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

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

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

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

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

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

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

Tracklist:

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

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Luigi Boccherini wrote many string quintets for various combinations of instruments. This is the second volume of Boccherini's complete string quintets, performed by La Magnifica Comunità on period instruments. Their baroque ensemble here consist of the for Boccherini typical combination of two violins, one viola and two cellos.

Composer: Luigi Boccherini
Artist: Enrico Casazza violin and concert master La Magnifica Comunità ensemble

00:00:00 Quintetto I in B-Flat Major, G. 271: adagio non tanto
00:06:29 Quintetto II in A Major, G. 272: allegro non molto
00:13:46Quintetto I in B-Flat Major, G. 271: allegro
00:23:07Quintetto I in B-Flat Major, G. 271: allegro assai
00:29:52 Quintetto III in C Major, G. 273: allegro molto
00:36:54Quintetto III in C Major, G. 273: Larghetto
00:40:16 Quintetto III in C Major, G. 273: Minuetto, trio
00:43:22 Quintetto III in C Major, G. 273: Presto
00:46:59 Quintetto IV in F Minor, G. 274: Larghetto
00:52:11 Quintetto V in E Major, G. 275: Minuetto, trio
00:55:25 Quintetto II in A Major, G. 272: allegro assai
00:59:19 Quintetto VI in D Major, G. 276, "L’Uccelliera": adagio assai
01:00:15 Quintetto II in A Major, G. 272: Larghetto
01:05:13Quintetto II in A Major, G. 272: Minuetto, trio
01:09:41Quintetto IV in F Minor, G. 274: Vivace
01:18:09 Quintetto IV in F Minor, G. 274: Minuetto, trio
01:21:22 Quintetto IV in F Minor, G. 274: Presto
01:25:09 Quintetto V in E Major, G. 275: amoroso
01:29:59 Quintetto V in E Major, G. 275: rondeau, andante
01:37:31 Quintetto VI in D Major, G. 276, "L’Uccelliera": allegro Giusto
01:48:33 Quintetto VI in D Major, G. 276, "L’Uccelliera": allegro (Li Pastori e Li Cacciatori)
01:50:58 Quintetto V in E Major, G. 275: allegro e con spirito
01:59:04 Quintetto VI in D Major, G. 276, "L’Uccelliera": tempo di Minuetto
02:01:45 Quintetto VI in D Major, G. 276, "L’Uccelliera": tempo di Prima

Tracklist below.
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A recording of the complete Cello Sonatas by Vivaldi on period instruments! Antonio Vivaldi was one of the first composers to feature the cello, then a relatively “new” instrument (after the viola da gamba), as a mature solo instrument. This full recording contains the complete 6 sonatas for cello and basso continuo.

Vivaldi displays an astonishing variety and inventiveness in these sonatas, using the instrument’s possibilities to the utmost; these sonatas still offer a serious challenge, both technical and musical, for any professional cellist nowadays. Apart from that they are vintage Vivaldi, featuring an enormous range of emotional extremes, from deep heartfelt sadness to infectious joy.

00:00:00 Cello Sonata in B-Fflat Major, RV 47: I. Largo
00:03:28 Cello Sonata in B-Fflat Major, RV 47: II. Allegro
00:06:43 Cello Sonata in B-Fflat Major, RV 47: III. Largo
00:10:52 Cello Sonata in B-Fflat Major, RV 47: IV. Allegro
00:12:48 Cello Sonata in F Major, RV 41: I. Largo
00:16:19 Cello Sonata in F Major, RV 41: II. Allegro
00:18:51 Cello Sonata in F Major, RV 41: III. Largo
00:22:27 Cello Sonata in F Major, RV 41: IV. Allegro
00:24:56 Cello Sonata in A Minor, RV 43: I. Largo
00:29:21 Cello Sonata in A Minor, RV 43: II. Allegro
00:32:53 Cello Sonata in A Minor, RV 43: III. Largo
00:37:11 Cello Sonata in A Minor, RV 43: IV. Allegro
00:40:13 Cello Sonata in B-Flat Major, RV 45: I. Largo
00:43:32 Cello Sonata in B-Flat Major, RV 45: II. Allegro
00:46:12 Cello Sonata in B-Flat Major, RV 45: III. Largo
00:51:00 Cello Sonata in B-Flat Major, RV 45: IV. Allegro
00:53:42 Cello Sonata in E Minor, RV 40: I. Largo
00:56:24 Cello Sonata in E Minor, RV 40: II. Allegro
00:58:51 Cello Sonata in E Minor, RV 40: III. Largo
01:01:10 Cello Sonata in E Minor, RV 40: IV. Allegro
01:03:38 Cello Sonata in B-Flat Major, RV 46: I. Preludio. Largo
01:05:37 Cello Sonata in B-Flat Major, RV 46: II. Allemande. Allegro
01:08:26 Cello Sonata in B-Flat Major, RV 46: III. Largo
01:11:22 Cello Sonata in B-Flat Major, RV 46: IV. Corrente. Allegro

Enjoy this selection of essential classical music, with the best music ever made! Classical music is ideal for studying or for relexation. All the essential pieces are included in this compilation. For more more information about the music, visit www.brilliantclassics.com.+

1) 0:00:00 – 2 Morceaux. Op. 10: No. 2, Humoresque in G Major. Menuet – Luigi Boccherini.
2) 0:03:32 – Concerto No. 3 in G Major, BWV 1048: I. – Johann Sebastian Bach
3) 0:08:51 – Concerto in F Minor, Op. 8 ‘Der Winter’: I. Allegro non molto – Antonio Vivaldi
4) 0:12:08 – Mazurka in A Minor, Op. 67 No. 4 – Frédéric Chopin
5) 0:15:12 – Fantasiestücke, Op. 73: Valse Sentimentale – Nikolai Rimsky-Korsakov
6) 0:17:07 – Requiem in D Minor, K. 626: III: Sequentia. Lacrimosa – Wolfgang Amadeus Mozart
7) 0:20:11 – Eine kleine Nachtmusik, K. 525: I. Allegro – Wolfgang Amadeus Mozart
8) 0:25:27 – Concerto No. 2 in G Minor, RV 315, Op. 8, ‘Summer’: III. Presto – Antonio Vivaldi
9) 0:28:18 – Orchestral suite No. 3 in D Major, BWV 1068: II. Air – Johann Sebastian Bach
10) 0:32:35 – Concerto No. 1 in E Major, RV 269, Op. 8 ‘Spring’: I. Allegro – Antonio Vivaldi
11) 0:36:02 – Suite No. 1 in G Major, BWV 1007: I. Prelude – Johann Sebastian Bach
12) 0:39:16 – Violin Concerto in A Minor, BWV 1041: I – Johann Sebastian Bach
13) 0:43:14 – Piano Concerto No. 21 in C Major, K. 467: II. Andante ‘Elvira Madigan’ – Wolfgang Amadeus Mozart
14) 0:49:21 – Symphony No. 9 in E Minor, Op. 95, B. 178: IV. Allegro con fuoco
15) 1:00:11 – Violin concerto in E Major, BWV 1042: III. Allegro assai
16) 1:02:58 – The Carnival of the Animals: XIII. The Swan – Camille Saint-Saëns
17) 1:05:56 – Jesu, meine Freude, BWV 227 – Johann Sebastian Bach
18) 1:08:57 – String Quartets in C Major, Op. 76 No. 3, Hob III:77 ‘Emperor’. II. Poco adagio – Franz Joseph Haydn
19) 1:15:22 – Carmina Burana: O fortuna (Chorus) – Carl Orff
20) 1:17:56 – Piano Concerto No. 1 in B-Flat Minor, Op. 23: I. Allegro non troppo e molto maestoso – Allegro con spirito – Pyotr Ilyich Tchaikovsky
21) 1:37:20 – Jazz Suite No. 1, Op. 38a: I. Waltz – Dmitri Shostakovich
22) 1:39:44 – Violin Sonata No. 1 in F Major, Op. 8: I. Allegro con brio – Edvard Grieg
23) 1:49:34 – Cello Concerto in B Minor, Op. 104: I. Allegro – Antonín Dvořák
24) 2:03:47 – Swan Lake, Op. 20, Pt. 1: I. Introduction. Moderato assai – Pyotr Ilyich Tchaikovsky
25) 2:06:55 – The Nutcracker, Op. 71, Pt. 2: XVI. Tea, Chinese Dance – Pyotr Ilyich Tchaikovsky
26) 2:08:02 – Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft – Robert Schumann
27) 2:15:30 – Danse macabre in G Minor, Op. 40 – Camille Saint-Saëns
28) 2:22:51 – Finlandia, Op. 26- Jean Sibelius

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For a collection of small nations at the northern fringe of Europe, Scandinavia produced in a relatively short space of time a remarkable quantity of great musicians – including from the late classical and early periods Berwald, Pacius and Crusell, to Gade, Svendsen ,Sinding and Grieg in the mid 19th, and of course Sibelius, Nielsen, Laangaard and Stenhammer at the end of the 19th who became major international composers in the first three decades of the 20th century.

Edvard Grieg (1843 - 1907) of course will always be remembered as the composer of the highly effective A minor piano concerto, and his incidental music to Ibsen’s play Peer Gynt. However, it is as a miniaturist that Greig’s true genius lies. Grieg was a very capable pianist, and had in fact made his early career as a concert pianist, and his songs and solo piano music form the heart of his output. The early piano sonata although interesting shows clearly why the less restricting forms of the miniatures for solo piano suited his genius. The Lyric Pieces and Peasant Dances display his keen ear for traditional folk music, matched probably only by Bartok and Kodaly.

The 66 works that comprise the 10 books of Lyric Pieces date from 1867 to 1901, and are extraordinary, exquisitely crafted works that can stand comparison to any of the great sonatas of his contemporaries. This set includes the complete Lyric Pieces, the Sonata, The Holberg Suite and the lesser-known piano works of this great composer who captured the very essence of his native Norway in music.

Composer: Edvard Hagerup Grieg
Artist : Håkon Austbö piano

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The perfect starting point for exploring Romantic piano music. It features historic recordings of a truly excellent standard, including Blumental with the Vienna Symphony Orchestra under Helmuth Froschauer, the Orchestra of Radio Luxembourg with Pierre Cao accompanying French pianist Dosse, Boehm with the Westphalian Symphony Orchestra under Siegfried Landau, and Antal Doráti conducting the Royal Philharmonic Orchestra with Ilse von Alpenheim.

This 40 CD set contains a wealth of 19th century piano concertos written by composers who for some reason or other have been neglected by history, so called “minor masters” who may have lost the battle against the giants but nevertheless wrote very attractive, impressive and brilliant concertos for the piano (which in many cases was “their” instrument).

To name just a few: Hummel, Field, Czerny, Cramer, Ries, Clementi, Thalberg, Moscheles, Litolff, Kalkbrenner, Lyapunov, Balakirev, Medtner, Glazunov, Henselt, Moszkowski, Scharwenka and many more, over 60 composers!
Most of the recordings come from the rich and unique VOX catalogue, featuring such excellent pianists as Michael Ponti, Felicja Blumenthal, Hans Kann, Martin Galling, Jerome Rose, Roland Keller and many more.

John Baptist Cramer:
00:00:00 Piano Concerto No. 5 in C Minor, Op. 48: I. Allegro maestoso
00:14:25 Piano Concerto No. 5 in C Minor, Op. 48: II. Larghetto
00:21:11 Piano Concerto No. 5 in C Minor, Op. 48: III. Rondo à l’hongroise

Carl Czerny:
00:29:59 Divertissement de concert, Op. 204

Ferdinand Ries:
00:44:43 Piano Concerto No. 3 in C-Sharp Minor, Op. 55: I. Allegro maestoso ( Ries)
00:59:34 Piano Concerto No. 3 in C-Sharp Minor, Op. 55: II. Larghetto
01:04:37 Piano Concerto No. 3 in C-Sharp Minor, Op. 55: III. Rondo. Allegretto

Muzio Clementi
01:15:14 Piano Concerto in C Major: I. Allegro con spirit
01:24:58 Piano Concerto in C Major: II. Adagio e cantabile, con grande espressione
01:31:42 Piano Concerto in C Major: III. Presto

John Field:
01:38:13 Piano Concerto No. 2 in A-Flat Major, H.31: I. Allegro moderato
01:55:04 Piano Concerto No. 2 in A-Flat Major, H.31: II. Poco adagio
01:58:35 Piano Concerto No. 2 in A-Flat Major, H.31: III. Allegro moderato innocente

Johann Nepomuk Hummel:
02:08:01 Piano Concertino in G Major, Op. 73: I. Allegro moderato
02:16:52 Piano Concertino in G Major, Op. 73: II. Andante grazioso
02:21:05 Piano Concertino in G Major, Op. 73: III. Rondo

Ignaz Moscheles:
02:25:45 Piano Concerto in G Minor, Op. 58: I. Allegro moderato
02:37:40 Piano Concerto in G Minor, Op. 58: II. Adagio
02:42:18 Piano Concerto in G Minor, Op. 58: III. Allegro agitato

Ferdinand Hiller:
02:51:18 Piano Concerto No. 2 in F-Sharp Minor, Op. 69: I. Moderato, ma con energia e con fuoco
02:58:08 Piano Concerto No. 2 in F-Sharp Minor, Op. 69: II. Andante espressivo
03:04:01 Piano Concerto No. 2 in F-Sharp Minor, Op. 69: III. Finale. Allegro con fuoco

Henry Litolff:
03:09:05 Concerto symfonique No. 3 in E-Flat Major, Op. 45: I. Allegro
03:19:22 Concerto symfonique No. 3 in E-Flat Major, Op. 45: II. Scherzo
03:24:04 Concerto symfonique No. 3 in E-Flat Major, Op. 45: III. Andante
03:30:19 Concerto symfonique No. 3 in E-Flat Major, Op. 45: IV. Furioso

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

Other information:
- Recorded 19 May 2014.

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

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

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

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

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

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

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

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

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

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Composer: Franz Liszt
Artist: Various artists

Franz Liszt is universally celebrated as one of the greatest-ever virtuoso performers on the modern piano. Contemporary accounts describe his seemingly superhuman technical abilities and equally striking charisma and stage presence. Yet Liszt was a formidable composer, and his expansion of pianistic possibilities was achieved as much through innovation in his own great piano works as through his astonishing performance on the instrument, if not more. Like many child virtuosos thrust early into busy concert careers (Liszt’s began at the age of nine) he retired early, weary of the spotlight, turning his back on the stage at the remarkably early age of 35. Since he lived to the likewise remarkable old age of 75, much more than the latter half of his life was devoted solely to composition, and having been a pianist of his calibre, the works he created for his own instrument were indeed groundbreaking.
Tracklist Below:
00:00:00 Années de pèlerinage II, S.161: I. Sposalizio
00:07:04 Années de pèlerinage II, S.161: II. Il penseroso
00:11:08 Années de pèlerinage II, S.161: III. Canzonetta del Salvator Rosa
00:13:58 Années de pèlerinage II, S.161: IV. Sonetto 47 del Petrarca
00:19:14 Années de pèlerinage II, S.161: V. Sonetto 104 del Petrarca
00:25:31 Années de pèlerinage II, S.161: VI. Sonetto 123 del Petrarca
00:32:45 Années de pèlerinage II, S.161: VII. Après une lecture du Dante
00:49:14 Piano Sonata in B Minor, S.178
01:20:44 Soirées de Vienne, S.427: VI. Allegro con strepito in A Minor
01:27:47 En rêve, S.207
01:29:51 Mephisto Waltz No. 3, S.216
01:38:01 Bagatelle sans tonalité, S.216a
01:40:48 Trübe Wolken, S.199
01:43:44 Études d’exécution transcendante, S.139: I. Preludio
01:44:45 Études d’exécution transcendante, S.139: II. Molto Vivace
01:46:56 Études d’exécution transcendante, S.139: III. Paysage
01:52:44 Études d’exécution transcendante, S.139: IV. Mazeppa
02:00:49 Études d’exécution transcendante, S.139: V. Feux-follets
02:04:52 Études d’exécution transcendante, S.139: VI. Vision
02:11:16 Études d’exécution transcendante, S.139: VII. Eroica
02:16:31 Études d’exécution transcendante, S.139: VIII. Wilde Jagd
02:22:06 Études d’exécution transcendante, S.139: IX. Ricordanza
02:33:46 Études d’exécution transcendante, S.139: X. Allegro agitato molto
02:38:48 Études d’exécution transcendante, S.139: XI. Harmonies du soir
02:48:29 Études d’exécution transcendante, S.139: XII. Chasse-neige

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Only in recent decades has the viola da gamba become a focus for systematic study in its own right, independently of the violin, its heyday having occurred during the Renaissance and Baroque periods when, over the course of time, it began to turn towards more select audiences and a greater refinement of repertoire – elegance and exclusiveness became its bywords. One of its greatest propagators was undoubtedly Georg Philipp Telemann, who nourished his celebrity composer status through being extraordinarily prolific, writing for the instrument a rich, varied and distinctive repertoire, and simultaneously defying his contemporaries by choosing to include the instrument in many of the editions he published throughout his lifetime.

Composer: Georg Philipp Telemann
Artists: Cristiano Contadin (viola da gamba), Opera Prima Ensemble

00:00:00 Trio Sonata in G Minor, TWV 42:g1: Adagio – Vivace – Adagio – Allegro
00:08:18 Trio Sonata in G Major, TWV 42:G10: Cantabile – Vivace – Affettuoso – Allegro
00:16:32 Trio Sonata in E Major, TWV 42:E7: Siciliana – Presto – Andante – Vivace
00:26:55 Trio Sonata in G Minor, TWV 42:g10: Cantabile – Allegro – Largo – Vivace
00:37:16 Trio Sonata in D Major, TWV 42:D9: Dolce – Presto – Pastorale – Vivace
00:45:11 Trio Sonata in B Minor, TWV 42:h6: Largo – Vivace – Andante – Allegro
00:54:56 Trio Sonata in F Major, TWV 42:F10: Grave – Allegro – Andante – Vivace
01:05:14 Trio Sonata in G Minor, TWV 42:g11: Cantabile – Vivace – Dolce – Allegro
01:16:02 Trio Sonata in C Minor, TWV 42:c6: Andante – Allemande – Menuet – Aria. Largo – Gigue – Réjouissance. Presto
01:28:44 Trio Sonata in A Minor, TWV 42:a7: Andante – Allegro – Adagio – Allegro
01:35:51 Trio Sonata in F Major, TWV 42:F5: Dolce – Allegro – Largo
01:44:31 Trio Sonata in G Minor, TWV 42:g15: Vivace – Cantabile – Vivace
01:52:47 Trio Sonata in B Minor, TWV 42:h4: Largo – Vivace – Dolce – Vivace
02:00:12 Trio Sonata in G Minor, TWV 42:g7: Siciliana – Allegro – Adagio – Allegro assai
02:07:40 Quartetto in G Major, TWV 43:G10: Vivace – Andante – Vivace
02:17:49 Quartetto in G Major, TWV 43:G12: 1 Dolce – Allegro – Soave – Vivace
02:30:18 Trio Sonata in E Minor, TWV 42:e5: Vivace – Grave – Vivace
02:36:29 Trio Sonata in G Major, TWV 42:G8: Soave – Allegro – Andante – Allegro
02:43:33 Trio Sonata in C Minor, TWV 42:c3: Gratioso – Con contento – Sospirando – Spirituoso – Vivace
02:53:23 Trio Sonata in G Minor, TWV 42:g6: Largo – Vivace – Andante – Presto
02:59:01 Trio Sonata in A Major, TWV 42:A10: Cantabile – Vivace – Andante
03:05:27 Trio Sonata in G Minor, TWV 42:g9: Soave ma non adagio – Vivace – Largo – Allegro
03:12:02 Trio Sonata in C Major, TWV 42:C2: Dolce – Allegro – Grave – Vivace
03:19:17 Trio Sonata in D Minor, TWV 42:d7: Andante – Vivace – Adagio
03:25:30 Trio Sonata in F Major, TWV 42:F6: Vivace – Largo – Allegro
03:30:34 Trio Sonata in F Major, TWV 42:F3: Vivace – Mesto – Allegro
03:37:00 Concerto for Recorder and Viola Da Gamba in A Minor, TWV 52:a1: — – Allegro – Dolce – Allegro
03:51:39 Ouverture-Suite in D Major, TWV 55:D6: Ouverture – La Trompette – Sarabande – Rondeau
04:12:50 Sinfonia in F Major, TWV 50:3: Allabreve – Andante – Vivace
04:20:08 Concerto for Bass Viol in A Major, TWV 51:A5: Soave – Allegro – Adagio – Allegro
04:30:05 Concerto for Oboe, Violin and Viola Da Gamba in G Minor, TWV 43:g2: Affettuoso – Vivace – Adagio – Allegro
04:38:48 Concerto for Flute, Viola Da Gamba, Bassoon and Harpsichord in C Major, TWV 43:C3: Grave – Allegro – Largo – Vivace
04:49:04 Trio Sonata in E Major, TWV 42:E6: Allegro – Largo – Allegro
04:58:41 Quartetto in B Minor, TWV 43:h3: Adagio – Vivace – Andante – Presto
05:07:33 Trio Sonata in G Major, TWV 42:G6: Andante – Allegro – Largo – Presto

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Composer: Johann Sebastian Bach
Artists: John Mark Ainsley (tenor), Stephen Richardson (bass), Catherine Bott (soprano), Choir of King’s College Cambridge, Stephen Cleobury (conductor)

Bach produced his St John Passion in 1724, and it was his first setting of the Passion story. The premiere of the first version of the Johannes-Passion took place on Good Friday in Leipzig at the Nicolaikirche. Johann Kuhnau had introduced the tradition of Passion oratorios to Leipzig a few years earlier. Bach’s work underwent several revisions right up to the late 1740s, and was performed regularly in all versions.

Part 1
00:00:00 Chorus: Herr, unser Herrscher
00:08:34 Recitative: Jesus ging mit seinen Jüngern
00:11:02 Chorale: O große Lieb
00:11:49 Recitative: Auf daß das Wort erfüllet wurde
00:12:56 Chorale: Dein Will gescheh, Herr Gott, zugleich
00:13:50 Recitative: Die Schar aber und der Oberhauptmann
00:14:43 Aria (Alto): Von den Stricken meiner Sünden
00:19:28 Recitative: Simon Petrus aber folgete Jesu nach
00:19:43 Aria (Soprano): Ich folge dir gleichfalls mit freudigen Schritten
00:23:36 Recitative: Derselbige Jünger war dem Hohenpriester bekannt
00:26:51 Chorale: Wer hat dich so geschlagen
00:28:29 Recitative: Und Hannas sandte ihn gebunden
00:31:00 Aria (Tenor): Ach, mein Sinn
00:33:29 Chorale: Petrus, der nicht denkt zurück
00:34:38 Chorale: Christus, der uns selig macht

Part 2
00:35:40 Recitative: Da führeten sie Jesum von Kaipha vor das Richthaus
00:39:55 Chorale: Ach großer König
00:41:24 Recitative: Da sprach Pilatus zu ihm
00:43:26Arioso (Bass): Betrachte, meine Seele
00:45:58 Aria (Tenor): Erwäge, wie sein blutgefärbter Rücken
00:54:40 Recitative: Und die Kriegsknechte flochten eine Krone
01:00:26 Chorus: Durch dein Gefängnis, Gottes Sohn
01:01:20 Recitative: Die Juden aber schrieen und sprachen
01:05:34 Aria (Bass): Eilt, ihr angefochtnen Seelen
01:09:39 Recitative: Allda kreuzigten sie ihn
01:11:52 Chorale: In meines Herzens Grunde
01:12:57 Recitative: Die Kriegsknechte aber
01:16:52 Chorale: Er nahm alles wohl in acht
01:17:53 Recitative: Und von Stund an nahm sie die Jünger
01:19:24 Aria (Alto): Es ist vollbracht!
01:24:56 Recitative: Und neiget das Haupt und verschied
01:25:24 Aria (Bass): Mein teurer Heiland, laß dich fragen
01:30:07 Recitative: Und siehe da, der Vorhang im Tempel zerriß
01:30:40 Arioso (Tenor): Mein Herz, indem die ganze Welt
01:31:39 Aria (Soprano): Zerfließe, mein Herze
01:38:49 Recitative: Die Juden aber, dieweil es der Rüsttag war
01:41:06 Chorale: O hilf, Christe, Gottes Sohn
01:42:04 Recitative: Darnach bat Pilatum Joseph von Arimathia
01:44:23 Chorus: Ruht wohl, ihr heiligen Gebeine
01:50:48 Chorale: Ach Herr, laß dein lieb Engelein
01:52:39 Johannes Passion: Appendix: Chorale: O Mensch, bewein dein Sünde groß
01:58:26 Johannes Passion: Appendix: Aria (Bass): Himmel reiße, Welt erbebe
02:02:24 Johannes Passion: Appendix: Aria (Tenor): Zerschmettert mich
02:07:55 Johannes Passion: Appendix: Aria (Tenor): Ach windet euch nicht so
02:14:09 Johannes Passion: Appendix: Chorale: Christe, du Lamm Gottes

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Bartok’s assessment of Zoltán Kodály’s music as “the most perfect embodiment of the Hungarian spirit” will strike a chord with those familiar with the suite from his opera Háry János, the Dances of Galanta or indeed the works for cello which moved the instrument on from the Romantic idiom of Brahms, and at the same time looked backwards to the dancing elegance of Bach’s solo Suites.

He had taught himself to play the cello to a reasonable standard (also the violin and viola) and while, as he freely admitted, not a natural virtuoso, he had a feeling for the instrument which is obvious in his writing. The Adagio was his first published work, dating from 1905 and originally written for violin and piano: still broadly Romantic in idiom, and unaffected as yet by his work in collecting folk songs from the countries of south-eastern Europe which would decisively influence his mature idiom.

Composer: Zoltán Kodály
Artist: István Várdai (cello)
Klara Würtz (piano)

00:00:00 Sonata for Cello in B Minor, Op. 8: I. Allegro maestoso ma appassionato
00:09:16 Sonata for Cello in B Minor, Op. 8: II. Adagio con gran espressione
00:20:46 Sonata for Cello in B Minor, Op. 8: III. Allegro molto vivace
00:32:26 Sonatina for Cello and Piano
00:41:12 Capriccio for Cello Solo
00:46:07 Adagio for Cello and Piano
00:53:55 Sonata, Op. 4: I. Fantasia
01:01:31 Sonata, Op. 4: II. Allegro con spirit

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Composer: Carl Philipp Emanuel Bach
Artists: Andrea Chezzi harpsichord
Alberto Colzani (2000), after Goermans-Taskin

About this Album:
A curious and unsatisfying reduction of huge music for tiny forces? By no means. These are not, after all, symphonies in the way that Beethoven, let alone Mahler, understood the term, but breezy three-movement affairs which had lately sprung out of an operatic context and were enjoying a new and independent life through the always-unpredictable idiom of C.P.E., who wrote eight such works between 1741 and 1762. Most of them began as symphonies for strings, with wind parts added later when Bach’s orchestra was enlarged. These early symphonies mixed an Italian style of pleasant and simple writing with the composer’s own evolving voice influenced by the Empfindsamer Stil, drawn together by the impeccable technique which C.P.E. had learnt at the feet of his father, the great Johann Sebastian.

The composer did not make these transcriptions of his ‘Berlin’ symphonies, but they were done during his lifetime to cater to the extensive public of amateur keyboard players. The Symphony in G major Wq122 No.1 (arr. Wq173) is perfectly suited to the harpsichord, with the freshness of an Italian opera overture, especially in the first movement. Elsewhere, Andrea Chezzi has made a few additions to the arrangement when it is excessively thin, limited to some doubling or addition of the inner part, following the practice of the time, while also playing with the ornamentation appropriate to a keyboard performance.

Andrea Chezzi is a solo harpsichordist and organist based in Parma, where he is titular organist for the Church of Santa Maria Annunziata in Mezzano Rondani in the Comune di Colorno, Parma, artistic director of the comune’s cultural association La Compagnia del Lorno, and a founding member of the Giuseppe Serassi cultural association for the appreciation of organs and early instruments.

Tracklist:
00:00:00 Symphony in G Major, Wq. 122 No. 1: II. Andante
00:02:51 Symphony in G Major, Wq. 122 No. 1: III. Allegretto
00:05:13 Symphony in F Major, Wq. 122 No. 2: I. Allegro assai
00:07:46 Symphony in F Major, Wq. 122 No. 2: II. Andante
00:14:53 Symphony in F Major, Wq. 122 No. 2: III. Tempo di minuetto
00:18:33 Symphony in D Major: I. Allegro (Arr. Wq. 176)
00:28:06 Symphony in D Major: II. Andante (Arr. Wq. 176)
00:31:13 Symphony in D Major: III. Presto (Arr. Wq. 176)
00:34:04 Symphony in E Minor, Wq. 122 No. 3: I. Allegro assai
00:38:15 Symphony in E Minor, Wq. 122 No. 3: II. Andante
00:44:01 Symphony in E Minor, Wq. 122 No. 3: III. Allegro



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Half a bar of Carl Nielsen and you know it’s him; a characteristic of great composers down the ages, to be sure, but one peculiarly concentrated around nationalist composers of the late 19th and early 20th centuries. Nationalist, not necessarily through any political affiliation but because they sought to renew both the standard musical forms and genres, and their own country’s culture, with bold and fresh attempts to marry the two. So successful was Nielsen at this (like Sibelius in Finland), indeed, that for decades afterwards he seemed to cast a shadow over those who came after.

The symphonies lie at the centre of Nielsen’s achievement. They develop as he did, from exuberant Romanticism (No.1), through rangy melodies and ‘visionary’ slow movements (Nos. 2 and 3), to an unquenchable embrace of the heroic struggle that places Man at the centre of his world (Nos. 4 and 5), finally to rest in a quizzical re-examination of all that we hold worthwhile in mind and music (No.6, the ‘Sinfonia semplice’: never was a symphony more ironically named.)

Each symphony sets off on its own exciting journey, and the demands Nielsen makes on his participants are extreme; he was a fine violinist himself, and he used his extensive knowledge to turn string players inside out with ferocious fugues and precipitous runs. Many great orchestras have tackled this music, and some have ended up making it into little more than concertos for orchestra in all but name. Not however, this apparently less glittering ensemble. David Hurwitz, famously hard to please, is unequivocal in his Classics Today review: ‘Theodore Kuchar leads what is without question the most exciting complete Nielsen symphony cycle available, making this the set to get for Nielsen newcomers.

Composer: Carl Nielsen

Artist:
Janacek Philharmonic Orchestra
Theodore Kuchar (conductor)

00:00:00 Symphony No. 1 in G Minor, Op. 7: Allegro orgoglioso
00:09:09 Symphony No. 1 in G Minor, Op. 7: Andante
00:17:16 Symphony No. 1 in G Minor, Op. 7: Allegro comodo
00:24:59 Symphony No. 1 in G Minor, Op. 7: Finale, allegro con fuoco
00:33:10 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro collerico
00:41:58 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro comodo e flemmatico
00:46:00 Symphony No. 2, Op. 16 “The Four Temperaments”: Andante malincolico
00:58:33 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro sanguinoso
01:05:15 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Allegro espansivo
01:16:36 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Andante pastorale
01:26:16 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Allegretto un poco
01:32:50 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Finale, allegro
01:42:07 Symphony No. 4, Op. 29 “The Inextinguishable”: Allegro
01:53:17 Symphony No. 4, Op. 29 “The Inextinguishable”: Poco allegretto
01:57:48 Symphony No. 4, Op. 29 “The Inextinguishable”: Poco adagio quasi andante
02:07:23 Symphony No. 4, Op. 29 “The Inextinguishable”: Allegro
02:16:11 Symphony No. 5, Op. 50: Tempo giusto
02:34:32 Symphony No. 5, Op. 50: Allegro
02:50:52 Symphony No. 6 “Sinfonia semplice”: Tempo giusto
03:04:33 Symphony No. 6 “Sinfonia semplice”: Humoreske, allegretto
03:08:41 Symphony No. 6 “Sinfonia semplice”: Proposta seria, adagio
03:14:47 Symphony No. 6 “Sinfonia semplice”: Theme & variations

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Bach on a saxophone? What next? Of course J.S. Bach’s music is indestructible. But some arrangements turn out far better than others and manage to do justice to the original. The transition of music for a string instrument to wind does not seem obvious, especially when a saxophone is part of the equation, but Henk van Twillert pulls it off. The baritone saxophone proves itself to be an ideal replacement of the cello. It is not only a similarity in timbre but when played by this most skilful and imaginative Dutch saxophonist the instrument becomes totally adaptable to baroque music.

So should Bach be played on a saxophone? Listen to this release and you will know the answer. It may vary from ‘why not’ to ‘definitely’!

Composer: Johann Sebastian Bach
Artist: Henk van Twillert (Baritone-Saxophone)

00:00:00 Suite No. 1 in G Major, BWV 1007: Prélude
00:02:34 Suite No. 1 in G Major, BWV 1007: Allemande
00:07:11 Suite No. 1 in G Major, BWV 1007: Courante
00:09:59 Suite No. 1 in G Major, BWV 1007: Sarabande
00:12:32 Suite No. 1 in G Major, BWV 1007: Minuet I & II
00:15:49 Suite No. 1 in G Major, BWV 1007: Gigue
00:17:19 Suite No. 2 in D Minor, BWV 1008: Prelude
00:20:02 Suite No. 2 in D Minor, BWV 1008: Allemande
00:23:30 Suite No. 2 in D Minor, BWV 1008: Courante
00:25:49 Suite No. 2 in D Minor, BWV 1008: Sarabande
00:29:57 Suite No. 2 in D Minor, BWV 1008: Minuet I & II
00:33:10 Suite No. 2 in D Minor, BWV 1008: Gigue
00:35:42 Suite No. 3 in C Major, BWV 1009: Prelude
00:39:11 Suite No. 3 in C Major, BWV 1009: Allemande
00:43:17 Suite No. 3 in C Major, BWV 1009: Courante
00:46:43 Suite No. 3 in C Major, BWV 1009: Sarabande
00:51:12 Suite No. 3 in C Major, BWV 1009: Bourrée I & II
00:55:00 Suite No. 3 in C Major, BWV 1009: Gigue
00:56:33 Suite No. 4 in E-Flat Major, BWV 1010: Prelude
01:00:05 Suite No. 4 in E-Flat Major, BWV 1010: Allemande
01:04:07 Suite No. 4 in E-Flat Major, BWV 1010: Courante
01:08:02 Suite No. 4 in E-Flat Major, BWV 1010: Sarabande
01:12:51 Suite No. 4 in E-Flat Major, BWV 1010: Bourrée I & II
01:17:45 Suite No. 4 in E-Flat Major, BWV 1010: Gigue
01:20:42 Suite No. 5 in C Minor, BWV 1011: Prelude
01:26:34 Suite No. 5 in C Minor, BWV 1011: Allemande
01:32:39 Suite No. 5 in C Minor, BWV 1011: Courante
01:35:05 Suite No. 5 in C Minor, BWV 1011: Sarabande
01:38:34 Suite No. 5 in C Minor, BWV 1011: Gavotte I & II
01:43:12 Suite No. 5 in C Minor, BWV 1011: Gigue
01:45:34 Suite No. 6 in D Major, BWV 1012: Prelude
01:50:26 Suite No. 6 in D Major, BWV 1012: Allemande
01:59:10 Suite No. 6 in D Major, BWV 1012: Courante
02:01:55 Suite No. 6 in D Major, BWV 1012: Sarabande
02:05:28 Suite No. 6 in D Major, BWV 1012: Gavotte I & II
02:09:48 Suite No. 6 in D Major, BWV 1012: Gigue

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Tracklist below.

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

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

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

00:00:00 Die Zauberflöte: Act 2: No. 9. March of the Priests (Orchestra)
00:02:40 Die Zauberflöte: Act 2: Dialogue: Ihr, in dem Weisheitstempel eingeweihten Diener (Sarastro/Priests/Speaker)
00:06:53 Die Zauberflöte: Act 2: No. 10. Aria and Chorus: O Isis und Osiris (Sarastro/Chorus)
00:09:26 Die Zauberflöte: Act 2: Dialogue: Eine schreckliche Nacht! (Tamino/Papageno/Speaker/Second Priest)
00:13:28 Die Zauberflöte: Act 2: No. 11. Duet: Bewahret euch vor Weibertücken (Priests)
00:14:22 Die Zauberflöte: Act 2: Dialogue: He, Lichter her! Lichter her! (Papageno/Tamino)
00:14:43 Die Zauberflöte: Act 2: No. 12. Quintet: Wie, wie, wie? Ihr an diesem Schreckensort? (Three Ladies/Papageno/Tamino)
00:17:41 Die Zauberflöte: Act 2: Dialogue: Heil dir, Jüngling! (Speaker/Second Priest/Papageno/Monostatos)
00:19:39 Die Zauberflöte: Act 2: No. 13. Aria: Alles fühlt der Liebe Freuden (Monostatos)
00:20:58 Die Zauberflöte: Act 2: Dialogue: Zurücke! (Queen of the Night/Pamina/Monostatos)
00:24:35 Die Zauberflöte: Act 2: No. 14. Aria: Der Hölle Rache kocht in meinem Herzen (Queen of the Night)
00:27:45 Die Zauberflöte: Act 2: Dialogue: Götter, das kann ich nicht! (Pamina/Monostatos/Sarastro)
00:30:02 Die Zauberflöte: Act 2: No. 15. Aria: In diesen heil’gen Hallen (Sarastro)
00:33:01 Die Zauberflöte: Act 2: Dialogue: Hier seid ihr euch beide allein überlassen (Speaker/SecondPriest/Papageno/Tamino/Old Woman)
00:35:47 Die Zauberflöte: Act 2: No. 16. Trio: Seid uns zum zweiten Mal willkommen (Three Boys)
00:37:35 Die Zauberflöte: Act 2: Dialogue: Tamino, wollen wir nicht speisen? (Papageno/Pamina/Tamino)
00:39:41 Die Zauberflöte: Act 2: No. 17. Aria: Ach, ich fühl’s, es ist verschwunden (Pamina)
00:43:23 Die Zauberflöte: Act 2: Dialogue: Nicht wahr, Tamino, ich kann auch schweigen (Papageno)

Tracklist below.

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Antonin Dvoräk
00:00:00 Cello Concerto in B Minor, Op. 104: I. Allegro
00:14:13 Cello Concerto in B Minor, Op. 104: II. Adagio ma non troppo
00:24:49 Cello Concerto in B Minor, Op. 104: III. Finale, allegro moderato
00:37:04 From the Bohemian Forest, Op. 68: V. Silent Woods
00:42:05 Rondo in G Minor for Cello & Orchestra Op.94

Robert Schumann
00:48:25 Cello Concerto in A Minor, Op. 129: I. Nicht zu schnell
00:58:51 Cello Concerto in A Minor, Op. 129: II. Langsam
01:02:59 Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft
04:26:32 Fantasiestücke, Op. 73: I. Zart und mit Ausdruck
04:29:31 Fantasiestücke, Op. 73: II. Lebhaft, leicht
04:32:55 Fantasiestücke, Op. 73: III. Rasch und mit Feuer

Camille Saint-Saëns
01:10:28 Cello Concerto in A minor Op. 33: I. Allegro non troppo - II. Attaca. Allegretto con moto - III. Tempo I
04:19:21 The Carnival of the Animals: XIII. The Swan

Gabriel Fauré
01:28:28 Élégie Op.24

Max Bruch
01:34:53 Kol Nidrei, Adagio for Cello and Orchestra, Op. 47

Tchaitochvsky
01:43:23 Variations on a Rococo Theme, Op. 33
04:42:35 Pezzo capriccioso in B Minor, Op. 62 (Andante con moto)
04:53:41 6 Pieces, Op. 51: VI. Valse sentimentale in F Minor (Tempo di Valse)

Beethoven
02:00:13 Cello Sonata in A Major Op. 69: I. Allegro ma non tanto
02:12:44 Cello Sonata in A Major Op. 69:: II. Scherzo. Allegro molto
02:17:48 Cello Sonata in A Major Op. 69:: III. Adagio cantabile – Allegro vivace

Felix mendelssohn
02:26:12 Cello Sonata No. 1 in B-Flat Major, Op. 45: I. Allegro vivace
02:38:46 Cello Sonata No. 1 in B-Flat Major, Op. 45: II. Andante
02:45:06 Cello Sonata No. 1 in B-Flat Major, Op. 45: III. Allegro assai
 
Johannes Brahms
02:51:57 Cello Sonata No. 1 in E Minor, Op. 38: I. Allegro non troppo
03:02:41 Cello Sonata No. 1 in E Minor, Op. 38: II. Allegretto quasi menuetto
03:08:07 Cello Sonata No. 1 in E Minor, Op. 38: III. Allegro

Frédériq Chopin
03:14:28 Cello Sonata in G Minor, Op. 65: I. Allegro moderato
03:28:45 Cello Sonata in G Minor, Op. 65: II. Scherzo. Allegro con brio
03:33:32 Cello Sonata in G Minor, Op. 65: III. Largo
03:36:52 Cello Sonata in G Minor, Op. 65: IV. Finale. Allegro
04:55:41 Introduction and Polonaise Brillante in C Major, Op. 3
Sergei Rchmaninoff
03:43:13 Cello Sonata in G Minor, Op. 19: I. Lento - Allegro moderato
03:55:40 Cello Sonata in G Minor, Op. 19: II. Allegro scherzando
04:02:33 Cello Sonata in G Minor, Op. 19: III. Andante
04:08:19 Cello Sonata in G Minor, Op. 19: IV. Allegro mosso
04:37:32 14 Romances, Op. 34: XIV. Vocalise

Enrique Granados
04:22:19 Goyescas, Act 1: Intermezzo

Nikolai Rimsky
04:49:03 The Golden Cockerel, Act 2: II. Hymn to the Sun

Manuel de Falla
05:04:13 Seven Spanish Folksongs: I. El paño moruno
05:06:21 Seven Spanish Folksongs: II. Nana
05:08:30 Seven Spanish Folksongs: III. Canción
05:10:01 Seven Spanish Folksongs: IV. Polo
05:11:17 Seven Spanish Folksongs: V. Asturiana
05:13:34 Seven Spanish Folksongs: VI. Jota

Claude Debussy
05:16:35 Cello Sonata, L.135: I. Prologue. Lent
05:20:26 Cello Sonata, L.135: II. Sérénade. Modérément animé
05:23:21 Cello Sonata, L.135:: III. Finale. Animé

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Composer: Leo Brouwer, Maximo Diego Pujol
Artists: Elias Izhar (guitar )
Netherlands Chamber Orchestra
Matangi (Quartet)
Florian Magnus Maier (moog guitar)

About this Album:
Izhar Elias has produced several successful and imaginative albums for Brilliant Classics. None of them have confirmed to a ‘Spanish guitar’ stereotype but all have engaged in various original ways with the developing heritage of the instrument during the 19th century, from ‘Paisiello in Vienna’ (BC95301) to ‘Beethoven and the Guitar’ (BC94631) to Giuliani’s astonishing transcription of Rossini’s grand tragedy Semiramide (BC93902).

His latest recording brings the classical guitar up to date with works by composers from four different countries; within them may be heard influences from classical music, avant-garde, Caribbean music, Spanish folklore, flamenco, Arabic music, blues, Argentinean tango and even trip-hop and heavy metal: provocative testament to the world’s most versatile instrument. The Guernica Suite by Pujol (b.1959) focuses on different aspects of Picasso’s painting in six movements, with a tentatively positive conclusion.

The Triptych of Roberto Sierra (b.1953) evokes some nocturnal sounds from his native Puerto Rico, including the tropical tree frog as well as a night on the tiles. The three Danzas Concertantes pulse and glide with the rhythms of Leo Brouwer’s native Cuba, offset by some astringent harmonies that place the guitar’s usual role as purveyor of folkloristic colour under threat. Finally there is the Schattenspiel Suite by Florian Magnus Maier (b.1973), who also plays electric Moog guitar on this recording. Maier pursues a diverse career as a composer, guitarist and vocalist with bands including Alkaloid, Dark Fortress and Noneuclid; this tripartite suite inspired by shadows is his best-known work in the classical tradition, and for this recording he has made a new arrangement for two guitars and string quartet. There is something for everyone on this album: it’s essential listening for guitar-music enthusiasts who want to broaden their horizons.

For this exciting new recording Dutch guitarist Izhar Elias selected 4 works for guitar and strings to show the versatility of his instrument. In these works by Brouwer, Pujol , Sierra and Maier influences can be traced from classical music, Avant-Garde, Caribbean music, Spanish folklore, Flamenco, Arabic music, tango, blues and even trip-hop and heavy metal: fascinating!
Izhar Elias secured the collaboration of world-class musicians (composer Florian Magnus Maier plays the Moog electric guitar), each bringing a different musical background and an open mind.
In the booklet text each composer comments on his own work, a better introduction is hardly possible.

Tracklist:
00:00:00 Tres danzas concertantes: I. Allegro
00:03:37 Tres danzas concertantes: II. Andantino
00:08:55 Tres danzas concertantes: III. Toccata
00:14:02 Guernica suite: I. Mujeres
00:16:15 Guernica suite: II. El ave
00:19:29 Guernica suite: III. El guerrero
00:22:49 Guernica suite: IV. El caballo y el toro
00:26:35 Guernica suite: V. Mujer con niño muerto
00:28:35 Guernica suite: VI. Epílogo
00:33:17 Tríptico: I. Tranquilo
00:36:48 Tríptico: II. Rítmico
00:41:35 Tríptico: III. Fluido
00:45:30 Schattenspiel


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