Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Pavel Šporcl & Romano Stilo - Gipsy Way
“An exciting virtuoso confirms his Czech credentials in this superb release. Pavel Sporcl has established himself on disc as the most charismatic of young Czech violinists, spontaneously imaginitive and individual in everything he does.” Edward Greenfield - Gramophone The violin virtuoso Pavel Šporcl’s new CD captures his two unique concerts with the Slovak Gipsy cimbalom ensemble Romano Stilo. The events were truly extraordinary not only due to these superlative musicians combining their forces but also the repertoire (a startling departure for Šporcl) and the atmosphere on the stage and in the auditorium alike. Just as Pavel Šporcl steps out with zest from the domain of classical music into other genres so Romano Stilo cannot be considered an orthodox cimbalom band. Besides Gipsy, Hungarian and Romanian folk music, the visitors to the concerts heard compositions by Pablo Sarasate, Johannes Brahms and Aram Khachaturian inspired by this music, all spiced up with a soupcon of jazz. Šporcl plays the repertoire, allegedly the exclusive reserve of musicians with Gipsy blood coursing through their veins, so masterfully and convincingly that one is tempted to trace his family tree. Romano Stilo are splendid partners for him and it is a real joy to hear the musical sparks fly. “The treatment of the whole is very much out of the ordinary, and the exhilarating result completely dispels any suggestion of this being a simple rehash of hackneyed favourites. The concert was recorded in Prague's La Fabrika entertainment venue before a live audience, whose whoops of joy at the sweet lyricism of Šporcl's playing and the thrilling virtuosity of all concerned serve to add to, rather than detract from, the atmosphere.” Gramophone Magazine, April 2009 | | | Usually despatched in 4 - 5 working days. |
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| |  | Recorded live at Teatro Municipale Valli, Reggio Emilia, 20-21 April 2007
An all star ensemble of early and baroque music specialists masters the delicate beauty of Bach's Brandenburg Concertos: the alternating solo and ensemble parts all shine with musical excellence, the communication between the musicians is outstanding, the structure of the music is always clear and intuitively understood. The orchestra features outstanding artists such as Giuliano Carmignola, Michala Petri, Alois Posch, Reinhold Friedrich and Ottavio Dantone. It was formed by Claudio Abbado and his choices speak for themselves: Claudio Abbado and the Orchestra Mozart achieve a rare homogeneity of sound. "When Claudio Abbado, recently described by the New York Times as 'the most respected living conductor', teams up with the renowned period-instrument violinist Giuliano Carmignola, the result promises to be very special." Classic FM “Teamed up here with his recently-formed young Italian ensemble, Orchestra Mozart, and his former protégé, skilled period-violin specialist Giuliano Carmignola, Abbado makes this familiar music appear fresh and vital, as if you’re hearing it for the first time.” Classical Source “The excitement is palpable, reflected in smiling glances between the players, bodies swaying through musical suspensions, a sense of uninhibited joy… The playing is stylish throughout: ornaments are apt, all the more telling for their restraint; trills are paced to match mood, languid in slow movements, sparkling in allegros.” BBC Music Magazine, December 2008 ***** “Here Claudio Abbado is gambolling among the Brandenburg Concertos in this straightforward TV-style concert film, recorded in the classic 19th-century opera house at Reggio Emilia during an Italian tour in spring 2007. The orchestra is at first glance a curious gathering, mixing 'Baroque' players such as violinist Giuliano Carmignola and harpsichordist Ottavio Dantone with 'modern' names such as trumpeter Reinhold Friedrich and 'un-Baroque' recorder-player Michala Petri. Furthermore, a look round the instruments reveals mostly modern models, some hybrids (for instance Jacques Zoon's wooden, multi-keyed flute) and a sprinkling of Baroque bows. Mind you, most younger players these days are well versed in Baroque style whatever they play on, and the tenor of these performances is firmly consistent with current ideas of what Baroque music ought to sound like.” Gramophone Classical Music Guide, 2010 “So what… does Abbado bring to pieces that these days are rarely considered to required a conductor? In music that is surely more for players than conductors, he allows fine soloists such as Carmignola, Zoon and the two yearningly exquisite viola soloists in No 6 to shine, yet has clearly worked hard to ensure that every note is in precisely the right place, every tempo convinces, and the texture is always deliciously transparent.” Gramophone Magazine, April 2009 “Conducting J. S. Bach isn’t Abbado’s usual activity. But he buckles to it with joy, humanity and an Italianate slant that turns these cornerstone suites into outpourings of instrumental song. The players are the all-star Orchestra Mozart, with Giuliano Carmignola the demon lead fiddler, caught live in 2007.” The Times, 12th March 2011 **** | | | Usually despatched in 2 - 3 working days. |
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| |  | Recorded live at Teatro Municipale Valli, Reggio Emilia, 20-21 April 2007
An all star ensemble of early and baroque music specialists masters the delicate beauty of Bach's Brandenburg Concertos: the alternating solo and ensemble parts all shine with musical excellence, the communication between the musicians is outstanding, the structure of the music is always clear and intuitively understood. The orchestra features outstanding artists such as Giuliano Carmignola, Michala Petri, Alois Posch, Reinhold Friedrich and Ottavio Dantone. It was formed by Claudio Abbado and his choices speak for themselves: Claudio Abbado and the Orchestra Mozart achieve a rare homogeneity of sound. "When Claudio Abbado, recently described by the New York Times as 'the most respected living conductor', teams up with the renowned period-instrument violinist Giuliano Carmignola, the result promises to be very special." Classic FM “Teamed up here with his recently-formed young Italian ensemble, Orchestra Mozart, and his former protégé, skilled period-violin specialist Giuliano Carmignola, Abbado makes this familiar music appear fresh and vital, as if you’re hearing it for the first time.” Classical Source “The excitement is palpable, reflected in smiling glances between the players, bodies swaying through musical suspensions, a sense of uninhibited joy… The playing is stylish throughout: ornaments are apt, all the more telling for their restraint; trills are paced to match mood, languid in slow movements, sparkling in allegros.” BBC Music Magazine, December 2008 ***** “Here Claudio Abbado is gambolling among the Brandenburg Concertos in this straightforward TV-style concert film, recorded in the classic 19th-century opera house at Reggio Emilia during an Italian tour in spring 2007.
The orchestra is at first glance a curious gathering, mixing 'Baroque' players such as violinist Giuliano Carmignola and harpsichordist Ottavio Dantone with 'modern' names such as trumpeter Reinhold Friedrich and 'un-Baroque' recorder-player Michala Petri. Furthermore, a look round the instruments reveals mostly modern models, some hybrids (for instance Jacques Zoon's wooden, multi-keyed flute) and a sprinkling of Baroque bows. Mind you, most younger players these days are well versed in Baroque style whatever they play on, and the tenor of these performances is firmly consistent with current ideas of what Baroque music ought to sound like.” Gramophone Classical Music Guide, 2010 “So what… does Abbado bring to pieces that these days are rarely considered to required a conductor? In music that is surely more for players than conductors, he allows fine soloists such as Carmignola, Zoon and the two yearningly exquisite viola soloists in No 6 to shine, yet has clearly worked hard to ensure that every note is in precisely the right place, every tempo convinces, and the texture is always deliciously transparent” Gramophone Magazine, April 2009 “This new recording of the Brandenburg Concertos exhibits all the virtues that one associates with Claudio Abbado: clarity, lucidity, balance, a sense of proportion, and, above all, an indefinable yet audible 'oneness' with the music. Dionysus is present in these performances, but he subsumed within their underlying Apollonian quality.” International Record Review, April 2011 “Conducting J. S. Bach isn’t Abbado’s usual activity. But he buckles to it with joy, humanity and an Italianate slant that turns these cornerstone suites into outpourings of instrumental song. The players are the all-star Orchestra Mozart, with Giuliano Carmignola the demon lead fiddler, caught live in 2007.” The Times, 11th March 2011 **** | | | Usually despatched in 2 - 3 working days. |
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| |  | Adeste Fideles - Organ Music for Christmas
Thomas Laing-Reilly (the organ of St Cuthbert's Church, Edinburgh) St Cuthbert's Change-Ringers Situated in the shadow of Edinburgh Castle, St Cuthbert's Church was the first parish church in Scotland to hold candlelit services on Christmas Eve.The 2000-strong congregation was regularly joined by people standing in the aisles! Director of Music Thomas Laing- Reilly demonstrates its wide palette with striking clarity on his debut recording, in a range of repertoire which crosses national borders with ease. “My other organ pick is a generous (77 min) Christmas organ special, Adeste Fideles, from Thomas Laing-Reilly on the vast tonal palette of the IV/68 Hope Jones/Walker organ of St Cuthbert's, Edinburgh (DCD34077). From prolix WT Best through the German and French baroque
to Demessieux, the English twentieth-century romantic and Garth Edmundson, no period is left unplundered; you can even blow your speakers with Pierre Cochereau's Adeste Fideles variations improvisation, transcribed by Jeremy Filsell.” Choir & Organ, November/December 2008 “Streaks of brilliance … an illuminating experience” The Herald (Glasgow) | | | Usually despatched in 3 - 4 working days. |
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| |  | Sounds of St Asaph
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| |  | Chansons d’amourMusic for Viola da Gamba
Ralph Rousseau Meulenbroeks (viola da gamba) & Hein Van de Geyn (double bass) Matangi String Quartet This recording of 20th-century French popular music and 18th-century French baroque touches the very heart of what the viola da gamba is about, singing. This lyrical disc displays a wonderful melting pot of well known tunes from the early music repertoire with popular 20-century French chansons - from Marais and Bach to Ferrat and Brel - , performed by viola da gamba in the role of singer, and a string quintet in the role of orchestra. Ralph Rousseau is a man of extremes. He loves Baroque music as well as hard rock. He rides to his performances clad in jeans and a leather jacket but takes the stage in eighteenth-century costume. He simultaneously studied physics and double bass, completing both cum laude. After, he earned his doctorate in physics but decided to devote himself to music. One can conclude two things from all this: First, if Ralph does something, he does it well; and second, Ralph Rousseau does things his own way, and with success. From 1996 onwards Ralph Rousseau Meulenbroeks has specialized in performing early music, studying viola da gamba with Jaap ter Linden. He is now an esteemed soloist, very often entirely solo, but also in chamber music settings or in orchestral works such as the Passions and cantatas of J.S. Bach. With the viola da gamba he has played for radio and television and he can be heard on several solo CDs, which have been highly acclaimed in the international press. | | | This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. |
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| |  | Angels - Christmas with The Great Sopranos
Adam: | O Holy Night Leontyne Price (soprano) Wiener Philharmoniker, Herbert von Karajan | Bach, J S: | Cantata BWV147 'Herz und Mund und Tat und Leben': Jesu, bleibet meine Freude Arr. Chris Hazell Renée Fleming (soprano) Royal Philharmonic Orchestra, Andreas Delfs | Brahms: | Wiegenlied, Op. 49 No. 4 (Lullaby) Angela Gheorghiu (soprano) London Philharmonic Orchestra, Ion Marin | Fauré: | Requiem: Pie Jesu Kiri Te Kanawa (soprano) Symphonique de Montréal, Charles Dutoit | Gruber, F: | Silent Night Renata Tebaldi & George Thalben-Ball | Handel: | Messiah: I know that my Redeemer liveth Sylvia McNair (soprano) Academy of St. Martin in the Fields Chorus, The Academy of St. Martin in the Fields Samson: Let the bright seraphim Kiri Te Kanawa (soprano) & Crispian Steele-Perkins , St. Paul's Cathedral Choir & English Chamber Orchestra, Barry Rose | Mascagni: | Ave Maria (arranged from Intermezzo sinfonico from Cavalleria Rusticana) Angela Gheorghiu (soprano) London Philharmonic Orchestra, Ion Marin | Mendelssohn: | Hark! the herald angels sing Leontyne Price (soprano) Singverein Der Gesellschaft Der Musikfreunde, Wiener Grosstadtkinderchor & Wiener Philharmoniker, Herbert von Karajan | Mozart: | Vesperae Solennes de Confessore, K339: Laudate Dominum Barbara Bonney (soprano) The English Concert Choir & The English Concert, Trevor Pinnock Exsultate, jubilate, K165 - Alleluia Sylvia McNair (soprano) English Baroque Soloists, John Eliot Gardiner | Schubert: | Ave Maria, D839 Renée Fleming (soprano) Royal Philharmonic Orchestra, Andreas Delfs | trad.: | Good King Wenceslas Dame Joan Sutherland, Valda Aveling & Patricia Clarke The Ambrosian Singers It came upon the midnight clear Dame Joan Sutherland (soprano) New Philharmonia Orchestra, Richard Bonynge | Verdi: | Ave Maria (from Otello) Mirella Freni (soprano) Philharmonia Orchestra, Giuseppe Sinopoli | Wade: | O come, all ye faithful Renata Tebaldi (soprano) The Ambrosian Singers & New Philharmonia Orchestra, Anton Guadagno |
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| |  | Histoires Sacrées
Bach, J S: | Motets, BWV225-230 Arsys Bourgogne, Pierre Cao | Beethoven: | Christus am Ölberge, Op. 85 Das Neue Orchestre, Chorus Musicus de Cologne, Christoph Spering | Charpentier, M-A: | Mors Saülis et Jonathae H 403 Sacrificium Abrahae H 402 In Circumcisione Domini / Dialogus inter angelum et pastores H 406 Gérard Lesne (counter-tenor) Il Seminario Musicale | Vivaldi: | Cantata RV683 'Amor, hai vinto' for alto & strings Cantata RV684 'Cessate, omai cessate' for alto & strings Concerto RV117 for strings in C major Cello Concerto in A minor, RV422 Concerto for strings in E minor, RV 134 Violin Concerto, Op. 4 No. 8 in D minor, RV 249 Concerto RV151 in G major for strings & basso continuo 'Alla rustica' Sara Mingardo Concerto Italiano, Rinaldo Alessandrini |
This new specially-priced 4CD boxed set features outstanding recordings by some of the leading European ensembles of our day such as Concerto Italiano and Il Seminario Musicale. | | | Usually despatched in 3 - 4 working days. |
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| |  | Beloved & Beautiful
Hundreds of years before the birth of Christ, a collection of love songs grew up. Under the title of the “Most beautiful of songs”, they found a home in the Old Testament—it was Martin Luther who first gave them the name of “Song of Songs”—and since that time they have inspired and fascinated a vast number of theologians, mystics, philosophers, poets, painters, and, last but not least, composers. Particularly during the Baroque period, these poetic, sensual, vividly descriptive texts were set over and over again to music, and they inspired librettists to expand on the original texts. Some of the most beautiful settings of the Song of Songs were produced in Germany. Founded in 1921, The Netherlands Bach Society is the oldest Early Music ensemble in the Netherlands, and possibly in the whole world. Yet along with the musicians, its artistic director Jos van Veldhoven is still continually in search of contemporary ways of presenting this music, whether it be the traditional performances of the St. Matthew Passion in Naarden, other works by Johann Sebastian Bach (1685-1750) or music by his predecessors, successors, contemporaries and fellow spirits. Beloved & Beautiful is the fourth cd in a series of songs, carefully chosen and combined because of the themes they represent. The programmes are often compiled in an original way and thus give a refreshing view of the various musical styles from Schütz/Monteverdi to Haydn/Mozart, as well as of the central composer Bach himself. The flexibility of the ensemble makes it possible to perform works from the secular and sacred repertoires in a great variety of combinations of musicians. “the performance maintains the high standards established by the NBS and van Veldhoven in the Passions and Oratorio. Classical CD of the week The Sunday Times “Dutch soprano Johannette Zomer leads a fine team of soloists with the society singers under their eminence grise, Jos van Veldhoven, in an ethereal version of this magnificent work, recorded with crystal clarity.” The Observer | | | Usually despatched in 4 - 5 working days. |
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| |  | Bach - Cantatas for the Liturgical Year Volume 7
A series that goes from strength to strength. This huge project continues with La Petite Bande and Sigiswald Kuijken presenting the Cantatas for the Feat of the Visitation and the first and second Sundays after Trinity. “Kuijken and his close-knit single-voice forces inhabit the emotional core of this work [BVW2]… the soloists bring a grainy honesty, an unselfconscious eloquence and luminosity to the heart of this doctrinal work.” Gramophone Magazine, May 2009 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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