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See Terms & Conditions for p&p rates. | |  | Stokowski - Bach Transcriptions Volume 2
Bach, J S: | Toccata & Fugue in D minor, BWV565 Arioso (Largo from Keyboard Concerto in F minor, BWV1056) Chorale Prelude BWV645 'Wachet auf, ruft uns die Stimme' Chorale Prelude BWV639 'Ich ruf' zu dir, Herr Jesu Christ' Adagio (from Toccata, Adagio & Fugue, BWV564) Mein Jesu! was fuer Seelenweh, BWV487 Chorale Prelude BWV720 'Ein feste Burg ist unser Gott' Jesu, Joy of Man's Desiring (from Cantata BWV147) Prelude in B minor BWV869 Siciliano (from BWV1017) Fugue in C minor BWV847 | Boccherini: | Minuet | Byrd: | Pavane and Gigue | Clarke, Jeremiah: | Trumpet Voluntary 'Prince of Denmark's March' | Haydn: | Andante cantabile | Mattheson: | 'Air' from Harpsichord Suite No. 5 in C minor | Palestrina: | Adoramus te |
Bournemouth Symphony Orchestra, José Serebrier Leopold Stokowski arranged nearly 40 works from Bach’s catalogue for the modern symphony orchestra, and José Serebrier’s second volume of Bach-Stokowski Transcriptions is as colourful and wide-ranging as the first (8557883). In response to popular and critical demand the present selection begins with the most famous Bach orchestration of all, the celebrated Toccata and Fugue in D minor. This reached its widest public in Walt Disney’s Fantasia and here introduces a programme of sumptuous arrangements, including other music from the pre- and post- baroque periods. | 
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| |  | Stanford - Symphonies Volume 4
Robert Plane (clarinet) Bournemouth Symphony Orchestra, David Lloyd-Jones This final volume of the Naxos cycle of the complete Stanford Symphonies features the substantial First Symphony, whose first movement, with its spacious introduction and exposition repeat, is a remarkably broad structure. The use of stopped horns is most unusual for a symphony written in the late 1870s. Stanford’s tuneful late romantic Clarinet Concerto has become the most frequently heard and recorded of the composer’s orchestral works. “…Lloyd-Jones shows a real flair for the classical architecture of Stanford's art but at the same time he responds to the underlying and inescapable passion that exudes from the scores. Stanford's… Clarinet Concerto… makes masterly use of the instrument's wide register and variety of timbres. Plane's interpretation of the composer's long lyrical lines... climactic peaks, dramatic interjections and tender pianissimi, are nothing short of exceptional in their careful grading...” Gramophone Magazine, December 2008 “…a valuable contribution to the continuing Stanford revival.” BBC Music Magazine, December 2008 **** |
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| |  | Brahms & Schumann - Violin Concertos
Ilya Kaler (violin) Bournemouth Symphony Orchestra, Pietari Inkinen One of the most popular concertos in the repertoire, Brahms’ Violin Concerto was completed in 1878 and dedicated to his friend Joseph Joachim, whose cadenza is heard on this recording. An essentially lyrical work, the Concerto includes a slow movement of great beauty, which gives way to a Hungarian-style finale of mounting excitement. Schumann’s thoughtful and poetic Violin Concerto was not performed until 1937. In spite of the enthusiastic advocacy of Yehudi Menuhin, who saw in the Concerto a link between Beethoven and Brahms, it remains to this day an underrated work with many passages of great beauty. |
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| |  | Stanford - Symphonies Voume 3
Stanford: | Symphony No. 6 in E flat major, Op. 94 The 1905 Sixth Symphony, by contrast, received only two hearings before succumbing to an eighty-year oblivion. The subtitle, ‘In honour of the life-work of a great artist: George Frederick Watts’, is important: Watts (1817-1904) was among the most lauded British artists of his era and Stanford’s work, if not overtly programmatic, was influenced by instances of Watt’s legacy – for example the equestrian statue in Kensington Gardens, London. Symphony No. 3 in F minor 'Irish', Op. 28 Completed in 1887, Stanford’s ‘Irish’ Symphony enjoyed immediate and widespread success, continuing to be played well into the twentieth century. The ‘Irish’ subtitle indicates its frequent deployment of folk-tunes as melodic material, although the work never strays far from the Austro-German symphonic tradition. |
Bournemouth Symphony Orchestra, David Lloyd-Jones “[These symphonies] could not expect to receive more devoted performances than these: David Lloyd-Jones tends the folk tunes of the Irish with loving care, and the Bournemouth players enjoy the novel instrumental touches in No 6.” The Telegraph, 24th May 2008 “In the exceptionally well-filled third volume of their Stanford series, David Lloyd-Jones and the Bournemouth Symphony Orchestra offer accomplished an sympathetic performances.” BBC Music Magazine, Proms 2008 **** “Another high-quality addition to David Lloyd-Jones's rewarding Stanford cycle.” Gramophone Magazine, September 2008 | | | In stock - usually despatched within 1 working day. |
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| |  | A Dancing-Play in One Act
Bournemouth Symphony Orchestra, Marin Alsop Though outwardly sunny in its subject matter, The Wooden Prince has a mystical side that may explain Bartók’s attraction to the story. “Alsop and her orchestra do justice to Bartók's most overtly romantic large-scale score; it's a performance that will surely appeal beyond the ranks of Bartók devotees to balletomanes generally.” Gramophone Magazine, May 2008 | | | In stock - usually despatched within 1 working day. |
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| |  | Stanford - Symphonies Volume 2
Bournemouth Symphony Orchestra, David Lloyd-Jones “David Lloyd-Jones proves an undisruptive, clear-headed guide, while the playing of the Bournemouth SO has an extra finish, buoyancy and lustre that tip the scales in his favour.” Gramophone Magazine “Both symphonies contain some attractive ideas, they're beautifully scored and carefully worked out, and they make enjoyable listening… David Lloyd-Jones certainly makes a strong case for both, and the excellent Bournemouth players respond with collective discipline and solo expressivity.” BBC Music Magazine, November 2007 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Howells: | Hymnus Paradisi Sir Patrick Spens The world premiere recording of Sir Patrick Spens provides the coupling, a Scottish ballad for huge forces – very large orchestra, choir and baritone soloist. It was written around 1922 when the composer was around 30 years of age |
Claire Rutter, James Gilchrist & Roderick Williams The Bach Choir & Bournemouth Symphony Orchestra, David Hill | | | In stock - usually despatched within 1 working day. |
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| |  | Philip Glass - Heroes Symphony
Bournemouth Symphony Orchestra, Marin Alsop “Marin Alsop and the Bournemouth Symphony give it big licks with terrific playing on this new recording, as they do in Glass's more personal essay, The Light, from 1987, where everything turns to Glass.” The Herald | | | In stock - usually despatched within 1 working day. |
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Sarah Connolly (mezzo-soprano) Bournemouth Symphony Orchestra and Chorus, Simon Wright | | | In stock - usually despatched within 1 working day. |
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James Gilchrist (tenor) Bournemouth Symphony Orchestra and Chorus, David Hill “These are fine performances….The Bournemouth chorus sing cleanly….. The orchestra sustain all comparisons and one feels David Hill’s direction to be both firm and inspiring.” Gramophone | | | In stock - usually despatched within 1 working day. |
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