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

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

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


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Composer & Artist:
Composers: Antonín Dvorák, Bedrich Smetana, Bohuslav Martinu, Leoš Janácek
Artists: Stamitz Quartet, Bohuslav Matoušek (first violin), Josef Kekula (second violin), Jan Peruška (viola), Vladimír Leixner (cello)

About this Album:
Those by Dvořák chart the evolution of his style, from his interest in Wagnerian music in the years prior to 1870 – String Quartet in D major – to the folk-infused works of his later life, such as the String Quartet in G major Op.106, and show the influence of his time in the United States, with the String Quartet in F Op.96 ‘American’. The quartets of Smetana have a distinctive neo-classical flavour while those of Janáček show strong links to his operatic works. Prolific composer Bohuslav Martinů composed six quartets, of which two were mislaid during the war. One of these, his fifth string quartet, is widely considered to be one of the most pivotal works in the composer’s oeuvre, written in 1938, a year of much upheaval in Martinů’s life. Many of the quartets in the collection hold an emotional dimension, all of which are exquisitely brought to life by the Stamitz Quartet.

Established in 1985, the Stamitz Quartet quickly became known as leading interpreters of Czech repertory. Winners of the 1986 National Broadcasting Union Competition in Salzburg, the Quartet’s rise to fame was meteoric; they have since participated in tours throughout Europe and America and undertaken a variety of recording projects, of which this collection is one.

Tracklist:
The tracklist can be found in the comments!

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Composer: Carl Philipp Emanuel Bach
Artists: Andrea Chezzi harpsichord
Alberto Colzani (2000), after Goermans-Taskin

About this Album:
A curious and unsatisfying reduction of huge music for tiny forces? By no means. These are not, after all, symphonies in the way that Beethoven, let alone Mahler, understood the term, but breezy three-movement affairs which had lately sprung out of an operatic context and were enjoying a new and independent life through the always-unpredictable idiom of C.P.E., who wrote eight such works between 1741 and 1762. Most of them began as symphonies for strings, with wind parts added later when Bach’s orchestra was enlarged. These early symphonies mixed an Italian style of pleasant and simple writing with the composer’s own evolving voice influenced by the Empfindsamer Stil, drawn together by the impeccable technique which C.P.E. had learnt at the feet of his father, the great Johann Sebastian.

The composer did not make these transcriptions of his ‘Berlin’ symphonies, but they were done during his lifetime to cater to the extensive public of amateur keyboard players. The Symphony in G major Wq122 No.1 (arr. Wq173) is perfectly suited to the harpsichord, with the freshness of an Italian opera overture, especially in the first movement. Elsewhere, Andrea Chezzi has made a few additions to the arrangement when it is excessively thin, limited to some doubling or addition of the inner part, following the practice of the time, while also playing with the ornamentation appropriate to a keyboard performance.

Andrea Chezzi is a solo harpsichordist and organist based in Parma, where he is titular organist for the Church of Santa Maria Annunziata in Mezzano Rondani in the Comune di Colorno, Parma, artistic director of the comune’s cultural association La Compagnia del Lorno, and a founding member of the Giuseppe Serassi cultural association for the appreciation of organs and early instruments.

Tracklist:
00:00:00 Symphony in G Major, Wq. 122 No. 1: II. Andante
00:02:51 Symphony in G Major, Wq. 122 No. 1: III. Allegretto
00:05:13 Symphony in F Major, Wq. 122 No. 2: I. Allegro assai
00:07:46 Symphony in F Major, Wq. 122 No. 2: II. Andante
00:14:53 Symphony in F Major, Wq. 122 No. 2: III. Tempo di minuetto
00:18:33 Symphony in D Major: I. Allegro (Arr. Wq. 176)
00:28:06 Symphony in D Major: II. Andante (Arr. Wq. 176)
00:31:13 Symphony in D Major: III. Presto (Arr. Wq. 176)
00:34:04 Symphony in E Minor, Wq. 122 No. 3: I. Allegro assai
00:38:15 Symphony in E Minor, Wq. 122 No. 3: II. Andante
00:44:01 Symphony in E Minor, Wq. 122 No. 3: III. Allegro



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This is part 3 of the first and only Complete Locatelli Edition ever!
Locatelli, like many of his contemporaries, moved abroad and settled in Amsterdam/The Netherlands, concertising as a violinist (and a “devil” he was as a performer!), and founding a flourishing publishing house.

Locatelli composed in the tradition of the Italian Baroque, in the well known forms of the Concerto Grosso, Solo Concerto and Trio Sonata. His style is inventive, flamboyant, and extremely virtuoso. His violin sonatas and concertos still present a daunting challenge even to today’s violinists.

Pietro Antonio Locatelli was one of the most important composers of the Baroque period, being a particularly celebrated composer of violin repertoire. His collection L’arte del violino contains 12 violin concertos with 24 caprices in the first and last movement of each, allowing for astonishing displays of virtuosity.

Composer: Pietro Antonio Locatelli
Artist: Various artists

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The tracklist can be found in the comments!

Tracklist below.

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Composer:
Johann Sebastian Bach

Artist:
Daniele Boccaccio organ

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

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Composer: Dmitri Shostakovich
Artist: WDR Sinfonieorchester, Rudolph Barshai (conductor)

Shostakovich' music is the music of 20th century Russia, from the turbulent Revolution, through the horrors of war to the communistic repression. It is the cry of a soul in torment, expressing grief, despair in a highly personal way, through irony or bitter truth. The symphonies span Shostakovich'whole life, and form a milestone in the symphonic repertoire. They are frequently played, and have gained nearly the same popularity as Mahler's symphonies. A great recording by Russian conductor Rudolf Barshai, an authority in this repertoire, as he has worked closely together with the composer for a long time, and premiered the 14th symphony.

00:00:00 Symphony No. 1 in F Minor, Op. 10: Allegretto
00:08:09 Symphony No. 1 in F Minor, Op. 10: Allegro
00:12:55 Symphony No. 1 in F Minor, Op. 10: Lento
00:20:38 Symphony No. 1 in F Minor, Op. 10: Allegro molto

00:29:29 Symphony No. 2 in B Major, Op. 14 for Chorus & Orchestra "To October"

00:48:29 Symphony No. 3 in E-Flat Major, Op. 20 for Chorus & Orchestra "First of May"

01:14:59 Symphony No. 4 in C Minor, Op. 43: Allegretto poco moderato
01:42:10 Symphony No. 4 in C Minor, Op. 43: Moderato con moto
01:50:56 Symphony No. 4 in C Minor, Op. 43: Largo-allegro

02:16:58 Symphony No. 5 in D Minor, Op. 47: Moderato
02:32:29 Symphony No. 5 in D Minor, Op. 47: Allegretto
02:38:01 Symphony No. 5 in D Minor, Op. 47: Largo
02:51:19 Symphony No. 5 in D Minor, Op. 47: Allegro non troppo

03:02:49 Symphony No. 6 in B Minor, Op. 54: Largo
03:21:38 Symphony No. 6 in B Minor, Op. 54: Allegro
03:27:25 Symphony No. 6 in B Minor, Op. 54: Presto

Tracklist in the comment section:

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

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

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

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

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

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Composer & Artist:
Composer: Johannes Brahms
Artists: Chamber Choir of Europe, Nicol Matt (conductor), Friederike Haug (piano),
Jürgen Meier (piano)

About this Album:
Brahms’s vocal output is far more extensive than his instrumental oeuvre. And his choral works is least known.
From our recordings of the complete a cappella choral works by this composer we selected the sets of Liebeslieder. Performances by the outstanding Chamber Choir of Europe under Nicol Matt

Tracklist:
00:00:00 Liebeslieder - Walzer Op. 52 : Rede Madchen, Allzu Liebes
00:01:16 Liebeslieder - Walzer Op. 52 : Am Gesteine Rauscht Die Flut
00:02:09 Liebeslieder - Walzer Op. 52 : O Die Frauen
00:03:48 Liebeslieder - Walzer Op. 52 : Wie Des Abends, Schone Rote
00:04:32 Liebeslieder - Walzer Op. 52 : Die Grune Hopfenranke
00:06:14 Liebeslieder - Walzer Op. 52 : Ein Kleiner, Hübscher Vogel
00:09:02 Liebeslieder - Walzer Op. 52 : Wohl Schön Bewandt War Es
00:10:24 Liebeslieder - Walzer Op. 52 : Wenn So Lind Dein Auge Mir
00:11:49 Liebeslieder - Walzer Op. 52 : Am Donaustrande
00:14:01 Liebeslieder - Walzer Op. 52 : O Wie Sanft Die Quelle
00:15:02 Liebeslieder - Walzer Op. 52 : Nein, Es Ist Nicht Auszukommen
00:16:08 Liebeslieder - Walzer Op. 52 : Schlosser Auf Und Mache Schlösser
00:16:58 Liebeslieder - Walzer Op. 52 : Vögelein Durchrauscht Die Luft
00:17:50 Liebeslieder - Walzer Op. 52 : Sieh, Wie Ist Die Welle Klar
00:19:01 Liebeslieder - Walzer Op. 52 : Nachtigall, Sie Singt So Schön
00:20:22 Liebeslieder - Walzer Op. 52 : Ein Dunkeler Schacht Ist Liebe
00:21:52 Liebeslieder - Walzer Op. 52 : Nicht Wandle, Mein Licht
00:23:59 Liebeslieder - Walzer Op. 52 : Es Bebet Das Gesträuche
00:25:41 Neue Liebeslieder Op. 65 : Verzicht, O Herz, Auf Rettung
00:26:38 Neue Liebeslieder Op. 65 : Finstere Schatten Der Nacht
00:28:19 Neue Liebeslieder Op. 65 : An Jeder Hand Die Finger
00:29:45 Neue Liebeslieder Op. 65 : Ihr Schwarzen Augen
00:30:39 Neue Liebeslieder Op. 65 : Wahre, Wahre Deinen Sohn
00:32:04 Neue Liebeslieder Op. 65 : Rosen Steckt Mir An Die Mutter
00:32:59 Neue Liebeslieder Op. 65 : Vom Gebirge Well Auf Well
00:34:35 Neue Liebeslieder Op. 65 : Weiche Gräser Im Revier
00:36:41 Neue Liebeslieder Op. 65 : Nagen Am Herzen Fühl Ich
00:38:05 Neue Liebeslieder Op. 65 : Ich Kose Süß Mit Der Und Der
00:39:12 Neue Liebeslieder Op. 65 : Alles, Alles In Den Wind
00:40:03 Neue Liebeslieder Op. 65 : Schwarzer Wald, Dein Schatten
00:41:50 Neue Liebeslieder Op. 65 : Nein, Geliebter, Setze Dich
00:44:07 Neue Liebeslieder Op. 65 : Flammenauge, Dunkles Haar
00:46:21 Neue Liebeslieder Op. 65 : Zum Schluss: Nun, Ihr Musen, Genug
00:49:34 Drie Quartette Op. 31 (1864) : Wechsellied Zum Tanze
00:56:18 Drie Quartette Op. 31 (1864) : Neckereien
00:58:39 Drie Quartette Op. 31 (1864) : Gang Zum Liebchen
01:02:28 Drei Quartette Op. 64 (1874) : An Die Heimat
01:08:06 Drei Quartette Op. 64 (1874) : Der Abend
01:12:38 Drei Quartette Op. 64 (1874) : Fragen
01:16:21 Vier Quartette Op. 92 (1889) : O Schöne Nacht
01:20:32 Vier Quartette Op. 92 (1889) : Spätherbst
01:22:23 Vier Quartette Op. 92 (1889) : Abendlied
01:25:38 Vier Quartette Op. 92 (1889) : Warum
01:27:52 Zwei Quartette Op. 112a (1891) : Sehnsucht
01:31:07 Zwei Quartette Op. 112a (1891) : Nächtens

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Tracklist below.

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One of the giants of the historically informed performance world needs little introduction; nor indeed his sympathy to Mozart’s oeuvre as already demonstrated in recordings of the three da Ponte operas that have met with wide acclaim and many awards for their closely observed intimacy, their sense of fun and drama and their well-chosen casts, at one with Kuijken’s vision of these jewels of human and music drama.

His recording of Mozart’s magical last opera, however, has not received wide availability until now, in its appearance as part of Brilliant Classics’s comprehensive Opera Collection. The recording was made live at the Notre-Dame Church in Beaune, in France, in 2004. The cast is highly recognisable from many other fine productions of Baroque and early music, including Suzie LeBlanc (Pamina); Cornelius Hauptmann (Tamino); Stephan Genz (Papageno) and Isolde Siebert (Queen of Night).

Of course the orchestral contribution to this recording is no less distinguished: La Petite Bande features the cream of Continental period-instrument musicians, and is led by Kuijken himself, a violinist as much at home in Mozart’s world as he is in Bach’s.

00:00:00 Die Zauberflöte: Act 2: No. 9. March of the Priests (Orchestra)
00:02:40 Die Zauberflöte: Act 2: Dialogue: Ihr, in dem Weisheitstempel eingeweihten Diener (Sarastro/Priests/Speaker)
00:06:53 Die Zauberflöte: Act 2: No. 10. Aria and Chorus: O Isis und Osiris (Sarastro/Chorus)
00:09:26 Die Zauberflöte: Act 2: Dialogue: Eine schreckliche Nacht! (Tamino/Papageno/Speaker/Second Priest)
00:13:28 Die Zauberflöte: Act 2: No. 11. Duet: Bewahret euch vor Weibertücken (Priests)
00:14:22 Die Zauberflöte: Act 2: Dialogue: He, Lichter her! Lichter her! (Papageno/Tamino)
00:14:43 Die Zauberflöte: Act 2: No. 12. Quintet: Wie, wie, wie? Ihr an diesem Schreckensort? (Three Ladies/Papageno/Tamino)
00:17:41 Die Zauberflöte: Act 2: Dialogue: Heil dir, Jüngling! (Speaker/Second Priest/Papageno/Monostatos)
00:19:39 Die Zauberflöte: Act 2: No. 13. Aria: Alles fühlt der Liebe Freuden (Monostatos)
00:20:58 Die Zauberflöte: Act 2: Dialogue: Zurücke! (Queen of the Night/Pamina/Monostatos)
00:24:35 Die Zauberflöte: Act 2: No. 14. Aria: Der Hölle Rache kocht in meinem Herzen (Queen of the Night)
00:27:45 Die Zauberflöte: Act 2: Dialogue: Götter, das kann ich nicht! (Pamina/Monostatos/Sarastro)
00:30:02 Die Zauberflöte: Act 2: No. 15. Aria: In diesen heil’gen Hallen (Sarastro)
00:33:01 Die Zauberflöte: Act 2: Dialogue: Hier seid ihr euch beide allein überlassen (Speaker/SecondPriest/Papageno/Tamino/Old Woman)
00:35:47 Die Zauberflöte: Act 2: No. 16. Trio: Seid uns zum zweiten Mal willkommen (Three Boys)
00:37:35 Die Zauberflöte: Act 2: Dialogue: Tamino, wollen wir nicht speisen? (Papageno/Pamina/Tamino)
00:39:41 Die Zauberflöte: Act 2: No. 17. Aria: Ach, ich fühl’s, es ist verschwunden (Pamina)
00:43:23 Die Zauberflöte: Act 2: Dialogue: Nicht wahr, Tamino, ich kann auch schweigen (Papageno)

Tracklist below.

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The most famous scion of a musical family which stretched across at least ten generations, Johann Sebastian Bach had a very strong sense of history, tradition, and his evolving place in it, and was instrumental in curating and adding to the library of the music of the Bachs, which was known as the Altbachisches Archiv. This archive mostly comprises vocal music; now the Italian organist has created a fascinating instrumental counterpart, with short organ works by ten members of the family ranging from Heinrich Bach (1615–1692) to Wilhelm Friedemann Ernst Bach (1779–1845). And so, during the course of the disc, we move, always guided by the constraints of Protestant thought and liturgy, through austere low Baroque chorales to spectacular, late-Classical fantasias.


00:00:00 Chorale ‘Erbarm dich mein, o Herre Gott’ (Psalm 51)
00:02:45 Prelude and Fugue in E-Flat Major: I. Prelude
00:04:15 Prelude and Fugue in E-Flat Major: II. Fuge
00:07:11 Chorale ‘Wenn mein Stündlein vorhanden ist’
00:09:01 Partita on ‘Du Friedefürst, Herr Jesu Christ’: I. Chorale I
00:10:28 Partita on ‘Du Friedefürst, Herr Jesu Christ’: II. Variation I
00:11:35 Partita on ‘Du Friedefürst, Herr Jesu Christ’: III.Chorale II
00:12:34 Partita on ‘Du Friedefürst, Herr Jesu Christ’: IV. Variation II
00:13:41 Partita on ‘Du Friedefürst, Herr Jesu Christ’: V. Chorale III
00:14:40 Fugue in D Major
00:19:27 Fugue in C Minor
00:23:00 Rondo in G Major
00:28:17 Fantasy and Fugue in F Major: I. Fantasy
00:31:31 Fantasy and Fugue in F Major: II. Fugue
00:35:00 Prelude in E Minor
00:35:58 Fugue on the Letters of the Name BACH
00:41:40 Toccata in C Major

Tracklist below.

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Antonin Dvoräk
00:00:00 Cello Concerto in B Minor, Op. 104: I. Allegro
00:14:13 Cello Concerto in B Minor, Op. 104: II. Adagio ma non troppo
00:24:49 Cello Concerto in B Minor, Op. 104: III. Finale, allegro moderato
00:37:04 From the Bohemian Forest, Op. 68: V. Silent Woods
00:42:05 Rondo in G Minor for Cello & Orchestra Op.94

Robert Schumann
00:48:25 Cello Concerto in A Minor, Op. 129: I. Nicht zu schnell
00:58:51 Cello Concerto in A Minor, Op. 129: II. Langsam
01:02:59 Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft
04:26:32 Fantasiestücke, Op. 73: I. Zart und mit Ausdruck
04:29:31 Fantasiestücke, Op. 73: II. Lebhaft, leicht
04:32:55 Fantasiestücke, Op. 73: III. Rasch und mit Feuer

Camille Saint-Saëns
01:10:28 Cello Concerto in A minor Op. 33: I. Allegro non troppo - II. Attaca. Allegretto con moto - III. Tempo I
04:19:21 The Carnival of the Animals: XIII. The Swan

Gabriel Fauré
01:28:28 Élégie Op.24

Max Bruch
01:34:53 Kol Nidrei, Adagio for Cello and Orchestra, Op. 47

Tchaitochvsky
01:43:23 Variations on a Rococo Theme, Op. 33
04:42:35 Pezzo capriccioso in B Minor, Op. 62 (Andante con moto)
04:53:41 6 Pieces, Op. 51: VI. Valse sentimentale in F Minor (Tempo di Valse)

Beethoven
02:00:13 Cello Sonata in A Major Op. 69: I. Allegro ma non tanto
02:12:44 Cello Sonata in A Major Op. 69:: II. Scherzo. Allegro molto
02:17:48 Cello Sonata in A Major Op. 69:: III. Adagio cantabile – Allegro vivace

Felix mendelssohn
02:26:12 Cello Sonata No. 1 in B-Flat Major, Op. 45: I. Allegro vivace
02:38:46 Cello Sonata No. 1 in B-Flat Major, Op. 45: II. Andante
02:45:06 Cello Sonata No. 1 in B-Flat Major, Op. 45: III. Allegro assai
 
Johannes Brahms
02:51:57 Cello Sonata No. 1 in E Minor, Op. 38: I. Allegro non troppo
03:02:41 Cello Sonata No. 1 in E Minor, Op. 38: II. Allegretto quasi menuetto
03:08:07 Cello Sonata No. 1 in E Minor, Op. 38: III. Allegro

Frédériq Chopin
03:14:28 Cello Sonata in G Minor, Op. 65: I. Allegro moderato
03:28:45 Cello Sonata in G Minor, Op. 65: II. Scherzo. Allegro con brio
03:33:32 Cello Sonata in G Minor, Op. 65: III. Largo
03:36:52 Cello Sonata in G Minor, Op. 65: IV. Finale. Allegro
04:55:41 Introduction and Polonaise Brillante in C Major, Op. 3
Sergei Rchmaninoff
03:43:13 Cello Sonata in G Minor, Op. 19: I. Lento - Allegro moderato
03:55:40 Cello Sonata in G Minor, Op. 19: II. Allegro scherzando
04:02:33 Cello Sonata in G Minor, Op. 19: III. Andante
04:08:19 Cello Sonata in G Minor, Op. 19: IV. Allegro mosso
04:37:32 14 Romances, Op. 34: XIV. Vocalise

Enrique Granados
04:22:19 Goyescas, Act 1: Intermezzo

Nikolai Rimsky
04:49:03 The Golden Cockerel, Act 2: II. Hymn to the Sun

Manuel de Falla
05:04:13 Seven Spanish Folksongs: I. El paño moruno
05:06:21 Seven Spanish Folksongs: II. Nana
05:08:30 Seven Spanish Folksongs: III. Canción
05:10:01 Seven Spanish Folksongs: IV. Polo
05:11:17 Seven Spanish Folksongs: V. Asturiana
05:13:34 Seven Spanish Folksongs: VI. Jota

Claude Debussy
05:16:35 Cello Sonata, L.135: I. Prologue. Lent
05:20:26 Cello Sonata, L.135: II. Sérénade. Modérément animé
05:23:21 Cello Sonata, L.135:: III. Finale. Animé

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The perfect starting point for exploring Romantic piano music. It features historic recordings of a truly excellent standard, including Blumental with the Vienna Symphony Orchestra under Helmuth Froschauer, the Orchestra of Radio Luxembourg with Pierre Cao accompanying French pianist Dosse, Boehm with the Westphalian Symphony Orchestra under Siegfried Landau, and Antal Doráti conducting the Royal Philharmonic Orchestra with Ilse von Alpenheim.

This 40 CD set contains a wealth of 19th century piano concertos written by composers who for some reason or other have been neglected by history, so called “minor masters” who may have lost the battle against the giants but nevertheless wrote very attractive, impressive and brilliant concertos for the piano (which in many cases was “their” instrument).

To name just a few: Hummel, Field, Czerny, Cramer, Ries, Clementi, Thalberg, Moscheles, Litolff, Kalkbrenner, Lyapunov, Balakirev, Medtner, Glazunov, Henselt, Moszkowski, Scharwenka and many more, over 60 composers!
Most of the recordings come from the rich and unique VOX catalogue, featuring such excellent pianists as Michael Ponti, Felicja Blumenthal, Hans Kann, Martin Galling, Jerome Rose, Roland Keller and many more.

Franz Liszt:
00:00:00 Malédiction in E Minor, S. 121

Eugen D'Albert:
00:14:11 Piano Concerto No. 2 in E Major, Op. 12

Hans Von Bronsart:
00:29:45 Piano Concerto in F-Sharp Minor, Op. 10: I. Allegro maestoso
00:42:38 Piano Concerto in F-Sharp Minor, Op. 10: II. Adagio ma non troppo
00:50:06 Piano Concerto in F-Sharp Minor, Op. 10: III. Allegro con fuoco

Franz Berwald:
00:57:00 Piano Concerto in D Major: I. Allegro con brio, II. Andantino, III. Allegro molto

Charles Henri Valentin Alkan:
01:15:05 Concerto da camera No. 2 in C-Sharp Minor

Robert Schumann:
01:21:49 Konzertstück in G Major, Op. 92

Joachim Raff:
01:35:46 Ode au printemps in G Major, Op. 76

Franz Liszt:
01:48:46 Totentanz, S. 126

Simon Mayr:
02:03:58 Piano Concerto No. 1 in C Major: I. Allegro moderato
02:12:21 Piano Concerto No. 1 in C Major: II. Andante grazioso
02:18:05 Piano Concerto No. 1 in C Major: III. Rondo

Albert Roussel:
02:21:30 Piano Concerto in G Major, Op. 36: I. Allegro molto
02:25:23 Piano Concerto in G Major, Op. 36: II. Adagio
02:33:54 Piano Concerto in G Major, Op. 36: III. Allegro con spirit

Gabriel Pierné:
02:38:35 Piano Concerto in C Minor, Op. 12: I. Allegro
02:46:51 Piano Concerto in C Minor, Op. 12: II. Scherzando
02:51:42 Piano Concerto in C Minor, Op. 12: III. Final. Allegro un poco agitato

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This young guitarist’s debut album is the perfect introduction to his artistry, showcasing as it does four leading 20th-century composers of guitar music – Antonio José Palacios, Alberto Ginastera, Antonio Lauro and Julio Gentil Montaña – composers who in turn represent four different countries and four styles of music that differ widely both aesthetically and in terms of the traditions from which they spring.

Composer: Alberto Ginastera, Julio Gentil Montana
Artist: Deion Cho guitar

Among the most promising Spanish composers of his generation, Antonio José was acclaimed by Ravel and counted Lorca and Dali among his associates, but like Lorca, he was executed by a Falangist firing squad during the Spanish Civil War. Only 34 years of age, he had accumulated a catalogue of music impressive not only for its depth but its sophistication, exemplified by the substantial Guitar Sonata which is his best-known work. The Sonata by the Argentine Alberto Ginastera is no less imposing in structure, and harmonically much more adventurous than José’s bluesy neo-classicism. The four Venezuelan waltzes by Antonio Lauro are brief and charming early works, the first three dedicated to his daughter and two nieces, the last named Yacambú after an orchid-rich national park in the northern Andes. The first movement of the fourth Colombian Suite by Julio Gentil Montaña (1942-2011) is likewise named after that country’s capital, Bogotà, and it is followed by three interpretations of national dances, concluding with a snappy Porro.

The 23-year-old Deion Cho is of South Korean origin, currently studying and working in Spain. He has given the album his signature with an arrangement of a popular Korean folksong, ‘About 500 Years’, clearly inflected by his years of work in Hispanic and Iberian music.

00:00:00 Romancillo infantile
00:04:08 Sonata para guitarra: I. Allegro moderato
00:11:37 Sonata para guitarra: II. Minuetto
00:16:19 Sonata para guitarra: III. Pavana triste
00:22:17 Sonata para guitarra: IV. Final
00:27:20 Cuatro valses venezolanos: I. Tatiana
00:28:29 Cuatro valses venezolanos: II. Andreina
00:29:35 Cuatro valses venezolanos: III. Natalia
00:31:13 Cuatro valses venezolanos: IV. Yacambú
00:34:26 Suite colombiana No. 4: I. Pasillo (nostalgia bogotana)
00:38:56 Suite colombiana No. 4: II. Danza (Giessel Daniela)
00:45:21 Suite colombiana No. 4: III. Bambuco
00:50:02 Suite colombiana No. 4: IV. Porro
00:54:45 Sonata for Guitar, Op. 47: I. Esordio
00:58:33 Sonata for Guitar, Op. 47: II. Scherzo
01:01:19 Sonata for Guitar, Op. 47: III. Canto
01:04:41 Sonata for Guitar, Op. 47: IV. Finale
01:06:49 Canción popular coreana, Traditional Korean Folk Song: “Unos 500 años” (Arr. Deion Cho)

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Composer: Roffredo Caetani
Artist: Alauda Quartet

In a series of first recordings, Brilliant Classics has explored the rich culture of non-operatic music in Italy during the late-Romantic era and the first decades of the last century. Particular attention has been given to the flourishing traditions of instrumental and chamber music, with recent releases not only of well-known names such as Respighi (BC94445), Martucci (BC94816 and a brand-new release of piano trios, BC94968) and Nino Rota (BC95237), but less familiar, often no less inspired composers such as Antonio Bazzini (BC95030), Ildebrando Pizzetti (BC9202) and Guido Fano (BC95353).

Among these lesser lights must be counted Roffredo Caetani (1871-1961). A Brilliant Classics release of his piano music (BC94909) has already disclosed an effusively lyrical, unashamedly Romantic voice working in the post-Lisztian tradition regardless of musical upheavals and revolutions around him. Caetani had more reason than most for his reactionary temperament, as godson to Liszt himself. The Hungarian composer recognized the young Roman’s talent and entrusted it to his friend Giovanni Sgambati for further instruction and refinement.

The Op.1 No.1 Quartet on this release was one of the first products of Caetani’s student years, composed when he was just 17 years old, but distinguished by a precocious mastery of the genre, as contemporary critics were not slow to recognize. The quartet is cast in a single, wide-ranging span: an innovative structure for the time, if in its way the writing is unmistakably indebted to the example of Beethoven. Twenty years later, Caetani returned to the quartet genre once more with his Op.12
in F minor: a three-movement work of considerably greater breadth in both its themes and development.
00:00:00 String Quartet No. 2 in F Minor, Op. 12: I. Allegro moderato
00:10:46 String Quartet No. 2 in F Minor, Op. 12: II. Molto lento
00:20:03 String Quartet No. 2 in F Minor, Op. 12: III. Presto
00:28:50 String Quartet No. 1 in D Major, Op. 1: Tempo di quartetto. Allegro - Un poco Moderato – Agitato –Tempo I – Moderato come la prima volta – Allegro agitat

Tracklist Below:

Summer Classics: A Classical compilation, Great for in the background during the Summer days.

Enjoy!

00:00:00 Violin Concerto No. 2 in G Minor, RV 315: I. Allegro non molto – Allegro
00:05:04 Violin Concerto No. 2 in G Minor, RV 315: II. Adagio – Presto – Adagio – Presto –Adagio – Presto – Adagio – Presto
00:07:44 Violin Concerto No. 2 in G Minor, RV 315: III. Presto
00:10:27 Má Vlast, JB 1:112: IV. From Bohemia’s Meadows and Forests
00:22:55 The Seasons, Op. 37a: No. 6, June. Barcarolle
00:26:38 The Seasons, Op. 37a: No. 7, July. Song of the Reaper
00:28:21 The Seasons, Op. 37a: No. 8, August. Harvest
00:31:30 Piano Concerto No. 21 in C Major, K. 467: II. Andante "Elvira Madigan"
00:37:33 Peer Gynt Suite No. 1, Op. 46: I. Morning Mood
00:41:46 Orchestral Suite No. 3 in D Major, BWV 1068: II. Air
00:46:04 Piano Sonata No. 8 in C minor “Pathétique”: II Agagio cantabile
00:50:51 Piano Concerto No. 3 in C Minor, Op. 37: II. Largo
01:03:35 Violin Concerto in D Major, Op. 77: II. Adagio
01:13:18 Symphony No. 5: IV. Adagietto. sehr langsam
01:21:35 Symphony No. 5 in B-Flat Major, D. 485: II. Andante con moto
01:32:24 Piano Concerto No. 23 in A Major K. 488: II. Andante
01:38:44 Serenade for Strings, Op. 48: III. Élégie. Larghetto elegiac

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Composer & Artist:
Composer: Béla Bartók, Nino Rota, Paul Hindemith
Artists: Il Solisti Aquilani, Flavio Emilio Scogna (conductor)


About this Album:
A rare collection of recordings featuring some of the finest examples of the neo-Classical school, this release brings together a collective of high-calibre string players and some exciting young soloists under the guidance of globally renowned conductor Flavio Emilio Scogna. Together they interpret some of the most emotionally complex and technically demanding works written for string orchestra in the 20th century.

The two Italians represented here are equally sophisticated in their treatment of the ensemble: the mysterious, macabre Allegro moderato e spiritoso gives way to the spritely, dynamic interplay of soloist and ensemble of the Rondo: Vivace con brio in Ghedini’s Concerto for violin and strings. Rota, whilst better known for his film scores, displays all the provocative simplicity and stylistic versatility of his orchestral and chamber works in his Concerto for strings; the Scherzo and Finale teem with references to European folk music. The three movements from Bartók’s Divertimento similarly contain clear allusions to Romanian folk music, but come from his more tonally grounded period, the utterly danceable Allegro non troppo and Allegro assai contrasting with the dark and moody Molto adagio. Like Bartók, Hindemith wrote his Trauermusik under the looming threat of global conflict and the composer’s music from this period demonstrates appropriately melancholic attributes. Written in only six hours after the death of King George V, the beautiful solemnity and understatement of this work is a fitting tribute both to the King and Hindemith’s style of the time.

Tracklist:
00:00:00 Divertimento, Sz. 113: I. Allegro non troppo
00:10:13 Divertimento, Sz. 113: II. Molto adagio
00:20:42 Divertimento, Sz. 113: III. Allegro assai
00:28:26 Concerto for Violin and Strings, “Il belprato”: I. Allegro moderato e spiritoso
00:33:27 Concerto for Violin and Strings, “Il belprato”: II. Andante fiorito
00:38:34 Concerto for Violin and Strings, “Il belprato”: III. Rondò. Vivace con brio
00:40:58 Concerto for Violin and Strings, “Il belprato”: IV. Molto adagio
00:44:50 Concerto for Violin and Strings, “Il belprato”: V. Quasi presto
00:47:27 Concerto for Strings: I. Preludio. Allegro ben moderato e cantabile
00:51:53 Concerto for Strings: II. Scherzo. Allegretto comodo
00:56:25 Concerto for Strings: III. Aria. Andante quasi adagio
01:01:35 Concerto for Strings: IV. Finale. Allegrissimo
01:04:39 Trauermusik: I. Langsam
01:09:33 Trauermusik: II. Ruhig bewegt
01:10:25 Trauermusik: III. Lebhaft
01:11:59 Trauermusik: IV. Choral. “Vor deinen Thron tret ich hiermit”


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Brilliant Classics presents the top 50 most popular wedding classics. Featuring composers such as J.S. Bach, Mozart, Mendelssohn, Wagner, Händel and Vivaldi. Performed by vocalists and choirs such as the Royal Philharmonic Orchestra, Staatskapelle Berlin, Consort of London, Choir of St. John’s College Cambridge.

00:00:00 Mendelssohn - Wedding March in C Major
00:05:05 Wagner - Lohengrin, WWV 75: Treulich geführt ziehet dahin – Das süße Lied Verhallt (Bridal chorus)
00:13:28 Händel - Solomon, HWV 67, Sinfonia II, Pt. III: I. Arrival of the Queen of Sheba
00:16:37 Albinoni - Adagio in G Minor
00:23:16 Pachelbel - Canon and Gigue in D Major, P.37: I. Canon
00:27:59 Faure - Cantique de Jean Racine, Op. 11
00:33:20 Mozart - Ave verum corpus in D Major, K. 618
00:36:52 Franck - Mass in A Major, Op. 12: V. Panis angelicus
00:40:20 Bach - Orchestral Suite No. 3 in D Major, BWV 1068: II. Air
00:44:36 Bach - Herz und Mund und Tat und Leben, BWV 147: X. Jesu bleibet meine Freude
00:47:47 Händel - Messiah, HWV 56, Pt. 2: XLIV. Hallelujah!
00:51:22 Händel - Zadok the Priest, HWV 258
00:56:40 Verdi - Aida, Pt. 2: I. Grand March
01:04:18 Elgar - Variations on an Original Theme "Enigma", Op. 36
01:08:03 Offenbach - Orphée aux enfers, Pt. 2: XV. Can-Can
01:10:16 Puccini - Turandot, Pt. 3: I. Aria. Nessun dorma
01:13:16 Vivaldi - Gloria in D Major, RV 589: I. Gloria in excelsis deo
01:15:26 Saint-Saëns - Carnival of the Animals: XIII. The Swan
01:18:33 Händel - Serse, HWV 40: Ombra mai fu
01:22:50 Mascagni - Cavalleria Rusticana: VII. Intermezzo
01:25:45 Vivaldi - Le quattro stagione, Concerto No. 1 in E Major, RV 269: I. Allegro
01:29:11 Händel - Music for the Royal Fireworks, HWV 351: IV. La réjouissance
01:31:26 Händel - Water Music Suite No. 2 in D Major, HWV 349: II. Alla Hornpipe
01:35:13 Boccherini - String Quintet in E Major, G. 275: III. Menuet
01:38:27 Grieg - Peer Gynt Suite No. 1, Op. 46: I. Morning Mood
01:42:39 Grieg - Lyric Pieces, Op. 65: VI. Wedding Day at Troldhaugen
01:48:56 Fauré - Pavane in F-Sharp Minor, Op. 50
01:55:23 Parry - Jerusalem
01:58:15 Puccini - Gianni Schicchi, SC 88: Aria "o mio babbino caro"
02:01:17 R.Strauss - Also sprach Zarathustra, Op. 30, TrV 176: I. Introduction

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This is a sparkling set of concertos for the trumpet along with other pieces that highlight the instrument, providing vivid readings of some of the most renowned masterworks in the trumpet repertoire plus recordings of lesser-known yet equally idiomatic compositions.

Joining the well loved Classical trumpet concertos of Haydn and Hummel are the many Baroque works featuring trumpet by Telemann and an Italian champion of the instrument, Giuseppe Torelli, along with famous pieces by Vivaldi and Handel. We find another prolific trumpet composer in the German baroque violinist Johann Melchior Molter, and fine concertos from Quantz, famed more for his flute music, and Johannes Matthias Sperger, a renowned player of and composer for the double bass.

The music of Quantz’s teacher, Jan Dismas Zelenka, is enjoying a revival, as is that of Johann Friedrich Fasch, admired by both Bach and Telemann, who wrote an extraordinary concerto for three wind choirs with nine trumpets between them. Later in the 18th century, some composers stretched the limits of virtuosity in the natural trumpet, before the advent of valves around 1815. These include Georg Reutter II and the enigmatic Franz Querfurth, who both demanded sustained playing in the highest register. Tuscan composer Francesco Manfredini, like Querfurth, is known today for little else besides his trumpet concerto, while the majority of his works are now lost to history.

Authors who wrote prominently for the trumpet in pieces other than concertos include Johann Schmelzer and Johann Joseph Fux, along with Fux’s student František Tůma, while Beethoven’s composition teacher Johann Georg Albrechtsberger wrote concertos for the jaw harp, whose harmonics are well suited to adaptation for the natural trumpet.

Though somewhat overshadowed by their more illustrious family members, Michael Haydn and Leopold Mozart both wrote fine trumpet concertos, while two generations of Bibers, Carl Heinrich and his more prominent father Heinrich Ignaz Franz, composed sonatas and dances for multiple trumpets.

Rounding out this set are outstanding modern additions to the trumpet repertoire, including trumpet concertos by the Armenian Alexander Arutiunian and French composer André Jolivet, as well as Shostakovich’s Piano Concerto No.1, which casts the solo trumpet in a prominent role.

Spring Waltz (Yiruma ) played by Jeroen van Veen.

Variously described as “contemporary classical”, “minimalist” and even “New Age”, Yiruma’s gorgeously peaceful music is
impossible to classify – it is simply there to be enjoyed.

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This fascinating survey of the Russian (and Polish!) piano concerto in 15 CDs includes the masterworks of Pyotr Ilyich Tchaikovsky and Rachmaninov – beloved examples at the pinnacle of both Russian music and the piano concerto genre – along with more- and lesser-known yet all eminently worthy works by composers from both Imperial and Soviet Russia and those by Paderewski, Scharwenka and Moszkowski, who were born in what today is Poland.

Though the piano concerto is now inextricably linked in modern minds to the Russian repertoire, the area’s isolation meant that it would take some time for the genre to take hold there, but that it would grow into a unique, characteristic and varied expression. The accompanying essay by David Moncur leads interested readers logically along the timeline of the genre’s development in the east of Europe, exploring the generational and stylistic interconnections between fellow-composers and musician colleagues who were teachers, mentors, supporters and dedicatees.

There is a special quality to Russian Piano Concertos: apart from their jaw-dropping virtuosity and orchestral brilliance they share that common Slavonic flavor, an undefinable mixture of melancholy and passion, whether smouldering or blazing.
This set contains the famous concertos by Tchaikovsky, Rachmaninoff, Shostakovich and Prokofiev, but also lesser known composers: Anton Rubinstein, Medtner, Glazunov, Kabalevsky, Scriabin, Khatchaturian, Arensky, Balakirev, Lyapunov, Bortkiewicz and Khrennikov. Adding extra spice to the set are the concertos by Scharwenka and Moszkowski, Polish by birth but Slavic in spirit.
Excellent performances by Michael Ponti, Boris Giltburg, Yevgeny Kissin, Stefan Doniga and others.