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Image Sonatas for Harpsicord and Violin
Johann Christian was one of the most successful of the famous sons of Johann Sebastian Bach. After arriving in London and becoming music master to Queen Charlotte, he forged a friendship with the young Mozart and composed a great deal of chamber music before focusing his career on Italian opera (in stark contrast to his siblings). The music recorded here his Op.16 sonatas for harpsichord and violin is often characterised by flowing, singing lines, derived in large part from his experience in the opera house and form a significant part of the large volume of chamber music he composed during his promising career.Though containing just two movements, each sonata still displays an enormous amount of variety, with the first movement normally cast as a fast movement that is followed by a slower one in a more reflective or restrained style. Both regularly feature themes from popular songs, with frequent use of repetition. The balance between the instruments is of also of interest: the violin is on an equal footing with the harpsichord throughout, promoting a musical dialogue that is as much about technicality as it is about melodic development.J.C. Bachs Sonatas are performed by the UinskyteRuggeri Duo: founded in 2012, they focus on performing music from the Baroque era through to the 19th century. This is Marco Ruggeris second disc for Brilliant Classics, following an album of organ music by the 19thcentury composer Padre Davide Da Bergamo in November last year. Lithuanian violinist Lina Uinskyte makes her debut in this recording.

89 kr
Image 12 Sonatas for Flute and B.C.
Jed Wentz transverse flute
Musica ad Rhenum

Johan Helmich Roman (1694-1758) is called the "Father of Swedish music" and also the "Swedish Handel". And with good reason, as his instrumental works match Handel's chamber music in charm, virtuosity formal structure and tunefulness. In fact Roman met Handel during his stay in England, and Roman's admiration for the master is evident.

No better advocate for these somewhat neglected works than Jed Wentz and his musical companions of Musica ad Rhenum. Not only are they thoroughly aware of the stylistic details of the music and its performance, but they also hugely enjoy themselves playing these flute sonatas, written "for the advanced dilettante, well versed in style and technique" (as Roman himself describes it).

Excellent liner notes by Jed Wentz (a fine player as well as an eminent scholar).

109 kr
Image Italian Duets
SOPRANO: Gemma Bertagnoll
SOPRANO: Susanne Rydén
Harmonices Mundi
CONDUCTOR: Claudio Astronio

The supreme master of the chamber duet genre was Agostino Steffani, recently celebrated by Cecilia Bartoli, and it is no coincidence that Handel had a manuscript copy of Steffani's famous duets with him at the beginning of his stay in Rome. The Italian composer's work was a model for the young musician from Saxony, an inspiration that left tangible traces in those very duets. There is a distinct network of connections between Handel's duets, his other compositions and those of several of his contemporaries that bears witness to consistent borrowing. The duets are a case in point, revealing a criss-crossing of musical loans from one composition to another. Apart from Steffani, Handel also borrowed musical ideas from colleagues such as Giovanni Maria Clari and Pietro Torri, Dietrich Buxtehude and Antonio Caldara.

The duets continued to charm the world of music even after Handel's death, when, with the exception of the grand oratorios, the rest of his output faded somewhat into the background. Each duet in this collection is preceded by a compatible instrumental piece, which acts as a sort of prelude. Although these latter compositions were originally written for the keyboard, they were also transcribed for various basso continuo instruments, which is how they are performed here. The practice of alternating instrumental and vocal pieces was typical of court and academy performance during the 1700s, and is well suited to Handel's duets.

Harmonices Mundi and Claudio Astronio have made fine recordings for Brilliant of several other Baroque composers. Here they are joined by two bright stars of the Baroque opera and vocal scene.

Recordings made in 2009, previously unreleased.

89 kr
Image Kreutzer Sonata and Sonata In A
These are not modern arrangements of two classic violin sonatas but classic examples of the art of transcriptions, made by two superb French cellists in the last half of the 19th century. They cater less for the demand of amateur musicians for repertoire for domestic music-making – even in their originals, the sonatas lie somewhere beyond the technical level of all but the most accomplished performers – but for the growing number of professional cellists who sought more than showpieces for their recitals yet were understandably frustrated by the lack of substantial contributions to the cello repertoire by composers of their time. The greatest Parisian cellist of his day, August Franchomme, arranged the ‘Kreutzer’ Sonata in 1867. It is among Beethoven’s most ambitious pieces of chamber music, symphonic in scale. Reportedly, the first transcription for the cello was made by Carl Czerny, at the request of Beethoven himself. However, Czerny considerably simplified the most important virtuoso passages that had made this sonata a piece for seasoned musicians. Franchomme also made certain adaptations, inevitable when transcribing a piece of this complexity for a lower instrument, but he retained its sense of thrill and danger. The cello version of Franck’s sonata has been better known since Jules Delsart made it in 1888, two years after its original composition and two years before Franck’s death. Great cellists including Maisky and Rostropovich have performed and recorded the sonata, but this pair of Italian musicians give it a new and enlightening context with the Beethoven sonata. This is Roberto Trainini’s second recording for Brilliant Classics after his album of the cello sonatas by Bohuslav Martinu (BC94816). This new recording presents two iconic violin sonatas in an arrangement for cello and piano. Beethoven’s Kreutzer Sonata and Franck’s Violin Sonata are two undisputed masterpieces of the violin repertoire. Their power of structure, expression and imagination transcends their mere instrumental restrictions, their human message stands above the musical matter. The arrangement for cello and piano sheds a new light on the music, enriching and enhancing its dark and dramatic atmosphere, while giving a new dimension to their lyrical and ethereal sections. The Beethoven arrangement is by the famous 19th century cellist Franchomme (also dedicatee of Chopin’s cello sonata), the Franck arrangement is by Jules Delsart, with permission of Franck himself. Beautiful and heartfelt performances by Roberto Trainini and Cristiano Burato, who already successfully recorded cello sonatas by Martucci for Brilliant Classics (BC94816).

89 kr
Image Reveries de Bilitis Music for Two Harps and Voice
A sensuous recital of rare repertoire by an anniversary composer for the unusual combination of female voice and two harps. Writing in the booklet about this unique recital on record, Eva Tebbe and Ekaterina Levental remark that Debussy makes the invisible visible and turns the unspeakable into a musical world full of mysticism, layers of ambiguity and evocative meanings. A century after his death, he is being celebrated across the world in 2018, and this album promises to make a special contribution on record with arrangements of works, most of them relatively unfamiliar, which particularly lend themselves to the ethereal and exquisite combination of voice and harps. Much of the music here was written while Debussy was composing his only opera Pelléas et Mélisande, a Symbolist drama based on the play by Maurice Maeterlinck, who recognised that in many ways Debussy had not only set his play to music but even outstripped and further enriched his original. There is the early and peaceful Ballade from 1890, then the Proses lyriques from 1892-3 (when the very epitome of musical Impressionism, the Prélude a l’après-midi d’un faune, was in gestation) and the seductive Trois Chansons de Bilitis (1897), from which this musical partnership takes its name. Bilitis is the fictional poet of Classical antiquity invented by Pierre Louÿs, writing in an erotic, symbolist vein after the fashion of Sappho: and when in 1900 Debussy came to use the texts of Louÿs again for the Musique de Scène pour les chansons de Bilitis, the music accompanied a tableau vivant in pre-Raphaelite style of winsome and scantily clothed young women. The recital is completed by the Danse sacrée et danse profane – originally composed for harp and orchestra in 1904, here with the orchestral parts arranged for a second harp – and the six Epigraphes Antiques from 1914, which return to the musical material of the Bilitis works but in the composer’s more allusive late style which would lead to his final masterpiece written for Serge Diaghilev, Jeux. To celebrate the Debussy-year 2018 (100 years after his death) the Duo Bilitis presents a highly original and attractive program: arrangements for two harps and voice of some very intimate and atmospheric works by the French master: the Danse sacrée et danse profane (originally for harp and ensemble), the Six Epigraphes antiques, the early romantic Ballade, the Proses lyriques and the famous Chansons de Bilitis, which gives the CD its title: Rêveries de Bilitis (Dreams of Bilitis). The Duo Bilitis consist of mezzo-soprano/harpist Ekaterina Levental and harpist Eva Tebbe, already a duo for many years and with two highly successful CD’s to their name: L’Heure Espagnol (works by Ravel, Granados, De Falla) and Le jardin féerique (works by Debussy, Franck, Ravel and Fauré). They perfectly catch the dreamlike world of Debussy’s language, finding unheard sonorities and timbres in their enchanting arrangements. The booklet contains liner notes in English and Dutch.

89 kr
Image Piano Music for Children
Klára Würtz, piano
Prima La Musica / Dirk Vermeulen

This new compilation presents a charming selection of piano music for children. Alongside the familiar melodies of Beethoven's Für Elise and Mozart's Rondo alla Turca are Tchaikovsky's Album for the Young and Debussy's exuberant Children's Corner, including the famous 'Golliwog's Cakewalk'. Robert Schumann's playful Kinderszenen (Scenes from Childhood) include pieces with titles such as 'At the Fireside', 'Frightening' and 'Blind Man's Bluff', which are sure to enchant children of all ages. The orchestral players of 'Prima La Musica' join the piano for the well-known Andante from Mozart's Piano Concerto No.21, with its dreamlike melody heard in the violin and piano parts. Children will undoubtedly be captivated by the variety of delightful music offered in this tailor-made collection.

Hungarian pianist Klára Würtz is one of Brilliant Classics' most prolific artists, enjoying an international career. Having won prizes in Dublin and Milan, she signed to a New York-based management company, leading to performances at Carnegie Hall and other prestigious concert venues throughout the US and Canada. She currently teaches at the Conservatory of Arts in Utrecht.

This CD is a reissue of one of the most successful Brilliant Classics recordings, Piano Music for Children, a simple and powerful concept aimed at a wide audience of music lovers, teachers, parents, grandparents and (of course..) children.

Included are the popular Kinderszenen by Robert Schumann, Children's Corner by Claude Debussy and a selection from the Album for the Youth by Tchaikovsky, and not to forget the most iconic work for a child ever written: Beethoven's Für Elise.

Hungarian pianist Klára Würtz plays with a natural, direct expression, warm and communicative.

89 kr
Image 4 Concertinos For Guitar And Orchestra
Brazilian composers already feature in the extensive library of guitar music on Brilliant Classics: not only the obvious name of Villa-Lobos (BC9196) but on a more diverse survey by Flavio Apro (BC94810), including lesser-known names such as João Pernambuco and Egberto Gismonti whose work also fused traditional Brazilian genres with elements of jazz, classical, world and contemporary music. To their names may now be added Radamés Gnattali (1906-1988). Having composed much music of a consciously national flavour in the early part of his career, emulating Villa-Lobos, he sought a broader appeal during the 1950s with works such as these four guitar concertinos, dating between 1951 and 1967, which use neo-Romantic and neo-classical moulds while maintaining the light style often associated with symphonic jazz. The tricky balance between guitar and orchestra is skilfully handled by means of dialogue and contrast, investing the structure of each work with a degree of intimacy more usually associated with chamber music. The Second Concertino was written for Aníbal August Sardinha, known as Garoto, one of the creators of the bossa nova sound. Even though the concerto clearly reflects the guitarist’s manner of playing, the first movement also reveals the influence of American composers such as Bernstein and Gershwin, the third that of the new trends in symphonic and progressive rock music, with its pressing patterns, while the second embodies something of the melancholy typical of the bossa redolent of saudade. The Third is scored for an unusual ensemble of guitar, flute, timpani and strings, in which the flute also has a soloistic part; the Fourth returns to a string-only ensemble for accompaniment. These premiere recordings are the work of Marco Salcito, who returned to Gnattali’s original manuscripts to edit the scores afresh; all guitar-music enthusiasts will be keen to hear his work. Nikolay First recording of the complete Concertinos for guitar and orchestra by Radamés Gnattali. Radamés Gnattali (1906-1988), son of Italian immigrants, is one of the most popular and famous composers of his native Brazil, where he is mentioned in the same breath as Villa-Lobos. His music is the perfect fusion of the high and the low, of formally structured classical music and the vibrant multi-coloured folk culture of Brazil. The 4 Concertinos for guitar and orchestra are medium-sized, 3-movement works, highly entertaining and brimming with good tunes, groovy rhythms and brilliant instrumentation: a real discovery! Played with infectious enthusiasm by guitarist Marco Salcito and the Orchestra Sinfonica Abruzzese conducted by Marcello Bufalini.

89 kr
Image Complete Songs

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

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

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

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

109 kr
Image Orchestral Suites
This generously filled CD presents the complete Orchestral Suites (Overtures) by JS Bach.Bach's Suites count among his most popular and most frequently performed works, they are quintessential Bach: majestic, noble, tender and full of energy. They contain some of Bach's evergreens: the Air from the 3rd Suite and the Badinerie from the 2nd Suite.Played by the Virtuosi Saxoniae conducted by trumpetist/conductor Ludwig Guttler, modern instruments in Historically Informed Performance Practice, the best of both worlds.

89 kr
Image Madrigali Libri I & II
Le Nuove Musiche, led by acclaimed director Krijn Koetsveld, continue with their exceptional series of Claudio Monteverdi’s complete madrigals. Here, they look back to the very beginning of Monteverdi's works, when the young composer was still under the influence of his teacher Marc'Antonio Ingegneri. At this time, the madrigal was already a popular art form, one that Monteverdi was beginning to add his name to, before – as we know – he would go on to radically extend it with the introduction of the seconda prattica. These two books show that Monteverdi was an assured and dexterous composer in the established genre. He could follow the conventions of madrigal-writing – concentrating on the recitation of the text, adding in affects by altering the melody, rhythm and harmony – with skill and originality. Although he had to compete with other books already on the market, he was confident and ambitious – he dedicated his books to prominent patrons, and finally gained a royal appointment in Mantua shortly after the second book of madrigals was published. Le Nuove Musiche’s approach to Monteverdi is an innovative one: to bring the past into the present, keeping alive the questions of the Renaissance that still permeate our musical landscape today, while seeking to maintain the highest standards of performance authenticity. Their release of Books V & VI garnered excellent reviews, including five stars in the French magazine Diapason. The first two books of Madrigals by Monteverdi date from the period in which he lived and worked in his native town Cremona. They are sublime examples of the Prima Prattica, in which Recitation of the text came first, and affects were made audible by melody, rhythm, and by playing with repetitions, strengths and harmony. In the Second Book we encounter lovely word painting and evocation of images and moods. This is the third instalment of the complete recording of Monteverdi’s Madrigals by Le Nuove Musiche. This vocal ensemble consists of the elite of Dutch Early Music vocalists, led by eminent conductor and scholar Krijn Koetsveld. Their previous Monteverdi recordings received excellent reviews in the international press, among which a “5 star” in the French Diapason and a “10/10” in Dutch classical magazine Luister. The booklet contains liner notes written by the conductor and the complete vocal texts and their English translation.

109 kr
Image Chamber Music
Rocco Parisi, clarinet
Gabriele Rota, piano
Andrea Favalessa, cello

Riccardo Muti has done much in the orchestral arena to promote the concert music of Nino Rota who, like most film composers in the middle of the last century, wrote many traditionally ‘classical’ works and longed to be taken seriously as one capable of writing in both populist and more cerebrally satisfying styles. This disc should do much to reinvigorate his reputation as a composer of unfailingly stylish and appealing chamber music which, while never striving towards avant-garde relevance, nonetheless is marked out as music belonging to its own time – around 1950 – with post-Romantic harmonies but also a distinctively propulsive rhythmic signature, creating a tension that may remind us not only of his film music but also the late music of Bartok such as the Concerto for Orchestra. The Clarinet Trio opens with a quick waltz (here Prokofiev’s influence is apparent) and continues with an elegiac duet between clarinet and cello, and then a headlong finale. From 1945, the Clarinet Sonata is more Neoclassical and restrained in its language; then comes a very late Allegro danzante composed in 1977. Lo spiritismo nella vecchia casa is a set of incidental music for solo clarinet, written to underscore a play of the same name by Ugo Betti and structured as a set of brief variations: a form which it shares with the Variations and Fugue in the twelve keys on the name of Bach, also from 1950. These are for solo piano and reveal what a technically gifted pianist Rota himself was: ‘he played the piano like another person talks’, recalled a friend. The fugal finale is of fearsome complexity, worthy of the formidable historical precedent. All three of these musicians are experienced exponents of Rota’s music.

89 kr
Image Pictures at an Exhibition
Piano and orchestral version of Pictures at an Exhibition in a set of two exemplary recordings of the famous cycle Pictures at an Exhibition by Modest Mussorgsky in a Set: The original piano version is heard in the interpretation of Alexander Warenberg; orchestrated by Ravel version sounds from the Leipzig Gewandhaus Orchestra under Igor Markevitch.

109 kr
Image Complete Music for Cello
Born in the Ukraine in 1937, Nikolai Kapustin has written over 160 works, most of them involving the piano of which he is himself a skilled performer. Though his music has been associated with the ‘Third Stream’ that brings together jazz and classical idioms (a term first coined by the American musician and polymath Gunther Schuller), Kapustin rejects the term for himself: ‘the classical part is more important. The jazz style is there to give colour – I don’t like jazz ‘forms’… which is why I've adopted those from classical music.’ All the same, there is an unmistakably bluesy, relaxed quality to the Second Cello Sonata from 1998. Kapustin has composed more for the cello than any other instrument, and the instrument’s natural affinity with both lyricism and melancholy make a good fit for his own style. Towards the end of the finale there is a momentary sense of dislocation as the cello launches into the Prelude from Bach’s First Cello Suite before the two instruments drag the movement back into the modern world. The First Sonata from seven years earlier is briefer and spikier, less expressively effusive but at the same time written more within the cello-sonata tradition from Brahms to Adès, with a central Sarabande and driving Scherzo. The album is completed by three miniatures, all fine examples of Kapustin’s good-humoured fusion of idioms: the Nearly Waltz, an Elegy and a Burlesque. They are performed here by a dynamic, recently formed duo named happily after the pianist Clorinda Perfetto. Throughout 2017 they have together been touring the major music festivals of Europe. This is their first internationally distributed album.

89 kr
Image Per Anni Circulum, Gregorian Chant
Schola Gregoriana Benedetto XVI / Don Nicola Bellinazzo

This new recording of Gregorian Chant presents a journey through the complete Liturgical Year: Advent, Christmas, Lent, Easter and Ordinary Time, the ever-recurring spiritual cycle, caught in the timeless medieval melodies of Gregorian Chant, as it was and as it always will be.

Sung with devotion and clear intonation by the Schola Gregoriana Benedetto XVI from Bologna, and recorded in the spacious and warm acoustics of the St. Christina’s Church in Bologna.

The booklet contains excellent liner notes as well as the sung texts.

89 kr
Image Complete Etudes
Alessandro Deljavan, piano

Chopin Etudes are the Mount Everest for every concert pianist: the combination of technical difficulties of the highest level and a rich and complex musical content make them even today the biggest challenge a mortal pianist can meet.

Young Italian pianist Alessandro Deljavan presents a strong and highly personal interpretation: deeply poetic and passionate, backed by a superlative technical mastery. · Deljavan is one of the most remarkable pianists of his generation. "His playing is full of intensive power and contagious artistry" (Dmitri Bashkirov), "he is one of the most interesting pianists I've heard in my life" (Fou Ts'Ong), "he is one of the most major talents of his age" (John Perry), "Jaw-dropping virtuosity and heart-stopping eloquence" (Dallas Morning News).

89 kr
Image Orchestral Music (2CD)
These are the first-ever recordings of music composed by José (Pepito) Arriola, whose works are virtually unknown. Born in Betanzos in the northern Spanish region of Galicia in 1895, Arriola was a celebrated child prodigy known at the time as a ‘Galician Mozart’, who dazzled audiences across Europe and American with his piano-playing. Most of Arriola’s work was lost when his home in Berlin was destroyed during the Second World War. The manuscripts for the three concertos and two song-cycles presented here were discovered just a few years ago, and mysteriously vanished almost as soon as they had been photocopied for dissemination. They were composed in the final decade of Arriola’s life: in 1946 he settled in Barcelona, where he lived quietly until his death in 1954. Arriola’s music belongs to the second golden age of Spanish music, that of Albéniz, Granados, Turina and Falla (and, a little later, Joaquín Rodrigo), flavoured by nationalism and the rich Spanish folk tradition, along with a verismo that concerned itself with the ordinary people of Spain and their suffering (as mirrored in Carmen, or Candela in El amor brujo). Yet in common with other post-Romantic composers, Arriola sought out a world of vanished beauty, experimenting with colour, texture, unusual tonal combinations and harmony full of colour, sensuality and emotion. As a student in Leipzig, Arriola had been taught by Richard Strauss, and his teacher’s influence may be heard to positive effect in both the soaring vocal lines of the Tres textos cervantinos and the transplanted Classical idiom of the Horn Concerto. The piano-writing in the Concertino and Divertimento concertante is more compact and Stravinskian, while two songs from the cycle of Seis poesías de Antonio Machado disclose yet another, more impassioned facet of Arriola’s style. This is the first recording of works by José Arriola, Spanish composer, who lived from 1895 till 1954. José “Pepita” Arriola was an extraordinary child prodigy on the piano, he was called the “Galician Mozart’, Arthur Nikisch brought him to Leipzig and Berlin, and soon he played the most important venues of the world, performing for Kaiser Wilhelm II with the Berliner Philharmoniker, Cargenie Hall, Metropolitan, and many others. This new recording presents Arriola’s Concertino for piano & orchestra, the horn concerto, divertimento for 2 pianos and orchestra, and two song cycles for voice and orchestra. Arriola’s style is firmly rooted in the 19th century, seeking for beauty, experimenting with colour, texture, chromaticism, unusual tonal combinations, harsh dissonances: a world of sensuality and emotion, lyrical and melancholy. Performed by 100% Spanish forces: the Real Filharmonia de Galicia conducted by Maximino Zumalave and excellent Spanish soloists. The booklet contains extensive liner notes in English and Spanish.

119 kr
Image Easy Studies for Guitar Volume 2
This second volume in the 3-part series of Easy Studies for Guitar (the first was released in December 2016, BC95402) continues to focus on lesser-known modern compositions that lend themselves to teaching the guitar. The aim of the series is to further awareness and understanding of musical idioms that do not necessarily reflect traditional preconceptions of classical harmony. The selection by Cristiano Porqueddu was determined by a number of features: music without a strong sense of tonality; a wide range of timbre; and a polyphonic conception of the instrument. Volume 2 begins with the second collection of 12 Easy Pieces for Guitar by the Polish composer, Alexandre Tansman – the first collection having been included within Volume 1. These delightful, elegant studies reveal meticulous construction and a certain constancy of form that speak for the composer’s inventive skill. Stephen Dodgson (1924-2013) wrote works for the guitar that attracted the attention of outstanding performers such as Julian Bream and John Williams: these Transitional Studies call for more advanced skill than the other works on the album. Unlike the other works here, the limpid collection of Ten Progressive Studies by the Italian guitarist and composer Franco Cavallone (1957) does not aim at improving technique, but at helping the player master control of sound and colour. The Hungarian composer Iván Patachich (1922-1993) wrote two collections of Gyermekdalok gitárra (Children’s Songs for Guitar) published in 1978, a series of fresh, original vignettes that belie the composer’s remarkable technical skill and elegance. The music of Manuel Ponce is better known than any of the previous composers: he wrote the Six Short Preludes for Juanita, the young daughter of the Mexican composer Carlos Chávez, shortly after she had begun to study the guitar. Nonetheless, in simplifying his idiom Ponce managed not to drain his music of its vivacity: the result is music that guitarists of all abilities will take pleasure from. This second volume in the 3-part series of “Easy Studies for Guitar” continues to focus on lesser-known original compositions for the guitar of the 20th and 21st century that lend themselves to teaching purposes. The aim is to develop the awareness of musical styles and structures beyond the restrictions of Classical Music, in terms of harmony, rhythm and a wide range of timbres. Included are works by Alexandre Tansman, Stephen Dodgson, Franco Cavallone, Ivan Patachich and Manuel Ponce. In its small scale the music is utterly charming, entertaining and innovative, a joy for both guitar amateur and music lover. Cristiano Porqueddu is one of today’s foremost guitarists. Critics call him “A reference point for a new generation of musicians”. His recent Carnegie Hall recital was a triumph: “he has the vision and fortitude to forge a new and substantial path by discovering, recording and performing great works that have been largely ignored” (Brooklyn Daily Eagle). His Brilliant classics discography is substantial and impressive and includes works by Barrios, Sor, Gilardino, and many others.

89 kr
Image Serenades
This release brings together Brahms' symphonic works, excepting his symphonies: the two Serenades, brimming with youthful energy and feeling, the magnificent Haydn variations and the two popular overtures, the Tragic and the 'feel good' Academic Festival Overture.Excellent performances from the Berlin Classics archives featuring the best East German orchestras: Dresden Philharmonie and The Berliner Sinfonie?Orchester, Heinz Bongartz and Gunter Herbig conducting.

109 kr
Image Psalms for Six Voices
The conventual franciscan Orazio Colombano (c.1554–after 1595) hailed from Verona and came to the ancient city of Vercelli, in Piedmont, east of Turin, in 1579 to take up his first professional appointment as Moderator for Music at the Cathedral, a thriving cappella musicale under the House of Savoy, established in 1495 with a choir of six children, adult singers including a number of Flemish and French musicians, and organists, cornetto, sackbut, theorbo and string players. Colombano spent about two years there, during which he composed the Psalms for Six Voices (Harmonia super vespertinos omnium solemnitatum psalmos sex vocibus decantanda), his first work, which sets to music the Psalms of the Vespers liturgy for all obligatory feast days, as established at the Council of Trent, preceded by the introductory ‘Deus in adjutorium’ and followed by the Magnificat. The style is largely antiphonal, with alternating choirs in dialogue, and this collection presents as a kind of ‘compendium’ of the features of polyphonic psalms of the time: from homorhythm with rather strict syllabic declamation, to close imitative polyphony akin to Flemish models. This variety of approach gives insight into the structure of psalmodic recitation and its polyphonic treatment in the late 16th century. This world-premiere recording is based on the score edited by Denis Silano for the series ‘Bibliotheca Musicalis Ecclesiae Vercellensis’ published by Vox Antiqua. Monsignor Silano leads the Cappella Musicale of Vercelli Cathedral, whose elite ensemble aims to revive the Vercelli Cathedral’s 16th- and 17th-century heritage of manuscripts and printed music. These soloists, specialised in early music, perform in the Vercelli Cathedral’s liturgical services. This the first ever recording of the work Harmonia super vespertinos omnium solemnitatum psalmos sex vocibus decantanda (published in Venice by Gardano in 1579), a collection of psalms for 6 voices by Orazio Colombano (born around 1554 – died later than 1595). Colombano was Master of Music of the Vercelli Cathedral and he wrote this monumental set of Psalms for Six Voice for liturgical use. The style largely adopts an antiphonal approach, alternating vocal groups in dialogue. Performed by La Cappella Musicale della Cattedrale di Vercelli, conducted by Mons. Denis Silano. This group is specialized in the research and performance of the hidden treasures found in the archives of the Vercelli Cathedral. Don Denis Silano, a musician and scholar, edited the edition for the performance himself.

89 kr
Image Classical Oboe Concertos
Andrius Puskunigis, oboe
St. Christopher Chamber Orchestra / Donatas Katkus

From around 1750 the oboe, an instrument hitherto largely used in chamber music and church music, began to make its way into the concert halls, and to be played by virtuoso soloists. The Oboe Concertos on this new recording represent the Classical Viennese Style, with Wolfgang Amadeus Mozart as its undisputed genius. Although the other composers, Ferlendis, Ditters von Dittersdorf and Hofmann are lesser known, their Oboe (or Oboe d'Amore) Concertos share the same grace, sparkle and melodious flow as Mozart's masterwork.

89 kr
Image Complete Music for Violin and Piano (2CD)
The violin sonatas of Joaquin Turina have in recent years attracted the attention of violinists looking for attractive Spanish repertoire beyond Sarasate, but this complete survey is unrivalled on disc. The real discovery for many listeners will be Turina’s Op.28, El Poema de una sanluqueña (Poem of a Sanlúcar Girl). This 20-minute, four-movement fantasy was written in 1923 and inspired by a cruel remark overheard by the composer: ‘Sanlúcar girls don’t marry and Sanlúcar boys marry outsiders’ – Sanlúcar being a coastal city just north of Cadiz. Turina’s idea was to immerse himself in the hopes and dreams of such a young woman. The movement titles - ‘In front of the mirror’ – ‘The Song of the Moon’ – ‘Hallucinations’ – ‘The Rosary in the Church’ – hint at the varied expressive and musical worlds, including oblique references to Andalucian folksong as well as highly impressionistic evocations that owe not a little to Ravel and Debussy. The Variaciones Clásicas of 1932 show another, more formally rigorous side to Turina’s craft as a composer, though the theme itself is no less imbued with a Romantic, yearning quality through its transformation as a Cuban folksong, a seguidilla and finally a dashing zapateado. The last two pieces of the collection appear as occasional pieces that are included in broader cycles. Euterpe is part of an ambitious work that seeks to represent the coming of the Greek muses to Spain, each of the them being represented by a different scoring: this is written in the lively tempo of a Sevillan dance. Finally, with Homenage a Navarra, Turina elegantly acknowledges the heritage of Sarasate in a short work based on his compatriot’s melodies. Joaquin Turina (1882-1949) was born in Sevilla, Spain, where he received his first music lessons. Later he went to Madrid and subsequently settled in Paris, where he took composition lessons from Vincent d’Indy at his Schola Cantorum de Paris, while studying the piano with Moritz Moszkowski. Inevitably he came into contact with Debussy and Ravel, and his early compositions were clearly influenced by the Impressionists. However he returned to his native Spain and developed his own style in which the rich folklore, folk music and atmosphere of Spain is predominant. Together with Albeniz, Granados and De Falla he established the Spanish Nationalist School. This new recording presents Turina’s complete works for violin and piano, clearly showing the development of his compositional style. It is music of great imagination, colouring and instrumental brilliance, in which the sounds and perfumes of Spain are nearly palpable. Beautiful, idiomatic performances by Spanish violinist Macarena Martínez, playing a 1690 Stradivarius, and pianist Juan Escalera. Liner notes in English and Spanish.

119 kr
Image Music for Guitar
Mario Gangi (1923-2010) was among the pre-eminent Italian guitarists of his generation. Born in Rome to a professional jazz-musician father, Gangi graduated from the city’s Accademia della Santa Cecilia and soon followed in his father’s footsteps as both an orchestral bassist (with the local radio orchestra) and a guitarist. This latter career took off in the 50s: Gangi gave several important first performances of concertos by the likes of Petrassi and even Giuliani. A distinguished discography bears testament to a supremely fluent technician whose gifts as a shaper of melody are reflected in these brief songs for guitar on this album. According to the guitarist Alessandro Minci, these songs explore the most intimate and sensitive side of Gangi’s output for the guitar, combining jazz, classical and popular idioms in an entirely personal voice and one which speaks with the eclectic, cosmopolitan spirit of his age. The album thus makes an essential complement to the Brilliant Classics issue of the 22 Studies (BC95204) drawn from the third volume of Gangi’s influential guitar method. Several of them evoke natural landscapes; others cast wistful glances back at childhood, at the Baroque heritage of his instrument, and at past loves and passions. This is Minci’s debut on Brilliant Classics. His experience in crossing musical boundaries and linking pop and classical idioms includes previous albums with the Trio Rhapsody, which he founded some years ago. Having studied in Italy, Minci now pursues a distinguished international career and leads the Note Classiche guitar festival. Mario Gangi (1923-2010) was one of the most important protagonists of the guitar in 20th century Italy. A performer of world rank he also did extensive scholarly work to promote the publication and performances of contemporary guitar works. Gangi’s compositions for guitar deal with every technical aspect of the guitar technique: scales, arpeggios, repeated notes, polyphony, melodic use of the thumb. The music is inspired by 20th century elements of Jazz, Latin-America, and the European guitar tradition, music written by a warm and deeply feeling person with a passion for his instrument. Played with virtuosity and obvious love by the Italian guitarist Alessandro Minci.

89 kr
Image Lieder
The flowering of the German Lied tradition may be most closely associated with Schubert, but in fact the genre has much deeper roots than that. Already in the 18th century, composers such as C.P.E. Bach were forming a musical language that would set the stage for its extensive development 100 years later. At this point, they made a distinction between the 'Lied', 'Ode' and 'Hymne'; Bach strongly preferred the Lied (or song), which was composed in verses, and required an accompaniment, unlike the ode. Indeed, Bach's keyboard accompaniments were so wonderfully florid that they could be performed without the singer – as 'Handstücke', as he marked in the score. This new recording includes versions of each Lied for fortepiano solo alone alongside the standard version with the soprano, giving the listener a unique chance to experience Bach's Lieder in two different but equally authentic ways. Soprano Mariví Blasco has performed at prestigious venues across Spain, in roles as varied as Mozart (Despina in Così fan tutte at the Teatro Arenal) and Poulenc (in Dialogues des Carmélites at the Teatro Real). This is her first collaboration with renowned keyboardist Yago Mahúgo, already a prominent recording artist with Brilliant Classics, whose CDs have previously garnered high praise. A specialist in historical performance practice, Mahúgo performs on a fortepiano by Keith Hill, modelled after Anton Walter (1796). This CD contains a selection of Geistliche Oden und Lieder (sacred songs) by Carl Philipp Emanuel Bach, the most talented son of the great Johann Sebastian. By the end of the 18th century the Lied took its now familiar form: a strophic setting of poems for solo voice with the accompaniment of a keyboard instrument. C.P.E. Bach’s Lieder were mostly on sacred texts, by Gellert and Sturm. As always with this composer we are struck by the craftsmanship, originality and forward looking in his works. The accompaniment offers more than a simple basso continuo, they are richly written keyboard settings, featuring occasional ritornelli between the strophes. Beautifully sung by Spanish soprano Mariví Blasco, specialised in Early Music, cofounder of Accademia del Piacere and L’Arpeggiata. Yago Mahugo plays the fortepiano, is leader of the Ímpetus Madrid Baroque Ensemble and plays the keyboard solo versions of the songs as a bonus.

89 kr
Image Easy Studies For Guitar Vol. 1
The growing library of guitar music on Brilliant Classics already encompasses several albums of etudes and miniatures written for students and amateur players. From rare to well-known, there are the studies of Gangi (BC95204), Tansman (BC95221), Castelnuovo-Tedesco (BC95219) and Gilardino (BC9285), among many others.

The Gilardino album features the artistry of guitarist and composer Cristiano Porqueddu, who has made several other well-received albums for Brilliant Classics, including collections of rarely encountered composers in ‘Novecento Guitar Preludes’ (BC9292) and ‘Novecento Guitar Sonatas’ (BC9455), both of which include many first recordings. Reviewing the set of Preludes, MusicWeb International praised the ‘coruscating variety, fine recorded sound and lovingly shaped playing… Porqueddu’s playing is miraculously clean and there’s very little fret noise.’

Porqueddu’s appetite for the unusual and sense of adventure is further confirmed by a new set of ‘Easy Studies for Guitar’, containing music that is as satisfying to listen to as it is relatively unchallenging to master for the intermediate-to-advanced student guitarist. Only Tansman has a currency outside guitarists, but the other three, more contemporary figures speak with powerfully individual voices.

The Russian composer-guitarist Nikita Koshkin may be a particularly welcome discovery for non-initiates: born in 1956, he counts the music of Shostakovich and Prokofiev as important early influences, but his own music lies within the Spanish guitar tradition, while employing more modern harmonies and building to climaxes of unexpected tension and drama. Born in Granada in 1975, Eduardo Garrido now teaches and composes in Mexico, and in his studies can also be heard a non-native wildness and urgency, for all that they are sympathetically composed with intermediate students in mind.

Master guitarist Cristiano Porqueddu embarks on a praiseworthy and ambitious recording project: Easy Studies for Guitar, works written by famous or less well known composers with the special aim to educate, challenge, develop and entertain the aspiring guitar student. The works focus on certain technical issues disguised as it were in the musical content and its emotions.

The first CD contains works by Eduardo Garrido, Nikita Koshkin, Alexandre Tansman and Reginald Smith-Brindle.

Cristiano Porqueddu, who already recorded more than 40 CD’s, all of them to great critical acclaim, takes his task seriously, always finding the right atmosphere and character of these delightful musical gems, aided by his immaculate technique.

109 kr
Image Viola Sonatas Op.120, 2 Gesange Op.91
This new release includes Brahm’s complete music in which the viola plays a solo part: the two Sonatas Op. 120 and the 2 Gesange Op. 91, for alto, viola and piano. Brahms’ two viola sonatas are masterworks of his late style: the perfect handling of the sonata form sets the structure for autumnal reminiscenses and melancholic introspection, alternated by either passionate or tender interludes. These songs are performed beautifully by violinists Luca Sanzo and pianist Maurizio Paciariello, who made an excellent recording of Hindemith’s Viola Sonatas for Brilliant Clssics. A special treat is the voice of Sara Mingardo in the Zwei Gesange, one of the foremost altos of today, who sung with Claudio Abbado, Riccardo Chailly, Myung-Whun-Chung, Rinaldo Alessandrini.

89 kr
Image Violin Sonatas
Giorgio Leonida Tosi, baroque violin
Ileana Frontini, piano
Paolo Porto, piano

To dub Friedrich Kuhlau (1786-1832) the Danish Beethoven might be stretching a point, especially since he only moved from North Germany to Copenhagen at the age of 24, but Denmark could boast no more accomplished composers in the high noon of the Classical age, and it welcomed so prodigious a musician – not only composer but pianist, conductor and scholar – whose greatest successes during his lifetime were in the field of opera, at least until his premature death at the age of just 48, probably from hard living as much as financial problems: the story goes that when the Queen of Denmark invited him to take tea at the palace, he replied that he would accept only if drink was on offer.

Most of his chamber music features the flute, a commercially astute selection given the popularity of the instrument among amateur musicians at the time, even though Kuhlau was no flautist himself. There are, however, three piano quartets, a late string quartet closely modelled on Beethoven’s Op.132, and four violin sonatas. This Op.79 set was composed as a trio in Copenhagen in 1826, the year after he got drunk on champagne one evening with Beethoven, who wrote a canon at the time and sent it along later with a mock-apology: ‘In this case, I haven’t the slightest memory of what I wrote yesterday… Think of me now and again, your devoted Beethoven.’

All three sonatas are melodically fresh, dramatically imposing works that should not stand too shyly in the shadow of Beethoven’s contributions to the genre: the first and third are largely extrovert, whereas the second is thoughtful and intimate in character. The sonatas are juxtaposed here with late and brilliant works for piano four hands which may reveal the influence of Schubert, so unconventional is their form, so bold the evocation of Romantic sonorities on the keyboard: on this album of historically informed performances by young Italian musicians, the instrument used is a Stein piano of Viennese manufacture, dating from 1830.

89 kr
Image The Two Piano Trios
Ermanno Wolf-Ferrari (1876-1948) focused on instrumental music at the beginning and towards the end of a career that was otherwise largely devoted to opera. The two trios for violin, cello and piano are early works, written at the time he was studying in Munich, or shortly afterwards. The first Trio in D major dates back to 1896, was premiered at the Tonkünstlerverein in Stuttgart in September of that same year and published as Op.5 in 1902 by Leuckart in Leipzig. The four movements of Op.5 abound in richly embroidered, Brahmsian melodies and impassioned statements and developments, free of the naivety that is often a feature of early works. That said, they do embody a certain innocence, a degree of gentleness, even a lightness of spirit that sets them apart from their composer’s study of German models withteachers such as the organist Joseph Rheinberger. Parts of the Op.7 Trio may in fact have been written before Op.5, but the expression of the three-movement work as a whole is more individual, dominated as it is by a huge opening movement (almost 20 minutes in length), and often coloured by a bitter chromaticism that Wolf-Ferrari would later relinquish in favour of a more light-hearted and lyrical idiom. Here is a technically gifted young composer stretching his creative muscles – and for all the breadth of expression, his writing for the notoriously tricky combination of instruments is notably sympathetic, allowing the two string instruments to flourish without being overwhelmed by the piano. This new studio album is the second recording of Trio Archè for Brilliant Classics after their well-received debut of trios by another Italian composer, now even less familiar than Wolf-Ferrari, Marco Enrico Bossi (BC95581). Both albums make a readyappeal to all those listeners who travel the musical byways of late Romanticism. Ermanno Wolf-Ferrari (1876-1948) is a composer difficult to classify. A child of his time he kept aloof from the innovations of the modernists and dodecaphony. As son of a German father and a noble-born Venetian mother he was born in Venice and went to study in Munich. He became famous as an opera composer, his chamber music remained largely neglected.The two piano trios on this new recording are early works, written around the turn of the century. They follow the line Schumann-Mendelssohn-Brahms, eschewing heavy density, but instead displaying a certain aristocratic levity, an enlightened simplicity. Played by the Italian Trio Archè, founded in 2001. The booklet contains excellent, scholarly written liner notes.

89 kr
Image Chamber Music
Domenico Bartolucci was in some ways a 20th-century descendant of the liturgical musicians who composed for the church – and especially the Catholic church in Italy – during the 16th, 17th and 18th centuries. Born in 1917, he was appointed Master of Music at the Sistine Chapel in the Vatican, but he also taught at the Accademia Nazionale di Santa Cecilia in Rome. Most of his considerable output was, naturally, sacred in form and purpose: not only motets and mass settings but symphonic oratorios and even a sacred opera based on the life of the painter Brunelleschi. He was appointed a cardinal in 2010 and died in 2013. Very little of his music has been recorded. Here, however, is a new studio recording of his chamber music, made in the Pontifical Institute for Sacred Music in Rome. The genre of Prelude, Intermezzo and Fugue implies a keyboard work of the type written by Bach or Franck; here, however, are two examples scored for violin/cello duet and for string trio, both demonstrating Bartolucci’s considerable mastery of counterpoint. They are joined by a Piano Trio with a lovely second-movement Canzone, and a Violin Sonata of engaging richness: there are moments of great passion in the first movement, of elegiac delicacy in the slow movement, grotesque elements in the third movement, and a luminous fluidity reminiscent of Mozart in the finale. The language itself is comparatively conservative – as one would expect from his training and position, Bartolucci was no Modernist – but also melodically appealing, and always sympathetically written for his forces. The instrumentalists recorded here have been performing Bartolucci’s music for over two decades: they are uniquely authoritative interpreters of an idiom that prizes beauty above all things.

89 kr
Image Madrigali Libri V & VI (2CD)
With this recording the acclaimed ensemble Le Nuove Musiche, led by director Krijn Koetsveld, have come full circle and at last completed their monumental undertaking of a complete cycle of Claudio Monteverdi’s books of madrigals. In bringing this endeavour to a close the group have returned to their starting point, recording a fresh take of perhaps the most famous set, Monteverdi’s groundbreaking Books V & VI, previously released by Le Nuove Musiche one decade ago at the start of this musical journey. With these two books of madrigals Monteverdi unequivocally made his forward-thinking position clear in the heated debate over musical aesthetics that had been raging fiercely in Florentine artistic circles. Defying his critics, he distanced himself from conservative practices by declaring his own methods a ‘second practice’, the seconda prattica. He abandoned the confines of a single mode, freely adding piquant dissonance to underpin emotionally charged words in the text, thus heightening the drama. He also began exploiting the basso continuo as an independent harmonic foundation for melody – the dawn of monody, a solo-and-accompaniment style that would surpass polyphony as the basis for the music of so many later generations of composers. Le Nuove Musiche’s approach to Monteverdi is both dedicated and informed. They bring the past into the present, considering questions that were asked in the Renaissance and are still relevant in our present musical landscape, thereby making Early Music as new today as any other, while maintaining the highest standards of performance authenticity. The last and closing instalment of the Monteverdi Complete Madrigals recordings by Le Nuove Musiche. Claudio Monteverdi published his eight books with Madrigals between 1585 and 1635. In these books we can follow the transformation in music history. His 5th and 6th book of madrigals form a turning point in Monteverdi’s language, here we encounter “La seconda pratticca ovvero Perfezzione della moderna musica”, the introduction of “modern” music. New elements are the personal, solo voice within the ensemble, the perfection of musical rhetoric and the expression of the text, resulting in dramatic word painting. The 6th book contains the famous Lamento d’Arianna, a poignant and moving aria from a lost opera, now perfectly set for the five voices of the madrigal. This is the last instalment of the complete recording of Monteverdi’s Madrigals by Le Nuove Musiche. This vocal ensemble consists of the elite of Dutch Early Music vocalists, led by eminent conductor and scholar Krijn Koetsveld. Their previous Monteverdi recordings received excellent reviews in the international press, among which a “5 star” in the French Diapason and a “10/10” in Dutch classical magazine Luister. Recorded in The Netherlands in 2017. Contains liner notes and a biography of the artists. Contains the sung texts in the original Italian and English translation.

119 kr
Image La serva padrona; Il servo padrone
Giovanni Battista Pergolesi owes much of his fame to La Serva Padrona, a comic intermezzo designed to be performed between the acts of an opera seria. In it, a maid and a servant conspire to convince their master to marry the maid. When Aldo Tarabella was asked to direct a performance of Pergolesi’s intermezzo, he wanted to do more than simply pair it with one of the operas it traditionally sits alongside – so he composed Il Servo Padrone, a companion piece, and a kind of sequel, to Pergolesi’s original. At the level of the plot, things come full circle, and by the end, master and servants have returned to where things began, highlighting the difficulty of fundamentally changing social conditions. A kind of emancipation seemed within reach, but isultimately not achieved – in some senses, the reverse of what one might expect given the transformation of social roles in Europe among (at least middle-class) women in the 17th century and since. Musically, however, this homage to an 18th-century musical form is very much brought into the present day. Its arias are developed in an atonal context and its recitatives leave traditional Classical form behind to travel symbolically towards the light-hearted episodes found in 20th-century musical comedy. This unique album is the first ever recording of Tarabella’s tributary composition. A highly original and intriguing juxtaposition: the 18th century comic opera La Serva Padrona by Pergolesi set off against its 21st century reaction, Il Servo Padrone by contemporary composer Aldo Tarabella. In Tarabella’s opera the three Commedia dell’Arte characters of Uberto, Serpina and Vespone are changing roles, mirroring the 18th century situation and morals into a modern 21st century comedy: highly entertaining! The Pergolesi is performed according to the new critical Edition of Francesco Degrada, scholar and Pergolesi specialist. Performed with real Italian gusto by Erika Liuzzi, Paolo Pecchioli, and Donato di Gioia, conductor is Flavio Emilio Scogna, who already recorded several CD’s for Brilliant Classics in lesser-known Italian repertoire: Carrara, De Frisina, De Sica and others. The booklet contains extensive liner notes on the origin of both works. Recorded in November 2017 at the Auditorium Sinopoli, Scuola di Musica di Fiesole (Florence), Italy.

109 kr
Image Piano Music (2CD)
Known above all through his collaborations with the film-maker Kryszystof Kieslowski, Zbigniew Preisner is one of the most played and broadcast composers of our time. Yet there are few audio-only recordings of his music presently available. Thus the new album from the prince of the Minimalist piano, Jeroen van Veen, fills a significant gap in the market. CD1 contains the set of Ten Easy Pieces for piano which are already popular as scores with countless student and amateur pianists. However only one recording has been made, not widely available, and this new Brilliant Classics recording will introduce many listeners to the uniquely haunting and inspiring soundworld of Preisner. Although his trademark melodies are tinged with melancholy, several of the Easy Pieces are outgoing and exuberant such as To See More and The Art of Flying. CD2 concentrates on piano arrangements of the film music which won Preisner his reputation. There are themes and extensive excerpts here from Kieslowski’s Décalogue and the Trois Couleurs trilogy, starring Juliette Binoche, Julie Delpy and Jean-Louis Trintignant, through which millions of cinema-goers fell in love with Preisner’s music. Also included are the main themes from three more recent films, The Double Life of Véronique, Fairytale and The Secret Garden, all of them haunting and bittersweet. The album is the latest in the hugely successful series of minimalist piano music albums made by Jeroen van Veen for Brilliant Classics. Previous best-sellers include music by Arvo Pärt (BC95053), Philip Glass (BC9419), Michael Nyman (BC95112), Lodovico Einaudi (BC94910) and Yann Tiersen (BC95129), composer of the music for Amélie. His recordings of Satie have been cited as reference versions by Classics Today, which acclaimed his ‘outstanding musicianship’. Like Zbigniew Preisner (born in 1955) is Poland’s leading film music composer and is considered to be one of the most outstanding film composers of his generation. For many years Preisner enjoyed a close collaboration with the director Krzysztof Kieslowski, his music for the films No End, Dekalog, the Double Life of Veronique, Three Colours White and Three Colours Red have brought him international acclaim. He was awarded a Silver Bear (Berlin Film Festival) and 3 Césars (French Film Academy). He is praised for composing film music that creates a deeper understanding and additional dimensions for the story. This 2CD set features original piano music and music from Preisner’s famous film scores, such as The Art of Flying, Fairytale, The Secret Garden Trois Couleurs Blanc and many more. Played by Jeroen van Veen, piano solo, who previously issued hugely successful recordings of film music by Yann Tiersen (Amélie) and numerous albums with minimal music (Adams, Nyman, Richter, Glass).

119 kr
Image Overtures for Organ
Although usually performed by large orchestras, this new release brings the overture an introduction to an opera, ballet, suite or oratorio to the organ, in innovative arrangements for four hands. The transcription of orchestral materialonto the keyboard has proved popular throughout history, as it brought celebrated concert hall music to more intimate, domestic venues. Arrangements for two players became more fashionable during the second half of the 19th century, through virtuoso pianists such as Max Reger and Franz Liszt.On this recording, overtures from across the centuries are brought alive in imaginative duets. From the solemn, majestic introductions to Handels Water Music and Bachs third Orchestral Suite to the familiar strains of the troubadour song in the overture to Bizets Carmen, and the dreamlike, imaginary world of Tchaikovskys Nutcracker Suite overture, the grandiose repertoire heard here is nothing but diverse.In contrast to the piano, the different combinations of stops possible on the organallow a variety of timbres, so that the hue of the orchestral version remains largely intact. Italian organists Pietro Pasquini and Francesco Zuvadelli have also made further adjustments and additions to existing keyboard arrangements by established omposers, carefully bringing out a wealth of colours and phrases from the original compositions. They have selected two organs to reflect the contrasting nature of the music the pieces by Bach, Handel and Mozart were recorded on a Baroquestyle German organ, while the pieces by Beethoven, Bizet, Tchaikovsky and Rossini were recorded on a vast Italian organ of the 1800s, conceived and built like a large orchestra for the performance of the operatic music that held sway in Italy during the 19th century.

89 kr
Image Latin American Guitar Music
Deion Cho, guitar

This is the CD debut of Korean guitarist Deion Cho, first prize winner of the Concorso Internacional de Guitarra Clásica Gredos San Diego.

For his first CD Cho chose 4 leading 20-th century guitar composers, differing in style and tradition: Ginastera, Lauro, Montaña and Martínez Palacios.

Although all originating from South America the composer's styles differ greatly: from the neoclassical idiom to folk inspired, from charming Waltzes to harsh expressionism.

All these dazzling, attractive works make full use of the resources of the guitar and show the prodigious gift of this young virtuoso, Deion Cho.

89 kr
Image Flute Concertos
First recordings of four Romantic concertos by a Paganini of the flute. This 2008 recording has been reissued to mark the 200th anniversary of the birth of Giulio Briccialdi (1818-1881). As a principal flautist in the major opera orchestras of Italy and across Europe, Briccialdi attracted renown not only for his performing virtuosity but also his ability to exploit and stimulate the rapid technical evolution of his instrument. A new flute was invented for him by Boehm and named after him. Further technical innovations were made in flute-manufacture at his instigation by Emilio Piana in Florence, where he was flute professor at the Istituto Musicale in Florence. Although he wrote an opera and a symphony, his legacy as a composer rests upon his works for his own instrument. These include many chamber works for flute and piano: fantasias and operatic fantasias capitalising on the popular success of dramatic works, especially by Verdi. There are several attractive wind quintets and the Carnevale di Venezia Op.78, a concertante work for flute and orchestra which has been recorded several times. These four concertos represent some of Briccialdi’s most valuable and original works: conceived as a pinnacle of virtuosic display for the soloist’s skill, and based entirely on original material, Briccialdi mostly kept those works for his personal use. In fact the great majority of Briccialdi’s work remains unpublished and the scores of these concertos were only published earlier this year by the Italian firm of Ricordi. They are all cast in the standard three-movement concerto format, by and large as brief as they are attractive, and unfailingly well written for the soloist: one highlight is the two-minute ‘Valse lento’ which forms the middle movement of the Fourth. The concertos received their first recordings at the hands of Ginevra Petrucci, a Roman-born flautist who has worked with composers in Europe and the US and had several works written for her. The Flutist Quarterly praised her for ‘beautiful phrasing, brilliant virtuosity and a legato worthy of a great singer.’ World premiere of the 4 Flute Concertos by Briccialdi. Giulio Briccialdi (1818-1881) was from an early aged destined to became what he was universally called “The Prince of the Flute”. He started his career as flutist and composer by playing in the intervals of opera productions throughout Italy, later he spread his wings and was active in several European capitals like Vienna, Budapest, Munich and London, a celebrated virtuoso mixing with the most important musical figures of his time. The 4 Flute Concertos were only recently published and are recorded here for the first time: fresh, inventive and virtuoso works written in warm Italian bel canto style: exquisite! Beautifully played by Ginevra Petrucci, one of Italy’s foremost flutists, who also prepared the editions. She recorded already 5 CD’s for Brilliant Classics, with music by Kuhlau, Dupuy, Buchner, Muczynski and others.

89 kr
Image Soledad Tengo De Ti
Little is known about the life of Spanish composer Juan Vasquez, fl. 16th century. A skilled and successful composer, he was in the service of the King of Spain. His compositions are mainly secular, in the form of polyphonic madrigals and “Villancicos,” popular songs set for a vocal ensemble of 3 or 4 voices. The Villancicos are based on folk music and traditional texts, peasant melodies brimming with joy, happiness and Spanish vitality. The works on this release have been taken from Vasquez’s two collections, published in 1551 and 1560. This release includes several previously unrecorded items. Spanish Early Music group Vandalia performs this music with infectious enthusiasm. The group consists of 4 excellent vocal soloists, accompanied by the Iberian Harp.

89 kr
Image Guitar Vibes
Izhar Elias has produced several successful and imaginative albums for Brilliant Classics. None of them have confirmed to a ‘Spanish guitar’ stereotype but all have engaged in various original ways with the developing heritage of the instrument during the 19th century, from ‘Paisiello in Vienna’ (BC95301) to ‘Beethoven and the Guitar’ (BC94631) to Giuliani’s astonishing transcription of Rossini’s grand tragedy Semiramide (BC93902). His latest recording brings the classical guitar up to date with works by composers from four different countries; within them may be heard influences from classical music, avant-garde, Caribbean music, Spanish folklore, flamenco, Arabic music, blues, Argentinean tango and even trip-hop and heavy metal: provocative testament to the world’s most versatile instrument. The Guernica Suite by Pujol (b.1959) focuses on different aspects of Picasso’s painting in six movements, with a tentatively positive conclusion. The Triptych of Roberto Sierra (b.1953) evokes some nocturnal sounds from his native Puerto Rico, including the tropical tree frog as well as a night on the tiles. The three Danzas Concertantes pulse and glide with the rhythms of Leo Brouwer’s native Cuba, offset by some astringent harmonies that place the guitar’s usual role as purveyor of folkloristic colour under threat. Finally there is the Schattenspiel Suite by Florian Magnus Maier (b.1973), who also plays electric Moog guitar on this recording. Maier pursues a diverse career as a composer, guitarist and vocalist with bands including Alkaloid, Dark Fortress and Noneuclid; this tripartite suite inspired by shadows is his best-known work in the classical tradition, and for this recording he has made a new arrangement for two guitars and string quartet. There is something for everyone on this album: it’s essential listening for guitar-music enthusiasts who want to broaden their horizons. For this exciting new recording Dutch guitarist Izhar Elias selected 4 works for guitar and strings to show the versatility of his instrument. In these works by Brouwer, Pujol , Sierra and Maier influences can be traced from classical music, Avant-Garde, Caribbean music, Spanish folklore, Flamenco, Arabic music, tango, blues and even trip-hop and heavy metal: fascinating! Izhar Elias secured the collaboration of world-class musicians (composer Florian Magnus Maier plays the Moog electric guitar), each bringing a different musical background and an open mind. In the booklet text each composer comments on his own work, a better introduction is hardly possible.

89 kr
Image Cello Sonatas
Marco Testori, cello
Costantino Mastroprmiano, piano

A delightful programme of Early-Romantic cello sonatas by Ries, Moscheles and Hummel.

Ferdinand Ries, Ignaz Moscheles and Johann Nepomuk Hummel are contemporaries, active in a period of transition from Classical to Romantic style, all three strongly influenced by the musical giant Ludwig van Beethoven, virtuoso pianists and all three “Minor Masters”.

Their cello sonatas follow classical style principles, spiced with interruptions of romantic outpouring of drama and emotions: highly enjoyable!

Played on period instruments by cellist Marco Testori and Costantino Mastroprimiano, playing an early 19th century fortepiano.

89 kr
Image Shakespeare Sonnets Op.125 & Duets Op.97
No modern record company has done more than Brilliant Classics to revive the music and reputation of the Italian-American composer Mario Castelvuovo-Tedesco. Not only in the field of guitar music for which he is most famous, but in piano music (94811) and most recently an extensive and powerful song-cycle for soprano and guitar, The Divan of Moses Ibn Ebra (95282). Here’s another new album of the composer’s vocal music, of still greater importance: the first complete recording of his cycle of Shakespeare Sonnets, coupled with the world premiere recording of the three Shakespeare Duets. Castelnuovo-Tedesco set texts by many great poets, among them Dante, Heine and Lorca. It was for Shakespeare, however, that he nurtured his foremost passion. Having composed settings of all the standalone songs in the plays while still resident in Italy, he then turned to the sonnets while ‘isolated and proud’ in the bitter-sweet exile of Beverly Hills where he made his home for the last 30 years of his life. They were set down with astonishing fluency, more than half within less than two months in the autumn of 1945. Ultimately he put music to 32 of Shakespeare’s 154 sonnets, all in the original English, including three settings for vocal ensemble. All of them are now gathered together for the first time, together with the three Duets from 1937. For Castelnuovo-Tedesco as for many of his colleagues past and present, Shakespeare’s language is ‘perfectly musical: it unites the spiritual subtlety of English with the sonorous splendour of Italian.’ In particular, ‘the Sonnets are one of the most miraculous products of the poetry of all times! Shakespeare acts like a mirror of humanity, expressing sentiments that are both his and universal: they are absolute and eternal, expressed by means of an extraordinary, perfect wealth of images.’ Thus these settings reflect the beauty and complexity which Castelnuovo-Tedesco ‘heard’ in the poetry. There is no repetition of words or phrases; the only recurring element is a coda in the piano that seems to act like the unconditional resolutions that conclude each poem. Musical convention is rare, and when it does surface is handled with irony. The prevailing style is bold and free, within the sphere of the Italian vocal tradition, yet not afraid to absorb elements from European music of the early 1900s or echoes of the lighter, popular music that was evolving in the US.

109 kr
Image Carnaval Vénitien
Gabriella Morelli, Giancarlo Simonacci (piano 4-hands)

The name of Ricordi is best known as one of the most famous and prestigious music publishing houses of the world. Founded by his grandfather Giovanni, the firm gained great reputation under Giulio Ricordi's leadership, notably by publishing Verdi's operas.

Giulio not only had a good nose for quality music and commerce, but he was also a composer himself. This CD presents his works for piano 4-hands, salon music of high quality, very much "en vogue" in that time. The titles of the pieces give a clear indication of the style: Carnaval vénitien, Le bal de la poupée, Le livre des Sérénades, Galop abracadabrant...

Played with obvious enjoyment by the Duo Pianistico, Gabriella Morelli and Giancarlo Simonacci.

89 kr
Image Cello Solo Suites
109 kr
Image Chamber Music
Often cited as the most distinguished neoclassical composer of post-war America, Robert Muczynski (1929-2010) was born in Chicago to Polish parents. This album of chamber music surveys an output which is always restless and unpredictable thanks to the embrace of both Bartokian harmonies and structures as well as the more lyrical yet open-ended language of Samuel Barber. The Cello Sonata of 1968 is often considered to be Muczynski’s chamber music masterpiece, in which the problems of balance and register inherent to the genre are not only solved but transcended with a mastery especially evident in the central Scherzo. From a year later, the Fantasy Trio Op.26 is a welcome addition to the clarinet-cello-piano trio genre established by Beethoven. Energy and punchy rhythmic interplay are hallmarks of Muczynski’s music, as the earlier Flute Sonata engagingly demonstrates: in its whimsical, abrupt, headstrong progress through a compact four-movement form, it may even be considered the most important such work by an American composer. Muczynski took technical agility and devil-may-care confidence for granted in his interpreters; in this case, an international quartet of musicians based in the US. There is an extended booklet essay by the pianist Dmitry Samogray which places both composer and works in invaluable context. Any listeners curious to fill out their appreciation of American music beyond Copland and Bernstein will want to hear this release. Robert Muczynski (1929-2010) was born in Chicago, son of a Polish and Slovak immigrant. At the age of 5 he started his piano lessons, and later studied at the DePaul University composition with Walter Knupfer and Alexander Tcherepnin. Muczynski may safely be called the most important neoclassical composer of post-war America. His style bears influences from Bartók, Barber, Bernstein and occasional jazz elements. This new recording contains some delightful chamber for various instruments: the flute sonata, trio for clarinet, cello & piano, the cello sonata, and duos for flute and clarinet: attractive music full of vitality and exuberant energy. Wonderful performances by Ginevra Petrucci (flute), Dorotea Racz (cello), Gleb Kanasevich (clarinet) and Dmitry Samogray (piano), all four of them seasoned soloists and ensemble players. The booklet contains excellent liner notes written by Dmitry Samogray.

89 kr
Image 24 Etudes for Guitar
Born in 1959, Stefano Casarini has composed an extensive library of concert and educational music for the guitar for different levels of accomplishment. The 12 Grandes Etudes and 12 Petites Etudes recorded here are designed for professional or at least highly accomplished musicians, full of technical challenges yet satisfyingly musical in their own right. The idiom is tonal but modern, often reflective in mood, using repeated motifs which owe something both to the guitar tradition and to Minimalist music. As Adriano Sebastiani remarks in his booklet notes to this new recording, ‘Casarini’s compositions are highly distinctive, never banal, certainly idiomatic and always to the point. By the same token they can also be intrepid, and inclined to create evocative atmospheres and states of mind that can convey deep feelings.’ This is Adriano Sebastiani’s fifth album for Brilliant Classics, after well-received recordings where he accompanies singers in music by Dowland (BC94480), Spohr (BC94274), Weber (BC95323) and Rossini (BC94628). Thus he brings to Casarini’s music a natural feeling for its Romantic character and easy melodic flow. The album also joins an expanding and valuable collection of studies for guitar on Brilliant Classics, including two collections of Easy Studies (BC95402, BC95557) and volumes dedicated to Sor (BC94791), to Gangi (BC95204) and Gilardino (BC8886), among others. This is the projected first volume of a series designed by Sebastiani to bring Casarini’s compositional voice to an international audience and to give a more complete picture of the stylistic variety, the value and beauty of his music. Stefano Casarini (born 1954) is one of the most remarkable guitarists and guitar composers of present day Italy. Standing in a long line of tradition of the great guitar composers of his country he writes bold, evocative and deeply felt music, expertly written for his instrument. His 24 Etudes, here recorded for the first time, are highly challenging studies, using all facets of techniques, well integrated in eloquent musical forms. Excellent performances by guitarist Adriano Sebastiani, friend and fan of the composer.

89 kr
Image Piano Trio
Robert Fuchs (1847-1927) was born in Austria near the border of Slovenia. He went to Vienna for his musical education and became a close friend of Johannes Brahms, who expressed himself very favourably about his music ("beautiful, perfectly written and fascinating in its inventiveness"). Later Fuchs became Director of the Vienna Conservatory, and teacher of an impressive array of students: Mahler, Zemlinsky, Schreker, Sibelius, Schmidt, Enescu, Wolf...

Fuchs' chamber music reflects the musical atmosphere of late 19th century Vienna: highly expressive, wide tonality, extensive use of chromatism.

Excellent performances by three young Italians: pianist Enrico Maria Polimanti, violinist Giulio Plotino, violist Claudio Cavaletti: committed and passionate playing!

Excellent liner notes by the pianist.

89 kr
Image Mélodies (2CD)
A much-recorded and lauded Italian pianist joins an exciting young multilingual soprano for an extensive collection of Debussy’s songs: a significant recorded contribution to the celebrations of the composer’s centenary. Debussy wrote songs throughout his career, beginning at the age of 18 with Nuit d’étoiles, with which this collection also begins. Most of his vocal output was inspired by the singers he encountered as a young man in the fashionable salons of fin-de-siecle Paris, and in particular the soprano Blanche Vasnier: from that time, Debussy’s songs resembled an amorous diary of dreams and desires of infinite sweetness, entrusted to a voice capable of the utmost seduction. The epilogue to his love story with Vasnier is heard in Apparition, after which Lorna Windsor moves to the years of Debussy in Rome, and in particular his sumptuous settings of Baudelaire. There follow the much more elusive settings of Verlaine and Rimbaud, dating from his ‘impressionist’ and even ‘post-impressionist’ late years, and often inspired by his encounter with the soprano Mary Garden, the first Mélisande. Lorna Windsor has established a reputation as a specialist in contemporary music: her catalogue on Brilliant Classics includes the songs with piano by John Cage (8850) and a more recent, wide-ranging album of solo-vocal music by Feldman, Kagel, Kurtág and others. She also has considerable experience in French repertoire, having studied with the doyen of French baritones, Gérard Souzay, and given performances in France of Offenbach and Satie, as well as recording the songs of Satie. A further point of interest to the album concerns the piano used by Antonio Ballista: a 1923 Pleyel. Ballista himself was born just 13 years after the piano was made, and for more than half a century he formed half of one of the best-known and most recorded piano duos of their time, in partnership with fellow Italian Bruno Canino. Though he has accompanied many eminent singers such as Cathy Berberian, Anna Caterina Antonacci and Kim Criswell, his work with singers has been very rarely represented on record, making this album a collector’s item in Ballista’s distinguished career as well as a ravishingly idiomatic record of French song. From his childhood on Claude Debussy was fascinated by poetry, just as much an inspiration and influence as music itself. His mother taught him to read the poetry of the fashionable French poets, and soon he was immersed in the world of Mallarmé, Baudelaire and Verlaine. Among his first compositions were various songs, and he continued to write songs till the end of his creative life. This new recording presents a selection of the most beautiful, special and mesmerizing songs by Debussy, from the Nuit d’étoiles (1880) till the Noël des enfants qui n’ont plus de maisons (1915). Lorna Windsor studied with Elizabeth Schwarzkopf, Gérard Souzay and Hans Hotter. She specializes in early music and 20th century music, with an emphasis on the French repertoire. She recorded Satie songs and vocal works by Casella. Italian pianist Antonio Ballista plays a superb 1923 Pleyel piano.

119 kr
Image La Finta Savia, Arias
The torments of love conveyed by a contemporary of Monteverdi in the context of an operatic celebration of 17th-century Venice. L’Incoronazione di Poppea is renowned not only as Monteverdi’s last work but also his most affecting. Almost equally famous, however, is the historical oddity that its sublime conclusion is almost certainly not his work. Sung as Nero and his new wife drift off in amoral bliss, ‘Pur ti miro’ has been attributed to various of Monteverdi’s Venetian contemporaries. However, among the most plausible candidates is Filiberto Laurenzi. Very little is known of his life except for his encounter with the soprano Anna Renzi, considered the first diva in the history of opera. She not only studied under Laurenzi, but also let him manage her career, following him when he left Rome for Venice. The duet is featured here alongside excerpts from an entertainment conceived when the genre of opera was still in its infancy. Like Poppea, La finta savia was first performed during the 1643 Venetian carnival season. It may be counted an early example of the pasticcio genre, in which a dramatic piece is the work of several hands, among them in this case Leardini, Pozzi, Ferrari, Giovan Battista Crivelli and Tarquinio Merula alongside Laurenzi. This recording includes five virtuoso arias making use of dance rhythms, some of them intimate in atmosphere and others that are more brilliant, such as ‘Tant’armi inventate’. These operatic excerpts are complemented by arias from a 1641 collection dedicated to Laurenzi’s work. The highlight is probably ‘Così mi lasci ingrato’, a deeply affecting lament for lost love on words by Ottaviano Castelli. There also instrumental works and transcriptions by three composers who also left Laurenzi’s native Romagna region to seek fame and fortune elsewhere, notably Venice (though Laurenzi himself probably died in Rome): Marco Uccellini, Domenico Gabrielli and Domenico Ferrabosco. Ensemble Sezione Aurea is a mixed ensemble of voices and instruments founded in 2013. It gathers together some of the finest European baroque musicians active on the concert and recording scene. This new recording presents a selection of the most beautiful arias from La finta savia written for Venice in 1643 by Filiberto Laurenzi (1620-1651), a composer from Bertinoro. Laurenzi worked between Rome and the most renowned courts of Italy and especially with the wellknown singer Anna Renzi, the first diva in the opera field. In addition to La Finta Savia’s highlights, several other composers are presented, active in the Romagna in the period 1640-1645: Marco Uccellini, Giovanni Ceresini, Claudio Monteverdi and Domenico Gabrielli, of whom we hear madrigals, arias and instrumental works. The recording features two excellent and famous Italian soloists: Elena Cecchi Fedi and Carlo Vistoli . The Ensemble Sezione Aurea features violins, theorbo, cello, baroque guitar, percussion and harpsichord, concert master is Filippo Pantieri.

89 kr
Image Complete Music for Violin & Piano
Erwin Schulhoff was a Czech composer of German-Jewish descent. He received his musical education in Cologne, Leipzig and Vienna. Under the Nazis he was captured for his Jewish identity and his music, which the Germans considered “Entartet.” Tragically, he died in a concentration camp in 1942. Schulhoff’s music started in the late romantic style of Brahms and Reger. Later he was influenced by the newly developed Jazz music, Dadaism and Czech folk music, all three fused into his own personal musical language. This new recording presents his complete output for violin and piano: one violin solo sonata, two sonatas for violin and piano and a suite for violin and piano. This is highly original and dramatic music in which the tension of the “Zeitgeist” is everywhere apparent. Here, this music is performed by Bruno Monteiro and Joao Paolo Santos, who have already successfully recorded the music for violin and piano by Szymanowski for Brilliant Classics.

89 kr
Image Sonatas for Four Hands
Here’s a release of rare repertoire sure to intrigue and delight anyone with more than a passing interest in 18th-century musical culture. The English scholar, musician and inveterate traveller, observer and collector Charles Burney is known for many things – fine taste, a ready wit and a capacious address book principal among them – but his own compositions have so far received almost no attention. Burney’s diaries make for immensely entertaining reading. In them may be relished vivid accounts of musical circles and activities in Italian, German, Dutch, French and English cities, and mention is made of Handel, Metastasio, Sammartini, Mozart, C.P.E. Bach and many others. However, Burney’s musical personality was deeper and more complex than reading his diaries might lead one to believe. For the fact is that he was not only a ‘musicologist’, but also a practising musician active as a composer, a professional organist, harpsichordist and violinist. Burney’s encyclopedic knowledge and breadth of sympathy are evident in the two volumes of the Four Sonatas or Duets for two performers on one Pianoforte or Harpsichord, which he published at his own expense in London in 1777. In fact the novelty of the sonatas was a commercially astute decision, for although they are in essence conceived for solo piano, there was at the time no other published music for the increasingly popular form of duet music at a single keyboard. Each sonata has two movements: a slow and expressive introduction leads to a lively Allegro, though the second sonata of the second volume reverses this order, and the final sonata begins with an elaborate Andantino which overshadows the concluding Rondo. Burney also took care to exploit the dynamic possibilities of the hammer-action instruments which were gradually displacing the harpsichord; Anna Clemente & Susanna Piolanti perform the sonatas on a square, English model fortepiano dating from 1800: the booklet includes both photographs of the instrument and an invaluable introduction to Burney the composer. The historical significance of Charles Burney (1726-1814) as an author lies in his “General history of Music” and his numerous diaries, in which he describes the musical life of the countries he visits and the famous musicians and composers he meets there, all written with an deep insight grounded in profound musical knowledge. As a musician he was active as organist, harpsichordist and violinist. His sonatas for keyboard 4 hands (“for the pianoforte or harpsichord”) were published for domestic use by a growing middleclass, eager to consume not too challenging keyboard works. They are delightful sonatas in the style of Clementi and Johann Christian Bach (the “London Bach”), fully exploring the possibilities of the new keyboards quickly gaining popularity. Played by Anna Clementi and Susanna Piolanti on a historic square English piano built in 1800 by Josephus Kirckman.

109 kr
Image Harpsichord Concertos
Here is another engaging release from Brilliant Classics' current series of C.P.E. Bach recordings - recordings that celebrate the genius of a composer who was, on account of his harmonic language, preoccupation with improvisation and cultivation of the empfindsamer Stil, undoubtedly the most strikingly individual talent among Johann Sebastian Bach's sons.

Central to Carl Philipp Emanuel's output was the clavier, with the composer writing more than 50 concertos for this instrument - an astounding number considering how new a genre the keyboard concerto still was at the time, and a small number of which are detailed on this disc. While J.S. Bach is usually credited with elevating the harpsichord from its traditional role to a solo concerto instrument, his harpsichord concertos are almost certainly arrangements of earlier compositions for oboe, violin etc., and Carl Philipp Emanuel's collection therefore stands as the first important one of its kind. The works indeed number among the finest of their time, their quality reinforced by the fact that a good few were subject to regular revisions by the composer. Emanuel's own outstanding ability as a keyboard player is also reflected in the concertos, most of which were conceived with players of advanced technique in mind - the sparkling cascades of the soloist's arpeggios in the final movement of the E major Concerto Wq14 come especially to mind.

Performing Wq3, Wq6 and Wq14 and bringing to the fore the infectious vitality of these works is Brilliant Classics regular Pieter-Jan Belder. He is ably supported by his period-performance ensemble Musica Amphion, who under the direction of their soloist draw full attention to the remarkable sophistication and certain amount of unpredictability that characterise C.P.E. Bach's keyboard concertos as a whole.

89 kr
Image Complete Music for Guitar
Alfonso Baschiera, guitar
Federica Lotti, flute
Nicola Boscaro, cello

Henri Sauguet (1901-1989) was a favourite pupil of Erik Satie and Charles Koechlin. Later he became closely related to the famous Groupe des Six, the composers around Poulenc, Auric and Milhaud. His fame spread, and he was commissioned to write ballets for Diaghilev's Les Ballets Russes and Ida Rubinstein.

Sauguet's style is a reflection of the pluriform development of 20-th century music: impressionism, expressionism, Darmstadt School, all had their influence on him. His "native' language however is one of expressive lyricism, and that warmth of feeling shines through all his works.

This new recording presents Sauguet's complete output for guitar: small scale works written in cycles, miniatures of great beauty, originality and strong contrasting feelings.

A first recording with excellent performances by guitarist Alfonso Baschiera, who is joined by flutist Federica Lotti in the Six Pièces Faciles.

Booklet contains excellent liner notes in English and Italian, written by the artist.

89 kr
Image Complete Violin Sonatas
A matter of months separate the first two of violin sonatas by Leo Ornstein (1893-2002) – the spring of 1915 in which the world was tearing itself apart in conflict – but, as if to mirror their times, the musical styles they explore are poles apart. The First Sonata is a long, four-movement work in a late-Romantic vein. Only the descending clusters in the piano part of the second movement give notice of the fiercely Modernist rhetoric of the Second Sonata, in which the 20-something tyro composer himself admitted that he brought music ‘to the very edge... I simply drew back and said, ‘beyond that lies complete chaos’. In fact the four movements – much briefer than the First, but still traditionally disposed, with an Andante espressivo second movement – inhabit the realm of Expressionist angst shared by Arnold Schoenberg’s music of the period, including the Five Orchestral Pieces and Erwartung. Brilliant Classics presents the first opportunity on record to compare and contrast these richly fascinating works, and in a new recording made by Italian instrumentalists who show themselves in deep sympathy with Ornstein’s protean creative world. The brief, single-movement Third Sonata dates from around 15 years later. It is characterized by a harsh, almost alienated lyricism, and by many references to the Jewish culture that became explicit in the Hebraic Fantasy, written in 1929 for the celebration of Alfred Einstein’s 50th birthday. The Three Pieces represent most of Ornstein’s writing for the flute: written separately within the 1950s, they show a composer who had reinvented himself once more to write with melodic charm, and in a mood of peaceful serenity. This disc should be a fascinating discovery for all followers of 20th-century music. Leo Ornstein was born in 1895 in the Ukraine, and emigrated with his family in 1906 to the USA, where he became a famous pianist and leading figure in the American Avant-Garde, writing highly experimental music in which tonal clusters played an important role. Halfway the 20ties he withdrew from public life and founded his own music School the Ornstein School of Music. He continued composing but was largely forgotten till the revival by his son in the 70ties. Ornstein’s works show a wide variety, from Post-Romantic works in the tradition of Grieg and Franck to pieces of shocking modernity and savagery. This 2CD set contains the complete music for violin and piano and for flute and piano, music of a highly original spirit, who died at the advanced age of 108 in the year 2002. Played with great conviction and dedication by violinist Francesco Parrino, flutist Stefano Parrino and pianist Maud Renier. The booklet contains excellent liner notes as well as a personal assessment by the son Severo Ornstein.

89 kr
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