Tracklist below.
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Beethoven’s oeuvre only comprises a small collection of works for cello and piano, but that the composer was an accomplished writer for this combination of instruments is evident from the fact that Jean-Louis Duport, one of Frederick II’s court cellists and one of the most revered musicians of his day, incorporated many of the techniques found in the Op.5 sonatas into his instruction manual for cello.

Other information:
The two musicians Timora Rosler and Klára Würtz have been playing together for more than 15 years, having won several chamber music prizes. They performed the Beethoven cycle several times in concert over the years, and their interpretation has ripened to such an extent that the time came to record it. And here it is: every note alive and vibrant, played with gusto and feeling, alternating melancholy and joy, sadness and sheer fun.


00:00:00 Cello Sonata in F Major, Op. 5 No. 1: I. Adagio sostenuto – Allegro
00:17:01 Cello Sonata in F Major, Op. 5 No. 1: II. Rondo. Allegro vivace
00:23:22 Cello Sonata in G Minor, Op. 5 No. 2: I. Adagio sostenuto ed espressivo
00:28:58 Cello Sonata in G Minor, Op. 5 No. 2: I. Allegro molto più tosto presto
00:38:51 Cello Sonata in G Minor, Op. 5 No. 2: 5 II. Rondo. Allegro
00:47:20 Cello Sonata in A Major, Op. 69: I. Allegro ma non tanto
00:59:51 Cello Sonata in A Major, Op. 69: II. Scherzo. Allegro molto
01:04:54 Cello Sonata in A Major, Op. 69: III. Adagio cantabile – Allegro vivace
01:13:06 Cello Sonata in C Major, Op. 102 No. 1: I. Adagio – Allegro vivace
01:20:19 Cello Sonata in C Major, Op. 102 No. 1: II. Adagio – Tempo d’andante – Allegro vivace
01:27:18 Cello Sonata in D Major, Op. 102 No. 2: I. Allegro con brio
01:33:42 Cello Sonata in D Major, Op. 102 No. 2: II. Adagio con molto sentimento d’affetto
01:41:31 Cello Sonata in D Major, Op. 102 No. 2: III. Allegro – Allegro fugato
01:46:00 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Thema. Allegretto
01:46:42 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 1
01:47:20 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 2
01:47:58 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 3
01:48:36 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 4
01:49:20 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 5
01:50:04 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 6
01:50:42 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 7
01:51:22 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 8
01:51:59 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 9
01:52:42 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 10
01:53:25 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 11. Adagio
01:56:24 12 Variations on “See the Conqu’ring Hero comes”, WoO 45: Variation 12. Allegro
01:57:27 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Thema. Allegretto
01:57:57 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 1
01:58:29 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 2
01:59:02 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 3
01:59:32 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 4
02:00:05 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 5
02:00:38 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 6
02:01:06 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 7
02:01:45 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 8
02:02:22 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 9
02:02:54 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 10. Adagio
02:04:03 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 11. Poco adagio, quasi andante
02:04:58 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Variation 12. Allegro
02:06:56 7 Variations on “Bei Männern, welche Liebe fühlen”, WoO 46: Thema. Andante
02:07:41 7 Variations on “Bei Männern, welche Liebe fühlen”, WoO 46: Variation 1
02:08:19 7 Variations on “Bei Männern, welche Liebe fühlen”, WoO 46: Variation 2
02:09:02 7 Variations on “Bei Männern, welche Liebe fühlen”, WoO 46: Variation 3
02:10:06 7 Variations on “Bei Männern, welche Liebe fühlen”, WoO 46: Variation 4
02:11:22 7 Variations on “Bei Männern, welche Liebe fühlen”, WoO 46: Variation 5. Si prenda il tempo un poco
02:11:58 7 Variations on “Bei Männern, welche Liebe fühlen”, WoO 46: Variation 6. Adagio
02:14:05 7 Variations on “Bei Männern, welche Liebe fühlen”, WoO 46: Variation 7. Allegro ma non troppo

Artist:
Timora Rosler (cello)
Klara Wurtz (piano)

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It may seem surprising: can 10 discs really contain all of Arcangelo Corelli’s output? They can, and do, but the surprise is merited, for the influence and reputation of these works far outstrips their quantity (and how often can one say that of a Barock composer!). On display here is the apogee of Barock form as displayed in the genres of Solo Sonatas, Trio Sonatas and Concerti Grossi, full of sparkling virtuosity and an intimate knowledge and love of the violin and its potential as a solo instrument.

The influence was felt most immediately in Rome, where he was based for his adult life, but publication of these collections soon earned him a name across Europe, as much as his prowess as a solo violinist did; for this was the golden age of the composer as creator, when composition went hand in hand with performance. Of course there is plenty more music Corelli composed which hasn’t survived, or at least not on manuscripts with his name on them, for Corelli as an impresario frequently staged oratorios to which he would have contributed sinfonias and instrumental numbers.

What survives is never less than highly polished; often bold, and continually inventive, as is more than evident in these performances from a welcome and uniform perspective by a leading Dutch period-instrument ensemble. And it’s unique; there is no other Corelli box on the market, nor has such a project ever been attempted before or since.

00:00:00 Trio Sonatas OP.3 1-12
01:20:28 Trio Sonatas OP.4 NOS 1-12
02:40:36 Trio Sonatas WoO 9-10


Full Tracklist in the comment section

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Composers: Antonio Vivaldi
Artist: Ensemble J.M. Anciuti , Paolo Pollastri baroque (oboe), Gaetano Nasillo (cello), Alberto Guerra (baroque bassoon), Giovanna Losco (harpsichord)

This addition to Brilliant Classics’ ever-growing recorded catalogue of music by the asthmatic ‘Red Priest’ of Venice, Antonio Vivaldi, is of oboe sonatas, played (as are most of the recordings in that catalogue) by an Italian ensemble with full awareness of the latest scholarly research into Vivaldi’s manuscripts and performing styles, and on period instruments, soaked in an appreciation of how most stylishly to realise the music of the Italian Baroque.

The oboist himself, Paolo Pollastri, is oboist with Rome’s Orchestra nazionale di Santa Cecilia, which works with many of the world’s great conductors; he has also contributed fine booklet notes to this release. So both technical and scholarly address are not lacking for this album of sprightly chamber music, which was composed not for the usual crowd of orphaned prodigies at the Ospedale della Pietà, but more likely for travelling virtuosi who made Venice a stop on their itinerary. Consequently the manuscripts for the sonatas here are scattered far and wide, from Cambridge to Dresden. Pollastri also includes an apocryphal work, once attributed to Vivaldi but now ascribed to the Frenchman de Chédeville, for its smooth Francophone style and pastoral idiom.

00:00:00 Sonata No. 5 in G Minor, FXIII, RV 28: I. [Largo]
00:04:09 Sonata No. 5 in G Minor, FXIII, RV 28: II. [Allegro]
00:06:21 Sonata No. 5 in G Minor, FXIII, RV 28: III. Largo
00:09:18 Sonata No. 5 in G Minor, FXIII, RV 28: IV. Allegro
00:11:32 Sonata No. 3 in C, FXV, RV 48: I. Affettuoso
00:15:04 Sonata No. 3 in C, FXV, RV 48: II. Allegro assai
00:17:15 Sonata No. 3 in C, FXV, RV 48: III. Larghetto
00:19:15 Sonata No. 3 in C, FXV, RV 48: IV. Allegro
00:21:28 Sonata No. 16 in B-Flat, FXII, RV 34: I. Adagio
00:22:56 Sonata No. 16 in B-Flat, FXII, RV 34: II. Allegro
00:25:16 Sonata No. 16 in B-Flat, FXII, RV 34: III. Largo
00:26:55 Sonata No. 16 in B-Flat, FXII, RV 34: IV. Allegro
00:29:10 Sonata No. 9 in G Minor, FXV, RV 51: I. Largo
00:32:37 Sonata No. 9 in G Minor, FXV, RV 51: II. Allegro
00:34:23 Sonata No. 9 in G Minor, FXV, RV 51: III. Andante
00:36:31 Sonata No. 9 in G Minor, FXV, RV 51: IV. Allegro
00:37:50 Sonata No. 2 in C Minor, FXV, RV 53: I. Adagio
00:40:28 Sonata No. 2 in C Minor, FXV, RV 53: II. Allegro
00:42:42 Sonata No. 2 in C Minor, FXV, RV 53: III. Andante
00:46:48 Sonata No. 2 in C Minor, FXV, RV 53: IV. Allegro
00:49:41 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: I. Vivace
00:51:00 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: II. Fuga da Cappella (Alla breve)
00:53:00 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: III. Largo
00:54:20 Sonata No. 10 in G Minor, FXVI, RV 58, from Il pastor fido Op.13 No.6 by Chédeville, once attributed to Vivaldi: IV. Allegro ma non presto

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Composer: Baldassare Galuppi
Artist: Ensemble StilModerno

No score survives for the seven ‘Concerti a quattro’ recorded here: they are preserved only in a set of manuscript parts in Modena’s BibliotecaEstense. They may not have belonged together as a set, given their diversity of style, but together they present a most attractive compilation of a personal voice at a turning point in musical history around the beginning of the 18th century.

Galuppi took the best of both worlds: the solid counterpoint of his teachers (Lotti and Marcello) and the vivid innovations of the younger generation such as Vincenzo Manfredini, presently made famous by Cecilia Bartoli’s Barock adventures into hitherto unknown vocal repertoire, but also long famous as one of the founding fathers of the string quartet. Nonetheless, we can be sure that Galuppi did not intend to write for string quartet: the basso part is still a continuo part, because a few numbers are still present in figured bass; here and there are also written notes such as ‘violoncello solo’.

In some of them the style is simple, with the typical structure of the opera symphony (a French-style overture followed by a dance movement). Elsewhere, Galuppi conceives larger forms: both the C minor and G minor works open with highly affecting, chromatically inflected slow introductions full of aching suspensions. In this recording, the continuo part is provided by a chamber organ.

Founded in 2005 and this year celebrating its tenth anniversary, Ensemble StilModerno’s discography includes the Sinfonie Op.5 by Giovanni Battista Bassani (BC94259), a disc of which MusicWeb International’s reviewer remarked: "Ensemble StilModerno is thoroughly at home in the idiom. The instrumental interplay is perfectly judged though their performance is clearly thoroughly informed by a knowledge of baroque practice. They choose to play on modern instruments. Only those who care more about authenticity than about music will be troubled by their choice. Anyone who loves the instrumental music of this period is urged to hear this."

00:00:00 Concerto primo in G Major: I. Andante – Allegro
00:02:08 Concerto primo in G Major: II. Andante
00:04:19 Concerto primo in G Major: III. Allegro assai
00:05:30 Concerto quinto in B-Flat Major: I. Grave sostenuto
00:11:04 Concerto quinto in B-Flat Major: II. Allegro e spiritoso
00:13:56 Concerto quinto in B-Flat Major: III. Allegro
00:16:13 Concerto che serve d’introdutione in G Minor: I. Grave, e adagio
00:19:12 Concerto che serve d’introdutione in G Minor: II. Spiritoso
00:22:18 Concerto che serve d’introdutione in G Minor: III. Allegro
00:25:26 Concerto secondo in D Major: I. Maestoso
00:28:30 Concerto secondo in D Major: II. Allegro
00:30:43 Concerto secondo in D Major: III. Andantino
00:32:19 Concerto sesto in A Major: I. Largo
00:36:54 Concerto sesto in A Major: II. Allegro
00:40:07 Concerto sesto in A Major: III. Andante
00:42:17 Concerto terzo in C Minor: I. Grave
00:45:59 Concerto terzo in C Minor: II. Allegro
00:49:59 Concerto terzo in C Minor: III. Andante
00:52:31 Concerto quarto in E-Flat Major: I.Largo
00:55:45 Concerto quarto in E-Flat Major: II. Allegro
00:57:51 Concerto quarto in E-Flat Major: III. A tempo

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For a collection of small nations at the northern fringe of Europe, Scandinavia produced in a relatively short space of time a remarkable quantity of great musicians – including from the late classical and early periods Berwald, Pacius and Crusell, to Gade, Svendsen ,Sinding and Grieg in the mid 19th, and of course Sibelius, Nielsen, Laangaard and Stenhammer at the end of the 19th who became major international composers in the first three decades of the 20th century.

Edvard Grieg (1843 - 1907) of course will always be remembered as the composer of the highly effective A minor piano concerto, and his incidental music to Ibsen’s play Peer Gynt. However, it is as a miniaturist that Greig’s true genius lies. Grieg was a very capable pianist, and had in fact made his early career as a concert pianist, and his songs and solo piano music form the heart of his output. The early piano sonata although interesting shows clearly why the less restricting forms of the miniatures for solo piano suited his genius. The Lyric Pieces and Peasant Dances display his keen ear for traditional folk music, matched probably only by Bartok and Kodaly.

The 66 works that comprise the 10 books of Lyric Pieces date from 1867 to 1901, and are extraordinary, exquisitely crafted works that can stand comparison to any of the great sonatas of his contemporaries. This set includes the complete Lyric Pieces, the Sonata, The Holberg Suite and the lesser-known piano works of this great composer who captured the very essence of his native Norway in music.

Composer: Edvard Hagerup Grieg
Artist : Håkon Austbö piano

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Composers: Franz Schubert
Artists: Martijn van den Hoek (piano), Folke Nauta (piano), Pieter van Winkel (piano)

This release contains a selection of solo piano works by Schubert. An Impromptu is such a piece, typical of the romantic era. Franz Schubert wrote eight of them. The second series of four was only published after his death. They are all available on this release. Martijn van den Hoek is the pianist. Also featured are the Moments Musicaux, performed by Folka Nauta, and 3 Klavierstücke (Impromptus aus dem Nachlass) played by Pieter van Winkel.

00:00:00 Impromptus: Impromptu in C Minor, Op. 90 No. 1: Allegro molto moderato
00:09:26 Impromptus: Impromptu in E-Flat Major, Op. 90 No. 2 : Allegro
00:13:44 Impromptus: Impromptu in G-Flat Major, Op. 90 No. 3: Andante
00:19:22 Impromptus: Impromptu in A-Flat Major, Op. 90 No. 4: Allegretto
00:27:20 Impromptus: Impromptu in F Minor, Op. 142 No. 1: Allegro moderato
00:40:08 Impromptus: Impromptu in A-Flat Major, Op. 142 No. 2: Allegretto
00:48:02 Impromptus: Impromptu in B-Flat Major, Op. 142 No. 3: Andante mit Variationen (Rosamunde)
00:59:39 Impromptus: Impromptu in F Minor, Op. 142 No. 4: Allegro vivace
01:06:21 Moments musicaux, D. 780: Moderato, in C Major
01:11:56 Moments musicaux, D. 780: Andantino, in A-Flat Major
01:18:09 Moments musicaux, D. 780: Allegretto moderato, in F Minor
01:20:17 Moments musicaux, D. 780: Moderato, in C-Sharp Minor
01:25:45 Moments musicaux, D. 780: Allegro vivace, in F Minor
01:28:02 Moments musicaux, D. 780: Allegretto, in A-Flat Major
01:36:32 3 Klavierstücke (Impromptus aus dem Nachlass), D. 946: Allegro molto, in E-Flat Minor
01:49:42 3 Klavierstücke (Impromptus aus dem Nachlass), D. 946: Allegretto, in E-Flat Major
02:00:38 3 Klavierstücke (Impromptus aus dem Nachlass), D. 946: Allegro, in C Major

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Erik Satie (1866-1925) was without doubt one of great ‘one offs’in musical history. Impossible to categorise, he composed around 100 works, which include film scores, ballets, melodies and above all piano works. A friend of Debussy, Ravel, Cocteau,Picasso and Diaghalev, he was at the core of the avant garde in Paris, and yet he remained an outsider – deliberately so.

Happy playing piano in jazz bars – where he and Debussy met each other, Satie was the antithesis of the late 19th century and early 20th musical world as dominated by Wagner and his adherents. The master of Bayreuth had proclaimed himself the prophet of ‘music of the future’and his vast opulently scored music dramas cast their spell over the Second Viennese school, and also Debussy, whose opera Pelléas et Melisande has a good deal of Parsifal and Tristan in its score. With Satie, it was the music of the past that was important, and he even returned to the tones of the ancient Greeks. Gymnopédies evokes the dance of children from ancient Sparta, who danced in honour of Apollo. Similarly, Gnossiennes is from the labyrinth at Knossos (Gnossos). It wasn’t all ancient Greek influences though that guided Satie’s inspiration – jazz and the music hall were potent influences

Perhaps the most idiosyncratic work he composed is Vexations. He composed it in 1893, but refused to show the score to anyone, and the premiere took place in 1963 at the instigation of John Cage. The score occupies a single page, headed ‘Page Mystique. To play this motif 840 times in succession, it will be necessary to prepare oneself in advance, in total silence, by remaining absolutely motionless.’ A complete performance thus takes 18–30 hours. Cristina Ariagno plays an excerpt.

Tracklist can be found below!

Composer: J.S Bach

Artist:
Pieter-Jan Belder harpsichord
Christine Schornsheim harpsichord
Musica Amphion
Neues Bachisches Collegium Musicum
Netherlands Bach Ensemble

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00:00:00 Brandenburg Concerto No. 1 in F Major, BWV 1046: I. —
00:03:54 Brandenburg Concerto No. 1 in F Major, BWV 1046: II. Adagio
00:07:28 Brandenburg Concerto No. 1 in F Major, BWV 1046: III. Allegro
00:11:34 Brandenburg Concerto No. 1 in F Major, BWV 1046: IV. Menuet - Trio I - Polonaise - Trio II 00:19:39 Brandenburg Concerto No. 2 in F Major, BWV 1047: I. —
00:24:37 Brandenburg Concerto No. 2 in F Major, BWV 1047: II. Andante
00:27:42 Brandenburg Concerto No. 2 in F Major, BWV 1047: III. Allegro assai
00:30:26 Brandenburg Concerto No. 3 in G Major, BWV 1048: I. —
00:35:45 Brandenburg Concerto No. 3 in G Major, BWV 1048: II. Adagio
00:36:06 Brandenburg Concerto No. 3 in G Major, BWV 1048: III. Allegro
00:40:51 Brandenburg Concerto No. 4 in G Major, BWV 1049: I. Allegro
00:47:33 Brandenburg Concerto No. 4 in G Major, BWV 1049: II. Andante
00:51:04 Brandenburg Concerto No. 4 in G Major, BWV 1049: III. Presto
00:55:39 Brandenburg Concerto No. 5 in D Major, BWV 1050: I. Allegro
01:05:26 Brandenburg Concerto No. 5 in D Major, BWV 1050: II. Affettuoso
01:11:08 Brandenburg Concerto No. 5 in D Major, BWV 1050: III. Allegro
01:16:20 Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051: —
01:22:17 Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051: II. Adagio ma non tanto
01:27:00 Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051: III. Allegro
01:32:41 Violin Concerto in E Major, BWV 1042: I. Allegro
01:39:51 Violin Concerto in E Major, BWV 1042: II. Adagio
01:46:38 Violin Concerto in E Major, BWV 1042: III. Allegro assai
01:49:35 Violin Concerto in A Minor, BWV 1041: I. —
01:53:23 Violin Concerto in A Minor, BWV 1041: II. Andante
01:59:41 Violin Concerto in A Minor, BWV 1041: III. Allegro assai
02:03:12 Violin Concerto in D Minor, BWV 1052: I. —
02:10:38 Violin Concerto in D Minor, BWV 1052: II. Adagio
02:17:22 Violin Concerto in D Minor, BWV 1052: III. Allegro
02:25:04 Violin Concerto in G Minor, BWV 1056: I. —
02:28:30 Violin Concerto in G Minor, BWV 1056: II. Largo
02:31:06 Violin Concerto in G Minor, BWV 1056: III. Presto
02:34:48 Concerto for Two Violins and Orchestra in E Major, BWV 1043: I. Vivace
02:38:58 Concerto for Two Violins and Orchestra in E Major, BWV 1043: II. Largo ma non tanto
02:46:09 Concerto for Two Violins and Orchestra in E Major, BWV 1043: III. Allegro
02:51:19 Harpsichord Concerto No. 1 in D Minor, BWV 1052: I. Allegro
02:59:17 Harpsichord Concerto No. 1 in D Minor, BWV 1052: II. Adagio
03:04:48 Harpsichord Concerto No. 1 in D Minor, BWV 1052: III. Allegro
03:12:52 Harpsichord Concerto No. 2 in E Major, BWV 1053: I. —
03:21:00 Harpsichord Concerto No. 2 in E Major, BWV 1053: II. Siciliano
03:25:30 Harpsichord Concerto No. 2 in E Major, BWV 1053: III. Allegro
03:32:01 Harpsichord Concerto No. 3 in D Major, BWV 1054: I. —
03:39:50 Harpsichord Concerto No. 3 in D Major, BWV 1054: II. Adagio e piano sempre
03:45:03 Harpsichord Concerto No. 3 in D Major, BWV 1054: III. Allegro
03:47:55 Harpsichord Concerto No. 4 in A Major, BWV 1055: I. Allegro
03:52:22 Harpsichord Concerto No. 4 in A Major, BWV 1055: II. Larghetto
03:57:52 Harpsichord Concerto No. 4 in A Major, BWV 1055: III. Allegro ma non tanto
04:02:03 Harpsichord Concerto No. 5 in F Minor, BWV 1056: I. —
04:06:31 Harpsichord Concerto No. 5 in F Minor, BWV 1056: II. Largo
04:08:53 Harpsichord Concerto No. 5 in F Minor, BWV 1056: III. Presto
04:12:31 Harpsichord Concerto No. 6. in F Major, BWV 1057: I. —
04:19:46 Harpsichord Concerto No. 6. in F Major, BWV 1057: II. Andante
04:23:28 Harpsichord Concerto No. 6. in F Major, BWV 1057: III. Allegro assai
04:28:39 Harpsichord Concerto No. 7 in G Minor, BWV 1058: I. —
04:32:49 Harpsichord Concerto No. 7 in G Minor, BWV 1058: II. Andante
04:38:59 Harpsichord Concerto No. 7 in G Minor, BWV 1058: III. Allegro assai
04:43:00 Concerto for 2 Harpsichords in C Minor, BWV 1060: I. Allegro
04:48:31 Concerto for 2 Harpsichords in C Minor, BWV 1060: II. Largo ovvero adagio
04:54:15 Concerto for 2 Harpsichords in C Minor, BWV 1060: III. Allegro
04:58:00 Concerto for 4 Harpsichords in A Minor, BWV 1065: I. —
05:01:59 Concerto for 4 Harpsichords in A Minor, BWV 1065: II. Largo
05:04:31 Concerto for 4 Harpsichords in A Minor, BWV 1065: III. Allegro

Composer: Ludwig van Beethoven
Artists: Kristóf Baráti (violin), Klára Würtz (piano)

Tracklist below.

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Sonatas for piano with violin, Beethoven thought of them, and the early set of three Op. 12 does seem to look back towards the early Classical, even late-Baroque emphasis on the multi-voiced part to which the violin adds emphasis or decoration as required. But the genre matured with Beethoven, and by the time of the ‘Kreutzer’ he was composing a fullyfledged, pre-Romantic virtuoso journey for the combination, vast in breadth of expression and length. These works have always attracted great artists, but every generation must come to them afresh, and here are two superb musicians from Hungary to add their own approach: on ‘traditional’ rather than ‘period’ instruments but interpretatively untrammelled by one or another performing dogma.

Kristóf Baráti is one of the most exciting violinists of the younger generation. After winning several important prizes (top-3 prize winner of the Elizabeth Competition when he was 18 years old, first prize at the prestigious Paganini Competition in Moscow) he is building an international career, playing with important orchestras and conductors (Ivan Fischer, Charles Dutoit, Marek Janovski, Kurt Masur).

Klára Würtz needs little introduction to Brilliant Classics fans: her many recordings (Mozart, Schubert, Schumann) show an exceptional artist, with a natural musical instinct, effortless virtuosity and heart-warming charisma.

00:00:00 Violin Sonata No. 1 in D, Op. 12 No. 1: I. Allegro con brio
00:08:01 Violin Sonata No. 1 in D, Op. 12 No. 1: II. Tema con variazioni
00:14:45 Violin Sonata No. 1 in D, Op. 12 No. 1: III. Rondo: Allegro
00:19:01 Violin Sonata No. 2 in A, Op. 12 No. 2: I. Allegro vivace
00:25:02 Violin Sonata No. 2 in A, Op. 12 No. 2: II. Andante, più tosto allegretto
00:30:02 Violin Sonata No. 2 in A, Op. 12 No. 2: III. Allegro piacevole
00:34:45 Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: I. Allegro con spirito
00:42:49 Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: II. Adagio con molt’espressione
00:48:15 Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: III. Rondo: Allegro molto
00:52:12 Violin Sonata No. 4 in A Minor, Op. 23: I. Presto
00:59:08 Violin Sonata No. 4 in A Minor, Op. 23: II. Andante scherzoso, più allegretto
01:06:08 Violin Sonata No. 4 in A Minor, Op. 23: III. Allegro molto
01:10:57 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: I. Allegro
01:20:03 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: II. Adagio molto espressivo
01:25:35 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: III. Scherzo: Allegro molto
01:26:36 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: IV. Rondo: Allegro ma non troppo
01:32:46 Violin Sonata No. 6 in A, Op. 30 No. 1: I. Allegro
01:39:37 Violin Sonata No. 6 in A, Op. 30 No. 1: II. Adagio molto espressivo
01:46:31 Violin Sonata No. 6 in A, Op. 30 No. 1: III. Allegretto con variazioni
01:54:02 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: I. Allegro con brio
02:01:09 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: II. Adagio cantabile
02:09:48 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: III. Scherzo, allegro
02:13:01 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: IV. Finale: Allegro
02:17:39 Violin Sonata No. 8 in G, Op. 30 No. 3: I. Allegro assai
02:23:23 Violin Sonata No. 8 in G, Op. 30 No. 3: II. Tempo di menuetto
02:30:56 Violin Sonata No. 8 in G, Op. 30 No. 3: III. Allegro vivace
02:34:08 Violin Sonata No. 9 in A, Op. 47 ‘Kreutzer’: I. Adagio sostenuto – Presto
02:47:01 Violin Sonata No. 9 in A, Op. 47 ‘Kreutzer’: II. Andante con variazioni
03:01:23 Violin Sonata No. 9 in A, Op. 47 ‘Kreutzer’: III. Finale: Presto
03:09:42 Violin Sonata No. 10 in G, Op. 96: I. Allegro moderato
03:19:48 Violin Sonata No. 10 in G, Op. 96: II. Adagio espressivo
03:25:05 Violin Sonata No. 10 in G, Op. 96: III. Scherzo: Allegro
03:26:54 Violin Sonata No. 10 in G, Op. 96: IV. Poco allegretto

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

For many collectors in the 1960s, the budget priced Vox Turnabout LPs of the Beethoven Sonatas and Concertos were a revelation, and introduced an amazing young talent to the public.

Alfred Brendel was born in 1931 in Wiesenberg, and won the Concorso Busoni in 1949. He studied with Edwin Fischer, Paul Baumgartner and Edward Steuermann. The Vox Beethoven recordings won the Grand Prix du Disque in 1965, and were praised by critics world-wide.

These early recordings illustrate clearly all the characteristics that would become a hallmark of Brendel’s playing. A refusal to fall back on ‘flashy’ bravura, and the intellectual rigour he brings to the Beethoven sonatas marked him out even in these early recordings as one of the very great pianists of the 20th century. Brendel retired from the musical scene in 2009 at the height of his powers, leaving a recorded legacy without parallel in the music of Beethoven, Mozart and Schubert.

Tracklist can be found in the description!

Piano Sonata in C-Sharp Minor, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto

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Composer: Beethoven
Artist: Misha Goldstein

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Composer & Artist: Various

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

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

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

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Luigi Boccherini wrote many string quintets for various combinations of instruments. This is the second volume of Boccherini's complete string quintets, performed by La Magnifica Comunità on period instruments. Their baroque ensemble here consist of the for Boccherini typical combination of two violins, one viola and two cellos.

Composer: Luigi Boccherini
Artist: Enrico Casazza violin and concert master La Magnifica Comunità ensemble

00:00:00 Quintetto I in B-Flat Major, G. 271: adagio non tanto
00:06:29 Quintetto II in A Major, G. 272: allegro non molto
00:13:46Quintetto I in B-Flat Major, G. 271: allegro
00:23:07Quintetto I in B-Flat Major, G. 271: allegro assai
00:29:52 Quintetto III in C Major, G. 273: allegro molto
00:36:54Quintetto III in C Major, G. 273: Larghetto
00:40:16 Quintetto III in C Major, G. 273: Minuetto, trio
00:43:22 Quintetto III in C Major, G. 273: Presto
00:46:59 Quintetto IV in F Minor, G. 274: Larghetto
00:52:11 Quintetto V in E Major, G. 275: Minuetto, trio
00:55:25 Quintetto II in A Major, G. 272: allegro assai
00:59:19 Quintetto VI in D Major, G. 276, "L’Uccelliera": adagio assai
01:00:15 Quintetto II in A Major, G. 272: Larghetto
01:05:13Quintetto II in A Major, G. 272: Minuetto, trio
01:09:41Quintetto IV in F Minor, G. 274: Vivace
01:18:09 Quintetto IV in F Minor, G. 274: Minuetto, trio
01:21:22 Quintetto IV in F Minor, G. 274: Presto
01:25:09 Quintetto V in E Major, G. 275: amoroso
01:29:59 Quintetto V in E Major, G. 275: rondeau, andante
01:37:31 Quintetto VI in D Major, G. 276, "L’Uccelliera": allegro Giusto
01:48:33 Quintetto VI in D Major, G. 276, "L’Uccelliera": allegro (Li Pastori e Li Cacciatori)
01:50:58 Quintetto V in E Major, G. 275: allegro e con spirito
01:59:04 Quintetto VI in D Major, G. 276, "L’Uccelliera": tempo di Minuetto
02:01:45 Quintetto VI in D Major, G. 276, "L’Uccelliera": tempo di Prima

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Composer & Artist:
Composers: Angelo Morigi, Christian Petzold, Giuseppe Colombi, Pedro Lopes Nogueira
Artist: Valerio Losito (viola)

About this Album:
Famed for its distinctive sound, the viola d’amore – literally meaning ‘viola of love’ – is one of the more unusual members of the string family, an instrument that appeared towards the end of the 17th century and which owes its silvery, angelic tones to the symbiotic vibrations between its two sets of strings, one gut- and one wire-based.

This release celebrates the d’amore’s versatility of sound by bringing together some of its finest Baroque repertoire. Beginning with the Ave Maris Stella, an ancient hymn dedicated to the Mother of God, the compilation takes the listener on an absorbing journey that combines the famous with the not so widely known; from Petzold’s illustrious two partitas – which are considered to be on the same level of importance for the d’amore as Bach’s partitas and sonatas are for the violin – to Morigi’s Capriccio and Menuetto, the compilation also touches on various anonymous works, including the delightful Partita in D. Dance movements abound, reflecting the Baroque period’s predilection for all things French.

Tracklist:
00:00:00 Ave Maris Stella
00:01:11 Suite in D minor: I. Aria
00:01:50 Suite in D minor: II. Courante
00:02:23 Suite in D minor: III. Gigue
00:03:06 Suite in D minor: IV. Sarabande
00:04:35 Scordatura in G
00:05:47 Scordatura (Ciacona)
00:09:00 Capriccio and Minuet in A: I. Capriccio
00:10:54 Capriccio and Minuet in A: II. Minuetto
00:12:17 Partita in D: I. Aria
00:14:08 Partita in D: II. Gigue
00:15:50 Partita in D: III. Menuet
00:17:34 Partita in D: IV. Gavotte
00:18:33 Partita in D: V. Rigaudon
00:20:19 Partita in D: VI. Menuet I & II
00:22:01 Scordatura in A
00:23:05 Nitida stella
00:24:11 Partita in F: I. Gavotte
00:25:28 Partita in F: II. Gigue
00:26:58 Partita in F: III. Bourrée
00:28:47 Partita in F: IV. Air
00:30:33 Partita in F: V. Courante
00:32:03 Partita in F: VI. Sarabande
00:33:44 Partita in F: VII. Menuet I & II
00:36:36 Gaita de folle
00:40:08 Partita in A: I. Introduction
00:41:04 Partita in A: II. Allemande
00:42:38 Partita in A: III. Courante
00:44:00 Partita in A: VI. Sarabande
00:46:28 Partita in A:. Menuet
00:48:33 Partita in A: VI. Gigue
00:50:10 Partita in A: VII. Aria
00:55:02 Partita in A: VIII. Gavotte
00:55:42 Partita in A: IX. Bourrée
00:57:22 Partita in A: X. Rondeau
00:58:56 Partita in A: XI. Menuet
00:59:54 Scordatura in E minor

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

#Violin #ValerioLosito #ViolinMusic #ClassicalViolin #Classical #BrilliantClassics #Music #Composer #ClassicalMusic

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Composer: Philip Glass
Artist: Jeroen van Veen piano

Along with the two books of piano studies by Gyorgy Ligeti, the Etudes of Philip Glass have taken their place as modern classics of the literature, serving both a didactic purpose to train the fingers and minds of their performers, but also bringing their unique soundworlds to new audiences.

Glass himself remarked that the first book, compiled from work between 1991 and 2012, had a twin objective, ‘to explore a variety of tempi, textures and piano techniques. At the same time it was meant to serve as a pedagogical tool by which I would improve my piano playing.’ The studies of Book 2 (2012-14) are often bolder in finding new structures and fresh keyboard colours. Each of the 20 Etudes handles a specific piano technique, and the two books are united by the instantly recognisable quirks of Glass’s harmonic language and, as Jeroen van Veen remarks in his booklet note, ‘in almost all the etudes, endurance is the main issue to overcome’.

Most recent of the pianist’s many Brilliant Classics recordings of Minimalist music have been albums dedicated to the genre’s godfather, Erik Satie (BC95350) and his successors including Michael Nyman (BC95112) and Max Richter (BC95390). ‘Van Veen’s beautiful and texturally varied sonority, his long-lined sensibility, and his intense focus draw you in,’ remarked Classics Today of the complete Satie box.
‘Sample the Nocturnes’ sustained, almost otherworldly serenity, or the subtle spacing of notes throughout the Véritables préludes flaques, and you’ll hear how completely and masterfully van Veen conveys his intentions, abetted by superb, full-bodied sonics… His fascinating and riveting pianism is well worth Brilliant Classics’ attractive budget price.’

Philip Glass’ Piano Etudes stand at the end of a long line of development, starting with “exercises” by Scarlatti, through romantic piano etudes composers such as Clementi, Czerny, Hummel, Chopin, Schumann, Brahms, Scriabin, Rachmaninoff, Debussy, to 20-th century masters like Ligeti and Cage.
Philip Glass, icon of the Minimal Music, wrote these etudes between 1991 and 2012, to “explore a variety of tempi, textures and piano techniques”, and also “to become a better player”.
Jeroen van Veen, celebrated pioneer of the performance of Minimal Music and Extraordinary Repertoire, considers these etudes as “refreshingly new, really adding something to the existing repertoire, the challenge being not only the technical hurdles but mainly the endurance and concentration”.

00:00:00 Etudes for Piano Book I: I. Etude in G Minor
00:06:29 Etudes for Piano Book I: II. Etude in A Minor
00:13:56 Etudes for Piano Book I: III. Etude in A Major
00:18:42 Etudes for Piano Book I: IV. Etude in D Minor
00:23:05 Etudes for Piano Book I: V. Etude in F Minor
00:32:55 Etudes for Piano Book I: VI. Etude in F Minor
00:38:44 Etudes for Piano Book I: VII. Etude in A Minor
00:53:24 Etudes for Piano Book I: VIII. Etude in C Major
01:00:28 Etudes for Piano Book I: IX. Etude in F Minor
01:04:21 Etudes for Piano Book I: X. Etude in E-Flat Major
01:12:58 Etudes for Piano Book II: XI. Etude in C Minor
01:21:28 Etudes for Piano Book II: XII. Etude in D Minor
01:29:12 Etudes for Piano Book II: XIII. Etude in F Major
01:34:09 Etudes for Piano Book II: XIV. Etude in A-Flat Major
01:40:26 Etudes for Piano Book II: XV. Etude in D Major
01:48:13 Etudes for Piano Book II: XVI. Etude in G Minor
01:53:57 Etudes for Piano Book II: XVII. Etude in F Minor
02:02:39 Etudes for Piano Book II: XVIII. Etude in G Minor
02:07:08 Etudes for Piano Book II: IXX Etude in C Major
02:12:58 Etudes for Piano Book II: XX. Etude in C Major

Enjoy this selection of essential classical music, with the best music ever made! Classical music is ideal for studying or for relexation. All the essential pieces are included in this compilation. For more more information about the music, visit www.brilliantclassics.com.+

1) 0:00:00 – 2 Morceaux. Op. 10: No. 2, Humoresque in G Major. Menuet – Luigi Boccherini.
2) 0:03:32 – Concerto No. 3 in G Major, BWV 1048: I. – Johann Sebastian Bach
3) 0:08:51 – Concerto in F Minor, Op. 8 ‘Der Winter’: I. Allegro non molto – Antonio Vivaldi
4) 0:12:08 – Mazurka in A Minor, Op. 67 No. 4 – Frédéric Chopin
5) 0:15:12 – Fantasiestücke, Op. 73: Valse Sentimentale – Nikolai Rimsky-Korsakov
6) 0:17:07 – Requiem in D Minor, K. 626: III: Sequentia. Lacrimosa – Wolfgang Amadeus Mozart
7) 0:20:11 – Eine kleine Nachtmusik, K. 525: I. Allegro – Wolfgang Amadeus Mozart
8) 0:25:27 – Concerto No. 2 in G Minor, RV 315, Op. 8, ‘Summer’: III. Presto – Antonio Vivaldi
9) 0:28:18 – Orchestral suite No. 3 in D Major, BWV 1068: II. Air – Johann Sebastian Bach
10) 0:32:35 – Concerto No. 1 in E Major, RV 269, Op. 8 ‘Spring’: I. Allegro – Antonio Vivaldi
11) 0:36:02 – Suite No. 1 in G Major, BWV 1007: I. Prelude – Johann Sebastian Bach
12) 0:39:16 – Violin Concerto in A Minor, BWV 1041: I – Johann Sebastian Bach
13) 0:43:14 – Piano Concerto No. 21 in C Major, K. 467: II. Andante ‘Elvira Madigan’ – Wolfgang Amadeus Mozart
14) 0:49:21 – Symphony No. 9 in E Minor, Op. 95, B. 178: IV. Allegro con fuoco
15) 1:00:11 – Violin concerto in E Major, BWV 1042: III. Allegro assai
16) 1:02:58 – The Carnival of the Animals: XIII. The Swan – Camille Saint-Saëns
17) 1:05:56 – Jesu, meine Freude, BWV 227 – Johann Sebastian Bach
18) 1:08:57 – String Quartets in C Major, Op. 76 No. 3, Hob III:77 ‘Emperor’. II. Poco adagio – Franz Joseph Haydn
19) 1:15:22 – Carmina Burana: O fortuna (Chorus) – Carl Orff
20) 1:17:56 – Piano Concerto No. 1 in B-Flat Minor, Op. 23: I. Allegro non troppo e molto maestoso – Allegro con spirito – Pyotr Ilyich Tchaikovsky
21) 1:37:20 – Jazz Suite No. 1, Op. 38a: I. Waltz – Dmitri Shostakovich
22) 1:39:44 – Violin Sonata No. 1 in F Major, Op. 8: I. Allegro con brio – Edvard Grieg
23) 1:49:34 – Cello Concerto in B Minor, Op. 104: I. Allegro – Antonín Dvořák
24) 2:03:47 – Swan Lake, Op. 20, Pt. 1: I. Introduction. Moderato assai – Pyotr Ilyich Tchaikovsky
25) 2:06:55 – The Nutcracker, Op. 71, Pt. 2: XVI. Tea, Chinese Dance – Pyotr Ilyich Tchaikovsky
26) 2:08:02 – Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft – Robert Schumann
27) 2:15:30 – Danse macabre in G Minor, Op. 40 – Camille Saint-Saëns
28) 2:22:51 – Finlandia, Op. 26- Jean Sibelius

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00:00:00 Concerto in C for recorder, oboe, two violins & continuo, RV 87: I. Adagio – Allegro
00:03:13 Concerto in C for recorder, oboe, two violins & continuo, RV 87: II. Adagio
00:04:57 Concerto in C for recorder, oboe, two violins & continuo, RV 87: III. Allegro
00:07:29 Concerto in G Minor for recorder, oboe, violin, bassoon & continuo, RV 107: I. Allegro
00:09:53 Concerto in G Minor for recorder, oboe, violin, bassoon & continuo, RV 107: II. Largo
00:12:48 Concerto in G Minor for recorder, oboe, violin, bassoon & continuo, RV 107: III. Allegro
00:15:30 Concerto in D ‘La pastorella’ for recorder, oboe, violin, bassoon & continuo, RV 95: I. Allegro
00:19:05 Concerto in D ‘La pastorella’ for recorder, oboe, violin, bassoon & continuo, RV 95: II. Largo
00:21:15 Concerto in D ‘La pastorella’ for recorder, oboe, violin, bassoon & continuo, RV 95: III. Allegro
00:24:09 Concerto in D for recorder, oboe, violin, bassoon & continuo, RV 94: I. Allegro
00:27:31 Concerto in D for recorder, oboe, violin, bassoon & continuo, RV 94: II. Largo
00:29:44 Concerto in D for recorder, oboe, violin, bassoon & continuo, RV 94: III. Allegro
00:33:18 Concerto in F for recorder, oboe, violin, bassoon & continuo, RV 99: I. Allegro
00:37:14 Concerto in F for recorder, oboe, violin, bassoon & continuo, RV 99: II. Largo
00:39:02 Concerto in F for recorder, oboe, violin, bassoon & continuo, RV 99: III. Allegro
00:41:28 Concerto in G Minor for recorder, oboe, violin, bassoon & continuo, RV 105: I. Allegro
00:44:25 Concerto in G Minor for recorder, oboe, violin, bassoon & continuo, RV 105: II. Largo
00:46:14 Concerto in G Minor for recorder, oboe, violin, bassoon & continuo, RV 105: III. Allegro
00:49:48 Concerto in F for recorder, violin, bassoon & continuo, RV 100: I. Allegro
00:52:20 Concerto in F for recorder, violin, bassoon & continuo, RV 100: II. Largo
00:54:34 Concerto in F for recorder, violin, bassoon & continuo, RV 100: III. Allegro
00:57:14 Sonata in A Minor for recorder, bassoon & continuo, RV 86: I. Largo
01:00:06 Sonata in A Minor for recorder, bassoon & continuo, RV 86: II. Allegro
01:02:38 Sonata in A Minor for recorder, bassoon & continuo, RV 86: III. Largo cantabile
01:04:41 Sonata in A Minor for recorder, bassoon & continuo, RV 86: IV. Allegro molto
01:06:48 Concerto in G Minor for recorder, violin, bassoon & continuo, RV 106: I. Allegro
01:09:58 Concerto in G Minor for recorder, violin, bassoon & continuo, RV 106: II. Largo
01:12:19 Concerto in G Minor for recorder, violin, bassoon & continuo, RV 106: III. Allegro
01:14:40 Concerto in C for oboe, violin, cello & continuo, RV 801: I. Largo
01:16:42 Concerto in C for oboe, violin, cello & continuo, RV 801: II. Allegro
01:19:05 Concerto in C for oboe, violin, cello & continuo, RV 801: III. Largo
01:20:36 Concerto in C for oboe, violin, cello & continuo, RV 801: IV. Allegro
01:23:06 Concerto in D Minor for recorder, violin, bassoon & continuo, RV 96: I. Allegro
01:25:25 Concerto in D Minor for recorder, violin, bassoon & continuo, RV 96: II. Largo
01:27:50 Concerto in D Minor for recorder, violin, bassoon & continuo, RV 96: III. Allegro
01:30:14 Concerto in G Minor for recorder, oboe, violin, bassoon & continuo, RV 103: I. Allegro ma cantabile
01:34:43 Concerto in G Minor for recorder, oboe, violin, bassoon & continuo, RV 103: II. Largo
01:37:23 Concerto in G Minor for recorder, oboe, violin, bassoon & continuo, RV 103: III. Allegro non molto
01:39:20 Concerto in A Minor for recorder, two violins & continuo, RV 108: I. Allegro
01:42:10 Concerto in A Minor for recorder, two violins & continuo, RV 108: II. Adagio
01:43:52 Concerto in A Minor for recorder, two violins & continuo, RV 108: III. Allegro
01:46:25 Concerto in D for recorder, violin & continuo, RV 84: I. Allegro
01:49:17 Concerto in D for recorder, violin & continuo, RV 84: II. Andante cantabile
01:51:02 Concerto in D for recorder, violin & continuo, RV 84: III. Allegro
01:53:32 Concerto in D for recorder, violin, cello & continuo, RV 91: I. Allegro
01:56:11 Concerto in D for recorder, violin, cello & continuo, RV 91: II. Largo
02:58:07 Concerto in D for recorder, violin, cello & continuo, RV 91: III. Allegro non molto
02:00:31 Sonata in C Minor for violin, cello & continuo, RV 83: I. Allegro
02:02:52 Sonata in C Minor for violin, cello & continuo, RV 83: II. Adagio
02:05:28 Sonata in C Minor for violin, cello & continuo, RV 83: III. Allegro
02:07:53 Concerto in D for recorder, violin, cello & continuo, RV 92: I. Allegro
02:11:38 Concerto in D for recorder, violin, cello & continuo, RV 92: II. Adagio
02:14:33 Concerto in D for recorder, violin, cello & continuo, RV 92: III. Allegro

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Composer: Georg Philipp Telemann
Artists: Valerio Losito baroque (violin), Federico Del Sordo (harpsichord)

Brilliant Classics presents the release of a new recording which delves further into the protean output of that most prolific of composers, Georg Philipp Telemann. In the year that he is remembered with particular enthusiasm, 250 years after his death in Hamburg, the breadth of his achievement can be appreciated more than ever, not least thanks to recent recordings of the recorder sonatas (BC95247), concertos and suites for flute (BC95147), double concertos with recorder (BC95249), oboe concertos (BC95379), and a reissue of the classic account of the complete Tafelmusik (BC92177), which is the modern counterpart to the Bruggen recording that brought Telemann’s name to so many listeners half a century ago.

Much of this music concentrates on the composer’s fondness for wind instruments. Now Valerio Losito brings our attention to the accompanied sonatas. Rather as with Bach, when we think of Telemann and the violin, it is the unaccompanied music that first springs to mind, for the free and unbridled imagination and the evident pleasure it gives to violinists who perform and record the 12 fantasias. However (like Bach), Telemann produced a set of six sonatas for violin accompanied by harpsichord, with or without a separate basso continuo, and first published in 1715.

The sonatas were effectively his opus 1, published in 1715 at the comparatively late age of 24, and dedicated to the violin-playing Duke of Saxe-Weimar, from whom Telemann evidently wished to curry favour to judge from his long and obsequious preface. In just six sonatas may be found a remarkable diversity of elements: the Italianate style and Corelli-like fugues of Sonatas 1 and 5, echoes of Polish and ‘gypsy’ folk music in Sonatas 3 and 4, melodious arias reminiscent of Handel in sonata 3, and dance movements in the French style in Sonatas 2 and 6. Telemann’s genius allowed him to condense and reconcile in one volume parallel worlds that would appear to be mutually incompatible.

00:00:00 Sonata No. 1 in G Minor, TWV 41:g1: I. Adagio
00:01:50 Sonata No. 1 in G Minor, TWV 41:g1: II. Allegro
00:04:40 Sonata No. 1 in G Minor, TWV 41:g1: III. Adagio
00:05:53 Sonata No. 1 in G Minor, TWV 41:g1: IV. Vivace
00:08:57 Sonata No. 2 in D Major, TWV 41:D1: I. Allemanda, largo
00:12:56 Sonata No. 2 in D Major, TWV 41:D1: II. Corrente, vivace
00:16:15 Sonata No. 2 in D Major, TWV 41:D1: III. Sarabanda
00:17:53 Sonata No. 2 in D Major, TWV 41:D1: IV. Gique
00:20:41 Sonata No. 3 in B Minor, TWV 41:h1: I. Cantabile
00:23:15 Sonata No. 3 in B Minor, TWV 41:h1: II. Allegro assai
00:25:40 Sonata No. 3 in B Minor, TWV 41:h1: III. Andante
00:27:32 Sonata No. 3 in B Minor, TWV 41:h1: IV. Vivace
00:30:33 Sonata No. 4 in G Major, TWV 41:G1: I. Largo
00:31:51 Sonata No. 3 in B Minor, TWV 41:h1: II. Allegro
00:34:14 Sonata No. 3 in B Minor, TWV 41:h1: III. Adagio
00:37:08 Sonata No. 3 in B Minor, TWV 41:h1: IV. Allegro
00:39:40 Sonata No. 5 in A Minor, TWV 41:a1: I. Allemanda, largo
00:42:24 Sonata No. 3 in B Minor, TWV 41:h1: II. Corrente, vivace
00:44:27 Sonata No. 3 in B Minor, TWV 41:h1: III. Sarabanda
00:46:02 Sonata No. 3 in B Minor, TWV 41:h1: IV. Giga
00:48:30 Sonata No. 6 in A Major, TWV A1: I. Allemanda, largo
00:51:39 Sonata No. 6 in A Major, TWV A1: II. Corrente, allegro
00:54:05 Sonata No. 6 in A Major, TWV A1: III. Sarabanda
00:55:57 Sonata No. 6 in A Major, TWV A1: IV. Giga

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Beethoven’s complete string quintets by the Zurich String Quintet. This might be a surprise: Did Beethoven write that many string quintets? Yes and no.

In addition to the well-known quintet Op. 29, this set also includes the earlier Op. 4, which the composer later recomposed for octet (Op. 103). Beethoven also arranged his piano trio Op. 1 No. 3 for string quintet, it is his Op. 104. With the Fugue for string quintet, Op. 137, this release offers all there is by Beethoven for 5 string instruments.

00:00:00 String Quintet in C Major, Op. 29: Allegro moderato
00:10:32 String Quintet in C Major, Op. 29: Adagio molto espressivo
00:19:56 String Quintet in C Major, Op. 29: Scherzo, allegro
00:24:44 String Quintet in C Major, Op. 29: Presto
00:34:25 String Quintet in C Minor, Op. 104 (arrangement of Piano Trio, Op. 1 No. 3): Allegro con brio
00:44:41 String Quintet in C Minor, Op. 104 (arrangement of Piano Trio, Op. 1 No. 3): Andante cantabile con variazioni
00:52:46 String Quintet in C Minor, Op. 104 (arrangement of Piano Trio, Op. 1 No. 3): Menuetto, quasi allegro
00:56:43 String Quintet in C Minor, Op. 104 (arrangement of Piano Trio, Op. 1 No. 3): Finale, prestissimo
01:05:50 String Quintet in E-Flat Major, Op. 4: Allegro con brio
01:17:36 String Quintet in E-Flat Major, Op. 4: Andante
01:25:41 String Quintet in E-Flat Major, Op. 4: Menuetto
01:32:16 String Quintet in E-Flat Major, Op. 4: Finale, presto
01:38:45 Fugue, for String Quintet in D Major, Op. 137
01:40:31 Duet for Viola and Cello in E-Flat Major, WoO 32: Movement 1
01:50:35 Duet for Viola and Cello in E-Flat Major, WoO 32: Minuetto
01:45:50 Sechs Ländlerische Tänze for 2 violins, cello and double-bass, WoO 15

Composer: Ludwig van Beethoven
Artists: The Zurich String Quintet:
Boris Livschitz (violin)
Mátyás Bartha (violin)
Zvi Livschitz (viola)
Dominik Ostertag (viola)
Mikayel Hakhnazaryan (cello)
Viorel Alexandru (double-bass)

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Composer: Heitor Villa-Lobos
Artists: Jenny Abel (violin), Roberto Szidon (piano)

Heitor Villa-Lobos composed prolifically in every genre, but his chamber music has not received the attention of his richly scored, opulent accomplishments in the fields of orchestral and vocal music, as well as the cello-saturated Bachianas Brasilieras. These three sonatas were written between 1912 and 1920 and are full of entirely characteristic, colourful melodic vocabulary, structured as extended rhapsodies.

00:00:00 Fantasy-Sonata No. 1, Op. 27 "Désespérance"
00:10:09 Fantasy-Sonata No. 2, Op. 49: I. Allegro non troppo
00:15:46 Fantasy-Sonata No. 2, Op. 49: II. Largo – Moderato
00:25:45 Fantasy-Sonata No. 2, Op. 49: III. Rondo. Allegro final
00:32:39 Violin Sonata No. 3: I. Adagio non troppo
00:44:16 Violin Sonata No. 3: II. Allegro vivace scherzando
00:48:55 Violin Sonata No. 3: III. Molto animato e final