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Composer & Artist:
Composer: Domenico Scarlatti
Artists: Capella Tiberina, Paolo Perrone (baroque violin), Alexandra Nigito (harpsichord)

About this Album:
Amid Domenico Scarlatti's extensive output of over 555 keyboard sonatas lie a small number of works that, given such traits such as figured bass, multi-movement structure and even bowing-like articulation, were probably originally written for solo instrument (such as violin) and continuo. In their third recording for Brilliant Classics, members of the Cappella Tiberina present a selection of these works, experimenting with different scorings which historical sources show were common throughout the Baroque repertoire – hence K78 is presented on the theorbo, while K132 is played as a harpsichord solo.

The pieces are certainly not without their technical challenges; four-part chords and uncomfortable multiple-stops suggest that K88 was probably written for mandolin, though it is here skilfully negotiated by violinist Paolo Perrone. Ranging from ambitious works to more modest ones, these continuo sonatas document a fascinating corner of the Baroque master's oeuvre and simultaneously reveal the beginnings of the soon-to-emerge Classical style. Capella Tiberina's historical interpretations offer a fresh take on this engaging music.

Tracklist:
00:00:00 Sonata in D Minor, Kk. 89: I. Allegro
00:03:18 Sonata in D Minor, Kk. 89: II. Grave
00:04:38 Sonata in D Minor, Kk. 89: III. Allegro
00:06:43 Sonata in C Minor, Kk. 73: I. Allegro
00:09:08 Sonata in C Minor, Kk. 73: II. Minuetto
00:10:42 Sonata in C Minor, Kk. 73: III. Minuetto
00:11:45 Sonata in G Minor, Kk. 88: I. Grave
00:14:21 Sonata in G Minor, Kk. 88: II. Andante moderato
00:17:08 Sonata in G Minor, Kk. 88: III. Allegro
00:18:42 Sonata in G Minor, Kk. 88: IV. Minuet
00:20:09 Sonata in F Major, Kk. 78: I. Giga
00:22:08 Sonata in F Major, Kk. 78: II. Minuetto
00:23:00 Fuga in F Major (Kk. 82)
00:25:51 Sonata in D Minor, Kk. 90: I. Grave
00:28:48 Sonata in D Minor, Kk. 90: II. Allegro
00:33:23 Sonata in D Minor, Kk. 90: III. Tarantella
00:34:32 Sonata in D Minor, Kk. 90: IV. Allegro
00:35:53 Minuetto in F Major (Kk. 94)
00:37:53 Sonata in E Minor Kk. 81: I. Grave
00:39:48 Sonata in E Minor Kk. 81: II. Allegro
00:42:12 Sonata in E Minor Kk. 81: III. Grave
00:44:42 Sonata in E Minor Kk. 81: IV. Allegro
00:46:19 Sonata in C Minor, Kk. 84: I. Allegro
00:51:05 Sonata in F Major, Kk. 85: I. Allegro
00:52:44 Sonata in D Minor, Kk. 77: I. Moderato e cantabile
00:57:52 Sonata in D Minor, Kk. 77: II. Minuet
00:59:39 Sonata in C Major, Kk. 132: I. Cantabile
01:08:51 Sonata in G Major, Kk. 91: I. Grave
01:10:43 Sonata in G Major, Kk. 91: II. Allegro
01:14:12 Sonata in G Major, Kk. 91: III. Grave
01:15:26 Sonata in G Major, Kk. 91: IV. Allegro

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Tracklist below.

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Today Richard Wagner is best known for his extraordinary operas; any success in other domains was dwarfed by these compositional feats in the world of musical theatre. But Wagner’s piano works can be seen to be just as important in understanding the evolution of his style and musical thought, and thus the development of this dominating figure of the 19th century.

The collection brings together Wagner’s entire output for solo piano. The earliest sonata on the recording is the Piano Sonata in B flat, which shows evidence of Wagner’s music education, with much indebted to the Beethovian model as well as to the great pianist-composers Weber and Pleyel. These influences are heard again in the more mature and complex Große Sonate – a work that Wagner intended to turn into a symphony, though this attempt was later abandoned. A regular dedicatee of Wagner’s works was Mathilde Wesendock – the relationship between the two is still much debated today – and among the works in this collection, three are dedicated to Mathilde: the ‘masterpiece’ Eine Sonate für das Album von Frau Mathilde Wesendock, Notenbrief für Mathilde Wesendonck and the ‘Schluß zum Vorspiel’ from Tristan und Isolde. The ‘Tristan chord’ at the beginning of the latter has become considered a clear attestation of Wagner’s infatuation with Mathilde, for whom he stopped work on the Ring cycle to begin that great testament of love, Tristan und Isolde.

The works are performed by the Italian pianist Pier Paolo Vincenzi, whose busy concert schedule takes him all over his native country. He is joined for the Polonaise for 4 hands in D by Federica Ferrati.

00:00:00 Eine Sonate für das Album von Frau M.W., WWV 85
00:13:37 Piano Sonata in A Major, WWV 26 Op.4 ‘Große Sonate’: I. Allegro con moto
00:22:21 Piano Sonata in A Major, WWV 26 Op.4 ‘Große Sonate’: II. Adagio molto, e assai espressivo
00:36:01 Piano Sonata in A Major, WWV 26 Op.4 ‘Große Sonate’: III. Maestoso – Allegro molto
00:45:36 Piano Sonata in B-Flat Major, WWV 21 Op. 1: I. Allegro con brio
00:54:25 Piano Sonata in B-Flat Major, WWV 21 Op. 1: II. Larghetto
01:03:05 Piano Sonata in B-Flat Major, WWV 21 Op. 1: III. Menuetto: Allegro
01:06:52 Piano Sonata in B-Flat Major, WWV 21 Op. 1: IV. Allegro vivace
01:13:02 Schluß zum Vorspiel, from Tristan und Isolde
01:17:33 Fantasia in F-Sharp Minor, WWV 22 Op. 3
01:46:04 Albumblatt für Ernst Benedikt Kietz, WWV 64 ‘Lied ohne Worte’
01:48:13 Polonaise in D Major, WWV 23a
01:51:10 In das Album der Fürstin M., WWV 94
01:54:14 Züricher Vielliebchen-Walzer, WWV 88
01:55:31 Ankunft bei den schwarzen Schwänen, WWV 95
02:00:42 Polka in G Major, WWV 84
02:01:17 Notenbrief für Mathilde Wesendonck
02:02:40 Polonaise for Piano Four Hands in D Major, WWV 23b Op.2
02:07:59 Elegy in A-Flat Major
02:09:37 Albumblatt für Frau Betty Schott, WWV 108
02:15:12 Piano Sonata in A Major, WWV 26 Op. 4 ‘Große Sonate’: III. Maestoso: Tempo moderato e maestoso – Allegro molto (alternative version)

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Composer: Felix Mendelssohn
Artists: Derek Han (piano), Israel Chamber Orchestra, Stephen Gunzenhauser (conductor)

About this Album:
Compared to his symphonies, Mendelssohn’s solo concertos are not performed that often. On this release are two brilliant piano concertos (Op. 25 and Op. 40), pleasant performances by Derek Han.

Tracklist:
00:00:00 Piano Concerto No. 1 in G Minor, Op. 25: Molto allegro con fuoco
00:07:03 Piano Concerto No. 1 in G Minor, Op. 25: Andante
00:12:44 Piano Concerto No. 1 in G Minor, Op. 25: Presto-molto allegro e vivace
00:18:55 Piano Concerto No. 2 in D Minor, Op. 40: Allegro appassionato
00:27:43 Piano Concerto No. 2 in D Minor, Op. 40: Adagio
00:33:57 Piano Concerto No. 2 in D Minor, Op. 40: Finale, presto scherzando
00:40:32 Capricco Brillante in B Minor for piano & orchestra, Op. 22


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Componist: Antonio Vivaldi
Artist: Federico Guglielmo, L'Arte dell'Arco

Tracklist below.

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00:00:00 Trio Sonata No. 1 in G Minor, RV 73: I. Preludio. Grave
00:01:46 Trio Sonata No. 1 in G Minor, RV 73: II. Allemanda. Allegro
00:03:48 Trio Sonata No. 1 in G Minor, RV 73: III. Adagio
00:05:11 Trio Sonata No. 1 in G Minor, RV 73: IV. Capriccio. Allegro
00:05:56 Trio Sonata No. 1 in G Minor, RV 73: V. Gavotta. Allegro
00:07:44 Trio Sonata No. 8 in D Minor, RV 64: I. Preludio. Largo
00:10:27 Trio Sonata No. 8 in D Minor, RV 64: II. Corrente. Allegro
00:12:33 Trio Sonata No. 8 in D Minor, RV 64: III. Grave
00:14:24 Trio Sonata No. 8 in D Minor, RV 64: IV. Giga. Allegro
00:16:35 Trio Sonata No. 5 in F Major, RV 69: I. Preludio. Largo
00:18:00 Trio Sonata No. 5 in F Major, RV 69: II. Allemanda. Presto
00:19:01 Trio Sonata No. 5 in F Major, RV 69: III. Corrente. Allegro
00:20:29 Trio Sonata No. 5 in F Major, RV 69: IV. Gavotta. Presto
00:21:15 Trio Sonata No. 10 in B-Flat Major, RV 78: I. Preludio. Adagio
00:23:21 Trio Sonata No. 10 in B-Flat Major, RV 78: II. Allemanda. Allegro
00:26:00 Trio Sonata No. 10 in B-Flat Major, RV 78: III. Gavotta. Presto
00:27:29 Trio Sonata No. 6 in D Major, RV 62: I. Preludio. Grave
00:28:52 Trio Sonata No. 6 in D Major, RV 62: II. Corrente. Allegro
00:30:47 Trio Sonata No. 6 in D Major, RV 62: III. Adagio
00:32:29 Trio Sonata No. 6 in D Major, RV 62: IV. Allemanda. Allegro
00:33:51 Trio Sonata No. 12 in D Minor RV 63 “Follia”: I. Adagio . Andante. Allegro, II. —. Adagio. Vivace. Allegro. Larghetto. Allegro, III. Adagio. Allegro
00:43:25 Trio Sonata No. 9 in A Major, RV 75: I. Preludio. Allegro
00:44:09 Trio Sonata No. 9 in A Major, RV 75: II. Adagio
00:45:36 Trio Sonata No. 9 in A Major, RV 75: III. Allemanda. Allegro
00:48:23 Trio Sonata No. 9 in A Major, RV 75: IV. Corrente. Presto
00:50:24 Trio Sonata No. 7 in E-Flat Major, RV 65: I. Preludio. Largo
00:52:36 Trio Sonata No. 7 in E-Flat Major, RV 65: II. Allemanda. Allegro
00:55:23 Trio Sonata No. 7 in E-Flat Major, RV 65: III. Sarabanda. Andante
00:57:33 Trio Sonata No. 7 in E-Flat Major, RV 65: IV. Giga. Presto
00:58:34 Trio Sonata No. 3 in C Major, RV 61: I. Adagio
01:00:03 Trio Sonata No. 3 in C Major, RV 61: II. Allemanda. Allegro
01:02:18 Trio Sonata No. 3 in C Major, RV 61: III. Adagio
01:02:47 Trio Sonata No. 3 in C Major, RV 61: IV. Sarabanda. Allegro
01:04:44 Trio Sonata No. 4 in E Major, RV 66: I. Largo
01:05:29 Trio Sonata No. 4 in E Major, RV 66: II. Allegro – Adagio
01:06:38 Trio Sonata No. 4 in E Major, RV 66: III. Allemanda. Allegro
01:07:44 Trio Sonata No. 4 in E Major, RV 66: IV. Sarabanda. Largo
01:08:49 Trio Sonata No. 4 in E Major, RV 66: V. Giga. Allegro
01:10:12 Trio Sonata No. 11 in B Minor, RV 79: I. Preludio. Andante
01:13:06 Trio Sonata No. 11 in B Minor, RV 79: II. Corrente. Allegro
01:15:15 Trio Sonata No. 11 in B Minor, RV 79: III. Giga. Allegro
01:16:45 Trio Sonata No. 11 in B Minor, RV 79: IV. Gavotta. Presto
01:17:52 Trio Sonata No. 2 in E Minor, RV 67: I. Grave
01:19:58 Trio Sonata No. 2 in E Minor, RV 67: II. Corrente. Allegro
01:21:59 Trio Sonata No. 2 in E Minor, RV 67: III. Giga. Allegro
01:24:08 Trio Sonata No. 2 in E Minor, RV 67:

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Composer: Erik Satie
Artist: Jeroen van Veen (piano)

“Open your head”, “light as an egg” and “from the top of your back teeth”: such phrases are only to be found in the scores of the eccentric Erik Satie, a composer born into a generation where ‘only more could be more’ – the post-Wagnerian age of richly furnished, intense music full of emotional layering. Expelled from the Paris Conservatoire for being its ‘laziest student’, Satie rebelled strongly against the musical climate in which he grew up, instead choosing to adopt a voice that did away with what he considered to be pretentious behaviour and which instead drew on irony through the use of free association, subtle dissonances and unexpected asides.

Such a stance – that music requires no extra layering, no showing-off, in order to touch its audience – ultimately resulted in ethereal-sounding compositions that are slow and solemn by nature. Pianist Jeroen van Veen has therefore taken it upon himself to exploit the concept of time in relation to the composer’s works, stretching the durations of some of the Frenchman’s most frequently performed pieces – including the Gymnopédies (a made-up word, incidentally) – to the max, and then going the extra mile: from slower to slowest, giving each note and each chord the chance to be absorbed fully. The result is that less actually becomes more; that duration is no longer of relevance, because the presence of sound is enough. Such music forces us to think outside the box, and ‘maybe this is exactly what makes Satie’s works timeless,’ says van Veen, who presents the listener with a unique take on one of music history’s most fascinating characters.

00:00:00 Gymnopédie No. 1. Lent et douloureux (1888)
00:05:44 Gymnopédie No. 2. Lent et triste (1895)
00:10:16 Gymnopédie No. 3. Lent et grave (1888)
00:14:30 Gnossiennes Nos. 1-3: Gnossienne No. 1 (1890)
00:20:58 Gnossiennes Nos. 1-3: Gnossienne No. 2 (1890)
00:24:17 Gnossiennes Nos. 1-3: Gnossienne No. 3 (1890)
00:29:08 Gnossiennes Nos. 4-6: Gnossienne No. 4 (1891)
00:33:58 Gnossiennes Nos. 4-6: Gnossienne No. 5 (1889)
00:39:02 Gnossiennes Nos. 4-6: Gnossienne No. 6 (1897)
00:42:50 Petite ouverture à danser (1897)
00:46:10 Pièces froides: II: Danses de travers. No. 1, En y regardant à deux fois (1897)
00:50:23 Pièces froides: II: Danses de travers. No. 2, Passer (1897)
00:53:50 Pièces froides: II: Danses de travers. No. 3, Encore (1897)
00:59:35 Gymnopédie No. 1. Lent et douloureux, 1896 tuning

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Accepted onto the early admissions programme of the University of Chicago, Philip Glass graduated aged just nineteen with a degree in Mathematics and Philosophy, practising the piano in his spare time. Subsequently studying at the Juilliard School, Glass’s name has since become synonymous with the minimalist style. His film compositions have earned him a Golden Globe as well as three Academy Award nominations.
This selection of pieces showcases Glass’s music for solo piano, with each of the works baring the hallmarks of minimalism. Among the pieces featured in the collection is Metamorphosis, a set of five variations that evolve over the course of the entire work to create a stirring final movement. Also present are extracts from the soundtrack of Stephen Daldry’s film The Hours, as well as ‘Truman Sleeps’ from The Truman Show (which earned Glass a Golden Globe award for ‘Best Original Score’). The collection ends with the ‘Trilogy’ Sonata, containing piano transcriptions of Glass’s three ‘portrait’ operas: Einstein on the Beach, Satyagraha and Akhnaten.
Dutch pianist and composer Jeroen Van Veen studied at the Utrecht Conservatory and has played with many orchestras throughout Europe and the USA, under renowned conductors such as Howard Williams, Peter Eötvös and Robert Craft. An accomplished recitalist, van Veen has also appeared at festivals including the Reder Piano Festival and the Festival der Kunsten (Bad Gleichenberg). His compositional style is closely related to minimalism, and contains elements of jazz, blues and pop music.
Other information:
- Recorded 23–28 October 2006, Barbara Church, Culemborg, The Netherlands.
- A new compilation of the music for piano solo by Philip Glass, icon of minimalism. In his piano music, Glass presents structures of repeated patterns which slowly and gradually, seemingly unconsciously, change in rhythm, speed or form, creating a fascinating sound landscape of slowly shifting colours and patterns.
- Dutch pianist Jeroen van Veen is a champion of the minimalist piano school. His earlier set of minimalist piano works (BC 9171) has won rave reviews in the international press: “The leading exponent of minimalism (Fanfare)”, “10/10” performance/recording, Classicstoday.

00:00:00 Glassworks – opening(arr. Jeroen van Veen)
00:08:53 Metamorphosis: No.1
00:15:57 Metamorphosis: No.2
00:22:51 Metamorphosis: No.3
00:27:15 Metamorphosis: No.4
00:33:08 Metamorphosis: No.5
00:39:15 Mad Rush
00:54:28 Wichita Vortex Sutra
01:01:54 Glassworks – opening
01:11:19 The Hours: The Poet Acts
01:14:55 The Hours: Morning Passages
01:20:20 The Hours: Something She Has To Do
01:23:51 The Hours: I’m Going To Make A Cake
01:27:36 The Hours: An Unwelcome Friend
01:32:08 The Hours: Dead Things
01:36:04 The Hours: Why Does Someone Have to Die?
01:39:41 The Hours: Tearing Herself Away
01:43:49 The Hours: Escape!
01:47:23 The Hours: Choosing Life
01:51:33 The Hours: The Hours
01:58:46 ‘Truman Sleeps’ from The Truman Show
02:00:57 Glassworks – opening
02:07:07 Olympian
02:11:06 Modern Love Waltz
02:16:04 How Now
02:41:13 ‘Trilogy’ Sonata: I. Einstein on the Beach – Knee Play No. 4
02:48:56 ‘Trilogy’ Sonata: II. Satyagraha – Act III Conclusion
02:57:46 ‘Trilogy’ Sonata: III. Akhnaten – Dance (from Scene 3)

Artist:
Jeroen van Veen (piano)

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This comprehensive release is a celebration of the astonishing presence of the guitar in Russia at the beginning of the 19th century. Just the sheer number of composers featured on this 7CD album exemplifies how popular the instrument was. Though many of these composers have now fallen into obscurity, their works live on – discovered by renowned guitarist Oleg Timofeyev, an expert on the music of this time. Mr Timofeyev is known for reviving the seven-string Russian guitar, and it is on this instrument that he performs these works, many of which have never been recorded before.

Artists: Oleg Timofeyev (Russian seven-string guitar), John Schneiderman (Russian seven-string guitar ), Dan Caraway (Russian seven-string guitar ), Anne Harley (soprano ), Etienne Abelin (classical violin), Kenneth Slowik (fortepiano)

00:00:00 (Andrey Sychra) The Poor Branch
00:05:04 (Andrey Sychra) In the Valley
00:12:35 (Andrey Sychra) Troïka
00:17:22 (Andrey Sychra) In the Garden
00:21:30 (Andrey Sychra) Four Études: Étude No. 1
00:30:10 (Andrey Sychra) Four Études: Étude No. 2
00:35:08 (Andrey Sychra) Four Études: Étude No. 3
00:41:10 (Andrey Sychra) Four Études: Étude No. 4
00:48:02 (Andrey Sychra) Variations on Weber’s Last Thought
00:56:13 (Andrey Sychra) Rondo à la Savoyard
01:00:57 (Semion Aksionov) Kamarinskaia
01:05:48 (Semion Aksionov) In the Valley
01:11:06 (Semion Aksionov) Exercise in A Minor
01:12:27 (Semion Aksionov) Feel Bad
01:16:25 (Semion Aksionov) Pour biendans ma chaumière
01:20:07 (Semion Aksionov) How Did I Upset You?
01:24:16 (Semion Aksionov) Akh vy seni
01:28:38 (Semion Aksionov) Mozart Variations
01:33:29 (Mikhail Vysotsky) March
01:37:45 (Mikhail Vysotsky) Stop Singing, oh Nature’s Friend
01:41:00 (Mikhail Vysotsky) Love Pear
01:45:39 (Alexander Vetrov) You Won’t Believe
01:53:08 (Alexander Vetrov) Étude in D Major
01:56:26 (Alexander Vetrov) Étude in G Major
01:59:24 (Alexander Vetrov) Étude in A Minor
02:02:31 (Alexander Vetrov) Rondoletto
02:05:42 (Ignaz von Held)Rondo
02:07:29 (Ignaz von Held)Polonaise de Mars
02:11:48 (Joseph Kamensky) Sonata for Violin and Seven-string Guitar: I. Allegro moderato
02:19:13 (Joseph Kamensky) Sonata for Violin and Seven-string Guitar: II. Polish Song with Variations
02:24:51 (Ludwig Sychra) Fantasia
02:31:03 (Vladimir Lvov) Sonata: I. Allegro moderato
02:39:17 (Vladimir Lvov) Sonata: II. Rondo. Allegretto
02:44:18 (Anon.) D’un mensonge
02:45:52(Anon.) On dit que sans espérance
02:47:37 (Anon.) À ma Clémence
02:49:47 (Andrey Sychra) Polonaise
02:52:15 (Ferdinando Antonolini) Perduta l’arbitra
02:55:24 (Domenico Cimarosa) Se m’abandoni
02:58:32 (A. Svientitsky) Variations
03:02:47 (A. Svientitsky) Kozak – Air russe
03:05:09 (Mikhail Vysotsky) Fantasia
03:07:31 (Mikhail Vysotsky) Not a Peacock
03:12:42 (Mikhail Vysotsky) Troïka
03:16:43 (Mikhail Vysotsky) I Loved Rose
03:20:38 (Mikhail Vysotsky) Don’t Be Surprised
03:23:00 (Mikhail Vysotsky) Fantasia on the Themes from Cramer’s Études
03:26:24 (Mikhail Vysotsky) Remember, My Friend
03:31:31 (Mikhail Vysotsky) Bach’s Fugue
03:35:36 (Mikhail Vysotsky) Cossack
03:41:03 (Mikhail Vysotsky) Rondo
03:44:18 (Mikhail Vysotsky) Go Home, Dear Cow
03:51:15 (Mikhail Vysotsky) Ukrainian Song
03:53:18 (Mikhail Vysotsky) Ogiński’s Polonaise
03:57:31 (Mikhail Vysotsky) Ah, Mother, I Have a Headache
04:01:53 (Mikhail Vysotsky) Vanyusha
04:04:15 (Andrey Sychra) Polonaise
04:12:07 (Mikhail Ivanovich Glinka) Polonaise
04:16:11 (Mikhail Ivanovich Glinka) Kamarinskaia
04:23:21 (Mikhail Ivanovich Glinka) Potpourri from Life for the Tsar
04:33:50 (Michał Kleofas Ogiński) Polonaise in A Major
04:37:09 (Michał Kleofas Ogiński) Polonaise in F Minor
04:43:18 (Andrey Sychra) Variations on Two Songs
04:59:15 (Pierre Rode) Polonaise
05:05:03 (Nikolai Alexandrov) My Heart
05:07:12 (Nikolai Alexandrov) Graziella
05:09:32 (Nikolai Alexandrov) It is Hard for Me
05:11:19 (Nikolai Alexandrov) Gallop
05:14:25 (Nikolai Alexandrov) Scherzo
05:18:40 (Nikolai Alexandrov) L’Illusion perdue
05:20:08 (Nikolai Alexandrov) An Orphan’s Song
05:21:33 (Nikolai Alexandrov) Ballad
05:23:31 (Nikolai Alexandrov) Prayer
05:26:01 (Nikolai Alexandrov) Melody
05:27:53 (Fiodor Zimmerman) Capriccio in B Minor
05:30:28 (Fiodor Zimmerman) Capriccio in G Major
05:33:01 (Fiodor Zimmerman) Tyrolian Waltz
05:34:18 (Fiodor Zimmerman) Waltz
05:35:30 (Fiodor Zimmerman) Two Marches: No. 1
05:37:07 (Fiodor Zimmerman) Two Marches: No. 2

(Full tracklist can be found in the comment section!)

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #RussianMusic #GuitarMusic #ClassicalGuitar

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Composer: Felix Mendelssohn
Artists: Wolfram Schmitt-Leonardy (piano), Frank van der Laar (piano), Pieter-Jelle de Boer (piano)

Felix Mendelssohn was a virtuoso pianist, and it worth remembering that he was born in 1809, with his friend Schumann being born a year later in 1810, as was Chopin, and Liszt following in 1811. These composers were among the greatest pianists of the 19th century, and they were born at a time when the piano was a relatively modern instrument, and composers such as Hummel, Moscheles (Mendelssohn’s friend), Kalkbrenner and Ries were accorded adulation similar to pop stars today. Beethoven commenced his career in the 1790s as a virtuoso pianist.

No surprise then that the young Mendelssohn composed extensively for his chosen instrument from the outset. From early concertos and sonatas he quickly established his ‘mature’ style in works such as the Rondo capriccioso, and the Andante cantabile e Presto agitato. The masterpieces that followed include the remarkably imposing Variations serieuses and the famous Songs without Words.

Mendelssohn’s style did not change throughout his short creative life – he very quickly composed in what we know as his mature style from his early teens, something even Mozart didn’t achieve.

This album contains the Songs without Words, Variations serieuse, Kinderstucke, Rondo capriccioso, Capriccio, and Trois Fantasies ou Caprices plus several shorter works.

Tracklist can be found in the comment section!

Tracklist below.

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Composer: Frédéric Chopin
Artist: Wolfram Schmitt-Leonardy (piano)

Tracklist:
00:00:00 Ballade No. 1 in G Minor, Op. 23
00:09:04 Ballade No. 2 in F Major, Op. 38
00:16:28 Ballade No. 3 in A- Flat Major, Op. 47
00:23:35 Ballade No. 4 in F Minor, Op. 52
00:34:23 Impromptu No. 1 in A-Flat Major, Op. 29
00:38:23 Impromptu No. 2 in F-Sharp Major, Op. 36
00:44:11 Impromptu No. 3 in G-Flat Major, Op. 51
00:49:20 Fantaisie-impromptu in C-Sharp Minor, Op. 66
00:54:20 Preludes, Op. 28: I. Prelude in C Major. Agitato
00:55:09 Preludes, Op. 28: II. Prelude in A Minor. Lento
00:57:20 Preludes, Op. 28: III. Prelude in G Major. Vivace
00:58:21 Preludes, Op. 28: IV. Prelude in E Minor. Largo
01:00:28 Preludes, Op. 28: V. Prelude in D Major. Allegro molto
01:01:07 Preludes, Op. 28: VI. Prelude in B Minor. Lento assai
01:03:18 Preludes, Op. 28: VII. Prelude in A Major. Andantino
01:04:05 Preludes, Op. 28: VIII. Prelude in F-Sharp Minor. Molto agitato
01:05:57 Preludes, Op. 28: IX. Prelude in E Major. Largo
01:07:19 Preludes, Op. 28: X. Prelude in C-Sharp Minor. Allegro molto
01:07:53 Preludes, Op. 28: XI. Prelude in B Major. Vivace
01:08:32 Preludes, Op. 28: XII. Prelude in G-Sharp Minor. Presto
01:09:45 Preludes, Op. 28: XIII. Prelude in F-Sharp Major. Lento
01:13:17 Preludes, Op. 28: XIV. Prelude in E-Flat Minor. Allegro
01:13:50 Preludes, Op. 28: XV. Prelude in D-Flat Major “Raindrop”. Sostenuto
01:19:34 Preludes, Op. 28: XVI. Prelude in B-Flat Minor. Presto con fuoco
01:20:42 Preludes, Op. 28: XVII. Prelude in A-Flat Major. Allegretto
01:24:35 Preludes, Op. 28: XVIII. Prelude in F Minor. Allegro molto
01:25:33 Preludes, Op. 28: XIX. Prelude in E-Flat Major. Vivace
01:27:03 Preludes, Op. 28: XX. Prelude in C Minor. Largo
01:28:49 Preludes, Op. 28: XXI. Prelude in B-Flat Major. Cantabile
01:31:21 Preludes, Op. 28: XXII. Prelude in G Minor. Molto agitato
01:32:09 Preludes, Op. 28: XXIII. Prelude in F Major. Moderato
01:33:05 Preludes, Op. 28: XXIV. Prelude in D Minor. Allegro appassionato

Tracklist below.

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Composer: Arcangelo Corelli
Artist: Musica Amphion, Pieter-Jan Belder (conductor)

Arcangelo Corelli (1653–1713) was nothing less than a musical pioneer, a champion of the violin’s potential as a solo instrument and an immense influence on the composers who followed him, J.S. Bach and Handel included. As a virtuoso violinist, he wielded an unprecedented level of skill; as a composer, he was enormously popular throughout Europe.

Although the Italian composer’s legacy has been somewhat overshadowed in modern times, the 12 Concerti Grossi that comprise this recording are thoroughly worthy of rediscovery, and earned Corelli the description of ‘father of the concerto grosso’. Indeed, he was one of the first composers to use the term, and established many of the genre’s recognisable features.

The mixture of concerti da chiesa (church concertos, which alternate slow and fast tempi) and concerti da camera (chamber concertos, similar to the dance suite) demonstrates the imagination, innovation and versatility that his fellow composers so admired.

Although the vast popularity that Corelli enjoyed in his lifetime may have declined over the centuries, the influence of his 12 Concerti Grossi is undeniable, and can be felt in later concertos by composers like Geminiani and Vivaldi, not to mention Handel’s majestic Concerti Grossi Op.6. Drawn from Brilliant Classics’ criticallyacclaimed edition of Corelli’s complete works, there is much for listeners to discover and enjoy in these recordings, which feature outstanding readings by a leading period-instrument ensemble, Musica Amphion, led from the harpsichord by Pieter-Jan Belder.

Tracklist:

Arcangelo Corelli: Concerto Grosso in D Major, Op. 6, No. 1
00:00:00 I. Largo
00:02:22 II. Allegro
00:05:11 III. Largo
00:08:28 IV. Allegro
00:10:20 V. Allegro
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 2
00:12:34 I. Vivace - Allegro
00:16:00 II. Largo - Andante
00:16:56 III. Allegro
00:18:47 IV. Grave - Andante largo
00:20:47 V. Allegro
Arcangelo Corelli: 12 Concerti grossi, No. 3 in C Minor, Op. 6
00:23:20 I. Largo
00:25:36 II. Allegro
00:27:38 III. Grave
00:29:17 IV. Vivace
00:31:49 V. Allegro
Arcangelo Corelli: Concerto grosso in D Major, Op. 6 No. 4
00:34:20 I. Adagio - Allegro
00:38:00 II. Adagio
00:40:01 III. Vivace
00:41:03 IV. Allegro
Arcangelo Corelli: Concerto Grosso in B-Flat Major, Op. 6, No. 5
00:44:32 I. Adagio - Allegro
00:47:53 II. Adagio
00:49:36 III. Allegro
00:51:47 IV. Largo
00:52:47 V. Allegro
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 6
00:55:08 I. Adagio
00:56:45 II. Allegro
00:58:43 III. Largo
01:01:57 IV. Vivace
01:04:22 V. Allegro
Arcangelo Corelli: Concerto Grosso in D Major, Op. 6, No. 7
01:06:20 I. Vivace - Allegro
01:08:35 II. Adagio
01:10:37 III. Allegro
01:13:03 IV. Andante
01:14:09 V. Allegro
Arcangelo Corelli: Concerto grosso in G Minor, Op. 6 No. 8 "Christmas Concerto"
01:15:15 I. Vivace
01:15:29 II. Grave - Arcate - Sostenuto e come
01:16:45 III. Allegro
01:19:07 IV. Adagio - Allegro - Adagio
01:22:20 V. Vivace
01:23:31 VI. Allegro
01:25:42 VII. Pastorale - Largo
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 9
01:29:30 I. Preludio: Largo
01:30:57 II. Allemanda: Allegro
01:33:38 III. Corrente: Vivace
01:35:10 IV. Gavotta: Allegro
01:36:03 V. Adagio
01:36:56 VI. Minuetto: Vivace
Arcangelo Corelli: Concerto Grosso in C Major, Op. 6, No. 10
01:38:35 I. Preludio: Andante largo
01:40:41 II. Allemanda: Allegro
01:43:01 III. Adagio
01:44:01 IV. Corrente: Vivace
01:46:47 V. Allegro
01:49:24 VI. Minuetto: Vivace
Arcangelo Corelli: Concerto Grosso in B-Flat Major, Op. 6, No. 11
01:51:02 I. Preludio: Andante largo
01:53:19 II. Allemanda: Allegro
01:55:41 III. Adagio - Andante largo
01:57:55 IV. Sarabanda: Largo
01:59:13 V. Giga: Vivace
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 12
02:00:29 I. Preludio: Adagio
02:02:53 II. Allegro
02:05:20 III. Adagio
02:06:54 IV. Sarabanda: Vivace
02:07:50 V. Giga: Allegro
Arcangelo Corelli: Santa Beatrice d'Este: Sinfonia in D Minor, WoO 1
02:10:51 I. Grave
02:12:21 II. Allegro
02:14:07 III. Adagio
02:14:42 IV. Largo assai
02:17:14 V. Vivace
Arcangelo Corelli: Sonata a 4, WoO 2
02:19:16 I. Adagio - Andante Largo
02:20:38 II. Allegro
02:22:08 III. Grave
02:23:20 IV. Presto
02:24:30 V. Vivace

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Composers: Ludwig van Beethoven
Artists: Shoko Sugitani (piano), Berliner Symphoniker, Gerard Oskamp (conductor)

This release presents both of Ludwig van Beethoven’s most often performed piano concertos. Enjoyable performances by Shoko Sugitani with the Berliner Symphoniker.


00:00:00 Piano Concerto No. 3 in C Minor, Op. 37: Allegro con brio
00:17:05 Piano Concerto No. 3 in C Minor, Op. 37: Largo
00:27:38 Piano Concerto No. 3 in C Minor, Op. 37: Rondo, allegro
00:36:44 Piano Concerto No. 5 in E-Flat Major, Op. 73, “Emperor Concerto”: Allegro
00:56:51 Piano Concerto No. 5 in E-Flat Major, Op. 73, “Emperor Concerto”: Adagio un poco mosso
01:05:33 Piano Concerto No. 5 in E-Flat Major, Op. 73, “Emperor Concerto”: Rondo, allegro ma non troppo

Tracklist below.
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The east Midlands city of Leicester has recently come to worldwide attention thanks to a winning partnership between its football club and an Italian coach. This latest addition to the ever-expanding catalogue of Baroque Italiana on Brilliant Classics demonstrates that the connection between Leicester and Rome goes back at least three centuries: to one Robert Valentine, who left his home city at the end of the 17th century and made a career across Europe as an itinerant musician, before settling in the Eternal City as ‘Roberto Valentini Inglese’. There he established himself as a flautist, oboist and composer. He evidently gained renown in the competitive musical culture of Rome, played in the first performance of Handel’s La Risurrezione under Corelli, andapparently never returned to Leicester.

This new recording presents the first printed edition of sonatas for the mandolin and basso continuo published in the first half of the 18th century, featuring Italian composers Roberto Valentini and Pietro Boni.
Robert Valentini (1674-1747) left his home and birthplace in the English Midlands in his early twenties for a “Grand Tour”, never to return. He finally settled in Rome as Roberto Valentini, where he became a successful composer and musician, playing the flute and oboe. His enormous output mainly consists of chamber music for the flute and b.c. In the score he left the choice of the solo instrument open for either violin, flute or…mandolin.
The mandolin used in this recording is a 6 double course “Mandolino Lombardo”, inspired by an instrument by Antonio Monzino (Milan 1792).
The ensemble Pizzicar Galante has already established itself as one of the most dynamic period ensembles specializing in galant music for mandolin and basso continuo and is regularly invited to festivals all over Europe and abroad.

00:00:00 Sonata No. 6 in D Major, Op. 12: I. Adagio
00:02:53 Sonata No. 6 in D Major, Op. 12: II. Allegro
00:04:34 Sonata No. 6 in D Major, Op. 12: III. Adagio
00:07:50 Sonata No. 6 in D Major, Op. 12: IV. Vivace
00:09:30 Sonata No. 6 in D Major, Op. 12: V. Andante
00:10:16 Sonata No.6 in D Major, Op. 12: VI. Allegro
00:11:27 Sonata No. 2 in D Minor, Op. 2: I. Largo
00:16:31 Sonata No. 2 in D Minor, Op. 2: II. Allegro giga
00:18:30 Sonata No. 2 in D Minor, Op. 2: III. Allegro
00:19:27 Sonata No. 3 in G Major, Op. 12: I. Adagio
00:21:31 Sonata No. 3 in G Major, Op. 12: II. Allegro
00:22:54 Sonata No. 3 in G Major, Op. 12: III. Andante
00:24:42 Sonata No. 3 in G Major, Op. 12: IV. Allegro
00:26:32 Sonata No. 4 in G Minor, Op. 12: I. Adagio
00:29:24 Sonata No. 4 in G Minor, Op. 12: II. Allegro
00:30:51 Sonata No. 4 in G Minor, Op. 12: III. Andante
00:32:11 Sonata No. 4 in G Minor, Op. 12: IV. Allegro
00:33:48 Sonata No. 9 in D Major, Op. 2: I. Allegro
00:35:50 Sonata No. 9 in D Major, Op. 2: II. Adagio
00:38:43 Sonata No. 9 in D Major, Op. 2: III. Allegro
00:39:23 Sonata No. 1 in A Major, Op. 12: I. Adagio
00:41:22 Sonata No. 1 in A Major, Op. 12: II. Allegro
00:42:42 Sonata No. 1 in A Major, Op. 12: III. Andante
00:45:07 Sonata No. 1 in A Major, Op. 12: IV. Allegro
00:46:14 Sonata No. 2 in D Minor, Op. 12: I. Adagio
00:49:07 Sonata No. 2 in D Minor, Op. 12: II. Allegro
00:50:20 Sonata No. 2 in D Minor, Op. 12: III. Adagio amorosa
00:52:05 Sonata No. 2 in D Minor, Op. 12: IV. Allegro
00:53:29 Sonata No. 1 in A Major, Op. 2: I. I. Preludio largo
00:57:04 Sonata No. 1 in A Major, Op. 2: II. Corrente allegro
00:58:42 Sonata No. 1 in A Major, Op. 2: III. Sarabanda
01:01:14 Sonata No. 1 in A Major, Op. 2: IV. Allegro
01:02:17 Sonata No. 5 in E Minor, Op. 12: I. Adagio
01:05:30 Sonata No. 5 in E Minor, Op. 12: II. Allegro
01:07:05 Sonata No. 5 in E Minor, Op. 12: III. Largo
01:11:04 Sonata No. 5 in E Minor, Op. 12: IV. Allegro

Artist:
Pizzicar Galante
Anna Schivazappa (baroque mandolin)
Fabio Antonio Falcone (harpsichord)

Tracklist below.
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Erik Bosgraaf has won international acclaim for his Brilliant Classics recordings of music from Jakob van Eyck (Der Fluyten Lust Hof, BC93391) to Pierre Boulez (Dialogues, BC94842). His discography includes no fewer than three previous albums dedicated to Georg Philipp Telemann, the composer who more than any other in the German Baroque elevated the recorder and its relatives to the status of a high-art instrument, capable of hitherto undreamt expressive range and technical refinement.
This recording contains the double concertos with recorder: for two recorders or in combination with traverso, bassoon or viola da gamba. Telemann himself was a professional recorder player. These concertos contain some of his most personal music, his usual brilliance, wit and virtuosity alternate with passages of deep emotion and melancholy.
Erik Bosgraaf is one of the most remarkable recorder players of today. Equally at home in early as well as contemporary music he extends the limits of his instrument, achieving an extreme range of expression and unheard-of effects.
Liner notes in English and German.
Excellent reviews for the previous Telemann recordings: “5 stars! Temperamentvoll und inspiriert” (Klassik.com), “Mitreissender Enthusiasmus! CD Tipp SWR Radio”.

00:00:00 Concerto for Recorder and Flute in E Minor, TWV 52:e1: I. Largo
00:03:52 Concerto for Recorder and Flute in E Minor, TWV 52:e1: II. Allegro
00:08:07 Concerto for Recorder and Flute in E Minor, TWV 52:e1: III. Largo
00:11:47 Concerto for Recorder and Flute in E Minor, TWV 52:e1: IV. Presto
00:14:32 Concerto for 2 Recorders in A Minor, TWV 52:a2: I. Gravement
00:16:45 Concerto for 2 Recorders in A Minor, TWV 52:a2: II. Vistement
00:18:19 Concerto for 2 Recorders in A Minor, TWV 52:a2: III. Largement
00:20:16 Concerto in for 2 Recorders in A Minor, TWV 52:a2: IV. Vivement
00:22:24 Concerto for Recorder and Bassoon in F Major, TWV 52:F1: I. Largo
00:26:50 Concerto for Recorder and Bassoon in F Major, TWV 52:F1: II. Vivace
00:32:11 Concerto for Recorder and Bassoon in F Major, TWV 52:F1: III. —
00:36:27 Concerto for Recorder and Bassoon in F Major, TWV 52:F1: IV. Allegro
00:39:58 Concerto for Recorder and Viola da Gamba in A Minor ,TWV 52:a1: I. Grave
00:43:48 Concerto for Recorder and Viola da Gamba in A Minor ,TWV 52:a1: II. Allegro
00:47:54 Concerto for Recorder and Viola da Gamba in A Minor ,TWV 52:a1: III. Dolce
00:51:25 Concerto for Recorder and Viola da Gamba in A Minor ,TWV 52:a1: IV. Allegro
00:55:37 Concerto for 2 Recorders in B-Flat Major, TWV 52:B1: I. Grave
00:57:44 Concerto for 2 Recorders in B-Flat Major, TWV 52:B1: II. Vivace
00:59:17 Concerto for 2 Recorders in B-Flat Major, TWV 52:B1: III. Tendrement
01:01:05 Concerto for 2 Recorders in B-Flat Major, TWV 52:B1: IV. Gayment

Artist:
Erik Bosgraaf (recorder & direction)
Anna Besson (traverso)
Yi-Chang (Liangrecorder)
Robert Smith (viola da gamba)
Marije van der Ende (bassoon)
Ensemble Cordevento

Tracklist below.
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When Einaudi burst onto the classical music scene some 20 years ago, critics were at first unsure how to react. What to make of a composer who has arguably broken through the boundaries of traditional classical music, forging his own path and attracting millions of fans? How to classify his soothing, peaceful, stunningly beautiful compositions? No one could have foreseen the astonishing precedent Einaudi has set, having had an important role in bringing classical music into the mainstream and at the same time asking us to forget our traditional categories and labels, and just sit back and enjoy his unique works. Pianist and composer Jeroen van Veen has long been a fan of Einaudi’s deceptively simple style. Here he has brought together a personal selection of the composer’s best works, and any listener unfamiliar with Einaudi up until now will soon see why he has garnered the enormous fame and attention he enjoys worldwide today.

Tracklist:
00:00:00 Una mattina
00:03:34 I Giorni
00:09:44 Le Onde
00:14:55 Corale
00:16:55 Canzone Popolare
00:17:51 Corale Solo
00:22:05 Questa Notte
00:27:55 Luce
00:34:53 Brothers
00:39:59 L’ultima Volta
00:44:03 Discovery at Night
00:49:16 Indaco
00:55:14 L’origine nascosta
00:58:49 Nuvole bianche
01:04:38 Nightbook
01:09:13 Two Trees
01:16:35 Walk
01:19:21 Waterways
01:23:49 Reverie
01:28:53 Oltremare
01:41:59 Giorni dispari
01:48:06 Sarabande
01:55:37 Ancora
02:08:56 Nefeli
02:14:14 Primavera
02:21:34 Bye, Bye mon amour
02:30:29 Berlin Song

Artist:
Jeroen van Veen (piano)

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Composer: Johann Sebastian Bach
Artists: Thomas Zehetmair (violin), Amsterdam Bach Soloists

The great Johann Sebastian Bach grew up around violin music: his father Johann Ambrosius was an accomplished violinist. This influence is reflected in Sebastian’s compositional output, which contains a large number of solo and ensemble works for the instrument – including the concertos on this recording.

The works, written in approximately 1720, are based on Vivaldi’s concerto model from the beginning of the 18th century, and – in the case of the D minor and G minor concertos – are reconstructions of the harpsichord concertos. Indeed, many of Bach’s concertos for harpsichord were in fact rearrangements of earlier instrumental works, and from the passagework in BWV 1052 and 1056 it is clear that the violin was originally the intended instrument. Together with rich-sounding dialogue that is a result of the contrast between the intricate solo passages and the slower-moving accompanying instruments, opportunities for virtuosic display abound in all of the works’ final movements, especially in the energetic Gigue of BWV1041.

Violinist Thomas Zehetmair studied at the Salzburg Mozarteum and made his festival debut at the Salzburg Festival aged just 16. He has since built up an impressive international career as a soloist, also performing with the Zehetmair Quartet, and is musical director of the Northern Sinfonia (UK) as well as guest conductor of several other major European orchestras. He is joined in the recording by the acclaimed Amsterdam Bach Soloists.

00:00:00 Violin Concerto in E Major, BWV 1042: I. Allegro
00:07:10 Violin Concerto in E Major, BWV 1042: II. Adagio
00:13:57 Violin Concerto in E Major, BWV 1042: III. Allegro assai
00:16:44 Violin Concerto in A Minor, BWV 1041: I. (without tempo marking)
00:20:42 Violin Concerto in A Minor, BWV 1041: II. Andante
00:27:00 Violin Concerto in A Minor, BWV 1041: III. Allegro assai
00:30:31 Violin Concerto D Minor, BWV 1052, reconstructed from the Harpsichord Concerto, BWV 1052: I. (without tempo marking)
00:37:57 Violin Concerto D Minor, BWV 1052, reconstructed from the Harpsichord Concerto, BWV 1052: II. Adagio
00:44:41 Violin Concerto D Minor, BWV 1052, reconstructed from the Harpsichord Concerto, BWV 1052: III. Allegro
00:52:23 Violin Concerto in G Minor, BWV 1056, reconstructed from the Harpsichord Concerto, BWV 1056: I. (without tempo marking)
00:55:49 Violin Concerto in G Minor, BWV 1056, reconstructed from the Harpsichord Concerto, BWV 1056: II. Largo
00:58:55 Violin Concerto in G Minor, BWV 1056, reconstructed from the Harpsichord Concerto, BWV 1056: III. Presto

Tracklist below.

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Described by the composer himself as ‘the king of instruments’, the organ and its music form a small but not insignificant part of Mozart’s vast œuvre. This new release, performed by acclaimed Italian organist Ivan Ronda, comprises all of his major works for the instrument, including the extended Adagio and Rondo in C minor and the small-scale works from the London Sketchbook. Also included is the charming Adagio in C for the glass harmonica: just 28 bars in length, the work was originally conceived for this curious instrument, which consists of glass bowls that rotate in water, but is equally effective on the organ. Mozart’s output of Church Sonatas – notable for their single movement form – are represented here by the Sonata in C K336, the only one to have a proper solo part for the organ, and was specially transcribed by André Isoir for this recording.

The disc is rounded off with the imposing Fantasia in F minor. Described in Mozart’s own catalogue of work as ‘an organ piece for a clock’, it was commissioned by Count Joseph Deym for a musical automaton that contained a small pipe organ. When transferred to an organ on the scale of that at the Church of Maria Vergine Immacolata in Gallo Cavour, Italy, where this recording was made, it takes on a certain grandeur, and exploits the various echo and dialogue effects of the instrument.

00:00:00 Suite in C Major, K. 399: I. Overture
00:05:00 Andante in F Major, K. 616
00:12:41 Adagio and Allegro in F Minor, K. 594
00:25:10 Adagio in C Major, K. 356
00:29:23 Church Sonata in C Major, K. 336
00:34:28 Piece in F Major, K. 33b
00:35:57 The London Sketchbook: Rondo in F Major, K. 15hh
00:37:23 The London Sketchbook: Allegro in F Major, K. 15a
00:38:39 The London Sketchbook: Rondo in D Major, K. 15d
00:40:16 Adagio and Rondo in C Minor, K. 617
00:53:10 Fantasia in F Minor, K. 608

The talented musician Erik Bosgraaf recorded the Complete Suites and Concertos for Recorder of Georg Phillip Telemann. This video contains the full album.

Tracklist below.
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Telemann’s concertos offer a unique combination of virtuosity, wit and sense of the theatrical. Having taught himself to play the instrument as a child, the German master had a special understanding of and fondness for the recorder, and for it he created a new hybrid form, the Suite auf Concertenart, which combines soloistic display with baroque dances.

These suites and concertos may be less overtly virtuosic than works in the same genre which were beginning to appear around the same time over the other side of the Alps, but Telemann yields nothing to his Italian counterparts in terms of melodic freshness and fertility. The suites are styled in the French manner, as a series of courtly dances, though the A minor Suite features a grand and tragic ‘Air in the Italian style’ and concludes with a snappy Polonaise – one of Telemann’s favourite dance rhythms – reeling away like an inspired tavern fiddler.

Erik Bosgraaf’s discography on Brilliant Classics ranges from Vivaldi (BC94637 – now also available on LP) to Boulez (BC94842), not to mention two previous sets of Telemann – the solo fantasias (BC93757) and sonatas with basso continuo (BC95247) – as well as more rarely encountered delights by Jakob van Eyck (BC93391). These discs and others have garnered both popular attention and critical praise. Of Bosgraaf’s own, composer-approved transcription of the Dialogue de l’ombre double by Boulez, Gramophone commented that ‘balance between recorders and electronics is ideally judged, giving this music an immediacy yet also intimacy beyond that of any other recorded option.’

Closer to the recorder’s natural home in music several centuries earlier, Julie Anne Sadie wrote in the same magazine about Bosgraaf’s ‘magical version of the ubiquitous Four Seasons. ‘A carefully researched and arrestingly translucent chamber interpretation… the rapport between solo and ripieno forces is simply fabulous.’
00:00:00 Ouverture Suite in E-Flat Major, TWV 55:Es2: I. Ouverture
00:07:56 Ouverture Suite in E-Flat Major, TWV 55:Es2: II. Menuet I & II
00:11:04 Ouverture Suite in E-Flat Major, TWV 55:Es2: III. Sarabande
00:12:49 Ouverture Suite in E-Flat Major, TWV 55:Es2: IV. Bourrée, en echo altern.
00:16:08 Ouverture Suite in E-Flat Major, TWV 55:Es2: V. Passepied I & II
00:17:57 Ouverture Suite in E-Flat Major, TWV 55:Es2: VI. Gavotte
00:18:56 Ouverture Suite in E-Flat Major, TWV 55:Es2: VII. Gigue
00:20:54 Ouverture Suite in A Minor, TWV 55:a2: I. Ouverture
00:29:35 Ouverture Suite in A Minor, TWV 55:a2: II. Les plaisirs
00:32:22 Ouverture Suite in A Minor, TWV 55:a2: III. Air à l’Italien
00:38:30 Ouverture Suite in A Minor, TWV 55:a2: IV. Menuet I & II
00:41:12 Ouverture Suite in A Minor, TWV 55:a2: V. Réjouissance
00:43:12 Ouverture Suite in A Minor, TWV 55:a2: VI. Passepied (I & II)
00:44:58 Ouverture Suite in A Minor, TWV 55:a2: VII. Polonoise
00:48:28 Recorder Concerto in F Major, TWV 51:F1: I. Affettuoso
00:51:14 Recorder Concerto in F Major, TWV 51:F1: II. Allegro
00:54:48 Recorder Concerto in F Major, TWV 51:F1: III. Adagio
00:57:14 Recorder Concerto in F Major, TWV 51:F1: IV. Menuet I & II
01:00:28 Recorder Concerto in C Major, TWV 51:C1: I. Allegretto
01:03:34 Recorder Concerto in C Major, TWV 51:C1: II. Allegro
01:07:22 Recorder Concerto in C Major, TWV 51:C1: III. Andante
01:11:13 Recorder Concerto in C Major, TWV 51:C1: IV. Tempo di menuet

Artist:
Erik Bosgraaf (recorder)
Ensemble Cordevento

Tracklist below.

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Composer: Johann Sebastian Bach
Artist: Kristóf Baráti (violin)

Bach may well be one of the most widely acknowledged master composers of all time, but that only serves to make each performer’s interpretation of his work all the more challenging and distinctive: each musician must both do justice to the composer’s intention, making a decision as to the best way of conveying that within the music which is not fixed, and at the same time leave their own mark on the performance. This is especially true for these Sonatas and Partitas given the variety of styles in which such Baroque masterworks have been performed, ranging from the freely romantic to the strictly precise, and the technical challenge posed by these complex pieces for a single instrument.

The works in this collection are something of an enigma, not only because of the uncertainty surrounding the circumstances and date of their composition, but, more crucially, because of the way in which they stretch the capacity for polyphony of a single violin beyond its physical limit. It is as though Bach had written for a full ensemble of instruments – but on a single staff. Modern musicians have even speculated as to the possible existence of a special bow with which an exact performance of the music might have been achieved in Bach’s day. The music is no less rich for all of this, however: on the contrary, the harmonic complexity of these pieces is at once captivating and beautiful; the implied but absent notes are thrillingly suggestive; and the multiplicity of voices leaves the listener marvelling at Bach’s compositional vision and the performer’s ability.

This accomplished musical feat is performed by Kristóf Baráti, a Hungarian violinist who has worked with an astonishing number of world-famous orchestras and conductors. Baráti plays a 1703 Stradivarius violin, and one can sense this echo of the era of the pieces as much as one can his intense emotional involvement with the music.

00:00:00 Sonata No. 1 in G Minor, BWV 1001: I. Adagio
00:03:53 Sonata No. 1 in G Minor, BWV 1001: II. Fuga: Allegro
00:09:21 Sonata No. 1 in G Minor, BWV 1001: III. Siciliana
00:12:25 Sonata No. 1 in G Minor, BWV 1001: IV. Presto
00:15:04 Partita No. 1 in B Minor, BWV 1002: I. Allemanda
00:19:29 Partita No. 1 in B Minor, BWV 1002: II. Double
00:21:40 Partita No. 1 in B Minor, BWV 1002: III. Corrente
00:23:55 Partita No. 1 in B Minor, BWV 1002: IV. Double: Presto
00:26:39 Partita No. 1 in B Minor, BWV 1002: V. Sarabande
00:28:31 Partita No. 1 in B Minor, BWV 1002: VI. Double
00:29:53 Partita No. 1 in B Minor, BWV 1002: VII. Tempo di borea
00:32:09 Partita No. 1 in B Minor, BWV 1002: VIII. Double
00:34:33 Sonata No. 2 in A Minor, BWV 1003: I. Grave
00:38:24 Sonata No. 2 in A Minor, BWV 1003: II. Fuga
00:46:06 Sonata No. 2 in A Minor, BWV 1003: III. Andante
00:51:24 Sonata No. 2 in A Minor, BWV 1003: IV. Allegro
00:55:30 Partita No. 2 in D Minor, BWV 1004: I. Allemanda
00:58:34 Partita No. 2 in D Minor, BWV 1004: II. Corrente
01:00:34 Partita No. 2 in D Minor, BWV 1004: III. Sarabanda
01:03:00 Partita No. 2 in D Minor, BWV 1004: IV. Giga
01:06:09 Partita No. 2 in D Minor, BWV 1004: V. Ciaccona
01:19:13 Sonata No. 3 in C Major, BWV 1005: I. Adagio
01:23:12 Sonata No. 3 in C Major, BWV 1005: II. Fuga
01:32:50 Sonata No. 3 in C Major, BWV 1005: III. Largo
01:35:53 Sonata No. 3 in C Major, BWV 1005: IV. Allegro assai
01:39:29 Partita No. 3 in E Major, BWV 1006: I. Preludio
01:43:20 Partita No. 3 in E Major, BWV 1006: II. Loure
01:46:07 Partita No. 3 in E Major, BWV 1006: III. Gavotte en Rondeau
01:48:54 Partita No. 3 in E Major, BWV 1006: IV. Menuet I, II
01:50:53 Partita No. 3 in E Major, BWV 1006: V. Bourée
01:52:00 Partita No. 3 in E Major, BWV 1006: VI. Gigue

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Composers: Antonio Vivaldi
Artist: Ensemble J.M. Anciuti , Paolo Pollastri baroque (oboe), Gaetano Nasillo (cello), Alberto Guerra (baroque bassoon), Giovanna Losco (harpsichord)

This addition to Brilliant Classics’ ever-growing recorded catalogue of music by the asthmatic ‘Red Priest’ of Venice, Antonio Vivaldi, is of oboe sonatas, played (as are most of the recordings in that catalogue) by an Italian ensemble with full awareness of the latest scholarly research into Vivaldi’s manuscripts and performing styles, and on period instruments, soaked in an appreciation of how most stylishly to realise the music of the Italian Baroque.

The oboist himself, Paolo Pollastri, is oboist with Rome’s Orchestra nazionale di Santa Cecilia, which works with many of the world’s great conductors; he has also contributed fine booklet notes to this release. So both technical and scholarly address are not lacking for this album of sprightly chamber music, which was composed not for the usual crowd of orphaned prodigies at the Ospedale della Pietà, but more likely for travelling virtuosi who made Venice a stop on their itinerary. Consequently the manuscripts for the sonatas here are scattered far and wide, from Cambridge to Dresden. Pollastri also includes an apocryphal work, once attributed to Vivaldi but now ascribed to the Frenchman de Chédeville, for its smooth Francophone style and pastoral idiom.

00:00:00 Sonata No. 5 in G Minor, FXIII, RV 28: I. [Largo]
00:04:09 Sonata No. 5 in G Minor, FXIII, RV 28: II. [Allegro]
00:06:21 Sonata No. 5 in G Minor, FXIII, RV 28: III. Largo
00:09:18 Sonata No. 5 in G Minor, FXIII, RV 28: IV. Allegro
00:11:32 Sonata No. 3 in C, FXV, RV 48: I. Affettuoso
00:15:04 Sonata No. 3 in C, FXV, RV 48: II. Allegro assai
00:17:15 Sonata No. 3 in C, FXV, RV 48: III. Larghetto
00:19:15 Sonata No. 3 in C, FXV, RV 48: IV. Allegro
00:21:28 Sonata No. 16 in B-Flat, FXII, RV 34: I. Adagio
00:22:56 Sonata No. 16 in B-Flat, FXII, RV 34: II. Allegro
00:25:16 Sonata No. 16 in B-Flat, FXII, RV 34: III. Largo
00:26:55 Sonata No. 16 in B-Flat, FXII, RV 34: IV. Allegro
00:29:10 Sonata No. 9 in G Minor, FXV, RV 51: I. Largo
00:32:37 Sonata No. 9 in G Minor, FXV, RV 51: II. Allegro
00:34:23 Sonata No. 9 in G Minor, FXV, RV 51: III. Andante
00:36:31 Sonata No. 9 in G Minor, FXV, RV 51: IV. Allegro
00:37:50 Sonata No. 2 in C Minor, FXV, RV 53: I. Adagio
00:40:28 Sonata No. 2 in C Minor, FXV, RV 53: II. Allegro
00:42:42 Sonata No. 2 in C Minor, FXV, RV 53: III. Andante
00:46:48 Sonata No. 2 in C Minor, FXV, RV 53: IV. Allegro
00:49:41 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: I. Vivace
00:51:00 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: II. Fuga da Cappella (Alla breve)
00:53:00 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: III. Largo
00:54:20 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: IV. Allegro ma non presto

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Composer:
Einaudi

Artist:
Jeroen van Veen (piano)

Tracklist
00:00:00 Divenire: No. 1, Uno
00:03:34 Divenire: No. 2, Divenire
00:10:37 Divenire: No. 3, Monday
00:17:47 Divenire: No. 4, Andare
00:24:53 Divenire: No. 5, Rose
00:29:37 Divenire: No. 6, Primavera
00:37:01 Divenire: No. 7, Oltremare
00:50:20 Divenire: No. 8, L'Origine nascosta
00:53:55 Divenire: No. 9, Fly
00:58:46 Divenire: No. 10, Ascolta
01:03:38 Divenire: No. 11, Ritornare
01:14:23 Nightbook: No. 1, In Principio
01:17:38 Nightbook: No. 2, Lady Labyrinth
01:23:26 Nightbook: No. 3, Nightbook
01:29:20 Nightbook: No. 4, Indaco
01:35:20 Nightbook: No. 5, The Snow Prelude No. 15
01:41:08 Nightbook: No. 6, Reverie
01:46:22 Nightbook: No. 7, The Crane Dance
01:49:41 Nightbook: No. 8, The Snow Prelude No. 2
01:54:11 Nightbook: No. 9, The Tower
01:58:48 Nightbook: No. 10, Bye Bye mon amour
02:07:51 Nightbook: No. 11, The Planets
02:15:39 Nightbook: No. 12, Tu sei
02:22:15 Nightbook: No. 13, Berlin Song
02:27:13 In a Time Lapse: No. 1, Corale
02:29:16 In a Time Lapse: No. 2, Time Lapse
02:34:55 In a Time Lapse: No. 3, Life
02:39:40 In a Time Lapse: No. 4, Walk
02:42:26 In a Time Lapse: No. 5, Discovery at Night
02:47:38 In a Time Lapse: No. 6, Run
02:53:43 In a Time Lapse: No. 7, Brothers
02:58:50 In a Time Lapse: No. 8, Orbits
03:01:57 In a Time Lapse: No. 9, Two Trees
03:09:20 In a Time Lapse: No. 10, Newton's Cradle
03:17:13 In a Time Lapse: No. 11, Waterways
03:21:43 In a Time Lapse: No. 12, Experience
03:27:05 In a Time Lapse: No. 13, Underwood
03:21:26 In a Time Lapse: No. 14, Burning
03:36:40 In a Time Lapse: No. 15, Luce