What's New for February

New from iTunes

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Click on image for full size printable inlay image	Release date Feb 4th
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"Not only are these classic performances self-recommending, I’ve already recommended several of them when they have appeared on single releases from Beulah Extra. They’re equally welcome in this collected format and the recordings still sound very well, especially the later stereo releases. There’s plenty to set your feet tapping here in vigorous performances, but there’s also more reflective material, as in the first part of West Point Symphony and the Hartley Wind Concerto so this follow-up to Volume I (2PD82), released in October 2011 on iTunes, is very welcome." Brain Wilson at Music Web International

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"This really does offer what it says on the tin ... a box of discoveries and delights ... I can’t pretend that the sound of the Violin Concerto is fresh minted – it’s somewhat shrill, occasionally almost to the point of distortion – but it’s well worth hearing for this performance. There may be plenty of sunshine at Monteux’s hands, but there’s plenty of the Tchaikovsky-like yearning that contributes to the work’s popularity, too ... the Monteux recording still sounds especially well" Brian Wilson's Reissue of the Month at Music Web International

New at Beulah Extra

Reveiws are by Brian Wilson at Music Web International

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"That such arrangements of Bach have gone out of fashion is not a matter that I greatly lament – even as long ago as the year of this recording a Mr HH Fountain was writing to Gramophone to point out that if Bach had wanted orchestrate his organ works he would have done so – but I know that there are those who hanker after them. Though one thinks more immediately of Stokowski in this context, few will be disappointed with Sir Adrian Boult’s altogether less heavy-handed performance here. It seems, in fact, to have been a favourite with Boult, who recorded it again in the 1970s as a filler to his performance of Falstaff. The recording shows its age, especially at climaxes, but is more than acceptable and is largely free from surface noise." 

Click on image for full size printable inlay image	1st movement 2nd and 3rd movements
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Click on image for full size printable inlay image	1st movement 2nd movement 3rd movement 4th movement
Click on image for full size printable inlay image	1st movement 2nd movement 3rd movement 4th movement

"The performances are a little larger in scale than we are used to nowadays, despite the (barely audible) harpsichord but eminently stylish. The VSOO were never the world’s greatest but they play very well here and the recordings are very much more than adequate.The use of the Robbins Landon edition places all these recordings ahead of their time textually – though Beecham’s performances of the London Symphonies from around this time are superb, they are based on corrupt texts – and in many ways Goberman was foreshadowing period-instrument Haydn. Scholarly, stylish, sprightly and still sounding well; what’s not to like?" 

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"Hans Richter-Haaser, with strong support from István Kertész Hans Richter-Haaser, with strong support from István Kertész, whose contribution also helps make Clifford Curzon’s Decca recording of the later concertos so effective, comes out well by comparison. He dispatches all three movements a little more expeditiously than Anda or Mitsuko Uchida and Jeffrey Tate without sounding hurried, and the recording has come up well in this transfer. Well worth considering in my estimation" 

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1st movement 2nd movement 3rd movement 4th movement

"Unlike Goberman’s Haydn from around the same time, this is not a ground-breaking interpretation, but it is equally recommendable – ‘traditional’ Mozart performance at its best performed by a world-class orchestra and still sounding remarkably well in this transfer." 

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1st movement 2nd and 3rd movements

"...in many respects (this) is still my benchmark for this concerto. The recording still sounds extremely well. " 

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