Uploaded January 2026 | Updated September 2026, 2 weeks ago
Long admired by his contemporaries yet largely forgotten today, Nicolas Siret (1663–1754) was one of the most refined voices of the French Baroque. A contemporary and friend of François Couperin, Siret composed harpsichord suites of striking elegance, poetic nuance, and expressive depth.
Composer: Nicolas Siret
Artist: Vera Alperovich & Daniele Zanghi
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Album information
Tracklist:
Livre I, Ins.1, Suite in D Major
00:00:00 I. Ouverture
00:03:39 II. Allemande
00:08:50 III. Premiere Courante
00:10:19 IV. Seconde Courante
00:12:27 V. Sarabande Grave
00:15:45 Vi. Gigue
00:17:09 VII. Gavotte
00:18:34 VIII. Menuet
00:20:11 I. Ouverture
00:24:47 II. Allemande
00:29:53 III. Premiere Courante
00:32:17 IV. Seconde Courante
00:35:27 V. Sarabande
00:38:21 Vi. Gavotte
00:39:50 VII. Menuet
00:41:26 VIII. Passacaglia
Livre II, Ins.2, Suite in G Minor
00:47:17 I. Prelude
00:49:17 II. Allemande
00:54:37 III. Premiere Courante
00:57:26 IV. Seconde Courante
00:59:26 V. Troisieme Courante
01:01:41 Vi. Sarabande
01:05:22 VII. Gigue
01:07:03 VIII. Premier Rigaudon
01:07:46 IX. Seconde Rigaudon
01:08:28 X. Premier Rigaudon I
01:09:13 XI. Premier Menuet
01:10:36 XII. Seconde Menuet
01:12:11 XIII. Gavotte
01:13:31 XIV. Entree Joyeuse
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#Harpsichord #Siret
Long admired by his contemporaries yet largely forgotten today, Nicolas Siret (1663–1754) was one of the most refined voices of the French Baroque. A contemporary and friend of François Couperin, Siret composed harpsichord suites of striking elegance, poetic nuance, and expressive depth.
Composer: Nicolas Siret
Artist: Vera Alperovich & Daniele Zanghi
💎 🎵 Purchase, stream or download (Spotify, Apple Music, Amazon, Presto): brilliant-classics.lnk.to/SiretID
🎬🎮 These tracks are available for sync licensing in videos, films, TV shows, games, advertising, and more. For licensing inquiries: info@brilliantclassicslicensing.com
Album information
Tracklist:
Livre I, Ins.1, Suite in D Major
00:00:00 I. Ouverture
00:03:39 II. Allemande
00:08:50 III. Premiere Courante
00:10:19 IV. Seconde Courante
00:12:27 V. Sarabande Grave
00:15:45 Vi. Gigue
00:17:09 VII. Gavotte
00:18:34 VIII. Menuet
00:20:11 I. Ouverture
00:24:47 II. Allemande
00:29:53 III. Premiere Courante
00:32:17 IV. Seconde Courante
00:35:27 V. Sarabande
00:38:21 Vi. Gavotte
00:39:50 VII. Menuet
00:41:26 VIII. Passacaglia
Livre II, Ins.2, Suite in G Minor
00:47:17 I. Prelude
00:49:17 II. Allemande
00:54:37 III. Premiere Courante
00:57:26 IV. Seconde Courante
00:59:26 V. Troisieme Courante
01:01:41 Vi. Sarabande
01:05:22 VII. Gigue
01:07:03 VIII. Premier Rigaudon
01:07:46 IX. Seconde Rigaudon
01:08:28 X. Premier Rigaudon I
01:09:13 XI. Premier Menuet
01:10:36 XII. Seconde Menuet
01:12:11 XIII. Gavotte
01:13:31 XIV. Entree Joyeuse
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#Harpsichord #Siret

![Mannelli: Trio Sonatas Op.2
Carlo Mannelli (Rome, 1640-1697) spent the major part of his life in Rome where he also worked during the opera performances and religious events.
Composer: Carlo Mannelli
Artists: Ewa Anna Augustynowicz (Artist director), Ensemble Giardino di Delizie
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As a violinist nicknamed Carlo del Violino and Carluccio di Pamfili, he played the first violin in the most famous Roman musical ensembles of the period. Arcangelo Corelli, who often played under Mannelli, described him as one of his most influential teachers. For several years, Mannelli was leader of the famous Congregetione di S. Cecilia.
The Trio Sonatas Op.2 consists of 14 Sonatas. They are in 4, 5 or 6 movements. They display a freshness of melodic invention and sometimes daring harmonic surprises, a great tonal richness and unexpected, highly expressive chromatic phrases.
The ensemble Giardino di Delizie is a Roman female Baroque group, founded in 2014 by the violinist Ewa Anna Augustynowicz, researching and performing forgotten treasures from the Italian and Polish Baroque. They played in such ensembles as Europa Galante, Les Eléments, Quatuor Mosaïques and others.
Tracklist:
Sonata I. “La Foggia” in D Minor, Op. 2
00:00:00 I. Adagio – Allegro
00:01:18 II. Canzona
00:03:13 III. ¾
00:05:20 IV. Adagio
00:07:00 V. 6/8
Sonata III. “La Stamegna” in D Major, Op. 2
00:08:34 4/4
00:10:33 II. Canzona allegro
00:12:31 III. Adagio
00:13:12 IV. 3/4 – Adagio
00:15:06 IV. Adagio
00:15:50 VI. Allegro
Sonata VIII. “La Giannelli” in G Minor
00:17:07 I. Adagio assai
00:19:41 II. Adagio
00:21:42 III. Adagio
00:22:25 IV. Adagio
Sonata II. “La Fede” in B‑Flat Major, Op. 2
00:24:37 I. Allegro – Adagio – Allegro – Adagio – Allegro – Adagio
00:25:57 II. [veloce]
00:26:54 III. Canzone allegra
00:27:48 IV. Adagio
00:29:04 V. Ballo grave
Sonata VII. “La Melani” in G Major, Op. 2
00:31:00 I. 4/4 – Adagio – Tempo I
00:32:28 II. Canzone
00:34:04 III. 3/4
00:35:33 IV. Adagio
00:36:45 V. Allegro
Sonata XIII. “La De Santis” in F Major, Op. 2
00:37:57 I. 4/4
00:40:06 II. Allegro
00:41:34 III. Canzone
00:43:03 IV. Adagio
00:44:05 V. 6/8
Sonata VI. “La Verdoni” in C Major, Op. 2
00:45:12 I. Allegro
00:46:04 II. Canzone
00:47:15 III. 3/4
00:49:02 IV. Adagio
00:50:32 V. 6/8
Sonata XIV. “La Stradella” in G Minor, Op. 2
00:52:03 I. 4/4
00:53:15 II. Adagio
00:53:43 III. Allegro
00:54:26 IV. Canzone
00:56:15 V. Adagio
00:56:59 VI. 6/8
Sonata IX. “La Panuzzi” in C Minor, Op. 2
00:58:32 I. Adagio
01:00:08 II. 3/4
01:01:30 III. Canzone
01:02:52 IV. Adagio
01:03:57 V. 6/8
Sonata IV. “La Vecchi” in A Minor, Op. 2
01:05:42 I. Allegro – Adagio – Allegro
01:06:54 II. 3/4
01:08:06 III. Canzone
01:10:02 IV. Adagio
01:11:53 V. 6/8
Sonata X. “La Pasquini” in D Minor, Op. 2
01:13:14 I. Allegro – Adagio – Allegro
01:14:25 II. Adagio
01:15:55 III. Canzone
01:17:23 IV. Canzone allegra
01:17:51 V. Adagio – Adagio
01:20:10 VI. Allegro
Sonata V. “La Giansetti” in E Major, Op. 2
01:21:27 I. Adagio–Allegro
01:23:28 II. Adagio
01:24:10 III. 3/4
01:25:11 IV. Canzone
01:27:18 V. Adagio assai
01:28:47 VI. 6/8
Sonata XII. “La Piccini” in E Minor, Op. 2
01:30:04 I. [Allegro] – Adagio – Allegro – Adagio
01:33:00 II. 3/4
01:34:54 III. Canzone
01:36:27 IV. Adagio
01:37:33 V. 12/8
Sonata XI. “La Ponselli” in D Major, Op. 2
01:38:48 I. 4/4
01:39:23 II. Allegro assai
01:40:06 III. Adagio
01:42:03 IV. Canzone
01:43:37 V. Adagio
01:44:13 VI. 12/8
#Mannelli #Esemble #Sonata #Italian #Rome #Opera #Violin #Baroque #Classical #Classics #BrilliantClassics Mannelli: Trio Sonatas Op.2](https://i.ytimg.com/vi/SxY2zREB6ZQ/mqdefault.jpg)








![Brahms
Johannes Brahms’s journey as a composer for solo piano, from the heroic Ballades, Op. 10 to the profound late masterpieces Opp. 116–119, in this captivating recital by acclaimed pianist Vincenzo Maltempo. Renowned for his commanding technique and expressive depth, Maltempo reveals the genius, innovation, and emotional power that make Brahms’s piano music among the greatest ever written.
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Composer: Johannes Brahms
Artist: Vincenzo Maltempo (piano)
Vincenzo Maltempo’s considerable catalogue of recordings for Piano Classics includes a much-admired set of the two concertos by Brahms. According to Fanfare, ‘Maltempo… plays with commanding technique, grand gestural sweep throughout, and real tonal bloom.’
For this second volume of the composer’s solo output for the piano, Maltempo has devised a compelling journey for the listener, from the noble and often heroic profile of the Ballades Op.10 to the late and distilled collections Opp. 116-119, taking in en route the Variations on an Original Theme Op.21 No.1 and the eight Klavierstücke Op.76.
In his performances, Maltempo brings out this stylistic evolution of both piano-writing and harmony, enabling us to appreciate for ourselves the degree to which Brahms continually challenged himself to enrich and experiment with his style as well as ruthlessly exercising on himself the red pen and the sharp ear which made him so shrewd a critic of fellow composers.
The scholar Denis Matthews identified three phases, or styles, in Brahms, not necessarily equating to the conventional division of early, middle and late: the architectural, contrapuntal and lyrical. On the surface, beyond a more intense chromaticism and openness to dissonance, there is relatively little to separate the Ballades from the late works.
Much the least-often heard piece in this collection is the Variations Op.21, and the teasing ingenuity of Brahms’s treatment of his theme – initially quiet and introspective – is based on a rigorous exploration of contrapuntal possibilities. The Variations date from a period immediately after his fateful meeting with Robert and Clara Schumann in Dusseldorf, when he found himself stretched to live up to the Schumann’s’ extravagant praise of him as the pre-eminent successor to Beethoven. They and others were captivated by the composer’s own mastery of his instrument as a performer, too, and The Op.21 Variations show Brahms moving on from the extrovert keyboard lionism of works such as the First Concerto while still using the variation principle to celebrate virtuosity as both a composer and a pianist.
Tracklist:
4 Ballades, Op. 10:
0:00:00 I. Andante in D Minor [after the Scottish Ballad “Edward”]
0:04:14 II. Andante in D Major
0:09:59 III. Intermezzo. Allegro in B Minor
0:14:06 IV. Andante con moto in B Major
8 Klavierstücke, Op. 76 (1871 No. 1, 1878 Nos. 2 to 8):
0:21:37 I. Capriccio. Un poco agitato in F-Sharp Minor
0:25:02 II. Capriccio. Allegretto non troppo in B Minor
0:28:33 III. Intermezzo. Grazioso in A-Flat Major
0:30:37 IV. Intermezzo. Allegretto grazioso in B-Flat Major
0:33:04 V. Capriccio. Agitato, ma non troppo presto in C-Sharp Minor
0:36:05 VI. Intermezzo. Andante con moto in A Major
0:39:35 VII. Intermezzo. Moderato semplice in A Minor
0:42:23 VIII. Capriccio. Grazioso ed un poco vivace in C Major
7 Fantasien, Op. 116 (1892):
0:45:47 I. Capriccio. Presto energico in D Minor
0:48:01 II. Intermezzo. Andante in A Minor
0:51:29 III. Capriccio. Allegro passionato in G Minor
0:54:51 IV. Intermezzo. Adagio in E Major
0:59:26 V. Intermezzo. Andante con grazia ed intimissimo sentimento in E Minor
1:02:17 VI. Intermezzo. Andantino teneramente in E Major
1:05:39 VII. Capriccio. Allegro agitato in D Minor
1:07:56 Variations on an Original Theme, Op. 21 No. 1
3 Intermezzi, Op. 117 (1892):
1:23:38 I. Andante moderato in E-Flat Major
1:28:34 II. Andante non troppo e con molto espressione in B-Flat Minor
1:33:43 III. Andante con moto in C-Sharp Minor
6 Klavierstücke, Op. 118 (1893):
1:39:17 I. Intermezzo. Allegro non assai, ma molto appassionato in A Minor
1:41:16 II. Intermezzo. Andante teneramente in A Major
1:46:57 III. Ballade. Allegro energico in G Minor
1:50:26 IV. Intermezzo. Allegretto un poco agitato in F Minor
1:53:27 V. Romance. Andante—Allegretto grazioso in F Major
1:57:17 VI. Intermezzo. Andante, largo e mesto E-Flat Minor
4 Klavierstücke, Op. 119 (1893):
2:02:26 I. Intermezzo. Adagio in B Minor
2:06:22 II. Intermezzo. Andantino un poco agitato in E Minor
2:10:31 III. Intermezzo. Grazioso e giocoso in C Major
2:12:13 IV. Rhapsody. Allegro risoluto in E-Flat Major
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#Brahms #PianoPieces #ClassicalMusic #PianoMusic #VincenzoMaltempo #ClassicalPiano #PianoClassics #BrillianClassics Brahms](https://i.ytimg.com/vi/VR_ZXbbkp_8/mqdefault.jpg)