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Matiga samlingar med exempelvis Haydns stråkkvartetter, Bachs orgelmusik
och Complete Editions av storheter som Beethoven och Mozart.

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Image Complete String Quartets (23CD)
"They (Buchberger Quartet) are evidently at home with Haydn's musical language and make excellent guides through Op.9" ( reviewing Vol.1)

"In short, there is a lot here that's genuinely exciting and certainly full of Haydnesque energy" (Classics Today reviewing Vol. 5)

Haydn's string quartets span his creative life -- from the 1750s and the Opp. 1&2 sets through to his last
unfinished quartet in D minor Op.103 of 1803. When the first quartets were written Bach had been dead only a few years and Handel had five years to live. When the last quartet was being worked on, Beethoven had finished his ground breaking Third Symphony. Arguably, Haydn's greatest contribution to music is as the father of the string quartet rather than his oftgiven title as 'Father of the Symphony'. His quartets
developed from divertimenti and cassations, which were little more than light music for the entertainment
of wealthy patrons and royalty, to some of the most profound and visionary music by any composer. In the
same way as Bach's '48' have been described as a summation of all that had gone before, and the major
influence upon all that would follow, Haydn's quartets chart the development of the medium from 'background' music of high quality, to the major art form of the later works. They influenced Mozart, Beethoven, Schubert, Brahms, Schoenberg and beyond spanning the end of the Baroque, the Classical period in its entirety and the beginning of the Romantic age. During his lifetime, the world had seen huge social and political upheavals -- the French Revolution, the Napoleonic Wars which had been fought across Europe (reflected upon in 'Mass in Time of War, and the Nelson Mass), and the foundation of the United States of America in 1776. Acutely aware of the politics of his age, Haydn's development as a composer reflects these turbulent times. Any cycle of the Haydn String Quartets is a major achievement. The Buchberger Quartet's interpretations are based on scrupulous research into sources -- both contemporaneous and modern, and interpretational style -- dynamics, repeats and tempi. This complete recorded cycle is the culmination of a five-year project which has seen the Buchbergers perform all the quartets with illustrated talks and introductions to each work.

377 kr (629 kr)
Image 66CD-BOX: Vivaldi Edition
The master of Italian Baroque music is indisputably Antonio Vivaldi. Throughout his life, he composed hundreds of works, and is remembered perhaps second only to J.S. Bach, ranking as one of the most popular composers of all time. His oeuvre crosses an extraordinarily wide range, from instrumental compositions of all types to sacred cantatas and operatic works, a vast number of which are presented in this comprehensive box set.Vivaldi composed a large part of his works while working at the Ospedale della Pietà in Venice, where he was employed as a composer, teacher and violinist. The aim of the foundation was to provide an education and home for orphaned children. Vivaldi remained in the post on and off for over 30 years, and was under obligation to compose a new cantata for every feast day. His reputation, however, grew thanks to his post, adding up to over 140 in his absence. His operatic works grew vastly in number, instrumental skills rather than his compositions at first; as a violinist, he was known for his extraordinary cadenzas and virtuosic playing style. He became better known as a composer when Dutch publisher Etienne Roger brought out Lestro armonico in 1711, a hugely popular collection of 12 violin concertos, included on this release in full. J.S. Bach was particularly enthused by the manuscript, and his transcriptions for organ have gained popularity on their own merit his version is also to be found in this edition, a fascinating point of comparison, and a testament to Vivaldis reputation in his lifetime.During the 1720s and 30s, Vivaldi began to travel widely, while still sending compositionsto the Pietà in Venice when required: despite being unable to teach, he was clearly still a major asset, as he was asked to send two concertos a month by and he began working closely with soprano Anna Girò, who was rumoured to be his mistress. Vivaldi died in Vienna, and, incredibly for such a famous and wealthy man, was given a paupers burial. His last few months in Vienna had been frustratingly lacking in work, as concert houses were closed to mourn the death of Charles VI; however, his last opera was eventually staged posthumously there in 1742.Vivaldi was a divisive figure during his lifetime, well known for being vain and conceited. His vanity, though, is certainly deserved; we are left with the overwhelming evidence. More than 50 operas (of which 21 survived), 500 concertos and 90 sonatas are no mean feat for a man who by all accounts was also a superb teacher and virtuosic violinist. This release draws attention to the diversity of his oeuvre, starting with his instrumental music and moving on to feature his sacred cantatas and operas. It is the most comprehensive edition of Vivaldis music yet, bringing together 66 CDs showcasing hundreds of different performers and ensembles, many of them performing on period instruments as they strive to recreate the sound of the composers timbre through their researchled contemporaneous playing styles.

629 kr (1.049 kr)
Image 170CD-BOX: Mozart Edition
Revised version of the successful "Mozart-Box" The "Mozart Complete Edition", the 2006 on the occasion of the 250th birthday of Wolfgang Amadeus Mozart (1756-1791) first appeared, was a milestone in the history of recorded music: Never before has the overall consumption of a composers so often sold, never before has the interest of listeners to such a broad Edition so great. Apparently exerts Mozart's music remains an incomparable fascination. The new edition of Mozart Complete Edition is the recipe for success of the previous editions and combines top-class traditional interpretations, such as the Philharmonia Orchestra conducted by Paul Freeman, the Staatskapelle Dresden under Herbert Blomstedt and Otmar Suitner or the pianist Klára Würtz, with historically-informed performances of recognized experts as the Mozart Akademie Amsterdam under Jaap Ter Linden, Musica ad Rhenum. below Jed Wentz, La Petite Bande under Kuijken Sigiswald and the Forte pianist Bart van Oort

1.349 kr (2.249 kr)
Image Hummel Edition (20 CD)
Johann Nepomuk Hummel (1778–1837) was a pupil of Mozart, a protégé of Haydn, a friendly rival of Beethoven, and renowned throughout Europe as one of the greatest pianists of his day, a sought-after teacher who instructed some of the most distinguished 19th-century virtuosi, the author of an influential treatise on the art of pianism, and himself the composer of over three hundred works covering all musical genres (apart from the symphony). This 20CD Edition provides a cross-section of Hummel’s excellent, prolific and unjustly neglected output, with a large section of solo piano music including the complete sonatas and etudes and a rich selection of chamber music featuring violin, viola, cello, flute, and guitar with piano, as well as larger ensembles from piano trios to septets. Though not a symphonist (perhaps not wishing to compete in that arena with the undoubted genius of his contemporary Beethoven), Hummel had great skill with the orchestra, as this set proves with his many concertante works, all rivalling the well-known Trumpet Concerto, among them concertos for piano, piano and violin, bassoon, mandolin, violin (unfinished, completed by conductor–composer Gregory Rose) and the Introduction, Theme and Variations Op.102 for oboe and orchestra. Haydn’s recommendation of Hummel for the post of Konzertmeister at the court of Prince Esterhazy was the beginning of eight turbulent years at Eisenstadt. Fiercely independent, Hummel found fitting in with the manners and politics of the court difficult, and yet this was a very productive time. All his sacred music – represented on this set by a Te Deum, a Solemn Mass, the offertory Alma Virgo and the oratorio Der Durchzug durchs rote Meer for soloists, choir and orchestra – and several dramatic works including the opera Mathilde von Guise were composed during this period. The first and most comprehensive collection of works by Hummel! A long awaited tribute to a great composer with a strong appeal to a wide musical audience! A child prodigy he was taken in the household of Wolfgang Amadeus Mozart, who taught him. This Edition contains a generous selection of his works: the complete piano sonatas and other piano works, several piano concertos, violin concerto, bassoon concerto, trumpet concerto, mandolin concerto, violin/piano concerto, chamber music, masses, an oratorio and the opera Mathilde. Played by leading musicians of our time: fortepianists Costantino Mastroprimiano and Alessandro Commellato, Solamente Naturali conducted by Hummel-specialist Didier Talpain, and many others.

341 kr (569 kr)
Image Bach Transcriptions (20CD)
This fascinating set provides a refreshing window onto a much studied, much idolized, and oft performed master of composition, allowing many of his familiar works to appear in a new light, recognizable and yet transformed. Bach’s music is often described as indestructible, in the sense that no matter how it is performed, or in whichever arrangement, its essential spirit survives. Many of the transcriptions included here represent the work of contemporary, world-class performers bringing Bach’s masterpieces into the repertoire of their own instruments or ensembles, thereby giving new timbres to the genius of Bach’s contrapuntal lines. The much-loved Goldberg Variations, for example, are given not one, but two new arrangements, as the interwoven voices for keyboard are divided between the members of a string trio and a recorder quintet. Others are scholarly reconstructions of concertos for what might well have been Bach’s originally intended instruments – versions that were subsequently lost to future generations. From 1729 Bach directed the Leipzig Collegium Musicum, an association consisting of students and musical citizens, and for his performances with them Bach needed to provide secular works. But his time was largely absorbed with writing sacred music for St Thomas’s Church in his role as Kantor. So Bach devised harpsichord concertos by adapting concertos he had originally written for other instruments. Musicologists believe that the seven works known today as Bach’s concertos for solo harpsichord were initially composed as violin or oboe concertos. A third category included here might be called Bach transcriptions by 20th-century “giants”. The great Dutch harpsichordist Gustav Leonhardt arranged for the harpsichord various major works by Bach – five from solo violin works, three from solo cello suites and two movements from a partita for solo flute and a suite for solo lute respectively. These are classics of the arranger’s art, refined and thoroughly idiomatic.

Goldberg Variations BWV988
Arranged for recorder quintet by María Martínez Ayerza

1 Aria 4’12
2 Var.1 1 manual 1’49
3 Var.2 2 manuals 1’57
4 Var.3: Canone all Unisono 1 man. 2’02
5 Var.4 1 man. 1’06
6 Var.5 1 or 2 mans 1’12
7 Var.6: Canone alla Seconda 1 man. 1’09
8 Var.7: Al tempo di Giga 1 or 2 mans 1’56
9 Var.8 2 mans 2’01
10 Var.9: Canone alla Terza 1 man. 1’53
11 Var.10: Fugetta 1 man. 1’09
12 Var.11 2 mans 1’57
13 Var.12: Canone alla Quarta 2’52
14 Var.13: 2 mans 5’32
15 Var.14: 2 mans 2’13
16 Var.15: Canone alla Quinta: Andante 1 man. 2’41
17 Var.16: Ouverture 1 man. 2’58
18 Var.17 2 mans 2’41
19 Var.18: Canone alla Sexta 1 man. 1’33
20 Var.19 1 man. 1’09
21 Var.20 2 mans 2’31
22 Var.21: Canone alla Settima 3’19
23 Var.22: Allabreve 1 man. 1’19
24 Var.23 2 mans 2’15
25 Var.24: Canone all’ Ottava 1 man. 2’24
26 Var.25: Adagio 2 mans 5’45
27 Var.26 2 mans 2’07
28 Var.27: Canone alla Nona 2 mans 1’59
29 Var.28 2 mans 2’11
30 Var.29 1 or 2 mans 2’28
31 Var.30: Quodlibet 1 man. 2’08
32 Aria da Capo 2’14

Seldome Sene recorders
Stephanie Brandt · Ruth Dyson · Eva Gemeinhardt · Hester Groenleer · María Martínez Ayerza

F Sopranino Bodil Diesen, Oppegård, after Denner
C Soprano, Luca de Paolis, L’Aquila, after Stanesby Jr
C Soprano Ralf Ehlert, Celle, after Bressan
C Soprano, Friedrich von Huene, Cambridge (USA), after Terton
Bb Soprano (fourth flute), Luca de Paolis, L’Aquila, after Bressan
Bb Soprano (fourth flute) Guido Hulsens, Coulonges, after Bressan
F Altos (2) Lorenzo Lio, St. Gallen, after Denner
F Alto Fred Morgan, Australia, after Bressan
F Alto Joachim Rohmer, Celle, after Bressan
F Altos (2), Friedrich von Huene, Cambridge (USA), after Stanesby Jr

D Tenor (voice flute), Friedrich von Huene, Cambridge (USA), after Bressan
C Tenor Adrian Brown, Amsterdam
C Tenor ‘LdP Tenore barocco’, Luca de Paolis, L’Aquila, after Bressan
C Tenor Francesco Li Virghi, Orte, after Rafi
C Tenors ‘Loeki’ (2), Friedrich von Huene, Cambridge (USA)
F Bassets (2) Yamaha Shizuoka, Japan
C Great bass, Friedrich von Huene, Cambridge (USA)
F Contrabass, Friedrich von Huene, Cambridge (USA)
Bb Sub-contrabass Adriana Breukink, Enschede (a'=466)
Total time: 75’00
Recording: 20–22 March 2017, Schuilkerk De Hoop, Diemen, Netherlands

Sonatas and Partitas for Solo Violin BWV 1001–1003
Arranged for guitar by Francesco Teopini

Sonata No.1 in G minor BWV1001
1 Adagio 5’14
2 Fuga (Allegro) 5’27
3 Siciliana 3’03
4 Presto 3’51
Partita No.1 in B minor BWV1002
5 Allemanda – Double 9’40
6 Corrente – Double (Presto) 8’06
7 Sarabande – Double 6’47
8 Tempo di Borea – Double 7’26
Sonata No.2 in A minor BWV1003
9 Grave 5’29
10 Fuga 7’54
11 Andante 5’57
12 Allegro 6’16

Francesco Teopini guitar Michael O’Leary, 2010

Total time: 75’18
Recording: 28 December 2014–14 January 2015, Palazzo di Assisi, Perugia, Italy

Sonatas and Partitas for Solo Violin BWV 1004–1006
Arranged for guitar by Francesco Teopini

Partita No.2 in D minor BWV1004
1 Allemanda 6’01
2 Corrente 2’24
3 Sarabanda 4’44
4 Giga 4’08
5 Ciaccona 18’22
Sonata No.3 in C BWV1005
6 Adagio 4’44
7 Fuga 12’20
8 Largo 3’17
9 Allegro assai 5’08
Partita No.3 in E BWV1006
10 Preludio 3’55
11 Loure 3’40
12 Gavotte en Rondeau 3’33
13 Menuet I et II 3’40
14 Bourrée 1’45
15 Gigue 1’50

Francesco Teopini guitar Michael O’Leary, 2010

Total time: 79’43
Recording: 28 December 2014–14 January 2015, Palazzo di Assisi, Perugia, Italy

Suites for Solo Cello BWV 1007–1009
Arranged for Baritone Saxophone by Henk van Twillert

Suite No.1 in G BWV1007
1 Prélude 2’32
2 Allemande 4’37
3 Courante 2’47
4 Sarabande 2’32
5 Minuet I & II 3’16
6 Gigue 1’28
Suite No.2 in D minor BWV1008
7 Prelude 2’42
8 Allemande 3’27
9 Courante 2’18
10 Sarabande 4’08
11 Minuet I & II 3’12
12 Gigue 2’31
Suite No.3 in C BWV1009
13 Prelude 3’28
14 Allemande 4’05
15 Courante 3’25
16 Sarabande 4’29
17 Bourrée I & II 3’47
18 Gigue 1’32

Henk van Twillert baritone saxophone

Total time: 56’30
Recording: 10, 11, 14 & 15 August 2000, Studio van Schuppen, Netherlands

Suites for Solo Cello BWV 1010–1012
Arranged for Baritone Saxophone by Henk van Twillert

Suite No.4 in E flat BWV1010
1 Prelude 3’32
2 Allemande 4’02
3 Courante 3’54
4 Sarabande 4’48
5 Bourrée I & II 4’53
6 Gigue 2’52
Suite No.5 in C minor BWV1011
7 Prelude 5’52
8 Allemande 6’05
9 Courante 2’25
10 Sarabande 3’28
11 Gavotte I & II 4’37
12 Gigue 2’19
Suite No. 6 in D BWV1012
13 Prelude 4’51
14 Allemande 8’42
15 Courante 2’44
16 Sarabande 3’32
17 Gavotte I & II 4’18
18 Gigue 2’19

Henk van Twillert baritone saxophone

Total time: 75’29
Recording: 10, 11, 14 & 15 August 2000, Studio van Schuppen, Netherlands

Oboe Concertos (reconstructions)

Oboe Concerto in F BWV1053
1 I. Allegro 7’15
2 II. Siciliano 4’53
3 III. Allegro 5’44
Concerto in A BWV1055 for oboe d’amore
4 I. Allegro 4’12
5 II. Larghetto 4’01
6 III. Allegro ma non tanto 4’25
Oboe Concerto in G minor BWV1056
7 I. Allegro 3’14
8 II. Largo 2’22
9 III. Presto 3’17
Concerto in G for oboe d’amore
(arranged after three cantatas)
10 I. [Bass aria] (from BWV100) 3’23
11 II. [Alto aria] (from BWV170) 6’16
12 III. [Bass aria] (from BWV30) 4’07
Concerto in C minor BWV1060 for oboe & violin
13 I. Allegro 4’23
14 II. Adagio 4’13
15 III. Allegro 3’11

Andrius Puskunigis oboe & oboe d’amore
Simona Venslovaite violin (13–15)
St Christopher Chamber Orchestra
Donatas Katkus

Total time: 65’41
Recording: 17–22 August 2013, Church of St Catherine, Vilnius, Lithuania

Concertos for Recorder

Concerto in G
Arias from Cantatas BWV 215 & 32,
transcribed by Thiemo Wind
1 I. [Allegro] 6’26
2 II. Adagio 5’19
3 III. Presto 3’12
Concerto in B flat BWV1055
4 I. Allegro 3’57
5 II. Larghetto 4’56
6 III. Allegro ma non tanto 3’54
Concerto in D BWV1053
7 I. [Allegro] 7’24
8 II. Siciliano 3’55
9 III. Allegro 5’55
Concerto in D minor BWV1059R
10 I. [Allegro] 5’06
11 II. Adagio 2’50
12 III. Presto 2’42
13 ‘Liebster Jesu, wir sind hier’ BWV731 2’39

Erik Bosgraaf recorders
instruments made by and in close cooperation with Ernst Meyer, Paris
Ensemble Cordevento on period instruments
Zefira Valova violin I · Ivan Iliev violin II
Zdenka Procházková viola · Linda Mantcheva cello
Alessandro Pianu harpsichord

Total time: 59’05
Recorded: 6–9 July 2011, Kruiskerk, Burgum (Friesland), Netherlands

Violin Concertos
Transcribed for organ by Daniele Boccaccio

Concerto in D BWV1042
1 I. Allegro 7’44
2 II. Adagio 5’55
3 III. Allegro assai 2’50
Concerto in G minor BWV1041
4 I. (Allegro) 3’51
5 II. Andante 6’15
6 III. Allegro assai 3’56
Concerto in C minor BWV1043
7 I. Vivace 3’52
8 II. Largo, ma non tanto 6’30
9 III. Allegro 5’11

Daniele Boccaccio
at the Francesco Zanin organ of S. Antonio Abate, Padua

Total time: 46’09
Recording: 23 & 24 May 2013, S. Antonio Abate, Padua, Italy

Trio Sonatas
Trio Sonata No.1 in E flat BWV525
1 I. [Without tempo indication] 2’31
2 II. Adagio 5’13
3 III. Allegro 3’20
Trio Sonata No.2 in C minor BWV526
4 I. Vivace 3’58
5 II. Largo 2’39
6 III. Allegro 3’40
Trio Sonata No.3 in D minor BWV527
7 I. Andante 4’13
8 II. Adagio e dolce 4’09
9 III. Vivace 3’09
Trio Sonata No.4 in E minor BWV528
10 I. Adagio – Vivace 2’33
11 II. Andante 3’49
12 III. Un poco allegro 2’46
Trio Sonata No.5 in D BWV529
(original key C)
13 I. Allegro 4’00
14 II. Largo 3’21
15 III. Allegro 3’00
Trio Sonata No.6 in G BWV530
16 I. Vivace 3’14
17 II. Lento 4’41
18 III. Allegro 2’57

Mario Folena baroque flutes
A/Ab Flauto d’amore, Giovanni Tardino, after Giovanni Panormo, late 18th-century (1–6, 10–12)
Transverse flute, Martin Wenner, after Carlo Palanca, c.1700–1783 (7–9, 13–18)
Roberto Loreggian harpsichord Patella/Pergolis, after Michael Mietke, 1665–1726/9 (a'=415)

Total time: 63’26
Recording: 13 & 14 May 2013, Sala del Refettorio dell’Abbazia di Carceri, Italy

Goldberg Variations
Arranged for string trio by Dmitri Sitkovetsky
1 Aria 4’43
2 Var.1 1 manual 1’57
3 Var.2 2 manuals 1’13
4 Var.3: Canone all Unisono 1 man. 1’14
5 Var.4 1 man. 1’08
6 Var.5 1 or 2 mans 1’19
7 Var.6: Canone alla Seconda 1 man. 1’06
8 Var.7: Al tempo di Giga 1 or 2 mans 1’21
9 Var.8 2 mans 1’01
10 Var.9: Canone alla Terza 1 man. 1’18
11 Var.10: Fugetta 1 man. 1’23
12 Var.11 2 mans 1’04
13 Var.12: Canone alla Quarta 1’01
14 Var.13: 2 mans 2’46
15 Var.14: 2 mans 1’40
16 Var.15: Canone alla Quinta: Andante 1 man. 1’58
17 Var.16: Ouverture 1 man. 2’00
18 Var.17 2 mans 1’39
19 Var.18: Canone alla Sexta 1 man. 1’22
20 Var.19 1 man. 1’30
21 Var.20 2 mans 2’14
22 Var.21: Canone alla Settima 1’24
23 Var.22: Allabreve 1 man. 1’02
24 Var.23 2 mans 1’41
25 Var.24: Canone all’ Ottava 1 man. 1’38
26 Var.25: Adagio 2 mans 3’50
27 Var.26 2 mans 1’39
28 Var.27: Canone alla Nona 2 mans 1’00
29 Var.28 2 mans 1’16
30 Var.29 1 or 2 mans 1’16
31 Var.30: Quodlibet 1 man. 2’01
32 Aria da Capo 2’26

Amati String Trio
Gil Sharon violin · Ron Ephrat viola
Alexander Hülshoff cello

Total time: 54’26
Recording: December 1999, Middelburg Synagogue, Netherlands

Concerto Reconstructions

Concerto in D minor
for organ, oboes, strings & b.c.
from BWV 1052, 146 & 188
1 I. Allegro 7’40
2 II. Adagio 7’27
3 III. Allegro 8’01
Concerto in D minor
for harpsichord, oboe, strings & b.c.
from BWV 35 & 1059
4 I. [Without tempo indication] 6’08
5 II. [Without tempo indication] 5’12
6 III. Presto 3’28
Concerto in G
for viola da braccio, strings & b.c.
from BWV1055
7 I. Allegro 4’21
8 II. Larghetto 5’25
9 III. Allegro ma non tanto 4’31
Concerto in D
for 3 violins, 2 oboes, bassoon, strings & b.c.
from BWV1064
10 I. Allegro 6’30
11 II. Adagio 5’39
12 III. Allegro 4’49
Insieme Strumentale di Roma
Giorgio Sasso
solo violin J.K. Klotz, Mittenwald, 1751 (10–12)
solo viola Mathias Boller, Mittenwald, 1784 (7–9)
Andrea Mion · Elisabeth Passot oboes (1–6, 10–12)
Stanesby · A. Grazzi, Mantova, 2011
Guido Campana oboe da caccia (1–3)
P. Fanciullacci, Prato, 2002
Cecilia Medi bassoon (10–12)
O. Cottet, Boutigny, 2004, after Bizet, 1710
Paolo Perrone violin (solo: 10–12)
D.N. Ainé, Mirecourt, 18th cent.
Giorgio Sasso musical direction

Mauro Lopes solo violin (10–12)
G.B. Guadagnini, 1757, Milan
Gabriele Politi violin (7–9) A. Thier, 18th cent.
Teresa Ceccato viola anon. Italian, 18th cent.
Diego Roncalli cello anon. Italian, 18th cent.
Luca Cola, double bass anon. German, 18th cent.
Salvatore Carchiolo
solo organ J. Deblieck, Brussels, 2000 (1–3)
solo harpsichord A. Di Maio, Viterbo, 2010, after Taskin (4–6)
Marco Silvi harpsichord (1–3)
A. Di Maio Viterbo 2010 after P. Taskin

Total time: 69’16
Recording: 17–20 November 2011, Basilica of St. Alessio, Rome

Suites for Guitar
Suite in E minor BWV996
1 I. Preludio: Passaggio – Presto 2’57
2 II. Allemande 3’49
3 III. Courante 2’32
4 IV. Sarabande 4’12
5 V. Bourée 1’10
6 VI. Giga 2’49
Suite in E BWV1006.2
7 I. Präludium 4’08
8 II. Loure 3’29
9 III. Gavotte en Rondeaux 3’02
10 IV. Menuett I 1’16
11 V. Menuett II 2’09
12 VI. Bourée 1’34
13 VII. Gigue 1’54
Partita in D minor BWV1004
14 I. Allemanda 7’04
15 II. Corrente 2’48
16 III. Sarabanda 4’16
17 IV. Giga 4’31
18 V. Ciaccona 14’20

Luigi Attademo guitar

Total time: 68’41
Recorded: October 2009–October 2010, Calenzano, Firenze, Italy

Suites for Guitar
Suite in A minor BWV995
1 I. Prelude 5’20
2 II. Allemande 6’42
3 III. Courante 2’33
4 IV. Sarabande 4’02
5 V. Gavotte I 2’06
6 VI. Gavotte II en Rondeaux 2’19
7 VII. Gigue 2’08
Suite in A minor BWV997
8 I. Prelude 3’24
9 II. Fuga 8’04
10 III. Sarabande 5’14
11 IV. Giga 2’53
12 V. Double 2’50
Suite in D BWV998
13 I. Prelude 2’46
14 II. Fuga 5’16
15 III. Allegro 3’32
16 Prelude for lute in D minor BWV999 1’41
17 Fugue in A minor BWV1000 5’19

Luigi Attademo guitar

Total time: 66’49
Recorded: October 2009–October 2010, Calenzano, Firenze, Italy

Sonatas, Partitas, Suites
Transcribed for harpsichord by Gustav Leonhardt
Sonata in D minor after Sonata in G minor BWV1001 for solo violin
1 Adagio 3’37
2 Fuga allegro 4’48
3 Siciliana 2’40
4 Presto 2’59
Partita in E minor after Partita in B minor BWV1002 for solo violin
5 Allemanda 3’49
6 Double 2’13
7 Corrente 2’38
8 Double (Presto) 3’14
9 Sarabande 2’21
10 Double 2’06
11 Tempo di Borea 2’03
12 Double 2’14
Partita in G Minor after Partita in D minor BWV1004 for solo violin
13 Allemanda 4’41
14 Corrente 2’55
15 Sarabanda 3’55
16 Giga 4’56
17 Ciaccona 13’57

Roberto Loreggian harpsichord Cembali Frezzato & Di Mattia, 2010, after Ruckers

Total time: 65’15
Recording: July 2018, Studio Zanottostrumenti Silvelle di Trebaseleghe (Padua), Italy

Sonatas, Partitas, Suites
Transcribed for harpsichord by Gustav Leonhardt
Sonata in G after Sonata in C BWV1005 for solo violin
1 Adagio (version for keyboard by J.S. Bach BWV968) 3’14
2 Fuga 9’32
3 Largo 2’20
4 Allegro assai 5’23
Partita in A after Partita in E BWV1006 for solo violin
5 Preludio 4’23
6 Loure 2’28
7 Gavotte en Rondeau 2’54
8 Menuet I 1’03
9 Menuet II 1’38
10 Bourrée 1’43
11 Gigue 2’05
Suite in E-flat after Suite in E-flat BWV1010 for solo cello
12 Praeludium 3’52
13 Allemande 4’55
14 Courante 3’13
15 Sarabande 3’46
16 Bourrée I 1’53
17 Bourrée II 0’49
18 Bourée I 1’34
19 Gigue 2’57

Roberto Loreggian harpsichord Cembali Frezzato & Di Mattia, 2010, after Ruckers

Total time: 59’55
Recording: July 2018, Studio Zanottostrumenti Silvelle di Trebaseleghe (Padua), Italy

Sonatas, Partitas, Suites
Transcribed for harpsichord by Gustav Leonhardt
Suite in C minor after Suite in C minor BWV1011 for solo cello
1 Prelude 5’44
2 Allemande 5’11
3 Courante 2’10
4 Sarabande 3’15
5 Gavotte I 1’49
6 Gavotte II en Rondeau 0’50
7 Gavotte I 0’58
8 Gigue 2’16
Suite in D after Suite in D BWV1012 for solo cello
9 Prelude 4’09
10 Allemande 4’21
11 Courante 3’31
12 Sarabande 3’44
13 Gavotte I 1’27
14 Gavotte II 1’16
15 Gavotte I 0’45
16 Gigue 4’05
17 Allemande in A minor
after Allemande from Partita in A minor BWV1013 for solo flute 4’52
18 Sarabande in C minor
after Sarabande from Suite in C minor BWV997 for lute 4’18

Roberto Loreggian harpsichord Cembali Frezzato & Di Mattia, 2010, after Ruckers

Total time: 54’53
Recording: July 2018, Studio Zanottostrumenti Silvelle di Trebaseleghe (Padua), Italy

Transcriptions by Ferruccio Busoni 1866–1924
Prelude and Fugue in D BWV532 [BV B 20]
1 I. Prelude: Moderato 6’23
2 II. Fugue: Allegro moderato 9’07
Prelude and Fugue in E flat BWV552 [BV B 22]
3 I. Prelude: Moderato maestoso 12’59
4 II. Fugue: Sostenuto e tranquillo 8’40
Toccata, Adagio and Fugue in C BWV564 [BV B 29/1]
5 I. Prelude: Tempo moderato, quasi improvvisando 6’58
6 II. Intermezzo: Adagio 6’34
7 III. Fugue: Moderatamente scherzando, un poco umoristico 6’44
Toccata and Fugue in D minor BWV565 [BV B 29/2]
8 I. Toccata: Adagio – prestissimo 3’10
9 II. Fugue: Allegro sostenuto 7’49

Sandro Ivo Bartoli piano

Total time: 68’28
Recording: 20–23 April 2013, Gran Teatro Giacomo Puccini, Torre del Lago (Lucca), Italy

Transcriptions by Ferruccio Busoni 1866–1924
Chaconne in D minor BWV1004 [BV B 24]
1 Andante maestoso, ma non troppo lento 16’22
10 Chorale Preludes [BV B 27]
2 Komm, Gott Schöpfer, heiliger Geist BWV667: Vivace maestoso 2’45
3 Wachet auf, ruft uns die Stimme BWV645:
Allegretto tranquillo, con semplicità devota 4’43
4 Nun komm’ der Heiden Heiland BWV659: Adagio 5 ’36
5 Nun freut euch, lieben Christen gmein BWV734a: Allegro 2’04
6 Ich ruf’ zu dir, Herr Jesu Christ BWV639: Andante 3’32
7 Herr Gott, nun schleuß den Himmel auf BWV617: Un poco agitato 2’54
Durch Adams Fall ist ganz verderbt
8 a) BWV637: Andante mesto 3’03
9 b) Fuga BWV705: Molto sostenuto 5’28
10 In dir ist Freude BWV615: Allegro marcato 3’20
11 Jesus Christus, unser Heiland BWV665: Andante non troppo 6’21
Prelude and Fugue in E minor BWV533 [BV B 26]
12 I. Prelude: Moderato deciso 3’07
13 II. Fugue: Andante tranquillo 4’20

Sandro Ivo Bartoli piano

Total time: 63’44
Recording: 20–23 April 2013, Gran Teatro Giacomo Puccini, Torre del Lago (Lucca), Italy

Piano Transcriptions by Eugen D’Albert 1864–1932
Prelude and Fugue in D BWV532
1 Prelude 4’41
2 Fugue 6’08
Fantasia and Fugue in C minor BWV537
3 Fantasia 4’16
4 Fugue 3’18
Prelude and Fugue in G BWV541
5 Prelude 2’34
6 Fugue 4’01
Toccata and Fugue in F BWV540
7 Toccata 7’17
8 Fugue 4’39
Prelude and Fugue in A BWV536
9 Prelude 1’37
10 Fugue 4’31
Prelude and Fugue in F minor BWV534
11 Prelude 3’49
12 Fugue 4’17
Toccata and Fugue in D minor BWV538
13 Toccata 4’26
14 Fugue 6’32
15 Passacaglia in C minor BWV582 13’19

Emanuele Delucchi piano Steinway D, 1906
Total time: 75’34
Recording: 14–15 January 2017, Mattarozzi studio, Cremona, Italy

Symphonic Transcriptions by Leopold Stokowski 1882–1977
1 Air from Orchestral Suite No.3 in D BWV1068 5’30
2 Aria: ‘Schafe können sicher weiden’
(Sheep may safely graze) 5’35
from ‘Hunting’ Cantata:
‘Was mir behagt, ist nur die muntre Jagd’ BWV208
3 ‘Little’ Fugue in G minor BWV578 3’34
4 ‘Komm, süßer Tod, komm selge Ruh’ BWV478 4’05
5 Chorale: ‘Jesus Christus, Gottes Sohn’ 3’41
from ‘Easter’ Cantata: ‘Christ lag in Todesbanden’ BWV4
6 Aria: ‘Es ist vollbracht!’ 8’40
from Part II of St John Passion BWV245
7 Chorale Prelude:
‘Wir glauben all an einem Gott’ BWV680 3’28
from Clavier-Übung III
8 Chorale Prelude:
‘Nun komm, der Heiden Heiland’ BWV599 5’02
from Orgelbüchlein
9 Toccata & Fugue in D minor BWV565 8’57
10 II. Largo (Arioso) 5’56
from Harpsichord Concerto in F minor BWV1056
11 Chorale Prelude:
‘Wachet auf, ruft uns die Stimme’ BWV645 3’43
from Schübler Chorales
12 Chorale Prelude:
‘Ich ruf zu dir, Herr Jesu Christ’ BWV639 3’22
from Orgelbüchlein
13 Chorale Prelude:
‘Ein feste Burg ist unser Gott’ BWV302 2’41
(A Mighty Fortress Is Our God)
14 Chorale: ‘Jesu, bleibet meine Freude’ 3’30
(Jesu, Joy of Man’s Desiring)
from Cantata:
‘Herz und Mund und Tat und Leben’ BWV147

341 kr (569 kr)
Image 21CD-BOX: Locatelli Complete Edition
Pietro Antonio Locatelli was one of the most important composers of the Baroque period, being a particularly celebrated composer of violin repertoire. His collection L'arte del violino contains 12 violin concertos with 24 caprices in the first and last movement of each, allowing for astonishing displays of virtuosity.

He was born in Bergamo, Italy, in 1695, and at the age of 16 went to Rome to study the violin. Despite the popular myth that he was taught by Corelli, it's unlikely that he ever made contact with him; however, he certainly studied with members of the Corelli 'school', improving both his compositional skills and his performing technique.

Although details of the composer's life are somewhat sketchy, it's clear Locatelli was linked to some of the most influential aristocrats of the time. At some point he was under the protection of Monsignor Camillo Cybo, an advisor to the Pope; at another point, he was granted the title of 'virtuoso da camera' by the Habsburgian governor of Mantua Philipp von Hesse Darmstadt. Just these fleeting details are enough to tell us of Locatelli's growing reputation for virtuosic playing; in Munich in 1727 he was awarded 12 gold florins for a performance, and he pops up again in Germany in 1728, receiving money for services to the court in Kassel.

Eventually, businesssavvy Locatelli ended up in Amsterdam, where the music publishing industry had taken off. Thanks to the composer's meticulous attention to the publication of his works, and the fact that he was legally required to give copies to the Leiden University library, we are left with excellent manuscripts of his Opp. 1-9. His business acumen must have paid off, as his estate at the time of his death comprised large collections of works of art and old books, indicating an impressive prosperity.

Locatelli was the forerunner of 19thcentury virtuosity, and the works on this release reveal a composer eager to exploit the sound of the violin. As well as writing technically demanding solo passages, however, he was also an inventive writer for the supporting instruments, demonstrating a superb knack for fugal writing, and intensifying the texture of the concertino group with the addition of a viola, something unusual for the time. This release is an excellent opportunity to become better acquainted with Locatelli and the wealth of music he composed throughout his life. Demonstrating the versatility of Locatelli's writing, this set includes his Op.5 Trio Sonatas 'o due violini o due flauti' for the violin as well as the flute, allowing the listener to experience the composer's florid writing in two very different interpretations.

Igor Ruhadze and his group Ensemble Violini Capricciosi have dedicated themselves to recording Locatelli's works for some years now. Careful research along with a genuine enthusiasm for the overlooked composer's works have led to a fine set of recordings, previously described by Gramophone as 'brilliantly and at times breathtakingly performed'. The release also includes new recordings of the composer's Concerti Grossi Opp. 1 & 7 and Introduzioni Teatrali Op.4, as well as the haunting Sinfonia funebre, a work to mark the death of an unknown woman in Rome. The vibrant playing of the Ensemble Violini Capricciosi is complemented by Musica ad Rhenum, led by highly acclaimed flautist Jed Wentz, who perform the Flute and Trio Sonatas. This release of 21CDs of listening pleasure represents excellent value for money; a compelling and masterful accomplishment just waiting to be enjoyed.

359 kr (599 kr)
Image Virtuoso Piano Etudes (22 CD)
This monumental set dedicated to the Virtuoso Piano Étude offers a rewarding opportunity to witness two centuries in the evolution of masterpieces for the study of the piano. Composers have been challenging pianists with études for a long time. The practice of writing studies for the perfection of a particular pianistic technique developed in the 15th century, but the name ‘study’ or ‘étude’ only really came into its own in the 19th century with the rise in popularity of the piano as a domestic instrument. Works of particular importance were Clementi’s Gradus ad Parnassum, Moscheles’s Opus 70 Studies, Czerny’s Art of Finger Dexterity and Liszt’s Transcendental Studies, the latter even more extensive and complex than Chopin’s Études Opp. 10 and 25, which transformed the humble piano exercise into concert-worthy material. While each of Liszt’s and Chopin’s études examines a particular aspect of technique, these magnificent works never feel like drills. They remain amongst the most popular works written for piano, regularly recorded and performed in concert. In the 20th century, studies gradually evolved into compositions that were music first, only secondarily exploiting a specific technical challenge for the pianist. Notable composers were Claude Debussy, Sergei Rachmaninov, Alexander Scriabin and Leopold Godowsky. Godowsky’s Chopin Studies push fingers and feet, mind and imagination, physicality and finesse, fitness, to the outer limits of possibility. By mid-century composers had almost completely abandoned the old tradition. Olivier Messiaen’s 4 Études de rhythme are not didactic compositions but experiments with dynamics, figurations, pitches, etc. – exercises in composition rather than performance. Friedrich Gulda intended his Play Piano Play as exercises in learning the jazz style and improvisation, contrasting traditional neo-Baroque with various jazz traditions. Philip Glass abandoned bar lines to convey his concept of the flow of rhythm, and John Cage’s Études Boreales, initially deemed unplayable because of the wholly unorthodox techniques they explore, require the performer to play, beat or generate sound on various parts of the instrument. These studies represent some of the most innovative and imaginative writing in the modern and contemporary piano repertoire, exploring to the fullest extent what the instrument is capable of.

371 kr (619 kr)
Image César Franck Edition (23 CD)
This remarkable set reveals the full breadth and genius of a creative career known to most merely by the tip of the iceberg: a small number of seminal works written in the composer’s final decade of life. Ceìsar Franck (1822–1890), although considered one of the foremost 19th-century French composers, was not in fact French by birth, but Belgian. He only became a full French citizen in 1873 after he had been appointed organ professor at the Paris Conservatoire. His career can be divided into three distinct periods, each characterised by the production of very different types of music. From 1834 to 1846, under pressure from his father, he concertised as a piano virtuoso, and most of the works of this period were written with that purpose in mind. In the decade following his marriage in 1848 he composed virtually nothing but became celebrated as an organist, and he would bring the spacious dimensions of that instrument to his sound world in the years to come. His ‘middle period’ – from about 1858 to 1879 – was devoted to the production of works for organ, church music and a series of monumental choral pieces on religious or biblical subjects. In these three decades he wrote virtually nothing for the piano. From 1879 begins the decade of his late flowering in the great chamber and orchestral works, ushered in by his well-loved Piano Quintet and containing the pieces for which Franck is widely known. Spanning all three periods were opera and his small output of 18 mélodies. César Franck (1822-1890), is widely considered one of the foremost 19th century French composers. He was not in fact French by birth, being born to parents of German stock in Liege, Belgium. He only became a full French citizen in 1873. A child prodigy he studied piano and organ in both Belgium and France. His career as a traveling piano virtuoso was not successful and it was as an organist that he finally established himself and settled in France as a teacher and organist, the Paris church St Clothilde, with its magnificent Cavaille Coll organ, being his home. Like Bruckner and Messiaen, he was a devout Christian who invested his music with an intense spirituality that was matched in his personal life by an almost saintly innocence. His musical style is characterized by intense and rich chromaticism, long, curving melodic lines and highly personal counterpoint. This edition offers an extensive range of his works: the famous Violin Sonata, the Symphony, and the organ works, but also lesser known works like the piano trios, piano quintet and string quartet, the great piano works, the complete songs, the opera Stradella, the mighty oratorio Les Béatitudes, symphonic poems, the rarely heard and recorded Rédemption and the Mass. Performers include conductors Jean Fournet, Roberto Benzi and Helmuth Rilling, pianists Muza Rubackyte and Klára Würtz, violinist Kristóf Baráti and organist Adriano Falcioni.

377 kr (629 kr)
Image Bach Family: Complete Organ Music (24 CD)
The extensive Bach family was a dynasty unusually rich in musical talent, counting among its ranks numerous composer–organists active in the Northern European Baroque tradition. This remarkable set gathers together not only the monumental corpus of J.S. Bach's incredibly sophisticated organ music, but also that of the most noted (and best-known to today's musicologists) of four generations of his relatives, from great uncles and uncles to cousins and sons. The collection offers a rewarding opportunity to follow the stylistic evolution of organ music from the decades before J.S. Bach's birth through to the creative years of his sons and their younger distant cousin, Johann Ernst, each of whom witnessed the decline of Baroque complexity in favour of Classical balance and grace and conformed to this new trend to varying degrees. The other strand that can be traced in this set is the musical 'DNA' of a clan, whose members were taught by family elders, inherited compositions from them, and who studied and copied the works of their cousin contemporaries, creating a family school of impressive quality. Internal musical borrowing between the Bachs was such that musicologists are still unraveling the mystery of some works' true authorship, as well as identifying pieces by other composers, who borrowed the Bach name in hopes of attaining a share of their glory. This unique set brings together the complete organ works of the many members of the Bach family! The genius of Johann Sebastian Bach didn’t emerge from nowhere: he was actually a scion of a highly musical family, a branch of the rich, ornate and fruit bearing tree called Bach. This set presents organ music by uncles, nephews and children of Johann Sebastian: Heinrich, Johann Christoph, Johann Bernhard, Johann Friedrich, Johann Lorenz, Wilhelm Friedemann, Carl Philipp Emanuel and Johann Ernst. A fascinating anthology of family talent and genius! Played by leading organists specialized in the performance practice of the Baroque: Stefano Molardi, Filippo Turri and Luca Scandali, playing a variety of organs, among which many magnificent historic instruments by Silbermann, Volckland, Trost, Thielemann and Hildebrandt. The extensive liner notes in English were written by Philip Borg-Wheeler Booklet cover features an illustrated Bach family tree.

359 kr (599 kr)
Image Michael Haydn Collection (28 CD)
An inspiration to Mozart and a teacher to composers such as Diabelli and Weber, Johann Michael Haydn was a respected and influential figure during his lifetime. Michael and his brother Joseph both boast a sublime musical output, but history has favoured the younger brother. Although Joseph was undoubtedly a rare genius, Michael’s works merit equal recognition, and this set explores his diverse musical repertoire from the better-known sacred music to rare recordings of seldom heard works. The collection opens with Michael Haydn’s symphonies. By the age of 25, he already held the prestigious position of court composer and Konzertmeister in Salzburg. The earliest symphonies included here, No.1 in C and No.1B in F, date from 1758 and display the youthful energy of a composer finding his feet. In comparison, the later symphonies demonstrate a greater understanding of the complexities of every instrument in the ensemble. His penultimate symphony, F major MH507, features an expressive Adagio ma non troppo where the composer gives the bassoon a lyrical melody line. Haydn also wrote concertos that gave prominence to under-represented instruments including the trombone and the clarinet, the latter of which had only been invented at the turn of the 18th century. Haydn’s varied and extensive output caught the eye of Mozart, 20 years his junior. He greatly admired Haydn and the two remained close friends until Haydn’s death in 1806. Michael Haydn has suffered from musical misattributions, and many of the works in this set have only recently been correctly attributed. For example the G major symphony MH334 was believed to have been Mozart’s Symphony No.37 until 1907, when musicologist Lothar Perger discovered Mozart had only written the introduction. Scholarship has continued shedding light on Michael Haydn’s music, and an improvement on Perger’s 1907 catalogue of the composer’s works is the recent one created by Charles Sherman and T. Donley Thomas in 1993, in which 838 pieces are each assigned an MH number according to the authors’ best guesses at chronology. Michael Haydn also wrote serenades, divertimenti and notturni, genres popular during the Classical and Romantic eras, where a tuneful melody is prioritised over technical virtuosity. The D major Serenade MH86 has ten movements including a concertino for horn and trombone, which features uplifting solo lines. Haydn wrote some 850 works during his lifetime, with sacred music constituting nearly half, but a few works in particular stand out. The Requiem, or Missa pro defuncto Archiepiscopo Sigismondo, is one of his most solemn compositions. It was written for the death of Archbishop Siegmund, but the grief and sorrow expressed in the music was also likely linked to the recent death of his only child in 1771, Aloysia Josepha. Meanwhile the Missa Sancti Francisci (St Francis Mass) is more lively, and there are fast movements of challenging violin semiquavers while the choir sing praise. The Classical era witnessed an extraordinary musical outpouring across Europe. It has been dominated by the colossus of Mozart and Joseph Haydn, who have cast their shadow over many of their contemporaries. Michael Haydn is one of these composers who has been sorely overlooked, and this set goes a long way towards bringing the composer into the light. Johann Michael Haydn (1737-1806), younger brother of Joseph, was born in Rohrau Austria, on 14th September 1737. Aged eight, he joined Joseph among the choirboys at St. Stephen's in Vienna, while he studied singing, violin and organ. Aged twenty-five, Michael was appointed court composer and Konzertmeister in Salzburg, having already completed more than a dozen masses, fifteen symphonies and other works. In 1781 he became the organist of Salzburg Cathedral. He stayed the rest of his long and productive life in Salzburg. Although nowadays Michael Haydn is overshadowed by the fame of his brother Joseph, during his lifetime he was highly respected and praised by Leopold and Wolfgang Amadeus Mozart and notably by his brother Joseph, who considered Michael’s vocal works even better than his own. This extensive collection of works by Michael Haydn includes a substantial number of symphonies, concertos, chamber music, sacred vocal music and operas. In many works Michael Haydn equals the freshness, wit and lyricism of his famous brother’s works, whereas his religious works breath a solemn, intimate and truly pious spirit. A true discovery of a Master of the classical style, an underrated genius deserving far more exposure! Another enterprising issue in the series of Editions of Minor Masters by Brilliant Classics, previously featuring composers Wilhelm Friedemann and Carl Philip Emanuel Bach, Hummel, Franck, Alkan, Locatelli, Alessandro Scarlatti and others.

431 kr (719 kr)
Image Alessandro Scarlatti Collection (30 CD)
A prolific Baroque composer of great skill, recognised by music historians particularly for his development of the Italian vocal style, the Sicilian-born Alessandro Scarlatti was overshadowed in his own day by Bach, Handel, Rameau and Vivaldi and later by his composer son Domenico, who would transition into the Classical era and is widely appreciated for his more than 500 keyboard sonatas. Usually described as a Neapolitan composer, Alessandro Scarlatti had strong ties as well to Rome, where he spent about half of his active career. The fact that at least 40 of his operas survive from his first 18 years in Naples as maestro di cappella (1684–1702) – and he is likely to have written twice that many during that period– gives an indication as to his abundant creativity both there and in Rome, where he thrice lived and worked: as a young man, again while in his forties, and finally when approaching the age of 60. This set provides a rich sampling of Scarlatti’s vast output, with many great recordings not only of the vocal music for which he is most widely acclaimed –the duets, the comic intermezzos, the serenata La Gloria di primavera and the chamber cantatas, a genre he perfected, as well as the sacred oratorios, his Opus 2 sacred concertos and the Vespers and St Cecilia Mass – but also his unjustly neglected instrumental music, including 6 CDs devoted to his keyboard works. The first serious Edition of one of the most important but still neglected Italian Baroque composers: Alessandro Scarlatti, founder of the Neapolitan School, and a great influence on composers after him. Contains a substantial selection of large scale oratorios, operas, cantatas and instrumental music. Music of great invention, passion and brilliance. Performed on period instruments by Italian Early Music soloists and ensembles/orchestras. Recordings date from 1961 to 2015. Contains liner notes by Philip Borg-Wheeler.

443 kr (739 kr)
Image 33CD-BOX: Complete Symphonies
473 kr (789 kr)
Image 37CD-BOX: Boccherini Edition
New Berlin Chamber Orchestra
Michael Erxleben
Accademia i Filarmonici di Verona
Enrico Bronzi
Lajos Léncses
Parisii Quartet
Eros Roselli
La Magnifica Comunità
Ilario Gregoletto
Ensemble Claviere
Petersen Quartet
Franco Angeleri
Enrico Gatti
Galimathias Musicum
Luigi Puxeddu
Federico Bracalente
Claudio Lapolla
Francesco Lattuada
Francesco Ferrarini
Barbara Vignudelli
Orchestra da Camera 'Benedetto Marcello'
Flavio Emilio Scogna

One of the most distinguished figures of the Classical period, the Italian composer Luigi Boccherini (1743--1805) was revered by 18th-century listeners and musicians for the charm, elegance and lyrical beauty of his music. Although his legacy has been undervalued in modern times, this new 37 CD box set, the most comprehensive on the market, invites listeners to rediscover the distinctive musical voice and graceful style that won Boccherini acclaim during his own lifetime.

The composer's famed chamber works are explored in particular detail: a broad survey of the string quintets highlights the
warmth and sophistication that listeners have found so appealing in Boccherini's music, and the oboe, piano and guitar quintets (including the evocative 'Fandango' Guitar Quintet) showcase his imaginative handling of instrumental and tonal colour. Boccherini's prodigious talent as a cellist is apparent in the virtuosic cello sonatas and concertos, which call for an array of dazzling instrumental techniques, while the Stabat Mater is one of just a handful of vocal works that he wrote during his career. Also included are two discs of mature symphonies, less ground-breaking than those of his contemporaries Mozart and Haydn but equally compelling for their expressive melodies subtle innovations.

Over these 37 discs, Boccherini's works are given outstanding readings by specialists in 18th-century repertoire, with a number of performances on period instruments. The collection is a testament to the enduring charm of the Italian composer's music, and listeners will cherish the opportunity to rediscover and explore it in greater depth.

485 kr (809 kr)
Image 500 Years of Organ Music, Vol. 2 (50 CD)
The first volume of 500 Years of Organ Music (95310) plunged us into the world of a majestic instrument which has been a formidable presence in churches and cathedrals for thousands of years. In this new anthology we delve deeper into the vast soundscape, discovering an eclectic range of composers and their equally varied works for what Mozart once described as ‘the king of instruments’. Much of the oldest organ music has been lost or destroyed. However, to this day in institutions and libraries around the world ancient manuscripts are still discovered languishing on cobwebbed shelves, and the music’s fragments are painstakingly pieced together, allowing new works to come to light. For instance, we are introduced to Gonzalo de Baena, whose collection Newly devised method for learning to play, dating from 1540, was only rediscovered in 1992. Other Renaissance-era highlights include Italian virtuosi Cristofano Malvezzi, Giovanni Maria Trabaci and Antonio Valente, whose works offer an insight into the era’s musical traditions, with parallel triads and typically highly ornamented melodies. Encompassing a range of European contributions, the anthology also features Spanish early music and particularly the tiento. Deriving its name from tentar ‘to touch’, the tiento is Spain’s answer to the Italian ricercar. The style is exemplified by Francisco Correa de Arauxo’s Libro de tientos y discursos de música practica, published in 1626, and its pieces set the stage for the Spanish Baroque era. Among the German composers, the set includes Johann Caspar Kerll, a highly-respected composer in his day whose works were studied by Handel and J.S. Bach. He is virtually forgotten today, but receives due credit here with a full album dedicated to his canzone and toccatas. Naturally, a survey of the German organ music repertoire is not complete without the contribution made by the Bach family, and seven members of the family, including J.S. Bach, grace this set.

523 kr (872 kr)
Image 65CD-BOX: Handel Edition
Alfred Deller, Arleen Auger, Erik Bosgraaf, Concerto Köln, Musica ad Rhenum / Jed Wentz, King's College Choir,
RIAS Kammerchor, Akademie für Alte Musik Berlin

An exact contemporary of Bach, George Frideric Handel was one of the most important composers of the Baroque era, carving out a career for himself which was equally as impressive as his fellow countryman's.

Born in Halle, Germany, to parents who were initially opposed to his devotion to music, Handel soon moved from his hometown to the great operatic centre of Hamburg. The opportunity to meet people from around Europe led to a rapid development of his skills, and, influenced by the Italian style that was gathering pace around him, the composer took the opportunity to travel to Italy, staging La Resurrezione in Rome in 1708. Handel's reputation soon picked up, and in 1710 he became Kapellmeister to the Elector of Hannover, Prince George, who would soon become King George I of England. The connection with England had been established, and Handel moved there permanently in 1714, helping to found the Royal Academy of Music five years later. When the new Covent Garden Theatre was established in 1736, Handel celebrated the opening night with a performance of Alexander's Feast.

Following his operatic success, the composer turned to oratorios, starting with the biblical Saul and Israel in Egypt, and premiering Messiah in Dublin in 1742. The next year, despite suffering paralysis in his hand, he completed Samson and the Dettingen Te Deum, with Semele appearing in February 1744. Five years later came one of his most popular works, Music for the Royal Fireworks; up to 12,000 people attended the first performance, an indication of just how popular the composer was in his own lifetime. After staging a performance of Messiah to benefit the Foundling Hospital in 1749, Handel was made a governor, beginning a relationship with the institution that would last the rest of his life.

629 kr (1.049 kr)
Image Beethoven Complete Edition 2017 (85 CD)
It would not be an overstatement to declare that Ludwig van Beethoven stands as one of the most significant figures in Western civilisation: a composer who shaped the course of music history through his mastery of rhythm, melody and harmonic exploration, pushing the boundaries of form and effectively bridging the gap between Classicism and Romanticism – and yet all the while continuously professing how difficult he found composition. Detailing his complete output – from his earliest years to his last, by which time he had almost completely lost his hearing – this 85CD box reveals an extensive palette of styles and mediums, rendered all the more obvious by the box's division into different genres (starting with the symphonies and ending with the large corpus of different national folk songs). This box is the 2017 reissue of Brilliant Classics’ acclaimed Beethoven Complete Edition, with updates including Beethovenian pianist par excellence Alfred Brendel now in the complete cycle of Piano Concertos, Alessandro Commellato on historic fortepianos in brand new recordings of the 18 sets of ‘without opus’ piano variations, Emmy Verhey in the Violin Concerto and Romances and a definitive Mass in C from Stuttgart’s Gächinger Kantorei and Bach-Collegium. Further information: • Liner notes available on • Updated reissue of Brilliant Classics’ highly successful 94630 Beethoven Complete Edition

719 kr (1.199 kr)
Image 142CD-BOX: Bach Edition
142 CDs representing the entirety of Johann Sebastian Bach's oeuvre in historically informed performances.This includes all 200 sacred cantatas recorded for Brilliant Classics on period instruments and sung by the Holland Boys Choir.Big name artists include Thomas Zehetmair,Pieter Jan Belder,Bob van Asperen,René Jacobs,Arleen Auger,Lucia Popp,Edith Mathis,Peter Schreier and Matthias Goerne.For reasons of completeness,pure musical enjoyment,scholarly research,attractive,space saving design and price,you cannot afford to be without Brilliant Classics improved Complete Bach Edition.142 CDs representing the entirety of Johann Sebastian Bach's oeuvre in historically informed performances.This includes all 200 sacred cantatas recorded for Brilliant Classics on period instruments and sung by the Holland Boys Choir.Big name artists include Thomas Zehetmair,Pieter Jan Belder,Bob van Asperen,René Jacobs,Arleen Auger,Lucia Popp,Edith Mathis,Peter Schreier and Matthias Goerne.For reasons of completeness,pure musical enjoyment,scholarly research,attractive,space saving design and price,you cannot afford to be without Brilliant Classics improved Complete Bach Edition.

1.145 kr (1.909 kr)
Image Haydn Edition (160 CD)
Reissue of the successful Haydn Edition, the only substantial Edition in the market. Extended version, now 160 CDs, with the addition and completion of the Masses, the String Quartets, the Notturni, and the opera L’Anima del Filosofo. Includes Award winning performances by Austro-Hungarian Haydn Orchestra/Adam Fischer, Buchberger Quartet, Emma Kirkby, Frieder Bernius, Bart van Oort, Haydn Trio Vienna, and many more. The greatest celebration of one of the greatest and not yet fully appreciated composers of all time: craftman and genius, creator of a musical world of wonder, surprise, wit and sentiment, forever to be explored and marveled at.

1.283 kr (2.139 kr)
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