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Vincent Ho: The Twelve Chinese Zodiac Animals, Books 1 & 2

Grand Piano

$19.99 Nov 07, 2025

The music of multi-award-winning composer Vincent Ho has been described by The New York Times as 'brilliant and compelling', not least for his music's beauty and expressive breadth. Ho wrote The Twelve Chinese Zodiac Animals as a gift for his eight-year-old daughter, to enrich her musical education as she learned the piano and to introduce her to Chinese cultural themes and performance practices in pianistic form. The cycle presents the musical spirits of the animals with captivating musical caricatures in two books, the second of which is a selection of preludes and fugues for more advanced players. They are performed by Tony Yike Yang, one of Canada's finest young pianists and the youngest laureate in the history of the International Chopin Piano Competition in Warsaw.

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Vincent Ho: The Twelve Chinese Zodiac Animals, Books 1 & 2
Grand Piano Nov 2025
CD
$19.99

Mix & Match

Andrea Gabrieli: Keyboard Music / Glen Wilson

Naxos

$19.99 Aug 31, 2010

Nobody interested in early keyboard music should miss this disc.

Some of the most important forms of keyboard music have their origin in the 16th century, in particular the prelude, the toccata and the fugue. In Italy, in the mid-16th century, crucial developments in keyboard composing took place. Among the composers who were responsible for the evolution of keyboard music was Andrea Gabrieli. For that reason a disc which is completely devoted to his keyboard oeuvre is of great importance. It also sheds light on a part of Gabrieli's oeuvre which is not that well-known.

Andrea Gabrieli was born in Venice and was educated as an organist. In 1557 he applied for the position of organist of San Marco, as the successor to Girolamo Parabosco. He failed, and Claudio Merulo was appointed, who would then develop into one of the main musical personalities in Venice in the next 25 years. In the early 1560s Gabrieli came into contact with Orlandus Lassus. In 1562 Lassus' employer, Duke Albrecht V of Bavaria, went to Frankfurt to attend the coronation of Emperor Maximilian II. In his retinue were both Lassus and Gabrieli. But his heart apparently was in Venice. In 1566 he was appointed as organist of San Marco - alongside Merulo - and he resisted an attempt by Lassus to make him return to Bavaria to enter the service of Duke Albrecht. Little is known about him as a person, but in his liner-notes Glen Wilson includes a quotation which suggests Gabrieli was a demanding teacher.

This disc presents a survey of the various genres in vogue at the time. It doesn't include all genres to which Gabrieli contributed. Wilson has omitted that part of his oeuvre intended for the organ. Therefore the Intonazioni which were to be played before a vocal piece, indicating the pitch to the singers, are missing. Instead we get two preludes here, which also can be played at the organ. This kind of piece was originally improvised, and it doesn't surprise me that they were mostly not printed. That’s certainly thre case with the two played here which have both come down to us in manuscript. The other free form with improvisational origins is the toccata. Venice was the main centre of toccata writing, and Gabrieli played an important role in the development of this form. The two toccatas on this disc are in three contrasting sections.

The toccata has roots in the ricercar, one of the main forms of keyboard music at the time. Two types of ricercar are known in music history, the imitative and the non-imitative. The former is the kind of ricercar used in Italy and developed by Gabrieli into a piece on a single theme. In addition he deployed various techniques which were to become a standard part of the fugue in the baroque era, like inversion and diminution. Gabrieli also wrote ricercars on vocal subjects. The Ricercar sopra Pour ung plaisir is an example; it is based on a chanson by Thomas Crecquillon. Here he only uses themes from this chanson, unlike in the canzonas on vocal models, like the Canzona Frais et gaillard, again on a chanson by Crecquillon. In this the upper voice of the vocal original is treated according to the diminution technique which was so popular in Italy. Part of it involves the breaking up of the longer notes in fast passages and the addition of ornaments. The madrigals Anchor che col partire by Cipriano de Rore and Io mi son giovinetta by Domenico Ferrabosco are treated the same way. Lastly Wilson plays two independent pieces, the Ricercar arioso and the Canzon ariosa which may have a vocal character but are not based on vocal models.

The interest of this programme lies in the range of forms on display here. Moreover Wilson has ordered the pieces in such a way that there is a maximum of variety. That is also due to the alternating use of two different instruments. Most pieces are performed on a harpsichord, but it is nice to hear a spinet as well, which was a common instrument but is not often used in recordings. Both instruments are built after Venetian models of the 16th century. "Their soft iron single-stringing produces a more vocal sound than that usually associated with later types of Italian harpsichords", Glen Wilson states.

And he is right: the sound of the instruments suits the music very well. He is also an excellent guide through Gabrieli's oeuvre, and brings out the idiosyncracies of his music convincingly. He plays brilliantly but never in an exhibitionist way. The tempi are well-chosen, and the counterpoint is allowed to blossom.

Nobody interested in early keyboard music should miss this disc.

-- Johan van Veen, MusicWeb International

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Andrea Gabrieli: Keyboard Music / Glen Wilson
Naxos Aug 2010
CD
$19.99

Pachelbel: Organ Works, Vol. 5

Resonus Classics

$16.99 Oct 02, 2026

In this fifth volume of the complete organ works of Johann Pachelbel, Matthew Owens continues his revelatory exploration of a composer who stood at the crossroads of German musical traditions. Recorded on the characterful historic Metzler organ of Trinity College, Cambridge, this programme illuminates Pachelbel's synthesis of northern virtuosity and southern lyricism - from the cascading brilliance of the toccatas and the poised contrapuntal craft of the fugues, to the devotional intimacy of the chorale preludes and Magnificat Fugues. Owens's performances bring a rare clarity and expressive warmth to music that bridges liturgical purpose and concert artistry. With it's elegant blend of scholarship, colour, and vitality, this latest instalment in the acclaimed series reaffirms Pachelbel as one of the most eloquent voices of seventeenth-century organ literature.

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Pachelbel: Organ Works, Vol. 5
Resonus Classics Oct 2026
CD
$16.99

Chopin Edition

Brilliant Classics

$32.48 ~~$64.99~~ Save 50% Sep 22, 2023

This refreshed Chopin Edition from Brilliant Classics retains many of the definitive recordings from its predecessor of 2015, but boasting some exciting updates. The Concertos and piano concertante music are consolidated in a bright new cycle from Czechia, recorded last autumn by Siberian superstar Ekaterina Litvintseva and the KFPar under Mardirossian. Schmitt-Leonardy’s sonatas are joined by No. 1 – recorded late in 2015, and therefore just missing inclusion in the previous edition – bringing the complete cycle under his fingers. Alwin Bär’s own Scherzi performances are reunited with his iconic 1998 recording of the Barcarolle, Fantasy and Berceuse. The Études are featured in a stunning complete cycle recorded in 2014 by the phenomenal Chopinist and 2023 OPUS KLASSIK double-nominee Zlata Chochieva. Finally the complete Nocturnes are given over to another noted young Chopin interpreter: the 2018 Geza Anda winner Claire Huangci, who recorded the set two years earlier, in 2016.

REVIEW:

In 2015 Brilliant Classics issued a complete Chopin edition culled from both original productions and licensed recordings from other labels, and featuring a variety of musicians. The label’s revised 2023 Chopin edition retains roughly two-thirds of the contents, while substituting about six CDs worth of alternative performances. Is it “new and improved”? Mostly yes. Here is a rundown of the contents:

Discs 1 & 2: The 2015 Chopin box featured Eva Kupiec in the two concertos (amazingly conducted by Stanislaw Skrowaczewski), with Abbey Simon in the other concerted works. Here we have less individual yet elegantly transparent performances of the entire Chopin piano/orchestra oeuvre with Ekaterina Litvintseva, supported by Vahan Mardirossian leading the Czech Chamber Philharmonic Orchestra Pardubice.

Discs 3 & 4: The well-played chamber works with violinist Duccio Ceccanti, cellist Vittorio Ceccanti, and pianist Simone Gragnani are held over from 2015. So are Anna Haase’s slightly tremulous yet heartfelt Polish songs, superbly accompanied by Lucius Rühl.

Disc 5: Zlata Chochieva’s Etudes count among my top five recommendations in these works, wisely replacing Alessandro Deljavan’s mannered and overloaded readings.

Disc 6: As before, we have Wolfram Schmitt-Leonardy’s intelligently paced and imaginatively detailed Ballades and Impromptus.

Disc 7: Folke Nauta’s broad and sonorous readings of the standard seven Polonaises are back, along with his rather underplayed Andante spianato e Grande polonaise.

Disc 8: The youthful Polonaises plus unimportant minor works like the Bourées, the Largo in E-flat, and the Fugue again turn up in Alessandra Ammaro’s splendid and mindfully virtuosic renditions.

Disc 9: The label replaces Fred Oldenburg’s good, workmanlike recording of the First sonata with a superior version from Wolfram Schmitt-Leonardy, while retaining the latter’s wonderful Second and Third sonatas. Recently I compared his recording of the Second sonata’s strange Finale next to those of Horowitz and Rubinstein, and actually found Schmitt-Leonardy’s creative inflections more engaging (sound clip).

Disc 10: In place of Ivan Moravec’s Four Scherzos (originally issued by Dorian), we have Alwin Bär’s scintillating 1998 cycle, coupled with his equally compelling Fantasy in F minor and Barcarolle, along with a rather fussy Berceuse.

Disc 11: A hodgepodge of performances. I raved in detail about Schmitt-Leonardy’s reference-worthy Op. 28 Preludes when they first came out. Paolo Giacometti shines in the C-sharp minor Prelude Op. 45, Oldenburg serves up the Three Ecossaises quite well, while Marian Mika plays two versions each of the Waltz in F minor Op. 70 No. 2 and the Funeral March Op. 72 No. 2 using alternative texts.

Discs 12 & 13: Rem Urasin’s Mazurka cycle evokes the high rhetoric and subjectivity of pianists like Jean-Marc Luisada and Andrew Rangell, minus their eccentricity. Just don’t expect lightness, humor, or snappy embellishments.

Discs 14 & 15: Claire Huangci’s rippling and graceful pianism in the Nocturnes differs from the seasoned drama of the Earl Wild cycle that appeared in the 2015 box. The Duo Pianistico di Firenze’s Rondo Op. 73 and Variations in D fill out CD 15.

Disc 16: Alessandro Deljavan works overtime trying to emulate the great Romantic pianists, yet his lurching phrasings and contrived voicings throughout the Waltzes often belabor the obvious and fail to ring true. The piano itself sounds poorly regulated, and doesn’t always hold its tuning.

Disc 17: Frank van de Laar basically picks up the slack, playing the Rondos, the Variations brilliantes Op. 12, the Bolero Op. 19, the Allegro de concert Op. 46, and the Tarantella Op. 43 with plenty of finesse and good taste, if not quite matching Vladimir Ashkenazy’s ebullience.

For its attractive price tag and overall consistency (have Rubinstein’s Waltzes and Mazurkas handy, though!) Brilliant Classics’ 2023 Chopin Edition holds its own alongside similar multi-artist complete Chopin collections on other labels featuring bigger names. It should appeal to general music lovers just getting started with Chopin’s music who wish to take a deep dive into the composer’s oeuvre.

-- ClassicsToday.com (Jed Distler)

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Chopin Edition
Brilliant Classics Sep 2023
CD
~~$64.99~~ $32.48

Reger: Orchestral Works / Segerstam, Norrkoping Symphony

BIS

$39.99 Mar 25, 2014

“Everything that is included is substantial… the hugely impressive Symphonic Prologue to a Tragedy is dark, brooding and intricately wrought. It's invaluable to have these works available in such lucid, well-played and committed performances.” – The Guardian (UK)

REGER Variations and Fugue on a Theme of Mozart, op. 132. Symphonic Prolog to a Tragedy, op. 108. Piano Concerto 1. Suite in Olden Style, op. 93. Variations and Fugue on a Theme of Beethoven, op. 86. A Ballet Suite, op. 130. Four Tone Poems after Arnold Böcklin, op. 128 • Leif Segerstam, cond; 1 Love Derwinger (pn); Norrköping SO • BIS 9047 (3 CDs: 203:54)

This new compilation of Leif Segerstam’s Reger recordings, originally issued on three separate CDs in the 1990s, makes an outstanding introduction to the work of a composer still largely known by many classical lovers for his organ music and one song, Maria Wiegenlied. When I reviewed the 2-CD Guild set of historic Reger recordings ( Fanfare 37:6), I said how much I liked the works presented there. I can say much the same thing of this set, despite Segerstam’s penchant for slower tempos, simply because as a composer himself he approaches each work from a structural standpoint and brings out many subtleties.

Surprisingly, only two works are duplicated in the two sets, the Mozart Variations and the Ballet Suite . The Guild collection also included the Lustpielouvertüre, Serenade in G, Romantic Suite, and Eine vaterländische Ouverture. Possibly one may also want to hear Reger’s Violin Concerto, Sinfonietta, and the Variations on a Theme of Hiller, but otherwise, between these two sets, you have the bulk of Reger’s orchestral oeuvre . Early on in life, Reger became infatuated with both Bach and Wagner, and from these twin fonts of Teutonic culture he created remarkably interesting structures in music. And, surprisingly, his music is not only interesting but also fun to listen to, a point I made in regards to the Guild set.

Of the music new to me via this release, I was particularly impressed with the Symphonic Prelude to a Tragedy (which one might describe as a more modern, and more tragic, incarnation of Brahms’s Tragic Overture ), the piano concerto, and the Beethoven Variations and Fugue. My sole complaint of the recordings, and this probably has more to do with the engineering than with Segerstam, is that in quiet passages the music sometimes fades out of earshot. Unless you are listening with your ears very close to the speakers or, on headphones, with the volume turned up high, you will miss some of those softer passages. Other than that, however, I was very pleased overall with Segerstam’s readings. As usual with this conductor, transparency of texture is paramount, often revealing details that go unnoticed in others’ readings, and his subtle plasticity of phrasing keeps the music fluid and moving forward. Thus in a work like the Mozart Variations, one may prefer the more straightforward conducting of Eduard van Beinum in the Guild set, but one will find much more to hear in the Segerstam performance.

I was not particularly impressed by the Suite in Olden Style, which just toodled along and sounded nice but not much else. The Variations on a Theme of Beethoven is based on the last of the op. 119 Bagatelles. He originally wrote it for two pianos, but when preparing the orchestral score he eliminated four of the 12 variations and, according to the notes, changed both the playing order and the arrangement of keys. When he finished this score in August 1915, he had less than a year to live. In this case, I felt that Segerstam’s performance was a bit too airy for my taste, making the music sound less energetic that it might have, but the Ballet Suite came off pretty well. Segerstam’s problem, like the famous criticism of Bruno Walter, is that “when he comes to something beautiful, he melts.”

The liner notes suggest that the reason Reger’s Piano Concerto has failed to gain a place in the standard repertoire is that it is technically demanding but does not allow the soloist to “show off.” I would also suggest that the dark, brooding quality of the music is another reason. Most people like their piano concertos to sound cheerful or dramatic or, if somewhat brooding, then brooding in a Romantic Russian (read: Tchaikovsky or Rachmaninoff) sort of way, neither of which Reger gives us. This is a very complex piece, too, continually evolving yet knitting together its various sections within each movement with consummate mastery. (I would particularly commend this concerto to many modern American composers who write “clever” music that does not develop properly.) Derwinger is a committed interpreter, throwing himself into this complex score with emotional fervor, and Segerstam, too, is particularly dramatic here.

What makes this packaging even more attractive is that BIS is selling the 3-CD box at a special price. I found it listed for $32.75 at Presto Classical and $38.49 at ArkivMusic, an excellent bargain considering BIS’s normal price tag for single discs, which run around $21.

FANFARE: Lynn René Bayley

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Reger: Orchestral Works / Segerstam, Norrkoping Symphony
BIS Mar 2014
CD
$39.99

J.S. Bach: The Well-Tempered Clavier Book 1 - No. 22 Bb mino

Nimbus

Sheet Music

$7.99 Oct 06, 2023

The main purpose of this edition is to assist those "desirous of learning" with some suggestions and information that might be helpful in the process of learning, understanding and performing the works of Bach. These suggestions should not be taken as a "must" to follow, but are simply meant to assist in the comprehension and practical execution of The Well-Tempered Clavier (WTC) and to encourage further exploration. This Edition is available in 2 Books, or as 48 separate 'Preludes and Fugues' scores.

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J.S. Bach: The Well-Tempered Clavier Book 1 - No. 22 Bb mino
Nimbus Oct 2023
Sheet Music
$7.99

Chopin, Debussy, Kapustin & Ligeti: Etudes & Preludes / Deliyska

Haenssler Classic

$10.49 ~~$20.99~~ Save 50% Feb 03, 2023

Dora Deliyska: "It was an exciting and challenging process to record the complex structure of 24 études and préludes. Some of the etudes belong to the most difficult pieces in piano literature, and the préludes have intense musical potential. I decided to record the pieces over a short period of time, in order to keep the spontaneity of the interpretation. I am very thankful to the Teldex Team (René Möller and Jakob Bötcher) and the piano technician Gerd Finkenstein for sharing this musical experience together, and creating an exciting recording.“

REVIEW:

The Bulgarian pianist Dora Deliyska has a penchant for “conceptual” programs that mix and match works related by genre or theme. Her 2018 Capriccio release “The B-A-C-H Project”, for example, juggled preludes and fugues by Bach and Shostakovich alongside decidedly non-Bachian études of Liszt and Chopin. The ordering of pieces seemed less curated than lumped together. The same can be said for her new 80-minute survey of Études and Préludes.

For instance, the first three selections (Ligeti’s Der Zauberlehrling, Debussy’s Étude for Chromatic Degrees, and Chopin’s “Winter Wind”) texturally complement one another, while Chopin’s nocturne-like Op. 25 No. 7 étude easily elides into Ligeti’s gorgeously lyrical Ligeti Cordes á vide. On the other hand, I glean no insightful programmatic agenda within the small groups of Chopin, Debussy, and Kapustin Preludes placed in succession.

Judging from the present disc (as well as her Liszt and Schubert Gramola releases), Deliyska is more of a poetic than heroic pianist. Indeed, her Chopin “Octave” and “Winter Wind” etudes are less incisive here than her aforementioned Capriccio disc. Her note-perfect Chopin F-sharp minor and B-flat minor Preludes and sharply detailed Debussy Ce qu’a vu le vent d’ouest lack sweep and abandon. Yet what sexy inflections throughout Debussy’s Pour les arpèges composes, and strong inner rhythm in the sedately paced Ligeti L’escalier du diable.

Debussy’s La Puerta del Vino adds up to a curious blend of spiky articulation and curvaceous lilt. However, the concluding three Preludes from Kapustin’s Op. 53 set reveals Deliyska’s stylistic ease with the composer’s jazz-based idiom. If the trajectory of Deliyska’s program lacks tightness and momentum, one still can stream or download the best of individual selections.

-- ClassicsToday.com (Jed Distler)

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Chopin, Debussy, Kapustin & Ligeti: Etudes & Preludes / Deliyska
Haenssler Classic Feb 2023
CD
~~$20.99~~ $10.49

J.S. Bach: The Well-Tempered Clavier, Book 2

BIS

SACD

$24.99 ~~$34.99~~ Save 30% Apr 11, 2025

Following his recording of the first book of Bach's Well-Tempered Clavier released last year (BIS-2621), which was praised as 'a pleasurable benchmark for anyone seeking a traversal that honours every detail of the music' (Gramophone), harpsichordist Masato Suzuki now offers us his interpretation of the second book of Bach's masterly cycle of preludes and fugues. No other works from the baroque period have been as cherished, performed and studied as these collections, the objectives of which were musical, theoretical and didactic. Like the first, the second book of The Well-Tempered Clavier features a prelude and fugue in each of the 12 semitones of the chromatic scale, covering all of the 24 major and minor modes. Produced almost twenty years after the first book, this collection is a sort of follow-up. Though less frequently heard than it's predecessor, it nevertheless contains pieces of great beauty covering a wide stylistic range, and demonstrates a mastery of counterpoint that never outweighs emotion, beauty and aesthetics. Occupying a key position in Bach's output, the second book of the Well-Tempered Clavier points ahead to the major cycles of Bach's last years and presents 'sheer masterpieces from beginning to end', to quote Johann Nikolaus Forkel, the composer's first biographer.

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J.S. Bach: The Well-Tempered Clavier, Book 2
BIS Apr 2025
SACD
~~$34.99~~ $24.99

Schneider & Kirnberger: Organ Music

Brilliant Classics

$10.99 ~~$13.99~~ Save 20% May 26, 2023

Johann Schneider was a German organist, violinist and composer (1702, Lautertal–1788, Leipzig). He was a pupil of Nicolas Mueller in his hometown and continued his studies with Johann Hartmann Reinmann in Saalfeld between 1717 and 1720. Around 1720, he became Johann Sebastian Bach's organ and harpsichord pupil in Köthen. In conjunction with his keyboard work with Bach, he studied violin with Johann Gottlieb Graun in Merseburg and with Johann Graf in Rudolstadt. In 1721, Johann Schneider became court organist and first violinist (concertmaster) in Saalfeld in his native Coburg. From 1726 he was employed as violinist in the court chapel in Weimar (Weimarer Hofkapelle), and he was later appointed organist of the Nicolaikirche in Leipzig in 1729, holding this position for the rest of his career. Schneider achieved a commendable reputation as a truly great organist, as Lorenz Mizler quotes: 'His organ preludes are of such good taste in this field, with the exception of Mr. Bach, whose pupil he was, that one cannot hear better in Leipzig'. A small number of his works are contained in the manuscript Mus. Ms. 30377, preserved in the Berlin State Library. His style shows a correlation with that of J.S. Bach, but the influence of the Galant style is also detected in various moments of his music. Johann Philipp Kirnberger was born in Saalfeld in 1721 and died in Berlin in 1783. He received his first training in harpsichord and violin within his family and then continued his studies with the organist Johann Peter Kellner in Gräfenroda. In 1738, he was an organ pupil under Heinrich Nikolaus Gerber in Sondershausen, then pursued further studies with Johann Sebastian Bach in Leipzig between 1739 and 1741, which proved pivotal to his development. More than a composer, he is remembered as a 'witness' to Bach's work: he took charge of copying much of his master's music. He kept the manuscript of the Brandenburg Concertos and collected several chorales known today as the 'Kirnberger Chorales' in which we find BWV numbers 690 to 731a – sincerely feeling himself vested with the mission of divulging Johann Sebastian Bach's greatness. His personality was that of a didact, and his compositions are predominantly the consequence of his treatises (L'arte di comporre bene, 1774/79). This attitude is exemplified in the Clavierübung compiled between 1762 and 1766 containing pieces structured in order of increasing difficulty and carefully fingered according to the precepts of Carl Philipp Emanuel Bach. He wrote only a handful of pages for organ: a few sporadic preludes to chorales, the eight fugues for organ or harpsichord (featured on this CD) and a 'Clavierfuge mit dem Contrapunct in der Oktava'. His figure is thus summed up not so much in an innovative spirit as in that of a person careful to pass on the inheritance he received.

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Schneider & Kirnberger: Organ Music
Brilliant Classics May 2023
CD
~~$13.99~~ $10.99

Bach: Works for Harpsichord / Skowroneck

Tyxart

$20.99 May 22, 2020

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

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

WELL-TEMPERED GUITARS: 24 PREL

TACET Musikproduktion

$23.99 Oct 01, 2004

The cycle presented here, which refers to Bach's "Well-tempered Clavier", of course not only in the title, is presented so euphoniously and with such virtuosity by the two Swabian artists that I can quite confidently recommend this album as one of the most interesting classical guitar productions of recent years....

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WELL-TEMPERED GUITARS: 24 PREL
TACET Musikproduktion Oct 2004
CD
$23.99

Alfred Schnittke: Piano Music, Vol. 1

BIS

SACD

$21.99 Sep 19, 2025

Pianist Nicolas Stavy, who has already made recordings devoted to works by Boris Tishchenko (BIS-2189) and Dmitri Shostakovich (BIS-2550), now presents the first instalment of a complete survey of Alfred Schnittke's compositions for solo piano. This recording presents works from various periods of the Russian-German composer's career - from the 1950s, which the composer described as the 'years of obscurity', to the 1990s, a time shaped both by world fame and serious illness. While Schnittke wrote relatively little music for the piano, each work reflects - or sometimes anticipates - the phases of the composer's creative development. The Five Preludes and Fugue and the Prelude and Fugue belong to Schnittke's first creative phase, when he was still under the influence of Shostakovich. The Little Piano Pieces, composed for the composer's six-year-old son, are an example of his 'polystylism', juxtaposing and combining music of various styles from the past and present. The Sonata No. 2 and the Five Aphorisms, both from 1990, return to a more ascetic and abstract language, with a bleaker tone, no doubt echoing his serious health problems.

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Alfred Schnittke: Piano Music, Vol. 1
BIS Sep 2025
SACD
$21.99

Bach: Organ Works, Vol. 5 / Masaaki Suzuki

BIS

SACD

$21.99 Mar 15, 2024

The fifth volume of Masaaki Suzuki’s series of Bach’s works for organ features one of the most important surviving instruments from Bach’s time, made by the German organ builder Christoph Treutmann the Elder. Widely known for its extraordinary tonal quality, the instrument was built between 1734 and 1737. A recent general restoration preserved all essential structural elements or renewed them while remaining faithful to the originals, making this an ideal instrument for Bach interpreters who wish to come close to the sound world of the Leipzig Thomaskantor.

Suzuki now takes up the Orgel-Büchlein (literally, “little organ book”), a collection of 45 short chorale preludes on melodies from the Lutheran hymn book, a project that came into being in connection with Bach’s appointment as organist and chamber musician at the Duke’s court in Weimar in 1708. Presenting chorales for different periods of the church year, this collection serves as a general guide to text-based composition focusing on word- sound relationships and content-specific musical expression. Three Preludes and Fugues complete the second volume dedicated to the Orgel-Büchlein, illustrating the principle of variety and structure historically practised by concert organists in order to demonstrate the tone colours and expressive possibilities of their instrument.

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Bach: Organ Works, Vol. 5 / Masaaki Suzuki
BIS Mar 2024
SACD
$21.99

Maurice & Marie-Madeleine Chevalier Durufle at the Organ

Gothic

$19.99 Sep 17, 2009

The performance of Duruflé's transcription for 2 organs of Handel's 8th Organ Concerto is a tour de force. Mere words become woefully irrelevant.

Originally recorded in 1967 at the Basilica of the National Shrine of the Immaculate Conception in Washington, DC, this release projects, among other virtues, a tangible sense of occasion. The shrine's two organs had been installed and dedicated in 1965, but the Duruflés' recital of two years later was the first to utilize both instruments simultaneously, in Marcel Duruflé's transcription for two organs of the eighth of Handel's 16 concertos for organ and orchestra. That was, by the evidence on this release, a performance tour de force. The two instruments (the great and the chancel organ) are separated by a distance of some 300 feet, a virtual city block. The Duruflés overcame that vast and vastly disorienting sonic space by resorting to the sounds transmitted via telephone headsets rather than those of the acoustic surround. The result is a breathtaking synchronici-ty of attack and release, not merely of purely technical precision, but of musical affect as well.

Clarity and precision, not merely that of getting the right fingers to the right keys and pedals in a timely fashion, but of going, straightaway, to the heart of the musical discourse at hand, inform each track on this release. The little Schumann Canon in B Minor projects a playfulness that underscores its inherent irony. The Tournemire piece (a vast improvisation by that composer subsequently reconstituted by her husband) becomes, appropriately, César Franck on speed. Mme. Duruflé's clear-eyed realization of its every Easter-chant-derived iota converts it into a grippingly human drama, at once horrifying and consoling.

Of the incense-tinged Prelude and Fugue of Marcel Duruflé, I will say nothing. Mere words become woefully irrelevant.

If you've been lulled to sleep by my verbosity, wake up and get this one before it becomes, as is so much of the best that music has to offer, unavailable.

-- William Zagorski, FANFARE [1/2000]

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Maurice & Marie-Madeleine Chevalier Durufle at the Organ
Gothic Sep 2009
CD
$19.99

Brahms: Complete Organ Works / Volostnov

Naxos

$19.99 Nov 10, 2023

Russian organist Konstantin Volostnov performs Brahms’ complete organ works on the Röver organ of the Moscow Central Church of Evangelical Christians-Baptists. The instrument was built in 1898 and had suffered years of neglect but, remarkably, was one of the only Röver organs to remain completely original and intact, with a subsequent overhaul undertaken over several years.

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Brahms: Complete Organ Works / Volostnov
Naxos Nov 2023
CD
$19.99

Dvorak: "American" Quartet & Piano Quintet / Yang, Alexander String Quartet

Foghorn Classics

$18.99 Sep 06, 2019

With their latest release of “Locale” from Foghorn Classics, the Alexander String Quartet presents brand new accounts of two of Antonín Dvorák’s most enduringly popular chamber works. The “American” String Quartet in F Major, Op. 96 from 1893 was written during the composer’s extended retreat from New York City to the rural “Czech” community of Spillville, on the Turkey River in northeastern Iowa. The ASQ plumbs the rich and reflective “outdoor” nuances of this exquisitely crafted masterpiece. And the miraculous pianist Joyce Yang joins the Alexanders once again for this recording of the jubilant Piano Quintet in A Major, Op. 81 from 1887, composed at the composer’s country home amidst Bohemia’s woods and fields in Vysoka, just a little south of Prague. These two works are among the composer’s most expressively articulate chamber works. Both are profoundly influenced by their geographic “locale” and are, perhaps, exemplars of the sophisticated duality of the transatlantic experience of the late 19th century, embracing the nostalgia of the traditional bucolic ideal and the urbane sophistication of the imminent new age. Eric Bromberger’s accompanying notes and commentary provide illuminating musical and historical context, not least some of Dvorak’s own thoughts on the American-ness of his quartet. This is the third release on Foghorn Classics celebrating the inimitable collaboration between the Alexanders and Yang. Earlier releases include the Brahms and Schumann Quintets and, most recently, the Mozart Piano Quartets. Their combined concert repertoire, among several other standard and modern works, now includes a brilliant new and much-lauded quintet from the American composer Samuel Carl Adams, commissioned to help celebrate a decade of joyful collaborative music-making.

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Dvorak: "American" Quartet & Piano Quintet / Yang, Alexander String Quartet
Foghorn Classics Sep 2019
CD
$18.99

Brahms: Complete Organ Works / Robert Parkins

Naxos

$19.99 Jun 01, 1994

It's good to report Naxos again sweeping aside the competition not only in price, but in the quality of both performance and recording as well. Not that Brahms's organ works have received quite as much exposure on CD as one would have expected. The 11 Chorale Preludes, Brahms's swan-song (the cynics would describe it as a deathbed conversion), for all their popularity are elusive works attempting a synthesis between the essentially functional chorale prelude form and the intimate, personal language of an impromptu. They may well be "a high point in German Romantic organ literature" (to quote Parkins's own note) but their curious blend of impersonal formality and deep emotion renders really satisfying performances something of a rarity.

Robert Parkins hits the nail absolutely on the head. He paces each one perfectly, the second "Herzlich tut mich verlangen (No. 9) seems almost to float on air while "0 Welt, ich muss dich lassen" (No. 3) avoids any hint of self-indulgence in its heartfelt statement of impending death, Of course this excellent instrument helps. Registrations have to be subtle rather than obtrusive with a strong bias towards unadorned eight-foot tone. Parkins chooses his stops with care and sensitivity—the gentle caressing of a Tremulant throughout "Schmiicke dich, o liebe Seele" (No. 5) transforms a pleasant sound into a ravishing one.

The whole disc (the four early works fare equally well) is a significant addition to the recorded literature of both the organ and Brahms.

-- Gramophone [12/1994]

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Brahms: Complete Organ Works / Robert Parkins
Naxos Jun 1994
CD
$19.99

Godowsky: Transcriptions

Piano Classics

$21.99 Jan 09, 2026

'Only top-flight virtuosos need apply. Emanuele Delucchi is one of them... in a class of his own' (Gramophone). This is Delucchi's fourth album dedicated to the pianistic art of Leopold Godowsky. It's theme is counterpoint, and the possibilities of polyphony at the piano, which Godowsky expanded beyond previously conceived limitations. The album opens with Godowsky's magnificent transcription of the Sonata for Solo Violin BWV1001 by Bach. Counterbalancing the Sonata, the album closes with the serene Andante from the Solo Sonata BWV1003. In 1929, Godowsky composed his own Prelude and Fugue on the Theme B-A-C-H as one of a series of pieces for the left hand: a formidable demonstration of technical and compositional ingenuity. 'Imagine a real fugue in three voices,' he wrote to his friends, 'inversions, contractions, pedal points and all kind of devices on B-A-C-H for one hand!' Yet the Fugue itself is far from austere but rather upbeat in mood, no less a joyful celebration of the piano and it's possibilities than the rest of the works here. Godowsky based the first of his Symphonic Metamorphoses on themes of Johann Strauss on the Kunstlerleben waltz. This piece competes with his contrapuntal paraphrase on Weber's Invitation to the Dance (dedicated to Busoni, no less) as perhaps the most complex pieces ever written for the piano on dance themes. As on his previous Godowsky albums, all of them eliciting an enthusiastic critical reception, Delucchi has chosen to record these works on a piano from Godowsky's own time, lending both warm colours and a period flavour to his playing. He has chosen a Steinway piano from 1879 with a warm and poetic sound, well fitted to evoke the mood of fin-de-siecle Vienna, and to unfold the intricate polyphony of a piano genius. Delucchi also contributes his own, succinct and informed booklet essay on the history and context of these pieces.

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Godowsky: Transcriptions
Piano Classics Jan 2026
CD
$21.99

Mix & Match

ORGAN WORKS TRANSCRIBED FOR PI
Cyprés Records Jan 2002
CD
$20.99

Buxtehude, Buttstett, J.S. Bach & C.P.E. Bach: Organ Music i

Brilliant Classics

$12.99 Jul 24, 2026

A quartet of German Baroque masters at their most daring and outlandish, exploring the harmonic quirks of mean-tone temperament on the organ. Manuel Tomadin has assembled an impressive library of Baroque-era albums on Brilliant Classics, including critically acclaimed surveys of Bach and comprehensive documents of the surviving output of lesser-known names such as Christian Erbach and Vincent Lubeck. 'A very attractively conceived and well-executed Bach organ recital disc,' noted Fanfare of Manuel Tomadin's diverse recital (95786): 'All recital discs should be this thoughtfully conceived and well done; cordially recommended.' In the same vein, this new recording leads the listener through both unfamiliar and well-known names and works, drawing out the original meaning of the term Baroque as 'the broken pearl' - something strange and exquisite. At a time before the 'even-tempered' system of tuning homogenised the spaces between different intervals - some of them being narrower or wider than others in what is known as 'mean-tone' temperament - composers such as Buxtehude might exploit those idiosyncrasies to produce harmonies which were deliberately awkward or dissonant. Manuel Tomadin has chosen the Praeludium in E BuxWV141, the Praeludium in F sharp minor BuxWV146 and a chorale prelude, Nun bitten wir den heiligen Geist BuxWV208, to illustrate this point. The most unfamiliar name here is Johann Heinrich Buttstett (1666-1727) - Capellmeister in the central-German town of Erfurt - who defended conservative theories of musical evolution as a writer and teacher, but also produced works which sound quite radical for their time, such as an extensive Praeludium and Canzona in D minor. JS Bach is represented here by a pair of organ preludes and fugues (BWV534 in F minor and BEV547 in C major) from his Weimar period - relatively early in his career, but no less experimental for that. The search for harmonic extremes was continued by the most radically inventive of his sons, Carl Philipp Emanuel, and Manuel Tomadin demonstrates this continuity with the chorale prelude 'Ich ruf zu dir'. A fascinating and unique collection, performed on the authentic and historically significant Hinsz organ of 1738 at the Broederkerk in the Dutch town of Kampen.

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Buxtehude, Buttstett, J.S. Bach & C.P.E. Bach: Organ Music i
Brilliant Classics Jul 2026
CD
$12.99

Mix & Match

Finzi, Beamish, Moeran, Wood: The King's Alchemist: British String Trios / Eblana String Trio

Willowhayne Records - Label

$23.99 May 28, 2021

Featuring world premiere recordings of trios by Sally Beamish and Hugh Wood bookended by seldom heard works by Moeran and Finzi, showcases the sheer wealth of string trio repertoire by British composers. Although diverse in style and substance, the four works are bound together by the common strands of vivid storytelling and a shared musical language. Finzi’s Prelude and Fugue – the composers only piece of chamber music for strings alone - was composed in 1938 and conceived as a tribute to the renowned teacher R.O. Morris, with whom Finzi studied 16th century counterpoint. It is recorded here by the Eblana String Trio for only the second time, following its premiere LP recording in 1983. Ithaka by Hugh Wood is described by the composer himself as ‘a sort of mini-symphonic poem’. This one-movement work takes its inspiration from Cavafy’s meditation on Ulysses’ homeward voyage, and vibrantly depicts the adventures, discoveries, and dangers encountered along the way. Sally Beamish’s The King’s Alchemist is similarly programmatic music, reflecting aspects of the extraordinary story of John Damian, a European alchemist who resided at the court of King James IV in the early 16th century. The CD concludes with Moeran’s String Trio, written in 1931 and deservedly counted amongst his finest works.

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Finzi, Beamish, Moeran, Wood: The King's Alchemist: British String Trios / Eblana String Trio
Willowhayne Records - Label May 2021
CD
$23.99

The Chopin I Love

SOMM Recordings

$20.99 Jul 17, 2026

SOMM Recordings is delighted to collaborate once again with one of the foremost pianists of our time, Peter Donohoe. A joint winner of the 1982 International Tchaikovsky Competition, Donohoe has performed with all the major London orchestras and multiple European and American orchestras, as well as at the BBC Proms no less than 18 times. His impressive discography on SOMM includes the complete Prokofiev and Scriabin Sonatas, as well as the complete Mozart Piano Sonatas. "Donohoe appears to take early Beethoven as his interpretive trajectory with a gloves-off spontaneity that imbues these magical scores with a compelling vitality and freshness..." (BBC Music Magazine, Choice) "Donohoe plays these pieces with a personal involvement that is as touching as it is fascinating and finely considered." (Gramophone) Donohoe also recorded with SOMM the highly regarded 2nd and 3rd Sonatas (2023) and Waltzes (2024) by Chopin. Now, this latest release is The Chopin I Love, a title he borrowed from one of the most formative recordings of his youth, an LP of Arthur Rubinstein. Donohoe's personal selections represent works which have always resonated very much with him, as well as representing some of the most challenging, unique, and significant repertoire for piano ever written. The most substantial works in this collection are the Preludes, Op. 28, whose technical demands place them firmly amongst Chopin's most virtuosic works. Although Chopin did not necessarily intend for all 24 Preludes-one in each key-to be played as a group, they are performed here as a complete cycle, which makes for a fascinating and satisfying listening experience. Chopin wrote a further single Prelude, Op. 45, which is a longer and more detailed study than the individual numbers in the Opus 28 set, with the exception of the "Raindrop" Prelude. Chopin's Barcarolle, Op. 60, inspired by the rocking rhythm of the traditional folk song sung by Venetian gondoliers, is another of his more demanding compositions. It is also one of his last major compositions, along with his Polonaise-Fantaisie, Op. 61. Chopin's distinctive sound often includes the national flavour of his native Poland, and this piece takes it's character from the Polish dance, while the fantaisie provides it's harmonic complexity and intricate form. For Peter Donohoe, the 2 Nocturnes, Op. 62, are the culmination of the musical form, these intimately expressive works being Chopin's final compositions in the genre. The 3 Écossaises, Op. 72 No. 3, which close this recital, were amongst the first pieces Donohoe ever knew and were therefore seminal for him. He says, "That they are much less serious than any of the other works here does not detract from their originality and charm." Included as a download is Donohoe's performance of Chopin's Berceuse, a lullaby he composed late in life, which remains one of the composer's most beloved pieces.

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The Chopin I Love
SOMM Recordings Jul 2026
CD
$20.99

Mix & Match

Bach: The Well-tempered Clavier Book 1 / Jenö Jandó
Naxos Sep 1997
CD
$29.99

Zephyr (Carson Cooman Organ Music, Vol. 8)

Divine Art

$19.99 Jun 15, 2018

Carson Cooman is many things musical - organist and Composer in Residence at the Memorial Church, Harvard University, writer, critic and consultant, concert organist, and above all a highly prolific composer of music in a wide variety of genres, from orchestral to song. His organ compositions come in many styles, from liturgical models, to more gritty and substantial pieces such as his organ symphonies and preludes and fugues. The music in this programme, most of which was composed in 2016 and 2017, is varied and consists of a delightful mix of secular concert works and liturgically based pieces. Erik Simmons is a fine organist, making his eighth Cooman organ album for Divine Art. He is playing the Rosales organ of Trinity Episcopal Cathedral in Portland, Oregon, recorded through the Hauptwerk system. This is volume 8 of this highly praised series. Previous volumes have been heralded as momentous and groundbreaking by fans and critics alike.

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Zephyr (Carson Cooman Organ Music, Vol. 8)
Divine Art Jun 2018
CD
$19.99

Bentzon: The Tempered Piano / Salo

Dacapo Classical

$16.99 Sep 06, 2019

During his own lifetime, Niels Viggo Bentzon (1919-2000) became the very symbol of modern music in Denmark. An unstoppable creative force which, right from his breakthrough in the early 1940s, was in a category of his own, Per Salo, the pre-eminent Danish interpreter of Bentzon, here turns to Bentzon’s huge-scale piano cycle The Tempered Piano, with a personal compilation of preludes and fugues from the many volumes that Bentzon wrote with direct inspiration from Bach. Riotous digressions, musical worlds of unbridled fantasy, loosely constructed blowholes – everywhere Bentzon broke new ground – ground far from the golden mean.

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Bentzon: The Tempered Piano / Salo
Dacapo Classical Sep 2019
CD
$16.99