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The year 2004 commemorates the 150th anniversary of the birth of Leos Janacek, one of Czech’s most famous and original composers.

Janacek’s music is highly personal, his language immediately recognizable: short, almost aphoristic motives form the basis of a highly dramatic discourse.

His piano works include the famous Piano Sonata (written after the death of a man during a worker’s demonstration), the highly attractive cycle “On an overgrown path” (short pieces of sometimes violent, sometimes painfully intimate emotions), the cycle “In the mist”, and series on Czech and Moravian folk melodies.

Norwegian pianist Hakon Austbö already recorded extensively for Brilliant Classics (Satie, Brahms Klavierstücke, Grieg Lyrische Stücke), and proves himself again a true master in the short form, completely identifying himself with the composer and his inner thoughts.

00:00:00 Sonata I.X.: I. Foreboding
00:05:59 Sonata I.X.: II. Death
00:12:51 On an Overgrown Path, Pt. 1: I. Our Evenings
00:16:08 On an Overgrown Path, Pt. 1: II. A Blown Away Leaf
00:19:36 On an Overgrown Path, Pt. 1: III. Come with Us!
00:20:15 On an Overgrown Path, Pt. 1: IV. The Madonna of Frýdek
00:24:17 On an Overgrown Path, Pt. 1: V. They Chattered Like Swallows
00:26:28 On an Overgrown Path, Pt. 1: VI. Words Fail!
00:28:32 On an Overgrown Path, Pt. 1: VII. Good Night!
00:31:01 On an Overgrown Path, Pt. 1: VIII. Unutterable Anguish
00:34:10 On an Overgrown Path, Pt. 1: IX. In Tears
00:37:08 On an Overgrown Path, Pt. 1: X. The Barn Owl Has Not Flown Away!
00:41:04 On an Overgrown Path, Pt. 2: I. Andante - Un poco piú mosso
00:44:22 On an Overgrown Path, Pt. 2: II. Allegretto - Poco mosso
00:47:21 On an Overgrown Path, Pt. 2: III. Vivo - Presto (Completed by H. Austbø)
00:49:07 In the Mist: I. Andante - Poco mosso
00:52:30 In the Mist: II. Molto adagio - Presto
00:56:56 In the Mist: III. Andantino - Poco mosso
01:00:11 In the Mist: IV. Presto - Meno mosso - Andante
01:04:32 Tema con variazioni
01:14:48 In Remembrance
01:16:26 Ej, danaj!
01:18:21 Music for Gymnastics
01:23:21 To My Olga
01:23:57 On an Overgrown Path, Two Rejected Pieces: I. Più mosso
01:26:28 On an Overgrown Path, Two Rejected Pieces: II. Allegro
01:31:26 Moravian Dances: Dymák - Starodávný - Valaška - Požehnaný - Pilky - Kalamajka - Trojky - Sekerecka - Kolo - Celadenský
01:39:40 6 Miniatures: I. Lord Jesus Christ Is Born
01:40:21 6 Miniatures: II. Moderato
01:41:29 6 Miniatures: III. Without Title
01:42:04 6 Miniatures: IV. Cradle Song
01:42:57 6 Miniatures: V. Melodie
01:43:27 6 Miniatures: VI. Palace of Malostranský
01:44:32 Moravian Folksongs
01:52:29 A Recollection
01:54:26 Intimate Sketches: I. Merely blind fate?
01:55:27 Intimate Sketches: II. So That One Could Never Return
01:56:37 Intimate Sketches: III. The Golden Ring
01:56:50 Intimate Sketches: IV. I Am Waiting for You!

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

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


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

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

Tracklist below.

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Described by the composer himself as ‘the king of instruments’, the organ and its music form a small but not insignificant part of Mozart’s vast œuvre. This new release, performed by acclaimed Italian organist Ivan Ronda, comprises all of his major works for the instrument, including the extended Adagio and Rondo in C minor and the small-scale works from the London Sketchbook. Also included is the charming Adagio in C for the glass harmonica: just 28 bars in length, the work was originally conceived for this curious instrument, which consists of glass bowls that rotate in water, but is equally effective on the organ. Mozart’s output of Church Sonatas – notable for their single movement form – are represented here by the Sonata in C K336, the only one to have a proper solo part for the organ, and was specially transcribed by André Isoir for this recording.

The disc is rounded off with the imposing Fantasia in F minor. Described in Mozart’s own catalogue of work as ‘an organ piece for a clock’, it was commissioned by Count Joseph Deym for a musical automaton that contained a small pipe organ. When transferred to an organ on the scale of that at the Church of Maria Vergine Immacolata in Gallo Cavour, Italy, where this recording was made, it takes on a certain grandeur, and exploits the various echo and dialogue effects of the instrument.

00:00:00 Suite in C Major, K. 399: I. Overture
00:05:00 Andante in F Major, K. 616
00:12:41 Adagio and Allegro in F Minor, K. 594
00:25:10 Adagio in C Major, K. 356
00:29:23 Church Sonata in C Major, K. 336
00:34:28 Piece in F Major, K. 33b
00:35:57 The London Sketchbook: Rondo in F Major, K. 15hh
00:37:23 The London Sketchbook: Allegro in F Major, K. 15a
00:38:39 The London Sketchbook: Rondo in D Major, K. 15d
00:40:16 Adagio and Rondo in C Minor, K. 617
00:53:10 Fantasia in F Minor, K. 608

Componist: Antonio Vivaldi
Artist: Federico Guglielmo, L'Arte dell'Arco

Tracklist below.

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00:00:00 Trio Sonata No. 1 in G Minor, RV 73: I. Preludio. Grave
00:01:46 Trio Sonata No. 1 in G Minor, RV 73: II. Allemanda. Allegro
00:03:48 Trio Sonata No. 1 in G Minor, RV 73: III. Adagio
00:05:11 Trio Sonata No. 1 in G Minor, RV 73: IV. Capriccio. Allegro
00:05:56 Trio Sonata No. 1 in G Minor, RV 73: V. Gavotta. Allegro
00:07:44 Trio Sonata No. 8 in D Minor, RV 64: I. Preludio. Largo
00:10:27 Trio Sonata No. 8 in D Minor, RV 64: II. Corrente. Allegro
00:12:33 Trio Sonata No. 8 in D Minor, RV 64: III. Grave
00:14:24 Trio Sonata No. 8 in D Minor, RV 64: IV. Giga. Allegro
00:16:35 Trio Sonata No. 5 in F Major, RV 69: I. Preludio. Largo
00:18:00 Trio Sonata No. 5 in F Major, RV 69: II. Allemanda. Presto
00:19:01 Trio Sonata No. 5 in F Major, RV 69: III. Corrente. Allegro
00:20:29 Trio Sonata No. 5 in F Major, RV 69: IV. Gavotta. Presto
00:21:15 Trio Sonata No. 10 in B-Flat Major, RV 78: I. Preludio. Adagio
00:23:21 Trio Sonata No. 10 in B-Flat Major, RV 78: II. Allemanda. Allegro
00:26:00 Trio Sonata No. 10 in B-Flat Major, RV 78: III. Gavotta. Presto
00:27:29 Trio Sonata No. 6 in D Major, RV 62: I. Preludio. Grave
00:28:52 Trio Sonata No. 6 in D Major, RV 62: II. Corrente. Allegro
00:30:47 Trio Sonata No. 6 in D Major, RV 62: III. Adagio
00:32:29 Trio Sonata No. 6 in D Major, RV 62: IV. Allemanda. Allegro
00:33:51 Trio Sonata No. 12 in D Minor RV 63 “Follia”: I. Adagio . Andante. Allegro, II. —. Adagio. Vivace. Allegro. Larghetto. Allegro, III. Adagio. Allegro
00:43:25 Trio Sonata No. 9 in A Major, RV 75: I. Preludio. Allegro
00:44:09 Trio Sonata No. 9 in A Major, RV 75: II. Adagio
00:45:36 Trio Sonata No. 9 in A Major, RV 75: III. Allemanda. Allegro
00:48:23 Trio Sonata No. 9 in A Major, RV 75: IV. Corrente. Presto
00:50:24 Trio Sonata No. 7 in E-Flat Major, RV 65: I. Preludio. Largo
00:52:36 Trio Sonata No. 7 in E-Flat Major, RV 65: II. Allemanda. Allegro
00:55:23 Trio Sonata No. 7 in E-Flat Major, RV 65: III. Sarabanda. Andante
00:57:33 Trio Sonata No. 7 in E-Flat Major, RV 65: IV. Giga. Presto
00:58:34 Trio Sonata No. 3 in C Major, RV 61: I. Adagio
01:00:03 Trio Sonata No. 3 in C Major, RV 61: II. Allemanda. Allegro
01:02:18 Trio Sonata No. 3 in C Major, RV 61: III. Adagio
01:02:47 Trio Sonata No. 3 in C Major, RV 61: IV. Sarabanda. Allegro
01:04:44 Trio Sonata No. 4 in E Major, RV 66: I. Largo
01:05:29 Trio Sonata No. 4 in E Major, RV 66: II. Allegro – Adagio
01:06:38 Trio Sonata No. 4 in E Major, RV 66: III. Allemanda. Allegro
01:07:44 Trio Sonata No. 4 in E Major, RV 66: IV. Sarabanda. Largo
01:08:49 Trio Sonata No. 4 in E Major, RV 66: V. Giga. Allegro
01:10:12 Trio Sonata No. 11 in B Minor, RV 79: I. Preludio. Andante
01:13:06 Trio Sonata No. 11 in B Minor, RV 79: II. Corrente. Allegro
01:15:15 Trio Sonata No. 11 in B Minor, RV 79: III. Giga. Allegro
01:16:45 Trio Sonata No. 11 in B Minor, RV 79: IV. Gavotta. Presto
01:17:52 Trio Sonata No. 2 in E Minor, RV 67: I. Grave
01:19:58 Trio Sonata No. 2 in E Minor, RV 67: II. Corrente. Allegro
01:21:59 Trio Sonata No. 2 in E Minor, RV 67: III. Giga. Allegro
01:24:08 Trio Sonata No. 2 in E Minor, RV 67:

Tracklist below.

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Today Richard Wagner is best known for his extraordinary operas; any success in other domains was dwarfed by these compositional feats in the world of musical theatre. But Wagner’s piano works can be seen to be just as important in understanding the evolution of his style and musical thought, and thus the development of this dominating figure of the 19th century.

The collection brings together Wagner’s entire output for solo piano. The earliest sonata on the recording is the Piano Sonata in B flat, which shows evidence of Wagner’s music education, with much indebted to the Beethovian model as well as to the great pianist-composers Weber and Pleyel. These influences are heard again in the more mature and complex Große Sonate – a work that Wagner intended to turn into a symphony, though this attempt was later abandoned. A regular dedicatee of Wagner’s works was Mathilde Wesendock – the relationship between the two is still much debated today – and among the works in this collection, three are dedicated to Mathilde: the ‘masterpiece’ Eine Sonate für das Album von Frau Mathilde Wesendock, Notenbrief für Mathilde Wesendonck and the ‘Schluß zum Vorspiel’ from Tristan und Isolde. The ‘Tristan chord’ at the beginning of the latter has become considered a clear attestation of Wagner’s infatuation with Mathilde, for whom he stopped work on the Ring cycle to begin that great testament of love, Tristan und Isolde.

The works are performed by the Italian pianist Pier Paolo Vincenzi, whose busy concert schedule takes him all over his native country. He is joined for the Polonaise for 4 hands in D by Federica Ferrati.

00:00:00 Eine Sonate für das Album von Frau M.W., WWV 85
00:13:37 Piano Sonata in A Major, WWV 26 Op.4 ‘Große Sonate’: I. Allegro con moto
00:22:21 Piano Sonata in A Major, WWV 26 Op.4 ‘Große Sonate’: II. Adagio molto, e assai espressivo
00:36:01 Piano Sonata in A Major, WWV 26 Op.4 ‘Große Sonate’: III. Maestoso – Allegro molto
00:45:36 Piano Sonata in B-Flat Major, WWV 21 Op. 1: I. Allegro con brio
00:54:25 Piano Sonata in B-Flat Major, WWV 21 Op. 1: II. Larghetto
01:03:05 Piano Sonata in B-Flat Major, WWV 21 Op. 1: III. Menuetto: Allegro
01:06:52 Piano Sonata in B-Flat Major, WWV 21 Op. 1: IV. Allegro vivace
01:13:02 Schluß zum Vorspiel, from Tristan und Isolde
01:17:33 Fantasia in F-Sharp Minor, WWV 22 Op. 3
01:46:04 Albumblatt für Ernst Benedikt Kietz, WWV 64 ‘Lied ohne Worte’
01:48:13 Polonaise in D Major, WWV 23a
01:51:10 In das Album der Fürstin M., WWV 94
01:54:14 Züricher Vielliebchen-Walzer, WWV 88
01:55:31 Ankunft bei den schwarzen Schwänen, WWV 95
02:00:42 Polka in G Major, WWV 84
02:01:17 Notenbrief für Mathilde Wesendonck
02:02:40 Polonaise for Piano Four Hands in D Major, WWV 23b Op.2
02:07:59 Elegy in A-Flat Major
02:09:37 Albumblatt für Frau Betty Schott, WWV 108
02:15:12 Piano Sonata in A Major, WWV 26 Op. 4 ‘Große Sonate’: III. Maestoso: Tempo moderato e maestoso – Allegro molto (alternative version)

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00:00:00 Piano Sonata No. 1 in C Major, KV. 279: Allegro
00:04:57 Piano Sonata No. 1 in C Major, KV. 279: Andante
00:10:09 Piano Sonata No. 1 in C Major, KV. 279: Allegro
00:13:31 Piano Sonata No. 2 in F Major, KV. 280: Allegro assai
00:18:03 Piano Sonata No. 2 in F Major, KV. 280: Adagio
00:24:05 Piano Sonata No. 2 in F Major, KV. 280: Presto
00:27:00 Piano Sonata No. 3 in B-Flat Major, KV. 281: Allegro
00:33:47 Piano Sonata No. 3 in B-Flat Major, KV. 281: Andante amoroso
00:39:20 Piano Sonata No. 3 in B-Flat Major, KV. 281: Rondeau, allegro
00:43:57 Piano Sonata No. 4 in E-Flat Major, KV. 282: Adagio
00:50:57 Piano Sonata No. 4 in E-Flat Major, KV. 282: Menuetto
00:55:03 Piano Sonata No. 4 in E-Flat Major, KV. 282: Allegro
00:58:07 Piano Sonata No. 5 in G Major, KV. 283: Allegro
01:03:33 Piano Sonata No. 5 in G Major, KV. 283: Andante
01:09:15 Piano Sonata No. 5 in G Major, KV. 283: Presto
01:13:03 Piano Sonata No. 6 in D Major, KV. 284: Allegro
01:18:15 Piano Sonata No. 6 in D Major, KV. 284: Rondeau en polonaise, andante
01:22:39 Piano Sonata No. 6 in D Major, KV. 284: Andante (Tema con variazioni)
01:38:16 Piano Sonata No. 7 in C Major, KV. 309: Allegro con spirito
01:44:14 Piano Sonata No. 7 in C Major, KV. 309: Andante un poco adagio
01:49:22 Piano Sonata No. 7 in C Major, KV. 309: Rondeau, allegretto grazioso
01:55:25 Piano Sonata No. 8 in A Minor, KV. 310: Allegro maestoso
02:01:26 Piano Sonata No. 8 in A Minor, KV. 310: Andante cantabile con espressione
02:08:32 Piano Sonata No. 8 in A Minor, KV. 310: Presto
02:11:15 Piano Sonata No. 9 in D Major, KV. 311: Allegro con spirito
02:15:43 Piano Sonata No. 9 in D Major, KV. 311: Andante con espressione
02:20:35 Piano Sonata No. 9 in D Major, KV. 311: Rondeau, allegro
02:26:41 Piano Sonata No. 10 in C Major, KV. 330: Allegro moderato
02:33:22 Piano Sonata No. 10 in C Major, KV. 330: Andante cantabile
02:39:55 Piano Sonata No. 10 in C Major, KV. 330: Allegretto
02:45:38 Piano Sonata No. 11 in A Major, KV. 331: Andante grazioso
02:58:32 Piano Sonata No. 11 in A Major, KV. 331: Menuetto
03:04:27 Piano Sonata No. 11 in A Major, KV. 331: Alla Turca, allegretto
03:07:53 Piano Sonata No. 12 in F Major, KV. 332: Allegro
03:14:27 Piano Sonata No. 12 in F Major, KV. 332: Adagio
03:19:10 Piano Sonata No. 12 in F Major, KV. 332: Allegro assai
03:26:01 Piano Sonata No. 13 in B-Flat Major, KV. 333: Allegro
03:33:23 Piano Sonata No. 13 in B-Flat Major, KV. 333: Andante cantabile
03:38:56 Piano Sonata No. 13 in B-Flat Major, KV. 333: Allegretto grazioso
03:45:33 Piano Sonata No. 14 in C Minor, KV. 457: Allegro molto
03:51:02 Piano Sonata No. 14 in C Minor, KV. 457: Adagio
03:58:45 Piano Sonata No. 14 in C Minor, KV. 457: Allegro assai
04:03:05 Piano Sonata No. 15 in F Major, KV. 533: Allegro
04:10:42 Piano Sonata No. 15 in F Major, KV. 533: Andante
04:17:18 Piano Sonata No. 15 in F Major, KV. 533: Rondeau, allegretto
04:23:45 Piano Sonata No. 16 in C Major, KV. 545: Allegro
04:27:05 Piano Sonata No. 16 in C Major, KV. 545: Andante
04:31:16 Piano Sonata No. 16 in C Major, KV. 545: Rondo
04:33:01 Piano Sonata No. 17 in B-Flat Major, KV. 570: Allegro
04:38:45 Piano Sonata No. 17 in B-Flat Major, KV. 570: Adagio
04:46:11 Piano Sonata No. 17 in B-Flat Major, KV. 570: Allegretto
04:49:42 Piano Sonata No. 18 in D Major, KV. 576: Allegro
04:54:54 Piano Sonata No. 18 in D Major, KV. 576: Adagio
05:00:27 Piano Sonata No. 18 in D Major, KV. 576: Allegretto

Tracklist below.
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This an issue of series consisting of 14 3CD-sets with selected highlights taken from our Mozart complete edition, intented for those who prefer to buy more selectively.
This release contains the following works: K. 41, K. 271 “Jeunehomme”, K. 449, K. 456, K. 491, K. 537 “Coronation Concerto“ and K. 595.

00:00:00 Piano Concerto No. 18 in B-Flat Major, KV 456: Allegro vivace
00:12:36 Piano Concerto No. 18 in B-Flat Major, KV 456: Andante un poco sostenuto
00:22:12 Piano Concerto No. 18 in B-Flat Major, KV 456: Allegro vivace
00:30:21 Piano Concerto No. 26 in D Major, KV 537, “Coronation Concerto”: Allegro
00:44:51 Piano Concerto No. 26 in D Major, KV 537, “Coronation Concerto”: Larghetto
00:50:58 Piano Concerto No. 26 in D Major, KV 537, “Coronation Concerto”: Allegretto
01:01:52 Piano Concerto No. 14 in E-Flat Major, KV 449: Allegro vivace
01:10:45 Piano Concerto No. 14 in E-Flat Major, KV 449: Andantino
01:17:06 Piano Concerto No. 14 in E-Flat Major, KV 449: Allegro ma non troppo
01:23:24 Piano Concerto No. 4 in G Major, KV 41: Allegro
01:28:29 Piano Concerto No. 4 in G Major, KV 41: Andante
01:32:20 Piano Concerto No. 4 in G Major, KV 41: Molto allegro
01:36:10 Piano Concerto No. 27 in B-Flat Major, KV 595: Allegro
01:50:21 Piano Concerto No. 27 in B-Flat Major, KV 595: Larghetto
01:57:15 Piano Concerto No. 27 in B-Flat Major, KV 595: Rondo, alelgro
02:06:35 Piano Concerto E-Flat Major, KV 271, “Jeunehomme”: Allegro
02:16:49 Piano Concerto E-Flat Major, KV 271, “Jeunehomme”: Andantino
02:27:00 Piano Concerto E-Flat Major, KV 271, “Jeunehomme”: Rondeau. Presto
02:37:19 Piano Concerto in C Minor, KV 491: Allegro
02:50:50 Piano Concerto in C Minor, KV 491: Larghetto
02:58:30 Piano Concerto in C Minor, KV 491: Allegretto

Artist:
Derek Han (piano)
Philharmonia Orchestra
Paul Freeman (conductor)

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Composer: Domenico Scarlatti
Artists: Luigi Attademo (guitar)

About this Album:
The 600 or so sonatas for harpsichord by Domenico Scarlatti contain some of the most remarkable music for keyboard from the Barock era. The influence of these works can be detected in the sonatas of Haydn, Clementi, and Beethoven. The fact that these composers, who developed the piano sonata form to new levels virtuosity, and at a time when the piano was a ‘new’ instrument, developing constantly, were influenced by his examples, has lead to many performers re-appraising Scarlatti’s sonatas.

How would they sound on other instruments? The modern concert grand is, today, no stranger to Scarlatti’s sonatas, but the guitar? The great Andres Segovia was one of the first to recognise that many of these sonatas would work for the guitar. His idea was not to imitate the harpsichord (‘a guitar with a cold’ as he famously said, much to the annoyance of the great harpsichordist Wanda Landowska), but to bring out hitherto unexplored textures and colours contained in the music that only the guitar could realise. There wasn’t much in the way of period interpretation or slavish imitation of keyboard practice in Segovia’s approach. It was a marvellously ‘gut feel’ instinctive interpretation that divided opinion.

On this album Attademo skilfully demonstrates that the two schools of thought can be brought together – Scarlatti’s genius as keyboard virtuoso, and the genius and instinctiveness of Segovia.

Tracklist:
00:00:00 12 Sonatas For Guitar: 1 Sonata K377: Allegrissimo
00:03:13 12 Sonatas For Guitar: 2 Sonata K208: Adagio e cantabile
00:08:54 12 Sonatas For Guitar: 3 Sonata K209: Allegro
00:14:13 12 Sonatas For Guitar: 4 Sonata K32: Aria
00:17:05 12 Sonatas For Guitar: 5 Sonata K77: Moderato e cantabile
00:21:43 12 Sonatas For Guitar: Minuet
00:23:17 12 Sonatas For Guitar: 6 Sonata K34: Larghetto
00:26:40 12 Sonatas For Guitar: 7 Sonata K291: Andante
00:31:45 12 Sonatas For Guitar: 8 Sonata K292: Allegro
00:34:24 12 Sonatas For Guitar: 9 Sonata K87 -
00:38:02 12 Sonatas For Guitar: 10 Sonata K481: Andante e cantabile
00:42:25 12 Sonatas For Guitar: 11 Sonata K476: Allegro
00:46:12 12 Sonatas For Guitar: 12 Sonata K213: Andante


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To be released in september 2018!
Playing: Autre chacone in C Major

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Francesco Corbetta: the JS Bach of the guitar? A bold claim, but one made with passion by the guitarist Izhar Elias in his own booklet essay for this ground-breaking new album.

Born in the Italian city of Pavia around 1615, Corbetta worked as a musician in the court of Madrid but he made his career and lasting reputation in France. According to contemporary accounts, Corbetta’s playing epitomized the ornate Baroque guitar solo. The high range, frequent resolution of dissonance, virtuosic techniques, and coloristic effects, such as overlapping tones of campanelas or flashy repicco strumming, converged in his guitar music to make it the most brilliant if challenging of the era.

On this album Elias has made his own selection from two of Corbetta’s published volumes which were written for King Charles II (1671) and King Louis XIV (1674) respectively. According to him, Corbetta’s music is rooted in the popular songs and dances of his day, making him more like a modern pop songwriter. Using the genres of chaconne and passacaglia, several of which are included here, he transformed the guitar into a polyphonic instrument and a genuinely soloistic one compared to its previous, humble role as an accompaniment to song and strings. There are also two substantial dance suites, in A minor and G minor.

The Dutch-born guitarist Izhar Elias has made several significant contributions to the extensive library of guitar music on Brilliant Classics, including a Spanish Baroque album, ‘La Monarcha’ (BC94352), an exploration of Beethoven’s little-known writing for the instrument (BC94631); and perhaps most noteworthy, a first complete recording for substantial excerpts from Rossini’s late masterpiece Semiramide, arranged for solo guitar by Giuliani (BC93902). ‘You’ll rarely hear anyone work so hard,’ remarked the Classics Today reviewer. ‘The playing is magnificent – fluent, tonally as varied as possible, rhythmically true to Rossini.’

Francesco Corbetta (1615-1681) was an Italian guitar player, teacher and composer. First attached to the Mantua court of the Gonzaga family, he later traveled Europe as one of the first guitar virtuosos, finding an admiring welcome at the courts of Madrid and Hannover, finally settling at the court of Louis XIV. In later years he was also active as court musician to Charles II of England, dividing his last 20 years between Paris and London.
His early works were mostly strummed dance music, later he developed his style with complex harmonies and polyphony in the French taste.
Corbetta’s magnum opus is titled La Guitarre Royalle, consisting of two books written for his two patrons (Louis XIV and Charles II). The rhythmic pattern of the court dances are embellished with French style ornamentations, the result being a highly sophisticated, folk music based instrumentation.
Dutch guitarist Izhar Elias is one of today’s most sought-after specialists in Early Music, chamber music and contemporary music. He recorded several remarkable CD’s for Brilliant Classics, to great international acclaim. He wrote the informative liner himself, in English and German.

Tracklist below.
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00:00:00 24 Progressive Lessons, Op. 31: No. 1, Andante
00:01:14 24 Progressive Lessons, Op. 31: No. 2, Andante
00:02:58 24 Progressive Lessons, Op. 31: No. 3, Allegretto moderato
00:03:54 24 Progressive Lessons, Op. 31: No. 4, Andante
00:05:23 24 Progressive Lessons, Op. 31: No. 5, Andantino
00:06:57 24 Progressive Lessons, Op. 31: No. 6, Andante
00:08:04 24 Progressive Lessons, Op. 31: No. 7, Andantino
00:09:01 24 Progressive Lessons, Op. 31: No. 8, Andante
00:10:50 24 Progressive Lessons, Op. 31: No. 9, Allegretto
00:11:55 24 Progressive Lessons, Op. 31: No. 10, Cantabile
00:13:18 24 Progressive Lessons, Op. 31: No. 11, Moderato
00:14:25 24 Progressive Lessons, Op. 31: No. 12, Andante
00:18:09 24 Progressive Lessons, Op. 31: No. 13, Andante
00:19:38 24 Progressive Lessons, Op. 31: No. 14, Andantino
00:20:48 24 Progressive Lessons, Op. 31: No. 15, Allegretto
00:22:07 24 Progressive Lessons, Op. 31: No. 16, Moderato
00:24:12 24 Progressive Lessons, Op. 31: No. 17, Andantino
00:25:34 24 Progressive Lessons, Op. 31: No. 18, Moderato
00:27:58 24 Progressive Lessons, Op. 31: No. 19, Andante
00:29:43 24 Progressive Lessons, Op. 31: No. 20, Andante allegro
00:30:55 24 Progressive Lessons, Op. 31: No. 21, Andantino cantabile
00:32:54 24 Progressive Lessons, Op. 31: No. 22, Tempo di marcia. Moderato
00:34:55 24 Progressive Lessons, Op. 31: No. 23, Mouvement de prière
00:38:03 24 Progressive Lessons, Op. 31: No. 24, Allegretto moderato
00:40:54 24 Exercises, Op. 35: No. 1, Andante
00:41:40 24 Exercises, Op. 35: No. 2, Andantino
00:42:38 24 Exercises, Op. 35: No. 3, Larghetto
00:44:17 24 Exercises, Op. 35: No. 4, Allegretto
00:45:25 24 Exercises, Op. 35: No. 5, Allegretto
00:47:11 24 Exercises, Op. 35: No. 6, Andantino
00:47:55 24 Exercises, Op. 35: No. 7, Andante
00:49:56 24 Exercises, Op. 35: No. 8, Allegretto
00:52:35 24 Exercises, Op. 35: No. 9, Andante
00:54:07 24 Exercises, Op. 35: No. 10, Andante
00:55:20 24 Exercises, Op. 35: No. 11, Allegretto
00:56:06 24 Exercises, Op. 35: No. 12, Andantino moderato
00:57:27 24 Exercises, Op. 35: No. 13, Andante
00:58:24 24 Exercises, Op. 35: No. 14, Andante
01:00:17 24 Exercises, Op. 35: No. 15, Allegretto
01:01:33 24 Exercises, Op. 35: No. 16, Moderato
01:03:20 24 Exercises, Op. 35: No. 17, Moderato
01:04:42 24 Exercises, Op. 35: No. 18, Andantino
01:06:10 24 Exercises, Op. 35: No. 19, Moderato
01:07:49 24 Exercises, Op. 35: No. 20, Tempo di minuetto
01:09:47 24 Exercises, Op. 35: No. 21, Andante
01:11:13 24 Exercises, Op. 35: No. 22, Allegretto
01:13:46 24 Exercises, Op. 35: No. 23, Andante
01:14:57 24 Exercises, Op. 35: No. 24, Allegretto moderato
01:18:00 24 Short Progressive Pieces, Op. 44: No. 1, Andante
01:19:00 24 Short Progressive Pieces, Op. 44: No. 2, Allegretto
01:19:44 24 Short Progressive Pieces, Op. 44: No. 3, Andantino
01:20:49 24 Short Progressive Pieces, Op. 44: No. 4, Allegretto moderato
01:22:14 24 Short Progressive Pieces, Op. 44: No. 5, Andantino
01:23:20 24 Short Progressive Pieces, Op. 44: No. 6, Moderato
01:24:02 24 Short Progressive Pieces, Op. 44: No. 7, Andante allegro
01:25:15 24 Short Progressive Pieces, Op. 44: No. 8, Allegretto
01:26:20 24 Short Progressive Pieces, Op. 44: No. 9, Andantino
01:27:36 24 Short Progressive Pieces, Op. 44: No. 10, Allegretto
01:28:46 24 Short Progressive Pieces, Op. 44: No. 11, Andante
01:29:55 24 Short Progressive Pieces, Op. 44: No. 12, Andantino
01:32:23 24 Short Progressive Pieces, Op. 44: No. 13, Allegretto
01:33:50 24 Short Progressive Pieces, Op. 44: No. 14, Tempo di minuetto: Moderato
01:34:32 24 Short Progressive Pieces, Op. 44: No. 15, Andante
01:35:42 24 Short Progressive Pieces, Op. 44: No. 16, Andante
01:37:43 24 Short Progressive Pieces, Op. 44: No. 17, Cantabile
01:38:58 24 Short Progressive Pieces, Op. 44: No. 18, Marche
01:40:45 24 Short Progressive Pieces, Op. 44: No. 19, Allegretto
01:43:44 24 Short Progressive Pieces, Op. 44: No. 20, Andantino
01:45:00 24 Short Progressive Pieces, Op. 44: No. 21, Andante
01:46:07 24 Short Progressive Pieces, Op. 44: No. 22, Andantino
01:47:55 24 Short Progressive Pieces, Op. 44: No. 23, Allegro moderato
01:50:47 24 Short Progressive Pieces, Op. 44: No. 24, Valse

Composers: John Bull, William Inglot, William Tisdale
Artist: Pieter-Jan Belder (harpsichord)

Pieter-Jan Belder continues his superb survey of the Fitzwilliam Virginal Book, an extraordinary manuscript compiled in the late 16th century and held in the Fitzwilliam Museum in Cambridge. In this, the sixth volume, Belder focuses on the compositions of John Bull, one of the main contributors to the collection. Principally an organist and organ-builder, Bull left behind a variety of attractive pieces whose charm is belied by the way he often presented himself as a Doctor in music, which might suggest a rather scientific approach to composition. Nonetheless, his Ut Re Mi Fa Sol La, one of the longest and most challenging pieces in the manuscript and reminiscent of Tallis, is appropriately complex, beginning with two-part writing and adding additional voices as it progresses, while employing numerous tempo changes and cross-rhythms.

In contrast to the prolific Bull, the remainder of the recording features a host of composers who appear only a few times in the manuscript. Other than Orlando Gibbons, one of the most important of all virginalists, the other contributors are less well known, and many have obscure or undocumented lives. The repetition of such forms as the pavan and alman across the set, however, allows the listener to make a number of interesting comparisons.

Pieter-Jan Belder is not only a consummate performer but also a serious scholar of keyboard music from the Elizabethan and Jacobean eras. His research on the Fitzwilliam Virginal Book has led to a highly informed performance practice. Belder specialises in performance on historical instruments, and he has carefully selected three period harpsichords for this recording in order to create the most authentic sound possible. The listener is rewarded with a substantial set that highlights the superb achievements of the composers of this era, laying the foundations of keyboard music for centuries to come.

The 6th and penultimate instalment of one of the most prestigious and ambitious recording projects in Early Music: the complete Fitzwilliam Virginal Book!
The Fitzwilliam Virginal Book is the most famous, extensive and important collection of keyboard music from the English Elizabethan and Jacobean Era. Lodged in the Fitzwilliam Museum in Cambridge it contains more than 300 works for the virginal, by composers such as John, Bull, William Byrd, Thomas Tomkins and many others.
This 6th issue presents the remainder of the works by John Bull in the manuscript, consisting of dance forms like Galliarda, Pavan, Alman and others. The second CD is dedicated to composers who only contributed a few works to the manuscript: Warrock, Galleazzo, Peerson, Parsons, Tisdale, Inglott, Marchant, Oysermayre, Oldfield and Blytheman.
Pieter-Jan Belder, one of the world’s most respected and prolific harpsichordists, received rave reviews for his previous issues in this series: “..a captivating portrait..full of rhythmic drive..he displays a keen sense of rhythm…broad and brilliant gestures…one of the most important recording projects of this decade..”(Musicweb-International).

Another collection of Bach’s chamber music from the ensemble led by Jed Wentz and Michael Borgstede, the Frankfurter Allgemeine Sonntagszeitung’s Middle East correspondent. As on its earlier release on Brilliant Classics, the ensemble has researched the scores, performance techniques and the types of instrument used at the time of composition. That is not to say that the approach they take is a dry academic one. On the contrary, having assimilated all the information available to them, they then take an open-minded view of the score – freely admitting that if they were to play these works tomorrow, they’d more than likely give them a totally different interpretation. This new recording includes the flute sonatas and solos, and the Ricercar from the Musical Offering BWV1079. As no one actually knows what Bach’s intentions were when it came to performance and interpretation, the listener can be assured of fresh and invigorating readings of this fascinating and timeless music.

Composer: Johann Sebastian Bach
Artists: Jed Wentz (transverse flute), Michael Borgstede (harpsichord)

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00:00:00 Sonata in E Minor, BWV 1034: I. Adagio ma non tanto
00:03:05 Sonata in E Minor, BWV 1034: II. Allegro
00:05:36 Sonata in E Minor, BWV 1034: III. Andante
00:08:35 Sonata in E Minor, BWV 1034: IV. Allegro
00:13:38 Sonata in A, BWV 1032: I. vivace
00:16:55 Sonata in A, BWV 1032: II. Largo e dolce
00:19:25 Sonata in A, BWV 1032: III. Allegro
00:23:33 Solo in A Minor, BWV 1013: I. Allemande
00:29:08 Solo in A Minor, BWV 1013: II. Corrente
00:32:50 Solo in A Minor, BWV 1013: III. Sarabande
00:38:15 Solo in A Minor, BWV 1013: IV. Bourrée anglaise
00:41:27 Sonata in E, BWV 1035: I. Adagio ma non tanto
00:43:46 Sonata in E, BWV 1035: II. Allegro
00:46:36 Sonata in E, BWV 1035: III. Siciliana
00:49:09 Sonata in E, BWV 1035: IV. Allegro assai
00:52:04 Sonata in B Minor, BWV 1030: I. Allegro
00:59:23 Sonata in B Minor, BWV 1030: II. Andante
01:02:12 Sonata in B Minor, BWV 1030: III. Largo e dolce
01:03:34 Sonata in B Minor, BWV 1030: IV. Presto
01:07:02 Sonata in G, BWV 1038: I. Largo
01:10:01 Sonata in G, BWV 1038: II. vivace
01:13:17 Sonata in G, BWV 1038: III. Adagio
01:14:52 Sonata in G, BWV 1038: IV. Presto
01:17:24 Sonata in G, BWV 1039: I. Adagio
01:20:19 Sonata in G, BWV 1039: II. Allegro ma non presto
01:21:14 Sonata in G, BWV 1039: III. Adagio
01:23:30 Sonata in G, BWV 1039: IV. Presto
01:24:56 Musikalisches Opfer BWV 1079: Ricercar
01:30:15 Musikalisches Opfer BWV 1079: Canon perpetuus super Thema Regium. Canon dIVersi super Thema Regium
01:31:37 Musikalisches Opfer BWV 1079: Canon 1 a 2
01:33:12 Musikalisches Opfer BWV 1079: in Unisono
01:34:22 Musikalisches Opfer BWV 1079: Per Motum contrarium
01:35:31 Musikalisches Opfer BWV 1079: Per Augmentationem contrario Motu
01:37:04 Musikalisches Opfer BWV 1079: a 2
01:39:22 Musikalisches Opfer BWV 1079: Fuga canonica in Epidiapente
01:41:05 Musikalisches Opfer BWV 1079: Ricercar a 6
01:48:14 Musikalisches Opfer BWV 1079: Canon a 2 Quaerendo invenietis
01:49:40 Musikalisches Opfer BWV 1079: Canon a 4
01:52:17 Sonata Sopr'il Reale: I. Largo
01:57:21 Sonata Sopr'il Reale: II. Allegro
02:01:55 Sonata Sopr'il Reale: III. Andante
02:04:29 Sonata Sopr'il Reale: IV. Allegro
02:07:09 Sonata Sopr'il Reale: Canon perpetuus

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Composer: Franz Joseph Haydn
Artists: L'Arte dell'Arco, Federico Guglielmo (violin and concert master)

About this Album:
Haydn’s violin concertos are early works dating from the 1760s. The First in C was only discovered in 1909 in the archives of the publishers Breitkopf – 100 years after the composer’s death.

The First and Third concertos (the second is lost) were
composed for the Italian violinist Luigi Tomasini, who,
in 1761 was the concertmaster of the court chapel at
Esterhaza. Doubtless his considerable skills influenced the writing for the solo parts as it both concertos are indebted to the Italian school, with Vivaldian sequences, and in the case of the First concerto, a delicious slow movement.

The Fourth Concerto in G is a very different work in style, and it is doubtful that it was written for Tomasini. More likely (and it is by no means certain that the work is actually Haydn’s – it just has enough ‘finger prints’ to be attributed to him) it was composed
for the leader of the Morzin orchestra. It is the most old-fashioned of the three concertos on this CD, but nonetheless contains some lovely moments, especially the slow movement and the restless finale.

Tracklist:
00:00:00 Violin Concerto in C Hob VIIa: 1: I. Allegro moderato
00:09:37 Violin Concerto in C Hob VIIa: 1: II. Adagio
00:14:43 Violin Concerto in C Hob VIIa: 1: III. Presto
00:19:01 Violin Concerto in G Hob VIIa: 4: I. Allegro moderato
00:27:35 Violin Concerto in G Hob VIIa: 4: II. Adagio
00:33:17 Violin Concerto in G Hob VIIa: 4: III. Allegro
00:36:52 Violin Concerto in A Hob VIIa: 3: I. Moderato
00:47:38 Violin Concerto in A Hob VIIa: 3: II. Adagio
00:53:17 Violin Concerto in A Hob VIIa: 3: III. Allegro

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #ClassicalViolinMusic #Violin #haydn

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Composer: Franz Joseph Haydn
Artists: Federico Guglielmo (violin), Massimo Piva (viola)

About this Album:
Joseph Haydn was a national treasure in his native Austria. Excelling in all areas of composition, he was the ‘Father of the Symphony’, the author of such renowned vocal works such as The Creation, and a pioneer of the string quartet. He was also a vital mentor to the young Mozart.

These unique works – the only ones for violin and viola in Haydn’s oeuvre – are thought to have been written in the late 1760s or early 1770s, the period during which the composer was employed at the Esterházy court. Little is known about the circumstances of their composition, but most of Haydn’s works for violin at this time were intended for the leader of the court chapel, Luigi Tomasini. The pieces certainly tend towards being solo compositions for the violin, which is accorded the bulk of the melodic interest, with an obbligato viola part providing the harmonic support.

Accalimed violinist Federico Guglielmo studied at the Conservatorio Benedetto Marcello in Venice, later specialising in Baroque and Classical violin repertoire, and has won prizes in numerous international competitions. In this recording he plays alongside Massimo Piva, a past principal violist of Europa Galante and the Orchestra di Padova e del Veneto.

Tracklist:
00:00:00 Sonata I in F Major, Hob VI:1: Allegro moderato
00:04:48 Sonata I in F Major, Hob VI:1: Adagio e sostenuto
00:08:51 Sonata I in F Major, Hob VI:1: Tempo di menuet, variazione
00:12:12 Sonata II in A Major, Hob VI:2: Allegro moderato
00:16:27 Sonata II in A Major, Hob VI:2: Adagio
00:20:33 Sonata II in A Major, Hob VI:2: Finale (Tempo di menuet)
00:24:21 Sonata III in B Major, Hob VI:3: Andante
00:29:02 Sonata III in B Major, Hob VI:3: Adagio
00:32:08 Sonata III in B Major, Hob VI:3: Menuet
00:34:15 Sonata IV in D Major, Hob VI:4: Moderato
00:39:01 Sonata IV in D Major, Hob VI:4: Adagio
00:42:02 Sonata IV in D Major, Hob VI:4: Tempo di menuet
00:44:52 Sonata in E-Flat Major, Hob VI:5: Moderato
00:49:10 Sonata in E-Flat Major, Hob VI:5: Adagio
00:52:57 Sonata in E-Flat Major, Hob VI:5: Tempo di menuet, variazione
00:56:04 Sonata VI in C Major, Hob VI:6: Allegro
01:01:13 Sonata VI in C Major, Hob VI:6: Adagio
01:05:37 Sonata VI in C Major, Hob VI:6: Tempo di Menuet, Variazione

Tracklist below.

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Robert Schumann, ‘a dreamer, a […] tone poet and writer whose inner voices were those of childhood, of wonder, of love, of turmoil, even of madness’ was renowned for the passion with which he accorded many of his compositions. The works on this disc contain the outpourings of his imagination and soul, particularly in relation to his beloved Clara.

His Fantasiestücke Op.12 were a favourite of Franz Liszt, the title taken from E.T.A. Hoffmann’s Fantasiestücke in Gallots Manier – a collection of writings in the style of the 17th-century French engraver Jacques Callot. Among the pieces are depictions of Schumann regulars such as Eusebius and Florestan, but many reflect Schumann’s long fight to wed the young Clara Wieck. No.5, In der Nacht, likens their plight to that of Hero and Leander. The disc also contains the mysterious and atmospheric Waldszenen Op.82, the playful Kinderszenen Op.18 and Arabeske Op.18

One of Brilliant Classics’ most prolific artists, Hungarian pianist Klára Würtz is enjoying an international career. Having won prizes in Dublin and Milan, she signed to a New York-based management company, leading to performances at Carnegie Hall and other prestigious concert venues throughout the U.S. and Canada. She currently teaches at the Conservatory of Arts in Utrecht.

00:00:00 Fantasiestücke, Op. 12: I. Des Abends
00:03:22 Fantasiestücke, Op. 12: II. Aufschwung
00:06:16 Fantasiestücke, Op. 12: III. Warum?
00:08:47 Fantasiestücke, Op. 12: IV. Grillen
00:12:18 Fantasiestücke, Op. 12: V. In der Nacht
00:16:06 Fantasiestücke, Op. 12: VI. Fabel
00:18:37 Fantasiestücke, Op. 12: VII. Traumes Wirren
00:20:50 Fantasiestücke, Op. 12: VIII. Ende vom Lied
00:25:32 Waldszenen, Op. 82: I. Eintritt
00:27:32 Waldszenen, Op. 82: II. Jäger auf der Lauer
00:28:49 Waldszenen, Op. 82: III. Einsame Blumen
00:30:48 Waldszenen, Op. 82: IV. Verrufene Stelle
00:34:01 Waldszenen, Op. 82: V. Freundliche Landschaft
00:35:07 Waldszenen, Op. 82: VI. Herberge
00:37:06 Waldszenen, Op. 82: VII. Vogel als Prophet
00:39:56 Waldszenen, Op. 82: VIII. Jagdlied
00:42:20 Waldszenen, Op. 82: IX. Abschied
00:45:54 Arabeske, Op. 18
00:52:14 Kinderszenen, Op. 15: I. Von fremden Ländern und Menschen
00:54:00 Kinderszenen, Op. 15: II. Kuriöse Geschichte
00:55:05 Kinderszenen, Op. 15: III. Hasche-Mann
00:55:35 Kinderszenen, Op. 15: IV. Bittendes Kind
00:56:42 Kinderszenen, Op. 15: V. Glückes genug
00:57:45 Kinderszenen, Op. 15: VI. Wichtige Begebenheit
00:58:33 Kinderszenen, Op. 15: VII. Träumerei
01:01:14 Kinderszenen, Op. 15: VIII. Am Kamin
01:02:09 Kinderszenen, Op. 15: IX. Ritter vom Steckenpferd
01:02:43 Kinderszenen, Op. 15: X. Fast zu ernst
01:04:34 Kinderszenen, Op. 15: XI. Fürchtenmachen
01:05:56 Kinderszenen, Op. 15: XII. Kind im Einschlummern
01:08:06 Kinderszenen, Op. 15: XIII. Der Dichter spricht

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This set includes over 7 hours of the most memorable romantic melodies played by some of the world’s finest pianists. The collection contains the most beautiful compositions of great composers including:

Liebestraum - Liszt
Für Elise - Beethoven
Träumerei - Schumann
Nocturne - Chopin
Rosamunde Impromptu - Schubert
Rondo alla Turca - Mozart
Wiegenlied - Brahms
Mondschein Adagio - Beethoven
Raindrop Prelude - Chopin
Clair de lune - Debussy
Hungarian Rhapsody - Liszt
and many others

Tracklist can be found in the comment section!

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

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Composer: Beethoven
Artist: Misha Goldstein

Tracklist below.

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If it is true that the end of Romanticism coincided with the invention of electric light, then we can date this to 1880 – the year in which Thomas Alva Edison patented the light bulb. At around this time, a brilliant student at the Paris Conservatoire, Claude Debussy, decided to embark upon a composing career that would soon ‘illuminate’ the history of music.

Debussy’s output is roughly divided into three periods, each of which is represented by one of the three discs in this set. Focusing solely on his works for piano duo, the collection effectively represents a vantage point from which to analyse his stylistic development, since it touches on both Debussy's piano and orchestral writing simultaneously: as well as original keyboard works (Lindaraja is one example, the composer's first work inspired by Spain), there are piano pieces arranged for orchestra, vice-versa compositions (Prélude a l'après-midi d'un faune, for instance) and music that was clearly intended for the orchestra or for specific ensembles (one example is Le triomphe de Bacchus, for which the orchestration was never completed).

Performing these works are two of Italy's most celebrated pianists, Massimiliano Damerini and Marco Rapetti. Their accomplished readings highlight the unique relationship that exists between piano and orchestra – the former can be seen as a monochromatic version of the latter, with the latter essentially describing the former in polychromatic terms – and, at the same time, draw the listener's attention towards an important area of 19th-century music-making: namely piano transcriptions’ vital role in making operatic and symphonic repertoire available to all.

00:00:00 Symphonie: Allegro
00:09:54 Andante cantabile
00:18:27 Diane: Ouverture
00:25:20 Le triomphe de Bacchus: Suite d’Orchestre: I. Divertissement
00:28:59 Le triomphe de Bacchus: Suite d’Orchestre: II. Andante
00:32:29 Le triomphe de Bacchus: Suite d’Orchestre: IV. Marche et Bacchanale: (fragment A)
00:33:39 Le triomphe de Bacchus: Suite d’Orchestre: IV. Marche et Bacchanale: (fragment B)
00:38:17 Intermezzo
00:42:49 Première Suite d’Orchestre: I. Fête
00:48:49 Première Suite d’Orchestre: II. Ballet
00:53:22 Première Suite d’Orchestre: III. Rêve
01:01:47 Première Suite d’Orchestre: IV. Cortège et Bacchanale
01:10:47 Divertissement
01:22:46 L’Enfant prodigue: Scène lyrique, three excerpts: I. Prélude
01:25:21 L’Enfant prodigue: Scène lyrique, three excerpts: II. Cortège - III. Air de danse
01:29:36 Printemps: Suite symphonique: I. Très modéré
01:39:54 Printemps: Suite symphonique: II. Modéré
01:47:45 Petite Suite: I. En bateau
01:51:26 Petite Suite: II. Cortège
01:54:56 Petite Suite: III. Menuet
01:58:16 Petite Suite: IV. Ballet
02:01:38 Marche écossaise sur un Thème populaire: ‘The Earl of Ross March’
02:09:09 Prélude à l’après-midi d’un Faune
02:19:36 Lindaraja
02:25:54 La Mer: Trois Esquisses symphoniques: I. De l’Aube à midi sur la Mer
02:34:40 La Mer: Trois Esquisses symphoniques: II. Jeux de vagues
02:42:17 La Mer: Trois Esquisses symphoniques: III. Dialogue du Vent et de la Mer
02:50:25 Danses: I. Danse sacrée
02:55:23 Danses: II. Danse profane
03:00:33 Six Épigraphes antiques: I. Pour invoquer Pan, dieu du Vent d’été
03:03:00 Six Épigraphes antiques: II. Pour un Tombeau sans Nom
03:06:55 Six Épigraphes antiques: III. Pour que la Nuit soit propice
03:09:18 Six Épigraphes antiques: IV. Pour la Danseuse aux crotales
03:11:53 Six Épigraphes antiques: V. Pour l’Égyptienne
03:15:03 Six Épigraphes antiques: VI. Pour remercier la Pluie au matin
03:17:15 En blanc et noir: I. Avec emportement
03:21:42 En blanc et noir: II. Lent, sombre
03:29:22 En blanc et noir: III. Scherzando

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Composers: Alexander Glazunov, Piotr Ilyich Tchaikovsky, Sergei Prokofiev, Sergei Rachmaninoff
Artists: Alexander Russakovsky (cello), Amber Shay Nicholson (piano)

Bringing together works for cello and piano by some of the greatest composers in Russian music history, the set begins with Rachmaninoff’s Cello Sonata – a landmark piece for the composer and whose highlights include a lyrical opening movement and the furiousness of an apparent snowstorm in the second-movement Scherzo. The Pas d’action from Tchaikovsky’s ballet Sleeping Beauty, which follows, depicts the moment where Prince Désiré, wandering alone in the forest, is approached by the Lilac Fairy who shows him a vision of the beautiful princess Aurora, and this is followed by Glazunov’s Sérénade espagnole – the first of the composer’s ‘Spanish’ works, one which employs a ringing tone reminiscent of a Spanish guitar or lute. Bringing the collection to an end is Prokofiev’s Cello Sonata. This piece, beginning with a distinctly serious tone, metamorphoses into a triumphant carnival-like finale, complete with the festive bells that are so symbolic of Russian music.

Cellist Alexander Russakovsky enjoys an international reputation as a performer and teacher. He has given masterclasses as far afield as Latin America and Taiwan, and in recent years has won first prize at the Angela and Maurice M. Clairmont Competition in Tel Aviv and the Performing Arts Foundation Competition in Santa Barbara. Pianist Amber Shay Nicholson won the 2001 Rachmaninoff Concerto No.3 competition at the Eastman School of Music; she is also a former member of the piano faculty of the University of Southern Mississippi.

00:00:00 Cello Sonata in G Minor, Op. 19: I. Lento – Allegro moderato
00:12:29 Cello Sonata in G Minor, Op. 19: II. Allegro scherzando
00:19:22 Cello Sonata in G Minor, Op. 19: III. Andante
00:25:07 Cello Sonata in G Minor, Op. 19: IV. Allegro mosso
00:36:16 Sleeping Beauty, Op. 66, Act 2: No. 15, Pas d’action. Andante cantabile (Arr .Albert Kleineke)
00:40:40 Pieces for Cello and Orchestra, Op.20: II. Sérénade Espagnole
00:43:30 Cello Sonata in C Major, Op. 119: I. Andante grave
00:55:12 Cello Sonata in C Major, Op. 119: II. Moderato
01:00:11 Cello Sonata in C Major, Op. 119: III. Allegro ma non troppo

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Composer & Artist: Various

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

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

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