Carl Rütti (b.1949) - Symphony ‘The Visions of Niklaus von Flüe’ for soprano solo, organ, percussion and string orchestra / Caspar Diethelm (1926-1997) - Passacaglia for string orchestra - A white Christmas rose in the snow on the small grave Op. 324 / Consolatio for string orchestra Op. 324a / Now the path completes the circle, 12 segments for string orchestra Op. 338
Maria C. Schmid, soprano / Martin Heini, Organ / Mario Schubiger, Percussion / the state philharmonic chamber orchestra of Novosibirsk - Rainer Held
Laurie Altman (b.1944) - J.B. Accordingly / Last Set Samba / A Tune for Miles Davis / Diva’s Prelude for Solo 13 String Guitar et. Al / Francesco Durante (1684-1755) - Danza, Danza / Anders Miolin (b.1961) - Azure Dream for Solo 13 String Guitar / et. al
Anders Miolin, 13 string guitar / Laurie Altman, piano
Camille Saint-Saëns (1835-1921) - Piano Trio No.1 in F major, Op.18 / Piano Trio No.2 in E minor, Op.92
Aquinas Piano Trio (Ruth Rogers, violin / Katherine Jenkinson, cello / Martin Cousin, piano)
Konzert für Pianoforte und Orchester (A-Dur, 1946) / Variationen für Streichorchester und Klavier über ein eigenes Thema (1944) / Divertimento für Klavier und Streicher (1954)
Tomáš Nemec, piano / Bratislava Symphony Orchestra - Adriano
Vincent d’Indy (1851-1931) - Trio in B-flat Major, Op.29 / Felix Mendelssohn-Bartholdy (1809-1847) - Konzertstück in F minor, Op.113 / John Alan Rose (b.1972) - Buson’s Ballet
Trio di Buson (John Alan Rose, Piano / Chungsun Kim, cello / Maryanne Lacaillem, clarinett
Antonio Pasculli (1842-1924) - Melody for cor anglais and fortepiano / Amelia’s Musings from ‘Un Ballo in Maschera / Fantasy II on a Theme from Verdi’s ‘Un Ballo in Maschera’ / Omaggio a Bellini / Carlo Yvon (1798-1854) - Sonata in F / Giovanni Daelli (1800?-1860) - Fantasy on a Theme from Verdi’s ‘Il Trovatore’ / Fantasy on a Theme from Verdi’s ‘Luisa Miller’
Martin Frutiger, cor anglais / Petya Mihneva, fortepiano / Sarah Verrue, harp
Othmar Schoeck (1886-1957) - Festlicher Hymnus Op. 64 for large orchestra / Overture to William Ratcliff Op.29 / Ernst Widmer (1927-1990) - Concerto for piano, percussion and orchestra Op. 160 / Adolf Brunner (1901-1992) - Partita for piano and orchestra
Royal Scottish National Orchestra - Rainer Held / Fali Pavri, piano / Simon Lowdon, Heather Corbett, John Poulter, Alan Stark, percussions / Martin Gibson, timpani
Symphony / Concertino for Oboe and Orchestra / Eight Chinese Songs
Bournemouth Symphony Orchestra - Marc Andreae / Benjamin Hulett, tenor / John Anderson, oboe
Beethoven - Piano Sonata No.17 in D minor, Op.31 No. 2 'The Tempest' /Franz Xaver Schnyder von Wartensee (1786-1868) - Sonata for Piano in C major / Anton Liste (1772-1832) - Grande Sonata for piano in A major
Sona Shaboyan, piano
Adolphe Aadam - Giselle / Peter Tchaikovsky - Nutcracker Suite, Op. 71a
Orchestre du Théâtre National de l’Opéra Paris - Richard Blareau (1953) / Royal Philharmonic Orchestra - George Weldon (1960)
Christoph Gluck (1714-1787) - Alceste / Iphigénie en Tauride / Orphée et Eurydice / Luigi Cherubini (1760-1842) - Médée / Hector Berlioz (1803-1869) - La damnation de Faust / Jules Massenet (1842-1912) - Werther / Camille Saint-Saëns (1835-1921) - Samson et Dalila
Orchestre du Theatre National de l'opera - Andre Cluytens / Orchestre de la Societe des Concerts du Conservatorie - George Pretre
Fikret Amirov (1922-1984) - Symphonic Suite on Azerbaijan Folk Tunes / Dimitri Shostakovich (1906-1975) - Symphony No.1, Op.10 / Ralph Vaughan Williams (1872-1958) - Fantasia on a Theme by Thomas Tallis / Robert Kurka (1921-1957) - Symphonic Epilogue on Shakespeare's 'Julius Caesar'
Philharmonic Sympony Orchestra of New York - Leopold Stokowski
Symphony No.1 in E minor, Op.39 / Pohjola’s Daughter, Symphonic Fantasy, Op.49 / Symphony No.5 in E flat, Op.83
BBC Symphony Orchestra - Sir Malcolm Sargent (rec. 1956-58)
Mikhail Glinka (1804-1857) - Russlan and Ludmilla Suite / Nicolai Rimsky-Korsakov (1844-1908) - Ivan the Terrible Suite / Pyotr Ilyich Tchaikovsky (1840-1893) - The Tsarina’s Slippers Suite / Nicolai Rimsky-Korsakov - May Night’ - Overture
London Symphony Orchestra - Anatole Fistoulari / Philharmonia Orchestra - Anatole Fistoulari
Pyotr Ilyich Tchaikovsky (1840-1893) - Marche Slave / Romeo and Juliet - Fantasy Overture / Waltz from ‘Sleeping Beauty’ / ‘Theme and Variations’ from Suite No.3 in G major / 1812 Overture /
Royal Philharmonic Orchestra - Sir Malcolm Sargent / Manoug Parikian, solo violin / Philharmonia Orchestra - Sir Malcolm Sargent
What is ‘Production Music’? In simple terms it is music provided by publishers for use by professionals mainly in the entertainment business. Most of it is specially composed for the purpose, and some pieces may last only a few seconds.
One of the strengths of the English Language is its willingness to absorb words from other cultures when a direct alternative does not already exist. Few English speakers realise how many of the words they use every day actually originated elsewhere. Among these is Smörgåsbord which the dictionary defines as “Swedish hors d’oeuvres (another import!) or buffet meal with a variety of dishes.”
The world’s capital cities have been the birthplace of many great musicians, and London, England, is certainly no exception. During the first decade of the 20th century two future Light Music ‘greats’ were born to parents who had originally sought refuge there from troubles in their homeland.
The success of Guild’s first collection of music associated with the Festive Season (“Christmas Celebration” GLCD 5185) has prompted this second compilation, arranged by some of the very best musicians working in Light Music. Somehow Christmas isn’t the same without Festive Music, whether traditional carols or the popular melodies dreamed up by composers who know how to tear at our nostalgic heartstrings.
The invention of sound recording as the 19th century came to a close, followed by the arrival of radio in the 1920s, hastened changes in musical styles at a far greater pace than had ever happened previously. There is no doubt that our ancestors who listened to what we might term ‘their’ light music in the 1800s would find the sounds of the 1960s too avant-garde for their ears.
Canada’s largest city, Toronto, has the honour and distinction of being the birthplace of two of the 20th Century’s finest composer / conductor / arrangers in the world of Light Music. Ironically both of them achieved worldwide recognition and fame when they left their homeland and established their glittering careers in other countries.
The American West (often referred to as the ‘Wild West’) has been a fertile source of inspiration for authors and composers, often painting a rosy glow that was far removed from reality. The original settlers must have been a hardy bunch, given the unknown challenges they faced, especially the rugged territory and the fact that there were already people living there who understandably disliked being removed from their traditional lands.
Leroy Anderson is probably the best-loved American light music composer of his generation. For many years he was the chief arranger for the Boston Pops, and its famous conductor Arthur Fiedler introduced many Anderson novelties to an appreciative world.
Just as no two music lovers will probably ever agree on the precise boundaries that define Light Music, the aficionados of Latin American will also happily argue about its origins. There seems little doubt that most will accept that the vast continent of the Americas, from Mexico southwards, qualifies as being generally regarded as 'Latin America', so the rhythms and styles of more than twenty countries have contributed to its emergence - particularly from the 1930s onwards - as an enjoyable part of the popular music scene.
Composers are often envied by those who do not possess the necessary talent to be able to produce a musical work that others will enjoy. But a touch of genius can sometimes generate frustration. Few writers are completely satisfied with the way in which their works are performed by orchestras over which they have little or no control, so it is a bonus for both composer and listener when music is conducted by the original creator.