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Composer & Artist:
Composer: Erik Satie
Artists: Sandra & Jeroen van Veen

About this Album:
Alfred Erik Leslie Satie (1866–1925) was born in Honfleur, of a Normand father and a Scottish mother. He rates as one of music’s true originals – a real ‘one-off ’. After his studies as an organist, and then a period as a rather unsuccessful concert pianist having studied with several eminent teachers (he hated the rules of academic life), he enrolled in the French Army. This didn’t solve his problems with life either, so he deliberately contracted bronchitis and was invalided out after being declared unfit for service.

It was after this sad episode that he started to compose, and his earliest published work was Valse-Ballet. Satie then entered the life of Parisian nightclubs, absorbing all the influences of sound and life on offer, becoming friends with Debussy – they met when Satie had got a job as second pianist at a club. Satie had developed a unique way of composing – a kind of musical freehand – and was introducing complex chord structures that would come to influence Debussy. His music attracted the attention of such leading figures as Diaghilev, Picasso, Ravel, Stravinsky and Cocteau. Even so, Satie had a feeling that he wasn’t being taken seriously as a composer, and embarked on a three-year counterpoint study with Albert Roussel. The piano four-hands form has a long and distinguished history with many major symphonic works by Brahms, Rachmaninoff and Stravinsky published in this form for a wide domestic market. For many years the great classical composers’ works had appeared in this form, including works by Mozart and Schubert, who wrote specifically for piano four-hands. In the days before LPs, CDs and MP3s this was how music was heard in the home.

Tracklist:
00:00:00 Parade - Ballet Réaliste (1917): Choral
00:00:57 Parade - Ballet Réaliste (1917): Prélude du rideau rouge
00:02:33 Parade - Ballet Réaliste (1917): Prestidigitateur chiNois
00:05:20 Parade - Ballet Réaliste (1917): Petie fille américaine
00:06:53 Parade - Ballet Réaliste (1917): Ragtime du paquebot
00:09:20 Parade - Ballet Réaliste (1917): Acrobates
00:12:52 Parade - Ballet Réaliste (1917): Suite au Prélude du rideau rouge
00:13:12 Trois Morceaux En Forme de Poire (1903): Manière de commencement: Allez modérément
00:17:06 Trois Morceaux En Forme de Poire (1903): Prolongation du même: Au pas
00:18:05 Trois Morceaux En Forme de Poire (1903): I. Lentement
00:19:28 Trois Morceaux En Forme de Poire (1903): II. Enlévé
00:22:50 Trois Morceaux En Forme de Poire (1903): III. Brutal
00:26:01 Trois Morceaux En Forme de Poire (1903): En plus: Calme
00:28:23 Trois Morceaux En Forme de Poire (1903): Redite: Dans le lent
00:30:11 GymNopédie No. 1: Lent et douloureux (1888)
00:34:12 Aperçus Désagréables (1908): Pastorale: Assez lent
00:35:48 Aperçus Désagréables (1908): Choral: Large de vue
00:37:15 Aperçus Désagréables (1908): Fugue: Non vite
00:40:28 En Habit de Cheval (1911): Chorale: Grave
00:41:37 En Habit de Cheval (1911): Fugue litanique: soigneusement et avec lenteur
00:44:31 En Habit de Cheval (1911): Autre chorale: Non lent
00:45:26 En Habit de Cheval (1911): Fugue de papier: Assez modéré
00:48:01 Musiques d'Ameublement (1917): I. Tapisserie en fer forgé
00:49:28 Musiques d'Ameublement (1917): II. Carrelage phonique
00:50:37 Trois Petites Pièces Montées (1919): I. de l'enfance de Pantagruel: Rêverie, modéré
00:51:46 Trois Petites Pièces Montées (1919): II. Marche de Cocagne: Démarche, temps de Marche
00:52:46 Trois Petites Pièces Montées (1919): III. Jeux de Gargantua: Coin de Polka, mouvement de Polka
00:54:24 La Belle Excentrique - Fantaisie Sérieuse (1920): Grande ritournelle: Pas trOp vite
00:56:29 La Belle Excentrique - Fantaisie Sérieuse (1920): Marche franco-Lunaire
00:58:22 La Belle Excentrique - Fantaisie Sérieuse (1920): Valse du mystérieux baiser dans l'oeil: Mouvement de valse
01:01:02 La Belle Excentrique - Fantaisie Sérieuse (1920): Cancan grand-mondain: GalOp
01:03:17 GymNopédie No. 3 (1888)
01:06:37 Cinéma (1924)

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Composer & Artist:
Composer: Luigi Gatti
Artists: Paolo Ghidoni (violin), Alfredo Zamarra (viola)



About this Album:
The sonatas presented in this recording, labelled as Sonate à Violino e Viola in the autograph score at the Biblioteca Musicale Greggiati in Ostiglia and as Sonate Per Violin solo con accompagnamento di Viola in the parts at the Salzburg Museum, are likely to date back to the very beginning of Gatti’s stay in Salzburg. The autograph is written on paper whose watermarks suggest a date of about 1783. If so, the works were probably commissioned by archbishop Colloredo, for whom a similar cycle of six sonatas was composed in the same year by Michael Haydn, MH 335–38, and W. A. Mozart, K 423–24. (Another set of six by Joseph Hafeneder in the Toggenburg Collection of Bolzano, minus the first sonata, may share the same origin). In which case, the violin part was probably intended for Colloredo himself, a “good performer on the violin” according to Charles Burney. The archbishop was also said to “enjoy performing on the violin, which he played very well” and to be in the habit of “mingling with the court musicians and playing the violin with them” before dinner.

Tracklist:
00:00:00 Sonata in B-Flat Major, No. 1: Allegro aperto
00:07:59 Sonata in B-Flat Major, No. 1: Adagio
00:11:01 Sonata in B-Flat Major, No. 1: Rondo: Allegro con moto
00:16:49 Sonata in D Major, No. 2: Andante
00:23:08 Sonata in D Major, No. 2: Adagio cantabile
00:25:49 Sonata in D Major, No. 2: Tempo di minuetto
00:31:28 Sonata in A Major, No. 3: Allegro aperto
00:35:05 Sonata in A Major, No. 3: Adagio
00:38:13 Sonata in A Major, No. 3: Rondo: Allegretto
00:42:40 Sonata in F Major, No. 4: Cantabile - Allegro con spirito
00:48:50 Sonata in F Major, No. 4: Minuetto
00:57:45 Sonata in F Major, No. 4: Finale: Allegro assai
01:00:46 Sonata in E-Flat Major, No. 5: Moderato
01:04:01 Sonata in E-Flat Major, No. 5: Larghetto espressivo
01:07:13 Sonata in E-Flat Major, No. 5: Allegretto grazioso
01:11:01 Sonata in C Major, No. 6: Un allegro vivace
01:17:13 Sonata in C Major, No. 6: Adagio cantabile
01:22:46 Sonata in C Major, No. 6: Rondo: Allegretto

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This selection gives you a beautiful impression of the J.S. Bach - Complete Edition’s second volume. For the complete second volume (18 hours) and Complete Boxset, please check the following links:

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The full tracklist can be found in the comments section below!

Johann Sebastian Bach’s stature as a composer of extraordinary talent and widespread influence is so firmly established in Western culture that it is difficult to believe that only 150 years ago his works lay in veritable obscurity, unknown to all but a small group of scholars. It is largely thanks to ohn, who essentially effected a revival of the composer’s music through his rediscovery and promulgation of the St Matthew Passion, besides other pieces, that his works are today regarded as pinnacles of music expression. That they are among the most performed and widely attended is in no doubt; in Holland alone, thousands of singers and musicians are involved in dozens of performances of the St Matthew Passion in Holy Week, with hundreds of thousands listening in churches and concert halls, or gathered around the radio, to what has been described as ‘the Gospel according to Bach’.

The collection Contains 142 CDs (112 hours) representing the entirety of Johann Sebastian Bach’s oeuvre in historically informed performances. This includes all 200 sacred cantatas recorded for Brilliant Classics on period instruments and sung by the Holland Boys Choir.

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Composer: Giuseppe Martucci
Artist: Alberto Miodini piano

The symphonies and tone-poems of Giuseppe Martucci (1856-1909) have retained a place on the fringes of the repertoire outside his native Italy thanks to advocacy by Arturo Toscanini and, latterly, Riccardo Muti.

Martucci was a man of protean talents and unflagging energy, who excelled as a composer, pianist, conductor, teacher
and moving force in musical culture. The direction of that force was set against the prevailing operatic scene of contemporary Italy – except, notably, where it intersected with German music. Thus he conducted Brahms, Liszt and especially Beethoven, as well as the Italian premiere of Tristan und Isolde. His own piano music is a continuation of the Lisztian tradition – at least, it becomes so, after flirting with the world of salon music in his early 20s.

The six Op.44 pieces are a much more substantial synthesis of elements from Italian popular culture – the gondoliers’ barcarola, the mule-drivers’ tarantella among them – with a wide-ranging, elaborately contrapuntal and fiendishly virtuosic style which owes much not only to Brahms and Liszt but to the composer’s formidable powers of performance. The Novella
Op.50 and Fantasia Op.51 experiment with more delicate textures in the manner of Chopin, and this tendency is further explored in the two Nocturnes Op.70, which move the form into late Lisztian realms of crepuscular harmony and dreamy phrases; the first of these Nocturnes became known in the early years of the last century through an orchestral transcription
which was often programmed by Toscanini. The pianist Alberto Miodini has studied these little-known works for years and written the introductory essay for these new recordings. This is his second recording for Brilliant Classics, after a well-received 4CD set (BC94806) of Schubert’s piano miniatures and free-standing pieces such as the Impromptus.

After years of comparative neglect Giuseppe Martucci is taking his rightful place as one of the most important late romantic Italian composers. His style is a happy and individual mix of Wagner and Verdi, dramatic chromatism softened by lyrical, bel canto style melodies. Martucci was a composer, conductor, teacher and excellent pianist, who made extensive European tours as a soloist. His piano music from his early period is written in sophisticated salon style, charming and picturesque. Later Martucci wrote more substantial works, like the Fantasia Op. 50 and Novella Op. 51, reminiscent of Chopin’s Scherzi and Ballades. The virtuoso pianism is proof of Martucci’s great gift as a performer.
Played with strong dedication and feeling for atmosphere by Italian pianist Alberto Miodini, pianist of the famous Trio di Parma, who already recorded successfully for Brilliant Classics the Klavierstücke by Schubert (BC94806).
00:00:00 6 Pezzi Op. 44: I. Capriccio. Allegro risoluto
00:02:51 6 Pezzi Op. 44: II. Pezzo fantastico. Allegro
00:08:47 6 Pezzi Op. 44: III. Colore orientale. Tempo di Marcia – Poco più mosso
00:19:01 6 Pezzi Op. 44: IV. Barcarola. Andantino con moto – Animato
00:24:16 6 Pezzi Op. 44: V. Notturno. Moderato, ma non troppo – Animato molto e con agitazione
00:29:29 6 Pezzi Op. 44: VI. Tarantella. Allegro molto
00:35:53 Novella in B-Flat Major, Op. 50
00:47:10 Fantasia in G Minor, Op. 51
00:59:10 2 Notturni, Op. 70: No. 1 in G-Flat Major. Moderato
01:04:24 2 Notturni, Op. 70: No. 2 in F-Sharp Minor. Andantino

Tracklist Below:
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00:00:00 Piano Concerto in G Major: II. Adagio assai - Maurice Ravel - Klára Würtz, Janáček Philharmonic Orchestra & Theodore Kuchar
00:09:19 Partita in F Major: II. Adagio un poco - Johann George Albrechtsberger
00:16:22 Harp Concerto in B-Flat Major, HWV 294: II. Larghetto – George Frederic Handel
00:21:53 Guitarmosaics: Nostalgia – Giovanni Caruso
00:25:25 Guitarmosaics: Estasi d’ amore – Giovanni Caruso
00:29:44 Impromptu in B-Flat Major, Op. 142 No. 3 'Rosamunde' – Franz Schubert
00:40:59 Prelude No. 1 in C Major, BWV 846: Ave Maria – J.S. Bach
00:45:35 Fantasiestücke, Op. 12: I. Des Abends – Schumann
00:48:58 An der schönen blauen Donau, Op. 314 – Johann Straus ||
00:58:52 River Flows in you – Yiruma
01:02:23 Chaconne – Yiruma
01:06:25 Spring Waltz - Yiruma

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Artist: Alessandro Andriani (cello), Simone Ceppetelli (cello continuo)

Born in Paris in 1749, Jean-Louis Duport, cellist and composer, also known as ‘le jeune’ – to distinguish him from his elder brother Jean-Pierre (1741–1818), called ‘l’ainé’ – is today regarded as one of the most important figures in the history of the development and evolution of cello technique. In 1806 he published his cello treatise Essai sur le doigté du violoncelle et sur la conduite de l’archet, a work that became the fundamental reference point for all subsequent schools of cello teaching. At the end of the treatise, we find the 21 Etudes for Violoncello (with a second cello part as accompaniment), works that explain and put into practice the methods described within. They are very difficult, highly virtuosic exercises that present a wide selection of tones and bowings as well as an extraordinary richness of compositional ideas, and in this way the Essai can be viewed as an anthology of concert pieces with real artistic value rather than just a mere practical handbook.

Made following precise philological criteria and with attention to the performing practice of the age, this recording includes a second cello as accompaniment (the instrument assumes the role of continuo, developing the performance and enlivening the listening experience) and employs original instruments with gut strings and historical bows. Thanks more to their difficulty and pedagogical reputation, the Etudes may have been rarely recorded, a fact which only adds value to the present issue, but they repay repeated listening for their élan, and will be required listening not only for cello students seeking to master the Etudes themselves but also for anyone with a passing interest in the music of Classical-era France.

00:00:00 Etude No. 1 in F Major (Andante)
00:09:01 Etude No. 2 in F Minor (Allegro)
00:14:45 Etude No. 3 in C Major (Allegro)
00:17:16 Etude No. 4 in C Minor (Allegro moderato et très marqué)
00:19:19 Etude No. 5 in C Minor (Moderato)
00:20:41 Etude No. 6 in G Major (Allegro)
00:23:59 Etude No. 7 in G Minor (Allegro)
00:25:30 Etude No. 8 in D Major (Adagio cantabile)
00:31:21 Etude No. 9 in D Minor (Allegro moderato)
00:43:14 Etude No. 10 in A Major (Allegro)
00:47:26 Etude No. 11 in A Minor (Allegro)
00:52:36 Etude No. 12 in E Major (Allegro moderato – Presqu’andante)
01:04:25 Etude No. 13 in E Minor (Allegro)
01:09:27 Etude No. 14 in B-Flat Major ( Andante grazioso)
01:13:42 Etude No. 15 in B-Flat Minor (Allegro)
01:22:04 Etude No. 16 in E-Flat Major (Adagio)
01:29:10 Etude No. 17 in E-Flat Minor (Allegro)
01:39:07 Etude No. 18 in A-Flat Major (Allegro maestoso)
01:46:59 Etude No. 19 in B Major (Allegro)
01:48:34 Etude No. 20 in B Minor (Allegro)
01:55:02 Etude No. 21 in D-Flat Major (Allegro)

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Artists: Daniele Ruggieri, Andrea Toschi

With a repertoire spanning almost 150 years, from 1844 right up to 1992, this release brings together a wide range of works for flute and organ by composers from a variety of countries and musical backgrounds. During the Baroque period, it was common to pair the flute (or recorder) with the harpsichord; the combination here of flute and organ is by contrast far more exotic, the great power of which the latter instrument is capable pitted against the domestic nature of the former. The works on this release are all rare gems, showing just how well these two diverse timbres are able to complement each other – and at the same time revealing the great skill of many lesser-known composers.

While the music on this release spans a large period of time, many of the works share a common thread of religion spirituality. German composer Hiller uses a Lutheran hymn as inspiration for his work Andante religioso, and the pieces by French composers Caplet and Gallon are both infused with a deep sense of mysticism, particularly pertinent as Caplet retreated to a monastery later in life. The religious theme continues into the more contemporary works by Italian composers D’Aurizio and Lincetto; the former was a noted composer of sacred music throughout his life, and Lincetto’s work Messa degli artisti is a modern take on a traditional meditative prayer.

An enterprising and original programme of works originally written for flute and organ by a wide variety of composers, spanning more than 150 years (not the usual compilation of Baroque lollipops like the Albinoni/Adagio or the Bach/Air!).
Featuring are works by composers Hartmann, Lachner, Donjon, Doppler, Hiller, Gallon, Genzmer, d’Aurizio, Manzino. They explore the rich possibilities and diverse qualities of the two instruments in a fascinating way, sharing a spiritual or liturgical background.
Superbly played by Daniele Ruggieri, flute (“beautiful and playful display of virtuosity” The Times) and Andrea Toschi, organ.
Recorded in Padua.

00:00:00 Praeludium for Flute and Organ in G Minor
00:03:37 Elegie
00:10:07 Invocation
00:12:50 Offertoire, Op. 12
00:17:43 Idylle “l’oiseau des bois”, Op. 21
00:23:57 Andante religioso, Op. 6
00:30:29 Feuillets d’album: IV. Invocation
00:34:25 Recueillement
00:39:26 Sei brani liturgici: I. Introduzione
00:40:33 Sei brani liturgici: II. Offertorio
00:41:47 Sei brani liturgici: III. Pezzo semplice
00:44:49 Sei brani liturgici: IV. Sanctus
00:46:11 Sei brani liturgici: V. Preghiera in C Major
00:47:54 Sei brani liturgici: VI. Adagio
00:48:56 Due melodie facili: I. Andantino
00:50:38 Due melodie facili: II. Andantino
00:51:54 Adagio (1990)
00:58:22 Messa degli artisti (1980): Preghiera dell’artista
01:01:26 Messa degli artisti (1980): Elevazione
01:03:31 Sonata for Flute and Organ(1992): I. Adagio
01:08:59 Sonata for Flute and Organ(1992): II. Allegretto

Composer: Richard Wagner
Artists: Dietrich Fischer-Dieskau (The Dutchman), Gottlob Frick Daland (Norwegian sea captain), Fritz Wunderlich (Daland’s steersman), Marianne Schech (Senta, Daland’s daughter), Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin, Franz Konwitschny (conductor)

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One of the greatest and most revolutionary composers of the nineteenth century, Richard Wagner transformed the realm of musical drama. Years before his towering successes of the Ring Cycle, Tristan und Isolde and Die Meistersinger von Nürnberg, he wrote the now lesser-performed The Flying Dutchman, an opera that marks the beginning of Wagner’s mature works.
The opera – premiered in Dresden in 1843 – is based on Heinrich Heine’s telling of the legend in which the captain of a ghostly vessel, The Flying Dutchman, is doomed to roam the seas for all eternity until he wins the love of a woman. The fate of the Dutchman is said to have struck Wagner as a mirror image of his own disastrous fate in Paris; having expected the city to hail him as a genius, he was left bitterly disappointed. From the outset, the overture depicts the vast expanse of the rolling sea and hints at the despair that is to come, while weaving together other leitmotifs that will reoccur later in the work. Other highlights include Senta’s heartfelt ballad from Act II, the Dutchman’s soliloquy ‘Die Frist ist um’ and the raucous shanty that is the Sailors’ Chorus.
The role of the Dutchman is sung by legendary lyric baritone Dietrich Fischer-Dieskau, described by The Guardian as ‘the most influential singer of the 20th century’. Playing his love interest, Senta, is Marianne Schech, while Gottlob Frick takes the role of her father. The soloists are supported by the Chor der deutschen Staatsoper Berlin and the Staatskapelle Berlin, conducted by Franz Konwitschny.

00:00:00 Der Fliegende Hollander: Overture (Orchestra)
00:11:29 Der Fliegende Hollander: Act 1: No. 1: Introduction: Hojohe! Hallojo! (Chorus/Daland/Steersman)
00:16:57 Der Fliegende Hollander: Act 1: Song: Mit Gewitter und Sturm aus fernem Meer (Steersman)
00:21:50 Der Fliegende Hollander: Act 1: No. 2: Aria: Die Frist ist um (Dutchman/Chorus)
00:33:28 Der Fliegende Hollander: Act 1: No. 3: Scene, Duet and Chorus: He! Holla! Steuermann! (Daland/Steersman)
00:35:13 Der Fliegende Hollander: Act 1: Duet: Weit komm’ ich her (Dutchman/Daland)
00:50:00 Der Fliegende Hollander: Act 1: Chorus: Hohohe! Halloho! (Chorus)
00:53:41 Der Fliegende Hollander: Act 2: Introduction (Orchestra)
00:54:27 Der Fliegende Hollander: Act 2: No. 4: Scene, Song and Ballad: Summ und brumm, du gutes Rädchen (Girls/Mary/Senta)
01:02:45 Der Fliegende Hollander: Act 2: Ballad: Johohoe!… Traft ihr das Schiff im Meere an (Senta)
01:13:07 Der Fliegende Hollander: Act 2: No. 5: Duet (Erik/Senta)(Part I)
01:13:53 Der Fliegende Hollander: Act 2: No. 5: Duet (Part II): Mein Herz, voll Treue bis zum Sterben (Erik/Senta)
01:25:35 Der Fliegende Hollander: Act 2: No. 6: Finale: Mein Kind, du siehst mich auf der Schwelle (Daland/Senta)
01:27:20 Der Fliegende Hollander: Act 2: Aria: Mögst du, mein Kind, den fremden Mann (Daland)
01:33:42 Der Fliegende Hollander: Act 2: Duet: Wie aus der Ferne längst vergangner Zeiten (Dutchman/Senta)
01:48:50 Der Fliegende Hollander: Act 2: Trio: Verzeiht! Mein Volk hält draußen sich nicht mehr (Daland/Senta/Dutchman)
01:51:05 Der Fliegende Hollander: Act 3: Introduction (Orchestra)
01:51:55 Der Fliegende Hollander: Act 3: No. 7: Scene and Chorus: Steuermann, laß die Wacht! (Chorus/Steersman)
02:06:20 Der Fliegende Hollander: Act 3: No. 8: Finale: Was muß ich hören! Gott, was muß ich sehn! (Erik/Senta)
02:08:54 Der Fliegende Hollander: Act 3: Cavatina: Willst jenes Tags du nicht dich mehr entsinnen (Erik)
02:11:54 Der Fliegende Hollander: Act 3: Verloren! Ach, verloren! (Dutchman/Erik/Senta/Daland/Mary/Chorus)

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Composer & Artist:
Composer: Angel E. Lasala, Andrew York, Giorgio Mirto, Giorgio Signorile, Giovanni Albini, Livio Torresan, Maximo Diego Pujol, Miklós Rózsa, Roberto Manca, Rosolino Di Salvo
Artists: Giorgio Mirto (guitar)




About this Album:
A highly original selection of guitar works in which the night is the inspiration: darkness, suspense and fright for the unknown, but also the mystery, the sense of the supernatural and the immaterial.
With its romantic and mystical connotations, ‘night’ has long been the inspiration behind many works of art. This release presents an alternative reading of its beguiling message, detailing a selection of little-known and contemporary compositions that have all been written for guitar.
The compilation contains expert performances by Giorgio Mirto and begins with his 3 Nocturnes – the first of several Italian works featured on this disc. As well as revisiting the music of Máximo Diego Pujol,
whose complete guitar duets are detailed in a former Brilliant Classics’ release and whose exotic Nocturno brilliantly captures the sights and sounds of Buenos Aires, the collection also includes Valse crépusculaire – written by Hungarian-born Miklós Rózsa for the award-winning film Providence. Andrew York’s spirited Into dark completes the survey, a work that perfectly encapsulates the American’s predilection for mixing classical music with folk and rock elements.
Brimming with colour and expression, these miniature and highly varied evocations form a gem of a recording that is not to be passed up. The compilation is a worthy addition to the guitar enthusiast’s library, with the instrument’s subtle nuances perfectly capturing night’s enigmatic nature.


Tracklist:
00:00:00 Nocturnes: No. 1
00:05:33 Nocturnes: No. 2
00:10:27 Nocturnes: No. 3
00:15:30 Notturno
00:20:34 Notturno No. 3
00:24:51 Ulisse
00:27:40 La notte di Penelope
00:33:16 Ninna nanna a Donegal
00:38:00 Le colline di Karen, notturno africano
00:42:19 Corale No. 45, notturno
00:47:58 Nocturno
00:52:09 Nocturno
00:56:00 Valse crepusculaire
01:00:28 Into dark



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The Veracini who wrote these playful and virtuosic trio sonatas is not Francesco Maria but his uncle, Antonio. The nephew’s work is relatively well-known, including an Op.1 set of twelve sonatas which has already received a recording on Brilliant Classics (BC93809) by Enrico Casazza and La Magnifica Comunita. Antonio was also born and raised a Florentine, taught by his father and in time director of the school of music which Veracini pere had founded. This duty was the likely obstacle to his forging an international career, despite promising and well-received visits to Rome and Vienna.

Composer: Antonio Veracini
Artist: El Arte Mvsico
Angel Sampedro (violin)
Teresa Casanova (violin)
Isabel Goméz-Serranillos (cello)
Diego Fernández (harpsichord)

00:00:00 Trio Sonatas, Op. 1 No. 4: I. Adagio. Presto
00:01:50 Trio Trio Sonatas, Op. 1 No. 4: II. Vivace
00:02:41 Trio Trio Sonatas, Op. 1 No. 4: III. Canzona
00:04:37 Trio Trio Sonatas, Op. 1 No. 4: IV. Vivace
00:05:56 Trio Violin Sonata, Op. 2 No. 1: I. Grave
00:07:56 Trio Violin Sonata, Op. 2 No. 1: II. Vivace
00:10:06 Trio Violin Sonata, Op. 2 No. 1: III. Largo affettuoso
00:12:21 Trio Violin Sonata, Op. 2 No. 1: IV. Vivace
00:14:14 Trio Violin Sonata, Op. 3 No. 4: I. Grave
00:15:48 Trio Violin Sonata, Op. 3 No. 4: II. Vivace
00:17:58 Trio Violin Sonata, Op. 3 No. 4: III. Largo
00:19:10 Trio Violin Sonata, Op. 3 No. 4: IV. Vivace
00:20:51 Trio Violin Sonata, Op. 2 No. 8: I. Grave
00:22:23 Trio Violin Sonata, Op. 2 No. 8: II. Aria affettuosa
00:23:49 Trio Violin Sonata, Op. 2 No. 8: III. Veloce
00:24:38 Trio Violin Sonata, Op. 2 No. 8: IV. Largo
00:25:53 Trio Violin Sonata, Op. 2 No. 8: V. Affettuoso
00:27:43 Trio Violin Sonata, Op. 3 No. 7: I. Largo
00:29:57 Trio Violin Sonata, Op. 3 No. 7: II. Allegro
00:31:12 Trio Violin Sonata, Op. 3 No. 7: III. Largo
00:33:22 Trio Violin Sonata, Op. 3 No. 7: IV. Vivace
00:34:47 Trio Trio Sonatas, Op. 1 No.1: I. Largo
00:36:31 Trio Trio Sonatas, Op. 1 No.1: II. Vivace
00:38:57 Trio Trio Sonatas, Op. 1 No.1: III. Largo
00:40:07 Trio Trio Sonatas, Op. 1 No.1: IV. Allegro
00:41:02 Trio Violin Sonata, Op. 3 No. 8: I. Grave
00:43:16 Trio Violin Sonata, Op. 3 No. 8: II. Vivace
00:45:57 Trio Violin Sonata, Op. 3 No. 8: III. Largo
00:47:56 Trio Violin Sonata, Op. 3 No. 8: IV. Presto
00:49:44 Trio Violin Sonata, Op. 2 No. 4: I. Grave
00:51:21 Trio Violin Sonata, Op. 2 No. 4: II. Presto assai
00:52:27 Trio Violin Sonata, Op. 2 No. 4: III. Allegro
00:53:55 Trio Violin Sonata, Op. 3 No. 9: I. Largo
00:55:30 Trio Violin Sonata, Op. 3 No. 9: II. Vivace
00:57:57 Trio Violin Sonata, Op. 3 No. 9: III. Largo
00:59:49 Trio Violin Sonata, Op. 3 No. 9: IV. Vivace
01:01:27 Trio Trio Sonatas, Op. 1 No. 2: I. Largo
01:03:08 Trio Trio Sonatas, Op. 1 No. 2: II. Affettuoso
01:05:40 Trio Trio Sonatas, Op. 1 No. 2: III. Largo
01:06:41 Trio Trio Sonatas, Op. 1 No. 2: IV. Vivace

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In 1791, just after he completed The Magic Flute, Mozart received a call from a mysterious man commissioning him to compose a Requiem. The visitor gave Mozart an unsigned letter, which asked if he’d be prepared to undertake the composition, how much he’d charge for doing so and how long he would take to complete the work. The visitor returned a few days later, and paid the money Mozart had asked for, and was told that the work would be ready in four weeks. He who identified neither himself nor the name of his employer, and said that a person close to his master had died, and that his master wished to have a new Requiem performed in their memory.Mozart set about composition immediately, in spite of the fact that he also had to complete La clemenza di Tito for the coronation of Emperor Leopold in Prague.

By this time Mozart’s health was in a steep decline. He suffered frequent blackouts, and took to his bed, still insisting on working on the Requiem. His pupil Süssmayr helped him score the work, but Mozart died on 5th December 1791, leaving it unfinished. Süssmayr (who may have been romantically involved with Constanze at the time) was persuaded to complete the work.

Like the C minor Mass, the Requiem is a work of high drama, and written on a large scale. It set the pattern for the great Requiems of Berlioz and Verdi, especially in the Dies irae, where the writing is truly electrifying and the terror of the Day of Wrath palpable.

00:00:00 Requiem In D Minor, K626: I. Introitus: Requiem aeternam
00:04:45 Requiem In D Minor, K626: II. Kyrie eleison
00:07:30 Requiem In D Minor, K626: III. Sequenz. Dies irae
00:09:28 Requiem In D Minor, K626: III. Sequenz. Tuba mirum
00:12:34 Requiem In D Minor, K626: III. Sequenz. Rex tremendae
00:14:43 Requiem In D Minor, K626: III. Sequenz. Recordare
00:19:07 Requiem In D Minor, K626: III. Sequenz. Confutatis
00:21:36 Requiem In D Minor, K626: III. Sequenz. Lacrimosa
00:24:40 Requiem In D Minor, K626: IV Offertorium. Domine Jesu
00:28:26 Requiem In D Minor, K626: IV Offertorium. Hostias
00:32:26 Requiem In D Minor, K626: V. Sanctus
00:34:06 Requiem In D Minor, K626: VI. Benedictus
00:38:33 Requiem In D Minor, K626: VII. Agnus Dei
00:42:36 Requiem In D Minor, K626: VIII. Communio. Lux aeterna

Tracklist Below:

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Composer:
Pietro Antonio Locatelli

Artist:
Igor Ruhadze (baroque violin & concert master )
Ensemble Violini Capricciosi

Pietro Antonio Locatelli might not exactly be a household name, but in his day he was an international phenomenon – a prodigiously talented violinist who entertained royalty and who had studied with Corelli’s contemporaries from the age of 15. Renowned for exploring the very top register of his instrument, Locatelli is today considered the founding father of the modern virtuoso style. Spanning 5CDs, this compilation celebrates the genius of a man whose violin sonatas occupy an significant position in the history of the string repertoire.

00:00:00 Sonata in B-Flat, Op. 6 No. 1: I. Andante
00:05:16 Sonata in B-Flat, Op. 6 No. 1: II. Allegro
00:08:57 Sonata in B-Flat, Op. 6 No. 1: III. Aria: Cantabile
00:17:03 Sonata in F, Op. 6 No. 2: I. Andante
00:23:56 Sonata in F, Op. 6 No. 2: II. Allegro – Vivace
00:28:08 Sonata in F, Op. 6 No. 2: III. Aria: Vivace
00:35:18 Sonata in B, Op. 6 No. 3: I. Andante
00:38:39 Sonata in B, Op. 6 No. 3: II. Allegro
00:41:50 Sonata in B, Op. 6 No. 3: III. Aria: Menuetto
00:49:40 Sonata in E, Op. 6 No. 4: I. Andante
00:53:17 Sonata in E, Op. 6 No. 4: II. Allegro
00:56:36 Sonata in E, Op. 6 No. 4: III. Aria: Andante
01:03:46 Sonata in C Minor, Op. 6 No. 5: I. Andante
01:07:34 Sonata in C Minor, Op. 6 No. 5: II. Allegro
01:11:38 Sonata in C Minor, Op. 6 No. 5: III. Aria: Vivace
01:20:40 Sonata in D, Op. 6 No. 6: I. Largo
01:21:25 Sonata in D, Op. 6 No. 6: II. Andante
01:26:52 Sonata in D, Op. 6 No. 6: III. Allegro
01:31:42 Sonata in D, Op. 6 No. 6: IV. Aria: Menuetto
01:39:08 Sonata in F Minor, Op. 6 No. 7: I. Largo
01:39:48 Sonata in F Minor, Op. 6 No. 7: II. Grave
01:46:13 Sonata in F Minor, Op. 6 No. 7: III. Vivace
01:49:49 Sonata in F Minor, Op. 6 No. 7: IV. Aria: Cantabile
02:01:41 Sonata in C, Op. 6 No. 8: I. Adagio – Andante
02:07:08 Sonata in C, Op. 6 No. 8: III. Allegro
02:11:53 Sonata in C, Op. 6 No. 8: IV. Andante
02:18:12 Sonata in B Minor, Op. 6 No. 9: I. Largo
02:21:07 Sonata in B Minor, Op. 6 No. 9: II. Vivace
02:24:38 Sonata in B Minor, Op. 6 No. 9: III. Aria: Vivace
02:32:30 Sonata in G, Op. 6 No. 10: I. Andante
02:37:55 Sonata in G, Op. 6 No. 10: II. Allegro
02:41:33 Sonata in G, Op. 6 No. 10: III. Aria: Vivace
02:49:20 Sonata in E-Flat, Op. 6 No. 11: I. Adagio
02:55:22 Sonata in E-Flat, Op. 6 No. 11: II. Allegro
02:57:24 Sonata in E-Flat, Op. 6 No. 11: III. Aria: Cantabile
03:03:06 Sonata in D Minor, Op. 6 No. 12: I. Adagio
03:08:06 Sonata in D Minor, Op. 6 No. 12: II. Allegro
03:11:21 Sonata in D Minor, Op. 6 No. 12: III. Andante
03:14:16 Sonata in D Minor, Op. 6 No. 12: IV. Allegro
03:17:36 Sonata in D Minor, Op. 6 No. 12: V. Capriccio Prova dell’Intonazione
03:23:27 Sonata in G Minor: I. Adagio
03:23:55 Sonata in G Minor: II. Allegro
03:26:16 Sonata in G Minor: III. Largo
03:29:27 Sonata in G Minor: IV. Allegro
03:30:23 Sonata in F, Op. 8 No. 1: I. Largo
03:33:00 Sonata in F, Op. 8 No. 1: II. Allegro
03:37:19 Sonata in F, Op. 8 No. 1: III. Allegro
03:43:01 Sonata in D, Op. 8 No. 2: I. Adagio
03:45:56 Sonata in D, Op. 8 No. 2: II. Allegro
03:49:15 Sonata in D, Op. 8 No. 2: III. Presto – Lento
03:52:50 Sonata in E-Flat, Op. 6 No. 11: I. Adagio
03:55:15 Sonata in E-Flat, Op. 6 No. 11: II. Allegro
03:59:26 Sonata in E-Flat, Op. 6 No. 11: III. Vivace
04:04:26 Sonata in C, Op. 8 No. 4: I. Cantabile
04:07:56 Sonata in C, Op. 8 No. 4: II. Allegro
04:11:38 Sonata in C, Op. 8 No. 4: III. Vivace
04:15:52 Sonata in C, Op. 8 No. 4: IV. Allegro molto
04:18:36 Sonata in G, Op. 8 No. 5: I. Largo
04:25:09 Sonata in G, Op. 8 No. 5: II. Allegro
04:29:22 Sonata in G, Op. 8 No. 5: III. Andante
04:33:05 Sonata in G, Op. 8 No. 5: IV. Allegro
04:37:22 Sonata in E-Flat, Op. 8 No. 6: I. Adagio
04:42:22 Sonata in E-Flat, Op. 8 No. 6: II. Allegro
04:44:59 Sonata in E-Flat, Op. 8 No. 6: III. Aria di menuetto pietro Locatelli

Tracklist below.
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The late 17th century was a golden age for the proliferation of organ music in Northern Germany. While J.S. Bach – alongside Buxtehude – may be the first name to come to mind when we consider composers of this period, more provincial towns were also surprisingly rich centres of music-making. The Husumer Orgelbuch of 1758 comprises a collection of works for organ from Husum, a coastal town situated at the tip of Germany. Organist Bendix Friedrich Zinck, whose life spanned the second half of the 18th century, chose 17 compositions for the organ to include in the collection, mostly made up of parts of old compositions. We have one example of an Adagio by Nicolaus Bruhns, also known to be active in Husum, though many years before Bendix. A more substantial body has survived of music by Druckenmüller, an almost exact contemporary of J.S. Bach. His compositions for organ are some of the first examples of the ‘Italian concerto’ style in northern Germany, a concerto with three movements (fast-slow-fast) resembling the Italian concerto grosso. Another remarkable feature of this manuscript is the fact that a vast majority of the works are original compositions rather than transcriptions – a novelty for organ music at this time, which more often involved arrangements of orchestral works, such as Bach’s transcriptions of Vivaldi or Walther’s of Torelli.

Italian organist Manuel Tomadin is an enthusiastic advocate of music of this period, having recently released a CD of the complete organ works of Druckenmüller alongside Daniel Erich and Georg Wilhelm Dietrich Saxer on Brilliant Classics. As always, he has carefully selected his performing instruments, choosing a Baroque organ by Arp Schnitger – the most important organ builder of this period, who worked closely with Druckenmüller – and an organ by Albertus Hinsz in Leens, one of the closest to the tradition of Schnitger. For lovers of Baroque organ music looking to explore outside the established canon of Bach, Buxtehude and Walther, this release represents an exciting opportunity to discover some of the wealth of music-making in Northern Germany during this period.

00:00:00 Praeludium in D Major
00:02:29 Chaconne in D Major
00:08:52 Concerto in A Major: I. Allegro
00:12:01 Concerto in A Major: II. Siciliana
00:13:21 Concerto in A Major: III. Vivace
00:16:34 Concerto in F Major: I. Allegro
00:18:34 Concerto in F Major: II. Adagio
00:20:08 Concerto in F Major: III. Vivace
00:22:38 Concerto in D Major: I. Allegro
00:25:51 Concerto in D Major: II. Largo
00:27:45 Concerto in D Major: III. Vivace
00:29:11 Concerto in G Major: I. Allegro
00:32:15 Concerto in G Major: II. Adagio
00:33:57 Concerto in G Major: III. Allegro
00:35:49 Fuge in D Major
00:39:34 Concerto in A Major: I. Allegro
00:41:11 Concerto in A Major: II. Adagio
00:43:04 Concerto in A Major: III. Vivace
00:45:30 Concerto in E Major: I. Allegro
00:48:10 Concerto in E Major: II. Adagio
00:49:30 Concerto in E Major: III. Vivace
00:51:40 Concerto in B Major: I. Allegro
00:53:33 Concerto in B Major: II. Siciliana
00:54:51 Concerto in B Major: III. Allegro
00:58:02 Praeludium in D Major
01:00:04 Fuge in D Major
01:01:29 Adagio in D Major
01:03:00 Chaconne in D Major
01:08:49 Adagio in D Major
01:11:57 Concerto in G Major: I. Allegro
01:14:03 Concerto in G Major: II. Adagio
01:16:05 Concerto in G Major: III. Allegro
01:19:18 Concerto in D Major: I. Allegro
01:21:13 Concerto in D Major: II. Adagio
01:22:51 Concerto in D Major: III. Largo
01:23:35 Concerto in D Major: IV Allegro
01:27:31 Concerto in A Minor: I. Preludio
01:28:53 Concerto in A Minor: II. Vivace
01:30:58 Concerto in A Minor: III. Adagio
01:32:56 Concerto in A Minor: IV Allegro
01:34:40 Concerto in D Minor: I. Allegro
01:36:53 Concerto in D Minor: II. Adagio
01:39:53 Concerto in D Minor: III. Vivace
01:41:18 Concerto in G Minor: I. Allegro
01:43:18 Concerto in G Minor: II. Affettuoso
01:45:45 Concerto in G Minor: III. Allegro fuga
01:48:57 Praeludium in C Minor
01:49:53 Fuge in C Minor
01:51:16 Allegro – Adagio in C Minor

Artist:
Manuel Tomadin (organ)

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Tracklist:
00:00:00 Concert Arias for Soprano and Orchestra: Der Liebe himmlisches Gefühl, KV. 119
00:06:07 Concert Arias for Soprano and Orchestra: Vorrei spiegarvi, oh Dio, KV. 418
00:12:20 Concert Arias for Soprano and Orchestra: Cara, se le mie pene, KV. deest
00:22:02 Concert Arias for Soprano and Orchestra: Se tutti i mali miei, KV. 83
00:29:53 Concert Arias for Soprano and Orchestra: Alcandro, lo confesso… Non sò d’onde viene, KV. 294
00:39:18 Concert Arias for Soprano and Orchestra: Se ardire, e speranza, KV. 82
00:46:00 Concert Arias for Soprano and Orchestra: Ah, spiegarti, oh Dio, KV. 178
00:49:15 Concert Arias for Soprano and Orchestra: Ch’io mi scordi di te… Non temer, amato bene, KV. 505
00:59:20 Concert Arias for Soprano and Orchestra: Alma grande e nobil core, KV. 578
01:04:02 Concert Arias for Soprano and Orchestra: A questo seno…Or che il cielo, KV. 374
01:12:06 Concert Arias for Soprano and Orchestra: Basta vincesti…Ah, non lasciarmi KV. 486a (295a)
01:17:50 Concert Arias for Soprano and Orchestra: Al desio, di chi t’adora, KV. 577
01:23:45 Concert Arias for Soprano and Orchestra: Conservati fedele, KV. 23
01:30:45 Concert Arias for Soprano and Orchestra: Voi avete un cor fedele, KV. 217
01:37:49 Concert Arias for Soprano and Orchestra: Misero mi…Misero pargoletto, KV. 77
01:50:50 Concert Arias for Soprano and Orchestra: Nehmt meinen Dank, KV. 383
01:54:03 Concert Arias for Tenor and Orchestra: Va, dal furor portata, KV. 21 (19c)
02:00:01 Concert Arias for Tenor and Orchestra: Or che il dover…Tali e cotanti sono, KV. 36 (33i)
02:08:44 Concert Arias for Tenor and Orchestra: Si mostra la sorte, KV. 209
02:11:26 Concert Arias for Tenor and Orchestra: Con ossequio, con rispetto, KV. 210
02:14:22 Concert Arias for Tenor and Orchestra: Clarice cara mia sposa, KV. 256
02:16:08 Concert Arias for Tenor and Orchestra: Se al labbro mio non credi, KV. 295
02:26:09 Concert Arias for Tenor and Orchestra: Per pietà, non ricercate, KV. 420
02:31:52 Concert Arias for Tenor and Orchestra: Misero! o sogno...Aura, che intorno spiri, KV. 431
02:41:14 Concert Arias for Bass and Orchestra: Io ti lascio, KV. Anh 245
02:44:13 Concert Arias for Bass and Orchestra: Così dunque tradisci…Aspri rimorsi atroci, KV. 432 (421a)
02:48:04 Concert Arias for Bass and Orchestra: Dite almeno in che mancai, KV. 479
02:54:25 Concert Arias for Bass and Orchestra: Mandina amabile, KV. 480
02:59:17 Concert Arias for Bass and Orchestra: Alcandro, lo confesso…Non sò, d’onde viene, KV. 512
03:06:18 Concert Arias for Bass and Orchestra: Mentre ti lascio, KV. 513
03:13:10 Concert Arias for Bass and Orchestra: Ich möchte wohl den Kaiser sein, KV. 539
03:15:51 Concert Arias for Bass and Orchestra: Un bacio di mano, KV. 541
03:18:01 Concert Arias for Bass and Orchestra: Per questa bella mano, KV. 612
03:25:05 Concert Arias for Bass and Orchestra: Popoli di Tessaglia KV. 316: Popoli di Tessaglia
03:28:30 Concert Arias for Bass and Orchestra: Popoli di Tessaglia KV. 316: Io non chiedo
03:35:09 Concert Arias for Soprano and Orchestra: Ah se in ciel, benigne stelle, KV. 538
03:42:50 Concert Arias for Soprano and Orchestra: Chi sà, chi sà, qual sia, KV. 582
03:46:50 Concert Arias for Soprano and Orchestra: Vado, ma dove? oh Dei! KV. 583
03:51:02 Concert Arias for Soprano and Orchestra: Ch’io mi scordi te? Non temer, amato bene, KV. 490
03:58:19 Concert Arias for Soprano and Orchestra: Per pietà, bell’idol mio, KV. 78 (73b)
04:02:04 Concert Arias for Soprano and Orchestra: Oh, temerario Arbace, KV. 79 (73d)
04:07:22 Concert Arias for Soprano and Orchestra: Bella mia fiamma, addio!... Resta, oh cara, KV. 528
04:17:22 Concert Arias for Soprano and Orchestra: Ah, lo previdi!-Ah, t’invola-Deh, non varcar, KV. 272
04:31:37 Concert Arias for Soprano and Orchestra: Misera, dove son! – Ah! non son’io che parlo, KV. 369
04:38:42 Concert Arias for Soprano and Orchestra: Mia speranza adorata!- Ah, non sai, qual pena sia il doverti, KV. 416
04:48:07 Concert Arias for Soprano and Orchestra: Non curo l’affetto, KV. 74b
04:53:25 Concert Arias for Soprano and Orchestra: Fra cento affanni, KV. 88
05:03:38 Concert Arias for Soprano and Orchestra: A Berenice- Sol nascente, KV. 70
05:15:27 Concert Arias for Soprano and Orchestra: Ma, che vi fece, o stelle- Sperai vicino il lido, KV. 368
05:24:18 Concert Arias for Soprano and Orchestra: No, no, che non sei capace, KV. 419

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It would not be an overstatement to declare that Ludwig van Beethoven stands as one of the most significant figures in Western civilisation: a composer who shaped the course of music history through his mastery of rhythm, melody and harmonic exploration, pushing the boundaries of form and effectively bridging the gap between Classicism and Romanticism – and yet all the while continuously professing how difficult he found composition. Detailing Brilliant Classics favourites, We present the top 50 best Beethoven.

00:00:00 Symphony No. 1 in C Major, Op. 21: IV. Finale. Adagio – Allegro molto e vivace
00:06:18 Symphony No. 3 in E-Flat Major, Op. 55: II. Marcia funebre. Adagio assai
00:23:06 Symphony No. 2 in D Major, Op. 36: II. Larghetto
00:35:40 Symphony No. 4 in B-Flat, Op. 60: I. Adagio – Allegro vivace
00:47:49 Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio
00:55:55 Symphony No. 6 in F Major, Op. 68: I. Allegro ma non troppo
01:05:26 Symphony No. 7 in A Major, Op. 92: II. Allegretto
01:15:24 Symphony No. 8 in F Major, Op. 93: III. Tempo di menuetto
01:20:11 Piano Concerto No. 1 in C Major, Op. 15: II. Largo
01:32:04 Piano Concerto No. 2 in B-Flat Major, Op. 19: III. Rondo
01:38:20 Piano Concerto No. 3 in C Minor, Op. 37: III. Rondo
01:47:28 Piano Concerto No. 5 in E-Flat Major, Op. 73: I. Allegro moderato
02:07:38 Piano Concerto No. 4 in G Major, Op. 58: II. Andante con moto
02:12:31 Violin Concerto in D Major, Op. 61: II. Larghetto
02:23:20 Romance for Violin Orchestra No. 2 in F Major, Op. 50
02:30:54 Coriolan Overture in C Minor, Op. 62
02:39:22 Septet in E-Flat Major, Op. 20: III. Tempo di minuetto
02:42:55 Trio in B-Flat Major, Op. 1: III. Allegretto. Variations on "Pria ch'io l'impegno"
02:49:25 Piano Trio in B-Flat, Op. 97: III. Andante cantabile, ma però con moto - Poco più adagio
02:56:12 12 Variations on "See the Conqu'ring Hero Comes", WoO 45: I. Thema. Allegretto
02:56:55 Violin Sonata No. 3 in E-Flat, Op. 12: II. Adagio con molt'espressione
03:02:20 Violin Sonata No. 3 in E-Flat, Op. 12: III. Rondo. Allegro molto
03:06:17 Violin Sonata No. 5 in F Major, Op. 24: II. Adagio molto espressivo
03:11:49 Violin Sonata No. 8 in G Major, Op. 30: III. Allegro vivace
03:15:01 Violin Sonata No. 9 in A Major, Op. 47: I. Adagio sostenuto – Presto
03:27:54 String Quartet No. 7 in F Major, Op. 59 No. 1: IV. Allegro
03:34:52 String Quartet No. 11 in F Minor, Op. 95: I. Allegro con brio
03:39:17 String Quartet No. 13 in B-Flat Major, Op. 130: V. Cavatina. Adagio molto espressivo
03:46:39 String Quartet No. 14 in C-Sharp Minor, Op. 131: II. Allegro molto vivace
03:49:43 Piano Sonata No. 28 in A Major, Op. 101: I. Allegretto ma non troppo
03:53:01 Piano Sonata No. 30 in E Major, Op. 109: I. Vivace ma non troppo. Adagio espressivo
03:56:21 Piano Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile, molto espressivo
04:01:53 Piano Sonata No. 23 in F Minor, Op. 57: I. Allegro assai
04:11:35 Piano Sonata No. 18 in E-Flat Major, Op. 31: III. Menuetto. Moderato e grazioso
04:15:11 Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2: I. Adagio sostenuto
04:21:13 Piano Sonata No. 3 in C Major, Op. 2 No. 3: III. Scherzo. Allegro – Trio
04:24:33 Piano Sonata No. 8 in C Minor, Op. 13: II. Adagio cantabile
04:30:17 Piano Sonata No. 12 in A-Flat Major, Op. 26: I. Andante con variazioni
04:38:10 6 Bagatelles, Op. 126: I. Andante in G Major
04:41:12 6 Bagatelles, Op. 126: III. Andante in E-Flat Major
04:44:00 6 Bagatelles, Op. 126: IV. Presto in B Minor
04:47:56 Andante favori in F major, WoO 57
04:56:54 Für Elise in A Minor, WoO 59
04:59:42 Egmont, Op. 84: I. Ouvertüre
05:08:45 Musik zu einem Ritterballett in D Major, WoO 1: I. Marsch
05:10:34 Die Ruinen von Athen, Op. 113: V. Marcia alla turca
05:12:08 Opferlied in E Major, WoO 126
05:14:53 Missa solemnis in D Major, Op. 123: I. Kyrie
05:22:55 Adelaide in B-Flat Major, Op. 46
05:29:30 8 Lieder, Op. 52: IV. Mailied

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Composer: Piotr Ilyich Tchaikovsky
Artists: USSR State Choir and Orchestra, Andrey Chistiakov (conductor)

Tchaikovsky thought highly of his music to Ostrovky’s drama The Snow Maiden, writing to his patroness Nadezhda von Meck in 1879 ‘one of my favourite offspring….I think this music is imbued with the joys of spring that I was experiencing at the time’ It was an important commission for a composer who in 1873 was still establishing his reputation, and who had his first 3 symphonies and first piano concerto performed to great popular acclaim. The production of the drama was lavish, combining all three performing arts – drama, dance and music.

The premiere cost the vast sum of 15000 roubles, and though the production was stage with success (more for the music than the drama which was judged as rather static) in 1873 and 74, after 9 runs was never seen again due to the prohibitive cost. The music however was performed every now and again, but it has remained one of the composers least known works. Tchaikovsky used some of the material for his music to Hamlet in 1891, but he had always hoped to incorporate the score into an opera on the Snow Maiden story. When Rimsky-Korsakov’s opera on the same story appeared Tchaikovsky was seething with anger, and wrote to his brother Modest ‘it is as if they have taken from me by force something that is innately mine and dear to me and are presenting it to the public in bright new clothes’.

The music is characteristically colourful, especially the chorus depicting shivering birds and the procession of the carnival. It gives plenty of hints of the great ballet scores that would follow.

00:00:00 The Snow Maiden: Introduction
00:04:48 The Snow Maiden: Dance and choruses of the birds
00:10:28 The Snow Maiden: Winter’s monologue
00:13:50 The Snow Maiden: Carnival procession
00:20:55 The Snow Maiden: Melodrama
00:22:56 The Snow Maiden: Interlude
00:24:18 The Snow Maiden: Lehl’s first song
00:28:15 The Snow Maiden: Lehl’s second song
00:29:48 The Snow Maiden: Interlude
00:33:00 The Snow Maiden: Chant of the blind bards
00:37:02 The Snow Maiden: Melodrama
00:41:11 The Snow Maiden: Chorus of the people and the courtiers
00:43:26 The Snow Maiden: Round of the young maidens
00:45:54 The Snow Maiden: Dance of the tumblers
00:50:31 The Snow Maiden: Lehl’s third song
00:57:13 The Snow Maiden: Brussila’s song
00:58:45 The Snow Maiden: Apparition of the Spirit of the Wood
00:59:36 The Snow Maiden: Interlude-The Spring Fairy
01:04:03 The Snow Maiden: Tsar Berendey’s march and chorus
01:10:42 The Snow Maiden: Final Chorus

Tracklist below.
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The extraordinary Fitzwilliam Virginal Book is a fascinating document housed in the Fitzwilliam Library in Cambridge, UK. It was probably compiled by Francis Treggian in the early 17th century, while he sat in prison for refusing to renounce his Catholicism. Whatever its origins, the exceptional manuscript contains almost 300 pieces, including many by known Roman Catholic sympathisers. In this, the fourth volume of the series, Pieter-Jan Belder focuses on the works by Giles Farnaby and John Bull, with Farnaby being one of the few Protestants represented in the manuscript. It’s likely that the two composers knew each other, as there are a number of clear similarities between their two styles, and the keyboard figurations of the two composers are at times indistinguishable. For this reason, Pieter-Jan Belder decided to group the two composers together for this release. The harpsichord pieces vary from Pavans and Galliards to Fantasias and Maskes (short interludes), as well as transcriptions of and embellishments on traditional folk tunes. The release concludes with Bull’s Quadran Pavan and Galiard, probably the longest piece in the entire Fitzwilliam Virginal Book, with an extensive variation of the pavan followed by a galliard made up of three distinct and varied sections.

Pieter-Jan Belder is a prolific recording artist, with over 130 CD recordings to his name. This is the fourth volume in his acclaimed series of recordings from The Fitzwilliam Virginal Book, with the first praised by Fanfare, who said ‘this is one complete recording series that I want to see to completion’. Joined by his student Gerhard Boogaard for one track – who also built the Ruckers harpsichord featured on this disc – Belder tackles the diverse and complex world of Elizabethan harpsichord music with ease.

00:00:00 Farmers Pavan CCLXXXVII
00:05:41 Galliarda CCLXIX
00:07:18 Fantasia CCXXXVI
00:11:18 Mal sims CCLXXXI
00:12:52 Pavana XXXIX
00:17:19 Meridian Alman CCXCI
00:19:00 A Maske CXCVIII
00:21:31 Quodlings Delight CXIV
00:24:08 Fantasia CCXXXII
00:30:27 A Maske CCIX
00:32:07 Wooddy-Cock CXLI
00:38:23 Fantasia CCXXXVII
00:42:23 Giles Farnabys Dreame CXCIV
00:43:44 His Rest Galiard CXCV
00:44:35 Farnabyes Conceit CCLXXIII
00:45:28 His Humour CXCVI
00:46:58 Fantasia CCXXXI
00:50:10 Rosasolis CXLIII
00:52:40 Lachrimae Pavan CCXC
00:59:46 A Toye CCLXX
01:00:56 A Maske CXCIX
01:02:27 Tell mee Daphne CCLXXX
01:03:52 Loth to Depart CCXXX
01:07:16 For Two Virginals LV
01:08:25 Pavana of my L.[ord] Lumley XLI
01:12:39 Galliarda to my L.[ord] Lumley’s Pavan XI
01:15:00 Praeludium in A Minor, FWB CCX
01:15:43 Fantasia CVIII
01:20:12 Pavana CXXXVI
01:24:34 Galliarda CXXXVII
01:26:32 Pavana XXXIV
01:33:13 Galiard to the Pavan XXXV
01:35:04 Prelude CXCII
01:35:56 Ut re mi fa sol la LI
01:41:39 St Thomas Wake XXXVI
01:45:07 The Duke of Brunswicks Alman CXLII
01:46:39 Pipers Galiard CLXXXII
01:48:55 Variatio Ejusdem CLXXXIII
01:51:54 The Quadran Pavan XXXI
01:58:54 Variation of the Quadran Pavan XXXII
02:07:05 Galiard to the Quadran Pavan XXXIII

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Composer & Artist:
Composer: Henri Sauguet
Artists: Alfonso Baschiera (guitar), Federica Lotti (flute), Nicola Boscaro (cello)

About this Album:
Henri Sauguet composed for many solo instruments, but writing for the guitar was where his passion lay, describing the instrument as ‘very noble’ and ‘one of the great instruments that belong to all ages’. An eclectic, prolific and original composer, Sauguet’s great gift lay in his ability to construct with just a few notes sound sketches that transcend genres, taking inspiration from a wide pool of trends. Sauguet began composing music for the guitar in 1958 with Soliloque, a vibrant, emotionally charged piece in which tonality and modality intermingle with chromaticism, and continued with the elegant harmonic solutions of Trois Préludes in 1970 and the subtle and expressive neo-modality of Musiques pour Claudel in 1973. These two suites, written to celebrate the French writer Paul Claudel, were followed by Six Pièces faciles in 1975, which was more frivolous in nature but nevertheless evocative, with memorable melodic themes. The crowning note in his guitar music writing career came with Révérence à Johann Sebastian Bach, written in 1985 to celebrate the 300th anniversary of the great German composer’s birth, and Cadence, his final piece for the solo guitar written at the age of 84 and published posthumously in 1990, containing two distinct sections that intertwine, the first part mechanical and regular, the second contemplative and lyrical.

Tracklist:
00:00:00 Cadence
00:03:52 Trois préludes: I. Prélude à la mélancolie
00:07:30 Trois préludes: II. Prélude au souvenir
00:10:17 Trois préludes: III. Prélude aux gestes
00:14:43 Six pièces faciles: I. Petit air doux
00:15:58 Six pièces faciles: II. Un bout de valse
00:17:18 Six pièces faciles: III. La roue tourney
00:18:36 Six pièces faciles: IV. Le sommeil du pâtre
00:20:25 Six pièces faciles: V. La barque chinoise 1’27
00:21:55 Six pièces faciles: VI. Pas à pas
00:23:25 Musique pour Claudel No. 1: I. En forme d’ouverture
00:24:29 Musique pour Claudel No. 1: II. Images
00:25:18 Musique pour Claudel No. 1: III. Le temps qui passe
00:27:26 Musique pour Claudel No. 1: IV. Caquetage
00:28:15 Musique pour Claudel No. 2: I. Cantabile
00:30:02 Musique pour Claudel No. 2: II. Les couleurs. A. Le bleu
00:31:25 Musique pour Claudel No. 2: II. Les couleurs. B. Le rouge
00:32:32 Musique pour Claudel No. 2: II. Les couleurs. C. Le jaune
00:33:17 Musique pour Claudel No. 2: II. Les couleurs. D. Le vert
00:35:05 Musique pour Claudel No. 2: III. Contrastes
00:36:43 Soliloque
00:42:09 Révérence à Johann Sebastian Bach

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Composer & Artist:
Composer: Johann Wilhelm Hässler
Artists: Michele Benuzzi (harpsichord)



About this Album:
Johann Wilhelm Hässler’s keyboard works occupy a fascinating position in the history of music. Although the composer was a harpsichord virtuoso in the late 18th century, just as his instrument was beginning to fall out of favour with composers and performers as the piano increased in popularity, Hässler’s music was not hopelessly old-fashioned. He was a successful pianist and organist, and a great admirer of C.P.E. Bach who he had met several times. He undertook many concert tours throughout Europe, and was able to publish a large quantity of music during his lifetime. The works heard in this collection can, in fact, be understood as a bridge between the Baroque composers who preceded him and the Classical and early-Romantic era that followed, drawing on a range of contrasting styles to create music of great drama, complexity and even theatricality.

The music heard on this new recording is particularly rare; it is found only in anonymous manuscripts and has previously been misattributed to W.F. Bach. As such, Michele Benuzzi’s thoroughly researched performances are an excellent opportunity to hear repertoire that will be unfamiliar to many listeners.

Tracklist:
00:00:00 Fantasia in C Minor (Leipzig, 1776)
00:05:23 Sonata in D (Leipzig, 1776): I. Allegro di Molto
00:10:30 Sonata in D (Leipzig, 1776): II. Andante
00:16:16 Sonata in D (Leipzig, 1776): III. Con Brio
00:18:38 Fantasia in A (Leipzig, 1779)
00:25:19 Sonata in A (Leipzig, 1779): I. [Moderato]
00:29:48 Sonata in A (Leipzig, 1779): II. Adagio
00:31:46 Sonata in A (Leipzig, 1779): III. Scherzo-Allegro
00:35:50 Fantasia in D (Leipzig, 1786)
00:40:40 Sonata in D Minor (Leipzig, 1779): I. [Allegro]
00:41:49 Sonata in D Minor (Leipzig, 1779): II. Arioso
00:43:33 Sonata in D Minor (Leipzig, 1779): III. Presto
00:49:05 Fantasia in C (Erfurt, 1782)
00:50:58 Rondeau in C (Leipzig, 1779)
00:53:05 Ariette mit einigen Veräderungen (Leipzig, 1786): ‘Der Demoisel Scherniß in Erfurth zugeeignet’
00:55:40 Fantasia in E Minor (Moscow, 1803)
00:57:15 Sonata in A Minor (Leipzig, 1776): I. Poco allegro
00:59:36 Sonata in A Minor (Leipzig, 1776): II. Largo
01:01:22 Sonata in A Minor (Leipzig, 1776): III. Presto


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Composer: Béla Bartók
Artists: Thomas Zehetmair (violin) , Budapest Festival Orchestra, Ivan Fischer (conductor)

About this Album:
The composition dates of the two violin concertos by Hungarian composer, pianist and ethnomusicologist Béla Bartók are separated by thirty years and provide a snapshot of his creative process at vastly different points in his life.

The first concerto (1907–8) had a rare emotional relevance: it was dedicated to the violinist Stefi Geyer, the object of Bartók’s affections, and showcases different aspects of her personality. This two-movement work is reminiscent of the works of Strauss and Liszt. The lamenting theme of the first movement represents Bartók’s unrequited love for Stefi, whose theme is repeated with tonal variation. This is followed by a lively second movement, with brilliant sections of arpeggios and scales, as well as whimsical leaps.

The second concerto (1937) is from a time in the composer’s life when folk music had become a firm characteristic of his works, and explores more adventurous harmonies than the first. One of the great Classical and Romantic works, the neo-Classical concerto also contains elements of Baroque and Renaissance music, giving it an historical dimension. Highlights are the beautiful canon of the second-movement theme and the reappearance in the third movement of the theme from the first, this time in a rousing triple-time dance.

Internationally acclaimed violinist Thomas Zehetmair has enjoyed a remarkable career, performing and recording all over the world. He has also become equally sought-after as a conductor and is currently Musical Director of the Northern Sinfonia.

Tracklist:
00:00:00 Violin Concerto No. 1, BB 48a: I. Andante sostenuto
00:09:23 Violin Concerto No. 1, BB 48a: II. Allegro giocoso
00:21:34 Violin Concerto No. 2, BB 117: I. Allegro non troppo
00:36:35 Violin Concerto No. 2, BB 117: II. Andante tranquillo
00:45:56 Violin Concerto No. 2, BB 117: III. Allegro molto

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