Guandalino, Carlo - Sonate Nr. 2 G-moll Op. 42
1. Maestoso - Piu Moto - Maestoso
2. Adagio
3. Introduction: Allegro Assai - Fuge
Guandalino, Carlo - Schmuecke Dich, O Liebe Seele
Guandalino, Carlo - Sonate Nr. 6 E-moll Op. 137
1. Aus Tiefer Not Schrei Ich Zu Dir: Grave - Moder
2. Adagio Molto - Piu Moto - Tempo 1
3. Introduction: Allegro Risoluto - Andante - A Te
4. Poco Moderato
Guandalino, Carlo - Nun Sich Der Tag (Choralvorspi
Here’s a name to conjure with. In fact there have been a few recordings of the nine organ sonatas by Gustav Merkel (1827-1885), though most of them are presently deleted; this new recording offers an excellent opportunity to become familiar with one of the organ virtuosos of his time and place, which is to say 19th-century Germany; more specifically Dresden, where he became organist of the Kreuzkirche and professor of organ at the city’s conservatoire for the last quarter-century of his life.
Gustav Adolf Merkel (1827-1885) was a German Romantic composer,
mainly for his own instrument, the organ. He completed his studies in
Dresden, where he staid till his death as organist and teacher. He also had
lessons with Robert Schumann in Leipzig.
Merkel’s style is strongly influenced by Baroque counterpoint, notably by
Johann Sebastian Bach, which he incorporated in the romantic idiom of
his time, with its warm harmonies and long melodic lines.
On this new recording we hear two of his Organ Sonatas, large-scale 4-
movement works, of which the number 6, “Choral-Sonata” is the most
famous.
Italian organist Carlo Guandalino plays the magnificent organ of the
Cathedral of Thiene (Vicenza, Italy), restored by the famous organ builder
Zanin, the specifications of which are included in the booklet.
Guandalino’s affinity with the German Romantic repertoire was already
apparent in his recording of organ music by Rheinberger (BC95466).
The most extensive guitar collection available! This 40 CD set spans several centuries of
guitar music: from the Baroque where the guitar gained preference over its ancestor the
Lute, to the Classical Period in which the instrument was emancipated and gained its
rightful place as a serious concert instrument, through Spain, its country of origin, right into
the 20th century where famous composers extended its sonic possibilities to the very
borders of the spectrum. A treasure trove of unprecedented scope and substance, for both
connoisseur and music lover, performed by world class guitarists
Somoza, Javier - Libros Nr. 1-3 De Musica En Cifra
Nr. 1 Pavana
Nr. 2 Tiento Del Septimo Tono: Glosa Sobre El Cum
Nr. 3 Tiento Del Octavo Tono: Fantasia Que Contrah
Somoza, Javier - Del Codice Saldivar Nr. 4
Folias Italianas Despacio
Folias Espanolas
Somoza, Javier - Tiento (1957)
Somoza, Javier - Variationen A Travers Les Siecles
Chaconne - Variation 1: Praeludium - Variation 2:
Somoza, Javier - Variationen Ueber Folia De Espana
Somoza, Javier - Fuge
Somoza, Javier - Quatre Pieces Breves (Fuer Gitarr
Nr. 1 Praeludium
Nr. 2 Air
Nr. 3 Plainte
Nr. 4 Comme Une Gigue
1Piano Sonata No. 1 in C Minor, Op. 4: I. Allegro maestoso
2Piano Sonata No. 1 in C Minor, Op. 4: II. Menuetto
3Piano Sonata No. 1 in C Minor, Op. 4: III. Larghetto
4Piano Sonata No. 1 in C Minor, Op. 4: IV. Finale. Presto
5Piano Sonata No. 2 in B-Flat Minor, Op. 35: I. Grave - Doppio movimento
6Piano Sonata No. 2 in B-Flat Minor, Op. 35: II. Scherzo
7Piano Sonata No. 2 in B-Flat Minor, Op. 35: III. Marche funebre. Lento
8Piano Sonata No. 2 in B-Flat Minor, Op. 35: IV. Finale. Presto
9Piano Sonata No. 3 in B Minor, Op. 58: I. Allegro maestoso
10Piano Sonata No. 3 in B Minor, Op. 58: II. Scherzo. Molto vivace
11Piano Sonata No. 3 in B Minor, Op. 58: III. Largo
12Piano Sonata No. 3 in B Minor, Op. 58: IV. Finale. Presto non tanto
This 14-CD set showcases works from Handel's short but astonishingly productive time in Italy in his twenties, just before he settled in London. His travels around the country provided him with the opportunity to meet a number of influential contemporaries, and the results of this compositional flourishing are wide-ranging, from opera via instrumental music to secular cantatas. This release focuses particularly on the latter, affording the listener a fascinating glimpse into the first appearance of many melodic ideas which would later resurface in Handel's mature dramatic works.
Indeed, listeners might well feel as though they are listening to scenes from operas – cantatas were a means, at the time, of circumventing the ban on opera in Rome. The familiar theme of the joys and sorrows of love pervades much of the music, but the pieces are richly varied, particularly in their scoring: we hear flutes, recorders, oboes, bassoons, trumpets and the full contingent of strings, including viola da gamba, in numerous different combinations. Often, the orchestral forces for a particular piece are modest, but the emotional depth that Handel draws out is always striking.
A high-calibre, international roster of soloists and ensembles performs the works, with many of the compositions for soprano sung by Stefanie True, whose "vocal agility, accurate intonation and stylish ornamentation are spot-on in this repertoire" (Music Web International). Meanwhile, early music specialists Contrasto Armonico bring "soft and warm sonorities" to the set (Gramophone).
This set presents an extensive collection of works which George Frideric Handel wrote during his short but astoundingly fruitful stay in Italy. Here he met the great composers of the day, imbuing the rich Italian style, full of drama, cantabile and instrumental brilliance. The set’s focus is on the secular Cantatas, all of them mini-operas in scale and substance, dealing with human emotions of love, jealousy, hope and despair. The influence of Handel’s stay in Italy can be found in many of his great operas and oratorios he later wrote in London. Apart from the Cantatas the set includes a selection of Italian Duets, and the Serenata Aci, Galatea & Polifemo. Excellent performances in Historically Informed Performance Practice, by Contrasto Armonico, Musica Perduta and specialist vocal soloists.
Recorded between 1988 and 2014.
Contains liner notes written by Philip Borg-Wheeler.
Płyta 1.
Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-12
Nr. 1 Capriccio: Largo - Andante - Adagio
Nr. 2 Allegretto Brillante
Nr. 3 Rondo: Grazioso
Nr. 4 Allegro Moderato
Nr. 5 Allegretto Grazioso
Nr. 6 Siciliana: Adagio
Nr. 7 Rondo: Grazioso
Nr. 8 Sonate Fuer Orgel Nr. 8
Nr. 9 Allegro Moderato
Nr. 10 Cantabile
Nr. 11 Moderato
Nr. 12 Fuge
Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-5 ('gius
Nr. 1 Sonate Fuer Orgel Es-dur
Nr. 2 Sonate Fuer Orgel C-dur
Nr. 3 Sonate Fuer Orgel C-moll
Nr. 4 Sonate Fuer Orgel C-dur
Nr. 5 Sonate Fuer Orgel F-dur
Bottini, Paolo - Versetti Fuer Orgel Nr. 1-2 ('giu
Nr. 1 Adagio
Nr. 2 Largo
Płyta 2.
Bottini, Paolo - Sonaten Fuer Cembalo Und Orgel Nr
Nr. 1 Allegro D-dur
Nr. 2 Allegro Con Spirito C-dur
Nr. 3 Andantino D-dur
Nr. 4 Marsch D-dur
Nr. 5 Cantabile D-dur
Nr. 6 Andantino D-dur
Nr. 7 Adagio F-dur
Nr. 8 Allegro C-dur
Nr. 9 Marsch D-dur
Nr. 10 Allegro C-dur
Nr. 11 Adagio G-dur
Nr. 12 Allegro C-dur
Nr. 13 Allegro Aperto D-dur
Nr. 14 Andante Sostenuto D-dur
Nr. 15 Allegro D-dur
Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-6 ('fran
Nr. 1 Allegro B-dur
Nr. 2 Larghetto Cantabile C-dur
Nr. 3 Rondo: Moderato F-dur
Nr. 4 Grave Sostenuto A-dur
Nr. 5 Allegro Moderato C-dur
Nr. 6 Allegro D-dur
Bottini, Paolo - Adagio Fuer Orgel F-dur
Bottini, Paolo - Versetti Fuer Orgel Nr. 1-16 ('gi
Nr. 1 Ripieno Semplice C-moll (Adagio)
Nr. 2 Tutti Li Registri A-moll
Nr. 3 Ripieno Semplice D-dur (Adagio)
Nr. 4 Ripieno Semplice A-dur
Nr. 5 Organo Aperto G-moll
Nr. 6 Allegro A-moll
Nr. 7 Ripieno Semplice E-moll
Nr. 8 Principali E Flauti In XII G-moll
Nr. 9 Ripieno Semplice G-moll
Nr. 10 Principali E Flauti D-moll
Nr. 11 Principali E Tromboncini G-moll (Adagio)
Nr. 12 Flauto Solo F-dur (Calmo)
Nr. 13 Principali, Flauti E Cornetto D-moll
Nr. 14 Flauto Solo E-moll (Allegretto)
Nr. 15 Tomboncini Soli E-moll (Adagio)
Nr. 16 Voce Umana D-moll (Larghetto)
Płyta 3.
Bottini, Paolo - Sonate Fuer Orgel Und Cembalo
1. Allegro Brillante
2. Brillante
3. Moderato
4. Allegro
5. Allegretto
6. Pastorale
Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-9 (Auszu
Sonate Fuer Orgel D-dur (Adagio)
Sonate Fuer Orgel G-dur (Allegretto)
Sonate Fuer Orgel G-dur (Allegretto)
Sonate Fuer Orgel A-dur (Andante Sostenuto)
Bottini, Paolo - Marsch Fuer Orgel (Allegro)
Bottini, Paolo - Sinfonia Ridotta Fuer Orgel (Larg
Bottini, Paolo - Grosse Sinfonie Fuer Orgel (Adagi
Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-6
Nr. 1 Allegro D-dur
Nr. 2 Largo - Rondo: Allegretto C-dur
Nr. 3 Allegro Con Spirito F-dur
Nr. 4 Largo A-dur
Nr. 5 Spiritoso B-dur
Nr. 6 Larghetto - Thema Mit Variationen A-dur
Bottini, Paolo - Arpeggio (Fuer Cembalo)
An extensive collection favourite Oboe Concertos from the Baroque and Classical Era! The oboe was one of the first wind instruments gaining a solo role in the Baroque. Its strong, nasal timbre, able of expressing both joy and sadness, established the instrument as a leading voice within the instrumental ensemble.
This 12CD set contains oboe concertos by Albinoni, Vivaldi, Marcello, Telemann, J.S. Bach, C.P.E. Bach, Bellini, Rosetti, Lebrun, Fiorillo, Dittersdorf, Ferlendis, Hofmann and Mozart.
Excellent performances on period instruments by leading soloists in their field: Stefan Schilli, Pier Luigi Fabretti, Andrius Puskunigis and others. Recorded between 1995 and 2015.
Contains liner notes written by Philip Borg-Wheeler specially for this release.
The Stabat Mater depicts Mary standing at the cross of Jesus, weeping at the sight of her son's crucifixion. The poem asks us to share in Mary's pain ('Fac, ut ardeat cor meum') and rejoice in Christ's sacrifice for mankind. The timeless bond between a mother and her son transcends the shifting world around us. Mary's anguish crosses all boundaries, speaking to anyone who has seen a loved one suffering, humanising Christ for experiencing mortal pain even while lauding him as the saviour. Not only is the theme heartfelt and tender, but the Latin text is rhythmic and lyrical, lending itself perfectly to music.
The existing versions represent a wonderful diversity of styles. In Palestrina's time, it was important that the music did not interfere with the clarity of the words. His Stabat Mater for eight voices, therefore, is simple, resonant, and wonderfully moving. Vivaldi, Caldara and both Alessandro and Domenico Scarlatti were among the Baroque composers to try their hand next; Vivaldi only set the first ten stanzas, ending with the plea to experience Mary's suffering for ourselves. The music, melancholy and minor, contrasts with Caldara's setting, which includes two trombones.
Later composers include Luigi Boccherini, who wrote some florid lines for solo soprano, the only early setting to include a soloist. By the time Haydn came to write his own Stabat Mater in 1767 he would have been familiar with those of Pergolesi and Alessandro Scarlatti. It became Haydn's most performed work in his lifetime, notable for its swapping out of the oboes for two cors anglais in two of the movements, creating a graver and more melancholy sound.
Dvořák and Liszt both created highly personal settings of the poem: Liszt because of his
strong religious impulse – he wrote the Stabat Mater as part of his oratorio Christus while
living in the Vatican, having entered the lower orders – and Dvořák because of a string of personal tragedies. The Czech composer lost his eldest daughter Josefa in 1876, which prompted him to begin sketching the music, and he returned to the composition in 1877 after the deaths of his two surviving children in close succession.
Lubotsky Trio - Trio Fuer Streicher Nr. 4 F-dur G
1. Allegro Molto
2. Lento Con Espressione
3. Tempo Di Minuetto
Lubotsky Trio - Trio Fuer Streicher Nr. 2 Es-dur G
1. Allegro Maestoso
2. Andante Grazioso
3. Allegro Molto
Lubotsky Trio - Trio Fuer Streicher Nr. 5 G-moll G
1. Adagio
2. Rondo: Allegro
3. Tempo Di Minuetto
Lubotsky Trio - Trio Fuer Streicher Nr. 6 C-dur G
1. Allegro Assai
2. Larghetto
3. Presto
I. Allegro Appasionato
Ii. Andante Un Poco Adagio
Iii. Alegretto Grazioso
Iv. Vivace
No.1 Gestillte Sehnsucht
No.2 Geistliches Wiegenlied
I. Allegro Amabile
Ii. Allegro Appasionato
Iii. Andante Con Moto
This new recording contains Brahms’ complete music in which the viola
plays a solo part: the two Sonatas Op. 120 and the 2 Gesänge Op. 91, for
alto, viola and piano.
Brahms’ two viola sonatas are masterworks of his late style: the perfect
handling of the sonata form sets the structure for autumnal
reminiscenses and melancholic introspection, alternated by either
passionate or tender interludes.
Beautiful performances by violist Luca Sanzo and pianist Maurizio
Paciariello, who made an excellent recording of Hindemith’s Viola
Sonatas for Brilliant Classics (BC94782): “Strong performance….a real
winner” (Musicweb).
A special treat is the voice of Sara Mingardo in the Zwei Gesänge, one of
the foremost altos of today, who sung with Claudio Abbado, Riccardo
Chailly, Myung-Whun-Chung, Rinaldo Alessandrini.
Płyta 1.
Veen, Jeroen Van - November I/iv
1. Part 1
2. Part 2
3. Part 3
4. Part 4
5. Part 5
6. Part 6
Płyta 2.
Veen, Jeroen Van - November Ii/iv
1. Part 7
2. Part 8
3. Part 9
4. Part 10
5. Part 11
6. Part 12
Płyta 3.
Veen, Jeroen Van - November Iii/iv
1. Part 13
2. Part 14
3. Part 15
4. Part 16
5. Part 17
6. Part 18
Płyta 4.
Veen, Jeroen Van - November Iv/iv
1. Part 19
2. Part 20
3. Part 21
4. Part 22
5. Part 23
6. Part 24
Płyta 5.
Veen, Jeroen Van - Two Pages
Veen, Jeroen Van - Music In Fifths
Veen, Jeroen Van - Music In Contrary Motion
Płyta 6.
Veen, Jeroen Van - Organ & Silence
1. Before The Silence
2. Around The Silence
3. Within The Silence
4. Through The Silence
5. Against The Silence
6. For The Silence
7. Toward The Silence
8. Into The Silence
Veen, Jeroen Van - Block Design
Veen, Jeroen Van - Tilework (Fuer Klavier)
Veen, Jeroen Van - Tango
Płyta 7.
Veen, Jeroen Van - A Song
Veen, Jeroen Van - Nostalgia For The Southern Cros
Veen, Jeroen Van - The Days Run Away
Veen, Jeroen Van - Two Persian Miniatures
Veen, Jeroen Van - The Fall Of Quang Tri
Płyta 8.
Veen, Jeroen Van - Keyboard Studies
Nr. 1
Nr. 2
Veen, Jeroen Van - Children On The Hill
Veen, Jeroen Van - Komposition 1960 Nr. 7
A wonderful selection of concertos and other works featuring the flute from the 18th and 19th centuries, this box showcases 14 composers who championed the flute, each in their own way, with refined and idiomatic music for the instrument. Vivaldi and Alessandro Scarlatti (father in the musical Scarlatti family) were active during the 1720s, an era of transition from the end-blown recorder to the more powerful and easily tuned side-blown transverse flute common today. The works in this set by Scarlatti include concertos for both, while the modern flute is the star of the remaining music, from Vivaldi’s complete Op.10 concertos through to the fine F minor concerto by Büchner, a 19th-century German composer active in Russia.
C.P.E Bach, Benda and Quantz all served in the court of Frederick the Great – a gifted amateur flute player who demanded works for his instrument from the musicians in his employ – and this accounts for the great contribution these three composers made to the repertoire. From later in the 18th century we have the inventive and idiomatic flute music of Mozart, along with that of several of his contemporaries, Germans Danzi and Hoffmeister, the Bohemian Rosetti, and the Frenchman Devienne, whose worthy music was thankfully revived in the 1960s by Jean-Pierre Rampal. Joining Büchner in the 19th century are the Italian Mercadante and Swiss-born Du Puy who was active in Scandinavia. Both noted opera composers, their sense for breath and melodic line no doubt informed their fine flute music.
Soloists of international calibre and renown perform with equally noteworthy ensembles in recordings spanning four decades: from Patrick Gallois’s recent outings in Sweden (Devienne) and Finland (Mercadante) and Ginevra Petrucci’s renditions of Du Puy and Büchner with Milan’s acclaimed Pomeriggi Musicali to timeless interpretations from Johannes Walter and the Staatskapelle Dresden (Mozart), Machiko Takahashi with the Concertgebouw Chamber Orchestra, and Hungarian virtuosos András Adorján (Benda, Danzi) and János Szebenyi (Hoffmeister, Rosetti).
Authentic performance is also represented in this 12CD set, with Mario Folena joining Vivaldi specialists Federico Guglielmo and L’Arte dell’Arco, and Federico Maria Sardelli and Ugo Galasso soloing on both flute and recorder with Modo Antiquo – all on period instruments. Iceland’s Nordic Affect period ensemble features Georgia Browne in flute music by Abel, who wrote his chamber works for his pioneering London subscription concerts, organised with his friend J.C. Bach.
Another special feature in this treasure box of flute gems is Mary Oleskiewicz’s world premiere recording on Baroque transverse flute of four concertos by Quantz, a composer synonymous with the flute for his important contributions to the instrument’s pedagogy, technology and repertoire.
This 12 CD set contains a generous collection of solo concertos for the most popular of wind instruments, the flute.
Traversing more than two centuries the collection presents concertos by the great Baroque Masters Vivaldi, C.P.E. Bach and Alessandro Scarlatti, continuing into the classical era with concertos by Abel, Mozart, Benda, Danzi, Hoffmeister, Rosetti and Quantz, and finally arriving in the romantic era with Devienne, Mercadante, Dupuy and Büchner.
Performed by world famous flutists such as Patrick Gallois, András Adorján and Ginevra Petrucci.
A treasure trove of the known and lesser known, a feast of sparkling, melodious and brilliant flute concertos for both the serious collector and the classical starter!
Recorded between 1975 and 2014.
Contains liner notes by Philip Borg-Wheeler.
Płyta 1.
Porqueddu, Cristiano - Kurze Etueden Fuer Gitarre
Nr. 1 Sosegado
Nr. 2 Danzante
Nr. 3 Enigmatico
Nr. 4 Inquieto
Nr. 5 Festivo
Nr. 6 Melanconico
Nr. 7 Reflexivo
Nr. 8 Agitado
Porqueddu, Cristiano - Einfache Stuecke Fuer Gitar
Nr. 1 Intrada
Nr. 2 Melody
Nr. 3 Dance
Nr. 4 Ballad
Nr. 5 Snowflakes
Nr. 6 Desert
Nr. 7 Five Crotchets
Nr. 8 Dialogue
Nr. 9 Elephant
Nr. 10 Waltz
Nr. 11 Without Landscape
Nr. 12 Ceremony
Nr. 13 Ukrainian Folk Song
Nr. 14 Carcassi
Nr. 15 Etude
Nr. 16 Humoresque
Nr. 17 The Sailor's Fate
Nr. 18 Jota
Nr. 19 Polka
Nr. 20 Jig
Nr. 21 Dotted Line
Nr. 22 Choros
Nr. 23 Aria
Nr. 24 Amphion
Płyta 2.
Porqueddu, Cristiano - Einfache Praeludien Fuer Gi
Nr. 1 The Harmony Of Piece
Nr. 2 Counterpoints 1
Nr. 3 Calm Intervals
Nr. 4 Counterpoints 2
Nr. 5 Canto
Nr. 6 Corsa
Nr. 7 Llanura
Nr. 8 Littles Barres
Nr. 9 Cantilena
Nr. 10 Arpeggios
Porqueddu, Cristiano - Einfache Stuecke Fuer Gitar
Nr. 1 Chant Lointain
Nr. 2 Ostinato
Nr. 3 Sarabande
Nr. 4 Aria
Nr. 5 Petite March Militaire
Nr. 6 Polonaise
Nr. 7 Tarentelle
Nr. 8 En Passant
Nr. 9 Toccata
Nr. 10 Intermezzo
Nr. 11 Serenades
Nr. 12 Triolets
Boncompagni, Francesca - Streichquartett C-moll Op
1. Prestissimo
2. Tempo Di Minuetto - Trio
3. Flebile
4. Prestissimo
Boncompagni, Francesca - Stabat Mater Op. 61 G 532
Stabat Mater
Cujus Animam
Quae Moerebat
Quis Est Homo
Pro Peccatis
Eia Mater
Tui Nati Vulnerati
Virgo Virginum
Fac Ut Portem
Fac Me Plagis
Quando Corpus
? The Stabat Mater is one of the most moving liturgical works, meditating
upon the suffering of Mary during the crucifixion of her Son. It draws forth
the deepest human emotions of anxiety, desolation and grief.
? Boccherini, known for his vast oeuvre of instrumental chamber music,
wrote his Stabat Mater for one solo soprano and string ensemble, an
intimate setting for this emotional text.
? Soprano Francesca Boncompagni is a specialist in the Baroque repertoire,
she worked with William Christie, Philippe Herreweghe, Ottavio Dantone
and Federico Maria Sardelli. She recorded for DHM, Virgin, Pentatone and
Brilliant Classics.
? The Ensemble Symposium plays original instruments, and give a wonderful
performance of the String Quartet Op. 41 No. 1.
? Liner notes in English and Italian, sung texts included.
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