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Elgar: Symphony No. 2 - Sospiri - Elegy
 
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Elgar: Symphony No. 2 - Sospiri - Elegy

28 May 2013 | Format: MP3

£6.59 (VAT included if applicable)
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Song Title
Time
Popularity  
30
1
17:45
30
2
14:11
30
3
7:45
30
4
15:24
30
5
4:00
30
6
4:47
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Product details

  • Original Release Date: 28 May 2013
  • Release Date: 28 May 2013
  • Label: BIS
  • Copyright: (C) 2013 BIS
  • Total Length: 1:03:52
  • Genres:
  • ASIN: B00CVUR9E2
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Bestsellers Rank: 74,895 in Albums (See Top 100 in Albums)

Customer Reviews

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Most Helpful Customer Reviews

Format: Audio CD
I've railed many times against those who insist that only English orchestras and English conductors can do full justice to Elgar's music. This is arrant nonsense, just as it would be to suggest that Mahler could only be conducted by Austrian Jews or Tchaikovsky by Russian homosexuals!
In fact, Elgar's music is very much in the German tradition, and we should not forget that he found fame and acceptance in Germany before ever he did in Britain.
I delight in hearing the great orchestras of Europe and further afield-the Japanese Third Symphony for example-playing Elgar's music devoid of parochial baggage, and this really fine disc superbly recorded by BIS is yet another fine example of how nonsensical the "English" theory is.
The Royal Stockholm Orchestra is a fine band, with rich resonant brass in the German style, brilliant strings and really bright and focussed woodwind, and they are captured in their full glory in this recording.
The conductor Sakari Oramo will surely have been exposed to the Elgar tradition during his brief rather unhappy tenure with the CBSO, and here he goes right back to the recording by EDU himself, giving us one of the most incisive and brilliant second symphonies I can recall.

There is none of Barbirolli's exaggerated rubato at the opening nor at the other extreme any of Sinopoli's lugubrious protracted extraction of the last scintilla of emotion-this Symphony sets off as it means to continue, with a brisk long line shaded by subtle tempo fluctuations. Even in the second movement, Oramo does not pull the tempo back for the great peroration that forms the crux of this movement, reputedly inspired by the death of King Edward the Seventh.The music flows vigorously and naturally.
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6 of 7 people found the following review helpful By P. S. C. Ebrey on 13 Jun. 2013
Format: MP3 Download
There can't be many folks out there who now think that Elgar's music doesn't travel, and here's refutation if it's needed; this is simply a rich and superb reading of this kaleidoscopic masterpiece. Okay, Oramo was resident in Birmingham for a decade, and he got thoroughly inside the idiom with many excellent performances of Elgar's music with the CBSO, (his centenary performance of 'The Apostles' will live with me always) but even so, this is just wonderful. Everything knits together perfectly, the recording picks up those countless Elgarian touches - harps just right, horns snarling away, tempo judged (to my ears at least) to perfection. First-class in every respect. I can't think anyone is going to regret this purchase. It's right up there with the very best interpretations on record.
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1 of 1 people found the following review helpful By W.L. Francis on 24 May 2014
Format: Audio CD
This is a truly glorious performance of this wonderful symphony played with distinction by the Royal Stockholm Orchestra. Sakari Oramo demonstrates yet again his natural affinity with this composer. Having been privileged to hear him perform so much English music during his decade long hugely successful tenure at the CBSO I only wish he had recorded more Elgar with the CBSO. As always with this wonderful conductor you get only what the composer wrote, hence the inclusion of the organ in the final movement. Splendid in all respects.
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6 of 12 people found the following review helpful By Basilides on 13 Aug. 2009
Format: Audio CD
PLEASE NOTE THAT AMAZON HAS BEEN PLACING THIS REVIEW ON OTHER LISTINGS OF THIS WORK THAN THE ONE INTENDED.
I consider Elgar's symphonies to be the greatest since Mahler, and only rivaled by Rachmaninov, Szymanowski and Franz Schmidt for their centrality as expressions of lyrical subjectivity. That is the context in which I justify my heading. Other versions of this work have to compete with this benchmark 1927 recording conducted by the composer. In its mystery, depth and visionary qualities it's in a class to which few others belong, and in the first movement Elgar's fast pace, rhythmic freedom and nimble changes of tempo, ensure that the characteristic Elgarian sequences tumble over one another in the spontaneous way they should. It's in this difficult to bring off first movement that it leaves some other recordings furthest behind; few others can convey the 'spirit of delight' of the epigraph like this composer himself.
But in all fairness I have to mention one of the closest renderings on record and one that can be said to equal this which is the one by Malcolm Sargent with the BBCSO which was released on CD for the first time with BBC Music Magazine in 2007. This obviously also has much better sound quality dating from 1964.
In any case I suspect that Elgar benefits from the harder, more incisive string sound found on both these older recordings.

I wouldn't recommend Elgar's recording of the First Symphony as highly although it seems to be a perfectly good performance.
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2 of 9 people found the following review helpful By Charles Voogd on 11 Nov. 2013
Format: Audio CD
I'm sorry but I think I've made the mistake to listen to this recording after I went through Solti's remarkable adventures with Elgar's orchestral works, recorded in the 1970s on Decca and even managed to listen to Elgar's own recordings of his own works. This new BIS release sounds just so flat, so uninspired, so dreadfully boring, I really can't imagine they ever gave mr. Orama the Elgar Medal. But probably I'm mistaken again and is Solti's reading only hysteria? Or outward display? And should Elgar be played like Orama does: slow, with much nobilemente and grandeur and without any sharp edge? Like an inner journey, flattening everything. Just compare the timpani playing - I always observe timpani playing because it says so much about the rhythmic abilities of a conductor/interpreter - on this recording they sound totally flat and completely into the orchestral fabric. Solti makes much work of it and lets the player have his field day. So, many passages sound dramatic, lived through, instead of flat and uninspired. I really don't know what's better or not and that's not the case I think. I love the Solti readings and Orama leaves me stone cold. Add to this a very dead acoustics that BIS is presenting and I'm out. And then those sugary fillers, jegh. Very interesting for a funeral.
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