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Though its popularity has sadly diminished over the years, up to about the middle of the last century Martha was one of the most frequently performed operas on the German stage - largely owing to the great tenor Enrico Caruso's acclaimed portrayal of Lyonel, a role which he repeated all over the world. The work is one of about 30 operas written by Friedrich von Flotow, and indeed it was through Martha that the German composer achieved lasting fame. Only a decade after its first performance, and Martha has already been performed as far afield as Algiers, San Francisco and Sydney.

The seed of the opera can be found in the pastiche ballet Lady Harriette, whose Act 1 Flotow was commissioned by the Paris Opéra to write in 1844. Set in Richmond, England, during the reign of Queen Anne, the plot centres around Lady Harriet Durham who, tired of court life, decides to have some fun by visiting the local fair with her foppish cousin Lord Tristan and maid Nancy. Disguised as servant girls, both she and Nancy hire themselves off to the rich farmer Plumkett and his foster brother Lyonel (whose origins are unknown, the only vestige being a ring which his father left him and which he should present to the queen if ever he is in danger) -- only to be wooed by the two men, who have each fallen for the maid and her lady respectively. When the next day Queen Anne is out hunting with Lady Harriet and her court, a chance encounter with Lyonel sees him make claim to his 'maid', and he is subsequently arrested, having been declared insane by Harriet and Lord Tristan. But when his ring is brought to the queen, Harriet is told that he is in fact the son of the unjustly banished Early of Derby, and she rushes back to the farm to relay the news and to ask for Lyonel's hand in marriage. Lyonel at first angrily rejects her, but a replica of Richmond Fair sees the initial encounter between the four characters renewed, giving rise to jubilant celebrations.

Made in Berlin in 1944 while Germany was still in a state of 'total war', this recording remains one of the most acclaimed interpretations of the opera. Comprising some of the best singers of that generation, it is astutely conducted by Johannes Schüler -- to whose credit the Staatsoper was able to rebuild its repertoire after 1945 - and thus represents an invaluable addition to Brilliant Classics' ever-growing opera collection.

Packed with intrigue, jealousy and revenge, Beatrice di Tenda is a tragic opera in two acts that retells the final months of one of Renaissance history's most fascinating and ill-fated characters. The work was written after ‘Norma’ and before ‘I puritani’, and therefore stands as Bellini's penultimate opera, a bel canto composition of transitional flavour that drew on 15th-century accounts and more recent studies of the Visconti era for its subject matter. Beatrice di Tenda, widow of Facino Cane and a high-minded but powerconscious woman of mature years, is married to the young Filippo Maria Visconti, whose station has been considerably improved by Beatrice's dowry of property and armies. Instead of feeling grateful towards his wife, however, Filippo is tired of the much older Beatrice, and decides to take Agnese del Maino - one of her ladies-inwaiting - as his mistress. But Agnese is in love with a nobleman called Orombello, who himself is enamoured of Beatrice. Gradually becoming more suspecting of his wife's innocent relationship with the signore of Ventimiglia, and increasingly incensed by the rebellion of Facino's one-time followers who resent their new ruler, Filippo finally decides to rid himself of Beatrice by accusing her of adultery and conspiracy.

Subjected to torture along with Orombello, Beatrice was tried and eventually beheaded in 1418. First performed on 16 March 1833, ‘Beatrice di Tenda’, evidently more reserved in terms of musical resources when compared to the vocal pyrotechnics of its predecessor, was only half-heartedly received by the public, its number of performances gradually diminishing thereafter. In recent years, however, the work has undergone a resurgence in popularity, thanks largely to the American Opera Society's revival of the opera in 1961 (which featured Joan Sutherland and Marilyn Horne among others). This acclaimed recording is based on a production of the Deutsche Oper Berlin, which presented Beatrice di Tenda in a series of concert performances in 1992.

Leo Brouwer had a promising career as a virtuoso guitarist ahead of him - until an injury to his left hand stopped him from progressing any further. The Cuban then turned his attention to conducting and teaching, both of which would become crucial aspects of his life. Indeed, it was for the purposes of teaching that Brouwer wrote the studies that we find on this disc, although they have proved to be much more than rudimentary training tools.

The first group of studies (published in 1971) showcases a vibrant creativity, with each concentrating on a particular, and sometimes neglected, area of guitar performance. This is also true of the Nuevos studios sencillos (2003), although the skills demonstrated are motivated by the characteristics of the music of different composers - so that the composer's personal style is essentially the basis of the study, such as the arpeggios of Claude Debussy and the tremolos of Francisco Tárrega. Each of the pensive and tense Preludios epigramáticos (1981) is based on a poem by Miguel Hernández, who was executed in prison during Franco's regime.

Turin-born Emanuele Buono is an internationally acclaimed performer. Among the many prestigious awards that he has received are the gold medal at the Parkening International Competition (2009), the 'Golden guitar' at the XIII Convegno Internazionale in Alessandria (2008) and first prize at the Concorso Internazionale Agustín Barrios in Nuoro (2012).

Fame is a strange thing. Although Johann Friedrich Fasch was highly esteemed by his contemporaries and the generations of musicians who followed him, in the concert repertoire of today he is grouped together with many minor masters who wrote a lot of works that sadly communicate very little. Yet music scholar Johann Adolf Scheibe put Fasch into the same class as Telemann, and J.S. Bach possessed copies of several of the composer's works. This release therefore aims to expose the genius of Fasch, and in doing so to help restore appreciation for what has become a largely forgotten corpus of deftly written, utterly absorbing music.

Fasch made his name largely through his overtures, works which in the 17th and 18th centuries referred to a series of dance movements prefaced by an extensive introduction of pompous gravity. Two are explored in this release - the Overture in D minor and the Overture in B flat 'a due cori', arranged by M. Fechner and E. Steinsdorff respectively - and they are followed by a selection of Fasch's sonatas for two oboes and bassoon, with and without basso continuo, works whose details (such as free, fantasy-like episodes to be played at a slow pace) reveal a rich field for experimentation. A Concerto in D and a Sonata for 2 oboes and 2 bassoons also feature, and overall one is struck by this composer's highly personal style of chamber music -- a stark contrast to the ingratiating melodies and harmonic suavity of his large-scale instrumental pieces.

Recorded during 1986--87, the overtures and Concerto in D are played by esteemed ensemble Virtuosi Saxoniae (all members of the Staatskapelle Dresden) under the directorship of renowned trumpeter Ludwig Güttler. The sonatas complete the all-German line-up of musicians; renowned oboists Burkhard Glaetzner and Ingo Goritzki feature among others.

This disc explores that rarity of the classical repertoire, the harp concerto. The musical characteristics of the harp can provide somewhat of a challenge for the composer if writing a concerto for the instrument, but this disc boasts two wonderful examples that show seemingly endless possibilities.

Frenchman François-Adrien Boïeldieu (1775--1834) was probably best-known for his 40 operas, but after developing a close friendship with Sébastien Érard, the piano maker -- who was investigating and implementing improvements to the harp mechanism -- Boïeldieu began to write pieces for the harp. With the lyricism of the instrument showcased in the second movement Andante, over slow-moving strings, and fast finger-work dominating the Allegro agitato finale, Boïeldieu's concerto stands in marked contrast to that of Alberta Ginastera's. Here, after a fiery, almost aggressive opening few bars, the music gradually progresses towards the eerie chromaticism in the second movement. An extended virtuosic solo cadenza then marks the beginning of the finale, in which a series of tense chords hail the abrupt ending of the piece.

The concertos are performed by Jutta Zoff, who was at the peak of her glittering career at the time of recording. The German harpist had been a favourite soloist of the Staatskapelle Dresden since 1967 and enjoyed tours of Europe, the USA and the Middle East. The orchestra is conducted by Siegfried Kurz.

The art of transcription has been a part of the history of keyboard instruments since the Renaissance period, a time that saw the first publishing of sacred as well as secular vocal works. In the 19th century, however, the trend entered its golden age, thus satisfying the domestic music-making appetite of the bourgeoisie across Europe and reflecting technological advances in mechanisms such as the organ. This release is dedicated towards this king of instruments, whose expansion into concert-like proportions allowed the music of Handel to flourish in particular.

The recording is based on a selection of the Baroque composer's most famous works, arranged by some of the 19th century's greatest organ virtuosos. As well as W.T. Best, who gave about 100 recitals a year for 40 years and who published two great collections -- of which Handel's Choruses, selected and arranged for the Organ is included here -- there features transcriptions by the likes of George C. Martin (organist of St Paul's Cathedral), F.C. Woods, Théodore Dubois (organist at the Madeleine in Paris) and Alexandre Guilmant (organist of Saint-Trinité in paris and a noted concert performer). The two symphonies of Saul, Zadok the Priest and excerpts from the Messiah are just some of the works contained on this engaging release.

Performed by Massimo Gabba at the Mascioni organ of the Church of San Giovanni Evangelista in Alessandri (Italy), Romantic Organ Transcriptions details a fascinating area of 19th-century music-making and exposes the predilection for all things Baroque at that time. Gabba explores the full gamut of the instrument, revealing the immense variety of timbres and characteristic grandeur that the organ came to attain during the 1800s.

Carl Loewe was born in Löbejün, studied in Halle, toured through Germany in his mid-20s and then secured an appointment as professor and Kantor at the Gymnasium and seminary in Stettin (formerly in Prussia, now in Poland), where he remained for the rest of his life. A contemporary of Schubert, he was a central figure in Stettin's musical life, and was a prolific composer of songs and oratorio to cater for the increasing musical appetite of the late-19th-century German bourgeoisie.

Loewe is today remembered for his treatment of the ballad, a relatively new genre at that time which took the form of a lengthy story comprising many verses, characters and dramatic events. Country life, olden or idealised times, love and the passing of time are often the subject matter for his works, which are set to a variety of then-contemporary poets ranging from classical masters Rückert and Schiller to more forward-looking ones such as Chamisso - while Prinz Eugen (1844) recounts the victory of Prince Eugen of Savoy during the Austro-Turkish War of 1716-18, for instance, Süßes Begräbnis describes the final resting place of a shepherdess (1837).

Also included on the release is Loewe's intimate setting of Goethe's Erlkönig, a direct contrast to Schubert's infamous and much more extrovert rendition of the text, composed just one year earlier.

Performing these often over-looked works are the tenor and bass singers Eberhard Büchner and Theo Adam, accompanied by Norman Shetler and Rudolf Dunckel respectively. The two duos cover all manner of moods in what are highly atmospheric pieces, and in doing so offer a strong case for why Loewe - nicknamed the 'Schubert of North Germany' in his day - deserves to be better known.

This CD is entirely devoted to the music of the early Baroque Italian composer, poet and organist, Carlo Milanuzzi. During his lifetime, Milanuzzi's fame spread far and wide; today, however, he is shrouded in obscurity. The artists hope that this recording - the first dedicated to his music - will contribute to the rediscovery of one of the most significant Italian musicians of the 17th century.

Indeed, it seems that Milanuzzi enjoyed a veritable 'pop star' status back in his day. In addition to masses, motets and psalms, he also wrote nearly 200 songs (brought together in nine books entitled Le Ariose Vaghezze which were published between 1622 and 1643), works which reveal him to be one of the most progressive monodists of his generation, clearly intent on reaching as wide an audience as possible.

The arias to be found in the nine volumes, 13 of which feature on this recording, are mostly short, tuneful pieces in the style that was rapidly gaining popularity in northern Italy in the 1620s. They are complemented by instrumental dances written in guitar 'alfabeto' notation, 'expanded' on this recording by way of a larger ensemble.

Performing the arias is Baroque specialist, mezzo-soprano Lucia Sciannimanico, who has appeared in festivals across Europe and worked with renowned conductors such as Nicholas Cleobury and Alessandro De Marchi. She is joined on the recording by the Cappella di Santa Maria degli Angiolini, directed by esteemed lutenist and Brilliant Classics regular Gian Luca Lastraoili.

When Franz Liszt overheard Camille Saint-Saëns playing the organ at the Madeleine in Paris, he hailed the young Frenchman as the ‘greatest organist in the world’. Saint-Saëns’talents did not end there: he was a gifted composer - among his most famous works are ‘The Carnival of the Animals’ and ‘Danse Macabre’ - and, naturally, the symphony in which he used his own virtuoso instrument would become his one of his best-loved works. This collection brings together his revered ‘Organ’ Symphony and the Symphony in F ‘Urbs Roma’.

Saint-Saëns originally subtitled Symphony No.3 in C minor Op.87 (unusually arranged in just two movements) as simply avec orgue; the organ does not feature as a solo instrument, but its presence alongside the orchestra adds an exciting dimension to the piece, especially in the lowest pedal notes and the delightful dialogues between the organ and strings. The addition of the arpeggios of the piano part (scored for four hands) provides a wonderful contrast to the organ’s thunderous notes. The Symphony in F ‘Urbs Roma’ is the longest of Saint-Saëns’symphonic compositions, and remained unpublished during the composer’s lifetime. The first movement brims with elegant strings, while the subsequent Molto vivace invokes a whirring dance. The third movement has been described as a ‘funeral march for the death of an empire’, after which the ensuing Poco allegretto - Andante con moto brings the work to a tranquil end. The works are performed by the Orchestre National de l’ORTF conducted by Jean Martinon, featuring acclaimed organist Bernard Gavoty.

The composition dates of the two violin concertos by Hungarian composer, pianist and ethnomusicologist Béla Bartók are separated by thirty years and provide a snapshot of his creative process at vastly different points in his life. The first concerto (1907–8) had a rare emotional relevance: it was dedicated to the violinist Stefi Geyer, the object of Bartók’s affections, and showcases different aspects of her personality. This two‐movement work is reminiscent of the works of Strauss and Liszt. The lamenting theme of the first movement represents Bartók’s unrequited love for Stefi, whose theme is repeated with tonal variation. This is followed by a lively second movement, with brilliant sections of arpeggios and scales, as well as whimsical leaps. The second concerto (1937) is from a time in the composer’s life when folk music had become a firm characteristic of his works, and explores more adventurous harmonies than the first. One of the great Classical and Romantic works, the neo‐Classical concerto also contains elements of Baroque and Renaissance music, giving it an historical dimension.

Highlights are the beautiful canon of the second‐movement theme and the reappearance in the third movement of the theme from the first, this time in a rousing triple‐time dance.

Internationally acclaimed violinist Thomas Zehetmair has enjoyed a remarkable career, performing and recording all over the world. He has also become equally sought‐after as a conductor and is currently Musical Director of the Northern Sinfonia (UK).

Recorded in July 1995 at the Italian Institute, Budapest.

Contains liner notes on the pieces.