SOMM Recordings is delighted to release the next CD of it's ongoing, glowingly reviewed Beecham Collection. The label's initiative in issuing this collection is widely regarded by critics and music historians as a superb and invaluable endeavour. Focusing on live performances, radio broadcasts, and rare recordings-often featuring the Royal Philharmonic Orchestra-the series has been described as a "ground-breaking" enterprise that unearths "buried treasure" for enthusiasts of Sir Thomas Beecham. This 36th issue includes live performances from two of Beecham's last concerts in 1959 and 1960, as well as one from 1954. Once again, producer and audio restorer Lani Spahr 'has done wonders with the restoration,' to quote John Quinn, Music Web International.This release opens with two of Beecham's signature musical lollipops, which he described collectively as 'delightful little pieces.' By the River comes from the Florida Suite by Frederick Delius. Though written in Leipzig, the suite was inspired by Delius's sojourn on an orange plantation in Florida, where his father had sent him in a vain attempt to try to dissuade him from pursuing music. Beecham championed the suite, and this piece, recorded live at the Royal Festival Hall on 24 April 1960, is an especially poignant document, as it was taped at what turned out to be Beecham's last concert in London.The second of the four Symphonic Dances by Edvard Grieg is the earliest performance on this CD, recorded live at the Royal Festival Hall on 26 October 1954. Grieg noted on the title page of the autograph manuscript that the dances were 'based on Norwegian motifs,' and this second dance, marked Allegretto grazioso, was an especial favourite of Beecham.The works of Leonard Salzedo, an English composer of Spanish descent, include seventeen ballets, the most successful of which was The Witch Boy from 1956, based on the 'Ballad of Barbara Allan.' Beecham's exciting and clearly committed concert performance three years after the premiere was described on the programme as 'Scenes and Dances from the Ballet, The Witch Boy,' and this recording faithfully reproduces the section titles as they were printed in the original Royal Festival Hall programme on 14 November 1959.That performance also included the Symphony No. 3 by Pyotr Ilyich Tchaikovsky-his only completed symphony in a major key, and the only one with five movements instead of the traditional four. Nicknamed 'The Polish' after the Tempo di polacca marking of the fifth and last movement, it is a lighter work than his other symphonies and considered by some less masterful. Beecham never saw it that way, and he always made a persuasive case for the symphony. By the time of the present performance, he had been playing the 'Polish' symphony for decades, and his conducting reveals a deep engagement with the work.