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.

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These are not modern arrangements of two classic violin sonatas but classic examples of the art of transcriptions, made by two superb French cellists in the last half of the 19th century. They cater less for the demand of amateur musicians for repertoire for domestic music-making – even in their originals, the sonatas lie somewhere beyond the technical level of all but the most accomplished performers – but for the growing number of professional cellists who sought more than showpieces for their recitals yet were understandably frustrated by the lack of substantial contributions to the cello repertoire by composers of their time.

The greatest Parisian cellist of his day, August Franchomme, arranged the ‘Kreutzer’ Sonata in 1867. It is among Beethoven’s most ambitious pieces of chamber music, symphonic in scale. Reportedly, the first transcription for the cello was made by Carl Czerny, at the request of Beethoven himself. However, Czerny considerably simplified the most important virtuoso passages that had made this sonata a piece for seasoned musicians. Franchomme also made certain adaptations, inevitable when transcribing a piece of this complexity for a lower instrument, but he retained its sense of thrill and danger.

Composer :César Auguste Franck, Ludwig van Beethoven
Artist: Roberto Trainini (cello)
Christiano Burato (piano)

00:00:00 Violin Sonata No. 9 in A Major, Op. 47: I. Adagio sostenuto. Presto
00:14:13 Violin Sonata No. 9 in A Major, Op. 47: II. Andante con variazioni
00:30:13 Violin Sonata No. 9 in A Major, Op. 47: III. Finale. Presto
00:39:44 Violin Sonata in A Major, FWV 8: I. Allegretto ben moderato
00:46:04 Violin Sonata in A Major, FWV 8: II. Allegro
00:54:32 Violin Sonata in A Major, FWV 8: III. Recitativo-Fantasia. Ben moderato
01:02:02 Violin Sonata in A Major, FWV 8: IV. Allegretto poco mosso

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

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

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

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Composer & Artist:
Composer: César Auguste Franck
Artists: Adriano Falcioni (organ)


About this Album:
The grand swell and floating poetry of César Franck’s works for organ have long given rise to descriptions such as musical incense, which focus on their numinous spiritual address, perhaps at the expense of their ingenious construction, which may owe much to a Wagnerian, leitmotivically inspired process of continuous development but also to older models of the French organ school – and which in turn became influential for the next two generations of French organ composers such as Dupré and Duruflé.

The Three Chorals and the Pièce héroïque are relatively well known now, at least in recital (their technical difficulties place them beyond the reach of many church organists, and a few church organs, come to that), but beyond those late and deeply intimate explorations are some spectacular transformations of Bachian counterpoint into 19th-century showpieces such as the Final in B flat.

Tracklist:
00:00:00 Six Pièces: Fantasy in C, Op. 16
00:12:17 Six Pièces: Grande pièce symphonique, Op. 17
00:34:58 Six Pièces: Prélude, fugue et variation, Op. 18
00:45:20 Six Pièces: Pastorale, Op. 19
00:54:29 Six Pièces: Prière, Op. 20
01:08:07 Six Pièces: Final, Op. 21
01:19:11 Trois Pièces: Fantasy in A
01:32:28 Trois Pièces: Cantabile
01:38:22 Trois Pièces: Pièce héroïque
01:46:45 Trois Chorals: No. 1 in E
02:01:34 Trois Chorals: No. 2 in B Minor
02:15:00 Trois Chorals: No. 3 in A Minor

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Artist:
Jeroen van Veen

Tracklist:
1 Heldenklage, NWV 2
2 Ungarischer Marsch, NWV 5
3 Édes titok
4 So lach doch mal, NWV 9
5 Da geht ein Bach, NWV 10b
6 In Mondschein auf der Puszta, NWV 11
7 Ermanarich, Symphonische Dichtung
8 Unserer Altvordern eingedenk, NWV 13: I. Mazurka
9 Unserer Altvordern eingedenk, NWV 13: II. Aus der Czarda
10 Das zerbrochene Ringlein
11 Albumblatt
12 Das Fragment an sich, NWV 35
13 Hymnus an die Freundschaft, NWV 42: I. Vorspiel
14 Hymnus an die Freundschaft, NWV 42: II. Hymnus erste Strophe
15 Hymnus an die Freundschaft, NWV 42: III.Erstes Zwischenspiel
16 Hymnus an die Freundschaft, NWV 42: IV. Hymnus zweite Strophe
17 Hymnus an die Freundschaft, NWV 42: V. Zweites Zwischenspiel5’10
18 Hymnus an die Freundschaft, NWV 42: VI. seht Fest
19 Hymnus an die Freundschaft, NWV 42: VII. Hymnus dritte Strophe

Spring Waltz (Yiruma ) played by Jeroen van Veen.

Variously described as “contemporary classical”, “minimalist” and even “New Age”, Yiruma’s gorgeously peaceful music is
impossible to classify – it is simply there to be enjoyed.

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This fascinating survey of the Russian (and Polish!) piano concerto in 15 CDs includes the masterworks of Pyotr Ilyich Tchaikovsky and Rachmaninov – beloved examples at the pinnacle of both Russian music and the piano concerto genre – along with more- and lesser-known yet all eminently worthy works by composers from both Imperial and Soviet Russia and those by Paderewski, Scharwenka and Moszkowski, who were born in what today is Poland.

Though the piano concerto is now inextricably linked in modern minds to the Russian repertoire, the area’s isolation meant that it would take some time for the genre to take hold there, but that it would grow into a unique, characteristic and varied expression. The accompanying essay by David Moncur leads interested readers logically along the timeline of the genre’s development in the east of Europe, exploring the generational and stylistic interconnections between fellow-composers and musician colleagues who were teachers, mentors, supporters and dedicatees.

There is a special quality to Russian Piano Concertos: apart from their jaw-dropping virtuosity and orchestral brilliance they share that common Slavonic flavor, an undefinable mixture of melancholy and passion, whether smouldering or blazing.
This set contains the famous concertos by Tchaikovsky, Rachmaninoff, Shostakovich and Prokofiev, but also lesser known composers: Anton Rubinstein, Medtner, Glazunov, Kabalevsky, Scriabin, Khatchaturian, Arensky, Balakirev, Lyapunov, Bortkiewicz and Khrennikov. Adding extra spice to the set are the concertos by Scharwenka and Moszkowski, Polish by birth but Slavic in spirit.
Excellent performances by Michael Ponti, Boris Giltburg, Yevgeny Kissin, Stefan Doniga and others.

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Composer & Artist:
Composer: Wolfgang Amadeus Mozart
Artists: Herman Jeurissen (horn),Netherlands (Chamber Orchestra),Roy Goodman (conductor)



About this Album:
Mozart excelled in all areas of composition, and his horn concertos – despite making up a very modest part of his total output – still reside among the finest achievements in the horn literature. The composer became acquainted with the mellow sonorities of the instrument from an early age, courtesy of his friend Joseph Leutgeb, who had been employed by the Hofkapelle in Salzburg. It was not until the remaining 10 years of his life, however, that Mozart finally set to work on his six concertos for horn.

Apart from K370b/371, which represents the composer’s first attempt at writing a horn concerto and whose musical content differs markedly from that of the later ones – there are no ‘hunting effects’ in the rondo and the first movement is more declamatory in style than lyrical – it seems that all of the works were composed for Leutgeb, who was often a target of Mozart’s mockery and teasing. Though the numerous points of harmonic, melodic and structural correspondence between the pieces suggest that Mozart did not take this genre especially seriously, the works still delight the listener for their gaiety, lightness of touch and warmth of orchestration. It is therefore a shame that only three of the six pieces remain complete, a resulting combination of more pressing work, lost manuscripts and the composer’s untimely death. Jeurissen, the soloist on this recording and principal horn player of the Residentie Orchestra in The Hague, has taken it upon himself, based on analyses of similar passages in other works by Mozart, to work up all of these fragments into playable, practical versions. The results are laudable, and Jeurissen’s passion for the works is evident from his highly accomplished, charismatic playing. Hungary.

Tracklist:
00:00:00 Horn Concerto No. 2 in E-Flat Major, KV 417: I. Allegro
00:06:29 Horn Concerto No. 2 in E-Flat Major, KV 417: II. Andante
00:09:49 Horn Concerto No. 2 in E-Flat Major, KV 417: III. Rondo: Allegro
00:13:22 Horn Concerto No. 3 in E-Flat, KV 447: I. Allegro
00:20:02 Horn Concerto No. 3 in E-Flat, KV 447: II. Romance: Larghetto
00:23:59 Horn Concerto No. 3 in E-Flat, KV 447: III. Allegro
00:27:49 Concerto movement in E Major, KV 494a: I. Allegro
00:36:51 Horn Concerto No. 1 in D Major, KV 412: I. Allegro
00:41:40 Horn Concerto No. 1 in D Major, KV 412: II. Rondo: Allegro
00:45:45 Horn Concerto in E-Flat Major, KV 370b/371: I. Allegro
00:53:06 Horn Concerto in E-Flat Major, KV 370b/371: II. Rondeau: Allegro
00:59:06 Horn Concerto No. 4 in E-Flat Major, KV 495: I. Allegro
01:06:47 Horn Concerto No. 4 in E-Flat Major, KV 495: II. Romance: Andante
01:11:13Horn Concerto No. 4 in E-Flat Major, KV 495: III. Rondo: Allegro
01:15:18 Horn Concerto No. 1 in D Major, KV 412: I. Allegro


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Composer & Artist:
Composer: Zoltán Kodály
Artists: Hungarian State (Symphony Orchestra), Adam Fischer (conductor )


About this Album:
The best-known, most colourful orchestral works by the father of modern Hungarian music, in unbeatable native accounts.

‘The Hungarian dances presented to the world by Brahms strike the tone of urban Hungary in the 1860s, and are mainly by the composers of the time. The Dances of Marosszék are rooted in an earlier period: they conjure up an image of a Fairyland of the past.’ So wrote Zoltán Kodály in the preface to his through-composed rondo-collection of dances, but his point stands for the other works on this compilation. He was a pioneer in bringing genuinely native inflections and timbres to the context of art-music from Hungary.

Tracklist:
00:00:00 Háry János, Op. 15: I. Prelude – The Fairy-Tale Begins
00:04:11 Háry János, Op. 15: II. Viennese Musical Clock
00:06:15 Háry János, Op. 15: III. Song
00:11:53 Háry János, Op. 15: IV. Battle and Defeat of Napoleon
00:16:36 Háry János, Op. 15: V. Intermezzo
00:22:04 Háry János, Op. 15: VI. Entrance of the Emperor and his Court
00:25:22 Dances of Galánta
00:42:49 Variations on a Hungarian Folksong “The Peacock”
01:11:18 Psalmus Hungaricus, Op. 13
01:31:43 Dances of Marosszék
01:44:25 Dances of Galánta
 
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Composer & Artist:
Composer: Various
Artists: Flavio Apro (guitar)



About this Album:
On this varied and atmospheric album, accomplished guitarist Flávio Apro selects pieces from nine different composers, all representative of the evolution of classical Brazilian guitar music over the course of the late-19th and 20th centuries. What connects many of these luminaries is their ability to bring European dance forms into their musical world and then to mould them into something different by injecting elements of Brazilian musical tradition. Particularly striking examples of this are João Pernambuco, whose Sons de Carrilhões incorporates elements of European polka, yet embellished with rhythmic and harmonic repetitions that conjure up numerous surprises for the listener; and Egberto Gismonti, whose work fuses traditional Brazilian genres with elements of jazz, classical, world and contemporary music.

Meanwhile, other composers from this collection push the envelope of guitar composition in different ways. Leo Brouwer’s challenging, four-part Sonata del Caminante travels through waves of landscape-evoking intensity, via extremes of tempo, dynamics and scope; while Rafael Altro’s Homenagem is a true test of the performer’s dexterity and skill.

Tracklist:
00:00:00 Sons de Carrilhões (Arr. Apro)
00:04:02 Suite Antiga: ‘Aria’ (Arr. Apro)
00:08:24 Odeon (Arr. Apro)
00:11:20 Desvairada (Arr. Apro)
00:14:47 Modinha
00:19:03 Homenagem
00:22:58 Sonata del Caminante Vision de la Amazônia – El Gran Sertão – Danza Festiva – Toccata Nordestina
00:40:47 Esperança
00:44:33 A Santa Ceia Segundo Athayde
00:48:39 Dança das Cabeças (Arr. Apro)
 
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