Carlo Maria Giulini A Profile

Record and Artist Details

Composer or Director: Johannes Brahms, Edouard(-Victoire-Antoine) Lalo, Ludwig van Beethoven, Constantin Silvestri, Pyotr Ilyich Tchaikovsky

Label: Profile

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Catalogue Number: 767732-2

Tracks:

Composition Artist Credit
Concerto for Violin and Orchestra Kyrill Kondrashin
Leonid Kogan
Philharmonia Orchestra
Johannes Brahms Composer
Symphonie espagnole Leonid Kogan
Edouard(-Victoire-Antoine) Lalo Composer
Philharmonia Orchestra
Kyrill Kondrashin
Concerto for Violin and Orchestra Paris Conservatoire Orchestra
Ludwig van Beethoven Composer
Leonid Kogan
Constantin Silvestri Composer
Sérénade mélancolique Pyotr Ilyich Tchaikovsky Composer
Leonid Kogan
Kyrill Kondrashin
Philharmonia Orchestra
Concerto for Violin and Orchestra Paris Conservatoire Orchestra
Pyotr Ilyich Tchaikovsky Composer
Leonid Kogan
Constantin Silvestri Composer

Composer or Director: César Franck, Benjamin Britten, Robert Schumann, Maurice Ravel, Pyotr Ilyich Tchaikovsky

Label: Profile

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Catalogue Number: 767723-2

Tracks:

Composition Artist Credit
Psyché Philharmonia Orchestra
Carlo Maria Giulini
César Franck Composer
(The) Young Person's Guide to the Orchestra Philharmonia Orchestra
Carlo Maria Giulini
Benjamin Britten Composer
Manfred Carlo Maria Giulini
Robert Schumann Composer
Philharmonia Orchestra
Symphony César Franck Composer
Philharmonia Orchestra
Carlo Maria Giulini
(4) Sea Interludes Benjamin Britten Composer
Philharmonia Orchestra
Carlo Maria Giulini
Alborada del gracioso Philharmonia Orchestra
Carlo Maria Giulini
Maurice Ravel Composer
Symphony No. 2, 'Little Russian' Carlo Maria Giulini
Pyotr Ilyich Tchaikovsky Composer
Philharmonia Orchestra
Daphnis et Chloé Suites Carlo Maria Giulini
Philharmonia Orchestra
Maurice Ravel Composer

Composer or Director: Ludwig van Beethoven, Edvard Grieg, Robert Schumann

Label: Profile

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Catalogue Number: 767735-2

Tracks:

Composition Artist Credit
Sonata for Piano No. 27 Ludwig van Beethoven Composer
Solomon
Concerto for Piano and Orchestra Herbert Menges
Philharmonia Orchestra
Edvard Grieg Composer
Solomon
Concerto for Piano and Orchestra No. 1 Philharmonia Orchestra
Ludwig van Beethoven Composer
Herbert Menges
Solomon
Concerto for Piano and Orchestra No. 3 Solomon
Ludwig van Beethoven Composer
Herbert Menges
Philharmonia Orchestra
Concerto for Piano and Orchestra Herbert Menges
Solomon
Robert Schumann Composer
Philharmonia Orchestra

Composer or Director: Nikolay Rimsky-Korsakov, Gustav Mahler, Franz Schubert, Jean Sibelius, Pyotr Ilyich Tchaikovsky, Mikhail Ivanovich Glinka

Label: Profile

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Catalogue Number: 767726-2

Tracks:

Composition Artist Credit
(The) Tale of Tsar Saltan Nikolay Rimsky-Korsakov Composer
Philharmonia Orchestra
Paul Kletzki
Symphony No. 4 Emmy Loose
Gustav Mahler Composer
Paul Kletzki
Philharmonia Orchestra
Rosamunde, Fürstin von Zypern Franz Schubert Composer
Royal Philharmonic Orchestra
Paul Kletzki
Symphony No. 2 Jean Sibelius Composer
Paul Kletzki
Philharmonia Orchestra
Symphony No. 5 Paul Kletzki
Philharmonia Orchestra
Gustav Mahler Composer
(The) Tale of Tsar Saltan Philharmonia Orchestra
Paul Kletzki
Nikolay Rimsky-Korsakov Composer
Andante cantabile Philharmonia Orchestra
Paul Kletzki
Pyotr Ilyich Tchaikovsky Composer
(The) Tale of Tsar Saltan Philharmonia Orchestra
Paul Kletzki
Nikolay Rimsky-Korsakov Composer
Jota aragonesa Mikhail Ivanovich Glinka Composer
Paul Kletzki
Philharmonia Orchestra

Composer or Director: Nikolay Rimsky-Korsakov, Dmitry Borisovich Kabalevsky, Anatole Konstantinovich Liadov (Lyadov), Mikhail Ivanovich Glinka, Aram Il'yich Khachaturian, Sergey Prokofiev, Dmitri Shostakovich

Label: Profile

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Catalogue Number: 767729-2

Tracks:

Composition Artist Credit
Snow Maiden (second version) Philharmonia Orchestra
Efrem Kurtz
Nikolay Rimsky-Korsakov Composer
Snow Maiden (second version) Nikolay Rimsky-Korsakov Composer
Philharmonia Orchestra
Efrem Kurtz
(The) Comedians Dmitry Borisovich Kabalevsky Composer
Efrem Kurtz
Philharmonia Orchestra
Snow Maiden (second version) Efrem Kurtz
Nikolay Rimsky-Korsakov Composer
Philharmonia Orchestra
Baba-Yaga Efrem Kurtz
Anatole Konstantinovich Liadov (Lyadov) Composer
Royal Philharmonic Orchestra
Dubinushka Efrem Kurtz
Philharmonia Orchestra
Nikolay Rimsky-Korsakov Composer
(A) Life for the Tsar, 'Ivan Susanin' Mikhail Ivanovich Glinka Composer
Philharmonia Orchestra
Efrem Kurtz
Kikimora Efrem Kurtz
Royal Philharmonic Orchestra
Anatole Konstantinovich Liadov (Lyadov) Composer
(A) Life for the Tsar, 'Ivan Susanin' Mikhail Ivanovich Glinka Composer
Philharmonia Orchestra
Efrem Kurtz
Masquerade Aram Il'yich Khachaturian Composer
Philharmonia Orchestra
Efrem Kurtz
(The) Enchanted Lake Royal Philharmonic Orchestra
Efrem Kurtz
Anatole Konstantinovich Liadov (Lyadov) Composer
Symphony No. 1, 'Classical' Sergey Prokofiev Composer
Philharmonia Orchestra
Efrem Kurtz
(The) Golden Cockerel Philharmonia Orchestra
Nikolay Rimsky-Korsakov Composer
Efrem Kurtz
Snow Maiden (second version) Philharmonia Orchestra
Efrem Kurtz
Nikolay Rimsky-Korsakov Composer
(A) Life for the Tsar, 'Ivan Susanin' Philharmonia Orchestra
Mikhail Ivanovich Glinka Composer
Efrem Kurtz
(The) Golden Cockerel Efrem Kurtz
Nikolay Rimsky-Korsakov Composer
Philharmonia Orchestra
(A) Musical snuff box Efrem Kurtz
Royal Philharmonic Orchestra
Anatole Konstantinovich Liadov (Lyadov) Composer
Masquerade Aram Il'yich Khachaturian Composer
Philharmonia Orchestra
Efrem Kurtz
Symphony No. 1 Philharmonia Orchestra
Efrem Kurtz
Dmitri Shostakovich Composer
(The) Golden Cockerel Efrem Kurtz
Philharmonia Orchestra
Nikolay Rimsky-Korsakov Composer
(The) Golden Cockerel Philharmonia Orchestra
Nikolay Rimsky-Korsakov Composer
Efrem Kurtz
(A) Life for the Tsar, 'Ivan Susanin' Efrem Kurtz
Mikhail Ivanovich Glinka Composer
Philharmonia Orchestra
Old friends from the 1950s and 1960s—some as bright as buttons, others grown pale in the light of fresher successors. EMI's Profile two-disc twofers suggest a whole new world of reissue potential: Kurtz, Silvestri, Kletzki, Kogan, Solomon, names and recordings that inhabit a fertile no man's land between 'new' and 'historical', but that fully warrant renovation and mid-price availability.
The Giulini collection is a rich trawl indeed and generates a brand or re-creative alchemy that neither orchestra nor conductor achieved separately. Bewitching, I'd say—the Alborada del gracioso, especially, finely tensed and colourful yet darkening perceptibly for the mysterious quieter sections. Like the Daphis Suite and Psyche the Alborada benefits from Giulini's control, his ability to draw warm, malleable lines and achieve a luminous tonal blend. The two symphonies have an old-world flexibility that's in marked contrast to some contemporary rivals: the Tchaikovsky is excitable yet frequently elegant (but be prepared for two small cuts in the finale), the Franck more lyrical than imposing. Best of all, perhaps, is a hugely atmospheric account of the Peter Grimes Sea Interludes, ''Wednesday Morning'' in particular having a Petrushka-style vividness. Only The Young Person's Guide seems occasionally a little over-refined, especially in the closing fugue.
Paul Kletzki was an unfussy interpreter, more an honest reporter than a magician. Like Klemperer and Kubelik, Kletzki was himself a composer and his best performances combine textural clarity with a guiding intuition. His Mahler Fourth remains highly competitive, a gentle, clear-headed affair that asserts itself only at the composer's command and has the distinct advantage of a superb soloist in the finale. The Fifth Symphony's Adagietto is earnestly expressive, the Tchaikovsky Andante cantabile, warm and confidential, while Glinka's Jota (played here minus its slow introduction), Schubert's Rosamunde Overture and Rimsky's Tsar Saltan Suite are alert, incisive and sympathetically phrased. The one relative disappointment is a restless Sibelius Second which, although not without its virtues (the second movement works up to some exciting climaxes), is too headstrong and untidy to withstand powerful mid-price competition.
The Efrem Kurtz miscellany is full of winning confections; in fact, only the two Masquerade items seemed to me less than exceptional. The Shostakovich and Prokofiev First Symphonies have an exploratory, fresh-minted quality that explains their longevity as an LP coupling, high-spots being Shostakovich's Allegro and Prokofiev's finale. Kurtz's Golden Cockerel Suite has something of Beecham's pictorial sense, something of Dorati's drive, while his Snow Maiden Suite and Dubinushka still sound pretty remarkable. Kabalevsky's circus-style, ten-piece Comedians Suite gets the outing of its life, but the best of the shorter works by far are the four Liadov pieces, exquisite miniatures all of them, and played here with the utmost poise, precision and sense of fantasy. These alone are worth the price of the entire set.
The prize of the Kogan collection is an uncommonly forthright Symphonie espagnole, all brilliance and intensity, and with a like-minded Philharmonia accompaniment under Kondrashin. Kogan's Brahms is strong and ardent, less personal perhaps than that of his great compatriot, David Oistrakh, but refreshingly direct. However, his relatively straitlaced Beethoven is somewhat hampered by Constantin Silvestri's over-attentive accompaniment (odd little hesitations and affectations and so on), and although the partnership works better in Tchaikovsky, there the recording oscillates between mono and stereo, a real distraction if you happen to be listening on headphones. Kogan's Serenade melancolique makes for a touching filler, but I can think of other recordings that serve Kogan's memory better—none of them, alas from the EMI stable.
Lastly, to Solomon, he whose interpretative humility is in itself profoundly humbling. How could anyone fail to appreciate such composure, control and innate good taste? For Beethoven's Third Concerto, Solomon chooses Clara Schumann's impressive first movement cadenza which he blends in to Beethoven's musical context with consummate expertise. Solomon's playing has the immaculate finish of a perfectly schooled technician, of a musician who habitually avoids excess and is unfailingly mindful of the composer's intentions. But these recordings were among his last, and although the Beethoven works are imbued with a noble classicism, the Grieg and Schumann concertos sound comparatively earthbound. However, they are—like everything else in this set—so beautifully executed, so considerately phrased that I register my preference for something a little more overtly demonstrative not as criticism, but for the sake of those who, like myself, prefer a rather more colourful brand of romantic pianism.
A fine series, then, very well remastered and prophetic, I hope, of even greater things to come. How about Silvestri's Tchaikovsky symphonies (maddening for some, inspiring for others), and 'profiles' of Moiseitwitsch, Kempe, Karajan, Kubelik, Furtwangler (so much of whose EMI material isn't domestically available), Cziffra David Oistrakh, Milstein (Bach unaccompanied works), Stokowski (Capitol recordings), etc? But as a packaging concept, a definite thumbs up!'

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