The first digitally recorded Bartók quartet cycle, long unavailable: ferociously intelligent readings in superb sound that have stood the test of time against other classic interpretations in the storied discography of these works.  The Lindsays’ Bartók cycle, recorded by ASV in 1980–81, marked the culmination of a decade of intense study and concert performances of […]

A debut on CD for the American Decca legacy of Ruth Slenczynska, a prodigious Romantic-age keyboard lioness. The biography for her Wigmore Hall recital in March 1957 claimed that the 32-year-old Ruth Slenczynska had given 1600 concerts. Scarcely believably, perhaps, but no less so than other elements of her extraordinary life story – making her […]

A tribute to the late Ida Haendel, comprising her complete Decca Recordings (1940–1997), newly remastered, as well as her performances at the 1982 Huberman Festival. Lavishly illustrated, Original Jackets, Limited Edition. On her death in July 2020, obituaries worldwide paid glowing tributes to the effervescence of the violinist Ida Haendel, in both her playing and […]

Stravinsky’s ground-breaking trilogy of Diaghilev-commissions plus a scandalous Bartók ballet, treated to sumptuous late-70s Decca engineering and the Vienna Philharmonic sound. Christoph von Dohnányi has long been considered one of the most versatile conductors of our time, making a name for himself in particular with the works of Romanticism and the Second Viennese School. From […]

A generous compilation of short pieces either recorded individually or extracted from the Decca discography of Ernest Ansermet. Included is a complete ten-inch LP of encores entitled ‘Orchestral Favourites’ and containing pieces by Falla, Chabrier, Mussorgsky and Debussy. This dates from October 1955, near the beginning of Decca’s stereo catalogue whereas the rest of the […]

The recorded legacy of Eduard van Beinum has been extensively documented on Eloquence. Previous issues have revealed the Dutch conductor’s mastery of and sympathy for 20th-century composers such as Sibelius (442 9487) and Britten (480 2337). His clear-headed approach to any score, combined with the refinement of the Concertgebouw Orchestra, particularly suit the music of […]

Georg Solti studied piano with Bartók and although they never developed a close personal relationship, Solti was always in awe of the composer’s dedication and intensity. Bartók’s music featured regularly in Solti’s concert programs and he recorded the ‘Music for Strings, Percussion & Celesta’ and the ‘Dance Suite’ for Decca. This 1952 recording of the ‘Dance Suite’ with […]

Stephen Kovacevich’s accounts of the Bartók piano concertos have long set the benchmark by which others are measured. In their gravity, exploration of colour and explosion of fury they are unmatched and the partnership with Davis is febrile and energetic.

For too long absent from the catalogue, Dohnanyi’s pair of recordings coupling Stravinsky and Bartok present him and the Vienna Philharmonic at their scintillating, dramatic best. Here is one of the most exciting accounts of ‘Petrushka’ ever to be committed to disc and the sordid tale of ‘The Miraculous Mandarin’ is sharply etched in this […]

For too long absent from the catalogue, Dohnanyi’s pair of recordings coupling Stravinsky and Bartok present him and the Vienna Philharmonic at their scintillating, dramatic best. ‘The Firebird’ is luxuriously done, the final apotheosis most moving and the lesser known ‘Two Portraits’ of Bartok are showpieces of instrumental colour, timbre and contrast.

A collection of music for strings, including the first complete appearance of a rare LP by the Moscow Chamber Orchestra and Rudolf Barshai of music by Bartók (one of the most invigorating “Divertimento” recordings ever made). Vivaldi is coupled with a selection of gleaming ‘Visions Fugitives’ (arranged by Barshai from Prokofiev’s piano pieces) and the […]

Georg Solti studied piano with Bartók and although they never developed a close personal relationship, Solti was always in awe of the composer’s dedication and intensity. In 1937, he was also page-turner for the first performance of the Sonata for Two Pianos & Percussion given by the composer and his wife, Ditta Bartók-Pasztory. Bartók’s music […]