Nielsen Symphony No.1 & Saul and David Prelude to Act II

The LP from which this was taken must have been in good stead not to mention the careful processing by HDTT in which they take justifiable pride. The results are very satisfying. The respectable liner notes are uncredited but are printed in too small a font and inexplicably in olive green on a light olive ground. This renders reading very difficult indeed. However as music-making this is an empowered recording worth the attention of true Nielsen fans.

Rob Barnett

MusicWeb International

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Sergei ProkofievSymphony #5 in B-flat, Opus 100
Pyotr Ilyich Tchaikovsky Symphony No. 5 in E minor, Op. 64
THIS IS A 2-CD SET

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Rachmaninoff Symphony No. 1 and Tchaikovsky Romeo & Juliet Overture

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Rachmaninov Symphony No. 2

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Rachmaninov Symphony No.3

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Roussel: Suite in F Symphony No. 3 Symphony No. 4

"HDTT's "HQCD" edition, actually does sound a good deal more wide-open-spacious than the LP pressings I had treasured over the years. If there is a hint of dryness in the sound, it suits this music's angular character very well. Moreover, HDTT, with this issue, has not only given us a treasure that ought never to have been out of circulation, and in excellent sonics, but has made some real strides in the way of professionalism in its labeling and documentation"
Richard Freed/Ultra Audio.com

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Saint-Saens Symphony No. 3

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Schubert Symphony No. 8 and 3

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Schubert Symphony No. 2 and 8

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Schubert Symphony No. 9 in C major, and
Schumann Symphony No. 4 in D Minor

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Schumann Symphony No. 4 Boult
Waldscenen for piano

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Schumann Symphony No. 1 and Manfred Overture

"No mincing of energies for the rollicking Allegro animato e grazioso finale, an orchestral romp par excellence. A combination of moto perpetuo and trumpet voluntary, this whirlwind realization is a triumph of the spirit on every level. Even the transitional string work blisters the ear. Flute solo and arching song from the cellos, hints of Mendelssohn's own cosmos. Once Munch begins the extended coda, there's no stopping the musical avalanche. Wow! Three ripping chords and we savor the existential gloom of Byron's Manfred, recorded 1961. The urgent context of the execution is the same as that for the Spring Symphony. Pulverizing trumpet interjections, anguished string harmonies, a ferocious rush to judgment, a virtuoso performance of the highest order. That Munch could be one of the most exciting conductors of his generation has this disc as living witness. Though I am stingy with kudos for discs that last under 60 minutes, this HDTT goes on our Best of the Year list for certain!"
Gary Lemco/Audiophile Audition

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Sibelius Symphony #5
Karelia Suite
Swan of Tuonela

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Sibelius Symphony No. 2 and Tapiola

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Tchaikovsky Manfred Symphony in B minor, Op. 58

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Tchaikovsky Symphony No. 4 and Music from the Nutcracker

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Tchaikovsky Symphony No. 6 "Pathetique"

Tchaikovsky Symphony No. 6 - Otto Klemperer conducts Philharmonia Orchestra of London

Otto Klemperer (1885-1973) was one of the great conductors of the 20th Century, with a formidable reputation for austere, monumental, and transcendental performances of the great Germanic classics. In his inscription with producer Walter Legge's Philharmonia Orchestra --from an Angel EMI 4-track tape-- Klemperer finds a perfect vehicle for his own epic personality in Tchaikovsky's last symphony of 1893, the Pathetique, which compresses the composer's personal sense of tragedy into a statement alternately melancholic and fiercely militant.

The mark of the Philharmonia Orchestra--hand picked British musicians originally organized by Walter Legge and Sir Thomas Beecham for recordings, concert performances, and opera--remains the musical acumen of its individual members. The Philharmonia Orchestra helped resuscitate Herbert von Karajan's career, and its responsive players did no less (after 1954 until 197) for Otto Klemperer. The string and woodwind sound for the visceral Adagio. Allegro non troppo quite startles us from our musical complacency. The French horns at the coda provide a noble dirge for a powerfully driven movement. Klemperer's capacity for sweet resonance permeates the 5/4 Allegro con grazia, again with fulsome interior response from the Philharmonia woodwinds. The potent Allegro molto vivace may appear superficially defiant and liberating, but Klemperer finds subversive, tragic nuances even within the fortress of sound he builds from the Philharmonia's imposing brass and battery sections. From his own mentor Gustav Mahler, Klemperer held the last movement Adagio lamentoso in high regard --since Mahler modeled his own last symphony on its example --from the prominent bassoon part to the agonized series of hugely arched string sighs that soon hurtle through the orchestra. The effect proves overpowering, a rendition of Pathetique Herculean and unfalteringly sympathetic.

Great early EMI sonics

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Tchaikovsky Symphony No. 2
Liadov: 8 Russian Folk Songs

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Ralph Vaughan Williams/Symphony No 3 "Pastoral" and
Tuba Concerto

HDTT proudly announces its remastering of an already fine RCA recording from 1972 (LSC 3281) of the Vaughan Williams unjustly neglected Third Symphony (1922) coupled with the Tuba Concerto (1954), both performed by conductor Andre Previn and the London Symphony Orchestra, John Fletcher, tuba solo. Soprano
Heather Harper performs the lovely, wordless pentatonic recitative intoned over a soft drum roll in the last movement. Harper appears at the coda to lull the music into rapt silence.

The incredibly versatile musician and composer Andre Previn (b. 1929) came to America in 1939 as a result of Nazi anti-Semitism. Andre's great-uncle served as music director of Universal Studios. Andre Previn's avatars in music include his jazz-piano work and film scores through the 1960s; then, beginning in 1967, he succeeded Sir John Barbirolli as conductor in Houston. From 1968-1979 Previn led the London Symphony Orchestra. From 1976-1984, Previn served as music director of the Pittsburgh Symphony Orchestra. After having left Los Angeles in 1989, Previn returned to composition, particularly two operas, A Streetcar Named Desire (1998) and Brief Encounter (2009).

Conceived in 1922 as a valediction for the "honored dead" of WW I, the Vaughan Williams Third Symphony also wishes to extol the sounds of peace and a transcendent return to Nature. Composer Peter Warlock called the score "a truly splendid work. . .the best English orchestral music of this century." The shimmering, often incandescent performance by Previn and LSO achieves a luminous gloss that HDTT processing has only made more fervently intense and immediate. The Tuba Concerto bears a direct relationship to the LSO, having been conceived for its principal player, Philip Catalinet, who first recorded the work with Barbirolli. Now among the most popular vehicles for the instrument, the Concerto receives a conscientious, colorful, often witty inscription from Previn and solo John Fletcher, restored in vivid sonics for its thirteen minute duration.

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