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Guitar Recital / Vladimir Gorbach

Naxos

$19.99 Jun 26, 2012

Brilliant young guitarist Vladimir Gorbach, first-prize winner of the Guitar Foundation of America’s International Concert Artist Competition in 2011, has constructed a programme to showcase the variety and versatility of his instrument. Piazzolla’s Estaciones porteñas are richly evocative seasonal portraits vested with his indelible sense of verve. Scarlatti’s inexhaustible sonatas are increasingly popular in guitar transcription, the four here showing his originality and dexterity, whilst Giuliani’s Rondoletto is full of dazzling escapades for the guitar. Vicente Asencio’s Collectici íntim is drenched in vibrant Spanish colours and rhythms.

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Guitar Recital / Vladimir Gorbach
Naxos Jun 2012
CD
$19.99

Sarti: 6 Sonatas for Traversiere Flute & B.C.

Brilliant Classics

$9.99 ~~$12.99~~ Save 25% Mar 21, 2025

As is the case with so many 18th-century composers, Giuseppe Sarti (1727-1802) enjoyed fame in his lifetime to rival W. A. Mozart's but is scarcely known today. Some might remember him as the author of the aria "Come un agnello", borrowed by Mozart in Don Giovanni. After all, Sarti's arias were in his lifetime regarded as true models of Italian style. Even after his death, they were regularly performed in the salons of the nobility. But by about 1840 the memory of the man and his works had largely faded. In recent decades, however, there has been a renewed focus on Sarti; not only for his compositions, but also for his merits as a pedagogue and theorist. The 6 Sonate a Flauto Traversiero solo e Basso Continuo were published in Paris by Christophe Le Menu. The date of publication, 1772, can be deduced from an advertisement that appeared in a periodical late that year. It is a collection of sonatas definitely conceived for an audience at a more professional than amateur level, with writing decidedly suited to the instrumental peculiarities of the transverse flute, which, according to the taste of the time, took as it's model the singing qualities of the human voice. This allowed Sarti to take advantage of his skill at composing operas in order to write particularly touching, even dramatic melodies, with typically theatrical affects such as in the Largo and Cantabile of the First Sonata or the Andante of the Fourth Sonata, both in the key of G minor, which on the transverse flute is, with it's veiled timbre, delicately affectionate. In the context of what is one of the main characteristics of flute (and violin) writing by Italian composers, Sarti employs an articulation dominated by legato, clearly diversifying himself, as did the French composers, from the predominantly articulated style that prevailed with German composers. The remarkably flautistic writing, for a composer who did not play the instrument nor wrote much instrumental music in general, suggests he may have been in contact with a flute virtuoso who either advised or inspired him. A credible hypothesis is that a collaboration with the orchestra of the Grand Duchy of Florence led him to work closely with it's principal flautist, the virtuoso Niccolo Dôthel. Other information: - Recorded December 2023 in Florence - Booklet in English contains liner notes by the harpsichordist, Giacomo Benedetti, along with profiles of all three players - Liner notes and biographical information in Italian available at brilliantclassics. Com - Giuseppe Sarti (1729-1802), an Italian composer primarily known for his operatic works, also contributed significantly to instrumental music. His flute sonatas exemplify the elegance and refinement of late Baroque and early Classical styles. - Sarti's flute sonatas are characterized by their lyrical melodies, which reflect the influence of vocal music, a hallmark of his operatic background. The sonatas typically follow the three-movement structure -fast-slow-fast- that was common in the 18th century. The first movements are often lively, with energetic, flowing lines for the flute, while the middle movements tend to be more expressive, allowing the instrument to display it's capacity for emotional nuance. The final movements bring a spirited conclusion, often featuring dance-like rhythms. - These sonatas were likely written for amateur musicians, given the rising popularity of the flute in domestic music-making circles of the time. As a result, they strike a balance between technical accessibility and artistic depth. - Played by Giovanni Miszczyszyn (Traversiere flute, made by Luca Ripanti in Turin/ Italy 2023, after Carlo Alberto Felice Palanca around 1760), Valeria Brunelli and Giacomo Benedetti. Giovanni Miszczyszyn studied with Peter Lucas Graf, and followed Master Classes with Aurele Nicolet and Jean-Pierre Rampal. At the same time he specialized in Baroque flute in seminars and classes with Barthold Kuijken and Pierre Sechet.

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Sarti: 6 Sonatas for Traversiere Flute & B.C.
Brilliant Classics Mar 2025
CD
~~$12.99~~ $9.99

Dall'abaco: Violin Sonatas / Sasso, Insieme Strumentale Roma
Stradivarius Mar 2006
CD
$18.99

BIBER: ROSARY SONATAS

GLOSSA

$22.00 ~~$22.01~~ Save 0% Feb 27, 2026

Heinrich Ignaz Franz Biber is one of the most important violinists of the Baroque period, and his virtuoso violin works are among the gems of this era. His Rosary Sonatas are particularly outstanding: in a cycle of 16 sonatas, Biber sets to music the mysteries of the various Rosary prayers that trace the life of Jesus. As a special feature, Biber uses the so-called scordatura technique, in which the strings of the violin are retuned. Biber requires a new tuning for each sonata, thus creating a new sound for each mystery and a great increase in tension throughout the cycle. Leila Schayegh explores Biber's rosary mysteries with great sensitivity. With her stupendous technique, she plays even the most difficult passages with great purity, portraying Biber's master cycle as a very intimate and atmospheric soundscape.

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BIBER: ROSARY SONATAS
GLOSSA Feb 2026
CD
~~$22.01~~ $22.00

Mix & Match

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

Scriabin: Complete Piano Sonatas / Donohoe

SOMM Recordings

$32.99 Feb 03, 2017

Russia produced three renowned composer-pianists at the end of the nineteenth century: Medtner, Rachmaninov, and his fellow student at the Moscow Conservatoire, Alexander Scriabin, a unique figure in Russian music as he seemed to follow a musical path all his own, completely different to that of either of his contemporaries. He created an original, exotic soundworld which progressed from Chopinesque romanticism in the First Sonata to a world of fantasy, inhabited by uncompromising, audacious dissonances in the later Sonatas which make overwhelming demands on any performer who dares to tackle them. In his third Sonata Scriabin provided descriptions of the four movements under the heading ‘States of the Soul’. In the Fourth he experimented with Wagner’s Tristan harmonies. By the Sixth Sonata Scriabin’s harmonic tonality had completely broken down and dissipated – “frightening...dark and mysterious, impure, dangerous” as he himself wrote. The Seventh Sonata (White Mass) instructs the performer to play ‘with a heavenly voluptuousness’, ‘with a dark majesty’... Through the music he wanted to express an ecstatic disorder creating a trance-like effect on performer and audience. The Ninth (Black Mass) represents the Satanic but the Tenth has an opening marked ‘very sweetly and pure’. He said of this, ‘My Tenth Sonata is a sonata of insects. Insects are born from the sun, they are the kisses of the sun.’ These works are performed by legendary pianist Peter Donahoe.

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Scriabin: Complete Piano Sonatas / Donohoe
SOMM Recordings Feb 2017
CD
$32.99

Silvius Leopold Weiss: Lute Sonatas, Vol. 11

Naxos

$9.99 ~~$19.99~~ Save 50% Feb 28, 2012

This series is as addictive as ever, and for newcomers to some of the finest baroque-era lute music, Volume 11 would be a good introduction.

I ask to review each new issue of Robert Barto’s series, comprising the complete lute sonatas of Silvius Leopold Weiss, even though I know every review is going to sound exactly the same: this is at or near the pinnacle of baroque lute music, nearly every sonata generous with its lyrical breadth, emotional engagement, and dance elements, and there could hardly be a better performer for the music than Robert Barto. By now, on the eleventh volume, the uniquely piquant sound of his thirteen-course baroque lute, constructed by New Yorker Andrew Rutherford, is as familiar to the series’ devotees as the sensitivity with which Barto plays it. Familiar, too, is the close miking which yields maybe the only gripe I’ve had about these discs: turn the volume up too much and you’ll hear the performer’s every breath.

The three sonatas on this disc present Weiss in his happier, more placid vein. Sonata No 96 packs seven tiny movements (mostly peppy court dances) into fifteen minutes, posing fewer challenges to the performer but offering the listener bite-sized delights. No 39 in C, by contrast, is known as the ‘Partita Grande’ because it takes up nearly a half-hour. In it Weiss takes care to work out his material to an unusual degree of development, including a courante with a long, leaping main theme which seems to flow as one stream through the movement, and a weighty presto finale whose complexes of motifs are dispatched with Barto’s typical unruffled clarity. Sonata No 30 opens with a free-form prelude which the booklet says is representative of Weiss’s improvisatory way with the form. The improvisational feel returns at the end, in a sprightly movement titled ‘Le Sans Souci’ that bounds along for just two-and-a-half minutes.

The sound is intimate and warm; the breathing mentioned earlier doesn’t much bother me, to be honest. This isn’t concert-hall music anyway. The booklet essay provides a very good introduction to the enterprise. To sum up: Weiss’s sonatas may not always feature the concentrated intellectual and emotional power of the solo sonatas by Bach, but each has its own delights and pleasures. I am a hopeless addict to this music and to the outstandingly high quality with which it is presented; there are a great many sonatas left to record even after eleven CDs, and if MusicWeb International doesn’t keep sending me review copies the alternative may be bankruptcy.

-- Brian Reinhart, MusicWeb International

------

Silvius Leopold Weiss (1687-1750) wrote approximately 83 billion lute sonatas, and this release constitutes Volume 11 in Naxos' ongoing complete series. The tray card describes them as "prodigiously attractive works of great emotional power." Attractive they certainly are, very much so, but "great emotional power"?--not so much. Let's face it: there's only so much that you can do with an overture or prelude and a standard suite of baroque dances--unless you're Bach, of course, and Weiss may have been an exact contemporary but he was no Bach.

That said, there is a wide range of size and shape to these three sonatas. No. 39, the "Partita Grande", is indeed substantial, lasting nearly half an hour and containing some extensively developed movements (including the virtuosic concluding Presto). The other two works, while ostensibly lighter in tone, pack a lot of variety into their respective groupings of seven movements apiece. Certainly Robert Barto plays beautifully, with crystal clear articulation and sweet timbre on a lovely-sounding baroque instrument.

I wouldn't listen to all 20 tracks at a sitting, but this well recorded disc does make great background to a Sunday drive (I tried it), and will keep you entertained whenever your attention becomes engaged. Really, there's no need to make greater claims for this music than it deserves: it's good stuff, performed with great insight and sympathy. Surely that's enough.

--David Hurwitz, ClassicsToday.com

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Silvius Leopold Weiss: Lute Sonatas, Vol. 11
Naxos Feb 2012
CD
~~$19.99~~ $9.99

Eight images of infinity - Beethoven's last piano sonatas

Urania Records

$39.99 Apr 17, 2026

With the exception of the Sonatina No. 25, long considered a minor work, this box set contains the last Piano Sonatas of the Titan of Bonn. In a recording landscape already rich in this repertoire, this release focuses entirely on the performances of Carlo Levi Minzi, who, in his artistic maturity, delivers his personal vision of these works: refined, meditative, exquisitely personal. In addition, the Klavierstück WoO 61a.

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Eight images of infinity - Beethoven's last piano sonatas
Urania Records Apr 2026
CD
$39.99

Schocker: Sonatas for Flute & Piano / Odell, Stroud

Centaur Records

$18.99 Nov 15, 2019

Gary Schocker has composed some of the greatest works for flute of the past half-century. Included on this new release are his Sonatas for Flute and Piano Nos. 1, 3, 4, 5, 6, 7, and 9, performed by Leslie Neighbor Stroud. Leslie Neighbor Stroud, flute, received her Bachelor’s degree in Flute Performance from the Peabody Conservatory of Music where she was a student of Britton Johnson (National Symphony Orchestra, Baltimore Symphony Orchestra) and Timothy Day (San Francisco Symphony Orchestra). She has also studied with Lois Schaefer (Boston Symphony Orchestra), Walfrid Kujala (Chicago Symphony Orchestra) and Mark Sparks (St. Louis Symphony Orchestra) and baroque flute with Suzanne Stumpf (Musicians of the Old Post Road), as well as participating in the master classes of Gary Schocker, Julius Baker, Bonita Boyd and William Bennett. Leslie currently performs with the Pentangle Arts Orchestra, BarnArts Festival Orchestra, Pro Musica Vermont, Guilford Music Festival Orchestra, Cameo Baroque (a period instrument ensemble), Buttonwood Wind Quintet, the Richard Faith Ensemble, and the Sterling String Quartet. She has performed with New Bedford Symphony Orchestra, The Plymouth Philharmonic, New Bedford Festival Theater, the Tri-County Symphonic Band, the Buzzards Bay Musicfest, the Savannah Symphony Orchestra, the Annapolis Symphony Orchestra, the Baltimore Chamber Orchestra, the Chicago Civic Orchestra, the Peabody Wind Quintet, the Bellemore Ensemble of Baltimore, the Mozart Festival of Alameda, and the Trinity Chamber Concerts of California.

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Schocker: Sonatas for Flute & Piano / Odell, Stroud
Centaur Records Nov 2019
CD
$18.99

Beethoven: Sonatas for Fortepiano & Violin / Watson, Ogata

Coro

$37.99 Feb 07, 2020

In celebration of the 250th anniversary of Beethoven’s birth, CORO Connections is delighted to present Ian Watson and Susanna Ogata’s acclaimed complete exploration of the Sonatas for Fortepiano and Violin in one stunning boxed-set edition. All 10 sonatas, performed exclusively on period instruments, from the epic ‘Kreutzer’ to the sublime ‘Spring’ feature in this four volume set. “The music's moody outbursts and vivacity come fully alive in elegant readings that are attentive to quicksilver changes in dynamics and articulation...the Sonata No. 4 in A minor is darkly played, their 'Kreutzer' Sonata brilliant and stormy.” (The New York Times) “There's something positively gleeful about the way the pair deliver the opening gambit of Op. 30 No. 3, and the same sonata's Haydnesque finale practically swings.” (Gramophone) “Their trim, alert reading of Op.24 arguably provides their most effective and expansive vehicle yet...it combines an appropriate sense of idiom with an abundance of vitality, sensitivity and insight, and furnishes Beethoven’s textures with a clarity rarely achieved.” (The Strad)

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Beethoven: Sonatas for Fortepiano & Violin / Watson, Ogata
Coro Feb 2020
CD
$37.99

Platti: Sonate e Triosonate

Tactus

$21.99 Oct 02, 2026

Platti, Giovanni Benedetto (1697-1763). Up until a few years ago, any judgement concerning the creative personality of Platti was based exclusively upon an analysis of his sonatas for harpsichord, together with a handful of his other works. This fact contributed to the inclusion of this composer from the Veneto in the company of so- called 'minor' composers of the eighteenth century, such names as G.B. Pescetti, D. Alberti, M. Vento, F. Pellegrini, G.M. Rutini, etc. In recent times, however, nearly all of Platti's production has been studied, and the results are overwhelmingly convincing that it in fact contains unquestionable masterpieces such as the Requiem Mass, the Stabat Mater, the Concerto for violin, some of the most beautiful concertos ever written for the violoncello, and many other works of notable interest. Thus Platti music may now be considered worthy of being included in the most serious the concert repertoires and recording catalogues. The Ensemble "J.M. Anciuti", featuring soloists of the calibre of Stefano Montanari on violin, Claudio Rufa on transverse flute, and Paolo Pollastri on oboe, offers us a superb period-instrument performance of the composer's chamber repertoire.

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Platti: Sonate e Triosonate
Tactus Oct 2026
CD
$21.99

Mozart: Exsultate; Scarlatti, Handel / Blegen, Schwarz
Sony Masterworks Sep 1996
CD
$11.98

Scriabin: Complete Piano Sonatas, Vol. 1 / Vacatello

Stradivarius

$18.99 Jul 07, 2023

The Complete Piano Sonatas, Vol.1 is the first volume of a new project that will see Mariangela Vacatello perform the entire cycle of Scriabin's piano sonatas.

Scriabin's Piano Sonatas (the ten to which the composer assigned an opus number) date from between 1891, during the last months of his studies at the Moscow Conservatory, and 1913, in his final phase dominated by the vast project of the "Symphonic Poem" Prometheus. They thus reflect the composer's entire artistic itinerary: from the fiery romantic gestures of Liszt to the dissolution of rationality in the more symbolic esotericism. And so it happens that the musical discourse, rather than being based on an orderly succession of different figures, is transformed into a sort of efflorescence of thematic recurrences between one movement and another (in the First, Third, and Fourth) and of self-quotations between the Fifth and the following Sonatas (becoming exacerbated in the Ninth and Tenth), with a network of cross references (of trills, fanfares, arpeggios, languid chromaticisms, etc.) that makes it possible to suggest the hypothesis of a single work (as such, monstrously intricate) that embraces the Sonatas from the Fourth to the Tenth as phases of a single spiritual experience, dominated by the mysteriosophic idiosyncrasies of the philosopher and mystic Vladimir Solovyov.

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Scriabin: Complete Piano Sonatas, Vol. 1 / Vacatello
Stradivarius Jul 2023
CD
$18.99

Weiss: Lute Sonatas Vol 5 - No 38 & 43 / Robert Barto
Naxos Sep 2002
CD
$19.99

Hensel, Katzer & Scarlatti: tradizione e liberta

Ars Produktion

SACD

$21.99 Jul 19, 2024

Domenico Giuseppe Scarlatti (1685-1757) devoted himself to a single form like no other composer before him. The more than 550 mostly single-movement sonatas for the harpsichord influenced numerous composers throughout the ages, from his contemporary Johann Sebastian Bach and Frederic Chopin to 21st-century artists such as Georg Katzer. The four selected sonatas K 27, K 213, K 247 and K 268 represent only a small selection of his immensely varied oeuvre and yet they illuminate all the different aspects of his extraordinarily creative composing. Scarlatti himself modestly described many of his sonatas as "Essercizi per gravicembalo". His sonata works contain every conceivable technical challenge, as he himself was one of the most sought-after and virtuoso harpsichordists of his time. Georg Katzer (1935-2019) composed the Five Miniatures in 1971. They are primarily to be understood as gestural music. Although the playing technique is traditional with a few exceptions (the use of the elbows or rolling hands), the miniatures reveal a wealth of ideas in musical forms of expression that evoke the most diverse sensations in a short space of time and space. The work Due to my admiration for D.S. was composed by Georg Katzer in 2001. The close relationship between Fanny Hensel (1805-1847) and her brother Felix Mendelssohn encouraged both siblings throughout their musical careers. And yet, throughout her life, Fanny Hensel fought for even remotely similar recognition of her extraordinary talent as a pianist, conductor and composer. The Four Songs for Pianoforte, Opus 2, are among the few works published by Bote & Bock in 1846 during Fanny Hensel's lifetime.

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Hensel, Katzer & Scarlatti: tradizione e liberta
Ars Produktion Jul 2024
SACD
$21.99

BEETHOVEN: COMPLETE PIANO SONATAS

WARNER CLASSICS

$52.49 Jan 31, 2020

Marking Beethoven's 250th birthday in a suitably heroic fashion, Fazil Say has recorded all 32 of the composer's piano sonatas. He sees the sonatas as "a sacred text for musicians" and Beethoven as "A revolutionary composer starting to create music 50 to 100 years ahead of it's time," adding that: "When we interpret a composer's work, we need to remain faithful to it. In other words, we need to feel like a composer. Compositions should be interpreted with the same freshness as a completely new piece of music that has just been created."

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BEETHOVEN: COMPLETE PIANO SONATAS
WARNER CLASSICS Jan 2020
CD
$52.49

Soler: Keyboard Sonatas Nos. 63-66

Naxos

$19.99 Dec 02, 2016

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

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

The Scarlatti Book (feat. Fabrizio Cassol, Stéphane Galland)

Outhere Music

$20.99 Nov 13, 2015

The intrepid experimental jazz trio Aka Moon has represented an approach to jazz that has seen them collaborate with a multitude of artists from different backgrounds in their richly filled career. Their new collection ‘The Scarlatti Book’ is devoted to the music of Italian Baroque composer Domenico Scarlatti. (Outhere)

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The Scarlatti Book (feat. Fabrizio Cassol, Stéphane Galland)
Outhere Music Nov 2015
CD
$20.99

Bach: Cello Suites Nos. 1-6 & Viola da Gamba Sonatas (Arr. f
SOMM Recordings Sep 2009
CD
$42.99

Corelli after Schickhardt - Triosonatas

IBS Classical

$17.99 May 03, 2024

Serendipia Ensemble, Rita Rógar, and Moisés Maroto, together with their ensemble of musicians—Darío Tamayo on the harpsichord, Calia Álvarez on the viola da gamba, José Arsenio Rueda on the baroque bassoon, and Jon Wasserman exchanging his plucked string instruments (theorbo and baroque guitar)—have recorded the complete sonatas. Premiering worldwide with the record label IBS Classical.

With this large continuo group, Serendipia Ensemble seeks a unique musical approach to the concept of the triosonata, finding the common ground between the concerto form conceived by Corelli and the sonata form arranged by Schickhardt. We are now able to hear, with layering of different instruments, the triosonatas approach the concerti in sections such as the tutti-soli that we appreciate in the Corellian originals.

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Corelli after Schickhardt - Triosonatas
IBS Classical May 2024
CD
$17.99

Platti: Sonate a tre / Radio Antiqua

Ramee

$20.99 Apr 05, 2019

Giovanni Benedetto Platti was born in northern Italy and spent some of his youth in Venice, where his father was a violetta player at St Mark’s, before he received his court appointment as an oboist and violinist at the court chapel of Würzburg in 1722. Two years later, the music-loving and cello-playing count of Schönborn, Rudolf Franz Erwein, had managed to secure him as a musician for his own household at his small residence in the county of Wiesentheid. Platti composed - in addition to his ordinary ouptut for worldly and spiritual occasions - for the cello, the Count’s favourite instrument: a dozen sonatas, 28 concerti, 6 duets and over 21 trio sonatas in which the two melodic instruments are not playing at the same height. The music collection of the counts of Schönborn-Wiesentheid very probably consists of Erwein’s personal music library and is today an important historical music archive. Radio Antiqua present in partly world premiere six trio sonatas from that collection, which the count could presumably have played with Platti.

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Platti: Sonate a tre / Radio Antiqua
Ramee Apr 2019
CD
$20.99

Vitali: Twelve Trio Sonatas Op 1 / Cozzolino, Semperconsort
Naxos Dec 2006
CD
$19.99

Sonatae e Variacie

Solo Musica

$20.99 May 16, 2025

On their third CD, the outstanding concertante duo Reinhold Friedrich & Eriko Takezawa bring to life music that has hitherto lain dormant or not yet appeared in a deservedly splendid light. In their new CD production, the two exceptional artists present three new discoveries by Alexander Albrecht, Boris Asafiew and Harold Shapero, which are of the utmost importance for the trumpet-piano repertoire. Also noteworthy are the three important repertoire works, the sonatas by Thorwald Hansen, Jean Hubeau and George Antheil, which shine in completely new splendour here. The works are all set between the end of the Romantic period and the transition to the modern era. One can already speak of a historically important recording, as this is the last CD production in the "old" Hans Rosbaud Studio in Baden-Baden before the building was demolished. This acoustically valuable space was home to the great and greatest composers of our time - from Olivier Messiaen to Jorg Widmann, from Bernd Alois Zimmermann and Karlheinz Stockhausen to Peter Eotvos and Wolfgang Rihm. This album Sonatae e Variacie certainly has the potential to become a milestone in the repertoire for trumpet and piano.

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Sonatae e Variacie
Solo Musica May 2025
CD
$20.99

Weber: Piano Sonatas (Complete)

Piano Classics

$29.99 May 27, 2016

Composed in the early 19th century, the four grand piano sonatas by Carl Maria von Weber round out the Classical age and herald in the Romantic style. All four of these sonatas are featured on this two-disc set, as well as Weber’s Rondo brilliante in E flat major, Op. 62, and Aufforderung zum Tanz, Op 65. +Pianist Michelangelo Carbonara studied at Lake Como Academy under such pianists as Dimitri Bashkirov, Leon Fleisher, Claude Frank, and Alicia de Larrocha. He has won several international competitions, including the Schubert International Piano Competition.

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Weber: Piano Sonatas (Complete)
Piano Classics May 2016
CD
$29.99