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See Terms & Conditions for p&p rates. | |  | Adagios for Cello and OrganWorks by Enescu (additional cello Magdelena Morosanu), Tartini, Bach, Loius de Caix d’Hervelois, Schubert, Vivaldi, Mozart, Casals & Shostakovich
Alexandru Morosanu (cello), Georges Athanasiadès (organ) “Cello and organ is a nice combination though there isn’t much written for it……..and it’s very beautiful.” American Record Guide | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Buxtehude and Other Composers: Organ Works
Bach, J S: | Chorale Prelude BWV648 'Meine Seele erhebt den Herren' Fuga sopra il Magnificat 'Meine Seele erhebt den Herren', BWV733 | Buxtehude: | Praeludium in C major, BuxWV137 Nimm von uns, Herr, Du treuer Gott, BuxWV207 Wir danken dir, Herr Jesu Christ,daß du gen Himmel gefahren bist, BuxWV 224 Danket dem Herren, (3 var.) BuxWV 181 Chorale Prelude BuxWV 197 'In dulci jubilo' Passacaglia in D minor, BuxWV161 Nun komm, der heiden Heiland, BuxWV211 Nun lob, mein Seel, den Herren, BuxWV212 Cantzon ex Gb, BuxWV173 Praeludium in G minor, BuxWV148 Chorale Prelude BuxWV 196 'Ich ruf zu dir, Herr Jesu Christ' Chorale Prelude BuxWV 199 'Komm, heiliger Geist, Herre Gott' Prelude & Fugue in G minor BuxWV150 Suite in E, BuxWV 235 Ciacona in E minor, BuxWV160 Canzonetta in D Minor, BuxWV 168 Puer natus in Bethlehem, BuxWV217 Praeludium in G minor, BuxWV149 Vivace & Allegro (initial ostinato), BuxWV 255 Erhalt uns Herr bei deinem Wort, BuxWV185 Praeludium in E Minor, BuxWV152 Klaglied 'Muß der Tod denn auch entbinden', BuxWV 76/2 Praeludium in F Major, BuxWV145 Ciacona in C minor, BuxWV159 Praeludium in A Major, BuxWV151 Von Gott will ich nicht lassen, BuxWV220 Von Gott will ich nicht lassen, BuxWV221 Praeludium in D major, BuxWV139 Mit Fried und Freud, ich fahr dahin, BuxWV 76/1 Te Deum Laudamus, BuxWv 218 Magnificat primi toni, BuxWV 203 Magnificat noni toni in D minor, BuxWV 205 Magnificat primi toni, BuxWV 204 | Praetorius, Jacob: | Magnificat Primi Toni | Radeck, M: | Jesus Christus Unser Heiland | Scheidemann: | Magnificat I Toni | Strungk, D: | Meine Seele Erhebt Den Herren | Tunder: | Magnificat Octavi Toni (Chorale Fantaisia) | Weckmann: | Magnificat Secundi Toni |
“Koïto's playing is persuasive. Nothing is over-driven, the quieter and still moments ae sublime and she steers her way through the many tempo changes with ease.” Gramophone Magazine, June 2008 | | | Usually despatched in 4 - 5 working days. |
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Pascal Vigneron (organ), Dimitri Vassilakis (piano), Christine Auger (harpsichord) World Premiere Recording of the three instruments tuned to Werckmeister III temperament. “Shared between three instruments, this enterprising French venture casts interesting new light. Not all is gains. If the C major prelude asks for the organ, and its sonority, thunderous or gently fluting, suits the G minor and E major preludes and fugues, in the E flat major and F major preludes its sustained notes confuse the texture.
The harpsichord, fine in rapid music, can sound laboured, and it is wasted on the rich chromatic harmonies of the G sharp minor. The piano, after all, comes out best, splendid in the F sharp minor and A flat major. Now, please, a clavichord recording.” Sunday Times, 3rd August 2008 *** | | | Usually despatched in 4 - 5 working days. |
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| |  | Bach - Cantatas Volume 38Solo Cantatas
The four cantatas on this recording come from 1726-1727, Bach’s fourth year of service at the Thomaskirche in Leipzig. During this time Bach showed a preference for solo cantatas, entrusting the text to a single solo voice. Three of these cantatas are of this type, while the fourth (BWV58) is scored for two voices. “The wonderfully trim and naturally expressive period band and choir, underpinned by an exceptional group of continuo players…. High-quality Bach singing and playing.” The Guardian “Easily the best-known piece here is Ich habe genug (BWV 82). Peter Kooij's tender, yearning account is more modestly stated than versions by his more extrovert rivals. Gerd Türk, assisted by Suzuki's beautifully shaped phrasing, makes a stronger case for the austere Ich armer Mensch (BWV 55) than any rival version that comes to mind.” BBC Music Magazine, May 2008 ***** “As the honeymoon period of Bach's appointment began to wear off, two or three years after his arrival in Leipzig, the composer's cantatas became less central to his creative life. More works by other composers began to appear in the church calendar as energy was increasingly focused towards new large-scale projects, of which the St Matthew Passion was the most pressing at the time these four solo cantatas were composed.
Smaller resources may also suggest a shortage of adequate forces in Leipzig in the months between late 1726 and early 1727 but there is no let-up in quality. This latest Bach Collegium volume includes one of the most celebrated of all bass-baritone works, Ich habe genug, in a reading of profoundly felt utterance by the experienced Peter Kooij. This is an even and fluent version, if in 'Schlummert ein' a touch too objective and laid-back. Yet the world-weariness of this great slumber aria is beautifully caught by Masaaki Suzuki in both the textural sensibility and rhythmic nuance of the ensemble. Unforced and natural, this is a reading reminding us of the simplicity of the work's unalloyed beauty.
Carolyn Sampson grows in stature as a Bachian in her exquisite musical judgement and technical assurance, not least in the outstanding tuning and allure of 'Ich halt es mit lieben Gott' (from Falsche Welt, No 52, which includes a rather sleepy performance of its Sinfonia, from the earliest version of Brandenburg No 1). Ich armerMensch is the only extant solo tenor cantata, a piece for whom man's inherent sinfulness is prevalent in supplicatory chromaticism, but hampered here by a tired-sounding Gerd Türk and some uncharacteristically sour intonation from the flautist, Liliko Maeda.
Sampson and Kooij share the delights of No 58, Ach Gott, wie manches, a symmetrical and passionately conceived work framed by splendid duets in which the bass paraphrases the soprano chorale (the symbol of Soul and God) – transformed from a tortured chaconne in a cathartic concerto romp. This is a fine close to another largely successful addition to this distinguished series.” Gramophone Classical Music Guide, 2010 “A profound 'Ich habe genug' and exquisite singing from Sampson.” Gramophone Magazine, June 2008 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Grainger - Transcriptions for Wind Band
anon.: | Angelus ad Virginem | Bach, J S: | March See what His love can do O Menschen, die ihr täglich sündigt from Cantata 122 | Cabezón, A: | Prelude in the Dorian Mode | Despres: | La Bernardina | Fauré: | Tuscan Serenade | Ferrabosco, A II: | Four-note pavan | Franck, C: | Choral No. 2 in B minor, M. 39 | Goossens: | Folk-Tune | Jenkins, J: | Five-Part Fantasy No. 15 | Liszt: | Fantasy on Hungarian Folk-tunes, S123 | Machaut: | Sanz cuer m'en vois/Amis, dolens/Dame, par vous, B17 | Parker, K: | Down Longford Way |
The eccentric Percy Grainger was well-known for his musical arrangements which ranged from works by other composers as well as arrangements of his own original and folk music settings. These arrangements form a body of work which is perhaps unique in musical history. Most of the works on this CD are taken from a series Grainger named Chosen Gems for Winds. Grainger had a musical mind of unusual breadth and vision, with interests spanning the ages from mediaeval music to the latest twentieth century developments and had the vision to see this context of the wind orchestra setting. It is likely that enlisting in the American Army as a bandsman at the outbreak of World War I, cemented his interest in wind band music, along with an awareness of Stokowski’s Bach transcriptions. “Wind band players will find plenty to please them in this treasure chest. I suspect that many of these works will find their way into the repertoire, and hope that they will be given equally warm recorded sound and winning performances as here.” Gramophone Magazine, May 2008 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Itzhak Perlman - Virtuoso Violinist
This DVD contains three productions from Christopher Nupen’s famously comprehensive portraits of leading performers: the portrait film, Itzhak Perlman: Virtuoso Violinist (I know I played every note) and two memorable performances of Bach partitas shot live, on stage, at a concert in London where this polyfaceted artist is at his best. It also contains two sequences in which Itzhak Perlman looks back. The first of them, The Trout Remembered looks at the making of the film The Trout, probably the most frequently broadcast classical music film in the history of television and one which has become the lasting emblem of a great age in music. The second, made especially for this DVD, "Jacqueline du Pré Remembered", recalls a friend who was very close for many years, a colleague with whom he made chamber music in many places and an artist and personality for whom he has an unbounded admiration and an enduring affection. Itzhak Perlman is one of the world’s leading musical performers, famous all over the world not only as a virtuoso violinist of the highest rank but as a much loved television personality, an honoured guest at the White House and an extremely effective spokesman for the disabled, having been handicapped himself by polio since the age of 31/2. All of these things together, plus a famously lighthearted ebullience, have won him a particularly affectionate following. “…the mix of interview and music is well paced, and there's little intrusive commentary.” BBC Music Magazine, April 2008 **** “Doing what television does best, BBC2’s superb Perlman triptych – two concerts sandwiching an intimate you-are-there documentary – took us as close as it is decent and proper to go into the unexplained world of genius.” Daily Mail “Perlman is captured on film in the 1970s at a high-point in his career. Perlman is a brilliant communicator, both with words and with the violin, because of the generous warmth of his personality.” Gramophone Magazine, June 2008 | | | Usually despatched in 2 - 3 working days. |
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| |  | Marilyn Horne - The Complete Decca Recitals
Bach, J S: | Magnificat in D major, BWV243: Et exsultavit Magnificat in D major, BWV243: Esurientes implevit bonis Christmas Oratorio, BWV248: Schlafe, mein Liebster St Matthew Passion, BWV244: Erbarme dich Bist du bei mir, BWV508 | Beethoven: | Abscheulicher! Wo eilst du hin? (from Fidelio) | Bellini: | Lieto del dolce incarco…Se Romeo t'uccise un figlio (from I Capuleti e i Montecchi) | Bizet: | L'amour est un oiseau rebelle 'Habanera' (from Carmen) Près des remparts de Séville (Séguedille) (from Carmen) Adieux de l'hotesse Arabe Chanson d'Avril Vieille chanson Absence | Copland: | Old American Songs: excerpts | Debussy: | Trois chansons de Bilitis | Donizetti: | Deciso è dunque...le richezze (from La Figlia del Reggimento) | Falla: | Siete Canciones populares españolas | Gluck: | J'ai perdu mon Eurydice (from Orphée et Eurydice) Divinités du Styx (from Alceste) | Gounod: | Ô ma lyre immortelle (from Sapho) | Handel: | Messiah: O thou that tellest good tidings to Zion Messiah: I know that my Redeemer liveth Scacciata dal suo nido (from Rodelina) Dove sei, amato bene? (from Rodelinda) Vivi, tiranno, io t'ho scampato (from Rodelinda) | Mahler: | Rückert-Lieder (5 songs, complete) Lieder eines fahrenden Gesellen (4 songs, complete) Kindertotenlieder | Massenet: | Ces lettres! (from Werther) Va! Laisse couler mes larmes (from Werther) | Meyerbeer: | Ah, mon fils! (from Le Prophète) O prêtres de Baal (from Le Prophète) Nobles seigneurs, salut! (from Les Huguenots) | Mozart: | Parto, parto, ma tu ben mio (from La Clemenza di Tito) | Nin: | Villancico Castellano (from Villancicos Españolas) Jesus de Nazareth (from Villancicos Españolas) Villancico Asturiano (from Villancicos Españolas) Villancico Andaluz (from Villancicos Españolas) | Rossini: | Una voce poco fa (from Il barbiere di Siviglia) Assisa a' piè d'un salice (from Otello) Di tanti palpiti (from Tancredi) Bel raggio lusinghier (from Semiramide) Pronti abbiamo...Amici in ogni evento...Pensa alla patria (from L'Italiana in Algeri) Eccomi alfine in Babilonia (from Semiramide) Cruda sorte! Amor tiranno! (from L'Italiana in Algeri) Nacqui all'affanno, al pianto...Non più mesta (from La Cenerentola) L'ora fatal s'appressa ... Giusto ciel! (from L'Assedio di Corinto) Mura felici (from La donna del lago) Tanti affetti in tal momento (from La donna del lago) Non temer, d' un basso affetto (from Maometto II) | Saint-Saëns: | Printemps qui commence (from Samson et Dalila) Mon cœur s'ouvre à ta voix (from Samson et Dalila) | Schubert: | Im Frühling, D882 Nacht und Träume, D827 Die junge Nonne, D828 Fischerweise, D881 (Schlechta) | Schumann: | Die Lotosblume, Op. 25 No. 7 Aus den hebräischen Gesängen, Op. 25 No. 15 Die Kartenlegerin, Op. 31 No. 2 Abendlied, Op. 85 No. 12 | Strauss, R: | Schön sind, doch kalt die Himmelssterne, Op. 19, No. 3 Für fünfzehn Pfennige Op. 36 No. 2 Befreit, Op. 39 No. 4 | Thomas, Ambroise: | Connais-tu le pays (from Mignon) Me voici dans son boudoir 'Gavotte' (from Mignon) Elle est là! Près de lui! (from Mignon) | Verdi: | Stride la vampa (from Il Trovatore) Condotta ell’era in ceppi (from Il Trovatore) | Wagner: | Wesendonck-Lieder (5) | Wolf, H: | Auf einer Wanderung (No. 15 from Mörike-Lieder) Der Genesene an die Hoffnung (No. 1 from Mörike-Lieder) Mein Liebster hat zu Tische mich geladen (No. 25 from Italienisches Liederbuch) |
and traditional American folk songs
The great American mezzo-soprano Marilyn Horne celebrated her her 70th birthday in January 2004 and that year also marked 50 years since her professional debut. Horne’s debut in 1954 was in in Los Angeles. That same year her name and voice was brought to many more people than could ever hear her in the opera house through the 1954 film Carmen Jones in which she sang the dubbed voice of Dorothy Dandridge. Her Covent Garden debut was as Marie in Wozzeck (sung in English at that time) in 1964 – she had made her San Francisco debut in 1960 with the same role. It was with Joan Sutherland that Marilyn Horne found the perfect vocal partner and their performances in the great bel canto operas by Rossini, Bellini and Donizetti took the opera world by storm in the 1960s and early 1970s. By the time she retired in 1998, Marilyn Horne’s long and distinguished career embraced an enormous variety of operatic roles, as well as a wide variety of solo song ranging from Schubert, Schumann and Mahler through to modern American songs. Such a wide repertory was due to the sheer range of her voice and its remarkable flexibility, a voice that could sustain long lines of melody as well as negotiate the most florid vocal pyrotechnics. Marilyn Horne participated in a number of complete opera recordings (among them classic recordings of Norma and Semiramide with Joan Sutherland) for Decca and also made ten recital programmes. The complete recitals are now reissued in their entirety as a Collector Edition on 11 CDs and preserve the original sequence of music as presented on vinyl; the original LP cover art is reproduced for the CD sleeves. “When every single item brings wonderment it is impossible to single out one above the rest, and the recording is outstandingly vivid...her Rossini recital is one of the most cherishable among all Rossini records ever issued. The voice is in glorious condition, rich and firm throughout its spectacular range, and is consistently used with artistry and imagination, as well as brilliant virtuosity in coloratura. By any reckoning, this is thrilling singing.” Penguin Guide, 2011 edition | | | Usually despatched in 2 - 3 working days. |
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| |  | Leopold Simoneau & Pierette Alarie (Vol. 1)
Bach, J S: | Mass in B minor, BWV232 Pierrette Alarie (soprano), Catherina Delfosse (soprano), Grace Hoffman (alto),
Léopold Simoneau (ténor), Heinz Rehfuss (bass) Amsterdam Philharmonic Chorus & Orchestra, Walter Goehr | Beethoven: | Symphony No. 9 in D minor, Op. 125 'Choral': Ode to joy Pierrette Alarie (soprano), Maureen Forrester (alto); Léopold Simoneau (tenor), Joseph Rouleau (bass) Orchestre symphonique de Montréal, Wilfrid Pelletier | Mozart: | Fra gli amplessi (from Così fan tutte) Pierrette Alarie (soprano), Léopold Simoneau (tenor) Amsterdam Philharmonic Orchestra, Walter Goehr Spiegarti non poss'io, K489 Pierrette Alarie (soprano), Léopold Simoneau (tenor) Amsterdam Philharmonic Orchestra, Walter Goehr Welch ein Geschick (from Die Entführung aus dem Serail) Pierrette Alarie (soprano), Léopold Simoneau (tenor) Amsterdam Philharmonic Orchestra, Walter Goehr Tu mi lasci (from La finta giardiniera) Pierrette Alarie (soprano), Léopold Simoneau (tenor) Amsterdam Philharmonic Orchestra, Walter Goehr Misero! O sogno…Aura che intorno spiri, K431 Léopold Simoneau (tenor) Amsterdam Philharmonic Orchestra, Walter Goehr Per pieta, non ricercate KV 420 Léopold Simoneau (tenor) Amsterdam Philharmonic Orchestra, Walter Goehr Mia speranza adorata... Ah, non sai qual pena, K416 Pierrette Alarie (soprano) Amsterdam Philharmonic Orchestra, Walter Goehr No, che non sei capace, K419 Pierrette Alarie (soprano) Amsterdam Philharmonic Orchestra, Walter Goehr Ach ich liebte, war so glücklich (from Die Entführung aus dem Serail) Pierrette Alarie (soprano) Hamburg Philharmonic Orchestra, Albert Bittner Traurigkeit (from Die Entführung aus dem Serail) Pierrette Alarie (soprano) Hamburg Philharmonic Orchestra, Albert Bittner Martern aller Arten (from Die Entführung aus dem Serail) Pierrette Alarie (soprano) Hamburg Philharmonic Orchestra, Albert Bittner Deh vieni, non tardar (from Le nozze di Figaro) Pierrette Alarie (soprano) Hamburg Philharmonic Orchestra, Albert Bittner Ridente la calma, K152 Pierrette Alarie (soprano), John Newmark (piano) Un moto di gioia, K579 Pierrette Alarie (soprano), John Newmark (piano) Warnung 'Männer suchen stehts zu naschen', K433 Pierrette Alarie (soprano), John Newmark (piano) Oiseaux, si tous les ans, K307 Léopold Simoneau (ténor), John Newmark (piano) An Chloë, K524 Léopold Simoneau (ténor), John Newmark (piano) Abendempfindung an Laura, K523 Léopold Simoneau (ténor), John Newmark (piano) | Schumann: | Er und sie, Op. 78 No. 2 Pierrette Alarie (soprano), Léopold Simoneau (tenor), John Newmark (piano) Liebhabers Ständchen, Op. 34 No. 2 Pierrette Alarie (soprano), Léopold Simoneau (tenor), John Newmark (piano) Ich denke dein, Op. 78, No. 3 Pierrette Alarie (soprano), Léopold Simoneau (tenor), John Newmark (piano) In der Nacht, Op. 74 No. 4 Pierrette Alarie (soprano), Léopold Simoneau (tenor), John Newmark (piano) Unterm Fenster, Op. 34 No. 3 Pierrette Alarie (soprano), Léopold Simoneau (tenor), John Newmark (piano) Wiegenlied Pierrette Alarie (soprano), Léopold Simoneau (tenor), John Newmark (piano) Liebesgarten, Op. 34 No. 1 Pierrette Alarie (soprano), Léopold Simoneau (tenor), John Newmark (piano) Tanzlied Pierrette Alarie (soprano), Léopold Simoneau (tenor), John Newmark (piano) Die tausend Grüße, die wir dir senden, Op. 101 No. 7 Pierrette Alarie (soprano), Léopold Simoneau (tenor), John Newmark (piano) | Stravinsky: | Oedipus Rex Léopold Simoneau, Bernard Cottret, George Abdoun, Gérard Serkoyan
Eugenia Zareska, Michel Hamel, Jean Cocteau Orchestre National de France & Choeur de Radio-France, Igor Stravinsky |
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| |  | Barry Guy: Aglais
Maya Homburger (baroque violin) Distinguished Swiss baroque violinist Maya Homburger performs J S Bach’s Sonata No 2 in A minor and Partita No 2 in D minor, with its famous Chaconne, together with Aglais, an ethereal piece by English musician Barry Guy inspired by the butterfly of the same name on the second of three imaginative solo recordings on her own label coupling pieces by these composers. “Again, a distinctive new work complements beautifully played Bach. Guy has tailored his invention to the Baroque violin… extending its 18th-century range into new and distinctive areas of sonority. Maya Homburger's Bach is notable for its fine sound and beautiful, thoughtful phrasing.” Gramophone Magazine, May 2008 | | | Usually despatched in 4 - 5 working days. |
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| |  | Michael Studer - The Legacy
Bach, J S: | Partita No. 1 in B flat major, BWV825 Italian Concerto, BWV971 English Suite No. 2 in A minor, BWV807 French Suite No. 6 in E major, BWV817 | Brahms: | Capriccio in D minor, Op. 116 No. 1 Intermezzo in A minor, Op. 118 No. 1 Intermezzo in A major, Op. 118 No. 2 Capriccio, Allegro passionato in G minor, Op. 116 No. 3 Intermezzo in E flat major, Op. 117 No. 1 | Chopin: | Impromptu No. 4 in C sharp minor, Op. 66 'Fantaisie-Impromptu' Scherzo No. 3 in C sharp minor, Op. 39 Ballade No. 1 in G minor, Op. 23 Ballade No. 4 in F minor, Op. 52 Étude Op. 25 No. 1 in A flat major 'Aeolian Harp' Étude Op. 25 No. 2 in F minor Étude Op. 10 No. 8 in F major Waltz No. 3 in A minor 'Grande Valse Brillante', Op. 34 No. 2 Waltz No. 7 in C sharp minor, Op. 64 No. 2 Waltz No. 6 in D flat major, Op. 64 No. 1 'Minute Waltz' Fantasia in F minor, Op. 49 Nocturne No. 17 in B major, Op. 62 No. 1 Nocturne No. 5 in F sharp major, Op. 15 No. 2 Berceuse in D flat major, Op. 57 | Debussy: | Reflets dans l'eau (No. 1 from Images pour piano - Book 1) Hommage à Rameau (No. 2 from Images pour piano - Book 1) Mouvement (No. 3 from Images pour piano - Book 1) L'isle joyeuse | Haydn: | Piano Sonata No. 62 in E flat major, Hob.XVI:52 | Liszt: | Rhapsodie espagnole, S254 | Mozart: | Piano Concerto No. 9 in E-flat major, K271 "Jeunehomme" Piano Concerto No. 11 in F major, K413 Piano Concerto No. 12 in A major, K414 | Rachmaninov: | Prelude Op. 23 No. 8 in A flat minor Prelude Op. 32 No. 12 in G sharp minor Étude-Tableau, Op. 39 No. 3 in F sharp minor Prelude Op. 23 No. 4 in D major Étude-Tableau, Op. 33 No. 2 in C major Étude-Tableau, Op. 39 No. 5 in E flat minor | Ravel: | Piano Concerto in G major Gaspard de la Nuit | Saint-Saëns: | Piano Concerto No. 2 in G minor, Op. 22 | Schumann: | Fantasie in C major, Op. 17 Abegg Variations, Op. 1 Papillons, Op. 2 |
Michael Studer is a remarkable pianist who, although he studied in Paris and Vienna, is not well-known outside his native Switzerland. Since 2000, he has suffered from a hearing disability which tragically caused premature retirement, and CLAVES have gathered together his best recordings, made between 1971 and 1999, into this handsome 6-disc tribute. For the unbeatable price of just one CD, here is a unique chance to discover a rare talent, placed genunely and directly at the service of each composer in turn. | | | Usually despatched in 4 - 5 working days. |
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