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Composers: Antonio Vivaldi
Artist: Ensemble J.M. Anciuti , Paolo Pollastri baroque (oboe), Gaetano Nasillo (cello), Alberto Guerra (baroque bassoon), Giovanna Losco (harpsichord)

This addition to Brilliant Classics’ ever-growing recorded catalogue of music by the asthmatic ‘Red Priest’ of Venice, Antonio Vivaldi, is of oboe sonatas, played (as are most of the recordings in that catalogue) by an Italian ensemble with full awareness of the latest scholarly research into Vivaldi’s manuscripts and performing styles, and on period instruments, soaked in an appreciation of how most stylishly to realise the music of the Italian Baroque.

The oboist himself, Paolo Pollastri, is oboist with Rome’s Orchestra nazionale di Santa Cecilia, which works with many of the world’s great conductors; he has also contributed fine booklet notes to this release. So both technical and scholarly address are not lacking for this album of sprightly chamber music, which was composed not for the usual crowd of orphaned prodigies at the Ospedale della Pietà, but more likely for travelling virtuosi who made Venice a stop on their itinerary. Consequently the manuscripts for the sonatas here are scattered far and wide, from Cambridge to Dresden. Pollastri also includes an apocryphal work, once attributed to Vivaldi but now ascribed to the Frenchman de Chédeville, for its smooth Francophone style and pastoral idiom.

00:00:00 Sonata No. 5 in G Minor, FXIII, RV 28: I. [Largo]
00:04:09 Sonata No. 5 in G Minor, FXIII, RV 28: II. [Allegro]
00:06:21 Sonata No. 5 in G Minor, FXIII, RV 28: III. Largo
00:09:18 Sonata No. 5 in G Minor, FXIII, RV 28: IV. Allegro
00:11:32 Sonata No. 3 in C, FXV, RV 48: I. Affettuoso
00:15:04 Sonata No. 3 in C, FXV, RV 48: II. Allegro assai
00:17:15 Sonata No. 3 in C, FXV, RV 48: III. Larghetto
00:19:15 Sonata No. 3 in C, FXV, RV 48: IV. Allegro
00:21:28 Sonata No. 16 in B-Flat, FXII, RV 34: I. Adagio
00:22:56 Sonata No. 16 in B-Flat, FXII, RV 34: II. Allegro
00:25:16 Sonata No. 16 in B-Flat, FXII, RV 34: III. Largo
00:26:55 Sonata No. 16 in B-Flat, FXII, RV 34: IV. Allegro
00:29:10 Sonata No. 9 in G Minor, FXV, RV 51: I. Largo
00:32:37 Sonata No. 9 in G Minor, FXV, RV 51: II. Allegro
00:34:23 Sonata No. 9 in G Minor, FXV, RV 51: III. Andante
00:36:31 Sonata No. 9 in G Minor, FXV, RV 51: IV. Allegro
00:37:50 Sonata No. 2 in C Minor, FXV, RV 53: I. Adagio
00:40:28 Sonata No. 2 in C Minor, FXV, RV 53: II. Allegro
00:42:42 Sonata No. 2 in C Minor, FXV, RV 53: III. Andante
00:46:48 Sonata No. 2 in C Minor, FXV, RV 53: IV. Allegro
00:49:41 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: I. Vivace
00:51:00 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: II. Fuga da Cappella (Alla breve)
00:53:00 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: III. Largo
00:54:20 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: IV. Allegro ma non presto

The talented musician Erik Bosgraaf recorded the Complete Suites and Concertos for Recorder of Georg Phillip Telemann. This video contains the full album.

Tracklist below.
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Telemann’s concertos offer a unique combination of virtuosity, wit and sense of the theatrical. Having taught himself to play the instrument as a child, the German master had a special understanding of and fondness for the recorder, and for it he created a new hybrid form, the Suite auf Concertenart, which combines soloistic display with baroque dances.

These suites and concertos may be less overtly virtuosic than works in the same genre which were beginning to appear around the same time over the other side of the Alps, but Telemann yields nothing to his Italian counterparts in terms of melodic freshness and fertility. The suites are styled in the French manner, as a series of courtly dances, though the A minor Suite features a grand and tragic ‘Air in the Italian style’ and concludes with a snappy Polonaise – one of Telemann’s favourite dance rhythms – reeling away like an inspired tavern fiddler.

Erik Bosgraaf’s discography on Brilliant Classics ranges from Vivaldi (BC94637 – now also available on LP) to Boulez (BC94842), not to mention two previous sets of Telemann – the solo fantasias (BC93757) and sonatas with basso continuo (BC95247) – as well as more rarely encountered delights by Jakob van Eyck (BC93391). These discs and others have garnered both popular attention and critical praise. Of Bosgraaf’s own, composer-approved transcription of the Dialogue de l’ombre double by Boulez, Gramophone commented that ‘balance between recorders and electronics is ideally judged, giving this music an immediacy yet also intimacy beyond that of any other recorded option.’

Closer to the recorder’s natural home in music several centuries earlier, Julie Anne Sadie wrote in the same magazine about Bosgraaf’s ‘magical version of the ubiquitous Four Seasons. ‘A carefully researched and arrestingly translucent chamber interpretation… the rapport between solo and ripieno forces is simply fabulous.’
00:00:00 Ouverture Suite in E-Flat Major, TWV 55:Es2: I. Ouverture
00:07:56 Ouverture Suite in E-Flat Major, TWV 55:Es2: II. Menuet I & II
00:11:04 Ouverture Suite in E-Flat Major, TWV 55:Es2: III. Sarabande
00:12:49 Ouverture Suite in E-Flat Major, TWV 55:Es2: IV. Bourrée, en echo altern.
00:16:08 Ouverture Suite in E-Flat Major, TWV 55:Es2: V. Passepied I & II
00:17:57 Ouverture Suite in E-Flat Major, TWV 55:Es2: VI. Gavotte
00:18:56 Ouverture Suite in E-Flat Major, TWV 55:Es2: VII. Gigue
00:20:54 Ouverture Suite in A Minor, TWV 55:a2: I. Ouverture
00:29:35 Ouverture Suite in A Minor, TWV 55:a2: II. Les plaisirs
00:32:22 Ouverture Suite in A Minor, TWV 55:a2: III. Air à l’Italien
00:38:30 Ouverture Suite in A Minor, TWV 55:a2: IV. Menuet I & II
00:41:12 Ouverture Suite in A Minor, TWV 55:a2: V. Réjouissance
00:43:12 Ouverture Suite in A Minor, TWV 55:a2: VI. Passepied (I & II)
00:44:58 Ouverture Suite in A Minor, TWV 55:a2: VII. Polonoise
00:48:28 Recorder Concerto in F Major, TWV 51:F1: I. Affettuoso
00:51:14 Recorder Concerto in F Major, TWV 51:F1: II. Allegro
00:54:48 Recorder Concerto in F Major, TWV 51:F1: III. Adagio
00:57:14 Recorder Concerto in F Major, TWV 51:F1: IV. Menuet I & II
01:00:28 Recorder Concerto in C Major, TWV 51:C1: I. Allegretto
01:03:34 Recorder Concerto in C Major, TWV 51:C1: II. Allegro
01:07:22 Recorder Concerto in C Major, TWV 51:C1: III. Andante
01:11:13 Recorder Concerto in C Major, TWV 51:C1: IV. Tempo di menuet

Artist:
Erik Bosgraaf (recorder)
Ensemble Cordevento

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Composer: Erik Satie
Artist: Jeroen van Veen (piano)

“Open your head”, “light as an egg” and “from the top of your back teeth”: such phrases are only to be found in the scores of the eccentric Erik Satie, a composer born into a generation where ‘only more could be more’ – the post-Wagnerian age of richly furnished, intense music full of emotional layering. Expelled from the Paris Conservatoire for being its ‘laziest student’, Satie rebelled strongly against the musical climate in which he grew up, instead choosing to adopt a voice that did away with what he considered to be pretentious behaviour and which instead drew on irony through the use of free association, subtle dissonances and unexpected asides.

Such a stance – that music requires no extra layering, no showing-off, in order to touch its audience – ultimately resulted in ethereal-sounding compositions that are slow and solemn by nature. Pianist Jeroen van Veen has therefore taken it upon himself to exploit the concept of time in relation to the composer’s works, stretching the durations of some of the Frenchman’s most frequently performed pieces – including the Gymnopédies (a made-up word, incidentally) – to the max, and then going the extra mile: from slower to slowest, giving each note and each chord the chance to be absorbed fully. The result is that less actually becomes more; that duration is no longer of relevance, because the presence of sound is enough. Such music forces us to think outside the box, and ‘maybe this is exactly what makes Satie’s works timeless,’ says van Veen, who presents the listener with a unique take on one of music history’s most fascinating characters.

00:00:00 Gymnopédie No. 1. Lent et douloureux (1888)
00:05:44 Gymnopédie No. 2. Lent et triste (1895)
00:10:16 Gymnopédie No. 3. Lent et grave (1888)
00:14:30 Gnossiennes Nos. 1-3: Gnossienne No. 1 (1890)
00:20:58 Gnossiennes Nos. 1-3: Gnossienne No. 2 (1890)
00:24:17 Gnossiennes Nos. 1-3: Gnossienne No. 3 (1890)
00:29:08 Gnossiennes Nos. 4-6: Gnossienne No. 4 (1891)
00:33:58 Gnossiennes Nos. 4-6: Gnossienne No. 5 (1889)
00:39:02 Gnossiennes Nos. 4-6: Gnossienne No. 6 (1897)
00:42:50 Petite ouverture à danser (1897)
00:46:10 Pièces froides: II: Danses de travers. No. 1, En y regardant à deux fois (1897)
00:50:23 Pièces froides: II: Danses de travers. No. 2, Passer (1897)
00:53:50 Pièces froides: II: Danses de travers. No. 3, Encore (1897)
00:59:35 Gymnopédie No. 1. Lent et douloureux, 1896 tuning

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Componist:
Georg Philip Telemann

Artist:
Otto Sauter
Kurpfälzisches Kammerochester Mannheim,
nicol Matt & Franz Wagnermeyer

Tracklist below.

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Artist:
François Dumont (piano)
Laurent Le Flécher (violin)
Virginie Constant (cello)
Trio Élégiaque

00:00:00 Piano Trio in G Major, Op. 1 No. 2: I. Adagio – Allegro vivace
00:12:05 Piano Trio in G Major, Op. 1 No. 2: II. Largo con espressione
00:21:57 Piano Trio in G Major, Op. 1 No. 2: III. Scherzo. Allegro
00:25:40 Piano Trio in G Major, Op. 1 No. 2: IV. Finale. Presto
00:33:30 Piano Trio in D Major, Op. 70 No. 1 “Ghost”: I. Allegro vivace
00:43:58 Piano Trio in D Major, Op. 70 No. 1 “Ghost”: II. Largo assai ed espressivo
00:55:02 Piano Trio in D Major, Op. 70 No. 1 “Ghost”: III. Presto
01:03:28 Piano Trio in E-Flat Major, WoO 38: I. Allegro moderato
01:07:36 Piano Trio in E-Flat Major, WoO 38: II. Scherzo. Allegro ma non troppo
01:12:01 Piano Trio in E-Flat Major, WoO 38: III. Rondo. Allegretto
01:17:05 Piano Trio in C Minor, Op. 1 No. 3: I. Allegro con brio
01:26:22 Piano Trio in C Minor, Op. 1 No. 3: II. Andante cantabile con variazioni
01:33:26 Piano Trio in C Minor, Op. 1 No. 3: III. Menuetto. Quasi allegro – Trio
01:36:54 Piano Trio in C Minor, Op. 1 No. 3: IV. Finale. Prestissimo
01:44:43 Piano Trio in E-Flat Major, Op. 70 No. 2: I. Poco sostenuto – Allegro ma non troppo
01:55:04 Piano Trio in E-Flat Major, Op. 70 No. 2: II. Allegretto
02:00:01 Piano Trio in E-Flat Major, Op. 70 No. 2: III. Allegretto ma non troppo
02:04:47 Piano Trio in E-Flat Major, Op. 70 No. 2: IV. Finale. Allegro
02:12:39 Piano Trio in E-Flat Major, Op. 44: 14 Variations on an Original Theme: Tema. Andante con variazioni
02:25:22 Piano Trio in E-Flat Major, Op. 1 No. 1: I. Allegro
02:35:00 Piano Trio in E-Flat Major, Op. 1 No. 1: II. Adagio cantabile
02:42:02 Piano Trio in E-Flat Major, Op. 1 No. 1: III. Scherzo. Allegro assai
02:46:56 Piano Trio in E-Flat Major, Op. 1 No. 1: IV. Finale. Presto
02:54:23 Piano Trio in D Major, After Symphony No. 2, Op. 36: I. Adagio – Allegro con brio
03:06:37 Piano Trio in D Major, After Symphony No. 2, Op. 36: II. Larghetto quasi andante
03:17:33 Piano Trio in D Major, After Symphony No. 2, Op. 36: III. Scherzo
03:21:14 Piano Trio in D Major, After Symphony No. 2, Op. 36: IV. Allegro molto
03:27:54 Triosatz in E-Flat Major, Op. Posth. (Allegretto)
03:31:18 Piano Trio in B-Flat Major, Op. 97 “Archduke”: I. Allegro moderato03:44:09 Piano Trio in B-Flat Major, Op. 97 “Archduke”: II. Scherzo. Allegro
03:50:29 Piano Trio in B-Flat Major, Op. 97 “Archduke”: III. Andante cantabile, ma però con moto – Poco più adagio
04:02:27 Piano Trio in B-Flat Major, Op. 97 “Archduke”: IV. Allegro moderato
04:09:26 Piano Trio in B-Flat Major WoO39 (Allegretto)
04:15:39 Piano Trio in E-Flat Major, Op. 63, After String Quintet, Op. 4: I. Allegro con brio
04:23:43 Piano Trio in E-Flat Major, Op. 63, After String Quintet, Op. 4: II. Andante
03:30:23 Piano Trio in E-Flat Major, Op. 63, After String Quintet, Op. 4: III. Menuetto – Trio
04:36:36 Piano Trio in E-Flat Major, Op. 63, After String Quintet, Op. 4: IV. Finale. Presto
04:42:32 Piano Trio in B-Flat Major, Op. 11 “Gassenhauer”: I. Allegro con brio
04:51:23 Piano Trio in B-Flat Major, Op. 11 “Gassenhauer”: II. Adagio
04:56:30 Piano Trio in B-Flat Major, Op. 11 “Gassenhauer”: III. Tema. Pria ch'io l'impegno allegretto con variazioni
05:03:15 Piano Trio in G Major, Op. 121a “Ich bin der Schneider Kakadu” (Introduzione. Adagio assai – Tema. Allegretto con variazioni)
05:19:19 Piano Trio in E-Flat Major, Op. 38, After the Septet, Op. 20: I. Adagio – Allegro con brio
05:26:38 Piano Trio in E-Flat Major, Op. 38, After the Septet, Op. 20: II. Adagio cantabile
05:34:54 Piano Trio in E-Flat Major, Op. 38, After the Septet, Op. 20: III. Tempo di menuetto
05:37:54 Piano Trio in E-Flat Major, Op. 38, After the Septet, Op. 20: IV. Andante con variazioni
05:44:44 Piano Trio in E-Flat Major, Op. 38, After the Septet, Op. 20: V. Scherzo. Allegro molto e vivace
05:48:01 Piano Trio in E-Flat Major, Op. 38, After the Septet, Op. 20: VI. Andante con moto alla marcia – Presto

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

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

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 album comes from the French Harpsichord Music box-set, containing the first 7 CD's out of 29.

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Composer: Jacques Champion de Chambonnières, Jean-Henry d’Anglebert, Gaspard Le Roux
Artists: Pieter-Jan Belder (harpsichord), Michael Borgstede (harpsichord), Yago Mahúgo (harpsichord), Francesco Cera (harpsichord), Franz Silvestri (harpsichord)

Brilliant Classics is proud to have released a number of harpsichord music of the highest quality over the past few years. This collection brings these works together, as well as never before published recordings, allowing the listener to soak up the sounds of 17th- and 18th-century France in its most intimate, domestic setting.

The release starts with Jean Henri d’Anglebert, featuring four of his extensive suites. Each begins with a precisely notated prelude, followed by various dance movements of lively gigues and slow sarabandes. Anglebert’s complex ornamentation system was so admired that it would later be copied by J.S. Bach. Francesco Cera, described as ‘one of the most promising talents in Italy’, performs the works. Jacques Champion de Chambonnières comes next; known as the ‘founding father’ of the French harpsichord tradition, he worked in the courts of both Louis XIII and XIV as a dancer and musician. Franz Silvestri plays on a modern-day harpsichord after Vaudry, Chambonnières’ suites reflect the regal French court at its peak. Pieter-Jan Belder, whose recordings span keyboard music from across Europe during this period, chooses to put the spotlight on Le Roux, a shadowy figure about whom not much is known. He has left us with a beguiling set of harpsichord suites, unusually printed twice: once for one harpsichord and one as an alternative setting for two harpsichords.

Tracklist can be found in the comment section!

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 & Artist:
Composers: Antonín Dvorák, Bedrich Smetana, Bohuslav Martinu, Leoš Janácek
Artists: Stamitz Quartet, Bohuslav Matoušek (first violin), Josef Kekula (second violin), Jan Peruška (viola), Vladimír Leixner (cello)

About this Album:
Those by Dvořák chart the evolution of his style, from his interest in Wagnerian music in the years prior to 1870 – String Quartet in D major – to the folk-infused works of his later life, such as the String Quartet in G major Op.106, and show the influence of his time in the United States, with the String Quartet in F Op.96 ‘American’. The quartets of Smetana have a distinctive neo-classical flavour while those of Janáček show strong links to his operatic works. Prolific composer Bohuslav Martinů composed six quartets, of which two were mislaid during the war. One of these, his fifth string quartet, is widely considered to be one of the most pivotal works in the composer’s oeuvre, written in 1938, a year of much upheaval in Martinů’s life. Many of the quartets in the collection hold an emotional dimension, all of which are exquisitely brought to life by the Stamitz Quartet.

Established in 1985, the Stamitz Quartet quickly became known as leading interpreters of Czech repertory. Winners of the 1986 National Broadcasting Union Competition in Salzburg, the Quartet’s rise to fame was meteoric; they have since participated in tours throughout Europe and America and undertaken a variety of recording projects, of which this collection is one.

Tracklist:
The tracklist can be found in the comments!

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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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Johann Nepomuk Hummel (1778–1837) was a pupil of Mozart, a protégé of Haydn, a friendly rival of Beethoven, and renowned throughout Europe as one of the greatest pianists of his day, a sought-after teacher who instructed some of the most distinguished 19th-century virtuosi, the author of an influential treatise on the art of pianism, and himself the composer of over three hundred works covering all musical genres (apart from the symphony).

This 20CD Edition provides a cross-section of Hummel’s excellent, prolific and unjustly neglected output, with a large section of solo piano music including the complete sonatas and etudes and a rich selection of chamber music featuring violin, viola, cello, flute, and guitar with piano, as well as larger ensembles from piano trios to septets.

This Edition contains a generous selection of his works: the complete piano sonatas and other piano works, several piano concertos, violin concerto, bassoon concerto, trumpet concerto, mandolin concerto, violin/piano concerto, chamber music, masses, an oratorio and the opera Mathilde.

Played by leading musicians of our time: fortepianists Costantino Mastroprimiano and Alessandro Commellato, Solamente Naturali conducted by Hummel-specialist Didier Talpain, and many others.

Composer: Johann Nepomuk Hummel

Artist: Various artists

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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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