While Handel was in Italy, the country’s vocal traditions influenced him greatly. He wrote a substantial amount of Italian cantatas and mini operas. They are based on secular texts, many of which deal with Arcadian tales and myths, usually about unrequited love. The three cantatas on this release are for tenor solo, and are sung by young Spanish tenor Jorge Juan Morata. Performing on period instruments, the Ensemble Recondita Armonia beautifully performs the two Sonatas which serve as an instrumental entr’acte between the cantatas. The ensemble has already recorded for Brilliant Classics to much critical acclaim.

This is a reissue of a successful recording from the Brilliant Classics catalogue of the Cantata Apollo e Dafne, as well as the instrumental Suite from the Alchemist.

Francisco Tarrega's works are at the foundation of every classical guitarist's repertoire with his famous Recuerdos de la Alhambra, one of the most beautiful pieces ever penned for the guitar being perhaps the most well known. Among Italy's leading guitarists, Giulio Tampalini presents Tarrega's well known works along with his many preludes inspired by the Romantic composers Chopin, Schumann and Mendelssohn, and rounding out this comprehensive collection, his many transcriptions of staggering breadth of canonical classical repertoire arranged for guitar. Including extensive notes on the composer written by Angelo Gilardino.

Gronau: Chorale Variations for Organ, Composer Daniel Magnus Gronau, Artist Matteo Venturini organ, Format 1 CD, "The finest musical soul ever to have graced the city of Danzig": these are the words of Friedrich Gottlieb Gleimann, written in regard to his predecessor Daniel Magnus Gronau. Little is known about Gronau's life, other than he was titular organist at St John's Church in Danzig - where he earned an exceptionally high salary: 100 florins per quarter. His music was highly acclaimed in it's day; after his death, the Chapter of St John's bought the manuscript of a cycle of chorale variations for organ from his sister, paying a third as much again to have it handsomely bound in two volumes. Gronau left a small treatise on transposition and four books of keyboard music, the Chorale Variations of which form the subject of this engaging release. Similarly structured and containing between two and five variations (the first of which normally utilizes the chorale as a fugue subject), the works reveal the far more 'modern' approach adopted by Gronau in relation to the rest of his northern contemporaries - Es wird schier der letzte Tag, for example, requires the right hand to play on two keyboards against a continuo-like accompaniment in the left hand and pedals. The Variations certainly represent one of the most extensive compendiums of organ registrations to survive from the late Baroque period of organ music in Germany, and on hand to perform is Matteo Venturini, winner of no less than eight competitions and a regular at prestigious international music festivals across Europe and America. Venturini, with his thesis on Gronau's organ music, is clearly an expert in this field of repertoire; here, on his 13th recording, he reveals the sheer quality of this composer's music, making a strong case for why the Danzig genius is worthy of rediscovery and re-evaluation. First recordings, Recorded on 19, 20 & 22 May 2013, Church of San Rocco, Larciano (Pistoia), Italy. This CD contains the first recording of the complete Chorale Variations by Daniel Magnus Gronau, a master from 17th century Danzig. He wrote a treatise on transposition, and the Chorale Variations form one of the most extensive compendiums of organ registrations of late Baroque organ music in Germany. Organist Matteo Venturini is a winner of no less than 8 prestigious organ competitions. He wrote a thesis on the organ music of Gronau. He plays on a magnificent Ghilardi Organ in the Church of San Rocco, Larciano.

Italian composer and guitarist Angelo Gilardino has been at the forefront of contemporary classical guitar music for over 40 years. His legacy is fittingly recognized by Cristiano Porqueddu, himself already firmly established as one of Italy's leading guitarists, who pays tribute to the composer with this integral release of Gilardino's works. Recorded in chronological order, starting with compositions from the mid 1960s and ending with works written just a few years ago, Porqueddu delves in to the astonishing variety of music Gilardino has produced. From the 'dreamy' works of his early period - including Estrellas para Estarellas, Abreuana and Trepidazione per Thebit - a more formal style began to take hold from the 1980s, with the composer writing his first series of 12 studies (Studi di virtuosit� e di trascendenza) in 1981. He followed up this success by adding another 48 to the collection, and since the 2000s the 60 Studies have become a central part of Gilardino's oeuvre, having entered the concert programs of several prominent guitarists. Constantly striving to create a new type of dialogue between the guitar and accompanying instruments, Gilardino composed his first concerto for guitar and orchestra in 1996, sealing his reputation as an accomplished orchestral composer with an additional 16 concertos thereafter. During the 2000s, Gilardino returned to writing for the solo guitar, skillfully bridging the divide between atonal chromatic and diatonic modal music. Gilardino's compositions are inspired by music from all areas and epochs; from Mozart, Ravel and Messiaen to Scottish folk tunes and the beauty of the Mediterranean, there are few elements that are not represented in some shape or form in the composer's works. Porqueddu studied under Gilardino at the 'Lorenzo Perosi' Academy in Biella, and under the composer's guidance his compositions have won him international plaudits in his own right. Angelo Gilardino is one of the most important guitar composers of the last half century. His unique style is a blend of the old and new, folk art and contemporary music, from Mozart to Messiaen, all his works are illuminated by a warm and Mediterranean glow, a feeling of humanity and love for life. Included are all the works he wrote for guitar solo & guitar and orchestra. Included are his famous 60 Trancendental Studies. The set includes many world premieres. No better advocate and interpreter could be wished than guitarist Cristiano Porqueddu, a lifelong pupil and friend of the composer, sharing the same musical passions. Recorded in Nuoro, Italy, in 2012-15. Includes world premiere recordings. Contains extensive notes written by the composer especially for this release.

Mario Gangi (1923-2010) was among the pre-eminent Italian guitarists of his generation. Born in Rome to a professional jazz-musician father, Gangi graduated from the city's Accademia della Santa Cecilia and soon followed in his father's footsteps as both an orchestral bassist (with the local radio orchestra) and a guitarist. This latter career took off in the 50s: Gangi gave several important first performances of concertos by the likes of Petrassi and even Giuliani. A distinguished discography bears testament to a supremely fluent technician whose gifts as a shaper of melody are reflected in these brief songs for guitar on this album. According to the guitarist Alessandro Minci, these songs explore the most intimate and sensitive side of Gangi's output for the guitar, combining jazz, classical and popular idioms in an entirely personal voice and one which speaks with the eclectic, cosmopolitan spirit of his age. The album thus makes an essential complement to the Brilliant Classics issue of the 22 Studies drawn from the third volume of Gangi's influential guitar method. Several of them evoke natural landscapes; others cast wistful glances back at childhood, at the Baroque heritage of his instrument, and at past loves and passions. This is Minci's debut on Brilliant Classics. His experience in crossing musical boundaries and linking pop and classical idioms includes previous albums with the Trio Rhapsody, which he founded some years ago. Having studied in Italy, Minci now pursues a distinguished international career and leads the Note Classiche guitar festival.

Born in Genoa in 1819, Carlo Andrea Gambini began his career as a piano teacher to local aristocracy thanks to his family's privileged connections. Showing equal energy and invention in both words and music, however, he soon pursued parallel activities as a composer and a critic. He was friends with both Rossini and Mercadante but held Verdi's music in little esteem. His own music looks to the north of the Alps for it's inspiration: to Chopin and Schumann, Thalberg and Liszt. Though he engaged in operatic composition - writing a Christopher Columbus drama, for example - Gambini focused his compositional energies on piano music and vocal chamber works such as the Romanzas recorded for the first time on this album. This genre enjoyed huge popularity at the time in Italy, though it's format did not translate readily or survive well beyond the 19th century: the nearest equivalents would be English and German ballads, at least until Reinaldo Hahn cast a spell over the drawing rooms of fin-de-si�cle Paris. Cast between a song and an operatic scena, Gambini's romanzas set texts by contemporary lyricists such as Felice Romani (librettist for Bellini's Norma and much else besides) and the Genovese poet Giuseppe Torre. They talk of love and loneliness, the sea and the shore, and Gambini's settings burn with declamatory fire and passionate confession. This is the second album of Gambini's music on Brilliant Classics, following an absorbing survey of his organ music, played by Marco Ruggeri. The soloist here is soprano Benedetta Torre, whose career highlights include singing the High Priestess in Aida under Riccardo Muti at the 2017 Salzburg Festival, as well as Amelia Grimaldi at the Teatro Carlo Felice in Naples.

Classical Music

GALLIARD: PAN AND SYRINX

Classical Music

Characteristics of Frisina�s work can be found in the lush harmonisation of the choral movement �Psalm 45�, which is undoubtedly a highlight of the recording, and acclaimed Italian soprano Barbara Vignudelli sings the protagonist role, with David Scogna narrating. Organist Lorenzo Macr�, Coro Musicanova and the Nova Amadeus Chamber Orchestra are conducted by Flavio Emilio Scogna. New recording (17 March 2012 Cripta delle Ancelle della Carit�, Rome) by Italian soloists, choir and chamber orchestra, conducted by Flavio Emilio Scogna. Italian composer Marco Frisina (b.1954) sets this tale in a moving and appealing musical language, in the great Italian choral tradition, reaching back as far as Palestrina.

Frid's best known work is his chamber opera the Diary of Anne Frank for solo soprano and an instrumental group of nine. In stark, sinister and elegiac colors he expresses the fear, hope, anger and resignation which make Anne Frank's diary a universal message of humanity. Anne's story is brought to life by soprano Eva Ben Zvi, who won rave reviews for her interpretation of this demanding role. The performance is underpinned by the Bolshoi Theatre Orchestra and conductor Andrey Chistiakov.

Classical Music

On this new and interesting release, the works of two Italian Renaissance masters are performed on the accordion. The accordion is slowly emancipating, shedding its “light entertainment” image and claiming its right as a serious and valuable musical instrument. Its possibilities are enormous, its sounds and sonorities as varied as a church organ. This new recording presents keyboard works by Frescobaldi and Gesualdo, works which were intended for either harpsichord or organ, and therefore may be played on any keyboard instrument. The realization on accordion is fascinating in its fusion of both the harpsichord (its tactile precision) and the organ (its sustained polyphony.) Italian Francesco Gesualdi is one of the world’s foremost accordionists. He commissioned works for his instrument with many contemporary composers, and is well connected with composers such as Marucio Kagel, Sofia Gubaidulina and Wolfgang Rihm.

Juan Frances de Iribarren Echevarr�a (1699-1767) received his musical education at the Royal Chapel in Madrid. He was taught there by the composer Jose de Torres who, in 1717, recommended that Iribarren be appointed organist at Salamanca Cathedral. Sixteen years later Iribarren moved on to become maestro de capilla at the Cathedral of Malaga, the city in which he spent the rest of his life. On his death there he left a huge library of his own music - with the proviso that it not be copied and only performed at services in the cathedral. Such constraints have until recently prevented this marvelously vivid music from receiving the attention it deserves. The present album presents a tasting menu of Iribarren's work in various genres and from different periods of his career, Italian vocal styles over native, more vernacular idioms. There are four pieces written to mark the Immaculate Conception, composed over a 22-year period from 1743 to 1764, all unique in form, all devotional but quite different in material and expression. Irribarren's technique encompassed transparent polyphony as well as solo-vocal motets of a homely, often bucolic character. Several pieces here were composed to accompany the exposition of the Blessed Sacrament, and these are more intimate in tone. The selection focuses on pieces written for one or two solo voices with a small accompanying ensemble, but during his time in charge of the music at Malaga Iribarren assembled a team of 30 singers and instrumentalists including a plainchant choir, cantors, wind and string players, organists and boy choristers. The composer, organist, harpsichordist and conductor Federico del Sordo has a diverse discography on Brilliant Classics encompassing the full range of his musical talents and reviving several little-known Baroque composers such as Fasolo (95512), Bonelli (95816) and Salvatore (95146).