Veen, Jeroen Van - Heldenklage
Veen, Jeroen Van - Ungarischer Marsch
Veen, Jeroen Van - Edes Titok
Veen, Jeroen Van - So Lach Doch Mal
Veen, Jeroen Van - Da Geht Ein Bach
Veen, Jeroen Van - In Mondschein Auf Der Puszta
Veen, Jeroen Van - Ermanarich (Sinfonische Dichtun
Veen, Jeroen Van - Unseren Altvordern Eingedenk
1. Mazurka
2. Aus Der Czarda
Veen, Jeroen Van - Das Zerbrochene Ringlein
Veen, Jeroen Van - Albumblatt
Veen, Jeroen Van - Das Fragment An Sich
Veen, Jeroen Van - Hymnus An Die Freundschaft
Vorspiel
Hymnus Erste Strophe
Erstes Zwischenspiel
Hymnus Zweite Strophe
Zweites Zwischenspiel
Steht Fest
Hymnus Dritte Strophe
Bressan, Andrea - Duos Fuer Viola Und Fagott Nr. 1
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Bressan, Andrea - Hopi (Fuer Fagott Solo)
Bressan, Andrea - Stuecke Fuer Fagott Und Instrume
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Bressan, Andrea - Duo Sephardim (Fuer Viola Und Fa
Bressan, Andrea - Niggun (Fuer Fagott Solo)
Schola San Rocco - Wanderung (Fuer Frauenchor Und
? Philippe Hersant (born 1948) is one of the most remarkable and successful
composers of his native France. A student of André Jolivet he embraced
tonality and modality, finding his own unique voice, eclectic, open and
appealing to a wide audience. He won numerous prizes: Grand Prix de la
ville de Paris, Grand Prix SACEM, Victoires de la Musique Classique 2016,
and the Légion d’honneur.
? This new recording presents his music for the bassoon, a still neglected but
versatile and expressive wind instrument. Included are the duos for
bassoon and viola, 8 Pieces for bassoon and instrumental ensemble and
works for bassoon solo.
? Played with great conviction and imagination by Italian bassoonist Andrea
Bressan and the Ex Novo Ensemble.
? Liner notes written by the composer.
Previous albums on Brilliant Classics have illuminated significant figures in the school of North German organ music in the generations before Bach: among them Georg Ludwig Bohm (BC94612), Johann Gottfried Walther (BC94730) and Dieterich Buxtehude (BC94422).
Here is the work of another, hardly less significant figure, Heinrich Scheidemann. Hamburg-based, Heinrich took over from his father as organist at the church of St Catherine’s in 1629 and remained in post until his death in 1663. He wrote almost exclusively for his instrument, and in the expected forms of chorale fantasias, motet arrangements, preludes, toccatas and fantasias which constituted the bread and butter of the 17th-century church musician’s diet.
On this newly recorded album, the French organist Joseph Rassam plays a selection of all these genres, juxtaposed for maximum variety. In fact Scheidemann invented the genre of chorale fantasia, later so refined and developed by J.S. Bach, where a well-known chorale melody is played as the soprano line and reworked by means of superimposition, canon and imitation for the effects of grandeur and spiritual elevation. There are several Praeambulum movements in which Scheidemann builds on the legacy of the Dutch master Sweelinck, more freely composed, allowing full rein for the performer/composer’s own virtuosity.
Until quite recently, all Scheidemann’s keyboard works were thought to have been written for the organ, but scholarly research has now shown that more than a quarter of the hundred or so pieces known to be by Scheidemann (or attributed to him) were actually written for the harpsichord and intended for performance in a secular context. Joseph Rassam’s recording is therefore one of the first to place such pieces in their original, intended context. In doing so, it reveals new and extrovert facets of the music which was hitherto characterised as more solemn and monumental according to an eccelesiastical context.
Joseph Rassam has chosen to use three instruments appropriate to the historical and stylistic context of Scheidemann’s music. The organ is a relatively new one, inaugurated in 2010 by Gustav Leonhardt in the church of St Martin, Amilly, and built by Bertrand Cattiaux in the style of North-German Baroque instruments. He also plays an original 17th-century harpsichord of unknown manufacture, beautifully decorated and recently restored by Alain Anselm, and one of Anselm’s own virginals.
This new recording presents both organ works and harpsichord works of Heinrich Scheidemann (c. 1596-1663).
Chorales sung in the vernacular, the pillar of Lutheran Service, are the primary source of inspiration for Scheidemann’s organ music. In combining the simplicity of the original melody and the complexity of contrapuntal technique the organist-composer made the genre of chorale settings his own.
Joseph Rassam plays on an organ built by Bertrand Cattiaux who draw his inspiration from the Netherlands and North German instruments of the 17th-century, as well as a historic two-manual harpsichord, built in 1650/55 by “CLF”. The booklet includes excellent liner notes written by a musicologist, in both English and German.
With this album, Tortorelli and Meluso have provided a sequel to their Brilliant Classics recording of the sonatas for violin and viola, released late in 2016. The previous disc was praised in online reviews for ‘the excellent playing of Gran Duo Italiano’ (Lynn Rene Bailey) and the sense, so characteristic of the composer, that ‘irony is always just around the corner when it comes to Milhaud, and the wink and sardonic smile is there along with whatever mock pomposity he comes up with’ (Dean Frey).
They are now joined by Pierluigi Bernard, first of all for the lively Suite from 1936 which Milhaud wrote for all three instruments: an unusual combination in itself, but then Milhaud’s facility allowed him to write for almost any imaginable ensemble, while always coming up withmusic that is grateful for the musicians, pleasant for the listeners and inimitably personal to himself.
With the Danses de Jacarémirim Op.256 (1945) for violin and piano, Milhaud made playful reference to a small Brazilian alligator with big eyes and a long snout, reflecting his long-standing passion for the culture of that country. Its salon-like easy humour is shared by the Sonatina pastorale for solo violin and the Caprice for clarinet and piano. By contrast, the Élégie for viola and piano, also from 1945, more reflects the temper of its troubled times, whereas the Farandoleurs from the following year is a playful, heartfelt homage to the Renaissance-era Provençal dance form.
Perhaps the best-known work on the album is the Scaramouche Suite which exists in several versions, and is here performed on clarinet and piano. The suite shares with the best of Milhaud a quality of rational distance from intense expression, a palpable sense of joy taken in making music, and an irrepressible sense of fun. If it’s hard to know what lies behind the masks, it’s impossible not to smile with the masks themselves.
Darius Milhaud is one of the most colourful and versatile composers of 20th century France. He was active in all fields and genres of composition: opera, choral, orchestral, chamber and solo works, a prolific writer and bold spirit, a member of the French composer’s group “Les Six”, a modernist influenced by jazz, polytonality and Brazilian culture.
This new recording presents chamber music for clarinet, violin, viola and piano, in different combinations. Most works are small scale, exquisite and delicious miniatures smelling of the rich perfumes of the French Provence, the region from which Milhaud came and which was his source of inspiration during his long creative life.
Excellent performances by violinist Mauro Tortorelli, pianist Angela Meluso and clarinetist Pierluigi Bernard. Tortorelli already recorded a successful Milhaud album for Brilliant Classics, the complete violin and viola sonatas (BC95232). Their recording of the Saint-Saëns violin sonatas received 5 stars in the French Diapason.
Eminent Italian early music keyboardist Manuel Tomadin adds to a splendid discography on Brilliant Classics with his eighth release for the label. Commemorating the centenary of the apparition of Mary at Fátima, Portugal (1917), Tomadin performs settings for organ of the well-known Marian hymn Magnificat by four composers from the Hanseatic north of Germany, all talented students of Dutch organist–composer Jan Pieterszoon Sweelinck, father of the north German organ tradition. And what more fitting organ could be selected for this tribute than the fine Dell’Orto & Lanzini instrument, modelled on 17th-century organs of the Hanseatic school, housed in a Piedmontese parish church dedicated to Our Lady of Fatima? This organ reflects the rich tonal resources that would have been at the skilled fingertips of Scheidemann, Schildt, Weckmann and Strungk, who were active in the 17th century around the Hanseatic area on such organs as those at St Catherine’s and St James’s, Hamburg, the Marktkirche, Hannover, and Braunschweig’s St Martini church.
Manuel Tomadin is joined in these Magnificat performances by award winning tenor and early music ensemble director Giuseppe Maletto.
The Magnificat, the hymn to the Virgin Mary, is one of the most ancient and sacred liturgical texts, and has been set to music numerous times by composers between the 16th and 18th century.
This new recording presents Magnificat settings by Scheidemann, Schildt, Weckmann and Strungk, all active in Northern Germany and all pupils of the great Sweelinck, master of Baroque counterpoint.
This recording was made on the occasion of the centenary of the apparition of Mary of Fatima, and played on the beautiful Dell’Orto & Lanzini organ of the Parish of Pinerolo, an instrument inspired by the 17th century Hanseatic school. The booklet offers extensive liner notes in English and Italian, and the full specifications and photos of the organ.
Oliva, Andrea - Serenade Fuer Flote, Violine Und V
1. Entrada - Allegro
2. Tempo Ordinario D'un Menuetto
3. Allegro Molto
4. Andante Con Variazioni
5. Allegro Scherzando E Vivace
6. Adagio
7. Allegro Vivace E Disinvolto
Oliva, Andrea - Serenade Fuer Flote, Violine Und V
1. Allegro
2. Andante Semplice Con Variazioni
3. Presto
Oliva, Andrea - Serenade Fuer Flote, Violine Und V
1. Vivace
2. Larghetto
3. Presto
‘One of the greatest guitarists of all time,’ remarked John Duarte in his entry on Ida Presti for Grove’s Dictionary of Music and Musicians. Best-known in posterity as one half of the celebrated Presti-Lagoya duo, she is celebrated on this album as a composer and virtuoso in her own right, half a century after her unexpected death in the middle of a US concert tour, at just 43 years of age.
In her booklet-note, Cinzia Milani remarks that she has always considered Presti a role-model, not only for her prodigious talent as a guitarist, but as a female musician in a culture and industry still often dominated by male authority. She presents here six studies by Presti herself, a Danse rhythmique and an Etude du matin, and Presti’s tribute to her own hero, Segovia. Just as Presti dedicated the dance to her husband Lagoya, so Milani follows it with two works which he in turn dedicated to her. Then there are various works by composers little known outside guitar circles such as Miguel Ablóniz and indeed Duarte.
Through all these works may be traced the joyous personality of Presti herself, summed up by her granddaughter Isabelle in the booklet as ‘elegant nimbleness, luminous musicality and wonderful self-confidence’. She was friends with many of the composers such as Gontran Dessagnes, who wrote his Tendesse for her in 1954. The work by Guy Morançon is a tribute to her memory, composed in the wake of her death. Finally, Milani has written her own tribute, Quattro Mi, in admiration for the extraordinary facility of Presti in holding down the note E (Mi in solfege) on four different strings simultaneously.
By its nature, the album is unique in the catalogue, of immediate interest to guitarists and anyone curious about a great artist of the last century.
This recording was made on the occasion of the 50th anniversary of the death of Ida Presti, one of the greatest guitarists of the 20th century, a pioneering woman who used her extraordinary talents for the popularization of her instrument and the music written for it.
Italian guitarist Cinzia Milano compiled the program for this new recording, consisting of original works by Ida Presti as well as works by other composers which are dedicated to her: Alexandre Lagoya, Miguel Ablóniz, John Duarte, Dimitri Fampas, Gontran Dessagnes and Francis Poulenc.
The booklet contains contributions by the artist as well as by Isabelle Presti, the granddaughter of Ida Presti.
With this recording the acclaimed ensemble Le Nuove Musiche, led by director Krijn Koetsveld, have at last completed a monumental undertaking nearly a decade in the making: the complete cycle of Claudio Monteverdi’s books of madrigals. Fittingly, the last instalment in this series is the final Ninth Book (Libro IX), which was published posthumously in 1651 and looks back on the breadth of the composer’s career with lighter pieces in the established forms of his day (prima prattica), in Monteverdi’s own innovative style (seconda prattica), and in a new genre that had begun to eclipse the madrigal in Monteverdi’s twilight years. Though not published in his lifetime, the preface suggests that the Ninth Book was indeed compiled by Monteverdi himself, as a mix of madrigals – still contrapuntal, though simple in texture with at most three parts – and examples of this newly popular canzonetta, with its single accompanied melody. In that sense, the Ninth Book captures the transition from polyphony to monody – from the Renaissance to the early Baroque – in miniature.
Le Nuove Musiche’s approach to Monteverdi is both dedicated and informed. They bring the past into the present, considering questions that were asked in the Renaissance and are still relevant in our present musical landscape, thereby making Early Music as new today as any other, while maintaining the highest standards of performance authenticity. Their Monteverdi cycle began with the 2008 release of the Fifth and Sixth Books of Madrigals, which garnered excellent reviews including five stars in the French magazine Diapason.
A new installment of the Monteverdi XL project, the recording of the complete Madrigals by Le Nuove Musiche conducted by Krijn Koetsveld.
The preface suggests that Monteverdi himself compiled the 9-th book of madrigals. He called it “Madrigali e canzonette a due e tre voci”. It is a mixture of the olden time madrigals with their equality of voices and the Canzonettas, with their predominance of one solo voice (like an opera aria), and which were all the rage by then.
The vocal ensemble Le Nuove Musiche consists of the elite of Dutch Early Music vocalists, led by eminent conductor and scholar Krijn Koetsveld. Their first Monteverdi recording, the Books 5 & 6 (BC93799) received excellent reviews in the international press, among which a “5 star” in the French Diapason and a “10” in Dutch classical magazine Luister.
The complete songs texts and their English translation are included in the booklet.
Recorded in The Netherlands in late 2016 – early 2017.
It would not be an overstatement to declare that Ludwig van Beethoven stands as one of the most significant figures in Western civilisation: a composer who shaped the course of music history through his mastery of rhythm, melody and harmonic exploration, pushing the boundaries of form and effectively bridging the gap between Classicism and Romanticism – and yet all the while continuously professing how difficult he found composition. Detailing his complete output – from his earliest years to his last, by which time he had almost completely lost his hearing – this 85CD box reveals an extensive palette of styles and mediums, rendered all the more obvious by the box's division into different genres (starting with the symphonies and ending with the large corpus of different national folk songs). This box is the 2017 reissue of Brilliant Classics’ acclaimed Beethoven Complete Edition, with updates including Beethovenian pianist par excellence Alfred Brendel now in the complete cycle of Piano Concertos, Alessandro Commellato on historic fortepianos in brand new recordings of the 18 sets of ‘without opus’ piano variations, Emmy Verhey in the Violin Concerto and Romances and a definitive Mass in C from Stuttgart’s Gächinger Kantorei and Bach-Collegium.
Reissue of the famous Brilliant Classics Beethoven Complete Edition.
The ONLY Complete Beethoven Edition available!
Well in advance of the momentous year 2020, the 250th Anniversary of Beethoven’s birth.
With the addition of some brand new recordings (Piano Variations) and featuring the iconic Alfred Brendel in the Piano Concertos.
One of the best selling Brilliant Classics Editions ever.
A collection of effervescent French chamber music, generously compiled (almost 140 minutes), unrivalled in the current catalogue, in stylish new recordings, complemented by an extensive and authoritative booklet-note.
André Jolivet (1905-1974) is surely one of the most interesting yet neglected French composers of the last century. Outside the constraints of the Parisian conservatoire tradition, he developed an idiom way ahead of its time compared to many of his contemporaries; indeed, while Edgard Varese was ploughing his furrow, Jolivet was his only European pupil between 1929 and 1933.
However, Varese-like acerbity and austerity is out of place here. Jolivet was never less than a skilled melodist, and one who wrote for his chosen instruments rather than against them. Much that is here such as a sensuous Flute Sonata, a muscular Violin Sonata or a jocular Suite for oboe and piano is pitched, to ears unfamiliar with Jolivet, in an idiom somewhere between Poulenc, Messiaen and Dutilleux; but that’s the voice of Jolivet, and closer acquaintance with this set will accustom listeners to it in all its unpredictable, quicksilver charm.
The Flute Sonata has received several recordings in the company of the likes of Poulenc and Koechlin, but there is much here that will be unfamiliar to even the most dedicated discophiles and followers of French musical fashions: an Ouverture en Rondeau for 4 ondes martenot, piano & percussion, for example, or the Petite Suite for string quintet, piano and percussion.
Few of the individual pieces or movements are of any great length – Jolivet knew the value of succinct expression like many French musicians of his generation, and had a horror of pomposity – but there is a ten-minute Nocturne for cello and piano, and a rhapsodic Chant de Linos for flute and piano of the same length.
The later music – the set is helpfully arranged in chronological order – is especially intriguing, once Jolivet had found for himself a new form of classicism aimed at synthesizing serial and freely atonal music together with modal developments. One fine example is the Hopi Snake Dance for two pianos.
An invaluable set, masterminded by the pianist Filippo Farinelli, who has previously accompanied distinguished colleagues in the complete songs of Jolivet (BC9220), Ravel (BC94743) and Dallapiccola (BC95202).
André Jolivet (1905-1974) is considered one of the most interesting French composers of the 20th century. His vast oeuvre includes nearly all musical genres. Actively open to all musical genres (he never had a proper conservatory education) he developed a personal style that was distinctly avant-garde.
This new recording spans Jolivet’s entire lifetime, and presents his complete chamber music with piano in combination with violin, viola, cello, flute, oboe, saxophone, clarinet, trumpet, double-bass and Ondes Martenot. Fascinating, vibrant and colourful music!
Excellent performances by Italian soloists and pianist Filippo Farinelli, the driving force behind several Brilliant Classics projects: complete songs by Ravel, Jolivet and Dallapiccola, Koechlin Saxophone Music and others.
The extensive liner notes are written by a musicologist.
No modern record company has done more than Brilliant Classics to revive the music and reputation of the Italian-American composer Mario Castelvuovo-Tedesco. Not only in the field of guitar music for which he is most famous, but in piano music (BC94811) and most recently an extensive and powerful song-cycle for soprano and guitar, The Divan of Moses Ibn Ebra (BC95282). Here’s another new album of the composer’s vocal music, of still greater importance: the first complete recording of his cycle of Shakespeare Sonnets, coupled with the world premiere recording of the three Shakespeare Duets.
Castelnuovo-Tedesco set texts by many great poets, among them Dante, Heine and Lorca. It was for Shakespeare, however, that he nurtured his foremost passion. Having composed settings of all the standalone songs in the plays while still resident in Italy, he then turned to the sonnets while ‘isolated and proud’ in the bitter-sweet exile of Beverly Hills where he made his home for the last 30 years of his life. They were set down with astonishing fluency, more than half within less than two months in the autumn of 1945. Ultimately he put music to 32 of Shakespeare’s 154 sonnets, all in the original English, including three settings for vocal ensemble. All of them are now gathered together for the first time, together with the three Duets from 1937.
For Castelnuovo-Tedesco as for many of his colleagues past and present, Shakespeare’s language is ‘perfectly musical: it unites the spiritual subtlety of English with the sonorous splendour of Italian.’ In particular, ‘the Sonnets are one of the most miraculous products of the poetry of all times! Shakespeare acts like a mirror of humanity, expressing sentiments that are both his and universal: they are absolute and eternal, expressed by means of an extraordinary, perfect wealth of images.’
Thus these settings reflect the beauty and complexity which Castelnuovo-Tedesco ‘heard’ in the poetry. There is no repetition of words or phrases; the only recurring element is a coda in the piano that seems to act like the unconditional resolutions that conclude each poem. Musical convention is rare, and when it does surface is handled with irony. The prevailing style is bold and free, within the sphere of the Italian vocal tradition, yet not afraid to absorb elements from European music of the early 1900s or echoes of the lighter, popular music that was evolving in the US.
This new issue offers the first complete recording of the Shakespeare Sonnets by Castelnuovo-Tedesco.
Castelnuovo-Tedesco wrote most of these songs in the USA, after his forced exile from Fascist Italy in 1938. He has been all his life fascinated by William Shakespeare and his sonnets: “it is a perfectly musical language: I dare say that it unites the spiritual subtlety of English with the sonorous splendor of the Italian..Shakespeare acts like a mirror of humanity, expressing sentiments that are both his and universal, they are absolute and eternal, expressed by means of an extraordinary perfect wealth of images…each sonnet is a miniature drama, a theatrical play..”
The Shakespeare songs are written for soprano, tenor and baritone, some are for choir, the accompaniment is for piano. They are sung by three excellent Italian soloists, with Claudio Proietti on the piano.
The booklet contains excellent liner notes written in English and Italian.
Not just Piazzolla: there are 13 represented here, many of them hardly known outside their native Argentina, giving this newly recorded set a unique place in the record catalogue. Anyone seduced by the smoky harmonies and the sensual rhythms of the tango will discover hidden treasure.
Between 1860 and 1925, the immigrants who had settled in Argentina to seek their fortune contributed to the development of this music, giving life to forms of varied derivation such as the Cuban habanera, the milonga (a type of folk dance), the African candombe and Italian songs. More of these immigrants came originally from Italy than from any other country, and the first musicians were Italian, which explains the lyrical element in the tango: its aura of melancholy and yearning.
Enea Leone and Roberto Bongianino retrace the various stages in the evolution of the tango on this album: the milonga (Milonga de mis amores, Corralera, La trampera), the tango itself (El Chocio, El Pollo Ricardo, Mi refugio, Silbando), and the vals (Pedacito de cielo, Flor de lino). Piazzolla is naturally well-represented by classics such as Histoire du Tango (originally written for guitar and flute), and others in new arrangements. There are also several solo pieces, as well as an Italian homage to the world of the Tango: two compositions that feature in well-loved Italian films, Il postino and the TV serial Il commissario Montalbano. Bongianino has transcribed several works from film scores, and made new arrangements for himself and Leone.
Like Piazzolla, the name of Carlos Gardel spread far and wide, not least thanks to the use of his music in soundtracks. Others such as Javier Cugat Cobain, Pedro Laurenz and Aníbal Troilo are waiting to be discovered by a worldwide audience.
This new recording features original music from Argentina, spanning the entire 20th Century, music of great vitality, colour and passion, the natural fusion of high and low culture, from the concert hall and the brothel, vibrant as life itself. The music centres around the tango, the national dance of Argentina which conquered the world by storm. Composers include Piazzolla (including his famous Adios nonino, Libertango and Bordel 1900) Fernandez, Cobain, Gardel, Castillo and many others. Featuring the two most emblematic instruments of Argentina, the guitar and the bandoneon, played with characteristic restrained passion, virtuosity and fun by Enea Leone and Roberto Bongianino.
Given their infrequent appearances on concert programmes, Dvořák’s string quartets have done rather well in the recorded catalogues. There are several recordings of the complete cycle of 16 works, which span the composer’s career. A couple have been made by native ensembles from the composer’s Czech homeland but also a couple more by central-European ensembles such as the Stamitz Quartet, who since their foundation in 1985 have been known as leading interpreters of Czech repertoire.
The approach of the Stamitz Quartet is quite different from either the Panocha or Prague ensembles, noted David Hurwitz in Classics Today: ‘more relaxed, less rhythmically charged, and gracious in an
old-world sort of way… The group also gives unusual stature to the somewhat formally scattered early works, particularly the monstrous Third Quartet, which at 72 minutes has to be just about the all-time longest string quartet that ostensibly observes the rules of classical form.’ Taken as a whole, the quartets chart the evolution of Dvořák’s style, from his interest in Wagnerian music in the years prior to 1870 – in the String Quartet in D major – to the folk-infused works of his later life, such as the String Quartet in G major Op.106, and show the influence of his time in the United States, with the String Quartet in F Op.96 'American'. If the only Dvorák quartet that you’re familiar with is the ‘American’, then this set will provide an embarkation point for what should prove an immensely fruitful musical journey. The late quartets in particular are shaped by the oscillations between varied weather and song that sit at the heart of the three late symphonies.
According to the Taipei Times, this set is ‘a feast for a lifetime. They’re gorgeously warm and evocative recordings, and no one could possibly go wrong in choosing them...this remains an astonishing bargain.’ This reissue includes full programme notes on each work.
Reissue of a successful Brilliant Classics box set.
Includes the complete string quartets (of course featuring the ever popular American Quartet) as well as the shorter works for string quartet, music which speaks of the beauty of Bohemia, the woods, the streams, the flowers and the rich folklore.
Played by the Czech Stamitz Quartet, who have the idiom for this music in their blood.
Highly rated in the press: “9/9, warmth and richness, highly rewarding” (Classicstoday.com).
Płyta 1.
Di Carlo, Linda - Sextett C-moll Op. 40 Fuer Klavi
1. Allegro
2. Andante Sostenuto
3. Allegro Vivace
Płyta 2.
Di Carlo, Linda - Trio Es-dur Op. 44 Fuer Klarinet
1. Andante - Allegro Moderato
2. Adagio
3. Minuetto
4. Allegro
Di Carlo, Linda - Trio E-moll Op. 45 Fuer Flote, V
1. Allegro Deciso - Piu Moderato Ed Espressivo
2. Andante
3. Scherzo
4. Finale
Louise Farrenc was born in 1804 into an artistic family of painters and
sculptors, living in a “commune” near the Sorbonne in her native Paris. At
an early age she was admitted to the Paris Conservatoire, where she
studied composition and piano, and where she met her future husband,
the flautist Aristide Farrenc.
Farrenc’ s early compositions were in cultivated Salon style, her later
works however are of a more ambitious nature, she composed large scale
chamber music and even symphonies.
The clarinet and flute trios and the wind sextet on this new recording are
written in the Classical/Early Romantic style of Weber, Hummel and
Clementi, music of fresh imagination, charm and scintillating
instrumental virtuosity.
Played with brio and zest by I Solisti del Teatro Dell’Opera di Roma, an
elite group led by pianist Linda di Carlo, who already successfully
recorded an earlier Farrenc CD (BC94815)
1Trio in A Major for Violin, Cello and Piano: I. Allegro moderato
2Trio in A Major for Violin, Cello and Piano: II. Canzone
3Trio in A Major for Violin, Cello and Piano: III. Scherzo
4Trio in A Major for Violin, Cello and Piano: IV. Rondo
5Prelude, Intermezzo and Fugue in A Minor: I. Preludio – Mosso ma non troppo
6Prelude, Intermezzo and Fugue in A Minor: II. Intermezzo – Moderato
7Prelude, Intermezzo and Fugue in A Minor: III. Fuga – Mosso con brio
8Prelude, Intermezzo and Fugue in C Minor: I. Preludio – Andante comodo
9Prelude, Intermezzo and Fugue in C Minor: II. Intermezzo – Moderato
10Prelude, Intermezzo and Fugue in C Minor: III. Fuga – Moderato poco mosso
11Sonata in G Major: I. Allegro moderato
12Sonata in G Major: II. Andante sostenuto
13Sonata in G Major: III. Vivo e vigoroso
14Sonata in G Major: IV. Allegro con brio
Bach’s set of 30 variations on an original theme were first published in 1742 and composed (so the legend has it) for Johann Gottlieb Goldberg (1727–56), harpsichordist to the Russian ambassador to the court of Saxony Count Keyserlingk. Since that time they have attracted countless arrangements for and by musicians, sometimes in order to lend further colour or tease out the complex counterpoint of the variations, but more often for the privilege and the pleasure of playing this music for themselves, on instruments and in combinations that the composer could never have envisaged: string trio; saxophone quartet, even full chamber orchestra.
The fine young recorder quintet Seldom Sene now makes its own contribution to this rich history of Goldberg interpretation with a version created by one of their number, Maria Martinez Ayerza. As she observes in the booklet note for this new recording, it may seem surprising that an ensemble of five musicians chooses to arrange and perform a work which is mostly written in two or three parts, four at most. Indeed, on this disc they play all together for just a couple of minutes, in the Quodlibet, which quotes two rustic folk tunes. However, due to the relatively small range of the recorder, five players are needed to play the complete Goldberg Variations comfortably without making any modifications, which, for us, is an essential condition. The toccata-style variations in particular require a wide range and agile playing in very high and low registers and provide plenty of work for all five players, while some of the canons, arias, fugues and dances work well in smaller settings from duo to quartet.
‘The homogeneous sound of a consort of instruments of the same family suits keyboard music very well,’ says Ayera. ‘Ideally a consort is one instrument in the hands of five players. This is exactly the challenge we have enjoyed the most while preparing the Goldberg Variations: how to think, feel, articulate, time, breath, tune and phrase as one player. On the other hand, the singularity of each musician always remains and is in fact a great advantage, colouring each passage and contributing to shape our common interpretation.’
A previous pair of Brilliant Classics recordings by Seldom Sene was widely reviewed and welcomed in the critical press. Of ‘El aire el Serena’ (music from the courts and cathedrals of 16th-century Spain, BC95304), the MusicWeb reviewer observed that ‘This disc is a model of creative and thoughtful programming… The playing is of the highest order: immaculate intonation and perfect ensemble.’ Their debut album was Taracea (‘A Mosaic of Ingenious Music Spanning Five Centuries’, BC94871), praised by Gramophone: ‘The range of styles in this enterprising recital is only the most striking of several distinctive features. The programme is carefully chosen, the passage between styles cleverly judged on the whole, the contemporary works included here being especially well integrated.’
Bach’s Goldberg Variations have gained iconic status. Ever since the legendary recording of Glenn Gould in 1955 it took the world by storm, and its popularity reaches well beyond the boundaries of traditional classical music audiences. Originally written for “Clavecimbel mit zwei Manuale” the perfect counterpoint and instrumental brilliance of the 30 variations invite for performances on other instruments, finding new facets and hidden treasures in this immensely rich music.
This new recording presents a new arrangement for recorder consort, written by the ensemble Seldom Sene.
Recorder Consort Seldom Sene has already recorded two highly praised albums for Brilliant Classics: Taracea (BC94871) and “El aire se serena” (BC 95204).
Giovanni Gabrieli (1554/56-1612) was born in Venice into a musical family, his famous uncle Andrea was organist of the San Marco. After serving Duke Albrecht V in Munich Giovanni Gabrieli returned to Venice, where he eventually succeeded his uncle as organist of the San Marco.
Gabrieli was one of the most influential composers of his time, the transition from renaissance to Baroque. In his vocal works he invented the polychoral singing, featuring multiple choirs and instrumental ensembles.
This new recording contains his complete output for the keyboard, organ and harpsichord. His Canzones, Ricercares and Fantasias are highly innovative, virtuoso works in which in some of them he introduced for the first time dynamic markings.
Roberto Loreggian is one of the foremost keyboardists of Italy. In this recording he plays on a historic organ in Valvasone, built around 1533 by Vincenzo Colombi, the specifications of which are included in the booklet, which also contains an essay on Gabrieli by a noted musicologist.
Piccollo, Silvia - Stabat Mater C-moll (Messe)
Stabat Mater: Largo
O Quam Tristis: Andante
Quis Est Homo: Andante
Pro Peccatis: Adagio
Eja Mater: Cantabile
Sancta Mater: Tempo Giusto
Fac Me Vere Tecum Stare: Sostenuto
Jucta Crucem: Andante
Virgo Virginum: Tempo Giusto
Fac, Ut Portem: Vivace
Fac Me Plagis Vulnerari: Adagio
Inflammatus
Fac Me Cruce Custodiri: Tempo Giusto
Fac Me Cruce Custodiri: Affetuoso
Quando Corpus: Largo E Pianissimo
Paradisi Gloria: Adagio
Dagnino, Giovanni - Dio E La Vergine (Kantate)
Rezitativ: Non Anche Avea Natura
Arie (Andante): Vergine Bella
Rezitativ: Signor, Poiche A Te Piacque
Arie (Tempo Giusto): Io Voglio Solo
Rezitativ: Da Me Fosti
Duett (Spiritoso): Sei Tutta Bella
Płyta 1.
Harmonices Mundi - Paratum Cor Meum (Kantate)
Harmonices Mundi - Hemmt Eure Traenenflut (Kantate
Harmonices Mundi - De Profundis Clamavi (Kantate)
Harmonices Mundi - Die Zeit Meines Abschieds Ist V
Harmonices Mundi - Jauchzt Dem Herren Alle Welt (K
Harmonices Mundi - O Werter Heil'ger Geist (Kantat
Płyta 2.
Harmonices Mundi - Mein Herz Ist Bereit
Harmonices Mundi - Ich Liege Und Schlafe
Harmonices Mundi - Entstanden Ist Der Heilige Geis
Harmonices Mundi - Wohl Dem, Der Den Herren Fuerch
Harmonices Mundi - Der Herr Hat Seinen Stuhl Im Hi
Harmonices Mundi - Muss Nicht Der Mensch Auf Diese
? Nicolaus Bruhns (1665-1697) was born in Denmark, where he caught the
attention of Buxtehude, becoming his most talented and favourite pupil.
He became composer at the Danish Royal Court when his untimely death
at age 31 ended a splendid career. Many works by Bruhns have been lost.
The young Johann Sebastian Bach has a great admiration for the vocal
works by Bruhns, and their influence may be clearly seen in Bach’s early
works.
? This new recording presents the complete Cantatas by Bruhns, written in
the “Stylus Phantasticus” displaying a notable freedom of form and
expression of feeling.
? Performed by 4 excellent vocal soloists and the Harmonices Mundi,
conducted by Claudio Astronio, who already recorded successfully for
Brilliant Classics works by Handel, Cabezon (complete works) Wilhelm
Friedemann Bach and Stradella.
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