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String instruments and especially the violin demanded a key position in Baroque music particularly in Italy. Like many of his contemporaries Tomaso Albinoni composed a large number of pieces for string ensemble and many concertos for the violin.

00:00:00 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro non presto
00:03:43 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Adagio
00:07:57 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro
00:10:48 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
00:12:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Adagio
00:13:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
00:15:40 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allego
00:18:21 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Adagio
00:20:01 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allegro
00:22:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
00:26:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Adagio
00:28:45 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
00:32:14 Concerto, Op. 7/8: D Major for two Oboes and Strings: (no tempo)
00:34:32 Concerto, Op. 7/8: D Major for two Oboes and Strings: Largo
00:36:30 Concerto, Op. 7/8: D Major for two Oboes and Strings: Allegro
00:38:16 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
00:41:36 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Adagio
00:43:33 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
00:46:42 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
00:49:29 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Adagio
00:51:32 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
00:53:45 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
00:58:15 Concerto, Op. 9/3: F Major for two Oboes and Strings: Adagio
01:00:29 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
01:04:25 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
01:08:28 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Adagio
01:11:08 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
01:14:28 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
01:17:15 Concerto, Op. 7/11: C Major for two Oboes and Strings: Adagio
01:19:06 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
01:21:42 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
01:25:43 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Adagio
01:27:49 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
01:31:27 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
01:33:19 Concerto, Op. 7/5: C Major for two Oboes and Strings: Adagio
01:34:48 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
01:36:09 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
01:38:39 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Adagio
01:39:36 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
01:41:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
01:45:36 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Adagio
01:47:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
01:51:00 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
01:53:56 Concerto, Op. 7/12: C Major for two Oboes and Strings: Adagio
01:55:55 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
01:58:07 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
02:01:16 Concerto, Op. 9/12: D Major for two Oboes and Strings: Adagio
02:03:26 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
02:04:56 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
02:08:09 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Adagio
02:09:55 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
02:12:23 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
02:15:52 Concerto, Op. 9/10 in F Major for Violin and Strings: Adagio
02:19:15 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
02:22:44 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
02:26:14 Concerto, Op. 9/7: D Major for Violin and Strings: Andante e sempre piano
02:33:51 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
02:36:32 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro
02:39:58 Concerto, Op. 9/4: A Major for Violin and Strings: Adagio
02:42:16 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro

Artist:
Stefan Schilli (oboe)
Stuttgart Chamber Orchestra

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Why transcribe and perform the sonatas and partitas for solo violin on the guitar? It is surely the works themselves that provide the justification; their indestructible melodic poetry and their rich implied counterpoint at which the original violin can only hint.
Many guitarists have already gone where more cautious spirits would fear to tread and made their own transcriptions; this new version carries the imprimatur of David Russell, one of the most internationally acclaimed guitarists of his generation, who writes that Francesco Teopini ‘plays with a beautiful sound, faithfully recorded. His interpretation shows a deep understanding of these major works.’
In a useful booklet-note, Teopini himself notes that these works are now standard repertoire for guitarists, even mandatory for the sake of personal development, as perhaps Bach is for every musician regardless of instrument. His arrangement is relatively discreet, adding just a few more bass notes to amplify chords in movements such as the famous Chaconne which is the climax of the cycle. Elsewhere he has borne in mind the art of the clavecin, which no less relevant to the guitar as an instrument of Bach’s time than the original violin. There is naturally greater opportunity for ornamentation, which Teopini takes with discretion.
Italian by birth, Teopini himself is a graduate of the Royal Academy of Music in London, currently resident as a teacher and performer in Hong Kong, with a repertoire ranging from Bach through the Classical Spanish repertoire to contemporary works, several of which he has commissioned and premiered by composers including Gian Carlo Mantovani and Fausto Tuscano .

00:00:00 Sonata No. 1 in G Minor, BWV 1001: I. Adagio
00:05:14 Sonata No. 1 in G Minor, BWV 1001: II. Fuga
00:10:41 Sonata No. 1 in G Minor, BWV 1001: III. Siciliana
00:13:44 Sonata No. 1 in G Minor, BWV 1001: IV. Presto
00:17:36 Partita No. 1 in B Minor, BWV 1002: I. Allemanda – Double
00:27:17 Partita No. 1 in B Minor, BWV 1002: II. Corrente – Double
00:35:23 Partita No. 1 in B Minor, BWV 1002: III. Sarabande – Double
00:42:10 Partita No. 1 in B Minor, BWV 1002: IV. Tempo di borea – Double
00:49:37 Sonata No. 2 in A Minor, BWV 1003: I. Grave
00:55:07 Sonata No. 2 in A Minor, BWV 1003: II. Fuga
01:03:01 Sonata No. 2 in A Minor, BWV 1003: III. Andante
01:08:59 Sonata No. 2 in A Minor, BWV 1003: IV. Allegro
01:15:16 Partita No. 2 in D Minor, BWV 1004: I. Allemanda
01:21:18 Partita No. 2 in D Minor, BWV 1004: II. Corrente
01:23:43 Partita No. 2 in D Minor, BWV 1004: III. Sarabanda
01:28:28 Partita No. 2 in D Minor, BWV 1004: IV. Giga
01:32:37 Partita No. 2 in D Minor, BWV 1004: V. Ciaccona
01:50:59 Sonata No. 3 in C Major, BWV 1005: I. Adagio
01:55:44 Sonata No. 3 in C Major, BWV 1005: II. Fuga
02:08:04 Sonata No. 3 in C Major, BWV 1005: III. Largo
02:11:21 Sonata No. 3 in C Major, BWV 1005: IV. Allegro assai
02:16:30 Partita No. 3 in E Major, BWV 1006: I. Preludio
02:20:26 Partita No. 3 in E Major, BWV 1006: II. Loure
02:24:07 Partita No. 3 in E Major, BWV 1006: III. Gavotte en rondeau
02:27:40 Partita No. 3 in E Major, BWV 1006: IV. Menuet I et II
02:31:21 Partita No. 3 in E Major, BWV 1006: V. Bourrée
02:33:07 Partita No. 3 in E Major, BWV 1006: VI. Gigue

Artist:
Francesco (Teopini classical guitar)

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About this album:
In today’s hectic world, it is increasingly important to relax and take time out for yourself. This special collection of beautiful and serene adagios will help you do just that. The set features over two hours of soothing music, including many slow movements that are at the emotional core of timeless and best‐loved masterpieces.
You’ll be captivated by the variety of wonderful and instantly recognizable melodies heard here: the wistful spiritual from Dvořák’s ‘New World’ Symphony, the exquisite interweaving lines of Bach’s ‘Air on a G String’, and some of Mozart’s most impressive showcases for how to really make an instrument sing in the Clarinet Concerto and ‘Elvira Madigan’ Piano Concerto. And evocative and atmospheric adagios – such as Grieg’s ‘Morning’ and the slow movement from Beethoven’s ‘Pastoral’ Symphony with its distinctive birdsong calls in the flute, oboe and clarinet – will transport you to another world, far away from the stresses and strains of everyday life. Other highlights include some of the most enchanting slow movements in the piano repertoire – such as the poignant Adagio cantabile from Beethoven’s ‘Pathétique’ Sonata and stunning concerto movements by Chopin, Ravel and Rachmaninoff – Fauré’s intense Élégie for cello, and Mahler’s tender and heartbreakingly romantic Adagietto. The emotional power of these adagios is brought to the fore by first‐rate orchestras such as the Staatskapelle Dresden, Philharmonia and Royal Philharmonic, under the baton of eminent conductors such as Theodore Kuchar, Herbert Blomstedt and Rudolf Barshai.
A moment to relax, to withdraw from an increasingly hectic life, overfed with stimuli from work, society obligations and social networks: this music will calm down your jittery nerves, and will take you on slow waves of soothing melodies to a world of pure sound and tranquillity. A generous selection of the most famous slow movements: Air (Bach), Adagio (Marcello), Adagio (Rachmaninoff 2nd piano concerto), Scene at the Brook (Beethoven’s Pastorale), The Adagietto from the movie ‘Death in Venice’ (Mahler) and many more.

Excellent performances by Staatskapelle Dresden, Royal Philharmonic Orchestra, Philharmonia Orchestra and soloists Klára Würtz and Misha Goldstein.

Tracklist:
00:00:00 J.S. Bach - Orchestral Suite No. 3 in D Major, BWV 1068: II. Air
00:04:17 Brahms - Symphony No. 3 in F Major, Op. 90: III. Poco allegretto
00:10:17 Beethoven - Piano Sonata No. 8 in C minor “Pathétique”: II Agagio cantabile
00:15:04 Marcello - Oboe Concerto in D Minor: II. Adagio
00:18:56 Ravel - Piano Concerto in G Major: II. Adagio Assai
00:28:15 Beethoven - Symphony No. 6 in F Major, Op. 68 “Pastoral”: II Andante molto mosso (Szene am Bach)
00:40:56 Beethoven - Piano Concerto No. 3 in C Minor, Op. 37: II. Largo
00:53:40 Brahms - Violin Concerto in D Major, Op. 77: II. Adagio
01:03:23 Beethoven - Piano Sonata No. 12 in C-Sharp Minor “Moonlight”: I. Adagio sostenuto
01:09:06 Grieg - Peer Gynt Suite No. 1, Op. 46: I. Morning Mood
01:13:18 Chopin - Piano Concerto No. 1 in E minor Op.11: II. Romance. Larghetto
01:24:05 Fauré - Élégie, Op. 24
01:30:34 Mahler - Symphony No. 5: IV. Adagietto. sehr langsam
01:38:51 Mozart - Piano Concerto No. 21 in C Major, K. 467: II. Andante "Elvira Madigan"
01:44:54 Rachmaninoff - Piano Concerto No. 2 in C Minor, Op. 18: II. Adagio sostenuto
01:56:01 Mozart- Concerto for Clarinet and Orchestra in A Major, K. 622: II. Adagio
02:03:21 Schubert - Symphony No. 5 in B-Flat Major, D. 485: II. Andante con moto
02:14:10 Mozart - Piano Concerto No. 23 in A Major K. 488: II. Andante
02:20:30 Tchaikovsky - Serenade for Strings, Op. 48: III. Élégie. Larghetto elegiac

Erik Bosgraaf is an established Brilliant Classics artist whose recordings span the centuries. His previous release was of Pierre
Boulez, a recording of Dialogue de l’ombre double (BC94842) that won warm critical opinions such as this from Gramophone:
‘Balance between recorders and electronics is ideally judged, giving this music an immediacy yet also intimacy beyond that of
any other recorded option.’

In his latest recording, he brings these same qualities (minus the electronics) to the music of Telemann, who as a player of the
instrument lavished particularly rich treasures upon it, even considering a total output of over 3000 separate works. Bosgraaf has made a personal selection of sonatas from various chamber music collections which Telemann made throughout his career such as the Musique de table, Essercizii musicali and Der getreue
Music‐meister, especially during the latter stages of his career when he was still producing music with a phenomenal industry not least due to the need to recoup his wife’s enormous gambling debts. The result is something of a love‐letter to the recorder, celebrating its qualities of agility and songfulness, full of syncopated quick movements, Italianate arias and taking in both arcane technical devices such as canons as well as simple folk tunes from Poland. Bosgraaf plays a wide selection of recorders to match the breadth of Telemann’s invention. The harpsichord used is a Mietke model by Bruce Kennedy. This release should join an acclaimed version of Vivaldi’s Four Seasons (BC94637) as one of the most popular items in the ever‐growing discography of this exciting young recorder virtuoso.

Tracklist below.

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Composer: Wolfgang Amadeus Mozart
Artists: Ensemble Pyramide, Markus Brönnimann (flute), Barbara Tillmann (oboe), Ulrike Jacoby (violin), Muriel Schweizer (viola), Anita Jehli (cello)

For many Mozart is more ‘perfector’ than ‘innovator’, a composer who drew on an already extant vocabulary to create some of the greatest works in European culture. In this recording, however, we are introduced to Mozart the ‘trailblazer’: the first composer in history to take wind instruments seriously. Whereas his colleagues were inclined to employ the so-called Harmonie merely to reinforce the general sonority, Mozart took it upon himself to exploit the character of each of these instruments, endowing them with a much more individualistic, distinctive role – as soloists, in the orchestra or in chamber music, the subject of this engaging release.

Such writing is evident in the Quartet for oboe and strings, a work of wide leaps and brilliant passages that was composed for the Mannheim virtuoso Friedrich Ramm, and the Flute Quartet in D – written for the highly accomplished amateur musician Ferdinand Dejean and in which the principal voice, equipped with pearling runs in the first movement, is treated with great care, displaying nothing of the composer’s supposed aversion to the instrument. Both works are milestones of their respective genres, and they are joined on this recording by three pieces originally composed for mechanical organ (and arranged for this recording by flautist Markus Brönnimann), originally commissioned by Count Deym to be used as accompaniment for a newly erected mausoleum in Vienna. Among these, the Fantasia in F minor K608 stands out as the most intense and dramatic, combining rigorous harmonic invention with memorable melody, polyphonic complexity and compositional virtuosity. Brönnimann’s suggestion as to a possible comparison with the works of the American-born composer Conlon Nancarrow, as mentioned in the booklet note, reveals just how forwardthinking this music was for its time.

At hand to perform these works is Ensemble Pyramide, a group whose diverse repertoire ranges from Baroque to 21st century and whose recital programmes are often based around the juxtaposition between new and old. Based in Zurich and awarded the city’s cultural stipend ‘Werkjahr für Interpretation’ in 2006, its recordings for radio and on CD (which take in labels such as Naxos and Ars Musici) are complemented by an active recording schedule throughout Europe.

00:00:00 Quartet in F Major, K. 370: I. Allegro
00:07:03 Quartet in F Major, K. 370: II. Adagio
00:10:05 Quartet in F Major, K. 370: III. Rondeau. Allegro
00:14:46 Adagio and Allegro in F Minor K. 594 (Adagio - Allegro - Adagio)
00:24:54 Andante in F Major, K. 616
00:32:18 Fantasia in F Minor, K. 608 (Allegro - Andante - Tempo primo)
00:41:40 Quartet in D Major, K. 285: I. Allegro
00:48:49 Quartet in D Major, K. 285: II. Adagio
00:51:41 Quartet in D Major, K. 285: III. Rondeau. Allegretto

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Composer: Carl Philipp Emanuel Bach
Artists: Venceslava Hruba-Freiberger (soprano), Barbara Bornemann (contralto), Peter Schreier (tenor), Olaf Bär (baritone), Rundfunkchor Berlin Kammerorchester, Hartmut Haenchen (conductor)

About this Album:
C.P.E. Bach is particularly renowned for his unrivalled piano sonatas in the sensitive style and contributed to almost every important form of classical music, but he began to recognise the symphony as a medium of great expressive potential in the mid-18th century, and eventually wrote an impressive total of 19 works within this genre. Two splendid examples are presented here.

The Symphony Wq173 owes its charm to small surprises such as a sudden shift to the minor key in the recapitulation of the first movement, but also to the calmly flowing melodic line of the second movement, and the minuet-like passages of the final movement. Meanwhile, the Symphony Wq180 is intriguing in form throughout, though the fanfare-like opening subject and the restless semiquaver figures of the violins, redolent of the baroque concertante style, above all lend it an exuberant quality. The Magnificat, which rounds off the CD, provides a more clearly baroque, and of course vocal, counterweight to the symphonies, and moves through dramatically contrasting emotions, alternately triumphant, severe and subdued. The piece was recorded live to mark the 200th anniversary of the composer’s death.

The Kammerorchester ‘Carl Philipp Emanuel Bach’ is, of course, the natural choice of orchestra for these pieces, specialising as they do in the works of the composer and his contemporaries (they have also recorded an album of Wilhelm Friedemann Bach’s Sinfonias for Brilliant Classics, 94690). Veteran conductor Hartmut
Haenchen has been at the helm of the orchestra for over 25 years.

Tracklist:
00:00:00 Symphony in G Major, Wq 173: I. Allegro assai
00:02:59 Symphony in G Major, Wq 173: II. Andante
00:05:34 Symphony in G Major, Wq 173: III. Allegretto
00:08:38 Symphony in G Major, Wq 180: I. Allegro di molto
00:12:50 Symphony in G Major, Wq 180: II. Largo
00:17:12 Symphony in G Major, Wq 180: III. Allegro assai
00:20:26 Magnificat in D Major, Wq 215: I. Magnificat (Chorus)
00:23:18 Magnificat in D Major, Wq 215: II. Aria. Quia respexit (Soprano)
00:29:35 Magnificat in D Major, Wq 215: III. Aria. Quia fecit (Tenor)
00:33:40 Magnificat in D Major, Wq 215: IV. Et misericordia eius (Chorus)
00:41:28 Magnificat in D Major, Wq 215: V. Aria. Fecit potentiam (Bass)
00:45:14 Magnificat in D Major, Wq 215: VI. Duet. Deposuit potentes (Contralto, Tenor)
00:51:00 Magnificat in D Major, Wq 215: VII. Aria. Suscepit Israel (Contralto)
00:56:31 Magnificat in D Major, Wq 215: VIII. Gloria (Chorus)
00:58:17 Magnificat in D Major, Wq 215: IX. Sicut erat (Chorus)

Tracklist below.

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Artist: Alessandro Deljavan (piano)

With his two books of Etudes, Frédéric Chopin threw down the gauntlet for all who would come after him. These 24 studies, and the three works published as ‘Nouvelles Etudes’ within the Méthode des Méthodes de Moscheles et Fétis – a publication including studies by Henselt, Liszt, Mendelssohn and Thalberg – probe and refine every aspect of a pianist’s technique, as one might expect from the technical and didactic implications of their title. What distinguishes them, however, from the hundreds of other similar volumes published throughout the 19th century and beyond, is the melodic genius, harmonic novelty and long-range structure that is peculiar to Chopin.
Alessandro Deljavan is a young Italian pianist whose previous recordings for Brilliant Classics include the violin sonatas of Anton Rubinstein (BC94605), played with his regular duet partner Daniela Cammarano. Perhaps more pertinently, Brilliant has also just released his new recording of Chopin’s Waltzes (BC95208). According to Fou T’Song – no mean Chopin pianist himself – Alessandro Deljavan is ‘one of the most interesting pianists I have heard in my life’. Excerpts on YouTube from his success at the 2013 Van Cliburn Competition in Fort Worth confirm the truth and promise of Fou T’Song’s acclamation. Deljavan’s approach to the Etudes is not as monuments of pianism but with a charming and sometimes surprising sense of relaxation which takes for granted the kind of formidable technique that they were designed to test. Deljavan is free with the rubato that makes this music breathe: there are many other recordings of the Etudes that set the pages on fire: this one riffles them in the breeze, tapping into the vein of aching nostalgia from which all of Chopin’s music draws. It was first made available as part of the most recent Chopin Edition from Brilliant Classics (BC94660).
Chopin Etudes are the Mount Everest for every concert pianist: the combination of technical difficulties of the highest level and a rich and complex musical content make them even today the biggest challenge a mortal pianist can meet.
Young Italian pianist Alessandro Deljavan presents a strong and highly personal interpretation: deeply poetic and passionate, backed by a superlative technical mastery.
Deljavan is one of the most remarkable pianists of his generation. “His playing is full of intensive power and contagious artistry” (Dmitri Bashkirov), “he is one of the most interesting pianists I’ve heard in my life” (Fou Ts’Ong), “he is one of the most major talents of his age” (John Perry), “Jaw-dropping virtuosity and heart-stopping eloquence” (Dallas Morning News).

00:00:00 Etudes, Op. 10: I. Etude in C Major “Waterfall”. Allegro
00:02:03 Etudes, Op. 10: II. Etude in A Minor. Allegro
00:03:35 Etudes, Op. 10: III. Etude in E Major “Tristesse”. Lento ma non troppo
00:08:01 Etudes, Op. 10: IV. Etude in C-Sharp Minor. Presto
00:10:09 Etudes, Op. 10: V. Etude in G-Flat Major “Black Keys”. Vivace
00:11:58 Etudes, Op. 10: VI. Etude in E-Flat Minor. Andante
00:15:50 Etudes, Op. 10: VII. Etude in C Major. Vivace
00:17:31 Etudes, Op. 10: VIII. Etude in F Major. Allegro
00:19:52 Etudes, Op. 10: IX. Etude in F Minor. Allegro molto agitato
00:22:25 Etudes, Op. 10: X. Etude in A-Flat Major. Vivace assai
00:24:47 Etudes, Op. 10: XI. Etude in E-Flat Major. Allegretto
00:27:17 Etudes, Op. 10: XII. Etude in C Minor “Revolutionary”. Allegro con fuoco
00:30:06 Etudes, Op. 25: I. Etude in A-Flat Major “Aeolian Harp”.Allegro sostenuto
00:32:39 Etudes, Op. 25: II. Etude in F Minor. Presto
00:34:36 Etudes, Op. 25: III. Etude in F Major. Allegro
00:36:32 Etudes, Op. 25: IV. Etude in A Minor. Agitato
00:38:17 Etudes, Op. 25: V. Etude in E Minor. Vivace
00:42:01 Etudes, Op. 25: VI. Etude in G-Sharp Minor. Allegro
00:44:17 Etudes, Op. 25: VII. Etude in C-Sharp Minor. Lento
00:50:20 Etudes, Op. 25: VIII. Etude in D-Flat Major. Vivace
00:51:33 Etudes, Op. 25: IX. Etude in G-Flat Major “Butterfly”. Allegro assai
00:52:44 Etudes, Op. 25: X. Etude in B Minor. Allegro con fuoco
00:56:55 Etudes, Op. 25: XI. Etude in A Minor “Winter Wind”. Lento
01:00:37 Etudes, Op. 25: XII. Etude in C Minor. Allegro molto con fuoco
01:03:30 3 Nouvelles études, B. 130: I. Andantino in F minor
01:06:00 3 Nouvelles études, B. 130: II. Allegretto in D-Flat Major
01:08:11 3 Nouvelles études, B. 130: III. Allegretto in A-Flat Major

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The mandolin was essentially the instrument of amateur musicians in the early to mid 18th century. Vivaldi composed many concertos and trios for the young ladies of the Ospiedale della Pieta – including the famous G major RV532, which must rank as one of his most popular works after the Four Seasons.
The concertos and trios on this CD make a delightful programme, written for the pleasure of gifted students and patrons, full of the hallmarks of Vivaldian style that will not disappoint those who love the famous Four Seasons violin concertos from his Op.8 set. Simple, catchy melodies abound, in both still and often poignant slow movements as well as sparky fast movements.
Other information:
- Recording made in 2009.
- Frederico Gugliemo studied with Salvatore Accardo, Isaac Stern and The Amadeus, LaSalle and Quartetto Italiano string quartets before turning to period instrument performance under the guidance of Christopher Hogwood.
00:00:00 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:03:54 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:08:15 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:11:48 Concerto for mandolin, strings and continuo in C Major RV 425
00:14:26 Concerto for mandolin, strings and continuo in C Major RV 425
00:17:44 Concerto for mandolin, strings and continuo in C Major RV 425
00:19:57 Trio for Violin, lute and basso in g Minor RV 85
00:24:00 Trio for Violin, lute and basso in g Minor RV 85
00:27:01 Trio for Violin, lute and basso in g Minor RV 85
00:28:53 Concerto for 2 Violin, lute and basso in D Major RV 93
00:32:22 Concerto for 2 Violin, lute and basso in D Major RV 93
00:36:33 Concerto for 2 Violin, lute and basso in D Major RV 93
00:38:44 Trio for Violin, lute and basso in C Major RV 82
00:42:51 Trio for Violin, lute and basso in C Major RV 82
00:45:54 Trio for Violin, lute and basso in C Major RV 82
00:47:52 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:53:13 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:56:15 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:59:47 Concerto for harpsichord, strings and continuo in A Major RV 780
01:03:30 Concerto for harpsichord, strings and continuo in A Major RV 780
01:05:40 Concerto for harpsichord, strings and continuo in A Major RV 780

Artist:
L'Arte dell'Arco
Federico Guglielmo (conductor)

Arvo Pärt: Ukuaru valss.

Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.

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It is remarkable that concertos by Vivaldi are still awaiting their first recordings, and this CD programmes 8 ‘solemn’ concertos. Solemn in this context usually meant a slow introduction, acting as a prelude to the following 3 movements. Vivaldi was a master at creating concertos from other works, and these were known as ‘pasticcio’ concertos. For example, sinfonias or overtures to his many operas provided a happy hunting ground for such concertos, and on this CD the concertos are a mix of Vivaldi’s pasticcios and those of the Pablo Queipo de Llano, a Vivaldi scholar and author the comprehensive CD booklet essay.

To illustrate how adept Vivaldi was at turning existing works to new uses, the finale of RV197 was originally the double fugue from the overture to the serenata La senna festeggiante RV693. This had in turn been adapted by Vivaldi from the closing section of Lotti’s Moralita d’una perla. The opening movement of RV155 was reused by Vivaldi for his Salve Regina RV618
The tradition of pasticcio concertos arranged from other composer’s works was common practice at the Dresden court, where the director was Johann Georg Pisendal, a pupil of Vivaldi. Many movements by Vivaldi were found among the manuscripts in Dresden, and form the basis for these reconstructions.

00:00:00 Concerto per archi e basso continuo in do Minore RV 197
00:03:31 Concerto per archi e basso continuo in do Minore RV 197
00:06:10 Concerto per archi e basso continuo in do Minore RV 197
00:07:58 Sinfonia per archi e basso continuo in la maggiore RV Anh. 85
00:10:05 Sinfonia per archi e basso continuo in la maggiore RV Anh. 85
00:12:52 Sinfonia per archi e basso continuo in la maggiore RV Anh. 85
00:16:45 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:19:05 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:22:54 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:26:33 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:30:56 Concerto per archi e basso continuo in sol Minore RV 316
00:33:27 Concerto per archi e basso continuo in sol Minore RV 316
00:34:39 Concerto per archi e basso continuo in sol Minore RV 316
00:36:36 Concerto per archi e basso continuo in do maggiore RV 185
00:37:41 Concerto per archi e basso continuo in do maggiore RV 185
00:40:10 Concerto per archi e basso continuo in do maggiore RV 185
00:41:37 Concerto per archi e basso continuo in do maggiore RV 185
00:44:00 Concerto per 2 Violini, archi e basso continuo in re Minore RV 247
00:46:46 Concerto per 2 Violini, archi e basso continuo in re Minore RV 247
00:49:59 Concerto per 2 Violini, archi e basso continuo in re Minore RV 247
00:53:04 Concerto per archi e basso continuo in fa maggiore RV 292
00:55:32 Concerto per archi e basso continuo in fa maggiore RV 292
00:57:46 Concerto per archi e basso continuo in fa maggiore RV 292
00:58:35 Concerto per archi e basso continuo in fa maggiore RV 292
01:02:51 Concerto per archi e basso continuo in mi Minore RV 134
01:05:38 Concerto per archi e basso continuo in mi Minore RV 134
01:07:08 Concerto per archi e basso continuo in mi Minore RV 134

Tracklist below.

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Composer: Claude Debussy
Artists: Trio Stradivari, Federico Guglielmo (violin), Luigi Puxeddu (cello), Jolanda Violante (piano)

These original works and arrangements for violin, cello and piano by Claude Debussy span the composer’s protean career, from the early Piano Trio of 1880 to the Cello Sonata of 1915 and the Violin Sonata, completed in 1917 as part of an abortive six-sonata project which ended halfway when he died the following year. Especially since the performances are given with the experience harvested by three musicians who are better known as early-music specialists, soaked in the philosophy of historically informed performance practice, they offer an intriguing survey, unique on record, of the composer’s development. As Harold Schonberg, music critic of The New York Times, wrote, it would be amusing to invite classical music ‘experts’ to listen to the Piano Trio, with its expressive reminiscences of Schumann, and then guess who the composer is: few of them would say Debussy. And yet the two late sonatas masterfully shuffle the cards of Impressionism, pre-Classical sonata structures and Stravinskian distance and eccentricity: the Cello Sonata originally bore a heavily symbolic title (Pierrot faché avec la lune) relating to the paintings of Watteau with their elusive mixture of melancholy and irony. It uses the timbre of early music and citations from the great French harpsichordists to conjure up Pierrot’s moody, troubled world, which was that of the slyly smiling masks of the commedia dell’arte.

The arrangements are the work of several hands, among them Debussy himself, of better-known and justifiably popular works that revel in the sophisticated evocation of mood through lyrical melody and evanescent textures, including ‘The Girl with the Flaxen Hair’ and ‘Minstrels’

00:00:00 Piano Trio in G Major, L. 3: I. Andantino con moto allegro
00:09:04 Piano Trio in G Major, L. 3: II. Scherzo-Intermezzo. Moderato con allegro
00:12:35 Piano Trio in G Major, L. 3: III. Andante espressivo
00:16:30 Piano Trio in G Major, L. 3: IV. Finale. Appassionato
00:21:57 Violin Sonata in G Minor, L. 140: I. Allegro vivo
00:27:25 Violin Sonata in G Minor, L. 140: II. Intermède. Fantasque et legér
00:31:39 Violin Sonata in G Minor, L. 140: III. Finale. Très animé
00:36:11 Cello Sonata in D Minor, L. 135: I. Prologue. Lent, sostenuto e molto risoluto
00:40:54 Cello Sonata in D Minor, L. 135: II. Sérénade. Modérément animé
00:44:26 Cello Sonata in D Minor, L. 135: III. Final. Animé, léger et nerveux
00:48:05 Intermezzo, L. 27
00:53:34 Scherzo, L. 26
00:59:00 Préludes, L. 117: No. 12, Minstrels
01:01:22 Préludes, L. 117: No. 8, La fille aux cheveux de lin
01:04:00 Deux Arabesques, L. 66: Première Arabesque
01:08:57 Romances, L. 79: Romance No. 1
01:11:07 Rêverie, L. 68

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00:00:00 3 Sarabandes (1887): No. 1
00:05:33 3 Sarabandes (1887): No. 2
00:10:33 3 Sarabandes (1887): No. 3
00:14:47 3 Gymnopédies (1889): No. 1: Lent et douloureux
00:18:27 3 Gymnopédies (1889): No. 2: Lent et triste
00:21:45 3 Gymnopédies (1889): No. 3: Lent et grave
00:24:37 Gnossiennes 1-3 (1890): No. 1
00:28:45 Gnossiennes 1-3 (1890): No. 2
00:30:45 Gnossiennes 1-3 (1890): No. 3
00:34:11 Gnossiennes 4-6 (1889-1897): No. 4
00:37:02 Gnossiennes 4-6 (1889-1897): No. 5
00:39:53 Gnossiennes 4-6 (1889-1897): No. 6
00:41:26 2 Préludes du Nazaréen (1892): No. 1, assez lent
00:46:09 2 Préludes du Nazaréen (1892): No. 2, assez lent
00:49:15 Prélude de la porte, Héroique du Ciel (1894)
00:53:00 2 Pièces Froides (1897): No. 1: Airs a faire fuir: D’une manière très particulaire
00:55:59 2 Pièces Froides (1897): No. 1: Airs a faire fuir: Modestemente
00:57:42 2 Pièces Froides (1897): No. 1: Airs a faire fuir: S’inviter
01:00:44 2 Pièces Froides (1897): No. 2: Danses de travers: En y regardent à deux fois
01:01:38 2 Pièces Froides (1897): No. 2: Danses de travers: Passer
01:02:25 2 Pièces Froides (1897): No. 2: Danses de travers: Encore
01:03:47 Petite ouverture à danser (1900)
01:05:18 Poudre d'Or, valse (1902)
01:09:53 Le Piccadilly (1904)
01:11:24 Véritables préludes flasques (1912): Sévere reprimande
01:12:07 3 Véritables préludes flasques (1912): Seul a la maison
01:13:16 3 Véritables préludes flasques (1912): On jou
01:14:02 Chapitres tournés en tous sens (1913): Celui qui parle trop
01:15:05 Chapitres tournés en tous sens (1913): Le porteur de grosses pierres
01:17:22 Chapitres tournés en tous sens (1913): Regrets des enfermés
01:18:58 3 Descriptions automatiques (1913): Sur un vaisseau
01:20:31 3 Descriptions automatiques (1913): Sur une lanterne
01:22:22 3 Descriptions automatiques (1913): Sur un casque
01:23:18 Embryons desséchés (1913): D’Holothurie
01:25:30 Embryons desséchés (1913): d’Edriopthalma
01:27:30 Embryons desséchés (1913): de Podophthalma
01:29:14 Heures séculaires et instantanées (1914): Obstacles venimeux
01:30:55 Heures séculaires et instantanées (1914): Crépuscule matinal (de midi)
01:32:09 Heures séculaires et instantanées (1914): Affolements grantiques
01:33:04 Sports et divertissements (1914): Choral inappétissant
01:33:52 Sports et divertissements (1914): La balançoire
01:34:32 Sports et divertissements (1914): La chasse
01:34:50 Sports et divertissements (1914): Le comédie italienne
01:35:25 Sports et divertissements (1914): Le réveil de la mariée
01:35:52 Sports et divertissements (1914): Colin-Maillard
01:36:28 Sports et divertissements (1914): La pêche
01:37:09 Sports et divertissements (1914): Le yachting
01:38:01 Sports et divertissements (1914): Le bain de mer
01:38:31 Sports et divertissements (1914): Le carnaval
01:38:58 Sports et divertissements (1914): Le golf
01:39:30 Sports et divertissements (1914): Le pieuvre
01:39:57 Sports et divertissements (1914): Les courses
01:40:19 Sports et divertissements (1914): Les quatre-coins
01:40:58 Sports et divertissements (1914): Le pique-nique
01:41:22 Sports et divertissements (1914): Le waterchute
01:41:59 Sports et divertissements (1914): Le tango
01:43:04 Sports et divertissements (1914): Le traineau
01:43:27 Sports et divertissements (1914): Le flirt
01:44:01 Sports et divertissements (1914): Le feu d’artifice
01:44:24 Sports et divertissements (1914): Le tennis
01:45:00 3 Valses distinguées du précieux dégoute (1914): Sa taille
01:45:54 3 Valses distinguées du précieux dégoute (1914): Son bincole
01:47:14 3 Valses distinguées du précieux dégoute (1914): Ses jambes
01:48:08 Avant-dernières pensées (1915): Idylle
01:49:21 Avant-dernières pensées (1915): Aubade
01:50:54 Avant-dernières pensées (1915): Méditation
01:51:53 Sonatine buraucratique (1917)
01:55:50 Nocturnes (1919): Doux et calme
01:58:58 Nocturnes (1919): Simplement
02:01:02 Nocturnes (1919): Un peu mouvementé
02:04:04 Nocturnes (1919): No. 4
02:06:31 Nocturnes (1919): No. 5

Artist:
Håkon Austbö (piano)

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When approaching music as popular and as deservedly loved as Chopin’s waltzes, a musician must have something special to say for a new recording to make its mark. According to Fou T’Song – no mean Chopin pianist himself – Alessandro Deljavan is ‘one of the most interesting pianists I have heard in my life’. Excerpts on YouTube from his success at the 2013 Van Cliburn Competition in Fort Worth confirm the truth and promise of Fou T’Song’s acclamation.

Among recent and forthcoming recordings in his extensive discography are discs of diverse repertoire drawn from solo and chamber music including the piano quintet of Taneyev; Grieg’s violin Sonatas, Bach’s keyboard toccatas, cello sonatas by Martucci, and a Schumann recital. But the apparently simplicity of Chopin’s waltzes is no less a test of musical and technical mastery than many of these more recondite delights. The 17 waltzes are not gathered into one or two collections like the Etudes, but were composed throughout Chopin’s all-too-brief career. For many the best-known and yet also most sublime a distillation of the waltz-form is Op.64 No.1, known as the ‘Minute’ on account of its brevity. Op.69 No.1 breathes no less spirited an evocation of remembered youth, and yet with the shadow behind its harmonies of regret and melancholy which unforgettably tinge the Nocturnes. There is a waltz for every mood, and Deljavan’s interpretations will receive wide critical attention.
Chopin’s waltzes are written for the Parisian salon, for a sophisticated audience of artists and aristocracy. Though more “light hearted” than most of his other compositions they bear the unmistakable genius of Chopin: refined and exquisite pianism, brilliance and melancholy, sorrow and joy go hand in hand.
Italian Alessandro Deljavan is one of the most remarkable pianists of his generation. “His playing is full of intensive power and contagious artistry” (Dmitri Bashkirov), “he is one of the most interesting pianists I’ve heard in my life” (Fou Ts’Ong), “he is one of the most major talents of his age” (John Perry), “Jaw-dropping virtuosity and heart-stopping eloquence” (Dallas Morning News).

Composer:
Frédéric Chopin
Artist:
Alessandro Deljavan (piano)

00:00:00 “Grande valse brillante” in E-Flat Major, Op. 18
00:06:23 Waltzes, Op. 34: I. Vivace in E-Flat Major
00:12:18 Waltzes, Op. 34: II. Lento in A Minor
00:18:21 Waltzes, Op. 34: III. Vivace in F Major
00:20:54 Waltz in A-Flat Major, Op. 42
00:25:00 Waltzes, Op. 64: I. Minute Waltz in D-Flat Major
00:26:55 Waltzes in C-Sharp Minor Op.64 No.2
00:30:29 Waltz in A-Flat Major, Op. 64 No. 3
00:33:32 Waltz in A-Flat Major, Op. 69 No. 1
00:35:51 Waltz in B Minor, Op. 69 No. 2
00:38:09 Waltzes, Op. 70: I. Waltz in G-Flat Major
00:40:24 Waltzes, Op. 70: II. Waltz in F Minor
00:41:47 Waltzes, Op. 70: III. Waltz in D-Flat Major
00:44:44 Waltz in A-Flat Major, KKIVa No. 13
00:46:51 Waltz in E Major, KKIVa No. 12
00:49:57 Waltz in E Minor, KKIVa No. 15
00:52:11 Waltz in A Minor, KKIVa No. 11
00:54:26 Sostenuto “Waltz” in E-Flat Major, KKIVa No. 10
00:56:01 Waltz in E-Flat Major, KKIVa No. 14

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Schubert’s two piano trios were composed late in his short life (his only trio prior to these is the short B flat trio movement D28 of 1812), probably in late 1827 and the summer of 1828, the year of his death. They are vast works, worthy of Schumann’s comment on Schubert’s Ninth Symphony of being of ‘heavenly length’.

Although structured along similar lines to Beethoven’s piano trios, Schubert’s trios inhabit a different world to the older composer’s ‘Ghost’ or ‘Archduke’ works. Beethoven revelled in drama and complex and ingenious textures. Schubert concentrates instead on beautiful tunes, and eloquent dialogues between the three players. The music of the Austrian countryside permeates these works, and although they date from Schubert’s last months, they contain little of the world weariness and desolation of Winterreisse, the late sonatas or the proto-Mahlerian slow movement of the Tenth Symphony D936a.
00:00:00 Piano Trio No.1 in B flat D898: I. Allegro moderato
00:14:29 Piano Trio No.1 in B flat D898: II. Andante, un poco mosso
00:23:05 Piano Trio No.1 in B flat D898: III. Scherzo – Trio – Allegro
00:29:47 Piano Trio No.1 in B flat D898: IV Rondo – Allegro vivace – Presto
00:38:37 Piano Trio No.1 in B flat D898: Notturno in E flat D897
00:48:50 Piano Trio No.2 in E flat D929: I. Allegro
01:00:23 Piano Trio No.2 in E flat D929: II. Andante con moto
01:09:31 Piano Trio No.2 in E flat D929: III. Scherzando: Allegro moderato
01:16:39 Piano Trio No.2 in E flat D929: IV. Allegro moderato

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Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.

00:00:00 Für Alina (1976)
00:20:18 Variationen zur Gesundung von Arinuschka (1977)
00:26:15 Ukuaru valss (1973, rev. 2010)
00:29:09 Für Anna Maria No. 1 (2006)
00:30:30 Für Alina No. 1 (1976)
00:33:11 Pari intervallo (1976, rev. 2008)
00:38:38 Hymn to a Great City (1984, rev. 2004)
00:43:47 Für Anna Maria No. 2 (2006)
00:44:55 Für Alina No. 2 (1976)
00:48:11 Fratres (1977, rev. 1980)
01:00:03 Spiegel im Spiegel (1978)
01:09:14 Vier leichte Tanzstücke “Musik für Kindertheater”: I. Der gestiefelte Kater
01:09:58 Vier leichte Tanzstücke “Musik für Kindertheater”: II. Rotkäppchen und der Wolf
01:12:13 Vier leichte Tanzstücke “Musik für Kindertheater”: III. Schmetterlinge
01:14:19 Vier leichte Tanzstücke “Musik für Kindertheater”: IV. Tanz der Entenküken
01:16:54 Sonatina No. 1: I. Allegro
01:19:27 Sonatina No. 1: II. Larghetto
01:23:46 Sonatina No. 1: III. Allegro
01:24:11 Sonatine No. 2: I. Allegro energico
01:26:04 Sonatine No. 2: II. Largo
01:28:07 Sonatine No. 2: III. Allegro
01:29:55 Partita, Op. 2: I. Toccatina
01:30:46 Partita, Op. 2: II. Fughetta
01:31:50 Partita, Op. 2: III. Larghetto
01:35:07 Partita, Op. 2: IV. Ostinato
01:37:16 Für Alina No. 3 (1976)

Composer: Johann Sebastian Bach
Artists: Andrius Puskunigis (oboe and oboe d’amore), Simona Venslovaite (violin), St. Christopher Chamber Orchestra. Donatas Katkus (conductor)

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We can’t be sure that Bach wrote any concertos specifically for the oboe aside from the C minor concerto BWV1060 – in which it’s partnered by the violin in an exercise of pathos out of all proportion to the modest dimensions of the work itself. The other concertos here come down to us as harpsichord concertos, in which guise they do not sit entirely happily, and it seems more than likely that Bach, as both unhappy Kapellmeister of the Thomaskirche in Leipzig and far more content in his role supplying music, musicians and concerts to Zimmermann’s coffee house in the city, would have been glad to take advantage of the soloistic potential of a resident oboist to craft these Italianate concertos that exploit both the instrument’s origins in pastoral idiom (notably BWV1053, in the ‘pastoral’ key of F major, and its gently swaying siciliano middle movement in 6/8), as well as more urbane and learned counterpoint of which he was undisputed master among his peers.

Andrius Puskingis is a Lithuanian oboist, now resident in France, who returns to his home city to play and direct these spirited and intimate performances. At present he is the principal oboist with the Heidelburg Symphony Orchestra, who have made an acclaimed series of Haydn symphony recordings with their music director Thomas Fey, and something of Fey’s restless spirit of adventure can also be traced in these fine new recordings.

00:00:00 Oboe Concerto in F Major, BWV 1053: I. Allegro
00:07:15 Oboe Concerto in F Major, BWV 1053: II. Siciliano
00:12:09 Oboe Concerto in F Major, BWV 1053: III. Allegro
00:18:02 Concerto for Oboe d’amore in A Major, BWV 1055: I. Allegro
00:22:15 Concerto for Oboe d’amore in A Major, BWV 1055: II. Larghetto
00:26:18 Concerto for Oboe d’amore in A Major, BWV 1055: III. Allegro ma non tanto
00:30:52 Oboe Concerto in G Minor, BWV 1056: I. Allegro
00:34:07 Oboe Concerto in G Minor, BWV 1056: II. Largo
00:36:29Oboe Concerto in G Minor, BWV 1056: III. Presto
00:39:55 Concerto for Oboe d’amore in G Major: I. Bass aria (Arr. BWV 100)
00:43:19 Concerto for Oboe d’amore in G Major: II. Alto aria (Arr. BWV 170)
00:49:35 Concerto for Oboe d’amore in G Major: III. Bass aria (Arr. BWV 30)
00:53:52 Concerto for Oboe and Violin in C Minor, BWV 1060: I. Allegro
00:58:16 Concerto for Oboe and Violin in C Minor, BWV 1060: II. Adagio
01:02:19 Concerto for Oboe and Violin in C Minor, BWV 1060: III. Allegro

Tracklist below.

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Tracklist:
The Choir of King’s College, Cambridge, is one of the world’s best-known choral groups. Founded in the 15th century, it ranks among the oldest of its kind, and, while originally created for singing the daily services in the college chapel, now enjoys an international tour schedule that has seen it perform all over Europe and beyond. Every Christmas Eve, millions of people tune in to watch the choir’s A Festival of Nine Lessons and Carols from King’s – a service which has been continuously broadcast since 1928.

Recorded in 1994, this reissue joins the group’s already extensive discography of Christmas music – recordings that have enhanced its worldwide fame and reputation. The compilation mixes some of the best-loved traditionals, including Once in royal David’s city and O Come all ye faithful, with more recent repertoire – such as Rutter’s rousing What Sweeter Music and Judith Weir’s striking Illuminare, Jerusalem (specially commissioned by the choir for its 1985 annual service). Also featured are traditional German, French, Dutch and Polish carols (including two settings of Dulce Jubilo) – works which, together with Pärt’s enchanting Bogoróditse Dyévo, contribute to a wonderfully eclectic disc that provides over an hour of festive cheer.
00:00:00 Once in royal David’s city
00:04:41 Rejoice and be merry
00:06:11 Ding dong, merrily on high
00:08:19 What Sweeter Music
00:12:37 O little town of Bethlehem
00:16:17 A Spotless Rose
00:19:25 Heer Jezus heeft een hofken (organ variations)
00:26:44 King Jesus hath a garden
00:30:10 The Lamb
00:33:39 Bogoróditse Dyévo
00:34:55 Infant holy, infant lowly
00:36:43 Illuminare, Jerusalem
00:39:12 While shepherds watched
00:41:54 Quittez, pasteurs
00:45:05 In dulci jubilo (organ prelude)
00:48:06 In dulci jubilo
00:50:46 The First Nowell
00:56:09 Coventry Carol
00:59:17 Personent hodie
01:01:49 O come all ye faithful

Artist: The Choir of King's College, Cambridge
Stephen Cleobury (conductor)

#Christmas #Classical #CarolsfromKings

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About this album:
In May 2014 the Hungarian cellist István Várdai performed three Bach Suites at an unusual venue in New York: not the storied glamour of Carnegie Hall or the hip 92st St Y, but the Board of Officers Room in the recently renovated Armory on Park Avenue, a room no less redolent of distinguished history: to which he made his own distinguished contribution according to the New York Times, with a recital which concluded with a ‘superb’ performance of the Sixth Suite.
Bach’s iconic solo suites form the pinnacle of the entire cello repertoire, the ultimate challenge and a Mount Everest every young and aspiring cellist has to climb, no matter how often that has already been done.
Young Hungarian cellist István Várdai is winner of the Geneva Competition, 3rd prize Tchaikovsky Competition 2007 and first prize winner of the prestigious ARD competition in 2014. He embarked on a successful international career, having played with Mikhael Pletnev, Adám Fischer, Zoltán Kocsis, and chamber music partner of Gidon Kremer, Mischa Maisky, Elisabeth Leonskaja, Andras Schiff, Klára Würtz and many others.


Tracklist:
00:00:00 Cello Suite No. 1 in G Major, BWV 1007: I. Prélude
00:02:52 Cello Suite No. 1 in G Major, BWV 1007: II. Allemande
00:07:08 Cello Suite No. 1 in G Major, BWV 1007: III. Courante
00:10:01 Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande
00:12:39 Cello Suite No. 1 in G Major, BWV 1007: V. Menuet I & II
00:15:56 Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue 1
00:17:32 Cello Suite No. 3 in C Major, BWV 1009: I. Prelude
00:21:25 Cello Suite No. 3 in C Major, BWV 1009: II. Allemande
00:25:07 Cello Suite No. 3 in C Major, BWV 1009: III. Courante
00:28:29 Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande
00:32:30 Cello Suite No. 3 in C Major, BWV 1009: V. Bourrée I & II
00:36:13 Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue
00:39:31 Cello Suite No. 5 in C Minor, BWV 1011: I. Prelude
00:46:20 Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande
00:51:10 Cello Suite No. 5 in C Minor, BWV 1011: III. Courante
00:53:20 Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande
00:57:12 Cello Suite No. 5 in C Minor, BWV 1011: V. Gavotte I & II
01:02:08 Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue
01:04:17 Cello Suite No. 2 in D Minor, BWV 1008: I. Prelude
01:08:20 Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande
01:11:27 Cello Suite No. 2 in D Minor, BWV 1008: III. Courante
01:13:29 Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande
01:17:48 Cello Suite No. 2 in D Minor, BWV 1008: V. Menuet I & II
01:20:38 Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue
01:23:12 Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prelude
01:27;45 Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande
01:32:06 Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante
01:35:47 Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande
01:40:09 Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrée I & II
01:45:04 Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue
01:47:48 Cello Suite No. 6 in D Major, BWV 1012: I. Prelude
01:52:54 Cello Suite No. 6 in D Major, BWV 1012: II. Allemande
02:01:12 Cello Suite No. 6 in D Major, BWV 1012: III. Courante
02:05:10 Cello Suite No. 6 in D Major, BWV 1012: IV. Sarabande
02:10:45 Cello Suite No. 6 in D Major, BWV 1012: V. Gavotte I & II
02:14:38 Cello Suite No. 6 in D Major, BWV 1012: VI. Gigue

Artist:
István Várdai (cello)

Arvo Pärt: Variationen zur Gesundung von Arinuschka.

Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.

Tracklist below.

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This disc brings together a rich selection of lute works by composers who were all in some way connected to Vienna, the capital of the vast Habsburg monarchy. It shows that also before the Viennese school of Haydn/Mozart/Beethoven Vienna was a cultural melting pot, and a hotspot of musical activity and development.
Composers featured are Muffat, Gaultier, Bittner, Bartolotti, Lauffensteiner, Bertelli, Kohaut and Gluck.
Lutenist Bernard Hoffstötter, a native of Vienna, is a specialist in the Baroque era, and has recorded to great critical acclaim on the quality labels Atma and Querstand.
Contains extensive notes on the music and the performer in English and German.
Recorded in France in 2014.

00:00:00 Passacaglia in A Major
00:07:06 Tombeau
00:11:42 Dernière courente de Gautier
00:14:29 Folies d’Espagne
00:19:06 Gigue de Angelis de Rome
00:20:45 Allemande
00:25:42 Courante
00:28:13 Gigue
00:29:29 Sarabande grave
00:33:00 Suite in F Major: I. Allemande
00:36:34 Suite in F Major: II. Courante
00:38:56 Suite in F Major: III. Menuet
00:39:56 Suite in F Major: IV. Sarabande
00:42:53 Suite in F Major: V. Gigue
00:44:26 Menuet
00:48:01 Sonata a liuto solo in D Major: I. Adagio
00:51:39 Sonata a liuto solo in D Major: II. Allegro
00:56:54 Sonata a liuto solo in D Major: III. Menuet & Trio
01:01:42 Passacaglia

Artist:
Bernhard Hofstötter lute