Belgian flutist Karin de Fleyt is one of the foremost specialists in the flute world. This album contains three contrasting works- one for flute and wind orchestra, one for mixed flutes, clarinets, and piano, and one for solo bass flute. Karin de Fleyt is a fantastic player of flute, alto flute, piccolo, bass flute, bansuri flute, and shakuhachi. She frequently performs experimental music with extended techniques, and is a member of the artistic board in the HERMES Ensemble.

Classical Music

Classical Music

Published in 1912, Leopold Godowsky' Waltz Masques: 24 Fantasies in Triple Time for Piano pay homage to such illustrious pianist-composers as Chopin, Schumann, Liszt, Debussy and the 'waltz king' Johann Strauss.

Godowsky, L.: Piano Music, Vol. 7

Classical Music

In the 1960s, Jaan Rääts (b. 1932) brought into Estonian music a markedly anti-Romantic, neo-classicist orientation. Unlike many others, Rääts found his musical language relatively quickly and has broadly stayed true to it until today. His prolific work for piano includes the 24-piece Marginalia, dedicated to Kalle Randalu and the Electronic Sonata, the first work of its kind released on LP in Estonia, heard here on synthesizer, later arranged for two pianos.

The story of DIEM (The Danish Institute of Electronic Music) is the story of 25 years of believing that the newest technology can move existing musical boundaries by creating new sounds, new structures, and pioneer the development of the music of the future. This double CD presents a broad selection of works produced at DIEM from 1987 to 2012; all of them presented in their original form and many of them released for the first time. DIEM is dedicated to artistic production, teaching, research and performance in the area of electronic music in Denmark. DIEM is led by the Californian-born composer Wayne Siegel, himself an electronic pioneer with several releases on Dacapo Records such as the recent TERRA in the spring of 2012.

Classical Music

Includes work(s) by various composers. Soloist: Jakob Lindberg.

Classical Music

Classical Music

Classical Music

Classical Music

Organ Works of the North German Baroque featuring Flamme’s interpretation of Boehm’s complete organ oeuvre on the Creutzburg organ in the Church of St. Cyriacus in Duderstadt. Bohm, born in Thuringia, was 24 years older than Bach and the organist at St. John’s Church in Luneburg when the young Bach was residing there. Even if documents for a pupil-teacher relationship are lacking, the presence of the highly talented young musician in this town cannot have escaped Bohm’s notice.

Also available: Widor: Organ Symphonies Nos. 5, 6 & 8-10 / Schmitt

FAURÉ Barcarolles (complete) . 3 Romances sans paroles , op. 17 • Charles Owen (pn) • AVIE AV 2240 (63:20)


At the midcentury there were still artists active who had known Fauré and were cognizant of his world, however rapidly it may have been passing. One thinks of Marguerite Long, Yvonne Lefébure, Vlado Perlemuter, Robert Casadesus, Jean Doyen. As Fauré passed from living memory, a new generation of pianists approached his works with the generic, heavily pedaled, freely rubatomized manner that was the pianistic lingua franca of the 20th century’s last third. Matters of touch—light or sec, and sparing—and rhythmic steadiness were forgotten or ignored, and the public came to accept what was offered, that is, a sound very different from that which Fauré took for granted. The matter is not one of insisting upon slavish adherence to a “sacred tradition”—now, in any case, beyond recall—but of cultivating those oddments of style facilitating the optimum realization of Fauré’s music, which trails a dimension not always evident from close reading of its performing directions.


The marvel is the breathing naturalness with which Charles Owen has accomplished it—a marvel so complete that one is delighted, moved, entranced, noting only how deftly it is done. Without giving accompaniments or subsidiary figures undue prominence, every part is alive and singing with absolute, silvery clarity. Complementing his nonpareil traversal of the nocturnes (Avie 2133, Fanfare 32:1), Owen wings the barcarolles’ expressive curve, from early blithesomeness through middle-period pith and wizardry to the spare poetry of wizened old age, with a sympathetic grasp reviving, for an hour, a vanished world. One leaves it overcome with gratitude—gratitude to the composer, the artist, and for their rare endeavor, which has turned out so ravishingly well. For decades, the great and aptly named Jean Doyen’s traversal of the complete piano works was an unfailing touchstone for revealing Fauré’s manner of saying important things conversationally. Unfortunately, Erato’s masters were in sorry shape and their transfer to CDs was a disappointment. The good news is that Owen overtops him, and in sound of detailed, open, savoring immediacy. Jessica Duchen’s knowing annotations—a beautifully written contribution to the Fauré literature—confect a final elegance. This is for the ages, classic and indispensable.


FANFARE: Adrian Corleonis

Founded in 1999 Écho du Danube’s festival and concerts programs often include rediscoveries based on intensive research and library work, an often exciting as well as laborious but important aspect of its musical existence and as the source of new inspiration. The ensemble formations vary from duo or trio to twenty persons or more based on the work requirements. On cpo the ensemble here offers a multifaceted program of spirited and fresh music from 16th-17th c. Neapolitan composers with lavish instrumental resources including the salterio and baroque percussion instruments.

Mikhail Ivanovich Glinka (1804-1857) was one of the first Russian composers to gain fame within his home country. His works are influential among Russian composers who would follow, especially The Five, who pioneered the distinctive Russian Style. Glinka studied for a brief period under Irish composer John Field. Field’s style remained engrained in Glinka throughout his life, and can be especially seen in the “brilliant style” of his piano works. Ton Nu Nguyet Minh has performed across Europe, and won several international piano competitions. Since 1985 she has been a professor at the Academy of Music “Hanns Eisler” in Berlin.

While these pieces have been recorded and performed many many times, what makes this recording unique is the use of the tangent piano (Tangentenflugel.) The tangent piano was quite popular throughout Germany during the late 18th century. The instrument has strings which are struck by wooden slips that don’t have any soft coverings. The strikers move perpendicularly to the strings like harpsichord jacks. The pieces on this release were published between 1779 and 1787 as part of six books of Sonatas, Fantasias, and Rondos titled Fur Kenner ind Liebhaber (for masters and amateurs).

BACH, J.S.: Cello Suites Nos. 1-6, BWV 1007-1012 (Complete)

Includes work(s) for org by various composers. Soloist: Timothy Olsen.

Classical Music

Classical Music

Giorgio Koukl' survey of Martinu' complete piano music has been praised as "a delight" and "estimable and important". Since the release of Volume 4, which was originally intended to be the final disc of this series, several manuscripts of previously unreleased material.