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The Singers Unlimited - A Capella III (1980/2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: The Singers Unlimited
Title: A Capella III
Genre: Jazz, Vocal Jazz, Acappella, Harmony Vocal Group, Traditional Pop, Smooth Jazz, Cool Jazz, Easy Listening
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1980/2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 37:38
Recorded: June 1979, MPS-Studio, Villingen

The Singers Unlimited were a four-part jazz vocal group formed in 1971 by Gene Puerling. Members of the group included Len Dresslar (better known as the Jolly Green Giant in General Mills commercials), Bonnie Herman, Don Shelton and Puerling himself.
Gene Puerling and Don Shelton had formed part of Puerling's successful all-male vocal group, The Hi-Lo's, some years previously, though Shelton was a 1959 replacement for original HiLo Bob Strassen. The Singers Unlimited group were originally formed to record for commercials in the USA, but as time passed, they were persuaded to enter the recording studio to record a series of albums. On the recommendation of pianist Oscar Peterson (who was also signed to the label at the time), they gained a contract with German label MPS. They recorded two albums in 1971, the first a cappella, the second, In Tune with Peterson's then-current trio.
The group produced 15 albums, of which arguably the most well-known is their Christmas album (which was actually recorded before the group's association with MPS.) All of the 14 albums they recorded specifically for MPS (between the years 1971-1982) are collected in the 7-CD box set entitled Magic Voices.
Puerling's Singers Unlimited arrangements earned him the reputation as one of the best vocal writers in the world. Members of the renowned jazz-gospel vocal group Take 6 often give credit to Puerling and the Singers Unlimited as innovators in the a cappella world, claiming that they "went to school" on Puerling's arrangements.
Puerling took advantage of cutting-edge multitracking techniques of German studio engineer Hans Georg Brunner-Schwer to create his advanced harmonic concepts and the group's signature sound. In the overdubbing process, baritone Puerling and tenor Shelton would often add two additional middle parts, after which all parts were "doubled" and "tripled." Creating these extra tracks created the fuller, richer sound of the group's recordings, and is now a common recording practice. Gene Puerling died on March 25, 2008.
Bass singer Len Dresslar (1924–2005) was known as the voice of the Jolly Green Giant ("Ho, Ho, Ho!") for over 40 years, as well as the voice behind countless other jingles from Chicago. He had also been the President of the Chicago branch of the American Federation of Television and Radio Artists (AFTRA) for several years in the mid-to-late 1980s.
Bonnie Herman was the singer of the original "Like a Good Neighbor, State Farm Is There" commercial jingle, which ran for several years. She is the daughter of Lawrence Welk original Champagne Lady Lois Best, and Jules Herman, who was a trumpet player in the Welk orchestra. She is the niece of big band leader Woody Herman. --wikipedia
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The Singers Unlimited - A Capella II (1975/2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: The Singers Unlimited
Title: A Capella II
Genre: Jazz, Vocal Jazz, Acappella, Harmony Vocal Group, Traditional Pop, Smooth Jazz, Cool Jazz, Easy Listening
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1975/2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 38:15
Recorded: Sept. 74, MPS-Studio, Villingen

The Singers Unlimited were a four-part jazz vocal group formed in 1971 by Gene Puerling. Members of the group included Len Dresslar (better known as the Jolly Green Giant in General Mills commercials), Bonnie Herman, Don Shelton and Puerling himself.
Gene Puerling and Don Shelton had formed part of Puerling's successful all-male vocal group, The Hi-Lo's, some years previously, though Shelton was a 1959 replacement for original HiLo Bob Strassen. The Singers Unlimited group were originally formed to record for commercials in the USA, but as time passed, they were persuaded to enter the recording studio to record a series of albums. On the recommendation of pianist Oscar Peterson (who was also signed to the label at the time), they gained a contract with German label MPS. They recorded two albums in 1971, the first a cappella, the second, In Tune with Peterson's then-current trio.
The group produced 15 albums, of which arguably the most well-known is their Christmas album (which was actually recorded before the group's association with MPS.) All of the 14 albums they recorded specifically for MPS (between the years 1971-1982) are collected in the 7-CD box set entitled Magic Voices.
Puerling's Singers Unlimited arrangements earned him the reputation as one of the best vocal writers in the world. Members of the renowned jazz-gospel vocal group Take 6 often give credit to Puerling and the Singers Unlimited as innovators in the a cappella world, claiming that they "went to school" on Puerling's arrangements.
Puerling took advantage of cutting-edge multitracking techniques of German studio engineer Hans Georg Brunner-Schwer to create his advanced harmonic concepts and the group's signature sound. In the overdubbing process, baritone Puerling and tenor Shelton would often add two additional middle parts, after which all parts were "doubled" and "tripled." Creating these extra tracks created the fuller, richer sound of the group's recordings, and is now a common recording practice. Gene Puerling died on March 25, 2008.
Bass singer Len Dresslar (1924–2005) was known as the voice of the Jolly Green Giant ("Ho, Ho, Ho!") for over 40 years, as well as the voice behind countless other jingles from Chicago. He had also been the President of the Chicago branch of the American Federation of Television and Radio Artists (AFTRA) for several years in the mid-to-late 1980s.
Bonnie Herman was the singer of the original "Like a Good Neighbor, State Farm Is There" commercial jingle, which ran for several years. She is the daughter of Lawrence Welk original Champagne Lady Lois Best, and Jules Herman, who was a trumpet player in the Welk orchestra. She is the niece of big band leader Woody Herman. --wikipedia
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The Singers Unlimited - A Capella I (1971/2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: The Singers Unlimited
Title: A Capella I
Genre: Jazz, Vocal Jazz, Acappella, Harmony Vocal Group, Traditional Pop, Smooth Jazz, Cool Jazz, Easy Listening
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1971/2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 33:52
Recorded: July 1971, MPS-Studio, Villingen


The Singers Unlimited were a four-part jazz vocal group formed in 1971 by Gene Puerling. Members of the group included Len Dresslar (better known as the Jolly Green Giant in General Mills commercials), Bonnie Herman, Don Shelton and Puerling himself.
Gene Puerling and Don Shelton had formed part of Puerling's successful all-male vocal group, The Hi-Lo's, some years previously, though Shelton was a 1959 replacement for original HiLo Bob Strassen. The Singers Unlimited group were originally formed to record for commercials in the USA, but as time passed, they were persuaded to enter the recording studio to record a series of albums. On the recommendation of pianist Oscar Peterson (who was also signed to the label at the time), they gained a contract with German label MPS. They recorded two albums in 1971, the first a cappella, the second, In Tune with Peterson's then-current trio.
The group produced 15 albums, of which arguably the most well-known is their Christmas album (which was actually recorded before the group's association with MPS.) All of the 14 albums they recorded specifically for MPS (between the years 1971-1982) are collected in the 7-CD box set entitled Magic Voices.
Puerling's Singers Unlimited arrangements earned him the reputation as one of the best vocal writers in the world. Members of the renowned jazz-gospel vocal group Take 6 often give credit to Puerling and the Singers Unlimited as innovators in the a cappella world, claiming that they "went to school" on Puerling's arrangements.
Puerling took advantage of cutting-edge multitracking techniques of German studio engineer Hans Georg Brunner-Schwer to create his advanced harmonic concepts and the group's signature sound. In the overdubbing process, baritone Puerling and tenor Shelton would often add two additional middle parts, after which all parts were "doubled" and "tripled." Creating these extra tracks created the fuller, richer sound of the group's recordings, and is now a common recording practice. Gene Puerling died on March 25, 2008.
Bass singer Len Dresslar (1924–2005) was known as the voice of the Jolly Green Giant ("Ho, Ho, Ho!") for over 40 years, as well as the voice behind countless other jingles from Chicago. He had also been the President of the Chicago branch of the American Federation of Television and Radio Artists (AFTRA) for several years in the mid-to-late 1980s.
Bonnie Herman was the singer of the original "Like a Good Neighbor, State Farm Is There" commercial jingle, which ran for several years. She is the daughter of Lawrence Welk original Champagne Lady Lois Best, and Jules Herman, who was a trumpet player in the Welk orchestra. She is the niece of big band leader Woody Herman. --wikipedia
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The Singers Unlimited - A Special Blend (1976/2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: The Singers Unlimited
Title: A Special Blend
Genre: Jazz, Vocal Jazz, Acappella, Harmony Vocal Group, Traditional Pop, Smooth Jazz, Cool Jazz, Easy Listening
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1976/2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 37:23
Recorded: Sept. 29 & Oct. 3, 1975 A&M Studios, Hollywood and Oct. 1975 MPS-Studio, Villingen.

The Singers Unlimited were a four-part jazz vocal group formed in 1971 by Gene Puerling. Members of the group included Len Dresslar (better known as the Jolly Green Giant in General Mills commercials), Bonnie Herman, Don Shelton and Puerling himself.
Gene Puerling and Don Shelton had formed part of Puerling's successful all-male vocal group, The Hi-Lo's, some years previously, though Shelton was a 1959 replacement for original HiLo Bob Strassen. The Singers Unlimited group were originally formed to record for commercials in the USA, but as time passed, they were persuaded to enter the recording studio to record a series of albums. On the recommendation of pianist Oscar Peterson (who was also signed to the label at the time), they gained a contract with German label MPS. They recorded two albums in 1971, the first a cappella, the second, In Tune with Peterson's then-current trio.
The group produced 15 albums, of which arguably the most well-known is their Christmas album (which was actually recorded before the group's association with MPS.) All of the 14 albums they recorded specifically for MPS (between the years 1971-1982) are collected in the 7-CD box set entitled Magic Voices.
Puerling's Singers Unlimited arrangements earned him the reputation as one of the best vocal writers in the world. Members of the renowned jazz-gospel vocal group Take 6 often give credit to Puerling and the Singers Unlimited as innovators in the a cappella world, claiming that they "went to school" on Puerling's arrangements.
Puerling took advantage of cutting-edge multitracking techniques of German studio engineer Hans Georg Brunner-Schwer to create his advanced harmonic concepts and the group's signature sound. In the overdubbing process, baritone Puerling and tenor Shelton would often add two additional middle parts, after which all parts were "doubled" and "tripled." Creating these extra tracks created the fuller, richer sound of the group's recordings, and is now a common recording practice. Gene Puerling died on March 25, 2008.
Bass singer Len Dresslar (1924–2005) was known as the voice of the Jolly Green Giant ("Ho, Ho, Ho!") for over 40 years, as well as the voice behind countless other jingles from Chicago. He had also been the President of the Chicago branch of the American Federation of Television and Radio Artists (AFTRA) for several years in the mid-to-late 1980s.
Bonnie Herman was the singer of the original "Like a Good Neighbor, State Farm Is There" commercial jingle, which ran for several years. She is the daughter of Lawrence Welk original Champagne Lady Lois Best, and Jules Herman, who was a trumpet player in the Welk orchestra. She is the niece of big band leader Woody Herman. --wikipedia
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The Allman Brothers Band - Win, Lose Or Draw (1975/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Allman Brothers Band
Title: Win, Lose Or Draw
Genre: Blues Rock, Boogie Rock, Hard Rock, Slide Guitar Blues, Southern Rock
Label: © Mercury Records
Release Date: 1975/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 38:42
Recorded: February - July 1975, Capricorn Sound Studios, Macon, GA and The Record Plant, Los Angeles, CA


The Allman Brothers Band's fifth studio album, 1975's Win, Lose or Draw directly followed in the wake of the critical acclaim of its excellent predecessor Brothers and Sisters (1973) and growing tensions between Gregg Allman and Dickie Betts who both released solo albums with The Gregg Allman Tour and Highway Call respectively the year prior. The recording sessions were fractured and it's certainly palpable all over the 7-track effort, yet a strong cover of Muddy Waters' "Can't Lose What You Never Had," Allman's title cut and Betts' instrumental "High Falls" prove that the band may be doing things differently but they weren't throwing in the towel quite yet.
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Tchaikovsky, Rachmaninov - Piano Trios - Lang Lang, Vadim Repin, Mischa Maisky (2009) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Sergey Vasil'yevich Rachmaninov (1873-1943), Peter Ilyich Tchaikovsky (1840-1893)
Artist: Lang Lang, Vadim Repin, Mischa Maisky
Title: Tchaikovsky, Rachmaninov - Piano Trios
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2009
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:04:08
Recording: August 2009, Theater Itzehoe, Großes Haus, Germany

Ideally, a piano trio should be balanced in its voices and the parts more or less equally matched in expression, but it sometimes happens in late Romantic chamber music that an overwrought piano part can create the opposite conditions. In the Trio élégiaque No. 1 in G minor by Sergey Rachmaninov and the Piano Trio in A minor by Pyotr Il'yich Tchaikovsky, the piano is clearly the dominant force, because it carries most of the thematic material, harmonic textures, and dramatic gestures, and thereby reduces the violin and cello to subsidiary roles. As one of the great virtuoso pianists, Rachmaninov undoubtedly planned that the pianist should be the leader and conceived this single-movement trio almost as a piano sonata with obbligato parts for the strings, while Tchaikovsky simply overwrote the keyboard part, and its density and complexity make the violin and cello seem like weaker participants. With these problems in mind, pianist Lang Lang, violinist Vadim Repin, and cellist Mischa Maisky adjust their parts to give greater prominence to the violin and cello, and the piano's dynamics are taken down a bit to avoid overwhelming them. Moreover, careful microphone placement has given the strings the added presence they need to stand up to the keyboard, though Repin at times plays slightly softer than Maisky and occasionally seems to be slipping out of the audio field. Still, this ad hoc trio of Deutsche Grammophon stars seems to work well in this repertoire, given the challenges put before them, and fans of these musicians will find their passionate performances quite enjoyable. --AllMusic Review by Blair Sanderson
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Stanley Turrentine - Salt Song (1971/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Stanley Turrentine
Title: Salt Song
Genre: Jazz, Hard Bop, Soul Jazz, Fusion, Easy Listening, Smooth Jazz, Saxophone Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-onkyo
Duration: 00:37:34
Recorded: July 7, 13 1971 at Van Gelder Studio, Englewood Cliffs, New Jersey

Salt Song is an album by jazz saxophonist Stanley Turrentine recorded for the CTI Note label featuring performances by Turrentine with an orchestra arranged by Eumir Deodato.
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Ben Taylor - Naked (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Ben Taylor
Title: Naked
Genre: Indie Pop, Folk, Alternative/Indie Rock, Singer/Songwriter
Label: © Real World Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Bowers & Wilkins
Duration: 00:24:01
Recorded: RAK studios


Taylor was raised in Manhattan and spent time in various private schools before leaving them behind in ninth grade. His father taught him his first couple of songs on guitar when he was 12, after which he taught himself to play by learning all of his father's numbers; but traveling the world and connecting with nature were Taylor's passion. Trips across Asia and Europe opened his eyes to Earth's greatest wonders, leading him to think he might like to be a gardener or a farmer. Still, he had his hand in a few musical makings. Before he turned 20, Taylor's cover of the Beatles' "I Will" landed on the soundtrack to a domestic comedy featuring Paul Reiser, Bye Bye, Love.
And later, when he started writing his own songs, at around the age of 21, his mother provided him with a handwritten, three-page manual with all kinds of tips and pointers on the art of songwriting. But for a long time before that, Taylor rejected the idea of going into music. As a youngster, dividing his time between living in Martha's Vineyard and Manhattan, he found himself yearning for the kind of discipline that neither of his parents were inclined to impose.
"My dad wasn't strict, and my mom loved me so much that I would wake up sometimes and she'd say, 'Come on, pretend to be sick today and get the day off school and let's hang out and listen to music,'" he recalls. Taylor's "rebellion" was to gravitate towards the ultra-disciplined culture of martial arts and Eastern philosophy, enrolling in kung fu schools and travelling with various teachers.
A trip to the Caribbean gave him the push he'd been wanting for so long. Armed with an acoustic guitar and a headful of songs, Taylor shaped himself into the natural singer/songwriter his parents knew he'd become. While visiting Los Angeles in late 2001, he befriended drummer Larry Ciancia (Fiona Apple, Everlast) and a musical bond was formed. Fellow musicians Adam MacDougall, Rick Musallam, and Joe Dunne joined them weeks later and the Ben Taylor Band was born; Taylor had gone from a shy, reserved teenager to a brave, confident young man and artist.
He eventually recorded an album for Sony's label the Work Group, but it folded shortly after Taylor inked his contract. He was left feeling disenchanted, unsure of what he wanted to do with his life because he still wasn't convinced music was for him. Taylor would soon come to realize that music was the only career he'd understand.
"My music is a huge amalgamation of things and influence and styles, but it's very much made up of music that my parents made that I heard growing up," said Ben, the son of James Taylor and Carly Simon. "It's ingrained in me. I have a hard time separating between the two."
After his first released album Famous Among the Barns and his EP #1, Taylor decided that this path (which yielded music that Taylor describes as "neo-psychedelic folk funk") did not represent his true musical nature, Taylor released a follow-up solo album that is much more acoustic in nature and more in line with his family roots. That solo effort, Another Run Around the Sun, featured backing vocals by his sister and mother, with Taylor as vocalist and guitarist, Peter Calo on Guitars, Larry Ciancia as drummer, and produced by Kevin Bacon and Jonathan Quarmby. This was followed by a string of EPs. In 2008, he released a new full-length, The Legend of Kung Folk, Pt. 1, followed by Listening in 2012.
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Sibelius, Bruch - Violin Concertos - Zino Francescatti, New York Philharmonic, Thomas Schippers, Leonard Bernstein (1965/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Jean Sibelius (1865-1957), Max Bruch (1838-1920)
Artist: Zino Francescatti, New York Philharmonic, Thomas Schippers, Leonard Bernstein
Title: Sibelius: Concerto in D Minor for Violin and Orchestra, Op. 47 / Bruch: Concerto No. 1 in G Minor for Violin and Orchestra, Op. 26
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1965/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:50:41
Recorded: 1965


Bernstein – Remastered Edition: Sibelius – The Symphonies collects Bernstein’s complete Sibelius recordings, newly remastered from the original analogue tapes using 24 bit / 96 kHz technology in a 7CD limited original jackets collection.
Bernstein regarded Sibelius alongside Mahler as one of “the key turning points” in the development of the 20th century symphony, though his reputation as a Mahler exponent has overshadowed a lifelong dedication to the Finnish composer. His advocacy goes back to the time of his association with Koussevitzky, with whom he studied at Tanglewood in 1940, later becoming his assistant. At Philadelphia’s Curtis Institute in 1941, he conducted the Second Symphony. And following his sensational New York Philharmonic debut in November 1943, one of Bernstein’s first engagements was a Montreal Symphony Orchestra concert in March 1944 that included his first performance of the First.
The Finnish composer’s centenary year, 1965, brought a flurry of activity. In New York, Bernstein conducted all the symphonies in a single season (only his mentor Serge Koussevitzky had done that in the US, three decades earlier in Boston). For his efforts, Bernstein was made a Commander of the Order of the Lion by the president of Finland. By this time, he was already well into his recorded Sibelius cycle, begun in February 1961 with the Fifth Symphony, completed in May 1967 with the Sixth.
Bernstein’s Sibelius, like his teacher’s, was “warm like the sun” rather than a more orthodox evocation of cold northern soundscapes. He once called Sibelius “a great and strange kind of genius”, but in his New York cycle he favors visceral excitement over strange remoteness.
This set also contains his recording of Sibelius’s Violin Concerto with the French virtuoso Zino Francescatti. Also included are Valse triste, The Swan of Tuonela, a rather brash Finlandia, a thrilling performance of Pohjola’s Daughter and Luonnotar – Sibelius’s haunting setting of words from the Kalevala, the Finnish national epic (with American soprano Phyllis Curtin) – as well as Bernstein’s only recording of Grieg’s Peer Gynt Suites. But it’s the Sibelius symphonies that are the chief attraction here, and this often stunningly well-played, first completed stereo cycle has lost none of its freshness and authority in the half century since it was recorded.
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Jean Sibelius - Symphonies Nos. 6 & 7 - New York Philharmonic, Leonard Bernstein (1968/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Jean Sibelius (1865-1957)
Artist: New York Philharmonic, Leonard Bernstein
Title: Sibelius - Symphonies Nos. 6 & 7
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1968/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:49:26
Recorded: 1968

Bernstein – Remastered Edition: Sibelius – The Symphonies collects Bernstein’s complete Sibelius recordings, newly remastered from the original analogue tapes using 24 bit / 96 kHz technology in a 7CD limited original jackets collection.
Bernstein regarded Sibelius alongside Mahler as one of “the key turning points” in the development of the 20th century symphony, though his reputation as a Mahler exponent has overshadowed a lifelong dedication to the Finnish composer. His advocacy goes back to the time of his association with Koussevitzky, with whom he studied at Tanglewood in 1940, later becoming his assistant. At Philadelphia’s Curtis Institute in 1941, he conducted the Second Symphony. And following his sensational New York Philharmonic debut in November 1943, one of Bernstein’s first engagements was a Montreal Symphony Orchestra concert in March 1944 that included his first performance of the First.
The Finnish composer’s centenary year, 1965, brought a flurry of activity. In New York, Bernstein conducted all the symphonies in a single season (only his mentor Serge Koussevitzky had done that in the US, three decades earlier in Boston). For his efforts, Bernstein was made a Commander of the Order of the Lion by the president of Finland. By this time, he was already well into his recorded Sibelius cycle, begun in February 1961 with the Fifth Symphony, completed in May 1967 with the Sixth.
Bernstein’s Sibelius, like his teacher’s, was “warm like the sun” rather than a more orthodox evocation of cold northern soundscapes. He once called Sibelius “a great and strange kind of genius”, but in his New York cycle he favors visceral excitement over strange remoteness.
This set also contains his recording of Sibelius’s Violin Concerto with the French virtuoso Zino Francescatti. Also included are Valse triste, The Swan of Tuonela, a rather brash Finlandia, a thrilling performance of Pohjola’s Daughter and Luonnotar – Sibelius’s haunting setting of words from the Kalevala, the Finnish national epic (with American soprano Phyllis Curtin) – as well as Bernstein’s only recording of Grieg’s Peer Gynt Suites. But it’s the Sibelius symphonies that are the chief attraction here, and this often stunningly well-played, first completed stereo cycle has lost none of its freshness and authority in the half century since it was recorded.
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