{"title":"Joe Benjamin","description":"","products":[{"product_id":"mendelssohn-piano-concertos-nos-1-2-95152","title":"Mendelssohn: Piano Concertos Nos. 1 \u0026 2","description":"MENDELSSOHN: Piano Concertos Nos. 1 and 2 \/ Capriccio Brilla","brand":"Naxos","offers":[{"title":"CD","offer_id":44626407653610,"sku":"730099568128","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/126897.jpg?v=1778346204"},{"product_id":"the-best-of-mendelssohn-95383","title":"The Best Of Mendelssohn","description":"Classical Music","brand":"Naxos","offers":[{"title":"CD","offer_id":44625835032810,"sku":"730099666022","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/205598_7e54b8f2-dbdd-4b5a-87e7-079003cb5e13.jpg?v=1778349459"},{"product_id":"benjamin-a-mind-of-winter-etc-benjamin-94664","title":"Benjamin: A Mind Of Winter, Etc \/ Benjamin, Elder, Et Al","description":"\u003cp\u003eGeorge Benjamin is a contemporary composer known best among small circles, but with a loyal international following. This recording contains five of his pieces, and they share a common style. Benjamin treats a composition as a landscape: a kind of blank, rolling panorama onto which he affixes musical ideas. His sound is very textured and evocative. 'Ringed by the Flat Horizon,' for example, portrays a storm that overtakes a vast open space. The music begins ominously and contains a variety of created sound effects along with rapid fire crescendos into huge orchestral crashes. 'A Mind In Winter' is contrarily a setting of \"The Snowman\" (a poem by Wallace Stevens), and yet is built upon the same sort of abstract picture-building and sweeping evocative gestures for the voice. Benjamin's vocabulary is developed from the modern schools of atonality, and his teacher Messiaen is a clear and strong influence on his work. For those attracted to the modern schools of classical composition, they will find a great many layers to be unveiled in this recording.\u003c\/p\u003e","brand":"Nimbus","offers":[{"title":"CD","offer_id":44625610506474,"sku":"710357564321","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/305119.jpg?v=1778294923"},{"product_id":"mendelssohn-concertos-for-two-pianos-frith-tinney-95214","title":"Mendelssohn: Concertos For Two Pianos \/ Frith, Tinney, Et Al","description":"\u003cp\u003e}Gramophone (2\/97, pp. 53-4) \"...I was as impressed by [Frith and Tinney's] attunement of phrasing in lyrical contexts as by their synchronization in all the brilliant semiquaver passagework....a not-to-be-missed opportunity to explore the precocious young Mendelssohn...\"{\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":44625178231018,"sku":"730099441629","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127308.jpg?v=1778346633"},{"product_id":"mendelssohn-piano-works-vol-2-benjamin-frith-179960","title":"Mendelssohn: Piano Works Vol 2 \/ Benjamin Frith","description":"As I remarked last November when Vol. 1 of this cycle appeared, the multiplicity of notes in Mendelssohn’s piano music sometimes lays him open to the charge of ‘note-spinning’. So what higher praise for Frith than to say that thanks to his fluency, tact and fancy, not a single work in this second volume seems to outstay its welcome. \u003cbr\u003e  \u003cbr\u003e The unchallengeable masterpiece, of course, is the Variations serieuses, so enthusiastically taken up by Clara Schumann, and still a repertory work today. Frith characterizes each variation with telling contrasts of tempo and touch without sacrificing the continuity and unity of the whole. Equally importantly, never for a moment does he allow us to forget the serieuses of the title. I was no less impressed by his sensitively varied palette in the early E major Sonata (unmistakable homage to Beethoven’s Op. 101) so often helped by subtle pedalling. But surely the recitative of the Adagio at times needs just a little more intensity and underlying urgency.\u003cbr\u003e  \u003cbr\u003e Of the miniatures the six Kinderstucke (“Christmas Pieces” – written for the children of a friend) emerge with an unforced charm. As music they lack the romance of Schumann’s ventures into a child’s world, just as the Three Studies do of Chopin’s magical revelations in this sphere. However, Frith’s fingers never let him down. In the first B flat Study he even seems to acquire a third hand to sustain its middle melody. For sheer seductive grace, the independent Gondellied haunts my memory most of all, here with its melody so gracefully floated over a gently gliding bass. With pleasantly natural sound in its favour, too, this disc could surely sell at more than its modest price.'\u003cbr\u003e  \u003cbr\u003e -- Joan Chissell, Gramophone [5\/1996]\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":44625176461546,"sku":"730099594028","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127058.jpg?v=1778345769"},{"product_id":"mendelssohn-piano-works-vol-3-benjamin-frith-172755","title":"Mendelssohn: Piano Works Vol 3 \/ Benjamin Frith","description":"MENDELSSOHN: Sonata in B-Flat Major \/ Fantasies, Op. 16","brand":"Naxos","offers":[{"title":"CD","offer_id":44625176428778,"sku":"730099418621","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/200904.jpg?v=1778341713"},{"product_id":"mendelssohn-piano-works-vol-5-benjamin-frith-234481","title":"Mendelssohn: Piano Works Vol 5 \/ Benjamin Frith","description":"MENDELSSOHN: 7 Characteristic Pieces, Op. 7 \/ Fantasia, Op.","brand":"Naxos","offers":[{"title":"CD","offer_id":44625176396010,"sku":"730099454124","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/261020.jpg?v=1778347777"},{"product_id":"mendelssohn-violin-concertos-bisengaliev-frith-et-al-141473","title":"Mendelssohn: Violin Concertos \/ Bisengaliev, Frith, Et Al","description":"MENDELSSOHN: Concerto for Violin, Piano and Strings \/ Violin","brand":"Naxos","offers":[{"title":"CD","offer_id":44625173381354,"sku":"730099484428","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/243569.jpg?v=1778183763"},{"product_id":"schumann-davidsbndlertanze-fantasiestcke-frith-106834","title":"Schumann: Davidsbündlertanze, Fantasiestücke \/ Frith","description":"The Davidsb�ndlert�nze, Opus 6, and the Fantasiest�cke, Opus 12, both belong to the year 1837. Wieck had insisted that Clara should not see Schumann and that letters should be returned. The latter, despairing of success in his pursuit of Clara, turned to drink and conduct that his landlady, at least, found reprehensible. At one point he sought revenge on Clara by publishing a satire mocking both her and a young man who had been brought in by her father to give her singing lessons. He dedicated his Fantasiest�cke, written between 22nd May and 4th July, to an attractive eighteen-year-old Scottish pianist, Robena Laidlaw. It was Clara who brought about a reconciliation through an intermediary so that August saw her pledged to him and in September they were able to meet again. The Davidsb�ndlert�nze were written in the late summer and early autumn of 1837, after this reconciliation. The first dance opens with a quotation from a Mazurka by Clara Wieck and is varied in mood, attributed to both Florestan and Eusebius. The second piece is attributed to the latter and the third, marked With Humour, to Florestan, the author of the fourth, marked Impatient. The simple fifth piece is in the mood of Eusebius, while the sixth, in stormier mood, reverts to Florestan. The opening arpeggiated chords of the seventh piece reintroduce Eusebius, followed by a brusque Florestan. The last piece of the first book, marked Lively, carries an additional explanation: Hierauf schlo� Florestan und es zuckte ihm schmerzlich um die Lippen (Hereupon Florestan stopped and his lips quivered sadly). Florestan opens the second set of nine pieces in ballad measure, with a whimsical third piece framing a simple second for Eusebius. The fourth has room for both moods, with the gently singing filth for Eusebius. Both are together again in the sixth piece as they appear to be in the seventh, with it's contrasting slower Trio section, which leads at once to the eighth piece, Wie aus der Ferne (As from the Distance). For the final dance Schumann adds the explanation: Ganz zum �berfluss meinte Eusebius noch Folgendes; dabei sprach aberviel Seligkeit aus seinen Augen (Eusebius considered the following quite superfluous; but at the same time he expressed much happiness with his eyes). The last piece adds a gentle C major conclusion to the work. Benjamin Frith the young British pianist Benjamin Frith has had a distinguished career. A pupil of Fanny Waterman, he won, at the age of fourteen, the British National Concerto Competition, followed by the award of the Mozart Memorial Prize and joint top prize in 1986 in the Italian Busoni International Piano Competition and in 1989 a Gold Medal and First prize in the Arthur Rubinstein Piano Master Competition. Benjamin Frith enjoys a busy international career, with engagements in the United States and throughout Europe as a soloist and recitalist, with festival appearances at Sheffield, Aldeburgh, Harrogate, Kuhmo, Bolzano, Savannah, Pasadena and Hong Kong and an Edinburgh Festival debut in 1992. His recordings include a highly praised performance of Beethoven's Diabelli Variations on the ASV label and for Naxos a release of piano music by Schumann, followed by the two Mendelssohn Piano Concertos and the Third Piano Concerto of Rachmaninov.","brand":"Naxos","offers":[{"title":"CD","offer_id":44624920183018,"sku":"730099549325","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/126784.jpg?v=1778346537"},{"product_id":"stravinsky-music-for-two-pianos-frith-hill-216735","title":"Stravinsky: Music For Two Pianos \/ Frith, Hill","description":"Stravinsky composed his music at the keyboard, often struggling to play his own complex rhythms. It is not surprising therefore that many of his symphonic works also exist in his own piano versions, such as the four hand transcription of his ballet, The Rite of Spring. It is a pianistic tour de force, the players often having to interweave fingers, hands and arms to meet the composers tremendous demands of virtuosity. The work has for many years formed part of the standard repertoire of Benjamin Frith and Peter Hill. They have played it throughout England to astonished audiences, and have broadcast this (and the other two works on this disc) on BBC Radio 3. The performance is staggeringly brilliant, superbly recorded in St Silas Church, London on a wonderful Bosendorfer Imperial Grand. The duo are now recording exclusively for Naxos, Peter Hill will be recording the complete music by Stravinsky for two hands at sessions this summer.","brand":"Naxos","offers":[{"title":"CD","offer_id":44624853369066,"sku":"730099438629","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127287.jpg?v=1778341256"},{"product_id":"the-best-of-weber-234763","title":"The Best Of Weber","description":"Classical Music","brand":"Naxos","offers":[{"title":"CD","offer_id":44624806117610,"sku":"730099667623","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/199443.jpg?v=1778382300"},{"product_id":"field-piano-concertos-vol-1","title":"FIELD: Piano Concertos, Vol. 1","description":"FIELD: Piano Concertos, Vol. 1","brand":"Naxos","offers":[{"title":"CD","offer_id":44711403454698,"sku":"730099477024","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/209871_3e6c7ccd-1c3c-469d-885d-3ba46d13ee7a.jpg?v=1778349524"},{"product_id":"orgelbuchlein-bwv-599-644-bach-complete-works","title":"ORGELBUCHLEIN BWV 599-644 - BACH: COMPLETE WORKS","description":"With it's forty-five chorale preludes, the Orgelb�chlein bears witness to a mastery of the art of improvisation on the organ, as the congregation heard it at the time before singing the hymn in it's turn. It was a tempting experiment to revive this primary function: by collaborating with the combined forces of the Ensemble Vocal Bergamasque and the Ma�trise de Notre-Dame de Paris, Benjamin Alard gives the 'little organ book' it's full significance and expressive power.","brand":"HARMONIA MUNDI","offers":[{"title":"CD","offer_id":44908062572778,"sku":"3149020944813","price":21.66,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4124963-2881842.jpg?v=1778371465"},{"product_id":"unfolding","title":"UNFOLDING","description":"UNFOLDING","brand":"ECM RECORDS","offers":[{"title":"CD","offer_id":44913629331690,"sku":"602465614046","price":17.24,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4364914-3281292.jpg?v=1778370201"},{"product_id":"unfolding-1","title":"UNFOLDING","description":"Louis Sclavis \/ Benjamin Moussay -\"Unfolding\" - Having previously joined forces on several Louis Sclavis recordings for ECM (including the clarinetist's last album, Characters On A Wall), Sclavis and pianist Benjamin Moussay have been increasingly focused on their two-way communication in recent years, playing expansive and well-received concerts throughout Europe. Now, in a program of originals (two-thirds from the pianist's pen, the remaining third by the clarinetist), the French duo dreams up a world of chamber conversations that juxtaposes lyrical contemplation with whimsical inventiveness in a joyous, concentrated collaboration. Verve Label Group; ECM; Jazz","brand":"ECM RECORDS","offers":[{"title":"Vinyl","offer_id":44913629462762,"sku":"602465795776","price":31.44,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4385977-3305827.jpg?v=1780137915"},{"product_id":"rhapsody-in-blue-2","title":"RHAPSODY IN BLUE","description":"Benjamin Grosvenor - \"Rhapsody In Blue\" \/ Celebrating the 100-year anniversary of Rhapsody In Blue, Decca presents Benjamin Grosvenor's recording with the Royal Liverpool Philharmonic Orchestra. 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Freed from the obligations that held him back in Weimar and not yet caught up in the Leipzig treadmill, Prince Leopold's prot�g� produced masterpieces of such flamboyance that Benjamin Alard could not resist the pleasure of inviting some of his dear musician friends to join him around the splendid three-manual harpsichord by Hass.","brand":"HARMONIA MUNDI","offers":[{"title":"CD","offer_id":46012975317226,"sku":"3149020947586","price":23.84,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4304436-3121406.jpg?v=1778367209"},{"product_id":"poets-are-gathering","title":"POETS ARE GATHERING","description":"There are incantations and supplications to be found here. Also: elegies and headlines, howls and mantras, reveries and outbursts. They instruct and affirm. They urge you to dance while offering road maps to reflection. They rouse you from deep slumber and offer solace for your worst nightmares. - GENE SEYMOUR. \"The Poets Are Gathering\" is the third in a series of acclaimed recordings from saxophonist\/composer Benjamin Boone that integrate the music \u0026amp; poems from some of America's leading jazz musicians and Poet Laureates, Guggenheim fellows and Pulitzer Prize winners. Where \"The Poetry of Jazz\" volumes offered the voice of the late U.S. Poet Laureate Philip Levine, here, notable contributors include Tyehimba Jess, Juan Felipe Herrera, Patricia Smith, T.R. Hummer, and Edward Hirsch, along with pianist Kenny Werner, guitarist Ben Monder and drummer Ari Hoenig, among many others. This recording possesses a visceral, in-the-moment force as the poetry responds to the roiling, insurgent energies against racism and other societal ills. The themes of immigration, racism, homelessness, poverty, abuse, protests, and war can overwhelm and distress, but through the voices of some of the world's great literary minds there are clues to be found to absorb the blows, summon the spirits, engage the moment and as Tyehimba Jess suggests, \"murder the silence\" that threatens to immobile us, to keep us away from the reasons to commit, to deal, to hope – and, above all, to imagine. \"Boone knows where the thing called poetry lives, an ocelot among the waters, a sky-shaped Rain God that flares down upon us. 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Listening to the piece you'll hear a panoply of songs surfing the musical thermals in the alpine either: low, long-breathed cries and calls, filigree flocks of ornamentation in the atmospheric heights of the flute's register, a chorus of vapors conjured by a single instrument. Into The Little Hill is based on the Pied Piper story, allowing audiences an immediate entry point into the opera's dramaturgy. But Crimp's re-telling simultaneously updates the story, with its politicians, photographs, and limousines, and opens up further mythic dimensions to the narrative. The drama of Into the Little Hill is concisce, clear and simultaneously ambiguous, even chilling. Benjamin says, 'Martin's text is hard-edged, formal, and hyper-condensed'. The reason for its musical and dramatic success is Benjamin's unerring feeling for expressive characterisation. Each layer of Into the Little Hill's score is immediately identifiable, from the Crowd's baying cries of 'Kill them' rightat the start of the piece, to the rodentine scurrying of the rat's music, and the Mother's lamenting grief in the last scene. Dream of the Song is a mysteriously sensual and sensually strange song-cycle for countertenor, a halo of female voices that are similar in register, but so different in timbre and sound and expression, and orchestra. The counter-tenor sings poems, in English, by Jewish poets of 11th century Andalucia, themselves inspired by Arabic poetry of earlier centuries. There are images of ravishment and wonder here - moonlight, the celestial tent of the sky, a dream of a gazelle, a harp, a flute - but they are always undercut by other ideas. 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These \"night\" pieces are primarily characterized by a dominant, gracefully flowing melody, with most of the harmonic activity in the pianist's left hand. Although other pianists have recorded at least some of Field's Nocturnes--most notably John O'Conor (Telarc) and Miceál O'Rourke (Chandos)--Benjamin Frith's own uniquely inflected, poetic readings have a satisfying aura of intimacy cast in the warm colors of his well-tempered, expertly recorded piano. Although O'Conor's playing is more lyrical, with more fluid legatos, Frith generally takes more time--and these invariably lovely pieces blossom just as fully and brilliantly. The two sonatas are not notable for their originality--they owe much to their dedicatee, Field's teacher Clementi--but they reveal the young composer's gift for understanding the piano's unique voice. This is music for everyone--for any time of day, for any prevailing mood--and we're lucky to have such a fine pianist as Frith joining the Field field. [10\/22\/1999] --David Vernier, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46025284026602,"sku":"730099576123","price":19.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/290233.jpg?v=1778341104"},{"product_id":"mendelssohn-piano-works-vol-1-benjamin-frith-234341","title":"Mendelssohn: Piano Works Vol 1 \/ Benjamin Frith","description":"MENDELSSOHN: 6 Preludes and Fugues, Op. 35 \/ 3 Caprices, Op.","brand":"Naxos","offers":[{"title":"CD","offer_id":46025378988266,"sku":"730099593922","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127057.jpg?v=1778345743"},{"product_id":"field-piano-music-vol-2-benjamin-frith-95165","title":"Field: Piano Music Vol 2 \/ Benjamin Frith","description":"Field: Piano Music, Vol. 2","brand":"Naxos","offers":[{"title":"CD","offer_id":46025385836778,"sku":"730099576222","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/319258_aa154b9f-0fb8-41c2-bc12-1686c236e07f.jpg?v=1778341150"},{"product_id":"fountain-judson-dark-dark-dark-tales-and-other-dark-tales","title":"Fountain, Judson: Dark, Dark Dark Tales and Other Dark Tales","description":"Classical Music","brand":"Innova Recordings","offers":[{"title":"CD","offer_id":46025616359658,"sku":"726708622220","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1480688.jpg?v=1778337650"},{"product_id":"benjamin-g-antara-boulez-p-derive-memoriale-harv","title":"Benjamin, G.: Antara \/ Boulez, P.: Derive \/ Memoriale \/ Harv","description":"Classical Music","brand":"Nimbus","offers":[{"title":"CD","offer_id":46026125607146,"sku":"710357516726","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2093700_0c10da5c-ae4c-4f6c-a209-6e579d55fb4a.jpg?v=1778312676"},{"product_id":"laureate-series-violin-korngold-lin-loeb-226684","title":"Laureate Series - Violin - Korngold \/ Lin, Loeb","description":"\"Joseph Lin’s recording of Korngold’s Violin Sonata appears in a collection of arrangements. Gil Shaham recorded the Suite, along with his reading of the Concerto—and Barber’s—and included the Caprice fantastique on “Devil’s Dance” (Deutsche Grammophon 463 483, 24:3), that appeared around Halloween time in 2000. The Suite consists of four movements, “Maiden in the Bridal Chamber,” “Dogberry and Verges,” “Gartenscene,” (a short number played as an encore by Heifetz), and “Masquerade.” These pieces, in a more popular vein than the more ambitious Violin Sonata, showcase Korngold’s rich melodic gift and harmonic imagination, and “Dogberry and Verges” give evidence of a mild sense of humor that the Sonata seems to lack. Lin and Loeb sharply characterize each of these movements, with Lin producing an especially glowing tone in the “Garden Scene” and displaying musical and technical authority in the “Masquerade.” Shaham plays with a more sumptuous tone and soaring portamentos that bring the period and the music vividly to life and he moves forward more coherently—and cogently—in the march, “Dogberry and Verges,” which Lin plays with a drier sensibility approaching that in Prokofiev’s March from The Love for Three Oranges. But Shaham brings a cheekier strut to the final movement, “Masquerade.”\u003cbr\u003e  \u003cbr\u003e Compared to Kiss, Lin sounds relatively sweet-toned, and the timings of his movements fall between those of Kiss and Waltman. But while those two-odd minutes may seem insignificant in a four-movement work, they also can represent a sort of general relaxation that makes the work sound more discursive, though Lin and Loeb play with plenty of energy and attack the more aggressive passages in the first movement, for example, with plenty of gusto and plenty of sharp-edged panache at the movement’s climax. The duo also takes command in the large-scale Scherzo (at 10:37 in this recording, that movement occupies almost a third of the Sonata’s duration), and though there may be a degree of roughness in Lin’s attack, he brings a sense of excitement to the movement. Lin’s purity of tone on the E string generates thrilling intensity in the slow movement, powering its leaps into the stratosphere. If the Sonata’s dedicatees inspired its seriousness, Korngold certainly rose to the occasion, and so do Lin and Loeb.\u003cbr\u003e  \u003cbr\u003e The shorter pieces begin with the Serenade from Der Schneemann, a rapt miniature that shows off Lin’s tonal command but also his wide and rather slow vibrato, which, for some listeners, may even threaten to grow annoying. From Korngold’s opera, Die tote Stadt, come the two short pieces, “Tanzlied” and “Marietta’s Lied,” the first a delicately wistful song that’s immediately ingratiating, and the second, an affecting lyrical outpouring that could vie successfully with the most popular works in the genre. The Caprice, subtitled “Wichtelmännchen,” or “Goblins” could similarly almost take the place of several similar pieces, like Bazzini’s Dance of the Goblins or Paganini’s “Witches’ Dance” on recital programs, though it’s more atmospheric than brilliant. Lin sounds a bit more polite in this miniature—and occasionally more ardent, by turns—than does Shaham, who plays it with more suggestive macabre energy.\u003cbr\u003e  \u003cbr\u003e Naxos’s issue offers yet another chance to ponder the question posed above: did Korngold’s work in Hollywood debase his musical coin or polish it? Lin and Loeb make a great deal of this repertoire, and their readings deserve a recommendation to anyone interested in it, in young violinists (the release appears as part of Naxos’s “Laureate” series), or in Korngold—or even to more general listeners. Recommended.\"\u003cbr\u003e  \u003cbr\u003e  \u003cb\u003e FANFARE: Robert Maxham \u003c\/b\u003e\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46026184163562,"sku":"747313206728","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/652365.jpg?v=1778338917"},{"product_id":"d-scarlatti-complete-keyboard-sonatas-vol-5-95319","title":"D. Scarlatti: Complete Keyboard Sonatas Vol 5 \/ Benjamin Frith","description":"Benjamin Frith is no stranger to Naxos customers, having previously graced the catalog with a Mendelssohn cycle, John Field's Nocturnes, and other releases. Here he makes his first (and hopefully not last) appearance in Naxos' ongoing series devoted to the complete Scarlatti Sonatas. The playing is splendid. Frith's varied and intelligently deployed dynamic palette, together with his rounded, singing tone, conjures an intimate, poetic aura that's diametrically opposed to the brash, vivacious sound world Mikhail Pletnev brings to this repertoire. I like how Frith keeps the textures alive and vibrant by making very subtle changes in voicing on the repeats (the bass lines and trills in the D major K. 214 sonata, for instance). His unruffled, effortless scales and arpeggios may not bite with the individuality of a Horowitz or Schiff, but their elegant symmetry still delights the ear. With Naxos' first-class sonics, fine notes, and modest price, you can't go wrong. --Jed Distler, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46026394796266,"sku":"636943479223","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/483762.jpg?v=1778343323"},{"product_id":"the-division-flute-emma-murphy-et-al-73569","title":"The Division Flute \/ Emma Murphy, Et Al","description":"\u003cp\u003eDescribed by the London music publisher as 'Very Improveing and Delightful to all lovers of that instrument' The first Part of the Division Flute was originally issued for the Baroque treble recorder in 1705. Murphy's love of the recorder inspired her to record some of the best known recorder music, as well as some of the most neglected, from a collection that has never been fully recorded before. A fantastic disc of musicians at the forefront of early music today.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46026433462506,"sku":"635212012529","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1452206.jpg?v=1778324365"},{"product_id":"field-piano-concertos-vol-3","title":"Field: Piano Concertos, Vol. 3","description":"Field: Piano Concertos, Vol. 3","brand":"Naxos","offers":[{"title":"CD","offer_id":46026529308906,"sku":"636943422120","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/405894.jpg?v=1778345700"},{"product_id":"bach-clavier-ubung-vol-1-benjamin-alard-82256","title":"Bach: Clavier Ubung Vol 1 \/ Benjamin Alard","description":"No entries show up in the Fanfare Archive for Benjamin Alard, which I suppose shouldn’t be surprising, since counting this new release his discography numbers only two recordings according to ArkivMusic; the other, also on Alpha, is a CD of Bach’s trio sonatas for organ. His official bio, however, cites two other CDs on a label, Editions Hortus, that may have limited distribution outside of France. \u003cbr\u003e  \u003cbr\u003e Born in 1985, the French Alard is both an award-winning harpsichordist and organist who studied at the Schola Cantorum Basiliensis. At 25, he has already performed with leading period-instrument ensembles, such as La Petite Bande under Sigiswald Kuijken and Capriccio Stravagante under Skip Sempé, and he has established himself as a leading presence as a keyboard artist on the early-music scene, participating in a number of international festivals.\u003cbr\u003e  \u003cbr\u003e Going up against established masters in this repertoire—and for apples-to-apples comparison I cite only harpsichordists—such as Christophe Rousset, Pieter-Jan Belder, Ralph Kirkpatrick, Gustav Leonhardt, Trevor Pinnock, Igor Kipnis, and Blandine Verlet—the young Alard has stones; you’ve got to give him that. The question is does he have the goods to pull it off? And the answer, in a word, is “yes.”\u003cbr\u003e  \u003cbr\u003e The six keyboard partitas that comprise Part I of Bach’s Clavier-Übung (Keyboard Practice) in its totality are arguably the pinnacle of the composer’s works for solo harpsichord. Though they are among Bach’s earliest pieces to be published (they appeared in print between 1726 and 1730), they are actually the last of his three sets of keyboard suites to be written. (They were composed between 1725 and 1730–31.) The English Suites were composed sometime between 1715 and 1720, and the French Suites, between 1722 and 1725. We may therefore assume that the partitas are a summation, up to that time, of Bach’s compositional style and technique as applied to the harpsichord, for which they were written.\u003cbr\u003e  \u003cbr\u003e Speculation has it that Bach intended to write a seventh partita, perhaps as a tribute to his predecessor in Leipzig, Johann Kuhnau, who had published two volumes of his own Neue Clavier-Übung, each containing seven partitas. Bach’s choice of keys for his six partitas does suggest a planned seventh that would have had to be in F Major to complete the scheme; indeed, F Major is the key of the Italian Concerto that opens the Clavier-Übung, part II. Is it possible that the movements of the Italian Concerto would have been incorporated into the seventh, missing, partita? It’s an interesting theory.\u003cbr\u003e  \u003cbr\u003e In three out of the six partitas, Bach pretty much follows standard operating procedure vis-à-vis succession of movements. All six partitas, without exception, begin with an introductory movement, though fancifully, perhaps, Bach calls each by a different name: Praeludium, Sinfonia, Fantasia, Ouverture, Praeambulum, and Toccata. These are followed in Nos. 1, 3, and 5 by the customary stylized dance movements: Allemande, Courante (or Corrente, depending on whether Bach was in French or Italian mood), and Sarabande. Again, in all six partitas, one or more take-your-pick dance movements, such as Menuet, Gavotte, Passepied, etc., are inserted after the Sarabande. And in all but No. 2, the partitas end with the customary concluding Gigue. But No. 2, one of the three “irregulars,” ends with a movement Bach calls Capriccio, which is not in the usual 6\/8 or 12\/8 gigue meter, but in 2\/4, so it’s not just another gigue by a whimsical name.\u003cbr\u003e  \u003cbr\u003e In the two remaining “irregular” partitas, Nos. 4 and 6, Bach gets cutesy with the standard layout of movements, inserting an Aria or Air in between the Courante and Sarabande, so that we end up with insertions both before the Sarabande and after it. To mix it up further, in No. 4, Bach calls his Courante by its French name, but the Aria that follows it by its Italian name; whereas in No. 6, he reverses himself, calling his Corrente by its Italian name and his Air by its French name. Whether this has some special significance or not, I don’t know, but is it too much to imagine that Bach wasn’t the stern wig he’s often portrayed as, and that he was just being mischievous? The aforementioned Capriccio movement offers ample evidence of the composer’s off-the-wall humor; it’s a real ear-tickler.\u003cbr\u003e  \u003cbr\u003e A final footnote to this whole business is that at one point the partitas came close to being called German Suites to complement the already written English and French Suites, which, technically speaking, are no more English or French, respectively, than are the partitas German. And who would know better than Christophe Rousset? Harpsichordist, Baroque music specialist, and Frenchman, he has observed that all of Bach’s keyboard suites follow a largely Italian convention.\u003cbr\u003e  \u003cbr\u003e Now, back in Fanfare 27:4, Patrick Meanor reviewed a recording of the partitas on the Satirino label performed by harpsichordist Kenneth Weiss. That was in 2004. Six years later, as inexplicably but often happens, the same album was sent to the magazine to be reviewed again, and this time, as recently as 33:5, it was assigned to Christopher Brodersen. The American-born Weiss has long been active on the Parisian period-instrument scene, having collaborated with William Christie and Les Arts Florissants for many years. In any case, both Meanor and Brodersen found much to rave about in Weiss’s readings, which the harpsichordist performs on a copy of a Gottfried Silbermann instrument built by Anthony Sidey. I missed Meanor’s earlier review, but based on Brodersen’s glowing account, I decided to acquire the Weiss on my own. Contra my colleagues, I found Sidey’s harpsichord, or Satirino’s recording of it, hard and metallic sounding and fatiguing to listen to. So, only in part for that reason, Weiss’s recording would not have received my recommendation had I reviewed it.\u003cbr\u003e  \u003cbr\u003e That is not the case with the sound of Alard’s harpsichord, which is also modeled after a German instrument by Sidey. It is captured perfectly at an ideal distance in the ambient and ever so slightly reverberant acoustic of the Chapelle Notre-Dame de Bon-Secours in Paris. Balanced throughout its registers, of crystal clarity in its voicing, and so dulcet of tone is this instrument that I found myself listening, enchanted, to all six partitas straight through without tiring of it.\u003cbr\u003e  \u003cbr\u003e If Meanor found Weiss’s performances “passionate,” “poignant,” “terrifying,” and “filled with existential dread,” I found them aggressive, driven, and in-your-face—other reasons, in addition to the aforementioned clangorous and clattering sound of the instrument, that Weiss is not to my liking. In contrast, I find Alard’s readings poetic, lyrical, filled with grace, and ultimately sublime. Perhaps it’s the difference between the American in Paris, Weiss, and the patrician elegance and refinement of the natural-born Frenchman, Alard.\u003cbr\u003e  \u003cbr\u003e In Alard’s playing, I hear a natural and logical connection to, and extension of, François Couperin and the French keyboard tradition, and I find it exquisitely beautiful. The style is manifested in Alard’s exceptionally imaginative, perfectly timed, and delightful agréments that he applies so tastefully in the binary repeats. Even in the fiendishly difficult Capriccio of the C-Minor Partita, which is already wacky enough as is with its oddball dissonances and harmonic excursions, Alard finds the time and space between the notes to add just the right zinger of an embellishment. Just listen to the mordents that trip by at 1:29 and again at 1:33 in the repeat of the A section. But there are other ways to embellish besides adding ornamental notes, and you can hear it in Alard’s playing of the repeated B section. Here the embellishing takes the form of coordinating the right and left hands differently than in the first time through, so that the syncopated and offbeat rhythms in the counterpoint take on a totally different emphasis.\u003cbr\u003e  \u003cbr\u003e The more I listened to these performances, the more I came to believe that there is as much genius in Alard’s conception of this music as there is in Bach’s creation of it. For me, this is now, and will be for the foreseeable future, the be-all and end-all of Bach keyboard partita recordings. The set is beautifully presented in a four-panel cardboard foldout with detailed, informative notes in French and English and enhanced by a wealth of photographs. If Weiss’s partitas show up on Brodersen’s 2010 Want List, Alard’s may well show up on mine. But whether it does or not (there are always hard choices to make), if you care about Bach on the harpsichord, you must not be without this release for another minute.\u003cbr\u003e  \u003cbr\u003e -- Jerry Dubins, FANFARE [9\/2010]\u003cbr\u003e","brand":"Alpha","offers":[{"title":"CD","offer_id":46026700194026,"sku":"3760014191572","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1643687.jpg?v=1778254666"},{"product_id":"ballet-spectacular-giselle-la-fille-mal-gardee-84114","title":"Ballet Spectacular - Giselle, La Fille Mal Gardee, Coppelia","description":"This special DVD collection presents The Royal Ballet in three of the world's most popular ballets, as featured in the best-selling book Ballet Spectacular. \u003cbr\u003e  \u003cbr\u003e BALLET SPECTACULAR\u003cbr\u003e  (3-DVD Box set)\u003cbr\u003e \u003cbr\u003e  Adolphe Adam\u003cbr\u003e  GISELLE\u003cbr\u003e \u003cbr\u003e  Giselle - Alina Cojocaru\u003cbr\u003e  Count Albrecht - Johan Kobborg\u003cbr\u003e  Myrtha - Marianela Nuñez\u003cbr\u003e  Hilarion - Martin Harvey \u003cbr\u003e \u003cbr\u003e  Royal Ballet\u003cbr\u003e  Royal Opera House Orchestra\u003cbr\u003e  Boris Gruzin, conductor\u003cbr\u003e \u003cbr\u003e  Marius Petipa, choreographer (after Jean Coralli and Jules Perrot)\u003cbr\u003e  John MacFarlane, stage and costume designer\u003cbr\u003e  Jennifer Tipton, lighting designer \u003cbr\u003e \u003cbr\u003e  Léo Delibes\u003cbr\u003e  COPPÉLIA\u003cbr\u003e \u003cbr\u003e  Swanilda - Leanne Benjamin\u003cbr\u003e  Franz - Carlos Acosta\u003cbr\u003e  Doctor Coppélius - Luke Heydon\u003cbr\u003e  Coppélia - Leana Palmer\u003cbr\u003e \u003cbr\u003e  Royal Ballet\u003cbr\u003e  Royal Opera House Orchestra\u003cbr\u003e  Nicolae Moldaveanu, conductor\u003cbr\u003e \u003cbr\u003e  Ninette de Valois, choreographer (after Lev Ivanov and Enrico Cecchetti)\u003cbr\u003e  Osbert Lancaster, stage and costume designer\u003cbr\u003e  John B. 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The legendary lyricist for Lio, Chamfort, and Daho meets the indie pop producer and sonic adventurer of Freaksville, in a generational union as improbable as it is natural.  Between Brussels and Paris, they weave songs about slowness, worn-out love, and resistance through gentleness.  Blending original compositions and delicate covers (The Kinks, Higelin, Daho), the album evokes a sensual and lucid refuge amid the overheating of everyday life.  Recorded with Bertrand Burgalat, The Loved Drones, and lush string arrangements, Plein Sommeil embraces a handcrafted, timeless aesthetic.  It's motto: \"Slow business\" - a manifesto against the speed and emptiness of contemporary times.  Each song, balancing irony and elegance, celebrates fragility and humanity.","brand":"KURONEKO","offers":[{"title":"CD","offer_id":46055163363562,"sku":"3700398737386","price":19.28,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4479479-3501328.jpg?v=1780079304"},{"product_id":"plein-sommeil-1","title":"PLEIN SOMMEIL","description":"Ten years after their last collaboration, Jacques Duvall and Benjamin Schoos return with Plein Sommeil, a duo album that is at once melancholic, ironic, and tender-a poetic mirror of the fatigue of the modern world.  The legendary lyricist for Lio, Chamfort, and Daho meets the indie pop producer and sonic adventurer of Freaksville, in a generational union as improbable as it is natural.  Between Brussels and Paris, they weave songs about slowness, worn-out love, and resistance through gentleness.  Blending original compositions and delicate covers (The Kinks, Higelin, Daho), the album evokes a sensual and lucid refuge amid the overheating of everyday life.  Recorded with Bertrand Burgalat, The Loved Drones, and lush string arrangements, Plein Sommeil embraces a handcrafted, timeless aesthetic.  It's motto: \"Slow business\" - a manifesto against the speed and emptiness of contemporary times.  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