Future Releases

Composer:Work/title:
Artists:Format:
Label:Cat. Number:

There are 28 future releases matching your search criteria...

Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates.

Liszt, Chopin, Grieg, De Frumerie & Honegger: Works for Piano

Liszt, Chopin, Grieg, De Frumerie & Honegger: Works for Piano


Chopin:

Impromptu No. 4 in C sharp minor, Op. 66 'Fantaisie-Impromptu'

Nocturne No. 4 in F major, Op. 15 No. 1

Étude Op. 10 No. 12 in C minor ‘Revolutionary'

Frumerie:

Chaconne Op. 8

Grieg:

Piano Sonata in E minor, Op. 7

Honegger:

Pièces brèves (7)

Liszt:

Un Sospiro from 3 Concert Studies, S144 No. 3

Funérailles (Harmonies poétiques et religieuses, S. 173 No. 7)


Maria Kihlgren (piano)

Maria Kihlgren started her piano studies at the Academy of Music and Drama in Gothenburg at the age of sixteen, and in that year made her debut performance with the Piano Concerto no. 21 by Mozart. She took a degree in piano teaching in 1976 and continued her studies in Vienna at the Hochschule fur Musik und darstellende Kunst. She concluded her studies in 1979 achieving a diploma in solo performance. Since then she has given concerts both in Sweden and abroad, including recitals in Minnesota and Nebraska, USA, and she has represented Sweden in the XI International Piano Festival in Bucaramanga, Colombia, South America. Maria has great enthusiasm for playing chamber music: she has played with many different ensembles, including a series of chamber music concerts at the Stockholm Concert Hall. Maria has recorded CD's for the Sterling label, which are available worldwide.

Released or re-released in last 6 months

Sterling - CDA1695

(CD)

$15.50

(also available to download from $10.00)

Scheduled for release on 6 October 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Beethoven: Songs

Beethoven: Songs


Beethoven:

Adelaide, Op. 46

An die ferne Geliebte (To the distant beloved), Op. 98

In questa tomba oscura, WoO.133

Sunset, Op. 108 No. 2

Oh! Sweet were the hours, Op. 108 No. 3

The Sweetest Lad was Jamie, Op. 108 No. 5

Could this ill world, Op. 108 No. 16

Faithfu' Johnie, Op. 108 No. 20

Come fill, fill, my good fellow!, Op. 108 No. 13

The Soldier's Dream

The Deserter

On the Massacre of Glencoe, WoO 152 No. 5

The brainspinnings Swans, WoO 152/15

Polly Stewart, WoO 156 No. 7

The pulse of an Irishman, WoO 154 No. 4

Since greybeards inform us

Morning a cruel turmoiler is, WoO 152/21

all works arr. for voice & piano trio


André Schuen (baritone)

Boulanger Trio

Art song had blossomed into a multifaceted genre by 1800, and the debate whether to favour recurrent stanza structures or through-composed form was well underway. Lieder, as the lyrical genre per se, marked out the territory in which musicians could express the most profound emotions. The best composers therefore increasingly chose to through-compose their songs – a logical step, thanks to which they were able to closely follow the content and the speech of the poems they were setting to music. Beethoven already took that very step in his earliest Lieder. The emotional value of a song such as Adelaide op. 46 (1795/96) even managed to convince a late-19th-century Vienna music critic otherwise well known for his harshness – Eduard Hanslick, who wrote in 1886: “No depiction of a youth’s enthusiastic love could be more faithful and exemplary than this Adelaide by Beethoven. What sweet, secret bliss shivers in every note of this golden melody! Perhaps the young man is not even ‘blushingly following her footsteps’ like Schiller’s suitor [in The Song of the Bell ]. Instead, this lover seems to be content to inebriate himself with his beloved’s mere name, to which he renders such profuse homage.”

Beethoven originally called his setting of Matthisson’s poem a “cantata”, and Adelaide introduced a theme that would play a major role in the composer’s subsequent Lieder output: his yearning for the unattainable. No other work conveys that same subject more impressively than the one Beethoven wrote in 1816: To the Distant Beloved, op. 98, a setting of a “romantic-pastoral text” (Maynard Solomon, 1977) by Alois Jeitteles, and the first truly through-composed song cycle in music history. The songs in this cycle cannot be singled out for individual performance, since they are connected by transitions in the piano accompaniment. Schubert never took up the same idea, but it served all the more so as a model for Robert Schumann and for subsequent generations of Lied composers. Beethoven would later apply the same cyclic concept, displayed in such exemplary fashion in To the Distant Beloved, in several of his late chamber music works...

His contribution can be described as new arrangements and harmonizations of pre-existing melodies. These were true “songs without words”, since considerations of language could not be taken into account. Beethoven’s correspondence with Thomson shows, however, that he was quite pleased with this modus operandi (although the Irish Songs WoO 152-154, conversely, did allow for a closer association between text and music).

Released or re-released in last 6 months

Avi Music - AVI8553649

(CD)

$15.25

(also available to download from $10.00)

Scheduled for release on 22 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Gál, Martinu, Haas, Janácek & Slavicky: Works for Oboe & Piano

Gál, Martinu, Haas, Janácek & Slavicky: Works for Oboe & Piano


Gál, H:

Sonata for Oboe and Piano, Op. 85

Haas, P:

Suite for Oboe & Piano, Op. 17

Janacek:

Zdrávas královno (from Jenufa)

arr. for oboe & piano

Martinu:

Nový Špalíček (New Chap-Book), H. 288: VI. The Unhappy Lover

arr. for oboe & piano

Nový Špalíček (New Chap-Book), H. 288: II. The forsaken Lover

arr. for oboe & piano

New Slovak Songs, H 126: II. So tell me

arr. for oboe & piano

New Slovak Songs: II. So tell me

arr. for oboe & piano

Slavicky:

Suite for Oboe and Piano


Viola Wilmsen (oboe), Kimiko Imani (piano)

What types of musical character do we associate with the oboe? We imagine long, lyrical phrases, mournful, fragile melodies, agile musicianship, and a folk-like character. During my time as principal oboist in the orchestra of the Deutsche Oper Berlin, it felt as if I died “a thousand deaths” every evening until the main character on stage had finally breathed his/her last sigh and the sobbing oboe had sung its plaintive melody to the end. On the other hand, have you ever heard an oboe sonority that is fierce, conquering or threatening?

The 20th century produced a number for works for oboe and piano in which the woodwind instrument adopts an almost “furious” character. In this program we would like to demonstrate the oboe’s variety of tone colour and great versatility. Our basic idea is centered on the oboe as a “singing voice”, with its tremendous ability to phrase long cantilenas: hence, this program is closely associated with the human voice. We have selected three works originally written for oboe, along with two brief vocal works we have arranged for the instrument. Unpretentious works from the youth of a composer such as Martinů stand alongside dramatic late works such as Pavel Haas’s Suite, which he originally conceived for voice but later arranged for oboe. Here we combine the original sources of inspiration –Moravian folk songs – with a series of works heavily influenced by Moravian folk music: the Suites by Pavel Haas and Klement Slavický, as well as Leoš Janáček’s opera Jenufa.

Oboists are increasingly performing Klement Slavický’s Suite in view of its many qualities: a series of technical challenges, a pastoral, quasi-improvised first movement, and attractive bravura passages in the Scherzo as well as in the fourth movement.……….. With the exception of Leoš Janácek, all the composers on this CD were of Jewish faith, and shared the bitter experience of having been forced to flee their homeland or at least to give up their profession. Perhaps in times such as ours, when nationalism and racism are on the rise, these musicians’ destinies can inspire serious reflection and serve as a warning to us all.

Released or re-released in last 6 months

Avi Music - AVI8553654

(CD)

$15.25

(also available to download from $10.00)

Scheduled for release on 22 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Thorsten Encke: A Portrait

Thorsten Encke: A Portrait


Encke:

Preludes for Ensemble

musica assoluta, Thorsten Encke

Wanderer (Phantasy for Orchestra on Themes of Richard Wagner's Der Ring des Nibelungen)

NDR Radiophilharmonie, Eivind Gullberg

Hommage à 14 players

musica assoluta, Thorsten Encke

Un beau brin de fille for Chamber Orchestra

musica assoluta, Thorsten Encke

Echoes for Violin, Viola and Orchestra

Isabelle Faust (violin), Boris Faust (viola)

musica assoluta, Thorsten Encke

Nyx for full orchestra

Deutsche Kammerphilharmonie Bremen, Paavo Järvi


Released or re-released in last 6 months

Avi Music - AVI8553655

(CD)

$15.25

(also available to download from $10.00)

Scheduled for release on 22 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Caleidoscopio

Caleidoscopio


Blanquer Ponsoda:

Sonata Jovenivola

Castillo, M:

Impromptu para flauta y piano

Falla:

Siete Canciones populares españolas

Ocón:

Recuerdos de Andalucía - Bolero de Concierto, Op. 8

Turina:

Sonata Espanola

Danzas fantásticas, Op. 22: Orgia


Juan Ronda (flute), Auxiliadora Gil (piano)

The word kaleidoscope comes from the Greek: Kalós (beautiful), éidos (image) and scopéo (observe). This recording was made with a view to bringing together a repertoire of a markedly Spanish character. It begins with a work be- longing to Spain’s “painteresque” music move- ment, in vogue at the end of the 19th century, with Memories of Andalusia by Eduardo Ocón; includes the Generation of ‘51 through two of its representatives, Manuel Castillo and Amando Blanquer; and also incorporates the nationalism of Falla and Turina. Original works for the flute and piano by Ocón, Blanquer and Castillo were selected, while compositions by Turina and Fal- la were adapted, respecting the original scores with the utmost care, through a sonorous kalei- doscope in which the music’s colour changes, without shedding its original beauty.

Released or re-released in last 6 months

Lindoro - NL3036

(CD)

$15.25

(also available to download from $10.00)

Scheduled for release on 22 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Mozart: Flute Quartets Nos. 1-4 (complete)

Mozart: Flute Quartets Nos. 1-4 (complete)


Ulf-Dieter Schaaff (flute), Philipp Beckert (violin), Andreas Willwohl (viola) & Georg Boge (violoncello)

Graceful, refined and irresistibly charming, the Flute Quartets occupy an exquisite place in Mozart's chamber music. This light, airy music with its vivid contrasts, delicious textures and irrepressible wit is brought to life by the soloists of the Rundfunk-Sinfonieorchester Berlin.

The Flute Quartet in D K285 is a breezy affair written in concertante style which brims with attractive melodies. Its sublimely affecting slow movement was described by the biographer Alfred Einstein as "perhaps the most beautiful accompanied flute solo that has even been written". The simple, unhurried Flute Quartet in G K285A contains a delightful interplay of instruments, while the Flute Quartet in C K285B has a charming theme and variations with a spirited finale. The playful Flute Quartet in A K298 is a later work perhaps written for a group of friends; it contains borrowings from other composers artfully woven into the engaging and witty score. The result is, of course, utterly winning.

Ulf-Dieter Schaaff, principal flautist with the Rundfunk-Sinfonieorchester Berlin is joined by his colleagues Philipp Beckert (violin), Andreas Willwohl (viola) and Georg Boge (violoncello). In their first recording for PENTATONE, they chose an unconventional seating arrangement (with violin and flute on the outer flanks) in order to create a novel spatial effect in the music.

Released or re-released in last 6 months

Super Audio CD

Format:

Hybrid Multi-channel

Pentatone - PTC5186567

(SACD)

$14.25

(also available to download from $10.00)

Scheduled for release on 22 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Ich trage meine Minne: Songs by Richard Strauss

Ich trage meine Minne: Songs by Richard Strauss


Strauss, R:

Zueignung, Op. 10 No. 1

Nichts, Op. 10 No. 2

Die Nacht, Op. 10 No. 3

Allerseelen, Op. 10 No. 8

Ständchen, Op. 17 No. 2

All mein Gedanken ... Op. 21 No. 1

Du meines Herzens Krönelein, Op. 21 No. 2

Ach Lieb, ich muß nun scheiden!, Op. 21 No. 3

Ach weh mir unglückhaftem Mann, Op. 21 No. 4

Die Frauen sind oft fromm und still Op. 21 No. 5

Ruhe, meine Seele!, Op. 27 No. 1

Cäcilie, Op. 27 No. 2

Heimliche Aufforderung, Op. 27 No. 3

Morgen, Op. 27 No. 4

Traum durch die Dämmerung, Op. 29 No. 1

Fünf Lieder, Op. 32

Sechs Lieder, Op. 37


Peter Gijsbertsen (tenor), Jozef de Beenhouwer (piano)

This is the fourth Phaedra Album featuring the young Dutch tenor Peter Gijsbertsen. Well-known and less well- known songs, an attractive anthology of Richard Strauss’s fascinating lied repertoire. Peter Gijsbertsen is embarking on an international career, which is taking him all over Europe.

His accompanist is Jozef de Beenhouwer, one of Flanders’ most prominent pianists, who was for several years one of the accompanists at the Queen Elisabeth Competition. Together with mezzo soprano Lucienne van Deyck he teaches the lied course at the Royal Flemish Conservatory of Music of Antwerp (at present part of the Antwerp School of Arts). In 1993 he was awarded the prestigious Robert Schumann Prize of the City of Zwickau (Federal Republic of Germany).

Released or re-released in last 6 months

Phaedra - PH292035

(CD)

$14.25

(also available to download from $10.00)

Scheduled for release on 22 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Clementi: Sonatas & Preludes

Clementi: Sonatas & Preludes


Clementi:

Sonata in C Major, Op. 2 No. 2

Sonata in G minor, Op. 7 No. 3

Preludio alla Haydn aus Op. 19

Preludio alla Mozart Op. 19

Sonata in F minor, Op. 13 No. 6

Piano Sonata In D major, Op. 40, No. 3


Ilia Kim (piano)

This new recording contains a fine selection of piano sonatas by Muzio Clementi, from both his early and mature years. The Sonatas Op. 2 and 7 clearly show the striking originality and pianistic innovations of Clementi, which feature octaves, runs in thirds and elaborate arpeggios. The music’s “Empfindsamkeit” is expressed in both dark and passionate moods and light‐hearted vitality. Clementi’s pianistic style paved the way for the great 19‐th century virtuosos and still proves a serious challenge for the professional pianists today.

Korean pianist Ilia Kim was educated in Berlin, the Salzburg Mozarteum, Hochschule Hannover and the Imola Piano school in Italy, where she settled in 1998. She is an active concert pianist, having played at important festivals like Schleswig‐Hollstein, Dubrovnik and the Tiroler Festspiele.

Released or re-released in last 6 months

Piano Classics - PCL10128

(CD)

$15.00

(also available to download from $10.00)

Scheduled for release on 8 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Strauss, R: Der Rosenkavalier

Strauss, R: Der Rosenkavalier

Recorded 1951


Margarete Baumer (Marschallin), Tiana Lemnitz (Octavian), Ursula Richter (Sophie), Kurt Böhme (Ochs), Hans Löbel (Faninal), Franz Sautter (Valzacchi), Emilie Walter-Sacks (Annina), Werner Liebing (Ein Sänger), Angela Kolniak (Marianne Leitmetzerin), Erich Handel (Ein Notar)

Staatskapelle Dresden, Rudolf Kempe

The combination of Der Rosenkavalier and Dresden has always been very special. The work was premiered at the Semperoper in 1911 – and was an immediate sensation. The dress rehearsal alone received more comprehensive press coverage than the Kaiser's birthday on the same day, with reporters racing to wire the wonderful success to their papers. The Deutsche Reichsbahn scheduled special trains to bring ardent music lovers from other places to the city on the Elbe. There was perhaps a feeling that it would be the last European operatic event before the First World War broke out ... Not least the work itself contributed to the nostalgic fin-de-siècle atmosphere. Strauss and his librettist Hugo von Hofmannsthal had written a "comedy for music" in which the Rococo era of Maria Theresia's Vienna was revived – not for historical reasons, but as a reflection on their own apocalyptic mood. Everything seems so genuine in this piece and yet it is all an illusion. From the solemn presentation of the rose (a Hofmannsthal invention) to the Viennese waltz mania, it is a musical anachronism – which makes its timelessness all too clear. The work was premiered in January 1911, not in Vienna, but in opera-loving Dresden, where Strauss's "personal conductor" general music director Ernst von Schuch conducted the Dresden LISH Hofkapelle (today's Staatskapelle), which Strauss deemed to be "the best opera orchestra in the world". The Staatskapelle musicians still play their idol's work from the original orchestral parts of the premiere.

Released or re-released in last 6 months

Profil Medien Semperoper Edition - PH16071

(CD - 4 discs)

Normally: $48.50

Special: $42.75

(also available to download from $40.00)

Scheduled for release on 8 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Shostakovich: Symphony No. 5 & Barber: Adagio for Strings

Shostakovich: Symphony No. 5 & Barber: Adagio for Strings


Barber:

Adagio for Strings, Op. 11

Shostakovich:

Symphony No. 5 in D minor, Op. 47


SAN FRANCISCO:Reference Recordings proudly presents these two beloved works in definitive interpretations from Manfred Honeck and the Pittsburgh Symphony Orchestra, in superb audiophile sound.

In his fascinating and scholarly music notes, Maestro Honeck gives us great insight into the history of both pieces, and describes how he conducts and interprets each. He reminds us that Joseph Stalin’s Soviet government was offended by Shostakovich’s previous works. Under threat of arrest or banishment to Siberia, Shostakovich devised a new, less-complex compositional style for the 5th Symphony, still full of irony and double meaning, to appease Stalin and appeal to the common people.

The Adagio of Samuel Barber is his most performed work, and one of the most popular of all 20th Century orchestral works. It is beloved for its beautiful simplicity and emotion. Manfred Honeck describes Barber’s 1967 a capella version for mixed choir using the “Agnus Dei” text, and tells us his own interpretation is inspired by this text. He says it is “for me, without a doubt, the key to finding a deeper sense of this piece. Perhaps it is for this reason that the Adagio has enchanted and moved audiences around the world since its very first incarnation and has continued to do so in all subsequent versions born since.” This release is the seventh in the highly acclaimed Pittsburgh Live!series of multi-channel hybrid SACD releases on the FRESH! series from Reference Recordings. Each has received dozens of critical accolades. Dvořák/Janaček(FR-710SACD) and Bruckner 4(FR-713SACD) have each received GRAMMY® nominations for Best Orchestral Performance. The Pittsburgh Symphony Orchestra, known for its artistic excellence for more than 120 years, is credited with a rich history of the world’s finest conductors and musicians, and a strong commitment to the Pittsburgh region and its citizens. Past music directors have included many of the greats, including Fritz Reiner (1938-1948), William Steinberg (1952-1976), Andre Previn (1976-1984), Lorin Maazel (1984-1996) and Mariss Jansons (1995-2004). This tradition of outstanding international music directors was furthered in fall 2008, when Austrian conductor Manfred Honeck became music director of the Pittsburgh Symphony.

The orchestra has been at the forefront of championing new American works, and gave the first performance of Leonard Bernstein’s Symphony No. 1 “Jeremiah” in 1944, and John Adams’ “Short Ride in a Fast Machine” in 1986. The Pittsburgh Symphony also has an illustrious history in the areas of recordings and radio concerts dating back to the 1930s. And, with a long and distinguished history of touring both domestically and overseas since 1900—including more than 37 international tours to Europe, the Far East and South America—the Pittsburgh Symphony continues to be critically acclaimed as one of the world’s greatest orchestras.

Released or re-released in last 6 months

Super Audio CD

Format:

Hybrid Multi-channel

Reference Recordings - FR724

(SACD)

Normally: $15.25

Special: $13.25

(also available to download from $10.00)

Scheduled for release on 8 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Page: 

1 2 3

 Next >>

Copyright © 2002-17 Presto Classical Limited, all rights reserved.