{"title":"Brilliant Classics Sale 2026","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eBig works. Big collections. Brilliant savings.\u003c\/strong\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor the next two weeks, save \u003cstrong\u003e25% on over 300 Brilliant Classics titles\u003c\/strong\u003e, including an incredible selection of \u003cstrong\u003eiconic box sets\u003c\/strong\u003e perfect for building—or expanding—your classical collection.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eExplore music from some of the world’s most celebrated composers, including \u003cstrong\u003eHandel, Mozart, Haydn, Bach, and many more, all at a price worth making room on the shelf for.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eShop now before the sale ends Wednesday, October 7th, 2026 at 9:00AM!\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"monteverdi-edition-monteverdi-genius-innovator","title":"Monteverdi Edition + Monteverdi: Genius Innovator","description":"This substantial set dedicated to the vocal music of Claudio Monteverdi (1567–1643) features the great cycle undertaken (to date) by Krijn Koetsveld and the singers of Le Nuove Musiche: all nine books of madrigals, the music in Monteverdi collections such as the Selva Morale e Spirituale (1641) and the posthumous Messa a quattro voci ed salmi (1650), and the individual works by Monteverdi that were compiled in the collections of others, the so-called Fragments. To this is joined the cycle of operas directed by Sergio Vartolo and sung by casts of Italian early music specialists, including the first recording of the five-act version of Il ritorno d’Ulisse in patria. These thoroughly researched, historically informed interpretations demonstrate Monteverdi’s pioneering and transformative role in the emergence and development of staged, dramatic vocal music. Also featured are the grand Vespers – sacred music in the Gregorian plainchant tradition but on an operatic scale – in a fantastic recording with fine Italian soloists and authentic period instruments including the early brass of La Pifarescha. Federico Bardazzi and Ensemble Felice make scrupulous interpretative decisions about the order of movements, interpolating the choral motets within the prescribed sequence of psalms to great effect. Finally, there are Monteverdi’s youthful three-part canzonettas, written when the composer was 17. They are rather simpler than the madrigals, both to sing and to appreciate, but their musical worth is amply demonstrated by the largely female voices of Armoniosoincanto joined by a mixed period-instrument ensemble of flutes, violas, theorbo and harpsichord. They impart just the right light-hearted mood and dramatic impact to the playful, folkloric secular strophic poetry.\n\nGenius innovator - inspiring past and present! Claudio Monteverdi lived in Italy during a very turbulent time and was one of the great designers of the new style in music. As a young man, he learned the ancient laws of composing, especially from Marcantonio Ingegneri. Under his inspiration, he wrote his first book of madrigals. We can follow his life closely through the final 9 books of madrigals. Each book is a new moment in his development as a composer. Ultimately, he gets his dream job in Venice as maestro di cappella, but he writes operas and other musical spectacles for other courts, including Mantua, Milan, Turin, and Parma. He enjoyed the recognition that finally came for that little boy from insignificant Cremona. The book consists of 9 chapters, one per madrigal book, and has 128 pages in total. Looking from Monteverdi’s perspective, and also from the perspective of the performer, the contemporary enthusiast. Mesmerized by the beautiful courtly poetry, but also intrigued by the innovator Monteverdi, who is always looking for other ways to express emotion in music in a special way. Each chapter focuses on one characteristic madrigal. The book comes with a CD so you can listen to all the wonderful works.","brand":"Brilliant Classics","offers":[{"title":"CD + Book","offer_id":45654404825322,"sku":"5063758700795","price":65.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4471177-3522854.jpg?v=1786671397"},{"product_id":"flute-concertos-from-the-netherlands-coenen-wilms-verhey","title":"Flute Concertos from the Netherlands – Coenen, Wilms, Verhey","description":"In the Netherlands in the first half of the 19th century, musical life was still in it's infancy. There were no orchestras of international stature, and the dividing line between the inspired amateur and the professional musician was as yet unclear. Two musicians, Johann Wilhelm Wilms (1772-1847) and Johannes Meinardus Coenen (1824-1899), played an important role in the gradual establishment of a professional musical life.    Johann Wilms may be counted among the leading Dutch composers of his generation. His many activities as a composer, musician, organist, and organizer have been of invaluable importance to musical life in the Netherlands. Wilms is chiefly remembered as the composer of Wien Neêrlands bloed, which served as the Dutch national anthem before Wilhelmus. Wilms' compositions were published in Germany, Britain, and Denmark, as well as the Netherlands. In his Concertino in G minor for flute and orchestra (c. 1814), Wilms balances on the borderline between the classical and the romantic. At times, the piece displays a Beethovian flair.    Theodoor Verhey (1848-1929) seems to have been of a somewhat less ambitious disposition than Johann Wilms or Johan Coenen. After attending the School of Music in his home town Rotterdam and the Royal Conservatoire in The Hague, Verhey studied for four years with Woldemar Bargiel, a stepbrother of Clara Schumann and a member of the Leipzig circle around Schumann, Brahms, and Joachim.    Verhey's music moves comfortably within the musical conventions of his day. He preferred to use classical forms and harmonies. The strength of his flute concertos lies in their almost disarming simplicity and in the efficient vehicle they provide for the flute to show off it's expressive powers through the registers in a virtuoso display. The gypsy manner ('alla zingara'), which Verhey often uses, naturally invites such a display.    Played with great virtuosity, flair, and sensitivity by Jacques Zoon, one of the world's foremost flute players. He was solo flutist of the Chamber Orchestra of Europe, the Luzern Festival Orchestra (handpicked by Claudio Abbado), and the Boston Symphony Orchestra.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":45883786854634,"sku":"5063758970044","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4488762-3518035.jpg?v=1786660939"},{"product_id":"reger-original-compositions-for-piano-4-hands","title":"Reger: Original Compositions for piano 4-hands","description":"Max Reger (1873-1916) was a German composer, pianist, and conductor whose music bridged the late Romantic and early modern eras. Deeply influenced by J.S. Bach, Beethoven, and Brahms, Reger was known for his contrapuntal mastery and harmonic richness. Though his reputation has often rested on his organ and chamber music, his output for piano four-hands offers a revealing glimpse into his compositional personality - both his intellectual rigor and his warmth of expression.  Reger's four-hand works display his more lyrical and accessible side. These miniatures reveal his gift for melody and his subtle harmonic colorings, offering a contrast to the density often associated with his larger compositions. Across his four-hand output, Reger uses the medium not only as a vehicle for technical exploration but also as a form of musical conversation - a dialogue between two pianists that mirrors his complex yet humanistic musical voice.   The works included are: Walzercapricen Op, 9, Deutsche Tanze Op.10, 6 Walzer Op.22, Cinq pieces pittoresques Op.34, Sechs Burlesken Op.58 and 6 Stucke Op.94.   Of the Sechs Burlesken Reger himself wrote: \"In order to give my 'harmonic' mood the freedom it deserves, I will [...] soon write Scenes burlesques pour piano à quatre mains, but I am already 'warning' all academies etc. About them; it will be a crazy thing, harmonically exuberant! Oh, there are still many, many 'north and south poles in harmonics'!\".  Played by Davide and Daniele Trivella, twins brothers, internationally known as one of the most interesting piano duos and winners in Miami of the most important competition for piano duo \"Murray Dranoff\". Their extraordinary performances have impressed juries of the most important national and international piano duet competitions.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":45960275951850,"sku":"5063758975902","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4491342-3523953.jpg?v=1786662343"},{"product_id":"vierne-24-pieces-en-style-libre-op-31","title":"Vierne: 24 Pieces en Style Libre, Op. 31","description":"The name of Louis Vierne (1870-1937) will be associated with organ music immediately. Like a few other 19th century organists\/composers he used the instrument as a means to perform 'symphonic' music. The scope in this respect was greatly enhanced by the new organs built at the time, for instance by Aristide Cavaille-Coll.  The blend of styles in this music for organ is unique. It contains aspects of Romanticism combined with an impressionistic 'pastel-like' quality. Like many of his contemporary colleagues Vierne felt a strong fascination with Wagnerian chromaticism.  An admirer and pupil of Cesar Franck at thirty, the virtually blind Vierne was appointed organist at the Paris Notre Dame. Among many other pieces for organ he wrote six (five movement) symphonies, which became standard organ repertoire. Franck inspired him in the use of cyclical elements and harmonic refinement, whereas Widor's influence is clear in the use of the organ and the classical forms.  Louis Vierne's 24 Pieces en style libre Op.31 (1913), is a landmark collection in the French organ repertoire. Written for either organ or harmonium, these pieces demonstrate Vierne's gift for expressive lyricism and refined harmonic color. Unlike his larger symphonic works, the Pieces en style libre are concise, intimate, and accessible, designed for both liturgical use and concert performance. Each piece explores a distinct mood or character, from serene meditations like \"Communion\" and \"elevation\" to more animated works such as \"Cortege\" and \"Postlude.\" Vierne's rich harmonic language, rooted in late Romanticism yet tinged with Impressionist nuance, reveals his deep sensitivity to tonal atmosphere.  Played by Carlo Mazzone on the magnificent 1999 \"Andrea Zeni\" organ of the Parish Church of San Michele Arcangelo, Salgarede (TV), Italy. This instrument aimed to create a fully suited instrument for the performance of the organ repertoire of the second half of the 19th century in France. It is inspired by late-Romantic aesthetics, and endowed with all the stylistic and sonic prerequisites essential to the organ literature of the period.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":45960277295338,"sku":"5063758964173","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4491336-3523947.jpg?v=1786661149"},{"product_id":"laboccetta-a-tenor-cellist","title":"Laboccetta: A Tenor Cellist'- Chamber Music \/ Malagoli, De Polo, Centa et al.","description":"\u003cp\u003e\u003cspan class=\"TextRun SCXW114018062 BCX0\" lang=\"EN-US\" data-contrast=\"none\" xml:lang=\"EN-US\"\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eRomantic miniatures by a forgotten Italian cellist and composer: the first album ever dedicated to the music of Domenico \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e. Born to a poor family in the Sicilian town of \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eMessina\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e Domenico \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e (1823-1896) was entrusted to the care of an orphanage where his musical talents rapidly revealed themselves as a child. At the age of seven he made an appearance in concert at the Teatro Nuovo in Messina\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e and soon won a scholarship to study gratis at the conservatoire in Naples. At just 18\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e he became principal cellist of the Teatro San Carlo\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e at a time when the opera house was known across Europe for staging and advancing the works of bel canto composers such as Donizetti and Bellini. Through this \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eexperience\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e developed a superb tenor voice alongside his cello playing\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e and soon began taking lead roles in those bel canto masterpieces such as Bellini’s La \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eSonnambula\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e. He went on to tour Europe and America in the 1850s\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e but eventually settled back in his adopted home of Naples\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e where he became professor of cello at the conservatoire in \u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed SCXW114018062 BCX0\"\u003e1877\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed ContextualSpellingAndGrammarErrorV2Themed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed SCXW114018062 BCX0\"\u003e and\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e passed on his mastery of the instrument to students for \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003ealmost the\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e next 20 years until his death.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"TextRun SCXW114018062 BCX0\" lang=\"EN-US\" data-contrast=\"none\" xml:lang=\"EN-US\"\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eIn \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e the cellist and indefatigable researcher Matteo \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eMalagoli\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e has turned up another remarkable figure down the byways of cello history. His booklet essay introduces \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e eventful life\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eproviding\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e invaluable context to these miniatures written for salon performances among friends and patrons in Neapolitan musical life in the later decades of the 19th century – music written \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eabove all to\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e charm and entertain. ‘\u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed SCXW114018062 BCX0\"\u003edeserves\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e the attention of listeners intrigued by history and appreciative of fine playing. \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eIt’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e an album that will make a genuine contribution to any collector’s album hoard. Album leaves\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e romanzas and instrumental songs are scored for cello and piano or cello and harp\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e but there is also a ‘\u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eNotturnino\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e’ for two cellos and piano. More substantial is a cycle of four songs for soprano\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e tenor\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e cello and piano: all beautifully evocative pieces with an affectingly folk-like simplicity of expression.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"TextRun SCXW114018062 BCX0\" lang=\"EN-US\" data-contrast=\"none\" xml:lang=\"EN-US\"\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e was also a pioneer in the genre of cello quartets\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e and the album closes with several such works\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e ingeniously scored to exploit the full register and richness of the instrument. \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eMalagoli’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eprevious\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e albums for Brilliant Classics include a disc of music by Greco and Francone (96345)\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e welcomed in glowing terms by Fanfare magazine: ‘Early Neapolitan Cello Music… deserves the attention of listeners intrigued by history and appreciative of fine playing. \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eIt’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e an album that will make a genuine contribution to any collector’s album hoard.’\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}' class=\"EOP SCXW114018062 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012430123242,"sku":"5028421969527","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4237547-3141832.jpg?v=1786639792"},{"product_id":"xuares-sacred-music-amystis","title":"Xuáres: Sacred Music \/ Chenoll, amystis","description":"\u003cp\u003eWorld premiere recordings of sacred music by a forgotten master of the Spanish Baroque. As maestro de capilla (Capellmeister\/Music director) of the choir and music of the cathedrals in Seville and Cuenca, Alonso Xuárez (1640-1696) made valuable contributions to Spanish polychoral literature which have, as yet, barely been recognised beyond academic circles. This album of new recordings begins to bring his name to a wider audience with a selection of pieces discovered in the archives of Cuenca Cathedral, edited for performance and recorded by an ensemble with extensive experience in the field of the Spanish Baroque.\u003c\/p\u003e\n\u003cp\u003eThe resulting portrait of Xuárez reveals a remarkably individual figure, pushing the boundaries of form and harmony for his time but always beautifully conceived for the rich forces at his disposal. Little is known of Xuárez’s early life and formation. His father probably educated him in music, at least until he became a pupil of Tomás Micieces in the late 1650s. By 1664, his talents were sufficiently developed as to be worthy of the post of music director in Cuenca. He appears to have retained some influence over the musical organization there once he moved to Seville in 1675, and then returned to Cuenca in 1684. His surviving work, as represented here, embodies the Spanish polychoral style of the time, blending Italianate counterpoint with spectacular antiphonal writing conceived for multiple ensembles to fill the space of the cathedral.\u003c\/p\u003e\n\u003cp\u003eThe Missa surge propera is written for a rich, seven-voice texture, and the motets are even more ambitious, exploiting the colours and effects made available by eight and even nine separate parts. The performances recorded here follow the style of the time in making use of instrumental accompaniment – not just organ but viola da gamba and harp. This is a superb addition to the distinguished Brilliant Classics discography of Amystis, which has already attracted international praise for its adventurous repertoire and polished performances. ‘Chenoll has an endearing way of letting his singers express the music with a natural flow free of effects.’ (Fanfare – Comes, 95231). ‘An original and enlightening album.’ (Fanfare – ‘Masters of the Spanish Renaissance, 96409).\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012430942442,"sku":"5028421969541","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4247980-3141833_d26b920c-a03e-4fe7-8479-38a0f7e7320d.jpg?v=1786639848"},{"product_id":"bossi-jongen-poulenc-l-orgue-soliste-music-for-organ-orchestra-mazzoletti","title":"Music for Organ \u0026 Orchestra \/ Mazzoletti, Carmona, Helvetica Orchestra","description":"\u003cp\u003eWhen we think of a concerto for solo instrument and orchestra, the organ is certainly not the first instrument that comes to mind. And yet, the symphonic organ is perfectly adapted to the role of soloist, being capable of duelling as well as duetting with the orchestra. The Concerto for organ, strings, horns and timpani Op. 100 by Marco Enrico Bossi, for example, is one of the most important and successful pieces in the entire repertoire, and yet it does not enjoy the recognition it deserves among the wider public. Structured in three movements of genuine expressive power, this is music that is both majestic and intimate, able to touch the hearts of listeners and performers alike – a work on which this great composer really lavished his extraordinary creativity.\u003c\/p\u003e\n\u003cp\u003eHymne by Joseph Jongen is a real rarity. The organ has less of a ‘solo’ role than in the Bossi and Poulenc works; rather, it blends into the warm textures of the orchestra as an integral part of the sonic conversational flow so typical of Jongen’s impressionist idiom. Here too, the composition of the Gland organ and its eminently full, warm and poetic sound are an ideal showcase for the mysterious atmosphere of this work.\u003c\/p\u003e\n\u003cp\u003eUnlike the Bossi and Jongen works, the Concerto for organ, strings and timpani by Francis Poulenc is very well known indeed. Uncharacteristically written in a single movement divided into seven sections, this concerto is surely one of the best-known organ works of the 20th century. In certain sections the sonorous, weighty and deliberately strident organ writing is juxtaposed alongside orchestral textures that are extremely graceful and poetic, almost like a rough country giant trying to attract the attentions of a refined princess. At other moments, the organ imposes itself upon the orchestra, only to come together with it at other times, before proceeding to turn everything upside down once again.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012431794410,"sku":"5028421969558","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4223208-3130275.jpg?v=1786635614"},{"product_id":"langlais-complete-music-for-trumpet-organ","title":"Langlais: Complete Music for Trumpet \u0026 Organ","description":"- Jean Langlais (1907-1991) was a French composer and organist famous for his sacred music and his role as organist at the Basilica of the Sacred Heart in Paris.   - He was born on 15 February 1907 in La Fontenelle, Brittany, France. He lost his sight when he was only two years old due to untreated glaucoma. His disability did not prevent him from following his passion for music. He attended the National Institute of the Young Blind in Paris, where he studied piano and organ under Andre Marchal, and later the Paris Conservatoire, where he was a student of Marcel Dupre, Paul Dukas and Charles Tournemire.   - In 1931, Langlais began teaching at the National Institute of the Young Blind, a position he held until 1976. His career as an organist took a major turn in 1945 when he was appointed titular organist at the Basilica of the Sacred Heart in Montmartre, a position he held until 1987.   - Langlais was also a prolific composer. His musical output comprises over 250 works, including masses, motets, organ pieces, and chamber music. His compositional style combines elements of Gregorian, Baroque and modernism, characterized by a strong expressiveness and rich harmonic texture.   - This new recording presents Langlais' complete works for trumpet and organ, a happy combination of s strongly melodic and a harmonic instrument. Presented are a set of Chorales, a Sonatina and series of small character pieces.   - Played by Nicolas Bernard and Tommaso Mazzoletti, playing the Brondino Vegezzi-Bossi organ at St. Paul protestant church in Gland, Switzerland.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012432711914,"sku":"5028421969565","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4404931-3329682.jpg?v=1786657885"},{"product_id":"jadin-piano-sonatas-op-4-6","title":"Jadin: Piano Sonatas, Op. 4-6 \/ Toporowski","description":"\u003cp\u003eNew recordings of signature works by a young and tragically short-lived lion of the keyboard in late 18th-century France. This is the most extensive set of records ever dedicated to the music of Hyacinthe Jadin, sure to attract the attention of all aficionados of keyboard rarities, especially as performed by the Polish harpsichordist and pianist Marek Toporowski, with his encyclopedic understanding of Baroque and early-Classical repertoire. Born in Versailles in 1776, Jadin grew up in a musical family and was educated in both the French and German traditions, something unusual at the time. His professional career was brief; he was appointed to the Conservatoire in 1795 as one of its first professors of piano, and fell ill from the tuberculosis that would take his life in 1800. Jadin’s surviving output includes six quartets, four piano concertos, and several violin sonatas. From the evidence of these nine piano sonatas – three for each published opus number – we may hear in Jadin an astonishingly gifted composer whose music foreshadows the Romantic era – even at points the expressive poignancy of Schubert. Writing in major keys, Jadin’s elegant facility belongs to his own Classical age; it is when he ventures into remote minortonalities, such as the F sharp minor Sonata Op.4 No.2, that he seems to look forward to another, more personal age of expression. In all cases, however, Jadin evidently took Haydn as a model, for his themes are unfailingly compact and elegantly conceived for the keyboard, his development sections are likewise concise while enlivened with touches of ingenious modulation between keys. In his booklet essay, introducing Jadin’s life and work, Marek Toporowski makes the case for the composer as a French-born Dussek, an outstandingly original figure and one of the great ‘might-have-beens’ of musical history. His stylish performances on a modern copy of a Walter fortepiano support such a claim, as well as affording much delight in their own right.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012433596650,"sku":"5028421969589","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4211072-2989376.jpg?v=1786640338"},{"product_id":"nocturnes-from-19th-century-russia-vol-1-bart-van-oort","title":"Nocturnes from 19th Century Russia, Vol. 1 \/ Bart van Oort","description":"\u003cp\u003eThis recording, along with the forthcoming Vol.2, represents a first, comprehensive anthology of the Russian nocturne in its nearly two-hundred-year development. Some nocturnes are recorded here for the first time. The earliest Russian nocturnes were composed by Mikhail Glinka (1804–1857) and owe a debt to his teacher, the Irish composer John Field. The first, in E flat, was written in 1828 before his first trip to Italy. His Nocturne in F minor ‘La Séparation’, written at the height of his career, is styled like a ‘romance’ (song) without words. Karl Eduard Hartknoch (1796–1834) made his debut in 1816 as a concert pianist in Leipzig. In 1824 he moved to Russia, first to St. Petersburg and then to Moscow where he worked as a music teacher. He left a considerable number of piano compositions, including two concertos and the three Nocturnes Op.8. Anton Rubinstein (1829–1894) was a key figure in the history of Russian music, the first of the nation’s composers whose works for solo piano embodied the same serious artistic ideas as his symphonies and chamber music. He wrote eleven Nocturnes, two of them for piano four hands. The two Nocturnes by Piotr Ilyich Tchaikovsky (1840–1893) were written in the 1870s and are regarded as real jewels of Russian music. Tchaikovsky was interested in the subtle movements of the human soul, and like his symphonic and operatic works, his nocturnes abound with the heartfelt poetry of everyday life. Alexander Scriabin (1872–1915) was famous during his lifetime as a piano virtuoso, known for performing his own music. Scriabin wrote the majority of his works for the piano, and the two Nocturnes Op.5 reveal the influence of Frederic Chopin (his model during his early years). While not the first, the Nocturne for the Left Hand in D Flat is perhaps the greatest 19th-century masterpiece written for the left hand. Konstantin Antipov (1859–1927) was a member of the Belyaev Group. He graduated from Rimsky-Korsakov’s composition class at the St Petersburg Conservatory in 1886. Antipov is the author of a symphonic allegro, piano pieces (including two nocturnes), romances and other works. Alexander Glazunov (1865–1936) was an outstanding composer, conductor, educator, and social activist. He worked at the St Petersburg Conservatory for almost 30 years, directing it for more than 20. His style is characterized by attention to texture, harmonic sumptuousness and clarity of melodic lines. Vasily Kalinnikov (1866–1900) lived a short but eventful and creative life. His most significant output was orchestral: symphonies, intermezzos and incidental music for Tolstoy’s Tsar Boris. He wrote just seven works for the piano in the 1890s. His impressionistic Nocturne in F-sharp minor resembles lyrical miniatures in the spirit of Tchaikovsky.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012434546922,"sku":"5028421969664","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4257593-3141834_9311a047-826f-4d74-ac6b-ee182952feee.jpg?v=1786639539"},{"product_id":"ponchielli-piano-music-ester-fusar-poli","title":"Ponchielli: Piano Music \/ Ester Poli","description":"\u003cp\u003eCharming salon miniatures and a grand funeral march by the verismo composer of \u003cem\u003eLa Gioconda\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eMost of the pieces issued here were published in the 1870s and 1880s, and some of them are far more substantial than mere album-leaves. Yet they are hardly known at all; Riccardo Muti recorded an orchestration of the sombre and touching \u003cem\u003eElegia funebre\u003c\/em\u003e from 1881, but Ester Fusar Poli’s new recording is the only available version of the piano original. Even more imposing in scale is the 16-minute Funeral March which Ponchielli wrote late in 1872 to honor the passing of the publisher Francesco Lucca. However, no Ponchielli album would be complete without a version of the ‘Dance of the Hours’ immortalized by Walt Disney’s hippos in \u003cem\u003eFantasia\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eEster Fusar Poli presents a beguiling sequence of elegies, nocturnes, polkas and tone-poems, demonstrating the composer’s expressive range and deft piano writing. An extensive essay by Gabriele Galleggiante Crisafulli considers Ponchielli’s piano output in the context of his career as a whole, making this album an important contribution to our understanding of a figure who was much more than a ‘one-hit wonder’.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012435464426,"sku":"5028421969695","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4230665-3141835.jpg?v=1786676274"},{"product_id":"hindemith-der-schwanendreher","title":"Hindemith: Der Schwanendreher","description":"Paul Hindemith's Der Schwanendreher (literally 'the swan turner') is a viola concerto based on medieval German folk songs. While the 'swan turner' was literally someone who turned the spit of a roasting swan, metaphorically it referred to an itinerant minstrel whose street organ or hurdy-gurdy was cranked via a swan's-neck handle. He composed the work between September and October 1935, and it was premiered at the Concertgebouw in Amsterdam, with the composer (a virtuoso violist who did much to elevate the instrument's status) serving as soloist. In it, Hindemith creates a musical 'structure' that enhances the solo viola by contrasting it with a uniquely scored tutti ensemble of winds with four cellos and three double basses. After the slow introduction to the first movement comes a section in classic sonata form with orchestration evoking the world and art of minstrelsy. The second movement opens with a sad dialogue between the viola and harp, inspired by an ancient song on lost love; this is followed by a contrasting fugato in which the sadness of the cuckoo (an omen of doom) is alleviated by the musical writing. The third movement features seven variations on the titular 'Schwanendreher' song, whose jovial, light character is skilfully rendered with iridescent rhythmic articulation.     A prolific and versatile composer, Hindemith was initially drawn to expressionism and atonal harmony before embracing a neo-Baroque style along his journey towards abstract objectivism. By the end of the first quarter of the 20th century, Hindemith had become one of the leading exponents of Gebrauchsmusik ('Utility Music'), a musical approach designed to respond to societal needs as opposed to individual abstract aesthetic feelings. It saw the creation of much music aimed at amateurs, though with no compromise on quality. It was in this context that Hindemith composed the set of Schulwerk fur Instrumental-Zusammenspiel (Educational Music for Instrumental Ensembles) between March and April 1927. Designed for a youth orchestra, the music is by no means uninteresting or technically simple. It's fourth section is made up of the Funf Stucke (Five Pieces) scored for a five-part string orchestra with an additional solo violin introduced in the fifth piece. While the writing remains within certain technical bounds, the score is brimming with expressive variety, rhythmic dynamism, harmonic freedom and timbral sensitivity, all of which can be recognized as hallmarks of this period in Hindemith's compositional career. They showcase the composer's contrapuntal expertise, a quality particularly pronounced in the third piece, Lebhaft, with it's direct connection to Johann Sebastian Bach. In these 'teaching works' Hindemith's meticulous attention to detail reveals a distinctly German penchant for musical craftsmanship meeting the expectations of even 'professional' musicians.    - Recorded March 2023, Sala Bianca, Foggia, Italy  - Bilingual booklet in English and Italian contains liner notes by Alberto Mammarella    - Paul Hindemith (1895-1963) was one of the most important and influential composers of 20th century Germany. His eclectic style incorporates diverse influences such as expressionism, neo-classicism and even jazz. His music is energetic, rhythmically vibrant, witty and joyous, but also able to express deeper and tragic feelings.  - Der Schwanendreher is a viola concerto composed by Paul Hindemith in 1935. The title translates to \"The Swan Turner, \" referring to a medieval kitchen servant who turned roasting spits. The piece is based on old German folk songs, giving it a unique blend of the modern and traditional. Hindemith, himself a violist, premiered it with the Concertgebouw Orchestra Amsterdam, conducted by Willem Mengelberg. The work is admired for it's inventive orchestration, lyrical themes, and balance between historical charm and contemporary technique.  - Performed by Luca Ranieri and the orchestra Ico Suoni Del Sud, conducted by   Mario Moresco. Luca Ranieri successfully recorded the Suites for viola solo by Hindemith for Brilliant Classics.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012436775146,"sku":"5028421969756","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4433174-3412809.jpg?v=1786671111"},{"product_id":"vacchi-complete-music-for-guitar","title":"Vacchi: Complete Music for Guitar","description":"\u003cp\u003eBorn in 1949, Fabio Vacchi stands among the pre-eminent Italian composers of his generation. Working primarily in the operatic field, he has had pieces staged at the Teatro alla Scala and by the Opéra Comique in Paris, the Opera de Lyon, the Maggio Musicale in Florence and the Teato Comunale in his home city of Bologna. Vacchi’s instrumental pieces have attracted similar high-profile performances. His chamber cycle Luoghi Immaginari (1987-1992), has been given across the world, including at the Salzburg Mozarteum conducted by Daniel Harding. Other pieces were commissioned by Claudio Abbado and by the Tokyo Quartet.\u003c\/p\u003e\n\u003cp\u003eThe most substantial piece on this new collection of his chamber pieces was commissioned by the Swedish guitarist Magnus Andersson and first performed by him in 1997 as a guitar concerto; this Quintetto Notturno Concertante dates from 2012 and is a masterful condensation of the complexities of the original, rich instrumental texture, while preserving its fleeing moods and subtly shifting changes of harmony. At the other end of this collection, Livia Rado sings Flow my Dowland, a rapturous transformation of five songs by the Elizabethan lutenist, in which the original vocal part is richly embroidered by Vacchi’s own modern reimagination of the accompanying part, scored for a small ensemble of winds, strings, vibraphone and harp, to melting and magical effect. In between come a pair of solo works, though in fact Plynn quotes Britten’s Nocturnal after John Dowland as a study of harmonics on the guitar, evoking its most dreamlike and insubstantial timbres. The earliest piece here is a Suite for flute and guitar, dating from 1971. Here, the 22-year-old Vacchi is at his most experimental in terms of both form and harmony, employing extraneous elements such as pen and paper and sending both instruments to the extremes of their register, though always with an intrinsically idiomatic sympathy. Any listener with an ear for the Italian postwar avant-garde will find this newly recorded album full of delight and discovery.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012437758186,"sku":"5028421969763","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4223209-3130276.jpg?v=1786640368"},{"product_id":"alter-ego-music-for-flute-piano-taio-grisanti","title":"Alter Ego - Music for Flute \u0026 Piano \/ Taio, Grisanti","description":"\u003cp\u003eRebecca Taio’s choice to program these well-known pieces from the great repertoire for violin and piano has to do with the technical challenges they pose, both instrumentally and interpretatively.\u003c\/p\u003e\n\u003cp\u003eWhile the transcription of the Five Pieces by Respighi is a first (no one having thought to arrange them for flute and piano before), the sonatas by Faureì and Franck are already a part of the chamber tradition for flute and piano. Nonetheless, the artists have made further revisions to these two works, coming up with alternative solutions to the ones normally used in such a way as to be as close as possible to the originals. Franck’s Sonata in A major for violin and piano (1886) creates the ideal end-piece for this musical journey.\u003cbr\u003e\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012438642922,"sku":"5028421969770","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4230666-3141836.jpg?v=1786639947"},{"product_id":"tales-from-sardinia-music-for-flute-guitar-5028421969794","title":"Tales from Sardinia - Music for Flute \u0026 Guitar \/ Cordas et Bentu Duo","description":"\u003cp\u003eFor the Cordas et Bentu Duo, Sardinia has always been a source of inspiration; the ensemble’s name, Sardinian for “strings and wind”, is an homage to the island’s culture. Apeddu and Luciani’s mission to find original compositions connected to their roots began after hearing the stunning Acabbadora for guitar by Francesco Morittu, and the Duo would commission a new work from him: Attítus for alto flute and guitar. That was the first step in a project that went on to see them commission a range of composers from Sardinia and beyond to write music celebrating Sardinia. Traditionally, families would gather in front of the fire after dinner to tell each other stories from legends and ancient myths. Contos de foghile (Tales from the fireside), by the Sardinian composer Roberto Piana, is divided into four short episodes, each dedicated to a different story. The island’s fascinating mythology includes epic tales, monstrous creatures and legendary beings, and without a doubt the key players in these fables are the Janas, beautiful little creatures with a dark side – at times fairies or witches – who have extremely delicate skin that must avoid sunlight. These five short compositions depict a few moments from the lives of these mythological creatures, from the moment they wake until the dawn, when they go back into their caves to avoid being burned. According to Sardinian tradition, the Attítus are laments sung by wailers at a funeral. These dirges are highly repetitive in nature but can change suddenly and take on a very different tone depending on what the singer wants to express about the deceased. This piece is made up of four episodes. Composed at the height of lockdown in March 2020, it came from the need to give grant some mental space to death, understood in cultural rather than biological terms. As the title suggests, Memorie di Nora is a piece that takes inspiration from the archaeological site of the same name and is intended to evoke a possible imagined past for it. The composition, formally a fantasia, is made up of several parts that flow seamlessly from one to the next, invoking ancient rituals and dances as if to celebrate their survival in the traces of temples and mosaics overlooking the sea. Ammentos de siddhàdos et janas (Memories of treasures and fairies) is a short suite, originally titled Three Sardinian impressions, that expresses the composer’s emotions, thoughts and memories from his brief stay on the island. A unique piece inspired by the birthplace of the musicians to whom it is dedicated, Concertino di Alghero is an homage to Maria Chessa Lai, a primary school teacher and poet who wrote predominantly in Algherese. This dialect, an ancient branch of Catalan, is a linguistic island within an island. The work’s three movements trace a musical outline of one of many possible readings of Maria Chessa Lai’s Algherese poem En Dins De Mi.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012439625962,"sku":"5028421969794","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4289559-3141837.jpg?v=1786662147"},{"product_id":"monteverdi-frammenti-koetsveld-le-nuove-musiche","title":"Monteverdi: Frammenti \/ Koetsveld, Le Nuove Musiche","description":"\u003cp\u003e\u003cspan\u003eOn this album, we find a wonderful collection of often short sacred works by Monteverdi, all published in compilations made by others. Parts of psalms and hymns of all descriptions make up the texts – and always in the style that we know so well from, among others, the concertos in the Vespro della Beata Vergine; the pieces from the Selva Morale e Spirituale (a collection by Monteverdi himself, containing only his own music); and the posthumous collection from 1650, Messa a quattro voci ed salmi.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe repertoire on this album derives from multiple sources and was probably included in the various collections because the compiler simply liked it. Besides the polyphonic, madrigal-like pieces such as Adoramus te, Christe adoramus te and Domine in furore, the often highly virtuosic duets and solo pieces stand out. Sometimes, for example in Salve o regina, the embellishments are written out, which in turn teaches us a lot about how Monteverdi envisioned them.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012441788650,"sku":"5028421969824","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4237548-3141838.jpg?v=1786633292"},{"product_id":"piano-concertos-from-the-netherlands","title":"Piano Concertos from the Netherlands","description":"An unrivalled collection of lesser-known 20th-century piano concertos in both Romantic and modern styles, in definitive recordings by Dutch artists.  This survey of Dutch piano concertos actually begins in 1886, with the A minor work by Carl Smulders (1863-1934). Smulders sidesteps convention by opening not with a grand gesture but a slow, expectant build-up, breaking the template for A minor piano concertos established first by Schumann and then Grieg. The piano writing itself has a lyrically Griegian flavour, however, which Ivo Janssen brings out in this 1994 recording.   The collection steps confidently into the last century with a glittering 13-minute concerto of 1927 by Willem Pijper, and a punchy neoclassical concertino from 1928 by Henriette Bosmans, who brings sumptuous, Rachmaninoff-style lyricism to the contrasting episodes. The shadows of Bartok and Ravel continue to fall on Kees van Baaren's 1934 Concertino, and Leo Smit's 1937 concerto for piano and wind ensemble.   Another chronological leap forward takes the collection to 1964, with a second concerto by Van Baaren, who by now had adopted an angular serial idiom in tune with the times. From the same year, Henk Badings' Concerto for Two Pianos casts a retrospective look at the age of expressionist film scores in a dark and turbulent but conventionally structured work.   Coming further up to date, the collection embraces the personal engagements with both modernism and the concerto tradition crafted by Tristan Keuris in 1980, and Ton de Leeuw in 1990. Finally, the 1991 concerto by Jan van Vlijmen encapsulates the musical journey of the 20th century into modernism and then towards an accommodation of it's principles with tonality. Like several other composers in this set, the name of Van Vlijmen deserves to be known far wider than his native Netherlands, and this superbly prepared recording presents the most compelling case for his music.   Long unavailable since it's original 1994 release on the specialist NM Classics label, this reissue by Brilliant Classics includes full booklet introductions to each composer and their work.     - \"Piano concertos by 20th-century Dutch composers\" reflect the dynamic evolution of classical music during this period, marked by a blend of modernism, neoclassicism, and unique national character.  - This 3 CD set offers a comprehensive collection of Piano Concertos written by 20-th century Dutch composers: Henriette Bosmans (1895-1952), Kees van Baaren (1906-1970), Ton de Leeuw (1926-1996), Leo Smit (1900-1943), Carl Smulders (1863-1934), Willem Pijpers (1894-1947), Henk Badings (1907-1987), Tristan Keuris (1946-1996) and Jan van Vlijmen (1935-2004).  - Stylistically ranging from the Late-Romantic to the experimental and jazz, these concertos offer a testimony of the rich cultural life of the Netherlands.  - Played by top Dutch pianists: Ronald Brautigam, David Kuyken, Ivo Janssen, Sepp Grotenhuis, Ellen Corver and Rene Eckhardt. The Netherlands Radio Symphony Orchestra and Radio Philharmonic Orchestra are conducted by Lucas Vis, Jac van Steen, Ed Spanjaard, Kees Bakels and Alexander Vedernikov.   - Licensed from the rich catalogue of NM Classics, the label for music from The Netherlands.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012446146794,"sku":"5028421970004","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4392345-3307342.jpg?v=1786661056"},{"product_id":"cello-concertos-from-the-netherlands","title":"Cello Concertos from the Netherlands","description":"Many masterpieces have been composed over the centuries for the cello, that member of the string family whose timbre is said to most closely resemble the human voice. Scores of monumental works, both in the chamber and concerto genres, have been created for this attractive instrument: from Bach to Bloch, Boccherini to Britten. Dutch composers have also shown interest in the instrument, especially in the 20th century, composing works that feature not only the cello but also the abilities of virtuoso cellists they admired, whose playing breathes life into the Dutch music of this century, adding it's melodious voice to the music history of all nations.    Henriette Bosmans (1895-1952) at first studied piano with her mother, only taking up composing at the age of 17. She sharpened her abilities in this art through lessons with Cornelis Dopper and Willem Pijper. Bosmans performed in various chamber music ensembles, appeared as a soloist and gave lessons, and as a pianist she championed contemporary music. She is particularly remembered for her art songs, chamber music and concertos. Her work evolved along her career from a Germanic style to one influenced by French impressionism, her Poeme for cello and orchestra being a fine example of the latter. The work is dedicated to Marix Loevensohn, principal cellist of the Concertgebouw Orchestra, with whom she often performed.     Willem Pijper (1894-1947) studied composition with Johann Wagenaar, and his progress was astounding: within a few years (from 1918 to 1922) he became one of the most advanced composers in Europe, each successive composition of his going a step further. Although considered a proponent of atonality, Pijper's harmonic complexity is always in service of musical expression. His Cello Concerto is also dedicated to Marix Loevensohn, who performed it at his own retirement concert as principal cellist of the Concertgebouw Orchestra. Feeling that the orchestra overshadowed the soloist at times, Pijper revised the Concerto's orchestration in 1947.    The pianist and composer Leo Smit (1900-1943) studied composition at the Amsterdam Conservatory with Bernard Zweers and Sem Dresden. He taught analysis and harmony at the Amsterdam Conservatory from 1924 to 1927, after which he resided in Paris until 1933. There he came under Darius Milhaud's influence, which introduced a French aesthetic to his music, and he was exposed as well to Igor Stravinsky's neoclassicism. He returned to Amsterdam in 1937, establishing himself as a music pedagogue, and remained there until he was deported to Auschwitz in 1943, where he perished. His lucid, intelligent and subdued style is most clearly apparent in his chamber music. Smit also composed several orchestral works and concertos for various instruments, among them his Concertino for cello and orchestra.    Hans Kox (1930-2019) studied piano with Jaap Spaanderman and composition with Henk Badings. His debut as a composer came in 1953, and he went on to receive numerous commissions from the Netherlands and abroad, with many of his works appearing on CD. He taught at the Conservatory in Utrecht. His Cello Concerto (1969) was commissioned by the Eper Muziekkring (the erstwhile Music Society of the eastern Dutch municipality of Epe) in honour of it's fifth anniversary.    Other information:  - Recorded December 1993 at the Concertgebouw Haarlem  - Trilingual booklet in English, German and Dutch contains liner notes on the composers and the works    - The Cello concertos by 20th-century Dutch composers reflect the dynamic evolution of classical music during this period, marked by a blend of modernism, neoclassicism, and unique national character.  - This CD presents 4 Cello Concertos by Dutch composers: the late romantic language of Henriette Bosmans (1895-1952), the Neo-classical and sometimes jazzy idiom of Willem Pijper (1894-1947), the vibrant Concertino by Leo Smit (1900-1943), who tragically died in 1943 in the Sobibor extermination camp, and the Cello Concerto by Hans Kox (1930-2019).  - Played by 4 outstanding cellists: Heinrich Schiff, Quirine Viersen, Pieter Wispelwey and Dmitri Ferschtman. The Netherlands Radio Chamber Orchestra is conducted by Ed Spanjaard.  Another gem from the NM Classics catalogue, the label of music from The Netherlands.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012447097066,"sku":"5028421970011","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4397828-3325921.jpg?v=1786683775"},{"product_id":"j-a-groneman-j-f-groneman-rococo-flute-music","title":"J.A. Groneman \u0026 J.F. Groneman: Rococo Flute Music","description":"18th-century sonatas by a pair of musical brothers, in stylish historically informed performances from 1994.    Very little music by the brothers Groneman is known in modern times beyond the pieces on this album, which have survived simply because of their popularity with flautists of their day. Pleasing both to hear and to play, these sonatas exert an additional fascination today for the insights they give into the taste and technique of the 18th-century flautist.    Johannes Albertus Groneman (c.1708-1781) and Johannes Fredericus Groneman (1711-1778) were both probably born in Cologne, where their father was a military-band musician. Albertus developed his skill as a violinist beyond mere proficiency, and left to ply his trade as a jobbing musician in what is now the Netherlands. Having settled in Leiden around 1731, he wrote virtuosic pieces for violin and flute which proved popular enough to be published and republished in London and Paris. He performed throughout Holland, and then moved from Leiden to The Hague, where he was awarded a lucrative and coveted position as church organist.    This career of steady accomplishment and gathering renown came to a sudden and tragic end in 1756 when he was committed to an asylum, where he lived out his days in penury. Meanwhile Fredericus is a much more shadowy figure to us: the three books of his flute sonatas listed in contemporary publishers' catalogues have disappeared, as have any details of his life and career. Of his gifts as a musician, there can be no doubt, to judge from the sonatas presented here, showing as they do an up-to-date knowledge of the latest musical trends set by masters such as Tartini and Geminiani, and yet display an expressive style entirely their own.    Likewise, the two flute duets by Albertus Groneman demonstrate why his music proved to be so popular during his lifetime: they are in turn gracious, surprising, virtuosic and sweetly-singing, and display the full range of the flute's possibilities. Like Telemann's duets of the same period, they are full of fantasy and.wit and testify not only to the worthiness of their creator, but also to the taste of the 18th century flutist who loved them so well.    Originally issued on the Dutch label NM Classics, this reissue restores a valuable window into the vibrant culture of chamber music in 18th-century Holland, performed by specialists in the field.     - Johannes Albertus Groneman (baptized 1711-1778) and his brother Johannes Fredericus were born in Hamm (Germany) into a musical family. They enjoyed an education typical of musician's sons in the 18th century, learning from their father the trade, playing several instruments and instructed in composition, harmony and singing. Through his teacher Carl Rosier Albertus was introduced in the Netherlands, where he settled in Utrecht in 1729, later moving to Leiden. It is during this Leiden period that most of Groneman's music which survived, and indeed probably all of the music of this recording, was composed. Upon his arrival in the famous university town, Groneman was able to establish himself with ease in the highest social circles, enjoying the friendship and patronage of patricians and professors, while wealthy merchants and musicians of international repute became godparents to his children. He bought a Stradivarius violin and an especially beautiful harpsichord made by famous Flemish harpsichord maker Ruckers. He published virtuoso music for violin and flute which proved popular enough to be published and republished in London and Paris.  - The Flute Sonatas consist of three movements, brilliant allegros framing a melancholy and moving andante full of bold harmonies. The style is gracious and sweetly-singing, displaying the full range of the flute's brilliant possibilities.  - Performed by Jed Wentz, a pioneer in the performance practice of notably French Baroque music for his instrument. His many recordings for Brilliant Classics (J.S. Bach and C.P.E. Bach, Blavet, Couperin, Boismortier, Braun, Roman) have established him as one of the foremost interpreters in this field.  - Recorded in 1994, a reissue from the NM Classics catalogue, the label for music from the Netherlands.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012448014570,"sku":"5028421970028","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4353007-3201874.jpg?v=1786649463"},{"product_id":"van-bree-rontgen-coenen-dutch-chamber-music","title":"Van Bree, Rontgen \u0026 Coenen: Dutch Chamber Music","description":"Van Bree, Rontgen \u0026amp; Coenen: Dutch Chamber Music","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012448997610,"sku":"5028421970035","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4368187-3232731.jpg?v=1786709402"},{"product_id":"holt-meandres","title":"Holt: Meandres","description":"A mesmerising piano cycle by the master  of Dutch minimalism.  'I write music like this not because I'm  isolated,' Simeon Ten Holt once said. 'I'm  isolated because I write music like this.'  And yet, since his death in 2012,  performances and recordings of his music  have multiplied like one of his motivic  cells, gathering energy and momentum to  spread the reputation of a composer who  took the rhythmic precepts of American  minimalists such as Reich and Glass, and  coloured them with a European-Romantic  glow of harmony.  Composed in 1995-97 for four pianos,  Meandres is another monumental yet  approachable piano cycle in the mould of  his celebrated Canto Ostinato, more  complex and more chromatic than the  earlier cycle but sharing with it a hypnotic  clarity and an improvisatory freedom which  leaves a good deal of liberty to the  performers. At first, there is no melody, in  the usual sense of the word. However, over  time, a pattern emerges like a puzzle taking  shape before the listener.  The title refers to the meandering course of  rivers, which takes them to mountain slopes  as well as lowlands. 'Because it is like a  work in progress which never reaches  closure,' remarks the composer, 'the  meandering structure of the piece is quite  demanding on the performers. It is the  condensation of an inquiry into the very  limits of time and space.'  This recording of Meandres was made in 1999  by a team of Dutch pianists who had all worked  with Ten Holt on his music, and accordingly it  vibrates with disciplined authenticity. Sharp  accents continually break and articulate the line  and the restatement of the germinal motif, but  it always loops back to a cadence which Robert  Schumann would have recognised. Combining  Baroque rigour with early-Romantic harmony  and late-20th-century form, Meandres is both  post-modern and timeless as an extension of  piano literature.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012449915114,"sku":"5028421970059","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4335059-3177825.jpg?v=1786667788"},{"product_id":"schat-de-hemel-the-heavens","title":"Schat: De Hemel (The Heavens)","description":"Schat: de Hemel (The Heavens)","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012450898154,"sku":"5028421970066","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4413292-3378419.jpg?v=1786658263"},{"product_id":"verrijt-flammae-divinae-op-5-motets","title":"Verrijt: Flammae Divinae, Op. 5; Motets","description":"North and South  The Golden Age of the Dutch Republic, the 17th century, may have been full of splendour in the fields of trade, painting and literature, but in music the situation was far from rosy. The epicentre of musical innovation lay in Italy, whose composers were admired as supreme across Europe. While this will have hurt the pride of composers in Northern Europe and elsewhere, who disputed this supremacy publicly, in private most of them sought to benefit from their Mediterranean contemporaries, studying the latest Italian music or apprenticing themselves to Italian masters. In the Netherlands, the style of Monteverdi and other Italian composers had a profound influence on the music of Jan Baptist Verrijt, who was probably born around 1600 in Oirschot and died in Rotterdam in 1650. Together with Jan Pieterszoon Sweelinck, Verrijt is perhaps the most important Dutch composer of the 17th century, an assessment based his only surviving opus: the Flammae divinae, Op.5. It consists of 6 two-part and 12 three-part motets along with 2 three-part Mass settings.   The work is believed to have been intended for use both in Roman Catholic churches in the Southern Netherlands and in clandestine Roman Catholic churches in the predominantly protestant Republic. The high level of vocal technique demanded by Verrijt would seem at first to exclude the possibility of performance by non-professional singers. However, it's known that Verrijt's Opp. 4 \u0026amp; 5 could be found in the library of Groningen's collegium musicum, a group consisting almost entirely of amateur musicians.  In the Flammae divinae Verrijt displays consummate mastery in combining the liveliness of the new, Italian stile concertato with the polyphonic techniques of the old Franco-Flemish school. The music sounds imaginative and dramatic, but is simultaneously balanced and controlled. Like Claudio Monteverdi and Alessandro Grandi, for example, Verrijt enlivens his complex multi-part church music with techniques borrowed from the madrigal and from opera. For this reason, Verrijt's Opus 5 is not only of interest as an unusual expression of Roman Catholic culture in the northern Netherlands, but also as a musically intriguing opus on an international level.    Other information:  - Recorded May 2000, Rotterdam  - Trilingual Booklet in English, Dutch and German contains liner notes by Kees Vlaardingerbroek    - Jan Baptist Verrijt was, together with Jan Pieterszoon Sweelinck, perhaps the most important Dutch composer of the seventeenth century. His most important surviving work, Flammae divinae, Opus 5, consists of six two-part and twelve three-part motets along with two three-part settings for Mass, and was published in the period when Verrijt was employed as an organist by the Great Church of St Laurens in Rotterdam (1644-50).  - In this work Verrijt displays consummate mastery in combining the liveliness of the new Italian stile concertato with the polyphonic techniques of the old Franco-Flemish school. The music sounds imaginative and dramatic, but is simultaneously balanced and controlled. Like Claudia Monteverdi Verrijt enlivens his complex multi-part church music with techniques borrowed from the madrigal and from opera, employing the old imitative techniques in a new way to achieve a strong emotional effect.  - Performed by one of the most prominent and pioneering Early Music vocal ensembles of the 20-th century, The Consort of Musicke, featuring Emma Kirkby, and directed by Anthony Rooley.  - A reissue from the NM Classics label, the label for music from The Netherlands.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012452110570,"sku":"5028421970073","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4426892-3394337.jpg?v=1786658434"},{"product_id":"lebrun-oboe-concertos-king","title":"Lebrun: Oboe Concertos","description":"\u003cp\u003eClassical-era oboe concertos, full of flourish and elegantly turned melodies in polished and critically praised recordings from 2000-2. ‘This repertoire certainly deserves your attention,’ wrote the Fanfare reviewer when this album was first issued, ‘for it is an excellent alternative - even a potent supplement - to the Mozart oboe concerto.’ He went on to praise the ‘fine tone’ and ‘impressive technique’ of the soloist, American oboist Nancy Ambrose King. The Janácek Philharmonic play with ‘verve, fine drama, and an excellent sense of unity from beginning to end,’ conducted by Jeremy Swerling who ‘keeps a nice grip on the proceedings, but also allows some flexibility in the way things are done.’ As to the repertoire itself: Ludwig August Lebrun (1752-1790) was an oboist by training, and the son of an oboist at the Mannheim court, Alexander Lebrun. Ludwig evidently wrote these concertos, and another 10 in the same vein, in order to showcase his own abilities on an instrument which was evolving rapidly in terms of technical innovation (projecting further, with more reliable tone) and thus allowing for greater virtuosity on behalf of both composers and performers.\n\u003cbr\u003eThere are four concertos here, and they all adhere to the standard three-movement form and belong to the idiom of the Mannheim school exemplified by exemplified by the likes of Danzi (whose daughter Lebrun married) and Cannabich. There are delicate melodies as well as spectacular virtuosity in music filled with imagination, humour, and depth, not to mention the occasional unexpected turn of phrase.  These are not miniature or insignificant pieces. The opening G minor piece is developed with the kind of pathos we associate with the key in the hands of Mozart, and after two F major concertos, the album concludes with a poignant and stern D minor concerto, punctuated by trumpet and drums, and enclosing a noble Grazioso slow movement where the oboe sings like an abandoned operatic heroine.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012454273258,"sku":"5028421970097","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4281847-3124771.jpg?v=1786648895"},{"product_id":"dagincour-complete-organ-music","title":"D'Agincour: Complete Organ Music","description":"Francois d'Agincour (1684-1758) was a French composer, organist, and harpsichordist. Though overshadowed by contemporaries such as Francois Couperin and Jean-Philippe Rameau his surviving keyboard works offer a fascinating glimpse into the refined and ornate French classical organ tradition of the early 18th century.  D'Agincour served as organist at the Rouen Cathedral for over 40 years and held royal positions as well, which afforded him access to France's finest instruments and a cultured musical environment. His sole surviving organ collection, Premier livre d'orgue (1733), contains a series of pieces organized into suites according to church modes, consistent with the liturgical practices of the time. Each suite contains various movements - including Plein jeux, Fugues, Recits, and Dialogues - that correspond to specific parts of the Catholic mass.  His music reflects the elegance and clarity characteristic of the French classical organ school, with it's emphasis on ornamentation, color, and registration. D'Agincour skillfully exploits the tonal possibilities of the French classical organ, composing pieces that call for distinctive solo stops such as the Cromorne, Tierce, and Cornet. While structurally conservative, his music reveals a personal voice marked by harmonic finesse, rhythmic vitality, and melodic inventiveness.  Though his output is modest compared to others, d'Agincour's organ works exemplify the culmination of the French classical style just before it began to yield to the more galant and Classical idioms. Modern interest in historical performance practices has led to a renewed appreciation of his music.  Recorded by Chikako Nishikawa at the Andrea Zeni tribune organ in the Chiesa Parrocchiale dei SS. Giuseppe e Lucia, Italy  After her studies in her Native Japan Chikako Nishikawa went to Europe to study in Zurich, Fribourg and The Hague, meanwhile receiving top prizes at international competitions. Lately she studied organ, with a focus on early music, with Federico Del Sordo at the Pontifical Institute of Sacred Music in Rome (Post-Gradum course).","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012455420138,"sku":"5028421970110","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4442503-3418399.jpg?v=1786679035"},{"product_id":"britten-shostakovich-music-based-on-texts-by-michelangelo","title":"Britten \u0026 Shostakovich: Music based on texts by Michelangelo","description":"Transcending the barriers of time, two 20-th century composers dialogue with a genius who lived centuries earlier. An immense painter, sculptor, architect, Michelangelo (1475-1564) wrote poetry expressing turmoil, restlessness, personal and professional anger, written in an energetic and passionate language. Both Dimitri Shostakovich and Benjamin Britten found inspiration in his texts, and by setting them to music they show their own feelings in a highly personal and characteristic way.  - This new recording presents the \"7 Sonnets Op. 22\" by Benjamin Britten, and the Michelangelo Suite Op. 145 by Dimitri Shostakovich, both intensely expressive and dramatic, each in his own unique musical language.   - Sung by Mark Milhofer and Mirco Palazzi, Marco Scolastra is their piano partner. Mark Milhofer's recording of the Folk Songs by Britten for Brilliant Classics received many excellent reviews, including a \"Recommended Recording of the Month\" on Musicweb.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012456567018,"sku":"5028421970127","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4404932-3329683.jpg?v=1786676987"},{"product_id":"dowland-melancholy-britten-nocturnal-pascal-boels","title":"Dowland: Melancholy; Britten: Nocturnal - Guitar Music \/ Boëls","description":"\u003cp\u003ePavans and galliards by the Elizabethan master of melancholy, complemented by a new recording of Benjamin Britten’s magnificent Nocturnal inspired by both Dowland’s music and by the playing of Julian Bream. After the success of ‘The Golden Age of the Guitar in Europe’ (2CD, 96157), Brilliant Classics releases a second album by the French guitarist Pascal Boëls, a unique collection of music by 17th and 20th-century English masters. In a booklet introduction, the guitarist explains how he sees Dowland as ‘a universal genius, eternal wanderer who – already! – knew how to rub shoulders with all facets of the human soul.’ Pascal Boëls plays a personal selection of Dowland’s piece originally written for solo lute, pieces which embody a spirit of introversion such as the ‘Forlorn Hope’ Fancy and the ‘Lachrymae’ Pavan which became famous across Europe, much imitated and adapted by other composers of the day.\u003c\/p\u003e\n\u003cp\u003eLightening the mood are also the kind of courtly dances and romances which delighted the composer’s aristocratic patrons such as the Earl of Essex and King Christian of Denmark. The English guitarist Julian Bream played Dowland’s pieces on the guitar from an early stage of his career, and made a best-selling album of them for RCA. It was this antique palette of gentle, musing expression that inspired Benjamin Britten to write a Nocturnal for guitar which builds as a sequence of eight variations towards (rather than away from) the Dowland song on which they are based. The resulting work, according to Bream, was the greatest solo work ever written for guitar, exploring a slippage between wakeful and dream states with a subtle ambiguity between major and minor harmonies and a language that bridges the divide between the 17th and 20th centuries.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012457484522,"sku":"5028421970134","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4247981-3141841.jpg?v=1786639835"},{"product_id":"fiorillo-36-caprices-op-3-for-violin-transcribed-for-viola-marco-misciagna","title":"Fiorillo: 36 Caprices, Op. 3 \/ Misciagna","description":"\u003cp\u003eFederigo Fiorillo (1755-1823) is principally remembered now as a composer, and in particular the author of a set of solo Caprices which formed a method of which formed a method of instruction for every advanced violinist. Until now, however, they have never been recorded on Fiorillo’s ‘second’ instrument of the viola; and indeed complete recordings of the set, even on violin, are very few.\u003c\/p\u003e\n\u003cp\u003eWith this new recording, Marco Misciagna demonstrates that these 36 pieces have much more than pedagogic interest to them. While they systematically address technical issues in the bow arm and fingering, testing the player’s technique for playing octaves, multiple stopping, passagework, chromatic scales and so on, Fiorillo was a Italianate melodist who naturally wrote and thought in long, cantabile lines which are as grateful to hear as they are to play.\u003c\/p\u003e\n\u003cp\u003eBorn in 1984, Marco Misciagna studied in Bari and Rome and then with Salvatore Accardo; he now lives and works in Spain. Among his previous recordings is a Brilliant Classics album of a similar undertaking, the 41 Capricci for viola by Bartolomeo Campagnoli (1751–1827).\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012459450602,"sku":"5028421970189","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4230667-3141842.jpg?v=1786676278"},{"product_id":"j-e-bach-6-sonatas-for-violin-fortepiano","title":"J.E. Bach: 6 Sonatas for Violin \u0026 Fortepiano \/ Pisana, Paciariello","description":"Johann Ernst, the third-born son of Johanna Sophia Siefer and Johann Bernhard Bach, was a musician and organist at the Georgenkirche in Eisenach. He was taught first by his father and then, from January 1737 in Leipzig by his uncle and godfather Johann Sebastian Bach, when he moved there to attend the Thomasschule and later to study law. He was forced to abandon his studies there in 1741 upon being called back to Eisenach to help his ill father, and though Ernst missed the musical activity at Leipzig he was persuaded by Johann Sebastian to remain by his father's side. He eventually succeeded him in the organist post at Eisenach in 1749.    J.E. Bach's 6 Sonatas for fortepiano \u0026amp; violin are among the few works the composer managed to have published during his lifetime: the first three in 1770 and the remainder in 1772. Although critics deemed them to be 'too modern', they were received so well by the public that a new edition was released in 1775.     Their title does not bear the designation 'with violin accompaniment' typical of the time but rather 'sonatas for fortepiano and a violin': the two instruments are afforded equal importance. In the final three sonatas, the structures become more complex and reveal inspiration from early proponents of classicism like C.P.E. Bach. Although Johann Ernst was known as an organist and harpsichordist, the writing in the fast movements and the lyricism of the slow sections, as well as his inclusion of dynamic markings, suggest that these works were designed for the newly invented fortepiano. All six sonatas are divided into three movements, alternating fast-slow-fast in line with Italian symphonic style.     Other information:  - Recorded July 2023, Capranica, Italy  - Bilingual booklet in English and Italian contains liner notes by the artists, as well as their biographies  - Susanna Pisana plays a violin by Bernardo Calcagni (c.1740); Maurizio Paciariello plays a fortepiano built by Ugo Casiglia, after a model by Anton Walter (1798)    - Johann Ernst Bach (1722-1777) was a distinguished composer of the Bach musical dynasty, though less recognized than his famous relatives. As the youngest son of Johann Sebastian Bach's half-brother, he inherited a legacy of musical genius. In his early life, Bach studied at the Lateinschule in Eisenach from 1732 to 1735. On 16 January 1737 he entered the Thomasschule in Leipzig, where he then became a pupil of his uncle Johann Sebastian Bach. Being a student of J.S Bach, he assisted his uncle in copying his music. Later he became Hofkapellmeister in Eisenach.  - Johann Ernst's compositions, spanning vocal works, chamber music, and keyboard pieces, shows his innovative approach, blending the Baroque style of his family with emerging Classical elements.  - This new recording presents 6 sonatas for violin and fortepiano. The writing of the fast movements and the cantabile of the slow ones, as well as the presence of dynamic indications, suggest that these works are aimed at the new piano, not the harpsichord.   - Played by Maurizio Paciariello and Susanna Pisana.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012461449450,"sku":"5028421970219","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4353008-3201875.jpg?v=1786649476"},{"product_id":"dvorak-2-serenades-vavrinek-mardirossian","title":"Dvořák: 2 Serenades \/ Vavřínek, Mardirossian, Czech Chamber Philharmonic Orchestra Pardubice","description":"\u003cp\u003eNew Czech recordings of perennially popular serenades from the pen of Dvorak at a turning point in his career, full of freshness, Bohemian charm and flowing melodies. The Serenades for Strings and Winds never get old, and never lose their appeal, especially in the hands of musicians who feel this music in their bones. The opening of the Serenade for Strings issues the warmest welcome to a world poised between the 18th and 19th centuries, looking back in terms of its reassuring character as music for nocturnal entertainment, yet also unmistakably belonging to the Czech composer’s own place and time – Prague, 1875 – with its Bohemian turn of harmony and yearning cantabile. Composed three years later as a counterpart, the Serenade for Winds marks a development in the composer’s technique – more elegant handling of counterpoint and melodic development – from the earlier work. At the same time, the Mozartian air of good-natured humour is even stronger. Both serenades relax into slow movements of poetry without pathos, and each of them was composed within less than a fortnight’s work, testifying to the inspiration felt by the composer as he worked at his material. The melodies seem to come, as Richard Strauss later said of himself, as easily as a cow giving milk.\u003c\/p\u003e\n\n\u003cp\u003eThe Czech Philharmonic Chamber Orchestra Pardubice has made several albums of Czech repertoire for Brilliant Classics and Piano Classics, most recently the neglected Piano Concerto of Dvorak (PCL10272), as well as the complete piano concertante works of Chopin with Ekaterina Litvinseva, and the Cello Concerto of Dvorak (95696). The recording was made under studio conditions in the orchestra’s home concert hall, yielding a warm, transparent sound which is ideally suited to these intimate pieces.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012462366954,"sku":"5028421970301","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4289561-3141844.jpg?v=1786649691"},{"product_id":"couperin-dynasty-19-cd","title":"Couperin Dynasty","description":"\u003cp\u003eAdmiration for the French composer, harpsichordist and organist, \u003cstrong\u003eLouis Couperin\u003c\/strong\u003e continues to grow steadily today, but it was not so during his lifetime. The first important edition of his work in modern times, in its latest revision by Thurston Dart (used for this set), catalogues 129 pieces as authentic. Collectively, they help to place Couperin among the greatest composers of the 17th century alongside Frescobaldi, Chambonnieres, Froberger, and D’Anglebert.\u003c\/p\u003e\n\u003cp\u003eThough he wrote religious works as well as chamber music, harpsichord music forms the lion’s share of Louis’s nephew \u003cstrong\u003e\u003cspan class=\"expandableItem\" data-mce-fragment=\"1\"\u003eFrançois Couperin\u003c\/span\u003e\u003c\/strong\u003e’s output: 235 pieces in all, most of them published in the four volumes (or Livres) of Pièces de Clavecin, divided into 27 ordres.\u003c\/p\u003e\n\u003cp\u003eLike the better-known Jacques Duphly and Claude Balbastre, \u003cstrong\u003eArmand-Louis Couperin\u003c\/strong\u003e belongs to the last generation of French harpsichord composers. The modesty and success which profited Armand-Louis handsomely during his lifetime rather dimmed the light of his creative legacy. He published little during his own lifetime. One of only a few opuses, the magnificent volume of Pièces de clavecin deserves consideration alongside the viol fantazias of Purcell and the Lachrymae of Dowland, examples of lateness in music, where the fruit has ripened beyond high summer, yet there is much of interest in these pieces, beyond their historical value at the end of a distinguished family line.\u003c\/p\u003e\n\u003cp\u003eArmand-Louis’s son, \u003cstrong\u003eGervais-\u003cspan class=\"expandableItem\" data-mce-fragment=\"1\"\u003eFrançois Couperin\u003c\/span\u003e\u003c\/strong\u003e, studied with his father then replaced him at the Sainte-Chapelle organ. His keyboard compositions reveal a profound understanding of the delicate nuances and expressive capabilities of the harpsichord, characterized by elegance, refinement and meticulous attention to ornamentation. Yet Gervais-François was also a virtuoso on the new instrument of his day, the fortepiano, and this set features his music performed on that keyboard of greatly expanded expressivity.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eREVIEW\u003c\/b\u003e:\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003eBrilliant Classics’ Couperin Dynasty collection usefully gathers together François’s four dazzling books of harpsichord pieces (Michael Borgstede), Massimo Berghella playing harpsichord suites by Louis (historically the first important member of the Couperin family), harpsichord pieces by Armand-Louis (cousin of François) played by Yago Mahugo and catchy, vivacious fortepiano music by Gervais-François (a son of Armand-Louis and a contemporary of Beethoven) adeptly performed by Simone Pierini. The range of music on offer stretches from Gervais-François’s feisty variations to François’s majestic Passacaille, one of the finest masterpieces in the genre. It’s a musical feast to relish, more varied than you might expect. Excellent sound, too, and informative notes by Michael Borgstede, Peter Quantrill, Brigida Cristallo and Massimo Berghella.\u003cp\u003e— Gramophone \u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012463153386,"sku":"5028421970516","price":48.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4281846-3124880.jpg?v=1786639572"},{"product_id":"sibelius-britten-barber-part-romanza-music-for-string","title":"Romanza - Music for Strings \/ Famà, Orfeo Orchestra","description":"This album features two compositions  by Jean Sibelius from different  moments in the Finnish musician's life.  The Impromptu Op.5 for string  ensemble is an early work from 1894, in  which Sibelius uses some thematic  materials from his solo piano  impromptus Nos. 5 and 6 from the Op.5  set. The Romance in C Op.42 (1903) was  composed during a difficult phase in the  composer's life caused by excessive  alcohol consumption, which prompted  him to leave Helsinki and move with his  wife near to Lake Tuusula, where he  could dedicate himself to composition  far from the temptations of the Finnish  capital. The piece is divided into short  sections in which the melodic ideas  arise from fragments of the octatonic,  or diminished, scale of alternating  whole and half steps supported by  dissonant harmonies that add further  tonal instability.  Samuel Barber's typically inspired  melodic vein emerges from the very  beginning in his Serenade Op.1 for String  Quartet or String Orchestra, dating from 1928.  Featuring chromaticism's and dissonant  passages, a duality is established between a  first, rhythmic and impetuous thematic idea  and a lyrical melody. The final movement  brings greater serenity and joy through the  choice of a major mode and the adoption of a  graceful and leaping theme whose fragments  pass in counterpoint between one voice and  another.  When Benjamin Britten composed his Simple  Symphony Op.4 he was just 20 years old, and  he describes the idea in an introduction to the  score: 'This \"Simple Symphony\" is entirely  based on material from works which the  composer wrote between the ages of nine  and twelve [.]. Although the development of  these themes is in many places quite new,  there are large stretches of the work which  are taken bodily from the early pieces - save  for the re-scoring for strings'. In effect, Britten  extrapolates eight themes from his juvenile  compositional production, associates two of  them with each movement and creates a  structural mix between the four movements of  a Classical symphony, the dances of the  Baroque suite and popular folklore.  Da pacem Domine is a Gregorian style piece  composed by Arvo Pärt in 2004 to  commemorate the victims of the Madrid  terrorist attacks on trains, which killed 192  people. Pärt first composed a version for four  voices on the text of a Latin prayer. That  atmosphere of contemplation is preserved in  his subsequent edition for chamber orchestra.  The modal composition, in D Dorian, conveys  the feeling of a search for calmness, a request  from man to God for peace in the wake of such  a tragedy. Scattered appearances of B flat and  the leading tone (C sharp) mitigate and add a  piquancy to the modal atmosphere.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012464103658,"sku":"5028421970578","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4344103-3187711.jpg?v=1786636090"},{"product_id":"schneider-4-flute-sonatas","title":"Schneider: 4 Flute Sonatas","description":"World premiere recordings of beguiling flute sonatas written on the cusp of the early-Romantic era in Germany.  Almost completely forgotten in our own time, Johann Christian Friedrich Schneider (1786-1853) once enjoyed substantial fame as a pianist, composer, teacher and musical organiser. He was born in 1786, 16 years after Beethoven, in the same year as Weber and the Brothers Grimm, and received his first musical education from his father. His talent was evident from an early age, as he learnt the piano and several other instruments. Breitkopf \u0026amp; Hartel published his Op.1, a set of piano sonatas, in 1804; he went to study in Leipzig, where he became organist of the Thomaskirche, and settled there for his 20s, giving the local premiere of Beethoven's 'Emperor' Concerto in 1811.   A standard German work of reference from 1838 cites Schneider 'among the living German masters of music'. From the evidence of these four sonatas for flute and piano, it is hard to see why his name should have so comprehensively vanished from view. Schneider composed the first of them, his Op.18, in 1808, and it follows the same Classical exemplar as Beethoven's first eight violin sonatas, and all of Mozart's in being written for a pianist with an accompanying melody instrument rather than the other way around. Over the course of the following three sonatas, the flautist becomes more independent, and his Op.61 Sonata of 1827 requires a virtuoso.   Schneider wrote the first three sonatas in a four-movement form, breaking ground in this way by elevating the flute sonata from it's previous association with pretty variation sets and pot-pourris of operatic themes. This originality extends to the finales of all four sonatas - notably the Second, which is cast in G minor against the prevailing G major tonality (foreshadowing in this way the 'Italian' Symphony of Mendelssohn).   In his booklet essay for this new recording, the flautist Daniele Ruggeri pays tribute to the 'simple but bewitching' trios of each sonata, and to Schneider's 'profound understanding of the expressive character of the different registers of the flute' in the slow movements. Based in Venice, Ruggeri has played across the world and recorded for many major labels. With this album of Schneider he revives an unjustly neglected contemporary of Beethoven and Schubert, and does so on an instrument of the period.    - Johann Christian Friedrich Schneider was a German composer, conductor, organist, and pianist of the early Romantic period. Born in Saxony, he was a highly respected musician during his lifetime, known for his contributions to church music, orchestral works, and chamber compositions. He earned his place in history as the pianist premiering Beethoven's 5th piano concerto.  - Schneider's flute sonatas are elegant and expressive works that reflect the stylistic transition from the Classical to the Romantic era. Blending lyrical melodies with intricate harmonic textures, the sonatas are technically challenging and musically rewarding for performers. The flute sonatas follow the traditional sonata form, typically structured in three or four movements, combining virtuosic passages with expressive slow sections.  - Played by Italian flutist Daniele Ruggieri and pianist Luigi Caselli.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012465053930,"sku":"5028421970608","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4426893-3394340.jpg?v=1786672068"},{"product_id":"martin-complete-music-with-flute","title":"Martin: Complete Music with Flute","description":"A unique combination on record of chamber music by the Swiss composer, surveying the development of his voice and career through the medium of the flute.     One of music's late starters, Martin grew up as the tenth child of a Swiss pastor and his wife, surrounded by the music of Bach and Mozart. Only once Ernest Ansermet had founded the Orchestra de la Suisse Romande in 1918 did the 28-year-old Martin begin to discover and become captivated by the sensuality of Debussy and Ravel, and this stylistic dichotomy continued to play out in his own music.     Among the most polished and individual of his early works is the set of four love-sonnets composed in 1921 to poems by the 16th-century balladeer Pierre de Ronsard. Already the influence of modernism is apparent on the angular and even ascetic shape of Martin's melodic invention, and yet a gentle, atmospheric mood pervades the cycle; this, too, would become a hallmark of his sound-world.     In 1939, Martin began what would become a series of instrumental ballades with the competition piece which is still his best-known work for flute. In the same year, he followed it up with a Ballade for alto saxophone which he then arranged for flute; both works are fine examples of Martin's ability to reconcile serialism with tonality. A neoclassical (or rather, neo-Baroque) spirit infuses the Sonata da Chiesa of 1940 with solemn, Protestant gravity, yet the flute part still sings with the lyricism of the early Sonnets.     From after the war, the Trois Chants de Noel (1947) distil the mystery of Christmas into three brief settings of texts by the Swiss poet Albert Rudhardt (1894-1944). A trio of Minnelieder (1961) masterfully strips Martin's language to the bone in a distinctive 'late style', where flute and guitar support and punctuate the sung line with an archaically flavoured modernity. Almost all these works have attracted no more than one or two recordings, but gathered together by these expert Italian musicians, they paint a new and compelling portrait of Martin as a spiritually engaged modernist.    - Frank Martin (1890-1974) was a Swiss composer, who lived for most of his life in The Netherlands. Hs oeuvre spans orchestral works, oratorios, and chamber music. Martin's style defies easy categorization, blending elements of neoclassicism, serialism, and Gregorian chant. His vocal works reflect his spiritual depth and musical mastery.   - Frank Martin wrote a not a large but a significant number of works for flute, including the Ballade for flute and piano (1939), the Deuxieme Ballade for flute and piano (1939) and the Church Sonata for flute and organ (1941). Of these three, only the Ballade is an original work for flute, as the Deuxieme Ballade and the Church Sonata are the author's transcriptions of earlier scores. Also included in this new recording are works for soprano and instrumental ensemble, featuring flute, oboe, harp, viola and cello.  - A fascinating collection of a highly original voice in 20th century music!   - Played by Daniele Ruggieri, Monica Bacelli and several excellent Italian instrumentalists.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012466168042,"sku":"5028421970615","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4353009-3201876.jpg?v=1786636479"},{"product_id":"baermann-clarinet-quintets-graaf-schubert-consort-netherlands","title":"Baermann: Clarinet Quintets \/ Graaf, Schubert Consort Netherlands","description":"\u003cp\u003eNew recordings of early-Romantic quintets by the supreme clarinet virtuoso of his day, an inspiration to Weber and Mendelssohn but also an accomplished composer in his own right.\u003c\/p\u003e\n\u003cp\u003eHeinrich Baermann's career took off once he met Carl Maria von Weber in 1811. Weber was immediately taken with the French-accented brilliance and German richness of tone which Baermann drew from his instrument, and began to write a series of works – including two concertos and a concertino – which still rank among his most inspired instrumental pieces, as well as defining a new sound and reach for the clarinet as a solo instrument The clarinet, now thanks to Baermann, could take on multiple roles, as leader, jester, and magus-like figure to complement the likes of Paganini on the violin and Giuliani on the guitar.\u003c\/p\u003e\n\u003cp\u003eWeber pushed Baermann’s technique to new heights of facility and eloquence, which in return inflected Baermann’s own works for his instrument with comparable ambition. He wrote three quintets for clarinet and string ensemble, the first of them more concerto-like in character, the latter two full-scale chamber works. They have been recorded complete only once before, making this new album from a fine team of Dutch musicians all the more welcome.\u003c\/p\u003e\n\u003cp\u003eEspecially impressive are the slow movements of the quintets, cast as arias without words in order to capitalize on the fluid legato of Baermann’s playing, but formed with an economy of means which leaves their themes lingering in the mind’s ear. The Adagio of the Op. 23 Quintet was misattributed to Richard Wagner for many years, which speaks for Baermann’s craftsmanship, even if its harmonic language evidently belongs to a generation or two after Mozart. Now restored to its rightful place, the Adagio is the crown jewel, but there are treasures in store throughout Baermann’s clarinet quintets.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012467216618,"sku":"5028421970622","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4299803-3141845.jpg?v=1786639732"},{"product_id":"reger-3-suites-for-cello-solo","title":"Reger: 3 Suites for Cello Solo","description":"Reger: 3 Suites for Cello Solo, Op. 131c","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012468166890,"sku":"5028421970639","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4371443-3238030.jpg?v=1786709415"},{"product_id":"brilliant-jadin-sonatas-piano-with-violin","title":"Jadin: Sonatas for Piano with Violin","description":"\u003cp\u003eAccording to Marek Toporowski, the French composer Hyacinthe Jadin (1776–1800) authored ‘the greatest masterpieces of the French literature for the fortepiano from the time of the Revolution.’ Despite dying in poverty from tuberculosis at the age of 25, Jadin accomplished much in his brief life, composing both orchestral and chamber music with a bias towards his own instrument, the piano. This includes concertos and the sonatas featured in this collection, which also offer an optional violin accompaniment. Although several published collections have not survived or been recovered, including a further 12 sonatas for the keyboard.\u003c\/p\u003e\n\n\u003cp\u003eIn a previous album on Brilliant Classics, Toporowski produced a definitive modern recording of Jadin’s Sonatas Opp. 4-6 (96958). In the present collection, he presents Opp. 1 and 3, along with Jadin’s trio of Op.1 string quartets in the composer’s own arrangement for piano and violin. Toporowski finds a pre-Romantic sensibility in this music, with tantalizing anticipations of Schubert, Weber, and even Mendelssohn in Jadin’s heightened language of expression, which ventures far beyond the conventional forms of his contemporaries.\u003c\/p\u003e\n\n\u003cp\u003eAn important point of reference for Jadin was nonetheless the music of Haydn. The Op.1 String Quartets, as played here in the composer’s transcription, are dedicated to Haydn and contain very obvious references to this composer’s style, particularly to his refined modulations. Jadin was also active in Paris while Jan Ladislav Dussek was living in the French capital. As a later co-creator of the London school of piano playing, Dussek seems also to have had a great influence on the young virtuoso. There are salient points of comparison between these sonatas, whether played solo on piano or with their optional violin part, and with the sonatas for the same forces written by Dussek and recently recorded for Brilliant Classics by Petra Somlai, Julia Huber, and Miriam Altmann.\u003c\/p\u003e\n\n\u003cp\u003eJadin’s music has never previously been documented in so comprehensive and stylish a manner as in this evolving series from Marek Toporowski, and the quartets receive their first recording in this arrangement, which will appeal to all collectors of Classical-era curios.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012469182698,"sku":"5028421970653","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4313763-3141846.jpg?v=1786814863"},{"product_id":"reger-complete-organ-music-marini-17-cd","title":"Reger: Complete Organ Music \/ Marini","description":"\u003cp\u003eThe most comprehensive survey ever made of Reger’s organ music, on a range of superb Austrian, German, and Swiss instruments: a fitting tribute to the composer on the 150th anniversary of his birth.\u003c\/p\u003e\n\u003cp\u003eRoberto Marini's feat of performing Reger's entire output for organ in Italy within a single year (2002) was followed in 2011-13 by this remarkable achievement on record. On the basis of authoritative new critical editions compiled by the Max Reger Institute, Marini recorded the works on historical instruments of Reger's time, which with their orchestral richness of color and dynamic possibilities correspond to the soundworld of an epoch that believed in progress in every dimension and embodied a kind of striving heroism as an attitude to both life and art.\u003c\/p\u003e\n\u003cp\u003eFirst released in individual albums on the Fugatto label, this box compiles Roberto Marini’s Reger albums complete for the first time, together with an authoritative essay by Suzanne Pepp on Reger’s output for organ.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012470132970,"sku":"5028421970660","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4275095-3124908.jpg?v=1786648907"},{"product_id":"de-araujo-organ-music-soares","title":"De Araujo: Organ Music","description":"\u003cp\u003ePedro de Araújo (c. 1630-1707) is an important figure in Portuguese keyboard music of the late 17th century. His oeuvre consists of a total of 13 keyboard works, one of them with merely attributed authorship. These have come down to us through two manuscript sources in Portuguese collections: the Livro de obras de Orgaõ juntas pella coriosidade de Fr. Roque da Conceição, a source dated 1696, and the Livro de Obras de Órgão, a source compiled in the 17th and 18th centuries and originating in the Bouro Monastery (Braga). De Araújo’s output covers the genres that were in vogue in his day on the Iberian Peninsula (e.g. Batalha, Tento, Meio Registo, Fantasia) and which constituted the traditional repertoire of Iberian keyboard players in the service of ecclesiastical institutions.\n\u003cbr\u003eThe Batalha do 6º Tom and the [Susana] do 2º Tom hark back to the 16th century tradition of intabulating existing vocal works, the former based on the chanson ‘La Guerre’ by Clement Janequin, the latter on ‘Susane un jour’ by Orlando di Lasso, a famous vocal work throughout Europe and the target of many other composers’ intabulations.\n\u003cbr\u003eThe Phantasias, Obras and Tentos fall within the stylistic sphere of the tento (Spanish: tiento), an Iberian genre characterised by contrapuntal writing and multiple contrasting sections. In them De Araújo displays his mastery at weaving contrapuntal lines and varying the thematic material. The Consonâncias de 1º Tom corresponds stylistically to a tento de falsas (Sp.: tiento de falsas \/ It.: durezze e ligature), with the work developing in a succession of dissonances. The Passo solto de 7º Tom is a work entirely in triple meter with a succession of iambic rhythms reminiscent of the vilancico style.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012473180394,"sku":"5028421970769","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4281845-3124909.jpg?v=1786662335"},{"product_id":"henze-reinventions-arrangements-mozart-c-p-e-bach-vitali-caroli-tifu-battigelli","title":"Henze: Reinventions of Mozart, C.P.E. Bach \u0026 Vitali \/ Padova-Veneto Orchestra","description":"\u003cp\u003eGerman composer Hans Werner Henze’s (1926–2012) admiration for the great masters of the Baroque and musical Classicism manifested in compositions born from a desire to transcribe, rework and transform 17th- and 18th-century masterpieces into new orchestral textures. The project Travestimenti (Disguises), managed by conductor Marco Angius and the Orchestra di Padova e del Veneto, from which this CD was created, makes reference to Henze’s ‘reinventions’ of masterpieces by Mozart, C.P.E. Bach and Vitali, clothed in new, modern fashion.\u003c\/p\u003e\n\u003cp\u003eFor the Drei Mozart’sche Orgelsonaten, Henze takes up three of Mozart’s one-movement Kirchensonaten (church sonatas or trio sonatas). Sonatas 17 and 15 are in an Allegro tempo, whereas the Sonata K.67 is marked Andantino, so Henze, in his transcription, places the latter between the two livelier tempos, thus reconstructing the tripartite structure of a classical three-movement sonata. Scored for an ensemble of 14 players that includes the less common, softer variants oboe d’amore and viola d’amore, it aims to underline the darker instrumental timbres, favouring the sombre sonorities of the alto flute in G, the bass flute in C, the bass clarinet and the bassoon. During the last year of his life, in 1787, Carl Philipp Emanuel Bach composed a Fantasia libera per tastiera sola (Free Fantasia for keyboard alone) which he expanded into the Clavier-Fantasie mit Begleitung einer Violine (Fantasy for harpsichord with violin accompaniment), one of his most personal and expressive works.\u003c\/p\u003e\n\u003cp\u003eHenze transcribed it for solo flute, harp and strings, aiming to project the extremely interesting and expressive harmonic material of the composition into a larger instrumental apparatus, thus making its future-oriented harmonic structures more manifest and moulded. He proposed two options for division of the: string quartet + string quintet or string quartet + tutti (the latter version is recorded here).\u003c\/p\u003e\n\u003cp\u003eAlthough it was probably composed in the early 18th century, Vitali’s Ciaccona ‘Il Vitalino’ – whose musical form is inspired by dance and consists of variations on a ground bass – was only rediscovered in 1867, published by the German virtuoso violinist Ferdinand David. Henze’s Il Vitalino raddoppiato – called “raddoppiato” (“doubled”) because of his extension of the composition by means of interpolated variations of each original section in the style of 18th-century doubles – retains Vitali’s bass almost throughout the entire composition. It alternates Vitali’s variations on his chaconne theme with Henze’s variations of Vitali’s variations, in an ever-changing dialogue between the 18th-century past and Henze’s present.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012474065130,"sku":"5028421970776","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4247982-3141848.jpg?v=1786650766"},{"product_id":"buxtehude-collection","title":"Buxtehude Collection","description":"With this exemplary set, Brilliant Classics has formed a vivid picture of the composer Dietrich Buxtehude across the most important sectors of his output, drawing on a rich back catalogue crowned with new recordings.    More than half of the set is devoted to the ambitious, monumental recording cycle of the complete keyboard music on 10 CDs undertaken by organist-harpsichordist and label stalwart Simone Stella in 2010-11. This pride of place for the solo keyboard is natural considering Buxtehude's own prodigious gifts as a performer on the instruments - and it is this repertoire, through it's ease of dissemination, that exerted his compositional influence most widely on the generations to come, which included the great J.S. Bach and G.F. Handel, born almost 50 years later.    But his works in vocal idioms were equally ground-breaking. For this, Brilliant have licensed important sets from 1996 and 2000 of cantatas for small and larger forces originally issued on the Dacapo label, of Buxtehude's native Denmark, featuring the great Emma Kirkby and Danish bass Johan Reuter, as well as a 2002 Canadian recording of cantatas for one, two and three soloists from Naxos. Brilliant Classics supplement these treasures with a vocal gem in their own catalogue: Buxtehude's great cycle of seven cantatas, Membra Jesu nostri, in a 2021 recording by Groningen's Luthers Bach Ensemble.    Finally, the chamber music is offered in a new release from Amsterdam-based ensemble Fantasticus, recorded in 2023 and comprising the Trio Sonatas Opp. 1 \u0026amp; 2, with an addendum of sonatas in manuscript, on 3 CDs.    Other information:  - Recordings date from 1996-2023  - 32-page booklet in English contains extensive liner notes by Simone Stella (keyboard music), Tymen Jan Bronda (Membra Jesu nostri), Jon Baxendale (chamber music), Kerala Snyder (vocal music) and Kevin Mallon (sacred cantatas)    - Dietrich Buxtehude (c. 1637-1707) was a Danish-German composer and organist. He is recognized for bridging Renaissance and Baroque musical traditions, influencing composers such as J.S. Bach and George Frideric Handel.  - Born in either Helsingborg, Sweden, or Helsingor, Denmark (the exact location remains uncertain), Buxtehude spent much of his career in Lubeck, Germany, where he served as organist at the Marienkirche (St. Mary's Church) from 1668 until his death.  - As a composer, Buxtehude is recognized for his organ works, including preludes, fugues, and chorale variations. His music blends intricate counterpoint with an expressive, almost improvisational character, making him one of the most significant figures in early Baroque music. His Abendmusiken concerts, held in Lubeck, became famous throughout Europe, attracting musicians from far and wide, including a young Johann Sebastian Bach, who famously walked over 250 miles to study with him.  - Buxtehude composed a wide variety of vocal and instrumental works, including cantatas, sonatas, and oratorios. His sacred music, marked by it's spiritual depth and complex textures, remains a significant part of the Baroque choral repertoire.  - This comprehensive collection contains the complete organ music, harpsichord music, chamber music, and a variety of choral works, among which the famous and moving \"Membra Jesu Nostri\".  - Excellent performances by keyboard player Simone Stella, Peter-Jan Belder and his ensemble, the Luthers Bach Ensemble.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012478390506,"sku":"5028421970851","price":51.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4397830-3320932.jpg?v=1786657527"},{"product_id":"antonioni-my-river-music-for-strings-ashkenazy-antonioni","title":"Antonioni: My River - Music for Strings \/ I Solisti Aquilani","description":"\u003cp\u003eThe legendary pianist and conductor joins his clarinettist son and Italian musicians in music by one of Italy’s most powerfully individual living composers. Born in 1971, Francesco Antonioni studied in Rome with Azio Corghi and then in London with Julian Anderson and George Benjamin: a formidable pedigree of teachers testifying to the strength of both his technique and his creative voice, which became internationally known in 2001 with a string quartet written for the Venice Biennale. Since then, Antonioni has gone on to assemble a substantial catalogue of fastidiously crafted works for both the stage and the concert hall.\u003c\/p\u003e\n\n\u003cp\u003eThis collection features two pieces for string orchestra, Ballata and Sull’ombra, alongside his concerto for clarinet and viola, Lights after the Thaw. Premiered in 2009, Ballata arose from a commission of the Birmingham Contemporary Music Group, to be conducted by Benjamin, and takes its initial inspiration from an anonymous lullaby, and a ballad by the 14th-century composer Francesco Landini. These are songs about love, seen from two opposite points, near the beginning and the end of life, and their meeting-point in this modern Ballata is bittersweet and charged with tension.\u003c\/p\u003e\n\n\u003cp\u003eThe origins of Sull’Ombra are no less distinguished. Yuri Bashmet conducted the Moscow Soloists in the premiere in 2014. Antonioni found himself moved to write it by lines of John Donne, which themselves reminded him of poetry by Eugenio Montale. The shadows here are dark indeed, though always lit with imagination, and harmony that leads the listener on, just as the concertante Lights after the Thaw draws out the intrinsically songful character of both solo instruments, in search of a point of reference amid a pervasive melancholia. There is a refined ear for harmony and texture evident in all three works, which reward attentive listening by anyone interested in the music of today.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012479308010,"sku":"5028421970868","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4289562-3141850.jpg?v=1786662180"},{"product_id":"molino-complete-guitar-sonatas","title":"Molino: Complete Guitar Sonatas","description":"Francesco Molino (1768-1847) was born into a family of violinists in Ivrea, near Turin. There, and for a time in Genoa as well, he made a career as a virtuoso violinist himself, until at the age of 50, he moved permanently to Paris.  Once in the French capital, Molino began a new phase of his musical career, which coincided with a significant increase in the number of works he published - almost all of which were dedicated to the guitar, both as a solo instrument and as part of chamber formations.  Molino made a significant impact on the Parisian musical world, as is demonstrated by the huge success of the first edition of his Nouvelle Methode pour la Guitare, which had some 400 subscribers both in France and in other European countries (Belgium, Netherlands, Switzerland and Italy). Over the years Molino revised and added to the methos, and various editions of it were published in a number of languages, with a Spanish version even reaching Mexico and Havana.  The works presented in this recording were all published as 'sonatas' by Molino, who explicitly stated that they were intended for performance by solo guitar. He uses three main structural types for these sonatas.  The first has a romance as a first movement, followed by a rondo (Sonatas Op.1 No.1, Op.15 No.2 and Op.51). The second begins with a short maestoso introduction that is characterised by initial chords and octaves in succession, evoking the orchestral colour of certain operatic overtures. This movement ends with an interrupted cadence and is followed by a theme with variations, before a final rondo (Sonatas Op.1 No.2, Op.15 No.1 and No.3). The third type begins with an allegro first movement in sonata form (in bipartite 18th-century style, featuring two distinct themes with a tonic-dominant relationship) that is followed immediately by a final rondo (Sonatas Op.1 No.3, Op.6  No.1 and No.2).   All the sonatas reflect Molino's evident mastery of the art of composition as well as a certain freedom in his approach to musical form. These elements, combined with a refined use of harmony and a deep understanding of the instrument, give the composer a highly personal stylistic language and make Molino one of the most interesting figures in the guitar repertoire of the 19th century.    Other information:  - Recorded June and October, Rome, Italy  - Booklet in English contains liner notes by the artist, along with his biography  - Claudio Giuliani plays a guitar by Antonio Mari´n Montero (Granada, 1995) strung with D'Addario Pro Arte EJ46 strings    - Francesco Molino (1768-1847) was an Italian guitarist, composer, and violinist, born in Ivrea near Turin, Italy. At the age of fifteen, in 1783, he enrolled in the band of the Piedmont Regiment as an oboist, a post which he resigned in 1793. He dedicated himself to the guitar and built an impressive international career. Later he settled in Paris where he became a famous teacher.  - This new recording presents the complete Sonatas for Guitar, characterized by their classical elegance and intricate melodic lines, reflecting the stylistic influences of his contemporaries such as Mauro Giuliani and Fernando Sor.  - Molino's sonatas often feature a balanced structure, typically adhering to the classical sonata form with multiple movements including allegro, adagio, and rondo sections. The highly accomplished writing features rapid arpeggios, delicate harmonics, and dynamic contrasts. They form a challenge to the performer but a delight to the audience.  - Brilliantly played by Claudio Giuliani, whose previous recordings for Brilliant Classics include works by Diabelli (BC 94614) and Cimarosa (BC 94172).","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012482912490,"sku":"5028421970929","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4362752-3219443.jpg?v=1786662004"},{"product_id":"berr-opera-fantasies-for-clarinet-piano-2","title":"Berr: Opera Fantasies for Clarinet \u0026 Piano","description":"The name of Friedrich Berr (1794-1838) is well known to young clarinettists across the world, as the author of solos, duets and methods for students to learn the instrument. His more elaborate pieces have largely been forgotten, except for a Rossinian fantasia which has often been mistaken for the work of his more illustrious friend. Now Luigi Magistrelli sets the record straight with a collection of fantasias and arrangements, most of them taking operatic pieces by Auber and Rossini for their subjects, a set of 'Instructive Variations' and an arrangement of the Overture to Rossini's L'assedio di Corinto, for two clarinets, where he is joined by his sister Laura Magistrelli. The album opens with a fantasia on Auber's La muette de Portici, and continues in similarly spectacular vein with a fantasia on Rossini's William Tell. Luigi Magistrelli explores the significance of Berr's arrangements in a booklet essay: 'Examining the many clarinet compositions of Berr, nowadays completely forgotten, I selected the most interesting ones. Most of them are structured with a typical form involving introduction, theme and variations of both well-known and less known operas of his epoch. The Solos and Fantasies have appealing melodies and quite demanding technical passages well-conceived for the clarinet's expressive resources.' As an experienced soloist, teacher and chamber musician, Luca Magistrelli has led several albums of clarinet-centred chamber music for Brilliant Classics. 'This offbeat disc","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012483797226,"sku":"5028421970943","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4335061-3177907.jpg?v=1786654004"},{"product_id":"szabo-complete-solo-piano-works-balog","title":"Szabó: Complete Solo Piano Works \/ Balog","description":"\u003cp\u003eCsaba Szabó (1936–2003) composed music in almost all genres: orchestral and vocal\/choral-orchestral works, chamber music, songs, choral works, staged works, incidental musical for theatre, and solos. From this important and varied oeuvre, this recording presents the complete works for piano solo of Csaba Szabó.\u003c\/p\u003e\n\u003cp\u003eHis piano pieces were composed over a period of almost three decades, between 1955 and 1981, and it is striking to hear the extraordinary transformations in form, technique, and richness of message that the composer’s style underwent.\u003c\/p\u003e\n\u003cp\u003eHe was born in Ákosfalva (Acățari), Transylvania (Romania), in 1936 and graduated in composition from the G. Dima Academy of Music in Cluj-Napoca (Kolozsvár) under the tutelage of Gábor Jodál and János Jagamas, themselves both students of Zoltán Kodály. His first piano pieces are youthful compositions in which – beyond an abundant joy of composing for the piano – we discover his preferences and sources of inspiration: the appreciation of classical formal structures in the Studies: Vivace e Trio and playful Scherzando, the variation form (the composer’s favorite) in the 5 Variations, expressive and dramatic virtuosity in the Bagatel and the Little Suite’s Toccatino ungharese movement, and the accumulation of percussive effects in the Dance with the Fate. His studies and research into folk music led to inspiration from folk-song: the four movements of the Little Suite are a fine example of this, but perhaps even more beautiful are the Roaming Tune and the large-scale variations Moving away. The Parlando, Giusto e Corale, written in 1973, surprises the listener with a truly avant-garde turn.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012486516970,"sku":"5028421971049","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4257598-3141852.jpg?v=1786646312"},{"product_id":"hoffmann-mandolin-quartets-5028421971179","title":"Hoffmann: Mandolin Quartets","description":"\u003cp\u003eThere is still much we do not know about the veritable mandolin-mania of late 18th-century Europe, particularly Vienna, which in that period was home to the three greatest musicians of the Classical period: Haydn, Mozart and Beethoven. The instrument certainly enjoyed dazzling success in Viennese musical circles, embraced by the cultured aristocrats who resided in the Habsburg capital, and its meteoric rise was supported by some extraordinary virtuosos who helped promote its high-quality and fast-growing repertoire.\n\u003cbr\u003eGiovanni Hoffmann’s refined chamber music featuring the mandolin was warmly received among the Viennese elite, making him one of the foremost figures behind the burgeoning mandolin repertoire of late 18th-century Vienna. Very little is known about his life; the Italianate first name alongside a clearly central-European surname adds to the mystery shrouding his birthplace and sphere of education.\n\u003cbr\u003eHoffmann was both a mandolin virtuoso and an esteemed composer. In 1799, the music merchant Johann Traeg advertised a list of the mandolin scores available to purchase from his shop on Vienna’s Singerstraße. It included a Trio for mandolin \u0026amp; bass by Hoffmann, and that same year, the composer released a further number of manuscript works through Traeg including his Quartets for mandolin, violin, viola \u0026amp; cello and\n\u003cbr\u003eSerenatas for mandolin \u0026amp; viola. Hoffmann’s work is recorded again in Austria in the early decades of the 19th century, but – like his birth – the place and date of his death have not yet come to light. His music, however, lives on, a testament to his talent for composing delightful music in a Classical style evoking the fascinating gatherings of the Viennese literati.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012487401706,"sku":"5028421971179","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4281843-3124935.jpg?v=1786662296"},{"product_id":"macdowell-beach-barber-summer-dreams-american-piano-duets-emma-abbate-julian-perkins","title":"Summer Dreams - American Piano Duets \/ Abbate, Perkins","description":"\u003cp\u003eBoth Beach and MacDowell were formidably accomplished pianists who wrote concertos in barnstorming virtuoso style, for themselves and their contemporaries to play, but they could also turn their hand to the lucrative domestic market for piano-duet music. In doing so they also tapped into the 19th-century, Romantic preoccupation with childhood which Schumann had encapsulated in his Kinderszenen of 1838.\u003c\/p\u003e\n\u003cp\u003eMacDowell wrote his Moon-Pictures Op. 21 in the winter of 1884–5 and subtitled them ‘after H.C. Andersen’s Picture-Book without Pictures’, referring to an 1848 collection of short bedtime stories.\u003c\/p\u003e\n\u003cp\u003ePublished in 1901 and dedicated to the composer’s niece, the six duets of the album’s title collection, Summer Dreams by Beach, are shorter and technically simpler than the Moon-Pictures, but they are prefaced by literary quotations which once more indicate that this is not music for children so much as music for adults to play to children, and for adults to play at being children. In any case, simpler means and fewer notes need hardly imply naivety of expression, and Beach’s self-taught technique was too rigorous to allow anything less than the most deftly fashioned work to escape her desk.\u003c\/p\u003e\n\u003cp\u003eComposed in 1883, Beach’s brief 3 Movements for piano duet are the work of a prodigiously talented teenager who knows her early-Romantic piano literature – including Kinderszenen – inside out, but who also understands at this stage how to emulate rather than merely copy her models.\u003c\/p\u003e\n\u003cp\u003eIn the following year of 1884, the 23-year-old MacDowell wrote his 3 Poems Op. 20. Strictly speaking, Hamlet and Ophelia is the outlier in this collection, since MacDowell composed it in 1894 as a tone-poem for orchestra in the Lisztian manner, and then made this two-piano transcription rather than leaving the work to the kind of professional arranger habitually commissioned by publishers for such work. Nevertheless, he took the kind of care over it that Brahms did in arranging his symphonies, and the piano-duet version retains the brooding tension of the opening and effectively transfers the violinistic surges of Hamlet’s main section to the keyboard.\u003c\/p\u003e\n\u003cp\u003eThe album’s final collection takes a chronological leap forward to 1952, but its nostalgia-drenched mood belongs to an intermediate age. ‘One might imagine a divertissement in a setting of the Palm Court at the Plaza Hotel’, Barber explained in a letter to his publisher, ‘the year about 1914, epoch of the first tangos. Souvenirs – remembered with affection, not in irony or with tongue in cheek, but in amused tenderness.’ Barber, it should be noted, would have been four years old at the time, and so these are ‘souvenirs’ in the manner of sepia-tinted postcards.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012488253674,"sku":"5028421971186","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4299804-3141853.jpg?v=1786664175"},{"product_id":"carcassi-6-fantasies-for-guitar","title":"Carcassi: 6 Fantasies for Guitar","description":"Carcassi: 6 Fantasies for Guitar","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012489302250,"sku":"5028421971209","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4368188-3236434.jpg?v=1786709419"},{"product_id":"byrd-organ-works","title":"Byrd: Organ Works \/ Belder","description":"In 2023 Brilliant Classics released a 9CD box of the complete keyboard music by William Byrd, marking the tercentenary of the composer's death. The set was welcomed as a monumental achievement, and a worthy sequel to Davitt Moroney's pioneering achievement on Hyperion: 'Those who enjoyed Belder's forthright and imaginatively ornamented Byrd performances in his complete Fitzwilliam Virginal Book survey will know what to expect,' wrote Jed Distler in Classics Today. 'He favors less agogic manipulation and more conservative rhythmic continuity compared to Hyperion's Davitt Moroney. However, a palpable sense of controlled freedom informs Belder's subtle placement of cadences and phrase endings and his flexibly articulated ornaments.' Extracted from that critically acclaimed set, the present album presents all the pieces recorded bv Pieter-Jan Belder on the at the Albert Kiespenning organ of the Grote Kerk in Wijk bij Duurstede. The degree to which any of these pieces was written 'for organ' may remain open to question, when they could be performed, with allowance for some imaginative liberties, on any keyboard instrument, and indeed many contemporary pianists have revived Byrd's music for a new generation of listeners. Whether experienced on a Steinway or a spinet, Byrd is the first great composer for the keyboard, even when producing instrumental versions of choral anthems. Belder includes several such pieces here, which find a natural home 'in church' rather than the domestic setting of the harpsichord. Two versions of Salvator Mundi are effectively forerunners of chorale preludes; likewise three versions of Clarifica me. Several voluntaries lie no less idiomatically on the organ despite their highly florid writing, while the assorted preludes or fantasias and their companion fugues also deserve to be regarded alongside notable pre-Bachian models by Frescobaldi and Buxtehude. According to Early Music Review: 'As for performance, Belder's strength is in allowing Byrd to speak through the music rather than inflicting an interpretative regime upon the music... It remains wholeheartedly to welcome and recommend this fine discographical achievement.'","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012490186986,"sku":"5028421971254","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4353011-3201878_c54ebcab-80cf-410f-95ad-62f500052e85.jpg?v=1786713615"},{"product_id":"guitar-music-from-serbia","title":"Guitar Music from Serbia","description":"Vlastimir Trajkovic (1947-2017) studied with Olivier Messiaen and was the first Serbian composer to - from the early 70s - structurally apply elements of minimalism to what was a primarily impressionistic harmonic idiom in his music. His 10 Preludes for guitar is a work of refined melodies and subtle harmonies containing the composer's musical reminiscences of Serbian, Brazilian and Spanish traditional music, as well as jazz. Isidora Žebeljan (1967-2020) possesses a musical originality that is the product of an exceptionally authentic capability to organically fuse musical elements from various spheres of influence (from old Balkan folk traditions to rock and pop music) into new, as yet unknown sonic contexts. Her 3 Pieces for guitar are tender and filigreed, like a children's guide through a world of fairy tales, with delicious echoes of the Balkan and Mediterranean. The Intimate Letter from Judean Desert, with it's lonely, distant and almost endless melody, was written as chorale for any combination of instruments or voices. Dusan Radic (1929-2010) studied with both Milhaud and Messiaen and created an authentic integration of musical elements from folk and popular music, together with modal chant and jazz. His joyful Vignettes are derived from his earlier choral music, reusing some old, funny, almost childish folk tunes. Veljko Nenadic (b.1998) is the recipient of multiple international awards. He studied composition as a child prodigy with Isidora Žebeljan and writes music characterised by powerful energy, surprise, humour and emotional delicacy. His Festa na lua (Portuguese for 'Party on the Moon') pays homage to Brazilian composer and multi-instrumentalist Hermeto Pascoal and the generations of musicians who created post-bossa nova Brazilian jazz. Dragana Jovanovic (b.1963) composes in an eclectic, postmodern idiom, often with baroque motoric rhythms and virtuosic display. Pushc y Me ('Let me go') is her arrangement for double bass and guitar of an old traditional song from North Macedonia. Her composition Pure Energy evokes the energy in tenderness, slightly coloured by elements of blues. Dusan Bogdanovic (b.1955 has developed a personal style combining classical music, folk musical traditions, Byzantine chants and jazz. For his Preamble and Ricercare for violin and guitar he opted for the musical ambiance of the early baroque and renaissance music for lute, with it's delicate modal harmonies. Vuk Kulenovic (1946-2017) combines Balkan folk musical elements with minimalism, as well as the Byzantine modes which he also placed into the minimalistic musical context. His energetic, moving music uses the Balkans' aksak (irregular, additive) rhythms combined with repetition. Toccatina is a virtuosic miniature with a motoric and restless musical flow.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012492021994,"sku":"5028421971452","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4392352-3307344.jpg?v=1786686914"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/collections\/3_45924070-7624-4fa6-bf28-219789a6423a.png?v=1790177458","url":"https:\/\/arkivmusic.com\/collections\/brilliant-classics-sale-2026.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}