{"title":"One-Day Sale","description":"\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eOur One-Day Sale is back and better than ever — \u003cstrong\u003eover 500 hand-picked titles\u003c\/strong\u003e are \u003cstrong\u003e50% OFF\u003c\/strong\u003e now at \u003cem\u003eArkivMusic!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eShop from iconic labels such as \u003cstrong\u003eGrand Piano\u003c\/strong\u003e, \u003cstrong\u003eOndine\u003c\/strong\u003e, \u003cstrong\u003eC Major Entertainment\u003c\/strong\u003e, \u003cstrong\u003eBR Klassik \u003c\/strong\u003eand more! \u003cem\u003eWhile supplies last — no backorders at these prices!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eShop the sale before it ends at\u003cstrong\u003e 9:00am ET, Friday, June 26th, 2026\u003c\/strong\u003e. \u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"laboccetta-a-tenor-cellist","title":"Laboccetta: A Tenor Cellist'- Chamber Music \/ Malagoli, De Polo, Centa et al.","description":"\u003cp\u003e\u003cspan class=\"TextRun SCXW114018062 BCX0\" lang=\"EN-US\" data-contrast=\"none\" xml:lang=\"EN-US\"\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eRomantic miniatures by a forgotten Italian cellist and composer: the first album ever dedicated to the music of Domenico \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e. Born to a poor family in the Sicilian town of \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eMessina\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e Domenico \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e (1823-1896) was entrusted to the care of an orphanage where his musical talents rapidly revealed themselves as a child. At the age of seven he made an appearance in concert at the Teatro Nuovo in Messina\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e and soon won a scholarship to study gratis at the conservatoire in Naples. At just 18\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e he became principal cellist of the Teatro San Carlo\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e at a time when the opera house was known across Europe for staging and advancing the works of bel canto composers such as Donizetti and Bellini. Through this \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eexperience\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e developed a superb tenor voice alongside his cello playing\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e and soon began taking lead roles in those bel canto masterpieces such as Bellini’s La \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eSonnambula\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e. He went on to tour Europe and America in the 1850s\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e but eventually settled back in his adopted home of Naples\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e where he became professor of cello at the conservatoire in \u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed SCXW114018062 BCX0\"\u003e1877\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed ContextualSpellingAndGrammarErrorV2Themed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed SCXW114018062 BCX0\"\u003e and\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e passed on his mastery of the instrument to students for \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003ealmost the\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e next 20 years until his death.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"TextRun SCXW114018062 BCX0\" lang=\"EN-US\" data-contrast=\"none\" xml:lang=\"EN-US\"\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eIn \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e the cellist and indefatigable researcher Matteo \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eMalagoli\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e has turned up another remarkable figure down the byways of cello history. His booklet essay introduces \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e eventful life\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eproviding\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e invaluable context to these miniatures written for salon performances among friends and patrons in Neapolitan musical life in the later decades of the 19th century – music written \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eabove all to\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e charm and entertain. ‘\u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed SCXW114018062 BCX0\"\u003edeserves\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e the attention of listeners intrigued by history and appreciative of fine playing. \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eIt’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e an album that will make a genuine contribution to any collector’s album hoard. Album leaves\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e romanzas and instrumental songs are scored for cello and piano or cello and harp\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e but there is also a ‘\u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eNotturnino\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e’ for two cellos and piano. More substantial is a cycle of four songs for soprano\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e tenor\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e cello and piano: all beautifully evocative pieces with an affectingly folk-like simplicity of expression.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"TextRun SCXW114018062 BCX0\" lang=\"EN-US\" data-contrast=\"none\" xml:lang=\"EN-US\"\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eLaboccetta\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e was also a pioneer in the genre of cello quartets\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e and the album closes with several such works\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e ingeniously scored to exploit the full register and richness of the instrument. \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW114018062 BCX0\"\u003eMalagoli’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eprevious\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e albums for Brilliant Classics include a disc of music by Greco and Francone (96345)\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW114018062 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e welcomed in glowing terms by Fanfare magazine: ‘Early Neapolitan Cello Music… deserves the attention of listeners intrigued by history and appreciative of fine playing. \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003eIt’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW114018062 BCX0\"\u003e an album that will make a genuine contribution to any collector’s album hoard.’\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}' class=\"EOP SCXW114018062 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012430123242,"sku":"5028421969527","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4237547-3141832.jpg?v=1778199775"},{"product_id":"xuares-sacred-music-amystis","title":"Xuáres: Sacred Music \/ Chenoll, amystis","description":"\u003cp\u003eWorld premiere recordings of sacred music by a forgotten master of the Spanish Baroque. As maestro de capilla (Capellmeister\/Music director) of the choir and music of the cathedrals in Seville and Cuenca, Alonso Xuárez (1640-1696) made valuable contributions to Spanish polychoral literature which have, as yet, barely been recognised beyond academic circles. This album of new recordings begins to bring his name to a wider audience with a selection of pieces discovered in the archives of Cuenca Cathedral, edited for performance and recorded by an ensemble with extensive experience in the field of the Spanish Baroque.\u003c\/p\u003e\n\u003cp\u003eThe resulting portrait of Xuárez reveals a remarkably individual figure, pushing the boundaries of form and harmony for his time but always beautifully conceived for the rich forces at his disposal. Little is known of Xuárez’s early life and formation. His father probably educated him in music, at least until he became a pupil of Tomás Micieces in the late 1650s. By 1664, his talents were sufficiently developed as to be worthy of the post of music director in Cuenca. He appears to have retained some influence over the musical organization there once he moved to Seville in 1675, and then returned to Cuenca in 1684. His surviving work, as represented here, embodies the Spanish polychoral style of the time, blending Italianate counterpoint with spectacular antiphonal writing conceived for multiple ensembles to fill the space of the cathedral.\u003c\/p\u003e\n\u003cp\u003eThe Missa surge propera is written for a rich, seven-voice texture, and the motets are even more ambitious, exploiting the colours and effects made available by eight and even nine separate parts. The performances recorded here follow the style of the time in making use of instrumental accompaniment – not just organ but viola da gamba and harp. This is a superb addition to the distinguished Brilliant Classics discography of Amystis, which has already attracted international praise for its adventurous repertoire and polished performances. ‘Chenoll has an endearing way of letting his singers express the music with a natural flow free of effects.’ (Fanfare – Comes, 95231). ‘An original and enlightening album.’ (Fanfare – ‘Masters of the Spanish Renaissance, 96409).\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012430942442,"sku":"5028421969541","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4247980-3141833.jpg?v=1778201319"},{"product_id":"bossi-jongen-poulenc-l-orgue-soliste-music-for-organ-orchestra-mazzoletti","title":"Music for Organ \u0026 Orchestra \/ Mazzoletti, Carmona, Helvetica Orchestra","description":"\u003cp\u003eWhen we think of a concerto for solo instrument and orchestra, the organ is certainly not the first instrument that comes to mind. And yet, the symphonic organ is perfectly adapted to the role of soloist, being capable of duelling as well as duetting with the orchestra. The Concerto for organ, strings, horns and timpani Op. 100 by Marco Enrico Bossi, for example, is one of the most important and successful pieces in the entire repertoire, and yet it does not enjoy the recognition it deserves among the wider public. Structured in three movements of genuine expressive power, this is music that is both majestic and intimate, able to touch the hearts of listeners and performers alike – a work on which this great composer really lavished his extraordinary creativity.\u003c\/p\u003e\n\u003cp\u003eHymne by Joseph Jongen is a real rarity. The organ has less of a ‘solo’ role than in the Bossi and Poulenc works; rather, it blends into the warm textures of the orchestra as an integral part of the sonic conversational flow so typical of Jongen’s impressionist idiom. Here too, the composition of the Gland organ and its eminently full, warm and poetic sound are an ideal showcase for the mysterious atmosphere of this work.\u003c\/p\u003e\n\u003cp\u003eUnlike the Bossi and Jongen works, the Concerto for organ, strings and timpani by Francis Poulenc is very well known indeed. Uncharacteristically written in a single movement divided into seven sections, this concerto is surely one of the best-known organ works of the 20th century. In certain sections the sonorous, weighty and deliberately strident organ writing is juxtaposed alongside orchestral textures that are extremely graceful and poetic, almost like a rough country giant trying to attract the attentions of a refined princess. At other moments, the organ imposes itself upon the orchestra, only to come together with it at other times, before proceeding to turn everything upside down once again.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012431794410,"sku":"5028421969558","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4223208-3130275.jpg?v=1778234590"},{"product_id":"shostakovich-symphony-no-8-bavarian-radio-symphony","title":"Shostakovich: Symphony No. 8 \/ Haitink, Bavarian Radio Symphony Orchestra","description":"\u003cp\u003eThe 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.\u003c\/p\u003e\n\n\u003cp\u003eFor 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.\u003c\/p\u003e\n\n\u003cp\u003eHaitink 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.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012432220394,"sku":"4035719002140","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412811-3337345.jpg?v=1778196518"},{"product_id":"beethoven-violin-concerto-romances-635212070420","title":"Beethoven: Violin Concerto; Romances \/ Siem, Caetani, Philharmonia Orchestra","description":"\u003cp\u003eOn his second album with Signum Records, internationally acclaimed violinist Charlie Siem is joined by the Philharmonia Orchestra, conducted by Oleg Caetani to perform works by Beethoven.\u003c\/p\u003e\n\u003cp\u003eCharlie Siem is one of today’s foremost young violinists, with such a wide-ranging diversity of cross-cultural appeal as to have played a large part in defining what it means to be a true artist of the 21st century. Siem has appeared with many of the world’s finest orchestras and chamber ensembles, including: the Bergen Philharmonic, the Camerata Salzburg, the Czech National Symphony, the Israel Philharmonic, the London Symphony, the Moscow Philharmonic, the Oslo Philharmonic, the Rotterdam Philharmonic and the Royal Philharmonic Orchestra.\u003c\/p\u003e\n\u003cp\u003eThe Philharmonia is a world-class symphony orchestra for the 21st century, based in London at Southbank Centre’s Royal Festival Hall, resident in cities and at festivals across England, and streaming online.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012433137898,"sku":"635212070420","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4118533-2862231.jpg?v=1778241316"},{"product_id":"palmgren-complete-piano-works-vol-5","title":"Palmgren: Complete Piano Works, Vol. 5 \/ Somero","description":"\u003cspan data-mce-fragment=\"1\"\u003eFor many years the Busoni student Selim Palmgren was the most frequently performed Finnish composer after Sibelius. With a portfolio of nearly 400 piano works, his contribution to the prestige of the Nordic repertoire was significant both in scope and creative artistry. This fifth volume of Palmgren’s complete solo piano music explores oriental moods in Exotic March, Op. 46, and includes two of his best-known and most beautiful pieces, Aftonröster, Op. 47, No. 1 (‘Evening Whispers’) and the winter magic of Snöflingor, Op. 57, No. 2 (‘Snowflakes’). The Sonatine in F major, Op. 93 marked Palmgren’s return to composition after the death of his wife five years earlier and enshrines nostalgia whilst hinting at neo-Classicism.\u003c\/span\u003e","brand":"Grand Piano","offers":[{"title":"CD","offer_id":46012434383082,"sku":"747313990825","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4092673-2836412.jpg?v=1778231343"},{"product_id":"eastertide-evensong","title":"Howells, Taverner et al.: Eastertide Evensong \/ Nethsingha, Choir of St. John's College","description":"\u003cspan data-mce-fragment=\"1\"\u003eFollowing from Ash Wednesday, this album is the second live Evensong album from the Choir of St John’s College, Cambridge and marks the next great season of the Church’s Year, Eastertide. This celebration of Jesus’s resurrection also initially spans forty days, taking us up to Ascension Day, and culminates on the fiftieth day with the Feast of Pentecost. Where the previous album reflected the tradition of using no organ from Ash Wednesday until the Gloria of the Easter Vigil, the instrument is fully utilized here by the Chapel’s organ scholars Glen Dempsey and James Anderson Besant. The Choir of St John’s College, Cambridge is one of the finest collegiate choirs in the world, known and loved by millions from its broadcasts, concert tours and recordings. Founded in the 1670s, the Choir is known for its distinctive rich, warm sound, its expressive interpretations and its breadth of repertoire. Alongside these musical characteristics, the Choir is particularly proud of its happy, relaxed and mutually supportive atmosphere.\u003c\/span\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012435955946,"sku":"635212070727","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4075300-2804876.jpg?v=1778239265"},{"product_id":"elmas-complete-piano-works-vol-1-747313991426","title":"Elmas: Complete Piano Works, Vol. 1 \/ Ayrapetyan","description":"\u003cp\u003eArmenian pianist and composer Stephan Elmas was a child prodigy who met Franz Liszt and became closely acquainted with Rubinstein and Massenet. Elmas’s life was darkened by illness and the tragedy of his homeland, but his music reflects the ease and facility of his technique, harking back to the Romanticism of Chopin, Liszt and Schumann, rather than the challenging times in which he lived, and with a quality of craftsmanship that gives his music a magnetic attractiveness. Mikael Ayrapetyan continues his acclaimed exploration of rediscovered Armenian piano repertoire with the first in this series of Elmas’s complete works for piano.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll in all, this was a highly enjoyable recital…What Elmas, and in turn Ayrapetyan, prove throughout this recital is that there is still quite a bit to say in these styles and musical language.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e-- Fanfare\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ethis first volume in a complete series is to be welcomed. Mikael Ayrapetan’s performances bring this music to life and make for a very enjoyable collection. This volume places the \u003c\/span\u003e\u003cem\u003eSeven Nocturnes\u003c\/em\u003e\u003cspan\u003e together with a number of \u003c\/span\u003e\u003cem\u003eBallades\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eBarcarolles\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003eRomance in Eb Major\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- Lark Reviews\u003c\/span\u003e\u003c\/p\u003e","brand":"Grand Piano","offers":[{"title":"CD","offer_id":46012436840682,"sku":"747313991426","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129396-2886732.jpg?v=1778238738"},{"product_id":"davis-air","title":"Davis: Air \/ Bateman, Royal Philharmonic Orchestra","description":"Oliver Davis's seventh album Air with Signum brings together a stellar array of performers, including violinists Benjamin Baker and Kerenza Peacock, soprano Grace Davidson and tenor Jeremy Budd, alongside German ensemble the Hanke Brothers and the Royal Philharmonic Orchestra under Paul Bateman. Oliver Davis graduated from the Royal Academy of Music in 1994 and has since composed numerous concertos, ballet scores, albums, soundtracks and television scores working with many of the major London orchestras. Davis’ debut album Flight, recorded by the London Symphony Orchestra with soloist Kerenza Peacock, was released in March 2015 and quickly rose to number 2 in the UK Specialist Classical Charts with 5 star reviews in both the UK and US. In addition it was chosen as Featured Album of the Week on Classic FM and was broadcast daily on the station. Several pieces from the album Flight have been used for a ballet choreographed by Ma Cong for the Tulsa Ballet Company in Tulsa, Oklahoma.","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012437463274,"sku":"635212070925","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4080157-2816796.jpg?v=1778241346"},{"product_id":"vacchi-complete-music-for-guitar","title":"Vacchi: Complete Music for Guitar","description":"\u003cp\u003eBorn in 1949, Fabio Vacchi stands among the pre-eminent Italian composers of his generation. Working primarily in the operatic field, he has had pieces staged at the Teatro alla Scala and by the Opéra Comique in Paris, the Opera de Lyon, the Maggio Musicale in Florence and the Teato Comunale in his home city of Bologna. Vacchi’s instrumental pieces have attracted similar high-profile performances. His chamber cycle Luoghi Immaginari (1987-1992), has been given across the world, including at the Salzburg Mozarteum conducted by Daniel Harding. Other pieces were commissioned by Claudio Abbado and by the Tokyo Quartet.\u003c\/p\u003e\n\u003cp\u003eThe most substantial piece on this new collection of his chamber pieces was commissioned by the Swedish guitarist Magnus Andersson and first performed by him in 1997 as a guitar concerto; this Quintetto Notturno Concertante dates from 2012 and is a masterful condensation of the complexities of the original, rich instrumental texture, while preserving its fleeing moods and subtly shifting changes of harmony. At the other end of this collection, Livia Rado sings Flow my Dowland, a rapturous transformation of five songs by the Elizabethan lutenist, in which the original vocal part is richly embroidered by Vacchi’s own modern reimagination of the accompanying part, scored for a small ensemble of winds, strings, vibraphone and harp, to melting and magical effect. In between come a pair of solo works, though in fact Plynn quotes Britten’s Nocturnal after John Dowland as a study of harmonics on the guitar, evoking its most dreamlike and insubstantial timbres. The earliest piece here is a Suite for flute and guitar, dating from 1971. Here, the 22-year-old Vacchi is at his most experimental in terms of both form and harmony, employing extraneous elements such as pen and paper and sending both instruments to the extremes of their register, though always with an intrinsically idiomatic sympathy. Any listener with an ear for the Italian postwar avant-garde will find this newly recorded album full of delight and discovery.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012437758186,"sku":"5028421969763","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4223209-3130276.jpg?v=1778229837"},{"product_id":"schubert-the-fair-maid-of-the-mill","title":"Schubert: The Fair Maid of the Mill \/ Glynn, Spence","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eChristopher Glynn continues his series of Schubert in English releases with a new recording of ‘The Fair Maid of the Mill’ (\u003cem\u003eDie schöne Müllerin\u003c\/em\u003e) with acclaimed Scottish tenor Nicky Spence. Set to a new translation by writer and director Jeremy Sams, Willhelm Müller’s direct and emotionally-charged poetry became the basis of Schubert’s first cycle to tell a complete story over the course of its 20 songs. Nicky Spence is one of Scotland’s proudest sons and his unique skills as a singing actor and the rare honesty of his musicianship have earned him a place at the top of the classical music profession. Nicky won a record contract with Decca records while still studying at the Guildhall School of Music and Drama and then took a place as an inaugural Harewood Artist at the ENO. Christopher Glynn is a Grammy award-winning pianist, praised for his ‘breathtaking sensitivity’ (Gramophone), ‘irrepressible energy, wit and finesse’ (The Guardian) and ‘perfect fusion of voice and piano’ (BBC Music Magazine). He is also Artistic Director of the Ryedale Festival, where he has been praised as a ‘visionary’ and ‘inspired programmer’ (The Times).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003e\u003cem\u003eThe Fair Maid of the Mill\u003c\/em\u003e [is] extraordinary: For the first time, as a native English speaker, I found myself understanding this song cycle on a more intimate and revelatory level...The meticulousness of word-for-word accuracy is traded for emotional accuracy. Playwright and director Jeremy Sams was commissioned to write this new translation, and his background in both opera and musical theater lends itself well to finding the right words to convey poetic, emotional, and dramatic honesty.\u003c\/p\u003e\n\u003cp\u003eTenor Nicky Spence’s own sense of crossover theatricality heightens the immediacy and intimacy of the cycle and Sams’s new texts with a verdant tenor that blooms and contracts in emotional fits and starts. (These beats are both offset and at times juxtaposed by pianist Christopher Glynn...) As the journeyman’s dream begins to collapse on itself...Spence spits out his pleas in a fit of jealousy and panic. The clarity with which he delivers the words makes it easy to slip into the language of Schubert’s work and tap into the small details that render the story so devastating at the end—try listening to him sing of how his love 'loves hunting green' without your throat catching a bit. It’s these small details that make this English \u003cem\u003eMüllerin\u003c\/em\u003e so rich and compulsively listenable.\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003eVan \u003c\/em\u003eMagazine (Olivia Giovetti)\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is the third in the Signum label’s sequence of Schubert song cycles using an English version of the texts by Jeremy Sams. His is in no sense a literal translation and is never in the least archly “poetic”, but is instead couched in relatively, plain, direct English which captures the spirit and directness of the original German while jettisoning any faux-Romantic or medieval archaisms such as “fain would I”. The translation is vernacular and quotidian but not modish or vulgar – and Sams does a fine job of reproducing the rhyming, strophic form of some songs, finding workable rhymes which do not sound forced, so in “Mine” we hear “sound, round, resound” and “found”, and “shine, wine, intertwine, combine” and “mine” sequentially to reproduce the effect of the German. The freedom of the English into which some songs are rendered might initially take the listener aback but a moment’s reflection will confirm the aptness and fidelity of Sams’ rendering; hence, the opening song begins “A miller loves to sit and dream of somewhere” rather than “To wander is the miller’s delight, to wander” or some such precious transliteration – and I know which I prefer. Sometimes the translation is both felicitous and amusing, as when in “Impatience” (Ungeduld) Sams picks up on the German: “ich möcht es sän auf jedes frische Beet\/ Mit Kressensamen” (I’d like to sow it in every fresh bed with cress seeds) and translates that colloquially as “I want to sow the words in watercress” so that it rhymes with “happiness” in the next line, and in “The Hunter” the miller girl’s cabbage patch (Kohlgarten) is transformed into a “strawberry bed” so that “fruit” rhymes conveniently with “shoot”. Certain lines impress themselves immediately upon the mind of the listener by their memorability, such as the alliterative “The sound of rushing water has mesmerised my mind” in the second song.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNicky Spence’s diction is so pellucid as to render the provision of the English texts almost superfluous but such thoughtfulness on the part of the label remains a welcome gesture. [Spence's] beautiful, flexible, easily-produced sound...never falters; his tone encompasses both sweetness and power as required and his knack of placing just the right emphasis or applying a momentary pause in the words without unduly disrupting the vocal line is apparent throughout. I particularly like the way he can introduce a desperate sighing note into his timbre without it turning mawkish. Christopher Glynn supports him with some of the most subtle and sensitive pianism I have even heard applied to this work; his playing is by turns as fluid, sparkling and turbulent as rushing water. He and Spence make an ideally matched partnership – fresh and immediate, presenting it in a manner which could easily win new adherents to this miraculous song cycle but, in Glynn’s words, is also capable of 'offering a new perspective to those who know it well.'\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e--\u003cem\u003eMusicWeb International\u003c\/em\u003e (Ralph Moore)\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012439331050,"sku":"635212071120","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4085595-2820053_0859c64c-f3f7-4c34-95b7-69990ec8869f.jpg?v=1778240239"},{"product_id":"20th-century-foxtrots-vol-5-switzerland-gottlieb-wallisch","title":"20th Century Foxtrots, Vol. 5 - Switzerland \/ Wallisch","description":"\u003cp\u003eThis acclaimed edition covering the early 20th century’s fashionable wave of hot dance music from America into Europe now takes us to Switzerland. 20th Century Foxtrots - 5 presents more evocative piano rarities from this decadent era, performed with panache and grace by Gottlieb Wallisch, and features numerous world premiere recordings and a plethora of rarely heard pieces. Volunes 1–4 can be heard on GP813, 814, 854 and 855.\u003c\/p\u003e","brand":"Grand Piano","offers":[{"title":"CD","offer_id":46012440150250,"sku":"747313992225","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4207038-3126994.jpg?v=1778258493"},{"product_id":"ullmann-der-kaiser-von-atlantis","title":"Ullmann: Der Kaiser von Atlantis \/ Eröd, Hahn, Munich Radio Orchestra","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eViktor Ullmann's one-act chamber opera \u003cem\u003eDer Kaiser von Atlantis\u003c\/em\u003e [The Emperor of Atlantis] was written in the Theresienstadt concentration camp and did not see its premiere until December 16, 1975 in Amsterdam, since the performance was banned after its dress rehearsal in 1944. The concert performance of the version by Henning Brauel and Andreas Krause (Schott), which took place on October 10, 2021 at the Prince Regent's Theatre in Munich, was recorded for this CD. Alongside the internationally renowned Austrian \u003cem\u003eKammersänger\u003c\/em\u003e Adrian Eröd in the title role, mainly young performers sang, accompanied by the Munich Radio Choir conducted by Patrick Hahn, who made his debut here as the orchestra's principal guest conductor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eViktor Ullmann, born in 1898 in Teschen, Silesia, studied with Arnold Schönberg and Alois Hába in Vienna. He worked first as a bandmaster and then as a bookseller, and settled in Prague as a freelance artist in 1933. Because he came from a Jewish family, he was deported to the Theresienstadt camp by the Nazis in 1942. In October 1944 he was murdered in Auschwitz-Birkenau, together with composers Pavel Haas and Hans Krása, who were almost the same age. Since the Nazis allowed a lively cultural life in their \"showcase camp\" of Theresienstadt, Ullmann was also able to be musically active. The intellectual and cultural heritage of that time is reflected in his music – also, and especially, in the \"one-act play\" that he wrote there entitled “Der Kaiser von Atlantis oder Die Tod-Verweigerung\" (The Emperor of Atlantis or the Disobedience of Death), based on a libretto by his fellow prisoner Peter Kien.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe confident conducting of the young Austrian Patrick Hahn stands out for a fascinating transparency, as well as an accentuated lightness, which makes the voices all the more haunting. In addition to the striking baritone of Adrian Eröd as the Emperor, the bass Tareq Nazmi is very convincing in the role of the striking Death. Highly expressive and with an impeccably managed mezzo voice, Christel Loetzsch is a most impressive drummer.\u003c\/p\u003e\n\u003cp\u003eSinging very sensitively are tenor Johannes Chum as soldier Harlequin and bass Lars Woldt in the role of the speaker. The soprano Juliana Zara can also please as Bubikopf.\u003c\/p\u003e\n\u003cp\u003eAnd so this is then a gripping interpretation of Ullmann’s opera, which pleases on the one hand by the refinement of the orchestral performance and on the other hand by excellent voices.\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003ePizzicato\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt is remarkable how calmly Patrick Hahn, permanent guest conductor of the Munich Radio Orchestra, with his highly concentrated soloists in the Prinzregententheater, keeps a balance between existential commitment and a certain lightness, which the piece also requires.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-number-of-phrases=\"6\" data-phrase-index=\"3\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\" class=\"JLqJ4b ChMk0b\" jsmodel=\"SsMkhd\" jsdata=\"uqLsIf;_;$56\" jscontroller=\"Zl5N8\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"Q4iAWc\" jsname=\"W297wb\" jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" data-mce-fragment=\"1\"\u003eThe lively soprano Juliana Zara brings a ray of hope...\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-number-of-phrases=\"6\" data-phrase-index=\"4\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\" class=\"JLqJ4b ChMk0b\" jsmodel=\"SsMkhd\" jsdata=\"uqLsIf;_;$57\" jscontroller=\"Zl5N8\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"Q4iAWc\" jsname=\"W297wb\" jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" data-mce-fragment=\"1\"\u003eChristel Loetzsch, as the drummer, gives the best impression of the theatrical potency of the piece: she announces total war in a mezzo whose timbral beauty extends to all registers of the role's enormous scope.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-number-of-phrases=\"6\" data-phrase-index=\"4\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\" class=\"JLqJ4b ChMk0b\" jsmodel=\"SsMkhd\" jsdata=\"uqLsIf;_;$57\" jscontroller=\"Zl5N8\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"Q4iAWc\" jsname=\"W297wb\" jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" data-mce-fragment=\"1\"\u003e--Munich \u003cem\u003eEvening Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis is the version of Viktor Ullmann’s opera, recorded live in October, 2021 in Munich, that features an expanded instrumental score...this [version], edited by Henning Brauel, while retaining much of the instrumental ensemble’s theatre\/cabaret aspects, has an overall more polished, softening of the edges quality, thanks to a richer, fuller string sound (helped also by the warm recording ambience).\u003c\/p\u003e\n\u003cp\u003e[The] singers here are all excellent, and the orchestra, members of the Munich Radio Orchestra, is equally, expectedly fine...the notes also include a fascinating discussion...of the many musical and cultural references in the libretto and in the music.\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003eClassicsToday.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-ogsb=\"white\"\u003e\u003ci\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003e\u003cem\u003eThe Emperor of Atlantis\u003c\/em\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003ehas achieved a well-deserved reputation as one of the strongest works to have been composed by any of the several important composers who died in the Holocaust. \u003c\/span\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003eUllmann’s music is a heady mix of grim and playful, making allusions to hymn tunes and popular-music styles, with instrumental flourishes, propulsive rhythms, and sweet-sour harmonies that evoke, at times, such composers of his era as Hindemith, Weill, and Prokofiev but that, taken together, create a distinctive sound-world like no other. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-ogsb=\"white\"\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003eThis latest recording was made during an unstaged (or minimally staged) performance in front of an audience, and it is wonderful[.] The cast members all have steady and healthy-sounding (young?) voices. Often, indeed, they sing with astounding beauty of tone, which helped keep my ear glued to the proceedings, whereas I have sometimes felt that I was being shouted-at in my contacts with the work (on recordings and in live performance). The all-crucial words are rendered clearly and idiomatically by all concerned. I cannot resist praising Tareq Nazmi.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-ogsb=\"white\"\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003e-- \u003cem\u003eArtsfuse\u003c\/em\u003e (Ralph P. Locke)\u003c\/span\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012444311786,"sku":"4035719003390","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4075182-2810997.jpg?v=1778240750"},{"product_id":"the-library-vol-4","title":"The Library, Vol. 4 - Standards \u0026 Hits for Classical Choir \/ The King's Singers","description":"\u003cp\u003eThis is the fourth volume in our The Library EP series. The idea behind it is to explore, maintain and grow our library of close-harmony repertoire. “Close-harmony” is arguably the part of our work for which we are best known, and our library of thousands of pop, jazz and folksong arrangements is one we’re always determined to nurture. The track-listing for each volume in the series is designed to celebrate old favorites alongside brand new arrangements created especially for these recordings, which we hope will become the ‘old favorites’ of the future. The King’s Singers were founded on 1 May 1968 by six choral scholars who had recently graduated from King’s College Cambridge. Their vocal line-up was (by chance) two countertenors, a tenor, two baritones and a bass, and the group has never wavered from this formation since.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012446474474,"sku":"635212071823","price":5.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4101924-2842889.jpg?v=1778250412"},{"product_id":"santtu-conducts-strauss-philharmonia-orchestra","title":"Santtu Conducts Strauss \/ Philharmonia Orchestra","description":"\u003cp\u003eSanttu conducts Strauss is a 2-volume album featuring four works by Richard Strauss conducted by Principal Conductor Santtu-Matias Rouvali, two of which are live recordings of Santtu’s 2021\/22 opening concert and first concert as Principal Conductor at Royal Festival Hall. Eine Alpensinfonie and Also sprach Zarathustra are live recordings of Santtu’s opening concert of the 2021\/22 season, and his first concert with the Philharmonia as Principal Conductor. The concerts received great reviews. Tim Ashley (The Guardian) said “With the Philharmonia on tremendous form, Rouvali proved a fine Straussian, measured in his approach, and careful in his attention to detail and colour”. Rebecca Franks (The Times) awarded 5-star reviews: “There were “wow” moments aplenty as the Philharmonia laced up its hiking boots and happily hit every waymark in Strauss’s mountain journey: the glorious sunrise, the resplendent summit, the violent storm with wind machine, thunder sheet and organ.”\u003c\/p\u003e\n\u003cp\u003eFounded in 1945, the Philharmonia Orchestra creates thrilling performances for a global audience and has premiered works by Richard Strauss, Sir Peter Maxwell Davies, Errollyn Wallen, Kaija Saariaho and many others. The Philharmonia has an extraordinary 77-year recording legacy, and has recorded around 150 soundtracks, with film credits stretching back to 1947. In the 2021\/22 season the Orchestra performs in Romania, Spain, Finland, Greece and Germany. Santtu-Matias Rouvali is a Finnish conductor and percussionist, and is currently principal conductor of the Philharmonia Orchestra. Rouvali continues his relationships with orchestras across Europe, including with the Berlin Philharmonic, New York Philharmonic, Royal Concertgebouw Orchestra, Munich Phillharmonic and the the Orchestre Philharmonique de Radio France.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eThis is an Alpine Symphony where the thrills are just that much more thrilling, the sublime moments more sublime, the lyrical line more lyrical. I’d place this Alpine Symphony beside the Karajan, and it comes in much better sound. I consider every performance here nothing short of a triumph, so the strongest recommendation naturally follows.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- Fanfare\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012448440554,"sku":"635212072028","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4182495-3142345.jpg?v=1778234507"},{"product_id":"kara-murza-korganov-melikian-secrets-of-armenia-piano-works-ayrapetyan","title":"Secrets of Armenia - Piano Works \/ Yulia Ayrapetyan","description":"\u003cp\u003eSecrets of Armenia presents a selection of delightful piano works reflecting the dances and folk songs from everyday Armenian life. Performed by pianist Yulia Ayrapetyan, a specialist in the music of Armenia.\u003c\/p\u003e","brand":"Grand Piano","offers":[{"title":"CD","offer_id":46012454699242,"sku":"747313994519","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4290016-3143611.jpg?v=1778236857"},{"product_id":"grpianobottiroli-complete-piano-works-vol-3-elegies","title":"Bottiroli: Complete Piano Works, Vol. 3 - Elegies \/ Banegas","description":"\u003cp\u003eJosé Antonio Bottiroli’s protégé Fabio Banegas returns for the latest volume in his exploration of the composer’s complete music for piano. These world premiere recordings focus on Bottiroli’s elegiacal works – laments in tribute to the memory of his loved ones. World premiere recordings. Volumes 1 and 2 can be heard on GP833 and GP871.\u003c\/p\u003e","brand":"Grand Piano","offers":[{"title":"CD","offer_id":46012456403178,"sku":"747313994717","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4322714-3143612.jpg?v=1778214931"},{"product_id":"dowland-melancholy-britten-nocturnal-pascal-boels","title":"Dowland: Melancholy; Britten: Nocturnal - Guitar Music \/ Boëls","description":"\u003cp\u003ePavans and galliards by the Elizabethan master of melancholy, complemented by a new recording of Benjamin Britten’s magnificent Nocturnal inspired by both Dowland’s music and by the playing of Julian Bream. After the success of ‘The Golden Age of the Guitar in Europe’ (2CD, 96157), Brilliant Classics releases a second album by the French guitarist Pascal Boëls, a unique collection of music by 17th and 20th-century English masters. In a booklet introduction, the guitarist explains how he sees Dowland as ‘a universal genius, eternal wanderer who – already! – knew how to rub shoulders with all facets of the human soul.’ Pascal Boëls plays a personal selection of Dowland’s piece originally written for solo lute, pieces which embody a spirit of introversion such as the ‘Forlorn Hope’ Fancy and the ‘Lachrymae’ Pavan which became famous across Europe, much imitated and adapted by other composers of the day.\u003c\/p\u003e\n\u003cp\u003eLightening the mood are also the kind of courtly dances and romances which delighted the composer’s aristocratic patrons such as the Earl of Essex and King Christian of Denmark. The English guitarist Julian Bream played Dowland’s pieces on the guitar from an early stage of his career, and made a best-selling album of them for RCA. It was this antique palette of gentle, musing expression that inspired Benjamin Britten to write a Nocturnal for guitar which builds as a sequence of eight variations towards (rather than away from) the Dowland song on which they are based. The resulting work, according to Bream, was the greatest solo work ever written for guitar, exploring a slippage between wakeful and dream states with a subtle ambiguity between major and minor harmonies and a language that bridges the divide between the 17th and 20th centuries.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012457484522,"sku":"5028421970134","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4247981-3141841.jpg?v=1778201360"},{"product_id":"fiorillo-36-caprices-op-3-for-violin-transcribed-for-viola-marco-misciagna","title":"Fiorillo: 36 Caprices, Op. 3 \/ Misciagna","description":"\u003cp\u003eFederigo Fiorillo (1755-1823) is principally remembered now as a composer, and in particular the author of a set of solo Caprices which formed a method of which formed a method of instruction for every advanced violinist. Until now, however, they have never been recorded on Fiorillo’s ‘second’ instrument of the viola; and indeed complete recordings of the set, even on violin, are very few.\u003c\/p\u003e\n\u003cp\u003eWith this new recording, Marco Misciagna demonstrates that these 36 pieces have much more than pedagogic interest to them. While they systematically address technical issues in the bow arm and fingering, testing the player’s technique for playing octaves, multiple stopping, passagework, chromatic scales and so on, Fiorillo was a Italianate melodist who naturally wrote and thought in long, cantabile lines which are as grateful to hear as they are to play.\u003c\/p\u003e\n\u003cp\u003eBorn in 1984, Marco Misciagna studied in Bari and Rome and then with Salvatore Accardo; he now lives and works in Spain. Among his previous recordings is a Brilliant Classics album of a similar undertaking, the 41 Capricci for viola by Bartolomeo Campagnoli (1751–1827).\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012459450602,"sku":"5028421970189","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4230667-3141842.jpg?v=1778234217"},{"product_id":"couperin-dynasty-19-cd","title":"Couperin Dynasty","description":"\u003cp\u003eAdmiration for the French composer, harpsichordist and organist, \u003cstrong\u003eLouis Couperin\u003c\/strong\u003e continues to grow steadily today, but it was not so during his lifetime. The first important edition of his work in modern times, in its latest revision by Thurston Dart (used for this set), catalogues 129 pieces as authentic. Collectively, they help to place Couperin among the greatest composers of the 17th century alongside Frescobaldi, Chambonnieres, Froberger, and D’Anglebert.\u003c\/p\u003e\n\u003cp\u003eThough he wrote religious works as well as chamber music, harpsichord music forms the lion’s share of Louis’s nephew \u003cstrong\u003e\u003cspan class=\"expandableItem\" data-mce-fragment=\"1\"\u003eFrançois Couperin\u003c\/span\u003e\u003c\/strong\u003e’s output: 235 pieces in all, most of them published in the four volumes (or Livres) of Pièces de Clavecin, divided into 27 ordres.\u003c\/p\u003e\n\u003cp\u003eLike the better-known Jacques Duphly and Claude Balbastre, \u003cstrong\u003eArmand-Louis Couperin\u003c\/strong\u003e belongs to the last generation of French harpsichord composers. The modesty and success which profited Armand-Louis handsomely during his lifetime rather dimmed the light of his creative legacy. He published little during his own lifetime. One of only a few opuses, the magnificent volume of Pièces de clavecin deserves consideration alongside the viol fantazias of Purcell and the Lachrymae of Dowland, examples of lateness in music, where the fruit has ripened beyond high summer, yet there is much of interest in these pieces, beyond their historical value at the end of a distinguished family line.\u003c\/p\u003e\n\u003cp\u003eArmand-Louis’s son, \u003cstrong\u003eGervais-\u003cspan class=\"expandableItem\" data-mce-fragment=\"1\"\u003eFrançois Couperin\u003c\/span\u003e\u003c\/strong\u003e, studied with his father then replaced him at the Sainte-Chapelle organ. His keyboard compositions reveal a profound understanding of the delicate nuances and expressive capabilities of the harpsichord, characterized by elegance, refinement and meticulous attention to ornamentation. Yet Gervais-François was also a virtuoso on the new instrument of his day, the fortepiano, and this set features his music performed on that keyboard of greatly expanded expressivity.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eREVIEW\u003c\/b\u003e:\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003eBrilliant Classics’ Couperin Dynasty collection usefully gathers together François’s four dazzling books of harpsichord pieces (Michael Borgstede), Massimo Berghella playing harpsichord suites by Louis (historically the first important member of the Couperin family), harpsichord pieces by Armand-Louis (cousin of François) played by Yago Mahugo and catchy, vivacious fortepiano music by Gervais-François (a son of Armand-Louis and a contemporary of Beethoven) adeptly performed by Simone Pierini. The range of music on offer stretches from Gervais-François’s feisty variations to François’s majestic Passacaille, one of the finest masterpieces in the genre. It’s a musical feast to relish, more varied than you might expect. Excellent sound, too, and informative notes by Michael Borgstede, Peter Quantrill, Brigida Cristallo and Massimo Berghella.\u003cp\u003e— Gramophone \u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012463153386,"sku":"5028421970516","price":32.48,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4281846-3124880_f6d04f06-a6ab-46db-bc92-db6df49df996.jpg?v=1778201269"},{"product_id":"adamek-follow-me-where-are-you","title":"Adámek: Follow Me - Where are You? \/ Kožená, Faust, Rattle, Bavarian Radio Symphony","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBorn in Prague in 1979, the composer, conductor and chorus master Ondrej Adámek, who studied in his Czech hometown and in Paris, has already won numerous prestigious awards for his orchestral, chamber, vocal and electro-acoustic music. In his musical language, which also repeatedly incorporates elements of distant cultures, he creates unusual musical narratives. He seeks the authenticity of his interpretations by combining voices and movements, gestures and theatricality, phonetic and semantic aspects, and his own specially developed musical instruments. The premieres of Ondrej Adámek's \"Where are You?\" and \"Follow me\" were distinctive for their excellent casts, featuring stars such as Magdalena Kožená, Isabelle Faust and Simon Rattle. In Adámek’s \"Follow me\", a three-movement concerto for violin and orchestra, the melodies are divided between the soloist and the orchestra along the lines of the late medieval hocket technique, whereby the composer seeks to connect a single individual with a (human) crowd. The first performance of Adámek’s \"Where are You?\" for mezzo-soprano and orchestra was an outstanding event in Munich's concert programme this year. In the eleven-part, approximately 35-minute-long kaleidoscope of sound, dominated by constant motoric movement – ranging from everyday sounds such as the monotonous ticking of a clock to the sweeping, electrifyingly rhythmic pounding of the orchestra tutti – the composer embarks on a search for the human (\"Where do we come from and where are we going?\") and the divine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReview\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is music that grabs the listener by the ears and doesn’t let go. I found it completely exhilarating.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNothing about either score included on this recording is remotely derivative or even predictable. If I were to say that it is as if Adámek had smashed up all previous music into tiny pieces and then reconstructed them into something marvellous and new, that might give the impression that he is some kind of arch post modernist. He is nothing of the sort. Almost miraculously he manages to be both uncompromisingly modernist and yet intensely communicative. Try his setting of what, in effect amounts to St Theresa’s ecstatic, religious orgasm in the seventh song of \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWhere Are You?\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e and what you’ll get is music that verges on the demented but which manages to be deeply spiritual \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eand\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e very sexy! Both scores are full of such wild, rude, exultant moments.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFollow Me\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is simultaneously a violin concerto and someone having a lot of fun with what a violin concerto might mean. I am not aware of another concerto that concludes with what amounts to a musical lynching of the soloist by the orchestra. One of the characteristics of Adámek’s writing is his absolute command of even the most outré material. Every note delivers an aural punch. He is of course capable of writing music of great delicacy, as in the concerto’s Bach derived slow movement but even here every note makes its point.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe opening movement features orchestral soloists echoing the opening phrases by the solo violin (the ‘follow me’ of the work’s title), phrases the composer explains in his joyous, quixotic note that were inspired by the exaggerated vibrato of a singer in Japanese Noh theatre. The orchestra, in a sense, gathers round the soloist, repeating her phrases. Isabelle Faust is at her imperious best here. This then subsides into silence before the soloist starts again with more seductive phrases. As Adámek puts it, these phrases provoke the orchestra “eventually driving them mad”. This builds and builds as the various motifs combine and recombine. The tension generated by the gradually gathering of tempo and volume is quite ferocious before Adámek pulls the rug from under the expected eruption and the movement ends with weird whistlings and scrapings out of which the slow movement evolves. A great strength of Adámek’s music is to unsettle the listener whilst keeping them on the edge of their seat.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne of the unifying techniques across all three movements of this concerto is what Adámek likens to a kind of musical ping pong where melodies are split, in alternate notes, between soloist and members of the orchestra. This effect plus an extreme elongation of material taken from Bach is most noticeable in this slow movement. It is a strange and mysterious movement that subsides into the uneasy calm from it emerged.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn a purely technical level, the finale combines all the elements of the previous two movements but that scarcely does justice to the effect it has on the listener. The shadowing of the soloist which gives the work its title is allowed finally to work its way from a hushed, fugitive opening all the way to the mighty climax that the opening movement was robbed of. As in that movement, the following of the soloist by the orchestra becomes more combative- a wry nod I think to the lion taming tradition of the 19\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e century virtuoso concerto – and the music, dominated by a rogue trombone, constantly threatens to swamp the soloist whose final phrases are delivered off stage before a final thrilling orchestral stampede rounds things off. Is that a tongue in cheek reference to the final sacrificial dance of the Rite of Spring I hear in this final passage? What this description may not capture is that this is all immensely diverting and colossal fun. The world of Adámek’s music may be capable of great seriousness but it never takes itself too seriously.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFollow Me\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is, in many ways, the curtain raiser for the even more remarkable \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWhere Are You?\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e My earlier comments have probably already given some indication of what it is like. Written for mezzo soprano and orchestra, it is a song cycle on spiritual themes with texts from the Bible, the Gita and the autobiography of St Theresa. None of this is handled in a conventional manner. The opening section revels in the vowel sounds of the opening line of the Lord’s Prayer in Aramaic. A later movement sets possible Czech translations of those Aramaic words. It’s that sort of piece! \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe theme that unites these disparate elements is the way in which the spiritual quest for the divine however how high it can raise us comes down to earth with the question ‘Where are you?’ left unanswered. It has to be said that the piece celebrates the quest as much as it illustrates its ultimate failure and it does so with affection and good humour as well as profundity and anguish.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe vocalist is required to adopt a huge range of singing styles from breaths and rolled r’s to folk singing to outrageous coloratura. As in most of his other scores that I’ve heard, Adámek can find music in almost anything and make no mistake – this is a \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003emusical\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e event above all else. The composer isn’t advancing some obscure musicological idea but making maddening, frenzied, bewildering, exuberant music. Ultimately, like the spiritual quest it describes, words fail to do justice to this piece. You are just going to have to listen to it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003eMusicWeb International\u003c\/em\u003e (David McDade)\u003cbr\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012465479914,"sku":"4035719006384","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4041618-2777865.jpg?v=1778268996"},{"product_id":"vaughan-williams-grieg-violin-sonatas-635212073421","title":"Vaughan Williams \u0026 Grieg: Violin Sonatas \/ Ciem, Golan","description":"\u003cp\u003eCharlie Siem returns with a new recording of Violin Sonatas, accompanied by his regular recital partner Itamar Golan – featuring Vaughan Williams' Violin Sonata in A Minor and Grieg's Violin Sonata No. 2 in G Major, Op. 13. Charlie Siem is one of today’s foremost young violinists, with such a wide-ranging diversity of cross-cultural appeal as to have played a large part in defining what it means to be a true artist of the 21st century. Siem has appeared with many of the world’s finest orchestras and chamber ensembles, including the Bergen Philharmonic, Camerata Salzburg, Czech National Symphony, Israel Philharmonic, London Symphony, Moscow Philharmonic, Oslo Philharmonic, Rotterdam Philharmonic, and the Royal Philharmonic Orchestra. He has worked with top conductors such as Charles Dutoit, Edward Gardner, Zubin Mehta, Yannick Nézet-Séguin, Sir Roger Norrington, Libor Pešek and Yuri Simonov. International festival appearances to date include Spoleto, St. Moritz, Gstaad, Bergen, Tine@Munch, Festival Internacional de Santa Lucía, and the Windsor Festival.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012467773674,"sku":"635212073421","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4170016-2951456.jpg?v=1778231352"},{"product_id":"visions-illuminees-635212073520","title":"Visions illuminees \/ Bevan, Middleton, Ruisi Quartet","description":"\u003cp\u003eIn her third recital album for Signum Records, celebrated soprano Mary Bevan returns with a selection of French songs, featuring works by composers including Britten, Ravel, Debussy and Faure\u003c\/p\u003e\n\n\u003cp\u003e“Over the years since the release of my debut album Voyages with Joseph Middleton in 2017, my passion for French mélodie has grown and deepened...The texts that composers of mélodie have set to music contain a depth and a mystery that I find fascinating and a source of repeated inspiration... My idea for the album began sim- ply with a desire to record Britten’s Les Illuminations, a work I feel closely connect- ed to, having performed it many times over the years and each time having found something new in it to interest me”\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012468560106,"sku":"635212073520","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4177081-2957001.jpg?v=1778231348"},{"product_id":"a-most-marvellous-party-bevan-spence-middleton","title":"A Most Marvellous Party: Tribute to Noël Coward \/ Bevan, Spence, Middleton","description":"\u003cp\u003eTo mark the 50th anniversary of Noël Coward's death, celebrated musicians and regular Signum artists Mary Bevan, Nicky Spence and Joseph Middleton join forces for this album of works by Coward and his contemporaries. Featuring songs such as Parisian Pierrot and The Man I Love, the album comprises of a collection of solos, duets and instrumental songs by composers such as Ned Rorem, Liza Lehmann, William Walton, and Benjamin Britten.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012470165738,"sku":"635212073728","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391613-3304403.jpg?v=1778205554"},{"product_id":"wonderland-635212073926","title":"Wonderland \/ The King's Singers","description":"\u003cp\u003e\u003cspan class=\"TextRun SCXW138338153 BCX0\" lang=\"EN-US\" data-contrast=\"none\" xml:lang=\"EN-US\"\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eWonderland is full of magic and myth. \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eContaining\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e exclusively works commissioned by The King’s Singers across their 55 \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eyears\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e the album celebrates their trademark musical storytelling\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e with no shortage of comedy. György Ligeti’s six Nonsense Madrigals\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e each setting playful children’s poetry or extracts from Lewis Carroll’s Alice’s Adventures in Wonderland\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eprovide\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e a musical spine to the album\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e commemorating 100 years since the composer’s birth in 1923. From just over 50 years ago\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e the fairytale The Musicians of Bremen (1972) – set to music by the Australian composer and Master of the Queen’s Music Malcolm Williamson – sits alongside Time Piece (1972) by Paul Patterson\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e which tells an eccentric alternative creation story. These myth-based works have recent companions such as Judith Bingham’s extended work Tricksters (2019)\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e which unearths what could happen if miscreants from different world mythologies could come together for the first time\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e and Ola Gjeilo’s \u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed SCXW138338153 BCX0\"\u003eA\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e Dream within a Dream which questions the very nature of \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eperception\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e and reality. The album also features the legendary Japanese film and game composer Joe \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW138338153 BCX0\"\u003eHisaishi’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e first ever choral work\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e I was there (2022)\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW138338153 BCX0\"\u003efocussing\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e on the cultural memory of tragic events such as 9\/11 and the 2011 Japan Earthquake. Themes of hope and positivity\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW138338153 BCX0\"\u003ecentred\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e on the natural world\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eemerge\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e in Makiko Kinoshita’s Ashita no uta (Song for tomorrow) (2020) and Francesca \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW138338153 BCX0\"\u003eAmewudah\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e-Rivers’ Alive (2022).\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012471804138,"sku":"635212073926","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391614-3304335.jpg?v=1778214092"},{"product_id":"de-araujo-organ-music-soares","title":"De Araujo: Organ Music","description":"\u003cp\u003ePedro de Araújo (c. 1630-1707) is an important figure in Portuguese keyboard music of the late 17th century. His oeuvre consists of a total of 13 keyboard works, one of them with merely attributed authorship. These have come down to us through two manuscript sources in Portuguese collections: the Livro de obras de Orgaõ juntas pella coriosidade de Fr. Roque da Conceição, a source dated 1696, and the Livro de Obras de Órgão, a source compiled in the 17th and 18th centuries and originating in the Bouro Monastery (Braga). De Araújo’s output covers the genres that were in vogue in his day on the Iberian Peninsula (e.g. Batalha, Tento, Meio Registo, Fantasia) and which constituted the traditional repertoire of Iberian keyboard players in the service of ecclesiastical institutions.\n\u003cbr\u003eThe Batalha do 6º Tom and the [Susana] do 2º Tom hark back to the 16th century tradition of intabulating existing vocal works, the former based on the chanson ‘La Guerre’ by Clement Janequin, the latter on ‘Susane un jour’ by Orlando di Lasso, a famous vocal work throughout Europe and the target of many other composers’ intabulations.\n\u003cbr\u003eThe Phantasias, Obras and Tentos fall within the stylistic sphere of the tento (Spanish: tiento), an Iberian genre characterised by contrapuntal writing and multiple contrasting sections. In them De Araújo displays his mastery at weaving contrapuntal lines and varying the thematic material. The Consonâncias de 1º Tom corresponds stylistically to a tento de falsas (Sp.: tiento de falsas \/ It.: durezze e ligature), with the work developing in a succession of dissonances. The Passo solto de 7º Tom is a work entirely in triple meter with a succession of iambic rhythms reminiscent of the vilancico style.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012473180394,"sku":"5028421970769","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4281845-3124909.jpg?v=1778238742"},{"product_id":"mahler-lieder-volume-1-connolly-middleton","title":"Mahler: Lieder \/ Sarah Connolly, Joseph Middleton","description":"\u003cp\u003eOne of the finest Mahlerians of our time, Dame Sarah Connolly brings her fierce intellect and glorious voice to the music she has spent a life-time studying and performing. In the first release of series curated and performed by Joseph Middleton that will champion the complete piano accompanied Lieder of Mahler, the ‘superlative’ (New York Times) duo of Connolly and Middleton, present the three great song cycles of Mahler: Lieder eines Fahrenden Gesellen, Fünf Rückert Lieder and Kindertotenlieder. This is the first time Sarah has performed all three cycles on one album, which she is justly famous the world over for performing with rare insight and consummate artistry. Her voice is the perfect Mahlerian instrument.\u003c\/p\u003e\n\u003cp\u003e“It is such an enormous honor to have made this recording for Signum with Sarah. Mahler’s music can teach us so much about the human condition, our connection with nature, and our empathy towards other humans. A deep spirituality is built into every bar he writes. - Joseph Middleton\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012473344234,"sku":"635212074121","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391615-3304368.jpg?v=1778224056"},{"product_id":"henze-reinventions-arrangements-mozart-c-p-e-bach-vitali-caroli-tifu-battigelli","title":"Henze: Reinventions of Mozart, C.P.E. Bach \u0026 Vitali \/ Padova-Veneto Orchestra","description":"\u003cp\u003eGerman composer Hans Werner Henze’s (1926–2012) admiration for the great masters of the Baroque and musical Classicism manifested in compositions born from a desire to transcribe, rework and transform 17th- and 18th-century masterpieces into new orchestral textures. The project Travestimenti (Disguises), managed by conductor Marco Angius and the Orchestra di Padova e del Veneto, from which this CD was created, makes reference to Henze’s ‘reinventions’ of masterpieces by Mozart, C.P.E. Bach and Vitali, clothed in new, modern fashion.\u003c\/p\u003e\n\u003cp\u003eFor the Drei Mozart’sche Orgelsonaten, Henze takes up three of Mozart’s one-movement Kirchensonaten (church sonatas or trio sonatas). Sonatas 17 and 15 are in an Allegro tempo, whereas the Sonata K.67 is marked Andantino, so Henze, in his transcription, places the latter between the two livelier tempos, thus reconstructing the tripartite structure of a classical three-movement sonata. Scored for an ensemble of 14 players that includes the less common, softer variants oboe d’amore and viola d’amore, it aims to underline the darker instrumental timbres, favouring the sombre sonorities of the alto flute in G, the bass flute in C, the bass clarinet and the bassoon. During the last year of his life, in 1787, Carl Philipp Emanuel Bach composed a Fantasia libera per tastiera sola (Free Fantasia for keyboard alone) which he expanded into the Clavier-Fantasie mit Begleitung einer Violine (Fantasy for harpsichord with violin accompaniment), one of his most personal and expressive works.\u003c\/p\u003e\n\u003cp\u003eHenze transcribed it for solo flute, harp and strings, aiming to project the extremely interesting and expressive harmonic material of the composition into a larger instrumental apparatus, thus making its future-oriented harmonic structures more manifest and moulded. He proposed two options for division of the: string quartet + string quintet or string quartet + tutti (the latter version is recorded here).\u003c\/p\u003e\n\u003cp\u003eAlthough it was probably composed in the early 18th century, Vitali’s Ciaccona ‘Il Vitalino’ – whose musical form is inspired by dance and consists of variations on a ground bass – was only rediscovered in 1867, published by the German virtuoso violinist Ferdinand David. Henze’s Il Vitalino raddoppiato – called “raddoppiato” (“doubled”) because of his extension of the composition by means of interpolated variations of each original section in the style of 18th-century doubles – retains Vitali’s bass almost throughout the entire composition. It alternates Vitali’s variations on his chaconne theme with Henze’s variations of Vitali’s variations, in an ever-changing dialogue between the 18th-century past and Henze’s present.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012474065130,"sku":"5028421970776","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4247982-3141848.jpg?v=1778220839"},{"product_id":"davis-blue-bateman-royal-philharmonic-orchestra","title":"Davis: Blue \/ Bateman, RPO","description":"\u003cp\u003eThis is Oliver Davis’ first album dedicated to the piano, and specifically two pianists, Dutch piano duo Beth \u0026amp; Flo. The album features this dynamic duo playing four hands piano and also on two pianos with full orchestra. The song cycle ‘Siren Songs’ features sopranos Grace Davidson, Julia Doyle and Grace’s son chorister Joshua Davidson. The theme of the album is water, in its many forms with songs depicting a river journey, Sea Dances for four hands and strings, Sea Waltzes in addition to the Water Variations. The opening piece, The Water Garden, will be one of three singles being released prior to the album’s launch. This album is the culmination of two years work to create a mesmerising piano and strings landscape.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012474851562,"sku":"635212074329","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391611-3304404_f24c1da0-aae3-46ad-b2f7-1f7ee7753412.jpg?v=1778205580"},{"product_id":"vidi-speciosam-sacred-choral-music-bevan-family-consort","title":"Vidi Speciosam - Sacred Choral Music \/ Bevan Family Consort","description":"\u003cp\u003eSoprano Mary Bevan writes: In 1975, the original Bevan Family Choir released their debut album on vinyl, featuring an eclectic programme of sacred choral works, Welsh folk songs, and piano music. The Choir consisted of 11 of the 14 Bevan siblings and was conducted by their father, Roger. Later on the Choir was taken over by the second eldest son, David, who was to go on to become Assistant Director of Music at Westminster Cathedral. The musical tradition continued to flourish within the family until, in 2013, some of the second generation of cousins decided to create their own version of the family choir, naming themselves the Bevan Family Consort so as to distinguish them from their parents’ generation. The Consort has since ranged in size from 15-22 of the 53 first cousins. To honour David and the influence he had over us all as musicians, this disc consists of music that was introduced to us by him during his years at the Holy Redeemer Church and that have since become beloved by us as a choir.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell2_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eThe Bevan Family Consort are particularly good at strongly textured works such as Croce’s \u003cem\u003eIn spirito humilitatis\u003c\/em\u003e, tinged with Venetian monumentalism, or Holst’s \u003cem\u003eNunc dimittis\u003c\/em\u003e with its ecstatic ending. This last piece was not discovered until 1979, some 45 years after Holst’s death. Other rarities include the \u003cem\u003eDignare me\u003c\/em\u003e by Fernando de las Infantas, apparently a Spanish nobleman working in Rome – so obscure as to be practically confidential. The works with intricate polyphony are pleasingly performed, though in the Kyrie and Gloria of Victoria’s \u003cem\u003eMissa Vidi speciosam\u003c\/em\u003e the upper voices are a little sharp and the overall acoustic seems rather distant. Breath control and phrasing is always musical and is apparent even in the plainsongs (Ave Maria). The most beautiful work here is Alonso Lobo’s \u003cem\u003eVersus est in luctum\u003c\/em\u003e. The voices of the Bevan Consort are slightly too disparately coloured to match the magical poise of this work achieved by the group Tenebrae (also on Signum) which shares an album with Victoria’s Requiem. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- BBC Music Magazine\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012476948714,"sku":"635212074626","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4202510-2979917_8f990ed6-277e-47f3-b3ea-9481ccfadb82.jpg?v=1778207345"},{"product_id":"apres-un-reve-belle-epoque-nights-at-the-piano-despax","title":"Après un rêve - Belle epoque: Nights at the Piano \/ Emmanuel Despax","description":"\u003cp\u003e“Après un rêve” is an ode to the French Belle Époque repertoire, depicting the beauty of dreams and the night. The album is an opportunity to hear and perhaps discover rarely played \/ rarely recorded wonderful works (Chaminade Nocturne, Duparc Aux étoiles, Poulenc Les soirées de Nazelles), alongside central pillars of the repertoire, and includes a world premiere of Despax’s arrangement of Après un rêve. The album is attributed to his grandfather, Jacques Charpentreau, a French poet who adored this repertoire and frequently drew inspiration from the night in his works. Despax has curated some of his poetry, as well as works by other poets he admired to complement this music, taking the listener on an immersive poetic and musical journey through this noctur- nal landscape.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eDespax has recorded Bach, Brahms, Chopin, but the works here particularly suit his sensibility. In Maurice Ravel’s haunting masterpiece Gaspard de la Nuit, he masters the ferocious challenges with ease, delicacy, strength.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- The Guardian (UK)\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012477767914,"sku":"635212074725","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391617-3304405.jpg?v=1778236862"},{"product_id":"antonioni-my-river-music-for-strings-ashkenazy-antonioni","title":"Antonioni: My River - Music for Strings \/ I Solisti Aquilani","description":"\u003cp\u003eThe legendary pianist and conductor joins his clarinettist son and Italian musicians in music by one of Italy’s most powerfully individual living composers. Born in 1971, Francesco Antonioni studied in Rome with Azio Corghi and then in London with Julian Anderson and George Benjamin: a formidable pedigree of teachers testifying to the strength of both his technique and his creative voice, which became internationally known in 2001 with a string quartet written for the Venice Biennale. Since then, Antonioni has gone on to assemble a substantial catalogue of fastidiously crafted works for both the stage and the concert hall.\u003c\/p\u003e\n\n\u003cp\u003eThis collection features two pieces for string orchestra, Ballata and Sull’ombra, alongside his concerto for clarinet and viola, Lights after the Thaw. Premiered in 2009, Ballata arose from a commission of the Birmingham Contemporary Music Group, to be conducted by Benjamin, and takes its initial inspiration from an anonymous lullaby, and a ballad by the 14th-century composer Francesco Landini. These are songs about love, seen from two opposite points, near the beginning and the end of life, and their meeting-point in this modern Ballata is bittersweet and charged with tension.\u003c\/p\u003e\n\n\u003cp\u003eThe origins of Sull’Ombra are no less distinguished. Yuri Bashmet conducted the Moscow Soloists in the premiere in 2014. Antonioni found himself moved to write it by lines of John Donne, which themselves reminded him of poetry by Eugenio Montale. The shadows here are dark indeed, though always lit with imagination, and harmony that leads the listener on, just as the concertante Lights after the Thaw draws out the intrinsically songful character of both solo instruments, in search of a point of reference amid a pervasive melancholia. There is a refined ear for harmony and texture evident in all three works, which reward attentive listening by anyone interested in the music of today.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012479308010,"sku":"5028421970868","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4289562-3141850.jpg?v=1778266139"},{"product_id":"shostakovich-doppeltes-spiel-and-symphony-no-5-in-d-minor","title":"Shostakovich: Doppeltes Spiel \/ Jansons, Bavarian Radio Symphony Orchestra","description":"\u003cspan data-mce-fragment=\"1\"\u003eFor the first time, the successful series of BR-KLASSIK audio biographies is devoting itself to a 20th-century composer: Dmitri Shostakovich. His symphonies are still highlights in the concert hall, and his fate has inspired great novels. But what do we really know about his life? He liked to play his cards close to his chest – and had good reason to do so... Dmitri Shostakovich himself claimed that his life was “rather grey and colorless\". In reality, it was the most exciting composer's life of the 20th century. Revolution and civil war, Stalin's murderous terror, then the Second World War, the \"thaw\" under Khrushchev and finally Brezhnev's brutalist socialism: the whole tragic history of the Soviet Union runs like a thread through his work. As a functionary who seemed to be loyal to the party line, he played along - but his music spoke against the regime and in favor of its victims and of the freedom of art. \"This is a game that can end badly,\" Stalin threatened, probably in person. Shostakovich was thus obliged to fight his own fears as well. He was playing a double game - and knew it was dangerous. This audio biography draws on many sources, some of them still little-known in Germany. The result is a comprehensive, colorful and detailed picture of the composer’s life, and contains several surprises – also with regard to his private life, which should not pale behind the historical panorama. Like every great composer, Shostakovich had his crises and affairs, his great sufferings and small joys.\u003c\/span\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012479570154,"sku":"4035719009293","price":19.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4037965-2780489.jpg?v=1778269031"},{"product_id":"new-millennium-nethsingha-sjccc","title":"New Millennium \/ Nethsingha, Choir of St John's College Cambridge","description":"\u003cp\u003eAbout the album; Andrew Nethsingha says: “Contemporary music and Commissioning have been central features of the last fifteen years at St John’s. It’s been a joy to work with talented student composers; singers and instrumental- ists; my own musicianship has been greatly enriched by their creativity and energy... After a 30-month break from sessions during the pandemic; we were very pleased to be able to record again in 2022. The material on this album comes from various times of year; whilst we were also continuing our Magnificat series. For the final sessions in December the outdoor temperature was forty degrees colder than it had been for the previous recording in July! The personnel of the lower voices had also largely changed; but I hope you will hear a successful continuity of sound- world. All the composers are alive today but; at the suggestion of one of them; we have omitted dates of birth so as not to intrude on their privacy. I’ve curated a sequence of music which aims to celebrate some of the broad range of styles in 21st-century choral writing. The premiere of Iain Farrington’s Nova Nova was the final piece in my last St John’s broadcast - I have often enjoyed pushing the boundaries of the Anglican choral tradition!”\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012479996138,"sku":"635212075029","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391618-3304406.jpg?v=1778205494"},{"product_id":"roth-the-traveller-seth-earth-sky","title":"Roth: The Traveller; Seth: Earth \u0026 Sky \/ Ex Cathedra, Britten Sinfonia","description":"\u003cp data-mce-fragment=\"1\"\u003eTHE TRAVELLER for choir, children’s choir, orchestra, tenor, violin and speaker. The Traveller was the third in a series of four major works with words by Vikram Seth and music by Alec Roth, commissioned jointly over four years by the Salisbury, Chelsea and Lichfield Festivals (2006-09). Each work featured the violinist Philippe Honoré as soloist, and each took a different geographical\/cultural area as its starting point.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEARTH AND SKY for children’s choir and piano (with optional percussion). Earth and Sky was commissioned by the BBC for the Proms 2000 season. In keeping with the millennial theme, a work presenting a vision of the future was requested. Trying to be helpful, the BBC provided me with a video containing the predictions of various experts, but their ideas seemed dizzyingly contradictory.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Alec Roth\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEx Cathedra has performed Alec’s music in over 200 concerts since 2007. There have been large-scale commissions and recordings and many short ‘gems’. It is of consistently high quality with moments of absolute genius. The relationship continues to flourish.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012482715882,"sku":"635212075326","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391616-3304408.jpg?v=1778236879"},{"product_id":"noel-armonico-consort","title":"Noël! Carols Old \u0026 New \/ Monks, Armonico Consort","description":"\u003cp\u003eTheir second Christmas album on Signum Records, Armonico Consort and Christopher Monks return with a new album featuring a collection of carols both old and new. They have created the perfect soundtrack for those who love an atmosphere at Christmas. Featuring world premiere recordings by Composer Toby Young and the first ever recording of ‘Star Song’ by Jonathan Dove on a Christmas album, there are also exquisitely sublime versions from ‘Silent Night’ to ‘Away in a Manger’.\u003c\/p\u003e\n\u003cp\u003e\"It is ten years since our last carols recording, and we have collected some incredible works we have been so keen to record, including several commissioned from our composer in residence. Christmas somehow manages to inspire composers to write the most imaginative, both in terms of creativity and melodiousness, and Toby is an expert at making Christmas music sound just as we want it to be!\" -- Christopher Monks\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012483535082,"sku":"635212075425","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391620-3304409_56339860-703e-4023-b56b-3e9f63fbabfb.jpg?v=1778212897"},{"product_id":"schumann-piano-works-llyr-williams","title":"Schumann: Piano Works \/ Llŷr Williams","description":"\u003cp\u003eHis 15th album with Signum Classics, the Welsh pianist, Llŷr Williams, brings a profound musical intelligence to his work as soloist, accompanist and chamber musician. 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