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This collection showcases his elegant string quintets and sextets, daring double quartets, and characterful potpourri, offering a portrait of a composer whose expressive range and artistic integrity remain strikingly relevant today.     Spohr's chamber works are richly crafted and musically intricate, offering both technical challenges and expressive depth. These performances reveal a composer deeply rooted in tradition yet unafraid to experiment, blending lyrical intimacy with bold structural ideas. Following the highly acclaimed Brahms: String Sextets (Diapason d'Or) and String Quintets, the The Romantic Room: Chamber Works by Spohr box set is the Wdr Sinfonieorchester Chamber Players' third release on PENTATONE. 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In reality, Salieri, in late 18th-century Vienna, enjoyed a stature that Wolfgang could only dream of: court composer, conductor of the Italian opera and, above all, maestro di cappella of the imperial court - in other words organiser and manager of the Hapsburgs' entire musical life.     An esteemed teacher and founder of the Vienna Conservatory, he had among his pupils Beethoven, Hummel, Schubert, Liszt, Meyerbeer and Czerny, and in the course of a long compositional career he created more than 40 works for musical theatre, numerous sacred and vocal compositions, as well as a smaller number of symphonic and chamber works. The best-known section of Salieri's instrumental production consists of the six concertos for one or more soloists, among them the two for keyboard included here; these are works that the composer did not see fit to print, and the manuscripts are preserved in the Austrian National Library.     The Concertos in C and B flat were written by the 23-year-old composer in 1773 for solo 'cembalo' and an orchestra consisting of two oboes, two horns, strings and basso continuo. As Danilo Prefumo, author of valuable writings on Salieri's instrumental works, warns, 'for Italian musicians, the term cembalo could at the time indifferently indicate harpsichord and fortepiano'. Listening to and analysing these two works reveals a balance pursued and achieved between a typically Viennese sense of measure and attention to structure, and bursts of whimsy, ornamentality and gallantry akin to the expressivity of the London (Johann Christian) Bach. The solo writing never makes truly virtuosic demands, although it does require agility and a crisp, pronounced timbre.     The Sonata in C for harpsichord is the only composition of it's kind, as far as we know, in Salieri's legacy, and it is given here in it's first recording. It is unusually subdivided into six concise movements, all set in the same key and characterized by an elementary harmonic progression. The linearity of the language, the transparency of the melodic line and the ease of execution indicate a score that might have been a keyboard sketch of the embryo of a Serenata or Cassazione, two genres that are often attested in the composer's catalogue.     Other information:  - Recorded September 2024 in Sacile (Italy)  - The Sonata in C appears in it's first-ever recording  - Catena plays a Fazioli F278 piano  - Booklet in English contains liner notes by Umberto Berti and profiles of the soloist, ensemble and conductor  - Italian liner notes available at brilliantclassics. Com    - Antonio Salieri (1750-1825) was an Italian composer and conductor, famous in his time for his operas and sacred music, but less known today for his instrumental works. His reputation has been clouded by rumors of rivalry with Mozart, which modern scholarship largely discredits. Salieri was a highly respected court composer in Vienna, and while he was primarily recognized for his vocal music, he also composed several instrumental pieces, including piano concertos.   - Salieri's piano concertos, though not as numerous or as widely celebrated as those by contemporaries like Mozart, offer insight into the classical style of the late 18th century. His Piano Concerto in B-flat major, composed in the 1770s, is one of his few surviving works for keyboard and orchestra. It reflects the elegance and balance typical of the Classical era, with clear melodic lines and a restrained yet expressive use of harmony.   - Unlike Mozart's more virtuosic concertos, Salieri's piano concertos focus on lyrical expression rather than technical display. His concertos often feature a dialogue between the soloist and orchestra, emphasizing melodic beauty over complexity.   - Played by Italian pianist Costantino Catena with the Accademia D'Archi Arrigoni, conducted by Giulio Arnolfi. In Luca Ciammarughi's book on pianists Catena is credited with 'combining virtuoso chiselling with a cantabile of absolute sonorous beauty. \"","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012511256810,"sku":"5028421972688","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4397834-3320938.jpg?v=1778223024"},{"product_id":"schubert-hummel-piano-quintets","title":"Schubert \u0026 Hummel: Piano Quintets","description":"SOMM Recordings presents an intriguing pairing of chamber works that share the unusual and expressive instrumentation of piano, violin, viola, cello, and double bass: Johann Nepomuk Hummel's 'Military' Quintet in C major and Franz Schubert's Piano Quintet�in�A major, his Trout Quintet. Extraordinarily, this is a first recording of Hummel's 'Military' Quintet.' It is an amazing find by the virtuoso double-bass player Leon Bosch, Artistic Director of the mixed-instrument chamber ensemble I Musicanti,�with whom he performs here. They're joined by Peter Donohoe, laureate of the Tchaikovsky Competition and acclaimed as one of the foremost pianists of our time.    Johann Nepomuk Hummel's gift as a composer was matched by his excellence as a pianist. A child prodigy, Hummel was taught and housed by Mozart for two years, and he studied further with Clementi, Haydn, Albrechtsberger, and Salieri. Hummel's mastery as a pianist and his compositional personality, admired by Liszt, shine through in his two piano septets featuring winds, brass, and strings, which he also arranged for a combination not uncommon at the time of piano, violin, viola, cello, and double bass.    It was in October 1829, nearly a year after Schubert's death, that Hummel completed�his 'Military' Piano Septet No. 2. For publication in Vienna the following year, he also prepared a piano quintet version, again arranged for that ensemble of piano, violin, viola, cello, and double bass.�The Septet's scoring-for piano, flute, clarinet, trumpet, violin, cello, and double bass- already included four of the five of those instruments, so in effect�the alternate version redistributes the wind and brass parts among four strings with added viola. It is this version that receives it's premiere recording on this release.     Franz Schubert's Trout Quintet came about during a walking holiday in the Alps in 1819, when he made the acquaintance of Sylvester Paumgartner, an amateur cellist who promoted chamber concerts in his home. He greatly admired Schubert's lied, Die Forelle (\"The Trout\"), and he commissioned a set of variations based on the song's melody. At the time, Paumgartner had brought together a group of musicians to perform Hummel's Piano Quintet in E flat minor-the arrangement Hummel made of his first piano septet-and suggested that Schubert write his new variations for that same quintet ensemble of pianist, violinist, violist, cellist, and double bass player. Schubert being Schubert, he not only composed a set of five variations on Die Forelle, but he created a five-movement quintet that featured the variations as the fourth movement of a work that has become one of the most renowned and beloved in the chamber repertoire. It is Schubert's first mature chamber work. 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Under the impression of a performance of Bach's St. Matthew Passion, Spohr wrote his Passion oratorio Des Heilands letzte Stunden WoO 62 in 1834, which reports the Passion events from an unusual perspective: Instead of an evangelist, the disciple Johannes takes on the role of the narrator directly involved in the events. Together with Mary, the mother of Jesus, he describes the story of Jesus' Passion - in an almost operatic and dramatic manner. The scenes before the judgment of Caiaphas and at the cross with the musically painted earthquake are particularly remarkable. With this conception, Spohr met the public's taste exactly, as people expected not only religious edification from such a work, but also a gripping plot. The premiere in Kassel in 1835 was correspondingly successful. Four years later, an English version was performed in Norwich, where, according to the Times, hundreds were moved to tears. No wonder, then, that Spohr considered this oratorio to be one of the best he had ever composed.   Frieder Bernius and the Kammerchor Stuttgart, the Deutsche Kammerphilharmonie Bremen and an outstanding ensemble of soloists (Johanna Winkel, Maximilian Vogler, Florian Sievers, Arttu Kataja, Thomas E. 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It's cheerful nature and pastoral mood are also a stark contrast to the first symphony.    Following a gap of some six years, Brahms returned to the form in 1883, and composed his third and then fourth symphonies in quick succession. Begun in 1884, the Fourth Symphony was premi�red by Brahms and the Meiningen court orchestra in October 1885. 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In contrast to the earlier light-hearted Trio No. 1 (available on 8.574612), No. 2 is a darker, more tension-filled work, albeit with Mendelssohnian grace. 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Dussek, like Beethoven, seized on such technological innovation and produced music of new turbulence such as the C minor Sonata Op. 35 No. 3. The sonata’s opening Allegro bursts with vitality and violence, which becomes all the more vivid when played on a piano from Dussek’s time, straining to contain the music’s expressive reach, as it is here.\u003c\/p\u003e\n\n\u003cp\u003eThe instrument used on this album is a 1798 fortepiano from the firm of Longman-Clementi. Accordingly, the touch and sound correspond more closely than any other piano previously used on recordings of this repertoire. Dussek lived in London during the 1790s and worked closely with the manufacturer John Broadwood to extend the range of keyboard instruments. 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The recorded sound is fine, with admirable warmth and detail.’\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012559196394,"sku":"5028421959818","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4313756-3133448.jpg?v=1778220444"},{"product_id":"grieg-symphonic-dances-gardner-bergen-philharmonic-orchestra","title":"Grieg: Symphonic Dances \/ Gardner, Bergen Philharmonic","description":"\u003cp\u003eGrieg’s four Symphonic Dances are a late work, completed in 1898. Grieg takes his inspiration (as in so much of his output) from traditional Norwegian folk tunes, and the four movements together deliver a symphonic unity in their overall effect. Both Bergliot and Before a Southern Convent are written on texts by Grieg’s good friend the author Bjørnstjerne Bjørnson, who was also a theatre manager in Oslo. 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In the late 1820s, European music was at a fascinating crossroads: the musical style that had dominated the old continent since 1780 (commonly known as “Viennese Classicism”) was in crisis and entering its final phase. At a time when tradition and innovation coexisted, emerging expressive needs pushed composers to seek alternatives to classical canons. La contemplazione offers a glimpse into this period through two authors who, while almost antagonistic, were also complementary and contemporary: Johann Nepomuk Hummel (1778-1837) and Franz Schubert (1797-1828). About the Instrument: Fortepiano Graf 1826\/1827 (Edwin Beunk collection)\u003c\/p\u003e\n\n\u003cp\u003eIn an environment of fierce competition among various piano manufacturing houses, Conrad Graf emerged as the reference brand in Vienna, even being named the official constructor of the empire. 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Unhampered by strong emotions or the obligation to take sides, we can – depending on expertise or mood – savor his music either in a totally unprejudiced way or with the detachment with which one views events long past. And to let oneself be captivated by Hummel‘s chamber music can be a singularly agreeable and rewarding experience no matter whether one is motivated by a desire to gain a deeper understanding of historical connections or by the wish to simply enjoy good music.\u003c\/p\u003e\u003cp\u003eHummel left us eight works written for the piano trio group. A first work has not been included in this selection, as only the works which the composer himself described as “piano trios” were chosen for this recording. With the exception of one piece we do not know when these works were composed. 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This new recording by Carlo Alberto Bacchi is all the more welcome for being informed by his study of the composer’s complete oeuvre as part of the ‘Clementi Project’ which sees him performing many of the sonatas in concert as well as recording them for Piano Classics.\u003c\/p\u003e\n\u003cp\u003eThe inscription on Clementi’s tomb in Westminster Abbey commemorates him as ‘the father of the piano’. Clementi above all was responsible for devising a modern technique, of the kind still recognisable today, which would serve pianists on the larger instruments being manufactured in the early years of the 19th century. This technique is differentiated from harpsichord technique, and trained not just through lessons but through pianistic ‘methods’ and publications such as these sets of sonatas, which are arranged in order of progressive difficulty in order to introduced students to technical challenges step by step. Like Mozart, Clementi also manifested his musical talents at a very early age: at the age of 7, he was already studying organ, singing and counterpoint; he wrote a mass at the age of 11 and an oratorio at the age of 12.\u003c\/p\u003e\n\u003cp\u003eThe English nobleman and eccentric Sir Peter Beckford effectively bought the young Clementi on a seven-year contract and kept him at his West Country pile. When the contract with Beckford expired in 1774, Clementi moved to London and took off on a career that brought him fame across Europe – as a touring virtuoso, a teacher, publisher – and even sometimes composer. The six Op.1 sonatas were published in 1771, during Clementi’s period in service to Beckford. Although he was not yet 20 and almost completely self-taught, they show his mastery of material and his irrepressible invention. All the sonatas have a simple, playful and light-hearted character, and a two-movement form. 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From them, Field evolved his own firm concept of a form with rich harmonies and gentle dynamics to suggest the night and dreaming, though in fact he began by giving these pieces traditional names such as Pastorale, Serenade and \"Romance. He wrote the 18 works not as a set, but over the course of 15 years, rarely completing more than one and never more than three in a single year. Liszt observed in them ‘The total absence of everything that looks to effect'. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEven when he settled upon Nocturne, Field bestowed upon some of them a qualifying subtitle: ‘Cradle Song’ (No.6), ‘Reverie’ (No.7), ‘Song Without Words’ (No.13), ’Nocturne Pastorale’ (No.17), and ‘Nocturne characteristique Midi’ (No.18). 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Each plays off of each other, with clarity, technical acumen, and a good sense of phrasing… You ought to have this as an integral part of any collection of chamber music of the period.’\u003c\/p\u003e\n\u003cp\u003eVolume 2 (96588) was received with equal enthusiasm: ‘This is an outstanding continuation of the series… done with style and verve by Julia Huber and Mariam Altmann… Well worth getting.’ Volume 3 presents a contrast of sonatas from the beginning and near the end of Dussek’s life. Even the early Op. 4, No. 3 Sonata, however, shares the qualities of the mature Dussek noted by one contemporary reviewer: ‘Dussek's strength in composition lies in the idiosyncrasy, the novelty, the striking, brilliant quality of his rich invention, and, as far as the development is concerned, in the fire and the intimacy which his works seldom lack.’\u003c\/p\u003e\n\u003cp\u003eFire and intimacy: what else would we expect from a wide-ranging opening movement subtitled ‘L’amante disperato’ (The forlorn lover), with playing indications such as Amoroso and Lamentabile and dynamic indications from triple piano to triple forte?The sonata’s argument is concentrated in the piano part, with the violin marked as ‘ad libitum’, whereas the two Sonatas Op.69 show more of a partnership, albeit still led from the keyboard in the manner of works in the same genre bv Mozart and (until the ‘Kreutzer’) Beethoven.\u003c\/p\u003e\n\u003cp\u003eBoth Op. 69 Sonatas take the listener on a gripping narrative through typically bravura piano writing and unexpected turns of incident. 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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.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012663595242,"sku":"5028421965949","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4439250-3412808.jpg?v=1778209600"},{"product_id":"viotti-violin-concerto-no-22-cherubini-symphony-in-d-5028421965994","title":"Viotti: Violin Concerto No. 22; Cherubini: Symphony In D","description":"Giovanni Battista Viotti was a man of humble origins who studied with Gaetano Pugnani in the tradition of the Corelli school. By the age of 20 he was already an esteemed violinist, performing concerts in Geneva, Bern, Berlin and Saint Petersburg, and he eventually chose to settle in Paris. However, as a court musician for Marie Antoniette, he was forced to flee to London in 1792, where, a short while later, he was accused of spying on behalf of the Jacobins. He returned to Paris and was celebrated during the Restoration period, but eventually came back to London, where he died in poverty. Compositionally he serves as a bridge between the Classical period and the first signs of Romanticism, and he wrote an impressive 29 concertos for his own instrument, the violin. The 22nd, in A minor, shows his renowned compositional intelligence at it's peak. Brahms, by no means known for the generosity of his opinions, wrote in a letter to Clara Schumann: \"This concerto... is a magnificent piece, of remarkable freedom in it's invention; it sounds as if [Viotti] were fantasising, and everything is masterfully conceived and executed\". The work is divided into three movements: the first of these, an Allegro moderato, abandons the tradition of an energetic and virtuosic opening, and instead introduces a meditative, highly refined atmosphere. The cantabile violin theme soon evolves into a flourish that pre-empts the subsequent bright and complex dramatic beauty of the cadenza. Only the third movement, Agitato assai, is Classical in it's inspiration, featuring a nimble dialogue between soloist and orchestra, albeit with strong contrapuntal hints, while the vibrant central Adagio's echoes of Mozart are pulled in the direction of pre-Romantic angst. Luigi Maria Cherubini, perhaps best known today for his monumental Requiem, like Viotti suffered the consequences of being culturally close to an overthrown ancien r�gime, in his case that of Napoleon. The arrival of King Louis XVIII gave him respite, and indeed he became one of France's greatest musicians, despite his Italian origins. His Symphony in D major's four movements convey that \"dual compositional nationality\" right from the initial Moderato, straying at times into pomposity but with plenty of moments of progressive expressive intimacy. Cherubini was admired by Haydn, and even by the moody Beethoven, who appreciated the \"dramaticism\" of his work. The coupling on this album reflects a real-life acquaintance: Cherubini directed a theatre in Paris with Viotti for a period. The two were also both initiated into French masonic orders, joining the ranks of many other freemason musicians from Haydn and Mozart to Duke Ellington and Louis Armstrong. Both men were significant figures in the history of music, producing a wealth of content and materials yet to be fully explored.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012664971498,"sku":"5028421965994","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412847-3337384.jpg?v=1778195208"},{"product_id":"frohe-weihnachten-1-lp","title":"Frohe Weihnachten (1 LP)","description":"Around the World in 17 Christmas Songs    Everything glows and sparkles, festive aromas fill the air, and in the distance, you can hear carol singing-    Christmas is a feast for all the senses. Though decorations and culinary preferences around the globe may differ, there is one thing that always fits right in at Yuletide: the radiant sound of brass music.  We were invited to present the annual Berliner Philharmoniker Christmas Family Concert in 2023 and decided to take the audience on a musical journey to the countries the Berlin Philharmonic Brass ensemble members come from. Each of us chose a favourite song from his or her home country, which meant we all discovered music we may never have had a chance to hear otherwise.    To arrange the pieces, we turned to a good friend who has been arranging for us for many years-Joshua Davis, principal trombone of the West Australian Symphony Orchestra. He knows us well and, exclusively for us, he has made each Christmas song an individual showpiece-some traditional, some more jazzy, and others new and surprising.    The buzz generated by this Family Concert was such that we were inundated with requests to record the pieces. To our delight, Berliner Philharmoniker Recordings agreed to produce an album with us, and we are happy and proud to present to you Frohe Weihnachten!    For this release, we have augmented our original song selection with further beautiful discoveries from countries like Greece, Ukraine, and Poland.    Now that this very special Christmas","brand":"Berlin Philharmoniker","offers":[{"title":"Vinyl","offer_id":46012665823466,"sku":"4260306185313","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4466989-3467448.jpg?v=1778191557"},{"product_id":"ariette-e-divertimenti-da-camera","title":"Ariette e divertimenti da camera","description":"The library of Bologna's Conservatory of Music contains a wide set of books about music, which are almost exclusively manuscripts. The library once belonged to the nobleman Antonio Puccetti (1792-1841), a native of Cingoli, a small town in Macerata located in the Marche region. It is indeed an aristocratic music library made up of works which range from the end of the 18th to mid 19th centuries. The interesting aspect of these works consists in the fact that they make up the bibliography of a nobleman who was not a collector but rather an amateur musician. The scores represent important documents about Puccetti's family private music performances within their own four walls, the so-called hausmusik, more intimate, which was different from the brighter salonmusik genre. The recording of these vocal and instrumental scores - including composers of the caliber of Ferdinando Carulli and Giovanni Paisiello - is entrusted to the young talents of ArsEmble, continuing the historical research that began with the rediscovery of composer Mario Bianchelli from Rimini (Tactus, tc 660201).","brand":"Tactus","offers":[{"title":"CD","offer_id":46012665987306,"sku":"8007194108262","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4368868-3232791_47a2c901-1dfa-4227-8566-1249c1b77e20.jpg?v=1778236363"},{"product_id":"hummel-quintet-op-87-bertini-grand-sextuor-op-90","title":"Hummel: Quintet, Op. 87 \u0026 Bertini: Grand Sextuor, Op. 90","description":"The accomplished and versatile piano sextet Sestetto Classico are renowned for their superb performances of both well-known and rare works of chamber literature. These masterpieces by Bertini and Hummel are like miniature piano concertos in terms of their form, scope and virtuosity. \"The Sestetto Classico players are absolutely first-rate, bringing off both pieces with fire and affection. Strongly recommended.\" (Fanfare)","brand":"MDG","offers":[{"title":"CD","offer_id":46012671918314,"sku":"760623237121","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4439381-3412760.jpg?v=1778194838"},{"product_id":"viotti-duos-for-2-violins","title":"Viotti: Duos for 2 Violins","description":"Giovanni Battista Viotti composed 29 violin concertos, three sinfonie concertanti, a cello concerto, countless quartets, at least 20 trios for two violins and cello and an impressive array of violin duos, four of the latter recorded here.   Described in contemporary reports as a generous and highly charismatic musician driven by idealistic zeal, he is now universally recognised as one of the greatest violinists of all time. In hindsight, it is clear that he and his vast oeuvre occupied a key historical position.   He appeared at a pivotal moment between the end of the ancien regime and the start of the modern era: a period when, in social terms, music began to escape the courts and entertain the growing middle classes, laying the foundations for modern concert-going and the figure of the freelance musician.   A period when various national traditions, both in terms of instruments and compositions, began to meet and influence each other with unprecedented dynamism, and when the formal rigour of Classicism gave way to the pathos of Romanticism.   Viotti was at the heart of this time of dramatic change: the standard-bearer for a centuries-old Italian violin school that included Arcangelo Corelli, Antonio Vivaldi, Pietro Locatelli, Giuseppe Tartini and Viotti's teacher Gaetano Pugnani. He took this esteemed group's technical achievements away from the Baroque and Galant style into a new era, with the arrival of Niccol� Paganini just around the corner.   He was admired by Mozart, inspired the virtuosity of Paganini's concertos, was central because of his years lived in London to the evolution of British musical life, and must surely be considered the most significant figure in the entire French violin school.   Later violin giants Pierre Rode, Rodolphe Kreutzer and Pierre Baillot were all strongly influenced by his work Viotti's renowned cantabile style is echoed in the violin writing of both Ludwig van Beethoven and Johannes Brahms and is amply represented in the four violin duos on this album.     Other information:   - Recorded November 2022, Cagliari, Italy  - Booklet in English contains liner notes by Carlo Goldstein  - Gianmaria Melis plays a 1745 Sanctus Seraphin; Fabrizio Falasca plays a 1727 J. Guarneri  - The Italian liner notes are available for download at www. Brilliantclassics. com    - Giovanni Battista Viotti (1755-1824) received his musical education from Gaetano Pugnani. He  served for a short time at the Savoy Court in Turin but soon he spread his wings and travelled to  Paris, where he was an instant success as a supreme violin virtuoso. He served for a time at the  court of Versailles before he founded an opera house in Paris (The�tre de Monsieur). The French  revolution urged him to go abroad and he settled in London, where he featured in the Hanover  Square concert series and was active as a concert organizer and impresario, as well as one of the  founders of the Philharmonic Society of London.   - Viotti was an influential violin player and teacher. He composed violin concertos, string quartets,  and other chamber music for strings. Based on the principles of the Viennese Classics it hints at  more romantic feelings of times to come.   - This new recording presents the duos for 2 violins, music of great charm, rich in melodies and  brilliantly written for both instruments, which are fully equal to each other.   - Played by Fabrizio Falasca and Gianmaria Melis, playing a 1727 Guerneri and a 1745 Sanctus  Seraphin violin.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012676047082,"sku":"5028421966298","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4362749-3219440.jpg?v=1780524209"},{"product_id":"cherubini-sei-sonate-per-cimbalo","title":"Cherubini: Sei Sonate per cimbalo","description":"Luigi Cherubini is one of the most interesting artistic personalities in a historical period of great changes that straddled two centuries, the eighteenth and the nineteenth. His musical career met the best possible conditions in a city, Florence, that was extremely rich in culture and dotted with important events, ranging from the performance of Handel's Messiah in Italian and the staging of operas by Hasse, Gluck, Paisiello, Piccinni, Rutini and Traetta, to Mozart's performance in 1770. The Luigi Cherubini sonatas performed by Chiara Cattani in this recording can be defined as 'galant' without depleting their meaning as compared to the great compositions of the previous period. The eighteenth century is a very prolific century for the cembalistic literature, particularly for the Sonata form, affected by various influences and changes that will bring it to it's apogee in the period of the Classicism. The taste of the Italian society goes through a profound mutation: it is now more pleasing with melodic expansion, clarity, transparency and lightness, characteristics that permeate the art of this century at 360 degrees. Simplicity and proportion are the pillars of the structure and together favor the emanation of a sense of vividness and fervor that makes writing energetic and never obvious.","brand":"Tactus","offers":[{"title":"CD","offer_id":46012699017450,"sku":"8007194200683","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4344230-3187748.jpg?v=1778214196"},{"product_id":"clementi-piano-duets","title":"Clementi: Piano duets","description":"Carlo Mazzoli and Silvia Rambaldi, passionate scholars of historical instruments and performance practice of early music, were teachers for many years - respectively of Piano and Harpsichord - at the Conservatorio \"G.B. Martini\" in Bologna, where they realised numerous teaching and concert projects. They have had a constant point of reference in Maestro Luigi Ferdinando Tagliavini, with whom they have collaborated assiduously in the activities of the San Colombano Museum in Bologna, which has housed it's collection of historical instruments since 2010; they are both present with some performances, both solo and in duo, in the DVD Il vibrar dell'aria dedicated to the Museum. It was precisely with performances on these ancient instruments that the study of Clementi's works for duo began, leading to this first complete recording.","brand":"Tactus","offers":[{"title":"CD","offer_id":46012701245674,"sku":"8007194200713","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4446505-3422687.jpg?v=1778210037"},{"product_id":"poesia-2","title":"Poesia","description":"Why Poesia? Because this album explores the cello as a lyrical instrument, with resonances close to the human voice. From the bel canto of Mercadante, a little-known but refined opera composer, to Vanherenthals' flamboyant Rhapsody on the Themes of Richard Strauss's Der Rosenkavalier, each work evokes the vocal universe, sometimes with modesty, sometimes with exuberance.","brand":"Antarctica","offers":[{"title":"CD","offer_id":46012713763050,"sku":"608917736120","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4454882-3445202.jpg?v=1778191698"},{"product_id":"beauvarlet-charpentiercherubini-lefebure-wely-noel-sous-l-empire-quentin-guerillot","title":"Charpentier, Cherubini \u0026 Lefebure-Wely: Noel sous l’empire \/ Guerillot","description":"\u003cp\u003eFrench organ music under Napoleon and the Restoration is an overlooked period in musical history, inheriting the glories of classical organ and heralding the great romantic organ music. This pivotal time, teeming with great performers – most of them improvisers – counted Isaac-François Lefèbure-Wély among its masters, who presided over the prestigious Eglise Saint-Roch from 1805. In 1823 he published a collection of 34 Noëls, inspired by those of his predecessors yet deeply rooted in their time, imbued with the memory of the Incroyables and the Merveilleuses. These extremely popular works for nativity ring out in true splendour from the organ of the Chapelle Royale, shimmering with the mysteries of Christmas through Quentin Guérillot’s generous, familiar style.\u003c\/p\u003e","brand":"Château de Versailles Spectacles","offers":[{"title":"CD","offer_id":46012741026026,"sku":"3760385430065","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4257607-3141026.jpg?v=1778202118"}],"url":"https:\/\/arkivmusic.com\/collections\/era-classical.oembed?page=2","provider":"ArkivMusic","version":"1.0","type":"link"}