Classical Music Playlist

Beethoven · Karajan

2012-01-13T16:19:00.004-03:00

FLAC+CUE | 13 CDs | Booklet | 3,66 GB | 2011

A legend in his lifetime for his interpretations of Beethoven, Herbert von Karajan recorded a large swathe of the composer’s oeuvre. On this specially priced 13-CD box set Karajan's complete Beethoven repertoire recorded by Deutsche Grammophon is presented for the first time – comprising his final, digital recordings of the Symphonies, the Piano Concertos (with Christoph Eschenbach and Alexis Weissenberg, nos. 2 - 5 specially licensed), Violin Concerto (Anne-Sophie Mutter) and Triple Concerto (with Mutter, Yo Yo Ma and Mark Zeltser), the Missa Solemnis, Overtures, Egmont Music, Wellington’s Victory, and a host of rarities, including the Grosse Fuge (arranged for orchestra), restored to the catalogue.

The packaging of this set is a capbox with 36-page booklet with new essay by Karajan biographer Richard Osborne.

To realise this set, Alexis Weissenberg’s recordings of the Piano Concertos nos. 2 – 5 have been licensed from EMI.

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Mozart · Concerto for Two Pianos · Flute & Harp Concerto · Horn Concerto

2011-12-16T17:27:00.004-03:00

APE+CUE | 1 CD | Covers | 236 MB | 2005

“The finest work here is the sparkling Concerto for Two Pianos, K365. …Jos van Immerseel and Joko Taneko, using copies of pianos by Anton Walter (one of whose instruments Mozart himself owned), give a dazzling performance and they are sympathetically accompanied by Anima Eterna.” -- BBC Music Magazine

“Director and fortepianist Jos van Immerseel is a veritable pioneer of period Mozart. Belgian period-instrument orchestra Anima Eterna's exuberant performances reveal a natural union of pioneering spirit and refreshing musical flavours." -- 2010 Gramophone Classical Music Guide

The performers show commendable integrity in their approach to using historical instruments: the characteristics and origins of the solo instruments are each enthusiastically described in the booklet-note but the loving care given to detail in this joyful music means this is never in danger of seeming merely a dour academic exercise.

The invigorating Concerto for two pianos (Salzburg, 1779-80) opens proceedings with a revitalising fix of blazing horns, vibrant woodwind and articulate strings. Anima Eterna's stunning playing in the tuttis is perfectly balanced with the fluent playing of Immerseel and Yoko Kaneko. After such joie de vivre, the Flute and Harp Concerto (Paris, 1778) features sensitively judged playing from Frank Theuns and Marjan de Haer. Seldom thas there been such an affectionate and warmly stylish performance of the Allegro, and the Andantino is ravishing.

Ulrich Hübner plays with attractive immediacy in the Third Horn Concerto, composed around 1787: the poetic Romance has a lyrical elegance one seldom hears from even the best natural horn players, and an infectiously sunny performance of the dance-like Allegro concludes this magnificent recording with a charismatic flourish. These performances are radiant: if you buy only one Mozart CD this anniversary year, let it be this one.”

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Fischer & Stamitz · Virtuose Oboenkonzerte · Forgotten Treasures Vol.7

2011-12-06T19:49:00.000-03:00

APE+CUE | 1 CD | Booklet | 365 MB | 2008

The oboe virtuoso and composer Johann Christian Fischer was born in Germany, studied in Italy, and made a career throughout Europe, especially in Germany and in London. He was a member of the Dresden court orchestra, where some of his colleagues were Quantz, Zelenka, Hasse, and Abel. The young Mozart met him in 1765 at the Hague and was impressed by his playing. After a short period of service at the court of Frederick the Great in Berlin, Fischer established himself in London, where his former colleague Abel was established with J. C. Bach as presenters of concerts. The first concert of the 1768 series featured the Concerto in C recorded here. It was very popular, especially the final Rondeau, on which Mozart, J. C. Bach, and other composers wrote sets of variations. The three concertos recorded here are technically demanding as well as engagingly tuneful. The Concerto in F ends with a set of variations on an Irish tune, Gramachree Molly, that will brighten your day and have you tapping your toes.

Carl Stamitz was the son of the composer Johann Stamitz, who was one of the founders of the Mannheim School. Carl played in the Mannheim Orchestra before moving to Paris, where he was court composer for the Duke of Noailles and where he and his brother Anton performed at the Concerts Spirituel. He spent the last 25 years of his life in precarious circumstances seeking permanent employment. He composed at least 51 symphonies, 38 symphonies concertantes, and 60 concertos. The Oboe Concerto in B♭ was published as a clarinet concerto, but the oboe version exists in manuscript parts in a copyist’s hand; it may have been the original.

Virtuoso oboist Michael Niesemann has had a wide-ranging career in music from the Baroque era through modern music. He was a member of Musica Antiqua Köln for 10 years and has been principal oboist with John Eliot Gardiner’s two orchestras for 15 years. He has technique to spare for the works presented here. The Kölner Akademie does not limit itself to period practice, but also performs more-recent music on modern instruments. They make a major contribution here, helped by the sensible leadership of Willens, who has been its music director since 1996.

This disc is Vol. 7 of Ars’s series of “Forgotten Treasures.” All three concertos are claimed as first recordings, which I find no reason to dispute. It is fortunate these works have found such ardent advocates. Ars’s packaging is a bit strange. There is no inner tray; the disc rests on the paper insert, which serves as the back cover of the jewel case. On the other hand, the CD booklet is a model of how such things should be done, with full notes on the composers and the compositions in readable type. This is a very enjoyable release. --Fanfare, Ron Salemi

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Romberg · Symphonien · Forgotten Treasures Vol. 5

2011-11-25T16:35:00.001-03:00

FLAC+CUE | 1 CD | Booklet | 364 MB | 2007

Michael A. Willens conducts the Kolner Akademie for this recording of Bernhard Romberg's 2nd & 3rd Symphonies.

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Wilms · Sinfonie und Solokonzerte · Forgotten Treasures Vol. 4

2011-11-19T13:29:00.004-03:00

APE+CUE | 1 CD | Booklet | 315 MB | 2006

I first made the acquaintance of Johann Wilhelm Wilms (1772–1847) many years ago by way of a transcription provided by the international service of Radio Nederland for radio stations in the United States. Once the use rights had expired, the disc and its companions suddenly and mysteriously disappeared from the station’s library. What were the words that John Banner’s character, Sergeant Schultz, in Hogan’s Heroes popularized? “I know notink, I heer notink, I zee notink!” Anyway, I felt that this Wilms character was possessed of sufficient talent that he warranted further investigation; I even took it upon myself to pen a missive to the late Newell Jenkins suggesting that he consider looking into Wilms’s music. I recall receiving a polite reply but whether anything ever came of my suggestion, I don’t know. Fast forward some four decades and we now find that several of Wilms’s symphonies have been recorded: two by Werner Erhardt and Concerto Köln for Archiv and four on a two-disc set for the Dutch label Challenge Classics.

Wilms was born in the German city of Solingen, studying first with his father and elder brother. In 1791, Wilms went to Amsterdam, where he taught piano and later joined the orchestras of the Felix Meretis Society and Eruditio Musica, with which—as a pianist—Wilms was responsible for introducing the piano concertos of Mozart and Beethoven to the Netherlands. Wilms is remembered today more as an administrator than as a composer. He became one of the most important musicians in the Netherlands, and served on several committees, including the music faculty of the Koninklijk Nederlandsch Instituut voor Wetenschappen, Letteren en Schoone Kunsten in Amsterdam, and the Maatschappij tot Bevordering der Toonkunst. He also was sought out as a member of juries for composition competitions.

Wilms composed 15 concertos or other works for solo instrument and orchestra; most remained unpublished and neglected following his death. Many are irretrievably lost; only the five concertos published in his lifetime survive. Wilms’s knowledge of the potential of the various instruments was matched by his thorough familiarity with the capabilities of the Amsterdam musicians who played them. His compositions, most of which are in the style of the Viennese classicists, were always greeted with respect, but seldom did they receive any degree of enthusiasm, as by the time that Wilms achieved musical maturation, Classicism had already yielded much ground to Romanticism.

Even though the ghost of Mozart might have been looking over Wilms’s shoulder when he wrote the Piano Concerto, it is a work that would surely make the Salzburg Wunderkind smile with approval. It begins alla marcia, and as such recalls the opening of Mozart’s K 467. This salutatory movement is expansive; it lasts almost a quarter hour, but never suffers from overstatement or lack of forward motion. The ensuing Adagio contains some nice touches that include attractive wind coloring. The lower strings, playing pizzicato, announce the final Rondo, and the soloist enters almost immediately, stealing the show and holding the spotlight until the final chords fade into oblivion.

The Symphony, like the Piano Concerto, is early Wilms, and was probably his earliest, even though there is another that was published as op. 9 by the Leipzig firm of Kühnel. The debt to Mozart is also apparent here, but with its well-juxtaposed comingling of intelligence, wit, fervor, and refinement, the Symphony could also be viewed as having had an amalgam of influences. Never stumbling, it proceeds steadily throughout its half-hour duration, and more important, it is consistently entertaining.

The Flute Concerto is on a smaller scale than its counterpart for piano, but it is no less well written. Wilms, according to the notes, took into account the wishes of his contemporaries that the Concerto not be overly florid or long, but light and pleasing. He did not, however, opt for empty notes. Rather, he gave the listener music of substance with a polite nod toward emotion, music that two centuries on still leaves both the ear and intellect of the listener satiated.

One can’t help but appreciate the suppleness of the soloists in these performances as well as their excellent feel for the music and the sentiment behind the notes. Their playing is focused, accurate, and committed, and is also infused with unforced stylistic grace. They approach Wilms with the same respect they might accord Mozart, and as a result produce performances that are world-class. Michael Alexander Willens and his colleagues provide fresh and intelligent support that is technically agile, and with sensitive phrasing and warmth where required.

The music on this CD offers an excellent cross section of Wilms’s output and therefore makes for a fine introduction to his work. What you will find is 75 minutes of very attractive music that surely fell pleasantly on the ears of Amsterdam audiences in Wilms’s day, and would unquestionably find some favor in today’s concert halls. I didn’t expect to find Mozart in this CD, but what I did find brought back pleasant memories from an earlier period in my life.

I’m eagerly looking forward to sampling the next release in this series, a disc of three symphonies by Bernhard Romberg (1767–1841). --Michael Carter, Fanfare

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Wiener Kontrabasskonzerte · Hoffmeister · Pichl · Vanhal · Forgotten Treasures Vol. 3

2011-11-17T15:40:00.004-03:00

APE+CUE | 1 CD | Booklet | 266 MB | 2006

Canadian bassist David Sinclair's new CD is an outstanding release, musically, technically and historically. Featuring three concertos from the second half of the eighteenth century, it is the first recording of the Hofmeister Concerto and first recording of the Vanhal on Viennese violine (Lars Baunkilde recorded the Pichl on Viennese violine in 1997).

It is superbly recorded in Super Audio (surely the first solo bass CD in this format) on Annette Schumacher's wonderful Ars Produktion label. The balance has been carefully considered in every movement and the accompaniment from fellow bassist and conductor Michael Willens directing the Cologne-based ensemble Kölner Akademie is sensitive and supportive. It's wonderfully illuminating to hear these concertos as they were originally conceived and here performed by a virtuoso of the order of David Sinclair [...]

This is a CD that will appeal to a wide range of bass players, other musicians and technophiles as it is so much more than a historical document to those interested in the Viennese violine - it is superbly performed and produced and we can only hope it is not another 12 years before we hear from David Sinclair again. --Review by Robert Nairn, ISB - Volume 30, Number 3

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Danzi · Bassoon Concertos · Overture in E Flat Major · Forgotten Treasures Vol. 2

2011-11-16T00:14:00.014-03:00

APE+CUE | 1 CD | Booklet | 232 MB | 2006

Of the period instruments currently on the scene—and I am generally not a fan—it is the bassoon that holds the most attraction for me. It alone makes me wonder sometimes whether the modern instrument is indeed a step forward, technical wizardry notwithstanding. The period bassoon has a plump, soft, and ultimately comforting tone that even the best of modern instruments cannot really match. Of course, you cannot cut through an orchestra with it, and that was not its role in the days of yesteryear; more to its liking was accompanying the basses and cellos with occasional solo bursts. But it does have a wonderfully pliant sound, and it’s not hard to understand why composers like Mozart and Franz Danzi found it attractive. Mozart left us one concerto, though there are rumored to be three or four times this many, and Danzi created five, plus a series of three bassoon quartets as well. Danzi, a product of the important Mannheim school, where innovation after innovation was the order of the day and composers were vying with each other to write for its soloists, was a cellist himself who would eventually leave a profound mark on the woodwind world. At age 20, he was already an orchestral soloist, and his career as pedagogue, performer, composer, and conductor was to know few equals.

It is strange that the bassoon concertos have not caught on with the public or even many bassoonists. This is probably due to the fact that the modern instrument can make mincemeat out of Danzi’s once formidable technical challenges for a seven or nine-keyed instrument. Consequently, if the bassoonist finds it trivial, so will the public. But in point of fact, these concertos are terrific vehicles for the most astute of modern players, and should be taken up more frequently. Though the F-Major work is popular for its lyrical Andante, the G-Minor offers many things to a modern listener, and is quite favorable in tone. When played with such an adeptness and lucid facility like that of Jane Gower, the excitement builds from the first bars, no matter which concerto is playing, and she proves herself a fully competent exponent of the period bassoon, and an able interpreter of Danzi’s difficulties.

The Overture in E♭ is a real smoker, punchy and exciting; I wish there were a few more on this album. However, with the excellent surround sound, vivid and very well balanced, this esoteric little surprise becomes an immediate Want List contender; it should contend for a place on your shelves also. --Fanfare, Steven E. Ritter

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Crusell · Clarinet Concertos · Forgotten Treasures Vol. 1

2011-11-15T18:10:00.007-03:00

APE+CUE | 1 CD | Booklet | 283 MB | 2006

Finnish-born composer Bernhard Hendrik Crusell (1775-1838) became famous as one of the greatest clarinet virtuosos of his time, playing both his own compositions and those of contemporaries Krommer, Mozart, Beethoven and Lebrun. He was said to have had a beautiful cantabile tone and a particularly soft pianissimo. He spent most of his life in Sweden, and was considered to be the most important Swedish composer of Beethoven’s age.

Naturally, Crusell is especially renowned for his clarinet compositions, notably the three delightful concertos and the three clarinet quartets. His elegant, thematically rich style, of great charm and technical skill, was influenced by Mozart, Beethoven and some of his French contemporaries, blending Viennese classicism with elements of French opera.The Clarinet Concert No.2 in F minor is generally considered the finest of the concertos, and perhaps Crusell’s greatest work in any form. The finely-worked out first movement has dazzling virtuoso passages, but also a quality of drama and poignancy that relates more to the dawning Romantic period than the waning Classical era.

The clarinet concertos are perhaps less demanding for the performers, but are equally charming. In all three works the clarinet is the principal instrument, with the violin, viola and cello providing accompaniment. --Emma Johnson is “Britain’s Favourite Clarinettist” (The Times).

"Hoeprich’s interpretations are aglow with tonal beauty and rich in understanding that transcend the printed page. The expected stylistic conventions are employed and when added to the high quality playing of Kölner Akademie under the capable direction of Michael Alexander Willens, the result is a set of historically informed readings that will appeal to the most selective of listeners." --Fanfare

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Brahms · The Piano Concertos

2011-11-13T00:13:00.003-03:00

FLAC+CUE | 2 CDs | Booklet | 392 MB | 2000

...The same perfect alchemy [in the First concerto] is at work in the Second concerto. Here the interpretive questions are less problematic--Brahms' intentions are more transparent--and their realization is closer to perfection. But Buchbinder and Harnoncourt don't let their attention fail. Again, the conductor uses the interplay between motives and registers to sustain the pulse and give the phrases the right bounce, presenting the orchestral fabric in all its varying facets.

The Scherzo offers energy without brutality, while the Andante refuses to surrender to sentimentality, thanks to a comparatively brisk tempo and to the dignified sound of the solo cello. In the final Allegretto grazioso, Buchbinder manages to transform his tone into something lighter and more ingratiating. But be warned: these well-recorded live performances are not for the faint-hearted or the conservative. Those who listen without prejudice, however, will find them endlessly fascinating, moving, and incredibly rewarding. --Luca Sabbatini, ClassicsToday.com Read more

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Tchaikovsky · Symphonies nos. 4, 5 & 6 "Payhétique" · "1812" Overture · Romeo & Juliet · Francesca da Rimini

2011-11-12T00:20:00.000-03:00

WAV PACK+CUE | 4 CDs | Booklet | 1.16 GB | 2007

Controversial and Compelling: Bernstein’s Complete Repertoire of Tchaikovsky Recordings for Deutsche Grammophon Brought Together in a Single Box Set for the First Time. By the End of his Career, "bernstein Came to Identify as Closely with Tchaikovsky as He Did with Mahler, Giving Searingly Intense Interpretations of Both Composers" (Bernstein Biographer Humphrey Burton). Here is the Full Legacy of his Recordings for Deutsche Grammophon – Compelling, Overwhelming Performances of the Last Three Symphonies and a Prime Selection of Orchestral Works.

Mozart · Piano Concertos Nos. 19 & 23 · Ch'io mi scordi di te?... Non temer, amato bene, K505

2011-11-11T15:00:00.000-03:00

FLAC+CUE | 1 CD | Covers | 274 MB | 2011

This album marks two 'firsts' for Hélène Grimaud - her first live DG recording and her first ever Mozart concerto recording – the Piano Concertos Nos. 19 in F, and 23 in A. Hélène Grimaud considers the concerto in A major "probably the most sublime concerto Mozart ever wrote", with a slow movement that is "an extremely deep and painful expression of longing, where you find the real Mozart."

The concerto in F major K459 is less well-known, but with a very special vitality and a virtuosic finale that is for Grimaud, "pure pianistic pleasure". As well as the two concertos, the album includes the beautiful concert aria for orchestra, soprano and piano 'Ch'io mi scordi di te', sung by Mojca Erdmann. The aria was Mozart's declaration of love to the soprano Nancy Storace, his Susanna in the world premiere of "Le nozze di Figaro".

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Hélène Grimaud plays the "Adagio" from Mozart's Piano Concerto no.23

Rodrigo · Concierto de Aranjuez · Villa-Lobos · Castelnuovo-Tedesco Guitar Concertos

2011-11-10T15:41:00.001-03:00

FLAC+tracks | 1 CD | Covers | 217 MB | 1993

An excellent account from Norbert Kraft, spontaneous and catching well the music’s colour atmosphere. If it is not quite as individual as bream’s version, it is has the advantage of vivid, well-balanced, modern, digital recording and excellent couplings. Another genuine Naxos bargain.

On Naxos a first-class version of this slight but attractive concerto, which is well suited by the relatively intimate scale of the performance. The recording is well balanced and vivid, and the soloist, Norbert Kraft, has plenty of personality; and the accompaniment is fresh and polished. Typically excellent Naxos value. --Penguin Guide ***

Norbert Kraft is not yet a household name but if his publicity ever matches his quality he certainly should attain that status. --Gramophone

Kraft proves himself excellent at conveying a sense of enjoyment and fun…At budget price…this disc is certainly a real bargain: it makes you wonder whether it really is worth the extra for full and mid-price discs. --Classic CD

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Rachmaninoff · Suites Pour Pianos

2011-11-09T17:04:00.001-03:00

ALAC+tracks | 1 CD | Booklet | 282 MB | 2006

“Jos van Immerseel and Claire Chevalier are the first pianists to record these hugely challenging works on authentic instruments - in this case a pair of Pleyel pianos dating from around the turn of the 20th century… The magical, bell-like sonorities these hugely experienced players conjure up is perhaps reason enough to invest in this fine disc, especially as the recording quality is so richly detailed yet luxuriously opulent.” --BBC Music Magazine, July 2007 ****

“they bring a delicious piquancy to these attractive scores.” --Gramophone Magazine

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Consonanze Stravaganti · Vol. I

2011-08-07T20:58:00.006-04:00

FLAC+CUE | 1 CD | Booklet | 293 MB | 1999

Il Concerto di viole tra scuola veneziana e napoletana Arte dell'improvvisazione e retorica degli affetti

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Seconde Stravaganze · Vol. II

2011-08-07T20:48:00.004-04:00

FLAC+CUE | 1 CD | Booklet | 304 MB | 1999

Venetian & Neapolitan Music for Consort of Viols of the 17th century

Il Concerto di viole tra scuola veneziana e napoletana Arte dell'improvvisazione e retorica degli affetti · Vol.II

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Debussy | Piano Works

2011-08-04T00:50:00.002-04:00

FLAC+CUE | 2 CD | Booklet | 455 MB | 2002

This is vintage Woodward performing vintage Debussy : a clear, luxurious recorded sound, a distinctive yet discreet musical personality and an imaginative, immaculate control of piano sonority are informed by reverence for the composer’s text. It is playing distilled from a lifetime’s experience with this music, with each performance commanding individual attention and respect…. it is a set to return to again and again. -- Sydney Morning Herald, April 2002

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Grieg | Cello Concerto & Songs for Cello and Orchestra

2011-08-03T15:35:00.011-04:00

FLAC+tracks | 1 CD | Booklet | 258 MB | 2004

Raphael Wallfisch needs offer no apology for these delightful and effective orchestrations of Grieg's solo works and songs, or for his elegant and thoughtful performances. Even if Joseph Horovitz's orchestration of the well-known Cello Sonata doesn't sound particularly like Grieg's orchestral writing, the advocacy of Wallfisch and beauty of the music make the question irrelevant. At times, Horovitz's wind scoring is reminiscent of another nationalist composer, Dvorák.

Benjamin Wallfisch's scoring of several songs is perhaps more idiomatic, but here he is helped by Grieg who made his own string orchestra arrangements of both Last Spring and The Wounded Heart, better known as the Two Elegiac Melodies. (Hearing the Last Spring reminded me again of how much Delius was inspired by Grieg.) "Solveig's Song" has been arranged for virtually everything—I recall a surprisingly lovely harmonica rendition on an old recording. It's no surprise that it, coupled with "Ingrid's Lament," also from Peer Gynt, sings as beautifully as ever on the cello.

Perhaps the most felicitous arrangements on the disc are Michael Freyans's settings of the nostalgic love song Ich liebe Dich and of the piano solo, Spring.

Handley and the London Philharmonic offer expert and sympathetic support, and the sound is up to Black Box's usual high standard. -- Michael Fine, FANFARE Magazine

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Rachmaninov | Piano Concerto No. 3 · Rhapsody on a Theme of Paganini

2011-07-26T01:22:00.006-04:00

WAV Pack+CUE | 1 CD | Booklet | 290 MB | 2009

“Here, for once, is the level of artistry that the work needs...for all his seemingly endless reserves of technical power [Matsuev] never makes an ugly sound...Gergiev and his Marinsky Orchestra, too, contribute here on a level so far beyond routine that you would think none of them had played the work before” -- BBC Music Magazine *****

“...Matsuev holds that most titanic of piano concertos in a passionate embrace, lavish with his rubato, devastatingly certain in his articulation, sensitive to colour and balance, aware of how to pace and thus make coherent the architecture of this massive work.” -- Sunday Times ****

“As one might expect from someone hailed as Horowitz’s successor, Matsuev holds that most titanic of piano concertos in a passionate embrace, Importantly, for all his physical power and energy, he never makes a hard sound. There’s commensurately sympathetic playing from the Mariinsky, who also match Matsuev’s deft, vibrant musicianship in the brittler Rhapsody.” -- The Times

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Scriabin | The Piano Sonatas

2011-07-24T01:00:00.004-04:00

APE+CUE | 2 CD | Booklet | 491 MB | 1997

Scriabin's Piano Sonatas (10) chart his career from Romantic piano virtuoso to mystical voyant more clearly than any of his other works. Yet hearing them in order also reveals that their increasing complexities and stylistic advances developed on a continuum, and that they are actually quite unified, despite their dramatic changes of forms, harmonies, rhythms, and tonality.

Some pianists perceive a split between Sonata No. 4 and No. 5, as if that is where the seeds of Scriabin's messianic madness first took root; as a result, the cycle is frequently divided between vaguely Chopin-esque, parlor interpretations for the earlier works, and crazy, excessive readings for the remaining pieces. However, Vladimir Ashkenazy deserves credit for comprehending the progression of the Sonatas, and for taking a consistent interpretive stance from first to last. He is remarkably thoughtful and coherent, and from the outset presents Scriabin's work as a search for greater musical freedoms, not as a gradual slide into madness.

Ashkenazy may be faulted for rushing, and for more than a little explosiveness, but he must be accorded honors for producing one of the truly great Scriabin sets, both passionate and reasoned. The mix of ADD and DDD recordings may disappoint some, but the excellence of the music makes the slightly variable sound quality a minor issue. -- Blair Sanderson. allmusic.com

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Stravinsky · Symphony of Psalms | Boulanger · Psalms 24, 129 & 130 · Vieille Prière bouddhique

2011-07-16T18:38:00.007-04:00

WAV Pack+CUE | 1 CD | Booklet | 324 MB | 2001

. . his "intensity and solemnity" (Arnold Whittall's words) also pointing up their remarkable originality.
Record Review / Michael Oliver, Gramophone (London) / 01. December 2002

John Eliot Gardiner is ... one of the supreme choral conductors, and it's been good to hear him in more recent masterworks of the choral repertoire. The balance of clarity and fervor he brings to Stravinsky's Symphony of Psalms emphasizes its original blend of instrumental and choral color; this is its finest recording since Maazel's, and one of the best ever. The music of Lili Boulanger is an apt complement on all levels, and Gardiner delivers full emotional impact with expansive readings demonstrating the quality and importance of these works.
Record Review / Steve Holtje, Fanfare (Tenafly, NJ) / 01. November 2003

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Binder · Concertos per due cembalo

2011-07-14T19:08:00.004-04:00

FLAC+tracks | 1 CD | Booklet | 394 MB | 2004

(b Dresden, bap. 29 July 1723; d Dresden, 1 Jan 1789). German composer. The Son of an oboist, he probably received music instruction as a Dresden choirboy from Pantaleon Hebenstreit, to whom he was referred by the court in 1742 to learn his teacher’s dulcimer-like invention, the pantaleon. It was as a pantaleonist that he became a court musician in 1751, but he also performed as a harpsichordist. In 1764 he became second organist to Peter August in the court’s Catholic chapel, and he was first organist from August’s death in 1787; both were active as harpsichordists in Dresden’s public musical life.

Most of Binder’s career took place in the reign of Friedrich August III, an amateur musician, and his compositions reflect the court’s active interest in keyboard and chamber music. His extant works show a mixture of Empfindsamkeit and earlier Baroque elements, although they require greater virtuosity. The intense slow movements and the concentrated development of thematic material echo the style of C.P.E. Bach, but the keyboard figuration and choice of genres hark back to J.S. Bach; similarly, exact gradations of dynamics are interspersed with Baroque echo effects. Although Binder was a prolific composer, his influence was virtually confined to Dresden; few of his works were published in his lifetime.

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Prokofiev · Complete Works for Cello and Piano

2011-07-13T16:46:00.005-04:00

APE+tracks | 1 CD | Booklet | 219 MB | 2003

“Captured in the Maly Hall of the Moscow Conservatory where much of Prokofiev's work was first heard, it's surprising to find so many aspects of the composer's style represented, from the Romanticism of the early Ballade through the spiky dissonances of Chout to the elegiac, unfinished Solo Sonata. Aided by characterful piano-playing by Tatyana Lazareva, Ivashkin's recital compares most favourably with his similar programme on Ode for which he was accompanied by a more reticent pianist; although the earlier disc includes the Concertino movement in the guise of Rostropovich's cello quintet arrangement, the absence of the Chout transmogrification makes the Chandos collection appear better value.

We start with the familiar Cello (and piano) Sonata, a highly polished and deeply felt account with Lazareva providing a weighty, authentically Russian accompaniment. The Ballade is surely the best version yet of this increasingly popular work. Good though Wallfisch's expansive reading is, Ivashkin surpasses him in his juxtaposition of the 19th-century style of the opening and the ghostly second idea, hushed to a real pianissimo. Instead of Wallfisch's 'March' from The Love for Three Oranges, we get a Chout selection arranged by the Russian cellist Roman Sapozhnikov; again the rendition is technically spotless. Finally comes the Sonata for cello alone, its nostalgic opening brought off perfectly.

Ivashkin's playful treatment of the central gavotte-like section reminds us that he can do humour as well. --Gramophone

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Schubert · Complete Works for Violin and Piano · Vol. 2

2011-07-12T17:56:00.003-04:00

FLAC+tracks | 1 CD | Covers | 255 MB | 2010

“Characteristic Schubert, played with penetrating subtlety by the two young Germans Fischer and Helmchen...The CD ends with the D940 Fantasia for piano duet, with Fischer partnering in a powerful performance: one moment fiery, the next caressing. And all such heavenly music.” --The Times, 22nd May 2010 ****

“They give a magnificent account of this inspired work [the F major Fantasy]...It's a challenging piece...yet Fischer and Helmchen present as fine as any account on disc...They are a marvellous team, evidently giving each other ideas as they go along.” --BBC Music Magazine, August 2010 *****

Schubert’s complete works for violin and piano consist of three “sonatinas” Op. 137 Nos. 1-3 (D. 384, 385 and 408), Rondo Brillant D. 895, the Duo D. 574, and the amazing late Fantasia in D major D. 934. Because these do not quite fill two CDs, Volume 2 includes the Fantasia in F minor for piano duet, with Julia Fischer taking the second piano part. She’s obviously a tremendously gifted artist as the performance is an excellent one in every respect, and you’d never guess that one of the players is not a professional pianist.

That said, it’s the violin and piano works that constitute the principal attraction, and I include both discs together because I can’t imagine anyone interested in one not wanting the other as well. The three sonatinas are not, in fact, all that small, especially the latter two, which have four substantial movements apiece. Like everything Schubert wrote they are melodically generous and lovely from beginning to end. The D. 574 is more ambitious still, and by the time we get to the Fantasia we are talking about miracles. These performances are stupendous: perfectly balanced dialogs between two vibrant young personalities, ideally recorded in a warm acoustic space. There’s no need to say more: just get these discs. -- David Hurwitz, ClassicsToday.com

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Bruckner · Symphony No. 9

2011-07-12T15:34:00.005-04:00

FLAC+tracks | 1 CD | Booklet | 275 MB | 2001

There’s no doubt as to which of these new Bruckner Ninths is the more seductive. The playing of the Vienna Philharmonic under Claudio Abbado is of exceptional sensuous beauty and technical refinement, and the recording serves it well. Rather than creating an idealised conductor’s perspective, the placing of the microphones gives the listener the impression that he or she is hearing the performance from a good seat in the auditorium (with only the horns slightly recessed). In Abbado’s performance the music unfolds naturally and inevitably: tempi controlled but supple enough to prevent rigidity. -- Stephen Johnson, BBC Music Magazine

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Schubert · Complete Works for Violin and Piano · Vol. 1

2011-07-12T13:43:00.005-04:00

FLAC+tracks | 1 CD | Covers | 253 MB | 2009

“These three sonatas are all lightweight, but when played with such sweet tone as Julia Fischer brings to them, and such sensitive and responsive pianism as the remarkable young pianist Martin Helmchen commands, the results are delightful.” --BBC Music Magazine

“Helmchen is adept at pinpointing the crucial harmonies… and his touch is unusually sensitive… Fischer similarly manages to combine restraint with warm expression, and the occasional moments where she plays with more abandon - as in her dramatic first entry in D385 and the ebullient Minute of D403 - stand out the more effectively.” --Gramophone

Schubert’s complete works for violin and piano consist of three “sonatinas” Op. 137 Nos. 1-3 (D. 384, 385 and 408), Rondo Brillant D. 895, the Duo D. 574, and the amazing late Fantasia in D major D. 934. Because these do not quite fill two CDs, Volume 2 includes the Fantasia in F minor for piano duet, with Julia Fischer taking the second piano part. She’s obviously a tremendously gifted artist as the performance is an excellent one in every respect, and you’d never guess that one of the players is not a professional pianist.

That said, it’s the violin and piano works that constitute the principal attraction, and I include both discs together because I can’t imagine anyone interested in one not wanting the other as well. The three sonatinas are not, in fact, all that small, especially the latter two, which have four substantial movements apiece. Like everything Schubert wrote they are melodically generous and lovely from beginning to end. The D. 574 is more ambitious still, and by the time we get to the Fantasia we are talking about miracles. These performances are stupendous: perfectly balanced dialogs between two vibrant young personalities, ideally recorded in a warm acoustic space. There’s no need to say more: just get these discs. --David Hurwitz, ClassicsToday.com

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http://www.megaupload.com/?d=DP136T64

Barber · Korngold · Walton | Violin Concertos

2011-07-09T18:36:00.004-04:00

APE+CUE | 1 CD | Booklet | 395 MB | 2006

2008 Juno Award Winner
JUNO AWARDS - CLASSICAL ALBUM OF THE YEAR: LARGE ENSEMBLE OR SOLOIST(S) WITH LARGE ENSEMBLE ACCOMPANIMENT

2008 GRAMMY Award Winner
Soloist with Orchestra

It's an inspired coupling, as well as a generous one, to have these three high-romantic concertos together. James Ehnes gives superb performances, bringing out their full emotional thrust without vulgarity or exaggeration. His playing has always been impressive on disc, but here he excels himself in expressive range as well as tonal beauty, with expressive rubato perfectly controlled. --Gramophone

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Vivaldi's The Four Seasons adapted by Nicolas Chédeville

2011-07-08T15:40:00.009-04:00

FLAC+CUE | 1 CD | Booklet | 299 MB | 1997

There is little enough genuine light-hearted fun in music, and the Palladian Ensemble and their guests make the most of their opportunities with verve, virtuosity and varied instrumental colour. --Gramophone

Nicolas Chédeville (1705-82) ingeniously adapted Vivaldi's The Four Seasons to create a new seasonal cycle of six concertos. They are arranged from various movements of the original but only ‘Spring' is used in its entirety. ‘Summer is omitted completely and the outer movements of ‘Autumn' embrace the central largo from ‘Winter'.

The remaining material is borrowed from other concertos and simplified, with solo parts arranged for violin, recorder, the wheezing hurdy-gurdy and the musette (a variety of bagpipe). The inventiveness of this delightful novelty should appeal to anyone overexposed to to the standard Four Seasons. The Palladian Ensemble are Pamela Thorby (recorders), Rodolfo Richter (violin), Susanne Heinrich (viola da gamba) and William Carter (archlute, theorbo, guitar), with guest musicians Richard Egarr (harpsichord, organ), Nigel Eaton (hurdy-gurdy) and Jean-Pierre Rasle (baroque musette). This acclaimed period-instrument group's sparkling performance on this recording is irresistible. --New-Classics.co.uk

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Zavateri | Concerti da Chiesa e da Camera

2011-07-06T16:31:00.014-04:00

FLAC+tracks | 2 CD | Booklet | 533 MB | 2009

Music with a well-refined intelligence from a forgotten Baroque master.

Now here is a name that will almost certainly be new to every collector of baroque music on CD. Lorenzo Zavateri was a Bolognese composer and one-time pupil of Giuseppe Torelli. Zavateri became elected a member of the famous Accademia Filarmonica in 1717 and joined the almost equally esteemed orchestra of San Petronio in Bologna during the mid 1720s. Little of his music was published, but among that which was is his set of 12 Concerti da chiesa e da camera, Op. 1. The set was issued in 1735 and was praised by the celebrated Padre Martini for “a well-refined intelligence”.

There is less differentiation here between ‘church’ and ‘chamber’ styles than occurs in Corelli’s Op. 6, for instance, though several of Zavateri’s concertos contain illustrative or quasi-illustrative titles. Concertos Nos. 7 and 9, for example, are termed “Teatrale” – his almost exact contemporary, Locatelli, published six Introduttioni Teatrali in the same year, which are, like Zavateri’s pieces, concerti grossi in the three-movement form of the Italian opera sinfonia – while the tenth Concerto is “a Pastorale” and the twelfth “a Tempesta di mare”; the first work is perhaps rather unnecessarily subtitled “Introducione”, though via the heading Zavateri declares a cohesive purpose.

Dedicated to his pupil and patron, Count Cornelio Pepoli Musotti, the 12 concertos contain enough individual gestures and a sufficient diversity of ideas to hold our attention without difficulty. But perhaps it is those readers with a taste for stylistic pluralism, whose ears savour that Janus-like stance characteristic of vocabulary which draws upon the obsolescent and the new, who will derive the most constant pleasure from the music. There is little in the way of set formulae.

Four of the works are ripieno concertos while two others, as I have mentioned, are opera sinfonias in character and layout. The remaining six occupy a middle ground between concerto grosso and solo violin concerto – one of them, No. 10, is for two violins – and it is these which, on balance, make a deeper impression. There is frequently a contrapuntal interest in Zavateri’s concertos, sometimes an element of dazzling, if short-winded virtuosity, and at other times an affecting expressive intimacy. Like so many Italian composers of his generation and earlier, Zavateri embraces a tradition of including a 12/8 “Pastorale” movement within the set. Perhaps the tradition began with his teacher Torelli who included such a movement among the concertos of his Op. 8 (1709). Yet though not at that time published, it may have been Corelli’s well-known Christmas Concerto (Op. 6 No. 8) which set the trend. Zavateri’s “Pastorale” is an altogether more galant affair than those of his fellow Italians, airier in character, with trio episodes for two solo violins and continuo, and containing some striking key shifts. Of a completely different character is the splendidly vibrant Tempesta di mare which concludes the set. There are some telling contrasts here with rhythmically undulating passages juxtaposed with thrashing waves depicted chordally. Following a lyrical binary Adagio – the boat in calm waters – the tempest is unleashed with only modest ferocity.

Almost all is played with imagination and finesse by the Freiburg Baroque Orchestra under their leader and solo violinist Gottfried von der Goltz. A fascinating release and one to which I am eager to return. -- Nicholas Anderson, Gramophone [8/1996]

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Vivaldi · Recorder Concertos

2011-07-03T01:14:00.002-04:00

FLAC+tracks | 1 CD | Booklet | 336 MB | 2009

A number of Vivaldi’s concertos have more than one number in Peter Ryom’s catalog, sometimes being found under trios and other chamber music designations as well as under concertos. Ryom’s catalog lists 16 concertos (three incomplete) said to be for flute, two for recorder, and three for flautino. Some of these also had a life as violin pieces. From a remark by Johann Joachim Quantz, we learn that traverse flutes were not popular in Italy in the first half of the 18th century. The inference, then, is that Vivaldi expected recorders for his flute concertos.

Frankly, any flute played as well as Erik Bosgraaf plays his recorders is worth hearing. If you hate the recorder, you ought to hear this recording. If you think the sopranino recorder is an annoying whistle for five-year olds, you need to hear this recording. This is exciting and musical playing of the first order.

No small part of that, of course, is due to Vivaldi, probably the most traduced great composer of all time. Hearing any Vivaldi concerto is an adventure, and one understands why Bach found them useful and instructive to transcribe for other instruments. Vivaldi was a master of melody, but those melodies often take us on not quite the road we have expected. Equally important, he made the accompaniment part of a conversation with the solo instruments. Listen to the wonderful opening movement of RV 439, “La notte,” for instance, or its even more mysterious fifth (here third) movement, where the one part questions the other. It is as spare as any modernist piece, and Bosgraaf gives it just that little extra breathing room to let each short statement settle in before moving on. Though old age has made me less HIP than I once was, this is a perfect example of a moment where the limited overtone-series of older instruments makes a considerable contribution to the nocturnal effect intended. Vivaldi could tell us about more than just seasons.

There are no useful dates for any of these concertos, except that RV 98/433 and RV 439 appeared among the six published as op. 10 in Amsterdam in 1729–30. If they date from any of his several associations with the girl’s convent for which he was a teacher, then the outstanding violinists known to have lived there were complemented by equally virtuosic flute players. Cordevento is a new early-instrument band, but they interact with Bosgraaf as one. They are all aided by the wonderfully gentle acoustics of the Mennonite Church in Deventer, in the Netherlands.

There are many recordings of “La notte” and “La tempesta di mare,” in particular, and, indeed, of all of those recorded here. I like this one so much better than the others that it goes at once onto my next Want List. --FANFARE

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Sibelius · Mendelssohn · Violin Concertos

2011-07-03T01:04:00.003-04:00

FLAC+tracks | 1 CD | Booklet | 269 MB | 1998

Sarah Chang: "amiable grace and pleasing understatement" (Mendelssohn) --Chicago Tribune

"beautiful unwavering intensity" (Sibelius) --Die Welt

American-born violinist Sarah Chang is an award winning violinist who has been performing professionally since she was eight years old.

Born in Philadelphia to Korean parents and with a composer mother and violin teacher father, it was always likely she would be musical. Sarah began studying the violin aged four. Within a year she was performing with orchestras in the Philadelphia area.

Four years later Sarah auditioned for Zubin Mehta and Riccardo Muti, which immediately led to engagements with the New York Philharmonic and the Philadelphia Orchestra respectively.

Music

A recipient of the Avery Fisher Career Grant and the 1993 Gramophone award as 'Young Artist of the Year', Sarah is an exclusive recording artist with EMI Classics.

Her first album 'Debut', featuring virtuoso pieces by Sarasate, Paganini, Elgar and Prokofiev, was released in 1992 and quickly reached the Billboard chart of classical best-sellers.

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Tchaikovsky · Saint Saëns · Bruch · Cello Works

2011-07-02T16:02:00.003-04:00

APE+CUE | 1 CD | Booklet | 217 MB | 2003

On this fabulous classical recording, internationally acclaimed cellist Pieter Wispelwey is joined by the Deutsche Kammerphilharmonie Bremen (German Chamber Philharmonic), led by concertmaster Daniel Sepec. Tchaikovsky's "Variations on a Rococo Theme" and "Andante Cantabile" are widely considered two of the greatest cello and orchestra pieces ever composed, and Wispelwey's playing makes you understand exactly why. Also featured is Saint-Saens gorgeous "Cello Concerto No. 1" and Bruch's "Kol Nidrei."

"Pieter Wispelwey is impeccable. His bowing is seamless, his reflexes lightning-quick, and his unruffled tone nicely modulated." --Gramophone Superaudio

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Tcherepnin · Piano Concertos 2 & 4 · Symphonic Prayer · Magna mater

2011-07-02T15:23:00.002-04:00

FLAC+CUE | 1 CD | Booklet | 238 MB | 2003

This is really delightful stuff. The Symphonic Prayer and Magna mater both contrast gentle chorale textures with inventive writing for brass and percussion, and come off sounding somewhat like a harmonically kinder, gentler, but no less energetic Honegger. Prokofiev serves as the model for the nose-thumbing but inventive Second Piano Concerto, whose obstinately catchy principal motif gets repeated what sounds like several thousand times--but always with such wit and point that it never becomes annoying (unless of course you have no sense of humor and dislike musical jokes). Its flashy 17 minutes breezes by in (subjectively speaking) a fraction of the time, and Noriko Ogawa dispatches the fun-filled piano part with unconcealed glee.

She's appropriately more poetic and evocative in the remarkable Fourth Piano Concerto, a sequence of three tone poems for piano and orchestra on Chinese subjects, respectively titled Eastern Chamber Dream, Yan Kuei Fei's Love Sacrifice, and Road to Yunnan. As you listen you may well wonder where this colorful and deliciously kitschy music has been, and why it doesn't enjoy greater popularity. Colorfully scored, breezily "Chinese" in idiom (meaning plenty of pentatonic tunes), and compulsively listenable, it would bring the house down in a concert--and hopefully Ogawa will have many opportunities to play it live. In the meantime, she deserves our thanks for learning this unusual music (as well as Tcherepnin's other worthy piano concertos), as do Lan Shui and the Singapore Symphony Orchestra who offer very sympathetic accompaniments. First class sonics top off an absolutely irresistible release. Keep it coming, BIS! --classicstoday

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Barber · Orchestral and Chamber Works

2011-07-01T00:38:00.005-04:00

FLAC+CUE | 1 CD | Covers | 334 MB | 2005

“A first-rate sampler of Barber's late-Romantic style, from the Adagio for Strings through to valuable pieces such as the Dover Beach for baritone (Fischer-Dieskau on form).” --BBC M.M.

While anyone who loves the music of Samuel Barber will already have Thomas Schippers' heartrending performance of his Adagio for strings with the New York Philharmonic, anyone who loves the music of Samuel Barber will have to hear this disc because it contains many other superlative recordings.

The Philadelphia Woodwind Quartet, an ensemble made up of the principals of the Philadelphia Orchestra, performs Summer Music with lightness, beauty, and a marvelous sense of style. André Previn, then a jazz pianist from a movie music background, performs Four Excursions with wit, warmth, and a sparkling sense of rhythm.

Dietrich Fischer-Dieskau, then as now the greatest baritone of the past three-quarters of a century, performs Dover Beach with the Juilliard String Quartet, with sympathy, strength, and an impressive sense of the subtleties of the language.

The Beaux Arts String Quartet, then as now a nearly unknown ensemble that specialized in accompanying jazz players, performs the String Quartet, Op. 11, with power, panache, and a remarkable sense of pathos. E. Power Biggs with Eugene Ormandy and the Philadelphia Orchestra, then a superlative combination that later became something of a joke, performs the Toccata Festiva with bombast, bathos, and an unerring sense of the spectacle. And, of course, Schippers' performance of the dramatic Intermezzo from Act III of Vanessa remains, along with his Adagio, as one of the best Barber recordings ever made. Sony's remastered stereo sound is up-close and personal and none the worse for it. --All Music Guide

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Koechlin · The Seven Stars Symphony · Ballade pour piano et orchestre

2011-07-01T00:29:00.006-04:00

APE+tracks | 1 CD | Booklet | 222 MB | 1983

Very poetic character sketches as filtered through the mythologizing atmosphere of a nostalgic aural dream.

Recorded in 1982, the fact that [this album is] reentering the catalog suggests a select appeal which makes competition unlikely in the foreseeable future, thus [it enters] the Hall of Fame, if not - quite - by default (these are strong performances in better than average sound), less as outstanding sonic or interpretive artifacts and a great deal more on the strength of their artistic and musical import.

As Paul Snook took pains to note of The Seven Stars Symphony (in Fanfare 7:3) when this recording surfaced on vinyl, the provocative title "arouse[s] superficial and irrelevant expectations in the unprepared listener which are sure to be disappointed. This is not a set of slick and meretricious symphonic tableaux à la Ferde Grófé but a leisurely paced succession of unrelated miniature tone poems, constituting a suite of very subjective, very poetic, and very elusive character-sketches, or, more accurately, meditations, on the screen imagery of vedettes such as Fairbanks, Sr., Garbo, Dietrich, and Jannings as filtered through the allusively mythologizing atmosphere of a nostalgic aural dream." Got that? Well get it: he's on the money. Oddly, the compact disc has been processed from analog masters—the exemplary vinyl issue was digital: prominent tape hiss in the Ballade has been reduced but hardly banished from the symphony.

Despite that, detail and timbrai play are more keenly served on silver, as is one's wish to return again to certain oddments, moments, and entire movements until this miragelike play of tone, texture, and color has been savored and assimilated. -- Fanfare

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The romantic double-bass

2011-06-30T04:24:00.005-04:00

FLAC+CUE | 2 CD | Covers | 484 MB | 2005

Say double bass and people will probably think of jazz music. In spite of pioneering composers like Bottesini and active present-day players like Dutch Hans Roelofsen and Rudolf Senn the double-bass does not have a serious image in classical music. Maybe Saint-Saëns’ Carnaval des animaux has something to do with this.

Back in the nineteenth century there were several virtuoso performers on this instrument who also wrote music for it. Bottesini being the best-known of them. His virtuoso pieces seem to stretch the instrument with its intrinsic slowness to its limits. The first CD with recordings from 1988 gives some examples of these typical showpieces.

On the second CD Hans Roelofsen gives newly recorded performances of two sonatas by Chopin and Rachmaninov which were originally written for cello with piano accompaniment. These transcriptions show how versatile the double bass really is. It works surprisingly well: this is the truly romantic double bass.

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Ligeti · Nørgård | Violin Concertos · Sonata

2011-06-29T12:57:00.008-04:00

APE+CUE | 1 CD | Booklet | 300 MB | 2000

Awards Diapason d'Or

As the brilliant Christina Åstrand shows, both concertos treat the violin as a singing instrument… the melody isnt dead, its being reincarnated in challenging new forms… --BBC Music Magazine ‘Critics’ Choice’

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Milhaud · Le Carnaval d'Aix & other works

2011-06-28T16:07:00.006-04:00

FLAC+CUE | 1 CD | Booklet | 305 MB | 2004

'I know of no finer introduction to Milhaud's lighter orchestral work' --International Record Review

'What delightful music this is' --The Penguin Guide to Compact Discs

'C'est un genre 'lollipops' que Ronald Corp nous confectionné avec un heureux tour de main' --Répertoire, France

'This is a cracker of a disc, full of vitality, fabulous tunes, lashings of uncontrollable high spirits. All the players enter into the spirit of the music - tremendous fun' --Gramophone

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Brahms · Songs without Words

2011-06-26T19:05:00.005-04:00

APE+CUE | 1 CD | Covers | 242 MB | 1997

Mischa Maisky has the distinction of being the only cellist in the world to have studied with both Mstislav Rostropovich and Gregor Piatigorsky. Rostropovich has lauded Mischa Maisky as "...one of the most outstanding talents of the younger generation of cellists. His playing combines poetry and exquisite delicacy with great temperament and brilliant technique."

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J.S. Bach · Complete Keyboard Concertos

2011-06-25T04:02:00.002-04:00

APE+CUE | 3 CD | Booklet | 728 MB | 2011

Murray Perahia releases this collection of the keyboard concertos of J.S Bach. Celebrated by his fans and media alike on first release, several of the concertos have been unavailable for some time and make a welcome return to the catalogue, The set contains some of Perahia’s all-time best-selling recordings. The initial releases of these recordings of the Concertos Nos. 1-7 have sold in excess of 30,000 units in the UK alone

“Most of the works on these discs started life in another form. Perahia is an eloquent advocate, not least in Bach’s wonderful slow movements, above all in a superb account of the Italian Concerto.” --The Sunday Time

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Vivaldi · Mandolin and Lute Concertos

2011-06-24T02:00:00.005-04:00

APE+CUE | 1 CD | Booklet | 374 MB | 2010

“highly dramatic performances, deriving their from Guglielmo's ability to harness the propulsive nature of Vivaldi's writing while allowing a great deal of rhythmic flexibility and melodic embellishment...Guglielmo's wonderful cadenza linking the first two movements in RV82 is, like his direction throughout, tasteful and inventive.” --Gramophone

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C.P.E. Bach · Complete Flute Concertos

2011-06-23T17:35:00.010-04:00

APE+CUE | 2 CD | Covers | 550 MB | 2002

Penguin Guide Key Recording & Rosette Award, January 2009

Patrick Gallois is a masterly flautist, and he gives a superb set of performances of these fine concertos written for the court of Frederick the Great and arranged by the composer from works originally featuring the harpsichord as soloist. There is much sparkling vivacity in the allegros, and the expressive range of the slow movements, sometimes quite dark in feeling, is fully captured by both soloist and the excellent Toronto Camerata under Kevin Mallon, who ensures the consistent vitality of the music-making. Gallois uses Bach’s own cadenzas throughout, and he also gives an admirably spontaneous account of the Solo Sonata that shows his lovely tone at its most beguiling. With first-rate recording this Naxos set now sweeps the board…

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Beethoven · Complete Sonatas & Variations [Re-Up]

2010-10-26T01:49:00.019-03:00

APE+tracks | 2 CD | Covers | 495 MB | 2005

These works have been well served on disc, from the classic Rostropovich/Richter to the recent Schiff/Fellner (both on Philips). This set certainly belongs among the great ones, and it offers sonics of breathtaking naturalness and realism. Pieter Wispelwey and Dejan Lazic work exceptionally well together. Two strong-willed artists, everything that they do serves the music, not least in the three sets of variations, which are chock-full of personality and clear delight in Beethoven's early compositional virtuosity (the set based on Handel's "See the conqu'ring hero comes" is especially impressive). In the two early sonatas, with their curiously structured slow-fast-fast form, Lazic and Wispelwey take care to differentiate the two successive quick movements in terms of both tempo and character so as to maximize each work's scheme of contrasts.

In Op. 69 it's wonderful to hear how much drama they bring to the long opening movement, with vivid dynamic contrasts that at the same time never compromise the music's basic pulse. Listen to how sensitive Lazic is to the need to back off in the exposition's triplet theme, so that the low notes of the cello don't get buried. Or consider the duo's magnificently moving realization of Beethoven's "con molto sentimento d'affetto" designation in the adagio of Op. 102 No. 2. This is great playing by any standard, made all the more enticing by Channel Classics' state-of-the-art sonics both in stereo or 5.0 multichannel surround formats. Discrete microphone placement never distorts the ideal balances that the players bring to their music making, but at the same time, particularly in SACD-surround, the performances have a vividness and three-dimensionality that sounds positively uncanny at times. A magnificent achievement on all fronts. [12/5/2005] --David Hurwitz, ClassicsToday

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Kabalesvky · Cello Concertos Nos. 1 and 2 · Spring, Op. 65

2010-06-05T14:11:00.010-04:00

APE+CUE | 1 CD | Covers | 164 MB | 1997

"If the name Dmitri Kabalevsky (1904-87) brings to mind only sparkling, high-spririted pieces...his cello concertos will greatly enrich your impression of his style....I'm quite pleased with these performances; they convey the flow and character of the music admirably..." -- BBC Music

Dmitry Kabalevsky (1904-1987)

Cello Concerto No. 1 in G minor, Op. 49

Cello Concerto No. 2 in G major, Op. 77

Symphonic Poem: Spring, OP. 65 (Vesna)

Grieg · Schumann · Piano Concertos

2010-05-27T16:30:00.008-04:00

FLAC+CUE | 1 CD | Covers | 283 MB | 1963

Claudio Arrau recorded these concertos twice for Philips, the present performances in 1963, and then again in 1980 with Colin Davis and the Boston Symphony. There's very little to choose between them. Tempos are almost identical, and contrary to what one might expect, the slow movement of the Schumann concerto is actually a bit faster in the later version. Arrau's way with the music is wholly characteristic of the man: serious, even reverential (at the beginning of the Schumann), and played with drop-dead gorgeous tone. The result enhances the stature of both works, but the Grieg in particular. The climax of the finale has an epic grandeur without a hint of bombast that you simply won't find in any other performance. Dohnányi's accompaniments are also distinguished: he lets Arrau lead but isn't afraid to permit the orchestra to assert itself where necessary; and of course the playing of the Concertgebouw is top-notch. If you haven't heard Arrau in this music, it really doesn't matter which of his recordings you wind up with, but do try to get at least one of them. --David Hurwitz. Classics Today

Edvard Grieg (1843-1907)

Piano Concerto in A minor, Op. 16

Robert Schumann (1810-1856)

Piano Concerto in A minor, Op. 54

The Royal Philarmonic Orchestra · Carl Orff

2010-05-26T01:03:00.005-04:00

FLAC+CUE | 1 CD | Covers | 280 MB | 1997

Ann Archibald soprano

John Graham-Hall tenor

Peter Sidhom baritone

Royal Choral Society

The Royal Philarmonic Orchestra

Richard Cooke conductor

Carl Orff (1895-1982)

Carmina Burana

Cantiones profanae (Secular songs)

Fortuna Imperatrix Mundi

I Primo vere · Uf dem anger

II In Taberna

III Cour d'amours

Blanziflor et Helena

Fortuna Imperatrix Mundi

The Royal Philharmonic Orchestra · Tchaikovsky

2010-05-26T00:47:00.004-04:00

APE+CUE | 1 CD | Covers | 298 MB | 2005

Pyotr Ilyich Tchaikovsky (1810-1893)

The Nutcracker Suite

Swan Lake Suite

Tchaikovsky · Dvorak · Violin Concertos

2010-05-18T17:24:00.006-04:00

FLAC+CUE | 1 CD | Covers | 325 MB | 1998

Ciaikovski (1810-1893)

Concerto per violino in re maggiore op.35

Dvorák (1841-1904)

Concerto per violino in la minore op.53

Yuja Wang · Stravinsky · Scarlatti · Brahms

2010-05-09T16:19:00.004-04:00

APE+CUE | 1 CD | 175 MB | Covers | 2010

Igor Stravinsky (1882-1971)

Three Movements from Petrushka

Domenico Scarlatti (1685-1757)

Soanata in E major K. 380

Johannes Brahms (1833-1897)

Variations on a Theme by Paganini

Domenico Scarlatti

Sonata in F minor/C major

Maurice Ravel (1875-1937)

La Valse

Stamitz · Four Symphonies

2010-05-09T16:00:00.015-04:00

FLAC+CUE | 1 CD | 280 MB | Covers | 1995

Carl Stamitz (1745-1801)

Symphony in F major, Op.24, No.3
Symphony in C major, Op.13/16, No.5
Symphony in G major, Op.13/16, No.4
Symphony in D major, 'La Chase'

Franz Krommer · Symphonies Op. 40 · Op.102

2010-05-08T14:13:00.002-04:00

FLAC | 1 CD | 235 MB | Covers | 1994

Franz Krommer (1759-1831)

Symphony Op.40
Symphony Op.102

Dvorák · Piano Trio No.4 'Dumky'· Smetana · Piano Trio Op. 15

2010-05-08T14:08:00.002-04:00

APE+CUE | 1 CD | 215 MB | Covers | 1986

Antonin Dvorák (1841-1904)
Piano Trio No.4 in E minor Op. 90 'Dumky'

Bedrich Smetana (1824-1884)
Piano Trio in G minor Op.15

Dvorak · Serenade for Strings · Serenade for Wind

2010-05-08T14:05:00.001-04:00

Philharmonia Orchestra · Christopher Warren-Green
FLAC | 1 CD | Covers | 215 MB | 1986

Antonín Dvorák (1841-1904)

Serenade for Strings, Op.22 [B. 52]
Serenade for Wind, Op. 44 [B. 77]

Fortunato Chelleri · Six Simphonies Nouvelles

2010-05-06T14:14:00.023-04:00

Atalanta Fugiens · Vanni Morello
FLAC | 1 CD | Covers | 311 MB | 2008

Fortunato Chelleri (1690-1757)

Symphony no.1 in D Major

Symphony no.2 in C Major

Symphony no.3 in B flat Major

Symphony no.4 in A Major

Symphony no.5 in D Major

Symphony no.6 in B flat Major

Brussels Symphony in B flat Major

"Polonaise" from the Brussels Symphony in A Major

Anton Bruckner · The Symphonies

2010-05-04T00:12:00.001-04:00

Chicago Symphony Orchestra · Sir Georg Solti
APE | 10 CDs | Covers | 2, 53 GB | 1996

Anton Bruckner (1824-1896)

CD 3
Symphony No. 2 in C minor (ed. Nowak)
Symphony No. 5 in B flat (I)

CD 4
Symphony No. 5 in B flat (II-IV)

CD 5
Symphony No. 3 in D minor (1877 version, ed. Nowak), WAB 103

CD 6
Symphony No. 4 in E flat major (ed. Nowak)

CD 7
Symphony No. 6 in A major

CD 8
Symphony No. 7 in E major

CD 9
Symphony No. 8 in C minor (1890 version, ed. Nowak)

CD 10
Symphony No. 9 in D minor

Antonín Dvořák · The Great Symphonies, Overtures, Symphonic Poems · 100TH Anniversary Edition

2010-04-27T14:46:00.019-04:00

Flac+tracks | 5 CDs | Covers | 1.45 GB | 2004

Royal Concertgebouw Orchestra · Nikolaus Harnoncourt
Rochester Philharmonic Orchestra · David Zinman
New York Philharmonic Orchestra · Kurt Masur
Orchestre de chambre de Lausanne · Armin Jordan

Antonín Dvořák (1841-1904)

CD 1

Symphony No.7 in D minor, op.70

The Wild Dove, op.110

CD 2

Symphony No.8 in G major, op.88

The Noon Witch, op.108

Suite in A (American Suite), op.98b

CD 3

Symphony No.9 in E minor, op.95

"From the New World"

The Water Goblin, op.107

CD 4

In Nature's Realm, op.91

Carnival, op.92

Othello, op.93

Czech Suite, op.39

CD 5

The Golden Spinning Wheel, op.109

Legends, op.59

Antonín Dvořák · Concertos · Serenades, Requiem & Slavonic Dances · 100TH Anniversary Edition

2010-04-27T14:37:00.001-04:00

Concertos · Serenades, Requiem & Slavonic Dances · 100TH Anniversary Edition
FLAC | 6 CDs | Covers | 1.52 GB | 2004

Nikolaus Harnoncourt / Royal Concertgebouw Orchestra; Kurt Masur / New York Philharmonic Orchestra; Seiji Ozawa / Boston Symphony Orchestra; Eliahu Inbal / Philharmonia Orchestra; Hugh Wolff / Saint Paul Chamber Orchestra; Nikolaus Harnoncourt / Chamber Orchestra of Europe; Ondrej Lenard / Prague Symphony Orchestra; Trio Fontenay; Panocha Quartet; Keller Quartet; Mstislav Rostropovich, cello; Maxim Vengerov, violin; Pierre-Laurent Aimard, piano; Thomas Zehetmair, violin; Eva Urbanova, soprano

Antonín Dvořák (1841-1904)

CD 1
Cello Concerto in B minor, op.104
Mstislav Rostropovich · Boston Symphony Orchestra · Seiji Ozawa

Violin Concerto in A minor, op.53
Maxim Vengerov · New York Philharmonic Orchestra · Kurt Masur

CD 2
Piano Concerto in G minor, op.33
Pierre-Laurent Aimard · Amsterdam Concertgebouw Orchestra · Nikolaus Harnoncourt

Romance in F minor for violin and orchestra, op.11
Thomas Zehetmair · Philharmonia Orchestra · Eliahu Inbal

Silent Woods for cello and orchestra, op.68 no.5
Arto Noras · Kuopio Symphony Orchestra · Markus Lehtinen

Slavonic Rhapsodies in D major, op.45 no. 1
Czech Philharmonia Orchestra · Václav Neumann

CD 3
Serenade for Strings in E major, op.22
Saint Paul Chamber Orchestra · Hugh Wolff

Wind Serenade in D minor, op.44
Saint Paul Chamber Orchestra · Hugh Wolff

Arias from Rusalka
Eva Urbanová · Prague Symphony Orchestra · Ondrej Lenárd

CD 4
Slavonic Dances, opp.46 & 72
Chamber Orchestra of Europe · Nikolaus Harnoncourt

CD 5
Requiem Mass, op.89 - Part I
Radio France Chorus, Paris Nouvel Orchestre Philharmonique
with Leonard Andrzej Mróz, Peter Dvorský, Stefania Toczyska, Teresa Zylis-Gara
Conducted by Armin Jordan

CD 6
Requiem Mass, op.89 - Part II

Bach · Greatest Hits

2010-04-24T13:20:00.000-04:00

Bach · Greatest Hits
WAV Pack+CUE | 1 CD | Covers | 323 MB | 1999

Johann Sebastian Bach (1685-1750)

Eugene Ormandy · Philadelphia Orchestra - Toccata and Fugue for organ in D minor
Rudolf Baumgartner · Festival Strings Lucerne - Air on the G String (from Suite No. 3 in D)
Virgil Fox, organ · The Royal Albert Hall Organ - Sleepers, Wake (from Cantata No. 140)
Rudolf Baumgartner · Festival Strings Lucerne, Aurele Nicolet, flute; Josef Suk, violin; Christian Jacottet, harpsichord - Brandenburg Concerto No. 5: Allegro
Leopold Stokowski · London Symphony; The Norman Luboff Choir - Jesu, Joy of Man's Desiring (from Cantata No. 147)
James Galway, flute · conductor · I Solisti di Zagreb - Orchestral Suite No. 2: Minuet & Badinerie (edited by James Galway)
Leopold Stokowski · London Symphony; The Norman Luboff Choir - Sheep May Safely Graze (from Cantata No. 208)
Rudolf Baumgartner · Festival Strings Lucerne;Guy Touvron, trumpet; Aurele Nicolet, flute; Maurice Bourque, oboe; Josef Suk, violin - Brandenburg Concerto No. 2: Allegro assai
Arthur Fiedler · Boston Pops - 'Little' Fugue in G Minor
Rudolf Baumgartner · Festival Strings Lucerne - Brandenburg Concerto No. 3: Allegro
Leopold Stokowski · London Symphony - Chaconne (from Partita No. 2 in D minor)

Schumann · The Symphonies

2010-04-19T18:41:00.000-04:00

Berliner Philharmoniker · Wiener Philharmoniker · Herbert von Karajan
FLAC+CUE | 3 CDs | Covers | 835 MB | 2000

Robert Schumann (1810-1856)

CD 1
Symphonies nos. 1 & 2

CD 2
Symphonies nos. 3 & 4

CD 3
Overture, Scherzo and Finale
Symphony no. 4 (Live recording from the Vienna Musikverein, 24 May 1987

Hayd · Mozart · Boccherini · Tartini

2010-04-19T00:01:00.000-04:00

Yuli Turovsky cello · I Musici de Montréal
FLAC | 1 CD | Covers | 261 MB | 1989

Joseph Haydn (1732-1809) • Divertimento for Cello and String Orchestra in D major
Wolfgang Amadeus Mozart (1756-1791) • Concerto for Cello and Orchestra in D major K.447
Luiggi Boccherini (1743-1805) • Adagio and Allegro for Cellor and String Orchestra in A major
Giuseppe Tartini (1692-1770) • Concerto for Cello and String Orchestra in D major

Mozart · Albinoni · Pachelbel · Haydn · Boccherini · Beethoven

2010-04-18T23:43:00.000-04:00

I Musici
FLAC | 1 CD | Covers | 207 MB | 1983

Wolfgang Amadeus Mozart (1756-1791) · Serenade in G major, K 525 "Eine kleine Nachtmusik"
Joseph Haydn (1732-1809) · Serenade from String Quartet in F, Op. 3/5
Tomaso Albinoni (1671-17151) · Adagio in G minor
Johann Pachelbel (1653-1706) · Canon
Luiggi Boccherini (1743-1805) · Minuet from the String Quintet in E
Ludwing van Beethoven (1770-1827) · Minuet in G

Sergei Rachmaninoff · Greatest Hits

2010-04-18T00:18:00.000-04:00

Sergei Rachmaninoff · Greatest Hits
WAV Pack | 1 CD | Covers | 288 MB | 2009

Ruth Laredo piano · Vladimir Feltsman piano · Israel Philharmonic Orchestra · Zubin Mehta · Emanuel Ax & Yefim Bronfman pianos · Barry Douglas piano · London Symphony Orchectra · Michael Tilson Thomas · St. Petersburg Philharmonic Orchestra · Yuri Temirkanov ·
Janos Starker cello · Shigeo Neriki piano · Arcadi Volodos piano · Berlin Philharmonic Orchestra · James Levine · Sergei Rachmaninoff piano

Sergei Rachmaninoff (1873-1943)

Prelude In G Minor, Op. 23 No. 5
Rhapsody On A Theme Of Paganini, Op. 43 - Variation No. 18
Fantaisie-Tableaux, Op. 5 - II: The Night Of Love
Piano Concerto No. 2 In C Minor, Op. 18 - Iii: Allegro Scherzando
Lilacs, Op. 21 No. 5
Daisies, Op. 38 No. 3
Symphony No. 2 In E Minor, Op. 27 - Iii: Adagio
Sonata In G Minor For Cello And Piano, Op. 19 - III: Andante
Vocalise, Op. 34 No. 14
Piano Concerto No. 3 In D Minor, Op. 30 - III: Finale: Alla Breve
Prelude In C-Sharp Minor, Op. 3 No. 2

Bartók · Violin Concertos 1 & 2

2010-04-14T15:57:00.000-04:00

Dmitry Sitkovetsky · The Philharmonia · Libor Pešek
APE+CUE | 1 CD | Covers | 246 MB | 1995

Béla Bartók (1881-1945)

Violin Concerto No. 1
Violin Concerto No. 2

Tchaikovsky · Schumann · Piano Concertos

2010-04-12T17:24:00.000-04:00

Vladimir Ashkenazy · London Symphony Orchestra · Lorin Maazel · Uri Segal
FLAC | 1 CD | Covers | 308 MB | 2001

Pyotr Ilyich Tchaikovsky (1810-1893)
Piano Concerto No. 1 in B flat minor, op.23

Robert Schumann (1810-1856)
Piano Concerto in A minor, op.54

Bruckner · Piano Works

2010-04-09T01:24:00.000-04:00

Wolfgang Brunner · Michael Schopper
FLAC | 1 CD | Covers | 190 MB | 1995

Anton Bruckner (1824-1896)

Lancer-Quadrille, for piano in C major, WAB 120
Steiermärker, for piano in G major, WAB 122
Quadrille, for piano, 4 hands in A major, WAB 121
Kleine Vortragsstüke (3), for piano, 4 hands, WAB 124
Klavierstück, for piano in E flat major, WAB 119
Sonata first movements (3), for piano Sonatensatz in g-moll
Stille Betrachtung an einem Herbstabend, for piano in F sharp minor, WAB 123
Fantasie, for piano in G major, WAB 118
Erinnerung, for piano in A flat major, WAB 117

Handel · Violin Sonatas

2010-04-07T15:20:00.000-04:00

Hiro Kurosaki · William Christie
APE+CUE | 1 CD | Covers | 341 MB | 2003

George Friderich Handel (1685-1759)

Sonata in A major HWV 372
Sonata in G minor HWV 364a
Sonata in D major HWV 371
Sonata in A major HWV 361
Sonata in D minor HWV 359a
Sonata in G major HWV 358
Sonata in F major HWV 370

Antonio Vivaldi · Concerti per Violino

2010-04-05T22:01:00.000-04:00

Uto Ughi · I Virtuosi De Santa Cecilia
FLA+CUE | 1 CD | Covers | 400 MB | 1997

Concerto in D major Op.8 "The Venture of Harmony and Invention", n. 11
Concerto in E minor "The Favourite"
Concerto in E major "The Amorous"
Concerto in A minor "The Harmonic Inspiration", n. 8
Concerto in C major, RV 581
Concerto in F major, RV 286

Saint-Saëns · Piano Concertos

2010-04-03T15:24:00.000-03:00

Pascal Rogé · Royal Philharmonic Orchestra · Charles Dutoit
WAV Pack+Cue | 2 CDs | Covers | 516 MB | 1995

Camille Saint-Saëns (1835-1921)

Piano Concerto No. 1 in D major, Op. 17
Piano Concerto No. 2 in G minor, Op. 22
Piano Concerto No. 3 in E flat major, Op. 29
Piano Concerto No. 4 in C minor, Op. 44
Piano Concerto No. 5 ("Egyptian"), in F major, Op. 103

Tartini · Concertos

2010-04-02T16:50:00.000-03:00

Ensemble 415 · Chiara Banchini
WAV Pack+CUE | 1 CD | Covers | 366 MB | 1995

Giuseppe Tartini (1692-1770)

Concerto Grosso No.3 in C major
Violin Concerto in G major, D. 78
Violin Concerto in A major, D. 90
Violin Concerto in A minor, D. 115
Concerto Grosso No.5 in C major

Gliere · Ginastera · Harp Concertos · Concerto for Coloratura Soprano

2010-04-02T16:45:00.000-03:00

Rachel Masters, harp · Eileen Hulse, soprano · City of London Sinfonia · Richard Hickox
APE | 1 CD | Covers | 231 MB | 1992

Reinhold Gliere (1875-1956)
Concerto for Haro and Orchestra Op.74
Concerto for Coloratura Soprano and Oechestra OP.82

Alberto Ginastera (1916-1983)
Concerto for Harp and Orchestra Op.25

Brahms · Weber · Clarinet Quartets

2010-03-31T00:25:00.001-03:00

Richard Stoltzman · Tokyo String Quartet
APE+CUE | 1 CD | Covers | 271 MB | 1995

Johannes Brahms (1833-1897)
Quintet for Clarinet and Strings, Op. 115 in B Minor

Carl Maria von Weber (1786-1826)
Quintet for Clarinet and Strings, Op. 34, J. 182 in B-Flat

Michala Petri · Lars Hannibal · Souvenir

2010-03-31T00:05:00.000-03:00

Michala Petri · Lars Hannibal
APE+CUE | 1 CD | Covers | 300 MB | 1994

Georg Philipp Telemann (1681-1767)
Sonata in D minor for alto recorder and continuo

Johann Sebastian Bach (1685-1750)
Patita in C minor BWV 1013, for alto recorder

Thomas Koppel (b.1944)
Nele's Dances for recorder and lute

Ernest Krähmer (1795-1837)
Introduction, Theme, and Variations,
Op.32, for soprano recorder and guitar

Antonio Vivaldi (1678-1741)
Sonata in G major RV59, for soprano recorder and continuo

Jacques Ibert (1890-1962)
Entr'acte for sopranino recorder and guitar

Ladislav Kupkovic (b.1928) arr. Petri
Souvenir for sopranino recorder and guitar

Gordon Jacob (1895-1984)
An Encore for Michala for alto recorder and guitar

Shostakovich · Cello Concerto No.1 · Cello Sonata No. 2

2010-03-24T23:12:00.000-03:00

Han-Na Chang · London Symphony Orchestra · Antonio Pappano
APE+CUE | 1 CD | Covers | 197 MB | 2005

Dmitry Shostakovich (1906-1975)

Cello Concerto No. 1 in E flat Op. 107
Cello Sonata No.2 in D minor, Op. 40

Dvorák · Symphonies Nos. 6 & 8

2010-03-24T11:31:00.000-03:00

Wiener Philharmoniker · Myung-Whun Chung
APE+CUE | 1 CD | Covers | 295 MB | 2000

Antonín Dvorák (1841-1904)

Symphony No. 6 in D major, op. 60
Symphony No. 8 in G major, op. 88

Dvorák · Symphonies Nos. 3 & 7

2010-03-23T16:39:00.000-03:00

Wiener Philharmoniker · Myung-Whun Chung
APE+CUE | 1 CD | Covers | 292 MB | 1997

Antonín Dvorák (1841-1904)

Symphony No. 3 in E flat major, op.10
Symphony No. 7 in D minor, op.70

Hummel · Piano Sonatas

2010-03-13T16:17:00.000-03:00

Stephen Hough
APE+CUE | 1 CD | Covers | 200 MB | 2003

Johann Nepomuk Hummel (1778-1837)

Piano Sonata in F sharp minor, Op 81
Piano Sonata in D major, Op 106
Piano Sonata in F minor, Op 20

De Falla · Franck · Poulenc · Massenet

2010-03-12T17:06:00.000-03:00

Duo Esterhazy

APE+CUE | 1 CD | Covers | 278 MB | 2002

Francis Poulenc (1899-1963)
Sonate pour violon et piano "à la mémoire de federico García Lorca 1899-1936"

Manuel De Falla (1876-1946)
Suite populaire Espagnole d'après 'Siete canciones populares Españolas'

César Franck (1822-1890)
Sonata for violin and piano A major "A Eugéne Ysaÿe"

Jules Massenet (1842-1912)
"Meéditation" From the opera "Thaïs"

Mendelssohn · Symphonies 3 'Scottish' & 4 'Italian'

2010-03-08T16:34:00.000-03:00

San Francisco Symphony · Herbert Blomstedt
FLAC+CUE | 1 CD | Covers | 258 MB | 1993

Felix Mendelssohn (1809-1847)

Symphony No.3, op.56 'Scottish'
Symphony No.4, op.90 'Italian'

Nikolaus Harnoncourt - The Symphony Collection [Re-Up]

2010-03-03T12:34:00.017-03:00

APE+CUE | 5 CDs | Booklet | 1.54 GB | 2009

CD 1
Joseph Haydn (1732-1809)
Symphony No.94 in G major "Surprice"
Symphony No.104 in D major "London"

Ludwing van Beethoven (1770-1827)
Symphony No.1 in C major, op.21

CD 2
Wolgang Amadeus Mozart (1756-1791)
Symphony No.41 in C major, K551 "Jupiter"

Ludwing van Beethoven (1770-1827)
Symphony No.5 in C minor, op.67

CD 3
Franz Schubert (1797-1828)
Symphony No.8 in B mino, D759 "Unfinished"

Felix Mendelssohn (1809-1847)
Symphony No.4 in A major, op.90 "Italian"

Robert Schumann (1810-1856)
Symphony No.4 in D minor, op.120 (1841 version)

CD 4
Johannes Brahms (1833-1897)
Symphony No.3 in F major, op.90

Antonín Dvorák (1841-1904)
Symphony No.9 in E minor, op.95 "From the New World"

CD 5
Anton Bruckner (1824-1896)
Symphony No.7 in E major

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Master of the Guitar

2010-03-02T18:41:00.001-03:00

34 Guitar Masterpieces
FLAC+CUE | 2 CDs | Covers | 586 MB | 2002

CD 1
Göran Söllscher (arr. Williams) · Cavatian, The Deer Hunter (Myers)
Tarrega · Recuerdos de la Alhambra (Eduardo Fernandez)
Albeniz · Tango, Espana, 6 hojas de album, Op.165 (Celin Romero & Pepe Romero)
Albeniz · Asturias (Leyenda), Suite Espanola, Op.47 (Pepe Romero)
Bach · Prelude, Solo Violin Suite in E major, BWW 1006a (transcr. Femandez) (Eduardo Fernandez)
Falla · Dance, La Vida Breve (transcr. Hall) (Nicola Hall)
Torroba · Torija (Elegia), Castillos de Espana (Andres Segovia)
Torroba · Alcaniz (Festival), Castillos de Espana (Andres Segovia)
Bach · Prelude, Cello Suite in G major, BWW 1007 (John Williams)
Villa-Lobos · Prelude No.1 in E minor (Julian Bream)
Barrios · Danza Paraguaya No.1 (Eduardo Fernandez)
Torroba · Romance de los Pinos (Pepe Romero)
Celedonio Romero · Malaguena (Pepe Romero)
Trad. · Ayer Y Hoy (Paco Pena)
Vivaldi · II Largo, Guitar Concerto for Lute and 2 Violins in D major, RV 93 (arr. Malipiero) (Eduardo Fernandez)
Rodrigo · Concierto de Aranjuez · I Allegro con spirito, Concierto De Aranjuez (Pepe Romero)
Rodrigo · II Adagio, Concierto De Aranjuez (Pepe Romero)
Rodrigo · III Allegro gentile, Concierto De Aranjuez (Pepe Romero)

CD 2
Romance Jeux interdits (Pepe Romero)
Albeniz · Sevilla, Suite Espanola, Op.47 (arr. Leobet) (Eduardo Fernandez)
Granados · Andaluza, Danzas Espanolas, Op.37 (Celin Romero & Pepe Romero)
Albeniz · Granada (Serenata), Suite Espamola, Op.47 (Pepe Romero)
Paganini · Caprice, Op.1 No.24 (transcr. C. Romero) (Nicola Hall)
Alard · Estudio brillante (transcr. Hall) (Eduardo Fernandez)
Bach · Prelude in D minor, BWV 999 (orig. in C minor) (Eduardo Fernandez)
Scarlatti · Sonata in E major, KK 380 (transcr. Lagoya) (Ida Presti & Alexandre Lagoya)
Bach · Courante, Solo Cello Suite in C major,BWV 1009 (arr. C. Romero) (Pepe Romero)
Mertz · Fantaisie hongroise, Op.65 No.1 (Nicola Hall)
Brouwer · Cancion de Cuna, Dos Temas Populares Cubanos (Eduardo Fernandez)
Savio · Batucada (Eduardo Fernandez)
Romero · Noche en Malaga (Los Romero)
Trad. · La Alcazaba (Verdiales) (Paco Pena)
Villa·Lobos · Bachianas brasileiras No.5 (arr. Lagoya) (Alexandre Lagoya)
Marcello · II Andante sostenuto, Oboe Concerto in D minor (Alexandre Lagoya)
Boccherini · II Andante cantabile, Cello Concerto No.6 in D major (arr. Cassado) (Andres Segovia)
Rodrigo · I Villano Y Ricercare, Fantasia para un gentilhombre (Alexandre Lagoya)
Arnold · III Con brio, Guitar Concerto, Op.67 (Eduardo Fernandez)

Rachmaninov · Shymphonic Dances · Dances from 'Aleko' · Capriccio Bohémien

2010-03-01T16:52:00.000-03:00

The Philharmonia · Neeme Järvi
APE+CUE | 1 CD | Covers | 252 MB | 1992

Serge Rachmaninov (1873-1943)

Shymphonic Dances Op. 45
Dances from "Aleko"
Capriccio bohémien Op. 12

Schumann · Davidsbündlertänze · Concert sans orchestre · Kreisleriana

2010-02-25T20:43:00.000-03:00

Maurizio Pollini
FLAC+CUE | 2 CD | Covers | 352 MB | 2005

Robert Schumann (1810-1856)

Davidsbündlertänze for Piano, Op. 6
Sonata for Piano no 3 in F minor, Op. 14 "Concert sans orchestre"
Allegro for Piano in B minor, Op. 8
Kreisleriana, Op. 16
Gesänge der Frühe for Piano, Op. 133

Schubert · Piano Sonatas D. 958, 959, 960

2010-02-25T20:19:00.000-03:00

Murray Perahia
FLAC+CUE | 1 CD | Covers | 344 MB | 2003

Franz Schubert (1797-1828)

CD 1
Sonata for Piano in C minor, D 958
Sonata for Piano in A major, D 959

CD 2
Sonata for Piano in B flat major, D 960

Tchaikovsky · Symphony No.5

2010-02-19T01:21:00.000-03:00

Wiener Philharmoniker · Valery Gergiev
APE+CUE | 1 CD | Covers | 202 MB | 1999

Pyotr Ilych Tchaikovsky (1810-1893)

Symphony No.5 in E minor Op. 64

Stravinsky · Symphony in E flat · Violin Concerto

2010-02-17T22:19:00.000-03:00

Lydia Mordkovitch violin · LOrchestre de la Suisse Romande · Neeme Järvi

WAV Pack+CUE | 1 CD | 242 MB | Covers | 1993

Igor Stravinsky (1882-1971)

Symphony in E flat Op.1
Violin Concerto

The Royal Philharmonic Orchestra · Voyage

2010-02-17T00:14:00.000-03:00

The Royal Philharmonic Orchestra
APE+CUE | 2 CDs | 645 MB | Covers | 2005

CD 1
Richard Strauss - Also Sprach Zarathustra, op. 30: Einleitung
Aaron Copland - Fanfare For The Common Man
Ludwig Van Beethoven - Symphony No. 5 In C Minor, op. 67: I. Allegro Con Brio
Antonin Dvorak - Symphony No. 9 In E Minor, op. 95: IV. Allegro Con Fuoco
Carl Orff - Carmina Burana: O Fortuna
Richard Wagner - Lohengrin: Prelude To Act III
Dmitry Shostakovich - Symphony No. 5 In D Minor, op. 47: IV. Allegro Non Troppo
Leonard Bernstein - Candide: Overture
Felix Mendelssohn Bartholdy - Symphony No. 4 In A Major, op. 90 "Italian"
Modest Mussorgsky - Pictures At An Exhibition: The Great Gate Of Kiev
Hector Berlioz - Symphonie Fantastique, op. 14: IV. Marche Au Supplice (Allegro Non Troppo)
Maurice Ravel - Bolero

CD 2
Johann Pachelbel - Canon in D major
Edvard Grieg - Peer Gynt Suite No. 1, op. 46
Wolfgang Amadeus Mozart - Symphony No. 41 in C major, KV 551 Jupiter
Peter I. Tchaikovsky - Serenade for Strings in C major, op. 48, III. Elegy
Sergey Rachmaninov - Symphony No.2 in E minor, op. 27, III. Adagio
Gustav Mahler - Symphony No. 1 in D major
Henryk M. Gorecki - Symphony No. 3, Symphony of Sorrowful Songs

Mendelssohn · Octet Op.20 · Quintet Op.87

2010-02-16T01:44:00.000-03:00

Academy Chamber Ensemble
APE+CUE | 1 CD | 277 MB | Covers | 1990

Felix Mendelssohn Martholdy (1809-1847)

Octet in E flat, Op.20
Quintet in B flat, Op.87

John Hebden · Six Concertos for Strings

2010-02-15T18:59:00.000-03:00

Cantilena · Adrian Shepherd
FLAC | 1 CD | 308 MB | Covers | 1988

John Hebden (England, 1712–1765)

Six Concertos for Strings
edited by Ruzena Wood
continuo realisation by Ian Robertso

Concerto No. 1 in A major
Concerto No. 2 in C major
Concerto No. 3 in E major
Concerto No. 4 in E flat major
Concerto No. 5 in C minor
Concerto No. 6 in D minor

Tchaikovsky · Complete Suites

2010-02-13T12:40:00.000-03:00

Detroit Symphony Orchestra · Neeme Järvi
FLAC | 2 CDs | 624 MB | Covers | 1998

Pyotr Ilych Tchaikovsky (1810-1893)

CD 1
Suite No. 1 for orchestra in D minor, Op. 43
Suite No. 2 for orchestra in C major ("Charactéristique"), Op. 53

CD 2
Suite No. 3 for orchestra in G major, Op. 55
Suite No. 4 for orchestra in G major ("Mozartiana"), Op. 61

Schubert · Sonata for Arpeggione & Piano D821· String Quintet D956

2010-02-12T01:02:00.000-03:00

Nicolas Deletaille · Paul Badura-Skoda · Quatuor Rosamonde
APE+CUE | 350 MB | Covers | 2007

Franz Schubert (1797-1828)

Sonata for arpeggione & piano in A minor ('Arpeggione Sonata'), D821
Quintet for 2 violins, viola & 2 cellos in C major, D956 (Op. posth. 163)

Verdi & Variations

2010-02-02T00:29:00.000-03:00

Philippe Magnan oboe · Alexander Trostiansky violin · I Musici de Montréal · Yuli Turovsky
APE+CUE | 252 MB | Covers | 1999

Marc-Olivier Dupin
Fantasia on Arias from La Traviata

Antonio Pasculli
Grand Concerto on Themes from Verdi's I vespri siciliani

Giuseppe Verdi
String Quartet in E minor arr. for strings by Yuli Turovsky

Saint-Saëns · Les sonates pour instruments à vent

2010-01-30T14:20:00.000-03:00

Ensemble à vent Maurice Bourgue
FLAC+CUE | 346 MB | Covers | 2004

Camille Saint-Saëns
Sonate pour hautbois et piano op.166
Sonate pour basson et piano op.168
Romance por cor et piano op.36
Cavatine pour trombone ténor op.114
Sonate pour clarinette et piano op.167

Charles Gounod
Petite Symphonie pour 9intruments á vent

Vincent d'Indy
Dances pour 7 intruments à vent

Wings of Songs · James Galway

2010-01-24T02:32:00.000-03:00

James Galway · London Symphony Orchestra · Klauspeter Seibel
FLAC | 288 MB | Covers | 2004

Ravel · Pavane Pour Une Infante Defunte
Satie · Gymnopedie No. 3
Schubert · Ave Maria
Traditional · The Dawning Of The Day
Rodrigo · En Aranjuez Con Tu Amor
J.S. Bach · Siciliano
Saint-Saens · Mon coeur s'ouvre a ta voix
Bellini · Casta Diva
Faure · Pie Jesu
Offenbach · Barcarolla
Wagner · Der Engel
Gluck · Che Faro Senza Euridice?
Dvorak · Lento
Brahms · Wiegenlied
Shore · A Lord Of The Rings Suite
Denver · Annie's Song

Rachmaninov · Elégie

2009-12-23T18:34:00.000-03:00

Mischa Maisky · Sergio Tiempo
APE+CUE | 275 MB | Covers | 2007

Elegie, op.3 no.1
Melodie, op.3 no.3
Twilight, op.21 no.3
Prelude, op.23 no.10
How Everyone Loves Thee, op.14 no.6
How My Heart Aches, op.21 no.12
Sonata in G minor for Cello and Piano, op.19
1. Lento - Allegro moderato
2. Allegro scherzando
3. Andante
4. Allegro mosso
Danse Orientale, op.2 no.2
In the Silence of the Night, op.4 no.3
Night is mournful, op.26 no.12

LAVA · Opera Arias from 18th Century Napoli

2009-12-23T13:46:00.000-03:00

Simone Kermes · Le Musiche Nove · Claudio Osele
APE+ CUE | 334 MB | Covers | 2009

‘Tu da me dividi’ · Giovanni Battista Pergolesi · L’Olimpiade
‘Morte Amara’ · Nicola Porpora Lucio · Papirio
‘Se non dovesse’ · Nicola Porpora · Flavio Anicio Olibrio
‘Fra cento’ · Leonardo Vinci · Artaserse
‘Manca sollecito’ · Leonardo Leo · Demetrio
‘Come nave’ · Johann Adolf Hasse · Viriate
‘Lieto cosi’ · Giovanni Battista Pergolesi · Adriano in Siria
‘Perchè se tante siete’ · Johann Adolf Hasse · Antigono
‘Vo solcando’ · Leonardo Vinci · Artaserse
Tocca il porta · Nicola Porpora · Lucio Papirio
‘L’Augeletto’ · Johann Adolf Hasse · Didone
‘Mentre dorme’ · Giovanni Battista Pergolesi · L’Olimpiade

Vivaldi · Complete Cello Concertos

2009-12-21T22:16:00.000-03:00

Ofra Harnoy · Toronto Chamber Orchestra
APE+CUE | 1,08 GB | Covers | 2005

CD 1

Cello Concerto, for cello, strings & continuo in D minor, RV 405
Cello Concerto, for cello, strings & continuo in C minor ” Alla Rustica,” RV 401
Concerto, for cello, strings & continuo in B flat major, RV 423
Concerto, for cello, strings & continuo in C major, RV 399
Cello Concerto, for cello, strings & continuo in E minor, RV 409
Double Horn Concerto, for 2 horns, strings & continuo in F major, RV 538

CD 2

Cello Concerto, for cello, strings & continuo in D major, RV 403
Cello Concerto, for cello, strings & continuo in B minor, RV 424
Cello Concerto, for cello, strings & continuo in A minor, RV 422
Cello Concerto, for cello, strings & continuo in C minor, RV 402
Cello Concerto, for cello, strings & continuo in F major, RV 412
Cello Concerto, for cello, strings & continuo in G major, RV 414
Cello Concerto, for cello, strings & continuo in D minor, RV 406

CD 3

Cello Concerto, for cello, strings & continuo in F major, RV 411
Cello Concerto, for cello, strings & continuo in D major, RV 404
Cello Concerto, for cello, strings & continuo in A minor, RV 420
Cello Concerto, for cello, strings & continuo in D minor, RV 407
Cello Concerto, for cello, strings & continuo in G minor, RV 417
Double Concerto (“Il Proteo, o sia Il mondo al rovescio”), for violin, cello, strings & continuo in F major, RV 544

CD 4

Cello Concerto, for cello, strings & continuo in A minor, RV 418
Cello Concerto, for cello, strings & continuo in E flat major, RV 408
Cello Concerto, for cello, strings & continuo in G minor, RV 416
Cello Concerto, for cello, strings & continuo in A minor, RV 419
Cello Concerto, for cello, strings & continuo in G major, RV 413
Double Concerto, for violin & cello, strings & continuo in B flat major, RV 547

Bach · Sonatas for Flute & Harpsichord

2009-12-03T12:59:00.000-03:00

Bach · Sonatas for Flute & Harpsichord · Stallmanv· Swan
APE+CUE | 437 MB | 1 CD | Covers | 1997

Johann Sebastian Bach (1685-1750)

Sonata in B Minor, BWV 1014
Sonata in A Major, BWV 1015
Sonata in F Major, BWV 1016 (orig. key: E major)
Sonata in D Minor, BWV 1017 (orig. key: C minor)
Sonata in G Major, BWV 1019

Poulenc · Aubade · Les Biches

2009-12-01T15:28:00.000-03:00

Poulenc · Aubade · Les Biches · Pascal Rogé piano · ONF · Charles Dutoit

APE+CUE | 280 MB | 1 CD | Covers | 1998

Francis Paulenc (1899-1963)

Les biches: Suite
Les animaux modèles: Suite
Matelote provencale
Patourelle
Valse
Discours du général and
La baigneuse de Trouville
Aubade
Deux Préludes posthumes et une Gnossienne

Jean-Pierre Rampal · La Flûte Enchantée

2009-11-28T14:22:00.006-03:00

FLAC+CUE | 1.37 GB | 4 CD | Covers | rar 3% | 1997

CD 1

Jean-Sébastien Bach 1685-1750

Sonate pour flûte & clavecin en si mineur, BWV 1030

Sonate pour flûte & clavecin en bémol majeur, BWV 1031

Sonate pour flûte & clavecin en la majeur, BWV 1032

Sonate pour flûte & continuo en ut majeur, BWV 1033

Sonate pour flûte & continuo en mi mineur, BWV 1034

Sonate por flûte et continuo en mi majeur, BWV 1035

Sonate pour flûte seule en la mienur, BWV 1013

CD 2

Georg Philip Telemann 1681-1767

Concerto en sol majeur pour flûte & cordes

Suite en la mineur pour flûte & cordes

3 Sonates pour flûte & clavecin

CD 3

Joseph Haydn 1732-1809

Sonate pour flûte en ut majeur, d'après Hob.III.72

Ludwig van Beethoven 1770-1827

Sérénade pour flûte, violon & alto, op.25

Franz Schubert 1797-1828

Introduction & variations sur le thème "Ihr Blümlein alle"

Robert Schumann 1810-1856

3 Romances

CD 4

Claude Debussy 1862-1918

Sonate pour flûte, alto & harpe

Maurice Ravel 1875-1937

Introduction & allegro pour harpe, flûte, clarinette & quatuor à cordes

Albert Roussel 1869-1937

Sérénade pour flûte, harpe & trio á cordes

Arthur Honegger 1892-1955

Concertino da camera pour flûte, cor anglais & orchestre à cordes

3 Pièces de la Collection Fernand Oubradous

Arthur Honegger 1892-1955 · Romance

Amable Massis 1893-1980 · Pastorale

Henri Gagnebin 1886-1977 · Marche des gais lurons

avec Robert Veyron-Lacorix clavecin, piano · Francoise Gobet piano · Gérard Jarry violon

Serge Collot alto · Lily Laskine harpe · Pierre Pierlot cor anglais

Orchestre de chambre de la Sarre · Karl Ristenpart

Association des Concerts de Chambre de Paris · Fernand Oubradous

Schubert · Octet

2009-11-25T12:19:00.000-03:00

Mullova Ensemble
APE+CUE | 259 MB | Covers | 2005

Franz Schubert (1797-1828)

Octet for Clarinet, Basson Horn, String Quartet and Double Bass, D803
in F major

Busoni: Turandot Suite · Casella: Paganiniana · Martucci: Three Pieces

2009-11-20T18:29:00.000-03:00

Orchestra Filarmonica Della Scala · Riccardo Muti
APE+CUE | 207 MB | Covers | 1993

Alfredo Casella (1883-1947)
Paganiniana , Op. 65

Giuseppe Martucci (1856-1909)
Notturno, Op. 70 No.1
Novelleta, Op. 82
Giga, Op. 61 No. 3

Ferruccio Busoni (1866-1924)
Turandot Suite, Op. 41