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

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

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

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

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

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Composer & Artist:
Composer: Franz Schubert
Artists: Diogenes Quartet, Stefan Kirpal (violin), Gundula Kirpal (violin), Stephen Ristau (cello), Julia Barthel (viola), Alba González i Becerra (viola)

About this Album:
This set presents the complete string quartets by Franz Schubert, including the completion of two unfinished movements, by Christian Starke.
Schubert’s string quartets span his whole creative lifetime. The early quartets are firmly rooted in the classical Viennese style, charming, fresh, lyrical and witty, the later quartets (Rosamunde, Death and the Maiden, G major) speak a deep, dramatic and sometimes grim language, full of Weltschmerz, hope and despair.
The German Diogenes Quartet have been delving deep into the world of Schubert over the past few years. Critics (Fanfare and other magazines) have praised “their genuine emotional engagement and real feeling for Schubert’s unique modes and moods of musical expression”, “immaculate execution”.
Excellent and extensive liner notes by musicologist and producer Christian Starke.

Tracklist:
The complete tracklist can be found in the comments!

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Bartolomeo Campagnoli (1751-1827) was a violinist by training, who worked in the courts and capitals of Baroque-era Europe, with posts in Rome, Dresden and then (from 1979 to 1818) in Leipzig, where he was leader of the venerable Gewandhaus orchestra.

Thus most of his own compositions are for strings, focused on his own instrument, and often with pedagogical or commercial aims in mind, such as the 41 Capricci for solo viola and the 7 Divertimenti for solo violin. There is also an extensive Method – in 132 separate lessons! – which was first published by Ricordi in 1797, and reprinted and translated many times.

It was around this time that he wrote the six delightful, serenade-like works on this album, scored for flute and string trio. Often the flute engages in vivacious dialogue with the upper voice of the trio, within the tradition of similar works by Tartini, Rolla and Mercadante. The predominant mood is light, the expression airy and untroubled. The exception to this is the Fourth Sonata in E minor – the only minor-key quartet of the set, and the only one cast in three movements, with a central Andante grazioso of a suave gravity that would not have disgraced the young Mozart.
Composer: Bartolomeo Campagnoli
Artist: Gabriele Formenti (flute)
Maurizio Schiavo (violin)
Il Demetrio
00:00:00 Flute Quartet No. 1 in D Major: I. Allegro
00:06:08 Flute Quartet No. 1 in D Major: II. Presto
00:09:47 Flute Quartet No. 2 in C Major: I. Allegro
00:15:58 Flute Quartet No. 2 in C Major: II. Romance. Andante
00:19:30 Flute Quartet No. 2 in C Major: III. Rondo
00:22:49 Flute Quartet No. 3 in G Major: I. Allegro
00:29:41 Flute Quartet No. 3 in G Major: II. Allegro con variazioni
00:36:35 Flute Quartet No. 4 in E Minor: I. Allegro espressivo
00:42:24 Flute Quartet No. 4 in E Minor: II. Andante grazioso
00:45:16 Flute Quartet No. 4 in E Minor: III. Allegro assai
00:49:45 Flute Quartet No. 5 in F Major: I. Allegro
00:55:55 Flute Quartet No. 5 in F Major: II. Rondo grazioso
00:59:39 Flute Quartet No. 6 in B-Flat Major: I. Allegro
01:06:31 Flute Quartet No. 6 in B-Flat Major: II. Rondo

Tracklist below.

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Composer: Napoléon Coste
Artist: Flávio Apro classical guitar

Napoleon Coste (1805-1883) was one of the most important and influential protagonists of the guitar in the 19th century. He was a prodigy, touring Europe in his early years giving highly successful concerts, publishing his own music, inventing new types of guitars and hybrid instruments such as the Heptacode and Decacorde, a musicologist and a highly respected teacher.
His most important oeuvre for the guitar are the “25 Etudes de Genre”, concert pieces composed over the whole period of his life, miniatures of great attraction, charm, melodic inventiveness and virtuosity. Also included is the Grande Sérénade Op. 30, a multi-movement concert piece to show off the player’s skills and sentiment.
Played with great conviction, technical command and apparent joy by the wonderful Flávio Apro, one of Brazil’s foremost guitarists, who already successfully recorded for Brilliant Classics: “Nocturne” and “The Brazilian Guitar”.

Tracklist:
00:00:00 25 Etudes for Guitar, Op. 38: Etude No. 1 in A Minor
00:01:20 25 Etudes for Guitar, Op. 38: Etude No. 2 in C Major
00:02:33 25 Etudes for Guitar, Op. 38: Etude No. 3 in D Minor
00:03:53 25 Etudes for Guitar, Op. 38: Etude No. 4 in D Major
00:05:16 25 Etudes for Guitar, Op. 38: Etude No. 5 in E Major
00:06:32 25 Etudes for Guitar, Op. 38: Etude No. 6 in A Major
00:08:17 25 Etudes for Guitar, Op. 38: Etude No. 7 in A Minor
00:10:00 25 Etudes for Guitar, Op. 38: Etude No. 8 in E Minor
00:14:26 25 Etudes for Guitar, Op. 38: Etude No. 9 in G Major
00:16:22 25 Etudes for Guitar, Op. 38: Etude No. 10 in D Major
00:18:06 25 Etudes for Guitar, Op. 38: Etude No. 11 in G Major
00:19:24 25 Etudes for Guitar, Op. 38: Etude No. 12 in C Major
00:20:37 25 Etudes for Guitar, Op. 38: Etude No. 13 in C Major
00:22:19 25 Etudes for Guitar, Op. 38: Etude No. 14 in A Major
00:26:19 25 Etudes for Guitar, Op. 38: Etude No. 15 in D Major
00:27:53 25 Etudes for Guitar, Op. 38: Etude No. 16 in G Major
00:30:24 25 Etudes for Guitar, Op. 38: Etude No. 17 in C Major
00:32:46 25 Etudes for Guitar, Op. 38: Etude No. 18 in A Minor
00:34:46 25 Etudes for Guitar, Op. 38: Etude No. 19 in A Major
00:38:06 25 Etudes for Guitar, Op. 38: Etude No. 20 in D Major
00:41:22 25 Etudes for Guitar, Op. 38: Etude No. 21 in G Major
00:44:29 25 Etudes for Guitar, Op. 38: Etude No. 22 in A Minor
00:45:36 25 Etudes for Guitar, Op. 38: Etude No. 23 in A Major
00:47:50 25 Etudes for Guitar, Op. 38: Etude No. 24 in D Minor
00:52:37 25 Etudes for Guitar, Op. 38: Etude No. 25 in B-Flat Major
00:57:39 Grande Sérénade for Guitar, Op. 30: I. Largo
01:00:05 Grande Sérénade for Guitar, Op. 30: II. Allegro
01:00:22 Grande Sérénade for Guitar, Op. 30: III. Vivace
01:01:36 Grande Sérénade for Guitar, Op. 30: IV. Andantino. Marche et Choir de Pélerins
01:06:24 Grande Sérénade for Guitar, Op. 30: V. Bolero
01:09:01 Grande Sérénade for Guitar, Op. 30: VI. Andante
01:09:54 Grande Sérénade for Guitar, Op. 30: VII. Final. Allegro
01:11:57 Grande Sérénade for Guitar, Op. 30: VIII. Allegretto

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Composer : Giovanni Battista Costanzi, Nicola Porpora
Artist: Adriano Fazio (cello)
Katarzyna Solecka (violin)
Anna Camporini (cello)
Pedro Alcacer (theorbo)
Lorenzo Profita (harpsichord)

00:00:00 Cello Sonata No. 1 in C Major: I. Amoroso
00:02:35 Cello Sonata No. 1 in C Major: II. Allegro
00:04:22 Cello Sonata No. 1 in C Major: III. Tempo giusto
00:06:12 Cello Sonata No. 1 in C Major: IV. Allegro
00:09:12 Cello Sonata No. 2 in G Minor: I. Affettuoso
00:11:10 Cello Sonata No. 2 in G Minor: II. Allegro
00:13:44 Cello Sonata No. 2 in G Minor: III. Adagio
00:15:29 Cello Sonata No. 2 in G Minor: IV. Allegro
00:18:18 Cello Sonata No. 3 in G Major: I. Adagio
00:20:51 Cello Sonata No. 3 in G Major: II. Allegro
00:23:23 Cello Sonata No. 3 in G Major: III. Adagio staccato
00:25:12 Cello Sonata No. 3 in G Major: IV. Allegro
00:27:26 Cello Sonata No. 4 in B Major: I. Adagio e staccato
00:29:54 Cello Sonata No. 4 in B Major: II. Allegro
00:32:31 Cello Sonata No. 4 in B Major: III. Adagio
00:33:50 Cello Sonata No. 4 in B Major: IV. Allegro staccato
00:36:21 Cello Sonata No. 5 in C Minor: I. Adagio
00:38:58 Cello Sonata No. 5 in C Minor: II. Allegro
00:41:34 Cello Sonata No. 5 in C Minor: III. Adagio
00:43:10 Cello Sonata No. 5 in C Minor: IV. Allegro
00:46:33 Cello Sonata No. 6 in G Major: I. Adagio
00:49:24 Cello Sonata No. 6 in G Major: II. Allegro
00:51:56 Cello Sonata No. 6 in G Major: III. Largo
00:54:08 Cello Sonata No. 6 in G Major: IV. Allegro staccato

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Composers: Johann Sebastian Bach
Artist: Pieter-Jan Belder (harpsichord)

Bachs French Suites are the ultimate expression of the composer in this genre. This music for keyboard solo is totally autonomous and only stylistically refers to dance forms.

This is a brand new recording by harpsichordist Pieter-Jan Belder playing on an instrument made by Cornelis Bom after Ruckers, Schoonhoven 1999.

The French Suites are combined here with two more suites by Bach, BWV 818 and 819. Excellent performances with a fine ear for Bach’s music.

00:00:00 French Suite I in D Minor, BWV 812: Allemande
00:04:03 French Suite I in D Minor, BWV 812: Courante
00:00:59 French Suite I in D Minor, BWV 812: Sarabande.
00:09:44 French Suite I in D Minor, BWV 812: Menuet I & II
00:12:44 French Suite I in D Minor, BWV 812: Gigue
00:16:33 French Suite II in C Minor, BWV 813: Allemande
00:19:57 French Suite II in C Minor, BWV 813: Courante
00:21:52 French Suite II in C Minor, BWV 813: Sarabande
00:25:33 French Suite II in C Minor, BWV 813: Air
00:26:54 French Suite II in C Minor, BWV 813: Menuet
00:29:55 French Suite II in C Minor, BWV 813: Gigue
00:32:13 French Suite III in B Minor, BWV 814: Allemande
00:35:54 French Suite III in B Minor, BWV 814: Courante
00:37:58 French Suite III in B Minor, BWV 814: Sarabande
00:41:11 French Suite III in B Minor, BWV 814: Anglaise
00:42:36 French Suite III in B Minor, BWV 814: Menuet & Trio
00:45:34 French Suite III in B Minor, BWV 814: Gigue
00:47:39 French Suite IV in E-Flat Major, BWV 815: Allemande
00:51:10 French Suite IV in E-Flat Major, BWV 815: Courante
00:53:00 French Suite IV in E-Flat Major, BWV 815: Sarabande
00:56:34 French Suite IV in E-Flat Major, BWV 815: Gavotte
00:58:01 French Suite IV in E-Flat Major, BWV 815: Air
00:59:40 French Suite IV in E-Flat Major, BWV 815: Menuet
01:00:31 French Suite IV in E-Flat Major, BWV 815: Gigue
01:03:09 French Suite V in G Major, BWV 816: Allemande
01:06:45 French Suite V in G Major, BWV 816: Courante
01:08:40 French Suite V in G Major, BWV 816: Sarabande
01:14:09 French Suite V in G Major, BWV 816: Gavotte
01:15:21 French Suite V in G Major, BWV 816: Bourrée
01:16:32 French Suite V in G Major, BWV 816: Loure
01:19:15 French Suite V in G Major, BWV 816: Gigue
01:22:41 French Suite VI in E Major, BWV 817: Allemande
01:26:17 French Suite VI in E Major, BWV 817: Courante
01:28:04 French Suite VI in E Major, BWV 817: Sarabande
01:31:25 French Suite VI in E Major, BWV 817: Gavotte
01:32:34 French Suite VI in E Major, BWV 817: Menuet polonais
01:33:50 French Suite VI in E Major, BWV 817: Bourrée
01:35:28 French Suite VI in E Major, BWV 817: Gigue
01:37:55 French Suite VI in E Major, BWV 817: Petit Menuet
01:39:10 Suite in E-Flat Major, BWV 819: Allemande
01:42:24 Suite in E-Flat Major, BWV 819: Allemande (BWV 819a)
01:46:07 Suite in E-Flat Major, BWV 819: Courante
01:48:02 Suite in E-Flat Major, BWV 819: Sarabande
01:51:52 Suite in E-Flat Major, BWV 819: Bourée
01:53:29 Suite in E-Flat Major, BWV 819: Menuet I & II
01:55:46 Suite in A Minor, BWV 818: Allemande
01:59:45 Suite in A Minor, BWV 818: Courante
02:01:01 Suite in A Minor, BWV 818: Sarabande simple
02:04:49 Suite in A Minor, BWV 818: Sarabande double
02:07:34 Suite in A Minor, BWV 818: Gigue

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

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

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

Tracklist
00:00:00 Violin Sonatas OP.5 NOS 1 – 11
01:48:54 ‘La folia’
01:59:49 Concerti Grossi OP. 6 NOS 1 – 12
04:10:30 SInfonia WoO1 (to the oratorio Santa Beatrice d’Este)
04:18:55 Sonata A Quattro WoO2

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Composer: Johann Sebastian Bach
Artist: Pieter-Jan Belder harpsichord

00:00:00 Goldberg Variations, BWV 988: Aria
00:05:02 Goldberg Variations, BWV 988: Variatio 1, a 1 clav.
00:07:16 Goldberg Variations, BWV 988: Variatio 2 , a 1 clav.
00:08:52 Goldberg Variations, BWV 988: Variatio 3, a 1 clav. – Canone all’unisono
00:10:48 Goldberg Variations, BWV 988: Variatio 4, a 1 clav.
00:11:42 Goldberg Variations, BWV 988: Variatio 5, a 1 ovvero 2 clav.
00:13:31 Goldberg Variations, BWV 988: Variatio 6, a 1 clav. Canone alla seconda
00:15:18 Goldberg Variations, BWV 988: Variatio 7, a 1 ovvero 2 clav. – al tempo di giga
00:16:47 Goldberg Variations, BWV 988: Variatio 8, a 2 clav.
00:18:26 Goldberg Variations, BWV 988: Variatio 9, a 1 clav. – Canone alla terza
00:21:17 Goldberg Variations, BWV 988: Variatio 10, a 1 clav. – fughetta
00:22:30 Goldberg Variations, BWV 988: Variatio 11, a 2 clav.
00:24:43 Goldberg Variations, BWV 988: Variatio 12, a 1 clav. – Canone alla quarta
00:26:55 Goldberg Variations, BWV 988: Variatio 13, a 2 clav.
00:30:22 Goldberg Variations, BWV 988: Variatio 14, a 2 clav.
00:32:41 Goldberg Variations, BWV 988: Variatio 15, a 1 clav. – Canone alla quinta, andante
00:37:49 Goldberg Variations, BWV 988: Variatio 16, a 1 clav. – Ouverture
00:40:57 Goldberg Variations, BWV 988: Variatio 17, a 2 clav.
00:43:02 Goldberg Variations, BWV 988: Variatio 18, a 1 clav. – Canone alla sesta
00:44:41 Goldberg Variations, BWV 988: Variatio 19, a 1 clav.
00:45:53 Goldberg Variations, BWV 988: Variatio 20, a 2 clav.
00:48:09 Goldberg Variations, BWV 988: Variatio 21, a 1 clav. – Canone alla settima
00:50:44 Goldberg Variations, BWV 988: Variatio 22, a 1 clav. – Alla Breve
00:52:21 Goldberg Variations, BWV 988: Variatio 23, a 2 clav.
00:54:11 Goldberg Variations, BWV 988: Variatio 24, a 1 clav. – Canone all’ottava
00:58:04 Goldberg Variations, BWV 988: Variatio 25, a 2 clav. – Adagio
01:03:34 Goldberg Variations, BWV 988: Variatio 26, a 2 clav.
01:05:48 Goldberg Variations, BWV 988: Variatio 27, a 1 ovvero 2 clav. – Canone alla nona
01:07:53 Goldberg Variations, BWV 988: Variatio 28, a 2 clav.
01:10:31 Goldberg Variations, BWV 988: Variatio 29, a 1 ovvero 2 clav.
01:12:51 Goldberg Variations, BWV 988: Variatio 30, a 1 clav. – Quodlibet
0:15:05 Goldberg Variations, BWV 988: Aria da capo

Composers: Johann Sebastian Bach
Artists: The Choir of King’s College Cambridge, Brandenburg (Consort), Roy Goodman (consort leader), Stephen Cleobury (conductor)

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Bach composed his St Matthew Passion in 1727. Only two of his five Passion settings have survived - the St Matthew and the St John. The St Mark survives in a realisation after the manuscript was destroyed in a bombing raid in the Second World War. Of the other two works there is no trace. The work was premiered in Leipzig where Bach was kapellmeister at the Thomaskirche. Revised several times by the composer, it was often performed during his lifetime, but not heard outside Leipzig until 1829 when Mendelssohn performed an edited and modified version in Berlin. Today we take a dim view of the 19th century tampering with a work like the St Matthew Passion. However, Mendelssohn's pioneering work in bringing the music of Bach to a wider public was responsible for the reappraisal of the composer, and the restoration of masterpieces such as the St Matthew Passion to the repertoire.

Matthäus-Passion, BWV 244 no. 1 until no. 68 Tracklist can be found in the comment section!

This collection provides a complete account of Robert Schumann’s works for viola and piano. Schumann was a real innovator, who would often explore new instrumental combinations, sometimes bringing neglected or forgotten instruments back into the limelight. The works on this recording show just how many different moods the composer could evoke using the unusual combination of viola and piano, from the changeable nature of the Fantasiestücke Op.73 and the array of emotions portrayed in the Märchenbilder Op.113 to the passion of the Adagio and Allegro Op.70 and finally the intricacies of the Märchenerzählungen Op.132, with a little help from the clarinet.

The successful partnership of violist Lorenzo Falconi and pianist Sara Bacchini has been described by acclaimed performer, Pier Narciso Masi, as ‘a real Duo, in the most complete sense of the word. Their profound understanding of chamber music is supported by considerable talent, sensitivity and personality, and they are great communicators.’ They are joined for the recording by clarinettist Darlo Goracci.

Composer: Robert Schumann
Artists: Lorenzo Falconi (viola), Sara Bacchini (piano), Dario Goracci (clarinet)

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00:00:00 Fantasiestücke, Op. 73: I. Zart und mit Ausdruck
00:03:23 Fantasiestücke, Op. 73: II. Lebhaft, leicht
00:07:05 Fantasiestücke, Op. 73: III. Rasch und mit Feuer
00:11:41 Märchenbilder, Op. 113: I. Nicht schnell
00:15:35 Märchenbilder, Op. 113: II. Lebhaft
00:19:31 Märchenbilder, Op. 113: III. Rasch (mit springendem Bogen)
00:22:38 Märchenbilder, Op. 113: IV. Langsam, mit melancholischem Ausdruck
00:28:58 Adagio and Allegro in A-Flat Major, Op. 70: Langsam, mit innigem Ausdruck (Adagio)
00:33:12 Adagio and Allegro in A-Flat Major, Op. 70: Rasch und feurig (Allegro con brio)
00:38:35 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: I. Lebhaft, nicht zu schnell
00:41:35 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: II. Lebhaft und sehr markiert
00:44:56 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: III. Ruhiges Tempo, mit zartem Ausdruck
00:49:02 Märchenerzählungen for Clarinet, Viola and Piano, Op. 132: IV. Lebhaft, sehr markiert

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Firstly, this album represents a welcome return to the studio, and the recording catalogues, of the Russian violinist Mark Lubotsky. In English-speaking countries, Lubotsky is renowned as the soloist on Britten’s Decca recording of the Violin Concerto: a performance of idiomatic sweep which fully bears out the composer’s claim that ‘this is the performance I have been waiting for.’ He worked with all the great Russian conductors of his generation such as Kondrashin, Svetlanov and Rozhdestvensky. Throughout his career he has played and advocated the music of our time: most notably that of his fellow student at the Moscow Conservatoire, Alfred Schnittke, who dedicated both the Second Violin Concerto and three violin sonatas to him.

However, this focus on new music should not overshadow Lubotsky’s mastery of the classical repertoire. This particular disposition of the ‘Lubotsky Trio’ features the Swedish violinist Katarina Andreasson, though Lubotsky and the cellist Olga Dowbusch-Lubotsky have also played and recorded Taneyev in the more traditional string trio line-up with the violists Ferdinand Erblich and Vladimir Botchkovsky, and also as a piano trio, where they have been partnered by Schnittke’s widow Irina.

The String Trios Op.6 were published in 1769. After his Opp. 1 and 4 sets, they represent Boccherini’s third attempt in as many years to take forward the genre of the Baroque trio sonata. He went on to write another four sets of string trios, all of which are better known and more frequently encountered on record than Op.6, which makes this new recording all the more desirable for the connoisseur of Classical-era chamber music.

No less than the later sets, the Op.6 trios are characterized by a richness of melodic language, virtuosic brilliance and elegance, which nevertheless contains moments of high expression such as the chromatic Adagio which opens the G minor Trio, No.5 in the set. The sound of the two violins and cello in its fullness often approaches to that of the string quartet. Listening to these masterpieces, it is impossible not to notice the indubitable impact of his music on the great Viennese classics, first of all on Mozart.

Luigi Boccherini was one of the most famous cellists of his day, travelling Europe as a touring virtuoso. On his return to his native Lucca he founded the first professional string quartet in history.
Boccherini’s output for string ensembles is vast: he wrote more than 120 string quartets, 100 string quintets (with two cellos) and 48 string trios.
The string trios Op. 6 are for 2 violins and cello, highly expressive music full of rich classical melodies, elegance and instrumental brilliance.
Excellent performances by the Lubotsky Trio, with the eminent Russian violinist Mark Lubotsky, a pupil of David Oistrakh, as primarius.

Composer: Luigi Boccherini
Artist: Lubotsky Trio
00:00:00 String Trio No. 4 in F Major, G. 92: I. Allegro molto
00:05:06 String Trio No. 4 in F Major, G. 92: II. Lento con espressione
00:11:00 String Trio No. 4 in F Major, G. 92: III. Tempo di minuetto
00:15:56 String Trio No. 2 in E-Flat Major, G. 90: I. Allegro maestoso
00:20:21 String Trio No. 2 in E-Flat Major, G. 90: II. Andante grazioso
00:24:30 String Trio No. 2 in E-Flat Major, G. 90: III. Allegro molto
00:28:03 String Trio No. 5 in G Minor, G. 93: I. Adagio
00:31:26 String Trio No. 5 in G Minor, G. 93: II. Rondo allegro
00:34:41 String Trio No. 5 in G Minor, G. 93: III. Tempo di minuetto
00:37:06 String Trio No. 6 in C Major, G. 94: I. Allegro assai
00:43:40 String Trio No. 6 in C Major, G. 94: II. Larghetto
00:50:19 String Trio No. 6 in C Major, G. 94: III. Presto

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Composer: Robert Schumann, Sergei Rachmaninoff
Artists: Klára Würtz (piano), National Symphony Orchestra of the Ukraine, Vladimir Sirenko (conductor), Nordwestdeutsche Philharmonie, Arie van Beek (conductor)

The ultimate romantic piano concertos. First of all thé piano concert by Rachmaninoff, Concerto No. 2, seconded by the only piano concerto that Schumann wrote. The soloist on this release is Klára Würtz.

00:00:00 Piano Concerto No. 2 in C Minor, Op. 18: Moderato
00:10:08 Piano Concerto No. 2 in C Minor, Op. 18: Adagio sostenuto
00:21:14 Piano Concerto No. 2 in C Minor, Op. 18: Allegro scherzando
00:32:50 Piano Concerto in A Minor, Op. 54: Allegro affetuoso
00:47:50 Piano Concerto in A Minor, Op. 54: Intermezzo
00:53:07 Piano Concerto in A Minor, Op. 54: Allegro vivace

The liturgy and events of Holy Week lie behind some of the most inspired and powerful works in the entire repertoire. By now churches are sombre and bare, statues having been covered up, the altars set to be stripped after the Maundy Thursday service – and so much of the music is correspondingly meditative and sombre. Conversely, faced with depicting the events of the Passion story itself, Bach produced some of the most movingly dramatic music ever written; monuments of the repertoire, Bach’s Passions seem a good place to start.

Stabat Mater Dolorosa is considered one of the seven greatest Latin hymns of all time. It is based upon the prophecy of Simeon that a sword was to pierce the heart of His mother, Mary (Lk 2:35). The hymn originated in the 13th century during the peak of Franciscan devotion to the crucified Jesus and has been attributed to Pope Innocent III (d. 1216), St. Bonaventure, or more commonly, Jacopone da Todi (1230-1306), who is considered by most to be the real author. The hymn is often associated with the Stations of the Cross. In 1727 it was prescribed as a Sequence for the Mass of the Seven Sorrows of Mary (September 15) where it is still used today. In addition to this Mass, the hymn is also used for the Office of the Readings, Lauds, and Vespers for this memorial. There is a mirror image to this hymn, Stabat Mater speciosa, which echoes the joy of the Blessed Virgin Mary at the birth of Jesus.

There can be few more evocative words in music than ‘passion’. As well as its familiar English definition, in a musical context it also suggests the commemoration of that most emotive Christian story, the journey of Jesus to the cross. The word has also come to be all but synonymous in music with its two greatest exemplars: the St. John and St. Matthew Passions of Johann Sebastian Bach.

The Tracks are from the following Albums:

Pergolesi: Stabat Mater
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Bononcini: Stabat Mater
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Boccherini: Stabat Mater, String Quartet Op.41/1
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J.S. Bach: Matthäus Passion
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J.S. Bach: Johannes Passion (2)
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Weep & Rejoice, Music for the Holy Week:
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Pasquini: Passion Cantatas
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Telemann: Passions-Oratorium
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J.S. Bach: Oster-Oratorium / Easter Oratorio
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Tracklist below.

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Artist: Ensemble Seicentonovecento, Flavio Colusso (conductor)

Today Mascagni is best remembered for his verismo opera Cavalleria rusticana, a work which firmly belongs in many of the greatest opera houses’ core repertory, but his Messa di Gloria – which predates this composition by a matter of months and from which many of Cavalleria’s themes in fact derive – was also greatly lauded in its day. Mascagni’s interest in church music can be traced back to the days of his gifted adolescence: by the age of 13 he has written a Kyrie; at the age of 16 he refers in a letter to his involvement in composing a Mass (together with his friend Barbini); and during his student days in Milan he composed a motet as well as a great deal of music for the Messa per la festa di Maria SS. del Rosario. First performed in the Apulian town of Cerginola and conducted by the composer himself, a contemporary account of the Messa di Gloria described it as ‘a very powerful and original work, full of beauty, inspired by the requirements of modern taste’. In 1891 Mascagni repeated the peformance to an audience of 6000, as part of the celebrations marking the sixth centenary of Orvieto’s famous cathedral; such was the reception that the magazine Teatro illustrato declared the occasion ‘an event for the art of music in Italy’. Anyone expecting to hear a chorale, a fugue or even a simple fugato anywhere in the piece would have been disappointed, however, and doubts were raised regarding the religious nature of the work.

Instead, as the composer himself wrote, the Messa di Gloria can be described as a ‘prayer. The Mass is a prayer, all love and all passion!’ Here it is performed with aplomb by Ensemble Seicentonovento, an internationally renowned vocal-instrumental group that has recorded widely and appeared with such notable singers as José Carreras and Patrizia Pace. Iorio Zennaro and Pietro Spagnoli contribute well-executed arias to the mix as the respective tenor and bass soloists.

00:00:00 Messa di Gloria: Kyrie (Tenor, Bass, Chorus)
00:05:18 Messa di Gloria: Gloria (Tenor, Bass, Chorus)
00:07:00 Messa di Gloria: Gloria. Laudamus (Tenor, Chorus)
00:11:25 Messa di Gloria: Gloria. Gratias (Bass)
00:16:30 Messa di Gloria: Gloria. Domine Deus (Tenor, Bass)
00:18:48 Messa di Gloria: Gloria. Qui tollis (Tenor)
00:23:11 Messa di Gloria: Gloria. Qui sedes (Bass)
00:27:30 Messa di Gloria: Gloria. Quoniam (Tenor, Bass, Chorus)
00:28:42 Messa di Gloria: Gloria. Cum Sancto Spiritu (Tenor, Bass, Chorus)
00:29:51 Messa di Gloria: Credo (Chorus)
00:31:32 Messa di Gloria: Credo. Et incarnatus (Tenor, Chorus)
00:35:07 Messa di Gloria: Credo. Et resurrexit (Tenor, Bass, Chorus)
00:38:12 Messa di Gloria: Sanctus (Tenor, Chorus)
00:40:21 Messa di Gloria: Sanctus. Elevazione
00:44:08 Messa di Gloria: Sanctus. Benedictus (Bass)
00:47:15 Messa di Gloria: Sanctus. Hosanna (Chorus)
00:47:53 Messa di Gloria: Agnus Dei (Tenor, Bass, 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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Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play):
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The perfect starting point for exploring Romantic piano music. It features historic recordings of a truly excellent standard, including Blumental with the Vienna Symphony Orchestra under Helmuth Froschauer, the Orchestra of Radio Luxembourg with Pierre Cao accompanying French pianist Dosse, Boehm with the Westphalian Symphony Orchestra under Siegfried Landau, and Antal Doráti conducting the Royal Philharmonic Orchestra with Ilse von Alpenheim.

This 40 CD set contains a wealth of 19th century piano concertos written by composers who for some reason or other have been neglected by history, so called “minor masters” who may have lost the battle against the giants but nevertheless wrote very attractive, impressive and brilliant concertos for the piano (which in many cases was “their” instrument).

To name just a few: Hummel, Field, Czerny, Cramer, Ries, Clementi, Thalberg, Moscheles, Litolff, Kalkbrenner, Lyapunov, Balakirev, Medtner, Glazunov, Henselt, Moszkowski, Scharwenka and many more, over 60 composers!
Most of the recordings come from the rich and unique VOX catalogue, featuring such excellent pianists as Michael Ponti, Felicja Blumenthal, Hans Kann, Martin Galling, Jerome Rose, Roland Keller and many more.

Friedrich Kalkbrenner:
00:00:00 Piano Concerto No. 1 in D Minor, Op. 61: I. Allegro maestoso
00:13:20 Piano Concerto No. 1 in D Minor, Op. 61: II. Adagio molto
00:20:33 Piano Concerto No. 1 in D Minor, Op. 61: III. Rondo. Vivace

Johann Nepomuk Hummel:
00:29:58 Piano Concerto No. 4 in E Major, Op. 110: I. Allegro pomposo e spirituoso
00:44:11 Piano Concerto No. 4 in E Major, Op. 110: II. Andante con moto
00:50:56 Piano Concerto No. 4 in E Major, Op. 110: III. Rondo. Allegro moderato ma con brio

Carl Maria Von Weber:
00:57:53 Piano Concerto No. 1 in C Major, Op. 11: I. Allegro
01:14:13 Piano Concerto No. 1 in C Major, Op. 11: II. Adagio
01:32:25 Piano Concerto No. 1 in C Major, Op. 11: III. Presto
01:45:43 Piano Concerto No. 2 in E-Flat Major, Op. 32: I. Allegro moderato
01:53:08 Piano Concerto No. 2 in E-Flat Major, Op. 32: II. Adagio
02:02:11 Piano Concerto No. 2 in E-Flat Major, Op. 32: III. Rondo. Presto
02:22:58 Konzertstück in F Minor, Op. 79

Robert Volkmann:
02:35:14 Konzertstück in C Minor, Op. 42

Adolf von Henselt:
02:39:22 Piano Concerto in F Minor, Op. 16: I. Allegro patetico
02:46:05 Piano Concerto in F Minor, Op. 16: II. Larghetto
02:57:03 Piano Concerto in F Minor, Op. 16: III. Allegro agitato
Ferdinand Hiller:
03:05:42 Konzertstück for Piano and Orchestra, Op. 113

Frédéric Chopin:
03:14:09 Allegro de concert in A Major, Op. 46

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The perfect starting point for exploring Romantic piano music. It features historic recordings of a truly excellent standard, including Blumental with the Vienna Symphony Orchestra under Helmuth Froschauer, the Orchestra of Radio Luxembourg with Pierre Cao accompanying French pianist Dosse, Boehm with the Westphalian Symphony Orchestra under Siegfried Landau, and Antal Doráti conducting the Royal Philharmonic Orchestra with Ilse von Alpenheim.

This 40 CD set contains a wealth of 19th century piano concertos written by composers who for some reason or other have been neglected by history, so called “minor masters” who may have lost the battle against the giants but nevertheless wrote very attractive, impressive and brilliant concertos for the piano (which in many cases was “their” instrument).

To name just a few: Hummel, Field, Czerny, Cxramer, Ries, Clementi, Thalberg, Moscheles, Litolff, Kalkbrenner, Lyapunov, Balakirev, Medtner, Glazunov, Henselt, Moszkowski, Scharwenka and many more, over 60 composers!
Most of the recordings come from the rich and unique VOX catalogue, featuring such excellent pianists as Michael Ponti, Felicja Blumenthal, Hans Kann, Martin Galling, Jerome Rose, Roland Keller and many more.

Nikolai Medtner:
00:00:00 Piano Concerto No. 3 in E Minor, Op. 60: I. Con moto, largamente
00:12:35 Piano Concerto No. 3 in E Minor, Op. 60: II. Interludium. Allegro molto sostenuto, misterioso, III. Finale. Allegro molto

Mili Balakirev:
00:30:18 Piano Concerto No. 2 in E-Flat Major: I. Allegro non troppo
00:43:30 Piano Concerto No. 2 in E-Flat Major: II. Adagio, III. Allegro risoluto

Sergei Lyapunov:
01:01:58 Rhapsody on Ukrainian Themes, Op. 28

Édouard Lalo:
01:18:22 Piano Concerto in F Minor: I. Lento – Allegro
01:30:19 Piano Concerto in F Minor: II. Lento
01:37:14 Piano Concerto in F Minor: III. Allegro

Alexander Glazunov:
01:43:34 Piano Concerto No. 2 in B Major, Op. 100

George Jacob Gershovitz Gershwin:
02:03:00 Piano Concerto in F Major: I. Allegro
02:15:44 Piano Concerto in F Major: II. Andante con moto
02:26:58 Piano Concerto in F Major: III. Allegro agitato

Samuel Barber:
02:34:04 Piano Concerto Op. 38: I. Allegro appassionato
02:48:33 Piano Concerto Op. 38: II. Canzone. Moderato
02:56:22 Piano Concerto Op. 38: III. Allegro molto


Edward MacDowell
03:02:40 Piano Concerto No. 2 in D Minor, Op. 23: I. Larghetto calmato
03:14:46 Piano Concerto No. 2 in D Minor, Op. 23: II. Presto giocoso
03:19:40 Piano Concerto No. 2 in D Minor, Op. 23: III. Largo – Molto allegro

Amy Beach:
03:27:11 Piano Concerto in C-Sharp Minor, Op. 45: I. Allegro moderato
03:44:27 Piano Concerto in C-Sharp Minor, Op. 45: II. Scherzo. Vivace
03:49:56 Piano Concerto in C-Sharp Minor, Op. 45: III. Largo
03:54:14 Piano Concerto in C-Sharp Minor, Op. 45: IV. Allegro con scioltezza

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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: Franz Schubert
Artist: Diogenes Quartet

This release represents the final volume of the Diogenes Quartet’s integral recording of Schubert’s string quartets, spanning not only the composer’s well-known works but also the incomplete fragments, carefully reconstructed by Christian Starke. Schubert’s Quartet in G D887 came after the success of ‘Death and the Maiden’ and the ‘Rosamunde’ Quartet. It was his final work for string quartet; despite this, he struggled to get it published, and it was only performed for the first time posthumously. Even then, the quartet was not always well received, perhaps because it represented a departure from Schubert’s usual way of working with thematic material: for the first time, the theme in the first movement remains melodically the same, with the composer instead dramatically shifting the harmonic colouring underneath, allowing the theme to be revealed in different musical forms. While the slow second movement seems to follow a more traditional structure at first, it is soon interrupted with startling violent outbursts. The final movement is perhaps the most modern, as the individual voices tumble over each other in furious counterpoint, with barely a single note fulfilling a purely accompanying role.

Unlike the D887 quartet – one of Schubert’s most modern – the fragmentary movement D103 is one of the composer’s early works, probably started in 1814. Christian Starke’s completion features an additional transition in the reprise, which now begins with the opening gesture of the Allegro section, and allows the three expansive themes to be presented in a meaningful form.

The Diogenes Quartet are pleased to round off their complete recording of Schubert’s String Quartets, which represent years of careful musicianship and performances of the highest quality. The complete boxset is also available to buy (BC94468) and is the perfect addition to anyone wishing to fully explore the pleasing variety of Schubert’s music for quartet, which spanned his entire career.

This last recording in the Schubert Complete String Quartet cycle puts the crown upon a remarkable achievement by the German Diogenes Quartet, praised for its consistently high level of ensemble playing, full commitment and deep understanding of the composer’s dramatic language.
The CD ends with the famous Quartettsatz in C minor, an unfinished work, for this recording completed by musicologist and producer Christian Starke (who also wrote the excellent liner notes for the whole series).

00:00:00 String Quartet No. 15 in G Major, D. 887: I. Allegro molto moderato
00:22:46 String Quartet No. 15 in G Major, D. 887: II. Andante un poco moto
00:34:52 String Quartet No. 15 in G Major, D. 887: III. Scherzo. Allegro vivace – Trio. Allegretto 7’30
00:42:23 String Quartet No. 15 in G Major, D. 887: IV. Allegro assai
00:53:40 Movement for String Quartet in C Minor, D. 103: Grave – Allegro

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Composer: Archduke Rudolph of Austria
Artists: Luigi Magistrelli clarinet, Claudia Bracco (piano)

This fascinating disc brings together some real musical rarities: the unpublished clarinet works of Archduke Rudolph of Austria, a pianist and amateur composer who is best known for being a pupil and patron of Beethoven. In the early 19th century, Rudolph began taking piano and composition lessons with Beethoven; they became close friends and the Archduke went on to become the composer’s patron. Beethoven dedicated no fewer than 14 works to Rudolph – including some of his greatest masterpieces such as the ‘Emperor’ Concerto, the ‘Hammerklavier’ Sonata and the Missa solemnis – and the two men regularly exchanged letters.

The influence of the great composer on his friend and protégé is palpable in the charming works collected here, many of which have been reconstructed from surviving fragments following meticulous research by the artists. There are several works comprising variations on themes and operatic arias by Joseph Weigl, who was an eminent composer at the Viennese court at the time – Beethoven also used a theme from one of Weigl’s operas in his Op.11 Clarinet Trio. Also featured are some delightfully elegant waltzes, a lyrical Andante and brilliant (albeit incomplete) Polacca, and a set of variations – also on a theme by Weigl – for the unique combination of clarinet and two pianos.

Archduke Rudolph’s clarinet works are performed here by award-winning clarinettist Luigi Magistrelli, who has won golden opinions for his ‘warm and fluid tone’ and ‘excellent sense of phrasing’ (American Record Guide).

00:00:00 Sonata in B-Flat Major, Unfinished (Allegro)
00:02:59 Variations on a Theme by J. Weigl
00:16:47 Theme and Variations, Arrangement of the Original Incomplete Version for Clarinet and Orchestra
00:19:53 Introduction and Variations on a Theme by J. Weigl
00:31:39 Variations on a Theme by J. Weigl for Clarinet and Two Pianos
00:36:26 Sonata in B-Flat Major, Incomplete: I. Andante – Allegro
00:46:01 Sonata in B-Flat Major, Incomplete: II. Andante
00:50:32 Six Dances for Solo Clarinet: Dance No. 1 in E-Flat Major
00:51:19 Six Dances for Solo Clarinet: Dance No. 2 in E-Flat Major
00:52:08 Six Dances for Solo Clarinet: Dance No. 3 in E-Flat Major
00:52:55 Six Dances for Solo Clarinet: Dance No. 4 in B-Flat Major
00:53:41 Six Dances for Solo Clarinet: Dance No. 5 in F Major
00:54:26 Six Dances for Solo Clarinet: Dance No. 6 in F Major
00:55:13 Adagio and Polacca, Op. Posth.