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Composer: Johannes Brahms
Artists: Sara Mingardo alt
Luca Sanzò viola
Maurizio Paciariello piano

About this Album:
Brahms had already declared to his long-suffering publisher Simrock that he was done with the business of composition before producing these, his final pieces of chamber music. He was inspired by the clarinettist Richard Mühlfeld, a player in the court orchestra of Meiningen, where Hans von Bülow conducted the composer’s music including all the symphonies. Mühlfeld’s breath control and superb melodic sensitivity evidently reawakened in the composer the long-breathed melodies which mark out his chamber music throughout his career, but Brahms soon declared that the sonatas could just as well be played on the viola, perhaps with one eye on his royalties from Simrock, but violists have been glad to seize on their ‘own’ Brahms ever since.
Melancholy is perhaps inevitably the major key of both sonatas – Brahms had been drawn to express autumnal loneliness even 40 years before – but they are not gloomy works, and are built with undimmed ingenuity as masterfully organic structures in which the usual contrast of first and second themes is forsaken for the kind of continuous variation which Arnold Schoenberg could justly and admiringly describe as ‘musical prose’.

Tracklist:
00:00:00 Violin Sonata No. 1 in F Minor, Op. 120: I. Allegro appassionato
00:08:32 Violin Sonata No. 1 in F Minor, Op. 120: II. Andante un poco adagio
00:13:20 Violin Sonata No. 1 in F Minor, Op. 120: III. Alegretto grazioso
00:18:11 Violin Sonata No. 1 in F Minor, Op. 120: IV. Vivace
00:23:44 2 Gesänge, Op. 91: I. Gestillte Sehnsucht
00:29:53 2 Gesänge, Op. 91: II. Geistliches Wiegenlied
00:35:25 Violin Sonata No. 2 in E-Flat Major, Op. 120: I. Allegro amabile
00:44:14 Violin Sonata No. 2 in E-Flat Major, Op. 120: II. Allegro appassionato
00:50:13 Violin Sonata No. 2 in E-Flat Major, Op. 120: III. Andante con moto

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Playing now: Concerto da camera No. 1 in A Minor, Op. 10: I. Allegro moderato by Orchestra di Padova el del Veneto


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Reclusive and eccentric, the French pianist–composer Charles-Valentin Alkan was also undoubtedly one of the greatest pianists who ever lived, and a composer who, like his friend and fellow-virtuoso Liszt, pushed the boundaries of what his instrument, and human pianism, could achieve. Again like Liszt, he composed music that was not merely flashy and difficult to play – it tapped a deep comprehension of music history and theory, a flair for the lyrical and the dramatic and of course a vast imagination.

Tackling these formidable pieces are eight pianists and one organist, along with the Trio Alkan piano trio and the Orchestra di Padova e del Veneto under Roberto Foreìs-Veses, on recordings dating from 1989–2017. Alkan’s great cycles for the piano — the Études in all the minor keys (Vincenzo Maltempo), in all the major keys (Mark Viner), the Préludes in every key (Laurent Martin) – feature along side other large-scale works like the Grandes Études for hands separate and together (Alessandro Deljavan) and the Nocturnes (Alan Weiss, Costantino Mastroprimiano), as well as characterful miniatures like the Chants and Les Mois (Stanley Hoogland). Organist
Kevin Bowyer demonstrates that Alkan was as much an organ prodigy as anything else, with performances of
the Prières and Little Plainchant Préludes, as well as music for Alkan’s beloved pedal-piano transcribed for the organ.

A welcome and much-needed tribute to the most neglected Genius of the 19th century: Charles-Valentin Alkan.
Charles-Valentin Alkan was one of the most important pianists and piano-composers of the 19th century, although he lived the largest part of his life in obscurity and seclusion. He was a close friend of Chopin (they were neighbours in Paris) and he was the only pianist in whose presence the great Franz Liszt was nervous to play.
Alkan’s works reveal a strikingly original genius, they range from the smallest miniatures to the most colossal creations, from the bizarre to the grandiose, from the intimate to the heroic.
This Edition includes the major piano works: both cycles Studies in all the minor and major keys (Op. 39 and 35), the Grande Sonata, the Concerti da Camera, organ works and chamber music.
Played (among others) by today’s best Alkan interpreters: Giovanni Bellucci, Mark Viner and above all Vincenzo Maltempo, who received several glowing 5-star reviews for his performances: “exhilarating, a revelation!“ (Guardian, selected among the 10 best CD’s of 2012), “his playing flashes with summer lightning” (Gramophone), “Maltempo puts his phenomenal technique at the service of his poetic vision”(Piano News), “with this passionate performance Maltempo confirms his place in the restricted circle of Alkan’s best performers” (5 star, Diapason) and many more.

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Composer: François Devienne, Gaetano Donizetti, Ludwig van Beethoven
Artist: Massimo Data bassoon, Mario Carbotti flute, Piero Barbareschi piano

A delightful programme featuring the bassoon in duo and trio formation chamber music, centred around the substantial and neglected Bassoon Trio WoO37 by Beethoven.
This new recording presents a brilliant duo for bassoon and flute by Devienne, a trio for flute, bassoon and piano by opera composer Donizetti, a virtuoso Fantasia on Verdi themes by Morlacchi/Torriani and Beethoven’s masterpiece.

Tracklist:
00:00:00 Sonata in C Major for Flute and Bassoon: I. Allegro moderato
00:09:19 Sonata in C Major for Flute and Bassoon: II. Rondeau
00:13:33 Trio in F Major for Flute, Bassoon and Piano: I. Larghetto
00:18:05 Trio in F Major for Flute, Bassoon and Piano: II. Allegro
00:26:32 Trio for Piano, Flute and Bassoon in G Major, WoO 37: I. Allegro
00:38:00 Trio for Piano, Flute and Bassoon in G Major, WoO 37: II. Adagio
00:42:56 Trio for Piano, Flute and Bassoon in G Major, WoO 37: III. Thema andante con variazioni
00:52:34 Duetto concertato

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Composer & Artist:
Composer: Antonín Dvorák
Artists: Zara Nelsova, Ruggiero Ricci




About this Album:
A combination of the only two concertos for string instruments by Dvorák on one CD. Ruggiero Ricci (violin) and Zara Nelsova (cello) are the soloists.

Tracklist:
00:00:00 Violin Concerto in A Minor, Op. 53: I. Allegro ma non troppo - Adagio ma non troppo
00:19:04 Violin Concerto in A Minor, Op. 53: II. Finale. Allegro giocoso
00:29:18 Cello Concerto in B Minor, Op. 104: I. Allegro
00:43:31 Cello Concerto in B Minor, Op. 104: II. Adagio ma non troppo
00:54:07 Cello Concerto in B Minor, Op. 104: III. Finale. Allegro moderato
 
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Composer: Stephen Heller
Artist: Jan Vermeulen (piano)

Are piano exercises boring? They do not have to be if you combine the talents of composer Stephen Heller and pianist Jan Vermeulen. Almost every amateur pianist on a slightly more advanced level will have come across Heller. This French/Hungarian composer wrote mainly for the piano. There are over 150 Opus numbers. But he is best-known, or perhaps rather despised for his Piano Studies or Etüden. However, having mastered the necessary technique any pianist will enjoy playing these pieces. For Heller has succeeded in composing exercises which have remained real music as well.
In this release, pianist Jan Vermeulen stands up for Heller by playing the bulk of his piano studies, amounting to 80 pieces. His flowing performances do justice to the musical content of the pieces and make the listener forget any possible hang-ups this music might have caused him or her in the past.

Tracklist in the comments!

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Composers: Antonio Vivaldi, Nicolas Chedeville
Artists: Collegium Pro Musica, Stefano Bagliano (solo recorder), Alberto Pisani (cello), Fabiano Martignago (bass recorder), Andrea Coen (harpsichord)

The first thing to say about these six flute sonatas is that they are not by Vivaldi, nor did they ever have anything to do with the Italian composer. They are instead the work of Nicolas de Chédeville (1705-1782), an oboist and musette player, a student of the great French recorder virtuoso Louis Hotteterre who by the age of 25 had acquired a sufficient name for himself to publish his own compositions. He in turn became an esteemed teacher who worked for the royal households.

In 1737 he made a secret agreement with Jean-Noël Marchand for the latter to obtain a privilege to engrave, print and sell a work as Vivaldi's Il pastor fido, op.13, but in a notarial act dated 17 September 1749 Marchand declared that Chédeville was the composer, also revealing that Chédeville had provided the money for the publication and was receiving the emoluments. It is not certain why Chédeville chose to have his own work attributed to Vivaldi and issued under the privilege of Marchand, but perhaps, as Lescat has suggested, he was trying to give the musette, his favourite instrument, the endorsement of a great composer that it had lacked up until then.
But Chédeville, Vivaldi, whoever: what counts is the dancing vitality and simple, beguiling charm of these sonatas, which are played here by an experienced Italian early-music ensemble, whose previous recordings on Brilliant have met with warm critical response.

The Baroque recorder sonatas on this album bear the title “Il pastor fido”, a hugely popular play by Giovanni Guarini, which inspired many composers with its sensuous, pastoral and “romantic” atmosphere. The sonatas were attributed to Antonio Vivaldi (because of the commercial power of his fame) till in 1990 proof was found they have been written by the French composer Nicolas Chédeville, who borrowed material from Vivaldi and other composers, and developed it in the same idiom.
Excellent performances by the Ensemble Pro Musica, elite players from the Italian Early Music scene: Stefano Bagliano (recorder), Andrea Coen (harpsichord and organ).

00:00:00 Il pastor fido, Op. 13 Sonata No. 1 in C Major: I. Moderato
00:03:00 Il pastor fido, Op. 13 Sonata No. 1 in C Major: II. Allegro, tempo di gavotte
00:04:25 Il pastor fido, Op. 13 Sonata No. 1 in C Major: III. Aria affettuoso
00:07:00 Il pastor fido, Op. 13 Sonata No. 1 in C Major: IV. Allegro
00:09:25 Il pastor fido, Op. 13 Sonata No. 1 in C Major: V. Giga allegro
00:11:32 Il pastor fido, Op. 13 Sonata No. 2 in C Major: I. Preludio, adagio
00:13:51 Il pastor fido, Op. 13 Sonata No. 2 in C Major: II. Allegro assai
00:15:50 Il pastor fido, Op. 13 Sonata No. 2 in C Major: III. Sarabanda, adagio
00:18:00 Il pastor fido, Op. 13 Sonata No. 2 in C Major: IV. Allegro
00:19:54 Il pastor fido, Op. 13 Sonata No. 3 in G Major: I. Preludio, andante
00:22:12 Il pastor fido, Op. 13 Sonata No. 3 in G Major: II. Allegro ma non presto
00:24:54 Il pastor fido, Op. 13 Sonata No. 3 in G Major: III. Sarabanda
00:26:31 Il pastor fido, Op. 13 Sonata No. 3 in G Major: IV. Corrente
00:29:00 Il pastor fido, Op. 13 Sonata No. 3 in G Major: V. Giga, allegro
00:30:13 Il paster fido, Op. 13 Sonata No. 4 in A Major: I. Preludio, largo
00:32:38 Il pastor fido, Op. 13 Sonata No. 4 in A Major: II. Allegro ma non presto
00:35:36 Il pastor fido, Op. 13 Sonata No. 4 in A Major: III. Pastorale
00:39:08 Il pastor fido, Op. 13 Sonata No. 4 in A Major: IV. Allegro
00:41:04 Il pastor fido, Op. 13 Sonata No. 5 in C Major: I. Un poco vivace
00:42:54 Il pastor fido, Op. 13 Sonata No. 5 in C Major: II. Allegro ma non presto
00:45:32 Il pastor fido, Op. 13 Sonata No. 5 in C Major: III. Un poco vivace
00:48:32 Il pastor fido, Op. 13 Sonata No. 5 in C Major: IV. Giga
00:50:36 Il pastor fido, Op. 13 Sonata No. 5 in C Major: V. Adagio
00:51:48 Il pastor fido, Op. 13 Sonata No. 5 in C Major: VI. Minuetto I/II/I
00:52:24 Il pastor fido, Op. 13 Sonata No. 6 in G Minor: I. Vivace
00:55:51 Il pastor fido, Op. 13 Sonata No. 6 in G Minor: II. Fuga da capella
00:57:40 Il pastor fido, Op. 13 Sonata No. 6 in G Minor: III. Largo
00:59:34 Il pastor fido, Op. 13 Sonata No. 6 in G Minor: IV. Allegro ma non presto

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Composer: Antonio Vivaldi
Artists: L'Arte dell'Arco, Federico Guglielmo (violin), Francesco Galligioni (cello), Roberto Loreggian (harpsichord), Elisa Imbalzano (violin)

Federico Guglielmo whittles down his ensemble L’Arte dell’Arco to just three or four players for his latest release of Vivaldi’s music. Unlike other Vivaldi performers, Guglielmo is keen to return to the transparency of the Prete Rosso’s music, stripping away the ornate embellishments that have encumbered recent recordings, allowing the fluid lines to speak for themselves. In these Violin and Trio Sonatas, Guglielmo and his fellow musicians once again establish themselves as some of the foremost interpreters of the Italian’s music. For the most part bright and jolly, these sonatas demand to be played with charm and joie de vivre, which L’Arte dell’Arco certainly supply in abundance. The tender lines of the slow movements are still a world away from some of the darker, more sombre sonatas of Vivaldi’s contemporary J.S. Bach, and they find serious expression and resonance on this album rather than languid solemnity.

It is certainly odd that these Sonatas have been overlooked in the past, with few recordings available on CD, and no recent ones by Italian musicians. Also available as part of a complete boxset of Vivaldi’s Opp.1–12, this recording can also stand alone as an outstanding example of Vivaldi’s superb writing for chamber ensemble.

This album presents the first recording on period instruments of Vivaldi’s complete Opus 5, consisting of 4 violin sonatas for violin solo and continuo, as well as two Trio Sonatas for two violins and continuo.
In the years of composition of these works Vivaldi’s fame had already widely spread and he was keen to publish this set of chamber music as his Opus 5. The music is vintage Vivaldi: fresh, vigorous, full of melodic and harmonic invention and instrumental brilliance.

this recording is part of the complete edition based on the original sources of the New Vivaldi Edition by the Italian early music group L’Arte dell’Arco, led by violinist Federico Guglielmo, who is the soloist in these sonatas, seconded by a continuo of cello and harpsichord. “They understand the secret language of Vivaldi” (Diapason).

00:00:00 Trio Sonata in B-Flat Major, RV 76: I. Preludio. Andante
00:04:00 Trio Sonata in B-Flat Major, RV 76: II. Allemanda. Allegro
00:06:41 Trio Sonata in B-Flat Major, RV 76: III. Corrente. Allegro
00:09:38 Violin Sonata in B Minor, RV 35: I. Preludio. Largo
00:13:25 Violin Sonata in B Minor, RV 35: II. Allemanda. Allegro
00:16:04 Violin Sonata in B Minor, RV 35: III. Corrente. Allegro
00:18:08 Violin Sonata in F Major, RV 18: I. Preludio. Largo
00:20:30 Violin Sonata in F Major, RV 18: II. Corrente. Presto
00:21:49 Violin Sonata in F Major, RV 18: III. Sarabanda. Andante
00:24:03 Violin Sonata in F Major, RV 18: IV. Giga. Allegro
00:25:59 Violin Sonata in A Major, RV 30: I. Preludio. Largo
00:29:04 Violin Sonata in A Major, RV 30: II. Corrente. Presto
00:30:45 Violin Sonata in A Major, RV 30: III. Gavotta. Allegro
00:32:43 Violin Sonata in B-Flat Major, RV 33: I. Preludio. Largo
00:35:19 Violin Sonata in B-Flat Major, RV 33: II. Allemanda. Allegro
00:37:24 Violin Sonata in B-Flat Major, RV 33: III. Corrente. Allegro
00:39:24 Violin Sonata in B-Flat Major, RV 33: IV. Gavotta. Presto
00:41:00 Trio Sonata in G Minor, RV 72: I. Preludio. Largo
00:44:24 Trio Sonata in G Minor, RV 72: II. Allemanda. Allegro
00:46:54 Trio Sonata in G Minor, RV 72: III. Air-Menuet. Allegro

Tracklist in the Comment Section:

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Bedrich Smetana was the first major nationalist composer of Bohemia. Probably best known for his opera The bartered bride and of course The Moldau (from ‘My homeland’) most of his orchestral music is rather neglected by the average symphony orchestra.

Smetana’s predilection for anything Bohemian shines through not just in his music but also particularly in the subjects of his symphonic poems and opera. A keen dancer himself, his music often echoes his native dance tunes as well. The composer also had a keen interest in the theatre. Hence the subjects of his early symphonic poems which were based on works by Shakespeare, Schiller and Oehlenschläger. Of his later symphonic poems, the series ‘Má Vlast’, especially ‘Vltava’ (the Moldau) is very well-known.

Of course no orchestra but the Janácek Philharmonic Orchestra conducted by Theodore Kuchar could play this music better: this is the genuine article. On this release, one can hear the ultimate performances of this most pleasant and vivacious music.

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Artist: Mela Tenenbaum (violin)

Pietro Locatelli was a fellow countryman and contemporary of Vivaldi’s. He was also both a composer and a virtuoso violinist. During his lifetime and long afterwards his works found their way all over Europe.

Some of his compositions make exceptional demands on the solo violinist. There is testimony of Locatelli playing them himself. But looking at the sheet music one wonders how. Especially the capriccii which the composer inserted in all outer movements of his 12 concertos for solo violin and orchestra opus 3, L’arte del violino.

Such a capriccio - literally “whim” - is a more or less independent, inserted showpiece for the soloist. It needs an interpreter who is not only technically more than capable, but who is able to approach the piece still as music as well. If Locatelli could perform these capriccii they must be playable without alterations or simplifications.

Violinist Mela Tenenbaum - originally from the Ukraine, now resident in the U.S.A. - set herself this very task: She recorded these concertos with several ensembles in a most convincing way proving that there is more to L’arte del violino than meets the ear. This release contains all 12 concertos of Locatelli’s Opus 3.

00:00:00 Concerto No. 1 in D Major: Andante
00:07:42 Concerto No. 1 in D Major: Largo
00:13:41 Concerto No. 1 in D Major: Andante
00:22:45 Concerto No. 2 in C Minor: Andante
00:32:09 Concerto No. 2 in C Minor: Largo
00:36:47 Concerto No. 2 in C Minor: Andante
00:44:03 Concerto No. 3 in F Major: Andante
00:53:27 Concerto No. 3 in F Major: Largo
00:59:34 Concerto No. 3 in F Major: Vivace
01:05:43 Concerto No. 4 in E Major: Largo-andante
01:13:05 Concerto No. 4 in E Major: Largo
01:17:19 Concerto No. 4 in E Major: Andante
01:24:59 Concerto No. 5 in C Major: Largo-andante
01:33:24 Concerto No. 5 in C Major: Adagio
01:35:18 Concerto No. 5 in C Major: Allegro
01:41:29 Concerto No. 6 in G Minor: Largo-andante
01:49:39 Concerto No. 6 in G Minor: Adagio
01:51:51 Concerto No. 6 in G Minor: Vivace
01:56:45 Concerto No. 7 in B-Flat Major: Andante
02:04:27 Concerto No. 7 in B-Flat Major: Largo
02:09:33 Concerto No. 7 in B-Flat Major: Allegro
02:15:51 Concerto No. 8 in E Minor: Andante
02:22:23 Concerto No. 8 in E Minor: Largo
02:26:44 Concerto No. 8 in E Minor: Allegro
02:34:28 Concerto No. 9 in G Major: Allegro
02:42:42 Concerto No. 9 in G Major: Largo
02:46:25 Concerto No. 9 in G Major: Allegro
02:53:14 Concerto No. 10 in F Major: Allegro
02:59:36 Concerto No. 10 in F Major: Largo-andante
03:04:32 Concerto No. 10 in F Major: Andante
03:11:07 Concerto No. 11 in D Major: Allegro
03:17:48 Concerto No. 11 in D Major: Largo
03:21:58 Concerto No. 11 in D Major: Andante
03:28:31 Concerto No. 12 in D Major, “The Labyrinth”: Allegro
03:35:24 Concerto No. 12 in D Major, “The Labyrinth”: Largo
03:38:43 Concerto No. 12 in D Major, “The Labyrinth”: Allegro

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Firstly, this album represents a welcome return to the studio, and the recording catalogues, of the Russian violinist Mark Lubotsky. In English-speaking countries, Lubotsky is renowned as the soloist on Britten’s Decca recording of the Violin Concerto: a performance of idiomatic sweep which fully bears out the composer’s claim that ‘this is the performance I have been waiting for.’ He worked with all the great Russian conductors of his generation such as Kondrashin, Svetlanov and Rozhdestvensky. Throughout his career he has played and advocated the music of our time: most notably that of his fellow student at the Moscow Conservatoire, Alfred Schnittke, who dedicated both the Second Violin Concerto and three violin sonatas to him.

However, this focus on new music should not overshadow Lubotsky’s mastery of the classical repertoire. This particular disposition of the ‘Lubotsky Trio’ features the Swedish violinist Katarina Andreasson, though Lubotsky and the cellist Olga Dowbusch-Lubotsky have also played and recorded Taneyev in the more traditional string trio line-up with the violists Ferdinand Erblich and Vladimir Botchkovsky, and also as a piano trio, where they have been partnered by Schnittke’s widow Irina.

The String Trios Op.6 were published in 1769. After his Opp. 1 and 4 sets, they represent Boccherini’s third attempt in as many years to take forward the genre of the Baroque trio sonata. He went on to write another four sets of string trios, all of which are better known and more frequently encountered on record than Op.6, which makes this new recording all the more desirable for the connoisseur of Classical-era chamber music.

No less than the later sets, the Op.6 trios are characterized by a richness of melodic language, virtuosic brilliance and elegance, which nevertheless contains moments of high expression such as the chromatic Adagio which opens the G minor Trio, No.5 in the set. The sound of the two violins and cello in its fullness often approaches to that of the string quartet. Listening to these masterpieces, it is impossible not to notice the indubitable impact of his music on the great Viennese classics, first of all on Mozart.

Luigi Boccherini was one of the most famous cellists of his day, travelling Europe as a touring virtuoso. On his return to his native Lucca he founded the first professional string quartet in history.
Boccherini’s output for string ensembles is vast: he wrote more than 120 string quartets, 100 string quintets (with two cellos) and 48 string trios.
The string trios Op. 6 are for 2 violins and cello, highly expressive music full of rich classical melodies, elegance and instrumental brilliance.
Excellent performances by the Lubotsky Trio, with the eminent Russian violinist Mark Lubotsky, a pupil of David Oistrakh, as primarius.

Composer: Luigi Boccherini
Artist: Lubotsky Trio
00:00:00 String Trio No. 4 in F Major, G. 92: I. Allegro molto
00:05:06 String Trio No. 4 in F Major, G. 92: II. Lento con espressione
00:11:00 String Trio No. 4 in F Major, G. 92: III. Tempo di minuetto
00:15:56 String Trio No. 2 in E-Flat Major, G. 90: I. Allegro maestoso
00:20:21 String Trio No. 2 in E-Flat Major, G. 90: II. Andante grazioso
00:24:30 String Trio No. 2 in E-Flat Major, G. 90: III. Allegro molto
00:28:03 String Trio No. 5 in G Minor, G. 93: I. Adagio
00:31:26 String Trio No. 5 in G Minor, G. 93: II. Rondo allegro
00:34:41 String Trio No. 5 in G Minor, G. 93: III. Tempo di minuetto
00:37:06 String Trio No. 6 in C Major, G. 94: I. Allegro assai
00:43:40 String Trio No. 6 in C Major, G. 94: II. Larghetto
00:50:19 String Trio No. 6 in C Major, G. 94: III. Presto

Tracklist Below:
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Telemann wrote so much and so well for the flute with the understanding of one who knew the instrument from the inside. ‘How my heart beats,’ he wrote, ‘when I see the walls and corners of the room covered with musical instruments… Excellent instrumentalists have made me want to improve my performance on my instruments. I would have done so if an inner fire had spurred me beyond the keyboard, the violin and the flute, to learn the oboe, the chalumeau, the viola da gamba, or indeed the double bass and the bass trombone.’
In line with their earlier work on Vivaldi for Brilliant Classics (BC95078), Hanspeter Oggier and the Ensemble Fratres have now chosen to address the delectable feast of Telemann’s wonderfully joyous music. Meticulous in his work, alert and inventive, Telemann was a great colourist whose coherence and open mindedness enabled him to address the widest audience. The particular appeal of this collection is that the flute parts are taken by the pan-flute, which lend a rustic, sometimes insouciant colour to pairs of suites and concertos. In Telemann the prevalence of curiosity over perfectionism suggests the desire to produce works that were straightforward and accessible to all. There is no hint of superficiality in this approach, however: he sensitively assimilated both Italian and French musical languages as well as certain traditional Polish stylistic elements. These and other ingredients he accepted as simple, pliable mother tongues, without trying to adapt them to his native German idiom.

In the Baroque it was by no means uncommon for composers to freely transcribe and arrange their own works or works by others for a different instruments. Therefore, any present day attempt of alternative instrumentation should be viewed with respect and curiosity: the result counts. And what result we encounter on this new recording of Flute Concertos by Telemann transcribed for the Pan Flute! By turns dramatic and furious, sweet and beguiling: the pan flute has infinite colouristic qualities to do full justice to these master works. The pan flute in its present form originates from 17th century Rumania, mostly used as a folk music instrument. However the use of the pan flute in “classical” Baroque music is by no means an abomination. The improvisatory character, the organic way of tone production which is regulated by the intensity of the breath of the player suit the Baroque music particularly well! Exhilarating performances by Master Pan flutist Hanspeter Oggier and his Ensemble Fratres. They already recorded successfully flute concertos by Vivaldi for Brilliant Classics (BC95078). Extensive liner notes on the music and the instrument included.

00:00:00 Ouverture-Suite in A Minor, TWV 55:a2: I. Ouverture
00:10:37 Ouverture-Suite in A Minor, TWV 55:a2: II. Les plaisirs
00:14:09 Ouverture-Suite in A Minor, TWV 55:a2: III. Air à l’Italien
00:21:03 Ouverture-Suite in A Minor, TWV 55:a2: IV. Menuett I-II
00:24:55 Ouverture-Suite in A Minor, TWV 55:a2: V. Rejouissance
00:27:24 Ouverture-Suite in A Minor, TWV 55:a2: VI. Passepied I-II
00:28:59 Ouverture-Suite in A Minor, TWV 55:a2: VII. Polonoise
00:32:59 Flute Concerto in D Major, TWV 51:D2: I. Moderato
00:35:33 Flute Concerto in D Major, TWV 51:D2: II. Allegro
00:39:47 Flute Concerto in D Major, TWV 51:D2: III. Largo
00:43:22 Flute Concerto in D Major, TWV 51:D2: IV. Vivace
00:46:26 Ouverture-Suite in G Major, TWV 55:G2: I. Ouverture
00:51:34 Ouverture-Suite in G Major, TWV 55:G2: II. Courante
00:53:46 Ouverture-Suite in G Major, TWV 55:G2: III. Gavotte en rondeau
00:54:52 Ouverture-Suite in G Major, TWV 55:G2: IV. Branle
00:55:49 Ouverture-Suite in G Major, TWV 55:G2: V. Sarabande
00:57:37 Ouverture-Suite in G Major, TWV 55:G2: VI. Fantaisie
00:58:48 Ouverture-Suite in G Major, TWV 55:G2: VII. Menuet I-II
01:02:28 Ouverture-Suite in G Major, TWV 55:G2: VIII. Rossignol
01:04:25 Flute Concerto in G Major, TWV 51:G2: I. Andante
01:07:08 Flute Concerto in G Major, TWV 51:G2: II. Vivace
01:09:43 Flute Concerto in G Major, TWV 51:G2: III. Adagio
01:11:50 Flute Concerto in G Major, TWV 51:G2: IV. Allegro

Artist:
Hanspeter Oggier pan flute
Ensemble Fratres

Romantic Classical Music:

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00:00:00 Nocturne in Es-Dur, Op. 9 No. 2
00:04:17 Lied ohne Worte in E-Dur, Op. 19 No. 1
00:08:10 Nocturne in B-Moll, Op. 9 No. 1
00:13:35 Impromptu in B-Dur, Op. 142 No. 3, “Rosamunde”
00:25:30 Intermezzo in B-Dur, Op. 76 No. 4
00:28:03 Impromptu in As-Dur, Op. 142 No. 2
00:34:36 Venetianisches Gondellied
00:37:41 Intermezzo in Es-Dur, Op. 117 No. 1
00:43:01 Intermezzo in B-Moll, Op. 117 No. 2
00:47:53 Consolation in E-Dur
00:51:14 Adagio Mondschein Sonate
00:56:55 Frühlingslied
00:59:14 Arabesque No. 1
01:03:24 Moment Musical in F-Moll, Op. 90 No. 4
01:05:04 Sonate Pathetique: Adagio
01:09:48 Für Elise
01:12:40 Klavierstück in Es-Dur, D 946, No. 2
01:23:48 Intermezzo in A-Dur, Op. 118, No. 2
01:30:10 Arabesque No. 2
01:33:16 Des Abends (Aus: Fantasiestücke, Op. 12)
01:36:40 Impromptu in Ges-Dur, Op. 90 No. 3
01:41:56 Reverie
01:45:40 Romanze in Fis-Dur, Op. 28 No. 2
01:49:02 Sonate in H-Moll
01:53:50 Consolation in Des Dur
01:56:55 Clair de Lune
02:01:54 Träumerei (Aus: Kindersszenen, Op. 15)
02:05:06 Prelude in Des Dur, Op. 28 No. 15, “Regentropfen”
02:09:53 Liebestraum

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Composer & Artists:
Composer: Carl Friedrich Abel
Artists: Georgia Browne (flute), Nordic Affect ensemble

About this Album:
Although Carl Friedrich Abel (1723–87) is known as one of the last and greatest virtuosos of the viola da gamba, his instrument declined in popularity towards the end of the 18th century, leading him to compose for other instruments; some of his most successful results can be heard in the music recorded on this disc.

Abel’s ability to compose particularly fine music for the flute can be traced back his time working at the Dresden court, which possessed one of the greatest orchestras of the era. Among the musicians working there were the flautists Buffardin and Quantz – the latter a prolific composer of flute concertos and sonatas for Frederick the Great, a notable patron of the arts. It is likely that Abel himself was a skilled flautist, and the instrument’s popularity at the time created a great demand for new compositions.

The works featured on this disc are less well known than Abel’s music for viola da gamba, and are performed less often. However, they provide an insight into 18th century music’s transition from Baroque complexity to the melody-driven Classical style, and are illuminated through performances by flute soloist Georgia Browne and the ensemble Nordic Affect, specialists in historical performance.

Tracklist:
00:00:00 Concerto for flute and strings No.5 in G: I. Allegro
00:06:32 Concerto for flute and strings No.5 in G: II. Adagio
00:10:57 Concerto for flute and strings No.5 in G: III. Presto
00:16:21 Sonata No.1 in C, Op. 6: I. Adagio
00:19:24 Sonata No.1 in C, Op. 6: II. Allegro
00:22:42 Sonata No.1 in C, Op. 6: III. Vivace
00:25:38 Trio Sonata No.1 in G, Op. 3: I. Vivace
00:30:47 Trio Sonata No.1 in G, Op. 3: II. Adagio ma non troppo
00:33:53 Trio Sonata No.1 in G, Op. 3: III. Menuetto
00:36:03 Sonata No.3 in E Minor, Op. 6: I. Adagio
00:38:41 Sonata No.3 in E Minor, Op. 6: II. Allegro
00:42:20 Sonata No.3 in E Minor, Op. 6: III. Vivace
00:45:28 Concerto for flute and strings No.2 in E Minor: I. Allegro
00:51:38 Concerto for flute and strings No.2 in E Minor: II. Adagio ma non troppo
00:57:01 Concerto for flute and strings No.2 in E Minor: III. Allegro
01:01:50 Symphony No.1 in C, Op. 7: I. Allegro assai
01:06:08 Symphony No.1 in C, Op. 7: II. Andantino
01:10:31 Symphony No.1 in C, Op. 7: III. Allegro

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Abel #Strings #ClassicalStrings

Tracklist Below:

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A ‘scherzo’ may be a joke, but Chopin’s Scherzi are not to be laughed at: indeed, they are highly virtuosic and require
performers with the utmost skill. Within their complexity, though, is hidden some of the most sensitive and tender music Chopin ever composed. On hearing his Scherzo in B flat minor Op.31, Robert Schumann felt compelled to compare it to the romantic poems of Byron, as it seemed to overflow with passion and feeling. The Scherzo in B minor Op.20, marked ‘Presto con fuoco’, starts at tremendous speed, and climaxes in astonishingly virtuosic arpeggios that span almost the entire length of the keyboard, ending in a minor plagal cadence that seems to sum up the dark despair the piece encapsulates. More light‐ hearted but equally complex are Chopin’s Études and Mazurkas, which he performed himself to great acclaim. It was
Schumann, again, who praised Chopin’s skilful playing, marvelling at his capacity to bring out the inner voices just as clearly as
the melody. At a time when other composers were turning towards large‐scale orchestral works, Chopin knew his strengths
lay with his solo compositions for piano: his Waltzes, Scherzi, Mazurkas and Études still rank among the most performed and
beloved solo piano works today. This release illustrates why Chopin deserves his reputation as supreme composer for the
piano, featuring as it does his most dramatic works for the instrument. Czech pianist Ivan Moravec, whose recording career spans almost half a century, entered the classical music scene in America with aplomb thanks to his performances of Chopin’s Scherzi in 1962. This recording was made in 1989 at the world famous Troy Savings Bank Music Hall in New York State, which boasts one of the finest acoustics in the US. Playing on a Steinway Model D that had to be brought through the window especially for the performance, Moravec sparkles on this recording, as he illustrates why his reputation as a world class pianist is truly deserved.

This release presents one of the best recordings of the 4 Scherzi by Chopin, as played by Ivan Moravec.
Moravec recorded this Chopin recital in 1989 in the USA. Moravec is a “pianist’s pianist”, someone who combines deep intellectual musicality, passion and a superb command of keyboard. He is counted among today’s greatest living pianists, respected and admired by audiences all over the world. Featuring the 4 Scherzi, and a selection of Mazurkas and Etudes.

00:00:00 Scherzo No. 1 in B Minor, Op. 20
00:10:24 Scherzo No. 2 in B-Flat Minor, Op. 31
00:20:38 Scherzo No. 3 in C-Sharp Minor, Op. 39
00:28:08 Scherzo No. 4 in E Major, Op. 54
00:39:48 Étude in C-Sharp Minor, Op. 25, No. 7
00:46:06 Étude in A-Flat Major, Op. 25, No. 1 Aeolian Harp
00:48:55 Mazurkas, Op. 41: Mazurka No. 1 in E Minor
00:51:42 Mazurkas, Op. 68: Mazurka No. 4 in F minor
00:54:00 Mazurkas, Op. 7: Mazurka No. 5 Vivo in C Major
00:54:49 Mazurkas, Op. 56: Mazurka No. 2 in C Major

Artist:
Ivan Moravec

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Composer: Johann Sebastian Bach
Artists: Viruosi Saxoniae, Ludwig Guttler (conductor)

Can one ever tire of the dancing inspiration that animates these four portmanteau collections which have delighted both serious and casual listeners ever since Bach compiled them for use in social occasions as the 30-something Kapellmeister at the briefly enlightened court of Prince Leopold of Cöthen, exulting in the multifarious influences which he had absorbed and could place at the service of a compositional mind of unequalled intellectual brilliance yet always conscious of his music’s need to entertain, to give delight as well as accompany the sober thoughts of his congregations?

Not, at any rate, in these performances from a virtuoso German ensemble hailing from Bach’s own part of the world and masterminded by a superb trumpeter-turned-conductor who well understands the exuberant, public character of these suites, their occasional purposes, for all that in such moments as the famous Air from the G major Suite, No.3, they appear to take on a more confiding aspect, drawing the listener in before dispelling the tension with another jolly minuet or charming sarabande.

Bach’s Suites count among his most popular and most frequently performed works, they are quintessential Bach: majestic, noble, tender and full of energy. They contain some of Bach’s evergreens: the Air from the 3rd Suite and the Badinerie from the 2nd Suite.
Played by the Virtuosi Saxoniae conducted by trumpetist/conductor Ludwig Güttler, modern instruments in Historically Informed Performance Practice, the best of both worlds.

00:00:00 Suite in C Major, BWV 1066: I. Ouverture
00:05:38 Suite in C Major, BWV 1066: II. Courante
00:07:16 Suite in C Major, BWV 1066: III. Gavotte No. 1 - Gavotte No. 2
00:09:43 Suite in C Major, BWV 1066: IV. Forlane
00:11:00 Suite in C Major, BWV 1066: V. Menuet No. 1 - Menuet No. 2
00:13:45 Suite in C Major, BWV 1066: VI. Bourrée No. 1 - Bourrée No. 2
00:16:10 Suite in C Major, BWV 1066: VII. Passepied No. 1 - Passepied No. 2
00:19:20 Suite in B Minor, BWV 1067: I. Ouverture
00:25:45 Suite in B Minor, BWV 1067: II. Rondeau
00:27:25 Suite in B Minor, BWV 1067: III. Sarabande
00:30:18 Suite in B Minor, BWV 1067: IV. Bourrée No. 1 - Bourrée No. 2
00:32:09 Suite in B Minor, BWV 1067: V. Polonaise No. 1 - Polonaise No. 2
00:35:10 Suite in B Minor, BWV 1067: VI. Menuet
00:36:18 Suite in B Minor, BWV 1067: VII. Badinerie
00:37:45 Suite in D Major, BWV 1068: I. Ouverture
00:44:21 Suite in D Major, BWV 1068: II. Air
00:48:38 Suite in D Major, BWV 1068: III. Gavotte No. 1 - Gavotte No. 2
00:51:49 Suite in D Major, BWV 1068: IV. Bourrée
00:53:04 Suite in D Major, BWV 1068: V. Gigue
00:55:50 Suite in D Major, BWV 1069: I. Ouverture
01:02:39 Suite in D Major, BWV 1069: II. Bourrée No. 1 - Bourrée No. 2
01:05:32 Suite in D Major, BWV 1069: III. Gavotte
01:07:16 Suite in D Major, BWV 1069: IV. Menuet No. 1 - Menuet No. 2
01:10:45 Suite in D Major, BWV 1069: V. Réjouissance

Tracklist Below:
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Following on from Canto Ostinato XL earlier this year, Brilliant Classics is proud to present Canto Ostinato XXL, a recording that brings a new perspective to Simeon ten Holt’s minimalist composition by adding a Romantic organ to the work’s original scoring for four pianos – a combination never before attempted. The result is the most beautiful and harmonious of sounds, one that captures Canto Ostinato’s emotional variety and depth through building on the sweetness and simplicity that inhabit this acclaimed composition, first performed in 1979.
Canto Ostinato is all to do with time: ‘taking your time, passing time, making time,’ as Jeroen van Veen, and one of the performers on the four-disc set, explains; and this is partly effected through the artists’ decision to repeat certain of the composition’s sections (106 in total) ad lib, thus inducing a sort of alienation of the part of the listener (because of the repetition’s posterior relationship to the harmony) and creating a hypnotic effect, a regular feature of minimalist music. Recorded over the course of just one day, this four-hour arrangement slows the tempo down a little, in order to accommodate the magnificent acoustics of the Muziekgebouw Eindhoven. Joining organist Aaart Bergwerff and Brilliant Classics regulars Sandra and Jeroen van Veen, all of whom feature on XL, are the acclaimed piano duo Elizabeth and Marcel Bergmann, both experts in the minimalist genre and who also enjoy separate international careers. Jeroen van Veen chairs the Simeon ten Holt Foundation, dedicated to keeping the wonderful music of this late Dutch composer alive.

Other information:
- Recorded 19 May 2014.

00:00:00 Canto Ostinato: Section 1
00:05:00 Canto Ostinato: Section 5
00:12:10 Canto Ostinato: Section 10
00:32:10 Canto Ostinato: Section 17
00:38:42 Canto Ostinato: Section 20
00:46:46 Canto Ostinato: Section 23
00:58:28 Canto Ostinato: Section 34
01:02:11 Canto Ostinato: Section 37
01:03:23 Canto Ostinato: Section 37
01:08:05 Canto Ostinato: Section 41
01:18:51 Canto Ostinato: Section 56
01:22:35 Canto Ostinato: Section 60
01:31:04 Canto Ostinato: Section 69
01:39:33 Canto Ostinato: Section 74. Cumulation No. 1
01:53:02 Canto Ostinato: Section 83
02:03:33 Canto Ostinato: Section 88
02:07:14 Canto Ostinato: Section 88 A
02:10:54 Canto Ostinato: Section 88 B
02:13:35 Canto Ostinato: Section 88 C
02:33:02 Canto Ostinato: Section 88 A
02:42:15 Canto Ostinato: Section 88 F
02:56:05 Canto Ostinato: Section 88 H
03:02:04 Canto Ostinato: Section 89
03:05:50 Canto Ostinato: Section 91 A
03:07:49 Canto Ostinato: Section 91 A
03:16:25 Canto Ostinato: Section 91 C
03:22:38 Canto Ostinato: Section 91 E
03:38:30 Canto Ostinato: Section 91 I
03:46:18 Canto Ostinato: Section 92
03:51:12 Canto Ostinato: Theme No. 2. Cumulation No. 2
04:02:20 Canto Ostinato: Section 105
04:04:21 Canto Ostinato: Section 106

Artist:
Jeroen van Veen (piano)
Sandra van Veen (piano)
Marcel Bergmann (piano)
Elizabeth Bergmann (piano)
Aart Bergwerff (organ)

This collection provides a complete account of Robert Schumann’s works for viola and piano. Schumann was a real innovator, who would often explore new instrumental combinations, sometimes bringing neglected or forgotten instruments back into the limelight. The works on this recording show just how many different moods the composer could evoke using the unusual combination of viola and piano, from the changeable nature of the Fantasiestücke Op.73 and the array of emotions portrayed in the Märchenbilder Op.113 to the passion of the Adagio and Allegro Op.70 and finally the intricacies of the Märchenerzählungen Op.132, with a little help from the clarinet.

The successful partnership of violist Lorenzo Falconi and pianist Sara Bacchini has been described by acclaimed performer, Pier Narciso Masi, as ‘a real Duo, in the most complete sense of the word. Their profound understanding of chamber music is supported by considerable talent, sensitivity and personality, and they are great communicators.’ They are joined for the recording by clarinettist Darlo Goracci.

Composer: Robert Schumann
Artists: Lorenzo Falconi (viola), Sara Bacchini (piano), Dario Goracci (clarinet)

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00:00:00 Fantasiestücke, Op. 73: I. Zart und mit Ausdruck
00:03:23 Fantasiestücke, Op. 73: II. Lebhaft, leicht
00:07:05 Fantasiestücke, Op. 73: III. Rasch und mit Feuer
00:11:41 Märchenbilder, Op. 113: I. Nicht schnell
00:15:35 Märchenbilder, Op. 113: II. Lebhaft
00:19:31 Märchenbilder, Op. 113: III. Rasch (mit springendem Bogen)
00:22:38 Märchenbilder, Op. 113: IV. Langsam, mit melancholischem Ausdruck
00:28:58 Adagio and Allegro in A-Flat Major, Op. 70: Langsam, mit innigem Ausdruck (Adagio)
00:33:12 Adagio and Allegro in A-Flat Major, Op. 70: Rasch und feurig (Allegro con brio)
00:38:35 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: I. Lebhaft, nicht zu schnell
00:41:35 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: II. Lebhaft und sehr markiert
00:44:56 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: III. Ruhiges Tempo, mit zartem Ausdruck
00:49:02 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: IV. Lebhaft, sehr markiert

Tracklist below.

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One of the giants of the historically informed performance world needs little introduction; nor indeed his sympathy to Mozart’s oeuvre as already demonstrated in recordings of the three da Ponte operas that have met with wide acclaim and many awards for their closely observed intimacy, their sense of fun and drama and their well-chosen casts, at one with Kuijken’s vision of these jewels of human and music drama.

His recording of Mozart’s magical last opera, however, has not received wide availability until now, in its appearance as part of Brilliant Classics’s comprehensive Opera Collection. The recording was made live at the Notre-Dame Church in Beaune, in France, in 2004. The cast is highly recognisable from many other fine productions of Baroque and early music, including Suzie LeBlanc (Pamina); Cornelius Hauptmann (Tamino); Stephan Genz (Papageno) and Isolde Siebert (Queen of Night).

Of course the orchestral contribution to this recording is no less distinguished: La Petite Bande features the cream of Continental period-instrument musicians, and is led by Kuijken himself, a violinist as much at home in Mozart’s world as he is in Bach’s.

00:00:00 Die Zauberflöte: Act 1: Overture (Orchestra)
00:06:17 Die Zauberflöte: Act 1: No. 1. Introduction: Zu Hilfe! Zu Hilfe! (Tamino/Three Ladies)
00:12:11 Die Zauberflöte: Act 1: Dialogue: Wo bin ich? Ist’s Phantasie, daß ich noch lebe?
00:12:26 Die Zauberflöte: Act 1: No. 2. Song: Der Vogelfänger bin ich ja (Papageno)
00:15:03 Die Zauberflöte: Act 1: Dialogue: He da! (Tamino/Papageno/Three Ladies)
00:21:21 Die Zauberflöte: Act 1: No. 3. Aria: Dies Bildnis ist bezaubernd schön (Tamino)
00:24:50 Die Zauberflöte: Act 1: Dialogue: Rüste dich mit Mut und Standhaftigkeit (Three Ladies/Tamino)
00:26:40 Die Zauberflöte: Act 1: No. 4. Recitative und Aria: O zittre nicht, mein lieber Sohn! ( Queen of the Night)
00:31:18 Die Zauberflöte: Act 1: Dialogue: Ist’s denn auch Wirklichkeit was ich sah (Tamino)
00:31:40 Die Zauberflöte: Act 1: No. 5. Quintet: Hm, hm, hm, hm, hm! (Papageno/Tamino/Three Ladies)
00:37:30 Die Zauberflöte: Act 1: Dialogue: Ha, ha, ha! (Slaves/Monostatos)
00:38:43 Die Zauberflöte: Act 1: No. 6. Trio: Du feines Täubchen (Monostatos/Pamina/Papageno)
00:40:27 Die Zauberflöte: Act 1: Dialogue: Mutter – Mutter – Mutter! (Pamina/Papageno)
00:45:28 Die Zauberflöte: Act 1: No. 7. Duet: Bei Männern, welche Liebe fühlen (Pamina/Papageno)
00:48:29 Die Zauberflöte: Act 1: No. 8. Finale: Zum Ziele führt dich diese Bahn (Three Boys/Tamino)
00:49:59 Die Zauberflöte: Act 1: Recitative: Die Weisheitslehre dieser Knaben (Tamino/First Priest)
00:56:56 Die Zauberflöte: Act 1: Andante: Wie stark ist nicht dein Zauberton (Tamino)
00:59:40 Die Zauberflöte: Act 1: Andante: Schnelle Füße, rascher Mut (Pamina/Papageno/Monostatos/Slaves)
01:02:41 Die Zauberflöte: Act 1: Chorus: Es lebe Sarastro! Sarastro lebe! (Chorus/Papageno/Pamina)
01:04:14 Die Zauberflöte: Act 1: Larghetto: Herr, ich bin zwar Verbrecherin (Pamina/Sarastro)
01:06:35 Die Zauberflöte: Act 1: Allegro: Nun stolzer Jüngling, nur hierher! (Monostatos/Pamina/Tamino/All/Sarastro)
01:08:34 Die Zauberflöte: Act 1: Chorus: Wenn Tugend und Gerechtigkeit (Chorus)

Tracklist below.

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Variously described as “contemporary classical”, “minimalist”, and even “New Age”, Yiruma’s gorgeously peaceful piano music is impossible to classify – it is simply there to be enjoyed, to relax or even to study with. Minimal music is very popular, Yiruma is one of the most popular Minimal music pianists, regularly performing to sell‐out audiences around the globe. Despite his popularity, or maybe even a celebrity status, his music remains resolutely simple and unpretentious; more in the style of short pop music songs than regular solo piano pieces, the very best of it can be enjoyed on this exciting album.

Jeroen van Veen, himself a prolific composer as well as renowned pianist, fell in love with Yiruma’s music on first hearing. As he explains in his liner notes, the music’s enduring popularity is down to its simplicity for player and listener alike. Not many classical composers can boast of having millions of fans, and millions of YouTube views to boot; Yiruma, however, effortlessly bridges the gap between popular and classical, and, most of all, allows the listener to relax and unwind.


00:00:00 Chaconne
00:04:02 Mika’s Song
00:07:03 27. May
00:10:48 Spring Waltz
00:13:20 The View From My Window
00:16:08 Sky
00:19:42 The Day After
00:23:17 Fairy Tale
00:26:04 Do You?
00:30:33 Love Me
00:34:26 I
00:38:45 Wait There
00:43:49 Passing By
00:48:40 The Things I Really
00:52:02 Indigo
00:54:36 Poem
00:57:33 Infinia
01:01:12 Reminiscent
01:04:15 Tears On Love
01:08:04 Yellow Room
01:11:57 River Flows In You
01:15:28 One Day I Will
01:19:44 Loanna
01:23:47 Beloved
01:28:47 Kiss The Rain
01:32:44 Our Same World
01:34:31 May Be
01:38:30 Fotografia
01:41:38 Destiny Of Love
01:45:42 Sometimes … Someone
01:49:46 It’s Your Day
01:53:21 I’m Just A
01:58:00 When The Love Falls
02:01:34 The Moment
02:05:09 …
02:08:14 The Scenery Begins
02:12:10 Falling
02:16:52 With The Wind
02:20:15 All Myself To You
02:23:52 Time Forgets
02:27:51 Tears
02:29:42 Dream
02:34:14 Picture Me

Artist:
Jeroen van Veen (piano)

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Composer: Luigi Boccherini
Artists: La Magnifica Comunitá, Enrico Casazza (violin and concert master)

Boccherini’s string quintets have more to offer than the almost infamous Minuet (from G 275). The gifted Italian composer has written a huge amount of chamber music, including many string quintets for different combinations of instruments.Some of his earlier quintets for 2 violins, 1 viola and 2 celli have now been recorded by the Italian Baroque ensemble La Magnifica Comunita. The ensemble pays a lot of attention to stylistic research. All members have studied at prestigious musical institutions like the Royal Conservatory in The Hague and Schola Cantorum Basiliensis. They play on period instruments. Since Boccherini himself was a professional cello-player he often choose for this more unusual combination with the 2 celli. His music is often a vibrant mixture of Romantic, Italian and Spanish or rather Andalusian elements. Intense performances by La Magnifica Comunitá.

00:00:00 Quintetto I in La Maggiore / A Major, G. 265: Andantino
00:06:02 Quintetto I in La Maggiore / A Major, G. 265: Largo
00:11:57 Quintetto I in La Maggiore / A Major, G. 265: Minuetto Allegro, Trio
00:17:23 Quintetto I in La Maggiore / A Major, G. 265: Allegro assai
00:20:29 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Amoroso
00:27:04 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Allegro non tanto
00:33:07 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Minuetto, Trio
00:38:34 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Presto
00:41:37 Quintetto III in Do Minore / C Minor, G. 267: Allegretto
00:51:17 Quintetto III in Do Minore / C Minor, G. 267: Adagio non tanto
00:55:23 Quintetto III in Do Minore / C Minor, G. 267: Minuetto, Trio
01:00:22 Quintetto III in Do Minore / C Minor, G. 267: Presto
01:04:58 Quintetto IV in Do Maggiore / C Major, G. 268: Adagio
01:06:19 Quintetto IV in Do Maggiore / C Major, G. 268: Allegro e con forza
01:15:41 Quintetto IV in Do Maggiore / C Major, G. 268: Adagio
01:20:30 Quintetto IV in Do Maggiore / C Major, G. 268: Rondeau Allegro
01:24:26 Quintetto V in Mi Bemolle Maggiore / E-Flat Major, G. 269: Non tanto sostenuto
01:29:16 Quintetto V in Mi Bemolle Maggiore / E-Flat Major, G. 269: Allegro assai
01:37:04 Quintetto V in Mi Bemolle Maggiore / E-Flat Major, G. 269: Allegretto
01:44:19 Quintetto VI in Re Maggiore / D Major, G. 270: Pastorale
01:48:29 Quintetto VI in Re Maggiore / D Major, G. 270: Allegro Maestoso
01:54:54 Quintetto VI in Re Maggiore / D Major, G. 270: Minuetto con variazioni