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Schubert: Fantasie in F minor - Sonata in C major / Farmer, Callaghan

Nimbus

$20.99 Jan 07, 2022

The late eighteenth century witnessed an explosion in the number of works written for multiple pianists, most of them for two players using one instrument. The majority were predestined for the domestic market, social gatherings or for pedagogical purposes, but some, including the two works featured on this album, were intended for performance beyond the salon and ventured into the realms of virtuosity. The genre was to blossom further as a pedagogical tool by which generations of pianists became acquainted with the larger-scale, mainstream repertoire via transcriptions and arrangements of symphonies and other orchestral works, operas and chamber music.

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Schubert: Fantasie in F minor - Sonata in C major / Farmer, Callaghan
Nimbus Jan 2022
CD
$20.99

Beethoven: Piano Sonata No. 29 "Hammerklavier" & Bagatelles, Op. 126 / Goerner

Alpha

$15.99 ~~$20.99~~ Save 25% Mar 25, 2016

Nicknamed ‘the poet of the piano,’ Nelson Goerner has an impressive discography, including his recent multi-award-winning Chopin and Debussy CDs. For this disc, Goerner tackles Beethoven’s Sonata No. 29 ‘Hammerklavier’, and his Bagatelles Op. 126. Of his Hammerklavier, the great composer said, “Here is a sonata that will make pianists work hard.” Goerner rises to this challenge beautifully, playing the forty-five minute work with passion and emotion.

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REVIEWS:

Goerner’s Hammerklavier is about flight, variety of shapes, sounds, ideas and precision of communication. Phrases are imbued with life and meaning but, equally importantly, they are separated by breath, lending them intelligibility. If ever there were an effortless Hammerklavier finale, this is it.

– Gramophone

The Hammerklavier has received several amazing recordings in recent years, and Nelson Goerner’s is one of them. It is also a highly individual though never quirky account.

– BBC Music Magazine

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Beethoven: Piano Sonata No. 29 "Hammerklavier" & Bagatelles, Op. 126 / Goerner
Alpha Mar 2016
CD
~~$20.99~~ $15.99

Schumann, R.: Violin Sonatas (Complete)
Azica Records Jan 1995
CD
$18.99

Handel: Solo Sonatas

MDG

$45.99 Aug 21, 2026

This exceptional double album stands as a landmark historically informed recording of Handel's solo sonatas, uniting pioneering scholarship, extraordinary period-instrument artistry, and superb audiophile sound in one of the most compelling chamber music portraits of the Baroque era. The Ganassi Consort, joined by guest violinist Anne Rohrig, illuminate the astonishing breadth of Handel's imagination across four decades of his creative life, revealing music of remarkable elegance, invention, and emotional depth.

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Handel: Solo Sonatas
MDG Aug 2026
CD
$45.99

Boismortier: 6 Sonatas for 2 Pardessus de viole, Op. 63

First Hand Records

$21.99 Jul 04, 2025

This abum contains the premiere recording of 6 Sonatas, Op. 63, originally published in 1737 (edition published by Atelier Philidor in 2021). The compositions are exquisite and expressive and have not been heard since the mid- 18th century since the engraved score has only recently been discovered. They are quintessentially French in their general musical style, making extensive use of prescribed ornamentation. The pardessus de viole enjoyed a considerable vogue in France towards the middle of the 18th century. For too long the pardessus de viole, which has an almost indentical range to the violin, has been commonly regarded - even without being heard - as a kind of toy instrument. Now we know otherwise after experiencing how similar, except for it's different register, the pardessus instrument is to all the other members of it's family, including the familiar bass viol. The recent discovery of Boismortier's Op. 63 for two 6-string pardessus de viole is an exciting and important find and FHR are very happy to publish the first recording.

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Boismortier: 6 Sonatas for 2 Pardessus de viole, Op. 63
First Hand Records Jul 2025
CD
$21.99

Golinelli: Two Piano Sonatas / Loredana Brigandì

Dynamic

$18.99 Feb 16, 2024

Stefano Golinelli was an acclaimed virtuoso pianist who was also appreciated as a composer in his day. He played an important role in the 19th-century Italian musical renaissance, but his name has faded from view over time. The emotional power of Golinelli’s music is well represented in his first two piano sonatas, the earliest of which, Op. 30, shows the influence of Schumann and Mendelssohn. The Op. 53 sonata features a wealth of melodic ideas and musical surprises – its opening is an Italian homage to Chopin, and the work also contains a beautiful Andantino movement.

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Golinelli: Two Piano Sonatas / Loredana Brigandì
Dynamic Feb 2024
CD
$18.99

Sonata Facile

Berlin Classics

$14.99 ~~$19.99~~ Save 25% Mar 07, 2025

She questions the simplicity in this program of "simple" piano sonatas and demonstrates her virtuosity by filling the few notes with as much musicality as possible. Shows different interpretations and styles of the genre "Sonatine" with works by Beethoven (No. 25, op. 79), Reynaldo Hahn (IRH90), Ravel (M. 40), Mozart (KV 545), Hermann Goetz (No. 1, op. 8) and Nikolai Medtner (op. 56)

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Sonata Facile
Berlin Classics Mar 2025
CD
~~$19.99~~ $14.99

Prokofiev: Invasion - Piano Sonatas Nos. 6 & 7

Fuga Libera

$20.99 Nov 15, 2024

This recording is the first time I have immersed myself in the world of Sergei Prokofiev, a composer who has always held a special place in my life and in my repertoire. His Sixth and Seventh Piano Sonatas were written almost simultaneously at the start of the Second World War and are very similar in form and content. The conflict between man and machine, the individual and the collective, complexity and simplicity lies at the heart of their narrative. The music combines philosophical symbolism and almost orchestral polyphonic writing with brilliant piano technique and vibrant colouristic effects, making this pair perhaps Prokofiev's two most frequently performed works for solo piano. My connection with both sonatas began many years ago, so I was very interested in taking a quick snapshot of how this music resonates with me today, in the midst of these troubled times. Sergei Redkin

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Prokofiev: Invasion - Piano Sonatas Nos. 6 & 7
Fuga Libera Nov 2024
CD
$20.99

Boccherini: Complete Violin Sonatas, Vol. 2

Brilliant Classics

$12.99 Nov 28, 2025

Luigi Boccherini composed just a single set of sonatas, Op.5, specifically for violin and piano. However, his commercial celebrity and his artistic reputation at the time, as a composer considered in the same breath as Mozart and Haydn, encouraged publishers to commission arrangements of other works. Such arrangements include this set of Sonatas published in London in 1780, made by Thomas Billington but admitted to the catalogue of Boccherini's works as G34-39. Igor Ruhadze and Alexandra Nepomnyashchaya have made the first ever complete recording of this set as a sequel to their 5CD set of Boccherini sonatas (96612) issued by Brilliant Classics in 2023. 'Looking forward to the sequel!' concluded the review in Diapason of that set, after praising the stylish spirit of musicianship and authenticity in the playing of both artists. Compared to their rivals on record, remarked the reviewer, 'the seduction is more demonstrative, the contrasts more accentuated, the sensuality and the feeling more showy.' Today, as Rudolf Rasch's booklet note remarks, we may prefer original works over arranged works; in the 18th century, such a preference was unknown. No one looked down on them. In fact, they made a composer's music accessible for those who could not perform them in their original format. There was hardly a format more accessible for music-making among friends than the violin sonata, in which the piano would take the lion's share of the harmony from the original work, with the principal melody line assigned to the violin. As well as these violin sonatas, Thomas Billington arranged Corelli's concerti grossi for solo keyboard, and composed a good deal of his own music. In these sonatas, he drew from Boccherini's Trios Op.4 and Op.6, Quartets Op.8 and Quintets Op.10. He was in any case emulating the example of Boccherini himself, who made several such arrangements. As always with Boccherini, there is no shortage of attractive melodies and upbeat, galant invention to contrast with the lyrical beauty of the slow movements. - Luigi Boccherini was born in the Italian city of Lucca in Tuscany, on 19 February 1743, the son of Leopoldo Boccherini, a cellist and double-bass player. The young Luigi received his first music lessons from his father and at the Seminario di San Giovanni in Lucca. The cello was to become his instrument. At the age of ten, he was apparently already so advanced that his father sent him to Rome for further studies at the end of 1753, where he possibly remained until 1756. Apart from a brief period in Vienna around 1760, he was in Lucca until he set out to Paris (perhaps the major musical centre of the time) in the spring of 1768. Later that year he would go to Spain, where he would remain for the rest of his life until his death on 28 May 1805. - This new recording is the second volume of the complete violin sonatas, works in which the pianoforte plays a significant role next to the solo violin. - Critical praise for violinist Igor Ruhadze and pianist Alexandra Nepomnyashchaya: 'The early-music world needs more performers like Igor Ruhadze... This is some of the most accomplished historically informed violin playing I have heard in a long time.' Fanfare (Geminiani, 96524). 'Nepomnyashchaya provides a lesson in how one may realize such sonata bass lines. Her accompaniment is varied in texture and detail, balancing right-hand countermelodies with arpeggiated chordal washes of sound and heavy block chords at cadences. Like Ruhadze, she is a consummate specialist in Baroque style and practice.' - 'These musicians make a strong case for the violin-keyboard duo as an artistic medium. 'Strongly recommended for the music itself and for the dedicated, exciting performances.' Fanfare (Locatelli, 94376).

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Boccherini: Complete Violin Sonatas, Vol. 2
Brilliant Classics Nov 2025
CD
$12.99

Mix & Match

Corelli: Opus 2 & 4 - Chamber Sonatas / Beznasiuk, The Avison Ensemble

Linn Records

$29.99 Jul 12, 2019

Opus 2 & 4: Chamber Sonatas is the third in The Avison Ensemble’s celebration of Corelli’s chamber music and the fifth album in their critically acclaimed series of recordings with Linn. Released to mark the 300th anniversary of the death of the composer, the ensemble’s greatly anticipated series explores the six opera of the eminent Italian’s chamber music: the concerti grossi, violin sonatas, chamber sonatas and church sonatas. Popular since their publication, Corelli’s two sets of chamber sonatas are a pinnacle of Baroque Italian instrumental music. They demonstrate a superior level of craftsmanship; they are of the highest quality, exquisitely refined and a good example of perfection in music. Corelli’s contribution to the history of violin performance was immense: all six of his published collections of instrumental music demonstrate his exceptional skill as a violinist and composer, but it was in his chamber sonatas that he first used what was to be known as the ‘Corelli clash’.

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REVIEWS:

These performances occupy fresh ground. Beznosiuk and the Avison Ensemble have clearly given much thought and attention to their performances: beautifully understated, and allowing the music to speak for itself.

– Gramophone

The Avison Ensemble captures their essence in graceful, finely controlled performances - by turns lyrical, fleet, playful, imbued with an effortless style that eschews mannerisms and fireworks but rather lets the music speak for itself. The string sound is silky and clean; the ensemble neat and subtly articulated.

– BBC Music Magazine

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Corelli: Opus 2 & 4 - Chamber Sonatas / Beznasiuk, The Avison Ensemble
Linn Records Jul 2019
CD
$29.99

Mozart: Sonatas, K. 330, K. 333, K. 576 / Rondo, K. 511

Musica Omnia

$14.99 Jul 03, 2020

In her third Mozart recording for Musica Omnia, the distinguished fortepianist, Trudelies Leonhardt, presents a programme of three of the composer's finest solo sonatas from the early 1780s, as well as the haunting and mysterious Rondo in A minor, K. 511, composed in 1789. Trudelies Leonhardt is of Dutch-Austrian parentage and comes from a family of musicians, her brother being the well-known harpsichordist Gustav Leonhardt. She studied in Amsterdam with Johannes Röntgen and Nelly Wagenaar and was awarded the Soloist-diploma cum laude and the Elisabeth Everts-prijs. She also worked in Paris with Yves Nat and Marguerite Long. Numerous orchestras have engaged Trudelies Leonhardt as soloist, the Concertgebouw of Amsterdam, The Tonhalle-Orchester of Zurich, The Orchestre de Chambre de Lausanne and The London Mozart Players among them. She has long been especially interested in fortepianos of the late 18th and early 19th century and nowadays she devotes her musical activity entirely to these. She has recorded about thirty albums, the majority of which feature works of Schubert and Beethoven. This is the third release of works by Mozart for Musica Omnia.

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Mozart: Sonatas, K. 330, K. 333, K. 576 / Rondo, K. 511
Musica Omnia Jul 2020
CD
$14.99

Corellisante - Sonatas by Corelli & Telemann / Schwarz, Rebel
Sono Luminus May 2007
CD
$18.99

Schumann: Violin Sonatas / Ulf Wallin, Roland Pontinen

BIS

SACD

$21.99 Dec 01, 2011

Robert Schumann's three Sonatas for violin and piano were all composed between 1851 and 1853. They - especially No.3 - have to some extent suffered from the same neglect and incomprehension that has been the fate of other works from this period in the composer's life, only a few years before he died in a mental institution. During the same years a number of other works for the violin saw the light, including the Violin Concerto and the Fantasy for violin and orchestra. The concertante works were written for the violinist Joseph Joachim, but it may have been a letter from Ferdinand David, concert master of the Leipzig Gewandhaus Orchestra, that provided the initial impulse to compose chamber works for the violin: 'I am uncommonly fond of your Fantasiestücke for piano and clarinet; why don't you write something for violin and piano? ... How splendid it would be if you could write something of that kind, that your wife and I could play for you.' Here the performers are Ulf Wallin and Roland Pöntinen, a team who recorded their first disc for BIS in 1991, and whose partnership has been described as 'masterfully cultivated ensemble playing' on website ClassicsToday.com. Wallin's credentials in Schumann must also be regarded as firmly established, after his recently released recording of the violin concerto, the Fantasy and the arrangement for violin of the cello concerto. The reviewer in Daily Telegraph found it 'hard to imagine more sympathetic and insightful performances of these wonderful pieces', and his colleague on the German website Klassik-Heute agreed, describing Wallin as 'violinistically brilliant and musically perceptive'

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Schumann: Violin Sonatas / Ulf Wallin, Roland Pontinen
BIS Dec 2011
SACD
$21.99

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Vivaldi: Opera II - Sonate 1/6 per violino e basso continuo
Tactus Jan 1995
CD
~~$21.99~~ $16.99

Clarinet Sonatas
Kontrapunkt Jan 1991
CD
$22.99

Boismortier: Sonates a deux violes, Op. 10 / Les Deux Violes

Antes Edition

$24.99 Mar 06, 2020

Les deux Violes (Georg Noeldeke & Rahel Klein, viola da gamba) present their new album on the ANTES EDITION label. Georg Noeldeke was born in Neuenburg in 1964. His first music lessons were with Prof. Rolf Schweizer at the Evangelical Singin School Pforzheim. He studied double bass and musical composition at the music academies in Trossingen and Mannheim. Since 2000 he has worked as a freelance artist with a focus on early music and historical string instruments. Rahel Klein was born in Calw in 1992 and grew up in a family of musicians. She began playing cello at the age of six, and was drawn eventually to the music of the Baroque era. Rahel Klein works as a freelance musician in various projects. She teaches at the music schools in Calw and Trossingen.

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Boismortier: Sonates a deux violes, Op. 10 / Les Deux Violes
Antes Edition Mar 2020
CD
$24.99

Medtner: Complete Piano Sonatas, Vol. 2 / Stewart

Grand Piano

$19.99 Nov 11, 2016

Nikolay Medtner’s 14 piano sonatas are considered the most significant achievement in this genre by any composer since Beethoven. After the success of his First Piano Sonata (GP617) he turned to Goethe for inspiration, and the life and love-affirming Sonata-Triad Op. 11 translates the poet’s words of passion, suffering and redemption into sound. The capricious, mysterious and beautiful Sonata-Skazka is a masterpiece in miniature and was once Medtner’s most performed work. Dating from his years of exile, the eloquent themes of the fourteenth and final Sonata-Idyll linger long in the memory.

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Medtner: Complete Piano Sonatas, Vol. 2 / Stewart
Grand Piano Nov 2016
CD
$19.99

The Trio Sonata In 17th Century Germany - London Baroque

BIS

$21.99 Mar 01, 2008

On two previous discs, London Baroque has explored the genre of the trio sonatas as it unfolded in 17th Century France and England. Both these issues met with great acclaim. The ensemble has now arrived in Germany, or more correctly: the German-speaking world of the time, as the programme also features works from the Low Countries and Austria. The great masters of the period, Buxtehude and Biber - are both among the ten composers represented here. But included are also other, less well-known names, such as Johann Schmelzer and Johann Rosenmüller. The great variety of styles and forms found on the disc fully reflect the diversity among the composers, while also serving to remind the listener of the fact that the trio sonata genre was just becoming established during the period.

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The Trio Sonata In 17th Century Germany - London Baroque
BIS Mar 2008
CD
$21.99

Genzmer, H.: Trombone Sonata / Trumpet Sonatina No. 2 / Bass
Thorofon Apr 2002
CD
$24.99

Beethoven: Piano Sonatas Op 10, No 1, 2 & 3 / Mari Kodama

PENTATONE

SACD

$16.99 ~~$21.99~~ Save 20% Mar 29, 2011

BEETHOVEN Piano Sonatas , op. 10/1–3 • Mari Kodama (pn) • PENTATONE 5186 377 (SACD: 59:20)

This is the latest installment of a cycle-in-progress (though new to me) by Mari Kodama, a Japanese student of Nikolayeva and Brendel. Her playing is impressive in its refinement and control, if occasionally a little predictable. The three op. 10s make for a satisfying program, though they’re curiously presented in reverse order here (Beethoven’s own is more logical, with the biggest, most ambitious work placed last).

No. 1 in C Minor goes well, with few surprises. Kodama generally lets the outer movements speak for themselves—straight, incisive, dramatic, forceful, with effective lyrical contrasts. Tension is well maintained, with a convincing sense of real performance (vs. a recording-studio run-through). The Adagio is straightforward, perhaps to a fault—here I miss the imaginative flexibility and expressive depths others bring to the music (e.g., Schiff/ECM, Lewis/Harmonia Mundi, or the recently reviewed Ohlsson/Bridge and Ehlen/Azica). The recorded sound of her Steinway is rich, resonant, and close, but a little “plummy” for my taste, with a pronounced resonant overhang. Her playing is certainly not over-pedaled, but a real staccato articulation is in short supply.

This is a bigger drawback in the first movement of No. 2 in F where, for all the poise and polish, Beethoven’s numerous injunctions to very short articulations (e.g., at the beginning, bars 38 ff., and 47 ff.) are rarely effectively realized. The development has a slightly stolid feel (the second repeat is observed). The F-Minor Allegretto is taken slowly, to rather dour effect, with (for my taste) an insufficient variety of texture and attack; the Presto finale is kept well under control at a moderate tempo. In the last resort, I find this all a little too uneventful.

The big D Major receives the most consistently satisfying performance of the three. The opening Presto is richly varied, supple and sinuous, with an exciting surging momentum. The Largo e mesto is all dark, glinting marble, and in this instance the finale finds her relishing the music’s wide-ranging phrase and textural discontinuities.

So, a slightly mixed bag. But there’s much playing of real distinction here, and anyone wanting a high-quality version of the three op. 10s in state-of-the-art sound won’t go wrong. For the general collector, perhaps not a first choice (see alternatives mentioned above), but I’ll be keeping this in my collection, and can see returning to the first and third sonatas.

FANFARE: Boyd Pomeroy

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

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Beethoven: Piano Sonatas Op 10, No 1, 2 & 3 / Mari Kodama
PENTATONE Mar 2011
SACD
~~$21.99~~ $16.99

Handel: Sonatas for Violin & Basso Continuo / Brook Street Band

Avie Records

$19.99 Jun 01, 2018

The Brook Street Band has produced attractive recordings of Handel’s chamber music for Avie, and this newcomer is no exception. There are nine Handel violin sonatas, theoretically, and all of them are included here. Of course, with Handel you never really know. Five sonatas exist in verifiable manuscripts, four were printed without any demonstrable input from the composer, and all of them may well use music by others, as was Handel’s wont. But none of it matters because, as Tovey perspicaciously observed, every note added by Handel annihilates the rest.

The first sonata (in G, HWV158) dates from Handel’s days in Italy, and it’s the only work in three movements. I was a bit worried here because in the central slow movement violinist Rachel Harris adopts a “period instrument tone” that has soft, sustained notes on the verge of disappearing entirely. Of course, a decent vibrato would have helped, but as the saying goes, if the basic timbre is unattractive that’s like trying to put lipstick on a pig. Happily, once past the Sonata in G, Harris shows that her sound in sustained music, while slender, is mellow, touching, and sensitively varied.

The remaining sonatas are all in “church” style, that is four movements, slow-fast-slow-fast(ish). Three are in minor keys, smartly dispersed within the broadly chronological ordering of the set, and they provide welcome contrast to the general predominance of charm and cheer. Of course, all of the music is charming, with an abundance of melody that suggests, as the booklet notes state, that Handel’s authorship even in the four doubtful works is more likely than not. If eighty minutes of less than familiar Handel, elegantly presented and naturally recorded sounds appealing, then by all means give this disc serious consideration.

– ClassicsToday (David Hurwitz)

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Handel: Sonatas for Violin & Basso Continuo / Brook Street Band
Avie Records Jun 2018
CD
$19.99

Soler: Keyboard Sonatas Nos. 63-66

Naxos

$19.99 Dec 02, 2016

Before his thirtieth birthday the young Catalan composer Antonio Soler had become maestro di capilla and organist at the Escorial palace, positions he held for hte rest of his life. Many of his keyboard sonatas were written for Don Gabriel, son of King Carlos III, and they represent his greatest compositional achievement, effortlessly embodying the dual influences of Domenico Scarlatti and the emergent Viennese school. Each sonata in Volume 6 has its own distinctive character, from the ingenious contrasts of No. 63 in F major and the harmonic sophistication of No. 64 in G major to the delicious Iberian colours evoked in No. 66 in C major.

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Soler: Keyboard Sonatas Nos. 63-66
Naxos Dec 2016
CD
$19.99

Ives: Piano Sonata No. 2 - Harbison: Piano Sonata No. 1
Bridge Records Jan 1992
CD
$18.99

Bach, J.S.: Violin Sonatas Nos 1-3 / Violin Partitas Nos. 1-
IDIS Feb 2008
CD
$32.99

Rachmaninoff: Piano Concerto No. 1; Piano Sonata No. 2; Core

Piano Classics

$19.99 Mar 21, 2025

Back in 2015, Fanfare singled out Ekaterina Litvintseva's first solo album of Rachmaninoff, including the Moments musicaux Op.16, as an 'impressive outing. Her playing is tonally rich and extremely thoughtful.' Since then, she has assembled an impressive and critically acclaimed catalogue on Piano Classics, including most recently the great Trio elegiaque which Rachmaninoff wrote in memory of Tchaikovsky: 'an attractive and valuable disc' (Fanfare). Litvintseva now turns to a trio of uncontested masterpieces by the Russian composer, demonstrating within a single album the range of his stylistic evolution over the course of 40 years. He was still a teenager, studying at the Moscow Conservatoire, when he wrote his First Piano Concerto in 1891. On the instruction of his teachers, he took the Grieg Concerto as a model, and poured his own invention into it: a remarkably successful strategy, as it turned out, because the finished work is both strong and personal, touched with many of those fingerprints of gesture and harmony which we have come to think of as quintessentially Rachmaninoff. These include flights of lyric fantasy and equally sudden, unexpected turns towards melancholy introspection. Rachmaninoff had become an international celebrity by 1913, when he took his family to live the high life with him in Rome, at a home which Tchaikovsky had once used. In the Italian capital he began work on the imposing Second Piano Sonata, though the work had to be completed back at the family estate, Ivanovka, when his daughters came down with typhus. Rachmaninoff overhauled the Sonata in 1931, cutting and in some places simplifying it's form, and it is this version which Litvintseva plays: a stylistic bridge between mid-period and late-style in a composer whose capacity for reinvention has often been underestimated. By 1941 he was an exile living in the US and Switzerland, where he wrote his Variations on a theme of Corelli - the 'La folia' theme adopted by countless of his predecessors. Informed by decades of pianistic and creative mastery, Rachmaninoff makes the theme his own with a neoclassical severity and haunting economy of expression. Thus, taken as a whole, Ekaterina Litvintseva's new album pays a wide-ranging and personal tribute to a composer who has inspired her playing since her formation in Siberia. - Ekaterina Litvintseva is one of the most remarkable pianists of her generation. Her recordings won her enthusiastic acclaim in the international press: "a notable moment in the history of Chopin interpretation" (Fanfare); "a sense of spontaneous invention" in Mozart's K.271 (Gramophone) and "an expressive depth" in Brahms's 1st Piano Concerto (BBC Music Magazine). She previously recorded for Piano Classics an album with piano works by Dora Pejacevic (PCL10226), as well as the Works for Piano and Orchestra by Chopin (PCL10142 and 10274), which was a CD Of The Week at Classic FM. - In this new release Litvintseva displays her innate feeling for the idiom in works by Sergei Rachmaninoff (1873-1943): the youthfully exuberant First Piano Concerto, the monumental Second Piano Sonata and the innovative Corelli variations Op. 42, cornerstones of the piano repertoire nowadays, and played with vigour, drama and a deep sense of poetry. The concerto is accompanied by the Nordwestdeutsche Philharmonie, conducted by Vahan Mardirossian.

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Rachmaninoff: Piano Concerto No. 1; Piano Sonata No. 2; Core
Piano Classics Mar 2025
CD
$19.99