About 8 months ago, I was helping a new filmmaker who wanted tips and tricks to quickly shoot a voiceover. He had one (1) crappy recorder, a girl with a nice voice, and a gym next to a noisy street. He recorded it with an iPhone and I thought these tips and tricks might be useful for you.

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Copyright (c) 2018 by Basic Filmmaker

What I shoot my episodes with:
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Online Purchase/Streaming (Spotify, iTunes, Deezer, Google Play):
https://brilliant-classics.lnk.to/SatieGymnopedies

Spotify Playlists:
Brilliant Classics Spotify: https://brilliant-classics.lnk.to/Spotify
The best of Liszt: https://brilliant-classics.lnk.to/Playliszt
The best of Bach: https://brilliant-classics.lnk.....to/BestOfBachPlayli
Most popular piano music: https://brilliant-classics.lnk.to/MostPopularPiano
Beautiful classical Music: https://brilliant-classics.lnk.....to/BeautifulClassic
Classical music for dinnertime: https://brilliant-classics.lnk.....to/ClassicalMusicfo

Artist:
Håkon Austbö (piano)

About this album:
The unconventional French composer Erik Satie almost wrote anti-music. In slow motion (and without bars) his well-known Gymnopédies glide past. In other pieces one can hear more than faint echoes form the vaudeville theatre. Played by Håkon Austbø.

Tracklist:
00:00:00 3 Sarabandes (1887): No. 1
00:05:33 3 Sarabandes (1887): No. 2
00:10:33 3 Sarabandes (1887): No. 3
00:14:47 3 Gymnopédies (1889): No. 1: Lent et douloureux
00:18:27 3 Gymnopédies (1889): No. 2: Lent et triste
00:21:45 3 Gymnopédies (1889): No. 3: Lent et grave
00:24:38 Gnossiennes 1-3 (1890): No. 1
00:28:45 Gnossiennes 1-3 (1890): No. 2
00:30:45 Gnossiennes 1-3 (1890): No. 3
00:34:11 Gnossiennes 4-6 (1889-1897): No. 4
00:37:02 Gnossiennes 4-6 (1889-1897): No. 5
00:39:53 Gnossiennes 4-6 (1889-1897): No. 6
00:41:27 2 Préludes du nazaréen (1892): No. 1, assez lent
00:46:09 2 Préludes du nazaréen (1892): No. 2, assez lent
00:49:15 2 Prélude de la porte Héroique du ciel (1894)
00:53:00 2 Pièces froides (1897), No. 1: Airs a faire fuir: D’une manière très particulaire
00:55:59 2 Pièces froides (1897), No. 1: Airs a faire fuir: Modestemente
00:57:42 2 Pièces froides (1897), No. 1: Airs a faire fuir: S’inviter
01:00:45 No 2: Danses de travers: En y regardent à deux fois
01:01:39 No 2: Danses de travers: Passer
01:02:25 No 2: Danses de travers: Encore
01:03:47 Petite ouverture à danser (1900)

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

Spotify Playlists:
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Beautiful classical Music: https://brilliant-classics.lnk.....to/BeautifulClassic
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Composer: Johann Sebastian Bach
Artists: Emmy Verhey (violin), Camerata Antonio Luco, Rainer Kussmaul (violin), Henk Rubingh (violin), Thomas Hengelbrock (violin), Amsterdam Bach (Soloists)

About this album:
Available as a separate release: all concertos for 1 violin by Bach. They are BWV 1041 and 1042: the well-known concertos. BWV1052, 1056 and 1064 are reconstructions. The latter one being for three violins. Soloists are among others Emmy Verhey and Rainer Kussmaul.

Tracklist:
00:00:00 Violin Concerto in A Minor, BWV 1041: Allegro
00:03:52 Violin Concerto in A Minor, BWV 1041: Adagio
00:10:23 Violin Concerto in A Minor, BWV 1041: Allegro
00:14:22 Violin Concerto in E Major, BWV 1042: Allegro
00:22:05 Violin Concerto in E Major, BWV 1042: Adagio
00:28:47 Violin Concerto in E Major, BWV 1042: Allegro assai
00:31:42 Violin Concerto in D Minor, BWV 1052: Allegro
00:39:20 Violin Concerto in D Minor, BWV 1052: Largo
00:46:22 Violin Concerto in D Minor, BWV 1052: Presto
00:54:14 Violin Concerto in G Minor, BWV 1056: Allegro
00:57:37 Violin Concerto in G Minor, BWV 1056: Andante
01:00:52 Violin Concerto in G Minor, BWV 1056: Allegro assai
01:04:30 Concerto for 3 violins, strings & b.c. in D Major, BWV 1064: Allegro
01:10:23 Concerto for 3 violins, strings & b.c. in D Major, BWV 1064: Adagio
01:15:35 Concerto for 3 violins, strings & b.c. in D Major, BWV 1064: Allegro

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Tidal, Google Play): https://brilliant-classics.lnk.to/RussianAdagios
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Artist: Bolshoi Theatre Orchestra, Evgeny Svetlanov (conductor)

The apparently innate Russian genius for composing soulful melodies, combined with the influence of 200 years of Russian ballet, has resulted in a repertoire of dramatic and opulent scores. Opera, symphonies, concertos, songs and chamber works from Russian composers are all infused with the spirit of Mother Russia – her suffering, her dramatic and eventful history, her people and their way of life.

This collection of heartfelt adagios includes famous excerpts from Tchaikovsky’s The Nutcracker and The Sleeping Beauty, and Glazunov’s Raymonda, Prokoviev’s Cinderella and the famous adagio from Spartacus by Khachaturian.
There are some rarer pieces as well – Rimsky-Korsakov’s Nocturne ‘Moonlight’ from his opera Pan Voyevoda and Khrennikov’s Hussar Ballad, as well as the wistful slow movement from Miaskovsky’s last symphony (No.27), written after he had been denounced by Stalin’s henchmen as being guilty of ‘Western Formalism’ (a charge levelled by Khrennikov). Miaskovsky composed this work as he was ill with the cancer that would eventually kill him, and through it he harks back to the Russia of Tchaikovsky’s music – a nostalgic and dignified farewell in the face of Stalin’s tyrannical ignorance.

00:00:00 Pas de deux: Adagio (The Nutcracker)
00:06:04 Pas d’action: Adagio (The Sleeping Beauty)
00:13:57 Nocturne: ‘Moonlight’ (Pan Voyevoda)
00:18:54 Raymonda: Act I: Intermezzo
00:24:34 Raymonda: Act III: Intermezzo
00:30:30 Adagio (Spartacus)
00:42:32 Adagio of Cinderella and the Prince (Cinderella)
00:47:59 Adagio (The Hussar Ballad)
00:55:30 Symphony, No. 27 Op.85 – II. Adagio

Tracklist Below:
Spotify: https://open.spotify.com/album..../5WwQof0lJpHZQcu7baW
Physicale sale: http://brilliantclassics.com/a....rticles/s/satie-pian
iTunes: https://itunes.apple.com/album..../satie-piano-music/i

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

Artist:
Håkon Austbö (piano)

Tracklist below.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.to/ChopinEtudes
More Information: https://www.brilliantclassics.....com/articles/c/chopi
Brilliant Classics Spotify: https://open.spotify.com/user/....brilliantclassics?si
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Artist: Alessandro Deljavan (piano)

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

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

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.
Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.....to/TelemannComplete
For physical sales: http://brilliantclassics.com/a....rticles/t/telemann-c
Listen on Spotify: https://open.spotify.com/album..../46zjwcVWCHGVYNVhu6I

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

Tracklist below.
Download & Streams:
https://brilliant-classics.lnk.....to/EinaudiPianoMusi

For physical sales: http://www.brilliantclassics.c....om/articles/e/einaud


When Einaudi burst onto the classical music scene some 20 years ago, critics were at first unsure how to react. What to make of a composer who has arguably broken through the boundaries of traditional classical music, forging his own path and attracting millions of fans? How to classify his soothing, peaceful, stunningly beautiful compositions? No one could have foreseen the astonishing precedent Einaudi has set, having had an important role in bringing classical music into the mainstream and at the same time asking us to forget our traditional categories and labels, and just sit back and enjoy his unique works. Pianist and composer Jeroen van Veen has long been a fan of Einaudi’s deceptively simple style. Here he has brought together a personal selection of the composer’s best works, and any listener unfamiliar with Einaudi up until now will soon see why he has garnered the enormous fame and attention he enjoys worldwide today.

Tracklist:
00:00:00 Una mattina
00:03:34 I Giorni
00:09:44 Le Onde
00:14:55 Corale
00:16:55 Canzone Popolare
00:17:51 Corale Solo
00:22:05 Questa Notte
00:27:55 Luce
00:34:53 Brothers
00:39:59 L’ultima Volta
00:44:03 Discovery at Night
00:49:16 Indaco
00:55:14 L’origine nascosta
00:58:49 Nuvole bianche
01:04:38 Nightbook
01:09:13 Two Trees
01:16:35 Walk
01:19:21 Waterways
01:23:49 Reverie
01:28:53 Oltremare
01:41:59 Giorni dispari
01:48:06 Sarabande
01:55:37 Ancora
02:08:56 Nefeli
02:14:14 Primavera
02:21:34 Bye, Bye mon amour
02:30:29 Berlin Song

Artist:
Jeroen van Veen (piano)

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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

Tracklist below.

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

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

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

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

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

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

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

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

Composers: Antonio Vivaldi
Artist: Mario Folena (flute), Federico Guglielmo (concert master), L'Arte dell'Arco

Tracklist below.

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Vivaldi was one of the first composers to focus on the transverse flute as a viable solo instrument, and he may have even been the first to dedicate a whole publication to the flute family. His Opus 10 was published by Michel-Charles Le Cène in around 1728, though in reality many of the works in the collection were revised versions of earlier compositions, with Vivaldi capitalising on the popularity of the flute and rewriting material previously used for other instruments. Adding descriptive elements to the movement names, often connected to natural phenomena – such as ‘La tempesta del mare’ – was another way of boosting sales, something the composer had already discovered with his publication of The Four Seasons some years earlier. Vivaldi wrote over 500 concertos during his lifetime, and his expertise in this field is particularly evident in the exchanges between the ritornello and the orchestral tutti: while the ensemble comes together perfectly in the tutti, the soloist is really given a chance to fly in the soaring ritornelli, showcasing the instrument to its fullest.

Performing these works is Italian flautist Mario Folena, principal flautist of the Orchestra di Padova e del Veneto since 1982. He has previously collaborated with many prominent ensembles, including I Solisti Veneti and I Filarmonici di Verona, and is a respected teacher of the Baroque flute, having given summer courses at the Fondazione Cini in Venice and the conservatoires of Padova and Parma. He is joined by L’Arte dell’Arco, led from the front by violinist Federico Guglielmo, whose exuberant and thoroughly researched Vivaldi performances have previously garnered high praise.

Vivaldi’s six Concertos for flute Op.10 nearly attain the same popularity as the Four Seasons. Published in Amsterdam in 1728 they contain some of Vivaldi’s most famous concertos: Il Gardellino, La Notte and the Tempesta di Mare. Music of wonderful invention, drama, tone painting and instrumental virtuosity.
Played on original instruments by soloist Mario Folena, a pupil of Jean-Pierre Rampal and Rene Clemencic, principal flutist of the famous Orchestra di Padova e del Veneto, and veteran of the Historically Informed Performance Practice. Federico Guglielmo leads his ensemble l’Arte del’Arco, lifelong champions of the Red Priest from Venice.
Performance is based on the new Critical Edition of Vivaldi’s works, revealing many new details and insights.

00:00:00 Flute Concerto in F Major, RV 433: I. Allegro
00:02:37 Flute Concerto in F Major, RV 433: II. Largo
00:04:34 Flute Concerto in F Major, RV 433: III. Presto
00:06:45 Flute Concerto in G Minor RV 439: I. Largo
00:09:24 Flute Concerto in G Minor RV 439: II. Presto – Largo
00:10:44 Flute Concerto in G Minor RV 439: III. Presto
00:11:48 Flute Concerto in G Minor RV 439: IV. Largo
00:13:42 Flute Concerto in G Minor RV 439: V. Allegro
00:15:58 Flute Concerto in D Major, RV 428: I. Allegro
00:19:50 Flute Concerto in D Major, RV 428: II. Cantabile
00:23:05 Flute Concerto in D Major, RV 428: III. Allegro
00:26:05 Flute Concerto in G Major, RV 435: I. Allegro
00:28:44 Flute Concerto in G Major, RV 435: II. Largo
00:31:38 Flute Concerto in G Major, RV 435: III. Allegro
00:33:53 Flute Concerto in F Major, RV 434: I. Allegro ma non tanto
00:37:20 Flute Concerto in F Major, RV 434: II. Largo cantabile
00:40:03 Flute Concerto in F Major, RV 434: III. Allegro
00:41:54 Flute Concerto in G Major, RV 437: I. Allegro
00:45:53 Flute Concerto in G Major, RV 437: II. Largo
00:47:39 Flute Concerto in G Major, RV 437: III. Allegro

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Componist:
Georg Philip Telemann

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

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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

The Polonaise was a peasant dance from Poland that gained popularity in the early 18th century among composers and high society. Bach and Handel both wrote movements marked ‘Polonaise’, and in the early 19th century examples can be found in the finales of Beethoven’s Triple Concerto, and Field’s Third Piano Concerto. Chopin grew up with polonaise and other forms of traditional Polish music. His teacher, Elsner was a Polonaise composer, and the business of writing and publishing sets of polonaises was a lucrative one.

There was another reason why such a traditional was so popular in Poland at this time; the country had once again been robbed of its independence, and the nationalistic pulling power of such music helped keep the national identity and spirit alive. Chopin’s genius took the simple tunes of the Polonaise and allowed him to create large-scale complex and dramatic works with myriad emotions. In many ways they captured the Polish spirit which remained defiantly unbroken.

Folke Nauta was born in 1973 and has won many prizes in key competitions around Europe.

Composer: Frédéric Chopin
Artist: Folke Nauta (piano)

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00:00:00 Polonaises: Andante spianato et Grande Polonaise brillante Op.22 in E flat
00:14:15 Polonaises: Polonaise Op.26 No.1 in C sharp Minor
00:22:45 Polonaises: Polonaise Op.26 No.2 in E flat Minor
00:31:57 Polonaises: Polonaise Op.40 No.1 in A ‘Military’
00:37:31 Polonaises: Polonaise Op.40 No.2 in C Minor
00:46:01 Polonaises: Polonaise Op.44 in F sharp Minor
00:56:55 Polonaises: Polonaise Op.53 in A flat ‘Heroic’
01:03:55 Polonaises: Polonaise-Fantaisie Op.61 in A flat

#chopin #classicalmusic #Classical #chopinpolonaises

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

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

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

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

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.to/overtures1
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Composer: Georg Philipp Telemann
Artists: Collegium Instrumentale Brugense, Patrick Peire (conductor)

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

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

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

A generous selection of 33 Overtures (or Orchestral Suites) by Georg Philipp Telemann, formerly issued separately, now collected in one 8-CD set. This collection contains CD 5 and 6 out of 8 discs.

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


Tracklist can be found in the comment section below!

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Composer: Philip Glass
Artist: Jeroen van Veen piano

Along with the two books of piano studies by Gyorgy Ligeti, the Etudes of Philip Glass have taken their place as modern classics of the literature, serving both a didactic purpose to train the fingers and minds of their performers, but also bringing their unique soundworlds to new audiences.

Glass himself remarked that the first book, compiled from work between 1991 and 2012, had a twin objective, ‘to explore a variety of tempi, textures and piano techniques. At the same time it was meant to serve as a pedagogical tool by which I would improve my piano playing.’ The studies of Book 2 (2012-14) are often bolder in finding new structures and fresh keyboard colours. Each of the 20 Etudes handles a specific piano technique, and the two books are united by the instantly recognisable quirks of Glass’s harmonic language and, as Jeroen van Veen remarks in his booklet note, ‘in almost all the etudes, endurance is the main issue to overcome’.

Most recent of the pianist’s many Brilliant Classics recordings of Minimalist music have been albums dedicated to the genre’s godfather, Erik Satie (BC95350) and his successors including Michael Nyman (BC95112) and Max Richter (BC95390). ‘Van Veen’s beautiful and texturally varied sonority, his long-lined sensibility, and his intense focus draw you in,’ remarked Classics Today of the complete Satie box.
‘Sample the Nocturnes’ sustained, almost otherworldly serenity, or the subtle spacing of notes throughout the Véritables préludes flaques, and you’ll hear how completely and masterfully van Veen conveys his intentions, abetted by superb, full-bodied sonics… His fascinating and riveting pianism is well worth Brilliant Classics’ attractive budget price.’

Philip Glass’ Piano Etudes stand at the end of a long line of development, starting with “exercises” by Scarlatti, through romantic piano etudes composers such as Clementi, Czerny, Hummel, Chopin, Schumann, Brahms, Scriabin, Rachmaninoff, Debussy, to 20-th century masters like Ligeti and Cage.
Philip Glass, icon of the Minimal Music, wrote these etudes between 1991 and 2012, to “explore a variety of tempi, textures and piano techniques”, and also “to become a better player”.
Jeroen van Veen, celebrated pioneer of the performance of Minimal Music and Extraordinary Repertoire, considers these etudes as “refreshingly new, really adding something to the existing repertoire, the challenge being not only the technical hurdles but mainly the endurance and concentration”.

00:00:00 Etudes for Piano Book I: I. Etude in G Minor
00:06:29 Etudes for Piano Book I: II. Etude in A Minor
00:13:56 Etudes for Piano Book I: III. Etude in A Major
00:18:42 Etudes for Piano Book I: IV. Etude in D Minor
00:23:05 Etudes for Piano Book I: V. Etude in F Minor
00:32:55 Etudes for Piano Book I: VI. Etude in F Minor
00:38:44 Etudes for Piano Book I: VII. Etude in A Minor
00:53:24 Etudes for Piano Book I: VIII. Etude in C Major
01:00:28 Etudes for Piano Book I: IX. Etude in F Minor
01:04:21 Etudes for Piano Book I: X. Etude in E-Flat Major
01:12:58 Etudes for Piano Book II: XI. Etude in C Minor
01:21:28 Etudes for Piano Book II: XII. Etude in D Minor
01:29:12 Etudes for Piano Book II: XIII. Etude in F Major
01:34:09 Etudes for Piano Book II: XIV. Etude in A-Flat Major
01:40:26 Etudes for Piano Book II: XV. Etude in D Major
01:48:13 Etudes for Piano Book II: XVI. Etude in G Minor
01:53:57 Etudes for Piano Book II: XVII. Etude in F Minor
02:02:39 Etudes for Piano Book II: XVIII. Etude in G Minor
02:07:08 Etudes for Piano Book II: IXX Etude in C Major
02:12:58 Etudes for Piano Book II: XX. Etude in C Major