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Sir Colin Davis - The Concertgebouw Legacy (2024)

Sir Colin Davis - The Concertgebouw Legacy (2024)
  • Title: The Concertgebouw Legacy
  • Year Of Release: 2024
  • Label: Decca Eloquence
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 16:12:10
  • Total Size: 4.27 GB
  • WebSite:
Tracklist:

CD 1
HAYDN Symphonies Nos. 82°, 83° & 84*
*English Chamber Orchestra
°Concertgebouworkest / Colin Davis

CD 2
HAYDN Symphonies Nos. 86 & 98
Concertgebouworkest / Colin Davis

CD 3
HAYDN Symphonies Nos. 103 & 87
Concertgebouworkest / Colin Davis

CD 4
HAYDN Symphonies Nos. 88 & 99
Concertgebouworkest / Colin Davis

CD 5
HAYDN Symphonies Nos. 92 & 91
Concertgebouworkest / Colin Davis

CD 6
HAYDN Symphonies Nos. 93, 94, 96
Concertgebouworkest / Colin Davis

CD 7
HAYDN Symphonies Nos. 95 & 97
Concertgebouworkest / Colin Davis

CD 8
HAYDN Symphonies Nos. 100 & 104
Concertgebouworkest / Colin Davis

CD 9
HAYDN Symphonies Nos. 101 & 102
Concertgebouworkest / Colin Davis

CD 10
BEETHOVEN Violin Concerto
Arthur Grumiaux; Concertgebouworkest / Colin Davis

CD 11
BERLIOZ Symphonie fantastique
Concertgebouworkest / Colin Davis

CD 12
MUSSORGSKY Pictures at an Exhibition; Night on Bald Mountain
Concertgebouworkest / Colin Davis

CD 13
DVOŘÁK Symphonies Nos. 7 & 8
Concertgebouworkest / Colin Davis

CD 14
DVOŘÁK Symphony No. 9
Concertgebouworkest / Colin Davis

CD 15
DVOŘÁK Violin Concerto; Romance
Salvatore Accardo; Concertgebouworkest / Colin Davis

CD 16
DVOŘÁK Cello Concerto; Silent Woods
Heinrich Schiff; Concertgebouworkest / Colin Davis

CD 17
STRAVINSKY L’Oiseau de feu
Concertgebouworkest / Colin Davis

CD 18
STRAVINSKY Le Sacre du printemps; Petrouchka
Concertgebouworkest / Colin Davis

A meeting of minds in Amsterdam: the complete Philips recordings of Sir Colin Davis and the Concertgebouworkest made in the orchestra's acoustically optimal home and featuring classic accounts of Haydn, Berlioz, Dvorak and Stravinsky.

Davis lends these readings rhythmic impetus and unassuming authority; the orchestra and audio engineers respond with sonic warmth and transparency.

Colin Davis made his debut with the Concertgebouw in 1966, and conductor and orchestra quickly established a mutual affinity. Interviewed by Niek Nelissen for a new appreciation of their legacy on record, a Concertgebouw violinist recalls his 'typically British' humour in rehearsal. Davis gave the musicians of 'the orchestra a lot of freedom. He kept control in a good way, which made him popular with the orchestra.'

It took another eight years for Davis and the Concertgebouwto make their first records together, but they made up for lost time. The albums of Beethoven's Violin Concerto (with Arthur Grumiaux) and the Symphonie fantastique of Berlioz were universally praised for their rhythmic impetus, and for the kind of unassuming authority that became a hallmark of Davis's conducting. In both cases, the new recordings superseded earlier versions by the same artists.

There followed, over the next eight years, a string of artistic and commercial successes.

The Concertgebouw had not recorded much Haydn before, but Davis harnessed their richness of tone and supple responses, and trained it on Haydn's late symphonies with revelatory results. Even while period-instrument performers began to bring new perspectives to Haydn, Davis's lively sympathy showed itself in the buoyant rhythms, the cultivated eighteenth-century phrasing and the exuberance which always belongs to his symphonies. Together, they recorded the complete 'London' symphonies followed by the 'Paris', and this set also features a bonus of No. 84, which Davis recorded with the English Chamber Orchestra for L'Oiseau-Lyre in 1960. This is the first time all of Davis's Haydn symphony recordings with the Concertgebouworkest have been issued collectively.

Equally acclaimed was a Dvorak series featuring the last three symphonies, the concertos for violin and cello (with Salvatore Accardo and Heinrich Schiff) and the Symphonic Variations. While these recordings have rarely left the catalogue thanks to their popularity, hearing them together sheds new light on the remarkable idiomatic strength of the Concertgebouw/Davis partnership. Original couplings and covers have the ring of nostalgic authenticity, complemented by Niek Nelissen's new essay and many archive photographs of conductor and orchestra.


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