What a man, what a violin, what an artist! […] And his expression, his manner of phrasing, and finally his soul!’ Franz Liszt, 1831 (about Paganini). The transcriptions and arrangements of Paganini’s études represent a special case and, besides a bow before the great colleague, demonstrate demands on extreme technical skills. In his études, the pianist Liszt is quite evidently endeavouring to place alongside the Devil’s violinist Niccolò Paganini a Devil’s Pianist, which he completely succeeds in doing. In general, recourse is taken to the second version (1851) today, as it seems to be in keeping with Liszt’s definitive desire. However, all the more interesting on this new release is a direct comparison with the earlier version (1838), which exhibits an even more dense notation and difficulties transcending technical borders.

Capriccio's Encore series features re-releases of the most famous recordings from the Capriccio back catalogue. These legendary recordings are of artists like Sandor Vegh, Ton Koopman, Sir Neville Marriner and the Vienna Boys' Choir. The series spans highlights from the baroque era to the contemporary era. This album showcases the Moscow Virtuosi, led by Vladimir Spivakov in a famous recording of Schnittke's Hieronymus Bosch Fragments.

Capriccio Encore is a series of re-releases of the most famous recordings from Capriccio’s back catalogue, fully re-mastered and competitively priced. The legendary recordings of artists such as Sandor Végh, Ton Koopman, Sir Neville Marriner and the Vienna Boys’ Choir also contain repertoire highlights that have a particularly special appeal, from the baroque to the present day. This Encore release's highlight is Luigi Cherubini's Coronation Mass Krönungsmesse, performed by Kölner Rundfunkchor and Capella Coloniensis.

Capriccio Encore is a series of re-releases of the most famous recordings from Capriccio’s back catalogue, fully re-mastered and competitively priced. The legendary recordings of artists such as Sandor Végh, Ton Koopman, Sir Neville Marriner and the Vienna Boys’ Choir also contain repertoire highlights that have a particularly special appeal, from the baroque to the present day. This specific Encore release features Sergei Rachmaninov's Symphony No. 2 and Vocalise, Op. 34 No. 14, performed by the Radio-Sinfonieorchester Stuttgart, lead by Sir Neville Marriner.

Capriccio Encore is a series of re-releases of the most famous recordings from Capriccio’s back catalogue, fully re-mastered and competitively priced. The legendary recordings of artists such as Sandor Végh, Ton Koopman, Sir Neville Marriner and the Vienna Boys’ Choir also contain repertoire highlights that have a particularly special appeal, from the baroque to the present day. This Encore release features iconic works by Richard Strauss performed by the Radio-Sinfonieorchester Stuttgart, lead by Sir Neville Marriner.

Capriccio Encore is a series of re-releases of the most famous recordings from Capriccio’s back catalogue, fully re-mastered and competitively priced. The legendary recordings of artists such as Sandor Végh, Ton Koopman, Sir Neville Marriner and the Vienna Boys’ Choir also contain repertoire highlights that have a particularly special appeal, from the baroque to the present day. This Encore release features William Boyce's 8 Symphonies, performed by the Academy of St. Martin in the Fields, lead by Sir Neville Marriner.

With Capriccio Encore we re-release the most famous recordings from the back catalogue in a remastered version, new design and for a special price. Legendary recordings of artists like Sandor Vegh, Ton koopman, Sir Nevill Marriner or the Vienna boys’ Choir are also included as special repertoire highlights from the baroque to the contemporary era. This release features Concerto Koln performing music by the songs of the most famous Baroque composer, Johann Sebastian Bach. These songs come from his children Johann Christian, Carl Philipp Emanuel, Wilhelm Friedemann, and Johann Christoph Friedrich. While the master father’s influence can be clearly heard in all of these works, one can also hear the subtle shift to the Classical era in these pieces. Celebrated harpsichordist Gerald Hambitzer is the featured soloist for CPE Bach’s Harpsichord Concerto in G minor.

In order to take a respite and, in his own worlds, “to recuperate,” from his own compositions, Max Reger frequently engaged in “piece work,” in which he would arrange works by other composers. This release includes Reger’s original work 5 Orchestral Songs, as well as Reger’s arrangements of songs for voice and orchestra from Edvard Grieg, Johannes Brahms, Hugo Wolf, and Franz Schubert. Conductor Gregor Buhl has made his mark as an opera conductor. He also frequently performs on the concert stage with the Radio Symphony Orchestras of Berlin, Hamburg, and Leizip, and the Helsinki Philharmonic.

Johann Michael Haydn never quite reached the fame of his older brother Joseph, but still introduced an impressive oeuvre into the classical repertoire. J. M. Haydn’s Serenade in D was composed in Salzburg in 1767. The ten movement work displays Haydn’s affinity for chamber compositions. Founded in 1986, the Virtuosi Saxoniae is made up of principal members of the Dresden Staatskapelle. The ensemble concerns itself with 18th century European music, devoting themselves to the great figures of the Hasse era.

This re-release is one of CAPRICCIO’s most famous recordings which has been remastered for optimal quality and offered at a special price. The first work chosen for this release is Johannes Brahms’ String Quintet in G Major. The piece, scored for two violins, two violas, and cello, was intended to be the composer’s last piece of music. The one movement string sextet Verklarte Nacht (Transfigured Night) is considered Schoenberg’s earliest important work. The piece is inspired by Dehmel’s poem of the same name, and was written in just three weeks.

The title of this album comes from the Thelonius Monk piece, Round Midnight. At the time of the song’s publication, Monk was labeled an outsider. His intense harmonies and the complexities in his music put others off. The virtuosic performances on this recording, however, present an acceptable medium for such elaborate polyphonies.; Alongside this composition from a jazz great, this album also includes a wide range of moods, from the gloomy Saint-Saens Dance Macabre, to Purcell’s Fairy Queen. This album of “nighttime” themed music is performed with ease, agility, and fervor.; Performers are Falk Maertens and Raphael Mentzen, trumpet, Paolo Mendes, Horn, Andreas Klein, Trombone, and Johannes Lipp, Tuba. All are members of the Deutschen Symphonie-Orchesters Berlin.

The great niece of the largely unsung early-mid 20th century Austrian writer Heimito von Doderer whose book "Die Wasserfalle von Slunj" brought him rare recognition and was conceived as a novelistic counterpart to Beethoven's 7th Symphony, this premiere of Johanna Doderer's 2nd Symphony 'Bohinj' is an artistic memorial to Lake Bohinj in Slovenia, around 300 km away from the Croatian waterfalls her great uncle wrote about to great effect. Doderer has said she "was fascinated above all by the superb scenery. In the course of time, I found out what happened there during the First World War. In short, the idyll utters a silent scream. My three-movement work also touches on this sound." With the Deutsche Staatsphilharmonie Rheinland-Pfalz conducted by Ariane Matiakh, the release also features teh soprano Anne Schwanewilms as well as the violinist, Yury Revich and is an excellent introduction to U.S. audiences of this prolific and much commissioned contemporary composer.

The cellist Harriet Krijgh and pianist Magda Amara present a program of Rachmaninov pieces that sensitively reflect and capture his genius with this release. Along with well known Rachmaninov repertoire, the CD also includes Sonata for cello and piano op.19 which evolved after a lengthy period of depression and compositional despair catalyzed by the critical failure of his Symphony Nr. 1 and requiring therapeutic treatments to end. Some have said that after emerging from this creative black hole, Rachmaninov’s humility and compassion produced works that were richer than was the case previously. This release makes a convincing argument that this was indeed the case.

Following on from their most successful album “sound escapes” (Capriccio C5239) the young, aspiring Signum Quartet address Bohemian music culture. Beside Antonín Dvorák’s famous String Quartet Op. 106 and Josef Suk’s Meditation on the Old Czech Chorale ‘St. Wenceslaus’ (1914), an impressionistic offering on the beginning of WWI, is the 1923 composed Five Pieces for String Quartet by Erwin Schulhoff, which experiments with dance forms and provides a most virtuosic challenge. “… the Signum Quartet, which must already be counted among the best ensembles of its generation…” (Pizzicato)

Arnold Schönberg founded the Society for Musical Private Performances in November 1918 “to give Arnold Schoenberg the opportunity personally to carry out his intention of providing artists and art lovers with a veritable and precise knowledge of Modern Music”, as Alban Berg described in a leaflet in 1919. Chamber music, solo pieces and songs saw performance, and to a great extent, properly arranged for the available means, original large-scale orchestral works of topical and artistic high-quality were also produced. In the autumn of 1921, Schönberg embarked on an arrangement of Mahler’s Das Lied von der Erde, which, however, he broke off in the middle of the first movement. The continuation was to be taken over by Webern, but this did not happen, evidently as a consequence of the end of the society. It was only in 1982/83 that the German composer, conductor and musicologist Rainer Riehn (b. 1941) was prepared to continue what had been begun.

Dvořák composed the Biblical Songs op. 99 in 1894 during his time in America (1892-95), working as artistic director and professor of composition at the New York Conservatory of Music. His 9th Symphony, appositely termed ‘From the New World’ was to be followed by a further symphony, but Dvořák opted instead for treating the Biblical Songs, which, in their austerity, hardly allow scope for an American scent but rather are possibly reminiscent of the composer’s Czech homeland. Dvořák, the Catholic, had long demonstrated his faith with numerous works of fervent piety: Stabat Mater (1876), Requiem (1890), the Mass in D major as well as the pieces for solo voice and organ, for instance, the works that can be heard on this CD - Ave Maria, Ave Maris Stella and Hymnus ad laudes in festo Sanctae Trinitatis (1877-79) as well as the organ preludes and fugues of 1859 by the then 18-year-old composer.