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Composer: Georg Philipp Telemann
Artists: Wilbert Hazelzet transverse (flute), Rémy Baudet (violin), Jaaap ter Linden (cello), Musica Amphion, Pieter-Jan Belder (harpsichord and concert master)

About this Album: It isn’t often that one finds a complete recording of Telemann’s Tafelmusik, and what a performance this is! The best “early music” musicians of The Netherlands came together and had obviously a good time: Flautists Wilbert Hazelzet and Kate Clark, violinist Rémy Baudet (concertmaster Orchestra of the 18th Century, lead by Frans Brüggen), cellists Richte van der Meer and Jaap ter Linden, under the inspiring direction of harpsichordist Pieter-Jan Belder.

Tafelmusik consists of three “Productions” in various ensembles, from solo to orchestral. It was written for performance during ceremonious dinners, explaining the “diverting” character of the music, which is by no means shallow or lightweight, but full of catching melodies and brilliant instrumental virtuosity, a proof of Telemann’s genius. Enjoy your meal, with this appetizing piece of music!

Tracklist:
00:00:00 Musique de Table, Production I, I. Ouverture - Suite in E Minor for two flutes, strings & b.c.
00:29:16 Musique de Table, Production I, II. Quatuor in G Major for flute, oboe, violin & b.c.
00:43:27 Musique de Table, Production I, III. Concerto in A Major for flute, violin, violoncello, strings & b.c.
01:09:46 Musique de Table, Production I, IV. Trio in E-Flat Major for two violins & b.c.
01:23:19 Musique de Table, Production I, V. Solo in B Minor for flute & b.c.
01:34:27 Musique de Table, Production I, VI. Conclusion in E Minor for two flutes, strings & b.c.

01:39:26 Musique de Table, Production II, I. Ouverture-Suite in D Major for oboe, trumpet, strings & b.c.
02:18:08 Musique de Table, Production II, I. Quatuor in D Minor for recorder, two flutes & b.c.
02:35:32 Musique de Table, Production II, III. Trio in E Minor for flute, oboe & b.c.
02:50:22 Musique de Table, Production II, IV. Solo in A Major for violin & b.c.
03:03:20 Musique de Table, Production II, V. Conclusion in D Major for oboe, trumpet, strings & b.c.

03:09:55 Musique de Table, Production III, I. Ouverture-Suite in B-Flat Major for 2 oboes, bassoon, strings & b.c.
03:33:43 Musique de Table, Production III, II. Quatuor in E Minor for flute, violin, violoncello & b.c.
03:42:29 Musique de Table, Production III, III. Concerto in E-Flat Major for two horns, strings & b.c.
03:57:04 Musique de Table, Production III, III. Trio in D Major for 2 fluets & b.c.
04:05:50 Musique de Table, Production III, VI. Solo in G Minor for oboe & b.c.
04:16:57 Musique de Table, Production III, IX. Conclusions in B-Flat Major for two oboes, bassoon, strings & b.c.

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Composers: Johann Sebastian Bach
Artists: The Choir of King’s College Cambridge, Brandenburg (Consort), Roy Goodman (consort leader), Stephen Cleobury (conductor)

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Bach composed his St Matthew Passion in 1727. Only two of his five Passion settings have survived - the St Matthew and the St John. The St Mark survives in a realisation after the manuscript was destroyed in a bombing raid in the Second World War. Of the other two works there is no trace. The work was premiered in Leipzig where Bach was kapellmeister at the Thomaskirche. Revised several times by the composer, it was often performed during his lifetime, but not heard outside Leipzig until 1829 when Mendelssohn performed an edited and modified version in Berlin. Today we take a dim view of the 19th century tampering with a work like the St Matthew Passion. However, Mendelssohn's pioneering work in bringing the music of Bach to a wider public was responsible for the reappraisal of the composer, and the restoration of masterpieces such as the St Matthew Passion to the repertoire.

Matthäus-Passion, BWV 244 no. 1 until no. 68 Tracklist can be found in the comment section!

Tracklist Below:
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Federico Guglielmo and his superb ensemble L’Arte dell’Arco return with more Vivaldi delights, this time treating us to La cetra, a collection of 12 concertos. Most are for violin solo but one includes a second solo violin. Additionally, there is the fascinating inclusion of two concertos ‘con violin scordato’ – literally, a violin wrongly tuned; not an uncommon practice at the time.

The collection, dedicated to Charles VI, Holy Roman Emperor, is called ‘la cetra’ after a cittern, or lyre. Not only does this indicate something of the sparkling string playing in the solo parts but it was also associated with the Hapsburg coat of arms, a nod to the dedicatee of the collection.

Composer:
Antonio Vivaldi

Artist:
L'Arte dell'Arco
Federico Guglielmo (violin & concertmaster)

00:00:00 Violin Concerto No. 1 in C Major, RV 181a: I. Allegro
00:03:20 Violin Concerto No. 1 in C Major, RV 181a: II. Largo
00:06:17 Violin Concerto No. 1 in C Major, RV 181a: III. Allegro
00:08:40 Violin Concerto No. 5 in A Minor, RV 358: I. Adagio – Presto
00:11:22 Violin Concerto No. 5 in A Minor, RV 358: II. Largo
00:13:19 Violin Concerto No. 5 in A Minor, RV 358: III. Allegro
00:16:11 Violin Concerto No. 4 in E Major, RV 263a: I. Allegro non molto
00:20:25 Violin Concerto No. 4 in E Major, RV 263a: II. Largo
00:23:05 Violin Concerto No. 4 in E Major, RV 263a: III. Allegro non molto
00:26:09 Violin Concerto No. 12 in B Minor, RV 391: I. Allegro non molto
00:31:00 Violin Concerto No. 12 in B Minor, RV 391: II. Largo
00:33:40 Violin Concerto No. 12 in B Minor, RV 391: III. Allegro
00:37:24 Violin Concerto No. 3 in G Minor, RV 334: I. Allegro non molto
00:40:37 Violin Concerto No. 3 in G Minor, RV 334: II. Largo
00:43:36 Violin Concerto No. 3 in G Minor, RV 334: III. Allegro non molto
00:46:38 Violin Concerto No. 7 in B-Flat Major, RV 359: I. Allegro
00:49:19 Violin Concerto No. 7 in B-Flat Major, RV 359: II. Largo
00:50:39 Violin Concerto No. 7 in B-Flat Major, RV 359: III. Allegro
00:53:24 Concerto for
00:56:43 Violins in B-Flat Major, RV 530: I. Allegro 2Concerto for 2 Violins in B-Flat Major, RV 530: II. Largo e spiccato
00:59:21 Concerto for 2 Violins in B-Flat Major, RV 530: III. Allegro
01:01:57 Violin Concerto No. 10 in G Major, RV 300: I. Allegro molto
01:05:11 Violin Concerto No. 10 in G Major, RV 300: II. Largo cantabile
01:06:40 Violin Concerto No. 10 in G Major, RV 300: III. Allegro
01:09:18 Violin Concerto No. 8 in D Minor, RV 238: I. Allegro
01:12:42 Violin Concerto No. 8 in D Minor, RV 238: II. Largo
01:15:31 Violin Concerto No. 8 in D Minor, RV 238: III. Allegro
01:18:17 Violin Concerto No. 2 in A Major, RV 345: I. Allegro
01:21:56 Violin Concerto No. 2 in A Major, RV 345: II. Largo
01:23:54 Violin Concerto No. 2 in A Major, RV 345: III. Allegro
01:26:24 Violin Concerto No. 11 in C Minor, RV 198a: I. Allegro
01:30:16 Violin Concerto No. 11 in C Minor, RV 198a: II. Adagio
01:32:23 Violin Concerto No. 11 in C Minor, RV 198a: III. Allegro
01:35:15 Violin Concerto No. 6 in A Major, RV 348: I. Allegro
01:39:09 Violin Concerto No. 6 in A Major, RV 348: II. Largo
01:41:36 Violin Concerto No. 6 in A Major, RV 348: III. Allegro non molto

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Composer & Artist:
Composer: Alfredo Casella
Artist: Michele d’Ambrosio piano

About this Album:
Alfredo Casella is considered to be the leading representative of the generazione dell’ottanta (generation of the ‘80s): a group of Italian composers born around 1880, including Ottorino Respighi, Ildebrando Pizzetti, Gian Francesco Malipiero, Giorgio Gedini and Franco Alfano, who sought to prove that there was far more to Italian music than opera and concentrated primarily on orchestral, chamber and instrumental music. Casella was a controversial and often misunderstood figure – much has been made of his connections with fascism and his decision to remain in Italy under Mussolini – but he was probably just a staunch Italian nationalist who passionately believed in bringing his country’s glorious musical heritage to the fore (he was largely responsible for the rediscovery of Vivaldi’s music in the 20th century).

This 3CD set brings together Casella’s complete works for solo piano. Spanning a period of over 40 years, the collection charts the development of Casella’s musical language, aesthetic views and pianism (he was also an accomplished pianist and conductor). He entered the Paris Conservatoire in 1896 and studied under Fauré, and his early works reflect the influence of his teacher and that of Debussy, whom Casella greatly admired. Works from his middle period – such as the Op.24 Pezzi and the Op.28 Sonatina and the atmospheric and, for Casella, unusually romantic musical poem A notte alta show the composer in much more daring mode, experimenting with form, harmony and all kinds of pianistic techniques. Eventually, in later works such as the Pezzi infantili and Sinfonia, arioso e toccata, Casella reached what he called ‘a more creative stage that is well-defined and clear’, deftly assimilating aspects of the Italian Baroque music that he loved so much in order to find a unique, contemporary voice.

Tracklist:
The tracklist can be found in the comments!

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

The third part of the Boccherini string quintets performed by La Magnifica Communitá, containing the 6 quintets Op. 13 written in 1772. Delightful classical music which has been an example to many of Boccherini’s younger colleagues. He was one of the first to write for string quintet and the five parts are beautifully balanced.

The musicians of La Magnifica Communitá research their interpretations thoroughly. They perform Boccherini’s music in a pleasantly whole-hearted way, being both down to earth and airy.

00:00:00 Quintetto I In E Flat Major G. 277 : Maestoso
00:05:42 Quintetto I In E Flat Major G. 277 : Larghetto Con Espressione
00:09:27 Quintetto I In E Flat Major G. 277 : Minuetto: Allegro
00:13:35 Quintetto I In E Flat Major G. 277 : Presto
00:19:56 Quintetto Ii In C Major G. 279 : Allegro Maestoso
00:28:23 Quintetto Ii In C Major G. 279 : Larghetto
00:31:48 Quintetto Ii In C Major G. 279 : Presto
00:35:22 Quintetto Iii In F Major G. 279 : Prestissimo
00:41:58 Quintetto Iii In F Major G. 279 : Largo
00:47:49 Quintetto Iii In F Major G. 279 : Tempo Di Minuetto, Trio
00:51:17 Quintetto Iii In F Major G. 279 : Presto
00:55:37 Quintetto Iv In D Minor G. 280 : Allegro
01:04:39 Quintetto Iv In D Minor G. 280 : Andante Sostenuto
01:10:45 Quintetto Iv In D Minor G. 280 : Fuga (allegro Giusto)
01:14:52 Quintetto Iv In D Minor G. 280 : Andantino
01:20:34 Quintetto Iv In D Minor G. 280 : Allegro Giusto
01:25:54 Quintetto Iv In D Minor G. 280 : Presto Assai
01:29:47 Quintetto Vi In E Major G. 282 : Andante Sostenuto
01:33:02 Quintetto Vi In E Major G. 282 : Allegro Con Spirito
01:38:56 Quintetto Vi In E Major G. 282 : Minuetto
01:42:12 Quintetto Vi In E Major G. 282 : Rondeau, Allegro

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Composers: Alessandro Longo, Felix Mendelssohn, Robert Schumann
Artists: Massimo Data (bassoon), Piero Barbareschi (piano)

The chamber literature for bassoon is not as rich and varied as the instrument deserves. Despite its widely recognised beauty of timbre and expressive potentialities, used and celebrated in solos from many significant orchestral and operatic compositions, a fitting chamber literature in the 19th and 20th centuries, especially in duo with the piano, is conspicuously absent. The pieces recorded on this CD are an attempt to demonstrate how this repertoire may be expanded and built upon, both by using original compositions for bassoon and piano and by transcribing significant pieces by Romantic and 20th-century authors originally intended for other expressive instruments.

The pieces themselves range from atmospheric 19th-century compositions such as Schumann’s Drei Romanzen Op.98, in which the bassoon takes on a distinctly vocal quality, to beautiful and at times melancholic 20th-century pieces, including Piazzolla’s Oblivion, in which the flexibility of the instrument’s timbre truly comes to the fore. Bridging these two groups is the ‘title track’ by Rachmaninoff, the implications of whose name are certainly done justice in this set, for the bassoon truly ‘finds its own voice’ here.

Bassoonist Massimo Data has played as principal bassoonist for several orchestras in Italy and beyond, and has given masterclasses across the world. He is accompanied by pianist Piero Barbareschi, who collaborates on chamber music duos with a wide variety of instrumentalists and plays a broad repertoire of music ranging from the 17th century to the present day.

The Bassoon, the bass member of the woodwind family, is a surprisingly versatile, agile, and expressive instrument. Its expression ranges from the joyful and even comic, sonorous, melancholic to the mournful. Regretfully classical composers wrote little of substance for the solo bassoon, therefore this new recording presents a selection of delightful arrangements of classical evergreens: Schumann’s Fantasiestücke Op. 73 (itself written for clarinet or cello), a Mendelssohn Lied ohne Worte, Rachmaninoff’s Vocalise, an original piece by Gabriel Pierné, a heartbreaking Pavane by Ravel, and two raucous Piazzolla tangos.

00:00:00 Lied ohne Worte in E Major, Op. 19 No. 1
00:03:48 Fantasiestücke, Op. 73: I. Zart und mit Ausdruck
00:06:58 Fantasiestücke, Op. 73: II. Lebhaft, leicht
00:10:57 Fantasiestücke, Op. 73: III. Rasch und mit Feuer
00:15:29 Suite for Bassoon and Piano: I. Andante con variazioni
00:20:08 Suite for Bassoon and Piano: II. Romanza
00:25:06 Suite for Bassoon and Piano: III. Vivace
00:28:41 14 Romances, Op. 34: No. 14, Vocalise
00:34:25 Drei Romanzen, Op. 98: I. Nicht schnell
00:37:42 Drei Romanzen, Op. 98: II. Einfach, innig
00:41:39 Drei Romanzen, Op. 98: III. Nicht schnell
00:45:45 Enrico IV: Oblivion
00:48:45 Solo de concert, Op. 35
00:54:42 Pavane pour une infante défunte in G Major, M. 19
00:59:03 Libertango

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Composer: Johann Sebastian Bach
Artist: Pieter-Jan Belder harpsichord

00:00:00 Goldberg Variations, BWV 988: Aria
00:05:02 Goldberg Variations, BWV 988: Variatio 1, a 1 clav.
00:07:16 Goldberg Variations, BWV 988: Variatio 2 , a 1 clav.
00:08:52 Goldberg Variations, BWV 988: Variatio 3, a 1 clav. – Canone all’unisono
00:10:48 Goldberg Variations, BWV 988: Variatio 4, a 1 clav.
00:11:42 Goldberg Variations, BWV 988: Variatio 5, a 1 ovvero 2 clav.
00:13:31 Goldberg Variations, BWV 988: Variatio 6, a 1 clav. Canone alla seconda
00:15:18 Goldberg Variations, BWV 988: Variatio 7, a 1 ovvero 2 clav. – al tempo di giga
00:16:47 Goldberg Variations, BWV 988: Variatio 8, a 2 clav.
00:18:26 Goldberg Variations, BWV 988: Variatio 9, a 1 clav. – Canone alla terza
00:21:17 Goldberg Variations, BWV 988: Variatio 10, a 1 clav. – fughetta
00:22:30 Goldberg Variations, BWV 988: Variatio 11, a 2 clav.
00:24:43 Goldberg Variations, BWV 988: Variatio 12, a 1 clav. – Canone alla quarta
00:26:55 Goldberg Variations, BWV 988: Variatio 13, a 2 clav.
00:30:22 Goldberg Variations, BWV 988: Variatio 14, a 2 clav.
00:32:41 Goldberg Variations, BWV 988: Variatio 15, a 1 clav. – Canone alla quinta, andante
00:37:49 Goldberg Variations, BWV 988: Variatio 16, a 1 clav. – Ouverture
00:40:57 Goldberg Variations, BWV 988: Variatio 17, a 2 clav.
00:43:02 Goldberg Variations, BWV 988: Variatio 18, a 1 clav. – Canone alla sesta
00:44:41 Goldberg Variations, BWV 988: Variatio 19, a 1 clav.
00:45:53 Goldberg Variations, BWV 988: Variatio 20, a 2 clav.
00:48:09 Goldberg Variations, BWV 988: Variatio 21, a 1 clav. – Canone alla settima
00:50:44 Goldberg Variations, BWV 988: Variatio 22, a 1 clav. – Alla Breve
00:52:21 Goldberg Variations, BWV 988: Variatio 23, a 2 clav.
00:54:11 Goldberg Variations, BWV 988: Variatio 24, a 1 clav. – Canone all’ottava
00:58:04 Goldberg Variations, BWV 988: Variatio 25, a 2 clav. – Adagio
01:03:34 Goldberg Variations, BWV 988: Variatio 26, a 2 clav.
01:05:48 Goldberg Variations, BWV 988: Variatio 27, a 1 ovvero 2 clav. – Canone alla nona
01:07:53 Goldberg Variations, BWV 988: Variatio 28, a 2 clav.
01:10:31 Goldberg Variations, BWV 988: Variatio 29, a 1 ovvero 2 clav.
01:12:51 Goldberg Variations, BWV 988: Variatio 30, a 1 clav. – Quodlibet
0:15:05 Goldberg Variations, BWV 988: Aria da capo

Composer: Franz Liszt, Jules Deswert
Artists: Francesco Dillon (cello), Emanuele Torquati (piano)

Tracklist below.

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Many of Liszt’s works were transcribed for other instruments, both by the composer himself and other musicians.These hauntingly beautiful pieces for cello and piano were originally written for piano solo or the voice. They are from the final period of his life and are the product of his old age and his quest for spirituality. Far from the virtuoso brilliance of his earlier works, their intense and romantic melodies express melancholy and desolation, the sparse textures and harmonic instability daringly looking forward to the twentieth century. The rich and warm expressive qualities of the cello undoubtedly make these pieces even more effective.

The most significant work in this collection is La lugubre gondola, a compelling piece written after Liszt had a premonition of Wagner’s death. It was inspired by the Venetian gondola funeral processions he observed during a visit to the city to see Wagner.The music conveys the stillness of a Venetian lagoon, the unsettling harmonies also evoking the underlying darkness and despair. Another work with a very personal connection is the nostalgic Die Zelle in Nonnenwerth, a transcription of one of his songs. Nonnenwerth was an island in the Rhine where Liszt spent time with Marie d’Agoult and their children, and his fondness for the work resulted in many different versions for solo piano, voice and piano duet as well as this version for cello and piano. There are also transcriptions for cello and piano by other musicians of some of his most popular piano works, including the six Consolations, Angelus! from the third volume of Années de Pelèrinages and the Liebestraum No.3.

The performers of this moving collection of works are the Italian cellist Francesco Dillon and the pianist Emanuele Torquati. Francesco Dillon performs as a soloist and with chamber groups all over the world and has made several recordings of unusual cello repertoire, including an album of Schumann rarities for Brilliant Classics.

00:00:00 Première Elégie, S. 130 (1874)
00:04:46 Zweite Elégie, S. 131 (1877)
00:09:15 Romance oubliée, S. 132 (1880)
00:13:12 La lugubre gondola, S. 134 (1882–5)
00:21:23 Die Zelle in Nonnenwerth, S. 382 (1883)
00:27:32 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 1 in C – No. 4 in D-Flat
00:31:48 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 2 in A
00:34:23 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 3 in E
00:38:38 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 5 in G
00:41:15 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 6 in C
00:44:18 Angelus! (Prière aux anges gardiens), S. 163, from Années de Pelèrinages: 3ème année, Italie (arr. L. Windsperger)
00:52:20 Liebestraum No. 3 in G, S. 541 (arr. M.Skalmer)

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It may seem surprising: can 10 discs really contain all of Arcangelo Corelli’s output? They can, and do, but the surprise is merited, for the influence and reputation of these works far outstrips their quantity (and how often can one say that of a Barock composer!). On display here is the apogee of Barock form as displayed in the genres of Solo Sonatas, Trio Sonatas and Concerti Grossi, full of sparkling virtuosity and an intimate knowledge and love of the violin and its potential as a solo instrument.

The influence was felt most immediately in Rome, where he was based for his adult life, but publication of these collections soon earned him a name across Europe, as much as his prowess as a solo violinist did; for this was the golden age of the composer as creator, when composition went hand in hand with performance. Of course there is plenty more music Corelli composed which hasn’t survived, or at least not on manuscripts with his name on them, for Corelli as an impresario frequently staged oratorios to which he would have contributed sinfonias and instrumental numbers.

What survives is never less than highly polished; often bold, and continually inventive, as is more than evident in these performances from a welcome and uniform perspective by a leading Dutch period-instrument ensemble. And it’s unique; there is no other Corelli box on the market, nor has such a project ever been attempted before or since.

Tracklist
00:00:00 Violin Sonatas OP.5 NOS 1 – 11
01:48:54 ‘La folia’
01:59:49 Concerti Grossi OP. 6 NOS 1 – 12
04:10:30 SInfonia WoO1 (to the oratorio Santa Beatrice d’Este)
04:18:55 Sonata A Quattro WoO2

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Composers: Johann Sebastian Bach
Artist: Pieter-Jan Belder (harpsichord)

Bachs French Suites are the ultimate expression of the composer in this genre. This music for keyboard solo is totally autonomous and only stylistically refers to dance forms.

This is a brand new recording by harpsichordist Pieter-Jan Belder playing on an instrument made by Cornelis Bom after Ruckers, Schoonhoven 1999.

The French Suites are combined here with two more suites by Bach, BWV 818 and 819. Excellent performances with a fine ear for Bach’s music.

00:00:00 French Suite I in D Minor, BWV 812: Allemande
00:04:03 French Suite I in D Minor, BWV 812: Courante
00:00:59 French Suite I in D Minor, BWV 812: Sarabande.
00:09:44 French Suite I in D Minor, BWV 812: Menuet I & II
00:12:44 French Suite I in D Minor, BWV 812: Gigue
00:16:33 French Suite II in C Minor, BWV 813: Allemande
00:19:57 French Suite II in C Minor, BWV 813: Courante
00:21:52 French Suite II in C Minor, BWV 813: Sarabande
00:25:33 French Suite II in C Minor, BWV 813: Air
00:26:54 French Suite II in C Minor, BWV 813: Menuet
00:29:55 French Suite II in C Minor, BWV 813: Gigue
00:32:13 French Suite III in B Minor, BWV 814: Allemande
00:35:54 French Suite III in B Minor, BWV 814: Courante
00:37:58 French Suite III in B Minor, BWV 814: Sarabande
00:41:11 French Suite III in B Minor, BWV 814: Anglaise
00:42:36 French Suite III in B Minor, BWV 814: Menuet & Trio
00:45:34 French Suite III in B Minor, BWV 814: Gigue
00:47:39 French Suite IV in E-Flat Major, BWV 815: Allemande
00:51:10 French Suite IV in E-Flat Major, BWV 815: Courante
00:53:00 French Suite IV in E-Flat Major, BWV 815: Sarabande
00:56:34 French Suite IV in E-Flat Major, BWV 815: Gavotte
00:58:01 French Suite IV in E-Flat Major, BWV 815: Air
00:59:40 French Suite IV in E-Flat Major, BWV 815: Menuet
01:00:31 French Suite IV in E-Flat Major, BWV 815: Gigue
01:03:09 French Suite V in G Major, BWV 816: Allemande
01:06:45 French Suite V in G Major, BWV 816: Courante
01:08:40 French Suite V in G Major, BWV 816: Sarabande
01:14:09 French Suite V in G Major, BWV 816: Gavotte
01:15:21 French Suite V in G Major, BWV 816: Bourrée
01:16:32 French Suite V in G Major, BWV 816: Loure
01:19:15 French Suite V in G Major, BWV 816: Gigue
01:22:41 French Suite VI in E Major, BWV 817: Allemande
01:26:17 French Suite VI in E Major, BWV 817: Courante
01:28:04 French Suite VI in E Major, BWV 817: Sarabande
01:31:25 French Suite VI in E Major, BWV 817: Gavotte
01:32:34 French Suite VI in E Major, BWV 817: Menuet polonais
01:33:50 French Suite VI in E Major, BWV 817: Bourrée
01:35:28 French Suite VI in E Major, BWV 817: Gigue
01:37:55 French Suite VI in E Major, BWV 817: Petit Menuet
01:39:10 Suite in E-Flat Major, BWV 819: Allemande
01:42:24 Suite in E-Flat Major, BWV 819: Allemande (BWV 819a)
01:46:07 Suite in E-Flat Major, BWV 819: Courante
01:48:02 Suite in E-Flat Major, BWV 819: Sarabande
01:51:52 Suite in E-Flat Major, BWV 819: Bourée
01:53:29 Suite in E-Flat Major, BWV 819: Menuet I & II
01:55:46 Suite in A Minor, BWV 818: Allemande
01:59:45 Suite in A Minor, BWV 818: Courante
02:01:01 Suite in A Minor, BWV 818: Sarabande simple
02:04:49 Suite in A Minor, BWV 818: Sarabande double
02:07:34 Suite in A Minor, BWV 818: Gigue

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Artists: Royal Philharmonic Orchestra, Novosibirsk Symphony Orchestra, Bolshoi Theatre Orchestra

This album contains a highly attractive selection of the most iconic ballet music by Russian composers: Nutcracker, Swan Lake, Sleeping Beauty (Piotr Ilyich Tchaikovsky), Cinderella, Romeo & Juliet, Stone Flower (Sergei Prokofiev) and Spartacus, Gayane (Aram Ilyich Khachaturian). Music full of enchanting melodies, weighless pas-de-deux, and exciting Russian Dances (Sabre Dance!). Superb performances by the Bolshoi Theatre Orchestra, the Novosibirsk SO and the famous Royal Philharmonic Orchestra.

00:00:00 Swan Lake, Op. 20, Act I: II. Waltz. Tempo di valse
00:07:19 Swan Lake, Op. 20, Act II: X. Scene – Swan Theme. Moderato
00:13:54 Swan Lake, Op. 20, Act II: XIII. Dance of the Little Swans. Allegro moderato
00:15:26 Swan Lake, Op. 20, Act II: XIII. Pas d’action – Second Dance of the Queen. Andante non troppo – Allegro
00:23:31 Swan Lake, Op. 20, Act III: XX. Hungarian Dance. Csárdás (Moderato assai – Allegro moderato – Vivace)
00:27:15 Swan Lake, Op. 20, Act III: XXI. Spanish Dance .Allegro non troppo. Tempo di bolero
00:29:49 Sleeping Beauty, Op. 66, Act I: The Spell. No. 6 Waltz. Allegro. Tempo di valse
00:34:49 Sleeping Beauty, Op. 66, Act I: The Spell. No. 8 pas d’action. Rose adagio. Andante – Adagio meastoso
00:41:25 Sleeping Beauty, Op. 66, Act II: The Vision. No. 17 Panorama A.ndantino
00:43:34 Sleeping Beauty, Op. 66, Act III: The Wedding. No. 24 pas de caractère. Allegro moderato
00:46:06 Sleeping Beauty, Op. 66, Act III: The Wedding. No. 28 pas de deux. Adagio. Andante non troppo
00:50:51 Sleeping Beauty, Op. 66, Act III: The Wedding. No. 28 pas de deux. Coda. Allegro vivace
00:52:14 Sleeping Beauty, Op. 66, Act III: The Wedding: No. 30 Finale. Alegro brillante. Tempo di mazurka
00:56:17 The Nutcracker, Op. 71: Miniature overture
00:59:42 The Nutcracker, Op. 71, Act I: II. March
01:02:04 The Nutcracker, Op. 71, Act II: No. 12 Divertissement. Coffee. Arabian Dance
01:05:27 The Nutcracker, Op. 71, Act II: No. 12 Divertissement. Tea. Chinese Dance
01:06:34 The Nutcracker, Op. 71, Act II: No. 12 Divertissement. Trepak. Russian Dance
01:07:44 The Nutcracker, Op. 71, Act II: No. 12 Divertissement. Dance of the Reed Pipes
01:10:06 The Nutcracker, Op. 71, Act II: No. 14 Pas de deux. Variation 2. Dance of the Sugar Plum Fairy
01:16:51 The Nutcracker, Op. 71, Act II: No. 13 Waltz of the Flowers
01:19:07 Cinderella – Suite No. 1, Op. 107: I. Cinderella
01:21:24 Cinderella – Suite No. 1, Op. 107: II. Pas de châle
01:25:08 Cinderella – Suite No. 1, Op. 107: III. Quarrel
01:28:35 Cinderella – Suite No. 1, Op. 107: IV. Fairy Godmother and the Winter Fairy
01:33:33 Cinderella – Suite No. 1, Op. 107: V. Mazurka
01:38:24 Cinderella – Suite No. 1, Op. 107: VI. Cinderella Goes to the Ball
01:41:10 Cinderella – Suite No. 1, Op. 107: VII. Cinderella’s Waltz
01:43:59 Cinderella – Suite No. 1, Op. 107: VIII. Midnight
01:46:09 The Stone Flower – Suite No. 1, Op. 126: I. Love Scene
01:54:04 The Stone Flower – Suite No. 1, Op. 126: II. Dance of the Groom's Men
01:56:14 The Stone Flower – Suite No. 1, Op. 126: III. Dance of the Young Girls
02:00:00 The Stone Flower – Suite No. 1, Op. 126: IV. Ritual Dance
02:02:20 The Stone Flower – Suite No. 1, Op. 126: V. Wedding Dance
02:05:49 Romeo And Juliet – Suite No. 2, Op. 64ter: I. Montagues and Capulets
02:10:49 Romeo And Juliet – Suite No. 2, Op. 64ter: II. Juliet as a Young Girl
02:14:41 Romeo And Juliet – Suite No. 2, Op. 64ter: III. Friar Laurence
02:17:43 Romeo And Juliet – Suite No. 2, Op. 64ter: IV. Dance
02:19:42 Romeo And Juliet – Suite No. 2, Op. 64ter: V. Romeo and Juliet Before Parting
02:29:16 Romeo And Juliet – Suite No. 2, Op. 64ter: VI. Dance of the Maids
02:31:35 Romeo And Juliet – Suite No. 2, Op. 64ter: VII. Romeo at Juliet’s Grave
02:37:58 Gayaneh – Ballet Suite: I. Dance of the Rose Maidens
02:40:41 Gayaneh – Ballet Suite: II. Aysha’s Dance
02:45:04 Gayaneh – Ballet Suite: III. Dance of the Highlanders
02:47:01 Gayaneh – Ballet Suite: IV. Lullaby
02:52:55 Gayaneh – Ballet Suite: V. Noune’s Dance
02:54:39 Gayaneh – Ballet Suite: VI. Armen’s Var
02:56:37 Gayaneh – Ballet Suite: VII. Gayaneh’s Adagio
03:00:38 Gayaneh – Ballet Suite: VIII. Lezghinka
03:03:35 Gayaneh – Ballet Suite: IX. Dance with Tambourines
03:06:35 Gayaneh – Ballet Suite: X. Sabre Dance
03:09:06 Spartacus – Ballet Suite: I. Introduction – Dance of the Nymphs
03:15:10 Spartacus – Ballet Suite: II. Aegina’s Dance
03:19:10 Spartacus – Ballet Suite: III. Scene and Dance with Crotalums
03:23:03 Spartacus – Ballet Suite: IV. Adagio of Spartacus and Phrygia
03:32:46 Spartacus – Ballet Suite: V. Dance of The Gaditan Maidens – Victory of Spartacus

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For a collection of small nations at the northern fringe of Europe, Scandinavia produced in a relatively short space of time a remarkable quantity of great musicians – including from the late classical and early periods Berwald, Pacius and Crusell, to Gade, Svendsen ,Sinding and Grieg in the mid 19th, and of course Sibelius, Nielsen, Laangaard and Stenhammer at the end of the 19th who became major international composers in the first three decades of the 20th century.

Edvard Grieg (1843 - 1907) of course will always be remembered as the composer of the highly effective A minor piano concerto, and his incidental music to Ibsen’s play Peer Gynt. However, it is as a miniaturist that Greig’s true genius lies. Grieg was a very capable pianist, and had in fact made his early career as a concert pianist, and his songs and solo piano music form the heart of his output. The early piano sonata although interesting shows clearly why the less restricting forms of the miniatures for solo piano suited his genius. The Lyric Pieces and Peasant Dances display his keen ear for traditional folk music, matched probably only by Bartok and Kodaly.

The 66 works that comprise the 10 books of Lyric Pieces date from 1867 to 1901, and are extraordinary, exquisitely crafted works that can stand comparison to any of the great sonatas of his contemporaries. This set includes the complete Lyric Pieces, the Sonata, The Holberg Suite and the lesser-known piano works of this great composer who captured the very essence of his native Norway in music.

Composer: Edvard Hagerup Grieg
Artist : Håkon Austbö piano

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Composer : Giovanni Battista Costanzi, Nicola Porpora
Artist: Adriano Fazio (cello)
Katarzyna Solecka (violin)
Anna Camporini (cello)
Pedro Alcacer (theorbo)
Lorenzo Profita (harpsichord)

00:00:00 Cello Sonata No. 1 in C Major: I. Amoroso
00:02:35 Cello Sonata No. 1 in C Major: II. Allegro
00:04:22 Cello Sonata No. 1 in C Major: III. Tempo giusto
00:06:12 Cello Sonata No. 1 in C Major: IV. Allegro
00:09:12 Cello Sonata No. 2 in G Minor: I. Affettuoso
00:11:10 Cello Sonata No. 2 in G Minor: II. Allegro
00:13:44 Cello Sonata No. 2 in G Minor: III. Adagio
00:15:29 Cello Sonata No. 2 in G Minor: IV. Allegro
00:18:18 Cello Sonata No. 3 in G Major: I. Adagio
00:20:51 Cello Sonata No. 3 in G Major: II. Allegro
00:23:23 Cello Sonata No. 3 in G Major: III. Adagio staccato
00:25:12 Cello Sonata No. 3 in G Major: IV. Allegro
00:27:26 Cello Sonata No. 4 in B Major: I. Adagio e staccato
00:29:54 Cello Sonata No. 4 in B Major: II. Allegro
00:32:31 Cello Sonata No. 4 in B Major: III. Adagio
00:33:50 Cello Sonata No. 4 in B Major: IV. Allegro staccato
00:36:21 Cello Sonata No. 5 in C Minor: I. Adagio
00:38:58 Cello Sonata No. 5 in C Minor: II. Allegro
00:41:34 Cello Sonata No. 5 in C Minor: III. Adagio
00:43:10 Cello Sonata No. 5 in C Minor: IV. Allegro
00:46:33 Cello Sonata No. 6 in G Major: I. Adagio
00:49:24 Cello Sonata No. 6 in G Major: II. Allegro
00:51:56 Cello Sonata No. 6 in G Major: III. Largo
00:54:08 Cello Sonata No. 6 in G Major: IV. Allegro staccato

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In these 24 preludes, spread over two books of equal length, Jeroen van Veen has been inspired by the key-order of Chopin, the piano-techniques of Franz Liszt and Sergei Rachmaninoff, the polyrhythmic textural layering of Philip Glass, the sound of Simeon ten Holt and the rhythms of Steve Reich, all governed by the guiding principle of less is more.

The preludes are highly representative examples of van Veen’s ‘Lego-brick’ aesthetic. The idea behind this is to create variation. Lego refers to the Danish phrase ‘leg godt’, which means ‘to play well’. Complexity is lent to such simple materials by the layering of irregular and compound time-signatures such as 5/8, 7/8, 11/8 and 13/8. Many motives reappear in various works, like Lego bricks in Lego structures do. Some Preludes such as No.18 are just a few ‘Lego bricks’ that can be repeated or even constructed in any order.

Since they were written in 2003-4, these simple preludes have inspired film-makers and artists in their own works; they have also provided the score to a ballet. After the success of Jeroen van Veen’s many recordings of minimal piano music for Brilliant Classics, this new release is sure to receive attention in the press. Most recently he recorded the complete piano works of Erik Satie in time for the 150th anniversary of the composer’s birth. His previous recording of the Preludes was well-received by the American Record Guide: ‘Veen’s own Minimal Piano Preludes, which take up two discs of the collection, are a must-have… his performances are more technically polished and conventionally musical: the music breathes.’

The Prelude, originally a short, often quasi-improvised, introduction to a work of larger proportions, gained in the course of musical history a new form, developing into a separate and free structure in which the composer lets his imagination free reign. Jeroen van Veen, champion of Minimal Music, about his own Preludes: “composed in a major and minor keys in the order of Chopin’s Preludes the basic idea was to see if I would limit myself to just a few chords and techniques if I could create different works. Of course I was inspired by the great classical masters; I tried to combine the order of Chopin, the piano-techniques by Franz Liszt and Sergei Rachmaninoff, the polyrhythmic by Philip Glass, the sound of Simeon ten Holt and the rhythms of Steve Reich. Each piece has its own character, starting from a minimalistic point of view: less is more.

00:00:00 Minimal Prélude No. 1 in C Major
00:05:40 Minimal Prélude No. 2 in A Minor
00:09:41 Minimal Prélude No. 3 in G Major
00:14:19 Minimal Prélude No. 4 in E Minor
00:18:42 Minimal Prélude No. 5 in D Major
00:22:07 Minimal Prélude No. 6 in B Minor
00:25:55 Minimal Prélude No. 7 in A Major
00:27:00 Minimal Prélude No. 8 in F-Sharp Minor
00:29:40 Minimal Prélude No. 9 in E Major
00:34:41 Minimal Prélude No. 10 in C-Sharp Minor
00:42:00 Minimal Prélude No. 11 in B Major
00:47:52 Minimal Prélude No. 12 in G-Sharp Minor
00:52:56 Minimal Prélude No. 13 in F-Sharp Major
00:59:49 Minimal Prélude No. 14 in E-Flat Minor
01:05:07 Minimal Prélude No. 15 in D-Flat Major
01:07:43 Minimal Prélude No. 16 in B-Flat Minor
01:10:39 Minimal Prélude No. 17 in A-Flat Major
01:15:14 Minimal Prélude No. 18 in F Minor
01:25:53 Minimal Prélude No. 19 in E-Flat Major
01:29:17 Minimal Prélude No. 20 in C Minor
01:33:30 Minimal Prélude No. 21 in B-Flat Major
01:38:08 Minimal Prélude No. 22 in G Minor
01:44:13 Minimal Prélude No. 23 in F Major
01:50:20 Minimal Prélude No. 24 in D Minor
02:00:14 Minimal Preludes, Book III: Prelude No. 25 in A Minor (Bonus Track)

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Composers: Friedrich Wilhelm Ludwig Grützmacher, Robert Schumann
Artists: Francesco Dillon (cello), Emanuele Torquati (piano)

Schumann and the cello: we may think of the fine, late and rhapsodic Cello Concerto, or the lighter Stücke im Volkston, much beloved of cello students this past century and a half. But here is something different: songs, piano works – including the complete Kinderszenen cycle – and the Second Violin Sonata, all arranged for cello and piano.

The arrangements were made by Friedrich Grützmacher, that indefatigable populariser of the cello in mid-19th-century Germany and tireless appropriater and editor of other men’s music for the cello at a time when his instrument had to get by on precious few original pieces – the Vivaldi concertos, for example, were still stuck in Venetian libraries and would stay there for another century. But Grützmacher edited the Bach Cello Suites, the Haydn Concertos and pieces by Boccherini, to make them better known, and indeed to adapt them to 19th-century ways of doing things. He it was, also who gave the first performance of the Stücke im Volkston.

No such problems of era exist with these Schumann arrangements, which vary from comparatively straight transcription (in the case of the Second Violin Sonata) to thoroughgoing and imaginative realisation, in the case of Kinderszenen. Grützmacher shows that these pieces may happily belong to the cello, and even gain a certain mellow charm thereby, especially when played, as they are here, by a young performer of ardent and thoughtful sympathy.

00:00:00 Lieder, Widmung, Op. 25: No. 1
00:02:12 Lieder, Du bist wie eine Blume, Op. 25: No. 1
00:03:46 Lieder, Er der Herrlichsten von Allen, Op. 42: No. 2
00:06:40 Lieder, Dein Angesicht, Op 127: No. 2
00:08:41 Lieder, Der Nussbaum, Op. 25: No. 3
00:11:02 Lieder, Mondnacht, Op. 39: No. 5
00:14:15 Lieder, Fruehlingsnacht, Op. 39: No. 12
00:16:49 Lieder, Die Stille, Op. 39: No. 4
00:18:27 Lieder, Wanderlied, Op. 35: No. 3
00:21:05 Lieder, Die Lotosblume, Op. 25: No. 7
00:22:49 Lieder, An den Sonnenschein
00:24:28 Lieder, Waldesgespraech, Op. 39: No. 3
00:27:35 Lieder, Ich grolle nicht, Op 48: No. 7
00:29:07 Lieder, Romanze, Op. 138: No. 5
00:31:51 Lieder, Sonntags am Rhein, Op. 36: No. 1
00:33:55 Lieder, Volksliedchen, Op. 51: No. 2
00:35:03 Lieder, Die beiden Grenadiere, Op. 49: No. 1
00:38:28 Piano Works, Abendlied, Op. 85
00:41:42 Piano Works, Alpenfee, Op. 115
00:43:54 Piano Works, Romanze, Op. 28
00:47:35 Piano Works, Schlummerlied, Op. 124
00:50:37 Piano Works, Warum, Op. 12
00:53:13 Piano Works, Froehlicher Landmann und Soldatenmarsch, Op. 68
00:56:44 Piano Works, Abschied, Op 82
00:59:33 Piano Works, Am Springbrunnen, Op. 85
01:02:57 Violin Sonata No. 2 in D, Op. 121: I. Ziemlich Langsam - Lebhaft
01:16:29 Violin Sonata No. 2 in D, Op. 121: II. Sehr lebhaft
01:21:26 Violin Sonata No. 2 in D, Op. 121: III. Leise, einfach
01:27:31 Violin Sonata No. 2 in D, Op. 121: IV. Bewegt
01:36:51 Kinderszenen, Op. 15: Von fremden Laendern und Menschen
01:38:34 Kinderszenen, Op. 15: Curiose Geschichte
01:39:43 Kinderszenen, Op. 15: Hasche-Mann
01:40:18 Kinderszenen, Op. 15: Bittendes Kind
01:41:00 Kinderszenen, Op. 15: Glueckes genug
01:41:34 Kinderszenen, Op. 15: Wichtige Begebenheit
01:42:31 Kinderszenen, Op. 15: Traeumerei
01:45:08 Kinderszenen, Op. 15: Am Camin
01:46:12 Kinderszenen, Op. 15: Ritter vom Steckenpferd
01:46:56 Kinderszenen, Op. 15: Fast zu ernst
01:49:20 Kinderszenen, Op. 15: Fuerchtenmachen
01:50:50 Kinderszenen, Op. 15: Kind im Einschlummern
01:53:14 Kinderszenen, Op. 15: Der Dichter spricht

Tracklist below.

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Composer: Napoléon Coste
Artist: Flávio Apro classical guitar

Napoleon Coste (1805-1883) was one of the most important and influential protagonists of the guitar in the 19th century. He was a prodigy, touring Europe in his early years giving highly successful concerts, publishing his own music, inventing new types of guitars and hybrid instruments such as the Heptacode and Decacorde, a musicologist and a highly respected teacher.
His most important oeuvre for the guitar are the “25 Etudes de Genre”, concert pieces composed over the whole period of his life, miniatures of great attraction, charm, melodic inventiveness and virtuosity. Also included is the Grande Sérénade Op. 30, a multi-movement concert piece to show off the player’s skills and sentiment.
Played with great conviction, technical command and apparent joy by the wonderful Flávio Apro, one of Brazil’s foremost guitarists, who already successfully recorded for Brilliant Classics: “Nocturne” and “The Brazilian Guitar”.

Tracklist:
00:00:00 25 Etudes for Guitar, Op. 38: Etude No. 1 in A Minor
00:01:20 25 Etudes for Guitar, Op. 38: Etude No. 2 in C Major
00:02:33 25 Etudes for Guitar, Op. 38: Etude No. 3 in D Minor
00:03:53 25 Etudes for Guitar, Op. 38: Etude No. 4 in D Major
00:05:16 25 Etudes for Guitar, Op. 38: Etude No. 5 in E Major
00:06:32 25 Etudes for Guitar, Op. 38: Etude No. 6 in A Major
00:08:17 25 Etudes for Guitar, Op. 38: Etude No. 7 in A Minor
00:10:00 25 Etudes for Guitar, Op. 38: Etude No. 8 in E Minor
00:14:26 25 Etudes for Guitar, Op. 38: Etude No. 9 in G Major
00:16:22 25 Etudes for Guitar, Op. 38: Etude No. 10 in D Major
00:18:06 25 Etudes for Guitar, Op. 38: Etude No. 11 in G Major
00:19:24 25 Etudes for Guitar, Op. 38: Etude No. 12 in C Major
00:20:37 25 Etudes for Guitar, Op. 38: Etude No. 13 in C Major
00:22:19 25 Etudes for Guitar, Op. 38: Etude No. 14 in A Major
00:26:19 25 Etudes for Guitar, Op. 38: Etude No. 15 in D Major
00:27:53 25 Etudes for Guitar, Op. 38: Etude No. 16 in G Major
00:30:24 25 Etudes for Guitar, Op. 38: Etude No. 17 in C Major
00:32:46 25 Etudes for Guitar, Op. 38: Etude No. 18 in A Minor
00:34:46 25 Etudes for Guitar, Op. 38: Etude No. 19 in A Major
00:38:06 25 Etudes for Guitar, Op. 38: Etude No. 20 in D Major
00:41:22 25 Etudes for Guitar, Op. 38: Etude No. 21 in G Major
00:44:29 25 Etudes for Guitar, Op. 38: Etude No. 22 in A Minor
00:45:36 25 Etudes for Guitar, Op. 38: Etude No. 23 in A Major
00:47:50 25 Etudes for Guitar, Op. 38: Etude No. 24 in D Minor
00:52:37 25 Etudes for Guitar, Op. 38: Etude No. 25 in B-Flat Major
00:57:39 Grande Sérénade for Guitar, Op. 30: I. Largo
01:00:05 Grande Sérénade for Guitar, Op. 30: II. Allegro
01:00:22 Grande Sérénade for Guitar, Op. 30: III. Vivace
01:01:36 Grande Sérénade for Guitar, Op. 30: IV. Andantino. Marche et Choir de Pélerins
01:06:24 Grande Sérénade for Guitar, Op. 30: V. Bolero
01:09:01 Grande Sérénade for Guitar, Op. 30: VI. Andante
01:09:54 Grande Sérénade for Guitar, Op. 30: VII. Final. Allegro
01:11:57 Grande Sérénade for Guitar, Op. 30: VIII. Allegretto

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Composer: Heitor Villa-Lobos
Artists: Jenny Abel (violin), Roberto Szidon (piano)

Heitor Villa-Lobos composed prolifically in every genre, but his chamber music has not received the attention of his richly scored, opulent accomplishments in the fields of orchestral and vocal music, as well as the cello-saturated Bachianas Brasilieras. These three sonatas were written between 1912 and 1920 and are full of entirely characteristic, colourful melodic vocabulary, structured as extended rhapsodies.

00:00:00 Fantasy-Sonata No. 1, Op. 27 "Désespérance"
00:10:09 Fantasy-Sonata No. 2, Op. 49: I. Allegro non troppo
00:15:46 Fantasy-Sonata No. 2, Op. 49: II. Largo – Moderato
00:25:45 Fantasy-Sonata No. 2, Op. 49: III. Rondo. Allegro final
00:32:39 Violin Sonata No. 3: I. Adagio non troppo
00:44:16 Violin Sonata No. 3: II. Allegro vivace scherzando
00:48:55 Violin Sonata No. 3: III. Molto animato e final

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Composer: Dietrich Buxtehude
Artist: Simone Stella (harpsichord)


Dieterich Buxtehude (c.1637 - 1707) spent his career working as an organist in churches, but was also a prolific composer of secular instrumental music and wrote far more for harpsichord than most composers of his era. Buxtehude’s position in Lübeck and fame as an organist brought him into contact with many of the greatest musicians of his day, and his style demonstrates the variety of musical influences that he was exposed to, particularly from German and Italian repertoire, which he combined to create a unique personal style.

This set of 4 CDs collects together Buxtehude’s complete music for harpsichord, including suites in the popular French style, several works that can be played effectively on both organ and harpsichord (including preludes, fugues, canzonas and choral elaborations), and variations on arias, which showcase the composer’s creativity and ability to compose music in a variety of styles. Among the works featured are two new authentic harpsichord suites, discovered in 2004 and 2005, and the monumental La Capricciosa, one of the largest and most innovative solo keyboard works of the 17th century.

Performed by Simone Stella, who has previously played Buxtehude’s complete organ music in a series of concerts. This collection is a comprehensive overview of the harpsichord music of a composer seen by many as J.S. Bach’s true predecessor.

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This an issue of series consisting of 14 3CD-sets with selected highlights taken from our Mozart complete edition, intented for those who prefer to buy more selectively.
This release contains the following works: K. 311, K. 330, K. 331, K. 332, K. 333, K. 457, K. 533, K. 533, K. 545, K. 570, K. 576.

Composer: Wolfgang Amadeus Mozart
Artist: Klara Würtz (piano)

Tracklist;
00:00:00 Piano Sonata No. 9 in D Major, KV.311: Allegro con spirito
00:04:28 Piano Sonata No. 9 in D Major, KV.311: Andante con espressione
00:09:19 Piano Sonata No. 9 in D Major, KV.311: Rondeau, allegro
00:15:25 Piano Sonata No. 10 in C Major, KV.330: Allegro moderato
00:22:06 Piano Sonata No. 10 in C Major, KV.330: Andante cantabile
00:28:40 Piano Sonata No. 10 in C Major, KV.330: Allegretto
00:34:22 Piano Sonata No. 11 in C Major, KV.331: Andante grazioso
00:47:16 Piano Sonata No. 11 in C Major, KV.331: Menuetto
00:53:11 Piano Sonata No. 11 in C Major, KV.331: AllaTurca, allegretto
00:56:37 Piano Sonata No. 12 in F Major, KV.332: Allegro
01:03:11 Piano Sonata No. 12 in F Major, KV.332: Adagio
01:07:54 Piano Sonata No. 12 in F Major, KV.332: Allegro assai
01:14:44 Piano Sonata No. 13 in B-Flat Major, KV.333: Allegro
01:22:07 Piano Sonata No. 13 in B-Flat Major, KV.333: Andante cantabile
01:27:40 Piano Sonata No. 13 in B-Flat Major, KV.333: Allegretto grazioso
01:34:17 Piano Sonata No. 14 in C Minor, KV.457: Allegro molto
01:39:46 Piano Sonata No. 14 in C Minor, KV.457: Adagio
01:47:29 Piano Sonata No. 14 in C Minor, KV.457: Allegro assai
01:51:49 Piano Sonata No. 15 in F Major, KV.533: Allegro
01:59:26 Piano Sonata No. 15 in F Major, KV.533: Andante
02:06:01 Piano Sonata No. 15 in F Major, KV.533: Rondeau, allegretto
02:12:29 Piano Sonata No. 16 in C Major, KV.545: Allegro
02:15:49 Piano Sonata No. 16 in C Major, KV.545: Andante
02:20:00 Piano Sonata No. 16 in C Major, KV.545: Rondo
02:21:45 Piano Sonata No. 17 in B-Flat Major, KV.570: Allegro
02:27:29 Piano Sonata No. 17 in B-Flat Major, KV.570: Adagio
02:34:55 Piano Sonata No. 17 in B-Flat Major, KV.570: Allegretto
02:38:25 Piano Sonata No. 18 in D Major, KV.576: Allegro
02:43:37 Piano Sonata No. 18 in D Major, KV.576: Adagio
02:49:10 Piano Sonata No. 18 in D Major, KV.576: Allegretto

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Beethoven’s complete string quintets by the Zurich String Quintet. This might be a surprise: Did Beethoven write that many string quintets? Yes and no.

In addition to the well-known quintet Op. 29, this set also includes the earlier Op. 4, which the composer later recomposed for octet (Op. 103). Beethoven also arranged his piano trio Op. 1 No. 3 for string quintet, it is his Op. 104. With the Fugue for string quintet, Op. 137, this release offers all there is by Beethoven for 5 string instruments.

00:00:00 String Quintet in C Major, Op. 29: Allegro moderato
00:10:32 String Quintet in C Major, Op. 29: Adagio molto espressivo
00:19:56 String Quintet in C Major, Op. 29: Scherzo, allegro
00:24:44 String Quintet in C Major, Op. 29: Presto
00:34:25 String Quintet in C Minor, Op. 104 (arrangement of Piano Trio, Op. 1 No. 3): Allegro con brio
00:44:41 String Quintet in C Minor, Op. 104 (arrangement of Piano Trio, Op. 1 No. 3): Andante cantabile con variazioni
00:52:46 String Quintet in C Minor, Op. 104 (arrangement of Piano Trio, Op. 1 No. 3): Menuetto, quasi allegro
00:56:43 String Quintet in C Minor, Op. 104 (arrangement of Piano Trio, Op. 1 No. 3): Finale, prestissimo
01:05:50 String Quintet in E-Flat Major, Op. 4: Allegro con brio
01:17:36 String Quintet in E-Flat Major, Op. 4: Andante
01:25:41 String Quintet in E-Flat Major, Op. 4: Menuetto
01:32:16 String Quintet in E-Flat Major, Op. 4: Finale, presto
01:38:45 Fugue, for String Quintet in D Major, Op. 137
01:40:31 Duet for Viola and Cello in E-Flat Major, WoO 32: Movement 1
01:50:35 Duet for Viola and Cello in E-Flat Major, WoO 32: Minuetto
01:45:50 Sechs Ländlerische Tänze for 2 violins, cello and double-bass, WoO 15

Composer: Ludwig van Beethoven
Artists: The Zurich String Quintet:
Boris Livschitz (violin)
Mátyás Bartha (violin)
Zvi Livschitz (viola)
Dominik Ostertag (viola)
Mikayel Hakhnazaryan (cello)
Viorel Alexandru (double-bass)