Brilliant Classics
Relaxing Classical Harp Music
updated
Composer: Franz Joseph Haydn
Artists: Austro-Hungarian Haydn Orchestra & Adam Fischer
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Symphony No. 83 in G Minor, Hob. I:83:
00:00:00 I. Allegro spiritoso
00:07:29 II. Andante
00:17:02 III. Menuet & Trio. Allegretto
00:21:15 IV. Finale. Vivace
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Composer: Johann Sebastian Bach
Artists: Netherlands Bach Collegium, Pieter Jan Leusink (conductor), Sytse Buwalda (Alto), Bas Ramselaar (Basso) & Marcel Beekman (Tenore)
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Tracklist:
Erfreute zeit im neuen Bunde, BWV 83:
00:00 I. Aria. Erfreute Zeit im neuen Bunde (Alto)
07:13 II. Aria, Recitativo. Herr, nun lässest du deinen Diener (Basso)
11:42 III. Aria. Eile, Herz, voll Freudigkeit (Tenore)
17:40 IV. Recitativo. Ja, merkt dein Glaube (Alto)
18:22 Choral. Er ist das Heil und selig Licht (Coro)
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Completed in 1905, the Piano Trio Op.18 was first performed at the Salle Aéolian in Paris in January 1906. Also in four movements, it presents more measured
writing than the Cello Sonata or Violin Sonata. The dialogue between the three instruments is refined and balanced without any break in interaction. These are works by a brilliant composer faithful to tradition. On the whole the music can be described as an innovative and surprising, certainly deserving of wider recognition.
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Painting: Pierre-Auguste Renoir - Une route à Louveciennes
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Tracklist:
Composer: Albéric Magnard
Artists: Camilla Patria – cello, Elena Ballario – piano, Franco Mezzena – violin & Sergio Patria – cello.
00:00:00 Cello Sonata in A Major, Op. 20: I. Sans lenteur
00:09:22 Cello Sonata in A Major, Op. 20: II. Sans faiblir - III. Funèbre
00:21:47 Cello Sonata in A Major, Op. 20: IV. Rondement
00:30:05 Piano Trio in F Minor, Op. 18: I. Sombre
00:38:43 Piano Trio in F Minor, Op. 18: II. Chantant, dramatique, limpide, mouvement
00:50:38 Piano Trio in F Minor, Op. 18: III. Vif (temps de valse)
00:56:10 Piano Trio in F Minor, Op. 18: IV. Largement - Vif - Largement - Vif - Double plus vif - Large - Vif - Double plus lent - Vif - Large
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Canto Ostinato is a familiar landmark of modern Dutch art music. Known affectionately and simply as the Canto, it receives many performances each year in a plethora of arrangements, whether with the two or four pianos which Simeon ten Holt had in mind when he wrote the work in 1976, or performed by soloists and ensembles. This flexibility is inherent in the form of the piece. Ten Holt supplies a sequence of 106 rhythmic cells which may be repeated one or many more times, thus potentially creating a duration of one or many more hours. The simple and repetitive patterns blur the listener’s sense of time, which becomes space: space for the performers, space for creation, but also space for the listeners, space for imagination.
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Tracklist:
Composer: Simeon ten Holt
Artists: Aart Bergwerff – Organ & Eric Vloeimans - Trumpet
00:00:00 Simeon ten Holt: Canto Ostinato: Part 1
00:29:57 Simeon ten Holt: Canto Ostinato: Theme (74)
00:42:08 Simeon ten Holt: Canto Ostinato: Transition (86)
00:45:45 Simeon ten Holt: Canto Ostinato: Part 2B
00:56:07 Simeon ten Holt: Canto Ostinato: Theme (95)
01:07:05 Simeon ten Holt: Canto Ostinato: Coda
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Composer: Carl Philipp Emanuel Bach
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The three-movement ‘Berlin symphonies’ may not yet have the breadth or weight that later composers of the Classical period would invest in the genre such as we know it now, but still move forward from the kind of pot-pourri sinfonia that would open an opera or function as an incidental intermezzo. In this, as in so much of his output, C.P.E. Bach stands between periods, perhaps hitherto more appreciated for where his music leads than its own qualities and quirks, which are legion: as purveyor of a new ‘Empfindsamer Stil’ or ‘sensitive style’, C.P.E. took the application of rhetorical principles within ‘abstract’ musical narratives to unparalleled heights, with an almost postmodern disregard for the niceties of formal elegance and an apparently unquenchable glee in composing the unexpected. These symphonies are full of unlikely turns, zestful energy and the juxtaposition of curious ideas.
Dedicated and spirited performances by Hartmut Haenchen, who leads his C.P.E. Bach Chamber Orchestra in a historically informed way, the orchestra playing on “traditional” instruments.
Next are the 4 symphonies that Carl Philipp Emanuel Bach wrote during his stay in Hamburg. In these large-scale works the string section is extended with 2 flutes, 2 oboes, 2 horns and bassoon, instruments which are treated quasi solistically, so that one can almost speak of a Sinfonia Concertante. The musical language is clearly “Sturm und Drang”, full of vehement dynamics and changes of sentiment, the fingerprint of this most famous son of Johann Sebastian.
Brilliant performances on period instruments by Solamente Naturali, an exciting group of early music players from Bratislava.
Tracklist:
Artists: Klaus Kirbach (harpsichord), Kammerorchester Carl Philipp Emanuel Bach & Hartmut Haenchen (conductor)
Symphony in E-Flat Major, Wq. 179:
0:00:00 I. Prestissimo
0:04:20 II. Larghetto
0:08:19 III. Presto
Symphony in F Major, Wq. 181:
0:11:17 I. Allegro
0:14:37 II. Andante
0:18:54 III. Allegro assai
Symphony in C Major, Wq. 174:
0:22:13 I. Allegro assai
0:25:26 II. Andante
0:29:09 III. Allegro
Symphony in F Major, Wq. 175:
0:31:18 I. Allegro assai
0:34:50 II. Andante
0:38:41 III. Tempo di menuetto
Symphony in E Minor, Wq. 178:
0:41:38 I. Allegro assai
0:45:56 II. Andante moderato
0:49:23 III. Allegro
Artists: Solamente Naturali (on period instruments) & Didier Talpain (conductor)
Symphony in D Major, Wq. 183/1:
0:53:01 I. Allegro di molto
0:58:36 II. Largo
1:00:21 III. Presto
Symphony in E-Flat Major, Wq. 183/2:
1:03:11 I. Allegro di molto
1:07:01 II. Larghetto
1:08:29 III. Presto
1:13:53 IV. Allegro assai
Harpsichord Concerto in C Minor, Wq. 43/4:
1:17:21 I. Poco adagio
1:19:31 II. Tempo di menueto
1:22:17 III. Allegro assai
Symphony in F Major, Wq. 183/3:
1:26:55 I. Allegro di molto
1:31:55 II. Larghetto
1:34:27 III. Presto
Symphony in G Major, Wq. 183/4:
1:37:15 I. Allegro assai
1:40:13 II. Poco andante
1:45:14 III. Presto
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Composers: Fanny Mendelssohn
Artist: Gaia Sokoli (piano)
The first album to bring together all of Fanny Mendelssohn’s four piano sonatas, written over the course of almost 20 years, and including the ‘Easter Sonata’ rediscovered in 2010.
Born in 1998 to Albanian parents, the Italian pianist Gaia Sokoli has won rave reviews as well as a string of competition awards in her home country. She took first prize in the Bradshaw and Buono Competition held annually in New York, and made a Carnegie Hall debut at the age of 13. Gaia Sokoli was giving concerts as a young child: ‘Making music came naturally to me and I felt I had to do it.’
Gaia Sokoli’s repertoire ranges from Bach to Ligeti, but she has a particularly strong feeling for the late-Classical and early-Romantic piano composers from Beethoven to Chopin and Schumann. She studies with Roberto Prosseda, who has contributed the booklet essay to her debut recording, discussing Fanny Mendelssohn’s sonata writing in the context of a culture which saw her compositional activity as little more than the talented exercise of a hobby when set alongside her brother Felix’s pre-eminent genius.
Gaia Sokoli is well placed to bring out all the ardour and pianistic sophistication of Fanny Hensel’s piano writing, which in its smaller and lighter forms – the songs without words and nocturnes so beloved of salon audiences – has received plenty of attention on record before now. But Hensel was no less accomplished at disciplining her melodic imagination on the grander scale of the sonata. Two years a standalone sonata movement composed at the age of 17, she wrote a three-movement work in the Romantically resonant key of C minor, with an insistent rhythmic tag in the finale which her brother ‘borrowed’ for a Vivace movement of his own two years later.
From six years later, the year before her marriage to Wilhelm Hensel which drastically curtailed her creative output, comes the ‘Easter Sonata’ so excitingly rediscovered in modern times. The name derives from the Easter Monday when she completed the sonata’s first movement, but the four movements generate a sense of momentous drama through to a tormented A minor finale in which an Easter chorale finally bestows serenity.
After this powerfully original work, the G minor Sonata of 1843 raises the dramatic stakes still further with a headstrong opening movement worthy of any piano work by more celebrated male contemporaries. Unstable harmonies as well as Fanny’s trademark melodic charm propel the sonata forwards towards a surprisingly carefree finale.
Tracklist:
Sonata in G Minor, H-U 395:
00:00 I. Allegro molto agitato
03:36 II. Scherzo
06:32 III. Adagio
10:34 IV. Finale. Presto
Ostersonate:
16:56 I. Allegro assai moderato
22:00 II. Largo e molto espressivo
26:30 III. Scherzo. Allegretto
30:50 IV. Allegro con strepito
38:36 Sonatensatz in E H-U 44 - Allegro molto moderato
Sonata in C Minor, H-U 128:
44:29 I. Allegro moderato e con espressione
49:25 II. Andante con moto
52:53 III. Finale. Presto
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Composer: Franz Joseph Haydn
Artists: Austro-Hungarian Haydn Orchestra & Adam Fischer
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Symphony No. 82 in C Major, Hob. I:82:
00:00:00 I. Vivace assai
00:07:49 II. Allegretto
00:15:27 III. Menuet & Trio
00:19:45 IV. Finale. Vivace
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Composer: Johann Sebastian Bach
Artists: Netherlands Bach Collegium, Pieter Jan Leusink (conductor) & Bas Ramselaar (Basso)
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Tracklist:
Ich habe genug, BWV 82:
00:00 I. Aria. Ich habe genug (Basso)
07:42 II. Recitativo. Ich habe genug! (Basso)
08:55 III. Aria. Schlummert ein, ihr matten Augen (Basso)
18:20 IV. Recitativo. Mein Gott! Wann kommt das Schöne (Basso)
19:12 V. Aria. Ich freue mich auf meinen Tod (Basso)
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Composer: Tchaikovsky
Artists: Baltic Chamber Orchestra, Emmanuel Leducq-Barôme & Lev Klychkov
Serenade for String Orchestra in C Major, Op. 48:
00:00:00 I. Pezzo en forma di sonatina
00:09:34 II. Valse
00:13:13 III. Elegia
00:22:01 IV. Finale
Composer: Dvořák
Artists: Czech Chamber Philharmonic Orchestra Pardubice, Petr Nouzovský & Stanislav Vavřinek
Serenade for Strings in E Major, Op. 22:
00:29:26 I. Moderato
00:34:11 II. Tempo di Valse
00:41:17 III. Scherzo. Vivace
00:47:11 IV. Larghetto
00:52:11 V. Finale. Allegro Vivace
Composer: Tchaikovsky
00:58:22 Elegy for String Orchestra in Memory of Ivan Samarin, TH 51 (Jacopo Taddei, Roma Tre Orchestra & Sieva Borzak)
01:08:20 String Quartet No. 1, Op. 11: II. Andante Cantabile (Orchestra Orfeo & Domenico Famà)
01:15:29 String Quartet in E-Flat Minor, Op. 30: III. Andante Funebre e Doloroso (Baltic Chamber Orchestra, Emmanuel Leducq-Barôme & Lev Klychkov)
01:27:05 Snow Maiden, Op. 12 – Melodrama (Baltic Chamber Orchestra, Emmanuel Leducq-Barôme & Lev Klychkov)
Composer: Dvořák
Artists: Amati Ensemble
Serenade, Op. 44 in D Minor:
01:31:06 I. Moderato quasi (Arr. by Mordechai Rechtman)
01:35:11 II. Tempo di minuet (Arr. by Mordechai Rechtman)
01:41:17 III. Andante con moto (Arr. by Mordechai Rechtman)
01:50:48 IV. Finale. Allegro molto (Arr. by Mordechai Rechtman)
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The earliest songs here date from 1936, and show how the young composer has abandoned his highly energetic and satirical style in favour of a more profound and lyrical one, which he would develop and perfect in works such as the 5th Symphony of 1937.
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Tracklist:
Composer: Dmitri Shostakovich
Artists: Peter Gluboky – Bass & Natalia Rassudova - Piano
00:00:00 Four Romances on Poems by Pushkin, Op. 46: Rebirth
00:02:21 Four Romances on Poems by Pushkin, Op. 46: Sobbing Bitterly
00:03:57 Four Romances on Poems by Pushkin, Op. 46: Foreboding
00:07:39 Four Romances on Poems by Pushkin, Op. 46: Stanzas
00:14:01 Six Romances on Verses by British Poets, Op. 62: To His Son (Walter Raleigh)
00:18:27 Six Romances on Verses by British Poets, Op. 62: In the Fields in Snow and Rain (Robert Burns)
00:21:29 Six Romances on Verses by British Poets, Op. 62: Macpherson before His Execution (Robert Burns)
00:24:07 Six Romances on Verses by British Poets, Op. 62: Jenny (Robert Burns)
00:26:11 Six Romances on Verses by British Poets, Op. 62: Sonnet LXVI (William Shakespeare)
00:29:50 Six Romances on Verses by British Poets, Op. 62: The King Goes to War (popular nursery rhyme)
00:30:58 Four Monologues on Verses by Pushkin, Op. 91: Fragment
00:37:19 Four Monologues on Verses by Pushkin, Op. 91: What Does My Name Mean to You?
00:40:31 Four Monologues on Verses by Pushkin, Op. 91: In the Depths of Siberian Mines
00:43:34 Four Monologues on Verses by Pushkin, Op. 91: Farewell
00:45:47 Five Romances on Texts from ‘Krokodil’, Op. 121: Manual Demonstration
00:50:40 Five Romances on Texts from ‘Krokodil’, Op. 121: A Difficult Request
00:52:24 Five Romances on Texts from ‘Krokodil’, Op. 121: A Reasonable Attitude
00:53:44 Five Romances on Texts from ‘Krokodil’, Op. 121: Irinka and the Cowherd
00:55:15 Five Romances on Texts from ‘Krokodil’, Op. 121: Excessive Enthusiasm
00:57:22 Four Verses by Captain Lebyadkin, Op. 146, on texts from Dostoevsky’s novel The Devils: Captain Lebyadkin’s Love
01:02:22 Four Verses by Captain Lebyadkin, Op. 146, on texts from Dostoevsky’s novel The Devils: The Cockroach
01:06:22 Four Verses by Captain Lebyadkin, Op. 146, on texts from Dostoevsky’s novel The Devils: The Ball for the Benefit of Governesses
01:08:55 Four Verses by Captain Lebyadkin, Op. 146, on texts from Dostoevsky’s novel The Devils: A Pure Soul
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Tracklist:
Composer: Niels Wilhelm Gade
Artists: Arhus Chamber Orchestra & Ove Vedsten Larsen - Conductor
00:00:00 Novellette No. 1 in F, Op. 53: I. Andantino – Allegro vivace e grazioso
00:06:11 Novellette No. 1 in F, Op. 53: II. Scherzo: Moderato
00:11:20 Novellette No. 1 in F, Op. 53: III. Andantino con moto
00:15:28 Novellette No. 1 in F, Op. 53: IV. Allegro vivace
00:19:26 Novellette No. 2 in E, Op. 58: I. Andante – Allegro ma non troppo
00:27:02 Novellette No. 2 in E, Op. 58: II. Intermezzo: Allegro moderato
00:31:40 Novellette No. 2 in E, Op. 58: III. Andante espressivo
00:37:39 Novellette No. 2 in E, Op. 58: IV. Finale: Allegro con brio
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Composer: Amy Beach, Edward MacDowell & Samuel Barber
Artists: Emma Abbate & Julian Perkins (piano)
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Both Beach and MacDowell were formidably accomplished pianists who wrote concertos in barnstorming virtuoso style, for themselves and their contemporaries to play, but they could also turn their hand to the lucrative domestic market for piano-duet music. In doing so they also tapped into the 19th-century, Romantic preoccupation with childhood which Schumann had encapsulated in his Kinderszenen of 1838.
MacDowell wrote his Moon-Pictures Op.21 in the winter of 1884–5 and subtitled them ‘after H.C. Andersen’s Picture-Book without Pictures’, referring to an 1848 collection of short bedtime stories. Published in 1901 and dedicated to the composer’s niece, the six duets of the album’s title collection, Summer Dreams by Beach, are shorter and technically simpler than the Moon-Pictures, but they are prefaced by literary quotations which once more indicate that this is not music for children so much as music for adults to play to children, and for adults to play at being children. In any case, simpler means and fewer notes need hardly imply naivety of expression, and Beach’s self-taught technique was too rigorous to allow anything less than the most deftly fashioned work to escape her desk. Composed in 1883, Beach’s brief 3 Movements for piano duet are the work of a prodigiously talented teenager who knows her early-Romantic piano literature – including Kinderszenen – inside out, but who also understands at this stage how to emulate rather than merely copy her models. In the following year of 1884, the 23-year-old MacDowell wrote his 3 Poems Op.20. Strictly speaking, Hamlet and Ophelia is the outlier in this collection, since MacDowell composed it in 1894 as a tone-poem for orchestra in the Lisztian manner, and then made this two-piano transcription rather than leaving the work to the kind of professional arranger habitually commissioned by publishers for such work. Nevertheless, he took the kind of care over it that Brahms did in arranging his symphonies, and the piano-duet version retains the brooding tension of the opening and effectively transfers the violinistic surges of Hamlet’s main section to the keyboard. The album’s final collection takes a chronological leap forward to 1952, but its nostalgia-drenched mood belongs to an intermediate age. ‘One might imagine a divertissement in a setting of the Palm Court at the Plaza Hotel’, Barber explained in a letter to his publisher, ‘the year about 1914, epoch of the first tangos. Souvenirs – remembered with affection, not in irony or with tongue in cheek, but in amused tenderness.’ Barber, it should be noted, would have been four years old at the time, and so these are ‘souvenirs’ in the manner of sepia-tinted postcards.
Emma Abbate and Julian Perkins have given duo recitals for the Mozart Society of America and at many UK venues, including the Royal Opera House, Covent Garden, St George’s Bristol, St John’s Smith Square, Hatchlands Park and the Russell Collection, Edinburgh. Praised for their ‘‘impressive sensitivity’’ (Early Music Reviews) and for telling ‘‘a totally convincing story with every piece’’ (The Arts Desk), their recordings have received five-star reviews in BBC Music Magazine and other magazines.
Tracklist:
MacDowell: 3 Poems, Op. 20:
0:00:00 I. Night by the Sea
0:04:25 II. A Tale from Knightly Times
0:07:50 III. Ballad
MacDowell: Moon Pictures, Op. 21:
0:11:20 I. The Hindoo Maiden
0:13:42 II. Story of the Stork
0:15:20 III. In the Tyrol
0:18:53 IV. The Swan
0:21:47 V. Visit of the Bears
MacDowell: Hamlet and Ophelia, Op. 22:
0:23:29 I. Hamlet
0:30:38 II. Ophelia
Beach: 3 Movements:
0:37:00 I. Allegro appassionato
0:38:42 II. Moderato
0:41:35 III. Allegro con fuoco
Beach: Summer Dreams, Op. 47:
0:45:08 I. The Brownies
0:48:35 II. Robin Redbreast
0:50:23 III. Twilight
0:52:39 IV. Katy-dids
0:53:32 V. Elfin Tarantelle
0:55:24 VI. Good Night
Barber: Souvenirs, Op. 28:
0:59:00 I. Waltz
1:03:14 II. Schottische
1:05:50 III. Pas de deux
1:09:43 IV. Two-Step
1:11:29 V. Hesitation-Tango
1:15:15 VI. Galop
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Composer: Jan Ladislav Dussek
Artists: Bart van Oort, Viviana Sofronitski, Petra Somlai, Wolfgang Brunner, Alexei Lubimov, Tuija Hakkila, Zvi Meniker, Ursula Dütschler & Piet Kuijken on period instruments
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Tracklist:
Sonata in A Major, Op. 10 No. 1, Craw 60:
00:00:00 I. Allegro moderato
00:09:12 II. Adagio cantabile
00:13:19 III. Rondo. Allegro assai
Sonata in G Minor, Op. 10 No. 2, Craw 61:
00:16:35 I. Allegro moderato
00:21:55 II. Vivace con spirit
Sonata in E Major, Op. 10 No. 3, Craw 62:
00:29:11 I. Allegro maestoso ed moderato
00:39:47 II. Presto con fuoco
Sonata in D Major, Op. 31 No. 2, Craw 133:
00:46:50 I. Allegro non tanto
00:52:24 II. Adagio con espressione
00:56:16 III. Pastorale. Allegro non troppo
Sonata No. 2 in D Major, Op. 25 C.127:
01:01:03 I. Adagio maestoso - Presto
01:07:08 II. Larghetto
01:09:47 III. Rondo. Allegremente
Sonata No. 1 in G Major, Op. 39 C.166:
01:13:16 I. Allegro
01:20:49 II. Andantino ma moderato e con espressione - Allegro ma non troppo
Sonata No. 2 in C Major, Op. 39 C.167:
01:26:42 I. Allegro moderato
01:34:21 II. Andantino quasi larghetto
01:36:48 III. Rondo. Allegretto
Sonata No. 3 in B-Flat Major, Op. 39 C.168:
01:40:42 I. Allegro con spirit
01:48:19 II. Rondo. Andante sostenuto cantabile
Sonata No. 18 in E-Flat Major, Op. 44, Craw 178:
01:55:35 I. Introduzione. Grave - Allegro moderato
02:06:35 II. Molto adagio e sostenuto
02:14:12 III. Tempo di menuetto più tosto allegro
02:17:54 IV. Rondo. Allegro moderato ed espressivo
Sonata No. 28 in F Minor, Op. 77, Craw 259:
02:25:34 I. Allegro moderato, ma energico
02:38:03 II. Tempo di menuetto con moto
02:42:40 III. Adagio non troppo, ma solenne
02:48:41 IV. Rondo. Allegro moderato
Sonata No. 3 in A-Flat Major, Op. 5, Craw 43:
02:58:06 I. Allegro
03:10:13 II. Rondo. Allegro non tanto, con spiritoso
Sonata in B-Flat Major, Op. 24, Craw 96:
03:13:27 I. Allegro con spirit
03:19:23 II. Rondo. Pastorale, allegretto moderato con espressione
Sonata in A Major, Op. 43, Craw 177:
03:25:16 I. Allegro moderato con espressione
03:37:09 II. Rondo. Allegro
Sonata in F-Sharp Minor, Op. 61, Craw 211:
03:41:53 I. Lento patetico - II. Tempo agitato non presto
03:53:04 II. Tempo vivace e con fuoco quasi presto
Sonata No. 7 in A Minor, Op. 18 No. 2:
03:59:25 I. Agitato assai
04:06:07 II. Rondo. Allegretto moderato
Sonata No. 19 in B-Flat Major, Op. 45 No. 1:
04:11:18 I. Allegro cantabile
04:20:51 II. Adagio patetico
04:26:05 III. Rondo scherzo. Allegro da ballo
Sonata No. 20 in G Major, Op. 45 No. 2:
04:31:34 I. Larghetto sostenuto - Allegro di molto
04:40:42 II. Rondo. Andantino con moto
Sonata in D Major, Op. 45 No. 3:
04:46:38 I. Allegro moderato
04:55:44 II. Larghetto con moto
04:59:09 III. Rondo. Allegro moderato assai
Sonata No. 1 in B-Flat Major, Op. 9 No. 1:
05:04:16 I. Allegro non tanto
05:12:48 II. Rondo - Allegretto grazioso
Sonata No. 2 in C Major, Op. 9 No. 2:
05:17:07 I. Allegro con spirito
05:25:59 II. Larghetto con espressione
05:30:13 III. Presto assai
Sonata No. 3 in D Major, Op. 9 No. 3:
05:36:43 I. Allegro ma non troppo
05:45:21 II. Prestissimo
Sonata No. 27 in E-Flat Major, Op. 75:
05:51:50 I. Allegro ma non troppo
06:08:22 II. Andante moderato
06:15:24 III. Rondo - allegro moderato grazioso
Sonata No. 22 in D Major, Op. 47 No. 1:
06:23:23 I. Allegro con spirit
06:29:23 II. Adagio sostenuto ed espressivo
06:31:59 III. Rondo a la militaire. Allegretto moderato
Sonata No. 23 in G Major, Op. 47 No. 2:
06:35:58 I. Allegro ma moderato ed espressivo
06:43:15 II. Rondo con espressivo. Andantino con moto
Sonata No. 26 in A-Flat Major, Op. 64 "Retour à Paris":
06:48:04 I. Allegro non troppo ed espressivo
07:02:34 II. Molto Adagio, con anima ed espressione
07:10:54 III. Tempo di minuetto, scherzo. Quasi allegro
07:14:45 IV. Finale. Scherzo, allegro con spirit
Sonata in C Major, Op. 14 No. 1, C.71:
07:23:07 I. Allegro
07:29:12 II. Andante poco larghetto
07:31:54 III. Air Russe. Rondo. Allegretto non troppo
Sonata in G Major, Op. 14 No. 2, C.72:
07:34:53 I. Larghetto con espressione
07:43:00 II. Molto allegro
07:49:30 The complete tracklist can be found in the pinned comment!
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Artists: Austro-Hungarian Haydn Orchestra & Adam Fischer
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Symphony No. 81 in G Major, Hob. I:81:
00:00:00 I. Vivace
00:06:42 II. Andante
00:13:28 III. Menuetto & Trio. Allegretto
00:17:08 IV. Finale. Allegro, ma non troppo
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Composer: Simeon ten Holt
Artist: Aart Bergwerff (organ) & Eric Vloeimans (trumpet)
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It is impossible to imagine the Dutch musical landscape without Canto Ostinato. This neoclassical masterwork by composer Simeon Ten Holt (1923-2012) ends up high in the top ten classical charts every year. The piece - affectionately called the Canto - is multicolored, it has many performances and just as many line-ups. Every performance is unique and more of a ritual than a concert, Ten Holt says. The minimalistic and repetitive patterns make the sense of time disappear and make way for space. Space for the performers, space for creation, but also space for the listeners, space for imagination. With this live recording, Eric Vloeimans (trumpet) and Aart Bergwerff (organ) add a new dimension to the kaleidoscope of Canto.
Tracklist:
00:00 Ten Holt: Canto Ostinato. Theme (74)
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Composer: Johann Sebastian Bach
Artists: Netherlands Bach Collegium, Pieter Jan Leusink (conductor), Holland Boys Choir, Ruth Holton (Soprano), Knut Schoch (Tenore), Bas Ramselaar (Basso) & Sytse Buwalda (Alto)
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Tracklist:
Gott ist mein König, BWV 71:
00:00 I. Coro. Gott ist mein König (Coro)
01:44 II. Aria. Ich bin nun achtzig Jahr (Soprano, Tenore)
05:55 III. Coro. Dein Alter sei wie deine Jugend (Coro)
07:58 IV. Arioso. Tag und Nacht ist dein (Basso)
10:56 V. Aria. Durch mächtige Kraft (Alto)
12:06 VI. Coro. Du wollest dem Feinde nicht geben (Coro)
15:02 VII. Choral. Das neue Regiment (Coro)
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Tracklist:
0:00:00 Saint-Saëns: La sérénité (Bart Schneemann & Paolo Giacometti)
0:03:21 Lebrun: Oboe Concerto in G Minor, André No. 2: II. Adagio (Nancy Ambrose King, Janáček Philharmonic Orchestra & Jeremy Swerling)
0:08:50 Wolf-Ferrari: Idillio - Concertino in A Major, Op. 15: III. Adagio (Massimo Belli, Orchestra da Camera 'Ferrucio Busoni', Fabien Thouand & Valentino Zucchiatti)
0:16:55 Rheinberger: Andante pastorale for Oboe and Organ (Manuel Tomadin & Cristina Monticoli)
0:21:37 Rubbra: Oboe Sonata, Op. 100: II. Elegy, lento (Marika Lombardi & Nathalie Dang)
0:25:04 Saint-Saëns: Extase (Bart Schneemann & Paolo Giacometti)
0:29:30 Mozart: Oboe Concerto in C Major, K. 314: II. Adagio non troppo (St. Christopher Chamber Orchestra, Donatas Katkus & Andrius Puskunigis)
0:35:37 Andriessen: Concertino for Oboe with String Orchestra: II. Aria. Andante (Netherlands Chamber Orchestra, Fischer Thierry & Swinnen Henk)
0:39:39 Saint-Saëns: Le lever de la lune (Bart Schneemann & Paolo Giacometti)
0:44:15 Devienne: Sonata in D Minor, Op. 71 No. 2: II. Adagio (Burkhard Glaetzner, Siegfried Pank & Christine Schornsheim)
0:48:05 Bowen: Oboe Sonata, Op. 85: II. Andantino espressivo (Marika Lombardi & Nathalie Dang)
0:53:28 Saint-Saëns: Tristesse (Bart Schneemann & Paolo Giacometti)
0:55:55 Mozart: Quartet in F Major, K. 370: II. Adagio (Ensemble Pyramide)
0:58:57 Hofmann: Oboe Concerto in C Major: II. Adagio (St. Christopher Chamber Orchestra, Donatas Katkus & Andrius Puskunigis)
1:05:04 Roussel: Aria No. 2 for Oboe and Piano (Jet Röling & Hans Roerade)
1:07:27 Howells: Sonata for Oboe and Piano: II. Lento, assai espressivo e tranquillo (Marika Lombardi & Nathalie Dang)
1:12:36 Ferlendis: Oboe Concerto in F Major, No. 1: II. Adagio (St. Christopher Chamber Orchestra, Donatas Katkus & Andrius Puskunigis)
1:15:23 Saint-Saëns: Oboe Sonata in D Major, Op. 166: II. Allegretto (Soloist of the Accademia di Santa Cecilia Rome & Akanè Makita)
1:20:12 Poulenc: Oboe Sonata, FP 185: I. Elégie (Domenico Orlando & Matteo Fossi)
1:25:29 Saint-Saëns: Aimons-nous (Bart Schneemann & Paolo Giacometti)
1:30:08 Ditters von Dittersdorf: Oboe d'amore concerto in A Major: II. Adagio (St. Christopher Chamber Orchestra, Donatas Katkus & Andrius Puskunigis)
1:35:30 Saint-Saëns: Chanson triste (Bart Schneemann & Paolo Giacometti)
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Tracklist:
Composers: Jean Langlais Camille Saint-Saëns, Charles Marie Widor, Marcel Dupré, Witold Lutoslawski, Denis Bédard & Jordi Cervelló
Artists: Duo MusArt, Teresa Sierra Martínez – piano & Raúl Prieto Ramírez - organ
00:00:00 Jean Langlais: Jean Langlais Dyptique: Allegro
00:05:49 Jean Langlais: Jean Langlais Dyptique: Allegro
00:09:58 Camille Saint-Saëns: Saint-Saens: Duo, Op. 8 & No. 4 from Six Duos for piano and harmonium: Capriccio
00:13:36 Charles Marie Widor: Widor: Two Duos from Six Duos for piano and harmonium, Op. 3: No. 1: Humoresque
00:16:24 Charles Marie Widor: Widor: Two Duos from Six Duos for piano and harmonium, Op. 3: No. 2: Allegro cantabile
00:22:52 Witold Lutoslawski: Lutoslawski: Variations on a Theme of Paganini
00:29:38 Denis Bédard: Bedard: Duet Suite: No. 1: Introduction
00:31:05 Denis Bédard: Bedard: Duet Suite: No. 2: Fughetta
00:33:21 Denis Bédard: Bedard: Duet Suite: No. 3: Minuetto
00:37:15 Denis Bédard: Bedard: Duet Suite: No. 4: Romance
00:39:20 Denis Bédard: Bedard: Duet Suite: No. 5: Final
00:42:54 Jordi Cervelló: Cervello: Preludiando
00:49:25 Marcel Dupré: Marcel Dupré: Variations on Two Themes
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Tracklist:
Composer: Ferdinand Rebay
Artists: Luigi Magistrelli - Clarinet & Massimo Laura - Guitar
00:00:00 Drei Vortragsstücke: I. Praeludium
00:02:32 Drei Vortragsstücke: II. Villanelle mit Variationen
00:05:44 Drei Vortragsstücke: III. Rondo Walzer
00:10:10 Beethoven arr. Rebay: Dance, No. 4 from 12 Deutsche Tänze, WoO 8
00:11:47 Kleine Variationen, on a theme from Chopin’s Préludes, Op. 28
00:17:11 Beethoven arr. Rebay: Dance No. 5 from 12 Deutsche Tänze, WoO 8
00:18:52 Sonata in D Minor: I. Allegro molto moderato
00:28:02 Sonata in D Minor: II. Thema und Variationen
00:32:13 Sonata in D Minor: III. Tanz Rondo
00:37:49 Beethoven arr. Rebay: Dance No. 7 from 12 Deutsche Tänze, WoO 8
00:39:32 Sonata in A Minor: I. Sehr ruhig und Leise beginnend
00:45:44 Sonata in A Minor: II. Variations on the ‘Volksliedchen’ from Schumann’s Album für die Jugend
00:51:09 Sonata in A Minor: III. Scherzo
00:55:36 Sonata in A Minor: IV. Finale: Allegretto moderato
01:01:29 Sonatina in B-Flat: I. Mässig Bewegt
01:05:59 Sonatina in B-Flat: II. Ruhig und Drucksvoll
01:11:01 Sonatina in B-Flat: III. Leichtbewegt mit Humor Rondo
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Andrea Molteni plays Scarlatti with ‘ringing tone and virtuosic agility’ reported Fanfare magazine of the Italian pianist’s collection of sonatas on Piano Classics (PCL10233). The Art Music Lounge praised his bold juxtaposition of Petrassi and Dallapiccola (PCL10222) as ‘a strange but wonderful album’, noting that ‘Molteni sparkles as he rips through the music with energy and élan’.
Composer: Ludwig van Beethoven
Artist: Andrea Molteni @andreamolteni_pianist (piano)
Video by Yevhen Gulenko (@humanartist)
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These qualities hold him in good stead for the rigours of late Beethoven. With his ‘Hammerklavier’ Sonata of 1818, the composer challenged pianists and listeners alike to assimilate a work unprecedented in its length and complexity. Motivically linked by a descending third through the eventful course of its four movements, the Sonata opens with a precipitous Allegro. A mordant Scherzo then introduces a long and spiritually engaged slow movement, before the mighty finale hurtles towards its epic conclusion through a densely wrought fugue. In each aspect, then, the Sonata outlines blueprints for what would become known as Beethoven’s late style, whether expressed in solo, chamber, orchestral or vocal music. The most celebrated single result of that late style is the Grosse Fuge which Beethoven wrote as the finale to his String Quartet Op.131. Persuaded by his publisher to substitute it for a less arduous conclusion, Beethoven left this mighty fugue to stand on its own, and so it has stood ever since, as a ferocious yet rewarding exercise of concentration and contrapuntal art. Molteni presents it in a 19th-century arrangement made by Louis Winkler which has attracted surprisingly few recordings.
At the centre of Molteni’s recital, the Sonata Op.110 offers salutary contrast. Here too are examples of heroism, rustic humour and melancholy, but distilled to an essence of vitality.
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Composer: Pieter Bustijn
Artists: Alessandro Simonetto (harpsichord)
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Pierre or Pieter Bustijn (1649-1729) was from the Low Countries: his family are reputed to have variously French, Belgian and Dutch origins (in the sense that we now understand those borders). We know next to nothing of the man himself, but his nine Suites for harpsichord evidently were held in high esteem in their day, being worthy of publication and wide dissemination. We can hear why: according to the eminent scholar Albert Clement, ‘The Suites offer us a surprising glimpse into Dutch musical life during the Baroque period and they are of great importance as far as the history of keyboard music in the Netherlands is concerned.’ They betray a certain Bachian influence (and why not?) in both their melodies and form, and indeed the influence is most positively appreciated in their rhythmic verve and stylish construction.
Alessandro Simonetto (B.1974) is a fine Italian harpsichordist, as well as an enterprising digital music-publisher: the founder of both OnClassical.com and kunstderfuge.com, both vast online resources of music.
Tracklist:
Suitte I in D Minor:
0:00:00 I. Preludio
0:00:49 II. Allemanda
0:02:49 III. Corrente
0:04:05 IV. Sarabanda
0:05:32 V. Giga
Suitte II in D Major:
0:06:41 I. Preludio
0:07:15 II. Allemanda
0:10:01 III. Corrente
0:11:08 IV. Sarabanda
0:14:06 V. Giga
Suitte III in G Major:
0:15:44 I. Preludio
0:16:30 II. Allemanda
0:19:30 III. Corrente
0:20:59 IV. Sarabanda
0:22:30 V. Giga
Suitte IV in C Major:
0:24:09 I. Preludio
0:24:42 II. Allemanda
0:26:31 III. Corrente
0:27:36 IV. Sarabanda
0:29:37 V. Giga
0:31:11 VI. Variatio
Suitte V in G Minor:
0:32:57 I. Preludio
0:34:35 II. Allemanda
0:36:45 III. Corrente
0:38:01 IV. Sarabanda
0:40:08 V. Tempo di Gavotta
Suitte VI in A Minor:
0:41:01 I. Preludio
0:41:52 II. Allemanda
0:44:24 III. Corrente
0:45:54 IV. Sarabanda
0:47:50 V. Aria
0:49:04 VI. Giga
0:49:34 VII. Variatio
Suitte VII in E Major:
0:50:18 I. Preludio
0:51:13 II. Allemanda
0:53:35 III. Corrente
0:54:42 IV. Sarabanda
0:56:25 V. Giga
Suitte VIII in A Major:
0:57:49 I. Preludio
0:59:06 II. Allemanda
1:01:17 III. Corrente
1:02:35 IV. Sarabanda
1:04:35 V. Giga
1:06:09 VI. Aria
1:07:06 VII. Variatio Prima
1:08:04 VIII. Variatio Seconda
Suitte IX in D Major:
1:09:13 I. Intrada
1:10:40 II. Corrente
1:11:52 III. Sarabanda
1:14:58 IV. Aria
1:16:14 V. Tempo di Borée
1:17:07 VI. Gavotta
1:17:45 VII. Menuet
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Composers: Jan Pieterszoon Sweelinck
Artist: Andrea Vivanet (piano)
Jan Pieterszoon Sweelinck (1562-1621) enjoyed a great reputation in his time that spread throughout northern Europe and Scandinavia. He attracted pupils from afar, Heinrich Scheidemann, Jacob Praetorius and Samuel Scheidt being the most famous. Sweelinck's influence can, therefore, be said to have reached Buxtehude and Bach through his teaching and compositions: He was not only the founder of the true fugue but a splendid player and teacher whose profound influence on northern European keyboard music particularly lasted long after his death.
Sweelinck's extant keyboard outputcomprises some 70 pieces, of which 14 are represented here in an original sequence of alternating toccatas, fantasias and variation sets. The precise instrument for which each of the pieces was written cannot always be determined with certainty. While the song variations suit either harpsichord or virginal, the fantasias and toccatas may well have been played on whatever keyboard instrument was to hand, including the organ.
Especially in his Variation pieces on popular songs such as ‘More Palatino’ and ‘Onder een linde groen’. Sweelinck shows himself as one of the supreme masters of the form. He retains the structure of his themes throughout each set, but his mastery and inventiveness is shown in the shaping of the inner structures of each variation. The complexity of polyphony can change overthe course of one single variation, and the sets as a whole make use of the whole spectrum of compositional structures, from the most plain to the most elaborate.
The Italian pianist Andrea Vivanet takes a historically informed approach to Sweelinck’s music on the piano. He incorporates graceful ornamentation, and stylistic features necessitated by the limits of early keyboards, but he also takes full advantage of the expressive and coloristic capabilities of the modern instrument. His previous recordings have displayed a refined and imaginative approach to 20th-century composers such as Ravel and Shostakovich, but Vivanet brings a welcome precision of touch to Sweelinck that makes him sound at home on the piano.
Tracklist:
00:00 Toccata noni toni, SwWV 297
04:49 Echo fantasia (à 4: Écho), SwWV 261
07:52 Toccata, SwWV 283
11:21 Variations on “More Palatino”, SwWV 318
14:55 Toccata secondi toni, SwWV 292
17:29 Variations on “Mein junges Leben hat ein End“, SwWV 324
22:54 Toccata à 4, SwWV 298
24:38 Variations on “Onder een linde groen”, SwWV 325
29:32 Toccata 9 toni, SwWV 296
33:37 Variations on “Soll es sein”, SwWV 330
41:03 Toccata primi toni, SwWV 286
44:25 Variations on “Ballo del granduca”, SwWV 319
48:52 Toccata, SwWV 285
51:50 Echo fantasia, SwWV 253
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Artists: Austro-Hungarian Haydn Orchestra & Adam Fischer
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Symphony No. 80 in D Minor, Hob. I:80:
00:00:00 I. Allegro spiritoso
00:05:10 II. Adagio
00:14:05 III. Menuetto & Trio
00:17:29 IV. Finale. Presto
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Composer: Johann Sebastian Bach
Artists: Netherlands Bach Collegium, Pieter Jan Leusink (conductor), Holland Boys Choir, Bas Ramselaar (Basso) & Nico van der Meel (Tenore)
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Tracklist:
Sie werden aus Saba alle kommen, BWV 65:
00:00 I. Coro. Sie werden aus Saba alle kommen (Coro)
03:46 II. Choral. Die Kön'ge aus Saba kamen dar (Coro)
04:12 III. Recitativo. Was dort Jesaias vorhergesehn (Basso)
06:21 IV. Aria. Gold aus Ophir ist zu schlecht (Basso)
09:42 V. Recitativo. Verschmähe nicht (Tenore)
11:09 VI. Aria. Nimm mich dir zu eigen hin (Tenore)
14:42 VII. Choral. Ei nun, mein Gott, so fall ich dir (Coro)
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Composer: Johann Nepomuk Hummel
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Johann Nepomuk Hummel (1778-1837) was an Austrian composer and virtuoso pianist. His music reflects the transition from the Classical to the Romantic musical era. He was one of the most celebrated and successful composers of his time. The name of Hummel usually is related to two other musical giants of his period: Mozart and Beethoven. Hummel was a pupil of the former and a rival of the later, both being piano virtuosos in Vienna. Hummel’s piano style is influenced by Mozart in its adherence to the Classical Viennese Style and the grace and charm of his melodies. Beethoven’s influence is seen in the dramatic and sometimes stormy character of his music, whereas Hummel himself invented and developed his own personal pianism of unprecedented virtuosity and brilliance, which had great influence on piano composers after him (Chopin, Liszt and Schumann).
The complete tracklist with the artists can be found in the comment section!
Tracklist:
00:00:00 Septet Op.74 for piano, flute, oboe, horn, Viola, cello and double bass
00:36:58 Septet Op.114 ‘Military’ for piano, flute, clarinet, trumpet, Violin, cello and double bass
01:07:40 Piano Quintet in D Minor, Op. 74
01:45:39 Piano Quintet in E-Flat Major, Op. 87
02:08:45 Trio in E-Flat Major, Op. 12
02:27:35 Trio in F Major, Op. 22
02:41:07 Trio in G Major, Op. 35
02:55:31 Trio in G Major, Op. 65
03:11:26 Trio in E Major, Op. 83
03:41:38 Trio in E-Flat Major, Op. 93
04:05:25 Trio in E-Flat Major, Op. 96
04:22:52 Cello Sonate in A Major, Op. 104
04:45:19 Grand Sonata in C Major, Op. 37a
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Foucquet must have been a richly talented organist and improviser in the French tradition, and this latter quality is abundantly and delightfully preserved by the character pieces which make up these harpsichord suites.
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Artwork: Jean-Marc Nattier - Portrait of Madame Geoffrin
Tracklist: Pinned in the comment section!
Composer: Pierre-Claude Foucquet
Artists: Fernando De Luca - Harpsichord
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There is scarce information available on Charles Duvernoy – not to be confused with Jean Baptiste Duvernoy (1802–1880), a French composer and pianist of the later romantic period, author of many studies and didactical works for piano. Charles was born in Montbéliard, France, and began clarinet studies in Strasbourg. The Quartet No.1 is an unpretentious but enjoyable composition with well-conceived themes in all three movements and strong connections to the classical Viennese period.
The 3 Themes and Variations employ simple themes with an introduction (in a minor key for No.1 and 2) before developing them in five variations (No.1 & 2) and three variations (No.3). The two Airs varies (chosen from the 6 Airs varies) were also conceived in theme and variations form. The style is purely classical and resembles other Airs (or Sonatas) written by French composers such as Lefevre, Devienne or Buteaux. Originally written for C clarinet and bass, this recording uses a B flat clarinet and basset horn for a better timbral match. For authentic colour, the clarinet is an early, original Lefevre six-key boxwood instrument from the early 19th century.
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Tracklist:
Composer: Frédéric-Nicolas Duvernoy & Jacques Georges Charles Duvernoy
Artists: Luigi Magistrelli – clarinet & Italian Classical Consort
00:00:00 Jacques Georges Charles Duvernoy: Quartet No. 1 : I. Allegro vivace
00:09:17 Jacques Georges Charles Duvernoy: Quartet No. 1: II. Lento
00:11:20 Jacques Georges Charles Duvernoy: Quartet No. 1: III. Valzer
00:17:11 Jacques Georges Charles Duvernoy: Theme and Variations No. 2
00:29:16 Jacques Georges Charles Duvernoy: Theme and Variations No. 1
00:40:38 Jacques Georges Charles Duvernoy: Theme and Variations No. 3
00:49:34 Jacques Georges Charles Duvernoy: Two Airs Varies: I. Airs de tarare
00:53:03 Jacques Georges Charles Duvernoy: Two Airs Varies: II. Allegretto
00:56:51 Frédéric-Nicolas Duvernoy: Trio No. 1: I. Allegro
01:03:02 Frédéric-Nicolas Duvernoy: Trio No. 1: II. Andante con variazioni
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Composer: Clara Schumann & Rebecca Helferich Clarke
Artists: Trio Rigamonti
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Completed in 1846, the G minor Piano Trio of Clara Schumann thus postdates her early piano pieces by decades, and is accordingly a much more mature and accomplished work. She handles the piano-trio dynamic with great skill, balancing her piano part against the strings with sensitivity, and the whole piece is shot through with a pathos that bears comparison with contemporary works by both her husband and her friend Brahms.
While there is no shortage of light and shade to the second theme of the first movement and the playful central Scherzo, the expressive pull of Clara Schumann’s Piano Trio draws the listener towards the piano’s deeply felt introduction to the slow movement, which achieves remarkable pathos within its relatively brief duration. The turbulent finale skilfully balances the scale of the first movement, and the whole piece ranks among the most satisfying of 19th-century piano trios.
Its counterpart in the early years of the 20th century, hardly less rewarding a contribution to the piano-trio literature than contemporary works by Ravel and Rachmaninoff, is the Piano Trio composed in 1921 by Rebecca Clarke. The angst of Clara’s finale is answered and intensified by a gripping confrontation at the start of Clarke’s Trio, which does not so much subside as simmer throughout the first movement. The central Andante flows like a free-running brook and yet is achingly lyrical, before the Allegro vigoroso finale spins the listener through a whirling kaleidoscope of music past and future. These trios make a natural pairing in concert and on record and yet they are still too rarely heard, but Trio Rigamonti are passionate advocates.
Played with true commitment by the young Rigamonti Trio from Italy.
Tracklist:
Clara Schumann: Piano Trio in G Minor, Op. 17:
00:00 I. Allegro moderato
11:17 II. Scherzo. Tempo di menuetto – Trio
16:27 III. Andante
21:41 IV. Allegretto
Rebecca Clarke: Piano Trio:
29:42 I. Moderato ma appassionato
39:36 II. Andante molto semplice
46:26 III. Allegro vigoroso
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Composer: Federico Mompou
Artists: Marco Ramelli (guitar)
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In the guitar’s melancholic and evocative timbre, Mompou discovered an ideal medium to express his contemplative and gentle poetic world. The guitar becomes the canvas where sound and silence intertwine, evoking emotionscapable of transporting the listener to archaic places suspended in time.
In 2018, Brilliant Classics released Ramelli’s recording of Mompou’s original guitar compositions. This new album furthers his exploration of the composer’s works, taking his piano compositions and reimagining them for the guitar. The collaboration between the guitarist and James Beneteau, who presented Ramelli with these exquisite transcriptions of Mompou’s pieces, has been profound.
Throughout the transcription journey, Ramelli and Beneteau followed Mompou’s scores as a map, transmuting each piece through the lens of contact with the geography of the guitar’s unique resonance. Decisions about transcription, instrumentaltechnique, tempo, and dynamics are all intertwined with this listening to the instrument itself. Playing Mompou’s music transcribed for guitar is a journey aimed at heightened listening and sensitivity, exploring the spaces between notes through tactile contact with the instrument. This recording captures this creative process and marks the beginning of this ongoing artistic journey.
The intimate and poetic character of the music is perfectly captured by the guitar sounds of Marco Ramelli, one of Italy’s foremost guitar players.
Tracklist:
0:00:00 Canción y danza I
0:02:46 Canción y danza II
0:05:35 Canción IX
0:07:58 Canción y Danza IV
0:12:35 Canción y Danza V
0:17:15 Cants màgics: IV. Misteriós
0:19:58 Prélude V
0:22:36 Prélude VI
0:26:33 Prélude VIII
0:28:54 Prélude II
0:34:07 Impresiones intimas I
0:35:05 Impresiones intimas II
0:37:13 Impresiones intimas III
0:37:51 Pájaro triste
0:40:48 La barca
0:42:35 Cuna
0:45:36 Secreto
0:47:40 Pensaments
0:50:32 Camí de muntanya
0:51:39 L’eco
0:53:04 El camí del jardí
0:53:53 Dos petits preludis: I. Oració d’ermita
0:55:24 Dos petits preludis: Il-lusió
0:57:02 Pastoral
0:58:30 Preludi
1:00:20 From Marguerite Long, la petite méthode de piano: I. Sur la pointe des pieds
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Artists: Austro-Hungarian Haydn Orchestra & Adam Fischer
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Symphony No. 79 in F Major, Hob. I:79:
00:00:00:I. Allegro con spirit
00:06:15 II. Adagio cantabile - Un poco allegro
00:12:28 III. Menuetto & Trio. Allegretto
00:15:54: IV. Finale. Vivace
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Composer: Johann Sebastian Bach
Artists: Netherlands Bach Collegium, Pieter Jan Leusink (conductor), Holland Boys Choir, Sytse Buwalda (Alto), Marjon Strijk (Soprano) & Bas Ramselaar (Basso)
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Tracklist:
Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64:
00:00 I. Coro. Sehet, welch eine Liebe (Coro)
02:44 II. Choral. Das hat er Alles uns getan (Coro)
03:21 III. Recitativo. Geh, Welt! Behalte nur das deine (Alto)
04:05 IV. Choral. Was frag ich nach der Welt (Coro)
04:57 V. Aria. Was die Welt in sich hält (Soprano)
11:28 VI. Recitativo. Der Himmel bleibet mir gewiß (Basso)
12:50 VII. Aria. Von der Welt verlang ich nichts (Alto)
19:16 VIII. Choral. Gute Nacht, o Wesen (Coro)
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Piano Sonatas Discoveries. This series showcases carefully selected piano sonatas by a diverse range of composers from various periods, shedding light on their unique style. Join us in discovering the captivating beauty of these hidden musical treasures, bringing them to the forefront of the classical music landscape for all to enjoy.
Tracklist:
Dukas: Piano Sonata in E-Flat Minor (Vincenzo Maltempo):
0:00:00 I. Modérément Vite
0:11:16 II. Calme, un peu lent, très Soutenu
0:22:47 III. Vivement, avec Légèreté
0:32:11 IV. Très Lent-Animé
Dutilleux: Piano Sonata (Vittoria Quartararo):
0:46:02 I. Allegro Con Moto
0:53:50 II. Lied
1:00:20 III. Choral Et Variations
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Tracklist:
Composer: Claudio Monteverdi
Artists: Krijn Koetsveld - artistic leader & Le Nuove Musiche
00:00:00 Messa a quattro voci, SV 190: I. Kyrie
00:04:18 Messa a quattro voci, SV 190: II. Gloria
00:08:45 Messa a quattro voci, SV 190: III. Credo
00:14:20 Messa a quattro voci, SV 190: IV. Sanctus
00:16:48 Messa a quattro voci, SV 190: V. Benedictus
00:18:12 Messa a quattro voci, SV 190: VI. Agnus dei
00:22:58 Dixit dominus I
00:30:39 Confitebor tibi I
00:38:08 Nisi dominus I
00:44:56 Laudate pueri dominum
00:49:59 Laetatus sum I
00:56:24 Lauda Jerusalem I
01:02:57 Beatus vir
01:10:14 Magnificat
01:19:25 Messa in illo tempore, SV 205: I. Kyrie
01:23:20 Messa in illo tempore, SV 205: II. Gloria
01:28:40 Messa in illo tempore, SV 205: III. Credo
01:36:21 Messa in illo tempore, SV 205: IV. Sanctus
01:38:39 Messa in illo tempore, SV 205: V. Benedictus
01:40:15 Messa in illo tempore, SV 205: VI. Agnus dei
01:43:21 Messa in illo tempore, SV 205: VII. Agnus dei
01:45:37 Dixit dominus II
01:51:03 Confitebor tibi II
01:58:45 Nisi dominus II
02:06:43 Laudate dominum omnes gentes
02:09:53 Laetatus sum II
02:17:10 Laetaniae della beata Vergine
02:25:20 Lauda Jerusalem II
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‘I play Bach every day,’ said Shostakovich in 1950, at an event to mark the bicentenary of Bach’s death. ‘For us, Bach's legacy is an embodiment of flaming emotion, soulful humanity and true humanism, which stands in contrast to the dark world of raw evil and contempt for humanity.’ Taking their inspiration from these words, and from the palpable influence of Bach on the solid forms and fluent counterpoint of Shostakovich’s own music, this quartet of musicians presents an entirely original pairing of the two composers, in which cantata arias and a major song-cycle are linked and interspersed by instrumental interludes.
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Tracklist:
Composer: Dmitri Shostakovich & Johann Sebastian Bach
Artists: Dorothee Mields - soprano & G.A.P. Ensemble
00:00:00 Johann Sebastian Bach: Sonata in G Major, BWV 1021: I. Adagio
00:04:13 Johann Sebastian Bach: Sonata in G Major, BWV 1021: II. Vivace
00:05:12 Johann Sebastian Bach: Sonata in G Major, BWV 1021: III. Largo
00:07:47 Johann Sebastian Bach: Sonata in G Major, BWV 1021: IV. Presto
00:09:14 Johann Sebastian Bach: Cantata “Ich bin in mir vergnügt”, BWV 204: I. Recit. “Ich bin in mir vergnügt”
00:10:43 Johann Sebastian Bach: Cantata “Ach Gott, wie manches Herzeleid”, BWV 58: III. Aria. “Ich bin vergnügt in meinem Leiden”
00:14:49 Johann Sebastian Bach: Prelude & Fugue in D Minor, BWV 875 from the Well Tempered Clavier Book 2: I. Prelude
00:16:22 Johann Sebastian Bach: Prelude & Fugue in D Minor, BWV 875 from the Well Tempered Clavier Book 2: II. Fugue
00:18:05 Johann Sebastian Bach: Cantata “Komm, du süße Todesstunde”, BWV 161: II. Recit. “Welt, deine Lust ist Last”
00:20:02 Johann Sebastian Bach: Cantata “Ein feste Burg ist unser Gott”, BWV 80: IV. Aria. “Komm in mein Herzenshaus”
00:23:25 Johann Sebastian Bach: Cantata “Gott, wie dein Name, so ist auch dein Ruhm”, BWV 171: III. Recit. “Du Süßer Jesus-Name du”
00:24:28 Johann Sebastian Bach: Cantata “Gott, wie dein Name, so ist auch dein Ruhm”, BWV 171: IV. Aria. “Jesus soll mein erstes Wort”
00:29:05 Johann Sebastian Bach: Cantate “O holder Tag, erwünschte Zeit”, BWV 210: V. Recit. “So glaubt man denn, dass die Musik verführe?”
00:30:39 Johann Sebastian Bach: Cantata “Herr Gott, Beherrscher aller Dinge” BWV 120a: III. Aria. “Leit, o Gott, durch deine Liebe”
00:36:35 Dmitri Shostakovich: Piano Trio No. 1, Op. 8 in C Minor “Poème”
00:50:42 Dmitri Shostakovich: Prelude and Fugue No. 5 in D Major from 24 Preludes and Fugues for Piano, Op. 87: I. Prelude
00:52:15 Dmitri Shostakovich: Prelude and Fugue No. 5 in D Major from 24 Preludes and Fugues for Piano, Op. 87: II. Fugue
00:53:57 Dmitri Shostakovich: Romances on Poems by A.Blok, Op. 127: I. Ophelia’s Song
00:56:31 Dmitri Shostakovich: Romances on Poems by A.Blok, Op. 127: II. Gamayun, the Bird of Prophecy
01:00:05 Dmitri Shostakovich: Romances on Poems by A.Blok, Op. 127: III. We Were Together
01:02:57 Dmitri Shostakovich: Romances on Poems by A.Blok, Op. 127: IV. The City Sleeps
01:06:08 Dmitri Shostakovich: Romances on Poems by A.Blok, Op. 127: V. The Storm
01:08:10 Dmitri Shostakovich: Romances on Poems by A.Blok, Op. 127: VI. Secret Signs
01:12:51 Dmitri Shostakovich: Romances on Poems by A.Blok, Op. 127: VII. Music
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Composer: Heinrich Baermann
Artists: Henk de Graaf (clarinet) & Schubert Consort Netherlands
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Heinrich Baermann followed in his father’s footsteps as a military musician in Prussian Germany, but his career took off once he met Carl Maria von Weber in 1811. Weber was immediately taken with the French-accented brilliance and German richness of tone which Baermann drew from his instrument, and began to write a series of works – including two concertos and a concertino – which still rank among his most inspired instrumental pieces, as well as defining a new sound and reach for the clarinet as a solo instrument Mozart had made a poet out of the clarinet, with his pieces for Anton Stadler; now thanks to Baermann, it could take on multiple roles, as leader, jester, and magus-like figure to complement the likes of Paganini on the violin and Giuliani on the guitar.
Weber pushed Baermann’s technique to new heights of facility and eloquence, which in return inflected Baermann’s own works for his instrument with comparable ambition. He wrote three quintets for clarinet and string ensemble, the first of them more concerto-like in character, the latter two full-scale chamber works. They have been recorded complete only once before, making this new album from a fine team of Dutch musicians all the more welcome.
Especially impressive are the slow movements of the quintets, cast as arias without words in order to capitalise on the fluid legato of Baermann’s playing, but formed with an economy of means which leaves their themes lingering in the mind’s ear. The Adagio of the Op.23 Quintet was misattributed to Richard Wagner for many years, which speaks for Baermann’s craftsmanship, even if its harmonic language evidently belongs to a generation or two after Mozart. Now restored to its rightful place, the Adagio is the crown jewel, but there are treasures in store throughout Baermann’s clarinet quintets.
Tracklist:
Clarinet Quintet in E-Flat Major, Op. 23:
0:00:00 I. Allegro non troppo
0:08:16 II. Adagio
0:13:37 III. Rondo allegro
Clarinet Quintet in E-Flat Major, Op. 19:
0:17:49 I. Allegro moderato
0:28:22 II. Andante
0:31:21 III. Menuetto-trio
0:34:46 IV. Rondo allegro
Clarinet Quintet in F Minor, Op. 22:
0:40:06 I. Allegro non troppo
0:48:17 II. Adagio non troppo
0:54:15 III. Menuetto-trio 1-trio 2
0:58:01 IV. Rondo allegro molto
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Composers: Albéric Magnard & Vincent D'Indy
Artist: Sofia Andreoli (piano)
Vincent d’Indy is remembered less for his own music than his conservative control and influence over French musical life in the last decades of the 19th century. Yet this massive Piano Sonata, published in 1907, demands the technique of a virtuoso performer, and rewards close attention no less than better-known examples such as the no less ambitious works from the same time by Dukas and Lekeu (both of them also available on Piano Classics). The first movement unfolds as a huge and chromatic set of theme and variations, in which d’Indy’s avowed Wagnerism continually blurs tonal boundaries and erupts into distant keys.
Even larger – almost 20 minutes in length – is the finale, which seems to pick up where the eventful narrative of the first movement left off, presenting a theme which, if not modernist in its development, embraces distant realms with hardly less enthusiasm than the contemporary music of Scriabin. It is left to the central Scherzo to afford some brief and light relief, but even here the angular features of the outer movements recur.
Any seeker of piano rarities and enthusiast for the likes of Alkan and Medtner will want to make the acquaintance of D’Indy’s Piano Sonata, especially in a performance as accomplished as this recording by the young Italian pianist Sofia Andreoli. Her pairing for D’Indy’s Sonata is hardly less original: the set of Promenades composed by Albéric Magnard in 1893.
Magnard was 28 at the time, yet this suite of tone-pictures is hardly ‘youthful’ in tone. Rather, it too belongs to the heady world of French Wagnerism, exploratory and reflective in tone even as its composer wanders the streets of Paris, past the Bois de Boulogne, the Eglise Saint-Germain and the Trianon, before finding its destination in the forest of Rambouillet on the southern edge of the city. There, glinting half-lights and arboreal silence take the listener back to a space of tranquillity, inviting discovery by any adventurous explorer of the late-Romantic piano.
Sofia Andreoli is a young Italian pianist with a passion for discovering neglected composers. As a student of Mattia Ometto, she builds a busy solo career, as well as playing chamber music in different formations.
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Tracklist:
D'Indy: Piano Sonata in E Minor, Op. 63:
0:00:00 I. Modéré
0:15:55 II. Très animé
0:22:34 III. Modéré
Magnard: Promenades, Op. 7:
0:40:23 I. Envoi
0:43:05 II. Bois de Boulogne
0:45:34 III. Villebon
0:48:59 IV. Saint-Cloud
0:51:41 V. Saint-Germain
0:56:47 VI. Trianon
1:00:40 VII. Rambouillet
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Artists: Austro-Hungarian Haydn Orchestra & Adam Fischer
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Symphony No. 78 In C Minor, Hob. I:78:
00:00:00 I. Vivace
00:05:16 II. Adagio
00:11:45 III. Menuetto & Trio. Allegretto
00:15:14 IV. Finale. Presto
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Composer: Johann Sebastian Bach
Artists: Netherlands Bach Collegium, Pieter Jan Leusink (conductor), Holland Boys Choir, Sytse Buwalda (Alto), Marjon Strijk (Soprano), Bas Ramselaar (Basso) & Nico van der Meel (Tenore)
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Tracklist:
Christen, ätzet diesen Tag, BWV 63:
00:00 I. Coro. Christen, ätzet diesen Tag (Coro)
05:14 II. Recitativo. O selger Tag! (Alto)
08:12 III. Duetto. Gott, du hast es wohl gefüget (Soprano, Basso)
15:55 IV. Recitativo. So kehret sich nun heut (Basso)
16:47 V. Duetto. Ruft und fleht den Himmel an (Alto, Tenore)
20:46 VI. Recitativo. Verdoppelt euch demnach (Basso)
21:52 VII. Coro. Höchster, schau in Gnaden an (Coro)
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Tracklist:
00:00:00 Concerto No. 2 in F Major, BWV 1047: I. – (Musica Amphion, Pieter-Jan Belder)
00:04:48 Aria Concerto in G Major: I. Allegro, BWV 74/5 (Erik Bosgraaf, Collegium Musicum Riga, Agnese Kannina & Maris Kupcs)
00:08:53 Oster-Oratorium, BWV 249: I. Sinfonia (Christine Brenk, Anne Greiling, Frank Bossert, Thomas Pfeiffer, Trompeten Ensemble Pfeiffer, Motettenchor Pforzheim, Südwestdeutsches Kammerorchester Pforzheim & Rolf Schweizer)
00:13:06 Concerto No. 3 in G Major, BWV 1048: I. – (Musica Amphion, Pieter-Jan Belder)
00:18:25 Christmas Oratorio, BWV 248, Pt. 2: I. Sinfonia (Dresdner Philharmonie & Martin Flämig)
00:25:04 Suite No. 1 in G Major, BWV 1007: I. Prélude (Benedict Kloeckner)
00:27:10 Suite in C Major, BWV 1066: VI. Bourrée No. 1 - Bourrée No. 2 (Virtuosi Saxoniae & Ludwig Güttler)
00:29:36 Suite in B Minor, BWV 1067: VII. Badinerie (Virtuosi Saxoniae & Ludwig Güttler)
00:31:03 Oboe Concerto in F Major, BWV 1053: I. Allegro (St. Christopher Chamber Orchestra, Donatas Katkus & Andrius Puskunigis)
00:38:18 Christmas Oratorio, BWV 248, Pt. 1: I. Chorus. Jauchzet, frohlocket! (Dresdner Kreuzchor, Dresdner Philharmonie & Martin Flämig)
00:46:19 Violin Concerto in E Major, BWV 1042: I. Allegro (Camerata Antonio Luco & Emmy Verhey)
00:54:01 French Suite No. 5 in G Major, BWV 816: I. Allemande (Yuan Sheng)
00:57:08 French Suite No. 5 in G Major, BWV 816: IV. Gavotte (Yuan Sheng)
00:58:25 French Suite No. 5 in G Major, BWV 816: V. Bourée (Yuan Sheng)
00:59:50 French Suite No. 5 in G Major, BWV 816: VII. Gigue (Yuan Sheng)
01:03:23 Suite in D Major, BWV 1068: I. Ouverture (Virtuosi Saxoniae & Ludwig Güttler)
01:09:58 Suite in D Major, BWV 1068: II. Air (Virtuosi Saxoniae & Ludwig Güttler)
01:14:16 Suite in D Major, BWV 1068: V. Gigue (Virtuosi Saxoniae & Ludwig Güttler)
01:17:01 Mass in B Minor, BWV 232, Pt. 1: IV. Chorus. Gloria in excelsis Deo (Chorus) (RIAS Kammerchor, Akademie fur alte Musik Berlin & René Jacobs)
01:18:50 Concerto No. 6 in B-Flat Major, BWV 1051: I. Without Tempo Indication (RIAS Kammerchor, Akademie fur alte Musik Berlin & René Jacobs)
01:24:47 Der Himmel lacht! Die Erde jubilieret, BWV 31: I. Sonata (Musica Amphion & Pieter-Jan Belder)
01:27:05 Oboe Concerto in G Minor, BWV 1056: II. Largo (Netherlands Bach Collegium & Pieter Jan Leusink)
01:29:28 Concerto for 3 Violins, Strings & B.C. In D Major, BWV 1064: I. Allegro (St. Christopher Chamber Orchestra, Donatas Katkus & Andrius Puskunigis)
01:35:21 Herr Gott, dich loben alle wir, BWV 130: I. Coro. Herr Gott, dich loben alle wir (Amsterdam Bach Soloists, Rainer Kussmaul, Henk Rubingh & Thomas Hengelbrock)
01:38:39 Concerto for Oboe and Violin in C Minor, BWV 1060: II. Adagio (Holland Boys Choir, Netherlands Bach Collegium & Pieter Jan Leusink)
01:42:52 Concerto in F Major in Italian Style, BWV 971: I. — (Yuan Sheng)
01:47:01 Sonata in E Major, BWV 1035: II. Allegro (Jed Wentz & Michael Borgstede)
01:49:52 Concerto No. 4 in G Major, BWV 1049: I. Allegro (Musica Amphion & Pieter-Jan Belder)
01:56:34 Ich steh mit einem Fuß im Grabe, BWV 156: II. Aria, Choral. Ich steh mit einem Fuß im Grabe (Soprano, Tenore) (Netherlands Bach Collegium, Pieter Jan Leusink, Nico van der Meel & Ruth Holton)
02:02:31 Partita No. 1 in B-Flat Major, BWV 825: I. Praeludium (Yuan Sheng)
02:04:17 Partita No. 1 in B-Flat Major, BWV 825: V. Menuet I&II (Yuan Sheng)
02:07:26 Partita No. 1 in B-Flat Major, BWV 825: VI. Giga (Yuan Sheng)
02:09:29 Concerto for Oboe d'amore in A Major, BWV 1055: III. Allegro ma non tanto (St. Christopher Chamber Orchestra, Donatas Katkus & Andrius Puskunigis)
02:14:04 Concerto No. 5 in D Major, BWV 1050: III. Allegro (Musica Amphion, Pieter-Jan Belder)
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Tracklist:
Composer: Jehan Ariste Alain
Artists: Jean-Baptiste Robin - organ
00:00:00 Litanies, JA 119 (August 1937)
00:04:25 Intermezzo, JA 66bis (1934-5)
00:10:06 Trois Danses, JA 120A & 120bis (1937–8): Joies
00:16:05 Trois Danses, JA 120A & 120bis (1937–8): Deuils
00:27:30 Trois Danses, JA 120A & 120bis (1937–8): Luttes
00:31:32 Choral cistercien pour une Élévation, JA 134 (1934)
00:33:24 Deuxième Fantaisie, JA 117 (1936?)
00:40:59 Suite, JA 69, 70, 82 (1934–5): Introduction et Variations
00:49:01 Suite, JA 69, 70, 82 (1934–5): Scherzo
00:54:02 Suite, JA 69, 70, 82 (1934–5): Choral
00:58:22 Choral dorien, JA 67 (1935)
01:03:44 Choral phrygien, JA 68 (1935)
01:07:03 Trois Minutes, JA 30, JA 3 & JA 32 (1932): Un cercle d’argent
01:08:17 Trois Minutes, JA 30, JA 3 & JA 32 (1932): Romance
01:09:23 Trois Minutes, JA 30, JA 3 & JA 32 (1932): Grave
01:11:53 Variations sur un thème de Clément Jannequin, JA 118 (1937)
01:17:38 Fantasmagorie, JA 63 (1935)
01:20:28 Chant donné, JA 37 (1932)
01:21:56 Deuxième Prélude profane (Und jetzt), JA 65 (6 March 1933)
01:25:10 Deux Danses à Agni Yavishta: Première Danse, JA 77 (13 October 1932)
01:26:26 Deux Danses à Agni Yavishta: Deuxième Danse, JA 78 (1932)
01:29:43 Aria, JA 138 (November 1938)
01:36:42 Berceuse sur deux notes qui cornent, JA 7 bis (August 1929)
01:39:12 Prélude, JA 75 (1935)
01:42:49 Petite pièce, JA 33 (December 1932)
01:45:28 Postlude pour l’Office de Complies,, JA 29 (1930)
01:50:32 Ballade en mode phrygien, JA 9 (1930)
01:52:55 Berceuse, JA 86 (17 April 1936)
01:55:26 Lamento, JA 14 (February 1930)
01:59:31 Variations sur Lucis Creator, JA 27 (January 1932)
02:03:18 Monodie, JA 135 (September 1938)
02:05:31 Complainte à la mode ancienne, JA 38 (1932)
02:06:12 Climat, JA 79 (1932)
02:09:03 Fugue, JA 57 (1935)
02:12:21 Premier Prélude profane (Wieder an), JA 64 (1933)
02:15:23 Andante, JA 89 bis (Suite monodique pour piano,1935)
02:20:14 De Jules Lemaître, JA 62 (1935)
02:23:26 Variations sur un chant donné de Rimski-Korsakov, JA 131A* (December 1930)
02:28:21 L’Année liturgique israélite, JA 139 (1938)
02:35:34 Fugue en mode de fa, JA 28 (1932)
02:36:45 Le Jardin suspendu (Chacone), JA 71 (1934)
02:43:49 Fugue sur un sujet de Henri Rabaud, JA 133A* (1933)
02:48:24 Verset-Choral, JA 6 (March 1931)
02:50:08 Canon en mode dorien pour piano et harmonium, JA 61 (1932)
02:51:30 Première Fantaisie, JA 72 (1933)
02:56:31 Deuxième Fantaisie, JA 117 (2nd version)
03:03:03 Les Fêtes de l’année Israélite
03:09:11 Synagogue Music: Oumordekhoy
03:11:58 Synagogue Music: Osseko Edroch
03:16:05 Synagogue Music: Ono Tovo
03:20:17 Synagogue Music: Vehakohanim
03:24:49 Synagogue Music: Lekho Dodi
03:30:57 Synagogue Music: Adonoy Molokh
03:33:30 Synagogue Music: Kol Nidre
03:37:41 Synagogue Music: Schivo Berokhoss
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Tracklist:
Composer: Franz Liszt
Artists: Marcello Nardis - tenor & Michele Campanella - piano
00:00:00 Tre Sonetti di Petrarca, S. 270 (text: Francesco Petrarca, 1304–1370): I. Pace non trovo
00:06:04 Tre Sonetti di Petrarca, S. 270 (text: Francesco Petrarca, 1304–1370): II. Benedetto sia ’l giorno
00:12:04 Tre Sonetti di Petrarca, S. 270 (text: Francesco Petrarca, 1304–1370): III. I’ vidi in terra
00:18:09 Songs: Kling leise, mein Lied, S. 301
00:24:41 Songs: Im Rhein, im schönen Strome, S. 272
00:27:27 Songs: Schwebe, blaues Auge, schwebe, S. 305
00:32:14 Songs: Hohe Liebe, S. 307
00:34:17 Songs: Morgens steh’ ich auf und frage, S. 290
00:36:47 Songs: Die Macht der Musik, S. 302
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Composer: António de Lima Fragoso
Artists: Carlos Damas (violin), Jian Hong (cello) & Jill Lawson (piano)
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The death of António Fragoso (1897–1918) at the age of 21 robbed the Iberian Peninsula of a composer of great potential, the second within a century, following the Spaniard Juan Arriaga who died at the age of 20 in 1826, having displayed extraordinary promise.
Fragoso, from Portugal, is less well known than Arriaga, but the music on this CD reveals a young composer thoroughly aware of the major musical figures of the time; the influence of Debussy and Fauré, for example, can be detected in the 1916 Suite Romantique for violin and piano. The Trio, also of 1916, begins as a more formal work but reveals the composer’s unique voice in the finale, where a series of chromatic progressions and an exploitation of the piano’s lower register create a dramatic sense of weightlessness and timelessness. Also included on this recording, the Violin Sonata of 1917 has survived as the opening movement only, and displays many of the characteristics of the trio, particularly through its affirmative and memorable melodic style.
Tracklist:
00:00 Sonata in D for violin and piano (unfinished): I. Allegro
10:08 Suite Romantique for violin and piano: I. Prelúdio
14:04 Suite Romantique for violin and piano: II. Intermezzo
16:26 Suite Romantique for violin and piano: III. Berceuse
21:10 Suite Romantique for violin and piano: IV. Nocturno
25:56 Trio in C sharp Minor for violin, cello and piano: I. Allegro moderato
36:32 Trio in C sharp Minor for violin, cello and piano: II. Molto lento
42:42 Trio in C sharp Minor for violin, cello and piano: III. Scherzo – Molto vivace
45:23 Trio in C sharp Minor for violin, cello and piano: IV. Allegro vivo
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Composers: Alfredo Franco, Cristiano Porqueddu, Franco Cavallone, Francesco Morittu & Roberto Piana
Artists: Cordas et Bentu Duo; Francesca Apeddu & Maria Luciani
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Apeddu and Luciani’s mission to find original compositions connected to their roots began after hearing the stunning Acabbadora for guitar by Francesco Morittu, and the Duo would commission a new work from him: Attítus for alto flute and guitar. That was the first step in a project that went on to see them commission a range of composers from Sardinia and beyond to write music celebrating Sardinia. Traditionally, families would gather in front of the fire after dinner to tell each other stories from legends and ancient myths. Contos de foghile (Tales from the fireside), by the Sardinian composer Roberto Piana, is divided into four short episodes, each dedicated to a different story. The island’s fascinating mythology includes epic tales, monstrous creatures and legendary beings, and without a doubt the key players in these fables are the Janas, beautiful little creatures with a dark side – at times fairies or witches – who have extremely delicate skin that must avoid sunlight. These five short compositions depict a few moments from the lives of these mythological creatures, from the moment they wake until the dawn, when they go back into their caves to avoid being burned. According to Sardinian tradition, the Attítus are laments sung by wailers at a funeral. These dirges are highly repetitive in nature but can change suddenly and take on a very different tone depending on what the singer wants to express about the deceased. This piece is made up of four episodes. Composed at the height of lockdown in March 2020, it came from the need to give grant some mental space to death, understood in cultural rather than biological terms. As the title suggests, Memorie di Nora is a piece that takes inspiration from the archaeological site of the same name and is intended to evoke a possible imagined past for it. The composition, formally a fantasia, is made up of several parts that flow seamlessly from one to the next, invoking ancient rituals and dances as if to celebrate their survival in the traces of temples and mosaics overlooking the sea. Ammentos de siddhàdos et janas (Memories of treasures and fairies) is a short suite, originally titled Three Sardinian impressions, that expresses the composer’s emotions, thoughts and memories from his brief stay on the island. A unique piece inspired by the birthplace of the musicians to whom it is dedicated, Concertino di Alghero is an homage to Maria Chessa Lai, a primary school teacher and poet who wrote predominantly in Algherese. This dialect, an ancient branch of Catalan, is a linguistic island within an island. The work’s three movements trace a musical outline of one of many possible readings of Maria Chessa Lai’s Algherese poem En Dins De Mi.
Tracklist is in the pinned comment below!
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Artists: Austro-Hungarian Haydn Orchestra & Adam Fischer
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Symphony No. 77 in B-Flat Major, Hob. I:77:
00:00:00 I. Vivace
00:05:56 II. Andante sostenuto
00:10:58 III. Menuetto & Trio. Allegro
00:13:30 IV. Finale. Allegro spiritoso
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Composer: Johann Sebastian Bach
Artists: Netherlands Bach Collegium, Pieter Jan Leusink (conductor), Holland Boys Choir, Nico van der Meel (Tenore), Ruth Holton (Soprano), Bas Ramselaar (Basso) & Sytse Buwalda (Alto)
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Tracklist:
Nun komm, der Heiden Heiland, BWV 62:
00:00 I. Coro. Nun komm, der Heiden Heiland (Coro)
05:27 II. Recitativo. Bewundert, o Menschen (Tenore)
12:19 III. Recitativo. So geht aus Gottes Herrlichkeit (Basso)
13:09 IV. Aria. Streite, siege, starker Held (Basso)
18:40 V. Recitativo. Wir ehren diese Herrlichkeit (Soprano, Alto)
19:28 VI. Choral. Lob sei Gott, dem Vater (Coro)
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Tracklist:
0:00:00 Spohr: Concerto No. 2 in E-Flat Major, Op. 57: II. Adagio
0:06:09 Weber: Clarinet Concerto No. 1 in F Minor, Op. 73: II. Adagio ma non troppo
0:13:05 Schumann: Fantasiestücke in A Minor, Op. 73: I. Zart und mit Ausdruck
0:16:32 Mozart: Clarinet Concerto in A Major, K. 622: II. Adagio
0:23:53 Brahms: Clarinet Quintet in B Minor, Op. 115: II. Andante-piu lento
0:35:42 Crusell: Quartet No. 1 in E-Flat Major, Op. 2: II. Romanze. Cantabile
0:40:39 Ries: Sonate sentimentale in E-Flat Major, Op. 169: II. Adagio con Moto
0:46:24 Debussy: Petite pièce, ICD 61
0:47:54 Pleyel: Duet No. 2: I. Andante
0:50:52 Bouffil: Trio No. 2, Op. 7: II. Adagio Cantabile
0:54:47 Weber: Clarinet Quintet in B-Flat Major, Op. 34: II. Fantasia. Adagio ma non Troppo
1:00:22 Fuchs: Trio No. 5 for 2 Clarinets and Bassoon: II. Arioso lento
1:05:19 Milhaud: Suite for Violin, Clarinet and Piano, Op. 157b: II. Divertissement
1:08:36 Beethoven: Trio in B-Flat Major, Op. 11: II. Adagio
1:13:17 Castelnuovo-Tedesco: Sonata, Op. 128: III. Lullaby
1:19:21 Mendelssohn: Konzertstück No. 1 in F Minor, Op. 113: II. Andante
1:22:30 Weber: Gran duo concertant in E-Flat Major, Op. 48: II. Andante con Moto
1:27:46 Pierné: Andante-Scherzo pour clarinette
1:34:06 Schumann: 3 Romanzen, Op. 94: I. Nicht schnell
1:37:35 Glinka: Trio pathétique in D Minor: III. Largo
1:40:40 Bruch: Double Concerto in E Minor, Op. 88: I. Andante con Moto
1:47:37 Baermann: 6 Lieder: III. Ave Maria
1:54:13 Milhaud: Scaramouche suite, Op. 165d: II. Modéré
1:58:33 Giuliani: Nocturne No. 7: I. Larghetto
2:00:36 Rota: Sonata in D Major for Clarinet and Piano: II. Andante
2:04:32 Reger: Clarinet Sonata No. 3 in B-Flat Major, Op. 107: III. Adagio
2:09:56 Spohr: Concerto No. 1 in C Minor, Op. 26: II Adagio
2:13:17 Rebay: Sonatina in B-Flat Major: II. Ruhig und druckvoll
2:18:19 Molter: Clarinet Concerto No. 3 in G Major, MWV6/40: II. Adagio
2:23:50 Brahms: Clarinet Trio in A Minor, Op. 114: II. Adagio
2:31:43 Weber: Clarinet Concerto No. 2 in E-Flat Major, Op. 74: II. Romanza. Andante
2:38:59 Saint-Saëns: Clarinet Sonata in E-Flat Major, Op. 167: I. Allegretto
2:43:53 Busoni: Suite, BV 88, Op. 10: II. Barcarola in E-Flat Major
2:46:31 Krommer: Clarinet Quintet, Op. 95 in B-Flat Major: II. Adagio
2:54:12 Koechlin: Three Pieces for Clarinet and Piano, Op. 178: No. 3, Tempo de Sicilienne
2:56:37 Busoni: Abendlied, Op. 85 No. 12
2:59:24 Bruch: 8 Pieces for Clarinet, Viola and Piano, Op. 83: VI. Nachtgesang
3:05:04 Mendelssohn: Lieder ohne Worte, Op. 102: II. Andante con moto
3:07:19 Rummel: Nocturne No. 1 on Motifs from the Opera "Robert le Diable", Op. 85
3:16:20 Schumann: 3 Romanzen, Op. 94: II. Einfach, innig, etwas lebhafter
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Composer: Antonio Vivaldi, Edouard du Puy, Heitor Villa-Lobos, Kees Olthuis
Artists: Bram van Sambeek – Bassoon, Sinfonia Rotterdam & Conrad van Alphen - Conductor
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Tracklist:
00:00:00 Antonio Vivaldi: Concerto for Bassoon, Strings and Basso Continuo in E Major, RV 484: I. Poco allegro
00:04:25 Antonio Vivaldi: Concerto for Bassoon, Strings and Basso Continuo in E Major, RV 484: II. Andante
00:07:42 Antonio Vivaldi: Concerto for Bassoon, Strings and Basso Continuo in E Major, RV 484: III. Allegro
00:10:55 Edouard du Puy: Concerto for Bassoon and String Orchestra in A Major: I. Allegro moderato
00:17:57 Edouard du Puy: Concerto for Bassoon and String Orchestra in A Major: II. Andante sostenuto
00:23:12 Edouard du Puy: Concerto for Bassoon and String Orchestra in A Major: III. Rondo. Allegro
00:29:44 Heitor Villa-Lobos: Ciranda das sete notas for Bassoon and String Orchestra
00:40:14 Kees Olthuis: Capricho for Bassoon and String Orchestra (rev. 2008)
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