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Following previous successful albums, acclaimed Hungarian violinist Kristóf Baráti returns to Brilliant Classics to make his stamp on the Violin Concertos of Mozart. Praised for this ‘strong, penetrating and brilliant tone’ and his ‘consistently serious, almost dramatic’ interpretation of Ysaÿe’s solo sonatas (BC94678), Baráti has emerged as one of the most important violinists of his generation, having previously performed with internationally renowned orchestras including the Royal Philharmonic Orchestra and Deutsches Symphonie Orchester, and with conductors Kurt Masur and Charles Dutoit. This album was specially recorded in Hungary’s premier concert venue, the Kodály Center in Pécs, on Baráti’s violin, the ‘Lady Harmsworth’ Stradivarius, kindly on loan from the Stradivarius Society of Chicago.

Here, Baráti turns his attention to Mozart for the first time. Leading the Hungarian Chamber Orchestra from the front, Baráti expertly tackles all five concertos known to be by Mozart, as well as the two Rondos and Adagio that together make up all of the composer’s music for solo violin and orchestra. All the concertos (except K207, which has been dated to 1773) were composed in 1775 in a flurry of activity. Despite this, they document a strong development of Mozart’s mastery of the form; from the fairly staid sonata form of the last movement of the first concerto, to the more radical decisions the composer was taking in his K218, where he boldly decides not to restate the opening ‘fanfare’ theme of the exposition in the development, instead weaving it into the second and third movements, expertly tying the piece together. Mozart stopped composing violin concertos as abruptly as he had begun; although he still performed his works for a few years afterwards, he seemed to lose interest in composing for the violin. Nevertheless, the five outstanding concertos he has left us with represent an outburst of Mozart’s creativity and the astonishing rapidity with which he honed his technique over just a few months.

Hungarian violinist Kristóf Baráti is recognised as one of the leading violinists of his generation. He plays with the Philharmonia Orchestra, Mariinsky, WDR Sinfonieorchester, London Philharmonic, and conductors like Gergiev, Dutoit, Jurowski, Masur, Pletnev, Fischer, Temirkanov.
His extensive discography for Brilliant Classics led to great critical acclaim: “..Baráti is out of the top drawer. With intensity of sound, unbridled athleticism and searing leaps into the stratosphere which send a tingle down the spine” (Gramophone), “Masterful, probing, meditative, it rang with a rare sense of authenticity, and almost majestic scope” (Washington Post). “He is on the order of magnitude greater than any other violinist I’ve encountered in at least 10 years” (Fanfare on the Beethoven violin sonatas, with Klára Würtz, piano).
On this 2 CD set Baráti plays the complete works for violin and orchestra of Mozart: masterful, strong, alternating great vitality and tenderness, vigour and beauty. He himself conducts the excellent Hungarian Chamber Orchestra.

Recorded in the Kodály Center, Pécs, Hungary in 2015.

00:00:00 Violin Concerto No. 1 in B-Flat, K. 207: I. Allegro moderato
00:06:30 Violin Concerto No. 1 in B-Flat, K. 207: II. Adagio
00:13:06 Violin Concerto No. 1 in B-Flat, K. 207: III. Presto
00:18:24 Violin Concerto No. 2 in D Major, K. 211: I. Allegro moderato
00:26:07 Violin Concerto No. 2 in D Major, K. 211: II. Andante
00:32:08 Violin Concerto No. 2 in D Major, K. 211: III. Rondeau. Allegro
00:36:44 Rondo in B-Flat Major, K. 269/261a
00:43:23 Rondo in C Major, K. 373
00:48:58 Adagio in E Major, K. 261
00:55:39 Violin Concerto No. 3 in G Major, K. 216: I. Allegro
01:04:21 Violin Concerto No. 3 in G Major, K. 216: II. Adagio
01:11:13 Violin Concerto No. 3 in G Major, K. 216: III. Rondeau. Allegro
01:17:51 Violin Concerto No. 4 in D Major, K. 218: I. Allegro
01:25:11 Violin Concerto No. 4 in D Major, K. 218: II. Andante cantabile
01:31:19 Violin Concerto No. 4 in D Major, K. 218: III. Rondeau
01:38:41 Violin Concerto No. 5 in A Major, K. 219: I. Allegro aperto
01:47:37 Violin Concerto No. 5 in A Major, K. 219: II. Adagio
01:56:27 Violin Concerto No. 5 in A Major, K. 219: III. Rondeau

Artist:
Kristóf Baráti (violin)
Hungarian Chamber Orchestra

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Artists:
Mela Tenenbaum (violin)
Gil Sharon (violin)
Matthieu Arama (violin)
Aurélien Pontier (piano)
Richard Kapp (piano)
Anton Nel (piano)
Idith Zvi (piano)

Tracklist:
00:00:00 Mazurka in A Minor, Op. 67 No. 4 (Chopin)
00:03:01 Song Without Words, Op. 2 No. 3 (Tchaikovsky)
00:06:20 Divertimento, K. 334: Menuet (Mozart)
00:10:29 Hungarian Dance No. 6, WoO 1 (Brahms)
00:13:42 Hungarian Dance No. 1, WoO 1 (Brahms)
00:16:40 Romance in A Major, Op. 94 No. 2 (Schumann)
00:22:02 Morceaux, Op. 10: No. 2, Humoresque in G Major. Menuet (Bocherini)
00:25:34 Les millions D'Arlequin: Serenade (Drigo)
00:30:10 Sonata in A Major (Paganini)
00:35:04 Träumerei, Op. 21 (Drdla)
00:37:45 Das Lied der Geige, Op. 2 (Schebek)
00:40:56 Immer oder nimmer Walzer, Op. 156 (Waldteufel)
00:50:22 Schön Rosmarin (Kreisler)
00:52:10 Espana, Op. 165 No. 2: Tango (Albeniz)
00:54:45 Russian Romance (Chernyetsky)
00:57:36 Guitarre, Op. 45 No. 2 (Moszkowski)
01:01:14 Menuet (Attr. Porpora) (Porpora / Kreisler)
01:05:20 Allegretto grazioso (Porpora / Bonelli)
01:07:25 Le triomphe de la République: Tambourin (Arr. Burmester) (Gossec (Francois))
01:08:42 Salut d'amour, Op. 12 (Elgar)
01:11:16 3 Pieces, Op. 11: Mazurka in F-Sharp Minor (Chopin)
01:14:07 Poème for Violin and Piano, Op. 41 No. 4 (Arr. Weniger) (Fibich (Zdenek))
01:16:01 5 Gedichte, WWV 91: V. Träume (Wagner)
01:19:38 Valse scherzo (Tchaikovsky)
01:21:30 Song Without Words, Op. 60: I. Andante espressivo “May Breezes” (Arr. Kreisler) (Mendelssohn)
01:24:12 Myrthen, Op. 25: I. Dedication (Schumann)
01:26:38 Romance (Rubinstein)
01:29:18 Cantabile in D Major, Op. 17 (Paganini)
01:32:19 Hungarian Dance No. 7 in F Major, WoO 1 (Allegretto) (Brahms)
01:34:45 Romance, Op. 3 (Gliere)
01:38:50 Kujawiak in A Minor (Wieniawski (Henryk))
01:41:48 3 Old Viennese Dances: II. Liebesleid (Kreisler)
01:44:48 Le roi s'amuse: VII. Passepied (Arr. Elman) (Delibes / Elman (Mischa))
01:46:46 Waltz No. 1 in A Major, Op.54 (Moderato) (Dvorák)
01:50:22 5 Spanish Dances, Op. 12: I. Allegro brioso (Moszkowski)
01:52:01 16 Morceaux de Salon, Op. 49: VII. La Sevillana (Alard (Delphin))
01:54:33 Bandana Sketches, Op. 12 "Nobody Knows the Trouble I've Seen" (White)
01:57:57 Le Secret (Gautier (Jacques))
02:00:40 14 Romances, Op. 34: No. 14, Vocalise (Rachmaninoff)
02:06:31 Préludes, L. 117, Premier Livre: VIII. La fille aux cheveux de lin (Debussy)
02:09:17 Orfeo ed Euridice, Wq. 30, Act 2: Melodie No. 2 (Arr. Heifetz) (Von Gluck, arr. Jascha Heifetz)
02:12:27 2 Pieces for Cello and Orchestra, Op.20: II. Serenade Espagnole (Arr. Kreisler) (Glazunov, arr. Kreisler)
02:15:50 3 Romantic Pieces, Op. 75: I. Allegro moderato (Dvorák)
02:19:25 3 Romantic Pieces, Op. 75: II. Allegro maestoso (Dvorák)
02:22:22 3 Romantic Pieces, Op. 75: III. Allegro appassionato (Dvorák)
02:25:13 Thaïs, Act 2: Méditation (Massenet)
02:29:49 Zigeunerweisen, Op. 20 (Sarasate (Pablo de))
02:39:46 Romance (Wieniawski (Henryk))
02:44:46 Hora staccato (Dinicu (Grigoras))
02:46:10 Pacsirta (Dinicu (Grigoras))

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Like countless other well-educated German lads, Friedrich Nietzsche took up the piano as a child, and immersed himself in the world of Beethoven and Schumann. But unlike most of them, he pursued music with a single-minded devotion which would later distinguish his philosophical writings. During his teenage years he composed fugues, sonatas and fantasies, as well as more ambitious works such as a Mass, a Miserere, even a Christmas Oratorio: a sublime irony coming from one whose most infamous pronouncement would be that ‘God is dead. We have killed him.’

University studies in Basel put paid both to his Christianity, but when he returned to composition he wrote songs which are now the best-known part of his own music, and have received several recordings. Having composed the Hymn to Friendship in 1874, at the ripe age of 24, he gave up writing music for several years but returned to itlater in life, and he could still play Beethoven sonatas by heart once afflicted by the ravages of syphilis.

Composer : Friedrich Nietsche
Artist :Jeroen van Veen piano

00:00:00 Heldenklage, NWV 2
00:02:33 Ungarischer Marsch, NWV 5
00:05:06 Édes titok
00:08:18 So lach doch mal, NWV 9
00:10:08 Da geht ein Bach, NWV 10b
00:12:07 In Mondschein auf der Puszta, NWV 11
00:13:50 Ermanarich, Symphonische Dichtung
00:24:35 Unserer Altvordern eingedenk, NWV 13: I. Mazurka
00:26:09 Unserer Altvordern eingedenk, NWV 13: II. Aus der Czarda
00:28:11 Das zerbrochene Ringlein
00:33:50 Albumblatt
00:37:39 Das Fragment an sich, NWV 35
00:42:31 Hymnus an die Freundschaft, NWV 42: I. Vorspiel
00:47:36 Hymnus an die Freundschaft, NWV 42: II. Hymnus erste Strophe
00:49:17 Hymnus an die Freundschaft, NWV 42: III.Erstes Zwischenspiel
00:55:50 Hymnus an die Freundschaft, NWV 42: IV. Hymnus zweite Strophe
00:57:23 Hymnus an die Freundschaft, NWV 42: V. Zweites Zwischenspiel5’10
01:02:34 Hymnus an die Freundschaft, NWV 42: VI. seht Fest
01:04:01 Hymnus an die Freundschaft, NWV 42: VII. Hymnus dritte Strophe

Tracklist below.

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This set is, despite its misleading early opus number, very much the work of the mature Vivaldi, now 40 years of age and a leading light of the vibrant Venetian musical scene, producing at an astonishing rate not only concertos for the adroit pupils of the Ospedale della Pietà where he was a much-loved music master, but also entertainments of varying scale for more public events and audiences. These sonatas are but for two or three performers, or even four: a moot point for musicologists. L’Arte dell’Arco follow modern scholarly practice in assigning the ‘accompaniment’ to the virtuoso solo instrument to a continuo group of cello, keyboard and plucked instruments, though they take care to offer instrumental colours as variegated as possible by alternating between harpsichord and chamber organ, and theorbo and Baroque guitar, as the character of the musintal craftsmanship, continually appears to demand or request it. The sonatas were written with publication in mind, not in Venice but Amsterdam, then the home of instrumental music publishing, and they take their place within his carefully constructed 12 opus collections as a sophisticated set of sonatas displaying all the different characters of the Italian Baroque school of instrumental craftsmanship, continually enlivened by Vivaldi’s unique brand of melodic genius.

Vivaldi:
00:00:00 Violin Sonata No. 2 in A Major, RV. 31: I. Preludio a capriccio. Presto – Adagio – Presto –Adagio – Presto
00:01:03 Violin Sonata No. 2 in A Major, RV. 31: II. Corrente. Allegro
00:02:56 Violin Sonata No. 2 in A Major, RV. 31: III. Adagio
00:03:49 Violin Sonata No. 2 in A Major, RV. 31: IV. Giga. Allegro
00:06:17 Violin Sonata No. 3 in D Minor, RV. 14: I. Preludio. Andante
00:10:53 Violin Sonata No. 3 in D Minor, RV. 14: II. Corrente. Allegro
00:13:00 Violin Sonata No. 3 in D Minor, RV. 14: III. Adagio
00:14:09 Violin Sonata No. 3 in D Minor, RV. 14: IV. Giga. Allegro
00:15:49 Violin Sonata No. 4 in F Major, RV. 20: I. Andante
00:18:03 Violin Sonata No. 4 in F Major, RV. 20: II. Allemanda. Allegro
00:20:05 Violin Sonata No. 4 in F Major, RV. 20: III. Sarabanda. Andante
00:22:31 Violin Sonata No. 4 in F Major, RV. 20: IV. Corrente. Presto
00:25:04 Violin Sonata No. 6 in C Major, RV. 1: I. Preludio. Andante
00:29:09 Violin Sonata No. 6 in C Major, RV. 1: II. Allemanda. Presto
00:30:36 Violin Sonata No. 6 in C Major, RV. 1: III. Giga. Allegro
00:32:43 Violin Sonata No. 1 in G Minor, RV. 27: I. Preludio. Andante
00:35:25 Violin Sonata No. 1 in G Minor, RV. 27: II. Giga. Allegro
00:37:23 Violin Sonata No. 1 in G Minor, RV. 27: III. Sarabanda. Largo
00:40:11 Violin Sonata No. 1 in G Minor, RV. 27: IV. Corrente. Allegro
00:42:13 Violin Sonata No. 11 in D Major, RV. 9: I. Preludio. Andante
00:45:27 Violin Sonata No. 11 in D Major, RV. 9: II. Fantasia. Presto
00:47:08 Violin Sonata No. 11 in D Major, RV. 9: III. Gavotta. Allegro
00:48:30 Violin Sonata No. 8 in G Major, RV. 23: I. Preludio. Largo
00:51:54 Violin Sonata No. 8 in G Major, RV. 23: II. Giga. Presto
00:54:00 Violin Sonata No. 8 in G Major, RV. 23: III. Corrente. Allegro
00:55:28 Violin Sonata No. 9 in E Minor, RV. 16: I. Preludio. Andante
00:58:26 Violin Sonata No. 9 in E Minor, RV. 16: II. Capriccio. Allegro
00:59:52 Violin Sonata No. 9 in E Minor, RV. 16: III. Giga. Allegro
01:02:25 Violin Sonata No. 9 in E Minor, RV. 16: IV. Gavotta. Presto
01:03:04 Violin Sonata No. 12 in A Major, RV. 32: I. Preludio. Largo
01:07:10 Violin Sonata No. 12 in A Major, RV. 32: II. Capriccio. Presto
01:08:36 Violin Sonata No. 12 in A Major, RV. 32: III. Grave
01:09:55 Violin Sonata No. 12 in A Major, RV. 32: IV. Allemanda. Allegro
01:12:26 Violin Sonata No. 7 in C Minor, RV. 8: I. Preludio. Andante
01:14:11 Violin Sonata No. 7 in C Minor, RV. 8: II. Allemanda. Allegro
01:16:41 Violin Sonata No. 7 in C Minor, RV. 8: III. Corrente. Allegro
01:18:27 Violin Sonata No. 10 in F Minor, RV. 21: I. Preludio. Largo
01:21:23 Violin Sonata No. 10 in F Minor, RV. 21: II. Allemanda. Allegro
01:23:27 Violin Sonata No. 10 in F Minor, RV. 21: III. Giga. Allegro
01:25:25 Violin Sonata No. 5 in B Minor, RV. 36: I. Preludio. Andante
01:28:04 Violin Sonata No. 5 in B Minor, RV. 36: II. Corrente. Allegro
01:30:38 Violin Sonata No. 5 in B Minor, RV. 36: III. Giga. Presto

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Composer: Arcangelo Corelli
Artists: Musica Amphion, Pieter-Jan Belder (harpsichord, organ & concert master)

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

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

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

Tracklist:
Trio Sonatas OP.1:
00:00:00 Sonata No.1 in F: I. Grave
00:01:21 Sonata No.1 in F: II. Allegro
00:02:46 Sonata No.1 in F: III. Adagio
00:04:42 Sonata No.1 in F: IV. Allegro
00:06:14 Sonata No.2 in E minor: I. Grave
00:07:52 Sonata No.2 in E minor: II. Vivace
00:08:55 Sonata No.2 in E minor: III. Adagio
00:10:17 Sonata No.2 in E minor: IV. Allegro
00:11:21 Sonata No.3 in A: I. Grave
00:12:43 Sonata No.3 in A: II. Allegro
00:14:33 Sonata No.3 in A: III. Adagio
00:16:18 Sonata No.3 in A: IV. Allegro
00:17:46 Sonata No.4 in A minor: I. Vivace
00:19:04 Sonata No.4 in A minor: II. Adagio
00:20:05 Sonata No.4 in A minor: III. Allegro
00:21:23 Sonata No.4 in A minor: IV. Presto
00:22:51 Sonata No.5 in B flat: I. Grave
00:24:59 Sonata No.5 in B flat: II. Allegro
00:26:19 Sonata No.5 in B flat: III. Adagio – Allegro
00:27:56 Sonata No.5 in B flat: IV. Allegro
00:29:06 Sonata No.6 in B minor: I. Grave
00:30:01 Sonata No.6 in B minor: II. Largo
00:32:31 Sonata No.6 in B minor: III. Adagio
00:34:22 Sonata No.6 in B minor: IV. Allegro
00:35:42 Sonata No.7 in C: I. Allegro
00:37:19 Sonata No.7 in C: II. Grave
00:38:28 Sonata No.7 in C: III. Allegro
00:39:54 Sonata No.8 in C minor: I. Grave
00:41:16 Sonata No.8 in C minor: II. Allegro
00:42:53 Sonata No.8 in C minor: III. Largo
00:44:53 Sonata No.8 in C minor: IV. Vivace
00:45:57 Sonata No.9 in G: I. Allegro
00:47:03 Sonata No.9 in G: II. Adagio – Allegro
00:48:45 Sonata No.9 in G: III. Adagio
00:50:37 Sonata No.9 in G: IV. Allegro – Adagio
00:51:56 Sonata No.10 in G minor: I. Grave
00:52:59 Sonata No.10 in G minor: II. Allegro
00:53:37 Sonata No.10 in G minor: III. Allegro
00:54:33 Sonata No.10 in G minor: IV. Adagio
00:55:50 Sonata No.10 in G minor: V. Allegro
00:57:05 Sonata No.11 in D minor: I. Grave
00:58:34 Sonata No.11 in D minor: II. Allegro
00:59:54 Sonata No.11 in D minor: III. Adagio
01:01:32 Sonata No.11 in D minor: IV. Allegro
01:02:15 Sonata No.12 in D: I. Grave
01:04:17 Sonata No.12 in D: II. Largo e puntato
01:05:58 Sonata No.12 in D: III. Grave
01:06:55 Sonata No.12 in D: IV. Allegro

01:08:43 Trio Sonatas OP.2 NOS 1 - 12
02:21:52 Sonata A Quattro WoO4
02:27:25 Trio Sonatas WoO 5-8

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Young Mendelssohn composed extensively for the piano. From early concertos and sonatas he quickly established his ‘mature’ style in works such as the Rondo capriccioso, and the Andante cantabile e Presto agitato. The masterpieces that followed include the famous Songs without Words/Lieder ohne Worte. On this complete recording, these piano 'songs' are played by Dutch pianist Frank van der Laar.

00:00:00 Andante con moto, in E Major, Op. 19 No. 1
00:03:50 Andante espressivo, in A Minor, Op. 19 No. 2
00:06:14 Molto allegro, in A Major, Op. 19 No. 3, “Jägerlied”
00:08:49 Moderato, in A Major, Op. 19 No. 4
00:11:16 Agitato, in F-Sharp Minor, Op. 19 No. 5
00:14:47 Andante sostenuto, in G Minor, Op. 19 No. 6, “Venetian Gondola Song”
00:17:22 Andante espressivo, in E-Flat Major, Op. 30 No. 1
00:21:44 Allegro di molto, in B-Flat Minor, Op. 30 No. 2
00:23:49 Andante sostenuto, in E Major, Op. 30 No. 3
00:26:28 Agitato e con fuoco, in B Minor, Op. 30 No. 4
00:29:21 Andante grazioso, in D Major, Op. 30 No. 5
00:31:14 Allegretto, in F-Sharp Minor, Op. 30 No. 6, “Venetian Gondola Song”
00:34:01 Con moto, in E-Flat Major, Op. 38 No. 1
00:36:17 Allegro non troppo, in C Minor, Op. 38 No. 2
00:38:34 Presto, in E Major, Op. 38 No. 3
00:41:00 Andante, in A Major, Op. 38 No. 4
00:43:03 Agitato, in A Minor, Op. 38 No. 5
00:45:42 Andante con moto, in A-Flat Major, Op. 38 No. 6, “Duetto”
00:48:33 Andante con moto, in A-Flat Major, Op. 53 No. 1
00:51:24 Allegro non troppo, in E-Flat Major, Op. 53 No. 2
00:54:14 Presto agitato, in G Minor, Op. 53 No. 3
00:57:08 Adagio, in F Major, Op. 53 No. 4
00:59:53 Allegro, in A Minor, Op. 53 No. 5, “Volkslied”
01:02:53 Molto allegro vivace, in A Major, Op. 53 No. 6
01:06:02 Andante espressivo, in G Major, Op. 62 No. 1
01:08:14 Allegro con fuoco, in B-Flat Major, Op. 62 No. 2
01:10:18 Andante maestoso, in E Minor, Op. 62 No. 3, “Trauermarsch”
01:13:53 Allegro con anima, in G Major, Op. 62 No. 4
01:15:09 Andante, in A Minor, Op. 62 No. 5, “Venetian Gondola Song”
01:17:58 Andante grazioso, in A Major, Op. 62 No. 6, “Frühlingslied”
01:21:08 Andante, in E-Flat Major, Op. 67 No. 1
01:23:47 Allegro leggiero, in F-Sharp Minor, Op. 67 No. 2
01:26:24 Andante tranquillo, in B-Flat Major, Op. 67 No. 3
01:28:50 Presto, in C Major, Op. 67 No. 4, “Spinnerlied: The Bee’s Wedding”
01:30:50 Moderato, in B Minor, Op. 67 No. 5
01:33:12 Allegretto non troppo, in E Major, Op. 67 No. 6
01:35:36 Andante espressivo, in F Major, Op. 85 No. 1
01:37:50 Allegro agitato, in A Minor, Op. 85 No. 2
01:38:44 Presto, in E-Flat Major, Op. 85 No. 3
01:41:19 Andante sostenuto, in D Major, Op. 85 No. 4
01:44:18 Allegretto, in A Major, Op. 85 No. 5
01:46:04 Allegretto con moto, in B-Flat Major, Op. 85 No. 6
01:48:35 Andante un poco agitato, in E Minor, Op. 102 No. 1
01:50:51 Adagio, in D Major, Op. 102 No. 2
01:53:28 Presto, in C Major, Op. 102 No. 3
01:55:01 Un poco agitato, in G Minor, Op. 102 No. 4
01:57:12 Allegro vivace, in A Major, Op. 102 No. 5, “Kinderstück”
01:58:31 Andante, in C Major, Op. 102 No. 6

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Dmitri Shostakovich wrote symphonies and string quartets with violent and intense music. But he did have a sense of humour as well. Just as he could handle the very un-Russian jazz idiom. Both jazz suites show the light-hearted side of Russia’s most important 20th-century composer.

00:00:00 Suite No. 1 for Variety Orchestra, Op. Posth.: I. March
00:03:09 Suite No. 1 for Variety Orchestra, Op. Posth.: II. Dance No. 1
00:06:10 Suite No. 1 for Variety Orchestra, Op. Posth.: III. Dance No. 2
00:09:54 Suite No. 1 for Variety Orchestra, Op. Posth.: IV. Little Polka
00:12:33 Suite No. 1 for Variety Orchestra, Op. Posth.: V. Lyric Waltz
00:15:16 Suite No. 1 for Variety Orchestra, Op. Posth.: VI. Waltz No. 1
00:18:42 Suite No. 1 for Variety Orchestra, Op. Posth.: VII. Waltz No. 2
00:22:20 Suite No. 1 for Variety Orchestra, Op. Posth.: VIII. Finale
00:24:44 Overture on Russian and Kirghiz Themes, Op. 115
00:34:13 Jazz Suite No. 1, Op. 38a: I. Waltz
00:36:38 Jazz Suite No. 1, Op. 38a: II. Polka
00:38:21 Jazz Suite No. 1, Op. 38a: III. Foxtrot
00:42:16 Novorossijsk Chimes, the Flame of Eternal Glory for Orchestra, Op. 111b
00:44:57 Festive Overture Op. 96

Artist:
National Symphony Orchestra of Ukraine
Theodore Kuchar (conductor)

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Composer:
Piotr Ilyich Tchaikovsky

Artist:
Alexander Rudin (cello)
Ensemble Instrumental Musica Viva
Nikolay Alekseev ( conductor)

Here’s another fine disc, unavailable for some time, now receiving a new lease of life, and with no significant competition. It’s true that the complete works for cello and orchestra amount to less than half this disc’s duration, comprising as they do a couple of miniatures (the Pezzo Capriccioso and Nocturne) and the evergreen Rococo Variations. But the first point of importance is that the fine Russian cellist Alexander Rudin plays the original version of the score, and not the much more widely available piece of well-meaning butchery by a cellist of chaikovsky’s own time,Wilhelm Fitzenhagen. Fitzenhagen fiddled around with the order of the variations and left one out altogether, as well as somewhat simplifying the composer’s original and strenuous but effective demands upon the soloist. A return to the original reveals what we have been missing in the way of a rather more substantial and coherent work, and there are but one or two rival versions on the market.
In addition, Rudin complements the Variations with the gorgeous interlude from Swan Lake that features a solo cello, as well as an arrangement of the famous Andante cantabile from the First String Quartet. He then conducts this Muscovy orchestra himself in the Serenade for Strings.
Alexander Rudin was born in 1960 and studied with the cello legend Daniil Shafran. His pedigree in this music is impeccable.


00:00:00 Variations on a Rococo Theme Op.33, Original version
00:18:40 Nocturne, Adapted from the Six piano pieces, Op. 19
00:22:41 Andante cantabile, Adapted from the First String Quartet, No. 1 Op. 11
00:28:30 Pezzo capriccioso, Op. 62
00:35:27 Andante cantabile, Adapted from The Sleeping Beauty, Op. 66
00:39:53 Serenade for Strings, Op. 48: I. Pezzo in forma di sonatina: Andante non troppo – Allegro moderato
00:47:44 Serenade for Strings, Op. 48: II. Valse: Moderato (Tempo di valse)
00:51:27 Serenade for Strings, Op. 48: III. Elégie: Larghetto elegiaco
00:59:57 Serenade for Strings, Op. 48: IV. Finale (Tema russo): Andante; Allegro con spirito

Tracklist below.
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Bringing together all seven of Schubert’s completed symphonies, as well as the much-loved B minor ‘Unfinished’, this set charts the development of Schubert’s voice as a symphonist. His first six symphonies were composed between 1813 and 1818 for the orchestra at the religious school that he attended in Vienna. Although they could be considered to be apprentice works, and are clearly influenced by Haydn, Mozart, Beethoven, and – in the case of the Sixth Symphony – Rossini, they are remarkable achievements for such a young composer, and the listener can hear some of the hallmarks of Schubert’s more forward-looking, romantic style, such as a bolder and richer harmonic language, beginning to emerge.
After a serious illness in 1822, from which he only partially recovered, Schubert composed his final symphonic masterpieces, the ‘Unfinished’ (1822) and the ‘Great’ (1825–6). From the haunting slow introduction and the extraordinary sense of pathos of the ‘Unfinished’ to the joyful and rhythmically vital ‘Great’ symphony, both works showcase Schubert the symphonist at the peak of his powers and are some of the most popular and enduring pieces in the orchestral canon.
Schubert’s complete symphonies are performed here by the legendary Staatskapelle Dresden under the inspired direction of celebrated conductor Herbert Blomstedt, praised by Gramophone for his "incomparably refined sensitivity and canny interpretative prowess".
Other information:
- Recordings made between 1978 and 1981 at the Lukaskirche in Dresden.
- “Probably the finest, most consistent Schubert cycles available” (David Hurwitz, Classicstoday.com, performance: 10).

 
00:00:00 Symphony No. 1 in D Major, D. 82: I. Adagio – Allegro vivace
00:10:15 Symphony No. 1 in D Major, D. 82: II. Andante
00:18:57 Symphony No. 1 in D Major, D. 82: III. Menuetto. Allegro
00:25:06 Symphony No. 1 in D Major, D. 82: IV. Allegro vivace
00:31:41 Symphony No. 2 in B-Flat Major, D. 125: I. Largo – Allegro vivace
00:42:10 Symphony No. 2 in B-Flat Major, D. 125: II. Andante
00:51:04 Symphony No. 2 in B-Flat Major, D. 125: III. Menuetto. Allegro vivace
00:54:48 Symphony No. 2 in B-Flat Major, D. 125: IV. Presto vivace
01:00:43 Symphony No. 3 in D Major, D. 200: I. Adagio maestoso – Allegro con brio
01:10:22 Symphony No. 3 in D Major, D. 200: II. Allegretto
01:14:50 Symphony No. 3 in D Major, D. 200: III. Menuetto. Vivace
01:18:57 Symphony No. 3 in D Major, D. 200: IV. Presto vivace
01:23:44 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: I. Adagio molto
01:33:32 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: II. Andante
01:43:05 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: III. Menuetto. Allegro vivace
01:46:25 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: IV. Allegro
01:54:09 Symphony No. 5 in B-Flat Major, D. 485: I. Allegro
02:01:20 Symphony No. 5 in B-Flat Major, D. 485: II. Andante con moto
02:12:09 Symphony No. 5 in B-Flat Major, D. 485: III. Menuetto. Allegro molto
02:17:22 Symphony No. 5 in B-Flat Major, D. 485: IV. Allegro vivace
02:23:20 Symphony No. 6 in C Major, D. 589: I. Adagio – Allegro
02:31:21 Symphony No. 6 in C Major, D. 589: II. Andante
02:37:44 Symphony No. 6 in C Major, D. 589: III. Scherzo. Presto
02:44:04 Symphony No. 6 in C Major, D. 589: IV. Allegro moderato
02:53:32 Symphony No. 8 in B Minor, D.759 ‘Die Unvollendete’: I. Allegro moderato
03:05:05 Symphony No. 8 in B Minor, D.759 ‘Die Unvollendete’: II. Andante con moto
03:17:47 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: I. Andante – Allegro ma non troppo
03:32:30 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: II. Andante con moto
03:48:24 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: III. Scherzo. Allegro vivace
03:59:21 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: IV. Finale. Allegro vivace

Artist:
Staatskappelle Dresden
Herbert Blomstedt cunductor

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Composer: Francisco Tárrega
Artists: Giulio Tampalini

Tracklist:
00:00:00 Capricho árabe
00:04:36 Alborada
00:06:26 Marieta
00:08:20 Pavana
00:10:04 María
00:11:21 Isabel
00:12:36 La cartagenera
00:17:22 Adelita in E Minor
00:18:52 Rosita in D Major
00:20:38 El columpio
00:22:58 Danza mora
00:24:56 Gran vals in A Major
00:27:31 Malagueña fácil
00:30:17 Recuerdos de la Alhambra
00:35:45 Mazurka in G Major
00:38:13 Las dos hermanas
00:41:45 Minuetto in E Major
00:43:11 Paquito
00:45:07 Pepita
00:46:25 Danza odalisca
00:49:04 Sueño Mazurka
00:50:31 Vals in D Major
00:52:31 Variaciones sobre el carnaval de Venecia de Paganini
01:00:35 Prelude No. 1 in D Minor
01:01:46 Prelude No. 2 in A Minor
01:03:15 Prelude No. 3 in G Major
01:00:35 Prelude No. 4 in E Major
01:04:39 Prelude No. 5 in E Major
01:05:57 Prelude No. 6 in B Minor
01:06:51 Prelude No. 7 in A Major
01:07:35 Prelude No. 8 in A Major
01:07:56 Prelude No. 9 in A Major
01:08:18 Prelude No. 10 in D Major
01:08:36 Prelude in D Major
01:09:02 Prelude in A Minor
01:09:27 Prelude in D Major
01:10:04 Lágrima
01:11:35 Prelude in G Major
01:12:17 Prelude in C Major
01:12:57 Endecha
01:13:47 Oremus
01:14:41 Prelude in A Minor
01:15:06 Prelude in D Major
01:15:35 Prelude in A Major
01:15:55 Estudio en forma de minuet
01:17:31 Estudio sobre un estudio de cramer
01:18:55 Sueño Trémolo
01:25:17 Estudio sobre una sonatina de Alard
01:27:32 Estudio de velocidad
01:29:01 Estudio sobre un tema de la traviata de Verdi
01:30:00 La mariposa in D Major
01:31:10 Estudio sobre “andante en etude” de Émile Prudent
01:33:15 Estudio sobre un fragmento de Schumann
01:34:07 Fantasía sobre motivos de la traviata de Verdi
01:40:08 Gran jota de concierto
01:49:30 Nocturne in E-Flat Major, Op. 9 No. 2
01:53:54 Mazurka in G-Sharp Minor, Op. 33 No. 1
01:55:18 Mazurka in B Minor, Op. 33 No. 4
02:00:00 Mazurka in A Minor, Op. 67 No. 4
02:03:36 Waltz in A Minor, Op. 34 No. 2
02:08:29 Prelude in E Minor, Op. 28 No. 4
02:10:12 Prelude in B Minor, Op. 28 No. 6
02:11:43 Prelude in A Major, Op. 28 No. 7
02:12:19 Prelude in D-Flat Major, Op. 28 No. 15
02:16:16 Prelude in C Minor, Op. 28 No. 20
02:17:22 Fantasiestücke, Op. 12: I. “Des Abends”
02:20:21 Albumblätter, Op. 124: XVI. “Schlummerlied”
02:23:53 Bunte Blätter, Op. 99 Albumblätter
02:25:15 Bunte Blätter, Op. 99: I. “Nicht schnell, mit Innigkeit”
02:27:08 Album für die Jugend, Op. 68: XII. “Knecht Ruprecht”
02:28:34 Novelletten, Op. 21: I. “Romanza”
02:29:28 Kinderszenen, Op. 15: VII. “Träumere"
02:32:01 Minuet WoO 10 No. 3
02:34:05 Piano Sonata No. 8, Op. 13: II. Adagio cantabile
02:38:06 Symphony No. 7, Op. 92: II. Allegretto
02:39:43 Sonata, Op. 2 No. 2: III. Scherzo
02:43:24 Sonata No. 4, Op. 7: II. Largo
02:48:12 Septet, Op. 20: IV. Andante (1st Variation)
02:49:11 Sonata No. 14 “Moonlight”, Op. 27 No. 2: I. Adagio
02:53:28 Sonata No. 18 in G Major, D.894: III. Minuet
02:57:41 La damnation de Faust – Ballet des Sylphes
02:59:50 Lyric Pieces, Op. 43 No. 2 “Solitary Traveller”
03:00:43 Norwegian Folk Songs, Op. 66 No. 13 “A Little Grey Man”
03:02:10 Peer Gynt, Op. 23: The Death of Åse
03:05:25 August Heinrich von Weyrauch nach Osten
03:07:07 Violi Sonata No. 1 in G Minor, BWV 1001: II. Fugue
03:11:14 Cello Suite No. 3 in C Major, BWV 1009: V. Bourrée I, VI. Bourée II
03:14:14 Violin Partita No. 1 in B Minor, BWV 1002: VII. Tempo di bourrée
03:17:24 String Quintet No. 5 in D Major, K. 593: III. Minuet
03:21:53 String Quartet No. 15 in D Minor, K. 421: III. Minuet
03:25:30 String Quartet, Hob.III:74: II. Largo assai
03:28:41 Keyboard Sonata, Hob.XVI:33: III. Tempo di minuetto
03:30:03 Baryton Trio, Hob.XI:87: III. Minuet
03:31:58 “Ox Minuet”, Hob.IX:27
03:34:36 Chorale
03:36:58 Samson, HWV 5: Minuet
03:38:42 L’Arlésienne, Op. 23, Pt. III: IXX. Mélodrame. Adagio
03:40:23 Tannhäuser, WWV 70: March
03:44:38 Mefistofele
03:50:42 L’Africaine: Morceau d’ensemble et finale
03:54:34 Lieder ohne Worte, Op. 30: VI. Venetianisches Gondellied
03:57:16 Lieder ohne Worte, Op. 19b: VI. Venetianisches Gondellied
03:59:24 Estudio
04:00:56 String Quartet in B-Flat Major: Minuet
04:04:04 El ratón
04:05:37 O sole mio
04:07:05 El pobre valbuena
04:09:40 Tango
04:11:38 La Paloma
04:13:48 Suite Española, Op. 47 No. 5: Sevilla

Tracklist below.

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Composer: Arcangelo Corelli
Artist: Musica Amphion, Pieter-Jan Belder (conductor)

Arcangelo Corelli (1653–1713) was nothing less than a musical pioneer, a champion of the violin’s potential as a solo instrument and an immense influence on the composers who followed him, J.S. Bach and Handel included. As a virtuoso violinist, he wielded an unprecedented level of skill; as a composer, he was enormously popular throughout Europe.

Although the Italian composer’s legacy has been somewhat overshadowed in modern times, the 12 Concerti Grossi that comprise this recording are thoroughly worthy of rediscovery, and earned Corelli the description of ‘father of the concerto grosso’. Indeed, he was one of the first composers to use the term, and established many of the genre’s recognisable features.

The mixture of concerti da chiesa (church concertos, which alternate slow and fast tempi) and concerti da camera (chamber concertos, similar to the dance suite) demonstrates the imagination, innovation and versatility that his fellow composers so admired.

Although the vast popularity that Corelli enjoyed in his lifetime may have declined over the centuries, the influence of his 12 Concerti Grossi is undeniable, and can be felt in later concertos by composers like Geminiani and Vivaldi, not to mention Handel’s majestic Concerti Grossi Op.6. Drawn from Brilliant Classics’ criticallyacclaimed edition of Corelli’s complete works, there is much for listeners to discover and enjoy in these recordings, which feature outstanding readings by a leading period-instrument ensemble, Musica Amphion, led from the harpsichord by Pieter-Jan Belder.

Tracklist:

Arcangelo Corelli: Concerto Grosso in D Major, Op. 6, No. 1
00:00:00 I. Largo
00:02:22 II. Allegro
00:05:11 III. Largo
00:08:28 IV. Allegro
00:10:20 V. Allegro
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 2
00:12:34 I. Vivace - Allegro
00:16:00 II. Largo - Andante
00:16:56 III. Allegro
00:18:47 IV. Grave - Andante largo
00:20:47 V. Allegro
Arcangelo Corelli: 12 Concerti grossi, No. 3 in C Minor, Op. 6
00:23:20 I. Largo
00:25:36 II. Allegro
00:27:38 III. Grave
00:29:17 IV. Vivace
00:31:49 V. Allegro
Arcangelo Corelli: Concerto grosso in D Major, Op. 6 No. 4
00:34:20 I. Adagio - Allegro
00:38:00 II. Adagio
00:40:01 III. Vivace
00:41:03 IV. Allegro
Arcangelo Corelli: Concerto Grosso in B-Flat Major, Op. 6, No. 5
00:44:32 I. Adagio - Allegro
00:47:53 II. Adagio
00:49:36 III. Allegro
00:51:47 IV. Largo
00:52:47 V. Allegro
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 6
00:55:08 I. Adagio
00:56:45 II. Allegro
00:58:43 III. Largo
01:01:57 IV. Vivace
01:04:22 V. Allegro
Arcangelo Corelli: Concerto Grosso in D Major, Op. 6, No. 7
01:06:20 I. Vivace - Allegro
01:08:35 II. Adagio
01:10:37 III. Allegro
01:13:03 IV. Andante
01:14:09 V. Allegro
Arcangelo Corelli: Concerto grosso in G Minor, Op. 6 No. 8 "Christmas Concerto"
01:15:15 I. Vivace
01:15:29 II. Grave - Arcate - Sostenuto e come
01:16:45 III. Allegro
01:19:07 IV. Adagio - Allegro - Adagio
01:22:20 V. Vivace
01:23:31 VI. Allegro
01:25:42 VII. Pastorale - Largo
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 9
01:29:30 I. Preludio: Largo
01:30:57 II. Allemanda: Allegro
01:33:38 III. Corrente: Vivace
01:35:10 IV. Gavotta: Allegro
01:36:03 V. Adagio
01:36:56 VI. Minuetto: Vivace
Arcangelo Corelli: Concerto Grosso in C Major, Op. 6, No. 10
01:38:35 I. Preludio: Andante largo
01:40:41 II. Allemanda: Allegro
01:43:01 III. Adagio
01:44:01 IV. Corrente: Vivace
01:46:47 V. Allegro
01:49:24 VI. Minuetto: Vivace
Arcangelo Corelli: Concerto Grosso in B-Flat Major, Op. 6, No. 11
01:51:02 I. Preludio: Andante largo
01:53:19 II. Allemanda: Allegro
01:55:41 III. Adagio - Andante largo
01:57:55 IV. Sarabanda: Largo
01:59:13 V. Giga: Vivace
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 12
02:00:29 I. Preludio: Adagio
02:02:53 II. Allegro
02:05:20 III. Adagio
02:06:54 IV. Sarabanda: Vivace
02:07:50 V. Giga: Allegro
Arcangelo Corelli: Santa Beatrice d'Este: Sinfonia in D Minor, WoO 1
02:10:51 I. Grave
02:12:21 II. Allegro
02:14:07 III. Adagio
02:14:42 IV. Largo assai
02:17:14 V. Vivace
Arcangelo Corelli: Sonata a 4, WoO 2
02:19:16 I. Adagio - Andante Largo
02:20:38 II. Allegro
02:22:08 III. Grave
02:23:20 IV. Presto
02:24:30 V. Vivace

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Composer & Artist:
Composer: Domenico Scarlatti
Artists: Capella Tiberina, Paolo Perrone (baroque violin), Alexandra Nigito (harpsichord)

About this Album:
Amid Domenico Scarlatti's extensive output of over 555 keyboard sonatas lie a small number of works that, given such traits such as figured bass, multi-movement structure and even bowing-like articulation, were probably originally written for solo instrument (such as violin) and continuo. In their third recording for Brilliant Classics, members of the Cappella Tiberina present a selection of these works, experimenting with different scorings which historical sources show were common throughout the Baroque repertoire – hence K78 is presented on the theorbo, while K132 is played as a harpsichord solo.

The pieces are certainly not without their technical challenges; four-part chords and uncomfortable multiple-stops suggest that K88 was probably written for mandolin, though it is here skilfully negotiated by violinist Paolo Perrone. Ranging from ambitious works to more modest ones, these continuo sonatas document a fascinating corner of the Baroque master's oeuvre and simultaneously reveal the beginnings of the soon-to-emerge Classical style. Capella Tiberina's historical interpretations offer a fresh take on this engaging music.

Tracklist:
00:00:00 Sonata in D Minor, Kk. 89: I. Allegro
00:03:18 Sonata in D Minor, Kk. 89: II. Grave
00:04:38 Sonata in D Minor, Kk. 89: III. Allegro
00:06:43 Sonata in C Minor, Kk. 73: I. Allegro
00:09:08 Sonata in C Minor, Kk. 73: II. Minuetto
00:10:42 Sonata in C Minor, Kk. 73: III. Minuetto
00:11:45 Sonata in G Minor, Kk. 88: I. Grave
00:14:21 Sonata in G Minor, Kk. 88: II. Andante moderato
00:17:08 Sonata in G Minor, Kk. 88: III. Allegro
00:18:42 Sonata in G Minor, Kk. 88: IV. Minuet
00:20:09 Sonata in F Major, Kk. 78: I. Giga
00:22:08 Sonata in F Major, Kk. 78: II. Minuetto
00:23:00 Fuga in F Major (Kk. 82)
00:25:51 Sonata in D Minor, Kk. 90: I. Grave
00:28:48 Sonata in D Minor, Kk. 90: II. Allegro
00:33:23 Sonata in D Minor, Kk. 90: III. Tarantella
00:34:32 Sonata in D Minor, Kk. 90: IV. Allegro
00:35:53 Minuetto in F Major (Kk. 94)
00:37:53 Sonata in E Minor Kk. 81: I. Grave
00:39:48 Sonata in E Minor Kk. 81: II. Allegro
00:42:12 Sonata in E Minor Kk. 81: III. Grave
00:44:42 Sonata in E Minor Kk. 81: IV. Allegro
00:46:19 Sonata in C Minor, Kk. 84: I. Allegro
00:51:05 Sonata in F Major, Kk. 85: I. Allegro
00:52:44 Sonata in D Minor, Kk. 77: I. Moderato e cantabile
00:57:52 Sonata in D Minor, Kk. 77: II. Minuet
00:59:39 Sonata in C Major, Kk. 132: I. Cantabile
01:08:51 Sonata in G Major, Kk. 91: I. Grave
01:10:43 Sonata in G Major, Kk. 91: II. Allegro
01:14:12 Sonata in G Major, Kk. 91: III. Grave
01:15:26 Sonata in G Major, Kk. 91: IV. Allegro

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Violinmusic #ClassicalViolin #Scarlatti

Tracklist below.

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Among the most revered virtuosos of all time, Nicolò Paganini was a true musical legend of his era, inspiring musicians such as Roberto Schumann to forge his own career as a pianist. Franz Schubert was also a regular audience member at Paganini’s concerts, despite the outlandish ticket prices.
Paganini often remarked that, despite his legendary status as a violinist, he found it rather difficult to compose for the instrument. This release brings together the Italian maestro’s two violin concertos: No.1, his first large work, was written around 1817 but published posthumously in 1851, and the second dates from 1826. Audiences were wowed at the premiere of No.1, thanks to its many extended passages of double-stopping and harmonics. Concerto No.2 in B minor is nicknamed ‘La campanella’, famous for its third-movement Rondo that employs a small bell at each reinstatement of the theme.

Kristóf Baráti is the soloist, performing the works on his much-loved ‘Lady Harmsworth’ Stradivarius violin. The release is a welcome addition to his ever-growing Brilliant Classics discography, of which Beethoven’s Complete Violin Sonatas (94310) garnered such reviews as ‘today’s reference recording’ (Frankfurte Allgemeine). Here he is joined by esteemed conductor Eiji Oue and the NDR Radiophilharmonie Hannover.
Composer:
Nicolò Paganini
Artist:
Kristóf Baráti violin
NDR Radiophilharmonie Hannover
Eiji Oue conductor

00:00:00 Violin Concerto No. 1 in D Major, Op. 6: I. Allegro maestoso (Cadenza by Émile Sauret)
00:20:23 Violin Concerto No. 1 in D Major, Op. 6: II. Adagio
00:25:20 Violin Concerto No. 1 in D Major, Op. 6: III. Rondo. Allegro spiritoso
00:35:20 Violin Concerto No. 2 in B Minor, Op. 7: I. Allegro maestoso (Cadenza by Kristóf Baráti)
00:49:48 Violin Concerto No. 2 in B Minor, Op. 7: II. Adagio
00:56:08 Violin Concerto No. 2 in B Minor, Op. 7: III. Rondo à la clochette "La campanella"

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Composers: Carl Philipp Emanuel Bach
Artists: Solamente Naturali, Didier Talpain (conductor), Marek Toporowski (conductor)

This release presents the 4 symphonies that Carl Philipp Emanuel Bach wrote during his stay in Hamburg. In these large-scale works the string section is extended with 2 flutes, 2 oboes, 2 horns and bassoon, instruments which are treated quasi solistically, so that one can almost speak of a Sinfonia Concertante.

The musical language is clearly “Sturm und Drang”, full of vehement dynamics and changes of sentiment, the fingerprint of this most famous son of Johann Sebastian.

Brilliant performances on period instruments by Solamente Naturali, an exciting group of early music players from Bratislava.

00:00:00 Symphony Wq183/1 (H663) in D Allegro di molto
00:05:35 Symphony Wq183/1 (H663) in D Largo
00:07:20 Symphony Wq183/1 (H663) in D Presto
00:10:10 Symphony Wq183/2 (H664) in E flat Allegro di molto
00:14:00 Symphony Wq183/2 (H664) in E flat Larghetto
00:15:28 Symphony Wq183/2 (H664) in E flat Presto
00:20:52 Symphony Wq183/2 (H664) in E flat Allegro assai
00:24:20 Harpsichord Concerto Wq43/4 (H474) in C Minor Poco adagio
00:26:30 Harpsichord Concerto Wq43/4 (H474) in C Minor Tempo di menuetto
00:29:16 Harpsichord Concerto Wq43/4 (H474) in C Minor Allegro assai
00:33:54 Symphony Wq183/3 (H665) in F Allegro di molto
00:38:54 Symphony Wq183/3 (H665) in F Larghetto
00:41:26 Symphony Wq183/3 (H665) in F Presto
00:44:14 Symphony Wq183/4 (H666) in G Allegro assai
00:47:12 Symphony Wq183/4 (H666) in G Poco andante
00:52:12 Symphony Wq183/4 (H666) in G Presto

Composer: Luigi Boccherini
Artists: Ensemble Symposium, Igor Cantarelli (violin), Gian Andrea Guerra (violin), Simone Laghi (viola), Gregorio Buti (violoncello)

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Generally known as Boccherini’s Op.26, this set of two-movement ‘quartettini’ was first published as Op.32, but confusion has continued down the years, which may be one reason why these delightful works have remained little-known and under-recorded; the only extant version on CD is of arrangements for keyboard and piano quartet, so this set offers a valuable first chance to acquaint oneself with Boccherini’s original scoring.
The composer himself numbered the quartets among his ‘opera piccola’ – small works – but by grouping them in three pairs, it is possible to observe a macro-structure within the whole of Op.26, with a triple alternation of a scheme of fast-(menuet and trio) – slow – (menuet and trio). Certainly Boccherini did not intend the quartets to be taken less seriously than the longer-form quartets: ‘it is all cloth of the same piece,’ he remarked to his publisher, and his palette of sound is no less varied for the size of his chosen canvas, ranging from sweet, cantabile melodies to abrupt introductions and sudden conclusions. Op.26 is full of surprises, sometimes in his use of Spanish folk material, which betrays their origin as music composed for the Infante Don Luis at his court near Madrid. The Infante was the brother of the King of Spain Charles III. Boccherini remained in service of Don Luis as compositore and virtuoso di camera from 1770 to the death of the Infante, in 1785. There is even a fandango to conclude the set, in the finale of G200.

00:00:00 6 String Quartets, Op. 26, Quartetto in B-Flat Major, G. 195: I. Allegro moderato
00:04:28 6 String Quartets, Op. 26, Quartetto in B-Flat Major, G. 195: II. Minuetto con moto – Trio
00:09:48 6 String Quartets, Op. 26, Quartetto in G Minor, G. 196: I. Larghetto
00:14:17 6 String Quartets, Op. 26, Quartetto in G Minor, G. 196: II. Minuetto – Trio
00:18:47 6 String Quartets, Op. 26, Quartetto in E-Flat Major, G. 197: I. Allegro vivace
00:23:40 6 String Quartets, Op. 26, Quartetto in E-Flat Major, G. 197: II. Minuetto – Trio
00:27:41 6 String Quartets, Op. 26, Quartetto in A Major, G. 198: I. Larghetto
00:33:17 6 String Quartets, Op. 26, Quartetto in A Major, G. 198: II. Minuetto con moto – Trio
00:37:56 6 String Quartets, Op. 26, Quartetto in F Major, G. 199: I. Allegretto
00:43:11 6 String Quartets, Op. 26, Quartetto in F Major, G. 199: II. Minuetto allegro – Trio
00:47:09 6 String Quartets, Op. 26, Quartetto in F Minor, G. 200: I. Andante appassionato ma non lento
00:52:41 6 String Quartets, Op. 26, Quartetto in F Minor, G. 200: II. Minuetto – Trio

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Composer: Antonio Vivaldi
Artist: ConSerto Musico, Mario Folena (flute), Stefania Marusi (flute), Francesco Baroni (harpsichord), Roberto Loreggian (harpsichord and organ)

Though several of Vivaldi’s most delightful concertos are written for the flute, he left relatively little chamber music for the instrument: the ‘Il Pastor Fido’ set which used to be attributed to him is now known to have been composed by Nicolas Chédeville. On this valuable new recording, Mario Folena and Roberto Loreggian offer what seems to be all that is left of Vivaldi’s output for the genre, informed by the latest scholarship and in delightful and lively period-instrument recordings. They couple it not with the previously recorded ‘Il Pastor Fido’ sonatas, but with a genuine rarity: an arrangement of ‘Spring’ from The Four Seasons made by Jean-Jacques Rousseau, the composer and philosopher who argued that, in politics as in music, Man should return to first principles.

00:00:00 Sonata in C Major, RV 48, for flute and basso continuo: [Preludio]
00:00:45 Sonata in C Major, RV 48, for flute and basso continuo: Affettuoso
00:04:43 Sonata in C Major, RV 48, for flute and basso continuo: Allegro assai
00:06:59 Sonata in C Major, RV 48, for flute and basso continuo: Larghetto
00:09:11 Sonata in C Major, RV 48, for flute and basso continuo: Allegro
00:11:21 Sonata in G Major, RV 80, for two flutes and b.c.: Allegro
00:13:48 Sonata in G Major, RV 80, for two flutes and b.c.: Larghetto
00:15:23 Sonata in G Major, RV 80, for two flutes and b.c.: Allegro
00:17:11 Sonata in D Minor, RV 49, for flute and b.c.: Preludio
00:19:56 Sonata in D Minor, RV 49, for flute and b.c.: Siciliana
00:22:26 Sonata in D Minor, RV 49, for flute and b.c.: Sarabanda
00:24:25 Sonata in D Minor, RV 49, for flute and b.c.: Allegro
00:25:49 Le Printemps de Vivaldi arrangé pour une Flûte sans accompagnement (1775) in D Major: Allegro
00:29:22 Le Printemps de Vivaldi arrangé pour une Flûte sans accompagnement (1775) in D Major: Largo
00:31:50 Le Printemps de Vivaldi arrangé pour une Flûte sans accompagnement (1775) in D Major: Allegro
00:36:07 Sonata in G Minor, RV 51, for flute and b.c.: [Preludio]
00:36:42 Sonata in G Minor, RV 51, for flute and b.c.: Largo
00:39:19 Sonata in G Minor, RV 51, for flute and b.c.: Allegro
00:41:17 Sonata in G Minor, RV 51, for flute and b.c.: [Recitativo]
00:41:59 Sonata in G Minor, RV 51, for flute and b.c.: Andante
00:44:50 Sonata in G Minor, RV 51, for flute and b.c.: Allegro
00:46:34 Sonata in E Minor, RV 50, for flute and b.c.: Andante
00:51:20 Sonata in E Minor, RV 50, for flute and b.c.: Siciliano
00:54:14 Sonata in E Minor, RV 50, for flute and b.c.: Allegro
00:56:21 Sonata in E Minor, RV 50, for flute and b.c.: Arioso
00:59:04 Sonata in A Major, RV 800, for two flutes and b.c.: Allegro
01:01:11 Sonata in A Major, RV 800, for two flutes and b.c.: Andante
01:02:51 Sonata in A Major, RV 800, for two flutes and b.c.: Allegro

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Composer: Edward Elgar, Leoš Janácek, Vasily Kalinnikov
Artist: Orchestra da Camera 'Ferrucio Busoni', Massimo Belli conductor

This is a unique coupling on record, but a perceptive and satisfying one: a trio of Romantically inclined serenades from composers of Northern Europe, writing in the last decades of the 19th century when the drive to define a Nationalist spirit through culture was at its height. And so these works are distinctively, variously Russian, Czech and English in their different ways, while never relinquishing a debt to the German tradition in which their composers were to a greater or lesser degree educated.

Tracklist:
00:00:00 Serenade for Strings in G Minor: Andantino
00:09:13 Idyll for String Orchestra: I. Andante
00:13:43 Idyll for String Orchestra: II. Allegro
00:17:06 Idyll for String Orchestra: III. Moderato
00:21:17 Idyll for String Orchestra: IV. Allegro
00:25:07 Idyll for String Orchestra: V. Adagio
00:32:22 Idyll for String Orchestra: VI. Scherzo
00:35:56 Idyll for String Orchestra: VII. Moderato
00:40:01 Serenade for String Orchestra, Op. 20: I. Allegro piacevole
00:43:32 Serenade for String Orchestra, Op. 20: II. Larghetto
00:50:10 Serenade for String Orchestra, Op. 20: III. Allegretto

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Artist: Artemandoline, Mari Fé Pavón (baroque mandolin), Manuel Muñoz (baroque guitar), Jean-Daniel Haro (viola da gamba), Jean-Christophe Leclère (harpsichord)

In Domenico Scarlatti’s vast output of 555 keyboard sonatas, there are a small number of works that are especially interesting to musicologists because of characteristics such as figured bass, three- or four-movement structure, and distinctive melodic lines that are particularly appropriate for a high-pitched solo instrument. Some experts believe that these works were written for the violin; on this recording, after meticulous research and the discovery of an important new manuscript at the Bibliothèque de l’Arsenal in Paris, the members of Artemandoline propose the fascinating theory that the sonatas may have been composed for the mandolin. Featuring works ranging from the smaller-scale K77 to the ambitious and technically demanding K88 – which is extremely well suited to the mandolin thanks to its four-part chords and dynamic nuances – this disc offers a radical reinterpretation of this captivating music.


Formed in 2001, the ensemble Artemandoline has worked tirelessly over the years towards the revival of the mandolin, giving new prominence to and widening the repertoire of this beautiful and unfairly neglected instrument. Artemandoline is acclaimed by audiences and critics alike for its rigorous and scrupulously researched, yet fresh, spontaneous and exciting performances. This is the ensemble’s first recording for Brilliant Classics; a second disc of mandolin music from 18th-century Paris will follow later in 2013.

00:00:00 Sonata in G Major, Kk. 91: I. Grave
00:01:24 Sonata in G Major, Kk. 91: II. Allegro
00:05:01 Sonata in G Major, Kk. 91: III. Grave
00:06:16 Sonata in G Major, Kk. 91: IV. Allegro
00:07:38 Sonata in E Minor, Kk. 81: I. Grave
00:09:19 Sonata in E Minor, Kk. 81: II. Allegro
00:12:24 Sonata in E Minor, Kk. 81: III. Grave
00:13:44 Sonata in E Minor, Kk. 81: IV. Allegro
00:15:15 Sonata in G Minor, Kk. 88: I. Grave
00:17:23 Sonata in G Minor, Kk. 88: II. Allegro moderato
00:19:55 Sonata in G Minor, Kk. 88: III. Allegro
00:21:24 Sonata in G Minor, Kk. 88: IV. Minuetto
00:23:18 Sonata in D Minor, Kk. 90: I. Grave
00:26:50 Sonata in D Minor, Kk. 90: II. Allegro
00:31:18 Sonata in D Minor, Kk. 90: III. Siciliana
00:32:12 Sonata in D Minor, Kk. 90: IV. Allegro
00:34:14 Sonata in D Minor, Kk. 77: I. Moderato cantabile
00:37:25 Sonata in D Minor, Kk. 77: II. Minuetto
00:39:43 Sonata in D Minor, Kk. 89: I. Allegro
00:43:12 Sonata in D Minor, Kk. 89: II. Grave
00:45:20 Sonata in D Minor, Kk. 89: III. Allegro

The maestro of Minimalist piano music has done it again, with an album of gentle melodies and soothing sounds from Yann Tiersen (b.1970) a composer best known outside his native France for the soundtrack to the movie Amélie (2001): the soundtrack sold over 200,000 copies in his homeland, and became Platinum in the US and Germany.

For the complete Album Click the following Links:

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Artist:
Jeroen van Veen

Tracklist below.
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Le Nuove Musiche, a vibrant young ensemble from the Netherlands, specialises in music from the first half of the 17thcentury. While seeking to maintain authentic performance standards, the ensemble brings the music very much into the present, arguing that artistic questions of the past still permeate the musical landscape today. Featuring a captivating group of solo singers, who between them have performed with the Amsterdam Baroque Choir and The Bach Choir & Orchestra of The Netherlands, the ensemble is headed by Krijn Koetsveld, leader and harpsichordist, who has previously collaborated with the Groot Omroepkoor and the prestigious Netherlands Chamber Choir.

This is the second of a planned release of Claudio Monteverdi’s complete madrigals.The fifth and sixth book – already released on Brilliant Classics as 93799 – were the first to break with tradition and herald ‘la seconda pratica’, the era of the basso continuo. From then on, the publication of Monteverdi’s innovative settings were eagerly awaited, as they set the stage for more instrumental ritornellos, a newly important basso continuo and the addition of ornamentation around the bass and vocal parts. The book finishes with a ballo, Tirsi e Clori, a love duet with a five‐part accompaniment, highly elaborate, with a chatty Tirsi contrasting with a sweet and melodic Clori. When the two singers come together with the rest of the ensemble, the listener is treated to the pinnacle of the madrigal era. 00:00:00 Sinfonia – Tempro la cetra, SV 117
00:08:11 A quest’olmo, a quest’ombre, SV 119
00:14:02 Non è di gentil core, SV 118
00:17:49 O come sei gentile, SV 120
00:21:49 Io son pur vezzosetta pastorella, SV 121
00:25:05 O viva fiamma, o miei sospiri ardenti, SV 122
00:28:13 Vorrei baciarti, SV 123
00:32:33 Dice la mia bellissima Licori, SV 124
00:35:02 Non vedrò mai le stelle, SV 126
00:38:58 Ah, che non si conviene, SV 125
00:42:12 Ecco vicine, o bella tigre, l’ore, SV 127
00:46:15 Perché fuggi tra’ salci, SV 128
00:49:31 Tornate, o cari baci, SV 129
00:52:11 Soave libertate, SV 130
00:55:38 Se ’l vostro cor, Madonna, SV 131
00:58:41 Interrotte speranze, eterna fede, SV 132
01:01:14 Augellin, che la voce al canto spieghi, SV 133
01:04:42 Vaga su spina ascosa, SV 134
01:07:34 Eccomi pronta ai baci, SV 135
01:10:07 Parlo, miser, o taccio?, SV 136
01:14:36 Tu dormi, ah crudo core!, SV 137
01:17:47 Al lume de le stelle, SV 138
01:21:50 Con che soavità, labbra adorate, SV 139
01:26:21 Ohimé, dove il mio ben, SV 140
01:31:02 Se i languidi miei sguardi, SV 141
01:38:49 Se pur destina e vole, SV 142
01:47:42 Chiome d’oro, SV 143
01:50:49 Amor, che deggio far?, SV 144
01:55:33 Ballo. Tirsi e Clori, SV 145

Artist:
Le Nuove Musiche
Krijn Koetsveld (artistic leader)