Challenge Classics
263 products
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Sonatas for violin & harpsichord
$16.99CDChallenge Classics
Jun 27, 2025CC 72971 -
-
Suonate per violino e violone o cimbalo, Op. 7, Vol. 1
Schubert: The Complete Symphonies (4 CD Set)
Ton Koopman 80 (4 CD-Set)
Chopin: A Private Story - Piano Works
Max Richter Remixed
Scarlatti: Sonatas
J.S. Bach: Six Sonatas for Organ, BWV 525-530
Isidora zebeljan - Three Curious Loves
Romberg: Grand Sonatas for Harp & Cello
Bernhard Romberg (1767-1841), a German composer much admired by Beethoven, was a great innovator in the cello technique. His Sonatas for harp and cello op.5 are a rare example of music for such combination of instruments. The musical material is distributed evenly between the two instruments. The writing, for its time, is to be considered at the limit of virtuosity.
Geminiani: Sonatas for violoncello
The Late Quartets, Vol. 1 - Beethoven, Op. 127 & Shostakovic
Holt: Canto Ostinato / Scholtes & Janssens Piano Duo
In 1963, Simeon ten Holt wrote in his diary that he had it in mind that a concert should be an ongoing performance, with visitors wandering in and out at will. Ten Holt was also fascinated by social processes during these highly formative years. He became interested in time and space. This theme manifested itself in a piece for four keyboards, at the time still entitled Perpetuum. He embarked on this on 19 January 1973. Perpetuum was completed in 1976 but was revised in the period 1976-79 and was then renamed Canto Ostinato. During rehearsals for the premiere, in April 1979, all of the themes that had been occupying Ten Holt seemed to coalesce: small elements that together made up a larger whole; a different form of concert; social processes arising from the freedom that the players had to decide on the number of repetitions; and time and space. Ten Holt never consciously went searching for this form, but when Canto Ostinato began to conquer the musical world it became clear that his solitary quest had drawn something universal from the mists, something that many listeners and musicians would recognise.
Srikandi
Mozart: The First Vienna Concertos - nos. 11, 12 & 13 / Ben Kim, Concertgebouw Chamber Orchestra
Third volume of Mozart Concertos with Ben Kim and Concertgebouw Chamber Orchestra. Concertos No. 11, 12, and 13 were Mozart’s first Concertos written upon moving to Vienna from Salzburg. In a letter addressed to his father Leopold, he described them as “a happy medium between too easy and too difficult; very brilliant, pleasing to the ear, and natural, without being vapid.” Once more Kim gives us a thoroughly personal and deep insight into the famous triptych. Kim stylishly extols the intimate as well as the majestic moments.
Concerts at the Abbey of Schlagl
J. & M. Haydn: Concerti for Violin, Viola & Harpsichord / Terakado, Amano, Pearls in Baroque
This disc couples the last Violin Concerto (1769) by Joseph Haydn with the Double Concerto for Viola and Harpsichord (1762) by his brother Michael: two rarely recorded early Classical gems. This is the debut recording of Pearls in Baroque Chamber Orchestra, composed by some of the best Baroque music players in the Netherlands. The artistic and performance direction is entrusted to two experienced musicians like Ryo Terakado and Noriko Amano.
Beethoven: Middle String Quartets
Mascitti: Sonate a Tre - Opera Prima
Fourth release by Matteo Cicchitti and his Ensemble Elegentia on Challenge Classics. World premiere recording of Triosonatas op.1 by Michele Mascitti. The work was published in Paris in 1704. In his time Mascitti was particularly esteemed and rightly considered a major testimonial of Italian instrumental music in France in the 18th century. In this oeuvre, which is for once a real discovery, Mascitti tries to combine the tradition of the Corellian sonata with the French 'gout' of the dedicatee, the Duke d'Orléans.
Beethoven: Sonatas, Op. 2
Richter: Recomposed - Vivaldi's Four Seasons / Rowland, Stift Festival Orchestra
Max Richter's The Recomposed Four Seasons has become an iconic piece. Richter discarded about three quarters of Vivaldi's original and substituted his own music. The new version sounds a little hipper, lighter on its feet in places, darker and more cinematic in others. Artfully, but faithfully, Richter rearranges the notes on the page, revealing anew the radiant melodies and lush timbres of the music. This new recording enjoys the flamboyant fantasy and the technical prowess of Daniel Rowland as solo violin.
Zelenka: Trio Sonatas ZWV 181; Ghosts
Beethoven: Complete Piano Concertos / Minnaar, de Vries, Netherlands Symphony Orchestra
Despite the very large number of recordings already made of this musical corpus, Minnaar and de Vriend have proved that they have something new and totally their own to say about this collection of masterpieces. And it is indeed the peculiar blend of sheer energy and esprit de finesse that can be identified as the distinctive brand or these recordings. Gramophone: "a Beethoven cycle [which] is a bold move, but one that pays off in all sorts of ways"
Handel: Freedom - Oratorio Arias / Verhaar, Fentross, La Sfera Armoniosa
Freedom is a dominant theme in the English oratorios of Georg Friedrich Handel. These grand works are mostly based on biblical stories that deal with resistance, suppression, captivity and, finally, freedom. Debut album by young countertenor Oscar Verhaar. Oscar selected eight arias drawn from Haendel's English oratorios. Diversified moods and atmospheres and the support of La Sfera Armoniosa baroque orchestra make this disc a constant pleasure to listen to.
Sonatas for violin & harpsichord
Brahms & C. Schumann: The Muse / Nino Gvetadze
We are proud to present the fifth disc by Nino Gvetadze on Challenge Classics. After Chopin, Scott, Schumann and Beethoven, we get to Brahms. Nino has selected three masterpieces from three different periods of Brahms's life. Schumann's disc (CC 72855): BBC Music Magazine:"This is, quite simply, gorgeous." Gramophone:"Gvetadze's sensitivity to Schumann's vaunted 'inner voices' is unsurpassed"
The year 1860 represented a turning-point in Brahms's life: he issued a 'Manifesto' in which he distanced himself from the Romanticism of the 'New German School' epitomised by Liszt and their association with Wagner's music-dramas. This aesthetic change of heart placed an emphasis on hard work and craftsmanship rather than the more Romantic conception of inspiration, with Brahms taking a particular pride in being both German and a self-made man. This ethos is reflected in the Variations and Fugue on a Theme by Handel, Op. 24. Brahms's two Rhapsodies, Op. 79 were composed in 1879 and were dedicated to his friend Elisabet von Herzogenberg. The title may lull the listener into a false sense of whimsy, when in reality these pieces are founded on clear structural designs. Three Intermezzos Op. 117: Brahms wrote of these three Intermezzos to his friend Rudolf von der Leyen, describing them as 'Wiegenlieder meiner Schmerzen': 'lullabies of my sorrow'. Each has the character of a soliloquy or introspective personal reflection.
Nino Gvetadze about this album:"Throughout his life, Brahms was influenced by those he admired: the musicians he idolized, and the women with whom he formed powerful bonds. Clara Schumann represented both, and Nino Gvetadze explores their fascinating dynamic in The Muse. Brahms's Two Rhapsodies Op. 79 were dedicated to Elisabet von Herzogenberg, whose loss he mourned in the Intermezzos Op. 117; and he was inspired by Handel to write a phenomenal set of Variations dedicated to Clara Schumann – whose Op. 21 Romances date from a time that neither she nor Brahms would ever forget."
