{"title":"One-Day Sale | September 29th, 2026","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003eONE DAY ONLY — 400+ TITLES 50% OFF!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor one day only, save a huge\u003cstrong\u003e 50% OFF\u003c\/strong\u003e on over 400 titles from \u003cstrong\u003eBIS, Chandos, BR-Klassik, Sony Masterworks, Avie Records, DUX,\u003c\/strong\u003e and more!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExplore works by \u003cstrong\u003eRespighi, Bartók, Felix Mendelssohn, Fanny Mendelssohn,\u003c\/strong\u003e and other celebrated composers, with acclaimed performances from the \u003cem\u003eSinfonia of London, The Bach Choir, Minnesota Orchestra, \u003c\/em\u003eand many more.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith hundreds of recordings at \u003cstrong\u003eHALF PRICE\u003c\/strong\u003e, now is the time to fill the gaps in your collection, discover something new, or finally grab those titles on your wishlist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003ePLUS \u003c\/strong\u003e— enjoy \u003cstrong\u003eFREE SHIPPING\u003c\/strong\u003e on orders over $60!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon’t miss your chance to save 50%. Shop the sale now before it ends Wednesday, September 30 at 9:00 AM!\u003c\/strong\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. 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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. 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A leading musical light of the Pacific Northwest, the Delganis devote their new release to music from south of the border. Soul of Brazil epitomises the adventurous, vibrant and passionate qualities of the South American country, blending classical and popular styles – the suave sounds of Grammy-nominated Clarice Assad’s vocals, piano and electronics, new music and arrangements of songs by Antônio Carlos Jobim, alongside the Sixth String Quartet of Heitor Villa-Lobos.\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012429828330,"sku":"822252262025","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408882-3332452.jpg?v=1786691100"},{"product_id":"something-like-this-granger-walker","title":"Something Like This - Music for Harp \u0026 Flute \/ Granger, Walker","description":"\u003cp\u003eAmerican-Australian harpist Emily Granger made an indelible impression with her solo debut recording, In Transit. She follows up with Something Like This, a beautiful collaboration with flautist Sally Walker, featuring original music for flute and harp alongside adaptations and arrangements for the instrumental combination. Woven among classics by J.S. Bach and Mozart are works by living composers including Australians Elena Kats-Chernin, Sally Greenaway, Lachlan Skipworth and Jessica Wells, and indigenous composer Christopher Sainsbury. 20th century works by Jacques Ibert and Witold Lutoslawski are juxtaposed with Erik Satie’s timeless Gymnopédies.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSomething Like This\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a beautifully programmed collection of well-known works performed in sumptuous style and ensemble by Walker and harpist Emily Granger.\u003c\/p\u003e\n\u003cp\u003eIn a superbly executed Bach\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSonata in G Minor,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eGranger shines with sprightly and impeccable technique. 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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\". 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Also that year, Richard Strauss was writing for the same combination at the age of just 19, producing his Sonata in F. Gabriel Fauré embarked on a cello sonata in 1880; only the slow movement transpired and was published and premiered as the stand-alone piece Élégie in 1883. Christoph’s regular performing partner, Oxana Shevchenko, joins him in this beautifully balanced recording of works for cello and piano.\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012432646378,"sku":"822252263220","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408886-3438238.jpg?v=1786690540"},{"product_id":"pat-posey-they-beast","title":"they\/beast - Music for Tubax by Bach, Glass, Washington et al. \/ Pat Posey","description":"\u003cp\u003eSaxophonist Pat Posey goes to extremes for his solo debut album, they\/beast. 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Fantastic album.\u003c\/p\u003e\n\u003cp\u003e-- American Record Guide\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012433989866,"sku":"822252263824","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408888-3438239.jpg?v=1786690523"},{"product_id":"albright-denisov-hindemith-schulhoff-beyond-the-wall-michaud-sileikaite-akmi-duo","title":"Albright, Denisov, Hindemith \u0026 Schulhoff: Beyond The Wall \/ Michaud, Sileikaite, Akmi Duo","description":"\u003cp\u003eValentine Michaud was the first ever saxophone soloist to perform with the Vienna Philharmonic. She and her regular collaborator, pianist Akvilé Silekaité, comprise the award-winning AKMI Duo. They debut on AVIE with Beyond the Wall, an album of contrasting 20th century sonatas linked by history and geography. Edison Denisov’s Soviet serialism, tinged with forbidden jazz influences, took a cue from the American modernism of William Albright. Austro-Czech composer Erwin Schulhoff embraced avant garde and jazz idioms, leading the Nazis to brand his music “degenerate”; he perished in the Wülzburg prison camp in 1942. Paul Hindemith fell in and out of favour with the Nazis, leading him to immigrate to Switzerland and later America. 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Philippe Graffin’s close collaboration with Ysaÿe aficionado Xavier Falques led to a page-by-page analysis and painstaking reconstruction of the musical puzzle pieces, resulting in this recording of the full, three-movement concerto which displays Ysaÿe’s trademark ardour, intensity and originality.\u003c\/p\u003e\n\n\u003cp\u003eFor reasons unknown, Ysaÿe abandoned his Violin Concerto in E minor in 1885, but some years later embarked on another, Poème concertant, which was also recently discovered in manuscript form and is imbued with passion and the love Ysaÿe felt for his pupil Irma Sethe. Their love was mutual but their relationship could not endure, possibly sealing the fate of Poème concertant which lay undiscovered for over a century but is now brought back to life with this world-premiere recording.\u003c\/p\u003e\n\n\u003cp\u003ePhilippe rounds out the recording with three Ysaÿe gems for violin and piano: 2 Mazurkas de Salon, Op.10, works the violinist \/ composer frequently performed and gained popularity throughout Europe and Russia in his lifetime; and Rêve d’enfant (“A child’s dream”), which he dedicated to his youngest son Antoine.\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012435988714,"sku":"822252265026","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408890-3332457.jpg?v=1786668601"},{"product_id":"hidden-flame-yoshika-masuda-hyejin-kim","title":"Hidden Flame - Music for Cello \u0026 Piano \/ Masuda, Kim","description":"\u003cp\u003eJapanese-American cellist Yoshika (“Yoshi”) Masuda makes his recording debut with Hidden Flame, an album containing music by Amy Beach, Clara Schumann, Rita Strohl, Nadia Boulanger, Maria Theresia von Paradis, and a world-premiere by Reena Esmail.\u003c\/p\u003e\n\u003cp\u003eThe works on Hidden Flame span over two centuries and collectively tell a story of how women have moved from the margins of the classical repertoire to somewhere closer to the centre. Whilst the quality of the music these women composed is indisputable, there are also fascinating background stories for all these pieces which often illustrate the personal and societal pressures faced by creative women in history.\u003c\/p\u003e\n\u003cp\u003eYoshi describes the album’s concept: “to present the compositions of women as masterpieces by truly great composers. Musicians and music lovers often feel confident that great works that exist in this world must already be a part of the standard repertoire. However, this album proves that there are hidden gems that deserve more recognition are still out there! It is my aspiration that, in encountering both the familiar and the unfamiliar within this collection of pieces, listeners will transcend considerations of gender or race and recognise these compositions simply as expressions of profound beauty crafted by masterful composers”.\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012436676842,"sku":"822252265323","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408891-3332458.jpg?v=1786690722"},{"product_id":"nickel-requiem-mitchell-northwest-sinfonia","title":"Nickel: Requiem \/ Mitchell, Northern Sinfonia","description":"\u003cp\u003eThe world-premiere recording of Canadian composer Christopher Tyler Nickel’s Requiem marries the placidity of plainchant to complex rhythmic energy, powerfully communicating an intensely personal listening experience.\u003c\/p\u003e\n\n\u003cp\u003e“In my music, peace and restlessness co-exist continually”. So explains award-winning Canadian composer Christopher Tyler Nickel, describing his setting of the Requiem, which marries the placidity of plainchant to complex rhythms and meters. Scored for chamber orchestra, choir and solo soprano, and setting the complete standard Latin text, this world-premiere recording posseses a steady current of energy that propels the work ever-forward, whilst Chris’ contemplative musical language enhances a sense of intimacy that makes its communicative power feel intensely personal.\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012438118634,"sku":"822252265927","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408893-3332460.jpg?v=1786690146"},{"product_id":"j-s-bach-mass-in-b-minor-cantata-collective-mcgegan-cantata-collective","title":"Bach: Mass in B Minor \/ McGegan, Cantata Collective","description":"\u003cp\u003eSan Francisco-based early music ensemble Cantata Collective continues its major series of J. S. Bach’s choral works with the Mass in B Minor, a towering testament of sacred music and the composer’s crowning achievement of his final years. With celebrated conductor Nicholas McGegan, four of today’s most distinguished early music vocal soloists and a refined chamber choir, this live recording exudes a spontaneity that reveals the depth and passion of Bach’s glorious affirmation of faith.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eREVIEW\u003c\/b\u003e:\u003c\/p\u003e\u003cp\u003eSome of the most impressive choral singing in this recording is heard in the central three choruses of the Symbolum Nicenum, the crowning glory and some of Bach’s best music in the entire Mass. The Cantata Collective’s choral forces shine in their expressive use of color and dynamic shading in the long arching lines of “Et incarnatus est” and “Crucifixus” and are able to hold their own in “Et resurrexit” — due, in part, to McGegan’s careful balancing and phrasing.\u003c\/p\u003e\u003cp\u003e— EarlyMusicAmerica.org\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012440215786,"sku":"822252266825","price":16.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408894-3332461.jpg?v=1786668715"},{"product_id":"avie-scott-sea-of-stars","title":"Sea of Stars \/ Lauren Scott","description":"\u003cp\u003eHarpist Lauren Scott’s debut album, Beyond the Horizon, was a breakout sensation. Her scintillating follow-up, Sea of Stars, promises to follow in its footsteps. Lauren explains: “Scintillating … the act of light hitting a many faceted object, sparks flying or the execution of something with panache and brilliance. The harp, with its quicksilver sound and ever-shifting resonances, easily fits these definitions.” Sea of Stars casts Lauren’s own compositions and arrangements alongside original works by Grace Evangeline Mason, Rüdiger Opperman and Monika Stadler. Throughout, Sea of Stars is a brilliant showcase for Lauren’s inimitable style and virtuosity, demonstrating her consummate skill as both a lever and pedal harpist.\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012441690346,"sku":"822252267525","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4313746-3133305.jpg?v=1786632644"},{"product_id":"avie-ives-piano-sonata-no-2-concord-berman","title":"Ives: Piano Sonata No. 2 \"Concord\" \/ Berman","description":"\u003cp\u003eCelebrating the sesquicentenary of Charles Ives’ birth, New England-based pianist and Ives scholar nonpareil Donald Berman releases a recording of the composer’s “Concord Sonata” using his own newly prepared edition which reveals fresh insights into the iconic work. Berman’s immersion into Ives’ sound world began under the tutelage of pianist John Kirkpatrick who gave the New York premiere of the “Concord Sonata” in 1939. Throughout many years of study and reflection, Berman discovered numerous notes and alterations that Ives made within the Concord’s manuscript pages, each one “a step toward realising his vision for a three-dimensional auditory experience.” Berman concluded that the first movement of the Concord, as Ives imagined it, is quite different than today’s commonly accepted version; his new edition includes two pages worth of material, masterfully recorded here for the first time.\u003c\/p\u003e\n\n\u003cp\u003eThe album opens with the elegiac “The St. Gaudens (Black March)”, referring to the eponymous sculpture in the Boston Common that depicts the Massachusetts 54th, the first Union army regiment of African American soldiers, that is known widely in its orchestral version as the first movement of Ives’ Three Places in New England.\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012442378474,"sku":"822252267822","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4322750-3182487.jpg?v=1786713765"},{"product_id":"avie-apostel-busch-kauder-the-lost-generation","title":"The Lost Generation - Apostel, Busch \u0026 Kauder \/ Botstein, The Orchestra Now","description":"\u003cp\u003eIf you’ve seen the Leonard Bernstein biopic “Maestro”, you’ve seen and heard The Orchestra Now, the exceptional ensemble that appears in the movie’s Tanglewood Music Festival scene. The Orchestra Now (TON), a New York-based graduate-level training orchestra comprised of the most vibrant young musicians from around the globe, was founded by conductor, educator and music historian Leon Botstein, whose insatiable curiosity has resulted in rescuing countless musical works from oblivion. Their first recording for AVIE, “The Lost Generation”, brings together three German-speaking composers who were contemporaries of Arnold Schoenberg and Alban Berg, but whose music became supressed by historical events of the 20th century.\u003c\/p\u003e\n\u003cp\u003eIn November 2022, TON gave the US premiere of Hugo Kauder’s Symphony No. 1, a “splendid” work that “made a splash” (New York Classical Review). The largely self-taught Moravian-born composer had a distinguished career in Vienna until he was forced to flee the Nazis and arrived in New York in 1938. The first of Kauder’s five symphonies was dedicated to Alma Mahler. Whilst his musical language is rooted in the tradition of Johannes Brahms and Gustav Mahler, he forged an individual voice with his ease and flexibility of harmonic and metrical shifts.\u003c\/p\u003e\n\u003cp\u003eGerman-born, Austrian composer Hans Erich Apostel studied with Schoenberg and Berg. His works incorporated his mentors’ expressionism and 12-tone methods in equal measure. The Nazis deemed Apostel’s music “degenerate”, but he lived out his life in Vienna until his death in 1972. His Variations on a theme by Haydn, performed frequently in the mid-20th century, is an homage to the second movement of Haydn’s Symphony No. 103, the “Drum Roll, which itself comprises variations on a theme.\u003c\/p\u003e\n\u003cp\u003eAdolf Busch, one of the most celebrated violinists and chamber musicians of the 20th century, was also a prolific composer. A staunch opponent of Nazism, he left his native Germany, arriving first in Switzerland and eventually the United States in 1939. A late Romantic compositional style imbues his Variations on an Original Theme, originally for piano four hands and presented to his wife as a Christmas present in 1944. Busch’s longtime chamber music partner and son-in-law, the pianist Rudolf Serkin, frequently performed the work with his son Peter, who made this orchestration of his grandfather’s composition, in a familial labor of love.\u003c\/p\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46012444016874,"sku":"822252268423","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4327350-3148801.jpg?v=1786650444"},{"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":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4075182-2810997.jpg?v=1786693822"},{"product_id":"beethoven-egmont-4035719003406","title":"Beethoven: Egmont \/ Zirner, Landshamer, Fiore, Munich Radio Orchestra","description":"\u003cp\u003eIn September 1809, the Vienna Hofburg Theatre commissioned Ludwig van Beethoven to create new incidental music for Johann Wolfgang von Goethe's \"Egmont\". The tragedy had premiered in Mainz on January 9, 1789. It calls for incidental music, but various attempts – some commissioned by the poet himself – had remained unfinished or were unsatisfactory. The music was required in several sections of the drama, however, and the Vienna production of \"Egmont\" was to include it. Beethoven set to work. He made good progress, because the subject suited him: the tragedy is set in Brussels, under threat from Spanish troops, and deals with resistance against oppression and foreign rule. The Viennese theatre premiere of \"Egmont\" on May 24, 1810 still had to make do without music, however – the score was only finally completed by the third performance. Beethoven's incidental music was premiered on June 15, 1810.\u003c\/p\u003e\n\u003cp\u003eThe music itself makes it clear that this commission was close to Beethoven's heart - it far exceeds the level of incidental music common at that time. That applies not only to the compositional demands but also to the relationship of the music to the drama. Eschewing mere illustration, Beethoven provided an interpretation and therefore an additional level of meaning. The well-known Egmont Overture, the most dramatically dense part of the incidental music, anticipates the action and introduces the characters. A clear reference to the drama is made in the ending, which corresponds exactly to the symphony of victory called for by Goethe at the end of the tragedy. The finale - a clear reference to the drama - corresponds exactly to the “symphony of victory” called for by Goethe at the end of the tragedy.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012445098218,"sku":"4035719003406","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4129116-2896369.jpg?v=1786635956"},{"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. He nevertheless occupied a place at the heart of the history of French music in the second half of the twentieth century: composer, pianist, teacher, and an extremely endearing personality, as one will discover on this disc.\u003c\/p\u003e\n\u003cp\u003eThis program of the Piano concerto, orchestral works, works for solo piano, and the flute Sonatine (played by Adam Walker) serves as a personal tribute to Sancan from both pianist and conductor, and will hopefully help to raise awareness of this gifted composer.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012449325290,"sku":"095115215425","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4201659-2975984.jpg?v=1786680256"},{"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. John Wilson’s way with it – letting that tune glide in almost imperceptibly, relishing the moment when the violins decorate it, like sprinkling icing on a cake – typifies his approach.\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":46012451586282,"sku":"095115216422","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4207016-3140385.jpg?v=1786672786"},{"product_id":"strauss-schumann-weber-owen-wilson-bbc-philharmonic","title":"Strauss, Schumann \u0026 Weber: Works for Horn \/ Owen, Wilson, BBC Philharmonic","description":"\u003cp\u003eRegarded as one of Europe’s leading horn players, Martin Owen appears as a soloist and chamber musician around the world. 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_72883de0-5006-44c3-ab3d-ad68bb770766.jpg?v=1786640329"},{"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":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4169954-2947520.jpg?v=1786684632"},{"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=1786640508"},{"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=1786814896"},{"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=1786694862"},{"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=1786664072"},{"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=1786664043"},{"product_id":"milica-djordjevic-44-mali-svitac-quicksilver-cvor-mit","title":"Milica Djordjevic, #44 - Mali Svitac; Quicksilver; Cvor; Mit","description":"The music of composer Milica Djordjevic, born in Belgrade in 1984, is based on an exuberant and imaginative use of sound. She has full command of the entire arsenal of contemporary sound and performance techniques, which never cease to surprise. She began her composition studies in her native city of Belgrade, where she was already working with electronic music, then went on to Strasbourg and IRCAM in Paris before completing her studies from 2011-2013 in Berlin with Hanspeter Kyburz at the Hochschule fur Musik Hanns Eisler. Her already extensive oeuvre, which is performed by leading international soloists and ensembles, includes pieces for solo instruments, chamber music works in a wide variety of formations, vocal works, and large-scale orchestral compositions. The diversity of her work highlights her versatility and technical virtuosity. Djordjevic has received numerous prestigious prizes and awards for her compositions, including the Belmont Prize for Contemporary Music (2015), the Composition Prize of the Ernst von Siemens Music Foundation (2016) and the Claudio Abbado Composition Prize of the Berlin Philharmonic (2020). In Milica Djordjevic's short orchestral work Mali svitac, žestoko ozaren i prestravljen nesnosljivom lepotom (Little firefly, brightly lit and shocked by unbearable beauty), commissioned by the Berlin Philharmonic in 2023, the composer is concerned with \"the immense energy it takes to make things glow\". Her extended orchestral work Quicksilver was commissioned by musica viva of Bayerischer Rundfunk and premiered on December 16, 2016 by the Bavarian Radio Symphony Orchestra conducted by Peter Rundel in the Herkulessaal of the Munich Residenz. It is precisely the strict limitation of the melodic movement to very few, narrow interval steps that makes it \"all the richer and more colourful on the inside\". Cvor (Knot) for winds, piano and percussion, a work commissioned for the Donaueschingen Music Festival, briefly but very intensively describes a knot that squeezes and twists and finally bursts. The fourth work on this BR-KLASSIK CD - Mit o ptici (Myth of the Bird) for choir and orchestra - was commissioned by musica viva in 2020 and premiered on October 28, 2022 with the Bavarian Radio Chorus and Symphony Orchestra under the direction","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012470231274,"sku":"4035719006445","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4348906-3201849.jpg?v=1786665349"},{"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=1786639903"},{"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=1786633136"},{"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=1786664024"},{"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=1786694889"},{"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":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4092640-2854286.jpg?v=1786675090"},{"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_430cf82f-ec7b-4104-be7c-787d2953d7a1.jpg?v=1786694623"},{"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=1786694043"},{"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=1786684283"},{"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=1786672847"},{"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=1786680273"},{"product_id":"coleridge-taylor-martin-smetana-suk-rooted","title":"Rooted — Music of Smetana, Suk, Martin, and Coleridge-Taylor \/ Neave Trio","description":"\u003cp\u003eThe Neave Trio's program Rooted features a range of works based on folk music. Smetana's distinctive nationalistic style was largely based on the inclusion of bohemian rhythmic and melodic elements, and he was acclaimed in his native Bohemia as the father of Czech music. His Trio in G minor was composed in 1855 as a response to the death of his four-year old daughter and shows the influence of Liszt. Josef Suk was a favorite pupil of Dvorak's, and his early Piano Trio, whilst shorter in length and less intense than Smetana's, is embedded in that Czech tradition. Also deeply influenced by Dvorak, Samuel Coleridge-Taylor was inspired by his African heritage, as well, and his Twenty-Four Negro Melodies for Piano was a prime example of his research. He subsequently arranged five of these pieces into the suite for piano trio that we hear on this album. The program concludes with Frank Martin's Trio from 1925, which is based on traditional Irish melodies. \u003c\/p\u003e\u003cp\u003e\u003cb\u003eREVIEWS\u003c\/b\u003e:\u003c\/p\u003e\u003cp\u003eThese four chamber works explore music of a definitive national identity. The members of the ensemble brandish their considerable skills in the service of otherwise neglected composers and scores, with astonishing brilliance in their recorded sound.\u003c\/p\u003e\u003cp\u003e— Audiophile Audition\u003c\/p\u003e\u003cp\u003eThe program's characteristically eclectic mix of works nurtures the Trio's well-upholstered warmth, attention to detail, and compelling rapport.\u003c\/p\u003e\u003cp\u003e— BBC Music Magazine\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012491563242,"sku":"095115227220","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4344119-3201825.jpg?v=1786643301"},{"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=1786649623"},{"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. The piece is inspired by the mixture of Muslim Castilian and Christian cultures which had always been a feature of the Valencia region where Tárrega grew up.\u003c\/p\u003e\n\u003cp\u003eTárrega’s friend and near-contemporary Isaac Albéniz was a virtuoso pianist who also played the guitar. Even though he evoked the guitar brilliantly on the piano, he never composed any music for the instrument. ‘Malagueña’ was first published in the collection España. Published in 1892 as ‘Prélude’, the piece widely known as ‘Asturias’ is also imbued with the spirit of southern Spain.\u003c\/p\u003e\n\u003cp\u003eFederico Mompou’s Suite compostelana was commissioned by Andrés Segovia and was published in 1964, the same year as Segovia’s first recording of the piece.\u003c\/p\u003e\n\u003cp\u003eThe Italian guitarist and composer Carlo Domeniconi has drawn on several national traditions for his works, but has a particular interest in Turkish music which he has studied in depth. 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=1786636016"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/collections\/3_2775c803-10bb-4434-9ec7-62414658bd28.png?v=1790620549","url":"https:\/\/arkivmusic.com\/collections\/one-day-sale.oembed?page=14","provider":"ArkivMusic","version":"1.0","type":"link"}