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A Album containing the best music composed by Frédéric François Chopin!
Painting is from Pierre-Auguste Renoir and is named two sisters (at the terrace).

Composer:
Frédéric Chopin

00:00:00 Ballade No. 1 in G Minor, Op. 23 – Klára Würtz
00:08:28 Prelude in C sharp Minor, Op. 45 – Paolo Giacometti
00:12:53 Rondo a la Mazur in F, Op. 5 – Frank van de Laar
00:22:37 Polonaise in A, Op. 40 No. 1 “Military” – Folke Nauta
00:28:13 Etude in A-Flat, Op. 25 NO. 1 “Aeolian Harp” – Martijn van den Hoek
00:30:51 Waltz in E-Flat, Op. 18 – Martijn van den Hoek
00:35:58 Nocturne in C-Sharp Minor, Op. 27 No. 1 – Yoram Ish-Hurwitz
00:41:03 Mazurka Op.24 No. 1 in G Minor – Cor de Groot
00:44:03 Mazurka Op. 24 No. 2 in C – Cor de Groot
00:46:25 Mazurka Op. 24 No. 3 in A-Flat – Cor de Groot
00:48:55 Mazurka Op. 24 No. 4 in B-Flat Minor – Cor de Groot
00:53:04 Fantasie in F Minor, Op. 49 – Alwin Bar
01:06:14 Andante Spianato et Grande Polonaise Brilliante in E-Flat, Op. 22 – Folke Nauta
01:20:31 Nocturne in D-Flat, Op. 27 No. 2 – Yoram Ish-Hurwitz
01:26:57 Krakoviak for piano & orchestra, Op. 14 – Arthur Moreira-Lima
01:42:49 Nocturne in C-Sharp Minor, Op. Posth. – Yoram Ish-Hurwitz
01:46:54 Mazurka Op. 59 No. 1 in A Minor – Cor de Groot
01:50:32 Mazurka Op. 59 No. 2 in A-Flat – Cor de Groot
01:53:16 Mazurka Op. 59 No. 3 in F-Sharp Minor – Cor de Groot
01:56:45 Impromptu in A-Flat, Op. 29 – Pieter van Winkel
02:00:32 Waltz in A Minor, Op. 34 No. 1 - Pieter van Winkel
02:05:56 Ballade No. 4 in F Minor, Op. 52 - Pieter van Winkel
02:17:21 Berceuse in D-Flat, Op. 57 – Alwin Bar
02:22:30 Polonaise in A-Flat, Op. 53 “Heroic” – Folke Nauta
02:29:32 Nocturne in E-Flat, Op. 9 No. 2 – Pieter van Winkel
02:33:42 Waltz in D-Flat, Op. 64 No. 1 “Minute Waltz” - Martijn van den Hoek
02:35:28 Waltz in C-Sharp Minor, Op. 64 No. 2 – Martijn van den Hoek
02:39:09 Ballade No. 3 in A-Flat, Op. 47 - – Pieter van Winkel
02:46:31 Souvenir de Paganini – Frank van de Laar
02:50:49 Fantasie-Impromptu No. 4 in C-Sharp Minor, Op. 66 – Pieter van Winkel
02:55:59 Etude in E, Op. 10 No. 3 “Tristesse” - Martijn van den Hoek
03:00:02 Scherzo No. 2 in B-Flat Minor, Op. 31 – Alwin Bar
03:09:52 Prelude in D-Flat, Op. 28 No. 15 “Raindrop” – Paolo giacometti
03:15:08 Etude in C Minor, Op. 10 No. 12 “Revolutionary” – Martijn van den Hoek
03:17:54 Nocturne in B-Flat Minor, Op. 9 No. 1 – Pieter van Winkel
03:23:07 Barcarolle in F-Sharp, Op. 60 – Alwin Bar

Tracklist pinned.

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Composer: Antonín Dvorák
Artist: Inna Poroshina (piano)


Dvorák considered himself only a modest pianist (he was a string player), and his music for piano has for long been neglected and considered of secondary importance to his symphonies, concertos and chamber works. Whilst undoubtedly true, the output for solo piano does contain some of his more mundane efforts, closer study of the music reveals some gems well worth getting to know, and that all contain his innate gift for melody.

His largest work featuring piano, the G major piano concerto has finally made some headway in the concert repertoire, and has always been championed by leading pianists – Richter and Aimard to name just two. The piano trios, quartets and the quintet all have effective piano parts, and are well laid out for the pianist. So why has the solo piano music been so neglected?

These works span his entire creative life, from the simple little Polka in E of 1860, to the Theme and Variations, Suite in A, and the Humoresques of 1894. These last three works are his masterpieces for piano, and indeed the Seventh Humoresque in G became very famous due its use in a Joan Crawford film in 1946, and through arrangements by Fritz Kreisler and Art Tatum. The Suite in A, dating from his time in America (where he composed his Ninth Symphony ‘From the New World’) is better known today in its orchestral version.

These CDs contain some wonderful little known music by one the best-loved composers – music that deserves a wider audience.

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Composer: Johann Sebastian Bach
Artist: Erik Bosgraaf (recorder), Ensemble Cordevento

Although Bach clearly felt at home composing for the recorder, featuring it in major works including the Brandenburg Concertos and several cantatas, he never composed a concerto for solo recorder – in fact, he only wrote original solo concertos for harpsichord and violin. However, an examination of Bach’s compositional practices reveals that it was customary during his era to adapt or reuse musical material in new compositions. Taking this into consideration, the creators of this recording have drawn on a range of sources to answer the question of how a solo recorder concerto by Bach might have sounded.

The disc includes four full recorder concertos, based on material taken from existing harpsichord concertos and cantata movements, which Bach himself often reused or transcribed for different instrumentation. It closes with an organ prelude adapted for recorder and strings.The recordings are accompanied by extensive booklet notes, which outline the sources used in the construction of this repertoire and reveal an interesting dimension of Bach’s compositional practice – his approach to reusing and adapting musical material.

These recordings are brought to life by compelling performances from Erik Bosgraaf and Ensemble Cordevento, performed on a range of recorders and period instruments. Displaying an imaginative yet thorough approach to the repertoire, this disc is a fascinating examination of how Bach might have approached writing largescale works for the recorder and is recommended to any listeners interested in his concertos.

00:00:00 Concerto in G Major, Arias from Cantatas BWV 215 and 32, transcribed by Thiemo Wind: I. [Allegro]
00:06:27 Concerto in G Major, Arias from Cantatas BWV 215 and 32, transcribed by Thiemo Wind: II. Adagio
00:11:49 Concerto in G Major, Arias from Cantatas BWV 215 and 32, transcribed by Thiemo Wind: III. Presto
00:15:08 Concerto in B-Flat Major, BWV 1055: I. Allegro
00:19:07 Concerto in B-Flat Major, BWV 1055: II. Larghetto
00:24:04 Concerto in B-Flat Major, BWV 1055: III. Allegro ma non tanto
00:28:06 Concerto in D Major, BWV 1053: I. [Allegro]
00:35:33 Concerto in D Major, BWV 1053: II. Siciliano
00:39:30 Concerto in D Major, BWV 1053: III. Allegro
00:45:31 Concerto in D Minor, ‘BWV 1059’: I. [Allegro]
00:50:41 Concerto in D Minor, ‘BWV 1059’: II. Adagio
00:53:32 Concerto in D Minor, ‘BWV 1059’: III. Presto
00:56:25 Liebster Jesu, wir sind hier, BWV 731

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Composer: Antonio Vivaldi
Artist: ConSerto Musico, Mario Folena (flute), Stefania Marusi (flute), Francesco Baroni (harpsichord), Roberto Loreggian (harpsichord and organ)

Though several of Vivaldi’s most delightful concertos are written for the flute, he left relatively little chamber music for the instrument: the ‘Il Pastor Fido’ set which used to be attributed to him is now known to have been composed by Nicolas Chédeville. On this valuable new recording, Mario Folena and Roberto Loreggian offer what seems to be all that is left of Vivaldi’s output for the genre, informed by the latest scholarship and in delightful and lively period-instrument recordings. They couple it not with the previously recorded ‘Il Pastor Fido’ sonatas, but with a genuine rarity: an arrangement of ‘Spring’ from The Four Seasons made by Jean-Jacques Rousseau, the composer and philosopher who argued that, in politics as in music, Man should return to first principles.

00:00:00 Sonata in C Major, RV 48, for flute and basso continuo: [Preludio]
00:00:45 Sonata in C Major, RV 48, for flute and basso continuo: Affettuoso
00:04:43 Sonata in C Major, RV 48, for flute and basso continuo: Allegro assai
00:06:59 Sonata in C Major, RV 48, for flute and basso continuo: Larghetto
00:09:11 Sonata in C Major, RV 48, for flute and basso continuo: Allegro
00:11:21 Sonata in G Major, RV 80, for two flutes and b.c.: Allegro
00:13:48 Sonata in G Major, RV 80, for two flutes and b.c.: Larghetto
00:15:23 Sonata in G Major, RV 80, for two flutes and b.c.: Allegro
00:17:11 Sonata in D Minor, RV 49, for flute and b.c.: Preludio
00:19:56 Sonata in D Minor, RV 49, for flute and b.c.: Siciliana
00:22:26 Sonata in D Minor, RV 49, for flute and b.c.: Sarabanda
00:24:25 Sonata in D Minor, RV 49, for flute and b.c.: Allegro
00:25:49 Le Printemps de Vivaldi arrangé pour une Flûte sans accompagnement (1775) in D Major: Allegro
00:29:22 Le Printemps de Vivaldi arrangé pour une Flûte sans accompagnement (1775) in D Major: Largo
00:31:50 Le Printemps de Vivaldi arrangé pour une Flûte sans accompagnement (1775) in D Major: Allegro
00:36:07 Sonata in G Minor, RV 51, for flute and b.c.: [Preludio]
00:36:42 Sonata in G Minor, RV 51, for flute and b.c.: Largo
00:39:19 Sonata in G Minor, RV 51, for flute and b.c.: Allegro
00:41:17 Sonata in G Minor, RV 51, for flute and b.c.: [Recitativo]
00:41:59 Sonata in G Minor, RV 51, for flute and b.c.: Andante
00:44:50 Sonata in G Minor, RV 51, for flute and b.c.: Allegro
00:46:34 Sonata in E Minor, RV 50, for flute and b.c.: Andante
00:51:20 Sonata in E Minor, RV 50, for flute and b.c.: Siciliano
00:54:14 Sonata in E Minor, RV 50, for flute and b.c.: Allegro
00:56:21 Sonata in E Minor, RV 50, for flute and b.c.: Arioso
00:59:04 Sonata in A Major, RV 800, for two flutes and b.c.: Allegro
01:01:11 Sonata in A Major, RV 800, for two flutes and b.c.: Andante
01:02:51 Sonata in A Major, RV 800, for two flutes and b.c.: Allegro

Tracklist below.

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Composer: Luigi Boccherini
Artist: Virtuosi della Rotonda
Federico Guglielmo violin
Luigi Puxeddu cello

Luigi Boccherini spent his early life in the service of the authorities of his hometown of Lucca, in Tuscany, though his talent as a cellist and composer often saw him travel abroad with his family at this young age. Settling in Spain in 1770, he spent the next 15 years of his life in the service of the Infante Luis Antonio Jaime of Bourbon. The String Quintets Op.29 for two violins, viola and two cellos were composed for the Infante in 1779 and represent a peak in Boccherini’s output, both for the magic of their texture and their great formal freedom. They remained unpublished for several years, only printed posthumously by the Parisian publisher Pleyel in 1813. The presence of dance is a common feature of the Quintets, with examples of every kind bursting out unexpectedly, even in movements where it is not openly called for. Particularly striking in this regard is Boccherini’s way of disrupting a slow movement in order to leave space for the dance to follow to the point that, in the sixth and last quintet, the slow movement is reduced to a sad Prelude before the Goyescan finale. Performing these works are I Virtuosi della Rotonda, a chamber group founded by Luigi Puxeddu in 2002, made up of soloists and leaders of major Italian orchestras. Puxeddu has already released Boccherini’s String Quintets Op.18, with La Magnifica Comunità (BC93346), and his Complete Cello Sonatas (BC93784) on Brilliant Classics. The latter, the only complete recording in existence, was named Disc of the Month by Angelo Foletto in the Italian classical music magazine Suonare News and received five Diapasons in France, as well as being critically praised in American Record Guide and Classical Voice.
After a lapse of several years this set presents the continuation of a highly successful and popular series on Brilliant Classics: the string quintets by Boccherini! The String Quintet series, of which 15 CD’s have already been issued, brought to light many hidden treasures, masterworks of chamber music in pure Classical Style, brimming with vitality, wit and winning charm. The ensemble I Virtuosi delle Rotonda are basically the same as the previous ensemble La Magnifica Comunita, only the primarius is changed: early music specialist and pioneer Federico Guglielmo, a better and stronger advocate of this delicious music is hardly imaginable…

00:00:00 String Quintet No. 1 in D Major, G. 313: I. Andante moderato
00:08:04 String Quintet No. 1 in D Major, G. 313: II. Minuetto
00:11:54 String Quintet No. 1 in D Major, G. 313: III. Cantabile
00:18:19 String Quintet No. 1 in D Major, G. 313: IV. Finale. Allegro
00:23:42 String Quintet No. 2 in C Minor, G. 314: I. Allegro vivo
00:31:11 String Quintet No. 2 in C Minor, G. 314: II. Largo assai
00:33:19 String Quintet No. 2 in C Minor, G. 314: III. Minuetto
00:37:05 String Quintet No. 2 in C Minor, G. 314: IV. Fuga. Allegro giusto
00:42:11 String Quintet No. 3 in F Major, G. 315: I. Adagio
00:48:04 String Quintet No. 3 in F Major, G. 315: II. Allegro vivo
00:56:18 String Quintet No. 3 in F Major, G. 315: III. Andante lentarello
01:03:10 String Quintet No. 4 in A Major, G. 316: I. Allegro moderato
01:09:59 String Quintet No. 4 in A Major, G. 316: II. Minuetto
01:13:46 String Quintet No. 4 in A Major, G. 316: III. Largo cantabile
01:20:54 String Quintet No. 4 in A Major, G. 316: IV. Il ballo Tedesco. Presto
01:24:34 String Quintet No. 5 in E-Flat Major, G. 317: I. Allegro moderato
01:31:39 String Quintet No. 5 in E-Flat Major, G. 317: II. Minuetto
01:34:53 String Quintet No. 5 in E-Flat Major, G. 317: III. Andante lento
01:40:59 String Quintet No. 5 in E-Flat Major, G. 317: IV. Finale. Allegro assai
01:46:13 String Quintet No. 6 in G Minor, G. 318: I. Allegro moderato assai
01:53:53 String Quintet No. 6 in G Minor, G. 318: II. Minuetto
01:56:41 String Quintet No. 6 in G Minor, G. 318: III. Preludio. Adagio
01:59:09 String Quintet No. 6 in G Minor, G. 318: IV. Rondò. Allegro giusto

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Composer: Ludwig van Beethoven
Artist: Staatskapelle Dresden, Herbert Blomstedt (conductor)

Beethoven’s nine symphonies – composed between 1800 and 1824 – are true cornerstones of the classical canon. Marking an irrefutable turning point in the history of music, they transformed audiences’ expectations of the symphony and influenced the genre’s future development through their experimental, dramatic and expressive weight. Conductors have long been drawn to the profundity of these works: a complete cycle of Beethoven symphonies is viewed as one of the ultimate challenges in the repertoire, and the performances in this set are undoubtedly among the greatest to have been recorded, illuminating the skill of the Staatskapelle Dresden and Herbert Blomstedt, one of the most distinguished conductors of the 20th and 21st centuries.

00:00:00 Symphony No. 1 in C, Op. 21: I. Adagio molto – Allegro con brio
00:09:03 Symphony No. 1 in C, Op. 21: II. Andante cantabile con moto
00:17:36 Symphony No. 1 in C, Op. 21: III. Menuetto & Trio: Allegro molto e vivace
00:21:02 Symphony No. 1 in C, Op. 21: IV. Finale: Adagio – Allegro molto e vivace
00:27:21 Symphony No. 3 in E-Flat, Op. 55 ‘EROICA’: I. Allegro con brio
00:42:24 Symphony No. 3 in E-Flat, Op. 55 ‘EROICA’: II. Marcia funebre: Adagio assai
00:59:11 Symphony No. 3 in E-Flat, Op. 55 ‘EROICA’: III. Scherzo & Trio: Allegro vivace
01:05:01 Symphony No. 3 in E-Flat, Op. 55 ‘EROICA’: IV. Allegro molto – Poco andante – Presto
01:16:50 Symphony No. 2 in D, Op. 36: I. Adagio molto – Allegro con brio
01:29:56 Symphony No. 2 in D, Op. 36: II. Larghetto
01:42:30 Symphony No. 2 in D, Op. 36: III. Scherzo & Trio: Allegro
01:46:37 Symphony No. 2 in D, Op. 36: IV. Allegro molto
01:53:30 Symphony No. 4 in B-Flat, Op. 60: I. Adagio – Allegro vivace
02:05:40 Symphony No. 4 in B-Flat, Op. 60: II. Adagio
02:16:12 Symphony No. 4 in B-Flat, Op. 60: III. Menuetto: Allegro vivace – Trio: Un poco meno allegro
02:22:03 Symphony No. 4 in B-Flat, Op. 60: IV. Allegro ma non troppo
02:29:14 Symphony No.5 in C Minor, Op. 67: I. Allegro con brio
02:37:19 Symphony No.5 in C Minor, Op. 67: II. Andante con moto
02:48:41 Symphony No.5 in C Minor, Op. 67: III. Allegro
02:57:34 Symphony No.5 in C Minor, Op. 67: IV. Allegro – Presto
03:06:37 Symphony No. 6 in F, Op. 68 ‘PASTORAL’: I. Allegro ma non troppo (Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande)
03:16:08 Symphony No. 6 in F, Op. 68 ‘PASTORAL’: II. Andante molto mosso (Szene am Bach)
03:28:49 Symphony No. 6 in F, Op. 68 ‘PASTORAL’: III. Allegro – sempre più stretto – In tempo d’allegro – Tempo I – Presto (Lustiges Zusammensein der Landleute)
03:34:33 Symphony No. 6 in F, Op. 68 ‘PASTORAL’: IV. Allegro (Gewitter, Sturm)
03:38:16 Symphony No. 6 in F, Op. 68 ‘PASTORAL’: V. Allegretto (Hirtengesang, frohe und dankbare Gefühle nach dem Sturm)
03:48:07 Symphony No. 7 in A, Op. 92: I. Poco sostenuto – Vivace
04:01:38 Symphony No. 7 in A, Op. 92: II. Allegretto
04:11:36 Symphony No. 7 in A, Op. 92: III. Presto – Assai meno presto
04:21:21 Symphony No. 7 in A, Op. 92: IV. Allegro con brio
04:30:34 Symphony No. 8 in F, Op. 93: I. Allegro vivace e con brio
04:40:37 Symphony No. 8 in F, Op. 93: II. Allegretto scherzando
04:44:33 Symphony No. 8 in F, Op. 93: III. Tempo di Menuetto
04:49:20 Symphony No. 8 in F, Op. 93: IV. Allegro vivace
04:57:11 Symphony No. 9 in D Minor, Op. 125 ‘CHORAL’: I. Allegro ma non troppo, un poco maestoso
05:14:06 Symphony No. 9 in D Minor, Op. 125 ‘CHORAL’: II. Molto vivace – Presto
05:27:54 Symphony No. 9 in D Minor, Op. 125 ‘CHORAL’: III. Adagio molto e cantabile – Andante moderato – Tempo I – Andante moderato – Adagio – Lo stesso tempo
05:44:19 Symphony No. 9 in D Minor, Op. 125 ‘CHORAL’: IV. Presto – Allegro assai – Presto – Recitativo – Allegro assai – Allegro assai vivace (alla marcia) – Andante maestoso – Adagio ma non troppo ma divoto – Allegro energico e sempre ben marcato – Allegro ma non tanto Presto – Maestoso – Prestissimo

To be released in september 2018!
Playing: Autre chacone in C Major

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Francesco Corbetta: the JS Bach of the guitar? A bold claim, but one made with passion by the guitarist Izhar Elias in his own booklet essay for this ground-breaking new album.

Born in the Italian city of Pavia around 1615, Corbetta worked as a musician in the court of Madrid but he made his career and lasting reputation in France. According to contemporary accounts, Corbetta’s playing epitomized the ornate Baroque guitar solo. The high range, frequent resolution of dissonance, virtuosic techniques, and coloristic effects, such as overlapping tones of campanelas or flashy repicco strumming, converged in his guitar music to make it the most brilliant if challenging of the era.

On this album Elias has made his own selection from two of Corbetta’s published volumes which were written for King Charles II (1671) and King Louis XIV (1674) respectively. According to him, Corbetta’s music is rooted in the popular songs and dances of his day, making him more like a modern pop songwriter. Using the genres of chaconne and passacaglia, several of which are included here, he transformed the guitar into a polyphonic instrument and a genuinely soloistic one compared to its previous, humble role as an accompaniment to song and strings. There are also two substantial dance suites, in A minor and G minor.

The Dutch-born guitarist Izhar Elias has made several significant contributions to the extensive library of guitar music on Brilliant Classics, including a Spanish Baroque album, ‘La Monarcha’ (BC94352), an exploration of Beethoven’s little-known writing for the instrument (BC94631); and perhaps most noteworthy, a first complete recording for substantial excerpts from Rossini’s late masterpiece Semiramide, arranged for solo guitar by Giuliani (BC93902). ‘You’ll rarely hear anyone work so hard,’ remarked the Classics Today reviewer. ‘The playing is magnificent – fluent, tonally as varied as possible, rhythmically true to Rossini.’

Francesco Corbetta (1615-1681) was an Italian guitar player, teacher and composer. First attached to the Mantua court of the Gonzaga family, he later traveled Europe as one of the first guitar virtuosos, finding an admiring welcome at the courts of Madrid and Hannover, finally settling at the court of Louis XIV. In later years he was also active as court musician to Charles II of England, dividing his last 20 years between Paris and London.
His early works were mostly strummed dance music, later he developed his style with complex harmonies and polyphony in the French taste.
Corbetta’s magnum opus is titled La Guitarre Royalle, consisting of two books written for his two patrons (Louis XIV and Charles II). The rhythmic pattern of the court dances are embellished with French style ornamentations, the result being a highly sophisticated, folk music based instrumentation.
Dutch guitarist Izhar Elias is one of today’s most sought-after specialists in Early Music, chamber music and contemporary music. He recorded several remarkable CD’s for Brilliant Classics, to great international acclaim. He wrote the informative liner himself, in English and German.

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Composer: Domenico Scarlatti
Artists: Luigi Attademo (guitar)

About this Album:
The 600 or so sonatas for harpsichord by Domenico Scarlatti contain some of the most remarkable music for keyboard from the Barock era. The influence of these works can be detected in the sonatas of Haydn, Clementi, and Beethoven. The fact that these composers, who developed the piano sonata form to new levels virtuosity, and at a time when the piano was a ‘new’ instrument, developing constantly, were influenced by his examples, has lead to many performers re-appraising Scarlatti’s sonatas.

How would they sound on other instruments? The modern concert grand is, today, no stranger to Scarlatti’s sonatas, but the guitar? The great Andres Segovia was one of the first to recognise that many of these sonatas would work for the guitar. His idea was not to imitate the harpsichord (‘a guitar with a cold’ as he famously said, much to the annoyance of the great harpsichordist Wanda Landowska), but to bring out hitherto unexplored textures and colours contained in the music that only the guitar could realise. There wasn’t much in the way of period interpretation or slavish imitation of keyboard practice in Segovia’s approach. It was a marvellously ‘gut feel’ instinctive interpretation that divided opinion.

On this album Attademo skilfully demonstrates that the two schools of thought can be brought together – Scarlatti’s genius as keyboard virtuoso, and the genius and instinctiveness of Segovia.

Tracklist:
00:00:00 12 Sonatas For Guitar: 1 Sonata K377: Allegrissimo
00:03:13 12 Sonatas For Guitar: 2 Sonata K208: Adagio e cantabile
00:08:54 12 Sonatas For Guitar: 3 Sonata K209: Allegro
00:14:13 12 Sonatas For Guitar: 4 Sonata K32: Aria
00:17:05 12 Sonatas For Guitar: 5 Sonata K77: Moderato e cantabile
00:21:43 12 Sonatas For Guitar: Minuet
00:23:17 12 Sonatas For Guitar: 6 Sonata K34: Larghetto
00:26:40 12 Sonatas For Guitar: 7 Sonata K291: Andante
00:31:45 12 Sonatas For Guitar: 8 Sonata K292: Allegro
00:34:24 12 Sonatas For Guitar: 9 Sonata K87 -
00:38:02 12 Sonatas For Guitar: 10 Sonata K481: Andante e cantabile
00:42:25 12 Sonatas For Guitar: 11 Sonata K476: Allegro
00:46:12 12 Sonatas For Guitar: 12 Sonata K213: Andante


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Composer: Luigi Boccherini
Artists: Ensemble Symposium, Igor Cantarelli (violin), Gian Andrea Guerra (violin), Simone Laghi (viola), Gregorio Buti (violoncello)

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Generally known as Boccherini’s Op.26, this set of two-movement ‘quartettini’ was first published as Op.32, but confusion has continued down the years, which may be one reason why these delightful works have remained little-known and under-recorded; the only extant version on CD is of arrangements for keyboard and piano quartet, so this set offers a valuable first chance to acquaint oneself with Boccherini’s original scoring.
The composer himself numbered the quartets among his ‘opera piccola’ – small works – but by grouping them in three pairs, it is possible to observe a macro-structure within the whole of Op.26, with a triple alternation of a scheme of fast-(menuet and trio) – slow – (menuet and trio). Certainly Boccherini did not intend the quartets to be taken less seriously than the longer-form quartets: ‘it is all cloth of the same piece,’ he remarked to his publisher, and his palette of sound is no less varied for the size of his chosen canvas, ranging from sweet, cantabile melodies to abrupt introductions and sudden conclusions. Op.26 is full of surprises, sometimes in his use of Spanish folk material, which betrays their origin as music composed for the Infante Don Luis at his court near Madrid. The Infante was the brother of the King of Spain Charles III. Boccherini remained in service of Don Luis as compositore and virtuoso di camera from 1770 to the death of the Infante, in 1785. There is even a fandango to conclude the set, in the finale of G200.

00:00:00 6 String Quartets, Op. 26, Quartetto in B-Flat Major, G. 195: I. Allegro moderato
00:04:28 6 String Quartets, Op. 26, Quartetto in B-Flat Major, G. 195: II. Minuetto con moto – Trio
00:09:48 6 String Quartets, Op. 26, Quartetto in G Minor, G. 196: I. Larghetto
00:14:17 6 String Quartets, Op. 26, Quartetto in G Minor, G. 196: II. Minuetto – Trio
00:18:47 6 String Quartets, Op. 26, Quartetto in E-Flat Major, G. 197: I. Allegro vivace
00:23:40 6 String Quartets, Op. 26, Quartetto in E-Flat Major, G. 197: II. Minuetto – Trio
00:27:41 6 String Quartets, Op. 26, Quartetto in A Major, G. 198: I. Larghetto
00:33:17 6 String Quartets, Op. 26, Quartetto in A Major, G. 198: II. Minuetto con moto – Trio
00:37:56 6 String Quartets, Op. 26, Quartetto in F Major, G. 199: I. Allegretto
00:43:11 6 String Quartets, Op. 26, Quartetto in F Major, G. 199: II. Minuetto allegro – Trio
00:47:09 6 String Quartets, Op. 26, Quartetto in F Minor, G. 200: I. Andante appassionato ma non lento
00:52:41 6 String Quartets, Op. 26, Quartetto in F Minor, G. 200: II. Minuetto – Trio

Tracklist below.

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Composers: Aram Ilyich Khachaturian
Artists: Bolshoi Theatre Orchestra, Evgeny Svetlanov (conductor)

Along with Shostakovich and Prokofiev, Khachaturian was one of the most famous and celebrated composers of the Soviet Union. Born in Tbilisi, Georgia, his earliest musical influences were the folk music of Georgia and of his ancestral homeland, Armenia. His ballet Gayaneh, composed in 1942, tapped into this passion for his Armenian heritage; set on a collective farm, its story is concerned with the triumph of love and loyalty to the Motherland over treason – themes that would keep Stalin happy. Khachaturian’s later ballet Spartacus, written in 1956, took the famous story of the Greek slave turned gladiator and his defeat of the Roman general Crassus as its basis. Composed in the dying years of Stalin’s rule, Khachaturian and his audiences were drawn to the story’s theme of resistance against tyranny.

Several movements from these ballets have taken on a life outside the original ballet suites – for example, the Sabre Dance from Gayaneh and the famous Adagio from Spartacus – ensuring that these wonderful and colourfully scored ballet suites have become firm favourites in the concert hall.

‘The Bolshoi orchestra are obviously completely at home in this repertoire, and Svetlanov’s ear for orchestral detail is as sure as ever. How beautifully he handles the tapering down at the end of the ‘Dance of the Nymphs’ (from Spartacas), while the opening of the ‘Dance of the Young Girls of Gadès’ brings a slow, subtle crescendo… The famous ‘Adagio of Spartacus and Phrygia’ has never sounded more touchingly refined on record and the climax does not disappoint. In Gayaneh there is a beguilingly sinuous sophistication in ‘Ayesha’s dance’, and the ‘Lullaby’ and ‘Gayeneh’s Adagio’ are beautifully played, creating much delicacy of texture.’ Gramophone.

00:00:00 Gayaneh, Ballet Suite: Dance of the Rose Maidens
00:02:41 Gayaneh, Ballet Suite: Aysha’s Dance
00:07:04 Gayaneh, Ballet Suite: Dance of the Highlanders
00:09:01 Gayaneh, Ballet Suite: Lullaby
00:14:54 Gayaneh, Ballet Suite: Noune’s Dance
00:16:39 Gayaneh, Ballet Suite: Armen’s Var
00:18:37 Gayaneh, Ballet Suite: Gayaneh’s Adagio
00:22:37 Gayaneh, Ballet Suite: Lezghinka
00:25:35 Gayaneh, Ballet Suite: Dance with Tambourines
00:28:35 Gayaneh, Ballet Suite: Sabre Dance
00:30:58 Spartacus, Ballet Suite: Introduction – Dance of the Nymphs
00:37:02 Spartacus, Ballet Suite: Aegina’s Dance
00:41:02 Spartacus, Ballet Suite: Scene and Dance with Crotalums
00:44:55 Spartacus, Ballet Suite: Adagio of Spartacus and Phrygia
00:54:38 Spartacus, Ballet Suite: Dance of the Gaditan Maidens – Victory of Spartacus

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Composer: Maurice Ravel
Artist: Michelangelo Carbonara (piano)

00:00:00 Serenade Grotesque
00:03:20 Menuet Antique
00:09:31 Pavane Pour Une infante defunte
00:15:55 Jeux D'eau
00:21:43 Sonatine : I. Modere
00:25:50 Sonatine : II. Mouvement de Menuet
00:28:57 Sonatine : III. Anime
00:32:57 Menuet En Ut Diese Mineur
00:34:11 Miroirs: Noctuelles
00:39:16 Miroirs: Oiseaux Tristes
00:43:26 Miroirs: Une Barque Sur L' Ocean
00:51:23 Miroirs: Alborada del Gracioso
00:58:04 Miroirs: La vallee des Cloches
01:04:05 Gaspard de La Nuit: I. Ondine
01:11:00 Gaspard de La Nuit: II. Le Gibet
01:18:27 Gaspard de La Nuit: III. Scarbo
01:28:28 Menuet Sur Le Nom de Haydin
01:30:09 Valses Nobles Et Sentimentales
01:31:27 Valses Nobles Et Sentimentales
01:34:03 Valses Nobles Et Sentimentales
01:35:28 Valses Nobles Et Sentimentales
01:36:38 Valses Nobles Et Sentimentales
01:37:51 Valses Nobles Et Sentimentales
01:38:31 Valses Nobles Et Sentimentales
01:41:11 Valses Nobles Et Sentimentales
01:45:28 Prelude
01:47:44 A La maniere de ...: Borodine
01:49:28 A La maniere de ...: Chabrier
01:51:28 Le Tombeau de Couperin: I. Prelude
01:54:41 Le Tombeau de Couperin: II. Fugue
01:58:11 Le Tombeau de Couperin: III. Forlane
02:04:46 Le Tombeau de Couperin: IV. Rigaudon
02:08:08 Le Tombeau de Couperin: V. Menuet
02:12:37 Le Tombeau de Couperin: VI Toccata

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Componist: Luigi Boccherini
Artist: Luigi Puxeddu

A much-underrated composer, Luigi Boccherini (1743-1805) was one of the leading composers of the late 18th century, a friend and colleague of both Haydn and Mozart, and a formidable cello virtuoso. His reputation was such that he was nicknamed ‘Mrs Haydn’ – not in a pejorative sense, the appellation was due to his music sounding Haydnesque, but with a sensual, feminine grace rather than the Sturm und Drang of his Austrian friend’s music.

Boccherini’s prodigious talent as a cellist is apparent in the virtuosic cello sonatas, which call for an array of dazzling instrumental techniques. Cellist Luigi Puxeddu has recorded all of these sonatas, featured on this set.

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Giovanni Benedetto Platti is no household name, but in his day he was lauded as an exceptionally fine singer, oboist and composer, leaving his native country Italy in 1722 to take up a position at the court of Würzburg, Germany, where he served Prince-Bishop Johann Philipp Franz von Schönborn until the nobleman's sudden death from a heart attack in 1724.

The concertos featured in this compendium can be traced as far back as this latter year, for from 1724 onwards Platti had both the time and the inclination to devote himself to the Bishop's music-loving brother, Count Rudolf Franz Erwein. A passionate cellist, Erwein is surely the dedicatee behind the three Concerti con Violoncello obligato, works whose fast movements exhibit a characteristically nimble style and whose slow movements abound with expressive harmony. We also know that Platti prepared musical material on a regular basis for the Count, and his handwriting can indeed be found in the adaptation of Corelli's Op.5 Violin Sonatas, which had no doubt caught Erwein's attention when they were first published in Rome in 1700. Here Corelli's violin part is shared between two Concertino instruments, and the alternation of larger and smaller forces – a characteristic trait of the Concerto grosso – helps accentuate the various reprises of the musical theme.

Dedicated to all matters Baroque and Classical, Ensemble Cordia – which uses period instruments to combine 'authentic sound' with youthful, fresh performances – is at the helm to perform these little-known but highly elegant works. The group has recorded widely for Brilliant Classics – its 2011 recording of Platti's Oboe Concertos (94007) earned the following review from Fanfare: "seldom have I heard Baroque instrumental playing so heartfelt and impassioned". The soloist for the cello concertos is Stefano Veggetti, whose assured playing can only serve to deepen our appreciation for a composer whose music is at last being fitfully rediscovered.

00:00:00 Concerto in A Major, D-WD 654: I. Allegro
00:04:58 Concerto in A Major, D-WD 654: II. Largo e cantabile
00:10:16 Concerto in A Major, D-WD 654: III. Presto
00:13:59 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: I. Grave – Allegro – Adagio – Grave – Allegro – Adagio
00:17:10 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: II. Allegro
00:19:33 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: III. Allegro
00:20:37 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: IV. Adagio
00:23:29 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: V. Allegro
00:25:07 Concerto in D Minor, D-WD 657: I. Non tanto allegro
00:30:03 Concerto in D Minor, D-WD 657: II. Adagio
00:34:30 Concerto in D Minor, D-WD 657: III. Alla breve: Fuga
00:39:17 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: I. Adagio
00:41:54 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: II. Allegro
00:43:50 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: III. Adagio
00:47:04 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: IV. Allegro
00:48:07 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: V. Allegro
00:50:35 Concerto in D Major, D-WD 650: I. Allegro
00:54:40 Concerto in D Major, D-WD 650: II. Adagio
00:58:11 Concerto in D Major, D-WD 650: III. Allegro

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Composer: Frédéric Chopin
Artists: Alwin Bär, Folke Nauta, Pieter van Winkel, Martijn van den Hoek, Paolo Giacometti (pianos)

A CD filled with short characteristic pieces by Frédéric Chopin. Played by several Dutch pianists, including International Franz Liszt Piano Competition winner Martijn van den Hoek and Alwin Bär.

00:00:00 Berceuse in D-Flat Major, Op. 57
00:05:06 Polonaise in A-Flat Major, Op. 53, “Heroic”
00:12:07 Nocturne in E-Flat Major, Op. 9 No. 2
00:16:22 Waltz in D-Flat Major, Op. 64 No. 1, “Minute Waltz”
00:18:06 Waltz in C-Sharp Minor, Op. 64 No. 2
00:21:45 Ballade No. 3 in A-Flat Major, Op. 47
00:29:06 Souvenir de Paganini
00:33:21 Fantasie-Impromptu in C-Sharp Minor, Op. 66
00:38:29 Etude in E Major, Op. 10 No. 3
00:42:30 Scherzo No. 2 in B-Flat Minor, Op. 31
00:52:19 Prelude in D-Flat Major, Op. 28 No. 15, “Raindrop”
00:57:32 Etude in C Minor, Op. 10 No. 12, “Revolutionary”
01:00:16 Nocturne in B-Flat Minor, Op. 9 No. 1
01:05:41 Barcarolle in F-Sharp Major, Op. 60

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Mozart’s piano sonatas date from 1773 until 1788 – a period in which his style matured at a truly remarkable rate. The earliest sonatas are very much in the galant style of W.F and CPE Bach, and in places Scarlatti’s influence can be detected. However, the late sonatas, such as K457 are full of surprises, and here the influence of Haydn is to the fore – even predicting Beethoven in passages. The years from 1773 to the late 80s saw the rapid development of the piano from a novelty and experimental instrument, to the stage where it’s power and range provided composers with a hitherto undreamed palate of colours and expression. Mozart exploited the new instruments to maximum effect in his concertos and his sonatas.
Composer: Wolfgang Amadeus Mozart
Artist: Klara Würtz (piano)

00:00:00 Piano Sonata No.1 in C, K279: I. Allegro
00:04:56 Piano Sonata No.1 in C, K279: II. Andante
00:10:09 Piano Sonata No.1 in C, K279: III. Allegro
00:13:31 Piano Sonata No.2 in F, K280: I. Allegro assai
00:18:02 Piano Sonata No.2 in F, K280: II. Adagio
00:24:04 Piano Sonata No.2 in F, K280: III. Presto
00:26:59 Piano Sonata No.3 in B flat, K281: I. Allegro
00:33:47 Piano Sonata No.3 in B flat, K281: II. Andante amoroso
00:39:19 Piano Sonata No.3 in B flat, K281: III. Rondeau: Allegro
00:43:56 Piano Sonata No.4 in E flat, K282: I. Adagio
00:50:57 Piano Sonata No.4 in E flat, K282: II. Menuetto
00:55:02 Piano Sonata No.4 in E flat, K282: III. Allegro
00:58:06 Piano Sonata No.5 in G, K283: I. Allegro
01:03:32 Piano Sonata No.5 in G, K283: II. Andante
01:09:14 Piano Sonata No.5 in G, K283: III. Presto
01:13:02 Piano Sonata No.6 in D, K284: I. Allegro
01:18:32 Piano Sonata No.6 in D, K284: II. Rondeau en polonaise: Andante
01:22:38 Piano Sonata No.6 in D, K284: III. Andante (Tema con variazioni)
01:38:15 Piano Sonata No.7 in C, K309: I. Allegro con spirito
01:44:13 Piano Sonata No.7 in C, K309: II. Andante un poco adagio
01:49:21 Piano Sonata No.7 in C, K309: III. Rondeau: Allegretto grazioso
01:55:23 Piano Sonata No.8 in A Minor, K310: I. Allegro maestoso
02:01:24 Piano Sonata No.8 in A Minor, K310: II. Andante cantabile con espressione
02:08:31 Piano Sonata No.8 in A Minor, K310: III. Presto
02:11:14 Piano Sonata No.9 In D, K311: I. Allegro con spirito
02:15:41 Piano Sonata No.9 In D, K311: II. Andante con espressione
02:20:33 Piano Sonata No.9 In D, K311: III. Rondeau: Allegro
02:26:39 Piano Sonata No.10 In C, KV330: I. Allegro moderato
02:33:20 Piano Sonata No.10 In C, KV330: II. Andante cantabile
02:39:53 Piano Sonata No.10 In C, KV330: III. Allegretto
02:45:36 Piano Sonata No.11 In A, K331: I. Andante grazioso
02:58:30 Piano Sonata No.11 In A, K331: II. Menuetto
03:04:25 Piano Sonata No.11 In A, K331: III. Alla Turca: Allegretto
03:07:50 Piano Sonata No.12 in F, K332: I. Allegro
03:14:24 Piano Sonata No.12 in F, K332: II. Adagio
03:19:07 Piano Sonata No.12 in F, K332:III. Allegro assai
03:25:58 Piano Sonata No.13 in B flat, K333: I. Allegro
03:33:20 Piano Sonata No.13 in B flat, K333: II. Andante cantabile
03:38:53 Piano Sonata No.13 in B flat, K333: III. Allegretto grazioso
03:45:30 Piano Sonata No.14 in C Minor, K457: I. Allegro molto
03:50:59 Piano Sonata No.14 in C Minor, K457: II. Adagio
03:58:42 Piano Sonata No.14 in C Minor, K457: III. Allegro assai
04:03:02 Piano Sonata No.15 in F, K533: Allegro
04:10:39 Piano Sonata No.15 in F, K533: Andante
04:17:14 Piano Sonata No.15 in F, K533: Rondeau: Allegretto
04:23:42 Piano Sonata No.16 in C, K545: I. Allegro
04:27:02 Piano Sonata No.16 in C, K545: II. Andante
04:31:12 Piano Sonata No.16 in C, K545: III. Rondo
04:32:58 Piano Sonata No.17 in B flat, K570: I. Allegro
04:38:32 Piano Sonata No.17 in B flat, K570: II. Adagio
04:46:07 Piano Sonata No.17 in B flat, K570: III. Allegretto
04:49:38 Piano Sonata No.18 in D, K576: I. Allegro
04:54:50 Piano Sonata No.18 in D, K576: II. Adagio
05:00:23 Piano Sonata No.18 in D, K576: III. Allegretto

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The year was 1778. Mozart (22 Years old) was in Paris, trying to break into musical society and get a well-payed placement.

It was first the first trip he had made without his father Leopold. But the places he visited weren't impressed by his skills now, even though they'd been whipped into a wild frenzy by Mozart when he was a 6 year old performing prodigy.

His entire Paris trip was catastrophic, personally and professionally. Aside from his mother dying during his stay there (she had accompanied him), French musicians and listeners were snobby and rude to Mozart. He deeply resented them for the rest of his life.

Worse still, his job search was futile. Nobody wanted to hire him!

But a fantastic opportunity presented itself at one point. Mozart was asked to write a symphony to open Paris's most famous concert series, with a fantastically large orchestra at his disposal.

Perfect - a chance to make a huge splash, and get himself noticed by Paris's elite!

He finished the piece, his 31st symphony, in June 1778. The premiere was at a private concert at an ambassador's house, and the public premiere followed a few days later.

Mozart had tried hard to fit his symphony into the mold of French tastes. The audiences in Paris at that time loved raw excitement and flashy colors in their music. Mozart delivered in spades, using his large orchestra to dazzle and delight.

The audience were very pleased with the symphony, even applauding in the middle of it at certain points!

Composer:
Wolfgang Amadeus Mozart

Artist:
Mozart Akademie Amsterdam
Jaap ter Linden (conductor)

Tracklist Below:
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Arvo Pärt’s music resists the easily achieved peace of much Minimalist music of its time, even if its economy of gesture and expression – the joy taken in apparently simple beauty – has made him one of the iconic composers of our time. Such beauty is not simply achieved, and Pärt has written slowly, again unlike many of his contemporaries, filling each new piece with quiet quirks of harmony and unexpected turns that make them as satisfying to perform as they are to hear.

All the works on this album of music reflecting Pärt’s deep Christian faith derive from the ‘tintinnabuli’ style which he created in the 1970s, in rebellion from an earlier embrace of Modernism. In Cantate Domino (1978), a simple melodic voice embraced by an accompaniment taken from the tonic triad – the bell-like sound inspiring the label. In the Berliner-Messe of 1990 there are certainly many moments of ascetic detachment but these are balanced with a compelling range of emotion: originally written with string parts, the Mass is here performed as it would more commonly be heard in a liturgical context, with organ accompaniment. The organ plays a central role in The Beatitudes (199X): granite slabs of sound come into focus over unyielding pedal notes, the message intensified in the silences. Intensity rises with pitch until the music is torn apart by the organ at the concluding Amen.

Spiegel im Spiegel is a Pärt classic for its ineffable and seemingly inevitable progression, and makes no less haunting an effect than the violin-and-piano original in this arrangement for organ made in 2010. The other organ works are more imposing: Annum per annum, Trivium and Pari intervallo, all making full use of the Klais-restored organ of Leeds Cathedral.

The cathedral’s musicians have made several well-received recordings for Brilliant Classics, of music by Maurice Duruflé (9264), Hendrik Andriessen (94958), Georgi Mushel (9279) and others. Of the Durufle, Gramophone’s reviewer wrote: ‘Leeds Cathedral Choir…bright tone and honest, natural singing deliver very accomplished and satisfying performances. The choir are ably supported by the splendid accompaniments of the Skipton Camerata and organists Benjamin Saunders and Daniel Justin. It’s faithfully captured by the excellent recording… an enjoyable and rewarding two-CD set.’

As follow-up on their successful Duruflé recording (BC 9264) the splendid Leeds Cathedral Choir, conductor Benjamin Saunders and organist Felix Justin present choral and organ music by Arvo Pärt, the iconic Estonian master of New Spirituality.
Included are the popular Berliner Messe, the Beatitudes, the complete organ works and Pärt’s most famous work, Spiegel im Spiegel, here played on the organ.
Recorded in the spacious and generous acoustics of Leeds Cathedral, also featuring its magnificent organ.
Booklet contains excellent liner notes, as well as the sung texts and the English translation, plus biographies of the artists.


00:00:00 The Beatitudes
00:07:49 Berliner Messe: I. Kyrie
00:10:58 Berliner Messe: II. Gloria
00:15:00 Berliner Messe: III. Erster Alleluiavers
00:16:13 Berliner Messe: IV. Zweiter Alleluiavers
00:17:40 Berliner Messe: V. Veni sancte spiritus
00:24:31 Berliner Messe: VI. Credo
00:28:59 Berliner Messe: VII. Sanctus
00:32:16 Berliner Messe: VIII. Agnus dei
00:34:15 Cantate domino
00:38:14 Annum per annum Einleitung: – K – G – C – S – A – Coda
00:50:09 Mein Weg hat Gipfel und Wellentäler
00:58:37 Pari intervallo
01:04:04 Trivium
01:11:42 Spiegel im Spiegel

Artist:
Daniel Justin (organ)
Thomas Leech (organ)
Leeds Cathedral Choir
Benjamin Saunders (conductor)

Tracklist below.
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This an issue of series consisting of 14 3CD-sets with selected highlights taken from our Mozart complete edition, intented for those who prefer to buy more selectively.
This release contains the following works: K. 41, K. 271 “Jeunehomme”, K. 449, K. 456, K. 491, K. 537 “Coronation Concerto“ and K. 595.

00:00:00 Piano Concerto No. 18 in B-Flat Major, KV 456: Allegro vivace
00:12:36 Piano Concerto No. 18 in B-Flat Major, KV 456: Andante un poco sostenuto
00:22:12 Piano Concerto No. 18 in B-Flat Major, KV 456: Allegro vivace
00:30:21 Piano Concerto No. 26 in D Major, KV 537, “Coronation Concerto”: Allegro
00:44:51 Piano Concerto No. 26 in D Major, KV 537, “Coronation Concerto”: Larghetto
00:50:58 Piano Concerto No. 26 in D Major, KV 537, “Coronation Concerto”: Allegretto
01:01:52 Piano Concerto No. 14 in E-Flat Major, KV 449: Allegro vivace
01:10:45 Piano Concerto No. 14 in E-Flat Major, KV 449: Andantino
01:17:06 Piano Concerto No. 14 in E-Flat Major, KV 449: Allegro ma non troppo
01:23:24 Piano Concerto No. 4 in G Major, KV 41: Allegro
01:28:29 Piano Concerto No. 4 in G Major, KV 41: Andante
01:32:20 Piano Concerto No. 4 in G Major, KV 41: Molto allegro
01:36:10 Piano Concerto No. 27 in B-Flat Major, KV 595: Allegro
01:50:21 Piano Concerto No. 27 in B-Flat Major, KV 595: Larghetto
01:57:15 Piano Concerto No. 27 in B-Flat Major, KV 595: Rondo, alelgro
02:06:35 Piano Concerto E-Flat Major, KV 271, “Jeunehomme”: Allegro
02:16:49 Piano Concerto E-Flat Major, KV 271, “Jeunehomme”: Andantino
02:27:00 Piano Concerto E-Flat Major, KV 271, “Jeunehomme”: Rondeau. Presto
02:37:19 Piano Concerto in C Minor, KV 491: Allegro
02:50:50 Piano Concerto in C Minor, KV 491: Larghetto
02:58:30 Piano Concerto in C Minor, KV 491: Allegretto

Artist:
Derek Han (piano)
Philharmonia Orchestra
Paul Freeman (conductor)

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play):
https://brilliant-classics.lnk.to/overtures1

Physical purchase:
http://www.brilliantclassics.c....om/articles/t/telema

Composer: Georg Philipp Telemann
Artists: Collegium Instrumentale Brugense, Patrick Peire (conductor)

Georg Philipp Telemann (1681–1767) was one of the most prolific composers of the 18th century; although the largest part of his compositional activities were devoted to vocal music, he wrote a substantial number of overtures, which this splendid 8-disc collection is dedicated to.

Although Telemann chose the title of ‘Overtures’, this was somewhat interchangeable with the genre of the Suite in his era. Each work opens with a three-part French overture, and this is followed by a series of varied, shorter pieces – encompassing everything from dances (drawn from the French tradition and beyond), fugues, chaconnes, passacailles, musical portraits, folk dances and evocations of scenes and characters.

In these eight discs, Collegium Instrumentale Brugense and Patrick Peire’s three separate volumes of Telemann Overtures have been collected together for the first time, creating a box set that is set apart by its breadth. Its overview of 33 Overtures illuminates Telemann’s hugely inventive approach to instrumentation, while revealing the wealth of subjects that he sought inspiration in. The ‘Alster Overtüre’, for example, named after the Alster river in Germany, features a ‘Concert of Frogs and Crows’, while another Overture is inspired by Cervantes’ Don Quixote.

A generous selection of 33 Overtures (or Orchestral Suites) by Georg Philipp Telemann, formerly issued separately, now collected in one 8-CD set. This collection contains the first 2 out of 8 discs.

-CD1: TWV55: D18, G10 ‘Burlesque de Quixotte’, c2 & D4
-CD2: TWV55: F11 ‘Alster’, B5 ‘Volker’,d2 & B7
CD3: TWV55: a4, A4, D23 & G4 ‘Des Nations anciens et modernes’
CD4: TWV55: D22 ‘Ouverture jointes d’une Suite tragi-comique’, e7, h4, e3 & c4
CD5: TWV55: d3, F4, B11 ‘La Bourse’ & Es1
CD6: TWV55: C6, f1, B8 ‘Burlesque’ & g9
CD7: TWV55: D17, A2, a2 & e8 ‘l’Omphale’
CD8: TWV55: F16 ‘Pour S.A.S. Monseigheur Le Landgrave de Darmstadt’, g2 ‘La Changeante’, G7 & D13 ‘La Gaillarde’


Tracklist can be found in the comment section below!

Tracklist below.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.....to/VivaldiCompleteC
Physical Sale: http://brilliantclassics.com/a....rticles/v/vivaldi-co

Composer: Antonio Vivaldi
Artist: L'Arte dell'Arco

00:00:00 Cello Concerto in D Minor, RV 405: I. —
00:02:40 Cello Concerto in D Minor, RV 405: II. Adagio
00:06:27 Cello Concerto in D Minor, RV 405: III. Allegro
00:08:45 Cello Concerto in G Minor, RV 417: I. Allegro
00:11:28 Cello Concerto in G Minor, RV 417: II. Andante
00:15:22 Cello Concerto in G Minor, RV 417: III. Allegro
00:18:22 Cello Concerto in D Major, RV 403: I. Allegro
00:21:10 Cello Concerto in D Major, RV 403: II. —
00:22:52 Cello Concerto in D Major, RV 403: III. Allegro
00:25:29 Cello Concerto in F Major, RV 410: I. Allegro
00:28:49 Cello Concerto in F Major, RV 410: II. Adagio, solo a piacimento
00:32:39 Cello Concerto in F Major, RV 410: III. —
00:36:05 Cello Concerto in A Minor, RV 420: I. Andante
00:39:49 Cello Concerto in A Minor, RV 420: II. Adagio
00:43:13 Cello Concerto in A Minor, RV 420: III. Allegro
00:46:39 Cello Concerto in G Major, RV 414: I. Allegro molto
00:50:07 Cello Concerto in G Major, RV 414: II. Andante
00:52:54 Cello Concerto in G Major, RV 414: III. Presto
00:56:07 Cello Concerto in G Minor, RV 416: I. Allegro
00:59:39 Cello Concerto in G Minor, RV 416: II. Adagio (Largo)
01:02:50 Cello Concerto in G Minor, RV 416: III. Allegro
01:05:37 Cello Concerto in A Minor, RV 418: I. Allegro
01:09:32 Cello Concerto in A Minor, RV 418: II. —
01:12:52 Cello Concerto in A Minor, RV 418: III. Allegro
01:15:49 Cello Concerto in C Minor, RV 401: I. Allegro non molto
01:19:53 Cello Concerto in C Minor, RV 401: II. Adagio
01:22:12 Cello Concerto in C Minor, RV 401: III. Allegro ma non molto
01:25:03 Cello Concerto in G Major, RV 413: I. Allegro
01:28:02 Cello Concerto in G Major, RV 413: II. Largo
01:31:52 Cello Concerto in G Major, RV 413: III. Allegro
01:34:45 Cello Concerto in G Major, RV 415: I. Allegro
01:37:20 Cello Concerto in G Major, RV 415: II. Siciliana
01:40:26 Cello Concerto in G Major, RV 415: III. Alla breve
01:43:29 Cello Concerto in A Minor, RV 419: I. Allegro
01:47:00 Cello Concerto in A Minor, RV 419: II. Andante
01:50:01 Cello Concerto in A Minor, RV 419: III. Allegro
01:51:34 Cello Concerto in B Minor, RV 424: I. Allegro non molto
01:55:14 Cello Concerto in B Minor, RV 424: II. Largo
01:57:39 Cello Concerto in B Minor, RV 424: III. Allegro
02:01:03 Cello Concerto in D Minor, RV 406: I. Allegro non molto
02:03:52 Cello Concerto in D Minor, RV 406: II. Andante
02:06:12 Cello Concerto in D Minor, RV 406: III. Minuet
02:10:57 Cello Concerto in A Minor, RV 421: I. Allegro non troppo
02:13:57 Cello Concerto in A Minor, RV 421: II. —
02:15:57 Cello Concerto in A Minor, RV 421: III. Allegro
02:18:19 Cello Concerto in C Major, RV 399: I. Allegro
02:20:26 Cello Concerto in C Major, RV 399: II. Largo
02:22:26 Cello Concerto in C Major, RV 399: III. —
02:24:39 Cello Concerto in F Major, RV 411: I. Allegro
02:27:28 Cello Concerto in F Major, RV 411: II. Largo
02:28:49 Cello Concerto in F Major, RV 411: III. Allegro molto
02:30:45 Cello Concerto in D Major, RV 404: I. —
02:33:31 Cello Concerto in D Major, RV 404: II. Affettuoso
02:35:21 Cello Concerto in D Major, RV 404: III. Allegro
02:38:24 Cello Concerto in C Major, RV 398: I. Allegro
02:41:03 Cello Concerto in C Major, RV 398: II. Largo
02:42:57 Cello Concerto in C Major, RV 398: III. —
02:45:07 Cello Concerto in C Minor, RV 402: I. Allegro
02:48:29 Cello Concerto in C Minor, RV 402: II. Adagio
02:51:36 Cello Concerto in C Minor, RV 402: III. Allegro
02:53:57 Cello Concerto in F Major, RV 412: I. —
02:56:37 Cello Concerto in F Major, RV 412: II. Larghetto
02:58:38 Cello Concerto in F Major, RV 412: III. Allegro
03:00:56 Cello Concerto in D Minor, RV 407: I. Allegro
03:04:05 Cello Concerto in D Minor, RV 407: II. Largo
03:07:18 Cello Concerto in D Minor, RV 407: III. Allegro
03:10:22 Cello Concerto in C Major, RV 400: I. Allegro
03:13:15 Cello Concerto in C Major, RV 400: II. Largo
03:16:00 Cello Concerto in C Major, RV 400: III. Allegro non molto
03:18:28 Cello Concerto in E Minor, RV 409: I. Adagio – Allegro molto}
03:23:05 Cello Concerto in E Minor, RV 409: II. Allegro – Adagio
03:24:19 Cello Concerto in E Minor, RV 409: III. Allegro
03:26:45 Cello Concerto in B-Flat Major, RV 423: I. Allegro
03:20:09 Cello Concerto in B-Flat Major, RV 423: II. Largo
03:32:41 Cello Concerto in B-Flat Major, RV 423: III. Allegro
03:36:11 Cello Concerto in E-Flat Major, RV 408: I. Allegro non molto
03:39:41 Cello Concerto in E-Flat Major, RV 408: II. Largo
03:43:08 Cello Concerto in E-Flat Major, RV 408: III. Allegro
03:45:15 Cello Concerto in A Minor, RV 422: I. Allegro
03:48:21 Cello Concerto in A Minor, RV 422: II. Largo cantabile
03:51:16 Cello Concerto in A Minor, RV 422: III. Allegro