In 1786, Haydn composed The Seven Last Words of Christ for orchestra. Ten years later he produced a stunning choral version, which Justin Doyle and the RIAS Chamber Choir and Konzerthausorchester Berlin now invite us to rediscover. Together with four exceptional soloists, they reveal all the dramatic power of the work, it's expressive intensity and liturgical fervour.
Gunter Wand conducts Beethoven Symphonies Nos. 1-9
Sony Masterworks
Available as
CD
$24.98
$18.99
May 25, 2018
Sony Classical is pleased to announce another ten releases in its increasingly comprehensive series of Classical Masters. These new budget-priced releases contain classic recordings, many of them newly remastered, by some of the most celebrated musicians of the 20th century. Once again, the series offers cornerstones of the symphonic repertoire, including two complete cycles. In the late 1980s, Günter Wand, one of the most respected interpreters of the Austro-German repertoire, recorded all the Beethoven symphonies with his Hamburg Radio (NDR) Symphony Orchestra. It is still a benchmark. Reviewing the complete cycle a few years ago, ClassicsToday.com wrote: “This is one of the most consistent of all modern Beethoven editions, capped by a Ninth that stands among the select performances of that work on disc … One of the things that makes these performances so special is Wand’s ability to create a truly athletic feeling of movement at any tempo, and in order to do that he has to pay attention not just to tiny details, but also to larger phrases and musical paragraphs … The Fifth Symphony has all of the grit and grandeur that Beethoven intended … the funeral march in the “Eroica” is one of the most noble on disc … the “Pastoral” captures the music’s earthiness and rusticity with memorable fidelity … Exceptionally well recorded, this Beethoven cycle belongs in every serious collection.”
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Gunter Wand conducts Beethoven Symphonies Nos. 1-9
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CD
Sony Masterworks
May 25, 2018
19075818872
Fröst & Friends: Martin Fröst Plays Encores
BIS
Available as
SACD
$21.99
$15.99
Jun 01, 2010
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
A calendar filled with orchestral concerts and chamber recitals in many of the world’s most prestigious venues has given the clarinettist Martin Fröst ample opportunity to develop a wide range of encores, for every occasion. Known for the imaginatively themed concert programmes he devises with various musician friends, he has also explored a number of musical genres. These aspects of his artistry are both demonstrated on this constantly engaging disc, which includes immortal gems such as Rachmaninov’s Vocalise and Kreisler’s Liebeslied as well as pieces rather less usual in a classical context: Charlie Chaplin’s Smile and the klezmer traditional Let’s Be Happy rubbing shoulders with an improvisation over the Nat King Cole standard Nature Boy. Throughout the programme Fröst receives the expert support of the pianist Roland Pöntinen, a chamber music partner of long standing who has also been involved in devising many of the imaginative arrangements, for instance of Vittorio Monti’s Csárdás. Three other musical companions of Fröst’s make cameo appearances, with mezzo-soprano Malena Ernman joining the clarinet in the head-long flight of not one, but two bumble-bees. Torleif Thedéen’s cello sings a heartfelt Ave Maria above the gyrating accompaniment of Fröst’s clarinet, while Svante Henryson, also a cellist, plays in his own duo piece Off Pist, in which the clarinet and cello chase each other up and down alpine slopes. Martin Fröst’s spectacular career on disc began in 1995, with one of his first CD reviews, in In Tune Magazine, describing him as ‘A Swedish Clarinet Star’, and continuing ‘Fröst has everything – including genius’. More than 10 discs later his recording of Bernard Crusell’s three clarinet concertos caused the reviewer in French Classica-Répertoire to remark that ‘in every movement his playing hits upon the appropriate elegance, the perfect phrasing, the true colour, the required virtuosity, the necessary playfulness ... as he pursues his musical intentions all the way’ – a description that could equally well be applied to the present disc!.
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Fröst & Friends: Martin Fröst Plays Encores
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SACD
BIS
Jun 01, 2010
BIS-SACD-1823
German Baroque Sacred Music: Passion-Resurrection
Ricercar
Available as
CD
$42.99
$32.99
Apr 29, 2014
With this set, RICERCAR is beginning the rerelease of one of the jewels in its catalogue: the large collection devoted to sacred music of the German Baroque. Each set will group pieces by theme, the first being devoted to music for Passiontide, Easter and funeral cantatas. This long page in the history of music stretches from Schütz to Bach with the first release of a highly moving live recording of Bach's Johannes Passion by Les Agrémens and the Chamber Chorus of Namur conducted by Guy van Waas.
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German Baroque Sacred Music: Passion-Resurrection
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Ricercar
Apr 29, 2014
RIC344
Giuseppe Sammartini: Sei Sonate Per Flauto E Basso Continuo
Bongiovanni
Available as
CD
$13.99
Jan 01, 1996
Classical Music
Giuseppe Sammartini: Sei Sonate Per Flauto E Basso Continuo
$13.99
CD
Bongiovanni
Jan 01, 1996
GB5561-2
Beethoven: The Violin Sonatas / Francescatti, Casadesus
Sony Masterworks
Available as
CD
$45.98
$22.98
May 08, 2020
These two patrician French musicians were leading lights at American Columbia from the 1940s until well into the 1960s. During World War II, violinist Zino Francescatti and pianist Robert Casadesus began performing as a duo (they were both also collaborators with Ravel early in the careers), and in the decades since then the Columbia/Sony catalogue has documented this partnership distinguished by interpretive grace and technical polish. Although Francescatti is probably best remembered for his wide-ranging concerto recordings with Bernstein, Ormandy and Bruno Walter and Casadesus for his sparkling Mozart concertos with Szell, their duo recordings were also greatly admired by music lovers, especially their landmark interpretations of the Beethoven Violin Sonatas. The first of these recordings – made in mono between 1949 and 1957 in New York, when both musicians were living in the US – comprised Nos. 3–9. A remake, this time the complete cycle, was recorded in stereo in Paris in 1958 and 1961. Now Sony Classical is reissuing all of these performances in a single 7-CD box set.
All of their recordings of Beethoven violin sonatas were held in the highest critical esteem. The mono recordings earned special praise from Gramophone in the UK for expressiveness without undue romanticism and from High Fidelity in the US for an equality between the two musicians not often found in recordings of these works. Similar plaudits for the stereo versions, Gramophone commending Francescatti’s “cool, relaxed ease and sweet tone [in the “Spring” Sonata] … Casadesus is wonderfully good, too … The playing is effortless and relaxed in the true chamber music way … Both in this [Op. 96] and the C minor Sonata they give the kind of limpid, poetic classical performances in which every detail falls miraculously into place. This is playing with a lifetime of musical experience behind it … The perspective is faultlessly calculated; but of course not even the best engineer in the world could have produced such a result without a ‘marriage of true minds’ between the performers.” High Fidelity’s reviewer referred to the players’ “general tendency towards objective clarity, rhythmic brio, and superb instrumental refinement … The entire set – flawlessly well articulated, cleanly reproduced, and with every element of Beethoven’s writing meticulously set into proper perspective – can be highly recommended.”
The new box contains two performances never before issued: the duo’s 1957 New York recordings of the “Spring” Sonata and of Op. 30 No. 1, which were apparently withheld because of the imminent commencement of the cycle’s complete remake in stereo.
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Beethoven: The Violin Sonatas / Francescatti, Casadesus
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Sony Masterworks
May 08, 2020
19439701712
Telemann: The 7 Sonatas for Recorder & Continuo
Musica Omnia
Available as
CD
$14.99
Jan 11, 2011
Classical Music
Telemann: The 7 Sonatas for Recorder & Continuo
$14.99
CD
Musica Omnia
Jan 11, 2011
MO0312
Erbarme dich
Alpha
Available as
CD
$20.99
$15.99
Nov 18, 2016
The young tenor Reinoud Van Mechelen, whose career is currently in full flower, appears as a guest soloist with today’s leading conductors of Baroque music. He has decided to devote his first solo album to a composer whom he interprets with elegance and contagious joy: Johann Sebastian Bach. The title ‘Erbarme dich’ naturally evokes for music lovers the celebrated alto aria from the St Matthew Passion; but it is also the incipit of a sorrowful, sensuous aria for tenor and flute from the Cantata BWV 55. In fact, a substantial corpus of cantatas written by the Kantor in Leipzig between 1724 and 1726 feature a close dialogue between tenor voice and flute. Bach excels in this art of discourse and enjoys underlining or contradicting the text by sketching with the flute lines full of exacerbated vocality. This art of interweaving voices attracted Reinoud Van Mechelen and the flautist Anna Besson, who have chosen, along with the organist and harpsichordist Benjamin Alard, to structure their programme around Bach arias featuring obbligato organ and traverso. This album marks the birth of the ensemble founded by Reinoud Van Mechelen, A Nocte Temporis, and the start of his collaboration with Alpha, which will extend over several years.
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Erbarme dich
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Alpha
Nov 18, 2016
ALPHA252
Schütz: Geistliche Chormusik / Suzuki, Bach Collegium Japan
BIS
Available as
CD
$34.99
Nov 01, 1997
REVIEWS: Fanfare (5-6/98, p.204) - "The fifth complete recording of this magnificent collection of motets is astonishing....there is no feeling that the singing is rushed, nor does the diction of the nonnatives sound strange....Highly recommended."
Schütz: Geistliche Chormusik / Suzuki, Bach Collegium Japan
$34.99
CD
BIS
Nov 01, 1997
BIS-CD-831-32
Galuppi: Sei Sonate A Tre A Due Violini E Basso Continuo
Venetian composer Baldassare Galuppi wrote his six trio sonatas, according to Danilo Prefumo’s notes, in 1760, and with their homophonic textures, relatively simple melodic patterns diced into relatively short, often repeated phrases, and their division into three movements each (fast-slow-fast), they look forward to the Classical era rather than back toward the Baroque, despite their being composed in the venerable genre of the trio sonata (it’s a case of new wine in old bottles rather than old wine in new bottles). William S. Newman treated Galuppi’s works (primarily his keyboard sonatas) in his book on the Classical era rather than in his volume on the Baroque: He deemed Galuppi a preeminent pre-Classical composer. The sonatas surely aren’t without affecting sentiment, as the First Sonata’s slow movement or especially the sighs from the Second Sonata’s corresponding movement show (in addition, in the Second Sonata, to the dialog pitting the two violins against the harpsichord). The first movement of the Second Sonata bustles with a kind of energy that even Antonio Vivaldi’s sharply chiseled concerto subjects don’t always evince. It may not be surprising to find all these concertos written in the major mode (in this case, A, F, D, G, B?, and E) in light of Newman’s estimate that Galuppi wrote more than 80 percent of his sonatas in major.
In general, the sonatas’ first movements crackle (many listeners, cueing a random track, might relatively easily identify it as a first movement or a finale); the second movements, as noted above, include sensitive turns of phrase and harmonic subtleties (some even recalling Mozart, though Newman dismisses the suggestion of a direct influence on the later composer); the finales, though often marked Allegro, frequently glide elegantly rather than drive forward (with occasional exceptions, like the finale of the Fifth Sonata, the jaunty figuration of which spans both manners). Prefumo notes the title given the Sixth Sonata’s slow movement, Dialogo tra Pasquino e Marforio, perhaps referring to two Roman “talking statues.” In any case, this brief movement, subtitled Recitativo instrumentato, features passages that Galuppi, as a noted opera composer, may have delighted to transfer to this instrumental genre; the sonata’s finale also bears a title, in this case, Ritornello, though the device hardly suggests the one by the same name that characterized Vivaldi’s concertos. The Accademia dei Solinghi (Claudio Adriani playing an Andrea Guarneri violin from 1675, Franco Simeoni playing a violin made in 2007 by Franco Simeoni, Alessandro Peiretti playing an anonymous late 18th-century cello, and Rita Peiretti playing a harpsichord made by Davide Peiretti in 1986) endows these sonatas with a brusque energy that brings to vivid life Charles Burney’s remarks, after he’d encountered Galuppi’s music in Italy, about the composer’s youthful imagination. Dynamic has provided a close up portrait of the ensemble, yet surrounds the instruments with enough reverberation to fuse their crunchy textures into a pleasingly mellifluous amalgam. On the basis of the sonatas’ lively and ingratiating melodic imagination and of the energetic and sympathetic performances by the Accademia, Dynamic’s release should appeal more widely than to specialists.
FANFARE: Robert Maxham
---------
For some centuries Venice was one of the main centres of music-making in Italy. In the early 18th century Vivaldi was the key figure in the music scene, composing numerous operas, sacred works and instrumental pieces. After his death in 1741 his place was taken by Baldassare Galuppi, who soon became the most fashionable Italian master. His popularity was such that pieces by other composers were sold as written by Galuppi. One example is a setting of the Dixit Dominus which was purchased by the court in Dresden as a composition by Galuppi. Only fairly recently the true identity of the composer was discovered: Antonio Vivaldi.
Galuppi was born in Burano which explains his nickname 'Buranello'. His father was a violinist, who worked as a barber for a living. Galuppi's main teacher was Antonio Lotti. The English journalist Charles Burney visited Galuppi in 1770 and wrote: "Signor Galuppi was a scholar of the famous Lotti, and very early taken notice as a good harpsichord player, and a genius in composition. (...) He certainly merits all that can be done for him, being one of the few remaining original geniuses of the best school perhaps that Italy ever saw. His compositions are always ingenious and natural, and I may add, that he is a good contrapuntist, and a friend to poetry."
Galuppi has mainly become famous as a composer of operas, both serious and comic. His output in this genre is huge. In addition his work-list includes a large number of serenatas, oratorios and liturgical music. The largest part of his instrumental music is for keyboard. His oeuvre for instrumental ensemble is relatively limited: eight concertos for harpsichord and strings, seven concerti a quattro and the six trio sonatas which are the subject of this disc. They probably date from around 1760; they were not printed but have been preserved in a manuscript which is kept in the library of the University of Uppsala.
The judgement of Charles Burney that Galuppi was a "good contrapuntist" is affirmed by these sonatas which are written in the galant idiom. They are also an expression of the ideal of naturalness which was propagated by the Italian violin virtuoso and composer Giuseppe Tartini. All the sonatas are in three movements: fast - slow - fast. Although the two violins are basically treated on an equal footing, in several movements the first violin dominates, like the the first and last from the Sonata No. 1 in A and in the largo from the Sonata No. 3 in D. The adagio from the Sonata No. 2 in F is notable for its expression, partly through the use of general pauses. One of the most exuberant and technically brilliant movements is the closing allegro from the Sonata No. 4 in G.
The Sonata No. 6 in E has a remarkable middle movement, which is called Dialogo tra Pasquino e Marforio, in the form of a recitative. This is explained in the liner-notes: "Pasquinio and Marforio are names still used today in Rome for two statutes [=statues] from the Roman age, on which in past centuries the inhabitants of the Eternal City used to place mocking epigraphs and messages (called 'Pasquinate') referring to the establishment or public personalities. The statues were also called 'talking statues'; in Rome there were no fewer than six statues of this type, though Pasquino and Marforio were the most famous. Galuppi's short recitative may then be a playful allusion to some fact or event witnessed at the time of composition, or it might bear cryptic references to his time which, at the moment, we cannot clarify". This can only become clearer if we knew for sure the exact date and place of composition.
These trio sonatas are late specimens of a genre soon to disappear to make way for trios in which all parts were treated strictly equally, like the string trio. The Accademia dei Solinghi delivers good performances which may be a little less polished than we are used to hearing from the best ensembles of today. I have greatly enjoyed this disc, though, and if you decide to purchase it you certainly won't be disappointed. Music and performance make this recording well worth investigating.
-- Johan van Veen, MusicWeb International
Galuppi: Sei Sonate A Tre A Due Violini E Basso Continuo
$18.99
CD
Dynamic
Sep 27, 2011
DYN-CDS694
VIOLIN SONATAS FRANKFURT 1715
MDG
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$24.99
$18.99
Jan 01, 2014
Classical Music
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VIOLIN SONATAS FRANKFURT 1715
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SACD
MDG
Jan 01, 2014
9031835-6
The Leipzig Collegium Musicum, Vol. 1 - Music before Bach
PENTATONE
Available as
CD
$19.99
Jul 31, 2026
The Neues Bachisches Collegium Musicum, under the direction of Reinhard Goebel and outstanding soloists such as Max Volbers on recorder and Clemens Röger on horn, present the first instalment in the series The Leipzig Collegium Musicum, Vol. 1: Music before Bach, offering a vivid exploration of a formative musical world. The term Collegium Musicum refers to an assembly of musicians who gathered regularly, under direction, to study and perform vocal and instrumental works, an idea that flourished in many cities, yet found particular resonance in Leipzig. By the early 18th century, this landscape of competing ensembles and personalities stood on the threshold of transformation, as musical life gradually evolved towards the later institutional structures that would shape the city's enduring legacy. In practice, however, these societies existed within a complex and often unsettled environment, where overlapping groups, shifting roles, and competing interests made the musical scene difficult to define and reconstruct with certainty. This programme offers a glimpse into that dynamic and, at times, elusive world, where music was shaped as much by collaboration and exchange as by individual voices. The works presented reflect a period before Bach's arrival in Leipzig, when compositional language was still evolving and stylistic boundaries were fluid. Drawing on influences from across Europe while asserting their own character, these pieces reveal a rich interplay of invention, contrast, and expressive immediacy. Composers such as Georg Philipp Telemann, Johann Friedrich Fasch, and Georg Melchior Hoffmann were part of this environment, where musical ideas were shared, adapted, and developed through collective practice.
The Leipzig Collegium Musicum, Vol. 1 - Music before Bach
$19.99
CD
PENTATONE
Jul 31, 2026
PTC5187592
Bach: Motets, Cantatas, Mass & John Passion / Herreweghe, Collegium Vocale Ghent
PHI
Available as
CD
$44.99
$33.99
Mar 11, 2022
Founded by Philippe Herreweghe at a time when the Baroque revival was still a matter for specialists, Collegium Vocale Gent has been at the heart of the rediscovery of Bach's sacred music. This ten-album set brings together some of his finest sacred vocal works, from a selection of Leipzig cantatas (Gramophone Editor’s Choice, Choc de Classica etc.) to the St John Passion (Gramophone Editor’s Choice, Trophée Radio Classique) by way of the Mass in B minor. Collegium Vocale Gent was one of the first ensembles to use new ideas about baroque performance practice in vocal music. Their authentic, text-oriented and rhetorical approach gave the ensemble the transparent sound with which it would acquire world fame. In recent years, Collegium Vocale Gent has grown organically into an extremely flexible ensemble whose wide repertoire encompasses the full range of different stylistic periods from Renaissance up to contemporary music. Besides its own baroque orchestra, Collegium Vocale Gent works together with several historically informed ensembles, including the Orchestre des Champs-Élysées, Freiburger Barockorchester and Akademie fü r Alte Musik Berlin. It also works with prominent symphony orchestras such as the Antwerp Symphony Orchestra, Budapest Festival Orchestra and Amsterdam’s Concertgebouworkest. Since 2017 the ensemble runs its own summer festival, Collegium Vocale Crete Senesi, in Tuscany, Italy. Collegium Vocale Gent enjoys the financial support of the Flemish Community and the city of Ghent.
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Bach: Motets, Cantatas, Mass & John Passion / Herreweghe, Collegium Vocale Ghent
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PHI
Mar 11, 2022
LPH038
Beethoven & Kreutzer Septets
CAvi-music
Available as
CD
$17.99
May 23, 2025
Written in 1799, at the same time as the First Symphony, the Septet reflects Beethoven's ambition to gain a foothold in his new Viennese environment. It is an experimental work with six contrasting movements - weighty as a symphony but also influenced by the lighter, more entertaining character of the serenade. Unlike Beethoven, who clearly indicates his intentions, Kreutzer allows the musicians plenty of room to emerge as soloists. Combined with Beethoven's masterpiece, the result is a sound document that uncovers a buried path of music history, once more proving that unknown works are definitely worth studying, rehearsing, and performing.
Beethoven & Kreutzer Septets
$17.99
CD
CAvi-music
May 23, 2025
AVI 4867306
Bruckner: Symphony no. 7 on Vinyl / Haitink, Netherlands Radio Philharmonic
Challenge Classics
Available as
Vinyl
$85.99
$64.99
Apr 21, 2023
Bernard Haitink farewell concert to Amsterdam and the Netherlands, dated June 2019. One of his most beloved works, Bruckner’s Seventh Symphony, in a first ever release. An outstanding account in a compelling sound, furtherly enhanced by the 180 grams double-vinyl LP format.
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Bruckner: Symphony no. 7 on Vinyl / Haitink, Netherlands Radio Philharmonic
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Vinyl
Challenge Classics
Apr 21, 2023
CC LP72919
In deinen sussen Handen - Musik fur verlorene Seelen
Fuga Libera
Available as
CD
$20.99
Jul 03, 2026
Schone Welt, wo bist du? These words by Friedrich Schiller are the first of this new project, an exploration of existence, wandering and mourning. Coline Dutilleul has conceived a programme in which keyboard works by Johann Sebastian Bach and Lieder by Franz Schubert echo themes of melancholy and death: inner states that music makes perceptible through tempo, texture and harmony. These works trace a journey marked by absence and resilience in which agitation, renunciation and appeasement follow one another like the stages of mourning.
In deinen sussen Handen - Musik fur verlorene Seelen
$20.99
CD
Fuga Libera
Jul 03, 2026
FUG864
Wagner: Der Ring des Nibelungen
Accentus Music
Available as
DVD
$119.99
$89.99
Aug 01, 2025
In 2024, near Wagner's former Zurich residence, where much of the "Ring des Nibelungen" was composed, Opernhaus Zurich staged it's first complete Ring cycle in more than 20 years, performed under the musical direction of Gianandrea Noseda. "In a way, the 'Ring' returned to it's origins," said Andreas Homoki, stage director of Wagner's grandiose myth, which depicts the rise and fall of an entire world, delving into themes of love, fate, courage, and betrayal. At it's core, the "Ring des Nibelungen" is also a family drama about Wotan, the father of the gods, and his struggle to keep and break treaties, about freedom, it's presence and absence, and his desperate attempts to halt the very downfall he set in motion. Homoki's production brings the gods, humans, and mythical beings strikingly close, making their relationships and motivations vivid and compelling through meticulous character portrayal. The same outstanding cast performs across all four operas, heightening the dramaturgic intensity: Tomasz Konieczny as Wotan, Camilla Nylund as Brunnhilde, Christopher Purves as Alberich, Wolfgang Ablinger-Sperrhacke as Mime, and Klaus Florian Vogt as Siegfried, who also gave his acclaimed role debut in Homoki's Zurich productions. Recorded live at Opernhaus Zurich May 2024
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Wagner: Der Ring des Nibelungen
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DVD
Accentus Music
Aug 01, 2025
ACC70656
Wilhelm Furtwangler - The Radio Recordings 1939-1945 / Berlin Philharmonic
Berlin Philharmoniker
Available as
SACD
$311.99
$233.99
Feb 01, 2019
These discs are hybrid Super Audio CDs playable on both regular and Super Audio CD players.
The radio recordings between 1939 and 1945 with the Berlin Philharmonic and Wilhelm Furtwängler are among classical music’s most compelling sound documents. Created at the peak of the collaboration between orchestra and conductor, Furtwängler’s artist personality is conveyed more vividly than anywhere else. What can be heard is music in which inspiration and the expressive will know no bounds and in which, not least, the existential experience of the Second World War reverberates. For the first time, the Berlin Philharmonic are releasing a complete edition of these recordings.
Wilhelm Furtwängler is accorded almost mythical status to this day. Biographically and artistically rooted in the 19th century, he embodies a bridge to the late-Romantic period and the founding years of the Berlin Philharmonic, whose chief conductor he was from 1922.
Furtwängler’s auratic charisma stems from an intriguing basic interpretive concept which avoided authoritarian gestures and deliberately aimed at the blurring of tonal contours. The result was a warm, mixed sound, in which developments and intensifications never appear calculated, but seem to grow organically.
This edition not only brings together all surviving radio recordings of the period, but also draws on the best available material – in particular, original tapes, which were taken to the Soviet Union after the war and only returned to Germany from the early 1990s onwards. Especially for this edition, the recordings have been carefully restored, digitally sampled using state-of-the-art technology, and remastered in 24-bit resolution. A total of 21 concerts are presented here, in whole or in part. The edition’s features include numerous historical photos, articles on the history behind the recordings, plus an extensive essay by the American musicologist Richard Taruskin on Furtwängler’s art – all of which results in a release which provides an opportunity to discover and relive this great chapter in the history of the Berliner Philharmoniker in all its facets as never before.
-----
REVIEW:
Do you want this box? Yes, you do. Is it worth it? Again, yes, almost certainly, it is. For one thing, these are the recordings that have come, more than any other, to define this conductor’s identity, and his legacy. The audio restoration does wonders for the piano concertos in particular. These are the concerts that, so they said later, made life worth living for many Berliners. They matter.
– Gramophone
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Wilhelm Furtwangler - The Radio Recordings 1939-1945 / Berlin Philharmonic
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SACD
Berlin Philharmoniker
Feb 01, 2019
BPHR 180181
Music for Brass Septet Vol 2 / Septura
Naxos
Available as
CD
$19.99
$9.99
Apr 14, 2015
This second volume of Septura’s brass chamber music series takes us back to the 17th century and the music of Baroque opera, in four contrasting works by Rameau, Blow, Purcell and Handel. The astounding variety in content, colour and character of the originals demands especially inventive arrangements, and these pieces are vividly brought to life by incorporating stylistic elements from ‘period performance’. The exhilarating result is a stunningly virtuosic set of new Baroque works for brass.
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Music for Brass Septet Vol 2 / Septura
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$9.99
CD
Naxos
Apr 14, 2015
8573386
Mollner Klanggeschichte
Querstand
Available as
CD
$25.99
$19.99
Feb 28, 2025
The instrument used for this recording stands in the focus. It's the Scherer-Bunting-organ in the St Nicolai Church in Molln, northern Germany. Presented with an interesting program of baroque and late baroque music
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Mollner Klanggeschichte
$25.99
$19.99
CD
Querstand
Feb 28, 2025
VKJK 2307
Gubaidulina: Seven Words, Silenzio, In Croce / Selmeczi
Naxos
Available as
CD
$19.99
Dec 13, 1995
GUBAIDULINA: Seven Words / Silenzio / In Croce
Gubaidulina: Seven Words, Silenzio, In Croce / Selmeczi
$19.99
CD
Naxos
Dec 13, 1995
8553557
Platti & Vivaldi: 6 Sonatas for Cello & Basso Continuo
Oehms Classics
Available as
CD
$19.99
$9.99
Jun 25, 2013
A true Platti Renaissance was initiated with the first two CDs that Sebastian Hess recorded for OehmsClassics. This CD, made as a co-production with BR Klassik, was recorded on August 2012 at St. Jacobus Kirche in Grosslangheim. Axel Wolf accompanies Sebastian Hess on the lute. Volume 3 is supplemented with solo sonatas by Antonio Vivaldi.
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Platti & Vivaldi: 6 Sonatas for Cello & Basso Continuo
$19.99
$9.99
CD
Oehms Classics
Jun 25, 2013
OC881
Weber: Der Freischütz, Op. 77, J. 277
Urania Records
Available as
CD
$32.99
$16.49
Jan 01, 2015
Weber: Der Freischütz, Op. 77, J. 277
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Weber: Der Freischütz, Op. 77, J. 277
$32.99
$16.49
CD
Urania Records
Jan 01, 2015
WS121.234
BRUCKNER: SYM NO 7
MUNCHNER PHILHARMONI
Available as
CD
$22.99
Apr 11, 2025
Anton Bruckner was undoubtedly Sergiu Celibidache's favourite composer, and with the Munich Philharmonic the great maestro had created the perfect orchestra for his musical ideas. The MPHIL label celebrated Bruckner's 200th birthday with two very special releases: Symphonies No. 7 and No. 8 from 1984 and 1985 - two historical and previously unreleased recordings from the Herkulessaal of the Residenz Munich - genuine rarities from the orchestra's vast archive, and newly remastered.
BRUCKNER: SYM NO 7
$22.99
CD
MUNCHNER PHILHARMONI
Apr 11, 2025
MRPI814189.2
Conti: Bravo! Bene! Arie con varie strumenti
CPO
Available as
CD
$18.99
$13.99
Jan 03, 2025
When Francesco Bartolomeo Conti came to Vienna in 1701, aged just twenty, he quickly found employment as a theorbo player in the imperial court chapel. His virtuoso skills with the plucked instruments of the time must have been considerable and would have been enough to secure him a good living. But Conti was also a remarkably creative spirit who, on his death in 1732, left behind an impressive quantity of stage works, some of which were widely performed - not least thanks to their original, imaginative instrumentation and their immense variety of expression, ranging from the drastically comic to filigree, vocal-instrumental dialogues and thus encompassing the whole world of "affects". Led by the soprano and harpist Hana Blazikova and the countertenor Valer Sabadus, flanked by the ensemble nuovo aspetto under the direction of theorbist Michael Ducker, this production presents a small musical anthology whose fascinating content is just 300 years old.
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