Instrumental
2740 products
Bach: Toccatas
Jacquet De La Guerre, E.-C.: Harpsichord Suites Nos. 1, 3 an
Sarnecka: Works for Piano Solo
Szymanowski: Mazurkas Op 50 & 62 / Anna Kijanowska
Viktor Kosenko: Piano Music, Vol 2, The Complete Piano Sonatas / Natalya Shkoda
Kosenko Shkoda Vikotr Sepanovytch Kosenko: Piano Music Volume 2: The CompletePiano Sonatas
Hindemith: Violin Concerto, Violin Sonatas / Frank Peter Zimmermann, Enrico Pace, Paavo Jarvi
PAUL HINDEMITH FRANK P. ZIMMERMANN, VIOLIN;*FRANKFURT RADIO SYM. ORCH./P.JARVIENRICO PACE, PIANO ** CTO. FOR VIOLIN & ORCH.(1939*)SONATA FOR SOLO VLN, OP.31 NO.2,"ES IST SO SCHONES WETTER DRAUBEN';SONATA IN E FLAT FOR VIOLIN& PIANO, OP.11 NO.1; SONATA IN E FOR VIOLIN & PNO. (1935)SONATA IN C FOR VIOLIN & PN. (1939)**
Rare Italian Clarinet Chamber Music Of The 19th Century
GARIBOLDI,KLOSE,CAVALLINI,ETC ADAMI CLARINET QUARTET RARE ITALIAN CLARINET CHAMBER MUSIC OF THE 19TH CENTURY
Bach: Die Kunst der Fuge
Bach: Lute Works
Von Bülow: Piano Music, Vol. 2
Shostakovich: 24 Preludes And Fugues Op 87 / Scherbakov

Konstantin Scherbakov's 24 Shostakovich Preludes and Fugues leapfrog to the head of a small yet distinguished class on disc, whose valedictorians include Tatiana Nikolaeva and Vladimir Ashkenazy. Time and again I am struck by expressive and textural novelties that inevitably result from Scherbakov's fastidious adherence to Shostakovich's markings. The pianist connects the A minor Prelude's scurrying 16th-notes with a seamless legato that still manages to allow each one to speak softly. He treats the D major Prelude's right-hand arpeggiated chords in a slightly detached manner in order to offset the left hand's cello-like legato line. In the F-sharp minor Fugue Scherbakov takes special care to differentiate the levels of soft dynamics. He maintains Fugue No. 15's marcatissimo directive with unyielding vehemence, while effortlessly clarifying the difficult-to-disentangle voices.
Those familiar with Nikolaeva's freer treatment of the 16th fugue's elaborate subject will be surprised at the profile and contrast it acquires when played in strict time, as Scherbakov does. As a result, the uneven duplets truly stand out from the even ones. On the other hand, the 14th Prelude's tremolos sometimes threaten to cover the melodic material. Here both Nikolaeva and the composer relegate these tremolos to a spooky background murmur, and make more of the motto theme's tenutos. And Scherbakov sometimes plays down Shostakovich's edgy humor. Yet these quibbles are about aesthetic choices, not interpretive faults, and really don't matter in the larger context of Scherbakov's achievement. His interpretations are thought out, deeply pondered, prepared to the nth degree, and played with a perfect fusion of technique and soul. Even listeners who consider these works arid and somewhat pedantic will change their minds after hearing Scherbakov. A triumph.
--Jed Distler, ClassicsToday.com
Rachmaninov, S.: Preludes - Opp. 23, 32
Nantucket Dreaming / Nobadeer Dreaming / Bassoon Quintet / Madaket Dreaming / Shawkemo Dreaming / Lyric Trio / Sankaty Dreaming (String Quartet No. 4) / Flying Machine
Rorem: Double Concerto, After Reading Shakespeare
What keeps this disc from getting the highest rating is an admittedly personal issue, one that you may not share. After Reading Shakespeare, a suite for solo cello, was also written for Sharon Robinson, and it is very sympathetically performed (listen, for example, to how vividly she characterizes "Titania and Oberon"). Nevertheless, the pairing of an orchestral piece with this most chamber-like of chamber compositions strikes me as unconvincing, coming as it does after the concerto. In his notes Rorem emphasizes the fact that the movement titles of this piece should not be taken literally, the music having preceded some of them. If so, then why use them at all? And why suggest as opening and closing movements such weighty subjects as "Lear" and "Othello and Iago"? They really beg the question of whether or not Rorem's inspiration is up to Shakespeare's, and we don't want to go there, do we? There are times when composers might do better to resist the temptation to offer verbal clues, even if they are perfectly valid ones. Still and all, the music and performances themselves are self-recommending to the composer's many admirers, and on that basis I can recommend this fine new release without further qualification.
--David Hurwitz, ClassicsToday.com
Balada: Complete Piano Works
Brahms: 8 Piano Pieces, Op. 76 - 7 Fantasien, op. 116 - 3 In
Holt: Incantatie Iv For Three Pianos
Reger: Organ Works
Borisova-Ollas: The Triumph of Heaven
Brahms: Piano Pieces, Op. 117, 118 & 119
The Journeys of Rubens
Couperin: Clavecin Louis Denis, 1658
Brahms: The Piano Concertos / Barto, Eschenbach, Deutsches Symphony Orchestra Berlin
The American pianist Tzimon Barto and the world famous conductor Christoph Eschenbach have had a very long and close friendship together. After their successful Capriccio recording of Tchaikovsky’s B flat Minor Concerto they follow up now with recordings of the Brahms Concertos, cornerpieces of the piano concerto literature and further examples of these two artist’s close working partnership. Mr. Barto and Mr. Eschenbach, iconoclasts both, offer a new focus on these masterpieces. Also to be heard are Mr. Barto’s interpretations of the 4 Ballades, op. 10.
Schubert: Piano Sonatas No 2, 3, 6 / Gottlieb Wallisch
