Romantic Era
3839 products
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Brahms & Goldmark: Violin Concertos
$20.99CDChannel Classics
Nov 21, 2025CCS46225 -
Schubert: Piano Sonatas, Vol. 1
$29.99CDAlpha
Nov 28, 2025ALPHA1174 -
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Reflections, Op. 28 - Mallorca preludes
$16.99CDChallenge Classics
Jul 11, 2025CC 720020 -
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Complete Works for Viola, Vol. 1
$16.99CDChallenge Classics
Sep 05, 2025CC 720019 -
Transcription as Translation - Beethoven & Smetana
$19.99CDAvie Records
Dec 12, 2025AV2822 -
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Raff: Complete Piano Suites, Vol. 1
$19.99CDGrand Piano
Oct 10, 2025GP957 -
Les Divas d'Offenbach
$20.99CDAlpha
Nov 28, 2025ALPHA1168 -
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Donizetti: Songs
$19.99CDNaxos
Dec 05, 20258574485 -
Beethoven: The Piano Trios, Vol. 1
$20.99CDAlpha
Nov 28, 2025ALPHA1164 -
Beethoven: Symphonie No. 9 "hymne a la joie"
$20.99CDAlpha
Nov 28, 2025ALPHA1163 -
Small Treasures
$19.99CDAvie Records
Oct 24, 2025AV2771 -
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Brahms: Piano Concerto No. 2 & Three Intermezzi, Op. 117
Sor: Variations for Guitar / El Khouri
Fernando Sor was born at a time when the guitar enjoyed increasing prominence. He differed from other virtuoso-composers for the instrument such as Giuliani and Carulli due to his far greater sense of harmonic refinement. Sor’s studies and exercises have been fundamental to guitarists for two centuries, and his sequence of Themes and Variations are his best-known compositions. His three collections based on popular French melodies have enjoyed popularity as has Les Folies d’Espagne avec Variations et un Menuet, but his masterpiece remains the Introduction et Variations sur un Thème de Mozart, a sublime example of his skill.
Brahms & Goldmark: Violin Concertos
Schubert: Piano Sonatas, Vol. 1
Vaughan Williams & Grieg: Violin Sonatas / Ciem, Golan
Charlie Siem returns with a new recording of Violin Sonatas, accompanied by his regular recital partner Itamar Golan – featuring Vaughan Williams' Violin Sonata in A Minor and Grieg's Violin Sonata No. 2 in G Major, Op. 13. Charlie Siem is one of today’s foremost young violinists, with such a wide-ranging diversity of cross-cultural appeal as to have played a large part in defining what it means to be a true artist of the 21st century. Siem has appeared with many of the world’s finest orchestras and chamber ensembles, including the Bergen Philharmonic, Camerata Salzburg, Czech National Symphony, Israel Philharmonic, London Symphony, Moscow Philharmonic, Oslo Philharmonic, Rotterdam Philharmonic, and the Royal Philharmonic Orchestra. He has worked with top conductors such as Charles Dutoit, Edward Gardner, Zubin Mehta, Yannick Nézet-Séguin, Sir Roger Norrington, Libor Pešek and Yuri Simonov. International festival appearances to date include Spoleto, St. Moritz, Gstaad, Bergen, Tine@Munch, Festival Internacional de Santa Lucía, and the Windsor Festival.
Bruckner: Symphony No. 5 / Gerd Schaller
Bruckner’s Fifth is eminently suited to an arrangement for performance on the organ above all because of its musical texture. In no other Bruckner symphony, for example, does counterpoint play such an important part. I am thinking in particular of the great fugue in the final movement. It really does seem as if many passages of this magnificent work were composed as if with the organ in mind, even though the Fifth is not a piece for organ at all, being in the first place a symphonic work. And yet it lends itself admirably to the extraction of a compositional substrate with no loss of essential content. That cannot be said of all Bruckner’s symphonies. Of all his symphonies, in my opinion, the Fifth, Eighth and Ninth are most amenable to an arrangement for organ. Building on the compositional core, it is the orchestral treatment above all that plays a key role. If this is lacking, an arrangement of the work can deprive the work of its grandeur. That is again at risk if one attempts to copy the orchestra or to transpose certain orchestral effects one-to-one onto the organ. Such an approach is generally unsatisfactory, because organ writing is governed by different rules than those applying to orchestral scoring. It would be fatal to make the organ rival the orchestra. My aim from the start was to avoid imitating the orchestra and to create a work specifically for organ in the manner of an organ symphony.
Grunfeld, Liszt, & Schubert: Soirees de Vienne
Reflections, Op. 28 - Mallorca preludes
Mendelssohn: The String Quintets / Ridout, Doric String Quartet
A Gramophone Editor's Choice
The Doric String Quartet is firmly established as one of the leading quartets of its generation, receiving enthusiastic responses from audiences and critics around the globe. Following their acclaimed recordings of Mendelssohn’s string quartets, here they are joined by leading violist Timothy Ridout for this album of his two string quintets. Mendelssohn's two String Quintets were written at the beginning and end of his short but remarkable compositional life. No 1 was written in 1826, shortly before the Overture to 'A Midsummer Night's Dream', when Mendelssohn was just seventeen. No.2 was written in 1845, when he was thirty-six, a year before the premier of Elijah and just two years before his death.
REVIEWS:
This recording shows these quintets are one of [Mendelssohn’s] finest achievements, full of lyricism and power…with almost Beethovenian profundity. The energy of the players' account of Op. 87 is pretty irresistible.
-- The Guardian (UK)
Minutely attentive to Mendelssohn’s detailed dynamic and phrase markings, they yield to none in polish and precision. True to form, they characterize with gusto.
-- Gramophone (Editor's Choice, 4/2022)
Brahms & Koncz: Sonatas for Clarinet & Orchestra
Complete Works for Viola, Vol. 1
Transcription as Translation - Beethoven & Smetana
Schubert on Violin: Works for Violin & Piano / Pusker, Fejérvári
The Tales of Hoffmann
Raff: Complete Piano Suites, Vol. 1
Les Divas d'Offenbach
Vive Verdi! French Rarities & Discoveries / R. Abbado, Teatro Regio Orchestra
World Première Recordings
The premiere of Nabucco at La Scala, Milan in 1842 was a huge success for Verdi and soon led to foreign performances of the work. For its appearance in Brussels under the name Nebuchodonozor Verdi fashioned an orchestral Divertissement which was inserted into Act III; the composer’s score of this, performed here, has only very recently been rediscovered. Macbeth is one of his psychologically penetrating masterpieces and for its Parisian staging in 1865 it underwent considerable revision, notably to make its dramatic development more incisive. When Il trovatore was performed in Paris as Le Trouvère Verdi added lively local color as new additions to the score.
REVIEW:
One may ask, if these Verdi masterpieces are ‘made in Italy’, why is the title of the disc Vive Verdi!? Well, the answer is simple. All three works were such huge successes that Verdi was obliged to write a ’French version’ for each opera for foreign performances in Brussels (Nabucco) and Paris (Macbeth and Il Trovatore). Apart from the language, Verdi also included a substantial amount of revised and new music, including ballet, and this issue is dedicated to the rarities and discoveries found in these French versions. Indeed, the ’Nabucco Divertissement’ has only very recently been rediscovered. If you believe you know your Verdi, think again. A memorable programme, passionately performed and splendidly recorded, that widens our knowledge of the great Italian master.
-- Classical Music Daily
Chopin: The Complete Fantasies / Nones
“Alberto Nones executes Chopin’s music with restrained elegance and poise, avoiding the trappings of indulgent virtuosity or sentimentality. Instead, these performances demonstrate unencumbered fidelity to the composer’s directions; it is almost as if we can hear Chopin’s own breath between each line and phrase.” (George Richford)
Having previously recorded Chopin's Mazurkas, Alberto Nones here performs the Fantasy-Impromptu in C-Sharp Minor, Op. 66, the Fantasy in F Minor, Op. 49, and the Polonaise No. 7 in A-Flat Major, Op. 61, "Polonaise-fantaisie."
Nones, a pianist and philosopher/music historian, is Professor of Piano at the "E.R. Duni" Conservatory of Music in Matera, where he also teaches courses of History and Historiography of Music. He graduated summa cum laude in Piano from the "F.A. Bonporti" Conservatory of Music in Trento, where he studied with Antonella Costa, and specialized in Masterclasses and Academies with Masters like Paul Badura-Skoda and Franco Scala. He has won several piano competitions, among which a first prize at the "Coppa Pianisti d'Italia" in Osimo in 1996. Convinced though that music is art and culture, he also graduated in Philosophy magna cum laude from the University of Bologna, went on to study at the London School of Economics, where he earned his M.Sc. in Political Theory, and completed his education in the humanities with a Ph.D. in International Studies at the University of Trento.
Franck: Complete Organ Works / Wiebusch
An outstanding edition for the 200th birthday César Franck's complete organ works At the center of the perception of César Franck as an organ composer are the twelve large-scale works, which are counted among the most radiant contributions to the organ literature. However, it should not be forgotten that with the collection "L'Organiste" he wrote 63 shorter, but compositionally very elaborate pieces, which due to their vignette-like, compact facture do not reach the complexity of his "large" organ works, but are nevertheless very remarkable: Each one of the pieces has a signature all its own, and is in no way inferior to Franck's extensive organ works in terms of harmonic complexity and focus of expression. It is thanks to our interpreter, i.e. Carsten Wiebusch's knowledgeable and tasteful arrangement of this collection originally composed by Franck for harmonium, that these miniatures can fully unfold their coloristic potential on the organ. And last but not least, there was the fascinating task of selecting the appropriate instruments for a Franck complete recording. What today appears so clearly arranged on 4 albums with three organs is the result of a thought process lasting several years, during which many instruments were considered, tested and discarded again in order to impressively reproduce the versatility of Franck's music.
Schumann Collection - String Quartets & Piano Quintet
Around Baermann
Around Baermann sees historic clarinet specialist Maryse Legault spotlight the early 19th century clarinet virtuoso Heinrich Baermann, who was one of the most important yet overlooked clarinetists in the history of the instrument.
Born in Potsdam in 1784, Heinrich Baermann honed his skills under the tutelage of virtuoso clarinetist Josef Beer, who was a key figure in the development of the clarinet and its repertoire. B Baermann went on to tour extensively and significantly impacted the clarinet's role in classical music, particularly in France. Around Baermann is Legault’s tribute to Baermann; a giant in his field and one of the more important developers ofthe clarinet’s style, technique, and repertoire.
Swan Lake
Paganini: Quartets for Strings & Guitar Nos. 7, 14 & 15
Donizetti: Songs
Beethoven: The Piano Trios, Vol. 1
Beethoven: Symphonie No. 9 "hymne a la joie"
Small Treasures
Brahms: Ungarische Tanze
Wagner: Parsifal / Vinay, Mödl, Knappertsbusch, Bayreuth Festival Orchestra
Wieland Wagner's production of Parsifal was performed at the Bayreuth Festival every year from 1951 to 1973. This makes it the longest-running production of Parsifal on the Bayreuth programme following the world premiere of 1882, which ran until 1933. Wagner’s opera opened the first post-war festival on the 30th of July, 1951, the day after the former Bayreuthian Wilhelm Furtwängler had performed Beethoven's 9th Symphony.
REVIEWS:
Hans Knappertsbusch led Wagner’s Parisfal at the Bayreuth Festival in 1951 and 1952, and then annually from 1954 through 1964. For some reason his August 16, 1955 performance has never surfaced on CD until now, and it’s one of Kna’s stronger Parsifals.
Tempos are generally faster and more fluid than in the commercial 1951 recording. Compare the Act 1 Prelude’s Grail theme and the Transformation music, the Act 2 Flowermaiden’s scene, and the Act 3 Good Friday Spell in both recordings, and you’ll hear what I mean. Furthermore, Act 1’s recalcitrant bells had been replaced by 1955 with an electronic version that was reliable in intonation yet made less sonorous and majestic an impact.
One can argue that 1955’s cast is the most consistently satisfying out of all the Kna Bayreuth Parsifals, with no weak links. Ludwig Weber reprises his distinctive and lieder-like Gurnemanz from 1951. Hermann Uhde’s heavy voice is better suited to Titurel’s gravitas here than Klingsor’s malevolence in 1951. 1955 features Gustav Neidlinger’s Klingsor, which is as riveting a piece of vocal acting as his legendary Alberich in Das Rheingold.
Ramón Vinay sings rather than barks the title role, and the unforced lyricism of his top notes seems to spur on Martha Mödl to deliver her best all-around Act 2 Kundry. True, Dietrich Fischer-Dieskau’s Amfortas abounds with sibilantly snarling consonants, but he’s in fresher, more agile voice than in his 1972 studio Amfortas under Georg Solti.
-- ClassicsToday (Jed Distler)
