The most comprehensive collection ever issued of the recorded art of Herman Krebbers (1923–2018) featuring the great Dutch violinist as concerto soloist, chamber musician and concert master and issued to mark the centenary of his birth. An original jackets collection of a much-loved musician, with an introduction by Bernard Haitink, written shortly before his death. […]
Compiled here for the first time are all of Elly Ameling’s Bach recordings for both Decca and Philips: an ‘original jackets’ treasury of Cantatas, Passions and oratorios which would make a first-rate introduction to the composer’s sacred music, but which for the more experienced listener holds vocal glories in store, and also takes the changing […]
The second volume of Sir Adrian Boult’s Decca legacy brings together the conductor’s Messiah recordings of 1954 and 1960, plus Baroque and sacred music recitals from Kenneth McKellar, Kirsten Flagstad and Kathleen Ferrier. LIMITED EDITION. While hardly a ‘period-instrument’ pioneer, Sir Adrian Boult had a much surer sense of authentic Handelian style than most of his contemporaries. […]
The Decca legacy of WILHELM KEMPFF, one of the last century’s greatest keyboard poets. Wilhelm Kempff is known, with good reason, as a Beethoven interpreter of sublime simplicity, with several cycles of the concertos and sonatas to his credit, all of them recorded for DG. However, he began recording as early as 1918 and made […]
Eugen Jochum’s complete recordings of choral / sacred music for Philips collected together for the first time. Includes the rare Rudolf Mengelberg Magnificat. Born into a Catholic family of Bavarian musicians, Eugen Jochum was playing the organ and conducting his father’s choir as a child. Late in life he became renowned as a Bruckner specialist, […]
A 22-CD celebration of the doyenne of organists on her 80th birthday (17 January 2021) spanning her illustrious career of nearly five decades. ‘Weir is to the organ what Heifetz was to the violin, and Casals to the cello – a phenomenon,’ pronounced the celebrated broadcaster John Amis. Fittingly, this is a 22-CD celebration 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 […]
The so-called French Suites are actually no more French stylistically than either of Bach’s other sets of keyboard suites, the English Suites and the Partitas. They are a fascinating mixture of movements of differing national styles, primarily French and Italian, lacking an introductory movement such as a prelude and conceived for performers without the virtuoso […]
Newly remastered from the original L’Oiseau Lyre tapes, a little-known Bach recording in the true French style. The modern phenomenon of the Cello Suites as a staple of any record collection may be laid at the feet of the Catalan cellist Pablo Casals, whose HMV recording, released in 1939, belatedly placed the set alongside The […]
A newly remastered treasury of Baroque ensemble music from Gabrieli to Haydn, including several recordings receiving their first international CD release. The Stuttgart Chamber Orchestra was founded by Karl Münchinger in 1946, and it was only after six months of intensive rehearsals that the 31-year-old conductor allowed it to make its debut. The orchestra gave […]
Two Decca LP albums of orchestral miniatures, newly remastered and issued complete for the first time on CD, with a substantial bonus from Karl Münchinger’s varied discography. Karl Münchinger (1915-1990) was remembered for decades as a solid conductor of Baroque music, but previous reissues on Eloquence have served to broaden our view of a consummate […]
Sir Adrian Boult’s first Messiah for Decca, newly remastered and coupled with a rare L’Oiseau-Lyre recording of the Bach Magnificat, new to CD. When this Messiah was released in 1954, critics were quick to recognise it as exemplifying the English oratorio tradition at its finest. Boult used a large chorus – the London Philharmonic Choir, […]
