There will be times you need to have an object follow another and not everyone has tracking capabilities. I show how to do that using ANY editor by giving myself a tattoo. Read more below and http://bit.ly/SubscribeToBasicFilmmaker

You may not have tracking capabilities, such as those in After Effects or Mocha, and might need a quick solution to a small clip where you need to, for instance, replace a sign or poster on a client video that has a moving image.

In this video, I show a SIMPLE example of how to use any video editor to add an element, photo or video, and have it follow the on-screen movement of another object.

It's quite easy, and I suggest this method for short clips in a pinch, like when the client needs it now (which is usually the case). :)

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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
Brilliant Classics Facebook: https://www.facebook.com/brilliantclassics

Artist: Alessandro Deljavan (piano)

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

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

Tracklist below.
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)

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play):
https://brilliant-classics.lnk.to/satieslow
Physical purchase:
http://www.brilliantclassics.c....om/articles/s/satie-

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

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://VA.lnk.to/ChopinFavPiano
Physical purchase: http://www.brilliantclassics.c....om/articles/c/chopin
Facebook page: https://www.facebook.com/brilliantclassics/

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

Tracklist below.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.....to/BeethovenPianoTr
More Information: https://www.brilliantclassics.....com/articles/b/beeth
Brilliant Classics Spotify: https://open.spotify.com/user/....brilliantclassics?si
Brilliant Classics Facebook: https://www.facebook.com/brilliantclassics

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

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A moonlit summer night, an open window, the intoxicating sounds of a piano playing the dreamlike melodies of a Chopin Nocturne: this is the atmosphere of this selection of the most beautiful Noctunres and other night pieces written for piano by the great masters Chopin, Schumann (Des Abends), Tchaikovsky (Barcarolle), Debussy (Clair de Lune), Beethoven (Mondschein Sonata), Liszt (Liebestraum) and many others.

Frédéric Chopin:
00:00:00 Nocturnes, Op. 48: No. 1 in C Minor. Lento by Earl Wild
00:05:42 Nocturne in C-Sharp Minor, B. 49 by Earl Wild
00:09:35 Nocturnes, Op. 15: No. 2 in F-Sharp Major by Earl Wild
00:13:11 Nocturnes, Op. 32: No. 1 in B Major by Earl Wild
00:18:06 Nocturne in E Minor, Op. 72, No. 1 by Earl Wild
00:21:46 Nocturnes, Op. 62: No. 2 in E Major by Earl Wild
00:27:06 Nocturnes, Op. 9: No. 3 in B Major by Earl Wild
00:32:43 Nocturnes, Op. 37: No. 2 in G Major. Andantino by Earl Wild
00:38:09 Nocturnes, Op. 32: No. 2 in A-Flat Major by Earl Wild
00:43:44 Nocturnes, Op. 27: No. 2 in D-Flat Major. Lento sostenuto by Earl Wild
00:49:05 Nocturnes, Op. 9: No. 1 in B-Flat Minor. Larghetto by Earl Wild
00:54:28 Nocturnes, Op. 15: No. 3 in G Minor by Earl Wild
00:59:02 Nocturnes, Op. 48: No. 2 in F-Sharp Minor. Andantino by Earl Wild
01:06:11 Nocturnes, Op. 62: No. 1 in B Major by Earl Wild
01:12:30 Nocturnes, Op. 9: No. 2 in E-Flat Major by Earl Wild
01:16:42 Nocturnes, Op. 55: No. 1 in F Minor by Earl Wild
01:21:25 Nocturnes, Op. 55: No. 2 in E-Flat Major. Lento sostenuto by Earl Wild
01:25:40 Nocturnes, Op. 27: No. 1 in C-Sharp Minor by Earl Wild
01:30:16 Nocturnes, Op. 15: No. 1 in F Major by Earl Wild
01:34:38 Nocturnes, Op. 37: No. 11 in G Minor by Earl Wild
01:42:21 Nocturne No. 21 in C Minor, Op. Posth. by Earl Wild

01:45:30 Franz Liszt -Liebesträume, S. 541: No. 3 in A-Flat Major by Pieter van Winkel
01:50:06 Ludwig van Beethoven - I. Adagio sostenuto by Pieter van Winkel
01:55:46 Robert Schumann - No. 1, Des Abends in D-Flat Major by Pieter van Winkel
01:59:11 Claude Debussy - Reverie, L. 68 by Pieter van Winkel
02:02:55 Robert Schumann - No. 2, Romance in F-Sharp Major by Pieter van Winkel
02:06:18 Franz Liszt - No. 3, Lento placido in D-Flat Major by Pieter van Winkel
02:09:23 Claude Debussy - No. 3, Clair de lune by Pieter van Winkel
02:14:23 Robert Schumann - No. 7, Träumerei by Pieter van Winkel
02:17:34 Frédéric Chopin - Berceuse in D-Flat Major, Op. 57 by Alwin Bär
02:22:37 Edvard Hagerup Grieg - No. 1, Cradle Song by Håkon Austbö
02:24:54 Erik Satie - No. 1, Lent et douloureux in D Major by Håkon Austbö
02:28:33 Erik Satie - Gnossiennes: 5. Modéré by Håkon Austbö
02:31:25 Charles Henri Valentin Alkan - Nocturne, Op. 22 by Alan Weiss
02:37:50 Robert Schumann - No. 5, In der Nacht in F Minor by Klára Würtz
02:41:38 Robert Schumann - No. 12, Kind im Einschlummern by Klára Würtz
02:43:48 Piotr Ilyich Tchaikovsky - No. 10, October. Autumn Song in D Minor. Andante doloroso e molto cantabile by Alexander Warenberg
02:47:13 Maurice Ravel - Pavane pour une infante défunte in G Major, M. 19 by Michelangelo Carbonara
02:53:37 Robert Schumann - No. 7, Vogel als Prophet by Klára Würtz
02:56:28 Piotr Ilyich Tchaikovsky - No. 6, June. Barcarolle in G Minor. Andante cantabile by Alexander Warenberg
03:00:11 Camille Pleyel - Nocturne alla Field in B-Flat Major, Op. 52 by Bart van Oort
03:04:53 Friedrich Wilhelm Michael Kalkbrenner - No. 1 in A-Flat Major "Les soupirs de la harpe eolienne" by Bart van Oort
03:09:04 Friedrich Wilhelm Michael Kalkbrenner - No. 2 in F Major (A trois mains) by Bart van Oort & Agnieszka Chabowska
03:13:08 Clara Schumann - No. 2, Nocturne in F Major by Bart van Oort
03:18:17 Louis Lefèbure-Wély - Nocturne in D-Flat Major by Bart van Oort
03:23:30 Edmond Weber - Nocturne in D-Flat Major, Op. 1 by Bart van Oort
03:27:18 Charles Henri Valentin Alkan - Notturnino innamorato in F-Sharp Minor, Op. 63 No. 43 by Bart van Oort
03:29:27 Michael Glinka - Nocturne in E-Flat Major by Bart van Oort
03:35:12 Maria Szymanowska - La Murmure. Nocturne in A-Flat Major by Bart van Oort
03:38:15 Ignacy Feliks Dobrzynski - No. 1 in G Minor by Bart van Oort

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

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

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

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

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

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

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

Tracklist:

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

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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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Wolfram Schmitt-Leonardy has gradually built a distinguished catalogue of recordings over the years on Brilliant Classics, and each new release from this German pianist tends to be welcomed in effusive terms by the international press. His accounts of Chopin have met with particular praise. A 2CD set of the Ballades, Impromptus and Preludes (BC95210) was celebrated by Classics Today as achieving ‘a fusion of impassioned ardour and classical textual rigour… the best of Schmitt‐Leonardy’s Chopin adds up to a stimulating and compelling listening journey well worth travelling, even if you’ve heard these works hundreds of times.’

Individual discs of Mendelssohn (BC93975), Schumann (BC93136) and Brahms (BC92512) have likewise attracted admiring comments. According to Gramophone, ‘Wolfram Schmitt-Leonardy’s superb technical and musical command holds unflagging interest throughout the [Brahms] variation sets, which easily hold their own among the top versions available.’

With these new recordings, made in 2011 and 2015, Schmitt-Leonardy returns to Chopin, and to ‘his wildest children’ according to Schumann: a comment which has been much parsed for its implications of structural incoherence as well as indomitable passion. In truth, Chopin’s struggle with the larger, multi-movement form has by no means failed, but rather resulted in a more accurate and elaborated mosaic of interrelations, coherencies and references, which cannot be discerned by casual listening or glancing at the scores. Chopin’s ability to balance these elements comes from neatly hidden formal concessions and the use of several compositional tools found in the music of Bach; combined, these aspects award Chopin’s sonatas continuity.

Even if the First Sonata is the work of a student, it nonetheless demonstrates some of those Bachian connections and a lyric poise which would come to full bloom in the Second. This work is centred around the grave Funeral March which has become perhaps Chopin’s best-known individual piece. Bachian principles of counterpoint and polyphony are even more richly satisfied by the final sonata of the trilogy, at least until the grand and sweeping passion of its concluding Rondo.

00:00:00 Piano Sonata No. 1 in C Minor, Op. 4: I. Allegro maestoso
00:09:52 Piano Sonata No. 1 in C Minor, Op. 4: II. Menuetto
00:14:35 Piano Sonata No. 1 in C Minor, Op. 4: III. Larghetto
00:18:23 Piano Sonata No. 1 in C Minor, Op. 4: IV. Finale. Presto
00:25:04 Piano Sonata No. 2 in B-Flat Minor, Op. 35: I. Grave - Doppio movimento
00:33:22 Piano Sonata No. 2 in B-Flat Minor, Op. 35: II. Scherzo
00:40:39 Piano Sonata No. 2 in B-Flat Minor, Op. 35: III. Marche funèbre. Lento
00:50:03 Piano Sonata No. 2 in B-Flat Minor, Op. 35: IV. Finale. Presto
00:51:40 Piano Sonata No. 3 in B Minor, Op. 58: I. Allegro maestoso
01:01:05 Piano Sonata No. 3 in B Minor, Op. 58: II. Scherzo. Molto vivace
01:03:59 Piano Sonata No. 3 in B Minor, Op. 58: III. Largo
01:13:25 Piano Sonata No. 3 in B Minor, Op. 58: IV. Finale. Presto non tanto

Tracklist below.

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The Messiah was written at great speed by Handel during the winter of 1741–2, and was received to great acclaim its first performance in Dublin in 1742. Charles Jennens compiled the text from the Bible, and the work is cast in three sections. Although a success in Dublin, the work had a less than warm welcome when it was performed in London without its title, and called ‘a New Sacred Oratorio’ to avoid causing offence to the rather puritanical British public and press. This ruse failed however, and the press were hostile. Jennens and Handel also fell out, as Jennens felt that the composer hadn’t taken enough time and care over the music! This was a low point for Handel, and he seriously contemplated leaving the UK and returning to Germany. Eventually, after a few years, and after a series of performances for charitable causes, the work became a firm favourite. It has been linked ever since with the composer’s generous charitable donations to the Foundling Hospital, of which he was a director along with William Hogarth and Thomas Coram.
Messiah is the masterpiece of the English Baroque, and for 200 years has been performed by both professional and amateur choirs around the world. Handel’s gift for truly memorable tunes and (notwithstanding Jennens’s concerns) the care he took in setting the text have ensured that it has remained one of the most famous works
ever composed.

00:00:00 Sinfonia (Ouverture)
00:03:02 Recitative (Tenor): Comfort ye my people
00:05:53 Air (Tenor): Ev'ry valley shall be exalted
00:09:13 Chorus: And the glory of the Lord shall be revealed
00:12:05 Recitative (Bass): Thus said the Lord of Hosts
00:13:24 Air (Alto): But who may abide
00:17:29 Chorus: And He shall purify
00:19:59 Recitative (Alto): Behold, a virgin shall conceive
00:20:22 Air (Alto & Chorus): O thou that tellest
00:25:49 Recitative (Bass): For behold, darkness shall cover the earth
00:27:50 Air (Bass): The people that walked in darkness
00:31:08 Chorus: For unto us a Child is born
00:35:12 Pifa (Pastoral Symphony)
00:37:43 Recitative (Soprano): There were shepherds
00:38:13 Recitative (Soprano): And the angel said unto them
00:38:45 Recitative (Soprano): And suddenly there was with the angel
00:39:01 Chorus: Glory to God in the highest
00:40:53 Air (Soprano): Rejoice greatly, O daughter of Zion
00:45:10 Recitative (Alto): Then shall the eyes of the blind
00:45:35 Duet (Alto & Soprano): He shall feed His flock
00:50:09 Chorus: His yoke is easy
00:52:29 Chorus: Behold, the Lamb of God
00:54:51 Air (Tenor): He was despised and rejected of men

Tracklist below.

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There is no piece of music as synonymous with the organ than J.S. Bach’s Toccata and Fugue in D minor BWV565: the two-note introductory motif is as well recognised as the opening of Beethoven’s Fifth Symphony, and has featured widely in popular culture – in films such as Disney’s Fantasia and The Phantom of the Opera. Interestingly, it may actually be an arrangement for organ of an original work for violin, possibly not even by Bach himself! However, regardless of its authenticity, it is this fantastical and much-loved piece that opens Stefano Molardi’s recital of Bach’s greatest compositions for the ‘king of instruments’.

Molardi’s programme continues with major works such as the Toccata, Adagio and Fugue in C BWV564 and the monumental Passacaglia in C minor BWV582, interspersed with more delicate pieces from the composer’s different collections of chorale preludes – the Orgelbüchlein, ‘Schübler’ Chorales and third part of the Clavierübung. The Trio Sonata in C BWV529 adds some great variety to the compilation, and is a feat of technical ingenuity, with three individual melodies taken up by each hand and the feet of the player. This two-disc set brings together the best-known organ works by its greatest patron: a perfect introduction to organ music for a beginner, and a marvellous addition to the collection of an enthusiast already well-versed in the repertoire. Award-winning organist, harpsichordist, conductor and scholar Stefano Molardi is a peerless interpreter, with his ongoing recording of Bach’s Complete Organ Music for Brilliant Classics now into its third volume (BC94981). The instruments heard on this album date from Bach’s time, therefore bringing us as close as possible to the soundworld of the great Leipzig Cantor and allowing us to hear them as he might have done himself.

00:00:00 Toccata and Fugue in D Minor, BWV 565: I. Toccata
00:02:22 Toccata and Fugue in D Minor, BWV 565: II. Fugue
00:08:48 Das Orgel-Büchlein: Gott, durch deine Güte, BWV 600
00:10:08 Das Orgel-Büchlein: Der Tag, der ist so freudenreich, BWV 605 à 2 Clav. et Ped.
00:12:01 Das Orgel-Büchlein: Vom Himmel kam der Engel Schar, BWV 607
00:13:19 Das Orgel-Büchlein: In dulci jubilo, BWV 608
00:15:05 Toccata, Adagio and Fugue in C Major, BWV 564: I. Toccata
00:20:54 Toccata, Adagio and Fugue in C Major, BWV 564: II. Adagio
00:25:25 Toccata, Adagio and Fugue in C Major, BWV 564: III. Fugue
00:30:34 Das Orgel-Büchlein: Ich ruf zu dir, Herr Jesu Christ, BWV 639
00:32:59 Das Orgel-Büchlein: Wenn wir in höchsten Nöten sein, BWV 641
00:34:53 Organ Concerto in A Minor, BWV 593: I. Allegro
00:38:47 Organ Concerto in A Minor, BWV 593: II. Recitative. Adagio
00:42:18 Organ Concerto in A Minor, BWV 593: III. Allegro
00:46:19 18 Chorale Preludes: Nun komm, der Heiden Heiland, BWV 659 à 2 Clav. et Ped.
00:51:02 18 Chorale Preludes: Trio super Allein Gott in der Höh sei Her, BWV 664
00:56:40 Passacaglia in C Minor, BWV 582
01:10:56 Fantasia and Fugue in G Minor, BWV 542: I. Fantasia
01:16:16 Fantasia and Fugue in G Minor, BWV 542: II. Fugue
01:23:09 Wachet auf, ruft uns die Stimme in E-Flat Major, BWV 645
01:27:37 Kommst du nun, Jesu, vom Himmel herunter, BWV 650
01:31:20 Organ Sonata No. 5 in C Major, BWV 529: I. Allegro
01:36:39 Organ Sonata No. 5 in C Major, BWV 529: II. Largo
01:43:06 Organ Sonata No. 5 in C Major, BWV 529: III. Allegro
01:46:53 Das Orgel-Büchlein: O Mensch, bewein dein Sünde groß, BWV 622
01:52:42 Das Orgel-Büchlein: Hilf, Gott, daß mir’s gelinge, BWV 624
01:53:59 Toccata and Fugue in D Minor, BWV 538: I. Toccata
01:59:46 Toccata and Fugue in D Minor, BWV 538: II. Fugue
02:09:26 Christ, unser Herr, zum Jordan kam, BWV 684
02:13:40 Schmücke dich, o liebe Seele, BWV 654 à 2 Clav. et Ped.
02:22:46 Prelude and Fugue in G Major, BWV 541: I. Prelude
02:25:47 Prelude and Fugue in G Major, BWV 541: II. Fugue

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Gustav Mahler was the last composer to write large-scale symphonies. Nine to be precise (the 10th remained unfinished) which often include vocal parts. This release contains the fifth symphony for orchestra. Played by the Junge Deutsche Philharmonie, lead by Rudolf Barshai.`

00:00:00 Symphony No. 5: I. Trauermarsch
00:11:55 Symphony No. 5: II. Stürmisch bewegt, mit grösster Vehemenz
00:26:26 Symphony No. 5: III. Scherzo
00:44:58 Symphony No. 5: IV. Adagietto
00:53:14 Symphony No. 5: V. Finale. Rondo

This release contains a selection of Vivaldi music, to soothe your baby and to give him or her a gentle introduction into classical music.

Tracklist Below:

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Composer:
Vivaldi

00:00:00 Concerto in E Major, Op. 8 ‘Der Frühling‘: I. Allegro
00:03:26 Concerto in E Major, Op. 8 ‘Der Frühling‘: II. Allegro e pianissimo sempre
00:05:46 Concerto in E Major, Op. 8 ‘Der Frühling‘: III. Danza pastorale, Allegro
00:09:37 Concerto in G Minor, Op. 8 ‘Der Sommer’: I. Allegro non, molto
00:15:23 Concerto in G Minor, Op. 8 ‘Der Sommer’: II. Adagio-Presto
00:17:39 Concerto in G Minor, Op. 8 ‘Der Sommer’: III. Presto
00:20:30 Concerto in F Major, Op. 8 ‘Der Herbst’: I. Allegro
00:25:27 Concerto in F Major, Op. 8 ‘Der Herbst’: II. Adagio
00:28:30 Concerto in F Major, Op. 8 ‘Der Herbst’: III. Allegro
00:31:44 Concerto in F Minor, Op. 8 'Der Winter’: I. Allegro non molto
00:35:00 Concerto in F Minor, Op. 8 'Der Winter’: II. Largo
00:37:05 Concerto in F Minor, Op. 8 'Der Winter’: III. Allegro
00:40:12 Concerto in E-Flat Major, Op. 8 ‘La Tempesta di Mare’: I. Presto
00:43:01 Concerto in E-Flat Major, Op. 8 ‘La Tempesta di Mare’: II. Largo
00:45:48 Concerto in E-Flat Major, Op. 8 ‘La Tempesta di Mare’: III. Presto
00:49:24 Concerto in C Major, Op. 8 ‘Il Piacere’: I. Allegro
00:52:35 Concerto in C Major, Op. 8 ‘Il Piacere’: II. Largo e cantabile
00:55:49 Concerto in C Major, Op. 8 ‘Il Piacere’: III. Allegro

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This an issue of series consisting of 14 3CD-sets with selected highlights taken from our Mozart complete edition, intented for those who prefer to buy more selectively.
This release contains the following works: K. 311, K. 330, K. 331, K. 332, K. 333, K. 457, K. 533, K. 533, K. 545, K. 570, K. 576.

Composer: Wolfgang Amadeus Mozart
Artist: Klara Würtz (piano)

Tracklist;
00:00:00 Piano Sonata No. 9 in D Major, KV.311: Allegro con spirito
00:04:28 Piano Sonata No. 9 in D Major, KV.311: Andante con espressione
00:09:19 Piano Sonata No. 9 in D Major, KV.311: Rondeau, allegro
00:15:25 Piano Sonata No. 10 in C Major, KV.330: Allegro moderato
00:22:06 Piano Sonata No. 10 in C Major, KV.330: Andante cantabile
00:28:40 Piano Sonata No. 10 in C Major, KV.330: Allegretto
00:34:22 Piano Sonata No. 11 in C Major, KV.331: Andante grazioso
00:47:16 Piano Sonata No. 11 in C Major, KV.331: Menuetto
00:53:11 Piano Sonata No. 11 in C Major, KV.331: AllaTurca, allegretto
00:56:37 Piano Sonata No. 12 in F Major, KV.332: Allegro
01:03:11 Piano Sonata No. 12 in F Major, KV.332: Adagio
01:07:54 Piano Sonata No. 12 in F Major, KV.332: Allegro assai
01:14:44 Piano Sonata No. 13 in B-Flat Major, KV.333: Allegro
01:22:07 Piano Sonata No. 13 in B-Flat Major, KV.333: Andante cantabile
01:27:40 Piano Sonata No. 13 in B-Flat Major, KV.333: Allegretto grazioso
01:34:17 Piano Sonata No. 14 in C Minor, KV.457: Allegro molto
01:39:46 Piano Sonata No. 14 in C Minor, KV.457: Adagio
01:47:29 Piano Sonata No. 14 in C Minor, KV.457: Allegro assai
01:51:49 Piano Sonata No. 15 in F Major, KV.533: Allegro
01:59:26 Piano Sonata No. 15 in F Major, KV.533: Andante
02:06:01 Piano Sonata No. 15 in F Major, KV.533: Rondeau, allegretto
02:12:29 Piano Sonata No. 16 in C Major, KV.545: Allegro
02:15:49 Piano Sonata No. 16 in C Major, KV.545: Andante
02:20:00 Piano Sonata No. 16 in C Major, KV.545: Rondo
02:21:45 Piano Sonata No. 17 in B-Flat Major, KV.570: Allegro
02:27:29 Piano Sonata No. 17 in B-Flat Major, KV.570: Adagio
02:34:55 Piano Sonata No. 17 in B-Flat Major, KV.570: Allegretto
02:38:25 Piano Sonata No. 18 in D Major, KV.576: Allegro
02:43:37 Piano Sonata No. 18 in D Major, KV.576: Adagio
02:49:10 Piano Sonata No. 18 in D Major, KV.576: Allegretto

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Composer & Artist:
Composer: Antonín Dvorák
Artists: Zara Nelsova, Ruggiero Ricci




About this Album:
A combination of the only two concertos for string instruments by Dvorák on one CD. Ruggiero Ricci (violin) and Zara Nelsova (cello) are the soloists.

Tracklist:
00:00:00 Violin Concerto in A Minor, Op. 53: I. Allegro ma non troppo - Adagio ma non troppo
00:19:04 Violin Concerto in A Minor, Op. 53: II. Finale. Allegro giocoso
00:29:18 Cello Concerto in B Minor, Op. 104: I. Allegro
00:43:31 Cello Concerto in B Minor, Op. 104: II. Adagio ma non troppo
00:54:07 Cello Concerto in B Minor, Op. 104: III. Finale. Allegro moderato
 
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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

Thanks for watching! Feel free to subscribe and visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak, Schubert and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more!

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