{"title":"One-Day Sale","description":"\u003cp\u003e\u003cspan\u003eOur \u003cstrong\u003eOne-Day Sale\u003c\/strong\u003e is back and better than ever — \u003cstrong\u003eover 600 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\u003e\u003cspan\u003eShop from iconic labels such as \u003cstrong\u003eARC Music\u003c\/strong\u003e, \u003cstrong\u003eSWRMusic\u003c\/strong\u003e, \u003cstrong\u003eChandos\u003c\/strong\u003e, \u003cstrong\u003eChallenge Records \u003c\/strong\u003eand more! \u003c\/span\u003e\u003cspan\u003e\u003cem\u003eWhile supplies last — no backorders at these prices!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShop the sale before it ends at\u003cstrong\u003e 9:00am ET, Wednesday, June 10th, 2026\u003c\/strong\u003e. \u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"kuhnau-zelenka-bach-magnificats-suzuki-persson-et-83563","title":"Bach, Kuhnau, Zelenka: Magnificats \/ Suzuki, Persson, Bach Collegium Japan","description":"\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eIn the early 1730s Bach revised his E flat major Magnificat of 1723, transposing it to D major and omitting the interpolations peculiar to Christmas performances in Leipzig. (Recent research suggests such richly scored Latin Magnificats could be performed in Lutheran churches at some 15 annual festivals, not just the three – Xmas, Easter, Ascension – previously supposed.) The D major was apparently Bach’s preferred version and is the one commonly played today, as on this latest instalment of Masaaki Suzuki’s acclaimed survey of Bach’s sacred vocal music. Suzuki’s Magnificat, like his earlier Bach recordings, is sharply focused and performed with engaging conviction. My benchmark disc, by Philippe Herreweghe, grips with its palpable air of excitement. Suzuki’s reading is cooler, more nuanced and has a clearer acoustic; yet Herreweghe’s soloists retain a slight edge – few could match Barbara Schlick and oboist Marcel Penseele in rapt duet on ‘Quia respexit’. Herreweghe’s coupling is the splendid Cantata, BWV 80; Suzuki offers a trio of fascinating rareties. The Magnificat by Kuhnau, Bach’s predecessor at Leipzig, resembles Bach’s in instrumentation and division of text: it’s a lively, attractive piece, trumpets ringing out boldly in the bright opening chorus. Two shorter Magnificats by Bach’s Dresden-based contemporary Zelenka represent a very different and highly individual approach, the C major’s tripartite structure creating an almost concerto-like framework for soprano soloist. Suzuki’s excellent, scrupulous performances should provoke greater interest in Kuhnau’s and Zelenka’s church music – the latter’s Missa Dei Filii, by Tafelmusik\/Frieder Bernius (DHM), is also highly recommended. Performance: 5 (out of 5), Sound: 5 (out of 5)\u003cbr\u003e \u003cbr\u003e -- Graham Lock, BBC Music Magazine\u003cbr\u003e\u003c\/p\u003e","brand":"BIS","offers":[{"title":"CD","offer_id":44626500845802,"sku":"7318590010112","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263133.jpg?v=1785988306"},{"product_id":"nystroem-sinfonia-espressiva-sinfonia-seria-paavo-jarvi-225312","title":"Nystroem: Sinfonia Espressiva, Sinfonia Seria \/ Paavo Järvi","description":"REVIEWS:\u003cbr\u003eFanfare (5-6\/98, p.173) - \"The Swede Gösta Nystroem (1890-1966) is one of those undemonstrative composers whose quiet sobriety might lead the inattentive to pass him by unwittingly. But in his understated way Nystroem is a master, and BIS's ongoing series of recordings with Paavo Järvi in Malmö is something that deserves enthusiastic support...\"\u003cbr\u003eBBC Music (3\/98, p.59) - Performance: 4 (out of 5), Sound: 5 (out of 5) - \"...the Malmö Symphony Orchestra reveals its greatest strength in a richness of string tone....Paavo Järvi keep[s] tight control on the music's sometimes diffuse dramatic flow...\"","brand":"BIS","offers":[{"title":"CD","offer_id":44626347327722,"sku":"7318590007822","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262975.jpg?v=1785942585"},{"product_id":"aho-symphony-no-1-hiljaisus-violin-concerto-103824","title":"Aho: Symphony No 1; Hiljaisus: Violin Concerto \/ Gräsbeck, Vänskä, Lahti Symphony","description":"Given Sibelius’s reputation as one of the great symphonists of the last century, contemporary Finnish composers may be forgiven for feeling a little overshadowed. Fortunately for the young Aho, Rautavaara’s advice and support proved decisive in shaping this symphony, which began life as a string quartet. The work is in four movements, the mysterious opening and ascending brass figures of the Andante strongly reminiscent of Shostakovich. Indeed, this is confirmed by the noted music publisher Fennica Gehrman, in a short article on the Finnish Musical Information Centre website.\u003cbr\u003e  \u003cbr\u003e There is no obvious programme here, but in his refreshingly unpretentious liner-notes – a welcome feature of this entire cycle – Aho does speak of ‘nightmares’ and ‘psychological crises’. Even without these pointers the Andante has a certain bleakness – desolation, even – although there’s none of the trenchancy one associates with Shostakovich in similar mood. That said the grim little waltz in the Allegretto could so easily be attributed to DSCH, not to mention the quiet but insistent tread in the lower strings.\u003cbr\u003e  \u003cbr\u003e By contrast the Presto kicks off with an arresting moto perpetuo that drives this fugue like a musical dynamo. This movement has some of the most individual writing so far. That said the shade of Shostakovich hovers nearby, the laconic waltz tune and a splintered remnant of the opening theme bringing the symphony to an enigmatic close.\u003cbr\u003e  \u003cbr\u003e The other works on this disc – Hiljaisuus (Silence) and the Violin Concerto – date from the early 1980s. According to Aho, Hiljaisuus, a Finnish Radio commission that was to last no more than five minutes, was intended as an introduction to the recently completed Violin Concerto. It’s a strange swirl of a piece, a mix of unsettling glissandos and unearthly sonorities. Sample the short passage at 4:02 and you may be forgiven for thinking you’re listening to Ligeti.\u003cbr\u003e  \u003cbr\u003e The Violin Concerto has more momentum and contrast than Hiljaisuus, although it shares the latter’s concentrated, more dissonant idiom. It isn’t the most grateful start to a violin concerto, the solo part – sensitively played by Manfred Gräsbeck – rather less prominent than one might expect. That said it would be difficult to hear it above the orchestral eruptions that punctuate the first movement. At 8:30 the soloist is given some insistent phrases that rise above muted timps, culminating in an equally restrained close.\u003cbr\u003e  \u003cbr\u003e The repeated phrases at the start of the second movement – marked Leggiero – lead into music that fluctuates between light and shade. The soloist has some rhapsodic passages all to himself before we plunge into the spectral waltz of the finale. La Valse this isn’t, but the wild, somewhat demonic element is certainly present. Gräsbeck phrases these tunes like a Mahlerian Ländler – listen to the passage beginning at 3:37 – before he is crushed by a massive orchestral climax worthy of Bartók in Miraculous Mandarin mode.\u003cbr\u003e  \u003cbr\u003e Whatever hints there may be of other sound worlds Aho has fashioned something altogether individual here, combining a range of ear-pricking sonorities with music of considerable punch and power. Nothing quite prepares one for the gentle, introspective close to this concerto which, as I have discovered, is something of an Aho trademark.\u003cbr\u003e  \u003cbr\u003e Despite its obvious influences the symphony is remarkably assured for a student work. It’s economically scored, light on its feet and direct in its appeal, the chamber-like qualities much enhanced by the airy recording. The concerto is more roughly hewn; it’s a protracted tussle between soloist and orchestra, yet it has real presence and power. All credit to the Lahti Symphony Orchestra – just 40 years old when this recording was made – who play these scores with commitment and care. An excellent entrée to Aho’s distinctive sound world.\u003cbr\u003e  \u003cbr\u003e -- Dan Morgan, MusicWeb International\u003cbr\u003e","brand":"BIS","offers":[{"title":"CD","offer_id":44625705238762,"sku":"7318590003961","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262811.jpg?v=1785887482"},{"product_id":"smetana-ma-vlast-jarvi-detroit-symphony-orchestra-243295","title":"Smetana: Má Vlast \/ Järvi, Detroit Symphony Orchestra","description":"\u003cp\u003eRecorded in: Orchestra Hall, Detroit 28-29 January 1993, 26-27 March 1994 \u0026amp; 23 May 1994 Producer(s) Brian Couzens Charles Greenwell Leslie B. 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Fanny’s cantata Hiob, based on the Book of Job, is the second of three cantatas composed between February and November 1831, although it remained unpublished until 1992. Later in her short career, encouraged by her brother and her friend Robert von Keudell, Fanny did begin to publish her works. The Gartenlieder, Op. 3 for unaccompanied choir were composed in 1846, and inspired by the gardens and summerhouse at the family’s Leipzigerstraße residence, in Berlin, where she held her choir rehearsals. Mendelssohn’s Die erste Walpurgisnacht is a secular cantata, a setting of the poem by Goethe, originally performed in 1831. Mendelssohn revised the work extensively in 1843, and it is this later version that is performed here. His Christmas cantata Vom Himmel hoch, based on a Lutheran chorale, was completed in 1831.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"SACD","offer_id":44624350380266,"sku":"095115531822","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4275148-3124349.jpg?v=1785916302"},{"product_id":"berg-lulu-095115954027","title":"Berg: Lulu","description":"Berg: Lulu","brand":"Chandos","offers":[{"title":"CD","offer_id":44624167141610,"sku":"095115954027","price":32.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/107578.jpg?v=1786016371"},{"product_id":"rachmaninov-songs-095115937426","title":"RACHMANINOV: Songs","description":"Classical 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A natural curiosity and insatiable desire to explore have propelled the group in many artistic directions and continue to ensure it not only a place at the very forefront of the international chamber music scene but also a rich and varied musical existence. As they comment in their booklet note: ‘It seems fitting to mark the milestone by recording this epic and most celebrated of chamber works, Schubert’s String Quintet in C major, a piece which we have lived with since childhood, and which we have played with a long line of illustrious cellists. One of our earliest performances took place with Terence Weil, our mentor at college, at his retirement concert, just as we were starting out on our professional journey. Now the wonderful young Laura van der Heijden, who comes to this recording with a maturity which belies her years, represents with respect to us a similar age gap, proving that age is insignificant where there is a meeting of musical minds. Now we look forward to whatever our sixth decade might bring.’\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eIn this exceptional interpretation of Schubert’s C major Quintet, there are plenty of moments where the players individually or collectively make something happen – a tiny inflection in the phrasing here, an applied touch of color there. Yet nothing is overdone, and the music always flows as it wants to\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp\u003e-- BBC Music Magazine\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012447162602,"sku":"095115197820","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129360-3140383.jpg?v=1785891265"},{"product_id":"sancan-a-musical-tribute-yan-pascal-tortelier-bbc-philharmonic","title":"Sancan: A Musical Tribute \/ Bavouzet, Tortelier, BBC Philharmonic","description":"\u003cp\u003eWithout question born a little too late in a century of huge upheavals, Pierre Sancan has almost completely disappeared from our memories. 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Her compositional oeuvre marks a high point in the phase of consolidation experienced by U.S. art music between the Civil War and World War I. Amy Beach was not the first American woman who composed, nor the first to earn money with her compositions, but she created a stir in the music world by forging ahead into genres in which previously only men had garnered wide acclaim. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eHowever, it was above all the piano that was Amy Beach’s lifelong companion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eShe honored her instrument with solo compositions in a total of twenty-six opus numbers distributed equally over her entire compositional career, from the 1880s to the 1930s. Even though her music for piano four hands and for two pianos is limited to a few compositions, they all attest to their author’s talent. The original version of Amy Beach’s \u003cem\u003eVariations on Balkan Themes\u003c\/em\u003e op. 60 is her most extensive composition for piano two hands and the one that is the most challenging in playing technique. At the same time, the variations represent one of her most significant endorsements of folk music.\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\u003eGenova and Dimitrov perform this technically demanding and richly imagined music with enormous affection and flair, conjuring its atmospheres and textures seamlessly, as if with one mind. A must-hear album for all who want to explore Beach’s highly rewarding output.\u003c\/p\u003e\n\u003cp\u003e-- BBC Music Magazine\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell5_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eAglika Genova and Liuben Dimitrov are a polished duo, unfailingly musical, with an ensemble precision that sits well with their two superbly matched instruments. The disc, very well recorded, comes with an exhaustively detailed booklet and is a valuable addition to the Beach discography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- Gramophone\u003c\/span\u003e\u003c\/p\u003e","brand":"CPO","offers":[{"title":"CD","offer_id":46012451324138,"sku":"761203545322","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4038005-2783513.jpg?v=1785926170"},{"product_id":"coates-orchestral-works-vol-3-john-wilson-bbc-philharmonic","title":"Coates: Orchestral Works, Vol. 3 \/ Wilson, BBC Philharmonic","description":"\u003cp\u003eJohn Wilson’s third volume of the music of Eric Coates combines some of the composer’s larger-scale works with miniatures and two marches.\u003c\/p\u003e\n\u003cp\u003eThe Cinderella Phantasy frames the well-known fairy-tale from Cinderella’s perspective, glossing over the more brutal elements of the original, with some notably descriptive writing for the dream sequences, the ball and of course the happy ending.\u003c\/p\u003e\n\u003cp\u003eThe Three Men is to some extent autobiographical, as Coates explores his love of his native Nottinghamshire countryside, his love for London and his love of the sea.\u003c\/p\u003e\n\u003cp\u003eThe Three Elizabeths is a suite of portraits of three great figures in English History – Queen Elizabeth I; Elizabeth of Glamis (then the Queen Consort, now remembered as the Queen Mother), and Princess Elizabeth (who of course became Queen Elizabeth II).\u003c\/p\u003e\n\u003cp\u003eLost Love is a wistful Romance written in 1939, while the much later Sweet Seventeen is a beautiful waltz, inspired by Eric and his wife Phyliss’ love of dancing. In fact, the title refers to his first date with Phyllis, at the Blenheim Restaurant, the day before her seventeenth birthday. Two marches complete the program – the Television March was commissioned by the BBC (just three weeks before the date of broadcast!) for the resumption of television broadcasting in 1946. The Dam Busters March was used as the main title for Michael Anderson’s 1955 film and is arguably the composer’s most widely known work.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eThe Dam Busters march became the biggest and final hit of Coates’s career. 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Currently principal horn at the BBC Symphony Orchestra, he has previously served as principal horn of the Royal Philharmonic Orchestra and as solo horn of the Berliner Philharmoniker.\u003c\/p\u003e\n\u003cp\u003eWeber’s Concertino was written for the old, valveless ‘natural horn’; its limited range of notes (tied to the harmonic series) was extended mechanically with additional tubing (‘crooks’) and, more artfully, by virtuoso players bending notes, and varied hand stopping. The technical demands of the Concertino are testament to the extraordinary facility of the hornists of the period. The first Horn Concerto by Richard Strauss, written at the age of nineteen, whilst a student, is widely considered his first uncontested masterpiece. Although the influence of Brahms and Schumann are evident, his own compositional voice is unmistakable. Strauss would continue to write significant parts for horn in all of his orchestral scores (possibly an influence of his father, who was a virtuoso hornist), but the second Concerto was not composed until 1942 – some sixty years later. The style is much more neo-classical, even ‘Mozartian’. Schumann’s riotous Concertstück for four horns opens the programme, and features three more outstanding soloists: Christopher Parkes (Swedish Radio Symphony Orchestra, Sinfonia of London), Alec Frank-Gemmill (Gothenburg Symphony Orchestra), and Sarah Willis (Berliner Philharmoniker).\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012457615594,"sku":"0095115216828","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4226831-3132087.jpg?v=1785908454"},{"product_id":"befreit-a-soul-surrendered-whately-middleton","title":"Befreit – A Soul Surrendered \/ Whately, Middleton","description":"\u003cp\u003eMezzo-soprano Kitty Whately trained at Chetham’s School of Music, the Guildhall School of Music and Drama, and the International Opera School of the Royal College of Music. Having won both the Kathleen Ferrier Award and Royal Overseas League Award in the same year, she attended the prestigious Academy of the Verbier Festival. She writes of this project: ‘It has been my great pleasure to record with Joseph once again. We have long shared a mutual passion for early-twentieth-century-romantic Lieder and talked of making a disc including songs by Mahler and Strauss. The opportunity to discover and research lesser-known composers from their era has been thrilling and fascinating. As the world endured the pandemic, we all experienced fear and danger and loss in a way that most of our generation never did before, on such a global scale. Joseph and I felt drawn to reflect on grief, mortality, and bereavement.’ The two lesser-known composers featured in the recording are Johanna Müller-Hermann (who studied with several of the most prominent teachers in Vienna – Josef Labor, Guido Adler, Alexander Zemlinsky, Josef Bohuslav Foerster, Franz Schmidt) and Margarete Schweikert, who’s upbringing and life in Karlsruhe and studies with Joseph Haas in Stuttgart could hardly provide a greater contrast – clearly audible in their music.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCONTENTS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMüller-Hermann\u003c\/strong\u003e: Wie eine Vollmondnacht, Op. 20 No. 4\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMüller-Hermann\u003c\/strong\u003e: Der letzte abend, Op. 2 No. 4\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStrauss, R\u003c\/strong\u003e: Befreit, Op. 39 No. 4\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStrauss, R\u003c\/strong\u003e: Allerseelen, Op. 10 No. 8\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSchweikert\u003c\/strong\u003e: Wolke I\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSchweikert\u003c\/strong\u003e: Totenhausen\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSchweikert\u003c\/strong\u003e: Zusammen sterben\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStrauss, R\u003c\/strong\u003e: Auf ein Kind, Op. 47 No. 1\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStrauss, R\u003c\/strong\u003e: Rückleben, Op. 47 No. 3\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStrauss, R\u003c\/strong\u003e: Morgen, Op. 27 No. 4\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMüller-Hermann\u003c\/strong\u003e: Die Stille Stadt, Op. 4 No. 1\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMüller-Hermann\u003c\/strong\u003e: Herbst, Op. 20 No. 2\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMüller-Hermann\u003c\/strong\u003e: In Memoriam, Op. 28 No. 5\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSchweikert\u003c\/strong\u003e: Unser Haus\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSchweikert\u003c\/strong\u003e: Die Entschlafenen\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMahler\u003c\/strong\u003e: Kindertotenlieder\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMüller-Hermann\u003c\/strong\u003e: Widmung, Op. 20 No. 1\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSchweikert\u003c\/strong\u003e: Einem Vorangegangenen\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eThroughout Whately and Middleton prove highly persuasive guides; the pianist bringing the accompaniments vividly to life and the mezzo fully committed to the works and impressive, in particular, in getting the texts across.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- Gramophone\u003c\/span\u003e\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012459122922,"sku":"095115217726","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4169954-2947520.jpg?v=1785901650"},{"product_id":"brennan-the-irish-revolution-5019396287624","title":"Brennan: The Irish Revolution","description":"\u003cp\u003eIn this stirring soundtrack of The Irish Revolution; Pól Brennan is joined by Steve Turner; Aiden O'Donnell and Nick Bailey; as well as his sister and fellow CLANNAD member Moya. His music captures the raw emotion sparked by historic events such as the Great Hunger of 1847 through to the Irish Civil War in 1922–1923; using moving tunes and mournful melodies to depict the sacrifices made by the Irish people in their quest for independence. Liner notes written by Cathal Goan.\u003c\/p\u003e","brand":"ARC Music","offers":[{"title":"CD","offer_id":46012459974890,"sku":"5019396287624","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408850-3332379.jpg?v=1785920756"},{"product_id":"mendelson-bacewicz-chamber-works","title":"J. Mendelson \u0026 Bacewicz: Chamber Works \/ Silesian Quartet","description":"\u003cp\u003eThe award-winning Silesian quartet present a new album featuring two composers from Warsaw – Joachim Mendelson and Graznya Bacewicz. After completing his music studies in Warsaw and Berlin, Joachim Mendelson moved to Paris in 1929, where he joined the Association des Jeunes Musiciens Polonais, a society founded in 1926 to facilitate the study, publication, and promotion of the works of young Polish composers. Bacewicz also received support from the Association, and from Paderewski, and studied in Paris with Nadia Boulanger. The associations’ aims included re-establishing a national musical life at the highest level back in Poland (after more than a century of joint occupation by Russia, Prussia, and Austria), and both composers returned to Warsaw and worked there until 1939. Mendelson taught at the Institute of Music, and Bacewicz became leader of the Polish Radio Symphony Orchestra and continued her career and a composer and soloist. Mendelson was imprisoned in the Warsaw ghetto until 1943 when he was murdered by the Gestapo. Five of his works survive, thanks to the French publisher Max Eschig, including the quartet and quintet recorded here. Both Bacewicz works on this recording were rejected by the composer, and never included in her catalogue of works. It is extremely lucky that the manuscripts have survived, preserved at the National Library in Warsaw. Half a century after her death the Royal String Quartet prepared performing scores and gave the first performances.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012461318378,"sku":"0095115218129","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4220712-3006228.jpg?v=1785908513"},{"product_id":"moch","title":"Moch \/ DLÙ","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis exciting quintet of young Scottish Gaels, DLÙ, are winners of the ‘Danny Kyle Open Stage 2018’, and were nominated for the MG Alba Scots Trad Award, ‘upcoming artist of the year’, in 2019. Their debut album \u003cem\u003eMoch\u003c\/em\u003e champions the Gaelic language and culture while blending progressive arrangements, eclectic musical influences and youthful energy. The result – face-paced traditional Scottish tunes with funk, rock and pop – a sound that is uniquely their own. “The greatest reward for those mostly unsung champions of Gaelic language, music and culture is that bands like DLÙ are in the world today.” -Mary Ann Kennedy\u003c\/span\u003e","brand":"ARC Music","offers":[{"title":"CD","offer_id":46012464038122,"sku":"5019396295629","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4044752-3141683.jpg?v=1785926431"},{"product_id":"haydn-piano-sonatas-vol-11-0095115219324","title":"Haydn: The Complete Piano Sonatas, Vol. 11 \/ Bavouzet","description":"\u003cp\u003e\u003cstrong\u003e\"Bavouzet’s Haydn is unmatched in its zest and its wit. But it is also substantial, informed and deeply rewarding.\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e--The \u003cem\u003eNew York Times\u003c\/em\u003e\u003cstrong\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/strong\u003eon Bavouzet's Haydn Sonatas cycle, 2022\u003c\/p\u003e\n\u003cp\u003eJean-Efflam Bavouzet’s survey of Haydn’s piano sonatas reaches its conclusion with this 11th and final volume. As with the previous releases, the acclaimed pianist has included repertoire from different periods of Haydn’s career to create a recital of interest in its own right, as well as the completion of the series.\u003c\/p\u003e\n\u003cp\u003eJean-Efflam notes: ‘It has been eleven years since the launch of this project to present Haydn’s sonatas, not in their chronological order, but as collections juxtaposing works from different periods. The program for this final album was actually the first one to be devised: I wanted to place side by side the very first and the very last sonata. Then the idea of fleshing out the sonata cycle with other major pieces began at volume four, with the addition of the famous \u003cem\u003eVariations in F minor\u003c\/em\u003e, and finally this last volume is made up of as many sonatas as other types of works. The complete series is thus able to offer music lovers all the sonatas identified to date, together with the other major keyboard works.’\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cdiv class=\"review\"\u003e\n\u003cdiv class=\"review-text\"\u003e\n\u003cdiv class=\"review-text\"\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eFive stars \u0026amp; editor's choice\u003c\/strong\u003e |\u003cstrong\u003e \u003c\/strong\u003eJust when I thought it couldn’t get any better, this last volume hits new heights. --\u003cem\u003eGramophone\u003c\/em\u003e (Michelle Assay)\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e---\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"review-author\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"review-text\"\u003eThis album concludes Jean-Efflam Bavouzet’s epic and scintillating cycle of the complete Haydn Piano Sonatas. Sandwiched between the first and last sonatas – the former delightfully without a hint of angst, the latter richly expressive and exploratory – lies a wealth of contrasts…As on previous occasions [Bavouzet] makes it difficult to imagine Haydn presented with greater gusto, precision and charms[.] --\u003cem\u003eInternational Piano\u003c\/em\u003e (Bryce Morrison)\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"review-text\" style=\"text-align: center;\"\u003e---\u003c\/div\u003e\n\u003cdiv class=\"review-text\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"review-text\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"review-text\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"review-text\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"review\"\u003e\n\u003cdiv class=\"review-text\"\u003e\n\u003cp\u003eA project that began in 2011 is completed; what a journey it has been. Bavouzet’s gifts of insightful exposition and revelation are matched by the wisdom of his curation… A triumph. --The Sunday \u003cem\u003eTimes \u003c\/em\u003e(Dan Cairns)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"review\"\u003e\n\u003cdiv class=\"review-stars stars0\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012464988394,"sku":"0095115219324","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4112389-2877017.jpg?v=1785891256"},{"product_id":"rocking-horse-road","title":"Rocking Horse Road \/ Dankworth, Broadsky Quartet","description":"\u003cspan data-mce-fragment=\"1\"\u003eRocking Horse Road is the debut recording of Jacqui Dankworth and the Brodsky quartet, bearing witness to a musical relationship that stretches back almost two decades. Jacqui Dankworth is one of the most highly regarded and celebrated vocalists in the UK. The Sunday Times called her ‘One of our finest singers, regardless of category’, whilst the Guardian noted she ‘exhibits a subtle control of dynamics and a voluptuous tonal richness that seems to make almost any material sound special’. Formed in 1972, the Brodsky Quartet have given more than 3,000 concerts around the world, and recorded over 70 albums, covering both the core classical repertoire and collaborations with a wide range of artists from all walks of musical life. The album covers a wide range of material that this partnership has gathered and honed over the years: compositions by Harvey Brough, David Gordon, Charlie Wood and Jacqui Dankworth herself sit alongside arrangements of songs by Björk, Sting, Diana Krall and Elvis Costello.\u003c\/span\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012466462954,"sku":"095115221921","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4046063-2796653.jpg?v=1785926623"},{"product_id":"debussy-piano-duets-louis-lortie-helene-mercier","title":"Debussy: Piano Duets \/ Lortie, Mercier","description":"\u003cp\u003eRegular duet and two-piano partners Hélène Mercier and Louis Lortie have returned to the studio for this all-Debussy program. The album features duets written by the composer himself -such as the \u003cem\u003ePetite Suite\u003c\/em\u003e, the \u003cem\u003eSix Épigraphes antiques\u003c\/em\u003e and the \u003cem\u003eMarche écossaise sur un thème Populaire\u003c\/em\u003e; as well as a number of arrangements of his solo piano pieces (the \u003cem\u003ePremière Arabesque\u003c\/em\u003e, \u003cem\u003eLa Fille aux cheveux de lin\u003c\/em\u003e and the \"Slavic\" \u003cem\u003eBallade\u003c\/em\u003e). The album ends with André Caplet’s monumental arrangement of Debussy’s best known orchestral work, \u003cem\u003eLa Mer\u003c\/em\u003e. Stripped of its orchestration, this two-piano version allows the listener to more easily appreciate Debussy’s ground-breaking harmonic innovation. The album was recorded in the concert hall at Snape Maltings in Suffolk, using a pair of Bösendorfer 280 VC grand pianos.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eRegular duet and two-piano partners Hélène Mercier and Louis Lortie present this all-Debussy program, starting and ending on the water. The duo characterize Debussy’s impressionism well with playing that is sensitive and charming. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe album ends with André Caplet’s monumental arrangement of Debussy’s best known orchestral work, \u003ci\u003eLa Mer\u003c\/i\u003e. Stripped of its orchestration, this two-piano version allows the listener to more easily appreciate Debussy’s ground-breaking harmonic innovation.\u003c\/p\u003e\n\u003cp\u003e-- Cumbria Times (Andrew Palmer)\u003c\/p\u003e\n\u003cp\u003eThe playing by the two distinguished pianists is faultless, distinctly outlining the notes with a clarity of separation; the recording in the superb acoustic of the Snape Maltings captures the sound ideally; the presentation of the booklet, with extensive and informative notes in three languages by Roger Nichols, is excellent; and the music itself, I need hardly add, is marvelous.\u003c\/p\u003e\n\u003cp\u003eMost frustratingly then, is that Debussy’s masterpiece for the two-piano repertoire, his late \u003cem\u003eEn blanc et noir\u003c\/em\u003e, is missing. That, however, is not to say that the purchaser of this very full disc is under-compensated. Nevertheless, there might be something to be said for letting us hear Debussy’s music in two-piano and piano-duet arrangements, especially those published during his lifetime, even when we may suspect that reasons of commercial necessity may have prompted their original issue.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e-- MusicWeb International\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012467970282,"sku":"0095115222829","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4118964-2881309.jpg?v=1785918263"},{"product_id":"gutierrez-three-seasons-of-the-andes-kimsa-pachanaka-los-ruphay","title":"Gutierrez: Three Seasons of the Andes - Kimsa Pachanaka \/ Los Ruphay","description":"\u003cp\u003eCarrying Los Ruphay’s ambition to develop awareness and appreciation for the rich tapestry of Bolivian heritage, this album highlights the three seasons of the Aymara annual cycle and the impacts that climate change is having on their culture today. An uplifting album conveying the wind and grandeur of the high plateaus of the Andes through the entrancing melodies of panpipes, charangos and other traditional instruments. A tribute to Los Ruphay’s founder Mario P. Gutiérrez.\u003c\/p\u003e","brand":"ARC Music","offers":[{"title":"CD","offer_id":46012468396266,"sku":"5019396296527","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408852-3332381.jpg?v=1785916768"},{"product_id":"mozart-violin-sonatas-kv301-kv303-kv305-kv454","title":"Mozart: Violin Sonatas \/ Dego, Leonardi","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eFollowing her critically acclaimed recording of Mozart Concertos with Sir Roger Norrington and the RSNO, Francesca Dego turns to a selection of his Sonatas with her long-term recital partner Francesca Leonardi. Dego commented ‘Francesca and I have been playing together for seventeen years, more than half my life and the totality of my career. To work as a duo on a regular basis means reaching common interpretative solutions, ones that sum up each player’s qualities, and creates a great sense of mutual responsibility. What you do together somehow feels naturally complete. We decided to build this album around our very favorite Sonata, KV 454 in B flat major, which we had been performing for many years and in which Mozart’s simplicity and flamboyance coexist in perfect harmony.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cdiv class=\"review\"\u003e\n\u003cdiv class=\"review-text\"\u003e\n\u003cp\u003e“… the balance between Dego and Leonardi is impeccable, along with the sense of two musicians singing from the same hymn sheet…If you’re looking for unfailingly tasteful and refined playing, then Dego and Leonardi neatly tick that box…”\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"review-author\"\u003e– Gramophone (Charlotte Gardner)\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"review\"\u003e\n\u003cdiv class=\"review-stars stars0\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"review-text\"\u003e“…The approach is modern-instrument with period awareness, the youthful playfulness of much of this music well caught…Dego and Leonardi’s polished and deeply considered performances of all four sonatas provide 70 minutes of unvarnished pleasure.”\u003c\/div\u003e\n\u003cdiv class=\"review-text\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"review-author\"\u003e– The Strad (David Threasher)\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"review\"\u003e\n\u003cdiv class=\"review-stars stars0\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"review-text\"\u003e\n\u003cdiv\u003e“…There is an infectious delight in give-and-take between piano and violin throughout …an exquisite recital.”\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"review-author\"\u003e– BBC \u003cem\u003eMusic\u003c\/em\u003e magazine (Julian Haylock)\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012469444842,"sku":"095115223222","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4057331-2867080.jpg?v=1785925050"},{"product_id":"hong-monteverde-alondra-5019396296923","title":"Alondra - Pipa Meets Flamenco Guitar \/ Gao Hong, Monteverde","description":"\u003cp\u003eTaking on the bold freedom of the skylark, Chinese pipa virtuoso Gao Hong and flamenco guitarist Ignacio Lusardi Monteverde fly together from ancient Asian dynasties, through the Thar desert to Andalusia, harmoniously combining cultures as the East meets West.\u003c\/p\u003e","brand":"ARC Music","offers":[{"title":"CD","offer_id":46012469772522,"sku":"5019396296923","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408853-3332382.jpg?v=1785890541"},{"product_id":"mozart-piano-concertos-vol-8-k-537-595-overtures-bavouzet","title":"Mozart: Piano Concertos, Vol. 8 - K. 537 \u0026 595; Overtures \/ Bavouzet","description":"\u003cspan data-mce-fragment=\"1\"\u003eVolume 8 of Jean-Efflam Bavouzet’s survey of Mozart’s piano concertos with Gábor Takács-Nagy and Manchester Camerata features two late concertos – Nos 26 and 27 – along with the overtures to Così fan tutte, Die Zauberflöte (The Magic Flute), and La clemenza di Tito. Concerto No. 26, the ‘Coronation’, was completed in 1788, premièred in Dresden, and then played at the coronation of Leopold II as Holy Roman Emperor, in Frankfurt, on 15 October 1790. As Mozart did not prepare the score for publication, large sections of the left hand were left blank in the manuscript score. It’s not known who created the part for the first printed edition, although this has been widely accepted ever since. Jean-Efflam Bavouzet has created his own version for this recording. Mozart premièred his final piano concerto, No. 27, in Vienna on 4 March 1791, in his last public performance. The album was recorded in Manchester’s Stoller Hall, Bavouzet playing a Yamaha CFX nine-foot Concert Grand Piano.\u003c\/span\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012476326122,"sku":"0095115224625","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4246189-3271934.jpg?v=1785914228"},{"product_id":"bridge-britten-works-for-viola-beatson-clement-connolly","title":"Bridge \u0026 Britten: Works for Viola \/ Beatson, Clément, Connolly","description":"\u003cp\u003eHélène Clément, violist with the Doric String Quartet, is the current holder of the viola previously owned by both Bridge and Britten. Her ambition, quickly formed once she first played this instrument, has been to create a testament to both composers and the instrument that binds them all together. This recording, where Hélène is joined by pianist Alasdair Beatson and Dame Sarah Connolly, is the realization of that ambition. Hélène writes: ‘Frank Bridge owned and played the beautiful viola made by Francesco Giussani, in Italy, in 1843. Benjamin Britten was Frank Bridge’s most beloved pupil, and Bridge gave him the viola as a parting gift when Britten had to embark on a ship’s journey to the United States at the outbreak of the Second World War. The composers were never to see each other again. To record the viola repertoire of both composers, producing the very sound that they would have had in their ears, the sound that inspired their love for the instrument and its special language, became a priority for me.’\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eThe soul of this beautifully constructed recital is the luminous variety Hélène Clément extracts from the 1843 Giussani viola owned by Frank Bridge and passed on to his favorite pupil, Benjamin Britten. The anguished overlapping of mezzo and viola at the climax of ‘Where is it that our soul doth go?’ is one of many revelations on the disc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- BBC Music Magazine\u003c\/span\u003e\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012477178090,"sku":"0095115224724","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4112390-2871800.jpg?v=1785913029"},{"product_id":"vladigerov-slavic-roots-tabakova-piano-works","title":"Vladigerov, Tabakova: Slavic Roots - Piano Works \/ Staneva","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAwarded the title Young Steinway Artist in 2020, the Bulgarian pianist Marina Staneva received the 2019 Sam Hutchings Piano Prize and was a 2018 Britten-Pears Young Artist. She has been praised for her serious talent, outstanding musicianship, extraordinary instinctive artistry, and fine technical command. For this her début recording, she presents works by two contrasting Bulgarian composers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003ePancho Vladigerov was arguably the most influential Bulgarian composer of all time. He was one of the first successfully to combine idioms of Bulgarian folk music and classical music. He was also among the founding members of the Bulgarian Contemporary Music Society (1933), which later became the Union of Bulgarian Composers. The British-Bulgarian composer Dobrinka Tabakova studied composition under Simon Bainbridge, Diana Burrell, Robert Keeley, and Andrew Schultz. Her composition \u003cem\u003ePraise\u003c\/em\u003e was sung at St Paul's Cathedral to celebrate the Golden Jubilee of Queen Elizabeth II, and she has received commissions from the Royal Philharmonic Society, BBC Radio 3, Cheltenham Music Festival, Britten Sinfonia, Three Choirs Festival, Wigmore Hall, and, in 2014, the PRS Foundation's first UK New Music Biennial.\u003c\/span\u003e\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012478849258,"sku":"095115225127","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4069297-2810011.jpg?v=1785924327"},{"product_id":"grieg-lyric-pieces-vol-1-peter-donohoe","title":"Grieg: Lyric Pieces, Vol. 1 \/ Peter Donohoe","description":"\u003cp\u003eIf Chopin ‘invented’ the Mazurka, then surely by the same token Grieg ‘invented’ the Lyric Piece. Over his lifetime he published ten volumes of Lyric Pieces, containing 66 individual works.\u003c\/p\u003e\n\u003cp\u003eBorn in Bergen, Grieg studied in Leipzig and became established as Norway’s leading composer, successfully synthesizing Norwegian folk music with the forms and conventions of the German tradition. While he was internationally acclaimed for his Piano Concerto and the incidental music to Peer Gynt, the vast majority of his output lies not in large-scale works, but in smaller, more intimate forms, especially songs and, of course, his Lyric Pieces.\u003c\/p\u003e\n\u003cp\u003ePeter Donohoe writes: ‘as a teenager I expanded my knowledge of the music of Grieg to include many solo piano pieces as well as the better-known orchestral works. I was beguiled by his style, and the reason remains somewhat intangible. Although one is able to identify the originality of Grieg as a composer – the Norwegian folk element in his music, his natural gift for memorable melodic lines, his occasional diversions into unique and extraordinarily forward-looking harmonies, and, to some degree, his emotional naïveté – there is a unique, unidentifiable kernel in his output that defies analysis, as is true of the work of all the great composers... All these works are pristine examples of his diverse and original style – Norwegian with a Germanic flavour – and it has been a huge and satisfying pleasure to return to them to create this and future recordings.’\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eDonohoe, with a devotion to Grieg’s music dating back to his early years, clearly has the measure of this repertoire. He gets inside the gentler pieces, such as ‘Melancholy’ and ‘Summer Evening’, with beautifully poised playing. Grieg in his more overtly national mood, as in the famous and virtuoso ‘Halling’, is presented with infectious enjoyment and the simpler pieces are never patronized.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- BBC Music Magazine\u003c\/span\u003e\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012481306858,"sku":"0095115225424","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4092640-2854286.jpg?v=1785925473"},{"product_id":"amarcord-dun-tango","title":"Piazzolla, Gardel, et al.: Amarcord d'un Tango \/ Albonetti, Bonaventura, Orchestra Filarmonica Italiana","description":"\u003cspan data-mce-fragment=\"1\"\u003eMarco Albonetti writes: ‘”Amarcord” signifies memory, the nostalgic re-enactment of the past. Here, it evokes the idea of joining two instruments, the saxophone and the bandoneón, both of which were invented in the middle of the nineteenth century. The bandoneón, created as a more agile substitute for the organ in the world of sacred music in Germany, was brought by German immigrants to Buenos Aires, where it became central to the tango, a music enlivened by rhythmic ideas from Africa and inextricably linked to dance. The saxophone – the central character of an adventure story which originated in Belgium, from which the instrument travelled to America where it discovered its promised land – executes the mellow melodies of the tango with a lightness, a pliancy, and a tone that further intensify the feelings running through them. \u003cem\u003eAmarcord d’un Tango\u003c\/em\u003e was created to offer the listener a brief journey through the history of the tango. Composed in 1903, Villoldo’s El choclo is one of the oldest examples of the genre. The well-known melodic tangos \"Por una cabeza\" and \"Sus ojos se cerraron\" are by the great singer Carlos Gardel, who died tragically in a plane accident, in 1935. I include a homage to Astor Piazzolla, on the thirtieth anniversary of his death. The album opens with his \u003cem\u003eTriunfal\u003c\/em\u003e, the piece that, thanks to Nadia Boulanger, created awareness and spurred the metamorphosis of Piazzolla’s “nuevo tango”. It represents the ideal point of embarkation.’\u003c\/span\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012482814186,"sku":"095115225929","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4069298-2811225.jpg?v=1785924368"},{"product_id":"mosaic-voices-letter-to-kamilla-music-in-jewish-memory","title":"Letter to Kamilla – Music in Jewish Memory \/ Mosaic Voices","description":"\u003cspan data-mce-fragment=\"1\"\u003eMosaic Voices are the Resident Choir at the New West End Synagogue, in London. The synagogue, designed in 1877 by the Scottish architect George Audsley, is a masterpiece of Victorian architecture, known for its beautiful choral acoustic. A great deal of the material on this album is therefore music sung by Mosaic Voices, in Hebrew, during religious services and festivals, of which this music forms a functional element. Ochila la’El, El Melech Yoshev, and Avinu Malkeinu are key musical works that form part of the New Year festival liturgy. Shomer Yisrael is sung during the little-known, but beautiful, midnight service of Selichot, which is part of the penitential prayers of the Hebrew month of Elul leading up to the New Year. Tree of Life, Generation to Generation, Yis’mechu, Ein Keloheinu, Uv’nucho Yomar, and Veh’al Kulam are pieces that the ensemble regularly sings at weekly Shabbat services, and form part of the liturgy for those services. The Musical Director, Michael Etherton, writes: ‘Exactly eighty years ago, my great grandmother Kamilla wrote a letter to her children. It was 1942. Fortunately, her children had escaped Nazi-occupied Austria, but Kamilla had not been so lucky. She endured four terrifying years of brutality and unimaginable suffering. The letter to her children was the last thing she wrote before being sent to Auschwitz, where she died. She did not know if her letter would ever reach her children. Eighty years later, my vocal ensemble, Mosaic Voices, is writing back to her in the form of an album of Jewish songs. We want Kamilla to know that, although she, her husband, and her sister, Minka, lost their lives in the Holocaust, all her children survived, and lived their lives successfully and happily in Britain, as proud Jewish people. Hitler’s mission failed. Her touching letter, which Kamilla wrote in German, has been set to music as one of the songs on this album (Letter from Kamilla). The other tracks that we have chosen to record celebrate the diversity, mysticism, and beauty of the music that Jewish people have brought to the world over time.’\u003c\/span\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012484518122,"sku":"0095115226124","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4041634-3207680.jpg?v=1785918271"},{"product_id":"neeme-jarvi-in-concert-estonian-national-symphony-orchestra","title":"Neeme Järvi in Concert \/ Estonian National Symphony Orchestra","description":"\u003cp\u003eThe legendary conductor Neeme Järvi celebrated his eighty-fifth birthday in the summer of 2022, in Tallinn, giving a series of concerts with his beloved Estonian National Symphony Orchestra. This album serves not just as a commemoration of those wonderful concerts, but also as a personal calling card for this remarkable musician. The concert overture Polonia, published in 1836, may well have been inspired by Wagner’s encounters with defeated Polish nationalists in Leipzig in 1832. Wagner wrote several concert overtures during this period – whilst plans for his revolutionary operatic output were developing – including Christoph Columbus and Rule Britannia!!\u003c\/p\u003e\n\u003cp\u003eMax Reger composed the Serenade in G major in 1905 – 06; it demonstrates the style and talent of this too-little-heard composer. Brahms set Schicksalslied (Song of Destiny), a poem by Friedrich Hölderlin, in two movements with chorus, but then added a third, an orchestral postlude. Ave verum corpus, possibly Mozart’s best-known setting for chorus, rounds off the program.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe quality of choral singing of the Latvian State Choir is rightly celebrated, and this is a beautifully shaped performance [of the \u003cem\u003eSchicksalslied\u003c\/em\u003e], with vocal warmth and blend, and the orchestral postlude bringing a radiant conclusion.\u003c\/p\u003e\n\u003cp\u003e-- BBC \u003cem\u003eMusic \u003c\/em\u003eMagazine\u003c\/p\u003e\n\u003cp\u003eThis is a marvellous recording...Although Brahms’s Schicksalslied enjoys numerous recordings, Järvi’s is distinguished by the radiance and depth of the first and last sections as well as the vehemence of the central allegro.\u003c\/p\u003e\n\u003cp\u003e-- Gramophone\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs well as being a thoroughly attractive concert conducted with characteristic élan by Chandos star conductor Neeme Järvi, this program represents for collectors a very useful way of acquiring a variety of pieces, some unfamiliar, some less so… this is a very tempting disc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- CDChoice.co.uk\u003c\/span\u003e\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012485173482,"sku":"095115226223","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4164110-3140394.jpg?v=1785924238"},{"product_id":"joseph-jongen-preludes-for-piano-ivan-ilic","title":"Jongen: Preludes for Piano \/ Ivan Ilić","description":"\u003cp\u003eBorn in Liège, Belgium, in 1873, Joseph Jongen showed an outstanding precocity for music from a very early age, and was admitted to the Liège Conservatoire at the extraordinarily young age of seven. He won a First Prize for fugue in 1895 and honors diplomas in piano and organ the next year. In 1897, he won the Belgian Prix de Rome, which allowed him to travel to Italy, Germany, and France, where he experienced the music of Brahms and Richard Strauss, Fauré, Debussy, and Ravel, all of which would exert an influence on the young composer. Although he composed in numerous genres, including the symphony and concerto, as well as chamber music, instrumental pieces, and choral works, it is his output for the organ for which he is now best known.\u003c\/p\u003e\n\u003cp\u003eThe Serbian-American pianist Ivan Ilić helps to redress the balance with this new recording of two of Jongen’s substantial sets of Préludes for piano. The 13 Préludes, Op. 69 are expansive in nature and extremely poetic – each bears an evocative title. They are dedicated to Émile Bosquet who gave their première, in 1923. The 24 Petits Préludes dans tous les tons were begun in 1940 and (like Bach’s preludes and fugues) circle through each and every key, major and minor. Arranged in twelve pairs, the minor key following the major on the same tonic note, these works reflect Jongen’s affinity for (and mastery of) their free form, as well as demonstrating his mature compositional style.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eThe reputation of Belgian composer, organist, and educator Joseph Jongen (1873-1953) basically rests upon one work, his Symphonie concertante for organ and orchestra. However, he composed prolifically in many genres. His solo piano works fall between Franck’s burnished chromaticism and young Scriabin’s sensuous textures while flirting with Debussy and Ravel. Such a style works best when served up in small doses, such as in the Preludes Op. 69.\u003c\/p\u003e\n\u003cp\u003eJongen may not be a memorable tunesmith, and his phraseology tends to be square, but his exquisite harmonic sense and idiomatic, well-crafted handling of the keyboard more than compensates. In the Op. 60 group, you have, on one hand, Eau tranquille’s gently persistent double notes that contrast to Appassionato’s hammered-out chords that step right out of the finale of Scriabin’s Third sonata.\u003c\/p\u003e\n\u003cp\u003eThe 24 Petits Preludes in all of the major and minor keys are less ambitious technically and more conservative, even academic in style. The purity of the contrapuntal writing in slower pieces like Preludes Nos. 10 and 20 smacks of organ technique, while No. 22’s imitative writing suggests a Passepied from a Bach suite in slightly updated modern dress. The pieces fuse charm and seriousness in equal portions, and say what they need to say without overstaying their welcome.\u003c\/p\u003e\n\u003cp\u003eThe music’s workmanship mirrors Ivan Ilić’s caringly detailed interpretations. For example, he shapes No. 18’s cascading patterns into cogent melodic arcs, while imparting subtle shadings of timbre to No. 11’s unassumingly beautiful chords. He scales Op. 69 No. 13’s dynamics with care, ensuring that the motoric build-ups do not get too loud too soon, and thereby generating steady momentum. Tempo choices similarly appear to be judicious.\u003c\/p\u003e\n\u003cp\u003eWhile one might prefer Diane Andersen’s gaunter and more scintillating reading of Papillons noirs (Op. 69 No. 11) in her complete Jongen piano music cycle for the Pavane label, Ilić’s deliberation better allows you to absorb the harmonic motion, together with extra breathing room for the dancing right-hand triplets. In short, Ilić’s mindful virtuosity serves the music first and foremost throughout this highly recommendable and well-engineered release.\u003c\/p\u003e\n\u003cp\u003e-- ClassicsToday.com\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012486942954,"sku":"095115226421","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4160717-2928381.jpg?v=1785901598"},{"product_id":"shadow-dances-british-works-for-flute-adam-walker-huw-watkins","title":"Shadow Dances - British Works for Flute \/ Walker, Watkins","description":"\u003cp\u003eFor his second album for Chandos, the flute virtuoso Adam Walker explores the music of British composers with pianist Huw Watkins. Vaughan Williams’s Suite de ballet was commissioned by the French flute virtuoso Louis Fleury (who had given the première of Debussy’s Syrinx). The work uses eighteenth-century French dance forms, a common practice in ‘neo-classical’ composition. Bax’s Four Pieces rescue music from an abandoned ballet originally conceived for Diaghilev’s Ballets Russes. Sir Lennox Berkeley’s Sonatina was originally written for treble recorder; James Galway’s championship of the piece made it a staple of the flute repertoire. Howard Fergusson’s Three Sketches were composed intermittently over a period of twenty years. The theme of the third piece is a Hindu melody, ‘Koyalinya bole ambuvan’ (Cuckoos sing in the mango tree). Sonatas by York Bowen and William Alwyn complete this varied and engaging program.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eSeventy-seven minutes of British music for flute and piano might at first glance seem like 40 minutes too much. But that ’s without taking on board the nimble and dazzling skills of flautist Adam Walker, or the individual strengths of the works presented...a new pleasure is never far away in this most accomplished recital, full of the sounds of spring.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- BBC Music Magazine\u003c\/span\u003e\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012487663850,"sku":"095115226520","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4201660-3140395.jpg?v=1785924265"},{"product_id":"berlin-stories-trio-gaspard","title":"Berlin Stories \/ Trio Gaspard","description":"\u003cp\u003eBerlin Stories is the first in a new series of recordings by the Trio Gaspard, based on different cultural capitals and composers associated with them. The album features three composers who lived and worked in Berlin for a period of their lives – for different reasons and in varying circumstances.\u003c\/p\u003e\n\u003cp\u003eMendelssohn’s grandfather, Moses, was a philosopher and leader of the Haskalah, or Jewish Enlightenment, establishing a pre-eminent position for the family in Berlin, and creating the opportunities for both Felix and Fanny to realize their musical potential. The second piano trio is a perfects example of Mendelssohn’s style, combining a total mastery of classical structure and counterpoint with romantic sensibility. Moscow-born, but of Swiss parentage, Paul Juon came to Berlin in 1894 to study composition at the city’s foremost Conservatory, and remained in the city until he retired to Switzerland in 1934. Litaniae, his fourth piano trio, is unlike anything else in the piano trio repertoire. It is cast as a single movement and resembles Richard Strauss’s tone poems in scale and ambition. Greek composer Nikos Skalkottas, arrived in Berlin in 1921, and stayed until 1933. He studied composition with a number of leading tutors, before spending 5 years studying with Arnold Schoenberg. His eight variations exemplify his ability to combine serial composition with his native folk music. All the members of Trio Gaspard have lived or still live in Berlin and Berlin Stories expresses their love and admiration for this endlessly fascinating and invigorating metropolis.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eThe playing in Mendelssohn’s Second Piano Trio is of quicksilver clarity but the musicians are equally alive to its stormy turbulence. Trio Gaspard highlights the surging, epic qualities in Juon’s Litaniae, and is fully committed to the piece’s almost unabating intensity.\u003c\/p\u003e\n\u003cp\u003e-- The Strad\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012490776810,"sku":"095115227121","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4211078-2990342.jpg?v=1785912211"},{"product_id":"path-to-the-moon-095115227428","title":"Path to the Moon \/ van der Heijden, Coleman","description":"\u003cp\u003eThe performers write: ‘Selecting the repertoire for our album Path to the Moon, we wanted to explore a number of possibilities for binding together a programme. To place different works alongside one another is a wonderful way of bringing out new and unusual qualities in each piece. William T. Horton’s fantastic image The Path to the Moon immediately inspired a flurry of ideas, including works on the subjects of both night and the moon, as well as pieces which invoke the exploratory nature of humankind’s voyage to the moon. Britten wrote his Sonata for Cello and Piano only two years after the first object made by humans had touched the surface of the moon, in 1959. Humans throughout history and from all cultures have been drawn to and taken inspiration from the moon and we have tried to reflect this in our eclectic choice of song repertoire: from Toru Takemitsu to Nina Simone and from Lili Boulanger to Florence Price. As we hope you will hear on this album, Walker’s Cello Sonata rings with echoes of the sound-worlds of blues and jazz and is infused with a beautiful lyricism. We really believe that Walker’s Cello Sonata deserves to become a staple of the chamber music repertoire and are absolutely thrilled to offer you a recording of it in the context of our own exploration of a path to the moon.’\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012492185834,"sku":"095115227428","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4289986-3147683.jpg?v=1785890589"},{"product_id":"mystique-krzysztof-meisinger","title":"Mystique \/ Krzysztof Meisinger","description":"\u003cp\u003eBefore a phrase from the Gran vals by Francisco Tárrega unexpectedly shot to international fame as the Nokia ringtone, his most celebrated pieces included the Capricho árabe, composed in 1892. 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The Variationen über ein anatolisches Volkslied (Variations on an Anatolian Folksong) were composed in 1982 and are based on the song (türkü) ‘Uzun ince bir yoldayim’. Koyunbaba is a four-movement suite for guitar which started as an improvisation, and was then notated soon afterwards. The composer describes the score as ‘no more than a sketch’ and insists that players improvise in their performance – which Krzysztof Meisinger does to great effect with his additional ‘Invocazione’ at the start of the work.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eIt’s a pity Mompou didn’t write more for the guitar. His only work for that instrument, the Suite compostelana, is a minor masterpiece, profound in its simplicity. It takes a player of Meisinger’s stature to pull off a successful performance, and here the Preludio, Cuna and Canción are especially well rendered.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- Gramophone\u003c\/span\u003e\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012495921386,"sku":"0095115227824","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4226833-3132682.jpg?v=1785921974"},{"product_id":"mozart-piano-concertos-vol-9-bavouzet-takacs-nagy-manchester-camerata","title":"Mozart: Piano Concertos, Vol. 9 \/ Bavouzet, Takács-Nagy, Manchester Camerata","description":"\u003cp\u003eThe three concertos featured on this album were composed together in 1782 \/ 83 – shortly after Mozart had left his patron and position in Salzburg to establish himself as a freelance composer and performer in Vienna. The concertos were all performed by the composer in a series of subscription concerts that he gave in the city. All share the same form – opening movement in sonata form, slow movement in ternary form, and a bright rondo finale. Despite these similarities, though, each piece has its own distinct character and identity; such was the extent of Mozart’s genius for invention. Although formally scored for strings with wind, horns, trumpets, and timpani, Mozart also offered them to his publisher to be performed ‘a quatro’ – for strings only. These would be the last concertos he wrote in which this would be possible, and it is certainly likely that it reflected a need to earn greater income as opposed to being a purely artistic decision. 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It engages both the ear and the heart of an audience. The masterpieces composed by two Italian film composers in particular, Nino Rota and Ennio Morricone, embody the cultural identity of most Italians and they have become recognised and loved by audiences around the world. The film themes on this album capture the magical combination of romance, melancholy, friendship, and violence. The notes vibrate with such passion that the compositions continue to engage the listener, bringing the work of these great Italian composers to life wherever and whenever it is performed.\u003c\/p\u003e\n\u003cp\u003eFilm music is meant to be an accompaniment to the action on screen. However, the music of the great Italian composers is so powerful and enduring that these melodies can stand on their own merit, transporting us to another time and place, evoking memories of past experiences or introducing us to new worlds, places which we can only see in our imagination. This album is a tribute to the Italian spirit, to my spirit, expressed through a musical journey: it offers Postcards from Italy.’\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012504244458,"sku":"0095115229125","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4246190-3206436.jpg?v=1785902620"},{"product_id":"muller-hartmann-chamber-works-arc-ensemble","title":"Müller-Hartmann: Chamber Works \/ Arc Ensemble","description":"\u003cp\u003eRobert Müller-Hartmann was born in Hamburg, in 1884, the son of the piano teacher and clarinettist Josef Müller and his wife, Jenny. He studied in Berlin for four years, but then returned to Hamburg where he pursued a successful career combining teaching, composing, and writing. His works were widely performed by conductors such as Karl Muck, Carl Schuricht, Richard Strauss, Otto Klemperer, and Fritz Busch, and regularly played on German Radio. With the advent of National Socialism, in 1933, Müller-Hartmann was forced to resign from his teaching posts at the University and Conservatory. He continued to teach at Hamburg’s Jewish girls’ school, and was an active contributor to the Jüdischer Kulturbund (Jewish Cultural Federation).\u003c\/p\u003e\n\u003cp\u003eIn the mid 1930s, Eugenia and Jacob (Yanya) Hornstein, Hamburg friends of the Müller-Hartmanns, moved to the town of Dorking, some twenty-five miles south of London, and in 1937 the Müller-Hartmanns followed them. The thirteen years Robert spent in England saw the country scarred by the losses, destruction, and privations of war. There was very little time or opportunity for him to secure a place in his adoptive country’s musical life, and despite his considerable success in Germany during the 1920s and ’30s, his reputation had failed to cross the English Channel. 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