{"title":"Classics Direct - Box Set Sale","description":null,"products":[{"product_id":"london-sinfonietta-david-atherton-vienna-from-mozart-to-schoenberg-13-cd-set","title":"Vienna – From Mozart to Schoenberg (13CD Box Set)","description":"\u003cp\u003eVienna, old and new, meet on this journey from Mozart to Schoenberg and then on to Berg, Weill, Gerhard and Ligeti with David Atherton and the London Sinfonietta. Central to this anthology is the pioneering set of music by Schoenberg recorded in 1973–74 critically acclaimed for its \"big line and attention to detail\" (Stereo Review) and for the \"mellow but well-detailed recording\" (Gramophone).\u003c\/p\u003e\n\u003cp\u003eThe London Sinfonietta is renowned across the world as one of the most adventurous groups commissioning and performing new music. From its inception, however, the Sinfonietta played the classics alongside new and avant-garde pieces, and this new Eloquence set traces the engagement of the group with the Viennese tradition.\u003c\/p\u003e\n\u003cp\u003eAt the centre of the set is the 5-LP survey of Schoenberg’s chamber music – from the early and Wagnerian \"Verklärte Nacht\" to the late \"Phantasy\" for violin and piano – which the Sinfonietta recorded in 1973-4 to mark the centenary of the composer’s birth. The recordings were bedded in by extensive performing experience, in a comprehensive concert series celebrating the music of Schoenberg and his Catalan student, Roberto Gerhard.\u003c\/p\u003e\n\u003cp\u003eThe Sinfonietta’s co-founder David Atherton had come to know Gerhard at Cambridge, and so these recordings bear the stamp of authority, as well as thorough preparation. In a new interview for the set with note-writer Peter Quantrill, Atherton explains the genesis of the Sinfonietta as formed around the unique instrumentation of Schoenberg’s First Chamber Symphony. He and his colleagues shook up the London concert scene in the 1970s with their energy and commitment to modernist classics and living composers.\u003c\/p\u003e\n\u003cp\u003eHowever, the Sinfonietta brought the same incisive musicianship to Mozart’s wind serenades and Schubert’s sacred music, as these Argo recordings testify. A further rarity is the album of clarinet concertos by Louis Spohr, with the ensemble’s long-standing clarinettist, Antony Pay, as soloist.\u003c\/p\u003e\n\u003cp\u003eRecorded after a complete Stravinsky concert series, their version of Agon has long been recognised as a definitive account. The Gerhard album preserves all three of the composer’s late and exquisite Zodiac pieces, \"Gemini, Libra and Leo\", the last two named after the zodiacal signs of Gerhard and his wife.\u003c\/p\u003e\n\u003cp\u003eThe set also includes the 3-LP Weill set that Atherton and the Sinfonietta recorded for Deutsche Grammophon in 1975, and concludes with the Ligeti album recorded that same year by the ensemble for Decca’s 20th-century \u003cem\u003eHEAD\u003c\/em\u003e series with soloists Aurèle Nicolet (flute) and Heinz Holliger (oboe).\u003c\/p\u003e\n\u003cp\u003eThe set makes a significant contribution to the Schoenberg 150th anniversary year, as well as telling a compelling story of one of the UK’s most innovative performing ensembles.\u003c\/p\u003e","brand":"London Sinfonietta, David Atherton","offers":[{"title":"Default Title","offer_id":51030580953372,"sku":"4847297","price":124.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/4847297_Atherton_ExpldPackshot_d44e7593-1b91-4cd2-9ccf-27798f29b51a.jpg?v=1736786066"},{"product_id":"antal-dorati-philharmonia-hungarica-the-mercury-masters-8-cd-box-set","title":"The Mercury Masters (8CD Box Set)","description":"\u003cp\u003eDriving intensity, rhythmic flair and demonstration-quality sound are brought to the fore in a new anthology of Antal Doráti’s early recordings with the Philharmonia Hungarica on Mercury and Philips.\u003c\/p\u003e\n\u003cp\u003eFounded in 1956, the Philharmonia Hungarica emerged from turbulent post-war times as a crack ensemble of émigré Hungarian musicians who had fled Communism for the West. While they gave concerts in Europe and the US, it was through these seven albums on Mercury and Philips that they became famous, and synonymous with the name of the conductor Antal Doráti.\u003c\/p\u003e\n\u003cp\u003eTogether, Doráti and the Philharmonia Hungarica would go on to make a celebrated cycle of Haydn symphonies for Decca in the early 1970s. But these early recordings already demonstrate what a potent artistic combination they were, as forerunners both to that monument of gramophone history, and to the modern-day Budapest Festival Orchestra. As reviewers at the time remarked, the strings play with a particular unanimity and attack which sounds uniquely ‘Hungarian’.\u003cbr\u003e\u003cbr\u003eA booklet essay by the music historian David Patmore tells the story of the Philharmonia Hungarica and their debut on record. All six Mercury albums were recorded at sessions in June 1958, held in the Vienna Konzerthaus: a spacious but analytical acoustic, well suited to the label’s trademark high-impact sound.\u003c\/p\u003e\n\u003cp\u003eThe repertoire played to the strengths of both label and musicians: mostly Hungarian music from the last half century, vividly coloured and coursing with rhythmic energy. There is an early taste of the ensemble’s feeling for Haydn, in the ‘Surprise’ and ‘Drum Roll’ Symphonies. Doráti’s established reputation as a masterful conductor of ballet brings a sweeping sense of line to a collection of Viennese waltzes. The ace in the pack of the Mercury\/Philharmonia Hungarica albums was Respighi’s suites of Ancient Airs and Dances, which soon became a demonstration disc for audiophiles worldwide.\u003c\/p\u003e\n\u003cp\u003eNever previously collected together, this Mercury legacy is complemented by the two albums which the Philharmonia Hungarica and Doráti recorded for Philips. The ensemble’s first-ever recording, made in October 1957, appeared on the Fontana imprint, coupling Bartók’s Divertimento with Leo Weiner’s Hungarian Dances. From 1974, the second Philips album returns to Bartók, with gripping interpretations of the Music for Strings, Percussion and Celesta and Dance Suite.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Antal Doráti \u0026 Philharmonia Hungarica","offers":[{"title":"Default Title","offer_id":51030582853916,"sku":"4845517","price":74.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/Antal.png?v=1748923675"},{"product_id":"antal-dorati-in-london-volume-1-29cd-box-set","title":"Antal Doráti in London – Volume 1 (29CD Box Set)","description":"\u003cp\u003eCovering recordings from July 1956 to July 1961, here are early stereo spectaculars on Mercury, under the inspired baton of Antal Doráti: classic albums of Haydn, Tchaikovsky, Stravinsky and many more in a new ‘Original Jackets’ Limited Edition. \u003c\/p\u003e\n\u003cp\u003eEloquence has been making a systematic and critically acclaimed survey of the Mercury legacy of recordings made by the Hungarian conductor Antal Doráti. Boxes of his complete recordings with the Minneapolis Symphony Orchestra and the Philharmonia Hungarica have revived albums from the 1950s and 60s which set new standards for lifelike sound and intensely engaged performances in the recording studio.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eVolume 1 \u003c\/em\u003eof Doráti’s London recordings covers sessions from July 1956 to July 1961. Conductor and orchestra met for an intensive fortnight each year after the end of the concert season. Both the conductor and the Mercury engineers were demanding in their pursuit of perfection, in terms of orchestral attack, ensemble, balance, colour and all the disparate elements which contribute towards the kind of repeatability that made these albums such artistic and commercial successes.\u003cbr\u003e \u003cbr\u003eThe repertoire for these Mercury sessions in London played to Dorati’s strengths. \u003cem\u003eVolume 1\u003c\/em\u003e includes library versions of Tchaikovsky’s Nutcracker and Stravinsky’s Firebird. Symphonies by Haydn (Nos. 45, 100 \u0026amp; 101) and Mozart (No. 40) are rhythmic and stylish. Anthologies of Verdi and Wagner orchestral music from operas tap into Dorati’s theatrical strengths, no less than ballet scores by Khachaturian (Gayaneh) and Copland (Appalachian Spring and Billy the Kid). A powerful meeting of minds is achieved with the pianist Byron Janis in the standard-setting Rachmaninoff Third Piano Concerto, with the violinist Henryk Szernyg in Brahms and the cellist János Starker in Dvořák. \u003c\/p\u003e\n\u003cp\u003eAs David Patmore reveals in his new essay for the collection, illuminating the background to Doráti’s relationships with both Mercury and with the LSO, the Mercury team wanted to make ‘event’ recordings of a new and unrivalled immediacy. Unique to this new collection is the first official release of Dvořák’s Carnaval Overture.\u003c\/p\u003e","brand":"Antal Doráti","offers":[{"title":"Default Title","offer_id":51154156454172,"sku":"4847015","price":219.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/Antal-Dorati-in-London_Volume1-Box-Set.png?v=1740357785"},{"product_id":"antal-dorati-in-london-volume-2-28-cd-set","title":"Antal Doráti in London – Volume 2 (28CD Set)","description":"\u003cp\u003eVolume 2 of Antal Doráti’s London recordings for Mercury covers sessions between June 1960 (Tchaikovsky’s Pathétique Symphony) and August 1966 (Tchaikovsky’s Orchestral Suites). By way of a bonus, the set concludes with a rarity issued on Philips and scarcely seen since, an album of neoclassical works by Julian Orbón (Cantigas del Rey, sung by Heather Harper) and Manuel de Falla (the Harpsichord Concerto, with Rafael Puyana). \u003cbr\u003eDorati’s ear for colour, his rhythmic discipline and knife-edged attack were complemented by the high-definition, pin-point detail of Mercury’s 35mm stereo engineering. Works by Doráti’s countryman Bartók came to life on record as never before. The versions of the Concerto for Orchestra, Divertimento for Strings and Music for Strings, Percussion and Celesta have scarcely been equalled since for atmosphere and accuracy. No less valuably, the box brings together the Mercury\/Doráti versions of Bartók’s principal works for the stage, Bluebeard’s Castle (now with the spoken introduction included on CD for the first time) and The Miraculous Mandarin, as well as a definitive recording of The Wooden Prince. \u003cbr\u003eVolume 2 of Dorati’s sessions in London draws on repertoire affinities established in the years covered by Volume 1. There is more sparking Haydn (Symphonies Nos. 59 \u0026amp; 81), the completion of symphony cycles by Brahms and Tchaikovsky, and another three concerto albums with the violinist Henryk Szeryng. Doráti’s coloristic and analytical gifts in music of the Second Viennese School are further explored with a 1962 album of expressionist-era orchestral pieces which won many new friends for this music at the time. Even more adventurous was the album dedicated to Surrealist-era Paris, coupling Satie’s Parade and Milhaud’s Le Boeuf sur le toit with rarities by Françaix and Auric.\u003cbr\u003e\u003cbr\u003eThe Mercury sessions in London expanded to include ensembles beyond the London Symphony Orchestra. The box features the Bath Festival (‘Festival Chamber Orchestra’) and BBC Symphony orchestras, as well as the New Philharmonia Orchestra in a complete cycle of the orchestral suites by Tchaikovsky which became an instant classic on its release in 1967. By then, Dorati and Mercury had parted ways, but between them they left a lasting legacy of orchestral and engineering excellence.\u003cbr\u003eThe legacy has been lovingly restored and revived in this pair of boxes from Eloquence, featuring Original Jacket album covers, and new essays on the historical context and significance of these recordings by David Patmore as well as remastering and mastering supervision by Thomas Fine, heir to the Mercury legacy.\u003c\/p\u003e","brand":"Antal Doráti","offers":[{"title":"Default Title","offer_id":51324023374108,"sku":"4847106","price":219.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/4847106_Dorati_London_Vol.2_ExpldPackshot_d63c55cc-2f87-48d0-b839-f05a0acc67ec.jpg?v=1740418397"},{"product_id":"walter-weller-the-decca-legacy-20-cd-box-set","title":"Walter Weller – The Decca Legacy (20CD Box Set)","description":"\u003cp\u003eA violinist-conductor who understood orchestras from the inside out: commanding power and Viennese warmth in the complete Decca symphonic recordings of Walter Weller. \u003cbr\u003e\u003cbr\u003eAs the youngest ever leader of the Vienna Philharmonic, Walter Weller quickly established a natural rapport with orchestras at home and abroad when he swapped bow for baton in the late 1960s. Engaged as a regular conductor by the Vienna State Opera, he made his debut as a conductor in the studio with a 1970 recital of arias with the Spanish soprano Pilar Lorengar. \u003cbr\u003e\u003cbr\u003eAs leader of the Weller Quartet, he was no stranger to Decca’s studios, but he disbanded the quartet to focus on conducting. In Geneva with the Suisse Romande orchestra, then in London with the London Philharmonic Orchestra and London Symphony Orchestra, he brought his insider’s knowledge of orchestral technique to bear on mostly Russian symphonies through the course of the 1970s. Critics identified Weller’s total grasp of complex scores and his ability to get a rich yet transparent sound from his orchestras. \u003cbr\u003e\u003cbr\u003eThe First and Ninth symphonies of Shostakovich in 1971 were followed up by equally acclaimed complete cycles of Rachmaninoff and Prokofiev. In 1974, Weller also made a compelling account of the Symphony by Paul Dukas, in this underrated work’s first recording on a major label. Decca’s full-frequency sound complemented the burnished gleam of string timbre which Weller elicited wherever he went. He proved a sympathetic and alert accompanist to Pascal Rogé in a 1974-76 cycle of the Bartók piano concertos, and then drew on his own Czech heritage for a broad and loving traversal of Smetana’s Ma vlást with the Israel Philharmonic.\u003cbr\u003e\u003cbr\u003eNear the close of his relationship with Decca (1979-82), Weller then returned to the repertoire he had grown up with as the son of a Vienna Philharmonic violinist, recording the Hungarian Dances of Brahms and the violin concertos of Mozart with the Japanese soloist Mayumi Fujikawa. This set stood out from the competition by including the two concertos published under Mozart’s name after his death, later deemed spurious, but highly attractive in their own right. Accompanying this Original Jackets collection, Peter Quantrill contributes a new essay on Walter Weller’s life and career, paying tribute to a true son of Vienna.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Walter Weller","offers":[{"title":"Default Title","offer_id":51649715634460,"sku":"4843410","price":179.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/4843410_WalterWeller_TheDeccaLegacy_ExpldPackshot_95d7e148-3e0b-46b7-893c-7e4a8b559664.jpg?v=1744303374"},{"product_id":"bayreuth-festival-richard-wagner-edition-25cd-set","title":"Richard Wagner Edition (25CD Box Set)","description":"\u003cp\u003eA quarter-century of postwar Bayreuth recordings. This survey of Wagner’s mature operas, excluding the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRing\u003c\/em\u003e, takes the listener from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eParsifal\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein 1951 under Hans Knappertsbusch, through to\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eunder Silvio Varviso in 1974. The casts were often youthful, but coached by the Festival co-director Wieland Wagner into an intense engagement with text and music. Performances here by Wolfgang Windgassen, Hermann Uhde, Ludwig Weber, Birgit Nilsson and others reach a special level of long-breathed intensity almost impossible to sustain under studio conditions.\u003c\/p\u003e\n\u003cp\u003eThe featured conductors on the set are Hans Knappertsbusch, Joseph Keilberth, Karl Böhm and Wolfgang Sawallisch. CD25 of the set includes a previously unpublished radio interview with Irene Dalis and George London, the Kundry and Amfortas in the 1962\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eParsifal\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ewith Knappertsbusch, as well as a rehearsal of the Böhm\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTristan\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMORE INFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA quarter-century of postwar Bayreuth recordings, made live at the Festspielhaus by Decca, DG and Philips: this is an absorbing history in sound of Wagner interpretation featuring several albums of timeless authority.\u003c\/p\u003e\n\u003cp\u003eThis survey of Wagner’s mature operas, excluding the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRing\u003c\/em\u003e, takes the listener from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eParsifal\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein 1951 under Hans Knappertsbusch, through to\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDie Meistersinger von N\u003c\/em\u003e\u003cem\u003eürnberg\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eunder Silvio Varviso in 1974. Both the 1951\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eParsifal\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLohengrin\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom two years later, under Joseph Keilberth, were captured in ‘ffrr’ mono by the legendary Decca team of engineers under the supervision of John Culshaw. Decca continued to work at Bayreuth until 1955, capturing\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDer fliegende Holl\u003c\/em\u003e\u003cem\u003eänder\u003c\/em\u003e, also under Keilberth, in a superb example of Decca’s early stereo sound.\u003c\/p\u003e\n\u003cp\u003eThe casts were often youthful, but coached by the Festival co-director Wieland Wagner into an intense engagement with text and music. Performances here by Wolfgang Windgassen, Hermann Uhde, Ludwig Weber, Birgit Nilsson and others reach a special level of long-breathed intensity almost impossible to sustain under studio conditions.\u003c\/p\u003e\n\u003cp\u003eNone of the conductors involved had worked at Bayreuth before the war. Keilberth, Wolfgang Sawallisch and Karl Böhm all engaged with Wieland in finding a new, flowing but dramatically inflected style in Wagner. Something of this New Bayreuth style also infuses Knappertsbusch’s 1962\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eParsifal\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewith a unique combination of mystery and rapture. The set includes a previously unpublished radio interview with Irene Dalis and George London, the Kundry and Amfortas in that performance.\u003c\/p\u003e\n\u003cp\u003eLike Knappertsbusch’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eParsifal\u003c\/em\u003e, the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTristan und Isolde\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eunder Böhm in 1966 was rapidly recognised as a classic of the gramophone and has hardly been out of print since then, but it is reissued here with the rehearsal sequence included on the final LP of the original set. This ‘Original Covers’ box also includes a booklet essay by Peter Quantrill which explores the history of post-war Bayreuth and the circumstances of each recording.\u003c\/p\u003e\n\u003cp\u003eMany recordings are now legendary, praised then as now:\u003c\/p\u003e\n\u003cp\u003e“an almost perfect realization of Wagner’s last, strangest and deepest thoughts”\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Record Guide\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eon Knappertsbusch’s 1955\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eParsifal\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Arguably the finest live recording ever made in the Festspielhaus”\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePenguin Guide\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eon Knappertsbusch’s 1962\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eParsifal\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Extraordinarily well recorded”\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHigh Fidelity\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eon Keilberth’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLohengrin\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“The sound is really astonishing”\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHigh Fidelity\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eon Keilberth’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFliegende Holländer\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Böhm’s flow and surge are completely captivating.”\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOpera on Record\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eon Böhm’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTristan und Isolde.\u003c\/em\u003e\u003c\/p\u003e","brand":"Bayreuth Festival","offers":[{"title":"Default Title","offer_id":51727291777308,"sku":"4847580","price":209.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/BayreuthFestival-Artboard1.png?v=1745386059"},{"product_id":"various-artists-classic-100-piano-highlights-4cd","title":"Classic 100: Piano – Highlights (4CD)","description":"\u003cp\u003eFor more than 20 years, the Classic 100 has been one of the most anticipated events on the Australian classical music calendar: a chance for music-lovers across the country to nominate the music that means the most to them. This year’s theme is the piano: from solo gems all the way to concertos with a full orchestra, from music fallen in love with during piano lessons to virtuoso concert showpieces, this is a celebration of all the sounds and colours of one of Australia’s favourite instruments. The top 100 will be announced on an on-air countdown on ABC Classic over the June long weekend, and this 4CD collection of highlights will follow in July.\u003c\/p\u003e","brand":"Various Artists","offers":[{"title":"Default Title","offer_id":51732402503964,"sku":"ABCL0117","price":39.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/Classic100-PianoHighlights4CD_1.png?v=1745463262"},{"product_id":"malcom-sargent-malcolm-sargent-complete-decca-recordings-16cd-box-set","title":"Malcolm Sargent – Complete Decca Recordings (16CD Box Set)","description":"\u003cp\u003eFrom 78 to stereo, this is Sir Malcolm Sargent’s Decca legacy reissued complete, including several recordings new to CD.\u003c\/p\u003e\n\u003cp\u003eSargent’s broad repertoire and warm rapport with audiences made him easy to underestimate. Yet Schnabel and Toscanini, among other celebrated foreign musicians, held him in the highest regard. This new Eloquence collection of the conductor’s Decca recordings should help modern listeners to understand and share Schnabel’s admiration.\u003c\/p\u003e\n\u003cp\u003eIn his booklet essay, David Patmore tells the story of Sargent’s early career as an organist and rapid rise as a conductor in his 20s, leading the Ballets russes, Wagner’s Mastersingers and a popular series of children’s concerts. Having made records since the 1920s, he was an experienced conductor in the studio by the time he began recording for Decca, directly after the war. \u003c\/p\u003e\n\u003cp\u003eThese 78-era sessions included symphonies by Haydn, Beethoven and Schubert as well as overtures by Rossini and Suppé, several of them never reissued until now. They reveal what a direct and unmannered interpreter Sargent could be in canon repertoire, coaching orchestras to achieve the highest technical standards. He was always a dynamic conductor of English music: his Decca recordings of Holst’s Planets, Elgar’s Enigma Variations and Coronation Marches have lost none of their rhythmic drive and intensity. \u003c\/p\u003e\n\u003cp\u003eSargent’s concerto sessions with Sir Clifford Curzon (in Rawsthorne), Max Rostal (Bartók), Ida Haendel (Mendelssohn) and Ruggero Ricci (Tchaikovsky and Dvorak) bear out his reputation as a sympathetic accompanist. ‘Messiah and Mikado’ was how the conductor summed up his strengths in the eyes of the wider public: the box includes rare 1946 recordings of Handel arias and choruses featuring Kathleen Ferrier, as well as a live 1949 recording of Sargent accompanying her in his own orchestration of Brahms’ Four Serious Songs.\u003c\/p\u003e\n\u003cp\u003eHaving comprehensively covered the light operas of Gilbert and Sullivan for HMV, Sargent remade both Yeoman of the Guard and Princess Ida for Decca in 1964–65. These records movingly document the final chapter in the conductor’s career-long affinity with G\u0026amp;S, now leading the Royal Philharmonic Orchestra and first-rate casts which include Elizabeth Harwood and Donald Adams in the principal roles of both works. 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He could perform and make sense of the most complex scores, old and new, as though they were child’s play. Further study elsewhere led to his triumph at the Moscow Tchaikovsky Competition in 1962, when he shared the gold medal with Vladimir Ashkenazy.\u003c\/p\u003e\n\u003cp\u003eHe began to record for Decca six years later, in December 1968, with the piano cycle by Olivier Messiaen, Vingt Regards sur l’enfant-Jesus, which renewed the Lisztian tradition of pianism for a new postwar age. Over the next three years he made four further albums for Decca, three of them with his wife Brenda Lucas. The diversity of repertoire testifies to the range of Ogdon’s musical talent and intellectual curiosity. More elevated but virtuosic Messiaen (the Visions de l’Amen) sits alongside freewheeling youthful concertos by Mendelssohn and Shostakovich. \u003c\/p\u003e\n\u003cp\u003eAlmost unknown at the time that Ogdon and Lucas recorded it for Argo in 1972, the Concerto pathétique is a two-piano version, made by Liszt in 1856, of a piece which had begun life as a Grand Solo de concert in 1849. Latterly taken up by the likes of Martha Argerich, the Concerto presents a heroic contrast on record with the restraint of the Six Canons and the poetic Andante and Variations by Schumann. \u003c\/p\u003e\n\u003cp\u003eOgdon’s career, both in public and on record, was brought to a sudden and tragic halt by a breakdown in 1973. Struggling with mental health for the rest of his life, he nonetheless returned to the studios briefly in June 1983, to contribute to a Decca set of Mozart’s complete music for solo horn, led by Barry Tuckwell. In 1784, Mozart wrote to his father Leopold that the Quintet for Piano and Winds was ‘the best thing I have yet written’; Ogdon, Tuckwell and their distinguished colleagues lean into its mellow warmth while relishing the interplay of texture in Decca’s demonstration-quality sound.\u003c\/p\u003e","brand":"John Ogdon","offers":[{"title":"Default Title","offer_id":51928260772124,"sku":"4846430","price":69.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/JohnOgdon-Argon1.jpg?v=1748478778"},{"product_id":"jonas-kaufmann-the-decca-recordings-15-cd-box-set","title":"The Decca Recordings (15 CD Box Set)","description":"\u003cp\u003eThe press, describing Munich-born tenor Jonas Kaufmann’s voice, inevitably reaches for superlatives. Blessed with a voice of clarity and strength, not to mention riveting stage presence, Kaufmann is the born tenor hero. The clarion ring of his tenor can thrill, but equally, he can diminish it to an exquisite pianissimo. It is a unique instrument and one that ensures his concerts are sold-out events, leaving an enduring impression on his audiences.\u003c\/p\u003e\n\u003cp\u003eThe recordings on this set chronicle his ‘Decca Years’, although the earliest of the recordings on the set was made for Philips – a complete Weber\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOberon\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein 2002 conducted by Sir John Eliot Gardiner. They stretch ten years, to 2012, with his last recording for Decca, the sumptuously recorded Wagner recital with Donald Runnicles.\u003c\/p\u003e\n\u003cp\u003eThis period showcases a wide range of Kaufmann’s artistry. Three complete opera recordings are included in the set, each of which in some way foreshadows his Wagnerian future: the aforementioned Oberon, the role of the King’s Son in Humperdinck’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKönigskinder\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(recorded for the Accord label in France) and Florestan in Beethoven’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFidelio\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewith Abbado.\u003c\/p\u003e\n\u003cp\u003eThe showcases of opera arias (with Abbado, Armiliato, Pappano and Runnicles) traverse 18th and early 19th century Germanic repertoire, the thrill of verismo and, of course, the landmark Wagner recital. Included on this set, too, is “bonus” material recorded at the time of the original sessions, including an aria from Mascagni’s Iris, an ensemble from Puccini’s La rondine (with Renée Fleming); Schubert’s intimate song ‘Der Jüngling an der Quelle’ and Richard Strauss’s sweeping ‘Cäcilie’. Plus a detailed audio interview (in English and German) about Wagner.\u003c\/p\u003e\n\u003cp\u003eA major song cycle (Schubert’s Die schöne Müllerin) and a breathtaking choral work (Verdi’s Messa da Requiem) round off this offering, showcasing Jonas Kaufmann at his finest. These award-winning and critically-acclaimed recordings represent a period in his career that finds him embracing the gamut of repertoire, showing in no uncertain terms that his voice and artistry had no limits.\u003c\/p\u003e","brand":"Jonas Kaufmann","offers":[{"title":"Default Title","offer_id":52087295017244,"sku":"4870033","price":119.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/JonasKaufmannDeccaRecordings01_1.png?v=1750209506"},{"product_id":"otto-gerdes-complete-recordings-on-deutsche-grammophon-11-cd-box-set","title":"Complete Recordings on Deutsche Grammophon (11 CD Box Set)","description":"\u003cp\u003e‘Karajan’s producer’ on the podium – the complete recordings of Otto Gerdes for Deutsche Grammophon, including previously unpublished material and displaying some of the most thrilling versions of orchestral masterpieces to be recorded. Reviews for these recordings reached for superlatives: “a stunning disc from first moment to last” (Brahms 4); “Luminous sound” (Eugene Onegin); “rather sweeps the field” (Dvořák 9); “silence[s] all criticism” (Tannhäuser); “Trenchant interpretation” (Wagner Symphony in C)…\u003cbr\u003e\u003cbr\u003eThe 1961–62 cycle of Beethoven symphonies conducted by Herbert von Karajan is still celebrated for its technical as well as musical excellence. The recording producer was Otto Gerdes, who had joined DG in 1956 after working as a producer for Eterna in the former East Germany. He had trained as a conductor under Hermann Abendroth in his home city of Cologne and continued to conduct opera and concerts in Germany and Italy through the 1950s and 60s.\u003c\/p\u003e\n\u003cp\u003eA notorious confrontation with Karajan led to Gerdes resuming his full-time career as a conductor, which led to a complete recording of Wagner’s Tannhäuser for DG, and the first stereo version of the composer’s early Symphony in C. Tannhäuser was cast with singers in their prime – Birgit Nilsson, Wolfgang Windgassen and Dietrich Fischer-Dieskau – and German-language highlights of Eugene Onegin and Otello featured Fritz Wunderlich (as Lensky) and Fischer-Dieskau (as Otello).\u003c\/p\u003e\n\u003cp\u003eIn the early 1960s, Gerdes made three ‘test recordings’ with the Berlin Philharmonic: the Fourth Symphony of Brahms, the ‘New World’ by Dvořák and a collection of Wagner preludes. 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This features Thomas Stewart and Evelyn Lear in the composer’s own orchestrations of his Lieder, as well as the Italian Serenade, and the rarely heard but enthralling tone-poem Penthesilea which shows Wolf at his most passionately inspired.\u003c\/p\u003e\n\u003cp\u003eAdditionally, there is a whole disc of previously unpublished material – overtures, ballet music and intermezzi.\u003c\/p\u003e\n\u003cp\u003eCompiled together for the first time in an ‘Original Jackets’ box, the DG recordings of Otto Gerdes pay tribute to a forgotten but significant figure in the recording world of the 1960s. 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Rarer still are the short ‘EP’ albums of sacred arias, accompanied by the organists Pierre Palla and Simon C. Jansen, which were primarily issued for the local Dutch market. A Beethoven Ninth under Igor Markevitch, and a Lieder album with Irwin Gage, hint at what might have been, if Heynis had chosen to embrace the calling of a truly international career. Likewise, we have a single record of Heynis in opera, singing the role of Orpheus in excerpts from Gluck’s opera, recorded in 1973. Compiled and remastered from rare sources, and issued as an Original Covers collection with extensive photographic illustration as well as a new and moving tribute to the life and art of Heynis by Jean-Charles Hoffelé, this set will attract all collectors of great singers. 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The Vocal Canons – illustrating the composer’s ribald humour as well as his family’s use of music as a private means of communication – were recorded by the choir of North German radio.\u003c\/p\u003e\n\u003cp\u003eMozart’s treasury of song was also documented for the first time, and in delicious performances featuring the soprano Margot Guilleaume and the fortepianist Fritz Neumeyer. In 1956 itself, Archiv released a live performance of the Requiem which had been given at the Stephansdom in December the previous year, on the date of his death, by Eugen Jochum. Issued as a liturgical reconstruction of what the composer’s own funeral might have sounded like, this conveys a powerful mood of commemoration thanks to the conducting of Eugen Jochum and a line-up of soloists led by Irmgard Seefried. Many of these Archiv albums have never been reissued in the digital era, until now. They bring valuable context to a gallery of Mozart as he was seen and heard, two centuries after his birth. Drawing on ideas and recollections from several of the artists represented in the box, such as Irmgard Seefried and Wolfgang Paumgartner, the booklet essay by Peter Quantrill is complemented by a range of photographs as well as Original Cover artwork which evokes the mid-1950s.\u003c\/p\u003e","brand":"Various Artists","offers":[{"title":"Default Title","offer_id":52749378355484,"sku":"4843134","price":129.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/MozartJubileeExplodedPackshot.png?v=1754966836"},{"product_id":"lorin-maazel-lorin-maazel-the-radio-symphonie-orchester-berlin-recordings-14cd-box-set","title":"Lorin Maazel – The Radio-Symphonie-Orchester Berlin Recordings (14CD Box Set)","description":"\u003cp\u003eThe rich and colourful fruits of Lorin Maazel’s first important orchestral tenure, with the Berlin Radio Symphony Orchestra: repertoire from Bach to Stravinsky moulded with the conductor’s renowned finesse and attention to detail. 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This diverse range of repertoire receives luxury treatment from the musicians, always centered in beauty of tone and with the kind of joyful freedom of phrasing which world-class orchestral musicians produce when liberated from the authority of a baton. The Boston Symphony Chamber Players were created in 1964, to play at the Tanglewood Festival before the ‘main event’ of the Boston Symphony’s concerts. Before long, the BSCP became the main event themselves, with a programme of concerts throughout the year, and a busy recording schedule. When the Boston Symphony Orchestra began to record with DG in 1970, so did the Chamber Players.\u003c\/p\u003e\n\u003cp\u003eViolinist Joseph Silverstein, cellist Jules Eskin and flautist Doriot Anthony Dwyer all take starring roles on an album of late chamber music by Claude Debussy, and a new booklet essay by Peter Quantrill outlines the importance of these three superb musicians to the profile and the identity of the BSCP. As led by Silverstein, the repertoire of the BSCP also reflects the inclusive nature of the main orchestra’s programming. There is high modernism, in an album of modern American chamber music by Ives, Carter and Porter. There is classic modernism, in immaculately prepared accounts of landmark works by Stravinsky and Schoenberg. There are core Romantic classics such as a Dvořák string quintet and the Clarinet Quintet by Brahms. Then there are delicious rarities such as chamber-scale arrangements of Johann Strauss waltzes.\u003c\/p\u003e\n\u003cp\u003eThis diverse range of repertoire receives luxury treatment from the musicians of the Boston Symphony Chamber Players, always centred in beauty of tone and the kind of joyful freedom of phrasing which world-class orchestral musicians produce when liberated from the authority of a baton. 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Celebrating her 50th Birthday on 18th September, the prima donna assoluta at the height of her formidable powers presents a dazzling array of iconic soprano arias by Verdi, Wagner, Strauss, Puccini, Cilea and Purcell, also including Dido’s Lament, Anna’s first ever Baroque track in the English language. This special Album was recorded with Maestro Riccardo Chailly and the Orchestra del Teatro alla Scala. \u003c\/p\u003e\n\u003cp\u003eMORE INFORMATION\u003c\/p\u003e\n\u003cp\u003eAlso includes a visual album which is a music film based on four arias from Anna’s latest recordings. Filmed mainly at Teatro alla Scala in Milan during at right after the album recording, it explores Anna's performative practices to embody different heroines and their stories. Framed by a genuine interview where Anna shares rare insights about herself, as well as the music, the film follows the four arias as they are translated to screen, each with a unique visual language and style. 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Newly remastered, this collection comprehensively documents a golden era in American classical recording and most of these vividly-characterized recordings appear on CD for the first time.\u003c\/p\u003e\n\u003cp\u003e“has to be heard to be believed … is it possible to exceed this in the art of reproduced sound?” The New Records\u003c\/p\u003e\n\u003cp\u003eMORE INFORMATION\u003c\/p\u003e\n\u003cp\u003eThe Hungarian conductor Antal Doráti joined the Minneapolis Symphony Orchestra as its music director in 1949, and immediately began making it into one of the orchestral powerhouses of the post-war United States. Mercury began recording the ensemble in 1952 and continued to do so until his departure in 1960. Doráti’s 51 albums (24 mono, 27 stereo) are a testament to what he achieved with the orchestra during his eleven years there. 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Rodziński plays insightful accompanist to piano concertos with Paul Badura-Skoda, Youri Boukoff and Jörg Demus, but he achieved a special affinity with Erica Morini in the violin concertos of Brahms and Tchaikovsky.\u003c\/p\u003e\n\u003cp\u003eRodziński’s decades of experience in the theatre bring sweeping authority to ‘bleeding chunks’ of Wagner, suites of Bizet and Tchaikovsky ballets. Further highlights in this set of newly-remastered mono and stereo albums include a Shostakovich Fifth which testifies to Rodziński’s early commitment to the composer in the West. Other, enduringly robust interpretations of canon symphonies include Dvorak’s Ninth, Prokofiev’s First, Tchaikovsky Nos. 4-6, and his very last Westminster album, of Beethoven and Schubert. At the end of the sessions, Rodziński thanked the orchestra in a speech which was captured for posterity and reissued here. 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That all three luminaries of the piano regarded her worth teaching tells its own story.\u003c\/p\u003e","brand":"Gina Bachauer","offers":[{"title":"Default Title","offer_id":54671924199708,"sku":"4844358","price":64.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/gina-bachauer-the-mercury-masters-7cd-pksht.jpg?v=1791440843"},{"product_id":"gordon-fergus-thompson-scriabin-piano-works-5cd","title":"Scriabin: Piano Works (5CD)","description":"\u003cp\u003eOver the course of the 1990s, the Scottish pianist Gordon Fergus-Thompson recorded five albums of Scriabin on the ASV label. Long unavailable, they are compiled and reissued here for the first time complete with original booklet essays by Bryce Morrison.\u003c\/p\u003e","brand":"Gordon Fergus-Thompson","offers":[{"title":"Default Title","offer_id":54671924330780,"sku":"4829034","price":34.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0874\/0513\/4108\/files\/gordon-fergus-thompson-scriabin-piano-works-5cd.jpg?v=1791440845"},{"product_id":"grigoryan-brothers-the-collection-8cd","title":"Grigoryan Brothers - The Collection (8CD)","description":"Guitarists Slava and Leonard Grigoryan are counted amongst the finest musicians of their generation, enthralling audiences with the energy of their performances and the breadth of their repertoire - embracing disparate genres such as classical, jazz and contemporary music from around the world.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSlava and Leonard are blessed with an uncanny ability to perform so seamlessly as a duo that they play and 'breathe' as one. This sibling collaboration, which commenced in the family home when Leonard was four and Slava 13, has been developing ever since. Growing up and performing together does not guarantee a symbiotic relationship, but what does create the perfect storm is the mutual respect and admiration the brothers have for each other. Perhaps this is the intangible quality that creates their ability to connect with listeners.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis box set brings together all eight of their albums recorded as a duo, from 2003's 'Play' to 2017's 'Songs Without Words,' and encompasses every element of the artistry of the these extraordinarily talented brothers. 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