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The maestro of Minimalist piano music has done it again, with an album of gentle melodies and soothing sounds from Yann Tiersen, a composer best known outside his native France for the soundtrack to the movie Amélie. Dutch pianist, pioneer and champion of Minimalism Jeroen van Veen recorded Tiersen’s most popular melodies, playing the piano in his inimitable way: focussed, serene and hypnotising. Listen to the full album of Yann Tiersen: Pour Amélie – Piano Music now, perfectly suitable to relax or study.


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Listen also to our minimal piano music playlist: https://youtu.be/BkJKxILTG5A

00:00:00 Comptine d`un autre été: l`après midi
00:02:42 Comptine d`été No.2
00:05:09 Comptine d`été No.3
00:07:40 Le vieux en veut encore
00:09:20 Toujours la
00:10:45 Comptine d`été No.1
00:13:07 La piece vide
00:15:02 La dispute
00:17:19 Sur le fil
00:22:34 Les jours heureux
00:24:54 chute
00:30:57 L`absente
00:34:17 Le retour
00:36:09 La valse d`Amélie
00:38:52 Le Moulin
00:42:32 Le matin
00:44:39 La plage
00:46:52 Les retrouvailles
00:49:13 La jetee
00:50:16 Tabarly
00:53:02 8 mmm
00:55:27 Point Zero
00:58:34 Summer 78
01:02:34 Coma
01:04:33 Childhood (1)
01:06:27 From Prison to Hospital
01:07:51 Mother
01:09:34 Watching Lara
01:11:26 Selling Dishes
01:12:17 First Rendez-Vous
01:13:50 The Decant Session
01:14:43 Lara's Castle
01:16:45 The Deutsch Mark is Coming
01:18:01 I saw Daddy today
01:20:21 Birthday Preparations
01:22:07 Good Bye Lenin
01:27:37 Childhood (2)
01:30:21 Letters
01:31:53 Mother's Journey
01:33:27 Preparations for the Last TV Fake
01:36:39 Mother Will Die
01:40:09 Father is Late
01:41:51 Father and Mother
01:45:20 Finding the Money
01:46:52 Summer 78

Artist:
Jeroen van Veen (piano)

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Following previous successful albums, acclaimed Hungarian violinist Kristóf Baráti returns to Brilliant Classics to make his stamp on the Violin Concertos of Mozart. Praised for this ‘strong, penetrating and brilliant tone’ and his ‘consistently serious, almost dramatic’ interpretation of Ysaÿe’s solo sonatas (BC94678), Baráti has emerged as one of the most important violinists of his generation, having previously performed with internationally renowned orchestras including the Royal Philharmonic Orchestra and Deutsches Symphonie Orchester, and with conductors Kurt Masur and Charles Dutoit. This album was specially recorded in Hungary’s premier concert venue, the Kodály Center in Pécs, on Baráti’s violin, the ‘Lady Harmsworth’ Stradivarius, kindly on loan from the Stradivarius Society of Chicago.

Here, Baráti turns his attention to Mozart for the first time. Leading the Hungarian Chamber Orchestra from the front, Baráti expertly tackles all five concertos known to be by Mozart, as well as the two Rondos and Adagio that together make up all of the composer’s music for solo violin and orchestra. All the concertos (except K207, which has been dated to 1773) were composed in 1775 in a flurry of activity. Despite this, they document a strong development of Mozart’s mastery of the form; from the fairly staid sonata form of the last movement of the first concerto, to the more radical decisions the composer was taking in his K218, where he boldly decides not to restate the opening ‘fanfare’ theme of the exposition in the development, instead weaving it into the second and third movements, expertly tying the piece together. Mozart stopped composing violin concertos as abruptly as he had begun; although he still performed his works for a few years afterwards, he seemed to lose interest in composing for the violin. Nevertheless, the five outstanding concertos he has left us with represent an outburst of Mozart’s creativity and the astonishing rapidity with which he honed his technique over just a few months.

Hungarian violinist Kristóf Baráti is recognised as one of the leading violinists of his generation. He plays with the Philharmonia Orchestra, Mariinsky, WDR Sinfonieorchester, London Philharmonic, and conductors like Gergiev, Dutoit, Jurowski, Masur, Pletnev, Fischer, Temirkanov.
His extensive discography for Brilliant Classics led to great critical acclaim: “..Baráti is out of the top drawer. With intensity of sound, unbridled athleticism and searing leaps into the stratosphere which send a tingle down the spine” (Gramophone), “Masterful, probing, meditative, it rang with a rare sense of authenticity, and almost majestic scope” (Washington Post). “He is on the order of magnitude greater than any other violinist I’ve encountered in at least 10 years” (Fanfare on the Beethoven violin sonatas, with Klára Würtz, piano).
On this 2 CD set Baráti plays the complete works for violin and orchestra of Mozart: masterful, strong, alternating great vitality and tenderness, vigour and beauty. He himself conducts the excellent Hungarian Chamber Orchestra.

Recorded in the Kodály Center, Pécs, Hungary in 2015.

00:00:00 Violin Concerto No. 1 in B-Flat, K. 207: I. Allegro moderato
00:06:30 Violin Concerto No. 1 in B-Flat, K. 207: II. Adagio
00:13:06 Violin Concerto No. 1 in B-Flat, K. 207: III. Presto
00:18:24 Violin Concerto No. 2 in D Major, K. 211: I. Allegro moderato
00:26:07 Violin Concerto No. 2 in D Major, K. 211: II. Andante
00:32:08 Violin Concerto No. 2 in D Major, K. 211: III. Rondeau. Allegro
00:36:44 Rondo in B-Flat Major, K. 269/261a
00:43:23 Rondo in C Major, K. 373
00:48:58 Adagio in E Major, K. 261
00:55:39 Violin Concerto No. 3 in G Major, K. 216: I. Allegro
01:04:21 Violin Concerto No. 3 in G Major, K. 216: II. Adagio
01:11:13 Violin Concerto No. 3 in G Major, K. 216: III. Rondeau. Allegro
01:17:51 Violin Concerto No. 4 in D Major, K. 218: I. Allegro
01:25:11 Violin Concerto No. 4 in D Major, K. 218: II. Andante cantabile
01:31:19 Violin Concerto No. 4 in D Major, K. 218: III. Rondeau
01:38:41 Violin Concerto No. 5 in A Major, K. 219: I. Allegro aperto
01:47:37 Violin Concerto No. 5 in A Major, K. 219: II. Adagio
01:56:27 Violin Concerto No. 5 in A Major, K. 219: III. Rondeau

Artist:
Kristóf Baráti (violin)
Hungarian Chamber Orchestra

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Composer: Franz Schubert
Artists: György Pauk (violin), Peter Frankl (piano)

These 1964 recordings have worn well, and stand their ground in what is hardly a competitive marketplace for this lovely and still little-known music. These Hungarian-born, later UK-resident musicians play Schubert to the manner born, rejoicing in the relaxed Viennese tradition which is their birthright; as Gramophone noted at the time of the first release, these interpretations "are always technically accomplished, sensitive and well thought out and much to be preferred to many a more sensational rendering. Pauk's firm tone and capacity for long-breathed phrasing are shown to good advantage in the opening of the Fantasy... As always the ensemble is impeccable...As usual Vox have supplied a sympathetic acoustic with just that extra touch of reverberation sufficient to take away all trace of a clinical studio atmosphere."

They are complemented here, as they were at the time of their original LP issue, by a no less sprightly performance of the sonata Schubert wrote for the obsolete Arpeggione, now most commonly heard on the cello. Gramophone’s critic observed Paul Olevsky’s "rich and beautiful tone" at the time.

Schubert’s relatively small but high-quality output for violin and piano consists of the three Sonatinas, small scale works full of Viennese charm and genial atmosphere, the mature Sonata in A major, the robust Rondo in B minor and the absolute masterpiece in the genre, the great Fantasy in C major, a substantial and dramatic 4-movement work of unprecedented difficulty for both players.

00:00:00 Violin Sonata in A Major, D. 574: I. Allegro moderato
00:08:00 Violin Sonata in A Major, D. 574: II. Scherzo. Presto
00:11:58 Violin Sonata in A Major, D. 574: III. Andantino
00:16:48 Violin Sonata in A Major, D. 574: IV. Allegro vivace
00:21:53 Fantasie in C Major, D. 934: I. Andante molto – Allegro vivace
00:30:14 Fantasie in C Major, D. 934: II. Andantino
00:40:38 Fantasie in C Major, D. 934: III. Allegro presto
00:45:21 Violin Sonata in D Major, D. 384: I. Allegro molto
00:49:16 Violin Sonata in D Major, D. 384: II. Andante
00:53:39 Violin Sonata in D Major, D. 384: III. Allegro vivace
00:57:18 Violin Sonata in A Minor, D. 385: I. Allegro moderato
01:03:23 Violin Sonata in A Minor, D. 385: II. Andante
01:10:33 Violin Sonata in A Minor, D. 385: III. Menuetto. Allegro –Trio
01:12:56 Violin Sonata in A Minor, D. 385: IV. Allegro
01:17:24 Violin Sonata in G Minor, D. 408: I. Allegro giusto
01:21:52 Violin Sonata in G Minor, D. 408: II. Andante
01:25:33 Violin Sonata in G Minor, D. 408: III. Menuetto –Trio
01:27:59 Violin Sonata in G Minor, D. 408: IV. Allegro moderato
01:31:50 Rondo in B Minor, D. 895
01:46:14 Arpeggione Sonata in A Minor, D. 821: I. Allegro moderato
01:54:54 Arpeggione Sonata in A Minor, D. 821: II. Adagio – Allegretto

Tracklist below.
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Having made a gradual switch during the 15 years since his first album was published from electronica to instrumental variations on ambient and minimalism, Max Richter is among the most commercially successful composers of our time. This album of his solo piano music belongs in the genre explored so thoroughly for Brilliant Classics by Jeroen van Veen, whose prolific recording history includes hugely popular albums of Philip Glass (BC9419) and Michael Nyman (BC95112), Ludovico Einaudi (BC94910) and Yann Tiersen (BC95129) and his fellow Dutch musician Jakob ter Veldhuis (BC94873) and himself (BC9454). The appetite for slowly moving, unchallenging, post-Minimalist music is apparently infinite, and so this new album is sure to be a success.

Born in 1966, Richter has in the last few years achieved international fame with his recomposed version of Vivaldi’s Four Seasons, which topped the iTunes chart in the UK, the US and Germany. Then last year, came the record-breaking Sleep, an ‘eight-hour cradle song’ which like the Vivaldi mixed live and pre-recorded, electronic and acoustic sounds, to induce and accompany deep slumber.

The songs on this album are all shorter, though sharing the somnambulistic mood of Sleep. Vladimir's Blues featured on a BBC documentary series about the deep sea, while The Twins (Prague) was used in a series on Auschwitz, The Nazis and the Final Solution. As Richter’s own programme notes explain, the music is for beginners, based on classical Alberti-style bass figures.

Several tracks derive from his albums The Blue Notebooks and Songs from Before; H in New England is extracted from the incidental music written by Richter for the film Henry May Long.

Max Richter (born in 1966) is one of the most influential composers of his generation. Electro-acoustic polymath Max Richter defies definition: composer, pianist, producer, remixer, and collaborator, and beyond argument one of the most prolific of contemporary musical artists. Inspired equally by Bach, punk rock and ambient electronica, Richter’s sonic world blends a formal classical training (he graduated from the Royal Academy of Music, and was a pupil of renowned composer Luciano Berio) with modern technology.
This new recording presents Richter’s solo piano music up to date.
Dutchman Jeroen van Veen is one of the leading pianists of today focusing on Minimalism and championing a new generation of composers, easily crossing borders between musical styles.

00:00:00 Andras
00:04:51 The Blue Notebooks
00:06:12 Circles from the rue Simon-Crubellier
00:07:23 Departure
00:09:04 The Family
00:11:53 Fragment
00:13:49 From the rue Villin
00:15:19 H in New England
00:17:38 Horizon Variations
00:19:55 INFRA 3
00:23:27 Leo’s Journal
00:25:21 The Tartu Piano
00:27:48 The Twins
00:30:31 Vladimir’s Blues
00:32:34 Written on The Sky I
00:35:11 Horizon Variations II
00:38:31 Waltz with Bashir Reflection
00:40:14 Written on the Sky II

Artist:
Jeroen van Veen (piano)

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Composer: Camille Saint-Saëns
Artists: Soloists of the Accademia di Santa Cecilia Rome, Akanè Makita (piano), Andrea Oliva (flute), Francesco Bossone (bassoon), Stefano Novelli (clarinet), Francesco Di Rosa (oboe), Alessio Allegrini (horn)

The wind instrumentalists here are members of Rome’s main orchestra, attached to the Accademia nazionale di Santa Cecilia, and their previous disc on Brilliant Classics with Akanè Makita, of chamber music by Henri Dutilleux (BC94738) won recognition both for the original combination of repertoire and the stylish performances: ‘Francesco Bossone and Akanè Makita do the work proud, playing with real character and in excellent balance with each other’ (Musicweb International).

Here they turn to the instant charms of the chamber music by Camille Saint-Saëns, centred around the three sonatas for oboe, clarinet and bassoon. All written within the year 1921, they are the work of a composer who was born 10 years after the death of Beethoven and whose lifetime overlapped with the dawn of jazz in Europe. Little wonder, then, that such pieces embody a remarkable synthesis of styles, to the extent that they hardly seem to be by the same composer as the highly embellished chamber music for strings or the grand statements of the symphonies. They do, however, retain a sense of dramatic dialogue that runs through the composer’s output, for Saint-Saëns was always a theatrical composer even when not writing for the stage. The constant stream of melodies speak of a master of refined simplicity and unfailingly elegant lightness of spirit.

The two Romances for horn and piano date from much earlier in the composer’s prolific career (1874 and 1885); they proceed not in the compressed version of sonata-form belonging to the later works, but in narrative sections which range from sweetly nostalgic to the turbulent or heroic. Rounding off this irresistible collection is the Op.79 Caprice on Russian and Danish Airs for flute, oboe, clarinet and piano: here is the cheerful Saint-Saëns of the Carnival of the Animals, running through folk tunes and their transformations with balletic grace and fluidity, underpinned by a brilliant, impetuous piano part that shows what a virtuoso this multi-talented composer was in his own right.

00:00:00 Bassoon Sonata in G Major, Op. 168: I. Allegretto moderato
00:02:52 Bassoon Sonata in G Major, Op. 168: II. Allegro scherzando
00:06:40 Bassoon Sonata in G Major, Op. 168: III. Molto adagio - Allegro moderato
00:12:42 Romance, Op. 67: Adagio
00:22:11 Oboe Sonata in D Major, Op. 166: I. Andantino
00:25:26 Oboe Sonata in D Major, Op. 166: II. Allegretto
00:30:15 Oboe Sonata in D Major, Op. 166: III. Molto allegro
00:32:44 Romance, Op. 37: I. Moderato assai
00:39:24 Clarinet Sonata in E-Flat Major, Op. 167: I. Allegretto
00:44:18 Clarinet Sonata in E-Flat Major, Op. 167: II. Allegro animato
00:46:16 Clarinet Sonata in E-Flat Major, Op. 167: III. Lento
00:50:30 Clarinet Sonata in E-Flat Major, Op. 167: IV. Molto allegro – Allegretto
00:55:56 Caprice sur des airs danois et Russes, Op. 79: I. Poco allegro

Tracklist below.

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Unlike Mozart, Haydn for some reason failed to realise the potential of the new pianoforte as a concertante instrument, and his concertos for keyboard (some spurious) tend to focus on the organ or harpsichord.

The three works on this CD are all authentic Haydn. The 4th concerto was composed in 1770 for the blind pianist Maria Theresa Paradis, for whom Mozart and Salieri also composed piano concertos. The 3rd concerto dates from 1771, and has an especially beautiful slow movement.

The D major concerto No.11 is a masterpiece and dates from 1780. It is much nearer to Mozart’s concertos of this date, and some have gone as far as to label it Haydn’s ‘only’ piano concerto. It is a big work, again with a wonderful slow movement following an impressive opening movement. It is however the finale ‘Rondo all’Ungarese’ that has made it one of Haydn’s most famous and best loved works.

00:00:00 Keyboard Concerto in D Hob, XVIII: 11: I. Vivace
00:08:33 Keyboard Concerto in D Hob, XVIII: 11: II. Un poco adagio
00:14:45 Keyboard Concerto in D Hob, XVIII: 11: III. Rondo all’Ungarese: Allegro assai
00:19:43 Keyboard Concerto in G Hob, XVIII: 4: I. Allegro
00:29:39 Keyboard Concerto in G Hob, XVIII: 4: II. Adagio
00:37:34 Keyboard Concerto in G Hob, XVIII: 4: III. Rondo: Presto
00:43:18 Keyboard Concerto in F Hob, XVIII: 3: I. Allegro
00:52:49 Keyboard Concerto in F Hob, XVIII: 3: II. Largo cantabile
01:00:40 Keyboard Concerto in F Hob, XVIII: 3: III. Presto

Artist:
Jolanda Violante (fortepiano)
L’Arte dell’Arco
Federico Guglielmo (conductor)

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play and more):
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String instruments and especially the violin demanded a key position in Baroque music particularly in Italy. Like many of his contemporaries Tomaso Albinoni composed a large number of pieces for string ensemble and many concertos for the violin.

00:00:00 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro non presto
00:03:43 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Adagio
00:07:57 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro
00:10:48 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
00:12:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Adagio
00:13:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
00:15:40 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allego
00:18:21 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Adagio
00:20:01 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allegro
00:22:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
00:26:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Adagio
00:28:45 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
00:32:14 Concerto, Op. 7/8: D Major for two Oboes and Strings: (no tempo)
00:34:32 Concerto, Op. 7/8: D Major for two Oboes and Strings: Largo
00:36:30 Concerto, Op. 7/8: D Major for two Oboes and Strings: Allegro
00:38:16 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
00:41:36 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Adagio
00:43:33 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
00:46:42 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
00:49:29 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Adagio
00:51:32 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
00:53:45 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
00:58:15 Concerto, Op. 9/3: F Major for two Oboes and Strings: Adagio
01:00:29 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
01:04:25 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
01:08:28 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Adagio
01:11:08 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
01:14:28 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
01:17:15 Concerto, Op. 7/11: C Major for two Oboes and Strings: Adagio
01:19:06 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
01:21:42 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
01:25:43 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Adagio
01:27:49 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
01:31:27 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
01:33:19 Concerto, Op. 7/5: C Major for two Oboes and Strings: Adagio
01:34:48 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
01:36:09 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
01:38:39 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Adagio
01:39:36 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
01:41:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
01:45:36 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Adagio
01:47:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
01:51:00 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
01:53:56 Concerto, Op. 7/12: C Major for two Oboes and Strings: Adagio
01:55:55 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
01:58:07 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
02:01:16 Concerto, Op. 9/12: D Major for two Oboes and Strings: Adagio
02:03:26 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
02:04:56 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
02:08:09 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Adagio
02:09:55 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
02:12:23 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
02:15:52 Concerto, Op. 9/10 in F Major for Violin and Strings: Adagio
02:19:15 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
02:22:44 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
02:26:14 Concerto, Op. 9/7: D Major for Violin and Strings: Andante e sempre piano
02:33:51 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
02:36:32 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro
02:39:58 Concerto, Op. 9/4: A Major for Violin and Strings: Adagio
02:42:16 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro

Artist:
Stefan Schilli (oboe)
Stuttgart Chamber Orchestra

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

Why transcribe and perform the sonatas and partitas for solo violin on the guitar? It is surely the works themselves that provide the justification; their indestructible melodic poetry and their rich implied counterpoint at which the original violin can only hint.
Many guitarists have already gone where more cautious spirits would fear to tread and made their own transcriptions; this new version carries the imprimatur of David Russell, one of the most internationally acclaimed guitarists of his generation, who writes that Francesco Teopini ‘plays with a beautiful sound, faithfully recorded. His interpretation shows a deep understanding of these major works.’
In a useful booklet-note, Teopini himself notes that these works are now standard repertoire for guitarists, even mandatory for the sake of personal development, as perhaps Bach is for every musician regardless of instrument. His arrangement is relatively discreet, adding just a few more bass notes to amplify chords in movements such as the famous Chaconne which is the climax of the cycle. Elsewhere he has borne in mind the art of the clavecin, which no less relevant to the guitar as an instrument of Bach’s time than the original violin. There is naturally greater opportunity for ornamentation, which Teopini takes with discretion.
Italian by birth, Teopini himself is a graduate of the Royal Academy of Music in London, currently resident as a teacher and performer in Hong Kong, with a repertoire ranging from Bach through the Classical Spanish repertoire to contemporary works, several of which he has commissioned and premiered by composers including Gian Carlo Mantovani and Fausto Tuscano .

00:00:00 Sonata No. 1 in G Minor, BWV 1001: I. Adagio
00:05:14 Sonata No. 1 in G Minor, BWV 1001: II. Fuga
00:10:41 Sonata No. 1 in G Minor, BWV 1001: III. Siciliana
00:13:44 Sonata No. 1 in G Minor, BWV 1001: IV. Presto
00:17:36 Partita No. 1 in B Minor, BWV 1002: I. Allemanda – Double
00:27:17 Partita No. 1 in B Minor, BWV 1002: II. Corrente – Double
00:35:23 Partita No. 1 in B Minor, BWV 1002: III. Sarabande – Double
00:42:10 Partita No. 1 in B Minor, BWV 1002: IV. Tempo di borea – Double
00:49:37 Sonata No. 2 in A Minor, BWV 1003: I. Grave
00:55:07 Sonata No. 2 in A Minor, BWV 1003: II. Fuga
01:03:01 Sonata No. 2 in A Minor, BWV 1003: III. Andante
01:08:59 Sonata No. 2 in A Minor, BWV 1003: IV. Allegro
01:15:16 Partita No. 2 in D Minor, BWV 1004: I. Allemanda
01:21:18 Partita No. 2 in D Minor, BWV 1004: II. Corrente
01:23:43 Partita No. 2 in D Minor, BWV 1004: III. Sarabanda
01:28:28 Partita No. 2 in D Minor, BWV 1004: IV. Giga
01:32:37 Partita No. 2 in D Minor, BWV 1004: V. Ciaccona
01:50:59 Sonata No. 3 in C Major, BWV 1005: I. Adagio
01:55:44 Sonata No. 3 in C Major, BWV 1005: II. Fuga
02:08:04 Sonata No. 3 in C Major, BWV 1005: III. Largo
02:11:21 Sonata No. 3 in C Major, BWV 1005: IV. Allegro assai
02:16:30 Partita No. 3 in E Major, BWV 1006: I. Preludio
02:20:26 Partita No. 3 in E Major, BWV 1006: II. Loure
02:24:07 Partita No. 3 in E Major, BWV 1006: III. Gavotte en rondeau
02:27:40 Partita No. 3 in E Major, BWV 1006: IV. Menuet I et II
02:31:21 Partita No. 3 in E Major, BWV 1006: V. Bourrée
02:33:07 Partita No. 3 in E Major, BWV 1006: VI. Gigue

Artist:
Francesco (Teopini classical guitar)

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Tidal, Google Play):
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About this album:
In today’s hectic world, it is increasingly important to relax and take time out for yourself. This special collection of beautiful and serene adagios will help you do just that. The set features over two hours of soothing music, including many slow movements that are at the emotional core of timeless and best‐loved masterpieces.
You’ll be captivated by the variety of wonderful and instantly recognizable melodies heard here: the wistful spiritual from Dvořák’s ‘New World’ Symphony, the exquisite interweaving lines of Bach’s ‘Air on a G String’, and some of Mozart’s most impressive showcases for how to really make an instrument sing in the Clarinet Concerto and ‘Elvira Madigan’ Piano Concerto. And evocative and atmospheric adagios – such as Grieg’s ‘Morning’ and the slow movement from Beethoven’s ‘Pastoral’ Symphony with its distinctive birdsong calls in the flute, oboe and clarinet – will transport you to another world, far away from the stresses and strains of everyday life. Other highlights include some of the most enchanting slow movements in the piano repertoire – such as the poignant Adagio cantabile from Beethoven’s ‘Pathétique’ Sonata and stunning concerto movements by Chopin, Ravel and Rachmaninoff – Fauré’s intense Élégie for cello, and Mahler’s tender and heartbreakingly romantic Adagietto. The emotional power of these adagios is brought to the fore by first‐rate orchestras such as the Staatskapelle Dresden, Philharmonia and Royal Philharmonic, under the baton of eminent conductors such as Theodore Kuchar, Herbert Blomstedt and Rudolf Barshai.
A moment to relax, to withdraw from an increasingly hectic life, overfed with stimuli from work, society obligations and social networks: this music will calm down your jittery nerves, and will take you on slow waves of soothing melodies to a world of pure sound and tranquillity. A generous selection of the most famous slow movements: Air (Bach), Adagio (Marcello), Adagio (Rachmaninoff 2nd piano concerto), Scene at the Brook (Beethoven’s Pastorale), The Adagietto from the movie ‘Death in Venice’ (Mahler) and many more.

Excellent performances by Staatskapelle Dresden, Royal Philharmonic Orchestra, Philharmonia Orchestra and soloists Klára Würtz and Misha Goldstein.

Tracklist:
00:00:00 J.S. Bach - Orchestral Suite No. 3 in D Major, BWV 1068: II. Air
00:04:17 Brahms - Symphony No. 3 in F Major, Op. 90: III. Poco allegretto
00:10:17 Beethoven - Piano Sonata No. 8 in C minor “Pathétique”: II Agagio cantabile
00:15:04 Marcello - Oboe Concerto in D Minor: II. Adagio
00:18:56 Ravel - Piano Concerto in G Major: II. Adagio Assai
00:28:15 Beethoven - Symphony No. 6 in F Major, Op. 68 “Pastoral”: II Andante molto mosso (Szene am Bach)
00:40:56 Beethoven - Piano Concerto No. 3 in C Minor, Op. 37: II. Largo
00:53:40 Brahms - Violin Concerto in D Major, Op. 77: II. Adagio
01:03:23 Beethoven - Piano Sonata No. 12 in C-Sharp Minor “Moonlight”: I. Adagio sostenuto
01:09:06 Grieg - Peer Gynt Suite No. 1, Op. 46: I. Morning Mood
01:13:18 Chopin - Piano Concerto No. 1 in E minor Op.11: II. Romance. Larghetto
01:24:05 Fauré - Élégie, Op. 24
01:30:34 Mahler - Symphony No. 5: IV. Adagietto. sehr langsam
01:38:51 Mozart - Piano Concerto No. 21 in C Major, K. 467: II. Andante "Elvira Madigan"
01:44:54 Rachmaninoff - Piano Concerto No. 2 in C Minor, Op. 18: II. Adagio sostenuto
01:56:01 Mozart- Concerto for Clarinet and Orchestra in A Major, K. 622: II. Adagio
02:03:21 Schubert - Symphony No. 5 in B-Flat Major, D. 485: II. Andante con moto
02:14:10 Mozart - Piano Concerto No. 23 in A Major K. 488: II. Andante
02:20:30 Tchaikovsky - Serenade for Strings, Op. 48: III. Élégie. Larghetto elegiac

Erik Bosgraaf is an established Brilliant Classics artist whose recordings span the centuries. His previous release was of Pierre
Boulez, a recording of Dialogue de l’ombre double (BC94842) that won warm critical opinions such as this from Gramophone:
‘Balance between recorders and electronics is ideally judged, giving this music an immediacy yet also intimacy beyond that of
any other recorded option.’

In his latest recording, he brings these same qualities (minus the electronics) to the music of Telemann, who as a player of the
instrument lavished particularly rich treasures upon it, even considering a total output of over 3000 separate works. Bosgraaf has made a personal selection of sonatas from various chamber music collections which Telemann made throughout his career such as the Musique de table, Essercizii musicali and Der getreue
Music‐meister, especially during the latter stages of his career when he was still producing music with a phenomenal industry not least due to the need to recoup his wife’s enormous gambling debts. The result is something of a love‐letter to the recorder, celebrating its qualities of agility and songfulness, full of syncopated quick movements, Italianate arias and taking in both arcane technical devices such as canons as well as simple folk tunes from Poland. Bosgraaf plays a wide selection of recorders to match the breadth of Telemann’s invention. The harpsichord used is a Mietke model by Bruce Kennedy. This release should join an acclaimed version of Vivaldi’s Four Seasons (BC94637) as one of the most popular items in the ever‐growing discography of this exciting young recorder virtuoso.

Tracklist below.

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Composer: Wolfgang Amadeus Mozart
Artists: Ensemble Pyramide, Markus Brönnimann (flute), Barbara Tillmann (oboe), Ulrike Jacoby (violin), Muriel Schweizer (viola), Anita Jehli (cello)

For many Mozart is more ‘perfector’ than ‘innovator’, a composer who drew on an already extant vocabulary to create some of the greatest works in European culture. In this recording, however, we are introduced to Mozart the ‘trailblazer’: the first composer in history to take wind instruments seriously. Whereas his colleagues were inclined to employ the so-called Harmonie merely to reinforce the general sonority, Mozart took it upon himself to exploit the character of each of these instruments, endowing them with a much more individualistic, distinctive role – as soloists, in the orchestra or in chamber music, the subject of this engaging release.

Such writing is evident in the Quartet for oboe and strings, a work of wide leaps and brilliant passages that was composed for the Mannheim virtuoso Friedrich Ramm, and the Flute Quartet in D – written for the highly accomplished amateur musician Ferdinand Dejean and in which the principal voice, equipped with pearling runs in the first movement, is treated with great care, displaying nothing of the composer’s supposed aversion to the instrument. Both works are milestones of their respective genres, and they are joined on this recording by three pieces originally composed for mechanical organ (and arranged for this recording by flautist Markus Brönnimann), originally commissioned by Count Deym to be used as accompaniment for a newly erected mausoleum in Vienna. Among these, the Fantasia in F minor K608 stands out as the most intense and dramatic, combining rigorous harmonic invention with memorable melody, polyphonic complexity and compositional virtuosity. Brönnimann’s suggestion as to a possible comparison with the works of the American-born composer Conlon Nancarrow, as mentioned in the booklet note, reveals just how forwardthinking this music was for its time.

At hand to perform these works is Ensemble Pyramide, a group whose diverse repertoire ranges from Baroque to 21st century and whose recital programmes are often based around the juxtaposition between new and old. Based in Zurich and awarded the city’s cultural stipend ‘Werkjahr für Interpretation’ in 2006, its recordings for radio and on CD (which take in labels such as Naxos and Ars Musici) are complemented by an active recording schedule throughout Europe.

00:00:00 Quartet in F Major, K. 370: I. Allegro
00:07:03 Quartet in F Major, K. 370: II. Adagio
00:10:05 Quartet in F Major, K. 370: III. Rondeau. Allegro
00:14:46 Adagio and Allegro in F Minor K. 594 (Adagio - Allegro - Adagio)
00:24:54 Andante in F Major, K. 616
00:32:18 Fantasia in F Minor, K. 608 (Allegro - Andante - Tempo primo)
00:41:40 Quartet in D Major, K. 285: I. Allegro
00:48:49 Quartet in D Major, K. 285: II. Adagio
00:51:41 Quartet in D Major, K. 285: III. Rondeau. Allegretto

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Composer: Carl Philipp Emanuel Bach
Artists: Venceslava Hruba-Freiberger (soprano), Barbara Bornemann (contralto), Peter Schreier (tenor), Olaf Bär (baritone), Rundfunkchor Berlin Kammerorchester, Hartmut Haenchen (conductor)

About this Album:
C.P.E. Bach is particularly renowned for his unrivalled piano sonatas in the sensitive style and contributed to almost every important form of classical music, but he began to recognise the symphony as a medium of great expressive potential in the mid-18th century, and eventually wrote an impressive total of 19 works within this genre. Two splendid examples are presented here.

The Symphony Wq173 owes its charm to small surprises such as a sudden shift to the minor key in the recapitulation of the first movement, but also to the calmly flowing melodic line of the second movement, and the minuet-like passages of the final movement. Meanwhile, the Symphony Wq180 is intriguing in form throughout, though the fanfare-like opening subject and the restless semiquaver figures of the violins, redolent of the baroque concertante style, above all lend it an exuberant quality. The Magnificat, which rounds off the CD, provides a more clearly baroque, and of course vocal, counterweight to the symphonies, and moves through dramatically contrasting emotions, alternately triumphant, severe and subdued. The piece was recorded live to mark the 200th anniversary of the composer’s death.

The Kammerorchester ‘Carl Philipp Emanuel Bach’ is, of course, the natural choice of orchestra for these pieces, specialising as they do in the works of the composer and his contemporaries (they have also recorded an album of Wilhelm Friedemann Bach’s Sinfonias for Brilliant Classics, 94690). Veteran conductor Hartmut
Haenchen has been at the helm of the orchestra for over 25 years.

Tracklist:
00:00:00 Symphony in G Major, Wq 173: I. Allegro assai
00:02:59 Symphony in G Major, Wq 173: II. Andante
00:05:34 Symphony in G Major, Wq 173: III. Allegretto
00:08:38 Symphony in G Major, Wq 180: I. Allegro di molto
00:12:50 Symphony in G Major, Wq 180: II. Largo
00:17:12 Symphony in G Major, Wq 180: III. Allegro assai
00:20:26 Magnificat in D Major, Wq 215: I. Magnificat (Chorus)
00:23:18 Magnificat in D Major, Wq 215: II. Aria. Quia respexit (Soprano)
00:29:35 Magnificat in D Major, Wq 215: III. Aria. Quia fecit (Tenor)
00:33:40 Magnificat in D Major, Wq 215: IV. Et misericordia eius (Chorus)
00:41:28 Magnificat in D Major, Wq 215: V. Aria. Fecit potentiam (Bass)
00:45:14 Magnificat in D Major, Wq 215: VI. Duet. Deposuit potentes (Contralto, Tenor)
00:51:00 Magnificat in D Major, Wq 215: VII. Aria. Suscepit Israel (Contralto)
00:56:31 Magnificat in D Major, Wq 215: VIII. Gloria (Chorus)
00:58:17 Magnificat in D Major, Wq 215: IX. Sicut erat (Chorus)

Tracklist below.

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Artist: Alessandro Deljavan (piano)

With his two books of Etudes, Frédéric Chopin threw down the gauntlet for all who would come after him. These 24 studies, and the three works published as ‘Nouvelles Etudes’ within the Méthode des Méthodes de Moscheles et Fétis – a publication including studies by Henselt, Liszt, Mendelssohn and Thalberg – probe and refine every aspect of a pianist’s technique, as one might expect from the technical and didactic implications of their title. What distinguishes them, however, from the hundreds of other similar volumes published throughout the 19th century and beyond, is the melodic genius, harmonic novelty and long-range structure that is peculiar to Chopin.
Alessandro Deljavan is a young Italian pianist whose previous recordings for Brilliant Classics include the violin sonatas of Anton Rubinstein (BC94605), played with his regular duet partner Daniela Cammarano. Perhaps more pertinently, Brilliant has also just released his new recording of Chopin’s Waltzes (BC95208). According to Fou T’Song – no mean Chopin pianist himself – Alessandro Deljavan is ‘one of the most interesting pianists I have heard in my life’. Excerpts on YouTube from his success at the 2013 Van Cliburn Competition in Fort Worth confirm the truth and promise of Fou T’Song’s acclamation. Deljavan’s approach to the Etudes is not as monuments of pianism but with a charming and sometimes surprising sense of relaxation which takes for granted the kind of formidable technique that they were designed to test. Deljavan is free with the rubato that makes this music breathe: there are many other recordings of the Etudes that set the pages on fire: this one riffles them in the breeze, tapping into the vein of aching nostalgia from which all of Chopin’s music draws. It was first made available as part of the most recent Chopin Edition from Brilliant Classics (BC94660).
Chopin Etudes are the Mount Everest for every concert pianist: the combination of technical difficulties of the highest level and a rich and complex musical content make them even today the biggest challenge a mortal pianist can meet.
Young Italian pianist Alessandro Deljavan presents a strong and highly personal interpretation: deeply poetic and passionate, backed by a superlative technical mastery.
Deljavan is one of the most remarkable pianists of his generation. “His playing is full of intensive power and contagious artistry” (Dmitri Bashkirov), “he is one of the most interesting pianists I’ve heard in my life” (Fou Ts’Ong), “he is one of the most major talents of his age” (John Perry), “Jaw-dropping virtuosity and heart-stopping eloquence” (Dallas Morning News).

00:00:00 Etudes, Op. 10: I. Etude in C Major “Waterfall”. Allegro
00:02:03 Etudes, Op. 10: II. Etude in A Minor. Allegro
00:03:35 Etudes, Op. 10: III. Etude in E Major “Tristesse”. Lento ma non troppo
00:08:01 Etudes, Op. 10: IV. Etude in C-Sharp Minor. Presto
00:10:09 Etudes, Op. 10: V. Etude in G-Flat Major “Black Keys”. Vivace
00:11:58 Etudes, Op. 10: VI. Etude in E-Flat Minor. Andante
00:15:50 Etudes, Op. 10: VII. Etude in C Major. Vivace
00:17:31 Etudes, Op. 10: VIII. Etude in F Major. Allegro
00:19:52 Etudes, Op. 10: IX. Etude in F Minor. Allegro molto agitato
00:22:25 Etudes, Op. 10: X. Etude in A-Flat Major. Vivace assai
00:24:47 Etudes, Op. 10: XI. Etude in E-Flat Major. Allegretto
00:27:17 Etudes, Op. 10: XII. Etude in C Minor “Revolutionary”. Allegro con fuoco
00:30:06 Etudes, Op. 25: I. Etude in A-Flat Major “Aeolian Harp”.Allegro sostenuto
00:32:39 Etudes, Op. 25: II. Etude in F Minor. Presto
00:34:36 Etudes, Op. 25: III. Etude in F Major. Allegro
00:36:32 Etudes, Op. 25: IV. Etude in A Minor. Agitato
00:38:17 Etudes, Op. 25: V. Etude in E Minor. Vivace
00:42:01 Etudes, Op. 25: VI. Etude in G-Sharp Minor. Allegro
00:44:17 Etudes, Op. 25: VII. Etude in C-Sharp Minor. Lento
00:50:20 Etudes, Op. 25: VIII. Etude in D-Flat Major. Vivace
00:51:33 Etudes, Op. 25: IX. Etude in G-Flat Major “Butterfly”. Allegro assai
00:52:44 Etudes, Op. 25: X. Etude in B Minor. Allegro con fuoco
00:56:55 Etudes, Op. 25: XI. Etude in A Minor “Winter Wind”. Lento
01:00:37 Etudes, Op. 25: XII. Etude in C Minor. Allegro molto con fuoco
01:03:30 3 Nouvelles études, B. 130: I. Andantino in F minor
01:06:00 3 Nouvelles études, B. 130: II. Allegretto in D-Flat Major
01:08:11 3 Nouvelles études, B. 130: III. Allegretto in A-Flat Major

Tracklist below.
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The mandolin was essentially the instrument of amateur musicians in the early to mid 18th century. Vivaldi composed many concertos and trios for the young ladies of the Ospiedale della Pieta – including the famous G major RV532, which must rank as one of his most popular works after the Four Seasons.
The concertos and trios on this CD make a delightful programme, written for the pleasure of gifted students and patrons, full of the hallmarks of Vivaldian style that will not disappoint those who love the famous Four Seasons violin concertos from his Op.8 set. Simple, catchy melodies abound, in both still and often poignant slow movements as well as sparky fast movements.
Other information:
- Recording made in 2009.
- Frederico Gugliemo studied with Salvatore Accardo, Isaac Stern and The Amadeus, LaSalle and Quartetto Italiano string quartets before turning to period instrument performance under the guidance of Christopher Hogwood.
00:00:00 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:03:54 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:08:15 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:11:48 Concerto for mandolin, strings and continuo in C Major RV 425
00:14:26 Concerto for mandolin, strings and continuo in C Major RV 425
00:17:44 Concerto for mandolin, strings and continuo in C Major RV 425
00:19:57 Trio for Violin, lute and basso in g Minor RV 85
00:24:00 Trio for Violin, lute and basso in g Minor RV 85
00:27:01 Trio for Violin, lute and basso in g Minor RV 85
00:28:53 Concerto for 2 Violin, lute and basso in D Major RV 93
00:32:22 Concerto for 2 Violin, lute and basso in D Major RV 93
00:36:33 Concerto for 2 Violin, lute and basso in D Major RV 93
00:38:44 Trio for Violin, lute and basso in C Major RV 82
00:42:51 Trio for Violin, lute and basso in C Major RV 82
00:45:54 Trio for Violin, lute and basso in C Major RV 82
00:47:52 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:53:13 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:56:15 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:59:47 Concerto for harpsichord, strings and continuo in A Major RV 780
01:03:30 Concerto for harpsichord, strings and continuo in A Major RV 780
01:05:40 Concerto for harpsichord, strings and continuo in A Major RV 780

Artist:
L'Arte dell'Arco
Federico Guglielmo (conductor)

Arvo Pärt: Ukuaru valss.

Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.

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It is remarkable that concertos by Vivaldi are still awaiting their first recordings, and this CD programmes 8 ‘solemn’ concertos. Solemn in this context usually meant a slow introduction, acting as a prelude to the following 3 movements. Vivaldi was a master at creating concertos from other works, and these were known as ‘pasticcio’ concertos. For example, sinfonias or overtures to his many operas provided a happy hunting ground for such concertos, and on this CD the concertos are a mix of Vivaldi’s pasticcios and those of the Pablo Queipo de Llano, a Vivaldi scholar and author the comprehensive CD booklet essay.

To illustrate how adept Vivaldi was at turning existing works to new uses, the finale of RV197 was originally the double fugue from the overture to the serenata La senna festeggiante RV693. This had in turn been adapted by Vivaldi from the closing section of Lotti’s Moralita d’una perla. The opening movement of RV155 was reused by Vivaldi for his Salve Regina RV618
The tradition of pasticcio concertos arranged from other composer’s works was common practice at the Dresden court, where the director was Johann Georg Pisendal, a pupil of Vivaldi. Many movements by Vivaldi were found among the manuscripts in Dresden, and form the basis for these reconstructions.

00:00:00 Concerto per archi e basso continuo in do Minore RV 197
00:03:31 Concerto per archi e basso continuo in do Minore RV 197
00:06:10 Concerto per archi e basso continuo in do Minore RV 197
00:07:58 Sinfonia per archi e basso continuo in la maggiore RV Anh. 85
00:10:05 Sinfonia per archi e basso continuo in la maggiore RV Anh. 85
00:12:52 Sinfonia per archi e basso continuo in la maggiore RV Anh. 85
00:16:45 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:19:05 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:22:54 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:26:33 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:30:56 Concerto per archi e basso continuo in sol Minore RV 316
00:33:27 Concerto per archi e basso continuo in sol Minore RV 316
00:34:39 Concerto per archi e basso continuo in sol Minore RV 316
00:36:36 Concerto per archi e basso continuo in do maggiore RV 185
00:37:41 Concerto per archi e basso continuo in do maggiore RV 185
00:40:10 Concerto per archi e basso continuo in do maggiore RV 185
00:41:37 Concerto per archi e basso continuo in do maggiore RV 185
00:44:00 Concerto per 2 Violini, archi e basso continuo in re Minore RV 247
00:46:46 Concerto per 2 Violini, archi e basso continuo in re Minore RV 247
00:49:59 Concerto per 2 Violini, archi e basso continuo in re Minore RV 247
00:53:04 Concerto per archi e basso continuo in fa maggiore RV 292
00:55:32 Concerto per archi e basso continuo in fa maggiore RV 292
00:57:46 Concerto per archi e basso continuo in fa maggiore RV 292
00:58:35 Concerto per archi e basso continuo in fa maggiore RV 292
01:02:51 Concerto per archi e basso continuo in mi Minore RV 134
01:05:38 Concerto per archi e basso continuo in mi Minore RV 134
01:07:08 Concerto per archi e basso continuo in mi Minore RV 134

Tracklist below.

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Composer: Claude Debussy
Artists: Trio Stradivari, Federico Guglielmo (violin), Luigi Puxeddu (cello), Jolanda Violante (piano)

These original works and arrangements for violin, cello and piano by Claude Debussy span the composer’s protean career, from the early Piano Trio of 1880 to the Cello Sonata of 1915 and the Violin Sonata, completed in 1917 as part of an abortive six-sonata project which ended halfway when he died the following year. Especially since the performances are given with the experience harvested by three musicians who are better known as early-music specialists, soaked in the philosophy of historically informed performance practice, they offer an intriguing survey, unique on record, of the composer’s development. As Harold Schonberg, music critic of The New York Times, wrote, it would be amusing to invite classical music ‘experts’ to listen to the Piano Trio, with its expressive reminiscences of Schumann, and then guess who the composer is: few of them would say Debussy. And yet the two late sonatas masterfully shuffle the cards of Impressionism, pre-Classical sonata structures and Stravinskian distance and eccentricity: the Cello Sonata originally bore a heavily symbolic title (Pierrot faché avec la lune) relating to the paintings of Watteau with their elusive mixture of melancholy and irony. It uses the timbre of early music and citations from the great French harpsichordists to conjure up Pierrot’s moody, troubled world, which was that of the slyly smiling masks of the commedia dell’arte.

The arrangements are the work of several hands, among them Debussy himself, of better-known and justifiably popular works that revel in the sophisticated evocation of mood through lyrical melody and evanescent textures, including ‘The Girl with the Flaxen Hair’ and ‘Minstrels’

00:00:00 Piano Trio in G Major, L. 3: I. Andantino con moto allegro
00:09:04 Piano Trio in G Major, L. 3: II. Scherzo-Intermezzo. Moderato con allegro
00:12:35 Piano Trio in G Major, L. 3: III. Andante espressivo
00:16:30 Piano Trio in G Major, L. 3: IV. Finale. Appassionato
00:21:57 Violin Sonata in G Minor, L. 140: I. Allegro vivo
00:27:25 Violin Sonata in G Minor, L. 140: II. Intermède. Fantasque et legér
00:31:39 Violin Sonata in G Minor, L. 140: III. Finale. Très animé
00:36:11 Cello Sonata in D Minor, L. 135: I. Prologue. Lent, sostenuto e molto risoluto
00:40:54 Cello Sonata in D Minor, L. 135: II. Sérénade. Modérément animé
00:44:26 Cello Sonata in D Minor, L. 135: III. Final. Animé, léger et nerveux
00:48:05 Intermezzo, L. 27
00:53:34 Scherzo, L. 26
00:59:00 Préludes, L. 117: No. 12, Minstrels
01:01:22 Préludes, L. 117: No. 8, La fille aux cheveux de lin
01:04:00 Deux Arabesques, L. 66: Première Arabesque
01:08:57 Romances, L. 79: Romance No. 1
01:11:07 Rêverie, L. 68

Tracklist Below:
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00:00:00 3 Sarabandes (1887): No. 1
00:05:33 3 Sarabandes (1887): No. 2
00:10:33 3 Sarabandes (1887): No. 3
00:14:47 3 Gymnopédies (1889): No. 1: Lent et douloureux
00:18:27 3 Gymnopédies (1889): No. 2: Lent et triste
00:21:45 3 Gymnopédies (1889): No. 3: Lent et grave
00:24:37 Gnossiennes 1-3 (1890): No. 1
00:28:45 Gnossiennes 1-3 (1890): No. 2
00:30:45 Gnossiennes 1-3 (1890): No. 3
00:34:11 Gnossiennes 4-6 (1889-1897): No. 4
00:37:02 Gnossiennes 4-6 (1889-1897): No. 5
00:39:53 Gnossiennes 4-6 (1889-1897): No. 6
00:41:26 2 Préludes du Nazaréen (1892): No. 1, assez lent
00:46:09 2 Préludes du Nazaréen (1892): No. 2, assez lent
00:49:15 Prélude de la porte, Héroique du Ciel (1894)
00:53:00 2 Pièces Froides (1897): No. 1: Airs a faire fuir: D’une manière très particulaire
00:55:59 2 Pièces Froides (1897): No. 1: Airs a faire fuir: Modestemente
00:57:42 2 Pièces Froides (1897): No. 1: Airs a faire fuir: S’inviter
01:00:44 2 Pièces Froides (1897): No. 2: Danses de travers: En y regardent à deux fois
01:01:38 2 Pièces Froides (1897): No. 2: Danses de travers: Passer
01:02:25 2 Pièces Froides (1897): No. 2: Danses de travers: Encore
01:03:47 Petite ouverture à danser (1900)
01:05:18 Poudre d'Or, valse (1902)
01:09:53 Le Piccadilly (1904)
01:11:24 Véritables préludes flasques (1912): Sévere reprimande
01:12:07 3 Véritables préludes flasques (1912): Seul a la maison
01:13:16 3 Véritables préludes flasques (1912): On jou
01:14:02 Chapitres tournés en tous sens (1913): Celui qui parle trop
01:15:05 Chapitres tournés en tous sens (1913): Le porteur de grosses pierres
01:17:22 Chapitres tournés en tous sens (1913): Regrets des enfermés
01:18:58 3 Descriptions automatiques (1913): Sur un vaisseau
01:20:31 3 Descriptions automatiques (1913): Sur une lanterne
01:22:22 3 Descriptions automatiques (1913): Sur un casque
01:23:18 Embryons desséchés (1913): D’Holothurie
01:25:30 Embryons desséchés (1913): d’Edriopthalma
01:27:30 Embryons desséchés (1913): de Podophthalma
01:29:14 Heures séculaires et instantanées (1914): Obstacles venimeux
01:30:55 Heures séculaires et instantanées (1914): Crépuscule matinal (de midi)
01:32:09 Heures séculaires et instantanées (1914): Affolements grantiques
01:33:04 Sports et divertissements (1914): Choral inappétissant
01:33:52 Sports et divertissements (1914): La balançoire
01:34:32 Sports et divertissements (1914): La chasse
01:34:50 Sports et divertissements (1914): Le comédie italienne
01:35:25 Sports et divertissements (1914): Le réveil de la mariée
01:35:52 Sports et divertissements (1914): Colin-Maillard
01:36:28 Sports et divertissements (1914): La pêche
01:37:09 Sports et divertissements (1914): Le yachting
01:38:01 Sports et divertissements (1914): Le bain de mer
01:38:31 Sports et divertissements (1914): Le carnaval
01:38:58 Sports et divertissements (1914): Le golf
01:39:30 Sports et divertissements (1914): Le pieuvre
01:39:57 Sports et divertissements (1914): Les courses
01:40:19 Sports et divertissements (1914): Les quatre-coins
01:40:58 Sports et divertissements (1914): Le pique-nique
01:41:22 Sports et divertissements (1914): Le waterchute
01:41:59 Sports et divertissements (1914): Le tango
01:43:04 Sports et divertissements (1914): Le traineau
01:43:27 Sports et divertissements (1914): Le flirt
01:44:01 Sports et divertissements (1914): Le feu d’artifice
01:44:24 Sports et divertissements (1914): Le tennis
01:45:00 3 Valses distinguées du précieux dégoute (1914): Sa taille
01:45:54 3 Valses distinguées du précieux dégoute (1914): Son bincole
01:47:14 3 Valses distinguées du précieux dégoute (1914): Ses jambes
01:48:08 Avant-dernières pensées (1915): Idylle
01:49:21 Avant-dernières pensées (1915): Aubade
01:50:54 Avant-dernières pensées (1915): Méditation
01:51:53 Sonatine buraucratique (1917)
01:55:50 Nocturnes (1919): Doux et calme
01:58:58 Nocturnes (1919): Simplement
02:01:02 Nocturnes (1919): Un peu mouvementé
02:04:04 Nocturnes (1919): No. 4
02:06:31 Nocturnes (1919): No. 5

Artist:
Håkon Austbö (piano)

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When approaching music as popular and as deservedly loved as Chopin’s waltzes, a musician must have something special to say for a new recording to make its mark. According to Fou T’Song – no mean Chopin pianist himself – Alessandro Deljavan is ‘one of the most interesting pianists I have heard in my life’. Excerpts on YouTube from his success at the 2013 Van Cliburn Competition in Fort Worth confirm the truth and promise of Fou T’Song’s acclamation.

Among recent and forthcoming recordings in his extensive discography are discs of diverse repertoire drawn from solo and chamber music including the piano quintet of Taneyev; Grieg’s violin Sonatas, Bach’s keyboard toccatas, cello sonatas by Martucci, and a Schumann recital. But the apparently simplicity of Chopin’s waltzes is no less a test of musical and technical mastery than many of these more recondite delights. The 17 waltzes are not gathered into one or two collections like the Etudes, but were composed throughout Chopin’s all-too-brief career. For many the best-known and yet also most sublime a distillation of the waltz-form is Op.64 No.1, known as the ‘Minute’ on account of its brevity. Op.69 No.1 breathes no less spirited an evocation of remembered youth, and yet with the shadow behind its harmonies of regret and melancholy which unforgettably tinge the Nocturnes. There is a waltz for every mood, and Deljavan’s interpretations will receive wide critical attention.
Chopin’s waltzes are written for the Parisian salon, for a sophisticated audience of artists and aristocracy. Though more “light hearted” than most of his other compositions they bear the unmistakable genius of Chopin: refined and exquisite pianism, brilliance and melancholy, sorrow and joy go hand in hand.
Italian Alessandro Deljavan is one of the most remarkable pianists of his generation. “His playing is full of intensive power and contagious artistry” (Dmitri Bashkirov), “he is one of the most interesting pianists I’ve heard in my life” (Fou Ts’Ong), “he is one of the most major talents of his age” (John Perry), “Jaw-dropping virtuosity and heart-stopping eloquence” (Dallas Morning News).

Composer:
Frédéric Chopin
Artist:
Alessandro Deljavan (piano)

00:00:00 “Grande valse brillante” in E-Flat Major, Op. 18
00:06:23 Waltzes, Op. 34: I. Vivace in E-Flat Major
00:12:18 Waltzes, Op. 34: II. Lento in A Minor
00:18:21 Waltzes, Op. 34: III. Vivace in F Major
00:20:54 Waltz in A-Flat Major, Op. 42
00:25:00 Waltzes, Op. 64: I. Minute Waltz in D-Flat Major
00:26:55 Waltzes in C-Sharp Minor Op.64 No.2
00:30:29 Waltz in A-Flat Major, Op. 64 No. 3
00:33:32 Waltz in A-Flat Major, Op. 69 No. 1
00:35:51 Waltz in B Minor, Op. 69 No. 2
00:38:09 Waltzes, Op. 70: I. Waltz in G-Flat Major
00:40:24 Waltzes, Op. 70: II. Waltz in F Minor
00:41:47 Waltzes, Op. 70: III. Waltz in D-Flat Major
00:44:44 Waltz in A-Flat Major, KKIVa No. 13
00:46:51 Waltz in E Major, KKIVa No. 12
00:49:57 Waltz in E Minor, KKIVa No. 15
00:52:11 Waltz in A Minor, KKIVa No. 11
00:54:26 Sostenuto “Waltz” in E-Flat Major, KKIVa No. 10
00:56:01 Waltz in E-Flat Major, KKIVa No. 14

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Schubert’s two piano trios were composed late in his short life (his only trio prior to these is the short B flat trio movement D28 of 1812), probably in late 1827 and the summer of 1828, the year of his death. They are vast works, worthy of Schumann’s comment on Schubert’s Ninth Symphony of being of ‘heavenly length’.

Although structured along similar lines to Beethoven’s piano trios, Schubert’s trios inhabit a different world to the older composer’s ‘Ghost’ or ‘Archduke’ works. Beethoven revelled in drama and complex and ingenious textures. Schubert concentrates instead on beautiful tunes, and eloquent dialogues between the three players. The music of the Austrian countryside permeates these works, and although they date from Schubert’s last months, they contain little of the world weariness and desolation of Winterreisse, the late sonatas or the proto-Mahlerian slow movement of the Tenth Symphony D936a.
00:00:00 Piano Trio No.1 in B flat D898: I. Allegro moderato
00:14:29 Piano Trio No.1 in B flat D898: II. Andante, un poco mosso
00:23:05 Piano Trio No.1 in B flat D898: III. Scherzo – Trio – Allegro
00:29:47 Piano Trio No.1 in B flat D898: IV Rondo – Allegro vivace – Presto
00:38:37 Piano Trio No.1 in B flat D898: Notturno in E flat D897
00:48:50 Piano Trio No.2 in E flat D929: I. Allegro
01:00:23 Piano Trio No.2 in E flat D929: II. Andante con moto
01:09:31 Piano Trio No.2 in E flat D929: III. Scherzando: Allegro moderato
01:16:39 Piano Trio No.2 in E flat D929: IV. Allegro moderato