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Composer: Johann Sebastian Bach
Artist: Erik Bosgraaf (recorder), Ensemble Cordevento

Although Bach clearly felt at home composing for the recorder, featuring it in major works including the Brandenburg Concertos and several cantatas, he never composed a concerto for solo recorder – in fact, he only wrote original solo concertos for harpsichord and violin. However, an examination of Bach’s compositional practices reveals that it was customary during his era to adapt or reuse musical material in new compositions. Taking this into consideration, the creators of this recording have drawn on a range of sources to answer the question of how a solo recorder concerto by Bach might have sounded.

The disc includes four full recorder concertos, based on material taken from existing harpsichord concertos and cantata movements, which Bach himself often reused or transcribed for different instrumentation. It closes with an organ prelude adapted for recorder and strings.The recordings are accompanied by extensive booklet notes, which outline the sources used in the construction of this repertoire and reveal an interesting dimension of Bach’s compositional practice – his approach to reusing and adapting musical material.

These recordings are brought to life by compelling performances from Erik Bosgraaf and Ensemble Cordevento, performed on a range of recorders and period instruments. Displaying an imaginative yet thorough approach to the repertoire, this disc is a fascinating examination of how Bach might have approached writing largescale works for the recorder and is recommended to any listeners interested in his concertos.

00:00:00 Concerto in G Major, Arias from Cantatas BWV 215 and 32, transcribed by Thiemo Wind: I. [Allegro]
00:06:27 Concerto in G Major, Arias from Cantatas BWV 215 and 32, transcribed by Thiemo Wind: II. Adagio
00:11:49 Concerto in G Major, Arias from Cantatas BWV 215 and 32, transcribed by Thiemo Wind: III. Presto
00:15:08 Concerto in B-Flat Major, BWV 1055: I. Allegro
00:19:07 Concerto in B-Flat Major, BWV 1055: II. Larghetto
00:24:04 Concerto in B-Flat Major, BWV 1055: III. Allegro ma non tanto
00:28:06 Concerto in D Major, BWV 1053: I. [Allegro]
00:35:33 Concerto in D Major, BWV 1053: II. Siciliano
00:39:30 Concerto in D Major, BWV 1053: III. Allegro
00:45:31 Concerto in D Minor, ‘BWV 1059’: I. [Allegro]
00:50:41 Concerto in D Minor, ‘BWV 1059’: II. Adagio
00:53:32 Concerto in D Minor, ‘BWV 1059’: III. Presto
00:56:25 Liebster Jesu, wir sind hier, BWV 731

Tracklist pinned.

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Composer: Antonín Dvorák
Artist: Inna Poroshina (piano)


Dvorák considered himself only a modest pianist (he was a string player), and his music for piano has for long been neglected and considered of secondary importance to his symphonies, concertos and chamber works. Whilst undoubtedly true, the output for solo piano does contain some of his more mundane efforts, closer study of the music reveals some gems well worth getting to know, and that all contain his innate gift for melody.

His largest work featuring piano, the G major piano concerto has finally made some headway in the concert repertoire, and has always been championed by leading pianists – Richter and Aimard to name just two. The piano trios, quartets and the quintet all have effective piano parts, and are well laid out for the pianist. So why has the solo piano music been so neglected?

These works span his entire creative life, from the simple little Polka in E of 1860, to the Theme and Variations, Suite in A, and the Humoresques of 1894. These last three works are his masterpieces for piano, and indeed the Seventh Humoresque in G became very famous due its use in a Joan Crawford film in 1946, and through arrangements by Fritz Kreisler and Art Tatum. The Suite in A, dating from his time in America (where he composed his Ninth Symphony ‘From the New World’) is better known today in its orchestral version.

These CDs contain some wonderful little known music by one the best-loved composers – music that deserves a wider audience.

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A deeply personal project, this transcription for organ of three of Bach’s works for violin and orchestra represents the fulfilment of a dream more than 20 years in the making. Organist Daniele Boccaccio admits that, originally, he thought it impossible to create an effective and faithful transcription of these pieces with which he fell in love at the age of 21. After years of fermentation, however, the idea grew irresistible. The result is compelling, and Boccaccio treads a well-chosen path that prioritises fidelity – his approach to the transcribing process informed by Bach’s own transcriptions of Vivaldi Concertos – but leaves room for personalisation, and makes sure that the ensuing pieces are never lacking in fullness. More than two decades after his initial discovery of the Bach works, Boccaccio has succeeded in bringing them well and truly into the realm of his instrument.

Boccacio remains the youngest ever winner of the Noale National Organ Competition (1985). He has gone on to enjoy a varied career as an organist, participating in a wide array of performances, recordings, teaching and masterclasses in Italy, Austria and beyond.

00:00:00 Concerto in D Major, BWV 1042: I. Allegro
00:07:44 Concerto in D Major, BWV 1042: II. Adagio
00:13:40 Concerto in D Major, BWV 1042: III. Allegro assai
00:16:31 Concerto in G Minor, BWV 1041: I. Allegro
00:20:23 Concerto in G Minor, BWV 1041: II. Andante
00:26:38 Concerto in G Minor, BWV 1041: III. Allegro assai
00:30:34 Concerto in C Minor, BWV 1043: I. Vivace
00:34:26 Concerto in C Minor, BWV 1043: II. Largo, ma non tanto
00:40:57 Concerto in C Minor, BWV 1043: III. Allegro

Tracklist below.

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

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

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

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

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

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Composers: Johann Georg Pisendel, Silvius Leopold Weiss
Artists: Thomasz Aleksander Plusa (violin), Robert Smith (cello), Earl Christy (lute), Ere Lievonen (harpsichord)

Johann Pisendel was the German violinist of his age; one whose total mastery of the instrument, and its expressive possibilities as filtered through both the Italian and German styles prevalent in the high Baroque era, made a fundamental impression on both Telemann and Bach. Without Pisendel, it is fair to say, there would be no Sonatas and Partitas for solo violin; Pisendel’s own fiendish unaccompanied sonata served as a model to Bach and survives partially in a publication by his great friend Georg Philipp Telemann.

As is the case with Bach, Pisendel’s ‘accompanied’ violin sonatas, in which the violin is joined by a continuo ensemble, are scarcely less demanding. They, too, are four-movement works, often in the classic slow-fast-slow-fast pattern laid down by Geminiani and Corelli and doubtless taught to Pisendel when he was a boy in Ansbach by Giuseppe Torelli, a musician in the court chapel and a fine composer in his own right.

Further instruction was provided by the powerfully individual leader of music at the court chapel in Dresden, Johann David Heinichen; throughout his career, Pisendel enjoyed happy association, often close friendship, with the great composers of his day; later in life, these included both Telemann and Zelenka. Perhaps because of these associations, Pisendel set himself the highest standards in composition; unlike most of his contemporaries, he subjected what he wrote to continual correction and revision, which may also account for the relatively succinct nature of his output.

Four such sonatas are presented here, and divided from each other by movements from the many lute sonatas by Pisendel’s exact contemporary Sylvius Leopold Weiss. They are played here by the young Czech early-music virtuoso, who in his own, extended booklet notes, gives an account not only of Pisendel’s life and work but also of his affinity with this music: ‘Each one was as surprisingly beautiful as the previous, and no less unique… [in Pisendel] the idiom of the violin is brought to its peak.’

Johann Georg Pisendel (1687-1755) was born into a musical family (his father was Cantor), and from an early age he received lessons as a chorister and in violin, his teacher being the famous Giuseppe Torelli. Further studies brought him to Weimar where he met Johann Sebastian Bach (his near-contemporary) and Leipzig, where he met Telemann. In 1712 he joined the famous court orchestra of Dresden, where he stayed till his death in 1755.
The acquaintance and friendship of the two musical giants of the time, Bach and Telemann, left a firm imprint on him as a composer and violinist. On the other hand Pisendel’s astonishing virtuosity influenced Bach to a great extent, Bach’s solo violin sonatas & partitas would not have been the same without Pisendel.
This new recording presents three violin sonatas and one violin solo sonata by Pisendel, works of staggering technical demands, rich in harmony and freedom of expression. As interludes we hear solo lute works by Silvius Leopold Weiss.
Played with immense dedication and conviction by young Polish violinist Tomasz Aleksander Plusa, who studied with Lucy van Dael, Christoph Rousset, Simon Standage, Sigiswald Kuijken and others.

00:00:00 Ouverture from Sonata for Lute, No. 39 in C Major
00:04:46 Violin Sonata in C Minor: I. Adagio – Andante
00:06:39 Violin Sonata in C Minor: II. Allegro
00:11:20 Violin Sonata in C Minor: III. Largo
00:14:03 Violin Sonata in C Minor: IV. Allegro assai
00:19:09 Sarabande from Sonata for Lute, No. 40 in C Major
00:26:28 Violin Sonata in G Minor: I. Larghetto
00:30:11 Violin Sonata in G Minor: II. Allegro
00:33:49 Violin Sonata in G Minor: III. Largo
00:38:06 Violin Sonata in G Minor: IV. Allegro
00:41:04 Violin Sonata in A Minor: I. —
00:43:51 Violin Sonata in A Minor: II. Allegro
00:49:23 Violin Sonata in A Minor: III.Giga
00:54:00 Violin Sonata in A Minor: IV. Variatione
00:59:42 Presto from Sonata for Lute, No. 39 in C Major
01:06:12 Violin Sonata in C Minor: I. Adagio
01:09:08 Violin Sonata in C Minor: II. Presto
01:12:52 Violin Sonata in C Minor: III. Affettuoso
01:15:10 Violin Sonata in C Minor: IV. Vivace

Beautiful piano music of Respighi - complete, in one long video. A full album, with all the piano music of the legendary composer!

Tracklist below.

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Acclaimed composer, violinist and musicologist, Ottorino Respighi has been remembered mostly for his vivid and skilful orchestral writing. Little known are his many fine piano works (he also worked frequently as an accompanist for singers and soloists), which include arrangements of his own and original works for the instrument.

Works such as Antiche danze ed arie per liuto and Tre preludi su melodie gregoriane betray Respighi’s fascination with ancient music. Active as an arranger and transcriber during the latter half of his life, both works are arranged from their original orchestral versions (selections from Antiche danze suites I & III and Vetrate di Chiesa P150 respectively), and retain the vivacity, colour and poignancy of the originals, whilst showcasing Respighi’s dexterous writing for piano. Other pieces find Respighi in
more familiar romantic territory: the Sei pezzi’s characterful six movements – including the gorgeous Nocturne – display his mastery of old musical forms and an uncanny ability to dress them in 19th-century musical language, with smatterings of Debussy and Schumann throughout. Schumann’s influence is present also in the Sonata in F minor, with decidedly more tempestuous writing, and demonstrates Respighi’s ability to write clarity and emotional depth into his music. Much of Respighi’s early work is under-represented, and pianist Michele D’Ambrosio brings these surprising and powerful works to life with a rare display of Respighi’s precocious talent. Largely written whilst still a student, the Sonata in A minor and Andante in F show the early influence of Schubert, whilst the Suite shows inspiration from Tchaikovsky.

Many of these works are newly discovered and, having also recorded the entire piano works of Alfredo Casella, D’Ambrosio
brings his dedication to cataloguing these rare and under-performed works along with technical prowess and interpretive imagination.

00:00:00 Sonata in F Minor, P. 016: I. Allegro
00:06:41 Sonata in F Minor, P. 016: II. Lento
00:12:47 Sonata in F Minor, P. 016: III. Allegretto
00:15:54 Sei pezzi, P. 044: I. Valse caressante
00:19:41 Sei pezzi, P. 044: II. Canone
00:22:33 Sei pezzi, P. 044: III. Notturno
00:27:36 Sei pezzi, P. 044: IV. Minuetto
00:31:20 Sei pezzi, P. 044: V. Studio
00:33:00 Sei pezzi, P. 044: VI. Intermezzo – Serenata
00:35:25 Antiche danze ed arie per liuto, P. 114: I. Balletto detto “Il Conte Orlando”
00:38:04 Antiche danze ed arie per liuto, P. 114: II. Villanella
00:42:01 Antiche danze ed arie per liuto, P. 114: III. Gagliarda
00:45:27 Antiche danze ed arie per liuto, P. 114: IV. Italiana
00:48:22 Antiche danze ed arie per liuto, P. 114: V. Siciliana
00:51:22 Antiche danze ed arie per liuto, P. 114: VI. Passacaglia
00:54:32 Tre preludi su melodie gregoriane, P. 131: I. Molto lento
00:59:42 Tre preludi su melodie gregoriane, P. 131: II. Tempestoso
01:05:41 Tre preludi su melodie gregoriane, P. 131: III. Lento
01:10:59 Sonata in A Minor, P. 004: I. Allegro moderato
01:21:10 Sonata in A Minor, P. 004: II. Andantino
01:25:39 Sonata in A Minor, P. 004: III. Finale. Allegro vivace
01:31:13 Andante in F Major, P. 006
01:36:03 Andante in D Major, P. 007
01:39:48 Allegro in B Minor, P. 010
01:43:35 Suite, P. 022: I. Vivace
01:44:43 Suite, P. 022: II. Tema. Andante poco mosso
01:47:37 Suite, P. 022: III. Sarabanda. Lento
01:51:20 Suite, P. 022: IV. Allegro con brio
01:52:53 Suite, P. 022: V. Presto
01:54:13 Preludio in B-Flat Minor, P. 023
01:55:42 Preludio from Suite per pianoforte, P. 043
01:59:36 Preludio in D Minor, P. 043a
02:02:24 Variazioni sinfoniche, P. 028

This album contains the complete works for piano solo by Claude Debussy, presented by Piano Classics, a label of Brilliant Classics. Make sure to follow Piano Classics on Youtube!

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This album includes the piano reductions of the Ballets (Khamma, Jeux, La boite a joujoux), the solo piano version of Six Épigraphes Antiques, and several alternative version of well‐known compositions, all by the composer himself. Debussy’s piano works count among the most original and influential works of the 20‐th century piano literature. The innovative piano
writing, the keen sense for colour and timbre and the emotional impact of each individual piece show the hand and mind of a true genius. Christopher Devine (born 1982) was born in the Netherlands to a German mother and Scottish father. After his education at the The Hague Conservatory he furthered his development with Maria Joao Pires, Elisso Virsaladze, Janina Fialkowska and Leslie Howard. His immense repertoire includes over 1000 solo works and 30 concertos. His close affinity to Debussy’s sound world is proven is this magnificent recording of the complete works, clearly a labour of love.

Track list:
00:00:00 Suite bergamasque, L. 75
00:16:42 Danse bohémienne, L. 9
00:18:44 2 Arabesques, L. 66: I.
00:25:50 Mazurka, L. 67
00:28:08 Rêverie, L. 68
00:32:34 Tarantelle styrienne, L. 69
00:37:25 Ballade, L. 70
00:44:00 Valse romantique, L. 71
00:46:44 Nocturne in D-Flat Major, L. 82
00:52:57 Pour le piano, L. 95
01:05:59 Estampes, L. 100
01:19:34 Images, livre I, L. 110
01:33:38 Images, Livre II, L. 111
01:46:48 Images oubliées, L. 87
01:58:28 Children’s Corner, L. 113
02:14:11 Le petit nègre in C Major, L. 114
02:15:11 Hommage à Haydn, L. 115
02:17:08 La plus que lente, L. 121
02:20:30 Morceau de concours, L. 108
02:21:10 Masques, L. 105
02:25:54 D’un cahier d’esquisses in D-Flat Major, L. 99
02:29:52 L’isle joyeuse, L. 106
02:35:38 Préludes, livre I, L. 117:
03:14:39 Préludes, Livre II, L. 123
03:54:40 Khamma, L. 125
04:14:52 La damoiselle élue, L. 62
04:19:34 Jeux, L. 126
04:36:53 Piano Trio in G Major, L. 3: II. Intermède
04:41:05 La boîte à joujoux, L. 128: I. Prélude. Le sommeil de la boîte – Tableau I. Le magasin de jouets
04:53:08 La boîte à joujoux, L. 128: II. Tableau II. Le champ de bataille
05:00:49 La boîte à joujoux, L. 128: III. Tableau III. La bergerie à vendre – Après fortune faite – Épilogue
05:08:19 Études, livre I, L. 136
05:29:46 Études, livre II, L. 136
05:55:52 Étude retrouvée
06:00:19 6 Épigraphes antiques, L. 131
06:16:53 Berceuse héroïque, L. 132
06:21:38 Pièce pour le vêtement du blesse, L. 133
06:22:48 Élégie, L. 138
06:25:21 Les soirs illuminés par l’ardeur du charbon in A-Flat Major

Complete tracklist can be found in the comment section

A TOP 50 of the most popular Sacred music. Featuring composers such as J.S. Bach, Mozart, Pergolesi, Palestrina and Fauré. Performed by vocalists and choirs such as The Choir of King’s College Cambridge, Chamber Choir of Europe, Holland Boys Choir, Cappella Augustana, Angharad Gruffydd Jones, Lynne Dawson, Emma Kirkby and many others.

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00:00:00 Requiem in D Minor, Op. 48: Pie Jesu
00:04:03 Ave verum corpus, Op. 2
00:06:44 Hear My Prayer, O Lord, Z. 15
00:08:46 Stabat Mater in F Minor: No. 9, Sancta mater
00:14:11 Déploration sur le mort de Johannes Ockeghem
00:18:46 Ein deutsches Requiem, Op.45: IV. Wie lieblich sind deine Wohnungen
00:24:38 Crucifixus
00:27:59 Die sieben letzten Worte unseres Erlosers am Kreuze, Hob. XX:2: Es ist vollbracht!
00:33:19 Stabat Mater
00:44:36 Matthäus Passion, BWV 244: Aria. Erbarme Dich
00:50:37 Matthäus Passion, BWV 244: Chorale. O Haupt voll Blut und Wunden
00:52:36 Matthäus Passion, BWV 244: Chorus. Wir setzen uns mit Tränen nieder
00:58:03 Requiem in D Minor, K.626: No. 5, Recordare
01:02:29 Hymn. Oh for a Closer Walk with God
01:06:04 Messiah, HWV 56: I Know That My Redeemer Liveth
01:11:54 Ave maris stella, EG 150
01:14:44 Salve Regina in C Minor
01:18:12 Requiem, Op. 9: Pie Jesu
01:21:32 Requiem in D Minor, Op. 48: In Paradisum
01:24:46 Ave verum corpus, K. 618
01:28:20 Messe solennelle in A Major, Op.12: Panis Angelicus
01:31:47 Stabat Mater Dolorosa
01:35:39 Laudate Dominum, KV 339
01:40:45 Locus iste, WAB 23
01:43:19 Hymn. Ave maris stella
01:49:02 Cantique de Jean Racine, Op. 11
01:54:26 Miserere
02:07:05 Requiem in D Minor, K.626: Requiem aeternam
02:11:53 Ich habe Genug, BWV 82: Aria. Ich habe Genug
02:19:37 Mass in C Minor KV 427: Aria. Et incarnatus est
02:28:45 Ave Maria, Op. 12
02:32:11 Stabat Mater in F Minor: No. 12, Quando corpus morietur
02:35:59 Requiem in D Minor, K.626: No. 13, Lux aeterna
02:41:41 Messiah, HWV 56: Hallelujah
02:45:34 Geistliches Lied, Op.30
02:50:43 Matthäus Passion, BWV 244: Aria. Aus Liebe will mein Heiland sterben
02:55:26 Psalm 42
03:00:45 Ave verum corpus
03:05:02 3 Motets, Op. 69: I. Herr, nun lässest du deinen Diener in Frieden fahren
03:10:01 Deutsche Messe, D. 872: No. 5, Zum Sanctus
03:13:06 Requiem in D Minor, Op. 48: Sanctus
03:16:20 Symphoniae Sacrea, Op. 6: XI. Benedicam Dominum In Omni Tempore
03:20:01 Symphoniae Sacrea, Op. 6: XIII. Fili Mi, Absalon
03:26:17 Symphoniae Sacrea, Op. 6: XVIII. Veni, Dilecte Mi, In Hortum Meum
03:32:27 Symphoniae Sacrea, Op. 6: XX. Jubilate Deo In Chordis Et Organo
03:35:18 A German Requiem, Op.45: IV. How Lovely Are Thy Dwellings
03:40:48 Lamentations of Jeremiah
03:48:18 Hymn of the Cherubim
03:56:10 Dido and Aeneas, Act 3: When I am laid in earth
04:00:31 Herz und Mund und Tat und Leben, BWV 147: X. Choral. Jesu Bleibet Meine Freude

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Composers: Friedrich Wilhelm Ludwig Grützmacher, Robert Schumann
Artists: Francesco Dillon (cello), Emanuele Torquati (piano)

Schumann and the cello: we may think of the fine, late and rhapsodic Cello Concerto, or the lighter Stücke im Volkston, much beloved of cello students this past century and a half. But here is something different: songs, piano works – including the complete Kinderszenen cycle – and the Second Violin Sonata, all arranged for cello and piano.

The arrangements were made by Friedrich Grützmacher, that indefatigable populariser of the cello in mid-19th-century Germany and tireless appropriater and editor of other men’s music for the cello at a time when his instrument had to get by on precious few original pieces – the Vivaldi concertos, for example, were still stuck in Venetian libraries and would stay there for another century. But Grützmacher edited the Bach Cello Suites, the Haydn Concertos and pieces by Boccherini, to make them better known, and indeed to adapt them to 19th-century ways of doing things. He it was, also who gave the first performance of the Stücke im Volkston.

No such problems of era exist with these Schumann arrangements, which vary from comparatively straight transcription (in the case of the Second Violin Sonata) to thoroughgoing and imaginative realisation, in the case of Kinderszenen. Grützmacher shows that these pieces may happily belong to the cello, and even gain a certain mellow charm thereby, especially when played, as they are here, by a young performer of ardent and thoughtful sympathy.

00:00:00 Lieder, Widmung, Op. 25: No. 1
00:02:12 Lieder, Du bist wie eine Blume, Op. 25: No. 1
00:03:46 Lieder, Er der Herrlichsten von Allen, Op. 42: No. 2
00:06:40 Lieder, Dein Angesicht, Op 127: No. 2
00:08:41 Lieder, Der Nussbaum, Op. 25: No. 3
00:11:02 Lieder, Mondnacht, Op. 39: No. 5
00:14:15 Lieder, Fruehlingsnacht, Op. 39: No. 12
00:16:49 Lieder, Die Stille, Op. 39: No. 4
00:18:27 Lieder, Wanderlied, Op. 35: No. 3
00:21:05 Lieder, Die Lotosblume, Op. 25: No. 7
00:22:49 Lieder, An den Sonnenschein
00:24:28 Lieder, Waldesgespraech, Op. 39: No. 3
00:27:35 Lieder, Ich grolle nicht, Op 48: No. 7
00:29:07 Lieder, Romanze, Op. 138: No. 5
00:31:51 Lieder, Sonntags am Rhein, Op. 36: No. 1
00:33:55 Lieder, Volksliedchen, Op. 51: No. 2
00:35:03 Lieder, Die beiden Grenadiere, Op. 49: No. 1
00:38:28 Piano Works, Abendlied, Op. 85
00:41:42 Piano Works, Alpenfee, Op. 115
00:43:54 Piano Works, Romanze, Op. 28
00:47:35 Piano Works, Schlummerlied, Op. 124
00:50:37 Piano Works, Warum, Op. 12
00:53:13 Piano Works, Froehlicher Landmann und Soldatenmarsch, Op. 68
00:56:44 Piano Works, Abschied, Op 82
00:59:33 Piano Works, Am Springbrunnen, Op. 85
01:02:57 Violin Sonata No. 2 in D, Op. 121: I. Ziemlich Langsam - Lebhaft
01:16:29 Violin Sonata No. 2 in D, Op. 121: II. Sehr lebhaft
01:21:26 Violin Sonata No. 2 in D, Op. 121: III. Leise, einfach
01:27:31 Violin Sonata No. 2 in D, Op. 121: IV. Bewegt
01:36:51 Kinderszenen, Op. 15: Von fremden Laendern und Menschen
01:38:34 Kinderszenen, Op. 15: Curiose Geschichte
01:39:43 Kinderszenen, Op. 15: Hasche-Mann
01:40:18 Kinderszenen, Op. 15: Bittendes Kind
01:41:00 Kinderszenen, Op. 15: Glueckes genug
01:41:34 Kinderszenen, Op. 15: Wichtige Begebenheit
01:42:31 Kinderszenen, Op. 15: Traeumerei
01:45:08 Kinderszenen, Op. 15: Am Camin
01:46:12 Kinderszenen, Op. 15: Ritter vom Steckenpferd
01:46:56 Kinderszenen, Op. 15: Fast zu ernst
01:49:20 Kinderszenen, Op. 15: Fuerchtenmachen
01:50:50 Kinderszenen, Op. 15: Kind im Einschlummern
01:53:14 Kinderszenen, Op. 15: Der Dichter spricht

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Composer: Johannes Brahms
Artist: Wolfram Schmitt-Leonardy (piano)

Being a talented pianist Brahms often improvised on the instrument. From the extensive body of works written for the piano by Brahms, Wolfram Schmitt-Leonardy has chosen all five sets of variations. This music shows the composer in all his different appearances: from simple lines and texture to almost bombastic bravura. Wolfram Schmitt-Leonardy is one of the leading pianists of his generation. At university he passed all his examinations with highest distinction and since he was a child he has been winning an impressing amount of top-prizes in international piano competitions throughout the world. He constantly expands his worldwide concert activity.

In his playing Schmitt manages to unravel complex structures without destroying them. His performances are attractively light and transparent with a wide range of colours.

00:00:00 Variations on a theme of Paganini in A Minor Studies, Op. 35, Book I
00:14:03 Variations on a theme of Paganini in A Minor Studies, Op. 35, Book II
00:26:20 Variations and Fugue on a theme of Handel in B-Flat Major, Op. 24 (1861)
00:53:32 Variations on an original theme in D Major, Op. 21 No. 1, (1856-57)
01:11:40 Variations on a Hungarian Song in D Major, Op. 21 No. 2 (c 1853-54)
01:18:54 Variations on a theme of Robert Schumann in F-Sharp Minor, Op. 9 (1854)

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Composer & Artist:
Composer: Erik Satie
Artists: Sandra & Jeroen van Veen

About this Album:
Alfred Erik Leslie Satie (1866–1925) was born in Honfleur, of a Normand father and a Scottish mother. He rates as one of music’s true originals – a real ‘one-off ’. After his studies as an organist, and then a period as a rather unsuccessful concert pianist having studied with several eminent teachers (he hated the rules of academic life), he enrolled in the French Army. This didn’t solve his problems with life either, so he deliberately contracted bronchitis and was invalided out after being declared unfit for service.

It was after this sad episode that he started to compose, and his earliest published work was Valse-Ballet. Satie then entered the life of Parisian nightclubs, absorbing all the influences of sound and life on offer, becoming friends with Debussy – they met when Satie had got a job as second pianist at a club. Satie had developed a unique way of composing – a kind of musical freehand – and was introducing complex chord structures that would come to influence Debussy. His music attracted the attention of such leading figures as Diaghilev, Picasso, Ravel, Stravinsky and Cocteau. Even so, Satie had a feeling that he wasn’t being taken seriously as a composer, and embarked on a three-year counterpoint study with Albert Roussel. The piano four-hands form has a long and distinguished history with many major symphonic works by Brahms, Rachmaninoff and Stravinsky published in this form for a wide domestic market. For many years the great classical composers’ works had appeared in this form, including works by Mozart and Schubert, who wrote specifically for piano four-hands. In the days before LPs, CDs and MP3s this was how music was heard in the home.

Tracklist:
00:00:00 Parade - Ballet Réaliste (1917): Choral
00:00:57 Parade - Ballet Réaliste (1917): Prélude du rideau rouge
00:02:33 Parade - Ballet Réaliste (1917): Prestidigitateur chiNois
00:05:20 Parade - Ballet Réaliste (1917): Petie fille américaine
00:06:53 Parade - Ballet Réaliste (1917): Ragtime du paquebot
00:09:20 Parade - Ballet Réaliste (1917): Acrobates
00:12:52 Parade - Ballet Réaliste (1917): Suite au Prélude du rideau rouge
00:13:12 Trois Morceaux En Forme de Poire (1903): Manière de commencement: Allez modérément
00:17:06 Trois Morceaux En Forme de Poire (1903): Prolongation du même: Au pas
00:18:05 Trois Morceaux En Forme de Poire (1903): I. Lentement
00:19:28 Trois Morceaux En Forme de Poire (1903): II. Enlévé
00:22:50 Trois Morceaux En Forme de Poire (1903): III. Brutal
00:26:01 Trois Morceaux En Forme de Poire (1903): En plus: Calme
00:28:23 Trois Morceaux En Forme de Poire (1903): Redite: Dans le lent
00:30:11 GymNopédie No. 1: Lent et douloureux (1888)
00:34:12 Aperçus Désagréables (1908): Pastorale: Assez lent
00:35:48 Aperçus Désagréables (1908): Choral: Large de vue
00:37:15 Aperçus Désagréables (1908): Fugue: Non vite
00:40:28 En Habit de Cheval (1911): Chorale: Grave
00:41:37 En Habit de Cheval (1911): Fugue litanique: soigneusement et avec lenteur
00:44:31 En Habit de Cheval (1911): Autre chorale: Non lent
00:45:26 En Habit de Cheval (1911): Fugue de papier: Assez modéré
00:48:01 Musiques d'Ameublement (1917): I. Tapisserie en fer forgé
00:49:28 Musiques d'Ameublement (1917): II. Carrelage phonique
00:50:37 Trois Petites Pièces Montées (1919): I. de l'enfance de Pantagruel: Rêverie, modéré
00:51:46 Trois Petites Pièces Montées (1919): II. Marche de Cocagne: Démarche, temps de Marche
00:52:46 Trois Petites Pièces Montées (1919): III. Jeux de Gargantua: Coin de Polka, mouvement de Polka
00:54:24 La Belle Excentrique - Fantaisie Sérieuse (1920): Grande ritournelle: Pas trOp vite
00:56:29 La Belle Excentrique - Fantaisie Sérieuse (1920): Marche franco-Lunaire
00:58:22 La Belle Excentrique - Fantaisie Sérieuse (1920): Valse du mystérieux baiser dans l'oeil: Mouvement de valse
01:01:02 La Belle Excentrique - Fantaisie Sérieuse (1920): Cancan grand-mondain: GalOp
01:03:17 GymNopédie No. 3 (1888)
01:06:37 Cinéma (1924)

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

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

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

Artist:
Manuel Tomadin (organ)

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Composer: Piotr Ilyich Tchaikovsky
Artists: USSR State Choir and Orchestra, Andrey Chistiakov (conductor)

Tchaikovsky thought highly of his music to Ostrovky’s drama The Snow Maiden, writing to his patroness Nadezhda von Meck in 1879 ‘one of my favourite offspring….I think this music is imbued with the joys of spring that I was experiencing at the time’ It was an important commission for a composer who in 1873 was still establishing his reputation, and who had his first 3 symphonies and first piano concerto performed to great popular acclaim. The production of the drama was lavish, combining all three performing arts – drama, dance and music.

The premiere cost the vast sum of 15000 roubles, and though the production was stage with success (more for the music than the drama which was judged as rather static) in 1873 and 74, after 9 runs was never seen again due to the prohibitive cost. The music however was performed every now and again, but it has remained one of the composers least known works. Tchaikovsky used some of the material for his music to Hamlet in 1891, but he had always hoped to incorporate the score into an opera on the Snow Maiden story. When Rimsky-Korsakov’s opera on the same story appeared Tchaikovsky was seething with anger, and wrote to his brother Modest ‘it is as if they have taken from me by force something that is innately mine and dear to me and are presenting it to the public in bright new clothes’.

The music is characteristically colourful, especially the chorus depicting shivering birds and the procession of the carnival. It gives plenty of hints of the great ballet scores that would follow.

00:00:00 The Snow Maiden: Introduction
00:04:48 The Snow Maiden: Dance and choruses of the birds
00:10:28 The Snow Maiden: Winter’s monologue
00:13:50 The Snow Maiden: Carnival procession
00:20:55 The Snow Maiden: Melodrama
00:22:56 The Snow Maiden: Interlude
00:24:18 The Snow Maiden: Lehl’s first song
00:28:15 The Snow Maiden: Lehl’s second song
00:29:48 The Snow Maiden: Interlude
00:33:00 The Snow Maiden: Chant of the blind bards
00:37:02 The Snow Maiden: Melodrama
00:41:11 The Snow Maiden: Chorus of the people and the courtiers
00:43:26 The Snow Maiden: Round of the young maidens
00:45:54 The Snow Maiden: Dance of the tumblers
00:50:31 The Snow Maiden: Lehl’s third song
00:57:13 The Snow Maiden: Brussila’s song
00:58:45 The Snow Maiden: Apparition of the Spirit of the Wood
00:59:36 The Snow Maiden: Interlude-The Spring Fairy
01:04:03 The Snow Maiden: Tsar Berendey’s march and chorus
01:10:42 The Snow Maiden: Final Chorus

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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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The Mass and songs by Guillaume de Machaut are probably the earliest consistent body of work attributable to a single composer in the Western canon. As such, they form a foundation stone to centuries of both melody-oriented song and contrapuntal polyphony that come thereafter. They have their own rich recording history, too, from the gentle and sometimes pedestrian efforts of pioneering groups like Pro Musica Antiqua and the New York Pro Musica, through to the dynamic and swinging recordings of the Orlando Consort.

Composer :Guillaume de Machaut
Artist: Ensemble Gilles Binchoit, Dominique Vellard (conductor)

00:00:00 Messe de Nostre Dame: Introitus. Gaudeamus omnes in domino
00:05:10 Messe de Nostre Dame: Kyrie eleison
00:12:15 Messe de Nostre Dame: Gloria in excelsis deo
00:17:15 Messe de Nostre Dame: Collectio. Veneranda nobis
00:18:21 Messe de Nostre Dame: Epistulum. Lectio libri sapientiae
00:20:25 Messe de Nostre Dame: Graduale. Propter veritatem
00:23:46 Messe de Nostre Dame: Alleluia, assumpta est Maria
00:25:51 Messe de Nostre Dame: Evangelium. In illo tempore intravit Jesus
00:27:48 Messe de Nostre Dame: Credo in unum Deum
00:35:06 Messe de Nostre Dame: Offertorium. Diffusa est gratia
00:36:34 Messe de Nostre Dame: Praefatio
00:39:22 Messe de Nostre Dame: Sanctus & Benedictus
00:44:02 Messe de Nostre Dame: Pater Noster
00:45:41 Messe de Nostre Dame: Agnus Dei
00:49:14 Messe de Nostre Dame: Communio. Regina mundi
00:53:57 Messe de Nostre Dame: Postcommunio. Mense celestis
00:55:03 Messe de Nostre Dame: Ite Missa est
00:56:42 Le vray remède d’amour: “Je, Guillaumes” from Le Jugement du Roi de Navarre
00:57:33 Le vray remède d’amour: Virelai “Dame, vostre doulz viaire”
01:03:36 Le vray remède d’amour: Motet “Amours qui ha le pouoir/Faus samblant”
01:06:08 Le vray remède d’amour: Virelai “Je vivroie liement”
01:09:14 Le vray remède d’amour: Rondeau “Ce qui soustient moy”
01:12:11 Le vray remède d’amour: “La, firent mains divers acors” from Le Remède de Fortune
01:13:20 Le vray remède d’amour: Ballade “Dame se vous m’estes lonteinne”
01:15:24 Le vray remède d’amour: Ballade “Je ne cuit pas”
01:21:27 Le vray remède d’amour: Rondeau “Doulz viaire gracieus”
01:23:15 Le vray remède d’amour: Motet “Christe, qui lux est/Veni creator spiritus”
01:27:45 Le vray remède d’amour: “Qui des couleurs” from La Loange des Dames
01:29:21 Le vray remède d’amour: Rondeau “Puisqu’en oubli”
01:30:57 Le vray remède d’amour: Ballade “Dame ne regardes pas”
01:34:30 Le vray remède d’amour: Ballade “Doulz amis”
01:40:57 Le vray remède d’amour: “Long sont mi jour” from Le Livre du Voir-Dit
01:41:36 Le vray remède d’amour: Complainte “Tels rit au main”
01:43:56 Le vray remède d’amour: Virelai “Liement me deport”
01:49:23 Le vray remède d’amour: “Des que on porroit” from Le Livre du Voir-Dit
01:50:49 Le vray remède d’amour: Ballade “De toutes flours”
01:57:26 Le vray remède d’amour: “Mon cuer, ma suer” from Le Livre du Voir-Dit
02:00:06 Le vray remède d’amour: Motet “Felix virgo” - “Inviolata genitrix”
02:04:39 Le Jugement du Roi de Navarre: Chanson roial ”Joie, plaisance et douce nourriture”
02:05:58 Le Jugement du Roi de Navarre: Ballade “Tres douce dame que j’aour”
02:09:52 Le Jugement du Roi de Navarre: “Un po apres le temps d’autonne...”
02:11:31 Le Jugement du Roi de Navarre: Motet “Plange regni/Tu qui gregem tuum ducis”
02:14:24 Le Jugement du Roi de Navarre: “Et tout einsi com je cuidoie...”
02:16:18 Le Jugement du Roi de Navarre: Motet “O livoris feritas/Fons totuis superbie”
02:19:01 Le Jugement du Roi de Navarre: “Et quant Nature vit ce fait...”
02:20:40 Le Jugement du Roi de Navarre: Virelai “Puis que ma dolour”
02:23:22 Le Jugement du Roi de Navarre: “Si que ces tempestes cesserent...”
02:26:39 Messe de Nostre Dame: Kyrie
02:33:12 Le Jugement du Roi de Navarre: “Si que tres bien me confessay...”
02:34:25 Le Jugement du Roi de Navarre: Virelai “J’aim sans penser”
02:36:42 Le Jugement du Roi de Navarre: Ballade “Esperance”
02:41:53 Le Jugement du Roi de Navarre: Double ballade “Quant Theseüs” - “Ne quier veoir”
02:47:11 Le Jugement du Roi de Navarre: “Damoiselle, la traïson de Theseüs...”
02:50:09 Le Jugement du Roi de Navarre: Ballade “Honte, paour, doubtance”
02:53:55 Le Jugement du Roi de Navarre: “Adont commensa Souffissance...”
02:57:28 Le Jugement du Roi de Navarre: Ballade “Nes que on porroit les estoilles nombrer”
03:03:00 Le Jugement du Roi de Navarre: “Quant leur consaus fu affinez...”
03:04:22 Le Jugement du Roi de Navarre: Ballade “Amours me fait desirer”

Composer: Edward Elgar, Frank Bridge, Ralph Vaughan Williams
Artist: Quink Vocal Ensemble

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Quink is the Netherlands’ premier solo vocal ensemble, founded in 1978, which has won a string of awards for its albums of motets, partsongs villancicos and more ranging over 500 years of music. Turning to the rich repertoire of late-19th and early-20th-century English and Irish music, Quink has made a complement to its previous recording of music by Vaughan Williams and Finzi, which received critical praise for its ‘technical elegance and fine spirit’ (BBC Music Magazine).

The madrigal found a home in Elizabethan England after its creation in mid-17th-century Italy with the works of Gibbons and many others, and survived longer there than in the rest of Europe, where it fell out of fashion in the 18th century. Nonetheless, the Victorian age saw a revival in what had become a neglected genre of consort work, and many glee clubs were formed to sing earlier work, as well as stimulating the composition of new ones such as are found here.

The title track is the last of Sir Charles Parry’s Six Modern Lyrics, but the previous five are little known and seldom recorded (the poem by Robert Bridges was also set by Britten’s teacher, Frank Bridge, and included here alongside one of several settings of Shakespeare, The Bee). The other extensive collection here is of E.J. Moeran’s Songs of Springtime, as buoyant and cheerful as their title suggests, yet curiously neglected. The selections of Vaughan Williams such as his Three Elizabethan Partsongs and Silence and Music are deservedly famous, and sung here with the elegance and freedom that comes more naturally to vocal consorts rather than chamber choirs however well-drilled.
 
This new recording by Dutch vocal ensemble Quink contains a delectable selection of English part songs, works by Vaughan Williams, Elgar, Bridge, Stanford, Moeran and Parry.
The music has that indelible English atmosphere of autumnal serenity and melancholy, evoking pastoral scenes of poignant beauty, where “time stands still”.
The booklet contains liner notes, biography and the complete sung texts.

00:00:00 3 Part-Songs, Op. 18: I. O Happy Eyes
00:02:52 3 Part-Songs, Op. 18: II. Love
00:05:18 Music, When Soft Voices Die, H.31
00:07:56 The Bee, H.110
00:09:19 Three Elizabethan Partsongs: I. Sweet Day
00:11:21 Three Elizabethan Partsongs: II. The Willow Song
00:13:42 Three Elizabethan Partsongs: III. O Mistress Mine
00:14:48 6 Irish Folksongs, Op. 78: III. At The Mid-Hour Of Night
00:17:16 6 Irish Folksongs, Op. 78: V. It Is Not the Tear
00:19:35 O Weary Hearts, H.92
00:23:36 Under the Greenwood Tree
00:25:00 The River-God’s Song
00:26:40 Spring, the Sweet Spring
00:28:15 Love Is A Sickness
00:31:35 Sigh No More, Ladies
00:33:07 Good Wine
00:34:34 To Daffodils
00:37:05 In Autumn, H.62
00:40:27 Love Is a Sickness
00:41:33 Fain Would I Change That Note
00:43:51 6 Elizabethan Pastorals: III. Shall We Go Dance
00:45:04 6 Irish Folksongs, Op. 78: I. O Breathe Not His Name
00:48:22 Silence And Music
00:53:49 6 Modern Lyrics: I. How Sweet the Answer
00:55:27 6 Modern Lyrics: II. Since Thou, O Fondest
00:57:49 6 Modern Lyrics: III. If I Had But Two Little Wings
00:59:55 6 Modern Lyrics: IV. There Rolls the Deep
01:02:22 6 Modern Lyrics: V. What Voice of Gladness
01:05:05 6 Modern Lyrics: VI. Music, When Soft Voices Die

Composer: Engelbert Humperdinck
Artists: Ingeborg Springer (mezzo-soprano), Renate Hoff (soprano), Theo Adam (bass), Gisela Schröter (contralto), Peter Schreier (tenor), Renate Krahmer (soprano), Staatskapelle (Dresden), Otmar Suitner (conductor), Members of the Dresdner Kreuzchor

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When Engelbert Humperdinck’s sister Adelheid turned the Grimm brothers’ fairytale of Hänsel und Gretel into a short libretto for her children, she asked her composer-brother to set the words to music. The resulting performance in their family home delighted Humperdinck’s two young nieces and this domestic success soon became a fully-fledged opera destined for the international stage. The imaginative score expertly encapsulates the life of children, from exuberant dances and witty exchanges to the sweet solemnity of the Evening Prayer. Their journey into the forest is wonderfully captured in the music; as they move further into the ever-threatening woods, the music becomes increasingly opaque, mirroring the darkening of the trees. When the sandman appears, the sinister theme that had heralded his arrival is interrupted, as his harmlessness is revealed, and he leads the children into a peaceful sleep. The menacing theme returns with the arrival of the wicked gingerbread witch; only when the children succeed in stuffing her into her own oven do the exuberant dance-like patterns re-emerge, as Hänsel and Gretel joyfully celebrate their triumph along with the children brought back to life by the broken spell.

Despite its apparent simplicity, Humperdinck’s opera contains a wealth of themes, with a score remarkable for its range of colours and textures, clearly inspired by Wagner.
 
00:00:00 Hänsel und Gretel: Prelude to Act I
00:07:42 Hänsel und Gretel, Act I, Scene 1: Suse, liebe Suse (Gretel/Hänsel)
00:11:07 Hänsel und Gretel, Act I, Scene 1: So recht! (Gretel/Hänsel)
00:12:57 Hänsel und Gretel, Act I, Scene 1: Brüderchen, komm, tanz mit mir (Gretel/Hänsel)
00:16:11 Hänsel und Gretel, Act I, Scene 2: Holla! Himmel! Die Mutter! (Gertrud/Gretel/Hänsel)
00:17:43 Hänsel und Gretel, Act I, Scene 2: Marsch! Fort in den Wald! (Gertrud)
00:19:22 Hänsel und Gretel, Act I, Scene 3: Ral-la-la-la, ral-la-la-la (Peter/Gertrud)
00:24:05 Hänsel und Gretel, Act I, Scene 3: Drüben hinter’m Herrnwald (Peter/Gertrud)
00:25:17 Hänsel und Gretel, Act I, Scene 3: Doch halt, wo bleiben die Kinder? (Peter/Gertrud)
00:26:53 Hänsel und Gretel, Act I, Scene 3: Wenn sie sich verirrten (Peter/Gertrud)
00:28:15 Hänsel und Gretel, Act I, Scene 3: Eine Hex’, steinalt (Peter/Gertrud)
00:30:36 Hänsel und Gretel: Prelude to Act II: Witch’s Ride
00:35:05 Hänsel und Gretel, Act II, Scene 1: Ein Männlein steht im Walde (Gretel)
00:36:33 Hänsel und Gretel, Act II, Scene 1: Juchhe! Mein Erbelkörbchen ist voll bis oben! (Hänsel/Gretel)
00:37:44 Hänsel und Gretel, Act II, Scene 1: Kuckuck, Kuckuck, Eierschluck! (Hänsel/Gretel)
00:40:43 Hänsel und Gretel, Act II, Scene 1: Gretel, ich weiß den Weg nicht mehr! (Hänsel/Gretel/Voices)
00:44:13 Hänsel und Gretel, Act II, Scene 2: Der kleine Sandmann bin ich, st! (Sandmännchen/Hänsel/Gretel)
00:46:30 Hänsel und Gretel, Act II, Scene 2: Abends will ich schlafen gehn (Hänsel/Gretel)
00:49:01 Hänsel und Gretel, Act II, Scene 3: Dream Pantomime
00:54:22 Hänsel und Gretel: Prelude to Act III
00:56:24 Hänsel und Gretel, Act III, Scene 1: Der kleine Taumann heiß’ ich (Taumännchen)
00:58:07 Hänsel und Gretel, Act III, Scene 1: Wo bin ich? Wach’ ich? (Gretel/Hänsel)
01:03:54 Hänsel und Gretel, Act III, Scene 2: Bleib stehn! Bleib stehn! (Gretel/Hänsel)
01:04:32 Hänsel und Gretel, Act III, Scene 2: Wie duftet’s von dorten (Gretel/Hänsel)
01:06:22 Hänsel und Gretel, Act III, Scene 2: Alles bleibt still (Hänsel/Gretel)
01:08:05 Hänsel und Gretel, Act III, Scene 2: Knusper, knusper Knäuschen (Die Knusperhexe/Gretel/Hänsel)
01:11:06 Hänsel und Gretel, Act III, Scene 3: Ich bin Rosina Leckermaul (Die Knusperhexe/Hänsel/Gretel)
01:14:44 Hänsel und Gretel, Act III, Scene 3: Halt! Hokuspokus, Hexenschuß! (Die Knusperhexe)
01:16:07 Hänsel und Gretel, Act III, Scene 3: Nun, Gretel, sei vernünftig und nett (Die Knusperhexe/Gretel/Hänsel)
01:20:54 Hänsel und Gretel, Act III, Scene 3: Hurr hopp hopp hopp (Die Knusperhexe)
01:22:41 Hänsel und Gretel, Act III, Scene 3: Auf! Wach auf, mein Jüngelchen (Die Knusperhexe/Gretel/Hänsel)
01:26:18 Hänsel und Gretel, Act III, Scene 3: Juchhei! Nun ist die Hexe tot (Hänsel/Gretel)
01:28:53 Hänsel und Gretel, Act III, Scene 4: Erlöst, befreit, für alle Zeit! (Gingerbread children/Gretel/Hänsel)
01:32:57 Hänsel und Gretel, Act III, Scene 4: Ei, da sind sie ja! Vater! Mutter! (Peter/Hänsel/Gretel/Gertrud)

Tracklist below.

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Artist: Gewandhausorchester Leizig, Igor Markevitch (conductor), Alexander Warenberg (piano)

The drunken sot who glares out at us from Ilya Repin’s celebrated portrait looks more like a tramp than a composer, and Mussorgsky’s music has a similarly uncompromising expressive power, music that seems to work despite rather than
because of itself. Pianists have wrestled with the unpianistic corners of his most famous work since he composed it in 1874 in memory of his friend, the painter Viktor Hartmann, who had died the previous year.

Mussorgsky portrayed some of Hartmann's pictures in music when they were displayed at an exhibition in Saint Petersburg. The cycle of ten individual paintings is linked by the famous ‘promenade’, symbolizing the viewer of the pictures wandering through the exhibition. Hartmann’s bold and puzzling vignettes find their perfect analogue in Mussorgsky’s pianistic reimagining, but fellow composers could hardly leave the orchestral potential of this
often‐awkward music alone. Ravel wasn’t the first to mix his orchestral palette with Mussorgsky’s colours, but his version has justly stood the test of time, and stands alone for its sensitivity to the pungent, folkloristic flavour of the original.

Mussorgsky’s “Pictures at an Exhibition” is one of the most famous and most frequently performed romantic piano cycles of the entire repertoire. It contains colourful, highly original and gripping musical depictions of a series of painting by Mussorgsky’s friend Hartmann. This release offers both the original piano version and the Ravel orchestration, filled up with the orchestral “A Night on Bare Mountain” and the more modest, but no less impressive piano cycle by Tchaikovsky: The Seasons.

00:00:00 Pictures at an Exhibition: Promenade 1
00:01:29 Pictures at an Exhibition: No. 1, Gnomus
00:04:04 Pictures at an Exhibition: Promenade 2
00:05:02 Pictures at an Exhibition: No. 2, Il vecchio castello
00:08:38 Pictures at an Exhibition: Promenade 3
00:09:06 Pictures at an Exhibition: No. 3, Tuileries
00:10:21 Pictures at an Exhibition: No. 4, Bydlo
00:13:21 Pictures at an Exhibition: Promenade 4
00:14:06 Pictures at an Exhibition: No. 5, Ballet of the Unhatched Chicks
00:15:24 Pictures at an Exhibition: No. 6, Samuel Goldenberg and Schmuyle
00:18:06 Pictures at an Exhibition: No. 7, Limoges. The Market
00:19:29 Pictures at an Exhibition: No. 8, Catacombae. Sepulcrum romanum – Con mortuis in lingua mortua
00:23:22 Pictures at an Exhibition: No. 9, The Hut on Fowl’s Legs
00:27:08 Pictures at an Exhibition: No. 10, The Great Gate of Kiev
00:32:37 Night on Bare Mountain
00:43:01 Pictures at an Exhibition: Promenade 1 - No. 1, Gnomus
00:46:58 Pictures at an Exhibition: Promenade 2 - No. 2, Il vecchio castello
00:52:07 Pictures at an Exhibition: Promenade 3 - No. 3, Tuileries
00:53:38 Pictures at an Exhibition: No. 4, Bydlo
00:56:49 Pictures at an Exhibition: Promenade 4 - No. 5, Ballet of the Unhatched Chicks
00:58:45 Pictures at an Exhibition: No. 6, Samuel Goldenberg and Schmuyle
01:00:38 Pictures at an Exhibition: Promenade 5 - No. 7, Limoges. The Market
01:03:38 Pictures at an Exhibition: No. 8, Catacombae. Sepulcrum romanum - Con mortuis in lingua mortua
01:07:17 Pictures at an Exhibition: No. 9, The Hut on Fowl’s Legs
01:10:22 Pictures at an Exhibition: No. 10, The Great Gate of Kiev
01:15:57 The Seasons, Op. 37a: No. 1, January. By the Fireside
01:20:47 The Seasons, Op. 37a: No. 2, February. Shrovetide Festival
01:23:41 The Seasons, Op. 37a: No. 3, March. Song of the Lark
01:25:21 The Seasons, Op. 37a: No. 4, April. Snowdrop
01:27:30 The Seasons, Op. 37a: No. 5, May. White Nights
01:31:44 The Seasons, Op. 37a: No. 6, June. Barcarolle
01:35:27 The Seasons, Op. 37a: No. 7, July. Song of the Reaper
01:37:10 The Seasons, Op. 37a: No. 8, August. Harvest
01:40:18 The Seasons, Op. 37a: No. 9, September. The Hunt
01:43:14 The Seasons, Op. 37a: No. 10, October. Autumn Song
01:46:38 The Seasons, Op. 37a: No. 11, November. Troika
01:49:16 The Seasons, Op. 37a: No. 12, December. Yuletide

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Composer & Artist:
Composer: Terry Riley
Artist: Jeroen van Veen

About this Album:
From ‘the man who records faster than his shadow’ a multitracked version of Terry Riley’s toolkit of minimalism, recorded over just two days by Jeroen van Veen on piano and a variety of electronic keyboards. The layers were then edited and superimposed to create the particular, hypnotic quality of the piece’s development.

Jeroen van Veen has won acclaim for his many Brilliant Classics recordings of minimalism, including his own music, but also the piano oeuvres of Philip Glass, Arvo Pärt and Ludovico Einaudi: a testament both to the variety of styles to be found under the minimalist umbrella but also to van Veen’s ready mastery of those styles. There are many recordings of In C, but almost none at budget price: this release is sure to receive wide critical and popular attention.

Terry Riley is one of the founders of the Minimalist Movement. His most famous and ground breaking work, “In C”, is based on structured interlocking repetitive patterns, creating a hypnotic, multi-layered aural sensation, which inspired many compoers and musicians after him.
On this recording Jeroen van Veen used two grand pianos, 3 electronic keyboards, clavichord, 4 synthesizers, and several other instruments, recording the layers one by one.
Another fascinating issue by Jeroen van Veen, Dutch champion of Minimal Music. His earlier issue (Pärt, Glass, Einaudi, Satie, Minimalists) are worldwide bestsellers!
The liner notes are written by Jeroen van Veen.

Tracklist:
00:00:00 In C: I. Part 1
00:06:11 In C: II. Part 2
00:10:03 In C: III. Part 3
00:17:52 In C: IV. Part 4
00:24:29 In C: V. Part 5
00:33:2 In C: VI. Part 6
00:43:52 In C: VII. Part 7
00:47:13 In C: VIII. Part 8
00:53:49 In C: IX. Part 9
01:01:30 In C: X. Part 10
01:05:03 In C: XI. Part 11
01:13:52 In C: XII. Part 12

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