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Composer: Felix Mendelssohn
Artists: Wolfram Schmitt-Leonardy (piano), Frank van der Laar (piano), Pieter-Jelle de Boer (piano)

Felix Mendelssohn was a virtuoso pianist, and it worth remembering that he was born in 1809, with his friend Schumann being born a year later in 1810, as was Chopin, and Liszt following in 1811. These composers were among the greatest pianists of the 19th century, and they were born at a time when the piano was a relatively modern instrument, and composers such as Hummel, Moscheles (Mendelssohn’s friend), Kalkbrenner and Ries were accorded adulation similar to pop stars today. Beethoven commenced his career in the 1790s as a virtuoso pianist.

No surprise then that the young Mendelssohn composed extensively for his chosen instrument from the outset. From early concertos and sonatas he quickly established his ‘mature’ style in works such as the Rondo capriccioso, and the Andante cantabile e Presto agitato. The masterpieces that followed include the remarkably imposing Variations serieuses and the famous Songs without Words.

Mendelssohn’s style did not change throughout his short creative life – he very quickly composed in what we know as his mature style from his early teens, something even Mozart didn’t achieve.

This album contains the Songs without Words, Variations serieuse, Kinderstucke, Rondo capriccioso, Capriccio, and Trois Fantasies ou Caprices plus several shorter works.

Tracklist can be found in the comment section!

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Composer & Artist:
Composer: Franz Joseph Haydn
Artists: Haydn-Trio Eisenstadt and Cornelia Löscher (violine), Martin Bramböck (horn), Dominik Taschler (horn)

About this Album:
Haydn’s compositions for piano trio and his pioneering work in the genre of the string quartet are well known. However, he also left a considerable body of work for chamber ensembles that do not fit comfortably within the sonata, trio or quartet category. This release explores some of these early and fascinating hybrids.

One thing all the works have in common is that the piano is the centre of attention. Written for Count Morzin the Divertimento Hob.XIV:1 adds two horns to the traditional piano trio. They have some virtuosic passages, similar in fact to the contemporaneous Symphonies Nos. 31 and 72. Presumably these parts were written with particular horn players in mind. and Count Morzin’s orchestra possessed some of the greatest horn virtuosi of the time.

Tracklist:
00:00:00 Concertino in C-Dur, Hob. XIV:12: Allegro
00:04:15 Concertino in C-Dur, Hob. XIV:12: Adagio
00:10:53 Concertino in C-Dur, Hob. XIV:12: Finale-Allegro
00:13:51 Divertimento in C-Dur, Hob. XIV:7: Allegro moderato
00:17:24 Divertimento in C-Dur, Hob. XIV:7: Menuet
00:20:47 Divertimento in C-Dur, Hob. XIV:7: Finale-Presto
00:22:16 Concertino in F-Dur, Hob. XVIII:F2: Moderato
00:25:46 Concertino in F-Dur, Hob. XVIII:F2: Adagio
00:31:42 Concertino in F-Dur, Hob. XVIII:F2: Allegro assai
00:33:37 Divertimento in C-Dur, Hob. XIV:3: Allegro moderato
00:36:33 Divertimento in C-Dur, Hob. XIV:3: Menuet
00:39:35 Divertimento in C-Dur, Hob. XIV:3: Finale-Allegro molto
00:40:20 Quintett in Es-Dur, Hob. XIV:1: Moderato
00:44:51 Quintett in Es-Dur, Hob. XIV:1: Menuet
00:48:39 Quintett in Es-Dur, Hob. XIV:1: Finale-Allegro
00:51:38 Divertimento in C-Dur, Hob. XIV:C2:
00:53:25 Divertimento in C-Dur, Hob. XIV:C2:
00:55:08 Divertimento in C-Dur, Hob. XIV:4: Allegro
00:59:07 Divertimento in C-Dur, Hob. XIV:4: Menuet
01:02:54 Divertimento in C-Dur, Hob. XIV:4: Finale (Allegro)
01:06:20 Concertino in C-Dur, Hob. XIV:11: Moderato
01:10:00 Concertino in C-Dur, Hob. XIV:11: Adagio
01:14:52 Concertino in C-Dur, Hob. XIV:11: Allegro
01:16:47 Divertimento in C-Dur, Hob. XIV:8: Allegro moderato
01:21:14 Divertimento in C-Dur, Hob. XIV:8: Menuet
01:24:36 Divertimento in C-Dur, Hob. XIV:8: Finale-Scherzo
01:26:06 Concertino in G-Dur, Hob. XIV:13: Allegro moderato
01:29:37 Concertino in G-Dur, Hob. XIV:13: Adagio
01:34:18 Concertino in G-Dur, Hob. XIV:13: Finale-Presto
01:36:22 Divertimento in F-Dur, Hob. XIV:9: Allegro
01:37:40 Divertimento in F-Dur, Hob. XIV:9: Menuet
01:40:20 Divertimento in F-Dur, Hob. XIV:9: Finale-Allegro molto
01:42:26 Sonata für Klavier und Violine in G-Dur, Hob. XV:32: Andante
01:48:23 Sonata für Klavier und Violine in G-Dur, Hob. XV:32: Allegro

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

About this Album:
Corelli's Concerti Grossi Op.6, available on SACD.
Corelli is best known for this work. He gave this genre an enormous boost and was an example for composers like Handel. This complete set of 12 lively concerti is played by the Dutch ensemble Musica Amphion on period instruments. Its founder Pieter-Jan Belder conducts from the harpsichord.
This issue is of exceptional quality. The ensemble gives full-blooded performances which are matched by pleasantly warm but very clear acoustics.

Tracklist:
The tracklist can be found in the comment!

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Tracklist Below:
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Arvo Pärt’s music resists the easily achieved peace of much Minimalist music of its time, even if its economy of gesture and expression – the joy taken in apparently simple beauty – has made him one of the iconic composers of our time. Such beauty is not simply achieved, and Pärt has written slowly, again unlike many of his contemporaries, filling each new piece with quiet quirks of harmony and unexpected turns that make them as satisfying to perform as they are to hear.

All the works on this album of music reflecting Pärt’s deep Christian faith derive from the ‘tintinnabuli’ style which he created in the 1970s, in rebellion from an earlier embrace of Modernism. In Cantate Domino (1978), a simple melodic voice embraced by an accompaniment taken from the tonic triad – the bell-like sound inspiring the label. In the Berliner-Messe of 1990 there are certainly many moments of ascetic detachment but these are balanced with a compelling range of emotion: originally written with string parts, the Mass is here performed as it would more commonly be heard in a liturgical context, with organ accompaniment. The organ plays a central role in The Beatitudes (199X): granite slabs of sound come into focus over unyielding pedal notes, the message intensified in the silences. Intensity rises with pitch until the music is torn apart by the organ at the concluding Amen.

Spiegel im Spiegel is a Pärt classic for its ineffable and seemingly inevitable progression, and makes no less haunting an effect than the violin-and-piano original in this arrangement for organ made in 2010. The other organ works are more imposing: Annum per annum, Trivium and Pari intervallo, all making full use of the Klais-restored organ of Leeds Cathedral.

The cathedral’s musicians have made several well-received recordings for Brilliant Classics, of music by Maurice Duruflé (9264), Hendrik Andriessen (94958), Georgi Mushel (9279) and others. Of the Durufle, Gramophone’s reviewer wrote: ‘Leeds Cathedral Choir…bright tone and honest, natural singing deliver very accomplished and satisfying performances. The choir are ably supported by the splendid accompaniments of the Skipton Camerata and organists Benjamin Saunders and Daniel Justin. It’s faithfully captured by the excellent recording… an enjoyable and rewarding two-CD set.’

As follow-up on their successful Duruflé recording (BC 9264) the splendid Leeds Cathedral Choir, conductor Benjamin Saunders and organist Felix Justin present choral and organ music by Arvo Pärt, the iconic Estonian master of New Spirituality.
Included are the popular Berliner Messe, the Beatitudes, the complete organ works and Pärt’s most famous work, Spiegel im Spiegel, here played on the organ.
Recorded in the spacious and generous acoustics of Leeds Cathedral, also featuring its magnificent organ.
Booklet contains excellent liner notes, as well as the sung texts and the English translation, plus biographies of the artists.


00:00:00 The Beatitudes
00:07:49 Berliner Messe: I. Kyrie
00:10:58 Berliner Messe: II. Gloria
00:15:00 Berliner Messe: III. Erster Alleluiavers
00:16:13 Berliner Messe: IV. Zweiter Alleluiavers
00:17:40 Berliner Messe: V. Veni sancte spiritus
00:24:31 Berliner Messe: VI. Credo
00:28:59 Berliner Messe: VII. Sanctus
00:32:16 Berliner Messe: VIII. Agnus dei
00:34:15 Cantate domino
00:38:14 Annum per annum Einleitung: – K – G – C – S – A – Coda
00:50:09 Mein Weg hat Gipfel und Wellentäler
00:58:37 Pari intervallo
01:04:04 Trivium
01:11:42 Spiegel im Spiegel

Artist:
Daniel Justin (organ)
Thomas Leech (organ)
Leeds Cathedral Choir
Benjamin Saunders (conductor)

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Mozart’s piano sonatas date from 1773 until 1788 – a period in which his style matured at a truly remarkable rate. The earliest sonatas are very much in the galant style of W.F and CPE Bach, and in places Scarlatti’s influence can be detected. However, the late sonatas, such as K457 are full of surprises, and here the influence of Haydn is to the fore – even predicting Beethoven in passages. The years from 1773 to the late 80s saw the rapid development of the piano from a novelty and experimental instrument, to the stage where it’s power and range provided composers with a hitherto undreamed palate of colours and expression. Mozart exploited the new instruments to maximum effect in his concertos and his sonatas.
Composer: Wolfgang Amadeus Mozart
Artist: Klara Würtz (piano)

00:00:00 Piano Sonata No.1 in C, K279: I. Allegro
00:04:56 Piano Sonata No.1 in C, K279: II. Andante
00:10:09 Piano Sonata No.1 in C, K279: III. Allegro
00:13:31 Piano Sonata No.2 in F, K280: I. Allegro assai
00:18:02 Piano Sonata No.2 in F, K280: II. Adagio
00:24:04 Piano Sonata No.2 in F, K280: III. Presto
00:26:59 Piano Sonata No.3 in B flat, K281: I. Allegro
00:33:47 Piano Sonata No.3 in B flat, K281: II. Andante amoroso
00:39:19 Piano Sonata No.3 in B flat, K281: III. Rondeau: Allegro
00:43:56 Piano Sonata No.4 in E flat, K282: I. Adagio
00:50:57 Piano Sonata No.4 in E flat, K282: II. Menuetto
00:55:02 Piano Sonata No.4 in E flat, K282: III. Allegro
00:58:06 Piano Sonata No.5 in G, K283: I. Allegro
01:03:32 Piano Sonata No.5 in G, K283: II. Andante
01:09:14 Piano Sonata No.5 in G, K283: III. Presto
01:13:02 Piano Sonata No.6 in D, K284: I. Allegro
01:18:32 Piano Sonata No.6 in D, K284: II. Rondeau en polonaise: Andante
01:22:38 Piano Sonata No.6 in D, K284: III. Andante (Tema con variazioni)
01:38:15 Piano Sonata No.7 in C, K309: I. Allegro con spirito
01:44:13 Piano Sonata No.7 in C, K309: II. Andante un poco adagio
01:49:21 Piano Sonata No.7 in C, K309: III. Rondeau: Allegretto grazioso
01:55:23 Piano Sonata No.8 in A Minor, K310: I. Allegro maestoso
02:01:24 Piano Sonata No.8 in A Minor, K310: II. Andante cantabile con espressione
02:08:31 Piano Sonata No.8 in A Minor, K310: III. Presto
02:11:14 Piano Sonata No.9 In D, K311: I. Allegro con spirito
02:15:41 Piano Sonata No.9 In D, K311: II. Andante con espressione
02:20:33 Piano Sonata No.9 In D, K311: III. Rondeau: Allegro
02:26:39 Piano Sonata No.10 In C, KV330: I. Allegro moderato
02:33:20 Piano Sonata No.10 In C, KV330: II. Andante cantabile
02:39:53 Piano Sonata No.10 In C, KV330: III. Allegretto
02:45:36 Piano Sonata No.11 In A, K331: I. Andante grazioso
02:58:30 Piano Sonata No.11 In A, K331: II. Menuetto
03:04:25 Piano Sonata No.11 In A, K331: III. Alla Turca: Allegretto
03:07:50 Piano Sonata No.12 in F, K332: I. Allegro
03:14:24 Piano Sonata No.12 in F, K332: II. Adagio
03:19:07 Piano Sonata No.12 in F, K332:III. Allegro assai
03:25:58 Piano Sonata No.13 in B flat, K333: I. Allegro
03:33:20 Piano Sonata No.13 in B flat, K333: II. Andante cantabile
03:38:53 Piano Sonata No.13 in B flat, K333: III. Allegretto grazioso
03:45:30 Piano Sonata No.14 in C Minor, K457: I. Allegro molto
03:50:59 Piano Sonata No.14 in C Minor, K457: II. Adagio
03:58:42 Piano Sonata No.14 in C Minor, K457: III. Allegro assai
04:03:02 Piano Sonata No.15 in F, K533: Allegro
04:10:39 Piano Sonata No.15 in F, K533: Andante
04:17:14 Piano Sonata No.15 in F, K533: Rondeau: Allegretto
04:23:42 Piano Sonata No.16 in C, K545: I. Allegro
04:27:02 Piano Sonata No.16 in C, K545: II. Andante
04:31:12 Piano Sonata No.16 in C, K545: III. Rondo
04:32:58 Piano Sonata No.17 in B flat, K570: I. Allegro
04:38:32 Piano Sonata No.17 in B flat, K570: II. Adagio
04:46:07 Piano Sonata No.17 in B flat, K570: III. Allegretto
04:49:38 Piano Sonata No.18 in D, K576: I. Allegro
04:54:50 Piano Sonata No.18 in D, K576: II. Adagio
05:00:23 Piano Sonata No.18 in D, K576: III. Allegretto

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Giovanni Benedetto Platti is no household name, but in his day he was lauded as an exceptionally fine singer, oboist and composer, leaving his native country Italy in 1722 to take up a position at the court of Würzburg, Germany, where he served Prince-Bishop Johann Philipp Franz von Schönborn until the nobleman's sudden death from a heart attack in 1724.

The concertos featured in this compendium can be traced as far back as this latter year, for from 1724 onwards Platti had both the time and the inclination to devote himself to the Bishop's music-loving brother, Count Rudolf Franz Erwein. A passionate cellist, Erwein is surely the dedicatee behind the three Concerti con Violoncello obligato, works whose fast movements exhibit a characteristically nimble style and whose slow movements abound with expressive harmony. We also know that Platti prepared musical material on a regular basis for the Count, and his handwriting can indeed be found in the adaptation of Corelli's Op.5 Violin Sonatas, which had no doubt caught Erwein's attention when they were first published in Rome in 1700. Here Corelli's violin part is shared between two Concertino instruments, and the alternation of larger and smaller forces – a characteristic trait of the Concerto grosso – helps accentuate the various reprises of the musical theme.

Dedicated to all matters Baroque and Classical, Ensemble Cordia – which uses period instruments to combine 'authentic sound' with youthful, fresh performances – is at the helm to perform these little-known but highly elegant works. The group has recorded widely for Brilliant Classics – its 2011 recording of Platti's Oboe Concertos (94007) earned the following review from Fanfare: "seldom have I heard Baroque instrumental playing so heartfelt and impassioned". The soloist for the cello concertos is Stefano Veggetti, whose assured playing can only serve to deepen our appreciation for a composer whose music is at last being fitfully rediscovered.

00:00:00 Concerto in A Major, D-WD 654: I. Allegro
00:04:58 Concerto in A Major, D-WD 654: II. Largo e cantabile
00:10:16 Concerto in A Major, D-WD 654: III. Presto
00:13:59 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: I. Grave – Allegro – Adagio – Grave – Allegro – Adagio
00:17:10 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: II. Allegro
00:19:33 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: III. Allegro
00:20:37 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: IV. Adagio
00:23:29 Concerto grosso in D Major, D-WD 538, After Sonata Op. 5 No. 1 by Corelli: V. Allegro
00:25:07 Concerto in D Minor, D-WD 657: I. Non tanto allegro
00:30:03 Concerto in D Minor, D-WD 657: II. Adagio
00:34:30 Concerto in D Minor, D-WD 657: III. Alla breve: Fuga
00:39:17 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: I. Adagio
00:41:54 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: II. Allegro
00:43:50 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: III. Adagio
00:47:04 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: IV. Allegro
00:48:07 Concerto grosso in C Major, D-WD 539, After Sonata Op. 5 No. 3 by Corelli: V. Allegro
00:50:35 Concerto in D Major, D-WD 650: I. Allegro
00:54:40 Concerto in D Major, D-WD 650: II. Adagio
00:58:11 Concerto in D Major, D-WD 650: III. Allegro

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Componist: Luigi Boccherini
Artist: Luigi Puxeddu

A much-underrated composer, Luigi Boccherini (1743-1805) was one of the leading composers of the late 18th century, a friend and colleague of both Haydn and Mozart, and a formidable cello virtuoso. His reputation was such that he was nicknamed ‘Mrs Haydn’ – not in a pejorative sense, the appellation was due to his music sounding Haydnesque, but with a sensual, feminine grace rather than the Sturm und Drang of his Austrian friend’s music.

Boccherini’s prodigious talent as a cellist is apparent in the virtuosic cello sonatas, which call for an array of dazzling instrumental techniques. Cellist Luigi Puxeddu has recorded all of these sonatas, featured on this set.

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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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Composer: Johannes Brahms
Artists: Borika van den Booren (violin), Emmy Verhey (violin), Janos Starker (cello)

Now together on a single album two beautiful concertos by Brahms. Borika van Booren plays the violin concerto. Emmy Verhey (violin) and Janos Starker (cello) play the unusual double concerto.

00:00:00 Violin Concerto in D Major, Op. 77: Allegro ma non troppo
00:23:53 Violin Concerto in D Major, Op. 77: Adagio
00:33:37 Violin Concerto in D Major, Op. 77: Allegro giocoso
00:42:31 Concerto for Violin, Cello & Orchestra in A Minor, Op. 102: Allegro
00:59:51 Concerto for Violin, Cello & Orchestra in A Minor, Op. 102: Andante
01:08:16 Concerto for Violin, Cello & Orchestra in A Minor, Op. 102: Vivace non troppo

Tracklist below.

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

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

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

Tracklist below.

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

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

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

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

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

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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)

Complete tracklist can be found in the comments!

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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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