Some violinists enrapture their audience with their purity of tone, others with their warm timbre, or their amazing technical virtuosity. Pablo de Sarasate y Navascuéz was one of the very few violinists who combined all these merits, and in addition was a composer in his own right. The most famous of his 50 works are Zigeunerweisen, based on traditional gypsy folklore and the fiendishly difficult Carmen Fantasy. And what better proof is there than Saint-Saëns’s Rondo capriccioso that it is perfectly possible to unite high-spirited joyfulness with a minor key. As the name suggests, his Havanaise is filled with the melodies and colourful rhythms of Spain: no wonder this piece is known as “the violinists' warhorse”. It goes without saying that these 19th-century bravura pieces are an absolute “must” for all those who wish to join the annals of great virtuoso violinists. And today, 40 years after the making of this recording, general consensus has it that Ruggiero Ricci has taken his rightful place among the great virtuosos.

Recording: September 1959 at Kingsway Hall, London by Alan Reeve / Production: James Walker

The LP is not counterfeit. The first pressing run of this title and several of our other titles was officially made at 200 grams per disc, and the jackets said 200 grams. Subsequently, the pressing plant had many problems with the special press that makes the 200 gram discs, and we decided to change to making all our vinyl LPs at 180 grams. At that time we changed the front of the LP jackets to state the new weight. We did not change the barcode or catalog number. The weight of the discs was always plus or minus about 10% in either case, and we found the 200 gram pressings were often only 180-190 grams. The quality of the 180 gram pressings we have found to be excellent. All our new LP releases, and reorders of older titles, are now made at 180 grams.

Jean Sibelius (1885–1957) composed songs from the beginning almost to the end of his lifetime. Shortly before his death, he arranged the piece, which closes this album, "Kom nu hit, Död", and so opened a stylistic gateway to Modernity. All the songs in this collection were composed around 1900 and are filled with Late Romantic harmony, a glorious sound and emotional feeling. The song "Svatar Rosor" is immersed in an alternating bath of major and minor to evoke a dramatic and tragic mood, while the wonderfully colourful "Den Första Kyssen", op. 37 no. 1 depicts in music a girl’s dialogue with the evening star. And with "Flickan kom ..." op. 37 no. 5 and "Var det en dröm" op. 37 no. 4, a powerful vocal drama is placed alongside a lyrical gem. Of the latter work Sibelius allegedly said: »Here you are, this is my most beautiful song!« Without a doubt, Kirsten Flagstad is the ideal singer for this repertoire. Her highly dramatic soprano voice rises monumentally over the surging orchestral sound but dims down appropriately and effortlessly in the hushed passages. Wagnerians, Strauss lovers and fans of grand romantic gesture will thoroughly enjoy this LP.

program:

1. The Sea and Sinbad’s Ship

2. The Story of the Kalender Prince

3. The Young Prince and the Young Princess

4. Festival in Bagdad; The Sea; The Ship Goes to Pieces on a Rock

Another sonic and musical blockbuster from the unbeatable combo of Reiner and RCA (and Mohr & Layton). Recorded in 1957 at Chicago's Orchestra Hall; the original analog session tapes were used in mastering for LPs and SACDS. Mussorgsky's inspiration for "Pictures ..." was the death of his dear friend, the architect and visual artist Victor Hartman. Having died at age 39, Hartman had not yet had the opportunity to realize any of his architectural visions, and Mussorgsky was angered that his friend would have no legacy. The Architects' Society arranged an exhibition of some of Hartman's sketches — some of architecture, others of characters or scenes from everyday life. The tribute was enough to give Mussorgsky ideas for his composition, but not enough to give Hartman any lasting place in history. Today, of all of the sketches that were captured in music, only six can be positively identified.
The piece is known today primarily through the orchestral version created by Maurice Ravel in 1922. In fact, the work had already been orchestrated multiple times, by a variety of lesser names. Some conductors today find that Ravel's version, in spite of its color, sacrifices some of the coarse nature inherent in Mussorgsky's piano original. Furthermore, Ravel worked from Rimsky-Korsakov's edited version of the piano part — the only one available at the time — which changed some notes and rhythms.
None of the orchestrations, however, change the fundamental spirit of the piece. Mussorgsky imagines himself making his way down the hallway that showcased his late friend's work, with his stately procession represented by the Promenade that opens the piece and returns several times. Upon stopping at each image, he reflects on what he sees. Between the early movements, the promenade returns regularly, as Mussorgsky is conscious of moving from one scene to the next. As the work progresses, however, he becomes less aware of the interval between pictures, and more immersed in the continuous psychological experience of moving from one state of mind to the next. By the end, the composer sees himself transformed by the connection with Hartman through his visual expressions of Russian pride and humanity.

- 180 grams

With "Rhapsody In Blue", George Gershwin, a popular songwriter, established himself as a serious composer. His "American In Paris" tells the story of a trip through the streets and cafes of France. A first rate orchestra (The Boston Pops), a distinguished conductor (Arthur Fiedler), and a superb pianist (Earl Wild) combine to make this landmark recording something to be treasured.

George Gershwin: "Rhapsody In Blue", "An American In Paris" - The Boston Pops conducted by Arthur Fiedler

Tprogram:

Prokofieff, Lieutenant Kije, - Op. 60

1.  The Birth Of Kije

2.  Romance

3.  The Wedding Of Kije

4. Troika

5. The Burial Of Kije Stravinsky

6. Song Of The Nightingale

7. (Symphonic Poem)