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)

No more than a handful of pieces represent the entire musical heritage for baroque lute by Johann Sebastian Bach – not a lot when we consider the enormity of the composer’s total output. Although it is not known whether Bach himself played the instrument, the seven works which are ascribable to it continue to enjoy extraordinary attention on the part of musicians due to their exceptional quality, and indeed the majority originate from the areas of Germany that were home to the lute’s greatest exponents – musicians who we can be almost certain the composer came into contact with.

This recording thus presents four compositions in suite form and three pieces of a different nature, all belonging to the florid repertoire of the courtly Salonmusik that was in vogue among the German upper classes at the time. Performing them is acclaimed Italian lutenist Mario D’Agosto, whose changes in tonality aim to better serve the capacities of the instrument (BWV 996 and 997, for instance, were written for the ‘Lautenwerk’, a sort of lute-harpsichord favoured by Bach) and whose embellishments are testament to the high level of ornamentation which played such an intrinsic role in baroque performance practice.

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Composer: Johann Sebastian Bach
Artist: Mario D'Agosto (lute)

00:00:00 Suite in E Minor, BWV 996: I. Prelude
00:03:11 Suite in E Minor, BWV 996: II. Allemande
00:06:25 Suite in E Minor, BWV 996: III. Courante
00:09:03 Suite in E Minor, BWV 996: IV. Sarabande
00:13:02 Suite in E Minor, BWV 996: V. Bourrée
00:14:43 Suite in E Minor, BWV 996: VI. Gigue
00:18:09 Prelude, fugue and allegro in E-Flat Major, BWV 998: I. Prelude
00:21:13 Prelude, fugue and allegro in E-Flat Major, BWV 998: II. Fugue
00:28:00 Prelude, fugue and allegro in E-Flat Major, BWV 998: III. Allegro
00:32:18 Suite in G Minor, BWV 995: I. Prelude
00:38:15 Suite in G Minor, BWV 995: II. Allemande
00:43:20 Suite in G Minor, BWV 995: III. Courante
00:45:48 Suite in G Minor, BWV 995: IV. Sarabande
00:49:18 Suite in G Minor, BWV 995: V. Gavottes I & II ‘en Rondeau’
00:54:05 Suite in G Minor, BWV 995: VI. Gigue
00:56:37 Partita in C Minor, BWV 997: I. Prelude
01:00:28 Partita in C Minor, BWV 997: II. Fugue
01:08:08 Partita in C Minor, BWV 997: III. Sarabande
01:12:31 Partita in C Minor, BWV 997: IV. Gigue - Double
01:16:01 Partita in E Major, BWV 1006a: I. Prelude
01:20:47 Partita in E Major, BWV 1006a: II. Loure
01:23:55 Partita in E Major, BWV 1006a: III. Gavotte ‘en Rondeau’
01:27:31 Partita in E Major, BWV 1006a: IV. Menuets I & II
01:32:54 Partita in E Major, BWV 1006a: V. Bourrée
01:35:19 Partita in E Major, BWV 1006a: VI. Gigue
01:38:09 Prelude in C Minor, BWV 999
01:39:47 Fugue in G Minor, BWV 1000

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A classical TOP 30 with the intention of relaxation and chillin'. Sit back, relax, and enjoy these Chillout Tunes.

00:00:00 Piano Concerto No. 21 in C Major, K. 467: II. Andante 'Elvira Madigan'
00:06:07 Carnival of the Animals: XIII. The Swan
00:09:12 Liebestraum, S. 541: No. 3, Oh Lieb, so lang du lieben kannst in A-Flat Major
00:13:16 Serenade No. 13 in G Major, K. 525 ‘Eine kleine Nachtmusik’: II. Romanze
00:18:19 Pictures at an Exhibition: Promenade No. 2 - No. 2, The Old Castle
00:23:35 Nocturnes, Op. 9: No. 2, Nocturne in E-Flat Major
00:27:56 Orfeo ed Euridice, Act 2: Dance of the Blessed Spirits
00:35:01 Concerto in F Minor, Op. 8 No. 4, RV 297 "Winter": II. Largo
00:37:05 Symphony No. 3 in F Major, Op. 90: III. Poco allegretto
00:43:05 Thaïs, Act 2: Méditation
00:47:47 Preludes, Op. 28: No. 15, Prelude in D-Flat Major 'Raindrop'
00:52:37 Violin Concerto in D Major, Op. 77: II. Adagio
01:02:24 Piano Sonata No. 8 in C Minor, Op. 13 ‘Pathétique’: II. Adagio cantabile
01:07:11 Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 ‘Moonlight’: I. Adagio sostenuto
01:12:54 Piano Concerto No. 27 in B-Flat Major, K. 595: II. Larghetto
01:19:47 Bagatelle No. 25 in A Minor WoO 59 ‘Für Elise’
01:22:41 Symphony No. 5: IV. Adagietto
01:31:04 Piano Concerto No. 1 in E Minor, Op. 11: II. Romanze. Larghetto
01:41:52 Suite Bergamasque, L. 75: III. Clair de Lune
01:46:50 3 Gymnopédies: No. 1, Lent et douloureux in D Major
01:50:32 Mass in A Major, Op. 12: No. 5, Panis angelicus
01:54:04 Jesu, meine Freude, BWV 227
01:57:06 Vesperae solennes de confessore in C Major, K. 339: No. 5, Laudate Dominum
02:02:15 Sicilienne for Flute and Orchestra, Op. 78
02:05:39 Piano Concerto No. 23 in A Major, K. 488: II. Adagio
02:11:59 Ave verum corpus in D Major, K. 618
02:15:36 Berceuse, Op. 16
02:19:06 Élégie for Cello and Orchestra, Op. 24
02:25:35 Piano Trio No. 1 in D Minor, Op. 49: II. Andante con molto tranquillo
02:32:00 Dido and Aeneas, Act 3, Z. 626: When I Am Laid in Earth

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From the Symphony No.1, composed when Mozart was just eight years old, to the mature and well-loved ‘Haffner’, ‘Prague’ and ‘Jupiter’ symphonies, this comprehensive 11-CD set collects together Mozart’s complete body of work in this genre, performed on period instruments by the Mozart Akademie Amsterdam and conducted by Jaap ter Linden.

Mozart is recognised as one of the great composers of the Classical symphony, building upon the achievements made by his mentor Joseph Haydn to develop its form. At the time that he composed his Symphony No.1 in 1764, the symphony’s form was still closely linked to that of the French opera overture, with three short movements in a fast-slow-fast pattern. Gradually, composers like Haydn began to expand this structure to the four-movement form that we are familiar with as the Classical symphony. These fascinating developments in style and structure can be heard in Mozart’s changing approach to symphonic composition throughout his career, and the booklet notes that accompany this release trace such developments in depth.

From around 1750, the oboe, an instrument hitherto largely used in chamber and church music, began to make its way into concert halls, and to be played by virtuoso soloists. The instrument’s construction was evolving to increase the penetration of its hi register, making it more suitable both as an orchestral and a concertante instrument. Even so, the oboe of Mozart’s day could still only play two keys, thus restricting its technical range of available music and expression. Mozart overcame those limitations most wholly successfully, as one might imagine, but none of the other works here is negligible. His friend Carl Ditters van Dittersdorf composed four concertos for the instrument and its close but obsolescent relative, the sweeter and gentler oboe d’amore, which is heard here in the A major concerto.

The first and most exuberant of three concertos by Giuseppe Ferlendis (1755 - 1810) opens the recording with pleasant and undemanding, slightly Haydnesque sequences. Then comes a greater rarity, the C major concerto by Leopold Hofmann (1738 - 1793) of more archaically Baroque cut, owing a little of its dash and brio to the Italian concertos for the instrument such as those composed by Vivaldi. In true classical style, the cadenzas for each concerto were composed/improvised by Puskunigis, who also contributes booklet notes which give valuable context to the Classical-era oboe and discuss the particularities of each composer’s writing for the instrument.

From around 1750 the oboe, an instrument hitherto largely used in chamber music and church music, began to make its way into the concert halls, and to be played by virtuoso soloists. The Oboe Concertos on this new recording represent the Classical Viennese Style, with Wolfgang Amadeus Mozart as its undisputed genius. Although the other composers, Ferlendis, Ditters von Dittersdorf and Hofmann are lesser known, their Oboe (or Oboe d’Amore) Concertos share the same grace, sparkle and melodious flow as Mozart’s masterwork.

Composers: Carl Ditters von Dittersdorf, Leopold Hofmann, Wolfgang Amadeus Mozart
Artists: Andrius Puskunigis (oboe), St. Christopher Chamber Orchestra, Donatas Katkus (conductor)

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00:00:00 Oboe Concerto in F Major, Nr. 1: I. Allegro
00:06:24 Oboe Concerto in F Major, Nr. 1: II. Adagio
00:09:11 Oboe Concerto in F Major, Nr. 1: III. Rondo, allegro con brio
00:13:04 Oboe Concerto in C Major: I. Allegro – Maestoso
00:19:22 Oboe Concerto in C Major: II. Adagio
00:25:29 Oboe Concerto in C Major: III Allegro (non) molto
00:30:57 Oboe d’amore concerto in A Major: I. Moderato
00:36:11 Oboe d’amore concerto in A Major: II. Adagio
00:41:33 Oboe d’amore concerto in A Major: III. Presto
00:44:18 Oboe Concerto in C Major, K. 314: I. Allegro aperto
00:51:32 Oboe Concerto in C Major, K. 314: II. Adagio non troppo
00:57:49 Oboe Concerto in C Major, K. 314: III. Rondo, allegretto

Best Classical Study Music:
Great Classical Music for Study, Work or just Relaxing.

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Philip Glass
00:00:00 The Hours – Jeroen van Veen
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Wolfgang Amadeus Mozart
00:07:13 Piano Concerto No. 23 in A, KV 488 I Allegro - Mozart Akademie Amsterdam
00:18:01 Piano Concerto No. 23 in A, KV 488 II Andante - Mozart Akademie Amsterdam
00:24:16 Piano Concerto No. 23 in A, KV 488 III Allegro - Mozart Akademie Amsterdam
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J.S. Bach
00:32:16 Goldberg Variations, BWV 988 Aria - Pieter-Jan Belder harpsichord
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Erik Satie
00:37:18 3 Gymnopédies (1889) No. 1 Lent et douloureux - Håkon Austbö piano
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Tracklist below.

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Composer: Piotr Ilyich Tchaikovsky
Artists: István Várdai (cello), Tibor Bogányi (conductor), Pannon Philharmonic

An ardent admirer of Mozart, Tchaikovsky’s splendid Variations on a Rococo Theme are full of subtle homages to the Classical composer. The theme itself, however, is an original invention by Tchaikovsky himself rather than an excerpt from the past. Composed for German cellist Wilhelm Fitzenhagen, the piece was not performed in its original form for many years after its initial composition, as Fitzenhagen had insisted on making changes to the structure and virtuosic cadenzas for its first performance, against Tchaikovsky’s wishes. Both versions are included on this release, allowing the listener to fully appreciate the struggle between Tchaikovsky’s Classical vision and Fitzenhagen’s desire for the cello to shine. The composer’s love for Mozart also comes to the fore in the Nocturne Op.19 No.4, one of six pieces initially composed for piano that showcases the lyrical melodies and clear structure Tchaikovsky strived to create. The folksonglike Andante cantabile was one of the composer’s most popular movements during his lifetime, and, as was common, was often performed separately from the rest of the quartet. Along with Tchaikovsky’s last piece for cello, the sprightly Pezzo capriccioso, this album exemplifies the composer’s innate understanding of the instrument and illustrates perfectly how he brings this understanding to life.

00:00:00 Variations on a Rococo Theme, TH 57: Op. 33 in A Major
00:18:37 Nocturnes No. 4 in C Minor, Op. 19: Andante sentimentale
00:23:16 Pezzo capriccioso, TH 62, Op. 62 in B Minor: Andante con moto
00:30:06 String Quartet, TH 111, Op. 11 in D Major: II. Andante cantabile
00:36:58 Variations on a Rococo Theme, CW 59 : Op. 33 in A Majore

Tracklist below.

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Composers: Anton Stepanovich Arensky, Alexander Borodin, Nikolai Andreyevich Rimsky-Korsakov, Piotr Ilyich Tchaikovsky, Sergei Ivanovich Taneyev
Artist: The Moscow Trio, Vladimir Ivanov (violin), Mikhail Utkin (cello), Alexander Bonduriansky (piano)

This 3-disc collection showcases Russian piano trios from the mid-nineteenth to early-twentieth centuries. Piano trios were unheard of for Russian composers until Mikhail Glinka wrote one in 1832; it earned the epithet ‘Pathétique’ as it seemed to be a reflection of Glinka’s general sadness at the time of writing, the piece alternating between caustic tension and attempts at light-hearted optimism. A mournful, melancholic influence then became characteristic of the Russian piano trio: Tchaikovsky unknowingly created a tradition when he composed his offering in 1882 – one of his greatest chamber works and which he dedicated to his recently deceased and much-missed friend Nikolay Rubinstein. On several subsequent occasions, piano trios were written as memorials.

The collection also includes the mathematically-governed trio of Sergey Taneyev, who had gained a reputation as a cerebral composer, and the trio of Rimsky-Korsakov, whose mastery of opera and vocal writing can be seen in the final movement as each instrument takes on its own ‘voice’ and emotion – thus resembling an interaction between characters. Alexander Borodin used the Classical model for his trio, although it contains surprising chromaticism as well as dramatic changes of temperament, including the tragic hymn in the second movement. Anton Arensky’s take on the genre completes the collection.

The Moscow Piano Trio was formed in 1976 and has achieved huge success in international competitions, notably winning the Maurice Ravel Gold Medal at the Bordeaux ‘Mai Musical’. The trio is comprised of pianist Alexander Bonduriansky, violinist Vladimir Ivanov and cellist Mikhail Utkin.

00:00:00 Piano Trio in A Minor, Op. 50: I. Pezzo elegiaco
00:22:40 Piano Trio in A Minor, Op. 50: IIa. Tema con variazione: Andante con moto
00:43:05 Piano Trio in A Minor, Op. 50: IIb. Variazione finale e coda
00:55:52 Trio pathétique in D Minor: I. Allegro moderato
01:01:08 Trio pathétique in D Minor: II. Scherzo: Vivacissimo
01:04:40 Trio pathétique in D Minor: III. Largo
01:09:42 Trio pathétique in D Minor: IV. Allegro con spirito
01:11:53 Piano Trio No. 1 in D Minor, Op. 32: I. Allegro moderato
01:25:18 Piano Trio No. 1 in D Minor, Op. 32: II. Scherzo: Allegro molto
01:31:27 Piano Trio No. 1 in D Minor, Op. 32: III. Élégie: Adagio
01:38:14 Piano Trio No. 1 in D Minor, Op. 32: IV. Finale: Allegro non troppo
01:44:53 Piano Trio in D Major, Op. 22: I. Allegro
01:57:07 Piano Trio in D Major, Op. 22: II. Allegro molto
02:09:29 Piano Trio in D Major, Op. 22: III. Andante espressivo
02:16:06 Piano Trio in D Major, Op. 22: IV. Finale
02:27:23 Piano Trio in C Minor: I. Allegro assai
02:42:48 Piano Trio in C Minor: II. Allegro
02:47:30 Piano Trio in C Minor: III. Adagio
02:56:54 Piano Trio in C Minor: IV. Allegro assai
03:12:25 Piano Trio in D Major (Unfinished): I. Allegro con brio
03:18:44 Piano Trio in D Major (Unfinished): II. Romance: Andante
03:26:29 Piano Trio in D Major (Unfinished): III. Intermezzo: Tempo di minuetto

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Composer & Artist:
Composer: Johann Friedrich Fasch
Artists: udwig Güttler (corno da caccia I & concert master), Kurt Sandau (corno da caccia II), Andreas Lorenz (oboe I), Wolfgang Klier (oboe II), Hans-Peter Steger (bassoon), Virtuosi (Saxoniae)

About this Album:
Fame is a strange thing. Although Johann Friedrich Fasch was highly esteemed by his contemporaries and the generations of musicians who followed him, in the concert repertoire of today he is grouped together with many minor masters who wrote a lot of works that sadly communicate very little. Yet music scholar Johann Adolf Scheibe put Fasch into the same class as Telemann, and J.S. Bach possessed copies of several of the composer’s works. This release therefore aims to expose the genius of Fasch, and in doing so to help restore appreciation for what has become a largely forgotten corpus of deftly written, utterly absorbing music.

Fasch made his name largely through his overtures, works which in the 17th and 18th centuries referred to a series of dance movements prefaced by an extensive introduction of pompous gravity. Two are explored in this release – the Overture in D minor and the Overture in B flat ‘a due cori’, arranged by M. Fechner and E. Steinsdorff respectively – and they are followed by a selection of Fasch’s sonatas for two oboes and bassoon, with and without basso continuo, works whose details (such as free, fantasy-like episodes to be played at a slow pace) reveal a rich field for experimentation. A Concerto in D and a Sonata for 2 oboes and 2 bassoons also feature, and overall one is struck by this composer’s highly personal style of chamber music – a stark contrast to the ingratiating melodies and harmonic suavity of his large-scale instrumental pieces.

Tracklist:
The tracklist can be found in the comments!

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Composer & Artist:
Composter: Johann Sebastian bach
Artists: Arleen Augér (soprano), Annelies Burmeister (contralto), Peter Schreier (tenor), Theo Adam (bass), Dresdner Philharmonie, Martin Flämig (conductor)

About this Album:
Johann Sebastian Bach, hero of the Baroque, has many masterpieces to his name. Among them is the Weihnachts-Oratorium BWV248, also known as the Christmas Oratorio. The work was written in 1734 to be performed at several services spanning Christmas Day to Epiphany in Leipzig. A re-telling of the Christmas story, the work has become one of the most popular choral compositions of all time and is a regular fixture in the church and concert calendars all over the world.

Tracklist:
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#Bach #Christmas #Classical#BrilliantClassics #Music #Composer #ClassicalMusic #Bach #JSBach #ClassicalChristmasMusic #Christmas #ClassicalChristmas

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Best known now as a young friend and ever-patient amanuensis to the increasingly cantankerous Beethoven, Ferdinand Ries was himself the most talented member in a distinguished family of musicians. It was his father Franz who taught piano to both him and Beethoven in Bonn, and had the melancholy fortune to outlive his son by eight years after Ferdinand’s death in 1838. The son became Beethoven’s pupil in 1801, and while the teacher’s comment that ‘he imitates me too much’ is not unfair, one can only extend sympathy to poor Ries: what was he to do with such a master?

Certainly the Polonaise of the Op.20 Cello Sonata proceeds with the swagger of Beethoven in popular style, bouncing along like the finale of the latter’s Triple Concerto. The dates of this work and the one immediately following it are uncertain, but they bear a dedication to Bernhard Romberg, author of the influential method for the cello, and teacher of Ries from the age of five. Once Ries had left Vienna in 1809 to pursue a career as a touring virtuoso he met Romberg in St Petersburg and toured Russia with him; the sonatas may date from this period.

The Op.125 Sonata, however, definitively bears the date of 1823 on its autograph and is fully a work of Ries’s maturity, written once he had settled in London where, to quote Greene’s Biographical Encyclopedia of Musicians, ‘he settled down… concertized, taught, composed and acquired fame, money, and a charming wife named Harriet Mangean.’ The scale of the Sonata is positively Schubertian; so, too, the cast of its long-breathed melodies, and the Romantic gloom of its Grave introduction.
These historically informed recordings are the work of two experienced Italian musicians who have played with many distinguished ensembles specialising in music of the Baroque and Classical periods.

Ferdinand Ries (1784-1838) was born in Bonn and moved to Vienna in 1801, where his life became closely related to that of Ludwig van Beethoven (also a native of Bonn..). Ries studied piano with him, copied his scores and was the interpreter of several new works, notably the premiere of the Third Piano Concerto. Ries also wrote the first biography of Beethoven, an invaluable source of first-hand information. Ries’s style inevitably is modelled on that of his master Beethoven, he was however strong enough to stand on his own. His three cello sonatas are masterworks of the genre, both instruments being equal partners in a highly virtuoso musical discourse.
Played on period instruments by Gaetano Nasillo, one of today’s most renowned baroque cellists, and Alessandro Comellato, excellent fortepianist, who recorded Hummel Piano Concertos to great critical acclaim for Brilliant Classics (BC 94338).

00:00:00 Cello Sonata in C Major, Op. 20: I. Allegro con brio
00:08:46 Cello Sonata in C Major, Op. 20: II. Adagio
00:11:53 Cello Sonata in C Major, Op. 20: III. Polonaise, allegretto moderato
00:20:28 Cello Sonate in G Minor, Op. 125: I. Grave-Allegro-Grave-Allegro-Grave-Allegro
00:36:39 Cello Sonate in G Minor, Op. 125: II. Larghetto con moto
00:43:40 Cello Sonate in G Minor, Op. 125: III. Rondo, allegretto
00:50:58 Cello Sonate in A Major, Op. 21: I. Allegro
01:02:46 Cello Sonate in A Major, Op. 21: II. Andantino quasi allegretto
01:08:41 Cello Sonate in A Major, Op. 21: III. Menuetto, allegretto
01:12:39 Cello Sonate in A Major, Op. 21: IV. Rondo, allegro ma non troppo

Artist:
Gaetona Nasillo (cello)
Alessandro Commellato (fortepiano)

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Working in all the standard genres from string quartet to symphony, sonata to concerto, ballet to opera, Reinhold Glière never attained the fame of his contemporary Rachmaninov, but his music is no less recognisably Russian, no less filled with long and aching cantabile melodies; the significant point of contrast is that Glière, who never left Russia, was not afflicted with the pervasive melancholy that so memorably colours Rachmaninov’s music.

The difference is quickly apparent in the 30 Preludes which are Glière’s major contribution to piano literature. The C minor Second may very obviously be written in the shadow of Chopin, but most of the major-key examples enjoy the carefree mood of a relaxed, Russian Brahms. Nearly all of them invite words to be sung with them, such as the spring-like No.7 or the Romance of No.15. For pianists and lovers of Romantic piano music alike, the Preludes of Glière should be a joyful discovery.

On his debut recording for Brilliant Classics, Gianluca Imperato complements the Preludes with selections from other, slighter keyboard collections: the Kinderstücke Op.31, 12 Sketches Op.47 and then the Two Piano Pieces Op.99 dating from 1955: an impromptu for left-hand alone which is not to be confused with his Op.35 No.9 (a favourite miniature for violin and cello recitals); indeed neither it nor the companion Melodie have been recorded before. They show that at the age of 80, Glière could still pen music that was remarkably refined, calm and melancholy; suspended in time, or beyond the reach of events.
Composer Reinhold Gliere
Artist Gianluca Imperato piano

00:00:00 25 Preludes, Op. 30: No. 1 in C Major
00:01:22 25 Preludes, Op. 30: No. 2 in C Minor
00:04:25 25 Preludes, Op. 30: No. 3 in D-Flat Major
00:05:23 25 Preludes, Op. 30: No. 4 in C-Sharp Minor
00:08:15 25 Preludes, Op. 30: No. 5 in D Major
00:12:01 25 Preludes, Op. 30: No. 6 in D Minor
00:13:41 25 Preludes, Op. 30: No. 7 in E-Flat Major
00:15:38 25 Preludes, Op. 30: No. 8 in E-Flat Minor
00:16:37 25 Preludes, Op. 30: No. 9 in E Major
00:20:19 25 Preludes, Op. 30: No. 10 in E Minor
00:23:22 25 Preludes, Op. 30: No. 11 in F Major
00:25:31 25 Preludes, Op. 30: No. 12 in F Minor
00:26:51 25 Preludes, Op. 30: No. 13 in F-Sharp Major
00:29:07 25 Preludes, Op. 30: No. 14 in F-Sharp Minor
00:32:09 25 Preludes, Op. 30: No. 15 in G Major
00:35:09 25 Preludes, Op. 30: No. 16 in G Minor
00:36:21 25 Preludes, Op. 30: No. 17 in A-Flat Major
00:37:12 25 Preludes, Op. 30: No. 18 in G-Sharp Minor
00:38:38 25 Preludes, Op. 30: No. 19 in A Major
00:40:43 25 Preludes, Op. 30: No. 20 in A Minor
00:43:54 25 Preludes, Op. 30: No. 21 in B-Flat Major
00:47:11 25 Preludes, Op. 30: No. 22 in B-Flat Minor
00:48:34 25 Preludes, Op. 30: No. 23 in B Major
00:50:17 25 Preludes, Op. 30: No. 24 in B Minor
00:51:05 25 Preludes, Op. 30: No. 25 in C Major
00:52:42 Romance No. 2, Op. 16
00:56:07 Kinderstücke, Op. 31: IV. Träumereien
00:58:23 Kinderstücke, Op. 31: VI. Valzer
01:00:05 Kinderstücke, Op. 31: X. Lied aus dem Osten
01:01:38 Kinderstücke, Op. 31: XI. Albumblatt
01:03:37 12 Sketches, Op. 47: III. Gajamente
01:04:38 12 Sketches, Op. 47: VII. Agitato
01:05:36 Two Piano Pieces, Op. 99: I. Impromptu for the Left Hand in E Major
01:08:26 Two Piano Pieces, Op. 99: II. Melodie B-Flat Major

Tracklist below.

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Oleg Timofeyev, a Russian-born American lutenist, brings together a personal collection of some of his favourite Elizabethan pavans, each carefully chosen from lute books or unpublished manuscripts, spanning the length of Queen Elizabeth I’s reign. What intrigues Timofeyev is the special status that the pavan held during this time, and how it morphed from a simple dance to a slow, grand, fantasy-like composition. This album showcases this fascinating development; from two pavans inspired by Elizabeth’s predecessor, King Henry VIII, the first of which includes a marvellous ‘fanfare’ section, to a collection of anonymous pavans that utilised common harmonic progressions for the first time, delighting the post-Renaissance listener. The famous John Dowland features on this release, with his tongue-in-cheek ‘Semper Downland semper dolens’ (a complaint that he neverheld a position at Elizabeth’s court), as well as Daniel Bacheler and John Daniel, whose eccentric, almost decadent style brought the art of the pavan to its highest degree of sophistication.
Oleg Timofeyev is a lutenist, guitarist, musicologist and documentary film director.
Since arriving in America in 1989, he has studied with the likes of Hopkinson Smith and Peter Williams, and has gone on to record dozens of CDs. He has been responsible for the revival of the seven-string Russian guitar, and in 2008 together with his wife he made a compelling documentary about his former guitar teacher, Kamill Frautschi.
The Pavan is an ancient Spanish-Italian Dance form, solemn, slow and stately. It gained great popularity in Renaissance England, in which it developed from a straight dance form in the time of Henry VIII to a highly sophisticated composition of a slow, rhapsodic and fantasy-like nature, in which the composer expressed his often melancholy emotions. The composers featured are Cotton, Ferrabosco, Philips, Johnson, Mason, Robinson, Dowland, Daniel, Bacheler and several Anonymi. Oleg Timofeyev is a highly respected lutenist, guitarist, musicologist and documentary film director. He wrote the excellent liner notes for this release.

Artist: Oleg Timofeyev lute
00:00:00 Kyng Harry the VIIIth Pavyn
00:01:58 The Kinges Pavane
00:03:43 Pavan
00:06:31 Quadro pavan
00:08:48 Anthony pavan
00:11:06 Passamezzo pavan (Marsh Lute Book)
00:14:41 Pavan
00:18:07 Quadro Pavan (Willoughby Lute Book)
00:20:10 Pavana cromatica
00:23:37 Spanish pavan
00:28:28 Philips pavan
00:31:48 Mason pavan
00:36:03 Lachrimae pavan
00:40:53 Spanish pavan
00:43:57 Semper Dowland semper dolens
00:47:14 Sims pavan
00:52:06 Pavan (Cozens Lue Book)
00:54:58 Pavan
01:00:14 Rosamund

This set includes over 3 hours of the most memorable romantic melodies played by some of the world’s finest pianists. The collection contains the most beautiful compositions of great composers like Mozart, Chopin, Liszt and many more!

Take a Deep Breath and Enjoy!

Tracklist:

Johannes Brahms
00:00:00 8 Piano Pieces, Op. 76: No. 4, Intermezzo in B-Flat Major. Allegretto grazioso
01:40:11 4 Ballades, Op. 10: No. 2, Ballade in D Major. Andante
01:45:53 4 Klavierstücke, Op. 119: No. 1, Intermezzo in B Minor. Adagio
02:27:22 2 Rhapsodies, Op. 79: No. 2, Rhapsody in G Minor. Molto passionato, Ma non troppo allegro

Franz Schubert
00:02:33 Four Impromptus, D. 935: No. 2, Impromptu in A-Flat Major
01:12:01 Moments musicaux, D. 780: No. 2, Andantino in A-Flat Major

Felix Mendelssohn
00:09:05 Lieder ohne Worte, Op. 30: No. 6, Allegretto in F-Sharp Minor "Venetian Gondola Song"
00:12:10 6 Gesänge, Op. 47: No. 3, Frühlingslied
00:14:30 Lieder ohne Worte, Op. 102: No. 5, Allegro vivace
00:27:52 Lieder ohne Worte, Op. 19b: No. 3, Molto allegro e vivace in A Major
01:24:40 Lieder ohne Worte, Op. 38: No. 6, Duetto in A-Flat Major. Andante con moto
01:53:07 Lieder ohne Worte, Op. 19b: No. 5, Poco agitato

Chopin
00:15:51 Berceuse in D-Flat Major, Op. 57
01:27:31 Souvenir de Paganini in A Major, B. 37
01:34:40 Etude in C Minor, Op. 10 No. 12 "Revolutionary"
01:56:38 Nocturnes, Op. 27: No. 2, Nocturne in D-Flat Major
02:03:03 Grande valse brillante in E-Flat Major, Op. 18
02:14:06 Etudes, Op. 25: No. 1, Etude in A-Flat Major "Aeolian Harp"
02:33:27 Waltzes, Op. 64: No. 2, Waltz in C-Sharp Minor
03:08:23 Polonaise in A-Flat Major, Op. 53 "Heroic"

Edvard Grieg
00:20:54 Lyric Pieces, Op. 38: No. 1, Cradle Song
00:23:11 Lyric Pieces, Op. 43: No. 3, Little Bird
00:25:03 Lyric Pieces, Op. 68: No. 5, At the Cradle
03:15:24 Lyric Pieces, Op. 12: No. 1, Arietta

Claude Debussey
00:30:02 Childrens Corner, L. 113: No. 5, The Little Shepherd
00:32:26 Childrens Corner, L. 113: No. 6, Golliwog's Cake-walk

Wolfgang Amadeus Mozart
00:35:07 Sonate facile in C Major, K. 545: II. Andante
00:39:20 Sonate facile in C Major, K. 545: III. Rondo
00:53:54 Piano Sonata No. 12 in F Major, K. 332: I. Allegro
01:00:28 Piano Sonata No. 12 in F Major, K. 332: II. Adagio
01:05:11 Piano Sonata No. 12 in F Major, K. 332: III. Allegro assai

Tchaikovsky
00:41:03 The Seasons, Op. 37a: No. 2, February. The Carnival in D Major
00:44:00 The Seasons, Op. 37a: No. 12, December. Christmas in A-Flat Major
03:03:00 The Seasons, Op. 37a: No. 6, June. Barcarolle in G Minor. Andante cantabile
03:06:43 The Seasons, Op. 37a: No. 3, March. Song of the Lark in G Minor. Andantino espressivo

Erik Satie
00:47:42 3 Gymnopèdies: No. 2, Lent et triste in C Major
00:50:58 3 Gymnopèdies: No. 3, Lent et grave in A Minor

Charles Henri Valentin Alkan
01:18:15 Nocturne, Op. 22
01:49:16 Recueil de Chants, Op. 65: No. 6, Barcarolle in G Minor

Robert Schumann
01:31:47 Fantasiestücke, Op. 12: No. 2, Aufschwung in F Minor
02:08:08 Fantasiestücke, Op. 12: No. 5, In der Nacht in F Minor
02:11:55 Kinderszenen, Op. 15: No. 12, Kind im Einschlummern

Franz Liszt
01:37:29 2 Konzertetüden, S. 145: No. 2, Gnomenreigen. Presto scherzando
02:16:43 Hungarian Rhapsody No. 2, S. 244
02:37:05 Hungarian Rhapsody No. 11 in A Minor, S. 244
02:42:48 Années de pèlerinage III, S. 163: No. 4, Les jeux d'eaux a la villa d'Este

César Auguste Franck
02:50:31 Prèlude, Fugue et Variation, Op. 18: No. 1, Prèlude

Leoš Janácek
02:54:20 On an Overgrown Path: No. 4, The Madonna of Frydek

Petrovich Mussorgsky
02:57:46 Pictures at an Exhibition: Promenade II - No. 2, The Old Castle

Ludovico Einaudi
03:16:57 Una Mattina

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

The third part of the Boccherini string quintets performed by La Magnifica Communitá, containing the 6 quintets Op. 13 written in 1772. Delightful classical music which has been an example to many of Boccherini’s younger colleagues. He was one of the first to write for string quintet and the five parts are beautifully balanced.

The musicians of La Magnifica Communitá research their interpretations thoroughly. They perform Boccherini’s music in a pleasantly whole-hearted way, being both down to earth and airy.

00:00:00 Quintetto I In E Flat Major G. 277 : Maestoso
00:05:42 Quintetto I In E Flat Major G. 277 : Larghetto Con Espressione
00:09:27 Quintetto I In E Flat Major G. 277 : Minuetto: Allegro
00:13:35 Quintetto I In E Flat Major G. 277 : Presto
00:19:56 Quintetto Ii In C Major G. 279 : Allegro Maestoso
00:28:23 Quintetto Ii In C Major G. 279 : Larghetto
00:31:48 Quintetto Ii In C Major G. 279 : Presto
00:35:22 Quintetto Iii In F Major G. 279 : Prestissimo
00:41:58 Quintetto Iii In F Major G. 279 : Largo
00:47:49 Quintetto Iii In F Major G. 279 : Tempo Di Minuetto, Trio
00:51:17 Quintetto Iii In F Major G. 279 : Presto
00:55:37 Quintetto Iv In D Minor G. 280 : Allegro
01:04:39 Quintetto Iv In D Minor G. 280 : Andante Sostenuto
01:10:45 Quintetto Iv In D Minor G. 280 : Fuga (allegro Giusto)
01:14:52 Quintetto Iv In D Minor G. 280 : Andantino
01:20:34 Quintetto Iv In D Minor G. 280 : Allegro Giusto
01:25:54 Quintetto Iv In D Minor G. 280 : Presto Assai
01:29:47 Quintetto Vi In E Major G. 282 : Andante Sostenuto
01:33:02 Quintetto Vi In E Major G. 282 : Allegro Con Spirito
01:38:56 Quintetto Vi In E Major G. 282 : Minuetto
01:42:12 Quintetto Vi In E Major G. 282 : Rondeau, Allegro

Tracklist Below:
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Telemann wrote so much and so well for the flute with the understanding of one who knew the instrument from the inside. ‘How my heart beats,’ he wrote, ‘when I see the walls and corners of the room covered with musical instruments… Excellent instrumentalists have made me want to improve my performance on my instruments. I would have done so if an inner fire had spurred me beyond the keyboard, the violin and the flute, to learn the oboe, the chalumeau, the viola da gamba, or indeed the double bass and the bass trombone.’
In line with their earlier work on Vivaldi for Brilliant Classics (BC95078), Hanspeter Oggier and the Ensemble Fratres have now chosen to address the delectable feast of Telemann’s wonderfully joyous music. Meticulous in his work, alert and inventive, Telemann was a great colourist whose coherence and open mindedness enabled him to address the widest audience. The particular appeal of this collection is that the flute parts are taken by the pan-flute, which lend a rustic, sometimes insouciant colour to pairs of suites and concertos. In Telemann the prevalence of curiosity over perfectionism suggests the desire to produce works that were straightforward and accessible to all. There is no hint of superficiality in this approach, however: he sensitively assimilated both Italian and French musical languages as well as certain traditional Polish stylistic elements. These and other ingredients he accepted as simple, pliable mother tongues, without trying to adapt them to his native German idiom.

In the Baroque it was by no means uncommon for composers to freely transcribe and arrange their own works or works by others for a different instruments. Therefore, any present day attempt of alternative instrumentation should be viewed with respect and curiosity: the result counts. And what result we encounter on this new recording of Flute Concertos by Telemann transcribed for the Pan Flute! By turns dramatic and furious, sweet and beguiling: the pan flute has infinite colouristic qualities to do full justice to these master works. The pan flute in its present form originates from 17th century Rumania, mostly used as a folk music instrument. However the use of the pan flute in “classical” Baroque music is by no means an abomination. The improvisatory character, the organic way of tone production which is regulated by the intensity of the breath of the player suit the Baroque music particularly well! Exhilarating performances by Master Pan flutist Hanspeter Oggier and his Ensemble Fratres. They already recorded successfully flute concertos by Vivaldi for Brilliant Classics (BC95078). Extensive liner notes on the music and the instrument included.

00:00:00 Ouverture-Suite in A Minor, TWV 55:a2: I. Ouverture
00:10:37 Ouverture-Suite in A Minor, TWV 55:a2: II. Les plaisirs
00:14:09 Ouverture-Suite in A Minor, TWV 55:a2: III. Air à l’Italien
00:21:03 Ouverture-Suite in A Minor, TWV 55:a2: IV. Menuett I-II
00:24:55 Ouverture-Suite in A Minor, TWV 55:a2: V. Rejouissance
00:27:24 Ouverture-Suite in A Minor, TWV 55:a2: VI. Passepied I-II
00:28:59 Ouverture-Suite in A Minor, TWV 55:a2: VII. Polonoise
00:32:59 Flute Concerto in D Major, TWV 51:D2: I. Moderato
00:35:33 Flute Concerto in D Major, TWV 51:D2: II. Allegro
00:39:47 Flute Concerto in D Major, TWV 51:D2: III. Largo
00:43:22 Flute Concerto in D Major, TWV 51:D2: IV. Vivace
00:46:26 Ouverture-Suite in G Major, TWV 55:G2: I. Ouverture
00:51:34 Ouverture-Suite in G Major, TWV 55:G2: II. Courante
00:53:46 Ouverture-Suite in G Major, TWV 55:G2: III. Gavotte en rondeau
00:54:52 Ouverture-Suite in G Major, TWV 55:G2: IV. Branle
00:55:49 Ouverture-Suite in G Major, TWV 55:G2: V. Sarabande
00:57:37 Ouverture-Suite in G Major, TWV 55:G2: VI. Fantaisie
00:58:48 Ouverture-Suite in G Major, TWV 55:G2: VII. Menuet I-II
01:02:28 Ouverture-Suite in G Major, TWV 55:G2: VIII. Rossignol
01:04:25 Flute Concerto in G Major, TWV 51:G2: I. Andante
01:07:08 Flute Concerto in G Major, TWV 51:G2: II. Vivace
01:09:43 Flute Concerto in G Major, TWV 51:G2: III. Adagio
01:11:50 Flute Concerto in G Major, TWV 51:G2: IV. Allegro

Artist:
Hanspeter Oggier pan flute
Ensemble Fratres

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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Francesco Cilea may now be best remembered as a composer of durable, blood-and-thunder staples of the verismo operatic school such as Adriana Lecouvreur and L’Arlesiana, but he addressed himself to chamber and instrumental music at both the beginning and end of his long career. Conservative and unfailingly melodic as his chosen idiom was, it nonetheless evolved in the 66 years between student salon pieces such as the Tre piccoli pezzi of 1888 and the album-leaf of 1944.

There have been a few surveys of Cilea’s piano music on record, but none as complete as this new recording from Pier Paolo Vincenzi, who has already won critical praise on Brilliant Classics for recordings of piano rarities. A Diabelli Variations album (BC94836) gathered all the composers who had initially responded to the Viennese publisher’s request for variations on his little waltz together with the late masterpiece of variation form eventually devised by Beethoven. Vincenzi has also recorded the complete piano music of Richard Wagner (BC94450) which drew this notice from Fanfare magazine: ‘Vincenzi has the kind of sparkling, clear Italian touch one often associates with Benedetti, Michelangeli, or, more recently, Luisi. His playing alternates between seriousness and sensuality, drama and joy, and the listener is with him every step of the way… [His] performances are the recommended ones.

Composer Francesco Cilea
Artist

Pier Paolo Vincenzi piano
Marco Gaggini piano

00:00:00 Tre piccoli pezzi: I. Melodia
00:01:54 Tre piccoli pezzi: II. Serenata
00:04:13 Tre piccoli pezzi: III. Danza
00:06:28 Chanson du rouet, Op. 4
00:09:04 Canto del mattino, Op. 5
00:12:17 La petite coquette – Air de danse, Op. 9
00:15:01 C’est toi que j’aime – Impromptu à la mazurka, Op. 10
00:17:50 Aria campestre
00:19:19 Flatterie, Op. 11
00:21:38 Mazurka, Op. 14
00:24:17 Badinage, Op. 15
00:26:28 Berceuse, Op. 20
00:28:37 Notturno, Op. 22
00:32:12 Seconda danza, Op. 26
00:33:53 Trois petits morceaux, Op. 28: I. Loin dans la mer
00:36:32 Trois petits morceaux, Op. 28: II. Feuille d’album
00:38:51 Trois petits morceaux, Op. 28: III. Pensée espagnole
00:40:32 Tre pezzi, Op. 29: I. Romanza
00:43:40 Tre pezzi, Op. 29: II. Scherzino
00:46:11 Tre pezzi, Op. 29: III. Barzelletta
00:48:59 Gocce di rugiada, Op. 33
00:51:49 Au village, Op. 34
00:53:37 A la mazurka, Op. 35
00:55:02 Valzer, Op. 36
00:56:51 Foglio d’album, Op. 41
00:58:51 Suite, Op. 42: I. Allegro
01:00:54 Suite, Op. 42: II. Sarabanda
01:04:30 Suite, Op. 42: III. Capriccio
01:07:56 Foglio d’album, Op. 41
01:09:54 Fuga reale
01:12:10 Tre pezzi, Op. 43: I. Verrà?
01:15:09 Tre pezzi, Op. 43: II. Acque correnti
01:17:19 Tre pezzi, Op. 43: III. Valle fiorita
01:21:15 Due pezzi: I. Risonanze nostalgiche
01:29:24 Due pezzi: II. Festa silana
01:33:19 Scherzo
01:37:57 Scherzando
01:41:09 Danza calabrese
01:45:05 Impromptu
01:48:20 Mazurka
01:49:55 Preludio
01:51:32 Vespero
01:54:35 Foglio d’album
01:56:14 Invocazione
01:58:51 Serenata a dispetto
02:00:52 Danza
02:04:41 Four Hands Music: Untitled in A Major
02:08:12 Four Hands Music: Chansonnette, Op. 31
02:10:14 Four Hands Music: Sentiment poétique
02:12:33 Four Hands Music: Amour joyeux, Op. 37
02:15:27 Idillio
02:18:40 Alla gavotte

Tracklist below.
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The late 17th century was a golden age for the proliferation of organ music in Northern Germany. While J.S. Bach – alongside Buxtehude – may be the first name to come to mind when we consider composers of this period, more provincial towns were also surprisingly rich centres of music-making. The Husumer Orgelbuch of 1758 comprises a collection of works for organ from Husum, a coastal town situated at the tip of Germany. Organist Bendix Friedrich Zinck, whose life spanned the second half of the 18th century, chose 17 compositions for the organ to include in the collection, mostly made up of parts of old compositions. We have one example of an Adagio by Nicolaus Bruhns, also known to be active in Husum, though many years before Bendix. A more substantial body has survived of music by Druckenmüller, an almost exact contemporary of J.S. Bach. His compositions for organ are some of the first examples of the ‘Italian concerto’ style in northern Germany, a concerto with three movements (fast-slow-fast) resembling the Italian concerto grosso. Another remarkable feature of this manuscript is the fact that a vast majority of the works are original compositions rather than transcriptions – a novelty for organ music at this time, which more often involved arrangements of orchestral works, such as Bach’s transcriptions of Vivaldi or Walther’s of Torelli.

Italian organist Manuel Tomadin is an enthusiastic advocate of music of this period, having recently released a CD of the complete organ works of Druckenmüller alongside Daniel Erich and Georg Wilhelm Dietrich Saxer on Brilliant Classics. As always, he has carefully selected his performing instruments, choosing a Baroque organ by Arp Schnitger – the most important organ builder of this period, who worked closely with Druckenmüller – and an organ by Albertus Hinsz in Leens, one of the closest to the tradition of Schnitger. For lovers of Baroque organ music looking to explore outside the established canon of Bach, Buxtehude and Walther, this release represents an exciting opportunity to discover some of the wealth of music-making in Northern Germany during this period.

00:00:00 Praeludium in D Major
00:02:29 Chaconne in D Major
00:08:52 Concerto in A Major: I. Allegro
00:12:01 Concerto in A Major: II. Siciliana
00:13:21 Concerto in A Major: III. Vivace
00:16:34 Concerto in F Major: I. Allegro
00:18:34 Concerto in F Major: II. Adagio
00:20:08 Concerto in F Major: III. Vivace
00:22:38 Concerto in D Major: I. Allegro
00:25:51 Concerto in D Major: II. Largo
00:27:45 Concerto in D Major: III. Vivace
00:29:11 Concerto in G Major: I. Allegro
00:32:15 Concerto in G Major: II. Adagio
00:33:57 Concerto in G Major: III. Allegro
00:35:49 Fuge in D Major
00:39:34 Concerto in A Major: I. Allegro
00:41:11 Concerto in A Major: II. Adagio
00:43:04 Concerto in A Major: III. Vivace
00:45:30 Concerto in E Major: I. Allegro
00:48:10 Concerto in E Major: II. Adagio
00:49:30 Concerto in E Major: III. Vivace
00:51:40 Concerto in B Major: I. Allegro
00:53:33 Concerto in B Major: II. Siciliana
00:54:51 Concerto in B Major: III. Allegro
00:58:02 Praeludium in D Major
01:00:04 Fuge in D Major
01:01:29 Adagio in D Major
01:03:00 Chaconne in D Major
01:08:49 Adagio in D Major
01:11:57 Concerto in G Major: I. Allegro
01:14:03 Concerto in G Major: II. Adagio
01:16:05 Concerto in G Major: III. Allegro
01:19:18 Concerto in D Major: I. Allegro
01:21:13 Concerto in D Major: II. Adagio
01:22:51 Concerto in D Major: III. Largo
01:23:35 Concerto in D Major: IV Allegro
01:27:31 Concerto in A Minor: I. Preludio
01:28:53 Concerto in A Minor: II. Vivace
01:30:58 Concerto in A Minor: III. Adagio
01:32:56 Concerto in A Minor: IV Allegro
01:34:40 Concerto in D Minor: I. Allegro
01:36:53 Concerto in D Minor: II. Adagio
01:39:53 Concerto in D Minor: III. Vivace
01:41:18 Concerto in G Minor: I. Allegro
01:43:18 Concerto in G Minor: II. Affettuoso
01:45:45 Concerto in G Minor: III. Allegro fuga
01:48:57 Praeludium in C Minor
01:49:53 Fuge in C Minor
01:51:16 Allegro – Adagio in C Minor

Artist:
Manuel Tomadin (organ)

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Composer: Johann Sebastian Bach
Artists: Pieter-Jan Belder (harpsichord and organ)
Johannete Zomer (soprano)

An exciting recording by two fabulous Dutch musicians, harpsichordist Pieter-Jan Belder and soprano Johannette Zomer. These days soprano Zomer is making quite an impression on critics and audiences alike.

Bach’s small gem written for his second wife, Anna Magdalena contains pieces for solo keyboard and songs. Today they give the listener an insight into Bach’s domestic music making. This release presents not just the keyboard works. In eleven works the keyboard player is joined by a vocalist.

A delightful record with intimate and radiant performances.

00:00:00 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 113
00:01:28 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 114 (Arr. J.S. Bach)
00:02:54 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 115 (Arr. J.S. Bach)
00:04:24 Notebook for Anna Magdalena Bach: Rondeau, Les Bergeries, BWV Anh. 183 (Arr. J.S. Bach)
00:08:08 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 116
00:09:45 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 117
00:11:38 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 118
00:12:53 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 119
00:13:47 Notebook for Anna Magdalena Bach: Choral. Wer nur den lieben Gott lässt walten, BWV 691
00:15:17 Notebook for Anna Magdalena Bach: Gib dich zufrieden und sei stille, BWV 510
00:17:01 Notebook for Anna Magdalena Bach: Gib dich zufrieden und sei stille, BWV 511
00:18:25 Notebook for Anna Magdalena Bach: Gib dich zufrieden und sei stille, BWV 512
00:19:39 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 120
00:20:51 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 121
00:21:52 Notebook for Anna Magdalena Bach: Marche, BWV Anh. 122 (Arr. J.S. Bach)
00:22:52 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 123 (Arr. J.S. Bach)
00:24:08 Notebook for Anna Magdalena Bach: Marche, BWV Anh. 124 (Arr. J.S. Bach)
00:25:31 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 125 (Arr. J.S. Bach)
00:27:18 Notebook for Anna Magdalena Bach: Aria. So oft ich meine Tobackspfeife, BWV 515a
00:33:27 Notebook for Anna Magdalena Bach: Menuet, fait par Mons (Arr. J.S. Bach)
00:34:38 Notebook for Anna Magdalena Bach: Musette, BWV Anh. 126
00:35:41 Notebook for Anna Magdalena Bach: Marche, BWV Anh. 127
00:37:19 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 128
00:38:47 Notebook for Anna Magdalena Bach: Bist du bei mir, BWV 508
00:41:27 Notebook for Anna Magdalena Bach: Aria, BWV 988 (Arr. J.S. Bach)
00:45:24 Notebook for Anna Magdalena Bach: Solo per il Cembalo, BWV Anh. 129 (Arr. J.S. Bach)
00:48:23 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 130 (Arr. J.S. Bach)
00:50:16 Notebook for Anna Magdalena Bach: Präludium, BWV 846
00:52:57 Notebook for Anna Magdalena Bach: Without Title, BWV Anh. 131
00:53:44 Notebook for Anna Magdalena Bach: Aria. Warum betrübst du dich, BWV 516
00:55:33 Notebook for Anna Magdalena Bach: Recitative and Aria. Ich habe genug, BWV 82
01:03:58 Notebook for Anna Magdalena Bach: Schaff's mit mir, Gott, BWV 514
01:04:51 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 132
01:05:38 Notebook for Anna Magdalena Bach: Aria di Giovannini, BWV 518
01:08:08 Notebook for Anna Magdalena Bach: Choral. Dir, Dir, Jehova, will ich singen, BWV 299
01:09:26 Notebook for Anna Magdalena Bach: Wie wohl ist mir, o Freund der Seelen, BWV 517
01:10:38 Notebook for Anna Magdalena Bach: Aria. Gedenke doch, mein Geist, BWV 509
01:12:04 Notebook for Anna Magdalena Bach: O Ewigkeit, du Donnerwort, BWV 513