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Abel: The Drexel Manuscript, 27 Pieces for Sola Viola da Gam
$12.99CDBrilliant Classics
Nov 28, 2025BRI97716 -
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Aaron Copland: Complete Solo Piano Works, Vol. 2 / Northington
COPLAND NORTHINGTON COMP. SOLO PIANO WORKS, VOL. 2
Aaron Helgeson: Poems of Sheer Nothingness
Aaron Jensen: From Sea To Sea
Aaron Rosand - My Legacy
Aaron Rosand Plays Berlioz, Tchaikovsky, Ravel, Lalo, Others
These bon-bons are dispatched with affectionate zest by Rosand who plays them for every subtle turn and dexterous twist and every gramme of neon excitement. He is in total rapport with his orchestra and conductor. The recordings are all excellent given their twenty years worn lightly except for the harsh Berliox Reverie et Caprice.
The Northern sun and moon play in brilliantly poetic limelight over the Sibelius Humoresques. I learnt these utterly lovable pieces from this recording when it was issued with a recording of Nielsen's Symphony No. 6 on Turnabout LP. These are the distilled quintessence of Sibelian temperament - romance in all its cool lunar intensity. The benign Tchaikovsky Serenade is done with meditative reserve. The brash edge on the solo violin in the Berlioz piece compromises what is otherwise a sentimentally doleful performance. The Saint-Saens Introduction and Rondo Capriccioso has been well done by many violinists (Ulf Hoelscher is one of my favourite recordings - EMI). Rosand turns in an exotic performance - accented balletically and not short on crackling energy bursts. In the case of the rather revolutionary Chausson Poème I have recently heard the Vadim Repin version on Teldec and prefer the richer air brought about through the plusher modern EMI recording. The Chausson is a terribly neglected work forward-looking, meditative, with touches of Delius. Hearing the Rosand again I am torn. Rosand seems to put his all into this music and it pays in dividends of eloquence. The Ravel Tzigane I first heard during the early 1970s on a Philips Universo LP played by Arthur Grumiaux - a most affecting performance more effective, I thought, in its fanciful introspection than in the flyaway acrobatics. Rosand is good in both.
The second disc breaks the mould by including a work which calls itself 'concerto'. Saint-Saens' Third is a true warhorse having been much recorded by all and sundry amongst the violinistic brethren. The three Saint-Saens concertos have charm, Beethovenian gravitas (from the violin concerto, that is) and some flashy witchery but they lack the exoticism of the Caprice Andalou (would that Rosand would tackle that work!), the Havanaise, and the Introduction and Rondo Capriccioso. Rosand matches the requirements of this work most beautifully but I do not find this concerto the most involving of pieces at the best of times lacking the very melodic distinction that marks out his second piano concerto and third symphony. It always strikes me as a work that is going through the romantic motions.
The Havanaise is a different matter altogether and while I have fond memories and great affection for the Leonid Kogan version Rosand is all quiet grace, restful smiles, sprinting brilliance, sparks flying everywhere. Next time Class Fm (or its equivalent elsewhere ) wants to try a soupçon of soothing music which has true character they should reach for this track. A recording and performance to count alongside the best. You will want to play it again and again.
From Havanaise it is a natural progression to move to Lalo's once ubiquitous Symphonie Espagnole. With its glaring Brahmsianisms, stock Spanishry, deep reserve of charm and mercurial mood changes it is a work still capable with small effort of winning friends. I wonder what would have happened if Lalo had just called it a concerto. By the way the Rhapsodie Norvégienne is also well worth seeking out. I remember it being coupled with the Martinon recording of the Namouna suites and making quite a splash. The Repin on Teldec is a richer recording but for the same price you can have Rosand and almost three times as much music as the Teldec offers.
There is some stunning playing on offer here: stunning both in the depths of expression and in spark-striking pyrotechnics. Recommended.
-- Rob Barnett, MusicWeb International
AARON ROSAND PLAYS VIOLIN ROMANCES & HEIFETZ
ABACUS
Abado: Longa Vienna
Palestinian-born musician Marwan Abado has resided in Vienna for nearly forty years. The album “Longa Vienna” emerges just before his reflective gaze at these decades. “Longa” denotes an oriental musical form introduced to the Ottoman Empire from Romania by the Roma people around the mid-18th century. Originally a fast-paced dance music signaling the conclusion of a concert, Arab musicians and composers within the Ottoman Empire embraced and further developed this form as a part of the Arab instrumental music tradition. “Longa Vienna” serves as a musical odyssey through Vienna – the cultural crucible of the city becomes audible, resonating with the vibrant life of the urban landscape, imbued with colorful, poetic, and intricately woven musical narratives. The contemporary Viennese sound, as interpreted by Marwan Abado on oud and vocals, Maciej Golebiowski on clarinets, Arnulf Lindner on bass guitar, Peter Rosmanith on percussion, with Syrian singer Dima Orsho as a guest, captivates listeners with its rich tapestry of melodies and rhythms.
ABBA FOREVER: THE WINNER TAKES IT ALL
Abbado and Simón Bolívar Youth Orchestra - Lucerne Festival
Abbado Conducts The Simon Bolivar Youth Orchestra Of Venezuela
and the SIMÓN BOLÍVAR YOUTH ORCHESTRA OF VENEZUELA
LUCERNE FESTIVAL AT EASTER 2010
Sergey Prokofiev: Scythian Suite, Op. 20
Alban Berg: Lulu-Suite
Wolfgang Amadeus Mozart: Die Zauberflöte, Act II: Ach! Ich fühl's, es ist verschwunden
Pyotr Il'yich Tchaikovsky: Symphony No. 6 in B minor, Op. 74, "Pathetique"
Anna Prohaska, soprano
Simón Bolívar Youth Orchestra of Venezuela
Claudio Abbado, conductor
Recorded live at the Concert Hall of the Culture and Convention Center, Lucerne, 18-19 March 2010.
Five years after first conducting the Simon Bolivar Youth Orchestra in their Venezuelan home, Claudio Abbado continues his commitment to this stunning ensemble in this first joint audiovisual concert recording. Prokofiev’s extrovert Scythian Suite is a gift for the boundless energy of these young players, while the intricacy and anguish of Berg’s Lulu-Suite are an Abbado speciality, with soprano Anna Prohaska, in her Lucerne Festival debut, singing the heroine’s dazzling statement of self-justification. The concert ends with an impassioned account of Tchaikovsky’s Pathetique, his final symphony, one of the most moving works in music history.
"Abbado ... draws everything from this orchestra - and everything this marvel requires is there." -- Frankfurter Allgemeine Zeitung
"...a sound that, even in the dazzling glare of the brass, kept its razor-sharp edge and precise outlines. And so left room for incredible colours to emerge..." -- Zentralschweiz am Sonntag
Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Running time: 112 mins
No. of DVDs: 1
ABBEY ROAD: A CAPELLA
Abbey Simon Plays Chopin: Etudes And Waltzes Complete
Abdi: Hafez Opera / Sirenko, Plish, Ukraine National Symphony Orchestra, Credo Chamber Choir
| The music of Iranian composer Behzad Abdi fuses dastgāh (the Iranian modal system) with Western classical forms. He wrote Iran’s first national opera, Rumi (Naxos 8.660424-25), and Hafez also exemplifies his approach to the medium. The opera’s subject is the great Persian poet and mystic Hafez, whose sonnets and poetry are still widely read across the Persian-speaking world today. Behrouz Gharibpour’s libretto traces the poet’s tribulations, memories of keeping his poems from being destroyed by a despotic government, and subsequent exile. Abdi’s polytonal technique serves to reflect the unique concepts of Hafez’s 14th-century poetry with passion, lyricism and power. |
Abdi: Rumi
Abel Gance's Napoleon
Abel, Hammer, Lidl & Mozart: Exquisite Delight / Topelmann, Darmstadt
Exquisite Delight awaits the listener on Viktor Töpelmann’s new solo album with viol music by Carl Friedrich Abel, Franz Xaver Hammer und Andreas Lidl. Virtuoso Allegros, sentimental Adagios and dancing Minuets come to life in Viktor Töpelmann’s interpretation of sonatas and solo music from this last bloom of viol music in the late 18th century. He plays an original bass viol by Barak Norman (London 1722) and he is accompanied by the cellist Gerhart Darmstadt.
Abel, J.S. Bach; C.P.E. Bach & Telemann: Galanterie - The Autumn of the Viola da Gamba
Awarded a Diapason Découverte, André Lislevand’s debut album Forqueray Unchained (Arcana A486, 2021) celebrated one of moments of greatest splendor for the viola da gamba: that of the ancien régime in France. In this repertoire, the young musician proved to be "absolutely on top of his game and not afraid to explore the extremes of his instrument’s aesthetic world, though without ever losing touch with le bon goût" (Early Music Review). The same youthful freshness and energy can be found in his second album, though here he explores the German repertoire of the central decades of the 18th century, a period that witnessed the gradual decline of the instrument, but was still capable of expressing unexpected treasures and developing an idiom that often seems to anticipate the years to come.
In the program are sonatas for gamba and basso continuo (C.P.E. Bach’s WQ 136 and C.F. Abel’s B93 in A minor), Telemann's Fantasia XI for solo viol, two pieces by Abel from the Drexel Manuscript, and finally, the lesser-known Suite BWV 1025 by J.S. Bach, presented here in a version for viola da gamba and concertante lute. Also featured and playing a vital role in this project are the Duncumb brothers, two extraordinary chamber musicians: Emil on the fortepiano and Jadran, who played on the debut album, on the lute.
Abel: 6 Sonatas for Viola da Gamba & Bass / Casonato, Marchese
Carl Friedrich Abel (1723-1787) was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach, moved to Leipzig. The young Abel later boarded at St. Thomas School, Leipzig, where he was taught by Bach. On Bach's recommendation in 1748 he was able to join Johann Adolph Hasse's court orchestra at Dresden, where he remained for fifteen years. After that he went to England and became chamber-musician to Queen Charlotte. In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. Abel was one of the last and greatest virtuosos on the viola da gamba, an instrument whose popularity quickly declined towards the end of the 18th century. This new recording presents The Six Sonatas for viola da gamba and B.C., written to attract enthusiastic amateurs of relatively modest ability: pleasing and attractive music, indulging in charming cantabile melodies. Marco Casonato is one of Italy’s foremost players of the viola da gamba. His discography includes Dowland’s Lachrimae (for Brilliant Classics), Luigi Rossi’s Orfeo and Monteverdi’s Vespers (Glossa). He plays a copy of a Jacob Steiner six-stringed viol. “As one of the best professional players in Italy on the lute and theorbo.’ Jakob Lindberg.” Massimo Marchese plays the theorbo, he successfully recorded for Brilliant Classics works by Joachim van den Hove and De Visée.
Abel: Between Two Worlds - Orchestral Music
Abel: Chamber Music / La Stagione
Includes work(s) for viola da gamba by Karl Friedrich Abel. Soloist: Rainer Zipperling.
Abel: Flute Concertos
Abel: Ledenburg – Viola da Gamba Sonatas & Trios / Fritzsch
Carl Friedrich Abel was one of the few composers to be painted by a famous painter. Two portraits of the composer, done by Thomas Gainsborough, are preserved. This shows his status as one of the foremost composers of his day. This release features his Sonatas and Trios from the Ledenburg Collection. Many of these works are receiving their world premiere recording with this release. Thomas Fritzsch is one of the finest gambists of our day. Joining him on period instruments are pianist Michael Schonheit, violinist Eva Salonen, and cellist Katharina Holzhey.
Abel: Symphonies Op 17 / Halstead, Hanover Band
Abel: Symphonies, Opp. 1 & 4 / Willens, Kolner Akademie
The two great musical dynasties of central Germany, the Bachs and the Abels, were closely entwined. Carl Friedrich Abel, the greatest of his clan, was a pupil of Johann Sebastian Bach in Leipzig and the friend and business partner of Bach’s youngest son, Johann Christian in London. Abel’s output of symphonies comprises over forty works, most of which were published in sets of six, the standard number for publications of sonatas, chamber works and concertos in the eighteenth century. A concert in his time would have a range of compositions by several composers and it is more likely that only one symphony would be played in a single evening. The present day listener should not feel guilty for indulging in these fine works one by one or out of sequence. They are rich and delicate, and should be savored individually. Die Kolner Akademie is a unique ensemble based in Cologne which performs music of the seventeenth through the twenty-first centuries on period instruments with world renowned guest soloists.They have receieved the highest acclaim for their outstanding performances at major festivals all over the world, many of which were broadcast live and filmed for television.
Abel: The Cave of Wondrous Voice
The music in this album sings and dances, in Abel’s “colorful blend of styles that serve the emotional nature of each work to bracing and poignant effect” (Gramophone). It further clarifies why Abel is “one of the most interesting figures in American contemporary music” (Pizzicato). Composer Mark Abel has been based in California for the past three decades. Abel’s idiom eludes easy pigeon-holing. It includes chamber music and vocal works, whose contours extend from art song to larger forms with orchestra to a 103-minute chamber opera, Home Is a Harbor. This is Mark’s fifth release on Delos. The incomparable David Shifrin begins the program with Intuition’s Dance, a combination of frolic and dreamy ruminations in which he is joined by pianist Carol Rosenberger. (This is the first time Shifrin and Rosenberger have recorded together since their memorable albums in 1984!) Next comes the remarkable Hila Plitmann singing the powerfully moving Four Poems of Marina Tsvetaeva — the first-ever setting of Tsvetaeva’s poetry in English translation. She is joined by Rosenberger and English hornist Sarah Beck. Colorful and haunting, The Elastic Hours are brought to life with virtuosity by Sabrina-Vivian Höpcker and Dominic Cheli. This is Sabrina’s first Delos recording since her success with the Brahms Hungarian Dances in 2018 (DE 3558). In the richly lyrical Clarinet Trio, Shifrin and Rosenberger are joined by Fred Sherry for a musical journey beginning with “The Unfolding,” moving to “Taking Flight,” and finally ending with a peaceful and tender “In Good Time.”
Abel: The Drexel Manuscript
Abel: The Drexel Manuscript, 27 Pieces for Sola Viola da Gam
ABENDMUSIKEN
Abide With Me And Other Favorite Hymns
Includes work(s) by various composers. Ensemble: St. George's Chapel Choir, Windsor Castle. Conductor: Timothy Byram-Wigfield.
