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TITLAR FRÅN CHANDOS

Chandos grundades 1979 främst som en label för brittisk musik. I dag räknas den som en av världens mest respekterade och uppskattade lablar för klassisk musik. Bolagets katalog innehåller över 2000 titlar, med allt i från renässans och barock till nyskriven modern musik.

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Image Neeme Järvi - Highlights
This year (2012), we celebrate the thirty-year conducting career of Neeme Järvi with Chandos Records, as well as the conductor's own seventy-fifth birthday. We mark the occasion with this two-disc set of highlights, featuring a varied selection of concert hall rarities and core classics, along with some popular showpieces and examples of Järvi's championing of Estonian and American music. In the course of his conducting career, Järvi has amassed a distinguished discography of more than 440 recordings, well over 150 of them for Chandos.

Järvi has a rare ability to galvanise an orchestra into giving an interpretation of exceptional vigour and drive. Gramophone said of his recently concluded Halvorsen series (from which La Mélancolie and Bojarernes Indtogsmarsch are taken): 'Järvi finds in the music a drama and pathos that might come as a revelation even to the composer.' Also on this disc is the 'Jester's Dance' from Tchaikovsky's The Snow Maiden, a personal favourite of the conductor's, and one that Järvi often performs as an encore at his many concerts around the world.

TRACKS
Carnival op.92. Slavonic Dance op.72 No.2 (Dvorak). La Melancolie. Bojarernes Indtogsmarsch (Halvorsen). No.2 from 'Kindertotenlieder' (Mahler). March from 'Fatinitza' (Suppe). Hungarian Dance No.19 (Brahms). Finale from 'Tanzwalzer' op.53 (Busoni). Minuetto (Bolzoni). Intermezzo from 'Hary Janos Suite' (Kodaly). La Valse (Ravel). Traume (Wagner arr. Svendsen). Morgen! op.27 No.4 (Richard Strauss). Jubel-Overture op.59 (Weber). Huldigungsmarsch WWV97 (Wagner). Solitude (Ellington). The School for Scandal op.5. Adagio for Strings op.11 (Barber). Animato from Symphony No.1 'Afro-American' (Still). Cantando espressivo from Five Pieces (Eller). Waltz Scene 4 Act II from 'The Tale of the Stone Flower' op.118 (Prokofiev). Vocalise - vocal version (Rachmaninov). Lyric Waltz from Ballet Suite No.1. Tea for Two - Tahiti Trot op.16. Festive Overture op.96 (Shostakovich). Reverie op.24 (Scriabin). Credo (Part). Second Song of Lei Melodrama and Jester's Dance from 'The Snow Maiden' op.12 (Tchaikovsky).




49 kr (149 kr)
Image Orchestral Works, Vol. 5
Anna Larsson, soprano
Olle Persson, baritone

Gothenburg Symphony Chorus, Gothenburg Symphony Orchestra / Neeme Järvi

The final volume in our Atterberg series with Neeme Järvi and his Gothenburg Symphony Orchestra is finally out. Recorded on SACD like most of the previous ones, it features two late, again rarely performed symphonies.

The seventh, featured here in its final, three movement form, was written in 1942, fourteen years after its famous predecessor, the Dollar Symphony. Originally in four movements, the work was received dismissively by the critics, and only acquired its final shape in 1969, when Atterberg decided to tear out the last movement from the original score (it became Vittorioso, see Vol. 4). In response to what he regarded as a critical insult, he also decided to baptise the work Sinfonia romantica, just to infuriate the modernistically inclined critics even further.

The composer himself referred to his Ninth and last Symphony as ‘evil’. Setting parts of the Old Icelandic poem Völuspá, it recounts indeed how evil came into the world and how it in the end will lead to total destruction. By this time he had become a very conservative composer, rejecting atonality and dodecaphony. Composed in 1955 and 1956, during a period of much administrative travel in Europe, it is one of his longest works, yet structured as a single movement in large-scale rondo form.

99 kr (159 kr)
Image Orchestral Works, Vol 3
Neeme Järvi and the Gothenburg Symphony Orchestra continue their Atterberg survey with this third volume of symphonies. Atterberg's music will be in the spotlight this summer with the celebration surveying Nordic composers Nielsen and Sibelius. Atterberg sent the first three completed movements of his Symphony No. 1 to Stockholm's Royal Academy, seeking a scholarship in order to travel to several cities in Germany to attend musical performances. When he came back he added a finale with an introductory Adagio in which he, as it were, 'reminded' himself of what he had already composed. The first performance of the symphony, in 1912 also Atterberg's first concert as a conductor was warmly welcomed although the work was thought very modern; six months later it became the first of Atterberg's works to be played abroad. Atterberg also conducted the premiere of his Symphony No. 5, which gets its title 'Funebre' from the slow, tragic second movement, particularly an elegiac motive in the first theme. The movement is a sort of lament over his unaccomplished early dreams and hopes. Atterberg made several revisions to this work, even rewriting the last movement twenty-five years later, and it is the revised version that has been recorded here.



99 kr (159 kr)
Image Orchestral Works, Vol. 4
Gothenburg Symphony Orchestra / Neeme Järvi

The warm and tuneful music of Atterberg - one of Sweden's leading composers in the twentieth century - meets the idiomatic spirit and commitment of the Gothenburg Symphony Orchestra conducted by Neeme Järvi, for volume four in this series.

The third of his nine symphonies, featured here, is a set of three 'West Coast Pictures'. These contrasted movements ('Summer Haze', 'Storm', and 'Summer Night') were inspired by the atmosphere and landscape of the archipelago on the Swedish west coast and written between 1914 and 1916. It achieved great popularity abroad and was in Germany even considered as among the finest symphonic works written so far that century.

The Three Nocturnes are orchestral movements which Atterberg extracted from Fanal (The Beacon), his highly praised third opera, which received thirty performances between its premiere in 1934 and 1957 and is nowadays his most appreciated stage work.

Vittorioso was originally composed as the fourth movement of the Seventh Symphony (Sinfonia romantica) and, like the Three Nocturnes, shares its themes with the opera Fanal; the coupling gives a taste of Volume 5, due for release next year.






99 kr (159 kr)
Image Orchestral Works, Vol. 2: Symphonies Nos. 2 & 8
Gothenburg Symphony Orchestra / Neeme Järvi

Neeme Järvi and the Gothenburg Symphony Orchestra present Vol. 2 in their series of the Symphonies of Atterberg. It is part of a larger recording project focussed on Scandinavian music, which has already seen Neeme Järvi give highly regarded performances of works by the Norwegian composers Halvorsen and Svendsen with the Bergen Philharmonic Orchestra. During his lifetime, Kurt Atterberg was the most renowned Swedish composer both at home and abroad, as well as a successful conductor, critic, and administrator. He was a composer of clearly structured and brightly melodic music, whose large orchestral output includes nine symphonies, of which the Third and Sixth have already been released.

Symphony No. 2 was started in 1911 when the twenty-four-year-old Atterberg was still a student of engineering. It was originally conceived and premiered as a two-movement work, but after a hostile critical response Atterberg added a third movement. Like much of Atterberg's music the symphony is deeply rooted in tradition, following classical forms closely but filling them with harmonies and melodies inspired by Swedish folk music. Atterberg composed the Eighth Symphony in 1944. It features a rich tapestry of Swedish folk material which Atterberg gave fresh harmonies. A playful, vigorous, and light piece, the symphony was well received at its premiere in 1945, even soliciting a congratulatory telegram from Sibelius.



99 kr (149 kr)
Image Symphonies Nos. 4 & 6
Gothenburg Symphony Orchestra, Neeme Järvi

Back in 2010, Neeme Järvi commenced his Scandinavian project with the Bergen Philharmonic Orchestra, offering up idiomatic performances of orchestral works by two of Norway's best-loved composers, Johan Halvorsen and Johan Svendsen. Similar in its approach, this new survey turns to Norway's neighbouring country, with Järvi conducting the Gothenburg Symphony Orchestra in orchestral works by the Swedish composer Kurt Atterberg.

Atterberg was one of Sweden's leading composers in the twentieth century, not to mention a conductor, critic, and founder of the Society of Swedish Composers. Largely self-taught, he developed a compositional style which initially owed much to Brahms and Alfvén, although he was more inclined to paint vivid, loosely structured melodic pictures than to adhere to the traditional classical frameworks. Tuneful, accessible, and fairly folkloristic too, Atterberg's music became more impressionistic by World War I, and it was around this time that he composed most of the works on this CD.



99 kr (149 kr)
Image Orchestral Works, Vol. 1
Marianne Thorsen, violin
Melina Mandozzi, violin
Bergen Philharmonic Orchestra / Neeme Järvi

This is the first volume in a projected series of four, dedicated to the orchestral works of the Norwegian composer Johan Svendsen. As a composer, Svendsen was intrigued and inspired by the new trends in music represented by Wagner, Berlioz, and Liszt, a fascination which is evident in the works on this disc: programme music and rhapsodies. They are performed by the same strong partnership that brought us the highly acclaimed Halvorsen series: the Bergen Philharmonic Orchestra, and Marianne Thorsen on violin under Neeme Järvi, a conductor noted for his recordings of Nordic repertoire.

Svendsen experienced a defining moment in his career in Bayreuth in 1872, when he played in the first violin section of Richard Wagner's own orchestra. He and Wagner met and struck up a close friendship. It was during this time in Bayreuth that Svendsen completed Carnival in Paris, the 'Episode for Orchestra', Op. 9. When Wagner one day looked over the score, he hummed delightedly and said, 'It looks amusing!' - a fitting description of this festive work which shows the influence of Berlioz in its colourful orchestration and clear contrasts. Humour, joy, and breathtaking virtuosity are contrasted with moments of pure romance and lyrical beauty. The premiere was a great success, Edward Grieg, who was present, being overwhelmed by the orchestration.

The Festival Polonaise, Op. 12 was composed in honour of the Coronation of the Swedish-Norwegian King Oscar II and Queen Sophie, and brims with a sense of pomp and ceremony suitable for the grand occasion. The work strikes a vivid contrast to Ifjol gjett e gjeitin (Last year I was tending the mountain goats), a charming set of variations for strings on a Norwegian folk tune. It became one of the composer's great successes, as did the orchestral masterpiece about ill-fated love, Zorahayda, described by the composer as a 'Legend for Orchestra'.




99 kr (169 kr)
Image Orchestral Works, Vol. 1
Neeme Jarvi conducts the Bergen Philharmonic Orchestra in the launch of a revealing orchestral series; the works of Johan Halvorsen. Volume one of this four volume series, features a mixture of well-known works with rarely recorded repertoire. The Entry March of the Boyars is recurrently in the concert repertoire and is programmed with the only available recordings of Andante Religioso, Mascarade Suite and La Melancholie, along with the rarely recorded Symphony No.1. Halvorsen's music is one of the best kept secrets of Norway; he was not only an accomplished violinist and conductor, (he was in fact conductor of Bergen Philharmonic in 1885-1886) he was also among the most prominent Norwegian composers in the generation following Edvard Grieg. His compositions develop the national Romantic tradition of his friends Grieg and Svendsen, but his was a distinctive style marked by brilliant orchestration inspired by the French Romantic composers. This extremely attractive music makes a welcome addition to the catalogue and reflects particular Bergen Philharmonic strengths, the warm tonal richness of the orchestra's strings, and individual excellence of its principal players among them. The Bergen Philharmonic made its BBC Proms debut in 2007. Critical plaudits and public acclaim underlined the quality of an ensemble with long roots and a bright future.



99 kr (149 kr)
Image Orchestral Works, Vol. 3
Marianne Thorsen (violin)
Bergen Philharmonic Orchestra, Neeme Järvi

Neeme Järvi brings us Vol. 3 in his survey of orchestral works by the Norwegian composer Johan Svendsen. This series has received great reviews for its idiomatic performances by the Bergen Philharmonic Orchestra and the violinist Marianne Thorsen. Gramophone wrote of Vol. 2: 'Järvi and his Norwegian forces are on scintillating form... to be treasured.'

This volume takes us to the second half of the 1860s, when Svendsen was in his twenties and had just graduated from the Leipzig Conservatory. At this time the composer found himself captivated by new trends in European music, and in the orchestration of Symphony No. 1 he went in the French direction with a sound full of contrasts. Especially the woodwinds, often placed in their high registers, make a sparkling character in this work. The symphony is dedicated to Carl F. Leche, the Swedish-Norwegian consul in Lübeck 'in deepest gratitude and reverence'. Back in 1863 Svendsen had been stranded in that city without the funds necessary for getting to Leipzig to enter the conservatory. He went to Leche to ask for economic support to go home to Norway, but the consul saw his potential and instead succeeded in getting him an all-important scholarship from the Swedish-Norwegian King.

Also on this disc are Two Icelandic Melodies, on tunes that were likely taken down by Svendsen on a journey to Iceland and the Faroe Islands in the summer of 1867, and the Violin Concerto (1870), which Svendsen himself saw as being new and original, several critics at the time agreeing with him. In this piece, the composer's focus is on the contrast in timbre between soloist and orchestra, rather than the soloist's virtuosic battle against it. His model for the work may well have been Berlioz's Harold en Italie for orchestra and viola.

In 1874 Svendsen had settled down with his family in Christiania. Norwegian Artists' Carnival was composed for the yearly carnival in Christiania's Artists' Association, the intention being to reconcile the cold North and the warm-blooded South. To that end, the work consists of three main themes: a Norwegian folk tune, an Italian folk tune, and a popular Norwegian Wedding Dance. It is one of Svendsen's most acclaimed works, and one that remains a part of the standard orchestral repertoire in Scandinavia.



99 kr (149 kr)
Image Orchestral Works, Vol. 2
Truls Mørk (cello)
Bergen Philharmonic Orchestra / Neeme Järvi

Having recently concluded his Halvorsen series, Neeme Järvi continues his Nordic project with the Bergen Philharmonic Orchestra. This is Volume 2 in the survey of orchestral works by the Norwegian composer Johan Svendsen, a contemporary of Grieg.

In the Cello Concerto, the orchestration is perhaps more introvert than what we usually hear in Svendsen's music.

His Violin Concerto is in the conventional three movements, but here he experimented with the form and designed the concerto in just one movement, enclosing a slow section within a large-scale sonata-allegro structure. The work speaks to the poetic capabilities of the solo instrument, rather than relying on virtuoso passages, and in this respect it demands a cellist capable of bringing out the work's subtle lyrical qualities. Charged with this task is the Norwegian cellist Truls Mørk, described by The Daily Telegraph as 'a player of angelic grace and purity of tone', whose discography spans from a Grammy-award-winning recording of Shostakovich's Cello Concertos to a critically acclaimed recording of Bach's Suites for Solo Cello.

Svendsen was the first really successful Norwegian symphonist. In fact, Grieg is said to have been so overwhelmed by Svendsen's first symphony that he was persuaded to dismiss his own, and focus on more intimate genres. Svendsen's second symphony is as optimistic and youthful as the first, yet perhaps more organically developed and less edgy. The second movement is one of Svendsen's most captivating and deeply felt pieces, moving through several beautiful melodies to arrive at an intensified climax.

Svendsen also wrote four Norwegian Rhapsodies, of which Nos 3 and 4 are recorded here. The set as a whole draws on seventeen Norwegian folk songs and fiddle tunes. The composer picked most of them from Ludvig Mathias Lindeman's collection Ældre og nyere norske Fjeldmelodier (Older and Newer Norwegian Mountain Melodies).




99 kr (149 kr)
Image Orchestral Works, Vol. 4
Melina Mandozzi (violin), Ilze Klava (viola),
Bergen Philharmonic Orchestra, Neeme Järvi

This is the fourth and final volume of colourful and highly appealing orchestral works by the Norwegian composer Johan Halvorsen. The series is performed by the Bergen Philharmonic Orchestra under Neeme Järvi.

Based on the Passacaille (Chaconne) from the Harpsichord Suite No. 7 in G minor by Handel, Halvorsen's Passacaglia is a virtuosic duo for solo violin and viola, later made world famous by artists such as Leopold Auer and Jascha Heifetz.

It starts as a simple arrangement of Handel's original score, but after the presentation of the theme and the first three variations it gradually differs more and more, until it finally frees itself entirely from the original and becomes pure 'Halvorsen'.

Halvorsen wrote extensively for the stage, and his lifelong fascination with 'exotic' elements in music is evident in the 'Dance Scene' from the incidental music to Knut Hamsun's Queen Tamara, a historical play set in the Caucasus. In contrast, the Symphonic Intermezzo from the music to Bjørnstjerne Bjørnson's The King is presented in the style of a tone poem, its language strongly influenced by the musical universe of Liszt and Wagner.

Also on this disc is Halvorsen's orchestration of Grieg's piano piece Norwegian Bridal Procession. Other versions exist, among others by Frederick Delius, but in Grieg's eyes only a native Norwegian could portray rural Norway in music without becoming too romantic or picturesque. Halvorsen's lush, but non-idealising orchestration proved an immediate success, and at concerts and in the theatre over the next twenty-six years Halvorsen conducted the work at least 140 times.

Halvorsen considered his Norwegian Fairy Tale Pictures to be one of his best works. The suite is colourful and vividly programmatic, drawn from music that Halvorsen had written for a children's comedy: violins portray the fairy tale hero, the flute plays the part of the abducted princess, while the villainous troll is represented by a motif in the bass.




99 kr (169 kr)
Image Orchestral Works, Vol. 3
Ragnhild Hemsing, Hardanger fiddle
Marianne Thorsen, violin

Bergen Philharmonic Orchestra
Neeme Järvi, conductor

Neeme Järvi is back conducting the Bergen Philharmonic Orchestra in the third volume in Chandos' series devoted to the orchestral works of the Norwegian composer Johan Halvorsen. They are joined on this recording by Ragnhild Hemsing on Norway's national instrument, the Hardanger fiddle, and by Marianne Thorsen on violin. Johan Halvorsen was a highly prominent figure in Norway's musical life during the first decades of the twentieth century, and the works on this CD are all performed by the orchestra that he himself conducted in the 1890s. Volumes 1 and 2 have both been CD of the Week on Classic FM radio, and of the latter, Classic FM said: '[Halvorsen's] music is distinctive, expertly written, endlessly tuneful and thoroughly engaging... every phrase pulsates with charm and energy, making even the simplest of gestures feel like musical gold.' Halvorsen wrote substantial amounts of music for dramas, but most of it was overshadowed by the success of Fossegrimen, which is one of the most performed dramas ever on the Norwegian stage. Described as a 'troll-play in four parts', Fossegrimen, by Sigurd Eldegard, had its premier in January 1905. On this occasion, Halvorsen was not just the composer and conductor, but also the soloist on the Hardanger fiddle, which for the first time in history was used as a solo instrument with symphony orchestra. Due to tight schedules, Halvorsen often reused earlier compositions when writing music for the stage. 'Danse visionnaire' - inspired by a poem by Arne Garborg and describing a dream vision of girls dancing in the moonlight - was one of these 'recycled works'. The piece was originally included in Fossegrimen, but later abandoned when Halvorsen realised that this would over time be regarded as one of his main works and as such demanded exclusively original music. 'Danse visionnaire', here recorded with the Suite from Fossegrimen for the first time, later gained great success in its own right, not least as ballet music for Norway's most celebrated ballerina in the 1910s, Lillebil Ibsen. Symphony No. 3 was described by Halvorsen himself as a 'lyrical symphony'. It includes the strong Grieg-motif in the first movement, and later scattered references to the First Symphony by Sibelius, Puccini's Madama Butterfly, and Rachmaninoff's Second Piano Concerto. Particularly unusual is Halvorsen's original use of glockenspiel (campanelli) in the Finale, which creates a striking effect. Eventually he reconsidered and crossed out this entire part from the score, perhaps for fear of the critics' reaction. However, for this recording, Neeme Järvi has chosen to restore the glockenspiel to the orchestra to recreate the sound of Halvorsen's original idea.



99 kr (169 kr)
Image Orchestral Works, Vol. 2
HÖGSTA BETYG I SVENSKA DAGBLADET

"Klassisk klarhet präglar den norske nationalromantikern Johan Halvorsens (1864-1935) verk, vars färgrika orkestrering influerats av fransk romantik. Det manligt dristiga i hans personstil tas på kornet av den norska violinisten Marianne Thorsen i 3 Norska danser och Air norvégien för violin och orkester. Fräscht spel av Bergens filharmoniker under Neeme Järvi i den attraktiva Suite ancienne, Halvorsens pendang till Griegs Holberg-svit, och i Symfoni nr 2. Slagnumret Bojarernas intågsmarsch finns på vol 1."
(Svenska Dagbladet)

Marianne Thorsen, violin
Bergen Philharmonic Orchestra
Neeme Järvi, conductor

Neeme Järvi is back conducting the Bergen Philharmonic Orchestra, with the violinist Marianne Thorsen, in this second volume of Chandos' series devoted to the orchestral works of Johan Halvorsen. This Norwegian composer, conductor, and violinist was a highly prominent figure in his country's musical life during the first decades of the twentieth century. The works on this CD are all performed by the orchestra that Halvorsen himself conducted in the 1890s. As in the first volume of the series, they represent Nordic folk-based music at its very best: light and airy compositions with the strings firmly at centre stage. Air norvégien was described by Halvorsen's contemporary, Edvard Grieg, as 'a folk-tune medley, but so well done that the result is a piece of art'.

Because Halvorsen spent more than thirty-six years working at the theatres in Bergen and Oslo, a large proportion of his compositional output is music for the stage. The movements of Suite ancienne were originally composed for the play The Lying-in Room by Ludvig Holberg in 1911. The first two movements, Intrata and Air con variazioni, are in the style of late-eighteenth-century serenades, whereas the Gigue, Sarabande, and Bourrée were modelled after baroque dances. Halvorsen himself counted Suite ancienne as one of his finest compositions.

Halvorsen also composed in more prestigious genres and his Second Symphony is commonly regarded as the best of his three symphonies. Nicknamed Fatum, the Second Symphony is inspired by the work's opening motif which, in the manner of the 'fate' symphonies of Beethoven and Tchaikovsky, is heard in all four movements. In the second movement, Romance, a beautiful oboe cantilena is followed by a dramatic development that draws on the 'fate' motif, and the brisk main motif of the cheerful third movement, Intermezzo - the fate motif cleverly altered in rhythm - belongs among the most successful, and at the same time most personal, that Halvorsen ever wrote.

'The performances throughout are top-notch and Chandos's sound is of demonstration quality'
Gramophone on Orchestral Works, Vol 1

Also available: Orchestral Works, Volume 1: CHAN 10584



99 kr (149 kr)
Image Ivan the Terrible: Concert Scenario
Neeme Jarvi conducts Christopher Palmer's version, preserving the film music to Ivan the Terrible. This re-issue offers this praised recording at Classics price.

'Christopher Palmer strikes again! It is undoubtedly one of the great film scores, and Jarvi more than does it justice with the help of impassioned singing and playing from all concerned.'
(CD Review)



59 kr (89 kr)
Image October Revolution Cantata
This was the first complete recording of Prokofiev's Cantata for the 20th anniversary of the October Revolution, now released on Chandos Classics.

'It is good to have so sharply original and refreshingly dramatic a piece complete on disc at last, and occasional disc that rises far above its first inspiration. As a valuable fill-up comes a suite of excerpts from the folk-tale ballet of 1948, The Stone Flower.'
(3 stars, Penguin Guide)



59 kr (89 kr)
Image Symphonic Suite from War & Peace
This performance was named Recording of the Month in Gramophone on its original release. This only available recording of the Symphonic Suite is coupled with the popular Russian Overture and Summer Night Suite and released on our Classics label.

'Jarvi and the Philharmonia Orchestra are thoroughly ay home in these scores, and the Chandos recording is characteristically spectacular. This is well worth exploring.'
(3 Stars, Penguin Guide)



59 kr (89 kr)
Image Romeo and Juliet: Suites Nos. 1-3
This recording presents the entirety of Prokofiev's highlights from his ballet Romeo and Juliet.

'No one is more warmly dramatic in Prokofiev than Jarvi, making his issues consistently recommendable...'
(The Guardian)



59 kr (89 kr)
Image TRANQUILLITY
99 kr (159 kr)
Image 3CD-BOX: Rusalka
GRAMOPHONE EDITOR'S CHOICE

3 CDs FOR THE PRICE OF 2

"Chandos certainly has guts, going toe-to-toe with Mackerras’s Gramophone Award-winning set. Hickox’s Australian forces need not fear the comparison. Cheryl Barker may not have the refulgent tones of Renée Fleming on Decca (who has?) but she is even more moving in conveying Rusalka’s desperation. Mackerras is still my must-own, but this runs it close."
(Gramophone)

Richard Hickox and Opera Australia’s Australian premiere production of Dvorák’s Rusalka opened to spectacular reviews in March 2007. ‘Hickox and the orchestra capture its sudden changeability and dramatic force, elegantly shaping the luscious, sweeping melodies while inflecting the intoxicating, folk music-inspired rhythms with grace and bite’, noted The Australian. Chandos recorded the performances live and here releases the opera on a 3-CD set.

Inspired by Hans Christian Anderson’s fairy-tale The Little Mermaid, Rusalka tells of a water-spirit who falls in love with a prince. Enlisting the help of a witch, Rusalka becomes human so as to marry him. When the prince tires of her, and is unfaithful, she tries to return to the water, but a condition of her becoming human has been violated and she eventually dies together with the remorseful prince. Her story is of human desire, self-sacrifice and the search for enlightenment.

By the time Dvorák came to write Rusalka, he was an experienced opera composer with nine works to his credit; Rusalka was to be his last and is now a seasoned favourite. Part of the secret of the score’s magic lies in the instrumental colouring. Dvorák was always inspired in his handling of the orchestra, but in Rusalka he reaches new heights of expressive scene painting. In the hands of Richard Hickox these elements are skillfully realised.

Taking the role of Rusalka for the first time in this production, the Australian-born soprano Cheryl Barker won deserved plaudits for her performances throughout the Australian press. ‘It is hard to imagine anyone doing the title role better” (The Australian). ‘Cheryl Barker gives an astonishing performance… she manages to capture the ethereal other-worldly quality of the water spirit, both physically and vocally, and her realization that her love for the prince is not returned is heart wrenching’ (The Canberra Review). She is joined in leading roles by Rosario La Spina, Elizabeth Whitehouse, Bruce Martin and Anne-Marie Owens who also received excellent reviews. The Sydney Morning Herald, for example, wrote, ‘Barker is not the only star. Elizabeth Whitehouse is thrillingly venal as the rival foreign princess, and Bruce Martin, as the water sprite, has insistent potency’.


57 kr (357 kr)
Image Pièces de clavecin
Sophie Yates, harpsichord

Claude-Bénigne Balbastre, the French composer, organist, and harpsichordist, was one of the most famous musicians of his time. His suite of pieces from 1759 is here performed by Sophie Yates on a harpsichord specially chosen for the repertoire, a double manual instrument built by Andrew Garlick in 1996. It is a copy of a French harpsichord by Jean-Claude Goujon, made in Paris in 1748, which today forms part of the collection of the Musée de la Musique at the Conservatoire de Paris. Sophie Yates has made a series of solo CDs for Chandos, many of which have won international awards. She has been described by Gramophone as 'hugely talented' and by BBC Music as playing 'with exceptional poise'.

In the eighteenth century, aristocratic or, ideally, royal patronage was the undisputed key to an artist's success. In the case of Balbastre, the young composer was quickly and efficiently introduced to the Parisian musical circles and high society by no less a figure than Jean-Philippe Rameau, and made a brilliant career. He played at the Concert Spirituel until 1782, became organist of the Notre-Dame cathedral and of the Chapelle Royale, harpsichordist to the French royal court where he taught Queen Marie-Antoinette, and organist to Louis-Stanislav-Xavier, Count of Provence, later Louis XVIII, King of France. His fame grew so great that the archbishop of Paris had to forbid Balbastre to play at Saint Roch during certain services, because the church drew excessive crowds whenever he played.

Because of his royal patronage, Balbastre developed a compositional style that displayed strong elements of nobility and grandeur, but there was also a great deal of exuberance, which meant that his works were commonly regarded as more popular than intellectual. The music on this recording takes the form of descriptive 'pièces de charactère'. Some of them - 'La Suzanne', for example - require a sparkling virtuosity, whilst others, such as 'La Berville', calls for the sensitivity to create a supple line. The title Giga at the top of 'La Lugeac' is a clue to its Italianate vigour, and its infectious spirit shows off Balbastre's gift for the common touch. 'La d'Hericourt' and 'La de Caze' are more noble and traditional. By contract, the pastoral style, so very popular in eighteenth-century France, is clearly heard in the so-called Air Champêtre, 'La Castlemore'.

This collection of pieces was composed at the time when Balbastre was enjoying his greatest success in Paris, just before the old regime and all that went with it came to a dramatic end. It embodies the last flowering of the French harpsichord repertoire.



59 kr (149 kr)
Image Violin Concerto
69 kr (159 kr)
Image Ten Years of Musica Italiana
This special '2for1' compilation release celebrates ten years of Gianandrea Noseda's Musica Italiana series. During this time Noseda has shown a remarkable commitment to championing long forgotten scores by well-known composers as well as the finest works by altogether neglected ones.On Disc 1 he revives several works long absent from the concert hall. His recordings of the Symphony No. 2, Symphonic Fragments and Concerto for Orchestra excerpted here have brought Casella's music to a new and passionate audience. Luigi Dallapiccola, a composer very close to Noseda's heart, is known for his lyrical Italianate take on Schoenberg's twelve-tone system; three contrasting works are represented here. The Respighi recordings heard here look beyond the tone poems for which he is best known, shining a light on some equally ravishing scores. Disc 2 presents a collection of orchestral movements from the richly romantic Italian operatic repertoire of the nineteenth and early twentieth centuries. Alongside works by the towering masters Verdi and Puccini are less familiar ones by Wolf-Ferrari, Giordano, Ponchielli, and Mascagni. Completing this celebration of Italian music are substantial excerpts from choral works by Goffredo Petrassi, taken from a recording that was widely praised, earning a BBC Music Magazine Award nomination.



59 kr (149 kr)
Image Duo Sonatas, Vol. 5
Duo Amadè:
Catherine Mackintosh, violin
Geoffrey Govier, fortepiano

Catherine Mackintosh and Geoffrey Govier formed Duo Amadè in the 1980s, specifically to perform the charming and intimate works for keyboard and violin by Mozart in concert.

This disc marks the conclusion of the five-volume series. 'Engaging performances that gently seduce the listener... so alluring and believable it feels as though one has travelled back in time in a musical Tardis', wrote Classic FM of Vol. 4 (CHAN0781). In this final volume, featuring the sonatas KV 454 and KV 547, Duo Amadè once again offers historically informed performances of a similar spirit and style.

The violinist Catherine Mackintosh has long been recognised as a pioneering early music performer, and in recording the complete cycle of duo sonatas by Mozart she is fulfilling the ambition of a lifetime. Best known as the former leader of the Orchestra of the Age of Enlightenment, she plays with The Purcell Quartet, among others, and is a distinguished teacher.

Her partner in Duo Amadè is the fortepianist Geoffrey Govier, who over the last twenty years has worked with singers such as Gerald Finley, Charles Daniels, and Catherine Bott, the horn player Andrew Clark, and the chamber groups Ensemble Galant and The Revolutionary Drawing Room. He finds time for both editorial work and research into the development of the fortepiano.

Geoffrey Govier plays an instrument made by Christopher Clare in Cluny after Anton Walter, while Catherine Mackintosh plays a violin by Giovanni Grancino, dating from 1703. The instruments bring a lightness and freshness of articulation to these delightful works, entirely in keeping with the spirit of enlightenment in which the sonatas were written.




59 kr (149 kr)
Image We Shall See Him as He Is
Patricia Rozario, soprano
John Mark Ainsley, ténor

BBC National Chorus of Wales - Britten Singers - Chester Festival Chorus - BBC National Orchestra of Wales - City of London Sinfonia - Bournemouth Symphony Orchestra - Richard Hickox




59 kr (149 kr)
Image Duo Sonatas, Vol. 4
Duo Amade:
Catherine Mackintosh, violin
Geoffrey Govier, fortepiano

Catherine Mackintosh and Geoffrey Govier formed Duo Amadè in the 1980s, specifically to perform the charming and intimate works for keyboard and violin by Mozart in concert, often with readings from his family letters.

This is the fourth volume in the series of Mozart's accompanied sonatas. The first volume was made an Editor's Choice by Gramophone in recognition of its musicality and 'historically informed performances', while the second volume was made a Critic's Choice in the same magazine. In this latest volume of duo sonatas, featuring KV 377, KV 379, KV 403, and KV 481, Duo Amadè once again offers performances of a similar spirit and style.

The violinist Catherine Mackintosh has long been recognised as a pioneering early music performer, and in recording the complete cycle of duo sonatas by Mozart she is fulfilling the ambition of a lifetime. Best known as the former leader of the Orchestra of the Age of Enlightenment, she plays with The Purcell Quartet, among others, and is a distinguished teacher.

Her partner in Duo Amadè is the fortepianist Geoffrey Govier, who over the last twenty years has worked with singers such as Gerald Finley, Charles Daniels, and Catherine Bott, the horn player Andrew Clark, and the chamber groups Ensemble Galant and The Revolutionary Drawing Room. He finds time for both editorial work and research into the development of the fortepiano.

Geoffrey Govier plays an instrument made by Christopher Clare in Cluny after Anton Walter, while Catherine Mackintosh plays a violin by Giovanni Grancino, dating from 1703. The instruments bring a lightness and freshness of articulation to these delightful works, entirely in keeping with the spirit of enlightenment in which the sonatas were written.








59 kr (149 kr)
Image Unknown Purcell (The)
Hazel Brooks (violin)
David Pollock (harpsichord)

On this recording we have a selection of works for solo harpsichord and for violin and continuo by Daniel Purcell, most of which are premiere recordings. Traditionally, Daniel Purcell has been known primarily as the younger brother of Henry Purcell (though a strong argument can be made that they were cousins), and it has been said that it was from this family connection only that he derived 'what little reputation which as a musician he possessed' (Sir John Hawkins). It is not true, however, that Daniel's legacy was based entirely on the fame of Henry. Daniel lived for over twenty years after Henry's death in 1695, adopting styles and forms that only became popular in England around 1700, including the da capo aria, the Italianate cantata and - most relevant to this recording - the solo sonata.

Nearly all of Daniel Purcell's surviving solo harpsichord music consists of arrangements, the only clear exception being the short Toccata, a brief essay in the style of the preludes from Henry Purcell's harpsichord suites. The Suite is a simple but effective arrangement of movements from the composer's own suite, for four-part strings, for Farquhar's play The Inconstant. The expressive Rondeau is also likely an arrangement of a piece for four-part strings. The other three harpsichord pieces are simple arrangements of Daniel's songs, derived from Oxford manuscripts, and reflecting Daniel's links with the city.

Daniel Purcell also wrote a great deal of music for violin (or recorder) and continuo. The Chaconne is a cut-down version of a four-part piece from his suite for Trotter's play The Unhappy Penitent. Also on this disc are several Sonatas for violin and continuo, inspired by the works of the Moravian composer Gottfried Finger (c. 1655 - 1730), as evident in the cheerful tunefulness of these works, the avoidance of counterpoint, and a fondness for short movements connected in a 'patchwork' fashion.

The violinist Hazel Brooks and harpsichordist David Pollock - also known as Duo Dorado - have been charming audiences with their performances since 1999. Inspired by a shared commitment to present music of the seventeenth and eighteenth centuries in an accessible way, these two prize-winning musicians have performed together throughout the UK and beyond. Programmes by the duo have been praised for their varied and colourful textures; of one recording, Early Music Review wrote: 'The performance from Hazel Brook is assured and stylish, complemented by some fine continuo accompanying as well as spirited solo playing from David Pollock.'



59 kr (149 kr)
Image Lieder, Vol. 1
Christiane Libor, soprano
Carsten Süss, tenor
Jochen Kupfer, baritone)
Stacey Bartsch, piano

This is Volume 1 in a planned series of two, devoted to the rarely recorded but striking and imaginative Lieder by Wilhelm Kienzl, a composer of the romantic post-Wagner era. The works are performed by artists steeped in the Lieder tradition: Christiane Libor, Carsten Süss, Jochen Kupfer, and Stacey Bartsch. Kienzl was an active music director in Austria, The Netherlands, and Germany, and a noted author. His autobiographical volume, Aus Kunst und Leben (1904), is valuable for his recollections of Wagner, Wolf, Smetana, Johann Strauss, Brahms, Verdi, and Loewe, and his collection of music criticism, Im Konzert (1908), shows him to have been an independent-minded musician who was open to the new music being created by his contemporaries. But above all, Kienzl was a composer for the voice, and chiefly known for his operas, the extremely popular Der Evangelimann in particular. He also wrote piano and chamber music, including three string quartets, and well over 200 songs (Lieder), a genre to which he added right up until his last years. The selection of Lieder on this recording span the earlier part of Kienzl's career and shows him to have had impeccable literary taste. The settings include classic poems by the likes of Goethe, Eichendorff, Heine, and Lenau to contemporaries such as Robert Hamerling, and to folk-like texts by Elisabeth, the Queen of Romania, and others. The Heine poem that Kienzl entitles 'Traumesahnung' also appears in Schubert's Schwanengesang as 'Ich stand in dunkeln Träumen'. Kienzl's setting is very different from Schubert's, but emotionally very powerful: the rushing, turbulent semi-quavers of the piano part and the vocal part sharply evoke a sense of loss and desolation. In contrast, Kienzl's 'Lenz!', the first of a set of 4 Frühlingslieder to words by Sophie von Khuenberg, is a rippling stream of bubbling arpeggios that propels the joyous passions of this high-spirited spring song. 'Gesunden' is an altogether more ambitious song, built of several elements, including the triplet accompaniment, the left-hand piano motif at the beginning, and the singer's soaring melody. This is arguably one of Kienzl's finest songs.



59 kr (149 kr)
Image Czech Music for Strings
Janácek Chamber Orchestra

This recording presents music by the Czech composers Janácek, Martinu, and Haas, all of whom were prominent figures in their country's musical history during the early twentieth century. The works are performed by the Janácek Chamber Orchestra, which has won awards for their interpretations of Czech music.

Janácek wrote his String Quartet No. 1 during a particularly creative period towards the end of his life. It took its inspiration from Tolstoy's novella The Kreutzer Sonata, a portrait of a loveless marriage. The dramatic power and deep emotion of this work, coupled with some extraordinary textures and eccentric orchestration, place it among the greatest string quartets ever written. It is here played in a version for string orchestra. Also recorded is the Suite, one of Janácek's very first works for orchestral ensemble.

Pavel Haas was considered the most gifted of all of Janácek's many students. A composer of Jewish descent, he was transported to Auschwitz in 1941, where he died in 1944. The Study for String Orchestra was written in the summer of 1943 for the Auschwitz camp string orchestra, and the first performance of the work is preserved in part in a German propaganda film.

After Janácek, Martinu was the leading Czech composer of the last century. A highly prolific composer, he often wrote at great speed and the prize-winning Sextet for Strings is no exception. It was written in just seven days in May 1932. This work displays a real exuberance, from the energetic opening movement through to the spirited finale.




59 kr (149 kr)
Image LONDON SYMPHONY ORCHESTRA, ROYAL SCOTTISH NATIONAL
59 kr (89 kr)
Image Piano Sonatas
"Alexander-Max has an appreciation for Hummel's writing that comes through clearly in her confident and skilful playing, and, although she easily could, she is careful not to grab the spotlight all for herself."
(All Music Guide)

Finalist in the International Bach Competition, Susan Alexander-Max is a graduate of the Juilliard School of Music, and a native of New York City. Her previous recording of chamber music by Hummel was awarded top ratings from BBC Music Magazine and was received throughout the world to outstanding critical acclaim. Highlights of her performances include some of the world's most prestigious venues and festivals, including the Cheltenham International Festival of Music; Queen's Festival of Early Music, Belfast; the English Haydn Festival; the Haydn Festival, Eisenstadt, Austria; the Vleeshuis Museum, Antwerp; and the Prague Spring International Festival of Music. Susan Alexander-Max performs these rarely recorded sonatas on a Joseph Brodmann fortepiano built in Vienna in 1814. It is the first time they have been recorded on a period instrument. During his stay in Vienna between 1811 and 1816, Johann Nepomuk Hummel very probably knew and played the Brodmann pianofortes, identical to the one in the collection at the Museé de la musique where the performances were recorded.



59 kr (149 kr)
Image STRING QUARTETS VOL. 6
97 kr (357 kr)
Image Piazzolla, Vol. 2
Württembergische Philharmonie Reutlingen/Gabriel Castagna

Astor Piazzolla

Buenos Aires

Concerto for Bandonéon, Strings and Percussion

Mar del Plata 70

4 Estaciones Porteñas



59 kr (159 kr)
Image Nobuya Sugawa plays Honda, Yoshimatsu, Ibert & Lar
Nobuya Sugawa is one of the most distinguished wind instrumentalists in Japan. He is joined here by the BBC
Philharmonic under Yutaka Sado to perform works by Yoshimatsu and Honda, both of which are dedicated to him. He also plays works by Ibert and Larsson which are firmly established in the saxophone’s concert repertoire. Sugawa performs in Japan and throughout the world and over the years has received numerous prizes and awards.

Takashi Yoshimatsu, who has a long-term association with Chandos, in 1994 wrote a concerto for Sugawa titled Cyber-bird, a piece which utilises all the functions of the saxophone, and fuses classical, ethnic and jazz styles. When Sugawa approached Yoshimatsu for a new concerto, the composer declined, saying, ‘I can’t compose a new work that surpasses the last one’. Yet, when the idea of a soprano saxophone concerto was mentioned, he writes, ‘I thought, maybe I can compose a concerto for the soprano sax that highlights “calm”, in contrast to the “motion” characteristic of Cyber-bird, and so I started to structure a new work’. The ‘Albireo’ of the title is the name of the double Beta star that sits at the beak of the constellation Cygnus. These two stars shine respectively bright goldenyellow like a topaz and bluish-green like a sapphire. Yoshimatsu continues, ‘Albireo Mode symbolises the character of the soprano sax, which is two-fold, combining both coolness and heat, both beauty and depth. That is why I named the cool and beautiful first part “Topaz” and the hot and deep second part “Sapphire”’. The work was premiered by Sugawa in 2005 at the Symphony Hall in Osaka.

Toshiyuki Honda began his professional career as a saxophonist. He writes of the connection between Sugawa and the Concerto du vent, ‘Nobuya Sugawa, a saxophone player like me and a friend whom I respect very much, entrusted me with the task of writing a concerto for him, a concerto that would represent a tribute to jazz. People tend to associate jazz with ad lib and rhythm and blues, but we took a slightly different direction… It was a great honour to be able to record with the BBC Philharmonic and Nobuya Sugawa… “Vent” is the French word for wind. Please think of the Concerto du vent as a Concerto of the wind’.

Completing the recording are Ibert’s Concertino da camera, one of the best-known works for alto saxophone, by a composer Yutaka Sado has conducted on many occasions, and Larsson’s popular Concerto for Saxophone and String Orchestra.



59 kr (149 kr)
Image CELLO SONATAS
59 kr (159 kr)
Image SYMPHONY No. 14
59 kr (159 kr)
Image WIND SERENADES (NL WIND)
59 kr (159 kr)
Image Piano Trios (Ghost) & (Archduke)
59 kr (159 kr)
Image Percussion Works
99 kr (159 kr)
Image SONGS VOL 2
59 kr (159 kr)
Image WORKS FOR CHORUS & ORCHESTRA
59 kr (159 kr)
Image Overtures & Orchestral Works
59 kr (159 kr)
Image ORGAN WORKS
Piet Kee plays Bach and Buxtehude on restored organ of St Laurens, Alkmaar.

59 kr (159 kr)
Image B MINOR MASS
Collegium Musicum 90, Richard Hickox, conductor.

99 kr (359 kr)
Image SONATAS FOR STRINGS
Purcell Quartet plays Jean-Marie Leclaire's Sonatas for strings.

59 kr (159 kr)
Image HANDEL: Apollo e Dafne
Collegium Musicum 90, Simon Standage, director, Nancy Argenta, Michael George.

59 kr (159 kr)
Image VIVALDI: OTTONE IN VILLA
59 kr (359 kr)
Image MARCELLO: ARIANNA
59 kr (447 kr)
Image CARNEVALE VENEZIANO
59 kr (159 kr)
Image Duo Sonatas, Vol. 2
Catherine Mackintosh and Geoffrey Govier formed Duo Amadè in order to perform the charming and intimate works of Mozart for this combination in concert, often with readings from his family letters. In 2006 Duo Amadè performed the whole cycle at the Royal College of Music. The first set of Duo Sonatas was released in late 2008 and received a Gramophone Editor's Choice in praise of its musicality and 'historically informed performance'. Mackintosh in particular has long been recognised as one of the pioneering early music protagonists and is fulfilling the ambition of a lifetime with the complete cycle of Duo Sonatas. Duo Amadè once again offers a charming and intimate performance, presenting the Opus 1 sonatas KV 296, 304, 305 and 306 written in 1778 when sonatas for the piano 'accompanied' by a violin were then all the rage. Geoffrey Govier plays a fortepiano after Anton Walter made by Christopher Clare in Cluny while Catherine plays a violin dating from 1703 by Giovanni Grancino. These instruments bring a lightness and freshness of articulation to these delightful works, entirely in keeping with the spirit of enlightenment in which the sonatas were written.



59 kr (149 kr)
Image Cantatas & Chamber Music
The soprano Clara Rottsolk joins Tempesta di Mare Chamber Players for a disc of cantatas and instrumental music by Alessandro Scarlatti. Though his cantatas and operas are little known today Scarlatti was a titan in his time, closely associated with Rome's Arcadian Academy and an inspiration to the much younger Handel, a frequent visitor to the Academy. Scarlatti's specialty was the cantata, the operatic equivalent of the short story, in which music and narrative are distilled to their core, resulting in beautiful and moving yet succinct multi-movement vocal works. Tempesta di Mare has programmed four rarely performed Scarlatti cantatas, the Quella pace gradita, Bella dama di nome Santa, Non sò qual più m'ingombra (Cantata Pastorale) and Bella, s'io t'amo alongside Concerto IX in A minor. 'We chose these cantatas to show the range of things that Scarlatti does with one voice and a small complement of instruments', says Gwyn Roberts, artistic co-director of Tempesta di Mare. The cantatas are complemented by a concerto. Scarlatti's instrumental music, like the vocal music, is much more concerned with the intricate interweaving of voices and the subtle detail of line than it is with raw virtuosity. Concerto IX, which appears in a manuscript collection dated 1725 (the year of Scarlatti's death) certainly bears this out. Scarlatti's use of the recorder, both here and in the rest of the programme, reflects the recorder's great popularity throughout most of Scarlatti's career.



59 kr (149 kr)
Image Duo Sonatas, Vol. 3
Catherine Mackintosh and Geoffrey Govier formed Duo Amadè in order to perform the charming and intimate works for keyboard and violin by Mozart in concert, often with readings from his family letters. In 2006 Duo Amadè performed the whole cycle at the Royal College of Music. Catherine Mackintosh in particular has long been recognised as a pioneering early music spirit and in recording the complete cycle of duo sonatas is fulfilling the ambition of a lifetime.

The First Volume (CHAN 0755) of Duo Sonatas was released in late 2008, being made an 'Editor's Choice' by Gramophone in recognition of its musicality and 'historically informed performance'. The Second Volume (CHAN 0764) was a 'Critics' Choice' in the December 2009 issue of the same magazine, Duncan Druce writing: 'I've been enjoying the infectiously enthusiastic music-making on Duo Amadè's second volume of Mozart sonatas. In these wonderful works, Geoffrey Govier and Catherine Mackintosh give the instrumental dialogue the wit and verve of a spirited operatic exchange.'

In this third collection of sonatas, featuring KV 376, KV 378, and KV 526, Duo Amadè once again offers performances of similar spirit and style.

Geoffrey Govier plays a fortepiano made by Christopher Clarke in Cluny, after an instrument by Anton Walter, while Catherine Mackintosh plays a violin by Giovanni Grancino, dating from 1703. These instruments bring a lightness and freshness of articulation to these delightful works, entirely in keeping with the spirit of enlightenment in which the sonatas were written.

Also available:
Vol. 1: CHAN 0755
Vol. 2: CHAN 0764





59 kr (149 kr)
Image TSAR OF INSTRUMENTS
59 kr (149 kr)
Image EIN DEUCHES REQUIEM
59 kr (149 kr)
Image STREET SONG
59 kr (149 kr)
Image Petite École de la mélodie
Giudo Rimonda is a highly respected violinist in Italy. He is accompanied here by Cristina Canziani and together they perform three intimate works arranged for piano and violin. Born in Saluzzo, Piedmont, Guido Rimonda plays a 1721 Antonio Stradivari (the 'Jean-Marie Leclair') and a 1991 Dario Vernè. . He currently teaches violin at the Conservatory of Pavia. Born in Trieste, pianist and harpsichordist Cristina Canziani trained there at the Giuseppe Tartini Conservatory. In 1992 Canziani and Rimonda founded the Orchestra Camerata Ducale, dedicated to the music of Giovanni Battista Viotti. Dancla's Petite École de la mélodie, Op 123 receives its world premiere recording, and it is coupled by the Wagnerian influenced D minor Sonata for violin and piano by Saint-Saëns' D minor Sonata for violin and piano, and completed by Massenet's Meditation from his opera Thais performed in the arrangement for violin and piano. French composer Dancla can be regarded as the last exponent of the classical French school of violin playing founded in the late 18th century by Viotti. One of Viotti's favourite students was indeed Pierre Baillot, himself Charles Dancla's most influential teacher. Petite Ecole de la melodie consists of twelve charming pieces for violin and piano and fully reflect the characteristics of the salon music popular at the end of the 19th century.



59 kr (149 kr)
Image Chamber Works
Commemorating 50 years since Martinu's death, the Birmingham Conservatoire's Ensemble-in-Residence, The Schubert Ensemble, together with the Conservatoire's Principal, George Caird, perform a varied programme by this prolific Czech composer, who spent much of his life in exile. The recording illustrates both his versatility and his fantastically colourful musical language, and culminates in the exhilarating piano quartet, which is considered to be one of Martinu's finest chamber compositions from his American years. It was immediately after completing this work that Martinu embarked upon writing the first of his six substantial symphonies, major contributions to the symphonic legacy of the first half of the twentieth century. Two of the other works on this disc were also written in his during his stay in America - Piano Trio No.3, and Quartet for oboe, violin and piano. Duo No.2 in D for violin and violoncello completes the programme. After 26 years at the forefront of British chamber music, the Schubert Ensemble is firmly established as one of the world's leading exponents of chamber music for piano and strings.



59 kr (149 kr)
Image Within a Dream: A Celebration of Richard Hickox
The premature death of Richard Hickox on 23 November, 2008, at the age of just 60, deprived the musical world of one of its greatest conductors. The depth and breadth of his musical achievements were astonishing, not least in his remarkable work on behalf of British composers. Richard had a long and deeply fulfilling relationship with Chandos that enabled him to realise his artistic vision. His recorded legacy remains as a testament to his musical ability and the excerpts on this two-CD set have been chosen to capture all aspects of his art. It was difficult to know what to leave out as Richard seemed never to make a poor recording. However here we have some of his greatest achievements, from the original recording of Vaughan Williams' A London Symphony to the poignant setting of Delius' Songs of Sunset from which the title of this celebration - Within a Dream - is taken. In between there are excerpts from Britten operas, from the Grainger, Arnold and Holst series as well as much beyond British music, including Mendelssohn, Menotti, Hummel and Beethoven. The breadth and depth of Richard Hickox's achievements were astonishing as this brief selection of his music-making demonstrates. Through these recordings we can continue to marvel at the consistent high level of his interpretations whilst wondering what more he could have achieved had he lived to eighty. Chandos will donate the royalties from all sales of this disc to The Richard Hickox Foundation, supporting those causes about which Richard felt passionately including British composers, support for young conductors and singers and performance of British music outside the UK.



59 kr (179 kr)
Image Susan Gritton sings Britten, Finzi & Delius
One of Britain's leading lyric sopranos, Susan Gritton here performs a unique programme of works by three English composers, with the BBC Symphony Orchestra under Edward Gardner, ENO's Musical Director. The quintessence of Finzi, Dies natalis sets texts by the seventeenth-century poet Thomas Traherne, which reflect the joy and wonder of a newborn child's innocent perspective on the world. The richly textured, resourceful string writing and the long melodic lines are hallmarks of Finzi's style. The subtle inflections of the word-setting and lyricism have attracted many leading vocalists both in concert and on disc. Although particularly associated with the tenor voice, Dies natalis was premiered, and is increasingly performed by, sopranos. This premiere recording of the version of Delius's A Late Lark for soprano voice is currently the only available recording of the work. A setting of W.E. Henley's poem 'I.M. Margaritæ Sorori', it offers a lovely lyrical reflection of the serene acceptance of death and is especially poignant as it was one of Delius's last works. Eric Fenby, Delius's friend and amanuensis, recalls that one day after he had read the poem through to Delius, 'and had finished playing his setting, [Delius] said, "Yes, that is how I want to go."' Susan Gritton, who also appears on Chandos' Grammy Award© winning Paul Bunyan, here includes the Quatre Chansons françaises, the most significant work of Britten's juvenilia. The songs, to texts by Verlaine and Hugo, were composed between June and August 1928 when Britten was a mere fourteen, and demonstrate the flair for instrumental colour that was to become the hallmark of the mature composer. The album is completed by the later song cycle Les Illuminations, which offers a further development in his exploration of the orchestral song cycle, a genre that he was to make very much his own during his career.



59 kr (149 kr)
Image Wedding Classics
The music on this double CD is divided into sections marking various stages of the wedding ceremony:

- AS THE GUESTS ARRIVE

- ARRIVAL OF THE BRIDE

- DURING THE SERVICE

- SIGNING OF THE REGISTER

- RECESSIONAL




59 kr (179 kr)
Image GREAT BRITISH CLASSICS
59 kr (159 kr)
Image TRIBUTE TO ELGAR / DELIUS / HOLST
Black Dyke Mills Band

49 kr (89 kr)
Image FROM SONNETS TO JAZZ
Grimethorpe Colliery RJB Band

49 kr (89 kr)
Image MICHAEL AUSTIN
49 kr (89 kr)
Image FELICITY LOTTJULIA HAMARIOSLO PHILHARMONIC ORCHEST
59 kr (159 kr)
Image CELLO
59 kr (159 kr)
Image Cello Sonata
59 kr (159 kr)
Image FRENCH MUSIC CLARINET & PIANO
59 kr (159 kr)
Image Symphony No. 3 (Irish)
59 kr (159 kr)
Image ENGLISH MUSIC FOR CLARINET & PIANO
59 kr (159 kr)
Image MOZART / CHURCH SONATAS
59 kr (159 kr)
Image FLUTE WORKS
59 kr (159 kr)
Image SPRING SYMPHONY
59 kr (159 kr)
Image Symphony No. 4
59 kr (159 kr)
Image Symphony No. 2 / Clarinet Concerto
59 kr (159 kr)
Image Symphony No. 1
59 kr (159 kr)
Image BRITISH CLARINET & PIANO MUSIC
59 kr (159 kr)
Image Symphony No. 2
59 kr (159 kr)
Image Symphony No. 1 / Piano Concerto No. 1
59 kr (159 kr)
Image SYMPHONY No. 1
59 kr (159 kr)
Image SYMPHONIES No. 1 & 2
59 kr (159 kr)
Image PIANO WORKS
59 kr (159 kr)
Image JOHNNY COCK THY BEAVER
59 kr (159 kr)
Image SONGS VOL 3
59 kr (159 kr)
Image BACCHUS & ARIANE ETC
59 kr (159 kr)
Image MIRACLES
59 kr (159 kr)
Image CONCERTOS
59 kr (159 kr)
Image A COTSWOLD ROMANCE
59 kr (159 kr)
Image Symphony No. 2 / Coronation Cantata
59 kr (159 kr)
Image Piano Works Vol 7
59 kr (159 kr)
Image FANTASIA FOR CELLO AND ORCHESTRA etc.
59 kr (159 kr)
Image Theater Music
59 kr (159 kr)
Image Symphony No.2 / Symphony-Concerto
59 kr (159 kr)
Image Sonatas for Strings, Vol. 1
59 kr (159 kr)
Image SONATAS FOR STRINGS VOL 2
Purcell Quartet

59 kr (159 kr)
Image LA CHANGEANTE
59 kr (159 kr)
Image TELEMANN: DOMESTIC MUSIC, VOL 3
Collegium Musicum 90, Simon Standage, conductor.

59 kr (159 kr)
Image MARY'S MUSIC
Scottish Early Music Consort plays songs and dances from the time of Mary Queen of Scots.
Composers: William Byrd, Claudin de Sermisy, Pierre Certon, William Kinloch, Andrew Blackhall, Orlande de Lassus, James Lauder and more.

59 kr (159 kr)
Image THE SYPRES CURTEN OF THE NIGHT
Elizabethan & Jacobean Lute Songs. Michael Chance, countertenor, Christopher Wilson, lutes.

59 kr (159 kr)
Image MUSIC FROM THE COURT OF FREDERICK THE GREAT
Collegium Musicum 90, Simon Standage, director.

59 kr (159 kr)
Image SCHÜTZ: SYMPHONIAE SACRAE 1647
The Purcell Quartet with soloists: Emma Kirkby, James Bowman, Nigel Rogers among others.

99 kr (359 kr)
Image LECLAIRE: SONATES
Collegium Musicum 90, Simon Standage, conductor.

59 kr (159 kr)
Image Bach: Violin Concertos
Collegium Musicum 90, Simon Standage, director.

59 kr (159 kr)
Image Concerti grossi, Op. 6, Vol. 1
'Fine musicianship here which stresses the courtly rather than the peasantish side of Handel, and the recording also brings out elegance rather than solidarity.'
(Hi-Fi News)




99 kr (149 kr)
Image BIBER: SACRO-PROFANUM
The Purcell Quartet, Richard Wistreich, Peter Harvey.

99 kr (359 kr)
Image STANLEY: CONCERTOS FOR STRINGS
Collegium Musicum 90, Simon Standage, director.

129 kr (159 kr)
Image MUSIC DIVINE
59 kr (159 kr)
Image ELISA IS THE FAYREST QUENE
59 kr (159 kr)
Image Amanti olà, olà
"Amanti olà, olà" får här sin VÄRLDSPREMIÄR PÅ SKIVA.


Alessandro Stradella

1-31. Amanti olà, olà



Anna Chierichetti, sopran

Rosita Frisani, sopran

Cristiana Presutti, sopran

Gianluca Belfiori Doro, alt

Mario Cecchetti, tenor

Makato Sakurada, tenor

Riccardo Ristori, bas



_________________________________________________



32-40. Chi resiste al Dio bendato



Anna Chierichetti, sopran

Rosita Frisani, sopran

Riccardo Ristori, bas



Alessandro Stradella Consort/Estevan Verlardi


59 kr (159 kr)
Image Nations (Les), vol 2
There are few recordings of Les Nations, a collection of sonatas and suites in which Couperin further developed the style established in his famous sets of Concerts royaux.



Les Nations contains some of Couperin’s most expressive and inventive music. The composer’s use of dance forms in these works ensures a wide spectrum of mood and colour.



The Purcell Quartet is one of the most distinguished authentic-performance groups today, whose baroque recordings on the Chaconne label are highly respected.



This is the second, concluding volume of Les Nations.
Purcell Quartet:

Catherine Mackintosh, violin

Catherine Weiss, violin

Richard Boothby, bass viol

Robert Woolley, harpsichord


59 kr (159 kr)
Image Sacred Garland
The Gonzaga Band was formed by cornettist Jamie Savan in 1997, in order to explore historical approaches to the performance of vocal and instrumental music of the sixteenth and seventeenth centuries. Its line-up is flexible: the musicians heard on this recording - Steven Devine, Richard Sweeney and Faye Newton besides Jamie Savan himself - form the nucleus of the group, which expands on occasion to include other leading vocal and period-instrument specialists according to the specific requirements of each programme. Jamie Savan commented on the recording, 'Catherine Bott once described our blend of cornett and voice as that of "two soprano instruments" matched "in dazzling duet". We hope our recording will live up to this high praise.' The ensemble takes its name from the Gonzaga Dukes of Mantua, who were powerful and influential patrons of the arts in the late Renaissance period. The Gonzaga family employed Claudio Monteverdi as their maestro di cappella, and he presided over a musical establishment that was, for a time, the envy of the world. For this collection The Gonzaga Band has chosen some of the most beautiful music from the dawn of the baroque era in Italy. Some of the composers, such as Monteverdi, Frescobaldi, Merula and Grandi, are well known today. Others, such as Nicolò Corradini, Benedetto Re and Archangelo Crotti, are minor masters whose music has been unjustly forgotten. All the composers represented on this disc share a gift for writing accessible, tuneful music for solo voice with obbligato instruments. The challenge is for the instrumentalist to play as vocally as possible, whilst the singer needs an instrumentalist's technique to negotiate the virtuosic demands of this repertoire. The Gonzaga Band successfully meets this challenge in Sacred Garland.



59 kr (149 kr)
Image FRACTURED LINES / ANOTHER SET TO etc.
59 kr (149 kr)
Image A KENTISH SUITE etc. / EPITHALAMON etc.
59 kr (159 kr)
Image SYMPHONY No 27 / CONCERTO FOR CELLO & ORCH.
59 kr (149 kr)
Image STRING QUARTETS 3, 6 AND 13
59 kr (149 kr)
Image INTO THE FERMENT/THE BERSERKING/BRITANNIA
59 kr (149 kr)
Image Piano Works Vol 8
59 kr (149 kr)
Image Piano Music, Vol. 2
York Bowen has been described as ‘the English Rachmaninov’. He was a prodigious pianist whose deep and richly expressive music is known to only a few seekers of elusive musical gems. As a young composer he was highly regarded, by the most admired performers of the day, including Hans Richter, Fritz Kreisler, and Lionel Tertis. Camille Saint-Saens was an early admirer of Bowen. He described him as ‘the most remarkable of the Young British composers’. As many newspapers of the time testify, his concerts were always a special event. The reason for his subsequent obscurity remains a mystery, for his distinctive music is of the highest quality. Volume one of the series helped to reassess Bowen’s music, and volume two is sure to develop this further. The distinguished Dutch pianist Joop Celis performs regularly as a solo, chamber and concert artist. Following volume one, International Record Review described Celis as a ‘thoroughly sympathetic advocate of Bowen’s work… powerful and poised, nimble and sensitive’.

Bowen composed over 160 works, which show a blend of Romanticism and strong individuality. He studied composition with Frederick Corder, and won many prizes while still a student. Bowen, however, was more responsive to two other national schools: the Russian, and the French. It is this fusion of different styles which makes Bowen’s own very individual sound world so remarkable. On this disc, the range of Bowen’s piano music is amply demonstrated, from the Sonata to the tiny Bagatelles and second Intermezzo. Throughout, we may appreciate his command of the keyboard. The largest work is Sonata in F minor, Op.72 which receives its first recording with this release. The Fifth sonata is a powerful scores, subtly original, reminiscent of Rachmaninov’s Second Sonata. Fantasia in G minor, Opus 132 is brilliantly virtuosic, revealing a master-pianist-composer at the height of his powers. The Bagatelles were one of the last pieces of Bowen’s composition, and make a delightful set of miniatures, playing for less than eight minutes, but possessing htat indefinable characteristic of implying more than their individual brevity suggests.
Joop Celis, piano


59 kr (159 kr)
Image Words & Music
Released during his 70th birthday year.



This is the only available arrangements by Rodney Bennett, including favourites such as Someone to watch over me, and How long has this been going on?



The listener will be moved by the lyric and the plaintive quality of Richard’s voice on this unique and intimate recording for Chandos, featuring our acclaimed sound.



A collection of varied, moving and highly enjoyable songs with enormously broad appeal.
Among present-day musicians, there can be few more versatile than Sir Richard Rodney Bennett: composing for concerts and films, playing the piano in contemporary music and in jazz idioms as well as singing and playing classic show tunes in cabaret. In fact he ranks among the very best of the singer-pianists performing today and certainly earned his knighthood by the Queen for services to music.



Having regularly performed cabaret in the UK and US, normally accompanied by BBC Radio 3 Jazz Singer of the year, Claire Martin this is the first disc of his cabaret performances as a solo artist, performing his own arrangements. The songs are beautifully sung and played, and with the recordings intimate quality really allows the songs to breathe. This is an inventive and charming selection of material from the golden age of American popular song, in which the titles reflect the vast knowledge and influence on Richard Rodney Bennett.



Claire Martin wrote on Rodney Bennett: “He sings beautifully and he plays great piano, he has such a beautiful touch and really cool ideas. Plus he knows loads of great quirky songs…”



59 kr (159 kr)
Image Film Music of Constant Lambert & Lord Berners (The
"Ännu en liten pärla i Chandos oförlikneliga filmmusikserie. Här presenterar man för första gången två tonsättare på samma cd, två herrar som är mer kända för sin mer "seriösa" musik. Det är helt enkelt så att Constant Lamberts och Lord Berners samlade insatser för vita duken inte räcker till mer än en skiva. Lambert (1905 -1951) har jag genom åren haft glädjen att återkomma till flera gånger i dessa spalter, och fast denna filmatisering av Anna Karenina från 1948 knappast tillhör de mest prisade, trots närvaron av skådespelare som Ralph Richardson och Vivien Leigh, är Lamberts musik alldeles förträfflig. Än mer glädje hade jag nästan av musiken till den krigstida dokumentären "Merchant Seamen" om den brittiska handelsflottan från 1940. Och det gladde mig särskilt att läsa att en verklig mästare inom både det symfoniska och filmmusiken, Malcolm Arnold, också uttryckt sin entusiasm efter att som ung trumpetare ha medverkat vid uruppförandet av konsertsviten under tonsättarens ledning. Lord Berners (1883 - 1950) och Lambert var vänner och hade, förutom att de båda hedrats med balettbeställningar från självaste Djagilev, det gemensamt att de verkar ha varit rätt komplicerade personer. Lorden behövde inte skriva för brödfödans skull, och hans produktion kan göra ett något splittrat intryck. Musiken till The Halfway House och Nicholas Nickleby från 1944 respektive 1947 är hur som helst utmärkta saker sitt slag. Snuttarna ur den urbrittiska Champagne Charlie från 1944 är bagateller, men Mary Carewe framför kabaretsången Come on Algernon med entusiasm och stilkänsla. BBC Concert Orchestras och Rumon Gambas kompetens och fallenhet för sånt här är det väl ingen som behöver läsa något mer om längre. Alla samlare vet att det bara är att slå till."
(High Fidelity)

'Chandos have been doing great things in the film score re-recording world over recent years, especially in the case of British composers of the Golden Age... This Chandos CD is for me the crowning achievement so far of what was already an impressive addition to the Golden Age film music and one can only hope that Gamba and his forces will be able to record more before too long', wrote Music from the Movies on The Sea Wolf, the last release on Chandos Movies. Rumon Gamba and the BBC Concert Orchestra now present the first composer pair in Chandos' film music series, and the 'tandem' is no accident. There is the obvious link that the two composers were close friends, both musically and socially. But more to the point, the output of each in the field was limited, Lambert scoring only one documentary and one feature film, Lord Berners two complete features while contributing a song and dance to another. This output is here conveniently represented on a single well-filled disc.

Each composed in his own distinctive style, with a cosmopolitan rather than purely English accent. As a young man, Lambert developed interests in French and Russian music; in fact, three years after winning a scholarship to the Royal College of Music he was collaborating with the great Russian impresario Diaghilev on the ballet Romeo and Juliet - the only other British composer to receive a commission from Diaghilev was Lord Berners! Lambert would go on to become musical director and conductor of the Sadler's Wells Ballet. With this background he was an obvious choice to score the film of Tolstoy's Anna Karenina (1945) whose cast included Vivien Leigh and Ralph Richardson, with designs by Cecil Beaton. Dances by Glinka are woven into the ball scenes but elsewhere Lambert relies very much on his own voice, using a generous range of instruments including triple woodwind, four trumpets and trombones, and two harps. In the score for Lambert's earlier Merchant Seamen (1940) one detects the influence of Stravinsky's Pulcinella.

Lord Berners deserves his reputation as a versatile eccentric. Having worked as a diplomat, serving as honorary attaché in Constantinople and later in Rome, he returned to England on his succeeding to his title, and lived the rest of his life ostensibly as a country gentleman. Here was a composer whose music drew the highest praise from Stravinsky, and the consistently sharp focus of his small musical output ensures his survival as a unique figure in British music of the period. The three film scores featured here constitute some of the last music he was to write. Champagne Charlie (1944), starring Stanley Holloway, Tommy Trinder and Betty Warren, is a lively recreation of the bawdy music halls. The film is famous for the song 'Come on Algernon', praised as a hysterically realistic music hall number. Mary Carewe here brings it to disc for the first time in orchestral form. The Halfway House (also 1944) was Ealing Studio's first foray into the occult. The score is quintessential Berners, very much of a piece with his concert and ballet music. Of the Suite from Nicholas Nickleby (1947) Philip Lane writes, 'the music flits from scene to scene and character to character in a seamless stream of fertile invention'. This latest release in the film music series is sure to attract fans of both the films and their magical scores.




59 kr (149 kr)
Image REMEMBERANCE CLASSICS
59 kr (159 kr)
Image AMERICAN CLASSICS
59 kr (159 kr)
Image RONALD THOMAS, BOURNEMOUTH SINFONIETTA, RONALD THO
49 kr (89 kr)
Image FAMOUS SOUSA MARCHES
MAJOR E.W. JEANES, BAND OF THE BLUES & ROYALS

59 kr (89 kr)
Image CANTILENAADRIAN SHEPHERDSCOTTISH CHAMBER ORCHESTRA
59 kr (89 kr)
Image BOURNEMOUTH SINFONIETTA, GEORGE HURST, ROYAL SCOTT
49 kr (89 kr)
Image ATHENA ENSEMBLE
49 kr (89 kr)
Image FRANCIS JACKSONMICHAEL AUSTIN
49 kr (89 kr)
Image YAN PASCAL TORTELIERRENAISSANCE SINGERSULSTER ORCH
49 kr (89 kr)
Image NADIA PELLE, MARY ANN HART, RODNEY NOLAN, I MUSICI
59 kr (89 kr)
Image THE STRAUSS FAMILY IN LONDON
LONDON SYMPHONY ORCHESTRA, JOHN GEORGIADIS

59 kr (89 kr)
Image SYMPHONY No. 2
59 kr (159 kr)
Image RUSSIAN PIANO MUSIC FOR DUO
59 kr (159 kr)
Image Symphony No. 9 (From the New World)
59 kr (159 kr)
Image Symphony No. 3 / Symphonic Variations
59 kr (159 kr)
Image PIANO VIOLIN & HORN
99 kr (159 kr)
Image CELLO CONCERTO
59 kr (159 kr)
Image 20TH CENTURY PIANO VOL 1
99 kr (159 kr)
Image MARTINU SEXTETS
59 kr (159 kr)
Image PIANO CONCERTOS 1,4 & 5
59 kr (159 kr)
Image Music on Hebrew Themes
59 kr (159 kr)
Image 3 PIANO TRIOS
59 kr (359 kr)
Image COMPLETE FLUTE MUSIC
59 kr (359 kr)
Image SOLO VIOLIN SONATA
59 kr (159 kr)
Image Drot og Marsk (Opera)(3 CD)
59 kr (447 kr)
Image Pelleas et Melisande / King Christian II / Swanwhi
59 kr (159 kr)
Image Symphonies Nos. 3 & 4
59 kr (159 kr)
Image Symphony No. 2
59 kr (159 kr)
Image WIND MUSIC
59 kr (159 kr)
Image SONGS
59 kr (159 kr)
Image PITTSBURGH SYMPHONY
59 kr (159 kr)
Image Lulu
59 kr (447 kr)
Image Wind Music
59 kr (159 kr)
Image Martin's Lie (Church Opera)
59 kr (159 kr)
Image PIANO WORKS VOL 4
59 kr (159 kr)
Image PIANO CONCERTO No. 1 / RURALIA HUNGARICA
59 kr (159 kr)
Image A CAPPELLA VOL 1
59 kr (149 kr)
Image WAGNER ARRANGEMENTS
59 kr (159 kr)
Image PIANO WORKS VOL No. 5
59 kr (159 kr)
Image PIANO WORKS VOL No. 6
59 kr (159 kr)
Image Concertante for Piano Left Hand / In Memoriam / Th
59 kr (159 kr)
Image (K)EIN SOMMERNACHTSSTRAUM/ CELLO CON. 2
59 kr (159 kr)
Image ALBUM FOR THE YOUNG
59 kr (159 kr)
Image SYMPHONY No. 4/SYMPHONY No. 5
59 kr (159 kr)
Image German Wind Band Classics
59 kr (159 kr)
Image BARON HOP SUITES 1 & 2 / ELINE etc.
59 kr (159 kr)
Image DIE MUTTER / VIER STUCKE etc.
59 kr (159 kr)
Image SYMPHONY No.1 / ETUDES TABLEAUX (ORCH.RESPIGHI)
59 kr (159 kr)
Image Piano Trios
59 kr (159 kr)
Image French Wind Band Classics
59 kr (159 kr)
Image String Quartets Vol 1
59 kr (159 kr)
Image Piano Concerto / Praeludium
59 kr (159 kr)
Image Piano Concertos Nos. 1 & 2
59 kr (159 kr)
Image In Croce / Ten Preludes / Quaternion
59 kr (149 kr)
Image BLACK DYKE PLAYS ROSSINI
49 kr (89 kr)
Image DREAM OF GERONTIUS
59 kr (359 kr)
Image THE KINGDOM
99 kr (359 kr)
Image PIANO CONCERTOS
59 kr (159 kr)
Image Sweet Torment
'Whether in impassioned monologues or ecstatic ensemble pieces, I Fagiolini's superbly responsive singing gives this collection of some of Monteverdi's most vividly expressive madrigals a wonderful air of emotional spontaneity.' (Telegraph 'CDs of the year' on Vol.1.) 'This is a disc to be relished as much for its sudden contrasts as for the ensemble's unfailingly spirited, idiomatic performances... In terms of expressive range, I Fagiolini is without equal' (Independent on Sunday on vol.2); just two of the rapturous comments offered to the previous two volumes. In this third survey of their Monteverdi madrigals, I Fagiolini once again demonstrate the astonishing range of the composer's secular art, leading us from the works of his early Mantuan maturity to the Baroque glories of his Venetian years, before returning us to the seconda pratica in Il Ballo dell' Ingrate. By the time of Monteverdi's Fifth and Sixth books, the madrigal, had acquired a new energy through the refreshed desire to move its listeners all the more strongly. In listening to a collection such as this, what most impresses and delights us is the sheer variety of Monteverdi's expressive art. The two Petrarch settings from Book Six, for example, though relatively old-fashioned in their use of unaccompanied five-voice texture, show the most refined ear for the fluid emotional tenor of their texts. The two works from Book V make a pleasing parallel with these two Petrarch settings: T'amo, mia vita also makes play of the quasi-dramatic alternation between solo soprano and lower voices, and Questi vaghi concenti likewise pits the carefree joy of the natural world against the plaints of the lovesick poet. In the Eighth Book, the process of distinguishing and separating each successive affetto reaches a climax. Il Ballo delle Ingrate, published in the Eighth Book but written some thirty years previously, brings us full circle back to the Mantuan years and the birth of opera. Like Orfeo, Il Ballo delle Ingrate breathes an air of triumphant discovery, of fresh powers, of new worlds of expression opening up for the composer - worlds whose exploration would be his unique and ever-fascinating achievement. This series has offered I Fagiolini the opportunity to offer the listener contemporary passion and scholarship, and has achieved their ambition to challenge the accepted pre-eminence of the Italian groups. This is Monteverdi for both the 16th and 21st century.



79 kr (149 kr)
Image Flaming Heart
GRAMOPHONE EDITOR'S CHOICE



...The Monteverdi fire this month was supposed to be stolen by the Villazón disc (see above). But an album of this quality is not to be overlooked. I Fagiolini offer an overview of the composer’s secular work, infused with nobility, with drama and with style...
(Gramophone)

The immensely popular I Fagiolini launches an exciting new series of secular works by Monteverdi, challenging the accepted pre-eminence of the Italian groups.



I Fagiolini are currently enjoying a greatly increased public profile, following the Royal Philharmonic Society ‘British Ensemble’ award earlier this year – only the second time in history that the award has gone to a vocal ensemble.



89 kr (159 kr)
Image Fire & Ashes
4 AV 5 MÖJLIGA I BETYG I NORRA VÄSTERBOTTEN

I Fagiolini has established itself as one of the world's leading interpreters of the literature of the Italian madrigal. Volume two continues to juxtapose the full range of the secular chamber works, from a capella madrigals through duets to grandeur pieces with strings, so that in any single disc the listener can appreciate the full extent of his genius in this genre. The Guardian wrote of volume one's wide sequence, "It's put together with imagination, wit and profound admiration of Monteverdi's word setting, and every number is performed with the same contribution of sterling values".




89 kr (159 kr)
Image THE MADRIGAL IN VENICE etc.
89 kr (159 kr)
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