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Fanny’s cantata Hiob, based on the Book of Job, is the second of three cantatas composed between February and November 1831, although it remained unpublished until 1992. Later in her short career, encouraged by her brother and her friend Robert von Keudell, Fanny did begin to publish her works. The Gartenlieder, Op. 3 for unaccompanied choir were composed in 1846, and inspired by the gardens and summerhouse at the family’s Leipzigerstraße residence, in Berlin, where she held her choir rehearsals. Mendelssohn’s Die erste Walpurgisnacht is a secular cantata, a setting of the poem by Goethe, originally performed in 1831. Mendelssohn revised the work extensively in 1843, and it is this later version that is performed here. 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Regularly touring in the UK, they have also released 25 albums (this is the 26th), covering a wide range of repertoire, including works by Korngold, Respighi, Ravel, Strauss, Rachmaninoff, Britten, Walton, Bliss, and Rodgers \u0026amp; Hammerstein. The album opens with Dukas' The Sorcerer's Apprentice, followed by Debussy's Clair de lune (orchestrated by John Wilson). Chabrier's Joyeuse Marche and Ravel's Une Barque sur l'océan (orchestrated by their composers) are followed by Saint-Saëns' symphonic poem Danse macabre. 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The music conveys all the misfortunes that the poet had to face, as if a mirror image existed between the poet and Schumann.    This release also features other songs based on texts by Heine, demonstrating the German poet's popularity with Austro-German composers of the early nineteenth century. Songs by Carl Loewe, Josephine Lang, Fanny Mendelssohn-Hensel, and Felix Mendelssohn complete this exploration of Heine's poetry.    In addition to Schumann's cycle, the other highlight of this recital is the first recording of a work commissioned by Helen Charlston from composer (and singer) Héloïse Werner: Knight's Dream, also based on a text by Heine, and conceived as a companion piece for Dichterliebe. 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The four selected sonatas K 27, K 213, K 247 and K 268 represent only a small selection of his immensely varied oeuvre and yet they illuminate all the different aspects of his extraordinarily creative composing. Scarlatti himself modestly described many of his sonatas as \"Essercizi per gravicembalo\". His sonata works contain every conceivable technical challenge, as he himself was one of the most sought-after and virtuoso harpsichordists of his time. Georg Katzer (1935-2019) composed the Five Miniatures in 1971. They are primarily to be understood as gestural music. Although the playing technique is traditional with a few exceptions (the use of the elbows or rolling hands), the miniatures reveal a wealth of ideas in musical forms of expression that evoke the most diverse sensations in a short space of time and space. The work Due to my admiration for D.S. was composed by Georg Katzer in 2001. 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Probably the freshness, open-heartedness and lively bustle of the people with their informal and open-minded disposition, living in a harbour city that opened up to the world early on thanks to it's location on the Mediterranean and blossomed through international trade. Without a doubt, only Vivaldi's music is able to convey these essential elements to us contemporary people in an easily understandable and simple way.    Miho Fukio (baroque bassoon) plays the 3rd CD here, together with Dominik Worner (bass) and the Ensemble F. 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With this project, I would like to present the music of Georgian composers from different eras, from the 19th century to the present, in order to give an impression of how the compositional traditions changed and how Georgian classical music developed. Despite the extraordinary musicality of our people, cultural traditions, folklore and Orthodox singing date back to the 4th century BC. Classical music emerged quite late (the first opera and ballet theatre in Georgia was founded in 1851 and the first opera \"?\" - \"Twilight\" was not written until 1923 by Zakhari Paliashvili). The reason for such a late development of classical music is the constant struggle for survival and the endless wars from all sides. Georgia is a state with more than 3,000 years of history and during this time there has not been a single generation, including myself and the younger ones, that has not experienced the horrors of war. Despite all this, we not only survived the fighting, but also preserved our culture, the Georgian language and script. Today, when Georgia has received the status of a candidate country and we have never been so close to Europe, the fate of my country is once again in danger. We are forced to fight for our rights and defend the constitution of our country, which is attacked from time to time by certain forces both inside and outside the country's borders. I really hope and want to believe that we will defend the interests of our country and give it the opportunity to continue on it's path towards European integration in order to become a worthy member of the EU family. I think that this album is relevant in the context of recent events and trends in the world. 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An organ by the famous Berlin organ builder Carl August Buchholz (1796 - 1884) no longer existed in the church. Is it possible to rebuild a Buchholz organ in such a way that it seems possible that C.A. Buchholz would have built this new organ in exactly the same way in 1840, for example? We organ builders at the Wegscheider organ workshop set ourselves this special task, having already restored and reconstructed several Buchholz organs, visited and examined other surviving Buchholz organs and were very familiar with this particular organ sound language of the first half of the 19th century in the Prussian lands. A suitable specification with 27 stops was created, an early Schwellwerk with side doors (entirely in the Buchholz style) was designed, the metal and wooden pipes as well as the reed stops were built according to the models and the voicing was adapted to the church interior in terms of response, sound volume and dynamics. Particular emphasis was placed on the feel of the keys, which must harmonise with what the player hears. The aim was not to build a particularly light action, but rather one that harmonised with the early romantic sound. The historical keyboard aesthetics with the stop action, the music desk, the swell lever, the historical proportions between the manual pianos and the pedal keyboard also serve to immerse the performer completely in the early romantic tonal spirit. Kristian Wegscheider, master organ builder Dresden, Henry Fairs, Professor of Artistic Organ Playing at the Berlin University of the Arts, plays the complete works for organ by Robert Schumann.","brand":"Ars Produktion","offers":[{"title":"SACD","offer_id":46012434022634,"sku":"4260052383766","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4386374-3290440.jpg?v=1786708339"},{"product_id":"planet-earth-works-for-solo-piano","title":"Planet Earth - Works for Solo Piano","description":"For her album Planet Earth, pianist Lisa Maria Schachtschneider has selected mainly romantic to late impressionist piano works and transcriptions from the four elements of fire, earth, water and air. Last but not least, as an artist she wants to promote a more conscious and sustainable approach to our environment and our resources.","brand":"Ars Produktion","offers":[{"title":"SACD","offer_id":46012434809066,"sku":"4260052383773","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4409976-3332353.jpg?v=1786678871"},{"product_id":"mozart-the-travelling-whirlwind","title":"Mozart: The Travelling Whirlwind","description":"The fourth volume of the complete recording of all 18 piano sonatas by W. A. Mozart - Mozart, the Traveling Whirlwind - includes the sonata movements in G minor, KV 15p, and Siciliano in D minor, KV 15u, from the London sketchbook of the 8-year-old Mozart; the sonata movement in B-flat major, KV 400\/372; and Sonatas Nos. 7, 8, and 9. Michael Wessel combines the insights of historically informed performance practice with the rich, colorful tone of the modern Bösendorfer concert grand piano in a refreshing way: a lively, contrasting mixture of speaking and singing characters.","brand":"Ars Produktion","offers":[{"title":"SACD","offer_id":46012435628266,"sku":"4260052383780","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4484241-3505409.jpg?v=1786632428"},{"product_id":"greene-jephtha","title":"Greene: Jephtha","description":"The passage of time has perhaps been unkind to the English composer Maurice Greene. By 1730 he was one of the most senior musicians in England: Organist at St Paul's Cathedral, Organist and Composer to the Chapel Royal, and Professor of Music at the University of Cambridge. When he was appointed Master of the King's Music, in 1735, he held every significant appointment in the Kingdom. Of course, the overwhelming presence of Handel in London at the time most certainly played a significant part in Greene's relative obscurity. His second attempt at oratorio, Jephtha, in 1737, marks the first successful foray by an Englishman in this genre. Brimming with attractively varied airs and choruses, powerfully emotive accompanied recitatives, and spirited orchestral movements, it is an engaging work. Taken from the Book of Judges, chapter 11, the account of Jephtha tells the story of a fearless Israelite warrior recalled from exile to fight for his people, a man not only of great valour but, as it transpires - thanks to an impulsive and fateful pledge - of profound honour, too, destined to assume his place as their worthy ruler. Christian Curnyn directs his Early Opera Company forces with a dazzling cast of soloists: Andrew Staples takes the part of Jephtha, joined by Mary Bevan, Michael Mofidian, and Jeremy Budd.","brand":"Chandos","offers":[{"title":"SACD","offer_id":46012443066602,"sku":"0095115040829","price":43.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4404946-3329235.jpg?v=1786660398"},{"product_id":"c-p-e-bach-sonatas-for-keyboard-violin-podger-bezuidenhout","title":"C.P.E. Bach: Sonatas for Keyboard \u0026 Violin \/ Podger, Bezuidenhout","description":"\u003cp\u003eThe Baroque dream team of Rachel Podger and Kristian Bezuidenhout interpret the astonishing music of C.P.E. Bach’s Violin Sonatas in C Minor, B Minor, D Major and G Minor. The two early sonatas here from the 1730s resemble the older style of his father. Listening to these works, you can imagine J.S. Bach glancing over Emanuel's shoulders while he wrote them as a teenager at home in Leipzig. The later sonatas, written 30 to 50 years later, reveal an emancipated composer whose developed musical language embodies the 'Empfindsamer Stil', the directly emotional and rhetorical style characteristic of northern-german music of the time.\u003c\/p\u003e\n\u003cp\u003eRachel Podger writes: “It was wonderful to delve into the specific musical world that belongs to C.P.E. Bach for this recording with Kris. These violin sonatas are (quite unfortunately!) largely overshadowed by the classical Viennese sonatas of Mozart and Beethoven. Part of his genius is that he is full of surprises and unpredictable turns, and this was hugely enjoyable for me during the musical partnership with the wonderful Kristian Bezuidenhout.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRachel Podger and Kristian Bezuidenhout are performers of the highest level of technical polish, and I am especially impressed by Bezuidenhout’s imaginative and assertive pianism. Podger’s violin was built by the Genoese maker Antonio Pazarini (Pesarinius) in 1739. Excellent sound from Channel as usual.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- American Record Guide\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAcross the later sonatas Kristian Bezuidenhout and Rachel Podger savor the qualities of coaxing, pleading, playfulness, and arresting quirkiness that signal their identification with the so-called Empfindsamer Stil. But nothing is ever cut and dried. The keyboard opening of the B minor Sonata, composed some three decades after its G minor cousin, sounds like a throwback to the teenage work. And, rich in Empfindsamer fingerprints, the Arioso with five variations proves to be a 1780 respray of an earlier work.\u003c\/p\u003e\n\u003cp\u003eAt one level, Bezuidenhout and Podger help to pinpoint the chronology, allotting a handsome-sounding copy of an 1805 Walther fortepiano to the later works and a Taskin-inspired harpsichord to the products of the 1730s. It’s just one example of the thoughtfulness with which they approach a set of performances that are as equally persuasive in the bustling, youthful incisiveness of the G minor and D major Sonatas, as in the pristinely-paced, probingly expressive whimsy of the Arioso. Their music-making is infectiously spontaneous yet tellingly ‘considered’ – seamless rapport and impeccably-judged articulation delighting in a stream of illuminating felicities. CPE Bach’s free-spirited sonatas have surely found their free-spirited match.\u003c\/p\u003e\n\u003cp\u003e-- BBC \u003cem\u003eMusic \u003c\/em\u003eMagazine\u003c\/p\u003e\n\u003cp\u003eThis is how it’s done, my friends. A completely scrumptious new release from the queen of the Baroque violin, Rachel Podger. In partnership with keyboardist Kristian Bezuidenhout, Rachel gives to us a bit over an hour of completely entrancing music by the often underestimated Carl Philipp Emanuel Bach (1714–1788), fifth child and second surviving son of Johann Sebastian Bach.\u003c\/p\u003e\n\u003cp\u003eThere should be nothing underestimated about these keyboard and violin sonatas. They are imaginative, innovative, sublime. Add to this the impeccable performances, with that breath of life Rachel delivers so well in all of her performances, the excellent partnership with Kristian Bezuidenhout, and the utterly delightful recording quality from Jared Sacks, and one has an album to savor again and again. It is a must listen recording.\u003c\/p\u003e\n\u003cp\u003eThere is pure joy in Podger's performances, one feels her connection with music, the composer, and her audience. Kristian Bezuidenhout is her perfect partner in these works, As with Podger, his playing is not tied to a metronome. He plays, as does she, with a degree of improvisational exploration that makes these works far more interesting than in many other hands.\u003c\/p\u003e\n\u003cp\u003eListening to them together, one feels their connection in this music. 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Hard to accomplish in a live performance, but a delightful gift across the breadth of this recording.\u003c\/p\u003e\n\u003cp\u003e-- Paul Rushton of \u003cem\u003ePositive Feedback\u003c\/em\u003e\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"SACD","offer_id":46012447490282,"sku":"723385415237","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4196597-3124719.jpg?v=1786665987"},{"product_id":"bruckner-symphony-no-9-ivan-fischer-budapest-festival-orchestra","title":"Bruckner: Symphony No. 9 \/ Fischer, Budapest Festival Orchestra","description":"\u003cp\u003eFollowing his critically acclaimed interpretation of Bruckner's 7th Symphony, Iván Fischer leads his Budapest Festival Orchestration to the summit of 19th century symphonic music, with this new recording of the monumental, enigmatic, unfinished and deeply religious 9th Symphony of Anton Bruckner. The three completed movements are pervaded with angst and awareness of death. As in Mozart’s unfinished Requiem, the first movement is dominated by a dark D minor. The pounding rhythms of the scherzo seem to anticipate Stravinsky and Bartók, while the large leaps and piercing dissonances point towards the Second Viennese School of Arnold Schoenberg, Alban Berg and Anton Webern. The Adagio is Bruckner’s heartrending farewell to the world and to life. Although Bruckner died before he could write the huge fourth movement he had in mind, there is something satisfying and comforting in concluding with the Adagio.\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"SACD","offer_id":46012449358058,"sku":"723385428220","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4122949-3142876.jpg?v=1786653064"},{"product_id":"beethoven-sonatas-for-violin-piano","title":"Beethoven: Sonatas for Violin \u0026 Piano","description":"Rachel Podger, \"the unsurpassed British glory of the baroque violin\" (The Times), and Grammy award-winning pianist Christopher Glynn recorded Beethoven's Sonatas for Violin and Piano Nos. 1, 5 and 10. Following the critically acclaimed Mozart\/Jones Sonatas Fragment Completions (2021), this Beethoven album marks Podger \u0026amp; Glynn's second release together. 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