World-premiere recordings of six attractive concertos by a Neapolitan flautist-composer celebrated in 18th-century Dublin and London. Tommaso Giordani (1730-1806) arrived on the northern shore of the English Channel in 1753, as one of the youngest members of a conspicuously talented musical family, and found good reason never to return southwards. In Dublin he gave lessons to the boy John Field, who would later much surpass the fame of his teacher by creating the genre of the piano nocturne. Meanwhile Giordani had returned to the English capital, where he wrote most of his surviving compositions - such as this set of flute concertos, dating from 1775-9 and dedicated to a flute-playing baronet. Each concerto follows a familiar formal pattern: a sonata-form first movement, an introspective second, often rising to a considerable peak of intensity, and a sparkling rondo-finale. Within this pattern, Giordani finds space for continual variety: the form does not constrain his invention but (in classic Baroque practice) rather supplies an elegant vessel for it. As much as the good baronet, he was clearly writing with himself in mind as a soloist, and this is music written for display and delight, and played here in that spirit by a period-instrument ensemble of musicians based in Turin, led by the Italian flautist Giovanni Miszczyszyn. The recording was made in 2024 at the Chiesa della Santa Spirito in Turin where the musicians give a regular concert series. It is infused with not only a spirit of Giordani's age but with a chamber-music sense of collaborative enterprise.

Maria de Buenos Aires is a tango operita (little opera) composed by Astor Piazzolla (1921-1992) with a libretto by poet Horacio Ferrer. Premiering in 1968, the piece is one of Piazzolla's most ambitious and innovative works, blending tango, classical music, and surrealist poetry. It represents a major departure from traditional tango, showcasing Piazzolla's distinctive nuevo tango style-complex, dramatic, and infused with elements of jazz and avant-garde music. -The operita tells the symbolic and enigmatic story of Maria, a woman born "one day when God was drunk" in the slums of Buenos Aires. She becomes a tango singer and a symbol of sensuality and suffering. After her death, Maria's shadow wanders through the underworld of the city, encountering surreal characters such as the Duende (a goblin-like narrator) and a chorus of psychoanalysts, construction workers, and thieves. The narrative is abstract, filled with metaphors and mystical elements, portraying Maria both as a real woman and an allegory for Buenos Aires itself, particularly it's tango culture. Musically, Maria de Buenos Aires is richly textured, featuring bandoneon (a type of concertina essential in tango music), piano, violin, and voice. Piazzolla's score breaks traditional tango rhythms and harmonies, pushing the genre into new emotional and intellectual territory. The work is often interpreted as a meditation on identity, femininity, urban life, and rebirth. Despite it's initial mixed reception, it has gained recognition as a groundbreaking piece in 20th-century music and a key work in Piazzolla's oeuvre. Maria de Buenos Aires remains a vivid, haunting exploration of the soul of Buenos Aires, where tango is not just a dance or music form, but a poetic expression of passion, loss, and resilience. Performed by Ce Suarez Paz (soprano Maria), Cesare Chiacchiaretta (bandoneon), soloists and the Orchestra Filarmonica della Calabria, conducted by Filippo Arlia.

John W. Duarte (1919-2004) was educated at the Manchester University Faculty of Technology. He worked as a professional chemist until 1969, then abandoned chemistry in favor of full-time dedication to music, after having been persuaded by Len Williams, father of John Williams. His only formal musical education consisted in jazz guitar lessons with Terence "Terry" Usher, the rest he learned by self-instruction. He also worked professionally as a player of the trumpet and double bass, and regularly worked as a jazz musician, among others with Coleman Hawkins and Django Reinhardt. Duartes work shows an exceptionally wide range of styles. Some works reflect the Renaissance style of court lutenists such as John Dowland, other works alternate in style between aleatory, atonal and graphic, contained within a conventionally notated framework and allowing spontaneous reaction between the performers. In many other works he employs a tonal language, often coloured by the folk music traditions of various nations, and romantic in mood. John Duarte was a great admirer of America's musical styles. Three types of music are characteristically American: the folk music of the settlers from the British Isles, jazz, with it's African American origins and the music of the American musical theatre. All of these are exemplified in the musical programme of this recording: folk music in Variations on an American Folk Song (Colorado Trail) and Appalachian Dreams, jazz and blues in Sua Cosa and Simply Blues, and music of the theatre in the arrangements of songs by George Gershwin. Americana includes examples of each of these types of music. Included are the suite Americana, Simply Blues and Appalachian Dreams, as well as 12 arrangements of Gershwin songs. Played by Italian master guitarist Francesco Cipriani.

Giovanni Paolo Cima (1570-1630) was an Italian composer, organist, and violinist active during the transition from the Renaissance to the early Baroque period. He served as the music director at the church of Santa Maria presso San Celso in Milan, where he played a significant role in shaping the musical life of the city. Cima was part of a generation of Northern Italian composers who began experimenting with the emerging stylistic innovations of the early 17th century, particularly in instrumental music. One of his most important contributions is the collection Ricercari e canzoni alle francese, published in 1606. This work stands out as one of the earliest Italian publications to feature works for solo instruments with continuo, marking a significant development in the evolution of the Baroque sonata. The collection includes a variety of instrumental forms, notably ricercari and canzoni, which demonstrate his ability to merge contrapuntal techniques with expressive melodic writing. The ricercari are reflective of the older Renaissance tradition, often built on imitative counterpoint and showcasing Cima's command of structure and thematic development. In contrast, the canzoni are livelier and more sectional, pointing toward the emerging concertato style. These pieces often feature contrasting rhythms and clear melodic phrasing, suggesting the influence of vocal models on instrumental writing. Cima's music reflects both conservatism and innovation. While rooted in Renaissance polyphony, his Ricercari e canzoni anticipate the more dramatic and expressive instrumental music that would dominate the Baroque era. His work helped lay the groundwork for later composers like Dario Castello and Biagio Marini, contributing to the broader shift toward idiomatic instrumental composition and the increasing independence of instrumental genres in early 17th-century Italy. Played by Federico Del Sordo organ and harpsichord (organ: the Meiarini organ (1630), Chiesa S. Maria del Carmine, Brescia, the harpsichord built by Francesco Marini after anon. Italian, early 17th-century. Federico Del Sordo is one of Italy's foremost Early Music musicians and scholars, with an impressive discography to his name.

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).

The lute played a central role in the music of the 16th and a greater part of the 17th centuries. Whereas the organ occupied a leading position in the realm of church music, the lute was the most important solo instrument for secular music written at that time. Leaving the organ out of discussion, the lute was the most prestigious of 16th century instruments, eventually eclipsed in popularity and use by the harpsichord at the end of the 17th century. Nicolas Vallet, a Frenchman who lived in Amsterdam proclaimed it "the lute, rightfully called the King of all lnstruments." Lute-players during the 16th and 17th centuries fell into two categories. The first one was occupied by well-to-do amateurs who look to lute playing as an elegant hobby; and professional lute players occupied the second place, sharing their middle-class status with other craftsmen, like painters and furniture makers. The lute repertory of the 16th and 17th centuries covers a broad area of musical farms including: Arrangements of secular and non-secular songs from all West European countries either written for lute solo or with lute accompaniment. Arrangements of existing dances and new compositions for dances, such as: pavanes, gaillardes, passemezzi and allemandes. Arrangements and imitations of polyphonic instrumental music: fantasies and ricercares. Programmatic compositions such as portrayals of pitched battles (batailles) and carillon ringing (carillons). Compositions usually referred to as preludes intended to show the instrument in all it's technical glory. This rich selection of lute music composed in The Netherlands includes the composers Sweelinck, Adriaensen, Van Den Hove, Huwet, Valerius and Vallet. Played by one of the most distinguished lutenists of this time, Toyohiko Satoh. Reissue of a 1990 recording, originally issued on the NM Classics label.

Gaetano Donizetti was one of the most distinguished Italian composers of the first half of the 19th century. At that time, opera was the preeminent musical genre in Italy, and many top composers based their careers on it. Unlike his contemporary Italian opera composers, though, Gaetano Donizetti also devoted his art to chamber music, producing a good number of excellent works. Between 1814 and 1821, he wrote a number of interesting compositions that included both obligato clarinet or two clarinets in C, as well as demanding parts for basset horn. The voices of soprano and tenor are involved, even in a duet (Aria de Torrente). This album is indebted to Nico Bertelli for his research and publications concerning classical and early romantic arias with clarinet, and to Italian researcher Adriano Amore. � Giuseppe Donizetti�(a.k.a. Donizetti Pasha) was Gaetano Donizetti's older brother. He was a talented child and received lessons from Simon Mayr, the same teacher as his brother. In 1825, he became music master of an Austrian regiment stationed in Italy. In 1831, the Turkish sultan asked him to form the military band of his empire along the Central European lines. He managed to win great esteem and favour from the sultan, transferring the musical style of Italian music to the shores of the Bosporus with great success. He died in Constantinople on 12 February 1856. Giuseppe Donizetti wrote a large amount of music for military bands in many different combinations, but only a few of those works reached his homeland. There are also some vocal works and shorter piano pieces, published in Milan and Florence. - Recorded September 2023 in Cesano Maderno and in Ticino, Italy - Booklet in English contains liner notes by Luigi Magistrelli and profiles of the soloists and the ensemble - A delightful program of works featuring the clarinet in various settings by Gaetano Donizetti (1797-1848), one of the greatest opera composers of 19th century Italy, and his brother Giuseppe Donizetti (1788-1856), who was a military music master of an Austrian regiment stationed in Italy. In 1831 the Turkish Sultan asked him to form his empire's military band along central European lines. He was able to gain high esteem and favor from the Sultan, transferring the musical style of Italian music on the shores of the Bosphorus with great success. He died in Constantinople on 10 February 1856. - The program is highly varied and ranges from works for solo clarinet to arias for voices, clarinet and piano, and a wind sextet. Brilliantly performed by Luigi Magistrelli, one of the leading clarinet players of Italy, seconded by a fine selection of Italian soloists. Magistrelli made many recordings for Brilliant Classics with works by C.P.E. Bach (95307), Giuliani (95541), Kummer (94472), Archduke Rudolph (94952), Rebay (94171) and Fuchs (96305). 'Luigi Magistrelli is a skilled artist, with the fingers and the enthusiasm for Weber.' Gramophone.

The 4th volume of the Complete recordings of Dussek's Violin Sonatas, containing the two Sonatas Op.69 and the early Sonata Op.4. Johann Ladislaus Dussek (1760-1812) was born in rural Bohemia. He led a restless life, travelling Europe as a keyboard virtuoso and settling in several European capitals, notably Paris and London, where he became a fashionable pianist and teacher. His close connection to piano manufacturer Broadwood resulted in important innovations, notably the extension of the keyboard to 6 octaves. Dussek's style is rich, harmonically expressive and pianistically challenging, Classicism on the brink of Early Romanticism. This new recording presents the 3 Sonatas Op.1 and the Sonata Op.12 No.1. Carl Friedrich Cramer writes in the "Magazin der Musik" in 1783: "These sonatas are the only ones of their kind. Rich in new thoughts and traces of the author's great musical genius. Very brilliant, and appropriate to the instrument. The accompaniment of the violin is so artificially combined with the piano part that both instruments are kept in constant attention; so that these sonatas require a violin player who is just as skilled as a piano player." Played by Julia Huber, a prizewinner of the Locatelli Competition Amsterdam, and concertmaster of L'Orfeo Baroque Orchestra Linz and La Stagione Frankfurt. Miriam Altmann studied piano, fortepiano and harpsichord, she specializes in the Early Classical repertoire and recorded works by Gyrowetz. Both musicians play period instruments.

Seven pieces inspired by Bach's Brandenburg Concertos. A high-grade bio-vinyl LP transfer for a quirky album scored for a modern-jazz ensemble but crossing genre boundaries in a stylish fusion of Baroque, lounge, jazz and minimalism. Adler, Ibis, Western, Sheraton, Hyatt, Umai, Terminus. The titles of these instrumental songs evoke the restless nowhere space of the international hotel chain, where guests may feel at once at home, in a space of comforting familiarity, and yet curiously suspended from the world around and outside. Through the high-rise windows of a hotel, we see but are isolated from the surrounding cityscape, Tokyo or London or Los Angeles. The passage of time becomes redefined in these spaces, moving faster through the impermanence of one's stay and yet stretching out along their endless corridors, their smooth lifts and impersonal restaurants. All these sensations and impressions are evoked by Erik Bosgraaf and his colleagues. Passing impressions and sketches of particular places embed themselves within riffs and ostinatos. What is improvised, and what is composed? Such distinctions melt away. Meanwhile fragments of Baroque rhetoric - specifically, motifs and ideas drawn from the Brandenburg Concertos of Bach - surface from time to time, but on instruments and in contexts entirely foreign to Bach himself. In one sense, then, there is a kinship with the 'lift music' which accompanies listeners and guests on their frictionless passage to the 45th floor. In another, Bach is the grit in the oyster, reminding us that music is not another industrial process but the work of living genius. In Sheraton, the sublime melody from the slow movement of the First Brandenburg becomes stuck on a loop, while other instruments enter and leave. The album is a rich sonic metaphor for contemporary life but also a dream sequence as ideal in it's way for late-night consumption as the particular pleasure of a lonely brandy and soda, sipped in a penthouse bar while the world beyond flows ever onwards through it's diurnal cycle.

The largest collection of piano nocturnes on CD, celebrating the art of the romantic piano song without words. Over a century of repertoire in all modern recordings, plus a new booklet essay exploring the history and context of the nocturne. Composers of the 18th century such as Haydn and Mozart wrote notturnos as serenades to be sung and played at night time, both on an operatic stage and as independent pieces for entertainment. The early 19th century saw a rapid evolution in the technological, the cultural and the musical development of the piano - as an instrument of longer sustaining power and greater volume than before, offering a broader palette of tone-colours, presenting composers with the potential to write quasi-orchestrally for a single instrument, as Baroque composers had done for the organ. At the same time, musical forms were becoming looser, more shaped by extra-musical inspirations in literature, poetry and the natural world. The Irish composer John Field was the first to publish nocturnes for the solo piano as standalone works, rather than as poetic interludes within larger pieces such as suites or sonatas. Having inherited the form from Field, Frederic Chopin then raised the nocturne to new heights of inward expression. As much as the salon became a place for pianistic display of technique, it also became a space for quiet soliloquy through the course of the 19th century, accessible to the rapidly expanding bourgeoisie with access to an instrument at home and to the education required to play it. Thus publishers commissioned nocturnes from both greater and lesser composers to satisfy an ever-growing market. The nocturnes in this box cover all the great names of Romantic-era piano writing, and many lesser-known ones too. Many of the performances are played on instruments of the period, enabling listeners to immerse themselves into a 19th-century world of softer and more gentle colours and expression. This new box also features an essay by Peter Quantrill outlining the history of the nocturne and it's lasting hold upon our affections and imaginations.

Jean Langlais was born on February 15, 1907, in La Fontenelle, Brittany, France. He became blind from the age of two. Sent to the Paris National Institute for the Blind Youth in 1918, he studied piano, violin, harmony and organ with great blind teachers (among others Albert Mahaut and Andre Marchal). Later on, he entered the Paris National Conservatory of Music in the Marcel Dupre's organ class, obtaining a First Prize in 1930. In 1931, after studying improvisation with Charles Tournemire, he received the "Grand Prix d'Execution et Improvisation des Amis de l'Orgue". He completed his studies obtaining a Composition Prize in Paul Dukas' class at the Paris Conservatory in 1934. In 1945, he became the successor to Cesar Franck and Charles Tournemire at the prestigious organ tribune of Sainte-Clotilde in Paris. He gave countless concerts worldwide, and was a prolific composer. He died on May 8th, 1991 in Paris. Langlais' distinctive style combined traditional harmonies with contemporary techniques. His compositions often feature intricate organ textures and colourful harmonies, influenced by his background as a church musician. Langlais was also known for his use of modes and complex rhythms, which added to the unique character of his music. His works often have a strong emotional intensity and sense of drama, with frequent shifts in mood and dynamics. This is the third volume of the complete organ works includes sonatas, suites, Noels, the Symphony "Alla Webern", and many miscellaneous shorter works. Played by 3 excellent Italian organists: Giorgio Benati, Fausto Caporali and Alessandro Perin. The extensive booklet includes information on the organs used on this album.

Maurice Ravel and Gabriel Faure each contributed a single string quartet to the chamber music repertoire, but both works are masterful reflections of their distinct musical voices and the broader evolution of French music in the early 20th century. Ravel's String Quartet in F major, composed in 1903, stands as a defining work of French impressionism in music. Influenced by his teacher Faure and Debussy's quartet from 1893, Ravel's quartet is nevertheless strikingly original. The piece follows the traditional four-movement structure, but with bold harmonic language, refined orchestration for strings, and rhythmic innovation. The first movement is lyrical and elegant, while the second features pizzicato and dynamic contrasts that create a vibrant, almost playful texture. The third movement offers deep introspection, and the final movement reintroduces themes in a whirling, virtuosic conclusion. In contrast, Gabriel Faure's String Quartet in E minor, Op.121 is a late work, completed in 1924, shortly before his death. It was his only string quartet, and it reflects a more introspective, spiritual tone. Faure, already nearly deaf and physically weakened, poured into the music a sense of serenity and resignation. The three-movement structure (unusual for a quartet) avoids virtuosic display in favor of subtle textures and modal harmonies. The work unfolds slowly, with long, flowing lines and a remarkable economy of means, demonstrating his mature mastery of form and expression. Together, Ravel's and Faure's quartets represent two ends of a stylistic spectrum: Ravel's vibrant, youthful exploration of sound and structure contrasts with Faure's meditative farewell. Both works, however, reveal the expressive depth and refinement that define French chamber music at it's finest. As an important and substantial bonus to this recording we hear Ravel's Introduction & Allegro for flute, harp, clarinet and string quartet, a highly original and attractive work. Played by the Quartetto Nous, the Italian string quartet also engaged in the recording of the complete Shostakovich string quartets for Brilliant Classics, to great critical acclaim.

New recordings of High-Baroque concertos and sonatas by a forgotten English composer living in 18th-century Rome. Born in Leicester around 1673, Robert Valentine came from a family of musicians, but found his vocation and his career path once he moved to Rome in his 20s. Working as a violinist and flautist for several churches, he was evidently proficient in several other instruments such as the oboe, and quickly found his feet as a composer with an ear for public taste, and the ability to translate his instrumental virtuosity into original invention on the page. The present album takes a representative sample of that fluent invention with sonatas and 'concertos' (also written for chamber forces) from several different collections. A Sonata for two recorders holds instant appeal for anyone captivated by Vivaldi's writing for the instrument. A Concerto in B flat, for recorder, two violins and ensemble, is worthy of comparison with the work of the Venetian master, for it's brilliance and intensity. By contrast, the style of the 'Concerto con Flauto Traversiero' leans towards a crystalline simplicity, well suited to the delicate sound of the transverse flute of the period, and capable of producing those chiaroscuro effects and dynamic nuances that the recorder lacks. In each case, Valentine writes sensitively for his chosen forces. A pair of sonatas for flute and basso continuo, published in 1735 as part of Valentine's Op.13, are effectively elegant Baroque dance-suites - whereas an Op.13 published elsewhere under Valentine's name includes a violin sonata written in the galant style, full of rustic fanfares and flourishes. Founded and led by the flautist Enrico Casularo, Ensemble Afflatus specialises in the performance and recording of little-known, often unpublished music from 18th-century Italy. Casulero is also an editor of this repertoire, and a teacher of Baroque flute at the Santa Cecilia conservatoire in Rome. He is joined here by colleagues with no less expertise in the repertoire, and the album makes an ideal introduction to the art of Robert Valentine.

Antonio Duni and his better-known younger brother, Egidio, were sons of Francesco Duni, kapellmeister of the Matera Cathedral from the early 18th century. Antonio studied music in Naples as was the established practice at the time and as a composer and violinist himself became a kapellmeister. An extraordinary talent and restless genius, he left Naples in search of fortune, moving to Barcelona, then Vienna, then Madrid where in 1726 he became Master of the Royal Chapel; he then moved on to Paris, Trier and again Madrid, where in 1736 he befriended the famous singer and composer Carlo Broschi Farinelli, becoming director and choirmaster to the Duke of Osuna. By 1757 Antonio Duni could be found in Moscow, where he was commissioned by the rector of Moscow University to found the Moscow University Choir, a task that was to occupy him for more than eight years. This was followed by a short stay in Riga on the Baltic Sea and possibly a trip to China. From 1765 he moved with his wife and four children permanently to Schwerin in Germany, where in severe financial straits he died around 1766. The recent discovery of the 6 Sonatas is thanks to Thomas Suarez, a descendant of the Duni family on his mother's side, who, upon discovering a microfilm of the only printed edition in the Moscow State Library in 2019 produced the modern edition from which this recording was performed. The Sonatas were printed in Paris at the M. lle Vendome Publishing House (most active between the years 1737-1762), and the fact that the printed manuscript was found in Moscow suggests that Antonio Duni brought it with him on beginning his stay in the Russian capital (1757-65), suggesting the composition of the sonatas predates 1757. The six sonatas each feature four movements in the Corellian pattern, Lento-Veloce-Lento-Veloce. The melodic line presents cantabile themes that are never banal or "mannered", characterised by a strikingly original creativity on harmonic, phraseological and formal levels. The extremely precise articulation indications and passages modulating to keys not often frequented in the Baroque period make for challenging and interesting interpretative work. Taking up the subtitle's given option for flute in place of violin, this recording divides the sonatas between the two solo instruments. - Recorded May 2023 in Sammichele di Bari and Matera, Italy - Booklet in English contains liner notes on the works Thomas Suarez and on the composer by Claudia Di Lorenzo and Natalia Bonello along with a profile of the ensemble - The Italian liner notes & biography are available at www. Brilliantclassics. com - Born in Matera in 1709, Egidio Duni was taught by his father, the composer Francesco Duni. At the age of 9 he entered the Conservatorio in Naples, where his teachers were Pergolesi and Paisiello. His opera debut was in 1735 in Rome with Nerone, a resounding success. Like many of his generation he went to London where his opera Demafoonte (with the last appearance of the great castrato Farinelli!) was a sensation. A serious illness brought him to The Netherlands where he consulted the famous doctor Boerhaave, who cured him. He spent several years in Holland, composing instrumental chamber music for the amusement of the wealthy bourgeoisie. The last years of his life were spent in France, where he was one of the founders of the Opera Comique. - This new recording presents 6 sonatas written for either the violin or the flute, according to choice. On this recording three sonatas are played on the flute, and three on the violin. The music is charming, galant and highly melodious, entertainment at the highest level. - Played by the DuniEnsemble: Natalia Bonello (baroque flute), Vincenzo Bianco (baroque violin), Leonardo Massa (baroque cello), Claudia Di Lorenzo (harpsichord).

One of the most important vocal projects of recent years: the complete songs on 5 CDs by Nikolai Medtner, performed by Ekaterina Levental and Frank Peters. Nikolai Medtner was born in Moscow in 1880. After piano lessons with his mother he entered the Moscow Conservatory where he had lessons from Pavel Pabst and Sergey Taneyev. He won the prestigious Anton Rubinstein Prize at age 20. A younger contemporary of Scriabin and Rachmaninoff he was destined for a brilliant pianistic career but he chose to concentrate on composition. In 1936 he settled in London where he spent the rest of his life teaching and composing till 1951. Medtner's style is rooted in the 19th century, full-blooded romantic, with a highly personal harmonic and melodic language, often complex and dense, but hauntingly beautiful. His vocal works fuse intricate piano accompaniments with expressive melodies and poetic texts, often by Goethe, Pushkin, or Tyutchev. Ekaterina Levental was born in Uzbekistan. She settled in The Netherlands where she studied at the Conservatory of The Hague. She embarked on a successful career as singer, dramatist and theatre producer. Pianist Frank Peters is a highly respected Dutch pianist, both as soloist and chamber music partner. He is an indefatigable champion of the piano works of Medtner. 'Levental's soft high notes are truly exquisite, and she can do things with the voice that most modern singers cannot, such as to drain the voice of vibrato for expressive effect. All things considered, she is a virtuoso vocalist of the old school, and such artists are extremely rare nowadays... "We are very lucky to have a pianist like Peters, who fully understands this dichotomy, as the pianist on this album. " (Artmusiclounge. Com). "Levental has a dark, rich voice, but her pure tone is never burdened by excess vibrato... She couldn't ask for a more responsive partner than Peters, who reveals an astonishingly deft touch and an uncanny ear for detail. " Fanfare (Volume 1, 96056). "The phrasing is so perfect, the sense of line so keen, the rubato so natural sounding, that this seems the only way to sing them... this lucidity is due to the purity of Levental's voice, which she employs with sure intonation and minimum vibrato, as well with an exquisite (but always controlled) play of colour... This is a major release. " Fanfare (Volume 2, 96061).