"There are more recent, highly recommendable versions of all this music, but Boult has a special touch in this repertoire, making even Old King Cole well worth hearing: the only other version that I know of that ballet (Richard Hickox, EMI British Composers 5739862) doesn’t manage that quite so effectively. It is at least arguable, too, that this version of Tintagel is preferable to Boult’s own remake on Lyrita ... The recording doesn’t sound new-minted – even in 1955 the Gramophone reviewer commented on the lack of depth to the sound in Old King Cole and suspected that Tintagel did not lend itself to recording – but the mp3 transcription does it justice, sounding much better than the LPs did in 1955, I suspect. The sound-stage has been opened out to the extent that I imagined that some of the tracks were in stereo; they aren’t. The 12 inch LP which contained Tintagel and King Cole cost 36 shillings in 1955 (at least £40 now), so this reissue is a true bargain as well as offering an hour of delight."
1PD40 Ballet by arrangement
The rapid growth of ballet during the first half of the twentieth century enabled music from the eighteenth century no longer heard in the concert hall, to be prsented to modern audiences performed by full orchestras. These and other arrangements of music from an earlier age lead to early music performances to gather momentum in the second half of the twentieth century.
The Wise Virgins (J.S. Bach arr. Willam Walton) [Listen]
The Prospect Before Us (William Boyce Arr. Constant Lambert) [Listen]
The Good Humored Ladies (Domenico Scarlatti Arr. Vincenzo Tommasini) [Listen]
Scuola di ballo (Luigi Boccherini arr. Jean Françaix) [Listen]
Not yet available, please revisit this page later.
What the critcis say
2PD17 Van Beinum Conducts Mahler
Symphony No 4[listen]
Margaret Ritchie (Soprano) Concertgebouw Orchestra of Amsterdam conducted by Eduard van Beinum
Lieder eines fahrenden Gesellen[listen]
Eugenia Zareska (mezzo-soprano), London Philahrmonic Orchestra conducted by Eduard van Beinum
"This is an outstandingly successful transfer of the Symphony ...Van Beinum is so elegant and his underlying rhythms are so subtly placed that the booklet's description of the music as 'cheerful, carefree and sunny' is aptly justified. The 58 year old recording still stuns the ear with its powerful impact at the main climax." Anthony Hodgson Classical Record Collector Summer 2010
1PD35 The World of Dennis Brain
Dennis Brain (1921-1957) plays in:
Tchaikovsky - Symphony No 5 - II Andante cantabile, con alcuna licenza[Listen]
Dennis Brain (horn), National Symphony Orchestra conductor Sidney Beer
Mozart - Cosi fan Tutte - Per pieta ben mio[Listen]
Joan Cross (soprano), Dennis Brain (horn), Philharmonia Orchestra conductor Lawrance Collingwood
Beethoven - Horn Sonata in F major Op.17[Listen]
Dennis Brain (horn) Dennis Matthews (piano)
Edward Williams - Open House[Listen]
Natalie James (oboe), Bernard Walton (clarinet), Dennis Brain (horn), Cecil James (bassoon)
Dukas - Villanelle[Listen]
Dennis Brain (horn), Gerald Moore (piano)
Benjamin Britten - Serenade for tenor, horn and strings[Listen]
Peter Pears (tenor), Dennis Brain (horn), strings of the New Symphony Orchestra of London, conductor Sir Eugene Goossens
"Members of the horn loving fraternity will rush to this CD, which is also recommended to general music lovers...Throughout these are all superb performances." Robert Matthew-Walker Classical Record Collector Summer 2010
"This is a mandatory purchase for nostalgics but has much to say to new listeners as well. "Frederick Fennell (1914- 2004) was the doyen of the windband movement and these recordings are emblematic of the best performance and recording practice in the 1950s and for many years after. They will put even the finest hi-fi through its paces whether in the thunder and crump of the percussion, the suede and velvet croon of the horns or the saw-toothed bite of the finale of the Holst Second Suite. Fennell keeps the pressure on the tempo throughout but is also partial to the evolutionary bloom of the middle movement. In the penultimate movement Fennell's open-mindedness shows through in the joyous use of the anvil to adumbrate the rhythm. Mistily impressionistic, Hammersmith is a tone poem in textures, adventurously probed Ivesian tonality and atmosphere. It has more in common with Holst's orchestral Egdon Heath than with the suites. The perky irrepressible Folksong Suite by Holst's friend RVW takes us back to the bustle and poetic language of Holst suites." - Rob Barnett at Music Web International
Orlando GIBBONS (1583-1625) Almighty and everlasting God; O Lord in thy wisdom; Hosanna to the Son of David; O Lord increase my faith; O clap your hands, God is gone up.
Choir of King's College, Cambridge/Boris Ord rec. 1954. Mono/ADD
BEULAH EXTRA 1BX20 [17:28]
"This is worth having for the sake of hearing what King’s College Choir could do even before the reforming hand of David Willcocks was laid upon it. It’s all too easy with the benefit of hindsight to regard the pre-Willcocks period as a kind of prehistoric time, but Boris Ord’s championship of Gibbons on this recording, when his music was far from well known, is well worth hearing. The recording requires a degree of tolerance but the quality of the performance shines through, offering a fascinating comparison with the latter-day King’s choir under Stephen Cleobury in 2007"
(Giuseppe) Domenico SCARLATTI (1685-1757)/arr. Vincenzo TOMMASINI (1878-1950)
The Good Humoured Ladies – Ballet (1916/17) [14:55]
Paris Conservatoire Orchestra/Roger Désormière – rec. 1950. Mono/ADD
BEULAH EXTRA 1BX17 [14:55]
"I really enjoy this kind of confection and I was very pleased to be reminded of this suite from Le Donne di buon Umore, which began life as a skilful arrangement of sonatas by Domenico Scarlatti for a Diaghilev ballet.
The performance has the kind of panache that is needed in order to bring off the blend of old and new and the recording is still quite acceptable, if a little thin.
Georges BIZET (1838-1875) Carmen: Habañera; Seguidilla
Edith Coates (soprano); London Symphony Orchestra/Walter Goehr – rec. 1948. Mono. ADD
BEULAH EXTRA 1BX21 [5:26]
"Edith Coates’ Carmen may be a little fruity by modern standards and it’s not usual to sing opera in English any more. This is how I first heard Carmen, from the Carl Rosa company – but the recording is of more than sentimental or historical value and the sound is remarkably lifelike."
Wolfgang Amadeus MOZART (1756-1791) Così fan tutte Overture
Berlin Staatsoper Orchestra/Leopold Ludwig – rec. 1938. Mono. ADD.
BEULAH EXTRA 1BX4 [4:09]
"A short but sweet reminder of Ludwig’s way with Mozart – I’d like to hear more. The recording is inevitably lacking in frequency range, but more than tolerable, with hardly any 78 surface noise."
César FRANCK (1822-1890) Pièce Héroïque
Édouard Commette (organ of Cathédrale Saint-Jean de Lyon) – rec. 1938. Mono. ADD
BEULAH EXTRA 1BX9 [7:58]
"The performance is powerful; if not definitive, it is well worth hearing. The recording is a little cavernous, but not impossibly so, and there is little or no 78 surface noise. "
Paul DUKAS (1865-1935) L’Apprenti Sorcier (The Sorcerer’s Apprentice)
Israel Philharmonic Orchestra/Georg Solti – rec. 1958. Stereo. ADD.
BEULAH EXTRA 1BX16 [9:48]
A vigorous performance in good, early stereo, well transferred."