Nostalgic
796 products
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For All We Know
$14.99CDDouble Moon Records
Jun 13, 2025DMCHR71467 -
Awaking – Jazz Thing Next Generation, Vol. 109
$14.99CDDouble Moon Records
Oct 03, 2025DMCHR71465 -
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Here we are
$14.99CDDouble Moon Records
Oct 31, 2025DMCHR71464 -
Stratus
$14.99CDDouble Moon Records
Oct 31, 2025DMCHR71463 -
Estrellita
$16.99CDStradivarius
Mar 20, 2026STR37349 -
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Barber, Schumann & Chopin: Music for Cello and Piano
$16.99CDBridge Records
Nov 21, 2025BCD9616 -
Bliss
$16.99CDStradivarius
Mar 20, 2026STR37334 -
Serenade
$20.99CDProspero Classical
Feb 06, 2026PROSP0121 -
Symphonie No. 1 - Chansons
$25.99CDProspero Classical
Apr 24, 2026PROSP0119 -
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Palmgren: Complete Piano Works, Vol. 9
$19.99CDGrand Piano
May 08, 2026GP964 -
Strauss, Respighi, & Ponce: Violin Sonatas
$17.99CDIBS Classical
May 01, 2026IBS-182025
For All We Know
Escale en Nouvelle-Angleterre
Awaking – Jazz Thing Next Generation, Vol. 109
Ives: Piano Sonata No. 2 "Concord" / Berman
Celebrating the sesquicentenary of Charles Ives’ birth, New England-based pianist and Ives scholar nonpareil Donald Berman releases a recording of the composer’s “Concord Sonata” using his own newly prepared edition which reveals fresh insights into the iconic work. Berman’s immersion into Ives’ sound world began under the tutelage of pianist John Kirkpatrick who gave the New York premiere of the “Concord Sonata” in 1939. Throughout many years of study and reflection, Berman discovered numerous notes and alterations that Ives made within the Concord’s manuscript pages, each one “a step toward realising his vision for a three-dimensional auditory experience.” Berman concluded that the first movement of the Concord, as Ives imagined it, is quite different than today’s commonly accepted version; his new edition includes two pages worth of material, masterfully recorded here for the first time.
The album opens with the elegiac “The St. Gaudens (Black March)”, referring to the eponymous sculpture in the Boston Common that depicts the Massachusetts 54th, the first Union army regiment of African American soldiers, that is known widely in its orchestral version as the first movement of Ives’ Three Places in New England.
Unbounded - Music by American Women / Wohn, Phelps
As a second generation Korean-American woman, violinist Dawn Wohn notes that it has not always been easy to relate to the world of classical music, which is still largely Euro- and male-centric. Since delving into the diverse world of female composers, I have felt much joy, connection, and ownership to the music that I perform. To be able to champion this repertoire feels unbounded— joyful and limitless. I am particularly excited to share this album, which celebrates the music of American women, as performed by two American women.
There is no denying that historically, female composers have faced challenges. Amy Beach was unable to take composition lessons or have a performing career for most of her life, as it was deemed improper for a married woman. The two Black composers on this album, Dorothy Rudd Moore and Irene Britton Smith, faced further struggles for widespread recognition during their lifetimes, due to the classical world’s long reluctance to admit works by minority composers into the performing canon.
In an ideal world, there would be no need to call attention to the race or gender of these composers. In doing so, my concern is that the composers or their works will be overshadowed or grouped together by those labels. Just as Moore cautioned against typecasting, stating that “there are many Black artists in all disciplines and each is an individual with his or her unique experiences,” it is important to listen to and recognize each composer as an individual.
However, an all-male composer program would not raise questions on how to present it without diminishing the music or pigeon- holing the music or the composers. So, with this album, I choose to amplify and celebrate music by these four composers and all they have created through adversity. I relate deeply to the optimism, humor and beauty in these works, and hope that it inspires the listener.
REVIEW:
The two artists play with passion and elegantly the music of four composers defined not by gender or ethnicity but by the kind of tenacity that helped them achieve the often seemingly unreachable acceptance of the music establishment. Highly recommended!
-- All About the Arts (Rafael de Acha)
Here we are
Stratus
Estrellita
Madreperla / Richard Galliano, South Czech Philharmonic
The accordion surely is an evocative instrument, its mere timbre conjuring mellow images of the Italian Riviera or cobbled Parisian streets. One would expect it to be quite out of place in the relatively formal environment of the classical concert hall – and be sorely mistaken, as far as Richard Galliano is concerned. The versatile French composer and accordion virtuoso sets out to elegantly shatter expectations – and his new album MADREPERLA proves him right.
MADREPERLA’s brilliance stems not only from the sheer audacity of juxtaposing the accordion with a full orchestra, nor from the fact that it succeeds spectacularly in doing so. What’s most intoxicating is Galliano’s fusion of symphonic writing with eclectic styles of dance – the pavane, the mazurka, the milonga, the forro, the waltz – whose particular zest, allure and elan pour forth torrentially from these compositions. A triumph.
Barber, Schumann & Chopin: Music for Cello and Piano
Chausson & Barbara: Le temps des lilas
Nordic Treasures - Works for Flute & Piano
Bliss
Serenade
Planet Earth - Works for Solo Piano
Glinka, Grieg, Sibelius & Tchaikovsky: Everlasting Seasons
Underground Roller Coaster
Symphonie No. 1 - Chansons
Ellington & Haider: Rosalie's Dream
Dazzling Light
Porter, Scholer & Young: Folklore
Locke: Consorts Flat & Sharp / Phantasm
In this recording, the expert violists of Phantasm return to the unconventional yet brilliant polyphonist Matthew Locke. Under the guidance of Laurence Dreyfus, Phantasm presents the second half of Locke’s Little Consort, composed for treble, tenor and bass viol, and pairs it with three suites from the Flat Consort for my cousin Kemble whose unusual grouping comprises treble and two bass viols. Both sets are accompanied by a chordal bass instrument, in this instance the leading theorbo player Elizabeth Kenny. Locke’s experimental, not to say libertarian, impulse pervades the works, and yet the composer remains grounded in the traditional ethos of strict counterpoint, standing as one of the last champions of the once treasured great polyphonic tradition. More than 400 years later, his music remains as fresh as ever.
Clarinet Concertos
italia mia
Palmgren: Complete Piano Works, Vol. 9
Ernest Chausson: Nostalgie du Ciel
Strauss, Respighi, & Ponce: Violin Sonatas
Something's Up
Flight To Denmark
