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Vinterglitter från Brilliant

Välspelad klassisk musik kan liknas vid diamanter slipade till perfektion.

Därför är vi glada att kunna presentera en glittrande kampanj så här i höstvintermörkret, med massor av titlar från BRILLIANT CLASSICS!

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Visar 192 artiklar
Image Organ Music
Marco Ruggeri, organ

There is only one other available survey on record of the music of Vincenzo Antonio Petrali (1830-1889), making this new recording all the more invaluable for travellers down the byways of non- operatic Italian music. Petrali combined the roles of virtuoso organist and improviser, orchestral conductor, composer, pianist, violinist, double-bass player and teacher. Every element of his multi- faceted career was approached with a huge amount of talent and energy ...

49 kr (89 kr)
Image Complete Music for Flute
Sigfried Karg-Elert (1877-1933) is best remembered for his organ works, and more specifically, for the harmonium. His dense, chromatic and complex counterpoint and rich late romantic harmonies put him next to his compatriot Max Reger.This set contains the complete works for flute solo and flute and piano. His 30 Caprices for solo flute are not only interesting for professional flute players, and the works for flute and piano, notably the substantial Flute Sonata, are masterworks in their genre, showing an original mind and a fine ear for the flute's lyrical and seductive qualities.Excellent and compelling performances by two young Italian musicians, liner notes in English and Italian.

49 kr (69 kr)
Image Music for Violin and Piano
Irish romantic music written by an Italian! Michele Esposito (1855-1929) was born in the poor south of Italy. Bad luck prompted him to go abroad and he finally settled in Ireland, where he spent the last 46 years of his life, founding the Dublin Orchestral Society.He conducted the London Symphony Orchestra, with whom he also performed his own piano concerto conducted by Hamilton Harty.Esposito's works have a particular Irish flavour, freely making use of folk melodies and generally expressing the atmosphere of the Irish landscape and folklore.This release presents his complete output for violin and piano, real discoveries in this genre, works of deep emotional content and a high level of virtuosity.Played by two Italians with the right romantic feel for this music: violinist Carmelo Andriani and young Vincenzo Maltempo (who received great critical acclaim for his stunning recordings of piano music by Alkan and Schumann on Piano Classics).

49 kr (89 kr)
Image Tiefland
A gem from the vaults of the East-German archives: the opera Tiefland by D'Albert.Eugen d'Albert was a pupil and protégé of Franz Liszt, he embarked on a successful career as a piano virtuoso. As a composer he was deeply rooted in the German culture, and fell under the spell of Richard Wagner. As a conductor he was Kapellmeister in Weimar.The opera Tiefland is d'Albert's masterpiece, it is regularly staged, and its late romantic Wagnerian language never fails to impress and enchant.A stellar cast in this production from 1963: Theo Adam, Siegfried Vogel, Heinz Hoppe and Hanne-Lore Kuhse, the glorious Staatskapelle Dresden conducted by Paul Schmitz.The booklet provides liner notes on composer and music, the libretto is available on

49 kr (89 kr)
Image Frescobaldi Edition, Vol. 10
Girolamo Frescobaldi was the most significant figure in Italian keyboard music before Scarlatti. He worked in the city of Ferrara in northern Italy, a hotbed of progressive influences, particularly in the fields of singing, instrumental performance and musical rhetoric. Frescobaldi was, therefore, ideally placed to absorb the influences of Flanders, Rome, Naples and nearby Venice and, influenced by advances in keyboard technology and performance techniques, developed his mastery of both organ and harpsichord.

Volume 10 in the Brilliant Classics Frescobaldi Edition is focused particularly on the 1608 Il Primo libro delle Fantasie a Quattro, composed when Frescobaldi was organist at St Peter's Basilica in Rome. It is dedicated to Francesco Borghese, brother of Pope Paul V, a shrewd move by the composer, and was his first keyboard work to be published. Strongly contrapuntal in nature, these fantasias are musically complex, constructed using several melodic themes and contrasting sections. The fantasies on this recording are interspersed with seven canzonas. The remaining canzonas can be heard on CD2 among the Canzoni alla Francese.

On this recording, Roberto Loreggian improvises briefly at the beginning of each canzona, following the custom of the time, using Frescobaldi's own toccatas as models. The canzonas date from 1615--45, and demonstrate the composer's style developing and maturing over this 30-year span, creating music of extraordinary imagination and technical inventiveness.

Other information:
- Recording made in 2010

- Excellent linernotes, written by a Frescobaldi scholar

- Other volumes in the Brilliant Classics Frescobaldi edition include Fiori Musicali - 3 Organ Masses (93781), Il primo Libro di Capricci (94020) and Il Primo Libro di Recercari (94049), also performed by Roberto Loreggian

49 kr (89 kr)
Image Triumphate Fideles
Francesca Cassinari, soprano
Elena Carzaniga, alto
Paolo Borgonovo, tenor
Salvo Vitale, bass

Astrarium Consort
Carlo Centemeri organ and conductor

First recordings by Giovanni Colonna (1637-1695), who was the Music Director of the famous church San Petronio in his native Bologna. He composed his Sacred Motets for liturgical use, on devotional texts in Latin.

This set presents the complete motets for solo voice and basso continuo, consisting of several movements, written for alternatively soprano, alto, tenor and bass. It is music of great beauty, expressing the emotional content of the text, from repentance to joy, from intimacy to exultation.

Excellent performances by 4 Italian soloists and the instrumental ensemble Astrarium Consort, led by Carlo Centemeri, who already successfully recorded for Brilliant Classics chamber music by Bassani and Albinoni. Centemeri wrote himself the scholarly liner notes.

Giovanni Paolo Colonna (1637-1695) was a native of Bologna and the music director of one of its major churches, dedicated to San Petronio, where he presided over a rich culture of sacred music distinguished by participation from names now far better known to us such as Torelli, Bononcini and Giovanni Gabrieli. This valuable set brings together for the first time on record all his surviving compositions in the form of the sacred motet which was so popular as an extra-liturgical contribution (perhaps performed as offertory or communion music) towards worship, featuring the skills of what must have been highly skilled singers as well as a rich continuo section.

Colonna's music has received relatively little attention on record until now, though Philippe Jaroussky concluded a 2009 album with the gorgeous O coeli devota, and there is one other, older recording of several other motets, as well as a larger-scale oratorio. So the time is now right to reassess his contribution and his own voice, with excellent new, historically informed performances led by Carlo Centemeri, who has already brought several rarities from the Italian Baroque to Brilliant Classics, including music by Albinoni and Bassani, which received 5 star reviews in Amadeus and Diapason.

These motets are multi-movement works, scarcely dwelling for long on any one emotion or text, even in the arias, but moving pacily though narratives of repentance, devotion and praise, and mostly concluding with exuberant Allelujas, much as Bach would fashion his Jauchzet Gott BWV51 for solo soprano in the Italian style a generation later. Anyone with even a passing interest in the Italian Baroque and its charming byways will want to hear this.

49 kr (89 kr)
Image Hamburg Symphonies
Kammerorchester Carl Philipp Emanuel Bach / Hartmut Haenchen

Although perhaps better known for his intricate keyboard works than his orchestral music, J.S. Bach's most prolific son was also a sympathetic composer for larger ensembles. As a young composer, C.P.E. Bach turned his hand to the symphony form once or twice, but it was not until his move from Berlin to Hamburg in 1768 that he began to develop these initial attempts into more substantial compositions.

In Hamburg Bach drew the attention of Baron Gottfried van Swieten, who commissioned two sets of symphonies from the composer: six for string orchestra (Wq182) and the four Orchestral Symphonies 'mit zwölf obligaten Stimmen' (Wq183). Accomplished though the string symphonies undoubtedly were, it was the second group that Bach was truly proud of; for the first time, the wind parts - as the name suggests - were intricately woven into the score rather than being a simple 'additional feature'. The texture of the music is noticeably more complex, and while Bach's earlier symphonies take their cue from his contemporary Johann Gottlieb Graun, these later ones are much bolder works that reveal the development of Bach's own unique style. Interesting features include the composer's tendency to through compose his first movements; his dancelike finales; and the fact that he often marks pairs of movements or even whole symphonies to be played straight through without a break, an unusual feature of the time.

Part of a series of C.P.E. Bach releases, this is the first volume to explore the composer's works for orchestra. The recording was made by the renowned Kammerorchester Carl Philipp Emanuel Bach in 1985-6 and directed by Hartmut Haenchen; experts in the composer's early Classical style, the ensemble performs on modern instruments while achieving much authenticity in terms of texture.

This release presents the 4 symphonies that Carl Philipp Emanuel Bach wrote during his stay in Hamburg. In these large-scale works the string section is extended with 2 flutes, 2 oboes, 2 horns and bassoon, instruments which are treated quasi solistically, so that one can almost speak of a Sinfonia Concertante.

The musical language is clearly "Sturm und Drang", full of vehement dynamics and changes of sentiment, the fingerprint of this most famous son of Johann Sebastian.

49 kr (89 kr)
Image Complete Songs

Monica Piccinini (soprano), Roberto Abbondanza (baritone), Alda Caiello (soprano), Elisabetta Pallucchi (mezzo soprano), Filippo Farinelli (piano)

The first Recording of the complete songs by Dallapiccola, one of the most influential composers of 20th century Italy. His political engagement and his experiments with the 12-tone technique established him firmly in the European Avant-Garde.

The main work on this double CD are the transcriptions he made of 17th and 18th century Italian songs, by Monteverdi, Caldara, Carissimi, Caccini, Durante, Stradella, Legrenzi and others. He wrote brilliantly dry and essential, making intelligent use of counterpoint and canon, with exquisite taste for vocal timbres and polyrhythm. In that sense they are far more "20th century" than similar transcriptions by other composers (Respighi, Busoni a.o.) who romanticised the original early works.

Also included are the two original song cycles by Dallapiccola: Rencesvals and Quattro Liriche di Antonio Machado, fascinating testimony of his unique style, both severe and warmly emotional. Beautifully performed by 4 excellent Italian singers who already recorded successfully the songs by Jolivet (BC9220) and Ravel (BC94743).

49 kr (89 kr)
Image Complete Music for Violin and Piano
Schubert's relatively small but high-quality output for violin and piano consists of the three Sonatinas, small scale works full of Viennese charm and genial atmosphere, the mature Sonata in A major, the robust Rondo in B minor and the absolute masterpiece in the genre, the great Fantasy in C major, a substantial and dramatic 4-movement work of unprecedented difficulty for both players.This 2CD set is a reissue of a classic recording from the VOX archives, featuring two great Hungarians, violinist György Pauk and piano Peter Frankl.

49 kr (89 kr)
Image Lieder
49 kr (89 kr)
Image Rhapsody in Blue
This release set presents the reissue of a Classic, the golden standard set by the St. Louis Symphony Orchestra conducted by Leonard Slatkin of orchestral music by George Gershwin.Included are the Rhapsody in Blue, An American in Paris, the Piano Concerto, Catfish Row, Cuban Overture and 'I got rhythm variations'.Slatkin and his St Louis forces play with infectious drive and brilliance, without overdoing the 'jazzy' character, a perfect symbiosis of classical and jazz. Pianist Jeffrey Siegel has the right stamina, bravura, wit and guts.Originally released on the legendary VOX label.

49 kr (89 kr)
Image Appunti, Preludes and Studies Op. 210
Enea Leone, guitar

Mario Castelnuovo-Tedesco (1895-1968) was an Italianborn, US naturalised composer whose greatest legacy to posterity was his guitar music, much of which is already well represented within the deep catalogue of Brilliant Classics, but not these volumes of Appunti: preludes and studies, neo-Baroque and neo-Classical in character, which derive from his work with the musicologist Ruggero Chiesa and were composed with the intention of expanding the repertoire for the instrument both forwards, into his own time, and backwards, to the era when the instrumental forebears to the guitar such as the lute and theorbo were such significant carriers of dance music.

Accordingly, he wrote sets of Danze del '600 e del '700, Danze dell'Ottocento and Danze del '900, but died before the full, intended four volume scope of these 'Notes' (Appunti) could be realised, and the first two volumes had to be published as they stand. This is the only currently available complete recording of the set. The contents range from an antique Galliard to uptempo Rumba and Samba: appealing proof of Castelnuovo-Tedesco's compositional skill across the widest range of style and idiom.

There was a hidden didactic aim behind the Appunti which becomes clearer when the pieces are assembled together, but their individual charms raise their status from that of technical exercises or studies.

Nowhere evident here are the composer's experiments with the avant-garde language of his time, but rather a compendium of the guitar's poetic and dance-like expressive potential across the ages. The soloist on this new recording is a pupil of Chiesa who, though not yet 40, has made an international career for himself as a concert guitarist, with several well received recordings to his name.

49 kr (89 kr)
Image Der Wildschütz
Reissue of one of the gems of the East Germany archive recordings of Berlin Classics: Der Wildschütz by Albert Lortzing.

Lortzing's operas were extremely popular in their time, due to their good humour and wit, the memorable tunes and the general romantic nature feeling.

A star studded cast of the best German voices of the time: Edith Mathis, Doris Soffel, Peter Schreier, Hans Sotin, Gottfried Hornik, and the magnificent Staatskapelle Berlin conducted by Bernhard Klee.

Libretto on the Brilliant Classics website, booklet contains liner notes and synopsis.

49 kr (89 kr)
Image Six Suites de Clavecin
French composer and harpsichordist Charles Dieupart spent much of his life in London, founding the opera season at the Queens Theatre in the Haymarket that was designed to rival that of Drury Lane. It was in London that he became especially famous for his performances of music by Corelli and was also held in high regard as a harpsichord teacher. However, Dieuparts most enduring legacy is his Six Suittes de clavessin, published in Amsterdam by Estienne Roger and dedicated to his former pupil the Countess of Sandwich, Elizabeth Wilmot. These suites were so renowned in Europe that they were heavily drawn on by J.S. Bach, influencing his English Suites and establishing a link between French 17th-century harpsichord music and the early German 18th-century keyboard style.In general, the works follow the standard order of a Baroque suite: only one, Suite No.2, replaces a Menuet with a Passepied, an unusual practice for the time. Although clearly French in character, the pieces also reveal Italian and even German influences. Tender and delicate in expression, they display some lively moments in the animated Gigues and Ouvertures, in the latter of which the composer strives to recreate the fullness of the orchestra with the solo instrument and capture the variety and richness of their operatic models. Dieupart reveals a penchant for beautifully cantabile melodies, sophisticated harmonies and most of all some highly elaborate ornamentation, skilfully interpreted here by Portuguese harpsichordist Fernando Miguel Jaloto.Jalotos playing is based heavily on research; having studied with renowned musician Jacques Ogg, he completed his Masters degree before going on to study for a PhD in Historical Musicology, which greatly informs his approach to performance. Before starting on Dieuparts music, he carefully consulted contemporary treatises, thereafter taking the decision to vary the ornamentation, fill out the harmonies and adjust the inner parts. Performing these suites in their harpsichord-only version (as opposed to the version with recorder, which is more frequently recorded), this is Jalotos first release with Brilliant Classics.

49 kr (89 kr)
Image Incantatie IV
Dutch minimalist icon Simeon ten Holt, who recently passed away at the age of 89, studied composition with, among others, Honegger and Milhaud. After exploring serialist techniques in the 1960s, he began to focus on more conventional styles of composition from the 70s onwards concentrating on tone and timbre in particular and it is from this period (between 1976 and 1998) in Ten Holts wideranging career that the Incantatie IV for three pianos dates. Widely famed for his Canto Ostinato, written in five layers, the composers Incantatie IV for three pianos stands out for its complexity and is made up of no less than 15 layers for multiple keyboards. Both pieces allow the performers to decide upon the final form of the music, but Incantatie IV leaves much more open; with timbre and pitch, style of play and tempo, number of voices or instruments, and the amount of repetitions all left to the players discretion, the length of the composition is undetermined and the piece effectively exists in a grey area between composed and improvised music. One of the artists featured on the recording, Jeroen van Veen, describes the sound world as if looking at the sea for a long time; the waves, the rays of sunshine and the air all influence the glittering and different colours of the sea. Jeroen van Veen is one of Brilliant Classics most prolific artists. Chairman of the Simeon ten Holt Foundation (dedicated to keeping Ten Holts fascinating music alive) and himself a successful minimalist composer, he is the perfect exponent of this repertoire, championing it on this, his fifth release of the composers music. In Incantatie IV for three pianos, Jeroen is joined by his wife and habitual collaborator, Sandra van Veen, as well as Tamara Rumiantsev herself no stranger to minimalist music, having featured on Brilliant Classics Minimal Piano Collection (BC 9171).

49 kr (89 kr)
Image Music for Organ and Harpsichord
Giovanni Maria Trabaci lived from 1575 till 1647. A highly prolific composer he left a vast oeuvre of vocal and instrumental music. Especially his works for keyboard are important: his bold, forward looking style, full of daring chromatisms and unexpected harmonic turns, have paved the way for Frescobaldi and others.Francesco Cera plays a selection of Ricercares, Canzonas and Capriccii on these 2 new CDs. Cera is the ideal advocate of this highly original music: he knows the style inside out, and has the right dramatic approach, using a magnificent harpsichord built by Roberto Livi, as well as the historic organ built in 1570, in the Church of SantAntonio, Salandra, Italy.The booklet contains interesting information on the instruments, liner notes and the artist biography.

49 kr (89 kr)
Image Music for Piano & Percussion
Although John Cage was trained in the European tradition, he was quick to forge his own unique style, rejecting the Western concept of music as a dramatic development from A to B and instead viewing it as a state of mind, changing but not heading towards a goal. The development of this approach is particularly apparent in his works for percussion - the focus of this CD - where the instrumental family's hitherto traditional role of simply supporting the phrasing and architecture is rejected, its primal energy instead harnessed and showcased as a source for new sounds. 'I do not deal in purposes; I deal in sounds,' wrote Cage of Sixteen Dances, the first piece on the album. It's an apt description for pretty much his entire musical oeuvre.

Sixteen Dances in fact form a pretty clear example of Cage's approach, whereby systematic sections of music underpin the work but are not necessarily played in the order given in the score. The execution of the performance is very much left to chance, therefore, although the work's clear structure, coupled with motivic variation and development throughout, ensure that there remains a dimension of deliberate intention - even if the music often sounds playful and without direction! Credo in Us is remarkable for the intrusion in 'artistic sound' of sounds from daily life - note the use of the radio and phonograph in order to cite works by Beethoven, Tchaikovsky or Shostakovich. Also featured is Third Construction, which also makes use of percussion instruments without pitch, thus stimulating the listener to focus on the sound, the rhythm in the sound and the new approach to form.

Performing these engaging, fascinating pieces are Ars Ludi, a variable percussion ensemble that uses its international concert activity to raise awareness of the need for more contemporary percussion repertoire. All of the works make use of the piano, and the group is joined by fellow Italian Giancarlo Simonacci for the recording.

49 kr (89 kr)
Image Barden-Klänge
In his day Caspar Joseph Mertz (b.1806) was one of the most sought-after musicians in Europe, the court guitarist of Empress Carolina Augusta whose performances (together with his wife Josephine Plantin on piano) became famous throughout Austria, Hungary and Germany. Today he is best remembered for the successful Barden-Klänge (Bardic Sounds), a cycle in which the guitar language of his time was enhanced to a stylistic expressiveness that parted sharply from contemporary works and which was more closely associated with the new, evocative aesthetics of the Romantic composers. The collection takes its title from the works of James Macpherson, the Scottish poet who in 1765 published the immensely successful The Works of Ossian - translations of ancient Celtic poems that deal with motifs quite widespread in Romantic culture, such as the exaltation of warrior and chivalrous virtues.

This release details 11 out of the 15 volumes of Barden-Klänge, the remaining ones either not original works by Mertz or arbitrarily inserted into a later edition. Often the titles contain evocative overtones, such as Elfenreigen (Round Dance of the Elves), but in any case it is the music that always calls to mind images and settings from Macpherson's poems, making good use of imitation throughout the collection. Performing these works is Italian guitarist Graziano Salvoni, who enjoys a busy schedule in his home country both as a soloist and with various chamber orchestras. He plays a Johann Anton Stauffer model - named after and made by one of the most important luthiers in central Europe, a contemporary of Mertz and whose instruments it is highly likely the composer-virtuoso himself regularly performed on.

49 kr (89 kr)
Image Il rè pastore

Johannette Zomer, Aminta
Francine van der Heyden, Elisa
Marcel Reijans, Agenore
Alexei Grigorev, Alessandro
Claudia Patacca, Tamiri
Michael Borgstede, harpsichord

Musica ad Rhenum
Jed Wentz, conductor

In addition to his mastery of instrumental and sacred works, Wolfgang Amadeus Mozart is one of the most celebrated operatic writers in music history. In Il rè pastore, a relatively early opera from the then nineteen-year-old composer, we see the beginnings of genius in a man who was later to become a true master of the genre.

Il rè pastore was commissioned in 1775 for the visit of Austria's Archduke Maximilian Franz to Salzburg. Written in just six weeks, the opera is based on a libretto by Pietro Metastasio in which Alexander the Great (Alessandro) discovers that young shepherd Aminta is the rightful heir to the throne, taking it upon himself to restore the boy to power. Regardless of the composer's youth, several moments in the opera show hints of the more mature Mozart, including the aria 'L'amerò sarò costante' in which rippling strings and lush orchestration are combined with a poignant, yearning vocal line. Another highlight is the glorious ensemble finale of Act II, a feature that would become a vital characteristic of Mozart's later operas.

Musica ad Rhenum has earned a special place in the early music world, with critics describing the ensemble's performances as 'cutting-edge' and 'exhilarating'. The group are joined by a fantastic set of vocal soloists, with Johanette Zomer assuming the role of Aminta and Alexei Gregoriev playing Alexander the Great.

49 kr (89 kr)
Image Clarinet Concertos
49 kr (89 kr)
Image Wozzeck
49 kr (89 kr)
Image Till Eulenspiegel
49 kr (89 kr)
Image Dances, Nocturnes and Etudes for Guitar
Here's another recording dedicated to the music of Caspar Joseph Mertz, the court guitarist of Empress Carolina Augusta whose performances became famous throughout Austria, Hungary and Germany during the 1800s, making him one of the most sought-after musicians in 19th-century Europe. Today he is best remembered for the successful Barden-Klänge (Bardic Sounds), the focus of 94773; here we have a chance to become acquainted with a great many other works he composed for six-string guitar.

A fertile melodic style prevails throughout, with the composer paying particular homage to the spirit of the Austrian people (VI Ländler), also evoking the spirit of Hungarian music in several works (including Verlands Blüthen - Originelle Ungarische). Dances abound, and the release also shows how Mertz devoted much of his career to educational studies, many of which are at least as interesting as his non-pedagogical works. (They include the short, original Übungsstücke from the Schule für die Gitarre - 15 short pieces that encompass an enthralling melodic style and which constitute a veritable cycle due to a clever matching of tones and styles.) With virtuosity never in short supply throughout the compilation, Italian guitarist Graziano Salvoni - who enjoys a busy schedule in his home country both as a soloist and with various chamber orchestras - delivers astute performances of these engaging works. He plays a Johann Anton Stauffer model - named after and made by one of the most important luthiers in central Europe, a contemporary of Mertz and whose instruments it is highly likely the composer-virtuoso himself regularly performed on.

49 kr (89 kr)
Image Leonore
Reissue of this near legendary recording of Beethoven's Leonore (the first version of what later became Fidelio).

This recording from 1977 was the first recording of this opera, and since then remains a benchmark.

The best singers of the time: Eberhard Büchner, Edda Moser, Edith Mathis, Theo Adam, Karl Ridderbusch, and the Staatskapelle Dresden conducted by Herbert Blomstedt.

Libretto available ? at

49 kr (89 kr)
Image Solo Piano Music
This set contains the piano music by one of the most innovating, open minded and controversial Dutch composers of today: Jacob Ter Veldhuis!Ter Veldhuis music is a fascinating fusion of minimal, jazz, classical and electronic music, mixed however in a highly personal melange. His works are performed regularly all over the world (he had a 3day personal festival in the Whitney Museum of America), and present the new musical forms in which the aural and visual blend into a kaleidoscopic art form, crossing borders between the traditional and experimental.Performed by Champion of Minimalism, Jeroen van Veen, and internationally renowned Ronald Brautigam who plays the Piano Concerto with the Netherlands Radio Chamber Philharmonic: conducted by Thierry Fischer.Includes features detailed notes on the music by the composer, as well as composer and artist biographies.

49 kr (89 kr)
Image Complete Music for Choir and Organ
49 kr (89 kr)
Image Musique de la Chamber du Roy Volume 3
Manuel Staropoli, recorders and Baroque flute
Lorenzo Cavasanti, recorders
Manuel Tomadin, harpsichord
Cristiano Contadin, viola da gamba
Massimo Marchese, theorbo

This is the third and final recording of the complete Musique de la Chambre du Roi by Robert de Visée. De Visée was a highly esteemed court composer, the chamber musician of Louis XIV the Sun King. He wrote several books of works for lute and theorbo, which on this recording are enriched by the inclusion of flute, viola da gamba and harpsichord. It is music of lush instrumental flourish, highly ornamented: typical French court music, full of grandeur and grace.

The previous two issues of De Visée by this ensemble received 5 star reviews in the international press. Its four members are Manuel Staropoli (flute), Massimo Marchese (theorbo), Cristiano Contadin (viola da gamba) and Manuel Tomadin (harpsichord), all seasoned early music players, each already with several Brilliant Classics CD's to their name.

Little is known of Robert de Visée (1655- 1733). Even his birth and death places and dates are uncertain. What we do know is that this fine collection of Suites was published in Paris in 1716. It is, for its time and place, typically stylish music, often with a melancholy tinge. This release of historically informed performances by Italian musicians completes their recording of the publication. 'As gorgeous Suite follows gorgeous Suite,' remarked MusicWeb's reviewer of Volume 2, 'it quickly becomes obvious that de Visée's music is strikingly original, despite its simplicity of means and structure. This is not dance music of a frivolous or frothy nature, but the work of an inspired mind, dignified and charged with emotional depth.'

The project to record the suites has been led by recorder player Manuel Staropoli, who plays an array of eight different instruments according to the tessitura and colour of the particular dance, accompanied by an authentically mixed continuo ensemble of theorbo, viola da gamba and harpsichord. The effect of the many different recorders is charmingly intimate and showcases de Visée's gift for a tune of simple beauty, delicately ornamented. One entire suite is performed on solo flute, such as we find more commonly in the work of Boismortier and de la Barre.

De Visée's suites for guitar (or lute or theorbo) have been recorded many times (including on 94435) but this set is much less well-known, yet musically no less satisfying.

49 kr (89 kr)
Image Idomeneo
49 kr (89 kr)
Image Complete Music for 2 Pianos
This 2CD set presents a complete survey of Bartók's music for two pianos. The works and arrangements here all stem from Bartók's special artistic collaboration with his wife, the pianist Dittá Pásztory. From 1938, the couple began giving regular public concerts together, and this led the composer to write his version for two pianos of the Suite Op.4, an arrangement of seven of the pieces from Mikrokosmos, and the much-loved Sonata for two pianos and percussion.

The works included here are testimony to Bartók's skilful and remarkably versatile approach to piano-writing. In the Suite Op.4b, for example, Bartók radically revised the original orchestral score of the Suite Op.4 (one of his earliest works, and one of the first to bring to fruition the musical ideas that he explored after researching Hungarian music's rich folk heritage) to create a work that is so idiomatically pianistic that one would never guess it had originally been written for orchestra. By contrast, the transcription of the brilliantly colourful ballet score The Miraculous Mandarin brings the dramatic orchestration of this controversial work to life. The pieces from Mikrokosmos were originally studies for solo piano; in the two-piano arrangement Bartók transforms them into veritable virtuoso showpieces. The Sonata for two pianos and percussion is one of Bartók's most famous works and its striking rhythmic experimentation and consummate assimilation of folk influences mark the culmination of the composer's mature style. Bartók's complete works for two pianos are complemented here by György Ligeti's Three Pieces for two pianos; Ligeti was greatly influenced by Bartók's legacy and went on to become one of the most important Hungarian composers of the twentieth century.

These challenging works are performed by acclaimed pianists Matteo Fossi and Marco Gaggini, who formed a piano duo while studying together in Florence in 2004. Their pioneering 'Two Pianos Project' aims to extend the scope of the piano far beyond the confines of its traditional repertoire and has given rise to many warmly received recordings.

49 kr (89 kr)
Image Complete Music for Violin and Piano
Karol Szymanowski (1882-1937) was one of Poland's most important and original composers.Szymanowski's style is eclectic, standing in the long romantic tradition he imbued his works with exoticisms, impressionistic flourishes and a general sense of freedom and imagination.The works for violin and piano were created for the famous Polish violinist Paul Kochanski. The most important works are the substantial Second Violin Sonata and the cycle Myths, both appearing regularly on concert programmes nowadays.Beautiful performances, with a keen sense for colour and atmosphere, by Bruno Monteiro, one of Portugal's foremost violinists, and pianist João Paulo Santos.

49 kr (89 kr)
Image Music for Cello
49 kr (89 kr)
Image Diabelli Variations
In 1819 composer and publisher Anton Diabelli got the idea to invite composers from the entire Austro-Hungarian Empire to compose variations on a waltz by his own hand. This was meant to be a monument of the musical art of his time, and a money maker for his publishing house. 51 composers answered to his request, and sent their variations, among whom celebrities like Liszt, Schubert, Hummel, Kalkbrenner, Moscheles. The most famous composer of the time, Ludwig van Beethoven, first rejected the idea in scorn, later however wrote his immense Opus 120, comprising no less than 33 variations on the theme, thus outpassing his "competitors" by an immeasurable degree in both invention and profundity.This original concept contains all variations by the 51 composers of the waltz variations: many names have passed into total oblivion, but the concept is fascinating in its scope and insight.Played with total dedication, brilliance and wit by Italian pianist Pier Paolo Vicenzi, who already made a highly successful recording for Brilliant Classics of the complete piano music by Wagner (BC94450).

49 kr (89 kr)
Image Judith
Alexander Serov (1821-71) is a name unfamiliar to all but the most dedicated Russian classical music officianados. Apart from the 'Mighty Handful' -- Balakirev, Borodin, Cui, Mussorgsky and Rimsky-Korsakov from St Petersburg, and Tchaikovsky in Moscow, several composers can lay claim to inheriting Russian romantic tradition as established by Glinka. Composers such as Dargomisky, L'vov and Serov in particular.
Serov, like Rimsky (Navy), and Borodin (Chemist) did not start out to be a composer . He was a civil servant, and studied music via lessons he received from Josef Hunke via the post! His opera Judith was an instant success, counting the young Tchaikovsky among its fans. His second opera Rogneda gained the composer a royal pension. Sadly his creative powers degenerated after these two works, and a string of tantalising but unfinished projects followed. He died aged 51 of heart failure.
His two complete operas exerted their influence over Tchaikovsky, Mussorgsky, Anton Rubinstein and the young Glazunov.
His music shows his appreciation of Wagner's leitmotifs (though he lacked the experience to use such a technique effectively), and the form of operas by Verdi and Meyerbeer.

Other information:
- Unusual repertoire
- Recording made in 1991: this remains the only recording available.
- An important work in the development of Russian opera written in the 1860-ties in a true romantic dramatic style foreboding the operas of Mussorgsky and Tchaikovsky.
- All Russian cast supported by the great Bolshoi Theatre Orchestra.
- A veritable find for opera lovers and connoiseurs.

49 kr (89 kr)
Image Complete Apparatus Musico-Organisticus
49 kr (89 kr)
Image Hunyadi László
The first issue in a series of new recordings for Brilliant Classics from the world famous Budapest National Opera, Hungarian operas in Hungarian.

Ferenc Erkel was one of the foremost romantic composers of Hungary, one might be tempted to call him the Hungarian Verdi. His operas were based on the rich, long and troublesome history of his home country, and are the first to be written in Hungarian. The plot centres around the hero Hunyadi László in his fight against to ruling Ottomans in the 13th century.

Excellent performances by Hungarian forces, the crème of the Budapest National Opera, with its long and famous tradition, in which also Gustav Mahler played his role (he was director of the Budapest Opera for several years).

Booklet contains detailed notes on the music and plot synopsis, libretto in original language downloadable from the Brilliant Classics website.

49 kr (89 kr)
Image Entartete Musik
This set brings together the complete works for saxophone and piano, by composers who were judged by the Nazi regime in the thirties as entartet (degenerated). Their common stylistics (as if there are such qualities as to be called degenerated..) include a tendency to modernism and escape from traditional (preferably teutonic) musical language, an openness for other musical forms and styles, such as jazz and AfroAmerican influences, and lastbut notleast a Jewish origin. The saxophone was the Nazis worst enemy,harboring all degenerated qualities in one.The composers included are Erwin Schulhoff (his famous Hot Sonata, the most frequently performed saxophone sonata of the 20th century), Hindemith, Dessau, Dressel, Jacoby, Gál and the notorious Herr von Knorr.A fascinating panorama of an era of buoyant creativity, brutally suppressed by a totalitarian regime.Vibrant and intense performances by two excellent musicians, David Brutti and Filippo Farinelli, who already recorded a fantastic set for Brilliant Classics of Saxophone works by Charles Koechlin (BC 9266).

49 kr (89 kr)
Image Damnation de Faust, La
Denés Gulyás (Faust), Maria Ewing (Marguerite), Robert Lloyd (Méphistophélès), Manfred Volz (Brander).

Radio-Sinfonie Orchester Frankfurt
Kölner Rundfunkchor
Südfunk-Chor Stuttgart
Chor des NDR Hamburg
Eliahu Inbal, conductor

Although little appreciated in his native France for many years, Hector Berlioz now safely resides among the giants of the 19th century's musical scene. The composer's vocal output is extensive and includes several operatic works; written during 1845--46, La Damnation de Faust forms the subject of this engaging 2CD release.

The work grew out of Berlioz's encounter with Goethe, one of the great influences -- together with Shakespeare -- on the composer's creativity. A hybrid composition which employs just four principal singers and a chorus, as befits a 'concert' setting, La Damnation de Faust is too theatrical to work in this guise -- and, alas, too impractical to be staged successfully. Nevertheless it remains an intensely dramatic piece: listen out for the violent orchestral outpourings of the Hungarian March as well as the 'Ride to Hell', which leads to a terrible vision of Pandemonium. Residing among the composer's most intense and thrilling music, the work features many ballet episodes and includes Marguerite's song -- one of the greatest French operatic scenes. 'Inbal has a fine ear for Berlioz's orchestration, matched by sensitive recording, so that time and again details spring into dramatic life...a distinctive and intelligent performance... No lover of the work should miss hearing it.' Gramophone, July 1991

49 kr (89 kr)
Image Complete Music For Clarinet
This release presents the complete music for clarinet and piano by Ferruccio Busoni. The works span Busoni's whole creative life, from the classical forms of his youth to the highly chromatic and expressionist language of his mature age.

Ferruccio Busoni went into history as one of the greatest pianists who ever lived, and as the composer of an extraordinary and eclectic oeuvre, consisting of piano works, chamber music, a monumental piano concerto and operas. His father Ferdinando Busoni was a famous clarinettist, so no wonder this instrument had a special attraction for Ferruccio.

As a bonus two works by his father Ferdinando are included in the programme, a Melodia and a Rêverie, exquisite genre pieces of the late 19th century.

Italian clarinettist Davide Bandieri is a versatile musician and scholar, he plays solo clarinet in the Lausanne Chamber Orchestra, is an avid chamber music player and is specialised in contemporary music. He wrote the extensive liner notes for this set himself.

49 kr (89 kr)
Image Leipziger Choräle
Manuel Tomadin organ

The C minor Passacaglia and Fugue is one of the great masterpieces for the instrument and one which inspired countless responses from composers great and lesser. So it's all the more astonishing to think that Bach wrote it while still a twenty-something hireling in Weimar, where his Kapellmeistership to the Duke ended badly with the composer being clapped in irons for touting his availability for other jobs, frustrated as his ambition was by the restrictions of the position. He had, however, managed to overhaul the organ of the court chapel in 1712-13, by collaborating with an organ-builder friend by the name of Trebs; both men had had plenty of experience upgrading instruments elsewhere, and it showed both in the colourful specification of the new instrument and the music that Bach was thereby able to write for it - none more spectacular than the spectrum of registers which the successive variations of the Passacaglia seem to cry out for. Bach also wrote plenty of 'bread and butter' chorales while in Weimar, of course, and later elaborated them, as was his wont, in Leipzig; here's a rare chance to hear the original versions.

Manuel Tomadin is Young ECHO Organist of the Year 2012, having won the ninth Internationaal Schnitger Orgelconcours during the Orgelfestival Holland in June 2011 in Alkmaar. He was born in 1977 but has already made recordings on various instruments of historical importance; he enjoys a high reputation among the organ fraternity.

49 kr (69 kr)
Image Schübler Chorales, Preludes and Fugues for Organ
Matteo Messori, organ

J.S. Bach is widely regarded as the father of the Baroque period. A master of vocal, keyboard, orchestral and chamber repertoire, he is one of music's greatest legends -- a man whose works, which were truly revolutionary for their time, continue to inspire generations of composers.

Bach's virtuoso skill as an organist was world renowned, and he was particularly celebrated for his use of registration. Spanning 2 CDs, this compilation is dedicated to some of his best-known Preludes and Fugues, and also features the celebrated Schübler Chorales. While the former works betray the composer's unparalleled ability to give distinctive qualities to each of the fugal voices, the latter collection -- compiled by the publisher Johann Georg Schübler in 1748 -- is largely made up of chorales based on melodies from Bach's cantatas, and was intended for concert performance. The celebrated Fantasia and Fugue in C minor BWV357 and Toccata and Fugue in D minor BWV538, which Bach himself is said to have held in high esteem, complete the line-up.

One of Europe's leading organists, Matteo Messori has recorded widely for Brilliant Classics. Here he combines energy with artistic flair to deliver consummate readings of these engaging works: a must-buy for the keyboard and Baroque connoisseur.

Recorded in June 2011.

49 kr (89 kr)
Image Les Nations
Jed Wentz, conductor
Musica ad Rhenum

Couperin may have been a contemporary of J.S. Bach, but his life stands in marked contrast to that of the great German. A court composer who worked at the fashion capital of the 18th century, Versailles, he was known as a trendsetter -- the author of a stylish and refined style where virtuosity and good taste worked in happy coexistence.

This is nowhere better exemplified than in his Les Nations, four trio pieces consisting of a sonata followed by a suite. While three of the Italianate sonatas were composed long before their publication date (1726), Couperin rejects his cultivation of Les Goûts-réünis -- a fusion of the two most important styles of that period, French and Italian -- for the dances. Here, instead, he opts for an overtly French idiom, one where expression and form are one and the same.

Performing Les Nations are the acclaimed early music group Musica ad Rhenum, an ensemble which aims to move, amuse and delight audiences through blending an informed historical perspective with a lively artistic spirit. Using contemporary instrumentation as well as metronome indications and marked freedom of tempo -- typical traits of the French style at that time -- Jed Wentz directs some highly charged performances.

Historically informed recording made in 2004.

49 kr (89 kr)
Image Works For Harpsichord
Father (Antoine 1679-1745) and son Jean-Baptiste (1699-1782) Forqueray had the sort of relationship that would not be out of place in a present day TV soap. They loathed each other. The father's jealousy of his son's great musical talent (Antoine was a famous virtuoso viol player) led him to have Jean-Baptiste jailed in trumped up charges of womanising and theft. And he was banished from the kingdom for 10years on pain of death. A petition from influential friends and his pupils got him released and pardoned in 1726.

In 1747 Jean-Baptiste by then the outstanding viol player of his generation published a collection 'Pieces de viole composees par M. Forqueray le pere' although the content attributable to his father is probably negligable. At the same time he published a set of transcriptions for keyboard of the same works -- a shrewd business decision. The transcriptions are extraordinary with highly virtuosic writing, including the crossing of hands in La Clement in the 4th Suite. One reason for the lavishness of the transcription could be that Jean-Baptiste had recently married the very attractive Marie-Rose Dubois who also happened to be one of the most brilliant harpsichordists the time. One can only wonder what part she played in the transcriptions.

49 kr (89 kr)
Image Italian Arias
Alessandro Stradella composed in nearly every genre - sacred and secular, and is credited with composing the first instrumental concerto grosso, and many of his operas have accompanied recitatives. Two of them also contain the earliest mad scenes. It is perhaps in his vocal works that we can hear how innovative this composer was -- Stradella posessed a rare feel and insight on the texts he set. Combined with his total mastery of counterpoint which produced extraordinary interplay between vocal and instrumental parts, he stands out among his contemporaries as a literary and musical dramatist of the highest order.

The themes of the arias all concern love in its various guises -- adoration, tenderness, mad passion, longing, praising beauty and physical attributes, its harshness and fickle nature, the darker side of love that leads to jealousy, rage and spite, and finally to love's dissolution.... with perhaps a return to its embrace one day.

Although the music is over 300 years old, and the names of the poets unknown, Stradella's music speaks to us in a thoroughly modern way. This is music of emotional depth that sounds as fresh today as it did in the late 17th century.

49 kr (89 kr)
Image The Tsar's Bride
Rimsky-Korsakov's tenth opera, The Tsar's Bride moves away from the fairytale tableaux-style of opera in which he had triumphed. This is a grand narrative in the Verdian style. That said, the musical language is unmistakably Russian, with a motif (Slava) running like a thread throughout the score. This motto can also be heard in Boris Godunov, Beethoven's second 'Razumovsky' Quartet, and Tchaikovsky's Mazeppa. The score also displays Rimsky's mastery of contrapuntal techniques, and of course his extraordinary use of the orchestra combine to produce a ravishing sound.
The opera, although successful in the early years of the 20th century, and throughout the early Soviet period, fell into neglect by mid-century as did most of his stage work. Galina Vishnevskaya, the great Russian soprano did much to restore the fortunes of this masterpiece with her searing interpretations of poor deranged Marfa (the wife of Ivan the Terrible). After noticing a mad woman on the streets of Leningrad after the siege, she wrote 'I was deeply affected by her intensity and the despair of her introverted gaze. It was as if she were trying to recall something, straining to make out, in the depths of a bottomless chasm, something known to her alone.'

Other information:
- Recording made in 1992
- A 100% Russian feast An all-Russian cast in this very Russian opera of Rimsky-Korsakov, one of the finest Russian opera composers (and still a bit neglected in this field).
- A must for opera fans and everybody with a taste for dramatic, highly romantic and athmospheric music with more then a touch of couleur locale.
- Very few CD competitors in this repertoire, and certainly not in this price range
- 'The aria is tenderly sung by Ekaterina Kudriavchenko, who handles with great sensitivity this portrayal of a figure familiar from many Russian novels and operas, the suffering heroine. Lyubasha is potently sung by Nina Terentieva, somewhat in the charged manner of another Marfa, that of Mussorgsky's Khovanshchina. She suggests banked fires of passion, sings her unaccompanied song caressingly, and rounds with both dignity and rage on the slimy Bomelius (Vladimir Kudriashov) even as she consents to his advances for the sake of his potions, snarling at him the word "nemets": translated by the libretto as "monster". Gryaznoy's opening aria is also a difficult one, for Rimsky gives him a melodic line that presents him as a character of some sympathy, if we do not know that he is regretting that he is now getting too old for the rapes he used to enjoy so much and is casting his eyes on the innocent Marfa instead of his mistress Lyubasha. Vladislav Verestnikov rightly handles this with a kind of blunt strength that does not give away too much. Later, he suggests an increasing and destructive tension, while also a certain magnificence. Gramophone April 1993

49 kr (89 kr)
Image Clavier Übung III
Shortly after its release, Matteo Messori was awarded a Diaposon d'or for this recording!

'Third part of the Clavierubung consisting of various preludes on the catechism and other hymns for organ: For lovers and especially for connoisseurs of suchlike works, to refresh their spirits, provided by Johann Sebastian Bach, Royal Polish Court Composer and to the Elector of Saxony, and to the Director Chori Musici in Leipzig. Published by the author'

The 3rd book of the Clavierubung was the first collection of organ music published by Bach, and is his largest collection of works for the organ. The 1st part of the Clavierubung appeared in 1731 and consisted of the Partitas BWV 825-830 (published as his Opus1), and was followed by t6he 2nd part in 1735 which included such well know works as the Concerto in the Italian Style and the French Overtures BWV 831 and 971. Parts 1&2 are for harpsichord, the latter for an instrument with 2 keyboards. The 3rd part calls for an instrument with 3 keyboards (i.e the organ pedals), and requires an organist of considerable ability to perform its works. It is interesting that the inscription refers specifically to connoisseurs, a reference to the greater ability required from the performer.

The work has been likened to a German Organ Mass, and although it does contain a Kyrie and Gloria, but there is no Agnus Dei. There is a lot more music than would be required for an organ mass. In fact the collection can be divided in to 3 parts -- a Missa brevis (Kyrie and German Gloria) which form a Lutheran Mass -- there are 9 arrangements of these settings. Second there is a group of 12 arrangements of Catechism songs. The 3rd section moves away from the church and into more domestic music. The Four Duets can be played on either the harpsichord or organ, and this suggests their suitability for domestic music making.

This is Bach's magnum opus for organ.

49 kr (89 kr)
Image Complete Vocal Music
Hailed in his time as Spain's greatest living composer, Joan Baptista Cabanilles is today considered by many to be the greatest of all Spanish Baroque composers, one whose wealth of ideas, mastery of counterpoint and command of form represent the climax of the Iberian tradition of organ music that stretched as far back as Cabezón. That Cabanilles was held in high esteem by his contemporaries is shown by his music's wide distribution in manuscripts. Though the vast majority is for keyboard, there do exist some 10 sacred choral works - precious remnants of what must have been a much larger repertory, probably conceived for the cathedral of Valencia in which the composer spent most of his working life.

All of the works are assembled on this charming release, recorded by the chamber choir and musicological society Amystis, and a significant addition the Spanish Baroque discography that follows the completion of the critical edition by José Duce Chenoll of Cabanilles' entire vocal music output. Chenoll, who directs and provides the intonation, postulates in the liner notes that not all of the compositions - which include a Mass and Magnificat as well as works honouring the Blessed Sacrament - were performed in Cabanilles' lifetime, given that many are written on sketch paper (and possibly, too, in the composer's hand), but this should not detract from their masterful quality. Revealing the composer's great expertise in the use of musical rhetoric as well as his concern regarding varied rhythmic and harmonic effects, they are performed with aplomb by an ensemble that have made it their special task to research and promote, always via novel means, unpublished repertoire from the late 16th to early 18th centuries.

49 kr (89 kr)
Image Cantatas
49 kr (89 kr)
Image Dido and Aeneas - Galliard: Pan and Syrinx
49 kr (89 kr)
Image Weisse Rose
Grazyna Szklarecka, soprano
Frank Schiller, tenor
Musica Viva Ensemble Dresden

Telling the tragic true tale of brother and sister Hans and Sophie Scholl, Weisse Rose, with its stark storytelling and pared down orchestration, takes us back to Nazi Germany and to the prison cells of the doomed siblings hours before their execution. Condemned by the Nazis to die for leading a non-violent resistance group, Hans and Sophie reflect on their actions together in the tense and claustrophobic atmosphere of the jail. The opera takes place in real time, allowing the listener to become completely absorbed in the action. While the appalling outcome of the siblings' fate is set in stone from the beginning, there are still marked elements of hope and faith in humanity, something that shines through right to the bitter end.

Udo Zimmermann spent three careful years working on the score. With a reduced ensemble of just 16 players, the music is expertly crafted to bring out diverse orchestral textures from the performers. Zimmermann himself is heard here conducting the work with the Musica Viva Ensemble Dresden, who offer superb support to the young soloists.

Udo Zimmermann's opera Weisse Rose is one of the most powerful and moving dramatic works of the 20th century. It features a brother and sister waiting their execution under Nazi prosecution, a bitter and poignant message of human courage and life force against brutal power and nihilism.

The scoring of two vocal soloists and 16 instrumentalists provides an extreme range of expression, from the wild dissonances and weird effects depicting the evil, and the elegiac moods of soul searching humanity and resignation.

An authoritative performance from 1986, conducted by the composer himself, with the two highly impressive vocal soloists Grazyna Szklarecka and Frank Schiller.

39 kr (69 kr)
Image Musica Sacra
Italian composer Giovanni Albini takes a highly modern approach to Western musical traditions by organising his beautifully structured music through precise mathematical patterns. Described by Panorama as one of the most interesting composers in the contemporary scene, his musical language explores what might be defined as a harmonic continuum, where suspended triads, simple voice leading and diatonic scales form the foundation of his unique compositions. Concert works are just one facet of his oeuvre, which also takes in television, video games and multimedia installations.This new release showcases four works from Albinis sacred oeuvre, including his Pange lingua, full of powerful energy and drama, and the Missa Prima, performed for the first time at the reopening of the 15thcentury Pavia Cathedral in 2012 after almost 30 years of restoration. The other two works on the disc, Testamento Spirituale for wind quartet and Preghiera for recorder trio, give the voice a different role, with the instrumental music of the former originating from the a text by Father Christian de Cherge, and the voice no longer present in the latter described in the liner notes as more of a hidden memory.Seasoned performers of 20thcentury repertoire, the Choir of the Faculty of Musicology Cremona gives dedicated performances of Albinis music in this collection under the baton of Ingrid Pustijanac, with excellent instrumental support from musicians of the 15.19 ensemble and Il Giardino delle Muse.

39 kr (69 kr)
Image Songs
39 kr (69 kr)
Image Songs for Sopranos and Guitar
Romantic Songs for soprano and guitar from Italy None of the 'Italian Orpheus' Girolamo Crescentini (1762-1846) nor the well-known Italian guitarist Mauro Giuliani (1781-1829) who composed operas, but their sentimental songs reveal a wealth of intimate, delicate to be designed bel canto vocal lines. This CD of Russian soprano Veronica Amarres summarizes "Arietta" by Pietro Metastasio texts of Crescentini and Giuliani combined. The accompanying them Italian guitarist Sandro Volta plays on two historic instruments: a built in Bologna in 1810 by Filippo Guarmandi guitar and a 1826 in London built by Louis Panormo instrument.

39 kr (69 kr)
Image 17th Century Funeral Music
Schütz-Akademie / Howard Arman

The death of a nobleman in 17th-century Germany was an event that warranted the highest level of attention. When Prince Heinrich der Jüngere died in 1635, celebrated composer and organist Heinrich Schütz was entrusted with composing the music to accompany religious texts personally selected by the devout prince the year before. This rather macabre set of instructions resulted in some of the composer's most beautiful and haunting music, the Musikalische Exequien, and Schütz even structured the composition around the textual design of the prince's coffin, which was to be decorated with biblical verse. Taking the form of a Germanlanguage Kyrie and Gloria, the words 'Christe eleison' - the very heart of the composition's text, representing Christ's resurrection - not only represent the symbolic point at which the lid and case of the prince's coffin joined, but also the climax of Schütz's music. The more joyful aspects of the prince's passing were also celebrated by the innovative composer, who positioned a separate small choir 'in die Ferne geordnet' - 'set up in the distance' - to represent heavenly angels welcoming the prince's soul to paradise.

Also sung at the service were a number of chorales, and those of Michael Praetorius, typical of the time, could well have been among them. Included on this release too is music by Johann Hermann Schein, a friend of Schütz and a gifted composer in his own right. Schein had composed Threnus on the death of Dorothea Maria of Saxony in 1617. In 1630, when Schein himself lay dying, he asked Schütz to compose a burial motet in his honour: 'Das ist je gewißlich wahr', a work that beautifully complements the other motets on this release. Demantius, the last composer to be featured here, was no stranger to death, outliving almost all of his children, a hardship which perhaps inspired his two Threnodiae. Death was certainly never far away in 17thcentury Germany, and the losses, whether of an admired patron or far more personal, certainly inspired some of the most touching and eloquent music of the period. The works are performed by the Schütz-Akademie, an ensemble that was founded in 1991 with the support of the Heinrich Schütz Haus in Bad-Köstritz, leading their performances to be extensively grounded in historical research.

39 kr (69 kr)
Image Flavours - Music for Cello and Piano
Amber Docters van Leeuwen, cello
Taisiya Pushkar, piano

This compilation provides a showcase of the many aspects of the cello and the range of emotions and characters that the instrument is able to convey. Opening the collection is Debussy's technically demanding Sonata in D minor, a staple of the cello repertoire. The whimsical motives, repetitive tones and scales of this work give way to the ingenious combination of atonality and Romantic lyricism of Schnittke's Sonata No.1, which is followed by Beethoven's visionary Sonata No.5 in D, a homage to J.S. Bach. This is in turn succeeded by Van Breen's Flavours, written in 2011. A playful piece that combines many styles, it is written with the five base flavours in mind.

Having studied at the Royal Conservatory of the Hague in her native country, Amber Docters van Leeuwen moved to New York where she continued her studies at Stony Brook University and the Manhattan School of Music. A recipient of several major awards, including the National Cello Competition's first prize in Amsterdam and the Samuel Mayes Memorial Cello Award, Amber is famed for her varied concert programmes in which she combines music from all eras, contrasting established classics of the cello repertoire with contemporary works. Joining her on the disc is her longstanding musical partner Taisiya Pushkar, a dynamic pianist and former winner of the Oberlin Concerto Competition.

Recorded in 2011.

39 kr (69 kr)
Image Quartets for guitar, flute and strings
Ferdinand Rebay (1880-1953) is absent from most musical dictionaries, yet was active at one of the most fascinating periods of European music and taught by one of the most respected musicians of the time - Robert Fuchs, at the Vienna Conservatoire. Fuchs was both a composer and a pedagogue, and among his esteemed pupils were Mahler,Wolf, Sibelius, Zemlinsky and Schreker. Fuchs considered Rebay to be one of his best pupils, although the young composer found it impossible to flourish within the environment of the Second Viennese School and continued to work within the late Romantic idiom. Rebay turned to the guitar due to the influence of his friend Jacobus Ortner, Professor of Guitar at the conservatoire. Aware that the neglect of guitar repertoire for over half a century had led to a decline in the quality of writing for the instrument, Rebay set out to write complex, serious music that continued in the tradition of Giuliani and Sor, who had been composing in the early 1800s. Also influenced by Schubert's Lieder with guitar, Rebay experimented with song before creating the large-scale works heard on this CD. These compositions exemplify Rebay's compositional style and principles: the music is innovative and challenging, and the guitar is a fully integrated member of the chamber ensemble, rather than a soloist accompanied by the other instruments. The neglect of Rebay's music since his death is due far more to historical circumstances than its quality - he was prevented from working in Nazi Germany due to his attempts to protect his Jewish wife, and his music subsequently fell into obscurity. This new CD is a rare opportunity to hear the work of one of the most exciting rediscoveries in guitar music, played by expert performers.

39 kr (69 kr)
Image Alchemies
39 kr (69 kr)
Image La Ronde des Lutins
Antonio Bazzini's life spanned the greater part of the 19th century. In his early years he was a celebrated violin virtuoso, comparable with Paganini. His compositions from this time were vehicles to show off his incredible technical skills. His most famous work "Le Ronde des Lutins" (Dance of the Goblins) is still a popular encore for violinists.Bazzini's later work, composed when he retired from the concert platform and became a teacher (among his many pupils count Puccini and Catalani!) and composer, he wrote works in a more classical vein, like the substantial Violin Sonata featuring on this new recording.A delightful CD, played with panache and sensitivity by one of the most notable Italian violinists, Luca Fanfoni.

39 kr (69 kr)
Image Abendmusik - Cantatas for Solo Bass
Mauro Borgioni, baritone
Accademia Hermans / Fabio Ciofini, organ and concertmaster

In the last few years there has been an increasing focus on record and in scholarship on sacred music composed for the Lutheran tradition in the generations before J.S. Bach, and this disc shows a fine variety of accomplished voices. There is Bach's second cousin, Johann Christoph, whom JS acknowledged as 'a profound composer' whose Wie bist du den, O Gott is a five movement lament of arioso writing exploring the expressive regions of guilt and grief that would later be so characteristic of the younger man's sacred language.

Then there are other names now reasonably well known to us - Tunder, Bruhns and Rosenmüller principal among them - who were active in North German cities as Kapellmeisters and composers. Interspersed with them are a trio sonata by Krieger and, to momentarily lift the mood, an instrumental Paduana by the now little known Johann Schop, The disc concludes with one of the few extant works by the Hamburg-based musician Matthias Weckmann.

The overall mood is solemn as one might expect from the composers' use of the bass as a voice of authority and profundity, but elevated by their mastery of expressive dissonance to paint graphic equivalents in music of the emotions implied by the anonymous sacred texts. Each piece has the merit of brevity as well as direct emotional appeal to the listener.

These forces have previously recorded a disc of cantatas by Agostino Steffani, the composer made famous by Cecilia Bartoli's recordings. The bass soloist Mauro Borgioni specialises in early music, having worked with luminaries of the historically-informed performance scene such as Rinaldo Alessandrini and Claudio Cavina.

In late 17th century Germany the Abendmusik (Evening music) was a social evening gathering of citizens in the church, accompanied first by an organ recital, later developing into more substantial sacred concerts, focusing on the genre of the Cantata for solo bass and ensemble, the severe and evocative timbre of the bass being a perfect expression of Lutheran doctrine.

This new recording features Bass cantatas by Johann Christoph Bach, Tunder, Rosenmüller, Bruhns and Weckmann, with instrumental interludes of sonatas by Krieger and Schop.

The impressive and sonorous bass of Mauro Borgioni is accompanied by the Accademia Hermans, an Italian Early Music group, led by Fabio Ciofini, featuring violin, viola da gamba, cello, theorbo and organ.

Excellent liner notes are included in the booklet, as well as the full specifications of the historical Hermans organ of 1678.

39 kr (69 kr)
Image Music for the House of a Gentleman
The programme of this CD conjures up the salon of a sixteenth-century Italian mansion, in which the master of the house is entertaining his guests to the "gentle" (that is noble, gracious,courteous) art of music making. Music was an important part of social life of the gentry, and musicians were often employed by the nobility. The programme consists of an alternation of instrumental and vocal music, by composers like Lasso, Arcadelt, Ortiz, Spinacino, da Milano, and others. The instruments used are baroque violin, lyra da braccio, harp, lute, recorder and harpsichord.A fascinating concept recording by baroque violinist Valerio Losito, who already recorded several successful CDs for Brilliant Classics (Veracini, Tessarini, Domenico Scarlatti, music for viola d'amore solo). Soprano Lucia Sciannimanico sings the vocal parts, a beautiful and warm voice, specialised in the Renaissance and Baroque repertoire.

39 kr (69 kr)
Image Norwegian Memories
This CD brings together three works for guitar and strings which are inspired by the majestic landscape of Norway, its fjords, mountains, springs and woods, the silence and mystique.Italian guitarist and composer Giorgio Mirto wrote his Concerto Norwegian Memories on the basis of old legends and fairy tales. The 'Viking Concerto' by Norwegian composer Gisle Krogseth is a 20th century pendant of Peer Gynt, its three movements named 'Returning from Abroad', 'Night in the Woods' and 'A Feast, a Fight and a Funeral'.Played with great intensity by the master himself, Giorgio Mirto, accompanied by the Florence String Ensemble.World Premiere recordings!

39 kr (69 kr)
Image String Quartets Vol. 4
This 4th instalment of the complete String Quartets by Schubert presents one of the most famous string quartets ever written: the Quartet in D minor "Der Tod und das Mädchen" (Death and the Maiden), one of Schubert's grimmest and most powerful works, Beethovenian in structure and scope, Schubertian in passion and poetry.The Schubert cycle by the German Quartet Diogenes Quartet is highly regarded, critics praise their superb unity of ensemble and style, their impeccable intonation and their fiery and passionate music making. As complement to the D minor Quartet we hear the youthful D major quartet D74. Excellent liner notes written by the producer Christian Starke.

39 kr (69 kr)
Image 12 Sonatas for Organ
Ignazio Cirri lived the best part of the 18th century, a Maestro di Cappella of the Forli Cathedral in Italy. He wrote a large amount of liturgical music, but only two works were published, Violin Sonatas op.2, and the present Organ Sonatas op.1.Cirri's sonatas are in pre?classical style, and with their two movements form a bridge between the single?movement sonatas by Scarlatti and Paradisi and the Viennese sonatas by Haydn and Mozart with their 3 movements. The writing is elegant and refined, and displays an excellent command of counterpoint.Massimo Gabba, one of the most notable young organists of Italy, plays a magnificent Grisante organ of the Parish Church of San Bononio in Pozzengo, originating from the early 18th century. All its specifications and photo are included in the booklet, which is written in English and Italian.

39 kr (69 kr)
Image Flute Duos
During Haydn's successful stays in London he recognised the need for high quality chamber music for a variety of instruments, among which the flute, which rapidly gained popularity in bourgeois circles. For this purpose he cleverly arranged his own Duos for two violins op.99 for two flutes.These delightful flute duos, full of Haydnesque wit and invention, are here recorded for the first time by father and daughter Petrucci, Gian- Luca and Ginevra, who obviously enjoy their superb music making.

39 kr (69 kr)
Image Lieder
Premieres of songs and instrumental music by Mandyczewski!Eusebius Mandyczewski (born in Ukraine, but lived and worked in Germany) was an important musician, musicologist and publisher/editor in the 19th century. He was an assistant of the famous Grove, and helped compiling editions of Schubert and Beethoven. A close friend of Johannes Brahms it is no surprise to find a strong influence of his genius friend in Mandyczewskis works.There is a constant lyrical flow in the selection of songs, as presented on this disc, romantic songs in the tradition of Schubert, in Brahmsian colours and harmonies: pure beauty!

39 kr (69 kr)
Image Piano Quartets
This release couples two of Schumann's substantial chamber music works: the mature E flat Piano Quartet op.47 and the youthful C minor Piano Quartet.Schumann's E flat Piano Quartet is a masterwork in its genre, on a par with those by Mozart and (later) Brahms. The C minor brother is an outpouring of youthful passion on a grand scale, compensating its lack of structural solidity by ardent impetuosity and boundless energy.Excellent performance by the Quartetto Klimt, 4 young Italians sharing their passion for this still slightly neglected chamber music, recorded in 2009 - Booklet contains liner notes and artist biographies.

39 kr (69 kr)
Image Sonata For 2 Pianos
Brahms' Op. 34 is one of the many attempts of the young composer at a large symphonic form. First conceived as a string quartet his friend the great violinist Joseph Joachim found it not suited for strings, so Brahms wrote a setting for two pianos, which her premiered himself with Carl Tausig. Again on advice of a close friend, this time his beloved Clara Schumann, who found the work too grand in scope to be limited to two pianos, he wrote a version for piano and strings, the piano quintet Op. 34a. However Brahms still favoured the version for 2 pianos, which indeed is a master piece in its genre.

The Haydn variations Op.56 were simultaneously composed for 2 pianos and for orchestra. This ever popular work is often heard in concert, and shows Brahms as the genius of the variation form, transforming the popular St Antoni Chorale into variations of great invention and different characters, from tendernes, playfulness to the joyful maestoso finale.

Excellent performances by a young Italian duo, Michele Benignetti and Eleonora Spina, winners of several international chamber music competitions.

39 kr (69 kr)
Image Music for Lute and Organ
With a repertoire spanning almost 150 years, from 1844 right up to 1992, this release brings together a wide range of works for flute and organ by composers from a variety of countries and musical backgrounds. During the Baroque period, it was common to pair the flute (or recorder) with the harpsichord the combination here of flute and organ is by contrast far more exotic, the great power of which the latter instrument is capable pitted against the domestic nature of the former. The works on this release are all rare gems, showing just how well these two diverse timbres are able to complement each other - and at the same time revealing the great skill of many lesser-known composers. While the music on this release spans a large period of time, many of the works share a common thread of religion and spirituality. German composer Hiller uses a Lutheran hymn as inspiration for his work Andante religioso, and the pieces by French composers Caplet and Gallon are both infused with a deep sense of mysticism, particularly pertinent as Caplet retreated to a monastery later in life. The religious theme continues into the more contemporary works by Italian composers D'Aurizio and Lincetto the former was a noted composer of sacred music throughout his life, and Lincetto's work Messa degli artisti is a modern take on a traditional meditative prayer. Daniele Ruggieri and Andrea Toschi, who have a longstanding partnership, are delighted to be collaborating on this recording. Ruggieri has an active career as a flautist, with over 20 recordings to boast of, and has been awarded several major international prizes. His ensemble Ex Novo, of which he is a founding member, has been critically acclaimed, with The Times describing Ruggieri's flute playing as a 'beautiful and playful display of virtuosity'. Toschi has performed on organs all over Europe, both as a soloist and as an ensemble player, and has already released several albums of works for both trumpet and violin with organ. Both performers have broadcast on major networks, including the BBC and Italy's RAI Radio 3.

39 kr (69 kr)
Image Guitar Laureate
Agustín Barrios, born in Paraguay in 1885, was one of the greatest figures in the history of guitar music, a virtuoso performer and composer, and the first artist to record music for the guitar. His own compositions were infused with the melodies, rhythms and folk tunes of his Latin-American homeland, and so intuitively suited to the instrument that he gained a reputation as the Chopin of guitar music. Awarded in honour of this illustrious musician, the Agustín Barrios International Guitar Competition has run since 2004, with the aim of promoting and supporting talented guitarists; the first-prize winner in 2011 was Elise Neumann, and this exciting new CD is her first solo recording.

Taking Barrios as her starting-point, Elise Neumann's recital spans works from the 1920s to the 1960s, united by their Latin-American inspiration and touches of Romanticism. A selection of Barrios's own works are featured, demonstrating his distinctive blend of Classical elements and traditional Latin-American styles, while a similar approach can be heard in Manuel Maria Ponce's Schubert-inspired Sonata Romántica. Also included are Castelnuovo-Tedesco's dark, dream-like El sueño de la razón produce monstruos, and Asencio's Collectici Íntim.

Elise Neumann's talent as a performer and deep appreciation of this elegant, colourful and creative repertoire can be heard throughout the recording, highlighting the qualities that impressed the juries of the Agustín Barrios International Guitar Competition. Enthusiasts of guitar music should make it a priority to add this disc to their collections, as Elise Neumann is sure to a star of guitar music in the future.

39 kr (69 kr)
Image Neapolitan Keyboard Music
At the turn of the 17th century, Naples was a thriving hub of music, its reach expanding out of Italy to touch all corners of the continent. The influence of the Neapolitan School extended far and wide, attracting talented musicians from Spain and northern Europe. This release brings together some of the most innovative composers of the time, including Alessandro Scarlatti, Trabaci and De Macque, composers whose works inspired generations of writers of keyboard music for years to come, not least Alessandros wellknown son Domenico.The pieces here illustrate how far ahead of their time the composers really were: the chromaticism featured in Trabacis works sheds light on the extraordinary research he and his contemporaries were undertaking, requiring the use of specially designed harpsichords with dozens of extra keys. Italian musician Stefano Innocenti performs these works on both harpsichord and organ, having specially selected the two instruments according to his research into authentic historical performance. Internationally recognised for his various recitals and competitions, Innocenti is proud to have been installed as organist of the Ducal Palace of Colorno since 1985, where he plays an 18thcentury Serassi organ.

39 kr (69 kr)
Image String Quartets Vol. 3
This new installment in the Schubert Complete String Quartet series by the German Diogenes Quartet presents two early quartets, D18 and D 68, as well as the 5 Menuets and 5 German Dances D89, originally composed for string quartet.The previous issues in this series have met with highly positive critical acclaim, praising the quartets intense interpretations and the astonishing unity in their ensemble.Booklet contains extensive liner notes on the works, and artist biographies.

39 kr (69 kr)
Image Ariettes Italiannes
by the 'pensioned' Rossini after his retirement as a highly successful opera composer. They are pure delight, each one written on a certain topic or emotion, full of humour, wit, nostalgia and old age irony and wisdom.The Douze Ariettes Italiennes are written by guitar composer and virtuoso Ferdinando Carulli, on popular and famous themes from Rossini's operas, elegant and charming, salon music of high distinction and entertainment.Sung by soprano Silvia Vajente, with the right touch of beauty, sentiment and tongue-in-cheek, guitarist Adriano Sebastiani supplying the perfect instrumental foundation.Booklet contains full original song texts, liner notes and biographies.

39 kr (69 kr)
Image Music for Cello and Piano
The combination of cello and piano has long been a popular choice among composers. Detailing a selection of works by two of the world's greatest, this release celebrates one of music's most enduring partnerships through showcasing some of the duo's best literature.

The compilation covers works written towards the end of each composer's life, and first to be presented are Beethoven's Sonatas Op.102 Nos. 1 and 2. Completed in 1815 and therefore dating from the start of his late period, these self-contained compositions stand as the shortest and most concentrated of the composer's duo sonatas -- though the wealth of feeling that is exhibited throughout more than makes up for this. Next to be featured is Schumann's delightful Fantasiestücke Op.73 -- a set of small-scale pieces taking the style of Mendelssohn's Songs Without Words. They are followed by 5 Stücke im Volkston Op.102, completed in 1878 and similarly inspired by Lieder and folksong through their use of simple yet characteristic themes.

From the intensity of Beethoven's sonatas to the affective expression of Schumann's creations, this collection unites some of the most spiritual and original music in the cello and piano repertoire. Quirine Viersen and Silke Avenhaus offer an authoritative interpretation that brims with colour: a valuable addition to Brilliant Classics chamber music library.

39 kr (69 kr)
Image Guitarmosaics
Giovanni Caruso's Guitarmosaics is a collection of related, newly-composed works for guitar, inspired by a pair of pieces entitled Nostalgia and Ricordi passati, composed by Caruso in 2009. Written to conjure up a dense sound and Mediterranean feeling, Caruso incorporated multi-track guitar into these recordings, and this became the basis of the collection, inspiring Caruso's subsequent compositions.

Influences that range from Marin Marais, rock music, the Sicilian countryside, and the dark emotions inspired by the death of Italian soldiers in Afghanistan combine to make these 12 pieces a colourful, virtuosic and deeply personal new work.

Other information:
- World premiere Recording, made in 2010, both written and performed by Giovanni Caruso

- A fascinating tour de force of recording multi-layered compositions for guitar, played by one person, but sounding like a guitar orchestra.

- Caruso is also a lutenist and conductor, and has studied Renaissance and Baroque lute and vocal technique. As well as making CD recordings, he has composed several soundtracks for film and television

39 kr (69 kr)
Image Mexican Guitar Music
A feast of melody and colour of original music for guitar from Mexico!This well compiled programme spans a period from 19th century romantic folk song arrangements to the mature and serious 20th century Sonatina Mexicana by Manuel Ponce.The Folk Song, an essential part of Mexican culture and existence, plays an all pervading part in these compositions, by Oliva, Ramirez and Ponce.Played with effortless virtuosity, dedication and warmth by Rodolfo Perez, one of the foremost Mexican guitarists, who is the dedicatee and close friend of both the Ramirez and Oliva, and writer of the liner notes.

39 kr (69 kr)
Image Piano Music
Maria Castelnuovo-Tedesco was one of the most successful and remarkable composers of the first half of the 20th century in Italy. His style is influenced by Neo-Classicism, vivid, brilliant, with the occasional odd dissonance, strongly rhythmical and full of catchy melodies. He fled Anti-semitism before WWO2, and settled in Hollywood where he successfully composed film music for more than 200 films.Apart from his importance as a guitar composer Castelnuovo-Tedesco created a small but appealing oeuvre for piano solo. This new recording presents a selection of these evocative and tuneful works, which deserve to be played more often in the concert halls.Excellent performance by Italian pianist Claudio Curti Gialdino.

39 kr (69 kr)
Image Mélodies, Chopin Mazurkas and other Songs
Daughter of the famous tenor García, himself a favourite of Gioachino Rossini, Pauline Viardot was originally destined to become a pianist (and was at one time tutored by Liszt) before the deaths of her father and singer-sister saw her re-trained as a mezzo-soprano by her mother. In 1839 she made her operatic debut in London, subsequently achieving renown on the concert and operatic stages of Great Britain, Germany and Russia in particular. Among her admirers in St Petersburg was the young Ivan Turgenev, later to become the best-known author of his country in Europe and North America.

Viardot's place in the history books is not down to vocal prowess alone, for she was also a keen composer, writing in various genres and languages throughout her adult life. Unsurprisingly it is the song that dominates the majority of her output, and Viardot also included as part of her oeuvre arrangements for voice of instrumental works - the most famous being those based on Chopin's Mazurkas, which we know she performed in concert together with the composer at least one occasion. In addition to the Canzonetta de Concert, now thought to be based on a string quartet by Roman Hoffstetter, the release includes the 10 mélodies par Pauline Viardot - her second collection of étrennes (then-fashionable New Year presents for music lovers) in which she explores rhythmic and other elements of verse, mainly by French poets unknown today. Viardot never forgot her Spanish roots, however, as 'Caña española' and Madrid (No.5 from her 1887 album) attest. Figures with whom her illustrious career brought her into contact are also acknowledged - Meyerbeer and Berlioz are among the dedicatees in 10 mélodies.

At hand to perform these works are Italian mezzo-soprano Marina Comparato - who made her debut under Claudio Abbado and has since performed at many of the world's leading opera houses - and her accompanist Elisa Triulzi, a graduate of the Guido Cantelli Conservatoire and much of whose work is dedicated to the art of répétiteuring. The release is a delightful testament to the talented and lively scene of female composition during the Romantic era.

39 kr (69 kr)
Image Lute Music
Italian composer Giovanni Zamboni is somewhat of a mystery to the modern listener. Very little is known of his life; he was born in Rome in the latter part of the 17th century, became a virtuoso on the theorbo, lute, harpsichord, guitar, mandore and mandolin, and had a side-career as a jeweller. Several of his compositions have been lost over the years, but among his published works is a collection of four-part madrigals and a collection of solo lute music, the Sonate d'intavolatura di leuto.

Published in Lucca in 1718, the Sonate d'intavolatura di leuto is among the latest sources of solo lute music, written in Italian tablatures. The works contained within show the blurring of lines between the two accepted styles of sonata; those for the church (da chiesa) and those for domestic use (da camera). Many of Zamboni's lute sonatas are written in four-part sets, containing mainly dance movements. This makes No.11 distinctly atypical, as its Currante, Sarabanda and Minuet - which signal a da camera purpose - contrast with its opening movement, a Grave, much more characteristic of the seriousness of the da chiesa style.

Bulgarian-born Yavor Ganov studied classical guitar at the University of Sofia, where he developed an interest in Medieval, Renaissance and Baroque music. He has given recitals throughout Bulgaria as well as in The Netherlands and Sweden, and has performed with the European Union Baroque Orchestra. He has previously recorded the works of Giovanni Kapsberger for Brilliant Classics (2012).

39 kr (69 kr)
Image Lidl: Divertimenti For Baryton Trio
World premiere, recorded in 2011 in the Konzerthaus, Vienna. Rare repertoire from a little known colleague of Haydn, who was highly praised in his day.

Andreas Lidl, or Lidel as it is sometimes written, was a member of the court orchestra at Eszterháza, where Joseph Haydn was later to become Kapellmeister. A virtuoso player of the baryton, an instrument of the viola da gamba family, he did much to develop this unusual instrument, such as increasing the strings below the bridge to 27 to allow full chromatic accompaniment. The baryton was particularly popular in Germany and Austria. Haydn composed over 200 works for it, largely as a result of his employer Prince Nikolaus Eszterhaza, who was a great enthusiast.

Lidl's virtuosity was frequently discussed by musical commentators of his era. Charles Burney mentioned the composer, in his General History of Music, as being an astonishing performer, playing with taste and refinement. Lidl was a member of the Eszterháza orchestra from 1769 until 1774, and also worked in London for many years, where he eventually died.

The music on this CD is typical of the light music composed for wealthy amateurs to play -- skilfully written, and not without challenges for performers.

Michael Brüssing, a modern Baryton virtuoso, draws lovely sounds from his instrument. He and his trio won great critical acclaim with their recording of Haydn's complete Baryton Trios (Brilliant Classics, catalogue number: 93907).

39 kr (69 kr)
Image Misterio - Ritual Music for an Uncertain Age
Accademia Barocca Dorica & International Ensemble de Córdoba, dir. Francesco Chirivì.

A society whose origins date back to the late-16th century, freemasonry has always viewed music as a powerful tool for communicating its fundamental message: to encourage a moral and ethical approach to life. While Mozart is undoubtedly the most famous composer associated with the movement, this engaging CD reveals some of the many others who were involved or whose work conforms to the society's ideologies.

This collection begins with a world premiere recording on period instruments of two works by the Italian opera composer and conductor Spontini. As well as featuring various unpublished compositions by the contemporary Marco Ciannella, such as his Suite for flute and piano, the collection also explores Clementi's little-known Symphony in B flat before visiting Puccini's Crisantemi (a single, dark-hued elegy originally written for string quartet) and Sibelius' Andante festivo -- the composer's most apparently religious statement, full-throated and hymn-like in sound.

Although comprising highly varied music that reveals the diversity of styles embraced by freemasonry, this collection is also striking for its pervading sense of beauty -- a beauty that is the essence of the society's 'column of harmony'. A charming assortment of carefully selected works that gives equal standing to the famous and less well-known.

New recording made in 2010, on period instruments by the Accademia Barocca Dorica, and the Ensemble de Cordoba.

39 kr (69 kr)
Image Chamber Music with Piano
The death of Henri Dutilleux on 22 May 2013 robbed the musical world of one of its most distinctive voices. Dutilleux was renowned for his exquisite craftsmanship and feel for instrumental colour, as well as for an extraordinary generosity of spirit that was invariably reflected in his music. Indeed, pianist Akanè Makita describes Dutilleux as a 'generous, sensitive man' who, when the artists involved in this recording wrote to him to tell him about the project, replied to say how 'greatly touched' and 'moved' he was. This warm and unexpected response from such an eminent composer inspired the musicians to put their all into the recording; the fact that it was completed on the day of Dutilleux's death makes it all the more fitting a tribute to him.

The chamber works featured on this disc demonstrate Dutilleux's superb command of instrumental timbre - as flautist Andrea Oliva says, 'Dutilleux is brilliant at custom-designing the music to suit the specific characteristics of each instrument'. These are highly demanding pieces that exploit the possibilities of the instruments to the full - all can be considered milestones in the repertoire of their respective instruments. Yet the technical difficulties of the works are never gratuitous; Dutilleux draws on his profound understanding of the instruments to create deeply expressive, colourful and evocative music.

Award-winning pianist Akanè Makita is joined on this recording by principal soloists of the legendary Accademia Nazionale di Santa Cecilia.

39 kr (69 kr)
Image Patrie! Duets from French Romantic Operas
Hjördis Thébault - soprano
Pierre-Yves Pruvot - baritone
Kosice Philharmonic Orchestra / Didier Talpain

An adventurous repertoire of arias from rare French operas, by famous (Saint-Saëns, Massenet, Gounod) and forgotten composers (Paladilhe). A fascinating overview of 19th century French opera life, in which the serious Drama Lyrique and the light hearted Opera Comique were the predominant genres. Great liner notes, including the historical background of the repertoire written by Didier Talpain. Conductor Didier Talpain already received high critical acclaim as a champion of (Early) Romantic forgotten repertoire (notably the works of Hummel, as issued on Brilliant Classics 94043 and 94115). In the 19th century, Paris consolidated its position as the leading city of opera. Composers from Germany (Meyerbeer, Paer and Wagner, who famously had a very unhappy time there) and Italy (Rossini,Verdi, Spontini, Cimarosa and Cherubini) worked there alongside native composers, vying for public favour in the years following the French Revolution. Opera was performed in Paris's major theatres (the Opera, Opera-Comique, Theatre- Lyrique and Theatre-Italien) and divided into two varieties - serious works on heroic themes and lighter works based on the lives of ordinary people or events. This divide developed into two fully defined styles: opera comiques and drama lyrique. The programme of this new recording is shaped around rarities of the French operatic repertoire.

Among these are the duet between Adam and Eve from Massenet's Eve, a fascinating number with remarkable scoring for soprano saxophone, harp, woodwind, horns and cellos, giving the music a profoundly poetic and supremely lyrical quality. Also included is a duet from the second act of Gounod's Polyeucte, a work that failed to gain widespread popularity due to its combination of opera and oratorio as well as its musical quality. The title of this disc - Patrie! - is taken from an opera of the same name by the now-forgotten composer Émile Paladilhe. Cast in 5 acts and performed on a huge scale, this tale of the Flemish uprising against Spain was one of the Paris Opera's most successful works, which continued to be staged until the 1920s, when it rapidly sank into obscurity. Heard on this disc is the supremely intense duet from the first scene of act two. This recording features further duets by Halévy, Massenet, Gounod and Thomas, shedding light on a number of forgotten gems from French romantic opera.

39 kr (69 kr)
Image Hommage a Debussy
In the early 20th century, Paris was a magnet for composers, who were drawn to the city by the powerful influence of Claude Debussy. Termed 'impressionist', a label the composer never approved of, Debussy's music (like that of his younger contemporary Ravel) is full of colouristic expression and textures, which held a significant appeal to a younger generation of musicians. His influence on composers such as Manuel de Falla, Hector Villa-Lobos, Joaquín Rodrigo and Joaquín Turina led to a remarkable fusion of French musical language (as developed by Debussy) and Spanish (or Latin American) folk music idioms.

This collection of works by seven composers celebrates this unique blend of styles and its realisation in guitar compositions, using Manuel de Falla's Homenaje (Hommage à Debussy) as a starting point, a musical elegy (or tombeau) composed following Debussy's death in 1918. The influence of Debussy can also be heard in Villa-Lobos's Etudes Nos.7 and 12, while Rodrigo and Sauget's works are tributes to de Falla.

The fascinating repertoire collected together in this unique programme is brought to life by a skilled performance from Izhar Elias, and sheds light on the profound influence that Debussy's music had on the generation of composers that followed him.

Other information:
- Features music by Manuel de Falla, Joaquín Rodrigo, Henri Sauguet, Joaquín Turina, Francis Poulenc, Alexandre Tansman and Heitor Villa-Lobos

- Izhar Elias won the coveted Dutch Music prize in 2010, and has since made a number of critically acclaimed recordings, including works by Turino and Guiliani's arrangement of Rossini's Semiramede for Brilliant Classics (93902)

- A new recording, made in 2011, evoking the unique athmosphere of Paris at the beginning of the 20-th century, a melting pot of styles, cultures and trends.

- Includes booklet notes by Izhar Elias

39 kr (69 kr)
Image Piano Concertos KV 467 & 503 2-4
39 kr (69 kr)
Image A Life in Music
39 kr (69 kr)
Image Fantasiestücke / Waldszenen / Arabeske / Kindersze
39 kr (69 kr)
Image Erwacht zum neuen Leben / Oden / Sacred Songs
Booklet notes in English and German, complete sung texts included.

Although musical settings of strophic poems were rarely composed or performed in the early years of the 18th century, by around 1730 the genre experienced a renewal of interest. It was in this context that Carl Philipp Emanuel Bach wrote his Oden and Lieder, inspired by a group of German music critics, theorists and composers who believed that music and language could be reunified through song.

Bach's earliest songs were based on Anacreontic poems, somewhat humorous texts with pastoral characters and settings, which generally dealt with the themes of love and drinking! Examples collected on this recording include Das Privilegium, Belinde and Die Küsse. However, Bach saved his real efforts and inspiration for settings of religious and moral poetry, which appealed to him on a more personal level. Featured on this CD, Prüfung am Abend, Osterlied and Die Ehre Gottes aus der Natur display imaginative combinations of recitative and aria, brilliant accompaniments, and a sensitive match between words and music.

As Bach's career progressed, his approach to the genre developed. After moving to Hamburg in 1768, he published a collection of relatively simple, strophic psalm settings in response to public demand. Following this, his last collection of sacred songs, from 1780--1781, almost pre-figure Romanticism in their dramatic text settings.

Collecting together a selection of songs from each stage of C.P.E. Bach's career, this new recording is a fascinating cross-section of his contribution to this genre. Not only do the songs, Odes and psalm settings demonstrate the variety of styles that Bach turned his hand to throughout his career, they highlight his supreme skill at combining words and music.

39 kr (69 kr)
Image Les Illuminations
39 kr (69 kr)
Image Melodies
39 kr (69 kr)
Image Alto Cantatas
The author of around 800 cantatas, Alessandro Scarlatti was the most prolific composer of this particular chamber genre during the Baroque period. In this engaging release we are introduced to two examples, both 'with instruments' and written for solo contralto, the voice type to which the Sicilian dedicated a mere 10 per cent of his cantata output.

Perchè tacete, regolati concenti is the first, a work that corresponds to the typically 17th-century themes of unrequited or unhappy love, with both the character and the music expressing the feeling of grief that underpins the text. The prose is actually quite weak in comparison to the quality of the music, and it may be that Scarlatti wrote it himself: he was, after all, described in the wording of his admission to the Arcadia as a 'professor or poetry'. It is in any case an early composition; the second cantata, Filen, mio caro bene, we know was written later, on account of its style as well as Arcadian subject matter (which by then was in vogue: the work is set in a natural context).

Complementing these works are a couple of concertos and sonatas by the composer, each set in a minor key. An all-Italian cast are at hand to perform the programme, with alto Gabriella Martellacci - who has appeared as a guest performer with such prestigious orchestras as the Royal Concertgebouw and Accademia Nazionale di Santa Cecilia - taking the lead in the cantatas.

39 kr (69 kr)
Image Complete Works for Violin, Volume 1
New recordings, the first volume of an exciting 4 CD project: the complete works for violin of the great Hungarian 20-th century composer.

In Bartók's earliest works the influences of Liszt and Richard Strauss are never far away. In the early 1900s the young composer had studied many of Strauss's scores, attempting a symphony in E flat. Gradually the music of his native Hungary began influence his musical voice as can be heard in the E minor violin sonata. The Austro-German musical hold on him was slipping. He took to wearing Hungarian national clothes, and rebelled at speaking German at home. Shortly after completing the violin sonata in 1903 he left for the countryside where he became interested in the folk music and songs of his countrymen. His research with fellow composer Zoltan Kodaly of Hungarian folk music is famous, but Bartók went beyond national boundaries for inspiration, as can be heard in the Transylvanian, Romanian and Slovak folk material featured on this disc of his early works for violin and piano.

39 kr (69 kr)
Image Complete Organ Music
39 kr (69 kr)
Image Music for Violin and Piano
20th century composer Ernest Bloch forged a unique path, firmly establishing his Jewish identity through his music and thereby creating many works of great spiritual expression. Born in Geneva in 1880, he studied in Belgium and Germany before moving to America. Although he returned to Europe, he eventually became a US citizen, abandoning Switzerland forever due to the encroaching threat of Nazism. It was in the States that his music was truly appreciated for the first time; in New York, he conducted renowned orchestral concerts of his own works and became known as the Jewish Composer, winning the Coolidge Prize for his Viola Suite. It was around this time that he began to compose for the violin. Spanning the 1920s, most of the works on this release came to fruition soon after the composer began to compose for the violin on a solo level. Bloch was a composer who harnessed many of the musical tendencies of the time to create highly original works, never tying himself to a particular style, and the authenticity and invention for which he is remembered permeates the entire compilation starting with Violin Sonata No.1 (1920), a work deeply rooted in tonality and requiring great technical skill. Suite No.1, written nearly 40 years later, brings the neoClassical aspect of Blochs music to the fore through its use of partita form. The Jewish influence is of course also strong: the famous and exotic Baal Shem which narrates three aspects of Chassidic life is included, together with Abodah or Gods Worship dedicated to the worldfamous violinist Yehudi Menuhin, who described the composer as one of the Seven Wonders [] cast by the gods in a superhuman mould. At hand to perform these works are fatherdaughter duo Mario and Maristella Patuzzi, who have been performing together for many years. Maristella recorded her first CD aged just 11, and since then has performed with many noted ensembles, recording her first release an album of music by Manuel de Sica for Brilliant Classics in 2014 with the Orchestra Arturo Toscanini. She has won prizes at a national and international level, having performed at many major competitions. Her father Mario has had a distinguished career as a pianist, with performances at La Scala in Milan and with the Bayerischer Rundfunkorchester in Germany. Maristella plays on a 1687 Stradivarius violin, lent by a private collector.

39 kr (69 kr)
Image La Musique de la Chambre du Roy, Vol. 2
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Image Vocalise
The Bassoon, the bass member of the woodwind family, is a surprisingly versatile, agile, and expressive instrument. Its expression ranges from the joyful and even comic, sonorous, melancholic to the mournful.Regretfully classical composers wrote little of substance for the solo bassoon, therefore this new recording presents a selection of delightful arrangements of classical evergreens: Schumanns Fantasiestücke Op. 73(itself written for clarinet or cello), a Mendelssohn Lied ohne Worte, Rachmaninoffs Vocalise, an original piece by Gabriel Pierné, a heartbreaking Pavane by Ravel, and two raucous Piazzolla tangos.Beautifully played by one of the leading bassoon players of Italy, Massimo Data, conjuring up unheardof sounds from this magnificent and undervalued instrument.

39 kr (69 kr)
Image Motets, Book I
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Image Violin Caprices Transcribed For Flute
Niccolò Paganini, the man and composer, has been a figure of inspiration and speculation for many musicians after him. His superhuman violin technique was believed to be bought from the devil. His 24 Capriccii for violin solo are still today barely playable.

Marieke Schneemann has been fascinated by the Capriccii for a long time. It was however the encounter with a historical 1850 Lot flute that inspired her to transcribe the violin works for solo flute, an even more daunting and challenging task. She used the special colours and timbres of this instrument to create the same thrilling effects as on the violin. The result is revelatory, the presentation of a complete new work of art!

Marieke Schneemann was educated in the pioneering period of the Authentic Music Practice, she was solo flutist in the Rotterdam Philharmonic Orchestra under Gergiev, a member of the famous Dutch Wind Ensemble and an active player of chamber music in various ensembles.

39 kr (69 kr)
Image Diary of Anne Frank
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Image Nocturne
Quiet guitar music for warm summer nights, the Brazilian guitarist Flavio Apro plays Nocturne on some quiet guitar compositions by composers such as Barrios, Castelnuovo-Tedesco, De Falla, Ponce, Rodrigo, Sor, Tarrega and others. Music that brings back memories of warm summer nights under the stars Mediterranean countries.

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Image Lieder
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Image Balladen
Eberhard Büchner, tenor
Norman Shetler, piano
Theo Adam, bass
Rudolf Dunckel, piano

Carl Loewe was born in Löbejün, studied in Halle, toured through Germany in his mid- 20s and then secured an appointment as professor and Kantor at the Gymnasium and seminary in Stettin (formerly in Prussia, now in Poland), where he remained for the rest of his life. A contemporary of Schubert, he was a central figure in Stettin's musical life, and was a prolific composer of songs and oratorio to cater for the increasing musical appetite of the late-19th-century German bourgeoisie.

Loewe is today remembered for his treatment of the ballad, a relatively new genre at that time which took the form of a lengthy story comprising many verses, characters and dramatic events. Country life, olden or idealised times, love and the passing of time are often the subject matter for his works, which are set to a variety of then-contemporary poets ranging from classical masters Rückert and Schiller to more forward-looking ones such as Chamisso; while Prinz Eugen (1844) recounts the victory of Prince Eugen of Savoy during the Austro-Turkish War of 1716-18, for instance, 'Süßes Begräbnis' describes the final resting place of a shepherdess (1837). Also included on the release is Loewe's intimate setting of Goethe's 'Erlkönig', a direct contrast to Schubert's infamous and much more extrovert rendition of the text, composed just one year earlier.

Performing these often over-looked works are the tenor and bass singers Eberhard Büchner and Theo Adam, accompanied by Norman Shetler and Rudolf Dunckel respectively. The two duos cover all manner of moods in what are highly atmospheric pieces, and in doing so offer a strong case for why Loewe - nicknamed the 'Schubert of North Germany' in his day - deserves to be better known.

39 kr (69 kr)
Image Vocal Chamber Duets
Agostino Steffani was a man of many talents. A gifted linguist, his skills led him to a successful career as a diplomat, spending most of his life in Germany rather than his native Italy. As well as mediating between heads of state of the day, Steffani was a prolific composer, producing a substantial number of operas and sacred works. His secular music was also well known, although, to protect his neutrality, his works were signed by his secretary rather than the composer himself. The vocal chamber duets on this release are unusual for the period; Steffani moved away from the Baroque practice of pairing a solo voice with a basso continuo accompaniment and instead began to favour the equal partnership of two voices. The composers skills as a linguist underpin these works, exemplified by the expert way in which he matches the words to the melody. The texts in general are brief, charming musings on the pain and pleasure of unrequited love, with Steffani drawing on various contemporary Italian poets. Although Steffanis chamber duets cover a number of voice combinations, the ones for soprano and tenor are some of the most attractive, thanks to the light interplay between the male and female voices. They are consummately interpreted by experienced performers Elena Bertuzzi and Alessio Tosi, who between them have won several national and international prizes and have performed at a number of prestigious festivals. Tosi has previously collaborated with renowned early music ensemble La Venexiana, and their recording of Monteverdis Il ritorno di Ulisse in patria was praised as being state-of-the-art stuff in Gramophone magazine. Bertuzzi has already recorded for Brilliant Classics, having released a collection of chamber music by Georg Benda in 2013 (BC94433), for which she was acclaimed by MusicWeb International as a pleasure to hear. Both singers are well-supported by musicians playing on period instruments, and their long experience in performing Baroque music leads to an authentic and charming recording.

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Image Dialogues
39 kr (69 kr)
Image Complete Music for Piano and Violin
Luigi Dallapiccola (1904-1975) was one of the most fascinating composers of 20th century Italy. Influenced in his youth by Wagner and Debussy he later 'converted' to the 12-tone technique of the 2nd Viennese School.His works in this style feature strict forms (with hints of Neo Baroque counterpoint) and an expression of lyrical warmth and beauty (sometimes sorely missing in 12-tone compositions by other, more severe masters).This new recording presents his complete output for solo piano and for the combination of violin and piano.Excellent performances by two leading Italian soloists: violinist Luca Fanfoni and pianist Maria Clementi, a duo which already gave concerts in the Leipzig Gewandhaus and Carnegie Hall New York.Notes on the music and artist biographies.

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Image Ballet Suites
Novosibirsk Symphony Orchestra / Arnold Katz

In his ballets the great Soviet composer Sergei Prokofiev continues the long and famous tradition of Russian ballet music, which culminated in the immortal ballets of Tchaikovsky (Nutcracker, Swan Lake). Prokofiev's genius for characterisation produced such classical "hits" as the Montagues & Capulets (often used in films, commercial and even sporting events!), and the Love Scene of Romeo and Juliet. Also the Cinderella-Waltz from the Cinderella Suite became an evergreen. The ballet Stone Flower is the last Soviet ballet Prokofiev wrote, and although it is little known, it contains music of great beauty and power on an equal level as the famous ballets. Splendid performances by the Novosibirsk Symphony Orchestra, conducted by maestro Arnold Katz. Prokofiev's great ballet scores for Romeo and Juliet and Cinderella have become firm favourites in both the concert hall and the repertory of ballet companies worldwide - 'The Montagues and Capulets' from Romeo and Juliet, for example, features regularly at major sporting events, something Prokofiev probably never envisaged! The earliest of the ballets featured here is Romeo and Juliet, commissioned in the mid-1930s, soon after Prokofiev returned to the USSR from self-imposed exile. Drawn from the main events of the ballet, the music of Suite No.2 ranges from the grand, formal music of the ball and sounds of a popular holiday to the tragedy and despair of the story's end, illuminating Prokofiev's commitment to communicating the depths and intricacies of Shakespeare's play.

Cinderella followed Romeo and Juliet in the 1940s, with a score of rich and sophisticated music that rewards audiences of adults and children alike.The Suite No.1 features some of the ballet's best-loved music, including 'Cinderella's Waltz' and the brilliant Mazurka. The Stone Flower was the last of Prokofiev's Soviet ballets, dating from 1948, and is based on a folk tale from the Urals. Although it will perhaps be the least familiar of the works on this disc, its score contains music of great beauty, with soaring tunes that are as memorable as anything in the two ballet scores that preceded it.

39 kr (69 kr)
Image Trio Sonatas Nos. 1-6
Trio Sonata is a work written for two solo instruments and continuo (usually harpsichord or organ). Bach wrote his Trio Sonatas BWV 525-530 for the organ, dividing the solo voices and continuo over the 3 parts of left hand, right hand and pedal. These works, immortal masterpieces in their genre, have been subject to various new instrumentations, and this recording presents a version for flute and harpsichord, using several types of flutes: flauto d'amore, traverse flute and others.

Played by two excellent Italian soloists: Mario Folena, soloist of several prominent early music groups, such as the English Baroque Soloists/John Elliott Gardiner, and Roberto Loreggian, one of the foremost keyboardists of Italy, with an immense and respectable discography to his name. Their earlier recording of Vivaldi Flute Sonatas (BC93703) received 5 star reviews.

39 kr (69 kr)
Image Masses
Girolamo Frescobaldi was born in Ferrara in 1583, and worked for the influential and wealthy Este family. Ferrara at this time had become the centre for the modern arts and the musical avant-garde. Virtuoso singing and playing flourished, and it was into this heady atmosphere that the young Frescobaldi cut his teeth.

In 1608 he took the position of organist at St Peter's Basilica in Rome. In 1615 a new basilica was built with two fine organs upon which Frescobaldi performed his famous improvisatory toccatas during ceremonial occasions. In Rome at this time he mingled with other major figures in the artistic community including Bernini and Pietro da Cortona.

Although Frescobaldi was one of the earliest composers to make keyboard compositions his speciality, he was also expected to provide vocal and choral works for his patron.

On the third volume of the Brilliant Classics Frescobaldi Edition are two Masses that have survived in manuscript partbooks, inscribed 'G.F.di', which scholars believe is a reference to Frescobaldi. It is likely that these masses were performed in the basilica, and Frescobaldi uses popular songs as the basis for both works. One is a song of a girl pleading with her mother not to send her to a convent, the other a song composed for the wedding of the Grand Duke of Tuscany in 1589. Both works are beautifully crafted examples of late 17th-century Italian church music.

39 kr (69 kr)
Image Sonatas for Viola and Piano
The viola's shadowy veiled timbre and reserved, almost retiring character is such that it is rarely called upon to take the lead. Granted, a substantial number of concertos were composed for it during the 18th to 19th centuries, but it was not until the 20th century - when several hitherto neglected instruments acquired a new identity in a solo capacity - that the viola became the object of serious attention.

Probably the most underrated composer of the 20th century, it was Paul Hindemith - himself an excellent violist - who was largely responsible for rescuing the instrument from relative oblivion. Detailing a selection of his sonatas for viola (of which there number seven in total - three with piano, four solo), this release charts the development of the composer's style - from the post-war years, the setting of his Sonata Op.11 No.4 and during which time he was experimenting with all the current idioms and trends such as Expressionism and Gebrauchsmusik, to the Sonata in F major of 1939 - written in keeping with his belief that the time had now come to reconnect with the great German tradition, and thus revisiting the formal structures of the Baroque period, such as the fugue.

All the while Hindemith's distinctive style prevails - in the Kleine Sonata of 1922, for example, the composer's use of the viola d'amore recalls the two arias composed for this instrument in the Johannes Passion, though there are plenty of angular rhythms and pungent dissonances confirming his fidelity to his own interpretation of the musical language of the 1900s. Violist Luca Sanzò and pianist Maurizio Paciariello are the performers on this recording, both sought-after interpreters of contemporary music as well as conservatoire professors in their native Italy.

39 kr (69 kr)
Image Cello Sonatas
This new recording (recorded in 2012) brings together two great, but altogether different 20th century Cello Sonatas from Russia: the gorgeous and deeply romantic cello sonata by Rachmaninoff, of near-symphonic proportions, and the cello sonata by Prokofiev, a hybrid piece of his later period, a fascinating mixture of the romantic, the grotesque and the introspective side of the multi-faceted composer.

As interludes we hear arrangements of Tchaikovsky's ballet music from Sleeping Beauty, and the Sérénade Espagnole by Glazunov, a brilliant show piece.

Beautiful, expressive and "Slavic" performances by Russian cellist Alexander Russakovsky.

Contains liner notes on the works & performer biographies.

39 kr (69 kr)
Image Lamentations of Jeremiah

The Sirin Choir
Andrey Kotov, conductor

Vladimir Martynov (b. 1946) is one of the leading composers of the Russian avantgarde, an experimentalist of serial, minimalist and electronic music. His interest in folk music and religious musicology led him to write several works on Christian themes after the fall of the Soviet Union.

The Lamentations of Jeremiah depicts the destruction of Jerusalem, as expressed through the testimony of the prophet Jeremiah. Each of the twenty-two verses is preceded by a corresponding letter from the Hebrew alphabet, and for the basic melodic material Martynov drew on the influences of Byzantine Octoechos, Gregorian chant, and ancient Russian and Balkan chants. Fragments of the work were premiered in Moscow in 1992, and the piece was performed in its entirety for the first time in 1993 at the December Soirées, where it attracted the attention of renowned stage director Anatoli Vassiliev. Vassiliev bestowed his dramatic wisdom on the performers, the Sirin Choir, combining the singing with movement and turning the work into a theatrical piece. The Lamentations later won the Golden Mask, the highest accolade in Russian theatre.

The acclaimed Sirin Choir specialises in early Russian chant and consists of graduates from the Moscow Conservatory and the Gnessin Institute. The choir has toured Europe and has won awards in numerous international competitions, in addition to its regular performances for television and radio.

39 kr (69 kr)
Image Hotel Terminus

Erik Bosgraaf, recorder
Yuri Honing, saxophone

Stef van Es & Raphael Vanoli guitars,
Mark Haanstra bass,
Joost Lijbaart drums

Even lazy on the couch, listening to music is an active occupation. Music plays with your expectations, emotions and memory. Music violates or confirms those expectations (to where leads this melody?) but can also simply be intangible, like a piece of wet soap. It is the interaction between the music and the listener that makes a listening experience so special.

Little music makes so cunningly use of the cognition of the listener as Hotel Terminus. The crisp and rich audio recordings reveal themselves gradually as the soundtrack to a movie that have not yet been made. A resourceful, by electro-acoustic instruments assembled darkness that still permeable and is understandable. From piercing painful to gracefully lyrical, and fed by a slow and compelling harmony filled with distilled remnants from the Baroque.

This is an album for listeners looking for adventure, for listeners to which one listen is not enough. Let your expectations be violated and rejoice in the traces of these cathartic darkness will leave in your memory.

39 kr (69 kr)
Image Lieder
Lenneke Ruiten, soprano
Hans Adolfsen, piano

Although Johannes Brahms (1833-1897) is best known for his symphonies, string quartets and piano music, he was also a prolific writer of lieder, composing over 200 pieces in the medium. This charming collection celebrates his wonderfully rich, lyrical style through detailing 27 such works - ones which span much of his 40-year song career.

The earliest works on the compilation date from his second lieder collection, Op.6, composed when Brahms was just eighteen years old. Also touching on his Op.14 and 16 collections (Brahms gave the first performance of Ein Sonett Op.14 No.4 with Julius Stockhausen), the collection features two songs from Op.48 - of which the Liebesklage des Mädchens 'vibrates with marvellous originality and the deepest heartfelt pain', according to the great Bach biographer Philipp Spitta. From Op.85 to Op.95, we explore the late period of a composer who set verses by such iconic poets as Geibel, Heine and Goethe. Maienkätzchen Op.107 No.4 is the final song to be featured.

Performing these works is the celebrated young Dutch soprano Lenneke Ruiten, who enjoys a busy career as a recitalist, concert soloist and opera singer. She is joined on the recording by talented pianist (and composer) Hans Adolfsen.

39 kr (69 kr)
Image Harpsichord Music
Johann Wilhelm Hässler's keyboard works occupy a fascinating position in the history of music. Although the composer was a harpsichord virtuoso in the late 18th century, just as his instrument was beginning to fall out of favour with composers and performers as the piano increased in popularity, Hässler's music was not hopelessly old-fashioned. He was a successful pianist and organist, and a great admirer of C.P.E. Bach who he had met several times. He undertook many concert tours throughout Europe, and was able to publish a large quantity of music during his lifetime.The works heard in this collection can, in fact, be understood as a bridge between the Baroque composers who preceded him and the Classical and early-Romantic era that followed, drawing on a range of contrasting styles to create music of great drama, complexity and even theatricality. The music heard on this new recording is particularly rare; it is found only in anonymous manuscripts and has previously been misattributed to W.F. Bach.As such, Michele Benuzzi's thoroughly researched performances are an excellent opportunity to hear repertoire that will be unfamiliar to many listeners.

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Image Arias and Dances
Lucia Sciannimanico, mezzo-soprano
Capella di Santa Maria degli Angiolini
Gian Luca Lastraioli, conductor

This CD is entirely devoted to the music of the early Baroque Italian composer, poet and organist, Carlo Milanuzzi. During his lifetime, Milanuzzi's fame spread far and wide; today, however, he is shrouded in obscurity. The artists hope that this recording - the first dedicated to his music - will contribute to the rediscovery of one of the most significant Italian musicians of the 17th century.

Indeed, it seems that Milanuzzi enjoyed a veritable 'pop star' status back in his day. In addition to masses, motets and psalms, he also wrote nearly 200 songs (brought together in nine books entitled Le Ariose Vaghezze which were published between 1622 and 1643), works which reveal him to be one of the most progressive monodists of his generation, clearly intent on reaching as wide an audience as possible. The arias to be found in the nine volumes, 13 of which feature on this recording, are mostly short, tuneful pieces in the style that was rapidly gaining popularity in northern Italy in the 1620s. They are complemented by instrumental dances written in guitar 'alfabeto' notation, 'expanded' on this recording by way of a larger ensemble.

Performing the arias is Baroque specialist and mezzo-soprano Lucia Sciannimanico, who has appeared in festivals across Europe and worked with renowned conductors such as Nicholas Cleobury and Alessandro De Marchi. She is joined on the recording by the Cappella di Santa Maria degli Angiolini, directed by esteemed lutenist and Brilliant Classics regular Gian Luca Lastraoili.

39 kr (69 kr)
Image 20 Studi facili
Angelo Gilardino (b.1941) is a guitarist and composer who has done much to expand the contemporary repertoire of the classical guitar. Concertos, sonatas and variation sets all testify to a bright and airily melodic style and a series of studies of varying degrees of difficulty and virtuosity show Gilardino's commitment to the generations of performers below him.

This particular set of 20 'easy studies' is aimed at the young or at least new student: it covers any number of technical challenges such as tenuto, legato, staccato and marcato playing styles, but it does so in a way that makes learning never less than fun and worth pursuing, since the pieces have a worth beyond the mastering of their particular challenges.

Cristiano Porqueddu has made several recordings for Brilliant Classics, among them a 5CD set of Gilardino's studies for more advanced guitarists. Next on the menu for this fine young Sardinian guitarist is a 5CD set of 19th-century guitar preludes, slated for release at the end of 2012: watch this space.

39 kr (69 kr)
Image Romances - Song Cycles for Bass and Piano
Famed today as one of the 20th century's great symphonists, and the composer of one of the greatest cycles of string quartets, the songs of Shostakovich have been somewhat overshadowed. However he was a prolific composer of songs, setting not only Russian texts but poems by British and Japanese poets. His songs spanned his entire creative life from his Op. 4 of 1922 to the Op. 146 cycle of 1975 included on this disc.

The earliest songs here date from 1936, and show how the young composer has abandoned his highly energetic and satirical style in favour of a more profound and lyrical one, which he would develop and perfect in works such as the 5th Symphony of 1937.

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Image Symphonies Nos. 8 & 9
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Image The Martyred Virgins
A moving and powerful programme of the old and new, dealing with an important and shocking issue that is still with us in the 21st century. 48-page booklet, containing extensive notes about the project by the artists, and complete texts of the chants, poems and readings in Dutch, English and Latin. The text in the booklet is a plea for female freedom, equal rights, respect and peace, regardless of religion or culture.

Since the early days, Christianity has shown a reverence and respect towards virgins, usually young girls who rejected the advances of the occupying Roman forces, arguing that they were instead married to Christ. Often, these girls were raped, tortured and crucified by the authorities, and such atrocities extended through the Dark and Middle Ages and beyond, in cultures all over the world.

This stirring new CD sets Gregorian, Ambrosian chant and two episodes from the life of St Agnes, creating a musical memorial to female victims of violence and abuse, raising a plea for freedom, respect and peace to be established in today's world. Poems and texts by Tehlia Lieberman and Marthe Link, read in English, punctuate the chants, and there are moving accounts by women raped in Central Africa and girls forced to enter homes for single mothers and give up their children.

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Image Lazarus
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Image Pieces pour la guittarre
Krishnasol Jiménez 'Sabionari' guitar by Stradivari

With hardly any documents relating to his life having survived, very little is known about the French guitarist, theorbist, lutenist and composer Robert de Visée. In 1680 he was supposedly appointed to the court of Louis XIV - the so-called 'Roi Soleil' - where he was admired by his benefactors as well as the great musicians influential in Versailles (Lully and Couperin among them). He published three books for guitar during his lifetime, and the many contemporary manuscripts with his music written by amateurs, students and famous musicians are a sure testament to the popularity of his works.

This release is dedicated to a series of guitar pieces that almost all derive from one of his first two publications, Livre de Guittarre dédié au roi (1682) and Livre de Pièces pour la Guittarre (1686). The star of the show is undoubtedly the 'Sabonari' instrument used for the recording and hitherto untouched for almost 200 years: as one of only five extant Stradivari guitars, it is a magnificent example of the sort of instrument that we can expect this music to have been performed on, with its standard tuning perfectly suited to French music of this era. From the extraordinary sonority of the Suite 'accord nouveau', a rare example of scordatura which sees the guitar tuned a semitone lower, to the best-known D minor Suite, this instrument delights for its deeply resonant timbres and distinctive phrasing of the musical text.

Born in Mexico City, the prodigiously talented Krishnasol Jiménez - who also assisted in the restoration of the 'Sabonari' instrument - is the soloist on this release, his third for Brilliant Classics. The recording is a welcome addition to the label's evergrowing catalogue of guitar music, and reveals just how much this instrument was enjoyed at the French royal court.

39 kr (69 kr)
Image Flute Concertos
These delightful concertos, pleasing in themselves, always fresh and full of invention, also provide a fascinating aural link between the Barock and Classical eras. It was of course C.P.E's father, Johann Sebastian, who had visited the Prussian court of Frederick the Great, and been fated there for both his keyboard and compositional virtuosity: not the least result of which was his later masterpiece of chamber music, The Musical Offering, which subjects a theme originally devised by Frederick (or a more complex version of it) to endless contrapuntal variation. Perhaps as a result of that trip, C.P.E. secured a place at Frederick's court, though when he arrived the welcome was not as warm as his father's: Frederick, as a keen and by no means unskilled flute player, prized Joachhim Johann Quantz as 'his' favourite composer, not least because Quantz was especially expert in playing and writing music for the instrument in question.
Nothing loth, C.P.E. set to and fulfilled his duties, and with something of his father's unbending will: perhaps another reason why he never found favour at the court. Two of the concertos on this disc were originally written for the court's oboists, but they sit equally well within the compass of the flute when sympathetically

39 kr (69 kr)
Image Canterville Ghost, The
SOPRANO: Tatyana Monogarova
BASS: Stanislav Sulejmanov
Moscow Forum Theatre Orchestra
Michail Jurowski, conductor

The music of Alexander Aronovich Knajfel was considered too advanced for Soviet Russia in the 1960s, and he was blacklisted from the Union of Soviet Composers in 1979 for having participated in festivals of Soviet music in the West without official permission. Despite this, Knaifel produced a large number of works, both theatrical and orchestral. Some of his later compositions are known for their extravagance: the ballet Jeanne is written for 13 separate instrumental ensembles, while the 1985 Agnus Dei is two hours in duration with each of the four musicians playing a variety of instruments throughout.

The Canterville Ghost is one of Knaifel's earliest successes and his best-known work. The libretto, by Tatiana Kramarova, is based on Oscar Wilde's story of the same name, detailing an American family's relocation to English manor Canterville Chase, which is haunted by the ghost of Sir Simon de Canterville. While some of the family ridicule the spectre, daughter Virginia befriends him and eventually orchestrates his peaceful departure from the house. Originally written to include 18 solo voices, the revised version includes only the roles of Virginia and the Ghost. Knaifel's mixed style of composition, contrasting the spiky, satirical rhythms of the first scene with the lyrical, expressive vocal parts, reflects the nature of Wilde's original work as a combination of a traditional ghost story and a modern social comedy.

The character of Virginia is sung by soprano Tatiana Mongarova, who created the role. The role of the Ghost is sung by Stanislav Soulemanov, also the singer of the first production. Having become a soloist with the Bolshoi Theatre in 1977, his concert tours have taken him all over Russia, Europe and the USA and he has since sung a variety of operatic roles such as the Bartolo in Le nozze di Figaro and Boris Timofeyevitch in Katerina Ismailova.

Recorded in 1990

39 kr (69 kr)
Image Fragoso: Complete Chamber Music For Violin
World premiere recording, performed by excellent Portuguese soloists.

The death of António Fragoso (1897--1918) at the age of 21 robbed the Iberian Peninsula of a composer of great potential, the second within a century, following the Spaniard Juan Arriaga who died at the age of 20 in 1826, having displayed extraordinary promise.

Fragoso, from Portugal, is less well known than Arriaga, but the music on this CD reveals a young composer thoroughly aware of the major musical figures of the time; the influence of Debussy and Fauré, for example, can be detected in the 1916 Suite Romantique for violin and piano. The Trio, also of 1916, begins as a more formal work but reveals the composer's unique voice in the finale, where a series of chromatic progressions and an exploitation of the piano's lower register create a dramatic sense of weightlessness and timelessness. Also included on this recording, the Violin Sonata of 1917 has survived as the opening movement only, and displays many of the characteristics of the trio, particularly through its affirmative and memorable melodic style.

This CD provides an opportunity to discover the music of one of classical music's 'might have beens'. Fragoso's tragically short life robbed Portugal of a composer with the potential for greatness.

39 kr (69 kr)
Image Chorale Variations for Organ
"The finest musical soul ever to have graced the city of Danzig": these are the words of Friedrich Gottlieb Gleimann, written in regard to his predecessor Daniel Magnus Gronau. Little is known about Gronau's life, other than he was titular organist at St John's Church in Danzig - where he earned an exceptionally high salary: 100 florins per quarter. His music was highly acclaimed in its day; after his death, the Chapter of St John's bought the manuscript of a cycle of chorale variations for organ from his sister, paying a third as much again to have it handsomely bound in two volumes.

Gronau left a small treatise on transposition and four books of keyboard music, the Chorale Variations of which form the subject of this engaging release. Similarly structured and containing between two and five variations (the first of which normally utilises the chorale as a fugue subject), the works reveal the far more 'modern' approach adopted by Gronau in relation to the rest of his northern contemporaries - Es wird schier der letzte Tag, for example, requires the right hand to play on two keyboards against a continuo-like accompaniment in the left hand and pedals. The Variations certainly represent one of the most extensive compendiums of organ registrations to survive from the late Baroque period of organ music in Germany, and on hand to perform is Matteo Venturini, winner of no less than eight competitions and a regular at prestigious international music festivals across Europe and America. Venturini, with his thesis on Gronau's organ music, is clearly an expert in this field of repertoire; here, on his 13th recording, he reveals the sheer quality of this composer's music, making a strong case for why the Danzig genius is worthy of rediscovery and re-evaluation.

39 kr (69 kr)
Image Keyboard Concertos Nos. 3, 4 & 11
Period instrument performances

Unlike Mozart, Haydn for some reason failed to realise the potential of the new pianoforte as a concertante instrument, and his concertos for keyboard (some spurious) tend to focus on the organ or harpsichord.

The three works on this CD are all authentic Haydn. The 4th concerto was composed in 1770 for the blind pianist Maria Theresa Paradis, for whom Mozart and Salieri also composed piano concertos. The 3rd concerto dates from 1771, and has an especially beautiful slow movement.

The D major concerto No.11 is a masterpiece and dates from 1780. It is much nearer to Mozart's concertos of this date, and some have gone as far as to label it Haydn's 'only' piano concerto. It is a big work, again with a wonderful slow movement following an impressive opening movement. It is however the finale 'Rondo all'Ungarese' that has made it one of Haydn's most famous and best loved works.

39 kr (69 kr)
Image Guitar Music
39 kr (69 kr)
Image Violin Concerto and Violin Sonata
Armando José Fernandes was a celebrated composer, musician and radio broadcaster in 20th-century Portugal. He was an integral member of the 'Grupo dos Quatro' - alongside Jorge Croner de Vasconcelos, Fernando Lopes-Graça and Pedro do Prado - which exerted substantial influential over Portuguese music in the mid-1900s.

The tonal ambiguity of Fernandes' Violin Sonata is established right at the start by the simultaneous use of both major and minor chords. The dance-like first movement, Allegro, gives way to a lilting Andante and gentle Larghetto, with the work eventually culminating in a Presto finale. The Violin Concerto owes much to the Gallic influence of Ravel and Debussy, with a memorable double-dotted motif opening the work. So exceptional is the music of the final rondo that this alone suffices in calling for the long-overdue revival of Fernandes' oeuvre.

Violinist Carlos Damas made his solo debut aged just 15 with the Portuguese National Broadcasting Radio Symphony Orchestra. Among his more recent achievements is the release of an hugely successful CD featuring the works of Fritz Kreisler, which has been praised by The Strad as one of the best Kreisler discs on the market.

39 kr (69 kr)
Image Piano Music
This will be quite a discovery for those who know the music of Bedrich Smetana only through his grand and nationalistic cycle of tone-poems, Ma Vlast, even if they are yet familiar with his more painfully intimate string quartets or his folkloristic operas. For Smetana, like most composers, needed to eat; and to do so he was happy to make his own contribution towards satisfying the seemingly insatiable appetite of the bourgeois 19th-century public for piano music that they could perform at home. Music of no great difficulty but boundless charm, these miniatures are now seldom heard and even less often recorded, and this is a shame, for works such as the Op.3 Characteristic Pieces show how the pianistic extroversion of Brahms and Liszt (who was a great admirer and supporter of the young Smetana, giving him valuable introductions to publishers) could be adapted to a domestic context, and with the particular inflection of Czech and Bohemian character, derived not only from simple and song-like melodies but also irregularly stressed dance-rhythms that the young Italian pianist Roberto Plano relishes to the full on this welcome new survey. As Plano himself remarks in the booklet notes for the release, the late works embody all the sincerity and essential poetry of the composer's style, all the more treasurable for their emergence against the odds as Smetana battled with deafness and the mental illness that would cut short his life.

39 kr (69 kr)
Image Symphony No. 4
39 kr (69 kr)
Image Late piano pieces
Håkon Austbø was born in Norway, and now resides on Holland. In 1971 he won the prestigious Olivier Messiaen prize. His recording of Scriabin sonatas was praised by the Gramophone as
'Scriabin playing that can stand comparison with the finest on record'

Brahms was a formidable pianist, and his early works were written to show of his tremendous technique. The piano sonatas Opp. 1--3 typify the highly virtuosic muscular style that suited his performing style. Brahms never revisited the piano sonata form after these early works, and his output for solo piano falls distinctly in top three groups. The early impetuous works, then from 1854-73 the more technical works, and, finally the late works from the 1890s included on this CD. These works are contemplative and autumnal, though the drama and tensions of the earlier works are never far away. The Op.116 set is remarkable in that its seven linked numbers form a single unity. It is in fact a sevenmovement sonata.

Op.117 contains probably some of the most beautiful music Brahms's composed. The 3 Intermezzi are reflective, deeply personal works. Op.118 contains severe technical demands for the performer, as well as music of incredible passion and sadness. Op.119 contains a Rhapsody, which is widely regarded as a final tribute to his pianist friend Clara Schumann. Brahms was madly in love with her, but although they were great friends, his love went unrequited.

39 kr (69 kr)
Image Complete Music for Clarinet & Guitar
39 kr (69 kr)
Image Complete Works for Violin, Vol 3
Antal Zalai violin
József Balog piano

In the first half of the 20th century, Béla Bartók was one of the principal ambassadors of Hungarian music. He was influenced by the folk music of Eastern Europe and strove to break the confines of the traditions of Western Classical music, in order to create harmonies, rhythms and performance practices that were more relevant to his turbulent era.

While the two sonatas differ in their relation to the Classical model, the influence of Eastern Europe can be heard in both: the arpeggios at the beginning of No.1 imitate the sound of the Hungarian cimbalom, and there is evidence of Hungarian folk music in its dance-like finale as well as in the hor lunga-style melody of the Romanian peasant music in No.2, which recurs several times throughout the piece. The two Rhapsodies similarly share the influence; the slow 'Lassú' movement of No.1, for example, uses an exotic Transylvanian melody followed by a much more cheerful 'Friss' movement. Exoticism returns in the 'Lassú' of No.2, combined with a hint of melancholy, which is counteracted by the riotous dance of the 'Friss' thanks to its improvisatory nature and use of six separate tunes.

The disc features Antal Zalai, praised by Igor Oistrakh as 'an exceptional violinist who has a perfect technique, beautiful large tone, real musical finesse and maturity as well as a noble personality'. Joining him is József Balog, one of the most celebrated pianists of his generation and winner of the 2005 Annie Fischer Award.

39 kr (69 kr)
Image Music for Clarinet and Piano
This fascinating disc brings together some real musical rarities: the unpublished clarinet works of Archduke Rudolph of Austria, a pianist and amateur composer who is best known for being a pupil and patron of Beethoven. In the early 19th century, Rudolph began taking piano and composition lessons with Beethoven; they became close friends and the Archduke went on to become the composer's patron. Beethoven dedicated no fewer than 14 works to Rudolph - including some of his greatest masterpieces such as the 'Emperor' Concerto, the 'Hammerklavier' Sonata and the Missa solemnis - and the two men regularly exchanged letters.

The influence of the great composer on his friend and protégé is palpable in the charming works collected here, many of which have been reconstructed from surviving fragments following meticulous research by the artists. There are several works comprising variations on themes and operatic arias by Joseph Weigl, who was an eminent composer at the Viennese court at the time - Beethoven also used a theme from one of Weigl's operas in his Op.11 Clarinet Trio. Also featured are some delightfully elegant waltzes, a lyrical Andante and brilliant (albeit incomplete) Polacca, and a set of variations - also on a theme by Weigl - for the unique combination of clarinet and two pianos.

Archduke Rudolph's clarinet works are performed here by award-winning clarinettist Luigi Magistrelli, who has won golden opinions for his 'warm and fluid tone' and 'excellent sense of phrasing' (American Record Guide).

39 kr (69 kr)
Image Romantic Flute Concertos
Ginevra Petrucci, flute
Orchestra I Pomeriggi Musicali / Maurizio Ciampi

Edouard Dupuy (1770-1822) was a Swiss composer who trained with Jan Ladislav Dussek in Paris before becoming a member of the court orchestra for Prince Henry of Prussia. By all accounts he lived a turbulent lifestyle, and was finally dismissed from his post after he rode into the middle of a church service on horseback. Until then his considerable musical talents had apparently pardoned his eccentric behaviour, but he took himself off to Scandinavia and died in Stockholm. His Flute Concerto is a marvellously tense and testing work, as contoured to its instrument and early Romantic idiom as the concertos for clarinet by Weber and for piano by Chopin.

The concerto has been little recorded hitherto but its very considerable technical demands hold no terrors for Ginevra Petrucci (b.1989), who has previously recorded the complete Flute Quintets by Friedrich Kuhlau for Brilliant Classics (94769).

The pairing is even less often encountered in concert and more enticing: the concerto by Ferdinand Büchner (1825-1912). Its tonality of F minor (a rarely used and tragic key) gives notice of a developed and individual compositional voice, and so it proves. Büchner was a flautist-composer who spent most of his career in Russia; this concerto was the first of several, and now considered to be his finest, but very little of his music is recorded; this newly recorded album fills a significant gap in the recorded history of the Romantic flute at its most virtuosic and may prompt critical and popular interest in the rest of Büchner's work.

Two seldom heard Romantic Flute Concertos by Dupuy and Büchner!

Edouard Dupuy (1770-1822) was a precocious musical talent, violinist, flutist and singer (he sang the Danish premiere of Don Giovanni!). A flamboyant romantic and womaniser his adventures led him to various European countries, finally settling in Sweden. Ferdinand Büchner (1825-1912) began his career as a flutist in various German orchestras. His talent was recognised by Anton Rubinstein, who appointed him as first Flute Professor in his newly founded Music Conservatory in Moscow. His Flute Concerto in F minor is a grand scale romantic work of symphonic proportions, demanding a high level of virtuosity of the soloist, especially in the substantial Cadenza in the third movement.

Beautiful performances by Ginevra Petrucci, who already recorded successfully for Brilliant Classics in the Flute Quintets by Kuhlau (5 star reviews in France and Italy!), accompanied by the Orchestra I Pomeriggi Musicali, one of the oldest (founded in 1945) and most respected chamber orchestras of Italy.

39 kr (69 kr)
Image Studies And Transcriptions
Ferrucio Busoni (1866-1924) was one of the most gifted pianists of the late 19th and early 20th centuries, as well as being a composer of considerable importance and vision. A child prodigy, he debuted at the age of 12, being quickly marked out as a piano virtuoso unlike any other. His reputation for many years rested on his remarkable transcriptions of J.S Bach, which tended to overshadow both his original compositions and his other transcriptions.

This CD contains his complete transcriptions of Liszt. The tradition of a pianist transcribing another composer's music for his own use was time honoured when Busoni made his versions of Liszt's music. However whereas most pianist adapted works to suit their style and technical abilities, Busoni went a step further and wrote everything down, often illuminating his choices with rational and pertinent explanations for his changes. Busoni wrote in 1909 'I no longer play the piano with my hands' -- his intellectual, thought provoking approach to piano playing and his interpretational genius had taken his performances and his view of the music to another level altogether. Listening to these transcriptions is the nearest we can get to hearing Liszt's music through the eyes, ears and mind of one of the finest musicians and greatest pianists the world

39 kr (69 kr)
Image In Festo Angelorum
SOPRANO: Monica Piccinini

From the period's very beginning, a hallmark of Italian Baroque music was its powerful expression of a text's innermost drama -- a characteristic that led to the flourishing of monodic vocal music, which placed a solo voice over a basso continuo accompaniment. As this style spread into sacred music and beyond Italy, composers produced a vast body of works; this new recording journeys through examples from Italy, Spain and Portugal, exploring the colours, styles and characteristics that arose in response to these musical and religious centres' different traditions.

The works featured are diverse, reflecting the wealth of influences that were available to Baroque composers. Pagliardi's dramatic motet 'Ad arma, ad bella' bears the fruits of his career as an operatic composer, while Fray José Vaquedano's two Holy Week Lamentations are highly expressive, particularly striking for their virtuosity. Hispanic influences are clear in Juan Manuel de la Puenta's tonada 'Mininas de Portugal', which depicts a traditional Nativity with Portuguese folk-style touches. There are also three examples from the Santa Maria do Bouro Monastery, near Braga in Portugal, drawn from a manuscript spanning 200 years, and a handful of instrumental works, including Fabrizio Fontana's Ricercare XI, dedicated to Pope Innocent XI.

Fluid and sophisticated performances by the acclaimed soprano Monica Piccinini and harpist Manuel Vilas highlight the richly varied colours, moods and techniques of these pieces. The collection presents a broad cross section of Baroque music from Italy, Spain and Portugal, and listeners will delight in discovering works by a number of little-known composers.

39 kr (69 kr)
Image Chamber Music
Valerius Ensemble:
Sabine de Groote flute,
Ernest Rombout oboe,
André Kerver clarinet,
Otis Klöber bassoon,
Jan Harshagen horn,
Ido Jan Stalman trumpet,
Robert Windak, Joan Dillon violin,
Michele Sidener, Sven-Arne viola,
René Geesing cello,
Ernest Rombout heckelphone,
Inge Lulofs piano

Paul Hindemith, considered the foremost German composer of his generation, believed in a strong link between music and social needs, and regarded the composer as a craftsman; someone who could provide for those needs.

His chamber music is renowned for being unconventional and eclectic; the composer often experimented with a variety of styles and combinations of instruments. The Trio Op.47 uses the heckelphone, a baritone oboe used in several of the works of Richard Strauss. Op.47 is particularly notable for the atmospheric Arioso for this rare instrument. Unusual instrumentation is also found in the Clarinet Quintet, thanks to the appearanceof the E flat clarinet in the central movement, leading the ensemble through a series of waltzes and a fugue of considerable length. The Kleinerkammermusik Op.24 No.2 is one of the composer's best-loved works, showcasing his humorous side through the use of playfuldissonance. Our collection ends with the lyrical beauty of his famous Sonata for Trumpet and Piano.

The Valerius Ensemble enjoys a successful calendar of performances in concert halls and for radio and television, having toured throughout the Netherlands, Spain and Brazil. With a special interest in contemporary music, the ensemble has had several works written especially for it, by composers such as Carlos Míchans and Leo Samama.

39 kr (69 kr)
Image Easter Oratorio
A firm place for this powerful but somewhat neglected Oratorio in the MUSICA SACRA series.

Booklet notes and complete sung texts.

It is well known that Bach was a keen recycler -- always borrowing old musical ideas and refashioning them for different expressive purposes. The Oster Oratorium is no exception in that its origins can be traced back to a secular cantata written in 1725 to celebrate the birthday of Duke Christian of Saxony-Weissenfels. Little over a month later the cantata was performed again, this time with an amended text and new recitatives to suit the celebration of Easter Sunday, but it was not until 1735 that the composer, having made further alterations to the work's structure and scoring, chose to give it the revised title 'oratorio'.

Consisting of eleven numbers, the work begins with two purely instrumental movements taken from an earlier concerto. The third, a duet that was later transformed into a chorus and which may have originally been the concluding allegro of the same concerto, is succeeded by a selection of different suite-based dance forms. Richly orchestrated and complete with trumpets and drums, this uplifting work -- the first of three oratorios by Bach -- is superbly performed by the Motettenchor and Südwestdeutsches Kammerorchester of Pforzheim, under the direction of Rolf Schweizer.

39 kr (69 kr)
Image Works for Guitar
Leo Brouwer (1939) had a promising career as a virtuoso guitarist ahead of him - until an injury to his left hand stopped him from progressing any further. The Cuban then turned his attention to conducting and teaching, both of which would become crucial aspects of his life. Indeed, it was for the purposes of teaching that Brouwer wrote the studies that we find on this disc, although they have proved to be much more than rudimentary training tools.

The first group of studies (published in 1971) showcases a vibrant creativity, with each concentrating on a particular, and sometimes neglected, area of guitar performance. This is also true of the 'Nuevos estudios sencillos' (2003), although the skills demonstrated are motivated by the characteristics of the music of different composers - so that the composer's personal style is essentially the basis of the study, such as the arpeggios of Claude Debussy and the tremolos of Francisco Tárrega. Each of the pensive and tense 'Preludios epigramáticos' (1981) is based on a poem by Miguel Hernández, who was executed in prison during Franco's regime.

Turin-born Emanuele Buono is an internationally acclaimed performer. Among the many prestigious awards that he has received are the gold medal at the Parkening International Competition (2009), the 'Golden guitar' at the XIII Convegno Internazionale in Alessandria (2008) and first prize at the Concorso Internazionale Agustín Barrios in Nuoro (2012).

39 kr (69 kr)
Image Weep & Rejoice, Music for the Holy Week
This disc brings together a collection of vocal works from 17th-century Italian convents - music that is given another dimension thanks to the fact that its primary function was to aid worship. Led by the liturgy, the pieces were often based on prayers of celebration or lamentation, both of which feature prominently in the emotional rollercoaster that is Holy Week (the last week of Lent and the last week before Easter).

The works in this collection were written by a variety of composers - some dedicating their compositions to the nuns (incidentally, one of the most fascinating mysteries surrounding convent repertoire is the fact that these pieces often contain parts for tenor and bass voices - the nuns often resorted to numerous solutions to supplant the lack of male voices, including transposition of lower voices or entire pieces or the use of instruments) and numerous pieces written by the nuns themselves - such as Rosa Giacinta Badalla's affecting Silentio. Several of the works combine voices with instrumental forces such as the viola da gamba, lirone, and baroque guitar. They are all performed by the acclaimed all-female ensemble Cappella Artimisia, founded in 1991 and which has received critical and popular praise both for the rarity and originality of its repertoire.

39 kr (69 kr)
Image John Reading Manuscripts (The)
Riccardo Bonci, organ

A noted organist, composer and teacher in his day, John Reading (born in 1685/6) was obviously something of a networker, acquiring many contacts during his spell as a chorister in the Chapel Royal and thereafter becoming friends with some of the most prominent London musicians of the 18th century. The impresario drew on his professional connections to compile what is now considered one of the most important collections of English organ music from around that period: The John Reading Manuscripts. Still housed in the beautiful surroundings of Dulwich College Library, these volumes elucidate a fascinating period of stylistic transition with regard to organ writing in mid-18th-century England.

John Blow, John James, Maurice Greene, Mr Seedo, John Stanley, John Barrett and John Reading himself: these are among the names featured in the collection and which make up this engaging release. The disc explores the inherent musical possibilities of the voluntary, a improvisatory piece which performed an established role as part of the church service, such as the 'double voluntary' and the '1st' or '2nd' voluntary. Two trumpet airs by Reading are included, works which were probably originally written for the harpsichord because of the high register of their solo parts, and the manuscripts also draw attention the two distinct styles of organ composition then in vogue: the old contrapuntal style of the early Baroque, with its elaborate ornamentation, and the new, lighter textures of the early 18th century - a reflection of the new arrival of Italian opera and the rococo style.

Performing these works with aplomb and drawing full attention to the different national styles contained therein is distinguished Italian organist Riccardo Bonci. The recording was, rather fittingly, made on the Dulwich College premises: Bonci plays the 1760 George England organ in Christ's Chapel of God's Gift.

39 kr (69 kr)
Image Musica Ciclica
Fabio Mureddu, cello
Davide Alogna, violin
Giorgio Mirto, guitar
Duo Bonfanti
Quartetto Indaco
Le Cameriste Ambrosiane
Dario Garegnani, conductor

Young Italian composer Giovanni Albini has an impressive résumé. After gaining full marks in his Composition degree at the Giuseppe Verdi Conservatory in Milan, he later obtained a Masters degree, as well as a BS and MS in Mathematics, and a Diploma in Classical Guitar. Much of his work has been for digital media and his theoretical research explores the relationship between mathematical music theory and composition.

This collection showcases a variety of works from Albini's oeuvre, many of which have been praised for their mathematical significance. Strong links to Western Classical music can be heard in each of these pieces, but mathematical theory is also employed in a variety of ways:

Una teoria della Prossimità is completely determined by mathematics, from its structure to its continuity and notation, and Estatica is formed around the single tone of E and expanded outwards. The collection also features three of the string quartets; with String Quartet No.5 - a rapidly changing piece constantly underpinned by the G minor scale - followed by the strict motion of No.6 and the innovative No.7, which is based on Albini's own specific system of triadic cycles.

This disc boasts a wealth of performers, including the acclaimed string ensemble Le Cameriste Ambrosiane conducted by Dario Garegnani, Quartetto Indaco and Duo Bonfanti, as well as soloists Fabio Mureddu, Davide Alogna and Giorgio Mirto.

Recorded in 2012.

39 kr (69 kr)
Image Austria 1676
Miguel Yisrael, Lute.

1676 was an important year for European lute music -- Thomas Mace published his famous volume Musick's Monument, and the two Austrian composers and lutenists Wolff Jacob Lauffensteiner and Johann Georg Weichenberger were born. Although these composers' works were stylistically similar to the German school of lute music, they carved out a distinct and independent Austrian movement; this new recording by acclaimed lutenist Miguel Yisrael celebrates their achievements through a programme dedicated to their partitas.

Lute music was, in fact, a central part of Austrian culture in the 17th and 18th centuries: the Habsburgs, for example, played the instrument and employed virtuoso musicians to compose and perform for them. In addition to this, Lauffensteiner and Weichenberger were also exposed a wealth of stylistic influences, primarily the intricate French style of lute playing and the emerging Italian style, which featured a greater emphasis on melody. This rich combination of influences is embodied in their music -- idiomatic works blending French textures with song-like melodies that foreshadow the 18th-century galant style.

This recording is a valuable snapshot of the uniquely Austrian style of lute playing that Lauffensteiner and Weichenberger established. Miguel Yisrael's performances demonstrate a deep resonance with this repertoire, and reveal his exemplary approach to the technical and stylistic intricacies of his instrument.

Recordings made in October 2011.

39 kr (69 kr)
Image 12 Etudes
Mariangella Vacatello, piano

The Debussy-year 2012 brought a wealth of reissues on the
market, but surprisingly few new recordings. Reason the more
to welcome this new recording of a generous selection of
Debussy piano works, centred around the substantial "12
Etudes".These works, written in the later stage of Debussy's
creative life, form the apotheosis of his style. Far from any
evocative "impressionistic" Tonmalerei or picturesque
atmosphere painting they are Debussy's answer to the Etudes
of Chopin, purely abstract creations of melody, harmony and
rhythm. Fiercely uncompromising and difficult, they form the
summit of Debussy's piano oeuvre, and one of the highest
challenges to any performing pianist.

The young Italian pianist Mariangela Vacatello likes challenges,
as was convincingly proven by her excellent recording of the
Liszt Transcendental Studies (Brilliant Classics): "...poetic and
playful, her technique knows no limits..a remarkable artist.."
(Piano News) and a "5 Star" review in the German magazine
Fono Forum.

39 kr (69 kr)
Image Passio Caeciliae
Barbara Vignudelli, soprano
David Sebasti, narrator
Coro Musicanova
Fabrizio Barchi, chorus master
Nova Amadeus Chamber Orchestra
Flavio Emilio Scogna, conductor

After studying composition at the Conservatory Santa Cecilia in Rome, Marco Frisina enrolled at a theological college, and was ordained as a priest in 1982. He carries out his ministry in Rome, where he founded and directs the Choir of the Diocese of Rome, which he recently took on tour to the USA. In addition to his sacred vocal works, Frisina has also composed scores for several religious-themed films.

The disc presents the sacred cantata Passio Ceciliae, which tells the story of the virginal Cecilia and details the events leading up to her martyrdom. Characteristics of Frisina's work can be found in the lush harmonisation of the choral movement 'Psalm 45', which is undoubtedly a highlight of the recording, and acclaimed Italian soprano Barbara Vignudelli sings the protagonist role, with David Scogna narrating. Organist Lorenzo Macrì, Coro Musicanova and the Nova Amadeus Chamber Orchestra are conducted by Flavio Emilio Scogna.

Recorded in 2012.

39 kr (69 kr)
Image Complete String Quartets, Vol. 2 (Nos. 8 & 11)
39 kr (69 kr)
Image Flute Quintets
39 kr (69 kr)
Image Violin Sonatas
Andrea Cortesi, violin
Marco Venturi, piano

These wonderful violin sonatas, written a few years before his death in an asylum, belie the dictum that "Schumann started as a genius, and ended as a talent". These are works by a passionate genius, highly original, full of feverish energy, childlike wonder and contemplation.

Included are the sonatas Op.105 and 121, as well as the posthumous sonata in A minor WoO27.

Played with total commitment, in imaginative and improvisatory style, true to Schumann's flights of fancy and romantic spirit, by two Italian musicians, Andrea Cortesi and Marco Venturi, who recorded to international critical acclaim works by Kancheli, Tüur and Glass for Brilliant Classics.

Written with typical haste in just five days - 12-16 September 1851 - and burning with the fire of inspiration, Schumann's First Violin Sonata Op.105 expresses the composer's interior tension with particular clarity, moving between the drive and doubt which he encapsulated with two mock-literary archetypes, Florestan and Eusebius. All three violin sonatas date from the years shortly before his breakdown, attempted suicide and subsequent committal to the asylum at Endenich where he spent his last days, forbidden to compose and deprived of his beloved Clara's company.

That is not to say that the first two sonatas are in any way weak works, even if Schumann himself commented with the deadpan irony usually more associated with his young friend Brahms, 'I don't care for the first violin sonata, so I wrote a second, which I hope has turned out better'. Whatever the motivation, it is certain that Schumann, in spite of his fragile psychological condition, found creative energy to complete another impassioned chamber work in a very short time. As in the first sonata, in this work the febrile expressive and introverted language seems to escape from the typical style of the salons to a restless expression even in the slow movement, where violin and piano converse in an incessant and obsessive way.

This is even more true of the densely polyphonic Third Sonata, which perhaps more than the previous two reveals the demons at Schumann's shoulder, but the composer's particular gift for the swift movement of chamber music lifts all the sonatas from the intricately circular movement which afflicts the heavier textures of other late music for larger forces such as the Mass.

39 kr (69 kr)
Image Lieder & Piano Sonata
Eleonora Contucci, soprano
Costantino Mastroprimiano, fortepiano

Norbert Burgmüller may have died at the tender age of 26, but during his short life he authored a significant number of works that have earned him a place among the foremost composers of the early 1800s. Among his admirers were Schumann and Mendelssohn, the former commenting on how, 'following Franz Schubert's death premature death, nothing could be more painful than Burgmüller's.

Indeed, Burgmüller compares most clearly to Schubert in the lieder repertory, with each composer opting for similar subject matter and poetic diom. Generally more contained and abstract in atmosphere than those of his contemporary's, the former's songs reveal styles that are typical of Schubert's compositions (especially Opp. 3, 6 and 10) but which anticipate the Austrian's later lieder through their daring modulations and close alliance between words and music. Culminating in the Frühlingslied - a gem of a piece with a serene, spring-like atmosphere - these songs give way to the final work on the disc, the Piano Sonata in F minor Op.8, whose first movement touches on Spohr's style and whose Finale is a model of virtuoso élan.

Burgmüller may not exactly be a household name, but it is easy to see from this charming release why he is a composer who deserves more recognition. Eleonora Contucci and Costantino Mastroprimiano (a seasoned Brilliant Classics artist) perform with aplomb, the latter in full command of the wonderful Graf fortepiano - one of only 60 surviving instruments by this foremost Viennese craftsman of the 19th century.

39 kr (69 kr)
Image Music, When Soft Voices Die
Quink Vocal Ensemble
Marjon Strijk soprano
Elsbeth Gerritsen contralto
Harry van Berne tenor
Kees Jan de Koning bass

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.

39 kr (69 kr)
Image Chamber Works With Guitar
Described by fellow composer-guitarist Maximo Diego Pujol as 'one of the most interesting composers I've met in recent years', Giorgio Mirto is a leading light in the world of contemporary guitar music. Following in the footsteps of a series of critically acclaimed volumes dedicated to guitar works and transcriptions by everyone from Mirto's own contemporaries to Rossini and Scarlatti, this new recording focuses the spotlight on Mirto's own compositions.

Music of great imagination and evocation is a defining characteristic of this recording. Tres piezas de Abril, a set of three songs for two guitars, draws inspiration from the vibrant dances of the tango, milonga and candombe, conjuring the characters and colours of Argentina, just as Triste, Solitario y Final is 'drenched in the characteristic atmosphere' of this country. I sentieri del sogno, meanwhile, is an inspired musical re-telling of Sergio Bambarén's The Dolphin, while Su Bentu uses three guitars to give voice to the fierce winds that whip at the coast of Sardinia.

With performances by Mirto himself, in collaboration with additional guitarists and chamber musicians, these pieces are given ample expression. Mirto's deep affinity for his instrument permeates each composition, resulting in a recording that will delight both the casual fan and the connoisseur of guitar music.

39 kr (69 kr)
Image String Quartets, Vol. 1
Diogenes String Quartet

With over 600 lieder as well as sacred, chamber, orchestral and piano music to his name, Franz Schubert was one of the most prolific and influential composers of his generation -- a man whose music, heavily influenced by the likes of Haydn, Mozart and Beethoven, drove critics to later argue whether he was of a Viennese Classical or Romantic disposition. Many of Schubert's instrumental works remained unpublished during his lifetime, and it was only in the decades following his untimely death that the young Austrian's genius came to be fully appreciated.

Schubert is perhaps best known as a song composer, and the first volume of this series focuses on the lyrical qualities of his early string quartets. The disc begins with the 1823 'Rosamunde' Quartet No.13 in A minor D804: rooted in the world of song, the work earned its nickname from the slow movement -- a set of variations on a theme from the composer's incidental music to Wilhelmine von Chézy's play Rosamunde (written the year before). Also featured is the Quartet in D D94, which, despite its late numbering, is now believed to be one of Schubert's earliest string creations. Here the dramatic harmonic shifts point to a composer who, even in his teenage years, was already seeking to escape the confines of the Classical period.

Formed in Munich in 1996, the young Diogenes Quartet stands as one of the most acclaimed ensembles of its generation. Here they perform with aplomb, combining freshness of interpretation with technical mastery to create superlative readings that document the beginnings of Schubert's chamber music career.

39 kr (69 kr)
Image Ester
Over the centuries since his death, the scandalous, life of Alessandro Stradella (1639--1682) has captured the interest of listeners and scholars more than his compositions, influential though they were during his lifetime. The Italian composer's adventures, which included dangerous love affairs, an attempted assassination and the stabbing that ended his life, have inspired novelists, opera composers and film directors.

Yet Stradella's music is every bit as colourful and intriguing as his biography. His oratorio Ester, liberatrice del popolo Hebreo, based on the Old Testament story of Esther, whose bravery saves the Jews from slaughter and exposes the wickedness of the King's counsellor Haman, exemplifies the composer's distinctive style, while conforming to the traditions of the 17th-century oratorio. Moral teaching, vocal virtuosity and sinuous melodies are combined, in a work that expresses plethora of affects and emotions -- from Esther's sorrow to Haman's malevolence.

In this fine recording, the world premiere performance, Il Concento and a group of accomplished soloists deliver a thoroughly researched and historically informed performance (using period instruments), led by the acclaimed conductor Luca Franco Ferrari, a Renaissance and Baroque specialist. This is just one in a series of Stradella recordings issued by Brilliant Classics, who are spearheading the revival of this fascinating composer; those who enjoyed this year's earlier recording of the oratorio La Susanna will be eager to add Ester to their collections.

39 kr (69 kr)
Image Passio Di Venerdi Santo / Passione Secondo Giovann
World premiere recording.

We don't know much about Carlo Sturla, not even the dates of his birth and death, and he is absent from Google -- quite an achievement! The sole reference to him is in the register of the Convent of Santa Brigida belonging to the Sisters of the Sacred Heart. Sturla worked here, but apparently his assiduous attendance upon and training of the young women under his tutelage was viewed with some suspicion.

His Passio di Venerdi di Venerdi di Santo displays a thorough appreciation of contemporary Genovese opera, with recitatives reserved for the dramatic content as was the fashion at the time. The arias therefore do not depict the drama and action, but relay rather vague emotions and feelings. His vocal writing requires agility, and the mocking chorus depicting the crowd reveal a theatrical yearning. The style is simple and the musical writing is linear, but the overall effect is one of delicate lyricism, and graceful but never excessive virtuosity.

This work was probably composed for Holy Week, and any religious establishment that boasted its own choir would often commission local composers to provide music for the services during this busy week. Sturla and his young choir would have been ideal candidates for such a task.

39 kr (69 kr)
Image Chamber Music
Child genius Francesco Cilea, sent to study law at just seven years of age, became a celebrated composer in late-19th- and early-20th-century Italy. Among his most famous works are the operas Adriana Lecouvreur, L'arlesiana and Gina, and the symphonic poem Il canto della vita, which was written in 1913 for the centenary of Verdi's birth. He was awarded membership of the Accademia d'Italia in recognition of his musical achievements.

Many of Cilea's chamber music compositions were written while the composer was in his 20s - these include the Cello Sonata in D and Trio for violin, cello and piano, both of which display a distinctive lyricism that would become a feature of much of Cilea's mature work. The Theme and Variations and the Canto were written much later, and were originally composed for orchestra. Here they are performed in the composer's re-arranged version for piano and cello.

Performing together for the first time on the Brilliant Classics label, each of the performers on this recording enjoys an international reputation: Ilaria Cusano (violin), Jacopo Di Tonno (cello) and Domenico Codispoti (piano).

39 kr (69 kr)
Image Complete Cantatas, Vol. 4
Stefanie True, soprano; Klaartje van Veldhoven, soprano
Contrasto Armonico / Marco Vitale

The 4th volume of Brilliant Classics' recordings of Handel's complete cantatas, performed by Contrasto Armonico and directed by Marco Vitale, gathers together five works that vividly illustrate the composer's skill at setting the words of his texts, creating hitherto unknown emotional depth and nuance from modest orchestral forces.

The musical setting of Clori, mia bella Clori amply displays the genius that would establish Handel as the leading operatic composer of his day, using a range of different combinations of instruments to respond to the subject of each section of the text, from grief and weeping to passionate jealousy. Similarly, in both Pensieri notturni di Filli (Nel dolce dell'oblio) and Lungi n'andò Fileno Handel employs striking dissonance to create a musical counterpart to the despair and suffering of the texts. By contrast, Sans y penser, Handel's only French cantata, is a comic work, closing with a humorous musical illustration of the singer's tribute to drinking.

Handel composed over 100 secular cantatas during his stay in Italy in the early 1700s. He had several patrons; among the most generous and supportive was the Marquis Francesco Maria Ruspoli, and most of the information on the works included on this disc comes from his records.

These cantatas reveal the richness of the young composer's compositional palette, and his ability to depict the content of his texts in such a way that the listener both hears and experiences the emotions of each work. As such, they are an important foreshadowing of his later career as a celebrated operatic composer.

Other information:
- Other titles in the series: Vol.1 (93999), Vol.2 (94000) & Vol.3 (94230)

- Accompanied by a 20-page booklet with notes on each of the cantatas and complete sung texts and translations

- The high level of performance (on historic instruments) and presentation

- Recordings made in 2010

39 kr (69 kr)
Image A German Soul, Devotional Music From 17th-Century
This stylishly devised programme juxtaposes cantatas by Rosenmüller, Krieger and Buxtehude with instrumental chorales and sonatas by Scheidemann, Praetorius, Tunder and Weckmann; most of these now known, if at all widely, as forerunners to Bach rather than as fine musicians in their own right as they deserve to be. During the 17th and 18th centuries, Hamburg became a leading commercial port where material and cultural goods circulated freely. Ensemble Méridien has chosen this city as the focal point of a fascinating musical journey through northern Germany, a journey that reveals different aspects of this artistic power. The port of Hamburg was also the driving force behind the north German organ school of the time. Churches were overflowing with magnificent organs, and their building and playing techniques reached extremely high standards, as is evident from the organ music included here. Though most of the music in this recital has been recorded before, it has only appeared on relatively obscure labels, and not in this imaginative context where one may more fully appreciate its dramatic as well as musical merits.

Founded in Barcelona in 2010, Ensemble Méridien is an early-music ensemble of young musicians; this is its first recording.

39 kr (69 kr)
Image Violin Sonatas
39 kr (69 kr)
Image Frescobaldi Legacy - Piano Transcriptions
Sandro Ivo Bartoli, piano

Although Girolamo Frescobaldi is said to have had a beautiful singing voice, it was his talent as a keyboardist that brought him into the spotlight in Italy in the late 16th and early 17th centuries, and which allowed him the opportunity to frequent such established composers as John Dowland and Orlando di Lasso. After Frescobaldi was appointed organist of St Peter's Basilica in Rome, many aspiring musicians travelled there in order to study with him, and his influence on later composers of the Baroque period is undeniable.

This release is dedicated to arrangements of Frescobaldi's music, with each composition bearing the hallmarks of its transcriber's distinct style. In addition to offerings by Respighi, Bauer and Feinberg, the disc features Reicha's 36 Fugues pour le Pianoforte -- a work that pays homage to the early-Baroque composer through its use of the composer's Recercar Chromatico. The same theme also appears in Ligeti's Omaggio a Girolamo Frescobaldi, a modern interpretation using the twelve-tone scale, and the compilation extends its twentieth-century focus through the inclusion of Bartok -- a composer who, during his years as a touring concert pianist, acquired the Torchi edition of Frescobaldi's works while on a trip to Italy.

In his fourth recording for Brilliant Classics, Sandro Ivo Bartoli -- a leading interpreter of early-20th-century music, hailed as one of the most exciting pianists of his generation -- casts a new perspective on the Italian genius's works and shows the extent to which his music produced a legacy that permeated the Classical period and beyond.

39 kr (69 kr)
Image The Art of the Bassoon Vol. 1
39 kr (69 kr)
Image String Quintet / String Sextet
Ensemble CORDIA
Stanley Ritchie violin I
Hedwig Raffeiner violin II
Olga Arzilli viola I
Guus Jeukendrup viola II
Stefano Veggetti cello I
Franziska Romaner cello II

Anton Wranitzky (1761-1820), a near-contemporary of Beethoven, was a leading figure in Vienna's highest musical circles. He was under the patronage of Prince Lobkowitz and in that capacity he led the world premieres of Beethoven's 3rd and 6th symphonies. Beethoven held him in high esteem as a composer.

Wranitzky's skills and originality are shown in these two works for string ensemble. The Quintet in the unusual combination of 1 violin, 2 violas and 2 cellos, create fascinating deep sonorities from the ensemble. Ensemble Cordia present these beautiful Works for the first time on CD, played on original instruments by leading specialists in the Early Music field. The ensemble already won high critical acclaim for their earlier recordings for Brilliant (Telemann, Baroque arias and others). Although Anton Wranitzky (1761-1820) may not be a household name to listeners today, this skilled composer was one of the central figures of Viennese musical life at the turn of the 18th century. Like his teacher Haydn, he was a recipient of Prince Franz Joseph Maximilian Lobkowitz's patronage and support.

As Kapellmeister and composer for the prince's court ensemble,Wranitzky was at the forefront of Vienna's musical culture, and it was in this position that he led the first private performances of Beethoven's 'Eroica' and 'Pastoral' symphonies, among others. Later in his career he became orchestral director of the main theatres in Vienna, although the patronage that he had relied on dwindled later in his career, as Lobkowitz and other supporters experienced financial difficulties. Wranitzky's chamber music reveals a voice of some individuality. The two works on this disc are scored for fascinating but rather unusual combinations of instruments, possibly in response to the musicians employed at the prince's court: the Quintet in E flat features the grouping of one violin, two violas and two cellos, and the Sextet in G is scored for two each of violins, violas and cellos. In both works, the unusual sonorities that these combinations create are explored imaginatively, while Wranitzky's approach to texture, theme and structure shows him to have been a composer of great skill and originality.

39 kr (69 kr)
Image Guitar Concertos
39 kr (69 kr)
Image Trio Sonatas / Harpsichord Transcriptions from Lul
Despite stylistic differences, which are largely attributable to their difference in age, d'Anglebert and Hotteterre nevertheless have quite a lot in common. Both were active at the court of Louis XIV, obtaining the title of Musicien de la Chambre du Roi, and both were substantially influenced by Jean-Baptiste Lully, the musician who is universally considered the creator of a cultural model for French music that ultimately prevailed over the Italian model.

Jacques-Martin Hotteterre was the celebrated recorder virtuoso-composer of his day, no less distinguished than Paganini and Liszt would be in their own contexts. Hotteterre's gift was for toning down and understating the differences between the French and Italian idioms, skilfully adapting the Italian models to suit his own cultural setting at the royal court in and around Paris, thereby imbuing them with new forms whose original structures are fully integrated into the composition.

A few decades older than Hotteterre, Jean-Henry d'Anglebert adhered to the classic model of 17th-century French Baroque music, his works for harpsichord representing a significant example of the style at its maturity. These transcriptions of works by the master Lully are remarkably dense, not least because the one keyboard has to embrace and express the five parts of Lully's orchestral ensemble. But they are also full of ornamentation, which was a feature of all d'Anglebert's music.

Les Eléments is a dynamic chamber ensemble fully in tune with modern scholarship and historically informed performance values. This is its second recording.

39 kr (69 kr)
Image Complete Organ Music
39 kr (69 kr)
Image Songs and Hymns With Harp
MEZZO-SOPRANO Sophie Marilley
HARMONIUM Claudio Brizi
HARP I Laura Vinciguerra
HARP II Susanna Bertuccioli

Born in 1850 in Bischofswerder, West Prussia (now Poland), Franz Poenitz made his name as a harpist, performing and touring as a child prodigy from the age of six, before spending most of his adult career as a chamber musician at the Berlin Royal Court Opera. He began studying composition when he was 11, and continued to write music throughout his career -- focusing primarily on works for the harp and harmonium, of which he was also a virtuoso.

Although Poenitz's compositions never achieved widespread fame and were forgotten during the course of the 20th century, this fantastic new collection demonstrates why his works -- particularly those for harp -- are experiencing a revival of interest. In the eight pieces, Poenitz's experience as a virtuoso harpist is evident; he makes full use of the instrument's timbre, colour and lyricism to create evocative music of great delicacy. In Spukhafte Gavotte ('Spooky' Gavotte), Heinrich Heine's ghostly poem Maria Antoinette is depicted through a suitably eerie arrangement. Der Fischer sees Goethe's ballad of the same title set in an unusual arrangement for harp and mezzo-soprano, while the evocative Wikingerfahrt may have been inspired by Swedish stories about the Viking Frithiof.

In all cases, Poenitz's ability to write intuitively for the harp is clear, and given full expression by this accomplished group of performers. Featuring world premiere performances of a number of pieces, this new disc is an introduction to this forgotten composer, and will be of particular interest to harp music enthusiasts.

World premiere recordings of rare but fascinating repertoire

39 kr (69 kr)
Image Complete Organ Music
Robert Schumann is probably best known for his copious amount of piano works and lieder - music that, fuelled by vivid imaginings and unfettered emotions, represents one of the highest expressions of the Romantic spirit. It shouldn't be forgotten, however, that the composer also wrote masterly works for the organ, an instrument which interested him only occasionally but which he praised in his Rules for House and Life (1850): 'If you pass near a church and you hear the organ playing, go inside and listen... Never waste an opportunity to practise the organ: there is no other instrument able so swiftly to dispense with all that is impure and imprecise, both in the music itself and in the manner of playing it.'

It was Schumann's deep admiration for J.S. Bach that led him to a detailed study of counterpoint - one which, together with his encounter with the Pedalflügel (a piano with a pedalboard), led him to compose the three groups of works comprising this release. Given that the pedal piano is now all but obsolete, the conventional organ suffices more than adequately for this type of repertoire, and the Mascioni Organ of Pontevico - inaugurated in 2009 and combining traditional elements with innovative design concepts - is a particularly fine specimen on which to play it. Roberto Marini, one of Italy's most accomplished organists and whose repertoire betrays his particular affinity with the Romantic and late-Romantic oeuvre (career highlights include a complete Reger cycle performance) begins his recital with the Six Studies Op.56, works written in strictly canonic form and which reveal the diverse aspects of Schumann's musical personality. The Four Sketches Op.58, pieces of poetic character, close to the style of chamber music, follow, leading to the final and crowning work of the set: the Six Fugues on BACH, a personal tribute the composer's inspiration and the first important composition in musical history to be based on the theme of Bach's name

39 kr (69 kr)
Image Bach Family Organ Music

Heinrich Bach
Johann Michael Bach
Johann Bernard Bach
Johann Lorenz Bach
Wilhelm Friedemann Bach
Carl Philipp Emanuel Bach
Johann Ernst Bach
Johann Christoph Friedrich Bach
Johann Christian Bach
Wilhelm Friedrich Ernst Bach

Sergio Militello, organ

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

Militello has chosen an organ of ideal size and disposition for this repertoire: a new instrument, built to Baroque specifications within the vestry of the magnificent Lower Austrian Benedictine Abbey of Melk, overlooking the Danube on a rocky outcrop and providing a dramatic backdrop to what is already music of continually shifting rhetoric and invention.

39 kr (69 kr)
Image Gentil Senora
39 kr (69 kr)
Image Secular Canons
39 kr (69 kr)
Image Sonatas for Flute and Guitar
FLUTE María José Belotto
GUITAR Gonzalo Noqué

An instrument that is almost entirely absent from the output of the great pre-twentieth-century composers, the guitar has long been viewed as a means to discovering new repertoire and neglected composers. One such example is Ferdinand Rebay, whose works (which have only recently come to light) present a unique case in bridging the central-European gap. This release is dedicated to his two Sonatas for Flute and Guitar.

Rebay believed that the blending of wind and guitar timbres produced a far more attractive sound than that of winds and piano, and the two sonatas -- written in 1942 -- date from an immensely productive period as regards the composer's chamber duo output for guitar. Heavy in dialogue, they reveal a technique deeply rooted in Viennese tradition; from the Neoclassical style of the First, whose Scherzo exudes Beethovenian inspiration, to the stirringly Romance feel of the Second, with its broad phrasing and intensely lyrical passagework, these are two strikingly different works of character that together illuminate a fascinating area of past-century music-making.

In representing the first recording of the two sonatas -- works that currently exist only in manuscript form -- this release forms a significant addition to Brilliant Classics' chamber music discography. The two young Spanish artists on the disc, María José Belotto and Gonzalo Noqué (who created the performing editions), set a high standard with their virtuosic display, arguing a strong case for why this composer deserves to be better known.

First recordings of the works made in 2011.

39 kr (69 kr)
Image Sketches
"The result is one of his most entertaining pieces, playful, memorable, laconic, packed with sly grotesqueries: ideal for the theatre, in other words. The performance and recording do it full justice" (Gramophone,1998)

In 1978 Alfred Schnittke (1934-98) wrote the incidental music for a production of The Inspector's Tale, an adaptation for stage of Gogol's Dead Souls. It was to have been directed by Yuri Lyubimov, but the Soviet government banned the production. A suite was assembled from the score by Gennadi Rozhdenstvensky, and two leading colleagues of Schnittke -- Gubaidulina and Denisov contributed a jointly composed march, which opens this CD. In 1985 the music was choreographed, the ballet, called Esquisses was performed at the Bolshoi. Schnittke composed a number of new pieces for this production. The characters in the action are all from Gogol, but in addition to The Dead Souls, we meet Tchitchikov, Major Kovalyov's Nose, and Ferdinand VIII from Notes of a Madman. A passage from the book is recited in his piece, and is read by the conductor on this CD.

The music is a poly-stylistic, with a huge orchestra (2 electric guitars, flexatone, prepared oiano with coins inserted between the strings), quotations from Beethoven, Haydn, Tchaikovsky -- all with a sense of devilish mischief which suites ideally the grotesque nature of many of Gogol's characters.

39 kr (69 kr)
Image Beethoven and the Guitar
39 kr (69 kr)
Image Music for Flute, Clarinet and Piano
39 kr (69 kr)
Image Concert Arias
The origin of the dialogue between a solo voice and several obbligati instruments dates from the early baroque period (1600), and probably emerged from the hum drum setting of the market square where a singer would perform to the accompaniment of a few wind instruments. More refined relations of this musical form soon could be found in sacred and operatic works. This CD contains the complete obbligato arias by master and pupil -- J.C Bach and Mozart. Therefore we can hear examples of the pre classical (1750-75) and the classical period (1775-1820).

There is one undisputed masterpiece here -- Mozart's Ch'io mi scordi di te? K505 for soprano and piano. The aria is an expression of personal sadness. Nancy Storace, the first Susanna in Figaro, had left Mozart and returned to London. This is no operatic love affair gone wrong, but a real life one. Mozart himself is represented by the piano, Nancy by the stunning soprano role.

Mozart's friend and teacher J.C. Bach has a world premiere recording on this CD. His aria Sventura in van mi lagno of 1773 is an impressive virtuoso work for high soprano with two obbligato horns. One the players J.C Bach wrote for was none other than Giovanni Punto, hence the extremely challenging nature of the horn part for a natural horn.

Other information:
- Recorded 2008
- Booklet notes and sung texts
- Period instruments
- World premiere of a major 12 minute J.C Bach aria

39 kr (69 kr)
Image Secular Choruses
In the field of choral music Tchaikovsky is known as the first Russian composer to have composed cycles of the Liturgy and the Vespers, but his considerable output of secular choral music is less well-known, and a delightful surprise. These secular choruses are little jewels, written for various types of choir, with all the familiar qualities of melody and rich harmony that we associate with Tchaikovsky. Some, including Autumn, Child's Song and A Legend (from 16 Children's Songs Op.54), and the pastoral Dawn were written for solo voice or duet, and Night, a vocal quartet with piano, but Tchaikovsky soon realised that they sounded better as choruses. Autumn and Child's Song both have a tenor solo, and contrast well with each other: a misty autumnal poem of lethargic melancholy and a comical, playful little ditty. Another highlight is the melancholy Old French Air, with its timeless charm, which also appears as a minstrel's song in Tchaikovsky's opera The Maid of Orléans. Other works of note include the radiant Nature and Love, a sentimental trio for soprano, mezzo and contralto, three-part female chorus and piano, and the meditative nocturne Before Sleep, composed in his student years. Greeting to Anton Rubinstein is an extraordinary seven part piece written for the 50th anniversary of Rubinstein's career.

The Nightingale is without a doubt Tchaikovsky's finest achievement in choral music, a magnificent reconstruction of a folk song. The vocal quartet Night is a tribute to Mozart, who Tchaikovsky idolised, and is an arrangement of the middle section of Mozart's Fantasy in C minor for piano. The finale, Neapolitan Air, is a little choral divertissement whose tune was derived from Swan Lake.

About the performers:
The Moscow Academy of Choral Singing, directed by Victor Popov, specialises in performing Russian choral music.

39 kr (69 kr)
Image Complete Piano Sonatas
Maurizio Paciariello, piano

The 'true amalgam of ecstasy and reason' which Glenn Gould found within Paul Hindemith's music is abundantly evident in the three piano sonatas which he wrote fairly quickly in 1936, following the artistic success but deep personal wound created by the first performances of his masterpiece, Mathis der Maler, which was banned by the Nazis as soon as it had been heard. Inevitably these sonatas are more compact and restrained in expression, but their novel forms still enclose furious marches and impassioned laments within the wrong-note counterpoint that was Hindemith's characteristic tone of voice.

39 kr (69 kr)
Image Complete Music for Violin
Carlos Damas, violin
Jill Lawson, piano

Frederico de Freitas (1902-1980) was one of the most important musical figures of 20th century Portugal: a composer, conductor (founder of the Portuguese radio orchestra), writer, teacher and instrumentalist (piano, violin).

His early compositions are inspired by the musical trends of the time (polyrhythms and polytonality). He later developed a more classical style, in which his own harmonic language (augmented modality) and the inspiration of his country's rich folk music tradition are the most important elements.

This CD contains de Freitas' complete works for violin and piano - music of a rich originality, worthy to discover and cherish.

Portuguese violinist Carlos Damas is a strong advocate of this music: sensuous tone, intimacy and passion, perfectly suited to the music's mood. Pianist Jill Lawson is an excellent partner, the duo having already successfully recorded for Brilliant Classics (Antonio Fragoso, works for violin and piano, BC 94158).

The booklet contains excellent liner notes by Ivan Moody.

39 kr (69 kr)
Image Libro d'intavolatura di Lauto
Giovanni Girolamo Kapsberger was active in Italy during the late 16th and early 17th centuries, a time when many questions were arising about the unity of speech and music. Kapsberger was known to influence Girolamo Frescobaldi and Domenico Mazzocchi, but during his lifetime reactions to the composer differed wildly among his contemporaries; he was simultaneously hailed as a genius and reproached for his supposedly lack-lustre compositions. This disc presents the First Book of Tablature of 1611 in its entirety, with the pieces showing the influence of the stylus phantasticus, as outlined by the famous theorist Athanisius Kircher, in which music was not bound by words and could instead take on its own free form.

Bulgarian Yavor Genov studied classical guitar at Sofia University, where he developed a keen interest in music of the Medieval, Renaissance and Baroque periods. He has performed in festivals and recitals throughout Europe and has recorded several pieces for Bulgarian National Radio. This disc marks Genov's first recording for Brilliant Classics.

Recorded in 2012.

39 kr (69 kr)
Image Arrangements for Organ
39 kr (79 kr)
Image Cantates Spirituelles

Le Tendre Amour

In early 18th-century France, René Drouard de Bousset was at the height of his popularity as a virtuoso organist, a role which he combined with teaching as well as part-time composition. De Bousset began associating with the convulsionnaires - a Jansenist religious movement - at around the time in which the craze for the French cantate was sweeping through France, and although there are numerous examples of the cantata, much rarer is the cantate spirituelle, a logical step for De Bousset and of which there are just three known composers. The cantate spirituelle was a form which became increasingly fashionable in the late court of Louis XIV.

Early music ensemble Le Tendre Amour, directed by Katy Elkin and Esteban Mazer, is styled as a mini orchestra. Based in Barcelona, the group has performed at prestigious early music festivals throughout Europe, and their programme of Jewish Baroque music earned them the prize for best interpretation at the Varaždin Baroque Evenings festival in Croatia.

39 kr (69 kr)
Image Nocturnes for Guitar
A highly original selection of guitar works in which the night is the inspiration: darkness, suspense and fright for the unknown, but also the mystery, the sense of the supernatural and the immaterial.

With its romantic and mystical connotations, 'night' has long been the inspiration behind many works of art. This release presents an alternative reading of its beguiling message, detailing a selection of little-known and contemporary compositions that have all been written for guitar.

The compilation contains expert performances by Giorgio Mirto and begins with his 3 Nocturnes -- the first of several Italian works featured on this disc. As well as revisiting the music of Máximo Diego Pujol, whose complete guitar duets are detailed in a former Brilliant Classics' release and whose exotic Nocturno brilliantly captures the sights and sounds of Buenos Aires, the collection also includes Valse crépusculaire -- written by Hungarian-born Miklós Rózsa for the award-winning film Providence. Andrew York's spirited Into dark completes the survey, a work that perfectly encapsulates the American's predilection for mixing classical music with folk and rock elements.

Brimming with colour and expression, these miniature and highly varied evocations form a gem of a recording that is not to be passed up. The compilation is a worthy addition to the guitar enthusiast's library, with the instrument's subtle nuances perfectly capturing night's enigmatic nature.

39 kr (69 kr)
Image Vier Letzte Lieder/Four Last Songs - Orchestral So
'Charlotte Margiono's performance radiates selflessness, a spiritual beauty that is profoundly moving. She sings with brilliance and strength.' (The Times, London, reviewing her performance in Fidelio at Glyndebourne in 2001)

The Four Last Songs of Richard Strauss, more than any other work, sum up the end of their era -- that of romanticism, and the end of the old Germany (the decent, cultured Germany destroyed by the Nazi regime) that Strauss had made his name in. There is an unmistakably valedictory air, and although the songs were not intended to be published as a group (or indeed under the title of Four Last Songs), they were the final works of the composer. He had exiled himself to Switzerland after the war, and lived in reduced circumstances, suffering from the connections he had with the Nazis -- although he had been denazified. His royalties had been frozen, and there was a reluctance to perform his music worldwide.

His fortunes changed in 1947, however, when a festival of his music was staged in London, conducted by the composer and Sir Thomas Beecham. It was a triumph, and at his son's urging, he returned to composition. The premiere of the four songs took place in London's Royal Albert Hall in 1950, one year after the composer's death, with Wilhelm Furtwängler conducting and Kirsten Flagstad as soloist. At the end of the last song, 'Im Abendrot', the audience remained silent.

This disc contains eight other orchestral songs, including the ever-popular Morgen!

39 kr (69 kr)
Image Latin Latitudes
Luciano Tortorelli, guitar

"Latin Latitudes" is a musical journey between two latitudes, connected by latin musical roots. The composers originate from Spain and Italy, Latin and South America.

Astor Piazzolla, Argentina's most famous composer, was the grandson of Italian immigrants, and in his music the melancholy for an abandoned and lost country lends a sweetly poignant atmosphere.

The Waltz by Tárrega brings us back to 19-th century Vienna. Crossing the ocean again we meet Augustin Barrios, who brought European charm to Latin America. Leo Brouwer is Cuba's most famous guitar composer as is Heitor Villa-Lobos for Brazil.

Guitarist Luciano Tortorelli plays also a composition of his own: Dobrú noc Brno. Inspired by a traditional Czech Berceuse it is an homage to the famous Brno Guitar Festival.

39 kr (69 kr)
Image Liturgy of St John Chrysostom
'I attend Mass frequently. The liturgy of St John Chrysostom is one of the most exalted works of art. Anyone following the liturgy of the Greek Orthodox service attentively trying to comprehend the meaning of each ceremony will be stirred to the very depth of his being. I am also very fond of evening prayers. There is nothing like entering an ancient church on a Saturday, standing in the semi-darkness with the scent of incense wafting through the air, lost in deep contemplation to find an answer to those perennial questions: wherefore, when, whither and why?' These are the words of Tchaikovsky writing to his patron Nadezhda von Meck (who he never met), and he continued, 'As you can see, I am still bound to the Church by strong ties, but on the other hand I have long ceased to believe in the dogma ... this constant inner struggle would be enough to drive me out of my mind were it not for music, that great comforter, the most exquisite gift Heaven has bestowed on a mankind living in darkness.' Like Rachmaninoff a few years later, Tchaikovsky had ceased to be a true believer, but he was still drawn to the Church, and was deeply moved by the music of the Orthodox Church. In his case, the conflict between the Church and his homosexuality must have added to his spiritual turmoil. However, he produced some of his most personal and moving music in this setting of the liturgy of the fourth century Patriarch of Constantinople, St John Chrysostom. Although the work met with a mixed response upon its premiere in 1880, this usually ultra-sensitive and self-critical composer was not unduly concerned by the criticism. He knew he had produced a masterpiece, and commented that the performance was one of the happiest moments of his life.

39 kr (69 kr)
Image Magnificat / Ondanomala
Carlo Guaitoli, piano
Orchestre Lyrique et Symphonique de Nancy / Flavio Emilio Scogna

Cristian Carrara (born in 1977) is a highly successful Italian composer, writing in an eclectic post modernist style. Inspired by the minimalist movement, the new spirituality of Pärt and orientalism, he created his own personal musical language in which his Italian feeling for harmoniously flowing melodies is mostly apparent.

This new recording contains the Magnificat for pedal piano and orchestra, In Memoriam Vivaldi (its solemn and mysterious atmosphere inspired by Vivaldi's 'Sinfonia al Santo Sepulcro'), and the Suite per bicicletta and orchestra, written for the 2013 UCI Road World Championships, in which the kinetics of cyclists are captured in a strong pattern of changing rhythms and tempi.

39 kr (69 kr)
Image Fantasias on Operas for Guitar
Roch Modrzejewski guitar

The 19th century was a significant time for both opera and the guitar. Opera was everywhere, and its characteristics gradually began to appear in other styles of music as composers tried to encapsulate the expressiveness and flexibility of the voice into their works. At the same time, the guitar underwent major changes in construction; this disc showcases pieces that combine these two major elements of 19thcentury music, all of which are played by Roch Modrzejewski - praised in Les Cahiers de la Guitare as an 'extraordinary, demanding, gifted and clever guitarist'.

The collection begins with Coste's light and lively interpretations of Bellini's Norma and Il pirata, followed by Legnani's Cavatina from Ernani by Verdi, a simple piece that makes full use of all facets of the guitar. Then come the variations on a theme of Rossini's Otello, by the immensely important guitarist Giuliani, who shows off his skill by combining simple, natural harmonisation and texture at the outset and a brilliant vitality and vigour in the final section. Bobrowicz was known to his contemporaries as the 'Chopin of the guitar', and his variations on Bellini's I Capuleti e i Montecchi display a romantic nostalgia and a regal finale. Mertz explores all sound colours of the guitar in the beautiful Marino Faliero after Donizetti, and the collection ends with the Variations on an air from Bellini's I Capuleti e i Montecchi by Regondi: a work full of innovative modulations and rich texture which transcended the boundaries of 19th-century guitar composition.

39 kr (69 kr)
Image Media Vita: Gregorian Hymns of Death and Resurrect
The Schola Cantorum Karolus Magnus in Nijmegen was founded in 1988. The Schola aims to promote the authentic performance of Gregorian chant as a valuable cultural and liturgical heritage. It mainly relies on the achievements of the studies of the early-medieval manuscripts, as they were taken up in the 19th century by the monks of Solesmes (France) and have been continued there and at other places.

Several scholarly sources have been consulted to compile this fascinating collection of chants concerned with the central tenets of Christian faith. The result may be both deeply satisfying for those experienced in singing and listening to chant, and powerfully affecting for those to whom Gregorian chant represents simply a timeless beauty and spiritual resource.

The starting-point of these performances is the semiology -- a study of the signs (neumes) as mentioned in the manuscripts at the top of the texts.These provide little accurate information about the melody, but all the more about the essential flow of the rhythm that must be practised in the singing.

The Schola Kantorum Karolus Magnus gives concerts across Europe at significant musical festivals, especially those concerned with liturgical performance. This release will capture the imagination of all those who are interested in Gregorian Chant as a living but timeless tradition.

39 kr (69 kr)
Image Cyclorama
4/5 i GP

"Jag ville kolla in den här skivan för coola Balanescu-kvartettens medverkan men fick ett nytt tonsättarskap på kuppen. Britten Jonathan Goldstein är bland annat filmmusikkomponist, och musiken på hans Cyclorama är sorgsen, sprucken och full av filmiska stämningar. Den faller inom det konstmusikaliska fältet med sin minimalism, överlagringseffekter och polytonalitet men är också en genrefri musik som gjord för kontemplation. Jag tog till exempel ett bad och lyssnade samtidigt. Det gick utmärkt, och det enda jag finner onödigt är diatoniska Arvo Pärt-rip-offen Prelude for piano and strings."

39 kr (69 kr)
Image Violin Sonatas
"The record catalogue is awash with recordings of the three Violin Sonatas, but I doubt if any are more satisfying than this. Pauk and Vignoles know each other very well, and the partnership works on every level. The big, high-octane swagger we hear from some international soloists is replaced here by a superbly subtle, understated approach that pays dividends. They take the G major Sonata spaciously, but do not forfeit momentum in the process and the delicacy of the music comes across
convincingly, helped by the warm, well-balanced recording. Pauk's sweet-toned 1714 Stradivari glows with a Viennese affection, and Vignoles partners with superb understanding. Though they are probably at their best in the gentler music, it would be wrong to suggest that any necessary intensity or passion is lacking -- try the development of the Allegro amabile of the A major Sonata, where the passion and excitement are tangible. These are deeply satisfying readings of great music." (MusicWeb)

39 kr (69 kr)
Image Passion Cantatas
A most welcome and original release for the Easter season!

New recordings, recorded in Pistoia, Italy in 2011, performed on original instruments. Booklet includes notes and complete sung texts.

Bernardo Pasquini (1637--1710) was born in the province of Pistoia, Italy. Drawn to Rome like many promising young musicians, his first of many posts was as organist at the Chiesa Nouva church, and in 1667 he obtained a good position in the service of Prince Giovanni Battista Borghese, where he composed ceremonial music at the Borghese Palace and spent the rest of his days. Along with Corelli and Scarlatti, Pasquini played a major part in the musical life of Rome, and was famous for his skill as both a harpsichordist and organist.

The two Passion cantatas featured on this new CD, Hor ch'il Ciel fra densi horrori and Padre, Signore e Dio, were composed for Holy Week at the Borghese Chapel, and comprise miniature oratorios. Although the chapel was relatively small, the instrumental forces used at the time for large-scale oratorios could reach 150 players. Here, the forces are much more modest, but the richness of Pasquini's scoring and the textures he created make for a lush and sumptuous sound. The music is sensual, dramatic and extremely beautiful: Pasquini was a composer of great skill, and his depictions of thunder and lightening as well as stormy seas are truly impressive.

39 kr (69 kr)
Image Haydn: Songs And Cantatas
A new recording featuring one of the most famous and best-loved of all early-music sopranos, Emma Kirkby. Marcia Hadjimarkos performs on a superb modern copy of a Walther fortepiano.

This CD contains the remarkable cantata Arianna a Naxos Haydn composed in 1789. Unlike the later cantata Berenice composed in London in 1795, Arianne is not scored for orchestra. Here the piano is given a virtuoso role especially in the recitatives. The drama of Arianna's desertion by Theseus is superbly realised by Haydn.

In September 1800, Lord Nelson, fresh from his victory over the French in the Battle of the Nile in 1797, visited Eisenstadt, together with Lord and Lady Hamilton. Lady Hamilton asked to sing Arianne during her visit. A member of the British party at Eisenstadt, Cornelia White asked Haydn to set words she had written celebrating Nelson's famous victory. He obliged with the cantata 'Lines from the Battle of the Nile', and work was performed by Emma Hamilton with Haydn at the piano.

The songs on this CD all resulted from a dinner in Vienna on December 1790. Haydn, Mozart and the violinist and impresario Salomon were discussing Haydn's trip to London. It was on this trip that Haydn became friendly with Anne Hunter, a talented poet, and wife of the eminent surgeon John Hunter. She was a friend of Walpole, and soon Haydn was in the 'polite society' of London. Anne either supplied the text, or selected texts by other writers, especially Shakespeare. This was a happy time in Haydn's life, and the songs are heartfelt, and emotional, foreshadowing the romanticism of Schubert, and reflecting possibly the romantic attachments the composer had made in London.

39 kr (69 kr)
Image Il Primo Libro di Recercari
Girolamo Frescobaldi (1583-1643) is the most significant figure in Italian keyboard music before Domenico Scarlatti. He was born in the northern city of Ferrara which, under the Este family had become a major centre for the musical avant-garde. Frescobaldi thrived in this heady environment, and this together with the influences he had picked up from his travels to Rome and Flanders gave his music its distinctive style. He became organist at St Peter's in Rome, and when the new St Peter's was completed in 1615 it was equipped with two superb organs which Frescobaldi performed on during official services and state events.
The ten Recercari on this CD were published in 1615. The word 'recercare' means to search, or tease out. Musically it describes a work in which a short abstract theme, or motif is manipulated through imitation, inversion and so on. In this recording each recercare is preceded by a toccata taken from a manuscript copied for the wealthy Fugger family of Augsberg. Whilst not from Frescobaldi's 1615 set of Toccatas, they do show many of his fingerprints.
Frescobaldi's keyboard music provides a link between the music of Palestrina and Victoria and that of J.S Bach.

Other information:
- Recording made in 2009
- Booklet notes by renowned Frescobaldi scholar Noel O'Regan
- Organ of Chiesa di S. Caterina, Treviso

39 kr (69 kr)
Image Violin Concerto
39 kr (69 kr)
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