Tracklist below.

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Composers: Aram Ilyich Khachaturian
Artists: Bolshoi Theatre Orchestra, Evgeny Svetlanov (conductor)

Along with Shostakovich and Prokofiev, Khachaturian was one of the most famous and celebrated composers of the Soviet Union. Born in Tbilisi, Georgia, his earliest musical influences were the folk music of Georgia and of his ancestral homeland, Armenia. His ballet Gayaneh, composed in 1942, tapped into this passion for his Armenian heritage; set on a collective farm, its story is concerned with the triumph of love and loyalty to the Motherland over treason – themes that would keep Stalin happy. Khachaturian’s later ballet Spartacus, written in 1956, took the famous story of the Greek slave turned gladiator and his defeat of the Roman general Crassus as its basis. Composed in the dying years of Stalin’s rule, Khachaturian and his audiences were drawn to the story’s theme of resistance against tyranny.

Several movements from these ballets have taken on a life outside the original ballet suites – for example, the Sabre Dance from Gayaneh and the famous Adagio from Spartacus – ensuring that these wonderful and colourfully scored ballet suites have become firm favourites in the concert hall.

‘The Bolshoi orchestra are obviously completely at home in this repertoire, and Svetlanov’s ear for orchestral detail is as sure as ever. How beautifully he handles the tapering down at the end of the ‘Dance of the Nymphs’ (from Spartacas), while the opening of the ‘Dance of the Young Girls of Gadès’ brings a slow, subtle crescendo… The famous ‘Adagio of Spartacus and Phrygia’ has never sounded more touchingly refined on record and the climax does not disappoint. In Gayaneh there is a beguilingly sinuous sophistication in ‘Ayesha’s dance’, and the ‘Lullaby’ and ‘Gayeneh’s Adagio’ are beautifully played, creating much delicacy of texture.’ Gramophone.

00:00:00 Gayaneh, Ballet Suite: Dance of the Rose Maidens
00:02:41 Gayaneh, Ballet Suite: Aysha’s Dance
00:07:04 Gayaneh, Ballet Suite: Dance of the Highlanders
00:09:01 Gayaneh, Ballet Suite: Lullaby
00:14:54 Gayaneh, Ballet Suite: Noune’s Dance
00:16:39 Gayaneh, Ballet Suite: Armen’s Var
00:18:37 Gayaneh, Ballet Suite: Gayaneh’s Adagio
00:22:37 Gayaneh, Ballet Suite: Lezghinka
00:25:35 Gayaneh, Ballet Suite: Dance with Tambourines
00:28:35 Gayaneh, Ballet Suite: Sabre Dance
00:30:58 Spartacus, Ballet Suite: Introduction – Dance of the Nymphs
00:37:02 Spartacus, Ballet Suite: Aegina’s Dance
00:41:02 Spartacus, Ballet Suite: Scene and Dance with Crotalums
00:44:55 Spartacus, Ballet Suite: Adagio of Spartacus and Phrygia
00:54:38 Spartacus, Ballet Suite: Dance of the Gaditan Maidens – Victory of Spartacus

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Composer: Domenico Scarlatti
Artists: Luigi Attademo (guitar)

About this Album:
The 600 or so sonatas for harpsichord by Domenico Scarlatti contain some of the most remarkable music for keyboard from the Barock era. The influence of these works can be detected in the sonatas of Haydn, Clementi, and Beethoven. The fact that these composers, who developed the piano sonata form to new levels virtuosity, and at a time when the piano was a ‘new’ instrument, developing constantly, were influenced by his examples, has lead to many performers re-appraising Scarlatti’s sonatas.

How would they sound on other instruments? The modern concert grand is, today, no stranger to Scarlatti’s sonatas, but the guitar? The great Andres Segovia was one of the first to recognise that many of these sonatas would work for the guitar. His idea was not to imitate the harpsichord (‘a guitar with a cold’ as he famously said, much to the annoyance of the great harpsichordist Wanda Landowska), but to bring out hitherto unexplored textures and colours contained in the music that only the guitar could realise. There wasn’t much in the way of period interpretation or slavish imitation of keyboard practice in Segovia’s approach. It was a marvellously ‘gut feel’ instinctive interpretation that divided opinion.

On this album Attademo skilfully demonstrates that the two schools of thought can be brought together – Scarlatti’s genius as keyboard virtuoso, and the genius and instinctiveness of Segovia.

Tracklist:
00:00:00 12 Sonatas For Guitar: 1 Sonata K377: Allegrissimo
00:03:13 12 Sonatas For Guitar: 2 Sonata K208: Adagio e cantabile
00:08:54 12 Sonatas For Guitar: 3 Sonata K209: Allegro
00:14:13 12 Sonatas For Guitar: 4 Sonata K32: Aria
00:17:05 12 Sonatas For Guitar: 5 Sonata K77: Moderato e cantabile
00:21:43 12 Sonatas For Guitar: Minuet
00:23:17 12 Sonatas For Guitar: 6 Sonata K34: Larghetto
00:26:40 12 Sonatas For Guitar: 7 Sonata K291: Andante
00:31:45 12 Sonatas For Guitar: 8 Sonata K292: Allegro
00:34:24 12 Sonatas For Guitar: 9 Sonata K87 -
00:38:02 12 Sonatas For Guitar: 10 Sonata K481: Andante e cantabile
00:42:25 12 Sonatas For Guitar: 11 Sonata K476: Allegro
00:46:12 12 Sonatas For Guitar: 12 Sonata K213: Andante


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To be released in september 2018!
Playing: Autre chacone in C Major

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Francesco Corbetta: the JS Bach of the guitar? A bold claim, but one made with passion by the guitarist Izhar Elias in his own booklet essay for this ground-breaking new album.

Born in the Italian city of Pavia around 1615, Corbetta worked as a musician in the court of Madrid but he made his career and lasting reputation in France. According to contemporary accounts, Corbetta’s playing epitomized the ornate Baroque guitar solo. The high range, frequent resolution of dissonance, virtuosic techniques, and coloristic effects, such as overlapping tones of campanelas or flashy repicco strumming, converged in his guitar music to make it the most brilliant if challenging of the era.

On this album Elias has made his own selection from two of Corbetta’s published volumes which were written for King Charles II (1671) and King Louis XIV (1674) respectively. According to him, Corbetta’s music is rooted in the popular songs and dances of his day, making him more like a modern pop songwriter. Using the genres of chaconne and passacaglia, several of which are included here, he transformed the guitar into a polyphonic instrument and a genuinely soloistic one compared to its previous, humble role as an accompaniment to song and strings. There are also two substantial dance suites, in A minor and G minor.

The Dutch-born guitarist Izhar Elias has made several significant contributions to the extensive library of guitar music on Brilliant Classics, including a Spanish Baroque album, ‘La Monarcha’ (BC94352), an exploration of Beethoven’s little-known writing for the instrument (BC94631); and perhaps most noteworthy, a first complete recording for substantial excerpts from Rossini’s late masterpiece Semiramide, arranged for solo guitar by Giuliani (BC93902). ‘You’ll rarely hear anyone work so hard,’ remarked the Classics Today reviewer. ‘The playing is magnificent – fluent, tonally as varied as possible, rhythmically true to Rossini.’

Francesco Corbetta (1615-1681) was an Italian guitar player, teacher and composer. First attached to the Mantua court of the Gonzaga family, he later traveled Europe as one of the first guitar virtuosos, finding an admiring welcome at the courts of Madrid and Hannover, finally settling at the court of Louis XIV. In later years he was also active as court musician to Charles II of England, dividing his last 20 years between Paris and London.
His early works were mostly strummed dance music, later he developed his style with complex harmonies and polyphony in the French taste.
Corbetta’s magnum opus is titled La Guitarre Royalle, consisting of two books written for his two patrons (Louis XIV and Charles II). The rhythmic pattern of the court dances are embellished with French style ornamentations, the result being a highly sophisticated, folk music based instrumentation.
Dutch guitarist Izhar Elias is one of today’s most sought-after specialists in Early Music, chamber music and contemporary music. He recorded several remarkable CD’s for Brilliant Classics, to great international acclaim. He wrote the informative liner himself, in English and German.

Tracklist below.

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Composer: Luigi Boccherini
Artist: Virtuosi della Rotonda
Federico Guglielmo violin
Luigi Puxeddu cello

Luigi Boccherini spent his early life in the service of the authorities of his hometown of Lucca, in Tuscany, though his talent as a cellist and composer often saw him travel abroad with his family at this young age. Settling in Spain in 1770, he spent the next 15 years of his life in the service of the Infante Luis Antonio Jaime of Bourbon. The String Quintets Op.29 for two violins, viola and two cellos were composed for the Infante in 1779 and represent a peak in Boccherini’s output, both for the magic of their texture and their great formal freedom. They remained unpublished for several years, only printed posthumously by the Parisian publisher Pleyel in 1813. The presence of dance is a common feature of the Quintets, with examples of every kind bursting out unexpectedly, even in movements where it is not openly called for. Particularly striking in this regard is Boccherini’s way of disrupting a slow movement in order to leave space for the dance to follow to the point that, in the sixth and last quintet, the slow movement is reduced to a sad Prelude before the Goyescan finale. Performing these works are I Virtuosi della Rotonda, a chamber group founded by Luigi Puxeddu in 2002, made up of soloists and leaders of major Italian orchestras. Puxeddu has already released Boccherini’s String Quintets Op.18, with La Magnifica Comunità (BC93346), and his Complete Cello Sonatas (BC93784) on Brilliant Classics. The latter, the only complete recording in existence, was named Disc of the Month by Angelo Foletto in the Italian classical music magazine Suonare News and received five Diapasons in France, as well as being critically praised in American Record Guide and Classical Voice.
After a lapse of several years this set presents the continuation of a highly successful and popular series on Brilliant Classics: the string quintets by Boccherini! The String Quintet series, of which 15 CD’s have already been issued, brought to light many hidden treasures, masterworks of chamber music in pure Classical Style, brimming with vitality, wit and winning charm. The ensemble I Virtuosi delle Rotonda are basically the same as the previous ensemble La Magnifica Comunita, only the primarius is changed: early music specialist and pioneer Federico Guglielmo, a better and stronger advocate of this delicious music is hardly imaginable…

00:00:00 String Quintet No. 1 in D Major, G. 313: I. Andante moderato
00:08:04 String Quintet No. 1 in D Major, G. 313: II. Minuetto
00:11:54 String Quintet No. 1 in D Major, G. 313: III. Cantabile
00:18:19 String Quintet No. 1 in D Major, G. 313: IV. Finale. Allegro
00:23:42 String Quintet No. 2 in C Minor, G. 314: I. Allegro vivo
00:31:11 String Quintet No. 2 in C Minor, G. 314: II. Largo assai
00:33:19 String Quintet No. 2 in C Minor, G. 314: III. Minuetto
00:37:05 String Quintet No. 2 in C Minor, G. 314: IV. Fuga. Allegro giusto
00:42:11 String Quintet No. 3 in F Major, G. 315: I. Adagio
00:48:04 String Quintet No. 3 in F Major, G. 315: II. Allegro vivo
00:56:18 String Quintet No. 3 in F Major, G. 315: III. Andante lentarello
01:03:10 String Quintet No. 4 in A Major, G. 316: I. Allegro moderato
01:09:59 String Quintet No. 4 in A Major, G. 316: II. Minuetto
01:13:46 String Quintet No. 4 in A Major, G. 316: III. Largo cantabile
01:20:54 String Quintet No. 4 in A Major, G. 316: IV. Il ballo Tedesco. Presto
01:24:34 String Quintet No. 5 in E-Flat Major, G. 317: I. Allegro moderato
01:31:39 String Quintet No. 5 in E-Flat Major, G. 317: II. Minuetto
01:34:53 String Quintet No. 5 in E-Flat Major, G. 317: III. Andante lento
01:40:59 String Quintet No. 5 in E-Flat Major, G. 317: IV. Finale. Allegro assai
01:46:13 String Quintet No. 6 in G Minor, G. 318: I. Allegro moderato assai
01:53:53 String Quintet No. 6 in G Minor, G. 318: II. Minuetto
01:56:41 String Quintet No. 6 in G Minor, G. 318: III. Preludio. Adagio
01:59:09 String Quintet No. 6 in G Minor, G. 318: IV. Rondò. Allegro giusto

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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

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Composer: Nicolò Paganini
Artist: Luigi Attademo (Guitar)
Nicolò Paganini’s works for guitar were only published in their entirety in 1989. The Genoese musician was a sensation during his lifetime and is still counted among the greatest violinists of all time, yet he was also an excellent guitarist. At the other end of the compositional spectrum to his works for violin, Paganini’s guitar works have a more intimate feel; not intended for the concert hall, they are often free from the virtuosic display that was typical of solo works of the era.

The Ghiribizzi collection contains a charm and simplicity appropriate to the musical proficiency and development of a young guitar student, concentrating on areas such as ornamentation, scalic exercises and pedal notes. The 37 Sonatas are a collection of two-movement pieces (with the exception of No.11 and Nos. 34–37); among the movements are charismatic minuets, mellow Andantinos and lilting waltzes. A further wealth of compositional variation can be found in the Guitar works MS85–105. The Grande Sonata, one of Paganini's most popular works, originally employed the violin as an accompaniment to the guitar; this collection provides a performance of the Sonata for solo guitar -- a real treat. The use of a period guitar for this recording adds a special quality to the collection.
Tracklist in the comment description.

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Composer & Artist:
Composer: Sergei Rachmaninoff
Artists: Janáček Philharmonic Orchestra, Wolfram Schmitt-Leonardy (piano), Theodore Kuchar

About this Album:
Rachmaninoff’s fifth piano concerto? How could you have missed it? Well, do not be alarmed, there has been no such thing until last year, 2007. In fact this concerto is an arrangement of Rachmaninoff’s second symphony. But putting it like that would be selling short this work.

These days injured pianist Alexander Warenberg mainly works as a composer and arranger. He was asked to tackle the seemingly ludicrous task of changing the second symphony into a work with an important piano part. Warenberg has meticulously reworked the four movements of the symphony into the regular three movements of Rachmaninoff’s concertos.

Tracklist:
00:00:00 Symphony No. 2 in E Minor, Op. 27: I. Largo - Allegro moderato (Arranged as Piano Concerto by Alexander Warenberg)
00:18:36 Symphony No. 2 in E Minor, Op. 27: II. Adagio - Molto allegro (Arranged as Piano Concerto by Alexander Warenberg)
00:31:48 Symphony No. 2 in E Minor, Op. 27: III. Allegro vivace (Arranged as Piano Concerto by Alexander Warenberg)

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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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From the Symphony No.1, composed when Mozart was just eight years old, to the mature and well-loved ‘Haffner’, ‘Prague’ and ‘Jupiter’ symphonies, this comprehensive 11-CD set collects together Mozart’s complete body of work in this genre, performed on period instruments by the Mozart Akademie Amsterdam and conducted by Jaap ter Linden.

Mozart is recognised as one of the great composers of the Classical symphony, building upon the achievements made by his mentor Joseph Haydn to develop its form. At the time that he composed his Symphony No.1 in 1764, the symphony’s form was still closely linked to that of the French opera overture, with three short movements in a fast-slow-fast pattern. Gradually, composers like Haydn began to expand this structure to the four-movement form that we are familiar with as the Classical symphony. These fascinating developments in style and structure can be heard in Mozart’s changing approach to symphonic composition throughout his career, and the booklet notes that accompany this release trace such developments in depth.

Composer: Antonio Vivaldi
Artists: Pier Luigi Fabretti (oboe), Federico Guglielmo (concert master), L'Arte dell'Arco

Tracklist below.

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After the enormous success of Vivaldi’s earlier collections La Stravaganza and L’Estro Armonico, his publisher Estienne Roger was eager to capitalise on the composer’s soaring popularity. With that in mind, Op.7 was published in 1720 containing 12 new concertos, ten for solo violin and two for solo oboe. However, it seems unlikely Vivaldi either authorised or approved of this publication, and recent research has even discovered that the authenticity of the concertos is doubtful, with at least the two oboe concertos certainly not by Vivaldi. The concertos may not bear the traditional Vivaldian hallmarks, with movements simplified or moved around, but they are still a worthy tribute to the composer, whether penned by the ‘Prete Rosso’ himself or not.

Federico Guglielmo leads his experienced and lively ensemble L’Arte dell’Arco from the front. A highly acclaimed soloist, Guglielmo has been an active performer on the early music circle for many years, having played alongside such groups as the Academy of Ancient Music and the Handel & Haydn Society of Boston. This time he is joined by oboist Pier Luigi Fabretti, who has previously performed with Concerto Köln and I Barocchisti, among others.

his new instalment of the complete recording of Vivaldi’s Op. 112 contains the 12 Violin Concertos Op. 7, published in Amsterdam in 1720. Prompted by the popular success of the previously published La Stravaganza and L’Estro Armonico Vivaldi wrote these concertos in the same vein: brilliant, dramatic, full of the vitality of Mediterranean life and colours.
Played by the Italian Early Music group “L’Arte dell’Arco, led by violinist (and soloist) Federico Guglielmo. French magazine Diapason wrote about them: ”they understand the secret language of Vivaldi…rich and generous instrumental textures envelop the expressive lines of the solo violin…”

00:00:00 Violin Concerto in D Major, RV 208a: I. Allegro
00:04:27 Violin Concerto in D Major, RV 208a: II. Grave
00:05:47 Violin Concerto in D Major, RV 208a: III. Allegro
00:09:19 Violin Concerto in F Major, RV 294a: I. Allegro
00:12:22 Violin Concerto in F Major, RV 294a: II. Grave
00:13:54 Violin Concerto in F Major, RV 294a: III. Allegro
00:17:01 Violin Concerto in A Minor, RV 354: I. Allegro
00:19:55 Violin Concerto in A Minor, RV 354: II. Adagio
00:22:42 Violin Concerto in A Minor, RV 354: III. Allegro
00:25:45 Violin Concerto in C Major, RV 188: I. Allegro
00:28:58 Violin Concerto in C Major, RV 188: II. Largo
00:31:04 Violin Concerto in C Major, RV 188: III. Allegro
00:33:13 Violin Concerto in G Minor, RV 326: I. Allegro
00:36:01 Violin Concerto in G Minor, RV 326: II. Grave
00:38:02 Violin Concerto in G Minor, RV 326: III. Presto
00:39:45 Violin Concerto in B-Fflat Major, RV 374: I. Allegro
00:42:31 Violin Concerto in B-Fflat Major, RV 374: II. Largo
00:44:31 Violin Concerto in B-Fflat Major, RV 374: III. Allegro
00:47:06 Violin Concerto in D Major, RV 214: I. Allegro
00:49:39 Violin Concerto in D Major, RV 214: II. Grave assai
00:51:43 Violin Concerto in D Major, RV 214: III. Allegro
00:54:01 Violin Concerto in G Major, RV 299: I. Allegro
00:56:03 Violin Concerto in G Major, RV 299: II. Largo cantabile
00:57:28 Violin Concerto in G Major, RV 299: III. Allegro
00:59:25 Violin Concerto in B-Flat Major, RV 373: I. Allegro
01:02:51 Violin Concerto in B-Flat Major, RV 373: II. Grave spiccato
01:05:26 Violin Concerto in B-Flat Major, RV 373: III. Alla breve
01:09:04 Violin Concerto in F Major, RV 285a: I. Allegro
01:12:21 Violin Concerto in F Major, RV 285a: II. Grave
01:15:09 Violin Concerto in F Major, RV 285a: III. Allegro
01:17:55 Oboe Concerto in B-Flat Major, RV 465: I. Allegro
01:20:12 Oboe Concerto in B-Flat Major, RV 465: II. Adagio
01:21:55 Oboe Concerto in B-Flat Major, RV 465: III. Allegro
01:23:44 Oboe Concerto in B-Flat Major, RV 464: I. Allegro
01:26:25 Oboe Concerto in B-Flat Major, RV 464: II. Largo
01:28:07 Oboe Concerto in B-Flat Major, RV 464: III. Allegro

Tracklist below.

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If you like the works of Shostakovich, you can also check the following video “Shostakovich: Symphonies 1-6” :
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After releasing the highly successful sets of Shostakovich symphonies (the award-winning cycle of Rudolf Barshai) and the string quartets ( highly acclaimed performances of the Rubio Quartet), this set presents the Jazz Suites, Ballet Suites and Film Music.

Shostakovich lived a live full of tension and controverses in the Stalin era. As a modernist he was reprimanded and threatened to be banned. As a sign of good behaviour, he wrote music for mass audiences, in a popular style. But Shostakovich being Shostakovich, he managed to suggest under the surface of the sometimes nearly vulgar music his unique sense of bitter irony and revolt.

The Jazz suites enjoy a huge popularity. The 'Second Waltz' from the first Suite gained world reputation through the arrangement of Andre Rieu. The film music for the Gadfly is famous for its Romance, which was used in a popular television series.

Excellent, idiomatic performances by the Ukrainian Orchestra under Theodore Kuchar.

00:00:00 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): March
00:03:09 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Dance No. 1
00:06:10 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Dance No. 2
00:09:54 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Little Polka
00:12:33 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Lyric Waltz
00:15:16 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Waltz No. 1
00:18:42 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Waltz No. 2
00:22:20 Suite for Variety Orchestra No. 1, (Jazz Suite No. 2): Finale
00:24:44 Overture on Russian and Kirghiz Themes, Op. 115
00:34:13 Jazz Suite No. 1: Waltz
00:36:38 Jazz Suite No. 1: Polka
00:38:21 Jazz Suite No. 1: Foxtrot
00:42:16 Novorossijsk Chimes
00:44:57 Festive Overture, Op. 96
00:50:43 The Bolt, Ballet Suite, Op. 27a: Overture
00:56:22 The Bolt, Ballet Suite, Op. 27a: Polka
00:59:04 The Bolt, Ballet Suite, Op. 27a: Variation
01:00:55 The Bolt, Ballet Suite, Op. 27a: Tango
01:06:05 The Bolt, Ballet Suite, Op. 27a: Intermezzo
01:10:00 The Bolt, Ballet Suite, Op. 27a: Finale
01:13:30 The Limpid Stream, Ballet Suite, Op. 39a: Waltz
01:15:57 The Limpid Stream, Ballet Suite, Op. 39a: Russian Lubok
01:18:31 The Limpid Stream, Ballet Suite, Op. 39a: Galop
01:20:33 The Limpid Stream, Ballet Suite, Op. 39a: Adagio
01:27:57 The Limpid Stream, Ballet Suite, Op. 39a: Pizzicato
01:29:28 The Golden Age, Ballet Suite, Op. 22a: Overture
01:33:18 The Golden Age, Ballet Suite, Op. 22a: Adagio
01:42:04 The Golden Age, Ballet Suite, Op. 22a: Polka
01:44:19 The Golden Age, Ballet Suite, Op. 22a: Dance
01:46:29 Hamlet Suite: Prelude
01:48:51 Hamlet Suite: The Ball at the Palace
01:52:36 Hamlet Suite: The Ghost
01:54:02 Hamlet Suite: In the Garden
01:57:11 Hamlet Suite: Hamlet & Ophelia
02:01:07 Hamlet Suite: Arrival of the Actors
02:03:22 Hamlet Suite: Poisoning Scene
02:10:52 Hamlet Suite: Duel and Death of Hamlet
02:14:56 Gadfly, Suite, Op. 97a: Overture
02:17:56 Gadfly, Suite, Op. 97a: Contradance
02:20:27 Gadfly, Suite, Op. 97a: Folk Feast
02:23:08 Gadfly, Suite, Op. 97a: Interlude
02:25:58 Gadfly, Suite, Op. 97a: Waltz "Barrel Organ"
02:27:55 Gadfly, Suite Op. 97a: Galop
02:29:54 Gadfly, Suite Op. 97a: Introduction
02:36:02 Gadfly, Suite, Op. 97a: Romance
02:42:31 Gadfly, Suite, Op. 97a: Intermezzo
02:48:09 Gadfly, Suite, Op. 97a: Nocturne
02:52:06 Gadfly, Suite, Op. 97a: Scene
02:55:31 Gadfly, Suite, Op. 97a: Finale

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Composer: Georg Philipp Telemann
Artists: Collegium Instrumentale Brugense, Patrick Peire (conductor)

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

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

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

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

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


Tracklist can be found in the comment section below!

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Composer: Piotr Ilyich Tchaikovsky
Artists: Derek Han (piano), St. Petersburg Philharmonic Orchestra, Paul Freeman (conductor)

About this Album:
This release features two piano concertos by Tchaikovsky: Concerto No. 1 and No. 2. Brilliant performance by Derek Han, accompanied by St. Petersburg Philharmonic under the baton of Paul Freeman.

Tracklist:
00:00:00 Piano Concerto No. 1 in B-Flat Minor, Op. 23: Allegro non troppo e molto maestoso; allegro con spirito
00:19:23 Piano Concerto No. 1 in B-Flat Minor, Op. 23: Andantino semplice; Prestissimo
00:25:49 Piano Concerto No. 1 in B-Flat Minor, Op. 23: Allegro con fuoco
00:32:42 Piano Concerto No. 2 in G Major, Op. 44: Allegro brillante
00:53:01 Piano Concerto No. 2 in G Major, Op. 44: Andante non troppo
01:01:57 Piano Concerto No. 2 in G Major, Op. 44: Allegro con fuoco


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Composer: Luigi Boccherini
Artists: La Magnifica Communità, Enrico Casazza (violin and concert master)

A much-underrated composer, Luigi Boccherini (1743-1805) was one of the leading composers of the late 18th century, a friend and colleague of both Haydn and Mozart, and a formidable cello virtuoso. His reputation was such that he was nicknamed ‘Mrs Haydn’ – not in a pejorative sense, the appellation was due to his music sounding Haydnesque, but with a sensual, feminine grace rather than the Sturm und Drang of his Austrian friend’s music.

Although his cello concerti and some of his symphonies remain in the repertoire, it is his chamber music that his reputation today rests, especially the quintets. Boccherini championed this genre, and it was his example that inspired Mozart to compose his quintets.

This release contains the string quintets Op. 10 - Op. 13. Great performances by La Magnifica Communità, lead by violinist Enrico Casazza

The tracklist can be found in the comments section below!

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Composer: Antonio Vivaldi
Artists: l'Arte dell'Arco, Federico Guglielmo (violin & concert master)

These performances of Vivaldi’s violins concertos Op. 6 are a far cry from the elegant and charming performances of past generations: played on period instruments Vivaldi sounds powerful, vibrant, full of passion and drama.The “one player per part” formation is based on recent research by English scholar Richard Maunder, and provide a close, immediate sound, as it might have been heard in a Venetian Palace.

Vivaldi’s op.6 concertos first appeared in print in Amsterdam in 1719. However, this edition was unreliable in the extreme. Scoring was incorrect, the number of works indistinct, random movements separated from their correct work, and a host of other errors.
What is clear though is that these concertos are a decisive step forward from the works found in opp. 3 and 4. For example, all follow the fast-slow-fast pattern of the threemovement concerto. The solo violin has prominence, so we are moving away from the concerto-grosso style.
These recordings are the world premiere of the new critical edition by Alessandro Borin, Istituto Italiano Antonio Vivaldi, Fondazione Giorgio Cini,Venice.

00:00:00 Concerto No. 4 in D, RV 216 for violin, strings and continuo: I. Allegro
00:02:01 Concerto No. 4 in D, RV 216 for violin, strings and continuo: II. Adagio
00:03:33 Concerto No. 4 in D, RV 216 for violin, strings and continuo: III. Allegro
00:06:00 Concerto No. 5 in E Minor, RV 280 for violin, strings and continuo: I. Allegro
00:09:00 Concerto No. 5 in E Minor, RV 280 for violin, strings and continuo: II. Largo
00:11:05 Concerto No. 5 in E Minor, RV 280 for violin, strings and continuo: III. Allegro)
00:13:05 Concerto No. 6 in D Minor, RV 239 for violin, strings and continuo: I. Allegro
00:16:29 Concerto No. 6 in D Minor, RV 239 for violin, strings and continuo: II. Largo
00:18:55 Concerto No. 6 in D Minor, RV 239 for violin, strings and continuo: III. Allegro
00:22:03 Concerto No. 2 in E-Flat, RV 259 for violin, strings and continuo: I. Allegro
00:26:00 Concerto No. 2 in E-Flat, RV 259 for violin, strings and continuo: II. Largo
00:27:47 Concerto No. 2 in E-Flat, RV 259 for violin, strings and continuo: III. Allegro
00:30:48 Concerto No. 1 in G Minor, RV 324 for violin, strings and continuo: I. Allegro
00:34:19 Concerto No. 1 in G Minor, RV 324 for violin, strings and continuo: II. Grave
00:37:33 Concerto No. 1 in G Minor, RV 324 for violin, strings and continuo: III. Allegro
00:40:11 Concerto No. 3 in G, RV 318 for violin, strings and continuo: I. Allegro
00:43:17 Concerto No. 3 in G, RV 318 for violin, strings and continuo: II. Adagio
00:45:00 Concerto No. 3 in G, RV 318 for violin, strings and continuo: III. Allegro

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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 Last 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 TOP 40 of the most popular classical melodies. The very best tracks of the moment. Also great for Relaxation music, work or studying.

00:00:00 Vivaldi - Violin Concerto in E Major, RV 269, "Spring": I. Allegro
00:03:30 Camille Saint-Saëns - The Carnival of the Animals: XIII. The Swan
00:06:27 Mozart - Sonata No. 11 in A Major, K. 331: III. Rondo alla turca
00:09:55 Chopin - Waltzes, Op. 64: No. 1, Waltz in D-Flat Major "Minute Waltz"
00:11:37 Mozart - Eine kleine Nachtmusik, K. 525: I. Allegro

00:16:52 Gabriel Fauré - Sicilienne, Op. 78
00:20:16 Claude Debussy - Childrens Corner, L. 113: No. 6, Golliwog's Cake-walk
00:22:57 Franz liszt - Liebestraum, S. 541: No. 3, Oh Lieb, so lang du lieben kannst
00:27:29 Johannes Brahms - 16 Waltzes, Op. 39: No. 15, Waltz in A-Flat Major "Lullaby"
00:29:06 Beethoven - Piano Sonata No. 8 in C Minor, Op. 13, "Pathetique": I. Adagio cantabile

00:33:48 Robert Schumann - Kinderszenen, Op. 15: No. 7, Traumerei in F Major
00:36:56 Mozart - Piano Concerto No. 23 in A Major, K. 488: II. Adagio
00:43:12 Nicolló Paganini - Cantabile e Valser, Op. 19: I. Cantabile quasi adagio
00:46:40 Franz liszt - Consolations, S. 172: III. Lento placido in D-Flat Major
00:49:43 Charles-valentin Alkan - 6 French Songs, Op. 65: No. 6, Barcarolle

00:53:25 J.S. Bach - Brandenburg Concerto No. 4 in G Major, BWV 1049: II. Andante
00:56:58 Beethoven - Bagatelle in A Minor, WoO 59 "Für Elise"
00:59:48 Edvard Grieg - Lyric Pieces, Op. 43: No. 6, To Spring
01:02:15 Telemann - Ouverture-Suite in E Minor, TWV 55: No. 6, Air. Un peu vivement
01:06:38 Gabriel Fauré - Berceuse, Op. 16

01:10:04 Vivaldi - Flute Concerto No. 3 in D Major, RV 428 "Il gardellino": I. Allegro
01:14:06 Mussorgsky - Pictures at an Exhibition: Promenade II, No. 2, The Old Castle
01:19:11 Beethoven - Piano Sonata in C-Sharp Major, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto
01:24:49 Claude Debussy - Suite Bergamasque, L. 75: III. Clair de Lune
01:29:44 Erik Satie - 3 Gymnopédies: No. 1, Lent et douloureux in D Major

01:33:23 Mozart - Piano Concerto in C Major, K. 467: II. Andante "Elvira Madigan"
01:40:13 Franz liszt - 2 Concert-Studies, S. 145: No. 1, Waldesrauschen. Vivace
01:44:17 Tchaikovsky - The Seasons, Op. 37a: No. 10, October. Autumn Song in D Minor. Andante doloroso e molto cantabile
01:47:41 Anatoly Lyadov - 2 Morceaux, Op. 9: No. 1, Valse
01:50:43 Felix Mendessohn - Lieder ohne Worte, Op. 19b: No. 6, Venetian Gondola Song. Andante sostenuto

01:52:14 Claude Debussy - 2 Arabesques, L. 66: No. 1, Première Arabesque in E Major
01:56:22 Chopin - Nocturnes, Op. 9: No. 2, Nocturne in E-Flat Major
02:00:40 Edvard Grieg - Lyric Pieces, Op. 54: No. 3, March of the Dwarfs
02:03:32 Gabriel Fauré - Requiem, Op. 48: XII. In Paradisum
02:06:45 J.S. Bach - Jesu, meine Freude, BWV 227
02:09:45 Erik Satie - Gnossiennes: No. 5, Moderato
02:12:31 Tchaikovsky - The Seasons, Op. 37a: No. 3, March. Song of the Lark in G Minor. Andantino espressivo
02:14:12 Johannes Brahms - Symphony No. 3, Op. 90: III. Poco allegretto in C Minor
02:20:12 Franz Schubert - 6 Moments musicaux, D. 780: No. 3, Allegro moderato
02:22:16 Chopin - Preludes, Op. 28: No. 15, Prelude in D-Flat Major "Raindrop"

Tracklist below.
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A recording of the complete Cello Sonatas by Vivaldi on period instruments! Antonio Vivaldi was one of the first composers to feature the cello, then a relatively “new” instrument (after the viola da gamba), as a mature solo instrument. This full recording contains the complete 6 sonatas for cello and basso continuo.

Vivaldi displays an astonishing variety and inventiveness in these sonatas, using the instrument’s possibilities to the utmost; these sonatas still offer a serious challenge, both technical and musical, for any professional cellist nowadays. Apart from that they are vintage Vivaldi, featuring an enormous range of emotional extremes, from deep heartfelt sadness to infectious joy.

00:00:00 Cello Sonata in B-Fflat Major, RV 47: I. Largo
00:03:28 Cello Sonata in B-Fflat Major, RV 47: II. Allegro
00:06:43 Cello Sonata in B-Fflat Major, RV 47: III. Largo
00:10:52 Cello Sonata in B-Fflat Major, RV 47: IV. Allegro
00:12:48 Cello Sonata in F Major, RV 41: I. Largo
00:16:19 Cello Sonata in F Major, RV 41: II. Allegro
00:18:51 Cello Sonata in F Major, RV 41: III. Largo
00:22:27 Cello Sonata in F Major, RV 41: IV. Allegro
00:24:56 Cello Sonata in A Minor, RV 43: I. Largo
00:29:21 Cello Sonata in A Minor, RV 43: II. Allegro
00:32:53 Cello Sonata in A Minor, RV 43: III. Largo
00:37:11 Cello Sonata in A Minor, RV 43: IV. Allegro
00:40:13 Cello Sonata in B-Flat Major, RV 45: I. Largo
00:43:32 Cello Sonata in B-Flat Major, RV 45: II. Allegro
00:46:12 Cello Sonata in B-Flat Major, RV 45: III. Largo
00:51:00 Cello Sonata in B-Flat Major, RV 45: IV. Allegro
00:53:42 Cello Sonata in E Minor, RV 40: I. Largo
00:56:24 Cello Sonata in E Minor, RV 40: II. Allegro
00:58:51 Cello Sonata in E Minor, RV 40: III. Largo
01:01:10 Cello Sonata in E Minor, RV 40: IV. Allegro
01:03:38 Cello Sonata in B-Flat Major, RV 46: I. Preludio. Largo
01:05:37 Cello Sonata in B-Flat Major, RV 46: II. Allemande. Allegro
01:08:26 Cello Sonata in B-Flat Major, RV 46: III. Largo
01:11:22 Cello Sonata in B-Flat Major, RV 46: IV. Corrente. Allegro

Tracklist below.
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‘My compositions take shape without any predetermined plan and are, as it were, the reflection of a quest for an unknown goal.’ Simeon ten Holt

The Dutch composer Simeon ten Holt (b.1923) began his career immersed in the intricacies and innovations of serialism, exploring what he described as ‘the semantics of musical language’ in an endeavour to expand his musical expression. However, in 1970 he abandoned the complex twelve-note technique that had been the standard since the Second World War, and returned to sounds and patterns that were easier for the ear to understand. In doing so, he created a unique Dutch minimalist style, using simple triads, shifting rhythmic patterns and repetition.

Canto Ostinato, scored for four grand pianos, is the quintessential example of Ten Holt’s groundbreaking minimalist style, one of his most well-known and critically-acclaimed compositions. Constructed using short cells that can be repeated an indeterminate number of times by performers, the music is hypnotic and emotionally moving, taking listeners on a journey through musical landscapes. With an expert performance by Piano Ensemble, a group that includes a number of specialists in minimalism, this recording is authoritative, complex yet accessible, and an essential addition to the collection of anyone interested in minimalism.
00:00:00 Canto Ostinato, Part I: Section 1
00:03:54 Canto Ostinato, Part I: Section 5
00:08:09 Canto Ostinato, Part I: Section 10
00:13:30 Canto Ostinato, Part I: Section 14
00:22:12 Canto Ostinato, Part I: Section 20
00:30:23 Canto Ostinato, Part I: Section 25
00:37:25 Canto Ostinato, Part I: Section 35
00:42:44 Canto Ostinato, Part I: Section 41
00:50:32 Canto Ostinato, Part I: Section 56
00:54:31 Canto Ostinato, Part I: Section 60
00:55:41 Canto Ostinato, Part I: Section 69
00:59:52 Canto Ostinato, Part I: Theme I, Section 74
01:05:04 Canto Ostinato, Part I: Section 78
01:08:27 Canto Ostinato, Part I: Section 83
01:14:50 Canto Ostinato, Part II: Section 88 A
01:22:22 Canto Ostinato, Part II: Section 88 B
01:31:06 Canto Ostinato, Part II: Section 88 E
01:36:53 Canto Ostinato, Part II: Section 88 F
01:45:37 Canto Ostinato, Part II: Section 88 C
01:52:04 Canto Ostinato, Part II: Section 89
01:54:42 Canto Ostinato, Part II: Section 91 A
01:57:25 Canto Ostinato, Part II: Section 91 C
02:01:43 Canto Ostinato, Part II: Section 91 E
02:09:43 Canto Ostinato, Part II: Section 92
02:11:15 Canto Ostinato, Part II: Theme II, Section 95
02:16:13 Canto Ostinato, Part II: Section 97
02:20:03 Canto Ostinato, Part II: Section 105
02:21:46 Canto Ostinato, Part II: Section 106

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Composer: Dietrich Buxtehude
Artist: Simone Stella (harpsichord)


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

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

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