SERGEI PROKOFIEV (1891–1953)
CD 1
1 Peter and the Wolf, Op. 67*
Frank Phillips, narrator
London Philharmonic Orchestra
Nicolai Malko
2–5 Symphony No. 5 in B flat major, Op. 100
Danish Radio Symphony Orchestra
Eric Tuxen
CD 2
1–5 Lieutenant Kijé – Symphonic Suite, Op. 60
Orchestre de la Société des Concerts du Conservatoire de Paris
Sir Adrian Boult
6–11 The Love for Three Oranges – Symphonic Suite, Op. 33bis
London Philharmonic Orchestra
Sir Adrian Boult
12 Russian Overture, Op. 72
13–16 Symphony No. 7, Op. 131
Orchestre de la Société des Concerts du Conservatoire de Paris
Jean Martinon
*FIRST CD RELEASE ON DECCA
Recording Producers: John Culshaw (Peter and the Wolf); James Walker (The Love for Three Oranges, Lieutenant Kijé); Michael Williamson (Symphony No. 7, Russian Overture); unknown (Symphony No. 5);
Balance Engineers: unknown (Peter and the Wolf, Symphony No. 5); Kenneth Wilkinson (The Love for Three Oranges); Kenneth Wilkinson, Roy Wallace (Lieutenant Kijé); Kenneth Wilkinson, Ken Cress (Symphony No. 7, Russian Overture)
Recording Locations: Kingsway Hall, London, UK, 6 December 1949 (Peter and the Wolf); 27–29 June 1955 (The Love for Three Oranges); La Maison de la Mutualité, Paris, France, 9 June 1955 (Lieutenant Kijé), 29, 30 October & 2 November 1957 (Symphony No. 7, Russian Overture); Danish Radio Concert Hall, Copenhagen, Denmark, 9 October 1952 (Symphony No. 5)
Remastering Engineer: Chris Bernauer
Original Decca Releases: AX 356–58 (Peter and the Wolf – 78rpm: January 1951) / LX 3003 (Peter and the Wolf – LP: June 1950); LXT 5119 (The Love for Three Oranges, Lieutenant Kijé: March 1956); ECS 619 (Symphony No. 7, Russian Overture: September 1971; originally issued on RCA LM 2288 / LSC 2288: May 1959); LXT 2764 (Symphony No. 5: January 1953)
‘Extremely well recorded.’ The Record Guide, 1955 (Symphony No.5)
‘A thoroughly desirable disc.’ EMG Monthly Newsletter, May 1956 (Lieutenant Kijé)
‘The Danish orchestra are on the top of their form… technically it is faultless… the issue may be counted a great success.’ Gramophone, March 1963 (Symphony No.5)
‘Among the wittiest, most pointed, and most elegantly recorded performances in the entire Prokofiev discography.’ High Fidelity, June 1956 (The Love for Three Oranges)
‘It is his composer’s ear that makes his performances of Prokofiev so dazzling… The orchestra possesses an almost chamber-like sound, but this does not prevent Martinon from drawing from it warm, passionate readings; it’s a remarkable combination.’ Gramophone, December 2003 (Symphony No.7)