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Classical - Released January 1, 1954 | Warner Classics

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Symphonies - Released April 30, 2019 | Decca

First releases on Decca CD for a pair of underrated Nielsen recordingsNo less than Sibelius or Shostakovich, Nielsen became the custodian and the renovator of the classical symphonic tradition in the first half of the last century. Both the Third and Fifth symphonies make strenuous demands upon even the world’s great orchestras but at the same time they reward the listener with eventful, continually compelling journeys through strife and towards the most satisfying resolutions. The ‘Sinfonia Espansiva’ does so through a sublime slow movement which winds to an idyllic close with a wordless vocalise from a pair of mezzo-soprano and baritone soloists, sung on this 1974 Decca recording by Felicity Palmer and Thomas Allen in a piece of luxury casting by Decca. The conductor was the young Belgian-born star of the baton, François Huybrechts whose previous Decca recording of Janacek has also been reissued by Eloquence. Huybrechts was among the first winners of the Dmitri Mitropoulos Conducting Competition and during the 1970s he secured several US posts as well as prestigious engagements with European ensembles such as the LPO and LSO. His career fell away thereafter but this pair of Decca recordings is the work of a powerfully individual podium presence. At the time of going into the studio with the ‘Sinfonia Espansiva’ in 1974, the LSO was well versed in Nielsen’s idiom having recorded all six of the symphonies with Ole Schmidt the previous year. By contrast, the name of Paul Kletzki has remained established in record catalogues and collections. This Polish-born conductor had taken charge of the Orchestre de la Suisse Romande in 1967 from its founder and long-time director Ernest Ansermet. Their Decca partnership began with Rachmaninov symphonies (also reissued by Eloquence) and continued to focus on twentieth-century repertoire outside Ansermet’s repertoire with an album of Hindemith and Lutoslawski, followed by this thrilling and disciplined account of Nielsen’s Fifth from September 1969. It was their last recording together before his retirement from the post the following year and his death in 1973. Top-class Decca engineering brings the first movement’s life-and-death struggle into viscerally thrilling perspective. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
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Classical - Released May 20, 2016 | audite Musikproduktion

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Classical - Released October 3, 2005 | Warner Classics

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Classical - Released August 9, 2019 | Mezzoforte

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Classical - Released November 4, 2006 | Preiser Records

Mahler used to say he was thrice homeless -- as a native of Bohemia in Austria, as an Austrian among Germans, and as a Jew throughout the world -- but Paul Kletzki could top him easily -- as a native of Poland in Germany, then Italy, then Russia, then Switzerland, then Israel, then England, and as a Jew throughout the world. So perhaps it's no coincidence that Kletzki was a superb Mahler conductor. Older listeners may recall his appealing 1957 Fourth with the Vienna Philharmonic and his heartrending 1959 Das Lied von der Erde with the Philharmonia and Dietrich Fischer-Dieskau and Murray Dickie -- the first studio recording of the work using a baritone instead of an alto. Even older listeners may recall this 1954 First with the Israel Philharmonic. Kletzki's Mahler is neither the hyperbolic hysteric or the morbid melancholic of later conductors, but rather a robust romantic. With the scrappy but sincere playing of the Israel Philharmonic, Kletzki's Mahler's First is energetic and exciting in the opening movement's development and just a little bit sentimental in the second movement's Trio and in the closing movement's big string tune. Coupled with a vigorous performance of Schumann's First recorded by the same forces in the same year, this disc will delight fans of the conductor and the composer, despite the inevitably and understandably antique monaural sound. © TiVo
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Classical - Released March 28, 2014 | Ina, musique(s)