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Composer: Antonio Vivaldi
Artists: L'Arte dell'Arco, Federico Guglielmo (violin), Francesco Galligioni (cello), Roberto Loreggian (harpsichord), Elisa Imbalzano (violin)

Federico Guglielmo whittles down his ensemble L’Arte dell’Arco to just three or four players for his latest release of Vivaldi’s music. Unlike other Vivaldi performers, Guglielmo is keen to return to the transparency of the Prete Rosso’s music, stripping away the ornate embellishments that have encumbered recent recordings, allowing the fluid lines to speak for themselves. In these Violin and Trio Sonatas, Guglielmo and his fellow musicians once again establish themselves as some of the foremost interpreters of the Italian’s music. For the most part bright and jolly, these sonatas demand to be played with charm and joie de vivre, which L’Arte dell’Arco certainly supply in abundance. The tender lines of the slow movements are still a world away from some of the darker, more sombre sonatas of Vivaldi’s contemporary J.S. Bach, and they find serious expression and resonance on this album rather than languid solemnity.

It is certainly odd that these Sonatas have been overlooked in the past, with few recordings available on CD, and no recent ones by Italian musicians. Also available as part of a complete boxset of Vivaldi’s Opp.1–12, this recording can also stand alone as an outstanding example of Vivaldi’s superb writing for chamber ensemble.

This album presents the first recording on period instruments of Vivaldi’s complete Opus 5, consisting of 4 violin sonatas for violin solo and continuo, as well as two Trio Sonatas for two violins and continuo.
In the years of composition of these works Vivaldi’s fame had already widely spread and he was keen to publish this set of chamber music as his Opus 5. The music is vintage Vivaldi: fresh, vigorous, full of melodic and harmonic invention and instrumental brilliance.

this recording is part of the complete edition based on the original sources of the New Vivaldi Edition by the Italian early music group L’Arte dell’Arco, led by violinist Federico Guglielmo, who is the soloist in these sonatas, seconded by a continuo of cello and harpsichord. “They understand the secret language of Vivaldi” (Diapason).

00:00:00 Trio Sonata in B-Flat Major, RV 76: I. Preludio. Andante
00:04:00 Trio Sonata in B-Flat Major, RV 76: II. Allemanda. Allegro
00:06:41 Trio Sonata in B-Flat Major, RV 76: III. Corrente. Allegro
00:09:38 Violin Sonata in B Minor, RV 35: I. Preludio. Largo
00:13:25 Violin Sonata in B Minor, RV 35: II. Allemanda. Allegro
00:16:04 Violin Sonata in B Minor, RV 35: III. Corrente. Allegro
00:18:08 Violin Sonata in F Major, RV 18: I. Preludio. Largo
00:20:30 Violin Sonata in F Major, RV 18: II. Corrente. Presto
00:21:49 Violin Sonata in F Major, RV 18: III. Sarabanda. Andante
00:24:03 Violin Sonata in F Major, RV 18: IV. Giga. Allegro
00:25:59 Violin Sonata in A Major, RV 30: I. Preludio. Largo
00:29:04 Violin Sonata in A Major, RV 30: II. Corrente. Presto
00:30:45 Violin Sonata in A Major, RV 30: III. Gavotta. Allegro
00:32:43 Violin Sonata in B-Flat Major, RV 33: I. Preludio. Largo
00:35:19 Violin Sonata in B-Flat Major, RV 33: II. Allemanda. Allegro
00:37:24 Violin Sonata in B-Flat Major, RV 33: III. Corrente. Allegro
00:39:24 Violin Sonata in B-Flat Major, RV 33: IV. Gavotta. Presto
00:41:00 Trio Sonata in G Minor, RV 72: I. Preludio. Largo
00:44:24 Trio Sonata in G Minor, RV 72: II. Allemanda. Allegro
00:46:54 Trio Sonata in G Minor, RV 72: III. Air-Menuet. Allegro

Tracklist in the Comment Section:

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Bedrich Smetana was the first major nationalist composer of Bohemia. Probably best known for his opera The bartered bride and of course The Moldau (from ‘My homeland’) most of his orchestral music is rather neglected by the average symphony orchestra.

Smetana’s predilection for anything Bohemian shines through not just in his music but also particularly in the subjects of his symphonic poems and opera. A keen dancer himself, his music often echoes his native dance tunes as well. The composer also had a keen interest in the theatre. Hence the subjects of his early symphonic poems which were based on works by Shakespeare, Schiller and Oehlenschläger. Of his later symphonic poems, the series ‘Má Vlast’, especially ‘Vltava’ (the Moldau) is very well-known.

Of course no orchestra but the Janácek Philharmonic Orchestra conducted by Theodore Kuchar could play this music better: this is the genuine article. On this release, one can hear the ultimate performances of this most pleasant and vivacious music.

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Artist: Mela Tenenbaum (violin)

Pietro Locatelli was a fellow countryman and contemporary of Vivaldi’s. He was also both a composer and a virtuoso violinist. During his lifetime and long afterwards his works found their way all over Europe.

Some of his compositions make exceptional demands on the solo violinist. There is testimony of Locatelli playing them himself. But looking at the sheet music one wonders how. Especially the capriccii which the composer inserted in all outer movements of his 12 concertos for solo violin and orchestra opus 3, L’arte del violino.

Such a capriccio - literally “whim” - is a more or less independent, inserted showpiece for the soloist. It needs an interpreter who is not only technically more than capable, but who is able to approach the piece still as music as well. If Locatelli could perform these capriccii they must be playable without alterations or simplifications.

Violinist Mela Tenenbaum - originally from the Ukraine, now resident in the U.S.A. - set herself this very task: She recorded these concertos with several ensembles in a most convincing way proving that there is more to L’arte del violino than meets the ear. This release contains all 12 concertos of Locatelli’s Opus 3.

00:00:00 Concerto No. 1 in D Major: Andante
00:07:42 Concerto No. 1 in D Major: Largo
00:13:41 Concerto No. 1 in D Major: Andante
00:22:45 Concerto No. 2 in C Minor: Andante
00:32:09 Concerto No. 2 in C Minor: Largo
00:36:47 Concerto No. 2 in C Minor: Andante
00:44:03 Concerto No. 3 in F Major: Andante
00:53:27 Concerto No. 3 in F Major: Largo
00:59:34 Concerto No. 3 in F Major: Vivace
01:05:43 Concerto No. 4 in E Major: Largo-andante
01:13:05 Concerto No. 4 in E Major: Largo
01:17:19 Concerto No. 4 in E Major: Andante
01:24:59 Concerto No. 5 in C Major: Largo-andante
01:33:24 Concerto No. 5 in C Major: Adagio
01:35:18 Concerto No. 5 in C Major: Allegro
01:41:29 Concerto No. 6 in G Minor: Largo-andante
01:49:39 Concerto No. 6 in G Minor: Adagio
01:51:51 Concerto No. 6 in G Minor: Vivace
01:56:45 Concerto No. 7 in B-Flat Major: Andante
02:04:27 Concerto No. 7 in B-Flat Major: Largo
02:09:33 Concerto No. 7 in B-Flat Major: Allegro
02:15:51 Concerto No. 8 in E Minor: Andante
02:22:23 Concerto No. 8 in E Minor: Largo
02:26:44 Concerto No. 8 in E Minor: Allegro
02:34:28 Concerto No. 9 in G Major: Allegro
02:42:42 Concerto No. 9 in G Major: Largo
02:46:25 Concerto No. 9 in G Major: Allegro
02:53:14 Concerto No. 10 in F Major: Allegro
02:59:36 Concerto No. 10 in F Major: Largo-andante
03:04:32 Concerto No. 10 in F Major: Andante
03:11:07 Concerto No. 11 in D Major: Allegro
03:17:48 Concerto No. 11 in D Major: Largo
03:21:58 Concerto No. 11 in D Major: Andante
03:28:31 Concerto No. 12 in D Major, “The Labyrinth”: Allegro
03:35:24 Concerto No. 12 in D Major, “The Labyrinth”: Largo
03:38:43 Concerto No. 12 in D Major, “The Labyrinth”: Allegro

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Firstly, this album represents a welcome return to the studio, and the recording catalogues, of the Russian violinist Mark Lubotsky. In English-speaking countries, Lubotsky is renowned as the soloist on Britten’s Decca recording of the Violin Concerto: a performance of idiomatic sweep which fully bears out the composer’s claim that ‘this is the performance I have been waiting for.’ He worked with all the great Russian conductors of his generation such as Kondrashin, Svetlanov and Rozhdestvensky. Throughout his career he has played and advocated the music of our time: most notably that of his fellow student at the Moscow Conservatoire, Alfred Schnittke, who dedicated both the Second Violin Concerto and three violin sonatas to him.

However, this focus on new music should not overshadow Lubotsky’s mastery of the classical repertoire. This particular disposition of the ‘Lubotsky Trio’ features the Swedish violinist Katarina Andreasson, though Lubotsky and the cellist Olga Dowbusch-Lubotsky have also played and recorded Taneyev in the more traditional string trio line-up with the violists Ferdinand Erblich and Vladimir Botchkovsky, and also as a piano trio, where they have been partnered by Schnittke’s widow Irina.

The String Trios Op.6 were published in 1769. After his Opp. 1 and 4 sets, they represent Boccherini’s third attempt in as many years to take forward the genre of the Baroque trio sonata. He went on to write another four sets of string trios, all of which are better known and more frequently encountered on record than Op.6, which makes this new recording all the more desirable for the connoisseur of Classical-era chamber music.

No less than the later sets, the Op.6 trios are characterized by a richness of melodic language, virtuosic brilliance and elegance, which nevertheless contains moments of high expression such as the chromatic Adagio which opens the G minor Trio, No.5 in the set. The sound of the two violins and cello in its fullness often approaches to that of the string quartet. Listening to these masterpieces, it is impossible not to notice the indubitable impact of his music on the great Viennese classics, first of all on Mozart.

Luigi Boccherini was one of the most famous cellists of his day, travelling Europe as a touring virtuoso. On his return to his native Lucca he founded the first professional string quartet in history.
Boccherini’s output for string ensembles is vast: he wrote more than 120 string quartets, 100 string quintets (with two cellos) and 48 string trios.
The string trios Op. 6 are for 2 violins and cello, highly expressive music full of rich classical melodies, elegance and instrumental brilliance.
Excellent performances by the Lubotsky Trio, with the eminent Russian violinist Mark Lubotsky, a pupil of David Oistrakh, as primarius.

Composer: Luigi Boccherini
Artist: Lubotsky Trio
00:00:00 String Trio No. 4 in F Major, G. 92: I. Allegro molto
00:05:06 String Trio No. 4 in F Major, G. 92: II. Lento con espressione
00:11:00 String Trio No. 4 in F Major, G. 92: III. Tempo di minuetto
00:15:56 String Trio No. 2 in E-Flat Major, G. 90: I. Allegro maestoso
00:20:21 String Trio No. 2 in E-Flat Major, G. 90: II. Andante grazioso
00:24:30 String Trio No. 2 in E-Flat Major, G. 90: III. Allegro molto
00:28:03 String Trio No. 5 in G Minor, G. 93: I. Adagio
00:31:26 String Trio No. 5 in G Minor, G. 93: II. Rondo allegro
00:34:41 String Trio No. 5 in G Minor, G. 93: III. Tempo di minuetto
00:37:06 String Trio No. 6 in C Major, G. 94: I. Allegro assai
00:43:40 String Trio No. 6 in C Major, G. 94: II. Larghetto
00:50:19 String Trio No. 6 in C Major, G. 94: III. Presto

Tracklist Below:
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Telemann wrote so much and so well for the flute with the understanding of one who knew the instrument from the inside. ‘How my heart beats,’ he wrote, ‘when I see the walls and corners of the room covered with musical instruments… Excellent instrumentalists have made me want to improve my performance on my instruments. I would have done so if an inner fire had spurred me beyond the keyboard, the violin and the flute, to learn the oboe, the chalumeau, the viola da gamba, or indeed the double bass and the bass trombone.’
In line with their earlier work on Vivaldi for Brilliant Classics (BC95078), Hanspeter Oggier and the Ensemble Fratres have now chosen to address the delectable feast of Telemann’s wonderfully joyous music. Meticulous in his work, alert and inventive, Telemann was a great colourist whose coherence and open mindedness enabled him to address the widest audience. The particular appeal of this collection is that the flute parts are taken by the pan-flute, which lend a rustic, sometimes insouciant colour to pairs of suites and concertos. In Telemann the prevalence of curiosity over perfectionism suggests the desire to produce works that were straightforward and accessible to all. There is no hint of superficiality in this approach, however: he sensitively assimilated both Italian and French musical languages as well as certain traditional Polish stylistic elements. These and other ingredients he accepted as simple, pliable mother tongues, without trying to adapt them to his native German idiom.

In the Baroque it was by no means uncommon for composers to freely transcribe and arrange their own works or works by others for a different instruments. Therefore, any present day attempt of alternative instrumentation should be viewed with respect and curiosity: the result counts. And what result we encounter on this new recording of Flute Concertos by Telemann transcribed for the Pan Flute! By turns dramatic and furious, sweet and beguiling: the pan flute has infinite colouristic qualities to do full justice to these master works. The pan flute in its present form originates from 17th century Rumania, mostly used as a folk music instrument. However the use of the pan flute in “classical” Baroque music is by no means an abomination. The improvisatory character, the organic way of tone production which is regulated by the intensity of the breath of the player suit the Baroque music particularly well! Exhilarating performances by Master Pan flutist Hanspeter Oggier and his Ensemble Fratres. They already recorded successfully flute concertos by Vivaldi for Brilliant Classics (BC95078). Extensive liner notes on the music and the instrument included.

00:00:00 Ouverture-Suite in A Minor, TWV 55:a2: I. Ouverture
00:10:37 Ouverture-Suite in A Minor, TWV 55:a2: II. Les plaisirs
00:14:09 Ouverture-Suite in A Minor, TWV 55:a2: III. Air à l’Italien
00:21:03 Ouverture-Suite in A Minor, TWV 55:a2: IV. Menuett I-II
00:24:55 Ouverture-Suite in A Minor, TWV 55:a2: V. Rejouissance
00:27:24 Ouverture-Suite in A Minor, TWV 55:a2: VI. Passepied I-II
00:28:59 Ouverture-Suite in A Minor, TWV 55:a2: VII. Polonoise
00:32:59 Flute Concerto in D Major, TWV 51:D2: I. Moderato
00:35:33 Flute Concerto in D Major, TWV 51:D2: II. Allegro
00:39:47 Flute Concerto in D Major, TWV 51:D2: III. Largo
00:43:22 Flute Concerto in D Major, TWV 51:D2: IV. Vivace
00:46:26 Ouverture-Suite in G Major, TWV 55:G2: I. Ouverture
00:51:34 Ouverture-Suite in G Major, TWV 55:G2: II. Courante
00:53:46 Ouverture-Suite in G Major, TWV 55:G2: III. Gavotte en rondeau
00:54:52 Ouverture-Suite in G Major, TWV 55:G2: IV. Branle
00:55:49 Ouverture-Suite in G Major, TWV 55:G2: V. Sarabande
00:57:37 Ouverture-Suite in G Major, TWV 55:G2: VI. Fantaisie
00:58:48 Ouverture-Suite in G Major, TWV 55:G2: VII. Menuet I-II
01:02:28 Ouverture-Suite in G Major, TWV 55:G2: VIII. Rossignol
01:04:25 Flute Concerto in G Major, TWV 51:G2: I. Andante
01:07:08 Flute Concerto in G Major, TWV 51:G2: II. Vivace
01:09:43 Flute Concerto in G Major, TWV 51:G2: III. Adagio
01:11:50 Flute Concerto in G Major, TWV 51:G2: IV. Allegro

Artist:
Hanspeter Oggier pan flute
Ensemble Fratres

Romantic Classical Music:

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00:00:00 Nocturne in Es-Dur, Op. 9 No. 2
00:04:17 Lied ohne Worte in E-Dur, Op. 19 No. 1
00:08:10 Nocturne in B-Moll, Op. 9 No. 1
00:13:35 Impromptu in B-Dur, Op. 142 No. 3, “Rosamunde”
00:25:30 Intermezzo in B-Dur, Op. 76 No. 4
00:28:03 Impromptu in As-Dur, Op. 142 No. 2
00:34:36 Venetianisches Gondellied
00:37:41 Intermezzo in Es-Dur, Op. 117 No. 1
00:43:01 Intermezzo in B-Moll, Op. 117 No. 2
00:47:53 Consolation in E-Dur
00:51:14 Adagio Mondschein Sonate
00:56:55 Frühlingslied
00:59:14 Arabesque No. 1
01:03:24 Moment Musical in F-Moll, Op. 90 No. 4
01:05:04 Sonate Pathetique: Adagio
01:09:48 Für Elise
01:12:40 Klavierstück in Es-Dur, D 946, No. 2
01:23:48 Intermezzo in A-Dur, Op. 118, No. 2
01:30:10 Arabesque No. 2
01:33:16 Des Abends (Aus: Fantasiestücke, Op. 12)
01:36:40 Impromptu in Ges-Dur, Op. 90 No. 3
01:41:56 Reverie
01:45:40 Romanze in Fis-Dur, Op. 28 No. 2
01:49:02 Sonate in H-Moll
01:53:50 Consolation in Des Dur
01:56:55 Clair de Lune
02:01:54 Träumerei (Aus: Kindersszenen, Op. 15)
02:05:06 Prelude in Des Dur, Op. 28 No. 15, “Regentropfen”
02:09:53 Liebestraum

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Composer & Artists:
Composer: Carl Friedrich Abel
Artists: Georgia Browne (flute), Nordic Affect ensemble

About this Album:
Although Carl Friedrich Abel (1723–87) is known as one of the last and greatest virtuosos of the viola da gamba, his instrument declined in popularity towards the end of the 18th century, leading him to compose for other instruments; some of his most successful results can be heard in the music recorded on this disc.

Abel’s ability to compose particularly fine music for the flute can be traced back his time working at the Dresden court, which possessed one of the greatest orchestras of the era. Among the musicians working there were the flautists Buffardin and Quantz – the latter a prolific composer of flute concertos and sonatas for Frederick the Great, a notable patron of the arts. It is likely that Abel himself was a skilled flautist, and the instrument’s popularity at the time created a great demand for new compositions.

The works featured on this disc are less well known than Abel’s music for viola da gamba, and are performed less often. However, they provide an insight into 18th century music’s transition from Baroque complexity to the melody-driven Classical style, and are illuminated through performances by flute soloist Georgia Browne and the ensemble Nordic Affect, specialists in historical performance.

Tracklist:
00:00:00 Concerto for flute and strings No.5 in G: I. Allegro
00:06:32 Concerto for flute and strings No.5 in G: II. Adagio
00:10:57 Concerto for flute and strings No.5 in G: III. Presto
00:16:21 Sonata No.1 in C, Op. 6: I. Adagio
00:19:24 Sonata No.1 in C, Op. 6: II. Allegro
00:22:42 Sonata No.1 in C, Op. 6: III. Vivace
00:25:38 Trio Sonata No.1 in G, Op. 3: I. Vivace
00:30:47 Trio Sonata No.1 in G, Op. 3: II. Adagio ma non troppo
00:33:53 Trio Sonata No.1 in G, Op. 3: III. Menuetto
00:36:03 Sonata No.3 in E Minor, Op. 6: I. Adagio
00:38:41 Sonata No.3 in E Minor, Op. 6: II. Allegro
00:42:20 Sonata No.3 in E Minor, Op. 6: III. Vivace
00:45:28 Concerto for flute and strings No.2 in E Minor: I. Allegro
00:51:38 Concerto for flute and strings No.2 in E Minor: II. Adagio ma non troppo
00:57:01 Concerto for flute and strings No.2 in E Minor: III. Allegro
01:01:50 Symphony No.1 in C, Op. 7: I. Allegro assai
01:06:08 Symphony No.1 in C, Op. 7: II. Andantino
01:10:31 Symphony No.1 in C, Op. 7: III. Allegro

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Abel #Strings #ClassicalStrings

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A ‘scherzo’ may be a joke, but Chopin’s Scherzi are not to be laughed at: indeed, they are highly virtuosic and require
performers with the utmost skill. Within their complexity, though, is hidden some of the most sensitive and tender music Chopin ever composed. On hearing his Scherzo in B flat minor Op.31, Robert Schumann felt compelled to compare it to the romantic poems of Byron, as it seemed to overflow with passion and feeling. The Scherzo in B minor Op.20, marked ‘Presto con fuoco’, starts at tremendous speed, and climaxes in astonishingly virtuosic arpeggios that span almost the entire length of the keyboard, ending in a minor plagal cadence that seems to sum up the dark despair the piece encapsulates. More light‐ hearted but equally complex are Chopin’s Études and Mazurkas, which he performed himself to great acclaim. It was
Schumann, again, who praised Chopin’s skilful playing, marvelling at his capacity to bring out the inner voices just as clearly as
the melody. At a time when other composers were turning towards large‐scale orchestral works, Chopin knew his strengths
lay with his solo compositions for piano: his Waltzes, Scherzi, Mazurkas and Études still rank among the most performed and
beloved solo piano works today. This release illustrates why Chopin deserves his reputation as supreme composer for the
piano, featuring as it does his most dramatic works for the instrument. Czech pianist Ivan Moravec, whose recording career spans almost half a century, entered the classical music scene in America with aplomb thanks to his performances of Chopin’s Scherzi in 1962. This recording was made in 1989 at the world famous Troy Savings Bank Music Hall in New York State, which boasts one of the finest acoustics in the US. Playing on a Steinway Model D that had to be brought through the window especially for the performance, Moravec sparkles on this recording, as he illustrates why his reputation as a world class pianist is truly deserved.

This release presents one of the best recordings of the 4 Scherzi by Chopin, as played by Ivan Moravec.
Moravec recorded this Chopin recital in 1989 in the USA. Moravec is a “pianist’s pianist”, someone who combines deep intellectual musicality, passion and a superb command of keyboard. He is counted among today’s greatest living pianists, respected and admired by audiences all over the world. Featuring the 4 Scherzi, and a selection of Mazurkas and Etudes.

00:00:00 Scherzo No. 1 in B Minor, Op. 20
00:10:24 Scherzo No. 2 in B-Flat Minor, Op. 31
00:20:38 Scherzo No. 3 in C-Sharp Minor, Op. 39
00:28:08 Scherzo No. 4 in E Major, Op. 54
00:39:48 Étude in C-Sharp Minor, Op. 25, No. 7
00:46:06 Étude in A-Flat Major, Op. 25, No. 1 Aeolian Harp
00:48:55 Mazurkas, Op. 41: Mazurka No. 1 in E Minor
00:51:42 Mazurkas, Op. 68: Mazurka No. 4 in F minor
00:54:00 Mazurkas, Op. 7: Mazurka No. 5 Vivo in C Major
00:54:49 Mazurkas, Op. 56: Mazurka No. 2 in C Major

Artist:
Ivan Moravec

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Composer: Johann Sebastian Bach
Artists: Viruosi Saxoniae, Ludwig Guttler (conductor)

Can one ever tire of the dancing inspiration that animates these four portmanteau collections which have delighted both serious and casual listeners ever since Bach compiled them for use in social occasions as the 30-something Kapellmeister at the briefly enlightened court of Prince Leopold of Cöthen, exulting in the multifarious influences which he had absorbed and could place at the service of a compositional mind of unequalled intellectual brilliance yet always conscious of his music’s need to entertain, to give delight as well as accompany the sober thoughts of his congregations?

Not, at any rate, in these performances from a virtuoso German ensemble hailing from Bach’s own part of the world and masterminded by a superb trumpeter-turned-conductor who well understands the exuberant, public character of these suites, their occasional purposes, for all that in such moments as the famous Air from the G major Suite, No.3, they appear to take on a more confiding aspect, drawing the listener in before dispelling the tension with another jolly minuet or charming sarabande.

Bach’s Suites count among his most popular and most frequently performed works, they are quintessential Bach: majestic, noble, tender and full of energy. They contain some of Bach’s evergreens: the Air from the 3rd Suite and the Badinerie from the 2nd Suite.
Played by the Virtuosi Saxoniae conducted by trumpetist/conductor Ludwig Güttler, modern instruments in Historically Informed Performance Practice, the best of both worlds.

00:00:00 Suite in C Major, BWV 1066: I. Ouverture
00:05:38 Suite in C Major, BWV 1066: II. Courante
00:07:16 Suite in C Major, BWV 1066: III. Gavotte No. 1 - Gavotte No. 2
00:09:43 Suite in C Major, BWV 1066: IV. Forlane
00:11:00 Suite in C Major, BWV 1066: V. Menuet No. 1 - Menuet No. 2
00:13:45 Suite in C Major, BWV 1066: VI. Bourrée No. 1 - Bourrée No. 2
00:16:10 Suite in C Major, BWV 1066: VII. Passepied No. 1 - Passepied No. 2
00:19:20 Suite in B Minor, BWV 1067: I. Ouverture
00:25:45 Suite in B Minor, BWV 1067: II. Rondeau
00:27:25 Suite in B Minor, BWV 1067: III. Sarabande
00:30:18 Suite in B Minor, BWV 1067: IV. Bourrée No. 1 - Bourrée No. 2
00:32:09 Suite in B Minor, BWV 1067: V. Polonaise No. 1 - Polonaise No. 2
00:35:10 Suite in B Minor, BWV 1067: VI. Menuet
00:36:18 Suite in B Minor, BWV 1067: VII. Badinerie
00:37:45 Suite in D Major, BWV 1068: I. Ouverture
00:44:21 Suite in D Major, BWV 1068: II. Air
00:48:38 Suite in D Major, BWV 1068: III. Gavotte No. 1 - Gavotte No. 2
00:51:49 Suite in D Major, BWV 1068: IV. Bourrée
00:53:04 Suite in D Major, BWV 1068: V. Gigue
00:55:50 Suite in D Major, BWV 1069: I. Ouverture
01:02:39 Suite in D Major, BWV 1069: II. Bourrée No. 1 - Bourrée No. 2
01:05:32 Suite in D Major, BWV 1069: III. Gavotte
01:07:16 Suite in D Major, BWV 1069: IV. Menuet No. 1 - Menuet No. 2
01:10:45 Suite in D Major, BWV 1069: V. Réjouissance

Tracklist Below:
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Following on from Canto Ostinato XL earlier this year, Brilliant Classics is proud to present Canto Ostinato XXL, a recording that brings a new perspective to Simeon ten Holt’s minimalist composition by adding a Romantic organ to the work’s original scoring for four pianos – a combination never before attempted. The result is the most beautiful and harmonious of sounds, one that captures Canto Ostinato’s emotional variety and depth through building on the sweetness and simplicity that inhabit this acclaimed composition, first performed in 1979.
Canto Ostinato is all to do with time: ‘taking your time, passing time, making time,’ as Jeroen van Veen, and one of the performers on the four-disc set, explains; and this is partly effected through the artists’ decision to repeat certain of the composition’s sections (106 in total) ad lib, thus inducing a sort of alienation of the part of the listener (because of the repetition’s posterior relationship to the harmony) and creating a hypnotic effect, a regular feature of minimalist music. Recorded over the course of just one day, this four-hour arrangement slows the tempo down a little, in order to accommodate the magnificent acoustics of the Muziekgebouw Eindhoven. Joining organist Aaart Bergwerff and Brilliant Classics regulars Sandra and Jeroen van Veen, all of whom feature on XL, are the acclaimed piano duo Elizabeth and Marcel Bergmann, both experts in the minimalist genre and who also enjoy separate international careers. Jeroen van Veen chairs the Simeon ten Holt Foundation, dedicated to keeping the wonderful music of this late Dutch composer alive.

Other information:
- Recorded 19 May 2014.

00:00:00 Canto Ostinato: Section 1
00:05:00 Canto Ostinato: Section 5
00:12:10 Canto Ostinato: Section 10
00:32:10 Canto Ostinato: Section 17
00:38:42 Canto Ostinato: Section 20
00:46:46 Canto Ostinato: Section 23
00:58:28 Canto Ostinato: Section 34
01:02:11 Canto Ostinato: Section 37
01:03:23 Canto Ostinato: Section 37
01:08:05 Canto Ostinato: Section 41
01:18:51 Canto Ostinato: Section 56
01:22:35 Canto Ostinato: Section 60
01:31:04 Canto Ostinato: Section 69
01:39:33 Canto Ostinato: Section 74. Cumulation No. 1
01:53:02 Canto Ostinato: Section 83
02:03:33 Canto Ostinato: Section 88
02:07:14 Canto Ostinato: Section 88 A
02:10:54 Canto Ostinato: Section 88 B
02:13:35 Canto Ostinato: Section 88 C
02:33:02 Canto Ostinato: Section 88 A
02:42:15 Canto Ostinato: Section 88 F
02:56:05 Canto Ostinato: Section 88 H
03:02:04 Canto Ostinato: Section 89
03:05:50 Canto Ostinato: Section 91 A
03:07:49 Canto Ostinato: Section 91 A
03:16:25 Canto Ostinato: Section 91 C
03:22:38 Canto Ostinato: Section 91 E
03:38:30 Canto Ostinato: Section 91 I
03:46:18 Canto Ostinato: Section 92
03:51:12 Canto Ostinato: Theme No. 2. Cumulation No. 2
04:02:20 Canto Ostinato: Section 105
04:04:21 Canto Ostinato: Section 106

Artist:
Jeroen van Veen (piano)
Sandra van Veen (piano)
Marcel Bergmann (piano)
Elizabeth Bergmann (piano)
Aart Bergwerff (organ)

This collection provides a complete account of Robert Schumann’s works for viola and piano. Schumann was a real innovator, who would often explore new instrumental combinations, sometimes bringing neglected or forgotten instruments back into the limelight. The works on this recording show just how many different moods the composer could evoke using the unusual combination of viola and piano, from the changeable nature of the Fantasiestücke Op.73 and the array of emotions portrayed in the Märchenbilder Op.113 to the passion of the Adagio and Allegro Op.70 and finally the intricacies of the Märchenerzählungen Op.132, with a little help from the clarinet.

The successful partnership of violist Lorenzo Falconi and pianist Sara Bacchini has been described by acclaimed performer, Pier Narciso Masi, as ‘a real Duo, in the most complete sense of the word. Their profound understanding of chamber music is supported by considerable talent, sensitivity and personality, and they are great communicators.’ They are joined for the recording by clarinettist Darlo Goracci.

Composer: Robert Schumann
Artists: Lorenzo Falconi (viola), Sara Bacchini (piano), Dario Goracci (clarinet)

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00:00:00 Fantasiestücke, Op. 73: I. Zart und mit Ausdruck
00:03:23 Fantasiestücke, Op. 73: II. Lebhaft, leicht
00:07:05 Fantasiestücke, Op. 73: III. Rasch und mit Feuer
00:11:41 Märchenbilder, Op. 113: I. Nicht schnell
00:15:35 Märchenbilder, Op. 113: II. Lebhaft
00:19:31 Märchenbilder, Op. 113: III. Rasch (mit springendem Bogen)
00:22:38 Märchenbilder, Op. 113: IV. Langsam, mit melancholischem Ausdruck
00:28:58 Adagio and Allegro in A-Flat Major, Op. 70: Langsam, mit innigem Ausdruck (Adagio)
00:33:12 Adagio and Allegro in A-Flat Major, Op. 70: Rasch und feurig (Allegro con brio)
00:38:35 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: I. Lebhaft, nicht zu schnell
00:41:35 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: II. Lebhaft und sehr markiert
00:44:56 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: III. Ruhiges Tempo, mit zartem Ausdruck
00:49:02 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: IV. Lebhaft, sehr markiert

Tracklist below.

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One of the giants of the historically informed performance world needs little introduction; nor indeed his sympathy to Mozart’s oeuvre as already demonstrated in recordings of the three da Ponte operas that have met with wide acclaim and many awards for their closely observed intimacy, their sense of fun and drama and their well-chosen casts, at one with Kuijken’s vision of these jewels of human and music drama.

His recording of Mozart’s magical last opera, however, has not received wide availability until now, in its appearance as part of Brilliant Classics’s comprehensive Opera Collection. The recording was made live at the Notre-Dame Church in Beaune, in France, in 2004. The cast is highly recognisable from many other fine productions of Baroque and early music, including Suzie LeBlanc (Pamina); Cornelius Hauptmann (Tamino); Stephan Genz (Papageno) and Isolde Siebert (Queen of Night).

Of course the orchestral contribution to this recording is no less distinguished: La Petite Bande features the cream of Continental period-instrument musicians, and is led by Kuijken himself, a violinist as much at home in Mozart’s world as he is in Bach’s.

00:00:00 Die Zauberflöte: Act 1: Overture (Orchestra)
00:06:17 Die Zauberflöte: Act 1: No. 1. Introduction: Zu Hilfe! Zu Hilfe! (Tamino/Three Ladies)
00:12:11 Die Zauberflöte: Act 1: Dialogue: Wo bin ich? Ist’s Phantasie, daß ich noch lebe?
00:12:26 Die Zauberflöte: Act 1: No. 2. Song: Der Vogelfänger bin ich ja (Papageno)
00:15:03 Die Zauberflöte: Act 1: Dialogue: He da! (Tamino/Papageno/Three Ladies)
00:21:21 Die Zauberflöte: Act 1: No. 3. Aria: Dies Bildnis ist bezaubernd schön (Tamino)
00:24:50 Die Zauberflöte: Act 1: Dialogue: Rüste dich mit Mut und Standhaftigkeit (Three Ladies/Tamino)
00:26:40 Die Zauberflöte: Act 1: No. 4. Recitative und Aria: O zittre nicht, mein lieber Sohn! ( Queen of the Night)
00:31:18 Die Zauberflöte: Act 1: Dialogue: Ist’s denn auch Wirklichkeit was ich sah (Tamino)
00:31:40 Die Zauberflöte: Act 1: No. 5. Quintet: Hm, hm, hm, hm, hm! (Papageno/Tamino/Three Ladies)
00:37:30 Die Zauberflöte: Act 1: Dialogue: Ha, ha, ha! (Slaves/Monostatos)
00:38:43 Die Zauberflöte: Act 1: No. 6. Trio: Du feines Täubchen (Monostatos/Pamina/Papageno)
00:40:27 Die Zauberflöte: Act 1: Dialogue: Mutter – Mutter – Mutter! (Pamina/Papageno)
00:45:28 Die Zauberflöte: Act 1: No. 7. Duet: Bei Männern, welche Liebe fühlen (Pamina/Papageno)
00:48:29 Die Zauberflöte: Act 1: No. 8. Finale: Zum Ziele führt dich diese Bahn (Three Boys/Tamino)
00:49:59 Die Zauberflöte: Act 1: Recitative: Die Weisheitslehre dieser Knaben (Tamino/First Priest)
00:56:56 Die Zauberflöte: Act 1: Andante: Wie stark ist nicht dein Zauberton (Tamino)
00:59:40 Die Zauberflöte: Act 1: Andante: Schnelle Füße, rascher Mut (Pamina/Papageno/Monostatos/Slaves)
01:02:41 Die Zauberflöte: Act 1: Chorus: Es lebe Sarastro! Sarastro lebe! (Chorus/Papageno/Pamina)
01:04:14 Die Zauberflöte: Act 1: Larghetto: Herr, ich bin zwar Verbrecherin (Pamina/Sarastro)
01:06:35 Die Zauberflöte: Act 1: Allegro: Nun stolzer Jüngling, nur hierher! (Monostatos/Pamina/Tamino/All/Sarastro)
01:08:34 Die Zauberflöte: Act 1: Chorus: Wenn Tugend und Gerechtigkeit (Chorus)

Tracklist below.

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Variously described as “contemporary classical”, “minimalist”, and even “New Age”, Yiruma’s gorgeously peaceful piano music is impossible to classify – it is simply there to be enjoyed, to relax or even to study with. Minimal music is very popular, Yiruma is one of the most popular Minimal music pianists, regularly performing to sell‐out audiences around the globe. Despite his popularity, or maybe even a celebrity status, his music remains resolutely simple and unpretentious; more in the style of short pop music songs than regular solo piano pieces, the very best of it can be enjoyed on this exciting album.

Jeroen van Veen, himself a prolific composer as well as renowned pianist, fell in love with Yiruma’s music on first hearing. As he explains in his liner notes, the music’s enduring popularity is down to its simplicity for player and listener alike. Not many classical composers can boast of having millions of fans, and millions of YouTube views to boot; Yiruma, however, effortlessly bridges the gap between popular and classical, and, most of all, allows the listener to relax and unwind.


00:00:00 Chaconne
00:04:02 Mika’s Song
00:07:03 27. May
00:10:48 Spring Waltz
00:13:20 The View From My Window
00:16:08 Sky
00:19:42 The Day After
00:23:17 Fairy Tale
00:26:04 Do You?
00:30:33 Love Me
00:34:26 I
00:38:45 Wait There
00:43:49 Passing By
00:48:40 The Things I Really
00:52:02 Indigo
00:54:36 Poem
00:57:33 Infinia
01:01:12 Reminiscent
01:04:15 Tears On Love
01:08:04 Yellow Room
01:11:57 River Flows In You
01:15:28 One Day I Will
01:19:44 Loanna
01:23:47 Beloved
01:28:47 Kiss The Rain
01:32:44 Our Same World
01:34:31 May Be
01:38:30 Fotografia
01:41:38 Destiny Of Love
01:45:42 Sometimes … Someone
01:49:46 It’s Your Day
01:53:21 I’m Just A
01:58:00 When The Love Falls
02:01:34 The Moment
02:05:09 …
02:08:14 The Scenery Begins
02:12:10 Falling
02:16:52 With The Wind
02:20:15 All Myself To You
02:23:52 Time Forgets
02:27:51 Tears
02:29:42 Dream
02:34:14 Picture Me

Artist:
Jeroen van Veen (piano)

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Composer: Luigi Boccherini
Artists: La Magnifica Comunitá, Enrico Casazza (violin and concert master)

Boccherini’s string quintets have more to offer than the almost infamous Minuet (from G 275). The gifted Italian composer has written a huge amount of chamber music, including many string quintets for different combinations of instruments.Some of his earlier quintets for 2 violins, 1 viola and 2 celli have now been recorded by the Italian Baroque ensemble La Magnifica Comunita. The ensemble pays a lot of attention to stylistic research. All members have studied at prestigious musical institutions like the Royal Conservatory in The Hague and Schola Cantorum Basiliensis. They play on period instruments. Since Boccherini himself was a professional cello-player he often choose for this more unusual combination with the 2 celli. His music is often a vibrant mixture of Romantic, Italian and Spanish or rather Andalusian elements. Intense performances by La Magnifica Comunitá.

00:00:00 Quintetto I in La Maggiore / A Major, G. 265: Andantino
00:06:02 Quintetto I in La Maggiore / A Major, G. 265: Largo
00:11:57 Quintetto I in La Maggiore / A Major, G. 265: Minuetto Allegro, Trio
00:17:23 Quintetto I in La Maggiore / A Major, G. 265: Allegro assai
00:20:29 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Amoroso
00:27:04 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Allegro non tanto
00:33:07 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Minuetto, Trio
00:38:34 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Presto
00:41:37 Quintetto III in Do Minore / C Minor, G. 267: Allegretto
00:51:17 Quintetto III in Do Minore / C Minor, G. 267: Adagio non tanto
00:55:23 Quintetto III in Do Minore / C Minor, G. 267: Minuetto, Trio
01:00:22 Quintetto III in Do Minore / C Minor, G. 267: Presto
01:04:58 Quintetto IV in Do Maggiore / C Major, G. 268: Adagio
01:06:19 Quintetto IV in Do Maggiore / C Major, G. 268: Allegro e con forza
01:15:41 Quintetto IV in Do Maggiore / C Major, G. 268: Adagio
01:20:30 Quintetto IV in Do Maggiore / C Major, G. 268: Rondeau Allegro
01:24:26 Quintetto V in Mi Bemolle Maggiore / E-Flat Major, G. 269: Non tanto sostenuto
01:29:16 Quintetto V in Mi Bemolle Maggiore / E-Flat Major, G. 269: Allegro assai
01:37:04 Quintetto V in Mi Bemolle Maggiore / E-Flat Major, G. 269: Allegretto
01:44:19 Quintetto VI in Re Maggiore / D Major, G. 270: Pastorale
01:48:29 Quintetto VI in Re Maggiore / D Major, G. 270: Allegro Maestoso
01:54:54 Quintetto VI in Re Maggiore / D Major, G. 270: Minuetto con variazioni

Tracklist Below:
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Elise Neumann
00:00:00 País de abanico
00:04:40 Medallon Antiguo
00:08:07 Habanera
00:12:04 Vals Op.8 No.4
00:16:13 Gavota al estilo antiguo
00:18:51 Vals Tropical
00:21:37 El sueño de la razón produce monstruos
00:28:01 I. La Serenor
00:32:43 II. La Joia
00:35:57 III. La Calma
00:39:02 IV. La Gaubança
00:41:19 V. La Frisança

Giorgio Mirto
00:44:41 El destierro del jerarca
00:48:47 La rosa eterna
00:51:46 Rojas rodillas muertas
00:55:11 Una senil illusion
00:58:24 Los sueños reales son
01:02:56 El ultimo viaje
01:06:50 Flor de otoño

Frédéric Zigante
01:10:18 I. Mazurka-chôro
01:13:44 II. Schottisch-chôro
01:16:59 III. Valsa-chôro
01:22:07 IV. Gavotta-chôro
01:27:14 V. Chôrinho
01:31:29 Andante – Valsa brilhante
01:35:45 Mazurka
Giusepe Feola
01:38:10 No. 6, Fantasia. Aragon
01:43:47 No. 2, Oriental
01:48:25 No. 3, Sevillanas. Sevilla
01:53:19 No. 1, Serenata. Granada
01:58:37 No. 4, Saeta. Cadiz
02:03:20 No. 4, Córdoba
02:09:53 No. 8, Capricho. Cuba
02:15:04 No. 5, Leyenda. Asturias
02:22:16 No. 7, Seguidillas. Castilla
02:26:02 No. 2, Curranda. Cataluña
02:30:16 No. 3, Bajo la palmera

Ermanno Brignolo
02:35:58 Cançò en el mar
02:39:51 Catalanesca
02:42:09 Una leyenda
02:48:05 I. Pueblo castellano
02:49:55 II. En Aragón
02:51:15 III. Brujerias
02:53:00 I. Preludio
02:56:55 II. Coral
03:01:14 III. Cuna
03:06:47 IV. Recitativo
03:11:24 V. Canción
03:14:21 VI. Muñeira
03:17:13 Leyenda catalana

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Composer: Johannes Brahms
Artist: Wolfram Schmitt-Leonardy (piano)

Being a talented pianist Brahms often improvised on the instrument. From the extensive body of works written for the piano by Brahms, Wolfram Schmitt-Leonardy has chosen all five sets of variations. This music shows the composer in all his different appearances: from simple lines and texture to almost bombastic bravura. Wolfram Schmitt-Leonardy is one of the leading pianists of his generation. At university he passed all his examinations with highest distinction and since he was a child he has been winning an impressing amount of top-prizes in international piano competitions throughout the world. He constantly expands his worldwide concert activity.

In his playing Schmitt manages to unravel complex structures without destroying them. His performances are attractively light and transparent with a wide range of colours.

00:00:00 Variations on a theme of Paganini in A Minor Studies, Op. 35, Book I
00:14:03 Variations on a theme of Paganini in A Minor Studies, Op. 35, Book II
00:26:20 Variations and Fugue on a theme of Handel in B-Flat Major, Op. 24 (1861)
00:53:32 Variations on an original theme in D Major, Op. 21 No. 1, (1856-57)
01:11:40 Variations on a Hungarian Song in D Major, Op. 21 No. 2 (c 1853-54)
01:18:54 Variations on a theme of Robert Schumann in F-Sharp Minor, Op. 9 (1854)

Complete tracklist can be found in the comments!

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00:00:00 Adagio in G Minor – Albinoni (Consort of London, Robert Hayden Clark)
00:06:38 V. Pie Jesu – Maurice Duruflé (The Choir of Leeds Catrhedral, Skipton Building Society Camerata)
00:09:36 Miserere – Gregorio Allegri (Choir of Clare College, Cambridge, Timothy Brown)
00:22:14 VII. In paradisum – Gabriel Fauré (Holland Boys Choir, Piet Jan Leusink)
00:25:29 Ave verum corpus in D Major, K. 618 – Mozart (Choir of St john’s College, Christopher Robinson)
00:29:02 V. Panis Angelicus – César Franck (Choir of St john’s College, Christopher Robinson)
00:32:32 I. Stabat Mater Dolorosa – Pergolesi (Cambridge Ensemble, Timothy Brown, Angharad Jones)
00:36:19 Bist du bei mir, BVW 508 – J.S. Bach (Johannette Zomer, Pieter-Jan Belder)
00:39:00 Spiegel im Spiegel (1978) – Arvo Pärt (Jeroen van Veen)
00:48:10 I. Introitus. Requiem aeternam – Mozart (Chamber Choir Of Europe, Kammerorchester Pforzheim)
00:52:58 I. Aria. Ich habe genug – J.S. Bach ( Netherlands Bach Collegium, Pieter Jan Leusink)
01:00:43 VII. Communio. Lux aeterna – Mozart (Chamber Choir Of Europe, Kammerorchester Pforzheim)
01:06:24 “I Know That My Redeemer Liveth” – Handel (Choir of Kings College, Cambridge,)
01:12:14 Spem in alium nunquam habui à 40 – Thomas Tallis (Chappelle du Roi, Alistair Dixon)
01:22:15 No. 49 Aria. “Aus Liebe will mein Heiland sterben” – J.S. Bach (Brandenburg Consort, Stephen Cleobury)
01:26:57 II. Adagio. Sehr feierlich (ed. Nowak) – Anton Bruckner (Rundfunk- SinfonieOrchester Berlin)
01:42:40 I. Canon – Johann Pachelbell (Consort of London, Robert Hayden Clark)
01:47:23 Adagio for Strings in B-Flat Minor – Robert Barber (Royal Philharmonic Orchestra, Philip Ellis)
01:55:09 II. Air – J.S. Bach (Ludwig Güttler, Berliner Symphonie)
01:59:27 Act III, Scene Two: “Thy Hand, Belinda…When I Am Laid in Earth (Dido)” – Henry Purcell (Musica ad Rhenum, Jed Wentz, Nicola Wemyss)
02:00:04 IV. Wie lieblich sind deine Wohnungen – Johannes Brahms (Rundfunkchor Berlin)
02:05:56 III. Marche funèbre. Lento – Chopin (Wolfram Schmitt-Leonardy)
02:14:49 X. Chorale, Jesu bleibet meine Freude – J.S. Bach (Holland Boys Choir)
02:18:00 Dance of the Blessed Spirits – Christoph Gluck (Orchestra De Chambre De Wallonie)
02:25:04 Denn er hat seine Engeln befohlen, MWV B 53 – Felix Mendelssohn (Choir of St. John’s College)
02:28:02 IV. Adagietto – Gustav Mahler (Junge Deutsche Philharmonie, Rudolph Barshai)
02:36:18 In the Midst of Life – Henry Purcell (Choir of CLAIRE College , Cambridge Timothy Brown)
02:39:59 Pavana pour un infante defunte, M. 19 – Maurice Ravel (Michaelangelo Carbonara)
02:46:23 In Paradisum - (Traditional, Schola Cantorum Karolus Magnus, Stan Hollaardt)
02:52:06 No. 4, Im Abendrot – Richard Strauss( Radio Filharmonisch Orkest Holland, Edo de Waart)

Tracklist in the Comment Section:
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The 18th-century Italian Carlo Tessarini has only emerged relatively recently as the brilliant musician and composer that he was (thanks, in part, to an in-depth study published in 2012). He travelled widely, taking on diverse forms of work, and remaining musically active until a ripe old age – remembered by one of his contemporaries as a ‘lively 70-year-old who still regularly played the violin’.

We are treated here to an album consisting almost entirely of world premiere recordings. Within Tessarini’s exclusively instrumental oeuvre, he was in particular a prolific solo sonata writer. His works oscillated between virtuosity and accessibility – reflecting in part the commercial considerations attached to the publication of his work – though there is more than enough of the former here to excite the listener’s ear. Equally manifest are his subtle compositional innovations, such as the fluid approach to melodic counterpoint discernible in the Sonata in C major Op.2. The result is an album sure to convince listeners of the deeper attention that this skilful composer merits.

The sonatas are played by Valerio Losito, an esteemed violinist and viola d’amore player as well as a musicologist, whose first recording for Brilliant Classics was a Scarlatti album in 2011. The basso continuo is played by harpsichordist, professor and radio broadcaster Federico del Sordo.

Other information:
- Rarely recorded repertoire.
- Carlo Tessarini received his musical tuition in Venice, probably with Vivaldi and Corelli (whose musical heir he clearly is). He became a famous virtuoso on the violin, travelling Europe like a modern day pop star. He died in Amsterdam, leaving a substantial oeuvre mainly written for his own instrument.
- His violin sonatas are firmly rooted in the baroque tradition, but already pointing towards the “galante style” of the late 18th century, with an emphasis on belcanto melodies and cler and transparent structures.

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The virtuosic, gloriously indulgent music of Pietro Antonio Locatelli has long been passed over in favour of later composers, such as the master of flamboyant showiness Niccolò Paganini (whose 24 Caprices were inspired by these works). Eighty years before Paganini, however, came these capricci (or capriccios), long soloistic passages for solo violin that were originally written as cadences within movements of violin concertos. But Locatelli’s knack for this style proved so popular that the works easily stand alone; indeed, some of the capriccios are so long that they actually exceed the length of the movement they originate from! Locatelli would write out the beginning of the capriccio, leaving the player to improvise the final cadenza, and Igor Ruhadze has followed that pattern here, improvising cadences to bridge between all 24 capriccios and as the final tuttis of the concerto movements to which they belong. Even Locatelli’s notated section still leaves plenty of room for interpretation; he would simply write the notes in a block chord, leaving the player to pick this apart in whatever style he wished. The writing is rapid, technically demanding and stratospherically high, making huge demands on the performer and providing a treat for the listener in search of a compelling alternative to Paganini.

Igor Ruhadze is a highly experienced performer of Locatelli’s works. In 2015 Brilliant Classics released a 21CD set of the composer’s ensemble music, featuring Mr. Ruhadze and his aptly-named ensemble Violini Capricciosi. A separately-released volume from the Edition, that of the Trio Sonatas, received a very favourable review from Gramophone magazine, which described the ensemble as ‘fine advocates’ of Locatelli’s music, and praised the ‘brilliantly and at times breathtakingly performed’ works.


Other information:
Recorded in The Netherlands in 2013.
Contains notes on the works.
Contains a biography of the artist.

Composer Pietro Antonio Locatelli
Artist Igor Ruhadze violin

 
Tracklist:
00:00:00 24 capriccios for Solo Violin: I. Capriccio No. 1 in D Major
00:03:30 24 capriccios for Solo Violin: II. Capriccio No. 2 in D Major
00:08:36 24 capriccios for Solo Violin: III. Capriccio No. 3 in C Minor
00:12:16 24 capriccios for Solo Violin: IV. Capriccio No. 4 in C Minor
00:17:26 24 capriccios for Solo Violin: V. Capriccio No. 5 in F Major
00:21:12 24 capriccios for Solo Violin: VI. Capriccio No. 6 in F Major
00:24:48 24 capriccios for Solo Violin: VII. Capriccio No. 7 in E Major
00:28:14 24 capriccios for Solo Violin: VIII. Capriccio No. 8 in E Major
00:32:02 24 capriccios for Solo Violin: IX. Capriccio No. 9 in C Major
00:36:16 24 capriccios for Solo Violin: X. Capriccio No. 10 in C Major
00:40:30 24 capriccios for Solo Violin: XI. Capriccio No. 11 in G Minor
00:44:39 24 capriccios for Solo Violin: XII. Capriccio No. 12 in G Minor
00:48:05 24 capriccios for Solo Violin: XIII. Capriccio No. 13 in B-Flat Major
00:51:28 24 capriccios for Solo Violin: XIV. Capriccio No. 14 in B-Flat Major
00:54:54 24 capriccios for Solo Violin: XV. Capriccio No. 15 in E Minor
00:57:42 24 capriccios for Solo Violin: XVI. Capriccio No. 16 in E Minor
01:02:23 24 capriccios for Solo Violin: XVII. Capriccio No. 17 in G Major
01:06:03 24 capriccios for Solo Violin: XVIII. Capriccio No. 18 in G Major
01:10:03 24 capriccios for Solo Violin: XIX. Capriccio No. 19 in F Major
01:13:01 24 capriccios for Solo Violin: XX. Capriccio No. 20 in F Major
01:15:45 24 capriccios for Solo Violin: XXI. Capriccio No. 21 in A Major
01:19:00 24 capriccios for Solo Violin: XXII. Capriccio No. 22 in A Major
01:22:11 24 capriccios for Solo Violin: XXIII. Capriccio No. 23 in D Major “Il labirinto armonico”
01:25:49 24 capriccios for Solo Violin: XXIV. Capriccio No. 24 in D Major “Il labirinto armonico”
01:31:31 Capriccio from Concerto in A Major
01:32:50 Capriccio “prova dell’intonazione” (from Sonata Op. 6 No. 12)

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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, Cramer, 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.

John Baptist Cramer:
00:00:00 Piano Concerto No. 5 in C Minor, Op. 48: I. Allegro maestoso
00:14:25 Piano Concerto No. 5 in C Minor, Op. 48: II. Larghetto
00:21:11 Piano Concerto No. 5 in C Minor, Op. 48: III. Rondo à l’hongroise

Carl Czerny:
00:29:59 Divertissement de concert, Op. 204

Ferdinand Ries:
00:44:43 Piano Concerto No. 3 in C-Sharp Minor, Op. 55: I. Allegro maestoso ( Ries)
00:59:34 Piano Concerto No. 3 in C-Sharp Minor, Op. 55: II. Larghetto
01:04:37 Piano Concerto No. 3 in C-Sharp Minor, Op. 55: III. Rondo. Allegretto

Muzio Clementi
01:15:14 Piano Concerto in C Major: I. Allegro con spirit
01:24:58 Piano Concerto in C Major: II. Adagio e cantabile, con grande espressione
01:31:42 Piano Concerto in C Major: III. Presto

John Field:
01:38:13 Piano Concerto No. 2 in A-Flat Major, H.31: I. Allegro moderato
01:55:04 Piano Concerto No. 2 in A-Flat Major, H.31: II. Poco adagio
01:58:35 Piano Concerto No. 2 in A-Flat Major, H.31: III. Allegro moderato innocente

Johann Nepomuk Hummel:
02:08:01 Piano Concertino in G Major, Op. 73: I. Allegro moderato
02:16:52 Piano Concertino in G Major, Op. 73: II. Andante grazioso
02:21:05 Piano Concertino in G Major, Op. 73: III. Rondo

Ignaz Moscheles:
02:25:45 Piano Concerto in G Minor, Op. 58: I. Allegro moderato
02:37:40 Piano Concerto in G Minor, Op. 58: II. Adagio
02:42:18 Piano Concerto in G Minor, Op. 58: III. Allegro agitato

Ferdinand Hiller:
02:51:18 Piano Concerto No. 2 in F-Sharp Minor, Op. 69: I. Moderato, ma con energia e con fuoco
02:58:08 Piano Concerto No. 2 in F-Sharp Minor, Op. 69: II. Andante espressivo
03:04:01 Piano Concerto No. 2 in F-Sharp Minor, Op. 69: III. Finale. Allegro con fuoco

Henry Litolff:
03:09:05 Concerto symfonique No. 3 in E-Flat Major, Op. 45: I. Allegro
03:19:22 Concerto symfonique No. 3 in E-Flat Major, Op. 45: II. Scherzo
03:24:04 Concerto symfonique No. 3 in E-Flat Major, Op. 45: III. Andante
03:30:19 Concerto symfonique No. 3 in E-Flat Major, Op. 45: IV. Furioso