The New York Philharmonic, London Symphony Orchestra, Zubin Mehta and Lorin Maazel are among the distinguished Berlioz interpreters on hand as you behold the immortal Symphonie Fantastique and hours of other renowned works by this immensely influential orchestral innovator. Also: Harold in Italy; Tristia for Chorus and Orchestra; Les Troyens: Prelude; Roman Carnival Overture; King Lear Overture for Orchestra; Beatrice et Benedict: Overture; Requiem (Grande Messe Des Morts) for Tenor, Chorus and Orchestra; Veni Creator: Motet for 3 Voices and Chorus; Symphonie Funebre et Triomphale for Band, Strings and Chorus Ad Lib , and more!
Al Laurence Di Meola is an American jazz, jazz fusion, and world music guitarist. Albums such as Friday Night in San Francisco have earned him both critical and commercial success with fans throughout the world.
The answer to the question what would post-Oistrakh Soviet Mozart sound like? is Vladimir Spivakov. The answer to the question what does Spivakov's Mozart sound like? is lightly, lively, elegant, and, every once in a while, extremely intense. In these recordings from the late '70s and early '80s of Mozart's violin concertos and Sinfonia Concertante with the English Chamber Orchestra and violist Yuri Bashmet, Spivakov plays and conducts with graceful artistry, consummate virtuosity, and deep humanity. In opening Allegros, Spivakov is airborne in the zephyrs of spring. In the closing Rondos, Spivakov is dancing in the ballrooms of Europe. But sometimes, especially in the central Andantes, Spivakov can sing with an intimacy and intensity that reveal a more profound Mozart, a Mozart touched not only by eternity but by mortality. In the central Andante of the Sinfonia Concertante with the soulful Yuri Bashmet, Spivakov proves he is not only the best of the post-Oistrakh Soviet violinists, but also one of the most moving violinists of the past 30 years.(James Leonard)