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Respighi: The Birds; Three Botticelli Pictures; Suite In G Major / Di Vittorio, Chamber Orchestra Of New York

Naxos

$9.99 ~~$19.99~~ Save 50% May 27, 2014

One of Respighi’s masterpieces, Gli uccelli (The Birds) includes transcriptions of birdsong and music of the seventeenth and eighteenth centuries in writing of evocative, captivating lyricism. Trittico botticelliano, an illustration of three paintings by Botticelli, employs dance rhythms, modal melodies and a variant of the medieval hymn Veni, Veni Emmanuel in deft, often sublime fashion. The Suite in G major, cast for strings and organ in the form of a Concerto grosso, is heard on this première recording in its original edition.

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Respighi: The Birds; Three Botticelli Pictures; Suite In G Major / Di Vittorio, Chamber Orchestra Of New York
Naxos May 2014
CD
~~$19.99~~ $9.99

The Berlin Concert

Telarc

$15.99 Aug 26, 2008

American pianist Simone Dinnerstein now releases her second album on Telarc. The CD is a live recording of Ms. Dinnerstein's recital debut at the Kammermusiksaal of the Philharmonie in Berlin, which took place on November 22, 2007. The program features J.S. Bach's French Suite No. 5 in G Major, BWV 816; the world premiere recording of American composer Philip Lasser's Variations on a Bach Chorale; and Beethoven's landmark Sonata No. 32 in C minor, OP. 111. Grammy Award winning engineer Adam Abe's house is the producer and engineer for the CD.

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The Berlin Concert
Telarc Aug 2008
CD
$15.99

Paderewski: Songs and Mélodies - Suite in G Major / Smolij, Adamski, Schmidt, Capella Bydgostiensis

Naxos

$9.99 ~~$19.99~~ Save 50% Sep 10, 2021

Although Paderewski is more readily associated with his career as a legendary virtuoso pianist, his modest output of 70 orchestral, instrumental and vocal works deserves to be more widely known. Prominent among his vocal output is a series of early songs that reveal natural flowing patterns while exploring both melancholy and folk idioms. The Douze Mélodies, written at the end of his compositional career, is the most original and striking Polish set of songs of the period, notable for dissonance, chromaticism and a palette of rich and unusual musical colors, to which this orchestral arrangement adds a whole new dimension. Little known, the early Suite in G major offers youthful warmth and brio.

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Paderewski: Songs and Mélodies - Suite in G Major / Smolij, Adamski, Schmidt, Capella Bydgostiensis
Naxos Sep 2021
CD
~~$19.99~~ $9.99

Tartini: Sonatas For Violin Solo Vol 1 / Crtomir Siskovic

Dynamic

$24.99 Jun 26, 2012

As Petrobelli wrote, Tartini's "declared intent was to achieve in the instrumental field, with a language suited to the nature of the instrument, the affections that are perfectly outlined in the arias of Metastasio's operas." The first sonatas of the collection are mostly structured in three movements, with a slow movement followed by two fast ones, as was Tartini's favourite scheme from the eighth sonata, instead, the structure in four movements becomes predominant, with a rich variety of formal patterns. Some movements bear mottos and literary quotations (like Metastasio's arias, frequently used also in the concertos, or Tasso's Aria Lieto ti prendo with which Tartini opens his Sonata No. 12 in G major, taken from the 12th canto of the Gerusalemme liberata). In them Tartini makes a fine display of his inexhaustible melodic creativity, always shunning easy symmetries and predictable developments. There are many passages with polyphonic hints, although virtuosity always appears subject to expressiveness and never a simple show of bravura. Frequent also are the hints and melodic inflections echoing popular songs and dances of the day, as for example in the Canzone Venetiana of the Sonata No. 12 in G major, or the second movement (Allegro assai) of the Sonata No. 5 in F major. Tartini is never obvious and even less predictable secluded in his Padua, he was a self-contained composer who disdained the world around him and possessed the creative power typical of - indeed, almost exclusive to - great anachronistic men.

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Tartini: Sonatas For Violin Solo Vol 1 / Crtomir Siskovic
Dynamic Jun 2012
CD
$24.99

J. S. Bach: The English Suites

Accentus Music

$29.99 Oct 18, 2024

J. S. Bach The English Suites BWV 806-811 Zhu Xiao-Mei piano After a six-year hiatus, acclaimed pianist Zhu Xiao-Mei returns with a deeply personal and masterful recording of J.S. Bach's English Suites. This release completes her heartfelt journey through Bach's piano compositions, marking another significant milestone in her extraordinary career. This project is the culmination of years of meticulous preparation and an intimate relationship with the music. Zhu Xiao-Mei's approach is characterized by a profound connection to each piece, allowing her to bring out the subtleties and nuances that make Bach's work so timeless. Her dedication to living with the music day-by-day ensures a performance that is both authentic and deeply resonant. J. S. Bach The English Suites BWV 806-811 CD 1 1-7 8-17 18-24 CD 2 1-7 8-14 15-22 Available worldwide English Suite No. 3 in G minor, BWV 808 English Suite No. 1 in A major, BWV 806 English Suite No. 2 in A minor, BWV 807 English Suite No. 5 in E minor, BWV 810 English Suite No. 4 in F major, BWV 809 English Suite No. 6 in D minor, BWV 811 The English Suites, with their blend of lively orchestral and delicate intimate moments, have a special place in Zhu XiaoMei's heart. She describes them as "a music of intimacy," making this recording particularly unique. Despite the challenges, including pandemic-related delays and finding the perfect piano, her dedication to authenticity shines through in every note. Zhu Xiao-Mei's insightful and sensitive performance invites you into a world of subtlety and depth, offering a refreshing contrast to today's fast-paced musical landscape. This album is not just a completion of her Bach recordings but a milestone that underscores her exceptional artistry and unwavering devotion to Bach's timeless music.

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J. S. Bach: The English Suites
Accentus Music Oct 2024
CD
$29.99

Truscott: Symphony In E, Etc / Brain, Nso Of Ireland
Marco Polo Sep 1994
CD
$19.99

Kammermusik mit Jorg Demus / Irnberger, Demus

Gramola Records

SACD

$37.99 Feb 28, 2020

The work of pianist Jörg Demus was one of the most important musical exports of Austria after the end of the Second World War. In addition to many other musical partners Demus also entertained a very fruitful collaboration with the established Salzburg violinist Thomas Albertus Irnberger, which is documented on the occasion of his death with 90 years in April 2019 with this 3-album collection with mostly unpublished recordings. In addition to Ludwig van Beethoven's Violin Sonatas No. 1 in D major Op. 12 No. 1, No. 5 in F major Op. 24 and No. 6 in A major Op. 30 No. 1, there are two Sonatas for violin and piano by Johann Sebastian Bach (BWV 1016/1017), the Three Romances Op. 94 by Robert Schumann and the famous Sonatina in G major Op. 100 by Antonin Dvorak. The fact that Jörg Demus, in addition to his extensive concert tours and engagements as lecturer, appeared also as a composer in the last decades of his life is only known to proven connoisseurs. On the second album one can hear his Sonatas for Violin and Piano Op. 7 "Gahberg Sonata", Op. 35 "Il tramonto" and Op. 48 "Sonata sylvestre / Forest Sonata".

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Kammermusik mit Jorg Demus / Irnberger, Demus
Gramola Records Feb 2020
SACD
$37.99

Couperin, L.: Suites in C Major / E Minor / A Minor / F Majo
Genuin Jan 2007
CD
$20.99

Rameau: The Complete Keyboard Music, Vol 3 / Gutman

Toccata

$20.99 Feb 25, 2014

RAMEAU Suites: No. 4 in A/a; No. 5 in G/g. La Dauphine. Les petits marteaux. RAMEAU-GUTMAN Pièces de clavecin en concerts: Concert No. 5 in D/d. RAMEAU-BALBASTRE Pigmalion: Giga • Stephen Gutman (pn) • TOCCATA 0052 (68:48)

I am always overjoyed to hear a new recording of Rameau’s keyboard music performed on the piano; it is a repertoire which I find completely underappreciated by most pianists today who favor the works of either Bach or Scarlatti for their recital programs. For whatever the inexplicable reasons, it is both their loss in playing this repertoire and ours in hearing it performed on an instrument capable of such tonal nuances as benefits this music. That said: This is the third and last of Stephen Gutman’s recordings of the complete keyboard music of this master, but only the first that I’ve heard. After playing this disc over and over again this month, I’ll be sure to run—not walk!—to my nearest shop to obtain the first two releases which I’ve missed out on thus far.

Luckily for me, Gutman here performs two of Rameau’s greatest keyboard suites—the one in A-Minor/Major, which ends with the virtuosic Gavotte with six variations (or doubles as he labels them), most likely modeled on the “Air and Variations” from Handel’s D-Minor Suite, and the one in G Major/Minor, which includes some of the most famous of Rameau’s excerpted pieces—“La poule,” “Les sauvages,” “L’enharmonique,” and “L’egiptienne,” among others. From the very first notes of the opening A-Minor Allemande, the pianist’s sense of exploration, his wide tonal palette, and his rhythmic freedom can all be heard to good advantage, along with his intimate and scholarly knowledge of these works—from correct ornamentation to matters of tempo. Importantly, the pianist looks to characterize each of these movements in their own particular way, and does so well—from the serious Courante to the intimate Sarabande, from the athletic and virtuosic “Les trois mains” to the exuberant and joyful “La triomphant.” Perhaps the only aspect I miss a bit comes in the concluding Gavotte, where just a bit more bombast could surely do no harm; here the minute characterization of each variation takes away from the inherent drive to the end which should pervade the entire set. As the following Suite in G is comprised of mostly named movements— à la Couperin—it benefits even more so from Gutman’s quick and profound characterization: “La poule,” being one of the best examples, demonstrates just how quickly he can portray these musical numbers. From the opening repeated-note gesture one is pulled in, only to be startled by the quick flourishes which drive the music forward. The ornaments found throughout the piece are hardly simple trills or mordents—rather, they are sounds of the hen herself. Though “Les sauvages” could be a bit more brutal in character, the pianist’s tendency to emphasize the gallant and graceful aspects in the music is in keeping with the age. “L’egiptienne” makes for a mysterious, yet rousing, conclusion.

The other works here include two transcriptions—one made by Gutman of the Concert No. 5 from the Pièces de clavecin en concerts , which includes three movements (“La Forqueray,” “La Cupis,” and “La Marais”) and the Giga from Pigmalion , possibly transcribed by one Claude-Bénigne Balbastre. Of the two works, the former is the more impressive piece, originally conceived, as is was, for a chamber ensemble of strings and keyboard; the opening work, “La Forqueray,” is actually a four-part fugue, which Gutman carefully choreographs for performance on a single keyboard—no small feat! While there are, of course, interesting little details left out, Gutman is careful to capture the most important aspects of the piece, in both transcription and performance.

Throughout this very fine recital Gutman proves himself a guide of the first order—not only does he understand this music both inside and out, he never allows the scholar in him to inhibit the performer; rather he uses the knowledge to bring out the best in this music. And while I may have my quibbles about matters of performance, there is hardly a movement in the entire recital that will not charm and delight the most judgmental of listeners. Recorded in generally good, though somewhat dry, sound and accompanied by excellent program notes (both by Graham Sadler and the pianist himself), this is a release to savor. Recommended.

FANFARE: Scott Noriega

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Rameau: The Complete Keyboard Music, Vol 3 / Gutman
Toccata Feb 2014
CD
$20.99

V5: THE COMPLETE DUOS

Evil Penguin

$19.99 Jul 05, 2019

On this generous last installment of their Schubert-Brahms pilgrimage, Pieter Wispelwey and Paolo Giacometti serve us three iconic sonatas, including a world premiere. In it's original hue of G Major, Brahms' first violin sonata op. 78 is more scintillating and transparent than the D-major cell adaptation, and much more enchanting in it's opening Vivace. Brahms' third violin sonata op. 108 fuses surprising ebullience with superior mastery of form, in an epic piece which is an undiluted kick in the groin when played on a cello. And thankfully, Pieter and Paolo revisit Schubert's Arpeggione, that gem of intimacy, fragility, frivolity and humbling, unattainable beauty. A fitting final, in all respects.

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V5: THE COMPLETE DUOS
Evil Penguin Jul 2019
CD
$19.99

Dvorák: String Quintet in G major - Piano Quintet in A major
Supraphon May 2007
CD
$27.99

Bizet, G.: Carmen Suites Nos. 1 and 2 / Symphony in C Major
Bella Musica Jan 1995
CD
$10.99

Dvorak in America

Supraphon

$37.99 May 14, 2010

Antonin Dvorak (1841-1904) Gabriela Benackova, soprano; Josef Suk, violin & violaJaroslav Soucek, baritone; Josef Hala, pianoCzech Philharmonic Chorus; Prague Philharmonia;Czech Philharmonic Orchestra; Panocha Quartet; Smetana Quartet Symphony no 9 in E minor, Op. 95/B 178; Te Deum, Op. 103;String Quartet no 12 in F major, Op. 96/B 179Sonatina in G major for Violin & Piano, Op. 100/B 183String Quartet no 3 in E flat major, Op. 97/B 180Silent Woods for Cello & Orchestra, Op. 68 no 5/B 182Rondo in G minor for Cello & Orchestra, Op. 94 /B 181Humoresque, Op 101 no 7/B 187; Suite in A major, Op. 98b/B 190Cello Concerto no 2 in B minor, Op. 104/B 191

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Dvorak in America
Supraphon May 2010
CD
$37.99

Saint-Saëns: Piano Concerto No. 5 - Ravel: Piano Concerto in

Idil Biret Archive

$14.99 Sep 29, 2009

Idil Biret' new Liszt album prompts a reappraisal of her extraordinary talent... in her Liszt Sonata... you will hear playing of a formidable power and assurance... There is no mistaking her lightning reflexes in the second of the Paganini Etudes and her vi. 747313128778 IBRA8571287.2 16136342 .00 14.99 .19 IDIL BIRET ARCHIVE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/0/4/2/8/1908240.jpg 26 1 N MARTIN,CLAIRE / WHEN LIGHTS ARE LOW WHEN LIGHTS ARE LOW 691062039222 LINN392.2 16136441 .00 20.99 .20 LINN RECORDS COMPACT DISCS POP JAZZ 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/c/500/7/5/2/8/1908257.jpg 18 1 N MATTHEWS / VANDEWALLE PRELUDES & BAGATELLES 670541841228 RAVL7819.2 16183216 .00 13.99 .14 RAVELLO COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/15/2011 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/8/5/2/8/1908258.jpg 11 1 N SOLLSCHER,GORAN GORAN SOLLSCHER 7391782215144 CRE21514.2 01991246 .00 20.99 .23 CAPRICE COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/19/1996 https://media.aent-m.com/graphics/items/sdimages/a/500/0/5/0/5/1465050.jpg 0 1 N ELLINGTON,DUKE / BABS,ALICE IN SWEDEN 1973 7391782215991 CRE21599.2 06473136 .00 20.99 .24 CAPRICE COMPACT DISCS POP JAZZ 08/24/1999 https://media.aent-m.com/graphics/items/sdimages/b/500/4/5/0/5/1465054.jpg 1 1 N MITCHELL,RED HOME SUITE 7391782213133 CRE21313.2 01990065 .00 20.99 .25 CAPRICE COMPACT DISCS POP JAZZ 09/27/1994 https://media.aent-m.com/graphics/items/sdimages/b/500/5/8/0/5/1465085.jpg 0 1 N RIEDEL,GEORG / ALFREDSON,HANS / DAHLGREN,EVA NU SJUNGER NAKTERGALEN 7391782213560 CRE21356.2 01990232 .00 20.99 .21 CAPRICE COMPACT DISCS POP INT'L & WORLD MUSIC CHILDRENS 01/24/1995 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/6/8/0/5/1465086.jpg 7 1 N RIEDEL,GEORG / JANSON,CLAES / WILLEMARK,LENA LILLA UNGEN MIN 7391782214109 CRE21410.2 01990577 .00 20.99 .21 CAPRICE COMPACT DISCS POP INT'L & WORLD MUSIC CHILDRENS 01/24/1995 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/8/8/0/5/1465088.jpg 15 1 N BRUMEL / HUELGAS ENSEMBLE / VAN NEVEL MISSA ET ECCE TERRAE MOTUS / SEQUENTIA 8718247710928 NWTC8802092.2 16182745 .00 12.99 .22 NEWTON CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/b/500/4/8/1/8/1908184.jpg 0 1 N BEETHOVEN / NEW ZEALAND PIANO QUARTET PIANO QUARTETS From the pen of the fifteen-year-old Beethoven, these three piano quartets are among the earliest examples of a chamber music genre that would not reach full maturity until the time of Brahms. 747313099870 NXS8570998.2 14433184 .00 19.99 .23 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 05/26/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/1/9/9/2/1512991.jpg 4 1 N MOLINO / TAMPONI / MALLOZZI / GIGLIO TRIOS FOR FLUTE VIOLA & GUITAR 8007194104479 TCS763801.2 14313530 .00 21.99 .22 TACTUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/10/2009 https://media.aent-m.com/graphics/items/sdimages/c/500/7/2/2/9/1489227.jpg 3 1 N ROCHBERG / PINKAS PIANO MUSIC 3 George Rochberg' relationship with the past is not one of nostalgia; it is one of intimate, living familiarity. 636943963326 NAAC8559633.2 15101358 .00 19.99 .24 NAXOS AMERICAN COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/29/2010 https://media.aent-m.com/graphics/items/sdimages/a/500/0/5/8/7/1657850.jpg 0 1 N WHITACRE / ELORA FESTIVAL SINGERS / EDISON CHORAL MUSIC Eric Whitacre dedication to the beauty of sound, paired with exquisite texts, results in a poetic combination that creates a unique sonic experience. 636943967720 NAAC8559677.2 15101372 .00 19.99 .23 NAXOS AMERICAN COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/15/2010 https://media.aent-m.com/graphics/items/sdimages/b/500/4/5/8/7/1657854.jpg 26 1 N KWAK / MARTINU / DORATI / HOLLIGER / GORITZKI CONCERTO FOR OBOE & SMALL ORCHESTRA / SONATA FOR 760623158662 MDGE9031586SACD 14928505 .00 24.99 .23 MDG SUPER-AUDIO CD CLASSICAL ORCHESTRAL & SYMPHONIC 04/06/2010 https://media.aent-m.com/graphics/items/sdimages/a/500/2/2/7/8/1628722.jpg 16 1 N GOPLERUD / CONSTANTINIDES / MONDS / SANDOZ / MANN VIGNETTES FROM MIRACULOUS JOURNEY OF EDWARD TULANE 044747294223 CAV2942.2 14156328 .00 18.99 .20 CENTAUR COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/25/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/7/1/2/1452178.jpg 7 1 N BERNARD,GILLES CHAPEAU DE MA 690579001227 EFFC1227.2 26066448 .00 16.99 .25 EFFENDI COMPACT DISCS POP JAZZ 01/01/2000 01/12/2021 https://media.aent-m.com/graphics/items/sdimages/a/500/1/7/1/4/1504171.jpg 1 1 N BRIDGE / BEBBINGTON PIANO MUSIC 2 748871308220 SOMM82.2 14374678 .00 20.99 .21 SOMM RECORDINGS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/14/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/2/4/1/5/1495142.jpg 2 1 N SCHUBERT / SCHUBERT / MAHLER / MEINDERS TRANSCRIPTIONS 5709499671009 DAN671.2 14370663 .00 18.99 .18 DANACORD RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/14/2009 https://media.aent-m.com/graphics/items/sdimages/c/500/8/4/2/6/3896248.jpg 3 1 N STAROBIN / CARTER / KAVISTA / LAVISTA / SONDHEIM FAVORITE TRACKS 2 090404929229 BRI9292.2 14370168 .00 18.99 .21 BRIDGE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/14/2009 08/31/2026 https://mediacdn.aent-m.com/prod-img/500/77/1336377-2552993.jpg 7 1 N HAYDN / BONDI / EDER / REICHARDT / FANTAPIE STABAT MATER Haydn's wonderful Stabat Mater is far less well known than those of Pergolesi and other composers; this recording made in Paris in 1978 was a pioneering version using reconstructed scores and revised by renowned musicologist and scholar H C Robbins Landon. Also included is the even rarer LIBERA ME, only discovered in the mid 20th century. The soloists are: ANNA MARIA BONDI (soprano), CLAUDIA EDER (mezzo), AXEL REICHARDT (tenor) and KERT KRATTINGER (bass) with the Choral Philippe Caillard. As bonus tracks, we include classic 1964 recordings of the 44th Symphony (Trauersinfonie) and the rare Double Concerto for Violin and Harpsichord, which features violinist Jacques Francis Manzone and harpsichordist Francoise Petit. 809730121227 DVRT21212.2 14374692 .00 27.99 .27 DIVINE ART COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 04/14/2009 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/7/8/1/5/1495187.jpg 34 2 N CARTER / MACDOWELL ROZSA / SEIVEWRIGHT AMERICAN PIANO SONATAS This CD celebrates two notable milestones in American music: The 100th birthday of Elliott Carter (to whom we dedicate the CD) and the 100th anniversary of the birth of Miklis Rizsa, who sadly is no longer with us. Each wrote just one Piano Sonata - of which this is currently the only recording of the Rizsa piece) and they are presented with the Fourth Sonata (the Keltic) of Edward MacDowell. Splendid performances. This is the first of four projected volumes. 809730505225 DVRT25052.2 14374722 .00 19.99 .22 DIVINE ART COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/14/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/1/9/1/5/1495191.jpg 21 1 N CASKEN / WEIR / SAXTON / KREUTZER QUARTET NOTHERN LIGHTS: BRITISH STRING QUARTETS The three composers featured on this CD are in themselves leading lights of the contemporary music scene in the UK, and their works (of which these are first recordings) very fine examples of the modern string quartet, all extremely accessible. 809730850721 METI28507.2 14371738 .00 19.99 .22 METIER COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/14/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/6/9/1/5/1495196.jpg 9 1 N SCHUMANN / JANDO PIANO CONCERTO 747313254729 NXS8557547.2 10559703 .00 19.99 .19 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 02/22/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/2/3/1/5/705132.jpg 25 1 N ORCH DEL TEATRO FENICE / MAAZEL / BONFADELLI NEW YEAR'S CONCERT 2004 This concert celebrates the reopening of the Gran Teatro La Fenice several years after it was destroyed by fire. Stefania Bonfadelli, Roberto Aronica, Greta Hodgkinson, Il Ballet to del Sud, and the Orchestra and Chorus of the Teatro La Fenice perform. 824121000882 TDDVNYC4VDVD 10561478 .00 24.99 .27 TDK DVD VIDEO DIGITAL VIDEO DISC CLASSICAL ORCHESTRAL & SYMPHONIC 02/22/2005 03/27/2018 https://mediacdn.aent-m.com/prod-img/500/29/549729.jpg 47 1 N DOHNANYI / PEDERECKI / BEETHOVEN / DIAZ TRIO STRING TRIOS 661853002124 ATEK21.2 10557112 .00 18.99 .22 ARTEK COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 02/22/2005 https://media.aent-m.com/graphics/items/sdimages/b/500/4/3/6/5/705634.jpg 2 1 N CHOPIN / ARRAU / KLEMPERER / WDR SO BALLADES / PIANO CONCERTO 8025726042303 URNA4230.2 10578742 .00 18.99 .23 URANIA COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 03/01/2005 https://mediacdn.aent-m.com/prod-img/500/80/551380.jpg 7 1 N SCHUMANN / ENDERS MAJOR PIANO WORKS 812864015638 OEHM366.2 10623299 .00 37.99 .43 OEHMS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/22/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/2/5/1/9/709152.jpg 0 3 N CHOPIN / KEMPF / PERL / HEWITT PIANO MUSIC More than two hours of beautiful music for solo piano by one of the instrument's best-loved composers, played by Freddy Kempf, Alfredo Perl and Angela Hewitt. 809478000938 BOPU893DVD 10572955 .00 26.99 .21 BBC / OPUS ARTE DIGITAL VIDEO DISC CLASSICAL CHAMBER MUSIC & RECITALS 02/22/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/0/9/2/5/705290.jpg 3 1 N SOR / STAROBIN LES PLUS BELLES PAGES 090404916625 BRI9166.2 10609859 .00 18.99 .10 BRIDGE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/29/2005 https://mediacdn.aent-m.com/prod-img/500/31/558631-2553411.jpg 8 1 N HAKALA,TOMMI GREAT BARITONE ARIAS 761195104828 OND1048.2 10648315 .00 18.99 .25 ONDINE COMPACT DISCS CLASSICAL CLASSICAL VOCALS 04/26/2005 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/7/1/6/7/707617.jpg 1 1 N STILL / JETER / FORT SMITH SYMPHONY AFRO-AMERICAN SYMPHONY 636943917428 NAAC8559174.2 10592229 .00 19.99 .20 NAXOS AMERICAN COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 03/22/2005 https://media.aent-m.com/graphics/items/sdimages/b/500/5/8/0/0/710085.jpg 0 1 N BACH / IM / KIELLAND / HALLENBERG / MULLER-BRUHL MASS IN B MINOR 747313110254 NXS5110102-03DVA 10592496 .00 32.99 .29 NAXOS DVD AUDIO CLASSICAL CLASSICAL VOCALS 03/22/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/2/9/0/0/710092.jpg 19 2 N DISCOVER BAROQUE MUSIC / VARIOUS DISCOVER BAROQUE MUSIC / VARIOUS 636943816028 NXS8558160-61.2 10595114 .00 21.99 .53 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC V/A COMPILATIONS 03/22/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/3/9/0/0/710093.jpg 0 2 N BRITTEN / LOTT / LANGRIDGE / JOHNSON / BONELL FOLK SONG ARRANGEMENTS 747313222025 NXS8557220-21.2 10592571 .00 29.99 .28 NAXOS COMPACT DISCS CLASSICAL CLASSICAL VOCALS 03/22/2005 https://media.aent-m.com/graphics/items/sdimages/c/500/7/9/0/0/710097.jpg 3 2 N CHOIR OF ST JOHN'S COLLEGE CAMBRIDGE / ROBINSON ENGLISH CHORAL MUSIC 747313255726 NXS8557557-58.2 10593370 .00 29.99 .25 NAXOS COMPACT DISCS CLASSICAL CLASSICAL VOCALS 03/22/2005 https://media.aent-m.com/graphics/items/sdimages/b/500/5/1/1/0/710115.jpg 6 2 N ALFANO / YINON / BRANDENBURGISCHES STAATSORCH SYMPHONIES 1 & 2 761203708024 CPO777080.2 10593578 .00 18.99 .21 CPO RECORDS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 03/22/2005 https://media.aent-m.com/graphics/items/sdimages/b/500/4/2/1/0/710124.jpg 0 1 N MATHIEU / LEFEVRE HOMMAGE A ANDRE MATHIEU 774204927523 ANL29275.2 10595015 .00 20.99 .22 ANALEKTA COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/22/2005 https://media.aent-m.com/graphics/items/sdimages/b/500/5/5/1/0/710155.jpg 5 1 N ZIMMERMANN / HCD ENSEMBLE / BACH,M ECHOING GREEN 764593015024 MOD150.2 10912072 .00 20.99 .22 MODE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 08/23/2005 https://media.aent-m.com/graphics/items/sdimages/c/500/7/4/1/4/744147.jpg 3 1 N REINHARDT,ISMAEL GYPSY SWING 743037192422 ARM1924.2 10737101 .00 16.99 .22 ARC MUSIC COMPACT DISCS POP INT'L & WORLD MUSIC 05/03/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/0/4/7/4/714740.jpg 86 1 N RAFF / DASKALAKIS / ROGLIT VIOLIN SONATAS NO 1 IN E MAJOR OP 73 812973011224 TUDO7122.2 11198697 .00 21.99 .23 TUDOR COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/08/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/3/8/2/2/782283.jpg 3 1 N APOLLO SAXOPHONE QUARTET SHORT CUTS 880040201229 QURT2012.2 10689424 .00 18.99 .25 QUARTZ COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/26/2005 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/1/6/1/6/716161.jpg 18 1 N BACH / KIELLAND / COLOGNE BACH CHOIR / MULLER-BRUH SACRED CANTANAS FOR ALTO 747313262120 NXS8557621.2 11226420 .00 19.99 .19 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/13/2005 https://media.aent-m.com/graphics/items/sdimages/b/500/4/8/5/4/784584.jpg 29 1 N ADAMS,JOHN LUTHER PLACE WE BEGAN 800413003229 CDBL32.2 14400902 .00 18.99 .19 COLD BLUE LABEL COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 05/12/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/4/5/3/1/1511354.jpg 2 1 N RUSSKAYA MUZYKA TRADITIONAL MUSIC FROM RUSSIA 5019396220027 ARM2200.2 14319013 .00 16.99 .24 ARC MUSIC COMPACT DISCS POP INT'L & WORLD MUSIC RUSSIA / EASTERN EUROPE 03/24/2009 01/03/2025 https://mediacdn.aent-m.com/prod-img/500/25/1413925.jpg 3 1 N NIGL,GEORG / PIANCA / GHIELMI GUERRA AMOROSA 5425004849465 PASS946.2 14781414 .00 21.99 .21 PASSACAILLE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/13/2009 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/4/9/6/4/1564694.jpg 4 1 N RUBINSTEIN / BANOWETZ PIANO MUSIC (1852-1894) / SOUVENIR DE DRESDE On this second volume of Anton Rubinstein' piano music, GRAMMY-nominated pianist Joseph Banowetz interprets works spanning the composer' long career, from the famous Melody in F, written by the 23-year-old Rubinstein to the nostalgic Souvenir of. 747313094271 NXS8570942.2 15152114 .00 19.99 .19 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/27/2010 https://mediacdn.aent-m.com/prod-img/500/90/1414290-2788019.jpg 30 1 N CASELLA / HEE YOU / LA VECCHIA SYMPHONY NO 2 / NOTTE ALTA FOR PIANO & ORCHESTRA From the very first notes, with their tolling bells, Casella' Symphony No. 2 is deeply indebted to it's model, Mahler' own Symphony No. 2, whose Parisian premiere was championed by Casella during his years in the French capital. 747313241477 NXS8572414.2 15152190 .00 19.99 .21 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/27/2010 https://media.aent-m.com/graphics/items/sdimages/c/500/7/6/3/2/1672367.jpg 11 1 N GOLDEN BOUGH CELTIC & ORIG MUSIC: WINDING ROAD BY GOLDEN BOUGH 5019396229426 ARM2294.2 15143624 .00 13.99 .23 ARC MUSIC COMPACT DISCS POP INT'L & WORLD MUSIC 07/27/2010 https://media.aent-m.com/graphics/items/sdimages/c/500/7/8/3/2/1672387.jpg 20 1 N RODRIGO / BIZET / SAAD / MANSUROV / RPO CELEBRATION OF THE SPANISH GUITAR 5050693194024 RPOR15.2 15168405 .00 18.99 .25 ROYAL PHIL ORCHESTRA COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/27/2010 07/01/2025 https://media.aent-m.com/graphics/items/sdimages/c/500/8/2/4/2/1672428.jpg 15 1 N SCHUMANN / SYM ORCH BADEN-BADEN / GIELEN SYMPHONIES 2 & 3 4010276023166 HAC93259.2 15144041 .00 20.99 .23 SWRMUSIC COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/27/2010 https://media.aent-m.com/graphics/items/sdimages/b/500/6/4/4/2/1672446.jpg 43 1 N BELLSON,LOUIE HOT One of the most exciting drummers ever to climb up onto a jazz bandstand leads a terrific group (featuring Clark Terry on flugelhorn) on this recording. Their inspired take on Caravan joins Hot; Hookin' It; Ode to a Friend; the Peaceful Poet; Walkin' with Buddy, and more! 710357271229 NIM2712.2 14299025 .00 16.99 .20 NIMBUS RECORDS COMPACT DISCS POP JAZZ 03/10/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/6/2/2/9/1489226.jpg 3 1 N GRONDAHL / KJERULF / NORDRAAK / GERICKE / HADLAND LIL EVA: SELECTED NORWEGIAN SONGS 7033662012381 SMXC1238.2 15540164 .00 20.99 .25 SIMAX CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 04/27/2009 https://media.aent-m.com/graphics/items/sdimages/c/500/9/0/2/8/1558209.jpg 3 1 N DE LA FUENTE,BENJAMIN LA LONGUE MARCHE: WORKS FOR VIOLIN & ELECTRONICS 3760058369807 AEON980.2 14503498 .00 8.99 .18 AEON COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/14/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/0/6/2/3/1533260.jpg 79 1 N BACH,J.S. / WINTER / GUILLON / BEEKMAN / ARNOULD CANTATAS 12 78 & 150 3760009292048 ZIG90502.2 14503207 .00 20.99 .16 ZIG ZAG TERRITORIES COMPACT DISCS CLASSICAL CLASSICAL VOCALS 07/14/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/4/6/3/3/1533364.jpg 2 1 N AUERBACH / PETERSEN QUARTET / KUSHPLER STRING QUARTET 8 / 6 VERSES 845221006437 CIO71104.2 14687419 .00 10.99 .26 CAPRICCIO COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/01/2006 https://media.aent-m.com/graphics/items/sdimages/a/500/1/9/7/3/1503791.jpg 0 1 N BRAHMS / GHINDIN / SPIVAKOV VIOLIN SONATAS 1-3 845221006277 CIO71082.2 14687143 .00 10.99 .24 CAPRICCIO COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/01/2000 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/4/1/8/3/1503814.jpg 14 1 N YSAYE / KRAGGERUD / MONSEN / TOMTER / REE STRING TRIO LE CHIMEY While Ysaye' Six Solo Violin Sonatas remain his best known works, the Belgian virtuoso also composed other pieces which translate his thorough knowledge of the violin' capabilities into thrilling music. The performance here of his Sonata for Two Vio. 747313097777 NXS8570977.2 14736742 .00 19.99 .21 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/27/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/3/3/0/9/1569033.jpg 1 1 N PAGANINI / KUUSISTO / ESKELINEN DUOS 761195114223 OND1142-2.2 14743993 .00 18.99 .21 ONDINE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/27/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/2/7/0/9/1569072.jpg 2 1 N MENDELSSOHN / VOLLE / HAAG / SONNLEITNER / KOFLER GERMAN ROMANTIC CHRISTMAS 812864018400 OEHM924.2 14744600 .00 19.99 .55 OEHMS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/27/2009 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/9/7/0/9/1569079.jpg 6 1 N LEVY / BALLANTYNE / YUASA SYMPHONY 3 CELLO CONCERTO 2 Son of the distinguished Swiss composer, pianist, and teacher Ernst Levy, Frank Ezra Levy was born in Paris on 15th October, 1930, and came to New York in 1939. He began cello lessons at the age of ten, and at twelve he began studies in theory and composition with Hugo Kauder, which continued for nine years. After graduating from the High School of Music and Art, Levy attended the Juilliard School of Music and the University of Chicago. His major cello teachers were Leonard Rose and Janos Starker. A former member of the St Louis Symphony and the Feldman Chamber Ensemble, Frank Ezra Levy is still a professional cellist, and continues to compose. Large works include a four-act comic opera, a cantata, four symphonies, several other orchestral pieces, and eight concertos. All the rest of his 88 published works are chamber music, an extraordinary variety of pieces for 1-15 instruments, often in highly unusual combinations. Notable premières of Frank Levy's music include his Third Symphony at Carnegie Hall (1989), the Holocaust Triptych at Manhattan School of Music (1993), his First Cello Concerto at Lincoln Center (2002) and Apostrophe No. 3 for 15 solo strings, at Music Festival of the Hamptons (2004). Currently available among his recorded works are the Fourth Symphony and First Cello Concerto. LP recordings include the Violin Duo, Sonata for Clarinet and Piano, Suite for Horn and Piano, Adagio and Rondo for Two Clarinets and Bass Clarinet, and the Brass Quintet. 636943923429 NAAC8559234.2 11226802 .00 19.99 .22 NAXOS AMERICAN COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 12/13/2005 https://media.aent-m.com/graphics/items/sdimages/b/500/6/4/8/4/784846.jpg 6 1 N RAVEL / TRIO DALI / SAVARY / SAREIKA / LA MARCA PIANO TRIO 5400439005471 FUGL547.2 14312441 .00 20.99 .17 FUGA LIBERA LABEL COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/10/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/5/5/2/9/1489255.jpg 2 1 N KHANER,JEFFREY / ABRAMOVIC GERMAN FLUTE MUSIC 822252207620 AVIE2076.2 14693403 .00 19.99 .25 AVIE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/13/2009 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/3/9/1/8/1558193.jpg 6 1 N CHANG,EVELYN POETS FROM THE EAST 822252216820 AVIE2168.2 14503238 .00 19.99 .24 AVIE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/14/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/2/8/2/3/1533282.jpg 2 1 N PORPORA / MANZOTTI / I MUSICI DELLA CONCORDIA OPERA ARIAS 8007194104417 TCS681601.2 14503795 .00 21.99 .23 TACTUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/14/2009 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/7/5/3/3/1533357.jpg 4 1 N SHOSTAKOVICH / RLPO / PETRENKO SYMPHONY NO. 11 THE YEAR 1905 Charismatic young conductor Vasily Petrenko launches his Shostakovich Symphonies series with the Eleventh, a highly charged depiction of the 'Bloody Sunday' massacre of over two hundred peaceful demonstrators by Czarist soldiers outside the Winter Palace in St Petersburg in 1905. Scored for a sizeable orchestra of triple woodwind, four horns, three each of trumpets and trombones, tuba timpani, percussion, celesta, harps and strings, the Symphony makes extensive use of revolutionary songs as thematic elements, as it progresses, without pause, from the glacial opening movement, Palace Square, to the terrifying massacre and it's aftermath, The Ninth of January, the funereal third movement, Eternal Memory, and the final movement, The Tocsin, which culminates with cataclysmic bell strokes. 747313208272 NXS8572082.2 14339059 .00 19.99 .22 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 03/31/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/2/3/6/4/1494632.jpg 3 1 N BREWER,CHRISTINE / LPO / PARRY CHRISTINE BREWER SOPRANO 2 Featuring Gluck Arias from Alceste, Wagner Arias from Tannhauser, Beethoven Fidelio Act 1, Britten, Menotti, Handel (sung in English). 095115315927 CHN3159.2 14344602 .00 13.99 .36 CHANDOS COMPACT DISCS CLASSICAL CLASSICAL VOCALS 03/31/2009 https://media.aent-m.com/graphics/items/sdimages/c/500/7/3/6/4/1494637.jpg 2 1 N SAINT-SAENS / RIMONDA / CANZIANI PETITE ECOLE DE LA MELODIE 095115151020 CHN10510.2 14344534 .00 21.99 .25 CHANDOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/31/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/4/6/6/4/1494664.jpg 33 1 N MENDELSSOHN / GOETZ / BRUTSCHER / MERTENS / HAGEL PAULUS OP 36 881488900859 PROL9008.2 14341946 .00 24.99 .42 PROFIL - G HAENSSLER COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/31/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/5/8/6/4/1494685.jpg 8 2 N INSTITUTO EL CIMARRON MUSIC FROM ARGENTINA: FOLK MUSIC & TANGOS 743037220729 ARM2207.2 14404344 .00 16.99 .25 ARC MUSIC COMPACT DISCS POP INT'L & WORLD MUSIC 05/05/2009 https://mediacdn.aent-m.com/prod-img/500/94/1418294.jpg 3 1 N FESTIVAL OF SAN MIGUEL TZINACAPAN / VARIOUS FESTIVAL OF SAN MIGUEL TZINACAPAN / VARIOUS 794881916320 OCO561099.2 14431210 .00 20.99 .18 OCORA FRANCE COMPACT DISCS POP INT'L & WORLD MUSIC V/A COMPILATIONS 05/12/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/0/2/8/1/1511820.jpg 3 1 N JOACHIM / KIM / STAATSKAPELLE WEIMAR / HALASZ VIOLIN CONCERTOS IN HUNGARIAN STYLE OP 11 A colleague of Mendelssohn, the Schumann's and Brahms, the virtuoso violinist Joseph Joachim was himself a composer of note. His exuberant single-movement Opus 3 Violin Concerto from around 1851 was dedicated to Liszt. 747313099177 NXS8570991.2 14736711 .00 19.99 .21 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/27/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/4/3/0/9/1569034.jpg 3 1 N SHOSTAKOVICH / RLPO / PETRENKO SYMPHONIES NOS 5 & 9 Following their electrifying account of Shostakovich' Eleventh Symphony, Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra explore the profound ambivalences of the composer' most performed symphony, the Fifth, written in 1937 at a time. 747313216772 NXS8572167.2 14736674 .00 19.99 .22 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/27/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/6/3/0/9/1569036.jpg 0 1 N ADAM / COJOCARU / KOBBORG / NUNEZ / PETIPA GISELLE Alina Cojocatu, Johan Kobborg, Marianela Nunez, and Martin Harvey perform in this Royal Ballet production of the Adam ballet conducted by Boris Gruzin. 809478070306 BOPU7030BR 14471902 .00 39.99 .25 BBC / OPUS ARTE BLU-RAY CLASSICAL OPERA / OPERETTA / ORATORIO 05/26/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/1/7/0/3/1513071.jpg 0 1 N VIVALDI / DEUTER / HARMONIE UNIVERSELLE VIOLIN CONCERTOS 3760107400154 ELOQ815.2 13784300 .00 29.99 .20 ELOQUENTIA FRANCE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 08/12/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/5/4/2/1/1381245.jpg 0 2 N FREITAS / RTE NAT'L SO / CASSUTO SYMPHONY NO. 1 / SUITE ALENTEJANA Luis de Freitas Branco was a pre-eminent figure in Portuguese music of the first half of the twentieth century. This first disc of a four volume series of Freitas Branco' orchestral works features the First Symphony in which the influence of Cesar Franc. 747313076574 NXS8570765.2 13802110 .00 19.99 .22 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/29/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/1/2/9/1379214.jpg 14 1 N HAYDN / BABANOV / SCHUSTER / DASKALAKIS TRUMPET CONCERTO / HORN CONCERTO NO. 1 Haydn' popular Trumpet Concerto is best known for it's thrilling first movement cadenza and brilliant and inventive Rondo finale. The Horn Concerto No. 1 is also notable for the technical demands made on the soloist, not least the large octave leaps. 747313048274 NXS8570482.2 13787165 .00 19.99 .20 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/29/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/2/2/9/1379220.jpg 3 1 N IRELAND / LENEHAN PIANO WORKS 3 John Ireland' piano music, some of the most appealing British piano music of the twentieth century, reflects the composer' many interests: his love of literature, his interest in paganism and Celtic mysticism. 747313046171 NXS8570461.2 13786939 .00 19.99 .20 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/29/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/2/2/9/1379224.jpg 105 1 N BELLINI / CORELLI / NERI / CALLAS / SANTINI NORMA: ACT 1 8014399501514 MYT151.2 13699697 .00 10.99 .21 MYTO RECORDS ITALY COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 06/24/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/9/3/4/9/1379439.jpg 4 1 N BELLOMY,DAN BACK TO BROOKLYN 021475011087 CMB1108.2 06410759 .00 18.99 .20 CAMBRIA RECORDS COMPACT DISCS POP JAZZ 06/29/1999 https://media.aent-m.com/graphics/items/sdimages/c/500/8/6/4/2/1552468.jpg 1 N KING'S SINGERS COLLECTION / VARIOUS KING'S SINGERS COLLECTION / VARIOUS 635212012024 SGUK120.2 13688608 .00 58.99 1.11 SIGNUM CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC V/A COMPILATIONS 06/24/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/2/3/7/4/1374732.jpg 11 5 Y EWAZEN / TELEMANN / DOPPLER / MULLER / BACH SOUVENIRS: CHAMBER MUSIC HORN FLUTE & PIANO Souvenirs: Chamber Music for Horn, Flute and Piano by Peter Green 044747294421 CAV2944.2 13696504 .00 18.99 .18 CENTAUR COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/24/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/5/5/7/4/1374755.jpg 4 1 N WOLF-FERRARI / RODRIGUES / RLPO / PETRENKO SUSANNA'S SECRET 822252219326 AVIE2193.2 15133885 .00 19.99 .34 AVIE COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 08/10/2010 https://media.aent-m.com/graphics/items/sdimages/a/500/1/2/6/4/1674621.jpg 8 1 N MY FIRST MOZART ALBUM / VARIOUS MY FIRST MOZART ALBUM / VARIOUS If you listen carefully to this CD, you will get to know one of the best composers in the world. Wolfgang Amadeus Mozart lived 250 years ago but he carries on being famous-so he must have been special. He giggled a lot. 747313820474 NXS8578204.2 16182974 .00 19.99 .21 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC V/A COMPILATIONS 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/0/7/2/8/1908270.jpg 0 1 N HAAS / ENSEMBLE COSMEDIN ANIMA MEA: SACRED MUSIC OF THE MIDDLE AGES Anima mea explores the Christian concept of the soul through these masterpieces of medieval Sacred Music. Hildegard of Bingen' beautifully exalted harmonies represent God' order in the music of the spheres. 747313263271 NXS8572632.2 16182882 .00 19.99 .23 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/3/3/3/8/1908333.jpg 0 1 N WAGNER / YOUNG / PHILHARMONIKER HAMBURG / POLASKI GOTTERDAMMERUNG 4260034869288 OEHM928.2 16183056 .00 47.99 .77 OEHMS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/0/5/3/8/1908350.jpg 5 4 Y WETZ / ZUMBUELT / DOMBERGCHOR ERFURT CHRISTMAS ORATORIO 53 761203763825 CPO777638.2 16136182 .00 18.99 .25 CPO RECORDS COMPACT DISCS CLASSICAL CHRISTMAS / CHANUKKAH 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/0/6/3/8/1908360.jpg 16 1 N PORTSMOUTH CHAMBER CHOIR / BEAMISH / MOLDOVEANU SONG MORE SILENT 822252214727 AVIE2147.2 14159244 .00 19.99 .16 AVIE COMPACT DISCS CLASSICAL CHILDRENS 11/25/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/7/2/3/1443278.jpg 11 1 N PLACE / HICKEY / LINELL MUSIC FOR SHAKESPEARE'S THEATRE Music played an important role in the Renaissance theatre and Shakespeare brought new subtlety to it's use. In a theatre without lights and sets, it fell to music to underline mood, whether for magic, comedy, feasting or pathos. 747313070879 NXS8570708.2 20566654 .00 19.99 .21 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/29/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/2/5/2/1482524.jpg 3 1 N KORNGOLD / STRAUSS / PRAGUE SYM ORCH / KOUT CONCERTO FOR VIOLIN & ORCHESTRA 099925396220 SPP3962.2 14737381 .00 14.99 .20 SUPRAPHON COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/27/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/1/5/4/1/1571451.jpg 0 1 N KOVACS / DONATONI / BASSETT / KOMIVES / HARTIG CHALUMEAU 044747296524 CAV2965.2 14737640 .00 18.99 .20 CENTAUR COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/27/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/2/6/4/1/1571462.jpg 12 1 N VIVALDI / MCMURTRY / HUHTANEN / MCLEOD / MALLON SACRED MUSIC -MAGNIFICAT 3 / NISI DOMINUS Vivaldi' sacred music occupies a place of honour in his vast output, dovetailing passages of great tenderness and sombre beauty, rich in cantabile expressiveness, with highly operatic movements of colourful and exciting virtuosity. 747313044573 NXS8570445.2 13956387 .00 19.99 .25 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 09/30/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/4/8/1/1411848.jpg 28 1 N HAYDN / OELZE / WEIR / LIKA / NORRINGTON / COE CREATION HOBXXI:2 881488707458 PROL7074.2 13959890 .00 24.99 .25 PROFIL - G HAENSSLER COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 09/30/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/5/8/1/1411854.jpg 7 2 N CLASSICAL DREAMS / VARIOUS CLASSICAL DREAMS / VARIOUS 881488806557 PROL8065.2 13960827 .00 54.99 .25 PROFIL - G HAENSSLER COMPACT DISCS CLASSICAL V/A COMPILATIONS 09/30/2008 08/31/2026 https://mediacdn.aent-m.com/prod-img/500/38/1308038.jpg 9 3 N RAVEL / SAINT-SAENS / FOURNET / BILKENT SO / BIRET IDIL BIRET RAVEL EDITION 3 - PIANO CONCERTOS The Turkish pianist Idil Biret was one of the greatest child prodigies of the 20th century. Her recital at the Boston Conservatory demonstrated that she is no less prodigious today. She played a long and demanding program with the power, concentration.

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Saint-Saëns: Piano Concerto No. 5 - Ravel: Piano Concerto in
Idil Biret Archive Sep 2009
CD
$14.99

Bach: Cello Suites / Mstislav Rostropovich

Supraphon

$33.99 Jan 28, 2011

BACH Cello Suites Nos. 1–6 • Mstislav Rostropovich (vc) • SUPRAPHON 4044-2, mono (2 CDs: 123:52) Live: Prague 5/26–27/1955

Although this set was released over two years ago, it only came to my attention more recently (and via a pirate clone on the Documents label at that). I then held off on writing a review, hoping that one of my Fanfare colleagues with expertise in string instruments would take the task in hand instead. As that has not occurred, I will now venture in where angels fear to tread. While Rostropovich did of course record the set of cello suites near the end of his career, for EMI in 1995 (issued on both CD and DVD; see the review of the former by David K. Nelson in 19:1), the release of another cycle from 40 years before, from the dawn of his career in 1955, is a major event that demands attention.

This recording was made at the annual Prague Spring Festival, when the cellist was but 28 years old. (It is also a notable occasion in that Rostropovich there met his wife, the famed soprano Galina Vishnevskaya, and proposed to her after a whirlwind 10-day courtship!) The monaural sound is quite clear, if a bit hard-edged and closely miked; the audience is very quiet, though now and then an occasional soft cough is barely audible in the background. While quite acceptable on its own terms, the audio quality of course does not compete with the velvety sound of EMI’s digital set. A similar disadvantageous comparison can be made about the quality of the cellos used; Rostropovich had not yet acquired his famed Duport Stradivarius, and the unidentified instrument used in Prague, while again good enough in and of itself, cannot compare with the ravishing, burnished tone quality of the Duport. For an instant revelation of the difference, listen to the opening of the Prelude to the Fifth Suite, where the sheer depth and opulence of the Duport in the EMI set is positively dumbfounding. There is also the occasional note in Prague that is not quite dead in tune—clearly due in part to the far less rich overtones of the instrument rather than any shortcoming on the part of Rostropovich. If the sound of the instrument itself is a decisive desideratum here—and for many people it justifiably is—then this Supraphon release will likely not be much more than a curiosity.

However, in addition to instrumental sound there is the issue of differences in interpretation over the intervening span of four decades, and that is where this set comes into its own. The first thing to note is that overall, with the major exceptions of the preludes to the First, Third, and Fourth suites, the Gigue in the First Suite, and the Sarabande in the Fifth Suite, the earlier performances are noticeably swifter. (The total timing of the EMI set is 137:54, compared to 123:52 here). That said, comparisons of some individual movements can be misleading, as in the 1955 performances Rostropovich omits repeats in some movements—e.g., the allemandes in the Third and Sixth suites, the bourées in the Fourth Suite, the Courante in the Sixth Suite—though even in some of those instances the 1955 versions would still be swifter if the repeats were observed. (The cuts in Prague doubtless stem from Rostropovich’s early training; in the booklet notes to the EMI set, the cellist recounts that his teacher, Semyon Kozolupov, strictly forbade pupils to play repeats of the second half of movements written in binary form, allowing repeats only in the first half.) If observance of all the repeats is a major criterion for evaluating a set of the suites, then again this set will not be competitive with the EMI studio recording.

What, then, does this Supraphon set have that commends it as a supplement or alternative to the EMI studio version? In a word (actually two words), that elusive and almost intangible quality I would call “narrative intensity.” Despite my unreserved adoration of Rostropovich as the greatest cellist in recorded history (and is there any lover of cello music who does not so venerate him?), I had always found the EMI set of these suites somehow lacking, and this new release has finally made clear why. As tonally gorgeous and technically immaculate as those sets are, and despite the programmatic titles and descriptions that Rostropovich gives to each suite in that set, it is live in Prague and not in the studio that the cellist finds and articulates fully sustained interpretive profiles. Listen for example to the Sarabande in the Second Suite, dubbed “Sorrow and intensity” by Rostropovich in the 1995 EMI set. While that studio recording is very beautiful, it lacks meditative profundity; whereas in Prague there is a rapt sense of total inward intensity—what the Germans call Innigkeit —that transforms the movement into one bearing comparison with the symphonic Adagio s of Bruckner. Likewise, while still too slow for my taste, the gavottes and Gigue in the Sixth Suite in Prague have some forward momentum, unlike the suffocatingly leaden versions in the EMI set.

Another notable difference is that in Prague Rostropovich is metrically much more exact, whereas on the EMI set he is rather free (or “rhapsodic,” to borrow his description of Pablo Casals). This is particularly true in the in the concluding dance movements (the menuets, bourées, gavottes, and gigues), with the last two movements of the Second Suite again offering particularly striking instances. While I suppose that some might characterize the earlier recordings as comparatively stiff, I do not find them so, and indeed prefer the more strict approach as better articulating the structure of the music. On the other hand, I much prefer the brisker tempos taken in the EMI set to the preludes of the First, Third, and Fourth Suites, the Allemande in the Third Suite, and the Courante in the Sixth Suite, as imparting a necessary greater degree of energy to those movements.

While my overall interpretive preference is therefore with the Prague versions, I cannot simply recommend that set in preference to the EMI one for those desiring a recording of Rostropovich in this repertoire. The two sets are strikingly different, and each has its considerable merits in manifesting the cellist’s extraordinary musical genius. (Indeed, the Prague set caused me to appreciate virtues of the EMI set that had not registered with me before.) For fans of Rostropovich, it goes without saying that this is a mandatory acquisition; but to lovers of cello music in general and the Bach suites in particular, I would say much the same thing, despite its occasional limitations. Had this not come to my attention too late to qualify, it surely would have been a major Want List contender; urgently recommended.

FANFARE: James A. Altena

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Bach: Cello Suites / Mstislav Rostropovich
Supraphon Jan 2011
CD
$33.99

Brahms: String Quintet; Schoenberg: Verklärte Nacht / Végh, Mozarteum Camerata

Capriccio

$16.99 Aug 12, 2016

This re-release is one of CAPRICCIO’s most famous recordings which has been remastered for optimal quality and offered at a special price. The first work chosen for this release is Johannes Brahms’ String Quintet in G Major. The piece, scored for two violins, two violas, and cello, was intended to be the composer’s last piece of music. The one movement string sextet Verklarte Nacht (Transfigured Night) is considered Schoenberg’s earliest important work. The piece is inspired by Dehmel’s poem of the same name, and was written in just three weeks.

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Brahms: String Quintet; Schoenberg: Verklärte Nacht / Végh, Mozarteum Camerata
Capriccio Aug 2016
CD
$16.99

Oswald: Piano Concerto - Saint-saens: Piano Concerto No. 5 'egyptian'

SOMM Recordings

$20.99 Aug 21, 2020

SOMM Recordings is pleased to announce the return of the acclaimed partnership of pianist Clélia Iruzun and the Royal Philharmonic Orchestra conducted by Jac van Steen with two colorful late-19th-century Romantic Piano Concertos from Brazil and France: Henrique Oswald’s G minor Piano Concerto, Op.10 and the Fifth Piano Concerto in F major (Op.103) by Camille Saint-Saëns. Iruzun’s Brazilian compatriot Henrique Oswald shared a long friendship with Camille Saint-Saëns based on mutual admiration for each other as composers and pianists. They occasionally performed together some of Saint-Saëns’ music for two pianos in public recitals. Saint-Saëns’ exotic Fifth Piano Concerto, the Egyptian, was composed during a North African holiday in 1896. Combining complex piano writing with a deft lightness of touch, it boasts a lyrical main theme (described by Saint-Saëns as “a Nubian love song”), hypnotic echoes of the gamelan and a finale bursting with virtuosity. Oswald’s Piano Concerto was composed in Italy a decade before Saint-Saëns’ Egyptian. With bravura passages recalling Saint-Saëns’ Second Piano Concerto, its richly Romantic vein carries allusions to Fauré while brimming with Oswald’s intriguing native Brazilian rhythms. Like Oswald, Alberto Nepomuceno was a Brazilian who studied in Europe, later succeeding him in a prestigious teaching position in Rio de Janeiro. Modelled on Grieg’s Suite from Holberg’s Time, his Suite Antiga (Suite in the Old Style) combines Baroque style and Romantic attitude with a bewitching savoir faire.

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Oswald: Piano Concerto - Saint-saens: Piano Concerto No. 5 'egyptian'
SOMM Recordings Aug 2020
CD
$20.99

Joseph Szigeti: Complete Columbia Album Collection

Sony Masterworks

$29.97 ~~$59.98~~ Save 50% Apr 09, 2021

Sony Classical is pleased to announce the release of a 17-CD box set collecting the recordings made between 1940 and 1956 for American Columbia by the renowned Hungarian violinist Joseph Szigeti.

Szigeti had a remarkable career. Born in 1892 in Budapest, where he studied with Jenő Hubay, one of most celebrated virtuosos and teachers of that golden era of violin playing, he was praised by the iconic German violinist Joseph Joachim at his Berlin debut in 1905; lived in London for several years following his acclaimed 1907 debut and played chamber music with, among others, Myra Hess and Ferruccio Busoni; was a frequent visitor after the war to the Soviet Union, where he introduced Prokofiev’s First Violin Concerto; made his triumphant American debut at Carnegie Hall under Stokowski in 1925; toured the world during the 1930s before finally settling in the US in 1940.

It was in that year that Szigeti renewed his friendship with fellow Hungarian émigré Béla Bartók, and in April the two gave a now-legendary recital in Washington which featured Bartók’s First Violin Rhapsody of 1928 – a work dedicated to and premiered by Szigeti in Europe. In May 1940, Columbia recorded their interpretation of this “vehicle for Szigeti’s biting and wholly magnificent fiddling” (MusicWeb International) in New York. That performance appears here for the first time on CD, along with another important work by Bartók, the classic first recording of his Contrasts for clarinet, violin and piano, written for and performed with Szigeti and Benny Goodman.

The rest of the new collection displays many more treasures of Szigeti’s passionate dedication to chamber music: in Bach, Handel, Tartini, Mozart, Beethoven, Schubert, Brahms, Dvořák, Debussy, Ravel, Bloch, Busoni, Prokofiev, Stravinsky and Henry Cowell, collaborating with such artists as Andor Foldes – another Hungarian émigré – as well as with Mieczyslaw Horzowski, Myra Hess, Pablo Casals and Igor Stravinsky.

There are, of course, major orchestral works represented in the new Szigeti edition, including two towering concertos in D major – the Brahms, recorded in 1945 with Eugene Ormandy conducting the Philadelphia Orchestra, and the Beethoven, recorded in 1947 with Bruno Walter and the New York Philharmonic (“an account of impassioned grandeur” – MusicWeb International) – along with Busoni’s early Violin Concerto in D major, recorded in 1954 with Thomas Sherman conducting the Little Orchestra Society. Szigeti’s numerous Bach concerto recordings for Columbia are here as well, conducted by Casals, Fritz Stiedry and George Szell.

As Nathan Milstein, one of his great colleagues, said in a touching tribute to Szigeti, who died in 1973: “He was an incredibly cultured musician. Actually, his talent grew out of his culture. … I always admired him, and he was respected by musicians.” In his late years, Joseph Szigeti finally got the appreciation he deserved from the general public as well. Sony Classical’s new collection his Columbia recordings, many never before released on CD at Sony Classical, can only further enhance that appreciation.

REVIEWS:

Joseph Szigeti (1892-1973) was the violinistic equivalent of a “kunst diva”, just as Gidon Kremer is today. He never had a particularly beautiful tone, while his bowing and intonation grew less dependable with age. Yet Szigeti never put a wrong musical foot forward. His phrasing communicated form, character, architecture, and astute harmonic awareness, with musical considerations always taking precedence over physical expediency.

Sony/BMG’s 17-CD collection of Szigeti’s complete Columbia Masterworks recordings stands out for exemplary remasterings that stem from the best possible source material. His intense yet thoughtful collaborations with Mieczyslaw Horszowski in Beethoven’s Sonatas Nos. 1, 5, 6, and 10 have never sounded so full-bodied and detailed as they do here. The same goes for the 1947 Beethoven Concerto, where the New York Philharmonic turns in firm and insightfully aligned playing under Bruno Walter’s direction. It contrasts to the conductor’s relatively casual and deferential backing in Szigeti’s 1932 recording, which, however, finds Szigeti on far better form.

Rehearing Szigeti’s 1949 Bach Sonata No. 3 in C major for violin solo reminded me just how much more fluent and controlled this performance is in comparison to the violinist’s relatively tenuous Vanguard remake. Likewise, his masterful 1940 account of the D minor concerto based on Bach’s keyboard concerto BWV 1052 is technically, musically, and sonically superior to the bloated 1950 reading under Pablo Casals’ direction. Szigeti’s Casals Festival contributions are admittedly uneven.

His collaborations with Béla Bartók, Igor Stravinsky, and Henry Cowell are both historically important and musically illuminating. Somehow the older Szigeti’s wiry tone imparts welcome character and tension to sonatas by Hindemith, Ravel, and Busoni, as well as the rarely heard Prokofiev solo sonata and Busoni concerto. It must be said, though, that the latter’s final scherzando-like passages are heavy going for the veteran violinist, as are the Busoni sonata’s overextended fugal sequences.

Listeners expecting suaveness and elegance in Brahms’ G major Op. 78 and D minor Op. 108 sonatas with Horszowski may wince at Szigeti’s tremulous and effortful execution. Still, he makes every note count, and the aching fragility that emerges from Op. 78’s outer movements and Op. 108’s deliberately unfolding third movement compels my undivided attention. Yet this Brahms D minor pales next to the power and authority of Szigeti’s great 78 rpm edition with pianist Egon Petri. As for the short encore-type pieces favored in the shellac era, Szigeti plays them dutifully rather than lovingly; he wasn’t a charmer like Kreisler, Elman, Milstein, or Ricci. Or Heifetz, for that matter.

The booklet includes full discographical data, an informative essay by Tully Potter, and Szigeti’s own notes for a 1970 Japanese reissue of his Schubert recordings. Even if just half of this collection represents Szigeti at his best, Sony/BMG’s comprehensive and meticulous production values deserve the highest accolades. In the meantime, a complete edition of Szigeti’s pre-war European 78s is long overdue.

-- ClassicsToday.com (Jed Distler)

The 31 works, from sonatas to chamber works to concertos, span Bach and Beethoven to Debussy, Ravel, Busoni and Henry Cowell. Bartók is pianist in his own Rhapsody No 1 for Violin and Piano. All the Brahms, including the Trio No 2 in C major with Hess and Casals, is to treasure. Szigeti plays Dvořák with grace and melancholy, and gives bite and attack to Stravinsky. The style may be redolent of another era, yet still this playing speaks to us.

– Guardian (UK)

This is a quite wonderful set, one of the highlights being an all-Busoni disc, the Second Sonata with Mieczysπaw Horszowski and the Violin Concerto with the Little Orchestra Society under Thomas Sherman. No one listening could fail to grasp the profound level of Szigeti's musical understanding.

– Gramophone

SET CONTENTS

DISC 1:
Bartók: Violin Rhapsody No. 1, Sz.87 (Remastered)
Bartók: Contrasts for Clarinet, Violin and Piano, Sz.111
Bloch: Three Pictures of Chassidic Life for Violin and Piano (Remastered)
Milhaud (arr. Lévy): Saudades do Brasil, Op. 67: No. 9, Sumare (Remastered)
Falla (arr. Levy): El Sombrero de Tres Picos, Parte I, Danza de la molinera (Remastered)
Mozart: Divertimento No. 15 in B-Flat Major, K. 287, "2. Lodronsche Nachtmusik" (Remastered)

DISC 2:
Mussorgsky-Rachmaninoff: Sorochintsy Fair, Act III: No. 5, Gopak (Remastered)
Dvorák (arr. Kreisler): Slavonic Dance in E Minor, Op. 46, No. 2 (Arr. in G Minor) (Remastered)
Dvorák (arr. Kreisler): Slavonic Dance No. 3 in A-Flat Major, Op. 46, No. 3 (Arr. in E Minor) (Remastered)
Hubay: Scènes de la Csárda No.4, Op. 32, "Hejre Kati", I. Lento ma non troppo. Allegro moderato (Remastered)
Hubay: Scènes de la Csárda No.4, Op. 32, "Hejre Kati", II. Allegro molto (Remastered)
Kodály (arr. Szigeti): Háry János Suite, IZK 26: V. Intermezzo (Remastered)
Brahms: 21 Hungarian Dances for Orchestra, WoO 1: No. 5 in G Minor (Remastered)
Debussy: Violin Sonata No.3 in G Minor, L. 140 (Remastered)
Hubay: The Zephyr, Op. 30, No. 5 (Remastered)
Schubert, Francois: Bagatelle Op. 13, No. 9, "Die Biene" (Remastered)
Stravinsky: Duo Concertant for Violin and Piano
Stravinsky: Pastorale, Song without Words for Violin & Woodwind Quartet
Stravinsky: Russian Maiden's Song

DISC 3:
Beethoven (Cadenza: Joseph Joachim): Violin Concerto in D Major, Op. 61

DISC 4:
Brahms: Violin Concerto in D Major, Op. 77
Brahms: Violin Sonata No.3 in D Minor, Op.108: II. Adagio

DISC 5:
Beethoven: Violin Sonata No.1 in D Major, Op. 12, No. 1 (Remastered)
Schubert: Violin Sonata in D Major, D.384
Schubert (arr. Friedberg): Piano Sonata No.17 in D Major, D.850: IV. Rondo. Allegretto moderato (Remastered)
Beethoven: Violin Sonata No.7 in C Minor, Op. 30, No. 2 (Remastered)

DISC 6:
Prokofiev: Violin Sonata No.1 in F Minor, Op. 80 (Remastered)
Prokofiev: Violin Sonata No. 2 in D Major, Op. 94bis (Remastered)

DISC 7:
Bach, J.S.: Violin Sonata No. 3 in C Major, BWV 1005
Bach, J.S. (arr. Reitz): Keyboard Concerto No. 1 in D Minor, BWV 1052

DISC 8:
Schubert: Fantaisie for Piano & Violin in C Major, Op.Posth. 159, D. 934
Corelli (arr. H. Leonard): Violin Sonata in D Minor, Op.5 No.12 "La Folia" (Variations Serieuses)
Debussy (arr. Roelens): Suite bergamasque, L. 75: No. 3. Clair de lune
Lalo (arr. Szigeti): Aubade from "Le Roi d'Ys" (Act III)
Tchaikovsky: 6 Pieces, Op. 51: No. 6, Valse sentimentale
Bach, J.S. (arr. Szigeti): Violin Partita No.3 in E Major, BWV 1006: VI. Bourrée (Remastered)

DISC 9:
Bach, J.S.: Concerto for Flute, Violin and Keyboard in A Minor, BWV 1044 (Remastered)
Bach, J.S.: Violin Concerto No. 1 in D Minor, (arr. BWV 1052/1056) (Remastered)
Bach, J.S.: Brandenburg Concerto No. 5 in D Major, BWV 1050

DISC 10:
Schubert: Rondo in B Minor for Piano and Violin, D.895 (Op.70) "Rondeau brillant"
Beethoven: Violin Sonata No.10 in G Major, Op. 96 (Remastered)
Schubert: Violin Sonata in A Major, Op. 162. D. 574 "Grand Duo" (Remastered)

DISC 11:
Brahms: Piano Quartet No. 3 in C Minor, Op. 60
Brahms: Piano Trio No. 2 in C Major Op. 87

DISC 12:
Cowell: Sonata No. 1 for Violin and Piano (1945) (Remastered)
Shapero: Sonata for Piano Four Hands (1941) (Remastered) (Harold Shapero, piano; Leo Smit, piano)
Cowell: Celestial Vision: How Old Is Song? (Remastered)

DISC 13:
Beethoven: Violin Sonata No.5 in F Major, Op. 24 "Spring"
Beethoven: Violin Sonata No. 6 in A Major, Op. 30, No. 1

DISC 14:
Bach, J.S. (arr. Szigeti): Violin Concerto in G Minor, BWV 1056 (Remastered)
Handel: Violin Sonata in D Major, HWV 371 (Remastered)
Tartini (Cadenzas: Szigeti): Violin Concerto in D Minor, D. 45 (Remastered)
Tartini: Violin Sonata in G Major, B. G19 (Remastered)

DISC 15:
Ravel: Violin Sonata No.2 in G Major, M. 77
Hindemith: Violin Sonata in E Major (1939)
Prokofiev: Sonata for Solo Violin in D Major, Op. 115 (Remastered)
Prokofiev: Five Melodies for Violin and Piano, Op. 35bis (Remastered)

DISC 16:
Busoni: Violin Concerto, Op.35a, BV 243
Busoni: Violin Sonata No.2, Op.36a, BV 244

DISC 17:
Brahms: Violin Sonata No.1 in G Major, Op. 78 "Regen" (Remastered)
Brahms: Violin Sonata No.3 in D Minor, Op.108 (Remastered)

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Joseph Szigeti: Complete Columbia Album Collection
Sony Masterworks Apr 2021
CD
~~$59.98~~ $29.97

Bach: The French Suites / Alessandra Artifoni

Dynamic

$18.99 Mar 26, 2013

BACH French Suites, BWV 812–817 • Alessandra Artifoni (hpd) • DYNAMIC 757 (2 CDs: 90:44)

It always gives me pause when I encounter an artist new to me and, upon searching the Internet for some biographical background, I find next to nothing. Alessandra Artifoni has no official website and only a number of links pop up—some in Italian only—to sources for this 2012 set of Bach’s French Suites . A one-paragraph bio-blurb in the enclosed booklet doesn’t tell us much either. She was born in Florence in 1967, so at 46 she’s not fresh out of the conservatory or just off the competition circuit. She studied organ and harpsichord in Italy, and then spent 10 years in Switzerland furthering her studies at the Schola Cantorum Basiliensis. According to the note, Artifoni has made several CDs and radio recordings, but I wasn’t able to find any of them listed beyond this Dynamic release, not even on Amazon’s Italian branch. So, here we have an artist approaching 50, who, for all practical purposes, emerges from nowhere to give us a recording of Bach’s complete French Suites.

How does Artifoni fare? Quite well in fact. She makes her case for these pieces by adopting just tempos, dutifully observing repeats, making clear and precise distinctions between the various embellishment types that appear in the scores, and exhibiting no quirky mannerisms. Moreover, Artifoni’s performances are further enhanced by a richly voiced two-manual harpsichord of exceptional clarity and beauty of tone. It was built in 1997 by Tony Chinnery after a circa 1702 harpsichord by Berlin maker Michael Mietke (?1656/71–1719). Records indicate that Mietke delivered a harpsichord to the court at Köthen in 1719 on the recommendation of Bach, and that it was likely the instrument Bach played in a performance of the Fifth Brandenburg Concerto.

Chinnery lives and works in a villa just north of Florence, and this particular harpsichord from his workshop sparkles with diamond-like glints without any hint of glare or harshness across and between its two evenly matched keyboards. It’s absolutely ideal for these suites, enabling Artifoni to clearly resolve Bach’s linear writing.

Many famous players, of course, have put their individual stamps on these works, performing them on piano as well as on harpsichord. But among just harpsichord versions, the catalog beckons, in no particular order, with entries by Helmut Walcha, Huguette Dreyfus, Ton Koopman, Christophe Rousset, Kenneth Gilbert, Trevor Pinnock, Christopher Hogwood, Gustav Leonhardt, Bob van Asperen, Davitt Moroney, Lars Ulrik Mortensen, and Masaaki Suzuki. I don’t have all of them and haven’t even heard some of them, but of those I do have and/or have heard, I’m comfortable in saying that Alessandra Artifoni can stand with the best of them.

Admittedly, she is not as varied or imaginative in her approach as are some—for example, she doesn’t make much use of different stops to provide contrast in repeated sections, as does Dreyfus, or insert creative embellishments of her own making along the way, as does Rousset—but she is due credit for playing the notes as Bach wrote them, or at least how we think he wrote them, which brings me to one last, if essentially unimportant point about Artifoni’s or Dynamic’s sequencing of the suites on these two discs.

Except for a few movements of these pieces which found their way into Anna Magdalena’s Clavierbüchlein in Bach’s own hand, no autograph scores of the French Suites exist. Not even the title is Bach’s; it first appears in a 1762 treatise by German musicologist Friedrich Wilhelm Marpurg (1718–1795). Because of this, later copies and editions took it upon themselves to publish the suites in no particular agreed upon order.

As a result, many players present the suites in numerical order, one through six, which is actually an artifact of their BWV numbers. Since the BWV catalog assigned 812 to the Suite in

D Minor, it became No. 1; 813, assigned to the Suite in C Minor, became No. 2, and so on. But not all players adopt this schema, some preferring to present the suites in some alternate order that makes sense to them or to the record producer laying them out. Just for grins, here’s Artifoni’s sequence compared to Rousset’s.

	D Minor	C Minor	B Minor	E?-Major	G Major	E Major
	812	813	814	815	816	817
Artifoni (order)	5	2	4	1	3	6
Rousset (order)	5	2	6	1	4	3

Whether there’s any significance to the fact that Artifoni and Rousset both begin their sets with the E?-Major Suite (BWV 815) followed by the C-Minor Suite (BWV 813), or whether it’s purely coincidental I don’t know, but if there’s a desire to devise some plan based on keys, Bach didn’t make it easy. There’s no obvious formula I can see that would result in a complementary or symmetrical structure. Rousset begins in E?-Major and ends in E Major, two keys that may be adjacent to each other on the keyboard but are a universe apart in terms of tonal relationships. Artifoni also begins in E?-Major but ends in B Minor, a tonal relationship of an augmented fifth (or diminished sixth) that would have taken the curls right out of Bach’s wig. So, one must conclude that since no order makes sense, any order will do.

The more I listen to Aritifoni’s French Suites the more I like them. They won’t displace other favorites, chief among which are Rousset and, with apologies to any elitists who may happen upon this review—I’m sure there are none among Fanfare ’s readers—Keith Jarrett, whose ventures into Bach, I think, are generally underappreciated. Anyway, Artifoni’s new release is highly recommended.

FANFARE: Jerry Dubins

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Bach: The French Suites / Alessandra Artifoni
Dynamic Mar 2013
CD
$18.99

SONATA VI G MINOR FROM SINFONIE CONCERTI 5
ESSENTIAL MEDIA MOD Jun 2013
CD
$9.49

Wolfgang Amadeus Mozart

Gramola Records

$21.99 Jan 10, 2020

On this new recording, two legendary Viennese pianists, Paul Badura-Skoda und Jörg Demus, devote themselves to works by Mozart for solo piano, four-handed piano and for two pianos, such as the well-known D major Sonata for Two Pianos KV 448. Besides the 'Larghetto and Allegro' for 2 Pianos, which was only discovered in 1963, and the Variations in G Major for Fourhanded Piano KV 501, the two pianists, who play on historical Walter fortepianos (and also wrote the texts in the booklet), share Mozart's three famous fantasias for solo piano - Demus playing the two Fantasias in C minor and D minor KV 396 and 397 and Badura-Skoda the great Fantasia in C minor KV 475.

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Wolfgang Amadeus Mozart
Gramola Records Jan 2020
CD
$21.99

Bruch: Violin Concerto No. 1; Mozart: Violin Concertos Nos. 4 & 5 / Sargent, Heifetz

Sony Masterworks

$11.98 Apr 05, 2011

"Sir Malcom Sargent generally plays the purely orchestral passages more swiftly than when he is accompanying Heifetz. This introduces an element of drama that is missing in performances that reduce the music to a syrupy wallow in slow romantic schmaltz...Despite the relatively rapid tempos, the music never sounds rushed. [T]his is the finest recording of Bruch’s masterpiece ever made in terms of both performance and sound."

-- Arthur Lintgen, Fanfare [7/2006]

"Except for the human voice itself, probably no instrument of music so intimately reflects the individuality of the musician as the violin. So this record gives us, in addition to the fabled Heifetz technical wizardry, the Heifetz personality. That personality is encountered here in its maturity—and in the A major Concerto perhaps something slightly beyond that. Throughout the D major, however, the justly famous powers of intonation are exhibited at their nearly supernatural best."

-- Gramophone [9/1972] Reviewing Mozart Concertos

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Bruch: Violin Concerto No. 1; Mozart: Violin Concertos Nos. 4 & 5 / Sargent, Heifetz
Sony Masterworks Apr 2011
CD
$11.98

MOZART: STRING QUINTETS K. 515 & K. 516

ERATO

$17.28 May 26, 2023

Quatuor Ebene welcomes a favourite colleague, viola player Antoine Tamestit, for two of Mozart's six string quintets - No 3 in C major, K 515 and No 4 in G minor, K 516. Their last joint album, 'Round Midnight, won a 2022 Gramophone Award for it's thrilling exploration of diverse strands of 20th century music. .When a fifth member joins the ensemble it is always cause for celebration," explains Pierre Colombet, first violinist of Quatuor Ebene,.especially if it's an additional viola to bring further roundness and warmth to the middle voices: the sound grows in substance and vibrancy - the quartet gains a marvellous complement. And a musician like Antoine always brings new ideas and wisdom to refresh or expand our vision of a work." Colombet describes K 515 as.radiant and energetic, exuding elegance and grace," a work in the life-affirming vein of Die Zauberflote, while K 516 offers.perfection in it's counterpoint and the dialogue between the five instruments... already Romantic in spirit, tragic and sometimes sceptical. We all see it as a peak of achievement in chamber music."

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MOZART: STRING QUINTETS K. 515 & K. 516
ERATO May 2023
CD
$17.28

Bach: 6 Cello Suites / Carmine Miranda

Centaur Records

$22.99 Mar 26, 2013

BACH Six Cello Suites • Carmine Miranda (vc) • CENTAUR 3263/4 (2 CDs: 130:10)

Since reviewing Truls Mørk’s version of Bach’s unaccompanied cello suites in 29:5, no fewer than six more accounts have crossed my desk. In chronological order, they were Jean-Guihen Queyras (31:4), Sara Sant’Ambrogio (33:3), Luigi Piovano (34:5), Hekun Wu (34:6), Tanya Tomkins (35:1), and Richard Tuncliffe (36:1). Some of the cellists used conventional cellos, others period instruments. All but two, however, had one thing in common: They were uniformly awful, though each in its own way, ranging from barely tolerable to downright execrable. The one I kept coming back to as my preferred and strongly recommended set throughout those reviews was the first on this list, the one by Jean-Guihen Queyras, with Hekun Wu being a close runner-up. Both, by the way, performed the suites on cellos in modern configuration.

Bach’s six cello suites are like a Siren’s call to cellists of all persuasions, luring many of them to ruin. And the thing is there’s no reason for it. Was it a singular achievement for Bach to write such technically challenging works for an instrument that was relatively new at the time, and a melody instrument to boot, one that takes even more kindly to intensive double-stopping than the violin? Yes. But are the cello suites comparable on levels of musical scope and intellectual depth to the unaccompanied violin sonatas and partitas? Not even close. There are no massive fugues in the cello suites and nothing that approaches the dimensions of the D-Minor Violin Partita’s Chaconne. The cello suites are exactly what their title tells us they are—six sets of relatively short, stylized baroque dances. Yet for cellists—and for some listeners, I think—they’ve taken on an import that may be beyond their actual significance in Bach’s output, virtually becoming every cellist’s initiation rite.

So, how does the young Venezuelan cellist, Carmine Miranda (b. 1988), fare in his initiation into cellodom’s manhood? Well, first a few words about this young artist, who is likely unknown to readers, as this is his recording debut; he was 22 when he recorded the Bach suites for Centaur in 2011–12. Miranda’s early training took place in his native country, where he studied at the Carabobo State Music Conservatory, then in the Latin-American Academy of Violoncello, and finally at the Simon Bolivar Conservatory of Music (the institution that spawned the famous “El Sistema”). Miranda then traveled to the States to study with Ross Harbaugh at the University of Miami, followed by further coaching under Yehuda Hanani at the University of Cincinnati College-Conservatory of Music where Miranda obtained his bachelor’s and master’s degrees and is a candidate for a doctorate.

In the U.S., he has performed at Carnegie Hall, Bowdoin Music Festival, the Bach Annalia Festival in Cincinnati, the Young People’s Festival in Chatham, N.Y., and is on the artist’s roster for the Close Encounters with Music Series in Great Barrington, N.Y., both under the direction of Yehuda Hanani and others.

Among Miranda’s awards are first prize at the 2005 Alhambra Music Competition, the National Prize for best soloist from the FMEA (Florida Music Educators Association), and the 2008–09 University of Cincinnati Cello Competition. He has collaborated with recognized international artists such as Yehuda Hanani, Awadagin Pratt, Rodolfo Saglimbeni and performed as a soloist with several chamber ensembles and orchestras, recently including the Caracas Municipal Symphony Orchestra. He is also the founder and member of the Troika Piano Trio comprised of violinist Joshua Ulrich and pianist Assaf Sommer.

Miranda, who authored his own album note, makes no mention of the instrument(s) he uses for these performances, how he handles the scordatura tuning of the Fifth Suite—does he retune his cello according to the original manuscript or use the modern standard-tuning edition?—or what he does to accommodate the Sixth Suite, believed to have been originally written for a five-string violoncello piccolo. His note speaks only of his personal impressions of, and responses to, the emotional and spiritual character and quality of each of the pieces. At one point, in fact, I was quite taken aback to read, “Interpretation of the suites has nothing to do with what is correct, accurate, and historical, but it rather has to do with going deep within the soul of the writing…” That raised a red flag for me, not to mention an eyebrow. I couldn’t help but think to myself that only the immodesty of youth could be so callow and cavalier with respect to the years of serious musicological research that have attempted to ascertain what is “correct, accurate, and historical,” and to the many veteran cellists who have spent more years studying these works than Miranda has been alive. But the proof, as they say, is in the hearing. And so I decided not to allow my annoyance with Miranda’s words to influence my judgment of his playing.

Instantly, from the very first bar of the G-Major Suite, the cellist that came to mind was Pablo Casals, a comparison that elicits no higher compliment. In my above-mentioned review of Tanya Tomkins’s Bach suites, I noted how slow and super-romanticized her readings were; she takes 3:16 for the opening Prelude, a full half-minute longer than Jacqueline du Pré, who, at 2:35, is hardly fast. So, I went back to Casals’s 1950s recording and found that he dispatched the Prelude in two minutes flat and without any rhythmic distensions or distortions. What about Carmine Miranda? 2:09. I don’t know if Miranda studied Casals’s recordings, but if he didn’t, it’s truly uncanny how closely he channels both the letter and the spirit of the great cellist’s example.

It’s really difficult to express in words the beauty of Miranda’s performances. His cello is a modern instrument, or at least one updated with modern fittings and tuned to modern pitch, but the tone it emits is lighter in weight than that which we often hear in versions played on modern cellos. Of course, much of that can be attributed to Miranda’s bowing. He doesn’t dig into the strings to produce guttural sounds. The tone is clean and clear and intonation perfect. But one expects more than technical proficiency, dexterity, and finesse; and more—much more than that—is what one gets from Miranda’s readings.

Alluded to above is the fact that these are suites of dances, and time and again, in extolling the virtues of Jean-Guihen Queyras’s performances, I’ve remarked on the way in which he manages to capture the essence of each dance step. Miranda, it seems to me, goes one step further (no pun intended). He hears, and allows us to hear, the historical roots of each dance and whence it comes, which is pretty funny when you try to square that with his comment that interpretation of the suites has nothing to do with the historical. Yet listen to Miranda’s courantes, and you will hear not just rapid tempos, but the very definition of the Renaissance dance as described by Thoinot Arbeau, the 16th-century French theorist who tells us that the courante was danced with fast running and jumping steps. If Miranda didn’t learn this from reading music history, he knows it intuitively, for it’s not just his accelerated tempos but the effect of rhythmic arrest you would observe in a dance that involved running forward several steps, then making a sudden jump, hop, or jerk to stop short the forward motion. In Miranda’s hands, the suites don’t just sound dance-like , as in stylized baroque refinements, they sound like actual Renaissance dances.

Likewise, Miranda’s sarabandes are played with the stately gravitas that would have been à la mode for a processional court dance in 17th-century France. Interestingly, the sarabande had its origins as a fairly fast dance a century earlier and quite likely in Mexico or Central America. When Spanish colonists brought the dance back to Spain with them, it was banned in 1583 for being obscene. It wasn’t until the sarabande made its way to Italy and then France that it became the slow, triple-meter dance that was widely adopted into the baroque suite.

I’ve never heard Bach’s cello suites played in quite this way, and while I wouldn’t want to be without the versions by Queyras, Hekun Wu, Casals, and János Starker, Carmine Miranda’s will not only join them, it will stand out as perhaps the most original and imaginative interpretations of the suites I’ve heard.

Centaur’s recording, too, is outstanding, capturing Miranda’s cello fairly close up but with sufficient air around it to allow for a natural sounding bloom, yet without any annoying echo effect. An album note states that the recording was made without any editing. This is a definite buy recommendation for both connoisseurs of Bach’s cello suites and those who appreciate cello playing at its best. I’d have to say that Carmine Miranda has passed his initiation with flying colors. Welcome to the ranks of the world class players.

FANFARE: Jerry Dubins

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Bach: 6 Cello Suites / Carmine Miranda
Centaur Records Mar 2013
CD
$22.99

Ravel & Gershwin: Piano Concertos / Kozhukhin, Yamada, Suisse Romande Orchestra

PENTATONE

SACD

$21.99 Jun 01, 2018

Exuberant high spirits, pulsating rhythms and breathless virtuosity jostle with urbane sophistication and deeply felt sentiment in these scintillating jazz-inspired concertos by Maurice Ravel and George Gershwin, played with élan by Denis Kozhukhin and the Orchestre de la Suisse Romande under Kazuki Yamada in this new release from Pentatone. A sparkling divertissement with witty orchestration and sizzling virtuosity, Ravel’s Piano Concerto in G major is and one of his best-loved works thanks to its impeccable style, dashing humor, and its hauntingly beautiful slow movement. In a change of mood, Ravel’s Piano Concerto for the Left Hand in D major is a darkly hued, powerful work with a heroic grandeur realised in a fearsomely difficult piano part that traverses the keyboard to dazzling effect. And Tin Pan Alley beckons with Gershwin’s breezily confident and polished Piano Concerto in F major. With an inventive score that artfully combines jazz elements, heart on sleeve melodies and brilliant pianistics, the result is irresistible.

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Ravel & Gershwin: Piano Concertos / Kozhukhin, Yamada, Suisse Romande Orchestra
PENTATONE Jun 2018
SACD
$21.99