{"title":"ALTO CD + FREE MP3 COMBO TITLES","description":"","products":[{"product_id":"the-lost-art-of-jacob-lateiner-volume-2-2-cds","title":"The Lost Art of Jacob Lateiner, Volume 2 (2 CDs WITH FREE MP3 DIGITAL DOWNLOAD)","description":"\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eWHEN YOU BUY A COPY OF THIS CD, YOU'LL ALSO RECEIVE A FREE COPY OF THE MP3 DIGITAL VERSION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_6ac9d75a-df8f-4962-9937-0c0941b6069d_480x480.png?v=1670535320\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e1 Beethoven; Sonata No. 21 \"Waldstein\"\u003cbr data-mce-fragment=\"1\"\u003e2 Ravel: Valses Nobles Et Sentimentales\u003cbr data-mce-fragment=\"1\"\u003e3 Schumann: Fantasie in C Op. 17\u003cbr data-mce-fragment=\"1\"\u003e4 Paganini-Liszt: La Campanella\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eDisc: 2\u003cbr data-mce-fragment=\"1\"\u003e1 Beethoven; Sonata No. 20 in E Major, Op. 109\u003cbr data-mce-fragment=\"1\"\u003e2 Sonata No. 31 in a Flat, Op. 110\u003cbr data-mce-fragment=\"1\"\u003e3 Sonata No. 32 in C minor, Op. 111\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_3eec6546-b3ec-4b7d-9a0c-9988b9042724_480x480.png?v=1670535329\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_3eec6546-b3ec-4b7d-9a0c-9988b9042724_480x480.png?v=1670535329\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eVolume One was warmly received by critics and pianophiles alike. Jacob Lateiner's reputation was massive in his lifetime but he did not make very many studio recordings. This release and it's previous volume correct that anomaly with great distinction. Noted as a Beethoven interpreter, this album combines the Greatest of his Beethoven interpretations with the most famous of works by Schumann, Ravel and Liszt.\u003c\/p\u003e","brand":"PARNASSUS","offers":[{"title":"Default Title","offer_id":43764481720570,"sku":"602003690082","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/91KMSI0NB8L._SL1500.jpg?v=1670865761"},{"product_id":"hummel-a-collection-of-works-martin-galling-george-zukerman-collegium-con-basso","title":"HUMMEL: A COLLECTION OF WORKS - Martin Galling, George Zukerman, Collegium Con Basso (CD with Free MP3 DOWNLOAD)","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003ereceive a free copy of this recording on MP3 when you purchase the CD!\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_3eec6546-b3ec-4b7d-9a0c-9988b9042724_480x480.png?v=1670535329\"\u003e\u003c\/p\u003e\n\u003cp\u003eMartin Galling (pno) Georg Zukerman (bassoon) Collegium Con Basso\u003c\/p\u003e\n\u003cp\u003e“altogether this is as tempting a Hummel collection as any we know … His G major (mandolin) Concerto here in even more agreeable form, as Op.73 Piano Concertino, and Martin Galling is even more persuasive, helped by a very spirited backing in Berlin …also La Galante, a lilting Rondo for solo piano … Zukerman and Faerber return for Hummel’s Bassoon Concerto, impressive to be discussed in the same breath as Mozart’s, particularly with this splendid soloist, who is deliciously jocular in the characterful finale. The disc concludes with Septet Militaire, Op.114: the very happy finale, with its ingenious upward scale, is most felicitous” (Gramophone)\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_6ac9d75a-df8f-4962-9937-0c0941b6069d_480x480.png?v=1670535320\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_6ac9d75a-df8f-4962-9937-0c0941b6069d_480x480.png?v=1670535320\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePiano Concertino in G major, Op 73 [17:47]\u003cbr data-mce-fragment=\"1\"\u003e[1] I Allegro moderato 8:52\u003cbr data-mce-fragment=\"1\"\u003e[2] II Andante grazioso 4:12\u003cbr data-mce-fragment=\"1\"\u003e[3] III Rondo 4:42\u003cbr data-mce-fragment=\"1\"\u003eMartin Galling \/ Berlin Symphony Orchestra \/ Carl-August Bünte\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eIntroduction and Rondeau for Piano,Op120 “La Galante” [8:19]\u003cbr data-mce-fragment=\"1\"\u003e[4] I Introduzione 3:02\u003cbr data-mce-fragment=\"1\"\u003e[5] II Rondo 5:17\u003cbr data-mce-fragment=\"1\"\u003eMartin Galling\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eBassoon Concerto in F major, S 63 WoO 23 [26:17]\u003cbr data-mce-fragment=\"1\"\u003e[6] I Allegro moderato 13:19\u003cbr data-mce-fragment=\"1\"\u003e[7] II Adagio 7:26\u003cbr data-mce-fragment=\"1\"\u003e[8] III Rondo 5:31\u003cbr data-mce-fragment=\"1\"\u003eGeorge Zukerman \/ Württemberg Chamber Orchestra \/ Jörg Faerber\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eGrand Military Septet in C major, Op 114 [24:18]\u003cbr data-mce-fragment=\"1\"\u003e[9] I Allegro con brio 7:43\u003cbr data-mce-fragment=\"1\"\u003e[10] II Adagio 6:48\u003cbr data-mce-fragment=\"1\"\u003e[11] III Menuetto: Allegro 3:57\u003cbr data-mce-fragment=\"1\"\u003e[12] IV Finale: Vivace 5:49\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"Default Title","offer_id":43764565967098,"sku":"5055354414664","price":7.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/ALC-1466-Cover.jpg?v=1670867490"},{"product_id":"coleridge-taylor-clarinet-quintet-suite-de-concert-ballad-sprituals-for-piano","title":"COLERIDGE-TAYLOR: Clarinet Quintet Suite de Concert, Ballad, Spirituals for piano (CD + FREE MP3)","description":"\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eBUY THIS CD AND GET THE MP3 VERSION FOR FREE!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_e7b3927d-1fc9-46bb-a8ed-7264dcd678c9_480x480.png?v=1670953827\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e“He was very well thought of by Stanford, at the Royal College of Music; and not just out of sympathy with allowing a negro composer a hearing in London. The Clarinet Quintet (that pleased Stanford) also received approval from Joachim. It is a very agreeable quintet, most acceptably performed and recorded, and as easy on the ear as its more famous predecessors (Mozart and Brahms). Petite suite de concert: lovable music; Other of the piano music could have great appeal: especially so could the arrangements of Negro Melodies with their easygoing simplicity” (MusicWeb)\u003c\/p\u003e\n\u003cp\u003e\u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_9d96408d-adfc-4228-a53c-1546f2d18789_480x480.png?v=1670953817\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_9d96408d-adfc-4228-a53c-1546f2d18789_480x480.png?v=1670953817\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePetite Suite de Concert [11:50]\u003cbr data-mce-fragment=\"1\"\u003e1. La Caprice de Nannette 3:21\u003c\/p\u003e\n\u003cp\u003e2. Demande et Réponse 3:36\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e3. Un Sonnet d’Amour 2:42\u003c\/p\u003e\n\u003cp\u003e4. La Tarantelle Fretillante 2:09\u003cbr data-mce-fragment=\"1\"\u003eVirginia Eskin piano\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e5. Ballade in D minor (1895) 12:54\u003cbr data-mce-fragment=\"1\"\u003eMichael Ludwig violin Virginia Eskin piano\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eSpirituals [18:19]\u003cbr data-mce-fragment=\"1\"\u003e6. Take Nabandji 2:00\u003c\/p\u003e\n\u003cp\u003e7. Going Up 2:46\u003c\/p\u003e\n\u003cp\u003e8. Deep River 5:39\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e9. Run, Mary, Run 1:58\u003c\/p\u003e\n\u003cp\u003e10. Sometimes I feel like a Motherless Child 3:29\u003c\/p\u003e\n\u003cp\u003e11. The Bamboula 2:25\u003cbr data-mce-fragment=\"1\"\u003eVirginia Eskin piano\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eClarinet Quintet in A [35:40] **\u003cbr data-mce-fragment=\"1\"\u003e12. Allegro energico 11:54\u003c\/p\u003e\n\u003cp\u003e13. Larghetto affetuoso 7:31\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e14. Scherzo 8:09\u003c\/p\u003e\n\u003cp\u003e15. Finale 8:05\u003cbr data-mce-fragment=\"1\"\u003eHarold Wright clarinet with the Hawthorne String Quartet\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"Default Title","offer_id":43803975942394,"sku":"ALC 1468","price":7.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/ALC-1468-Cover.jpg?v=1671742725"},{"product_id":"copy-of-the-young-janos-starker-digital-download","title":"THE YOUNG JANOS STARKER (CD WITH FREE MP3 Digital Download)","description":"\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eWHEN YOU BUY THIS CD, YOU GET A FREE MP3 DOWNLOAD \u003c\/strong\u003e\u003cstrong\u003eOF THE ALBUM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_e7b3927d-1fc9-46bb-a8ed-7264dcd678c9_480x480.png?v=1670953827\"\u003e\u003c\/p\u003e\n\u003cp\u003eAfter surviving the Holocaust in his native Hungary, János Starker began an odyssey\u003cbr\u003ewhich took him to several European countries before the Hungarian conductor Antal\u003cbr\u003eDoráti brought him to America to serve as principal cellist of the Dallas Symphony\u003cbr\u003eOrchestra. Starker has written a vivid account of those years, his adventures, and the\u003cbr\u003epoverty he and his wife suffered in his memoir, The World of Music According to\u003cbr\u003eStarker (Indiana University Press, 2004).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDuring his year in France, his last residence before America, Starker gave a\u003cbr\u003eperformance on the radio. The owner of a short-lived record label, Pacific, heard the\u003cbr\u003ebroadcast and signed Starker to a recording contract, the results of which now appear\u003cbr\u003eon the present reissue. The recording of the Zoltán Kodály Sonata, slightly abridged\u003cbr\u003eto fit onto four records, won the following year’s Grand Prix du Disque, which proved\u003cbr\u003eto be a worthwhile boost for his career.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn his memoir, Starker states that the recording of Manuel de Falla’s Suite populaire\u003cbr\u003eespagnole was not published, but he was mistaken. He and Gyorgy Szoltsányi (later\u003cbr\u003eknown by his French name Georges Solchany, sometimes billed as Georges Szolchanyi)\u003cbr\u003ealso made one additional recording for Pacific, of Paul Hindemith’s Cello Sonata, Op.\u003cbr\u003e11 No. 3. That was indeed not published, but we were fortunately able to substitute for\u003cbr\u003eit the slightly later recording made for the Period LP label. (Most or all of the Period\u003cbr\u003erecordings were engineered by Peter Bartok, the composer’s son and a splendid\u003cbr\u003erecording engineer.) Although Starker continued to perform this Hindemith Sonata,\u003cbr\u003eand a later live performance has been issued, he never made another studio recording\u003cbr\u003eof the work.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLeon Pommers (originally Pomeraniec) was born in Poland 1914. While he was\u003cbr\u003estudying at the Warsaw Conservatory, Germany invaded Poland. Pommers made a\u003cbr\u003edifficult escape, traveling across Russia, Japan, and China, eventually finding passage\u003cbr\u003eon a boat from China to Australia.There he was fortunate enough to meet the great\u003cbr\u003epianist Ignaz Friedman, who taught him for three months and then provided him with\u003cbr\u003euseful introductions to musicians in Canada.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOnce settled in America, Pommers became pianist collaborator with many of the great\u003cbr\u003estring players of his time, most prominently with Nathan Milstein but also with\u003cbr\u003eStarker, Michael Rabin, Erica Morini, Ruggiero Ricci, Johanna Martzy, Joseph Szigeti,\u003cbr\u003eYehudi Menuhin, Zino Francescatti, Szymon Goldberg, Tossy Spivakovsky, Pierre\u003cbr\u003eFournier, and (in classical music) clarinetist Benny Goodman. He also taught at Queens\u003cbr\u003eCollege and, after his forced retirement there due to age, at Mannes College. He died in\u003cbr\u003e2001.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGyorgy Szoltsányi (later known by his French name Georges Solchany) was born in\u003cbr\u003eBudapest in 1922. He graduated from the Franz Liszt Academyin 1946, having already\u003cbr\u003ebegun his concert career. His recordings with Janos Starker in 1948 were his first. He\u003cbr\u003elater made numerous LPs for EMI as soloist and in chamber music collaborations with\u003cbr\u003ethe Hungarian String Quartet. He died in Paris in 1988.\u003cbr\u003e— Leslie Gerber\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_9d96408d-adfc-4228-a53c-1546f2d18789_480x480.png?v=1670953817\"\u003e\u003c\/p\u003e\n\u003cp\u003eZoltán Kodály: Sonata for Solo Cello, Op. 8\u003cbr data-mce-fragment=\"1\"\u003e1 I. Allegro maestoso ma appassionato 7:49\u003cbr data-mce-fragment=\"1\"\u003e2 II. Adagio con gran espressione 8:34\u003cbr data-mce-fragment=\"1\"\u003e3 III. Allegro molto vivace 9:53\u003cbr data-mce-fragment=\"1\"\u003eOriginally released on 78rpm discs, Pacific 6160~63 (1948)\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003ePaul Hindemith: Sonata for Cello and Piano, Op. 11, No. 3\u003cbr data-mce-fragment=\"1\"\u003e4 I. Mässig schnelle Viertel. Mit kraft - Lebhaft, sehr markiert 10:41\u003cbr data-mce-fragment=\"1\"\u003e5 II. Langsam - 5:25\u003cbr data-mce-fragment=\"1\"\u003e6 Sehr lebhaft 5:03\u003cbr data-mce-fragment=\"1\"\u003eLeon Pommers, piano\u003cbr data-mce-fragment=\"1\"\u003eOriginally released on LP, Period SPL 715 (ca. 1954)\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e7 Alexander Tcherepnin: Ode for Cello and Piano 2:19\u003cbr data-mce-fragment=\"1\"\u003eOriginally released on 78rpm disc, Pacific PI 1565, matrix AI 0513-2 (1948)\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e8 Manuel de Falla: Suite populaire espagnole 12:33\u003cbr data-mce-fragment=\"1\"\u003eOriginally released on 78rpm discs, Pacific 6170~71 (1948)\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e9 Federico Moreno Torroba: Fandanguillo 1:59\u003cbr data-mce-fragment=\"1\"\u003eOriginally released on 78rpm disc, Pacific PI 1565, matrix A1 0512-2 (1948)\u003cbr data-mce-fragment=\"1\"\u003eGeorges Szolchanyi, piano\u003c\/p\u003e","brand":"PARNASSUS","offers":[{"title":"Default Title","offer_id":43852122292474,"sku":"602003690105","price":7.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/frontcover_f94aa9b1-fc91-4f09-a14e-8cb14001c636.webp?v=1672871130"},{"product_id":"vivaldi-4-lute-mandolin-concertos-wurttemburg-chamber-orchestra-cd-digital-combo","title":"VIVALDI: 4 LUTE \u0026 MANDOLIN CONCERTOS - Wurttemburg Chamber Orchestra (CD + FREE MP3)","description":"\u003cp\u003e\u003cstrong\u003eBUY THIS CD AND GET A FREE MP3 DIGITAL VERSION OF THIS RECORDING\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_e7b3927d-1fc9-46bb-a8ed-7264dcd678c9_480x480.png?v=1670953827\"\u003e\u003c\/p\u003e\n\u003cp\u003eWurttemburg Chamber Orchestra \/ Jorg Faerber Paul Grand, Artur Romestsch Vienna Pro Musica Edith Bauer-Slatz etc\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“I enjoyed greatly some highly attractive and charming music, sensitive playing, and clean, fresh-sounding recordings … The Lute concerto in particular has good things … Of the Mandolin concertos, this double is most interesting, done with charm, with one mandolin each to the left and to the right, and is quite delightful. Much of the music is in Vivaldi’s best sombre G minor tone.\u003c\/em\u003e” (Gramophone)\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_9d96408d-adfc-4228-a53c-1546f2d18789_480x480.png?v=1670953817\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_9d96408d-adfc-4228-a53c-1546f2d18789_480x480.png?v=1670953817\"\u003e\u003cbr\u003e\u003cbr\u003eVivaldi: Concerto in G for 2 Mandolins \u0026amp; Strings, P.133 [12:22]\u003cbr\u003e[1] Allegro 5:04 [2] Largo 3:04 [3] Allegro 4:13\u003cbr\u003ePaul Grund \u0026amp; Artur Rumetsch \/ Württemberg Chamber Orchestra \/ Jörg Faerber\u003cbr\u003eVivaldi: Concerto in C for Mandolin \u0026amp; Strings, P. 134 [9:22]\u003cbr\u003e[4] Allegro 3:30 [5] Largo 2:56 [6] Allegro 2:56\u003cbr\u003ePaul Grund \/ Württemberg Chamber Orchestra \/ Jörg Faerber\u003cbr\u003eHummel: Concerto in G for Mandolin \u0026amp; Orchestra [20:08]\u003cbr\u003e[7] Allegro moderato e grazioso 9:12 [8] Andante con variazione 5:06\u003cbr\u003e[9] Rondo 5:49 Edith Bauer-Slais \/ Vienna Pro Musica \/ Vinzenz Hladky\u003cbr\u003e[10] Hoffmann: Rondo from Mandolin Concerto in D 4:25\u003cbr\u003eElfriede Kunschak \/ Vienna Pro Musica \/ Vinzenz Hladky\u003cbr\u003e[11] Caroso: Andantino 3:31\u003cbr\u003e[12] Galilei: Allegro marcato 4:35\u003cbr\u003eVienna Mandolin \u0026amp; Guitar Ensemble \/ Vinzenz Hladky\u003cbr\u003eVivaldi: Trio Sonata in G minor for Violin, Lute \u0026amp; Continuo, P.85 [9:33]\u003cbr\u003e[13] Andante molto 4:32 [14] Larghetto 2:33 [15] Allegro 2:27\u003cbr\u003eRudolf Breitschmid (violin) \/ Anton Stingl (lute)\u003cbr\u003ePeter Buck (cello) \/ Martin Galling (harpsichord)\u003cbr\u003eVivaldi: Concerto in D for Lute \u0026amp; Strings, P.209 [9:42]\u003cbr\u003e[16] Allegro giusto 4:28 [17] Largo 2:41 [18] Allegro 2:32\u003cbr\u003eAnton Stingl \/ Württemberg Chamber Orchestra \/ Jörg Faerber\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"Default Title","offer_id":43852213223674,"sku":"ALC 1465","price":7.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/81UOuXZ_bUL._SL1425.jpg?v=1672872333"},{"product_id":"baroque-bohemia-beyond-volume-ix-ana-de-la-vega-trondheim-soloists-new-dutch-academy-simon-murphy","title":"Baroque Bohemia \u0026 Beyond, Volume IX -Ana de la Vega, Trondheim Soloists, New Dutch Academy, Simon Murphy (CD + FREE MP3)","description":"\u003cp\u003e\u003cem\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_1b671117-a747-449a-9403-66663edc8519_480x480.png?v=1681155916\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e[Stamic Flute Conc.] “Stamic’s music is eminently competent and likeable …Both soloist and her accompanists, Norway’s leading chamber ensemble, are known from previous well-received recordings. They play all this with ideal pose and balance” \u003cstrong\u003e(Gramophone)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cem\u003e[J. Stamic, F.X. Richter] “authentic instrument ensemble New Dutch Academy has an international reputation, formed of well-established early music specialists … string symphonies by the 18th Century ‘Mannheim school’ composers … Vibrant, energetic and wonderfully secure playing is supported by a sumptuous recording … no loss of detail in the fast music” \u003cstrong\u003e(Gramophone)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\"\u003e\u003cbr\u003e\u003cbr\u003eKarel Stamic: Flute Concerto in D major [17:00]\u003cbr\u003e[1] I Allegro 7:31 [2] II Adagio e cantabile 5:26 [3] III Presto non assai 4:02\u003cbr\u003e \u003cbr\u003eJan Vaclav Stamic: Sinfonia a Quattro in F [16:20]\u003cbr\u003e[4] I Presto 4:06 [5] II Andante 8:03 [6] III Tempo di Minuetto 4:10\u003cbr\u003e \u003cbr\u003eFranz Xaver Richter: Sinfonia a Quattro in C minor [10:55]\u003cbr\u003e[7] I Allegro ma poco 4:37 [8] II Tempo giusto 4:10 [9] III Allegro 2:08\u003cbr\u003e \u003cbr\u003eF.X.Richter: Sinfonia a Quattro in Bb [10:45]\u003cbr\u003e[10] I Spiritoso 3:47 [11] II Andante 3:15 [12] III Presto 3:43\u003cbr\u003e \u003cbr\u003eF.X. Richter: Sinfonia a Quattro in C [19:05]\u003cbr\u003e[13] I (no tempo indication) 9:11 [14] II Andantino 4:11 [15] III Tempo di Minuetto 5:42\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"CD ONLY","offer_id":44239700656378,"sku":"5055354414763","price":7.99,"currency_code":"USD","in_stock":false},{"title":"CD + FREE MP3","offer_id":44239700721914,"sku":"5055354414763","price":7.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/ALC-1476-Cover-2048x2048.jpg?v=1685050129"},{"product_id":"weinberg-symphony-no-2-chamber-symphony-no-2-umea-symphony-orchestra-thord-svedlund-cd-free-mp3","title":"WEINBERG: Symphony No. 2 \u0026 Chamber Symphony No. 2 - Umeå Symphony Orchestra, Thord Svedlund (CD + FREE MP3)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_1b671117-a747-449a-9403-66663edc8519_480x480.png?v=1681155916\"\u003e\u003c\/p\u003e\n\u003cp\u003e“The lyrical Second Symphony is haunted by a restless melancholy …yet the result is in no way depressing. Chamber Symphony No.2 is a relatively late work and although it is freely rhapsodic, the mood is more positive and often songful…the nostalgic feeling returns in the central movement, but the atmosphere darkens in the long drawn finale which reaches a passionately plangent climax before its quietly resigned coda with a single tympani stroke resolution….both played with great eloquence and warmly and naturally recorded .” (Penguin Guide 3 stars)\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\"\u003e\u003cbr\u003e\u003cbr\u003eSymphony No.2, Op. 30 (1945-6)\u003cbr\u003efor String orchestra (32:31)\u003cbr\u003e[1] I. Allegro moderato 13:22\u003cbr\u003e[2] II. Adagio 9:34\u003cbr\u003e[3] III. Allegretto 9:35\u003cbr\u003e \u003cbr\u003eChamber Symphony No.2, Op. 147 (1987) for String\u003cbr\u003eorchestra \u0026amp; timpani (24:09)\u003cbr\u003e[4] I. Allegro molto 8:53\u003cbr\u003e[5] II. Pesante 5:02\u003cbr\u003e[6] III. Andante sostenuto 10:14\u003c\/p\u003e\n\u003cp\u003eMieczysław Weinberg (formerly mistakenly Moishe Vainberg) was born in Warsaw in 1919, the son of a composer and violinist at a Jewish theatre. When he was only ten he began his musical career there as a pianist and music director; two years later he started piano studies at the Warsaw Conservatory. After the German invasion of Poland in 1939 he was forced to flee the country and he went to the USSR, initially to Minsk. There he attended composition classes at the conservatory for two years, but when the Germans attacked the USSR in 1941 he had to flee again; he spent the next few years at the opera house in Tashkent, Uzbekistan. In the meantime his family had been murdered — burned alive — by the Germans.\u003cbr\u003e\u003cbr\u003eIn 1943 Weinberg sent the score of his newly completed First Symphony to Shostakovich, asking for an opinion of the work. Shostakovich arranged for him to receive an official invitation to Moscow — of especial value in the war years — and thus their close friendship was born. From the end of August 1943 until his death in 1996, Weinberg lived in Moscow, working as a freelance composer. From time to time he also made highly regarded appearances as a pianist — for instance, he performed alongside Galina Vishnevskaya, David Oistrakh and Mstislav Rostropovich at the première of Shostakovich’s Alexander Blok Songs and in his own now-famous Piano Quintet alongside the Borodins and with Oistrakh in his Moldavian Rhapsody for violin \u0026amp; piano (both: on ALC 1452).\u003cbr\u003e\u003cbr\u003eWeinberg’s first wife belonged to a well-known Jewish family. Her father was the actor and director Salomon Mikhoels (his real name was Vovsi), the greatest Jewish actor in the Soviet Union, who was unforgettable as King Lear. Mikhoels was chairman of the Jewish Anti-Fascist Committee (JAC), which supported the work of a large writers’ collective. Under the leadership of Ilya Ehrenburg and Vasily Grossman, the latter organization prepared a ‘record of dishonour’ in which the atrocities committed by the Nazis against Jews in various countries were documented. The authors, however, had failed to predict that anti-Semitic persecution would reach terrifying levels in the Soviet Union as well. The respected Russian journalist Arkady Waxberg relates that publication of the ‘record of dishonour’ was forbidden; half of the contributors were arrested and either shot or sent to a gulag. A secret trial of the leaders of the JAC ended with the execution of 15 of its members on l2th August 1952. With this information, Waxberg also supplies a plausible explanation for the fate of Mikhoels, who was murdered by the secret police in Minsk on l3th January 1948. Weinberg, too, could have suffered a gruesome fate: towards the end of the Stalinist era, at 01.30am on 7th February 1953 (six months after the above-mentioned trial), he was imprisoned. It was with a sigh of relief that Shostakovich could write to his friend Isaac Glikman on 27th April 1953: ‘In the past few days M. S. Weinberg has returned home; he has informed me by telegraph.’ The date is significant (Stalin had died on 5th March and Weinberg’s release was probably a direct consequence), as is the fact that Shostakovich does not mention where Weinberg was returning from: such matters were not discussed openly. — So much for the hypocritical Communist legend of the equality of the peoples. A Jewish artist in the Soviet Union did not exactly enjoy an easy life.\u003cbr\u003e\u003cbr\u003eWeinberg was an extremely productive composer with an output ranging from a Requiem to circus music. He had a (perhaps not entirely fashionable) inclination towards large-scale, epic music; in this respect Mahler and Prokofiev were important rôle models. His musical style was extremely varied, however, and his richly-coloured palette ranges from folk elements to dodecaphonic techniques. Folk-music elements were not only of Polish and Russian origin, but also Jewish and Moldavian (some of his ancestors had come from Moldova).\u003cbr\u003e\u003cbr\u003eThe first two works in Weinberg’s opus list were both written before he left Poland: Lullaby for piano (1935) and String Quartet No.1 (1937). In an interview in 1994 the composer maintained that he had only turned to composition later on: ‘It was not until the outbreak of war that I began to devote myself seriously to composition, after the Germans had invaded Poland and I had fled to Minsk in the Soviet Union, where I began to study at the Minsk Conservatory. Until Hitler invaded the USSR, I studied there under Professor Vasily Andreyovich Zolotaryov, who was a pupil of Rimsky-Korsakov. There I completed a course in counterpoint and music history.’\u003cbr\u003e\u003cbr\u003eIn an interview for Sovietskaya Muzyka in the late 1980s Weinberg was asked why exactly he had given his Chamber Symphony No.1 such a title, given that he had already composed his Second, Seventh and Tenth Symphonies for smaller forces — indeed for strings. His answer went as follows: ‘It’s true, I have gone slightly wrong. Of course the new symphony does not differ from the ones you mention in terms of the characteristics of its genre. You know, I had no desire to carry on with this series of high numbers. I recently also completed my Chamber Symphony No.2... I repeat: neither in duration nor in character do the new symphonies differ from the second, seventh or tenth.’ The high numbers to which Weinberg mentioned naturally refer to the numbering of his ‘ordinary’ symphonies: he obviously wished to stop short of Myaskovsky’s total of no less than 27 ! (ALC 3141, 13 CDs). Even if we did not know of the composer’s pronouncement, the striking scale of the works recorded here would certainly reveal that the title ‘chamber symphony’ should perhaps not be taken literally.\u003cbr\u003e\u003cbr\u003eEven though Weinberg sometimes - indeed, often - wrote for large orchestral forces, we should not forget that he regularly used the chamber music format with equal dexterity. Here, moreover, we find a similarity with Shostakovich, who also used both media alternately and with great skill. Several symphonic works by Weinberg also do without large orchestral apparatus and clearly demonstrate instrumental restraint. One of these is his Symphony No.2, Op. 30, for string orchestra. On account of its small orchestral forces, this symphony (along with several others) has sometimes been described in the (to put it mildly) limited biographical literature about Weinberg as a ‘chamber symphony’ — albeit before the composer began the series of works to which he himself assigned this nomenclature. The work was composed astonishingly quickly: Weinberg started work on the score on 30th December 1945 and completed it on l6th January 1946. Before the first performance, however, almost 19 years were to pass: the première did not take place until 11th December 1964 in the Great Hall of the Moscow Conservatory, and it was given by the USSR State Symphony Orchestra conducted by Kurt Sanderling, the German-born conductor who had worked in the Soviet Union since 1935. The symphony was also dedicated to Sanderling.\u003cbr\u003e\u003cbr\u003eThe Second Symphony is not programmatic - as far as we know, at least, there are no grounds for suggesting that it is. This point is worth making because many other symphonic works by Weinberg possess more or less detailed programmes. The overall style also tends more towards neoclassicism and is reminiscent of the music Weinberg had composed in the years immediately preceding the symphony, such as the Piano Quintet and the early string quartets. The neoclassical element comes to the fore straight away in the first movement, a sonata Allegro, the form of which follows the accustomed pattern exactly, whilst traditional harmonies - with only a few excursions into free tonality - provide the foundations for a melodic style which, with the exception of a few passages in the development, is almost entirely lyrical. The Russian musicologist Lyudmila Nikitina even compares it to ‘Schubert’s lyricism, with its melodic and rhythmic naturalness, its distinctive and unexpected harmonic transformations’.\u003cbr\u003e\u003cbr\u003eThe second of the work’s three movements is an Adagio, the epic main theme of which is worked out in a broad arch; the section that follows ranges from the utmost tenderness to raging passion and then back again, its theme distantly related to the ‘Dies irae’. The movement ends pianissimo. The tempo marking of the finale, Allegretto, suggests that the movement might depart from the normal (fast) finale pattern, and indeed it begins not as a rondo but rather reflectively. Then, admittedly, the form develops in an unexpected manner, resulting in a fascinating hybrid of scherzo, rondo and sonata form (the last-named contributing a skilfully constructed development section). Eventually the music returns to the lyricism that had been a hallmark of the entire symphony, with a sublime conclusion that is full of tenderness.\u003cbr\u003e\u003cbr\u003eThe Chamber Symphony No.1, Op.145 (ALC 1471) was completed in August 1986 and first performed, with great success, at the ‘Moscow Autumn’ Festival. Barely six months later, on 29th April 1987, Weinberg completed his Chamber Symphony No.2, Op.147, for string orchestra and timpani - the work mentioned in the quotation above. Unlike the four-movement First Chamber Symphony, this work has only three movements but, because the outer movements are extensive, the overall length of the Second Chamber Symphony is comparable with, say, that of a Viennese Classical symphony.\u003cbr\u003e\u003cbr\u003eThe rôle of the timpani in the first movement, a sonata-form Allegro moderato, is also comparable with the Viennese Classics: they emphatically hammer out the dominant and tonic, and their A-D leads the listener in medias res, to a main theme full of rhythmic vitality. The subsidiary theme offers a great contrast: first it is songful, then increasingly indecisive, finally becoming diffuse. After a development section with skilful counterpoint, a much shortened reprise ends the movement. Pesante (‘heavily’ or ‘powerfully’), the tempo marking for the second movement, seems at first to be somewhat exaggerated (a true pesante, however, appears when we reach the reprise), because the music has the character of a very slow scherzo, one might even say of a flowing minuet. The movement is almost exclusively in the minor, with a captivatingly beautiful, gentle melancholy. The finale is not, as might have been expected, a fast movement, but a long drawn Andante sostenuto, beginning with a recitative in unison that leads into the first main theme. After some two and a half minutes the second main theme appears, brighter and more comforting. The ensuing alternation between these themes could be regarded as a slow rondo, but in fact it would be more accurate to speak of a free sonata form in which (especially) the recapitulation is greatly altered. A coda, beginning forte, soon quietens down to pianissimo, and the chamber symphony ends as abruptly as it began, with a fortissimo stroke from the timpani. © Per Skans 1998-99\u003cbr\u003e\u003cbr\u003eViolinist and conductor Thord Svedlund is a very experienced and versatile musician. He has studied in Sweden, USA and Holland, and has for many years worked as violinist in the Gothenburg Symphony Orchestra, the National Orchestra of Sweden. In 1991 he embarked on a conducting career that has earned him praise by critics and audiences alike. Thord Svedlund has conducted several of Sweden’s leading orchestras, including Gothenburg Symphony \u003cbr\u003eOrchestra, Norrköping Symphony Orchestra, Gävle Symphony Orchestra, Swedish Chamber Orchestra and Umeå Symphony Orchestra. He has also worked as co-conductor with Neeme Järvi and Peter Eötvös. With the latter, he appeared in critically acclaimed performances of Charles Ives’ huge and demanding 4th Symphony in both Sweden and Germany. He has been to conduct in Shanghai, China. Thord Svedlund has recorded for radio and TV many times, and several CDs with music ranging from Bach and Haydn to contemporary Swedish composers. He has also conducted four of Weinberg´s solo concertos on CD for Chandos.\u003cbr\u003e\u003cbr\u003eThe Umeå Symphony Orchestra is a young orchestra, having only played under its current name since the 1991-92 season. Its history extends much further; the orchestra was originally founded as a military band in 1841. In 1974, when the band also began to play for the newly founded Northern Opera of Sweden \/ Norrland Opera Company, it had become a regional woodwind and percussion ensemble, supplemented when necessary by a string section borrowed from Stockholm. In 1976 the orchestra began hiring its own string players and in 1978 it made its début performance as the Umeå Sinfonietta. Today the orchestra has 50 full-time musicians and regularly performs at Umeå’s many music festivals, as well as touring all over central and northern Sweden. It is still the orchestra of the Northern Opera of Sweden \/ Norrland Opera.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"Default Title","offer_id":44239782707450,"sku":"5055354414725","price":7.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/ALC-1472-Cover.webp?v=1684247579"},{"product_id":"weinberg-chamber-symphonies-1-4-umea-symphony-orchestra-thord-svedlund-cd-free-mp3","title":"WEINBERG: Chamber Symphonies 1 \u0026 4 - Umeå Symphony Orchestra, Thord Svedlund (CD + FREE MP3)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_1b671117-a747-449a-9403-66663edc8519_480x480.png?v=1681155916\"\u003e\u003c\/p\u003e\n\u003cp\u003eOriginal World Premiere Recordings\u003cbr\u003e“The Chamber symphonies come from the last decade of his life, the First for string orchestra, from the same year as the 18th symphony….it is pastoral in character, closer in feeling to a divertimento or sinfonietta…The Fourth….unremitting as late Shostakovich, and strongly valedictory in feeling. A haunting piece, music of real substance.” (Penguin Guide 3 stars)\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\"\u003e\u003cbr\u003e\u003cbr\u003eChamber Symphony No.1, Op. 145 (1986)\u003cbr\u003efor String orchestra (27:35)\u003cbr\u003e[1] I. Allegro 9:11\u003cbr\u003e[2] II. Andante 9:30\u003cbr\u003e[3] III. Allegretto 4:29\u003cbr\u003e[4] IV. Presto 4:25\u003cbr\u003eChamber Symphony No.4, Op. 153 (1992)\u003cbr\u003ein one movement for string orchestra \u0026amp; clarinet (34:30)\u003cbr\u003e[5] Lento – 8:36\u003cbr\u003e[6] Allegro molto – Moderato – 7:16\u003cbr\u003e[7] Adagio – Meno mosso 10:33\u003cbr\u003e[8] Andantino – Adagissimo 7.56\u003cbr\u003e \u003cbr\u003eTOTAL PLAYING TIME 62:10\u003c\/p\u003e\n\u003cp\u003eMieczysławWeinberg (formerly mistakenly Moishe Vainberg) was born in Warsaw in 1919, the son of a composer and violinist at a Jewish theatre. When he was only ten he began his musical career there as a pianist and music director; two years later he started piano studies at the Warsaw Conservatory. After the German invasion of Poland in 1939 he was forced to flee the country and he went to the USSR, initially to Minsk. There he attended composition classes at the conservatory for two years, but when the Germans attacked the USSR in 1941 he had to flee again; he spent the next few years at the opera house in Tashkent, Uzbekistan. In the meantime his family had been murdered — burned alive — by the Germans.\u003cbr\u003e\u003cbr\u003eIn 1943 Weinberg sent the score of his newly completed First Symphony to Shostakovich, asking for an opinion of the work. Shostakovich arranged for him to receive an official invitation to Moscow — of especial value in the war years — and thus their close friendship was born. From the end of August 1943 until his death in 1996, Weinberg lived in Moscow, working as a freelance composer. From time to time he also made highly regarded appearances as a pianist — for instance, he performed alongside Galina Vishnevskaya, David Oistrakh and Mstislav Rostropovich at the première of Shostakovich’s Alexander Blok Songs and in his own now-famous Piano Quintet alongside the Borodins and with Oistrakh in his Moldavian Rhapsody for violin \u0026amp; piano (both: on ALC 1452).\u003cbr\u003e\u003cbr\u003eWeinberg’s first wife belonged to a well-known Jewish family. Her father was the actor and director Salomon Mikhoels (his real name was Vovsi), the greatest Jewish actor in the Soviet Union, who was unforgettable as King Lear. Mikhoels was chairman of the Jewish Anti-Fascist Committee (JAC), which supported the work of a large writers’ collective. Under the leadership of Ilya Ehrenburg and Vasily Grossman, the latter organization prepared a ‘record of dishonour’ in which the atrocities committed by the Nazis against Jews in various countries were documented. The authors, however, had failed to predict that anti-Semitic persecution would reach terrifying levels in the Soviet Union as well. The respected Russian journalist Arkady Waxberg relates that publication of the ‘record of dishonour’ was forbidden; half of the contributors were arrested and either shot or sent to a gulag. A secret trial of the leaders of the JAC ended with the execution of 15 of its members on l2th August 1952. With this information, Waxberg also supplies a plausible explanation for the fate of Mikhoels, who was murdered by the secret police in Minsk on l3th January 1948. Weinberg, too, could have suffered a gruesome fate: towards the end of the Stalinist era, at 01.30am on 7th February 1953 (six months after the above-mentioned trial), he was arrested and imprisoned. It was with a sigh of relief that Shostakovich could write to his friend Isaac Glikman on 27th April 1953: ‘In the past few days M. S. Weinberg has returned home; he has informed me by telegraph.’ The date is significant (Stalin had died on 5th March and Weinberg’s release was probably a direct consequence), as is the fact that Shostakovich does not mention where Weinberg was returning from: such matters were not discussed openly. — So much for the hypocritical Communist legend of the equality of the peoples. A Jewish artist in the Soviet Union did not exactly enjoy an easy life.\u003cbr\u003e\u003cbr\u003eWeinberg was an extremely productive composer with an output ranging from a Requiem to circus music. He had a (perhaps not entirely fashionable) inclination towards large-scale, epic music; in this respect Mahler and Prokofiev were important rôle models. His musical style was extremely varied, however, and his richly-coloured palette ranges from folk elements to dodecaphonic techniques. Folk-music elements were not only of Polish and Russian origin, but also Jewish and Moldavian (some of his ancestors had come from Moldavia).\u003cbr\u003e\u003cbr\u003eThe first two works in Weinberg’s opus list were both written before he left Poland: Lullaby for piano (1935) and String Quartet No.1 (1937). In an interview in 1994 the composer maintained that he had only turned to composition later on: ‘It was not until the outbreak of war that I began to devote myself seriously to composition, after the Germans had invaded Poland and I had fled to Minsk in the Soviet Union, where I began to study at the Minsk Conservatory. Until Hitler invaded the USSR, I studied there under Professor Vasily Andreyovich Zolotaryov, who was a pupil of Rimsky-Korsakov. There I completed a course in counterpoint and music history.’\u003cbr\u003e\u003cbr\u003eIn an interview for Sovietskaya Muzyka in the late 1980s Weinberg was asked why exactly he had given his Chamber Symphony No. 1 such a title, given that he had already composed his Second, Seventh and Tenth Symphonies for smaller forces — indeed for strings. His answer went as follows: ‘It’s true, I have gone slightly wrong. Of course the new symphony does not differ from the ones you mention in terms of the characteristics of its genre. You know, I had no desire to carry on with this series of high numbers. I recently also completed my Chamber Symphony No. 2... I repeat: neither in duration nor in character do the new symphonies differ from the second, seventh or tenth.’ The high numbers to which Weinberg mentioned naturally refer to the numbering of his ‘ordinary’ symphonies: he obviously wished to stop short of Myaskovsky’s total of no less than 27 symphonies. Even if we did not know of the composer’s pronouncement, the striking scale of the works recorded here would certainly reveal that the title ‘chamber symphony’ should perhaps not be taken too literally.\u003cbr\u003e\u003cbr\u003eThe Chamber Symphony No.1, Op.145, was completed in Moscow in August 1986. At this time Weinberg himself seems to have been unsure what to call the work. The original title in the manuscript has been pasted over; he subsequently wrote ‘Kamernaya simfoniya’, then deleted — and later reinstated — the word ‘Kamernaya’ (‘Chamber’). The underlying mood of this work, which is scored for string orchestra, is one of calm and peacefulness, and in structure it is classical. In the first movement, which is in sonata form — not even the repeat marks for the exposition are missing — the key of G major is only disturbed by a few dissonances. The music is slightly reminiscent of Prokofiev’s ‘Classical’ Symphony, although one might search in vain here for the latter work’s irony. The viola line in the coda distantly recalls a passage from the beginning of Shostakovich’s Tenth String Quartet, which is dedicated to Weinberg, and the movement ends indecisively.\u003cbr\u003e\u003cbr\u003eThe form of the second movement is original. Beginning with a sorrowful cantilena in B minor, it passes through a series of daring, ever more agitated modulations until, after a big climax, we arrive unexpectedly at a rapid, quiet passage in 3\/8, like an eerie, encapsulated scherzo. After this ghostly interlude, however, the opening cantilena returns, and the movement ends quietly on the dominant.\u003cbr\u003e\u003cbr\u003eThe third movement, which is characterized by metrical variety, is an outstanding example of the appealing nature of many of Weinberg’s melancholy stow movements. In this movement in free song form, played con sordini, the melancholy is never obtrusive but is very tender, like a mournful puppy that wants to be consoled.\u003cbr\u003e\u003cbr\u003eThe work ends with a virtuoso rondo, the boisterousness of which forms the strongest contrast to the third movement. As in the first movement the basic key is G major, but it is not until the final bars that the composer’s cunning becomes evident: in fact G major has been the dominant all the time and so, at the end, we find ourselves in a joyous C major!\u003cbr\u003e\u003cbr\u003eThe Chamber Symphony No. 4, Op. 153, dedicated to the composer Boris Tchaikovsky, was composed in Moscow in the extremely short period between 30th April and l2th May 1992. The work is scored for string orchestra with the addition of a clarinet in A, which plays an extensive rôle, and a triangle which is used very sparingly (this may be something of an understatement, as it plays just four notes in the entire piece!). This chamber symphony was to be Weinberg’s penultimate work, and if we take this circumstance in conjunction with the work’s general mood, we might be tempted to describe it as a ‘summation of his life’ or ‘summation of his oeuvre’. Weinberg himself hated clichés of this kind and, as his view should be respected, we shall here proceed no further along this path.\u003cbr\u003e\u003cbr\u003eOn the other hand, we may well make another presumption, based on an indication provided by the composer himself: ‘I said to myself that God is everywhere. Since my First Symphony a sort of chorale has been wandering around within me...’ For obvious reasons, Weinberg could only make this fascinating comment after the collapse of the Soviet Union. (Moreover, towards the end of his life he had himself baptized.) Although it cannot be established with certainty, it could well be that this is the very chorale that we hear in the introduction to this chamber symphony. In fact the work begins with a whole series of psalmodic quasi-songs, not dissimilar to those found in Mussorgsky’s Boris Godunov — and then, after 31\/4 minutes, the clarinet makes its first appearance, joining the strings in a long, recitative-like passage, related in mood to the third movement of the First Chamber Symphony. A repetition of the ‘chorale’ then brings the section to a close.\u003cbr\u003e\u003cbr\u003eWithout a break we launch unexpectedly into the sudden triple forte of the very fast second section, an infectious scherzo, which proceeds almost without pause for breath until, quite late on, the clarinet begins a monologue which is then taken up first by a solo violin and later still by the cello. The section ends with a questioning tritone (F sharp — C).\u003cbr\u003e\u003cbr\u003eThe third section, which likewise follows with almost no break, is an Adagio which begins with a yearning, folk-like theme from the clarinet and continues with an impressive build-up from the strings; at the climax, the clarinet reappears to end the section with a tremolo\/trill, crescendo.\u003cbr\u003eThe beginning of the last section is recitative-like, and the first triangle stroke is followed by an Andantino with a folk-like theme in the clarinet. The texture develops with ever greater artistry, and after a splendid clarinet cadenza the piece disappears in transfigured peace.\u003cbr\u003e© Per Skans 1998\u003cbr\u003e\u003cbr\u003eViolinist and conductor Thord Svedlund is a very experienced and versatile musician. He has studied in Sweden, USA and Holland, and has for many years worked as violinist in the Gothenburg Symphony Orchestra, the National Orchestra of Sweden. In 1991 he embarked on a conducting career that has earned him praise by critics and audiences alike. Thord Svedlund has conducted several of Sweden’s leading orchestras, including Gothenburg Symphony \u003cbr\u003eOrchestra, Norrköping Symphony Orchestra, Gävle Symphony Orchestra, Swedish Chamber Orchestra and Umeå Symphony Orchestra. He has also worked as co-conductor with Neeme Järvi and Peter Eötvös. With the latter, he appeared in critically acclaimed performances of Charles Ives’ huge and demanding 4th Symphony in both Sweden and Germany. He has been invited to conduct in Shanghai, China. Thord Svedlund has recorded for radio and TV many times, and several CDs with music ranging from Bach and Haydn to contemporary Swedish composers. He has also now conducted four of Weinberg´s solo concertos on CD for Chandos.\u003cbr\u003e\u003cbr\u003eThe Umeå Symphony Orchestra is a young orchestra, having only played under its current name since the 1991-92 season. Its history extends much further; the orchestra was originally founded as a military band in 1841. In 1974, when the band also began to play for the newly founded Northern Opera of Sweden \/ Norrland Opera Company, it had become a regional woodwind and percussion ensemble, supplemented when necessary by a string section borrowed from Stockholm. In 1976 the orchestra began hiring its own string players and in 1978 it made its début performance as the Umeå Sinfonietta. Today the orchestra has 50 full-time musicians and regularly performs at Umeå’s many music festivals, as well as touring all over central and northern Sweden. It is still the orchestra of the Northern Opera of Sweden \/ Norrland Opera.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"Default Title","offer_id":44239810494714,"sku":"ALC 1471","price":7.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/71aWpEfJ8jL._SL1200.jpg?v=1684248911"},{"product_id":"weinberg-string-quartets-nos-7-8-serenade-op-47-4-sinfonietta-no-2-borodin-quartet-ussr-state-radio-orchestra-gauk-moscow-chamber-orchestra-barshai-cd-free-mp3","title":"Weinberg: String Quartets Nos. 7 \u0026 8, Serenade Op.47\/4; Sinfonietta No. 2 - Borodin Quartet, USSR State Radio Orchestra, Gauk Moscow Chamber Orchestra, Barshai (CD + FREE MP3)","description":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_1b671117-a747-449a-9403-66663edc8519_480x480.png?v=1681155916\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eThese earliest and rare Weinberg (Vainberg) Russian recordings were too early to be reviewed then even if ever issued … “(In 1994), with only 14 months to live, Weinberg celebrated his 75th birthday … he lived just long enough to witness a new wave of interest. A series of CDs began in the 1990s, and his friend Tommy Persson (the Swedish judge who had brought medicines which almost certainly gave the composer a few extra years of life) was able to present Weinberg with (some of) those issues … the broadcaster and documentary maker Per Skans, went straight to the point, describing Weinberg’s neglect as ‘scandalous’. How gratifying for Persson that his underwriting of several CDs that appeared then not only kept the music alive for specialist collectors but touched off what has been described in Russia as the ‘Weinberg boom’. [David Fanning article for Gramophone].\u003c\/p\u003e\n\u003cp\u003e\u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\"\u003e\u003cbr\u003e\u003cbr\u003eSerenade for Orchestra, Op.47 No.4 [20:52]\u003cbr\u003e1 I. Allegretto 5:46\u003cbr\u003e2 II. Allegro molto 4:45\u003cbr\u003e3 III. Adagio 4:24\u003cbr\u003e4 IV. Allegro giocoso 5:56\u003cbr\u003eUSSR State Radio Orchestra \/ Alexander Gauk (rec. 1956)\u003cbr\u003e\u003cbr\u003eString Quartet No.7 in C major, Op.59 [25:47]\u003cbr\u003e5 I. Adagio 8:02\u003cbr\u003e6 II. Allegretto 5:46\u003cbr\u003e7 III. Adagio – Allegro moderato 11:58\u003cbr\u003eBorodin String Quartet (1st issued 1960)\u003cbr\u003e\u003cbr\u003eString Quartet No.8 in C minor, Op.66 [15:31]\u003cbr\u003e8. String Quartet No.8 (single mvt.)\u003cbr\u003eBorodin String Quartet (1st issued 1961)\u003cbr\u003e\u003cbr\u003eSinfonietta No.2, Op.74 [16:46]\u003cbr\u003e9 I. Allegro 3:28\u003cbr\u003e10 II. Allegretto 4:04\u003cbr\u003e11 III. Adagio 4:04\u003cbr\u003e12 IV. Andantino 5:09\u003cbr\u003eMoscow Chamber Orchestra \/ Rudolf Barshai (1st issued 1962)\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"Default Title","offer_id":44239852634362,"sku":"ALC 1458","price":4.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/71--h_VMqwL._SL1200.jpg?v=1684251138"},{"product_id":"corelli-concerti-grossi-vivaldi-lute-mandolin-concerto-new-dutch-academy-simon-murphy-cd-mp3","title":"Corelli: Concerti Grossi; Vivaldi: Lute \u0026 Mandolin Concerto - New Dutch Academy, Simon Murphy (CD + FREE MP3)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_1b671117-a747-449a-9403-66663edc8519_480x480.png?v=1681155916\"\u003e\u003c\/p\u003e\n\u003cp\u003e“Overall the performances are excellent. Among the highlights are the slow movement from Vivaldi’s lute concerto which is played with great sensitivity by Karl Nyhlin” (MusicWeb)\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\"\u003e\u003cbr\u003e\u003cbr\u003eConcerto da Camera in B flat, Op.6 No.11\u003cbr\u003e[1] Preludio (Andante Largo) 2:39 [2] Allemande 2:27\u003cbr\u003e[3] Adagio – Andante Largo 2:32 [4] Sarabanda 1:40 [5] Giga 1:18\u003cbr\u003eSonata a Quattro in G minor\u003cbr\u003e[6] Adagio – Andante Largo 1:35 [7] Allegro 1:13\u003cbr\u003e[8] Grave – Presto 2:30 [9] Vivace 3:19\u003cbr\u003eConcerto da Camera in F, Op.6 No.12\u003cbr\u003e[10] Preludio (Adagio) 5:40 [11] Allegro 2:37 [12] Adagio 2:04\u003cbr\u003e[13] Sarabanda 1:45 [14] Giga 2:50\u003cbr\u003eConcerto da Chiesa in D, Op.6 No.4\u003cbr\u003e[15] Adagio – Allegro 3:46 [16] Adagio – Vivace 4:25 [17] Allegro 3:17\u003cbr\u003eConcerto da Chiesa in G minor, Op.6 No.8\u003cbr\u003e‘Fatto Per La Notte Di Natale’ – ‘Christmas Concerto’\u003cbr\u003e[18] Vivace – Grave 1:14 [19] Allegro 2:20 [20] Adagio – Allegro – Adagio 3:21\u003cbr\u003e[21] Vivace 1:04 [22] Allegro – Largo (Pastorale) 4:36\u003cbr\u003e[23] Fuga a Quattro Voci – Allegro 4:45\u003cbr\u003eBONUS TRACKS\u003cbr\u003eVivaldi – Lute Concerto in D (Karl Nyhlin, lute)\u003cbr\u003e[24] (no tempo indication) 3:18 [25] Largo 4:44 [26] Allegro 2:08\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"Default Title","offer_id":44239915188474,"sku":"ALC 1473","price":4.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/81Q0zQZ895L._SL1500.jpg?v=1684254913"},{"product_id":"telemann-concerti-for-multiple-instruments-suite-la-putain-i-solisti-di-zagreb-esterhazy-orchestra-cd-mp3","title":"TELEMANN: CONCERTI FOR MULTIPLE INSTRUMENTS \u0026 SUITE \"LA PUTAIN\" - I Solisti di Zagreb, Esterhazy Orchestra (CD + FREE MP3)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_1b671117-a747-449a-9403-66663edc8519_480x480.png?v=1681155916\"\u003e\u003c\/p\u003e\n\u003cp\u003e“The sound, particularly on the Esterhazy recordings, is warm and full, and performances excellent …Telemann’s inexhaustible invention is well demonstrated, these collective concertos offer the greatest interest …Concerto for 3 Trumpets etc brings a sprightly fugue, oboes dominate a gravely expressive Largo, and ending with superb interplay – an irresistible masterpiece ! The Suite opens with a folksong ‘come up and see me sometime’ and strongly characterised dances follow with a feeling for colour … Highly stimulating set – the warmest of welcomes ! (Penguin Guide 3*)\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\"\u003e\u003cbr\u003e\u003cbr\u003eConcerto in E for Flute, Oboe d’amore, Violin \u0026amp; Strings [16:55]\u003cbr\u003e1. Andante 3:42 2. Allegro 5:45 3. Siciliano 3:16 4. Vivace 4:11\u003cbr\u003e \u003cbr\u003eConcerto in G for 2 Violas and Strings [6:23]\u003cbr\u003e5. Avec douceur 1:44 6. Gai 1:51 7. Largo 1:07 8. Vivement 1:40\u003cbr\u003e \u003cbr\u003eConcerto in D for Trumpet, 2 Oboes \u0026amp; Strings [9:51]\u003cbr\u003e9. Allegro 3:06 10. Adagio 0:53 11. Aria 2:48\u003cbr\u003e12. Grave 0:36 13. Allegro 2:26\u003cbr\u003eRaymond Meylan flute (1-4) Andre Lardot oboe d’amore (1-4)\u003cbr\u003eKarl Stierhof \u0026amp; Peter Pecha violas (5-8)\u003cbr\u003eI Solisti di Zagreb \/ Antonio Janigro (1-8)\u003cbr\u003ePeter Masseurs trumpet \/ Amsterdam Bach Soloists (9-13)\u003cbr\u003e \u003cbr\u003eConcerto in B flat for 2 Flutes, 2 Oboes \u0026amp; Strings [12:34]\u003cbr\u003e14. Andante 4:02 15. Presto 2:51 16. Cantabile 3:32 17. Allegro 2:07\u003cbr\u003e \u003cbr\u003eConcerto in D for 3 Trumpets, 2 Oboes, Timpani \u0026amp; Strings [11:27]\u003cbr\u003e18. Intrada 2:11 19. Allegro 3:00 20. Largo 3:20 21. Vivace 2:55\u003cbr\u003e \u003cbr\u003eSUITE ‘La Putain’ (The Prostitute) [20:00]\u003cbr\u003e22. Overture 5:22 23. Masquerade 1:59 24. Louré 1:15 25.Minuet 1:48\u003cbr\u003e26. Rondeau 1:33 27. Sarabande 2:09 28. Marche 1:09\u003cbr\u003e29. Minuet \u0026amp; Trio 2:03 30. Bourrée 0:52 31. Hornpipe 1:45\u003cbr\u003eThe Esterhazy Orchestra \/ David Blum (14-31)\u003cbr\u003e \u003cbr\u003eTOTAL TIME 77:54\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"Default Title","offer_id":44241890509050,"sku":"ALC 1467","price":4.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/616DnxOCfPL.jpg?v=1684353339"},{"product_id":"mozart-violin-concertos-4-5-violin-sonata-no-32-k-454-david-oistrakh-philadelphia-orchestra-eugene-ormandy-staatskapelle-dresden-franz-konwitschny-cd-mp3","title":"MOZART: Violin Concertos 4 \u0026 5, Violin Sonata No. 32, K. 454 - David Oistrakh, Philadelphia Orchestra, Eugene Ormandy, Staatskapelle Dresden, Franz Konwitschny (CD + FREE MP3)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\"\u003e\u003c\/p\u003e\n\u003cp\u003eViolin Concerto No. 4 in D Major, K218\u003cbr\u003e1 I. Allegro 9:20\u003cbr\u003e2 II. Andante cantabile 8:03\u003cbr\u003e3 III. Rondo. Andante grazioso 7:36\u003cbr\u003eThe Philadelphia Orchestra • Eugene Ormandy, conductor\u003cbr\u003eViolin Sonata No.32 in B-flat major, K454\u003cbr\u003e4 I. Largo – Allegro 6:58\u003cbr\u003e5 II. Andante 7:48\u003cbr\u003e6 III. Allegretto 6:40\u003cbr\u003eVladimir Yampolsky, piano\u003cbr\u003eViolin Concerto No. 5 in A Major, K219\u003cbr\u003e7 I. Allegro aperto – Adagio – Allegro aperto 9:30\u003cbr\u003e8 II. Adagio 11:02\u003cbr\u003e9 III. Tempo di Menuetto – Allegro – Tempo di Menuetto 9:13\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eStaatskapelle Dresden • Franz Konwitschny, conductor\u003cbr\u003eDavid Oistrakh, violin\u003c\/p\u003e","brand":"ALTO","offers":[{"title":"Default Title","offer_id":44242036588794,"sku":"ALC 1456","price":7.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/61OqWTAcL3L._SL1200.jpg?v=1684361660"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/collections\/ALTO_CD_FREE_MP3.jpg?v=1685051181","url":"https:\/\/classicselectworld.com\/de-de\/collections\/alto-cd-free-mp3-combo.oembed","provider":"ClassicSelect World","version":"1.0","type":"link"}