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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$7.49

Classical - Released January 1, 2012 | Decca Music Group Ltd.

CD$12.99

Chamber Music - Released August 16, 2019 | Decca

Two L’Oiseau-Lyre albums of English brass music from the 17th and 18th centuries – The Royal Brass Music of King James I and English Baroque Trumpet Concertos – newly compiled and remastered and issued on CD for the first time. With this and several other albums issued in 2019, Eloquence celebrates the art of Thurston Dart, the harpsichordist, conductor and editor who played a leading role in the early-music revival in postwar Britain. After his death in 1971 at the age of just 49, his fellow harpsichordist Igor Kipnis paid fulsome tribute to ‘a man of many parts’, whose 1954 volume on The Interpretation of Music had attained testamentary authority among his fellow musicians, matched by the skill, style and flourish of his many recordings: ‘He was the ideal musicologist-performer.’ In 1960 Dart convened and directed a six-strong ensemble of trumpets and trombones to record a sequence of music written for performance at the court of King James I by a twenty-piece band of sackbuts and cornetts known as the Royal Wind Music. Part-books of their repertoire were edited and in some cases reconstructed by Dart and his colleague Trevor Jones, and the result is a splendid compilation of dances and fanfares by members of the king’s musical retinue including the violist and lutenist ‘Giovanni Coprario’ who, born in London in 1570 as John Cooper, changed his name in the early seventeenth century, doubtless to add foreign lustre to his reputation. Dart’s ad hoc ensemble was led by the legendary French trumpeter Maurice André who, four years previously, had taken centre-stage to record one of the first concerto albums in his long and distinguished career. The headline name in this trio of ‘English Baroque Trumpet Concertos’ is Jeremiah Clarke, whose successful career came to an abrupt and tragic end in his early 30s with his suicide in 1707. The nine movements of his Suite in D major for trumpet, strings and winds were also reconstructed for this recording, and they include the Trumpet Voluntary (sometimes known as the Prince of Denmark’s March) to which countless brides have walked down the aisle. The names of Richard Mudge and Capel Bond are far less known than they deserve to be: musicians of the English Midlands, they each left hardly more than a single collection of six concertos. In these examples edited by Gerald Finzi, they nonetheless demonstrate high craftsmanship in the Italian style and a fine awareness of the then-modern, ‘galant’ mode. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$10.49

Classical - Released January 1, 2012 | Decca Music Group Ltd.

CD$12.99

Classical - Released January 1, 1949 | Universal Music Australia Pty. Ltd.

Distinctions Diapason d'or
CD$10.49

Classical - Released January 1, 2012 | Decca Music Group Ltd.

CD$7.49

Classical - Released January 1, 2010 | Decca Music Group Ltd.

CD$10.49

Classical - Released January 1, 2014 | Decca Music Group Ltd.

CD$16.49

Symphonic Music - Released January 1, 2010 | Decca Music Group Limited

CD$10.49

Classical - Released January 1, 2000 | Deutsche Grammophon (DG)

CD$7.49

Classical - Released January 1, 2014 | Decca Music Group Ltd.

CD$10.49

Classical - Released January 1, 2000 | Deutsche Grammophon (DG)

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

Symphonic Music - Released June 8, 2018 | Decca

CD$12.99

Symphonies - Released July 6, 2018 | Decca

Distinctions Diapason d'or
CD$12.99

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

Distinctions 5 de Diapason
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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$21.49

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

Distinctions Diapason d'or
CD$14.99

Full Operas - Released January 1, 1966 | Decca

Distinctions 5 de Diapason
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Symphonic Music - Released January 1, 1964 | Decca

In 1936, the English composer and writer, Constant Lambert, described Igor Markevitch as ‘the leading figure of the Franco-Russian school’. As a composer he had been commissioned by Diaghilev and performed by the likes of Alfred Cortot and Roger Désormière but his posthumous reputation largely rests on his prowess as a conductor, a profession he took up in the 1930s after study with Pierre Monteux. As an interpreter, Markevitch combined a volatile personality with meticulous attention to the composer’s instructions, very much in the mould of Monteux. He was ideally suited in this regard to the Russian repertoire from Tchaikovsky to Stravinsky. Central both to this history and to his repertoire, was the music of Nikolai Rimsky-Korsakov with its sinuous melodies and ever-astonishingly original orchestral colours. Made by Philips engineers in London in October 1962, this album of the composer’s best-loved orchestral works complements Markevitch’s cycle of the Tchaikovsky symphonies also recorded with the London Symphony Orchestra during the mid-1960s. They share many of the same qualities: super-charged tension, precise definition (in both performance and engineering) and refreshingly unusual articulation in repertoire that has often become stale by familiarity and lazy execution. Markevitch never made a lazy or conventional recording in his life and he attended to the sweeping narrative of ‘Scheherazade’ with the kind of detail that distinguishes his electrifying accounts of ‘The Rite of Spring’. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$16.49

Solo Piano - Released January 1, 1966 | Decca

A 20th-century counterpart to ‘The Well-Tempered Clavier’ in a landmark recording, long unavailable, newly remastered and transferred to CD from the original tapes for the very first time.Hindemith wrote ‘Ludus tonalis’ in 1942 while staying in the US as a refugee from Nazi Germany. The hour-long piano cycle itself, finds refuge from conflict in the reassertion of the time-honoured value of counterpoint, comprising twelve fugues and interludes framed by a prelude and its mirror image as a postlude. It’s a monument of modern keyboard literature whose forbidding reputation is belied by the approachable and highly varied nature of Hindemith’s writing. There is a unique authority to this recording, made in October 1965 for the Philips label, by the Estonian-Swedish pianist Käbi Laretei. Having been coached by the composer in the cycle a decade earlier, she incorporated his performance suggestions and amendments to the score into her performance. She recorded ‘Ludus tonalis’ in a New York studio a few days after presenting it at Carnegie Hall where she had won over the audience, not only with her performance but also a question-and-answer session after the concert. Having studied with Edwin Fischer, Laretei had performed throughout Europe for the previous two decades, becoming something of a celebrity. Her television debut on the BBC, had led to a series of programs back in Stockholm where she lived with her husband at the time, the film director Ingmar Bergman. However, she made comparatively few recordings: this account of ‘Ludus tonalis’ is her major legacy but it has never been made available on CD. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)