Uplifting
892 products
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Gluck Arias
$20.99CDSignum Classics
Sep 26, 2025SIGCD921 -
Vivaldi 8+, Vol. 2
$19.99CDSignum Classics
Nov 14, 2025SIGCD919 -
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Juvenilia
$20.99CDRamee
Mar 13, 2026RAM2409 -
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The Beecham Collection - Saint-Saens: Samson et Dalila, Op.
$20.99CDSOMM Recordings
Apr 17, 2026SOMM-BEECHAM 34 -
J. S. Bach: The Art of Fugue on Bach's Original Instruments
$20.99CDRamee
Jun 20, 2025RAM2406 -
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J. S. Bach: The Cello Suites on Six Different Instruments
$29.99CDRamee
Nov 28, 2025RAM2404 -
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A Child’s Dream
$19.99CDSignum Classics
Feb 06, 2026SIGCD895 -
Mystery Tour
$20.99CDFrémeaux
Nov 21, 2025FA8617
Bach: Inner Spaces / Tavsanli
The album "Inner Spaces" is the third album of the Istanbul-born pianist Serra Tavsanli. With great certainty one can claim that it is her most personal album. With the works by Johann Sebastian Bach recorded here, she not only presents a masterful interpretation on a modern grand piano, but also connects the music with her own history and origins. In doing so, she reveals her innermost self and provides insight into very personal spaces of thought.
Based on the initials B A C H, Serra Tavsanli has selected the pieces that match the key. Even more, because in the album's booklet she writes: "Pieces that for me stand for different concepts that make up being human and play a role in all traditions and religions. B (Partita in B flat major) symbolizes faith; A (Partita in A minor) stands for hope. C (Toccata in C minor) represents love. B (French Overture in B minor) symbolizes our present. With this selection, the pianist takes her audience directly into her emotional worlds, into her "Inner Spaces".
Serra Tavsanli has ventured deeply into the world of Bach and is completely absorbed in it while playing. In a certain way, she also intentionally makes herself vulnerable. Her playing is narrative, it opens up associative spaces and is at the same time effortless, yet completely uncompromising. In the booklet she writes: "I was suddenly there, where everything succeeds, where it is safe and free. A place that is accessible to everyone, and where origin, religion, skin color or gender no longer play a role. A place where we are not alone." Serra Tavsanli decided to share her insights and experiences, which made her become an exceptional pianist, with her audience. At concerts, she likes to recite texts that she wrote in collaboration with cultural manager and Bach specialist Folkert Uhde to give the works even more context, but also to bring them into our time.
"As an artist, I want to open this place to everyone, to share with anyone and everyone the experience that fear becomes strength, that paralysis becomes strength. A place of hope, of freedom, of doing well. A place where no one is excluded," Serra Tavsanli describes her concern. With this recording, she will certainly succeed in this.
Orphee et Euridice
Chopin, Debussy, Bach, Liszt, Babajanian, Khachaturian: Invi
Ton Koopman 80 (4 CD-Set)
Klara Wurtz Celebration
Mayr: Amor non ha ritegno
J.S. Bach: Six Sonatas for Organ, BWV 525-530
Gluck Arias
J.S. Bach Complete Edition
Vivaldi 8+, Vol. 2
Dean: Rooms of Elsinore
J. & M. Haydn: Concerti for Violin, Viola & Harpsichord / Terakado, Amano, Pearls in Baroque
This disc couples the last Violin Concerto (1769) by Joseph Haydn with the Double Concerto for Viola and Harpsichord (1762) by his brother Michael: two rarely recorded early Classical gems. This is the debut recording of Pearls in Baroque Chamber Orchestra, composed by some of the best Baroque music players in the Netherlands. The artistic and performance direction is entrusted to two experienced musicians like Ryo Terakado and Noriko Amano.
Close Harmony
3 Sonatas for Violin Solo (Bwv1001, Bwv1003, Bwv1005)
Burkard Schliessmann - Live
PTR1124
Baroque Piano Collection
Vivaldi X2²
Fantastic Worlds – Organ Transformations
Juvenilia
Bach: Geistliche Lieder / Koopman, Mertens
Klaus Mertens had long been wanting to record the ‘Geistliche Lieder’ by Johann Sebastian Bach from Schemelli’s Musicalisches Gesangbuch (1736). Ton Koopman had been looking for the right program to showcase the beautiful Teschemacher chamber organ in Oosterland and realised it would actually be an ideal match with the program his friend Klaus Mertens had in mind. So in early 2023 Mertens and Koopman spent some (rather cold but) inspired days in Oosterland to record this selection of 24 songs, interspersed with six organ works.
Bach: Weihnachtsoratorium / Kuijken, La Petite Bande
Reissue. Originally released in 2014. The audio clip below associated with this release is from the original issuance of this title. - ArkivMusic
An account that reflects the latest information and researches on 'period instruments' practice. A 'one to a part' standard - for both voices and instruments.
The Christmas Oratorio is actually not an ‘oratorio’ in the mold of, for instance, Bach’s Ascension Oratorio or Handel’s Messiah. It is a series of 6 separate cantatas, collectively relating the story from Christmas through to Twelfth Night. Bach wrote the work in Leipzig in 1734 and 1735 for Christmas Day (I), Boxing day (II), the third day of Christmas (III), New Year (IV), the Sunday after New Year (V), and Twelfth Night (VI).
As with the Passions, the texts here are drawn from three sources: (1) the evangelical texts (primarily Luke and Matthew) intoned by the Evangelist (tenor) as recitatives, (2) chorales from the Lutheran tradition and (3) free texts for arias and some choral passages, written by the poet Picander.
The Beecham Collection - Saint-Saens: Samson et Dalila, Op.
J. S. Bach: The Art of Fugue on Bach's Original Instruments
LICHT! 800 Years of German Lied / A.L. Richter, Bushakevitz
With the present programme we want to explore the history of the German Lied throughout a period spanning some 800 years, from that first light of dawn represented by the earliest music scored with modern notation - courtly love songs by Walther von der Vogelweide (1170-1230) and Oswald von Wolkenstein (1377-1445) - down to such present-day emissaries of the Lied tradition as Aribert Reimann and Wolfgang Rihm. In between we find: J.S. Bach, Haydn, Mozart, Schubert, Mendelssohn, Hensel, Wolf, Berg, and Eisler.
J. S. Bach: The Cello Suites on Six Different Instruments
Bach: Orgelbüchlein, BWV 599-644 / Coen, Corona
Innumerable transcriptions of Bach’s music were made in the 19th and 20th centuries, and many of them bear the signatures of both well-known and lesser-known composers. Among the former are Bruno G. Seidhofler’s notable piano 4-hands version of The Art of Fugue (1937) and the splendid transcription of the Orgel-Büchlein by Bernhard Friedrich Richter (1902) that is featured on this recording. The artists’ approach here – in an advanced vein of historically informed performance – takes inspiration from well-established Bach performance practice and then filters that through two specific media: the chosen instrument of an early 20th-century upright piano and the set of performance indications scrupulously laid down by Richter, which range from tempo indications assigned to each chorale and numerous (yet not too intrusive) agogic signs, to the octave doubling he often added in the soprano and/or bass.
Mozart: Overtures / Willens, Kölner Akademie
From the mid-seventeenth century onwards, the overture became an orchestral piece intended to precede a large-scale dramatic work. This recording brings together twelve overtures from Mozart’s operas. They foreshadow the action, sometimes stylistically, sometimes by quoting themes that will appear later, to create a dramatic impression before we even see anything on stage – think of the memorable overtures to Don Giovanni and Die Zauberflöte.
The twelve overtures brought together here cover 21 years of Mozart’s career: from Mithridate, composed when he was just 14, which testifies to the young composer’s familiarity with the galant style then in vogue, to La Clemenza di Tito (1791), the high point of his work in the opera seria genre that was to disappear with him, not forgetting masterpieces such as Die Entführung aus dem Serail, Le nozze di Figaro and Così fan tutte.
The Kölner Akademie, playing on period instruments, and its conductor Michael Alexander Willens demonstrate Mozart’s unrivalled ability to capture the audience’s attention with these brilliant overtures, some of which are among his most famous works, both on stage and in concert.
REVIEW:
The interpretations are very fresh, the playing virtuosic. The historical instruments provide a clear, crisp, and transparent sound, which is reproduced by the sound engineers with good spatiality and balance, with a clean and beautifully present bass.
-- Pizzicato
J.S. Bach: Wunderkammer - Harpsichord Works
A Child’s Dream
