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Erik Satie (1866-1925) was without doubt one of great ‘one offs’in musical history. Impossible to categorise, he composed around 100 works, which include film scores, ballets, melodies and above all piano works. A friend of Debussy, Ravel, Cocteau,Picasso and Diaghalev, he was at the core of the avant garde in Paris, and yet he remained an outsider – deliberately so.

Happy playing piano in jazz bars – where he and Debussy met each other, Satie was the antithesis of the late 19th century and early 20th musical world as dominated by Wagner and his adherents. The master of Bayreuth had proclaimed himself the prophet of ‘music of the future’and his vast opulently scored music dramas cast their spell over the Second Viennese school, and also Debussy, whose opera Pelléas et Melisande has a good deal of Parsifal and Tristan in its score. With Satie, it was the music of the past that was important, and he even returned to the tones of the ancient Greeks. Gymnopédies evokes the dance of children from ancient Sparta, who danced in honour of Apollo. Similarly, Gnossiennes is from the labyrinth at Knossos (Gnossos). It wasn’t all ancient Greek influences though that guided Satie’s inspiration – jazz and the music hall were potent influences

Perhaps the most idiosyncratic work he composed is Vexations. He composed it in 1893, but refused to show the score to anyone, and the premiere took place in 1963 at the instigation of John Cage. The score occupies a single page, headed ‘Page Mystique. To play this motif 840 times in succession, it will be necessary to prepare oneself in advance, in total silence, by remaining absolutely motionless.’ A complete performance thus takes 18–30 hours. Cristina Ariagno plays an excerpt.

Tracklist can be found below!

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Composer: Carl Philipp Emanuel Bach
Artists: Andrea Chezzi harpsichord
Alberto Colzani (2000), after Goermans-Taskin

About this Album:
A curious and unsatisfying reduction of huge music for tiny forces? By no means. These are not, after all, symphonies in the way that Beethoven, let alone Mahler, understood the term, but breezy three-movement affairs which had lately sprung out of an operatic context and were enjoying a new and independent life through the always-unpredictable idiom of C.P.E., who wrote eight such works between 1741 and 1762. Most of them began as symphonies for strings, with wind parts added later when Bach’s orchestra was enlarged. These early symphonies mixed an Italian style of pleasant and simple writing with the composer’s own evolving voice influenced by the Empfindsamer Stil, drawn together by the impeccable technique which C.P.E. had learnt at the feet of his father, the great Johann Sebastian.

The composer did not make these transcriptions of his ‘Berlin’ symphonies, but they were done during his lifetime to cater to the extensive public of amateur keyboard players. The Symphony in G major Wq122 No.1 (arr. Wq173) is perfectly suited to the harpsichord, with the freshness of an Italian opera overture, especially in the first movement. Elsewhere, Andrea Chezzi has made a few additions to the arrangement when it is excessively thin, limited to some doubling or addition of the inner part, following the practice of the time, while also playing with the ornamentation appropriate to a keyboard performance.

Andrea Chezzi is a solo harpsichordist and organist based in Parma, where he is titular organist for the Church of Santa Maria Annunziata in Mezzano Rondani in the Comune di Colorno, Parma, artistic director of the comune’s cultural association La Compagnia del Lorno, and a founding member of the Giuseppe Serassi cultural association for the appreciation of organs and early instruments.

Tracklist:
00:00:00 Symphony in G Major, Wq. 122 No. 1: II. Andante
00:02:51 Symphony in G Major, Wq. 122 No. 1: III. Allegretto
00:05:13 Symphony in F Major, Wq. 122 No. 2: I. Allegro assai
00:07:46 Symphony in F Major, Wq. 122 No. 2: II. Andante
00:14:53 Symphony in F Major, Wq. 122 No. 2: III. Tempo di minuetto
00:18:33 Symphony in D Major: I. Allegro (Arr. Wq. 176)
00:28:06 Symphony in D Major: II. Andante (Arr. Wq. 176)
00:31:13 Symphony in D Major: III. Presto (Arr. Wq. 176)
00:34:04 Symphony in E Minor, Wq. 122 No. 3: I. Allegro assai
00:38:15 Symphony in E Minor, Wq. 122 No. 3: II. Andante
00:44:01 Symphony in E Minor, Wq. 122 No. 3: III. Allegro



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Tracklist below.

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Parisian composer Georges Bizet was enrolled in the Consevatoire at the age of nine and won a premier prix in solfège within six months of his arrival. He later received prizes for his skill as a pianist, gaining particular renown for his sight-reading, and won the coveted Prix de Rome in 1857. At this time, opera theatres in Paris were reluctant to stage new works rather than the established classics, meaning that Bizet’s operas did not achieve much success during his lifetime, despite the fact that today two of his operas are considered among the best ever written.

The premiere of Les Pêcheurs de Perles took place in 1863 and the opera was brought back to Paris in 1889 at the Exposition Universelle of that year. The story, set in Ceylon (known today as Sri Lanka), centres on the love between the priestess Léïla and the fisherman Nadir, who is envied by his fellow fisherman and friend Zurga. The idea of the ‘exotic’ is a prominent feature of the opera and can be heard in the unusual instruments of the percussion section, the dance rhythms, and the use of the harp. The qualities of the ‘exotic’ evoked here are more similar to those of the Mediterranean than of Ceylon, although it is known from Bizet’s letters that his original inspiration for the setting was Mexico. The opera contains the famous friendship duet, ‘Au fond du temple saint’, known as the Pearl Fishers’ Duet.

00:00:00 Les Pécheurs de Perles: Prelude
00:01:53 Les Pécheurs de Perles: Act 1: Introduction: Sur la grève en feu (Chorus)
00:05:24 Les Pécheurs de Perles: Act 1: Scène et choeur: Amis, interrompez vos danses (Zurga/Chorus/Nadir)
00:09:15 Les Pécheurs de Perles: Act 1: Récit et reprise du choeur dansé: Demeure parmi nous, Nadir (Zurga/Chorus/Nadir)
00:11:25 Les Pécheurs de Perles: Act 1: Récit et duo: C’est toi, toi qu’enfin je revois! (Zurga/Nadir)
00:13:46 Les Pécheurs de Perles: Act 1: Duo: Au fond du temple saint (Zurga/Nadir)
00:18:59 Les Pécheurs de Perles: Act 1: Récit, choeur et scène: Que vois-je? (Zurga/Nadir/Chorus)
00:22:34 Les Pécheurs de Perles: Act 1: Choeur: C’est elle! Elle vient!…Sois la bienvenue (Chorus)
00:24:38 Les Pécheurs de Perles: Act 1: Scène et choeur: Seule au milieu de nous (Zurga/Léïla/Chorus/Nourabad)
00:31:41 Les Pécheurs de Perles: Act 1: Récit et romance: À cette voix… Je crois entendre encore (Nadir)
00:36:59 Les Pécheurs de Perles: Act 1: Final: Le ciel est bleu! (Chorus/Nourabad/Nadir)
00:38:55 Les Pécheurs de Perles: Act 1: Air et choeur: Ô Dieu Brahma! (Léïla/Chorus/Nadir)
00:44:52 Les Pécheurs de Perles: Act 2: Entr’acte, choeur et scène: La, la, la…L’ombre descend des cieux (Chorus/Léïla/Nourabad)
00:51:46 Les Pécheurs de Perles: Act 2: Récit et cavatine: Me voilà seule dans la nuit (Léïla)
00:59:15 Les Pécheurs de Perles: Act 2: Chanson: De mon amie (Nadir/Léïla)
01:01:14 Les Pécheurs de Perles: Act 2: Duo: Léïla!…Dieu puissant (Nadir/Léïla)
01:09:02 Les Pécheurs de Perles: Act 2: Final: Ah! revenez à la raison! (Léïla/Nadir/Nourabad/Chorus/Zurga)
01:18:24 Les Pécheurs de Perles: Act 3: Scene 1: Entr’acte, récit et air: L’orage s’est calmé…Ô Nadir (Zurga)
01:24:17 Les Pécheurs de Perles: Act 3: Scene 1: Scène et duo: Qu’ai-je vu?… Je frémis, je chancelle (Zurga/Léïla)
01:32:47 Les Pécheurs de Perles: Act 3: Scene 1: Scène: Entends au loin ce bruit de fête! (Nourabad/Léïla/Zurga)
01:34:29 Les Pécheurs de Perles: Act 3: Scene 2: Choeur dansé: Dès que le soleil (Chorus)
01:36:35 Les Pécheurs de Perles: Act 3: Scene 2: Scène et choeur: Sombres divinités (Nourabad/Chorus/Zurga/Léïla/Nadir)
01:39:32 Les Pécheurs de Perles: Act 3: Scene 2: Trio: Ô lumière sainte (Léïla/Nadir/Zurga)
01:40:55 Les Pécheurs de Perles: Act 3: Scene 2: Final: Ce sont eux, les voici! (Zurga/Nadir/Léïla/Nourabad/Chorus)

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Composer & Artist:
Composers: Antonín Dvorák, Bedrich Smetana, Bohuslav Martinu, Leoš Janácek
Artists: Stamitz Quartet, Bohuslav Matoušek (first violin), Josef Kekula (second violin), Jan Peruška (viola), Vladimír Leixner (cello)

About this Album:
Those by Dvořák chart the evolution of his style, from his interest in Wagnerian music in the years prior to 1870 – String Quartet in D major – to the folk-infused works of his later life, such as the String Quartet in G major Op.106, and show the influence of his time in the United States, with the String Quartet in F Op.96 ‘American’. The quartets of Smetana have a distinctive neo-classical flavour while those of Janáček show strong links to his operatic works. Prolific composer Bohuslav Martinů composed six quartets, of which two were mislaid during the war. One of these, his fifth string quartet, is widely considered to be one of the most pivotal works in the composer’s oeuvre, written in 1938, a year of much upheaval in Martinů’s life. Many of the quartets in the collection hold an emotional dimension, all of which are exquisitely brought to life by the Stamitz Quartet.

Established in 1985, the Stamitz Quartet quickly became known as leading interpreters of Czech repertory. Winners of the 1986 National Broadcasting Union Competition in Salzburg, the Quartet’s rise to fame was meteoric; they have since participated in tours throughout Europe and America and undertaken a variety of recording projects, of which this collection is one.

Tracklist:
The tracklist can be found in the comments!

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Composer: Luigi Boccherini
Artists: La Magnifica Comunità
Enrico Casazza violin and concert master

About this Album:
Luigi Boccherini (1743–1805) is one of the major figures in 18th century music, and was close to both Haydn and Mozart. The young Austrian admired Boccherini’s music, and his string quintets in particular. Throughout his long career, Boccherini’s style was influenced by composers such as Nardini, Sammartini in his native Italy, Wagenseil and Monn from the Mannheim school, and forward looking composers from France such as Gossec. However, Boccherini was to base himself in Spain at the royal court, and found himself rather cut off from mainstream European musical trends. This caused him to develop his individual style – a mix of Spanish dance influences, and a smooth ‘Latin’ charm that led some commentators to remark that his music was effeminate, and in the words of one violinist Giuseppe Puppo, that he was ‘Haydn’s wife’. This is to miss the point of Boccherini’s style. Although less dramatic than either Haydn or Mozart, his music does have moments of explosive drama that appear all the more effective when bursting fortissimo from an otherwise calm movement. The harmonic shifts are also surprising and used to great effect. His music is sensuous, passionate and dramatic. The Op.39 Quintets date from 1787 when he was at the court of Friederich Wilhelm II in Berlin. These are important works that rank alongside the chamber music of his great Austrian contemporaries, and Boccherini deserves to be in their company.

Tracklist:
00:00:00 String Quintets Op.39, Quintet in B flat G337: I. Andante lento
00:04:32 String Quintets Op.39, Quintet in B flat G337: II. Allegro vivo – Tempo di minuetto – Tempo I
00:08:06 String Quintets Op.39, Quintet in B flat G337: III. Rondeau: Allegro ma non tanto – Tempo di minuetto – Tempo I
00:14:44 String Quintets Op.39, Quintet in F G338: I. Allegro vivo non presto
00:21:28 String Quintets Op.39, Quintet in F G338: II. Adagio non tanto
00:26:06 String Quintets Op.39, Quintet in F G338: III. Minuetto, Trio
00:29:24 String Quintets Op.39, Quintet in F G338: IV. Finale: Allegro vivo
00:34:38 String Quintets Op.39, Quintet in D G339: I. Allegro vivo
00:42:32 String Quintets Op.39, Quintet in D G339: II. Pastorale: Amoroso ma non lento
00:48:28 String Quintets Op.39, Quintet in D G339: III. Finale: Presto


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Valentina Levko was another in the glorious line of Russian 20th-century contraltos who in some ways defined the sound of Russian opera for ears, both Eastern and Western, which were often discovering the rich tradition of Russian opera for the first time through recordings. Levko's name, however, unlike compatriots such as Elena Obratzova, never travelled as far or as well. Committed to her contract at the Bolshoi, she spurned several opportunities to make a name for herself in the West, with the lucrative recording contracts that would surely have followed. And yet hers was, as this important set reveals, a voice and dramatic presence firmly in the mould of greats of the past such as Zara Dolukhanova.

This video contains the 7th volume of the complete Valentina Levko: Star of the Bolshoi box-set. To download and stream the complete album click here: https://brilliant-classics.lnk.to/StaroftheBolshoi

00:00:00 Alexei Verstovsky - The Little Bell (F. Glinka)
00:03:11 Mili Balakirev - Embrace me, kiss me (Koltsov)
00:05:47 Alexander Varlamov - I feel sorry for you
00:08:57 Alexander Varlamov - Oh, do not kiss me
00:10:30 Alexander Gurilyov - Girl’s Sorrow (Koltsov)
00:15:01 Pyotr Bulakhov - And this world has no eyes
00:17:15 Pyotr Bulakhov - Do not stir up memories (Davidov)
00:21:39 Alexander Diubiuk - Do not scold me (Razorenov)
00:25:34 Alexei Verstovsky - The Old Husband (Gipsy song after Pushkin)
00:27:56 Pyotr Bulakhov - Russian Carriage-and-Three (Viazemsky)
00:30:32 Alexander Varlamov - Red Sarafan (Tsyganov)
00:34:04 Song of Ilinichna (Music for a Tragedy by Nestor Kukolnik ‘Count Kholmski’)
00:35:57 Oh, if I had known (Gypsy Song – Dmitriev)
00:40:55 I loved him (Koltsov)
00:43:52 Reminder
00:49:48 I loved you (Pushkin)

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Composer: Béla Bartók
Artists: Thomas Zehetmair (violin) , Budapest Festival Orchestra, Ivan Fischer (conductor)

About this Album:
The composition dates of the two violin concertos by Hungarian composer, pianist and ethnomusicologist Béla Bartók are separated by thirty years and provide a snapshot of his creative process at vastly different points in his life.

The first concerto (1907–8) had a rare emotional relevance: it was dedicated to the violinist Stefi Geyer, the object of Bartók’s affections, and showcases different aspects of her personality. This two-movement work is reminiscent of the works of Strauss and Liszt. The lamenting theme of the first movement represents Bartók’s unrequited love for Stefi, whose theme is repeated with tonal variation. This is followed by a lively second movement, with brilliant sections of arpeggios and scales, as well as whimsical leaps.

The second concerto (1937) is from a time in the composer’s life when folk music had become a firm characteristic of his works, and explores more adventurous harmonies than the first. One of the great Classical and Romantic works, the neo-Classical concerto also contains elements of Baroque and Renaissance music, giving it an historical dimension. Highlights are the beautiful canon of the second-movement theme and the reappearance in the third movement of the theme from the first, this time in a rousing triple-time dance.

Internationally acclaimed violinist Thomas Zehetmair has enjoyed a remarkable career, performing and recording all over the world. He has also become equally sought-after as a conductor and is currently Musical Director of the Northern Sinfonia.

Tracklist:
00:00:00 Violin Concerto No. 1, BB 48a: I. Andante sostenuto
00:09:23 Violin Concerto No. 1, BB 48a: II. Allegro giocoso
00:21:34 Violin Concerto No. 2, BB 117: I. Allegro non troppo
00:36:35 Violin Concerto No. 2, BB 117: II. Andante tranquillo
00:45:56 Violin Concerto No. 2, BB 117: III. Allegro molto

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Composer: Archduke Rudolph of Austria
Artists: Luigi Magistrelli clarinet, Claudia Bracco (piano)

This fascinating disc brings together some real musical rarities: the unpublished clarinet works of Archduke Rudolph of Austria, a pianist and amateur composer who is best known for being a pupil and patron of Beethoven. In the early 19th century, Rudolph began taking piano and composition lessons with Beethoven; they became close friends and the Archduke went on to become the composer’s patron. Beethoven dedicated no fewer than 14 works to Rudolph – including some of his greatest masterpieces such as the ‘Emperor’ Concerto, the ‘Hammerklavier’ Sonata and the Missa solemnis – and the two men regularly exchanged letters.

The influence of the great composer on his friend and protégé is palpable in the charming works collected here, many of which have been reconstructed from surviving fragments following meticulous research by the artists. There are several works comprising variations on themes and operatic arias by Joseph Weigl, who was an eminent composer at the Viennese court at the time – Beethoven also used a theme from one of Weigl’s operas in his Op.11 Clarinet Trio. Also featured are some delightfully elegant waltzes, a lyrical Andante and brilliant (albeit incomplete) Polacca, and a set of variations – also on a theme by Weigl – for the unique combination of clarinet and two pianos.

Archduke Rudolph’s clarinet works are performed here by award-winning clarinettist Luigi Magistrelli, who has won golden opinions for his ‘warm and fluid tone’ and ‘excellent sense of phrasing’ (American Record Guide).

00:00:00 Sonata in B-Flat Major, Unfinished (Allegro)
00:02:59 Variations on a Theme by J. Weigl
00:16:47 Theme and Variations, Arrangement of the Original Incomplete Version for Clarinet and Orchestra
00:19:53 Introduction and Variations on a Theme by J. Weigl
00:31:39 Variations on a Theme by J. Weigl for Clarinet and Two Pianos
00:36:26 Sonata in B-Flat Major, Incomplete: I. Andante – Allegro
00:46:01 Sonata in B-Flat Major, Incomplete: II. Andante
00:50:32 Six Dances for Solo Clarinet: Dance No. 1 in E-Flat Major
00:51:19 Six Dances for Solo Clarinet: Dance No. 2 in E-Flat Major
00:52:08 Six Dances for Solo Clarinet: Dance No. 3 in E-Flat Major
00:52:55 Six Dances for Solo Clarinet: Dance No. 4 in B-Flat Major
00:53:41 Six Dances for Solo Clarinet: Dance No. 5 in F Major
00:54:26 Six Dances for Solo Clarinet: Dance No. 6 in F Major
00:55:13 Adagio and Polacca, Op. Posth.

This album contains a unique collection of American romantic piano music, presented by Piano Classics, a label of Brilliant Classics. Make sure to follow Piano Classics on Youtube!

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Composer: Arthur Foote
Artist: Artem Belogurov piano

A unique collection of American romantic piano music, written largely in the last third of the 19th century, by Foote, Whiting, Paine, Chadwick and Nevin. In a period where in Europe piano music was in the hands of towering virtuosos like Liszt, Anton Rubinstein and later Rachmaninoff, the American scene was notably less tormented, focusing on tone painting idyllic landscapes, rural scenes and charming dance forms.
These genre pieces share the same delightful characteristics as their European pendants by Dvorak, Mendelssohn, Grieg, Gade, Sinding and others.

Track list:
00:00:00 Suite No. 1 in D Minor, Op. 15: I. Prelude
00:02:48 Suite No. 1 in D Minor, Op. 15: II. Fugue
00:05:09 Suite No. 1 in D Minor, Op. 15: III. Romance
00:10:10 Suite No. 1 in D Minor, Op. 15: IV. Capriccio
00:13:37 Bagatelles: I. Caprice
00:16:21 Bagatelles: II. Humoreske
00:19:15 Bagatelles: III. Bagatelle
00:20:59 Bagatelles: IV. Idylle
00:23:44 3 Piano Pieces, Op. 41: III. Fuga giocosa
00:25:36 In the Country, Op. 26: I. Woodnotes
00:27:04 In the Country, Op. 26: II. Wayside Flowers
00:29:28 In the Country, Op. 26: IV. The Shepherd’s Lament
00:31:13 In the Country, Op. 26: V. Village Dance
00:32:38 In the Country, Op. 26: VII. The Mill
00:34:14 In the Country, Op. 26: X. Welcome Home
00:36:05 Five Pieces, F. 43: II. Dans le canot
00:39:58 Five Pieces, F. 43: V. Les grenouilles
00:46:20 Water Scenes, Op. 13: I. Dragon Fly
00:47:47 Water Scenes, Op. 13: II. Ophelia
00:51:12 Water Scenes, Op. 13: III. Water Nymph
00:53:54 Water Scenes, Op. 13: IV. Narcissus
00:56:44 Water Scenes, Op. 13: V. Barcarolle
01:01:10 Rhapsody in E Minor, Op. 21

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The first complete recording based on the new Curci edition of the famous 20 Studies of the Spanish composer Fernando Sor (1778 - 1839) selected by Andrés Segovia and edited by Angelo Gilardino. Completely revisited in the timbres and colors of high value music for six strings belonging to the classical repertoire and of great interest to students and professionals.
A complete and innovative reading, carried out thanks to 'urtext' version, the latter the result of a comparison of minunzioso sources. It follows a synoptic reading of the two versions from which emerge in a transparent way the nature of the work of Segovia and creative teaching of a classical author that he read and interpreted in the light of his aesthetics and his ideal.
Composer: Fernando Sor
Artist: Cristiano Porqueddu (guitar)

00:00:00 Studio Op.6 n.8 (I)
00:02:29 Esercizio Op.35 n.13 (II)
00:03:23 Studio Op.6 n.2 (III)
00:04:44 Studio Op.6 n.1 (IV)
00:06:08 Esercizio Op.35 n.22 (V)
00:09:03 Esercizio Op.35 n.17 (VI)
00:10:48 Lezione Op.31 n.21 (VII)
00:12:54 Lezione Op.31 n.16 (VIII)
00:15:12 Lezione Op.31 n.20 (IX)
00:16:17 Lezione Op.31 n.19 (X)
00:18:02 Studio Op.6 n.3 (XI)
00:19:40 Studio Op.6 n.6 (XII)
00:21:26 Studio Op.6 n.9 (XIII)
00:24:40 Studio Op.6 n.12 (XIV)
00:30:57 Esercizio Op.35 n.16 (XV)
00:32:42 Studio Op.29 n.3 (XVI)
00:35:07 Studio Op.6 n.11 (XVII)
00:38:51 Studio Op.29 n.22 (XVIII)
00:43:34 Studio Op.29 n.13 (XIX)
00:48:20 Studio Op.29 n.17 (XX)

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Composer: Franz Schubert
Artist: Diogenes Quartet

This release represents the final volume of the Diogenes Quartet’s integral recording of Schubert’s string quartets, spanning not only the composer’s well-known works but also the incomplete fragments, carefully reconstructed by Christian Starke. Schubert’s Quartet in G D887 came after the success of ‘Death and the Maiden’ and the ‘Rosamunde’ Quartet. It was his final work for string quartet; despite this, he struggled to get it published, and it was only performed for the first time posthumously. Even then, the quartet was not always well received, perhaps because it represented a departure from Schubert’s usual way of working with thematic material: for the first time, the theme in the first movement remains melodically the same, with the composer instead dramatically shifting the harmonic colouring underneath, allowing the theme to be revealed in different musical forms. While the slow second movement seems to follow a more traditional structure at first, it is soon interrupted with startling violent outbursts. The final movement is perhaps the most modern, as the individual voices tumble over each other in furious counterpoint, with barely a single note fulfilling a purely accompanying role.

Unlike the D887 quartet – one of Schubert’s most modern – the fragmentary movement D103 is one of the composer’s early works, probably started in 1814. Christian Starke’s completion features an additional transition in the reprise, which now begins with the opening gesture of the Allegro section, and allows the three expansive themes to be presented in a meaningful form.

The Diogenes Quartet are pleased to round off their complete recording of Schubert’s String Quartets, which represent years of careful musicianship and performances of the highest quality. The complete boxset is also available to buy (BC94468) and is the perfect addition to anyone wishing to fully explore the pleasing variety of Schubert’s music for quartet, which spanned his entire career.

This last recording in the Schubert Complete String Quartet cycle puts the crown upon a remarkable achievement by the German Diogenes Quartet, praised for its consistently high level of ensemble playing, full commitment and deep understanding of the composer’s dramatic language.
The CD ends with the famous Quartettsatz in C minor, an unfinished work, for this recording completed by musicologist and producer Christian Starke (who also wrote the excellent liner notes for the whole series).

00:00:00 String Quartet No. 15 in G Major, D. 887: I. Allegro molto moderato
00:22:46 String Quartet No. 15 in G Major, D. 887: II. Andante un poco moto
00:34:52 String Quartet No. 15 in G Major, D. 887: III. Scherzo. Allegro vivace – Trio. Allegretto 7’30
00:42:23 String Quartet No. 15 in G Major, D. 887: IV. Allegro assai
00:53:40 Movement for String Quartet in C Minor, D. 103: Grave – Allegro

Tracklist below.

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The piano is a beautiful instrument, and this special release brings together some of the most moving and romantic classics in the piano repertoire. With over two hours of this enchanting music to enjoy, sit back, relax and lose yourself in the timeless melodies of masters including Beethoven, Brahms, Chopin, Debussy, Liszt, Mendelssohn, Scarlatti, Schubert and Schumann. Savour the tender lyricism of Liszt’s famous ‘Liebestraum’, Debussy’s elegant Arabesques and evocative ‘Clair de lune’, the emotional drama of some of Beethoven’s best‐loved Adagios for the piano, and the beguiling melodies of Schubert’s Impromptus and Chopin’s ‘Raindrop’ Prelude – to name but a few of the many wonderful moments in this collection. These captivating piano works are performed by Misha Goldstein, who has made many acclaimed recordings for Brilliant Classics.
A fine selection of romantic piano pieces, for relaxing, chilling, dreaming. Enjoy!
The most famous and popular piano pieces ever written: Liebestraum (Liszt), Für Elise (Beethoven), Mondschein Adagio (Beethoven), Träumerei (Schumann), Consolation (Liszt), Lied ohne Worte (Mendelssohn), Rosamunde Impromptu (Schubert) and many more. Over two hours of classical favourites, played with a fine feeling for atmosphere and intimacy by the acclaimed pianist Misha Goldstein.

Artist: Misha Goldstein

Franz Liszt
00:00:00 Liebestraum, S. 541 No. 3
00:48:12 Consolation in E Major, S. 172
01:54:09 Consolation in D-Flat Major, S. 172

Felix Mendelssohn
00:04:36 Song without Words Op. 19b: No. 1, Andante con moto in E Major
00:34:55 Song without Words Op. 19b: No. 6, Venetian Gondola Song
00:57:14 Frühlingslied, Op. 62 No. 6

Frédéric Chopin
00:08:29 Nocturne in B-Flat Minor Op. 9 No. 1
02:05:25 Preludes, Op. 28: No. 15, Prelude in D-Flat Major "Raindrop"
02:10:13 Nocturne in E-Flat Major, Op. 9 No. 2

Franz Schubert
00:13:54 Impromptu in B-Flat Major Op. 142 No. 3 “Rosamunde”
00:28:22 Impromptu in A-Flat Major Op. 142 No. 2
01:03:43 Moment Musical in F Minor, Op. 90 No. 4
01:12:59 Klavierstück in E-Flat Major D. 946 No. 2
01:37:00 Impromptu in G-Flat Major Op. 90 No. 3

Johannes Brahms
00:25:49 Intermezzo in B-Flat Major Op. 76 No. 4
00:37:59 Intermezzo in E-Flat Major Op. 117 No. 1
00:43:20 Intermezzo in B-Flat Minor Op. 117 No. 2
01:24:07 Intermezzo in A Major Op. 118 No. 2

Ludwig van Beethoven
00:51:33 Piano Sonata in C-Sharp Major, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto
01:05:23 Sonate Pathetique, Op. 13: II. Adagio
01:10:07 Bagatelle in A Minor, WoO 59 "Für Elise"

Claude debussy
00:59:33 Arabesque No. 1, L. 66
01:30:30 Arabesque No. 2, L. 66
01:42:15 Rêverie, L. 68
01:57:15 Suite Bergamasque, L. 75: III. Clair de Lune

Robert Schumann
01:33:35 Fantasiestücke Op. 12: No. 1, Des Abends
01:45:49 Romanze in F-Sharp Major Op. 28 No. 2
02:02:14 Kinderszenen, Op. 15: No. 7, Träumerei in F Major

Domenico Scarlatti
01:49:21 Sonate in B Minor, Kk. 27

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Composer: Arcangelo Corelli
Artists: Rémy Baudet violin
Jaap ter Linden cello
Mike Fentross theorbo & guitar
Pieter-Jan Belder harpsichord


Tracklist:
00:00:00 Violin Sonata No. 1 in D Major, Op. 5: I. Grave – Allegro
00:03:08 Violin Sonata No. 1 in D Major, Op. 5: II. Allegro
00:05:31 Violin Sonata No. 1 in D Major, Op. 5: III. Allegro
00:06:36 Violin Sonata No. 1 in D Major, Op. 5: IV. Adagio
00:09:10 Violin Sonata No. 1 in D Major, Op. 5: V. Allegro
00:10:49 Violin Sonata No. 2 in B-Flat Major, Op. 5: I. Grave
00:13:32 Violin Sonata No. 2 in B-Flat Major, Op. 5: II. Allegro
00:15:49 Violin Sonata No. 2 in B-Flat Major, Op. 5: III. Vivace
00:17:04 Violin Sonata No. 2 in B-Flat Major, Op. 5: IV. Adagio
00:19:43 Violin Sonata No. 2 in B-Flat Major, Op. 5: V. Vivace
00:21:04 Violin Sonata No. 3 in C Major, Op. 5: I. Adagio
00:23:39 Violin Sonata No. 3 in C Major, Op. 5: II. Allegro
00:25:48 Violin Sonata No. 3 in C Major, Op. 5: III. Adagio
00:28:43 Violin Sonata No. 3 in C Major, Op. 5: IV. Allegro
00:29:46 Violin Sonata No. 3 in C Major, Op. 5: V. Allegro
00:32:19 Violin Sonata No. 4 in F Major, Op. 5: I. Adagio
00:34:18 Violin Sonata No. 4 in F Major, Op. 5: II. Allegro
00:36:46 Violin Sonata No. 4 in F Major, Op. 5: III. Vivace
00:38:00 Violin Sonata No. 4 in F Major, Op. 5: IV. Adagio
00:40:09 Violin Sonata No. 4 in F Major, Op. 5: V. Allegro
00:42:40 Violin Sonata No. 5 in G Minor, Op. 5: I. Adagio
00:45:23 Violin Sonata No. 5 in G Minor, Op. 5: II. Vivace
00:47:29 Violin Sonata No. 5 in G Minor, Op. 5: III. Adagio
00:49:36 Violin Sonata No. 5 in G Minor, Op. 5: IV. Vivace
00:51:15 Violin Sonata No. 5 in G Minor, Op. 5: V. Giga. Allegro
00:53:07 Violin Sonata No. 6 in A Major, Op. 5: I. Grave
00:55:41 Violin Sonata No. 6 in A Major, Op. 5: II. Allegro
00:58:03 Violin Sonata No. 6 in A Major, Op. 5: III. Allegro
00:59:10 Violin Sonata No. 6 in A Major, Op. 5: IV. Adagio
01:01:16 Violin Sonata No. 6 in A Major, Op. 5: V. Allegro
01:03:34 Violin Sonata No. 7 in D Minor, Op. 5: I. Preludio. Vivace
01:05:30 Violin Sonata No. 7 in D Minor, Op. 5: II. Corrente. Allegro
01:08:13 Violin Sonata No. 7 in D Minor, Op. 5: III. Sarabande. Largo
01:10:01 Violin Sonata No. 7 in D Minor, Op. 5: IV. Giga. Allegro
01:12:07 Violin Sonata No. 8 in E Minor, Op. 5: I. Preludio. Largo
01:15:47 Violin Sonata No. 8 in E Minor, Op. 5: II. Allemanda. Allegro
01:17:47 Violin Sonata No. 8 in E Minor, Op. 5: III. Sarabanda. Largo
01:20:22 Violin Sonata No. 8 in E Minor, Op. 5: IV. Giga. Allegro
01:22:24 Violin Sonata No. 9 in A Major, Op. 5: I. Preludio. Largo
01:26:10 Violin Sonata No. 9 in A Major, Op. 5: II. Giga. Allegro
01:29:10 Violin Sonata No. 9 in A Major, Op. 5: III. Adagio
01:29:41 Violin Sonata No. 9 in A Major, Op. 5: IV. Tempo di gavotte. Allegro
01:32:04 Violin Sonata No. 10 in F Major, Op. 5: I. Preludio. Adagio
01:33:48 Violin Sonata No. 10 in F Major, Op. 5: II. Allemanda. Allegro
01:36:01 Violin Sonata No. 10 in F Major, Op. 5: III. Sarabanda. Largo
01:38:02 Violin Sonata No. 10 in F Major, Op. 5: IV. Gavotta. Allegro
01:38:48 Violin Sonata No. 10 in F Major, Op. 5: V. Giga. Allegro
01:41:00 Violin Sonata No. 11 in E Major, Op. 5: I. Preludio. Adagio
01:42:51 Violin Sonata No. 11 in E Major, Op. 5: II. Allegro
01:45:37 Violin Sonata No. 11 in E Major, Op. 5: III. Adagio
01:46:16 Violin Sonata No. 11 in E Major, Op. 5: IV. Vivace
01:48:12 Violin Sonata No. 11 in E Major, Op. 5: V. Gavotta. Allegro
01:48:54 Violin Sonata No. 12 in D Minor, Op. 5 la folia


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Composer & Artist:
Composer: Johann Wilhelm Hässler
Artists: Michele Benuzzi (harpsichord)



About this Album:
Johann Wilhelm Hässler’s keyboard works occupy a fascinating position in the history of music. Although the composer was a harpsichord virtuoso in the late 18th century, just as his instrument was beginning to fall out of favour with composers and performers as the piano increased in popularity, Hässler’s music was not hopelessly old-fashioned. He was a successful pianist and organist, and a great admirer of C.P.E. Bach who he had met several times. He undertook many concert tours throughout Europe, and was able to publish a large quantity of music during his lifetime. The works heard in this collection can, in fact, be understood as a bridge between the Baroque composers who preceded him and the Classical and early-Romantic era that followed, drawing on a range of contrasting styles to create music of great drama, complexity and even theatricality.

The music heard on this new recording is particularly rare; it is found only in anonymous manuscripts and has previously been misattributed to W.F. Bach. As such, Michele Benuzzi’s thoroughly researched performances are an excellent opportunity to hear repertoire that will be unfamiliar to many listeners.

Tracklist:
00:00:00 Fantasia in C Minor (Leipzig, 1776)
00:05:23 Sonata in D (Leipzig, 1776): I. Allegro di Molto
00:10:30 Sonata in D (Leipzig, 1776): II. Andante
00:16:16 Sonata in D (Leipzig, 1776): III. Con Brio
00:18:38 Fantasia in A (Leipzig, 1779)
00:25:19 Sonata in A (Leipzig, 1779): I. [Moderato]
00:29:48 Sonata in A (Leipzig, 1779): II. Adagio
00:31:46 Sonata in A (Leipzig, 1779): III. Scherzo-Allegro
00:35:50 Fantasia in D (Leipzig, 1786)
00:40:40 Sonata in D Minor (Leipzig, 1779): I. [Allegro]
00:41:49 Sonata in D Minor (Leipzig, 1779): II. Arioso
00:43:33 Sonata in D Minor (Leipzig, 1779): III. Presto
00:49:05 Fantasia in C (Erfurt, 1782)
00:50:58 Rondeau in C (Leipzig, 1779)
00:53:05 Ariette mit einigen Veräderungen (Leipzig, 1786): ‘Der Demoisel Scherniß in Erfurth zugeeignet’
00:55:40 Fantasia in E Minor (Moscow, 1803)
00:57:15 Sonata in A Minor (Leipzig, 1776): I. Poco allegro
00:59:36 Sonata in A Minor (Leipzig, 1776): II. Largo
01:01:22 Sonata in A Minor (Leipzig, 1776): III. Presto


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Composer: Richard Wagner
Artists: René Kollo (tenor), Ulrik Cold (bass), Theo Adam (bass),Gisela Schröter (contralto), Reid Bunger (baritone), Fred Teschler (bass), Rundfunkchor Leipzig, Rundfunkchor Berlin, Thomanerchor Leipzig, Rundfunk-Sinfonie-Orchester Leipzig, Herbert Kegel (conductor)

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Wagner’s most elusive and enigmatic opera, Parsifal has given scholars much to think about it since its premiere in 1882. A cryptic mixture of Christian, pagan and oriental elements, as well as containing some nods to the 19th-century writings of Schopenhauer, the opera follows the medieval legend of the knights of the Holy Grail. With their leader Amfortas gravely injured, the Knights are in trouble, and turn to the unlikely hero Parsifal to steal back the holy spear Amfortas possessed when he was seduced and stabbed by Klingsor, an embittered ex-knight. On the way, Parsifal must battle the temptations of the flower maidens and the manipulative Kundry – this in addition to him discovering more about his own past. Wagner’s last opera, Parsifal deals centrally with the theme of Mitleid, or compassion, a redemptive quality that is underlined by Wagner’s gloriously sublime score.

Featuring a stellar cast, this production was originally released in 1978 and has certainly stood the test of time. René Kollo takes the main role in a release that was lauded by Gramophone for its ‘highly distinguished’ singing and conducting ‘unusual in its swiftness and dramatic candour’. With a first-class supporting cast that includes Gisela Schröter as the devious Kundry and Theo Adam as the despairing Amfortas, this Parsifal marks a wonderful tribute to Wagner’s work of intense humanity.

This reissue of the 1975 live recording of Wagner’s Parsifal features a stellar cast: the great René Kollo in the title role, further Theo Adam, Gisela Schröter and Ulrik Cold, and the splendid Rundfunk-Sinfonie-Orchester Leipzig, conducted by Herbert Kegel, a specialist in late romantic repertoire.
First issued on Berlin Classics this historic recording received high praise for its “unusual swiftness and dramatic candour” (Gramophone) and the “highly distinguished” title role of Rene Kollo.

The tracklist can be found in the comments section below!

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Bartok’s assessment of Zoltán Kodály’s music as “the most perfect embodiment of the Hungarian spirit” will strike a chord with those familiar with the suite from his opera Háry János, the Dances of Galanta or indeed the works for cello which moved the instrument on from the Romantic idiom of Brahms, and at the same time looked backwards to the dancing elegance of Bach’s solo Suites.

He had taught himself to play the cello to a reasonable standard (also the violin and viola) and while, as he freely admitted, not a natural virtuoso, he had a feeling for the instrument which is obvious in his writing. The Adagio was his first published work, dating from 1905 and originally written for violin and piano: still broadly Romantic in idiom, and unaffected as yet by his work in collecting folk songs from the countries of south-eastern Europe which would decisively influence his mature idiom.

Composer: Zoltán Kodály
Artist: István Várdai (cello)
Klara Würtz (piano)

00:00:00 Sonata for Cello in B Minor, Op. 8: I. Allegro maestoso ma appassionato
00:09:16 Sonata for Cello in B Minor, Op. 8: II. Adagio con gran espressione
00:20:46 Sonata for Cello in B Minor, Op. 8: III. Allegro molto vivace
00:32:26 Sonatina for Cello and Piano
00:41:12 Capriccio for Cello Solo
00:46:07 Adagio for Cello and Piano
00:53:55 Sonata, Op. 4: I. Fantasia
01:01:31 Sonata, Op. 4: II. Allegro con spirit

This is part 1 of the first and only Complete Locatelli Edition ever!
Locatelli, like many of his contemporaries, moved abroad and settled in Amsterdam/The Netherlands, concertising as a violinist (and a “devil” he was as a performer!), and founding a flourishing publishing house.

Locatelli composed in the tradition of the Italian Baroque, in the well known forms of the Concerto Grosso, Solo Concerto and Trio Sonata. His style is inventive, flamboyant, and extremely virtuoso. His violin sonatas and concertos still present a daunting challenge even to today’s violinists.

Pietro Antonio Locatelli was one of the most important composers of the Baroque period, being a particularly celebrated composer of violin repertoire. His collection L’arte del violino contains 12 violin concertos with 24 caprices in the first and last movement of each, allowing for astonishing displays of virtuosity.

Composer: Pietro Antonio Locatelli
Artist: Various artists

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The tracklist can be found in the comments!

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The perfect starting point for exploring Romantic piano music. It features historic recordings of a truly excellent standard, including Blumental with the Vienna Symphony Orchestra under Helmuth Froschauer, the Orchestra of Radio Luxembourg with Pierre Cao accompanying French pianist Dosse, Boehm with the Westphalian Symphony Orchestra under Siegfried Landau, and Antal Doráti conducting the Royal Philharmonic Orchestra with Ilse von Alpenheim.

This 40 CD set contains a wealth of 19th century piano concertos written by composers who for some reason or other have been neglected by history, so called “minor masters” who may have lost the battle against the giants but nevertheless wrote very attractive, impressive and brilliant concertos for the piano (which in many cases was “their” instrument).

To name just a few: Hummel, Field, Czerny, Cxramer, Ries, Clementi, Thalberg, Moscheles, Litolff, Kalkbrenner, Lyapunov, Balakirev, Medtner, Glazunov, Henselt, Moszkowski, Scharwenka and many more, over 60 composers!
Most of the recordings come from the rich and unique VOX catalogue, featuring such excellent pianists as Michael Ponti, Felicja Blumenthal, Hans Kann, Martin Galling, Jerome Rose, Roland Keller and many more.

Nikolai Medtner:
00:00:00 Piano Concerto No. 3 in E Minor, Op. 60: I. Con moto, largamente
00:12:35 Piano Concerto No. 3 in E Minor, Op. 60: II. Interludium. Allegro molto sostenuto, misterioso, III. Finale. Allegro molto

Mili Balakirev:
00:30:18 Piano Concerto No. 2 in E-Flat Major: I. Allegro non troppo
00:43:30 Piano Concerto No. 2 in E-Flat Major: II. Adagio, III. Allegro risoluto

Sergei Lyapunov:
01:01:58 Rhapsody on Ukrainian Themes, Op. 28

Édouard Lalo:
01:18:22 Piano Concerto in F Minor: I. Lento – Allegro
01:30:19 Piano Concerto in F Minor: II. Lento
01:37:14 Piano Concerto in F Minor: III. Allegro

Alexander Glazunov:
01:43:34 Piano Concerto No. 2 in B Major, Op. 100

George Jacob Gershovitz Gershwin:
02:03:00 Piano Concerto in F Major: I. Allegro
02:15:44 Piano Concerto in F Major: II. Andante con moto
02:26:58 Piano Concerto in F Major: III. Allegro agitato

Samuel Barber:
02:34:04 Piano Concerto Op. 38: I. Allegro appassionato
02:48:33 Piano Concerto Op. 38: II. Canzone. Moderato
02:56:22 Piano Concerto Op. 38: III. Allegro molto


Edward MacDowell
03:02:40 Piano Concerto No. 2 in D Minor, Op. 23: I. Larghetto calmato
03:14:46 Piano Concerto No. 2 in D Minor, Op. 23: II. Presto giocoso
03:19:40 Piano Concerto No. 2 in D Minor, Op. 23: III. Largo – Molto allegro

Amy Beach:
03:27:11 Piano Concerto in C-Sharp Minor, Op. 45: I. Allegro moderato
03:44:27 Piano Concerto in C-Sharp Minor, Op. 45: II. Scherzo. Vivace
03:49:56 Piano Concerto in C-Sharp Minor, Op. 45: III. Largo
03:54:14 Piano Concerto in C-Sharp Minor, Op. 45: IV. Allegro con scioltezza

A worthy tribute to Beethoven, the genius, the human, whose motto was:
“Vom Herzen, möge es wieder zu Herzen gehn!”(From the heart, may it go into the hearts again!).

The first 27 tracks of the Beethoven Edition! For the complete 104 tracks (13 hours of Music!), check the following links:

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Composer: Ludwig van Beethoven
Artist: Staatskapelle Dresden & Herbert Blomstedt

00:00:00 Symphony No. 1 in C Major, Op. 21: I. Adagio molto - Allegro con brio
00:09:03 Symphony No. 1 in C Major, Op. 21: II. Andante cantabile con moto
00:17:36 Symphony No. 1 in C Major, Op. 21: III. Menuetto & Trio. Allegro molto e vivace
00:21:02 Symphony No. 1 in C Major, Op. 21: IV. Finale. Adagio - Allegro molto e vivace
00:27:21 Symphony No. 3 in E-Flat Major, Op. 55: I. Allegro con brio
00:42:24 Symphony No. 3 in E-Flat Major, Op. 55: II. Marcia funebre. Adagio assai
00:59:12 Symphony No. 3 in E-Flat Major, Op. 55: III. Scherzo & Trio. Allegro vivace
01:05:01 Symphony No. 3 in E-Flat Major, Op. 55: IV. Allegro molto - Poco andante – Presto
01:16:50 Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio
01:24:56 Symphony No. 5 in C Minor, Op. 67: II. Andante con moto
01:36:18 Symphony No. 5 in C Minor, Op. 67: III. Allegro
01:45:11 Symphony No. 5 in C Minor, Op. 67: IV. Allegro – Presto
01:54:14 Symphony No. 6 in F Major, Op. 68: I. Allegro ma non troppo
02:03:45 Symphony No. 6 in F Major, Op. 68: II. Andante molto mosso
02:16:26 Symphony No. 6 in F Major, Op. 68: III. Allegro - Sempre più stretto - In tempo d'allegro - Tempo I – Presto
02:03:45 Symphony No. 6 in F Major, Op. 68: IV. Allegro
02:22:10 Symphony No. 6 in F Major, Op. 68: V. Allegretto
02:25:23 Symphony No. 9 in D Minor, Op. 125: I. Allegro ma non troppo, un poco maestoso
02:35:44 Symphony No. 9 in D Minor, Op. 125: II. Molto vivace – Presto
02:52:39 Symphony No. 9 in D Minor, Op. 125: III. Adagio molto e cantabile - Andante moderato - Tempo I - Andante moderato - Adagio - Lo stesso tempo
03:06:27 Symphony No. 9 in D Minor, Op. 125: IV. Presto - Allegro assai - Presto - Recitativo - Allegro assai

Artist:
Brendel Alfred

03:48:01 Piano Concerto No. 3 in C Minor, Op. 37: I. Allegro con brio
04:03:06 Piano Concerto No. 3 in C Minor, Op. 37: II. Largo
04:13:18 Piano Concerto No. 3 in C Minor, Op. 37: III. Rondo
04:22:33 Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": I. Allegro moderato
04:42:32 Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": II. Adagio un poco mosso
04:51:05 Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": III. Rondo. Allegro

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Composer: Johann Sebastian Bach
Artists: Chamber Choir of Europe,
Nicol Matt conductor

About this Album:
Here perhaps is the very heart of Bach; a very palpable demonstration of his heritage and impact. Bach revered his forebears, while at the same time wishing to renew their legacy – both that of his own, already notable Bach family and of their musical contemporaries – and leave a mark on posterity. His endless inventiveness in taking the old hymn tunes devised in the generations before him, and clothing them in rich and strange harmonies, each one tailored to the specific text and mood of its content, creates a box of small wonders

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