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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

Tracklist below.

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This new recording contains Elgar’s complete original works for organ, as well as several arrangements of his famous showpieces, the first Pomp & Circumstance March, the Imperial March and Nimrod from the Enigma Variations, an iconic piece of English ceremony. The original organ works consist of the grand Organ Sonata and the Vespers Voluntaries, a touching expression of Elgar’s Roman Catholic faith. The Organ Sonata by Elgar is relatively well-known, not least thanks to its orchestration by Gordon Jacob, but the only other work he originally composed for organ is the Cantique Op.3 No.1, which moves solidly forward in the Victorian tradition without suggesting the personal voice and unpredictable drama that would come to characterise Elgar’s style.

00:00:00 Imperial March, Op. 32
00:04:42 Cantique in C Major, Op. 3
00:08:27 Sonata in G Major, Op. 28: I. Allegro maestoso
00:17:27 Sonata in G Major, Op. 28: II. Allegretto
00:21:49 Sonata in G Major, Op. 28: III. Andante espressivo
00:28:00 Sonata in G Major, Op. 28: IV. Presto (comodo)
00:34:48 Variations on an Original Theme “Enigma”, Op. 36
00:39:08 11 Vesper Voluntaries, Op. 14: Introduction
00:40:34 11 Vesper Voluntaries, Op. 14: I. Andante
00:41:58 11 Vesper Voluntaries, Op. 14: II. Allegro 11
00:43:49 11 Vesper Voluntaries, Op. 14: III. Andantino
00:46:09 11 Vesper Voluntaries, Op. 14: IV. Allegretto piacevole. Intermezzo – Adagio, come prima
00:48:25 11 Vesper Voluntaries, Op. 14: V. Poco lento
00:50:03 11 Vesper Voluntaries, Op. 14: VI. Moderato
00:52:03 11 Vesper Voluntaries, Op. 14: VII. Allegretto pensoso
00:54:13 11 Vesper Voluntaries, Op. 14: VIII. Poco allegro. Coda – Adagio, come prima
00:59:17 Pomp and Circumstance March, Op. 39

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Composer: Luigi Boccherini
Artists: La Magnifica Communità, Enrico Casazza (violin and concert master)

A much-underrated composer, Luigi Boccherini (1743-1805) was one of the leading composers of the late 18th century, a friend and colleague of both Haydn and Mozart, and a formidable cello virtuoso. His reputation was such that he was nicknamed ‘Mrs Haydn’ – not in a pejorative sense, the appellation was due to his music sounding Haydnesque, but with a sensual, feminine grace rather than the Sturm und Drang of his Austrian friend’s music.

Although his cello concerti and some of his symphonies remain in the repertoire, it is his chamber music that his reputation today rests, especially the quintets. Boccherini championed this genre, and it was his example that inspired Mozart to compose his quintets.

This release contains the string quintets Op. 10 - Op. 13. Great performances by La Magnifica Communità, lead by violinist Enrico Casazza

The tracklist can be found in the comments section below!

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Composer & Artist:
Composers: Angelo Morigi, Christian Petzold, Giuseppe Colombi, Pedro Lopes Nogueira
Artist: Valerio Losito (viola)

About this Album:
Famed for its distinctive sound, the viola d’amore – literally meaning ‘viola of love’ – is one of the more unusual members of the string family, an instrument that appeared towards the end of the 17th century and which owes its silvery, angelic tones to the symbiotic vibrations between its two sets of strings, one gut- and one wire-based.

This release celebrates the d’amore’s versatility of sound by bringing together some of its finest Baroque repertoire. Beginning with the Ave Maris Stella, an ancient hymn dedicated to the Mother of God, the compilation takes the listener on an absorbing journey that combines the famous with the not so widely known; from Petzold’s illustrious two partitas – which are considered to be on the same level of importance for the d’amore as Bach’s partitas and sonatas are for the violin – to Morigi’s Capriccio and Menuetto, the compilation also touches on various anonymous works, including the delightful Partita in D. Dance movements abound, reflecting the Baroque period’s predilection for all things French.

Tracklist:
00:00:00 Ave Maris Stella
00:01:11 Suite in D minor: I. Aria
00:01:50 Suite in D minor: II. Courante
00:02:23 Suite in D minor: III. Gigue
00:03:06 Suite in D minor: IV. Sarabande
00:04:35 Scordatura in G
00:05:47 Scordatura (Ciacona)
00:09:00 Capriccio and Minuet in A: I. Capriccio
00:10:54 Capriccio and Minuet in A: II. Minuetto
00:12:17 Partita in D: I. Aria
00:14:08 Partita in D: II. Gigue
00:15:50 Partita in D: III. Menuet
00:17:34 Partita in D: IV. Gavotte
00:18:33 Partita in D: V. Rigaudon
00:20:19 Partita in D: VI. Menuet I & II
00:22:01 Scordatura in A
00:23:05 Nitida stella
00:24:11 Partita in F: I. Gavotte
00:25:28 Partita in F: II. Gigue
00:26:58 Partita in F: III. Bourrée
00:28:47 Partita in F: IV. Air
00:30:33 Partita in F: V. Courante
00:32:03 Partita in F: VI. Sarabande
00:33:44 Partita in F: VII. Menuet I & II
00:36:36 Gaita de folle
00:40:08 Partita in A: I. Introduction
00:41:04 Partita in A: II. Allemande
00:42:38 Partita in A: III. Courante
00:44:00 Partita in A: VI. Sarabande
00:46:28 Partita in A:. Menuet
00:48:33 Partita in A: VI. Gigue
00:50:10 Partita in A: VII. Aria
00:55:02 Partita in A: VIII. Gavotte
00:55:42 Partita in A: IX. Bourrée
00:57:22 Partita in A: X. Rondeau
00:58:56 Partita in A: XI. Menuet
00:59:54 Scordatura in E minor

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Here perhaps is the very heart of Bach; a very palpable demonstration of his heritage and impact. Bach revered his forebears, while at the same time wishing to renew their legacy – both that of his own, already notable Bach family and of their musical contemporaries – and leave a mark on posterity. His endless inventiveness in taking the old hymn tunes devised in the generations before him, and clothing them in rich and strange harmonies, each one tailored to the specific text and mood of its content, creates a box of small wonders.

Composer:
Johann Sebastian Bach

Artist:
Chamber Choir of Europe
Nicol Matt (conductor)

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Composer: Heitor Villa-Lobos
Artists: Jenny Abel (violin), Roberto Szidon (piano)

Heitor Villa-Lobos composed prolifically in every genre, but his chamber music has not received the attention of his richly scored, opulent accomplishments in the fields of orchestral and vocal music, as well as the cello-saturated Bachianas Brasilieras. These three sonatas were written between 1912 and 1920 and are full of entirely characteristic, colourful melodic vocabulary, structured as extended rhapsodies.

00:00:00 Fantasy-Sonata No. 1, Op. 27 "Désespérance"
00:10:09 Fantasy-Sonata No. 2, Op. 49: I. Allegro non troppo
00:15:46 Fantasy-Sonata No. 2, Op. 49: II. Largo – Moderato
00:25:45 Fantasy-Sonata No. 2, Op. 49: III. Rondo. Allegro final
00:32:39 Violin Sonata No. 3: I. Adagio non troppo
00:44:16 Violin Sonata No. 3: II. Allegro vivace scherzando
00:48:55 Violin Sonata No. 3: III. Molto animato e final

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Composers: Alessandro Longo, Felix Mendelssohn, Robert Schumann
Artists: Massimo Data (bassoon), Piero Barbareschi (piano)

The chamber literature for bassoon is not as rich and varied as the instrument deserves. Despite its widely recognised beauty of timbre and expressive potentialities, used and celebrated in solos from many significant orchestral and operatic compositions, a fitting chamber literature in the 19th and 20th centuries, especially in duo with the piano, is conspicuously absent. The pieces recorded on this CD are an attempt to demonstrate how this repertoire may be expanded and built upon, both by using original compositions for bassoon and piano and by transcribing significant pieces by Romantic and 20th-century authors originally intended for other expressive instruments.

The pieces themselves range from atmospheric 19th-century compositions such as Schumann’s Drei Romanzen Op.98, in which the bassoon takes on a distinctly vocal quality, to beautiful and at times melancholic 20th-century pieces, including Piazzolla’s Oblivion, in which the flexibility of the instrument’s timbre truly comes to the fore. Bridging these two groups is the ‘title track’ by Rachmaninoff, the implications of whose name are certainly done justice in this set, for the bassoon truly ‘finds its own voice’ here.

Bassoonist Massimo Data has played as principal bassoonist for several orchestras in Italy and beyond, and has given masterclasses across the world. He is accompanied by pianist Piero Barbareschi, who collaborates on chamber music duos with a wide variety of instrumentalists and plays a broad repertoire of music ranging from the 17th century to the present day.

The Bassoon, the bass member of the woodwind family, is a surprisingly versatile, agile, and expressive instrument. Its expression ranges from the joyful and even comic, sonorous, melancholic to the mournful. Regretfully classical composers wrote little of substance for the solo bassoon, therefore this new recording presents a selection of delightful arrangements of classical evergreens: Schumann’s Fantasiestücke Op. 73 (itself written for clarinet or cello), a Mendelssohn Lied ohne Worte, Rachmaninoff’s Vocalise, an original piece by Gabriel Pierné, a heartbreaking Pavane by Ravel, and two raucous Piazzolla tangos.

00:00:00 Lied ohne Worte in E Major, Op. 19 No. 1
00:03:48 Fantasiestücke, Op. 73: I. Zart und mit Ausdruck
00:06:58 Fantasiestücke, Op. 73: II. Lebhaft, leicht
00:10:57 Fantasiestücke, Op. 73: III. Rasch und mit Feuer
00:15:29 Suite for Bassoon and Piano: I. Andante con variazioni
00:20:08 Suite for Bassoon and Piano: II. Romanza
00:25:06 Suite for Bassoon and Piano: III. Vivace
00:28:41 14 Romances, Op. 34: No. 14, Vocalise
00:34:25 Drei Romanzen, Op. 98: I. Nicht schnell
00:37:42 Drei Romanzen, Op. 98: II. Einfach, innig
00:41:39 Drei Romanzen, Op. 98: III. Nicht schnell
00:45:45 Enrico IV: Oblivion
00:48:45 Solo de concert, Op. 35
00:54:42 Pavane pour une infante défunte in G Major, M. 19
00:59:03 Libertango

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The virtuosic, gloriously indulgent music of Pietro Antonio Locatelli has long been passed over in favour of later composers, such as the master of flamboyant showiness Niccolò Paganini (whose 24 Caprices were inspired by these works). Eighty years before Paganini, however, came these capricci (or capriccios), long soloistic passages for solo violin that were originally written as cadences within movements of violin concertos. But Locatelli’s knack for this style proved so popular that the works easily stand alone; indeed, some of the capriccios are so long that they actually exceed the length of the movement they originate from! Locatelli would write out the beginning of the capriccio, leaving the player to improvise the final cadenza, and Igor Ruhadze has followed that pattern here, improvising cadences to bridge between all 24 capriccios and as the final tuttis of the concerto movements to which they belong. Even Locatelli’s notated section still leaves plenty of room for interpretation; he would simply write the notes in a block chord, leaving the player to pick this apart in whatever style he wished. The writing is rapid, technically demanding and stratospherically high, making huge demands on the performer and providing a treat for the listener in search of a compelling alternative to Paganini.

Igor Ruhadze is a highly experienced performer of Locatelli’s works. In 2015 Brilliant Classics released a 21CD set of the composer’s ensemble music, featuring Mr. Ruhadze and his aptly-named ensemble Violini Capricciosi. A separately-released volume from the Edition, that of the Trio Sonatas, received a very favourable review from Gramophone magazine, which described the ensemble as ‘fine advocates’ of Locatelli’s music, and praised the ‘brilliantly and at times breathtakingly performed’ works.


Other information:
Recorded in The Netherlands in 2013.
Contains notes on the works.
Contains a biography of the artist.

Composer Pietro Antonio Locatelli
Artist Igor Ruhadze violin

 
Tracklist:
00:00:00 24 capriccios for Solo Violin: I. Capriccio No. 1 in D Major
00:03:30 24 capriccios for Solo Violin: II. Capriccio No. 2 in D Major
00:08:36 24 capriccios for Solo Violin: III. Capriccio No. 3 in C Minor
00:12:16 24 capriccios for Solo Violin: IV. Capriccio No. 4 in C Minor
00:17:26 24 capriccios for Solo Violin: V. Capriccio No. 5 in F Major
00:21:12 24 capriccios for Solo Violin: VI. Capriccio No. 6 in F Major
00:24:48 24 capriccios for Solo Violin: VII. Capriccio No. 7 in E Major
00:28:14 24 capriccios for Solo Violin: VIII. Capriccio No. 8 in E Major
00:32:02 24 capriccios for Solo Violin: IX. Capriccio No. 9 in C Major
00:36:16 24 capriccios for Solo Violin: X. Capriccio No. 10 in C Major
00:40:30 24 capriccios for Solo Violin: XI. Capriccio No. 11 in G Minor
00:44:39 24 capriccios for Solo Violin: XII. Capriccio No. 12 in G Minor
00:48:05 24 capriccios for Solo Violin: XIII. Capriccio No. 13 in B-Flat Major
00:51:28 24 capriccios for Solo Violin: XIV. Capriccio No. 14 in B-Flat Major
00:54:54 24 capriccios for Solo Violin: XV. Capriccio No. 15 in E Minor
00:57:42 24 capriccios for Solo Violin: XVI. Capriccio No. 16 in E Minor
01:02:23 24 capriccios for Solo Violin: XVII. Capriccio No. 17 in G Major
01:06:03 24 capriccios for Solo Violin: XVIII. Capriccio No. 18 in G Major
01:10:03 24 capriccios for Solo Violin: XIX. Capriccio No. 19 in F Major
01:13:01 24 capriccios for Solo Violin: XX. Capriccio No. 20 in F Major
01:15:45 24 capriccios for Solo Violin: XXI. Capriccio No. 21 in A Major
01:19:00 24 capriccios for Solo Violin: XXII. Capriccio No. 22 in A Major
01:22:11 24 capriccios for Solo Violin: XXIII. Capriccio No. 23 in D Major “Il labirinto armonico”
01:25:49 24 capriccios for Solo Violin: XXIV. Capriccio No. 24 in D Major “Il labirinto armonico”
01:31:31 Capriccio from Concerto in A Major
01:32:50 Capriccio “prova dell’intonazione” (from Sonata Op. 6 No. 12)

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00:00:00 Adagio in G Minor – Albinoni (Consort of London, Robert Hayden Clark)
00:06:38 V. Pie Jesu – Maurice Duruflé (The Choir of Leeds Catrhedral, Skipton Building Society Camerata)
00:09:36 Miserere – Gregorio Allegri (Choir of Clare College, Cambridge, Timothy Brown)
00:22:14 VII. In paradisum – Gabriel Fauré (Holland Boys Choir, Piet Jan Leusink)
00:25:29 Ave verum corpus in D Major, K. 618 – Mozart (Choir of St john’s College, Christopher Robinson)
00:29:02 V. Panis Angelicus – César Franck (Choir of St john’s College, Christopher Robinson)
00:32:32 I. Stabat Mater Dolorosa – Pergolesi (Cambridge Ensemble, Timothy Brown, Angharad Jones)
00:36:19 Bist du bei mir, BVW 508 – J.S. Bach (Johannette Zomer, Pieter-Jan Belder)
00:39:00 Spiegel im Spiegel (1978) – Arvo Pärt (Jeroen van Veen)
00:48:10 I. Introitus. Requiem aeternam – Mozart (Chamber Choir Of Europe, Kammerorchester Pforzheim)
00:52:58 I. Aria. Ich habe genug – J.S. Bach ( Netherlands Bach Collegium, Pieter Jan Leusink)
01:00:43 VII. Communio. Lux aeterna – Mozart (Chamber Choir Of Europe, Kammerorchester Pforzheim)
01:06:24 “I Know That My Redeemer Liveth” – Handel (Choir of Kings College, Cambridge,)
01:12:14 Spem in alium nunquam habui à 40 – Thomas Tallis (Chappelle du Roi, Alistair Dixon)
01:22:15 No. 49 Aria. “Aus Liebe will mein Heiland sterben” – J.S. Bach (Brandenburg Consort, Stephen Cleobury)
01:26:57 II. Adagio. Sehr feierlich (ed. Nowak) – Anton Bruckner (Rundfunk- SinfonieOrchester Berlin)
01:42:40 I. Canon – Johann Pachelbell (Consort of London, Robert Hayden Clark)
01:47:23 Adagio for Strings in B-Flat Minor – Robert Barber (Royal Philharmonic Orchestra, Philip Ellis)
01:55:09 II. Air – J.S. Bach (Ludwig Güttler, Berliner Symphonie)
01:59:27 Act III, Scene Two: “Thy Hand, Belinda…When I Am Laid in Earth (Dido)” – Henry Purcell (Musica ad Rhenum, Jed Wentz, Nicola Wemyss)
02:00:04 IV. Wie lieblich sind deine Wohnungen – Johannes Brahms (Rundfunkchor Berlin)
02:05:56 III. Marche funèbre. Lento – Chopin (Wolfram Schmitt-Leonardy)
02:14:49 X. Chorale, Jesu bleibet meine Freude – J.S. Bach (Holland Boys Choir)
02:18:00 Dance of the Blessed Spirits – Christoph Gluck (Orchestra De Chambre De Wallonie)
02:25:04 Denn er hat seine Engeln befohlen, MWV B 53 – Felix Mendelssohn (Choir of St. John’s College)
02:28:02 IV. Adagietto – Gustav Mahler (Junge Deutsche Philharmonie, Rudolph Barshai)
02:36:18 In the Midst of Life – Henry Purcell (Choir of CLAIRE College , Cambridge Timothy Brown)
02:39:59 Pavana pour un infante defunte, M. 19 – Maurice Ravel (Michaelangelo Carbonara)
02:46:23 In Paradisum - (Traditional, Schola Cantorum Karolus Magnus, Stan Hollaardt)
02:52:06 No. 4, Im Abendrot – Richard Strauss( Radio Filharmonisch Orkest Holland, Edo de Waart)

Romantic Classical Music:

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00:00:00 Nocturne in Es-Dur, Op. 9 No. 2
00:04:17 Lied ohne Worte in E-Dur, Op. 19 No. 1
00:08:10 Nocturne in B-Moll, Op. 9 No. 1
00:13:35 Impromptu in B-Dur, Op. 142 No. 3, “Rosamunde”
00:25:30 Intermezzo in B-Dur, Op. 76 No. 4
00:28:03 Impromptu in As-Dur, Op. 142 No. 2
00:34:36 Venetianisches Gondellied
00:37:41 Intermezzo in Es-Dur, Op. 117 No. 1
00:43:01 Intermezzo in B-Moll, Op. 117 No. 2
00:47:53 Consolation in E-Dur
00:51:14 Adagio Mondschein Sonate
00:56:55 Frühlingslied
00:59:14 Arabesque No. 1
01:03:24 Moment Musical in F-Moll, Op. 90 No. 4
01:05:04 Sonate Pathetique: Adagio
01:09:48 Für Elise
01:12:40 Klavierstück in Es-Dur, D 946, No. 2
01:23:48 Intermezzo in A-Dur, Op. 118, No. 2
01:30:10 Arabesque No. 2
01:33:16 Des Abends (Aus: Fantasiestücke, Op. 12)
01:36:40 Impromptu in Ges-Dur, Op. 90 No. 3
01:41:56 Reverie
01:45:40 Romanze in Fis-Dur, Op. 28 No. 2
01:49:02 Sonate in H-Moll
01:53:50 Consolation in Des Dur
01:56:55 Clair de Lune
02:01:54 Träumerei (Aus: Kindersszenen, Op. 15)
02:05:06 Prelude in Des Dur, Op. 28 No. 15, “Regentropfen”
02:09:53 Liebestraum

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This unusual collection is dedicated to a very popular style: minimal music. Over the years this has evolved from austere, almost strict repetition with tiny ‘movements’ to a more varied and free approach to material and technique.

This set includes works for piano solo by most of the famous ‘minimal’ composers. Starting with initiator, if you will, Cage, and followed by the first generation entirely devoting itself to this style: Riley and Glass (Steve Reich did not write anything for solo piano). The next generation is represented by John Adams and Michael Nyman (his music for the film The Piano).

Dutch pianist Jeroen van Veen is fascinated by minimal music. He was one of the initiators and participants of the highly successful complete recordings on 11 CD’s of Simeon ten Holt’s, a Dutch ‘minimalist’, complete works for multiple piano’s. On this solo album van Veen demonstrates his affinity with minimalism with great flair.

The repertoire included here also comprises compositions by Satie, Friedrich Nietzsche and Arvo Pärt. There are two CD’s with music by the pianist himself and several recordings of minimal pieces by other present-day French, Belgian and Dutch composers.

This attractive set will appeal to a wide audience and sheds light on the present state of minimalism

00:00:00 Opening from ‘‘Glassworks’’ (Arr. van Veen)
00:08:53 Metamorphosis One
00:15:57 Metamorphosis Two
00:22:51 Metamorphosis Three
00:27:14 Metamorphosis Four
00:33:08 Metamorphosis Five
00:39:15 Mad Rush
00:54:28 Wichita Vortex Sutra
01:01:54 Opening from ‘‘Glassworks’’

01:11:19 The Poet Acts
01:14:54 Morning Passages
01:20:20 Something She Has To Do
01:23:51 I’m Going To Make A Cake
01:27:36 An Unwelcome Friend
01:32:08 Dead Things
01:36:04 Why Does Someone Have To Die?
01:39:41 Tearing Herself Away
01:43:49 Escape!
01:47:23 Choosing Life
01:51:33 The Hours
01:58:46 Truman Sleeps, from ‘‘The Truman Show’’
02:00:57 Opening from ‘‘Glassworks’’
02:07:07 Olympian

02:11:06 Modern Love Waltz
02:16:04 How Now
02:41:13 ‘‘Trilogy’’ Sonata; I Knee Play No. 4 From Einstein On The Beach
02:48:56 ‘‘Trilogy’’ Sonata; II Satyagraha, Conclusion, Act III
02:57:46 ‘‘Trilogy’’ Sonata; III Dance, from Aknaten (Scene 3)

Tracklist in the comment section:
TOP 50 Best Piano Classics For Kids

A wonderful selection of the most famous piano pieces written for children, by the great composers.

These charming and appealing pieces stimulate the imagination and brings you in the world of Fairy Tales (Grieg’s March of the Dwarfs, riding a wooden horse (Schumann’s Kinderszenen), playing in the snow (Debussy’Children’s Corner), and ending in a peaceful slumber of the Berceuse by Chopin.

Played by world renowned pianists Klára Würtz and Alexander Warenberg.

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Composer and Artists:
Composer: Franz Liszt
Artist: Vanessa Benelli-Mosell

About this Album:
This new Liszt disc is structured after the fashion of a recital such as the composer himself might have given; with shorter and lighter items sprinkled among unabashed showpieces, and in the centre, an exploration of the composer’s complex relationship with his homeland expressed through native melodies and dances transmuted into new forms through the fantasymedium of the Hungarian Rhaposody. To finish, the fireworks of the Grand galop chromatique, beloved of Cziffra, Bolet and others in whose pianistic footsteps Vanessa Benelli Mosell dances with abandon.

Tracklist:
00:00:00 Valse Impromptu, S. 213 (1842–c.1850)
00:06:36 Capriccio alla Turca S. 388 on themes from Beethoven’s Die Ruinen von Athen (1846)
00:15:48 La Leggierezza, etude de concert in F Minor, S. 144 No. 2 (c.1848)
00:20:43 Hungarian Rhapsodies, S. 244 (1847): No. 6 in D-Flat
00:27:13 Hungarian Rhapsodies, S. 244 (1847): No. 10 in E
00:32:51 Hungarian Rhapsodies, S. 244 (1847): No. 11 in A Minor
00:38:53 Hungarian Rhapsodies, S. 244 (1847): No. 12 in C-Sharp Minor
00:48:47 Liebestraum in A-Flat, S. 541 No. 3 (1847–1850)
00:53:33 Galop Russe, S. 478i after Bulhakov (1843)
00:56:42 La Danze, S. 424 No. 9 from Rossini’s Soirées musicales (1837)
01:01:06 Grand Galop Chromatique, S. 219 (1838)

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Liszt #Recital

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

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

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

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

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

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

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#Classical #BrilliantClassics #bartok #Music #Composer #ClassicalMusic #Violin #violinconcerto

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Composer: Luigi Boccherini
Artists: La Magnifica Comunità
Enrico Casazza violin and concert master

About this Album:
Luigi Boccherini (1743–1805) is one of the major figures in 18th century music, and was close to both Haydn and Mozart. The young Austrian admired Boccherini’s music, and his string quintets in particular. Throughout his long career, Boccherini’s style was influenced by composers such as Nardini, Sammartini in his native Italy, Wagenseil and Monn from the Mannheim school, and forward looking composers from France such as Gossec. However, Boccherini was to base himself in Spain at the royal court, and found himself rather cut off from mainstream European musical trends. This caused him to develop his individual style – a mix of Spanish dance influences, and a smooth ‘Latin’ charm that led some commentators to remark that his music was effeminate, and in the words of one violinist Giuseppe Puppo, that he was ‘Haydn’s wife’. This is to miss the point of Boccherini’s style. Although less dramatic than either Haydn or Mozart, his music does have moments of explosive drama that appear all the more effective when bursting fortissimo from an otherwise calm movement. The harmonic shifts are also surprising and used to great effect. His music is sensuous, passionate and dramatic. The Op.39 Quintets date from 1787 when he was at the court of Friederich Wilhelm II in Berlin. These are important works that rank alongside the chamber music of his great Austrian contemporaries, and Boccherini deserves to be in their company.

Tracklist:
00:00:00 String Quintets Op.39, Quintet in B flat G337: I. Andante lento
00:04:32 String Quintets Op.39, Quintet in B flat G337: II. Allegro vivo – Tempo di minuetto – Tempo I
00:08:06 String Quintets Op.39, Quintet in B flat G337: III. Rondeau: Allegro ma non tanto – Tempo di minuetto – Tempo I
00:14:44 String Quintets Op.39, Quintet in F G338: I. Allegro vivo non presto
00:21:28 String Quintets Op.39, Quintet in F G338: II. Adagio non tanto
00:26:06 String Quintets Op.39, Quintet in F G338: III. Minuetto, Trio
00:29:24 String Quintets Op.39, Quintet in F G338: IV. Finale: Allegro vivo
00:34:38 String Quintets Op.39, Quintet in D G339: I. Allegro vivo
00:42:32 String Quintets Op.39, Quintet in D G339: II. Pastorale: Amoroso ma non lento
00:48:28 String Quintets Op.39, Quintet in D G339: III. Finale: Presto


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#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Boccherini

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Composer & Artist:
Composer: Girolamo Frescobaldi
Artists: La Stagione Armonica, Schola Gregoriana, Roberto Loreggian (organ), Sergio Balestracci (conductor)





About this Album:
Girolamo Frescobaldi was born in Ferrara in 1583, and worked for the influential and wealthy Este family. Ferrara at this time had become the centre for the modern arts and the musical avant-garde. Virtuoso singing and playing flourished, and it was into this heady atmosphere that the young Frescobaldi cut
his teeth.

In 1608 he took the position of organist at St Peter’s Basilica in Rome. In 1615 a new basilica was built with two fine organs upon which Frescobaldi performed his famous improvisatory toccatas during ceremonial occasions. In Rome at this time he mingled with other major figures in the artistic community including Bernini and Pietro da
Cortona.

Although Frescobaldi was one of the earliest composers to make keyboard compositions his speciality, he was also expected to provide vocal and choral works for his patron.

Tracklist:
00:00:00 Missa sopra l’aria della Monica: Introitus Gaudeamus
00:03:48 Missa sopra l’aria della Monica: Kyrie
00:07:00 Missa sopra l’aria della Monica: Gloria
00:11:24 Missa sopra l’aria della Monica: Credo
00:20:28 Missa sopra l’aria della Monica: Offertorium Ave Maria
00:23:06 Missa sopra l’aria della Monica: Sanctus
00:25:31 Missa sopra l’aria della Monica: Agnus Dei
00:28:16 Missa sopra l’aria della Monica: Antiphona Diffusa est
00:31:11 Missa sopra l’aria di Fiorenza: Antiphona ad introitum / De ventre matris meae
00:35:22 Missa sopra l’aria di Fiorenza: Kyrie
00:38:36 Missa sopra l’aria di Fiorenza: Gloria
00:42:36 Missa sopra l’aria di Fiorenza: Credo
00:53:17 Missa sopra l’aria di Fiorenza: Offertorium / Iustus ut palma
00:55:13 Missa sopra l’aria di Fiorenza: Sanctus
00:57:03 Missa sopra l’aria di Fiorenza: Agnus Dei
01:00:32 Missa sopra l’aria di Fiorenza: Antiphona / Tu puer, propheta


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#GirolamoFrescobaldi #LaStagioneArmonica #ScholaGregoriana #RobertoLoreggian #SergioBalestracci #Organ #Classical # #BrilliantClassics #Music #Composer #ClassicalMusic

Tracklist below.

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Composer:
Johann Sebastian Bach

Artist:
Daniele Boccaccio organ

00:00:00 Prelude No. 1 in C Major, BWV 846
00:01:42 Fugue No. 1 in C Major, BWV 846
00:04:10 Prelude No. 2 in C Minor, BWV 847
00:05:43 Fugue No. 2 in C Minor, BWV 847
00:07:49 Prelude No. 3 in C-Sharp Major, BWV 848
00:09:17 Fugue No. 3 in C-Sharp Major, BWV 848
00:12:19 Prelude No. 4 in C-Sharp Minor, BWV 849
00:15:19 Fugue No. 4 in C-Sharp Minor, BWV 849
00:19:24 Prelude No. 5 in D Major, BWV 850
00:20:47 Fugue No. 5 in D Major, BWV 850
00:22:47 Prelude No. 6 in D Minor, BWV 851
00:24:32 Fugue. No. 6 in D Minor, BWV 851
00:26:44 Prelude No. 7 in E-Flat Major, BWV 852
00:30:41 Fugue No. 7 in E-Flat Major, BWV 852
00:32:45 Prelude No. 8 in E-Flat Minor, BWV 853
00:35:35 Fugue No. 8 in E-Flat Minor, BWV 853
00:42:01 Prelude No. 9 in E Major, BWV 854
00:43:40 Fugue No. 9 in E Major, BWV 854
00:45:14 Prelude No. 10 in E Minor, BWV 855
00:47:21 Fugue No.10 in E Minor, BWV 855
00:48:38 Prelude No. 11 in F Major, BWV 856
00:50:03 Fugue No. 11 in F Major, BWV 856
00:51:35 Prelude No. 12 in F Minor, BWV 857
00:53:24 Fugue No. 12 in F Minor, BWV 857
00:57:56 Prelude No. 13 in F-Sharp Major, BWV 858
00:59:21 Fugue No. 13 in F-Sharp Major, BWV 858
01:01:49 Prelude No. 14 in F-Sharp Minor, BWV 859
01:03:19 Fugue No. 14 in F-Sharp Minor, BWV 859
01:06:11 Prelude No. 15 in G Major, BWV 860
01:07:15 Fugue No. 15 in G Major, BWV 860
01:10:37 Prelude No. 16 in G Minor, BWV 861
01:11:59 Fugue No. 16 in G Minor, BWV 861
01:14:20 Prelude No. 17 in A-Flat Major, BWV 862
01:15:36 Fugue No. 17 in A-Flat Major, BWV 862
01:18:12 Prelude No. 18 in G-Sharp Minor, BWV 863
01:19:27 Fugue No. 18 in G-Sharp Minor, BWV 863
01:21:46 Prelude No. 19 in A Major, BWV 864
01:23:11 Fugue No. 19 in A Major, BWV 864
01:25:43 Prelude No. 20 in A Minor, BWV 865
01:27:02 Fuge No. 20 in A Minor, BWV 865
01:32:25 Prelude No. 21 in B-Flat Major, BWV 866
01:34:25 Fugue No. 21 in B-Flat Major, BWV 866
01:36:37 Prelude No. 22 in B-Flat Minor, BWV 867
01:38:27 Fugue No. 22 in B-Flat Minor, BWV 867
01:41:36 Prelude No. 23 in B Major, BWV 868
01:42:44 Fugue No. 23 in B Major, BWV 868
01:45:16 Prelude No. 24 in B Minor, BWV 869
01:49:23 Fugue No. 24 in B Minor, BWV 869
01:56:06 Prelude No. 1 in C Major, BWV 870
01:58:32 Fugue No. 1 in C Major, BWV 870
02:00:38 Prelude No. 2 in C Minor, BWV 871
02:03:17 Fugue No. 2 in C Minor, BWV 871
02:05:34 Prelude No. 3 in C-Sharp Major, BWV 872
02:07:09 Fugue No. 3 in C-Sharp Major, BWV 872
02:09:30 Prelude No. 4 in C-Sharp Minor, BWV 873
02:13:15 Fugue No. 4 in C-Sharp Minor, BWV 873
02:16:03 Prelude No. 5 in D Major, BWV 874
02:21:42 Fugue No. 5 in D Major, BWV 874
02:24:20 Prelude No. 6 in D Minor, BWV 875
02:26:07 Fugue No. 6 in D Minor, BWV 875
02:28:09 Prelude No. 7 in E-Flat Major, BWV 876
02:30:31 Fugue No. 7 in E-Flat Major, BWV 876
02:32:33 Prelude No. 8 in D-Sharp Minor, BWV 877
02:36:34 Fugue No. 8 in D-Sharp Minor, BWV 877
02:40:15 Prelude No. 9 in E Major, BWV 878
02:45:30 Fugue No. 9 in E Major, BWV 878
02:48:35 Prelude No. 10 in E Minor, BWV 879
02:52:27 Fugue No. 10 in E Minor, BWV 879
02:55:52 Prelude No. 11 in F Major, BWV 880
02:59:26 Fugue No. 11 in F Major, BWV 880
03:01:10 Prelude No. 12 in F Minor, BWV 881
03:05:32 Fugue No. 12 in F Minor, BWV 881
03:08:02 Prelude No. 13 in F-Sharp Major, BWV 882
03:11:42 Fugue No. 13 in F-Sharp Major, BWV 882
03:14:28 Prelude No. 14 in F-Sharp Minor, BWV 883
03:17:20 Fugue No. 14 in F-Sharp Minor, BWV 883
03:21:47 Prelude No. 15 in G Major, BWV 884
03:24:44 Fugue No. 15 in G Major, BWV 884
03:26:06 Prelude No. 16 in G Minor, BWV 885
03:28:10 Fugue No. 16 in G Minor, BWV 885
03:31:33 Prelude No. 17 in A-Flat Major, BWV 886
03:35:30 Fugue No. 17 in A-Flat Major, BWV 886
03:38:14 Prelude No. 18 in G-Sharp Minor, BWV 887
03:43:20 Fugue No. 18 in G-Sharp Minor, BWV 887
03:47:10 Prelude No. 19 in A Major, BWV 888
03:48:55 Fugue No. 19 in A Major, BWV 888
03:50:35 Prelude No. 20 in A Minor, BWV 889
03:54:38 Fugue No. 20 in A Minor, BWV 889
03:56:31 Prelude No. 21 in B-Flat Major, BWV 890
04:04:55 Fugue No. 21 in B-Flat Major, BWV 890
04:07:20 Prelude No. 22 in B-Flat Minor, BWV 891
04:10:09 Fugue No. 22 in B-Flat Minor, BWV 891
04:15:24 Prelude No. 23 in B Major, BWV 892
04:17:35 Fugue No. 23 in B Major, BWV 892
04:21:31 Prelude No. 24 in B Minor, BWV 893
04:23:39 Fugue No. 24 in B Minor, BWV 893

Tracklist in the comment section:

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Composer: Charles Koechlin
Artists:
David Brutti (saxophones)
Filippo Farinelli (piano)
Mario Caroli (flute)
Duo Disecheis
Atem Saxophone Quartet
Orchestra Città Aperta

Charles Koechlin, music theorist as well as composer, was a significant figure in the vibrant early 20th century whirl of Parisian culture. After studying under as Jules Massenet and Gabriel Fauré, the latter being an enormous influence on his music, Koechlin co-founded the Société musicale indépendante in 1909 and many years later became president of the Féderation Musicale Populaire. Starstruck by Hollywood, Koechlin often found inspiration in its legendary figures and dedicated many pieces to actresses such as Greta Garbo, Jean Harlow and Lilian Harvey.

Koechlin’s compositional style contains elements of impressionism, and his developing interest in the saxophone can be closely linked to his enthusiasm for 1930s cinema. Twenty years later, the publication of his Traité de l’orchestration, in which he praised the saxophone for its sonority and agility, coincided with that of a set of 15 studies for the instrument. These studies, of varying length and character, feature in this collection, alongside works such as the Deux Sonatinas, Septuor pour instruments à Vent, and the celebrated Epitaphe pour Jean Harlow.

Formed in 2001 by David Brutti and Filippo Farinelli, the Duo Disecheis explores 20th-century and contemporary chamber music. Having performed at many prestigious festivals and venues throughout Europe, the duo has achieved enormous success in international competitions and has collaborated with composers such as Paolo Baioni, Stefano Trevisi and Dimitri Nicolau. Joining the duo on this recording is the Atem Saxophone Quartet, which has received critical acclaim for its performances at numerous chamber music and jazz festivals.

Other information (physical release):
- Contains notes on the composer and works

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Composer: Claude Debussy
Artist: Mariangela Vacatello (piano)

About this Album:
The Debussy-year 2012 brought a wealth of reissues on the market, but surprisingly few new recordings. Reason the more to welcome this new recording of a generous selection of Debussy piano works, centred around the substantial “12 Etudes”.These works, written in the later stage of Debussy’s creative life, form the apotheosis of his style. Far from any evocative “impressionistic” Tonmalerei or picturesque
atmosphere painting they are Debussy’s answer to the Etudes of Chopin, purely abstract creations of melody, harmony and rhythm. Fiercely uncompromising and difficult, they form the summit of Debussy’s piano oeuvre, and one of the highest challenges to any performing pianist.

The exciting young Italian pianist Mariangela Vacatello is a Liszt specialist, renowned for her passionate performances and technical ability. She has given concerts at prestigious venues across the USA and Europe, and she has won many awards. These include second prize at the Franz Liszt International Piano Competition in 1999, and the Internet Audience Award at the 2009 Van Cliburn International Piano Competition. ‘A very exciting player’ Musical Opinion, 2008.

Tracklist:
00:00:00 Etudes: I. Pour les cinq doigts (d’après Monsieur Czerny)
00:03:19 12 Etudes: II. Pour les tierces
00:07:15 12 Etudes: III. Pour les quartes
00:13:33 12 Etudes: IV. Pour les sixtes
00:18:11 12 Etudes: V. Pour les octaves
00:20:56 12 Etudes: VI. Pour les huit doigts
00:22:33 12 Etudes: VII. Pour les degrés chromatiques
00:24:48 12 Etudes: VIII. Pour les agréments
00:29:55 12 Etudes: IX. Pour les notes répétées
00:33:17 12 Etudes: X. Pour les sonorités opposées
00:38:50 12 Etudes: XI. Pour les arpèges composés
00:43:24 12 Etudes: XII. Pour les accords
00:47:50 Estampes: I. Pagodes
00:52:35 Estampes: II. La soirée dans Grenade
00:57:54 Estampes: III. Jardins sous la pluie
01:01:39 Deux Arabesques: No. 1 Andantino con moto
01:06:19 Deux Arabesques: No.2 Allegretto scherzando
01:09:46 L’Isle joyeuse

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Debussy

Tracklist below.

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While J.S. Bach, along with Buxtehude, has long been considered the father of Baroque organ music in northern Germany, organ music connoisseurs today have started to look beyond the established canon of this time to the great composer’s contemporaries. Particularly interesting are three German composers who were also active around the same time as Bach: Erich, Saxer and Druckenmüller, whose complete works (as discovered in manuscript form) feature on this release.
All three were unusual in that they came from provincial areas of Germany rather than being based in a thriving cultural centre like Hamburg or Lübeck. Druckenmüller – just two years younger than Bach – was highly unusual in publishing completely original Concertos for organ solo, in contrast to Bach’s settings of established chorale tunes that were the norm. The Concertos – all fast–slow–fast – are written in the style that was fast becoming the established one in Germany, the Italian Style. Slightly younger was Georg Saxer, whose style was starting to reflect the new galant Rococo. His Preludes, followed by a long Fugue, reflect new tensions with dominant seventh chords that seem to hang in the air, creating moments of suspense. Daniel Erich – more of Buxtehude’s time than Bach’s – wrote chorale preludes, of which only four survive. They reveal a composer full of expressivity and elegance in the way he embellishes the theme, whether in the soprano or the pedal. His original compositions show a remarkable originality as well as knowledge of the idiomatic writing of the time.
Italian organist Manuel Tomadin’s passion for these undiscovered composers comes across clearly in this release. He has specially chosen a Baroque organ by Arp Schnitger, the most important organ builder of the period, who worked closely with both Saxer and Druckenmüller during his life, making this a wonderfully authentic recording.
This new recording features the magnificent Schnitger organ of the St. Michael Church in Zwolle, the Netherlands. It was built in 1721 by Arp Schnitger and his sons, and after careful restoration over the last decades by Flentrop the organ is restored in its full glory, one of the finest examples of the Golden Age of organ building, the Baroque.
The works on this recording are derived from the Husumer Orgelbuch (Husum organ book), a collection of organ works by North German major and minor masters. Presented are substantial Preludes by Georg Wilhelm Saxer, Choralvorspiele by Daniel Erich and two Concertos by Wolfgang Druckenmüller, written in the Italian style, as original compositions and not as transcriptions of Italian Concerti grossi, as was the custom of that period.
Manuel Tomadin is one of the foremost Italian organists, a scholar, teacher and passionate musician. He won the Grand Prix of the Schnitger Organ Competition of Alkmaar in 2011, and recorded several CD’s for Brilliant Classics, among which the complete keyboard works by Alberti (BC95161). He wrote the excellent liner notes for the booklet, which also contains all information on the organ.
 
00:00:00 Christum wir sollen loben schon
00:02:48 Es ist das Heil uns kommen her
00:05:10 Allein zu dir, Herr Jesu Christ
00:10:00 Praeludium et Ciaccona in D Major: I. Praeludium
00:12:30 Praeludium et Ciaccona in D Major: II. Ciaccona
00:18:53 Concerto in A Major: I. Allegro
00:22:03 Concerto in A Major: II. Siciliana
00:23:23 Concerto in A Major: III. Vivace
00:26:35 Concerto in F Major: I. Allegro
00:28:36 Concerto in F Major: II. Adagio
00:30:10 Concerto in F Major: III. Vivace
00:32:41 Concerto in D Major: I. Allegro
00:35:54 Concerto in D Major: II. Largo
00:37:48 Concerto in D Major: III. Vivace
00:39:14 Concerto in G Major: I. Allegro
00:42:19 Concerto in G Major: II. Adagio
00:44:00 Concerto in G Major: III. Allegro
00:45:52 Praeludium in D Major
00:54:43 Praeludium in B-Flat Major
01:00:20 Praeludium in F Major
01:06:51 Praeludium in D Major
01:13:17 Praeludium in E Minor

Artist
Manuel Tomadin (organ)