra in 1946, and Decca began making records with them three years later. The excellence and commercial success of these albums caused the label to invite him to work with orchestras other than his own, in Paris (the Conservatoire Orchestra) and, more prestigiously still, the Vienna Philharmonic. The first fruits of this new relationship were issued in May 1955: an LP of No.88 and No.101, the ‘Clock’. Reviewers looked to the likes of Furtwangler and Toscanini for comparison respectively, and did not find Münchinger wanting for either grandeur or pathos in this music. The sequels took in Nos 96 and 104 (recorded in May 1957) and Nos. 83 and 100 (from April 1961): superbly open and spacious Sofiensaal recordings engineered in classic Decca sound by John Culshaw and Christopher Raeburn. By then Münchinger was also recording Mozart for Decca, both with an enlarged cohort of his Stuttgart ensemble and with the Vienna Philharmonic. The repertoire included not only mature symphonies but also concertos (with the Viennese principals Werner Tripp and Alfred Prinz on flute and clarinet respectively), serenades (featuring the inimitably luscious tone of Willi Boskovsky’s violin) and rarities such as the ballet Les Petits Riens, recorded back in Stuttgart. The set concludes with two discs of concertos: Haydn and Boccherini with the cellist Pierre Fournier, Mozart with both Christian Ferras – including the apocryphal ‘Adelaide’ concerto once championed by Menuhin – and Wilhelm Kempff, in a pairing of the Piano Concertos Nos. 9 and 15 that had critics reaching for superlatives in an era when these works had barely entered the record catalogues. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$12.99

Symphonic Poems - Released October 18, 2019 | Decca

A quartet of Liszt tone-poem recordings, new to CD, plus a cherishable recording of Wagner’s musical birthday card to his wife.Karl Münchinger founded the Stuttgart Chamber Orchestra in 1946, and Decca began making records with them three years later. The polish and vigour of his work in Baroque repertoire is comprehensively documented by a recent 8CD Eloquence box, but Münchinger’s repertoire was broader than might be assumed. In addition to their sensitive and stylish interpretation of Haydn and Mozart brought together on another Eloquence box, the conductor and his Stuttgart ensemble took on Romantic repertoire such as the Siegfried-Idyll of Wagner – a 1951 recording made in Geneva with Munich strings and the winds of the Orchestre de la Suisse Romande. More adventurously, Decca sent Münchinger to Paris, to conduct the Conservatoire Orchestra. A 10-inch EP of the Mephisto Waltz and Prometheus duly appeared, followed by a full LP which coupled the EP with two more tone-poems, Mazeppa and Hamlet. Although Liszt’s orchestral music was more familiar to audiences in the concert hall than it is now, there were comparatively few recordings: this one of Hamlet appears to be the first, but it effectively conveys both the nervous tension of the story and its gloomy setting of Elsinore. Münchinger secures fiery playing from the Paris orchestra and holds a firm grasp on Liszt’s unorthodox structures. Captured in Decca’s dynamic mono sound, the Conservatoire brass make thrilling contributions to the Mephisto Waltz and the climactic celebrations of Mazeppa, while the winds contribute much distinctively French timbre to the more poignant evocations of the sufferings of Prometheus. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$12.99

Symphonic Music - Released September 13, 2019 | Decca

Strauss waltzes and polkas in classic Decca 1950s recordings, led to the manner born by the Viennese conductor Josef Krips.Newly remastered from the original tapes – and in the case of two works the shellac discs – this compilation presents recordings made in London and Vienna by a conductor born and bred to the rhythms of the Strauss family. Josef Krips cut his teeth as a repetiteur at the Volksoper in Vienna, making his debut there in 1921, before graduating to the more prestigious Staatsoper in 1933. Mozart was forever Krips’s musical god: ‘My maxim is that everything has to sound as though it were by Mozart, or it will be a bad performance. When you perform Mozart, everything has to be crystal clear, everything has to be in balance and everything has to have a relaxed sound.’ These are the qualities that mark out his conducting of these waltzes and polkas, which he continued to conduct wherever his career took him: to London in the late 1940s, becoming principal conductor of the LSO for three years in the early 50s, and thence to the US, such as a late-in-life post as musical director of the Buffalo Philharmonic, returning often however, to his spiritual home of Vienna. The recordings here were made first of all with the ‘New’ Symphony Orchestra of London musicians in April 1948, then with the LSO in April 1950. The legendary Decca producer John Culshaw was behind the glass at the Sofiensaal for Vienna Philharmonic sessions in October 1956 and September 1957 that yielded the ‘Memories of Vienna’ LP which gives this album its title. He was joined by the soprano Hilde Gueden for the obbligato soprano parts in waltzes such as Voices of Spring; Gueden had been one of the most prominent members of the Vienna State Opera immediately after the war while Krips rebuilt and nurtured it from the ground up, and she too was blessed with an instinctive understanding of Viennese style as well as the kind of light lyric soprano voice that made her ideal for Josef Strauss’s Village Swallows waltz. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$18.99

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

Distinctions 5 de Diapason
CD$12.99

Symphonic Music - Released October 26, 2018 | Decca

Two original Decca releases of the Vienna Philharmonic in early-Romantic repertoire, freshly compiled and newly remastered‘I am an exponent of an old tradition,’ remarked Carl Schuricht. ‘I have nothing against the music of today but I feel it is important to rejuvenate the sense of tradition.’ This he did throughout a distinguished career which included relationships with all the great European orchestras, including a ready understanding with the Vienna Philharmonic. Working with them he was observed by the young Seiji Ozawa who reflected later that ‘his music did not let me feel his age or rather it sounded more vividly than that by any younger conductors’. Schuricht had a flair for Mendelssohn and conducted the overtures throughout his career, including late recordings with a German radio orchestra but these Decca sessions from June 1954 surpass them for refinement of execution as well as deftness of conception. Originally coupled with excerpts from ‘A Midsummer Night’s Dream’ on an RCA LP, Pierre Monteux’s recording of incidental music from ‘Rosamunde’ was belatedly repatriated to Decca in the 1970s as part of the label’s familiar ‘World Of’ series. The Ballet Music No. 1 was omitted on previous CD reissues and is now duly restored for this Eloquence release. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$12.99

Keyboard Concertos - Released October 26, 2018 | Decca Music Group Limited

Distinctions 5 de Diapason
CD$12.99

Symphonies - Released July 6, 2018 | Decca

Distinctions Diapason d'or
CD$12.99

Symphonic Music - Released June 8, 2018 | Decca

CD$21.49

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

Distinctions 5 de Diapason
CD$16.49

Classical - Released January 1, 2013 | Decca Music Group Ltd.

CD$16.49

Classical - Released January 1, 2013 | Decca Music Group Ltd.

CD$10.49

Classical - Released January 1, 2002 | Decca Music Group Ltd.

Distinctions The Qobuz Ideal Discography
CD$12.99

Classical - Released January 1, 2000 | Decca Music Group Ltd.

CD$25.49

Symphonic Music - Released January 1, 1948 | Universal Music Australia Pty Ltd.

Distinctions Diapason d'or
CD$50.99

Classical - Released January 1, 1946 | Universal Music Australia Pty. Ltd.

CD$12.99

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

Distinctions 5 de Diapason