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Written across the decades of his long and industrious career, Telemann’s oboe concertos vary considerably in musical terms, yet they are always distinguished by his apparently effortless feeling for melody and grateful writing for the soloist. His language is instantly identifiable and unique to him: although it certainly belongs to the Baroque age, it also contains hints of the Classical style, and in particular the style galant.
Three concertos here date from the 1720s, a highly productive period for the composer, which was spent in Frankfurt and then Hamburg. He had written in 1718 that he had no great enthusiasm for the genre of concerto, but that reservation should probably be interpreted as a distaste for the ostentatious display of virtuosity in some Italian concertos; indeed, virtuosity for its own sake seems to have interested him far less than innovations in scoring, style and structure. Indeed these concertos represent virtually a history of the genre in Germany during the first half of the 18th century.
The composer displayed a particular fondness for the sweeter timbre of the oboe d’amore, and his use of it in suites and concertos significantly contributed to its wider success and growth of use throughout Germany during the first half of the 18th century. The A major concerto, TWV51:A2 is a particularly graceful example, opening with a Siciliano in a tripping 6/8 rhythm and continuing in a similarly untroubled vein of pastoral lyricism.
This is the third album of the Latvian oboist Andrius Puskunigis to appear on Brilliant Classics, after highly successful releases of Bach (BC94991) and Classical (BC95218) oboe concertos, which won won international praise for their technical transparency and stylish exuberance.
Georg Philipp Telemann was one of the most prolific composers in music history, his many works however all share a freshness, originality and brilliance which shows the true genius of this too long neglected Baroque composer, contemporary of Bach and Handel. The six concertos recorded on this disc are for solo oboe or oboe’d’amore. Most of them were written in Telemann’s Hamburg period. They are clearly modelled on the concertos by Vivaldi and Albinoni, italianate melodies of great melodic charm and beauty, alternate with brilliant figurations and instrumental virtuosity.
Excellent performances by Andrius Puskunigis and his Lithuanian ensemble St Christopher Chamber orchestra conducted by Donatas Katkus, following the principals of Historically Informed Performance Practice while playing modern instruments. Puskunigis’ earlier recording of Bach Oboe Concertos (BC 94991) received excellent reviews, praising his vitality, flexibility and “Spielfreude”.

 
00:00:00 Oboe Concerto in G Major, TWV 51:G2: I. Andante
00:02:56 Oboe Concerto in G Major, TWV 51:G2: II. Vivace
00:05:08 Oboe Concerto in G Major, TWV 51:G2: III. Adagio
00:07:28 Oboe Concerto in G Major, TWV 51:G2: IV. Allegro

00:09:49 Oboe Concerto in E Minor, TWV 51:e1: I. Andante
00:12:52 Oboe Concerto in E Minor, TWV 51:e1: II. Allegro molto
00:15:38 Oboe Concerto in E Minor, TWV 51:e1: III. Largo
00:19:04 Oboe Concerto in E Minor, TWV 51:e1: IV. Allegro

00:21:30 Concerto for Oboe d’amore in A Major, TWV 51:A2: I. Siciliano
00:24:30 Concerto for Oboe d’amore in A Major, TWV 51:A2: II. Allegro
00:27:03 Concerto for Oboe d’amore in A Major, TWV 51:A2: III. Largo
00:30:52 Concerto for Oboe d’amore in A Major, TWV 51:A2: IV. Vivace

00:35:38 Oboe Concerto in E-Flat Major, TWV 51:Es1: I. Allegro
00:39:41 Oboe Concerto in E-Flat Major, TWV 51:Es1: II. Largo
00:42:43 Oboe Concerto in E-Flat Major, TWV 51:Es1: III. Allegro

00:45:59 Concerto for Oboe d’amore in E Minor, TWV 51:e2: I. Allegro
00:48:50 Concerto for Oboe d’amore in E Minor, TWV 51:e2: II. Andante
00:50:48 Concerto for Oboe d’amore in E Minor, TWV 51:e2: III. Allegro

00:53:05 Oboe Concerto in D Minor, TWV 51:d2: I. Largo
00:57:03 Oboe Concerto in D Minor, TWV 51:d2: II. Vivace
01:00:30 Oboe Concerto in D Minor, TWV 51:d2: III. Andante
01:03:15 Oboe Concerto in D Minor, TWV 51:d2: IV. Allegro

Tracklist below.

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This disc brings together a rich selection of lute works by composers who were all in some way connected to Vienna, the capital of the vast Habsburg monarchy. It shows that also before the Viennese school of Haydn/Mozart/Beethoven Vienna was a cultural melting pot, and a hotspot of musical activity and development.
Composers featured are Muffat, Gaultier, Bittner, Bartolotti, Lauffensteiner, Bertelli, Kohaut and Gluck.
Lutenist Bernard Hoffstötter, a native of Vienna, is a specialist in the Baroque era, and has recorded to great critical acclaim on the quality labels Atma and Querstand.
Contains extensive notes on the music and the performer in English and German.
Recorded in France in 2014.

00:00:00 Passacaglia in A Major
00:07:06 Tombeau
00:11:42 Dernière courente de Gautier
00:14:29 Folies d’Espagne
00:19:06 Gigue de Angelis de Rome
00:20:45 Allemande
00:25:42 Courante
00:28:13 Gigue
00:29:29 Sarabande grave
00:33:00 Suite in F Major: I. Allemande
00:36:34 Suite in F Major: II. Courante
00:38:56 Suite in F Major: III. Menuet
00:39:56 Suite in F Major: IV. Sarabande
00:42:53 Suite in F Major: V. Gigue
00:44:26 Menuet
00:48:01 Sonata a liuto solo in D Major: I. Adagio
00:51:39 Sonata a liuto solo in D Major: II. Allegro
00:56:54 Sonata a liuto solo in D Major: III. Menuet & Trio
01:01:42 Passacaglia

Artist:
Bernhard Hofstötter lute

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When approaching music as popular and as deservedly loved as Chopin’s waltzes, a musician must have something special to say for a new recording to make its mark. 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.

Among recent and forthcoming recordings in his extensive discography are discs of diverse repertoire drawn from solo and chamber music including the piano quintet of Taneyev; Grieg’s violin Sonatas, Bach’s keyboard toccatas, cello sonatas by Martucci, and a Schumann recital. But the apparently simplicity of Chopin’s waltzes is no less a test of musical and technical mastery than many of these more recondite delights. The 17 waltzes are not gathered into one or two collections like the Etudes, but were composed throughout Chopin’s all-too-brief career. For many the best-known and yet also most sublime a distillation of the waltz-form is Op.64 No.1, known as the ‘Minute’ on account of its brevity. Op.69 No.1 breathes no less spirited an evocation of remembered youth, and yet with the shadow behind its harmonies of regret and melancholy which unforgettably tinge the Nocturnes. There is a waltz for every mood, and Deljavan’s interpretations will receive wide critical attention.
Chopin’s waltzes are written for the Parisian salon, for a sophisticated audience of artists and aristocracy. Though more “light hearted” than most of his other compositions they bear the unmistakable genius of Chopin: refined and exquisite pianism, brilliance and melancholy, sorrow and joy go hand in hand.
Italian Alessandro 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).

Composer:
Frédéric Chopin
Artist:
Alessandro Deljavan (piano)

00:00:00 “Grande valse brillante” in E-Flat Major, Op. 18
00:06:23 Waltzes, Op. 34: I. Vivace in E-Flat Major
00:12:18 Waltzes, Op. 34: II. Lento in A Minor
00:18:21 Waltzes, Op. 34: III. Vivace in F Major
00:20:54 Waltz in A-Flat Major, Op. 42
00:25:00 Waltzes, Op. 64: I. Minute Waltz in D-Flat Major
00:26:55 Waltzes in C-Sharp Minor Op.64 No.2
00:30:29 Waltz in A-Flat Major, Op. 64 No. 3
00:33:32 Waltz in A-Flat Major, Op. 69 No. 1
00:35:51 Waltz in B Minor, Op. 69 No. 2
00:38:09 Waltzes, Op. 70: I. Waltz in G-Flat Major
00:40:24 Waltzes, Op. 70: II. Waltz in F Minor
00:41:47 Waltzes, Op. 70: III. Waltz in D-Flat Major
00:44:44 Waltz in A-Flat Major, KKIVa No. 13
00:46:51 Waltz in E Major, KKIVa No. 12
00:49:57 Waltz in E Minor, KKIVa No. 15
00:52:11 Waltz in A Minor, KKIVa No. 11
00:54:26 Sostenuto “Waltz” in E-Flat Major, KKIVa No. 10
00:56:01 Waltz in E-Flat Major, KKIVa No. 14

Tracklist below.

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Composer: Claude Debussy
Artists: Trio Stradivari, Federico Guglielmo (violin), Luigi Puxeddu (cello), Jolanda Violante (piano)

These original works and arrangements for violin, cello and piano by Claude Debussy span the composer’s protean career, from the early Piano Trio of 1880 to the Cello Sonata of 1915 and the Violin Sonata, completed in 1917 as part of an abortive six-sonata project which ended halfway when he died the following year. Especially since the performances are given with the experience harvested by three musicians who are better known as early-music specialists, soaked in the philosophy of historically informed performance practice, they offer an intriguing survey, unique on record, of the composer’s development. As Harold Schonberg, music critic of The New York Times, wrote, it would be amusing to invite classical music ‘experts’ to listen to the Piano Trio, with its expressive reminiscences of Schumann, and then guess who the composer is: few of them would say Debussy. And yet the two late sonatas masterfully shuffle the cards of Impressionism, pre-Classical sonata structures and Stravinskian distance and eccentricity: the Cello Sonata originally bore a heavily symbolic title (Pierrot faché avec la lune) relating to the paintings of Watteau with their elusive mixture of melancholy and irony. It uses the timbre of early music and citations from the great French harpsichordists to conjure up Pierrot’s moody, troubled world, which was that of the slyly smiling masks of the commedia dell’arte.

The arrangements are the work of several hands, among them Debussy himself, of better-known and justifiably popular works that revel in the sophisticated evocation of mood through lyrical melody and evanescent textures, including ‘The Girl with the Flaxen Hair’ and ‘Minstrels’

00:00:00 Piano Trio in G Major, L. 3: I. Andantino con moto allegro
00:09:04 Piano Trio in G Major, L. 3: II. Scherzo-Intermezzo. Moderato con allegro
00:12:35 Piano Trio in G Major, L. 3: III. Andante espressivo
00:16:30 Piano Trio in G Major, L. 3: IV. Finale. Appassionato
00:21:57 Violin Sonata in G Minor, L. 140: I. Allegro vivo
00:27:25 Violin Sonata in G Minor, L. 140: II. Intermède. Fantasque et legér
00:31:39 Violin Sonata in G Minor, L. 140: III. Finale. Très animé
00:36:11 Cello Sonata in D Minor, L. 135: I. Prologue. Lent, sostenuto e molto risoluto
00:40:54 Cello Sonata in D Minor, L. 135: II. Sérénade. Modérément animé
00:44:26 Cello Sonata in D Minor, L. 135: III. Final. Animé, léger et nerveux
00:48:05 Intermezzo, L. 27
00:53:34 Scherzo, L. 26
00:59:00 Préludes, L. 117: No. 12, Minstrels
01:01:22 Préludes, L. 117: No. 8, La fille aux cheveux de lin
01:04:00 Deux Arabesques, L. 66: Première Arabesque
01:08:57 Romances, L. 79: Romance No. 1
01:11:07 Rêverie, L. 68

Tracklist below.

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Although it was the Irish pianist‐composer John Field who created the form ‘nocturne’, it was Chopin who realised its fullest possibilities as a medium for expressing some
of his most sensitive and poetic thoughts. “They have,” wrote James Huneker of Chopin’s nocturnes, “the exotic savour of the heated conservatory, not the fresh scent of the flowers grown in the open by the less poetic John Field … Chopin loved the night and its starry mysteries; his nocturnes are truly night pieces, some wearing an agitated, remorseful countenance; others seen in profile only; while many are like whisperings at dusk – Verlaine moods.”

In this recording the late Earl Wild abandons the usual chronological ordering in favour of mood, key and effect. Described as “one of the greatest pianists of the 20th century” (The Guardian), it was the American virtuoso’s wish through recording the Nocturnes to provide listeners with what he described as a “link to the romantic spirit and tradition of the past”, all the while emulating the abundance of technique and unfettered imagination that characterises the playing of who he considered to be history’s greatest interpreters of the set (Rachmaninoff and Paderewski, among others).

Renowned for his “deeply considered interpretive approach and ironclad technique” (The New York Times), Wild achieves this and more – for many, his interpretations are the ones against which all others are to be judged: “It’s the finest collection of complete Nocturnes ever recorded. The instrument cannot be played more perfectly” (Harold C. Schonberg, FI).

Painting is named a girl with a watering can by Pierre-Auguste Renoir.

Composer:
Frédéric Chopin

Artist:
Earl Wild (piano)

00:00:00 No.13 in C minor Op.48 No.1
00:05:42 No.20 in C sharp minor Op. posth.
00:09:35 No.5 in F sharp Op.15 No.2
00:13:11 No.9 in B Op.32 No.1
00:18:07 No.19 in E minor Op.72 No.1
00:21:47 No.18 in E Op.62 No.2
00:27:06 No.3 in B minor Op.9 No.3
00:32:43 No.12 in G Op.37 No.2
00:38:09 No.10 in A flat Op.32 No.2
00:43:44 No.8 in D flat Op.27 No.2
00:49:05 No.1 in B flat minor Op.9 No.1
00:54:29 No.6 in G minor Op.15 No.3
00:59:02 No.14 in F sharp minor Op.48 No.2
01:06:12 No.17 in B Op.62 No.1
01:12:30 No.2 in E flat Op.9 No.2
01:16:43 No.15 in F minor Op.55 No.1
01:21:25 No.16 in E flat Op.55 No.2
01:25:41 No.7 in C sharp minor Op.27 No.1
01:30:16 No.4 in F Op.15 No.1
01:34:38 No.11 in G minor Op. No.1
01:42:22 No.21 in C minor Op. posth.

Tracklist below:
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Composer:
Einaudi

Artist:
Jeroen van Veen (piano)

00:00:00 Le Onde: No. 1, Canzone popolare
00:00:59 Le Onde: No. 2, Le Onde
00:06:17 Le Onde: No. 3, Lontano
00:11:35 Le Onde: No. 4, Ombre
00:17:13 Le Onde: No. 5, La linea scura
00:21:17 Le Onde: No. 6, Tracce
00:25:20 Le Onde: No. 7, Questa notte
00:31:16 Le Onde: No. 8, Sotto Vento
00:39:08 Le Onde: No. 9, Dietro l'incanto
00:44:28 Le Onde: No. 10, Onde
00:47:52 Le Onde: No. 11, La profondita del buio
00:51:49 Le Onde: No. 12, Passaggio
00:57:19 Le Onde: No. 13, L'ultima volta
01:01:24 Eden Roc: No. 1, Fuori dalla note
01:06:12 Eden Roc: No. 2, Due tramonti
01:11:28 Eden Roc: No. 3, Nefeli
01:16:49 Eden Roc: No. 4, Giorni dispari
01:22:59 Eden Roc: No. 5, Julia
01:28:03 Eden Roc: No. 6, Fuori dal mondo
01:33:04 Eden Roc: No. 7, Un mondo a parte
01:37:24Eden Roc: No. 8, Password
01:42:31 Eden Roc: No. 9, Exit
01:49:10 Eden Roc: No. 10, The Dark Bank of Clouds
01:52:54 Eden Roc: No. 11, Corale Solo
01:57:05 Eden Roc: No. 12, Sarabande
02:04:39 I Giorni: No. 1, Melodia africana I
02:07:03 I Giorni: No. 2, I due fiumi
02:11:40 I Giorni: No. 3, In un'altra vita
02:17:11 I Giorni: No. 4, Melodia africana II
02:19:33 I Giorni: No. 5, Stella del mattino
02:22:03 I Giorni: No. 6, I giorni
02:28:28 I Giorni: No. 7, Samba
02:32:51 I Giorni: No. 8, Melodia africana III
02:37:27 I Giorni: No. 9, La nascita delle cose segrete
02:42:22 I Giorni: No. 10, Quel che resta
02:47:19 I Giorni: No. 11, Inizio
02:51:18 I Giorni: No. 12, Limbo
02:56:09 I Giorni: No. 13, Bella note
03:01:17 I Giorni: No. 14, Melodia africana IV
03:10:35 Una Mattina: No. 1, Una mattina
03:13:57 Una Mattina: No. 2, Ora
03:22:33 Una Mattina: No. 3, Resta con me
03:27:27 Una Mattina: No. 4, Leo
03:34:12 Una Mattina: No. 5, Dolce droga
03:38:25 Una Mattina: No. 6, Dietro casa
03:42:46 Una Mattina: No. 7, Come un fiore
03:47:28 Una Mattina: No. 8, Nuvole nere
03:52:52 Una Mattina: No. 9, Questa volta
03:56:54 Una Mattina: No. 10, Nuvole bianche
04:02:43 Una Mattina: No. 11, Ancora
04:16:03 Una Mattina: No. 12, The Snow Prelude No. 3
04:17:57 Una Mattina: No. 13, The Earth Prelude

Tracklist below.

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Composer: Frédéric Chopin
Artist: Wolfram Schmitt-Leonardy (piano)

Tracklist:
00:00:00 Ballade No. 1 in G Minor, Op. 23
00:09:04 Ballade No. 2 in F Major, Op. 38
00:16:28 Ballade No. 3 in A- Flat Major, Op. 47
00:23:35 Ballade No. 4 in F Minor, Op. 52
00:34:23 Impromptu No. 1 in A-Flat Major, Op. 29
00:38:23 Impromptu No. 2 in F-Sharp Major, Op. 36
00:44:11 Impromptu No. 3 in G-Flat Major, Op. 51
00:49:20 Fantaisie-impromptu in C-Sharp Minor, Op. 66
00:54:20 Preludes, Op. 28: I. Prelude in C Major. Agitato
00:55:09 Preludes, Op. 28: II. Prelude in A Minor. Lento
00:57:20 Preludes, Op. 28: III. Prelude in G Major. Vivace
00:58:21 Preludes, Op. 28: IV. Prelude in E Minor. Largo
01:00:28 Preludes, Op. 28: V. Prelude in D Major. Allegro molto
01:01:07 Preludes, Op. 28: VI. Prelude in B Minor. Lento assai
01:03:18 Preludes, Op. 28: VII. Prelude in A Major. Andantino
01:04:05 Preludes, Op. 28: VIII. Prelude in F-Sharp Minor. Molto agitato
01:05:57 Preludes, Op. 28: IX. Prelude in E Major. Largo
01:07:19 Preludes, Op. 28: X. Prelude in C-Sharp Minor. Allegro molto
01:07:53 Preludes, Op. 28: XI. Prelude in B Major. Vivace
01:08:32 Preludes, Op. 28: XII. Prelude in G-Sharp Minor. Presto
01:09:45 Preludes, Op. 28: XIII. Prelude in F-Sharp Major. Lento
01:13:17 Preludes, Op. 28: XIV. Prelude in E-Flat Minor. Allegro
01:13:50 Preludes, Op. 28: XV. Prelude in D-Flat Major “Raindrop”. Sostenuto
01:19:34 Preludes, Op. 28: XVI. Prelude in B-Flat Minor. Presto con fuoco
01:20:42 Preludes, Op. 28: XVII. Prelude in A-Flat Major. Allegretto
01:24:35 Preludes, Op. 28: XVIII. Prelude in F Minor. Allegro molto
01:25:33 Preludes, Op. 28: XIX. Prelude in E-Flat Major. Vivace
01:27:03 Preludes, Op. 28: XX. Prelude in C Minor. Largo
01:28:49 Preludes, Op. 28: XXI. Prelude in B-Flat Major. Cantabile
01:31:21 Preludes, Op. 28: XXII. Prelude in G Minor. Molto agitato
01:32:09 Preludes, Op. 28: XXIII. Prelude in F Major. Moderato
01:33:05 Preludes, Op. 28: XXIV. Prelude in D Minor. Allegro appassionato

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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 the first 2 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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A Album containing the best music composed by Frédéric François Chopin!
Painting is from Pierre-Auguste Renoir and is named two sisters (at the terrace).

Composer:
Frédéric Chopin

00:00:00 Ballade No. 1 in G Minor, Op. 23 – Klára Würtz
00:08:28 Prelude in C sharp Minor, Op. 45 – Paolo Giacometti
00:12:53 Rondo a la Mazur in F, Op. 5 – Frank van de Laar
00:22:37 Polonaise in A, Op. 40 No. 1 “Military” – Folke Nauta
00:28:13 Etude in A-Flat, Op. 25 NO. 1 “Aeolian Harp” – Martijn van den Hoek
00:30:51 Waltz in E-Flat, Op. 18 – Martijn van den Hoek
00:35:58 Nocturne in C-Sharp Minor, Op. 27 No. 1 – Yoram Ish-Hurwitz
00:41:03 Mazurka Op.24 No. 1 in G Minor – Cor de Groot
00:44:03 Mazurka Op. 24 No. 2 in C – Cor de Groot
00:46:25 Mazurka Op. 24 No. 3 in A-Flat – Cor de Groot
00:48:55 Mazurka Op. 24 No. 4 in B-Flat Minor – Cor de Groot
00:53:04 Fantasie in F Minor, Op. 49 – Alwin Bar
01:06:14 Andante Spianato et Grande Polonaise Brilliante in E-Flat, Op. 22 – Folke Nauta
01:20:31 Nocturne in D-Flat, Op. 27 No. 2 – Yoram Ish-Hurwitz
01:26:57 Krakoviak for piano & orchestra, Op. 14 – Arthur Moreira-Lima
01:42:49 Nocturne in C-Sharp Minor, Op. Posth. – Yoram Ish-Hurwitz
01:46:54 Mazurka Op. 59 No. 1 in A Minor – Cor de Groot
01:50:32 Mazurka Op. 59 No. 2 in A-Flat – Cor de Groot
01:53:16 Mazurka Op. 59 No. 3 in F-Sharp Minor – Cor de Groot
01:56:45 Impromptu in A-Flat, Op. 29 – Pieter van Winkel
02:00:32 Waltz in A Minor, Op. 34 No. 1 - Pieter van Winkel
02:05:56 Ballade No. 4 in F Minor, Op. 52 - Pieter van Winkel
02:17:21 Berceuse in D-Flat, Op. 57 – Alwin Bar
02:22:30 Polonaise in A-Flat, Op. 53 “Heroic” – Folke Nauta
02:29:32 Nocturne in E-Flat, Op. 9 No. 2 – Pieter van Winkel
02:33:42 Waltz in D-Flat, Op. 64 No. 1 “Minute Waltz” - Martijn van den Hoek
02:35:28 Waltz in C-Sharp Minor, Op. 64 No. 2 – Martijn van den Hoek
02:39:09 Ballade No. 3 in A-Flat, Op. 47 - – Pieter van Winkel
02:46:31 Souvenir de Paganini – Frank van de Laar
02:50:49 Fantasie-Impromptu No. 4 in C-Sharp Minor, Op. 66 – Pieter van Winkel
02:55:59 Etude in E, Op. 10 No. 3 “Tristesse” - Martijn van den Hoek
03:00:02 Scherzo No. 2 in B-Flat Minor, Op. 31 – Alwin Bar
03:09:52 Prelude in D-Flat, Op. 28 No. 15 “Raindrop” – Paolo giacometti
03:15:08 Etude in C Minor, Op. 10 No. 12 “Revolutionary” – Martijn van den Hoek
03:17:54 Nocturne in B-Flat Minor, Op. 9 No. 1 – Pieter van Winkel
03:23:07 Barcarolle in F-Sharp, Op. 60 – Alwin Bar

Alfred Brendel’s first recorded cycle of the complete works for piano of Beethoven appeared in the 1960s on the Vox label. They established his reputation as a leading interpreter of the composer, and although he returned to the studio subsequently to re-record the sonatas and concertos for Philips, these early recordings have retained their freshness and originality. For many record collectors, the budget price Turnabout label provided a happy hunting ground for those who sought out unusual repertoire. The parent company Vox also had the vision to ask the relatively unknown Brendel to undertake the huge project of recording all the Beethoven Sonatas, Variations and Piano Concertos. These recordings document the artist as a young man at the outset of his extraordinary journey, and in repertoire that will always be closely associated with him. They also stand comparison with his later interpretations of Beethoven.

Composer: Ludwig van Beethoven
Artist: Alfred Brendel (piano)

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00:00:00 Piano Sonata No.14 in C sharp Minor Op.27 No.2 ‘Moonlight’: I. Adagio sostenuto
00:05:58 Piano Sonata No.14 in C sharp Minor Op.27 No.2 ‘Moonlight’: II. Allegretto
00:08:16 Piano Sonata No.14 in C sharp Minor Op.27 No.2 ‘Moonlight’: III. Presto agitato
00:15:52 Piano Sonata No.8 in C Minor Op.13 ‘Pathétique’: I. Grave – Allegro di molto e con brio
00:25:00 Piano Sonata No.8 in C Minor Op.13 ‘Pathétique’: II. Adagio cantabile
00:30:44 Piano Sonata No.8 in C Minor Op.13 ‘Pathétique’: III. Rondo:Allegro
00:35:09 Piano Sonata No.23 in F Minor Op.57 ‘Appassionata’: I. Allegro assai
00:44:47 Piano Sonata No.23 in F Minor Op.57 ‘Appassionata’: II. Andante con moto
00:51:03 Piano Sonata No.23 in F Minor Op.57 ‘Appassionata’: III. Allegro ma non troppo

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Composer: Antonio Vivaldi
Artists: La Magnifica Comunitá, Enrico Casazza (violin and concert master)

Vivaldi’s Four Seasons is one of the world’s most popular and widely recorded collections of music, a set that instantly became an international hit after it was first published at part of the composer’s Op.8 in 1725. No doubt it was its imitative directness – extra musical occurrences/phenomena evoked in an extremely suggestive manner and even written into the score, such as ‘the barking dog’ or ‘the drunkards’ sleep’ etc. – that caused such as sensation in its time, effortlessly bridging the gap between the salons of the highborn and the alehouses of the lowly. Today nothing has changed: the concertos are performed both by great violin virtuosos and famous hard rockers; they are works that are constantly being presented in new guises through the re-imagining and re-working of the musical score. This is an extremely infectious performance by early music specialists La Magnifica Comunitá.

00:00:00 Concerto in E, Op. 8 No. 1, RV 269, F. I/22, ‘La primavera (Spring): I. Allegro
00:03:26 Concerto in E, Op. 8 No. 1, RV 269, F. I/22, ‘La primavera (Spring): II. Allegro e pianissimo sempre
00:05:46 Concerto in E, Op. 8 No. 1, RV 269, F. I/22, ‘La primavera (Spring): III. Danza pastorale: Allegro
00:09:37 Concerto in G Minor, Op. 8 No. 2, RV 315, F. I/23, ‘l’estate’ (Summer): I. Allegro non molto
00:15:23 Concerto in G Minor, Op. 8 No. 2, RV 315, F. I/23, ‘l’estate’ (Summer): II. Adagio – Presto
00:17:39 Concerto in G Minor, Op. 8 No. 2, RV 315, F. I/23,‘l’estate’ (Summer): III. Presto
00:20:30 Concerto in F, Op. 8 No. 3, RV 293, F. I/24, Lautunno (Autumn): I. Allegro
00:25:27 Concerto in F, Op. 8 No. 3, RV 293, F. I/24, Lautunno (Autumn): II. Adagio
00:28:30 Concerto in F, Op. 8 No. 3, RV 293, F. I/24, Lautunno (Autumn): III. Allegro
00:31:44 Concerto in F Minor, Op. 8 No. 4, RV 297, F. I/25, ‘L’inverno’ (Winter): I. Allegro non molto
00:35:00 Concerto in F Minor, Op. 8 No. 4, RV 297, F. I/25, ‘L’inverno’ (Winter): II. Largo
00:37:05 Concerto in F Minor, Op. 8 No. 4, RV 297, F. I/25, ‘L’inverno’ (Winter): III. Allegro
00:40:12 Concerto in E-Flat, Op. 8 No. 5, RV 253, F. I/26, ‘La tempesta di mare’: I. Presto
00:43:01 Concerto in E-Flat, Op. 8 No. 5, RV 253, F. I/26, ‘La tempesta di mare’: II. Largo
00:45:48 Concerto in E-Flat, Op. 8 No. 5, RV 253, F. I/26, ‘La tempesta di mare’: III. Presto
00:49:24 Concerto in C, Op. 8 No. 6, RV 180, F. I/27, Il piacere: I. Allegro
00:52:35 Concerto in C, Op. 8 No. 6, RV 180, F. I/27, Il piacere: II. Largo e cantabile
00:55:49 Concerto in C, Op. 8 No. 6, RV 180, F. I/2, Il piacere: III. Allegro

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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

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Tracklist:
00:00:00 Symphony No.1 in E-Flat, K. 16: I. Molto allegro
00:05:57 Symphony No.1 in E-Flat, K. 16: II. Andante
00:11:01 Symphony No.1 in E-Flat, K. 16: III. Presto
00:12:41 Symphony No. 4 in D, K. 19: I. Allegro
00:15:04 Symphony No. 4 in D, K. 19: II. Andante
00:18:51 Symphony No. 4 in D, K. 19: III. Presto
00:22:03 Symphony in F, K. 19 A: I. Allegro assai
00:27:07 Symphony in F, K. 19 A: II. Andante
00:31:50 Symphony in F, K. 19 A: III. Presto
00:33:22 Symphony No. 5 in B-Flat, K. 22: I. Allegro
00:36:07 Symphony No. 5 in B-Flat, K. 22: II. Andante
00:38:13 Symphony No. 5 in B-Flat, K. 22: III. Molto allegro
00:39:41 Symphony No. 6 in F, K. 43: I. Allegro
00:45:12 Symphony No. 6 in F, K.43: II. Andante
00:50:25 Symphony No. 6 in F, K. 43: III. Menuetto & trio
00:52:23 Symphony No. 6 in F, K. 43: IV. Allegro
00:56:14 Symphony No. 45 in D, K. 45: I. Molto allegro
00:58:52 Symphony No. 45 in D, K. 45: II. Andante
01:00:50 Symphony No. 45 in D, K. 45: III. Menuetto & trio
01:04:34 Symphony No. 45 in D, K. 45: IV. Molto allegro
01:07:18 Symphony No. 8 in D, K. 48: I. Allegro
01:11:47 Symphony No. 8 in D, K. 48: II. Andante
01:15:23 Symphony No. 8 in D, K. 48: III. Menuetto & Trio
01:19:16 Symphony No. 8 in D, K. 48: IV. Molto Allegro
01:22:46 Symphony No. 9 in C, K. 73: I. Allegro
01:25:56 Symphony No. 9 in C, K. 73: II. Andante
01:29:38 Symphony No. 9 in C, K. 73: III. Menuetto & Trio
01:32:42 Symphony No. 9 in C, K. 73: IV. Molto Allegro
01:34:58 Symphony No. 10 in G, K. 74: I. Allegro – Andante
01:40:23 Symphony No. 10 in G, K. 74: II. Allegro
01:42:40 Symphony No. 12 in G, K. 110: I. Allegro
01:49:01 Symphony No. 12 in G, K. 110: II. Andante
01:53:03 Symphony No. 12 in G, K. 110: III. Menuetto & Trio
01:57:04 Symphony No. 12 in G, K110: IV. Allegro
01:59:02 Symphony No. 13 in F, K. 112: I. Allegro
02:04:18 Symphony No. 13 in F, K. 112: II. Andante
02:07:28 Symphony No. 13 in F, K. 112: III. Menuetto & Trio
02:09:40 Symphony No. 13 in F, K. 112: IV. Molto Allegro
02:12:02 Symphony No. 14 in A, K. 114: I. Allegro moderato
02:19:49 Symphony No. 14 in A, K. 114: II. Andante
02:24:12 Symphony No. 14 in A, K. 114: III. Menuetto & Trio
02:27:45 Symphony No. 14 in A, K. 114: IV. Molto allegro
02:32:32 Symphony No. 15 in G, K. 124: I. Allegro
02:37:57 Symphony No. 15 in G, K. 124: II. Andante
02:42:33 Symphony No. 15 in G, K. 124: III. Menuetto & trio
02:44:47 Symphony No. 15 in G, K. 124: IV. Presto
02:46:57 Symphony No. 16 in C, K. 128: I. Allegro maestoso
02:51:36 Symphony No. 16 in C, K. 128: II. Andante grazioso
02:57:01 Symphony No. 16 in C, K. 128: III. Allegro
03:01:05 Symphony No. 17 in G, K. 129: I. Allegro
03:07:23 Symphony No. 17 in G, K. 129: II. Andante
03:12:52 Symphony No. 17 in G, K. 129: III. Allegro
03:15:46 Symphony No. 20 in D, K. 133: I. Allegro
03:23:01 Symphony No. 20 in D, K. 134: II. Andante
03:28:51 Symphony No. 20 in D, K. 135: III. Menuetto & Trio
03:32:56 Symphony No. 20 in D, K. 136: IV. Allegro
03:38:45 Symphony No. 21 in A, K. 134: I. Allegro
03:45:55 Symphony No. 21 in A, K. 135: II. Andante
03:51:10 Symphony No. 21 in A, K. 136: III. Menuetto & Trio
03:54:26 Symphony No. 21 in A, K. 137: IV. Allegro
03:59:32 Symphony No. 22 in C, K. 162: I. Allegro assai
04:03:07 Symphony No. 22 in C, K. 163: II. Andantino grazioso
04:06:04 Symphony No. 22 in C, K. 164: III. Presto assai
04:07:57 Symphony No. 23 in D, K. 181: I. Allegro spiritoso
04:13:17 Symphony No. 23 in D, K. 182: II. Andantino grazioso
04:15:16 Symphony No. 23 in D, K. 183: III. Presto assai
04:17:27 Symphony No. 27 in G, K. 199: I. Allegro
04:24:05 Symphony No. 27 in G, K. 199: II. Andantino grazioso
04:28:55 Symphony No. 27 in G, K. 199: III. Presto
04:35:09 Symphony No. 28 in C, K. 200: I. Allegro spiritoso
04:42:27 Symphony No. 28 in C, K. 200: II. Andante
04:50:11 Symphony No. 28 in C, K. 200: III. Menuetto & Trio
04:54:30 Symphony No. 28 in C, K. 200: IV. Presto
05:00:00 Symphony No. 30 in D, K. 202: I. Molto allegro
05:05:59 Symphony No. 30 in D, K. 202: II. Andantino con moto
05:11:10 Symphony No. 30 in D, K. 202: III. Menuetto & Trio
05:15:27 Symphony No. 30 in D, K. 202: IV. Presto

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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

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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

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Composer & Artist: Various

About this Album:
A selection of beautifull classical pieces, traditional Christmas music and beautiful Christmas carols to help you get in the holiday spirit! Enjoy

Tracklist:
00:00:00 Once in royals David’s city
00:04:41 Christmas Oratorio, BWV 248, PT1 ; I. Chorus. Jauchzet. Frohlocket!(Chorus)
00:12:42 Messiah, HWV 56, Pt 1:IV., And the glory of the lord shall be revealed
00:15:34 Messiah. HWV 56, Pt 1: XII. For unto us a child is born
00:19:38 Messiah. HWV 56, Pt 1: XVII. Glory to god in the highest
00:21:31 Rejoice and be Merry
00:23:01 Christmas Oratorio, bwv 248, Pt. 3: XIII. Chorus, da capo. Herrscher des himmels
00:25:24 Messiah, HWV 56, Pt 2: XXVI. All we like sheep have gone Astray
00:29:08 Messiah, HWV 56, Pt 3: LIII. Worthy is the Lamb…Amen
00:35:57 Ding Dong , Merrily on high
00:38:05 Christmas oratorio, BWV 248, Pt. 4: I Chorus. Fallt mit danken, Fallt mit loben (Chorus)
00:43:44 What sweeter music
00:48:03 Christmas Oratorio, BWV 248, Pt. 5: I. Chorus. Ehre sei dir, Gott, gesungen (Chorus)
00:55:04 O Little Town of Bethlehem
00:58:44 A Spotless Rose
01:03:01 King Jesus Hath a Garden
01:06:09 The Lamb
01:11:37 Bogoróditse Dyévo
01:12:16 Infant Holy, Infant Lowly
01:15:42 Dazu ist erschienen der Sohn Gottes, BWV 40 for the Second Day of Christmas: I. Coro. Dazu
01:21:06 Nun komm der Heiden Heiland, BWV 62 for the First Sunday of Advent: I. Coro. Nun Komm, der Heiden Heilan
01:24:36 Gelobet Seist Du, Jesu Christ, BWV 91: VI. Choral (Coro). Das hat er alles uns getan
01:28:35 Preise, Jerusalem, den Herrn, BWV 119: I. Coro. Preise, Jerusalem, den Herrn
01:30:11 Ich freue mich in dir, BWV 133: I. Coro. Ich freue mich in dir
01:31:59 While Shepherds Watched
01:34:41 Quittez, Pasteurs
01:37:52 In Dulci Jubilo
01:41:30 The First Nowell
01:45:54 Coventry Carol

#Christmasmusic #Choralmusic #Choral #Classical #Classicalmusic #Christmas

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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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)