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Composer: Georg Frideric Handel, Wolfgang Amadeus Mozart
Artists: Charlotte Balzereit harp,
Giselle Herbert harp,
Jutta Zoff harp,
Jana Bouskova harp,
Staatskapelle Dresden,
Les Violins du Roy,
Stuttgart Chamber Orchestra,
Nicol Matt conductor,
Südwestdeutsches Kammerorchester Pforzheim,
Vladislav Czarnecki conductor,

About this Album:
The harp is the ultimate romantic icon: the instrument of angels, and of Cupid, the god of love. One of the world’s oldest musical instruments, yet one of the most versatile and cherished, its modern counterpart also has the largest range of any orchestral instrument. This dreamy collection pulls together an equally extensive range of concertos for harp, contrasting the towering figures of Handel and Mozart with gems by lesser-known composers such as François-Adrien Boieldieu and Johann Georg Albrechtsberger.


Tracklist:
00:00:00 Harp Concerto in B-Flat Major, HWV 294: I. Andante – allegro (Handel)
00:04:18 Harp Concerto in B-Flat Major, HWV 294: II. Larghetto (Handel)
00:09:49 Harp Concerto in B-Flat Major, HWV 294: III. Allegro moderato (Handel)
00:12:30 Concerto for Flute and Harp in C Major, K. 299: I. Allegro (Mozart)
00:22:06 Concerto for Flute and Harp in C Major, K. 299: II. Andantino (Mozart)
00:30:16 Concerto for Flute and Harp in C Major, K. 299: III. Rondo. Allegro (Mozart)
00:39:55 Harp Concerto in C in Major: I. Allegro brillante (Boieldieu)
00:50:54 Harp Concerto in C in Major: II. Andante lento (Boieldieu)
00:55:02 Harp Concerto in C in Major: III. Rondo. Allegro agitato (Boieldieu)
01:02:04 Harp Concerto in A Major: I. Allegro molto (Dittersdorf)
01:08:42 Harp Concerto in A Major: II. Larghetto (Dittersdorf)
01:17:52 Harp Concerto in A Major: III. Rondo. Allegretto (Dittersdorf)
01:21:25 Harp Concerto in C Major: I. Allegro moderato (Albrechtsberger)
01:27:54 Harp Concerto in C Major: II. Adagio (Albrechtsberger)
01:37:39 Harp Concerto in C Major: III. Allegro (Albrechtsberger)
01:40:54 Partita in F Major: I. Presto (Albrechtsberger)
01:44:44 Partita in F Major: II. Adagio un poco (Albrechtsberger)
01:51:46 Partita in F Major: III. Menuetto (Albrechtsberger)
01:54:29 Partita in F Major: IV. Finale. Allegro (Albrechtsberger)
01:58:35 Harp Concerto in G Major: I. Allegro (Wagenseil)
02:02:25Harp Concerto in G Major: II. Andante (Wagenseil)
02:07:03 Harp Concerto in G Major: III. Vivace (Wagenseil)

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Composer & Artist:
Composer: César Auguste Franck
Artists: Mūza Rubackytė (piano)

About this Album:
“An artist of phenomenal powers who must be counted among the most gifted pianists of our time”, claimed the American “Fanfare” magazine, reviewing one of the recent recordings by the Lithuanian-born pianist Mūza Rubackytė. On this release Muza performs a selection of piano music by César Franck.

Tracklist:
00:00:00 Prelude, Fugue et Variation: Prelude
00:03:49 Prelude, Fugue et Variation: Lento
00:05:01 Prelude, Fugue et Variation: Fugue
00:08:22Prelude, Fugue et Variation: Variation
00:12:25 Prelude, Aria et Final: Prelude
00:21:46 Prelude, Aria et Final: Aria
00:27:04 Prelude, Aria et Final: Final
00:34:22 Prelude, Choral et Fugue: Prelude
00:38:51 Prelude, Choral et Fugue: Choral
00:43:37 Prelude, Choral et Fugue: Poco allegro
00:44:52 Prelude, Choral et Fugue: Fugue

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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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

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Composer: Charles Henri Valentin Alkan
Artist: Stanley Hoogland (piano)
Alan Weiss (piano)

- Adventurous piano Music of the composer in whose presence even Franz Liszt was afraid to play.
- Piano music ranging from the miniaturist to the gigantic.
- Both a modern Steinway and a period Erard piano are used in this set, a fascinating way of comparison

00:00:00 Nocturne No.1 Op.22
00:06:24 Esquisses: 48 motifs Op.63: No.2 Le Staccatissimo
00:07:33 Esquisses: 48 motifs Op.63: No.3 Le Legatissimo
00:09:18 Esquisses: 48 motifs Op.63: No.21 Morituri te salutant
00:10:49 Esquisses: 48 motifs Op.63: No.10 Increpatio
00:12:23 Esquisses: 48 motifs Op.63: No.11 Les Soupirs
00:14:04 Esquisses: 48 motifs Op.63: No.46 Le Premier Billet doux
00:15:03 Esquisses: 48 motifs Op.63: No.47 Scherzetto
00:16:55 Esquisses: 48 motifs Op.63: Le Festin d’Ésope Op.39 No.12 (Douze Études dans les tons mineurs)
00:27:10 Esquisses: 48 motifs Op.63: Le Temps qui n’est plus – Prélude Op.31 No.12
00:28:46 Esquisses: 48 motifs Op.63: Fa Op.38b No.2 (Receuil de Chants, Book 2)
00:31:59 Grande Sonate Op.33 ‘Les Quatre Âges’: 20 ans: Scherzo (Tres vite, décidément) – Trio (Timidement – Amoureusement)
00:38:39 Grande Sonate Op.33 ‘Les Quatre Âges’: 30 ans: Quasi-Faust (Assez vite, sataniquement)
00:54:33 Grande Sonate Op.33 ‘Les Quatre Âges’: 40 ans: Un heureux ménage (Lentement, avec tendresse et quiétitude)
01:05:12 Grande Sonate Op.33 ‘Les Quatre Âges’: 50 ans: Prométhée enchainé (Extremement lent)
01:13:41 Toccatina in C Minor, Op. 75
01:15:30 Les Mois Op.74: No.6 Promenade sur l’eau
01:18:01 Les Mois Op.74: No.10 Gros temps
01:21:24 Les Mois Op.74: Petite Fantaisie Op.41 No.2
01:27:47 Les Mois Op.74: Petit Conte
01:32:11 Les Mois Op.74: Le Tambour bat aux champs Op.50 No.2
01:36:51 Trente Chants – Suite No.1 Op.38: No.1 Assez vivement
01:41:26 Trente Chants – Suite No.1 Op.38: No.5 Agitatissimo
01:45:25 Trente Chants – Suite No.1 Op.38: No.6 Barcarolle

01:49:14 Symphony for solo piano Op.39 Nos. 4–7: I. Allegro
02:00:00 Symphony for solo piano Op.39 Nos. 4–7: II. Marche funèbre: Andantino
02:07:20 Symphony for solo piano Op.39 Nos. 4–7: III. Menuet
02:13:23 Symphony for solo piano Op.39 Nos. 4–7: IV. Finale: Presto
02:18:45 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.1 in C
02:21:06 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.6 in G Minor ‘Ancienne mélodie de la synagogue’
02:24:14 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.11 in F ‘Un petit rien’
02:25:07 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.12 in B flat Minor ‘Le temps qui n’est plus’
02:26:18 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.13 in G flat ‘J’étais endormie, mais mon coeur veillait’
02:29:42 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.14 in B Minor
02:32:25 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.8 in A flat Minor ‘La chanson de la folle au bord de la mer’
02:36:13 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.15 in B ‘Dans le genre gothique’
02:38:30 Les Mois Op.74 – Suite No.1
02:42:36 Les Mois Op.74 – Suite No.4: No.1 Gros temps
02:46:55 Les Mois Op.74 – Suite No.1
02:48:37 Trente Chants – Suite No.3 Op.65: No.5 Horace et Lydie
02:52:19 Trente Chants – Suite No.3 Op.65: No.6 Barcarolle
02:55:59 Trente Chants – Suite No.4 Op.67: No.2 Chanson de la bonne vieille
02:59:21 Esquisses: 48 motifs Op.63: No.1 La Vision
03:01:43 Esquisses: 48 motifs Op.63: No.4 Les Cloches
03:02:36 Esquisses: 48 motifs Op.63: No.8 Pseudo-naïvité
03:04:36 Esquisses: 48 motifs Op.63: No.10 Increpatio
03:06:18 Esquisses: 48 motifs Op.63: No.11 Les Soupirs
03:08:02 Esquisses: 48 motifs Op.63: No.35 Musique militaire
03:09:18 Esquisses: 48 motifs Op.63: No.43 Notturnino innamorato
03:11:17 Esquisses: 48 motifs Op.63: No.46 Le Premier Billet doux
03:12:22 Esquisses: 48 motifs Op.63: No.48 En songe
03:13:41 Esquisses: 48 motifs Op.63: No.49 Laus Deo
03:17:29 Esquisses: 48 motifs Op.63: Petit Conte

The album contains the best classical music composed by Wolfgang Amadeus Mozart.

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00:00:00 Symphony No. 40 in G Minor, KV 550: Andante – Jaap ter Linden
00:09:53 Symphony No. 40 in G Minor, KV 550: Molto allegro – Jaap ter Linden
00:17:22 Symphony No. 40 in G Minor, KV 550: Menuetto – Jaap ter Linden
00:21:12 Symphony No. 40 in G Minor, KV 550: Allegro assai – Jaap ter Linden

00:28:15 Symphony No. 41 in C, KV 551 “Jupiter”: Allegro vivace – Jaap ter Linden
00:39:57 Symphony No. 41 in C, KV 551 “Jupiter”: Andante cantabile – Jaap ter Linden
00:50:12 Symphony No. 41 in C, KV 551 “Jupiter”: Menuetto – Jaap ter Linden
00:54:36 Symphony No. 41 in C, KV 551 “Jupiter”: Molto allegro – Jaap ter Linden

01:03:40 Piano Concerto No. 21 in C, KV 467 “Elvira Madigan”: Allegro – Derek Han, Paul Freeman
01:18:19 Piano Concerto No. 21 in C, KV 467 “Elvira Madigan”: Andante– Derek Han, Paul Freeman
01:25:08 Piano Concerto No. 21 in C, KV 467 “Elvira Madigan”: Allegro vivace assai– Derek Han, Paul Freeman

01:32:33 Piano Concerto No. 23 in A, KV 488: Allegro– Derek Han, Paul Freeman
01:43:21 Piano Concerto No. 23 in A, KV 488: Andante– Derek Han, Paul Freeman
01:49:36 Piano Concerto No. 23 in A, KV 488: Allegro– Derek Han, Paul Freeman

01:57:37 Requiem in D Minor, KV 626: Introitus, Requiem aeternam – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:02:22 Requiem in D Minor, KV 626: Kyrie eleison – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:05:07 Requiem in D Minor, KV 626: Dies Irae – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:07:05 Requiem in D Minor, KV 626: Tuba mirum – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:10:11 Requiem in D Minor, KV 626: Rex tremendae – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:12:20 Requiem in D Minor, KV 626: Recordare – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:16:44 Requiem in D Minor, KV 626: Confutatis – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:19:13 Requiem in D Minor, KV 626: Lacrimosa – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:22:17 Requiem in D Minor, KV 626: Domine Jesu – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:26:03 Requiem in D Minor, KV 626: Hostias – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:30:03 Requiem in D Minor, KV 626: Sanctus – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:31:43 Requiem in D Minor, KV 626: Benedictus – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:36:10 Requiem in D Minor, KV 626: Agnus Dei – Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer
02:40:13 Requiem in D Minor, KV 626: Lux aeterna b– Pamela Heuvelmans, Barbera Werner, Robert Morvaj,Thomas Pfeiffer

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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Artist: RIAS Kammerchor, Akademie fur Alte Musik Berlin, René Jacobs (conductor)

Johann Sebastian Bach’s Mass in B minor is regarded by many as one of the supreme achievements of Western classical music. Even before its first complete performance, the Swiss music historian and publisher Hans Georg Nägeli described it as the “greatest musical masterpiece of all times and nations”. Many scholars believe that, along with the Art of Fugue and the Musical Offering, the work presents a summation of Bach’s musicianship as well as the most glorious presentation of the composer’s deeply held religious beliefs. Much of the Mass gave new form to vocal music that Bach had composed throughout his career, some of which was not from sacred sources (a point of contention for Leipzig churchgoers). The Kyrie and Gloria (known as the “Missa”) had been written as an application for the post of court composer at Dresden. The remaining movements, the Sanctus, Benedictus and Agnus Dei, turn the “Missa” into a “Missa tota”: the full setting of the Ordinary of the Mass.

In the Kyrie, Bach explores three different forms of musical expression in an impassioned entreaty for God’s mercy. He brings in trumpets and drums to sing the praises of the Lord in the Gloria, Credo and Sanctus, and, as so often before, saves one of his most exquisite and poignant musical phrases to express the idea of peace in the ‘et in terra pax’. The dramatic contrast forged between the ‘Crucifixus’ and ‘Et resurrexit’ movements of the Credo serve as a dramatic representation of the Christian statement of belief, and the lamenting Agnus Dei aria gives way to a exultant chorus of ‘Dona nobis pacem’ (Grant us thy peace), bringing the vast score to its conclusion. René Jacobs directs the Akademie für Alte Musik Berlin in this reading, which was described as “Spacious and intimate … a compelling performance” by the BBC Music Magazine following its first release.

The Reissue of one of the finest recordings of Bach’s “Hohe Messe’!

This “compelling performance..spacious and intimate” (Gramophone) boasts of a line‐up of famous soloists: Christoph Prégardien, Matthias Goerne, Bernarda Fink and Hillevi Martinpelto, singers of world renown who have amply won their spurs in Early Music. René Jacobs and his Akademie für Alte Musik Berlin and the Rias Kammerchor count among the best (if not THE best..) of Baroque ensembles and choirs around the world.

00:00:00 Mass in B Minor BWV 232, Pt. 1: I. Chorus. Kyrie eleison (A 5)
00:10:10 Mass in B Minor BWV 232, Pt. 1: II. Duet. Christe eleison (Two Sopranos)
00:15:32 Mass in B Minor BWV 232, Pt. 1: III. Chorus. Kyrie eleison (A 4)
00:19:48 Mass in B Minor BWV 232, Pt. 1: IV. Chorus. Gloria in excelsis Deo (A 5)
00:21:37 Mass in B Minor BWV 232, Pt. 1: V. Chorus. Et in terra pax hominibus (A 5)
00:28:18 Mass in B Minor BWV 232, Pt. 1: VI. Aria. Laudamus te (Soprano II)
00:32:35 Mass in B Minor BWV 232, Pt. 1: VII. Chorus. Gratias agimus tibi (A 4)
00:35:08 Mass in B Minor BWV 232, Pt. 1: VIII. Duet Domine Deus (Soprano I, Tenor)
00:40:37 Mass in B Minor BWV 232, Pt. 1: IX. Chorus. Qui tollis peccata mundi (A 4, Soloists)
00:43:07 Mass in B Minor BWV 232, Pt. 1: X. Aria. Qui sedes ad dexteram Patris (Alto)
00:47:22 Mass in B Minor BWV 232, Pt. 1: XI. Aria. Quoniam tu solus Sanctus (Bass II)
00:51:59 Mass in B Minor BWV 232, Pt. 1: XII. Chorus. Cum Sancto Spiritu (A 5)
00:55:48 Mass in B Minor BWV 232, Pt. 2: I. Chorus. Credo in unum Deum (A 5)
00:58:30 Mass in B Minor BWV 232, Pt. 2: II. Chorus. Patrem omnipotentem (A 4)
01:00:32 Mass in B Minor BWV 232, Pt. 2: III. Duet. Et in unum Dominum (Soprano I, Alto)
01:05:31 Mass in B Minor BWV 232, Pt. 2: IV. Chorus & Soloists. Et incarnatus est (A 5)
01:08:08 Mass in B Minor BWV 232, Pt. 2: V. Chorus. Crucifixus etiam pro nobis (A 4)
01:11:25 Mass in B Minor BWV 232, Pt. 2: VI. Chorus & Soloists. Et resurrexit tertia die (A 5)
01:15:16 Mass in B Minor BWV 232, Pt. 2: VII. Aria. Et in Spiritum Sanctum (Bass)
01:20:13 Mass in B Minor BWV 232, Pt. 2: VIII. Chorus. Confiteor unum baptisma etiarn pro nobis (A 5)
01:25:18 Mass in B Minor BWV 232, Pt. 2: IX. Chorus. Et expecto resurrectionem (A 5)
01:27:24 Mass in B Minor BWV 232, Pt. 3: Chorus. Sanctus (A 6)
01:32:41 Mass in B Minor BWV 232, Pt. 4: I. Chorus. Osanna in excelsis (A 8)
01:35:15 Mass in B Minor BWV 232, Pt. 4: II. Aria. Benedictus (Tenor)
01:39:31 Mass in B Minor BWV 232, Pt. 4: III. Chorus. Osanna in excelsis (A 8)
01:42:05 Mass in B Minor BWV 232, Pt. 4: IV. Aria. Agnus Dei (Soprano II)
01:47:03 Mass in B Minor BWV 232, Pt. 4: V. Chorus. Dona nobis pacem (A 4)

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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

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This release presents works of Chopin written in his Vienna period, and here they are played on exactly such an instrument, as is still preserved in the Italian Palazzo Contucci in Montepulciano.
The young Chopin, a child prodigy if ever there was one, soon found his surroundings in his native Warsaw too narrow, and visited the cultural capital Vienna during the years 1829-1831. Here he met the local piano manufacturer Conrad Graf and was seduced by his instruments, with their light action and delicate, pliant sound.

His triumphal concerts in Vienna were played on Graf’s pianos, and the young Fryderick was presented one as a gift by Graf himself.

Other information:
- The extensive booklet supplies historical background, pictures, illustrations and photos.
- Costantino Mastroprimiano has already recorded extensively for Brilliant Classics: the complete keyboard music of Clementi highly praised by international critics.

Picture : Sunset Vienna

Composer:
Frédéric Chopin

Artist:
Constantino Mastroprimiano fortepiano

00:00:00 Polonaise in A flat Major (dedicated to Zywny) (1821)
00:04:05 Rondo in C Minor op. 1 (1825)
00:13:22 Mazurka in G Major, (1825-26)
00:14:29 Mazurka in B flat Major, (1825-26)
00:16:00 Polonaise in B flat Minor (1826)
00:22:22 Rondo à la Mazur in F Major op. 5 (1826)
00:32:51 3 Polonaises op. 71 (1827-29) in d Minor
00:39:19 3 Polonaises op. 71 (1827-29) in F Minor
00:49:26 3 Polonaises op. 71 (1827-29) in B flat Major
00:56:26 Polonaise in G flat Major (1829)
01:04:44 Variations in A Major “Souvenir de Paganini” (1829)
01:08:38 “Casta DIVa” from V. Bellini’s “Norma” (transcription for P. viardot)

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Composer: Dietrich Buxtehude
Artist: Simone Stella (harpsichord)


Dieterich Buxtehude (c.1637 - 1707) spent his career working as an organist in churches, but was also a prolific composer of secular instrumental music and wrote far more for harpsichord than most composers of his era. Buxtehude’s position in Lübeck and fame as an organist brought him into contact with many of the greatest musicians of his day, and his style demonstrates the variety of musical influences that he was exposed to, particularly from German and Italian repertoire, which he combined to create a unique personal style.

This set of 4 CDs collects together Buxtehude’s complete music for harpsichord, including suites in the popular French style, several works that can be played effectively on both organ and harpsichord (including preludes, fugues, canzonas and choral elaborations), and variations on arias, which showcase the composer’s creativity and ability to compose music in a variety of styles. Among the works featured are two new authentic harpsichord suites, discovered in 2004 and 2005, and the monumental La Capricciosa, one of the largest and most innovative solo keyboard works of the 17th century.

Performed by Simone Stella, who has previously played Buxtehude’s complete organ music in a series of concerts. This collection is a comprehensive overview of the harpsichord music of a composer seen by many as J.S. Bach’s true predecessor.

Composer: Franz Liszt, Jules Deswert
Artists: Francesco Dillon (cello), Emanuele Torquati (piano)

Tracklist below.

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Many of Liszt’s works were transcribed for other instruments, both by the composer himself and other musicians.These hauntingly beautiful pieces for cello and piano were originally written for piano solo or the voice. They are from the final period of his life and are the product of his old age and his quest for spirituality. Far from the virtuoso brilliance of his earlier works, their intense and romantic melodies express melancholy and desolation, the sparse textures and harmonic instability daringly looking forward to the twentieth century. The rich and warm expressive qualities of the cello undoubtedly make these pieces even more effective.

The most significant work in this collection is La lugubre gondola, a compelling piece written after Liszt had a premonition of Wagner’s death. It was inspired by the Venetian gondola funeral processions he observed during a visit to the city to see Wagner.The music conveys the stillness of a Venetian lagoon, the unsettling harmonies also evoking the underlying darkness and despair. Another work with a very personal connection is the nostalgic Die Zelle in Nonnenwerth, a transcription of one of his songs. Nonnenwerth was an island in the Rhine where Liszt spent time with Marie d’Agoult and their children, and his fondness for the work resulted in many different versions for solo piano, voice and piano duet as well as this version for cello and piano. There are also transcriptions for cello and piano by other musicians of some of his most popular piano works, including the six Consolations, Angelus! from the third volume of Années de Pelèrinages and the Liebestraum No.3.

The performers of this moving collection of works are the Italian cellist Francesco Dillon and the pianist Emanuele Torquati. Francesco Dillon performs as a soloist and with chamber groups all over the world and has made several recordings of unusual cello repertoire, including an album of Schumann rarities for Brilliant Classics.

00:00:00 Première Elégie, S. 130 (1874)
00:04:46 Zweite Elégie, S. 131 (1877)
00:09:15 Romance oubliée, S. 132 (1880)
00:13:12 La lugubre gondola, S. 134 (1882–5)
00:21:23 Die Zelle in Nonnenwerth, S. 382 (1883)
00:27:32 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 1 in C – No. 4 in D-Flat
00:31:48 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 2 in A
00:34:23 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 3 in E
00:38:38 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 5 in G
00:41:15 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 6 in C
00:44:18 Angelus! (Prière aux anges gardiens), S. 163, from Années de Pelèrinages: 3ème année, Italie (arr. L. Windsperger)
00:52:20 Liebestraum No. 3 in G, S. 541 (arr. M.Skalmer)

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Elise Neumann
00:00:00 País de abanico
00:04:40 Medallon Antiguo
00:08:07 Habanera
00:12:04 Vals Op.8 No.4
00:16:13 Gavota al estilo antiguo
00:18:51 Vals Tropical
00:21:37 El sueño de la razón produce monstruos
00:28:01 I. La Serenor
00:32:43 II. La Joia
00:35:57 III. La Calma
00:39:02 IV. La Gaubança
00:41:19 V. La Frisança

Giorgio Mirto
00:44:41 El destierro del jerarca
00:48:47 La rosa eterna
00:51:46 Rojas rodillas muertas
00:55:11 Una senil illusion
00:58:24 Los sueños reales son
01:02:56 El ultimo viaje
01:06:50 Flor de otoño

Frédéric Zigante
01:10:18 I. Mazurka-chôro
01:13:44 II. Schottisch-chôro
01:16:59 III. Valsa-chôro
01:22:07 IV. Gavotta-chôro
01:27:14 V. Chôrinho
01:31:29 Andante – Valsa brilhante
01:35:45 Mazurka
Giusepe Feola
01:38:10 No. 6, Fantasia. Aragon
01:43:47 No. 2, Oriental
01:48:25 No. 3, Sevillanas. Sevilla
01:53:19 No. 1, Serenata. Granada
01:58:37 No. 4, Saeta. Cadiz
02:03:20 No. 4, Córdoba
02:09:53 No. 8, Capricho. Cuba
02:15:04 No. 5, Leyenda. Asturias
02:22:16 No. 7, Seguidillas. Castilla
02:26:02 No. 2, Curranda. Cataluña
02:30:16 No. 3, Bajo la palmera

Ermanno Brignolo
02:35:58 Cançò en el mar
02:39:51 Catalanesca
02:42:09 Una leyenda
02:48:05 I. Pueblo castellano
02:49:55 II. En Aragón
02:51:15 III. Brujerias
02:53:00 I. Preludio
02:56:55 II. Coral
03:01:14 III. Cuna
03:06:47 IV. Recitativo
03:11:24 V. Canción
03:14:21 VI. Muñeira
03:17:13 Leyenda catalana

Tracklist below.

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

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

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

00:00:00 Die Zauberflöte: Act 1: Overture (Orchestra)
00:06:17 Die Zauberflöte: Act 1: No. 1. Introduction: Zu Hilfe! Zu Hilfe! (Tamino/Three Ladies)
00:12:11 Die Zauberflöte: Act 1: Dialogue: Wo bin ich? Ist’s Phantasie, daß ich noch lebe?
00:12:26 Die Zauberflöte: Act 1: No. 2. Song: Der Vogelfänger bin ich ja (Papageno)
00:15:03 Die Zauberflöte: Act 1: Dialogue: He da! (Tamino/Papageno/Three Ladies)
00:21:21 Die Zauberflöte: Act 1: No. 3. Aria: Dies Bildnis ist bezaubernd schön (Tamino)
00:24:50 Die Zauberflöte: Act 1: Dialogue: Rüste dich mit Mut und Standhaftigkeit (Three Ladies/Tamino)
00:26:40 Die Zauberflöte: Act 1: No. 4. Recitative und Aria: O zittre nicht, mein lieber Sohn! ( Queen of the Night)
00:31:18 Die Zauberflöte: Act 1: Dialogue: Ist’s denn auch Wirklichkeit was ich sah (Tamino)
00:31:40 Die Zauberflöte: Act 1: No. 5. Quintet: Hm, hm, hm, hm, hm! (Papageno/Tamino/Three Ladies)
00:37:30 Die Zauberflöte: Act 1: Dialogue: Ha, ha, ha! (Slaves/Monostatos)
00:38:43 Die Zauberflöte: Act 1: No. 6. Trio: Du feines Täubchen (Monostatos/Pamina/Papageno)
00:40:27 Die Zauberflöte: Act 1: Dialogue: Mutter – Mutter – Mutter! (Pamina/Papageno)
00:45:28 Die Zauberflöte: Act 1: No. 7. Duet: Bei Männern, welche Liebe fühlen (Pamina/Papageno)
00:48:29 Die Zauberflöte: Act 1: No. 8. Finale: Zum Ziele führt dich diese Bahn (Three Boys/Tamino)
00:49:59 Die Zauberflöte: Act 1: Recitative: Die Weisheitslehre dieser Knaben (Tamino/First Priest)
00:56:56 Die Zauberflöte: Act 1: Andante: Wie stark ist nicht dein Zauberton (Tamino)
00:59:40 Die Zauberflöte: Act 1: Andante: Schnelle Füße, rascher Mut (Pamina/Papageno/Monostatos/Slaves)
01:02:41 Die Zauberflöte: Act 1: Chorus: Es lebe Sarastro! Sarastro lebe! (Chorus/Papageno/Pamina)
01:04:14 Die Zauberflöte: Act 1: Larghetto: Herr, ich bin zwar Verbrecherin (Pamina/Sarastro)
01:06:35 Die Zauberflöte: Act 1: Allegro: Nun stolzer Jüngling, nur hierher! (Monostatos/Pamina/Tamino/All/Sarastro)
01:08:34 Die Zauberflöte: Act 1: Chorus: Wenn Tugend und Gerechtigkeit (Chorus)

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Composer: Stephen Heller
Artist: Jan Vermeulen (piano)

Are piano exercises boring? They do not have to be if you combine the talents of composer Stephen Heller and pianist Jan Vermeulen. Almost every amateur pianist on a slightly more advanced level will have come across Heller. This French/Hungarian composer wrote mainly for the piano. There are over 150 Opus numbers. But he is best-known, or perhaps rather despised for his Piano Studies or Etüden. However, having mastered the necessary technique any pianist will enjoy playing these pieces. For Heller has succeeded in composing exercises which have remained real music as well.
In this release, pianist Jan Vermeulen stands up for Heller by playing the bulk of his piano studies, amounting to 80 pieces. His flowing performances do justice to the musical content of the pieces and make the listener forget any possible hang-ups this music might have caused him or her in the past.

Tracklist in the comments!

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Composer: François Devienne, Gaetano Donizetti, Ludwig van Beethoven
Artist: Massimo Data bassoon, Mario Carbotti flute, Piero Barbareschi piano

A delightful programme featuring the bassoon in duo and trio formation chamber music, centred around the substantial and neglected Bassoon Trio WoO37 by Beethoven.
This new recording presents a brilliant duo for bassoon and flute by Devienne, a trio for flute, bassoon and piano by opera composer Donizetti, a virtuoso Fantasia on Verdi themes by Morlacchi/Torriani and Beethoven’s masterpiece.

Tracklist:
00:00:00 Sonata in C Major for Flute and Bassoon: I. Allegro moderato
00:09:19 Sonata in C Major for Flute and Bassoon: II. Rondeau
00:13:33 Trio in F Major for Flute, Bassoon and Piano: I. Larghetto
00:18:05 Trio in F Major for Flute, Bassoon and Piano: II. Allegro
00:26:32 Trio for Piano, Flute and Bassoon in G Major, WoO 37: I. Allegro
00:38:00 Trio for Piano, Flute and Bassoon in G Major, WoO 37: II. Adagio
00:42:56 Trio for Piano, Flute and Bassoon in G Major, WoO 37: III. Thema andante con variazioni
00:52:34 Duetto concertato

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Composer & Artist:
Composer: Abbé Joseph Carpentier, Aleixo Botelho de Ferreira, Cristoforo Signorelli, Giuseppe Zaneboni, Giovanni Cifolelli, Paolo Altieri, Pietro Denis, Salvador Castro de Gistau, Wilhelm Cramer
Artists: Artemandoline


About this Album:
‘Galant pleasures’ seems an apt description for this release, which presents a charming selection of works written for the mandolin in 18th-century Paris. Indeed, it was around this time that a number of plucked instruments came into vogue, and the mandolin in particular found great success among the nobility and middle classes, taking part in an atmosphere of intellect and refinement that prompted a new artistic direction in music of the period, revolutionising audiences’ tastes and sensibilities along the way.

Zaneboni, Altieri, Cifolelli, de Gistau, de Ferreira: many of the composers included hailed from different parts of Europe, eventually settling in Paris where music for the mandolin was reaching its zenith. The vast majority, if not all, will be unfamiliar with listeners, but this should not discourage them from tapping into a gem-packed compendium built around a number of sonatas as well as arias – works which highlight the instrument’s divertissement role in salons of the time. Acclaimed period-performance group Artemandoline is the featured ensemble, all of its members having undertaken painstaking research in order to recapture the standards of mandolin playing once enjoyed among the upper echelons of society, and which has set new standards in the interpretation and perception of 17th- and 18th-century works. Joined by soprano Nathalie Pearson, this release marks their second recording for Brilliant Classics, the first dedicated to the complete mandolin sonatas of Domenico Scarlatti.’

Tracklist:
00:00:00 Sonata per Mandolino e Basso: I. Allegro
00:02:34 Sonata per Mandolino e Basso: II. Andante
00:06:17 Sonata per Mandolino e Basso: III. Menuet
00:07:54 Minuetto afandangado (Andante con variazioni)
00:16:23 Ariette
00:19:48 Air de Julie
00:20:50 Tre sonate per due Mandolini: I. Allegretto
00:22:34 Tre sonate per due Mandolini: II. Andantino
00:25:03 Tre sonate per due Mandolini: III. Allegretto
00:26:50 Petit air
00:28:43 Ariette
00:30:23 Sonata in G Minor: I. Allegro
00:32:05 Sonata in G Minor: II. Andante
00:33:42 Sonata in G Minor: III. Presto
00:34:29 Air de serrurier
00:36:18 Air de déserteur
00:38:58 Sonata per Mandolino solo e Basso: I. Allegro moderato
00:42:44 Sonata per Mandolino solo e Basso: II. Andante
00:44:22 Sonata per Mandolino solo e Basso: III. Rondo allegro
00:46:27 Sonata per Mandolino e Basso: I. Allegro
00:47:54 Sonata per Mandolino e Basso: II. Allegro giga
00:49:50 Sonata per Mandolino e Basso: III. Allegro ma non tanto
00:52:06 Sonata per Mandolino e Basso: IV. Andante
00:53:14 Sonata per Mandolino e Basso: V. Minuetto

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Composer: Giuseppe Martucci
Artist: Alberto Miodini piano

The symphonies and tone-poems of Giuseppe Martucci (1856-1909) have retained a place on the fringes of the repertoire outside his native Italy thanks to advocacy by Arturo Toscanini and, latterly, Riccardo Muti.

Martucci was a man of protean talents and unflagging energy, who excelled as a composer, pianist, conductor, teacher
and moving force in musical culture. The direction of that force was set against the prevailing operatic scene of contemporary Italy – except, notably, where it intersected with German music. Thus he conducted Brahms, Liszt and especially Beethoven, as well as the Italian premiere of Tristan und Isolde. His own piano music is a continuation of the Lisztian tradition – at least, it becomes so, after flirting with the world of salon music in his early 20s.

The six Op.44 pieces are a much more substantial synthesis of elements from Italian popular culture – the gondoliers’ barcarola, the mule-drivers’ tarantella among them – with a wide-ranging, elaborately contrapuntal and fiendishly virtuosic style which owes much not only to Brahms and Liszt but to the composer’s formidable powers of performance. The Novella
Op.50 and Fantasia Op.51 experiment with more delicate textures in the manner of Chopin, and this tendency is further explored in the two Nocturnes Op.70, which move the form into late Lisztian realms of crepuscular harmony and dreamy phrases; the first of these Nocturnes became known in the early years of the last century through an orchestral transcription
which was often programmed by Toscanini. The pianist Alberto Miodini has studied these little-known works for years and written the introductory essay for these new recordings. This is his second recording for Brilliant Classics, after a well-received 4CD set (BC94806) of Schubert’s piano miniatures and free-standing pieces such as the Impromptus.

After years of comparative neglect Giuseppe Martucci is taking his rightful place as one of the most important late romantic Italian composers. His style is a happy and individual mix of Wagner and Verdi, dramatic chromatism softened by lyrical, bel canto style melodies. Martucci was a composer, conductor, teacher and excellent pianist, who made extensive European tours as a soloist. His piano music from his early period is written in sophisticated salon style, charming and picturesque. Later Martucci wrote more substantial works, like the Fantasia Op. 50 and Novella Op. 51, reminiscent of Chopin’s Scherzi and Ballades. The virtuoso pianism is proof of Martucci’s great gift as a performer.
Played with strong dedication and feeling for atmosphere by Italian pianist Alberto Miodini, pianist of the famous Trio di Parma, who already recorded successfully for Brilliant Classics the Klavierstücke by Schubert (BC94806).
00:00:00 6 Pezzi Op. 44: I. Capriccio. Allegro risoluto
00:02:51 6 Pezzi Op. 44: II. Pezzo fantastico. Allegro
00:08:47 6 Pezzi Op. 44: III. Colore orientale. Tempo di Marcia – Poco più mosso
00:19:01 6 Pezzi Op. 44: IV. Barcarola. Andantino con moto – Animato
00:24:16 6 Pezzi Op. 44: V. Notturno. Moderato, ma non troppo – Animato molto e con agitazione
00:29:29 6 Pezzi Op. 44: VI. Tarantella. Allegro molto
00:35:53 Novella in B-Flat Major, Op. 50
00:47:10 Fantasia in G Minor, Op. 51
00:59:10 2 Notturni, Op. 70: No. 1 in G-Flat Major. Moderato
01:04:24 2 Notturni, Op. 70: No. 2 in F-Sharp Minor. Andantino

Tracklist Below:
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00:00:00 Piano Concerto in G Major: II. Adagio assai - Maurice Ravel - Klára Würtz, Janáček Philharmonic Orchestra & Theodore Kuchar
00:09:19 Partita in F Major: II. Adagio un poco - Johann George Albrechtsberger
00:16:22 Harp Concerto in B-Flat Major, HWV 294: II. Larghetto – George Frederic Handel
00:21:53 Guitarmosaics: Nostalgia – Giovanni Caruso
00:25:25 Guitarmosaics: Estasi d’ amore – Giovanni Caruso
00:29:44 Impromptu in B-Flat Major, Op. 142 No. 3 'Rosamunde' – Franz Schubert
00:40:59 Prelude No. 1 in C Major, BWV 846: Ave Maria – J.S. Bach
00:45:35 Fantasiestücke, Op. 12: I. Des Abends – Schumann
00:48:58 An der schönen blauen Donau, Op. 314 – Johann Straus ||
00:58:52 River Flows in you – Yiruma
01:02:23 Chaconne – Yiruma
01:06:25 Spring Waltz - Yiruma

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Physical purchase:
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Artists: Daniele Ruggieri, Andrea Toschi

With a repertoire spanning almost 150 years, from 1844 right up to 1992, this release brings together a wide range of works for flute and organ by composers from a variety of countries and musical backgrounds. During the Baroque period, it was common to pair the flute (or recorder) with the harpsichord; the combination here of flute and organ is by contrast far more exotic, the great power of which the latter instrument is capable pitted against the domestic nature of the former. The works on this release are all rare gems, showing just how well these two diverse timbres are able to complement each other – and at the same time revealing the great skill of many lesser-known composers.

While the music on this release spans a large period of time, many of the works share a common thread of religion spirituality. German composer Hiller uses a Lutheran hymn as inspiration for his work Andante religioso, and the pieces by French composers Caplet and Gallon are both infused with a deep sense of mysticism, particularly pertinent as Caplet retreated to a monastery later in life. The religious theme continues into the more contemporary works by Italian composers D’Aurizio and Lincetto; the former was a noted composer of sacred music throughout his life, and Lincetto’s work Messa degli artisti is a modern take on a traditional meditative prayer.

An enterprising and original programme of works originally written for flute and organ by a wide variety of composers, spanning more than 150 years (not the usual compilation of Baroque lollipops like the Albinoni/Adagio or the Bach/Air!).
Featuring are works by composers Hartmann, Lachner, Donjon, Doppler, Hiller, Gallon, Genzmer, d’Aurizio, Manzino. They explore the rich possibilities and diverse qualities of the two instruments in a fascinating way, sharing a spiritual or liturgical background.
Superbly played by Daniele Ruggieri, flute (“beautiful and playful display of virtuosity” The Times) and Andrea Toschi, organ.
Recorded in Padua.

00:00:00 Praeludium for Flute and Organ in G Minor
00:03:37 Elegie
00:10:07 Invocation
00:12:50 Offertoire, Op. 12
00:17:43 Idylle “l’oiseau des bois”, Op. 21
00:23:57 Andante religioso, Op. 6
00:30:29 Feuillets d’album: IV. Invocation
00:34:25 Recueillement
00:39:26 Sei brani liturgici: I. Introduzione
00:40:33 Sei brani liturgici: II. Offertorio
00:41:47 Sei brani liturgici: III. Pezzo semplice
00:44:49 Sei brani liturgici: IV. Sanctus
00:46:11 Sei brani liturgici: V. Preghiera in C Major
00:47:54 Sei brani liturgici: VI. Adagio
00:48:56 Due melodie facili: I. Andantino
00:50:38 Due melodie facili: II. Andantino
00:51:54 Adagio (1990)
00:58:22 Messa degli artisti (1980): Preghiera dell’artista
01:01:26 Messa degli artisti (1980): Elevazione
01:03:31 Sonata for Flute and Organ(1992): I. Adagio
01:08:59 Sonata for Flute and Organ(1992): II. Allegretto

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Composer & Artist:
Composer: Giuseppe Verdi
Artist: Daniela Nedialkova (soprano), Ivanka Ninova (mezzo soprano), Roumen Doikov (tenor), Emil Ponorski (bass), Choir and Orchestra of the Sofia Opera, Ivan Marinov (conductor)

About this Album:
In 1868 Rossini died, and the leading composers of the day grouped together to contribute to a jointly composed Requiem for the great man who had dominated Italian opera for half a century. Much to Verdi’s frustration, the work was never performed. In 1871, the director of the Milan Conservatoire asked him if he’d ever thought of composing a Requiem of his own – after all, he’d written the Libera me, the final part of the multicomposer work. Verdi dismissed the idea, saying that there were enough Requiems already.

In 1873, Verdi’s friend, and favourite author Alessandro Manzoni died aged 88. Verdi had first read his novels when he was 16 years old. He was devastated at the news of Manzoni’s death, so much so he was unable to attend his funeral. This provided the catalyst for what is the grandest of all Requiems. Premiered in 1874 with the composer conducting, it was an immediate success, and Verdi toured the work to Paris, London, Cologne and Vienna – in fact he conducted it more often than any of his operas. Overtly operatic in nature, it has been called ‘Verdi’s greatest opera’, but it is a deeply spiritual work, adhering to the traditional Mass for the dead. It ranks among the very greatest of religious works alongside Bach’s Mass in B minor, Mozart’s Requiem and Beethoven’s Missa solemnis.

Tracklist:
00:00:00 I. Requiem aeternam – Kyrie
00:08:52 II. Dies irae: Dies irae
00:10:53 II. Dies irae: Tuba mirum
00:13:42 II. Dies irae: Liber scriptus
00:18:24 II. Dies irae: Quid sum miser
00:21:59 II. Dies irae: Rex tremendae
00:25:15 II. Dies irae: Recordare
00:29:19 II. Dies irae: Ingemisco
00:32:26 II. Dies irae: Confutatis
00:37:24 II. Dies irae: Lacrymosa
00:43:09 III. Offertorium: Domine Jesu Christe
00:52:38 IV. Sanctus
00:55:10 V. Agnus Dei
01:00:19 VI. Lux aeterna
01:06:14 VII. Libera me

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