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BBC Legends - Great Recordings from the Archive

Horenstein / Mravinsky / Gilels / Toscanini
Release Date: 10/29/2013 
Label:  Ica Classics   Catalog #: 5113   Spars Code: DDD 
Composer:  Gustav MahlerDmitri ShostakovichWolfgang Amadeus MozartRobert Schumann,   ... 
Performer:  Beryl HattAgnes GiebelJoyce BarkerKerstin Meyer,   ... 
Conductor:  Jascha HorensteinYevgeny MravinskyArturo ToscaniniKiril Kondrashin,   ... 
Orchestra/Ensemble:  London Symphony OrchestraOrpington Junior SingersGoldsmiths' Choral Union,   ... 
Number of Discs: 20 
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Notes and Editorial Reviews

Reviews of some of the original recordings that make up this set:

Dennis Brain
Was Dennis Brain the greatest horn player ever? No argument from me. It's hard to imagine a more consummate master of any instrument or a more thoroughly developed musician, and his performances on this disc provide ample evidence of his prodigious artistry in something he especially loved--chamber music. Although he could have adopted and owned an exclusive role as virtuoso soloist, Brain chose to devote much of his time to performing in the more or less equal-partner settings offered by trios, quartets, and quintets, and in works composed for his particular skills, such as Britten's incomparable Serenade for Tenor, Horn, and
Read more Strings. There's a special poignancy to the three selections that open the program: the Beethoven Quintet and the pieces for horn and piano by Dukas and Marais were recorded at the 1957 Edinburgh Festival concerts just one week before Brain's death while driving back to London. He was 36, and like tenor Fritz Wunderlich, who died of accidental causes at the same age (in 1966), the world was deprived of a great artist at the peak of his powers.

Brain's performance of Dukas' ravishing little frolic, Villanelle, is nothing less than sensational. It's not just a stream of formidable leaps and flashy runs, but, responding to his very enthusiastic audience, Brain finds room for subtle refinements and delivers a clinic in breath control, phrasing, and articulation within the context of a piece that's already devilishly difficult. Similarly, in the horn entrance in the Andante of the Mozart quintet--this work and the Brahms Trio were recorded in BBC's London studios six months earlier--Brain spins a strand of pure gold out of Mozart's elegantly simple theme. It's a small gesture but it's borne of a rare and intense musicality. The Brahms, in which Brain is joined by partners Max Salpeter (violin) and Cyril Preedy (piano), shows three musicians in complete communicative harmony, as energetically, intently involved in the performance as we can imagine. The live concert sound really does give us a sense of being there that August evening--and not only because of coughs (politely kept to breaks at ends of movements) or clapping. The piano is a bit tinny on top and the balances aren't consistent, but these turn out to be very minor artifacts; the studio recordings are not balanced any better (the strings in the Mozart are a bit stifled), but again, your ear immediately adapts. Brain fans will need this. [10/14/2000]
--David Vernier, ClassicsToday.com

Emil Gilels
"it's the BBC disc that really convinces you of the pianist's artistry. In his fiery early years, Gilels's passion could sometimes lead him into interpretive indiscretion; in the 70s and 80s, in contrast, he often promoted a sober objectivity that was prudent to a fault. These late 50s performances merge the best of both sides of his personality. One senses the pianist's extraordinary volatility; indeed, the almost hedonistic pleasure he gets from his own fingerwork keeps you on the edge of your seat. Yet, despite the nervous energy, the formal focus of the playing is gripping. It's the usually lopsided Schumann, with its architectural imbalance and its indecisive emotional outlook, that benefits most from Gilels's paradoxically high-strung control: No other pianist has so well justified the bizarre logic of this unprincipled sonata. But even in the Scarlatti (especially the more skittish sonatas) and the rarely played Bach, one appreciates the special fusion of scalding virtuosity and icy clarity that fuels the playing. The dulcet Tchaikovsky meditations and the relentless Prokofiev blockbuster make perfect encores. The mono sound is solid and immediate."

Peter J. Rabinowitz, Fanfare [11/1999]

Arturo Toscanini
"The appearance of Toscanini's 1939 Missa Solemnis with the BBC Symphony Orchestra makes this a major release. Previously, two Toscanini Missas have circulated widely: the NBC Symphony broadcast of December 28, 1940, which, though never officially released, has shown up on a wide variety of CD labels, and is regarded by many as perhaps the greatest recording we have of the work; and the conductor's much leaner 1953 commercial recording for RCA. More than 25 years ago, a Missa Solemnis dating from April 28, 1935, with Toscanini leading the New York Philharmonic, appeared on HRE LPs. So far as I know, only excerpts from that (the complete Kyrie, portions of the Gloria and Credo, and the entire Agnus Dei) have appeared on CD, as filler to a Melodram release of a 1940 Clemens Krauss Missa Solemnis with the Vienna Philharmonic. The present performance is the second of two (May 26 and 28, 1939) that Toscanini conducted as part of a seven-concert Beethoven cycle with the BBC Symphony in London. Each of the four issued performances (1935, 1939, 1940, and 1953) is extraordinary in its own right, and in different ways; taken together, they provide an extraordinary opportunity to see how Toscanini's approach to one of the world's greatest choral works changed over time, even as his interpretation on each occasion retained certain general characteristics that make it immediately identifiable as his own: his unerring grasp of the work's flow and architecture, the unflagging control (backed by an equally unflagging sense of rhythm and pulse) with which he lays it out, and the selflessness with which he communicates Beethoven's music to the listener."

-- Marc Mandel, Fanfare [1/2000]

Shostakovich Cello Concerto / Rostropovich
"Rozhdestvensky and Rostropovich have also recorded the Shostakovich in a studio performance (available on EMI). Again, though, this compelling performance benefits from the presence (and challenge) of an audience. By turns intimate and dramatic, bold and even sentimental, the piece itself seems perfectly matched to Rostropovich’s perfervid style. He seems on the top of his game in this 1960 performance recorded in Usher Hall in Edinburgh. Despite the fact that the piece is readily available on EMI, I recommend this disc, particularly for the exciting Shostakovich."

-- Michael Ullman , Fanfare [9/2004]

Igor Markevitch
This recording is taken from a live concert at Usher Hall, Edinburgh, on August 26, 1962. Those fortunate people heard music-making by a great conductor and orchestra near the top of their form. If I prefer Igor Markevitch's later recording of Francesca da Rimini with the (New) Philharmonia Orchestra, what makes the difference isn't the ever-so-slightly faster pace of this highly charged performance but, rather, a few tiny and (to me) annoying cuts the conductor makes over the last third of the piece. He doesn't make them on the Philips recording.

Galina Vishnevskaya and Markevitch made a commercial recording (also Philips) of Markevitch's orchestration of six Mussorgsky songs: Lullaby, The Magpie, Night, Where Art Thou, Little Star? The Ragamuffin, and On the Dnieper. In this case I prefer the live Edinburgh performance, because Vishnevskaya's top notes had begun to turn strident by the time she made the Philips recording (circa 1965, with the Russian State Orchestra). Here, she's in excellent form, vocalizing every note, even inspiring a spontaneous outburst from the audience after her virtuoso traversal of The Ragamuffin. Some of these songs come early in his career, but Mussorgsky was already beginning to demonstrate his ability to portray character in music and cloak his narratives with an appropriate atmosphere. In that respect, at least, he's a peer of Mozart, Verdi, and Wagner (in their operas) and Schubert (in his songs). It's a rare talent even among greater composers, and sad that it was not put to more extensive use because of Mussorgsky's alcoholism and early (barely 42) death. Markevitch's orchestration never calls attention to itself, sounding like authentic Mussorgsky (or at least authentic Rimsky-Korsakov).

Markevitch made two commercial recordings of Le Sacre du printemps, both of them sufficiently imposing that Testament even issued them on the same CD. Markevitch's approach isn't the cool, analytical one some conductors (and critics) prefer; his is a "hot" performance, and this live one is even hotter than the two earlier commercial recordings. Let me emphasize that there is no lack of orchestral detail and there is plenty of rhythmic drive; it's one of the best Sacres I've ever heard, exhibiting tremendous energy, ferocity, and power. It may leave you a bit limp. When he was on, he was on. My favorites are a mixed bag that will do little to clue you in about my taste: Markevitch 1 and 2 (and now 3), Bernstein 1, Dorati 1, Monteux 3, Stravinsky 2, and Zander.

-- James Miller, Fanfare [5/2001]

Janet Baker
It is strange how nature devises that the celebration of passion, beauty, and the entire train of romantic ideals is carried out on the whole by people whose appearance is antithetical to this picture. The roly-poly Schubert, just five feet and one inch, must not have cut such a romantic figure, nor does Janet Baker, of formidable and relentlessly dignified stature. Yet, we have the two of them to thank for making real to us the heights and depths of the human heart on this recording. Baker is so absorbed in—and transformed by—the atmosphere of each song, that she seems to forget herself, making both song and artistry all the more apparent to us. When our tear ducts begin to do their work, we don't ask why; we leave philosophy for a later time, content to enjoy the mysterious transference of emotion from the poet to the composer to the singer and finally to the listener.

Baker's voice here, though past its first bloom, seems particularly beautiful, and her love for each song and its message seems so deep that there is no need to criticize or analyze. Janet Baker, especially before a live audience, and especially in Schubert, is a great artist. Among the musical disciplines, there is at present no higher proportion of first-rate performers than in the field of accompanying. Graham Johnson, Martin Isepp, and especially Geoffrey Parsons bring much that is profound and beautiful to these performances.

The sound engineering gives a sense of daylight rather than candlelight, but no matter. This is a recording to live with.

-- Raymond Beegle, Fanfare [1/2002]

Jascha Horenstein
Few performances have carried with them as much legend as this one. Mahlerians for years have spoken of it in tones of reverence, even awe. Music & Arts issued it on LP on their Discocorp label, and Arlecchino made an acceptable, if not particularly clear, transfer to CD. Prior to those releases, the performance circulated throughout the world on private tapes made from the initial broadcast. Many knowledgeable Mahler scholars point to this single performance as the international turning point for the composer's acceptance by audiences and the critical establishment. Now the BBC has issued a transfer using the original stereo master tape, and all can hear what the fuss has been about. What you will learn is that all the claims ever made for the importance of this performance, and for its dramatic impact, are justified. Although I have known and loved this reading ever since the LP incarnation, the improvement in recorded sound is equivalent to the lifting of a veil—and makes clear that this is one of the great achievements in the art of symphonic performance. Horenstein and his forces manage to encompass everything in this score—its visceral power, its roaring energy, its tenderness, its mysticism, its beauty, all of it is here in 80 minutes of committed, fully engaged music-making at the highest level.

It is important to give this performance its proper context, a context eloquently set by Bernard Keeffe in his fascinating accompanying notes. In 1959, Mahler performances were still rarities, his music not yet having found either public or critical acceptance. The Eighth Symphony had been performed only on three previous occasions in London: in 1913 and 1936 under Henry Wood, and 1948 under Adrian Boult. The leading critic of the London Times, Frank Howes, had written only a few years earlier "We don't want Mahler here." Remarkably, it was an excess of funds in the BBC's budget for 1958-59, which if unspent would result in a budget cut the following year, that led to this performance. The BBC knew it had to spend the money, and knew that the biggest eater of funds was the music division. The music officials were approached, and realized that nothing was as expensive as this behemoth of a symphony, and so the plans were put into motion. Were it not for that, this remarkable occasion would never have happened. Horenstein, at this time, was a risk— known only to experts from his fine Vox Mahler records—but he was a risk who paid off.

This symphony is a known trap for conductors. Emphasize its moment-to-moment drama and you risk having it sprawl and appear formless. Concentrate on overall architecture and you risk underplaying dramatic moments. Few works, if any, are as massive a conflation of small moments, each of which is important in its own right, but each of which has a role in shaping the whole structure. Getting the proportions right, so that dramatic impact is consistent while tension and momentum always lead to the final climactic pages, is the trick. No one has ever achieved it as successfully and thoroughly as Horenstein has here. This performance seems to have a single line running through it from beginning to end, and the tension and sense of inevitability never flags for even one moment.

Benjamin Pernick reviewed the Arlecchino release in Fanfare 20:3, and his description of the performance is both so accurate and specific that it is worth seeking out. He concluded his review by expressing the hope that a CD might be released some day that was taken from the BBC master tapes; here it is. The sonic improvement over Arlecchino (and the Discocorp LP) is substantial, and moves this performance out of the "historical" category and to the top of the general recommendations for this work. Although the sound is not as spectacular as the best studio recordings (Solti 's, for example), it is more than adequate to accommodate Mahler's and Horenstein's visions. There is a bit of congestion at climaxes, but only a listener obsessed with sonic issues would require another recorded version. Given that the BBC did not even get a dress rehearsal in Albert Hall for this broadcast, and given that there was an audience of 6,000 (amazingly quiet throughout), this is an astonishing technical achievement for 1959. One criticism: The BBC's decision not to include a text and translation is idiotic. Here is a performance for the ages that can serve as the only Mahler Eighth for many collectors, but there is no text to which they can refer! On a more positive note, the BBC is to be commended for including a lively and informative interview between Alan Blyth and Horenstein to fill out the first 19 minutes of the first disc.

The soloists are on a very high level. The choral forces sing wonderfully—particularly the children. The London Symphony Orchestra plays not only with technical skill and commitment, but a sense of occasion that indicates that the musicians felt that this was an experience that might never be duplicated. It is in the hushed moments that this performance is at its most remarkable. Horenstein manages to convey a sense of deep intensity and concentration in the quietest moments, drawing the listener into the music completely. And, as I said above, it is in the relationship of each section to the whole, and in the cumulative power built up over 80 minutes, that this is unique music-making. I cannot imagine anyone who loves the music of Mahler being without this set.

-- Henry Fogel, Fanfare [5/1999]

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Works on This Recording

1.
Symphony no 8 in E flat major "Symphony of A Thousand" by Gustav Mahler
Performer:  Beryl Hatt (Soprano), Agnes Giebel (Soprano), Joyce Barker (Soprano),
Kerstin Meyer (Mezzo Soprano), Helen Watts (Alto), Kenneth Neate (Tenor),
Alfred Orda (Baritone), Arnold Van Mill (Bass)
Conductor:  Jascha Horenstein
Orchestra/Ensemble:  London Symphony Orchestra,  Orpington Junior Singers,  Goldsmiths' Choral Union  ... 
Period: Romantic 
Written: 1906; Vienna, Austria 
Date of Recording: 03/20/1959 
Venue:  Live  Royal Albert Hall, London, England 
Length: 100 Minutes 53 Secs. 
2.
Symphony no 8 in C minor, Op. 65 by Dmitri Shostakovich
Conductor:  Yevgeny Mravinsky
Orchestra/Ensemble:  Leningrad Philharmonic Orchestra
Period: 20th Century 
Written: 1943; USSR 
Date of Recording: 09/23/1960 
Venue:  Live  Royal Festival Hall, London, England 
Length: 59 Minutes 53 Secs. 
3.
Sonata for Piano no 1 in F sharp minor, Op. 11 by Robert Schumann
Performer:  Emil Gilels (Piano)
Period: Romantic 
Written: 1832-1835; Germany 
Date of Recording: 02/27/1959 
Venue:  Live  BBC Concert Hall, London, England 
4.
Aria Variata in a, BWV 989 "In the Italian Style" by Johann Sebastian Bach
Performer:  Emil Gilels (Piano)
Period: Baroque 
Written: by 1714; Weimar, Germany 
Date of Recording: 02/27/1959 
Venue:  Live  BBC Concert Hall, London, England 
5.
Morceaux (6) for Piano, Op. 19: no 1, Reverie du soir by Peter Ilyich Tchaikovsky
Performer:  Emil Gilels (Piano)
Period: Romantic 
Written: 1873; Russia 
Date of Recording: 02/27/1959 
Venue:  Live  BBC Concert Hall, London, England 
6.
Morceaux (6) for Piano, Op. 19: no 3, Feuillet d'album by Peter Ilyich Tchaikovsky
Performer:  Emil Gilels (Piano)
Period: Romantic 
Written: 1873; Russia 
Date of Recording: 02/27/1959 
Venue:  Live  BBC Concert Hall, London, England 
7.
Morceaux (6) for Piano, Op. 19: no 4, Nocturne in C sharp minor by Peter Ilyich Tchaikovsky
Performer:  Emil Gilels (Piano)
Period: Romantic 
Written: 1873; Russia 
Date of Recording: 02/27/1959 
Venue:  Live  BBC Concert Hall, London, England 
8.
Toccata for Piano in D minor, Op. 11 by Sergei Prokofiev
Performer:  Emil Gilels (Piano)
Period: 20th Century 
Written: 1912; Russia 
Date of Recording: 02/27/1959 
Venue:  Live  BBC Concert Hall, London, England 
9.
Sonata for Harpsichord in D minor, K 141/L 422 by Domenico Scarlatti
Performer:  Emil Gilels (Piano)
Period: Baroque 
Written: 18th Century 
Date of Recording: 04/22/1957 
Venue:  Live  Memorial Hall, London, England 
10.
Sonata for Harpsichord in B minor, K 27/L 449 by Domenico Scarlatti
Performer:  Emil Gilels (Piano)
Period: Baroque 
Written: by 1738 
Date of Recording: 04/22/1957 
Venue:  Memorial Hall, London, England 
11.
Sonata for Harpsichord in G major, K 125/L 487 by Domenico Scarlatti
Performer:  Emil Gilels (Piano)
Period: Baroque 
Written: 18th Century 
Date of Recording: 04/22/1957 
Venue:  Live  Memorial Hall, London, England 
12.
Sonata for Harpsichord in C sharp minor, K 247/L 256 by Domenico Scarlatti
Performer:  Emil Gilels (Piano)
Period: Baroque 
Written: 18th Century 
Date of Recording: 04/22/1957 
Venue:  Live  Memorial Hall, London, England 
13.
Sonata for Harpsichord in A major, K 533/L 395 by Domenico Scarlatti
Performer:  Emil Gilels (Piano)
Period: Baroque 
Written: 18th Century 
Date of Recording: 04/22/1957 
Venue:  Live  Memorial Hall, London, England 
14.
Missa solemnis in D major, Op. 123 by Ludwig van Beethoven
Performer:  Nicola Moscona (Bass), Kerstin Thorborg (Alto), Zinka Milanov (Soprano),
Koloman von Pataky (Tenor)
Conductor:  Arturo Toscanini
Orchestra/Ensemble:  BBC Symphony Orchestra,  BBC Symphony Chorus
Period: Classical 
Written: 1823; Vienna, Austria 
Date of Recording: 05/28/1939 
Venue:  Live  Queen's Hall, London, England 
Length: 80 Minutes 5 Secs. 
Language: Latin 
15.
Concerto for Piano no 1 in E flat major, S 124 by Franz Liszt
Performer:  Sviatoslav Richter (Piano)
Conductor:  Kiril Kondrashin
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1849/1856; Weimar, Germany 
Date of Recording: 07/18/1961 
Venue:  Live  Royal Albert Hall, London, England 
Length: 18 Minutes 4 Secs. 
16.
Concerto for Piano no 2 in A major, S 125 by Franz Liszt
Performer:  Sviatoslav Richter (Piano)
Conductor:  Kiril Kondrashin
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1839/1861; Weimar, Germany 
Date of Recording: 07/18/1961 
Venue:  Live  Royal Albert Hall, London, England 
Length: 20 Minutes 46 Secs. 
17.
Hungarian Fantasy for Piano and Orchestra, S 123 by Franz Liszt
Performer:  Sviatoslav Richter (Piano)
Conductor:  Kiril Kondrashin
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: ?1852; Weimar, Germany 
Date of Recording: 07/18/1961 
Venue:  Live  Royal Albert Hall, London, England 
Length: 14 Minutes 31 Secs. 
18.
Andante spianato et Grand polonaise brillante in E flat major, Op. 22 by Frédéric Chopin
Performer:  Sviatoslav Richter (Piano)
Conductor:  Kiril Kondrashin
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1830-1831; Vienna, Austria 
Date of Recording: 07/16/1961 
Venue:  Live  Royal Albert Hall, London, England 
Length: 14 Minutes 5 Secs. 
19.
Mazurkas (4) for Piano, B 89/Op. 24 by Frédéric Chopin
Performer:  Sviatoslav Richter (Piano)
Period: Romantic 
Written: 1834-1835; Paris, France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 12 Minutes 9 Secs. 
20.
Ballade for Piano no 3 in A flat major, B 136/Op. 47 by Frédéric Chopin
Performer:  Sviatoslav Richter (Piano)
Period: Romantic 
Written: 1840-1841; Paris, France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 7 Minutes 18 Secs. 
21.
Scherzo for Piano no 4 in E major, B 148/Op. 54 by Frédéric Chopin
Performer:  Sviatoslav Richter (Piano)
Period: Romantic 
Written: 1842; Paris, France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 11 Minutes 3 Secs. 
22.
Barcarolle for Piano in F sharp major, B 158/Op. 60 by Frédéric Chopin
Performer:  Sviatoslav Richter (Piano)
Period: Romantic 
Written: 1845-1846; Paris, France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 6 Minutes 41 Secs. 
23.
Préludes, Book 1: no 1, Danseuses de Delphes by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1909; France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 3 Minutes 9 Secs. 
24.
Préludes, Book 1: no 2, Voiles by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1909-1910; France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 3 Minutes 36 Secs. 
25.
Préludes, Book 1: no 3, Le vent dans la plaine by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1909; France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 1 Minutes 55 Secs. 
26.
Préludes, Book 1: no 4, Les sons et les parfums tournent dans l'air du soir by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1910; France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 3 Minutes 53 Secs. 
27.
Préludes, Book 1: no 6, Des pas sur la neige by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1909; France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 3 Minutes 35 Secs. 
28.
Préludes, Book 1: no 9, La sérénade interrompue by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1910; France 
Date of Recording: 06/16/1967 
Venue:  Live  Maltings, Snape, Suffolk, England 
Length: 3 Minutes 11 Secs. 
29.
Préludes, Book 1: no 5, Les collines d'Anacapri by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1909; France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 2 Minutes 48 Secs. 
30.
Préludes, Book 1: no 11, La danse de Puck by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1910; France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 2 Minutes 15 Secs. 
31.
Préludes, Book 1: no 7, Ce qu'a vu le vent d'ouest by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1910; France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 2 Minutes 50 Secs. 
32.
Préludes, Book 1: no 10, La cathédrale engloutie by Claude Debussy
Performer:  Sviatoslav Richter (Piano)
Period: 20th Century 
Written: 1910; France 
Date of Recording: 07/10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 7 Minutes 26 Secs. 
33.
Etudes (12) for Piano, Op. 10: no 1 in C major by Frédéric Chopin
Performer:  Sviatoslav Richter (Piano)
Period: Romantic 
Written: 1830; Poland 
Date of Recording: 01/27/1963 
Venue:  Live  Royal Festival Hall, London, England 
Length: 2 Minutes 1 Secs. 
34.
Etudes (12) for Piano, Op. 10: no 4 in C sharp minor, B 74 by Frédéric Chopin
Performer:  Sviatoslav Richter (Piano)
Period: Romantic 
Written: 1832; Poland 
Date of Recording: 01/27/1963 
Venue:  Live  Royal Festival Hall, London, England 
Length: 1 Minutes 54 Secs. 
35.
Etudes (12) for Piano, Op. 10: no 6 in E flat minor by Frédéric Chopin
Performer:  Sviatoslav Richter (Piano)
Period: Romantic 
Written: 1830; Poland 
Date of Recording: 01/27/1963 
Venue:  Live  Royal Festival Hall, London, England 
Length: 3 Minutes 17 Secs. 
36.
Symphony no 6 in B minor, Op. 74 "Pathétique" by Peter Ilyich Tchaikovsky
Conductor:  Carlo Maria Giulini
Orchestra/Ensemble:  Philharmonia Orchestra
Period: Romantic 
Written: 1893; Russia 
Date of Recording: 09/07/1961 
Venue:  Live  Usher Hall, Edinburgh, Scotland 
Length: 44 Minutes 36 Secs. 
37.
Pictures at an Exhibition for Orchestra (orchestrated by Ravel) by Modest Mussorgsky
Conductor:  Carlo Maria Giulini
Orchestra/Ensemble:  Philharmonia Orchestra
Period: 20th Century 
Written: 1874/1922; Russia 
Date of Recording: 09/07/1961 
Venue:  Live Usher Hall, Edinburgh, Scotland 
Length: 31 Minutes 4 Secs. 
38.
Concerto for Cello in A minor, Op. 129 by Robert Schumann
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Benjamin Britten
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1850; Germany 
Date of Recording: 07/06/1961 
Venue:  Live  St. Bartholomew's Church, Orford, UK 
39.
Concerto for Cello no 1 in E flat major, Op. 107 by Dmitri Shostakovich
Performer:  Mstislav Rostropovich (Cello)
Conductor:  Gennadi Rozhdestvensky
Orchestra/Ensemble:  Leningrad Philharmonic Orchestra
Period: 20th Century 
Written: 1959; USSR 
Date of Recording: 09/09/1961 
Venue:  Live  Usher Hall, Edinburgh, Scotland 
Length: 27 Minutes 35 Secs. 
40.
Trio for Piano, Flute and Cello in D major, H 15 no 16 by Franz Joseph Haydn
Performer:  Mstislav Rostropovich (Cello), Leonid Kogan (Violin), Emil Gilels (Piano)
Period: Classical 
Written: 1790; Eszterhazá, Hungary 
Date of Recording: 02/28/1959 
Venue:  B.B.C. Studios, London, England 
Length: 15 Minutes 58 Secs. 
41.
Quintet for Horn, Violin, 2 Violas and Cello in E flat major, K 407 (386c) by Wolfgang Amadeus Mozart
Performer:  Dennis Brain (French Horn)
Orchestra/Ensemble:  English String Quartet
Period: Classical 
Written: 1782; Vienna, Austria 
Date of Recording: 02/18/1957 
Venue:  Live  BBC Studios, London, England 
Length: 12 Minutes 56 Secs. 
42.
Trio for Horn, Violin and Piano in E flat major, Op. 40 by Johannes Brahms
Performer:  Dennis Brain (French Horn), Max Salpeter (Violin), Cyril Preedy (Piano)
Period: Romantic 
Written: 1865; Austria 
Date of Recording: 02/18/1957 
Venue:  Live  BBC Studios, London, England 
Length: 29 Minutes 8 Secs. 
43.
Quartet for Piano and Strings in E flat major, Op. 16 by Ludwig van Beethoven
Performer:  Dennis Brain (French Horn)
Orchestra/Ensemble:  Dennis Brain Ensemble
Period: Classical 
Written: 1796; Vienna, Austria 
Date of Recording: 08/24/1957 
Venue:  Live  Usher Hall, Edinburgh, Scotland 
Length: 22 Minutes 38 Secs. 
44.
Villanelle for Horn and Piano by Paul Dukas
Performer:  Wilfrid Parry (Piano), Dennis Brain (French Horn)
Period: Romantic 
Written: 1911; France 
Date of Recording: 08/24/1957 
Venue:  Live  Usher Hall, Edinburgh, Scotland 
Length: 5 Minutes 32 Secs. 
45.
Vielles danses françaises (5): no 5, Le Basque by Marin Marais
Performer:  Wilfrid Parry (Piano), Dennis Brain (French Horn)
Period: Baroque 
Written: Paris, France 
Date of Recording: 08/24/1957 
Venue:  Live  Usher Hall, Edinburgh, Scotland 
Length: 1 Minutes 16 Secs. 
46.
Francesca da Rimini, Op. 32 by Peter Ilyich Tchaikovsky
Conductor:  Igor Markevitch
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1876; Russia 
Date of Recording: 1962 
Venue:  Live  Edinburgh Festival, Scotland 
47.
The magpie by Modest Mussorgsky
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Igor Markevitch
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1867; Russia 
Date of Recording: 1962 
Venue:  Live  Edinburgh Festival, Scotland 
Language: Russian 
48.
Night by Modest Mussorgsky
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Igor Markevitch
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1864/1868; Russia 
Date of Recording: 1962 
Venue:  Live  Edinburgh Festival, Scotland 
Language: Russian 
49.
Where art thou, little star? by Modest Mussorgsky
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Igor Markevitch
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1857/1858; Russia 
Date of Recording: 1962 
Venue:  Live  Edinburgh Festival, Scotland 
Language: Russian 
50.
The ragamuffin by Modest Mussorgsky
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Igor Markevitch
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1867; Russia 
Date of Recording: 1962 
Venue:  Live  Edinburgh Festival, Scotland 
Language: Russian 
51.
On the Dnieper by Modest Mussorgsky
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Igor Markevitch
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1866/1879; Russia 
Date of Recording: 1962 
Venue:  Live  Edinburgh Festival, Scotland 
Language: Russian 
52.
Le sacre du printemps by Igor Stravinsky
Conductor:  Igor Markevitch
Orchestra/Ensemble:  London Symphony Orchestra
Period: 20th Century 
Written: 1911-1913 
Date of Recording: 1962 
Venue:  Live  Edinburgh Festival, Scotland 
53.
Songs and dances of death: no 1, Lullaby by Modest Mussorgsky
Performer:  Galina Vishnevskaya (Soprano)
Conductor:  Igor Markevitch
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1875; Russia 
Date of Recording: 1962 
Venue:  Live  Edinburgh Festival, Scotland 
Language: Russian 
54.
Die junge Nonne, D 828/Op. 43 no 1 by Franz Schubert
Performer:  Graham Johnson (Piano), Dame Janet Baker (Mezzo Soprano)
Period: Romantic 
Written: 1825; Vienna, Austria 
Date of Recording: 10/02/1977 
Venue:  Live  Snape Maltings, Aldeburgh, England 
Length: 5 Minutes 7 Secs. 
Language: German 
55.
Das Rosenband, D 280 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Graham Johnson (Piano)
Period: Romantic 
Written: 1815; Vienna, Austria 
Date of Recording: 10/02/1977 
Venue:  Live  Snape Maltings, Aldeburgh, England 
Length: 1 Minutes 52 Secs. 
Language: German 
56.
Auf dem See, D 543 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Graham Johnson (Piano)
Period: Romantic 
Written: 1817; Vienna, Austria 
Date of Recording: 10/02/1977 
Venue:  Live  Snape Maltings, Aldeburgh, England 
Length: 3 Minutes 40 Secs. 
Language: German 
57.
Blumenlied, D 431 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Graham Johnson (Piano)
Period: Romantic 
Written: 1816; Vienna, Austria 
Date of Recording: 10/02/1977 
Venue:  Live  Snape Maltings, Aldeburgh, England 
Length: 1 Minutes 43 Secs. 
Language: German 
58.
Der Gondelfahrer, D 808 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Graham Johnson (Piano)
Period: Romantic 
Written: 1824; Vienna, Austria 
Date of Recording: 10/02/1977 
Venue:  Live  Snape Maltings, Aldeburgh, England 
Length: 2 Minutes 37 Secs. 
Language: German 
59.
Die Götter Griechenlands, D 677 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Graham Johnson (Piano)
Period: Romantic 
Written: 1819; Vienna, Austria 
Date of Recording: 10/02/1977 
Venue:  Live  Snape Maltings, Aldeburgh, England 
Length: 4 Minutes 55 Secs. 
Language: German 
60.
Der Jüngling und der Tod, D 545 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Martin Isepp (Piano)
Period: Romantic 
Written: 1817; Vienna, Austria 
Date of Recording: 04/20/1970 
Venue:  Live  St. John's Church, Smith Square, London 
Length: 4 Minutes 51 Secs. 
Language: German 
61.
Schwestergruss, D 762 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Martin Isepp (Piano)
Period: Romantic 
Written: 1822; Vienna, Austria 
Date of Recording: 04/20/1970 
Venue:  Live  St. John's Church, Smith Square, London 
Length: 6 Minutes 17 Secs. 
Language: German 
62.
Amalia, D 195/Op. 173 no 1 by Franz Schubert
Performer:  Geoffrey Parsons (Piano), Dame Janet Baker (Mezzo Soprano)
Period: Romantic 
Written: 1815; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 3 Minutes 57 Secs. 
Language: German 
63.
Der Jüngling am Bache, D 30 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Geoffrey Parsons (Piano)
Period: Romantic 
Written: 1812; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 4 Minutes 1 Secs. 
Language: German 
64.
Entzückung an Laura, D 390 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Geoffrey Parsons (Piano)
Period: Romantic 
Written: 1816; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 3 Minutes 38 Secs. 
Language: German 
65.
Sehnsucht, D 636/Op. 39 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Geoffrey Parsons (Piano)
Period: Romantic 
Written: circa 1821; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 5 Minutes 2 Secs. 
Language: German 
66.
Der Sieg, D 805 by Franz Schubert
Performer:  Geoffrey Parsons (Piano), Dame Janet Baker (Mezzo Soprano)
Period: Romantic 
Written: 1824; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 4 Minutes 22 Secs. 
Language: German 
67.
Abendstern, D 806 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Geoffrey Parsons (Piano)
Period: Romantic 
Written: 1824; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 2 Minutes 29 Secs. 
Language: German 
68.
Atys, D 585 by Franz Schubert
Performer:  Geoffrey Parsons (Piano), Dame Janet Baker (Mezzo Soprano)
Period: Romantic 
Written: 1817; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 4 Minutes 48 Secs. 
Language: German 
69.
Augenlied, D 297 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Geoffrey Parsons (Piano)
Period: Romantic 
Written: ?1817; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 3 Minutes 13 Secs. 
Language: German 
70.
Memnon, D 541/Op. 6 no 1 by Franz Schubert
Performer:  Geoffrey Parsons (Piano), Dame Janet Baker (Mezzo Soprano)
Period: Romantic 
Written: 1817; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 5 Minutes 41 Secs. 
Language: German 
71.
Auflösung, D 807 by Franz Schubert
Performer:  Dame Janet Baker (Mezzo Soprano), Geoffrey Parsons (Piano)
Period: Romantic 
Written: 1824; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 2 Minutes 19 Secs. 
Language: German 
72.
Der Musensohn, D 764/Op. 92 no 1 by Franz Schubert
Performer:  Geoffrey Parsons (Piano), Dame Janet Baker (Mezzo Soprano)
Period: Romantic 
Written: 1822; Vienna, Austria 
Date of Recording: 09/01/1980 
Venue:  Live  Usher Hall, Edinburgh, England 
Length: 2 Minutes 17 Secs. 
Language: German 
73.
Sonata for Keyboard in F minor, H 17 no 6 by Franz Joseph Haydn
Performer:  Clifford Curzon (Piano)
Period: Classical 
Written: 1793; Vienna, Austria 
Date of Recording: 03/30/1961 
Venue:  Live  BBC Studios, London, England 
Length: 8 Minutes 57 Secs. 
74.
Impromptus (4) for Piano, D 899/Op. 90: no 2 in E flat major by Franz Schubert
Performer:  Clifford Curzon (Piano)
Period: Romantic 
Written: 1827; Vienna, Austria 
Date of Recording: 12/24/1961 
Venue:  Live  BBC Studios, London, England 
Length: 4 Minutes 5 Secs. 
75.
Petrarca Sonnets (3) for Piano, S 158: no 2, Sonetto 104 by Franz Liszt
Performer:  Clifford Curzon (Piano)
Period: Romantic 
Written: ?1839-46; Hungary 
Date of Recording: 09/05/1961 
Venue:  Live  Leith Town Hall, Edinburgh, Scotland 
Length: 6 Minutes 10 Secs. 
76.
Berceuse for Piano in D flat major, S 174 by Franz Liszt
Performer:  Clifford Curzon (Piano)
Period: Romantic 
Written: 1854; Weimar, Germany 
Date of Recording: 09/05/1961 
Venue:  Live  Leith Town Hall, Edinburgh, Scotland 
Length: 7 Minutes 41 Secs. 
77.
Valses oubliées (4) for Piano, S 215: no 1 in F sharp major by Franz Liszt
Performer:  Clifford Curzon (Piano)
Period: Romantic 
Written: 1881; Rome, Italy 
Date of Recording: 09/05/1961 
Venue:  Live  Leith Town Hall, Edinburgh, Scotland 
Length: 2 Minutes 54 Secs. 
78.
Sonata for Piano in B minor, S 178 by Franz Liszt
Performer:  Clifford Curzon (Piano)
Period: Romantic 
Written: 1852-1853; Weimar, Germany 
Date of Recording: 09/05/1961 
Venue:  Live  Leith Town Hall, Edinburgh, Scotland 
Length: 25 Minutes 23 Secs. 
79.
Impromptus (4) for Piano, D 899/Op. 90: no 3 in G flat major by Franz Schubert
Performer:  Clifford Curzon (Piano)
Period: Romantic 
Written: 1827; Vienna, Austria 
Date of Recording: 12/24/1961 
Venue:  Live  BBC Studios, London, England 
Length: 4 Minutes 50 Secs. 
80.
Impromptus (4) for Piano, D 899/Op. 90: no 4 in A flat major by Franz Schubert
Performer:  Clifford Curzon (Piano)
Period: Romantic 
Written: 1827; Vienna, Austria 
Date of Recording: 12/24/1961 
Venue:  Live  BBC Studios, London, England 
Length: 6 Minutes 46 Secs. 
81.
Concerto for Violin in D major, Op. 35 by Peter Ilyich Tchaikovsky
Performer:  David Oistrakh (Violin)
Conductor:  Norman Del Mar
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: Romantic 
Written: 1878; Russia 
Date of Recording: 01/19/1960 
Venue:  Live  Royal Albert Hall, London, England 
Length: 35 Minutes 40 Secs. 
82.
Concerto for Violin in D major, Op. 77 by Johannes Brahms
Performer:  David Oistrakh (Violin)
Conductor:  Sir Malcolm Sargent
Orchestra/Ensemble:  London Philharmonic Orchestra
Period: Romantic 
Written: 1878; Austria 
Date of Recording: 02/26/1961 
Venue:  Live  Royal Albert Hall, London, England 
Length: 38 Minutes 17 Secs. 
83.
Concerto for Piano no 2 in F minor, B 43/Op. 21 by Frédéric Chopin
Performer:  Artur Rubinstein (Piano)
Conductor:  Carlo Maria Giulini
Orchestra/Ensemble:  Philharmonia Orchestra
Period: Romantic 
Written: 1829-1830; Poland 
Date of Recording: 05/16/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 28 Minutes 54 Secs. 
84.
Ballade for Piano no 1 in G minor, B 66/Op. 23 by Frédéric Chopin
Performer:  Artur Rubinstein (Piano)
Period: Romantic 
Written: 1831-1835 
Date of Recording: 10/06/1959 
Venue:  Live  Broadcasting House, London, England 
Length: 9 Minutes 1 Secs. 
85.
Mazurkas (3) for Piano, B 153/Op. 56: no 3 in C minor by Frédéric Chopin
Performer:  Artur Rubinstein (Piano)
Period: Romantic 
Written: 1843; Paris, France 
Date of Recording: 10/06/1959 
Venue:  Live  Broadcasting House, London, England 
Length: 5 Minutes 34 Secs. 
86.
Etudes (12) for Piano, Op. 10: no 6 in E flat minor by Frédéric Chopin
Performer:  Artur Rubinstein (Piano)
Period: Romantic 
Written: 1830; Poland 
Date of Recording: 10/06/1959 
Venue:  Live  Broadcasting House, London, England 
Length: 3 Minutes 24 Secs. 
87.
Scherzo for Piano no 4 in E major, B 148/Op. 54 by Frédéric Chopin
Performer:  Artur Rubinstein (Piano)
Period: Romantic 
Written: 1842; Paris, France 
Date of Recording: 10/06/1959 
Venue:  Live  Broadcasting House, London, England 
Length: 11 Minutes 20 Secs. 
88.
Andante spianato et Grand polonaise brillante in E flat major, Op. 22 by Frédéric Chopin
Performer:  Artur Rubinstein (Piano)
Period: Romantic 
Written: 1830-1831; Vienna, Austria 
Date of Recording: 10/06/1959 
Venue:  Live  Broadcasting House, London, England 
Length: 14 Minutes 14 Secs. 
89.
Etudes (12) for Piano, Op. 10: no 8 in F major by Frédéric Chopin
Performer:  Artur Rubinstein (Piano)
Period: Romantic 
Written: 1829; Poland 
Date of Recording: 10/06/1959 
Venue:  Live  Broadcasting House, London, England 
Length: 2 Minutes 15 Secs. 
90.
Etudes (12) for Piano, Op. 10: no 9 in F minor by Frédéric Chopin
Performer:  Artur Rubinstein (Piano)
Period: Romantic 
Written: 1829; Poland 
Date of Recording: 10/06/1959 
Venue:  Live  Broadcasting House, London, England 
Length: 2 Minutes 35 Secs. 
91.
Siegfried Idyll by Richard Wagner
Conductor:  Pierre Monteux
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: Romantic 
Written: 1870; Germany 
Date of Recording: 11/18/1960 
Venue:  Live  BBC Studios, London, England 
Length: 16 Minutes 7 Secs. 
92.
Images for Orchestra: no 2, Ibéria by Claude Debussy
Conductor:  Pierre Monteux
Orchestra/Ensemble:  BBC Symphony Orchestra
Period: 20th Century 
Written: 1905-1908; France 
Date of Recording: 10/18/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 18 Minutes 32 Secs. 
93.
Anacréon: Overture by Luigi Cherubini
Conductor:  Pierre Monteux
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: Classical 
Written: 1803; France 
Date of Recording: 01/25/1960 
94.
La damnation de Faust, Op. 24: Rákóczy March by Hector Berlioz
Conductor:  Pierre Monteux
Orchestra/Ensemble:  BBC Northern Symphony
Period: Romantic 
Written: 1845-1846; France 
Date of Recording: 12/15/1961 
95.
Symphony no 4 in D minor, Op. 120 by Robert Schumann
Conductor:  Pierre Monteux
Orchestra/Ensemble:  BBC Symphony Orchestra
Period: Romantic 
Written: 1851; Germany 
Date of Recording: 10/1961 
Venue:  Live  Royal Festival Hall, London, England 
Length: 27 Minutes 24 Secs. 
96.
Divertimento for Flute, Oboe, Bassoon, 4 Horns and Strings no 2 in D major, K 131 by Wolfgang Amadeus Mozart
Conductor:  Sir Thomas Beecham
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: Classical 
Written: 1772; Salzburg, Austria 
97.
L'enfant prodigue: Cortčge et Air de danse by Claude Debussy
Conductor:  Sir Thomas Beecham
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: 20th Century 
Written: 1884/1908; France 
98.
Le rouet d'Omphale, Op. 31 by Camille Saint-Saëns
Conductor:  Sir Thomas Beecham
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: Romantic 
Written: 1872; France 
99.
Les troyens: Royal hunt and storm by Hector Berlioz
Conductor:  Sir Thomas Beecham
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: Romantic 
Written: 1856-1858; France 
100.
La Vierge: Dernier sommeil de la Vierge by Jules Massenet
Conductor:  Sir Thomas Beecham
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: Romantic 
Written: 1880; France 
101.
Brigg Fair - An English Rhapsody by Frederick Delius
Conductor:  Sir Thomas Beecham
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: 20th Century 
Written: 1907; France 
102.
Gwendoline: Overture by Emmanuel Chabrier
Conductor:  Sir Thomas Beecham
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: Romantic 
Written: 1885; France 
103.
Espańa by Emmanuel Chabrier
Conductor:  Sir Thomas Beecham
Orchestra/Ensemble:  Royal Philharmonic Orchestra
Period: Romantic 
Written: 1883; France 
104.
Sonata for Piano in E minor, D 566 by Franz Schubert
Performer:  Wilhelm Kempff (Piano)
Period: Romantic 
Written: 1817; Vienna, Austria 
Date of Recording: 09/17/1972 
Venue:  Live  Queen Elizabeth Hall, London, England 
105.
Impromptus (4) for Piano, D 935/Op. 142: no 2 in A flat major by Franz Schubert
Performer:  Wilhelm Kempff (Piano)
Period: Romantic 
Written: 1827; Vienna, Austria 
Date of Recording: 09/17/1972 
Venue:  Live  Queen Elizabeth Hall, London, England 
106.
Sonata for Piano no 2 in G minor, Op. 22 by Robert Schumann
Performer:  Wilhelm Kempff (Piano)
Period: Romantic 
Written: 1833-1838; Germany 
Date of Recording: 09/17/1972 
Venue:  Live  Queen Elizabeth Hall, London, England 
107.
Ballades (4) for Piano, Op. 10 by Johannes Brahms
Performer:  Wilhelm Kempff (Piano)
Period: Romantic 
Written: 1854; Germany 
Date of Recording: 09/17/1972 
Venue:  Live  Queen Elizabeth Hall, London, England 
108.
Pieces (6) for Piano, Op. 118: no 5, Romance in F major by Johannes Brahms
Performer:  Wilhelm Kempff (Piano)
Period: Romantic 
Written: 1892; Austria 
Date of Recording: 11/03/1969 
Venue:  Live  Queen Elizabeth Hall, London, England 
109.
Pieces (6) for Piano, Op. 118: no 6, Intermezzo in E flat minor by Johannes Brahms
Performer:  Wilhelm Kempff (Piano)
Period: Romantic 
Written: 1892; Austria 
Date of Recording: 11/03/1969 
Venue:  Live  Queen Elizabeth Hall, London, England 
110.
Pieces (8) for Piano, Op. 76: no 4, Intermezzo in B flat major by Johannes Brahms
Performer:  Wilhelm Kempff (Piano)
Period: Romantic 
Written: 1878; Austria 
Date of Recording: 11/03/1969 
Venue:  Live  Queen Elizabeth Hall, London, England 
111.
Sonata for Piano no 32 in C minor, Op. 111 by Ludwig van Beethoven
Performer:  Arturo Benedetti Michelangeli (Piano)
Period: Classical 
Written: 1821-1822; Vienna, Austria 
Date of Recording: 05/12/1961 
Venue:  Live  BBC Studios, Maida Vale, London, UK 
Length: 25 Minutes 14 Secs. 
112.
Sonata for Harpsichord in D minor, K 11/L 352 by Domenico Scarlatti
Performer:  Arturo Benedetti Michelangeli (Piano)
Period: Baroque 
Date of Recording: 05/12/1961 
Venue:  Live  BBC Studios, Maida Vale, London, UK 
Length: 2 Minutes 51 Secs. 
113.
Sonata for Harpsichord in B flat major, K 332/L 141 by Domenico Scarlatti
Performer:  Arturo Benedetti Michelangeli (Piano)
Period: Baroque 
Written: 18th Century 
Date of Recording: 05/12/1961 
Venue:  Live  BBC Studios, Maida Vale, London, UK 
Length: 2 Minutes 13 Secs. 
114.
Sonata for Harpsichord in B flat major, K 172/L S40 by Domenico Scarlatti
Performer:  Arturo Benedetti Michelangeli (Piano)
Period: Baroque 
Written: 18th Century 
Date of Recording: 05/12/1961 
Venue:  Live  BBC Studios, Maida Vale, London, UK 
Length: 4 Minutes 14 Secs. 
115.
Sonata for Piano in B flat major, Op. 12 no 1 by Muzio Clementi
Performer:  Arturo Benedetti Michelangeli (Piano)
Period: Classical 
Date of Recording: 06/30/1959 
Venue:  Live  BBC Studios, Maida Vale, London, UK 
Length: 17 Minutes 13 Secs. 
116.
Sonata for Piano no 2 in B flat minor, B 128/Op. 35 "Funeral March" by Frédéric Chopin
Performer:  Arturo Benedetti Michelangeli (Piano)
Period: Romantic 
Written: 1837-1839; Paris, France 
Date of Recording: 06/30/1959 
Venue:  Live  BBC Studios, Maida Vale, London, UK 
Length: 26 Minutes 6 Secs. 
117.
Sonata for Keyboard in F minor, H 17 no 6 by Franz Joseph Haydn
Performer:  Annie Fischer (Piano)
Period: Classical 
Written: 1793; Vienna, Austria 
Date of Recording: 11/02/1958 
Venue:  Live  BBC Studios, London, England 
118.
Sonata for Piano no 14 in C sharp minor, Op. 27 no 2 "Moonlight" by Ludwig van Beethoven
Performer:  Annie Fischer (Piano)
Period: Classical 
Written: 1801; Vienna, Austria 
Date of Recording: 11/02/1958 
Venue:  Live  BBC Studios, London, England 
119.
Scherzo for Piano no 3 in C sharp minor, B 125/Op. 39 by Frédéric Chopin
Performer:  Annie Fischer (Piano)
Period: Romantic 
Written: 1839; Mallorca (Majorca),  
Date of Recording: 11/02/1958 
Venue:  Live  BBC Studios, London, England 
120.
Variations (32) for Piano in C minor on an Original Theme, WoO 80 by Ludwig van Beethoven
Performer:  Annie Fischer (Piano)
Period: Classical 
Written: 1806; Vienna, Austria 
Date of Recording: 05/19/1963 
Venue:  Live  BBC Studios, London, England 
121.
Dances of Marosszék by Zoltán Kodály
Performer:  Annie Fischer (Piano)
Period: 20th Century 
Written: 1927; Hungary 
Date of Recording: 05/19/1963 
Venue:  Live  BBC Studios, London, England 
122.
Sonata for Piano no 14 in C minor, K 457 by Wolfgang Amadeus Mozart
Performer:  Annie Fischer (Piano)
Period: Classical 
Written: 1784; Vienna, Austria 
Date of Recording: 02/24/1971 
Venue:  Live  BBC Studios, London, England 
123.
Symphony no 4 in C minor, Op. 43 by Dmitri Shostakovich
Conductor:  Gennadi Rozhdestvensky
Orchestra/Ensemble:  Philharmonia Orchestra
Period: 20th Century 
Written: 1935-1936; USSR 
124.
Katerina Izmaylova: Suite, Op. 114a by Dmitri Shostakovich
Conductor:  Gennadi Rozhdestvensky
Orchestra/Ensemble:  Philharmonia Orchestra
Period: 20th Century 
Written: 1956; USSR 

Sound Samples

Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part I, Veni, creator spiritus: Veni, creator spiritus -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part I, Veni, creator spiritus: Imple superna gratia -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part I, Veni, creator spiritus: Infirma nostri corporis -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part I, Veni, creator spiritus: Tempo I: Allegro, etwas hastig -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part I, Veni, creator spiritus: Infirma nostri corporis -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part I, Veni, creator spiritus: Accende lumen sensibus -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part I, Veni, creator spiritus: Qui Paraclitus diceris -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part I, Veni, creator spiritus: Gloria sit Patri Domino
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Poco adagio -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Waldung, sie schwankt heran -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Ewiger Wonnebrand -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Wie Felsenabgrund mir zu Fussen -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Gerettet ist das edle Glied - Hande verschlinget euch -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Jene Rosen, aus den Handen -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Uns bleibt ein Erdenrest -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Ich spur' soeben nebeind um Felsenhoh' - Hier ist die Aussicht frei - Freudig empfangen wir -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Ausserst langsam - Adagissimo
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Bei der Liebe, die den Fussen -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Er uberwachst uns schon - Vom edlen Geisterchor umgeben -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Blicket auf zum Retterblick, alle reuig Zarten -
Symphony No. 8 in E-Flat Major, "Symphony of a Thousand": Part II, Final Scene from Faust: Alles Vergangliche ist nur ein Gleichnis
Symphony No. 8 in C Minor, Op. 65: I. Adagio - Allegro non troppo
Symphony No. 8 in C Minor, Op. 65: II. Allegretto
Symphony No. 8 in C Minor, Op. 65: III. Allegro non troppo
Symphony No. 8 in C Minor, Op. 65: IV. Largo
Symphony No. 8 in C Minor, Op. 65: V. Allegretto

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