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Elgar: The Kingdom, Op. 51, Prelude
https://www.youtube.com/watch?v=9xu96aATMFM&list=OLAK5uy_liowO4gP1pH45Ucxg1CVW9oJG80m-nKMA&index=2

start of Elgar: Violin Concerto in B Minor, Op. 61
https://www.youtube.com/watch?v=cGygAK4lAcs&list=OLAK5uy_liowO4gP1pH45Ucxg1CVW9oJG80m-nKMA&index=3

Elgar: The Dream of Gerontius: Prelude and the Angel's Farewell
https://www.youtube.com/watch?v=fxS8yHxXtRI&list=OLAK5uy_liowO4gP1pH45Ucxg1CVW9oJG80m-nKMA&index=6

Elgar: The Dream of Gerontius: Prelude and the Angel's Farewell (Elgar's arrangement without choir - Word Premiere Recording)
https://www.youtube.com/watch?v=jhN3KQUFzZk&list=OLAK5uy_liowO4gP1pH45Ucxg1CVW9oJG80m-nKMA&index=6

https://www.youtube.com/playlist?list=OLAK5uy_liowO4gP1pH45Ucxg1CVW9oJG80m-nKMA

>With his probing musical intelligence and lithe, silvery sound, Thomas Zehetmair produces a version like no other. Avoiding any hint of cloying, Victorian sentimentality, he uses expressive portamentos to intensify Elgar’s ripely opulent melodies without sounding (as was Menuhin’s wont) as though he is virtually breathing his last with every phrase. If the majority of players tend (often suffocatingly) to place the concerto squarely in the Brahmsian tradition, Zehetmair points up the music’s Mendelssohnian whimsy and open-air freshness. This works wonders in the finale’s protracted cadenza, its fine-honed, sinewy, darting emotional reflexes a million miles away from the almost apocalyptic trajectory so often forced upon it.

>The Hallé and Mark Elder provide highly sympathetic and sensitive support, the engineering clarifies Elgar’s imposing textures magnificently, and the fillers are an absolute delight. ---- JULIAN HAYLOCK, The Strad