The Neave Trio's new album celebrates French works for piano trio, focussing on three works composed around the turn of the twentieth century. Saint-Saens's Piano Trio No. 2 dates from 1892 and comprises five movements. Unusually for Saint-Saens, the work took a great deal of time from conception to completion (over five years) and then went through a number of revisions before Saint-Saens was finally satisfied. Mel Bonis's two pieces Soir and Matin, whilst on a smaller scale, are equally powerful works, bridging the worlds of romanticism and impressionism. The first piece is dominated by a cantabile melody, whilst Matin is more chromatic and harmonically complex. The album concludes with Sally Beamish's arrangement of Debussy's orchestral masterpiece La Mer. This three-movement symphonic work presented Beamish with an exceptional challenge, as she strove to 'reinvent Debussy's orchestral score with the piano trio in mind... This meant exploring what strings and piano can do in terms of texture, and concentrating on idiomatic and natural techniques.' By studying and recreating Debussy's colours and textures, rather than attempting to transcribe every note, Beamish produced an arrangement that presents the performers and listeners with a completely new perspective on these well-loved seascapes.
Monsieur Debussy, l'oeuvre pour piano, Vol. 1 - Soirs d’or
Cyprés Records
CD
$29.99Mar 14, 2025
For elodie Vignon, the decision to record Debussy's complete piano works in chronological order was born of what the Prelude a l'apres-midi d'un faune was in Debussy's day: a revelation! For her, playing this music is like entering a cocoon that belongs to you alone. This first volume (generous with 2CDs) of the three that will make up the complete works, naturally begins with Debussy's early works, pieces directly inspired by poems by Mallarme and Verlaine and which embrace the mysterious dimension of the sensory imagination. In the years that followed, he increasingly freed music from the polarisation exerted by the tonal note, keeping the sound space open and ultimately initiating spectral music. Debussy liked to draw inspiration from memories when composing, in order to maintain a distance between his own emotions and those he wished to arouse in the listener. Alfred Cortot spoke of evoking sensations rather than feelings, thus rejecting the late-Romantic aesthetic of emotional identification between composer and listener: an obligation that seemed too constraining to Debussy to be able to give rise to an open dialogue with the listeners of his work. Giving the impression of being invented as it is played, Debussy's music invites us to dream, to better understand the complexity of the world.
The Decca Solo Recordings, 1941-1945 / Kathleen Long
APR
CD
$10.99$21.99Save 50%May 19, 2023
An unobtrusive figure in the British music scene and despite her self-stated lack of ambition, KATHLEEN LONG (1896–1968) was a musician of the highest order. She taught for 44 years at the Royal College of Music and was a major Decca artist for two decades, having recorded for several other labels before that. Her first recording was made in 1928, and her first Decca recordings (of Mozart’s Piano Concertos K449 and K450) were made in 1935. Her first Decca solo recordings are those on this release. On disc, she made premiere recordings of several Mozart concertos and sonatas and was renowned for her Scarlatti and Fauré. For her service to French music, she was made Honorary Member of the Académie de France.
Classical Tranquillity / Rutter, Manchester Camerata
Collegium Records
CD
$10.99Nov 03, 2023
John Rutter writes: Tranquillity is a state of mind. You might be more likely to describe a favorite countryside scene rather than a person as ‘tranquil’, but you are really describing the effect it has on you. You feel calm, serene, still, at peace, relaxed, untroubled, chilled-out . . . perhaps we have so many different words for this state of mind because it is so important, and yet so elusive in an often noisy, frantic world.
Music has an extraordinary power to evoke tranquillity – as is revealed in the eleven pieces I have chosen to make up this collection. Ten of them happen to be among my personal favorites, drawn from the music of seven composers, plus the treasure trove of anonymous folk music, and I have added an orchestral version of my choral setting of Lord, make me an instrument of thy peace, a text formerly believed to be by St Francis of Assisi.
Undoubtedly the foremost French female pianist of the 20th century, Marguerite Long (1874–1966) prided herself on her personal friendships with some of the foremost composers of her day – Debussy, Fauré and Ravel. She championed their works, premiering Ravel’s G major piano concerto, and was to write books on the interpretation of each of them.
This addition to our continuing French Piano School series is the second of two APR volumes, together containing her complete recordings of French repertoire, and of honorary Frenchman, Chopin. Of particular significance here are the premiere recordings of the Ravel G major and Milhaud 1st concertos - both works dedicated to her - and also the first ever recording of Chopin's 2nd Concerto from 1929, which has not previously been reissued.
REVIEW:
The second volume of APR’s Marguerite Long retrospective is once again focused on French repertoire, with recordings set down between 1929 and 1952. In common with the previous volume, all the recordings featured here have been superbly restored by Mark Obert-Thorn.
CD 1 is devoted exclusively to Chopin. Centre stage is the premiere recording of the Piano Concerto No.2. Philippe Gaubert conducts the Orchestre de la Société des Concerts du Conservatore in this June 1929 inscription. She made a later recording of the work in 1953 with André Cluytens which I haven’t heard, so can’t offer any comparisons. In this earlier recording, the soloist is forwardly projected, with the orchestra sounding slightly recessed. The first movement begins with a heavily truncated tutti. The slow movement, an exquisite nocturne imbued with pathos and beauty and speaking of unrequited love, isn’t the best I’ve heard. I find Long’s rendition oddly prosaic and devoid of poetry. Gaubert’s staid support isn’t much to write home about either.
Set down on 11 May 1929, the Fantasy in F minor is the earliest recording in the set. Long displays virtuosity in abundance and captures the piece’s mercurial moods, with rubato kept firmly under control. The playful F sharp minor Mazurka is stylish. Of the two waltzes, the A flat seems a bit rushed. Elegance and poise characterize her Barcarolle, whilst the Berceuse, a true lullaby, is well-paced and gently rendered. Adopting a pearl-like tone, she achieves myriad tonal colours with each successive variation. It’s certainly one of the highlights of this collection. The Second Scherzo is action-packed with drama, with contrasting sections of poetic lyricism.
Despite the fact that Long forged a personal friendship with Debussy and championed his music, she recorded very little of it. The two Arabesques are played with geniality and affection. Jardins sous la pluie is nicely paced and sparkling even though she herself considered her performance too fast. La plus que lente is tastefully delivered without the overindulgence on the rubato front one sometimes encounters.
The set offers two recordings of Ravel’s G major Piano Concerto recorded twenty years apart, and how different they are. The 1932 traversal is the world premiere recording with an orchestra directed by Pedro de Freitas Branco. Perhaps this version is the better known of the two. The first two movements are more brisk than in the later version. The central slow movement is rhythmically strict. In 1952, this time with the Orchestre de la Société des Concerts du Conservatoire and Georges Tzipine, she takes a more relaxed approach and allows herself more rhythmic freedom. The sound quality had improved greatly by the time the second recording was made. I have to say that I much prefer the later one for its less hemmed in approach and the more perceived affection lavished upon it.
Darius Milhaud dedicated the first of his five piano concertos to Marguerite Long. She premiered it in Paris in 1934. That performance was conducted by Alberf Wolff. The recording was made a year later on 5 & 6 April 1935 with the composer himself at the helm of an unnamed orchestra. Two vigorous, neo-classically wrought outer movements frame a central Barcarolle, which provides a soothing contrast. This ‘slow’ movement is a delight, where radiant woodwind writing provides a diaphanous backdrop to the luminous piano writing. Long achieves some subtle, glorious colouring. The two solo piano pieces offer some striking contrast. Paysandú is dark and sombre, whilst the more virtuosic Alfama displays a sparkling, carefree demeanour.
This volume, together with volume 1, positions Long in the hierarchy of great pianists. I’m grateful to the skill and care APR have lavished upon these valuable recordings. Roger Nichols insightful liner notes are the icing on the cake.
Experience the captivating journey of Ek-stasis, presented by Divine Art Recordings. Delve into the world of myths reconstructed in music by celebrated composers from different cultures and times. This unique album features three world premiere recordings, bringing fresh and exciting music to the programme. Greek pianist and professor Zoe Samsarelou has expertly curated a selection of works that weave together an interconnected narrative, taking you on a journey through the myth of Dionysus. From the works of Couperin, Rameau, Dandrieu, and Daquin to the eminent Greek composers of the 20th and 21st centuries and the Late Romantics in between, each piece is thoughtfully selected and presented. The album is divided into themes of seduction, pathos, illusion, metamorphosis, transcendence, instinct, catharsis, mythos, paradox, and transition. This creates an immersive experience that guides the listener through the various stages of the myth and offers a musical perspective on the story. Accompanied by Zoe Samsarelou's insightful prose on the collection and notes on the Greek composers featured in the program, Ek-stasis is more than just a listening experience. It's a celebration of the Greek spirit that has influenced humanity for over 2,500 years, highlighting the creativity and ingenuity of these wonderful composers.
Their third duo album on Signum Classics, husband and wife Alessio Bax and Lucille Chung unite to bring an album of French works by Debussy and Ravel in versions for piano duo and four hands. With arrangements by Dutilleux and Ravel himself key works include ‘Prélude à l’après-midi d’un faune’ for four hands and La valse for two pianos.
The great Norwegian cellist Truls Mørk makes a triumphal return to chamber music with his regular piano partner Håvard Gimse. The program features two English composers, Benjamin Britten and his teacher Frank Bridge, whose Cello Sonata was written during the First World War and is tinged with despair and searing emotional force. Britten composed his Cello Sonata in 1961, following his meeting with Mstislav Rostropovich, to whom he dedicated the work. Another person traumatized by the Great War was Debussy, who wrote: ‘It was cowardly to think only of the horrors being committed, without trying to react by rebuilding, insofar as my strength allowed, a little of that beauty which is currently under attack.’ His Cello Sonata (1915) was the first of a series of six sonatas for various instruments that he planned to compose, only managing to write three before his death. As a determined Moravian nationalist, Janácek did not entitle his three-movement work of 1910 ‘sonata’; he called it Pohádka (Fairy tale) and based it on a poem by Vasily Zhukovsky.
REVIEW:
What one notices from the very start of the Bridge sonata, with which the disc begins, is Mørk’s fulsome tone. He is partnered very well throughout by Gimse and the recorded sound is really present, upfront, so much so that it is best to lower the volume for a realistic perspective. That said, I have found much to like in these accounts.
This is an excellently programmed disc, admirably performed and well recorded. It should provide plenty of pleasure. Alpha are also to be commended for their cardboard product with sleeves for inserting both CD and booklet.
-- MusicWeb International
Four of the 20th century’s greatest works for cello and piano: three of them famously recorded back in the 1960s by Rostropovich and Britten – a hard act to follow. Yet the Norwegian duo, Truls Mørk and Håvard Gimse, rise fully to the challenge in close yet lucid recorded sound that achieves an exemplary balance between cello and piano. Marginally less juicy of tone and idiosyncratic of phrasing than Rostropovich, Mørk brings a classical poise and eloquence to his phrasing and a marvellous sensitivity to detail, while Gimse is fully alive to the very different styles of piano writing in these four works.
The qualities of the new recording are especially favourable to Frank Bridge’s big two-movement Sonata – composed athwart the outbreak of the First World War, which horrified him – where the old recording suffered from slightly cloudy piano sound. As Mørk soars through the fraught lyricism of its first half, one hears clearly how Bridge subtly inflected even the most seemingly conventional piano figuration with his own individuality. And if the new recording of Debussy’s war-time Sonata is less dark and rhapsodic than the Rostropovich-Britten, it exemplifies the more enduring characteristics of French culture he sought to uphold.
The fugitive flights of melody and figuration comprising the three whimsical movements of Janáček’sPohádka(Fairy Tales) demand a glancing, mercurial response which they certainly receive here, while the Britten Sonata somehow emerges as a weightier, more substantial work than in the original recording by its dedicatee and composer – special though that will always remain.
SOMM Recordings is delighted to announce a stunning new solo piano recital from label veteran Peter Donohoe following his recent acclaimed coupling of Chopin's Second and Third Sonatas with Rachmaninoff's Chopin Variations, over which BBC Music Magazine's Rebecca Franks enthused "Donohoe's approach has a robust honesty and an appealing straightforward feel, with an instinct for the emotional rises and falls." Now the pianist revisits Chopin in the genre for which the composer is arguably best known and loved: the waltz. Donohoe has fashioned a substantial selection of 14 of Chopin's Waltzes into a set of his own design, juxtaposing the intimate numbers with the grand and virtuosic in fortuitous key relationships that the pianist says "form a more satisfying collection" compared with simply playing them through as numbered. It is hard to imagine any other composer that could have infused a dance-form with Chopin's lyrical pianism and singular dramatic storytelling. But the waltz naturally appealed to a great many other composers, among them Robert Schumann, Chopin's exact contemporary and fervent, if unrequited admirer. His Opus 1 "Abegg" Variations, in triple-time throughout and brimming with elegant fioritura, form one of a pair of waltz bookends to the Chopin set and begin this recital with an exhilarating take-off. On the other side of the Chopin set and leading the waltz suavely into the 20th-century is Maurice Ravel's cycle of eight Valses nobles et sentimentales, again organised to contrast vigorous (noble) numbers with evocative (sentimental) counterparts in an eclectic blend of Impressionism and Modernism, but this time according to the composer's own design. A lovely postlude comes in the form of La plus que lente, in which Ravel's fellow impressionist Claude Debussy crafts a harmonically sumptuous ode to the "slow waltz" (valse lente) steeped in languid nostalgia. Peter Donohoe's acclaimed discography of previous SOMM releases includes the complete cycle of Prokofiev Piano Sonatas and a complete survey of Mozart's Piano Sonatas - Volume 1 of the Mozart series was named a BBC Music Magazine "Recording of the Month", citing "a gloves-off spontaneity that imbues these magical scores with a compelling vitality and freshness". Other discs include Stravinsky's Music for Solo Piano and Piano and Orchestra and Scriabin's Complete Piano Sonatas.
Following her acclaimed debut Diaries, pianist Tiffany Poon returns with Nature, now available as a 2LP vinyl edition. This album that explores the evocative power of French music in capturing the beauty of the natural world - from the delicate shimmer of water to the quiet mysteries of the forest and the animals found within. Nature, which Tiffany recorded at legendary Provence recording studio Miraval Studios (Pink Floyd, Sade, Nick Cave and the Bad Seeds) with producer Damien Quintard, brings together works by French composers across centuries, united by an instinctual admiration for the world around them. Guided by intuition and deep personal connection, Tiffany's curated selection featuring pieces by Ravel, Debussy, Rameau and Daquin, moves beyond the structured rigor of Germanic tradition into the fluid, sensuous soundscapes of the French repertoire. Inspired by Rameau's belief that music is rooted in nature itself, she curates a program reflecting her love of animals, woods, and water - translating them into vivid musical expressions. Nature is a testament to music's ability to mirror the natural world, inviting listeners to embrace it's beauty with instinct and abandon.
Das Bearbeiten eigener oder fremder Werke ist eine seit der Barockzeit eingefuhrte Verfahrensweise, um Werke einem breiteren Auffuhrungsspektrum zuganglich zu machen. Dabei war den Komponisten jener Epoche bei solchen Transkriptionen eine wertende Differenzierung zwischen Originalwerken und Bearbeitungen fremd. Sie gingen noch von der Einheit geistlicher und weltlicher Musik aus und von hoherbestimmten, den Komponisten vorgegebenen Affekten. Dies fuhrte in vielfacher Weise zur Wiederverwendung und Wiederverwertung bereits vorhandener Werke i'm sogenannten "Parodieverfahren", wobei diese inspirierte Bearbeitung nahtlos an neues Schaffen anknupfte, etwa durch das Transponieren in andere Tonarten, durch Besetzungsanderungen und vieles mehr. Romain Nosbaum spielt Klavierbearbeitungen von Liszt/Bach, Bach/Marcello, Kornienko/Tschaikowsky u.a.
Natural Connection - Piano Music Inspired by the Natural World / McCawley
SOMM Recordings
CD
$20.99Feb 02, 2024
SOMM RECORDINGS is delighted to announce the release of Natural Connection, a captivatingly lyrical new recording by pianist Leon McCawley featuring music for solo piano inspired by the natural world. The effect of the ever-changing seasons has been a perpetual inspiration for composers since Ancient Greece’s Delphic hymns and before, down to the present day, arguably finding its richest expression, as Robert Matthew-Walker’s erudite booklet notes argue, in the generations who alternatively espoused Romanticism and Impressionism. Nine composers, each with their own individual but complementary responses, are featured in a 21-track recital of miniature gems traversing the inexorable turn of the year’s cycle from Christian Sinding’s tremulous signature, Rustle of Spring, to Grieg’s sublimely tentative To the Spring. In between, popular pieces by Debussy (Clair de Lune) and Saint-Saëns (The Swan) vie with assorted works by Tchaikovsky (selections from The Seasons), Ravel (the liquescent Jeux d’eau), Bartók (the delightful From the Diary of a Fly and atmospheric The Night’s Music), and Rachmaninov (the gentle Lilacs and poetic Daisies). The most expressive pianist-composer of his age, Liszt, contributes three pieces including the sighing ebb-and-flow of Au lac de Walletstadt and stormy Orage, to eloquently link this multi-faceted and evocative, often moving, collection of responses to the living world. Leon McCawley’s previous SOMM releases include four widely acclaimed volumes of Haydn Sonatas, the first (SOMMCD 0162) receiving a coveted Diapason d’Or from Diapason magazine, Gramophone hailing him for Volume III (SOMMCD 0624) as “a thoughtful, keenly intelligent artist in peak form”. MusicWeb International declared his Chopin recital (SOMMCD 0103) “exemplary” and “outstanding”, while his Schubert survey (SOMMCD 0188) was described by Classical Music Daily as “a meaningful, eloquent performance [that] offers many memorable moments”.
The performers write: ‘Selecting the repertoire for our album Path to the Moon, we wanted to explore a number of possibilities for binding together a programme. To place different works alongside one another is a wonderful way of bringing out new and unusual qualities in each piece. William T. Horton’s fantastic image The Path to the Moon immediately inspired a flurry of ideas, including works on the subjects of both night and the moon, as well as pieces which invoke the exploratory nature of humankind’s voyage to the moon. Britten wrote his Sonata for Cello and Piano only two years after the first object made by humans had touched the surface of the moon, in 1959. Humans throughout history and from all cultures have been drawn to and taken inspiration from the moon and we have tried to reflect this in our eclectic choice of song repertoire: from Toru Takemitsu to Nina Simone and from Lili Boulanger to Florence Price. As we hope you will hear on this album, Walker’s Cello Sonata rings with echoes of the sound-worlds of blues and jazz and is infused with a beautiful lyricism. We really believe that Walker’s Cello Sonata deserves to become a staple of the chamber music repertoire and are absolutely thrilled to offer you a recording of it in the context of our own exploration of a path to the moon.’
Harpist Anne-Sophie Bertrand presents Amalie's Cosmos, an evocative journey through the salons of 19th-century Europe. At the heart of Berlin's vibrant cultural life in the early 19th century stood Amalie Beer, a wealthy patron, intellectual, and matriarch of one of Europe's most influential musical families. While history often remembers her son, Giacomo Meyerbeer, as a towering operatic figure, it was Amalie's salon that cultivated artistic, scientific, and political discourse, supported composers, and encouraged the careers of remarkable women such as Fanny Hensel and Pauline Viardot. Amalie's Cosmos revives the spirit of these Berliner salons through a carefully curated programme of works that echo their creativity and curiosity. From the intimate lyricism of Fanny Hensel and Glinka to the exotic colours of Debussy's Estampes, the virtuosity of Parish Alvars, and the contemporary homage to Paganini by Nimrod Borenstein, the album traces a delicate thread through time, place, and influence. The result is a shimmering musical tapestry that celebrates memory, artistry, and the enduring power of the salon as a space for inspiration and dialogue.
In her new album acclaimed pianist Tomono Kawamura invites listeners on a satisfying journey through classical piano music. Blending personal favourites with timeless masterpieces, Tomono's profound connection to the piano is evident in every piece. Her distinct poetic sensitivity and technical brilliance bring each composition to life, creating a deeply personal and immersive musical experience. The album opens with Tchaikovsky's Autumn Song, Op. 37a No. 10, from The Seasons. Tomono captures the reflective and nostalgic mood of October, emphasising the delicate interplay of light and shadow in this evocative work. The journey continues with Sibelius's "Edit," Op. 76 No. 2, where Tomono masterfully balances subdued elegance with quiet intensity, reflecting the stark beauty of the Finnish landscapes that inspired it. Brahms' Hungarian Dance adds a lively burst of energy, with Tomono navigating it's spirited rhythms and fiery folk influences with joyful intensity. Her deep affinity for Chopin shines through in her performances of six of his works, each chosen to highlight different facets of his genius. From the lyrical intimacy of his nocturnes to the virtuosic brilliance of his etudes, Tomono's interpretations resonate with the emotional depth central to Chopin's music. The album also explores diverse stylistic periods with selections from Scarlatti, Rachmaninoff, Debussy, and Grieg. Tomono's performances reflect a profound understanding of these great piano works, whether it's the crystalline precision of Scarlatti's sonatas, the sweeping passion of Rachmaninoff's preludes, the dreamlike textures of Debussy, or the rugged beauty of Grieg. A highlight of Reminiscence is Tomono's original composition, Variations, which bridges classical form with contemporary expression. This piece showcases her creativity and deep understanding of the classical tradition, offering a fresh voice while paying homage to the composers who have shaped her musical journey. Reminiscence is more than just a collection of piano works; it reflects Tomono Kawamura's lifelong devotion to music. Through her thoughtful interpretations and masterful technique, she offers listeners an experience that lingers long after the final notes fade. About Tomono Kawamura: Born in Japan, Tomono Kawamura began piano studies at three and made her orchestral debut at fifteen. After winning numerous competitions in Japan, she received a scholarship to study at the Royal Academy of Music in London, where she graduated with First Class Honours. Tomono has performed as a soloist across Asia, Europe, and the UK, including at Wigmore Hall. She is also a celebrated performer on luxury cruise ships worldwide. Tomono's rich career and dedication to her craft are evident in every note of Reminiscence, offering listeners a glimpse into the soul of a true artist.
The basic idea behind this album and the compositions for the 'pure' concert programme of the same name is to present the percussion instruments in their full range. The focus is on the creation of new sounds and tones and the exploration of boundaries. As a result, in addition to our classical acoustic instruments, 'pure' also utilises artificial sounds and everyday objects and elements from our environment such as water, wood and iron. Furthermore, as classically trained percussionists, it was also important to us to venture into classical pieces and reinterpret them with our instruments and, in some cases, by adding synthetic sounds and noises. For this reason, in addition to two arrangements, 'pure' features exclusively our own compositions, which will provide listeners with a completely new sound and listening experience.
Boulanger, Debussy, Francaix & Ravel: Reflexions - French Pi
Haenssler Classic
CD
$20.99Nov 01, 2024
French Piano Trios - Trio Gaon Trio Gaon presents major works of French chamber music with compositions by Debussy, Ravel, Lili Boulanger and Francaix. This is a genre that does not really have a large selection of works to choose from as there were not many French composers who dedicated themselves to this form of instrumentation, something that can be explained by the historical development of music particular to France. More comfortable with opera, French composers belatedly began to turn to composing instrumental music in the middle of the 19th century in an effort to emancipate themselves from the predominance of the German and Austrian musical tradition, and thus from one of it's most important forms, that of the sonata.
French-Hungarian pianist Suzana Bartal joins Sebastien Rouland and the Saarlandische Staatsorchester in this release of two warhorses of the Romantic repertoire, Grieg's Piano Concerto in A minor and Camille Saint-Saens' Piano Concerto No. 2 in G minor. Although not successful at it's premiere with the composer at the piano, Saint-Saens' 2nd went on to be beloved by the public, and is probably the most played of his 5 concertos for piano. Very few pieces of music are as iconic as the only concerto Grieg ever completed: his famous Piano Concerto in A minor. Liszt famously sight read and lavished praise on it when it was written in 1870, and it has been a perennial favourite since then.
Franck, Boulanger, Debussy & Vermeulen: Works for Cello and
Channel Classics
CD
$20.99Feb 27, 2026
Dutch cellist Lidy Blijdorp and pianist Tobias Borsboom, delve into the world of the Société Nationale de Musique in this programme of late-romantic and early modern French chamber music. César Franck's Sonata for Violin and Piano was transcribed, with the composer's approval, by Jules Delsart, Nadia Boulanger's Trois Pièces for cello and piano date from 1914, these lyrical and playfully virtuosic works are proof of the master pedagogue's extraordinary talent for composition. Debussy's Sonata for Cello and Piano conjures up images of nocturnal encounters, in a form and proportions that are almost classical, a performance of this Sonata in Amsterdam in 1918 after Debussy's death, inspired Dutch composer Matthijs Vermeulen to write a cello sonata of his own. Shortly after, Vermeulen moved to France, where he would work as a journalist and keep composing until after the Second World War, with seven symphonies and a wide array of chamber music works to his name, Blijdorp and Borsboom present Vermeulen's Sonate pour violoncelle et piano here.
