Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates. | |  | Mozart - Clarinet Quintets
“The most beautiful of all clarinet quintets in an exemplary recording” (CD-Führer Klassik) | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Brahms: Piano Concerto No. 1
The career of the great British pianist Solomon (1902-1988) was cruelly cut short by a debilitating stroke in 1956, at the height of his powers. At the time, Solomon was universally regarded as one of the greatest living pianists, especially admired in Mozart, Beethoven and Brahms. His enforced retirement meant that his recordings are relatively few in number, so the emergence of radio broadcasts of him from the 1950s are particularly valuable. This unique CD couples a superb performance of Brahms’s D minor Concerto, with the young Lorin Maazel conducting the RAI Orchestra of Turin, with a BBC broadcast of Mozart’s Sonata in B flat K 333. Here is a very rare opportunity to hear this magnificent artist at his very best - performances which place him amongst the greatest pianists of the twentieth-century. Recorded in 1956 | | | Usually despatched in 8 - 10 working days. |
|
|
| |  | Mozart - Piano Concertos Nos. 11-13Mozart’s own versions for piano and strings
No, not another Mozart piano concerto disc! No indeed, for this pioneering recording gives us intimate, almost domestic versions of three of the composer’s masterpieces, versions that have scarcely been played, let alone set to disc, in the modern concert era. Moreover they give us the opportunity to hear Susan Tomes show her mettle in strong light as concerto soloist—and bring to a wider repertoire the distinct communicative magic that has made her one of the foremost chamber pianists of today. Mozart retains from the homogeneity of the strings a sense of intricacy and allure, as well conjuring the glanceexchanging thrill of chamber-music-making, all of which heightens the piquancy of the dialogue and confrontation between piano and band, while setting the rich sonorities of the piano into greater relief. You thought you knew these wonderful, innovative and energetic pieces, but hear afresh and think again! “There are few recording pianists to match Susan Tomes for clarity of articulation, and here she leads sparkling performances. Speeds are relatively fast, with slow movements kept moving to bring out their soaring lyricism” The Guardian “Light and air is everywhere; the transparency of the sound remains a constant delight … a sense of musicians bouncing their performances off each other … these are above all genial renditions. Mozart himself never aimed at plumbing depths—he told his father the concertos were ‘very brilliant’
and ‘fell agreeably on the ear’—so Tomes’s fingerwork, always light and precise, would appear to be made to measure … this disc offers major pleasures and refreshment” The Times “Susan Tomes’s playing has all the qualities for which Mozart himself was renowned: delicacy, agility, neatness, expressive eloquence. In close creative dialogue with The Gaudier Ensemble she brings limpid, subtly coloured tone to the lyrical melodies, makes Mozart’s passagework dance
and sparkle, and relishes opportunities for sly and witty timing. Crucially, too, in Mozart, she knows when to be simple. A delightful disc” The Telegraph “Chamber music at its best—unified, warm, intimate” American Record Guide | | | Usually despatched in 2 - 3 working days. |
|
|
| |  |
With this wonderful production, Mozart's 'Munich' opera returns to the place where it was first performed in 1781, the lovingly restored Cuvilliés Theatre, a veritable jewel of Rococo architecture. In Dieter Dorn's production, the characters are real people of flesh and blood, their emotions and conflicts intelligible to every member of the audience. The cast includes some of the finest Mozart singers of our day, headed by British tenor John Mark Ainsley in the title role, while Kent Nagano in the orchestra pit appears to unleash an elemental force of nature. "In the title role, John Mark Ainsley was impressive as the distraught king; the final scene between father and son (before the gods happily offer a last-minute sacrificial reprieve) was gripping… In Dieter Dorn’s stark, modernist production, a startling contrast with the Cuvilliés’ lavish Rococo interior, the stage turned green, and black-clad male Furies ripped off Elettra’s red velvet dress and dragged her away. In an earlier scene Rainer Trost, convincing as Arbace (Idomeneo’s loyal sidekick), sat cutting himself, blood dripping all over as he offered to sacrifice himself to the gods. The Chorus of the Bavarian State Opera sounded excellent and was intelligently deployed, wearing bright African prints that brightened the bleak sets.While singing “Placido è il Mar” the chorus members wore blue robes and stood on white bleachers. Other decorative touches included a red broken head of a Trojan horse, a blood-smeared wall and a black Halloween pumpkinlike mask that filled with flames when Idamante slayed the monster.The voice of the Oracle came thundering through unseen from the back of the theater in one particularly effective moment. Kent Nagano conducted the small orchestra in a lithe, bristling reading that illustrated the drama of the score. At the end of the last act, when Idamante is spared and reunited with Ilia, the orchestra was mechanically lifted to stage level. It was a worthy homecoming for “Idomeneo.” New York Times “...marvellously sung. John Mark Ainsley is an authoritative Idomeneo, but it is Julianne Banse one especially remembers for her lovely singing as Ilia...Annette Dasch is a properly fiery Elettra...Nagano conducts the Bavarian Chorus and Orchestra with plenty of spirit (the storm chorus is especially riveting)” Penguin Guide, 2010 **/* | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Recorded live at the Royal Opera House, Covent Garden, London, on 8th & 12th September 2008.
Don Giovanni is one of the timeless classics of all opera. Mozart's music, and the words of his great collaborator Da Ponte, are brought to life in Francesca Zambello's engrossing production from 2002 with its rich and colourful designs by Maria Bjornson. The music is memorable, dramatic and enjoyable: from the seductive solo voices of the famous 'La ci darem la mano' to the fabulous ensemble as Don Giovanni's infatuated conquests, vengeful victims and their outraged relatives join forces for justice. And retribution does finally come to Don Giovanni, a serial womanizer and a murderer, with the searing flames of Hell ready to engulf him. Simon Keenlyside heads the outstanding cast, conducted by renowned Mozart expert Charles Mackerras. Bonus material: Illustrated synopsis & cast gallery. Into the Royal Opera House. Backstage Tour. PICTURE FORMAT: 16:9
LENGTH: TBC
SOUND: 5.1 DTS SURROUND / PCM STEREO
SUBTITLES: EN/FR/DE/ES/IT
“…as flames rage over the opening cast credits, Sir Charles Mackerras conducts an incandescent Overture which kindles the brilliance, clarity and indefatigable energy of his music direction throughout. This film powerfully captures the fiery essence of Francesco Zambello's production for the Royal Opera. ...consistently strongly cast, it's as good for the ear as for the eye. Zambello makes Simon Keenlyside's harsh and diabolical Don Giovanni and Kyle Ketelsen's embittered Leporello a double-act of deadly dependency.” BBC Music Magazine, June 2009 ***** “This is eminently listenable and surprisingly viewable – 'surprisingly' because complaints were commonly heard concerning the production.
It's not particularly edifying to see so much of Simon Keenlyside's torso or to have Giovanni taking his last supper in shorts, but by modern standards it's almost tasteful. And the singing is almost uniformly fine. If one of the cast is to be named above the rest, that should be Joyce DiDonato, an outstandingly accomplished Elvira, brilliantly projected, interestingly conceived, her singing concentrated in tone. Marina Poplavskaya's Anna is both dignified and sympathetic, and she too has remarkable command of the necessary technique. Yet the voice itself doesn't serve quite as well as one might have hoped, wanting more heft in 'Or sai chi l'onore' and more ease of passage in 'Non mi dir'. Miah Persson is an adorable Zerlina, and one liked what she and others were encouraged to do by way of vocal ornamentation.
Of the men, Giovanni is the least tested vocally though it's all to the good if he can turn a serenade as ingratiatingly as Keenlyside does. Ramón Vargas hardly looks a suitable lover for this Donna Anna but he sings both arias like the admirably reliable and gifted artist he is and has been for a good many years now. The Masetto looks rather too like the Leporello but that hardly matters and both deserve their applause. The Commendatore's uneven voice production does matter in spite of his sonorous bass notes and imposing stage presence. Mackerras at the helm is such a reassuringly familiar and well loved figure that we may be tempted to take him for granted. Happily the Covent Garden audience shows every sign of appreciation and the final curtain-call is deservedly his.” Gramophone Classical Music Guide, 2010 “If one of the cast it to be named above the rest, that should be Joyce DiDonato, an outstandingly accomplished Elvira, brilliantly projected, interestingly conceived, her singing concentrated in tone. Miah Persson is an adorable Zerlina, and I liked what she and others were encouraged to do by way of vocal ornamentation. Of the men, Giovanni is the least tested vocally though it's all to the good if he can turn a serenade as ingratiatingly as Keenlyside does. Mackerras at the helm is such a reassuringly familiar and well loved figure that we may be tempted to take him for granted.” Gramophone Magazine, July 2009 | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | András Schiff and Cappella Andrea Barca
If you want to know who Andrea Barca is, translate Andras Schiff's name into Italian — it could have been Orchestre d'André Bateau, or maybe the Andie Boat Orchestra …. "This recording from the historical and stunningly beautiful Teatro Olimpico affords us numerous insights into Andras Schiff's approach to music and music-making, and more besides. Schiff's joy in performance is as evident to the eye as to the ear. He formed the Capella Andrea Barca specifically for the performance of Mozart in 1999 with the best Mozart interpreters: "a crack ensemble handpicked from his most musically accomplished friends and acquaintances" The New York Times "Pity the critic faced with music that arrives in a natural state and then is allowed to speak with complete naturalness. Writing about the pianist Andras Schiff playing Mozart… you looked for traction -- a fissure or crack, or some extraordinary anomaly to hold onto, but here the critic's fingers just kept slipping off." The New York Times | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Michala Petri - 50th Birthday ConcertRecorded Live in Tivoli Garden Concert Hall
For Michala Petri, being able to perform on her 50th birthday in Tivoli Concert Hall was very special occasion. It was in that very hall that she had her debut more than four decades earlier, as well as having performed on both her 30th and 40th birthday celebration concerts. The choice of repertoire was Michala’s own and was made based both on what would make an attractive and varied program as well as being representative of her artistry and artistic concerns. Here, the music looks back as well as ahead, and includes the works of the Baroque masters Vivaldi and Albinoni, two exciting contemporary scores composed especially for her (Vassilie’s Valere Iubere and Chen Yi’s Ancient Chinese Beauty), and at the concert’s mid-point, a beautiful Andante by Mozart. For the remainder of the program, the ensemble of virtuosi known as the Kremerata Baltica take centre stage in the performance of two works – Nino Rota’s delightful Neo-Baroque Concerto for Strings and the enchanting Variations on Happy Birthday by Peter Heidrich. “Petri makes the recorder sound so right in Mozart - delightful!” Gramophone | | | (also available to download from $11.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |  | Famous Masses
Bach, J S: | Mass in F major, BWV233 Elisabeth Speiser, Ingeborg Russ, John van Kesteren, Gerhard Faulstich, Jakob Stämpfli, Werner Keltsch & Willy Schnell Gächinger Kantorei & Bach-Collegium Stuttgart, Helmuth Rilling Mass in G minor, BWV235 Hildegard Rüttgers, Kurt Equiluz, Erich Wenk & Willy Schnell Figuralchor der Gedächtniskirche Stuttgart & Gächinger Kantorei, Bach-Collegium Stuttgart, Helmuth Rilling | Beethoven: | Mass in C major, Op. 86 Margarete Marshall, Cornelia Wulkopf & Adolf Dallapozza Chor und Symphonieorchester des Bayerischen Rundfunks, Günter Wand | Haydn: | Mass, Hob. XXII:11 in D minor 'Nelsonmesse' Krisztina Laki, Ria Bollen, Heiner Hopfner & Günter Reich, Kammerchor Stuttgart & Württembergisches Kammerorchester Heilbronn, Frieder Bernius | Mozart: | Mass in C major, K257 'Credo-Messe' Barbara Schlick, Erika Schmidt-Valentin, Clemens Bieber & Thomas Quasthoff Gürzenich Kammerorchester Köln & Limburger Domsingknaben, Klaus Knubben Mass in C major, K317 'Coronation Mass' Margot Guilleaume, Margit Kobeck, Johannes Feyerabend & Ewald Kaldeweier Kölner Rundfunkchor & Kölner Rundfunk-Sinfonie-Orchester, Günter Wand |
| | | (also available to download from $17.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |  | transcribed for string quartet
In 2006, during the 250th anniversary of Mozart’s birth the Quatuor Debussy went looking for an original work that would be symbolic and representative of the genius of the composer. In their search they uncovered a true jewel in the library of the Conservatory of Milan, the transcription for string quartet of the Requiem, done in1802 by Peter Lichtenthal. This world premiere recording will surely become standard concert repertoire in the years ahead. “lovingly restored and performed” Classic FM Magazine | | | (Sorry, download not available in your country) | Usually despatched in 4 - 5 working days. |
|
|
| |  |
The last of the great collaborations with librettist Lorenzo da Ponte, Così fan tutte was, for many years, considered unworthy of a composer of Mozart’s genius. The problem was the frivolous nature of the plot, and its misogynistic theme – testing the fidelity of women through a series of tricks pulled by their lovers. Dig deeper, however, and a clever comedy of manners emerges. Mozart’s genius in depicting human emotions and frailties is breathtaking. His simultaneous mix of the comic, the cruel and the serious has seldom been used to such effect by any composer before or since – and even with such a skilled librettist as da Ponte, the quality of the music far outshines that of the text. Today Così fan tutte is ranked rightly alongside Mozart’s other great operas. | | | Usually despatched in 4 - 5 working days. |
|
|
| |
|
