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Composer and Artists:
Composer: Franz Liszt
Artist: Vanessa Benelli-Mosell

About this Album:
This new Liszt disc is structured after the fashion of a recital such as the composer himself might have given; with shorter and lighter items sprinkled among unabashed showpieces, and in the centre, an exploration of the composer’s complex relationship with his homeland expressed through native melodies and dances transmuted into new forms through the fantasymedium of the Hungarian Rhaposody. To finish, the fireworks of the Grand galop chromatique, beloved of Cziffra, Bolet and others in whose pianistic footsteps Vanessa Benelli Mosell dances with abandon.

Tracklist:
00:00:00 Valse Impromptu, S. 213 (1842–c.1850)
00:06:36 Capriccio alla Turca S. 388 on themes from Beethoven’s Die Ruinen von Athen (1846)
00:15:48 La Leggierezza, etude de concert in F Minor, S. 144 No. 2 (c.1848)
00:20:43 Hungarian Rhapsodies, S. 244 (1847): No. 6 in D-Flat
00:27:13 Hungarian Rhapsodies, S. 244 (1847): No. 10 in E
00:32:51 Hungarian Rhapsodies, S. 244 (1847): No. 11 in A Minor
00:38:53 Hungarian Rhapsodies, S. 244 (1847): No. 12 in C-Sharp Minor
00:48:47 Liebestraum in A-Flat, S. 541 No. 3 (1847–1850)
00:53:33 Galop Russe, S. 478i after Bulhakov (1843)
00:56:42 La Danze, S. 424 No. 9 from Rossini’s Soirées musicales (1837)
01:01:06 Grand Galop Chromatique, S. 219 (1838)

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Liszt #Recital

Composer: J.S Bach

Artist:
Pieter-Jan Belder harpsichord
Christine Schornsheim harpsichord
Musica Amphion
Neues Bachisches Collegium Musicum
Netherlands Bach Ensemble

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00:00:00 Concerto for 2 Harpsichords in C Major, BWV 1061: I. —
00:06:58 Concerto for 2 Harpsichords in C Major, BWV 1061: II. Adagio ovvero largo
00:12:08 Concerto for 2 Harpsichords in C Major, BWV 1061: III. Fugue
00:17:49 Concerto for 2 Harpsichords in C Minor, BWV 1062: I. —
00:21:29 Concerto for 2 Harpsichords in C Minor, BWV 1062: II. Andante
00:27:12 Concerto for 2 Harpsichords in C Minor, BWV 1062: III. Allegro assai
00:31:44 Concerto for 3 Harpsichords in D Minor, BWV 1063: I. —
00:36:30 Concerto for 3 Harpsichords in D Minor, BWV 1063: II. Alla siciliana
00:40:17 Concerto for 3 Harpsichords in D Minor, BWV 1063: III. Allegro
00:45:09 Concerto for 3 Harpsichords in C Major, BWV 1064: I. —
00:51:14 Concerto for 3 Harpsichords in C Major, BWV 1064: II. Adagio
00:56:32 Concerto for 3 Harpsichords in C Major, BWV 1064: III. Allegro
01:01:03 Concerto for Flute, Violin and Harpsichord in A Minor, BWV 1044: I. Allegro
01:09:58 Concerto for Flute, Violin and Harpsichord in A Minor, BWV 1044: II. Adagio
01:15:59 Concerto for Flute, Violin and Harpsichord in A Minor, BWV 1044: III. Alla breve
01:23:37 Oboe Concerto in A Major, BWV 1055: I. Allegro
01:28:41 Oboe Concerto in A Major, BWV 1055: II. Larghetto
01:34:29 Oboe Concerto in A Major, BWV 1055: III. Allegro ma non tanto
01:38:14 Concerto for 3 Violins in D Major, BWV 1064: I. Allegro
01:44:07 Concerto for 3 Violins in D Major, BWV 1064: II. Adagio
01:49:18 Concerto for 3 Violins in D Major, BWV 1064: III. Allegro
01:53:33 Oboe Concerto in F Major, BWV 1053: I. Allegro
02:00:48 Oboe Concerto in F Major, BWV 1053: II. Siciliano
02:05:42 Oboe Concerto in F Major, BWV 1053: III. Allegro
02:11:36 Oboe d’amore Concerto in A Major, BWV 1055R: I. Allegro
02:15:49 Oboe d’amore Concerto in A Major, BWV 1055R: II. Larghetto
02:19:51 Oboe d’amore Concerto in A Major, BWV 1055R: III. Allegro ma non tanto
02:24:26 Oboe Concerto in G Minor, BWV 1056R: I. Allegro
02:27:41 Oboe Concerto in G Minor, BWV 1056R: II. Largo
02:30:03 Oboe Concerto in G Minor, BWV 1056R: III. Presto
02:33:29 Concerto for Oboe d’amore in G Major: I. [Bass aria] (from BWV 100)
02:36:53 Concerto for Oboe d’amore in G Major: II. [Alto aria] (from BWV 170)
02:43:09 Concerto for Oboe d’amore in G Major: III. [Bass aria] (from BWV 30)
02:47:26 Concerto for Oboe and Violin in C Minor, BWV 1060R: I. Allegro
02:51:49 Concerto for Oboe and Violin in C Minor, BWV 1060R: II. Adagio
02:56:03 Concerto for Oboe and Violin in C Minor, BWV 1060R: III. Allegro
02:59:14 Harpichord Concerto in D Minor, BWV 1052: I. Allegro
03:06:54 Harpichord Concerto in D Minor, BWV 1052: II. Adagio
03:14:21 Harpichord Concerto in D Minor, BWV 1052: III. Allegro
03:22:23 Harpsichord Concerto in D Minor, BWV 1059: I. —
03:28:31 Harpsichord Concerto in D Minor, BWV 1059: II.
03:33:44 Harpsichord Concerto in D Minor, BWV 1059: III. Presto
03:37:12 Concerto for viola da braccio in G Major, BWV 1055: I. Allegro
03:41:34 Concerto for viola da braccio in G Major, BWV 1055: II. Larghetto
03:46:59 Concerto for viola da braccio in G Major, BWV 1055: III. Allegro ma non tanto
03:51:31 Concerto for Three Violins in D Major, BWV 1064R: I. Allegro
03:58:02 Concerto for Three Violins in D Major, BWV 1064R: II. Adagio
04:03:41 Concerto for Three Violins in D Major, BWV 1064R: III. Allegro

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Composer: Franz Liszt
Artist: Various artists

Franz Liszt is universally celebrated as one of the greatest-ever virtuoso performers on the modern piano. Contemporary accounts describe his seemingly superhuman technical abilities and equally striking charisma and stage presence. Yet Liszt was a formidable composer, and his expansion of pianistic possibilities was achieved as much through innovation in his own great piano works as through his astonishing performance on the instrument, if not more. Like many child virtuosos thrust early into busy concert careers (Liszt’s began at the age of nine) he retired early, weary of the spotlight, turning his back on the stage at the remarkably early age of 35. Since he lived to the likewise remarkable old age of 75, much more than the latter half of his life was devoted solely to composition, and having been a pianist of his calibre, the works he created for his own instrument were indeed groundbreaking.
Tracklist Below:
00:00:00 Années de pèlerinage II, S.161: I. Sposalizio
00:07:04 Années de pèlerinage II, S.161: II. Il penseroso
00:11:08 Années de pèlerinage II, S.161: III. Canzonetta del Salvator Rosa
00:13:58 Années de pèlerinage II, S.161: IV. Sonetto 47 del Petrarca
00:19:14 Années de pèlerinage II, S.161: V. Sonetto 104 del Petrarca
00:25:31 Années de pèlerinage II, S.161: VI. Sonetto 123 del Petrarca
00:32:45 Années de pèlerinage II, S.161: VII. Après une lecture du Dante
00:49:14 Piano Sonata in B Minor, S.178
01:20:44 Soirées de Vienne, S.427: VI. Allegro con strepito in A Minor
01:27:47 En rêve, S.207
01:29:51 Mephisto Waltz No. 3, S.216
01:38:01 Bagatelle sans tonalité, S.216a
01:40:48 Trübe Wolken, S.199
01:43:44 Études d’exécution transcendante, S.139: I. Preludio
01:44:45 Études d’exécution transcendante, S.139: II. Molto Vivace
01:46:56 Études d’exécution transcendante, S.139: III. Paysage
01:52:44 Études d’exécution transcendante, S.139: IV. Mazeppa
02:00:49 Études d’exécution transcendante, S.139: V. Feux-follets
02:04:52 Études d’exécution transcendante, S.139: VI. Vision
02:11:16 Études d’exécution transcendante, S.139: VII. Eroica
02:16:31 Études d’exécution transcendante, S.139: VIII. Wilde Jagd
02:22:06 Études d’exécution transcendante, S.139: IX. Ricordanza
02:33:46 Études d’exécution transcendante, S.139: X. Allegro agitato molto
02:38:48 Études d’exécution transcendante, S.139: XI. Harmonies du soir
02:48:29 Études d’exécution transcendante, S.139: XII. Chasse-neige

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Composer: Egidio Romualdo Duni
Artist: Accademia d'Arcadia, Roberto Balconi director, Agnieszka Budzińska-Bennet soprano, Maciej Straburzyński baritone, Łukasz Wilda tenor

Les deux chasseurs et la laitière (The two hunters and the milkmaid) is an opéra-comique first performed at the Théâtre Italien in July 1763, and repeated many times there as well as attracting stagings across Europe for the following half-century, when the fashion for such light entertainment was supplanted by younger and better-known contemporaries from Mozart to Rossini.

The composer in this case is Egidio Romualdo Duni (1708-1775), originally educated within the Neapolitan school of composers. As a court composer in Parma he produced several Italian operas such as Olimpiade and La buona figliola, still awaiting modern revival. His move to Paris in 1757 proved decisive, and four years later he became music director of the Théâtre Italien, where he produced many light operas such as this example, which is as unfailingly charming and humorous as it is now little known.

Tracklist:
00:00:00 Les deux chasseurs et la latière: Introduction. Allegro assai
00:03:16 Les deux chasseurs et la latière, Scène I: Ariette – Colas. Je suis percé jusq’aux os
00:06:10 Les deux chasseurs et la latière, Scène II: Ariette – Guillot. Tant qu’il me reste
00:07:55 Les deux chasseurs et la latière, Scène II: Duo - Guillot & Colas. Eh! Bien, Colas? ... Eh! Bien, guillot?
00:09:55 Les deux chasseurs et la latière, Scène III: Ariette – Guillot. Le briquet frappe la pierre
00:12:22 Les deux chasseurs et la latière, Scène IV: Ariette – Perrette. Voilà la petite Laitière
00:15:32 Les deux chasseurs et la latière, Scène IV: Ariette – Guillot. Si vous trouvez dans la plaine
00:17:23 Les deux chasseurs et la latière, Scène IV: Duo - Guillot & Perrette. Quand je trouve à l’écart... Telle qu’une perdrix
00:20:07 Les deux chasseurs et la latière, Scène IV: Ariette – Perrette. Voici tout mon projet
00:22:04 Les deux chasseurs et la latière, Scène V: Ariette – Guillot. Jeune fille à cet âge
00:24:09 Les deux chasseurs et la latière, Scène VIII: Ariette – Perrette. Hélas! J’ai repandu mon lait
00:26:53 Les deux chasseurs et la latière, Scène IX: Trio - Colas, Guillot & Perrette. Je tombe ... La masure… Quelle aventure!
00:28:15 Les deux chasseurs et la latière, Scène IX: Ariette – Perrette. Tu promets de me rendre heureuse
00:30:00 Vaudeville: Vaudeville – Colas, Guillot & Perrette. J’étois gisant à cette place
00:34:34 Vaudeville: Choeur – Colas, guillot & perrette. Ain si le sort, un tems, nous berce
00:35:49 Michal Orlowski Second Half of the 18th Century Sinfonia in F Major: I. Allegro
00:44:27 Michal Orlowski Second Half of the 18th Century Sinfonia in F Major: II. Andante, rondo
00:48:57 Michal Orlowski Second Half of the 18th Century Sinfonia in F Major: III. Allegro, rondo

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The master of the piano must surely be Frédéric Chopin. Every one of his compositions includes the piano in some form, yet within his oeuvre there is still an exciting variety of music to be found. Chopin made the solo piano form into an art, extensively developing various styles – including the piano sonata, waltz, polonaise and impromptu – and heavily popularising others for the first time, such as the Polish mazurka, the form he often chose to express his nationalism. Chopin straddled the divide between the Classical and Romantic worlds, and the changes that took place in his writing is clear to see on an authoritative edition such as this one. His masterful études remain less virtuosic than those of his contemporaries, such as Liszt; the emphasis is still on the technical aspect, and they reveal Chopin’s supreme talent for the piano, as a performer as well as a composer. His waltzes were the first to move away from pieces composed for dancing; rather, they were designed to be performed in salons, and therefore gave the potential for a faster tempo and freer sense of rhythm. Never fading from popularity, Chopin has long been regarded as a symbol of Romanticism, appreciated both in his own lifetime and in the years since his death.

Composer : Frédéric Chopin

00:00:00 Piano Concerto No. 1 in E Minor, Op. 11: I. Allegro maestoso
00:19:49 Piano Concerto No. 1 in E Minor, Op. 11: II. Larghetto
00:29:19 Piano Concerto No. 1 in E Minor, Op. 11: III. Rondo. Vivace
00:39:54 Piano Concerto No. 2 in F Minor, Op. 21: I. Maestoso
00:54:05 Piano Concerto No. 2 in F Minor, Op. 21: II. Larghetto
01:03:34 Piano Concerto No. 2 in F Minor, Op. 21: III. Allegro vivace
01:12:07 Variations on “Là ci darem la mano” in B-Flat Major, Op. 2
01:27:34 Grande fantaisie sur des airs polonais in A Major, Op. 13
01:41:05 Krakowiak in F Major, Op. 14
01:55:28 Andante spianato and grande polonaise in E-Flat Major, Op. 22
02:08:56 Cello sonata in G Minor, Op. 65: I. Allegro moderato
02:23:14 Cello sonata in G Minor, Op. 65: II. Scherzo. Allegro con brio
02:28:01 Cello sonata in G Minor, Op. 65: III. Largo
02:31:21 Cello sonata in G Minor, Op. 65: IV. Finale. Allegro
02:37:34 Grand duo concertant sur des thèmes de Robert Le Diable in E Major, B. 70
02:50:25 Introduction and polonaise brillante in C Major, Op. 3
02:59:36 Piano Trio in G Minor, Op. 8: I. Allegro con fuoco
03:10:31 Piano Trio in G Minor, Op. 8: II. Scherzo. Con moto, ma non troppo
03:17:18 Piano Trio in G Minor, Op. 8: III. Adagio sostenuto
03:23:24 Piano Trio in G Minor, Op. 8: IV. Finale. Allegretto
03:29:12 Polish Songs Op. 74: I. Zyczenie (The Wish)
03:30:55 Polish Songs Op. 74: II. Wiosna (Spring)
03:33:37 Polish Songs Op. 74: III. Smutna rzeka (The Sad Stream)
03:37:18 Polish Songs Op. 74: IV.Hulanka (Merrymaking)
03:39:57 Polish Songs Op. 74: V. Gdzie lubi (There where she loves)
03:41:10 Polish Songs Op. 74: VI. Precz z moich oczu! (Out of my sight!)
03:44:48 Polish Songs Op. 74: VII. Poseł (The Envoy)
03:47:37 Polish Songs Op. 74: VIII. S´liczny chłopiec (Handsome Lad)
03:50:11 Polish Songs Op. 74: IX. Melodya (Elegy)
03:53:24 Polish Songs Op. 74: X. Wojak (The Warrior)
03:55:28 Polish Songs Op. 74: XI. Dwojaki koniec (The Double End)
03:57:29 Polish Songs Op. 74: XII. Moja pieszczotka (My Darling)
03:59:26 Polish Songs Op. 74: XIII. Nie ma czego trzeba (There is no need)
04:06:46 Polish Songs Op. 74: XIV. Piers´cien´ (The Ring)
04:08:24 Polish Songs Op. 74: XV. Narzeczony (The Bridegroom)
04:10:49 Polish Songs Op. 74: XVI. Piosnka litewska (Lithuanian Song)
04:12:50 Polish Songs Op. 74: XVII. S´piew grobowy (Hymn from the tomb)
04:18:25 Polish Songs Op. 74: XVIII. Czary (Charms)
04:20:56 Polish Songs Op. 74: XIX. Dumka (Reverie)

Tracklist below.

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The complete sonatas for Viola da Gamba of Johann Sebastian Bach.

In this new recording of the magnificent (and still undervalued) sonatas for viola da gamba by Bach. The keyboard is an organ, a german school Rückpositiv. The use of the organ instead of the harpsichord has changed the interpretation of the musician to a large extent: the sustained sound of the organ tones (contrary to the quickly decaying sound of the harpsichord) heightens the tension of the harmonics, especially the dissonances. The length of the notes is therefore often shortened, taking into account the reverberant acoustics of the church, which also affected the tempo choices. In short, this interpretation is completely different from the harpsichord version, shedding a new light on these masterpieces by Bach, who himself was never averse to using different instruments for his works.

00:00:00 Sonata No. 1 in G Major, BWV 1027: I. Adagio
00:04:23 Sonata No. 1 in G Major, BWV 1027: II. Allegro ma non tanto
00:08:23 Sonata No. 1 in G Major, BWV 1027: III. Andante
00:10:47 Sonata No. 1 in G Major, BWV 1027: IV. Allegro moderato
00:14:13 Sonata No. 2 in D Major, BWV 1028: I. Adagio
00:16:27 Sonata No. 2 in D Major, BWV 1028: II. Allegro
00:20:21 Sonata No. 2 in D Major, BWV 1028: III. Andante
00:25:24 Sonata No. 2 in D Major, BWV 1028: IV. Allegro
00:29:54 Sonata No. 3 in G Minor, BWV 1029: I. Vivace
00:35:48 Sonata No. 3 in G Minor, BWV 1029: II. Adagio
00:42:15 Sonata No. 3 in G Minor, BWV 1029: III. Allegro

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Composers: Dmitri Shostakovich, Piotr Ilyich Tchaikovsky, Sergei Prokofiev. Artists: Rimma Bobritskaïa (piano)

It was Robert Schumann’s Kinderszenen and Album fur die Jugend that inspired Tchaikovsky to start composition on his Children’s Album in 1878. He dedicated the set to his nephew Vladimir Davidoff (Bobik) who was 7 years old. ‘For a long time I have been saying to myself that it would be a good thing to contribute, within the limits of my powers, to the enrichment of the piano literature for children, which is rather poor. I would like to compose a series of very easy little pieces with attractive titles like Schumann did’ he wrote to his patron Mme von Meck. In less than a week of writing these words he had completed the 24 pieces of his Children’s Album.

Tchaikovsky’s Op.39 proved so popular that later Russian composers also composed works for children. In the Soviet period Prokofiev composed his Music for Children (1935). In 1947 Shostakovich composed his Children’s Pieces for his daughter Galina. Rather more closely related to traditional teaching pieces that Prokofiev’s Music for Children, they nonetheless instil rather charmingly the academic notion of a happy ‘major’ and a sad ‘minor’ by inverting it in A Merry Story in E minor, and a Sad Story in G major.

00:00:00 Tchaikovsky: A children’s album, Op. 39: No. 1 Prière du matin
00:01:15 Tchaikovsky: A children’s album, Op. 39: No. 2 Matin d’hiver
00:02:20 Tchaikovsky: A children’s album, Op. 39: No. 3 Jouons à dada!
00:03:00 Tchaikovsky: A children’s album, Op. 39: No. 4 Maman
00:03:58 Tchaikovsky: A children’s album, Op. 39: No. 5 Marche des soldats de bois
00:04:51 Tchaikovsky: A children’s album, Op. 39: No. 6 La poupée malade
00:06:38 Tchaikovsky: A children’s album, Op. 39: No. 7 Enterrement de la poupée
00:08:20 Tchaikovsky: A children’s album, Op. 39: No. 8 Valse
00:09:26 Tchaikovsky: A children’s album, Op. 39: No. 9 La nouvelle poupée
00:09:55 Tchaikovsky: A children’s album, Op. 39: No. 10 Mazurka
00:11:02 Tchaikovsky: A children’s album, Op. 39: No. 11 Chanson russe
00:11:29 Tchaikovsky: A children’s album, Op. 39: No. 12 La paysan joue de l’harmonica
00:12:14 Tchaikovsky: A children’s album, Op. 39: No. 13 Kamarinskaïa
00:12:44 Tchaikovsky: A children’s album, Op. 39: No. 14 Polka
00:13:58 Tchaikovsky: A children’s album, Op. 39: No. 15 Chanson italienne
00:14:58 Tchaikovsky: A children’s album, Op. 39: No. 16 Ancienne chanson Française
00:16:11 Tchaikovsky: A children’s album, Op. 39: No. 17 Chanson allemande
00:17:08 Tchaikovsky: A children’s album, Op. 39: No. 18 Chanson napolitaine
00:18:12 Tchaikovsky: A children’s album, Op. 39: No. 19 Conte de la nourrice
00:18:57 Tchaikovsky: A children’s album, Op. 39: No. 20 Baba-Yaga
00:19:35 Tchaikovsky: A children’s album, Op. 39: No. 21 Rêve délicieux
00:21:50 Tchaikovsky: A children’s album, Op. 39: No. 22 Chant de l’alouette
00:22:43 Tchaikovsky: A children’s album, Op. 39: No. 23 Chanson de joueur d’orgue de Barbarie
00:24:37 Tchaikovsky: A children’s album, Op. 39: No. 24 A l’eglise
00:25:30 Prokofiev: Music for children, Op. 65: No. 1 Le matin
00:27:24 Prokofiev: Music for children, Op. 65: No. 2 Promenade
00:28:17 Prokofiev: Music for children, Op. 65: No. 3 Historiette
00:30:30 Prokofiev: Music for children, Op. 65: No. 4 Tarentelle
00:31:27 Prokofiev: Music for children, Op. 65: No. 5 Repentir
00:33:19 Prokofiev: Music for children, Op. 65: No. 6 Valse
00:34:28 Prokofiev: Music for children, Op. 65: No. 7 Cortège des sauterelles
00:35:31 Prokofiev: Music for children, Op. 65: No. 8 La pluie et l’arc-en-ciel
00:36:47 Prokofiev: Music for children, Op. 65: No. 9 Attrape-qui-peut
00:37:44 Prokofiev: Music for children, Op. 65: No. 10 Marche
00:39:12 Prokofiev: Music for children, Op. 65: No. 11 Les oir
00:41:32 Prokofiev: Music for children, Op. 65: No. 12 Sur les prés la lune se promène
00:43:14 Shostakovich: Five pieces for children: No. 1 Berceuse
00:46:20 Shostakovich: Five pieces for children: No. 2 Danse
00:46:58 Shostakovich: Five pieces for children: No. 3 Contredanse
00:49:14 Shostakovich: Five pieces for children: No. 4 Danse Espagnole
00:51:20 Shostakovich: Five pieces for children: No. 5 Nocturne
00:54:00 Shostakovich: A child’s excercise book, Op. 69: No. 1 Marche
00:54:40 Shostakovich: A child’s excercise book, Op. 69: No. 2 Valse
00:55:20 Shostakovich: A child’s excercise book, Op. 69: No. 3 L’ours
00:56:03 Shostakovich: A child’s excercise book, Op. 69: No. 4 Histoire gaie
00:56:35 Shostakovich: A child’s excercise book, Op. 69: No. 5 Histoire triste
00:58:09 Shostakovich: A child’s excercise book, Op. 69: No. 6 La poupée mécanique
00:59:08 Shostakovich: A child’s excercise book, Op. 69: No. 7 L’anniversaire

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The Veracini who wrote these playful and virtuosic trio sonatas is not Francesco Maria but his uncle, Antonio. The nephew’s work is relatively well-known, including an Op.1 set of twelve sonatas which has already received a recording on Brilliant Classics (BC93809) by Enrico Casazza and La Magnifica Comunita. Antonio was also born and raised a Florentine, taught by his father and in time director of the school of music which Veracini pere had founded. This duty was the likely obstacle to his forging an international career, despite promising and well-received visits to Rome and Vienna.

Composer: Antonio Veracini
Artist: El Arte Mvsico
Angel Sampedro (violin)
Teresa Casanova (violin)
Isabel Goméz-Serranillos (cello)
Diego Fernández (harpsichord)

00:00:00 Trio Sonatas, Op. 1 No. 4: I. Adagio. Presto
00:01:50 Trio Trio Sonatas, Op. 1 No. 4: II. Vivace
00:02:41 Trio Trio Sonatas, Op. 1 No. 4: III. Canzona
00:04:37 Trio Trio Sonatas, Op. 1 No. 4: IV. Vivace
00:05:56 Trio Violin Sonata, Op. 2 No. 1: I. Grave
00:07:56 Trio Violin Sonata, Op. 2 No. 1: II. Vivace
00:10:06 Trio Violin Sonata, Op. 2 No. 1: III. Largo affettuoso
00:12:21 Trio Violin Sonata, Op. 2 No. 1: IV. Vivace
00:14:14 Trio Violin Sonata, Op. 3 No. 4: I. Grave
00:15:48 Trio Violin Sonata, Op. 3 No. 4: II. Vivace
00:17:58 Trio Violin Sonata, Op. 3 No. 4: III. Largo
00:19:10 Trio Violin Sonata, Op. 3 No. 4: IV. Vivace
00:20:51 Trio Violin Sonata, Op. 2 No. 8: I. Grave
00:22:23 Trio Violin Sonata, Op. 2 No. 8: II. Aria affettuosa
00:23:49 Trio Violin Sonata, Op. 2 No. 8: III. Veloce
00:24:38 Trio Violin Sonata, Op. 2 No. 8: IV. Largo
00:25:53 Trio Violin Sonata, Op. 2 No. 8: V. Affettuoso
00:27:43 Trio Violin Sonata, Op. 3 No. 7: I. Largo
00:29:57 Trio Violin Sonata, Op. 3 No. 7: II. Allegro
00:31:12 Trio Violin Sonata, Op. 3 No. 7: III. Largo
00:33:22 Trio Violin Sonata, Op. 3 No. 7: IV. Vivace
00:34:47 Trio Trio Sonatas, Op. 1 No.1: I. Largo
00:36:31 Trio Trio Sonatas, Op. 1 No.1: II. Vivace
00:38:57 Trio Trio Sonatas, Op. 1 No.1: III. Largo
00:40:07 Trio Trio Sonatas, Op. 1 No.1: IV. Allegro
00:41:02 Trio Violin Sonata, Op. 3 No. 8: I. Grave
00:43:16 Trio Violin Sonata, Op. 3 No. 8: II. Vivace
00:45:57 Trio Violin Sonata, Op. 3 No. 8: III. Largo
00:47:56 Trio Violin Sonata, Op. 3 No. 8: IV. Presto
00:49:44 Trio Violin Sonata, Op. 2 No. 4: I. Grave
00:51:21 Trio Violin Sonata, Op. 2 No. 4: II. Presto assai
00:52:27 Trio Violin Sonata, Op. 2 No. 4: III. Allegro
00:53:55 Trio Violin Sonata, Op. 3 No. 9: I. Largo
00:55:30 Trio Violin Sonata, Op. 3 No. 9: II. Vivace
00:57:57 Trio Violin Sonata, Op. 3 No. 9: III. Largo
00:59:49 Trio Violin Sonata, Op. 3 No. 9: IV. Vivace
01:01:27 Trio Trio Sonatas, Op. 1 No. 2: I. Largo
01:03:08 Trio Trio Sonatas, Op. 1 No. 2: II. Affettuoso
01:05:40 Trio Trio Sonatas, Op. 1 No. 2: III. Largo
01:06:41 Trio Trio Sonatas, Op. 1 No. 2: IV. Vivace

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Composer & Artist:
Composer: Angel E. Lasala, Andrew York, Giorgio Mirto, Giorgio Signorile, Giovanni Albini, Livio Torresan, Maximo Diego Pujol, Miklós Rózsa, Roberto Manca, Rosolino Di Salvo
Artists: Giorgio Mirto (guitar)




About this Album:
A highly original selection of guitar works in which the night is the inspiration: darkness, suspense and fright for the unknown, but also the mystery, the sense of the supernatural and the immaterial.
With its romantic and mystical connotations, ‘night’ has long been the inspiration behind many works of art. This release presents an alternative reading of its beguiling message, detailing a selection of little-known and contemporary compositions that have all been written for guitar.
The compilation contains expert performances by Giorgio Mirto and begins with his 3 Nocturnes – the first of several Italian works featured on this disc. As well as revisiting the music of Máximo Diego Pujol,
whose complete guitar duets are detailed in a former Brilliant Classics’ release and whose exotic Nocturno brilliantly captures the sights and sounds of Buenos Aires, the collection also includes Valse crépusculaire – written by Hungarian-born Miklós Rózsa for the award-winning film Providence. Andrew York’s spirited Into dark completes the survey, a work that perfectly encapsulates the American’s predilection for mixing classical music with folk and rock elements.
Brimming with colour and expression, these miniature and highly varied evocations form a gem of a recording that is not to be passed up. The compilation is a worthy addition to the guitar enthusiast’s library, with the instrument’s subtle nuances perfectly capturing night’s enigmatic nature.


Tracklist:
00:00:00 Nocturnes: No. 1
00:05:33 Nocturnes: No. 2
00:10:27 Nocturnes: No. 3
00:15:30 Notturno
00:20:34 Notturno No. 3
00:24:51 Ulisse
00:27:40 La notte di Penelope
00:33:16 Ninna nanna a Donegal
00:38:00 Le colline di Karen, notturno africano
00:42:19 Corale No. 45, notturno
00:47:58 Nocturno
00:52:09 Nocturno
00:56:00 Valse crepusculaire
01:00:28 Into dark



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Composer: Richard Wagner
Artists: Dietrich Fischer-Dieskau (The Dutchman), Gottlob Frick Daland (Norwegian sea captain), Fritz Wunderlich (Daland’s steersman), Marianne Schech (Senta, Daland’s daughter), Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin, Franz Konwitschny (conductor)

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One of the greatest and most revolutionary composers of the nineteenth century, Richard Wagner transformed the realm of musical drama. Years before his towering successes of the Ring Cycle, Tristan und Isolde and Die Meistersinger von Nürnberg, he wrote the now lesser-performed The Flying Dutchman, an opera that marks the beginning of Wagner’s mature works.
The opera – premiered in Dresden in 1843 – is based on Heinrich Heine’s telling of the legend in which the captain of a ghostly vessel, The Flying Dutchman, is doomed to roam the seas for all eternity until he wins the love of a woman. The fate of the Dutchman is said to have struck Wagner as a mirror image of his own disastrous fate in Paris; having expected the city to hail him as a genius, he was left bitterly disappointed. From the outset, the overture depicts the vast expanse of the rolling sea and hints at the despair that is to come, while weaving together other leitmotifs that will reoccur later in the work. Other highlights include Senta’s heartfelt ballad from Act II, the Dutchman’s soliloquy ‘Die Frist ist um’ and the raucous shanty that is the Sailors’ Chorus.
The role of the Dutchman is sung by legendary lyric baritone Dietrich Fischer-Dieskau, described by The Guardian as ‘the most influential singer of the 20th century’. Playing his love interest, Senta, is Marianne Schech, while Gottlob Frick takes the role of her father. The soloists are supported by the Chor der deutschen Staatsoper Berlin and the Staatskapelle Berlin, conducted by Franz Konwitschny.

00:00:00 Der Fliegende Hollander: Overture (Orchestra)
00:11:29 Der Fliegende Hollander: Act 1: No. 1: Introduction: Hojohe! Hallojo! (Chorus/Daland/Steersman)
00:16:57 Der Fliegende Hollander: Act 1: Song: Mit Gewitter und Sturm aus fernem Meer (Steersman)
00:21:50 Der Fliegende Hollander: Act 1: No. 2: Aria: Die Frist ist um (Dutchman/Chorus)
00:33:28 Der Fliegende Hollander: Act 1: No. 3: Scene, Duet and Chorus: He! Holla! Steuermann! (Daland/Steersman)
00:35:13 Der Fliegende Hollander: Act 1: Duet: Weit komm’ ich her (Dutchman/Daland)
00:50:00 Der Fliegende Hollander: Act 1: Chorus: Hohohe! Halloho! (Chorus)
00:53:41 Der Fliegende Hollander: Act 2: Introduction (Orchestra)
00:54:27 Der Fliegende Hollander: Act 2: No. 4: Scene, Song and Ballad: Summ und brumm, du gutes Rädchen (Girls/Mary/Senta)
01:02:45 Der Fliegende Hollander: Act 2: Ballad: Johohoe!… Traft ihr das Schiff im Meere an (Senta)
01:13:07 Der Fliegende Hollander: Act 2: No. 5: Duet (Erik/Senta)(Part I)
01:13:53 Der Fliegende Hollander: Act 2: No. 5: Duet (Part II): Mein Herz, voll Treue bis zum Sterben (Erik/Senta)
01:25:35 Der Fliegende Hollander: Act 2: No. 6: Finale: Mein Kind, du siehst mich auf der Schwelle (Daland/Senta)
01:27:20 Der Fliegende Hollander: Act 2: Aria: Mögst du, mein Kind, den fremden Mann (Daland)
01:33:42 Der Fliegende Hollander: Act 2: Duet: Wie aus der Ferne längst vergangner Zeiten (Dutchman/Senta)
01:48:50 Der Fliegende Hollander: Act 2: Trio: Verzeiht! Mein Volk hält draußen sich nicht mehr (Daland/Senta/Dutchman)
01:51:05 Der Fliegende Hollander: Act 3: Introduction (Orchestra)
01:51:55 Der Fliegende Hollander: Act 3: No. 7: Scene and Chorus: Steuermann, laß die Wacht! (Chorus/Steersman)
02:06:20 Der Fliegende Hollander: Act 3: No. 8: Finale: Was muß ich hören! Gott, was muß ich sehn! (Erik/Senta)
02:08:54 Der Fliegende Hollander: Act 3: Cavatina: Willst jenes Tags du nicht dich mehr entsinnen (Erik)
02:11:54 Der Fliegende Hollander: Act 3: Verloren! Ach, verloren! (Dutchman/Erik/Senta/Daland/Mary/Chorus)

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Composer & Artist:
Composer: Giuseppe Verdi
Artist: Daniela Nedialkova (soprano), Ivanka Ninova (mezzo soprano), Roumen Doikov (tenor), Emil Ponorski (bass), Choir and Orchestra of the Sofia Opera, Ivan Marinov (conductor)

About this Album:
In 1868 Rossini died, and the leading composers of the day grouped together to contribute to a jointly composed Requiem for the great man who had dominated Italian opera for half a century. Much to Verdi’s frustration, the work was never performed. In 1871, the director of the Milan Conservatoire asked him if he’d ever thought of composing a Requiem of his own – after all, he’d written the Libera me, the final part of the multicomposer work. Verdi dismissed the idea, saying that there were enough Requiems already.

In 1873, Verdi’s friend, and favourite author Alessandro Manzoni died aged 88. Verdi had first read his novels when he was 16 years old. He was devastated at the news of Manzoni’s death, so much so he was unable to attend his funeral. This provided the catalyst for what is the grandest of all Requiems. Premiered in 1874 with the composer conducting, it was an immediate success, and Verdi toured the work to Paris, London, Cologne and Vienna – in fact he conducted it more often than any of his operas. Overtly operatic in nature, it has been called ‘Verdi’s greatest opera’, but it is a deeply spiritual work, adhering to the traditional Mass for the dead. It ranks among the very greatest of religious works alongside Bach’s Mass in B minor, Mozart’s Requiem and Beethoven’s Missa solemnis.

Tracklist:
00:00:00 I. Requiem aeternam – Kyrie
00:08:52 II. Dies irae: Dies irae
00:10:53 II. Dies irae: Tuba mirum
00:13:42 II. Dies irae: Liber scriptus
00:18:24 II. Dies irae: Quid sum miser
00:21:59 II. Dies irae: Rex tremendae
00:25:15 II. Dies irae: Recordare
00:29:19 II. Dies irae: Ingemisco
00:32:26 II. Dies irae: Confutatis
00:37:24 II. Dies irae: Lacrymosa
00:43:09 III. Offertorium: Domine Jesu Christe
00:52:38 IV. Sanctus
00:55:10 V. Agnus Dei
01:00:19 VI. Lux aeterna
01:06:14 VII. Libera me

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Artists: Daniele Ruggieri, Andrea Toschi

With a repertoire spanning almost 150 years, from 1844 right up to 1992, this release brings together a wide range of works for flute and organ by composers from a variety of countries and musical backgrounds. During the Baroque period, it was common to pair the flute (or recorder) with the harpsichord; the combination here of flute and organ is by contrast far more exotic, the great power of which the latter instrument is capable pitted against the domestic nature of the former. The works on this release are all rare gems, showing just how well these two diverse timbres are able to complement each other – and at the same time revealing the great skill of many lesser-known composers.

While the music on this release spans a large period of time, many of the works share a common thread of religion spirituality. German composer Hiller uses a Lutheran hymn as inspiration for his work Andante religioso, and the pieces by French composers Caplet and Gallon are both infused with a deep sense of mysticism, particularly pertinent as Caplet retreated to a monastery later in life. The religious theme continues into the more contemporary works by Italian composers D’Aurizio and Lincetto; the former was a noted composer of sacred music throughout his life, and Lincetto’s work Messa degli artisti is a modern take on a traditional meditative prayer.

An enterprising and original programme of works originally written for flute and organ by a wide variety of composers, spanning more than 150 years (not the usual compilation of Baroque lollipops like the Albinoni/Adagio or the Bach/Air!).
Featuring are works by composers Hartmann, Lachner, Donjon, Doppler, Hiller, Gallon, Genzmer, d’Aurizio, Manzino. They explore the rich possibilities and diverse qualities of the two instruments in a fascinating way, sharing a spiritual or liturgical background.
Superbly played by Daniele Ruggieri, flute (“beautiful and playful display of virtuosity” The Times) and Andrea Toschi, organ.
Recorded in Padua.

00:00:00 Praeludium for Flute and Organ in G Minor
00:03:37 Elegie
00:10:07 Invocation
00:12:50 Offertoire, Op. 12
00:17:43 Idylle “l’oiseau des bois”, Op. 21
00:23:57 Andante religioso, Op. 6
00:30:29 Feuillets d’album: IV. Invocation
00:34:25 Recueillement
00:39:26 Sei brani liturgici: I. Introduzione
00:40:33 Sei brani liturgici: II. Offertorio
00:41:47 Sei brani liturgici: III. Pezzo semplice
00:44:49 Sei brani liturgici: IV. Sanctus
00:46:11 Sei brani liturgici: V. Preghiera in C Major
00:47:54 Sei brani liturgici: VI. Adagio
00:48:56 Due melodie facili: I. Andantino
00:50:38 Due melodie facili: II. Andantino
00:51:54 Adagio (1990)
00:58:22 Messa degli artisti (1980): Preghiera dell’artista
01:01:26 Messa degli artisti (1980): Elevazione
01:03:31 Sonata for Flute and Organ(1992): I. Adagio
01:08:59 Sonata for Flute and Organ(1992): II. Allegretto

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Artist: Alessandro Andriani (cello), Simone Ceppetelli (cello continuo)

Born in Paris in 1749, Jean-Louis Duport, cellist and composer, also known as ‘le jeune’ – to distinguish him from his elder brother Jean-Pierre (1741–1818), called ‘l’ainé’ – is today regarded as one of the most important figures in the history of the development and evolution of cello technique. In 1806 he published his cello treatise Essai sur le doigté du violoncelle et sur la conduite de l’archet, a work that became the fundamental reference point for all subsequent schools of cello teaching. At the end of the treatise, we find the 21 Etudes for Violoncello (with a second cello part as accompaniment), works that explain and put into practice the methods described within. They are very difficult, highly virtuosic exercises that present a wide selection of tones and bowings as well as an extraordinary richness of compositional ideas, and in this way the Essai can be viewed as an anthology of concert pieces with real artistic value rather than just a mere practical handbook.

Made following precise philological criteria and with attention to the performing practice of the age, this recording includes a second cello as accompaniment (the instrument assumes the role of continuo, developing the performance and enlivening the listening experience) and employs original instruments with gut strings and historical bows. Thanks more to their difficulty and pedagogical reputation, the Etudes may have been rarely recorded, a fact which only adds value to the present issue, but they repay repeated listening for their élan, and will be required listening not only for cello students seeking to master the Etudes themselves but also for anyone with a passing interest in the music of Classical-era France.

00:00:00 Etude No. 1 in F Major (Andante)
00:09:01 Etude No. 2 in F Minor (Allegro)
00:14:45 Etude No. 3 in C Major (Allegro)
00:17:16 Etude No. 4 in C Minor (Allegro moderato et très marqué)
00:19:19 Etude No. 5 in C Minor (Moderato)
00:20:41 Etude No. 6 in G Major (Allegro)
00:23:59 Etude No. 7 in G Minor (Allegro)
00:25:30 Etude No. 8 in D Major (Adagio cantabile)
00:31:21 Etude No. 9 in D Minor (Allegro moderato)
00:43:14 Etude No. 10 in A Major (Allegro)
00:47:26 Etude No. 11 in A Minor (Allegro)
00:52:36 Etude No. 12 in E Major (Allegro moderato – Presqu’andante)
01:04:25 Etude No. 13 in E Minor (Allegro)
01:09:27 Etude No. 14 in B-Flat Major ( Andante grazioso)
01:13:42 Etude No. 15 in B-Flat Minor (Allegro)
01:22:04 Etude No. 16 in E-Flat Major (Adagio)
01:29:10 Etude No. 17 in E-Flat Minor (Allegro)
01:39:07 Etude No. 18 in A-Flat Major (Allegro maestoso)
01:46:59 Etude No. 19 in B Major (Allegro)
01:48:34 Etude No. 20 in B Minor (Allegro)
01:55:02 Etude No. 21 in D-Flat Major (Allegro)

Tracklist Below:
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00:00:00 Piano Concerto in G Major: II. Adagio assai - Maurice Ravel - Klára Würtz, Janáček Philharmonic Orchestra & Theodore Kuchar
00:09:19 Partita in F Major: II. Adagio un poco - Johann George Albrechtsberger
00:16:22 Harp Concerto in B-Flat Major, HWV 294: II. Larghetto – George Frederic Handel
00:21:53 Guitarmosaics: Nostalgia – Giovanni Caruso
00:25:25 Guitarmosaics: Estasi d’ amore – Giovanni Caruso
00:29:44 Impromptu in B-Flat Major, Op. 142 No. 3 'Rosamunde' – Franz Schubert
00:40:59 Prelude No. 1 in C Major, BWV 846: Ave Maria – J.S. Bach
00:45:35 Fantasiestücke, Op. 12: I. Des Abends – Schumann
00:48:58 An der schönen blauen Donau, Op. 314 – Johann Straus ||
00:58:52 River Flows in you – Yiruma
01:02:23 Chaconne – Yiruma
01:06:25 Spring Waltz - Yiruma

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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: Giuseppe Martucci
Artist: Alberto Miodini piano

The symphonies and tone-poems of Giuseppe Martucci (1856-1909) have retained a place on the fringes of the repertoire outside his native Italy thanks to advocacy by Arturo Toscanini and, latterly, Riccardo Muti.

Martucci was a man of protean talents and unflagging energy, who excelled as a composer, pianist, conductor, teacher
and moving force in musical culture. The direction of that force was set against the prevailing operatic scene of contemporary Italy – except, notably, where it intersected with German music. Thus he conducted Brahms, Liszt and especially Beethoven, as well as the Italian premiere of Tristan und Isolde. His own piano music is a continuation of the Lisztian tradition – at least, it becomes so, after flirting with the world of salon music in his early 20s.

The six Op.44 pieces are a much more substantial synthesis of elements from Italian popular culture – the gondoliers’ barcarola, the mule-drivers’ tarantella among them – with a wide-ranging, elaborately contrapuntal and fiendishly virtuosic style which owes much not only to Brahms and Liszt but to the composer’s formidable powers of performance. The Novella
Op.50 and Fantasia Op.51 experiment with more delicate textures in the manner of Chopin, and this tendency is further explored in the two Nocturnes Op.70, which move the form into late Lisztian realms of crepuscular harmony and dreamy phrases; the first of these Nocturnes became known in the early years of the last century through an orchestral transcription
which was often programmed by Toscanini. The pianist Alberto Miodini has studied these little-known works for years and written the introductory essay for these new recordings. This is his second recording for Brilliant Classics, after a well-received 4CD set (BC94806) of Schubert’s piano miniatures and free-standing pieces such as the Impromptus.

After years of comparative neglect Giuseppe Martucci is taking his rightful place as one of the most important late romantic Italian composers. His style is a happy and individual mix of Wagner and Verdi, dramatic chromatism softened by lyrical, bel canto style melodies. Martucci was a composer, conductor, teacher and excellent pianist, who made extensive European tours as a soloist. His piano music from his early period is written in sophisticated salon style, charming and picturesque. Later Martucci wrote more substantial works, like the Fantasia Op. 50 and Novella Op. 51, reminiscent of Chopin’s Scherzi and Ballades. The virtuoso pianism is proof of Martucci’s great gift as a performer.
Played with strong dedication and feeling for atmosphere by Italian pianist Alberto Miodini, pianist of the famous Trio di Parma, who already recorded successfully for Brilliant Classics the Klavierstücke by Schubert (BC94806).
00:00:00 6 Pezzi Op. 44: I. Capriccio. Allegro risoluto
00:02:51 6 Pezzi Op. 44: II. Pezzo fantastico. Allegro
00:08:47 6 Pezzi Op. 44: III. Colore orientale. Tempo di Marcia – Poco più mosso
00:19:01 6 Pezzi Op. 44: IV. Barcarola. Andantino con moto – Animato
00:24:16 6 Pezzi Op. 44: V. Notturno. Moderato, ma non troppo – Animato molto e con agitazione
00:29:29 6 Pezzi Op. 44: VI. Tarantella. Allegro molto
00:35:53 Novella in B-Flat Major, Op. 50
00:47:10 Fantasia in G Minor, Op. 51
00:59:10 2 Notturni, Op. 70: No. 1 in G-Flat Major. Moderato
01:04:24 2 Notturni, Op. 70: No. 2 in F-Sharp Minor. Andantino

This selection gives you a beautiful impression of the J.S. Bach - Complete Edition’s second volume. For the complete second volume (18 hours) and Complete Boxset, please check the following links:

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Vol. 2: https://brilliant-classics.lnk.to/Bachvol2
Vol. 3: https://brilliant-classics.lnk.to/Bachvol3
Vol. 4: https://brilliant-classics.lnk.to/Bachvol4
Vol. 5: https://brilliant-classics.lnk.to/Bachvol5
Vol. 6: https://brilliant-classics.lnk.to/Bachvol6
Vol. 7: https://brilliant-classics.lnk.to/Bachvol7
Vol. 8: https://brilliant-classics.lnk.to/Bachvol8
Vol. 9: https://brilliant-classics.lnk.to/Bachvol9
Vol. 10: https://brilliant-classics.lnk.to/Bachvol10

The full tracklist can be found in the comments section below!

Johann Sebastian Bach’s stature as a composer of extraordinary talent and widespread influence is so firmly established in Western culture that it is difficult to believe that only 150 years ago his works lay in veritable obscurity, unknown to all but a small group of scholars. It is largely thanks to ohn, who essentially effected a revival of the composer’s music through his rediscovery and promulgation of the St Matthew Passion, besides other pieces, that his works are today regarded as pinnacles of music expression. That they are among the most performed and widely attended is in no doubt; in Holland alone, thousands of singers and musicians are involved in dozens of performances of the St Matthew Passion in Holy Week, with hundreds of thousands listening in churches and concert halls, or gathered around the radio, to what has been described as ‘the Gospel according to Bach’.

The collection Contains 142 CDs (112 hours) representing the entirety of Johann Sebastian Bach’s oeuvre in historically informed performances. This includes all 200 sacred cantatas recorded for Brilliant Classics on period instruments and sung by the Holland Boys Choir.

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Composer & Artist:
Composer: Luigi Gatti
Artists: Paolo Ghidoni (violin), Alfredo Zamarra (viola)



About this Album:
The sonatas presented in this recording, labelled as Sonate à Violino e Viola in the autograph score at the Biblioteca Musicale Greggiati in Ostiglia and as Sonate Per Violin solo con accompagnamento di Viola in the parts at the Salzburg Museum, are likely to date back to the very beginning of Gatti’s stay in Salzburg. The autograph is written on paper whose watermarks suggest a date of about 1783. If so, the works were probably commissioned by archbishop Colloredo, for whom a similar cycle of six sonatas was composed in the same year by Michael Haydn, MH 335–38, and W. A. Mozart, K 423–24. (Another set of six by Joseph Hafeneder in the Toggenburg Collection of Bolzano, minus the first sonata, may share the same origin). In which case, the violin part was probably intended for Colloredo himself, a “good performer on the violin” according to Charles Burney. The archbishop was also said to “enjoy performing on the violin, which he played very well” and to be in the habit of “mingling with the court musicians and playing the violin with them” before dinner.

Tracklist:
00:00:00 Sonata in B-Flat Major, No. 1: Allegro aperto
00:07:59 Sonata in B-Flat Major, No. 1: Adagio
00:11:01 Sonata in B-Flat Major, No. 1: Rondo: Allegro con moto
00:16:49 Sonata in D Major, No. 2: Andante
00:23:08 Sonata in D Major, No. 2: Adagio cantabile
00:25:49 Sonata in D Major, No. 2: Tempo di minuetto
00:31:28 Sonata in A Major, No. 3: Allegro aperto
00:35:05 Sonata in A Major, No. 3: Adagio
00:38:13 Sonata in A Major, No. 3: Rondo: Allegretto
00:42:40 Sonata in F Major, No. 4: Cantabile - Allegro con spirito
00:48:50 Sonata in F Major, No. 4: Minuetto
00:57:45 Sonata in F Major, No. 4: Finale: Allegro assai
01:00:46 Sonata in E-Flat Major, No. 5: Moderato
01:04:01 Sonata in E-Flat Major, No. 5: Larghetto espressivo
01:07:13 Sonata in E-Flat Major, No. 5: Allegretto grazioso
01:11:01 Sonata in C Major, No. 6: Un allegro vivace
01:17:13 Sonata in C Major, No. 6: Adagio cantabile
01:22:46 Sonata in C Major, No. 6: Rondo: Allegretto

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Tracklist Below:
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Bach’s famous cello suites, recorded by cellist and early music specialist Jaap ter Linden. In addition to his increasing number of performances as a conductor, Ter Linden also remains active as an instrumentalist.

Ter Linden has worked together with the creamn of early music specialist such as Andrew Manze, Richard Eggarr, Emma Kirkby and Andreas Staier. For any cellist the suites are an important touchstone. Some careers can even be measured by the recordings of these works. Until the present day they remain the ultimate challenge.

True to his reputation, Ter Linden gives profound interpretations which invite the listener to play these performances time after time again.

Composer:
J.S. Bach

Artist:
Jaap ter Linden

00:00:00 Suite No. 1 in G Major / G Dur BWV 1007 : Prelude
00:03:13 Suite No. 1 in G Major / G Dur BWV 1007 : Allemande
00:08:03 Suite No. 1 in G Major / G Dur BWV 1007 : Courante
00:11:02 Suite No. 1 in G Major / G Dur BWV 1007 : Sarabande
00:14:07 Suite No. 1 in G Major / G Dur BWV1007 : Minuet I & II
00:17:27 Suite No. 1 in G Major / G Dur BWV 1007 : Gigue
00:19:19 Suite No. 3 in C Major / C Dur BWV 1009 : Prelude
00:22:56 Suite No. 3 in C Major / C Dur BVW 1009 : Allemande
00:27:21 Suite No. 3 in C Major / C Dur BVW 1009 : Courante
00:31:01 Suite No. 3 in C Major / C Dur BWV 1009 : Sarabande
00:35:08 Suite No. 3 in C Major / C Dur BWV 1009 : Bourrée I & II
00:38:52 Suite No. 3 in C Major / C Dur BWV 1009 : Gigue
00:42:23 Suite No. 5 in C Minor / C Moll BWV 1011 : Prelude
00:48:47 Suite No. 5 In C Minor / C Moll BWV 1011 : Allemande
00:55:34 Suite No. 5 in C Minor / C Moll BWV 1011 : Courante
00:58:01 Suite No. 5 in C Minor / C Moll BWV 1011 : Sarabande
01:01:03 Suite No. 5 in C Minor / C Moll BWV 1011 : Gavotte I & II
01:06:23 Suite No. 5 in C Minor / C Moll BWV 1011 : Gigue
01:08:53 Suite No. 2 in D Minor / D Moll BWV 1008: Prelude
01:12:53 Suite No. 2 in D Minor / D Moll BWV 1008: Allemande
01:16:34 Suite No. 2 in D Minor / D Moll BWV 1008: Courante
01:19:00 Suite No. 2 in D Minor / D Moll BWV 1008: Sarabande
01:23:47 Suite No. 2 in D Minor / D Moll BWV 1008: Minuet I & II
01:27:01 Suite No. 2 in D Minor / D Moll BWV 1008: Gigue
01:29:51 Suite No. 4 in E flat major/Es Dur BWV1010: Prelude
01:34:13 Suite No. 4 in E flat major/Es Dur BWV1010: Allemande
01:39:01 Suite No. 4 in E flat major/Es Dur BWV1010: Courante
01:42:48 Suite No. 4 in E flat major/Es Dur BWV1010: Sarabande
01:47:37 Suite No. 4 in E flat major/Es Dur BWV1010: Bourrée I & II
01:52:45 Suite No. 4 in E flat major/Es Dur BWV1010: Gigue
01:55:36 Suite No. 6 in D Major / D Dur BWV 1012: Prelude
02:00:37 Suite No. 6 in D Major / D Dur BWV 1012: Allemande
02:08:08 Suite No. 6 in D Major / D Dur BWV 1012: Courante
02:11:58 Suite No. 6 in D Major / D Dur BWV 1012: Sarabande
02:16:23 Suite No. 6 in D Major / D Dur BWV 1012: Gavotte I & II
02:20:42 Suite No. 6 in D Major / D Dur BWV 1012: Gigue

This album comes from the French Harpsichord Music box-set, containing the first 7 CD's out of 29.

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Composer: Jacques Champion de Chambonnières, Jean-Henry d’Anglebert, Gaspard Le Roux
Artists: Pieter-Jan Belder (harpsichord), Michael Borgstede (harpsichord), Yago Mahúgo (harpsichord), Francesco Cera (harpsichord), Franz Silvestri (harpsichord)

Brilliant Classics is proud to have released a number of harpsichord music of the highest quality over the past few years. This collection brings these works together, as well as never before published recordings, allowing the listener to soak up the sounds of 17th- and 18th-century France in its most intimate, domestic setting.

The release starts with Jean Henri d’Anglebert, featuring four of his extensive suites. Each begins with a precisely notated prelude, followed by various dance movements of lively gigues and slow sarabandes. Anglebert’s complex ornamentation system was so admired that it would later be copied by J.S. Bach. Francesco Cera, described as ‘one of the most promising talents in Italy’, performs the works. Jacques Champion de Chambonnières comes next; known as the ‘founding father’ of the French harpsichord tradition, he worked in the courts of both Louis XIII and XIV as a dancer and musician. Franz Silvestri plays on a modern-day harpsichord after Vaudry, Chambonnières’ suites reflect the regal French court at its peak. Pieter-Jan Belder, whose recordings span keyboard music from across Europe during this period, chooses to put the spotlight on Le Roux, a shadowy figure about whom not much is known. He has left us with a beguiling set of harpsichord suites, unusually printed twice: once for one harpsichord and one as an alternative setting for two harpsichords.

Tracklist can be found in the comment section!