Dramatic
1417 products
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A Prayer for Deliverance
$19.99CDSignum Classics
Aug 15, 2025SIGCD880 -
A Vision in a Dream - Concertos by Edward Gregson
$21.99CDChandos
Nov 14, 2025CHAN 20356 -
Overtures from the British Isles, Vol. 3
$21.99CDChandos
Feb 06, 2026CHAN 20351 -
Fields of Wonder
$20.99CDSignum Classics
Jul 25, 2025SIGCD867 -
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Grace Williams: The Parlour - Opera in One Act
$16.99CDLyrita
Jul 04, 2025REAM1147 -
Grace Williams: Violin Concerto, Elegy for string orchestra,
$23.99CDLyrita
Nov 07, 2025SRCD447 -
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J. S. Bach & Sons: Flute Sonatas
$20.99CDChannel Classics
Oct 03, 2025CCS49725 -
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Unsuk Chin
$20.99CDAlpha
Apr 10, 2026ALPHA1200 -
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#51 - Helmut Lachenmann, Vol. 2
$19.99CDBR Klassik
Jan 30, 2026BRK900651 -
J. S. Bach: Goldberg Variations (Arr. for Double Reed Trio b
$18.99CDLeaf Music
Feb 13, 2026LM307 -
Liza Lim: A Sutured World; Mary; The Compass
$19.99CDBR Klassik
Jul 25, 2025BRK900647 -
Transcription as Translation - Beethoven & Smetana
$19.99CDAvie Records
Dec 12, 2025AV2822 -
Miho Hazama, J.S. Bach, John Zorn, & Claude Debussy: Crossin
$19.99CDAvie Records
Feb 06, 2026AV2807 -
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Kevin Puts: Concerto for Orchestra, Silent Night Elegy & Vir
$20.99CDDelos
Sep 19, 2025DE 3620 -
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A Prayer for Deliverance
A Vision in a Dream - Concertos by Edward Gregson
Overtures from the British Isles, Vol. 3
Fields of Wonder
Alfred Brendel plays Busoni & Liszt
Santoro: Symphony No. 4 & 6 / Thomson, Goiás Philharmonic
Coates: Orchestral Works, Vol. 4 / Wilson, BBC Philhamonic
Songs for Peter Pears
Grace Williams: The Parlour - Opera in One Act
Grace Williams: Violin Concerto, Elegy for string orchestra,
Path to the Moon / van der Heijden, Coleman
The performers write: ‘Selecting the repertoire for our album Path to the Moon, we wanted to explore a number of possibilities for binding together a programme. To place different works alongside one another is a wonderful way of bringing out new and unusual qualities in each piece. William T. Horton’s fantastic image The Path to the Moon immediately inspired a flurry of ideas, including works on the subjects of both night and the moon, as well as pieces which invoke the exploratory nature of humankind’s voyage to the moon. Britten wrote his Sonata for Cello and Piano only two years after the first object made by humans had touched the surface of the moon, in 1959. Humans throughout history and from all cultures have been drawn to and taken inspiration from the moon and we have tried to reflect this in our eclectic choice of song repertoire: from Toru Takemitsu to Nina Simone and from Lili Boulanger to Florence Price. As we hope you will hear on this album, Walker’s Cello Sonata rings with echoes of the sound-worlds of blues and jazz and is infused with a beautiful lyricism. We really believe that Walker’s Cello Sonata deserves to become a staple of the chamber music repertoire and are absolutely thrilled to offer you a recording of it in the context of our own exploration of a path to the moon.’
J. S. Bach & Sons: Flute Sonatas
Parallels - Late Romantic & Contemporary Organ Music / Ffinch
Parallels is meticulously curated album that explores the organ’s remarkable breadth and sonority. Featuring three monumental organ works and delightful arrangements of English classics, the collection is a testament to the grandeur and versatility of the instrument.
Florence Price's Suite No. 1, makes its debut commercial recording. This substantial and captivating composition draws inspiration from spirituals, hymns, and pentatonic themes, showcasing a harmonious fusion of jazz influences. The rhythmic drive and themes in the final Toccato pay homage to the engaging Rubrics by Dan Locklair, creating a seamless connection between the featured works. The album's title, Parallels, reflects Florence Price's artistic vision, aiming to convey a heritage through the past while being influenced by contemporary contacts. This intention is beautifully realised in Suite No. 1, where the chromatic harmony reminiscent of Suite Gothique meets the rhythmic vitality of Rubrics. As a nod to the present day, the album includes Alexander's own arrangement of Coldplay's hit single Paradise, seamlessly blending modernity with Price's timeless compositions. Parallels is not just an album; it's a transformative auditory experience that invites listeners to explore the intersections of tradition and innovation on the Harrison and Harrison organ. The past converges with the present in perfect harmony.
The surprise appearances of music not typically associated with the organ successfully adds an element of excitement and discovery. The album also features splendid organ arrangements of English staples like Elgar's Chanson de Matin and Pomp and Circumstance, further showcasing the instrument's versatility. "Parallels" is an invitation to discover the intersections of tradition and innovation, a celebration of timeless compositions, and a showcase of the capabilities of Cheltenham College Chapel’s Harrison and Harrison organ. This album also celebrates the 150th anniversary of Gustav Holst’s birth with the inclusion of Jupiter, the Bringer of Jollity fromThe Planets Op. 32 arranged by Thomas Trotter.
Alexander Ffinch has established himself as a renowned organist with performances spanning the UK, Europe, USA, and Asia. Notable for his role as the College Organist at Cheltenham College since 2004, Alexander oversees daily organ performances in the College Chapel and accompanies choirs while maintaining an active schedule as a recitalist, featuring prominently in events like the Cheltenham International Music Festival and BBC Radio 3 broadcasts. His 2019 album, "Transformations" (DDA 25193), received critical acclaim.
Unsuk Chin
Alfano: Suite romantica; Una danza / Grazioli, Milan Symphony
Franco Alfano possessed an innate melodic facility combined with a talent for unexpected timbres. From the neo-Classical Divertimento to the noirish post-war Nenia, the lightness of touch of Amour… Amour… to the impressionistic Una danza and luxuriously orchestrated Suite romantica, each work reveals a different aspect of this multifaceted composer. This release of world premiere recordings features the Orchestra Sinfonica di Milano conducted by Giuseppe Grazioli who makes his Naxos début.
REVIEW:
Franco Alfano (1875–1954) remains a marginal figure in musical life despite a fair degree of coverage in record catalogs. Yet he is a thoroughly original composer, one who possessed an innate melodic gift combined with a talent for unexpected timbres, as can be heard in the lavishly orchestrated Suite romantica. The half-hour work is heard on this album in a very colorful and expressive, excellently performed interpretation.
With Una danza, completely different colors are expressed and one may hear an influence of Debussy. This is followed by Nenia, a somewhat melancholy solo piece for accordion, sensitively played by Davide Vendramin, which finds its counterpart in the Aria of the Divertimento, even if the outer movements are very lively and playful.
The program, pleasing and excellently played, ends with the Waltz Amour… Amour…, originally composed for piano in 1901 and orchestrated in 1928.
-- Pizzicato
Potter: Complete Symphonies, Vol. 2
Hommage a Jodie Devos
#51 - Helmut Lachenmann, Vol. 2
J. S. Bach: Goldberg Variations (Arr. for Double Reed Trio b
Liza Lim: A Sutured World; Mary; The Compass
musica viva #46 - Johannes Kalitzke & Luc Ferrari
Transcription as Translation - Beethoven & Smetana
Miho Hazama, J.S. Bach, John Zorn, & Claude Debussy: Crossin
Reimagined - Bach: Goldberg Variations / Podger, Brecon Baroque
Imagining how Bach himself might have transformed the Goldberg Variations for a chamber group, Rachel Podger and Brecon Baroque present a pioneering new arrangement of the Goldberg Variations by Chad Kelly. Employing a variety of instrumental combinations from a typical Bach ensemble of single strings, oboe, flute, bassoon, and harpsichord, these newly-crafted Goldbergs illuminate exquisite responses to the various historical genres inherent in Bach’s scores.
This beloved masterpiece was composed through a period of personal tumult for Bach; two unsuccessful job applications, the premature death of his son Gottfried, and criticism of his music in a prominent Hamburg publication. Bach’s outpouring of beauty in the Goldberg Variations has long captured audience’s imaginations - Chad Kelly, Rachel Podger, and her fleet Brecon Baroque preserve the work’s exquisite intricacy whilst adding breadth, texture and color to its emotional backdrop. This revisioning of Bach’s Goldberg Variations is a perfect transformation of the work for the modern era.
Kevin Puts: Concerto for Orchestra, Silent Night Elegy & Vir
1929 - Tempo, Tanz und Technik / Theis, Munich Radio Orchestra
October 29, 1923 was a date steeped in history. In the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the "Berliner Funkstunde" (Berlin Radio Hour) from the attic of an office building on Potsdamer Platz. Radio offered entirely new possibilities for the production and reception of music. The two compositions on this CD not only benefited from these developments but also played an active role in shaping them.
Eduard Künneke's five-movement Concerto grosso "Tänzerische Suite" op. 26 for jazz band and large orchestra corresponded to modern dances: the Overture is a Foxtrot, the Andante a Blues, the Intermezzo a Tango, the valse mélancolique a Boston Waltz, and the Finale a Foxtrot again. The suite was celebrated as a milestone in contemporary radio music and soon became part of the regular concert program.
Hanns Eisler's cantata "Tempo der Zeit" (Tempo of the Times) op. 16 for soloists, narrator, choir, winds, and percussion was written in 1929. The libretto was written by the popular lyricist Robert Gilbert, under the pseudonym of David Weber. With its pure wind ensemble and percussion, "Tempo der Zeit" captures the typical Songspiel sound of the time. The fact that Eisler used the "modern" medium of radio, of all things, to get his fundamental criticism of blind enthusiasm for technology across to the people is an ironical aspect of the work’s composition and reception history. This CD is part of the special programme focus on the topic "The Wild Sound of the Twenties".
Bruch, Bridge, Sibelius, Shostakovich: Works for 2 Violas / Hertenstein, Peijun Xu, Ahn
Peijun Xu, born in Shanghai, is one of the leading violists of her generation. As a soloist, Peijun Xu has performed in renowned venues such as the Shanghai Concert Hall, the Laeiszhalle Hamburg or the Alte Oper Frankfurt. Her chamber music partners include Paul Rivinius, Evgenia Rubinova, Alexander Sitkovetsky and Veit Hertenstein. German violist Veit Hertenstein plays with “brigthly ringing, luminous and finly finessed sound (The Strad Magazine 2022).
Veit Hertenstein is Professor for Viola at the Musikhochschule Detmold, Germany since 2015.
Mahler: Symphony No. 5
Mahler: Symphony No. 6 / Rattle, BRSO
Among Simon Rattle's first concert programs as the new chief conductor of the Bavarian Radio Symphony Orchestra was Gustav Mahler's Sixth Symphony. The performances marked the beginning of a new chapter in Mahler interpretation, for Rattle, like his predecessors Jansons, Maazel and Kubelík, is an ardent admirer of the composer. BR-KLASSIK has now released the live recording of the concerts.
Gustav Mahler's Sixth Symphony is perhaps the darkest work he ever wrote – its nickname is "The Tragic". And there is something almost destructive about the final movement. "But strangely enough," says Simon Rattle, "it is also a very classical symphony. Yes, it is extreme, but for long stretches it is less wild than other works of his – although of course it does convey a harrowing message. But it's like a lot of great works: there are always different ways of reading them. I've been conducting the Sixth for forty years now, and over time I’ve come to realise that it also contains hope."
Shostakovich: Symphony No. 8 / Haitink, Bavarian Radio Symphony Orchestra
The Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long and intensive artistic collaboration, which was brought to an abrupt end by his death in October 2021. BR-KLASSIK is now presenting outstanding live recordings of concerts from the past years that have not yet been released. This recording of Shostakovich's Eighth Symphony documents a concert given in September 2006 at Munich’s Philharmonie im Gasteig.
For Shostakovich's contemporaries, educated in the spirit of Socialist Realism, it was clear that the Eighth Symphony had to have a programme and, even more specifically, a topical reference to current events. And at the time, there could hardly have been anything more topical than the recent, decisive turning point in the war in the form of the battle for Stalingrad. It is therefore hardly surprising that the Eighth Symphony, composed in less than nine weeks between July 2 and September 9, 1943, was also referred to as the "Stalingrad". Under the pressure of circumstance, Shostakovich was obliged to develop an aesthetic of ambiguity, secret hidden meanings and abysmal irony that was almost without parallel in cultural history. This work also expresses the sheer compulsion under which a musical language in conformity with the system had to be created.
Haitink first conducted a Munich subscription concert in 1958, and from then on was a regular guest with the Bavarian Radio Symphony Orchestra – either at the Herkulessaal of the Residenz or at the Philharmonie im Gasteig. This congenial collaboration lasted more than six decades. The orchestral musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem throughout the world. With him, Dmitri Shostakovich's symphonies were also always in the best of hands. Haitink’s driving principle was to make the sound architecture of a musical composition, with its complex interweaving, transparently audible; extreme sensitivity of sound was combined with a clearly structured interpretation of the score.
