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About this album:
In May 2014 the Hungarian cellist István Várdai performed three Bach Suites at an unusual venue in New York: not the storied glamour of Carnegie Hall or the hip 92st St Y, but the Board of Officers Room in the recently renovated Armory on Park Avenue, a room no less redolent of distinguished history: to which he made his own distinguished contribution according to the New York Times, with a recital which concluded with a ‘superb’ performance of the Sixth Suite.
Bach’s iconic solo suites form the pinnacle of the entire cello repertoire, the ultimate challenge and a Mount Everest every young and aspiring cellist has to climb, no matter how often that has already been done.
Young Hungarian cellist István Várdai is winner of the Geneva Competition, 3rd prize Tchaikovsky Competition 2007 and first prize winner of the prestigious ARD competition in 2014. He embarked on a successful international career, having played with Mikhael Pletnev, Adám Fischer, Zoltán Kocsis, and chamber music partner of Gidon Kremer, Mischa Maisky, Elisabeth Leonskaja, Andras Schiff, Klára Würtz and many others.


Tracklist:
00:00:00 Cello Suite No. 1 in G Major, BWV 1007: I. Prélude
00:02:52 Cello Suite No. 1 in G Major, BWV 1007: II. Allemande
00:07:08 Cello Suite No. 1 in G Major, BWV 1007: III. Courante
00:10:01 Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande
00:12:39 Cello Suite No. 1 in G Major, BWV 1007: V. Menuet I & II
00:15:56 Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue 1
00:17:32 Cello Suite No. 3 in C Major, BWV 1009: I. Prelude
00:21:25 Cello Suite No. 3 in C Major, BWV 1009: II. Allemande
00:25:07 Cello Suite No. 3 in C Major, BWV 1009: III. Courante
00:28:29 Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande
00:32:30 Cello Suite No. 3 in C Major, BWV 1009: V. Bourrée I & II
00:36:13 Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue
00:39:31 Cello Suite No. 5 in C Minor, BWV 1011: I. Prelude
00:46:20 Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande
00:51:10 Cello Suite No. 5 in C Minor, BWV 1011: III. Courante
00:53:20 Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande
00:57:12 Cello Suite No. 5 in C Minor, BWV 1011: V. Gavotte I & II
01:02:08 Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue
01:04:17 Cello Suite No. 2 in D Minor, BWV 1008: I. Prelude
01:08:20 Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande
01:11:27 Cello Suite No. 2 in D Minor, BWV 1008: III. Courante
01:13:29 Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande
01:17:48 Cello Suite No. 2 in D Minor, BWV 1008: V. Menuet I & II
01:20:38 Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue
01:23:12 Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prelude
01:27;45 Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande
01:32:06 Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante
01:35:47 Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande
01:40:09 Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrée I & II
01:45:04 Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue
01:47:48 Cello Suite No. 6 in D Major, BWV 1012: I. Prelude
01:52:54 Cello Suite No. 6 in D Major, BWV 1012: II. Allemande
02:01:12 Cello Suite No. 6 in D Major, BWV 1012: III. Courante
02:05:10 Cello Suite No. 6 in D Major, BWV 1012: IV. Sarabande
02:10:45 Cello Suite No. 6 in D Major, BWV 1012: V. Gavotte I & II
02:14:38 Cello Suite No. 6 in D Major, BWV 1012: VI. Gigue

Artist:
István Várdai (cello)

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Schubert’s two piano trios were composed late in his short life (his only trio prior to these is the short B flat trio movement D28 of 1812), probably in late 1827 and the summer of 1828, the year of his death. They are vast works, worthy of Schumann’s comment on Schubert’s Ninth Symphony of being of ‘heavenly length’.

Although structured along similar lines to Beethoven’s piano trios, Schubert’s trios inhabit a different world to the older composer’s ‘Ghost’ or ‘Archduke’ works. Beethoven revelled in drama and complex and ingenious textures. Schubert concentrates instead on beautiful tunes, and eloquent dialogues between the three players. The music of the Austrian countryside permeates these works, and although they date from Schubert’s last months, they contain little of the world weariness and desolation of Winterreisse, the late sonatas or the proto-Mahlerian slow movement of the Tenth Symphony D936a.
00:00:00 Piano Trio No.1 in B flat D898: I. Allegro moderato
00:14:29 Piano Trio No.1 in B flat D898: II. Andante, un poco mosso
00:23:05 Piano Trio No.1 in B flat D898: III. Scherzo – Trio – Allegro
00:29:47 Piano Trio No.1 in B flat D898: IV Rondo – Allegro vivace – Presto
00:38:37 Piano Trio No.1 in B flat D898: Notturno in E flat D897
00:48:50 Piano Trio No.2 in E flat D929: I. Allegro
01:00:23 Piano Trio No.2 in E flat D929: II. Andante con moto
01:09:31 Piano Trio No.2 in E flat D929: III. Scherzando: Allegro moderato
01:16:39 Piano Trio No.2 in E flat D929: IV. Allegro moderato

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It is remarkable that concertos by Vivaldi are still awaiting their first recordings, and this CD programmes 8 ‘solemn’ concertos. Solemn in this context usually meant a slow introduction, acting as a prelude to the following 3 movements. Vivaldi was a master at creating concertos from other works, and these were known as ‘pasticcio’ concertos. For example, sinfonias or overtures to his many operas provided a happy hunting ground for such concertos, and on this CD the concertos are a mix of Vivaldi’s pasticcios and those of the Pablo Queipo de Llano, a Vivaldi scholar and author the comprehensive CD booklet essay.

To illustrate how adept Vivaldi was at turning existing works to new uses, the finale of RV197 was originally the double fugue from the overture to the serenata La senna festeggiante RV693. This had in turn been adapted by Vivaldi from the closing section of Lotti’s Moralita d’una perla. The opening movement of RV155 was reused by Vivaldi for his Salve Regina RV618
The tradition of pasticcio concertos arranged from other composer’s works was common practice at the Dresden court, where the director was Johann Georg Pisendal, a pupil of Vivaldi. Many movements by Vivaldi were found among the manuscripts in Dresden, and form the basis for these reconstructions.

00:00:00 Concerto per archi e basso continuo in do Minore RV 197
00:03:31 Concerto per archi e basso continuo in do Minore RV 197
00:06:10 Concerto per archi e basso continuo in do Minore RV 197
00:07:58 Sinfonia per archi e basso continuo in la maggiore RV Anh. 85
00:10:05 Sinfonia per archi e basso continuo in la maggiore RV Anh. 85
00:12:52 Sinfonia per archi e basso continuo in la maggiore RV Anh. 85
00:16:45 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:19:05 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:22:54 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:26:33 Concerto per 2 Violini, archi e basso continuo in sol Minore RV 155
00:30:56 Concerto per archi e basso continuo in sol Minore RV 316
00:33:27 Concerto per archi e basso continuo in sol Minore RV 316
00:34:39 Concerto per archi e basso continuo in sol Minore RV 316
00:36:36 Concerto per archi e basso continuo in do maggiore RV 185
00:37:41 Concerto per archi e basso continuo in do maggiore RV 185
00:40:10 Concerto per archi e basso continuo in do maggiore RV 185
00:41:37 Concerto per archi e basso continuo in do maggiore RV 185
00:44:00 Concerto per 2 Violini, archi e basso continuo in re Minore RV 247
00:46:46 Concerto per 2 Violini, archi e basso continuo in re Minore RV 247
00:49:59 Concerto per 2 Violini, archi e basso continuo in re Minore RV 247
00:53:04 Concerto per archi e basso continuo in fa maggiore RV 292
00:55:32 Concerto per archi e basso continuo in fa maggiore RV 292
00:57:46 Concerto per archi e basso continuo in fa maggiore RV 292
00:58:35 Concerto per archi e basso continuo in fa maggiore RV 292
01:02:51 Concerto per archi e basso continuo in mi Minore RV 134
01:05:38 Concerto per archi e basso continuo in mi Minore RV 134
01:07:08 Concerto per archi e basso continuo in mi Minore RV 134

Tracklist below.

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Composer: Wolfgang Amadeus Mozart
Artists: Ensemble Pyramide, Markus Brönnimann (flute), Barbara Tillmann (oboe), Ulrike Jacoby (violin), Muriel Schweizer (viola), Anita Jehli (cello)

For many Mozart is more ‘perfector’ than ‘innovator’, a composer who drew on an already extant vocabulary to create some of the greatest works in European culture. In this recording, however, we are introduced to Mozart the ‘trailblazer’: the first composer in history to take wind instruments seriously. Whereas his colleagues were inclined to employ the so-called Harmonie merely to reinforce the general sonority, Mozart took it upon himself to exploit the character of each of these instruments, endowing them with a much more individualistic, distinctive role – as soloists, in the orchestra or in chamber music, the subject of this engaging release.

Such writing is evident in the Quartet for oboe and strings, a work of wide leaps and brilliant passages that was composed for the Mannheim virtuoso Friedrich Ramm, and the Flute Quartet in D – written for the highly accomplished amateur musician Ferdinand Dejean and in which the principal voice, equipped with pearling runs in the first movement, is treated with great care, displaying nothing of the composer’s supposed aversion to the instrument. Both works are milestones of their respective genres, and they are joined on this recording by three pieces originally composed for mechanical organ (and arranged for this recording by flautist Markus Brönnimann), originally commissioned by Count Deym to be used as accompaniment for a newly erected mausoleum in Vienna. Among these, the Fantasia in F minor K608 stands out as the most intense and dramatic, combining rigorous harmonic invention with memorable melody, polyphonic complexity and compositional virtuosity. Brönnimann’s suggestion as to a possible comparison with the works of the American-born composer Conlon Nancarrow, as mentioned in the booklet note, reveals just how forwardthinking this music was for its time.

At hand to perform these works is Ensemble Pyramide, a group whose diverse repertoire ranges from Baroque to 21st century and whose recital programmes are often based around the juxtaposition between new and old. Based in Zurich and awarded the city’s cultural stipend ‘Werkjahr für Interpretation’ in 2006, its recordings for radio and on CD (which take in labels such as Naxos and Ars Musici) are complemented by an active recording schedule throughout Europe.

00:00:00 Quartet in F Major, K. 370: I. Allegro
00:07:03 Quartet in F Major, K. 370: II. Adagio
00:10:05 Quartet in F Major, K. 370: III. Rondeau. Allegro
00:14:46 Adagio and Allegro in F Minor K. 594 (Adagio - Allegro - Adagio)
00:24:54 Andante in F Major, K. 616
00:32:18 Fantasia in F Minor, K. 608 (Allegro - Andante - Tempo primo)
00:41:40 Quartet in D Major, K. 285: I. Allegro
00:48:49 Quartet in D Major, K. 285: II. Adagio
00:51:41 Quartet in D Major, K. 285: III. Rondeau. Allegretto

Tracklist below.
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Having made a gradual switch during the 15 years since his first album was published from electronica to instrumental variations on ambient and minimalism, Max Richter is among the most commercially successful composers of our time. This album of his solo piano music belongs in the genre explored so thoroughly for Brilliant Classics by Jeroen van Veen, whose prolific recording history includes hugely popular albums of Philip Glass (BC9419) and Michael Nyman (BC95112), Ludovico Einaudi (BC94910) and Yann Tiersen (BC95129) and his fellow Dutch musician Jakob ter Veldhuis (BC94873) and himself (BC9454). The appetite for slowly moving, unchallenging, post-Minimalist music is apparently infinite, and so this new album is sure to be a success.

Born in 1966, Richter has in the last few years achieved international fame with his recomposed version of Vivaldi’s Four Seasons, which topped the iTunes chart in the UK, the US and Germany. Then last year, came the record-breaking Sleep, an ‘eight-hour cradle song’ which like the Vivaldi mixed live and pre-recorded, electronic and acoustic sounds, to induce and accompany deep slumber.

The songs on this album are all shorter, though sharing the somnambulistic mood of Sleep. Vladimir's Blues featured on a BBC documentary series about the deep sea, while The Twins (Prague) was used in a series on Auschwitz, The Nazis and the Final Solution. As Richter’s own programme notes explain, the music is for beginners, based on classical Alberti-style bass figures.

Several tracks derive from his albums The Blue Notebooks and Songs from Before; H in New England is extracted from the incidental music written by Richter for the film Henry May Long.

Max Richter (born in 1966) is one of the most influential composers of his generation. Electro-acoustic polymath Max Richter defies definition: composer, pianist, producer, remixer, and collaborator, and beyond argument one of the most prolific of contemporary musical artists. Inspired equally by Bach, punk rock and ambient electronica, Richter’s sonic world blends a formal classical training (he graduated from the Royal Academy of Music, and was a pupil of renowned composer Luciano Berio) with modern technology.
This new recording presents Richter’s solo piano music up to date.
Dutchman Jeroen van Veen is one of the leading pianists of today focusing on Minimalism and championing a new generation of composers, easily crossing borders between musical styles.

00:00:00 Andras
00:04:51 The Blue Notebooks
00:06:12 Circles from the rue Simon-Crubellier
00:07:23 Departure
00:09:04 The Family
00:11:53 Fragment
00:13:49 From the rue Villin
00:15:19 H in New England
00:17:38 Horizon Variations
00:19:55 INFRA 3
00:23:27 Leo’s Journal
00:25:21 The Tartu Piano
00:27:48 The Twins
00:30:31 Vladimir’s Blues
00:32:34 Written on The Sky I
00:35:11 Horizon Variations II
00:38:31 Waltz with Bashir Reflection
00:40:14 Written on the Sky II

Artist:
Jeroen van Veen (piano)

Tracklist below.

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Alexander Borodin was a part-time composer whose primary career was in science. Borodin was a member of the ‘Mighty Handful’, the group of five Russian composers which included Balakirev, Cui, Rimsky Korsakov and Mussorgsky, who established a Russian school of composition building on the legacy of Mikhail Glinka.
Borodin liked to joke, ‘I compose only when I am ill’, and he left a small body of work, much of it in a fragmentary state at his death, which was later edited and completed by Rimsky and Glazunov. However, such is the quality of these works that his place among the greatest of Russian composers is assured. The three symphonies, In the Steppes of central Asia, the opera Prince Igor and the two string quartets are masterpieces.
Borodin studied the piano as a small child, and the earliest work on this survey of his complete output for piano is the Polka Helene, composed when he was just 9 years old. Paraphrases on a Simple Theme was a venture with Lyadov, Rimsky-Korsakov and Cui, with Liszt providing the prelude. Written for fun, they are delightfully witty. The Petite Suite is a collection of short works Borodin composed over a number of years, an example of high class salon music – Borodin knew his Kalkbrenner, Field and Hummel well. The Scherzo in A flat from 1885 is a wonderful work, often played as an encore by Rachmaninov. Ravel admired Borodin, and had studied his music as a teenager, and his affectionate tribute to Borodin is included in the little Waltz in the manner of Borodin.
Other information:
- Recorded in 2008.
- Contains the premiere recordings of ‘In the Steppes of central Asia’ in the composers arrangement for 4 hands, plus premier recordings for the Scherzo in E, Allegretto in D-Flat, Polka Helene, and Adagio Patetico in A-Flat.
- Marco Rapetti has recorded the piano music of Lyapunov, as well as the sonata by Dukas and works for two pianos by Malipiero.
- Comprehensive booklet notes included.







00:00:00 Petite Suite: I. Au couvent. Andante religioso (1885)
00:06:03 Petite Suite: II. Intermezzo. Tempo di menuetto (1885)
00:09:33 Petite Suite: III. Mazurka No. 1, Allegro (1885)
00:12:23 Petite Suite: IV. Mazurka No. 2, Allegretto (1885)
00:16:22 Petite Suite: V. Rêverie. Andante (1885)
00:18:29 Petite Suite: VI. Sérénade. Allegretto (1885)
00:20:40 Petite Suite: VII. Nocturne. Andantino (1885)
00:23:43 Scherzo in A-Flat Major (1885)
00:27:04 Dans les steppes de l’Asie centrale, for Piano Four Hands (Arr. Borodin, 1880)
00:34:43 Paraphrases: Prélude (Arr. Borodin, 1878-79)
00:35:29 Paraphrases: Polka (1878-79)
00:36:46 Paraphrases: Marche Funèbre (1878-79)
00:38:26 Paraphrases: Valse (Arr. Borodin, 1878-79)
00:40:25 Paraphrases: Berceuse (Arr. Borodin, 1878-79)
00:42:59 Paraphrases: Galop (Arr. Borodin, 1878-79)
00:44:02 Paraphrases: Gigue (Arr. Borodin, 1878-79)
00:44:50 Paraphrases: Fughetta on B-A-C-H (Arr. Borodin, 1878-79)
00:45:30 Paraphrases: Tarantella (Arr. Borodin, 1878-79)
00:46:52 Paraphrases: Menuetto (Arr. Borodin, 1878-79)
00:47:47 Paraphrases: Valse (Arr. Borodin, 1878-79)
00:49:51 Paraphrases: Requiem (1878-79)
00:53:35 Paraphrases: Carillon (Arr. Borodin, 1878-79)
00:55:11 Paraphrases: Mazurka (Arr. Borodin, 1878-79)
00:56:39 Paraphrases: Fugue Grotesque (Arr. Borodin, 1878-79)
00:57:22 Paraphrases: Cortège Triomphal (Arr. Borodin, 1878-79)
00:59:52 Tarantella in D Major for Piano Four Hands (1862)
01:04:20 Allegretto in D-Flat Major for Piano Four Hands (1861)
01:06:04 Scherzo in E Major for Piano Four Hands (1861)
01:11:04 Adagio patetico in A-Flat Major (1849)
01:15:10 Polka Hélène in D Minor (1843)
01:17:24 À la manière de Borodine (1913)

Artist:
Marco Rapetti (piano)
featuring:
Daniela de Santis
Giampaolo Nuti
piano four hands

Tracklist below.

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00:00:00 Concerto Estienne Roger: allegro
00:01:45 Concerto Estienne Roger: adagio
00:03:39 Concerto Estienne Roger: presto
00:05:05 Sonata, G. 1: andante
00:06:42 Sonata, G. 1: allegro
00:08:10 Sonata, G. 1: Grave
00:09:52 Sonata, G. 1: allegro
00:11:22 Sinfonia, G. 2: allegro
00:12:22 Sinfonia, G. 2: Grave
00:14:10 Sinfonia, G. 2: allegro
00:15:40 Sinfonia, G. 3: adagio
00:17:04 Sinfonia, G. 3: Grave/allegro
00:18:51 Sinfonia, G. 3: allegro
00:19:53 Sinfonia, G. 4: presto
00:20:53 Sinfonia, G. 4: adagio e spiccato/presto
00:21:49 Sinfonia, G. 4: allegro
00:22:49 Sonata, G. 5: adagio
00:23:26 Sonata, G. 5: allegro e staccato
00:24:44 Sonata, G. 5: adagio
00:25:14 Sonata, G. 5: allegro
00:26:10 Sonata, G. 6: Vivace
00:27:22 Sonata, G. 6: adagio/largo
00:28:10 Sonata, G. 6: allegro come stà
00:29:56 Sonata, G. 7: Grave/allegro
00:31:04 Sonata, G. 7: Grave
00:31:21 Sonata, G. 7: allegro
00:33:28 Sonata, G. 7: Grave
00:33:54 Sonata, G. 7: allegro
00:35:14 Sinfonia, G. 8: allegro
00:36:59 Sinfonia, G. 8: adagio
00:37:31 Sinfonia, G. 8: allegro
00:38:12 Sinfonia, G. 8: allegro
00:39:51 Sinfonia in D Major, G. 9: allegro
00:41:54 Sinfonia in D Major, G. 9: prestissimo/adagio
00:42:30 Sinfonia in D Major, G. 9: allegro
00:43:46 Sinfonia in D, G. 10: allegro
00:44:54 Sinfonia in D, G. 10: presto/adagio
00:45:45 Sinfonia in D, G. 10: allegro
00:46:36 Sinfonia in D, G. 10: adagio/allegro
00:48:18 Sinfonia con Tromba, G. 11: allegro
00:49:55 Sinfonia con Tromba, G. 11: presto/adagio
00:50:25 Sinfonia con Tromba, G. 11: allegro
00:52:00 Sonata in D, G. 13: allegro
00:53:34 Sonata in D, G. 13: largo/allegro/largo
00:55:12 Sonata in D, G. 13: allegro
00:56:23 sinfonia avanti l’ opera, G. 14: allegro
00:57:37 sinfonia avanti l’ opera, G. 14: largo e spicco
00:58:07 sinfonia avanti l’ opera, G. 14: allegro
00:59:06 Sonata a cinque, G. 15: presto
00:59:42 Sonata a cinque, G. 15: adagio/presto
01:00:51 Sonata a cinque, G. 15: allegro
01:01:38 sinfonia con Trombeé Violini, G. 16: allegro
01:03:30 sinfonia con Trombeé Violini, G. 16: Grave/allegro
01:04:52 sinfonia con Trombeé Violini, G. 16: allegro
01:06:41 Concerto con Trombe, G. 18: largo assai
01:07:42 Concerto con Trombe, G. 18: allegro
01:09:45 Concerto con Trombe, G. 18: adagio e staccato
01:11:39 Concerto con Trombe, G. 18: allegro
01:13:23 Sinfonia con Trombe, G. 20: allegro
01:15:06 Sinfonia con Trombe, G. 20: adagio/largo e staccato
01:16:11 Sinfonia con Trombe, G. 20: allegro
01:17:25 Sinfonia con Trombe, G. 20: allegro
01:18:37 Sinfonia con due Trombe, G. 21: presto
01:19:54 Sinfonia con due Trombe, G. 21: adagio e staccato/allegro staccato e piano
01:20:55 Sinfonia con due Trombe, G. 21: allegro
01:22:39 Sinfonia con due Trombe é instrumenti, G. 22: Vivace e staccato
01:23:30 Sinfonia con due Trombe é instrumenti, G. 22: largo e staccato/Vivace/Grave
01:24:38 Sinfonia con due Trombe é instrumenti, G. 22: allegro
01:26:49 Sinfonia in D Major, G. 23: allegro
01:29:09 Sinfonia in D Major, G. 23: largo/allegro
01:30:58 Sinfonia in D Major, G. 23: Vivace
01:33:12 Concerto in D Major for two trumpets and b.c., G. 24: allegro
01:35:36 Concerto in D Major for two trumpets and b.c., G. 24: largo e staccato/presto
01:37:24 Concerto in D Major for two trumpets and b.c., G. 24: allegro

Artist:
Thomas Hammes (trumpet)
European Chamber Soloists
Nicol Matt (conductor)

Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.

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Artists:
Misha Goldstein
Klára Würtz
Håkon astbø

Tracklist:
00:00:00 Liebesträume, S. 541: III. Oh Lieb, so lang du lieben kannst - Franz Liszt
00:04:36 Lieder ohne Worte, Op. 19b: I. Andante con moto - Felix Mendelssohn
00:08:29 Nocturne in B-Flat Minor, Op. 9 No. 1 - Frédéric Chopin
00:13:54 4 Impromptus, D. 935, Op. 142: III. Impromptu in B-Flat Major "Rosamunde" - Franz Schubert
00:25:49 Klavierstücke, Op. 76: IV. Intermezzo. Allegretto grazioso - Johannes Brahms
00:28:22 4 Impromptus, D. 935: II. Impromptu in A-Flat Major - Franz Schubert
00:34:54 6 Lieder, Op. 57: V. Venetianisches Gondellied - Felix Mendelssohn
00:37:59 Intermezzo in E-Flat Major, Op. 117 No. 1 - Johannes Brahms
00:43:20 Intermezzo in B-Flat Minor, Op. 117 No. 2 - Johannes Brahms
00:48:12 Consolation in E-Flat Major, S. 172 - Franz Liszt
00:51:33 Piano Sonata No. 14, Op. 27 No. 2: II. Allegretto - Ludwig van Beethoven
00:57:13 Lieder ohne Worte, Op. 62: VI. Allegretto grazioso "Frühlingslied" - Felix Mendelssohn
00:59:33 Deux Arabesques, L. 66: I. Première Arabesque - Claude Debussy
01:03:43 Moments musicaux, D. 780, Op. 90: IV. Moderato - Franz Schubert
01:05:23 Sonate Pathetique, Op. 13: II. Adagio - Ludwig van Beethoven
01:10:07 Für Elise, WoO 59 - Ludwig van Beethoven
01:12:58 Klavierstück in E-Flat Major, D. 946, No. 2 - Franz Schubert
01:24:07 Intermezzo in A Major, Op. 118, No. 2 - Johannes Brahms
01:30:29 Deux Arabesques, L. 66: Deuxième Arabesque - Claude Debussy
01:33:35 Fantasiestücke, Op. 12: I. Des Abends - Robert Schumann
01:36:59 4 Impromptus, D. 899, Op. 90: III. Impromptu in G-Flat Major - Franz Schubert
01:42:15 Rêverie, L. 68 - Claude Debussy
01:45:59 3 Romances, Op. 28: II. Romanze in F-Sharp Major - Robert Schumann
01:49:21 Sonate in B Minor, Kk. 27 - Domenico Scarlatti
01:54:49 Consolation in D-Flat Major, S. 172 - Franz Liszt
01:57:14 Clair de Lune, L. 32 - Claude Debussy
02:02:13 Träumerei, Op. 15 No. 7 - Robert Schumann
02:05:25 Prelude in D-Flat Major, Op. 28 No. 15, "Regentropfen" - Frédéric Chopin
02:10:12 Nocturne in E-Flat Major, Op. 9 No. 2 - Frédéric Chopin
02:14:30 16 Waltzes, Op. 39: No. 15, Waltz in A-Flat Major "Lullaby" - Johannes Brahms
02:16:08 Piano Sonata No. 11 in A Major, K. 331: III. Alla Turca. Allegretto - Wolfgang Amadeus Mozart
02:19:35 Lieder ohne Worte, Op.67: IV. Spinnerlied in A Major. Presto - Felix Mendelssohn
02:21:38 Lyric Pieces, Op. 12: IV. Dance of the Fairies - Edvard Hagerup Grieg
02:22:33 Lyric Pieces, Op. 38: I. Berceuse - Edvard Hagerup Grieg
02:24:50 Lyric Pieces, Op. 43: I. Butterfly -Edvard Hagerup Grieg
02:26:27 Lyric Pieces, Op. 54: III. March of the Dwarfs - Edvard Hagerup Grieg
02:29:22 Waltzes, Op. 64: No. 1, Waltz in D-Flat Major "Minute Waltz" - Frédéric Chopin
02:31:06 Sonate facile in C Major, K. 545: I. Allegro - Wolfgang Amadeus Mozart
02:34:28 3 Gymnopédies: No. 1, Lent et douloureux - Erik Satie
02:38:07 Gnossiennes Nos. 4-6: Gnossienne No. 5 - Erik Satie
02:40:59 Nocturne in C-Sharp Minor Op. Posth. - Frédéric Chopin
02:45:02 Etudes in E Major Op. 10: III. “Tristesse” - Frédéric Chopin
02:49:32 2 Konzertetüden, S.145: No. 1 in A-Flat Major “Waldesrauschen“ - Franz Liszt
02:53:39 Impromptu No. 1 in A-Flat Major, Op. 29 - Frédéric Chopin
02:57:26 The Seasons, Op. 37a: No. 10, October. Autumn Song in D Minor. Andante doloroso e molto cantabile - Piotr Ilyich Tchaikovsky
03:00:50 Pavane pour une infante défunte in G Major, M. 19 - Maurice Ravel
03:07:15 Waldszenen, Op. 82: No. 7, Vogel als Prophet - Robert Schumann
03:10:06 Ballade No. 3 in A-Flat Major, Op. 47 - Frédéric Chopin
03:17:29 8 Klavierstücke, Op. 76: No. 2, Capriccio in B Minor. Allegretto non troppo - Johannes Brahms
03:21:11 Fantasie Impromptu No. 4 in C-Sharp Minor, Op. 66 - Frédéric Chopin

Artist:
Misha Goldstein
Klára Würtz
Håkon astbø

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The Complete Oboe Concertos (full album) of Vivaldi. Amazing to think in these days of plenty, when Vivaldi's sun has surely never shone brighter, that there can still be examples of his 660 or so concertos which have yet to be heard on record, but this invaluable set contains one such work, the G minor concerto RV459, as well as all the other works which the Venetian composer originally wrote for an instrument for which he evidently conceived a great affection, well suited as it is to the virtuoso roulades and trills which distinguish his writing for his own instrument, the violin, as well as testing the soloist with great demands on breath control in the fast outer movements and lyrical intensity in the central slow ones. It is more than likely that Vivaldi’s earliest concertos for wind instruments were those he composed for the oboe. The documents at the Ospedale della Pietà, where Vivaldi was a long-serving teacher and maestro della musica, reveal a specific interest on his part for the instrument.

00:00:00 Oboe Concerto in C Major, RV 449: I. Allegro00:02:58 Oboe Concerto in C Major, RV 449: II. Largo
00:05:51 Oboe Concerto in C Major, RV 449: III. Allegro
00:09:08 Oboe Concerto in G Minor, RV 460: I. Allegro non tanto
00:12:52 Oboe Concerto in G Minor, RV 460: II. Largo
00:15:54 Oboe Concerto in G Minor, RV 460: III. Allegro non molto
00:19:30 Oboe Concerto in B-Flat Major, RV 465: I. Allegro
00:21:46 Oboe Concerto in B-Flat Major, RV 465: II. Adagio
00:23:29 Oboe Concerto in B-Flat Major, RV 465: III. Allegro
00:25:20 Oboe Concerto in F Major, RV 456 “Harmonia Mundi”: I. Largo
00:29:02 Oboe Concerto in F Major, RV 456 “Harmonia Mundi”: II. Allegro – Adagio
00:31:36 Oboe Concerto in F Major, RV 456 “Harmonia Mundi”: III. Presto
00:33:33 Oboe Concerto in D Minor, RV 454: I. Allegro
00:36:31 Oboe Concerto in D Minor, RV 454: II. Largo
00:38:48 Oboe Concerto in D Minor, RV 454: III. Allegro
00:41:31 Oboe Concerto in B-Flat Major, RV 464: I. Allegro
00:44:12 Oboe Concerto in B-Flat Major, RV 464: II. Largo
00:45:54 Oboe Concerto in B-Flat Major, RV 464: III. Allegro
00:47:43 Oboe Concerto in D Major, RV 453: I. Allegro
00:50:54 Oboe Concerto in D Major, RV 453: II. Largo
00:52:57 Oboe Concerto in D Major, RV 453: III. Allegro
00:56:06 Oboe Concerto in A Minor, RV 463: I. Allegro
00:59:11 Oboe Concerto in A Minor, RV 463: II. Largo
01:02:40 Oboe Concerto in A Minor, RV 463: III. Allegro
01:05:35 Oboe Concerto in C Major, RV 450: I. Allegro molto
01:09:49 Oboe Concerto in C Major, RV 450: II. Larghetto
01:12:57 Oboe Concerto in C Major, RV 450: III. Allegro
01:15:47 Oboe Concerto in F Major, RV 457: I. Allegro non molto
01:20:22 Oboe Concerto in F Major, RV 457: II. Andante
01:23:19 Oboe Concerto in F Major, RV 457: III. Allegro molto
01:26:04 Oboe Concerto in C Major, RV 448: I. −
01:30:31 Oboe Concerto in C Major, RV 448: II. Larghetto
01:34:31 Oboe Concerto in C Major, RV 448: III. Allegro
01:37:15 Oboe Concerto in A Minor, RV 461: I. Allegro non molto
01:40:45 Oboe Concerto in A Minor, RV 461: II. Larghetto
01:43:42 Oboe Concerto in A Minor, RV 461: III. Allegro
01:46:13 Oboe Concerto in C Major, RV 451: I. Allegro molto
01:48:58 Oboe Concerto in C Major, RV 451: II. Largo
01:52:15 Oboe Concerto in C Major, RV 451: III. Allegro
01:55:07 Oboe Concerto in C Major, RV 184: I. Allegro - Adagio
02:00:22 Oboe Concerto in C Major, RV 184: II. Andante
02:02:55 Oboe Concerto in C Major, RV 184: III. Allegro
02:06:21 Oboe Concerto in A Minor, RV 462: I. Allegro
02:08:13 Oboe Concerto in A Minor, RV 462: II. Largo
02:10:41 Oboe Concerto in A Minor, RV 462: III. Allegro
02:12:44 Oboe Concerto in C Major, RV 447: I. Allegro non molto
02:17:27 Oboe Concerto in C Major, RV 447: II. Larghetto
02:21:00 Oboe Concerto in C Major, RV 447: III. Minuetto
02:27:23 Oboe Concerto in F Major, RV 455: I. −
02:30:52 Oboe Concerto in F Major, RV 455: II. Grave
02:33:07 Oboe Concerto in F Major, RV 455: III. Allegro
02:35:49 Oboe Concerto in C Major, RV 452: I. Allegro
02:37:58 Oboe Concerto in C Major, RV 452: II. Adagio
02:39:54 Oboe Concerto in C Major, RV 452: III. Allegro
02:42:07 Oboe Concerto in F Major, RV 458: I. Allegro
02:44:12 Oboe Concerto in F Major, RV 458: II. Adagio e staccato
02:48:08 Oboe Concerto in F Major, RV 458: III. Allegro presto
02:47:56 Oboe Concerto in C Major, RV 446: I. −
02:51:10 Oboe Concerto in C Major, RV 446: II. Adagio
02:54:06 Oboe Concerto in C Major, RV 446: III. Allegro
02:56:06 Oboe Concerto in G Minor, RV 459: I. Allegro
02:58:10 Oboe Concerto in G Minor, RV 459: II. Adagio
02:59:08 Oboe Concerto in G Minor, RV 459: III. Allegro da capo

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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.