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Johann Nepomuk Hummel (1778-1837) was one of the greatest pianist composers of the early 19th century. His influence upon Schubert, Chopin and Liszt was profound, and his A minor and B minor piano concertos (1815/19) are fine examples of the early romantic concerto rivalled only by the masterworks of Beethoven. Today however, it is probably his early (1803) trumpet concerto that he is best known for. A pity, as he was a truly well rounded, sophisticated musician, who, at his best produced many fine works that are today beginning to re-appear in the repertoire.

He composed 15 operas, and none have been recorded until this release of Mathilde von Guise. Dating from 1810, and revised in 1821. Premiered in 1811 in Vienna the opera was met with great acclaim, and in 1821 Hummel revised it for a new production, providing a ‘new’ overture (the earlier version’s overture is included at the end of CD2) which he had extracted from his ballet Sappho of Mitilene of 1812!.

The work was performed in Weimar, Berlin and Riga, then fell from the repertoire until the performances that led to this recording in Laon, France in 2008. Hummel’s score is beautiful, and is a supreme example of post Mozartian grace, allied to the modern style of Cherubini, Weber and a hint of early Rossini. It is also possible to detect how a work such as Mathilde von Guise would have appealed to Mercadante and the young Verdi. The writing for the singers is demanding, and with the composer’s gift for melody and orchestration this is an important operatic recording premier.

Comprehensive booklet note.

Period instrument performance.

The reissue of this unique collection of chamber music masterpieces, ranging from Baroque to 20-century, played by the legendary David Oistrakh, with his luminous, sonorous and deeply moving tone.

Partners include Sviatoslav Richter, Lev Oborin, Alexander Goldenweiser and Vladimir Yampolski. With his supreme technique, enormous precision in rhythm as well as extensive variety in sound, David Oistrakh is one of the most celebrated violinists of the 20th century.

This 10-CD release details some of his best chamber music recordings and is filled to the brim with first-rate performances. The compilation effectively documents the development of violin music, simultaneously revealing Oistrakh’s mastering of an extensive repertoire.

Beginning with J.S. Bach, who was one of the first composers to write for the instrument independently and whose works are given an overtly romantic appraisal by the Russian maestro, it also traverses a series of Classical compositions – including Mozart’s Sonata No.3 K306 and Beethoven’s ‘Kreutzer’ Sonata Op.47. Most of the collection’s space, however, is taken up by a large assortment of 19th- and 20th-century music; this is undoubtedly where Oistrakh’s heart lies, and the violinist shows a strong commitment to pieces from his native country.

What is particularly evident from this release is that no matter how big or small, famous or little-known, each work is treated as a masterpiece. With largely forgotten names such as Catoire and Vladigerov sitting alongside some of the greatest composers in musical history, the compilation represents a musical feast that is not to be passed up.

'My entire relation to music is such that I always try to go to the limits' (Heinz Holliger)

The artistry of Holliger (b.1939) prompted Evelyn Rothwell (Lady Barbirolli) to call him 'The Paganini of the oboe' Holliger's mastery of the oboe ranges over a vast expanse of repertoire, from the baroque to contemporary -- Bach to Berio and Zelenka to Zimmermann. His style is notable for its flexibility, agility, integrity and ability to communicate convincingly across the wide range of repertoire he performs. Holliger has done much to champion the oboe music of composers such as Zelenka and Krommer, and has also had over 100 works composed for him by composers including Berio, Carter, Henze, Ligeti, Lutoslawski, Penderecki and Stockhausen.

This 10CD collection provides a superb showcase for his artistry, spanning nearly 250 years of repertoire from the well known to the obscure, and to every one of the works here his unique and phenomenal technique to makes the interpretation sound effortless and flawless.

Other information

- Extensive booklet notes on each work, and a biographical essay on Holliger

- 'This is an enchanting performance: I do not believe that among modern recordings there is a better' Gramophone, November 1985 (Mozart Oboe Quartet)

Hummel was one of the most famous piano virtuoso of his era, just in London he ran into Paganini who was at that time an even bigger star.

Again in this quintet Hummel shows how a virtuoso fortepiano part can be implemented in some great chamber music.

Although first known as a septet it became immediately famous at its first performance in 1816. This quintet would serve as a model for Schubert’s Trout Quintet - During his own lifetime and up to the end of the 19th century, George Onslow was held in the highest regard, particularly in Germany, Austria and England where he was regularly placed in the front rank of composers.

Another recording by the Nepomuk Fortepiano Quintet, who’s previous recordings, received much praise from the specialist press.

In this recording the ensemble focuses on the “Schubert setting” including the double bass, and on content that deserves further exploration.

Playing on famous instruments from the Edwin Beunk collection the Nepomuk Fortepiano Quintet were able to select the best instruments for each piece.

The start of an important and exciting series: the complete piano concertos of Hummel played on period instruments.

Johann Nepomuk Hummel (a contemporary of Beethoven, and highly esteemed by him) while firmly rooted in the Classical Style, became one of the most important composers of the Early Romantic Style. A virtuoso pianist himself, he wrote a substantial oeuvre for his instrument. His piano concertos are written in “Bravura” style, displaying an incredible virtuosity and brilliance, featuring (double) runs of parallel thirds and sixths, intricate arpeggios and thundering octave passages. Even today the technical level of this piano writing proves to be a daunting challenge to many pianists.

Fortepianist Alessandro Commellato displayed his great skills in the performance of Hummel’s Septet (BC 94041) and Solamente Naturali conducted by Didier Talpain proved their championship of Hummel with the recording of the opera Mathilda (BC 94043) and the Masses (94115).

As the vibrant works on this new recording demonstrate, the music of Johann Nepomuk Hummel (1778–1837) deserves to be far better known today than it is. While he was one of the most famous and celebrated composers of the Classical period, his popularity declined rapidly after his death, with the onset of Romanticism, and it is only now that musicians have begun to effect a serious revival of his repertoire. Hummel’s parallel career as a concert pianist is evident from the sparkling virtuosity of the works heard on this disc, all for fortepiano and orchestra: they span his development from a young composer in the thrall of his mentor Mozart (heard in the charming Piano Concertino in G) to the drama and supreme virtuosity of his final period of creativity (Introduction & Rondo brillant in F minor). It is clear that Romanticism was beginning to take root during his lifetime; the Piano Concerto in A minor, for example, prefigures Chopin in its delicacy, and it is unsurprising that Hummel’s music proved an inspiration to the younger composer.

Alessandro Commellato, Solamente Naturali and Didier Talpain are specialists in the performance of Hummel’s works, having already recorded a number of his compositions for Brilliant Classics – from chamber music to opera. As their performances demonstrate, Hummel’s music is highly deserving of revival, and will particularly delight listeners who enjoy the piano concertos of Mozart, Beethoven and Chopin.

Johann Nepomuk Hummel, friend, rival in love and contemporary of Beethoven, pupil of Mozart, Haydn and Salieri, is best known today for his early concerto for trumpet (1803). This work clearly displays Hummel’s skill in balancing the new valve trumpet against the orchestra, and his concerto exhibits his easy gift for melody and striking effects. He was however one of the greatest pianists of the early 19th century (to many, second only to Beethoven), and his piano playing technique and compositional style had a huge influence upon Chopin. His 7 piano concertos form a link from those of Mozart to the romantic concertos of Chopin, Mendelssohn and Schumann.

In 1804 Hummel took over the position of concertmaster to Prince Nikolaus Esterhazy, Haydn’s old position. Haydn had supported his one time pupil’s candidacy. Hummel continued his teacher’s work by composing 5 masses and shorter works for the princely family, and the his masses follow on directly from Haydn’s last six great settings.

Hummel’s masses are impressive works, and can hold their own in the company of the masterpieces by Haydn, Schubert and later Bruckner. Hummel’s skill with the orchestra is apparent at every turn and these works are brilliantly written for the choir, soloists and orchestra alike.

Recording made in 2007.

Period instruments.

Comprehensive booklet essay and sung texts.

Unusual repertoire of appeal to listeners who like Mozart, Haydn and Beethoven masses.

Johann Nepomuk Hummel has lived for a long time in the shadow of Beethoven. Only in recent years his true importance becomes apparent: a dramatic style, a great sense of musical structure and craftsmanship, alternating drama and charm.

Hummel was a great piano virtuoso of his time (considered by many superior to Beethoven…) clearly highlighted here in these piano septets, in which the piano plays an important role in dazzling cascades of arpeggios and runs all over the keyboard.

Delightful works, irresistibly played on authentic instruments by Solamente Naturali.

Authoratative linernotes by Hummel-scholar Didier Talpain.

New recordings.

This four-disc set provides listeners with a fantastic introduction to the Romantic piano quintet, showcasing lesser-known gems of the genre, alongside a few more recognisable offerings.

Performed by the Nepomuk Fortepiano Quintet, who specialise in performing with the more unusual ensemble of piano, violin, viola, cello and double bass, this is a unique and fascinating project. The collection places the first half of the 19th century in the spotlight, an era that experienced a steady stream of creativity in the area of chamber music.

In the opening disc, quintets by Ries and Limmer are explored, works of impressive drama that both feature an ambitious level of virtuoso piano writing. The second disc surveys quintets by Dussek, Onslow and Hummel, whose elegant and refined style can also be heard in the Op.74 quintet on disc four. In disc three, alongside the English composer Cramer’s Quintet in B flat, Schubert’s famous ‘Trout’ quintet is featured, an inventive work, particularly in its approach to harmony. The set is concluded by George Onslow’s Op.70. These beautiful recordings by the Nepomuk Fortepiano Quintet capture the central qualities of the Romantic piano quintet, bringing to life the warm timbres, fluid melodies, challenging virtuosity and growing sense of drama.

The ensemble specialise in bringing to life repertoire that has been forgotten in the passage of time – and, as their premiere performances of the Limmer and Cramer quintets demonstrate, these works are particularly deserving of rediscovery.

One of the great names of 20th century Russian musical life.

Four cello concertos, sonatas, trios, and other chamber works feature in this set.

Knushevitsky is accompanied by artists such as Lev Oborin, David Oistrakh, Alexander Goldenweiser (a pupil of Arensky and a friend of Tolstoy).

The recording of the Khachaturian concerto is that of the first performance.

Extensive booklet essay by Ates Orga.

Born in 1908, Knushevitsky studied at the Moscow Conservatory with Semyon Kozolupov. He was senior to Rostropovitch and Shafran, and he graduated with a gold medal the same year as Emil Gilels took the piano honours. Joining the Bolshoi Theatre orchestra in 1929, he remained their principal cello until 1943. In 1940 he co founded one of the most famous piano trios of all time with David Oistrakh and Lev Oborin. Knushevitsky’s jet-setting life style eventually (along with his alcohol dependency) to its toll, and he suffered a heart attack, which killed him, aged 55 in 1963. Gliere, Khachaturian and Miaskovsky all wrote concertos for him, and his repertoire embraced not only the mainstream , but contemporary and rarer works such as the Strauss sonata and the Reger Suites, plus an extensive array of crowd pleasing encores such as Chopin’s op.25 C sharp minor etude ‘left hand’, transcribed by Glazunov.

His style of playing was lyrical, and had great emotional depth. Had he not succumbed to drink he would have challenged Rostropovich as the pre-eminent Russian cellist of the 20th century. As it is his reputation is considerable, and this 5CD collection allows the listener to experience his remarkable music-making.