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Composer & Artist:
Composer: César Auguste Franck
Artists: Mūza Rubackytė (piano)

About this Album:
“An artist of phenomenal powers who must be counted among the most gifted pianists of our time”, claimed the American “Fanfare” magazine, reviewing one of the recent recordings by the Lithuanian-born pianist Mūza Rubackytė. On this release Muza performs a selection of piano music by César Franck.

Tracklist:
00:00:00 Prelude, Fugue et Variation: Prelude
00:03:49 Prelude, Fugue et Variation: Lento
00:05:01 Prelude, Fugue et Variation: Fugue
00:08:22Prelude, Fugue et Variation: Variation
00:12:25 Prelude, Aria et Final: Prelude
00:21:46 Prelude, Aria et Final: Aria
00:27:04 Prelude, Aria et Final: Final
00:34:22 Prelude, Choral et Fugue: Prelude
00:38:51 Prelude, Choral et Fugue: Choral
00:43:37 Prelude, Choral et Fugue: Poco allegro
00:44:52 Prelude, Choral et Fugue: Fugue

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Listen to a selection of beautiful minimal piano music, made by Brilliant Classics. Perfect for studying, or just to relax. For more information go to www.brilliantclassics.com.

Tracklist:

1) 0:00:00 – Divenire: No. 9, Fly – Ludovico Einaudi
2) 0:04:51 – Minimal Preludes, Book III: Prelude No. 25 in A Minor – Jeroen van Veen
3) 0:13:49 – Comptine d’un autre été: L’après midi – Yann Tiersen
4) 0:16:09 – Canto Ostinato, Pt. 1: Section 69 – Simeon Ten Holt
5) 0:20:20 – Canto Ostinato, Pt. 1: Theme I, Section 74 – Semeon Ten Holt
6) 0:25:32 – Canto Ostinato, Pt. 1: Section 78 – Simeon Ten Holt
7) 0:28:49 – The Promise – Michael Nyman
8) 0:31:56 – Una Mattina: No. 1, Una mattina – Ludovico Einaudi
9) 0:35:18 – Comptine d‘été No. 3 – Yann Tiersen
10) 0:37:51 – The Heart Asks Pleasure First I – Michael Nyman
11) 0:42:08 – Divenire: No. 6, Primavera – Ludovico Einaudi
12) 0:49:32 – Le Onde: No. 2, Le Onde – Ludovico Einaudi
13) 0:54:50 – Mad Rush – Philip Glass
14) 1:10:03 – Una Mattina: No. 10, Nuvole bianche – Ludovico Einaudi
15) 1:15:51 – Metamorphosis III (Arranged for Two Pianos by Jeroen Van Veen) – Philip Glass
16) 1:21:52 – I Giorni: No. 6, I giorni – Ludovico Einaudi
17) 1:28:16 – The Poet Acts – Philip Glass
18) 1:31:52 – 4 Mains – Wim Mertens
19) 1:35:25 – Incanto No. 3 for Two Pianos – Jeroen van Veen
20) 1:52:16 – Lost And Found – Michael Nyman
21) 1:55:31 – La valse d’Amélie – Yann Tiersen
22) 1:58:15 – Kiss the Rain – Yiruma
23) 2:02:11 – Metamorphosis II (Arranged for Two Pianos by Jeroen Van Veen) – Philip Glass
24) 2:09:39 – All Imperfect Things – Michael Nyman
25) 2:13:21 – Metamorphosis: Metamorphosis One – Philip Glass
26) 2:20:25 – Yellow Room – Yiruma
27) 2:24:18 – River Flows in You – Yiruma
28) 2:27:49 – Beloved – Yiruma
29) 2:32:28 – Incantatie IV, Pt. 1: Tableau I, Section 1-26
30) 3:00:14 – Kiss the Rain – Yiruma

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Composer: Georg Frideric Handel, Wolfgang Amadeus Mozart
Artists: Charlotte Balzereit harp,
Giselle Herbert harp,
Jutta Zoff harp,
Jana Bouskova harp,
Staatskapelle Dresden,
Les Violins du Roy,
Stuttgart Chamber Orchestra,
Nicol Matt conductor,
Südwestdeutsches Kammerorchester Pforzheim,
Vladislav Czarnecki conductor,

About this Album:
The harp is the ultimate romantic icon: the instrument of angels, and of Cupid, the god of love. One of the world’s oldest musical instruments, yet one of the most versatile and cherished, its modern counterpart also has the largest range of any orchestral instrument. This dreamy collection pulls together an equally extensive range of concertos for harp, contrasting the towering figures of Handel and Mozart with gems by lesser-known composers such as François-Adrien Boieldieu and Johann Georg Albrechtsberger.


Tracklist:
00:00:00 Harp Concerto in B-Flat Major, HWV 294: I. Andante – allegro (Handel)
00:04:18 Harp Concerto in B-Flat Major, HWV 294: II. Larghetto (Handel)
00:09:49 Harp Concerto in B-Flat Major, HWV 294: III. Allegro moderato (Handel)
00:12:30 Concerto for Flute and Harp in C Major, K. 299: I. Allegro (Mozart)
00:22:06 Concerto for Flute and Harp in C Major, K. 299: II. Andantino (Mozart)
00:30:16 Concerto for Flute and Harp in C Major, K. 299: III. Rondo. Allegro (Mozart)
00:39:55 Harp Concerto in C in Major: I. Allegro brillante (Boieldieu)
00:50:54 Harp Concerto in C in Major: II. Andante lento (Boieldieu)
00:55:02 Harp Concerto in C in Major: III. Rondo. Allegro agitato (Boieldieu)
01:02:04 Harp Concerto in A Major: I. Allegro molto (Dittersdorf)
01:08:42 Harp Concerto in A Major: II. Larghetto (Dittersdorf)
01:17:52 Harp Concerto in A Major: III. Rondo. Allegretto (Dittersdorf)
01:21:25 Harp Concerto in C Major: I. Allegro moderato (Albrechtsberger)
01:27:54 Harp Concerto in C Major: II. Adagio (Albrechtsberger)
01:37:39 Harp Concerto in C Major: III. Allegro (Albrechtsberger)
01:40:54 Partita in F Major: I. Presto (Albrechtsberger)
01:44:44 Partita in F Major: II. Adagio un poco (Albrechtsberger)
01:51:46 Partita in F Major: III. Menuetto (Albrechtsberger)
01:54:29 Partita in F Major: IV. Finale. Allegro (Albrechtsberger)
01:58:35 Harp Concerto in G Major: I. Allegro (Wagenseil)
02:02:25Harp Concerto in G Major: II. Andante (Wagenseil)
02:07:03 Harp Concerto in G Major: III. Vivace (Wagenseil)

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#romanticharp #romanticclassics #harpmusic #classicalharpmusic

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Artist: L'Arte dell'Arco , Federico Guglielmo (solo violin & concertmaster ), Pier Luigi Fabretti (oboe)

With this new release, L’Arte dell’Arco complete their survey of the concertos and sonatas Opp. 1-12 which spread the fame of Antonio Vivaldi across Europe thanks to their publication by Etienne Roger in Amsterdam. These final two sets were published in 1729, 18 years after the L’estro armonico collection Op.2 had created a sensation with their unprecedented brilliance of solo writing, rhythmic vivacity and originality of disposition between solo and accompaniment.

Federico Guglielmo contributes a scholarly note to the booklet, in which study of the manuscripts have uncovered new contexts to these concertos. Although it is uncertain how much Vivaldi supervised their publication, and to what degree they are compilations of earlier work, the concertos bear the hallmarks of the fully mature composer. By this time in his full maturity, Vivaldi was highly receptive to the appeal of the new galant taste, enriched by his experience with opera, and sensitive to discussion with acclaimed composers such as Leonardo Vinci, Nicola Porpora and Leonardo Leo. Two of them were likely written for one Anna Maria, a student of particular virtuoso abilities at the Ospedale della Pieta where Vivaldi was the long-serving music master. The final concerto of Op.11 was originally conceived as an oboe concerto, and in that form is presented here.

00:00:00 Violin Concerto No. 5 in C Minor, RV 202: I. Allegro non molto
00:04:47 Violin Concerto No. 5 in C Minor, RV 202: II. Largo
00:07:08 Violin Concerto No. 5 in C Minor, RV 202: III. Allegro non molto
00:11:06 Violin Concerto No. 4 in G Major, RV 308: I. Allegro
00:15:15 Violin Concerto No. 4 in G Major, RV 308: II. Largo cantabile
00:18:55 Violin Concerto No. 4 in G Major, RV 308: III. Allegro
00:22:44 Violin Concerto No. 2 in E Minor, RV 277 “il favorito”: I. Allegro
00:27:14 Violin Concerto No. 2 in E Minor, RV 277 “il favorito”: II. Andante
00:31:35 Violin Concerto No. 2 in E Minor, RV 277 “il favorito”: III. Allegro
00:36:00 Violin Concerto No. 3 in A Major, RV 336: I. Allegro
00:40:06 Violin Concerto No. 3 in A Major, RV 336: II. Aria andante
00:42:41 Violin Concerto No. 3 in A Major, RV 336: III. Allegro
00:46:02 Violin Concerto No. 1 in D Major, RV 207: I. Allegro
00:49:11 Violin Concerto No. 1 in D Major, RV 207: II. Largo
00:51:25 Violin Concerto No. 1 in D Major, RV 207: III. Allegro
00:54:03 Oboe Concerto No. 6 in G Minor, RV 460: I. Allegro non tanto
00:57:47 Oboe Concerto No. 6 in G Minor, RV 460: II. Largo
01:00:49 Oboe Concerto No. 6 in G Minor, RV 460: III. Allegro non molto
01:04:24 Violin Concerto No. 5 in B-Flat Major, RV 379: I. Allegro
01:08:08 Violin Concerto No. 5 in B-Flat Major, RV 379: II. Largo
01:10:58 Violin Concerto No. 5 in B-Flat Major, RV 379: III. Allegro
01:14:13 Violin Concerto No. 1 in G Minor, RV 317: I. Allegro
01:17:38 Violin Concerto No. 1 in G Minor, RV 317: II. Largo
01:21:20 Violin Concerto No. 1 in G Minor, RV 317: III. Allegro
01:24:19 Violin Concerto No. 4 in C Major, RV 173: I. Largo spiccato, allegro
01:28:30 Violin Concerto No. 4 in C Major, RV 173: II. Largo
01:30:36 Violin Concerto No. 4 in C Major, RV 173: III. Allegro
01:33:04 Violin Concerto No. 2 in D Minor, RV 244: I. Allegro
01:36:43 Violin Concerto No. 2 in D Minor, RV 244: II. Larghetto
01:39:26 Violin Concerto No. 2 in D Minor, RV 244: III. Allegro
01:42:02 Violin Concerto No. 6 in B-Flat Major, RV 361: I. Allegro
01:46:11 Violin Concerto No. 6 in B-Flat Major, RV 361: II. Largo
01:48:25 Violin Concerto No. 6 in B-Flat Major, RV 361: III. Allegro
01:52:28 Concerto for Strings No. 3 in D Major, RV 124: I. Allegro
01:54:41 Concerto for Strings No. 3 in D Major, RV 124: II. Grave
01:56:41 Concerto for Strings No. 3 in D Major, RV 124: III. Allegro

Tracklist below.
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John Cage (1912–92) is regarded as one of the most influential and controversial composers of the 20th century.

It is not only his music that this reputation is based on – his ideas were revolutionary, and he cast doubt on the supremacy of European art, and music when it was unchallenged and such views were considered heretic.

Cage rejected the status held by harmony, instrumentation, and even the development of music from one point to another. He disconnected harmony from rhythm to liberate western music from its hitherto privileged hierarchies – iconoclastic stuff for 1940s America!

Cage studied with Schoenberg in Los Angeles, and although he adopted the 12-tone technique he abandoned Schoenberg’s expressionist style.

Cage was also influenced the maverick composer – Erik Satie. Satie had also ridiculed the musical establishment, and Cage arranged Satie’s longest work Socrate (a monodrama for piano and voice) for two pianos. It is worth mentioning that Cage’s favourite Satie composition was Vexations, a short work for piano, with instructions that it may be performed 840 times without pause or change.

00:00:00 Three Easy Pieces (1933): Round
00:01:54 Three Easy Pieces (1933): Duo
00:02:36 Three Easy Pieces (1933): infinite CaNon
00:03:11 Three Easy Pieces (1933): Quest
00:04:01 Metamorphosis (1938): Metamorphosis I
00:06:17 Metamorphosis (1938): Metamorphosis II
00:08:54 Metamorphosis (1938): Metamorphosis III
00:13:59 Metamorphosis (1938): Metamorphosis IV
00:15:13 Metamorphosis (1938): Metamorphosis V
00:17:43 Jazz study (1942)
00:20:20 Tripled paced (first version, 1943): Tripled paced - 1a versione I
00:21:16 Tripled paced (first version, 1943): Tripled paced - 1a versione II
00:22:07 Tripled paced (first version, 1943): Tripled paced - 1a versione III
00:22:43 Ad lib
00:25:46 Soliloquy
00:28:21 Ophelia
00:34:45 Two pieces (1946): Two pieces I
00:38:22 Two pieces (1946): Two pieces II
00:42:07 in A landscape
00:50:08 Dream
00:56:24 Suite for toy Piano - versione per Pianoforte - I
00:57:42 Suite for toy Piano - versione per Pianoforte - II
00:59:09 Suite for toy Piano - versione per Pianoforte - III
01:00:20 Suite for toy Piano - versione per Pianoforte - IV
01:01:52 Suite for toy Piano - versione per Pianoforte - V
01:02:47 Seven Haiku I
01:03:00 Seven Haiku II
01:03:11 Seven Haiku III
01:03:34 Seven Haiku IV
01:03:50 Seven Haiku V
01:04:14 Seven Haiku vi
01:04:32 Seven Haiku viI
01:04:52 For M.C. and D.T.
01:05:40 Waiting
01:09:21 Socrate (1918) Drame symphonique en trois parties Transcription for two pianos by Cage (1944–1968): I Portrait de Socrate (Le Banquet)
01:15:47 Socrate (1918) Drame symphonique en trois parties Transcription for two pianos by Cage (1944–1968): II Bords de l'Iliussus (Phèdre)
01:22:39 Socrate (1918) Drame symphonique en trois parties Transcription for two pianos by Cage (1944–1968): III Morte de Socrate (Phédon)
01:38:23 Cheap imitation (1969) I
01:44:26 Cheap imitation (1969) II
01:53:28 Cheap imitation (1969) III
02:09:39 Etudes Boreales I (Piano)
02:15:13 Etudes Boreales II (Piano)
02:20:44 Etudes Boreales III (Piano)
02:26:22 Etudes Boreales IV (Piano)
02:32:04 Etudes Boreales I (cello)
02:37:32 Etudes Boreales II (cello)
02:43:12 Etudes Boreales III (cello)
02:48:41 Etudes Boreales IV (cello)
02:54:22 Etudes Boreales I (cello & Piano)
03:00:07 Etudes Boreales II (cello & Piano)
03:05:51 Etudes Boreales III (cello & Piano)
03:11:30 Etudes Boreales IV (cello & Piano)

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Composers: Johann Georg Pisendel, Silvius Leopold Weiss
Artists: Thomasz Aleksander Plusa (violin), Robert Smith (cello), Earl Christy (lute), Ere Lievonen (harpsichord)

Johann Pisendel was the German violinist of his age; one whose total mastery of the instrument, and its expressive possibilities as filtered through both the Italian and German styles prevalent in the high Baroque era, made a fundamental impression on both Telemann and Bach. Without Pisendel, it is fair to say, there would be no Sonatas and Partitas for solo violin; Pisendel’s own fiendish unaccompanied sonata served as a model to Bach and survives partially in a publication by his great friend Georg Philipp Telemann.

As is the case with Bach, Pisendel’s ‘accompanied’ violin sonatas, in which the violin is joined by a continuo ensemble, are scarcely less demanding. They, too, are four-movement works, often in the classic slow-fast-slow-fast pattern laid down by Geminiani and Corelli and doubtless taught to Pisendel when he was a boy in Ansbach by Giuseppe Torelli, a musician in the court chapel and a fine composer in his own right.

Further instruction was provided by the powerfully individual leader of music at the court chapel in Dresden, Johann David Heinichen; throughout his career, Pisendel enjoyed happy association, often close friendship, with the great composers of his day; later in life, these included both Telemann and Zelenka. Perhaps because of these associations, Pisendel set himself the highest standards in composition; unlike most of his contemporaries, he subjected what he wrote to continual correction and revision, which may also account for the relatively succinct nature of his output.

Four such sonatas are presented here, and divided from each other by movements from the many lute sonatas by Pisendel’s exact contemporary Sylvius Leopold Weiss. They are played here by the young Czech early-music virtuoso, who in his own, extended booklet notes, gives an account not only of Pisendel’s life and work but also of his affinity with this music: ‘Each one was as surprisingly beautiful as the previous, and no less unique… [in Pisendel] the idiom of the violin is brought to its peak.’

Johann Georg Pisendel (1687-1755) was born into a musical family (his father was Cantor), and from an early age he received lessons as a chorister and in violin, his teacher being the famous Giuseppe Torelli. Further studies brought him to Weimar where he met Johann Sebastian Bach (his near-contemporary) and Leipzig, where he met Telemann. In 1712 he joined the famous court orchestra of Dresden, where he stayed till his death in 1755.
The acquaintance and friendship of the two musical giants of the time, Bach and Telemann, left a firm imprint on him as a composer and violinist. On the other hand Pisendel’s astonishing virtuosity influenced Bach to a great extent, Bach’s solo violin sonatas & partitas would not have been the same without Pisendel.
This new recording presents three violin sonatas and one violin solo sonata by Pisendel, works of staggering technical demands, rich in harmony and freedom of expression. As interludes we hear solo lute works by Silvius Leopold Weiss.
Played with immense dedication and conviction by young Polish violinist Tomasz Aleksander Plusa, who studied with Lucy van Dael, Christoph Rousset, Simon Standage, Sigiswald Kuijken and others.

00:00:00 Ouverture from Sonata for Lute, No. 39 in C Major
00:04:46 Violin Sonata in C Minor: I. Adagio – Andante
00:06:39 Violin Sonata in C Minor: II. Allegro
00:11:20 Violin Sonata in C Minor: III. Largo
00:14:03 Violin Sonata in C Minor: IV. Allegro assai
00:19:09 Sarabande from Sonata for Lute, No. 40 in C Major
00:26:28 Violin Sonata in G Minor: I. Larghetto
00:30:11 Violin Sonata in G Minor: II. Allegro
00:33:49 Violin Sonata in G Minor: III. Largo
00:38:06 Violin Sonata in G Minor: IV. Allegro
00:41:04 Violin Sonata in A Minor: I. —
00:43:51 Violin Sonata in A Minor: II. Allegro
00:49:23 Violin Sonata in A Minor: III.Giga
00:54:00 Violin Sonata in A Minor: IV. Variatione
00:59:42 Presto from Sonata for Lute, No. 39 in C Major
01:06:12 Violin Sonata in C Minor: I. Adagio
01:09:08 Violin Sonata in C Minor: II. Presto
01:12:52 Violin Sonata in C Minor: III. Affettuoso
01:15:10 Violin Sonata in C Minor: IV. Vivace

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Composer:
J.S. Bach

Artist:
István Várdai

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

00:00:00 Cello Suite No. 1 in G Major, BWV 1007: I. Prélude
00:02:52 Cello Suite No. 1 in G Major, BWV 1007: II. Allemande
00:07:08 Cello Suite No. 1 in G Major, BWV 1007: III. Courante
00:10:01 Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande
00:12:39 Cello Suite No. 1 in G Major, BWV 1007: V. Menuet I & II
00:15:56 Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue 1

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Carl Czerny has yet to emerge fully from his established place in the shadow of Beethoven as principally a composer of punishing studies for young and developing pianists, but this release should help him on his way. The A minor Concerto Op.214 is a full-scale essay of early Romanticism, composed in Vienna in 1829, full of the technical challenges he understood so well but distinguished by moments of high drama, especially in the brilliant concluding Rondo.

A Rossinian influence comes to the fore in the concerto for two pianos Op.153 from four years earlier. It is as though Czerny conceived of this concerto as a way of testing the entire expressive potential of a piano entrusted to four hands. Ranging from almost imperceptible pianissimi to deafening fortissimo, the two pianists weave a tapestry of surprising complexity over the struts of the orchestral accompaniment.

If anything the works by Viotti are even less often encountered, but no less charming to the ear. The composer is well-known as a founder of the Italian virtuoso violin tradition – just a little before Paganini – but he was also a skilled pianist. David Boldrini has recorded here contemporaneous arrangements (probably not made by the composer) of a pair of Viotti’s violin concertos, No.19 and No.9, in which parts of the solo violin part survive as an important concertante element.
This 2 CD set contains some seldom heard early 19th century concertos in which the piano plays the leading role.
Carl Czerny, a famous pianist and teacher, student of Beethoven, wrote an immense oeuvre for the piano, in which his prodigious technique could be shown to the greatest advantage. This recording features a Piano Concerto in A minor and a Concerto for Piano 4-hands: good tunes, brilliant pianism: highly attractive!
Giovanni Viotti made world fame as a violinist, his many concertos for this instrument are standard repertoire. Viotti arranged one of his most famous concertos, the G minor, for piano solo and orchestra. Also featured is the double concerto for piano, violin and orchestra in A major.
Played with obvious zest and “Spielfreude” by David Boldrini as soloist, the Rami Musicali Orchestra is conducted by Massimo Belli.

Tracklist:
00:00:00 Piano Concerto No. 1 in A Minor, Op. 214: I. Allegro moderato
00:16:34 Piano Concerto No. 1 in A Minor, Op. 214: II. Adagio con moto
00:20:43 Piano Concerto No. 1 in A Minor, Op. 214: Rondo, allegro con anima
00:32:16 Concerto No. 19 in G Minor: I. Maestoso e grandioso
00:49:27 Concerto No. 19 in G Minor: II. Andante sostenuto
00:57:59 Concerto No. 19 in G Minor: III. Allegretto con moto
01:09:16 Concerto for Piano 4 Hands and Orchestra in C Major, Op. 153: I. Allegro con brio
01:21:36 Concerto for Piano 4 Hands and Orchestra in C Major, Op. 153: II. Adagio espressivo
01:28:51 Concerto for Piano 4 Hands and Orchestra in C Major, Op. 153: III. Rondo alla polacca, Vivace
01:41:25 Violin Concerto No. 3 in A Major, WI:9: I. Allegro
01:51:47 Violin Concerto No. 3 in A Major, WI:9: II. Rondo, allegro

Artist:
David Boldrini piano
Rami Musicali Orchestra
Massimo Bell conductor

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Tracklist:
00:00:00 Symphony No.1 in E-Flat, K. 16: I. Molto allegro
00:05:57 Symphony No.1 in E-Flat, K. 16: II. Andante
00:11:01 Symphony No.1 in E-Flat, K. 16: III. Presto
00:12:41 Symphony No. 4 in D, K. 19: I. Allegro
00:15:04 Symphony No. 4 in D, K. 19: II. Andante
00:18:51 Symphony No. 4 in D, K. 19: III. Presto
00:22:03 Symphony in F, K. 19 A: I. Allegro assai
00:27:07 Symphony in F, K. 19 A: II. Andante
00:31:50 Symphony in F, K. 19 A: III. Presto
00:33:22 Symphony No. 5 in B-Flat, K. 22: I. Allegro
00:36:07 Symphony No. 5 in B-Flat, K. 22: II. Andante
00:38:13 Symphony No. 5 in B-Flat, K. 22: III. Molto allegro
00:39:41 Symphony No. 6 in F, K. 43: I. Allegro
00:45:12 Symphony No. 6 in F, K.43: II. Andante
00:50:25 Symphony No. 6 in F, K. 43: III. Menuetto & trio
00:52:23 Symphony No. 6 in F, K. 43: IV. Allegro
00:56:14 Symphony No. 45 in D, K. 45: I. Molto allegro
00:58:52 Symphony No. 45 in D, K. 45: II. Andante
01:00:50 Symphony No. 45 in D, K. 45: III. Menuetto & trio
01:04:34 Symphony No. 45 in D, K. 45: IV. Molto allegro
01:07:18 Symphony No. 8 in D, K. 48: I. Allegro
01:11:47 Symphony No. 8 in D, K. 48: II. Andante
01:15:23 Symphony No. 8 in D, K. 48: III. Menuetto & Trio
01:19:16 Symphony No. 8 in D, K. 48: IV. Molto Allegro
01:22:46 Symphony No. 9 in C, K. 73: I. Allegro
01:25:56 Symphony No. 9 in C, K. 73: II. Andante
01:29:38 Symphony No. 9 in C, K. 73: III. Menuetto & Trio
01:32:42 Symphony No. 9 in C, K. 73: IV. Molto Allegro
01:34:58 Symphony No. 10 in G, K. 74: I. Allegro – Andante
01:40:23 Symphony No. 10 in G, K. 74: II. Allegro
01:42:40 Symphony No. 12 in G, K. 110: I. Allegro
01:49:01 Symphony No. 12 in G, K. 110: II. Andante
01:53:03 Symphony No. 12 in G, K. 110: III. Menuetto & Trio
01:57:04 Symphony No. 12 in G, K110: IV. Allegro
01:59:02 Symphony No. 13 in F, K. 112: I. Allegro
02:04:18 Symphony No. 13 in F, K. 112: II. Andante
02:07:28 Symphony No. 13 in F, K. 112: III. Menuetto & Trio
02:09:40 Symphony No. 13 in F, K. 112: IV. Molto Allegro
02:12:02 Symphony No. 14 in A, K. 114: I. Allegro moderato
02:19:49 Symphony No. 14 in A, K. 114: II. Andante
02:24:12 Symphony No. 14 in A, K. 114: III. Menuetto & Trio
02:27:45 Symphony No. 14 in A, K. 114: IV. Molto allegro
02:32:32 Symphony No. 15 in G, K. 124: I. Allegro
02:37:57 Symphony No. 15 in G, K. 124: II. Andante
02:42:33 Symphony No. 15 in G, K. 124: III. Menuetto & trio
02:44:47 Symphony No. 15 in G, K. 124: IV. Presto
02:46:57 Symphony No. 16 in C, K. 128: I. Allegro maestoso
02:51:36 Symphony No. 16 in C, K. 128: II. Andante grazioso
02:57:01 Symphony No. 16 in C, K. 128: III. Allegro
03:01:05 Symphony No. 17 in G, K. 129: I. Allegro
03:07:23 Symphony No. 17 in G, K. 129: II. Andante
03:12:52 Symphony No. 17 in G, K. 129: III. Allegro
03:15:46 Symphony No. 20 in D, K. 133: I. Allegro
03:23:01 Symphony No. 20 in D, K. 134: II. Andante
03:28:51 Symphony No. 20 in D, K. 135: III. Menuetto & Trio
03:32:56 Symphony No. 20 in D, K. 136: IV. Allegro
03:38:45 Symphony No. 21 in A, K. 134: I. Allegro
03:45:55 Symphony No. 21 in A, K. 135: II. Andante
03:51:10 Symphony No. 21 in A, K. 136: III. Menuetto & Trio
03:54:26 Symphony No. 21 in A, K. 137: IV. Allegro
03:59:32 Symphony No. 22 in C, K. 162: I. Allegro assai
04:03:07 Symphony No. 22 in C, K. 163: II. Andantino grazioso
04:06:04 Symphony No. 22 in C, K. 164: III. Presto assai
04:07:57 Symphony No. 23 in D, K. 181: I. Allegro spiritoso
04:13:17 Symphony No. 23 in D, K. 182: II. Andantino grazioso
04:15:16 Symphony No. 23 in D, K. 183: III. Presto assai
04:17:27 Symphony No. 27 in G, K. 199: I. Allegro
04:24:05 Symphony No. 27 in G, K. 199: II. Andantino grazioso
04:28:55 Symphony No. 27 in G, K. 199: III. Presto
04:35:09 Symphony No. 28 in C, K. 200: I. Allegro spiritoso
04:42:27 Symphony No. 28 in C, K. 200: II. Andante
04:50:11 Symphony No. 28 in C, K. 200: III. Menuetto & Trio
04:54:30 Symphony No. 28 in C, K. 200: IV. Presto
05:00:00 Symphony No. 30 in D, K. 202: I. Molto allegro
05:05:59 Symphony No. 30 in D, K. 202: II. Andantino con moto
05:11:10 Symphony No. 30 in D, K. 202: III. Menuetto & Trio
05:15:27 Symphony No. 30 in D, K. 202: IV. Presto

Composer: Ludwig van Beethoven
Artists: Kristóf Baráti (violin), Klára Würtz (piano)

Tracklist below.

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Sonatas for piano with violin, Beethoven thought of them, and the early set of three Op. 12 does seem to look back towards the early Classical, even late-Baroque emphasis on the multi-voiced part to which the violin adds emphasis or decoration as required. But the genre matured with Beethoven, and by the time of the ‘Kreutzer’ he was composing a fullyfledged, pre-Romantic virtuoso journey for the combination, vast in breadth of expression and length. These works have always attracted great artists, but every generation must come to them afresh, and here are two superb musicians from Hungary to add their own approach: on ‘traditional’ rather than ‘period’ instruments but interpretatively untrammelled by one or another performing dogma.

Kristóf Baráti is one of the most exciting violinists of the younger generation. After winning several important prizes (top-3 prize winner of the Elizabeth Competition when he was 18 years old, first prize at the prestigious Paganini Competition in Moscow) he is building an international career, playing with important orchestras and conductors (Ivan Fischer, Charles Dutoit, Marek Janovski, Kurt Masur).

Klára Würtz needs little introduction to Brilliant Classics fans: her many recordings (Mozart, Schubert, Schumann) show an exceptional artist, with a natural musical instinct, effortless virtuosity and heart-warming charisma.

00:00:00 Violin Sonata No. 1 in D, Op. 12 No. 1: I. Allegro con brio
00:08:01 Violin Sonata No. 1 in D, Op. 12 No. 1: II. Tema con variazioni
00:14:45 Violin Sonata No. 1 in D, Op. 12 No. 1: III. Rondo: Allegro
00:19:01 Violin Sonata No. 2 in A, Op. 12 No. 2: I. Allegro vivace
00:25:02 Violin Sonata No. 2 in A, Op. 12 No. 2: II. Andante, più tosto allegretto
00:30:02 Violin Sonata No. 2 in A, Op. 12 No. 2: III. Allegro piacevole
00:34:45 Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: I. Allegro con spirito
00:42:49 Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: II. Adagio con molt’espressione
00:48:15 Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: III. Rondo: Allegro molto
00:52:12 Violin Sonata No. 4 in A Minor, Op. 23: I. Presto
00:59:08 Violin Sonata No. 4 in A Minor, Op. 23: II. Andante scherzoso, più allegretto
01:06:08 Violin Sonata No. 4 in A Minor, Op. 23: III. Allegro molto
01:10:57 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: I. Allegro
01:20:03 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: II. Adagio molto espressivo
01:25:35 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: III. Scherzo: Allegro molto
01:26:36 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: IV. Rondo: Allegro ma non troppo
01:32:46 Violin Sonata No. 6 in A, Op. 30 No. 1: I. Allegro
01:39:37 Violin Sonata No. 6 in A, Op. 30 No. 1: II. Adagio molto espressivo
01:46:31 Violin Sonata No. 6 in A, Op. 30 No. 1: III. Allegretto con variazioni
01:54:02 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: I. Allegro con brio
02:01:09 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: II. Adagio cantabile
02:09:48 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: III. Scherzo, allegro
02:13:01 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: IV. Finale: Allegro
02:17:39 Violin Sonata No. 8 in G, Op. 30 No. 3: I. Allegro assai
02:23:23 Violin Sonata No. 8 in G, Op. 30 No. 3: II. Tempo di menuetto
02:30:56 Violin Sonata No. 8 in G, Op. 30 No. 3: III. Allegro vivace
02:34:08 Violin Sonata No. 9 in A, Op. 47 ‘Kreutzer’: I. Adagio sostenuto – Presto
02:47:01 Violin Sonata No. 9 in A, Op. 47 ‘Kreutzer’: II. Andante con variazioni
03:01:23 Violin Sonata No. 9 in A, Op. 47 ‘Kreutzer’: III. Finale: Presto
03:09:42 Violin Sonata No. 10 in G, Op. 96: I. Allegro moderato
03:19:48 Violin Sonata No. 10 in G, Op. 96: II. Adagio espressivo
03:25:05 Violin Sonata No. 10 in G, Op. 96: III. Scherzo: Allegro
03:26:54 Violin Sonata No. 10 in G, Op. 96: IV. Poco allegretto

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Composer & Artist:
Composter: Johann Sebastian bach
Artists: Arleen Augér (soprano), Annelies Burmeister (contralto), Peter Schreier (tenor), Theo Adam (bass), Dresdner Philharmonie, Martin Flämig (conductor)

About this Album:
Johann Sebastian Bach, hero of the Baroque, has many masterpieces to his name. Among them is the Weihnachts-Oratorium BWV248, also known as the Christmas Oratorio. The work was written in 1734 to be performed at several services spanning Christmas Day to Epiphany in Leipzig. A re-telling of the Christmas story, the work has become one of the most popular choral compositions of all time and is a regular fixture in the church and concert calendars all over the world.

Tracklist:
The tracklist can be found in the comments!

#Bach #Christmas #Classical#BrilliantClassics #Music #Composer #ClassicalMusic #Bach #JSBach #ClassicalChristmasMusic #Christmas #ClassicalChristmas

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Composer and artist:
Composer: Antonio Vivaldi
Artists: Erik Bosgraaf

About this Album:
Stravinsky famously quipped that Vivaldi didn’t write 400 concertos, rather he wrote one concerto 400 times. Rather unfair, though witty. For many people though, Vivaldi is the composer of The Four Seasons (the first four of the twelve concertos Op.8), and maybe the famous Gloria. He is a composer who repays closer attention. There are some superb concertos in his large output, and some of them were sufficiently striking enough to attract the attention of J.S. Bach and Johann Quantz. His concertos are remarkable not only for the wealth of invention and the outstanding quality of the music, but also for the amazing range of instruments he wrote for.

This release is devoted to concertos for sopranino and alto recorders. Two of his greatest concertos ‘Tempesta di mare’ (Storm at Sea) and ‘La notte’ (Night) feature on the programme.
Tracklist:
00:00:00 Concerto in C Major, RV 444, for Sopranino Recorder, Two Violins, Viola, Basso Continuo: I. Allegro non molto
00:04:08 Concerto in C Major, RV 444, for Sopranino Recorder, Two Violins, Viola, Basso Continuo: II. Largo
00:06:25 Concerto in C Major, RV 444, for Sopranino Recorder, Two Violins, Viola, Basso Continuo: III. Allegro molto
00:09:32 Concerto in G Minor, RV 439 (La notte), for Alto Recorder, Two Violins, Bassoon, Basso Continuo: I. Largo
00:12:12 Concerto in G Minor, RV 439 (La notte), for Alto Recorder, Two Violins, Bassoon, Basso Continuo: II. Presto – Largo – Andante – Presto (Fantasmi)
00:14:59 Concerto in G Minor, RV 439 (La notte), for Alto Recorder, Two Violins, Bassoon, Basso Continuo: III. Largo (Il sonno)
00:17:09 Concerto in G Minor, RV 439 (La notte), for Alto Recorder, Two Violins, Bassoon, Basso Continuo: IV. Allegro
00:19:59 Concerto in F Major, RV 98 (Tempesta di mare), for Alto Recorder, Oboe, Bassoon, Violin, Viola, Basso Continuo: I. [Allegro]
00:22:07 Concerto in F Major, RV 98 (Tempesta di mare), for Alto Recorder, Oboe, Bassoon, Violin, Viola, Basso Continuo: II. Largo
00:24:15 Concerto in F Major, RV 98 (Tempesta di mare), for Alto Recorder, Oboe, Bassoon, Violin, Viola, Basso Continuo: III. Presto
00:26:15 Concerto in G Minor, RV 105, for Alto Recorder, Oboe, Violin, Bassoon, Basso Continuo: I. Allegro
00:29:20 Concerto in G Minor, RV 105, for Alto Recorder, Oboe, Violin, Bassoon, Basso Continuo: II. Largo
00:31:46 Concerto in G Minor, RV 105, for Alto Recorder, Oboe, Violin, Bassoon, Basso Continuo: III. [Allegro molto]
00:35:21 Concerto in F Major, RV 442, for Alto Recorder, Two Violins, Viola, Basso Continuo (‘Tutti gli strumenti Sordini’): I. Allegro non molto
00:38:42 Concerto in F Major, RV 442, for Alto Recorder, Two Violins, Viola, Basso Continuo (‘Tutti gli strumenti Sordini’): II. Largo cantabile
00:41:46 Concerto in F Major, RV 442, for Alto Recorder, Two Violins, Viola, Basso Continuo (‘Tutti gli strumenti Sordini’): III. Allegro
00:43:34 Concerto in C Minor, RV 441, for Alto Recorder, Two Violins, Viola, Basso Continuo: I. Allegro non molto
00:48:34 Concerto in C Minor, RV 441, for Alto Recorder, Two Violins, Viola, Basso Continuo: II. Largo
00:51:17 Concerto in C Minor, RV 441, for Alto Recorder, Two Violins, Viola, Basso Continuo: III. [Allegro]
00:54:44 Concerto in C major, RV 443, for Sopranino Recorder, Violin, Viola, Basso Continuo: I. [Allegro]
00:58:33 Concerto in C major, RV 443, for Sopranino Recorder, Violin, Viola, Basso Continuo: II. Largo
01:02:17 Concerto in C major, RV 443, for Sopranino Recorder, Violin, Viola, Basso Continuo: III. Allegro molto

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Vivaldi #Violin

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Composer & Artist:
Composer: Johann Friedrich Fasch
Artists: udwig Güttler (corno da caccia I & concert master), Kurt Sandau (corno da caccia II), Andreas Lorenz (oboe I), Wolfgang Klier (oboe II), Hans-Peter Steger (bassoon), Virtuosi (Saxoniae)

About this Album:
Fame is a strange thing. Although Johann Friedrich Fasch was highly esteemed by his contemporaries and the generations of musicians who followed him, in the concert repertoire of today he is grouped together with many minor masters who wrote a lot of works that sadly communicate very little. Yet music scholar Johann Adolf Scheibe put Fasch into the same class as Telemann, and J.S. Bach possessed copies of several of the composer’s works. This release therefore aims to expose the genius of Fasch, and in doing so to help restore appreciation for what has become a largely forgotten corpus of deftly written, utterly absorbing music.

Fasch made his name largely through his overtures, works which in the 17th and 18th centuries referred to a series of dance movements prefaced by an extensive introduction of pompous gravity. Two are explored in this release – the Overture in D minor and the Overture in B flat ‘a due cori’, arranged by M. Fechner and E. Steinsdorff respectively – and they are followed by a selection of Fasch’s sonatas for two oboes and bassoon, with and without basso continuo, works whose details (such as free, fantasy-like episodes to be played at a slow pace) reveal a rich field for experimentation. A Concerto in D and a Sonata for 2 oboes and 2 bassoons also feature, and overall one is struck by this composer’s highly personal style of chamber music – a stark contrast to the ingratiating melodies and harmonic suavity of his large-scale instrumental pieces.

Tracklist:
The tracklist can be found in the comments!

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Tracklist below.

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Robert Schumann, ‘a dreamer, a […] tone poet and writer whose inner voices were those of childhood, of wonder, of love, of turmoil, even of madness’ was renowned for the passion with which he accorded many of his compositions. The works on this disc contain the outpourings of his imagination and soul, particularly in relation to his beloved Clara.

His Fantasiestücke Op.12 were a favourite of Franz Liszt, the title taken from E.T.A. Hoffmann’s Fantasiestücke in Gallots Manier – a collection of writings in the style of the 17th-century French engraver Jacques Callot. Among the pieces are depictions of Schumann regulars such as Eusebius and Florestan, but many reflect Schumann’s long fight to wed the young Clara Wieck. No.5, In der Nacht, likens their plight to that of Hero and Leander. The disc also contains the mysterious and atmospheric Waldszenen Op.82, the playful Kinderszenen Op.18 and Arabeske Op.18

One of Brilliant Classics’ most prolific artists, Hungarian pianist Klára Würtz is enjoying an international career. Having won prizes in Dublin and Milan, she signed to a New York-based management company, leading to performances at Carnegie Hall and other prestigious concert venues throughout the U.S. and Canada. She currently teaches at the Conservatory of Arts in Utrecht.

00:00:00 Fantasiestücke, Op. 12: I. Des Abends
00:03:22 Fantasiestücke, Op. 12: II. Aufschwung
00:06:16 Fantasiestücke, Op. 12: III. Warum?
00:08:47 Fantasiestücke, Op. 12: IV. Grillen
00:12:18 Fantasiestücke, Op. 12: V. In der Nacht
00:16:06 Fantasiestücke, Op. 12: VI. Fabel
00:18:37 Fantasiestücke, Op. 12: VII. Traumes Wirren
00:20:50 Fantasiestücke, Op. 12: VIII. Ende vom Lied
00:25:32 Waldszenen, Op. 82: I. Eintritt
00:27:32 Waldszenen, Op. 82: II. Jäger auf der Lauer
00:28:49 Waldszenen, Op. 82: III. Einsame Blumen
00:30:48 Waldszenen, Op. 82: IV. Verrufene Stelle
00:34:01 Waldszenen, Op. 82: V. Freundliche Landschaft
00:35:07 Waldszenen, Op. 82: VI. Herberge
00:37:06 Waldszenen, Op. 82: VII. Vogel als Prophet
00:39:56 Waldszenen, Op. 82: VIII. Jagdlied
00:42:20 Waldszenen, Op. 82: IX. Abschied
00:45:54 Arabeske, Op. 18
00:52:14 Kinderszenen, Op. 15: I. Von fremden Ländern und Menschen
00:54:00 Kinderszenen, Op. 15: II. Kuriöse Geschichte
00:55:05 Kinderszenen, Op. 15: III. Hasche-Mann
00:55:35 Kinderszenen, Op. 15: IV. Bittendes Kind
00:56:42 Kinderszenen, Op. 15: V. Glückes genug
00:57:45 Kinderszenen, Op. 15: VI. Wichtige Begebenheit
00:58:33 Kinderszenen, Op. 15: VII. Träumerei
01:01:14 Kinderszenen, Op. 15: VIII. Am Kamin
01:02:09 Kinderszenen, Op. 15: IX. Ritter vom Steckenpferd
01:02:43 Kinderszenen, Op. 15: X. Fast zu ernst
01:04:34 Kinderszenen, Op. 15: XI. Fürchtenmachen
01:05:56 Kinderszenen, Op. 15: XII. Kind im Einschlummern
01:08:06 Kinderszenen, Op. 15: XIII. Der Dichter spricht

Tracklist below.

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Composers: Anton Stepanovich Arensky, Alexander Borodin, Nikolai Andreyevich Rimsky-Korsakov, Piotr Ilyich Tchaikovsky, Sergei Ivanovich Taneyev
Artist: The Moscow Trio, Vladimir Ivanov (violin), Mikhail Utkin (cello), Alexander Bonduriansky (piano)

This 3-disc collection showcases Russian piano trios from the mid-nineteenth to early-twentieth centuries. Piano trios were unheard of for Russian composers until Mikhail Glinka wrote one in 1832; it earned the epithet ‘Pathétique’ as it seemed to be a reflection of Glinka’s general sadness at the time of writing, the piece alternating between caustic tension and attempts at light-hearted optimism. A mournful, melancholic influence then became characteristic of the Russian piano trio: Tchaikovsky unknowingly created a tradition when he composed his offering in 1882 – one of his greatest chamber works and which he dedicated to his recently deceased and much-missed friend Nikolay Rubinstein. On several subsequent occasions, piano trios were written as memorials.

The collection also includes the mathematically-governed trio of Sergey Taneyev, who had gained a reputation as a cerebral composer, and the trio of Rimsky-Korsakov, whose mastery of opera and vocal writing can be seen in the final movement as each instrument takes on its own ‘voice’ and emotion – thus resembling an interaction between characters. Alexander Borodin used the Classical model for his trio, although it contains surprising chromaticism as well as dramatic changes of temperament, including the tragic hymn in the second movement. Anton Arensky’s take on the genre completes the collection.

The Moscow Piano Trio was formed in 1976 and has achieved huge success in international competitions, notably winning the Maurice Ravel Gold Medal at the Bordeaux ‘Mai Musical’. The trio is comprised of pianist Alexander Bonduriansky, violinist Vladimir Ivanov and cellist Mikhail Utkin.

00:00:00 Piano Trio in A Minor, Op. 50: I. Pezzo elegiaco
00:22:40 Piano Trio in A Minor, Op. 50: IIa. Tema con variazione: Andante con moto
00:43:05 Piano Trio in A Minor, Op. 50: IIb. Variazione finale e coda
00:55:52 Trio pathétique in D Minor: I. Allegro moderato
01:01:08 Trio pathétique in D Minor: II. Scherzo: Vivacissimo
01:04:40 Trio pathétique in D Minor: III. Largo
01:09:42 Trio pathétique in D Minor: IV. Allegro con spirito
01:11:53 Piano Trio No. 1 in D Minor, Op. 32: I. Allegro moderato
01:25:18 Piano Trio No. 1 in D Minor, Op. 32: II. Scherzo: Allegro molto
01:31:27 Piano Trio No. 1 in D Minor, Op. 32: III. Élégie: Adagio
01:38:14 Piano Trio No. 1 in D Minor, Op. 32: IV. Finale: Allegro non troppo
01:44:53 Piano Trio in D Major, Op. 22: I. Allegro
01:57:07 Piano Trio in D Major, Op. 22: II. Allegro molto
02:09:29 Piano Trio in D Major, Op. 22: III. Andante espressivo
02:16:06 Piano Trio in D Major, Op. 22: IV. Finale
02:27:23 Piano Trio in C Minor: I. Allegro assai
02:42:48 Piano Trio in C Minor: II. Allegro
02:47:30 Piano Trio in C Minor: III. Adagio
02:56:54 Piano Trio in C Minor: IV. Allegro assai
03:12:25 Piano Trio in D Major (Unfinished): I. Allegro con brio
03:18:44 Piano Trio in D Major (Unfinished): II. Romance: Andante
03:26:29 Piano Trio in D Major (Unfinished): III. Intermezzo: Tempo di minuetto

Tracklist below.

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If you like the works of Shostakovich, you can also check the following video “Shostakovich: Symphonies 1-6” :
https://www.youtube.com/watch?v=qSLp3iGkoKc

After releasing the highly successful sets of Shostakovich symphonies (the award-winning cycle of Rudolf Barshai) and the string quartets ( highly acclaimed performances of the Rubio Quartet), this set presents the Jazz Suites, Ballet Suites and Film Music.

Shostakovich lived a live full of tension and controverses in the Stalin era. As a modernist he was reprimanded and threatened to be banned. As a sign of good behaviour, he wrote music for mass audiences, in a popular style. But Shostakovich being Shostakovich, he managed to suggest under the surface of the sometimes nearly vulgar music his unique sense of bitter irony and revolt.

The Jazz suites enjoy a huge popularity. The 'Second Waltz' from the first Suite gained world reputation through the arrangement of Andre Rieu. The film music for the Gadfly is famous for its Romance, which was used in a popular television series.

Excellent, idiomatic performances by the Ukrainian Orchestra under Theodore Kuchar.

00:00:00 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): March
00:03:09 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Dance No. 1
00:06:10 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Dance No. 2
00:09:54 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Little Polka
00:12:33 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Lyric Waltz
00:15:16 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Waltz No. 1
00:18:42 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Waltz No. 2
00:22:20 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Finale
00:24:44 Overture on Russian and Kirghiz Themes, Op. 115
00:34:13 Jazz Suite No. 1: Waltz
00:36:38 Jazz Suite No. 1: Polka
00:38:21 Jazz Suite No. 1: Foxtrot
00:42:16 Novorossijsk Chimes
00:44:57 Festive Overture, Op. 96
00:50:43 The Bolt, Ballet Suite, Op. 27a: Overture
00:56:22 The Bolt, Ballet Suite, Op. 27a: Polka
00:59:04 The Bolt, Ballet Suite, Op. 27a: Variation
01:00:55 The Bolt, Ballet Suite, Op. 27a: Tango
01:06:05 The Bolt, Ballet Suite, Op. 27a: Intermezzo
01:10:00 The Bolt, Ballet Suite, Op. 27a: Finale
01:13:30 The Limpid Stream, Ballet Suite, Op. 39a: Waltz
01:15:57 The Limpid Stream, Ballet Suite, Op. 39a: Russian Lubok
01:18:31 The Limpid Stream, Ballet Suite, Op. 39a: Galop
01:20:33 The Limpid Stream, Ballet Suite, Op. 39a: Adagio
01:27:57 The Limpid Stream, Ballet Suite, Op. 39a: Pizzicato
01:29:28 The Golden Age, Ballet Suite, Op. 22a: Overture
01:33:18 The Golden Age, Ballet Suite, Op. 22a: Adagio
01:42:04 The Golden Age, Ballet Suite, Op. 22a: Polka
01:44:19 The Golden Age, Ballet Suite, Op. 22a: Dance
01:46:29 Hamlet Suite: Prelude
01:48:51 Hamlet Suite: The Ball at the Palace
01:52:36 Hamlet Suite: The Ghost
01:54:02 Hamlet Suite: In the Garden
01:57:11 Hamlet Suite: Hamlet & Ophelia
02:01:07 Hamlet Suite: Arrival of the Actors
02:03:22 Hamlet Suite: Poisoning Scene
02:10:52 Hamlet Suite: Duel and Death of Hamlet
02:14:56 Gadfly, Suite, Op. 97a: Overture
02:17:56 Gadfly, Suite, Op. 97a: Contradance
02:20:27 Gadfly, Suite, Op. 97a: Folk Feast
02:23:08 Gadfly, Suite, Op. 97a: Interlude
02:25:58 Gadfly, Suite, Op. 97a: Waltz "Barrel Organ"
02:27:55 Gadfly, Suite Op. 97a: Galop
02:29:54 Gadfly, Suite Op. 97a: Introduction
02:36:02 Gadfly, Suite, Op. 97a: Romance
02:42:31 Gadfly, Suite, Op. 97a: Intermezzo
02:48:09 Gadfly, Suite, Op. 97a: Nocturne
02:52:06 Gadfly, Suite, Op. 97a: Scene
02:55:31 Gadfly, Suite, Op. 97a: Finale

Tracklist below.

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Composer: Piotr Ilyich Tchaikovsky
Artists: István Várdai (cello), Tibor Bogányi (conductor), Pannon Philharmonic

An ardent admirer of Mozart, Tchaikovsky’s splendid Variations on a Rococo Theme are full of subtle homages to the Classical composer. The theme itself, however, is an original invention by Tchaikovsky himself rather than an excerpt from the past. Composed for German cellist Wilhelm Fitzenhagen, the piece was not performed in its original form for many years after its initial composition, as Fitzenhagen had insisted on making changes to the structure and virtuosic cadenzas for its first performance, against Tchaikovsky’s wishes. Both versions are included on this release, allowing the listener to fully appreciate the struggle between Tchaikovsky’s Classical vision and Fitzenhagen’s desire for the cello to shine. The composer’s love for Mozart also comes to the fore in the Nocturne Op.19 No.4, one of six pieces initially composed for piano that showcases the lyrical melodies and clear structure Tchaikovsky strived to create. The folksonglike Andante cantabile was one of the composer’s most popular movements during his lifetime, and, as was common, was often performed separately from the rest of the quartet. Along with Tchaikovsky’s last piece for cello, the sprightly Pezzo capriccioso, this album exemplifies the composer’s innate understanding of the instrument and illustrates perfectly how he brings this understanding to life.

00:00:00 Variations on a Rococo Theme, TH 57: Op. 33 in A Major
00:18:37 Nocturnes No. 4 in C Minor, Op. 19: Andante sentimentale
00:23:16 Pezzo capriccioso, TH 62, Op. 62 in B Minor: Andante con moto
00:30:06 String Quartet, TH 111, Op. 11 in D Major: II. Andante cantabile
00:36:58 Variations on a Rococo Theme, CW 59 : Op. 33 in A Majore

Composer: Antonio Vivaldi
Artists: Pier Luigi Fabretti (oboe), Federico Guglielmo (concert master), L'Arte dell'Arco

Tracklist below.

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After the enormous success of Vivaldi’s earlier collections La Stravaganza and L’Estro Armonico, his publisher Estienne Roger was eager to capitalise on the composer’s soaring popularity. With that in mind, Op.7 was published in 1720 containing 12 new concertos, ten for solo violin and two for solo oboe. However, it seems unlikely Vivaldi either authorised or approved of this publication, and recent research has even discovered that the authenticity of the concertos is doubtful, with at least the two oboe concertos certainly not by Vivaldi. The concertos may not bear the traditional Vivaldian hallmarks, with movements simplified or moved around, but they are still a worthy tribute to the composer, whether penned by the ‘Prete Rosso’ himself or not.

Federico Guglielmo leads his experienced and lively ensemble L’Arte dell’Arco from the front. A highly acclaimed soloist, Guglielmo has been an active performer on the early music circle for many years, having played alongside such groups as the Academy of Ancient Music and the Handel & Haydn Society of Boston. This time he is joined by oboist Pier Luigi Fabretti, who has previously performed with Concerto Köln and I Barocchisti, among others.

his new instalment of the complete recording of Vivaldi’s Op. 112 contains the 12 Violin Concertos Op. 7, published in Amsterdam in 1720. Prompted by the popular success of the previously published La Stravaganza and L’Estro Armonico Vivaldi wrote these concertos in the same vein: brilliant, dramatic, full of the vitality of Mediterranean life and colours.
Played by the Italian Early Music group “L’Arte dell’Arco, led by violinist (and soloist) Federico Guglielmo. French magazine Diapason wrote about them: ”they understand the secret language of Vivaldi…rich and generous instrumental textures envelop the expressive lines of the solo violin…”

00:00:00 Violin Concerto in D Major, RV 208a: I. Allegro
00:04:27 Violin Concerto in D Major, RV 208a: II. Grave
00:05:47 Violin Concerto in D Major, RV 208a: III. Allegro
00:09:19 Violin Concerto in F Major, RV 294a: I. Allegro
00:12:22 Violin Concerto in F Major, RV 294a: II. Grave
00:13:54 Violin Concerto in F Major, RV 294a: III. Allegro
00:17:01 Violin Concerto in A Minor, RV 354: I. Allegro
00:19:55 Violin Concerto in A Minor, RV 354: II. Adagio
00:22:42 Violin Concerto in A Minor, RV 354: III. Allegro
00:25:45 Violin Concerto in C Major, RV 188: I. Allegro
00:28:58 Violin Concerto in C Major, RV 188: II. Largo
00:31:04 Violin Concerto in C Major, RV 188: III. Allegro
00:33:13 Violin Concerto in G Minor, RV 326: I. Allegro
00:36:01 Violin Concerto in G Minor, RV 326: II. Grave
00:38:02 Violin Concerto in G Minor, RV 326: III. Presto
00:39:45 Violin Concerto in B-Fflat Major, RV 374: I. Allegro
00:42:31 Violin Concerto in B-Fflat Major, RV 374: II. Largo
00:44:31 Violin Concerto in B-Fflat Major, RV 374: III. Allegro
00:47:06 Violin Concerto in D Major, RV 214: I. Allegro
00:49:39 Violin Concerto in D Major, RV 214: II. Grave assai
00:51:43 Violin Concerto in D Major, RV 214: III. Allegro
00:54:01 Violin Concerto in G Major, RV 299: I. Allegro
00:56:03 Violin Concerto in G Major, RV 299: II. Largo cantabile
00:57:28 Violin Concerto in G Major, RV 299: III. Allegro
00:59:25 Violin Concerto in B-Flat Major, RV 373: I. Allegro
01:02:51 Violin Concerto in B-Flat Major, RV 373: II. Grave spiccato
01:05:26 Violin Concerto in B-Flat Major, RV 373: III. Alla breve
01:09:04 Violin Concerto in F Major, RV 285a: I. Allegro
01:12:21 Violin Concerto in F Major, RV 285a: II. Grave
01:15:09 Violin Concerto in F Major, RV 285a: III. Allegro
01:17:55 Oboe Concerto in B-Flat Major, RV 465: I. Allegro
01:20:12 Oboe Concerto in B-Flat Major, RV 465: II. Adagio
01:21:55 Oboe Concerto in B-Flat Major, RV 465: III. Allegro
01:23:44 Oboe Concerto in B-Flat Major, RV 464: I. Allegro
01:26:25 Oboe Concerto in B-Flat Major, RV 464: II. Largo
01:28:07 Oboe Concerto in B-Flat Major, RV 464: III. Allegro

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A moonlit summer night, an open window, the intoxicating sounds of a piano playing the dreamlike melodies of a Chopin Nocturne: this is the atmosphere of this selection of the most beautiful Noctunres and other night pieces written for piano by the great masters Chopin, Schumann (Des Abends), Tchaikovsky (Barcarolle), Debussy (Clair de Lune), Beethoven (Mondschein Sonata), Liszt (Liebestraum) and many others.

Frédéric Chopin:
00:00:00 Nocturnes, Op. 48: No. 1 in C Minor. Lento by Earl Wild
00:05:42 Nocturne in C-Sharp Minor, B. 49 by Earl Wild
00:09:35 Nocturnes, Op. 15: No. 2 in F-Sharp Major by Earl Wild
00:13:11 Nocturnes, Op. 32: No. 1 in B Major by Earl Wild
00:18:06 Nocturne in E Minor, Op. 72, No. 1 by Earl Wild
00:21:46 Nocturnes, Op. 62: No. 2 in E Major by Earl Wild
00:27:06 Nocturnes, Op. 9: No. 3 in B Major by Earl Wild
00:32:43 Nocturnes, Op. 37: No. 2 in G Major. Andantino by Earl Wild
00:38:09 Nocturnes, Op. 32: No. 2 in A-Flat Major by Earl Wild
00:43:44 Nocturnes, Op. 27: No. 2 in D-Flat Major. Lento sostenuto by Earl Wild
00:49:05 Nocturnes, Op. 9: No. 1 in B-Flat Minor. Larghetto by Earl Wild
00:54:28 Nocturnes, Op. 15: No. 3 in G Minor by Earl Wild
00:59:02 Nocturnes, Op. 48: No. 2 in F-Sharp Minor. Andantino by Earl Wild
01:06:11 Nocturnes, Op. 62: No. 1 in B Major by Earl Wild
01:12:30 Nocturnes, Op. 9: No. 2 in E-Flat Major by Earl Wild
01:16:42 Nocturnes, Op. 55: No. 1 in F Minor by Earl Wild
01:21:25 Nocturnes, Op. 55: No. 2 in E-Flat Major. Lento sostenuto by Earl Wild
01:25:40 Nocturnes, Op. 27: No. 1 in C-Sharp Minor by Earl Wild
01:30:16 Nocturnes, Op. 15: No. 1 in F Major by Earl Wild
01:34:38 Nocturnes, Op. 37: No. 11 in G Minor by Earl Wild
01:42:21 Nocturne No. 21 in C Minor, Op. Posth. by Earl Wild

01:45:30 Franz Liszt -Liebesträume, S. 541: No. 3 in A-Flat Major by Pieter van Winkel
01:50:06 Ludwig van Beethoven - I. Adagio sostenuto by Pieter van Winkel
01:55:46 Robert Schumann - No. 1, Des Abends in D-Flat Major by Pieter van Winkel
01:59:11 Claude Debussy - Reverie, L. 68 by Pieter van Winkel
02:02:55 Robert Schumann - No. 2, Romance in F-Sharp Major by Pieter van Winkel
02:06:18 Franz Liszt - No. 3, Lento placido in D-Flat Major by Pieter van Winkel
02:09:23 Claude Debussy - No. 3, Clair de lune by Pieter van Winkel
02:14:23 Robert Schumann - No. 7, Träumerei by Pieter van Winkel
02:17:34 Frédéric Chopin - Berceuse in D-Flat Major, Op. 57 by Alwin Bär
02:22:37 Edvard Hagerup Grieg - No. 1, Cradle Song by Håkon Austbö
02:24:54 Erik Satie - No. 1, Lent et douloureux in D Major by Håkon Austbö
02:28:33 Erik Satie - Gnossiennes: 5. Modéré by Håkon Austbö
02:31:25 Charles Henri Valentin Alkan - Nocturne, Op. 22 by Alan Weiss
02:37:50 Robert Schumann - No. 5, In der Nacht in F Minor by Klára Würtz
02:41:38 Robert Schumann - No. 12, Kind im Einschlummern by Klára Würtz
02:43:48 Piotr Ilyich Tchaikovsky - No. 10, October. Autumn Song in D Minor. Andante doloroso e molto cantabile by Alexander Warenberg
02:47:13 Maurice Ravel - Pavane pour une infante défunte in G Major, M. 19 by Michelangelo Carbonara
02:53:37 Robert Schumann - No. 7, Vogel als Prophet by Klára Würtz
02:56:28 Piotr Ilyich Tchaikovsky - No. 6, June. Barcarolle in G Minor. Andante cantabile by Alexander Warenberg
03:00:11 Camille Pleyel - Nocturne alla Field in B-Flat Major, Op. 52 by Bart van Oort
03:04:53 Friedrich Wilhelm Michael Kalkbrenner - No. 1 in A-Flat Major "Les soupirs de la harpe eolienne" by Bart van Oort
03:09:04 Friedrich Wilhelm Michael Kalkbrenner - No. 2 in F Major (A trois mains) by Bart van Oort & Agnieszka Chabowska
03:13:08 Clara Schumann - No. 2, Nocturne in F Major by Bart van Oort
03:18:17 Louis Lefèbure-Wély - Nocturne in D-Flat Major by Bart van Oort
03:23:30 Edmond Weber - Nocturne in D-Flat Major, Op. 1 by Bart van Oort
03:27:18 Charles Henri Valentin Alkan - Notturnino innamorato in F-Sharp Minor, Op. 63 No. 43 by Bart van Oort
03:29:27 Michael Glinka - Nocturne in E-Flat Major by Bart van Oort
03:35:12 Maria Szymanowska - La Murmure. Nocturne in A-Flat Major by Bart van Oort
03:38:15 Ignacy Feliks Dobrzynski - No. 1 in G Minor by Bart van Oort

Best Classical Study Music:
Great Classical Music for Study, Work or just Relaxing.

Enjoy!


Philip Glass
00:00:00 The Hours – Jeroen van Veen
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Wolfgang Amadeus Mozart
00:07:13 Piano Concerto No. 23 in A, KV 488 I Allegro - Mozart Akademie Amsterdam
00:18:01 Piano Concerto No. 23 in A, KV 488 II Andante - Mozart Akademie Amsterdam
00:24:16 Piano Concerto No. 23 in A, KV 488 III Allegro - Mozart Akademie Amsterdam
Spotify: https://open.spotify.com/album..../6LIXOmrZ7Wzl5VURRxp
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J.S. Bach
00:32:16 Goldberg Variations, BWV 988 Aria - Pieter-Jan Belder harpsichord
Spotify: https://open.spotify.com/album..../0nbWTnJ6Juzn3JBqIbu
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Erik Satie
00:37:18 3 Gymnopédies (1889) No. 1 Lent et douloureux - Håkon Austbö piano
Spotify: https://open.spotify.com/album..../07bfjilCv06ZEsul8QM
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