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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 January 1, 1943 | Universal Music Australia Pty Ltd.

Distinctions 5 de Diapason
CD$50.99

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

CD$25.49

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

Distinctions Diapason d'or
CD$12.99

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

Distinctions Diapason d'or
CD$12.99

Keyboard Concertos - Released January 1, 1953 | Decca

Distinctions Diapason d'or
CD$21.49

Full Operas - Released January 1, 1955 | Universal Music Australia Pty. Ltd.

CD$31.99

Full Operas - Released December 1, 1955 | Universal Music Australia Pty. Ltd.

Distinctions Gramophone Editor's Choice
CD$21.49

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

Distinctions 5 de Diapason
CD$14.99

Classical - Released January 1, 1958 | Universal Music Australia Pty. Ltd.

Distinctions Diapason d'or
CD$10.49

Classical - Released January 1, 1958 | Decca Music Group Ltd.

CD$12.99

Lieder (German) - Released January 1, 1959 | Decca

Distinctions Diapason d'or
‘The most original and artistically consummate of all my works,’ Hugo Wolf said (with justice) of the Italienisches Liederbuch which he wrote in 1890-1 to the poetry of Paul Heyse.Perhaps no pair of singers on record has interpreted this cycle of 46 songs with such natural accomplishment as Irmgard Seefried and Dietrich Fischer-Dieskau. They made this recording near the end of the 1950s – at the height of Seefried’s career and near the start of Fischer-Dieskau’s, and its qualities of both freshness and delight in response to the text and vocal beauty have stood the test of time. The singers performed the cycle together live at the 1958 Salzburg Festival to an ordering devised by the pianist for the occasion and Seefried’s regular accompanist, Erik Werba. In the DG studios a few months later, however, Fischer-Dieskau was joined by his own regular instrumental partner at the time, Jörg Demus. Meanwhile the subtly different responses of both pianists – Werba fuller-toned than Demus, whose pointed articulation owes something to his work on ‘period’ instruments – offer food for both thought and pleasure. Without attempting to concoct a storyline, Werba’s ordering allows the poetry’s depictions of woman and man to contrast with and complement each other. A spirited opening group is followed by one which is predominantly lyrical, illustrating the need for love, the woman’s surrender and then wavering, a manly longing for death, a farewell, and appeal to sworn fidelity. The closing section juxtaposes a declaration of love, humour, mockery, caricature, resignation and finally boasting, with the soprano’s jubilant ‘confession’ that she has 21 lovers. All four musicians fully bring to life the emotions of elation, joy, anger and irony in Wolf’s songs. Fischer-Dieskau’s second recording (with Elisabeth Schwarzkopf and Gerald Moore for EMI) is justly famous in its own right, but the magic of this DG recording lies in the unaffected ease of his partnership with Seefried. (© Deutsche Grammophon GmbH, Berlin / Universal Music Australia Pty Ltd. 
CD$25.49

Secular Vocal Music - Released January 1, 1959 | Decca

A newly remastered collection of four original Decca albums featuring the Spanish mezzo-soprano at the height of her powers in the repertoire most associated with her, from Rossini to folk and popular songs from her native Spain.Born in 1935, Teresa Berganza was in her mid-twenties when she made the recordings on this album, yet she was already the darling of the opera press by June 1959 when Decca first issued the wide-ranging recital of Rossini arias which opens this anthology, moving with assured mastery from the flirtatious Isabella in ‘L’italiana in Algeri’ to the grave beauty of ‘Fac ut portem’ from the ‘Stabat mater’. Later the same year, she recorded a sequence of eight Basque songs with orchestra which captivatingly exploits the dark, sultry shadings within her mezzo. Although the Rossini LP has been issued piecemeal on CD, this is the first time the recital appears in its entirety. A year later, Berganza was established as an artist of singular gifts who would lend distinction to the extraordinary ‘gala sequence’ inserted in the second act of the label’s new Viennese recording of ‘Die Fledermaus’, capable of standing her own alongside the likes of Björling, Nilsson, Sutherland and Tebaldi. Her contribution to that album was a Lullaby by her husband Félix Lavilla which they recorded together not in Vienna but Kingsway Hall, London. As her long-standing accompanist, Lavilla partnered Berganza in a 1962 recital of Spanish songs that capture the mezzo-soprano in vibrant form, bringing her flaring tone, dramatic energy and captivating charisma to Baroque arias by Pergolesi and Scarlatti as well as songs by Granados and Turina, finishing with a classic account of Falla’s ‘Siete canciones populares españolas’ from 1959. As Richard Wigmore remarks in his new booklet appreciation, not even the legendary Conchita Supervia gave a more thrilling, spine-tingling performance of the cycle’s concluding ‘Polo’. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$10.49

Classical - Released January 1, 1959 | Decca Music Group Ltd.

CD$12.99

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$14.99

Full Operas - Released January 1, 1966 | Decca

Distinctions 5 de Diapason
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.)
CD$21.49

Full Operas - Released January 1, 1968 | Universal Music Australia Pty. Ltd.

CD$25.49

Full Operas - Released January 1, 1969 | Universal Music Australia Pty. Ltd.

CD$21.49

Full Operas - Released January 1, 1969 | Universal Music Australia Pty. Ltd.

CD$12.99

Classical - Released January 1, 1970 | Decca Music Group Ltd.