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Four Hands: Australian Music for Piano

Four Hands: Australian Music for Piano


Edwards, Ross:

A Flight of Sunbirds

Greenbaum, S:

Sonata For Piano Four Hands

Kats-Chernin:

Victor’s Heart

Sculthorpe:

Four Little Pieces for piano duet

Vine, C:

Sonata For Piano Four Hands


Viney–Grinberg Piano Duo

Described as ‘unforgettable’ by The Australian and ‘barnstorming’ by The New York Times, the Viney-Grinberg Piano Duo enjoy a stellar international profile. In their new album on ABC Classics, they survey recent music by Australian composers for piano four-hands, much of it receiving its world-premiere recording.

Music for piano four-hands began in the latter half of the 18th century, as the piano itself gained popularity. In the words of the pianists themselves, ‘the five Australian compositions on this disc grow and build on that tradition, with ambitious largescale works of complexity and virtuosity, as well as miniatures that deal with the interior world of the human heart and mind. Despite the diversity of music on this disc – a fascinating variety of responses to the musical opportunities afforded by piano four-hand performance – there is also a unifying thread of dynamism and spirited energy.’

Ross Edwards’ A Flight of Sunbirds showcases a seemingly effortless affection; Carl Vine and Stuart Greenbaum’s Sonatas explores the potential for four-handed counterpoint. Peter Sculthorpe’s ‘delicate and wistful quartet of beautiful tableaux’ follow the tradition of arranging existing works for piano four-hands. And Elena Kats-Chernin’s Victor’s Heart uses the warm resonance of the form to create a touching musical tribute.

Released or re-released in last 6 months

ABC Classics - ABC4814591

(CD)

$13.75

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New York

New York


Cage:

Music for Wind Instruments

Carter, E:

Clarinet Concerto

Feldman, M:

Instruments I for six instruments

Fulmer:

Within his bending sickle’s compass come

Reich:

WTC 9/11

Shepherd, S:

Blur

Varèse:

Intégrales


Here is the third release in the collaboration between the Ensemble Intercontemporain and Alpha.

This time the musicians of the ensemble and their conductor Matthias Pintscher focus on American music: Intégrales by Edgar Varèse (1924), Music for Wind Instruments by John Cage (1938), Instruments I for six instruments by Morton Feldman (1974), Elliott Carter’s Concerto for clarinet and ensemble (1996), Steve Reich’s WTC 9/11 for string quartet (2009-10), Sean Shepherd’s Blur (2011), and David Fulmer’s Within his bending sickle’s compass come for solo horn and ensemble (2014-15). More than ninety years of creativity and musical profusion at the heart of the global city that the Ensemble Intercontemporain celebrates today.

This double album is released to coincide with the fortieth anniversary of the EIC: forty years of discoveries and of promotion of contemporary music at the highest level of performance.

Released or re-released in last 6 months

Up to 30% off Alpha

Alpha - ALPHA274

(CD - 2 discs)

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Ravel & Scriabin: Miroirs

Ravel & Scriabin: Miroirs


Ravel:

Miroirs, 5 pieces for piano

Scriabin:

Piano Sonata No. 3 in F sharp minor, Op. 23


Andrew Tyson (piano)

After his first recording, devoted to Chopin (ZZT347), and the award of First Prize at the Géza Anda Competition in 2015, which gave a substantial boost to his career, the young American pianist Andrew Tyson has devised a new programme to showcase his talents: two sonatas and a waltz by Scriabin coupled with Ravel’s Miroirs.

Andrew Tyson has chosen to associate two composers whose language seems to divide them, but who nevertheless have many things in common, notably their use of tonality, of certain unusual harmonies and of dissonance. Alexander Scriabin and Maurice Ravel also lived in the same city, at the same period, without ever meeting: Debussy, Ravel and the French musical elite of the period regarded their Russian colleagues as crude and uneducated. Yet when one listens to their music, even if their approach to the piano and to composition could hardly be more different, it is apparent that they use tone colours in the same way. For Andrew Tyson, ‘Ravel is an elegant perfectionist, whose every detail is calculated and glitters like crystal; Scriabin is like a flickering flame – passionate, reckless, spontaneous and erotic.’

Released or re-released in last 6 months

Up to 30% off Alpha

Alpha - ALPHA277

(CD)

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Haydn 2032 Volume 4 - Il Distratto

Haydn 2032 Volume 4 - Il Distratto


Cimarosa:

Il maestro di cappella

Haydn:

Symphony No. 60 in C major 'Il distratto'

Symphony No. 70 in D major

Symphony No. 12 in E major


The fourth volume of the Haydn2032 project thrusts into the limelight one of the most important stock characters in the theatre of sounds and words, the Kapellmeister, and explores some glamorous and (in)glorious moments in the career of Maestro Haydn. It features three symphonies by the "Shakespeare of Music" - one of which is even associated with ana ctual play. This bears teh title "Sinfonia in C per la commedia intitolata il distratto" and consists of an overture, four entra'actes, and a finale to be played at the end of the performance. Also on this release is a large-scale buffalo scene by his colleague Cimarosa. Il maestro di cappella is a witty and ironic parody, in which a member of the "old school" of musicians tries to improve the ensemble playing of his orchestra. To his chagrin, the players do react, but in extremely undisciplined fashion: they are distracted, make false entries and disagree musically...

“Il distratto, offers vivid readings of three symphonies in which (as, admittedly, in many a Haydn symphony) the unexpected is constantly expected...Riccardo Novaro immaculately gauges the pendant, Cimarosa’s subversive scena Il maestro di cappella.” Sunday Times, 19th March 2017

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Up to 30% off Alpha

Alpha Haydn 2032 project - ALPHA674

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Lully: Persée 1770

Lully: Persée 1770


Lully:

Persée


Mathias Vidal, Hélène Guilmette, Katherine Watson, Tassis Christoyannis, Jean Teitgen, Chantal Santon-Jeffery, Marie Lenormand, Cyrille Dubois, Marie Kalinine, Thomas Dolié, Zachary Wilder

Le Concert Spirituel, Hervé Niquet

2CD + Book

Nearly a century after its composition, Lully's Persee was recreated in 1770 to mark an exceptional event: the inauguration of the Royal Opera House at Versailles Palace, built to celebrate the wedding of the Dauphin (the future Louis XVI) and Marie Antoinette. For this unique occasion, three composers (Antoine Dauvergne, Fran?ois Rebel and Bernard de Bury) were commissioned to revise Lully's work and adapt it to the new circumstances and the new venue, which was regarded as absolutely extraordinary in its time.

Lovers of Lully's opera will therefore meet their mythological hero again, now with a richer orchestration and more for the chorus and the ballet dancers to do. There were only two performances in 1770, but they were absolutely sumptuous: 95 choristers, 15 soloists, 80 dancers, 100 extras, 80 instrumentalists, five sets and 530 costumes. You can now relive that historic event thanks to a recording conducted by the leading specialist in this repertory, Herve Niquet, and a CD-book richly illustrated with engravings of the period and photos of the Opera Royal and of manuscripts of the score.

Recorded at Versailles Palace in 2016, in collaboration with the Centre de Musique Baroque de Versailles.

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Up to 30% off Alpha

Alpha - ALPHA967

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Alma Oppressa: Julie Boulianne

Alma Oppressa: Julie Boulianne

Vivaldi & Handel Arias


Handel:

Qui d'amor nel suo linguaggio (from Ariodante)

Cara speme (from Giulio Cesare)

Lotario, HWV 26: Gavotte

Salda quercia (from Arianna)

Se potessero i sospir' miei (from Imeneo)

Lascia ch'io pianga (from Rinaldo)

Con l'ali di costanza (from Ariodante)

Vivaldi:

Alma oppressa (from La Fida Ninfa)

Sovente il sole (from Andromeda liberata)

Armida al campo d'Egitto RV699: Overture

Dite, oimè! Ditelo, al fine (from La Fida Ninfa)


Julie Boulianne (mezzo-soprano)

The characters brought to life in the Baroque-era operas of great composers such as Handel and Vivaldi – protagonists whose passions, loves, misfortunes, hopes, and longings unfold before us on stage – are, in reality, musical depictions of the myriad journeys experienced by the human soul.

The magnificent mezzo-soprano Julie Boulianne gives to the chosen arias all their grandeur, their grace and their beauty and the quality of the ensemble Clavecin en concert’s playing is once again irreproachable. Gorgeous!

Released or re-released in last 6 months

Early Music

Analekta - AN28780

(CD)

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Meditation: Gregorian Chant

Meditation: Gregorian Chant


1. Salve Mater Misericordiae

2. Tota Pulchra Es

3. Memorare

4. Inviolata

5. Gloria in excelsis Deo 3 VIII

6. Salve Mira Creatura

7. Magnificat

8. Alleluia: Qui posuit IV

9. Canticle: Benedictus

10. Hymn: Jesu Rex II

11. Antiphon: In Viam Pacis VII

12. Alleluia: Post Dies Octo VIII

13. Agnus Dei 2 I

14. Introit: Da Pacem I

15. Introit: Loquetur Dominus III

16. Clemens et benigna

17. O Virgo Pulcherrima

18. O Maria Mater Pia

19. Hymn: Vita Sanctorum I


Choeur des Moines de l'Abbaye de St-Benoît-du-Lac

L'Abbaye de Saint-Benoît-du-Lac is a Benedictine monastery that was founded in 1912 in south-eastern Québec. Through their teaching, their recordings, and above all their example, the monks of Saint Benedict Abbey in Saint-Benoît-du-Lac have been, for over 80 years, staunch advocates of the Gregorian chant movement that spread from Solesmes, France in the last century.

There is peacefulness to Gregorian chant that naturally brings about an inner calm that we all desire. This compilation of previously released chants will not only help with mind focus and meditation but will also reduce stress. Relaxation guaranteed!

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Early Music

Analekta - AN28790

(CD)

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Music at the Court of Emperor Maximilian I - Vinyl Edition

Music at the Court of Emperor Maximilian I - Vinyl Edition

Limited Edition


anon.:

Naves pont

Carmen Hercules

Si je perdu

Brumel, A:

Tandernack

Noe noe

En l’ombre du busonet

Despres:

Coment peult

Festa, C:

Quis dabit oculis nostris

Hofhaimer:

Tandernaken

Isaac:

Imperii proceres

Carmen in fa

Fortuna in mi

La morra

Innsbruck, ich muss dich lassen

A la bataglia

J'ay pris amours

Sancti spiritus assit nobis gratia

Obrecht:

Vavilment

Rue, P:

Fors seulement

Senfl:

Carmen in la

Carmen in re

Nasci, pati, mori


When Nikolaus Harnoncourt died in March 2016, the music world lost one of its most influential and charismatic conductors. Harnoncourt was a pioneer of historically informed performances and the repertoire is enriched for the approach it took to it. Deutsche Grammophon commemorates the first anniversary of his death in March 2017, presenting two of his legendary recordings again on vinyl.

Harnoncourt’s landmark 1963 recording of secular, sacred, vocal and instrumental pieces of the High Renaissance from the Court of Emperor Maximilian I – Heinrich Isaac, Josquin Desprez, Ludwig Senfl, Jan Obrecht, and others

Coincides with the 500th anniversary year of Heinrich Isaac (c.1450–1517), the Habsburg emperor’s illustrious court composer – included on this release is his beloved choral setting of “Innsbruck, ich muss dich lassen”.

Including original repertoire notes by Harnoncourt from the 1964 LP release, including notes about musical sources and the period instruments, with sung texts and translations (English/German/French).

Released or re-released in last 6 months

DG Archiv - 4797135

(Vinyl)

$23.00

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The RIAS Amadeus Quartet Recordings Vol. 6: Haydn

The RIAS Amadeus Quartet Recordings Vol. 6: Haydn


Haydn:

String Quartet, Op. 9 No. 3 in G major

recording date: 15.12.1952

String Quartet, Op. 20 No. 5 in F minor

recording date: 25.5.1952

String Quartet, Op. 33 No. 2 in E flat major 'The Joke'

recording date: 20.11.1951

String Quartet, Op. 54 No. 2 in C major

recording date: 18.11.1969

String Quartet, Op. 54 No. 2 in C major

recording date: 10.6.1950

String Quartet, Op. 64 No. 3 in B flat major

recording date: 8.2.1956

String Quartet, Op. 64 No. 4 in G major

recording date: 10.12.1959

String Quartet, Op. 74 No. 1 in C major

recording date: 19.11.1951

String Quartet, Op. 74 No. 3 in G minor 'The Rider'

recording date: 29.11.1957

String Quartet, Op. 76 No. 1 in G major

recording date: 8.12.1960

String Quartet, Op. 76 No. 3 in C major 'Emperor'

recording date: 24.4.1951

String Quartet, Op. 76 No. 4 in B flat major 'Sunrise'

recording date: 25.5.1952

String Quartet, Op. 77 No. 1 in G major

recording date: 2.2.1969

String Quartet, Op. 77 No. 2 in F major

recording date: 30.10.1950

String Quartet, Op. 103 in D minor

recording date: 25.5.1952

String Quartet, Op. 51 'Seven Last Words'

recording date: 15.12.1952


This sixth volume of the RIAS Amadeus Quartet Recordings completes the 27-CD edition. To honour the occasion, we are offering, at www.audite.de/21426, a comprehensive free download of the "Seven Last Words" (RIAS 1952) in a radiophonic version which combines the music recordings with bible readings and literary interpretations of these biblical texts, following the liturgical sequence of the first performance. This extended version complements the 6-CD box set, providing once again a detailed survey of broadcasting history in the 1950s - to which end the entire series of the audite Amadeus Quartet recordings is ultimately directed.

Joseph Haydn's string quartets, often rated as the basis for playing quartets, represented far more than an obligation to the Amadeus Quartet. During their entire career, spanning four decades, they thoroughly and continually dedicated themselves to these works, especially those of Haydn's middle and late periods. Most of their concert programmes featured a quartet by Haydn and in their sonic legacy - recordings on disc and for the radio - Haydn's string quartets make up more than a fifth of the total (only Beethoven's quartets were recorded with a similar frequency). The musicians held these works in such high esteem due, on the one hand, to their relative technical ease and, on the other, their high musical demands, as Norbert Brainin explained: "Everything that one plays in public is difficult. And the easier it is, the more difficult it becomes, as one then hears the fleas cough. Haydn and Mozart are a tightrope act."When preparing and rehearsing these works, the players had to examine the music closely, for many sections which appeared implausible in the old editions later on indeed proved erroneous when they were able to study Haydn's manuscripts and once the Urtext editions had been published.

Released or re-released in last 6 months

Audite - The RIAS Amadeus Quartet Recordings - AUDITE21426

(CD - 5 discs)

$36.75

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Music for Four Harpsichords

Music for Four Harpsichords


Bach, C P E:

Concerto in F major for Two Claviers and Orchestra, Wq. 4

arranged by Raymond Leppard for four harpsichords

Bach, J S:

Concerto for Four Keyboards in A minor (after Vivaldi), BWV1065

Concerto for Three Keyboards in D minor, BWV1063

Malcolm:

Variations on a theme by Mozart for four harpsichords


There were many worlds in George Malcolm’s (1917–1997) universe – organist, harpsichordist, pianist, composer, choral director and conductor – and this one demonstrates his unique skill as a solo performer who, throughout his career, more than any other individual defined the harpsichord’s identity in England. After World War II Malcolm became the most famous English harpsichordist of his day, with a brilliant technique, superb musicianship and an idiosyncratically modern approach to playing which, for his audiences, came to exemplify the very nature of the instrument itself. In celebration of the centenary of his birth (28 February 1917).

The inspiration for this recording was a familiar event on London’s musical scene during the late 1950s and 1960s: the annual ‘Thomas Goff Harpsichord Jamboree’, held at London’s Royal Festival Hall. Four Goff harpsichords were arrayed on the stage, with, at various times, harpsichordists Thurston Dart, George Malcolm, Simon Preston, Denis Vaughan, Valda Aveling, Eileen Joyce, Geoffrey Parsons and Simon Preston taking part.

Malcolm’s Variations on a Theme of Mozart were composed specifically (and ingeniously) for four solo Thomas Goff instruments, largely to display the art of modern harpsichord stop-changing. The music presented on this recording is a cross section of the works played at Goff’s annual concerts, with conductor Raymond Leppard – also a harpsichordist who played Goff instruments – and the English Chamber Orchestra.

Notes are by Peter Watchorn, an Australian-born, US-based harpsichordist, one of whose teachers, Harold Lobb, was also an associate of Malcolm.

“This [is a] very attractive disc … these pieces cry out for stereo and I’m glad that the engineers haven’t hesitated to make maximum use of directional effect. … I warmly recommend this enjoyable record” Gramophone Magazine, October 1967

Released or re-released in last 6 months

Australian Eloquence - ELQ4824745

(CD)

$8.50

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