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See Terms & Conditions for p&p rates. | |  | Sonatas and Variations for flute and piano
Beethoven: | Serenade for flute & piano in D major (arr. of Serenade, Op. 25), Op. 41 | Hummel, J: | Flute and Piano in A major, Op. 64 | Schubert: | Variations pour piano et flûte, Op. 160 Variations pour piano et flûte, Op. 160: Variazione V bis world première recording | Weber: | Six Sonatas for Violin & Piano, Op. 10, No. 2 Six Sonatas for Violin & Piano, Op. 10, No. 3 |
Stefania Neonato (piano) & Fabio De Rosa (flute) This collection of Sonatas and Variations for flute and piano includes the world première recording of Schubert’s 5th variation bis op. 160. | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Schubert: Ausgewählte LiederSelected Songs
Schubert: | Lied der Delphine, D857 No. 1 Die Liebe (Klarchens Lied), D210 Erlafsee D586 (Mayrhofer) Gretchen am Spinnrade, D118 Rastlose Liebe, D138 Der Fluss, D693 Non t'accostar all'urna, D688 No. 1 Guarda, che bianca luna, D688 No. 2 Da quel sembiante appresi, D688 No. 3 Mio ben ricordati D688 No. 4 La pastorella al prato, D528 (Goldoni) Vedi quanto adoro (Didone abbandonata) D510A (Metastasio) Suleika I & II Nur wer die Sehnsucht kennt, D877/4 Der Schmetterling D633 Heidenröslein, D257 Am Strome, D539 (Mayrhofer) Die Forelle, D550 So lasst mich scheinen, D877 No. 3 |
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| |  | Live from the Marlboro Music Festival: Mozart, Beethoven, Schubert
Late Guarneri Quartet member David Soyer is the central artist for this program of chamber works by Beethoven, Mozart and Schubert. He is joined by piano superstar Mitsuko Uchida and others for these thrilling performances. All performances on this album were recorded at Persons Auditorium, Marlboro, VT. | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Kathleen Ferrier: Arias and Songs1946-1950 Recordings
plus: Bach: St. Matthew Passion, BWV 244, Part II: Aria: Have mercy, Lord, on me (Sung in English)
Kathleen Ferrier was one of the greatest British singers of the 20th century. For ten years she enjoyed an unparallelled career, admired equally for the generous warmth and sincerity of her interpretations as for her uniquely splendid contralto voice. This reissue features twelve arias and songs that Ferrier recorded for Decca between 1946 and 1950. In addition there are eight treasurable items from a 1949 Norwegian Radio recital in Oslo, which include her only published recordings of Hugo Wolf. Mark Obert-Thorn, producer and audio restoration engineer | | | (also available to download from $8.75) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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The process of creating a quintet by adding a cello to the standard string quartet is always an act of some significance, whether the composer is Boccherini, Onslow, or Schubert. This is particularly true of Schubert's Quintet op. posth. 163, for to the specific characteristics of an instrumental medium subtly weighted towards the bass it adds such mastery of form, so evident an orchestral element, such an overwhelming metaphysical dimension that it is now recognised as one of the supreme peaks of chamber music. After trying out several different chamber combinations, Antje Weithaas, Daniel Sepec, Tabea Zimmermann and Jean-Guihen Queyras founded the Arcanto Quartet in 2002. The four musicians, who in addition to their musical affinities also share a close personal friendship, attracted the attention of the musical world right from their first concert in Stuttgart in 2004. Since then the quartet has performed at all the leading concert halls, including the Wigmore Hall in London. The group regularly plays quintet repertoire with the pianist Silke Avenhaus and the cellist Olivier Marron. “Listening to this intense, richly expressive account, you wonder again how superior spirits ever had the nerve to patronise Schubert’s quintet...The Arcanto and the cellist Olivier Marron — driven, passionate yet exceptional in clarity of texture — realise the work’s combination of danger and yearning, of desperation and dreamlike beauty, to an inspiring degree.” Sunday Times, 12th August 2012 “Can the market bear another recording of a work so popular as to be almost hackneyed? Yes, when the playing has the detail, the muscularity, the daring and sparkle displayed here. Tempi are brisk but not rushed; vibrato is kept under tight rein and the slow movement sings tenderly rather than sobs, making it all the more expressive. The outer movements shine in perfect but vigorous ensemble.” The Observer, 2nd September 2012 “This is a performance of the highest class, gripping you from the moment that four of the five players set bow to string at the outset … the overall impression is of extreme thoughtfulness … Comparisons seem pointless. Notwithstanding the countless versions of this piece, this is one for the gods.” International Record Review, October 2012 “An account that brinds out the depths of light and shade in Schubert’s masterpiece … Throughout, the intonation is impeccable and, thanks also to excellent sound quality, this newcomer can be strongly recommended.” The Strad, November/December 2012 “Their sound is distinctively bright and takes the robust-but-sensitive approach that always makes them such appealing candidate for the performance of the cornerstones of chamber repertoire...However, the strongest recommendation for this disc...is the simple point that they manage to bring out the earlier Classical influences in the music that are often passed over in favour of soupy indulgence.” Gramophone Magazine, November 2012 “This version is exceptionally well recorded, with superb balance among the instruments...The players of the Arcanto Quartet, as well as the second cellist Olivier Marron, adopt an austere approach to tone, using very little vibrato...the Arcanto score highly. What I missed was the abandon which is to be found in the very finest performances.” BBC Music Magazine, Christmas 2012 **** | | | Usually despatched in 3 - 4 working days. |
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| |  | "Main gauche": Jean Dubé
Blumenfeld: | Etude for the left hand, Op. 36 | Bonamici: | Etude, Op. 273 No. 3 | Bortkiewicz: | Epithalame, Op. 65 No. 3 | Debussy: | The Little Shepherd (from Children's Corner) | Dubé: | A smile like sunshine | Foote: | Romanze, Op. 37 No. 3 | Gabrilovich: | Etude, Op. 12 No. 2 | Maasalo: | Au crépuscule | Moszkowski: | Etude, Op. 92 No. 11 | Ponce, M: | A pesar de todo | Saint-Saëns: | Études (6) pour la main gauche seule, Op. 135: Bourrée Études (6) pour la main gauche seule, Op. 135: Elegie Études (6) pour la main gauche seule, Op. 135: Gigue | Sancan: | Caprice romantique (main gauche seule) | Schubert: | Erlkönig, D328 arr. Zichy | Scriabin: | Prelude, Op. 9 No. 1 in C sharp minor for the left hand Nocturne in D flat major Op. 9 No. 2 | Sibelius: | Romance in D minor, Op. 24 No. 4 | Zichy: | Viennese Pranks |
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| |  | Lars Vogt live at Verbier FestivalLive recording from the Verbier Festival, July 2011
Lars Vogt's performance at the 2011 Verbier Festival, in the mountains of Switzerland, is an exercise in virtuosity. A challenging program of Janáček, Schubert, Beethoven and Brahms is followed by bonus material including a Mozart concerto and a Chopin nocturne. The German pianist Vogt proves himself more than up to the task, with an inspiring performance of the rarely performed In the Mists, then striking the subtle balance between the delicacy required of a Brahms Intermezzo and the boisterousness of Beethoven's last piano sonata. Picture format DVD: NTSC 16:9 Sounds format DVD: PCM Stereo Region code: 0 Booklet notes: English, German, French Running time: 75 min “Charm isn't sprayed around, but you must respect his intelligence..Vogt demonstrates particular care over the shading of dynamics, attack, and inner voicing, as he does indeed in Beethoven's final Sonata. Trouble is, his considered manner often resembles the dissection of a dispassionate surgeon...Yet there are three minutes of genuine poetry on this DVD, in the posthumously published Chopin Nocturne” BBC Music Magazine, December 2012 *** “Throughout this demanding programme Vogt plays with a wonderfully quiet hand, drawing the most lovely tone from the Steinway (Verbier ships in its best instruments for the Festival)...How good to hear one of the least-played of Mozart's miraculous cycle and to have it delivered by Vogt with understated, stylish conviction.” Gramophone Magazine, Awards Issue 2012 | | | Usually despatched in 2 - 3 working days. |
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| |  | Thibaud-Casals-Cortot Trio: Piano Trio Recordings
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| |  | JS Bach, Beethoven & Schubert: Piano Works
Reiko Fujisawa studied at the Musashino University of Music in Tokyo before moving to London in order to study further with Martino Tirimo, Bejamin Kaplin and Yonty Solomon. She has since established herself as an exciting and formidable virtuoso performer with recital and concert appearances throughout the UK, including the South Bank, Wigmore Hall and Cadogan Hall. Her first disc for Quartz admirably demonstrates her skilful use of the keyboard. “The highlight of this impressive recital is the unusually sombre reading of Schubert's First Impromptu, but the Bach Partitas is sturdy, and the Waldstein charismatic.” BBC Music Magazine, Christmas 2012 **** | | | Usually despatched in 4 - 5 working days. |
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| |  | Insomnia: A nocturnal voyage in song
Bennett, R R: | Dream-Song | Debussy: | Nuit d'étoiles | Fauré: | Clair de Lune, Op. 46 No. 2 Mandoline, Op. 58 No. 1 (Verlaine) Sérénade toscane Op. 3 No. 2 | Gounod: | Viens! Les gazons sont verts | Liszt: | O quand je dors (Hugo), S282 | Mozart: | Abendempfindung an Laura, K523 | Ravel: | Le Grillon (from Histoires naturelles) | Schubert: | Auf der Bruck, D853 | Schumann, Clara: | Der Mond kommt still gegangen | Strauss, R: | Morgen, Op. 27 No. 4 | Vaughan Williams: | Tired | Warlock: | The Night | Wolf, H: | Um Mitternacht (No. 19 from Mörike-Lieder) Schon streckt' ich aus (No. 27 from Italienisches Liederbuch) Nicht länger kann ich singen (No. 42 from Italienisches Liederbuch) Und steht Ihr früh am Morgen auf (No. 34 from Italienisches Liederbuch) | Yiu: | Sonnet |
For his solo debut on disc, William Berger has devised an ingenious sequence of 17 songs describing a sleepless night experienced by a man who reflects on his love for an unnamed woman. From Viennese classicism to fin-de-siècle Romanticism, shadowy English pastoral to the contemporary worlds of Richard Rodney Bennett and Raymond Yiu, this wide-ranging programme is brought to nuanced life by this outstanding young baritone. The indefatigable Iain Burnside provides lucid and imaginative accompaniment. Together, their performances vividly capture the full gamut of nocturnal emotions. A graduate and Associate of the Royal Academy of Music in London, Berger is a former member of the Young Singers Programme at English National Opera. Recent engagements include singing Aeneas to Susan Graham's Dido, on tour in California, and his recital debut at the Lucerne International Festival. Pianist Iain Burnside has forged a worldwide reputation through his commitment to song repertoire and his collaborations with leading international singers. “Berger's grainy baritone is pleasing more than awe-inspiring...But he communicates with keen enthusiasm, and his word-lively Mozart Abendempfindung immediately draws the listener in to this artfully selected and ordered programme. With Iain Burnside as accompanist, there are light-filled starry nights aplenty” BBC Music Magazine, February 2013 *** “Berger has a warm, resonant baritone and an hour spent in its company is a pleasurable experience … the partnership between Berger and Iain Burnside yields some fine performances.” Gramophone Magazine, November 2012 “Much in this recital gives satisfaction and pleasure. First of all comes the sound of the voice, warm, full, smoothly emitted and steady. One notes too the use of legato, enabling lines and notes to flow” International Record Review, December 2012 “Berger is a gem of a singer” Los Angeles Times “[Burnside] is unfailingly sensitive and powerfully communicative throughout. The dreamy undulations of Mandoline are a knockout, as is the gently suggestive accompaniment to Wolf’s Um Mitternacht, to name but two examples.” MusicWeb International, October 2012 “Burnside handles everything with aplomb and insight'” Sunday Times “You’ll be beguiled by Berger’s voice and entranced by the more left-field musical choices...Songs by Wolf and Liszt dominate post-midnight, and after Morgen we get a couple of encores, including a tiny Gounod number sufficiently breezy to banish the introspective mood and leave one feeling invigorated, not depressed.” The Arts Desk, 8th September 2012 “His tone is beautiful, his technique immaculate. He does extraordinary things with breath control in Oh! Quand Je Dors and Wolf's Um Mitternacht, and his sense of line is exceptional...Iain Burnside is wonderfully responsive to his shifts in mood and style. An idiosyncratic disc, but very fine.” The Guardian, 9th August 2012 **** “[the programme] plays out its chronological narrative – songs depicting specific hours of a sleepless night – with logical and psychological inevitability...Berger sustains a magnetic affection throughout the varied sequence, aided by Iain Burnside’s deft pianism.” The Scotsman, 30th July 2012 **** | | | Usually despatched in 3 - 4 working days. |
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