• The Bach Sonatas and Partitas for Solo Violin are among touchstone works in the solo violin literature. • Partita No. 2 concludes with the famous Chaconne, often played as a stand-alone work. • Italian violinist Luca Fanfoni's discography includes several previous Dynamic releases • NY debut 2002 – Carnegie Hall • Luca Fanfoni is violin professor at the Parma Conservatory

SPANISH GUITAR

Rheinberger, J.G.: Organ Works, Vol. 5

Playing a golden-toned 10-course lute and using original manuscript sources or his own sensitive reconstructions, British lutenist Nigel North presents a delightful recital of dances by Robert Johnson, a contemporary of Shakespeare for whose plays he wrote songs and incidental music. Although they use the old forms of pavan, galliard, almain and fantasie, Johnson’s exquisite works tend towards the more expansive, lyrical style that would later flourish in the Baroque period.
Nigel North’s critically acclaimed boxed set of Dowland’s Complete Lute Music is also available (Naxos 8.504016).

Messiaen: The Mystical Colors of Christ - Explore the musical sound-world of French composer Olivier Messiaen in this collection of his organ works based on events from the life of Christ. The program booklet includes beautiful original artwork created especially for the recording, and insightful notes on the featured works. Recorded by the organists of Gloriae Dei Artes Foundation, on the E.M. Skinner organ of the Church of the Transfiguration. "At approximately 100 ranks, it has a wonderful clarity and color, and the performers do it ample justice. All three performers are up to the formidable task of recreating Messiaen's music very much, one feels as he envisioned it. " - The Diapason

Includes work(s) by various composers. Soloist: Jérémy Jouve.

Includes work(s) for guitar by various composers. Soloist: Oleg Timofeyev.

Arvo Pärt’s piano works range from his first public statement as a composer, the Zwei Sonatinen, to his latest, the life affirming miniature Für Anna Maria. Moving away from his 1960s atonal language, Pärt found an essence of truth in music embodied in the simple lines of Für Alina. Lamentate is a vast monument which the composer has described as a lament ‘not for the dead, but for the living’. Multi award-winning pianist Ralph van Raat has been praised for his ‘sensitive and technically refined’ playing of Hans Otte’s Book of Sounds (8.572444) (MusicWeb International).

SEIXAS Harpsichord Sonatas, Vol. 1 ? Débora Halász (hpd) ? NAXOS 8.557459 (71:02)


Domenico Scarlatti, mestre du capella to the Infanta Maria Barbara, accompanied his pupil when she moved temporarily to Lisbon in 1723. While there, the Portuguese Infanta Don Antonio supposedly sent a promising young composer, Carlos de Seixas, to study with Scarlatti, who was 19 years his senior. The story goes that the latter reported back to Don Antonio, stating Seixas was one of the best musicians he had ever heard, and scarcely in need of further instruction.


It?s a nice tale, and possibly even true. I for one would have liked to witness a first meeting between two such highly talented composers whose keyboard work reflects considerable similarities, despite their differences of age and upbringing. The issue of influence and the direction it ran has never been settled, and is likely never to be, given that Seixas died young, and his original manuscripts perished during the Lisbon Earthquake of 1755. Out of some 700 ?keyboard toccatas? he is known to have composed, roughly 95 survive, of which 80 were collected, edited, and published by the late Macario Santiago Kastner. Although it?s never made clear in the liner notes to this release, presumably that edition is the one used by Débora Halász in what has been announced as a complete traversal. This leaves approximately 15 pieces unaccounted for, if my arithmetical skills are still functioning. Kastner presumably found them of dubious authenticity, or they appeared after his death. I?d personally like to hear them regardless, whether authentic or not, as there is an inordinate amount of formerly attributed music that is quite good and never gets recorded. Not that I?m about to turn up my nose at any attempt to issue multiple volumes of Seixas, whose treatment thus far on CD has been sporadic at best.


The last release of Seixas that I reviewed in these pages appeared roughly a year ago, and featured Christian Brembeck (Musicaphon M 55867). There?s little to choose, technically speaking, between Brembeck and Halász. Both have fingers to spare, and easily manage the more virtuosic pieces without any loss of flow or control. Sound quality on both albums, too, is excellent, and to make matters more confusing, the harpsichordists adapt similar, judiciously chosen tempos in the few works they both perform.


However, there are significant differences between the two, and unfortunately they don?t make choosing a single disc any easier. Halász, for one, employs grace notes with frequency and usually in a way that seems both natural and appropriate to the music. She is willing to stretch the beat a bit even in rhythmically driven passages, though, when it can have a detrimental result. As an example, part of the powerful effect of the Sonata No. 50 in G Minor derives from its headlong impetus and strong first beat. This is impeded when the beat in question is lengthened and weakened, as Halász routinely does. When the harpsichordist resorts to this, he/she invariably draws attention to the strategy, interfering with our enjoyment of the music.


Brembeck is more straightforward. His beat is firm, and when he uses ornamentation it appears within existing rhythms. He also offers a pair of instruments, a rich sounding modern model based on a 1746 Blanchet, and a sweeter one that imitates characteristics of Merzdorf harpsichords of the early 1700s. Halász offers one harpsichord, a copy of a 1734 Haas, though on evidence of this album, it has a pair of manuals that are used with discretion.


But on the aforementioned Sonata No. 50, Brembeck only repeats the first section, and gives the second section a single performance. This he does more often than not, whereas Halász plays both sections twice?relatively standard practice today. In the Sonata No. 10 in C Major, the second section is of appreciable length, and the difference between the two recorded versions is, as well: 13:06 for Halász, 8:13 for Brembeck. The shape of the result is substantially different, depending upon which version you hear.


This puts a different complexion upon matters, and inclines me slightly towards Halász?who also holds the trump card in the form of a complete, forthcoming recorded edition. But you really can?t go wrong with either of these two releases that, in their differing approaches to this music, offer a selection of fine music discerningly performed.


FANFARE: Barry Brenesal

Clementi: Piano Sonatas, Op. 50: No. 1, Op. 34: No. 2 and Op

Recorded between 1955 and 1961, Vladimir Sofronitsky's performances of the piano sonatas of Alexander Scriabin are collected in this twofer and are nearly complete, except for his partial recording of the Sonata No. 1 in F minor, of which only the final movement is provided, and the absence of the Piano Sonata No. 7. For his time, Sofronitsky was the leading Russian interpreter of Scriabin, and his interpretations were impressive for their brilliant virtuosity and volatile expressive power. Yet these dynamic performances ...range from murky, boxy sound to outright distortion, and the volume levels are severely out of balance, especially in the bonus 1951 recording of Heinrich Neuhaus playing the Sonata No. 1, an odd way to redress the missing Sofronitsky movements. Furthermore, Sviatoslav Richter's live 1964 performance of the Sonata No. 7 is included, which, with the Neuhaus, allows Profil to claim the set is complete. Because the value of these recordings is almost entirely in their historical significance, rather than for sound quality or ease of enjoyment, they are recommended for Scriabin specialists and fans of Sofronitsky who don't already have them, but few others. - All Music Guide

On her third solo release, Miki Aoki features works by the members of Les Six, a group of early 20th century French composers who were blazing their own trail. The music of Francis Poulenc is what's really touched Miki's heart. Ever since she was invited to play his Violin Sonata about eight years ago, she's been obsessed with his unique character. "It's got this humor and irony." - Miki Aoki

Classical Music

Classical Music

Classical Music

Classical Music

GLAZUNOV: Piano Music, Vol. 3

Among the so-varied styles of music being written and constructed today, there remains a vibrant and strong lyrical tradition, focused on the English school. Proving that such work is still fresh and relevant, here are exquisite pieces for clarinet, recorder and string quartet by Robert Crawford and the late John Veale. Modern idioms which also incorporate classical and Romantic traditions. We regret to note that Bob Crawford died on January 26, 2012.

Written to be played by children perhaps, but not all these pieces are as simple as the title may suggest! Miniature modern masterpieces by some of the 20th century's greatest composers. Raymond Clarke is an acknowledged master of the 20th century repertoire and his previous recordings have received immense praise. He has been described as a staggering pianist of exceptional gifts.

Classical Music

Classical Music

Classical Music

RUBINSTEIN: Kamenniy-ostrov, Vol. 2

One of Britain's most accomplished, celebrated and prolific composers, Michael Finnissy here plays a programme of works based on folk music from several countries.

Includes nocturne(s) for pno by Frédéric Chopin. Soloist: Bernard d'Ascoli.