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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!

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‘Not just another Hammerklavier recording’: this was Gramophone’s enthusiastic verdict on a recording made more than 15 years ago by Giovanni Bellucci, who now returns to Beethoven with a complete series, newly recorded, of the piano sonatas.

In 2000 the reviewer noted that Bellucci was barely known to the wider concert-going public; no longer is that an issue, since his reputation precedes him thanks to this and other recordings. ‘The abundant vitality of feeling’ and ‘untrammelled freshness of feeling’ contributed towards an appreciation of Bellucci’s remarkable achievement, at a relatively tender age, in assimilating the mighty work so thoroughly, ‘yet to be able to play it in a way that is unburdened by a consciousness of that knowledge.’

Later Beethoven recordings were praised elsewhere along similar lines for their ‘exemplary control’, ‘beguiling lightness of touch’ and ‘masterful command of sonority’ (Musical Opinion): ‘Refreshing, occasionally idiosyncratic and unpredictable playing that further bolsters Bellucci's reputation as a pianist both deeply musical and fearlessly virtuosic.’


Composer: Ludwig van Beethoven
Artist: Giovanni Bellucci piano


00:00:00 Piano Sonata No. 1 in F Minor, Op. 2 No. 1: I. Allegro
00:03:59 Piano Sonata No. 1 in F Minor, Op. 2 No. 1: II. Adagio
00:10:18 Piano Sonata No. 1 in F Minor, Op. 2 No. 1: III. Menuetto. Allegretto
00:15:29 Piano Sonata No. 1 in F Minor, Op. 2 No. 1: IV. Prestissimo
00:22:25 Piano Sonata No. 2 in A Major, Op. 2 No. 2: I. Allegro vivace
00:29:53 Piano Sonata No. 2 in A Major, Op. 2 No. 2: II. Largo appassionato
00:40:32 Piano Sonata No. 2 in A Major, Op. 2 No. 2: III. Scherzo. Allegretto
00:43:52 Piano Sonata No. 2 in A Major, Op. 2 No. 2: IV. Rondo. Grazioso
00:50:43 Piano Sonata No. 3 in C Major, Op. 2 No. 3: I. Allegro con brio
01:02:03 Piano Sonata No. 3 in C Major, Op. 2 No. 3: II. Adagio
01:11:17 Piano Sonata No. 3 in C Major, Op. 2 No. 3: III. Scherzo. Allegro
01:14:57 Piano Sonata No. 3 in C Major, Op. 2 No. 3: IV. Allegro assai
01:20:01 Piano Sonata No. 4 in E-Flat Major, Op. 7: I. Allegro molto e con brio
01:30:05 Piano Sonata No. 4 in E-Flat Major, Op. 7: II. Largo e con gran espressione
01:39:00 Piano Sonata No. 4 in E-Flat Major, Op. 7: III. Allegro
01:44:54 Piano Sonata No. 4 in E-Flat Major, Op. 7: IV. Rondo. Poco allegretto e grazioso
01:52:03 Piano Sonata No. 19 in G Minor, Op. 49 No. 1: I. Andante
01:57:10 Piano Sonata No. 19 in G Minor, Op. 49 No. 1: II. Rondo. Allegro
02:01:04 Piano Sonata No. 20 in G Major, Op. 49 No. 2: I. Allegro, ma non troppo
02:06:21 Piano Sonata No. 20 in G Major, Op. 49 No. 2: II. Tempo di menuetto
02:09:50 Piano Sonata No. 9 in E Major, Op. 14 No. 1: I. Allegro
02:17:40 Piano Sonata No. 9 in E Major, Op. 14 No. 1: II. Allegretto
02:22:07 Piano Sonata No. 9 in E Major, Op. 14 No. 1: III. Rondo. Allegro comodo
02:25:30 Piano Sonata No. 10 in G Major, Op. 14 No. 2: I. Allegro
02:31:53 Piano Sonata No. 10 in G Major, Op. 14 No. 2: II. Andante
02:36:22 Piano Sonata No. 10 in G Major, Op. 14 No. 2: III. Scherzo. Allegro assai
02:39:42 Piano Sonata No. 5 in C Minor, Op. 10 No. 1: I. Allegro molto e con brio
02:46:05 Piano Sonata No. 5 in C Minor, Op. 10 No. 1: II. Adagio molto
02:55:38 Piano Sonata No. 5 in C Minor, Op. 10 No. 1: III. Finale. Prestissimo
03:00:23 Piano Sonata No. 6 in F Major, Op. 10 No. 2: I. Allegro
03:06:33 Piano Sonata No. 6 in F Major, Op. 10 No. 2: II. Allegretto
03:11:08 Piano Sonata No. 6 in F Major, Op. 10 No. 2: III. Presto
03:14:58 Piano Sonata No. 7 in D Major, Op. 10 No. 3: I. Presto
03:21:34 Piano Sonata No. 7 in D Major, Op. 10 No. 3: II. Largo e mesto
03:31:59 Piano Sonata No. 7 in D Major, Op. 10 No. 3: III. Menuetto. Allegro
03:34:57 Piano Sonata No. 7 in D Major, Op. 10 No. 3: IV. Rondo. Allegro
03:39:08 Piano Sonata No. 8 in C Minor, Op. 13: I. Grave - Allegro di molto e con brio
03:48:56 Piano Sonata No. 8 in C Minor, Op. 13: II. Adagio cantabile
03:54:37 Piano Sonata No. 8 in C Minor, Op. 13: III. Rondo. Allegro

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Composer & Artist:
Composer: Christoph Nichelmann
Artist: Michele Benuzzi

About this Album:
When calling to mind harpsichord music of the Baroque period, the 24 Preludes and Fugues of J.S. Bach or the Pièces de clavecin by Couperin are perhaps the most immediately obvious choices. However, the music of Christoph Nichelmann (who is said to have studied with Bach) is equally inspired, and this release is the first step towards a more substantial recording of his oeuvre – indeed, it is the first recording solely dedicated to his output. One of a large number of composers whose music faded into obscurity after their death, Nichelmann is at last attracting the scholarly attention he deserves, largely thanks to today's vogue for discovering and promoting lesser-known repertoire.

This recording brings together the two sets of six sonatas from the middle of Nichelmann’s life, printed in 1745, and which represent the only two surviving collections of his music. The style of his compositions is intriguing and eclectic: on the one hand we can still hear the heritage of Baroque music, and on the other the development of a more sensitive and expressive language – although not quite the bridge to the Classicism which we hear in the music of Bach’s son, Carl Philipp Emanuel.

Tracklist:
00:00:00 Sonata in G Minor, Op. 1 No. 1: I. Moderato
00:04:31 Sonata in G Minor, Op. 1 No. 1: II. Largo
00:08:12 Sonata in G Minor, Op. 1 No. 1: III. Allegro
00:11:22 Sonata in D Major, Op. 1 No. 2: I. Allegretto
00:15:33 Sonata in D Major, Op. 1 No. 2: II. Mesto
00:17:45 Sonata in D Major, Op. 1 No. 2: III. Allegro
00:22:39 Sonata in B Minor, Op. 1 No. 3: I. Un poco allegro
00:28:28 Sonata in B Minor, Op. 1 No. 3: II. Andantino
00:30:40 Sonata in B Minor, Op. 1 No. 3: III. Presto
00:33:54 Sonata in G Major, Op. 1 No. 4: I. Allegretto
00:38:24 Sonata in G Major, Op. 1 No. 4: II. Largo
00:40:29 Sonata in G Major, Op. 1 No. 4: III. Vivace
00:45:58 Sonata in C Minor, Op. 1 No. 5: I. Un poco allegro
00:53:01 Sonata in C Minor, Op. 1 No. 5: II. Andante
00:55:42 Sonata in C Minor, Op. 1 No. 5: III. Presto
00:59:17 Sonata in F Major, Op. 1 No. 6: I. Allegro
01:05:11 Sonata in F Major, Op. 1 No. 6: II. Adagio
01:08:22 Sonata in F Major, Op. 1 No. 6: III. Presto
01:12:39 Sonata in B-Flat Major, Op. 2 No. 1: I. Allegretto
01:16:23 Sonata in B-Flat Major, Op. 2 No. 1: II. Largo
01:19:09 Sonata in B-Flat Major, Op. 2 No. 1: III. Presto
01:22:10 Sonata in F Minor, Op. 2 No. 2: I. Un poco allegro
01:26:08 Sonata in F Minor, Op. 2 No. 2: II. Andante
01:27:56 Sonata in F Minor, Op. 2 No. 2: III. Vivace
01:30:57 Sonata in A Major, Op. 2 No. 3: I. Allegro
01:35:05 Sonata in A Major, Op. 2 No. 3: II. Largo
01:37:49 Sonata in A Major, Op. 2 No. 3: III. Allegretto
01:41:57 Sonata in D Minor, Op. 2 No. 4: I. Allegro
01:45:06 Sonata in D Minor, Op. 2 No. 4: II. Adagio
01:48:02 Sonata in D Minor, Op. 2 No. 4: III. Allegro
01:51:21 Sonata in E-Flat Major. Op. 2 No. 5: I. Allegro
01:54:33 Sonata in E-Flat Major. Op. 2 No. 5: II. Andante
01:56:06 Sonata in E-Flat Major. Op. 2 No. 5: III. Allegro
02:00:02 Sonata in A Minor, Op. 1 No. 6: I. Allegro
02:06:27 Sonata in A Minor, Op. 1 No. 6: II. Andante
02:08:10 Sonata in A Minor, Op. 1 No. 6: III. Presto

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Tracklist below.

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Taking inspiration from Fray Luis de León, the 16th-century lyric poet and monk, Seldom Sene have selected an enthralling collection of music for their second album. ‘El aire se serena’ – a line from one of Léon’s poems – translates as ‘The air becomes serene’, setting the tone for the beautifully atmospheric music of the album. The Quintet have selected a vast array of secular and sacred works, from the well-known composers De Cabezón and his son Hernando, to the more neglected but at the time equally prolific composers, such as Francisco de Peñalosa and the dance master Fabritio Caroso. Much of the release is dedicated to sacred music, with works such as Josquin’s five-voice motet Inviolata, integra et casta est Maria and Lamentabatur Iacob, written by Josquin’s successor De Morales, who styled himself on the Spanish composer.

This beautifully conceived CD presents music from the Courts and Cathedrals of 16th century Spain. The composers include Cabezon, Geurrero, Penalosa, Vasquez, Morales, Victoria, Milano, Lobo, Torre and Caroso. One of the main practices in 16-th century Spain was the transcription or arrangements of vocal music from the Franco-Flemish School. Masses, motets and madrigals by Gomberg, Josquin and others were transcribed for instrumental ensembles.
Seldom Sene is a recorder ensemble from the Netherlands. The ensemble’s aim is to translate the typical phrasing, blending, flexibility and expression of a vocal ensemble into an instrumental performance, and recreate the sense of Serenity and Brilliance as is described in the CD’s title. Seldom Sene already recorded a successful CD for Brilliant Classics, Taracea BC94871, Gramophone wrote: “commitment, technical versatility, unanimity of ensemble and near-immaculate tuning on display”. Dutch newspaper Early Music Review wrote: “Seldom Sene perceptively exploited a range of contrasting textures, and was the only ensemble of the day whose memorisation of the dots enabled unbridled spontaneity.”

00:00:00 Obras de música para tecla, arpa y vihuela: Inviolata. Jusquin
00:03:54 Missa Dormendo un giorno: Agnus dei III
00:07:39 Durmendo un jorno. Verdelot
00:10:44 Dormend’un giorno a baia
00:13:18 Lamentabatur Jacob in D Minor
06:22:50 Ascendens Christus in altum in G Major
00:27:47 Triste de par. Gombert
00:31:33 Lágrimas de mi consuelo
00:34:13 Alta in D Minor
00:35:19 Il Ballarino: Balletto. Amor mio
00:36:49 Bassadanza: La spagna
00:38:21 Ave regina coelorum
00:41:41 Adoro te, domine
00:44:30 Missa pro defunctis: Lux aeterna
00:47:54 Susana un jur
00:51:14 Riu, riu, chiu
00:52:52 Trahe me post te, virgo Maria
00:58:26 Canciones y villanescas espirituales: Hombres, victoria, Victoria
01:01:57 Inviolata, integra et casta es: I. Prima pars
01:04:33 Inviolata, integra et casta es: II. Secunda pars
01:06:13 Inviolata, integra et casta es: III. Tertia pars

Artist:
Seldom Sene

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Composer & Artist:
Composer: Michele Esposito
Artists: Carmelo Andriani (violin), Vincenzo Maltempo (piano)

About this Album:
It might be unusual to find classical music that manages to imbibe the spirit of Irish folk music; it must be even more unusual for that ‘Irish’ music to actually be by an Italian. But Michele Esposito was an unusual composer. Born in southern Italy, financial circumstances led him to settle abroad, and, after a brief spell in Paris, he arrived in Dublin in 1882, making Ireland his homeland for the next 46 years. His time there coincided with the Irish cultural revival that was taking place during the latter half of the 19th century, leading Esposito to find a place at the heart of several prominent cultural institutions.

One of these institutions was the Feis Ceoil, the Irish competitive music festival, at which Esposito won first prize for his Irish Rhapsody No.2 Op.54 in 1902. Folk music also inspired his Irish symphonies, for which he is well known, as well as the simple yet highly effective airs and melodies featured on this release. The three violin sonatas all stem from very different periods of the composer’s life; the first contains elements of Schumannesque piano writing in the third movement, as well as clear echoes of Saint-Saëns, whereas the second – more technically advanced – is more akin to the music of Brahms. Esposito’s last violin sonata, composed in 1913, is tonally much more experimental, and structured in a highly unconventional manner, with the Scherzo movement a slow and solemn minuet, concluding in an unusual sonata form.

Tracklist:
00:00:00 Violin Sonata No. 1 in G Major, Op. 32: I. Moderato
00:06:37 Violin Sonata No. 1 in G Major, Op .32: II. Lento
00:14:24 Violin Sonata No. 1 in G Major, Op. 32: III. Allegro vivace
00:19:42 Irish Rhapsody No. 1 for Violin and Piano, Op. 51
00:34:36 Five Irish Melodies for Violin and Piano, Op. 56: No. 3 “Silent, O Moyle”
00:38:46 Five Irish Melodies for Violin and Piano, Op. 56: No. 5 “When through life”
00:41:43 Two Irish Airs for Violin and Piano, Op. 57: No. 2 “The silver tip” (Irish reel)
00:43:20 Five Irish Melodies for Violin and Piano, Op. 56: No. 2 “The Coulin”
00:46:38 Violin Sonata No. 2 in E Minor, Op. 46: I. Allegro moderato
00:54:09 Violin Sonata No. 2 in E Minor, Op. 46: II. Andantino
00:58:55 Violin Sonata No. 2 in E Minor, Op. 46: III. Allegro con fuoco
01:04:50 Violin Sonata No. 3 in A Major, Op. 67: I. Affettuosamente
01:13:55 Violin Sonata No. 3 in A Major, Op. 67: II. Allegretto moderato
01:17:17 Violin Sonata No. 3 in A Major, Op. 67: III. Andante cantabile
01:21:55 Violin Sonata No. 3 in A Major, Op. 67: IV. Allegretto grazioso
01:27:08 Irish Rhapsody No. 2 for Violin and Piano, Op. 54

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Composer & Artist:
Composer: Johannes Brahms
Artists: Chamber Choir of Europe, Nicol Matt (conductor), Friederike Haug (piano),
Jürgen Meier (piano)

About this Album:
Brahms’s vocal output is far more extensive than his instrumental oeuvre. And his choral works is least known.
From our recordings of the complete a cappella choral works by this composer we selected the sets of Liebeslieder. Performances by the outstanding Chamber Choir of Europe under Nicol Matt

Tracklist:
00:00:00 Liebeslieder - Walzer Op. 52 : Rede Madchen, Allzu Liebes
00:01:16 Liebeslieder - Walzer Op. 52 : Am Gesteine Rauscht Die Flut
00:02:09 Liebeslieder - Walzer Op. 52 : O Die Frauen
00:03:48 Liebeslieder - Walzer Op. 52 : Wie Des Abends, Schone Rote
00:04:32 Liebeslieder - Walzer Op. 52 : Die Grune Hopfenranke
00:06:14 Liebeslieder - Walzer Op. 52 : Ein Kleiner, Hübscher Vogel
00:09:02 Liebeslieder - Walzer Op. 52 : Wohl Schön Bewandt War Es
00:10:24 Liebeslieder - Walzer Op. 52 : Wenn So Lind Dein Auge Mir
00:11:49 Liebeslieder - Walzer Op. 52 : Am Donaustrande
00:14:01 Liebeslieder - Walzer Op. 52 : O Wie Sanft Die Quelle
00:15:02 Liebeslieder - Walzer Op. 52 : Nein, Es Ist Nicht Auszukommen
00:16:08 Liebeslieder - Walzer Op. 52 : Schlosser Auf Und Mache Schlösser
00:16:58 Liebeslieder - Walzer Op. 52 : Vögelein Durchrauscht Die Luft
00:17:50 Liebeslieder - Walzer Op. 52 : Sieh, Wie Ist Die Welle Klar
00:19:01 Liebeslieder - Walzer Op. 52 : Nachtigall, Sie Singt So Schön
00:20:22 Liebeslieder - Walzer Op. 52 : Ein Dunkeler Schacht Ist Liebe
00:21:52 Liebeslieder - Walzer Op. 52 : Nicht Wandle, Mein Licht
00:23:59 Liebeslieder - Walzer Op. 52 : Es Bebet Das Gesträuche
00:25:41 Neue Liebeslieder Op. 65 : Verzicht, O Herz, Auf Rettung
00:26:38 Neue Liebeslieder Op. 65 : Finstere Schatten Der Nacht
00:28:19 Neue Liebeslieder Op. 65 : An Jeder Hand Die Finger
00:29:45 Neue Liebeslieder Op. 65 : Ihr Schwarzen Augen
00:30:39 Neue Liebeslieder Op. 65 : Wahre, Wahre Deinen Sohn
00:32:04 Neue Liebeslieder Op. 65 : Rosen Steckt Mir An Die Mutter
00:32:59 Neue Liebeslieder Op. 65 : Vom Gebirge Well Auf Well
00:34:35 Neue Liebeslieder Op. 65 : Weiche Gräser Im Revier
00:36:41 Neue Liebeslieder Op. 65 : Nagen Am Herzen Fühl Ich
00:38:05 Neue Liebeslieder Op. 65 : Ich Kose Süß Mit Der Und Der
00:39:12 Neue Liebeslieder Op. 65 : Alles, Alles In Den Wind
00:40:03 Neue Liebeslieder Op. 65 : Schwarzer Wald, Dein Schatten
00:41:50 Neue Liebeslieder Op. 65 : Nein, Geliebter, Setze Dich
00:44:07 Neue Liebeslieder Op. 65 : Flammenauge, Dunkles Haar
00:46:21 Neue Liebeslieder Op. 65 : Zum Schluss: Nun, Ihr Musen, Genug
00:49:34 Drie Quartette Op. 31 (1864) : Wechsellied Zum Tanze
00:56:18 Drie Quartette Op. 31 (1864) : Neckereien
00:58:39 Drie Quartette Op. 31 (1864) : Gang Zum Liebchen
01:02:28 Drei Quartette Op. 64 (1874) : An Die Heimat
01:08:06 Drei Quartette Op. 64 (1874) : Der Abend
01:12:38 Drei Quartette Op. 64 (1874) : Fragen
01:16:21 Vier Quartette Op. 92 (1889) : O Schöne Nacht
01:20:32 Vier Quartette Op. 92 (1889) : Spätherbst
01:22:23 Vier Quartette Op. 92 (1889) : Abendlied
01:25:38 Vier Quartette Op. 92 (1889) : Warum
01:27:52 Zwei Quartette Op. 112a (1891) : Sehnsucht
01:31:07 Zwei Quartette Op. 112a (1891) : Nächtens

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Composer & Artist:
Composer: Alfred Schnittke
Artists: Bolshoi Theatre (Orchestra), Andrei Chistjakov (conductor)

About this Album:
In 1978 Alfred Schnittke (1934-98) wrote the incidental music for a production of The Inspector’s Tale, an adaptation for stage of Gogol’s Dead Souls. It was to have been directed by Yuri Lyubimov, but the Soviet government banned the production. A suite was assembled from the score by Gennadi Rozhdenstvensky, and two leading colleagues of Schnittke – Gubaidulina and Denisov contributed a jointly composed march, which opens this CD. In 1985 the music was choreographed, the ballet, called Esquisses was performed at the Bolshoi. Schnittke composed a number of new pieces for this production. The characters in the action are all from Gogol, but in addition to The Dead Souls, we meet Tchitchikov, Major Kovalyov’s Nose, and Ferdinand VIII from Notes of a Madman. A passage from the book is recited in his piece, and is read by the conductor on this CD.

Tracklist:
00:00:00 March: The Swan, the Pike and the Crayfish
00:01:54 Overture
00:03:15 The Childhood of Chichikov
00:05:37 The Portrait
00:12:01 Major Kovalyov
00:12:44 Morning. The Disappearance of the Nose
00:14:15 In Search of the Nose
00:15:46 Despair
00:17:39 The Nose is Found
00:19:59 The Overcoat
00:22:15 Ferdinand VIII
00:23:24 The Civil Servants
00:25:54 The Barrel-Organ
00:28:04 The Unknown Woman
00:29:26 Pas de deux
00:32:59 The Debauch
00:34:28 The Sabbath
00:36:29 The Barrel-Organ
00:37:38 Spanish Royal March
00:39:18 The Ball
00:45:18 The Testament
00:50:35 March: The Swan, the Pike and the Crayfish


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Composer: Leo Brouwer, Maximo Diego Pujol
Artists: Elias Izhar (guitar )
Netherlands Chamber Orchestra
Matangi (Quartet)
Florian Magnus Maier (moog guitar)

About this Album:
Izhar Elias has produced several successful and imaginative albums for Brilliant Classics. None of them have confirmed to a ‘Spanish guitar’ stereotype but all have engaged in various original ways with the developing heritage of the instrument during the 19th century, from ‘Paisiello in Vienna’ (BC95301) to ‘Beethoven and the Guitar’ (BC94631) to Giuliani’s astonishing transcription of Rossini’s grand tragedy Semiramide (BC93902).

His latest recording brings the classical guitar up to date with works by composers from four different countries; within them may be heard influences from classical music, avant-garde, Caribbean music, Spanish folklore, flamenco, Arabic music, blues, Argentinean tango and even trip-hop and heavy metal: provocative testament to the world’s most versatile instrument. The Guernica Suite by Pujol (b.1959) focuses on different aspects of Picasso’s painting in six movements, with a tentatively positive conclusion.

The Triptych of Roberto Sierra (b.1953) evokes some nocturnal sounds from his native Puerto Rico, including the tropical tree frog as well as a night on the tiles. The three Danzas Concertantes pulse and glide with the rhythms of Leo Brouwer’s native Cuba, offset by some astringent harmonies that place the guitar’s usual role as purveyor of folkloristic colour under threat. Finally there is the Schattenspiel Suite by Florian Magnus Maier (b.1973), who also plays electric Moog guitar on this recording. Maier pursues a diverse career as a composer, guitarist and vocalist with bands including Alkaloid, Dark Fortress and Noneuclid; this tripartite suite inspired by shadows is his best-known work in the classical tradition, and for this recording he has made a new arrangement for two guitars and string quartet. There is something for everyone on this album: it’s essential listening for guitar-music enthusiasts who want to broaden their horizons.

For this exciting new recording Dutch guitarist Izhar Elias selected 4 works for guitar and strings to show the versatility of his instrument. In these works by Brouwer, Pujol , Sierra and Maier influences can be traced from classical music, Avant-Garde, Caribbean music, Spanish folklore, Flamenco, Arabic music, tango, blues and even trip-hop and heavy metal: fascinating!
Izhar Elias secured the collaboration of world-class musicians (composer Florian Magnus Maier plays the Moog electric guitar), each bringing a different musical background and an open mind.
In the booklet text each composer comments on his own work, a better introduction is hardly possible.

Tracklist:
00:00:00 Tres danzas concertantes: I. Allegro
00:03:37 Tres danzas concertantes: II. Andantino
00:08:55 Tres danzas concertantes: III. Toccata
00:14:02 Guernica suite: I. Mujeres
00:16:15 Guernica suite: II. El ave
00:19:29 Guernica suite: III. El guerrero
00:22:49 Guernica suite: IV. El caballo y el toro
00:26:35 Guernica suite: V. Mujer con niño muerto
00:28:35 Guernica suite: VI. Epílogo
00:33:17 Tríptico: I. Tranquilo
00:36:48 Tríptico: II. Rítmico
00:41:35 Tríptico: III. Fluido
00:45:30 Schattenspiel


Thanks for watching! Feel free to subscribe and visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak, Schubert and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more!
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Many people prefer steady, pulsing music for their workouts. Even for classical music lovers, classical isn't often the go-to genre for exercise music, but classical music is full of dynamic shifts that can be used for workout, running and other exercises. We have come up with a selection of twenty pieces of classical music that can motivate and energize you as you try to improve your health and fitness. Try it out!

00:00:00 Wagner: The Valkyrie, WWV 86B, Pt. 3: The Ride of the Valkyries by Royal Philharmonic Orchestra
00:05:09 Verdi: Triumphal March, Aida, Pt. 2: Grand March by Royal Philharmonic Orchestra, Owain Arwel Hughes
00:12:47 Offenbach: Orphée aux enfers, Pt. 2: Can-Can by Royal Philharmonic Orchestra, Philip Ellis
00:15:00 Dvorak: Slavonic Dances, Op. 46: VIII. Slavonic Dance in G Minor. Furiant by Royal Philharmonic Orchestra, Nick Davies
00:19:30 Orff: Carmina Burana: O fortuna Royal Philharmonic Orchestra, Owain Arwel
00:22:03 Elgar: Pomp and Circumstance, Op. 39: March No. 1 in D Major by Royal Philharmonic Orchestra, Philip Ellis
00:27:37 Khatchaturian: Gayaneh, Ballet Suite: Sabre Dance by Royal Philharmonic Orchestra, Philip Ellis
00:30:03 Suppé: Light Cavalry by Royal Philharmonic Orchestra, Charles Dutoit
00:36:46 Chopin: Waltzes, Op. 64: No. 1, Waltz in D-Flat Major "Minute Waltz" by Martijn van den Hoek
00:38:29 Beethoven: Symphony No. 7 in A Major, Op. 92: IV. Allegro con brio by Staatskapelle Dresden & Herbert Blomstedt
00:47:42 Schubert: Symphony No. 9 in C Major, Op. posth., D. 944 'The Great': IV. Finale. Allegro vivace by Staatskapelle Dresden & Herbert Blomstedt
00:59:55 Vivaldi: The Four Seasons, Concerto No. 2 in G Minor, RV 315, Op. 8, "Summer": III. Presto by La Magnifica Comunitá
01:02:46 Vivaldi: The Four Seasons No. 4 in F Minor, RV 297, Op. 8, "Winter": I. Allegro non molto by La Magnifica Comunitá
01:06:03 Dvorak: Symphony No. 9 in E Minor, Op. 95, B. 178: IV. Allegro con fuoco by Staatskapelle Berlin & Otmar Suitner
01:16:52 Dvorak: Czech Suite, Op. 39, B. 93: V. Finále. Presto by Janáček Philharmonic Orchestra & Theodore Kuchar
01:22:17 Mozart: Symphony No. 25 in G Major, Minor, K. 186: IV. Allegro by Mozart Akademie Amsterdam & Jaap ter Linden
01:29:35 Bach: Concerto No. 3 in G Major, BWV 1048: I. – by Musica Amphion & Pieter-Jan Belder
01:34:55 Mozart: Piano Concerto No. 21 in C Major, K. 467: III. Allegro vivace assai by Klára Würtz
01:41:37 Tchaikovsky: The Nutcracker, Op. 71, Pt. 2: XVII. Trepak by Royal Philharmonic Orchestra & David Maninov
01:42:46 Schumann: Toccata, Op. 7 by Wolfram Schmitt-Leonardy

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A musical portrait of a master guitar-maker of the 19th century.
The last two decades have seen a richly merited revival of interest in the music of Erwin Schulhoff, one of the German-Jewish composers who fell victim to the Nazis’ rise to power in the 1930s and whose work was soon declared Entartete Musik; he was deported to a concentration camp in Bavaria in the winter of 1941 and died there of tuberculosis nine months later, not yet 50 years old.

By then Schulhoff had earned a considerable reputation in his native Prague and beyond, with a catalogue of large, ambitiously programmatic symphonies, daring jazz-age chamber
music and an opulent, Expressionist opera, Flammen, first staged in Brno in 1932. The Suite and First Sonata violin and piano are much earlier works, less harmonically adventurous and more indebted to the examples of Debussy, Richard Strauss and his teacher Max Reger, effusive and lyrical in expression.
00:00:00 Suite for Violin and Piano, WV 18: I. Präludium. Stürmisch
00:04:05 Suite for Violin and Piano, WV 18: II. Gavotte. Mäßig
00:08:12 Suite for Violin and Piano, WV 18: III. Menuetto
00:12:29 Suite for Violin and Piano, WV 18: IV. Walzer
00:16:35 Suite for Violin and Piano, WV 18: V. Scherzo
00:22:27 Sonata No. 1 for Violin and Piano, WV 24: I. Wuchtig
00:29:08 Sonata No. 1 for Violin and Piano, WV 24: II. Ruhig
00:33:45 Sonata No. 1 for Violin and Piano, WV 24: III. Scherzo. Bewegt
00:36:40 Sonata No. 1 for Violin and Piano, WV 24: IV. Rondo. Nicht zu schnell
00:44:23 Sonata for Solo Violin, WV 83: I. Allegro con fuoco
00:46:42 Sonata for Solo Violin, WV 83: II. Andante sostenuto
00:52:04 Sonata for Solo Violin, WV 83: III. Scherzo. Allegretto grazioso
00:54:52 Sonata for Solo Violin, WV 83: IV. Allegro risoluto
00:58:00 Violin Sonata No. 2, WV 91: I. Allegro impetuoso
01:04:44 Violin Sonata No. 2, WV 91: II. Andante
01:09:58 Violin Sonata No. 2, WV 91: III. Burlesca. Allegretto
01:12:41 Violin Sonata No. 2, WV 91: IV. Allegro risoluto

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A unique collection of Spanish and Latin-American lullabies.
The Spanish lullaby is characterised by a special bitter-sweet flavour, in which the joy and pain of childhood are perfectly captured. The lullabies on this recording are original art-songs by famous composers: De Falla, Rodrigo, Halffter, Montsalvatge, Abril, Moreno-Torroba, Guastavino, Toldra and others.

Carmen Solis is one of the leading sopranos of her home country Spain. She has the right mixture of melancholy, innocence, serenity and that deep smouldering Spanish passion in her voice, which make this performance irresistible!

Artist: Carmen Solis (soprano) & Eduardo Moreno (piano)

00:00:00 Corderito blanco (Joaquin Rodrigo)
00:02:52 Cantarcillo (Eduard Toldrá)
00:06:12 Canción de cuna para dormir a un negrito (Xavier Montsalvatge)
00:09:00 7 Canciones populares Españolas: V. Nana (Manuel de Falla )
00:11:02 Oración de las madres que tienen a sus hijos en brazos (Manuel de Falla)
00:13:05 Niñerías, Series 1, Op. 21: IV. Berceuse (Joaquin Turina)
00:16:33 Encantamiento (Carlos Guastavino)
00:18:25 Nana del niño malo (Carlos Guastavino)
00:20:11 Meciendo (Carlos Guastavino)
00:22:22 Rocío (Carlos Guastavino)
00:24:39 Canción de cuna (from La mujer del héroe) (Carlos Guastavino) (Joaquin Turina)
00:28:42 Lullaby (Ernesto Halffter)
00:30:54 Nana de la cigüeña (Anton Garcia Abril)
00:33:00 Nana de la negra flor (Anton Garcia Abril)
00:35:17 Nana del niño malo (Anton Garcia Abril)
00:36:46 Arrorró (Alberto Ginastera)
00:38:45 Ea, la nana (Federico Morena Torroba)
00:42:36 Nana de primavera (Joaquin Rodrigo)
00:44:54 Nani, nani (Joaquin Rodrigo)
00:48:33 Nana del niño malo (Guilermo Alonso Iriarte)
00:51:13 Nana de la lejanía (Jorge Montero)
00:54:39 Canciones españolas antiguas: VIII. Nana de Sevilla (Federico Garcia Lorca)

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This is a sparkling set of concertos for the trumpet along with other pieces that highlight the instrument, providing vivid readings of some of the most renowned masterworks in the trumpet repertoire plus recordings of lesser-known yet equally idiomatic compositions.

Joining the well loved Classical trumpet concertos of Haydn and Hummel are the many Baroque works featuring trumpet by Telemann and an Italian champion of the instrument, Giuseppe Torelli, along with famous pieces by Vivaldi and Handel. We find another prolific trumpet composer in the German baroque violinist Johann Melchior Molter, and fine concertos from Quantz, famed more for his flute music, and Johannes Matthias Sperger, a renowned player of and composer for the double bass.

The music of Quantz’s teacher, Jan Dismas Zelenka, is enjoying a revival, as is that of Johann Friedrich Fasch, admired by both Bach and Telemann, who wrote an extraordinary concerto for three wind choirs with nine trumpets between them. Later in the 18th century, some composers stretched the limits of virtuosity in the natural trumpet, before the advent of valves around 1815. These include Georg Reutter II and the enigmatic Franz Querfurth, who both demanded sustained playing in the highest register. Tuscan composer Francesco Manfredini, like Querfurth, is known today for little else besides his trumpet concerto, while the majority of his works are now lost to history.

Authors who wrote prominently for the trumpet in pieces other than concertos include Johann Schmelzer and Johann Joseph Fux, along with Fux’s student František Tůma, while Beethoven’s composition teacher Johann Georg Albrechtsberger wrote concertos for the jaw harp, whose harmonics are well suited to adaptation for the natural trumpet.

Though somewhat overshadowed by their more illustrious family members, Michael Haydn and Leopold Mozart both wrote fine trumpet concertos, while two generations of Bibers, Carl Heinrich and his more prominent father Heinrich Ignaz Franz, composed sonatas and dances for multiple trumpets.

Rounding out this set are outstanding modern additions to the trumpet repertoire, including trumpet concertos by the Armenian Alexander Arutiunian and French composer André Jolivet, as well as Shostakovich’s Piano Concerto No.1, which casts the solo trumpet in a prominent role.

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This set gathers outstanding sacred vocal music from the Renaissance, Baroque and Classical eras recounting perhaps the most dramatic and moving story in all of the Christian canon: the Passion, Death and Resurrection of Christ. In addition to these masterworks of the 16th, 17th and 18th centuries is the St John Passion of Arvo Pärt, the Estonian whose captivating, minimal, crystalline music has made him one of the most-performed living composers in the world.

The stunning performances from expert choirs and soloists cover iconic works like Handel’s Messiah, the St John and St Matthew Passions of J.S. Bach, Haydn’s Stabat Mater and Seven Last Words and three of the prolific Telemann’s more than 20 extant Passion settings and several Passion oratorios, along with hauntingly beautiful Renaissance polyphony and lesser-known gems of the Italian Baroque.

This unique box-set presents a musical journey through one of the most crucial episodes of Christianity: the suffering, death and resurrection of Jesus Christ. It tells of the deepest sorrow and anguish in the Lamentation and Stabat Mater, the moving story of the Passion, and the luminous joy of the Resurrection and the Ascension.

Included are works by Allegri, Byrd, Weelkes, Josquin, Palestrina, Gesualdo, Schütz, Pergolesi, Sturla, J.S. & C.P.E. Bach, Sturla, Telemann, Handel, Arvo Pärt, and many more. Performed by world class choirs and ensemble, like the King’s College Choir, the Clare College Choir, La Stravaganza Köln, Cappella Augustana, Rheinische Kantorei and others.
A superb collection of the most moving music ever composed, expressing both the suffering and the consolation of humanity.
Recordings date from 1978 to 2013.

"Los celos me han funcionado muy bien", confiesa una estudiante del SRCC, Delhi. Ella le pregunta a Sadhguru si hay algún problema con sentirse motivado por los celos. #UnplugWithSadhguru

http://unplugwithsadhguru.org/

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Yogui, místico y visionario, Sadhguru es un maestro espiritual con una diferencia. Una notable combinación de profundidad y pragmatismo, su vida y su trabajo sirven como recordatorio de que el yoga es una ciencia contemporánea, de vital relevancia en nuestro tiempo.

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Shambhavi Mudra es un proceso sencillo y fácil que mejora tu percepción. Te hace receptivo a esa dimensión de la vida, comúnmente llamada Gracia.

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YOGA, HERRAMIENTAS PARA LA TRANSFORMACIÓN
¡Con tan sólo cinco minutos al día puedes transformar tu vida! Ya sea que busques salud y alegría o paz y amor; ya sea que es éxito en el mundo lo que ansías, o que procures la exploración interior. Estas prácticas sencillas están diseñadas para ayudarte a superar las dificultades y caminar por la vida con facilidad.

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La enfermedad de Juan Pablo II

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http://es.romereports.com La elección del Papa es un proceso muy bien definido. La primera regla es que sólo los cardenales pueden votar para elegir al sucesor del Papa. Por eso, en cuanto empiece el periodo de Sede Vacante, el cardenal decano Angelo Sodano, los convocará oficialmente. Sin embargo, sólo los menores de 80 años podrán votar.