Presenting four masterworks for harpsichord by Johann Sebastian Bach, Jory Vinikour performs on a harpsichord modeled after German harpsichords of Bach’s time, notably Silbermann. Speaking with richness and clarity, this harpsichord was built by Tom and Barbara Wolf. The Italian Concerto and the French Overture, both published by Bach in the 2nd volume of his Clavier Übung, are paired with two other great works - the Chromatic Fantasy and Fugue, as well as the concerto-like Prelude and Fugue in a minor.

Two-time GRAMMY Award nominated harpsichordist Jory Vinikour is recognized as one of the outstanding musicians of his generation. A highly diversified career brings him to the world’s most important festivals and concert halls as recital and concerto soloist, and partner to several of today’s finest artists. Born in Chicago, Jory Vinikour studied in Paris with Huguette Dreyfus and Kenneth Gilbert on a Fulbright scholarship. First Prizes in the International Harpsichord Competitions of Warsaw (1993) and the Prague Spring Festival (1994) brought him to the public’s attention, and he has since appeared in festivals and concert series throughout much of the world. In 2019, Jory made his debut at the Ravinia Festival, playing Bach’s Goldberg Variations. At the Aspen Festival, he conducted Bach’s six Brandenburg Concertos.

REVIEW:

There is no doubting the brightness and breeziness of the Italian Concerto's opening Allegro, but what is most impressive is Vinikour’s ability to create a convincing Adagio. The left-hand here can so easily sound awkward, but Vinikour constructs instead a rhythmic bedrock against which the right hand can sing. And sing it does: This is “harpsichord vocalisation” of the type I have rarely encountered, and with a finale that not only glows with life but has a raft of insights. This is wonderful, sometimes even great, Bach playing. 

– Fanfare

Nearly all of Daniel Purcell’s surviving solo harpsichord music consists of arrangements, the only clear exception being the short Toccata, a brief essay in the style of the preludes from Henry Purcell’s harpsichord suites. The Suite is a simple but effective arrangement of movements from the composer’s own suite

The first of its kind, this duet album is a musical journey that draws back the curtain which has obscured gay love-stories for centuries. In the 17th century, Venice offered a liberal safe haven of sorts to the gay community of greater Europe. There are accounts of outed artists escaping to Venice to live and work amongst its more permissive culture. Almost 400 years later, we reconnect with this uncommonly tolerant place and time to share a history that is yet untold. The album includes vivid and charming duets from Monteverdi’s 7th book of madrigals as well as his touching musical love letters (lettere amorose). Additionally, there are four modern-day premieres of works by the little-known composers Boretti, Melani, and Castrovillari; including a moving duet for the lovers Hercules and Theseus as they exit the underworld hand-in-hand. Solo arias by Cavalli and Stradella depict the yearning of hidden love, and the recording culminates with one of the most beautiful duets of all time, ‘Pur ti miro’ from Monteverdi’s L’incoronazione di Poppea. This album is a recognition and celebration of gay love that spans the centuries.

Along with Vivaldi’s ‘Seasons’ or Beethoven’s ‘Fifth’, Bach’s Brandenburg Concertos belong to those works that are so well-known that we risk taking them for granted. In order to (re-)discover the special qualities that can inspire us today, in 2001 Thomas Dausgaard and the Swedish Chamber Orchestra decided to contact six contemporary composer, asking each of them to compose a companion piece to one of the concertos. Seventeen years later, in 2018, it was time to present the result, with a performance at the BBC Proms of all the works – new and old. Recorded over a period of 18 months leading up to this event, the present boxed set provides a unique opportunity to experience six very different musical minds and idioms entering into conversation with Bach: Mark-Anthony Turnage, Steven Mackey, Anders Hillborg, Olga Neuwirth, Uri Caine and Brett Dean. Bach’s concertos are remarkable in that they are all scored for different instrumental combinations, and part of the brief to the group of composers was to reflect this. In her Aello, Olga Neuwirth has for instance used several ‘instruments’ to stand in for Bach’s harpsichord, including a synthesizer, a milk frother and a typewriter. Brett Dean, on the other hand, has stayed very close to Bach’s instrumentation, but has chosen to write his work as a preparation for Brandenburg Concerto No. 6 – an Approach to Bach’s extremely tight canonic writing. In performing the twelve works the orchestra and Dausgaard are joined by leading soloists including Clare Chase, Mahan Esfahani, Håkan Hardenberger, Pekka Kuusisto and Tabea Zimmermann.

The only complete available recording of a landmark in Elizabethan keyboard music. With a huge catalogue of Brilliant Classics recordings to his credit, Pieter-Jan Belder has won particular praise for his ambitious project to record the complete Fitzwilliam Virginal Book), a treasury of English keyboard music from the late Elizabethan and early Jacobean era. Now he focuses his attention on the greatest English composer of that age, with a volume dedicated to William Byrd, and to his largest single collection of music for the keyboard.

My Ladye Nevells Booke embraces the most popular genres of its day. Its contents are typical fare for English Renaissance composers: dances, variation sets, marches, contrapuntal fantasies and programmatic pieces, and the repertory comes from a period beginning in the mid 1560s. Byrd makes each of these genres his own with consummate ingenuity; the variety and the beauty of the collection as a whole rewards players and listeners alike. The CD booklet contains an extensive essay on My Ladye Nevells Booke by Jon Baxendale, who is co-editor of the latest edition of the score.

What would it mean to 'compose like a woman'? The present collection answers the question, in a literal sense, while undoing the premise on which the question was asked in the first place. In social and historical terms, it means enjoying privileges of upbringing, education, and/or wealth that were historically denied to the vast majority of women. It means, on the part of the women represented here, a single-minded determination in pursuit of their vocation, helping them to overcome prejudice and sexism in a cultural, social and political milieu that has consistently denied women the opportunity to find and express their own voice in music. Only with movements of emancipation in the last century, and much more rapidly in the last 50 years, has this situation begun to be addressed and corrected. What composing like a woman does not mean - as the music in this collection makes clear - is a definable set of qualities or characteristics to the music itself which would distinguish the work of female composers from the music composed by men.

This remarkable set gathers many individual recordings of music by women composers, which Brilliant Classics has quietly yet actively championed in their catalogue for decades, uniting it with exciting new outings, so that a comprehensive historical picture of the highly varied struggles and successes of women composers through the ages to our present time are chronicled and celebrated.

Other information:

- Recordings date from 1994-2024

- Booklet in English contains liner notes by Peter Quantrill

- The revival of interest in female classical composers reflects a growing recognition of their overlooked contributions to music history.

For centuries, women composers were marginalized, their works overshadowed by their male counterparts. However, recent efforts by musicians, scholars, and institutions have brought these composers into the spotlight, highlighting the richness and diversity of their compositions.

- This renewed focus stems from a broader movement toward inclusivity in the arts, challenging traditional narratives that have historically excluded women. The rise of feminist musicology has also played a key role, offering fresh perspectives on these composers' lives and works.

- This comprehensive box set offers a wide spectrum of works by female composers, from the Medieval mystic Hildegard Von Bingen (1098-1179), through the Renaissance Isabella Leonarda (baptized 1620-1704), Francesca Caccini (1587-1640) und Barbara Strozzi (baptized 1619-1677), traversing the Baroque and Classical eras, and arriving in the contemporary field, with composers such as Galina Ustvolskaya (1919-2006) and Grazyna Bacewicz (1909-1969).

- A long due homage to the art and voice of female composers, spanning nearly a thousand years!

Her third solo harpsichord album on Signum Classics, baroque specialist Bridget Cunningham performs a host of works by the Anglo - Irish composer, Thomas Roseingrave in this world premiere recording to coincide with St. Patrick’s Day. Although Roseingrave has been previously overlooked, he is one of the most interesting and original composers of keyboard music in eighteenth-century Britain. Cunningham who shares with him an Anglo-Irish heritage, has an ability to breathe life, air and space into this complex but exquisitely beautiful music.

Performers and listeners alike have long gravitated to Louis Couperin's music more than to that of any other member of the French keyboard school of the time, probably because of its fascinating and surprising harmonic language. There are 129 pieces catalogued as authentic.

In making this new recording of all 129 pieces, Massimo Berghella has chosen to take the Preludes as starting points for ‘suites’ – 17 in all – which gather up the remaining dance movements into coherent sequences cast in the same key as the relevant Prelude.

Among the most distinguished active Italian harpsichordists, Massimo Bergella studied with Kenneth Gilbert at the Mozarteum in Salzburg and at the Accademia Chigiana in Siena. He has a 30-year-long career as a teacher himself, as well as a performance diary and discography that has taken him across Europe for recitals, broadcasts and recordings. Of a previous album of d’Anglebert, La Nazione remarked that Berghella ‘grasps the reconstructive necessity of the scores, performing them in all their poetic complexity.’

The importance of Christmas inspired many composers to write music for the occasion, some designed to be performed in church services, others for concert or secular celebration. This 6 album set combines oratorios and concertos by Schütz, Telemann, Bach, Corelli, Rinck, Saint-Saëns, Herzogenberg, Clarke, Nicolai. Some of the finest artists and ensembles in the Hanssler catalog are showcased on these recordings, including Iona Brown, Joachim Held, Hannoversche Hofkapelle, Collegium vocale Siegen, Monteverdi-Orchester Munchen, Oregon Bach Festival Chamber Orchestra, and many more.

REVIEWS:

Christmas has inspired many composers to compose magnificent music, on the one hand for church services and on the other hand for festive concerts outside the church. This masterful box with 6 CDs contains oratorios and concertos by Schütz, Telemann, Bach, Corelli, Rinck, Saint-Saëns, Herzogenberg and Clarke, performed by some of the best artists and ensembles in the Hänssler catalogue, including Iona Brown, Joachim Held, Hannoversche Hofkapelle, Collegium vocale Siegen, Monteverdi-Orchester Munchen, and the Oregon Bach Festival Chamber Orchestra.

-- Stretto

As Christmas approaches, an avalanche of familiar Christmas tunes rumbles in the distance. Even in the case of large-scale Christmas compositions, the same works seem to be repeated too often, but Hänssler's six-disc box set reminds us that the repertoire is much wider.

The greatest work is Heinrich von Herzogenberg's (1842–1900) idyllic oratorio "The Birth of Christ" (1894), which spreads the event into a spectacle borrowing familiar and lesser-known Christmas carols based on the Old Testament and the Gospel of Luke. Herzogenberg, who was one of Brahms's supporters, represents full Romanticism at its tenderest, sometimes generously sweet. Schütz's "A Christmas Story" is more familiar and would work better as a period-style performance. Arnold Bruckhorst's (c. 1675–c. 1725) twenty-minute "Christmas History" is, on the other hand, a new acquaintance, as is Christian Heinrich Rinck's (1770–1846) even shorter classic Romantic Christmas Cantata. All performances are homely and competent, without causing great artistic tremors. Saint-Saëns' Christmas Oratorio can be found in more sophisticated recordings, but why, for example, Otto Nicolai's charming Christmas Overture is never heard in concerts?

Telemann's big and handsome oratorio Heilig, heilig, Heilig ist Gott (1747) is useless to look for elsewhere. The documentation only includes lists of works and performance information.

-- Rondo Classic

Very little is known about the origin of J. S. Bach’s seven Toccatas (BWV?910–916) or of their use. They are believed to have been written before 1717 or the end of Bach’s Weimar period – but it is quite possible that at least some of them were drafted before he arrived there in 1707, at the age of 22. The Toccatas are usually performed on harpsichord or piano – but even though they are ‘manualiter’ (intended to be played by the hands only) and do not call for pedal parts, they are also occasionally heard on the organ. In terms of style they are examples of the so-called stylus phantasticus – ‘the most free and unfettered method of composition’ – and belong to the North German organ tradition of the late 17th century. Each piece consists of several distinct and contrasting sections, interweaving strict counterpoint and fugal passages with freely rhapsodic material, and as such the toccatas differ from the two-movement prelude-and-fugue format which Bach later would put his own, indelible stamp on. With this disc, Masaaki Suzuki takes on some of the earliest of Bach’s extant harpsichord compositions, after having released acclaimed recordings of a wide range of later works, from the two-part Inventions to the two books of the Well-Tempered Clavier. However, he also brings his experience in performing the music of Bach’s North German predecessors to bear, for instance Buxtehude (BIS-1809) and Nicolaus Bruhns.

REVIEW:

Since completing his Bach cantata cycle, conductor and keyboardist Masaaki Suzuki has turned to Bach's keyboard music. The results have been consistently satisfying, as one would expect from this great contemporary Bach interpreter, but even Suzuki fans might have wondered what he would do with these six rarely played toccatas. There are more purely dramatic readings of these works, mostly played on piano, but Suzuki is attuned to this music, and his performances are not in the least colorless. Bach's intense Adagios, like that of the Toccata in E minor, BWV 914, and the irregular structures of the music have snap and surprise. Suzuki's 1982 harpsichord, based on an enlarged Ruckers instrument, is an excellent choice for the music, and anyone whose Bach collection is missing these remarkable works can do well with this choice.

-- ALlMusic.com (James Manheim)

Carl Philipp Emanuel Bach wrote this set of six keyboard concertos Wq43 once he had been released from the constricting service to Frederick the Great of Prussia. Published in 1772, these concertos are among the first-fruits of such liberated imagination. The solo parts of these works will test the mettle of any aspiring or proven virtuoso. Their greatest originality, though, lies in their form.

Each concerto is written cyclically, or continuously, meaning that one movement leads directly into the next. Even the cadenzas are fully written out, anticipating in this regard Beethoven’s ‘Emperor’ Concerto of two generations later.

The panoply of CPE’s instrumentation is necessarily compressed by this transcription of the concertos for two harpsichords, but the vitality of dialogue is fully preserved. It was made (or at least copied) by Johann Gottlieb Haußstädler, a copyist working for Peter August, the organist for the Elector of Saxony. The two men may have collaborated on the arrangement; at any rate, it has been unknown until now, and comes to life in the hands of a pair of Italian musicians with a serious pedigree in recording music of this period for Brilliant Classics.

Following successful French and Spanish harpsichord albums, Sophie Yates is at it again with English harpsichord music. "With this anthology, I hope to give an overview of English keyboard music during the course of the eighteenth century. Two significant figures cast their long shadows over this period of music in England: the first of which is Henry Purcell, whose legacy dominated the beginning of the century: the second of which is George Frederic Handel, who embodies the idea of eighteenth-century English music..."

The trio sonata was one of the baroque period’s most popular instrumental forms. While in its ‘classic’ form it features two higher pitched instruments, a melodic bass instrument and basso continuo, there were several others, including a popular variant for one high-pitched instrument, one bass instrument and continuo, chosen by a substantial number of composers in the 17th century and beyond, and resulting in a significant number of compositions.

In this setup, the writing for the melody instrument is more virtuosic than in a ‘conventional’ trio sonata, and it performs more of a solo role, unlike in the trio sonata, where it is more a first among equals. At the same time, the bass instrument is used idiomatically instead of being relegated to a mere basso continuo. This contributed greatly to bolstering its role as a solo instrument, and it was given ever greater prominence as the second half of the 17th century progressed.

From the numerous Italian composers who wrote for this genre, for this album Mvsica Perdvta have selected the two who had the greatest influence on the establishment and development of chamber music: Girolamo Frescobaldi (1583–1643) and Dario Castello (1602–31). The first edition of Frescobaldi’s Canzoni da sonare a uno, due, tre e quattro, published in Rome in 1628 (and later republished in a slightly different version in Venice in 1634) sits chronologically between the two books of Castello’s Sonate concertate in stil moderno, published in Venice in 1621 and 1629 respectively. While Frescobaldi’s canzoni can be considered the culmination of a genre that was already in decline, Castello ushered in a form that, evolving through countless different variants, would for centuries remain the leading chamber music genre. Castello’s style is faithful to the promise of its title: it still sounds very ‘modern’ for its time, especially when – as in this album – it is paired with the oeuvre of Frescobaldi, the epitome of the instrumental canzona.

Completing the CD is a short work by Giovanni Girolamo Kapsberger (Venice, c.1580 – Rome, 1651), the only sonata that the composer known as the ‘Tedesco della tiorba’, or ‘German of the theorbo’, wrote for this ensemble, taken from Il primo libro di Sinfonie a quattro con il basso continuo (Rome 1615).The sonata à tre was one of the most typical instrumental forms of the Baroque era. While in its 'classical' form it calls for two treble instruments combined with a melodic bass instrument and basso continuo, it had several 'variants' in the ensemble, including the one for treble instrument, bass instrument and continuo, which was very popular. In this formation, to which a substantial number of composers (not only of the 17th century) dedicated an important number of compositions, the part of the treble instrument presents a more virtuosic and soloistic writing than that of the 'conventional' trio sonata. At the same time, the bass instrument, not reduced to the sole function of basso continuo, is treated as an equal melodic counterpart.

This new recording presents the two composers who most influenced the birth and development of instrumental 'chamber' music, namely Girolamo Frescobaldi (1583-1643) and Dario Castello (1602-1631). Whereas Frescobaldi represents the pinnacle of an older style, the works of Castello look forward and form the basis of the chamber music style of centuries to come. The soloist of this recording is David Brutti, playing the Cornetto, a hybrid instrument with the fingerholes of a woodwind and a brass-type mouthpiece. Renato Criscuolo plays the bass violin, and the organ or harpsichord is played by Nicola Lamon.

Dan Laurin has released around thirty albums on BIS since the beginning of his collaboration in 1987. Laurin’s recorder music spans the globe and across the years, from England to Japan, and from the Renaissance to today. This latest release journeys to early 18th century France, and features composers such as Nicolas Chedeville, Anne Danican Philidor, Charles Dieupart, Marin Marais, and more.

“El ciego tañedor” or “the blind keyboardist”, Antonio de Cabezón was one of the most inspired masters of his day and a protégé at the court of King Philip II (whose favourite painting, reproduced on the cover of the booklet, came into his possession while Cabezón was with him in Brussels in 1555). Keyboard music was attaining a status equal to vocal polyphony at this time, and Cabezón’s sophisticated Tientos are at the forefront of a rapid rise in a new intensity of expression. Where the Tientos relate to vocal styles the Variations can frequently be traced to popular songs and dance tunes such as the Folía.

Following the announcement by Tasmin Little of her intended retirement from the concert platform, we wanted to create an album that would stand as both a tribute to, and celebration of, her outstanding career as a performer. What better way to do so than ask her to select her own, personal favorites from her recorded career? An exclusive Chandos artist since 2010, Tasmin has made a series of recordings that have proved a cornerstone of the Chandos schedules for a decade, and feature a range of composers and styles of quite breath-taking variety. The first album concentrates on concerti, and features both Walton’s and Britten’s concertos with Edward Gardner, along with the slow movement of her award-winning Elgar recording with Sir Andrew Davis. The second features works from Vivaldi though to Shostakovich via Brahms, and includes (among many other gems) her recording of Vaughan Williams’s iconic The Lark Ascending. It also celebrates Tasmin’s recital partnerships with three outstanding pianists: Piers Lane, Martin Roscoe, and John Lenehan. As she writes in her booklet note: ‘I am very happy that this final, double-album set should reflect so many aspects of me as a musician; and I remain full of gratitude for the tremendous opportunities I have been given to play and record with the greatest musicians of today. I hope you all enjoy this final release.’