Future Releases

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Female Composers: Pieces for Violin and Piano

Female Composers: Pieces for Violin and Piano


Beau:

Romanze, Op. 35

Boulanger, L:

Morceaux (2) for violin & piano

Chaminade:

Capriccio, Op.18

Andantino, Op. 31 No. 1

Romanza, Op. 31 No. 2

Rondeau, Op. 97

Mayer, E:

Notturno, Op. 46

Paradis:

Sicilienne

Pejačević:

Romance, Op. 22

Elegie, Op. 34

Schumann, Clara:

Romances (3), Op. 22

Senfter:

Melodie, Op. 13 No. 1

Elegy, Op. 13 No. 3


Setareh Najfar-Nahvi (violin) & Theresia Schumacher (piano)

Released or re-released in last 6 months

Austrian Gramophone - AG0004

(CD)

$15.50

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Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Clara: Ragna Schirmer

Clara: Ragna Schirmer


Beethoven:

Piano Concerto No. 4 in G major, Op. 58

Schumann, Clara:

Piano Concerto in A minor, Op. 7


Ragna Schirmer (piano)

Staatskapelle Halle, Ariane Matiakh

Famous pianist Ragna Schirmer celebrates the composer and pianist Clara Schumann – Ragna is the “Clara” - specialist in general.

Schumann‘s Piano Concerto is combined with Beethoven‘s Fourth Piano Concerto.

The French conductor Ariane Matiakh is performing with the Staatskapelle Halle.

“Ragna’s intensive engagement with Clara gave me the feeling at times that Clara herself was sitting at the piano,” says the French conductor Ariane Matiakh with great enthusiasm following the recording of this CD.

2019 will be the 200th birthday of Clara Schumann, big stories (TV, Print, Online) about the composer featuring Ragna Schirmer,

The present recording combines Clara Schumann’s Piano Concerto in A minor op. 7 with the Piano Concerto no. 4 in G major by Ludwig van Beethoven, which Clara Schumann played in more than 50 concerts.

To make this live recording, Ragna Schirmer invited the conductor Ariane Matiakh to the place she has chosen to live, Halle an der Saale. “She has the ability to coax the tenderest tones from the orchestra while storing up expressive power and vast energy for the evening’s dramatic moments,” writes Ragna Schirmer.

Released or re-released in last 6 months

Berlin Classics - 0300928BC

(CD)

$15.00

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

Hindemith & Schoenberg: String Trios

Hindemith & Schoenberg: String Trios


Hindemith:

String Trio No. 1, Op. 34

String Trio No. 2

Schoenberg:

String Trio, Op. 45


Following their acclaimed recordings of the works for string trio by Mozart and Beethoven, Trio Zimmermann make a great leap in time. Arnold Schoenberg and Paul Hindemith were both at the avant-garde epicentre of the 1910s and 1920s, but their future paths could hardly have been more different. Whereas Schoenberg would go on to have a decisive influence on twentieth-century modernism with his dodecaphonic music and the Second Viennese School, Paul Hindemith gradually renounced his rebellious early music, eventually becoming something of an anachronistic loner.

The relatively early String Trio No. 1 (1924) already betrays the composer's interest in the forms and textures of baroque music. It opens with a flittering Toccata, going on to offer a contrapuntal web in its slow movement and ends with a double fugue. The contrapuntal textures are present also in the Second String Trio, but the neotonal language and general atmosphere point forward to later, large-scale works such as Mathis der Mahler.

In 1933, the year Hindemith composed his second trio, the political developments in Germany caused Arnold Schoenberg to leave Europe for the U.S.A. (Hindemith would follow in 1940.) It took him considerable time before he found his feet in this new environment and continuing financial and professional worries probably contributed to a serious heart attack that struck him down in August 1946. The String Trio, Op. 45, begun shortly before the heart attack and completed a month after it, is the disturbing expression of this extreme near-death experience. It also presents one of the greatest challenges in the entire string repertoire – in fact Schoenberg considered easing the technical difficulties by expanding the trio into a quintet.

Released or re-released in last 6 months

Super Audio CD

Format:

Hybrid Multi-channel

BIS - BIS2207

(SACD)

Normally: $15.00

Special: $13.50

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Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

C P E Bach - Solo Keyboard Music Volume 33

C P E Bach - Solo Keyboard Music Volume 33


Bach, C P E:

Rondo in E major, Wq. 57/1 (H265)

Keyboard Sonata in A minor, Wq. 57/2 (H247)

Rondo in G major, Wq. 57/3 (H271)

Keyboard Sonata in D minor, Wq. 57/4 (H208)

Rondo in F major, Wq. 57/4 (H266)

Keyboard Sonata in F minor, Wq. 57/6 (H173)

Canzonetta (by Luise Dorothea of Saxe-Gotha) with 6 variations, Wq. 118/8 (H275)


Miklós Spányi (tangent piano)

Issued between 1779 and 1787, the six collections of sonatas, rondos, and fantasias “fürKenner und Liebhaber” constitute Carl Philipp Emanuel Bach’s largest-scale publishing venture. Aimed at ‘Connaisseursand Amateurs’, the first collection was a retrospective selection of six sonatas but when this became a commercial success Bach expanded and varied the scheme, adding rondos (a recently popular form) for the second and third collection and, in the final three collections, samples of his free fantasies.

On the previous two discs in his acclaimed series, MiklósSpányicombined pieces from Collection 1 and 2, performing them on the clavichord (Volume 31) and the tangent piano (Volume 32). For the present disc, Spányihas chosen to remain with the tangent piano, an early form of the piano with strings that are struck by small wooden slips (‘tangents’). The basic sound of the instrument is reminiscent of the harpsichord, but this can be modified in a number of ways through the use of various devices.

Released or re-released in last 6 months

BIS - C P E Bach - Solo Keyboard Music - BIS2213

(CD)

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Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Ives: Piano Sonata No. 2 & Violin Sonata No. 4

Ives: Piano Sonata No. 2 & Violin Sonata No. 4


Ives, C:

Piano Sonata No. 2, Op. 19 'Concord, Mass., 1840-1860'

Sharon Bezaly (flute), Pekka Kuusisto (viola)

Sonata for Violin and Piano No. 4, 'Children's Day at the Camp Meeting'

Pekka Kuusisto (violin)


Joonas Ahonen (piano)

Charles Ives’s ‘Concord Sonata’ is often described as one of the greatest of American piano works. Published in 1920, at the composer’s own expense, it contains radical experiments in harmony and rhythm and would have to wait until 1939 for its first public performance. In the course of its four movements, Ives depicts some of the famous inhabitants of the small town of Concord in Massachusetts, a centre of the mid-19th century transcendentalism movement. Luminaries of the movement such as Ralph Waldo Emerson and Henry David Thoreau are alluded to in various ways in music that includes references to Beethoven, religious and patriotic hymns and circus marches, as well as brief ‘guest appearances’ by a viola and a flute.

Lasting 47 minutes on the present recording, Ives’s second piano sonata is a massive work of a staggering complexity, and a true challenge for any performer – a challenge more than readily accepted by the young Finnish pianist Joonas Ahonen, who has previously recorded Ligeti’s piano concerto for BIS.

For the opening work on the disc, the much shorter Violin Sonata No. 4, Ahonen is joined by his compatriot, the celebrated violinist Pekka Kuusisto. Composed during the same period as the Concord Sonata, this piece also has an extra-musical background, namely the composer’s memories as a child of the so-called camp meetings held during the Christian revivalism of the late 19th century.

Released or re-released in last 6 months

Super Audio CD

Format:

Hybrid Multi-channel

BIS - BIS2249

(SACD)

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Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

A Pleasing Melancholy: Works by Dowland & Others

A Pleasing Melancholy: Works by Dowland & Others


Danyel:

Eyes, look no more

Dowland:

Lachrimae, or Seaven Teares

George Whitehead's Almand

Paduana Lachrymae

Flow my teares (Lacrimæ)

Volta

If floods of tears

Mourne, mourne, day is with darknesse

Sorrow, come

Holborne:

My heavy sprite

Hume, T:

What greater griefe


James Akers (lute), Emma Kirkby (soprano)

Chelys Consort of Viols

‘A pleasing melancholy’ is how Robert Burton described the feeling that certain music can give rise to, in his The Anatomy of Melancholy from 1621. Some 20 years earlier John Dowland, melancholic par excellence, had expressed a similar idea in the dedication of his Lachrimae, or Seven Tears: ‘pleasant are the tears which music weeps’.

During this period in England, melancholia had become fashionable, especially in cultural and literary circles, and spawned countless poems, paintings and songs. When Dowland’s lute song Flow My Tears was published in 1600, the instrumental Lachrimae Pavan on which it was based had been in circulation for several years and was the composer’s ‘number one hit’ both in England and on the continent – and four years after the song, he returned to the music and varied it in the ‘seven tears’ for viol consort and lute.

Colleagues of Dowland such as Robert Jones and John Danyel explored similar moods and emotions in their own songs, sometimes – as in Danyel’s Eyes look no more – making clear allusions to Dowland’s famous pavan. The Chelys Consort of Viols released their first disc in 2015 to critical acclaim. For the present recording they are joined by lutenist James Akers, and Emma Kirkby, the English soprano who has long been a leading figure in the field of early music.

Released or re-released in last 6 months

Super Audio CD

Format:

Hybrid Multi-channel

BIS - BIS2283

(SACD)

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Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Mozart: Serenata notturna, 3 Divertimenti & Eine kleine Nachtmusik

Mozart: Serenata notturna, 3 Divertimenti & Eine kleine Nachtmusik


Mozart:

Adagio & Fugue in C minor for Strings, K546

Serenade No. 13 in G major, K525 'Eine kleine Nachtmusik'

Serenade No. 6 in D major, K239 'Serenata Notturna'

Divertimento in D major, K136

Divertimento in B flat major, K137

Divertimento in F major, K138


Up to and including Mozart, one important task for every composer not employed by the Church was to entertain. Much of Mozart’s best-loved music consists of occasional works intended for receptions and parties, balls and banquets, ceremonies and celebrations. These pieces are known to us under a number of different names: serenades, divertimenti, Nachtmusik and notturni are just some examples.

In so far as these are genres, the distinctions between them are often blurred and many of them seem to have been used more or less interchangeably. But when the music is so fresh and immediate, labelling it becomes less important. In 1778, Leopold Mozart – who never missed an opportunity to impart his wisdom – wrote to his son describing what characterizes a successful piece: ‘Short, easy and popular… written in a natural, flowing and easy style – and at the same time bearing the marks of sound composition.’

That this recipe was something Wolfgang had already mastered six years earlier becomes obvious when one listens to any of the three Divertimentos recorded here, and it’s equally clear that he hadn’t forgotten it when he composed Eine kleine Nachtmusik ten years later. What Leopold doesn’t mention is playfulness, another quality that Mozart had in spades, and which Terje Tønnesen and his Camerata Nordica explore in their performances, allowing a plaintive Swedish nyckelharpa (‘keyed fiddle’) to be heard in the trio section in Eine kleine Nachtmusik and giving the timpanist an opportunity to rock the party in the closing rondo of Serenata notturna.

Released or re-released in last 6 months

Super Audio CD

Format:

Hybrid Multi-channel

BIS - BIS2326

(SACD)

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Special: $13.50

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Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Amor fatale

Amor fatale

Rossini Arias


Rossini:

Quelle horrible destinée!...Grand Dieu! j'implore ta clémence - je l'aimais!...je fuis sa présence (from Moïse et Pharaon ou le Passage de la mer Rouge)

Assisa a' piè d'un salice (from Otello)

Bel raggio lusinghier (from Semiramide)

Giusto Cielo, in tal periglio (from Maometto II)

Ils s'éloignent enfin (from Guillaume Tell)

Armida: D'amor al dolce impero

Quella morte che s'avanza...Madre, a te che sull'empiro (from Maometto II)

Pour notre amour...Sur la rive étrangère (from Guillaume Tell)

Tanti affetti in tal momento (from La donna del lago)


Marina Rebeka is one of the most successful sopranos of her generation. To mark the occasion of the upcoming Rossini year of 2018, she and the Münchner Rundfunkorchester, conducted by Marco Armiliato, have recorded an album of highly dramatic opera arias that is now being released by BR-KLASSIK. The album "Amor fatale" offers the opportunity to reacquaint oneself with the great soprano arias from Rossini's less well-known but musically convincing tragic operas, in a fine interpretation.

The concept album entitled "Amor fatal" focuses on powerful female roles from the operas Otello, Armida, La donna del lago (The Lady of the Lake), Maometto II, Semiramide (Semiramis), Moïse et Pharaon (Moses and Pharaoh) and Guillaume Tell (William Tell). The women are obliged to choose between love and duty, and frequently have to subordinate their personal fate to that of their family, nation or homeland.

The Latvian soprano has quite some experience with roles in Rossini, above all from his great tragic operas: the role of Anna Erisso from Maometto II, which she performed in 2008 at the Rossini Opera Festival in Pesaro, the composer’s birthplace, marked the very start of her career. She went on to attract international attention in 2009 when she debuted at the Salzburg Festival, as Anaï in Moïse et Pharaon. For her album she has worked through Rossini's original handwritten manuscripts and included this in her performance; she also developed her own coloratura, which not only suits her voice both musically and technically, but also best corresponds to the specific stage events and emotions encountered in her respective operatic roles.

Released or re-released in last 6 months

BR Klassik - 900321

(CD)

Normally: $15.00

Special: $13.50

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

Hört! Die Engelsboten singen

Hört! Die Engelsboten singen

Christmas with the Chor des Bayerischen Rundfunks!


Under the direction of Florian Helgath, the chorus sings German holiday classics along with selections from France, Italy and Great Britain. Music between the carols is provided by oboist François Leleux, who enriches the CD with restful instrumental intermezzi and virtuosic touches. A close alignment with Christmas and the music of the season makes for a truly wonderful Christmas holiday.

Released or re-released in last 6 months

BR Klassik - 900506

(CD)

$15.00

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

Mendelssohn: Psalmen

Mendelssohn: Psalmen


Johanna Winkel (soprano), Julian Prégardien (tenor), Krešimir Stražanac (bass baritone)

Münchner Rundfunkorchester, Chor des Bayerischen Rundfunks, Howard Arman

Hardly any other composer of his era was as deeply rooted in the German and European choral traditions as Felix Mendelssohn Bartholdy. Strongly influenced by the art of Johann Sebastian Bach, which he had encountered in the Berlin Singakademie under his teacher Carl Friedrich Zelter, the young composer wrote a series of eight chorale cantatas, including Verleih uns Frieden gnädiglich (Give us Thy blessed peace, 1831) - a short prayer for choir and

orchestra set to words by Martin Luther. Mendelssohn's five wide-ranging and large-scale psalm settings became even more famous, and three of them can be heard here. The first piece in the group is the multi-part setting of Psalm 115 Non nobis Domine (Not unto us, O Lord) for soloists, choir and orchestra, op. 31 (1829/30), which was probably begun during the composer’s first stay in England and reveals his fascination for Händel's music.

Mendelssohn himself considered Wie der Hirsch schreit (As pants the hart), a multi-part, cantata-like setting of Psalm 42 for soprano, choir and orchestra, op. 42 (1837/38), to be the best work of this group. Also highly praised by Robert Schumann, it remains one of the composer’s most famous choral works to this day. For the newly-formed Berlin Cathedral Choir, he also wrote a setting of Psalm 98 Singet dem Herren ein neues Lied (Sing to the Lord a new-made song) for soloists, choir and orchestra, op. 91, and in response to requests from London he composed Hear my Prayer, a 'hymn' based on Psalm 55 for soprano, choir and organ, which he later orchestrated.

The piece became one of his most famous sacred works in Victorian England. The new CD from BR-KLASSIK contains these five high-profile psalm settings in a recording made on December 17, 2016 in Munich’s Prinzregententheater. The regularly praised Chor des Bayerischen Rundfunks is joined by soloists Johanna Winkel, Julian Prégardien and Krešimir Stražanac, together with the Munich Rundfunkorchester conducted by Howard Arman.

Released or re-released in last 6 months

BR Klassik - 900519

(CD)

$15.00

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

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