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LAGRIME MIE

Querstand

Available as CD

$20.99

Jan 23, 2015

Classical Music

LAGRIME MIE

$20.99
CD

Querstand

Jan 23, 2015

VKJK 1303

Bruckner: Symphony No. 9; Symphony in F minor "Study"

Capriccio

Available as CD

~~$21.99~~ $16.99

Jul 05, 2024

This final release of Capriccios Bruckner Symphonies - The Complete Versions Edition includes his very first and last Symphony. In March 1861, Anton Bruckner completed his counterpoint studies with the renowned teacher Simon Sechter who had also taught Schubert. His graduation signaled the end of an extended compositional hiatus. Bruckner's F-Minor Symphony was conceived in the classical and early romantic tradition of Beethoven, Schubert, Mendelssohn and Schumann. Bruckner's Ninth: his best (as some say) symphony, certainly his most daring and, thanks to the missing finale, his most mysterious. It is where Bruckner meets Mahler and, while working on it, his maker. He wanted to write a finale, of course, but too much remains missing. What is left, is a heavenly Adagio, which quietly fades away with references in the brass to the two preceding symphonies. Thus ends Bruckner's uncompleted life's work.

On Sale

Bruckner: Symphony No. 9; Symphony in F minor "Study"

~~$21.99~~ $16.99
CD

Capriccio

Jul 05, 2024

C8096

PIANO TRIOS IN F MINOR & E MINOR

ALTO

Available as CD

$11.01

Jun 14, 2011

Classical Music

PIANO TRIOS IN F MINOR & E MINOR

$11.01
CD

ALTO

Jun 14, 2011

AOTL1058.2

THE LARK

Rbm

Available as CD

$20.99

Jan 01, 2012

Classical Music

THE LARK

$20.99
CD

Rbm

Jan 01, 2012

RBM463144

Lansky: Music Box, Chatter of Pins, The Joy of F-Sharp Minor

Bridge Records

Available as CD

$18.99

Dec 26, 2006

Classical Music

Lansky: Music Box, Chatter of Pins, The Joy of F-Sharp Minor

$18.99
CD

Bridge Records

Dec 26, 2006

BCD9210

Music for Cornetto & Keyboard / Seicento Stravagante

BIS

Available as SACD

~~$21.99~~ $15.99

Feb 03, 2023

How to express emotion through music from which words are absent? This album attempts to give an answer to this question. Through works by Italian composers from the late 16th and early 17th centuries, the two members of Seicento Stravagante, David Brutti and Nicola Lamon, demonstrate the extravagant styles of early baroque music. During the decades surrounding 1600, the dominance of the human voice and of texts came to be replaced by the unfettered imagination of the composer/instrumentalists that allowed instruments to ‘speak’ on their own, and not only support a sung text. At first the polyphony of the original vocal piece was simply supplemented with ornaments to compensate for the lack of text, but later, as the borders between vocal and instrumental music became quite fluid, the vocal lines would be transformed into virtuoso instrumental solos. By the third decade of the seventeenth century, composers and performers were developing a new and independent instrumental style, which allowed them to freely mix intricate polyphony, dance-like passages and emotionally charged musical phrases. Brutti perform this selection of works, published between 1584 and 1650, on three different types of cornetto, while Lamon alternates between a copy of a harpsichord from 1681 and no less than two historic organs, from 1578 and 1660 respectively.

On Sale

Music for Cornetto & Keyboard / Seicento Stravagante

~~$21.99~~ $15.99
SACD

BIS

Feb 03, 2023

BIS-2526

Lasso, O. Di: Madrigals

Thorofon

Available as CD

$24.99

Nov 01, 1996

Classical Music

Lasso, O. Di: Madrigals

$24.99
CD

Thorofon

Nov 01, 1996

CTH2282

Harmonies of Devotion

Signum Classics

Available as CD

~~$20.99~~ $10.49

Jul 05, 2024

Harmonies of Devotion is both an exploration of the Italian motet repertory of the seventeenth and early eighteenth centuries and a celebration of the devotion to this sacred repertory displayed by English antiquarian collectors of the eighteenth century. Among the works recorded here for the first time are Giovanni Legrenzi's six-voice masterpiece Intret in conspectu tuo, which survives thanks to a copy made in London by Handel, a five-voice Crucifixus by Legrenzi's pupil Antonio Lotti, sent to London's newly formed Academy of Ancient Music, a grand Marian motet written for the Academy by Agostino Steffani, and music by Steffani's teacher Ercole Bernabei, again collected by members of London's antiquarian music clubs. The recording reveals lines of influence between teachers and pupils, and traces the lineage of the dramatic seconda prattica motet back to it's principal source and pioneer: Monteverdi.

On Sale

Harmonies of Devotion

~~$20.99~~ $10.49
CD

Signum Classics

Jul 05, 2024

SIGCD914

Hummel: Sonata In E Flat Major, Sonata In F Major / Alexander-Max

Chandos

Available as CD

~~$21.99~~ $16.99

Nov 17, 2009

HUMMEL Piano Sonatas: No. 2 in E?; No. 3 in f. Bagatelle in A?, “La contemplazione” • Susan Alexander-Max (fp) (period instrument) • CHANDOS 765 (67:11)

Johann Nepomuk Hummel (1778–1837) is an important transitional composer, especially from a pianistic viewpoint, between the late-18th and early-19th centuries; he is, unfortunately, also a composer who is underrepresented in the recording catalog. Among currently available recordings, Stephen Hough seems to be the only figure of international standing performing today to have devoted any effort to him. Two recordings that I think have stood out in the last 20 years have been the aforementioned one by Stephen Hough of three sonatas for Hyperion (67390), recorded back in 2003, and Dana Protopopescu’s album for Koch Discover (920237) of three sonatas, recorded in 1995. They both bring a virtuoso technique and a good musical sensibility.

Though I am no fan of the fortepiano, Alexander-Max is a good advocate for both the instrument and the repertoire. Her playing has sensitivity and a good attention to articulation and detail. Sometimes though, it is her attention to these small elements that hampers the overall flow of the music. Her tempos in the fast movements tend to be on the slow side: this provides her ample opportunity to bring out many details, but also tends to make the rapid scale and arpeggio patterns sound a bit sluggish. In comparing just the timings of the final movement of the F-Minor Sonata’s finale, marked Presto , Alexander-Max clocks in at 5:22 to Hough’s 3:59! There is no repeat in this movement, so the temporal difference is not reflected in the omission of any material. Even Protopopescu, who does not play this movement nearly as fast as Hough, clocks in around 5: 01—still over 20 seconds faster than Alexander-Max.

Tempo is not the only factor that makes the fast movements seem sluggish though; it is also the lack of intensity brought to many of the figurational patterns that lead to important beats. The focus for example in the E? Sonata’s finale, this time marked Allegro con spirito , seems to be more on the clarity of notes than on the constant surging motion. In the passage from 00:20 to 00:24, Hummel marks a crescendo moving from piano to forte in the span of two measures. In this performance, though a small crescendo does exist, the kind that Hummel requires does not. The tension and release inherent in the sudden dynamic buildup and rest, held with a fermata that follows this passage, is lost. Though the passagework is clean and articulate, the musical excitement is absent. There is a lack of drama.

There are many good aspects to this album as well. My favorite piece that the pianist plays here is the Bagatelle in A?. Marked Larghetto , it is a fantasy in which much of the beginning material comes back with added figuration. Here, Alexander-Max chooses not only a good tempo, one that flows and allows the movement to progress naturally, but also brings all of her interpretative skills to the fore. She maintains an acute sense of articulation and voicing, and a quality of freedom, almost improvisatory at times—all essential for a fantasy. Her ending pianissimo is as delicate and beautiful as any I’ve heard.

This is a fine addition to the recorded discography of Hummel’s music. I would especially recommend it for period-instrument enthusiasts, though the two previously mentioned recordings, by Hough and Protopopescu—both on modern grand pianos—provide good, in some cases excellent, readings of this much-neglected repertoire.

FANFARE: Scott Noriega

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Hummel: Sonata In E Flat Major, Sonata In F Major / Alexander-Max

~~$21.99~~ $16.99
CD

Chandos

Nov 17, 2009

CHAN 0765

Dvorák: Miniatures, Bagatelles,Terzetto - Suk: Piano Quartet

Supraphon

Available as CD

$31.99

Jan 30, 2009

Classical Music

Dvorák: Miniatures, Bagatelles,Terzetto - Suk: Piano Quartet

$31.99
CD

Supraphon

Jan 30, 2009

SU3976-2

Liszt: Songs for Bass Voice and Piano / Schwartz, Dibbern

Toccata

Available as CD

~~$20.99~~ $10.49

Oct 06, 2017

Throughout his long career Liszt’s songs – perhaps the most neglected part of his enormous output – took a radical approach to form: he eschewed convention in his search for a sincere musical response to each text. His free-spirited creativity meant that a single song would often call on a range of stylistic devices, among them bel canto vocal lines, unaccompanied recitative, orchestrally conceived piano textures and audacious harmonic procedures. This first recording of his songs by a bass voice brings out both the power and poetry of Liszt’s remarkable imagination. The American bass Jared Schwartz was born in Berne, Indiana, where he began piano lessons at the age of three, violin at seven and French horn at ten. He began a double major in pre-med and music at Bethel College, Indiana, then studied piano with Alexander Toradze and voice with Victoria Garrett, earning a graduate degree from the Eastman School of Music. For Toccata Classics he has already recorded albums of songs by Faure and Flegier.

REVIEW:

Schwartz's forte singing is most impressive, and his voice remains lustrously smooth and elegant in all registers. His vocal coloring, use of contrasting dynamics, and feeling for the text combine to make his readings thoroughly engaging. When he sings with gentleness and lyricism he weaves a magic spell, as in ‘Des Tages Laute Stimmen Schweigen’, which ends sublimely as he delivers the final line of the text (“As night embraces you with gentle silence”). It is stunning.

Mary Dibbern, who collaborated with him in his Flegier album and in preparing his Fauré album, does a superb job with Liszt’s often challenging accompaniment. She also wrote the comprehensive and informative notes for the release.

I learned to enjoy Liszt through his songs, especially his early high-flying Schiller and Petrarch settings, sung by tenors. I am now enjoying a voice that plumbs the sonic and textual depths of the songs.

-- American Record Guide

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Liszt: Songs for Bass Voice and Piano / Schwartz, Dibbern

~~$20.99~~ $10.49
CD

Toccata

Oct 06, 2017

TOCC0441

Schubert: Complete Symphonies & Fragments / Gaigg, L'Orfeo Barockorchester

CPO

Available as CD

~~$66.99~~ $46.99

Nov 19, 2021

On the occasion of its twenty-fifth anniversary, the L’Orfeo Baroque Orchestra is releasing the present recording of Franz Schubert’s complete symphonies and complete symphonic fragments. It is the most recent gem in this orchestra’s multifaceted repertoire ranging from the suite of the French, German, and Austrian Baroque through the sinfonia of the Mannheim School to Viennese Classicism and Early Romanticism. Although Joseph von Spaun termed Schubert a “song composer” not long after his death, Schubert’s compositional oeuvre may be said to be framed by a symphonic fragment and a sketch for a symphony. The first of these fragments was the score for an overture (D. 2 A) committed to paper around 1810/11 and abandoned in the middle of the exposition, and the last was a draft of three movements for a Symphony in D major (D. 936 A), largely worked out in full, from the last weeks, if not from the last days, of his life. During the period of some eighteen years between these two manuscripts, Schubert occupied himself creatively with almost all the established forms, ensembles, and genres. The symphonic fragments heard here often consist of scores containing only a few measures with the later addition of the instrumentation of a piece, for example, measures 209 to 223 from the first movement of the String Quartet D. 74. Since the composer assigned the date “3 September 1813” to this movement following its final notes, he must have written the fragment immediately prior to beginning his work on the Symphony No. 1 in D major (D. 82).

On Sale

Schubert: Complete Symphonies & Fragments / Gaigg, L'Orfeo Barockorchester

~~$66.99~~ $46.99
CD

CPO

Nov 19, 2021

555228-2

Lasso & Agostini: Lagrime di San Pietro

Alpha

Available as CD

$20.99

Mar 13, 2026

This recording, made at Noirlac Abbey in January 2025, is dedicated to Denis Raisin Dadre, who passed away suddenly on September 29 of the same year. With Doulce Mémoire, the ensemble he founded in 1989 and with which he brought Renaissance music to the world, Denis directed the production of this album from start to finish. In the booklet, he writes: "The Lagrime di San Pietro and Lagrime del peccatore both deal with a subject rarely encountered in musical settings: Peter's denial of Jesus. Furthermore, each is the swan song of it's composer. Munich, 1594. In the last year of his life, Orlando di Lasso composed his masterpiece, the apogee of Renaissance counterpoint and musical eloquence. Ferrara, 1586. Lodovico Agostini published his final work, whose language sought above all to move and overwhelm the listener by using all the already baroque devices of chromaticism and dissonance."

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Lasso & Agostini: Lagrime di San Pietro

$20.99
CD

Alpha

Mar 13, 2026

ALPHA1209

Legrenzi: La morte del cor penitente

Alpha

Available as CD

~~$20.99~~ $15.99

Jun 09, 2023

A highly prolific composer, Giovanni Legrenzi practised his art in oratorios and other works for the church, as well as in opera and chamber music. In fact he explored all the musical genres of his period, taking over the baton handed on by Gabrieli and Monteverdi, and enjoying an enviable reputation among his contemporaries. Better known during his lifetime (1626-1690) for his operas rather than for his religious music, Legrenzi was widely admired and copied all over Europe.

Of his eight known oratorios, only three have survived, including this gem: La morte del cor penitente (The Death of the Repentant Heart), a chamber oratorio probably composed in 1671. The theme is the spiritual development of the Sinner, the central figure of the work, who must pay his debt to God to save his immortal soul. The oratorio’s text provides a whole vivid universe of ‘affects’ (emotions) relating to spiritual torments and temptations. In his pilgrimage from the Cross to the heavenly light, beset by the competing voices of Sin and Hope, the Sinner duly makes his repentance, and finally achieves redemption.

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Legrenzi: La morte del cor penitente

~~$20.99~~ $15.99
CD

Alpha

Jun 09, 2023

ALPHA975

Lasso, O. Di: Motets / Madrigals / Chansons, Lieder

Thorofon

Available as CD

$24.99

Jun 01, 1994

Classical Music

Lasso, O. Di: Motets / Madrigals / Chansons, Lieder

$24.99
CD

Thorofon

Jun 01, 1994

CTH2209

Seraph / Tine Thing Helseth, Ensemble Allegria

LAWO Classics

Available as CD

$18.99

Jan 13, 2023

Tine Thing Helseth is back with a new release – “Seraph” – this time together with Ensemble Allegria. Helseth and Allegria have had a close association for many years and have appeared together at the Bergen International Festival, the Northern Lights Festival in Tromsø, the Oslo Chamber Music Festival, and on the main stage at the Norwegian National Opera. This release features some familiar as well as lesser known works for trumpet and string orchestra by composers from Norway and abroad, with the first four written for this instrumentation, while the last three were arranged by Jarle Storløkken. In Tine’s own words: “Seraph” is an album I have wanted to record for a long time, both because of the repertoire and the ensemble I’m playing with. I studied together with these musicians and many are good friends I’ve known for a long time. This makes it all the more rewarding, fun and inspiring to play together!

Seraph / Tine Thing Helseth, Ensemble Allegria

$18.99
CD

LAWO Classics

Jan 13, 2023

LWC1251

DIE DOMORGELN VON LADEGAST

Querstand

Available as CD

$25.99

Jul 19, 2019

Friedrich Ladegast was one of the most important organ builders during the 2nd half of the 19th century. Especially with his first large organ at Merseburg Cathedral, he set the benchmark for organ building and at the same time influenced the further development of organ music: Franz Liszt and his "adlatus" Alexander Winterberger immediately recognized the new symphonic options of the organ sound and therefore with their new works established a basis for using the organ in a new symphonic manner. This development saw it's peak half a century later in Max Reger's monumental organ works and found a parallel development in France where the French symphonic organ concept was based on the organs by Aristide Cavaille-Coll. Friedrich Ladegast was born in 1818 in Hochhermsdorf, therefore the musical world has just celebrated his 200th birthday. This marks the occasion for the release of two albums on the Querstand label which contain the programs of the first concerts played at two of the greatest Ladegast Organs: the above-mentioned in Merseburg Cathedral and the organ at Schwerin Cathedral.

DIE DOMORGELN VON LADEGAST

$25.99
CD

Querstand

Jul 19, 2019

VKJK 1816

ROSSINI LA FILLE MAL GARDEE BOUTIQUE

ALTO

Available as CD

$11.01

May 14, 2013

Classical Music

ROSSINI LA FILLE MAL GARDEE BOUTIQUE

$11.01
CD

ALTO

May 14, 2013

AOTL1213.2

Ladino Songs & Sephardic Music

ARC Music

Available as CD

$16.99

Apr 28, 2017

In the 1980s, while staging her first plays, Fortuna composed a repertoire of songs in partnership with the Curitiba poet Paulo Leminski. The decisive chapter of her career, however, would begin to be written after a trip to Israel, in 1991. It was there that Fortuna’s art won an innovative orientation: when she heard a piece of the Ladino collection of songs, she found the raw material for a unique aesthetic proposal, in which music, dance and dramaturgy converge in the re-creation of a rich cultural legacy. Ladino, a Jewish-Hispanic dialect, is the language of Sefardim, the Jews of Sefarad, the Hebrew name of the Iberian Peninsula. The contact with the Ladino musical tradition would change Fortuna’s life and give new direction of her work. This album is a compilation of songs from Fortuna’s previous releases “Mediterraneo,” “Cantigas,” and “La Prima Vez.”

Ladino Songs & Sephardic Music

$16.99
CD

ARC Music

Apr 28, 2017

EUCD2718

Legrenzi: 18 Sonatas, Op. 2

Stradivarius

Available as CD

$18.99

Mar 01, 2019

The first instrumental collection by Giovanni Legrenzi, Sonate a due e tre Op. 2, was published during the composer's last years as organist at the Santa Maria Maggiore Church in Bergamo, along with three other collections, including 'Sonate da chiesa, da camera, correnti, balletti, alemane e sarabande a tre, due violini e violone' Op. 4 (1656), perhaps in an attempt to secure a better position by dedicating his works to high-ranking personalities. After all, other important composers with an interest in instrumental music, such as Tarquinio Merula and Maurizio Cazzati also held positions in Bergamo. The collection includes nine sonatas 'a due,' of which six for two violins and continuo and three for violin, violone or bassoon and continuo, and eight sonatas a tre for two violins, violone and continuo.

Legrenzi: 18 Sonatas, Op. 2

$18.99
CD

Stradivarius

Mar 01, 2019

STR37113

W.A. Mozart: Concerto for Flute, Harp and Orchestra & Sinfon

LAWO Classics

Available as CD

~~$18.99~~ $14.99

Jan 09, 2015

In 1778, Mozart spent half a year in Paris accompanied by his mother, Anna Maria. Tragedy struck in the middle of the summer, when she died of fever. Both works on this album were composed during the first weeks after their arrival in the city. In a letter to his father dated April 7, 1778, Mozart wrote that he had composed a sinfonia concertante for Mannheim musicians visiting Paris, scored for flute, oboe, horn, and bassoon. The work on this recording is considered to be a revised copy of the score, with the flute replaced by a clarinet.

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W.A. Mozart: Concerto for Flute, Harp and Orchestra & Sinfon

~~$18.99~~ $14.99
CD

LAWO Classics

Jan 09, 2015

LWC1071

Donizetti: Lucia di Lammermoor

MYTO Historical

Available as CD

~~$13.99~~ $6.99

Jul 08, 2014

This Myto release of Gaetano Donizetti’s repertoire staple opera ‘Lucia di Lammermoor’ with its famed “mad scene” features, among others, a stellar trio of singers at or near their respective vocal primes in Renata Scotto, Alfredo Kraus and Sesto Bruscantini. + This live recording from July, 1963 finds distinguished conductor Bruno Rigacci, a musician with over 100 operas in his repertoire, directing the proceedings.

On Sale

Donizetti: Lucia di Lammermoor

~~$13.99~~ $6.99
CD

MYTO Historical

Jul 08, 2014

MYTO335

Locatelli: Il Labirinto Armonico / Gringolts, Finnish Baroque Orchestra

BIS

Available as SACD

~~$21.99~~ $15.99

Jan 08, 2021

Published in 1733, Pietro Locatelli’s L'Arte del violino for solo violin, strings, and basso continuo took both violin technique and the solo concerto as a genre into a whole new realm. The twelve concertos included in the collection also played a part in forming the image of the violin virtuoso, reaching its full bloom with Paganini towards the end of the century. Locatelli probably composed the set between 1723 and 1729, years that he spent mainly on the road performing at princely courts across Italy and Germany. While the unusually high technical demands of the solo part are obvious to the listener from the start, the great surprise comes at the end of the first and third movements of each of the concertos. Here Locatelli inserts Capriccios for the soloist alone of a difficulty previously unheard of, with a left hand technique making use of extensions, octaves, unprepared tenths, double and triple stopping, arpeggios and double trills. The writing also favors playing in extremely high positions: in Capriccio No. 22 (from the third movement of Concerto no. 11) rising broken thirds go as high as 17th position. Ilya Gringolts, whose discography includes the better-known caprices by Paganini, has accepted Locatelli’s challenge, and here performs three of the L’Arte concertos. He does so with the support of the Finnish Baroque Orchestra, which he conducts from his gut-stringed violin by Ferdinando Gagliano, ca. 1770.

REVIEW:

The whole thing sounds fabulous. First, there’s the sheer energy and joy radiating out from what is a deliciously luminously stringy sound from the orchestra. Then in comes Gringolts, equally full of stylish, multicoloured élan on his gut-stringed 1770 Gagliano – especially in the outer movements’ solo capriccios.

– Gramophone (Editor's Choice, March 2021)

On Sale

Locatelli: Il Labirinto Armonico / Gringolts, Finnish Baroque Orchestra

~~$21.99~~ $15.99
SACD

BIS

Jan 08, 2021

BIS-2445

Rossini: Bianca e Falliero / Fogliani

Naxos

Available as CD

~~$35.99~~ $25.99

Sep 08, 2017

Bianca e Falliero was commissioned by La Scala, Milan, for its prestigious Carnival season of 1819-20, enjoying a run of no fewer than 39 performances. Rossini responded with a score the virtuosity and expressivity of which outdid even his Neapolitan works. Prevailing tastes at La Scala meant that ensembles predominated over arias but behind the conventional dictates Rossini lavished the utmost care on his work, fashioning an opera full of dramatic coloratura and powerful theatrical craft and notable for its rich and often surprising harmony.

On Sale

Rossini: Bianca e Falliero / Fogliani

~~$35.99~~ $25.99
CD

Naxos

Sep 08, 2017

8660407-09

Schmitt: La Tragedie de Salome, Musique sur l'eau, & more / Falletta, Buffalo Philharmonic

Naxos

Available as CD

~~$19.99~~ $13.99

Nov 13, 2020

Florent Schmitt was a student of Massenet and Fauré, and winner of the coveted Prix de Rome. His impressionistic style blends influences ranging from Debussy to Wagner, with references to Stravinsky and other contemporaries. Conceived as a ballet but revised as a symphonic poem, La Tragédie de Salomé depicts Salome’s dangerous seductiveness with subtle magnificence. Narrative symbolism also applies to the evocative word painting of the exquisite Musique sur l’eau. The perilous saga of Oriane et le Prince d’Amour contrasts with the poetic tapestry of orchestral colors in Légende, in a version that replaces the original solo saxophone with violin.

-----

REVIEW:

Although Florent Schmitt lived until 1958 and took an interest in musical trends of the day, his fundamental style never really changed. It tightened up a bit under the influence of Stravinsky but remained essentially late Romantic. JoAnn Falletta has been an unfailingly successful advocate of Schmitt's on disc. There are quite a few versions of La tragédie de Salomé available, but none more refined and silky than this one. The Buffalo Philharmonic is a polished orchestra and has a wonderful satin feel for French music. The smooth acoustic of Kleinhans Hall and Naxos’s customary transparency do the rest.

All told, this is a winning release. In the vanishing wake of dodecaphonic music, where process was everything, we seem to be rediscovering beauty and meaning in composers who were, so to speak, left behind. More power, then, to Florent Schmitt!

– Fanfare

On Sale

Schmitt: La Tragedie de Salome, Musique sur l'eau, & more / Falletta, Buffalo Philharmonic

~~$19.99~~ $13.99
CD

Naxos

Nov 13, 2020

8574138

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