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LINOS ENSEMBLE

ASSOCIATION FOR PRIVATE MUSICAL PERFORMANCES - THE CHAMBER MUSIC ARRANGEMENTS
BRUCKNER · MAHLER · BERG · REGER · SCHÖNBERG · WEBERN · DEBUSSY · ZEMLINSKY · BUSONI · STRAUSS (Sohn)

8CD-Set C7265 PC: 06 UPC: 845221072654


CD 1           ANTON BRUCKNERSymphony No. 7 (arr. Stein / Eisler / Rankl)  
CD 2           GUSTAV MAHLERSymphony No. 4 (arr. Stein)                  
                   Lieder eines fahrenden Gesellen (arr. Schönberg)                                 
CD 3           GUSTAV MAHLERDas Lied von der Erde (arr. Riehn)                    
CD 4           GUSTAV MAHLERKindertotenlieder (arr. Schönberg / Riehn)     
                   ALBAN BERGViolin Concerto (arr. Schönberg / Tarkmann)             
                   Altenberg Lieder  (arr. Schönberg / Wagenaar)                                             
CD 5           MAX REGERViolin Concerto op. 101  (arr. Kolisch)                            
CD 6           ARNOLD SCHÖNBERG: Chamber Symphony op. 9 (arr. Webern)          
                   Six Songs for voice and orchestra, op. 8 (arr. Eisler / Stein / Schönberg)
                   ANTON WEBERNSix Orchestral Pieces, op. 6 (arr. Webern)     
CD 7           CLAUDE DEBUSSYPrélude à l'après-midi d'un faune (arr. Sachs)      
                   MAX REGERRomantic Suite op. 125 (arr. Schönberg / Kolisch)    
                   ALEXANDER ZEMLINSKY Six Songs, op. 13 "Maeterlinck-Lieder" 
                  (arr. Stein / Tarkmann) 
                   FERRUCCIO BUSONIBerceuse élégiaque op. 42 (arr. Stein)      
CD 8           JOHANN STRAUSS (Sohn): Waltz-Arrangements (arr. Schönberg / Berg / Webern)
OLAF BÄR · ALISON BROWNER · MARKUS SCHÄFER · MARION ECKSTEIN · SIMONE NOLD · IVONNE FUCHS· ZORYANA KUSHPLER · WINFRIED RADEMACHER
LINOS ENSEMBLE
Founded in November 1918 by Arnold Schoenberg(1874–1951) and a few of his confidants, the Association for Private Musical Performancesconstituted perhaps the most progressive and most intensive opportunity for a select Viennese musical circle to familiarize themselves with contemporary and the latest works of the international composers’ scene in the immediate aftermath of the First World War and hence at the time of a dearth of a cultural spirit of optimism and innovation. Schoenberg had a close personal tie with many of the composers performed at the association concerts and sometimes even an amical one, as in the case of Zemlinsky. The association became a nursery for the entire modern music from Richard Strauss and Debussy to Webern, as far as the instrumentation of the works allowed.

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BORIS BLACHER (1903-1975)

Dance Suite · Poème · Hamlet · Concertant music for orchestra
RUNDFUNK-SINFONIEORCHESTER BERLIN · JOHANNES KALITZKE

C5349 PC: 21 UPC: 845221053493

What Boris Blacher passed on to many of his students – like Gottfried von Einem, Aribert Reiman or Isang Yun -  primarily also characterizes his own music: a pronounced gestic and dance-like energy, lyrical melodies, orchestral sparkle, but also very subtle and intimately instrumented moments. The Poemeis an excellent example of the fact that for Blacher, who wrote a large number of ‘genuine’ ballets, movement plays a central role even in works that are to be understood as absolute music. It sounds almost a little strange that such an individualist and musician open-minded to absolute innovation had no direct problems with the conditions imposed by Nazi cultural policy also on the whole field of music, but quite the opposite, was in a position at that time to compose some of his major works. . It was probably due to the disunity of the pundits in the Third Reich that Blacher was permitted to continue his very individual course, without being disciplined too severely.

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DMITRY KABALEVSKY (1904-1987)

Overture Pathétique · Violin Concerto · Rhapsody on the Theme of the Song 'School Years' · Vesna · Colas Breugnon Suite
YURY REVICH · MAGDA AMARA · DEUTSCHE STAATSPHILHARMONIE RHEINLAND-PFALZ · KARL-HEINZ STEFFENS

C5347 PC: 21 UPC: 845221053479

Many of the today distinguished Soviet composers in the second half of the 20thcentury knew how to steer a middle course, enabling them to supply what was officially desirable and yet to remain faithful to themselves, writing the music they wanted to write. Kabalevsky was a Jack of all musical trades and, as a specialist for children’s music especially, cultivated a highly personal style, kept in easily comprehensible tonal aesthetics. His works are characterized by some of the features typical of Kabalesky’s overall oeuvre: a cornucopia of melodious imagination, dance rhythms, above all in the fast movements, expansive slow sections and a positive, often cheerful tone.

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SIR NEVILLE MARRINER - The London Recordings

PURCELL BOYCE MENDELSSOHN ADAM MASSENET ELGAR DVORAK TCHAIKOVSKY
ACADEMY OF ST MARTIN IN THE FIELDS

14CD-Set · C7250 PC: 07 UPC: 845221072500


CD 1           HENRY PURCELLOpera Suites
CD 2           WILLIAM BOYCESymphonies 
CD 3           FELIX MENDELSSOHN BARTHOLDYOvertures
CD 4           ADOLPHE CHARLES ADAM Giselle
CD 5           JULES MASSENETBallet Suites
CD 6           EDWARD ELGAREnigma Variations
                   The Wand Of Youth Suites Nos. 1 & 2
CD 7+8       ANTONIN DVORAK
                   Symphonies Nos. 7, 8 & 9 "From The New World"
                   Carnival Overture · Othello Overture
CD 9-14      PETER TCHAIKOVSKY
                   The Symphonies Nos. 1-6
                   Manfred Symphony · Capriccio Italien · Overture "1812" · Francesca da Rimini
Neville Marriner was the Academy of St. Martin in the Fields – the orchestra he founded in 1958 and led for over half a century. Moreover, he was the face of classical music to millions of listeners… in a way that only Toscanini, Bernstein, and Karajan have rivalled in the age of recorded sound. In the later years, it was Capriccio, that stepped in when other labels showed no interest to record the Academy in the bigger romantic repertoire. The central element of this collection is the set of Tchaikovsky symphonies."The members of the Academy, trained on quite different repertory, let their hair down in playing that is both crisp and alert, obviously enjoying their outing into this pop repertory." Edward Greenfield, Gramophone

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Sir Neville Marriner - The Stuttgart Recordings

BEETHOVEN SCHUMANN TCHAIKOVSKY MAHLER STRAUSS RACHMANINOV BARTOK BRITTEN HONEGGER GERSHWIN
RADIO-SINFONIEORCHESTER STUTTGART

15CD-Box C7230 PC: 07 UPC: 845221072302

CD 1 + 2          LUDWIG VAN BEETHOVENOvertures 
CD 3 – 5           ROBERT SCHUMANN
                        Symphonies Nos. 1 – 4 · "Zwickauer" · Manfred Overture
CD 6 – 7           PETER TCHAIKOVSKYOrchestral Suites 1-4
CD 8                GUSTAV MAHLERSymphony No. 4
CD 9 – 10         RICHARD STRAUSS
                        Don Juan · Till Eulenspiegel · Capriccio · Rosenkavalier-Suite
CD 11              SERGE RACHMANINOVSymphony No. 2· Vocalise
CD 12              BELA BARTOKDer wunderbare Mandarin
CD 13              BENJAMIN BRITTENSinfonietta op. 1 · Sinfonia da Requiem
                        ARTHUR HONEGGERSinfonie Nr. 3 "Liturgique"
CD 14              GEORGE GERSHWIN
                        Rhapsody in Blue · Piano Concerto in F · An American In Paris
CD 15              BARBER · COPLAND · GERSHWIN · BERNSTEIN
In Stuttgart, 1983 – 1989,Neville Marriner followed Sergiu Celibidache, offering quite the contrast to that willfully prodigious Romanian broodingly charismatic style with his own easygoing, less spectacular but genial manner and music-making. His sound wasn’t as dense and carefully crafted, but the ensemble’s playing became lighter and flexible, agile rather than probing. It is in his Stuttgart period that Marriner increasingly focused on repertoire that went beyond the baroque and classical periods. This compilation offers repertoire which music lovers will be less likely to associate with Marriner: German romanticism, including all of Schumann’s Symphonies, Richard Strauss, Tchaikovsky and Rachmaninoff, Mahler, Bartók and Gershwin – The fundamental impression that comes from re-listening to these performances, apart from good and fresh music-making, is one of sympatheticmusic-making. That feels about right as an epitaph for the man and his body of work.

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