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Beethoven: Piano Concerto No 5, Triple Concerto / Stern
Sony Masterworks Aug 2002
CD
$11.98

Stravinsky: Symphony in E-Flat Major and Suites Nos. 1 & 2

Oehms Classics

$19.99 Apr 06, 2018

Dmitri Kitayenko has been Music Advisor of the Zagreb Philharmonic Orchestra since the 2011/12 season. And if there is something with which Maestro Kitayenko has a special affinity, it is the Russian repertoire. It was not surprising, therefore, that he decided on Stravinsky for the first recording of this cooperation between the Orchestra and the Oehms Classics label. This recording includes Stravinsky's very first work, the Symphony in E-flat major, as well as the rarely performed Suites 1 &2 orchestrated by Stravinsky during the years 1921 and 1925. These works for chamber orchestra, however, were originally composed from 1914 to 1920 during the composer's years of exile in Switzerland. The Zagreb Philharmonic is an orchestra boasting a 147-year-old tradition of distinguished performing in Zagreb and Croatia. It has been a promoter of the art of music across Croatia as well as the country's cultural ambassacdor in the world. As one of the trademarks of the city it operates in, the music institution that boasts a long and notable tradition embodies the image of Zagreb as a Central European urban center of music, art, and culture.

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Stravinsky: Symphony in E-Flat Major and Suites Nos. 1 & 2
Oehms Classics Apr 2018
CD
$19.99

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

Marcello: Psalms And Sonatas / Lydia Cevidalli, Ensemble Salomone Rossi

Dynamic

$12.99 Jan 22, 2021

Benedetto Marcello was born in Venice in 1686 and died in Brescia in 1739. His vast musical output remains largely unexplored, but his most famous work is the Estro poetico-armonico – a collection of fifty psalms, including eleven ancient Jewish songs – called Intonazioni – and two sacred hymns from Greek classicism. Marcello acknowledged the importance of Jewish and classical music heritage, and by blending these different styles, he sought to underline their universal value. This album features Psalms Nos. 21 and 42, as well as the Sonata for Violin and Basso Continuo in E minor Op. 1, No. 1, and the first movements of Sonatas No. 5 in F major and No. 4 in G minor for solo harpsichord.

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Marcello: Psalms And Sonatas / Lydia Cevidalli, Ensemble Salomone Rossi
Dynamic Jan 2021
CD
$12.99

Stolzel: Quadri di Dresda e Bruxelles / Epoca Barocca

CPO

$18.99 Jan 29, 2013

STÖLZEL Quadri di Dresda e Bruxelles • Epoca Barocca • CPO 777 764-2 (51: 09)

Back in 24:1 and 24:5, Brian Robins passionately took up the cudgels of advocacy for Gottfried Heinrich Stölzel (1690–1749) in interviews with conductor Ludger Rémy, undertaken in conjunction with releases of two CDs comprising the composer’s Weihnachtsoratorium . Apart from that, there is still only one entry for the composer in the Fanfare Archive, for a single quartet from a baroque anthology disc. Finding listings of CDs of his works available domestically presents a serious challenge, as the search function on the normally reliable ArkivMusic website has something seriously askew in his case, alternately producing either only one entry, or else a list of 100 entries that are mostly for J. S. Bach instead, with the handful of genuine Stölzel items randomly intermixed. (For a proper list, visit my favorite European website, jpc.de). Apart from the five releases that Rémy has produced for CPO, the only other Stölzel CDs I can find in print are another version of the Weihnachtsoratorium on the MDG label, a disc of chamber music on the Ambitus label, and now this new CPO release of the composer’s Quadro Sonatas.

The continued obscurity of Stölzel is, at first sight, difficult to understand, given the considerable reputation he enjoyed in his own lifetime. Born in the small town of Grünstädtel, southeast of Zwickau and near the northwestern border of the modern Czech Republic, he came from humble circumstances; his father, the son of a miner, was the local schoolteacher and church organist. Although his parents gave him some musical training, they did not want him to pursue a career in that field, and upon graduation from secondary school in Gera he obediently enrolled as a student in theology at the University of Leipzig. However, once there he was soon entirely absorbed into the city’s thriving musical scene, becoming a copyist for Melchior Hofmann, a pupil of Emanuel Kegel, and a devoted friend of Johann Friedrich Fasch. By the time he moved to Breslau in 1710 he was composing his first opera in addition to some instrumental music. Shortly afterward he moved on to Halle and then, after rejecting offers of employment from the courts at Gera and Zeitz, went to Italy to further his musical education, where he met among others Antonio Vivaldi, Alessandro Marcello, Johann David Heinichen, and Domenico Scarlatti. Late in 1714 he went back north to Prague, and—after a brief stay in Bayreuth in 1717, plus rejection of a lucrative offer of employment at the electoral court in Dresden, probably because his strong Protestant convictions made a post at a Catholic establishment uncongenial—returned to Gera to become the court music director. In November 1719 he assumed what would prove to be a lifelong position as Kapellmeister for the ducal court in Gotha. Highly esteemed by his contemporaries, he was, for example, admitted to membership in the Correspondierende Societät der musicalischen Wissenschaften (Corresponding School of Musical Science) of the renowned Leipzig scholar Lorenz Christoph Mizler (1711–1778) several years before the application of J. S. Bach was accepted. Mizler also composed a funerary ode to Stölzel upon the latter’s death. For his part, Bach paid a minor tribute to Stölzel by including a Partita in G Minor by him (with the addition of a trio of Bach’s own devising) in his Klavierbüchlein für Wilhelm Friedemann Bach.

While Stölzel was a prolific composer of stage works, oratorios, masses, cantatas, and various instrumental works, little of his output has survived; for example, only 12 of his 85 known secular cantatas, and fragments from only 10 of his 442 sacred cantatas, are extant. At least 18 orchestral suites and over 90 vocal serenatas are completely lost. Part of this is due to the fact that his music quickly became unfashionable after his death; his successor at Gotha, Georg Benda, explicitly stated that he thought only select works of Stölzel’s compositional corpus were worth preserving, ones that he weeded out from what he termed “useless junk.” The rest was consigned to leaky attics, where depredations of weather and hungry rodents soon took their toll. In the case of the nine quadros presented on this CD, eight are taken from the musical archives in Dresden (assembled primarily by Georg Pisendel) and the ninth is preserved in an archive in Brussels. They are unusual not only for their inclusion of the horn, but also for using it as an equal partner at a time when, outside of music for hunting and martial occasions, it was usually assigned to a strictly subordinate role of reinforcing instrumental climaxes. The limitations of the valveless horn of that period necessitated that F Major be the predominant key of all of these quadros.

This is my first exposure to Stölzel’s music. Not having heard either the Weihnachtsoratorium or the Brockes-Passion that so roused the enthusiasm of my colleague Brian Robins, I have neither a basis nor desire to gainsay his highly positive judgment of those. However, I can say that, based on these works, I do not share his enthusiasm. Imagine, if you will, nine knock-offs of Bach’s Brandenburg Concerto No. 1 by a modestly talented pupil who lacks his master’s genius and artistry, and you will have the results presented here. They are pleasant and genial, and make for moderately enjoyable listening, but their commonplace thematic material prevents them from being anything more than that. I find no fault in either the sterling performances by Epoca Barocca, which presents these pieces in their best possible light, nor in CPO’s typically excellent recorded sound and lavish booklet notes. Based on this slender acquaintance, I am not about to make any general pronouncement on Stölzel’s merits as a whole; I will say that this disc is a purely discretionary rather than obligatory acquisition for the devotee of baroque instrumental music. If you choose to buy it, this disc will provide you with pleasure, but don’t expect it to bowl you over.

FANFARE: James A. Altena

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Stolzel: Quadri di Dresda e Bruxelles / Epoca Barocca
CPO Jan 2013
CD
$18.99

D'Anglebert: Suites for Harpsichord / Farr

Naxos

$14.99 ~~$29.99~~ Save 50% Oct 28, 2008

D’ANGLEBERT Harpsichord Suites: No. 1 in G; No. 2 in g; No. 3 in d; No. 4 in D • Elizabeth Farr (hpd) (period instruments) • NAXOS 8.570472 (2 CDs: 134:26)

Jean-Henry D’Anglebert (1629–1691) published only one book of his works, all of it for keyboard instruments, in 1689. It quickly became popular, appearing in a second, probably unauthorized edition, engraved in Amsterdam. Aside from the four suites that Farr has recorded here, it contained 15 dance transcriptions from Lully’s operas, four other transcriptions of anonymous origin, five fugues for organ on the same curiously angular subject, a Quatuor sur le Kyrie for organ, and a treatise on basso continuo. Though the composer wrote in his preface that he hoped to furnish at some future date existing works in other keys, they never found their way into print. More music written by D’Anglebert, however, has turned up in an autograph manuscript entitled Rés 89ter . It is believed to have been written largely in the composer’s hand, and includes 76 pieces, 54 of which are his transcriptions of lute music. Nine are earlier versions of his published works; four in C Major, were possibly meant for a second book; while the rest are pieces by Chambonnieres, Louis Couperin, Marin and Richard Marais.

So what Naxos and Farr have provided here is all of D’Anglebert’s original, extant, and known music for harpsichord, minus the four pieces in C Major. It is almost uniformly of substantial quality, favoring polyphonic mastery and fanciful invention in a lute style brisé over the richer vertical textures and descriptive pieces of other, later French Baroque musicians. It also possesses an expressively melancholy intimacy that brings to mind at times François Couperin.

There are other links to Couperin le Grand, as well. The most important for our purposes was their mutual insistence upon notational faithfulness in performance, without changes to tempo, rhythm, or further ornamentation. Couperin wrote as much in the Preface to his first volume: “I have already added all the necessary ornaments, and I have observed the correct vertical alignment of the notes.” James R. Anthony, in turn, remarked about D’Anglebert’s music in his French Baroque Music from Beaujoyeulx to Rameau that “the music is extremely travaillée ,” or worked up in a very detailed fashion. Just how worked up it is can be judged by D’Anglebert’s preface that provided an ornament table with 29 symbols, including some he invented, and many that he employed frequently throughout these pieces. (A copy of this table in Bach’s handwriting survives, indicating that he probably knew D’Anglebert’s work.)

Music as elaborate as this, with its rhetorical flourishes and pauses, could easily become mired in particulars. However, that’s not the case on this recording. Farr is very careful not to lose the forward pulse of the music while phrasing appropriately, as the Allemande in the G-Minor Suite illustrates. Nor does this force her into hectic tempos or rhythmic stiffness. The Courante II in G Minor, for example, shows how she can sustain an almost majestically gliding sense of movement in a piece played on the slow side of adagio (66 bps). Conversely, the Gigue I from the G Major Suite is a fast moderato (116 bps) treated with exceptional metrical flexibility, yet never loses its core dance-like element. It is this knife’s edge balance between rigidity and freeness, clarity of ornamentation and momentum, as much as it is a pursuit of clarity and loving sculpted phrasing that defines Farr’s performance on this release. She does a marvelous job, aided and abetted by a pair of fine instruments crafted by Keith Hill: a fine double manual harpsichord after François Blanchet, and a delicate lute harpsichord created using the description found in Adlung’s posthumously published Musica Mechanica Organoedi (1768).

Though each of these suites has been recorded by one or more harpsichordists other than Farr, I can find no instances of all four available in a single, current release. Byron Schenkman is both vital and distinguished on Centaur 2435, offering the Second Suite and excerpts from both other suites and the lute transcriptions. Céline Frisch is stylish if slightly less relaxed than Farr in the First Suite (minus the Gavotte and Minuet) and the Second on Alpha 74. She has the advantage of offering all five of the fugues, played on the organ, as well as several of the Lully transcriptions and the originals, performed by Café Zimmerman, of which Frisch is a founding member. Neither the Third nor the Fourth Suite is included, however. Barbara Maria Willi offers the First, Third, and Fourth Suites on Musicaphon 56827 (which I have not heard), but foregoes the Second. This makes the current set recommendable even if it weren’t such a delight to hear—which, fortunately, it is.

It only remains to note that the sound on this recording is bright but close, with none of the mechanism noise or over-reverberant hall sounds that sometimes bedevil harpsichord albums. Farr supplies excellent and lengthy notes focusing on the music, while Hill offers some background on both D’Anglebert’s own harpsichord, the instruments we hear, and the practice of ravalement , adding wood to extend either the treble and/or bass of an older instrument.

Full praise to Farr and Naxos for the good they’ve wrought here. Get this if you enjoy French Baroque harpsichord music.

FANFARE: Barry Brenesal

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D'Anglebert: Suites for Harpsichord / Farr
Naxos Oct 2008
CD
~~$29.99~~ $14.99

Raff: Complete Piano Suites, Vol. 2

Grand Piano

$19.99 Oct 09, 2026

In his compositions Joachim Raff balanced the traditional lineage of Mendelssohn and Schumann with the progressive elements found in the music of Liszt and Wagner. His fondness for the piano suite gave him a suitable canvas to blend and resolve past with present, as he does in the melodically captivating Suite No. 2 in C major. Similarly, he fuses Baroque influences with hints of Lisztian Romantic bravura in his pianistic masterpiece, the Suite No. 4 in D minor. '[Raff] could ask for no better advocate than pianist Hyelim Kim' (Fanfare on Volume 1 in this series).

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Raff: Complete Piano Suites, Vol. 2
Grand Piano Oct 2026
CD
$19.99

Muffat: 12 Suites

Brilliant Classics

$16.99 Jan 30, 2026

Son of the better-known Georg Muffat, Gottlieb was also hawked around the courts of Europe by his father as a boy wonder of music, anticipating the course of Mozart's early years under the self-interested care of Leopold. However, when at home, Gottlieb Muffat grew up in Vienna under the careful tutelage of Johann Joseph Fux, master of music at the Hofkapelle, a relationship which deepened once Georg died in 1704, when Gottlieb was just 14 years old. In due course Fux pulled strings to get his talented pupil an official post, and this album of keyboard partitas offers ample proof that his faith in Gottlieb Muffat was justified. Their date is uncertain: during his lifetime, only two collections of his music were published, and after 1739 he seems to have broken off composition, focusing his energies on performing and teaching at the Hofkapelle. Listeners familiar with the keyboard partitas by JS Bach will find a certain degree of common ground in the elegant sequence of French-style dances which are headed by a more exploratory Prelude. Muffat's counterpoint may not be so rigorous, but his ear for a well-turned melody offers satisfying reward in it's own right. The use of French, English and even Spanish titles to individual movements underlines the imaginative and fanciful qualities of the collection: see for example Postillon in the Suite in F major; Coquette in the Suite in A major; a Hornpipe in the Suite in D minor and the Intrada to the Suite in F. As well as enthusiastically received albums of Pasquini, Gabrieli, Vivaldi and above all Frescobaldi, Roberto Loreggian has previously recorded the 1739 collection of Componimenti Musicali to which this new recording forms a sequel. Of his collection of Partitas by Telemann, Fanfare commented: 'Without seeming driven, his playing is lively and well-articulated, and he is always sensitive to Telemann's stylistic variety, whether it is tending, at any given moment, to the courtly or to the common.'

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Muffat: 12 Suites
Brilliant Classics Jan 2026
CD
$16.99

Mix & Match

Bach: Cello Suites / Kliegel

Naxos

$14.99 ~~$29.99~~ Save 50% Feb 22, 2005

Bach wrote his six Suites for unaccompanied cello at Cöthen, about the year 1720. It is thought that the first four, at least, were written either for Christian Ferdinand Abel, bass viol player at Cöthen, or for Christian Bernhard Linike, more probably the latter. Abel, appointed to Cöthen in 1715 is not known to have been a cellist, while Linike was distinguished rather as a player of the cello and in this capacity had been appointed to the musical establishment of the court in Cöthen in 1716, thus rejoining former colleagues from the Prussian court musical establishment, disbanded in 1713 by Friedrich Wilhelm I on his accession to his father's throne. Both musicians were friends and colleagues of Bach. The original autograph of the suites is lost and the earliest copy is that made by the Gräfenroda organist and composer Johann Peter Kellner in about 1726. This is followed by that in the hand of Bach's second wife, Anna Magdalena, made probably in 1727 or 1728 for the Brunswick-Wolfenbüttel chamber musician Georg Heinrich Ludwig Schwanenberger, who had visited Leipzig at the time and taken lessons in thoroughbass from Bach, for whose daughter Regina Johanne he stood as godfather. Each of the six cello suites opens with a Prélude. Suite No. 1 in G major, BWV 1007, has an introductory movement in which the changing harmonies are made clear in arpeggiated form. The usual Allemande and Courante are followed by a slow Sarabande, with a repeated Menuet II framing a G minor Menuet II. The suite ends, as it should, with a Gigue. Suite No. 2 in D minor, BWV 1008, opens again with an elaborate Prélude, ending with a series of grandiose arpeggiated chords. Once again the Allemande and Courante lead to a Sarabande and a D minor Menuet I is repeated to frame a D major Menuet II, before a lively final Gigue. Suite No. 3 in C major, BWV 1009, has a Prélude that is marked Presto in a slightly later source. This opens boldly with a descending scale and an arpeggio that ends on the resonant bottom string of the instrument. A relatively elaborate Allemande is paired with a simpler Courante, followed by a stately Sarabande, a well-known movement that leads to the still more familiar pair of Bourrées, the second in C minor. The suite ends with an energetic Gigue. The fourth of Bach's cello suites, the Suite in E flat major, BWV 1010, opens, like the others, with a demanding Prélude. An Allemande follows, paired with a Courante, leading to a contrasting slow Sarabande. A busier first Bourrée is followed by a second that is simpler in texture and in the same key. The last movement is a lively Gigue. The fifth and six of Bach's cello suites differ in various ways from the first four. The fifth, the Suite in C minor, BWV 1011, was originally written in scordatura, a practice sometimes found in string music of the period, with the top A string of the instrument tuned down to G. The opening Prélude has a slower, embellished introduction before an extended faster fugal section in triple metre, it's fugal texture largely implied. An ornamented Allemande is duly followed by it's companion Courante and a slow Sarabande that strangely avoids the chordal pattern of it's predecessors. A first Gavotte is repeated after the unusual compound rhythm of the second Gavotte and the suite ends with a Gigue in dotted rhythm. The sixth of the suites, the Suite in D major, BWV 1012, is written for a five-string instrument, with an additional top string tuned to E. It has been suggested that Bach wrote this more difficult suite for the viola pomposa, a five-string viola that found occasional use from 1725 to about 1770. It seems, however, that Bach designed this work for the violoncello piccolo, a smaller form of cello, designed for more elaborate solo work and one that he uses elsewhere. The Prélude opens with the characteristic sound of bariolage, as the player repeats the note D on alternate strings. The Allemande has elaborate figuration and the companion Courante again exploits the wider possible range of the five-string instrument. A Sarabande is followed by a pair of Gavottes, played in alternation, and the suite ends with the customary and here demanding Gigue.

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Bach: Cello Suites / Kliegel
Naxos Feb 2005
CD
~~$29.99~~ $14.99

Auryn Series: Mozart / Imai, Auryn Quartet

TACET Musikproduktion

SACD

$24.99 May 05, 2017

The String Quartet offers countless possibilities of interplay between the different instruments. If you add a fifth person to the mix, in this case the viola player, Nobuko Imai, with the Auryn Quartet, then it not only gives the whole sound a comparatively orchestral quality but also considerably increases the methods at the composer's disposal. These are just two reasons why Wolfgang Amadeus Mozart's combination of 2 violins, 2 violas and a cello have become so well-loved. The opulent and tragic KV 406 in C minor together with the pure, idealistic KV 515 in C major forms the first standalone album, the famous, sorrowful KV 516 in G minor with the early, exuberant and dramatic KV 174 the second album and the chirruping, mischievous KV 614 in E flat major with the mature and worldly-wise KV 593 in D major the third. In as far as these characterisations say anything at all about the music, it is only about the opening of each piece. Each movement is distinct and different. Every quintet tells its own great story.

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Auryn Series: Mozart / Imai, Auryn Quartet
TACET Musikproduktion May 2017
SACD
$24.99

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

Dornel: Livre De Simphonies Contenant 6 Suittes En Trio / Musica Barocca

Naxos

$9.99 ~~$19.99~~ Save 50% Jul 29, 2008

DORNEL Suites, op. 1: No. 1 in a; No. 2 in A; No. 3 in 3; No. 4 in D; No. 5 in G; No. 6 in e • Musica Barocca (period instruments) • NAXOS 8.570826 (69:06)

We know very little about the life of Louis-Antoine Dornel, who lived from 1680 until approximately 1756 or 1757 (Naxos’s tray liner gives an incorrect date of 1765 but gets it right in the insert notes). He had appointments as organist at Ste Madeleine-en-la-Cité in Paris and the abbey of Ste Geneviève, as well as music master of the Académie Française, where he was required to write an annual motet for the feast of St Louis. His motets received praise in the Mercure de France , but none of them have survived.

The six works recorded here were published as Dornel’s op. 1, entitled Livre de symphonies contenant six suittes en trio pour les flutes, violins, hautbois, & c. avec Sonate en Quatuor . Each starts with either a prelude or a two-movement overture followed by four, five, or six dance movements. Dornel’s relative obscurity compared with his more-recorded late Baroque contemporaries apparently has nothing to do with his ability as a composer. The music here is inventive and enjoyable. However, I did find it better to listen to these works in a couple of sessions rather than straight through.

Part of the reason for this “ear fatigue” can, I think, be attributed to the interpretation. Musica Barocca’s playing is not at fault; the performances are excellent. But I question the decision to entrust the two solo lines to voice flute, a type of alto recorder. Although the score mentions flutes, violins, or oboes, there is, of course, no reason why interpreters cannot choose other solo instruments. But I found the voice flute to be a bit overwhelming after listening to a couple of these works, and would have welcomed some variety. Also, judging from scores I downloaded from the Internet, it appears that some of these works had to be transposed to be played by the voice flutes; the insert notes make no mention of this fact.

The recording does not include the Sonate en quatuor that was published as part of op. 1; there was not enough room on the disc for it. However, the Sonate can be found on a disc entitled “The Sultan and the Phoenix” on Signum, which includes works by seven other French Baroque composers. This is the first complete recording of the six suittes en trio ; I find only one of the suites available elsewhere on a Glossa recording. The music is worth getting to know, and the recording will provide enjoyment. But there is room for another recording using different solo instruments and with all works recorded in their original keys.

FANFARE: Ron Salemi

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Dornel: Livre De Simphonies Contenant 6 Suittes En Trio / Musica Barocca
Naxos Jul 2008
CD
~~$19.99~~ $9.99

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

SUITE ELEGIAQUE
Zig-Zag Territoires Dec 2007
CD
$20.99

Romantic Trumpet Sonatas / Freeman-attwood

Linn Records

SACD

$21.99 Feb 01, 2011

Freeman-Attwood's playing is notable for the beauty and freedom of line of his lyrical phrasing.' Gramophone

'He somehow manages to combine ringing clarity with creamy smoothness, pin-point intonation and effortless agility.' International Record Review

'Outstanding playing with a dynamic range of lively dialogue and solo lyricism in virtuoso style.' The Observer

'A multi-talented trumpeter.' BBC Music Magazine

Renowned for his outstanding technical and musical ability, as well as his unique re-workings of chamber repertoire, this latest album from Jonathan Freeman-Attwood introduces some fresh and unusual arrangements of well-known Romantic music for the under-explored medium of trumpet and piano duo.

The choice of Mendelssohn and Schumann, originally written for cello and violin respectively, allows Freeman-Attwood to demonstrate the melodic lyricism of the instrument as well as the thrilling execution a brass instrument can bring to intricate passage-work.

Grieg?s Holberg Suite has attracted arrangers since its composition; the opening Preludium is a brilliant vehicle for the trumpet and piano, fully showcasing the skills of the duo that have honed their skills over three albums.

These new transcriptions are beyond anything previously imagined for trumpet; they expand the boundaries of the trumpet as a solo instrument and deserve to take their place in the standard repertoire for the instrument.

As a trumpet player, Jonathan Freeman-Attwood has performed and recorded both as a soloist and as a member of various ensembles and has attracted plaudits from the press for his solo recordings.

Jonathan broadcasts regularly for BBC Radio 3 and is Principal of the Royal Academy of Music in London.

South African born Daniel-Ben Pienaar is an award-winning pianist whose live performances and recordings have won him widespread acclaim: 'a kaleidoscope of colours and textures' (International Piano).

Track Listing:
Edvard Grieg
1. Holberg Suite, Op. 40 - Praeludium
2. Holberg Suite, Op. 40 - Sarabande
3. Holberg Suite, Op. 40 - Gavotte
4. Holberg Suite, Op. 40 - Air
5. Holberg Suite, Op. 40 - Rigaudon

Robert Schumann
6. Sonata No. 1 in A minor, Op. 105 - Mit leidenschaftlichem Ausdruck
7. Sonata No. 1 in A minor, Op. 105 - Allegretto
8. Sonata No. 1 in A minor, Op. 105 - Lebhaft

Felix Mendelssohn-Bartholdy
9. Sonata No. 2 in D Major, Op. 58 - Allegro assai vivace
10. Sonata No. 2 in D Major, Op. 58 - Allegretto scherzando
11. Sonata No. 2 in D Major, Op. 58 - Adagio
12. Sonata No. 2 in D Major, Op. 58 - Molto allegro e vivace

Karl Pilss
13. Sonata for Trumpet and Piano - Allegro appassionato
14. Sonata for Trumpet and Piano - Adagio, molto cantabile
15. Sonata for Trumpet and Piano - Allegro agitato

Total Timing: 70 minutes

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Romantic Trumpet Sonatas / Freeman-attwood
Linn Records Feb 2011
SACD
$21.99

Biber: The Mystery Sonatas / Reiter, Cordaria

Signum Classics

$27.99 Jan 01, 2001

Praise cannot be too high for Cordaria. For me this is quite simply the best recording of this music I have ever heard... Their blend, sensitivity and recorded balance are always immaculate, beautiful and at times tear-jerking. Highly recommended.

The ‘Mystery Sonatas’ consist of 15 short suites for violin and continuo whose inspiration lies in the so-called 15 mysteries of the Virgin Mary; effectively 15 meditations which are sometimes directly programmatic and sometimes more elusive. They divide into three groups of five. The Joyful Mysteries are based on episodes in Jesus’s early life, the Nativity for example; the middle group are the Sorrowful Mysteries like ‘The Crown of Thorns’ etc; and the final group are the Glorious Mysteries which continue the story from the Resurrection to the Assumption and then to the Coronation of the Virgin. The whole work is capped off by a grand unaccompanied Passacaglia for Violin. The whole sequence lasts about two hours and a quarter and is therefore on two discs. Sadly the middle group of five has had to be divided, with the last one, the Crucifixion, on the second disc.

Biber composed these works for Archbishop Max Gandolph. Peter Holman, who I am delighted to find writing programme notes for this disc as he has a proven track record of expertise in the field of 17th Century instrumental music, tells us that "Biber pointed out in his dedication that Max Gandolph was strongly in favour of the Rosary in Salzburg". Also we learn that "the cycle was used in the traditional Rosary devotions in September and October … and the faithful as they walked in procession would have listened to appropriate biblical passages and commentaries and to Biber’s music whilst meditating of their Rosaries". The manuscript also contains fifteen elegant roundels, which were relevant to the subject of each sonata. Nine of these have been reprinted in black and white and are scattered around the booklet. There is also a musical quotation from the Sonata XI and the violin tunings needed for each sonata are given. Some are quite extraordinary. But what makes these sonatas virtuoso compositions for the performer and (I am sure for the composer) is that once re-tuned the notation remains as usual, to correspond with the continuo harmony. This technique is called Scordatura and many violinists dread it. Walter Reiter appears undaunted and unflappable, more so than any other player I have ever heard. The reason for some of these tunings is quite obvious and indeed programmatic. For example the beautiful ‘Ascension’ sonata has a C major tuning, g-c-g-d. Contrast that with the 9th Sonata ‘Jesus carries his own cross’ in A minor, tuned to straining point c-e-a-e in other words raised a 4th giving a rather strangled effect.

Apart from these unique sets of tunings there are other programmatic elements in the music. The ‘Resurrection’ sonata is the only one in one continuous and untitled movement. It begins in total stillness - the dawn of Easter Morning. The free recitativic tempo gradually builds so that in the brightness of the morning sun [c.2’15"] the empty tomb is displayed. Then enters, at first quietly, the Easter Chorale melody ‘Surrexit Christus Hodie’. Incidentally the tuning in this sonata is so odd that the effect is literally unearthly. In the ‘Ascension’ sonata (number 12) the violinist is expected with his terrifically difficult double stoppings to imitate a choir of trumpets in the ‘Aria tubicinium’ [track 7].

In the ‘Crucifixion’ sonata the rending of the veil over ‘the holy of holies’ is vividly portrayed (track 4).

Most of the sonatas have several movements and several have dance titles. Some have Aria’s followed by Variations. Dances include ‘Allmans’ and ‘Correntes’ which are slipped curiously into movements like ‘The Visitation’ sonata and the ‘Nativity’ sonata. Presumably on the grounds of ‘why should the devil have the best tunes?’

Praise cannot be too high for Cordaria. For me this is quite simply the best recording of this music I have ever heard. Credit should go of course to Walter Reiter. Timothy Roberts on the chamber organ or harpsichord and Elizabeth Kenny on the theorbo along with Joanna Levine on the gamba with Frances Kelly, a very experienced influence, on the harp and Mark Levey on a Lirone make a ‘dream team’.

Their blend, sensitivity and recorded balance are always immaculate, beautiful and at times tear-jerking. Highly recommended.

-- Gary Higginson, MusicWeb International

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Biber: The Mystery Sonatas / Reiter, Cordaria
Signum Classics Jan 2001
CD
$27.99

Nepomuceno: Orchestral Works / Mechetti, Minas Gerais Philharmonic

Naxos

$19.99 Feb 08, 2019

Alberto Nepomuceno was a herald of Brazilian musical nationalism. He was one of the first composers in his country to employ elements of folklore in his compositions, he encouraged younger composers such as Villa-Lobos, and his music was conducted by Richard Strauss. The Prelude to O Garatuja, an incomplete opera, is one of his best-known works and an example of a truly Brazilian lyric comedy. Serie Brasileira is a vivacious suite that employs maxixe rhythms and ends with the feverish batuque dance, while the Symphony in G minor is one of the earliest such examples by a Brazilian, a heroic and lyric structure revealing the influence of Brahms.

REVIEW:

Alberto Nepomuceno (1864-1920) was a major force in the development of Brazilian music at the turn of the twentieth century. He worked as a composer, conductor, and educator, tirelessly promoting Brazilian music and the use of Portuguese as an “art language.” The three orchestral works presented here are typical of his work. The Prelude to O Garatuja (1904), an incomplete lyric comedy, uses obvious national themes and offers nine minutes of high-spirited fun as well as a lightness and elegance found in all of the pieces on this disc.

The Brazilian Suite of 1891 had me immediately thinking “Grieg,” and it came as no surprise to learn that Nepomuceno befriended the Norwegian composer during his studies in Europe and saw him as a model. All the same, the work is beautifully scored and in several places quite personal in expression–its four movements representing “Dawn at the Mountains,” a gentle Brazilian dance intermezzo, “Napping in a Hammock,” and a gutsy concluding “Batuque” with a notable part for some native percussion (a reco-reco, or guiro).

Nepomuceno’s Symphony in G minor dates from 1893, the same year as Dvorák’s “New World.” It’s a much more conservative piece than that, although the opening movement has a nice rhythmic swing to it, and both the slow movement and scherzo feature characterful melodic ideas. The scherzo, in particular, mixes a sort of Mendelssohnian delicacy with sudden military interjections from the trumpets and timpani that are very effective. The finale, though, as with so many late romantic symphonies, disappoints. It’s based on the rhythm of the first allegro in Schumann’s “Spring” Symphony, repeated endlessly. Despite a charming second subject, the movement never really gets off the ground, and the ending, with piccolo, cymbals and triangle making a predictable entrance, is unmotivated and ineffective. A good effort, in other words, but a true symphonist Nepomuceno evidently was not, and that’s no crime.

The Minas Gerais Philharmonic, a relatively new group founded only in 2008, plays all of this music very well under Fabio Mechetti. The ensemble has good discipline, and reveals some fine players occupying the principal woodwind and brass chairs. They are also quite well recorded in what sounds like a flattering acoustic space, the Sala Minas Gerais in Belo Horizonte. I look forward to further releases from these forces. Minas Gerais is a region perhaps best known as a source of gems and minerals for collectors, and I’m happy to report that the region’s jewels include more than just the rocky kind. Nepomuceno’s output may have been uneven, but his music is worth getting to know, and a disc like this offers an ideal introduction.

– ClassicsToday.com (David Hurwitz)

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Nepomuceno: Orchestral Works / Mechetti, Minas Gerais Philharmonic
Naxos Feb 2019
CD
$19.99

Legendary Treasures - Piano Trios / Gilels, Kogan, Et Al

Doremi

$101.99 Aug 07, 2007

BEETHOVEN Piano Trios: in B?, “Archduke”; 1 in E?, WoO 38. 1 MOZART Piano Trios: in B?, K 254; 1 in G, K 564. 1 HAYDN Piano Trios: 1 in D, Hob XV:16; in g, Hob XV:19. TCHAIKOVSKY Piano Trio in a, op. 50. 1 SHOSTAKOVICH Piano Trio in e, op. 67. 1 SAINT-SAËNS Piano Trio in F, op. 18. 1 SCHUMANN Piano Trio in d, op. 63. 1 BORODIN Piano Trio, in D. 2 FAURÉ Piano Quartet, op. 15. 3 BRAHMS Trio for Piano, Violin, and Horn, op. 40 4 • Emil Gilels (pn); 1,2,3,4 Leonid Kogan (vn); 1,3,4 Mstislav Rostropovich (vc); 1,3 Dmitry Tziganov (vn); 2 Sergei Shirinsky (vc); 2 Rudolf Barshai (va); 3 Yakov Shapiro (hn) 4 • DOREMI 7921 (5 CDs: 344:47)

This impressive five-CD set from DOREMI presents a fascinating portrait of a splendid Soviet-era ensemble, whose members—pianist Emil Gilels, violinist Leonid Kogan, and cellist Mstislav Rostropovich—collaborated for more than a decade beginning in 1949. They are joined by violist Rudolf Barshai (with whom Kogan and Rostropovich formed a String Trio during the 1950s) in the first Fauré Quartet, and the horn-player Yakov Shapiro joins Gilels and Kogan in the Brahms Trio. The Borodin Trio that rounds out the set features Gilels with two of his earlier chamber music partners, violinist Dmitry Tziganov and cellist Sergei Shirinsky, both members of the Beethoven Quartet.

The least of these performances are very good and the best of them nothing short of brilliant. The “Archduke” Trio must be one of the finest on record. In the first movement development, the juxtaposition of string pizzicatos with the piano’s trills creates an uncanny, otherworldly atmosphere. When the recapitulation finally arrives, it seems not just a satisfying homecoming, but a deliverance from the outer realms of abstraction. The ensemble finesse in the Scherzo is breathtaking, while the spiritual depths of the unique Andante cantabile are plumbed with grace and reverence. The same sort of Apollonian approach that makes this reading of the “Archduke” so successful is applied to the Tchaikovsky trio, with stunning results. Even some of the most celebrated performances of this difficult work (the Rubinstein/Heifetz/Piatigorsky, RCA 63025 among them) narrowly skirt the maudlin. Here, however, the three Russians bring a sincerity and simplicity to Tchaikovsky’s every gesture, allowing his elegy for Nicolas Rubinstein to speak with eloquence, at once dignified, restrained, and heartfelt.

In the Schumann Trio, Gilels, Kogan, and Rostropovich achieve a prodigy of imaginative interpretation, all within the context of the most sophisticated and refined ensemble-playing. It is hard to imagine a more compelling conception of this impassioned score. They also approach Shostakovich’s eerily atmospheric Second Trio with the utmost conviction. The hectic second movement is a kinesthetic tour de force , while the finale’s unconventional oriental textures are deftly maneuvered to great effect.

Predictably, the Haydn and Mozart readings are less satisfactory. Generalizations are always dangerous, but perhaps it is not inaccurate to say that, prior to the inevitable cross-pollination with the West occurring during later decades through travel and recordings, Soviet musicians approached Haydn and Mozart with a prettified delicacy. The results can often sound mannered, if not downright bloodless, and light years away from what we consider appropriate late-18th century style today. One case in point is the weepy vibrato Kogan employs in the sustained passages of the plaintive Andante opening of the Haydn G-Minor Trio; another is the flaccid Allegretto of the Mozart G-Major Trio, where phrase shapes are obliterated by an anachronistic effort to achieve the late-19th century ideal of the “long line.” Despite these reservations, even the 18th-century repertoire is of historical interest: this is the way this music was played behind the Iron Curtain in the years following WW II.

The sound of these recordings is consistent with the technological resources of Melodiya (the original issuing label) during the 1950s. Most were studio recordings, but some were live performances. One can discern the improvement of equipment and recording techniques between the earliest of the performances (the Tchaikovsky Trio, 1950) and the latest (the Shostakovich, 1959). Though the sound is flattened-out relative to modern standards, balances are superb, and no detail seems lost. The accompanying leaflet contains thumbnail bios of the principal artists as well as the works and timings, but no information on the matrices (beyond photographic reproductions of the record labels) or the transfer process. All in all, fascinating performances of representative repertoire by master musicians. Highly recommended.

FANFARE: Patrick Rucker

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Legendary Treasures - Piano Trios / Gilels, Kogan, Et Al
Doremi Aug 2007
CD
$101.99

SCHATTENSPIELE

Wergo

$18.99 Jun 01, 2010

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. 747313127276 NXS8571272.2 14654756 .00 14.99 .20 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 09/29/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/1/8/9/6/1556981.jpg 3 1 N SCHUMANN / STRAUSS / FRAGER / SKD / KEMPE STAATSKAPELLE DRESDEN EDITION 28 881488805352 PROL8053.2 14655517 .00 24.99 .48 PROFIL - G HAENSSLER COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 09/29/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/6/4/0/7/1557046.jpg 0 2 N KONTOMANOU,ELISABETH / ALLEN,GERI SECRET OF THE WIND Despite an obvious rapport, singer Elisabeth Kontomanou and pianist Geri Allen were not old friends when they met in France to lay down these tracks Kontomanou is based in Stockholm, while Allen is still in the states, a centerpiece of the University of Michigan's jazz faculty. The two met for the first time for a duet tribute to Billie Holiday in March 2011, at Montreal's annual Jazz en Rafale Festival. Geri Allen has long been considered the greatest jazz pianist since the 1980s, her work focused on furthering the legacy of Herbie Hancock and Thelonious Monk while retaining the gospel fervor of the blues. This program mixes traditional with new undertaking full-scale reimagining of iconic R&B themes like the opener, Marvin Gaye's God Is Love, and Curtis Mayfield's time-honored classic People Get Ready. 3760195730157 ONOT15.2 16491045 .00 20.99 .12 OUTNOTE RECORDS COMPACT DISCS POP JAZZ 05/08/2012 https://media.aent-m.com/graphics/items/sdimages/b/500/6/3/8/1/1971836.jpg 146 1 N XENAKIS,IANNIS ELECTRONIC WORKS 2 Mode continues it's Xenakis Edition with the second volume dedicated to his electronic works. 764593020394 MOD203DVD 13822071 .00 32.99 .24 MODE DIGITAL VIDEO DISC CLASSICAL CHAMBER MUSIC & RECITALS 11/25/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/5/6/8/1388650.jpg 4 1 N CITROEN,SOESJA HERE & NOW 8712604700034 CHLL70003.2 11228554 .00 18.99 .36 CHALLENGE COMPACT DISCS POP JAZZ 11/09/2005 08/31/2026 https://mediacdn.aent-m.com/prod-img/500/76/1316476.jpg 4 1 N MOZART / SCHUMANN / AUNER / SOROKOW / AUNER PIANO TRIOS 782124151027 BLN115102.2 14174919 .00 18.99 .25 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/13/2009 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/3/2/3/8/1458323.jpg 8 1 N SHOSTAKOVICH / SANDERLING / KEGEL FROM JEWISH FOLK POETRY OP. 7 782124328023 BLN32802.2 20899677 .00 16.99 .17 BERLIN CLASSICS COMPACT DISCS CLASSICAL CLASSICAL VOCALS 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/9/2/4/1/1401429.jpg 1 1 N CLASSICAL EVERGREENS / VARIOUS CLASSICAL EVERGREENS / VARIOUS 782124828028 BLN182802.2 14200731 .00 18.99 .40 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC V/A COMPILATIONS 11/24/2008 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/2/0/5/1/1401502.jpg 9 3 N SCHREIER / LEIPZIG / DRESDNER PHILHARMONIE VOM HIMMEL HOCH DA KOMM ICH HER 782124827526 BLN182752.2 20899288 .00 10.99 .12 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/3/5/1/1401530.jpg 12 1 N WAGNER DIE FLIEGENDE HOLLANDER (HIGHLIGHTS) 782124326425 BLN3264.2 11953777 .00 16.99 .19 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/01/2005 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/6/5/5/1/1401556.jpg 5 2 N CHISHOLM / MCLACHLAN MUSIC FOR PIANO 1 809730413124 DVS24131.2 14280948 .00 14.99 .23 DIVERSIONS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 02/10/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/2/7/0/3/1473072.jpg 17 1 N BEETHOVEN / FINE ARTS QUARTET / SHARON STRING QUINTETS One of the best-kept secrets of chamber music, Beethoven' String Quintet in C major, Op. 29, was written between the well-known 'early' and 'middle' string quartets. This strangely neglected masterpiece of startling originality is coupled here with Beethoven’s own transcription for string quintet of his early Piano Trio in C minor and the Fugue in D major, a musical curiosity written as an inducement to his publisher to make fewer printing errors. 747313222179 NXS8572221.2 15101624 .00 19.99 .20 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 06/29/2010 https://media.aent-m.com/graphics/items/sdimages/c/500/8/3/8/7/1657838.jpg 4 1 N MAYR / INGOLSTADT GEORGIAN CHAMBER ORCH / HAUK TE DEUM / MISSA SOLEMNIS It is uncertain whether the Missa Solemnis in C major was composed by Wolfgang Amadeus Mozart or by his father Leopold. Whatever the case, it was extremely popular during the 18th and early 19th centuries, and was performed by Simon Mayr. 747313092673 NXS8570926.2 15101594 .00 19.99 .21 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/29/2010 https://media.aent-m.com/graphics/items/sdimages/b/500/6/4/8/7/1657846.jpg 4 1 N DEBUSSY / HIMY HOMAGE TO CLAUDE DEBUSSY 044747296821 CAV2968.2 14156366 .00 18.99 .20 CENTAUR COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/25/2008 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/0/8/1/2/1452180.jpg 16 1 N UUSITALO,JUHA / HPHO / SEGERSTAM WAGNER ALBUM 761195112120 OND11212.2 13950514 .00 18.99 .25 ONDINE COMPACT DISCS CLASSICAL CLASSICAL VOCALS 09/23/2008 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/6/1/0/8/1418016.jpg 7 1 N KREMER,GIDON / SUDRABA / ALTERA VERITAS ENSEMBLE DAWN IS BREAKING 880040206521 QURT2065.2 14175398 .00 18.99 .20 QUARTZ COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/13/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/6/6/5/5/1445566.jpg 3 1 N FRANCESCATTI,ZINO ZINO FRANCESCATTI 3 723721395858 DREM7888.2 14094491 .00 20.99 .19 DOREMI RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/11/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/2/7/8/7/1437872.jpg 26 1 N RAKOWSKI / BRIGGS ETUDES FOR PIANO 090404931024 BRI9310.2 14722820 .00 18.99 .20 BRIDGE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/13/2009 08/31/2026 https://mediacdn.aent-m.com/prod-img/500/51/1336651-2553006.jpg 3 1 N BRAHMS / BOYDE COMPLETE WORKS FOR SOLO PIANO 4 4260034867437 OEHM743.2 15101716 .00 14.99 .22 OEHMS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/29/2010 https://media.aent-m.com/graphics/items/sdimages/b/500/6/9/8/7/1657896.jpg 151 1 N CASELLA / NOSEDA / BBC PHILHARMONIC / ROSCOE SYMPHONY NO 2 / SCARLATTIANA 095115160527 CHN10605.2 15089601 .00 21.99 .24 CHANDOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 06/29/2010 https://media.aent-m.com/graphics/items/sdimages/c/500/8/1/9/7/1657918.jpg 0 1 N ALLISON / ROBINSON / DOWLAND / JOHNSON / HELD MERRY MELANCHOLY: ENGLISH LUTE MUSIC 16TH CENTURY 4010276023296 HAC98600.2 15103208 .00 20.99 .25 SWRMUSIC COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/29/2010 https://media.aent-m.com/graphics/items/sdimages/a/500/1/2/9/7/1657921.jpg 27 1 N WORLD DANCE: CARIBBEAN / VARIOUS WORLD DANCE: CARIBBEAN / VARIOUS 743037216623 ARM2166.2 14028038 .00 7.99 .20 ARC MUSIC COMPACT DISCS LATIN LATIN POP V/A COMPILATIONS 10/28/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/5/5/8/1418554.jpg 7 1 N BEETHOVEN / BIRET IDIL BIRET BEETHOVEN EDITION 1: PIANO SONATAS Biret grasps the size of Beethoven' style. The polyphony is laid out in a relaxed way with little indulgence in point making. She keeps the big line and yet is thankfully sparing in her use of fortissimos. The piano tone is sumptuous. 747313125173 NXS8571251.2 14167614 .00 14.99 .20 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/16/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/7/8/0/1450874.jpg 1 1 N BELLEMARE,PIERRE MATEO FLACONE: PROSPER MERIMEE 9782844680839 FRAS8083.2 12044177 .00 20.99 .25 FREMEAUX & ASSOC. FR COMPACT DISCS POP SPOKEN / COMEDY / RADIO SHOWS 01/02/2007 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/0/7/6/4/1014670.jpg 5 1 N COPLAND / CHOIR OF NEW COLLEGE / HIGGINBOTTOM COPLAND & HIS AMERICAN CONTEMPORARIES 822252208627 AVIE2086.2 12039357 .00 19.99 .14 AVIE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/30/2007 https://media.aent-m.com/graphics/items/sdimages/c/500/8/4/8/8/1028848.jpg 3 1 N VERDI / BORODINA / VIENNA PHIL ORCH / HARNONCOURT VERDI: AIDA (COMPLETE) Verdi almost called his Egyptian opera Amneris, and it is this proud, calculating but vulnerable character who often stays in the mind at the end of a performance of Aida; she is the one who travels the greatest emotional distance over the course of the opera and with the right interpreter she can steal the show from the slightly self-obsessed lovers. 825646434824 TDEX4643482.2 15108753 .00 26.99 .49 TELDEC COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 04/23/2007 https://mediacdn.aent-m.com/prod-img/500/65/805365.jpg 0 3 N BRUCKNER / WAND / MUNCHNER PHILHARMONIKER SYMPHONY 5 IN B FLAT MAJOR 881488601220 PROL6012.2 11707400 .00 18.99 .22 PROFIL - G HAENSSLER COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 08/29/2006 https://media.aent-m.com/graphics/items/sdimages/b/500/5/7/8/2/952875.jpg 0 1 N LANGGAARD / BYRIEL / DAHL / ELMING / DAUSGAARD ANTIKRIST 747313152360 MAP6220523-24.2 11707523 .00 29.99 .45 MARCO POLO COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 09/05/2006 https://media.aent-m.com/graphics/items/sdimages/c/500/8/0/9/2/952908.jpg 0 2 N BACH / KENEDY SIX SOLO CELLO SUITES 635212009123 SGUK91.2 12108466 .00 27.99 .20 SIGNUM CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 02/27/2007 https://media.aent-m.com/graphics/items/sdimages/b/500/6/0/5/3/1033506.jpg 24 2 N BRITTEN / BRIDGE / IRELAND / GOLDSTONE BRITTEN RESONANCES 809730411823 DVS24118.2 11700692 .00 14.99 .19 DIVERSIONS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 08/22/2006 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/3/5/7/3/953753.jpg 23 1 N ONFRAY,MICHEL CONTRE HISTOIRE DE LA PHILOSOPHIE 6 (13-CD box set) Michel Onfray is one of the greatest contemporary French philosophers. He always refuses honors and medals, and he teaches philosophy in the Normandy technical school. Deeply concerned with teaching to the lower class he comes from (his father was a farmer), he built a university where lessons are given for free to in the evening, after work hours. This set features 13 lessons he gave in this university. The lessons cover the period from Gassendi to Spinoza. In French. 3561302514628 FRAS5146.2 11833185 .00 74.99 .16 FREMEAUX & ASSOC. FR COMPACT DISCS POP SPOKEN / COMEDY / RADIO SHOWS BOX SETS (AUDIO / VIDEO ONLY) 08/24/2006 https://media.aent-m.com/graphics/items/sdimages/b/500/4/8/8/2/962884.jpg 3 13 Y RAUTAVAARA / HELSINKI PO / SWEDISH RSO ANGELS & VISITATIONS 761195107928 OND1079.2 11721826 .00 18.99 .29 ONDINE COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 09/19/2006 https://media.aent-m.com/graphics/items/sdimages/a/500/2/7/8/4/954872.jpg 5 1 N CHOIR OF NEW COLLEGE OXFORD / HIGGINBOTTOM CHRISTMASTIDE 708093500123 CDD5001.2 21233807 .00 32.99 .71 CRD COMPACT DISCS CLASSICAL CLASSICAL VOCALS BOX SETS (AUDIO / VIDEO ONLY) 08/06/2009 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/9/1/3/2/1562319.jpg 29 3 N KODALY / CRUMB / LIDHOLM / NORDHEIM / MORK CELLO SONATAS / FANTASIA SOPRA LAUDI / CLAMAVI 7025560102325 SMXC1023.2 15538178 .00 20.99 .21 SIMAX CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/01/1987 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/6/6/6/2/1862666.jpg 5 1 N LINDH / VESTMANNIAENSEMBLEN EN DAG PA GARDEN 7330560021720 NSAG72.2 15363596 .00 18.99 .22 NOSAG RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/10/2002 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/2/8/6/2/1862682.jpg 7 1 N MANGORE / CASTELNUOVO-TEDESCO / DUARTE / OLSEN SONGS & DANCES 7025560108426 SMXC1084.2 15538710 .00 20.99 .25 SIMAX CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 01/21/1992 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/0/9/6/2/1862690.jpg 4 1 N MOZART / KVANDAL / NWWE SERENADE FOR WIND OCTET : NACHT MUSIQUE 7025560010378 SMXC1037.2 15538291 .00 20.99 .25 SIMAX CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/20/1992 https://media.aent-m.com/graphics/items/sdimages/a/500/1/1/7/2/1862711.jpg 4 1 N SCHUMANN,ROBRET LIKSOM AV DROMMENS ROSTER 7330709010080 DAPH1008.2 15362292 .00 18.99 .23 DAPHNE RECORDS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 09/24/1998 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/3/7/7/2/1862773.jpg 5 1 N SCHUMANN / DRUVE,LILIAN / DRUVE,ANNELI DUETTER & PIANOVERK 7330560991467 NSAG46.2 15363206 .00 18.99 .22 NOSAG RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/08/1999 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/4/7/7/2/1862774.jpg 18 1 N VIERNE / BOYSEN ORGAN SYMPHONIES NOS 1 & 4 7025560105029 SMXC1050.2 15538376 .00 20.99 .25 SIMAX CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/12/1993 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/5/1/8/2/1862815.jpg 4 1 N BEETHOVEN / BIRET IDIL BIRET BEETHOVEN EDITION 4: PIANO SONATAS Biret grasps the size of Beethoven' style. The polyphony is laid out in a relaxed way with little indulgence in point making. She keeps the big line and yet is thankfully sparing in her use of fortissimos. The piano tone is sumptuous. 747313125470 NXS8571254.2 14167713 .00 14.99 .19 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/16/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/7/7/8/0/1450877.jpg 7 1 N WEBER / NEW ZEALAND SO / WIT OVERTURES Carl Maria von Weber composed a number of pioneering works for the operatic stage as well as incidental music whose highly attractive scores combine Classical principles of clarity with a unique lyricism and orchestral mastery. 747313029679 NXS8570296.2 14167195 .00 19.99 .20 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 12/16/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/9/7/8/0/1450879.jpg 2 1 N RHEINBERGER / RUBSAM ORGAN WORKS 7 Successful during his lifetime as a composer in a variety of genres, Rheinberger is remembered today largely for his twenty organ sonatas and other shorter compositions for the instrument. 747313031474 NXS8570314.2 14167225 .00 19.99 .20 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/16/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/8/8/0/1450880.jpg 13 1 N VILLA-LOBOS / RUBINSKY PIANO MUSIC 8 This eighth and final volume of Villa-Lobos' complete solo piano music features Albums 10 and 11 from his Guia PrAtico, the composer' own piano arrangements of works from the related Guia PrAtico Volume 1: 137 Traditional Children' Songs as Sung by. 747313050475 NXS8570504.2 14167256 .00 19.99 .19 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/16/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/2/8/8/0/1450882.jpg 35 1 N DISCOVER FILM MUSIC / VARIOUS DISCOVER FILM MUSIC / VARIOUS As the 20th century approached, a new art form was developed, one that would go on to dominate the next hundred years. Though cinema began in silence, it quickly acquired sound and attracted musicians and composers. The new medium demanded a new approach, both aesthetically and technologically, but these problems were overcome remarkably quickly, allowing film composition to develop into a sophisticated branch of music-drama. This booklet-and-CD set outlines the history of film music, introduces some of the major characters, and shows how their music works in the context of film. - 2 CDs with 160-page booklet - 25,000-word essay - Timeline of events in film / film music, history, art & literature 636943821022 NXS8558210-11.2 14167546 .00 21.99 .60 NAXOS COMPACT DISCS CLASSICAL V/A COMPILATIONS 12/16/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/2/9/8/0/1450892.jpg 56 2 N SNELL / KANGA CHAMBER MUSIC FOR HARP 809730413025 DVS24130.2 14155932 .00 14.99 .24 DIVERSIONS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/09/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/4/8/8/1448848.jpg 21 1 N BEETHOVEN / GRYPHON TRIO PIANO TRIOS 774204986025 ANL29860.2 15310460 .00 20.99 .25 ANALEKTA COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/09/2010 https://media.aent-m.com/graphics/items/sdimages/b/500/5/8/3/3/1743385.jpg 45 1 N BERNSTEIN / MARCINKOWSKA / KORNISZEWSKI / PREVOST CHAMBER MUSIC 044747293929 CAV2939.2 13984687 .00 18.99 .20 CENTAUR COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 09/30/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/3/0/8/1/1421803.jpg 11 1 N SULLIVAN,MAXINE TOGETHER: MAXINE SULLIVAN SINGS THE MUSIC OF JULE 632433250327 HARB2503.2 13986032 .00 18.99 .25 HARBINGER COMPACT DISCS POP JAZZ 09/30/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/1/8/1/1421814.jpg 0 1 N MOZART / HANTAK / CZECH PHILHARMONIC ORCH / VOGEL OBOE CONCERTOS 099925395520 SPP3955.2 14095399 .00 21.99 .23 SUPRAPHON COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/28/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/7/7/1/5/1435177.jpg 3 1 N ELGAR / SALVAGE / SCHIFF / HALLE ORCHESTRA / ELDER FALSTAFF 5065001341052 HLLE7505.2 14109812 .00 20.99 .23 HALLE COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/11/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/3/2/0/8/1438023.jpg 2 1 N MORRIS,JOE QUARTET HIGH DEFINITION 752156067023 HAHT670.2 16583948 .00 20.99 .24 HATHUT RECORDS COMPACT DISCS POP JAZZ 10/28/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/1/2/6/1446218.jpg 3 1 N HERMODSSON / GOTEBORG / ERIKSSON BARA DROMMARE OCH DARAR 7391959190373 PRCP9037.2 20227234 .00 20.99 .24 PROPRIUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/19/1992 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/7/3/1/0/1910137.jpg 5 1 N BAGGE,ULF / BAGGE,ULF LUCIDOR SONGS FROM 17TH CENTURY 7391959191035 PRCP9103.2 20037482 .00 20.99 .21 PROPRIUS RECORDS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 04/01/1993 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/1/5/1/0/1910151.jpg 6 1 N POULENC / ALAIN / INGEBRETSEN / ROYAL ORCH CTO POUR ORGUE 7391959190854 PRCP9085A.2 20511098 .00 20.99 .23 PROPRIUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 05/01/1993 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/3/5/1/0/1910153.jpg 10 1 N LING,BRITT LORCA 7392004100149 PROP14.2 18707519 .00 20.99 .25 PROPHONE COMPACT DISCS POP INT'L & WORLD MUSIC JAZZ 01/25/1994 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/9/6/1/0/1910169.jpg 6 1 N COLEMAN / LEWIN BEST OF LEWIN & MERISTO 7319200076016 STEL9211.2 20038021 .00 20.99 .21 SITTEL COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/03/1994 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/4/9/1/0/1910194.jpg 5 1 N LJUNGKVIST,FREDRIK QUARTET SONICSPACE 7392004100361 PROP361.2 18707670 .00 20.99 .22 PROPHONE COMPACT DISCS POP JAZZ 07/07/1997 https://media.aent-m.com/graphics/items/sdimages/b/500/6/5/2/0/1910256.jpg 3 1 N SKARGARDSORGEL ARCHIPELAGO: MID 18TH CENTURY 7391959191288 PRCP9128.2 20566760 .00 20.99 .25 PROPRIUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/01/1997 https://media.aent-m.com/graphics/items/sdimages/b/500/6/8/2/0/1910286.jpg 4 1 N SUNDSVALLS CHAMBER CHOIR SONGS IN SILENCE 7391959191257 PRCP9125.2 20566753 .00 20.99 .20 PROPRIUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/01/1997 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/1/9/2/0/1910291.jpg 8 1 N HAHN / PERSSON / BAGGE / LINSTROM / FILHARMONINS WAR & PEACE IN SWEDISH 7391959191691 PRCP9169.2 20227258 .00 20.99 .21 PROPRIUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/21/1998 https://media.aent-m.com/graphics/items/sdimages/c/500/9/0/3/0/1910309.jpg 4 1 N OLIN,MAGGI BAND LIVE AT FASCHING 7392004100637 PROP63.2 18707922 .00 20.99 .22 PROPHONE COMPACT DISCS POP JAZZ 05/13/2002 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/5/6/3/0/1910365.jpg 5 1 N ASMUSSEN,SVEND / ERICSON,ERIC ENCOUNTER 7392004100767 PROP76.2 18708042 .00 20.99 .22 PROPHONE COMPACT DISCS POP JAZZ 12/01/2004 https://media.aent-m.com/graphics/items/sdimages/b/500/5/0/4/0/1910405.jpg 3 1 N FRYKLOF / GUSTAFSSON COMPLETE WORKS FOR ORGAN 822659011295 SWED1129.2 20038595 .00 20.99 .25 SWEDISH SOCIETY COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/08/2007 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/8/3/4/0/1910438.jpg 7 1 N SANDSTROM / NORRBOTTEN CHAMBER ORCH / WOLLTER FRAN MORKER TILL LJUS 822659011363 SWED1136.2 20371388 .00 20.99 .25 SWEDISH SOCIETY COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/15/2007 https://media.aent-m.com/graphics/items/sdimages/c/500/9/3/4/0/1910439.jpg 5 1 N BRITTEN / GOSSKOR / FREDRIKSSON IN THE BLEAK MID-WINTER 822659011394 SWED1139.2 20038649 .00 20.99 .23 SWEDISH SOCIETY COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/14/2007 https://media.aent-m.com/graphics/items/sdimages/a/500/3/4/4/0/1910443.jpg 16 1 N PETTERSSON / DUKE / GERSHWIN / KARLSSON / VINDING GETTING CLOSE TO YOU 7330658000422 STEL9278.2 20312879 .00 20.99 .15 SITTEL COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/03/2008 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/7/5/4/0/1910457.jpg 8 1 N SJOSTEDT,MARTIN SLOW CHARLES 7330658000736 STEL9305.2 20383237 .00 20.99 .19 SITTEL COMPACT DISCS POP JAZZ 11/03/2008 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/2/7/4/0/1910472.jpg 6 1 N ALTER / LARS ERSTRAND QUARTET EVERYTHING IS FINE 7330658000835 STEL9317.2 20038298 .00 32.99 .26 SITTEL COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 05/04/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/6/8/4/0/1910486.jpg 1 1 N SWEDISH SWING SOCIETY AT HOME 7330658000873 STEL9321.2 20373634 .00 20.99 .13 SITTEL COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 08/23/2010 https://media.aent-m.com/graphics/items/sdimages/a/500/0/0/5/0/1910500.jpg 4 1 N MESSIAEN / BOSTROM COMPLETE ORGAN WORKS 6 & 7 7391959190144 PRCP9014.2 20228354 .00 37.99 .42 PROPRIUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/12/1989 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/3/3/5/0/1910533.jpg 11 2 N NEW LONDON CONSORT / PICKETT ARS SUBTILIOR 5020305600397 LINN39.2 06155797 .00 20.99 .25 LINN RECORDS COMPACT DISCS CLASSICAL EARLY MUSIC / CHANT 02/23/1999 https://media.aent-m.com/graphics/items/sdimages/b/500/4/6/5/0/1910564.jpg 4 1 N GAN-RAU / MODERN WORKS FALL OF BAGHDAD: STRING QUARTETS NOS 1 4 & 5 China' first avant-garde composer and one of the most original composers of his generation, Ge Gan-Ru, studied at the Shanghai Conservatory of Music before obtaining his doctorate from Columbia University in the USA. The composer notes that he 'often. 747313060375 NXCH8570603.2 14508189 .00 19.99 .19 NAXOS CHINESE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/30/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/6/7/2/5/1525276.jpg 10 1 N CORELLI / TEMMINGH CORELLI A LA MODE 812864017984 OEHM598.2 14554421 .00 14.99 .23 OEHMS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/30/2009 03/02/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/2/9/2/5/1525292.jpg 3 1 N DE FALLA / DE LOS ANGELES VIDA BREVE 748871205925 SOMM59.2 12335534 .00 20.99 .23 SOMM RECORDINGS COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 06/05/2007 https://media.aent-m.com/graphics/items/sdimages/c/500/9/4/5/5/1095549.jpg 2 1 N SAINTE-COLOMBE / VOIX HUMAINES CONCERTS FOR TWO VIOLS 4 722056227827 ATAS22278.2 12149148 .00 24.99 .22 ATMA CLASSIQUE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/13/2007 https://mediacdn.aent-m.com/prod-img/500/36/872936-3545940.jpg 5 2 N BARTOK,BELA PORTRAIT 2 CDs with over 2 hours of music Illuminating essay by Stephen Johnson Illustrated with photographsWell over half a century after his death, Bela Bart k is held up as one of the twentieth century' great musical moderni. 636943820025 NXS8558200-01.2 12175611 .00 21.99 .42 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/24/2007 https://media.aent-m.com/graphics/items/sdimages/c/500/8/9/5/6/1056598.jpg 5 2 N HOLST / LPO / BRAITHWAITE ORCHESTRAL WORKS 5020926021021 LYR210.2 12180592 .00 20.99 .21 LYRITA COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 04/10/2007 https://media.aent-m.com/graphics/items/sdimages/c/500/9/0/2/4/1064209.jpg 7 1 N BACH / TETZLAFF VIOLIN SONATAS & PARTITAS 4010276018643 HAC98250.2 12180882 .00 24.99 .25 SWRMUSIC COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/10/2007 https://media.aent-m.com/graphics/items/sdimages/c/500/8/3/2/4/1064238.jpg 11 2 N NORTH TEXAS WIND SYMPHONY / CORPORON TRANSFORMATION 785147068624 GII686.2 12182145 .00 17.99 .22 GIA PUBLICATIONS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 04/10/2007 https://media.aent-m.com/graphics/items/sdimages/a/500/3/5/2/4/1064253.jpg 2 1 N MENOTTI / CASTLE / BEDI / CHICAGO OPERA / RAPCHAK MEDIUM 735131903424 CED34.2 06131135 .00 19.99 .27 CEDILLE COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 01/25/1999 https://media.aent-m.com/graphics/items/sdimages/c/500/9/8/8/3/1053889.jpg 3 N MARTIN / STOTIJN / WINTERHUR COLLEGE / VAN STEEN DIE WEISE VON LIEBE UND TOD DES CORNETS CHRISTOPH 760623144429 MDGE6011444.2 12413959 .00 23.99 .24 MDG COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 01/22/2008 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/c/500/8/9/4/5/1115498.jpg 5 1 N ACOSTA,ANA CARIDAD / OLIVA,JULIO CESAR QUE BONITA ES MI TIERRA 600685300305 URT3030.2 12359790 .00 16.99 .21 URTEXT RECORDS COMPACT DISCS LATIN MEXICAN 07/10/2007 https://media.aent-m.com/graphics/items/sdimages/a/500/1/4/2/5/1105241.jpg 13 1 N PARES / U.S. NAVY BAND / U.S. NAVAL ACADEMY BAND ACROSS THE POND-50 EUROPEAN MARCHES 754422040129 ALTS4012.2 27012512 .00 21.99 .25 ALTISSIMO RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 09/09/2014 https://media.aent-m.com/graphics/items/sdimages/c/500/9/8/2/8/2778289.jpg 4 2 N CHAPPELL,JEFFREY PICK IT UP: JAZZ TUNE ARRANGEMENTS 044747277127 CAV2771.2 12160150 .00 18.99 .18 CENTAUR COMPACT DISCS POP JAZZ 03/27/2007 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/1/1/8/1/1051811.jpg 16 1 N POULENC / BRUNET / TCHERNIAKOV / BRC / BVSO DIALOGUES DES CARMELITES Susan Gritton, Sylvie Brunet, Soile Isokoski, Susanne Resmark, Helene Guilmette, Bernard Richter, and Alain Vernhes star in this Bayreuth production of the Poulenc opera conducted by Kent Nagano and directed by Dmitri Tcherniakov. 3760115304611 BELC461BR 15810816 .00 31.99 .20 BEL AIR CLASSIQUES BLU-RAY CLASSICAL OPERA / OPERETTA / ORATORIO 06/28/2011 https://mediacdn.aent-m.com/prod-img/500/30/896630.jpg 2 1 N RUDERS / ROYAL DANISH ORCHESTRA SELMA JEZKOVA Yiva Kihlberg, Palle Knudsen, Hanne Fischer, and Gert Henning-Jensen star in the Royal Danish Orchestra production of the Ruders opera based on Lars von Trier's Dancer in the Dark, conducted by Michael Schonwandt. 747313541058 DACA2110410DVD 15811455 .00 35.99 .34 DACAPO DIGITAL VIDEO DISC CLASSICAL OPERA / OPERETTA / ORATORIO 06/28/2011 https://media.aent-m.com/graphics/items/sdimages/b/500/4/2/8/5/1855824.jpg 9 1 N MUELLER,ROLAND GUITAR FAVORITES 4260034867918 OEHM791.2 15812353 .00 14.99 .20 OEHMS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/28/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/3/5/8/5/1855853.jpg 41 1 N MOZART / SCOVOTTI CONCERT ARIAS 782124840822 BLN8408.2 12380008 .00 18.99 .22 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/17/2007 https://media.aent-m.com/graphics/items/sdimages/c/500/9/7/4/0/1110479.jpg 2 1 N GOTTFRIED / STROBEL / BBSO METROPOLIS 845221050669 CIO5066.2 15811349 .00 21.99 .22 CAPRICCIO COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 06/28/2011 https://media.aent-m.com/graphics/items/sdimages/c/500/7/6/8/5/1855867.jpg 0 1 N IANNI,DAVID NIGHT PRAYERS - MYSTICAL PIANO DREAMS 4260034867901 OEHM790.2 15812346 .00 14.99 .23 OEHMS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/28/2011 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/2/7/8/5/1855872.jpg 32 1 N SARMATICA / TIMOFEYEV LVIV LUTE 053479213426 SONL92134.2 15812476 .00 18.99 .20 SONO LUMINUS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/28/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/2/2/9/5/1855922.jpg 3 1 N SCHUMANN / BROWN / BAUER / HIELSCHER LIEDER EDITION 6 Robert Schumann' literary interests influenced his choice of the poems he used for his songs, many of which were composed in a burst of activity during the 'Year of Song' 1840. 747313207923 NXS8557079.2 15812124 .00 19.99 .20 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/28/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/3/3/9/5/1855933.jpg 5 1 N MOZART / HANOVER BAND / GOODMAN REQUIEM / ROBBINS LANDON EDIT 710357524127 NIM5241.2 20159108 .00 20.99 .24 NIMBUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/26/2000 https://media.aent-m.com/graphics/items/sdimages/c/500/9/4/3/8/1458349.jpg 4 1 N VIVALDI / LA PASTORELLA / ROOS CHAMBER CONCERTOS 5400439002487 RCR248.2 13757786 .00 20.99 .27 RICERCAR COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/11/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/5/3/8/1458354.jpg 21 1 N VIVALDI / SERINO / TESTORI / CERA / MARCONATO VIOLIN SONATAS 8007194104561 TCS672250.2 14173646 .00 21.99 .23 TACTUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/13/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/6/6/3/8/1458366.jpg 36 1 N HANDEL / NETHERLANDS BACH SOCIETY / VELDHOVEN MUSIC FOR THE PEACE OF UTRECHT 723385296102 CHC29610SACD 15181763 .00 21.99 .20 CHANNEL CLASSICS SUPER-AUDIO CD CLASSICAL CHAMBER MUSIC & RECITALS 08/10/2010 https://media.aent-m.com/graphics/items/sdimages/b/500/4/7/3/0/1680374.jpg 0 1 N ARCANGELO / BUSH / BROWN MAJESTIC AIRS: FESTIVE MUSIC 714861006827 TNTA206.2 27538333 .00 16.99 .25 TANTARA RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 12/26/2006 https://media.aent-m.com/graphics/items/sdimages/b/500/6/2/4/2/1442426.jpg 6 1 N BACH,J.S. / DRESDNER KREUZCHOR / FLAMIG CHRISTMAS ORATORIO BWV 248 782124329020 BLN32902.2 20899769 .00 16.99 .17 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHRISTMAS / CHANUKKAH 07/08/2008 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/0/4/8/0/1400840.jpg 3 1 N BACH,J.S. / HANDEL / SCHREIER / GEWANDHAUS ORCH EASTER IMPRESSIONS 782124825928 BLN182592.2 14200663 .00 18.99 .40 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/24/2008 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/3/4/8/0/1400843.jpg 6 3 N VIRTUOSI SAXONIAE GLORIA IN EXCELSIS DEO 782124925727 BLN92572.2 13946418 .00 21.99 .25 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHRISTMAS / CHANUKKAH 09/09/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/1/5/8/0/1400851.jpg 5 1 N BEETHOVEN / KONWITSCHNY SYMPHONY NO 3 782124323325 BLN3233.2 11958314 .00 16.99 .16 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/01/2005 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/a/500/0/2/9/0/1400920.jpg 6 1 N BRAHMS / BLOCHWITZ / FROBOESS FAIR MAGELONE 782124131623 BLN1316.2 14315930 .00 18.99 .27 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/08/2008 08/31/2026 https://media.aent-m.com/graphics/items/sdimages/b/500/4/6/9/0/1400964.jpg 5 1 N BRITTEN / PENDERECKI / BERG WAR REQUIEM 782124101220 BLN1012.2 11917717 .00 24.99 .42 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/01/2005 https://media.aent-m.com/graphics/items/sdimages/c/500/8/6/9/0/1400968.jpg 1 2 N DESSAU / SCHREIER / SUITNER EINSTEIN (OPERA IN 3 ACTS) 782124910921 BLN9109.2 01474756 .00 24.99 .24 BERLIN CLASSICS COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 10/15/1996 https://media.aent-m.com/graphics/items/sdimages/c/500/9/9/9/0/1400999.jpg 3 1 N DVORAK / SCHREIER / LAPSANSKY GIPSY MELODIES 782124324926 BLN3249.2 11959045 .00 16.99 .17 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/01/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/3/1/0/1/1401013.jpg 1 2 N HAYDN / SCHIRMER PIANO SONATAS 782124174521 BLN1745.2 08750693 .00 37.99 .29 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 02/25/2003 https://media.aent-m.com/graphics/items/sdimages/c/500/9/1/1/1/1401119.jpg 4 1 N MOZART / SUITNER / SCHREIBER SUITNER CONDUCTS MOZART & OPERA 782124839826 BLN183982.2 14201172 .00 37.99 .40 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/24/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/7/2/1/1401270.jpg 5 5 N SCHUBERT / LORENZ / SHETLER LIEDER TO TEXTS BY VARIOUS P 782124327927 BLN32792.2 20899660 .00 16.99 .16 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/7/3/1/1401370.jpg 4 1 N SCHUTZ / SCHREIER / SPRINGBORN / FLAMIG ST. JOHN'S PASSION 782124900922 BLN9009.2 01474114 .00 18.99 .25 BERLIN CLASSICS COMPACT DISCS CLASSICAL EARLY MUSIC / CHANT 02/17/1998 https://media.aent-m.com/graphics/items/sdimages/a/500/2/2/4/1/1401422.jpg 2 1 N STAATSKAPELLE DRESDEN ROMANTIC OVERTURES 782124857721 BLN185772.2 15083821 .00 10.99 .12 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/9/4/4/1/1401449.jpg 3 1 N VERDI / ROTHENBERGER / RIDDER TRAVIATA 782124202729 BLN20272.2 15084446 .00 18.99 .25 BERLIN CLASSICS COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/9/3/5/1/1401539.jpg 3 1 N MUSIKFABRIK SCHATTENSPIELE Black is the color of the bile said to induce a state of gloom. In the form of melancholia," it has become an allegory of the artistic imagination. The hour of melancholy strikes at night, when the sleep of reason brings forth it's monsters. This CD takes us on a foray into the land of shadows: it's compositions make remarkable use of light and shadow effects while simultaneously recalibrating the relationship between ensemble and soloist in unique ways. Michael Jarrell's arrangement of a violin concerto for chamber orchestra refracts the solo instrument's line through the prism of the ensemble. The tale told by Stefano Gervasoni's "lowered" concerto for double bass is only superficially about dolce far niente; his music is a nocturnal creature that gathers odd sound forms - until the alarm goes off. Taking an (early-morning) look in the mirror, the solo flute in Durand's "Ombre/Miroir" finds itself still faced with shadowy creatures as well. And finally, in Brian Ferneyhough's seven tableaux vivants, the angel of history appears: in verses of poet Charles Bernstein he shows his gloomy face.

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SCHATTENSPIELE
Wergo Jun 2010
CD
$18.99

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

VIOLIN SONATAS

Gramola Records

DVD + Blu-Ray

$43.99 ~~$57.99~~ Save 25% Jan 27, 2017

Beethoven's first Sonatas for violin and piano Op. 12/1-3, composed during the years 1797 and 1798, contain unmistakable elements of his later composition style, which challenged his contemporaries’ critical taste accordingly. The violin sonatas No. 4 Op. 23 and No. 5 Op. 24 and their composition correlate, according to findings of musicologists, closely with Beethoven’s own relationships. The former one seems to portray the darker side of love, its unfulfillment, whereas the later so-called ‘spring sonata’ – as a sort of characterization of a loving heart’s feeling of spring – references the sweet, beautiful aspects of love. The three sonatas Op. 30/1-3, composed in 1802, the year when he also wrote the ‘Heiligenstädter Testament’, reflect Beethoven’s emotional state and are characterized by heavy mood swings. Maybe the most famous work is the ‘Kreutzer’ sonata No. 9 in A major Op. 47, once termed unplayable by its dedicatee, the French violinist Rodolphe Kreutzer. By contrast, Beethoven’s final violin sonata No. 10 in G major Op. 96 seems more heartfelt in tone and was praised by critics as the ‘most poetic and musically most sensitively crafted’ of his sonatas. Thomas Albertus Irnberger and Michael Korstick furthermore present the variations ‘Se vuol ballare’ WoO 40 on a theme from the opera Le nozze di Figaro by W. A. Mozart. The Rondo in G major, WoO 41, and the Six German Dances, WoO 42, were written in 1794/96 and convey ease and almost juvenile cheerfulness – a trait also prevalent in the interpretation of Irnberger and Korstick.

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VIOLIN SONATAS
Gramola Records Jan 2017
DVD + Blu-Ray
~~$57.99~~ $43.99

Tamberg: Joanna Tentata Suite, Symphonic Dances, Concerto Grosso / Jarvi, Hague Residentie

BIS

$21.99 Jun 01, 2010

Estonian composer Eino Tamberg (b. 1930) is the real deal--a composer with a fresh take on traditional tonal music who knows how to write tunes and score them with unfailing color and point. His Concerto Grosso--for flute, trumpet, clarinet, alto saxophone, bassoon, piano, harp, strings, and percussion--is a masterpiece of 20th century neo-classicism and it deserves to be a repertory item. It dates from 1956 and at only Op. 5 it announces a major talent. The Symphonic Dances arrived a year later and fall within similar stylistic parameters, from the opening tune that has a Poulenc-like wit, to the three saxophones that give Tamberg's scoring a truly modern feel.

If you had the chance to hear Tamberg's 1976 opera Cyrano de Bergerac (and if you didn't, get it--it's on CPO), then you already know that he has a wonderful feeling for the theater, and for writing dramatic music. The ballet Joanna Tentata is based on the same source that gave us Penderecki's opera The Devils of Loudon. Now let's face it, stories about demonic possession in a convent have lots of juicy potential, as well as a long history on the stage, going back through Prokofiev's The Fiery Angel to Meyerbeer's Robert le Diable. Tamberg's ballet suite instantly establishes the story's haunted setting (church bells leading to a big, dissonant instrumental pileup), but the music at the same time celebrates and positively reeks of the dance. And once again we can only applaud Tamberg's willingness (and ability) to write a good tune.

Believe it or not, some of this music has been recorded previously. The Concerto Grosso appeared on a difficult-to-source Antes CD in a very fine performance by Estonian forces. This new version is wonderful too, even more naturally recorded, and Neeme Järvi is just the conductor for this colorful, exciting, and strongly gestural music. The musicians of the Residentie Orkest also clearly relish Tamberg's ebullient musical personality and the opportunities he gives them to shine. We can only hope that BIS will delve more deeply into Tamberg's output and help to bring him some of the international attention he surely deserves.

--David Hurwitz, ClassicsToday.com

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Tamberg: Joanna Tentata Suite, Symphonic Dances, Concerto Grosso / Jarvi, Hague Residentie
BIS Jun 2010
CD
$21.99

Muffat: Componimenti Musicali per il cembalo (1739) / Loreggian

Brilliant Classics

$8.49 ~~$16.99~~ Save 50% Feb 16, 2024

Gottlieb Muffat’s oeuvre, dedicated almost in its entirety to keyboard instruments and skilfully straddling the stile antico and stile moderno, deserves more detailed attention than it has ever been afforded. The majority of sources containing music by Muffat are unpublished, with only two collections published at the composer’s own behest during his years in the Emperor’s service in Vienna. One of these is the Componimenti Musicali per il Cembalo (Augsburg, 1739).

This collection contains 6 Suites and a Ciacona with 38 variations for solo harpsichord. The composer describes these seven works as capricci or galanterie to be performed in the stile moderno and to suit modern tastes. Although arranged in the conventional order of Allemande–Courante–Sarabande–Gigue, Muffat also added various optional dances, displaying no shortage of innovation. The first movements are introductory in nature, often fugal in form and varying in style and pace: Ouverture (Suites 1 and 5), Prelude (Suite 2) and Fantaisie (Suites 3, 4 and 6). The seventh piece in the collection, the Ciacona con 38 Variazioni, is a special case. As Christopher Hogwood suggests in his introduction to the modern edition (Orpheus, 2009), the Ciacona could be another tribute to the imperial family, as the number of variations matches the age Charles VI’s niece, Maria Amalia, would have been on 22 October 1739.

Muffat’s interest in contemporary harpsichord composition is most clearly evident in his transcription and reinterpretation of works by George Frideric Handel, based on a manuscript copy of the Suites des pièces pour le clavecin he held in his library. Muffat reworked the suites in Handel’s collection, suggesting new ornamentation, distributing the notes differently between the hands, changing the clefs and sometimes note values, and adding slurs and cadenzas. He then applied everything he had observed while rewriting Handel’s suites to his own Componimenti musicali: including a table of ornaments, which the composer asks be played with ‘art and discretion’; he considers the positioning of the player’s hands on the keyboard in his writing and avoids using multiple clefs on one line to prevent confusion; he describes the optimum way to use the thumb for accidentals; and he provides the correct technical interpretation of trills and slurs.

Study of the Componimenti reveals what could be defined as a pedagogical intent, as well as a clear desire to make the score unambiguous and accessible by means of his introductory instructions. The collection contributed greatly to setting a new benchmark for keyboard writing in the lands of the Viennese Empire.

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Muffat: Componimenti Musicali per il cembalo (1739) / Loreggian
Brilliant Classics Feb 2024
CD
~~$16.99~~ $8.49

ELISABETH JACQUET DE LA GUERRE: JUDITH & SEMELE

EVIDENCE CLASSICS

$20.17 Dec 30, 2022

Elisabeth Jacquet de la Guerre was a virtuoso harpsichordist, as well as the author of many pioneering works. She left an abundant output of cantatas, both secular and sacred. Here the soprano Mailys de Villoutreys, Heloise Gaillard and her Ensemble Amarillis pay tribute to her with the cantatas Judith and Semele, inspired by two women who embody virtue and courage on the one hand, temerity and pride on the other. Whether intimate or more operatic, both works highlight the composer's innate sense of drama. This recording also includes some of her instrumental works. The Suite in G major, from her Pieces de clavecin of 1707, is a pioneering work, representing the new genre of accompanied harpsichord music. Her Trio Sonata No.4, in a totally new instrumentation, shows the influence of Corelli, while the art of ornamentation in this, one of her finest achievements, is purely French.

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ELISABETH JACQUET DE LA GUERRE: JUDITH & SEMELE
EVIDENCE CLASSICS Dec 2022
CD
$20.17

Bach: Sonatas & Suites arr. Guitar

MDG

SACD

$24.99 Jan 09, 2026

Inspired by the power and clarity of an extraordinary instrument handcrafted by a legendary guitarrero from Granada, guitar virtuoso Stephen Marchionda presents his very own personal versions of Bach's Sonata in A Minor and the Suite in E Major; and together with the Lute Suite BWV 997 he has created an album that masterfully combines polyphonic intimacy with sonorous opulence.

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Bach: Sonatas & Suites arr. Guitar
MDG Jan 2026
SACD
$24.99

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