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BIS: Pianomusik och pianomästare


BIS har spelat in många av de stora pianomästarna, som Roland Pöntinen, Love Derwinger, Lucia Negro, Yevgeny Sudbin, Ronald Brautigam, Alexandre Kantorow, Jonathan Plowright, Freddy Kempf.

I sommarens kampanj ingår även många titlar av Griegs kompletta serie med pianomusik med den norska pianisten Eva Knardahl, samt Miklós Spányis mastodontprojekt med CPE Bachs digra piano-/cembalokatalog.

Endast 69kr!
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Image Encore!
Includes Satie's Trois Gymnopédies, Gnossienne No. 3, Je te veux and more.

69 kr (159 kr)
Image Music for a Rainy Day, Vol. 1
Includes Beethoven's Für Elise, Chopin's Prelude No. 15 (Raindrop), Clair de lune by Debussy and more.

69 kr (159 kr)
Image Piano Concertos
Roland Pöntinen, piano
Bamberg Symphony Orchestra
Leif Segerstam, conductor

69 kr (159 kr)
69 kr (159 kr)
Image Piano Concerto
69 kr (159 kr)
Image Complete Solo Piano Music, Vol. 2 (The)
69 kr (159 kr)
69 kr (159 kr)
Image Liszt / Ravel / Saint-Saëns
Yevgeny Sudbin, piano

Following a series of highly acclaimed recordings dedicated to individual composers, Yevgeny Sudbin has combined works by Liszt, Ravel and Saint-Saëns into a recital with the three-stranded theme Love, Delirium and Death. First to make its presence felt is death, in Funérailles, Liszt's grandiose elegy for his Hungarian countrymen who died in the 1849 uprising against Habsburg Rule. It reappears in Ravel's depiction of a hanging - Le Gibet (The Gallows) from the triptych Gaspard de la Nuit - and closes the programme in Saint-Saëns' Danse macabre in which Death personified provides the music for a morbid ballet of corpses, playing a fiddle and tapping his foot on a tombstone. Love enters the programme with the Petrarch Sonnets, originally song settings by Liszt of three of the many poems in which Petrarca immortalized Laura, the object of his life-long but unrequited passion, and later reworked for piano solo by the composer. A similarly hopeless attraction is described in Ravel's Ondine - the tale of a water nymph tempting a mortal to join her in the depths of the lake. Delirium, finally, is present throughout the disc - most manifestly in the nightmarish portrait of the goblin Scarbo, but also as an essential ingredient in many of the other works. The programme thus poses a huge challenge for the performer in terms of transmitting a wealth of super-charged emotions and images while simultaneously negotiating immense technical demands - a worthy task for Sudbin, whose Scriabin interpretations were described in BBC Music Magazine as being 'as terrifyingly changeable and emotionally all-engulfing as the music itself', while his Rachmaninov disc to the reviewer in Piano Magazine revealed 'a musical dramatist of exceptional acumen and sophistication; a poet who moves seamlessly between unbridled rhetoric and extreme intimacy; a stylist who catches the particular spirit of everything he plays...'

69 kr (159 kr)
Image Piano Concerto No. 2
Ronald Brautigam, piano
Norrköping Symphony Orchestra
Andrew Parrott, conductor


"Efter nummer 1 och 3 i sin cykel med Beethovens pianokonserter, fortsätter Ronald Brautigam med de två tidigaste konserterna. Ofullständigt bevarad är pianokonserten i Ess, WoO 4, från 1784, vilken Brautigam nyrekonstruerat. Det är musik i Mozarts anda med flöjter och horn som enda klangfärger till stråkarna. Beethovenprägel har däremot det färgrikare B-dur-rondot WoO 6, antagligen från 1795. Varsamt balanserat pianospel här liksom i första satsen av B-dur-konserten nr 2, som är ännu tidigare. Efter ett öppet/rörligt larghetto jagar Brautigam otåligt på i rondot. Fräscht komplement bildar det vibratofria spelet av Norrköpings symfoniorkester under Andrew Parrott."
(Svenska Dagbladet)

"Här fortsätter Brautigam och SON sina inspelningar av Beethovens pianokonserter. Utöver den andra, som slutgiltigt var klar 1801 upptar skivan två verk utan opustal (WoO 4 och 6). Man lyssnar naturligtvis gärna till dessa ungdomsverk, och Brautigam skriver dessutom i texthäftet läsvärt om WoO 4. SONs inspelning av andra pianokonserten har jag jämfört med en nästan lika färsk version med London Symphony Orchestra och John O`Conor som solist (Telarc CD 80675). Båda inspelningarna är naturligtvis högst hörvärda. O´Conor och LSO musicerar med elegans och lätthet men intar en något högtidlig attityd; hos Brautigam och SON möter en vitalare och muntrare Beethoven.Man kunde uttrycka det så: om O`Conor och LSO rister på lejonmanen förblir den ändå välfriserad. Hos Brautigam och SON är Beethoven framför allt självmedveten och självsäker."
(Östgöta Correspondenten)

Released in 2008, Beethoven's First and Third Piano Concertos as interpreted by Ronald Brautigam and the Norrköping Symphony Orchestra under Andrew Parrott (BIS-SACD-1692) have been making an impression on critics all over the world. The freshness of the performances have struck many, for instance the reviewer in the German magazine Fono Forum who wrote: 'Here Mozartian grace and Haydnesque wit join hands - and both concertos gain from it, in the flowing, breathing pulse, in intimacy, in nobility and unassuming beauty ... a great moment.' His colleague in Fanfare (USA) was in complete agreement, writing that 'the music is unshackled from the dark and heavy blanket that so many performances impose on the score ... a unique and, perhaps, revelatory take on the music.' Teaming up again, the same performers now offer us the youthfully fresh Concerto No. 2 - which was actually conceived long before the First Piano Concerto - as well as two rarities. The first of these is the Piano Concerto in E flat major, WoO4, sometimes referred to as Beethoven's 'Concerto No.0'. Composed in 1784, when Beethoven was only 13 years old, it is a fully developed three-movement work that displays much imagination, harmonic control and sense of form, as well as a striking level of virtuosity. The work has survived in a contemporary copy of the piano part, incorporating directions showing that the original orchestra consisted of two flutes, two horns, and strings. For this recording Ronald Brautigam has made his own reconstruction of the orchestral score. The third work on the disc is also one without opus number, namely the Rondo in B flat major, WoO6, composed during the long gestation of Concerto No.2 and probably at one stage intended as the finale of this work .

69 kr (159 kr)
Image Piano Concertos Nos. 20 & 27
Ronald Brautigam, fortepiano; Die Kölner Akademie / Michael Alexander Willens

Among the most widely performed of Mozart's piano concertos for a good half century after its composition in 1785, the Concerto No.20 in D minor still assumes a commanding place in the concert hall. Among its early devotees was Beethoven, who performed the work at a benefit concert for Mozart's widow in March 1795 and who may well have found much to admire in the work's brooding opening, characterized by syncopations and later punctuated by more aggressive outbursts; in his informative liner notes, the Mozart scholar John Irving goes so far as to call it 'Mozart's grittiest concerto'. Six years after the D minor concerto, in January 1791, the composer completed the Piano Concerto No.27 in B flat major, K595, giving the first performance of it two months later. This was to be his last public appearance as a soloist, and the concerto has sometimes been considered as a work in which the typical sparkle of Mozart's virtuosity is tempered by resignation, as if the composer were already aware of his imminent demise. Such an interpretation is contradicted by a close study of the autograph manuscript, however: the concerto appears to have been begun two full years before it was completed. Its language is nevertheless more introverted than most of Mozart's works in the genre: he seems to be aiming for a sublime delicacy of expression rarely attempted elsewhere in his concerto output. These two exceptional works are here performed by Ronald Brautigam and Die Kölner Akademie, on their fifth disc of Mozart's concertos - an ongoing series which has been described as 'a lucky break and a true delight' in the German magazine Piano News.

69 kr (159 kr)
Image Piano Concertos (SACD)
The French pianist Alexandre Kantorow (born 1997) started very early on his concert career. From the age of sixteen, he was invited to perform with the Sinfonia Varsovia under the Folles Journées de Nantes and Warsaw with the Variations on a Theme of Paganini by Rachmaninov. Later, Boris Berezovsky invited him to give two recitals at his piano festival Beauvais.

Kantorow Alexander has also been invited by several ensembles including the Orchestre de Liège, that of Picardy, the Bordeaux Chamber Orchestra, the Orchestra of Kaunas in Lithuania where he performed works by Franck, Rachmaninoff, Liszt and Saint Saëns.

His passion for Brahms has also allowed him to execute his second Concerto. He also participated in the inaugural season of the new Philharmonie de Paris, where he runs the Fantasy for piano, chorus and orchestra of Beethoven.

69 kr (159 kr)
Image Works for Solo Piano Vol 2(SACD)
Following the huge success and critical acclaim of Volume 1, the second CD in Jonathan's series of complete Brahms solo piano is released by BIS in September (November in the UK).

69 kr (159 kr)
Image Ballader m m
Freddy Kempf, piano.
På denna CD spelar den unge engelske pianisten Freddy Kempf verk av Chopin, bl a Fyra Ballader och Grande Polonaise. Kempf har lovordats av bl a Gramophone och han har även utsetts till Young Artist of the Year vid The Classical Brit Awards.
Vi väl även påminna om några av Kempfs tidigare CDs på BIS - Beethoven (BIS 1120), Rachmaninov (BIS 1042) och Schumann (BIS 960).

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Image Soloklavermusik, vol 12
Miklós Spányi, klavikord.
Carl Philipp Emanuel Bach - Soloklavermusik, vol 12

Carl Philipp Emanuel Bach

Sonat h-moll W 62/22 (H 132)

1. I. Allegro

2. II. Adagio

3. III. Allegretto

4. La Prinzette W 117/21 (H 91)

5. L´Aly Rupalich W 117/27 (H 95)

6. La Gleim, W 117/19 (H 89)

Sonat e-moll W 65/30 (H 106)

7. I. Allegretto

8. II. Andante

9. III. Allegretto

10. La Stahl W 117/25 (H 94)

11. La Bergius W 117/20 (H 90)

12. La Buchholz W 117/24 (H 93)

13. L´Herrmann W 117/23 (H 92)

Sonat a-moll W 62/21 (H 131)

14. I. Allegretto

15. II. Adagio

16. III. Allegretto siciliano e scherzando

69 kr (159 kr)
Image Klaverkonsert, vol 14
Miklós Spányi ackompanjeras här av den finska ensemblen Opus X. De framför verk av C P E Bach skrivna mellan åren 1750-1765.

Miklós Spányi, piano.

Opus X.

Carl Philipp Emanuel Bach

Konsert a-moll H430 (W26)

1. I. Allegro asssai

2. II. Andante

3. III. Allegro assai

Sonatina C-dur H460 (W101)

4. I. Larghetto

5. II. Allegro

6. III. Alla polacca

Konsert Ess-dur H467 (W40)

7. I. Allegro

8. II. Adagio ma non troppo

9. III. Allegro ma non troppo

69 kr (159 kr)
Image Complete Keyboard Concertos, Vol. 17 (The)
After nearly 30 years at the court of Frederick the Great in Berlin, Carl Philipp Emanuel Bach took up the position of cantor and music director in Hamburg, left vacant by the death of his godfather Georg Philipp Telemann. Even though his new duties included teaching as well as providing music for the five city churches of Hamburg, Bach nevertheless still found the time to compose keyboard sonatas and keyboard concertos as well as to present secular concerts. Two of the works on this disc, the Concertos in F major and in E flat major, were composed soon after the move to Hamburg. While the third work, the Concerto in C minor, had been composed some 20 years earlier, Bach once described it as 'one of my showpieces', implying that he performed it regularly, most likely also in Hamburg. If Bach in Hamburg had to adapt to new demands on his time, he also encountered an unfamiliar musical community, which in comparison to that of Berlin was slightly old-fashioned, with its own strong traditions, including a particular love for the harpsichord. Bach must have seen this as a challenge: records show that many of his public performances were on the harpsichord but he is also mentioned as playing the modish fortepiano. In an interesting essay in the booklet to this disc, Miklós Spányi discusses this background, explaining his reasons for performing two of the works on the tangent piano, and the third on the harpsichord. The previous instalment of Spányi's highly regarded series received top marks ('10/10/10') on the website, while Classic FM Magazine described the performances by Spányi and the Finnish period ensemble Opus X as 'bubbling with life in BIS's crisp recorded sound.'

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Image Soloklavermusik, vol 7
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Image Pianomusik, vol 1
Noriko Ogawa, piano.

Claude Debussy - Pianomusik, vol 1

Claude Debussy

Images - 1re Série

1. I. Reflets dans 1'eau

2. II. Hommage à Rameau

3. III. Mouvement

Images - 2e Série

4. I. Cloches à travers les feuilles

5. II. Et la lune descend sur le temple qui fût

6. III. Poissons d'or

Images (oubliées)

7. I. Lent (mélancolique et doux)

8. II. Souvenir du Louvre

9. III. Quelques aspects de "nous n'irons plus au bois" parce qu'il fait un temps insupportable


10. I. Pagodes

11. II. La soirée dans Grenade

12. III. Jardins sous la pluie

13. Masques pour piano

14. L'isle joyeuse

69 kr (159 kr)
Image Klaverkonserter, vol 12
Miklós Spányi, fortepiano.

Concerto Armonico / Péter Szüts.

C P E Bach - Kompletta klaverkonserter, vol 12

C P E Bach

Klaverkonsert F-dur H 454 (W 38)

1. I. Allegro di molto

2. II. Poco allegro

3. III. Allegro

Sonatina D-dur H 456 (W 102)

4. I. Allegretto grazioso - Presto - Allegretto grazioso - Presto - Allegretto grazioso

5. II. Allegretto

Klaverkonsert C-dur H 423 (W 20)

6. I.

7. II. Adagio ma non troppo

8. III. Allegretto assai

69 kr (159 kr)
Image Complete Piano Music, Vol.10
Kjell Ingebretsen, piano
Eva Knardahl, piano
Royal Philharmonic Orchestra
Kjell Ingebretsen, conductor

69 kr (159 kr)
Image Verk för piano och blåskvintett


...a real Mozarian experience...


...the Berliners are amazing players, and they create one of the best wind ensemble sounds in the business...


...the best recording of Mozart's Quintet I have ever heard...

...if you puchase only one Mozart disc in 2001, this should be the one...

(American Record Guide)

Stephen Hough, piano.

Philharmonic Wind Quintet, Berlin.

Wolfgang Amadeus Mozart

Kvintett Ess-dur KV452

1. I. Largo - Allegro moderato

2. II. Larghetto

3. III. Allegretto

4. Adagio och Allegro f-moll KV594

5. Adagio B-dur KV411

6. Piece for Musical Clock f-moll KV608

7. Adagio D-dur KV580a

8. Andante F-dur KV616

Adagio och Rondeau c-moll/C-dur KV617

9. Adagio

10. Rondeau

69 kr (159 kr)
69 kr (159 kr)
Image Pianomusik, vol 3
Miguel Baselga, piano.


Iberia, Bok III

1. El Albaicín

2. El Polo

3. Lavapiés

4. Zambra granadina (Danse orientale)

5. Pavana muy fácil para manos pequeñas Op 83

Espana, 6 hojas de album Op 165

6. Preludio

7. Tango

8. Malagueña

9. Serenata

10. Capricho Catalán

11. Zortzico

12. Barcarola Op 23

13. Rapsodia Cubana Op 66

14. Angustia (romanza sin palabras)

69 kr (159 kr)
Image Klavermusik, vol 7

Ronald Brautigam, fortepiano.


Klaversonat nr 39 D-dur, HobXVI/24

1. I. Allegro

2. II. Adagio

3. III. Finale

Klaversonat nr 40 Ess-dur, HobXVI/25

4. I. Moderato

5. II. Tempo di Menuet

Klaversonat nr 41 A-dur, HobXVI/26

6. I. Allegro moderato

7. II. Menuet al rovescio - Trio (al rovescio)

8. III. Finale

Klaversonat nr 33 c-moll, HobXVI/20

9. I. Moderato

10. II. Andante con moto

11. III. Finale

69 kr (159 kr)
69 kr (159 kr)
Image Soloklavermusik, vol 11
Samtliga verk, i denna elfte volym i BIS serie med CPE Bachs kompletta verk för soloklaver, har tidigare ej funnits utgivna på CD.

Miklós Spányi, fortepiano.

Carl Philipp Emanuel Bach - Soloklavermusik, vol 11

1. Fantasia Ess-dur H.348

Sonat B-dur W. 65/20, H. 51

2. I. Allegro assai

3. II. Adagio

4. III. Allegro

Sonat C-dur W. 65/16, H. 46

5. I. Allegro

6. II. Adagio - Andante - Allegro

7. III. Allegretto

Sonat g-moll W. 65/17, H 47

8. I. Allegro

9. II. Adagio

10. III. Allegro assai

69 kr (159 kr)
Image Pianomusik, vol 2
I denna andra utgåva i BIS serie med Claude Debussys kompletta musik för solopiano ingår bl a "Préludes, bok 1" och "Children's Corner". Om den första volymen (BIS 1105) i serien skrev Gramophone bl a: "Ogawa's playing has immense sensibility and command - an excellent start to this cycle".

Noriko Ogawa, piano.

Claude Debussy - Pianomusik, vol 2

Claude Debussy

Préludes, bok 1

1. I. Danseuses de Delphes

2. II. Voiles

3. III. Le vent dans la plaine

4. IV. Les sons et les parfums tournent dans l'air soir

5. V. Les collines d'Anacapri

6. VI. Des pas sur la neige

7. VII. Ce qu'avu le d'Ouest

8. VIII. La fille aux cheveux de lin

9. IX. La sérénade interrompue

10. X. La Cathédrale engloutie

11. XI. La danse de Puck

12. XII. Minstrels

13. D'un cahier d´esquisses L 99

14. Pièce pour piano (Morceau de concours) L 108

15. Hommage à Joseph Haydn L 115

16. The Little Nigar (Cake-Walk) L 114

Children's Corner

17. I. Doctor Gradus ad Parnassum

18. II. Jimbo's Lullaby

19. III. Serenade of the Doll

20. IV. The snow is dancing

21. V. The little Shepherd

22. VI. Golliwogg's cake walk

23. La plus que lente L 121

69 kr (159 kr)
Image Piano Concertos Nos. 10 & 24 (chamber version)
Pianokonserter av W A Mozart i kammarmusikarrangemang av J N Hummel.

Fumiko Shiraga, piano; Henrik Wiese, tvärflöjt;

Peter Clemente, violin; Tibor Bényi, cello.

Wolfgang Amadeus Mozart

Pianokonsert nr 10 Ess-dur KV365

1. I. Allegro

2. I. Andante

3. III. Allegro giocoso

Pianokonsert nr 24 c-moll KV491

4. I. Allegro

5. II. Larghetto

6. III. Allegretto

69 kr (159 kr)
Image Pianomusik, vol 4
Innehåller bl a Isaac Albéniz mästerverk "Iberia" för solopiano.
Miguel Baselga, piano.

Isaac Albéniz - Pianomusik, vol 4

Iberia, Bok IV T 105

6 pequeños valses T 47

Sonat nr 3 T 69

Suite ancienne nr 1 T 62

Serenata árabe T 60

69 kr (159 kr)
Image Pianosonat i h-moll

...Brazilian-born, London-based pianist Arnaldo Cohen has received some impressive reviews in The Gramophone down the years, and this Liszt programme lives up to his other discs. His beautifully judged approach makes for a highly appealing collection – solemn in mood, but played with the touch of a master...


...Arnaldo Cohen spelar inlevelsefullt och lyhört...

(Upsala Nya Tidning)
Arnaldo Cohen, piano.

Franz Liszt

1. Harmonies poètiques et religieuses nr 7: Funérailles

2. Rhapsodie espagnole

3. Vallée D´Obermann (Années de pèlerinage nr 6: I. Suisse)

4. Pianosonat h-moll: Lento assai - Allegro energico - Andante sostenuto - Allegro energico

69 kr (159 kr)
Image Piano Works
69 kr (159 kr)
Image Piano Trios
69 kr (159 kr)
Image Klaverkonserter, vol 13
Denna fina serie med C P E Bachs kompletta klaverkonserter har av Classics kallats för "mycket viktig" och Diapason tycker att serien är på "en exceptionellt hög nivå".

Miklós Spányi, fortepiano.

Concerto Armonico.

Carl Philipp Emanuel Bach - Klaverkonserter, vol 13

Carl Philipp Emanuel Bach

Sonatina F-dur H 463 (W 104)

1. I. Adagio

2. II. Allegro, ma non troppo

3. III. Allegretto

Klaverkonsert d-moll H 425 (W 22)

4. I. Allegro

5. II. Poco andante

6. III. Allegro di molto

Sonatina C-dur H 457 (W 103)

7. I. Arioso

8. II. Andante

9. III. Arioso

10. IV. Allegro

69 kr (159 kr)
Image Pianomusik, vol 3

...Japanese pianist Noriko Ogawa continues her exploration of Debussy with a third CD devoted to that composer’s piano works. It maintains her high standards, with some dazzling virtuosity and a clear-eyed lack of sentiment. No stranger to the Editor’s Choice pages, Ogawa continues to capitalise on her Leeds Piano Competition success, confirming her reputation as one of the most exciting pianists of the younger generation...


...a Debussy interpreter of exceptional class...

(International Record Review)

Noriko Ogawa, piano.

Claude Debussy

Préludes (2e Livre)

Berceuse héroïque

Pièce pour l'oeuvre du «Vêtement du blessé»


La Boîte à joujoux

69 kr (159 kr)
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Image Klaverkonserter & soloklavermusik, vol 15

Miklós Spányi, piano, klavikord

Opus X Ensemble/Petri Tapio Mattson; Miklós Spányi

Carl Philipp Emanuel Bach -

Klaverkonserter & soloklavermusik, vol 15

CD 1

Konsert d-moll, Wq23 (H427)

Sonatina Ess-dur, Wq105 (H464)

Konsert B-dur, Wq39 (H465)

CD 2

Sonat a-moll, Wq65/33 (H143)

Sonat d-moll, Wq62/15 (H105)

La Gabriel, Wq117/35 (H97)

La Philippine, Wq117/34 (H96)

La Caroline, Wq117/39 (H98)

Allegretto in F major, Wq116/19 (H301)

Allegro D-dur, Wq116/20 (H302)

La Xenophon & La Sybille, Wq117/29 (H123)

La Sophie, Wq117/40 (H125)

L’Ernestine, Wq199/16 (H685.5)

L’Auguste, Wq117/22 (H122)

L’Ernestine, Wq117/38 (H124)

Andantino d-moll, Wq116/18 (H108)

La Louise, Wq117/36 (H114)

69 kr (159 kr)
Image Solo keyboard Music, Vol. 16
The set of six sonatas that Carl Philipp Emanuel Bach dedicated to the young Carl Eugen, Duke of Württemberg, was composed in the early 1740s, shortly after Bach had become Chamber Musician in the employ of Frederick the Great of Prussia. The duchy of Württemberg was the object of a tug of war between Prussia and the Hapsburg empire, and Frederick had had the young duke brought to Berlin, allegedly for his education and protection. During this period Carl Eugen received instruction in music from C.P.E. Bach – and we may assume that he was a gifted student as, in later years, he was known to seat himself at the harpsichord accompanying the singers of the ducal opera house. Accordingly the ‘Württemberg’ Sonatas are very demanding, clearly intended for skilful, professional keyboard players rather than the amateurs who at this time were becoming an important target for composers and publishers. The sonatas have almost symphonic or even operatic dimensions and attitudes; in fact they may almost be called romantic, conjuring up fantastic and colourful landscapes. The first three of the set are here performed on Bach’s own favourite instrument, the clavichord, by Miklós Spányi, whose indefatigable work in bringing the keyboard music of C.P.E. Bach to a wider audience has impressed both critics and music lovers. The reviewer on the web site Klassik Heute wrote of the latest instalment of this series that it ‘will at some stage, and deservedly so, have a place in recording history as an epoch-making achievement’, while its predecessor was deemed to be ‘no less than astonishing. This is wonderful music, beautifully played, and I recommend this disk to anyone who loves keyboard music’ (MusicWeb International).

Miklós Spányi, clavichord
Carl Philipp Emanuel Bach
The ‘Württemberg’ Sonatas (1)
Sonata No.1 in A minor, Wq 49/1 (H 30)

Sonata No.2 in A flat major, Wq 49/2 (H 31)

Sonata No.3 in E minor, Wq 49/3 (H 33)

69 kr (159 kr)
Image Solo Keyboard Music, Vol. 17

The previous instalment in Miklós Spányi’s survey of the solo keyboard music by Carl Philipp Emanuel Bach was described as ‘another magisterial achievement’ in the Early Music Review (UK), whose critic judged that the ‘arrival at those six masterly Württemberg Sonatas marks a new high point’ in the series. Consisting of the final three Württemberg Sonatas, the present disc gives collectors the opportunity to enjoy Spányi’s interpretation of the full set. Dedicated to the young and gifted Duke of Württemberg, who studied with Emanuel Bach during his time as Chamber Musician in the employ of Frederick the Great of Prussia, the Sonatas are very demanding, clearly intended for skilful, professional keyboard players rather than the amateurs who at this time were becoming an important target for composers and publishers. These works have almost symphonic or even operatic dimensions and attitudes; in fact they may almost be called romantic, conjuring up ‘fantastic and colourful landscapes’, in Spányi’s own words. They are here performed on C.P.E. Bach’s own favourite instrument, the clavichord, instead of the more usual harpsichord; a choice of instrument for which Miklós Spányi makes an eloquent case: ‘A big and heavily strung clavichord can not only produce delicate and refined effects but is also capable of strong, dramatic contrasts and a very rich, even monumental sound.’ The reviewer on All Music Guide seems to agree, judging from the verdict on the previous disc: ‘the Württemberg Sonatas are substantial works ... and, more importantly, highly expressive works. As always, Spányi is a superb advocate of Bach's subtle and elusive music, playing on a supple and responsive clavichord.’

Miklós Spányi, clavichord
C.P.E. Bach – Solo Keyboard Music, Vol.17: The ‘Württemberg’ Sonatas (2)
Sonata No.4 in B flat major, Wq 49/4 (H32)
Sonata No.5 in E flat major, Wq 49/5 (H34)
Sonata No.6 in B minor, Wq 49/6 (H36)

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Image Pianomusik, vol 5
Miguel Baselga har fått fin kritik för serien med Isaac Albéniz kompletta pianomusik:

...Baselga’s smouldering, assured artistry (captured in bright, immediate sound) merits serious attention...

(International Record Review om BIS 1043)

...With an unfailing lyricism, this young pianist grabs the ear and leads it to hear his music in new ways...

(American Record Guide om BIS 1143)

Miguel Baselga, piano.

Isaac Albéniz

Suite Espagnole T61

1. I. Granada (Serenata)

2. II. Cataluna (Curranda)

3. II. Sevilla (Sevillanas)

4. IV. Cádiz (Canción/Saeta)

5. V. Asturias (Leyenda)

6. VI. Aragón (Fantasía)

7. VII. Castilla (Seguidillas)

8. VIII. Cuba (Capricho/Nocturno)

Pianosonat nr 4 T75

9. I. Allegro

10. II. Scherzo

11. III. Minuetto

12. IV. Rondó

Suite Ancienne nr 2 T66

13. I. Sarabande

14. II. Chaconne

15. Arbola Azpian (Zortzico) T84

16. Pavana Capricho T48

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Image Solo Keyboard Music, Vol. 18 (The)
Throughout his traversal of the keyboard music of C.P.E. Bach - both the unaccompanied works, as here, and in his parallel series of concerto discs - Miklós Spányi has opened the ears of a wide audience to this wonderful music and to the intriguing sonic possibilities offered by the various keyboard instruments that are used during the recordings. Besides the familiar harpsichord and fortepiano, these include the more rarely heard clavichord and tangent piano. Indeed the previous volume in this series, which received an Editor's Choice in Gramophone, was described by the magazine's reviewer as being 'the answer to clavichord fans' dreams, as Miklós Spányi makes a persuasive case for the instrument in this music... a disc which should certainly enhance the reputation of both instrument and composer.'

On the present volume it is the tangent piano that is in focus - an instrument that, according to Miklós Spányi's description of it in the booklet, has 'a fundamental timbre that is very clear and bright'. It was extremely popular all over Europe in the 18th century and tangent pianos were still built until around 1850. The works on the disc are all from the year 1766, a highly productive year for C.P.E. Bach, who during it wrote more works for keyboard instruments than in any other year of his career. From these Spányi has put together a highly varied offering, which together with the informative liner notes by musicologist Darrell M. Berg takes the listener even further into the musical universe of C.P.E. Bach.

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Image Solo Keyboard Music, Vol. 22
Miklós Spányi, clavichord

By 1753, when these pieces were composed, C.P.E. Bach had been employed for more than a decade at the court of Frederick the Great in Berlin. He had earned a reputation as an important musical personality, and was attracting a number of students. It was for the benefit of these and other keyboard students that he composed his Achtzehn Probe-Stücke in sechs Sonaten (Eighteen Sample Pieces in Six Sonatas), publishing them as a supplement to his famous 'Essay on the True Manner of Playing Keyboard Instruments'. Each of the eighteen pieces has its own individual stamp, and might well stand alone, but with his rather ambiguous title, C.P.E. Bach also seems to have provided performers with the alternative possibility of performing them in groups of three as a set of six sonatas. Although they were composed for teaching purposes, their musical qualities are striking; in his notes included in the booklet to this disc, Miklós Spányi even offers the opinion that they are 'among the most substantial works in the composer's entire keyboard oeuvre. In them, Bach collected his most precious ideas, as if to demonstrate his finest skills as a composer and pedagogue as well as his ideas about the æsthetics of keyboard playing: an hour's worth of music of pure beauty, full of the most varied and sparkling ideas.' The performer has chosen to present these gems on the clavichord, basing his decision on Bach's documented preference for this particular keyboard instrument, but also on the fact that the scores include occasional symbols for 'Bebung', or vibrato, an effect possible only on the clavichord.

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Image Romantic Finnish Piano Music
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Image PIANO CONC 20 23
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Image 12 Transcendental Etudes

...Hon kallades århundradets största levande pianist. I dag, ett halvår efter hennes död, blir epitetet snarare århundradets största konstförfalskare. Affären Joyce Hatto är ännu långt ifrån utredd. Som DN rapporterade (1 mars) är det fullt klarlagt att hennes inspelning av Liszts transcendentala etyder i själva verket var Laszlo Simons på svenska BIS...

(Camilla Lundberg, Dagens Nyheter)


Hatto’s Liszt may be Simon’s

One of the first Hatto recordings about which doubts were raised was that of Franz Liszt’s Transcendental Etudes. The astonishing similarity between this and a much earlier recording made by László Simon for BIS Records (BIS-CD-369) has been the subject of much debate. As a result we feel the need to explain the position of BIS Records: "Assuming that the allegation that László Simon's BIS recording of Liszt's Transcendental Etudes was copied and passed off as Joyce Hatto's own recording is true, I would be most interested in the background to this theft. Given the circumstances surrounding Ms. Hatto's sickness and fate, there may be deeply felt – if misguided – personal reasons for it. Unless further, aggravating circumstances are discovered, we do therefore not intend to take any legal steps against those responsible for the possible infringement of the copyright of BIS Records.

In the meantime, all credit is due to László Simon for having created Hatto's benchmark recording. Released in 1987, the Simon original – like every BIS recording ever released – is still available through our worldwide network of distributors."

(Robert von Bahr, CEO BIS Records)

László Simon, piano

Franz Liszt

12 Etudes d´exécution transcendante

1. Preludio

2. Molto vivace

3. Paysage

4. Mazeppa

5. Feux follets

6. Vision

7. Eroica

8. Wilde Jagd

9. Ricordanza

10. Allegro agitato molto

11. Harmonies du soir

12. Chasse-neige

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Image LA MER
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Image Complete Solo Piano Music, Vol. 1 (The)
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Image Two Piano Concertos, The
Yukie Nagai, piano
Malmö SymfoniOrkester / Juni'chi Hirokami

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Image Two Piano Concertos (The)
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Image Klaverkonserter, vol 10
10 de Répertoire
Miklós Spányi, piano.

Concerto Armonico / Péter Szüts.

C P E Bach - Klaverkonserter, vol 10

Carl Philipp Emanuel Bach

Klaverkonsert G-dur H 419 (W 16)

1. I. Allegro

2. II. Adagio assai

3. III. Allegretto

Sonatina F-dur H 452 (W 99)

4. I. Largo

5. II. Allegro

6. III. Andante

Klaverkonsert B-dur H 447 (W 36)

7. I. Allegro

8. II. Poco adagio

9. III. Allegro assai

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Image Piano Concertos Nos. 1 & 4
Noriko Ogawa, piano
Malmö Symphony Orchestra / Owain Arwel Hughes

The unique combination of 'Russian' melancholy and urbane elegance, exuberant melodies and opulent harmonies has given Sergei Rachmaninov's Second and Third Piano Concertos an undying popularity. These were the works that made Rachmaninov famous, both as performer and composer, and which became the yardstick against which his other works were measured. Less frequently programmed are the two concertos that frame them. Piano Concerto No.1 was written in 1890-91 while Rachmaninov was still a student at the Moscow Conservatory, but didn't become widely known before extensive revisions in 1917. This was shortly before the composer left Russia for good as a consequence of the revolution, and during his first years of exile, Rachmaninov kept busy as a touring performer - often of his own works - with very little time for composing. Only in 1926 did he launch into a new large-scale composition: the Fourth Piano Concerto. With the audience expecting a work in the vein of the two preceding concertos, the first performance was not a success, however. The work was criticized for being difficult, and the lack of those 'big tunes' that had become a Rachmaninov trademark was bemoaned. The self-critical composer immediately started revising the work, and later withdrew it. He returned to it only in 1941 when he produced the version which is usually performed today. After the disappointment of the Fourth Concerto another long silence ensued; not until 1934 did Rachmaninov venture to compose another large-scale work, the Rhapsody on a Theme of Paganini, Op.43. This time the reception was enthusiastic and the Paganini Rhapsody remains one of his most popular works, in which the famous A minor theme of Paganini's 24th Caprice for solo violin is made to yield breathtaking results. Noriko Ogawa has previously released the Piano Concertos Nos 2 and 3, with the same conductor and orchestra - a disc which received a warm reception, for instance in Fanfare: 'Magnificent, beautifully refined performances... with remarkably sophisticated support provided by Arwel Hughes and the excellent Malmö orchestra'.

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Image Solo Piano Music Vol 1
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Image Music of The Couperins

Asami Hirosawa, cembalo.


Svit a-moll

1. Prélude à l´imitation de Mr Froberger

2. Allemande l´Amiable

3. Courante La Mignone

4. Courante

5. Sarabande

6. La Piémontoise

Svit C-dur

7. Prélude

8. Allemande

9. Courante

10. Sarabande

11. Passacaille


Treizième Ordre (Pièces de clavecin)

12. Les Lis naissans

13. Les Rozeaux

14. L´engageante

Les Folies francoises, ou les Dominos

15. La Virginité sous le Domino couleur d´invisible

16. La Pudeur sous le Domino couleur de Roze

17. L´Ardeur sous le Domino incarnat

18. L´Esperance sous le Domino Vert

19. La Fidélité sous le Domino Bleu

20. La Persévérance sous le Domino Gris de lin

21. La Langueur sous le Domino Violet

22. La Coquéterie sous diférens Dominos

23. Les Vieux galans et les Trésorieres suranées sous des Dominos Pourpres, et feuilles mortes

24. Les Coucous Bénévoles sous des Dominos jaunes

25. La Jalouise Taciturne sous le Domino gris de Maure

26. La Frénésie, ou le Désespoir sous le Domino noir

27. L´âme-en-peine


28. Les Tendres Sentimens

29. L´Affligée

30. La du Breüil

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Image Piano Trios
...en högst njutbar skiva...

(Borås Tidning)

Kempftrions förra skiva med pianotrios av Rachmaninov och Tjajkovskij (BIS 1302) fick mycket positiva omdömen, BBC Music Magazine skrev bl a: "...Easily the best interpretations in first-rate sound...". På sin nya CD tolkar de Beethovens kända "Ärkehertigtrio" och "Pianotrio c-moll Op 1:3". Detta är vitala och fräscha tolkningar framförda av tre toppmusiker som alla är i 20-årsåldern.
Kempf Trio.

Ludwig van Beethoven

Pianotrio c-moll Op 1:3

Pianotrio B-dur Op 97 "Ärkehertigtrion"

69 kr (159 kr)
Image Pianoverk, vol 2

...En stark satsning med ungdomlig friskhet...

(Sveska Dagbladet)
Ronald Brautigam, fortepiano.

Ludwig van Beethoven

Pianosonat nr 1 f-moll Op 2:1

1. I. Allegro

2. II. Adagio

3. III. Menuetto. Allegretto

4. IV. Prestissimo

Pianosonat nr 2 A-dur Op 2:2

5. I. Allegro vivace

6. II. Largo appassionato

7. III. Scherzo. Allegretto v
8. IV. Rondo. Grazioso

Pianosonat nr 3 C-dur Op 2:3

9. I. Allegro con brio

10. II. Adagio

11. III. Scherzo. Allegro

12. IV. Allegro assai

Pianosonat nr 19 g-moll Op 49:1

13. I. Andante

14. II. Rondo. Allegro

Pianosonat nr 20 G-dur Op 49:2

15. I. Allegro, ma non troppo

16. II. Tempo di Menuetto

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Image Solo Piano Works, Vol. 8
Ronald Brautigam, fortepiano

The 32 piano sonatas by Ludwig van Beethoven have been called 'the New Testament of piano music', and belong to the most recorded repertoire of any instrument. With this disc, volume eight in his traversal of Beethoven's music for solo piano, Ronald Brautigam has reached the last of the 32, completing a sonata cycle which has made a great impression on all who have been following it. As one reviewer, in Süddeutsche Zeitung, described his reaction, 'one almost feels like a contemporary of Beethoven's, one of the first to hear this music - immensely astonished, not to say agitated.' His colleague in The Times (UK) agreed, claiming that 'Beethoven the revolutionary comes closer than ever in Brautigam's fiery interpretations.' Brautigam has chosen to record these seminal works on fortepiano, and throughout the series uses two different instruments mirroring the rapid development of the piano during the three decades that saw the birth of these sonatas. This has certainly added to the interest in the series, and caused the critic in Fanfare magazine to imagine 'a stylistic paradigm shift - a Beethoven piano-sonata cycle that challenges the very notion of playing this music on modern instruments'. But first and foremost it is the purely musical qualities of Ronald Brautigam's cycle that have impressed listeners, as witness the following quote from a review in Gramophone: 'Stunning performances that are technically breathtaking, stylistically astute, emotionally intense and musically alive in every moment.' The final chapters in Beethoven's pianistic testament are no less thrilling than those that have preceded them, and Brautigam's readings of them make for a grand finale of the sonata cycle. As an appendix to this recording, the early, unnumbered Bonn sonatas will appear on disc in the autumn of 2010, to be followed by a further eight discs of Variations, Bagatelles and other pieces for solo piano.

69 kr (159 kr)
Image Piano Works, Vol. 9
Ronald Brautigam, fortepiano

In eight previous volumes Ronald Brautigam has traversed what is often called 'The New Testament of Piano Music', namely Beethoven's 32 numbered sonatas. The present disc may be regarded as an appendix to these, as it explores the composer's first attempts in the genre. It opens with the three Kurfürsten Sonatas from 1783, in which Beethoven - at the tender age of twelve - demonstrates a remarkable maturity. With influences from C.P.E. Bach's ground-breaking keyboard music, as well as the sonatas from Haydn's 'Sturm und Drang' perod, the pieces earn their nickname from being dedicated to Archduke Maximilian Friedrich, Kurfürst of Cologne and the employer of Beethoven's father. The Kurfürsten Sonatas were published upon completion, whereas the remaining, later pieces on this disc remained unpublished during Beethoven's lifetime. Zwei Sätze einer Sonatine and Zwei Stücke für Klavier (Orphika) - often called 'Leichte Sonate' - were composed as gifts to two friends from Beethoven's youth: Franz Wegeler and Eleonore von Breuning. In the case of the Two Easy Sonatinas, the manuscript scores were found among Beethoven's papers after his death. There is no proof that Beethoven really is the composer, however, and although they are usually dated as having been written around 1790, this is no more than an educated guess. As a whole, the pieces presented here are the earliest so far in this series, and Ronald Brautigam has consequently chosen to introduce a new instrument for his performances: a copy of a fortepiano by Johann Andreas Stein from 1788. The opportunity it provides of following the evolution of the piano during a momentous period in piano music and instrument building certainly adds to the attractions of this universally acclaimed series. But Brautigam's interpretations have a directness and urgency to them that far surpasses such considerations - as summed in a review in Classic FM Magazine of a recent instalment: 'Brautigam has more to say about the music than any recent cycle recorded on modern instruments... An outstanding disc of an outstanding series.'

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