Tortorelli, Luciano - Ausencias (Bearb. Fuer Gitar
Tortorelli, Luciano - Chiquilin De Bachin (Bearb.
Tortorelli, Luciano - Oblivion (Bearb. Fuer Gitarr
Tortorelli, Luciano - Danza Del Altiplano
Tortorelli, Luciano - Fantasie Ueber Motive Aus La
Tortorelli, Luciano - Gran Vals (Fuer Gitarre)
Tortorelli, Luciano - Walzer Op. 8 Nr. 1-6 (Auszug
Nr. 3 (Ohne Satzbezeichnung)
Tortorelli, Luciano - Suite Populaire Bresilienne
1. Mazurka-choro
2. Schottisch-choro
3. Valsa-choro
4. Gavotta-choro
5. Chorinho
Tortorelli, Luciano - Dobru Noc Brno
“Latin Latitudes” is a musical journey between two latitudes, connected by
latin musical roots. The composers originate from Spain and Italy, Latin
and South America.
Astor Piazzolla, Argentina’s most famous composer, was the grandson of
Italian immigrants, and in his music the melancholy for an abandoned and
lost country lends a sweetly poignant atmosphere.
The Waltz by Tárrega brings us back to 19-th century Vienna. Crossing the
ocean again we meet Augustin Barrios, who brought European charm to
Latin America. Leo Brouwer is Cuba’s most famous guitar composer as is
Heitor Villa-Lobos for Brazil.
Guitarist Luciano Tortorelli plays also a composition of his own: Dobrú noc
Brno. Inspired by a traditional Czech Berceuse it is an homage to the
famous Brno Guitar Festival.
Schmil, Marga - Das Paradies Und Die Peri Op. 50 (
Vor Edens Tor Im Morgenprangen (1. Teil)
Wie Gluecklich Sie Wandeln, Die Sel'gen Geister
Der Hehre Engel, Der Die Pforte Des Lichts Bewacht
Wo Find's Ich Sie? Wo Blueht, Wo Liegt Die Gabe
So Sann Sie Nach Und Schwang Die Fluegel - Quartet
Chor: Doch Seine Strome Sind Jetzt Rot
Chor: Und Einsam Steht Ein Juengling Noch - Komm,
Chor: Weh, Weh, Weh, Er Fehlte Das Ziel
Die Peri Sah Das Mal Der Wunde -quartett: Sei Dies
Die Peri Tritt Mit Schuechterner Gebaerde Vor Eden
Ihr Erstes Himmelshoffen Schwand - Chor: Hervor Au
Fort Streift Von Hier Das Kind Der Luefte - Fuer E
Die Peri Weint - Quartett: Denn In Der Traen' Ist
Im Waldesgruen Am Stillen See - Ach, Einen Tropfen
Verlassener Juengling - Doch Sieh, Wer Naht Dort L
O Lass Mich Von Der Luft Durchdringen - Sie Wankt
Chor: Schlaf Nun Und Ruhe In Traeumen Voll Duft
Płyta 2.
Chor: Schmuecket Die Stufen Zu Allahs Thron (3. Te
Dem Sang Von Ferne Lauschend - Noch Nicht! Treu Wa
Verstossen! Verschlossen Aufs Neu Das Goldportal!
Jetzt Sank Des Abends Gold'ner Schein
Und Wie Sie Niederwaerts Sich Schwingt - Quartett:
Hinab Zu Jenem Sonnentempel! - Sie Schwebt Herab I
Quartett - Chor: O Heil'ge Traenen Inn'ger Reue
Es Faellt Ein Tropfen Auf's Land Aegypten - Chor:
Freud, Ew'ge Freude, Mein Werk Ist Getan - Chor: W
Schumann’s Das Paradies und die Peri is a highly original form of a
dramatic cantata for soloists, choir and orchestra, based on a tale from
Lalla Rookh by Thomas Moore. The Peri is a creature from Persian
Mythology. Expelled from Paradise the Peri tries to regain entrance by
giving the gift that is most dear to heaven, the tear from the cheek of a
repentant old sinner who has seen a child crying.
Schumann had great success with this large scale dramatic work, which
has a continuous flow of music, without recitatives and arias. No wonder
Wagner liked it greatly.
This recording from 1981 features the best vocal soloists of the former
DDR, the Leipzig Rundfunk-Sinfonie-Orchester and conductor Wolf-Dieter
Hauschild: another treasure from the archives of Berlin Classics!
Modus Ensemble - Salvator Noster, Dilectissimi (Mo
Modus Ensemble - Stephanus Autem Plenus Gratia (Mo
Modus Ensemble - Maximum Hoc Omnium (Motette)
Modus Ensemble - Innocentes Pro Christo (Motette)
Modus Ensemble - O Admirabile Commercium (Motette)
Modus Ensemble - Tribus Miraculis Ornatum Diem (Mo
Modus Ensemble - Bonum Certamen Certavi (Motette)
Modus Ensemble - Hodie Beata Virgo Maria (Motette)
Modus Ensemble - Ave Maria (Motette)
Modus Ensemble - Haec Est Dies (Motette)
Modus Ensemble - Sancti Et Justi (Motette)
Modus Ensemble - Cumque Beatissimus Marcus Evangel
Modus Ensemble - Ascendens Christus In Altum (Mote
Modus Ensemble - Hodie Spiritus Sanctus (Motette)
Modus Ensemble - O Adoranda Trinitas (Motette)
Modus Ensemble - Ego Sum Panis Vivus (Motette)
Modus Ensemble - Puer Qui Natus Est (Motette)
Modus Ensemble - Tu Es Petrus (Motette)
Modus Ensemble - Beata Elisabeth (Motette)
Modus Ensemble - Maria Unxit Pedes Jesu (Motette)
Claudio Merulo (1533-1604) held the prestigious post of first organist of
the San Marco in Venice. Although he was a key figure in the development
of keyboard music he also wrote a large number of vocal works of great
importance: masses, motets and madrigals.
Merulo’s Motets, though standing in the tradition of the High Renaissance,
reveal an innovative form and linguistic freedom. In his 5-part Motets for
single choir the initial imitative counterpoints develops into antiphonal
sections and ritornello passages that anticipate the “concertato” style of
the emerging Baroque period.
The Italian Modus Ensemble, conducted by Mauro Marchetti, is
accompanied by viola da gamba, violone, theorbo and organ.
The complete sung texts in the original language are included in the
booklet.
Roobol, Wendy - Madrigali Libro 3 (Madrigalbuch 3)
La Giovinetta Pianta
O Come E Gran Martire
Sovra Tenere Erbette E Bianchi Fiori
O Dolce Anima Mia, Dunque E Pur Vero
Stracciami Pur Il Core
O Rossignol Che In Queste Verdi Fronde
Se Per Estremo Ardore
Vattene Pur, Crudel, Con Quella Pace
La Tra 'L Sangue E Le Morti Egro Giacente
Poi Ch'ella In Se Torno, Deserto E Muto
O Primavera, Gioventu De L'anno
Perfidissimo Volto
Ch'io Non T'ami, Cor Mio
Occhi, Un Tempo Mia Vita
Vivro Fra I Miei Tormenti E Le Mie Cure
Ma Dove, O Lasso Me, Dove Restaro
Io Pur Verro La Dove Sete, E Voi
Lumi, Miei Cari Lumi
Rimanti In Pace
Ond'ei Di Morte La Sua Faccia Impressa
Płyta 2.
Roobol, Wendy - Madrigali Libro 4 (Madrigalbuch 4)
Ah Dolente Partita
Cor Mio, Mentre VI Miro
Cor Mio, Non Mori? E Mori
Sfogava Con Le Stelle
Volgea L'anima Mia Soavemente
Anima Mea, Perdona
Che Se Tu Se' Il Cor Mio
Luci Serene E Chiare
La Piaga C'ho Nel Core
Voi Pur Da Me Partite, Anima Dura
A Un Giro Sol De Bell'occhi Lucenti
Ohime, Se Tanto Amate
Io Mi Son Giovinetta
Quell'augellin Che Canta
Non Piu Guerra, Pietate
Si Ch'io Vorrei Morire
Anima Dolorosa Che Vivendo
Anima Del Cor Mio
Longe Da Te, Cor Mio
Piagne E Sospira
? This new instalment of the Complete Madrigals cycle by Le Nuove Musiche
presents the complete books 3 and 4.
? The 3rd and 4th book of Madrigals form a transition from the declamatory
Renaissance style to a more expressive way of handling the text, in which
the musical expression of the emotional impact of the words has prime
importance. For instance the lamento “O come e gran mortire”, in its
mournful and poignant drawing out of the lover’s pain, will leave no
listener untouched.
? 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.
? Liner notes by the conductor, complete song texts in the original language
included in the booklet.
Claude Quartet - Konzert Fuer Gitarre Und Jazz-kla
1. Hispanic Dance
2. Mexicaine
3. Invention
4. Serenade
5. Rhapsodic
6. Africaine
7. Finale
Meucci, Duilio - Sonate Fuer Gitarre Solo (1996)
1. Jazzo Brasileiro
2. Baladina
3. Fogoso
? Claude Bolling was born in 1930 in Cannes, where he became one of the
most popular figures of the French jazz scene. He composed music for over
100 films, and he worked together with Duke Ellington, Juliette Greco, Liza
Minelli and others.
? Claude Bolling was one of the first “Crossover” composers, collaborating
with classical musicians like Jean-Pierre Rampal and Alexandre Lagoya.
? Bolling’s most famous work is the Concerto for Classical Guitar and Jazz
Piano Trio. It is the perfect synthesis of Jazz, Blues, Latin-American and
Classical music, a unique creation of multicultural expression!
? Also included in this new recording is the Sonata for Classical Guitar.
? Performed with gusto and a free spirit by the wonderful musicians of the
Claude Quartet, with guitarist Duilio Meucci.
Timofeyev, Oleg - Kyng Harry The Viiith Pavyn
Timofeyev, Oleg - The Kinges Pavane
Timofeyev, Oleg - Pavan
Timofeyev, Oleg - Quadro Pavan
Timofeyev, Oleg - Anthony Pavan
Timofeyev, Oleg - Passamezzo Pavan
Timofeyev, Oleg - Pavan
Timofeyev, Oleg - Quadro Pavan
Timofeyev, Oleg - Pavana Cromatica
Timofeyev, Oleg - Spanish Pavan
Timofeyev, Oleg - Philips Pavan
Timofeyev, Oleg - Mason Pavan
Timofeyev, Oleg - Lachrimae Pavan
Timofeyev, Oleg - Spanish Pavan
Timofeyev, Oleg - Semper Dowland Semper Dolens
Timofeyev, Oleg - Sims Pavan
Timofeyev, Oleg - Pavan
Timofeyev, Oleg - Pavan
Timofeyev, Oleg - Rosamund
The Pavan is an ancient Spanish-Italian Dance form, solemn, slow and
stately. It gained great popularity in Renaissance England, in which it
developed from a straight dance form in the time of Henry VIII to a highly
sophisticated composition of a slow, rhapsodic and fantasy-like nature, in
which the composer expressed his often melancholy emotions.
The composers featured are Cotton, Ferrabosco, Philips, Johnson, Mason,
Robinson, Dowland, Daniel, Bacheler and several Anonymi.
Oleg Timofeyev is a highly respected lutenist, guitarist, musicologist and documentary film director. He wrote the excellent liner notes for this release.
Urasin, Rem - Mazurka Nr. 2 G-dur
Urasin, Rem - Mazurka Nr. 3 B-dur
Urasin, Rem - Mazurka Nr. 47 A-moll Op. 68 Nr. 2
Urasin, Rem - Mazurka Nr. 46 C-dur Op. 68 Nr. 1
Urasin, Rem - Mazurka Nr. 48 F-dur Op. 68 Nr. 3
Urasin, Rem - Mazurka Nr. 1 Fis-moll Op. 6 Nr. 1
Urasin, Rem - Mazurka Nr. 2 Cis-moll Op. 6 Nr. 2
Urasin, Rem - Mazurka Nr. 3 E-dur Op. 6 Nr. 3
Urasin, Rem - Mazurka Nr. 4 Es-dur Op. 6 Nr. 4
Urasin, Rem - Mazurka Nr. 5 B-dur Op. 7 Nr. 1
Urasin, Rem - Mazurka Nr. 6 A-moll Op. 7 Nr. 2
Urasin, Rem - Mazurka Nr. 7 F-moll Op. 7 Nr. 3
Urasin, Rem - Mazurka Nr. 8 As-dur Op. 7 Nr. 4
Urasin, Rem - Mazurka Nr. 9 C-dur Op. 7 Nr. 5
Urasin, Rem - Mazurka Nr. 1 B-dur
Urasin, Rem - Mazurka Nr. 2 D-dur
Urasin, Rem - Mazurka Nr. 10 B-dur Op. 17 Nr. 1
Urasin, Rem - Mazurka Nr. 11 E-moll Op. 17 Nr. 2
Urasin, Rem - Mazurka Nr. 12 As-dur Op. 17 Nr. 3
Urasin, Rem - Mazurka Nr. 13 A-moll Op. 17 Nr. 4
Urasin, Rem - Mazurka Nr. 3 C-dur
Urasin, Rem - Mazurka Nr. 4 As-dur
Urasin, Rem - Mazurka Nr. 14 G-moll Op. 24 Nr. 1
Urasin, Rem - Mazurka Nr. 15 C-dur Op. 24 Nr. 2
Urasin, Rem - Mazurka Nr. 16 As-dur Op. 24 Nr. 3
Urasin, Rem - Mazurka Nr. 17 B-moll Op. 24 Nr. 4
Urasin, Rem - Mazurka Nr. 44 C-dur Op. 67 Nr. 3
Urasin, Rem - Mazurka Nr. 42 G-dur Op. 67 Nr. 1
Urasin, Rem - Mazurka Nr. 18 C-moll Op. 30 Nr. 1
Urasin, Rem - Mazurka Nr. 19 H-moll Op. 30 Nr. 2
Urasin, Rem - Mazurka Nr. 20 Des-dur Op. 30 Nr. 3
Urasin, Rem - Mazurka Nr. 21 Cis-moll Op. 30 Nr. 4
Urasin, Rem - Mazurka Nr. 50 A-moll Op. Posth. An
Płyta 2.
Urasin, Rem - Mazurka Nr. 22 Gis-moll Op. 33 Nr. 1
Urasin, Rem - Mazurka Nr. 23 D-dur Op. 33 Nr. 2
Urasin, Rem - Mazurka Nr. 24 C-dur Op. 33 Nr. 3
Urasin, Rem - Mazurka Nr. 25 H-moll Op. 33 Nr. 4
Urasin, Rem - Mazurka Nr. 26 Cis-moll Op. 41 Nr. 1
Urasin, Rem - Mazurka Nr. 27 E-moll Op. 41 Nr. 2
Urasin, Rem - Mazurka Nr. 28 H-dur Op. 41 Nr. 3
Urasin, Rem - Mazurka Nr. 29 As-dur Op. 41 Nr. 4
Urasin, Rem - Mazurka Nr. 51 A-moll Op. Posth. No
Urasin, Rem - Mazurka Nr. 30 G-dur Op. 50 Nr. 1
Urasin, Rem - Mazurka Nr. 31 As-dur Op. 50 Nr. 2
Urasin, Rem - Mazurka Nr. 32 Cis-moll Op. 50 Nr. 3
Urasin, Rem - Mazurka Nr. 33 H-dur Op. 56 Nr. 1
Urasin, Rem - Mazurka Nr. 34 C-dur Op. 56 Nr. 2
Urasin, Rem - Mazurka Nr. 35 C-moll Op. 56 Nr. 3
Urasin, Rem - Mazurka Nr. 36 A-moll Op. 59 Nr. 1
Urasin, Rem - Mazurka Nr. 37 As-dur Op. 59 Nr. 2
Urasin, Rem - Mazurka Nr. 38 Fis-moll Op. 59 Nr. 3
Urasin, Rem - Mazurka Nr. 39 H-dur Op. 63 Nr. 1
Urasin, Rem - Mazurka Nr. 40 F-moll Op. 63 Nr. 2
Urasin, Rem - Mazurka Nr. 41 Cis-moll Op. 63 Nr. 3
Urasin, Rem - Mazurka Nr. 45 A-moll Op. 67 Nr. 4
Urasin, Rem - Mazurka Nr. 43 G-moll Op. 67 Nr. 2
Urasin, Rem - Mazurka Nr. 49 F-moll Op. 68 Nr. 4
The Mazurka is a Polish folk dance in 3 metre, the first “composed”
examples going back to the middle of the 18-th century. It became a
symbol of Polish patriotism, expressing the indomitable Polish identity
and vitality.
Chopin’s Mazurkas are “not meant to be danced” as he himself declared.
They are highly artistic, harmonically complex miniatures, expressing the
deeper human feelings of joy and exultation, but also melancholy and
despair. Chopin wrote them during his whole lifetime, from youthful
scribblings to highly sophisticated late works.
Russian pianist Rem Urasin (born 1976) specialised in Chopin, having
played all his works in concert. He won 4-th Prize at the International
Chopin Competition in Warsaw in 1995 and First Prize in the Moscow
Chopin Competition. He was a pupil of the great Lev Naumov.
Tosi, Giorgio Leonida - Sonate Fuer Violine Und Kl
1. Allegro Molto
2. Andantino
3. Rondo: Allegro
Frontini-porto - Allegro Pathetique Fuer Klavier Z
Tosi, Giorgio Leonida - Sonate Fuer Violine Und Kl
1. Allegro
2. Andantino
3. Rondo Alla Polacca
Frontini-porto - Adagio Und Rondo Fuer Klavier Zu
Tosi, Giorgio Leonida - Sonate Fuer Violine Und Kl
1. Allegro Gustoso
2. Andante
3. Rondo: Allegro Scherzando
? Friedrich Kuhlau (1786-1832) was born in Hannover, but as a student he
went to Denmark, where he stayed the rest of his life, becoming an
important national composer.
? Kuhlau was a near contemporary of Beethoven, and his style shares
elements of that genius (alas not the genius…): rooted in the 17th century
classicism it foreshadows the Romantic movement in a true expression of
affect, daring dissonances and sudden harmonic changes, and a general
expression of romantic moods as favoured in the fashionable salons.
? Kuhlau is nowadays best known for his Sonatinas for amateur pianists,
serving as a welcome alternative to the more classical sonatinas by
Clementi.
? This new recording present Kuhlau’s Violin Sonatas Op. 79, music of
considerable drama, brilliance and virtuosity, but also of gentle lyricism
and charm.
? As interludes to these sonatas the piano duo Porto-Frontini plays two
works for piano 4-hands, an Allegro Pathétique and an Adagio & Rondo.
? Played by Giorgio Leonida Tosi on a baroque violin, pianist Paolo Porto
plays an 1830 Viennese Stein piano.
Montero, Patxi - Sonate Fuer Viola Da Gamba Und Ce
1. Adagio
2. Allegro Ma Non Tanto
3. Andante
4. Allegro Moderato
Montero, Patxi - Sonate Fuer Viola Da Gamba Und Ce
1. Adagio
2. Allegro
3. Andante
4. Allegro
Montero, Patxi - Sonate Fuer Viola Da Gamba Und Ce
1. Vivace
2. Adagio
3. Allegro
? In this new recording of the magnificent (and still undervalued) sonatas for
viola da gamba by Bach the keyboard is an organ, a german school
Rückpositiv. The use of the organ instead of the harpsichord has changed
the interpretation of the musician to a large extent: the sustained sound
of the organ tones (contrary to the quickly decaying sound of the
harpsichord) heightens the tension of the harmonics, especially the
dissonances. The length of the notes is therefore often shortened, taking
into account the reverberant acoustics of the church, which also affected
the tempo choices. In short, this interpretation is completely different
from the harpsichord version, shedding a new light on these masterpieces
by Bach, who himself was never averse to using different instruments for
his works.
? Patxi Montero is one of the foremost viola da gamba players of this
moment, he frequently collaborates with Early Music groups such as
Concerto Italiano, Il Giardino Armonico, Zefiro, Europa Galante and
conductors Rinaldo Alessandrini, Diego Fasolis and Fabio Biondi. Daniele
Boccaccio already made a highly acclaimed recording for Brilliant Classics
of his own organ arrangements of Bach’s violin concertos (BC94829).
? Excellent liner notes written by the musicians.
L'arte Dell'arco - Sonate D-moll Op. 1 Nr. 1
1. Grave
2. Allegro
3. Largo
4. Allegro
L'arte Dell'arco - Sonate F-dur Op. 1 Nr. 2
1. Grave
2. Allegro
3. Largo - Adagio
4. Vivace
L'arte Dell'arco - Sonate C-dur Op. 1 Nr. 3
1. Grave
2. Allegro
3. Grave
4. Allegro
L'arte Dell'arco - Sonate G-moll Op. 1 Nr. 4
1. Grave
2. Allegro
3. Adagio
4. Allegro E Presto - Adagio
L'arte Dell'arco - Sonate C-dur Op. 1 Nr. 5
1. Grave
2. Allegro
3. Grave
4. Allegro
L'arte Dell'arco - Sonate A-moll Op. 1 Nr. 6
1. Grave
2. Allegro
3. Grave
4. Allegro
Płyta 2.
L'arte Dell'arco - Sonate G-dur Op. 1 Nr. 7
1. Grave
2. Allegro
3. Grave
4. Allegro
L'arte Dell'arco - Sonate H-moll Op. 1 Nr. 8
1. Grave
2. Allegro
3. Grave
4. Allegro
L'arte Dell'arco - Sonate D-dur Op. 1 Nr. 9
1. Grave
2. Allegro Assai - Adagio
3. Grave
4. Allegro
L'arte Dell'arco - Sonate F-moll Op. 1 Nr. 10
1. Grave
2. Allegro
3. Grave
4. Allegro
L'arte Dell'arco - Sonate E-moll O. 1 Nr. 11
1. Grave
2. Allegro - Adagio
3. Grave
4. Allegro
L'arte Dell'arco - Sonate B-dur Op. 1 Nr. 12
1. Grave - Adagio
2. Allegro
3. Grave
4. Presto
The start of a new prestigious series on Brilliant Classics: the complete
instrumental music by Albinoni!
Tomaso Albinoni (1671-1751) spent most of his life in his native Venice, he
was a famous opera composer, and was one of the few composers who
were of independent means, not in the service of Court or Church.
Nowadays Albinoni is foremost known for his instrumental works, trio
sonatas and concertos, showing his great melodic gift, his inventiveness
and high spirits.
These Trio Sonatas Op. 1 are played by the Italian elite group L’Arte
dell’Arco, led by violinist Federico Guglielmo, with an established
reputation in this repertoire, having won several international prizes and
rave reviews for their numerous CD’s, notably their Vivaldi cycle for
Brilliant Classics.
Nova Schola Gregoriana - Toccata Nr. 1 Im 1. Ton F
Nova Schola Gregoriana - Versi Sopra Le Messa Che
Kyrie
Gloria
Sanctus
Agnus Dei
Capriccio Im 1. Ton
Ite, Missa Est
Nova Schola Gregoriana - Versi Sopra La Messa Dell
Kyrie
Gloria
Sanctus
Durezze (E) Ligature
Agnus Dei
Canzon Francese Nr. 3 Im 1. Ton Finto
Ite, Missa Est
Nova Schola Gregoriana - Versi Sopra La Messa Dell
Kyrie
Gloria
Sanctus
Agnus Dei
Canzon Francese Nr. 2 Im 9. Ton Naturale
Ite, Missa Est
Toccata
? Giovanni Salvatore lived from 1620 till 1688, living and working as organist
in Naples. His most important work is the collection of “Ricercari a Quattro
voci, Canzoni, Canzoni Francesi, Toccate, et Versi per rispondere nelle Messe
con l’Organo al Choro”.
? In the 17th century the Roman Catholic liturgy accepted certain
instrumental interludes during the service of the mass, either as an
addition or as a replacement of certain parts of the mass. No doubt this
practice inspired composers to write extensive and elaborate works for
the organ in which they could show their compositional skills.
? Salvatore’s style is typical of the Neapolitan liturgy during the Baroque: a
rich vocal tapestry of opulent vocal and instrumental polyphony.
? Organist Federico Del Sordo and the Nova Schola Gregoriana conducted by
Alberto Turco are specialists in this specific repertoire, they already
recorded the Organ Alternatim Masses by Merulo for Brilliant Classics
(BC95145). They use a historic 1678 organ by Giovanni Boccanegra, the
specifications of which are included in the booklet.
L'arte Dell'arco - Sonate Fuer 2 Violinen Und Bass
1. Preludio: Andante
2. Allemanda: Allegro
3. Corrente: Allegro
L'arte Dell'arco - Sonate Fuer Violine Und Basso C
1. Preludio: Largo
2. Allemanda: Allegro
3. Corrente: Allegro
L'arte Dell'arco - Sonate Fuer Violine Und Basso C
1. Preludio: Largo
2. Corrente: Presto
3. Sarabanda: Andante
4. Giga: Allegro
L'arte Dell'arco - Sonate Fuer Violine Und Basso C
1. Preludio: Largo
2. Corrente: Presto
3. Gavotta: Allegro
L'arte Dell'arco - Sonate Fuer Violine Und Basso C
1. Preludio: Largo
2. Allemanda: Allegro
3. Corrente: Allegro
4. Gavotta: Presto
L'arte Dell'arco - Sonate Fuer 2 Violinen Und Bass
1. Preludio: Largo
2. Allemanda: Allegro
3. Air-menuet: Allegro
? This CD presents the first recording on period instruments of Vivaldi’s
complete Opus 5, consisting of 4 violin sonatas for violin solo and
continuo, as well as two Trio Sonatas for two violins and continuo.
? In the years of composition of these works Vivaldi’s fame had already
widely spread and he was keen to publish this set of chamber music as his
Opus 5. The music is vintage Vivaldi: fresh, vigorous, full of melodic and
harmonic invention and instrumental brilliance.
? This CD is part of the complete edition based on the original sources of the
New Vivaldi Edition by the Italian early music group L’Arte dell’Arco, led
by violinist Federico Guglielmo, who is the soloist in these sonatas,
seconded by a continuo of cello and harpsichord. “They understand the
secret language of Vivaldi” (Diapason).
Lovaas, Kari - War Requiem Op. 66
Requiem Aeternam (Requiem Aeternam)
What Passin-bells
Kyrie Eleison
Dies Irae, Dies Illa (Dies Irae)
Bugles Sang
Liber Scriptus Proferetur
Out There, We Walked Quite Friendly Up To Death
Recordare, Jesu Pie
Be Slowly Lifted Up
Dies Irae, Dies Illa
Lacrimosa - Move Him Into The Sun
Pie Jesu Domine
Domine Jesu Christe (Offertorium)
Sed Signifer Sanctus Michael
So Abraham Rose
Quam Olim Abrahae
Sanctus (Sanctus)
Hosanna - Benedictus - Hosanna
After The Blast
Płyta 2.
One Ever Hangs (Agnus Dei)
Libera Me (Libera Me)
It Seemed
Let Us Sleep Now
Kegel, Herbert - Threnody To The Victims Of Hiros
Scherzer, Manfred - Konzert Fuer Violine Und Orche
1. Andante - Allegretto
2. Allegro, Ma Sempre Rubato, Frei Wie Eine Kadenz
? The common theme of the three works presented on these 2 CD is Death,
the transience of earthly existence. Britten’s famous and substantial War
Requiem was written in commemoration of the 2nd World War victims,
dedicated to the people of the destroyed city of Coventry, Penderecki’s
Threnody is dedicated to the victims of Hiroshima, and Alban Berg’s
moving Violin Concerto is written “to the memory of an angel”, the death
of the 19 year old daughter of Alma Mahler.
? Performances conducted by the great East-German conductor Herbert
Kegel, a specialist in 20th century masterworks. He conducts the Dresdner
Philharmonie and the Leipzig Radio-Sinfonieorchester, soloists include the
great Kari Lövaas and Theo Adam.
? A reissue from the rich archives of Berlin Classics, treasures from the DDR.
Magistrelli, Luigi - Divertimento Fuer Klarinette
1. Allegro
2. Andante Un Poco Largo
3. Rondeau In Tempo Di Minuetto
Magistrelli, Luigi - Sonate Fuer Klavier, Klarinet
Allegretto
Magistrelli, Luigi - Sonate Fuer Klavier, Klarinet
Allegro Di Molto
Magistrelli, Luigi - Sonate Fuer Klavier, Klarinet
Allegro
Magistrelli, Luigi - Sonate Fuer Klavier, Klarinet
Allegro
Magistrelli, Luigi - Sonate Fuer Klavier, Klarinet
Andante
Magistrelli, Luigi - Sonate Fuer Klavier, Klarinet
Allegro
Magistrelli, Luigi - Sonate Fuer Violine Und Basso
1. Allegro
2. Adagio
3. Allegro
Magistrelli, Luigi - Duo Fuer 2 Klarinetten C-dur
1. Adagio E Sostenuto
2. Allegro
Magistrelli, Luigi - Quartett Fuer Flote, Viola, V
1. Andantino
2. Largo E Sostenuto
3. Allegro Assai
? The Carl Philipp Emanuel Bach, the most famous and influential son of the
great Johann Sebastian, was one of the first composers to give a
prominent role to the clarinet as solo and chamber music instrument. By
1760 the production of clarinets with 4 or 5 keys provided a great variety
of timbre and tonal flexibility. These qualities prompted the composer to
write a number of original works and to rewrite existing works including
the clarinet as an equal partner within the ensemble, taking the role of
leading melodic instrument (hitherto given to the flute or the violin).
? This is the first recording of these works featuring the clarinet!
? Luigi Magistrelli is one of the leading and most enterprising Italian
clarinettists, delving up unknown music for his instrument. He successfully
recorded for Brilliant Classics clarinet works by Archduke Rudolph
(BC94952) and chamber music by Rebay (BC94171).
Il Caleidoscopio Ensemble - Harp Consort Nr. 11 (A
Fantazy
Il Caleidoscopio Ensemble - Harp Consort Nr. 4
1. Aire
2. Aire
3. Corant
4. Saraband
Il Caleidoscopio Ensemble - Faronells Division On
Il Caleidoscopio Ensemble - The Earl Of Salisbury'
Il Caleidoscopio Ensemble - Galliard
Il Caleidoscopio Ensemble - Divisions E-moll For
Il Caleidoscopio Ensemble - Prelude G-moll
Il Caleidoscopio Ensemble - Harp Consort Nr. 8 (Au
Paven
Il Caleidoscopio Ensemble - Duke Of Norfolk Or Pau
Il Caleidoscopio Ensemble - The Bells
Il Caleidoscopio Ensemble - Suite Nr. 4 For Sever
1. Pavan
2. Almand
3. Courante
4. Ayre
5. Saraband - Jigg
? The setting of the programme of this CD is the court of King Charles II. This
“Merry Monarch” restores the rich cultural life at courst, by anstalling his
“Private Musick”, an ensemble with the privilege to entertain the King with
music, in the formation of the “broken consort”: the violin, viola da gamba,
theorbo and harp.
? The only original compositions for this combination of instruments are the
Harp Consorts by William Lawes, and it is around these works that the
programme is formed, presenting works by Playford, Byrd, Simpson,
Dowland and Locke, each using a different combination of instruments
from the “Broken Consort”.
? A fascinating, eloquent and atmospheric depiction of courtly life and
entertainment in 17th century England!
? CD debut of the young and enterprising Il Caleidoscopio Ensemble,
exploring the rich repertoire of their combined instruments violin, viola da
gamba, theorbo and harp.
? Excellent liner notes in English and Italian.
Dieci, Andrea - Kammermusik 58 Ueber Die Hymne In
Nr. 1 (Ohne Satzbezeichnung)
Nr. 2 (Ohne Satzbezeichnung)
Nr. 3 (Ohne Satzbezeichnung)
Dieci, Andrea - Royal Winter Music: First Sonata O
1. Glaucester -
1. Ritornello
2. Romeo & Juliet -
2. Ritornello
3. Ariel -
3. Ritornello
4. Ophelia -
4. Ritornello
5. Touchstone, Audrey & William -
5. Ritornello
6. Oberon
Dieci, Andrea - Royal Winter Music: Second Sonata
1. Sir Andrew Aguecheek
2. Bottom's Dream
3. Mad Lady Macbeth
? Hans Werner Henze was one of the most important composers of the 2nd
half of the 20th century, and certainly one of the most prolific. He often
wrote for the guitar, exploring the evocative potential of the instrument
so that it could express a wide range of different emotions and
atmospheres.
? This CD presents the two Sonatas on Shakespearean Characters, an
important cycle portraying characters like Lady Macbeth, Romeo & Juliet
and Ariel, finding a new dramatic expression in these personifications of
timeless human values.
? Italian guitarist Andrea Dieci, a winner of several international
competitions, is called “A true star of the classical guitar” (Corriere della
sera) and “an impressive guitarist” (New York Times Herald). He recorded
for Brilliant Classics the complete works by Jappelli (BC9435) and guitar
works by Piazzolla (BC 94896).
? Excellent liner notes by a musicologist, in both English and Italian.
Cardi, Emanuele - Praeludium G-moll
Cardi, Emanuele - In Dich Hab Ich Gehoffet, Herr
Cardi, Emanuele - Auf Meinen Lieben Gott
Cardi, Emanuele - Praeludium F-dur
Cardi, Emanuele - Herr Gott, Dich Loben Wir
Cardi, Emanuele - Canzona G-dur
Cardi, Emanuele - Christ Lag In Todes Banden
Cardi, Emanuele - Jesus Christus, Wahr' Gottes Soh
Płyta 2.
Cardi, Emanuele - Praeludium Nr. 3 G-moll
Cardi, Emanuele - Jesus Christus, Unser Heiland
Vers 1
Vers 2
Vers 3
Cardi, Emanuele - Was Kann Uns Kommen An Fuer Not
Cardi, Emanuele - Komm, Heiliger Geist, Herre Gott
Cardi, Emanuele - Was Kann Uns Kommen An Fuer Not
Cardi, Emanuele - Praeludium Nr. 2 G-moll
? Franz Tunder (1614-1667) was born in the German city of Lübeck, where
he stayed his whole life as organist and treasurer of the St. Marienkirche.
? Tunder is one of the cornerstones of the North German organ school. His
style is the “Stylus Phantasticus”, in which the emotional content of the
text is the basis of the musical expression, using sudden harmonic
changes, dissonances and tone painting.
? Tunder left an oeuvre consisting of Chorale Preludes on Lutheran hymns,
as well as several separate organ preludes.
? Emanuele Cardi is one of the foremost Italian organists, specialized in early
organs and the restoration of Baroque instruments. On this recording he
plays a magnificent Ghilardi organ built in 1996, inspired by the 17th
century German Arp Schnitger instruments.
? Excellent liner notes written by a musicologist, as well as the complete
disposition and photo of the organ are included in the booklet.
? Another fine issue in the Brilliant Classics series of Pre-Bachian organ
masters!
Barati, Kristof - Konzert Fuer Violine Und Orchest
1. Allegro Moderato
2. Adagio
3. Presto
Barati, Kristof - Konzert Fuer Violine Und Orchest
1. Alelgro Moderato
2. Andante
3. Rondeau: Allegro
Barati, Kristof - Rondo Fuer Violine Und Orchester
Barati, Kristof - Rondo Fuer Violine Und Orchester
Barati, Kristof - Adagio Fuer Violine Und Orcheste
Płyta 2.
Barati, Kristof - Konzert Fuer Violine Und Orchest
1. Allegro
2. Adagio
3. Rondeau: Allegro
Barati, Kristof - Konzert Fuer Violine Und Orchest
1. Allegro
2. Andante Cantabile
3. Rondeau
Barati, Kristof - Konzert Fuer Violine Und Orchest
1. Allegro Aperto
2. Adagio
3. Rondeau
? Hungarian violinist Kristóf Baráti is recognised as one of the leading
violinists of his generation. He plays with the Philharmonia Orchestra,
Mariinsky, WDR Sinfonieorchester, London Philharmonic, and conductors
like Gergiev, Dutoit, Jurowski, Masur, Pletnev, Fischer, Temirkanov.
? His extensive discography for Brilliant Classics led to great critical acclaim:
“..Baráti is out of the top drawer. With intensity of sound, unbridled
athleticism and searing leaps into the stratosphere which send a tingle down
the spine” (Gramophone), “Masterful, probing, meditative, it rang with a
rare sense of authenticity, and almost majestic scope” (Washington Post).
“He is on the order of magnitude greater than any other violinist I’ve
encountered in at least 10 years” (Fanfare on the Beethoven violin sonatas,
with Klára Würtz, piano).
? On this 2 CD set Baráti plays the complete works for violin and orchestra
of Mozart: masterful, strong, alternating great vitality and tenderness,
vigour and beauty. He himself conducts the excellent Hungarian Chamber
Orchestra.
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