Classical
10388 products
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Missa Iste Confessor Domini
$20.99CDCoviello
May 15, 2026COV92603 -
Metaludios, Books VI - VII
$17.99CDIBS Classical
May 08, 2026IBS-12026 -
Perfectly Free
$16.99CDChallenge Classics
Mar 20, 2026CC 720054 -
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Gabriel Erkoreka: Ametsak
$17.99CDIBS Classical
May 08, 2026IBS-242025 -
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Missa Iste Confessor Domini
Himmelsmusik
Drama - Songs based on Poems by Heinrich Heine
Salterio - Mania
Bass Cantatas & Arias
Debussy: Piano Duets, Vol. 2
East meets West
Encore! Dora Deliyska
Freedom
Freedom
Metaludios, Books VI - VII
Perfectly Free
Brahms: Symphonies Nos 1-4; Haydn Variations, Overtures / Saraste, Wdr Sinfonieorchester
The four symphonies of Johannes Brahms give emphasis to his significance as a composer more than any other works he wrote. He struggled for a long time before producing his first symphonic work – with Beethoven’s larger-than-life example before his eyes, the “giant”, whom he could hear marching behind him, as he once quipped. It took Brahms twenty years to complete his first symphony in 1876 – at the age of 43 – and another eight for the three further symphonies. All four of these historic works are presented on this release from Jukka-Pekka Saraste and the WDR Sinfonieorchester. In the more than sixty years of its existence, the WDR Symphony Orchestra of Cologna has established itself as one of the most important European radio orchestras. Stylistic versatility is the special trademark of the WDR Symphony Orchestra. Jukka-Pekka Saraste became principal conductor of the WDR Symphony Orchestra at the beginning of the 2010/2011 season. The orchestra and conductor can already look back at many years of working successfully together.
Vinci: Siroe re di Persia / Florio, Teatro di San Carlo Orchestra
Based on a ponderous libretto by Metastasio (who defined his own work as “stellar”) Leonardo Vinci’s dramma per musica was premiered in Venice in 1726 and was triumphantly acclaimed. Since then, Siroe, Re di Persia was put to music by composers such as Vivaldi, Handel, Hasse, and Galuppi, to mention just a few. The story uses some of the elements of the plot of Partenope, almost as if it were a sequel moved to Persia. Siroe’s plot revolves around a family mystery mingled with passions, traitors en travesti, fatherly affection and filial honesty that echoes Shakespeare’s King Lear. Performed in concert version at Teatro San Carlo of Naples in 2018, this rare opera was chosen to open the theatre’s 281st season. Conductor Antonio Florio , specialist of the Neapolitan Baroque repertoire, revised the score.
Gabriel Erkoreka: Ametsak
Saint-Saëns: Piano Concertos Nos. 3, 4, & 5 / Kantorow, Tapiola Sinfonietta
Composer, piano virtuoso, conductor, teacher – Camille Saint-Saëns was all of these things, but also a keen archaeologist, astronomer, botanist, historian, illustrator, poet, playwright… A seasoned traveller, he was the most famous French musician in his own lifetime, acclaimed in North and South America, the Middle East and across Europe. It is ironic, then, that his extensive and varied output isn’t better known today – except for a few works of which the most famous, Carnival of the Animals, is one Saint-Saëns himself had little affection for. Now often regarded as old-fashioned or even reactionary, we tend to forget that Saint-Saëns during his lifetime was sometimes heckled for the boldness of his works. Furthermore, he defended the music of the revolutionaries Wagner and Liszt, earned the admiration of figures as Berlioz, Debussy and Ravel and – in 1908 – composed one of the first original scores for a film!
Jean-Jacques Kantorow and the Tapiola Sinfonietta have championed the music of Saint-Saëns on a series of acclaimed albums, and are now joined by the young Alexandre Kantorow – son of the conductor – for a survey of his works for piano and orchestra. In 1858, Saint-Saëns became the first major French composer to write a piano concerto, but on this first release of two the Kantorows present the three last concertos. Composed over a period of almost 30 years (1868 – 1896), these are highly individual works: Piano Concerto No. 3 is a bold attempt to reconcile Classical form with a Lisztian pianistic brio, No. 4 employs an unusual formal scheme in which themes are reused in a cyclic manner and, finally, the ‘Egyptian’ (No. 5), named after the second movement, which in the composer’s own words describes ‘a sort of Eastern journey that goes all the way to the Far East’.
REVIEWS:
It is no hardship to review yet another Saint-Saëns piano concerto recording when it is as good as this. Believe me, Kantorow is the real deal – a firebreathing virtuoso with a poetic charm and innate stylistic mastery. I had forgotten just how demanding is some of the piano writing in No. 4 is but I have rarely heard it delivered with such commanding ease and infectious delight.
– Gramophone
We seem to be undergoing a Saint-Saëns piano concerto bonanza, and this excellent disc could well take pride of place had it not been for Louis Lortie’s Chandos recordings, which are just that much finer still. The outstanding performances here are the Fourth and Fifth Concertos, the former cogently shaped and urgently projected, especially in the work’s latter stages. Alexandre Kantorow respects the music’s basic sobriety but still endows the outbursts of virtuosity with appropriate élan and sparkle. I can’t think of many performances of the second movement that make the music sound more purposeful.
– ClassicsToday (10/10; Robert Hurwitz)
V2: HISTORY OF THE REQUIEM
Wagner: Der Ring des Nibelungen / van Zweden, Hong Kong Philharmonic
Wagner’s visionary Ring of the Nibelung was first performed as a cycle of four operas in 1876. Its mythic plot examines the relationship between love and earthly power through the agency of a ring which confers ultimate power on its bearer.
One of the most sustained and remarkable achievements in all of music, the tetralogy is performed by an all-star cast, conducted by the new music director of the New York Philharmonic Orchestra, Jaap van Zweden, in performances that have been critically acclaimed worldwide for their “thrilling sense of drama.” (The Sunday Times, London)
Past praise of previously released volumes included in this set:
Das Rheingold
Van Zweden’s approach is closest in memory to Herbert von Karajan’s–intimate and chamber-like. The back and forth between the fine, unexaggerated Fricka of Michelle De Young and the remarkable, surprising Wotan of Matthias Goerne is natural and familiar, and Goerne is the surprise of the performance. His experience and expertise as a Lieder singer comes in very handy in this opera.
– ClassicsToday.com
Die Walküre
This is a Walküre that reveals its treasures slowly; it’s a warm, intimate reading. The Wälsungs are stunning. Stuart Skelton's tone is big and clean, wobble-free. And his cries of “Wälse” in Act 1 have to be heard to be believed. Heidi Melton as Sieglinde is wonderfully expressive. The listener hangs on every perfectly pronounced, clear word she and Skelton sing, and thanks to Zweden, who leads their interactions as if the opera were bel canto, we feel for them. Interrupting their budding love is Falk Struckmann, surprisingly (he’s a baritone, not a bass). He is a grand, scary Hunding.
– ClassicsToday.com
Wagner: Siegfried
Van Zweden's marvelously-rehearsed orchestra play with accuracy, brilliance, and color. I commented on the beauty and sadness of the Walküre performance, and here, added to those two qualities is, by the third act, passion.
Simon O’Neill may not be the most intuitive Siegfried on disc, but he’s among the brightest-toned and most solid, showing no flatting even at the end of his bout with Brünnhilde. Heidi Melton is an excellent Brünnhilde and a marvelous singer/actress, using her half hour to transform with clarity. Everyone proves their mettle, taste, and polish here, and I suspect there will be few who are disappointed.
– ClassicsToday.com
Wagner: Götterdämmerung
This is a grand finale to the Hong Kong Philharmonic’s Ring Cycle. Both Walküre and Siegfried were marvelously conceived, excellent concert performances, each with a minor flaw or two: recording balances out of whack and unfocused mid-voice for Brünnhilde in Walküre; recording too recessed in Siegfried; lack of character delineation in the Wanderer/Mime scene in Act 1 of Siegfried. I was quite taken by the storytelling in both, finding beauty, sadness, and in the Siegfried finale, passion. This set, recorded at two concert performances (and, I suspect, a patch-up session or two—there is NO applause or audience reaction anywhere), is, in one word, majestic, which is a fitting end to the Cycle.
– ClassicsToday.com
Vandini: Cello Sonatas Nos. 1-6
J.s. Bach: Harpsichord Concertos
Great Czech Conductors - Rafael Kubelik
This is an excellent collection honoring Rafael Kubelík. The two jam-packed CDs of live 1940s broadcasts include his central repertoire, works he championed very early on, and indeed multiple world-premiere recordings. Not least is the first-ever recording of Shostakovich’s Ninth Symphony, a live concert dating from December 1946; we also get a live reading of Dvorak’s Piano Concerto with Rudolf Firkusny, from the first-ever Prague Spring festival, and, although the booklet doesn’t identify the premiere recordings, I’d be surprised if any earlier performances of the Martin? Fourth Symphony or Memorial to Lidice, or Dobiás’ Stalingrad Cantata, exist.
The collection begins with Dvorak’s Eighth, in quite constricted sound - turn up the volume more than normal - but glittering with the kind of brilliance Kubelík brought to the piece for his entire career. Aside from a prominent trumpet flub in the finale, it’s a highly accomplished live reading by the Czech Philharmonic, revealing they and the conductor were masters of the symphony even in the besieged year of 1944. The piano concerto, in sound which suggests that the orchestra is playing somewhere very far away, nevertheless powers forward with energy and vigor. Firkusny plays the old “revised” piano part, with the absolute command which explains why he has long been associated with this piece. Luckily for us, the recording of his piano is much better than we’d expect from the murky-sounding orchestra. Firkusny’s cadenza is especially fine, although more recent interpreters - Aimard with Harnoncourt, say - are more to my liking in the poetic slow movement with its beautiful opening horn solo.
Shostakovich’s Ninth - the first recording of the work - is given a performance unlike any since. The outer movements are remarkably speedy affairs, with some live sloppiness but a lot of spirit and neoclassical sharpness; by contrast the second movement sprawls over ten minutes, the slowest I’ve ever heard it. Compare 10:33 to Vasily Petrenko’s 8:46, Leonard Bernstein’s 8:10, or indeed Rudolf Barshai’s 5:43. The scherzo is rather languid, too. All in all a fascinating account of how different it is from the way the symphony is performed today, and it’s worth overlooking the constant audience noise. What may cause distress is the fact that distortion in the tape results in the entire symphony sounding like it is being performed in E rather than E flat!
Bohuslav Martin?’s Fourth, a celebratory masterpiece inflected with joy, energy, and inner peace, receives a great performance here (1948). It’s hard to imagine a more thrilling scherzo than Kubelík’s, whirling forward in a great rush of excitement, but by contrast he really milks the gorgeous romanticism of the slow movement, unafraid to play up the different moods - doubt at the beginning, something very like love after 6:00. Belohlávek’s recent recording on Onyx with the BBC Symphony may be preferable in the finale, where the new account’s freer tempos underscore the triumph of the ending, which Kubelík - maybe intentionally - leaves more ambivalent. The recorded sound is sufficient to give the orchestral piano its place, although you will miss some bass lines and timpani and the incredible colors of the opening pages. Supraphon engineers have, as elsewhere, used technology which removes the hisses and pops but at the expense of a slightly constricted acoustic.
The disc is rounded out with Martin?’s Memorial to Lidice - a moving rendition which goes more slowly and tragically than many, although Eschenbach’s reading on Ondine is the most anguished I’ve heard - and a novelty, the Stalingrad Cantata of Václav Dobiás. Written in 1945, the cantata for baritone, male chorus, and orchestra is an eleven-minute paean to the Soviet forces, or at least I’m assuming so, because the sung texts are not provided. The music sounds a bit like a ramshackle Nevsky Cantata, with the same wildness and raw masculine energy but without the tunes or distinction. It counts as a welcome rarity, though, because recordings of Dobiás are otherwise basically non-existent.
These are valuable historical broadcasts all around, then, from the world premiere recordings of Shostakovich’s Ninth and probably a few other works too, to the Dvorak concerto from the first Prague Spring festival. Rafael Kubelík’s conducting is consistently superb and insightful; his Martin? is energetic but powerful, his Shostakovich like nobody else. This can all be had in more modern recordings - the Dvo?ák symphony from Mackerras or Kubelík himself, the Martin? from Belohlávek or Thomson - but as a two-disc monument to Kubelík’s superb work with the Czech Philharmonic, this can’t be beaten. For a one-CD tribute to that pairing of great artists, though, we must remember the unforgettable Smetana concert they gave after the end of the Cold War.
-- Brian Reinhart , MusicWeb International
Cesti: L'Orontea / Bolton, Frankfurter Opern- und Museumorchester
The premiere von L'Orontea took place in 1656 in Innsbruck at the court of Archduke Ferdinand Karl, grandson of Duke Ferdinand of Tuscany, who at that time was the patron of the first attempts of the art form of opera in Florence. Alongside Francesco Cavalli's opera "La Giasone", "L'Orontea" went down in history as the most successful opera of the late 17th century. On the occasion of the premiere in Frankfurt, the following could be read in Deutschlandradio Kultur: "It is a scenic production that will remain in one's memory - not because the production in Frankfurt is so shameless and trashy. Instead, it reminds us of why Antonio Cesti's opera "L'Orontea" once belonged to the most beloved of all stage works. And it is well worth taking a look into the orchestra pit at this performance."
Marschner: Hans Heiling
Pudlo: War Horns
Pawel Pudio is a music producer, creative director, and composer from the border of arts. He developes his own artistic projects and composes music on special occasions. Concert pieces and films featuring his music have been presented in Poland, Germany, the Czech Republic, Israel, Estonia, France, and Spain. “War Horns” is a piece for 10 horns, whose world premiere took place at the Solidarity of Arts festival in Gdansk in 2015. The world premiere was accompanied by a sculptural installation, being a kind of spatial continuation of the project’s idea. On this album, a studio recording of this exceptional piece of anti-war expression is presented, performed by international artists in the Concert Studio of the Polish Radio in Warsaw.
