"Neeme Järvi was one of the busiest stars on the international conducting scene. (…) From the early '60s, Järvi took a leading role in the musical life of his homeland. In 1963 he assumed the directorship of the Estonian Radio & Television Orchestra, his first important post. He also founded the Tallinn Chamber Orchestra, and for 13 years was the chief conductor of Opera House Estonia in Tallinn. From 1976 to 1980 he was chief conductor and artistic director of the Estonian State Symphony Orchestra, then in its infancy. By the late 1970s his fame had spread throughout the Soviet Union and Eastern Europe, and he received favorable notices for his appearances in the West…
A major release at the start of Britten’s anniversary celebrations. Britten’s long friendship with cellist Mstislav Rostropovich was one of the most inspiring and fruitful musical collaborations in history. It led directly to the composition of some of the most important works for cello of the twentieth century.
Shostakovich jazz music? Taken at face value, this CD is nothing of the sort. Shostakovich's lively and endearing forays into the popular music of his time were just that, and light years away from the work of real jazz masters such as, say Jelly Roll Morton or Duke Ellington And yet they do say something significant about Shostakovich's experience of jazz, as a comparison of these colourful, Chaplinesque Jazz Suite Suites with roughly contemporaneous music by Gershwin Milhaud, Martinu MartinJ, Roussel and others will prove.
Internationally recognized as one of the most talented conductors of his generation, Yuri Temirkanov has been the Music Director and Chief Conductor of the St. Petersburg Philharmonic Orchestra since 1988.
It's probably unfair to compare Sergey Khachatryan's 2006 recording of Shostakovich's violin concertos accompanied by Kurt Masur leading the Orchestre National de France with David Oistrakh's classic recordings of the works: the 1956 Mitropoulos/New York Philharmonic First and the 1967 Kondrashin/ Moscow Philharmonic Second.
Natalie Clein, whose previous recording of the music of Ernest Bloch was described as ‘inspired’ by The Sunday Times, turns to his three suites for solo cello as part of a recital of works written in the aftermath of the Second World War. The sombre voice of the cello seems especially apposite in music of such deep seriousness, Ligeti’s short sonata providing an energetic and life-affirming finale.