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Composer and Artists:
Composer: Benjamin Britten
Artists: Rundfunkchor Leipzig, Dresdner Philharmonie , Herbert Kegel (conductor), Kari Lövaas (soprano), Anthony Roden (tenor), Theo Adam (bass-baritone)

About this Album:
The common theme of the three works presented on these 2 CD is Death, the transience of earthly existence. Britten’s famous and substantial War Requiem was written in commemoration of the 2nd World War victims, dedicated to the people of the destroyed city of Coventry, Penderecki’s Threnody is dedicated to the victims of Hiroshima, and Alban Berg’s moving Violin Concerto is written “to the memory of an angel”, the death of the 19 year old daughter of Alma Mahler.
Performances conducted by the great East-German conductor Herbert Kegel, a specialist in 20th century masterworks. He conducts the Dresdner Philharmonie and the Leipzig Radio-Sinfonieorchester, soloists include the great Kari Lövaas and Theo Adam.
A reissue from the rich archives of Berlin Classics, treasures from the DDR.

Tracklist:
00:00:00 War Requiem, Op. 66: I. Requiem aeternam. Requiem aeternam (chorus/boys’ choir)
00:07:46 War Requiem, Op. 66: I. Requiem aeternam. What passing-bells (tenor)
00:10:54 War Requiem, Op. 66: I. Requiem aeternam. Kyrie eleison (chorus)
00:12:40 War Requiem, Op. 66: II. Dies irae. Dies irae, dies illa (chorus)
00:16:51 War Requiem, Op. 66: II. Dies irae. Bugles Sang (baritone)
00:20:03 War Requiem, Op. 66: II. Dies irae. Liber scriptus proferetur (soprano/chorus)
00:23:10 War Requiem, Op. 66: II. Dies irae. Out There, We walked Quite Friendly up To Death (tenor/baritone)
00:25:09 War Requiem, Op. 66: II. Dies irae. Recordare, Jesu pie (chorus
00:30:45 War Requiem, Op. 66: II. Dies irae. Be Slowly Lifted up (baritone)
00:32:29 War Requiem, Op. 66: II. Dies irae. Dies irae, dies illa (chorus/soprano)
00:33:50 War Requiem, Op. 66: II. Dies irae. Lacrimosa (chorus) – Move Him into the Sun (tenor)
00:40:42 War Requiem, Op. 66: II. Dies irae. Pie Jesu domine (chorus)
00:42:38 War Requiem, Op. 66: III. Offertorium. Domine Jesu Christe (boys’ choir)
00:44:23 War Requiem, Op. 66: III. Offertorium. Sed signifer sanctus Michael (chorus)
00:46:43 War Requiem, Op. 66: III. Offertorium So Abram rose (baritone/tenor)
00:51:28 War Requiem, Op. 66: III. Offertorium Quam olim Abrahae (chorus)
00:53:07 War Requiem, Op. 66: IV. Sanctus. Sanctus (soprano/chorus)
00:55:50 War Requiem, Op. 66: IV. Sanctus. Hosanna – Benedictus – Hosanna (chorus/soprano)
01:00:03 War Requiem, Op. 66: IV. Sanctus. After the Blast (baritone)
01:03:31 War Requiem, Op. 66: V. Agnus dei. One Ever Hangs (tenor/chorus)
01:08:06 War Requiem, Op. 66: VI. Libera me. Libera me (chorus/soprano)
01:15:32 War Requiem, Op. 66: VI. Libera me. It Seemed (tenor/baritone)
01:24:01 War Requiem, Op. 66: VI. Libera me. Let Us Sleep Now (tenor/baritone/soprano/boys’ choir/chorus)
01:30:01 Threnody “To the Victims of Hiroshima”
01:38:40 Violin Concerto: I. Andante – Allegretto
01:49:41 Violin Concerto: II. Allegro, ma sempre rubato, frei wie eine Kadenz – Adagio

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Composer & Artist:
Composer: Johannes Brahms
Artists: Chamber Choir of Europe, Nicol Matt (conductor), Friederike Haug (piano),
Jürgen Meier (piano)

About this Album:
Brahms’s vocal output is far more extensive than his instrumental oeuvre. And his choral works is least known.
From our recordings of the complete a cappella choral works by this composer we selected the sets of Liebeslieder. Performances by the outstanding Chamber Choir of Europe under Nicol Matt

Tracklist:
00:00:00 Liebeslieder - Walzer Op. 52 : Rede Madchen, Allzu Liebes
00:01:16 Liebeslieder - Walzer Op. 52 : Am Gesteine Rauscht Die Flut
00:02:09 Liebeslieder - Walzer Op. 52 : O Die Frauen
00:03:48 Liebeslieder - Walzer Op. 52 : Wie Des Abends, Schone Rote
00:04:32 Liebeslieder - Walzer Op. 52 : Die Grune Hopfenranke
00:06:14 Liebeslieder - Walzer Op. 52 : Ein Kleiner, Hübscher Vogel
00:09:02 Liebeslieder - Walzer Op. 52 : Wohl Schön Bewandt War Es
00:10:24 Liebeslieder - Walzer Op. 52 : Wenn So Lind Dein Auge Mir
00:11:49 Liebeslieder - Walzer Op. 52 : Am Donaustrande
00:14:01 Liebeslieder - Walzer Op. 52 : O Wie Sanft Die Quelle
00:15:02 Liebeslieder - Walzer Op. 52 : Nein, Es Ist Nicht Auszukommen
00:16:08 Liebeslieder - Walzer Op. 52 : Schlosser Auf Und Mache Schlösser
00:16:58 Liebeslieder - Walzer Op. 52 : Vögelein Durchrauscht Die Luft
00:17:50 Liebeslieder - Walzer Op. 52 : Sieh, Wie Ist Die Welle Klar
00:19:01 Liebeslieder - Walzer Op. 52 : Nachtigall, Sie Singt So Schön
00:20:22 Liebeslieder - Walzer Op. 52 : Ein Dunkeler Schacht Ist Liebe
00:21:52 Liebeslieder - Walzer Op. 52 : Nicht Wandle, Mein Licht
00:23:59 Liebeslieder - Walzer Op. 52 : Es Bebet Das Gesträuche
00:25:41 Neue Liebeslieder Op. 65 : Verzicht, O Herz, Auf Rettung
00:26:38 Neue Liebeslieder Op. 65 : Finstere Schatten Der Nacht
00:28:19 Neue Liebeslieder Op. 65 : An Jeder Hand Die Finger
00:29:45 Neue Liebeslieder Op. 65 : Ihr Schwarzen Augen
00:30:39 Neue Liebeslieder Op. 65 : Wahre, Wahre Deinen Sohn
00:32:04 Neue Liebeslieder Op. 65 : Rosen Steckt Mir An Die Mutter
00:32:59 Neue Liebeslieder Op. 65 : Vom Gebirge Well Auf Well
00:34:35 Neue Liebeslieder Op. 65 : Weiche Gräser Im Revier
00:36:41 Neue Liebeslieder Op. 65 : Nagen Am Herzen Fühl Ich
00:38:05 Neue Liebeslieder Op. 65 : Ich Kose Süß Mit Der Und Der
00:39:12 Neue Liebeslieder Op. 65 : Alles, Alles In Den Wind
00:40:03 Neue Liebeslieder Op. 65 : Schwarzer Wald, Dein Schatten
00:41:50 Neue Liebeslieder Op. 65 : Nein, Geliebter, Setze Dich
00:44:07 Neue Liebeslieder Op. 65 : Flammenauge, Dunkles Haar
00:46:21 Neue Liebeslieder Op. 65 : Zum Schluss: Nun, Ihr Musen, Genug
00:49:34 Drie Quartette Op. 31 (1864) : Wechsellied Zum Tanze
00:56:18 Drie Quartette Op. 31 (1864) : Neckereien
00:58:39 Drie Quartette Op. 31 (1864) : Gang Zum Liebchen
01:02:28 Drei Quartette Op. 64 (1874) : An Die Heimat
01:08:06 Drei Quartette Op. 64 (1874) : Der Abend
01:12:38 Drei Quartette Op. 64 (1874) : Fragen
01:16:21 Vier Quartette Op. 92 (1889) : O Schöne Nacht
01:20:32 Vier Quartette Op. 92 (1889) : Spätherbst
01:22:23 Vier Quartette Op. 92 (1889) : Abendlied
01:25:38 Vier Quartette Op. 92 (1889) : Warum
01:27:52 Zwei Quartette Op. 112a (1891) : Sehnsucht
01:31:07 Zwei Quartette Op. 112a (1891) : Nächtens

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Every now and again a piece of music comes along that captures the public’s attention and imagination – a composition, movement or excerpt which, on account of the enjoyment or interest we continue to derive from it upon repeated listening, is catapulted into the classical canon where it assumes the status of a permanent fixture.

Such is the case regarding the pieces brought together on this CD album: ‘chart-topping’ tunes which are among classical music’s most loved and celebrated works. From Handel’s rousing chorus Zadok the Priest – a coronation anthem that survived its ineffective first performance to become of the composer’s most popular works – to the magical beauty of Faure’s wistful, six-minute Pavane and Khachaturian’s rhythm-driven Gayaneh excerpt ‘Sabre Dance’, the set traces over 200 years of Western musical composition to present a programme that is diverse both in style and mood and which never fails to entertain. At hand to perform these iconic works (and revealing their versatility of repertoire) is the Royal Philharmonic Orchestra, with acclaimed singers such as Deborah Norman and Wynne Evans putting the finishing touches to this all-British effectuation.

- A good, old fashioned, success-proven compilation of Classical Hits, Orchestral Favourites, or whatever you would like to call these ever popular works, which still have a chance to find a new audience, because there are still hoards of people who have never heard Verdi’s Triumphal Aida March, Handel’s Hallelujah, Khatchaturian’s Sabre Dance, Strauss’ Blue Danube, Orff’s O Fortuna, or Puccini’s Nessun Dorma.
- Excellent performances by one of the world’s best orchestras, the Royal Philharmonic Orchestra.
- Total time nearly 140 minutes.


00:00:00 Coronation Anthem "Zadok the Priest", HWV 258
00:05:17 The Valkyrie, WWV 86B, Pt. 3: The Ride of the Valkyries
00:10:27 Aida, Pt. 2: Grand March
00:18:05 Variations on an Original Theme “Enigma”, Op. 36
00:21:50 Les pêcheurs de perles, WD 13, Pt. 1:Duet. Au fond de temple saint (Nadir, Zurga)
00:26:46 Orphée aux enfers, Pt. 2: Can-Can
00:28:58 Slavonic Dances, Op. 46: VIII. Slavonic Dance in G Minor. Furiant (Presto)
00:33:28 Turandot, Pt. 3: Aria. Nessun dorma
00:36:28 Danse macabre in G Minor, Op.40
00:43:48 Madama Butterfly, Pt. 2: Aria. Un bel dì vedremo (Butterfly)
00:49:29 Adagio for Strings in B-Flat Minor
00:57:11 Boléro in C Major, M. 81
01:11:56 Finlandia, Op. 26
01:19:55 Carmina Burana: O fortuna
01:22:29 Pavane in F-Sharp Minor, Op. 50
01:28:57 And Did Those Feet in Ancient Time “Jerusalem”
01:31:47 The Liberty Bell March
01:34:14 The Barber of Seville: Aria. Largo al factotum
01:39:05 An der schönen blauen Donau, Op. 314
01:48:58 Messiah, HWV 56: Hallelujah
01:53:09 Pomp and Circumstance, Op. 39: March No.1 in D Major
01:58:43 O sole mio
02:01:01 Gayaneh, Ballet Suite: Sabre Dance
02:03:27 1812 Overture, Op. 49

Composers:
Edward Elgar, Georg Frideric Handel, Richard Wagner

Artist:
Royal Philharmonic Orchestra

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Composer & Artist:
Composer: Wolfgang Amadeus Mozart
Artists: Johanette Zomer Aminta, Francine van der Heijden Elisa, Marcel Reijans Agenore, Musica ad Rhenum, Jed Wentz (conductor)

About this Album:
Il rè pastore was commissioned in 1775 for the visit of Austria’s Archduke Maximilian Franz to Salzburg. Written in just six weeks, the opera is based on a libretto by Pietro Metastasio in which Alexander the Great (Alessandro) discovers that young shepherd Aminta is the rightful heir to the throne, taking it upon himself to restore the boy to power. Regardless of the composer’s youth, several moments in the opera show hints of the more mature Mozart, including the aria ‘L’amerò sarò costante’ in which rippling strings and lush orchestration are combined with a poignant, yearning vocal line. Another highlight is the glorious ensemble finale of Act II, a feature that would become a vital characteristic of Mozart’s later operas.

Tracklist:
The tracklist can be found in the comments!

Thanks for watching! Feel free to subscribe and visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak, Schubert and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more!

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Tracklist Below:

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A wonderful compilation of classical piano music for Babies. Also great as background music for Relaxation or Studying.

Pianist Klára Würtz performs the following works:

- Für Elise by Beethoven
- Kinderszenen by Schumann
- Album für die Jugend by Tchaikovsky
- Children's Corner by Debussy

Other information:
- Recorded in January 1999, Muziekcentrum Frits Philips, Eindhoven, The Netherlands.

Artist:
Klára Würtz (piano)

00:00:00 Bagatelle No. 25 in A Minor, WoO 59: Für Elise - Beethoven
00:02:42 Kinderszenen, Op. 15: Von fremden Ländern und Menschen – Robert Schumann
00:04:28 Kinderszenen, Op. 15: Kuriöse Geschichte – Robert Schumann
00:05:32 Kinderszenen, Op. 15: Hasche-Mann – Robert Schumann
00:06:02 Kinderszenen, Op. 15: Bittendes Kind – Robert Schumann
00:07:09 Kinderszenen, Op. 15: Glückes Genug – Robert Schumann
00:08:12 Kinderszenen, Op. 15: Wichtige Begebenheit – Robert Schumann
00:09:01 Kinderszenen, Op. 15: Träumerei – Robert Schumann
00:11:42 Kinderszenen, Op. 15: Am Kamin – Robert Schumann
00:12:36 Kinderszenen, Op. 15: Ritter vom Steckenpferd – Robert Schumann
00:13:11 Kinderszenen, Op. 15: Fast zu ernst – Robert Schumann
00:15:01 Kinderszenen, Op. 15: Fürchtenmachen – Robert Schumann
00:16:24 Kinderszenen, Op. 15: Kind im Einschlummern – Robert Schumann
00:18:34 Kinderszenen, Op. 15: Der Dichter spricht – Robert Schumann
00:20:08 Album für die Jugend, Auswahl, Op. 39: Morgengebet - Tchaikovsky
00:21:46 Album für die Jugend, Auswahl, Op. 39: Wintermorgen - Tchaikovsky
00:22:48 Album für die Jugend, Auswahl, Op. 39: Soldatenmarsch - Tchaikovsky
00:23:42 Album für die Jugend, Auswahl, Op. 39: Die kranke Puppe - Tchaikovsky
00:25:28 Album für die Jugend, Auswahl, Op. 39: Der Puppe Begräbnis - Tchaikovsky
00:27:24 Album für die Jugend, Auswahl, Op. 39: Walzer - Tchaikovsky
00:28:42 Album für die Jugend, Auswahl, Op. 39: Die neue Puppe - Tchaikovsky
00:29:29 Album für die Jugend, Auswahl, Op. 39: Mazurka - Tchaikovsky
00:30:38 Album für die Jugend, Auswahl, Op. 39: Lied des Bauern - Tchaikovsky
00:31:19 Album für die Jugend, Auswahl, Op. 39: Russischer Tanz - Tchaikovsky
00:32:06 Album für die Jugend, Auswahl, Op. 39: Polka - Tchaikovsky
00:32:48 Album für die Jugend, Auswahl, Op. 39: Altfranzösisches Lied - Tchaikovsky
00:33:48 Album für die Jugend, Auswahl, Op. 39: Süsse Träumerei - Tchaikovsky
00:35:16 Album für die Jugend, Auswahl, Op. 39: Lerchengesang - Tchaikovsky
00:36:25 Children’s Corner: Doctor Gradus ad Parnassum – Claude Debussy
00:38:28 Children’s Corner: Jimbo’s Lullaby – Claude Debussy
00:42:01 Children’s Corner: Serenade for the Doll – Claude Debussy
00:44:44 Children’s Corner: The Snow is Dancing – Claude Debussy
00:47:15 Children’s Corner: The Little Shepherd – Claude Debussy
00:49:39 Children’s Corner: Golliwog’s cakewalk – Claude Debussy

Tracklist below.

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While J.S. Bach, along with Buxtehude, has long been considered the father of Baroque organ music in northern Germany, organ music connoisseurs today have started to look beyond the established canon of this time to the great composer’s contemporaries. Particularly interesting are three German composers who were also active around the same time as Bach: Erich, Saxer and Druckenmüller, whose complete works (as discovered in manuscript form) feature on this release.
All three were unusual in that they came from provincial areas of Germany rather than being based in a thriving cultural centre like Hamburg or Lübeck. Druckenmüller – just two years younger than Bach – was highly unusual in publishing completely original Concertos for organ solo, in contrast to Bach’s settings of established chorale tunes that were the norm. The Concertos – all fast–slow–fast – are written in the style that was fast becoming the established one in Germany, the Italian Style. Slightly younger was Georg Saxer, whose style was starting to reflect the new galant Rococo. His Preludes, followed by a long Fugue, reflect new tensions with dominant seventh chords that seem to hang in the air, creating moments of suspense. Daniel Erich – more of Buxtehude’s time than Bach’s – wrote chorale preludes, of which only four survive. They reveal a composer full of expressivity and elegance in the way he embellishes the theme, whether in the soprano or the pedal. His original compositions show a remarkable originality as well as knowledge of the idiomatic writing of the time.
Italian organist Manuel Tomadin’s passion for these undiscovered composers comes across clearly in this release. He has specially chosen a Baroque organ by Arp Schnitger, the most important organ builder of the period, who worked closely with both Saxer and Druckenmüller during his life, making this a wonderfully authentic recording.
This new recording features the magnificent Schnitger organ of the St. Michael Church in Zwolle, the Netherlands. It was built in 1721 by Arp Schnitger and his sons, and after careful restoration over the last decades by Flentrop the organ is restored in its full glory, one of the finest examples of the Golden Age of organ building, the Baroque.
The works on this recording are derived from the Husumer Orgelbuch (Husum organ book), a collection of organ works by North German major and minor masters. Presented are substantial Preludes by Georg Wilhelm Saxer, Choralvorspiele by Daniel Erich and two Concertos by Wolfgang Druckenmüller, written in the Italian style, as original compositions and not as transcriptions of Italian Concerti grossi, as was the custom of that period.
Manuel Tomadin is one of the foremost Italian organists, a scholar, teacher and passionate musician. He won the Grand Prix of the Schnitger Organ Competition of Alkmaar in 2011, and recorded several CD’s for Brilliant Classics, among which the complete keyboard works by Alberti (BC95161). He wrote the excellent liner notes for the booklet, which also contains all information on the organ.
 
00:00:00 Christum wir sollen loben schon
00:02:48 Es ist das Heil uns kommen her
00:05:10 Allein zu dir, Herr Jesu Christ
00:10:00 Praeludium et Ciaccona in D Major: I. Praeludium
00:12:30 Praeludium et Ciaccona in D Major: II. Ciaccona
00:18:53 Concerto in A Major: I. Allegro
00:22:03 Concerto in A Major: II. Siciliana
00:23:23 Concerto in A Major: III. Vivace
00:26:35 Concerto in F Major: I. Allegro
00:28:36 Concerto in F Major: II. Adagio
00:30:10 Concerto in F Major: III. Vivace
00:32:41 Concerto in D Major: I. Allegro
00:35:54 Concerto in D Major: II. Largo
00:37:48 Concerto in D Major: III. Vivace
00:39:14 Concerto in G Major: I. Allegro
00:42:19 Concerto in G Major: II. Adagio
00:44:00 Concerto in G Major: III. Allegro
00:45:52 Praeludium in D Major
00:54:43 Praeludium in B-Flat Major
01:00:20 Praeludium in F Major
01:06:51 Praeludium in D Major
01:13:17 Praeludium in E Minor

Artist
Manuel Tomadin (organ)

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Composer: Claude Debussy
Artist: Mariangela Vacatello (piano)

About this Album:
The Debussy-year 2012 brought a wealth of reissues on the market, but surprisingly few new recordings. Reason the more to welcome this new recording of a generous selection of Debussy piano works, centred around the substantial “12 Etudes”.These works, written in the later stage of Debussy’s creative life, form the apotheosis of his style. Far from any evocative “impressionistic” Tonmalerei or picturesque
atmosphere painting they are Debussy’s answer to the Etudes of Chopin, purely abstract creations of melody, harmony and rhythm. Fiercely uncompromising and difficult, they form the summit of Debussy’s piano oeuvre, and one of the highest challenges to any performing pianist.

The exciting young Italian pianist Mariangela Vacatello is a Liszt specialist, renowned for her passionate performances and technical ability. She has given concerts at prestigious venues across the USA and Europe, and she has won many awards. These include second prize at the Franz Liszt International Piano Competition in 1999, and the Internet Audience Award at the 2009 Van Cliburn International Piano Competition. ‘A very exciting player’ Musical Opinion, 2008.

Tracklist:
00:00:00 Etudes: I. Pour les cinq doigts (d’après Monsieur Czerny)
00:03:19 12 Etudes: II. Pour les tierces
00:07:15 12 Etudes: III. Pour les quartes
00:13:33 12 Etudes: IV. Pour les sixtes
00:18:11 12 Etudes: V. Pour les octaves
00:20:56 12 Etudes: VI. Pour les huit doigts
00:22:33 12 Etudes: VII. Pour les degrés chromatiques
00:24:48 12 Etudes: VIII. Pour les agréments
00:29:55 12 Etudes: IX. Pour les notes répétées
00:33:17 12 Etudes: X. Pour les sonorités opposées
00:38:50 12 Etudes: XI. Pour les arpèges composés
00:43:24 12 Etudes: XII. Pour les accords
00:47:50 Estampes: I. Pagodes
00:52:35 Estampes: II. La soirée dans Grenade
00:57:54 Estampes: III. Jardins sous la pluie
01:01:39 Deux Arabesques: No. 1 Andantino con moto
01:06:19 Deux Arabesques: No.2 Allegretto scherzando
01:09:46 L’Isle joyeuse

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Tracklist in the comment section:

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Composer: Charles Koechlin
Artists:
David Brutti (saxophones)
Filippo Farinelli (piano)
Mario Caroli (flute)
Duo Disecheis
Atem Saxophone Quartet
Orchestra Città Aperta

Charles Koechlin, music theorist as well as composer, was a significant figure in the vibrant early 20th century whirl of Parisian culture. After studying under as Jules Massenet and Gabriel Fauré, the latter being an enormous influence on his music, Koechlin co-founded the Société musicale indépendante in 1909 and many years later became president of the Féderation Musicale Populaire. Starstruck by Hollywood, Koechlin often found inspiration in its legendary figures and dedicated many pieces to actresses such as Greta Garbo, Jean Harlow and Lilian Harvey.

Koechlin’s compositional style contains elements of impressionism, and his developing interest in the saxophone can be closely linked to his enthusiasm for 1930s cinema. Twenty years later, the publication of his Traité de l’orchestration, in which he praised the saxophone for its sonority and agility, coincided with that of a set of 15 studies for the instrument. These studies, of varying length and character, feature in this collection, alongside works such as the Deux Sonatinas, Septuor pour instruments à Vent, and the celebrated Epitaphe pour Jean Harlow.

Formed in 2001 by David Brutti and Filippo Farinelli, the Duo Disecheis explores 20th-century and contemporary chamber music. Having performed at many prestigious festivals and venues throughout Europe, the duo has achieved enormous success in international competitions and has collaborated with composers such as Paolo Baioni, Stefano Trevisi and Dimitri Nicolau. Joining the duo on this recording is the Atem Saxophone Quartet, which has received critical acclaim for its performances at numerous chamber music and jazz festivals.

Other information (physical release):
- Contains notes on the composer and works

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Composer: Mily Balakirev
Artist: Alexander Paley (piano)

Mily Balakirev (1837-1910) was the founder of the group of Russian composers called ‘The Mighty Handful’. Together with Borodin, Rimsky Korsakov, Cui and Mussorgsky he helped create a distinctive Russian school of music that was not reliant on the influence of the Austro German school.
Studying at the St Petersburg Conservatoire, he won the praise of Glinka, and had an influence on the young Tchaikovsky. He wrote two symphonies, two piano concertos, several symphonic poems and many piano works.
On these 6CDs his entire output for piano can be found. A superb pianist, he produced one of the most taxing works ever written for the instrument, his Oriental Fantasy Islamey. His piano sonata is no less impressive, and the Seven Mazurkas are wonderfully melodic works. There is much to discover on these discs.

Sadly, Balakirev suffered a complete nervous breakdown in 1871, and he withdrew from life, eventually emerging to take up a minor management role on the railways. In 1876 he began to compose again, and in 1883 was appointed as director of the Imperial Chapel. He retired in 1895, and continued composing, but by now considered old fashioned and was forgotten even by his old friends. However, one young composer, Igor Stravinsky had a soft spot for him, and pitied him as he suffered from bouts of depression.

00:00:00 Islamey, Oriental Fantasy
00:08:53 Fantasia, On Themes from Glinka’s A Life For The Tsar
00:22:39 Fantasiestück
00:26:51 Nocturne No. 1 in B-Flat Minor
00:33:39 Nocturne No. 2 in B Minor
00:43:33 Nocturne No. 3 in D Minor
00:50:32 Capriccio
01:01:02 Piano Sonata in B-Flat Minor, Op. 5: Andante
01:13:10 Piano Sonata in B-Flat Minor, Op. 5: Mazurka
01:17:45 Piano Sonata in B-Flat Minor, Op. 5: Andante
01:25:30 Sonatina (Esquisses): Allegro moderato
01:27:38 Sonatina (Esquisses): L’Istesso tempo
01:29:40 Sonatina (Esquisses): Coda-poco a poco piu agitato
01:31:06 Piano Sonata in B-Flat Minor: Andantino
01:39:52 Piano Sonata in B-Flat Minor: Mazurka-moderato
01:46:40 Piano Sonata in B-Flat Minor: Intermezzo-larghetto
01:51:17 Piano Sonata in B-Flat Minor: Finale-allegro non troppo ma con fuoco
02:00:44 Transcription: Glinka: Kamarinskaya
02:10:14 Transcription: Glinka: Ne govori
02:15:47 Transcription: Chopin: Romance from Piano Concerto No. 1 in E Minor, Op. 11
02:26:41 Transcription: Beethoven: Cavatina from String Quartet No. 13 in B-flat Major, Op. 130
02:32:00 Transcription: Beethoven: Allegretto from String Quartet No.8 in E Minor,Op.59 No.2
02:41:33 Transcription: Zapolsky: Réverie
02:47:53 Transcription: Balakirev: Pustinya
02:50:53 Transcription: Berlioz: Introduction to La Fuite en Egypte
02:57:42 Transcription: Balakirev: Impromptu on the themes of Two Preludes by Chopin
03:03:12 Transcription: Glinka: Jota Aragonesca
03:13:51 Valse di bravura (No. 1) in G Major
03:22:10 Valse mélancholique (No. 2) in F Minor
03:27:22 Valse-Impromptu (No. 3) in D Major
03:32:29 Waltz No. 4 in B-Flat Major (Valse de Concert)
03:39:32 Waltz No. 5 in D-flat Major Waltz No. 6 in F-Sharp Minor
03:46:50 Waltz No. 7 in G-Sharp Minor
03:53:01 Polka
04:00:27 Tarantella
04:03:46 Valse-Caprice No. 1 in A-Flat Major (after A.S. Taneyev)
04:09:31 Valse-Caprice No. 2 in D-Flat Major (after A.S. Taneyev)
04:15:36 Mazurka No. 1 in A-Flat Major (2nd version)
04:22:06 Mazurka No. 2 in C-Sharp Minor (2nd version)
04:26:32 Mazurka No. 3 in B Minor
04:29:32 Mazurka No. 4 in G-Flat Major
04:35:02 Mazurka No. 5 in D Major
04:47:35 Mazurka No. 6 in A-Flat Major
04:53:43 Mazurka No. 7 in E-Flat Minor
05:01:55 Scherzo No. 1 in B Minor
05:09:47 Scherzo No. 2 in B-Flat Minor
05:17:48 Scherzo No. 3 in F-Sharp Major
05:23:58 Miscellaneous: Dumka
05:28:30 Miscellaneous: Au jardin
05:32:54 Miscellaneous: Gondollied
05:40:37 Miscellaneous: Berceuse
05:46:55 Miscellaneous: The Lark
05:52:34 Miscellaneous: Spanish Melody
05:56:44 Miscellaneous: Spanish Serenade
06:02:44 Miscellaneous: La fileuse
06:05:53 Miscellaneous: Tyrolienne
06:11:30 Miscellaneous: Chant du pêcheur
06:15:31 Miscellaneous: Humoresque
06:20:00 Miscellaneous: Réverie
06:25:24Miscellaneous: Novelette
06:31:18 Miscellaneous: Toccata

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Composer & Artist:
Composer: Michele Esposito
Artists: Carmelo Andriani (violin), Vincenzo Maltempo (piano)

About this Album:
It might be unusual to find classical music that manages to imbibe the spirit of Irish folk music; it must be even more unusual for that ‘Irish’ music to actually be by an Italian. But Michele Esposito was an unusual composer. Born in southern Italy, financial circumstances led him to settle abroad, and, after a brief spell in Paris, he arrived in Dublin in 1882, making Ireland his homeland for the next 46 years. His time there coincided with the Irish cultural revival that was taking place during the latter half of the 19th century, leading Esposito to find a place at the heart of several prominent cultural institutions.

One of these institutions was the Feis Ceoil, the Irish competitive music festival, at which Esposito won first prize for his Irish Rhapsody No.2 Op.54 in 1902. Folk music also inspired his Irish symphonies, for which he is well known, as well as the simple yet highly effective airs and melodies featured on this release. The three violin sonatas all stem from very different periods of the composer’s life; the first contains elements of Schumannesque piano writing in the third movement, as well as clear echoes of Saint-Saëns, whereas the second – more technically advanced – is more akin to the music of Brahms. Esposito’s last violin sonata, composed in 1913, is tonally much more experimental, and structured in a highly unconventional manner, with the Scherzo movement a slow and solemn minuet, concluding in an unusual sonata form.

Tracklist:
00:00:00 Violin Sonata No. 1 in G Major, Op. 32: I. Moderato
00:06:37 Violin Sonata No. 1 in G Major, Op .32: II. Lento
00:14:24 Violin Sonata No. 1 in G Major, Op. 32: III. Allegro vivace
00:19:42 Irish Rhapsody No. 1 for Violin and Piano, Op. 51
00:34:36 Five Irish Melodies for Violin and Piano, Op. 56: No. 3 “Silent, O Moyle”
00:38:46 Five Irish Melodies for Violin and Piano, Op. 56: No. 5 “When through life”
00:41:43 Two Irish Airs for Violin and Piano, Op. 57: No. 2 “The silver tip” (Irish reel)
00:43:20 Five Irish Melodies for Violin and Piano, Op. 56: No. 2 “The Coulin”
00:46:38 Violin Sonata No. 2 in E Minor, Op. 46: I. Allegro moderato
00:54:09 Violin Sonata No. 2 in E Minor, Op. 46: II. Andantino
00:58:55 Violin Sonata No. 2 in E Minor, Op. 46: III. Allegro con fuoco
01:04:50 Violin Sonata No. 3 in A Major, Op. 67: I. Affettuosamente
01:13:55 Violin Sonata No. 3 in A Major, Op. 67: II. Allegretto moderato
01:17:17 Violin Sonata No. 3 in A Major, Op. 67: III. Andante cantabile
01:21:55 Violin Sonata No. 3 in A Major, Op. 67: IV. Allegretto grazioso
01:27:08 Irish Rhapsody No. 2 for Violin and Piano, Op. 54

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These are not modern arrangements of two classic violin sonatas but classic examples of the art of transcriptions, made by two superb French cellists in the last half of the 19th century. They cater less for the demand of amateur musicians for repertoire for domestic music-making – even in their originals, the sonatas lie somewhere beyond the technical level of all but the most accomplished performers – but for the growing number of professional cellists who sought more than showpieces for their recitals yet were understandably frustrated by the lack of substantial contributions to the cello repertoire by composers of their time.

The greatest Parisian cellist of his day, August Franchomme, arranged the ‘Kreutzer’ Sonata in 1867. It is among Beethoven’s most ambitious pieces of chamber music, symphonic in scale. Reportedly, the first transcription for the cello was made by Carl Czerny, at the request of Beethoven himself. However, Czerny considerably simplified the most important virtuoso passages that had made this sonata a piece for seasoned musicians. Franchomme also made certain adaptations, inevitable when transcribing a piece of this complexity for a lower instrument, but he retained its sense of thrill and danger.

Composer :César Auguste Franck, Ludwig van Beethoven
Artist: Roberto Trainini (cello)
Christiano Burato (piano)

00:00:00 Violin Sonata No. 9 in A Major, Op. 47: I. Adagio sostenuto. Presto
00:14:13 Violin Sonata No. 9 in A Major, Op. 47: II. Andante con variazioni
00:30:13 Violin Sonata No. 9 in A Major, Op. 47: III. Finale. Presto
00:39:44 Violin Sonata in A Major, FWV 8: I. Allegretto ben moderato
00:46:04 Violin Sonata in A Major, FWV 8: II. Allegro
00:54:32 Violin Sonata in A Major, FWV 8: III. Recitativo-Fantasia. Ben moderato
01:02:02 Violin Sonata in A Major, FWV 8: IV. Allegretto poco mosso

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Composer: Dmitri Shostakovich
Artist: WDR Sinfonieorchester, Rudolph Barshai (conductor)

Shostakovich' music is the music of 20th century Russia, from the turbulent Revolution, through the horrors of war to the communistic repression. It is the cry of a soul in torment, expressing grief, despair in a highly personal way, through irony or bitter truth. The symphonies span Shostakovich'whole life, and form a milestone in the symphonic repertoire. They are frequently played, and have gained nearly the same popularity as Mahler's symphonies. A great recording by Russian conductor Rudolf Barshai, an authority in this repertoire, as he has worked closely together with the composer for a long time, and premiered the 14th symphony.

00:00:00 Symphony No. 1 in F Minor, Op. 10: Allegretto
00:08:09 Symphony No. 1 in F Minor, Op. 10: Allegro
00:12:55 Symphony No. 1 in F Minor, Op. 10: Lento
00:20:38 Symphony No. 1 in F Minor, Op. 10: Allegro molto

00:29:29 Symphony No. 2 in B Major, Op. 14 for Chorus & Orchestra "To October"

00:48:29 Symphony No. 3 in E-Flat Major, Op. 20 for Chorus & Orchestra "First of May"

01:14:59 Symphony No. 4 in C Minor, Op. 43: Allegretto poco moderato
01:42:10 Symphony No. 4 in C Minor, Op. 43: Moderato con moto
01:50:56 Symphony No. 4 in C Minor, Op. 43: Largo-allegro

02:16:58 Symphony No. 5 in D Minor, Op. 47: Moderato
02:32:29 Symphony No. 5 in D Minor, Op. 47: Allegretto
02:38:01 Symphony No. 5 in D Minor, Op. 47: Largo
02:51:19 Symphony No. 5 in D Minor, Op. 47: Allegro non troppo

03:02:49 Symphony No. 6 in B Minor, Op. 54: Largo
03:21:38 Symphony No. 6 in B Minor, Op. 54: Allegro
03:27:25 Symphony No. 6 in B Minor, Op. 54: Presto

Tracklist below.

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Taking inspiration from Fray Luis de León, the 16th-century lyric poet and monk, Seldom Sene have selected an enthralling collection of music for their second album. ‘El aire se serena’ – a line from one of Léon’s poems – translates as ‘The air becomes serene’, setting the tone for the beautifully atmospheric music of the album. The Quintet have selected a vast array of secular and sacred works, from the well-known composers De Cabezón and his son Hernando, to the more neglected but at the time equally prolific composers, such as Francisco de Peñalosa and the dance master Fabritio Caroso. Much of the release is dedicated to sacred music, with works such as Josquin’s five-voice motet Inviolata, integra et casta est Maria and Lamentabatur Iacob, written by Josquin’s successor De Morales, who styled himself on the Spanish composer.

This beautifully conceived CD presents music from the Courts and Cathedrals of 16th century Spain. The composers include Cabezon, Geurrero, Penalosa, Vasquez, Morales, Victoria, Milano, Lobo, Torre and Caroso. One of the main practices in 16-th century Spain was the transcription or arrangements of vocal music from the Franco-Flemish School. Masses, motets and madrigals by Gomberg, Josquin and others were transcribed for instrumental ensembles.
Seldom Sene is a recorder ensemble from the Netherlands. The ensemble’s aim is to translate the typical phrasing, blending, flexibility and expression of a vocal ensemble into an instrumental performance, and recreate the sense of Serenity and Brilliance as is described in the CD’s title. Seldom Sene already recorded a successful CD for Brilliant Classics, Taracea BC94871, Gramophone wrote: “commitment, technical versatility, unanimity of ensemble and near-immaculate tuning on display”. Dutch newspaper Early Music Review wrote: “Seldom Sene perceptively exploited a range of contrasting textures, and was the only ensemble of the day whose memorisation of the dots enabled unbridled spontaneity.”

00:00:00 Obras de música para tecla, arpa y vihuela: Inviolata. Jusquin
00:03:54 Missa Dormendo un giorno: Agnus dei III
00:07:39 Durmendo un jorno. Verdelot
00:10:44 Dormend’un giorno a baia
00:13:18 Lamentabatur Jacob in D Minor
06:22:50 Ascendens Christus in altum in G Major
00:27:47 Triste de par. Gombert
00:31:33 Lágrimas de mi consuelo
00:34:13 Alta in D Minor
00:35:19 Il Ballarino: Balletto. Amor mio
00:36:49 Bassadanza: La spagna
00:38:21 Ave regina coelorum
00:41:41 Adoro te, domine
00:44:30 Missa pro defunctis: Lux aeterna
00:47:54 Susana un jur
00:51:14 Riu, riu, chiu
00:52:52 Trahe me post te, virgo Maria
00:58:26 Canciones y villanescas espirituales: Hombres, victoria, Victoria
01:01:57 Inviolata, integra et casta es: I. Prima pars
01:04:33 Inviolata, integra et casta es: II. Secunda pars
01:06:13 Inviolata, integra et casta es: III. Tertia pars

Artist:
Seldom Sene

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Composer & Artist:
Composer: Christoph Nichelmann
Artist: Michele Benuzzi

About this Album:
When calling to mind harpsichord music of the Baroque period, the 24 Preludes and Fugues of J.S. Bach or the Pièces de clavecin by Couperin are perhaps the most immediately obvious choices. However, the music of Christoph Nichelmann (who is said to have studied with Bach) is equally inspired, and this release is the first step towards a more substantial recording of his oeuvre – indeed, it is the first recording solely dedicated to his output. One of a large number of composers whose music faded into obscurity after their death, Nichelmann is at last attracting the scholarly attention he deserves, largely thanks to today's vogue for discovering and promoting lesser-known repertoire.

This recording brings together the two sets of six sonatas from the middle of Nichelmann’s life, printed in 1745, and which represent the only two surviving collections of his music. The style of his compositions is intriguing and eclectic: on the one hand we can still hear the heritage of Baroque music, and on the other the development of a more sensitive and expressive language – although not quite the bridge to the Classicism which we hear in the music of Bach’s son, Carl Philipp Emanuel.

Tracklist:
00:00:00 Sonata in G Minor, Op. 1 No. 1: I. Moderato
00:04:31 Sonata in G Minor, Op. 1 No. 1: II. Largo
00:08:12 Sonata in G Minor, Op. 1 No. 1: III. Allegro
00:11:22 Sonata in D Major, Op. 1 No. 2: I. Allegretto
00:15:33 Sonata in D Major, Op. 1 No. 2: II. Mesto
00:17:45 Sonata in D Major, Op. 1 No. 2: III. Allegro
00:22:39 Sonata in B Minor, Op. 1 No. 3: I. Un poco allegro
00:28:28 Sonata in B Minor, Op. 1 No. 3: II. Andantino
00:30:40 Sonata in B Minor, Op. 1 No. 3: III. Presto
00:33:54 Sonata in G Major, Op. 1 No. 4: I. Allegretto
00:38:24 Sonata in G Major, Op. 1 No. 4: II. Largo
00:40:29 Sonata in G Major, Op. 1 No. 4: III. Vivace
00:45:58 Sonata in C Minor, Op. 1 No. 5: I. Un poco allegro
00:53:01 Sonata in C Minor, Op. 1 No. 5: II. Andante
00:55:42 Sonata in C Minor, Op. 1 No. 5: III. Presto
00:59:17 Sonata in F Major, Op. 1 No. 6: I. Allegro
01:05:11 Sonata in F Major, Op. 1 No. 6: II. Adagio
01:08:22 Sonata in F Major, Op. 1 No. 6: III. Presto
01:12:39 Sonata in B-Flat Major, Op. 2 No. 1: I. Allegretto
01:16:23 Sonata in B-Flat Major, Op. 2 No. 1: II. Largo
01:19:09 Sonata in B-Flat Major, Op. 2 No. 1: III. Presto
01:22:10 Sonata in F Minor, Op. 2 No. 2: I. Un poco allegro
01:26:08 Sonata in F Minor, Op. 2 No. 2: II. Andante
01:27:56 Sonata in F Minor, Op. 2 No. 2: III. Vivace
01:30:57 Sonata in A Major, Op. 2 No. 3: I. Allegro
01:35:05 Sonata in A Major, Op. 2 No. 3: II. Largo
01:37:49 Sonata in A Major, Op. 2 No. 3: III. Allegretto
01:41:57 Sonata in D Minor, Op. 2 No. 4: I. Allegro
01:45:06 Sonata in D Minor, Op. 2 No. 4: II. Adagio
01:48:02 Sonata in D Minor, Op. 2 No. 4: III. Allegro
01:51:21 Sonata in E-Flat Major. Op. 2 No. 5: I. Allegro
01:54:33 Sonata in E-Flat Major. Op. 2 No. 5: II. Andante
01:56:06 Sonata in E-Flat Major. Op. 2 No. 5: III. Allegro
02:00:02 Sonata in A Minor, Op. 1 No. 6: I. Allegro
02:06:27 Sonata in A Minor, Op. 1 No. 6: II. Andante
02:08:10 Sonata in A Minor, Op. 1 No. 6: III. Presto

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Nichelmann #Harpsichord

Tracklist below.

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Composer:
Johann Sebastian Bach

Artist:
Daniele Boccaccio organ

00:00:00 Prelude No. 1 in C Major, BWV 846
00:01:42 Fugue No. 1 in C Major, BWV 846
00:04:10 Prelude No. 2 in C Minor, BWV 847
00:05:43 Fugue No. 2 in C Minor, BWV 847
00:07:49 Prelude No. 3 in C-Sharp Major, BWV 848
00:09:17 Fugue No. 3 in C-Sharp Major, BWV 848
00:12:19 Prelude No. 4 in C-Sharp Minor, BWV 849
00:15:19 Fugue No. 4 in C-Sharp Minor, BWV 849
00:19:24 Prelude No. 5 in D Major, BWV 850
00:20:47 Fugue No. 5 in D Major, BWV 850
00:22:47 Prelude No. 6 in D Minor, BWV 851
00:24:32 Fugue. No. 6 in D Minor, BWV 851
00:26:44 Prelude No. 7 in E-Flat Major, BWV 852
00:30:41 Fugue No. 7 in E-Flat Major, BWV 852
00:32:45 Prelude No. 8 in E-Flat Minor, BWV 853
00:35:35 Fugue No. 8 in E-Flat Minor, BWV 853
00:42:01 Prelude No. 9 in E Major, BWV 854
00:43:40 Fugue No. 9 in E Major, BWV 854
00:45:14 Prelude No. 10 in E Minor, BWV 855
00:47:21 Fugue No.10 in E Minor, BWV 855
00:48:38 Prelude No. 11 in F Major, BWV 856
00:50:03 Fugue No. 11 in F Major, BWV 856
00:51:35 Prelude No. 12 in F Minor, BWV 857
00:53:24 Fugue No. 12 in F Minor, BWV 857
00:57:56 Prelude No. 13 in F-Sharp Major, BWV 858
00:59:21 Fugue No. 13 in F-Sharp Major, BWV 858
01:01:49 Prelude No. 14 in F-Sharp Minor, BWV 859
01:03:19 Fugue No. 14 in F-Sharp Minor, BWV 859
01:06:11 Prelude No. 15 in G Major, BWV 860
01:07:15 Fugue No. 15 in G Major, BWV 860
01:10:37 Prelude No. 16 in G Minor, BWV 861
01:11:59 Fugue No. 16 in G Minor, BWV 861
01:14:20 Prelude No. 17 in A-Flat Major, BWV 862
01:15:36 Fugue No. 17 in A-Flat Major, BWV 862
01:18:12 Prelude No. 18 in G-Sharp Minor, BWV 863
01:19:27 Fugue No. 18 in G-Sharp Minor, BWV 863
01:21:46 Prelude No. 19 in A Major, BWV 864
01:23:11 Fugue No. 19 in A Major, BWV 864
01:25:43 Prelude No. 20 in A Minor, BWV 865
01:27:02 Fuge No. 20 in A Minor, BWV 865
01:32:25 Prelude No. 21 in B-Flat Major, BWV 866
01:34:25 Fugue No. 21 in B-Flat Major, BWV 866
01:36:37 Prelude No. 22 in B-Flat Minor, BWV 867
01:38:27 Fugue No. 22 in B-Flat Minor, BWV 867
01:41:36 Prelude No. 23 in B Major, BWV 868
01:42:44 Fugue No. 23 in B Major, BWV 868
01:45:16 Prelude No. 24 in B Minor, BWV 869
01:49:23 Fugue No. 24 in B Minor, BWV 869
01:56:06 Prelude No. 1 in C Major, BWV 870
01:58:32 Fugue No. 1 in C Major, BWV 870
02:00:38 Prelude No. 2 in C Minor, BWV 871
02:03:17 Fugue No. 2 in C Minor, BWV 871
02:05:34 Prelude No. 3 in C-Sharp Major, BWV 872
02:07:09 Fugue No. 3 in C-Sharp Major, BWV 872
02:09:30 Prelude No. 4 in C-Sharp Minor, BWV 873
02:13:15 Fugue No. 4 in C-Sharp Minor, BWV 873
02:16:03 Prelude No. 5 in D Major, BWV 874
02:21:42 Fugue No. 5 in D Major, BWV 874
02:24:20 Prelude No. 6 in D Minor, BWV 875
02:26:07 Fugue No. 6 in D Minor, BWV 875
02:28:09 Prelude No. 7 in E-Flat Major, BWV 876
02:30:31 Fugue No. 7 in E-Flat Major, BWV 876
02:32:33 Prelude No. 8 in D-Sharp Minor, BWV 877
02:36:34 Fugue No. 8 in D-Sharp Minor, BWV 877
02:40:15 Prelude No. 9 in E Major, BWV 878
02:45:30 Fugue No. 9 in E Major, BWV 878
02:48:35 Prelude No. 10 in E Minor, BWV 879
02:52:27 Fugue No. 10 in E Minor, BWV 879
02:55:52 Prelude No. 11 in F Major, BWV 880
02:59:26 Fugue No. 11 in F Major, BWV 880
03:01:10 Prelude No. 12 in F Minor, BWV 881
03:05:32 Fugue No. 12 in F Minor, BWV 881
03:08:02 Prelude No. 13 in F-Sharp Major, BWV 882
03:11:42 Fugue No. 13 in F-Sharp Major, BWV 882
03:14:28 Prelude No. 14 in F-Sharp Minor, BWV 883
03:17:20 Fugue No. 14 in F-Sharp Minor, BWV 883
03:21:47 Prelude No. 15 in G Major, BWV 884
03:24:44 Fugue No. 15 in G Major, BWV 884
03:26:06 Prelude No. 16 in G Minor, BWV 885
03:28:10 Fugue No. 16 in G Minor, BWV 885
03:31:33 Prelude No. 17 in A-Flat Major, BWV 886
03:35:30 Fugue No. 17 in A-Flat Major, BWV 886
03:38:14 Prelude No. 18 in G-Sharp Minor, BWV 887
03:43:20 Fugue No. 18 in G-Sharp Minor, BWV 887
03:47:10 Prelude No. 19 in A Major, BWV 888
03:48:55 Fugue No. 19 in A Major, BWV 888
03:50:35 Prelude No. 20 in A Minor, BWV 889
03:54:38 Fugue No. 20 in A Minor, BWV 889
03:56:31 Prelude No. 21 in B-Flat Major, BWV 890
04:04:55 Fugue No. 21 in B-Flat Major, BWV 890
04:07:20 Prelude No. 22 in B-Flat Minor, BWV 891
04:10:09 Fugue No. 22 in B-Flat Minor, BWV 891
04:15:24 Prelude No. 23 in B Major, BWV 892
04:17:35 Fugue No. 23 in B Major, BWV 892
04:21:31 Prelude No. 24 in B Minor, BWV 893
04:23:39 Fugue No. 24 in B Minor, BWV 893

Tracklist below.

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This ingeniously programmed conceptalbum contains no original music by Paisiello but rather presents a selection of works which take as their inspiration his best‐known aria. ‘Nel cor più non mi sento’ is a duet from his 1788 opera L'amor contrastato, ossia La molinara – generally referred to as La molinara and, in an intriguing twist of history, translated in to German as Die schöne Müllerin. But in fact Schubert is one of the few noted variationcomposers absent here. Paganini’s later set of variations is a staple of the virtuoso‐violin repertoire, but this enterprising trio of musicians have looked to lesser‐known treatments of the duet, which attained great popularity on account of its simple but winning melody, so suitable for elaboration. Bortolazzi was well-known in his day as a superb mandolin player, and composed prodigiously for his instrument just as Mauro Giuliani did for the guitar, with an intimate understanding of its technical and expressive possibilities. Wanhal’s variations were originally composed for a melody instrument such as violin or flute, but it has been arranged specially for the trio here. Beethoven’s piano‐only variation set is relatively well‐known and has been recorded many times, but the smaller works for mandolin and fortepiano are no less engaging and have received little attention: this period-instrument performance almost has the field to itself. Michael Salka plays an original 1820 Böhm fortepiano, Alon Sariel an 1850 mandolin and Izhar Elias a Guadagnini guitar from 1812, less than two decades after the works recorded here were composed. This fascinating release is completed by Hummel’s ‘Grande Sonata’ for mandolin and piano and an extensive Potpourri for guitar and piano.
Composer: Johann Nepomuk Hummel, Ludwig van Beethoven
Artist: Izhar Elias (guitar)
Alon Sariel (mandolin)
Michael Tsalka (fortepiano)
00:00:00 Variations in G Major on Paisiello’s “nel cor più non mi sento”, Op. 8
00:06:45 Grand Sonata in C Major, Op. 37a: I. Allegro con spirit
00:12:47 Grand Sonata in C Major, Op. 37a: II. Andante moderato siziliano
00:16:06 Grand Sonata in C Major, Op. 37a: III. Rondo. Allegretto più tosto allegro
00:20:31 Introduction and Variations in A Major on Paisiello’s “nel cor più non mi sento”, Op.113
00:30:31 Polonaise Allegro in A Major, Op. 113
00:39:26 Andante with Variations in D Major, WoO 44b
00:48:11 Sonatina in C Minor, WoO 43a
00:52:03 Sonatina in C Major, WoO 44a
00:54:46 6 Variations in G Major on Paisiello’s “nel cor più non mi sento”, WoO 70
01:01:34 Pot-pourri for Guitar and Piano, Op. 53
01:12:47 6 Variations in G Major on Paisiello’s “nel cor più non mi sento”, Op. 42

Composer: Claudio Monteverdi
Artist: Le Nuove Musiche
Krijn Koetsveld (artistic leader)

Tracklist below.

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Le Nuove Musiche, led by acclaimed director Krijn Koetsveld, continue with their exceptional series of Claudio Monteverdi’s complete madrigals. Following on from Books V & VI (BC93799), and Book VII (BC94980), released in December 2015, they turn their attention to Books III & IV. At this stage of Monteverdi’s career, he was at a turning point, something that comes across quite clearly in his compositions. In the more traditional works, he gives a clear nod to his teacher Marc’Antonio Ingegneri, as he demonstrates his ability to write in the declamatory Renaissance style. Where Monteverdi sets himself apart, however, is when he demonstrates his ability to match the tender lyrics to sound. O come è gran martire, ‘O what suffering it is’, is a perfect illustration of this, as the mournfully drawn-out ‘O’ immediately captures the listener’s attention, forcing us to appreciate the lover’s lament. He repeats this device in Vattene pur crudel, when Armida’s distressed cry of loneliness soars above the other lines: her rage at having been abandoned by her lover consumes the piece. Monteverdi straddles the Renaissance and the Baroque, and this comes to the fore especially in these two exciting books of madrigals.

Le Nuove Musiche’s approach to Monteverdi is an innovative one: to bring the past into the present, keeping alive the questions of the Renaissance that still permeate our musical landscape today, while seeking to maintain the highest standards of performance authenticity. Their release of Books V & VI garnered excellent reviews, including five stars in the French magazine Diapason.

00:00:00 Madrigals, Book 3, SV 60-74: La giovinetta pianta, SV 60
00:03:18 Madrigals, Book 3, SV 60-74: O come è gran martire, SV 61
00:06:14 Madrigals, Book 3, SV 60-74: Sovra tenere erbette e bianchi fiori, SV 62
00:09:21 Madrigals, Book 3, SV 60-74: O dolce anima mia, dunque è pur vero, SV 63
00:12:43 Madrigals, Book 3, SV 60-74: Stracciami pur il core,SV 64
00:16:06 Madrigals, Book 3, SV 60-74: O rossignuol che in queste verdi fronde, SV 65
00:20:04 Madrigals, Book 3, SV 60-74: Se per estremo ardore, SV 66
00:23:08 Madrigals, Book 3, SV 60-74: Vattene pur, crudel, con quella pace, SV 67
00:25:11Madrigals, Book 3, SV 60-74: Là tra ’l sangue e le morti egro giacente, SV 67
00:27:37 Madrigals, Book 3, SV 60-74: Poi ch’ella in sé tornò, deserto e muto, SV 65
00:30:38 Madrigals, Book 3, SV 60-74: O primavera, gioventú de l’anno, SV 68
00:33:21 Madrigals, Book 3, SV 60-74: Perfidissimo volto, SV 69
00:36:44 Madrigals, Book 3, SV 60-74: Ch’io non t’ami, cor mio, SV 70
00:40:26 Madrigals, Book 3, SV 60-74: Occhi, un tempo mia vita, SV 71
00:43:17 Madrigals, Book 3, SV 60-74: Vivrò fra i miei tormenti e le mie cure, SV 72
00:44:57 Madrigals, Book 3, SV 60-74: Ma dove, o lasso me, dove restaro, SV 72
00:47:36 Madrigals, Book 3, SV 60-74: Io pur verrò là dove sete, e voi, SV 72
00:49:54 Madrigals, Book 3, SV 60-74: Lumi, miei cari lumi, SV 73
00:52:20 Madrigals, Book 3, SV 60-74: Rimanti in pace, SV 74
00:55:50 Madrigals, Book 3, SV 60-74: Ond’ei di morte la sua faccia impressa, SV 74
00:59:22 Madrigals, Book 4, SV 75-93: Ah dolente partita, SV 75
01:02:52 Madrigals, Book 4, SV 75-93: Cor mio, mentre vi miro, SV 76
01:04:45 Madrigals, Book 4, SV 75-93: Cor mio, non mori? E mori, SV 77
01:07:19 Madrigals, Book 4, SV 75-93: Sfogava con le stelle, SV 78
01:10:00 Madrigals, Book 4, SV 75-93: Volgea l’anima mia soavemente, SV 79
01:13:07 Madrigals, Book 4, SV 75-93: Anima mia, perdona, SV 80a
01:15:37 Madrigals, Book 4, SV 75-93: Che se tu se’ il cor mio, SV 80b
01:17:59 Madrigals, Book 4, SV 75-93: Luci serene e chiare, SV 81
01:21:05 Madrigals, Book 4, SV 75-93: La piaga c’ho nel core, SV 82
01:23:03 Madrigals, Book 4, SV 75-93: Voi pur da me partite, anima dura, SV 83
01:26:10 Madrigals, Book 4, SV 75-93: A un giro sol de bell’occhi lucent, SV 84
01:28:33 Madrigals, Book 4, SV 75-93: Ohimé, se tanto amate, SV 85
01:30:53 Madrigals, Book 4, SV 75-93: Io mi son giovinetta, SV 86
01:33:33 Madrigals, Book 4, SV 75-93: Quell’augellin che canta, SV 87
01:35:52 Madrigals, Book 4, SV 75-93: Non piú guerra, pietate, SV 88
01:38:23 Madrigals, Book 4, SV 75-93: Sí ch’io vorrei morire, SV 89
01:41:20 Madrigals, Book 4, SV 75-93: Anima dolorosa che vivendo, SV 90
01:43:49 Madrigals, Book 4, SV 75-93: Anima del cor mio, SV 91
01:45:53 Madrigals, Book 4, SV 75-93: Longe da te, cor mio, SV 92
01:48:01 Madrigals, Book 4, SV 75-93: Piagne e sospira, SV 93

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‘Not just another Hammerklavier recording’: this was Gramophone’s enthusiastic verdict on a recording made more than 15 years ago by Giovanni Bellucci, who now returns to Beethoven with a complete series, newly recorded, of the piano sonatas.

In 2000 the reviewer noted that Bellucci was barely known to the wider concert-going public; no longer is that an issue, since his reputation precedes him thanks to this and other recordings. ‘The abundant vitality of feeling’ and ‘untrammelled freshness of feeling’ contributed towards an appreciation of Bellucci’s remarkable achievement, at a relatively tender age, in assimilating the mighty work so thoroughly, ‘yet to be able to play it in a way that is unburdened by a consciousness of that knowledge.’

Later Beethoven recordings were praised elsewhere along similar lines for their ‘exemplary control’, ‘beguiling lightness of touch’ and ‘masterful command of sonority’ (Musical Opinion): ‘Refreshing, occasionally idiosyncratic and unpredictable playing that further bolsters Bellucci's reputation as a pianist both deeply musical and fearlessly virtuosic.’


Composer: Ludwig van Beethoven
Artist: Giovanni Bellucci piano


00:00:00 Piano Sonata No. 1 in F Minor, Op. 2 No. 1: I. Allegro
00:03:59 Piano Sonata No. 1 in F Minor, Op. 2 No. 1: II. Adagio
00:10:18 Piano Sonata No. 1 in F Minor, Op. 2 No. 1: III. Menuetto. Allegretto
00:15:29 Piano Sonata No. 1 in F Minor, Op. 2 No. 1: IV. Prestissimo
00:22:25 Piano Sonata No. 2 in A Major, Op. 2 No. 2: I. Allegro vivace
00:29:53 Piano Sonata No. 2 in A Major, Op. 2 No. 2: II. Largo appassionato
00:40:32 Piano Sonata No. 2 in A Major, Op. 2 No. 2: III. Scherzo. Allegretto
00:43:52 Piano Sonata No. 2 in A Major, Op. 2 No. 2: IV. Rondo. Grazioso
00:50:43 Piano Sonata No. 3 in C Major, Op. 2 No. 3: I. Allegro con brio
01:02:03 Piano Sonata No. 3 in C Major, Op. 2 No. 3: II. Adagio
01:11:17 Piano Sonata No. 3 in C Major, Op. 2 No. 3: III. Scherzo. Allegro
01:14:57 Piano Sonata No. 3 in C Major, Op. 2 No. 3: IV. Allegro assai
01:20:01 Piano Sonata No. 4 in E-Flat Major, Op. 7: I. Allegro molto e con brio
01:30:05 Piano Sonata No. 4 in E-Flat Major, Op. 7: II. Largo e con gran espressione
01:39:00 Piano Sonata No. 4 in E-Flat Major, Op. 7: III. Allegro
01:44:54 Piano Sonata No. 4 in E-Flat Major, Op. 7: IV. Rondo. Poco allegretto e grazioso
01:52:03 Piano Sonata No. 19 in G Minor, Op. 49 No. 1: I. Andante
01:57:10 Piano Sonata No. 19 in G Minor, Op. 49 No. 1: II. Rondo. Allegro
02:01:04 Piano Sonata No. 20 in G Major, Op. 49 No. 2: I. Allegro, ma non troppo
02:06:21 Piano Sonata No. 20 in G Major, Op. 49 No. 2: II. Tempo di menuetto
02:09:50 Piano Sonata No. 9 in E Major, Op. 14 No. 1: I. Allegro
02:17:40 Piano Sonata No. 9 in E Major, Op. 14 No. 1: II. Allegretto
02:22:07 Piano Sonata No. 9 in E Major, Op. 14 No. 1: III. Rondo. Allegro comodo
02:25:30 Piano Sonata No. 10 in G Major, Op. 14 No. 2: I. Allegro
02:31:53 Piano Sonata No. 10 in G Major, Op. 14 No. 2: II. Andante
02:36:22 Piano Sonata No. 10 in G Major, Op. 14 No. 2: III. Scherzo. Allegro assai
02:39:42 Piano Sonata No. 5 in C Minor, Op. 10 No. 1: I. Allegro molto e con brio
02:46:05 Piano Sonata No. 5 in C Minor, Op. 10 No. 1: II. Adagio molto
02:55:38 Piano Sonata No. 5 in C Minor, Op. 10 No. 1: III. Finale. Prestissimo
03:00:23 Piano Sonata No. 6 in F Major, Op. 10 No. 2: I. Allegro
03:06:33 Piano Sonata No. 6 in F Major, Op. 10 No. 2: II. Allegretto
03:11:08 Piano Sonata No. 6 in F Major, Op. 10 No. 2: III. Presto
03:14:58 Piano Sonata No. 7 in D Major, Op. 10 No. 3: I. Presto
03:21:34 Piano Sonata No. 7 in D Major, Op. 10 No. 3: II. Largo e mesto
03:31:59 Piano Sonata No. 7 in D Major, Op. 10 No. 3: III. Menuetto. Allegro
03:34:57 Piano Sonata No. 7 in D Major, Op. 10 No. 3: IV. Rondo. Allegro
03:39:08 Piano Sonata No. 8 in C Minor, Op. 13: I. Grave - Allegro di molto e con brio
03:48:56 Piano Sonata No. 8 in C Minor, Op. 13: II. Adagio cantabile
03:54:37 Piano Sonata No. 8 in C Minor, Op. 13: III. Rondo. Allegro

Composer: Edward Elgar, Frank Bridge, Ralph Vaughan Williams
Artist: Quink Vocal Ensemble

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Quink is the Netherlands’ premier solo vocal ensemble, founded in 1978, which has won a string of awards for its albums of motets, partsongs villancicos and more ranging over 500 years of music. Turning to the rich repertoire of late-19th and early-20th-century English and Irish music, Quink has made a complement to its previous recording of music by Vaughan Williams and Finzi, which received critical praise for its ‘technical elegance and fine spirit’ (BBC Music Magazine).

The madrigal found a home in Elizabethan England after its creation in mid-17th-century Italy with the works of Gibbons and many others, and survived longer there than in the rest of Europe, where it fell out of fashion in the 18th century. Nonetheless, the Victorian age saw a revival in what had become a neglected genre of consort work, and many glee clubs were formed to sing earlier work, as well as stimulating the composition of new ones such as are found here.

The title track is the last of Sir Charles Parry’s Six Modern Lyrics, but the previous five are little known and seldom recorded (the poem by Robert Bridges was also set by Britten’s teacher, Frank Bridge, and included here alongside one of several settings of Shakespeare, The Bee). The other extensive collection here is of E.J. Moeran’s Songs of Springtime, as buoyant and cheerful as their title suggests, yet curiously neglected. The selections of Vaughan Williams such as his Three Elizabethan Partsongs and Silence and Music are deservedly famous, and sung here with the elegance and freedom that comes more naturally to vocal consorts rather than chamber choirs however well-drilled.
 
This new recording by Dutch vocal ensemble Quink contains a delectable selection of English part songs, works by Vaughan Williams, Elgar, Bridge, Stanford, Moeran and Parry.
The music has that indelible English atmosphere of autumnal serenity and melancholy, evoking pastoral scenes of poignant beauty, where “time stands still”.
The booklet contains liner notes, biography and the complete sung texts.

00:00:00 3 Part-Songs, Op. 18: I. O Happy Eyes
00:02:52 3 Part-Songs, Op. 18: II. Love
00:05:18 Music, When Soft Voices Die, H.31
00:07:56 The Bee, H.110
00:09:19 Three Elizabethan Partsongs: I. Sweet Day
00:11:21 Three Elizabethan Partsongs: II. The Willow Song
00:13:42 Three Elizabethan Partsongs: III. O Mistress Mine
00:14:48 6 Irish Folksongs, Op. 78: III. At The Mid-Hour Of Night
00:17:16 6 Irish Folksongs, Op. 78: V. It Is Not the Tear
00:19:35 O Weary Hearts, H.92
00:23:36 Under the Greenwood Tree
00:25:00 The River-God’s Song
00:26:40 Spring, the Sweet Spring
00:28:15 Love Is A Sickness
00:31:35 Sigh No More, Ladies
00:33:07 Good Wine
00:34:34 To Daffodils
00:37:05 In Autumn, H.62
00:40:27 Love Is a Sickness
00:41:33 Fain Would I Change That Note
00:43:51 6 Elizabethan Pastorals: III. Shall We Go Dance
00:45:04 6 Irish Folksongs, Op. 78: I. O Breathe Not His Name
00:48:22 Silence And Music
00:53:49 6 Modern Lyrics: I. How Sweet the Answer
00:55:27 6 Modern Lyrics: II. Since Thou, O Fondest
00:57:49 6 Modern Lyrics: III. If I Had But Two Little Wings
00:59:55 6 Modern Lyrics: IV. There Rolls the Deep
01:02:22 6 Modern Lyrics: V. What Voice of Gladness
01:05:05 6 Modern Lyrics: VI. Music, When Soft Voices Die

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Bach on a saxophone? What next? Of course J.S. Bach’s music is indestructible. But some arrangements turn out far better than others and manage to do justice to the original. The transition of music for a string instrument to wind does not seem obvious, especially when a saxophone is part of the equation, but Henk van Twillert pulls it off. The baritone saxophone proves itself to be an ideal replacement of the cello. It is not only a similarity in timbre but when played by this most skilful and imaginative Dutch saxophonist the instrument becomes totally adaptable to baroque music.

So should Bach be played on a saxophone? Listen to this release and you will know the answer. It may vary from ‘why not’ to ‘definitely’!

Composer: Johann Sebastian Bach
Artist: Henk van Twillert (Baritone-Saxophone)

00:00:00 Suite No. 1 in G Major, BWV 1007: Prélude
00:02:34 Suite No. 1 in G Major, BWV 1007: Allemande
00:07:11 Suite No. 1 in G Major, BWV 1007: Courante
00:09:59 Suite No. 1 in G Major, BWV 1007: Sarabande
00:12:32 Suite No. 1 in G Major, BWV 1007: Minuet I & II
00:15:49 Suite No. 1 in G Major, BWV 1007: Gigue
00:17:19 Suite No. 2 in D Minor, BWV 1008: Prelude
00:20:02 Suite No. 2 in D Minor, BWV 1008: Allemande
00:23:30 Suite No. 2 in D Minor, BWV 1008: Courante
00:25:49 Suite No. 2 in D Minor, BWV 1008: Sarabande
00:29:57 Suite No. 2 in D Minor, BWV 1008: Minuet I & II
00:33:10 Suite No. 2 in D Minor, BWV 1008: Gigue
00:35:42 Suite No. 3 in C Major, BWV 1009: Prelude
00:39:11 Suite No. 3 in C Major, BWV 1009: Allemande
00:43:17 Suite No. 3 in C Major, BWV 1009: Courante
00:46:43 Suite No. 3 in C Major, BWV 1009: Sarabande
00:51:12 Suite No. 3 in C Major, BWV 1009: Bourrée I & II
00:55:00 Suite No. 3 in C Major, BWV 1009: Gigue
00:56:33 Suite No. 4 in E-Flat Major, BWV 1010: Prelude
01:00:05 Suite No. 4 in E-Flat Major, BWV 1010: Allemande
01:04:07 Suite No. 4 in E-Flat Major, BWV 1010: Courante
01:08:02 Suite No. 4 in E-Flat Major, BWV 1010: Sarabande
01:12:51 Suite No. 4 in E-Flat Major, BWV 1010: Bourrée I & II
01:17:45 Suite No. 4 in E-Flat Major, BWV 1010: Gigue
01:20:42 Suite No. 5 in C Minor, BWV 1011: Prelude
01:26:34 Suite No. 5 in C Minor, BWV 1011: Allemande
01:32:39 Suite No. 5 in C Minor, BWV 1011: Courante
01:35:05 Suite No. 5 in C Minor, BWV 1011: Sarabande
01:38:34 Suite No. 5 in C Minor, BWV 1011: Gavotte I & II
01:43:12 Suite No. 5 in C Minor, BWV 1011: Gigue
01:45:34 Suite No. 6 in D Major, BWV 1012: Prelude
01:50:26 Suite No. 6 in D Major, BWV 1012: Allemande
01:59:10 Suite No. 6 in D Major, BWV 1012: Courante
02:01:55 Suite No. 6 in D Major, BWV 1012: Sarabande
02:05:28 Suite No. 6 in D Major, BWV 1012: Gavotte I & II
02:09:48 Suite No. 6 in D Major, BWV 1012: Gigue

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