February 2016 – Alto CD

RACHMANINOV “THE BELLS” (Op. 35) CANTATA: “SPRING” (Op. 20) & SONG: “VOCALISE” (Opus 34, No.14)

amuletts — Wed, 31 Jan 2024 23:42:57 +0000

“always something special about a Russian performance. The slavonic fervour and natural intensity of the singing, both solo and choral, give a gripping added immediacy here to The Bells … an added edge is the inclusion of the stirring cantata called Spring: an immediately attractive piece quite superbly sung by its baritone soloist, Sergei Yakovenko – indeed, the whole performance is unforgettable, both dramatically and vocally” (Gramophone) “1st choice ‘Bells’ in survey” Oct 2009 all recordings (Gramophone) “a compellingly attractive purchase” (MusicWeb)

“The Bells” Poem for Orchestra, Chorus, Soloists
Yurlov Russian Choir /Yuri Ukhov (1-4)/Stanislav Gusev (5)

[1] Allegro ma non tanto 6.48
[2] Lento 13.19
[3] Presto 8.51
[4] Lento lugubre 12.41

“Spring” Cantata for baritone, chorus, Orchestra

[5] “Spring” (text: V.Nekrasov) 17.54

“Vocalise” Song, orchestrated by V. Klin

[6] “Vocalise” 8.52

Mendelssohn: Piano Concertos 1 & 2

amuletts — Wed, 31 Jan 2024 23:42:57 +0000

“Splendid performances by Serkin and Ormandy of the Mendelssohn concertos, with plenty of attack from them both and a really wonderful, fiery interpretation of the D minor’s opening movement. This is how these concertos should be played, yet still -as here – with delicacy as well as brilliance. Here is a great pianist … who makes the most of both (concertos).” (Gramophone)

Piano Concerto No. 1 in G minor, Op. 25 (1831) [19:11]

[1] I. Molto allegro con fuoco 6:47
[2] II. Andante 6:23
[3] III. Presto – Molto allegro e vivace 6:00

Piano Concerto No. 2 in D minor, Op. 40 (1837) [22:32]

[4] I. Allegro appassionato 8:32
[5] II. Adagio: Molto sostenuto 8:04
[6] III. Finale: Presto scherzando 5:55
[7] Capriccio Brillante in B minor Op. 22 (1832) 11:06
[8] Rondo Brillante in E flat major, Op. 29 (1835) 11:19
[9] Serenade and Allegro Giocoso in B minor Op. 43 (1838) 13:01

Very Best of Marian Anderson: Arias – Songs – Anthems – Spirituals

amuletts — Wed, 31 Jan 2024 23:42:57 +0000

“A voice like yours only comes once in 100 years” (Toscanini) “not a voice, but a cello!”(Sir Anthony Pappano) ‘a rich, vibrant contralto of intrinsic beauty’ (A.Blyth).
In 1939 the Daughters of the American Revolution refused Anderson (who had returned in triumph from Europe) permission to sing to an integrated audience. The incident threw her into the international spotlight … With the aid of President F.D and Mrs.Roosevelt, she thrilled 75,000 people in concert on the steps of the Lincoln Memorial in Washington DC (and a radio audience in the millions)” [TIME 76:33]

1. Caro mio ben (Giordani) with Orchestral Accompaniment. Rec.1930 3.27
2. Plaisir d’amour (Martini) with Orchestral Accompaniment. Rec.1930 3.38
3. Ave Maria (Schubert) Rec.1936 4.51
4. He Shall Feed His Flock (Messiah:Handel:Jenner)
with Victor Symphony Orchestra conducted Charles O’Connell. Rec.1941 4.04
5. Softly Awakes My Heart (Samson et Dalila:Saint-Saens:Lemaire) 4.50
6. Tonight Seeking Hither My Presence…O Love from Thy Power
(Samon et Dalila) (both) with Orchestra / Lawrance Collingwood.Rec 1930. 4.19
7. Die Forelle (The Trout) (Schubert). Rec.1936 1.53
8. Standchen (Serenade) (Schubert:Rellstab). Rec.1950 3.55
9. Der Tod und das Mädchen (Schubert:Claudius) Rec.1936 2.57
10. Der Nussbaum (Schumann:Mosen). Rec.1945 3.12
11. My Lord what a Morning (Trad.arr.Burleigh). Rec.1947 3.23
12. Oh! What a Beautiful City (Trad.arr.Boatner) Rec.1942 2.10
13. Go Down Moses (Let My People Go) (Trad.arr.Burleigh). Rec.1936 2.54
14. Nobody Knows the Trouble I’ve Seen (Trad.arr.Brown). Rec.1942 3.37
15. My Soul’s Been Anchored in The Lord (Trad.arr.Price). Rec.1941 1.48
16. He’s Got The Whole World In His Hands (Trad.arr.Forrest). Rec.1951 2.00
17. Were You there when they Crucified my Lord? (Trad.arr.Burleigh).1936. 3.22
18. Sometimes I Feel Like a Motherless Child (Trad.arr.Brown) Rec.1941 3.00
19. Everytime I Feel De Spirit (Trad.arr.Brown) Rec.1952 1.31
20. (a) Lord I can’t stay Away/(b) Heaven, Heaven (I Got a Robe)
(a) (Trad.arr.Hayes) (b) (Trad.arr.Burleigh) Rec.1936 4.13
21. Crucifixion (He never said a Mumblin’ Word)(Trad.arr.Payne) 1941. 3.58
22. Deep River (Trad.arr.Burleigh) Rec.1938 3.06
23. The Star-Spangled Banner (Lincoln Memorial) (Key/Smith) 1.42
24. My Country, ‘tis of Thee (Lincoln Memorial) (Trad, arr Carey/Smith) 0.55

Schumann – QUINTET for piano and strings | QUARTET for piano, violin, viola and cello

amuletts — Wed, 31 Jan 2024 23:42:57 +0000

“A relaxed approach pays dividends: from the start the new performances are less rigid, less strictly a tempo than the old … the new disc shows how that makes a great deal of difference when rhythms in fast movements are sprung more persuasively, giving a sparkle to the music; and in the funeral march of the second movement of the Quintet there is a hushed tension, a sense of presence, that was far less evident before. In other words, the new disc conveys the clear feeling of live communication … (and so) there is every advantage in this new disc, particularly when the recording is just as well balanced and vivid as the old.” (Gramophone)

QUINTET for piano and strings in E flat, Op.44 (1842)*

[1] I: Allegro brillante 9:28
[2] II: In modo d’una Marcia. Un poco largamente 9:12
[3] III: Scherzo molto vivace 5:03
[4] IV: Allegro, ma non troppo 7:24

QUARTET for piano, violin, viola and cello
in E flat, Op.47 (1842)

[5] I: Sostenuto assai – Allegro ma non troppo 9:16
[6] II: Scherzo. Molto vivace 4:05
[7] III: Andante cantabile 6:38
[8] IV: Finale.Vivace 8:02

JACOB OBRECHT Missa Sub Tuum Praesidium

amuletts — Wed, 31 Jan 2024 23:42:57 +0000

(Gramophone Editor’s Choice 2004) “The Clerks’ Group back on superb form . Jacob Obrecht wrote his Missa Sub tuum praesidium – basing each movement on the chant which hymns the Virgin Mary’s protecting benificence. During the last years of the 15th century, Obrecht was Europe’s most celebrated composer of Masses and was later spoken of as an equal of the great Josquin Desprez … Wickham’s collection is one of the strongest and most well-rounded introductions to Obrecht in the catalogue… performances of the motets which complete the programme are equally delightful: all of it top-notch Obrecht, which is saying something.” (Gramophone)

- - [1] Benedicamus in Laude (a-d, f, g) 1:17
  - [2] Sub Tuum Praesidium (plainchant) (a & b) 0:50

Missa Sub Tuum Praesidium

- [3] Kyrie 3:53
- [4] Gloria 5:00
- [5] Credo 4:24
- [6] Sanctus & Benedictus 4:52
- [7] Agnus Dei 5:15
- [8] Salve Crux (c-i) 10:35
- [9] Beata es Maria (b-d, f, g,i) 4:30
- [10] Salve Regina a3 (c-g, i) 12:20
- [11] Mille Quingentis (c-g, i) 7:50
- [12] Factor Orbis (c-i) 8:49

Beethoven: 33 Variations on a Waltz Theme by Diabelli / Mozart Violin Sonata K 379

amuletts — Wed, 31 Jan 2024 23:42:57 +0000

“Diabelli was overwhelmed by the work submitted by Beethoven which quite overshadowed anything else sent by others. He pronounced it ‘a work to set alongside J S Bach’s masterpiece’ (Goldberg Variations) and he must have been exceptionally gratified that his otherwise ordinary waltz tune would survive in perpetuity as a result of Beethoven’s efforts (indeed it has been considered by the greatest living interpreter of Beethoven’s piano works, Alfred Brendel, to be ‘the greatest of them’). It is certainly the longest of his piano works and predictably covers every emotion” © James Murray

[1] Thema 0:52
[2] Var. I Alla marcia maestoso 2:24
[3] Var.II Poco allegro 0:55
[4] Var. III L’istesso tempo 1:20
[5] Var.IV Un poco piu vivace 1:00
[6] Var. V Allegro vivace 0:53
[7] Var.VI Allegro, ma non troppo
[8] Var. VII Un poco piu allegro 1:09
[9] Var.VIII Poco vivace 1:02
[10] Var. IX Allegro pesante e risoluto 1:36
[11] Var.X Presto 0:41
[12] Var. XI Allegretto 1:09
[13] Var.XII Poco piu moto 0:48
[14] Var. XIII Vivace 1:12
[15] Var.XIV Grave e maestoso 3:46
[16] Var. XV Presto scherzando 0:39
[17] Var.XVI Allegro 0:57
[18] Var. XVII Allegro 1:01
[19] Var.XVIII Poco moderato 2:10
[20] Var. XIX Presto 0:55
[21] Var.XX Andante 2:43
[22] Var.XXI Allegro con brio. Meno allegro 1:38
[23] Var.XXII Molto allegro alla “Notte e giorno faticar” di Mozart 0:49
[24] Var.XXIII Assai allegro 0:58
[25] Var.XXIV Fughetta. Andante 3:07
[26] Var.XXV Allegro 0:46
[27] Var.XXVI no tempo markings 0:50
[28] Var.XXVII Vivace 0:59
[29] Var.XXVIII Allegro 0:54
[30] Var.XXIX Adagio, ma non troppo 1:02
[31] Var. XXX Andante, sempre cantabile 1:56
[32] Var.XXXI Largo molto espressivo 3:47
[33] Var.XXXII Fuga, Allegro. Poco Adagio 3:00
[34] Var.XXXIII Tempo di Menuetto, moderato 3:08

Mozart: Violin Sonata in G major K379 (22:27)

[35] Adagio 6:44
[36] Allegro 6:10
[37] Andantino cantabile 9:36

GLINKA Overtures & Dances

amuletts — Wed, 31 Jan 2024 23:42:57 +0000

“An eminently recommendable survey of Glinka’s orchestral output … playing of the USSR Symphony is expert and idiomatic” (Penguin Guide) “firm and lively as one would expect from Svetlanov and a Russian orchestra very much on home ground. The recordings do full justice to Glinka’s beautiful scoring. An enjoyable record, not to by missed by lovers of Russian music”. (Gramophone) “all done with tremendous character and verve: the Waltz-Fantasie, written for one of the many young ladies who turned the composer’s head , is unfurled with just the right amount of insouciance and lashings of charm.” (MusicWeb International)

Ruslan & Lyudmila

[1] Overture (Bolshoi Theatre Orchestra) 5:05
[2] Chernomor’s March 4:20

Ivan Susanin (A Life for the Tsar)

[3] Overture 9:24

Spanish Overtures

[4] No.1 (Jota Aragonese) 9:08
[5] No.2 (Summer Night in Madrid) 9:01

(Fantasia on Spanish Themes)

[6] Waltz-Fantasia 8:44

Prince Kholmsky: Incidental music to N.Kukolnik’s tragedy

[7] Overture 6:43
[8] Entr’Acte to Act II 3:34
[9] Entr’Acte to Act III 3:28
[10] Entr’Acte to Act IV 3:41
[11] Entr’Acte to Act V 3:33
[12] Premiere Polka in B flat major 8:25

(Orchestrated M.Balakirev)

EDWARD ELGAR: Complete Organ Music

amuletts — Wed, 31 Jan 2024 23:42:57 +0000

“(Sonata 1) Hunt gives a very fine performance indeed and the recording is dynamic, forward and exciting…(Vesper Voluntaries) are much slighter pieces but display considerable charm throughout. Hunt is assiduous in reducing the range of timbre and dynamic of the Worcester organ to match the scale of the original smaller instrument on which they were composed….The Second Sonata was an arrangement of Elgar’s Severn Suite. Although not a true sonata in form, Ivor Atkins’ arrangement, made with the composer’s approval, works extremely well and provided a much-needed outlet at the time of the first performance in 1933. Again Hunt plays superbly …To make good length, (ALTO) has also licensed two additional tracks. Lindley’s Imperial March transcription ends the CD in fine style” (MusicWeb International)

Organ Sonata #1 in G major, Op.28

[1] Allegro moderato 8:15
[2] Allegretto 4:47
[3] Andante espressivo 6:08
[4] Presto comodo 7:19

Vesper Voluntaries, Op.14

[5] Introduction 1:30
[6] Andante 1:23
[7] Allegro 2:05
[8] Andantino 2:04
[9] Allegretto piacevole / Adagio 2:13
[10] Poco lento 1:58
[11] Moderato 1:36
[12] Allegretto pensono 1:45
[13] Poco allegro / Adagio 3:31

Organ Sonata #2 in B flat, Op.87a

[14] Introduction 2:54
[15] Toccata 4:28
[16] Fugue 3:26
[17] Cadenza 2:09
[18] Coda 2:04

“Nimrod” Transcription (Organ: Hugh Davies, Carlisle Cathedral)

[19] Nimrod 3:46

“Imperial March” (Organ: Simon Lindley, Leeds Parish Church)

[20] Imperial March 4:55