JOHANN QUANTZ : Flute Concertos (Rachel Brown · The Brandenburg Consort · Roy Goodman) (1997) Two Version | FLAC (image+.tracks+.cue), lossless

Quantz owes his current neglect in the concert hall and recording catalogue to a somewhat perverse fact of history: he was by far the most highly paid musician of his day (earning seven times as much as C P E Bach, for example) and yet his patronage from Frederick the Great—he was truly an 'exclusive artist'—meant that none of his works was published, all remaining in the monarch's private collection.

Today his prolific output (there are some 300 flute concertos alone) is gradually being resurrected, these delightful works being recognized for their true worth. Quantz's own virtuosic skills on the flute, coupled with several drastic innovations he made to flute design and construction, make for works which push the Baroque instrument to the very limits of feasibility. Hyperion

JOHANN QUANTZ (1697-1773)
1-3    Concerto In A Major No. 256    17:25
4-7    Concerto In B Minor No. 5    14:16
8-10     Concerto In C Minor No. 216    16:29    
11-13 Concerto In G Major No. 29    11:58
14-16 Concerto In G Minor No. 290    15:36
Credits
Flute, Soloist – Rachel Brown
Directed By [From The Fortepiano And Harpsichord] – Roy Goodman
Orchestra – The Brandenburg Consort
Illustration [Front Illustration] – Cornelis Troos 

MYASKOVSKY : Piano Sonatas Nº 7, 8 & 9 (Murray McLachlan) (1991) Two Version | FLAC (image+.tracks+.cue), lossless

NIKOLAI MYASKOVSKY (1881-1950)
1.  Rondo-Sonata In B Flat Minor, Op.58  (5:44)
2-4.    Sonata No.8 In D Minor, Op. 83  (13:05)
5-7.     Sonata No.9 In F, Op.84    (11:51)
8-13. Reminiscenes, Op.29  (15:46)
14-16. Sonata No.7 In C, Op.82  (10:08)
17-22. Yellowed Leaves, Op.31 (13:22)
23.     Scherzo From String Quartet No.5 (3:19)
Transcription By – A. Aliawdina
Credits:
Piano – Murray McLachlan 

MIASKOVSKY : Intégrale Des Symphonies (Evgeny Svetlanov) 16CD BOX-SET (2007) Serie Édition Officielle – 35 | FLAC (tracks+.cue), lossless

NIKOLAI MYASKOVSKY (1881-1950)
CD1: (76:46)
1-3. Symphony N°1, C-Moll, Op. 3     
4-6. Symphony N°25, Des-Dur, Op. 69    
CD2: (75:07)
1. Symphony N°10, F-Moll, Op. 30    
2-4. Symphony N°11, B-Moll, Op. 34    
5-8. Symphony N°19, Es-Dur, Op. 46    
CD3: (78:46)
1-4. Symphony N°9, E-Moll, Op. 28    
5-9. Symphony N°14, C-Dur, Op. 37    
CD4: (76:12)
1-2. Symphony N°7, H-Moll, Op. 24    
3-6. Symphony N°8, A-Dur, Op. 26    
CD5: (76:38)
1-4. Symphony N°5, D-Dur, Op. 18    
5-7. Symphony N°12, G-Moll, Op. 35    
CD6:  (77:41)
1-3. Symphony N°4, E-Moll, Op. 17    
4-7. Symphony N°15, D-Moll, Op. 38    
CD7: (75:01)
1-4. Symphony N°17 Gis-Moll, Op. 41    
5-7. Symphony N°20, E-Dur, Op. 50    
CD8:  (79:04)
1. Symphony-Ballad N°22, H-Moll, Op. 54    
2-4. Symphony N°26, C-Dur, Op. 79    
CD9: (74:01)
1-3. Symphony N°24, F-Moll, Op. 63    
4-6. Symphony N°27, C-Moll, Op. 85    
CD10: (79:57)
1-2. Symphony N°3 A-Moll, Op. 15    
3-5. Symphony-Suite, A-Moll, Op. 56    
CD11: (79:48)
1-4. Symphony N°16, F-Dur, Op. 39    
5-7. Symphonie N°18, C-Dur, Op. 42    
8. Hulpigung's Overture, C-Dur, Op. 4    
CD12: (79:01)
1-2. Symphony N°2, C-Moll, Op. 11    
3. Symphony N°13, B-Moll, Op. 36    
4. Slav Rhapsody, D-Moll, Op. 71    
CD13: (78:19)
1-4. Symphony N°6, Es-Moll, Op. 23    
5. Pathetic Overture, C-Moll, Op. 76    13:40
CD14: (77:45)
1. Symphony N°21, F-Moll, Op. 51    
2-4. Sinfonietta, A-Dur, Op. 10    
5.     Silence, F-Moll, Op. 9    21:26
6-8. Serenade N°1, Op. 32    
CD15: (78:58)
1-3. Sinfonietta, A-Dur, Op. 32, N°2    
4-7. Sinfonietta, A-Moll, Op. 68, N°2    
8-10. Concertino Lirico, G-Dur, Op. 32, N°3    
CD16: (77:37)
1-6. Links, Op. 65    
7-9. Divertissement, Op. 80    
10. Alastor, C-Moll, Poeme D'Apres Shelley, Op. 14    
Credits:
Conductor – Evgeny Svetlanov
Orchestra – Orchestre Symphonique D'État De La Fédération De Russie, Orchestre Symphonique De L'Urss (3, 19 & 22)
Nota:
Lieu d'enregistrement: Moscou, grande salle du Conservatoire Tchaïkovsky

MYASKOVSKY • VAINBERG : Violin Concertos (Ilya Grubert · Russian Philharmonic Orchestra · Dmitry Yablonsky) (2003) FLAC (tracks+.cue), lossless

Without fail, these are two works that should jump to the top of any list of alternatives to the warhorse violin concertos. Here are two powerful works that possess every quality that defines `classic' except perhaps the passage of sufficient time. Bold, lyrical, rhythmic, charming, dramatic and thought-provoking are just a few of dozens of adjectives that could describe this music. Add to that a superb performance at a fantastic price and you have your newest must-own compact disc.

Myaskovsky's fame lies predominantly in his work as a symphonist. With twenty-seven such works to his credit, he is considered by many to have been one of the leading exponents of the genre in the twentieth century. His violin concerto was his first attempt at such a work, and he spent considerable time studying the similar works of Beethoven, Tchaikovsky and Prokofiev, his friend and schoolmate. The late 1930s were a fertile time for violin music in Russia, due mostly to the rise of the so-called "Russian violin school," with David Oistrakh and Leonid Kogan at its helm, winning competitions all over Europe.

Myaskovsky wrote his concerto for and dedicated it to Oistrakh. A large sweeping work in three movements, the first of which is longer than the latter two combined, the concerto owes far more to the composer's nineteenth century predecessors Rimsky-Korsakov and Balakirev, than to any sort of modernist ideal. The opening movement is both dramatic and lyrical and as its title implies, passionate. The adagio is tuneful and circumspect, while the rollicking third movement is very dance-like.

Although Mieczylaw Vainberg was a disciple and pupil of Myaskovsky, his style, although still conservative, leans more toward his friend and colleague Shostakovich than to any nineteenth century composer. Born in Poland in 1919, Vainberg's early promise was as a pianist, but his hopes for a major career were dashed by the Nazi invasion of Poland during the Second World War. He fled to, and was accepted warmly in Russia, although on more than one occasion he ran afoul of the authorities. At one time he was arrested for being an "enemy of the state" only to be rescued by Shostakovich’s intervention and ultimately, the death of Stalin.

His concerto is of much tighter construct than the Myaskovsky, consisting of four movements nearly equal in technical challenge, musical expression and length. Of particular note is the passionate, melancholy Adagio. Although not particularly melodic, (you are not likely to leave the room whistling the tunes) there is a formal and thematic unity about the work that makes the listener eager to find out what comes next.

And what of Ilya Grubert’s playing? In short, it is utterly refreshing. Here is a soloist that takes command of the stage, is not afraid of a risk or two, and plays in a manner that reflects his feelings for the music. When called for, his playing can be as lyrical as the finest soprano, yet he never shies away from putting forth a bit of gypsy abandon, allowing his tone to even at times be a bit gritty. This is by no means a criticism. Grubert digs into the strings, coaxing every last ounce of sound and spirit out of them. This is indeed a player worth watching, and if this recording is harbinger at all, there are great things yet to come.

Dmitry Yablonsky leads a finely honed instrument in the Russian Philharmonic Orchestra. Gone is the customary Russian blatting and out of tune wailing in the brass section. His strings are warm and lush, and there is a rhythmic tautness to the playing. He paces both concerti perfectly, never hurrying the fast passages and never belaboring the slow ones.

Recorded sound is excellent. Program notes by Per Skans hold the reader’s interest, and provide the correct balance of analysis, historical background and anecdote.

These are two composers who deserve further attention. Hopefully, a few more successful recordings such as this one will propel this music off the silver disc and into the concert hall. Go buy this one and enjoy some unusual yet highly accessible delights. (Kevin Sutton, naxos)
NIKOLAI MYASKOVSKY  (1881-1950)
1-3.  Violin Concerto in D Minor, Op. 44
MIECZYSLAW WEINBERG (1919-1996)
4-7.   Violin Concerto in G Minor, Op. 67
Credits:
Orchestra – Russian Philharmonic Orchestra
Conductor – Dmitry Yablonsky
Violin – Ilya Grubert

NIKOLAI MYASKOVSKY : Complete String Quartets 1 • Quartets Nº 1, 2 & 3 (The Taneyev Quartet) (2007) St. Petersburg Musical Archive Series | Two Version | FLAC (image+.tracks+.cue), lossless

As stock in Bartók's string quartets dropped in the West, stock in Shostakovich's string quartets rose. But increasing interest in the Soviet composer's 15 quartets failed to spark a similar interest in the 13 quartets by fellow Soviet composer Nikolay Myaskovsky. In the digital age, there has so far been only one recording of the complete cycle, the Taneyev Quartet's from the early '80s. Previously released in the West by Russian Disc in the '90s in diverse couplings, the Taneyev's recordings are reissued here by Northern Flowers in much more sensible chronological order. Thus the first volume contains the composer's first three published string quartets of his Opus 33 set from 1930 (the fourth and final quartet from Opus 33 will presumably appear as the opening work of the second volume).

Each of the three works is distinctly different in form but conspicuously the same in content. The First in A minor is a massive four-movement work of unrelenting gloom. The Second in C minor is a more compact but no less disconsolate work. The Third, actually a rewritten version of a quartet from 1911, is in two huge movements, a grimly monumental Allegro non troppo malinconico followed by a bleakly desolate Tema e variazioni. Late-romantic in gesture and harmonic language, all three works show Myaskovsky's compositional mastery along with his obsession with darkness, despair, and death. The performances sound like more than another gig for the Taneyev. There's real grit in the group's tone and honest emotion in its intensity. The Soviet-era stereo recording is rough at climaxes but cleaner than one might have guessed considering the source. While not for everyone, Myaskovsky's quartets may appeal to listeners looking for a middle ground between the pessimism of Rachmaninov and the nihilism of Shostakovich. James Leonard
NIKOLAI MYASKOVSKY (1881-1950)
1-4. String Quartet No.1 In A Minor, Op.33, No.1    (28:58)
5-7. String Quartet No.2 In C Minor, Op.33, No.2    (19:23)
8-9.     String Quartet No.3 In D Minor, Op.33, No.3    (26:31)
Cover – Boris Kustodiev, Hay-Making, 1917
Taneyev Quartet :
Cello  – Josif Levinzon
Viola  – Vissarion Solovyev
Violin – Grigory Lutsky, Vladimir Ovcharek