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Concert Recordings, Vol. 1 (Recorded 1952) (Live)
APR Feb 2003
CD
$18.99

Korngold: Suite, Op. 23; Piano Quintet, Op. 15 / Spectrum Concerts Berlin

Naxos

$13.99 ~~$19.99~~ Save 30% Nov 13, 2020

Erich Korngold was described as ‘arguably the most remarkable prodigy in history’, whose transition into artistic maturity was almost seamless. The successes of his youth continued with works such as the Piano Quintet, Op.15, in which the brilliant interplay of the instruments, songful expressiveness and dramatic power create a masterpiece of weight and sub-stance. The Suite, Op.23 is a highly virtuosic piece in which Korngold leads us on a monumental stroll through a gallery of European musical history, from Bach via Beethoven to the early 20th century. Spectrum Concerts Berlin has also recorded Korngold’s Piano Trio, Op.1 and String Sextet, Op.10 for Naxos.

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Korngold: Suite, Op. 23; Piano Quintet, Op. 15 / Spectrum Concerts Berlin
Naxos Nov 2020
CD
~~$19.99~~ $13.99

Beethoven: 10 Piano Sonatas / Walter Gieseking

Andromeda

$10.99 Jan 01, 2012

Includes Sonatas no. 8, op. 13, "Pathétique;" no. 17, op. 31/2, "Tempest;" no. 21, op. 53, "Waldstein;" no. 23, op. 57 "Appassionata;" no. 9, op. 14/1; no. 16, op. 31/1; no. 24, op. 78; no. 25, op. 79; no. 26, op. 18a, "Les Adieux;" no. 17, op. 90.

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Beethoven: 10 Piano Sonatas / Walter Gieseking
Andromeda Jan 2012
CD
$10.99

Emil Gilels Plays Tchaikovsky (1959)
IDIS Jan 2011
CD
$16.99

Dussek: Piano Sonatas, Op. 9 - The Sufferings of the Queen o

DUX

$21.99 Jan 03, 2020

Born on 12 February 1760, Jan Ladislav Dussek is one of the most recognizable artists at the end o f Classicism and beginning of Romanticism. His rich artistic output gained recognition mainly due to innovative, for that time, piano works and numerous symphonies. Dussek significantly contributed to the spread of English pianos in Europe, which implied further development of construction of these instruments. The album contains three Piano Sonatas, Op. 9 and the cycle The Sufferings of the Queen of France, Op. 23 performed by world-renowned Marek Toporowski.

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Dussek: Piano Sonatas, Op. 9 - The Sufferings of the Queen o
DUX Jan 2020
CD
$21.99

SONATAS FOR VIOLIN & PIANO
Haenssler Classic Mar 2004
CD
$20.99

Weiner: Divertimentos Nos. 1 & 2 / Csanyi, Budapest Symphony Orchestra MAV

Naxos

$13.99 ~~$19.99~~ Save 30% Jul 24, 2020

Leó Weiner, a contemporary of Bartók and Kodály, was a profoundly important teacher in Budapest whose own music developed from a more traditional Romantic model – exemplified by the songful Románc, Op. 29 – to an absorption of his native Hungarian folk music during the 1930s. The two Divertimentos for strings, vibrantly orchestrated sequences of dances, are among the best-known works of this period. The later Hungarian Nursery Rhymes and Folk Songs draw on some archaic and very popular native melodies. Volumes 1 and 2 can be heard on 8.573491 and 8.573847. This is Volume 3 of Valéria Csányi’s ongoing series of the complete orchestral works by Weiner, with the Budapest Symphony Orchestra MÁV. Vol. 1 includes the complete ballet C song or and Tünde (8.573491)in which Gramophone wrote that ‘Csányi shapes the score as if she really loves it’, while Fanfare stated that ‘this disc represents a charming discovery.’

-----

REVIEW:

This is the fourth disc in Naxos’ survey of the orchestral music of Leó Weiner—each performed by the same artists as here. All of these CDs have been impressively and idiomatically performed and the repertoire is valuable in expanding the knowledge of Weiner’s work outside his native Hungary. For those discovering his music for the first time, this disc might be the best introduction to his work of the series so far.

In terms of both musical content and simple length, the Pastorale, Fantasy and Fugue Op.23 is the most substantial work on this disc. The use of folk-inspired melodic and rhythmic shapes is unmistakable but none of these are explicitly folk-derived although the fugal finale does draw on a traditional Hungarian bagpipe song. This is certainly a work that deserves to be more widely known and played outside of its native Hungary.

This well recorded, confidently played programme cements the attractive music of Leo Weiner as being well-worth performing. With the exception of the Op.23, this is essentially quite light but very enjoyable music that benefits from sympathetic and idiomatic performances. István Kassai’s English-only liner is very helpful highlighting information about both the music and this relatively unfamiliar composer.

– MusicWeb International

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Weiner: Divertimentos Nos. 1 & 2 / Csanyi, Budapest Symphony Orchestra MAV
Naxos Jul 2020
CD
~~$19.99~~ $13.99

Beethoven: Piano Sonatas, Vol 8 / Ohlsson

Bridge Records

$14.99 ~~$18.99~~ Save 20% Aug 12, 2008

This disc presents three sonatas, No. 1, No. 23 ('Appassionata'), and No. 30, Op. 109, performed by 2008 Grammy-winning pianist, Garrick Ohlsson. In the words of annotator Frank Cooper, 'Three stages of greatness-exploratory, revolutionary, visionary- are represented here...'.

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Beethoven: Piano Sonatas, Vol 8 / Ohlsson
Bridge Records Aug 2008
CD
~~$18.99~~ $14.99

Paul Juon: Orchestral Works, Vol. 1
Sterling Records Aug 2013
CD
$20.99

Rachmaninov: Piano Sonata No. 2; 10 Preludes, Op. 23 / Emre Yavuz

Tyxart

$20.99 Nov 06, 2020

Two giant works: the lesser played 1913 version of Op. 36, Piano Sonata No. 2, an epic piece in the truest sense of the word and Op. 23, 10 Preludes, an intimate cycle, both challenge the physical and psychological limits of the player and the listener. With the help of the Bösendorfer Concert Grand 280VC – Vienna Concert this recording dives deep into the rich, orchestral sound world, as well as the dark nature of these works, loaded with fine details, technical and emotional extremities, candid moments and explosivity. Emre Yavuz was born in 1990 in Izmir, Turkey. His talent for learning at a rapid pace was evident at an early age, eventually leading to a musical education. He started his education in music in 1998 under the “Educational Act for Prodigy Children”, studying with Kamuran Gündemir in Ankara. He continued his studies with Fazil Say and Sanem Berkalp at the Bilkent University, where he also studied composition. Later studying with Roland Batik in Vienna, Karl-Heinz Kämmerling in Hannover, and with Arie Vardi in Hannover and Tel Aviv. Starting at an early age Yavuz played with major orchestras performing concertos of Mozart, Beethoven, Chopin, Saint-Saëns, Tchaikovsky and Rachmaninoff. With his interpretations of Chopin he won prizes in Sicily in 2007, and in Vienna in 2010. He became the first piano student of the Vienna Conservatory to graduate with full grades upon his final recital, performing works by Beethoven, Saygun and Rachmaninoff. In 2013 he performed Beethoven’s Concerto No. 3 under the conduction of Zubin Mehta. Emre has competed in a number of competitions, winning prizes internationally.

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Rachmaninov: Piano Sonata No. 2; 10 Preludes, Op. 23 / Emre Yavuz
Tyxart Nov 2020
CD
$20.99

Schumann: Novelletten Op. 21; Nachtstucke Op. 23

Piano Classics

$19.99 Mar 21, 2025

Reviewing previous issues of Schumann's piano music played by Constantino Catena, critics in Fanfare have noted the Italian pianist's affinity for the composer's unique sound world, it's peculiar subtleties and idiosyncrasies. 'Catena's playing is a precise balance of fluidity and markedness' (Davidsbundlertanze); 'he plays with wonderful tone and fine sensibility' (Fantaisie). For this new recording, made on a Yamaha CFX instrument in May 2024, he turns to a pair of cycles comparatively neglected within Schumann's pianistic output. While his fellow Italian Dino Ciani made a famous recording of the Novelettes Op.21 back in the 60s, the sequence of eight works has never attracted the attention of works like the Fantaisie or Kreisleriana, yet they embody the composer's inspiration in full spate. Schumann wrote to Clara early in 1838: 'In the last three weeks I have composed an extraordinary amount of music: hilarious things, Egmont stories, family scenes with fathers, a wedding.' True to their title, each Novellette tells a story in miniature, abundant in the poetic division between the heroic Florestan and dreamy Eusebius by which Schumann crystallised his own creative temperament. They also make a satisfyingly progressive sequence which culminates in the longest and most complex work in the cycle, alternately dancing and surging towards a grand apotheosis. By complement, the quartet of Nachtstucke Op.23 is a more introspective cycle, marked by a spirit of obsession which finds expression in piano writing of greater severity, less floridity and exuberance. The cycle was probably conceived in the wake of his brother Eduard's death; No.1 describes a cortege passing and receding from view. On Brilliant Classics, Catena has made premiere recordings of the piano music by Ermanno Wolf-Ferrari, rediscovered at the Staatsbibliothek in Munich and edited by him, for Edizioni Curci, as well as all the chamber music with piano by the same composer. Also for Brilliant Classics, he recorded Franco Margola's Double Concerto for violin, piano and orchestra. 'Catena's technical facility is astounding. The overall range of dynamics, colour and expression is excellent, and you can hear that he is always in control of the direction of the piece. He is a formidable artist' (Philip Borg-Wheeler, Fanfare). - The Novelletten, Op.21, composed by Robert Schumann in 1838, is a set of eight character pieces for solo piano. Schumann (1810-1856) told his friend and teacher Heinrich Dorn that this music could only be understood with reference to the figure of Clara Wieck, and to the battles he fought on behalf of their love for each other. These works reflect Schumann's literary and imaginative tendencies, as the title suggests "little novellas" or short stories, aligning music with the narrative qualities of literature. Written during a highly creative period in his life, these pieces are imbued with contrasting moods and themes, often shifting between passionate, lyrical, and whimsical styles. - Each piece in the set has it's own distinct character while sharing thematic connections. The Novelletten showcase Schumann's mastery of piano writing, featuring intricate textures, rhythmic vitality, and expressive melodies. There is an interplay of contrasting sections within each piece, often marked by sudden changes in tempo and dynamics, which mirrors Schumann's fascination with duality and juxtaposition, possibly inspired by his alter egos Florestan and Eusebius - representing his fiery and introspective sides. - Also included in the recording are the Nachtstucke Op.23, which Schumann composed in March 1839. They are based on literary works by E.T.A. Hoffmann. - Costantino Catena studied piano under the guidance of Luigi D'Ascoli and then went on to specialize with Konstantin Bogino, Boris Bechterev, Bruno Mezzena and Aldo Ciccolini. Currently a piano teacher at the Salerno Conservatory of Music, he also holds degrees in Philosophy and Psychology. Praise for his previous CDs: 'A pianist in whom the art of singing on the keyboard shines above all with phrasing inventions that demonstrate his exquisite musical intelligence' (Carlo Vitali, Amadeus), 'Catena's technical facility is astounding. The overall range of dynamics, color and expression is excellent, and you can hear that he is always in control of the direction of the piece. He is a formidable artist' (Philip Borg-Wheeler, Fanfare Magazine).

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Schumann: Novelletten Op. 21; Nachtstucke Op. 23
Piano Classics Mar 2025
CD
$19.99

Tchaikovsky, Arensky, Elgar & Fuchs: Music for Strings / Famà, Orchestra Orfeo

Brilliant Classics

$10.99 ~~$13.99~~ Save 20% Sep 23, 2022

The golden age of string orchestra repertoire must certainly be the period spanning the final decades of the 19th century to the early 20th century. The density of sound, great dynamic range, long phrases and virtuosity that are uniquely possible with this combination of instruments saw it become a particularly cherished ensemble for many of the greatest composers of the day. Tchaikovsky’s Andante Cantabile is the composer’s own transcription of the second movement from his famous String Quartet No.1, prepared for a private concert in Paris (February 1888) with cellist Anatoly Brandukov and the Edouard Colonne Orchestra conducted by the composer. Russian composer and pianist Anton Arensky (1861–1906), who was strongly influenced by Tchaikovsky’s style, is particularly known for his Variations Op.35a on a theme by Tchaikovsky. Again, this is an own-arrangement of the second movement of Arensky’s String Quartet No.2 in A minor. Written in 1894 on the occasion of Tchaikovsky’s death, the work takes as its theme Tchaikovsky’s song ‘Legend’, adding seven variations and a coda.

Elgar’s Elegy for Strings was written in 1909 after the funeral of Robert Hadden – one of the members of the Worshipful Company of Musicians in London – at the suggestion of Elgar’s publisher Alfred Littleton and intended as a commemorative piece for future ceremonies. It was first performed in St Paul’s Cathedral in 1914, where it is still heard for commemorative celebrations today. Its popularity is justified by the poignant beauty of every single musical phrase. Most famous for his series of serenades for string orchestra, Robert Fuchs (1847–1927) is considered a worthy heir to the Viennese romantic musical tradition.

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Tchaikovsky, Arensky, Elgar & Fuchs: Music for Strings / Famà, Orchestra Orfeo
Brilliant Classics Sep 2022
CD
~~$13.99~~ $10.99

Haydn: String Quartets Op 17 No 3, 5 & 6 / Kodály Quartet

Naxos

$19.99 Apr 15, 1999

"The Kodaly’s Haydn will now be familiar enough to many readers. It deploys a mellow, homogeneous tone and phrases with care and natural musicality. The first violin, very much primus inter pares in these early quartets, shapes the beautiful slow movements of Nos. 3 and 6 with unforced eloquence. The irrepressible, gigue-like opening movement of No. 6, with its adventurous tonal excursions (foreshadowing the similar opening movement in Op. 20 No. 6) , has a nice lift to the rhythms and a lively sense of give-and-take; and each of the minuets is well characterized, notably that of No. 3, with its bizarrely scored Trio (second violin and cello singing the tune two octaves apart, separated by a flowing accompaniment on the first violin and a rustic drone on the viola)."

-- Richard Wigmore, Gramophone [Awards Issue 1999]

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Haydn: String Quartets Op 17 No 3, 5 & 6 / Kodály Quartet
Naxos Apr 1999
CD
$19.99

Buxtehude: Suites In C Major And D Minor, Etc / Lars Ulrik Mortensen

Naxos

$13.99 ~~$19.99~~ Save 30% Mar 25, 2008

The suites offered here present the intimate, domestic aspect of Buxtehude’s keyboard art. In each case, the allemande is the weightiest element, “the proposition in a musical suite, from which the corrente, sarabande and gique [sic] flow as parts”, in the words of Buxtehude’s grandstudent Martin Heinrich Fuhrmann. Indeed, the openings of Buxtehude’s correnti often follow the melodic contour of the allemande, and in the case of the Suite in F major, BuxWV 238, the corrente approaches an actual variation of it. The Ryge manuscript usually spells this movement “Courent” in a curious mixture of French and Italian; in fact Buxtehude usually follows the Italian corrente, with its lightly running quaver motion, rather than the more subtle French courante. Fuhrmann characterizes the sarabande as an “instrumental aria, usually eight measures, going slowly in triple”, and this is the shortest and simplest movement of a Buxtehude suite. Two of the present suites (BuxWV 226 and 233) offer a second sarabande that is not a double, or variation, of the first. The second sarabande of BuxWV 233 has a distinctly vocal quality, as opposed to the more instrumental stile brisé of the first. The gigues in Buxtehude’s suites have a more contrapuntal texture than the other movements, but they are not strictly fugal, usually dissolving into homophony after a few entrances. It is through the gigue, however, that the dance makes itself most strongly felt in the other genres of Buxtehude’s keyboard music.

The set of three variations named simply Aria, BuxWV 249, are based on the sarabande. Its second and third variations contain written-out varied repetitions of each of the sections of the binary form, demonstrating how Buxtehude might actually have performed those repetitions that he normally indicated only with repeat marks.

Buxtehude’s chorale settings for keyboard are preserved mainly in manuscripts compiled by Johann Gottfried Walther, organist in Weimar and cousin of J. S. Bach. Although most of them require two manuals and pedal, a few do not, and there is no reason why they should be confined to the church organ. One in particular seems appropriate for performance on the harpsichord: the Partita: Auf meinen lieben Gott, BuxWV 179. Here Buxtehude combines three genres, the dance suite, the variation set, and the chorale setting, to produce an unusual hybrid form, consisting of Allemande (unnamed), Double, Courante, Sarabande, and Gigue. Wie schön leuchtet der Morgenstern, BuxWV 223, belongs to the genre of the chorale fantasy, in which each phrase of a chorale melody is developed rather extensively in a different manner. Here too the gigue makes a prominent appearance, concluding the work in a fugal treatment of the entire melody.

Buxtehude’s free keyboard works - those independent of a preexisting melody or dance pattern - are mainly transmitted in manuscripts that include both pedaliter and manualiter works. Among these, his most original and justly famous works are praeludia and toccatas in the stylus phantasticus, which intermingles highly unpredictable free sections in virtuosic and idiomatic keyboard styles with more structured fugal sections. Since organists naturally prefer the pedaliter works, those for manuals alone are much less frequently performed, thus offering rich opportunities to adventurous harpsichordists. Even in these free works one can find elements of dance and variation. In place of a second fugue, the Toccata in G major, BuxWV 165, contains a brief passage of ostinato variations that are faintly reminiscent of Pachelbel’s famous canon. Buxtehude may have conceived his canzonas as teaching pieces; they are all manualiter works, and students most often practised on the clavichord or harpsichord. They are variously titled canzon, canzonet, or fuga and consist either of a single fugue (BuxWV 225) or of three related fugues (BuxWV 166 and 176) in the manner of the variation canzona inherited from Frescobaldi and Froberger. The gigue makes an appearance yet again as the second fugue of BuxWV 166.

Kerala Snyder

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Buxtehude: Suites In C Major And D Minor, Etc / Lars Ulrik Mortensen
Naxos Mar 2008
CD
~~$19.99~~ $13.99

PIANO SONATA FANTASIA
Urania Records Jan 2004
CD
$18.99

PIANO SONATAS: NO. 13 NO. 14

MUSICAL CONCEPTS

$10.00 ~~$10.01~~ Save 0% Jan 20, 2015

Kvapil is considered the finest exponent of Czech piano music.. a performer with such a specialized repertoire is often unfairly 'tagged' with the erroneous reputation of not playing anything else, and Kapil's present release of three Beethoven piano sonatas will certainly correct that idea.

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PIANO SONATAS: NO. 13 NO. 14
MUSICAL CONCEPTS Jan 2015
CD
~~$10.01~~ $10.00

Vladigerov: Orchestral Works, Vol. 2 / Vladigerov, Bulgarian National RSO

Capriccio

$22.99 Apr 02, 2021

In Bulgaria, both folk and art music evince an ancient tradition that strikes awe even in some of the great music nations today. The way Pancho Vladigerov incorporated these folk-music themes into his concert pieces shows not only his affinity for them but also suggests that he felt something of a calling to promulgate and champion the folk-traditions of his central European homeland. The most-performed work of Pancho Vladigerov’s is undoubtedly his Bulgarian Rhapsody op.16 “Vardar” from 1922. The most outstanding must be his Seven Symphonic Bulgarian Dances op.23 (1931), with which he might have wanted to create a counterpart to Brahms’ Hungarian Dances, Dvorák’s Slavonic Dances, or Grieg’s Norwegian Dances or similar such popular aural nationalistic postcards.

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Vladigerov: Orchestral Works, Vol. 2 / Vladigerov, Bulgarian National RSO
Capriccio Apr 2021
CD
$22.99

Bach: Partitas for Harpsichord / Tilney

Music and Arts Programs of America

$24.99 ~~$32.99~~ Save 25% Oct 16, 2020

Johann Sebastian Bach's six Partitas for Harpsichord are among the greatest and most inspired works of all keyboard literature. They represent the composer's genius at the height of his maturity, matched only by his Goldberg Variations. They are performed here by Colin Tilney on a copy of an instrument by Christian Zell, Hamburg, 1728, built by Colin Booth, Wells, England, 1984. Colin Tilney is internationally known for his harpsichord, clavichord and fortepiano playing, with many solo recordings on DG (Archive), EMI Electrola, Decca, Hyperion, Dorian, Doremi and CBC SM 5000. Originally working in London as an accompanist and repetiteur, in 1979 he moved to Canada, first to Toronto, where he taught at the Royal Conservatory of Music and founded the chamber group Les Coucous Benevoles; more recently (2002) to Victoria where he is on the staff of the Music School at the University of Victoria. J.S. Bach: Partitas for Harpsichord is his eighth recording for Music & Arts.

REVIEW:

Colin Tilney’s tempos in Bach’s music have considerably slowed down with age (the harpsichordist is 87 at this writing), and he never was a sprinter to begin with. As a consequence, his Six Partitas rarely reflect the music’s dance roots. Indeed, movements dependent on rhythmic momentum, like the Fifth Partita’s Praeambulum, No. 6’s Air, No. 3’s Courante, and all of the Gigues often leave a ponderous impression. Rhythmic amorphousness prevails in No. 1’s Praeludium, where Tilney’s loosely held duple meter soon settles into a tuple meter groove. However, Tilney retains his masterful legato finger technique, and the ability to make the quills on his resplendently engineered harpsichord sing, as No. 1’s Sarabande, No. 2’s Sinfonia, and No. 4’s sensitively ornamented Allemande bear out.

Given the performances’ leisurely trajectory, it’s not surprising that they spill over to three CDs rather than the usual two. While my reference Bach Partitas on harpsichord remain those of Trevor Pinnock (Hänssler), Igor Kipnis (Warner Classics), and Jory Vinikour (Sono Luminus), the sheer beauty that Tilney creates in Bach’s more reflective movements may well be worth the price of admission.

-- ClassicsToday.com (Jed Distler)

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Bach: Partitas for Harpsichord / Tilney
Music and Arts Programs of America Oct 2020
CD
~~$32.99~~ $24.99

Bach: Works for Harpsichord / Skowroneck

Tyxart

$20.99 May 22, 2020

J.S. Bach's 6 English Suites (BWV 806-811) were written around 1715 during Bach's time at the court in Weimar (1708-1717). In spite of their title, most of the English suites begin with a large-scale polyphonic Prelude in the style of the Italian concerto grosso, whereas most of the dance movements are written in the French manner. The Prelude of the sixth suite (BWV 811) featured on this album is preceded by a slow introduction, which gives the piece some extra length and weightiness. The Gigue of this suite is particularly challenging because of its frequent organ points that are sustained by long trills, to be played against other voices in the same hand. Technically, this texture can be seen as a precursor of the so-called "Beethoven trill". The Prelude, Fugue and Allegro in E-flat major (BWV 998), written about twenty years after the English Suites, were conceived for "lute or harpsichord". Written in the soothing key of E-flat major, these pieces evoke a pastoral mood. The final selection on this recording (Suite) is Gustav Leonhardt 's (1928-2012) G minor arrangement of the second Violin Partita in D minor (BWV 1004). This transposed version makes exquisite use of the harpsichord's sonoraus potential. The famous Ciaccona, well known from a number of famous transcriptions for piano, concludes this suite. The harpsichord played on this recording was made in 1976 by Martin Skowroneck (1926-2014) after an original two-manual harpsichord from 1728 by Christian Zell. The instrument's plectra are made of bird's quill.

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Bach: Works for Harpsichord / Skowroneck
Tyxart May 2020
CD
$20.99

Handel Reimagined

NEO CLASSICS

$19.99 Sep 04, 2026

All music on this album is composed and arranged by Clara Ponty and inspired by the famous works of George Frideric Handel and additional arrangements by Pierre Doursout and Gladsome Passacaille by Johan Halvorsen and Clara Ponty. The album is co- produced by Clara Ponty and Pierre Doursout. Recorded, mixed and mastered by Julien Basseres. Clara Ponty is a classically trained pianist, singer, and composer with an eclectic body of work presented across six albums. Daughter of Jean-Luc Ponty, a pioneer and undisputed master of violin in the arena of jazz and rock, Clara's diverse background, including exposure to a broad world of music from an early age, along with residences in different countries and cultures, is the source of inspiration for the development of her wide-ranging output. All works are inspired by wellknown Suites, Minuets and of course one of his most famous works: Water Music. Clara Ponty revived the music in her own way and gave it all her own twist: 1. Sweet Gigue; Inspired by Handel's Suite in E Minor-Gigue G.162, 2. Sarabande Reimagined; Inspired by Handel's Suite in D minor-Sarabande G.110, 3. Baroque Andante; Inspired by Handel's Suite in D Minor-Presto G.117 and more to discover! 'I want to give new life to this exceptional music. My hope is that this album will be perceived as a bridge, proving that classical music is not a niche genre, but a universal emotion.' - Clara Ponty - When Baroque Meets Modernity: Composer-Pianist Clara Ponty unveils her album 'Handel Reimagined' - How can we breathe new contemporary life into the legacy of George Frideric Handel? With her new album 'Handel Reimagined, ' pianist and composer Clara Ponty offers a bold and intimate reinterpretation of the Baroque repertoire. Born out of the isolation of lockdown and a prestigious invitation to the city of Halle in Germany (Handel's birthplace), this opus breaks down the boundaries between eras, making classical music accessible to all generations. - Handel Reimagined - All works are inspired by well-known Suites, Minuets and of course one of his most famous works: Water Music. Clara Ponty revived the music in her own way and gave it all her own twist.

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Handel Reimagined
NEO CLASSICS Sep 2026
CD
$19.99

Bach: Complete English Suites / Yates

Chandos

$32.99 ~~$43.99~~ Save 25% Oct 01, 2021

J.S. Bach copied out and studied Dieupart’s Six Suittes de Clavessin of 1701, the form of which he then replicated in his ‘English’ Suites. Each suite begins with a substantial movement (called ‘Ouverture’ in Dieupart’s case) which is followed by the traditional allemande, courante, sarabande, ‘galanteries’ and a final gigue. The works are presented here by Sophie Yates.

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Bach: Complete English Suites / Yates
Chandos Oct 2021
CD
~~$43.99~~ $32.99

NOVELLETTEN OP.21 NACHTSTUCKE OP.23
HYPERION Nov 2014
CD
$18.33

Franck and Schubert Recital, Great Performances , Vol. 23
Bridge Records Jan 2006
CD
$18.99

Regondi: A 200th Birthday Bouquet / Starobin

Bridge Records

$18.99 Jan 20, 2023

David Starobin's recordings of 19th century music on Viennese guitars have been hailed as path-breaking, including his recent Matiegka sonatas disc, (BRIDGE 9567). Donald Rosenberg, in Gramophone wrote: "These works unfold with a spectrum of creative possibility, especially in Starobin's eloquent hands. The guitarist brings refinement to every turn of phrase, whether the music is marching, dancing or crying. This recording is a swansong to savor." In honor of the 200th birth year of Giulio Regondi, Victorian composer, guitarist, and concertinist, Starobin's new Regondi release combines previously unissued recordings, alongside re-mastered performances from Starobin's back catalog. In addition to Regondi's most well known works (Nocturne Reverie, op. 19 and Introduction et Caprice, op. 23), Starobin includes four transcriptions from Regondi's concertina etudes, guitar etudes nos. 2 and 10, and Regondi's Fetes Villageoise, op. 20 and Air Varie, No. 1, op. 21.

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Regondi: A 200th Birthday Bouquet / Starobin
Bridge Records Jan 2023
CD
$18.99

TCHAIKOVSKY: The Seasons (excerpts) / RACHMANINOV: Preludes
Cedille Jan 1989
CD
$19.99