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.

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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)

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.

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

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

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

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

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

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

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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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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:
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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.

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