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Composers: Frederico De Freitas
Artists: Carlos Damas (violin), Jill Lawson (violin), Jian Hong (violoncello)

Frederico de Freitas (1902-1980) was one of the most important musical figures of 20th century Portugal: a composer, conductor (founder of the Portuguese radio orchestra), writer, teacher and instrumentalist (piano, violin).
His early compositions are inspired by the musical trends of the time (polyrhythms and polytonality), later he developed a more classical style, in which his own harmonic language (augmented modality) and the inspiration of his country’s rich folk music tradition are the most important elements.
This CD contains De Freitas’ complete works for violin and piano, music of a rich originality, worthy to discover and cherish.
Portuguese violinist Carlos Damas is a strong advocate of this music: sensuous tone, intimacy and passion, perfectly suited to the music’s mood. Pianist Jill Lawson is an excellent partner, the duo having successfully recorded for Brilliant Classics already (Antonio Fragoso, works for violin and piano, BC 94158).

00:00:00 Allegro appassionato for Violin and Piano
00:08:21 Notturno for Violin and Piano
00:12:09 Sonata for Violin and Piano: I. Allegro moderato
00:21:50 Sonata for Violin and Piano: II. Adagio con molto espressione e sentiment
00:28:26 Sonata for Violin and Piano: III. Allegro con spirit
00:35:46 Berceuse for Violin and Piano
00:38:25 Clown Dance for Violin and Piano
00:41:12 3 Short Pieces: I. Serenata perdida
00:43:15 3 Short Pieces: II. Música para funerais
00:46:20 3 Short Pieces: III. Alla zingarese
00:48:11 Sonata for Violin and Violoncello: I. Andante quasi moderato
00:55:32 Sonata for Violin and Violoncello: II. Scherzo pittoresco
00:59:18 Sonata for Violin and Violoncello: III. Adagio non tanto
01:05:38 Sonata for Violin and Violoncello: IV. Allegro appassionato

This is part 3 of the first and only Complete Locatelli Edition ever!
Locatelli, like many of his contemporaries, moved abroad and settled in Amsterdam/The Netherlands, concertising as a violinist (and a “devil” he was as a performer!), and founding a flourishing publishing house.

Locatelli composed in the tradition of the Italian Baroque, in the well known forms of the Concerto Grosso, Solo Concerto and Trio Sonata. His style is inventive, flamboyant, and extremely virtuoso. His violin sonatas and concertos still present a daunting challenge even to today’s violinists.

Pietro Antonio Locatelli was one of the most important composers of the Baroque period, being a particularly celebrated composer of violin repertoire. His collection L’arte del violino contains 12 violin concertos with 24 caprices in the first and last movement of each, allowing for astonishing displays of virtuosity.

Composer: Pietro Antonio Locatelli
Artist: Various artists

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The Mass and songs by Guillaume de Machaut are probably the earliest consistent body of work attributable to a single composer in the Western canon. As such, they form a foundation stone to centuries of both melody-oriented song and contrapuntal polyphony that come thereafter. They have their own rich recording history, too, from the gentle and sometimes pedestrian efforts of pioneering groups like Pro Musica Antiqua and the New York Pro Musica, through to the dynamic and swinging recordings of the Orlando Consort.

Composer :Guillaume de Machaut
Artist: Ensemble Gilles Binchoit, Dominique Vellard (conductor)

00:00:00 Messe de Nostre Dame: Introitus. Gaudeamus omnes in domino
00:05:10 Messe de Nostre Dame: Kyrie eleison
00:12:15 Messe de Nostre Dame: Gloria in excelsis deo
00:17:15 Messe de Nostre Dame: Collectio. Veneranda nobis
00:18:21 Messe de Nostre Dame: Epistulum. Lectio libri sapientiae
00:20:25 Messe de Nostre Dame: Graduale. Propter veritatem
00:23:46 Messe de Nostre Dame: Alleluia, assumpta est Maria
00:25:51 Messe de Nostre Dame: Evangelium. In illo tempore intravit Jesus
00:27:48 Messe de Nostre Dame: Credo in unum Deum
00:35:06 Messe de Nostre Dame: Offertorium. Diffusa est gratia
00:36:34 Messe de Nostre Dame: Praefatio
00:39:22 Messe de Nostre Dame: Sanctus & Benedictus
00:44:02 Messe de Nostre Dame: Pater Noster
00:45:41 Messe de Nostre Dame: Agnus Dei
00:49:14 Messe de Nostre Dame: Communio. Regina mundi
00:53:57 Messe de Nostre Dame: Postcommunio. Mense celestis
00:55:03 Messe de Nostre Dame: Ite Missa est
00:56:42 Le vray remède d’amour: “Je, Guillaumes” from Le Jugement du Roi de Navarre
00:57:33 Le vray remède d’amour: Virelai “Dame, vostre doulz viaire”
01:03:36 Le vray remède d’amour: Motet “Amours qui ha le pouoir/Faus samblant”
01:06:08 Le vray remède d’amour: Virelai “Je vivroie liement”
01:09:14 Le vray remède d’amour: Rondeau “Ce qui soustient moy”
01:12:11 Le vray remède d’amour: “La, firent mains divers acors” from Le Remède de Fortune
01:13:20 Le vray remède d’amour: Ballade “Dame se vous m’estes lonteinne”
01:15:24 Le vray remède d’amour: Ballade “Je ne cuit pas”
01:21:27 Le vray remède d’amour: Rondeau “Doulz viaire gracieus”
01:23:15 Le vray remède d’amour: Motet “Christe, qui lux est/Veni creator spiritus”
01:27:45 Le vray remède d’amour: “Qui des couleurs” from La Loange des Dames
01:29:21 Le vray remède d’amour: Rondeau “Puisqu’en oubli”
01:30:57 Le vray remède d’amour: Ballade “Dame ne regardes pas”
01:34:30 Le vray remède d’amour: Ballade “Doulz amis”
01:40:57 Le vray remède d’amour: “Long sont mi jour” from Le Livre du Voir-Dit
01:41:36 Le vray remède d’amour: Complainte “Tels rit au main”
01:43:56 Le vray remède d’amour: Virelai “Liement me deport”
01:49:23 Le vray remède d’amour: “Des que on porroit” from Le Livre du Voir-Dit
01:50:49 Le vray remède d’amour: Ballade “De toutes flours”
01:57:26 Le vray remède d’amour: “Mon cuer, ma suer” from Le Livre du Voir-Dit
02:00:06 Le vray remède d’amour: Motet “Felix virgo” - “Inviolata genitrix”
02:04:39 Le Jugement du Roi de Navarre: Chanson roial ”Joie, plaisance et douce nourriture”
02:05:58 Le Jugement du Roi de Navarre: Ballade “Tres douce dame que j’aour”
02:09:52 Le Jugement du Roi de Navarre: “Un po apres le temps d’autonne...”
02:11:31 Le Jugement du Roi de Navarre: Motet “Plange regni/Tu qui gregem tuum ducis”
02:14:24 Le Jugement du Roi de Navarre: “Et tout einsi com je cuidoie...”
02:16:18 Le Jugement du Roi de Navarre: Motet “O livoris feritas/Fons totuis superbie”
02:19:01 Le Jugement du Roi de Navarre: “Et quant Nature vit ce fait...”
02:20:40 Le Jugement du Roi de Navarre: Virelai “Puis que ma dolour”
02:23:22 Le Jugement du Roi de Navarre: “Si que ces tempestes cesserent...”
02:26:39 Messe de Nostre Dame: Kyrie
02:33:12 Le Jugement du Roi de Navarre: “Si que tres bien me confessay...”
02:34:25 Le Jugement du Roi de Navarre: Virelai “J’aim sans penser”
02:36:42 Le Jugement du Roi de Navarre: Ballade “Esperance”
02:41:53 Le Jugement du Roi de Navarre: Double ballade “Quant Theseüs” - “Ne quier veoir”
02:47:11 Le Jugement du Roi de Navarre: “Damoiselle, la traïson de Theseüs...”
02:50:09 Le Jugement du Roi de Navarre: Ballade “Honte, paour, doubtance”
02:53:55 Le Jugement du Roi de Navarre: “Adont commensa Souffissance...”
02:57:28 Le Jugement du Roi de Navarre: Ballade “Nes que on porroit les estoilles nombrer”
03:03:00 Le Jugement du Roi de Navarre: “Quant leur consaus fu affinez...”
03:04:22 Le Jugement du Roi de Navarre: Ballade “Amours me fait desirer”

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Composer & Artist:
Composer: Girolamo Frescobaldi
Artists: La Stagione Armonica, Schola Gregoriana, Roberto Loreggian (organ), Sergio Balestracci (conductor)





About this Album:
Girolamo Frescobaldi was born in Ferrara in 1583, and worked for the influential and wealthy Este family. Ferrara at this time had become the centre for the modern arts and the musical avant-garde. Virtuoso singing and playing flourished, and it was into this heady atmosphere that the young Frescobaldi cut
his teeth.

In 1608 he took the position of organist at St Peter’s Basilica in Rome. In 1615 a new basilica was built with two fine organs upon which Frescobaldi performed his famous improvisatory toccatas during ceremonial occasions. In Rome at this time he mingled with other major figures in the artistic community including Bernini and Pietro da
Cortona.

Although Frescobaldi was one of the earliest composers to make keyboard compositions his speciality, he was also expected to provide vocal and choral works for his patron.

Tracklist:
00:00:00 Missa sopra l’aria della Monica: Introitus Gaudeamus
00:03:48 Missa sopra l’aria della Monica: Kyrie
00:07:00 Missa sopra l’aria della Monica: Gloria
00:11:24 Missa sopra l’aria della Monica: Credo
00:20:28 Missa sopra l’aria della Monica: Offertorium Ave Maria
00:23:06 Missa sopra l’aria della Monica: Sanctus
00:25:31 Missa sopra l’aria della Monica: Agnus Dei
00:28:16 Missa sopra l’aria della Monica: Antiphona Diffusa est
00:31:11 Missa sopra l’aria di Fiorenza: Antiphona ad introitum / De ventre matris meae
00:35:22 Missa sopra l’aria di Fiorenza: Kyrie
00:38:36 Missa sopra l’aria di Fiorenza: Gloria
00:42:36 Missa sopra l’aria di Fiorenza: Credo
00:53:17 Missa sopra l’aria di Fiorenza: Offertorium / Iustus ut palma
00:55:13 Missa sopra l’aria di Fiorenza: Sanctus
00:57:03 Missa sopra l’aria di Fiorenza: Agnus Dei
01:00:32 Missa sopra l’aria di Fiorenza: Antiphona / Tu puer, propheta


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Half a bar of Carl Nielsen and you know it’s him; a characteristic of great composers down the ages, to be sure, but one peculiarly concentrated around nationalist composers of the late 19th and early 20th centuries. Nationalist, not necessarily through any political affiliation but because they sought to renew both the standard musical forms and genres, and their own country’s culture, with bold and fresh attempts to marry the two. So successful was Nielsen at this (like Sibelius in Finland), indeed, that for decades afterwards he seemed to cast a shadow over those who came after.

The symphonies lie at the centre of Nielsen’s achievement. They develop as he did, from exuberant Romanticism (No.1), through rangy melodies and ‘visionary’ slow movements (Nos. 2 and 3), to an unquenchable embrace of the heroic struggle that places Man at the centre of his world (Nos. 4 and 5), finally to rest in a quizzical re-examination of all that we hold worthwhile in mind and music (No.6, the ‘Sinfonia semplice’: never was a symphony more ironically named.)

Each symphony sets off on its own exciting journey, and the demands Nielsen makes on his participants are extreme; he was a fine violinist himself, and he used his extensive knowledge to turn string players inside out with ferocious fugues and precipitous runs. Many great orchestras have tackled this music, and some have ended up making it into little more than concertos for orchestra in all but name. Not however, this apparently less glittering ensemble. David Hurwitz, famously hard to please, is unequivocal in his Classics Today review: ‘Theodore Kuchar leads what is without question the most exciting complete Nielsen symphony cycle available, making this the set to get for Nielsen newcomers.

Composer: Carl Nielsen

Artist:
Janacek Philharmonic Orchestra
Theodore Kuchar (conductor)

00:00:00 Symphony No. 1 in G Minor, Op. 7: Allegro orgoglioso
00:09:09 Symphony No. 1 in G Minor, Op. 7: Andante
00:17:16 Symphony No. 1 in G Minor, Op. 7: Allegro comodo
00:24:59 Symphony No. 1 in G Minor, Op. 7: Finale, allegro con fuoco
00:33:10 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro collerico
00:41:58 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro comodo e flemmatico
00:46:00 Symphony No. 2, Op. 16 “The Four Temperaments”: Andante malincolico
00:58:33 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro sanguinoso
01:05:15 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Allegro espansivo
01:16:36 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Andante pastorale
01:26:16 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Allegretto un poco
01:32:50 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Finale, allegro
01:42:07 Symphony No. 4, Op. 29 “The Inextinguishable”: Allegro
01:53:17 Symphony No. 4, Op. 29 “The Inextinguishable”: Poco allegretto
01:57:48 Symphony No. 4, Op. 29 “The Inextinguishable”: Poco adagio quasi andante
02:07:23 Symphony No. 4, Op. 29 “The Inextinguishable”: Allegro
02:16:11 Symphony No. 5, Op. 50: Tempo giusto
02:34:32 Symphony No. 5, Op. 50: Allegro
02:50:52 Symphony No. 6 “Sinfonia semplice”: Tempo giusto
03:04:33 Symphony No. 6 “Sinfonia semplice”: Humoreske, allegretto
03:08:41 Symphony No. 6 “Sinfonia semplice”: Proposta seria, adagio
03:14:47 Symphony No. 6 “Sinfonia semplice”: Theme & variations

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Johann Nepomuk Hummel (1778–1837) was a pupil of Mozart, a protégé of Haydn, a friendly rival of Beethoven, and renowned throughout Europe as one of the greatest pianists of his day, a sought-after teacher who instructed some of the most distinguished 19th-century virtuosi, the author of an influential treatise on the art of pianism, and himself the composer of over three hundred works covering all musical genres (apart from the symphony).

This 20CD Edition provides a cross-section of Hummel’s excellent, prolific and unjustly neglected output, with a large section of solo piano music including the complete sonatas and etudes and a rich selection of chamber music featuring violin, viola, cello, flute, and guitar with piano, as well as larger ensembles from piano trios to septets.

This Edition contains a generous selection of his works: the complete piano sonatas and other piano works, several piano concertos, violin concerto, bassoon concerto, trumpet concerto, mandolin concerto, violin/piano concerto, chamber music, masses, an oratorio and the opera Mathilde.

Played by leading musicians of our time: fortepianists Costantino Mastroprimiano and Alessandro Commellato, Solamente Naturali conducted by Hummel-specialist Didier Talpain, and many others.

Composer: Johann Nepomuk Hummel

Artist: Various artists

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Erik Satie (1866-1925) was without doubt one of great ‘one offs’in musical history. Impossible to categorise, he composed around 100 works, which include film scores, ballets, melodies and above all piano works. A friend of Debussy, Ravel, Cocteau,Picasso and Diaghalev, he was at the core of the avant garde in Paris, and yet he remained an outsider – deliberately so.

Happy playing piano in jazz bars – where he and Debussy met each other, Satie was the antithesis of the late 19th century and early 20th musical world as dominated by Wagner and his adherents. The master of Bayreuth had proclaimed himself the prophet of ‘music of the future’and his vast opulently scored music dramas cast their spell over the Second Viennese school, and also Debussy, whose opera Pelléas et Melisande has a good deal of Parsifal and Tristan in its score. With Satie, it was the music of the past that was important, and he even returned to the tones of the ancient Greeks. Gymnopédies evokes the dance of children from ancient Sparta, who danced in honour of Apollo. Similarly, Gnossiennes is from the labyrinth at Knossos (Gnossos). It wasn’t all ancient Greek influences though that guided Satie’s inspiration – jazz and the music hall were potent influences

Perhaps the most idiosyncratic work he composed is Vexations. He composed it in 1893, but refused to show the score to anyone, and the premiere took place in 1963 at the instigation of John Cage. The score occupies a single page, headed ‘Page Mystique. To play this motif 840 times in succession, it will be necessary to prepare oneself in advance, in total silence, by remaining absolutely motionless.’ A complete performance thus takes 18–30 hours. Cristina Ariagno plays an excerpt.

Tracklist can be found below!

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Composer: Carl Philipp Emanuel Bach
Artists: Andrea Chezzi harpsichord
Alberto Colzani (2000), after Goermans-Taskin

About this Album:
A curious and unsatisfying reduction of huge music for tiny forces? By no means. These are not, after all, symphonies in the way that Beethoven, let alone Mahler, understood the term, but breezy three-movement affairs which had lately sprung out of an operatic context and were enjoying a new and independent life through the always-unpredictable idiom of C.P.E., who wrote eight such works between 1741 and 1762. Most of them began as symphonies for strings, with wind parts added later when Bach’s orchestra was enlarged. These early symphonies mixed an Italian style of pleasant and simple writing with the composer’s own evolving voice influenced by the Empfindsamer Stil, drawn together by the impeccable technique which C.P.E. had learnt at the feet of his father, the great Johann Sebastian.

The composer did not make these transcriptions of his ‘Berlin’ symphonies, but they were done during his lifetime to cater to the extensive public of amateur keyboard players. The Symphony in G major Wq122 No.1 (arr. Wq173) is perfectly suited to the harpsichord, with the freshness of an Italian opera overture, especially in the first movement. Elsewhere, Andrea Chezzi has made a few additions to the arrangement when it is excessively thin, limited to some doubling or addition of the inner part, following the practice of the time, while also playing with the ornamentation appropriate to a keyboard performance.

Andrea Chezzi is a solo harpsichordist and organist based in Parma, where he is titular organist for the Church of Santa Maria Annunziata in Mezzano Rondani in the Comune di Colorno, Parma, artistic director of the comune’s cultural association La Compagnia del Lorno, and a founding member of the Giuseppe Serassi cultural association for the appreciation of organs and early instruments.

Tracklist:
00:00:00 Symphony in G Major, Wq. 122 No. 1: II. Andante
00:02:51 Symphony in G Major, Wq. 122 No. 1: III. Allegretto
00:05:13 Symphony in F Major, Wq. 122 No. 2: I. Allegro assai
00:07:46 Symphony in F Major, Wq. 122 No. 2: II. Andante
00:14:53 Symphony in F Major, Wq. 122 No. 2: III. Tempo di minuetto
00:18:33 Symphony in D Major: I. Allegro (Arr. Wq. 176)
00:28:06 Symphony in D Major: II. Andante (Arr. Wq. 176)
00:31:13 Symphony in D Major: III. Presto (Arr. Wq. 176)
00:34:04 Symphony in E Minor, Wq. 122 No. 3: I. Allegro assai
00:38:15 Symphony in E Minor, Wq. 122 No. 3: II. Andante
00:44:01 Symphony in E Minor, Wq. 122 No. 3: III. Allegro



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Tracklist below.

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Parisian composer Georges Bizet was enrolled in the Consevatoire at the age of nine and won a premier prix in solfège within six months of his arrival. He later received prizes for his skill as a pianist, gaining particular renown for his sight-reading, and won the coveted Prix de Rome in 1857. At this time, opera theatres in Paris were reluctant to stage new works rather than the established classics, meaning that Bizet’s operas did not achieve much success during his lifetime, despite the fact that today two of his operas are considered among the best ever written.

The premiere of Les Pêcheurs de Perles took place in 1863 and the opera was brought back to Paris in 1889 at the Exposition Universelle of that year. The story, set in Ceylon (known today as Sri Lanka), centres on the love between the priestess Léïla and the fisherman Nadir, who is envied by his fellow fisherman and friend Zurga. The idea of the ‘exotic’ is a prominent feature of the opera and can be heard in the unusual instruments of the percussion section, the dance rhythms, and the use of the harp. The qualities of the ‘exotic’ evoked here are more similar to those of the Mediterranean than of Ceylon, although it is known from Bizet’s letters that his original inspiration for the setting was Mexico. The opera contains the famous friendship duet, ‘Au fond du temple saint’, known as the Pearl Fishers’ Duet.

00:00:00 Les Pécheurs de Perles: Prelude
00:01:53 Les Pécheurs de Perles: Act 1: Introduction: Sur la grève en feu (Chorus)
00:05:24 Les Pécheurs de Perles: Act 1: Scène et choeur: Amis, interrompez vos danses (Zurga/Chorus/Nadir)
00:09:15 Les Pécheurs de Perles: Act 1: Récit et reprise du choeur dansé: Demeure parmi nous, Nadir (Zurga/Chorus/Nadir)
00:11:25 Les Pécheurs de Perles: Act 1: Récit et duo: C’est toi, toi qu’enfin je revois! (Zurga/Nadir)
00:13:46 Les Pécheurs de Perles: Act 1: Duo: Au fond du temple saint (Zurga/Nadir)
00:18:59 Les Pécheurs de Perles: Act 1: Récit, choeur et scène: Que vois-je? (Zurga/Nadir/Chorus)
00:22:34 Les Pécheurs de Perles: Act 1: Choeur: C’est elle! Elle vient!…Sois la bienvenue (Chorus)
00:24:38 Les Pécheurs de Perles: Act 1: Scène et choeur: Seule au milieu de nous (Zurga/Léïla/Chorus/Nourabad)
00:31:41 Les Pécheurs de Perles: Act 1: Récit et romance: À cette voix… Je crois entendre encore (Nadir)
00:36:59 Les Pécheurs de Perles: Act 1: Final: Le ciel est bleu! (Chorus/Nourabad/Nadir)
00:38:55 Les Pécheurs de Perles: Act 1: Air et choeur: Ô Dieu Brahma! (Léïla/Chorus/Nadir)
00:44:52 Les Pécheurs de Perles: Act 2: Entr’acte, choeur et scène: La, la, la…L’ombre descend des cieux (Chorus/Léïla/Nourabad)
00:51:46 Les Pécheurs de Perles: Act 2: Récit et cavatine: Me voilà seule dans la nuit (Léïla)
00:59:15 Les Pécheurs de Perles: Act 2: Chanson: De mon amie (Nadir/Léïla)
01:01:14 Les Pécheurs de Perles: Act 2: Duo: Léïla!…Dieu puissant (Nadir/Léïla)
01:09:02 Les Pécheurs de Perles: Act 2: Final: Ah! revenez à la raison! (Léïla/Nadir/Nourabad/Chorus/Zurga)
01:18:24 Les Pécheurs de Perles: Act 3: Scene 1: Entr’acte, récit et air: L’orage s’est calmé…Ô Nadir (Zurga)
01:24:17 Les Pécheurs de Perles: Act 3: Scene 1: Scène et duo: Qu’ai-je vu?… Je frémis, je chancelle (Zurga/Léïla)
01:32:47 Les Pécheurs de Perles: Act 3: Scene 1: Scène: Entends au loin ce bruit de fête! (Nourabad/Léïla/Zurga)
01:34:29 Les Pécheurs de Perles: Act 3: Scene 2: Choeur dansé: Dès que le soleil (Chorus)
01:36:35 Les Pécheurs de Perles: Act 3: Scene 2: Scène et choeur: Sombres divinités (Nourabad/Chorus/Zurga/Léïla/Nadir)
01:39:32 Les Pécheurs de Perles: Act 3: Scene 2: Trio: Ô lumière sainte (Léïla/Nadir/Zurga)
01:40:55 Les Pécheurs de Perles: Act 3: Scene 2: Final: Ce sont eux, les voici! (Zurga/Nadir/Léïla/Nourabad/Chorus)

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Composer & Artist:
Composers: Antonín Dvorák, Bedrich Smetana, Bohuslav Martinu, Leoš Janácek
Artists: Stamitz Quartet, Bohuslav Matoušek (first violin), Josef Kekula (second violin), Jan Peruška (viola), Vladimír Leixner (cello)

About this Album:
Those by Dvořák chart the evolution of his style, from his interest in Wagnerian music in the years prior to 1870 – String Quartet in D major – to the folk-infused works of his later life, such as the String Quartet in G major Op.106, and show the influence of his time in the United States, with the String Quartet in F Op.96 ‘American’. The quartets of Smetana have a distinctive neo-classical flavour while those of Janáček show strong links to his operatic works. Prolific composer Bohuslav Martinů composed six quartets, of which two were mislaid during the war. One of these, his fifth string quartet, is widely considered to be one of the most pivotal works in the composer’s oeuvre, written in 1938, a year of much upheaval in Martinů’s life. Many of the quartets in the collection hold an emotional dimension, all of which are exquisitely brought to life by the Stamitz Quartet.

Established in 1985, the Stamitz Quartet quickly became known as leading interpreters of Czech repertory. Winners of the 1986 National Broadcasting Union Competition in Salzburg, the Quartet’s rise to fame was meteoric; they have since participated in tours throughout Europe and America and undertaken a variety of recording projects, of which this collection is one.

Tracklist:
The tracklist can be found in the comments!

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Composer: Luigi Boccherini
Artists: La Magnifica Comunità
Enrico Casazza violin and concert master

About this Album:
Luigi Boccherini (1743–1805) is one of the major figures in 18th century music, and was close to both Haydn and Mozart. The young Austrian admired Boccherini’s music, and his string quintets in particular. Throughout his long career, Boccherini’s style was influenced by composers such as Nardini, Sammartini in his native Italy, Wagenseil and Monn from the Mannheim school, and forward looking composers from France such as Gossec. However, Boccherini was to base himself in Spain at the royal court, and found himself rather cut off from mainstream European musical trends. This caused him to develop his individual style – a mix of Spanish dance influences, and a smooth ‘Latin’ charm that led some commentators to remark that his music was effeminate, and in the words of one violinist Giuseppe Puppo, that he was ‘Haydn’s wife’. This is to miss the point of Boccherini’s style. Although less dramatic than either Haydn or Mozart, his music does have moments of explosive drama that appear all the more effective when bursting fortissimo from an otherwise calm movement. The harmonic shifts are also surprising and used to great effect. His music is sensuous, passionate and dramatic. The Op.39 Quintets date from 1787 when he was at the court of Friederich Wilhelm II in Berlin. These are important works that rank alongside the chamber music of his great Austrian contemporaries, and Boccherini deserves to be in their company.

Tracklist:
00:00:00 String Quintets Op.39, Quintet in B flat G337: I. Andante lento
00:04:32 String Quintets Op.39, Quintet in B flat G337: II. Allegro vivo – Tempo di minuetto – Tempo I
00:08:06 String Quintets Op.39, Quintet in B flat G337: III. Rondeau: Allegro ma non tanto – Tempo di minuetto – Tempo I
00:14:44 String Quintets Op.39, Quintet in F G338: I. Allegro vivo non presto
00:21:28 String Quintets Op.39, Quintet in F G338: II. Adagio non tanto
00:26:06 String Quintets Op.39, Quintet in F G338: III. Minuetto, Trio
00:29:24 String Quintets Op.39, Quintet in F G338: IV. Finale: Allegro vivo
00:34:38 String Quintets Op.39, Quintet in D G339: I. Allegro vivo
00:42:32 String Quintets Op.39, Quintet in D G339: II. Pastorale: Amoroso ma non lento
00:48:28 String Quintets Op.39, Quintet in D G339: III. Finale: Presto


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Valentina Levko was another in the glorious line of Russian 20th-century contraltos who in some ways defined the sound of Russian opera for ears, both Eastern and Western, which were often discovering the rich tradition of Russian opera for the first time through recordings. Levko's name, however, unlike compatriots such as Elena Obratzova, never travelled as far or as well. Committed to her contract at the Bolshoi, she spurned several opportunities to make a name for herself in the West, with the lucrative recording contracts that would surely have followed. And yet hers was, as this important set reveals, a voice and dramatic presence firmly in the mould of greats of the past such as Zara Dolukhanova.

This video contains the 7th volume of the complete Valentina Levko: Star of the Bolshoi box-set. To download and stream the complete album click here: https://brilliant-classics.lnk.to/StaroftheBolshoi

00:00:00 Alexei Verstovsky - The Little Bell (F. Glinka)
00:03:11 Mili Balakirev - Embrace me, kiss me (Koltsov)
00:05:47 Alexander Varlamov - I feel sorry for you
00:08:57 Alexander Varlamov - Oh, do not kiss me
00:10:30 Alexander Gurilyov - Girl’s Sorrow (Koltsov)
00:15:01 Pyotr Bulakhov - And this world has no eyes
00:17:15 Pyotr Bulakhov - Do not stir up memories (Davidov)
00:21:39 Alexander Diubiuk - Do not scold me (Razorenov)
00:25:34 Alexei Verstovsky - The Old Husband (Gipsy song after Pushkin)
00:27:56 Pyotr Bulakhov - Russian Carriage-and-Three (Viazemsky)
00:30:32 Alexander Varlamov - Red Sarafan (Tsyganov)
00:34:04 Song of Ilinichna (Music for a Tragedy by Nestor Kukolnik ‘Count Kholmski’)
00:35:57 Oh, if I had known (Gypsy Song – Dmitriev)
00:40:55 I loved him (Koltsov)
00:43:52 Reminder
00:49:48 I loved you (Pushkin)

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Composer: Béla Bartók
Artists: Thomas Zehetmair (violin) , Budapest Festival Orchestra, Ivan Fischer (conductor)

About this Album:
The composition dates of the two violin concertos by Hungarian composer, pianist and ethnomusicologist Béla Bartók are separated by thirty years and provide a snapshot of his creative process at vastly different points in his life.

The first concerto (1907–8) had a rare emotional relevance: it was dedicated to the violinist Stefi Geyer, the object of Bartók’s affections, and showcases different aspects of her personality. This two-movement work is reminiscent of the works of Strauss and Liszt. The lamenting theme of the first movement represents Bartók’s unrequited love for Stefi, whose theme is repeated with tonal variation. This is followed by a lively second movement, with brilliant sections of arpeggios and scales, as well as whimsical leaps.

The second concerto (1937) is from a time in the composer’s life when folk music had become a firm characteristic of his works, and explores more adventurous harmonies than the first. One of the great Classical and Romantic works, the neo-Classical concerto also contains elements of Baroque and Renaissance music, giving it an historical dimension. Highlights are the beautiful canon of the second-movement theme and the reappearance in the third movement of the theme from the first, this time in a rousing triple-time dance.

Internationally acclaimed violinist Thomas Zehetmair has enjoyed a remarkable career, performing and recording all over the world. He has also become equally sought-after as a conductor and is currently Musical Director of the Northern Sinfonia.

Tracklist:
00:00:00 Violin Concerto No. 1, BB 48a: I. Andante sostenuto
00:09:23 Violin Concerto No. 1, BB 48a: II. Allegro giocoso
00:21:34 Violin Concerto No. 2, BB 117: I. Allegro non troppo
00:36:35 Violin Concerto No. 2, BB 117: II. Andante tranquillo
00:45:56 Violin Concerto No. 2, BB 117: III. Allegro molto

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Composer: Archduke Rudolph of Austria
Artists: Luigi Magistrelli clarinet, Claudia Bracco (piano)

This fascinating disc brings together some real musical rarities: the unpublished clarinet works of Archduke Rudolph of Austria, a pianist and amateur composer who is best known for being a pupil and patron of Beethoven. In the early 19th century, Rudolph began taking piano and composition lessons with Beethoven; they became close friends and the Archduke went on to become the composer’s patron. Beethoven dedicated no fewer than 14 works to Rudolph – including some of his greatest masterpieces such as the ‘Emperor’ Concerto, the ‘Hammerklavier’ Sonata and the Missa solemnis – and the two men regularly exchanged letters.

The influence of the great composer on his friend and protégé is palpable in the charming works collected here, many of which have been reconstructed from surviving fragments following meticulous research by the artists. There are several works comprising variations on themes and operatic arias by Joseph Weigl, who was an eminent composer at the Viennese court at the time – Beethoven also used a theme from one of Weigl’s operas in his Op.11 Clarinet Trio. Also featured are some delightfully elegant waltzes, a lyrical Andante and brilliant (albeit incomplete) Polacca, and a set of variations – also on a theme by Weigl – for the unique combination of clarinet and two pianos.

Archduke Rudolph’s clarinet works are performed here by award-winning clarinettist Luigi Magistrelli, who has won golden opinions for his ‘warm and fluid tone’ and ‘excellent sense of phrasing’ (American Record Guide).

00:00:00 Sonata in B-Flat Major, Unfinished (Allegro)
00:02:59 Variations on a Theme by J. Weigl
00:16:47 Theme and Variations, Arrangement of the Original Incomplete Version for Clarinet and Orchestra
00:19:53 Introduction and Variations on a Theme by J. Weigl
00:31:39 Variations on a Theme by J. Weigl for Clarinet and Two Pianos
00:36:26 Sonata in B-Flat Major, Incomplete: I. Andante – Allegro
00:46:01 Sonata in B-Flat Major, Incomplete: II. Andante
00:50:32 Six Dances for Solo Clarinet: Dance No. 1 in E-Flat Major
00:51:19 Six Dances for Solo Clarinet: Dance No. 2 in E-Flat Major
00:52:08 Six Dances for Solo Clarinet: Dance No. 3 in E-Flat Major
00:52:55 Six Dances for Solo Clarinet: Dance No. 4 in B-Flat Major
00:53:41 Six Dances for Solo Clarinet: Dance No. 5 in F Major
00:54:26 Six Dances for Solo Clarinet: Dance No. 6 in F Major
00:55:13 Adagio and Polacca, Op. Posth.

This album contains a unique collection of American romantic piano music, presented by Piano Classics, a label of Brilliant Classics. Make sure to follow Piano Classics on Youtube!

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Composer: Arthur Foote
Artist: Artem Belogurov piano

A unique collection of American romantic piano music, written largely in the last third of the 19th century, by Foote, Whiting, Paine, Chadwick and Nevin. In a period where in Europe piano music was in the hands of towering virtuosos like Liszt, Anton Rubinstein and later Rachmaninoff, the American scene was notably less tormented, focusing on tone painting idyllic landscapes, rural scenes and charming dance forms.
These genre pieces share the same delightful characteristics as their European pendants by Dvorak, Mendelssohn, Grieg, Gade, Sinding and others.

Track list:
00:00:00 Suite No. 1 in D Minor, Op. 15: I. Prelude
00:02:48 Suite No. 1 in D Minor, Op. 15: II. Fugue
00:05:09 Suite No. 1 in D Minor, Op. 15: III. Romance
00:10:10 Suite No. 1 in D Minor, Op. 15: IV. Capriccio
00:13:37 Bagatelles: I. Caprice
00:16:21 Bagatelles: II. Humoreske
00:19:15 Bagatelles: III. Bagatelle
00:20:59 Bagatelles: IV. Idylle
00:23:44 3 Piano Pieces, Op. 41: III. Fuga giocosa
00:25:36 In the Country, Op. 26: I. Woodnotes
00:27:04 In the Country, Op. 26: II. Wayside Flowers
00:29:28 In the Country, Op. 26: IV. The Shepherd’s Lament
00:31:13 In the Country, Op. 26: V. Village Dance
00:32:38 In the Country, Op. 26: VII. The Mill
00:34:14 In the Country, Op. 26: X. Welcome Home
00:36:05 Five Pieces, F. 43: II. Dans le canot
00:39:58 Five Pieces, F. 43: V. Les grenouilles
00:46:20 Water Scenes, Op. 13: I. Dragon Fly
00:47:47 Water Scenes, Op. 13: II. Ophelia
00:51:12 Water Scenes, Op. 13: III. Water Nymph
00:53:54 Water Scenes, Op. 13: IV. Narcissus
00:56:44 Water Scenes, Op. 13: V. Barcarolle
01:01:10 Rhapsody in E Minor, Op. 21

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The first complete recording based on the new Curci edition of the famous 20 Studies of the Spanish composer Fernando Sor (1778 - 1839) selected by Andrés Segovia and edited by Angelo Gilardino. Completely revisited in the timbres and colors of high value music for six strings belonging to the classical repertoire and of great interest to students and professionals.
A complete and innovative reading, carried out thanks to 'urtext' version, the latter the result of a comparison of minunzioso sources. It follows a synoptic reading of the two versions from which emerge in a transparent way the nature of the work of Segovia and creative teaching of a classical author that he read and interpreted in the light of his aesthetics and his ideal.
Composer: Fernando Sor
Artist: Cristiano Porqueddu (guitar)

00:00:00 Studio Op.6 n.8 (I)
00:02:29 Esercizio Op.35 n.13 (II)
00:03:23 Studio Op.6 n.2 (III)
00:04:44 Studio Op.6 n.1 (IV)
00:06:08 Esercizio Op.35 n.22 (V)
00:09:03 Esercizio Op.35 n.17 (VI)
00:10:48 Lezione Op.31 n.21 (VII)
00:12:54 Lezione Op.31 n.16 (VIII)
00:15:12 Lezione Op.31 n.20 (IX)
00:16:17 Lezione Op.31 n.19 (X)
00:18:02 Studio Op.6 n.3 (XI)
00:19:40 Studio Op.6 n.6 (XII)
00:21:26 Studio Op.6 n.9 (XIII)
00:24:40 Studio Op.6 n.12 (XIV)
00:30:57 Esercizio Op.35 n.16 (XV)
00:32:42 Studio Op.29 n.3 (XVI)
00:35:07 Studio Op.6 n.11 (XVII)
00:38:51 Studio Op.29 n.22 (XVIII)
00:43:34 Studio Op.29 n.13 (XIX)
00:48:20 Studio Op.29 n.17 (XX)

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Composer: Franz Schubert
Artist: Diogenes Quartet

This release represents the final volume of the Diogenes Quartet’s integral recording of Schubert’s string quartets, spanning not only the composer’s well-known works but also the incomplete fragments, carefully reconstructed by Christian Starke. Schubert’s Quartet in G D887 came after the success of ‘Death and the Maiden’ and the ‘Rosamunde’ Quartet. It was his final work for string quartet; despite this, he struggled to get it published, and it was only performed for the first time posthumously. Even then, the quartet was not always well received, perhaps because it represented a departure from Schubert’s usual way of working with thematic material: for the first time, the theme in the first movement remains melodically the same, with the composer instead dramatically shifting the harmonic colouring underneath, allowing the theme to be revealed in different musical forms. While the slow second movement seems to follow a more traditional structure at first, it is soon interrupted with startling violent outbursts. The final movement is perhaps the most modern, as the individual voices tumble over each other in furious counterpoint, with barely a single note fulfilling a purely accompanying role.

Unlike the D887 quartet – one of Schubert’s most modern – the fragmentary movement D103 is one of the composer’s early works, probably started in 1814. Christian Starke’s completion features an additional transition in the reprise, which now begins with the opening gesture of the Allegro section, and allows the three expansive themes to be presented in a meaningful form.

The Diogenes Quartet are pleased to round off their complete recording of Schubert’s String Quartets, which represent years of careful musicianship and performances of the highest quality. The complete boxset is also available to buy (BC94468) and is the perfect addition to anyone wishing to fully explore the pleasing variety of Schubert’s music for quartet, which spanned his entire career.

This last recording in the Schubert Complete String Quartet cycle puts the crown upon a remarkable achievement by the German Diogenes Quartet, praised for its consistently high level of ensemble playing, full commitment and deep understanding of the composer’s dramatic language.
The CD ends with the famous Quartettsatz in C minor, an unfinished work, for this recording completed by musicologist and producer Christian Starke (who also wrote the excellent liner notes for the whole series).

00:00:00 String Quartet No. 15 in G Major, D. 887: I. Allegro molto moderato
00:22:46 String Quartet No. 15 in G Major, D. 887: II. Andante un poco moto
00:34:52 String Quartet No. 15 in G Major, D. 887: III. Scherzo. Allegro vivace – Trio. Allegretto 7’30
00:42:23 String Quartet No. 15 in G Major, D. 887: IV. Allegro assai
00:53:40 Movement for String Quartet in C Minor, D. 103: Grave – Allegro

Tracklist below.

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The piano is a beautiful instrument, and this special release brings together some of the most moving and romantic classics in the piano repertoire. With over two hours of this enchanting music to enjoy, sit back, relax and lose yourself in the timeless melodies of masters including Beethoven, Brahms, Chopin, Debussy, Liszt, Mendelssohn, Scarlatti, Schubert and Schumann. Savour the tender lyricism of Liszt’s famous ‘Liebestraum’, Debussy’s elegant Arabesques and evocative ‘Clair de lune’, the emotional drama of some of Beethoven’s best‐loved Adagios for the piano, and the beguiling melodies of Schubert’s Impromptus and Chopin’s ‘Raindrop’ Prelude – to name but a few of the many wonderful moments in this collection. These captivating piano works are performed by Misha Goldstein, who has made many acclaimed recordings for Brilliant Classics.
A fine selection of romantic piano pieces, for relaxing, chilling, dreaming. Enjoy!
The most famous and popular piano pieces ever written: Liebestraum (Liszt), Für Elise (Beethoven), Mondschein Adagio (Beethoven), Träumerei (Schumann), Consolation (Liszt), Lied ohne Worte (Mendelssohn), Rosamunde Impromptu (Schubert) and many more. Over two hours of classical favourites, played with a fine feeling for atmosphere and intimacy by the acclaimed pianist Misha Goldstein.

Artist: Misha Goldstein

Franz Liszt
00:00:00 Liebestraum, S. 541 No. 3
00:48:12 Consolation in E Major, S. 172
01:54:09 Consolation in D-Flat Major, S. 172

Felix Mendelssohn
00:04:36 Song without Words Op. 19b: No. 1, Andante con moto in E Major
00:34:55 Song without Words Op. 19b: No. 6, Venetian Gondola Song
00:57:14 Frühlingslied, Op. 62 No. 6

Frédéric Chopin
00:08:29 Nocturne in B-Flat Minor Op. 9 No. 1
02:05:25 Preludes, Op. 28: No. 15, Prelude in D-Flat Major "Raindrop"
02:10:13 Nocturne in E-Flat Major, Op. 9 No. 2

Franz Schubert
00:13:54 Impromptu in B-Flat Major Op. 142 No. 3 “Rosamunde”
00:28:22 Impromptu in A-Flat Major Op. 142 No. 2
01:03:43 Moment Musical in F Minor, Op. 90 No. 4
01:12:59 Klavierstück in E-Flat Major D. 946 No. 2
01:37:00 Impromptu in G-Flat Major Op. 90 No. 3

Johannes Brahms
00:25:49 Intermezzo in B-Flat Major Op. 76 No. 4
00:37:59 Intermezzo in E-Flat Major Op. 117 No. 1
00:43:20 Intermezzo in B-Flat Minor Op. 117 No. 2
01:24:07 Intermezzo in A Major Op. 118 No. 2

Ludwig van Beethoven
00:51:33 Piano Sonata in C-Sharp Major, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto
01:05:23 Sonate Pathetique, Op. 13: II. Adagio
01:10:07 Bagatelle in A Minor, WoO 59 "Für Elise"

Claude debussy
00:59:33 Arabesque No. 1, L. 66
01:30:30 Arabesque No. 2, L. 66
01:42:15 Rêverie, L. 68
01:57:15 Suite Bergamasque, L. 75: III. Clair de Lune

Robert Schumann
01:33:35 Fantasiestücke Op. 12: No. 1, Des Abends
01:45:49 Romanze in F-Sharp Major Op. 28 No. 2
02:02:14 Kinderszenen, Op. 15: No. 7, Träumerei in F Major

Domenico Scarlatti
01:49:21 Sonate in B Minor, Kk. 27

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Composer: Arcangelo Corelli
Artists: Rémy Baudet violin
Jaap ter Linden cello
Mike Fentross theorbo & guitar
Pieter-Jan Belder harpsichord


Tracklist:
00:00:00 Violin Sonata No. 1 in D Major, Op. 5: I. Grave – Allegro
00:03:08 Violin Sonata No. 1 in D Major, Op. 5: II. Allegro
00:05:31 Violin Sonata No. 1 in D Major, Op. 5: III. Allegro
00:06:36 Violin Sonata No. 1 in D Major, Op. 5: IV. Adagio
00:09:10 Violin Sonata No. 1 in D Major, Op. 5: V. Allegro
00:10:49 Violin Sonata No. 2 in B-Flat Major, Op. 5: I. Grave
00:13:32 Violin Sonata No. 2 in B-Flat Major, Op. 5: II. Allegro
00:15:49 Violin Sonata No. 2 in B-Flat Major, Op. 5: III. Vivace
00:17:04 Violin Sonata No. 2 in B-Flat Major, Op. 5: IV. Adagio
00:19:43 Violin Sonata No. 2 in B-Flat Major, Op. 5: V. Vivace
00:21:04 Violin Sonata No. 3 in C Major, Op. 5: I. Adagio
00:23:39 Violin Sonata No. 3 in C Major, Op. 5: II. Allegro
00:25:48 Violin Sonata No. 3 in C Major, Op. 5: III. Adagio
00:28:43 Violin Sonata No. 3 in C Major, Op. 5: IV. Allegro
00:29:46 Violin Sonata No. 3 in C Major, Op. 5: V. Allegro
00:32:19 Violin Sonata No. 4 in F Major, Op. 5: I. Adagio
00:34:18 Violin Sonata No. 4 in F Major, Op. 5: II. Allegro
00:36:46 Violin Sonata No. 4 in F Major, Op. 5: III. Vivace
00:38:00 Violin Sonata No. 4 in F Major, Op. 5: IV. Adagio
00:40:09 Violin Sonata No. 4 in F Major, Op. 5: V. Allegro
00:42:40 Violin Sonata No. 5 in G Minor, Op. 5: I. Adagio
00:45:23 Violin Sonata No. 5 in G Minor, Op. 5: II. Vivace
00:47:29 Violin Sonata No. 5 in G Minor, Op. 5: III. Adagio
00:49:36 Violin Sonata No. 5 in G Minor, Op. 5: IV. Vivace
00:51:15 Violin Sonata No. 5 in G Minor, Op. 5: V. Giga. Allegro
00:53:07 Violin Sonata No. 6 in A Major, Op. 5: I. Grave
00:55:41 Violin Sonata No. 6 in A Major, Op. 5: II. Allegro
00:58:03 Violin Sonata No. 6 in A Major, Op. 5: III. Allegro
00:59:10 Violin Sonata No. 6 in A Major, Op. 5: IV. Adagio
01:01:16 Violin Sonata No. 6 in A Major, Op. 5: V. Allegro
01:03:34 Violin Sonata No. 7 in D Minor, Op. 5: I. Preludio. Vivace
01:05:30 Violin Sonata No. 7 in D Minor, Op. 5: II. Corrente. Allegro
01:08:13 Violin Sonata No. 7 in D Minor, Op. 5: III. Sarabande. Largo
01:10:01 Violin Sonata No. 7 in D Minor, Op. 5: IV. Giga. Allegro
01:12:07 Violin Sonata No. 8 in E Minor, Op. 5: I. Preludio. Largo
01:15:47 Violin Sonata No. 8 in E Minor, Op. 5: II. Allemanda. Allegro
01:17:47 Violin Sonata No. 8 in E Minor, Op. 5: III. Sarabanda. Largo
01:20:22 Violin Sonata No. 8 in E Minor, Op. 5: IV. Giga. Allegro
01:22:24 Violin Sonata No. 9 in A Major, Op. 5: I. Preludio. Largo
01:26:10 Violin Sonata No. 9 in A Major, Op. 5: II. Giga. Allegro
01:29:10 Violin Sonata No. 9 in A Major, Op. 5: III. Adagio
01:29:41 Violin Sonata No. 9 in A Major, Op. 5: IV. Tempo di gavotte. Allegro
01:32:04 Violin Sonata No. 10 in F Major, Op. 5: I. Preludio. Adagio
01:33:48 Violin Sonata No. 10 in F Major, Op. 5: II. Allemanda. Allegro
01:36:01 Violin Sonata No. 10 in F Major, Op. 5: III. Sarabanda. Largo
01:38:02 Violin Sonata No. 10 in F Major, Op. 5: IV. Gavotta. Allegro
01:38:48 Violin Sonata No. 10 in F Major, Op. 5: V. Giga. Allegro
01:41:00 Violin Sonata No. 11 in E Major, Op. 5: I. Preludio. Adagio
01:42:51 Violin Sonata No. 11 in E Major, Op. 5: II. Allegro
01:45:37 Violin Sonata No. 11 in E Major, Op. 5: III. Adagio
01:46:16 Violin Sonata No. 11 in E Major, Op. 5: IV. Vivace
01:48:12 Violin Sonata No. 11 in E Major, Op. 5: V. Gavotta. Allegro
01:48:54 Violin Sonata No. 12 in D Minor, Op. 5 la folia


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Composer & Artist:
Composer: Johann Wilhelm Hässler
Artists: Michele Benuzzi (harpsichord)



About this Album:
Johann Wilhelm Hässler’s keyboard works occupy a fascinating position in the history of music. Although the composer was a harpsichord virtuoso in the late 18th century, just as his instrument was beginning to fall out of favour with composers and performers as the piano increased in popularity, Hässler’s music was not hopelessly old-fashioned. He was a successful pianist and organist, and a great admirer of C.P.E. Bach who he had met several times. He undertook many concert tours throughout Europe, and was able to publish a large quantity of music during his lifetime. The works heard in this collection can, in fact, be understood as a bridge between the Baroque composers who preceded him and the Classical and early-Romantic era that followed, drawing on a range of contrasting styles to create music of great drama, complexity and even theatricality.

The music heard on this new recording is particularly rare; it is found only in anonymous manuscripts and has previously been misattributed to W.F. Bach. As such, Michele Benuzzi’s thoroughly researched performances are an excellent opportunity to hear repertoire that will be unfamiliar to many listeners.

Tracklist:
00:00:00 Fantasia in C Minor (Leipzig, 1776)
00:05:23 Sonata in D (Leipzig, 1776): I. Allegro di Molto
00:10:30 Sonata in D (Leipzig, 1776): II. Andante
00:16:16 Sonata in D (Leipzig, 1776): III. Con Brio
00:18:38 Fantasia in A (Leipzig, 1779)
00:25:19 Sonata in A (Leipzig, 1779): I. [Moderato]
00:29:48 Sonata in A (Leipzig, 1779): II. Adagio
00:31:46 Sonata in A (Leipzig, 1779): III. Scherzo-Allegro
00:35:50 Fantasia in D (Leipzig, 1786)
00:40:40 Sonata in D Minor (Leipzig, 1779): I. [Allegro]
00:41:49 Sonata in D Minor (Leipzig, 1779): II. Arioso
00:43:33 Sonata in D Minor (Leipzig, 1779): III. Presto
00:49:05 Fantasia in C (Erfurt, 1782)
00:50:58 Rondeau in C (Leipzig, 1779)
00:53:05 Ariette mit einigen Veräderungen (Leipzig, 1786): ‘Der Demoisel Scherniß in Erfurth zugeeignet’
00:55:40 Fantasia in E Minor (Moscow, 1803)
00:57:15 Sonata in A Minor (Leipzig, 1776): I. Poco allegro
00:59:36 Sonata in A Minor (Leipzig, 1776): II. Largo
01:01:22 Sonata in A Minor (Leipzig, 1776): III. Presto


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