{"title":"Genre: Classical Artists","description":null,"products":[{"product_id":"nick-cave-nicholas-lens-l-i-t-a-n-i-e-s","title":"Nicholas Lens \/ Nick Cave - L.I.T.A.N.I.E.S [2LP]","description":"\u003cp\u003e\u003cspan\u003eL.I.T.A.N.I.E.S is a project featuring the lyrics of Australian polymath Nick Cave matched with the music of Belgian composer Nicholas Lens. Having collaborated on 2014's Shell Shock in 2014, they joined forces again during the lockdown to create this new work. Inner peace and stillness were the initial inspiration for the minimalistic, at times trance-like music, featuring Lens's daughter Clara-Lane on vocals. 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The colourful incidental music for The Shot - reconstructed by Mark Fitz-Gerald from the original piano scores - vividly evokes the raucous life of experimental youth theatre in Leningrad during the late 1920s. This carefree world had changed dramatically by 1934 when Shostakovich completed his music for The Human Comedy - a work that creates a charming atmosphere of Parisian escapism. Discarded movements from his first opera The Nose form an entire orchestral suite. 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Allegro\u003c\/li\u003e\n\u003cli\u003eShot - Incidental music to a verse comedy by Aleksandr Bezymensky, Op. 24~Episode 10 - Allegro\u003c\/li\u003e\n\u003cli\u003eShot - Incidental music to a verse comedy by Aleksandr Bezymensky, Op. 24~Episode 11 - Allegro - Allegretto\u003c\/li\u003e\n\u003cli\u003eShot - Incidental music to a verse comedy by Aleksandr Bezymensky, Op. 24~Dun'dya's Lament (Romance) - Allegro moderato\u003c\/li\u003e\n\u003cli\u003eHuman Comedy - Incidental music to a play adapted from Balzac by Pavel Sukhotin, Op. 37~No.\u003c\/li\u003e\n\u003cli\u003eIntroduction\u003c\/li\u003e\n\u003cli\u003eHuman Comedy - Incidental music to a play adapted from Balzac by Pavel Sukhotin, Op. 37~No.\u003c\/li\u003e\n\u003cli\u003eOverture\u003c\/li\u003e\n\u003cli\u003eHuman Comedy - Incidental music to a play adapted from Balzac by Pavel Sukhotin, Op. 37~No.\u003c\/li\u003e\n\u003cli\u003eThe Students' Song\u003c\/li\u003e\n\u003cli\u003eHuman Comedy - Incidental music to a play adapted from Balzac by Pavel Sukhotin, Op. 37~No.\u003c\/li\u003e\n\u003cli\u003eWaltz\u003c\/li\u003e\n\u003cli\u003eHuman Comedy - 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Entr'acte (\u003c\/li\u003e\n\u003cli\u003eVyborg Side - Film Music, Op. 50 - March of the Anarchists\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 747313459070\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Naxos\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Naxos","offers":[{"title":"Default Title","offer_id":46906784612578,"sku":"69714","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4446478-3422666.jpg?v=1759970283"},{"product_id":"pre-order-clare-hammond-tippett-britten-walton-cd","title":"Clare Hammond - Tippett Britten \u0026 Walton [CD]","description":"\u003cp\u003eThree major works for piano and orchestra by English composers, all eschewing the traditional nineteenth-century model of a bravura virtuoso soloist pitted against an orchestra, in distinctive ways. Together with the BBC Symphony Orchestra under George Vass, Clare Hammond presents an original programme that provides a unique perspective on how the piano concerto reflected musical currents in mid-twentieth-century Britain.William Walton's Sinfonia Concertante for Orchestra with Piano Obbligato began as a ballet score. After it was rejected by Sergei Diaghilev, Walton arranged his scoreinto a leaner, more direct and more effective work thatreveals the influences of Stravinsky, Poulenc, Rimsky-Korsakov, Borodin and, at times, Elgar. Benjamin Britten's Diversions was commissioned by the left-hand pianist Paul Wittgenstein. Enthusiastic about the challenge of writing for the left hand, Britten devised a work in variation form; he did not seek to conceal the soloist's one-handedness, but revelled in it while still retaining emotion and grandeur. Michael Tippett's Piano Concerto completes the programme. Inspired by a performance of Beethoven's Fourth Concerto, Tippett was convinced that a contemporary concerto could be written, 'in which the piano is used once again for it's poetic capabilities'. In his work, the orchestra does not merely accompany; the principal players shine when they get their opportunity for solos or close dialogue with the soloist.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSinfonia Concertante for Orchestra with Piano Obbligato~I. Maestoso\u003c\/li\u003e\n\u003cli\u003eSinfonia Concertante for Orchestra with Piano Obbligato~II. Andante comodo\u003c\/li\u003e\n\u003cli\u003eSinfonia Concertante for Orchestra with Piano Obbligato~III. Allegro vivo, sempre scherzando\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Theme\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation I. Recitative\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation II. Romance\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation III. March\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation IV. Arabesque\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation V. Chant\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation VI. Nocturne\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation VII. Badinerie\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation VIII. Burlesque\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation IXa. Toccata I\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation IXb. Toccata II\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Variation X. Adagio\u003c\/li\u003e\n\u003cli\u003eDiversions, Op. 21 for piano (left hand) and orchestra~Finale (Variation XI). Tarantella\u003c\/li\u003e\n\u003cli\u003eConcerto for Piano and Orchestra~I. Allegro non troppo\u003c\/li\u003e\n\u003cli\u003eConcerto for Piano and Orchestra~Il. Molto lento e tranquillo\u003c\/li\u003e\n\u003cli\u003eConcerto for Piano and Orchestra~III. Vivace\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 7318599926049\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Bis\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Bis","offers":[{"title":"Default Title","offer_id":46906784776418,"sku":"41610","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4445209-3422660.jpg?v=1759970286"},{"product_id":"pre-order-david-childs-still-glides-the-stream-contemporary-works-for-e-cd","title":"David Childs - Still Glides The Stream - Contemporary Works For E [CD]","description":"\u003cp\u003eThis programme showcases the euphonium's warmth, emotive quality and astonishing agility with a vibrant tapestry of contemporary chamber music that amply demonstrates it's unique character. From the jazz-inflected grooves of Simon Parkin's Skunk to meditative reflections such as Einaudi's renowned evocation of sunsets in Due Tramonti, this collection brings together composers from diverse backgrounds whose works reimagine the sonic potential of this versatile instrument. Whether exploring nostalgia or joy, virtuoso fireworks or serene tranquillity, each piece contributes to a compelling narrative of the euphonium's modern journey.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSkunk\u003c\/li\u003e\n\u003cli\u003eDue Tramonti\u003c\/li\u003e\n\u003cli\u003eStill Glides the Stream - Sonata for Euphonium and Piano~I. With Passionate Energy\u003c\/li\u003e\n\u003cli\u003eStill Glides the Stream - Sonata for Euphonium and Piano~II. Scherzo Brilliante\u003c\/li\u003e\n\u003cli\u003eStill Glides the Stream - Sonata for Euphonium and Piano~III. 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Gigue Irlandaise: Allegro spiritoso\u003c\/li\u003e\n\u003cli\u003eSong of the Sea\u003c\/li\u003e\n\u003cli\u003eTriptych, Op. 162\u003c\/li\u003e\n\u003cli\u003ePeace on Earth\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 747313468478\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Naxos\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Naxos","offers":[{"title":"Default Title","offer_id":46906785005794,"sku":"145334","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4446479-3422667.jpg?v=1759970286"},{"product_id":"pre-order-da-vinci-ensemble-alfano-con-for-violin-vc-pno-piano-quintet-cd","title":"Da Vinci Ensemble - Alfano: Con For Violin Vc \u0026 Pno Piano Quintet [CD]","description":"\u003cp\u003eFranco Alfano was born in Naples on 8 March 1875 and soon showed musical aptitude, studying piano with Alessandro Longo at the Conservatorio San Pietro a Majella in Naples and composition with Camillo de Nardis. In 1895 he moved to Leipzig to study with Salomon Jadassohn, where he was able to undertake deeper study of Bach and Wagner, as well as Busoni, Richard Strauss and other composers still little known in Italy. In the summer of 1899 he moved to Paris, encountering an even more stimulating environment where musical debate between such names as Massenet, Bizet, Charpentier and Debussy aroused his curiosity. His long career saw it's greatest successes in the field of opera, his most successful being 1904's Resurrection, based on Leo Tolstoy's novel of the same name, L'ombra di Don Giovanni (1913 rev. 1941), La leggenda di SakÃ¹ntala (1921 rev. 1952, his masterpiece) and Cyrano de Bergerac (1936), along with eight other operas. In spite of this prolific operatic output, Alfano owes his fame today mainly to his completion of Puccini's Turandot on the basis of notes left by the deceased composer. The decision to have Alfano complete the opera was taken by Arturo Toscanini and the publisher Ricordi because of affinities that Alfano's SakÃ¹ntala had with the unfinished finale of Turandot. Alfano died in San Remo on 17 October 1954.Begun in 1929 and quickly completed, the Concerto in A for Violin, Cello \u0026amp; Piano was performed on 31 May 1930 at the Accademia di Santa Cecilia with Luca Ballerini (violin) and Benedetto Mazzacurati (cello) along with Alfano himself on piano. It had a warm critical reception for it's clarity, expressive intensity, powerful construction and 'it's effusive cantabile and substantial episodes', all distinctive traits of the composer. Particularly appreciated was Alfano's use of the ancient modes - a different one for each movement: Phrygian for the first ('Con dolce malinconia'), Dorian for the second ('Allegretto fantastico') and Hypolydian for the last ('Presto, con grande vigoria'). This concerto also displays absolutely masterful writing for the three instruments, which take up a truly animated discourse, each with a defined role and interesting individual timbral solutions and combinations.  Alfano's final chamber music composition, the Piano Quintet in A flat for strings and piano dates from 1945. Written after a ten-year gap in Alfano's chamber music output, the difference between the trio on this album and this piano quintet is evident. He uses less elaborate solutions in the later work, in fact, including doublings and emphatic unison tutti at resolutions and cadences. Ornamental material is more conspicuous here than before, lending the work a certain Art Nouveau flavor. Alfano displays a desire to return to a stylistic idea from the past, as of one consciously wanting to fall back on old certainties, idealizing and emphasizing them while distinctive Alfano traits remain evident, such as the genuineness of the lyrical impulse and the quality of the technical craftsmanship.Other information:- Recorded December 2023 in Bernareggio, Italy- Bilingual booklet in English and Italian contains notes compiled by Marcello Miramonti \u0026amp; Enrico Graziani and profiles of the ensemble and it's musicians- Franco Alfano (1875-1954) was an Italian composer best known for completing Puccini's opera Turandot after the composer's death. His own works, particularly his chamber music, show a deeply personal lyricism and rich harmonic language. Among these, his Concerto for Violin, Cello, and Piano and Piano Quintet stand out as exceptional examples of his late-Romantic style infused with Impressionist and modernist influences.- The Concerto for Violin, Cello, and Piano, composed in the 1930s, blends lyrical expressiveness with intricate counterpoint, weaving dense textures while maintaining clarity between the three instruments. The dialogues between the violin, cello, and piano are filled with emotional intensity and virtuosic passages.- His Piano Quintet, composed in 1945, is marked by soaring melodies, rich harmonic color, and dramatic contrasts, the piano playing an integral role rather than merely accompanying the strings. Alfano's harmonic language in this work is both forward-thinking and rooted in late-Romantic tradition.- Played with passion and commitment by the Italian Davinci Ensemble.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eConcerto in a for Violin, Cello ; Piano-I. Con Dolce Malinconia\u003c\/li\u003e\n\u003cli\u003eConcerto in a for Violin, Cello ; Piano-II. Allegretto Fantastico\u003c\/li\u003e\n\u003cli\u003eConcerto in a for Violin, Cello ; Piano-III. Presto, Con Grande Vigoria\u003c\/li\u003e\n\u003cli\u003ePiano Quintet in a Flat-I. Largo\u003c\/li\u003e\n\u003cli\u003ePiano Quintet in a Flat-II. Moderato Con Grazia\u003c\/li\u003e\n\u003cli\u003ePiano Quintet in a Flat-III. Allegro\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5028421973104\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brilliant Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Brilliant Classics","offers":[{"title":"Default Title","offer_id":46906785202402,"sku":"15645","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4426894-3394342.jpg?v=1759970289"},{"product_id":"pre-order-daniele-ruggieri-caselli-luigi-schneider-4-flute-sons-cd","title":"Daniele Ruggieri  \/ Caselli,Luigi - Schneider: 4 Flute Sons [CD]","description":"\u003cp\u003eWorld premiere recordings of beguiling flute sonatas written on the cusp of the early-Romantic era in Germany.Almost completely forgotten in our own time, Johann Christian Friedrich Schneider (1786-1853) once enjoyed substantial fame as a pianist, composer, teacher and musical organiser. He was born in 1786, 16 years after Beethoven, in the same year as Weber and the Brothers Grimm, and received his first musical education from his father. His talent was evident from an early age, as he learnt the piano and several other instruments. Breitkopf \u0026amp; Hartel published his Op.1, a set of piano sonatas, in 1804; he went to study in Leipzig, where he became organist of the Thomaskirche, and settled there for his 20s, giving the local premiere of Beethoven's 'Emperor' Concerto in 1811. A standard German work of reference from 1838 cites Schneider 'among the living German masters of music'. From the evidence of these four sonatas for flute and piano, it is hard to see why his name should have so comprehensively vanished from view. Schneider composed the first of them, his Op.18, in 1808, and it follows the same Classical exemplar as Beethoven's first eight violin sonatas, and all of Mozart's in being written for a pianist with an accompanying melody instrument rather than the other way around. Over the course of the following three sonatas, the flautist becomes more independent, and his Op.61 Sonata of 1827 requires a virtuoso. Schneider wrote the first three sonatas in a four-movement form, breaking ground in this way by elevating the flute sonata from it's previous association with pretty variation sets and pot-pourris of operatic themes. This originality extends to the finales of all four sonatas - notably the Second, which is cast in G minor against the prevailing G major tonality (foreshadowing in this way the 'Italian' Symphony of Mendelssohn). In his booklet essay for this new recording, the flautist Daniele Ruggeri pays tribute to the 'simple but bewitching' trios of each sonata, and to Schneider's 'profound understanding of the expressive character of the different registers of the flute' in the slow movements. Based in Venice, Ruggeri has played across the world and recorded for many major labels. With this album of Schneider he revives an unjustly neglected contemporary of Beethoven and Schubert, and does so on an instrument of the period.- Johann Christian Friedrich Schneider was a German composer, conductor, organist, and pianist of the early Romantic period. Born in Saxony, he was a highly respected musician during his lifetime, known for his contributions to church music, orchestral works, and chamber compositions. He earned his place in history as the pianist premiering Beethoven's 5th piano concerto.- Schneider's flute sonatas are elegant and expressive works that reflect the stylistic transition from the Classical to the Romantic era. Blending lyrical melodies with intricate harmonic textures, the sonatas are technically challenging and musically rewarding for performers. The flute sonatas follow the traditional sonata form, typically structured in three or four movements, combining virtuosic passages with expressive slow sections.- Played by Italian flutist Daniele Ruggieri and pianist Luigi Caselli.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSonata in F for Piano and Flute Op. 61-I. Allegro Vivace\u003c\/li\u003e\n\u003cli\u003eSonata in F for Piano and Flute Op. 61-II. Larghetto\u003c\/li\u003e\n\u003cli\u003eSonata in F for Piano and Flute Op. 61-III. Allegretto\u003c\/li\u003e\n\u003cli\u003eSonata in E minor for Piano and Flute Op. 35-I. Allegro Con Spirito\u003c\/li\u003e\n\u003cli\u003eSonata in E minor for Piano and Flute Op. 35-II. Scherzo-Trio-Scherzo Da Capo\u003c\/li\u003e\n\u003cli\u003eSonata in E minor for Piano and Flute Op. 35-III. Andante Con Moto\u003c\/li\u003e\n\u003cli\u003eSonata in E minor for Piano and Flute Op. 35-IV. RondÃ² Allegretto Alla Polacca\u003c\/li\u003e\n\u003cli\u003eSonata in G for Piano and Flute Op. 33-I. Allegro Vivace\u003c\/li\u003e\n\u003cli\u003eSonata in G for Piano and Flute Op. 33-II. Larghetto Con Espressione\u003c\/li\u003e\n\u003cli\u003eSonata in G for Piano and Flute Op. 33-III. Scherzo Allegro Assai-Trio-Scherzo Da Capo\u003c\/li\u003e\n\u003cli\u003eSonata in G for Piano and Flute Op. 33-IV. Finale Allegretto\u003c\/li\u003e\n\u003cli\u003eGrande Sonate Brillante in D for Piano with Accompaniment of a Flute Obbligato Op. 19-I. Allegro Maestoso\u003c\/li\u003e\n\u003cli\u003eGrande Sonate Brillante in D for Piano with Accompaniment of a Flute Obbligato Op. 19-II. Andante Cantabile\u003c\/li\u003e\n\u003cli\u003eGrande Sonate Brillante in D for Piano with Accompaniment of a Flute Obbligato Op. 19-III. Scherzo-Trio-Scherzo Da Capo\u003c\/li\u003e\n\u003cli\u003eGrande Sonate Brillante in D for Piano with Accompaniment of a Flute Obbligato Op. 19-IV. Finale Presto\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5028421970608\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brilliant Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Brilliant Classics","offers":[{"title":"Default Title","offer_id":46906785431778,"sku":"31375","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4426893-3394340.jpg?v=1759970291"},{"product_id":"pre-order-queenz-of-piano-piano-cosmos-cd","title":"Queenz Of Piano - Piano Cosmos [CD]","description":"\u003cp\u003eA bold and boundless journey through classical and pop music - full of surprises, emotion, and imagination. With Piano Cosmos, QUEENZ OF PIANO launch a dazzling new sound universe that redefines what piano music can be. Timeless works by Bach, Beethoven, and Debussy meet the energy of Daft Punk, Hans Zimmer, Coldplay, and Lady Gaga - in virtuosic and refreshingly modern arrangements. The duo effortlessly blends classical music's elegance with pop's pulse, creating something entirely new: music that bridges centuries, genres, and audiences. Each track opens up a new soundscape - from the cinematic depth of Interstellar X Moonlight Sonata, to the electrifying fusion of Aerodynamic Bach, to the shimmering textures of Clair de Lune Variations. Atmospheric synths, minimalist beats, and breathtaking piano technique come together in a genre-defying album that invites listeners to experience piano music in an entirely new way. With over 50 concerts planned across Germany in 2025, QUEENZ OF PIANO are bringing their Piano Cosmos live to the stage - bold, captivating, and full of heart.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 885470037158\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Neue Meister\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Neue Meister","offers":[{"title":"Default Title","offer_id":46906785530082,"sku":"37557","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4420801-3383103.jpg?v=1759970291"},{"product_id":"pre-order-bruce-wolosoff-blue-mantra-cd","title":"Bruce Wolosoff - Blue Mantra [CD]","description":"\u003cp\u003eComposer-pianist Bruce Wolosoff describes the essence of his new album, Blue Mantra, as an engagement in multiple dialogues - between music and visual art, between the blues and chamber music, and between various moments in his creative life. The title track was inspired by a painting of the same name by his artist-wife Margaret Garrett. Similarly, Matisse Fantasies arose from seeing a charcoal drawing by the celebrated French impressionist. Blues for the New Millennium, commissioned by the Smithsonian Institution to commemorate the turn of the century, expresses a \"before\" and \"after\", and marked a turning point in Bruce's compositional style as he embraced a more directly lyrical, melodic compositional voice. All three works are scored for clarinet, piano and varied strings, and revel in bluesy lyricism alongside Bruce's formidable pianism and the virtuosity of his collaborators: clarinettist Narek Arutyunian, violinists Deborah Buck and Michelle Ross, and cellist Clarice Jensen.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMatisse Fantasies~I. Femme assise en robe longue\u003c\/li\u003e\n\u003cli\u003eMatisse Fantasies~II. La Violoniste Ã  la fenÃªtre\u003c\/li\u003e\n\u003cli\u003eMatisse Fantasies~III. La Danse\u003c\/li\u003e\n\u003cli\u003eBlues for the New Millennium\u003c\/li\u003e\n\u003cli\u003eBlue Mantra\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 822252281026\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Avie\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Avie","offers":[{"title":"Default Title","offer_id":46906785595618,"sku":"42415","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4445208-3422691.jpg?v=1759970292"},{"product_id":"pre-order-konstantinos-destaunis-ravel-complete-pno-works-cd","title":"Konstantinos Destaunis - Ravel: Complete Pno Works [CD]","description":"\u003cp\u003eKonstantinos Destounis has made a speciality of Ravel's piano works, playing them in concert on many occasions including a two-night survey of the whole solo-piano output, at the conservatoire in Athens last November. He made this recording around the same time, and captures the sense of music on the wing, still wet on the page from the pen of it's fastidious creator. Born in Athens in 1991, Destounis studied in Thessaloniki and at the Mozarteum in Salzburg before taking his Masters at the Royal College of Music in London. He competed with distinction in many European piano competitions, winning First Prize at the 2015 Murcia International Piano Competition and second prize at the Liszt Society Piano Competition held in London that year. On this album, his first major recording, he reveals himself to be a compelling interpreter of music which still sets a benchmark among pianists for technical finesse and musicianship. For Ravel, as for Beethoven and Stravinsky, the craft of composition was an essentially pianistic endeavour. While his image has become fixed in popular reception by masterpieces of orchestral colour such as Bolero, La valse and Daphnis et Chloe, the composer regarded the processes of composition and orchestration as separate. He remarked to his student Vaughan Williams that 'without a piano one cannot invent new harmonies'.Ravel paid tribute to his teacher Gabriel Faure as 'the origin of whatever pianistic innovation my works may be thought to contain'. All the same, the pianistic influence of Saint-Saens makes it's presence felt too, and Chabrier in the early pieces. Perhaps Ravel becomes more himself in each successive piece, from the Serenade Grotesque of 1892-93 through to Le tombeau de Couperin of 1914-17, but the process is one of refinement rather than radical transformation, taking in the darkly disturbing imagery of Gaspard de la nuit, which rapidly assumed totemic significance within the modern piano literature.- The year 2025 marks the 150th anniversary of French composer Maurice Ravel (1875-1937). Piano Classics is proud to issue a new recording of his complete piano works, played by the dazzling young Greek pianist Konstantinos Destounis.- Ravel's piano music includes works of striking virtuosity, poetic delicacy, and rhythmic complexity. Jeux d'eau (1901) introduced shimmering water-like effects, influencing later Impressionist composers. His Miroirs (1904-1905), a five-piece suite, features the evocative Une barque sur l'ocean and the mesmerizing Alborada del gracioso, blending Spanish rhythms with intricate textures. Gaspard de la nuit (1908), one of the most technically demanding piano works, includes the infamous Scarbo, a nightmarish, virtuosic tone poem. Ravel also embraced neoclassicism, as seen in Le Tombeau de Couperin (1914-1917), a Baroque-style suite dedicated to World War I soldiers. His Valses nobles et sentimentales (1911) pays homage to Schubert while infusing modern harmonies. Other notable works include Pavane pour une infante defunte and Menuet sur le nom d'Haydn.- Konstantinos Destounis was born in 1991 in Athens, Greece. By winning several international competitions he quickly builds his career, playing in important venues around the world. His pianism is of the highest order, a virtuosity which doesn't want to impress for it's own sake. He possesses a keen sense for the subtle harmonics, colours and atmospheres of these works of genius. He plays each work organically, bringing out the inner logic, power and beauty, eschewing all extravagance or exhibitionism (Ravel himself wanted his works \"to be played, not interpreted\").\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGaspard de la Nuit, M. 55~I. Ondine\u003c\/li\u003e\n\u003cli\u003eGaspard de la Nuit, M. 55~II. Le Gibet\u003c\/li\u003e\n\u003cli\u003eGaspard de la Nuit, M. 55~III. Scarbo\u003c\/li\u003e\n\u003cli\u003eMiroirs, M. 43~I. Noctuelles\u003c\/li\u003e\n\u003cli\u003eMiroirs, M. 43~II. Oiseaux Tristes\u003c\/li\u003e\n\u003cli\u003eMiroirs, M. 43~III. Une Barque sur l' OcÃ©an\u003c\/li\u003e\n\u003cli\u003eMiroirs, M. 43~IV. Alborada del Gracioso\u003c\/li\u003e\n\u003cli\u003eMiroirs, M. 43~V. La VallÃ©e des Cloches\u003c\/li\u003e\n\u003cli\u003eValses Nobles et Sentimentales, M. 61\u003c\/li\u003e\n\u003cli\u003eJeux d' Eau, M. 30\u003c\/li\u003e\n\u003cli\u003eSonatine, M. 40~I. ModÃ©rÃ©\u003c\/li\u003e\n\u003cli\u003eSonatine, M. 40~II. Mouvement de Menuet\u003c\/li\u003e\n\u003cli\u003eSonatine, M. 40~III. AnimÃ©\u003c\/li\u003e\n\u003cli\u003eTombeau de Couperin, M. 68~I. PrÃ©lude\u003c\/li\u003e\n\u003cli\u003eTombeau de Couperin, M. 68~II. Fugue\u003c\/li\u003e\n\u003cli\u003eTombeau de Couperin, M. 68~III. Forlane\u003c\/li\u003e\n\u003cli\u003eTombeau de Couperin, M. 68~IV. Rigaudon\u003c\/li\u003e\n\u003cli\u003eTombeau de Couperin, M. 68~V. Menuet\u003c\/li\u003e\n\u003cli\u003eTombeau de Couperin, M. 68~VI. Toccata\u003c\/li\u003e\n\u003cli\u003ePavane pour une Infante DÃ©funte, M. 19\u003c\/li\u003e\n\u003cli\u003eMenuet Antique, M. 7\u003c\/li\u003e\n\u003cli\u003eMenuet sur le Nom de Haydn, M. 58\u003c\/li\u003e\n\u003cli\u003eA la ManiÃ¨re de, M. 63~Borodine\u003c\/li\u003e\n\u003cli\u003eA la ManiÃ¨re de, M. 63~Chabrier\u003c\/li\u003e\n\u003cli\u003eSÃ©rÃ©nade Grotesque, M. 5\u003c\/li\u003e\n\u003cli\u003ePrÃ©lude, M. 65\u003c\/li\u003e\n\u003cli\u003eMenuet, M. 42\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5029365103367\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Piano Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Piano Classics","offers":[{"title":"Default Title","offer_id":46906785693922,"sku":"118620","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4426948-3394352.jpg?v=1759970293"},{"product_id":"pre-order-hyelim-kim-raff-complete-pno-suites-vol-1-cd","title":"Hyelim Kim - Raff: Complete Pno Suites Vol. 1 [CD]","description":"\u003cp\u003eJoachim Raff was a largely self-taught composer whose style stands somewhere between the German traditionalism of Schumann and the newer school of Wagner. Raff composed seven Suites for Piano, a form he preferred to the sonata, and this provided him with greater freedom as a composer, resulting in his most substantial contribution to the piano literature. This is reflected in the Mendelssohn-like lyricism of the First Suite; contrasts between Baroque and Romantic styles in the Third Suite, a piece admired by Liszt; and more nationalist inclinations in the memorably melodic Fifth Suite.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePiano Suite No. 1 in A Minor, Op. 69~I. Preludio\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 1 in A Minor, Op. 69~II. Mazurka\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 1 in A Minor, Op. 69~III. Toccatina\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 1 in A Minor, Op. 69~IV. Aria\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 1 in A Minor, Op. 69~V. Fuga\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 3 in E Minor, Op. 72~I. Preludio\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 3 in E Minor, Op. 72~II. Minuetto\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 3 in E Minor, Op. 72~III. Toccata\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 3 in E Minor, Op. 72~IV. Romanza\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 3 in E Minor, Op. 72~V. Fuga\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 5 in G Minor, Op. 162~I. Elegie in Sonatenform (Elegy in Sonata Form)\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 5 in G Minor, Op. 162~II. Volkslied mit Variationen (Folksong with Variations)\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 5 in G Minor, Op. 162~III. LÃ¤ndler\u003c\/li\u003e\n\u003cli\u003ePiano Suite No. 5 in G Minor, Op. 162~IV. MÃ¤rchen (Fairy Tale)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 747313995714\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Grand Piano\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Grand Piano","offers":[{"title":"Default Title","offer_id":46906785890530,"sku":"612918","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4446064-3422670.jpg?v=1759970295"},{"product_id":"pre-order-consort-of-musicke-emma-kirkby-verrijt-flammae-divinae-op-5-motets-cd","title":"Consort Of Musicke \/ Emma Kirkby - Verrijt: Flammae Divinae Op. 5: Motets [CD]","description":"\u003cp\u003eNorth and SouthThe Golden Age of the Dutch Republic, the 17th century, may have been full of splendour in the fields of trade, painting and literature, but in music the situation was far from rosy. The epicentre of musical innovation lay in Italy, whose composers were admired as supreme across Europe. While this will have hurt the pride of composers in Northern Europe and elsewhere, who disputed this supremacy publicly, in private most of them sought to benefit from their Mediterranean contemporaries, studying the latest Italian music or apprenticing themselves to Italian masters. In the Netherlands, the style of Monteverdi and other Italian composers had a profound influence on the music of Jan Baptist Verrijt, who was probably born around 1600 in Oirschot and died in Rotterdam in 1650. Together with Jan Pieterszoon Sweelinck, Verrijt is perhaps the most important Dutch composer of the 17th century, an assessment based his only surviving opus: the Flammae divinae, Op.5. It consists of 6 two-part and 12 three-part motets along with 2 three-part Mass settings. The work is believed to have been intended for use both in Roman Catholic churches in the Southern Netherlands and in clandestine Roman Catholic churches in the predominantly protestant Republic. The high level of vocal technique demanded by Verrijt would seem at first to exclude the possibility of performance by non-professional singers. However, it's known that Verrijt's Opp. 4 \u0026amp; 5 could be found in the library of Groningen's collegium musicum, a group consisting almost entirely of amateur musicians.In the Flammae divinae Verrijt displays consummate mastery in combining the liveliness of the new, Italian stile concertato with the polyphonic techniques of the old Franco-Flemish school. The music sounds imaginative and dramatic, but is simultaneously balanced and controlled. Like Claudio Monteverdi and Alessandro Grandi, for example, Verrijt enlivens his complex multi-part church music with techniques borrowed from the madrigal and from opera. For this reason, Verrijt's Opus 5 is not only of interest as an unusual expression of Roman Catholic culture in the northern Netherlands, but also as a musically intriguing opus on an international level.Other information:- Recorded May 2000, Rotterdam- Trilingual Booklet in English, Dutch and German contains liner notes by Kees Vlaardingerbroek- Jan Baptist Verrijt was, together with Jan Pieterszoon Sweelinck, perhaps the most important Dutch composer of the seventeenth century. His most important surviving work, Flammae divinae, Opus 5, consists of six two-part and twelve three-part motets along with two three-part settings for Mass, and was published in the period when Verrijt was employed as an organist by the Great Church of St Laurens in Rotterdam (1644-50).- In this work Verrijt displays consummate mastery in combining the liveliness of the new Italian stile concertato with the polyphonic techniques of the old Franco-Flemish school. The music sounds imaginative and dramatic, but is simultaneously balanced and controlled. Like Claudia Monteverdi Verrijt enlivens his complex multi-part church music with techniques borrowed from the madrigal and from opera, employing the old imitative techniques in a new way to achieve a strong emotional effect.- Performed by one of the most prominent and pioneering Early Music vocal ensembles of the 20-th century, The Consort of Musicke, featuring Emma Kirkby, and directed by Anthony Rooley.- A reissue from the NM Classics label, the label for music from The Netherlands.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFlammae Divinae Op. 5: O Mediatrix Domina\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: In Te Domine Speravi\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Quae Habitas in Hortis\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Currite, Pastores\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Vulnera Cor Meum\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Domine, Ne in Furore Tuo\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: O Dulcis Amor\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Ad Te, Dulcissime Iesu\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Ave, Dulcis Iesu\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Ah, Horrida Bella\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Vulnerasti Cor Meum\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: O Iesu Mi, Dulcissime Spes\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Fili, Ego Salomon\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Rogo Te, Dulcissime Domine Iesu Christe\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Cantate Domino Canticum Novum\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: Salve Mi Lesu\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: O Iesu, Splendor Aeternae Gloriae\u003c\/li\u003e\n\u003cli\u003eFlammae Divinae Op. 5: In Nomine Iesu\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5028421970073\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brilliant Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Brilliant Classics","offers":[{"title":"Default Title","offer_id":46906785923298,"sku":"634300","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4426892-3394337.jpg?v=1759970295"},{"product_id":"pre-order-cambridge-singers-in-the-poets-garden-cd","title":"Cambridge Singers - In The Poet's Garden [CD]","description":"\u003cp\u003eIn the Poet's Garden: Choral settings by John Rutter of Shakespeare, Wordsworth, James Weldon Johnson, Charles Causley and others. John is joined by The Cambridge Singers, Melanie Marshall, Roderick Williams, Royal Philharmonic Orchestra, Taplow Young Voices, Catrin Finch and Matthew Jorysz (solo piano) in this recording of choral works by John Rutter.I'll make me a world; London Town; Dancing Tree; Three Shakespeare Songs; When music sounds.John Rutter writes: Any composer interested in vocal and choral music is both inspired and nourished by poetry. Second only to music, words are my great love, and from my earliest years I have enjoyed seeking out poetry that seems to invite musical setting. This album brings together some of my recent choral music where the words provided the first inspiration and the music followed.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 040888014126\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Collegium\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Collegium","offers":[{"title":"Default Title","offer_id":46906785956066,"sku":"134647","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4445239-3438097.jpg?v=1759970295"},{"product_id":"pre-order-daniel-tong-stolen-dances-cd","title":"Daniel Tong - Stolen Dances [CD]","description":"\u003cp\u003eThis album is inspired by the fantastic physicality and variety of dance forms in which composers from Granados to Shostakovich excelled. There are some hidden gems as well as pieces that will be familiar to all - and they have the novelty, as transcriptions, of all having been 'stolen' from the original. These arrangements are creative, fun and often virtuosic.-Includes Shostakovich's 'Three Fantastic Dances' released in the composer's 50th death anniversary year-Includes Ravel 'Piece en forme de habanera' released in the composer's 150th birth anniversary year\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePiÃ¨ce en Forme de Habanera, M.51\u003c\/li\u003e\n\u003cli\u003eDanse Macabre, Op. 40\u003c\/li\u003e\n\u003cli\u003eEspaÃ±a, Op. 165: No.\u003c\/li\u003e\n\u003cli\u003eTango\u003c\/li\u003e\n\u003cli\u003eValse Triste\u003c\/li\u003e\n\u003cli\u003eThree Fantastic Dances, Op. 5-No.\u003c\/li\u003e\n\u003cli\u003eMarch - Allegretto\u003c\/li\u003e\n\u003cli\u003eThree Fantastic Dances, Op. 5-No.\u003c\/li\u003e\n\u003cli\u003eWaltz - Andantino\u003c\/li\u003e\n\u003cli\u003eThree Fantastic Dances, Op. 5-No.\u003c\/li\u003e\n\u003cli\u003ePolka - Allegretto\u003c\/li\u003e\n\u003cli\u003eRomanian Folk Dances, SZ.56, Bb68-No.\u003c\/li\u003e\n\u003cli\u003eJocul Cu BTA (Stick Dance)\u003c\/li\u003e\n\u003cli\u003eRomanian Folk Dances, SZ.56, Bb68-No.\u003c\/li\u003e\n\u003cli\u003eBrul (Sash Dance)\u003c\/li\u003e\n\u003cli\u003eRomanian Folk Dances, SZ.56, Bb68-No.\u003c\/li\u003e\n\u003cli\u003ePe Loc (In One Place)\u003c\/li\u003e\n\u003cli\u003eRomanian Folk Dances, SZ.56, Bb68-No.\u003c\/li\u003e\n\u003cli\u003eBuciumeana (Horn Dance)\u003c\/li\u003e\n\u003cli\u003eRomanian Folk Dances, SZ.56, Bb68-No.\u003c\/li\u003e\n\u003cli\u003ePoarga Romneasca (Romanian Polka)\u003c\/li\u003e\n\u003cli\u003eRomanian Folk Dances, SZ.56, Bb68-No.\u003c\/li\u003e\n\u003cli\u003eMarun?el (Fast Dance)\u003c\/li\u003e\n\u003cli\u003ePeer Gynt Suite No. 1, Op. 46-III. Anitra's Dance\u003c\/li\u003e\n\u003cli\u003e12 Danzas EspaÃ±olas: No.\u003c\/li\u003e\n\u003cli\u003eAndaluza\u003c\/li\u003e\n\u003cli\u003eHungarian Dance No.\u003c\/li\u003e\n\u003cli\u003eAllegro Non Assai, Woo 1\/2\u003c\/li\u003e\n\u003cli\u003eHungarian Dance No.\u003c\/li\u003e\n\u003cli\u003eAllegretto, Woo 1\/7\u003c\/li\u003e\n\u003cli\u003eSlavonic Dances, Op. 72: No. 2 in E minor - Andante Grazioso Quasi Allegretto\u003c\/li\u003e\n\u003cli\u003eSerenade in C Major, Op. 48-II. Waltz\u003c\/li\u003e\n\u003cli\u003eIt Takes Two, Op. 51F (Arr. of Tango from Symphony No.4)\u003c\/li\u003e\n\u003cli\u003eSicilienne, Op. 78\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5060216346182\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e First Hand\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"First Hand","offers":[{"title":"Default Title","offer_id":46906786054370,"sku":"128150","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4445253-3422630.jpg?v=1759970296"},{"product_id":"pre-order-jean-ballestra-luc-carrara-voci-da-hebron-cd","title":"Jean Ballestra -Luc - Carrara: Voci Da Hebron [CD]","description":"\u003cp\u003eCristian Carrara is one of the most original Italian composers of his generation. 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His second album of Robert Schumann works explores a selection of works that span a substantial part of Schumann's life. Llyr Williams' long and successful collaboration with Signum Records includes the 8-disc box-set 'A Schubert Journey' (2020), the 12-volume 'Beethoven Unbound' (2018), a 'Wagner Without Words' double album (2014) and highlights from Liszt's 'Annees de pelerinage' (2012).\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 635212092323\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Signum Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Signum Classics","offers":[{"title":"Default Title","offer_id":46906786119906,"sku":"133688","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4446496-3422651.jpg?v=1759970296"},{"product_id":"pre-order-larissa-dedova-rachmaninoff-barber-piazzolla-pno-duos-cd","title":"Larissa Dedova - Rachmaninoff Barber \u0026 Piazzolla: Pno Duos [CD]","description":"\u003cp\u003eThe piano duos presented here, all drawn from the mid-20th century, have their inspiration in dance or ballet: but thankfully, that red flag for program music - is it a hopeless prisoner of a storyline or visual narrative? - shows no sign of rising. 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Featuring baritone Ryan de Ryke, soprano Kim Jones, tenor Ryan Townsend Strand, pianist Daniel Schlosberg, and a fantastic session chamber orchestra, the album includes the world premiere recordings of three song cycles-Three Sandburg Songs, All Must End, and Myths and Accidents-as well as the first recorded excerpts from Lofstrom's opera Two Soldiers.The collaboration began in 2014 when Lofstrom met de Ryke and Schlosberg during a guest lecture. Their artistic rapport led to these deeply expressive song cycles, culminating in the revival of Two Soldiers-originally premiered in 1990 and reimagined in 2020 during the COVID pandemic with updated vocal and orchestral scoring. The opera, a sweeping tale of destiny and survival set in WWII, follows two soldiers-one Russian, one German-through a world in upheaval.Doug Lofstrom has been a creative force in American music since the 1970s. A former composer-in-residence for the Metropolis Symphony Orchestra and musical director of Free Street Theater, his works span symphonic, jazz, theater, and dance genres. He has written for the St. Louis, Atlanta, and Oregon Symphonies, Pittsburgh Ballet, and more. Vocal music has increasingly taken center stage in his work, often written for ensembles he helped form or inspire.Ryan de Ryke, praised for his versatility and rich musicality, has appeared at Aldeburgh, Aix-en-Provence, and Edinburgh festivals, with acclaimed roles in oratorio, opera, and art song. He's an alumnus of prestigious institutions including the Peabody Conservatory and Royal Academy of Music.Daniel Schlosberg, GRAMMYr-nominated pianist and composer, is a prominent voice in both classical and contemporary music. Known for championing new music and art song, he's collaborated with the Chicago Symphony Orchestra and led acclaimed projects across the U.S. and Europe. His release 40@40 with soprano Laura Strickling reached #1 on the Billboard classical chart.This compelling release is a bold presentation of new American vocal music, captured by some of today's most insightful interpreters.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 809730417429\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Divine Art\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Divine Art","offers":[{"title":"Default Title","offer_id":46906786349282,"sku":"301773","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4439305-3412832.jpg?v=1759970298"},{"product_id":"pre-order-henk-de-graaf-jan-jansen-steinmann-johann-mozart-complete-divertimenti-serenades-for-wind-cd","title":"Henk De Graaf \/ Jan Jansen  \/ Steinmann,Johann - Mozart: Complete Divertimenti \u0026 Serenades For Wind [CD]","description":"\u003cp\u003eInspired by their release earlier this summer of Mozart's 'Gran Partita', performed by a Milanese wind ensemble of principals from La Scala, Brilliant Classics here takes the excellent opportunity to combine that brand new recording of the pinnacle of Mozart's chamber music for winds with all the rest of his music in the genre, recorded for Brilliant back in the spring of 2001 by the wind soloists of the Rotterdam Philharmonic. Thus we have the leading players from two renowned orchestras breathing life into the wind music that played such a large role in the career of the Viennese genius. Mozart's chamber music for winds stems from the genre of Harmoniemusik: entertainment music that was in vogue in the second half of the 18th century named for the courtly wind ensemble of pairs of woodwinds plus horns, called Harmonie or Harmonieorchester in German-speaking countries. It's characteristic forms include the Serenades and Divertimenti. This was music that could be performed outdoors (due to the instruments' power of projection) or at informal settings such as meals (where they could be heard over lively conversation) with the musicians entertaining either themselves or an aristocratic dinner party, the so-called Tafelmusik (music for the table). Hence, Mozart was called upon often to write such works, either by wind-player friends (fellow Freemasons) or by his employers for the enrichment of courtly life.Other information:- CDs 1-6 recorded Spring 2001 in Rhoon, Netherlands; CD7 recorded December 2023 in Bernareggio, Italy - Booklet in English contains liner notes by Dr David Doughty- Composed primarily between the late 1770s and early 1780s, Mozart's Serenades and Divertimenti for Wind Instruments were mostly performed for courtly entertainment or social gatherings. In these works Mozart shows a deep understanding of wind timbres and their expressive potential. His ability to create quasi-operatic dialogues between instruments and his sensitivity to sonority make these works timeless treasures.- Among the most famous of these compositions is the Serenade No. 10 in B-flat major, K. 361, commonly known as the Gran Partita. This masterpiece, scored for 13 instruments, showcases a remarkable blend of rich harmonies, virtuosic passages, and expressive melodies, particularly in the renowned Adagio movement. The two Serenades KV 375 and 388 are strong, mature masterpieces in their genre.- Performed by the Soloists Delle Scala, and the Rotterdam Wind Players, directed by clarinetist Henk de Graaf.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 1 - I. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 1 - II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 1 - III. Adagio\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 1 - IV. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 1 - V. Rondo\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 2 - I. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 2 - II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 2 - III. Larghetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 2 - IV. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 2 - V. Rondo\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 3 - I. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 3 - II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 3 - III. Adagio\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 3 - IV. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 3 - V. Rondo\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 4 - I. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 4 - II. Larghetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 4 - III. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 4 - IV. Adagio\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 4 - V. Allegretto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 5 - I. Adagio\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 5 - II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 5 - III. Adagio\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 5 - IV. Romance\u003c\/li\u003e\n\u003cli\u003eDivertimenti K439B~Divertimento No. 5 - V. Polonaise\u003c\/li\u003e\n\u003cli\u003eDivertimento No. 6~I. Rondo. Larghetto\u003c\/li\u003e\n\u003cli\u003eDivertimento No. 6~II. Voi che sapete (Le nozze di Figaro)\u003c\/li\u003e\n\u003cli\u003eDivertimento No. 6~III. Non piÃ¹ andrai (Le nozze di Figaro)\u003c\/li\u003e\n\u003cli\u003eDivertimento No. 6~IV. LÃ  ci darem la mano (Don Giovanni)\u003c\/li\u003e\n\u003cli\u003eDivertimento No. 6~V. Vedrai, carino (Don Giovanni)\u003c\/li\u003e\n\u003cli\u003eSerenade in E Flat K375~I. Allegro maestoso\u003c\/li\u003e\n\u003cli\u003eSerenade in E Flat K375~II. Menuetto\u003c\/li\u003e\n\u003cli\u003eSerenade in E Flat K375~III. Adagio\u003c\/li\u003e\n\u003cli\u003eSerenade in E Flat K375~IV. Menuetto - Trio\u003c\/li\u003e\n\u003cli\u003eSerenade in E Flat K375~V. Allegro\u003c\/li\u003e\n\u003cli\u003eSerenade in C Minor K388~I. Allegro\u003c\/li\u003e\n\u003cli\u003eSerenade in C Minor K388~II. Andante\u003c\/li\u003e\n\u003cli\u003eSerenade in C Minor K388~III. Menuetto - Trio\u003c\/li\u003e\n\u003cli\u003eSerenade in C Minor K388~IV. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K166~I. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K166~II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K166~III. Andante grazioso\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K166~IV. Adagio\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K166~V. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K186~I. Allegro assai\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K186~II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K186~III. Andante\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K186~IV. Adagio\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K186~V. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K Anh. 226~I. Allegro moderato\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K Anh. 226~II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K Anh. 226~III. Romance\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K Anh. 226~IV. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K Anh. 226~V. Rondo\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K Anh. 227~I. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K Anh. 227~II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K Anh. 227~III. Adagio\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K Anh. 227~IV. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K Anh. 227~V. Finale\u003c\/li\u003e\n\u003cli\u003eDivertimento in F K213~I. Allegro spiritoso\u003c\/li\u003e\n\u003cli\u003eDivertimento in F K213~II. Andante\u003c\/li\u003e\n\u003cli\u003eDivertimento in F K213~III. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in F K213~IV. Contredanse en rondeau\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K240~I. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K240~II. Andante grazioso\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K240~III. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K240~IV. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K252~I. Andante\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K252~II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K252~III. Polonaise\u003c\/li\u003e\n\u003cli\u003eDivertimento in E Flat K252~IV. Presto assai\u003c\/li\u003e\n\u003cli\u003eDivertimento in F K253~I. Tema con variazioni. Andante\u003c\/li\u003e\n\u003cli\u003eDivertimento in F K253~II. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in F K253~III. Allegro assai\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K270~I. Allegro molto\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K270~II. Andantino\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K270~III. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in B Flat K270~IV. Presto\u003c\/li\u003e\n\u003cli\u003eAdagio in B flat K411\u003c\/li\u003e\n\u003cli\u003eAdagio in F K580a\u003c\/li\u003e\n\u003cli\u003eNotturno in F K346 \"Luci care, luci belle\"\u003c\/li\u003e\n\u003cli\u003eNotturno in E flat K438 \"Se lontan ben mio tu sei\"\u003c\/li\u003e\n\u003cli\u003eNotturno in F K439 \"Due pupille amabili\"\u003c\/li\u003e\n\u003cli\u003eNotturno in B flat K549 \"PiÃ¹ non si trovano\"\u003c\/li\u003e\n\u003cli\u003eNotturno in F K436 \"Ecco quel fiero istante\"\u003c\/li\u003e\n\u003cli\u003eNotturno in G K437 \"Mi lagnero tacendo\"\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 1: Allegro\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 2: Menuetto\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 3: Andante\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 4: Polonaise\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 5: Larghetto\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 6: Menuetto\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 7: Adagio\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 8: Allegro\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 9: Menuetto\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 10: Andante\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 11: Menuetto\u003c\/li\u003e\n\u003cli\u003e12 Duos K487 for two horns~No. 12: Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento in C K188~I. Andante\u003c\/li\u003e\n\u003cli\u003eDivertimento in C K188~II. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento in C K188~III. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in C K188~IV. Andante\u003c\/li\u003e\n\u003cli\u003eDivertimento in C K188~V. Menuetto\u003c\/li\u003e\n\u003cli\u003eDivertimento in C K188~VI. Gavotte\u003c\/li\u003e\n\u003cli\u003eSerenade No. 10 K361 \"Gran Partita\"~Largo, Allegro molto\u003c\/li\u003e\n\u003cli\u003eSerenade No. 10 K361 \"Gran Partita\"~Menuetto, Trio I, Trio II\u003c\/li\u003e\n\u003cli\u003eSerenade No. 10 K361 \"Gran Partita\"~Adagio\u003c\/li\u003e\n\u003cli\u003eSerenade No. 10 K361 \"Gran Partita\"~Menuetto (Allegretto), Trio I. Trio II\u003c\/li\u003e\n\u003cli\u003eSerenade No. 10 K361 \"Gran Partita\"~Romanza (Adagio, Allegro, Adagio)\u003c\/li\u003e\n\u003cli\u003eSerenade No. 10 K361 \"Gran Partita\"~Tema (Andante) con variazioni\u003c\/li\u003e\n\u003cli\u003eSerenade No. 10 K361 \"Gran Partita\"~RondÃ² (Allegro molto)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5028421973913\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brilliant Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Brilliant Classics","offers":[{"title":"Default Title","offer_id":46906786644194,"sku":"494866","price":38.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4426896-3394346.jpg?v=1759970300"},{"product_id":"pre-order-the-dorrit-ensemble-shield-6-string-quartets-cd","title":"The Dorrit Ensemble - Shield: 6 String Quartets [CD]","description":"\u003cp\u003eWilliam Shield rose from relatively humble beginnings to become the 'house' composer to Covent Garden, for which he wrote stage works full of panache and tunefulness. He met and befriended Haydn who was to prove a lasting influence. In 1782 Shield published his Six String Quartets, Op. 3, some of the most richly rewarding works of their type in 18th-century England. The transparency of parts, use of imitation, infusion of Sturm und Drang elements as well as the bucolic and folkloric writing, all demonstrate Shield's art, as does the progressive writing of the last of the six, in C minor.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 1 in B flat major. I. Aria con variazione\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 1 in B flat major. II. Fuga: Allegro con spirito\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 1 in B flat major. III. Rondo: Allegro\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 2 in F major. I. Allegro moderato\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 2 in F major. II. Allegretto\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 3 in C major. I. Allegro moderato\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 3 in C major. II. Tempo di minuetto\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 4 in E flat major. I. Allegro\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 4 in E flat major. II. Adagio\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 4 in E flat major. III. Rondo: Allegro\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 5 in D major. I. Allegro maestoso\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 5 in D major. II. Adagio\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 5 in D major. III. Rondo: Allegro\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 6 in C minor. I. Allegro\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 6 in C minor. II. Adagio\u003c\/li\u003e\n\u003cli\u003eSix String Quartets, Op. 3~No. 6 in C minor. III. Allegretto\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 747313444670\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Naxos\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Naxos","offers":[{"title":"Default Title","offer_id":46906787397858,"sku":"650689","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4446476-3422664.jpg?v=1759970311"},{"product_id":"pre-order-warren-lee-gounod-pno-works-cd","title":"Warren Lee - Gounod: Pno Works [CD]","description":"\u003cp\u003eDuring his time in Italy and later in Leipzig, Charles Gounod was drawn by the balance of sonic beauty and proportion to be found in the music of Palestrina and J.S. Bach. He developed an innate desire for simple directness as can be heard in the excerpt from the Messe solennelle de Sainte Cecile and the Meditation sur le premier Prelude de J.S. Bach, now better known as Ave Maria. Gounod's talents for melody and mood painting are demonstrated in his Romances sans paroles, while his sense of wit can be heard in the famous Marche fune'bre d'une marionnette.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMÃ©ditation sur le premier PrÃ©lude de piano de J.S. Bach (version for piano)\u003c\/li\u003e\n\u003cli\u003eSix Romances sans paroles~No.\u003c\/li\u003e\n\u003cli\u003eLa Pervenche\u003c\/li\u003e\n\u003cli\u003eSix Romances sans paroles~No.\u003c\/li\u003e\n\u003cli\u003eLe Ruisseau\u003c\/li\u003e\n\u003cli\u003eSoir\u003c\/li\u003e\n\u003cli\u003eCalme\u003c\/li\u003e\n\u003cli\u003eChanson de printemps\u003c\/li\u003e\n\u003cli\u003eLierre (version for piano)\u003c\/li\u003e\n\u003cli\u003ePrÃ©lude in C minor\u003c\/li\u003e\n\u003cli\u003eVeneziana, Barcarolle\u003c\/li\u003e\n\u003cli\u003eImpromptu in G major\u003c\/li\u003e\n\u003cli\u003eSouvenance, Nocturne\u003c\/li\u003e\n\u003cli\u003eMesse solennelle de Sainte CÃ©cile: Offertoire \"Invocation\" (version for piano)\u003c\/li\u003e\n\u003cli\u003eGrande valse brillante in D major \"Georgina\"\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 1 in G major: PrÃ©lude\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 1 in G major: Fugue\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 2 in E minor: Choral\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 2 in E minor: Fugue\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 3 in C major: PrÃ©lude\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 3 in C major: Fugue\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 4 in D major: PrÃ©lude\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 4 in D major: Fugue\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 5 in F major: Choral\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 5 in F major: Fugue\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 6 in A minor: Choral\u003c\/li\u003e\n\u003cli\u003ePrÃ©ludes et fugues pour l'Ã©tude prÃ©paratoire du Clavecin bien tempÃ©rÃ© de J.S. Bach~No. 6 in A minor: Fugue\u003c\/li\u003e\n\u003cli\u003eGavotte in A minor\u003c\/li\u003e\n\u003cli\u003eMarche funÃ¨bre d'une marionnette\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 747313453474\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Naxos\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Naxos","offers":[{"title":"Default Title","offer_id":46906787823842,"sku":"543348","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4446477-3422665.jpg?v=1759970317"},{"product_id":"pre-order-munich-radio-orchestra-frano-parac-judita-cd","title":"Munich Radio Orchestra - Frano Parac: Judita [CD]","description":"\u003cp\u003eOn December 1, 2024, Ivan Repusic, chief conductor of the Munich Radio Orchestra, conducted a concert performance of Frano Parac's opera Judita at Munich's Prinzregententheater. This two-act, seven-scene opera is about the siege of a city by brutal foreign invaders. The biblical story of Judith, who liberates her homeland of Bethulia from it's Assyrian occupiers by killing Holofernes, certainly has parallels with Croatian history, particularly that of the city of Split. From the mid-15th century onwards, the country repeatedly fought against incursions by the Ottoman Empire - and Split in Dalmatia was particularly vulnerable to the attacks of the Turks, who advanced to it's gates. The poet Marko Marulic (1450-1524) alludes to these events in allegorical form in his epic Judita, completed in 1501. One of the earliest poetic works in the Croatian language, it established Marulic's reputation as the father of Croatian literature. To celebrate the 550th anniversary of the author's birth in 2000, and in commemoration of the 1, 700th anniversary of the foundation of Split, Frano Parac, a composer born in Split in 1948, chose the epic Judita as the basis for his first opera. It premiered on July 14, 2000 at the Croatian National Theatre in Split. The live recording made in December 2023 is now being released on CD by BR-KLASSIK, supplemented by Dance of the Baroness (Ples Barunice) from Parac's 1985 dramatic ballet Carmina Krleziana, based on texts by the expressionist-modernist writer Miroslav Krleza. First published in 1990 in a piano version, the dance is a rewarding and effective piece for pianists - and it's orchestral version is equally impressive.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 4035719003574\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Br Klassiks\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Br Klassiks","offers":[{"title":"Default Title","offer_id":46906788544738,"sku":"600070","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4445213-3422586.jpg?v=1759970328"},{"product_id":"pre-order-marek-toporowski-balbastre-pieces-de-clavecin-1759-cd","title":"Marek Toporowski - Balbastre: Pieces De Clavecin (1759) [CD]","description":"\u003cp\u003eClaude-Benigne Balbastre (1727-1799) published his first book of harpsichord pieces in 1759, nine years after a decisive move from his home city of Dijon to the metropolis of Paris. France had been inundated with Italian music and musicians for more than 50 years, and Balbastre's style is inflected by the latest Italian trends, while remaining unmistakably and deliciously French. The titles of the individual works refer to the surnames of distinguished and influential figures in the Parisian world of the mid- to late18th century. They are not necessarily portraits; the point here is rather the dedication, although this music indubitably represents a wonderful picture of the world surrounding Balbastre. One of the composer's biographers has remarked that 'More than portraits without words supposed to musically evoke a personality, the harpsichord pieces constitute a tribute or a sign of gratitude with regard to said personality. The portrait thus painted is only allusive and mysterious.'For example, one of Balbastre's most famous and spectacular works, the Italian-style gigue La Lugeac (F major), is probably a portrait of Louis XV's close companion, the Marquis Charles-Antoine de Guerin (1720-82), who had been born at the Chateau de Lugeac and was described by his contemporaries as 'Le beau Lugeac'.In his own booklet introduction to Balbastre's life and work, Marek Toporowski extols the First Book as 'a true masterpiece', combining French elegance of Classical style; imagery alluding to the operas of Rameau; virtuosity reminiscent of Scarlatti, Mozart and Rameau; mastery of form and textural richness. Compared to other surviving music by Balbastre, Toporowski finds these pieces 'less simple in the sense of Classical economy of texture, more sophisticated and Baroque.'The Polish harpsichordist, organist, chamber musician, and conductor Marek Toporowski was a pupil of both Bob van Asperen and Daniel Roth, He has made this new recording on a copy of a French harpsichord, completed in 1984 for harpsichordist, pianist and painter Julitta Slendzinska by Zygmunt Kaczmarski. 'It is a fascinating, exceptional instrument,' he says, 'in terms of timbral class, with a full, juicy sound and enchanting dynamic capabilities.'- Claude Balbastre was a prominent French composer, organist, and harpsichordist of the late Baroque and early Classical periods. He studied under Claude Rameau, the brother of Jean-Philippe Rameau, whose influence is evident in his music.- Among his most notable works are his Pieces de clavecin, published in 1759. These pieces exemplify the refined and expressive style of the French harpsichord tradition, combining lyrical melodies with intricate ornamentation and lively rhythms. Like those of Francois Couperin and Jean-Philippe Rameau, Balbastre's harpsichord works often feature evocative titles, such as La d'Hericourt, La de Caze, and La Lugeac, referring to prominent figures of the time. His Pieces de clavecin display a wide range of textures and moods, from playful and lighthearted dances to deeply expressive movements. He incorporated elements of the galant style, characterized by clarity and grace, alongside more dramatic and virtuosic passages, sometimes even adapting orchestral effects to the harpsichord.- Marek Toporowski is a harpsichordist, organist, pianist and conductor, one of Poland's foremost performers in the Historical Performance movement. He is a scholar and a well-known collector of historical instruments. Also available by Marek Toporowski are the Complete Piano Music by Pinto, keyboard sonatas by Hyacinthe Jadin, and violin sonatas by Ferdinand Ries.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePrÃ©lude de Monsieur Balbastre\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La de Caze\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La D'hÃ©ricourt\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La SÃ©gur\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Monmartel Ou la Brunoy\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Boullongne\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Castelmore\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Courteille\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Bellaud\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Lamarck\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Berville\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Lugeac\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Suzanne\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Genty\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Malesherbe\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Berryer Ou la Lamoignon\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Laporte\u003c\/li\u003e\n\u003cli\u003ePiÃ¨ces de Clavecin, Premier Livre-La Morisseau\u003c\/li\u003e\n\u003cli\u003eD'esclignac\u003c\/li\u003e\n\u003cli\u003eSonate Iv-Le Coucou\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5028421975603\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brilliant Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Brilliant Classics","offers":[{"title":"Default Title","offer_id":46906788839650,"sku":"445885","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4426897-3394348.jpg?v=1759970334"},{"product_id":"pre-order-jean-bavouzet-efflam-mozart-pno-cons-vol-11-cd","title":"Jean Bavouzet -Efflam - Mozart: Pno Cons Vol. 11 [CD]","description":"\u003cp\u003eThis 11th volume completes the juvenile concertos with these three concertos from 1771\/2, all re-writes of sonatas by J.C. Bach. Bach had been something of a mentor to Mozart whilst they were living in London (1764-65) and these three concertos not only draw on Bach's thematic material, but are very much in the gallant style of which Bach was a leading proponent. Making these sonatas into concertos presented Mozart with numerous challenges, as both forms had relatively strict conventions that were markedly different. Mozart overcomes these challenges with great imagination and lightness of touch. The Overture to Mitridate was composed for the Duke of Lombardy in 1770 when Mozart was 14, and just a year before the concertos. The opera was a great hit, and consequently Mozart was commissioned by Empress Maria Theresa to write a serenata for the wedding of her son Archduke Ferdinand. Ascanio in Alba was the result. Mozart started the comedy Lo sposo deluso in 1785, but only composed 5 numbers including the Overture heard here. The five pieces written for Thamos, Konig in agypten represent the only set of incidental music that Mozart composed for the theatre.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\u003cli\u003e\"Ascanio in Alba\", KV 111 in G Major-Overture\u003c\/li\u003e\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 0095115233122\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Chandos\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Chandos","offers":[{"title":"Default Title","offer_id":46906789527778,"sku":"558916","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4445232-3438096.jpg?v=1759970343"},{"product_id":"pre-order-orphelion-ensemble-deborah-gonsalves-turina-complete-pno-trios-cd","title":"Orphelion Ensemble \/ Deborah Gonsalves - Turina: Complete Pno Trios [CD]","description":"\u003cp\u003eIt took a move from his native Seville to Paris for Joaquin Turina (1882-1949) to discover an authentically Spanish voice for himself, principally encouraged there by his countryman Isaac Albeniz. The Piano Trio in F now numbers among the first works of Turina's maturity, though it was lost for many years and only rediscovered in 1999. The distance of over two decades between this early work and Turina's first numbered Trio is mirrored in stark terms by the contrast in idioms. An essentially outgoing, Romantic temperament has been refined by the passing of time and life into a more angular melodic style, supported by more chromatic and allusive harmony - no less 'Spanish' in it's way, perhaps even more so. This is the piece that for many years was Turina's best-known chamber piece, beyond the Danzas fantasticas which delighted many listeners to Alicia de Larrocha and (in their orchestrated form) Ernest Ansermet. Now the First Piano Trio may be appreciated in a broader context of Turina's writing for a notoriously challenging genre, and we hear how in each work the three instruments gain a greater degree of independence. From 1933, the Trio No.2 continues this process of refinement and distillation, notwithstanding the Brahmsian hemiolas which destabilise it's opening theme. Turina's masterpiece in the piano-trio genre is probably Circulo, a concise three-movement essay which he composed on the eve of the First World War. It charts the passing of a single day, from the slow stirrings of dawn to a dance in the middle of an Andalucian day through to the gradual falling of dusk, which begins in wild exuberance and ends in peace under a starry sky. The Orphelion Ensemble was founded in Vienna by the Spanish violinist Deborah Gonsalves Deborah Gonsalves and the Austro-German cellist Berthold Hamburger. For this new recording of Turina's trios, they are joined by the Spanish pianist An Eva Browning Artist-in-residence Associate Professor of piano at Texas Tech University, Daniel del Pino. Based in Spain, Orphelion gives concerts across the world with a flexible line-up of artists in order to pursue an artistically ambitious programme which sees them work with leading visual artists, writers and actors.- Joaquin Turina was born in Sevilla, Spain, where he received his first music lessons. Later he went to Madrid and subsequently settled in Paris, where he took composition lessons from Vincent d'Indy at his Schola Cantorum de Paris, while studying the piano with Moritz Moszkowski. Inevitably he came into contact with Debussy and Ravel, and his early compositions were clearly influenced by the Impressionists. However he returned to his native Spain and developed his own style in which the rich folklore, folk music and atmosphere of Spain is predominant. Together with Albeniz, Granados and de Falla he established the Spanish Nationalist School.- This new recording presents Turina's complete works for piano trio, clearly showing the development of his compositional style. It is music of great imagination, colouring and instrumental brilliance, in which the sounds and perfumes of Spain are nearly palpable.- Excellent performances by the Orphelion Ensemble, consisting of Daniel del Pino (piano), Deborah Gonsalves (violin) and Berthold Hamburger (cello).\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTrÃ­o en FA~I. Lento - Allegro ma non tanto\u003c\/li\u003e\n\u003cli\u003eTrÃ­o en FA~II. Andante\u003c\/li\u003e\n\u003cli\u003eTrÃ­o en FA~III. Allegro, alla Danza\u003c\/li\u003e\n\u003cli\u003eTrÃ­o en FA~IV. Andante grandioso\u003c\/li\u003e\n\u003cli\u003eTrio No. 1 Op. 35~I. PrÃ©lude et Fugue\u003c\/li\u003e\n\u003cli\u003eTrio No. 1 Op. 35~II. ThÃ¨me et Variations\u003c\/li\u003e\n\u003cli\u003eTrio No. 1 Op. 35~III. Sonate\u003c\/li\u003e\n\u003cli\u003eTrio No. 2 Op. 76 in B minor~I. Lento - Allegro molto moderato\u003c\/li\u003e\n\u003cli\u003eTrio No. 2 Op. 76 in B minor~II. Molto vivace\u003c\/li\u003e\n\u003cli\u003eTrio No. 2 Op. 76 in B minor~III. Lento - Andante mosso - Molto vivace\u003c\/li\u003e\n\u003cli\u003eCÃ­rculo Op. 91, FantasÃ­a for piano, violin ; cello~I. Amanecer, Lento - Andantino\u003c\/li\u003e\n\u003cli\u003eCÃ­rculo Op. 91, FantasÃ­a for piano, violin ; cello~II. MediodÃ­a, Allegretto quasi Andantino\u003c\/li\u003e\n\u003cli\u003eCÃ­rculo Op. 91, FantasÃ­a for piano, violin ; cello~III. CrepÃºsculo, Allegro vivace\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5028421973876\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brilliant Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.10.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Brilliant Classics","offers":[{"title":"Default Title","offer_id":46906789626082,"sku":"165701","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4426895-3394344.jpg?v=1759970349"},{"product_id":"pre-order-forrest-eimold-michael-finnissy-organ-works-cd","title":"Forrest Eimold - Michael Finnissy: Organ Works [CD]","description":"\u003cp\u003eAhead of the 80th birthday of one of Britain's most singular compositional voices, this double album presents the complete organ works of Michael Finnissy a body of music as rich in intellectual depth as it is in imagination. Performed with careful nuance by acclaimed American organist Forrest Eimold, these works span over six decades and chart the evolution of a composer constantly challenging himself to think beyond presumed forms.At the heart of the collection are Finnissy's four Organ Symphonies: bold, searching works that pay homage to and wrestle with the legacies of Beethoven, Brahms, Bruckner and Mahler, while also evoking the French organ tradition of Vierne and Widor. \"Why even write a Symphony?\" Finnissy asks in a personal note for this release. \"To explore and learn. To challenge oneself with the abiding presence of awe-inspiring history... to locate a rhetoric which fearlessly approaches the 'higher world of knowledge.'\"From the youthful drama ofÂ ... ere the set of sun... Â (written as incidental music forÂ MacBethÂ in 1965) to the industrial solemnity ofÂ BlackburnÂ (2022), the album presents not just a body of work but a kind of inner autobiography. TheÂ Hymn-Tune Preludes - transformations of Sacred Harp and Norwegian folk melodies - offer a striking contrast: intimate, harmonically volatile, and unhitched from convention. Even the earliest works here, like the student pieceÂ Xunthaeresis, reveal the seeds of a language already driven by risk and complex expression.Forrest Eimold, a formidable interpreter of 20th and 21st century keyboard music, brings dazzling technique and interpretive depth to this music. His command of registration, colour, and pacing allows each piece - from the vast landscapes of the symphonies to the epigrammatic preludes - to speak with clarity and conviction.Recorded on a range of instruments, including the organ of the UK's Blackburn Cathedral, this is a release release which anchors Finnissy's contribution to the organ repertoire as one of bold imagination and philosophical depth. 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After a season at the Teatro dei Fiorentini in Naples and a two-year spell at the Cappella Palatina in Lucca, Francesco left his homeland for good in 1714 to pursue a career in London, Dublin and Paris. The flourishing public concert life and optimal publishing conditions in London were attracting a great many Italian musicians, who were adored by the English public, achieving cult-like status - Arcangelo Corelli most of all. As a pupil of Corelli's, Geminiani inherited that legacy, while at the same time promoting an independent development in violin playing. Geminiani not only skilfully used the cult of Corelli and his own privileged position as an Italian musician to market himself; he also cultivated close contacts with powerful patrons, made a name for himself as an event organiser and painting dealer, and published several treatises. Among those, his The Art of Playing on the Violin, which he published at his own expense in 1751, was pioneering. He was responding to a pronounced culture of violin enthusiasts, whose great demand caused a proliferation of amateur schools and rudimentary music compendiums in England. Geminiani's treatise, however, was one of the first in Europe meeting professional standards. It differs significantly in scope and conception from other treatises of the mid-18th century from German-speaking countries, focusing intently on seeking the true nature of musical expression as the highest purpose of music. This is also reflected in the term 'Ornaments of Expression' coined by Geminiani to describe ornaments. He lists a rich selection of ornaments in another method, Treatise of good taste in the Art of Musick, published in 1749, designed to help the musician practise the art of ornamentation and variation.  This treatise, along with his Rules for Playing in a true Taste published in 1746, include arrangements and variations based on well-known Scots tunes. The fashion of choosing simple folk songs as the basis for compositions was also utilised by other Italian composers in order to meet the needs and preferences of the English public. Geminiani's variations uniquely combine the Italian art of variation, inspired by the example of Arcangelo Corelli, with the simple grace of Scottish folk songs and ornamentation techniques developed under the influence of many years spent in Paris. The compositions contained in Geminiani's treatises go far beyond mere didactic use. His skilful, idiosyncratic use of harmony, rhythm and ornamentation tells the story of a highly trained, experimental and unconventional artist moving between nations and compositional styles.Other information:- Recorded April 2021 in Gartensaal, Germany- Bilingual booklet in English and German contains liner notes and profiles of the musicians- Francesco Saverio Geminiani was born in Lucca. He began his study at an early age with his father, but his most important lessons followed in his years with the great Roman Master, Arcangelo Corelli. Composition lessons with Alessandro Scarlatti helped inspire and solidify his craft. In 1714 Geminiani settled in London, where he quickly gained fame as an ensemble player, concert violinist, and teacher. Here he became friends with Handel and led the orchestra during many performances together. Geminiani enjoyed great success not only in London, but also in Ireland where he spent a considerable amount of time, settling in Dublin in 1760.- Geminiani's playing was distinguished by it's great expressiveness, richness of dynamic coloring, extraordinary liveliness, and a strong temperament. Tartini called Geminiani \"il furibondo\" - the furious one!- One of Geminiani's most enduring legacies is his treatise The Art of Playing on the Violin, published in 1751. This influential work is one of the earliest comprehensive guides on violin technique and interpretation. Unlike previous violin tutors, which often focused on basic fingering and bowing, Geminiani's treatise provided detailed insights into expressive playing, ornamentation, and the subtleties of articulation. It reflects the evolving style of violin playing in the 18th century, emphasizing musicality over mere technical proficiency. It covers topics such as bowing techniques, left-hand positioning, and vibrato, offering exercises to develop precision and expressiveness. He also stresses the importance of dynamic contrast and phrasing, essential elements in Baroque performance practice.- Played on period instruments by Anna Kaiser (violin), Johannes Berger (cello) and Solrun Franzdottir Wechner (harpsichord).\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eArt of Playing on the Violin Op. 9~Essempio XIII - Affettuoso\u003c\/li\u003e\n\u003cli\u003eArt of Playing on the Violin Op. 9: Composizione VI - Allegro assai\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~Ann thou were my ain Thing. Subject\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~Ann thou were my ain Thing. Cantabile\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~Ann thou were my ain Thing. Allegro\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~Ann thou were my ain Thing. Allegro moderato\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~Ann thou were my ain Thing. Allegro\u003c\/li\u003e\n\u003cli\u003eAuld Bob Morrice, Treatise of Good Taste in the Art of Musick~Affettuoso\u003c\/li\u003e\n\u003cli\u003eAuld Bob Morrice, Treatise of Good Taste in the Art of Musick~Allegro\u003c\/li\u003e\n\u003cli\u003eArt of Playing on the Violin Op. 9: Composizione V - Allegro assai\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~An Irish Tune. Subject\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~An Irish Tune. Cantabile\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~An Irish Tune. Allegro\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~An Irish Tune. Presto\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~An Irish Tune. Andante\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~An Irish Tune. Presto. Legato e sciolto\u003c\/li\u003e\n\u003cli\u003eLady Ann Bothwel's Lament, Treatise of Good Taste in the Art of Musick~Affettuoso\u003c\/li\u003e\n\u003cli\u003eLady Ann Bothwel's Lament, Treatise of Good Taste in the Art of Musick~Allegro\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~What shall I do to show how much I love her. Subject\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~What shall I do to show how much I love her. Cantabile\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~What shall I do to show how much I love her. Allegro moderato\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~What shall I do to show how much I love her. Affettuoso\u003c\/li\u003e\n\u003cli\u003eRules for Playing in a true Taste, Op. 8~What shall I do to show how much I love her. 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This double album is the latest instalment of Rowland's authoritative traversal of the complete Harpsichord Suites by Johann Jakob Froberger - a composer of profound influence whose innovations shaped the very form of the Baroque suite later adopted by Bach and Handel.Praised for it's \"glorious sound\" and \"energy and a good forward drive\", the series has garnered widespread critical recognition. Recorded in the sympathetic acoustic of Holy Trinity Church, Weston, in October 2024, the album reunites Rowland with engineer John Taylor, whose audiophile-standard production has underpinned the previous volumes.Rowland's playing combines historical insight with expressive vitality, delivering performances marked by \"impeccable clarity, flawless articulation, and period-perfect embellishments\". 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In this selection of sonatas Martin Cousin presents a multifaceted portrait of Scarlatti's full creative range. 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The album will be released on the Neue Meister label on CD and vinyl on 8 November 2024 and is an indispensable discovery for all lovers of modern classical music. 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Born in Leicester around 1673, Robert Valentine came from a family of musicians, but found his vocation and his career path once he moved to Rome in his 20s. Working as a violinist and flautist for several churches, he was evidently proficient in several other instruments such as the oboe, and quickly found his feet as a composer with an ear for public taste, and the ability to translate his instrumental virtuosity into original invention on the page. The present album takes a representative sample of that fluent invention with sonatas and 'concertos' (also written for chamber forces) from several different collections. A Sonata for two recorders holds instant appeal for anyone captivated by Vivaldi's writing for the instrument. A Concerto in B flat, for recorder, two violins and ensemble, is worthy of comparison with the work of the Venetian master, for it's brilliance and intensity. By contrast, the style of the 'Concerto con Flauto Traversiero' leans towards a crystalline simplicity, well suited to the delicate sound of the transverse flute of the period, and capable of producing those chiaroscuro effects and dynamic nuances that the recorder lacks. In each case, Valentine writes sensitively for his chosen forces. A pair of sonatas for flute and basso continuo, published in 1735 as part of Valentine's Op.13, are effectively elegant Baroque dance-suites - whereas an Op.13 published elsewhere under Valentine's name includes a violin sonata written in the galant style, full of rustic fanfares and flourishes. Founded and led by the flautist Enrico Casularo, Ensemble Afflatus specialises in the performance and recording of little-known, often unpublished music from 18th-century Italy. Casulero is also an editor of this repertoire, and a teacher of Baroque flute at the Santa Cecilia conservatoire in Rome. He is joined here by colleagues with no less expertise in the repertoire, and the album makes an ideal introduction to the art of Robert Valentine.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5028421976839\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brilliant Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 1.9.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Brilliant Classics","offers":[{"title":"Default Title","offer_id":46916553441506,"sku":"3236","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4439256-3412856.jpg?v=1760300648"}],"url":"https:\/\/southmetromusic.com\/collections\/genre-classical-artists.oembed?page=136","provider":"South Metro Music","version":"1.0","type":"link"}