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See Terms & Conditions for p&p rates. | |  | Dinu Lipatti: The Master Pianist
Bach, J S: | Partita No. 1 in B flat major, BWV825 Keyboard Concerto No. 1 in D minor, BWV1052 Concertgebouw Orchester Amsterdam, Eduard van Beinum | Bartók: | Piano Concerto No. 3, BB 127, Sz. 119 Orchester des Sudwestdeutschen Rundfunks, Paul Sacher | Brahms: | Waltz, Op. 39 No. 1 in B major Waltz, Op. 39 No. 2 in E major Waltz, Op. 39 No. 5 in E major Waltz, Op. 39 No. 6 in C sharp major Waltz, Op. 39 No. 10 in G major Waltz, Op. 39 No. 14 in A minor Waltz, Op. 39 No. 15 in A flat major | Chopin: | Nocturne No. 8 in D flat major, Op. 27 No. 2 Waltzes Nos. 1-14 Piano Sonata No. 3 in B minor, Op. 58 Piano Concerto No. 1 in E minor, Op. 11 Tonhalle-Orchester Zurich, Otto Ackermann | Enescu: | Piano Sonata No. 3 in D major, Op. 24/3 | Grieg: | Piano Concerto in A minor, Op. 16 Philharmonia Orchestra, Alceo Galliera | Liszt: | Sonetto 104 del Petrarca (Années de pèlerinage II, S. 161 No. 5) Piano Concerto No. 1 in E flat major, S124 | Mozart: | Piano Sonata No. 8 in A minor, K310 Piano Concerto No. 21 in C major, K467 'Elvira Madigan' Lucerne Festival Orchestra, Herbert von Karajan | Ravel: | Alborada del gracioso (Miroirs No. 4) | Scarlatti, D: | Keyboard Sonata K380 in E major Keyboard Sonata K9 in D minor | Schubert: | Impromptu in E flat major, D899 No. 2 Impromptu in G flat major, D899 No. 3 | Schumann: | Piano Concerto in A minor, Op. 54 Philharmonia Orchestra, Herbert von Karajan |
“For decades, Dinu Lipatti's elegant 1947 recording...was the benchmark - and it has stood the test of time.” Classic FM Magazine, February 2012 “Lipatti's Chopin was in a class of its own and exhibits a chaste purity of style that is unique. This is to be found at its apogee in the last recital he gave in Besancon, only a few week before his death...A very special record.” Penguin Guide, 2011 edition | | | In stock - usually despatched within 1 working day. |
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| |  | Solomon: The Master Pianist
Bach, J S: | Cantata BWV140 'Wachet auf, ruft uns die Stimme' arr. Busoni | Beethoven: | Piano Concerto No. 3 in C minor, Op. 37 Philharmonia Orchestra, Herbert Menges Piano Concerto No. 5 in E flat major, Op. 73 'Emperor' Philharmonia Orchestra, Herbert Menges Piano Sonata No. 27 in E minor, Op. 90 Piano Sonata No. 8 in C minor, Op. 13 'Pathetique' Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight' Piano Sonata No. 26 in E flat major, Op. 81a 'Les Adieux' Piano Sonata No. 21 in C major, Op. 53 'Waldstein' Piano Sonata No. 23 in F minor, Op. 57 'Appassionata' Piano Sonata No. 29 in B-flat major, Op. 106 'Hammerklavier' | Bliss: | Piano Concerto in B flat major Liverpool Philharmonic Orchestra, Sir Adrian Boult | Brahms: | Piano Concerto No. 2 in B flat major, Op. 83 | Grieg: | Piano Concerto in A minor, Op. 16 Philharmonia Orchestra, Herbert Menges | Liszt: | Fantasy on Hungarian Folk-tunes, S123 Philharmonia Orchestra, Walter Susskind | Mozart: | Piano Sonata No. 11 in A major, K331 'Alla Turca' Piano Sonata No. 18 in D major, K576 'Hunt' Piano Concerto No. 24 in C minor, K491 Philharmonia Orchestra, Herbert Menges | Scarlatti, D: | Keyboard Sonata K384 in C major | Schumann: | Piano Concerto in A minor, Op. 54 Philharmonia Orchestra, Herbert Menges | Scriabin: | Piano Concerto in F sharp minor, Op. 20 Philharmonia Orchestra, Issay Dobrowen | Tchaikovsky: | Piano Concerto No. 1 in B flat minor, Op. 23 |
The great British piano virtuoso Solomon Cutner (known professionally by his first name alone) was born in the East End of London in 1902. He was best known for his performances of the music of Beethoven, of which there are many examples in this 7 CD set. In 1956, whilst in the process of recording the complete Beethoven sonatas for EMI, he experienced a massive stroke which rendered him inactive as a professional musician for the rest of his life. He died in 1988, aged 85 years. | | | In stock - usually despatched within 1 working day. |
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| |  | Martha Argerich - Music for two pianos
To celebrate one of the greatest pianists of the 20th century and following a five year collaboration with the very special ‘Progetto Martha Argerich’, EMI Classics proudly presents this definitive Argerich compilation showcasing the very best music for two pianos from the highly respected Lugano Music Festival. “If the sound is uneven, that's far outweighed by the buzz we get from these scintillating live performances, all of which sound more like one player (with four hands) than two.” BBC Music Magazine, August 2008 ***** “…at a time when new music is more and more marginalised, modernity is expressed through the interpretation of past works by inspired performers. Lugano is a vibrant tribute to the concept.” Financial Times | | | In stock - usually despatched within 1 working day. |
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| |  | Janet Baker: The Beloved Mezzo
Arne: | Where the Bee Sucks Martin Isepp (harpsichord), Ambrose Gauntlett (viola da gamba), Douglas Whittaker (flute) | Bach, J S: | Schlummer ein, ihr matten Augen from Cantata No. 82 Bath Festival Orchestra, Yehudi Menuhin Christmas Oratorio, BWV248: Bereite dich, Zion St John Passion, BWV245: Es ist vollbracht Bist du bei mir, BWV508 Academy of St Martin in the Fields, Sir Neville Marriner | Berlioz: | Les Nuits d'été, Op. 7 New Philharmonia Orchestra, Sir John Barbirolli | Boyce: | Tell, me lovely shepherd Martin Isepp (harpsichord), Ambrose Gauntlett (viola da gamba) | Brahms: | Alto Rhapsody, Op. 53 London Philharmonic Orchestra, John Alldis Choir (men's voices), Sir Adrian Boult | Campion: | Never love unless you can Oft have I sigh’d for him that hears me not If thou longst so much to learn Faine would I wed Robert Spencer (lute) | Chausson: | Poème de l'amour et de la mer, Op. 19 London Symphony Orchestra, Andre Previn | Dowland: | Come again, sweet love doth now invite Robert Spencer (lute) | Elgar: | Sea Pictures, Op. 37 London Symphony Orchestra, Sir John Barbirolli Softly and gently, dearly-ransomed soul 'Angel's Farewell' (from The Dream of Gerontius) Halle Orchestra, Sir John Barbirolli | Handel: | Messiah: He was despised English Chamber Orchestra, Sir Charles Mackerras Ah! Crudel, nel pianto mio, HWV 78: aria 'Per trofei di mia constenna' English Chamber Orchestra, Raymond Leppard Armida abbandonata, HWV 105: aria 'Ah! crudel, e pur ten vei' English Chamber Orchestra, Raymond Leppard | Liszt: | Die Lorelei Über allen Gipfeln ist Ruh (Wandrers Nachtlied II), S.306 Geoffrey Parsons (piano) | Mahler: | Kindertotenlieder Halle Orchestra, Sir John Barbirolli Rückert-Lieder (5 songs, complete) New Philharmonia Orchestra, Sir John Barbirolli Lieder eines fahrenden Gesellen (4 songs, complete) Halle Orchestra, Sir John Barbirolli Urlicht (from Symphony No. 2) City of Birmingham Symphony Orchestra, Sir Simon Rattle | Mendelssohn: | Neue Liebe, Op. 19a No. 4 Auf Flügeln des Gesanges, Op. 34 No. 2 Nachtlied, Op. 71 No. 6 Geoffrey Parsons (piano) | Munro, G: | My lovely Celia Martin Isepp (harpsichord), Ambrose Gauntlett (viola da gamba) | Purcell: | Sleep, Adam, and take thy rest, Z195 Lord, what is man?, Z192 Martin Isepp (harpsichord), Ambrose Gauntlett (viola da gamba) | Ravel: | Shéhérazade New Philharmonia Orchestra, Sir John Barbirolli | Schubert: | Gretchen am Spinnrade, D118 Ave Maria, D839 Gerald Moore (piano) Heidenröslein, D257 An die Musik D547 Die Forelle, D550 Auf dem Wasser zu singen, D774 Du bist die Ruh D776 (Rückert) Nacht und Träume, D827 An Sylvia, D891 Geoffrey Parsons (piano) | Schumann: | Frauenliebe und -leben, Op. 42 Daniel Barenboim (piano) | Strauss, R: | Liebeshymnus, Op. 32 No. 3 Das Rosenband, Op. 36 No. 1 Ruhe, meine Seele!, Op. 27 No. 1 London Philharmonic Orchestra, Sir Adrian Boult | Wagner: | Wesendonck-Lieder (5) London Philharmonic Orchestra, Sir Adrian Boult |
“this is a treasurable set” Penguin Guide, 2011 edition | | | In stock - usually despatched within 1 working day. |
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| |  | Raymond Trouard: Une Vie Pour Le Piano
Bach, J S: | Cantata BWV29 'Wir danken dir, Gott, wir danken dir': Overture | Beethoven: | Piano Sonata No. 8 in C minor, Op. 13 'Pathetique' Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight' Piano Sonata No. 23 in F minor, Op. 57 'Appassionata' Symphony No. 6 in F major, Op. 68 'Pastoral' | Brahms: | Intermezzo in E flat major, Op. 117 No. 1 | Busoni: | Choralvorspiel nach Bach | Chabrier: | Joyeuse Marche | Grieg: | Piano Concerto in A minor, Op. 16 Association Artistique des Concerts Colonne, Pierre Dervaux | Haydn: | Piano Sonata No. 13 in G major, Hob.XVI:6 | Liszt: | Piano Concerto No. 1 in E flat major, S124 Piano Concerto No. 2 in A major, S125 Fantasie sur l'opera hongrois Szep Ilonka S417 Piano Sonata in B minor, S178 Hungarian Rhapsody, S244 No. 2 in C sharp minor Hungarian Rhapsody, S244 No. 6 in D flat major Liebestraum, S541 No. 3 (Nocturne in A flat major) Grande Étude de Paganini, S. 141 No. 5 'La Chasse' Benediction de Dieu dans la solitude (Harmonies poétiques et religieuses, S. 173 No. 3) Après une lecture du Dante, fantasia quasi sonata (Années de pèlerinage II, S. 161 No. 7) Sposalizio (Années de pèlerinage II, S. 161 No. 1) Legende S.175 No. 2, St. Francis of Paola walking on the waves Legende S.175 No. 1, St Francis of Assisi preaching to the birds Funérailles (Harmonies poétiques et religieuses, S. 173 No. 7) Prelude and Fugue in a minor, BWV 543 (J.S. Bach), S. 462/1 Rakoczi March, S242a/1 (first version, 1839/40) Grande Étude de Paganini, S. 141 No. 3 'La Campanella' | Prokofiev: | The Love for Three Oranges: March | Saint-Saëns: | Le carnaval des animaux | Schubert: | Waltzes | Tchaikovsky: | Piano Concerto No. 1 in B flat minor, Op. 23 Association Artistique des Concerts Colonne, Pierre Dervaux |
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| |  | Rubenstein in Concert
“Rubinstein’s superb form is matched by the incredible musical sensitivity of Haitink and the orchestra” New York Times | | | In stock - usually despatched within 1 working day. |
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| |  | Paul Tortelier
Recorded: Royal Festival Hall, London, 14 November 1972 (Elgar), Royal Festival Hall, London, 17 April 1974 (Brahms), BBC Studios, 10 February 1959 (Debussy) “This generous collection of three favourite works provides a fine portrait of the great French cellist Paul Tortelier at the height of his career in the post-war period. It is specially valuable to have his view of the Elgar Cello Concerto, which he recorded commercially at least three times. Here it comes in a live recording which gives an even warmer, more spontaneoussounding view of the piece in his distinctive interpretation.
Tortelier strongly believed that Elgar's markings should not be exaggerated, in particular the marking tenuto, at which many interpreters bring the music practically to a halt. In the second- movement Scherzo, for example, the drawing out of the tempo in two key places is markedly less here than in most rival readings.
Tortelier also felt that the portamento slides should be kept to a minimum in the first movement, something he was able to achieve thanks to his very large hands. Even so, there is no lack of warmth in the dedicated slow movement or the meditative epilogue, which are given their full emotional weight.
The performance of Brahms's Double Concerto has similar qualities, and is important too for demonstrating what a fine violinist Tortelier's son Yan Pascal is. The bright purity of his violin tone contrasts illuminatingly with the richness of his father's cello tone.
The performance of the Debussy Sonata dates from much earlier, a 1959 studio recording, which yet brings out the natural spontaneity with which Tortelier tackled this improvisational work with its many stops and starts.
Recording quality is generally good, though in the Elgar the audience is irritatingly bronchial at times.” Gramophone Classical Music Guide, 2010 “…a fine portrait of the great French cellist Paul Tortelier at the height of his career…[His]personality is stamped on every bar of these live performances...It is specially valuable to have his view of the Elgar Cello Concerto…in a live recording which gives an even warmer, more spontaneous-sounding view of the piece in his distinctive interpretation.” Gramophone Magazine, September 2008 | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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| |  | Anne Sofie von Otter - In My Element
| | I let the music speak No Wonder (arr. by Elvis Costello and Ensemble) I Want to Vanish (arr. by Elvis Costello and Ensemble) | Bizet: | L'amour est un oiseau rebelle 'Habanera' (from Carmen) Les tringles des sistres tintaient (from Carmen) | Brahms: | He, Zigeuner, greife in die Saiten ein! (No. 1 from Zigeunerlieder, Op.103) Brauner Bursche führt zum Tanze (No. 5 from Zigeunerlieder, Op.103) | Chaminade: | Ah! si l'amour prenait Mignonne, à l'amour j'ai lié | Dowland: | In darkness let me dwell | Grieg: | Haugtussa, Op. 67 No. 8 'Ved Gjætle-Bekken' | Haas, P: | Seven Songs in a Folk Style, Op. 18 (unreleased) | Handel: | Qui d'amor (from Ariodante) Hercules: The world, when day's career is run Hercules: When beauty sorrow's liv'ry wears | Mahler: | Rheinlegendchen (Des Knaben Wunderhorn) Oft denk' ich, sie sind nur ausgegangen (Kindertotenlieder) | Monteverdi: | Adagiati, Poppea - Oblivion soave (L'incoronazione di Poppea) Disprezzata regina (L'incoronazione di Poppea) Addio Roma! (from L'incoronazione di Poppea) | Mozart: | Parto, parto, ma tu ben mio (from La Clemenza di Tito) Oh Dei, che smania è questa (La Clemenza di Tito) Ah, qual gelido orror...Il padre adorato (from Idomeneo) No, la morte io non pavento (from Idomeneo) Non so più cosa son, cosa faccio (from Le nozze di Figaro) Voi che sapete (from Le nozze di Figaro) | Offenbach: | Barcarolle (from Les Contes d'Hoffmann ) Portez armes...Vous aimez le danger…Ah! que j’aime les militaires! (from La grande-duchesse de Gérolstein) | Purcell: | When I am laid in earth (from Dido and Aeneas) | Schubert: | Im Abendrot, D799 Erlkönig, D328 | Schumann: | Süsser Freund, du blickest mich verwundert an (No. 6 from Frauenliebe und Leben, Op. 42) Die Meerfee Op. 125 No. 1 | Strauss, R: | Sein wir wieder gut (from Ariadne auf Naxos) | Weill, K: | Buddy on the Nightshift My ship Surabaya Johnny (from Happy End) |
“Smart, sophisticated and opinionated, Anne Sofie von Otter has become a star by doing exactly what she wants” Opera News | | | In stock - usually despatched within 1 working day. |
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| |  | Karajan / Mutter - Complete DG Recordings
Beethoven: | Violin Concerto in D major, Op. 61 Triple Concerto for Piano, Violin, and Cello in C major, Op. 56 | Brahms: | Double Concerto for Violin & Cello in A minor, Op. 102 Violin Concerto in D major, Op. 77 | Bruch: | Violin Concerto No. 1 in G minor, Op. 26 | Mendelssohn: | Violin Concerto in E minor, Op. 64 | Mozart: | Violin Concerto No. 3 in G major, K216 Violin Concerto No. 5 in A major, K219 'Turkish' | Tchaikovsky: | Violin Concerto in D major, Op. 35 |
From 1976, when Herbert von Karajan - the most famous conductor in the world - met the prodigiously gifted 13-year-old Anne-Sophie Mutter until his death 13 years later, she was the only violinist to appear with him in concert and on disc. These discs contain all the concertos they recorded together for Deutsche Grammophon during that period. | | | In stock - usually despatched within 1 working day. |
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“Herreweghe's innate sense of Brahms's musical lines is evident everywhere as he sculpts this works. Herreweghe's combined choirs respond magnificently to his direction” Stereophile (USA) | | | In stock - usually despatched within 1 working day. |
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