CD · 1 disc
SACD · 1 disc
With her first solo album, Emily Hoile would like to present works rarely heard on the harp until now. She takes great joy in arranging compositions for keyboard instruments and thus expanding the repertoire available to the harp: J.S. Bach's Toccata in C minor and D. Scarlatti's Sonata K.135 in E major make their debut on the harp with this release. The transcription of the Ballade by Claude Debussy is meant to underline the great importance that Paris had for harp music at the turn of the century. These arrangements are framed by two magnificent original compositions for the instrument: the surprisingly rarely played Harp Sonata by Casella and the Fantasy by Zabel inspired by Gounod's Faust.
CD · 35 discs
CD · 2 discs
The first ever attempt to present the Brandenburg Concertos in accordance with Baroque tradition. The pioneering early Berlin recordings conducted with élan and elegance by Alois Melichar, a now nearly forgotten Austrian master. The set includes bonus tracks of the Third Brandenburg Concerto conducted by three legendary masters: Eugene Goossens, Wilhelm Furtwängler, and the Dane Georg Høeberg. All recordings from the collection of Claus Byrith and transferred using the best possible digital technology.
CD · 4 discs
CD · 14 discs
Music developed and modernized unstoppably in the tense environment of the 19th century. Parallel to the industrial and technical revolution of the era, many composers broke away from the firmly chiseled rules of music theory and took ever greater liberties. Singer Pur traces this arc of tension here. The composers of the selected pieces were likely very different in their attitudes toward faith and spirituality. Anton Bruckner, who is said to have had an almost childishly pure faith, probably struggled less with his attitude toward God than Franz Liszt or Max Reger, for example.
CD · 8 discs
Recordings were made of Szymon Goldberg (1909-1993) over virtually a 60-year period. It must have been one of the longest studio careers of any violinist - it was certainly one of the most consistent in quality. The present set gathers up all the 78rpm material, which itself covers some two decades and presents the violinist in repertoire to which he did not return in later years, such as string quartets, string trios and string duos. An earlier volume (Music & Arts CD-1223, 8 CDs) presented Goldberg's best live recordings. Despite an often difficult life, Goldberg had an extraordinary ability to project a balanced view of the music he played. He was the archetypal Classical violinist and in his everyday life, behaved exactly as he played - a rare gift. In person, he was diminutive and soft-spoken. On stage, he never hectored the audience through his violin or pulled the music about to create an effect. Taking the view that the composer knew best, he did not impose an egotistical interpretation. Rather, he sought out the quiet centre of the piece he was playing and let his performance grow out of that. It followed that he was a great Mozart violinist, possibly the finest of the last century. He was, perhaps, at his best in chamber music, well represented here; but he was also an assured soloist and made a few excellent concerto recordings in the 78rpm era. Volume I of this Goldberg project (CD-1223) was released in 2010 and was named a Musicweb International Record of the Year and earned a gold medal from Diapason Magazine.
This album allows us to appreciate the versatility of the young performer Anna Urpina, whose goal has been to approach each score from a historically informed perspective. The compositions of c. XVII and XVIII (Castello, Biber, Corelli and Telemann) are recorded with Baroque violin (with gut strings) and bow next to the harpsichord. In addition, the tuning is half a tone lower (415 Hz) than is usually used in the current repertoire (442 Hz). Period techniques have also been put into practice, as well as Baroque flexibility in ornamentation and improvisation. Summoning a single key instrument to give life to the basso continuo allows us to compare in a more direct way the works belonging to the two historical periods, since the scores of c. XX and XXI (Webern, Pärt, José Luis Turina and Guix) are performed with modern violin and piano. In fact, following this idea of highlighting to the maximum the contrasts and constants that relate the eight compositions, the pieces have been ordered by combining one of each period instead of following a chronological order, thus generating quite a stimulating hybrid narration. An original proposal which highlights the sophisticated sound and artistic potential of the “four-chord lyre”, as Biber used to call the violin.
Made between December 1948 and June 1950, these recordings enjoy an unusual history which is bound up with the burgeoning industry of classical music retail in the postwar era. Among the best stocked record stores in New York at that time was The Gramophone Shop on 42nd East Street, co-owned by William H. (Bill) Tyler and Joseph F. (Joe) Brogan, an Irish-American collector and dealer. Trying to rival or surpass the mail-order business of H. Royer Smith in Philadelphia, the shop issued (in 1929 and 1931) two fat paperback catalogues, The Gramophone Shop Encyclopedia of Recorded Music. Three further editions, from 1936, 1942, and 1948, remain standard reference works. The store also ran it's own mail-order business with the reputation as a specialist in rare and high-quality recordings from Europe. From that arm of the business naturally developed the store's own label, marketed as the Gramophone Shop Celebrities (GSC) series. This is the first time these recordings have been available on modern media.
CD · 5 discs
‘I am an EU singer’, Hermann Prey always said about himself. However, by that he did not mean so much his citizenship of a European Union country as the fact that he felt at home in the fields of ‘E’ and ‘U’, i.e. in ‘serious’ and entertainment music alike. For Prey, this distinction never existed, but only the issue of the quality of music, and he found this not only in opera and Lied, but also in operetta, the musical and the well-made hit. For forty-six years Prey convinced audiences; this five-disc collection reveals his fascinatingly wide-ranging repertoire and interpretative skill.
CD · 7 discs
CD · 79 discs
CD · 53 discs
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