Akseptere cookies

Vi bruker Cookies, trykk for å akseptere.
Jeg aksepterer
Viser 100 varer
Image Complete Violin Concertos
Kristóf Baráti, violin
Hungarian Chamber Orchestra

Hungarian violinist Kristóf Baráti is recognised as one of the leading violinists of his generation. He plays with the Philharmonia Orchestra, Mariinsky, WDR Sinfonieorchester, London Philharmonic, and conductors like Gergiev, Dutoit, Jurowski, Masur, Pletnev, Fischer, Temirkanov.

His extensive discography for Brilliant Classics led to great critical acclaim: “..Baráti is out of the top drawer. With intensity of sound, unbridled athleticism and searing leaps into the stratosphere which send a tingle down the spine” (Gramophone), “Masterful, probing, meditative, it rang with a rare sense of authenticity, and almost majestic scope” (Washington Post). “He is on the order of magnitude greater than any other violinist I’ve encountered in at least 10 years” (Fanfare on the Beethoven violin sonatas, with Klára Würtz, piano).

On this 2 CD set Baráti plays the complete works for violin and orchestra of Mozart: masterful, strong, alternating great vitality and tenderness, vigour and beauty. He himself conducts the excellent Hungarian Chamber Orchestra.

kr 109
Image Piano Music
kr 109
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.

kr 89
Image Cello Solo Suites
kr 109
Image Complete Chamber Music for Clarinet
For this release, clarinettist Davide Bandieri is joined by a superlative group of musicians, all determined to shine a light on some of Hindemith’s most sensitively scored chamber music. As a keen amateur clarinettist himself, Hindemith composed for the instrument throughout his life. This repertoire therefore takes us on a journey right from his early works in the 1920s – when the composer was influenced by the ailing conservative composer Arnold Mendelssohn – to the mid 1950s, when his music had been strongly shaped by Schoenberg’s ideas about tonality. Characteristically for Hindemith, much of his clarinet repertoire is Hausmusik – written for a domestic setting rather than public performance. A sense of intimacy can therefore be heard alongside the composer’s typical wit. The Musikalisches Blumengärtlein is one of Hindemith’s many parody pieces, with tongue-in-cheek comic effects in its unusual instrumentation and original movement names like the punning ‘Canon (for shooting)’. Throughout his life, Hindemith was determined not to let his music become part of the ‘routine’ of professional musicians. He was careful to keep his compositions light, and to compose for all sorts of instruments and genres, leaving us with a fascinating legacy. The musicians on this album are all experienced interpreters of chamber music; several, including Davide Bandieri, have long played with the prestigious Lausanne Chamber Orchestra. The Quartetto Savinio, who join Bandieri for the Quintet Op.30, have been described as the ‘one worthy heir to the Quartetto Italiano’ (L’Unità). The pieces on this double-CD are evidence of Paul Hindemith’s love for the clarinet, an instrument of which he was a keen amateur player and for which he wrote a considerable amount of music. The Clarinet Sonata, Quartet and Quintet were intended for the concert hall, while the other pieces were written for amateurs to be played in more private settings, Hindemith’s mission being to create approachable music for as many people as possible. In all these works Hindemith’s particular style shines through: from the strict neo-classicism, the “Neue Sachlichkeit” to vigorous expressionism, all sharing his joy of invention and creation. Played by Italian master clarinettist Davide Bandieri, who played solo clarinet in the Lucerne Festival Orchestra and Mahler Chamber Orchestra conducted by Claudio Abbado. For this recording he secured the collaboration of such eminent instrumentalists as pianist Matteo Fossi, violinist Duccio Ceccanti and cellist Vittorio Ceccanti. Recorded in Perugia, Italy, in May, June and October 2016. Contains liner notes and biographies of the artists. For this release, clarinettist Davide Bandieri is joined by a superlative group of musicians, all determined to shine a light on some of Hindemith’s most sensitively scored chamber music. As a keen amateur clarinettist himself, Hindemith composed for the instrument throughout his life. This repertoire therefore takes us on a journey right from his early works in the 1920s – when the composer was influenced by the ailing conservative composer Arnold Mendelssohn – to the mid 1950s, when his music had been strongly shaped by Schoenberg’s ideas about tonality. Characteristically for Hindemith, much of his clarinet repertoire is Hausmusik – written for a domestic setting rather than public performance. A sense of intimacy can therefore be heard alongside the composer’s typical wit. The Musikalisches Blumengärtlein is one of Hindemith’s many parody pieces, with tongue-in-cheek comic effects in its unusual instrumentation and original movement names like the punning ‘Canon (for shooting)’. Throughout his life, Hindemith was determined not to let his music become part of the ‘routine’ of professional musicians. He was careful to keep his compositions light, and to compose for all sorts of instruments and genres, leaving us with a fascinating legacy. The musicians on this album are all experienced interpreters of chamber music; several, including Davide Bandieri, have long played with the prestigious Lausanne Chamber Orchestra. The Quartetto Savinio, who join Bandieri for the Quintet Op.30, have been described as the ‘one worthy heir to the Quartetto Italiano’ (L’Unità). The pieces on this double-CD are evidence of Paul Hindemith’s love for the clarinet, an instrument of which he was a keen amateur player and for which he wrote a considerable amount of music. The Clarinet Sonata, Quartet and Quintet were intended for the concert hall, while the other pieces were written for amateurs to be played in more private settings, Hindemith’s mission being to create approachable music for as many people as possible. In all these works Hindemith’s particular style shines through: from the strict neo-classicism, the “Neue Sachlichkeit” to vigorous expressionism, all sharing his joy of invention and creation. Played by Italian master clarinettist Davide Bandieri, who played solo clarinet in the Lucerne Festival Orchestra and Mahler Chamber Orchestra conducted by Claudio Abbado. For this recording he secured the collaboration of such eminent instrumentalists as pianist Matteo Fossi, violinist Duccio Ceccanti and cellist Vittorio Ceccanti. Recorded in Perugia, Italy, in May, June and October 2016. Contains liner notes and biographies of the artists.

kr 109
Image L'estro Armonico
Antonio Vivaldi was one of the most successful composers of the Baroque era, best known for his iconic set concertos for violin, The Four Seasons. LEstro Armonico Op.3 is among the most important printed editions of Vivaldis concertos; the works immediately met with great acclaim after their publication in 1711, giving way to over 30 reprints in the subsequent 32 years.Indeed, this was the first collection of concerti to be published with a title, showing that the composer himself was aware of the nature of this extraordinary event. The work was originally dedicated to Prince Ferdinando de Medici, son and heir of Cosimo III, Grand Duke of Tuscany. This special release is the world premiere recording based on the edition by Michael Talbot, of the Istituto Italiano Antonio Vivaldi, Fondazione Giorgio Cini, Venice and has been produced in collaboration with Ricordi and Universal Music Publishing.LArte dellArco is an internationally renowned ensemble that has achieved great acclaim through performances and recordings. Each member is handpicked from the elite of the Italian classical music scene and has performed with many period orchestras across Europe. The group regularly takes part in early music festivals and has, in recent years, toured extensively outside of Europe in the Far East and South America. Artistic Director and Concert Master Federico Guglielmo has been hailed by the Boston Globe as the new star of the ancient music landscape and was the winner of the Antonio Vivaldi International Recording Prize, also receiving a Diapason dOr for his recording of Vivaldi concertos.

kr 109
Image Cantatas
Of Johann Sebastien Bach's many children, three were composers of genius -- C.P.E, J.C and W.F. Wilhelm Friedrich remains the least understood, least known, and was possibly the most gifted of the three. He studied under his father, and it is thought that the Goldberg Variations were composed to show of his eldest son's keyboard virtuosity. W.F was however a restless soul, who eventually abandoned music altogether. In 1750 it was W.F who managed his father estate after his death, and he had to sell off his father's manuscripts to settle debts.

His life was one of disorder, and although he managed to obtain several good positions, he fell into poverty, and ill health followed. It is possible that his last pupil was Sarah Itzig Levy, great aunt of Felix Mendelssohn.

The cantatas on these discs contain some of W.F's most forward looking and vocally demanding music. Firmly based upon the examples of his father's cantatas (which W.F performed regularly) they are a strange and unique mix of the old fashioned and the new 'Sturm und Drang'. In places the sound world of the young Haydn can be heard, in others the voice of J.S Bach sounds clearly. W.F's music is of the highest quality and like his brothers, it spans the transition from the baroque to the galant classical style.

kr 109
Image Complete Music for Flute
Sigfried Karg-Elert (1877-1933) is best remembered for his organ works, and more specifically, for the harmonium. His dense, chromatic and complex counterpoint and rich late romantic harmonies put him next to his compatriot Max Reger.This set contains the complete works for flute solo and flute and piano. His 30 Caprices for solo flute are not only interesting for professional flute players, and the works for flute and piano, notably the substantial Flute Sonata, are masterworks in their genre, showing an original mind and a fine ear for the flute's lyrical and seductive qualities.Excellent and compelling performances by two young Italian musicians, liner notes in English and Italian.

kr 89
Image Music for Violin and Piano
Irish romantic music written by an Italian! Michele Esposito (1855-1929) was born in the poor south of Italy. Bad luck prompted him to go abroad and he finally settled in Ireland, where he spent the last 46 years of his life, founding the Dublin Orchestral Society.He conducted the London Symphony Orchestra, with whom he also performed his own piano concerto conducted by Hamilton Harty.Esposito's works have a particular Irish flavour, freely making use of folk melodies and generally expressing the atmosphere of the Irish landscape and folklore.This release presents his complete output for violin and piano, real discoveries in this genre, works of deep emotional content and a high level of virtuosity.Played by two Italians with the right romantic feel for this music: violinist Carmelo Andriani and young Vincenzo Maltempo (who received great critical acclaim for his stunning recordings of piano music by Alkan and Schumann on Piano Classics).

kr 109
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).

kr 109
Image Die Auferstehung und Himmelfahrt Jesu
In the second half of the 18th century the German oratorio was marked by two characteristics: the tendency toward a highly individualistic depiction of emotions, and the avoidance of dramatic, operatic plots. The lyrical depiction of the sufferings and death of Jesus Christ, rather than Old Testament stories, thus became the preferred subject matter for authors who wished to create morally uplifting texts. Wholly conforming to this new aesthetic, as promulgated by the Swiss professor Johann Georg Sulzer, is C.P.E. Bach's grandiose Die Auferstehung und Himmelfahrt Jesu, written during the composer's sojourn in Hamburg and which earned high recognition beyond this city during his lifetime.

Also included on the set is Gott hat den Herrn auferwecket, a charming cantata written for the 1756 Easter services in Berlin and which was probably commissioned by an outside party - given that the composer's duties at this time were centered around the court of Frederick the Great as a harpsichordist. Performed by an all-German cast that includes the renowned Rheinische Kantorei, this release is a welcome addition to Brilliant Classics' every-growing discography of C.P.E. Bach repertoire - one that will hopefully go some way towards increasing awareness of one of music history's most significant composers.

kr 109
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.

kr 109
Image Frescobaldi Edition, Vol. 10
Girolamo Frescobaldi was the most significant figure in Italian keyboard music before Scarlatti. He worked in the city of Ferrara in northern Italy, a hotbed of progressive influences, particularly in the fields of singing, instrumental performance and musical rhetoric. Frescobaldi was, therefore, ideally placed to absorb the influences of Flanders, Rome, Naples and nearby Venice and, influenced by advances in keyboard technology and performance techniques, developed his mastery of both organ and harpsichord.

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

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

Other information:
- Recording made in 2010

- Excellent linernotes, written by a Frescobaldi scholar

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

kr 109
Image 24 Minimal Preludes
Jeroen van Veen, piano

In these 24 preludes, spread over two books of equal length, Jeroen van Veen has been inspired by the key-order of Chopin, the piano-techniques of Franz Liszt and Sergei Rachmaninoff, the polyrhythmic textural layering of Philip Glass, the sound of Simeon ten Holt and the rhythms of Steve Reich, all governed by the guiding principle of less is more. The preludes are highly representative examples of van Veen’s ‘Lego-brick’ aesthetic. The idea behind this is to create variation. Lego refers to the Danish phrase ‘leg godt’, which means ‘to play well’. Complexity is lent to such simple materials by the layering of irregular and compound time-signatures such as 5/8, 7/8, 11/8 and 13/8. Many motives reappear in various works, like Lego bricks in Lego structures do. Some Preludes such as No.18 are just a few ‘Lego bricks’ that can be repeated or even constructed in any order. Since they were written in 2003-4, these simple preludes have inspired film-makers and artists in their own works; they have also provided the score to a ballet. After the success of Jeroen van Veen’s many recordings of minimal piano music for Brilliant Classics, this new release is sure to receive attention in the press. Most recently he recorded the complete piano works of Erik Satie in time for the 150th anniversary of the composer’s birth. His previous recording of the Preludes was well-received by the American Record Guide: ‘Veen’s own Minimal Piano Preludes, which take up two discs of the collection, are a must-have… his performances are more technically polished and conventionally musical: the music breathes.’

kr 109
Image Complete Music for Lute
kr 109
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.

kr 109
Image Missa Dei Patris
kr 109
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.

kr 109
Image Complete Cantatas
Harmonices Mundi / Claudio Astronio

Nicolaus Bruhns (1665-1697) was born in Denmark, where he caught the attention of Buxtehude, becoming his most talented and favourite pupil. He became composer at the Danish Royal Court when his untimely death at age 31 ended a splendid career. Many works by Bruhns have been lost. The young Johann Sebastian Bach has a great admiration for the vocal works by Bruhns, and their influence may be clearly seen in Bach’s early works.

This new recording presents the complete Cantatas by Bruhns, written in the “Stylus Phantasticus” displaying a notable freedom of form and expression of feeling.

Performed by 4 excellent vocal soloists and the Harmonices Mundi, conducted by Claudio Astronio, who already recorded successfully for Brilliant Classics works by Handel, Cabezon (complete works) Wilhelm Friedemann Bach and Stradella.

kr 109
Image Vespro della beata Vergine
Ensemble San Felice, La Pifaresca / Federico Bardazzi

An enduring masterpiece of early Baroque sacred music, Monteverdi’s Vespro della Beata Vergine (known in English as ‘Vespers’) was the most ambitious religious or vocal work to be written before the time of J.S. Bach, calling for a large chorus, soloists and orchestra and employing an innovative array of musical forms. Contrasting the contemplative cantus firmus underpinning the entire work (Dixit Dominus, Laetatus Sum) with moments of dazzling theatricality (Nisi Dominus, Deus in Adiutorium), Monteverdi looks to the future of dramatic music whilst staying true to the work’s Gregorian bloodline.

Under the guidance of director Federico Bardazzi, Ensemble Felice bring their scrupulous scholarship to the many interpretative decisions to be made, as the order of movements and much of the orchestration is left to the performers’ discretion. Grounded in research into the

historical context and practices surrounding the work, Bardazzi has chosen to structure it by placing motets between the prescribed sequence of psalms. The quietude of the motets provides a wonderful contrast to these often grandiose choral movements, and the placing of the Sicut erat towards the end makes a fitting climax to the entire work. Ensemble Felice also come with a full compliment of Monteverdi’s intended orchestral forces including a 30-strong choir, full orchestra and specially invited brass ensemble La Pifarescha. Working closely with the non-metric Latin text, the ensemble use changes of character, rhythm and metre to maximise its expressive potential. With performances on period instruments, authentic renditions of Gregorian chants and an attention to detail that even retunes concert pitch to its more historically accurate version, this is a faithful recording of a supreme work.

kr 109
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.

kr 109
Image Organ Music
Marco Ruggeri, organ

First and foremost this set should offer a great deal of fun to organists and connoisseurs of organ music who are familiar with the rousing sorties of other 19th-century composers such as Lemare and Lefébure-Wély, but who are curious about a lesser-known name. Over two discs, Marco Ruggeri presents an array of music for mostly liturgical purposes by Giovanni Morandi (1777-1856). There are various voluntaries to be played at the Offertory, the Elevation and after Communion, and these are meditative in mood, written in the style of a plausibly Italian admirer of César Franck. Interspersed with them are the much more boisterous Allegro marziale, several sinfonias, a variation set, a Rondo with bell imitations and the splendidly titled ‘Good save the Queen – Inno Inglese dell’immortale Heudel in F’ – this is exactly how the work appeared in an Italian music catalogue of the time. Whether the spelling mistakes originated with Morandi or his publisher is now lost in the mists of time, but the work itself should raise smiles no less than the title. His wife was an opera-singer, and he often accompanied her on her tours; he wrote a vast amount of music, much of it influenced by the operatic culture in which he was immersed. The organs used on this recording are an instrument made by the Venetian builder Gaetano Callido for the Parish church of SS Simon and Thaddeus in Borca di Cadore in the province of Belluno (CD1); and on CD2, an 1830 instrument built by Antonio and Angelo Amati for the Parish church of SS Peter and Paul in Provaglio d’Iseo, Brescia. Full organ specifications are listed in the booklet, which also contains colour photographs of the organs and a brief introduction to the historical context of Morandi’s music.

kr 109
Image Leipziger Choräle
Manuel Tomadin organ

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

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

kr 89
Image Capriccii for solo violin
Igor Ruhadze, violin solo

For the first time on CD: the complete 24 Capricci for violin solo by Locatelli!

his issue might be considered as an "afterbirth" of the complete Locatelli Edition on Brilliant Classics. The Capricci are written down cadenzas as featured in the violin concertos Op. 3 (L'Arte del Violino). They are highly virtuosic, demanding the greatest technical skills from the performer (not for nothing Locatelli was called a "devil" performing these works!). The Capricci are so substantial that they can stand on their own. Eighty years later that other "violin devil", Nicolo Paganini would write Capricci as well, thus establishing a new musical form.

Russian violinist Igor Ruhadze received a solid training in Moscow, before specialising in Historically Informed Performance Practice, and is fully equipped to tackle these dazzling works, "breathtakingly performed" as the Gramophone writes.

kr 109
Image Toccata & Fugue - Famous Organ Music
Stefano Molardi, organ

This 2CD set presents a selection of the most famous, best-loved organ works by Johann Sebastian Bach, ranging from intimate Choralvorspiele, ingenious fugues, a sparkling Concerto transcription to the monumental Toccata & Fugue in D minor and the towering Passacaglia in C minor.

Award-winning organist, harpsichordist, conductor and scholar Stefano Molardi is a peerless interpreter, having complete the recording of Bach's Organ Music for Brilliant Classics (BC 95105). The instruments heard on this album date from Bach's time (Silbermann, Trost, Thielemann, ildebrandt) therefore bringing us as close as possible to the sound world of the great Leipzig Cantor and allowing us to hear them as he might have done himself.

kr 109
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).

kr 109
Image Angelus – Sacred Piano Music
Irene Russo, piano

A beautiful concept: the “Religious Liszt”, or piano music with a sacred inspiration.

Franz Liszt, one of the most famous artists of the 19th century, with the status of a modern pop star, was a deeply religious man, in his later years he was even ordained as a priest (the lower orders). Apart from his extravert, sometimes even a bit showy, virtuoso works (the studies, opera transcriptions and paraphrases, Hungarian rhapsodies etc) he wrote a substantial amount of “religious” piano music: Ave Maria, Angelus, Miserere, Légendes, Benediction de Dieu dans la solitude and many others, music of an often serene and contemplative character, smelling of incense. But also the dark side is presented: in the Totentanz we hear an infernal dance of the dead, on the melody of the Dies Irae.

Played with a natural feeling for the Lisztian rhetoric, a fine sense of drama and a beautiful tone by Italian pianist Irene Russo, who makes her Brilliant Classics debut with this wonderful 2CD set.

Contains extensive liner notes and biography of the artist in English.

kr 109
Image La Cetra: 12 Violin Concertos, Op. 9
Federico Guglielmo, violin and concert master
L'Arte dell'Arco

A new instalment of Guglielmo’s recording cycle of the complete Opus number 1-12 by Vivaldi: the 12 violin concertos Op. 9, known as “La Cetra”, dedicated to Charles VI, the holy Roman Emperor of the Hapsburg empire.

As in the other concerto cycles “L’Estro Armonico”, “La Stravaganza” and the 4 Seasons, these concertos abound in virtuoso writing for the soloist and brilliant melodic invention, in vocal italianate style, foreboding the classical style of the first Viennese School.

The Vivaldi cycle by L’Arte dell’Arco and violinist/conductor Federico Guglielmo is considered one of the most exciting since years: “Infectious joy, improvisatory flair and an instinct for Vivaldi’s language” (BBC 3), “technically impressive and musically engaging” (Musicweb), “Begeisterend..Elan und schäumende Spielfreude” (Klassik.com).

kr 109
Image Alternatim Masses
Federico del Sordo, organ
Nova Schola Gregoriana; In Dulci Jubilo / Alberto Turco

Claudio Merulo (1533-1604) was an important composer, organist and publisher in Late-Renaissance Italy. He obtained the prestigious post of organist of the famous San Marco in Venice. His keyboard style is highly innovative, and was the basis of further development by composers like Frescobaldi and Sweelinck.

In his Masses Merulo alternates the choir and the organ in the different mass sections. The organ part starts out as a transcription of vocal polyphony but develops into ornamented fantasies of advanced virtuosity.

Beautifully sung by the famous Schola gregoriana "In Dulci Jubilo", conducted by specialist Alberto Turco, recorded in the great acoustic of the Verona Cathedral. The historical organ played by Federico Del Sordo, is built by Costanzo Antegnati (1565-1606).

kr 109
Image Keyboard Sonatas
David Boldrini, fortepiano

The 88 sonatas of Domenico Cimarosa (1749-1801) have been recorded complete before but never on a fortepiano which reveals their true Italianate colour as well as their unfailing charm. The Bachian figurations of the quick movements trip so much more easily from the lighter touch of the fortepiano than its heavier descendant, and a fine pianist can make much more from the Scarlattian contrasts of breathless toccata and lyric style which are Cimarosa's principal modes of expression here.

As with Scarlatti's individual sonatas, these short character pieces gather naturally by key, tempo and affekt into groups; not Scarlattian pairs but trios, thus forming mini sonatas in the Classical form if not style. About 30 of them have strong late Baroque inspiration, full of rhythmic and harmonic inventiveness, but the biggest group is formed by at least 40 sonatas that call to mind an opera sinfonia in a typical Italian theatre, with melodramatic moments, cavatinas and cabalettas, love duets alongside comic scenes, all deriving from the effervescent Neapolitan tradition. There are also homages from within the sacred music of that tradition with elaborate counterpoint and formal fantasy, and still other sonatas that proceed in a more reflective, late Classical style, conceived in a tripartite A-B-A form.

David Boldrini has recorded the sonatas on two instruments: a copy of an Anton Walter model, and an original Schantz fortepiano, both carefully maintained at the Accademia Bartolomeo Cristofori in Florence, which collects and curates fortepianos and the music written for them. Boldrini himself studied in Florence and now works there as a pianist, conductor and repetiteur.

Domenico Cimarosa (1749-1801) was one of the best known composers of the Neapolitan School. He held several important musical posts throughout Europe (St. Petersburg, the Emperor Leopold in Vienna) as a highly successful composer of operas. His best known work is the opera Il Matrimonio Segreto, which brought him universal fame.

Cimarosa's output for the keyboard consists if a great number of sonatas, short, one movement works, charmingly melodious, witty and entertaining.

Pianist David Boldrini plays an early fortepiano, achieving a wide range of expression, from sweet murmuring to fierce brilliance.

kr 109
Image Complete Music for Solo Guitar
Cristiano Poli Cappelli, guitar

The music of Alexandre Tansman (1897-1986) is getting more and more attention lately, and rightly so, because here is a highly original yet accessible voice from 20-th century Poland, a highly prolific composer for both the student and the professional.

Tansman's style is influenced by Ravel (the colouristic effects), Scriabin (the extended harmonic language) and his deep love for Polish music and folklore.

This set contains his complete output for guitar solo, suites of Dance forms (often Polish), an Homage a Chopin, Inventions (an homage a Bach), Homage a Lech Walesa and many other exquisite miniatures full of melodic invention, surprising harmonies and a sincere expression of feeling.

Beautifully played by Italian guitarist Cristiano Poli Cappelli, who wrote the liner notes in English and Italian.

kr 109
Image 12 Sinfonie di Concerto Grosso
After being kept in relative obscurity the music of Alessandro Scarlatti is making a glorious come back, and is recognised as at least as innovative, brilliant and profound as the music of his son, the famous Domenico Scarlatti.These "12 sinfonie di concerto grosso" are concertante works, either for a variety of solo instruments (concerto grosso) or for solo recorder and strings. These are delightful baroque concertos, brimming with energy, Italian charm and gusto.Played by Early Music group Capella Tiberina on historical instruments, Corina Marti is the recorder soloist, who already excelled in her recording of the Mancini recorder concertos on Brilliant Classics (BC 94324).

kr 109
Image Clavier Übung III
Shortly after its release, Matteo Messori was awarded a Diaposon d'or for this recording!

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

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

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

This is Bach's magnum opus for organ.

kr 109
Image Compete Piano Music
Francesco Cilea may now be best remembered as a composer of durable, blood-and-thunder staples of the verismo operatic school such as Adriana Lecouvreur and L’Arlesiana, but he addressed himself to chamber and instrumental music at both the beginning and end of his long career. Conservative and unfailingly melodic as his chosen idiom was, it nonetheless evolved in the 66 years between student salon pieces such as the Tre piccoli pezzi of 1888 and the album-leaf of 1944.

kr 109
Image Six Recercatas, Fugas and Sonatas
Alejandro Casal, harpsichord

Sebastian de Albero (1722-1756) was a highly talented Spanish composer, who eventually attained a prestigious position at the Royal Court of Ferdinand VI in Madrid, alongside with Domenico Scarlatti and Carlos Seixas. With his early death at age 34 a brilliant career came to a sudden end.

Albero left only two manuscripts, one of which is completely recorded here: the 6 Recercatas, Fugues and Sonatas. This rather unusual set of musical forms which each belong to a different era Albero showed his complete mastery in all existing styles. The Recercatas are free, improvisatory preludes without barlines, in which the imagination of the performer / composer is given free reign. The Fugue is the Baroque form par excellence, and Albero wrote them in grand style of substantial proportions. The Sonatas are single movement pieces in binary form, much like Scarlatti's Sonatas, revelling in brilliant keyboard virtuosity.

Alejandro Casal, one of the finest Spanish cembalists of today, plays a magnificent instrument, built by Ugo Casiglia, after Antunes, measuring 2,5 meters long.

kr 109
Image Music for Cello
kr 109
Image Sonates Et Suites Pour Le Clavecin
The output of Jean Barrière (1707-1747) largely focuses around his own instrument, the cello, for which he wrote several books of suites and sonatas that have received sporadic attention on record. His work for harpsichord alone is much less well-known, though hardly less stylish. Like his contemporaries Jacques Duphly and Jean-Phillippe Rameau, Barrière entitled one of his pieces La Boucon for Anne-Jeanne Boucon, who later married Jean-Joseph de Mondonville: she must have been a woman of enviable poise and dignified beauty to judge from the music written in her honour. The first five of his six sonatas on this album are not French dance suites but transcriptions of Italian-inspired sonatas which he had originally composed for the smallest and highest instrument of the old family of viols, the pardessus de viole. The Italian influence can be traced in the bold and often unprepared dissonances which lend the sonatas both charm and unpredictable drama; the elaborate ornamentation, too, derives at least as much from the florid violin writing of Corelli and Geminiani as from the French harpsichord tradition. Bernard de Bury is a figure whose music was lost to history until very recently, when in 2009 the scholar-musician Ruta Bloomfield transcribed these pieces from obscure manuscripts and gave them their first performances in modern times. De Bury (1720-1785) was born into a musical family in Versailles, and there he stayed to serve the court. There are four suites, which in the style of Rameau and Couperin describe with wit and tender affection characters from ancient mythology and the composer’s own time, with melodies almost buried beneath cascades of exquisite decoration. In his dedication, de Bury states that he was fifteen years old when he wrote the suites, though such precocious youth could not be guessed from the music itself, which is far from immature. This coupling is unique on record; only one previous recording of de Bury’s work is presently available. This 2CD set present two French masters of the keyboard, sons of the French Enlightenment: Jean-Baptist Barrière (1707-1747) and Bernard de Bury (1720-1785). Both composers lived through an age in which the French culture absorbed many “foreign” elements, notably the Italian style of the Concerto-style (solo versus tutti), vocal Cantabile and instrumental brilliance. Luca Quintavalle played with many leading Early Music ensembles such as Concerto Köln and Les Talents Lyriques. He recorded for Sony, DGG, Hyperion and DHM. Scholarly written liner notes by the artist are included in the booklet.

kr 109
Image Hunyadi László
The first issue in a series of new recordings for Brilliant Classics from the world famous Budapest National Opera, Hungarian operas in Hungarian.

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

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

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

kr 109
Image Il dolore di Maria Vergine
A Lenten oratorio in the Italian tradition of sacred opera, Il Dolore di Maria Vergine is widely held to be the outstanding masterpiece in the genre by Alessandro Scarlatti. Structured in two extended parts, it assigns roles to the Virgin Mary, St John, Nicodemus and to a High Priest named Onìa. The challenge taken on by the composer and his anonymous librettist early in 1717 was to make a mere four characters effective as vehicles for conveying the drama of the Passion, moving as Bach does from the capture of Jesus in Gethsemane, to his interrogation by Pilate, his scourging and crowning with thorns, his journey to Calvary and his crucifixion and death. As one of the foremost scholars of Scarlatti’s music, Estévan Velardi believes this work even to stand alongside the Passions of Bach, for its grave intensity, nobly sustained form and generous variety of expression. Velardi produced the authoritative critical edition of the score; with the Alessandro Stradella Consort, he has ‘notched up an impressively broad discography of unjustly neglected Italian Baroque masters,’ as Gramophone remarked in 2010 when reviewing a later Brilliant Classics album of Scarlatti’s San Filippo Neri (BC94037). Recorded in 2001 and first released by Bongiovanni, this recording of Il dolore di Maria Vergine was welcomed by the Italian Musica magazine with a ringing endorsement of its virtues: ‘The orchestra is precise, and in full sympathy with the Scarlatti idiom; outstanding among the instrumental soloists are the trumpet player Gabriele Cassone, the violinist Fabrizio Cipriani and the members of the notably rich continuo section. All the vocal soloists give fine accounts of themselves: Rosita Frisani’s Maria is always focused and involved in the drama; as Nicodemus, Gianluca Belfiori Doro sings with an unaffected countertenor voice, rich in nuance; Anna Chierichetti combines secure technique with heartfelt expression, as does Mario Checchetti, who captures the many facets of the complex role of Onìa.’

kr 109
Image Chamber Music for Violin, Cello and Piano
Who was Mario Pilati? A significant if shortlived (1903-38) figure in Italian instrumental music during the 1920s and 1930s: a gifted conductor, fluent pianist, practical teacher, essayist and perspicacious observer of the musical life of his times.

His own music is celebrated here, and anyone who takes pleasure in Romantic chamber music, the neoclassical idiom of Stravinsky, or the vigorous yet always lyric idiom of Respighi and Casella, will find much to enjoy here. In fact Pilati’s music for piano and for orchestra has received some attention on record; much less so his chamber works, making this new 2CD set an important addition to Brilliant Classics’ unrivalled catalogue of Italian music from 1850-1950.

The troubled expression of the three- movement, half-hour sonatas for violin and cello (1928) reflects the temper of their times, whereas the Preludio, Aria & Tarantella on Old Neapolitan Folk Tunes for violin and piano apparently turn away from intense battles between tension and reconciliation with the kind of light touch and folk-inspired humour that may be found in the best early works by Casella.

There are several miniatures from the 1920s which attest to Pilati’s elegance and sophistication early in his career, as well as to the excellence of his training in his native Naples (though he moved to Milan at 22 and made his career there). Despite its name, Inquiétude is a flowing study for piano, reminiscent of Debussy. The set is completed by his two volumes of Bagatelles for solo piano, which frequently draw on Neapolitan themes: 11 relaxed and convivial pieces in all, of an easy charm that would not disgrace Pilati’s friend Nino Rota, and written in an accessible style which may reflect their dedication to the composer’s three daughters.

The album is comprehensively documented with valuable notes on both the composer and his work by the pianist Dario Candela: a student of Aldo Ciccolini, who described his pupil as ‘an excellent pianist of great class’. He is joined here by Francesco Manara – a former leader of the orchestra at La Scala, Milan – and the cellist Luca Signorini who, like Pilati, pursues a diverse career as a performing musician, conductor and writer.

Mario Pilati (1903-1938) was an important figure in Italian musical life in the 20-ties and 30-ties of the 20-th century. After winning the prestigious Coolidge Prize his works were also performed in the USA, a.o. by the Boston Symphony Orchestra under Koussevitsky.
Pilati’s style has its roots in the Late-Romantic language of Mahler and Richard Strauss. His compatriot Respighi’s influence is shown in his fondness for modal writing, whereas also neo-classical inspirations can be traced.
This 2CD set contains Pilati’s complete output for violin and piano and cello and piano. Prominent is the substantial and brooding Violin Sonata in F minor, the Cello Sonata in A minor and lighter fare such as the Bagatelles for piano.
Played with dedication and obvious love for the music by 3 italian musicians: Francesco Manara (violin), Luca Signorini (cello) and pianist Dario Candela.
The booklet contains an extensive composer portrait as well as commentary on the works written by Laura Esposito Pilati.

kr 109
Image Piano Music
Works: Ancora. Berlin song. Brothers. Bye bye mon amour. Canzone popolare. Corale. Corale Solo. Discovery at night. Giorni Dispari. I giorni. Indaco. L'origine nascosta. L'Ultima Volta. Le onde. Luce. Nefeli. Nightbook. Nuvole bianche. Oltremare. Primavera. Questa notte. Reverie. Sarabande. Two trees. Una mattina. Walk. Waterways.

kr 109
Image Trio Sonatas, Op. 1
Federico Guglielmo, violin and concert master
L'Arte dell'Arco

Tomaso Albinoni (1671-1751) spent most of his life in his native Venice, he was a famous opera composer, and was one of the few composers who were of independent means, not in the service of Court or Church. Nowadays Albinoni is foremost known for his instrumental works, trio sonatas and concertos, showing his great melodic gift, his inventiveness and high spirits.

These Trio Sonatas Op. 1 are played by the Italian elite group L'Arte dell'Arco, led by violinist Federico Guglielmo, with an established reputation in this repertoire, having won several international prizes and rave reviews for their numerous CD's, notably their Vivaldi cycle for Brilliant Classics.

kr 109
Image Les Nations
Jed Wentz, conductor
Musica ad Rhenum

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

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

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

Historically informed recording made in 2004.

kr 109
Image Flute Sonatas
kr 109
Image Chamber Symphonies
Orchestral works by Darius Milhaud, led by Darius Milhaud Darius Milhaud The Frenchman (1892 1974) was more than 400 works of one of the most prolific composers of the 20th century. Although his name is quite common among music lovers, large parts of his oeuvres waiting for the appropriate Findings of the audience. This album summarizes major orchestral works Darius Milhaud on two CDs together: the six charming chamber symphonies opp. 43, 49, 71, 74, 75 and 79, the Piano Concerto No. 2 op. 228, the Viola Concerto No. 1 op. 108, the Concerto for Percussion and Small Orchestra, Op. 109 Suite Cisalpine Sur Des Airs Populaires Piemontais op. 332 for cello and orchestra, the ballet music L homme et son désir op. 48 and Le B uf sur le toit op . 58, La Carnaval d Aix op. 83b for piano and orchestra and the piano piece La muse ménagère op. 245 Milhaud makes conducting the most shots for maximum authenticity. The recordings were made from 1968 to 1972 originally for the label and Vox Turnabout and are now being re-released low-priced. The booklet contains detailed notes of music, some of which were written by the composer himself.

kr 109
Image Works For Harpsichord
Father (Antoine 1679-1745) and son Jean-Baptiste (1699-1782) Forqueray had the sort of relationship that would not be out of place in a present day TV soap. They loathed each other. The father's jealousy of his son's great musical talent (Antoine was a famous virtuoso viol player) led him to have Jean-Baptiste jailed in trumped up charges of womanising and theft. And he was banished from the kingdom for 10years on pain of death. A petition from influential friends and his pupils got him released and pardoned in 1726.

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

kr 109
Image Piano Quintets & String Quartets
Roberto Plano, piano
Quartetto Noferini

Giovanni Sgambati (1841- 914) was one of the few 19th century Italian musicians who worked outside the native operatic tradition of Donizetti and Verdi. As a conductor, composer, teacher and pianist, he promoted symphonic and chamber music alongside his younger and now more renowned colleague Giuseppe Martucci.

Records of Sgambati's music have largely confined themselves to his orchestral and piano works (as well as his magnum opus, a Requiem Mass), but transfers of a dusty 78 show him having enormous fun with the Scherzo of Dvorák's Piano Quintet.

This set redresses the balance and reveals Sgambati as a chamber musician no less accomplished in composition than performance, within the German tradition that he worked hard to introduce to Italian concert societies: Mendelssohn and Schumann are keynote influences here. The first string quartet and piano quintets are early works, dating from 1864 and 1866 respectively; the latter written in the fairly unusual key of F minor (think Tchaikovsky's Fourth Symphony) for which Sgambati appears to have had a special fondness, given the many piano pieces he also composed in that key.

The second string quartet (1882) and piano quintet (1876) are more chromatically developed to embrace some of Wagner's idiom (Sgambati also wrote a concert overture on the subject of Rienzi); and when Wagner heard Sgambati give a performance of the quintet at the Royal Court of Savoy he was sufficiently impressed to suggest to his publisher Schott that they also publish Sgambati's work. This proved to be a turning point in Sgambati's career, as well as the beginning of a friendship between the two composers. Roberto Plano's previous disc for Brilliant Classics, of the piano music of Smetana (94788), won warm critical appreciation; this new disc will likewise appeal to all fans of Romantic musical byways.

Giovanni Sgambati (1841-1914) was an important composer of 19thcentury Italy. A pupil and disciple of Franz Liszt he was one of the most brilliant pianists of his day. However, he was a composer, a conductor, a teacher and a patron as well, composing symphonies and chamber music in a country where opera was predominant.

Sgambati's musical language is romantic pur sang. Rooted in the German tradition of Mendelssohn and Schumann he was further influenced by his great mentor Franz Liszt and by Wagner (as so many in that age).

This 2CD set contains two string quartets and the two piano quintets, impressive works of substantial length, richly textured and full of instrumental virtuosity.

Excellent performances by Italian forces, the great pianist Alberto Plano (a Van Cliburn Competition winner) and the Quartetto Noferini.

kr 109
Image Italian Arias
Alessandro Stradella composed in nearly every genre - sacred and secular, and is credited with composing the first instrumental concerto grosso, and many of his operas have accompanied recitatives. Two of them also contain the earliest mad scenes. It is perhaps in his vocal works that we can hear how innovative this composer was -- Stradella posessed a rare feel and insight on the texts he set. Combined with his total mastery of counterpoint which produced extraordinary interplay between vocal and instrumental parts, he stands out among his contemporaries as a literary and musical dramatist of the highest order.

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

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

kr 109
Image La Stravaganza
The 12 violin concertos which Antonio Vivaldi published as "La Stravaganza" do full justice to their title: the range of expression is enormous, from the tender lyricism of the slow movements to the wild and tempestuous fast movements, where the solo violin revels in wild leaps and brilliant virtuosity.

Exceptionally vivid and energetic performances by maestro Federico Guglielmo and his L'Arte dell'Arco, playing original instruments in Historically Informed Performance Practice, never a dull moment here!

Booklet contains extensive liner notes and information on the instruments used.

Recorded in 2014 in Padua, Italy.

kr 109
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.

kr 89
Image Image Image Image Image Image Image Image Image Image Image Image Image Image Image Image Image Image Image Image Image Image Image
Min bruker
Min handlekurv: 0 varer