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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: Giuseppe Martucci
Artist: Alberto Miodini piano

The symphonies and tone-poems of Giuseppe Martucci (1856-1909) have retained a place on the fringes of the repertoire outside his native Italy thanks to advocacy by Arturo Toscanini and, latterly, Riccardo Muti.

Martucci was a man of protean talents and unflagging energy, who excelled as a composer, pianist, conductor, teacher
and moving force in musical culture. The direction of that force was set against the prevailing operatic scene of contemporary Italy – except, notably, where it intersected with German music. Thus he conducted Brahms, Liszt and especially Beethoven, as well as the Italian premiere of Tristan und Isolde. His own piano music is a continuation of the Lisztian tradition – at least, it becomes so, after flirting with the world of salon music in his early 20s.

The six Op.44 pieces are a much more substantial synthesis of elements from Italian popular culture – the gondoliers’ barcarola, the mule-drivers’ tarantella among them – with a wide-ranging, elaborately contrapuntal and fiendishly virtuosic style which owes much not only to Brahms and Liszt but to the composer’s formidable powers of performance. The Novella
Op.50 and Fantasia Op.51 experiment with more delicate textures in the manner of Chopin, and this tendency is further explored in the two Nocturnes Op.70, which move the form into late Lisztian realms of crepuscular harmony and dreamy phrases; the first of these Nocturnes became known in the early years of the last century through an orchestral transcription
which was often programmed by Toscanini. The pianist Alberto Miodini has studied these little-known works for years and written the introductory essay for these new recordings. This is his second recording for Brilliant Classics, after a well-received 4CD set (BC94806) of Schubert’s piano miniatures and free-standing pieces such as the Impromptus.

After years of comparative neglect Giuseppe Martucci is taking his rightful place as one of the most important late romantic Italian composers. His style is a happy and individual mix of Wagner and Verdi, dramatic chromatism softened by lyrical, bel canto style melodies. Martucci was a composer, conductor, teacher and excellent pianist, who made extensive European tours as a soloist. His piano music from his early period is written in sophisticated salon style, charming and picturesque. Later Martucci wrote more substantial works, like the Fantasia Op. 50 and Novella Op. 51, reminiscent of Chopin’s Scherzi and Ballades. The virtuoso pianism is proof of Martucci’s great gift as a performer.
Played with strong dedication and feeling for atmosphere by Italian pianist Alberto Miodini, pianist of the famous Trio di Parma, who already recorded successfully for Brilliant Classics the Klavierstücke by Schubert (BC94806).
00:00:00 6 Pezzi Op. 44: I. Capriccio. Allegro risoluto
00:02:51 6 Pezzi Op. 44: II. Pezzo fantastico. Allegro
00:08:47 6 Pezzi Op. 44: III. Colore orientale. Tempo di Marcia – Poco più mosso
00:19:01 6 Pezzi Op. 44: IV. Barcarola. Andantino con moto – Animato
00:24:16 6 Pezzi Op. 44: V. Notturno. Moderato, ma non troppo – Animato molto e con agitazione
00:29:29 6 Pezzi Op. 44: VI. Tarantella. Allegro molto
00:35:53 Novella in B-Flat Major, Op. 50
00:47:10 Fantasia in G Minor, Op. 51
00:59:10 2 Notturni, Op. 70: No. 1 in G-Flat Major. Moderato
01:04:24 2 Notturni, Op. 70: No. 2 in F-Sharp Minor. Andantino

This selection gives you a beautiful impression of the J.S. Bach - Complete Edition’s second volume. For the complete second volume (18 hours) and Complete Boxset, please check the following links:

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The full tracklist can be found in the comments section below!

Johann Sebastian Bach’s stature as a composer of extraordinary talent and widespread influence is so firmly established in Western culture that it is difficult to believe that only 150 years ago his works lay in veritable obscurity, unknown to all but a small group of scholars. It is largely thanks to ohn, who essentially effected a revival of the composer’s music through his rediscovery and promulgation of the St Matthew Passion, besides other pieces, that his works are today regarded as pinnacles of music expression. That they are among the most performed and widely attended is in no doubt; in Holland alone, thousands of singers and musicians are involved in dozens of performances of the St Matthew Passion in Holy Week, with hundreds of thousands listening in churches and concert halls, or gathered around the radio, to what has been described as ‘the Gospel according to Bach’.

The collection Contains 142 CDs (112 hours) representing the entirety of Johann Sebastian Bach’s oeuvre in historically informed performances. This includes all 200 sacred cantatas recorded for Brilliant Classics on period instruments and sung by the Holland Boys Choir.

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Composer & Artist:
Composer: Luigi Gatti
Artists: Paolo Ghidoni (violin), Alfredo Zamarra (viola)



About this Album:
The sonatas presented in this recording, labelled as Sonate à Violino e Viola in the autograph score at the Biblioteca Musicale Greggiati in Ostiglia and as Sonate Per Violin solo con accompagnamento di Viola in the parts at the Salzburg Museum, are likely to date back to the very beginning of Gatti’s stay in Salzburg. The autograph is written on paper whose watermarks suggest a date of about 1783. If so, the works were probably commissioned by archbishop Colloredo, for whom a similar cycle of six sonatas was composed in the same year by Michael Haydn, MH 335–38, and W. A. Mozart, K 423–24. (Another set of six by Joseph Hafeneder in the Toggenburg Collection of Bolzano, minus the first sonata, may share the same origin). In which case, the violin part was probably intended for Colloredo himself, a “good performer on the violin” according to Charles Burney. The archbishop was also said to “enjoy performing on the violin, which he played very well” and to be in the habit of “mingling with the court musicians and playing the violin with them” before dinner.

Tracklist:
00:00:00 Sonata in B-Flat Major, No. 1: Allegro aperto
00:07:59 Sonata in B-Flat Major, No. 1: Adagio
00:11:01 Sonata in B-Flat Major, No. 1: Rondo: Allegro con moto
00:16:49 Sonata in D Major, No. 2: Andante
00:23:08 Sonata in D Major, No. 2: Adagio cantabile
00:25:49 Sonata in D Major, No. 2: Tempo di minuetto
00:31:28 Sonata in A Major, No. 3: Allegro aperto
00:35:05 Sonata in A Major, No. 3: Adagio
00:38:13 Sonata in A Major, No. 3: Rondo: Allegretto
00:42:40 Sonata in F Major, No. 4: Cantabile - Allegro con spirito
00:48:50 Sonata in F Major, No. 4: Minuetto
00:57:45 Sonata in F Major, No. 4: Finale: Allegro assai
01:00:46 Sonata in E-Flat Major, No. 5: Moderato
01:04:01 Sonata in E-Flat Major, No. 5: Larghetto espressivo
01:07:13 Sonata in E-Flat Major, No. 5: Allegretto grazioso
01:11:01 Sonata in C Major, No. 6: Un allegro vivace
01:17:13 Sonata in C Major, No. 6: Adagio cantabile
01:22:46 Sonata in C Major, No. 6: Rondo: Allegretto

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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Bach’s famous cello suites, recorded by cellist and early music specialist Jaap ter Linden. In addition to his increasing number of performances as a conductor, Ter Linden also remains active as an instrumentalist.

Ter Linden has worked together with the creamn of early music specialist such as Andrew Manze, Richard Eggarr, Emma Kirkby and Andreas Staier. For any cellist the suites are an important touchstone. Some careers can even be measured by the recordings of these works. Until the present day they remain the ultimate challenge.

True to his reputation, Ter Linden gives profound interpretations which invite the listener to play these performances time after time again.

Composer:
J.S. Bach

Artist:
Jaap ter Linden

00:00:00 Suite No. 1 in G Major / G Dur BWV 1007 : Prelude
00:03:13 Suite No. 1 in G Major / G Dur BWV 1007 : Allemande
00:08:03 Suite No. 1 in G Major / G Dur BWV 1007 : Courante
00:11:02 Suite No. 1 in G Major / G Dur BWV 1007 : Sarabande
00:14:07 Suite No. 1 in G Major / G Dur BWV1007 : Minuet I & II
00:17:27 Suite No. 1 in G Major / G Dur BWV 1007 : Gigue
00:19:19 Suite No. 3 in C Major / C Dur BWV 1009 : Prelude
00:22:56 Suite No. 3 in C Major / C Dur BVW 1009 : Allemande
00:27:21 Suite No. 3 in C Major / C Dur BVW 1009 : Courante
00:31:01 Suite No. 3 in C Major / C Dur BWV 1009 : Sarabande
00:35:08 Suite No. 3 in C Major / C Dur BWV 1009 : Bourrée I & II
00:38:52 Suite No. 3 in C Major / C Dur BWV 1009 : Gigue
00:42:23 Suite No. 5 in C Minor / C Moll BWV 1011 : Prelude
00:48:47 Suite No. 5 In C Minor / C Moll BWV 1011 : Allemande
00:55:34 Suite No. 5 in C Minor / C Moll BWV 1011 : Courante
00:58:01 Suite No. 5 in C Minor / C Moll BWV 1011 : Sarabande
01:01:03 Suite No. 5 in C Minor / C Moll BWV 1011 : Gavotte I & II
01:06:23 Suite No. 5 in C Minor / C Moll BWV 1011 : Gigue
01:08:53 Suite No. 2 in D Minor / D Moll BWV 1008: Prelude
01:12:53 Suite No. 2 in D Minor / D Moll BWV 1008: Allemande
01:16:34 Suite No. 2 in D Minor / D Moll BWV 1008: Courante
01:19:00 Suite No. 2 in D Minor / D Moll BWV 1008: Sarabande
01:23:47 Suite No. 2 in D Minor / D Moll BWV 1008: Minuet I & II
01:27:01 Suite No. 2 in D Minor / D Moll BWV 1008: Gigue
01:29:51 Suite No. 4 in E flat major/Es Dur BWV1010: Prelude
01:34:13 Suite No. 4 in E flat major/Es Dur BWV1010: Allemande
01:39:01 Suite No. 4 in E flat major/Es Dur BWV1010: Courante
01:42:48 Suite No. 4 in E flat major/Es Dur BWV1010: Sarabande
01:47:37 Suite No. 4 in E flat major/Es Dur BWV1010: Bourrée I & II
01:52:45 Suite No. 4 in E flat major/Es Dur BWV1010: Gigue
01:55:36 Suite No. 6 in D Major / D Dur BWV 1012: Prelude
02:00:37 Suite No. 6 in D Major / D Dur BWV 1012: Allemande
02:08:08 Suite No. 6 in D Major / D Dur BWV 1012: Courante
02:11:58 Suite No. 6 in D Major / D Dur BWV 1012: Sarabande
02:16:23 Suite No. 6 in D Major / D Dur BWV 1012: Gavotte I & II
02:20:42 Suite No. 6 in D Major / D Dur BWV 1012: Gigue

This album comes from the French Harpsichord Music box-set, containing the first 7 CD's out of 29.

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Composer: Jacques Champion de Chambonnières, Jean-Henry d’Anglebert, Gaspard Le Roux
Artists: Pieter-Jan Belder (harpsichord), Michael Borgstede (harpsichord), Yago Mahúgo (harpsichord), Francesco Cera (harpsichord), Franz Silvestri (harpsichord)

Brilliant Classics is proud to have released a number of harpsichord music of the highest quality over the past few years. This collection brings these works together, as well as never before published recordings, allowing the listener to soak up the sounds of 17th- and 18th-century France in its most intimate, domestic setting.

The release starts with Jean Henri d’Anglebert, featuring four of his extensive suites. Each begins with a precisely notated prelude, followed by various dance movements of lively gigues and slow sarabandes. Anglebert’s complex ornamentation system was so admired that it would later be copied by J.S. Bach. Francesco Cera, described as ‘one of the most promising talents in Italy’, performs the works. Jacques Champion de Chambonnières comes next; known as the ‘founding father’ of the French harpsichord tradition, he worked in the courts of both Louis XIII and XIV as a dancer and musician. Franz Silvestri plays on a modern-day harpsichord after Vaudry, Chambonnières’ suites reflect the regal French court at its peak. Pieter-Jan Belder, whose recordings span keyboard music from across Europe during this period, chooses to put the spotlight on Le Roux, a shadowy figure about whom not much is known. He has left us with a beguiling set of harpsichord suites, unusually printed twice: once for one harpsichord and one as an alternative setting for two harpsichords.

Tracklist can be found in the comment section!

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Francesco Cilea may now be best remembered as a composer of durable, blood-and-thunder staples of the verismo operatic school such as Adriana Lecouvreur and L’Arlesiana, but he addressed himself to chamber and instrumental music at both the beginning and end of his long career. Conservative and unfailingly melodic as his chosen idiom was, it nonetheless evolved in the 66 years between student salon pieces such as the Tre piccoli pezzi of 1888 and the album-leaf of 1944.

There have been a few surveys of Cilea’s piano music on record, but none as complete as this new recording from Pier Paolo Vincenzi, who has already won critical praise on Brilliant Classics for recordings of piano rarities. A Diabelli Variations album (BC94836) gathered all the composers who had initially responded to the Viennese publisher’s request for variations on his little waltz together with the late masterpiece of variation form eventually devised by Beethoven. Vincenzi has also recorded the complete piano music of Richard Wagner (BC94450) which drew this notice from Fanfare magazine: ‘Vincenzi has the kind of sparkling, clear Italian touch one often associates with Benedetti, Michelangeli, or, more recently, Luisi. His playing alternates between seriousness and sensuality, drama and joy, and the listener is with him every step of the way… [His] performances are the recommended ones.

Composer Francesco Cilea
Artist

Pier Paolo Vincenzi piano
Marco Gaggini piano

00:00:00 Tre piccoli pezzi: I. Melodia
00:01:54 Tre piccoli pezzi: II. Serenata
00:04:13 Tre piccoli pezzi: III. Danza
00:06:28 Chanson du rouet, Op. 4
00:09:04 Canto del mattino, Op. 5
00:12:17 La petite coquette – Air de danse, Op. 9
00:15:01 C’est toi que j’aime – Impromptu à la mazurka, Op. 10
00:17:50 Aria campestre
00:19:19 Flatterie, Op. 11
00:21:38 Mazurka, Op. 14
00:24:17 Badinage, Op. 15
00:26:28 Berceuse, Op. 20
00:28:37 Notturno, Op. 22
00:32:12 Seconda danza, Op. 26
00:33:53 Trois petits morceaux, Op. 28: I. Loin dans la mer
00:36:32 Trois petits morceaux, Op. 28: II. Feuille d’album
00:38:51 Trois petits morceaux, Op. 28: III. Pensée espagnole
00:40:32 Tre pezzi, Op. 29: I. Romanza
00:43:40 Tre pezzi, Op. 29: II. Scherzino
00:46:11 Tre pezzi, Op. 29: III. Barzelletta
00:48:59 Gocce di rugiada, Op. 33
00:51:49 Au village, Op. 34
00:53:37 A la mazurka, Op. 35
00:55:02 Valzer, Op. 36
00:56:51 Foglio d’album, Op. 41
00:58:51 Suite, Op. 42: I. Allegro
01:00:54 Suite, Op. 42: II. Sarabanda
01:04:30 Suite, Op. 42: III. Capriccio
01:07:56 Foglio d’album, Op. 41
01:09:54 Fuga reale
01:12:10 Tre pezzi, Op. 43: I. Verrà?
01:15:09 Tre pezzi, Op. 43: II. Acque correnti
01:17:19 Tre pezzi, Op. 43: III. Valle fiorita
01:21:15 Due pezzi: I. Risonanze nostalgiche
01:29:24 Due pezzi: II. Festa silana
01:33:19 Scherzo
01:37:57 Scherzando
01:41:09 Danza calabrese
01:45:05 Impromptu
01:48:20 Mazurka
01:49:55 Preludio
01:51:32 Vespero
01:54:35 Foglio d’album
01:56:14 Invocazione
01:58:51 Serenata a dispetto
02:00:52 Danza
02:04:41 Four Hands Music: Untitled in A Major
02:08:12 Four Hands Music: Chansonnette, Op. 31
02:10:14 Four Hands Music: Sentiment poétique
02:12:33 Four Hands Music: Amour joyeux, Op. 37
02:15:27 Idillio
02:18:40 Alla gavotte

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Composer & Artist:
Composer: Erik Satie
Artists: Sandra & Jeroen van Veen

About this Album:
Alfred Erik Leslie Satie (1866–1925) was born in Honfleur, of a Normand father and a Scottish mother. He rates as one of music’s true originals – a real ‘one-off ’. After his studies as an organist, and then a period as a rather unsuccessful concert pianist having studied with several eminent teachers (he hated the rules of academic life), he enrolled in the French Army. This didn’t solve his problems with life either, so he deliberately contracted bronchitis and was invalided out after being declared unfit for service.

It was after this sad episode that he started to compose, and his earliest published work was Valse-Ballet. Satie then entered the life of Parisian nightclubs, absorbing all the influences of sound and life on offer, becoming friends with Debussy – they met when Satie had got a job as second pianist at a club. Satie had developed a unique way of composing – a kind of musical freehand – and was introducing complex chord structures that would come to influence Debussy. His music attracted the attention of such leading figures as Diaghilev, Picasso, Ravel, Stravinsky and Cocteau. Even so, Satie had a feeling that he wasn’t being taken seriously as a composer, and embarked on a three-year counterpoint study with Albert Roussel. The piano four-hands form has a long and distinguished history with many major symphonic works by Brahms, Rachmaninoff and Stravinsky published in this form for a wide domestic market. For many years the great classical composers’ works had appeared in this form, including works by Mozart and Schubert, who wrote specifically for piano four-hands. In the days before LPs, CDs and MP3s this was how music was heard in the home.

Tracklist:
00:00:00 Parade - Ballet Réaliste (1917): Choral
00:00:57 Parade - Ballet Réaliste (1917): Prélude du rideau rouge
00:02:33 Parade - Ballet Réaliste (1917): Prestidigitateur chiNois
00:05:20 Parade - Ballet Réaliste (1917): Petie fille américaine
00:06:53 Parade - Ballet Réaliste (1917): Ragtime du paquebot
00:09:20 Parade - Ballet Réaliste (1917): Acrobates
00:12:52 Parade - Ballet Réaliste (1917): Suite au Prélude du rideau rouge
00:13:12 Trois Morceaux En Forme de Poire (1903): Manière de commencement: Allez modérément
00:17:06 Trois Morceaux En Forme de Poire (1903): Prolongation du même: Au pas
00:18:05 Trois Morceaux En Forme de Poire (1903): I. Lentement
00:19:28 Trois Morceaux En Forme de Poire (1903): II. Enlévé
00:22:50 Trois Morceaux En Forme de Poire (1903): III. Brutal
00:26:01 Trois Morceaux En Forme de Poire (1903): En plus: Calme
00:28:23 Trois Morceaux En Forme de Poire (1903): Redite: Dans le lent
00:30:11 GymNopédie No. 1: Lent et douloureux (1888)
00:34:12 Aperçus Désagréables (1908): Pastorale: Assez lent
00:35:48 Aperçus Désagréables (1908): Choral: Large de vue
00:37:15 Aperçus Désagréables (1908): Fugue: Non vite
00:40:28 En Habit de Cheval (1911): Chorale: Grave
00:41:37 En Habit de Cheval (1911): Fugue litanique: soigneusement et avec lenteur
00:44:31 En Habit de Cheval (1911): Autre chorale: Non lent
00:45:26 En Habit de Cheval (1911): Fugue de papier: Assez modéré
00:48:01 Musiques d'Ameublement (1917): I. Tapisserie en fer forgé
00:49:28 Musiques d'Ameublement (1917): II. Carrelage phonique
00:50:37 Trois Petites Pièces Montées (1919): I. de l'enfance de Pantagruel: Rêverie, modéré
00:51:46 Trois Petites Pièces Montées (1919): II. Marche de Cocagne: Démarche, temps de Marche
00:52:46 Trois Petites Pièces Montées (1919): III. Jeux de Gargantua: Coin de Polka, mouvement de Polka
00:54:24 La Belle Excentrique - Fantaisie Sérieuse (1920): Grande ritournelle: Pas trOp vite
00:56:29 La Belle Excentrique - Fantaisie Sérieuse (1920): Marche franco-Lunaire
00:58:22 La Belle Excentrique - Fantaisie Sérieuse (1920): Valse du mystérieux baiser dans l'oeil: Mouvement de valse
01:01:02 La Belle Excentrique - Fantaisie Sérieuse (1920): Cancan grand-mondain: GalOp
01:03:17 GymNopédie No. 3 (1888)
01:06:37 Cinéma (1924)

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #ErikSatie #Satie #ClassicalPiano #Pianomusic #ClassicalPianoMusic

Tracklist below.

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Artist: Ensemble Seicentonovecento, Flavio Colusso (conductor)

Today Mascagni is best remembered for his verismo opera Cavalleria rusticana, a work which firmly belongs in many of the greatest opera houses’ core repertory, but his Messa di Gloria – which predates this composition by a matter of months and from which many of Cavalleria’s themes in fact derive – was also greatly lauded in its day. Mascagni’s interest in church music can be traced back to the days of his gifted adolescence: by the age of 13 he has written a Kyrie; at the age of 16 he refers in a letter to his involvement in composing a Mass (together with his friend Barbini); and during his student days in Milan he composed a motet as well as a great deal of music for the Messa per la festa di Maria SS. del Rosario. First performed in the Apulian town of Cerginola and conducted by the composer himself, a contemporary account of the Messa di Gloria described it as ‘a very powerful and original work, full of beauty, inspired by the requirements of modern taste’. In 1891 Mascagni repeated the peformance to an audience of 6000, as part of the celebrations marking the sixth centenary of Orvieto’s famous cathedral; such was the reception that the magazine Teatro illustrato declared the occasion ‘an event for the art of music in Italy’. Anyone expecting to hear a chorale, a fugue or even a simple fugato anywhere in the piece would have been disappointed, however, and doubts were raised regarding the religious nature of the work.

Instead, as the composer himself wrote, the Messa di Gloria can be described as a ‘prayer. The Mass is a prayer, all love and all passion!’ Here it is performed with aplomb by Ensemble Seicentonovento, an internationally renowned vocal-instrumental group that has recorded widely and appeared with such notable singers as José Carreras and Patrizia Pace. Iorio Zennaro and Pietro Spagnoli contribute well-executed arias to the mix as the respective tenor and bass soloists.

00:00:00 Messa di Gloria: Kyrie (Tenor, Bass, Chorus)
00:05:18 Messa di Gloria: Gloria (Tenor, Bass, Chorus)
00:07:00 Messa di Gloria: Gloria. Laudamus (Tenor, Chorus)
00:11:25 Messa di Gloria: Gloria. Gratias (Bass)
00:16:30 Messa di Gloria: Gloria. Domine Deus (Tenor, Bass)
00:18:48 Messa di Gloria: Gloria. Qui tollis (Tenor)
00:23:11 Messa di Gloria: Gloria. Qui sedes (Bass)
00:27:30 Messa di Gloria: Gloria. Quoniam (Tenor, Bass, Chorus)
00:28:42 Messa di Gloria: Gloria. Cum Sancto Spiritu (Tenor, Bass, Chorus)
00:29:51 Messa di Gloria: Credo (Chorus)
00:31:32 Messa di Gloria: Credo. Et incarnatus (Tenor, Chorus)
00:35:07 Messa di Gloria: Credo. Et resurrexit (Tenor, Bass, Chorus)
00:38:12 Messa di Gloria: Sanctus (Tenor, Chorus)
00:40:21 Messa di Gloria: Sanctus. Elevazione
00:44:08 Messa di Gloria: Sanctus. Benedictus (Bass)
00:47:15 Messa di Gloria: Sanctus. Hosanna (Chorus)
00:47:53 Messa di Gloria: Agnus Dei (Tenor, Bass, Chorus)

Tracklist in the comment section:
TOP 50 Best Piano Classics For Kids

A wonderful selection of the most famous piano pieces written for children, by the great composers.

These charming and appealing pieces stimulate the imagination and brings you in the world of Fairy Tales (Grieg’s March of the Dwarfs, riding a wooden horse (Schumann’s Kinderszenen), playing in the snow (Debussy’Children’s Corner), and ending in a peaceful slumber of the Berceuse by Chopin.

Played by world renowned pianists Klára Würtz and Alexander Warenberg.

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Composers: Frédéric Chopin, Sergei Rachmaninoff
Artist: Hans Roelofsen (double bass)

Say double bass and people will probably think of jazz music. In spite of pioneering composers like Bottesini and active present-day players like Dutch Hans Roelofsen and Rudolf Senn, the double-bass does not have a serious image in classical music. Maybe Saint-Saëns’ Carnaval des animaux has something to do with this.

Back in the nineteenth century there were several virtuoso performers on this instrument who also wrote music for it. Bottesini being the best-known of them. His virtuoso pieces seem to stretch the instrument with its intrinsic slowness to its limits.

The first part with recordings from 1988 gives some examples of these typical showpieces. On the second part Hans Roelofsen gives newly recorded performances of two sonatas by Chopin and Rachmaninov which were originally written for cello with piano accompaniment. These transcriptions show how versatile the double bass really is. It works surprisingly well: this is the truly romantic double bass.

00:00:00 DUETTO for Clarinet, Double-bass & Orchestra
00:08:34 Allegro moderato
00:14:38 Andante
00:20:16 Allegro
00:24:33 DUO CONCERTANT on Themes from Bellini’s “I Puritani”, for Cello, Double-bass & Orchestra
00:36:35 GRAND DUO CONCERTANT for 2 Double-basses & Orchestra
00:51:43 Allegro moderato
01:03:58 Scherzo, allegro con brio
01:09:30 Largo
01:13:40 Finale, allegro
01:21:14 Lento-allegro moderato
01:35:19 Allegro scherzando
01:41:59 Andante
01:48:08 Allegro mosso

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Composer & Artist:
Composer: Abbé Joseph Carpentier, Aleixo Botelho de Ferreira, Cristoforo Signorelli, Giuseppe Zaneboni, Giovanni Cifolelli, Paolo Altieri, Pietro Denis, Salvador Castro de Gistau, Wilhelm Cramer
Artists: Artemandoline


About this Album:
‘Galant pleasures’ seems an apt description for this release, which presents a charming selection of works written for the mandolin in 18th-century Paris. Indeed, it was around this time that a number of plucked instruments came into vogue, and the mandolin in particular found great success among the nobility and middle classes, taking part in an atmosphere of intellect and refinement that prompted a new artistic direction in music of the period, revolutionising audiences’ tastes and sensibilities along the way.

Zaneboni, Altieri, Cifolelli, de Gistau, de Ferreira: many of the composers included hailed from different parts of Europe, eventually settling in Paris where music for the mandolin was reaching its zenith. The vast majority, if not all, will be unfamiliar with listeners, but this should not discourage them from tapping into a gem-packed compendium built around a number of sonatas as well as arias – works which highlight the instrument’s divertissement role in salons of the time. Acclaimed period-performance group Artemandoline is the featured ensemble, all of its members having undertaken painstaking research in order to recapture the standards of mandolin playing once enjoyed among the upper echelons of society, and which has set new standards in the interpretation and perception of 17th- and 18th-century works. Joined by soprano Nathalie Pearson, this release marks their second recording for Brilliant Classics, the first dedicated to the complete mandolin sonatas of Domenico Scarlatti.’

Tracklist:
00:00:00 Sonata per Mandolino e Basso: I. Allegro
00:02:34 Sonata per Mandolino e Basso: II. Andante
00:06:17 Sonata per Mandolino e Basso: III. Menuet
00:07:54 Minuetto afandangado (Andante con variazioni)
00:16:23 Ariette
00:19:48 Air de Julie
00:20:50 Tre sonate per due Mandolini: I. Allegretto
00:22:34 Tre sonate per due Mandolini: II. Andantino
00:25:03 Tre sonate per due Mandolini: III. Allegretto
00:26:50 Petit air
00:28:43 Ariette
00:30:23 Sonata in G Minor: I. Allegro
00:32:05 Sonata in G Minor: II. Andante
00:33:42 Sonata in G Minor: III. Presto
00:34:29 Air de serrurier
00:36:18 Air de déserteur
00:38:58 Sonata per Mandolino solo e Basso: I. Allegro moderato
00:42:44 Sonata per Mandolino solo e Basso: II. Andante
00:44:22 Sonata per Mandolino solo e Basso: III. Rondo allegro
00:46:27 Sonata per Mandolino e Basso: I. Allegro
00:47:54 Sonata per Mandolino e Basso: II. Allegro giga
00:49:50 Sonata per Mandolino e Basso: III. Allegro ma non tanto
00:52:06 Sonata per Mandolino e Basso: IV. Andante
00:53:14 Sonata per Mandolino e Basso: V. Minuetto

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!

#Artemandoline #Mandolin #Classical #BrilliantClassics #Music #Composer #ClassicalMusic

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Tracklist:
00:00:00 Symphony in D, K. 111A: I. Allegro assai
00:03:30 Symphony in D, K. 111A: II. Andante grazioso
00:04:49 Symphony in D, K. 111A: III. Presto
00:06:13 Symphony No. 18 in F, K. 130: I. Allegro
00:13:50 Symphony No. 18 in F, K. 131: II. Andantino grazioso
00:20:44 Symphony No. 18 in F, K. 132: III. Menuetto
00:23:11 Symphony No. 18 in F, K. 133: IV. Molto allegro
00:30:51 Symphony No. 19 in E-Flat, K. 132: I. Allegro
00:35:07 Symphony No. 19 in E-Flat, K. 133: II. Andante
00:41:59 Symphony No. 19 in E-Flat, K. 134: III. Menuetto
00:46:04 Symphony No. 19 in E-Flat, K. 135: IV. Allegro
00:50:11 Symphony No. 25 in G Minor, K. 183: I. Allegro con brio
01:01:15 Symphony No. 25 in G Minor, K. 184: II. Andante
01:07:23 Symphony No. 25 in G, Minor, K. 185: III. Menuetto
01:10:45 Symphony No. 25 in G, Minor, K. 186: IV. Allegro
01:18:04 Symphony No. 24 in B-Flat, K. 182: I. Allegro spiritoso
01:22:21 Symphony No. 24 in B-Flat, K. 182: II. Andantino grazioso
01:25:01 Symphony No. 24 in B-Flat, K. 182: III. Allegro
01:28:13 Symphony No. 26 in E-Flat, K. 184: I. Molto presto
01:31:30 Symphony No. 26 in E-Flat, K. 184: II. Andante
01:34:36 Symphony No. 26 in E-Flat, K. 184: III. Allegro
01:37:15 Symphony in D K196: I. Allegro molto
01:39:52 Symphony in D K196: II. Andantino grazioso
01:42:33 Symphony in D K196: III. Allegro
01:45:14 Symphony No. 29 in A, K. 201: I. Allegro moderato
01:55:32 Symphony No. 29 in A, K. 201: II. Andante
02:05:51 Symphony No. 29 in A, K. 201: III. Menuetto
02:09:00 Symphony No. 29 in A, K. 201: IV. Allegro con spirito
02:16:22 Symphony No. 32 in G, K. 318: I. Allegro spiritoso
02:19:32 Symphony No. 32 in G, K. 318: II. Andante
02:22:14 Symphony No. 32 in G, K. 318: III. Primo tempo
02:24:14 Symphony No. 33 in B-Flat, K. 319: I. Allegro assai
02:31:36 Symphony No. 33 in B-Flat, K. 319: II. Andante moderato
02:36:13 Symphony No. 33 in B-Flat, K. 319: III. Menuetto
02:38:53 Symphony No. 33 in B-Flat, K. 319: IV. Allegro assai
02:48:19 Symphony No. 34 in C, K. 338: I. Allegro vivace
02:55:51 Symphony No. 34 in C, K. 338: II Andante di molto più tosto allegretto
03:02:39 Symphony No. 34 in C, K. 338: III. Allegro vivace
03:08:46 Symphony No. 35 in D, K. 385 ‘Haffner’: I. Allegro con spirito
03:14:57 Symphony No. 35 in D, K. 385 ‘Haffner’: II. Andante
03:20:53 Symphony No. 35 in D, K. 385 ‘Haffner’: III. Menuetto
03:23:57 Symphony No. 35 in D, K. 385 ‘Haffner’: IV. Presto
03:28:13 Symphony No. 31 in D, K. 297 ‘Paris’: I. Allegro assai
03:36:43 Symphony No. 31 in D, K. 297 ‘Paris’: II. Andante
03:42:25 Symphony No. 31 in D, K. 297 ‘Paris’: III. Allegro
03:46:34 Symphony No. 36 in C, K. 425 ‘Linz’: I. Adagio – Allegro con spirito
03:57:16 Symphony No. 36 in C, K. 425 ‘Linz’: II. Andante
04:06:38 Symphony No. 36 in C, K. 425 ‘Linz’: III. Menuetto
04:09:49 Symphony No. 36 in C, K. 425 ‘Linz’: IV. Presto
04:17:46 Symphony No. 40 in G Minor, K. 550 (Second version with clarinets): I. Molto allegro
04:25:18 Symphony No. 40 in G Minor, K. 550 (Second version with clarinets): II. Andante
04:35:19 Symphony No. 40 in G Minor, K. 550 (Second version with clarinets): III. Menuetto
04:39:0 Symphony No. 40 in G Minor, K. 550 (Second version with clarinets): IV. Allegro assai
04:45:45 Symphony No. 39 in E-Flat, K. 543: I. Adagio – Allegro
04:59:42 Symphony No. 39 in E-Flat, K. 543: II. Andante
05:11:18 Symphony No. 39 in E-Flat, K. 543: III. Presto
05:19:27 Symphony No. 38 in D, K. 504 ‘Prague’: I. Adagio – Allegro
05:30:43 Symphony No. 38 in D, K. 504 ‘Prague’: II. Andante con moto
05:38:45 Symphony No. 38 in D, K. 504 ‘Prague’: III. Menuetto
05:42:39 Symphony No. 38 in D, K. 504 ‘Prague’: IV. Allegro
05:51:08 Symphony No. 40 in G Minor, K. 550 (Second version with clarinets): I. Molto allegro
05:58:36 Symphony No. 40 in G Minor, K. 550 (Second version with clarinets): II. Andante
06:08:30 Symphony No. 40 in G Minor, K. 550 (Second version with clarinets): III. Menuetto
06:12:20 Symphony No. 40 in G Minor, K. 550 (Second version with clarinets): IV. Allegro assai
06:19:23 Symphony No. 41 in C, K. 551 ‘Jupiter’: I. Allegro vivace
06:31:05 Symphony No. 41 in C, K. 551 ‘Jupiter’: II. Andante cantabile
06:41:20 Symphony No. 41 in C, K. 551 ‘Jupiter’: III. Menuetto
06:45:44 Symphony No. 41 in C, K. 551 ‘Jupiter’: IV. Molto allegro

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Composer: Friedrich Kuhlau
Artist: Giorgio Leonida Tosi baroque (violin), Paolo Porto (piano), Ileana Frontini (piano)

Friedrich Kuhlau (1786-1832) was born in Hannover, but as a student he went to Denmark, where he stayed the rest of his life, becoming an important national composer.
Kuhlau was a near contemporary of Beethoven, and his style shares elements of that genius (alas not the genius…): rooted in the 17th century classicism it foreshadows the Romantic movement in a true expression of affect, daring dissonances and sudden harmonic changes, and a general expression of romantic moods as favoured in the fashionable salons.
Kuhlau is nowadays best known for his Sonatinas for amateur pianists, serving as a welcome alternative to the more classical sonatinas by Clementi.
This new recording present Kuhlau’s Violin Sonatas Op. 79, music of considerable drama, brilliance and virtuosity, but also of gentle lyricism and charm.
As interludes to these sonatas the piano duo Porto-Frontini plays two works for piano 4-hands, an Allegro Pathétique and an Adagio & Rondo.

Most of his chamber music features the flute, a commercially astute selection given the popularity of the instrument among amateur musicians at the time, even though Kuhlau was no flautist himself. There are, however, three piano quartets, a late string quartet closely modelled on Beethoven’s Op.132, and four violin sonatas. This Op.79 set was composed as a trio in Copenhagen in 1826, the year after he got drunk on champagne one evening with Beethoven, who wrote a canon at the time and sent it along later with a mock-apology: ‘In this case, I haven’t the slightest memory of what I wrote yesterday… Think of me now and again, your devoted Beethoven.’

All three sonatas are melodically fresh, dramatically imposing works that should not stand too shyly in the shadow of Beethoven’s contributions to the genre: the first and third are largely extrovert, whereas the second is thoughtful and intimate in character. The sonatas are juxtaposed here with late and brilliant works for piano four-hands which may reveal the influence of Schubert, so unconventional is their form, so bold the evocation of Romantic sonorities on the keyboard: on this album of historically informed performances by young Italian musicians, the instrument used is a Stein piano of Viennese manufacture, dating from 1830.

Played by Giorgio Leonida Tosi on a baroque violin, pianist Paolo Porto plays an 1830 Viennese Stein piano.

00:00:00 Violin Sonata No. 3 Op. 79: I. Allegro molto
00:04:18 Violin Sonata No. 3 Op. 79: II. Andantino
00:07:50 Violin Sonata No. 3 Op. 79: III. Rondo. Allegro
00:12:29 Allegro pathétique for Piano 4-hands in C Minor, Op. 123
00:24:51 Violin Sonata No. 2, Op. 79: I. Allegro
00:29:13 Violin Sonata No. 2, Op. 79: II. Andantino
00:31:37 Violin Sonata No. 2, Op. 79: III. Rondo alla polacca
00:38:16 Adagio and Rondo for Piano 4-hands in A-Flat Major, Op. 124
00:50:33 Violin Sonata No. 1, Op. 79: I. Allegro gustoso
00:54:48 Violin Sonata No. 1, Op. 79: II. Andante
00:57:29 Violin Sonata No. 1, Op. 79: III. Rondo. Allegro scherzando

The liturgy and events of Holy Week lie behind some of the most inspired and powerful works in the entire repertoire. By now churches are sombre and bare, statues having been covered up, the altars set to be stripped after the Maundy Thursday service – and so much of the music is correspondingly meditative and sombre. Conversely, faced with depicting the events of the Passion story itself, Bach produced some of the most movingly dramatic music ever written; monuments of the repertoire, Bach’s Passions seem a good place to start.

Stabat Mater Dolorosa is considered one of the seven greatest Latin hymns of all time. It is based upon the prophecy of Simeon that a sword was to pierce the heart of His mother, Mary (Lk 2:35). The hymn originated in the 13th century during the peak of Franciscan devotion to the crucified Jesus and has been attributed to Pope Innocent III (d. 1216), St. Bonaventure, or more commonly, Jacopone da Todi (1230-1306), who is considered by most to be the real author. The hymn is often associated with the Stations of the Cross. In 1727 it was prescribed as a Sequence for the Mass of the Seven Sorrows of Mary (September 15) where it is still used today. In addition to this Mass, the hymn is also used for the Office of the Readings, Lauds, and Vespers for this memorial. There is a mirror image to this hymn, Stabat Mater speciosa, which echoes the joy of the Blessed Virgin Mary at the birth of Jesus.

There can be few more evocative words in music than ‘passion’. As well as its familiar English definition, in a musical context it also suggests the commemoration of that most emotive Christian story, the journey of Jesus to the cross. The word has also come to be all but synonymous in music with its two greatest exemplars: the St. John and St. Matthew Passions of Johann Sebastian Bach.

The Tracks are from the following Albums:

Pergolesi: Stabat Mater
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Bononcini: Stabat Mater
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Boccherini: Stabat Mater, String Quartet Op.41/1
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J.S. Bach: Matthäus Passion
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J.S. Bach: Johannes Passion (2)
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Weep & Rejoice, Music for the Holy Week:
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Pasquini: Passion Cantatas
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Telemann: Passions-Oratorium
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J.S. Bach: Oster-Oratorium / Easter Oratorio
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Composer: Antonio Vivaldi
Artists: L'Arte dell'Arco, Federico Guglielmo (violin), Pier Luigi Fabretti (oboe)

Tracklist below.

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The four famous concertos of Il cimento dell’armonia e dell’inventione, Le quattro stagioni (‘The Four Seasons’) have previously been recorded hundreds of times, and have been heard in concert halls around the world since their rediscovery at the beginning of the 20th century. L’Arte dell’Arco and their leader Federico Guglielmo offer a new interpretation of the works by stripping back the embellishments and excessive ornamentation added over the years and reintroducing the essential element of simplicity: there is just one player to a part, thereby revealing the underlying structure and a welcome transparency of sound. The other works of the Opus 8 are similar to the more famous Seasons with their distinguishing titles added by Vivaldi: ‘La tempesta di mare’, like the Seasons, adds an element of nature, while ‘La caccia’ depicts a rural scene not dissimilar to ‘L’autunno’ of the Four Seasons, though this time with a deeply introspective Adagio section. This release also includes two concertos featuring the solo oboe rather than the violin, an instrument particularly well suited to the tessitura of the works, which are less virtuosic than some of the previous concertos.

The last issue, a crowning achievement, of Vivaldi’s complete Opus 1-12 is the Opus 8, the 12 violin concertos of which the numbers 1-8 are “Le Quattro Stagioni”.
Vivaldi’s “Four Seasons” belong to the canon of classical music, the most iconic, popular and well known works, the melody of “Spring” being a classical “ear bug” if ever there was one.
The performance of Federico Guglielmo and his L’Arte dell’Arco strip the Four Seasons of centuries of misuse, romantic veneer and tasteless embellishments, going back to the roots of the music, and discovering the essential power and originality, “Guglielmo understand the secret language of Vivaldi” (Diapason). The ensemble play original instruments and use one player per part.

00:00:00 Violin Concerto in E Major, RV 269 "la primavera": I. Allegro
00:03:09 Violin Concerto in E Major, RV 269 "la primavera": II. Largo
00:05:46 Violin Concerto in E Major, RV 269 "la primavera": III. Allegro
00:09:29 Violin Concerto in G Minor, RV 315 "l'estate": I. Allegro non molto – Allegro
00:14:33 Violin Concerto in G Minor, RV 315 "l'estate": II. Adagio – Presto – Adagio – Presto – Adagio –Presto – Adagio – Presto – Adagio
00:17:13 Violin Concerto in G Minor, RV 315 "l'estate": III. Presto
00:19:56 Violin Concerto in F Major, RV 293 "l'autunno": I. Allegro – Larghetto – Allegro asssai
00:24:27 Violin Concerto in F Major, RV 293 "l'autunno": II. Adagio molto
00:26:39 Violin Concerto in F Major, RV 293 "l'autunno": III. Allegro
00:29:55 Violin Concerto in F Minor, RV 297 "l'inverno": I. Allegro non molto
00:33:18 Violin Concerto in F Minor, RV 297 "l'inverno": II. Largo
00:35:00 Violin Concerto in F Minor, RV 297 "l'inverno": III. Allegro – Lento
00:38:10 Violin Concerto in E-Flat Major, RV 253: I. Presto – Allegro
00:40:46 Violin Concerto in E-Flat Major, RV 253: II. Largo
00:43:27 Violin Concerto in E-Flat Major, RV 253: III. Presto
00:47:02 Violin Concerto in C Major, RV 180: I. Allegro
00:49:50 Violin Concerto in C Major, RV 180: II. Largo e cantabile
00:52:16 Violin Concerto in C Major, RV 180: III. Allegro
00:54:49 Violin Concerto in D Major, RV 210: I. Allegro
00:59:28 Violin Concerto in D Major, RV 210: II. Largo
01:02:28 Violin Concerto in D Major, RV 210: III. Allegro
01:06:50 Violin Concerto in B-Flat Major, RV 362: I. Allegro
01:10:00 Violin Concerto in B-Flat Major, RV 362: II. Adagio
01:12:38 Violin Concerto in B-Flat Major, RV 362: III. Allegro
01:15:00 Violin Concerto in D Minor, RV 242: I. Allegro
01:17:42 Violin Concerto in D Minor, RV 242: II. Largo
01:19:31 Violin Concerto in D Minor, RV 242: III. Allegro
01:22:14 Violin Concerto in G Minor, RV 332: I. Allegro
01:25:21 Violin Concerto in G Minor, RV 332: II. Largo
01:28:02 Violin Concerto in G Minor, RV 332: III. Allegro
01:31:40 Oboe Concerto in C Major, RV 449: I. Allegro
01:34:38 Oboe Concerto in C Major, RV 449: II. Largo
01:37:31 Oboe Concerto in C Major, RV 449: III. Allegro
01:40:46 Oboe Concerto in D Minor, RV 454: I. Allegro
01:43:45 Oboe Concerto in D Minor, RV 454: II. Largo
01:46:01 Oboe Concerto in D Minor, RV 454: III. Allegro

Composers: Leone Sinigaglia
Artists: Alessandra Génot (violin), Massimiliano Génot (piano)

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There's an aura of mystery that surrounds the music of Leone Sinigaglia, and yet in his time he was esteemed and supported by the finest musicians of the period, from Dvořák (with whom he studied in Bohemia, and who was responsible for nurturing his interest in folk music) to Nikisch, from Mahler to Furtwängler, from Toscanini to Kreisler. As pianist Massimiliano Génot explains in his liner notes, Sinigaglia was very much a victim of historical circumstance, his Viennese base causing him to suffer after Italy's withdrawal from the Triple Alliance, following the outbreak of the First World War, and the subsequent demise of German culture; he also had to contend with rising anti-Semitism, not to mention the fact that Italian taste of the time was oriented towards opera and singing rather than instrumental and chamber music, his two preferred genres.

And yet Sinigaglia's inspiration was profoundly lyrical, with a propensity for melodic writing – one of the best examples is his 'swansong', the second movement of the Violin Sonata Op.44, which features on this album. And Sinigaglia was not without his triumphs: his Piedmontese Dances Op.31 for orchestra, performed in 250 cities before 1922, rivalled in popularity the dances by Brahms and Dvořák; and he scored a great success with the Overture Le Baruffe Chiozzotte, whose brio, strength and comic vitality characterise the brilliant four-hand reduction found on this recording. Convinced of what he describes as 'the manifest injustice of an historical judgement that has condemned Sinigaglia for too long to oblivion', Massimiliano Génot has, together with his sister, violinist Alessandra, aimed to bring the composer's cause to the attention of modern listeners, uniting Sinigaglia's entire piano works and presenting them alongside other musical gems and transcriptions as detailed above. Both natives of Turin, the composer's home town, the Génot duo's affinity for the composer is naturally a special one, and they deliver confident, robust performances which aim to cast light on the composer's 'strong will to match expressive authenticity and formal perfection'. These will hopefully go some way towards furthering public appreciation for a composer who undoubtedly deserves to be better known.


00:00:00 Ouverture, le baruffe chiozzotte, Op. 32
00:07:25 Zwei Klavierstücke, Op. 24: I. Capriccio
00:14:30 Zwei Klavierstücke, Op. 24: II. Humoreske
00:19:37 Fogli d’album Op. 7: I. A un fiore di campo
00:21:17 Fogli d’album Op. 7: II. Madrigale rustic
00:22:51 Fogli d’album Op. 7: III. Nostalgia
00:24:13 Fogli d’album Op. 7: IV. Così va il mondo, bimba mia
00:25:11 Fogli d’album Op. 7: V. Scherzino
00:26:41 Staccato-étude, Op. 11
00:29:32 Sonata for Violin and Piano, Op. 44: I. Allegro moderato
00:39:32 Sonata for Violin and Piano, Op. 44: II. Adagio
00:48:44 Sonata for Violin and Piano, Op. 44: III. Allegro con spirit
00:57:24 31: I. Andantino mosso

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Artist:Camerata Bachiensis, Julia Kirchner (soprano)

Johann Melchior Molter (1696-1765) was a younger contemporary of J.S. Bach. The two composers were born in small Thuringian towns half a day’s ride away from each other, and then travelled farther afield to make their names in major cities: Bach, south to Leipzig, Molter north to Karlsruhe.
The quantity of Molter’s extant music as well as its relative simplicity preclude more detailed comparison with the Kapellmeister of Leipzig, but he deserves to be known for a great deal more than the odd trumpet concerto which has made his name as part of the repertoires of (for example) Maurice Andre, Ludwig Guttler and John Wallace. This album valuably redresses that balance of neglect with historically informed studio recordings of vocal and chamber music which reveal a surprisingly cosmopolitan, vivacious and inventive personality in music. Most of these works are either hitherto unrecorded or long unavailable in any other version. Thus the album is essential listening for Baroque aficionados.
Johann Melchior Molter was born in 1696 in Thüringen, where his musical talent was quickly recognised. He served in the orchestra at the court of Karlsruhe. Later he broadened his horizon by going to Italy, where he encountered Albinoni, Vivaldi and Alessandro Scarlatti. He imbued their melodious gifts, studied their instrumental skills and went home to Karlsruhe, where he spent the rest of his life as court composer.
Molter’s works are festive and ceremonial, a happy mix of German counterpoint, Italian brilliance and French grandeur.
This new recording presents an attractive variety of orchestral works and cantatas: a Symphony, an Overture, a Flute Concerto and Oboe Sonata, combined with two Italian secular cantatas, dealing with the vicissitudes of love.
Performed on period instruments by the Camerata Bachiensis, soprano Julia Kirchner and Roberto De Franceschi, playing the oboe and traverso.
Excellent liner notes in both English and German.

00:00:00 Sinfonia in D Major, MWV 7.24: I. —
00:01:57 Sinfonia in D Major, MWV 7.24: II. Andante
00:06:08 Sinfonia in D Major, MWV 7.24: III. —
00:09:44 Cantata in G Major, MWV 2.26: I. Aria “In petto ho un certo affanno”
00:16:43 Cantata in G Major, MWV 2.26: II. Recitativo “Ardo tacita amante”
00:17:56 Cantata in G Major, MWV 2.26: III. Aria “L’adorar beltà che piace”
00:23:54 Concerto in A Major, MWV 6.13: I. —
00:28:01 Concerto in A Major, MWV 6.13: II. Adagio
00:32:06 Concerto in A Major, MWV 6.13: III. —
00:35:05 Sonata à quadro in F Major, MWV 9.20: I. Allegro
00:37:10 Sonata à quadro in F Major, MWV 9.20: II. Largo
00:40:15 Sonata à quadro in F Major, MWV 9.20: III. Allegro
00:42:11 Overture in B-Flat Major, MWV 3.7: I. Overture
00:46:44 Overture in B-Flat Major, MWV 3.7: II. Paisan. Viste
00:48:22 Overture in B-Flat Major, MWV 3.7: III. Passecaille
00:51:13 Overture in B-Flat Major, MWV 3.7: IV. Menuet
00:52:30 Cantata in E-Flat Major, MWV 2.25: I. Aria “Care erbette amiche piante”
01:00:16 Cantata in E-Flat Major, MWV 2.25: II. Recitativo “Dilettissimo tirso”
01:01:05 Cantata in E-Flat Major, MWV 2.25: III. Aria “Colle ninfe e coi pastori”

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Composer: Robert Schumann, Sergei Rachmaninoff
Artists: Klára Würtz (piano), National Symphony Orchestra of the Ukraine, Vladimir Sirenko (conductor), Nordwestdeutsche Philharmonie, Arie van Beek (conductor)

The ultimate romantic piano concertos. First of all thé piano concert by Rachmaninoff, Concerto No. 2, seconded by the only piano concerto that Schumann wrote. The soloist on this release is Klára Würtz.

00:00:00 Piano Concerto No. 2 in C Minor, Op. 18: Moderato
00:10:08 Piano Concerto No. 2 in C Minor, Op. 18: Adagio sostenuto
00:21:14 Piano Concerto No. 2 in C Minor, Op. 18: Allegro scherzando
00:32:50 Piano Concerto in A Minor, Op. 54: Allegro affetuoso
00:47:50 Piano Concerto in A Minor, Op. 54: Intermezzo
00:53:07 Piano Concerto in A Minor, Op. 54: Allegro vivace

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This unusual collection is dedicated to a very popular style: minimal music. Over the years this has evolved from austere, almost strict repetition with tiny ‘movements’ to a more varied and free approach to material and technique.

This set includes works for piano solo by most of the famous ‘minimal’ composers. Starting with initiator, if you will, Cage, and followed by the first generation entirely devoting itself to this style: Riley and Glass (Steve Reich did not write anything for solo piano). The next generation is represented by John Adams and Michael Nyman (his music for the film The Piano).

Dutch pianist Jeroen van Veen is fascinated by minimal music. He was one of the initiators and participants of the highly successful complete recordings on 11 CD’s of Simeon ten Holt’s, a Dutch ‘minimalist’, complete works for multiple piano’s. On this solo album van Veen demonstrates his affinity with minimalism with great flair.

The repertoire included here also comprises compositions by Satie, Friedrich Nietzsche and Arvo Pärt. There are two CD’s with music by the pianist himself and several recordings of minimal pieces by other present-day French, Belgian and Dutch composers.

This attractive set will appeal to a wide audience and sheds light on the present state of minimalism

00:00:00 Opening from ‘‘Glassworks’’ (Arr. van Veen)
00:08:53 Metamorphosis One
00:15:57 Metamorphosis Two
00:22:51 Metamorphosis Three
00:27:14 Metamorphosis Four
00:33:08 Metamorphosis Five
00:39:15 Mad Rush
00:54:28 Wichita Vortex Sutra
01:01:54 Opening from ‘‘Glassworks’’

01:11:19 The Poet Acts
01:14:54 Morning Passages
01:20:20 Something She Has To Do
01:23:51 I’m Going To Make A Cake
01:27:36 An Unwelcome Friend
01:32:08 Dead Things
01:36:04 Why Does Someone Have To Die?
01:39:41 Tearing Herself Away
01:43:49 Escape!
01:47:23 Choosing Life
01:51:33 The Hours
01:58:46 Truman Sleeps, from ‘‘The Truman Show’’
02:00:57 Opening from ‘‘Glassworks’’
02:07:07 Olympian

02:11:06 Modern Love Waltz
02:16:04 How Now
02:41:13 ‘‘Trilogy’’ Sonata; I Knee Play No. 4 From Einstein On The Beach
02:48:56 ‘‘Trilogy’’ Sonata; II Satyagraha, Conclusion, Act III
02:57:46 ‘‘Trilogy’’ Sonata; III Dance, from Aknaten (Scene 3)