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Robert Schumann: Der Rose Pilgerfahrt & Requiem

Oehms Classics

$31.99 Sep 24, 2013

With these two rarely played works of Robert Schumann, Christoph Spering proudly introduces himself to OehmsClassics. He is able to enthrall audiences, especially at lecture-concerts in Cologne, with the background and secrets of music history and through clear and humorous presentations, creating a link between entertainment and education at a high standard of excellence. OehmsClassics is delighted over this collaboration and anxiously awaits the second publication of this year: The version of Gluck's Iphigenie in Aulis adapted by Richard Wagner.

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Robert Schumann: Der Rose Pilgerfahrt & Requiem
Oehms Classics Sep 2013
CD
$31.99

Marais: Cinquieme livre de pieces de viole / Joubert-Caillet, L'Acheron

Ricercar

$29.99 Jun 23, 2023

Marin Marais published his last collection in 1725, eight years after the appearance of his Quatrième Livre de Pièces de Viole. He was no longer playing in the Chambre du Roi by that time and had moved to a house in the Faubourg Saint-Marceau where he cultivated plants and flowers in his garden. He continued, however, to give lessons to people who wanted to improve their viol playing. The Cinquième Livre de Pièces de Viole reflects this image of a peaceful life; today we regard it as the final testament of a musician who was looking back upon his past years as their undisputed master — and which he remains today.

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Marais: Cinquieme livre de pieces de viole / Joubert-Caillet, L'Acheron
Ricercar Jun 2023
CD
$29.99

8: KINDRED SPIRITS (LIVE FROM THE LOBERO)

BLUE NOTE RECORDS

Vinyl

$45.99 Jun 17, 2022

Double vinyl LP pressing with 28-page 12 x 12" book. On March 15, 2018, legendary saxophonist, composer and jazz mystic Charles Lloyd celebrated his 80th birthday at The Lobero - his hometown venue in Santa Barbara, CA. He was joined by an unprecedented group of musicians including guitarist Julian Lage, pianist Gerald Clayton, bassist Reuben Rogers, and drummer Eric Harland.

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8: KINDRED SPIRITS (LIVE FROM THE LOBERO)
BLUE NOTE RECORDS Jun 2022
Vinyl
$45.99

ELGAR: THE DREAM OF GERONTIUS

ALTO

$12.77 Oct 18, 2019

a deeply felt, thoughtful and, where needed, highly dramatic interpretation of an indisputable masterpiece. (Gramophone) "orchestral textures were sensuously coloured, and the vast symphonic structure flawlessly paced and handled. The choral singing, thrilling in it's immediacy and clarity, can only be described as electrifying from start to finish" (The Guardian) "For Davis, Elgar is a European composer, and the links to Wagner are clear... Davis is the star: guiding shaping, enhancing the beauty and the flow." (The Times)

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ELGAR: THE DREAM OF GERONTIUS
ALTO Oct 2019
CD
$12.77

Vivaldi: Concerti per Flauto e Flautino / Dorothee Oberlinger, Sonatori De La Gioisa Marca

Arcana

$11.99 Jan 08, 2021

Dorothee Oberlinger writes: “All the recorder concertos on this release – chamber concertos or solo concertos – were written expressly for flauto or flautino and show the imagination, delicacy, freshness, virtuosity and sometimes even melancholy, which Vivaldi put into his writing for this instrument. We have intentionally chosen tuning at 440 Hz since, in Venice, in Vivaldi’s time, tuning was higher than in neighboring musical centers such as Rome, for example, where, at times, one even played at 392 Hz. With this high tuning, the sound of the gentle gut strings becomes clearer and more brilliant.”

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Vivaldi: Concerti per Flauto e Flautino / Dorothee Oberlinger, Sonatori De La Gioisa Marca
Arcana Jan 2021
CD
$11.99

Robert & Clara Schumann: Works for Oboe & Piano / Daniel, Drake

Chandos

$21.99 Aug 23, 2024

One of Britain's best-known musicians, Nicholas Daniel OBE won the BBC Young Musician competition in 1980, after which he quickly established his career, travelling all over the world, broadcasting widely, and making his debut at the BBC Proms. He has premiered hundreds of works for the oboe and made many critically acclaimed recordings of both new and familiar music. As a soloist he has appeared with the world's leading orchestras, performing a huge range of repertoire and premiering works written specially for him by many of the world's greatest composers. He is a founder member of the Britten Sinfonia, Haffner Wind Ensemble, Orsino Ensemble, and Britten Oboe Quartet. This programme features a wide selection of chamber music by Robert Schumann, alongside the Three Romances by Clara Schumann. At the time these pieces were written, there was a rapidly growing interest in amateur music making in the home, fuelled by a burgeoning middle class. Brahms, Schumann, and Mendelssohn all contributed significantly to the array of works published for this market, and it was quite normal practise for parts to be substituted for whatever instruments happened to be available. So, although the Three Romances, Op. 94 are the only works here originally composed for the oboe, the programme is not only musically rewarding in it's own right, but also in keeping with what the Schumanns would have considered normal practise.

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Robert & Clara Schumann: Works for Oboe & Piano / Daniel, Drake
Chandos Aug 2024
CD
$21.99

Siegfried Wagner: Der Kobold / Strobel, Broberg, Horn, Et Al

Marco Polo

$17.99 ~~$35.99~~ Save 50% May 29, 2007

S. WAGNER Der Kobold • Frank Strobel, cond; Rebecca Broberg ( Verena ); Regina Mauel ( Gertrud ); Andreas Mitschke ( Ekhart ); Achim Hoffmann ( Trutz ); Johannes Föttinger ( Fink ); Philipp Meierhöfer ( Kümmel ); Volker Horn ( Friedrich ); Nicholas Isherwood ( Der Graf ); Martina Borst ( Die Gräfin ); Ksenija Lukic ( Jeannette ); Marco Bappert ( Jean ); Joachim Höchbauer ( Knorz ); Heike Kohler ( Käthe ); Young Jae Park ( Seelchen ); PPP Music Theatre Ens; Nuremberg SO • Marco Polo 8.225329 (3 CDs: 195:27)

Each time I listen to this recording of The Goblin , I am utterly unnerved—do not be fooled by the descending flute figures that cue the overture, like Pan himself coming down to bless the land. Obviously, there is no shortage of warped and twisted librettos, which tend to serve as jumping off points for music yet more warped and twisted, but my goodness, our man Siegfried was exorcising some personal demons with this work—ironically, by enlivening some.

The first “sung” note, once the gentle, autumnal instrumental opening has concluded, is a scream, one that comes through on the recording like a spike—no reverb, no vibrato, just fear, hammered home. We are dealing with a dramatis personae of goblins (including one whose entrance into the world comes courtesy of a mixture of a hanged man’s seed and the yellow grass below), a wizard, some assassins, night phantoms, a few satyrs, a circus collective, a rapist, and such cheery pursuits as infanticide, abortion, flesh trading, and prestidigitation for, shall we say, less than salubrious ends. Good luck sorting out the plot, which is about as close to postmodernism as Siegfried ever got, and features an opera within the opera, and a climax not dissimilar to F. W. Murnau’s Nosferatu , which had the subtitle, intriguingly enough, of “A Symphony of Horrors.”

The quality of the recording itself will jar you, but that’s part of its effectiveness—weapons crash to the ground as though they’ve landed on microphones, or like something is kicking inside the speakers and trying to get out. It’s a fascinating, weird kind of audio-vérité, that further unsettles the nerves; but distortion was Siegfried’s ally in the creation of this work, and some passages even appear, at first, to be atonal. Rebecca Broberg as Verena, the opera’s heroine—a default designation, really, in this case, given her successive and ultimately defeating tragedies—is really stretched on the rack in her exceedingly taxing role, and it is through her vocal lines that we experience whatever empathy—which often takes the forms of anxiety and fear—the opera has to offer. It’s been remarked that for all of its fantastical elements, Der Kobold is something of a gangster story, but the noir -ish element becomes almost hallucinatory in the constant churn of crises, a vortex of demonism, you might say—of both the supernatural and human variety, the latter, of course, always being worse. Cpo has a Siegfried Wagner sampler disc with the West German Radio Symphony Orchestra and Roman Trekel handling an excerpt, but for the whole, vivid nightmare, you’ll need this set to be properly shocked and disturbed. And for those who cherish their illusions of childhood, there is perhaps no 20th-century opera that poses such a menacing threat to any and all forms of latency.

FANFARE: Colin Fleming

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Sale

Siegfried Wagner: Der Kobold / Strobel, Broberg, Horn, Et Al
Marco Polo May 2007
CD
~~$35.99~~ $17.99

Brigadoon & Kiss Me Kate - Original Television Soundtracks / Robert Goulet

Sony Masterworks

$17.99 Mar 04, 2014

Long before Carrie Underwood in The Sound of Music, network television was regularly airing versions of Broadway musicals in the 1950's and '60s. Following his blazing introduction in Camelot, Robert Goulet had become one of the hottest actors of the time. Capitalizing on his fame, the ABC network showcased Goulet in live broadcasts of Brigadoon in 1966 and Kiss Me, Kate in 1968. Lerner and Loewe's Brigadoon features Goulet with Peter Falk and Sally Ann Howes, and Cole Porter's Kiss Me, Kate stars his then-wife, Carol Lawrence, as well as Jessica Walter and Michael Callan.

Tracks:

KISS ME, KATE
1. Overture 2:42 - Orchestra
2. Another Op’nin’, Another Show 2:12 - Ensemble
3. Why Can’t You Behave 1:53 - Jessica Walter
4. Wunderbar 2:32 - Robert Goulet and Carol Lawrence
5. So In Love 3:00 - Carol Lawrence
6.We Open in Venice 2:08 - Robert Goulet, Carol Lawrence, Jessica Walter, Michael Callan and Chorus
7. I Hate Men 2:18 - Carol Lawrence
8. I’ve Come to Wive It Wealthily in Padua 2:14 - Robert Goulet
9. Tom, Dick or Harry 2:29 - Jessica Walter, Michael Callan, Tony Hendra and Nick Ullett
10. Were Thine That Special Face 2:34 - Robert Goulet
11. Too Darn Hot 2:27 - Michael Callan and Chorus
12. So Kiss Me, Kate 0:47 - Robert Goulet, Carol Lawrence and Chorus
13. Where Is the Life That Late I Led 4:17 - Robert Goulet
14. Always True to You in My Fashion 2:44 - Jessica Walter
15. So In Love (Reprise) 3:10 - Robert Goulet
16. Brush Up Your Shakespeare 2:46 - Jules Munshin and Marty Ingels
17. I Am Ashamed That Women Are So Simple 1:37 - Carol Lawrence
18. Finale 0:46 - Ensemble

BRIGADOON
19. Overture 4:05 - Orchestra
20.Brigadoon 1:44 - Chorus
21. Almost Like Being In Love 2:50 - Robert Goulet and Sally Ann Howes
22. McConnachy Square 1:58 - Marlyn Mason and Chorus
23. From This Day On 2:28 - Robert Goulet and Sally Ann Howes
24. Come to Me, Bend to Me 3:26 - Tommy Carlisle
25. The Heather on the Hill 4:24 - Robert Goulet and Sally Ann Howes
26. Waiting for My Dearie 1:46 - Sally Ann Howes
27. I’ll Go Home with Bonnie Jean 3:07 - Tommy Carlisle and Chorus
28. There But for You Go I 2:47 - Robert Goulet
29. Brigadoon (Reprise) 1:12 - Chorus

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Brigadoon & Kiss Me Kate - Original Television Soundtracks / Robert Goulet
Sony Masterworks Mar 2014
CD
$17.99

MEYERBEER: Robert le diable
Dynamic Jan 2000
CD
$29.99

Wagner: Tannhauser / Youn, Kerl, , Eiche, Kober, Bayreuth Festival [blu-ray]

Opus Arte

Blu-Ray

$52.99 Jul 31, 2015

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Richard Wagner’s Tannhauser, a tale of the struggle between spiritual and profane love, and of redemption through love, is given a radical visual update in Sebastian Baumgarten’s controversial Bayreuth production. • Joep van Lieshout’s giant installation ‘The Technocrat’ dominates the stage, its industrial interior suggesting that Tannhäuser is in fact one big experiment. • Torsten Kerl interprets the title role, with Camilla Nylund in the role of Elisabeth. • ‘‘Camilla Nylund’s Elisabeth and Kwangchul Youn’s Landgraf deservedly received the most applause at the curtain calls.’’ (Bachtrack)

Richard Wagner
TANNHÄUSER

Hermann / Landgrave of Thuringia - Kwangchul Youn
Tannhäuser - Torsten Kerl
Wolfram von Eschenbach - Markus Eiche
Walther von der Vogelweide - Lothar Odinius
Biterolf - Thomas Jesatko
Heinrich der Schreiber - Stefan Heibach
Reinmar von Zweter - Rainer Zaun
Elisabeth / The Landgrave’s niece - Camilla Nylund
Venus - Michelle Breedt
A Young Shepherd - Katja Stuber

Bayreuth Festival Chorus and Orchestra
(chorus master: Eberhard Friedrich)
Axel Kober, conductor

Sebastian Baumgarten, stage director
Joep van Lieshout, set designer
Nina von Mechow, costume designer
Franck Evin, lighting designer

Recorded live at the Bayreuth Festival, July 2014

Bonus:
- Interviews with Sebastian Baumgarten, Axel Kober, Eberhard Friedrich, Torsten Kerl and Camilla Nylund
- Short films
- Cast gallery

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Korean
Running time: 252 mins (opera) + 30 mins (bonus)
No. of Discs: 2 (BD 50)

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Wagner: Tannhauser / Youn, Kerl, , Eiche, Kober, Bayreuth Festival [blu-ray]
Opus Arte Jul 2015
Blu-Ray
$52.99

IBERIA

ONYX CLASSICS

$20.49 Nov 28, 2025

In this vibrant and colorful orchestral program from the Royal Liverpool Philharmonic Orchestra and Domingo Hindoyan, Chabrier's Espana opens proceedings. The composer's interest in Spain was most likely the result of his friendship with the artist Edouard Manet, whose paintings depicted Spanish themes. The conductor of the premiere was Charles Lamoureux who persuaded Chabrier to visit Spain in the summer of 1882. This work was the catalyst for French composers who followed to explore Spanish influences. Manual de Falla commented on Debussy's Iberia "Without knowing Spain, or without having set foot on Spanish ground," he noted, "Debussy has written Spanish music. He came to know Spain through books and paintings, through songs and dances performed by native Spaniards."

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IBERIA
ONYX CLASSICS Nov 2025
CD
$20.49

Mix & Match

Elgar: The Dream of Gerontius; The Apostles; The Kingdom / Elder, Halle Orchestra

Halle

$69.99 Jun 02, 2023

Sir Mark Elder has long been hailed for his interpretation of the works of Sir Edward Elgar. This special release box set celebrates the twentieth anniversary of the Hallé label and marks Hallé’s Elgar oratorios festival at the Bridgewater Hall in June 2023. Elgar’s three major oratorios are brought together in this special release box set. The multiple award-winning recordings feature the highly acclaimed Hallé Chorus and Youth Choir and a stellar line-up of major international vocal soloists.

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Elgar: The Dream of Gerontius; The Apostles; The Kingdom / Elder, Halle Orchestra
Halle Jun 2023
CD
$69.99

Eroberung Des Nutzlosen
Winter & Winter Jan 2013
CD
$16.99

Lorenzo Palomo: Dr. Seuss' The Sneetches / De Lancie, Jimenez, Oberlin Orchestra

Oberlin Music

$16.99 Oct 29, 2013

Oberlin Music is proud to announce the release of Dr. Seuss' the Sneetches, a symphonic poem for narrator and symphony orchestra. Theodor Geisel's timeless children's tale about the perils of bigotry comes to vivid life through an inspired performance of Lorenzo Palomo's original score by the Oberlin Orchestra and spirited narration from actor John de Lancie (Star Trek: The Next Generation, Breaking Bad). Through the generosity of Dr. Seuss Enterprises and Lorenzo Palomo, all proceeds from the sale of this recording will support scholarships at the Oberlin Conservatory of Music.

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Lorenzo Palomo: Dr. Seuss' The Sneetches / De Lancie, Jimenez, Oberlin Orchestra
Oberlin Music Oct 2013
CD
$16.99

Bach: St. Matthew Passion (Highlights) / Géza Oberfrank
Naxos Jan 1995
CD
$19.99

Nicolai: Die Heimkehr des Verbannten / Beerman, Robert-Schumann-Philharmonie

CPO

$36.99 Nov 18, 2016

It was not too long ago that Otto Nicolai's name was known to pera audiences exclusively in association with his comic opera The Merry Wives of Windsor. Then the performance of his opera Il Templario changed our view of this composer's oeuvre. Il Templario, a work premiered in Turin in 1840, met with great international acclaim and recognition when it was produced on the stage. It's success has encouraged us to acquaint the music world with yet another Italian opera by Nicolai produced in Chemnitz: Die Heimkehr des Verbannten, which celebrated it's premiere as Il proscritto in Milan in 1841. Three years later it was presented as a German opera entitled Die Heimkehr des Verbannten in Vienna in a version revised by Nicolai that went on to be successfully performed about forty times over a period of three years at the Court Opera Theater.

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Nicolai: Die Heimkehr des Verbannten / Beerman, Robert-Schumann-Philharmonie
CPO Nov 2016
CD
$36.99

Les Forjerons / Edocs, Illes, Gaborjani

Hungaroton

$20.99 Mar 13, 2020

With the selection of this album, enthusiasts of Baroque music have an insight into the highly particular and individual style of Jean-Jacques-Baptiste Anet, a French violinist- composer, now hardly known but in his time considered to be one of the greatest violinists. He was born in Paris. He studied with Arcangelo Corelli for four years in Rome. Afterwards, he returned to Paris about 1700, and was met with the greatest success. There can be little doubt that by his example the principles of the great Italian school of violin-playing were first introduced into France. Probably owing to the jealousy of his French colleagues Anet soon left Paris again, and is said to have spent the rest of his life as conductor of the private band of a nobleman in Poland. He published three sets of sonatas for the violin. This release showcases sonatas for violin and basso-continuo.

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Les Forjerons / Edocs, Illes, Gaborjani
Hungaroton Mar 2020
CD
$20.99

Schubert: Wanderer Fantasy; Impromptus / Viviana Sofronitsky

CAvi-music

$19.99 Apr 10, 2012

I greatly enjoyed Viviana Sofronitsky’s Mozart piano concertos (see review), and still dip into it on a fairly regular basis – always a positive sign that good first impressions have held up over the longer term. This Schubert recording uses an instrument by the same maker, with a fortepiano modelled on one by Conrad Graf (1819) built by Paul MacNulty. The remarkable variety of colours and textures available from this instrument is fully explored by Sofronitsky in the Wanderer Fantasie. From it she coaxes exquisitely delicate music-box soft moments, muffled tones and the kind of sharply observed dynamic drama which can become a little monotonous on a modern piano.

Melvyn Tan set the standard for fortepiano recordings in past decades, and his Virgin Veritas two disc survey of Schubert’s music, which includes the Impromptus D935 and D899, is still very much worth having. The EMI recording is a little gentler than the Avi-Music balance, with more distance between the listener and the instrument. Tan is more romantic in approach, allowing for more rubato and sustain where Sofronitsky is more direct. The first Impromptu D899 is a typical example, in which the articulation of the notes seems as important as the shaping of melodic lines and phrases to Sofronitsky. This is a challenge in its own right: who can we say is more accurate? Do we allow for more generosity of romantic spirit in music which still feels the pull of Mozart, or do we emphasise the classical in music which expresses emotion in the deepest ways available to but stretching the style and idiom of the day. Sofronitsky by no means plays without expression, but her articulation is more angular than most versions you will probably have heard until now. I could accuse her second Impromptu D899 of being too choppy and vertical sounding. Indeed there are passages where the repetitions seem to stack up rather than moving the musical narrative along. That said, the contrast of touch and the dramatic world created also have plenty to offer. The singing melody of the third Impromptu D899 provides an illusion of a sustained line on any piano. Sofronitsky carefully and effectively paces the movement so that this works as well as possible. Even so, the balance of melody is a mote too weak against the myriad accompanying notes though still sweeping along with fine and at times touching character. The last of the D 899 set is rather magical in its opening and closing bars, the lightness of touch – I take it with soft pedal – creating an ethereal atmosphere you’re unlikely to hear anywhere else, certainly not with Tan. The music comes into focus and advances as the effect is lifted, and the progression into the minor key is all the more dramatic for this extra layer of colouration.

The comments for D899 apply to a large extent also to the Impromptus D935. Sofronitsky obtains the maximum effect from the instrument. There are many aspects of these pieces which one can discover anew when hearing it on a fortepiano as opposed to a modern concert grand. You can tell the shading of light and dark in the first of the D935 set is exactly the effect Schubert would have had in mind, though the almost skipping tempo with which the second piece opens may or may not have been what he had in mind. Sofronitsky connects this with the dance rhythms which are the origins of the work. He seeks depth of expression in its brilliant contrasts of tonality and dynamic, rather than exploring artificial profundity in languor of tempo. The disarming melody of the third in this set is perhaps presented a little too heavily for my taste, though there is a marvel of difference in some of the variations which follow. The closing dance of no. 4 is lively and full of surprises.

Saving the best until last, it is the Wanderer Fantasie which impresses me most on this recording. Viviana Sofronitsky’s performance is one which fascinates at all levels. The anticipation of hearing how certain passages will sound on the MacNulty instrument is always rewarded with refreshing and unusual sonorities and tremendous inventiveness. Being a huge fan of Schubert’s piano sonatas and lieder I’ve been less keen on this work in general, but hearing the way it can sound on fortepiano and played so expertly has revived my interest more than somewhat. Schubert’s melodramatic writing makes absolute sense with this instrument, and the at times almost orchestral sounds which emanate clearly show how Schubert anticipates later generations and names such as Wagner, Berlioz and Liszt in his exploratory harmonic relationships and thematic developments. The difference between a pp and f or ff isn’t just soft or loud here, and the change in colour and texture between different moments is hard to describe in words. Take the bass line from 1:51 to 2:10 in the second movement Adagio, which has a driven, vocal quality as the dynamic increases. I find the personality which emerges from this kind of effect quite bewitching, and the entire piece comes alive in this version.

This recording probably won’t substitute your favourite concert grand performances, but if you still perceive listening to the fortepiano as a kind of hair-shirt experience then this disc should make you think again, though it does require decent equipment to bring the best of the subtleties of colour to the fore.

-- Dominy Clements, MusicWeb International

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Schubert: Wanderer Fantasy; Impromptus / Viviana Sofronitsky
CAvi-music Apr 2012
CD
$19.99

Rossini: Robert Bruce / Arrivabeni, Tamar, Rivenq, Et Al
Dynamic May 2003
CD
$24.99

Schubert: Piano Music
Orfeo May 1988
CD
$20.99

Dekameron: Czyli historia milosci sredniowiecznej
DUX Jan 1995
CD
$21.99

Braunfels: Te Deum / Honeck, Sjoberg, Jonsson, Et Al
Orfeo Oct 2007
CD
$20.99

Meyerbeer: Semiramide / Calderon, Et Al
Dynamic Jan 2007
CD
$24.99

Beethoven: Eroica Variations, Etc / Bruno Gelber
Orfeo Aug 1984
CD
$20.99

Bob Van Asperen Froberger Edition: Capriccio 7

Aeolus

SACD

$21.99 May 27, 2016

A "seventeenth-century Art of Fugue" -- The seventh volume of the Froberger Edition on Aeolus is perhaps the craziest: a roller-coaster ride through the world of the fugue, performed with virtuosity and the spirit of adventure. Bob van Asperen plays himself here into an absolute frenzy! Froberger's Capriccios show a composer who not only perfectly mastered his métier, but drove his art forward to new heights. Not without reason, the accompanying text (written by the performer) points out many connections to the works of J. S. Bach. With Bob van Asperen, the Edition features an exceptional interpreter who performs these works just as passionately as knowledgeably. Eighteen multi-part Capriccios are to be heard, also including a recently discovered work. As in all the other volumes of the Edition, an important historical instrument is employed: here it is the large Arp Schnitger organ of the Ludgerikirche in Norden (Eastern Friesland, Germany), which with its numerous stops allows the wealth of polyphony to resound.

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Bob Van Asperen Froberger Edition: Capriccio 7
Aeolus May 2016
SACD
$21.99