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Reger: Organ Sonatas

Reger: Organ Sonatas


Fantasy and Fugue on B-A-C-H, Op. 46

Organ Sonata No. 1 in F sharp minor, Op. 33

Organ Sonata No. 2 in D minor, Op. 60

Adriano Falcioni (organ)

Recorded just last November at the Cathedral of San Lorenzo in the Umbrian city of Perugia, the latest Brilliant Classics album from Adriano Falcioni has an especially personal impulse behind it. He decided to record the first two sonatas of Max Reger after receiving the approval of the composer’s granddaughter, who happened to attend one of his recitals. Like many organists before him, looking for repertoire which would stretch his skills to the utmost, he came across the Second Sonata as a student: ‘it made me fall in love with his music,’ says Falcioni. ‘Moreover, it has been essential to my development as an organist.’

Indeed the recording serves as an ideal introduction to a body of work which still has a forbidding aspect to many listeners. Outside Germany, Reger is still underappreciated for the density of his counterpoint and the richness of his harmonic language, which could hardly exist without Wagner and yet places itself at a distance from the erotic aspect of the operas, while also pursuing a path distinct from his Modernist contemporaries. The Fantasy and Fugue on B-A-C-H is one of Reger’s most accomplished and dramatic homages to the composer he loved above all others. The First Sonata concludes with an extended Passacaglia – one of several in the composer’s output which inevitably recalls the great C minor Passacaglia of the young Bach.

But it is the Second Sonata in which the mastery of Reger’s mature style is most persuasively evident, from the striking gestures of the opening Improvisation, through the gentle solemnity of the Invocation to the taut and thrilling progress of the concluding Fugue. The album complements the organist’s well-received recordings of late 19th-century organ music for Brilliant Classics, among them the complete organ sonatas of Guilmant (BC94227) and the complete organ music of Franck (BC94349).

This new recording contains three monumental organ works by Max Reger: the two Organ Sonatas and the B.A.C.H. Fantasy & Fugue. The Organ Sonatas are not written in the traditional sonata form, but use the generic title sonata for a 3 or 4 movement work of contrasting character. Both start with an improvisatory movement (called “improvisation’ and ‘fantasy’’) followed by an intermezzo, which acts as the upbeat to a triumphant conclusion in strict contrapuntal style, a fugue or a passacaglia. The cd starts fittingly with an homage to Reger’s idol Johan Sebastian Bach, the Fantasy & Fugue on B.A.C.H.

Italian master organist Adriano Falcioni chose for this recording the magnificent Tamburini organ (1967) of the Cathedral of Perugia, where he is titular organist. The full specifications of the organ are included in the booklet, which is written in English and Italian.

Released or re-released in last 6 months

Brilliant Classics - 95075BR



Scheduled for release on 19 May 2017. Order it now and we will deliver it as soon as it is available.

Gliere: Piano Music

Gliere: Piano Music


Preludes (25), Op. 30

Romance, Op. 16, No. 2

12 Children's Pieces, Op. 31 4. Träumereien

12 Children's Pieces, Op. 31 6. Valzer

12 Children's Pieces, Op. 31 10. Lied aus dem Osten

12 Children's Pieces, Op. 31 11. Albumblatt

Two Piano Pieces, Op. 99: I. Impromptu for the Left Hand in E Major

Two Piano Pieces, Op. 99: II. Melodie B-Flat Major

Gianluca Imperato (piano)

Working in all the standard genres from string quartet to symphony, sonata to concerto, ballet to opera, Reinhold Glière never attained the fame of his contemporary Rachmaninov, but his music is no less recognisably Russian, no less filled with long and aching cantabile melodies; the significant point of contrast is that Glière, who never left Russia, was not afflicted with the pervasive melancholy that so memorably colours Rachmaninov’s music.

The difference is quickly apparent in the 30 Preludes which are Glière’s major contribution to piano literature. The C minor Second may very obviously be written in the shadow of Chopin, but most of the major-key examples enjoy the carefree mood of a relaxed, Russian Brahms. Nearly all of them invite words to be sung with them, such as the spring-like No.7 or the Romance of No.15. For pianists and lovers of Romantic piano music alike, the Preludes of Glière should be a joyful discovery.

On his debut recording for Brilliant Classics, Gianluca Imperato complements the Preludes with selections from other, slighter keyboard collections: the Kinderstücke Op.31, 12 Sketches Op.47 and then the Two Piano Pieces Op.99 dating from 1955: an impromptu for left-hand alone which is not to be confused with his Op.35 No.9 (a favourite miniature for violin and cello recitals); indeed neither it nor the companion Melodie have been recorded before. They show that at the age of 80, Glière could still pen music that was remarkably refined, calm and melancholy; suspended in time, or beyond the reach of events.

Reinhold Glière (1875-1956) was a Russian composer and violinist. His works draw inspiration from his great example Chopin, as well as from various other Russian composers and contemporaries: Rachmaninoff, Scriabin for his harmonic and pianistic style, and Khachaturian and Kabalevsky for the folklore elements and Soviet realism.

This new recording contains his 25 Preludes Op. 30, following the same tonal sequence as Chopin’s 24 Preludes but adding a 25th prelude in C major. Furthermore we hear several character pieces, of great charm, atmosphere and melodic invention.

Italian pianist Gianluca Imperato won many prizes at international piano competitions, as well as the prestigious Solti Foundation grant.

“Sensitive and mature pianist, a true revelation” wrote the Italian newspaper La Repubblica.

Released or re-released in last 6 months

Brilliant Classics - 95296BR



Scheduled for release on 19 May 2017. Order it now and we will deliver it as soon as it is available.

CPE Bach: Lieder

CPE Bach: Lieder

Bach, C P E:

Geistliche Oden und Lieder Wq194

Geistliche Gesänge, H. 749 (excerpts)

Geistliche Oden und Lieder on Fortepiano Solo

Geistliche Gesänge on Fortepiano Solo, H. 749

Marivi Blasco (soprano), Yago Mahugo (piano)

The flowering of the German Lied tradition may be most closely associated with Schubert, but in fact the genre has much deeper roots than that. Already in the 18th century, composers such as C.P.E. Bach were forming a musical language that would set the stage for its extensive development 100 years later. At this point, they made a distinction between the 'Lied', 'Ode' and 'Hymne'; Bach strongly preferred the Lied (or song), which was composed in verses, and required an accompaniment, unlike the ode. Indeed, Bach's keyboard accompaniments were so wonderfully florid that they could be performed without the singer – as 'Handstücke', as he marked in the score. This new recording includes versions of each Lied for fortepiano solo alone alongside the standard version with the soprano, giving the listener a unique chance to experience Bach's Lieder in two different but equally authentic ways.

Soprano Mariví Blasco has performed at prestigious venues across Spain, in roles as varied as Mozart (Despina in Così fan tutte at the Teatro Arenal) and Poulenc (in Dialogues des Carmélites at the Teatro Real). This is her first collaboration with renowned keyboardist Yago Mahúgo, already a prominent recording artist with Brilliant Classics, whose CDs have previously garnered high praise. A specialist in historical performance practice, Mahúgo performs on a fortepiano by Keith Hill, modelled after Anton Walter (1796).

This CD contains a selection of Geistliche Oden und Lieder (sacred songs) by Carl Philipp Emanuel Bach, the most talented son of the great Johann Sebastian.

By the end of the 18th century the Lied took its now familiar form: a strophic setting of poems for solo voice with the accompaniment of a keyboard instrument. C.P.E. Bach’s Lieder were mostly on sacred texts, by Gellert and Sturm. As always with this composer we are struck by the craftsmanship, originality and forward looking in his works. The accompaniment offers more than a simple basso continuo, they are richly written keyboard settings, featuring occasional ritornelli between the strophes. Beautifully sung by Spanish soprano Mariví Blasco, specialised in Early Music, cofounder of Accademia del Piacere and L’Arpeggiata. Yago Mahugo plays the fortepiano, is leader of the Ímpetus Madrid Baroque Ensemble and plays the keyboard solo versions of the songs as a bonus.

Recorded in Madrid, Spain in 2014.

Contains liner notes and biographies of the artists.

Contains the sung texts in Italian and English.

Released or re-released in last 6 months

Brilliant Classics - 95462BR



Scheduled for release on 19 May 2017. Order it now and we will deliver it as soon as it is available.

Monteverdi: Madrigali Libri I & II

Monteverdi: Madrigali Libri I & II


Il primo libro de madrigali, 1587

Il secondo libro de madrigali, 1590

La Nuove Musiche, Krijn Koetsveld

Le Nuove Musiche, led by acclaimed director Krijn Koetsveld, continue with their exceptional series of Claudio Monteverdi’s complete madrigals. Here, they look back to the very beginning of Monteverdi's works, when the young composer was still under the influence of his teacher Marc'Antonio Ingegneri. At this time, the madrigal was already a popular art form, one that Monteverdi was beginning to add his name to, before – as we know – he would go on to radically extend it with the introduction of the seconda prattica. These two books show that Monteverdi was an assured and dexterous composer in the established genre. He could follow the conventions of madrigal-writing – concentrating on the recitation of the text, adding in affects by altering the melody, rhythm and harmony – with skill and originality. Although he had to compete with other books already on the market, he was confident and ambitious – he dedicated his books to prominent patrons, and finally gained a royal appointment in Mantua shortly after the second book of madrigals was published.

Le Nuove Musiche’s approach to Monteverdi is an innovative one: to bring the past into the present, keeping alive the questions of the Renaissance that still permeate our musical landscape today, while seeking to maintain the highest standards of performance authenticity. Their release of Books V & VI garnered excellent reviews, including five stars in the French magazine Diapason.

The first two books of Madrigals by Monteverdi date from the period in which he lived and worked in his native town Cremona. They are sublime examples of the Prima Prattica, in which Recitation of the text came first, and affects were made audible by melody, rhythm, and by playing with repetitions, strengths and harmony. In the Second Book we encounter lovely word painting and evocation of images and moods.

This is the third instalment of the complete recording of Monteverdi’s Madrigals by Le Nuove Musiche. This vocal ensemble consists of the elite of Dutch Early Music vocalists, led by eminent conductor and scholar Krijn Koetsveld. Their previous Monteverdi recordings received excellent reviews in the international press, among which a “5 star” in the French Diapason and a “10/10” in Dutch classical magazine Luister.

The booklet contains liner notes written by the conductor and the complete vocal texts and their English translation.

Recorded in The Netherlands in 2013.

Contains liner notes and a biography of the artists.

Contains the sung texts in Italian and English.

Released or re-released in last 6 months

Brilliant Classics - 94977BR

(CD - 2 discs)


Scheduled for release on 19 May 2017. Order it now and we will deliver it as soon as it is available.

Muczynski: Chamber Music

Muczynski: Chamber Music


Fantasy Trio, Op. 26

Gleb Kanasevich (clarinet) Dorotea Racz cello Dmitry Samogray piano

Cello Sonata, Op. 25

Dorotea Racz (cello), Dmitry Samogray (piano)

Duos for Flute & Clarinet Op. 24

Ginevra Petrucci (flute) Gleb Kanasevich clarinet

Time Pieces, Op. 43

Gleb Kanasevich (clarinet), Dmitry Samogray (piano)

Sonata for flute & piano Op. 14

Ginevra Petrucci (flute), Dmitry Samogray (piano)

Often cited as the most distinguished neoclassical composer of post-war America, Robert Muczynski (1929-2010) was born in Chicago to Polish parents. This album of chamber music surveys an output which is always restless and unpredictable thanks to the embrace of both Bartokian harmonies and structures as well as the more lyrical yet open-ended language of Samuel Barber.

The Cello Sonata of 1968 is often considered to be Muczynski’s chamber music masterpiece, in which the problems of balance and register inherent to the genre are not only solved but transcended with a mastery especially evident in the central Scherzo. From a year later, the Fantasy Trio Op.26 is a welcome addition to the clarinet-cello-piano trio genre established by Beethoven.

Energy and punchy rhythmic interplay are hallmarks of Muczynski’s music, as the earlier Flute Sonata engagingly demonstrates: in its whimsical, abrupt, headstrong progress through a compact four-movement form, it may even be considered the most important such work by an American composer.

Muczynski took technical agility and devil-may-care confidence for granted in his interpreters; in this case, an international quartet of musicians based in the US. There is an extended booklet essay by the pianist Dmitry Samogray which places both composer and works in invaluable context. Any listeners curious to fill out their appreciation of American music beyond Copland and Bernstein will want to hear this release.

Robert Muczynski (1929-2010) was born in Chicago, son of a Polish and Slovak immigrant. At the age of 5 he started his piano lessons, and later studied at the DePaul University composition with Walter Knupfer and Alexander Tcherepnin.

Muczynski may safely be called the most important neoclassical composer of post-war America. His style bears influences from Bartók, Barber, Bernstein and occasional jazz elements.

This new recording contains some delightful chamber for various instruments: the flute sonata, trio for clarinet, cello & piano, the cello sonata, and duos for flute and clarinet: attractive music full of vitality and exuberant energy.

Wonderful performances by Ginevra Petrucci (flute), Dorotea Racz (cello), Gleb Kanasevich (clarinet) and Dmitry Samogray (piano), all four of them seasoned soloists and ensemble players.

The booklet contains excellent liner notes written by Dmitry Samogray.

Released or re-released in last 6 months

Brilliant Classics - 95433BR



Scheduled for release on 19 May 2017. Order it now and we will deliver it as soon as it is available.

JM Bach, JC Bach: Complete Organ Music

JM Bach, JC Bach: Complete Organ Music

Bach, J C:

Praeludium und Fuge in E flat major

Variations on 'Ach Herr, mich armen Sünder'

Chorale Preludes

Aria Eberliniana, Theme & Variations

Aria variata

Sarabanda variata

Bach, J M I:

Chorale Preludes

Stefano Molardi (organ)

A previous Brilliant Classics release from the organist Sergio Militello (BC94483) offered an attractive taster course to the music of the most distinguished family in music history. Now, having recorded the complete organ works of both the family’s supreme craftsman and genius (BC95105), and a North-German predecessor Johann Kuhnau (BC95089), Stefano Molardi turns his attention to two earlier members of the Bach family who have inevitably been obscured by the shadow cast by Johann Sebastian.

In fact as uncle to JS, Johann Christoph Bach exercised a significant influence over his musical education, as composer, organist and indeed organ-designer. Sacred vocal works such as the Requiem have been revived in recent times, but the scant surviving proportion of his keyboard music has received too little critical attention. They comprise a prelude and fugue, and three cycles of variations on chorales. The ‘free’ pieces reveal an inventive spirit, fantasy, a certain skill in handling counterpoint and the use of expressive devices which show him no less open than his nephew to the exuberant vitality of the Italian tradition represented by Frescobaldi and Monteverdi.

Brother of Johann Christoph, Johann Michael was also father to the Maria Barbara who became Johann Sebastian’s first wife. He too worked in the town of Arnstadt where the 18-year-old Johann Sebastian took up his first post in what is now appropriately known as the ‘Bach Church’. Doubtless J.M. Bach’s production was no less industrious than his brother, if scarcely matching his nephew, but the only extant organ works are chorale settings – 24 of them – which elaborate flowing counterpoint over and around the familiar hymn melodies such as In dulci jubilo and Ich ruf zu dir, Herr Jesu Christ.

On this release, Stefano Molardi plays a finely preserved instrument from 1732-37 by Franciscus Volckland in the Cruciskirche of Erfurt, just a quarter-hour’s car drive from Arnstadt. In considering the fourth volume of Molardi’s Bach survey (BC95005), Early Music Review took note of the Erfurt organ’s striking variety of tone colour, and praised his playing for its ‘considerable clarity’ and lack of histrionics, ‘without extremes of registration or tempi – just what you need for the purposes of study or reference.’

A FIRST RECORDING: the complete organ works by Johann Michael and Johann Christoph Bach! Johann Michael (1648-1694) and Johann Christoph (1642-1703) were brothers, and nephew of the great Johann Sebastian. The daughter of Johann Michael was Maria Barbara, the first wife of Johann Sebastian, and therefore mother of both Carl Philipp Emanuel and Wilhelm Friedemann Bach.

The Bach dynasty held a long tradition of composers and performers. Both brothers were firmly rooted in the Central German organ school, with a strong emphasis on counterpoint, while also under the Italian influence of vocal melodies and fluent lines.

The greatest part of both brother’s oeuvre consists of Choralvorspiele, while Johann Christoph wrote some substantial variation cycles.

Played on the historic 1732 Volckland organ of the Cruciskirche in Erfurt, Germany, by Stefano Molardi, one of the foremost organists of Italy, whose Kuhnau recording for Brilliant Classics was longlisted for the Preis der deutschen Schallplattenkritik.

Released or re-released in last 6 months

Brilliant Classics - 95418BR

(CD - 3 discs)


Scheduled for release on 19 May 2017. Order it now and we will deliver it as soon as it is available.

Paganini: Chamber Music for Strings

Paganini: Chamber Music for Strings


Ritornelli (3) for two violins and cello

Sonata concertata for guitar & violin, MS 2

Sonata a preghiera

Moto perpetuo, Op. 11, MS 72

Cantabile for violin & piano/guitar in D major, Op. 17, MS 109

Preludes (6) for solo violin

Roberto Noferini (violin), Anna Noferini (violin), Andrea Noferini (cello), Giulio Tampalini (guitar)

Paganini isn’t all about finger-breaking caprices and concertos. Anyone hearing the easy-going opening to the Sonata Concertata for violin and guitar would be forgiven for thinking they were listening to another composer entirely. But then he was so much more than the devilish virtuoso of impressive if one-dimensional posthumous reputation: not least, an avid guitarist, in which capacity he would often delight in playing among friends (one’s sympathies go to whichever poor musician was tasked with playing the violin on such occasions).

All the works on this album of chamber music show the composer’s lighter side, except perhaps the fiendish complexity of the variations on a theme from Rossini’s Mosè in Egitto. There are three ritornelli for two violins and bass (here played on a cello) which take a Baroque form and rework it with Classical harmony into a trio of four- minute, upbeat miniatures. Six brief Preludes are like preliminary studies for the Caprices, less rhythmically and technically convoluted. The flying spiccato of the Moto perpetuo Op.11 opens a window onto Paganini the recitalist with a piece designed to leave an audience breathless with its string of semiquavers. The long-breathed melody of the Cantabile Op.17 Rossini and Schumann for Paganini is touched with the kind of grace that drew admiration and esteem from Rossini and Schumann for Paganini’s compositions as much as his playing.

These artists are all familiar musicians on Brilliant Classics: the Noferini family have recorded chamber music by Martucci (BC94968) and Sgambati (BC94813; ‘nothing short of an unexpected revelation… razor sharp, focused, and exciting interpretations’, according to a reviewer for Arkiv Music), and Giulio Tampalini can be heard in the music of Tarrega (BC94336), Respighi (BC95230) and Llobet (BC94335), among others.

This new recording features some rarely recorded chamber music by Niccolo Paganini, the violinist “possessed by the devil”, great innovator of his instrument and composer of delightful, brilliantly written music of great melodic invention.

Included are the 3 Ritornelli for 2 violins and bass, the substantial Sonata Concertata for violin and guitar, the famous and notorious (because of its inhuman difficulties) Mosè variations, 6 Preludes for violin solo and the well known Cantabile ad Moto Perpetuo.

Played with total dedication and “spielfreude” by three members of the Noferini family: Roberto, Andrea and Anna, together with the excellent Italian guitarist Giulio Tampalini.

Released or re-released in last 6 months

Brilliant Classics - 95031BR



Scheduled for release on 19 May 2017. Order it now and we will deliver it as soon as it is available.

Russian Guitar Music of the 20th & 21st Centuries

Russian Guitar Music of the 20th & 21st Centuries


Etude No. 1

Etude No. 2

Prélude Et Valse

Preludes (12) for guitar

Six Romances in Old Style


Five Stichera for Guitar

Guitar Sonata No. 2

Guitar Sonata No. 3


Guitar Sonata


Two Visions in White




Prelude in D Minor

Prelude in E Minor


Four Preludes for Guitar



Sonata for Guitar


Sonata for Guitar



Cristiano Porqueddu (guitar)

Of all Cristiano Porqueddu’s adventurous guitar-music surveys on record for Brilliant Classics, the latest may be the most invaluable and enlightening for listeners who may never even have suspected that Russia had a rich guitar tradition of its own.

As a detailed booklet essay complementing this new recording explains, the guitar flourished during the first half of the 19th century in Russia. Towards the turn of the 20th century, it became more of a folk instrument, a trend further exaggerated by the cultural demands of the Russian revolution which repurposed both instruments and musicians to vernacular ends for songs and marches to raise the spirits. However, a renaissance took place in classical guitar composition following the triumphant tour of Andres Segovia across Soviet Russia in 1926.

The impact of that event may be felt not only in the work of Boris Asafiev, who saw Segovia play, but even two generations later in the Hispanic flair of Edison Denisov’s Sonata, with its edgy opening Toccata, gently swaying Berceuse and picture-postcard ‘Souvenir d’Espagne’; in itself this revives the kind of naturalistic love-affair of Russian artists with the country that had produced Glinka’s Jota aragonesa and Rimsky-Korsakov’s Capriccio Espagnol.

But there is much more here than picture-postcard imitation and love in a cold climate. Local Georgian rhythms and traditions may be savoured in the sonata of Gherman Dzhaparidze; there are two early, vibrant miniatures of Sofia Gudaidulina; the work of more guitar-specialised composers such as Vitaly Kharisov, Valeri Kikta and Viktor Kozlov is much less well-known outside their native land.

To all of them Cristiano Porqueddu brings the technical mastery and interpretative conviction which has distinguished his work for Brilliant Classics, in boxes such as the set of 20th-century guitar sonatas (BC9455) which includes an earlier recording of the First Sonata by Evgeny Baev.

Although one would not automatically associate the guitar with Russia, the history of the Russian guitar goes far back, as early as 1790 the tradition starts with a 7-string instrument, continuing to flourish in the 19th century as a salon instrument, and gaining the status of a serious concert instrument in the 20th century.

This 4CD set offers a fascinating musical journey presenting known and lesser known composers Asafiev, Baev, Dzhaparidze, Denisov, Ivanov-Kramskoi, Kharisov, Gubaidulina, Kikta, Kozlov, Poplyanova, Rudnev.

Another innovating and stimulating issue by great Italian guitarist Cristiano Porqueddu, who already issued more than 50 CD’s with Brilliant Classics covering a vast amount of great and neglected guitar repertoire.

The excellent and extensive liner notes are written by renowned guitarist Oleg Timofeyev.

Released or re-released in last 6 months

Brilliant Classics - 95385BR

(CD - 4 discs)


Scheduled for release on 19 May 2017. Order it now and we will deliver it as soon as it is available.

Minimal Piano Collection Vol XXI-XXVIII

Minimal Piano Collection Vol XXI-XXVIII

Budd, H:

Children on the Hill


Two Keyboard Studies

Garland, P:

A Song

Nostalgia for the Southern Cross

The Days Run Away

Two Persian Miniatures

The Fall of Quang Tri

Glass, P:

Two Pages

Music in Fifths

Music in Contrary Motion

Johnson, Dennis:


Johnson, T:

Before the Silence

Around the Silence

Within the Silence

Through the Silence

Against the Silence

For the Silence

Toward the Silence

Into the Silence

Block Design



Young, La M:

Composition 1960 No. 7

Jeroen van Veen (piano)

Who is the true father of Minimalism? When the movement originated in the early 1960s, it sprang up organically – some composers played by the rules (even if they were rules of their own invention), while others experimented freely, unaware or unconcerned about how music 'should' be composed. One of those young mavericks was Dennis Johnson, who has now faded into almost complete obscurity after he gave up his musical ambitions for a career in mathematics. But his 1959 composition November can be considered one of the first, if not the first, properly minimalist work. It later went on to inspire La Monte Young (Johnson's class mate at UCLA) to write his prolific Well-Tuned Piano. Complete recordings are few and far between, and this new recording by Jeroen van Veen is the perfect introduction for anyone looking to get back to the roots of Minimalism.

Jeroen van Veen is one of the Netherlands' most prominent recording artists. This collection of Minimal Piano Music follows two previous successful albums, available on Brilliant Classics (BC8551 and BC9171). The last album provided a snapshot into the extensive scene of minimalist music today; this one takes us back to how it all began. Featuring several famous pieces from the original minimalist canon – including Philip Glass's Music in Contrary Motion and Terry Riley's Keyboard Studies – there are hours of beautifully relaxing and inspiring music here to enjoy.

This 8CD set bring the listener back to the roots of Minimalism, all works were written in the seventies of the 20th century, a time when the new aesthetics and perception of music, sound, repetition and time experience were creating a new chapter in music history. The longest piece is the 5 hour “November” by Dennis Johnson, a work in which the player is free to build the intervals and chords according to his own timing and spacing. The other composers in this set are Philip Glass, Tom Johnson, Peter Garland, Terry Riley, Harold Budd and La Monte Young. Recorded in his own studio by the most important protagonist of Minimalism today, Dutch pianist Jeroen van Veen. Van Veen has a myriad of recordings to his name, notably the multi CD boxes Minimal Piano Collection 1 and 2, complete Satie, Einaudi, Tiersen, Jacob ter Veldhuis, Simeon ten Holt and many more.

Van Veen wrote his own personal and illuminating liner notes for this set.

Released or re-released in last 6 months

Brilliant Classics - 95543BR

(CD - 8 discs)


Scheduled for release on 19 May 2017. Order it now and we will deliver it as soon as it is available.

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