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These days Estonian composer Arvo Pärt is mainly associated with his later works. Born in 1935 he wrote ‘avant-garde’ works at first. In the nineteen seventies he increasingly found his inspiration in medieval religious music, both western and eastern European. This first transpired in his Für Alina for piano. It already has the telling low tempo and (two) layers. Pärt further extended his so-called tintinnabuli (i.e. bells) style in small-scale pieces like the different versions of Spiegel im Spiegel and Variationen zur Gesundung von Arinuschka. Although this last piece has ‘classical’ features as well.

00:00:00 Spiegel im Spiegel, for violin & piano
00:10:22 Variationen zur Gesundung von Arinuschka, for piano solo
00:15:58 Für Alina, for piano solo
00:19:29 Spiegel im Spiegel, for viola & piano
00:29:34 Mozart-Adagio, for violin, cello & piano
00:37:20 Spiegel im Spiegel, for cello & piano

Artist:
Benjamin Hudson (viola)
Sebastian Klinger (cello)
Jürgen Kruse (piano)

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

Arvo Pärt: Variationen zur Gesundung von Arinuschka.

Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.

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About this album:
In May 2014 the Hungarian cellist István Várdai performed three Bach Suites at an unusual venue in New York: not the storied glamour of Carnegie Hall or the hip 92st St Y, but the Board of Officers Room in the recently renovated Armory on Park Avenue, a room no less redolent of distinguished history: to which he made his own distinguished contribution according to the New York Times, with a recital which concluded with a ‘superb’ performance of the Sixth Suite.
Bach’s iconic solo suites form the pinnacle of the entire cello repertoire, the ultimate challenge and a Mount Everest every young and aspiring cellist has to climb, no matter how often that has already been done.
Young Hungarian cellist István Várdai is winner of the Geneva Competition, 3rd prize Tchaikovsky Competition 2007 and first prize winner of the prestigious ARD competition in 2014. He embarked on a successful international career, having played with Mikhael Pletnev, Adám Fischer, Zoltán Kocsis, and chamber music partner of Gidon Kremer, Mischa Maisky, Elisabeth Leonskaja, Andras Schiff, Klára Würtz and many others.


Tracklist:
00:00:00 Cello Suite No. 1 in G Major, BWV 1007: I. Prélude
00:02:52 Cello Suite No. 1 in G Major, BWV 1007: II. Allemande
00:07:08 Cello Suite No. 1 in G Major, BWV 1007: III. Courante
00:10:01 Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande
00:12:39 Cello Suite No. 1 in G Major, BWV 1007: V. Menuet I & II
00:15:56 Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue 1
00:17:32 Cello Suite No. 3 in C Major, BWV 1009: I. Prelude
00:21:25 Cello Suite No. 3 in C Major, BWV 1009: II. Allemande
00:25:07 Cello Suite No. 3 in C Major, BWV 1009: III. Courante
00:28:29 Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande
00:32:30 Cello Suite No. 3 in C Major, BWV 1009: V. Bourrée I & II
00:36:13 Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue
00:39:31 Cello Suite No. 5 in C Minor, BWV 1011: I. Prelude
00:46:20 Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande
00:51:10 Cello Suite No. 5 in C Minor, BWV 1011: III. Courante
00:53:20 Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande
00:57:12 Cello Suite No. 5 in C Minor, BWV 1011: V. Gavotte I & II
01:02:08 Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue
01:04:17 Cello Suite No. 2 in D Minor, BWV 1008: I. Prelude
01:08:20 Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande
01:11:27 Cello Suite No. 2 in D Minor, BWV 1008: III. Courante
01:13:29 Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande
01:17:48 Cello Suite No. 2 in D Minor, BWV 1008: V. Menuet I & II
01:20:38 Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue
01:23:12 Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prelude
01:27;45 Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande
01:32:06 Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante
01:35:47 Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande
01:40:09 Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrée I & II
01:45:04 Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue
01:47:48 Cello Suite No. 6 in D Major, BWV 1012: I. Prelude
01:52:54 Cello Suite No. 6 in D Major, BWV 1012: II. Allemande
02:01:12 Cello Suite No. 6 in D Major, BWV 1012: III. Courante
02:05:10 Cello Suite No. 6 in D Major, BWV 1012: IV. Sarabande
02:10:45 Cello Suite No. 6 in D Major, BWV 1012: V. Gavotte I & II
02:14:38 Cello Suite No. 6 in D Major, BWV 1012: VI. Gigue

Artist:
István Várdai (cello)

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play and more):
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Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.

00:00:00 Für Alina (1976)
00:20:18 Variationen zur Gesundung von Arinuschka (1977)
00:26:15 Ukuaru valss (1973, rev. 2010)
00:29:09 Für Anna Maria No. 1 (2006)
00:30:30 Für Alina No. 1 (1976)
00:33:11 Pari intervallo (1976, rev. 2008)
00:38:38 Hymn to a Great City (1984, rev. 2004)
00:43:47 Für Anna Maria No. 2 (2006)
00:44:55 Für Alina No. 2 (1976)
00:48:11 Fratres (1977, rev. 1980)
01:00:03 Spiegel im Spiegel (1978)
01:09:14 Vier leichte Tanzstücke “Musik für Kindertheater”: I. Der gestiefelte Kater
01:09:58 Vier leichte Tanzstücke “Musik für Kindertheater”: II. Rotkäppchen und der Wolf
01:12:13 Vier leichte Tanzstücke “Musik für Kindertheater”: III. Schmetterlinge
01:14:19 Vier leichte Tanzstücke “Musik für Kindertheater”: IV. Tanz der Entenküken
01:16:54 Sonatina No. 1: I. Allegro
01:19:27 Sonatina No. 1: II. Larghetto
01:23:46 Sonatina No. 1: III. Allegro
01:24:11 Sonatine No. 2: I. Allegro energico
01:26:04 Sonatine No. 2: II. Largo
01:28:07 Sonatine No. 2: III. Allegro
01:29:55 Partita, Op. 2: I. Toccatina
01:30:46 Partita, Op. 2: II. Fughetta
01:31:50 Partita, Op. 2: III. Larghetto
01:35:07 Partita, Op. 2: IV. Ostinato
01:37:16 Für Alina No. 3 (1976)

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Schubert’s two piano trios were composed late in his short life (his only trio prior to these is the short B flat trio movement D28 of 1812), probably in late 1827 and the summer of 1828, the year of his death. They are vast works, worthy of Schumann’s comment on Schubert’s Ninth Symphony of being of ‘heavenly length’.

Although structured along similar lines to Beethoven’s piano trios, Schubert’s trios inhabit a different world to the older composer’s ‘Ghost’ or ‘Archduke’ works. Beethoven revelled in drama and complex and ingenious textures. Schubert concentrates instead on beautiful tunes, and eloquent dialogues between the three players. The music of the Austrian countryside permeates these works, and although they date from Schubert’s last months, they contain little of the world weariness and desolation of Winterreisse, the late sonatas or the proto-Mahlerian slow movement of the Tenth Symphony D936a.
00:00:00 Piano Trio No.1 in B flat D898: I. Allegro moderato
00:14:29 Piano Trio No.1 in B flat D898: II. Andante, un poco mosso
00:23:05 Piano Trio No.1 in B flat D898: III. Scherzo – Trio – Allegro
00:29:47 Piano Trio No.1 in B flat D898: IV Rondo – Allegro vivace – Presto
00:38:37 Piano Trio No.1 in B flat D898: Notturno in E flat D897
00:48:50 Piano Trio No.2 in E flat D929: I. Allegro
01:00:23 Piano Trio No.2 in E flat D929: II. Andante con moto
01:09:31 Piano Trio No.2 in E flat D929: III. Scherzando: Allegro moderato
01:16:39 Piano Trio No.2 in E flat D929: IV. Allegro moderato

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

Artist:
Håkon Austbö (piano)

Tracklist below.

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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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The mandolin was essentially the instrument of amateur musicians in the early to mid 18th century. Vivaldi composed many concertos and trios for the young ladies of the Ospiedale della Pieta – including the famous G major RV532, which must rank as one of his most popular works after the Four Seasons.
The concertos and trios on this CD make a delightful programme, written for the pleasure of gifted students and patrons, full of the hallmarks of Vivaldian style that will not disappoint those who love the famous Four Seasons violin concertos from his Op.8 set. Simple, catchy melodies abound, in both still and often poignant slow movements as well as sparky fast movements.
Other information:
- Recording made in 2009.
- Frederico Gugliemo studied with Salvatore Accardo, Isaac Stern and The Amadeus, LaSalle and Quartetto Italiano string quartets before turning to period instrument performance under the guidance of Christopher Hogwood.
00:00:00 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:03:54 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:08:15 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:11:48 Concerto for mandolin, strings and continuo in C Major RV 425
00:14:26 Concerto for mandolin, strings and continuo in C Major RV 425
00:17:44 Concerto for mandolin, strings and continuo in C Major RV 425
00:19:57 Trio for Violin, lute and basso in g Minor RV 85
00:24:00 Trio for Violin, lute and basso in g Minor RV 85
00:27:01 Trio for Violin, lute and basso in g Minor RV 85
00:28:53 Concerto for 2 Violin, lute and basso in D Major RV 93
00:32:22 Concerto for 2 Violin, lute and basso in D Major RV 93
00:36:33 Concerto for 2 Violin, lute and basso in D Major RV 93
00:38:44 Trio for Violin, lute and basso in C Major RV 82
00:42:51 Trio for Violin, lute and basso in C Major RV 82
00:45:54 Trio for Violin, lute and basso in C Major RV 82
00:47:52 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:53:13 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:56:15 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:59:47 Concerto for harpsichord, strings and continuo in A Major RV 780
01:03:30 Concerto for harpsichord, strings and continuo in A Major RV 780
01:05:40 Concerto for harpsichord, strings and continuo in A Major RV 780

Artist:
L'Arte dell'Arco
Federico Guglielmo (conductor)

Tracklist below.

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Artist: Alessandro Deljavan (piano)

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

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

Tracklist below.

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Composer: Wolfgang Amadeus Mozart
Artists: Ensemble Pyramide, Markus Brönnimann (flute), Barbara Tillmann (oboe), Ulrike Jacoby (violin), Muriel Schweizer (viola), Anita Jehli (cello)

For many Mozart is more ‘perfector’ than ‘innovator’, a composer who drew on an already extant vocabulary to create some of the greatest works in European culture. In this recording, however, we are introduced to Mozart the ‘trailblazer’: the first composer in history to take wind instruments seriously. Whereas his colleagues were inclined to employ the so-called Harmonie merely to reinforce the general sonority, Mozart took it upon himself to exploit the character of each of these instruments, endowing them with a much more individualistic, distinctive role – as soloists, in the orchestra or in chamber music, the subject of this engaging release.

Such writing is evident in the Quartet for oboe and strings, a work of wide leaps and brilliant passages that was composed for the Mannheim virtuoso Friedrich Ramm, and the Flute Quartet in D – written for the highly accomplished amateur musician Ferdinand Dejean and in which the principal voice, equipped with pearling runs in the first movement, is treated with great care, displaying nothing of the composer’s supposed aversion to the instrument. Both works are milestones of their respective genres, and they are joined on this recording by three pieces originally composed for mechanical organ (and arranged for this recording by flautist Markus Brönnimann), originally commissioned by Count Deym to be used as accompaniment for a newly erected mausoleum in Vienna. Among these, the Fantasia in F minor K608 stands out as the most intense and dramatic, combining rigorous harmonic invention with memorable melody, polyphonic complexity and compositional virtuosity. Brönnimann’s suggestion as to a possible comparison with the works of the American-born composer Conlon Nancarrow, as mentioned in the booklet note, reveals just how forwardthinking this music was for its time.

At hand to perform these works is Ensemble Pyramide, a group whose diverse repertoire ranges from Baroque to 21st century and whose recital programmes are often based around the juxtaposition between new and old. Based in Zurich and awarded the city’s cultural stipend ‘Werkjahr für Interpretation’ in 2006, its recordings for radio and on CD (which take in labels such as Naxos and Ars Musici) are complemented by an active recording schedule throughout Europe.

00:00:00 Quartet in F Major, K. 370: I. Allegro
00:07:03 Quartet in F Major, K. 370: II. Adagio
00:10:05 Quartet in F Major, K. 370: III. Rondeau. Allegro
00:14:46 Adagio and Allegro in F Minor K. 594 (Adagio - Allegro - Adagio)
00:24:54 Andante in F Major, K. 616
00:32:18 Fantasia in F Minor, K. 608 (Allegro - Andante - Tempo primo)
00:41:40 Quartet in D Major, K. 285: I. Allegro
00:48:49 Quartet in D Major, K. 285: II. Adagio
00:51:41 Quartet in D Major, K. 285: III. Rondeau. Allegretto

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play and more):
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Why transcribe and perform the sonatas and partitas for solo violin on the guitar? It is surely the works themselves that provide the justification; their indestructible melodic poetry and their rich implied counterpoint at which the original violin can only hint.
Many guitarists have already gone where more cautious spirits would fear to tread and made their own transcriptions; this new version carries the imprimatur of David Russell, one of the most internationally acclaimed guitarists of his generation, who writes that Francesco Teopini ‘plays with a beautiful sound, faithfully recorded. His interpretation shows a deep understanding of these major works.’
In a useful booklet-note, Teopini himself notes that these works are now standard repertoire for guitarists, even mandatory for the sake of personal development, as perhaps Bach is for every musician regardless of instrument. His arrangement is relatively discreet, adding just a few more bass notes to amplify chords in movements such as the famous Chaconne which is the climax of the cycle. Elsewhere he has borne in mind the art of the clavecin, which no less relevant to the guitar as an instrument of Bach’s time than the original violin. There is naturally greater opportunity for ornamentation, which Teopini takes with discretion.
Italian by birth, Teopini himself is a graduate of the Royal Academy of Music in London, currently resident as a teacher and performer in Hong Kong, with a repertoire ranging from Bach through the Classical Spanish repertoire to contemporary works, several of which he has commissioned and premiered by composers including Gian Carlo Mantovani and Fausto Tuscano .

00:00:00 Sonata No. 1 in G Minor, BWV 1001: I. Adagio
00:05:14 Sonata No. 1 in G Minor, BWV 1001: II. Fuga
00:10:41 Sonata No. 1 in G Minor, BWV 1001: III. Siciliana
00:13:44 Sonata No. 1 in G Minor, BWV 1001: IV. Presto
00:17:36 Partita No. 1 in B Minor, BWV 1002: I. Allemanda – Double
00:27:17 Partita No. 1 in B Minor, BWV 1002: II. Corrente – Double
00:35:23 Partita No. 1 in B Minor, BWV 1002: III. Sarabande – Double
00:42:10 Partita No. 1 in B Minor, BWV 1002: IV. Tempo di borea – Double
00:49:37 Sonata No. 2 in A Minor, BWV 1003: I. Grave
00:55:07 Sonata No. 2 in A Minor, BWV 1003: II. Fuga
01:03:01 Sonata No. 2 in A Minor, BWV 1003: III. Andante
01:08:59 Sonata No. 2 in A Minor, BWV 1003: IV. Allegro
01:15:16 Partita No. 2 in D Minor, BWV 1004: I. Allemanda
01:21:18 Partita No. 2 in D Minor, BWV 1004: II. Corrente
01:23:43 Partita No. 2 in D Minor, BWV 1004: III. Sarabanda
01:28:28 Partita No. 2 in D Minor, BWV 1004: IV. Giga
01:32:37 Partita No. 2 in D Minor, BWV 1004: V. Ciaccona
01:50:59 Sonata No. 3 in C Major, BWV 1005: I. Adagio
01:55:44 Sonata No. 3 in C Major, BWV 1005: II. Fuga
02:08:04 Sonata No. 3 in C Major, BWV 1005: III. Largo
02:11:21 Sonata No. 3 in C Major, BWV 1005: IV. Allegro assai
02:16:30 Partita No. 3 in E Major, BWV 1006: I. Preludio
02:20:26 Partita No. 3 in E Major, BWV 1006: II. Loure
02:24:07 Partita No. 3 in E Major, BWV 1006: III. Gavotte en rondeau
02:27:40 Partita No. 3 in E Major, BWV 1006: IV. Menuet I et II
02:31:21 Partita No. 3 in E Major, BWV 1006: V. Bourrée
02:33:07 Partita No. 3 in E Major, BWV 1006: VI. Gigue

Artist:
Francesco (Teopini classical guitar)

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

String instruments and especially the violin demanded a key position in Baroque music particularly in Italy. Like many of his contemporaries Tomaso Albinoni composed a large number of pieces for string ensemble and many concertos for the violin.

00:00:00 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro non presto
00:03:43 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Adagio
00:07:57 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro
00:10:48 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
00:12:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Adagio
00:13:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
00:15:40 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allego
00:18:21 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Adagio
00:20:01 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allegro
00:22:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
00:26:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Adagio
00:28:45 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
00:32:14 Concerto, Op. 7/8: D Major for two Oboes and Strings: (no tempo)
00:34:32 Concerto, Op. 7/8: D Major for two Oboes and Strings: Largo
00:36:30 Concerto, Op. 7/8: D Major for two Oboes and Strings: Allegro
00:38:16 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
00:41:36 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Adagio
00:43:33 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
00:46:42 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
00:49:29 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Adagio
00:51:32 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
00:53:45 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
00:58:15 Concerto, Op. 9/3: F Major for two Oboes and Strings: Adagio
01:00:29 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
01:04:25 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
01:08:28 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Adagio
01:11:08 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
01:14:28 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
01:17:15 Concerto, Op. 7/11: C Major for two Oboes and Strings: Adagio
01:19:06 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
01:21:42 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
01:25:43 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Adagio
01:27:49 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
01:31:27 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
01:33:19 Concerto, Op. 7/5: C Major for two Oboes and Strings: Adagio
01:34:48 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
01:36:09 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
01:38:39 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Adagio
01:39:36 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
01:41:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
01:45:36 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Adagio
01:47:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
01:51:00 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
01:53:56 Concerto, Op. 7/12: C Major for two Oboes and Strings: Adagio
01:55:55 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
01:58:07 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
02:01:16 Concerto, Op. 9/12: D Major for two Oboes and Strings: Adagio
02:03:26 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
02:04:56 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
02:08:09 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Adagio
02:09:55 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
02:12:23 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
02:15:52 Concerto, Op. 9/10 in F Major for Violin and Strings: Adagio
02:19:15 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
02:22:44 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
02:26:14 Concerto, Op. 9/7: D Major for Violin and Strings: Andante e sempre piano
02:33:51 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
02:36:32 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro
02:39:58 Concerto, Op. 9/4: A Major for Violin and Strings: Adagio
02:42:16 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro

Artist:
Stefan Schilli (oboe)
Stuttgart Chamber Orchestra

Online Purchase/Streaming (Spotify, Itunes store, Google Play, Deezer, Apple Play, Tidal, Amazon): https://brilliant-classics.lnk.to/Top50Violin

Spotify Playlists:
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The best of Liszt: https://brilliant-classics.lnk.to/Playliszt
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Artists:
Mela Tenenbaum (violin)
Gil Sharon (violin)
Matthieu Arama (violin)
Aurélien Pontier (piano)
Richard Kapp (piano)
Anton Nel (piano)
Idith Zvi (piano)

Tracklist:
00:00:00 Mazurka in A Minor, Op. 67 No. 4 (Chopin)
00:03:01 Song Without Words, Op. 2 No. 3 (Tchaikovsky)
00:06:20 Divertimento, K. 334: Menuet (Mozart)
00:10:29 Hungarian Dance No. 6, WoO 1 (Brahms)
00:13:42 Hungarian Dance No. 1, WoO 1 (Brahms)
00:16:40 Romance in A Major, Op. 94 No. 2 (Schumann)
00:22:02 Morceaux, Op. 10: No. 2, Humoresque in G Major. Menuet (Bocherini)
00:25:34 Les millions D'Arlequin: Serenade (Drigo)
00:30:10 Sonata in A Major (Paganini)
00:35:04 Träumerei, Op. 21 (Drdla)
00:37:45 Das Lied der Geige, Op. 2 (Schebek)
00:40:56 Immer oder nimmer Walzer, Op. 156 (Waldteufel)
00:50:22 Schön Rosmarin (Kreisler)
00:52:10 Espana, Op. 165 No. 2: Tango (Albeniz)
00:54:45 Russian Romance (Chernyetsky)
00:57:36 Guitarre, Op. 45 No. 2 (Moszkowski)
01:01:14 Menuet (Attr. Porpora) (Porpora / Kreisler)
01:05:20 Allegretto grazioso (Porpora / Bonelli)
01:07:25 Le triomphe de la République: Tambourin (Arr. Burmester) (Gossec (Francois))
01:08:42 Salut d'amour, Op. 12 (Elgar)
01:11:16 3 Pieces, Op. 11: Mazurka in F-Sharp Minor (Chopin)
01:14:07 Poème for Violin and Piano, Op. 41 No. 4 (Arr. Weniger) (Fibich (Zdenek))
01:16:01 5 Gedichte, WWV 91: V. Träume (Wagner)
01:19:38 Valse scherzo (Tchaikovsky)
01:21:30 Song Without Words, Op. 60: I. Andante espressivo “May Breezes” (Arr. Kreisler) (Mendelssohn)
01:24:12 Myrthen, Op. 25: I. Dedication (Schumann)
01:26:38 Romance (Rubinstein)
01:29:18 Cantabile in D Major, Op. 17 (Paganini)
01:32:19 Hungarian Dance No. 7 in F Major, WoO 1 (Allegretto) (Brahms)
01:34:45 Romance, Op. 3 (Gliere)
01:38:50 Kujawiak in A Minor (Wieniawski (Henryk))
01:41:48 3 Old Viennese Dances: II. Liebesleid (Kreisler)
01:44:48 Le roi s'amuse: VII. Passepied (Arr. Elman) (Delibes / Elman (Mischa))
01:46:46 Waltz No. 1 in A Major, Op.54 (Moderato) (Dvorák)
01:50:22 5 Spanish Dances, Op. 12: I. Allegro brioso (Moszkowski)
01:52:01 16 Morceaux de Salon, Op. 49: VII. La Sevillana (Alard (Delphin))
01:54:33 Bandana Sketches, Op. 12 "Nobody Knows the Trouble I've Seen" (White)
01:57:57 Le Secret (Gautier (Jacques))
02:00:40 14 Romances, Op. 34: No. 14, Vocalise (Rachmaninoff)
02:06:31 Préludes, L. 117, Premier Livre: VIII. La fille aux cheveux de lin (Debussy)
02:09:17 Orfeo ed Euridice, Wq. 30, Act 2: Melodie No. 2 (Arr. Heifetz) (Von Gluck, arr. Jascha Heifetz)
02:12:27 2 Pieces for Cello and Orchestra, Op.20: II. Serenade Espagnole (Arr. Kreisler) (Glazunov, arr. Kreisler)
02:15:50 3 Romantic Pieces, Op. 75: I. Allegro moderato (Dvorák)
02:19:25 3 Romantic Pieces, Op. 75: II. Allegro maestoso (Dvorák)
02:22:22 3 Romantic Pieces, Op. 75: III. Allegro appassionato (Dvorák)
02:25:13 Thaïs, Act 2: Méditation (Massenet)
02:29:49 Zigeunerweisen, Op. 20 (Sarasate (Pablo de))
02:39:46 Romance (Wieniawski (Henryk))
02:44:46 Hora staccato (Dinicu (Grigoras))
02:46:10 Pacsirta (Dinicu (Grigoras))

Tracklist below.

Erik Bosgraaf is an established Brilliant Classics artist whose recordings span the centuries. He recorded with Francesco Corti their new album, the complete Recorder Sonatas - Die Sonaten fur Blocklote - composed by Telemann. Listen to this beautiful full album!

00:00:00 Sonatina in A minor TWV41:a4 - Andante
00:02:13 Sonatina in A minor TWV41:a4 - Allegro
00:03:58 Sonatina in A minor TWV41:a4 - Andante
00:06:11 Sonatina in A minor TWV41:a4 - Presto
00:07:55 Sonatina in C minor TWV41:c2 - Largo
00:09:30 Sonatina in C minor TWV41:c2 - Allegro
00:10:51 Sonatina in C minor TWV41:c2 - Dolce
00:12:50 Sonatina in C minor TWV41:c2 - Vivace
00:14:36 Sonata in F minor TWV41:f1 - Triste
00:17:06 Sonata in F minor TWV41:f1 - Allegro
00:21:17 Sonata in F minor TWV41:f1 - Andante
00:22:40 Sonata in F minor TWV41:f1 - Vivace
00:24:47 Sonata in C TWV41:C2 - Cantabile
00:26:07 Sonata in C TWV41:C2 - Allegro
00:28:06 Sonata in C TWV41:C2 - Grave
00:29:38 Sonata in C TWV41:C2 - Vivace
00:31:55 Sonata in B-flat TWV41:B3 - Largo
00:33:10 Sonata in B-flat TWV41:B3 - Allegro
00:35:12 Sonata in B-flat TWV41:B3 - Largo
00:36:18 Sonata in B-flat TWV41:B3 - Vivace
00:38:12 Sonata in F TWV41:F2 - Vivace
00:40:26 Sonata in F TWV41:F2 - Largo
00:42:27 Sonata in F TWV41:F2 - Allegro
00:44:09 Sonata in D minor TWV41:d4 - Affettuoso
00:45:44 Sonata in D minor TWV41:d4 - Presto
00:48:59 Sonata in D minor TWV41:d4 - Grave
00:49:54 Sonata in D minor TWV41:d4 - Allegro
00:52:52 Sonata in F minor TWV41:f2 - Adagio
00:55:11 Sonata in F minor TWV41:f2 - Allegro
00:56:44 Sonata in F minor TWV41:f2 - Adagio
00:58:03 Sonata in F minor TWV41:f2 - Gigue
00:59:16 Sonata in C TWV41:C5 - Adagio - Allegro - Adagio - Allegro
01:01:40 Sonata in C TWV41:C5 - Larghetto
01:03:13 Sonata in C TWV41:C5 - Vivace

Artist:
Erik Bosgraaf (recorder)
Francesco Corti (harpsichord)

Online Purchase/Streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play and more): https://brilliant-classics.lnk.to/NymanPianoMusic

Jeroen van Veen’s recordings of Minimalist piano music have received critical acclaim while also reaching a wide and receptive audience. Previous albums of Satie (BC94768), Einaudi (BC9452), Glass (BC9519), Riley (BC95217) and much more are now joined by the music of Michael Nyman, who may not have invented the genre as Satie did, but was the first to bring Glass, Reich and their contemporaries to wider attention and coin the term Minimalism to describe the way that they rebelled against European modernism and returned to a stripped-back tonality in ways that meshed with popular music of the time.

Michael Nyman (born 1944) is one of the most famous and successful film music composers of our time. His music, although inextricably connected with the visual action of a film, has the quality to stand on its own, to evoke and express the visual emotions in sounds only.

Nyman’s most famous film score is of the film “The Piano” , becoming an instant hit. Its openness and its deceptively simple musical lines appealed to a mass audience.
The music featured on this recording is either originally written for piano or arranged by the composer himself.
Minimal Music champion Jeroen van Veen has been fascinated by Nyman’s music his whole life, and the recording of it was a logical step. He is the ideal interpreter of this seductive, mind opening music.

00:00:00 The Heart Asks Pleasure First I
00:04:16 Lost And Found
00:07:32 All Imperfect Things
00:11:14 The Promise
00:14:22 Big My Secret
00:18:24 The Mood That Passes Through You
00:21:43 Deep Sleep Playing
00:23:54 The Embrace
00:26:16 Silver-fingered Fling
00:30:39 Here to There
00:32:18 The Attraction of The Pedalling Ankle
00:38:22 The Heart Asks Pleasure First II
00:41:28 Jack
00:44:00 Franklyn
00:46:28 Nadia
00:49:52 Debbie
00:54:49 Bill
00:57:05 Odessa Beach
01:00:56 Diary of Love
01:04:23 Digital Tragedy
01:07:16 Fly Drive
01:08:14 The Morrow
01:12:41 The Departure
01:16:29 The Exchange
01:19:59 Why?
01:23:09 The Schoolroom
01:25:13 If
01:29:40 Goodbye Moortie
01:32:35 Chatterbox Waltz
01:35:03 Candlefire
01:38:33 Chasing Sheep Is Best Left to Shepherds
01:42:44 Sheep ‘N’ Tides
01:45:14 Time Lapse

Artist:
Jeroen van Veen (piano)

Online Purchase & Streaming (Spotify, Itunes store, Google Play, Deezer, Apple Play, Tidal, Amazon):
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00:00:00 Peer Gynt Suite No. 1, Op. 46: I. Morning Mood
-Edvard Hagerup Grieg- Royal Philharmonic Orchestra, Rigby John
00:04:12 Symphony No. 6 in D Major, Hob. I:6: I. Adagio – Allegro
-Franz Joseph Haydn- Austro-Hungarian Haydn Orchestra, Fischer Adam
00:09:54 Violin Concerto Op. 8 No. 1 in E Major, RV. 269 “La primavera”: I. Allegro
- Antonio Vivald - Casazza Enrico, La Magnifica Comunità
00:13:21 Brandenburg Concerto No. 2 in F Major, BWV 1047: I. Without tempo indication
- Johann Sebastian Bach - Musica Amphion, Belder Pieter-Jan
00:18:09 Suite No. 1 in F Major, HWV 348: I. Ouverture. Largo – Allegro
- Georg Frideric Handel - Concerto Köln, Steck Anton
00:21:33 Arabeske, Op. 18
- Robert Schumann - Würtz Klára
00:27:58 Liebestraum – Notturno for Piano No. 3 in A-Flat Major
- Franz Liszt - Würtz Klára
00:32:21 The Swan (Carnival of the Animals)
- Camille Saint-Saëns - Warenberg Wladislaw, Crombach Sara
00:35:24 Pavane in F-Sharp Minor, Op. 50
- Gabriel Fauré - Royal Philharmonic Orchestra, Hughes Owain Arwel
00:41:52 The Valkyrie, WWV 86B, Pt. 3: The Ride of the Valkyries
- Richard Wagner - Royal Philharmonic Orchestra, Ellis Philip
00:47:02 Sleeping Beauty, Act 1: No. 6, Waltz
- Piotr Ilyich Tchaikovsky - Royal Philharmonic Orchestra, Rigby John
00:51:34 Pizzicato Polka in C Major
- Johann Strauss Sr. - Royal Philharmonic Orchestra, Rigby John
00:54:23 Nocturnes, Op. 9: No. 1, Nocturne in B-Flat Minor
- Frédéric Chopin - Winkel Pieter van
00:59:48 Four Impromptus, D. 935: No. 3, Impromtu in B-Flat Major "Rosamunde"
- Franz Schubert - Winkel Pieter van
01:11:42 Lieder ohne Worte, Op. 30: No. 6, Allegretto in F-Sharp Minor "Venetian Gondola Song"
- Felix Mendelssohn - Winkel Pieter van
01:14:47 Piano Sonata No. 8 in C Minor, Op. 13 "Pathetique": I. Adagio cantabile
- Ludwig van Beethoven - Winkel Pieter van
01:19:31 Berceuse in D-Flat Major, Op. 57
- Frédéric Chopin - Bär Alwin
01:24:35 Eine kleine Nachtmusik, K. 525: I. Allegro
- Wolfgang Amadeus Mozart - Kammerorchester Mannheim, Heyerick Florian
01:29:51 Piano Concerto No. 23 in A Major, K. 488: II. Adagio
- Wolfgang Amadeus Mozart - Han Derek, Philharmonia Orchestra, Freeman Paul
01:36:07 Jesu, meine Freude, BWV 227
- Johann Sebastian Bach - Holland Boys Choir, Leusink Pieter Jan

Who doesn't like the Mazurkas of Chopin? And what is better to have them complete, in one long video? A full album, with all the mazurkas of the legendary composer!

Tracklist below.

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

00:00:00 Mazurka in G Major, KKIIa No. 2
00:01:13 Mazurka in B-Flat Major, KKIIa No. 3
00:02:50 Mazurka in A Minor, Op. 68 No. 2
00:06:12 Mazurka in C Major, Op. 68 No. 1
00:07:36 Mazurka in F Major, Op. 68 No. 3
00:09:55 Mazurkas, Op. 6: I. M.M. in F-Sharp Minor
00:12:02 Mazurkas, Op. 6: II. Sotto voce in C-Sharp Minor
00:14:13 Mazurkas, Op. 6: III. Vivace in E Major
00:16:11 Mazurkas, Op. 6: IV. Presto ma non troppo in E-Flat Minor
00:17:07 Mazurkas, Op. 7: I. Vivace in B-Flat Major
00:18:42 Mazurkas, Op. 7: II. Vivo, ma non troppo in A Minor
00:21:19 Mazurkas, Op. 7: III. Mazurka in F Minor
00:23:45 Mazurkas, Op. 7: IV. Presto in A-Flat Major
00:24:48 Mazurkas, Op. 7: V. Vivo in C Major
00:25:41 Mazurka in B-Flat Major, KKIVb No. 1
00:26:51 Mazurka in D Major, KKIVb No. 2
00:28:43 Mazurkas, Op. 17: I. Vivo e risoluto in B-Flat Major
00:30:45 Mazurkas, Op. 17: II. Lento, ma non troppo in E Minor
00:33:07 Mazurkas, Op. 17: III. Legato assai in A-Flat Major
00:37:03 Mazurkas, Op. 17: IV. Lento, ma non troppo in A Minor
00:42:49 Mazurka in C Major, B.82
00:44:45 Mazurka in A-Flat Major, B.85
00:46:55 Mazurkas, Op. 24: I. Lento in G Minor
00:50:19 Mazurkas, Op. 24: II. Allegro non troppo in C Major
00:52:57 Mazurkas, Op. 24: III. Moderato con anima in A-Flat Major
00:55:19 Mazurkas, Op. 24: IV. Moderato in B-Flat Minor
01:01:14 Mazurkas, Op. 67: III. Sllegretto in C Major
01:03:08 Mazurkas, Op. 67: I. Vivace in G Major
01:04:24 Mazurkas, Op. 30: I. Allegretto non tanto in C Minor
01:06:09 Mazurkas, Op. 30: II. Vivace in B Minor
01:07:36 Mazurkas, Op. 30: III. Allegro non troppo in D-Flat Major
01:10:45 Mazurkas, Op. 30: IV. Allegretto in C-Sharp Minor
01:14:28 Mazurka in A Minor, KKIIb No. 5
01:17:56 Mazurkas, Op. 33: I. Mesto in G-Sharp Minor
01:19:52 Mazurkas, Op. 33: II. Vivace in D Major
01:22:31 Mazurkas, Op. 33: III. Semplice in C Major
01:24:21 Mazurkas, Op. 33: IV. Mesto in B Minor
01:30:55 Mazurkas, Op. 41: I. Maestoso in C-Sharp Minor
01:34:39 Mazurkas, Op. 41: II. Andantino in E Minor
01:37:27 Mazurkas, Op. 41: III. Animato in B Major
01:38:43 Mazurkas, Op. 41: IV. Allegretto in A-Flat Major
01:41:09 Mazurka in A Minor, KKIIb No. 4
01:45:25 Mazurkas, Op. 50: I. Vivace in G Major
01:47:51 Mazurkas, Op. 50: II. Allegretto in A-Flat Major
01:51:04 Mazurkas, Op. 50: III. Moderato in C-Sharp Minor
01:56:51 Mazurkas, Op. 56: I. Allegro non tanto in B Major
02:01:32 Mazurkas, Op. 56: II. Vivace in C Major
02:03:13 Mazurkas, Op. 56: III. Moderato in C Minor
02:09:57 Mazurkas, Op. 59: I. Moderato in A Minor
02:13:51 Mazurkas, Op. 59: II. Allegretto in A-Flat Major
02:16:54 Mazurkas, Op. 59: III. Vivace in F-Sharp Minor
02:20:32 Mazurkas, Op. 63: I. Vivace in B Major
02:23:05 Mazurkas, Op. 63: II. Lento in F Minor
02:25:05 Mazurkas, Op. 63: III. Allegretto in C-Sharp Minor
02:27:30 Mazurkas, Op. 67: IV. Moderato animato in A Minor
02:30:06 Mazurkas, Op. 67: II. Cantabile in G Minor
02:31:53 Mazurkas, Op. 68: No. 4 in F Minor

Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.

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.