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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


Zdrávas královno (from Jenufa)

arr. for oboe & piano


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


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 - AVI8553386



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Glinka: Variations for Piano

Glinka: Variations for Piano


The Lark


Variations on the Romance Banetta sia la madre in E major

Variations on a theme from the opera Faniska by Cherubini in B major

Variazioni brillianti on a theme from the opera Anna Bolena by Donizetti in A major

Variations on two themes from the ballet Chao-Kang in D major

Rondino brilliante on a theme from the opera I Capuleti e i Montecchi by Bellini in B flat major

Variations on the song The Nightingale by Alexandr Alabiev in E minor


Variations on a theme by Glinka Op. 35

Vladimir Stoupel (piano)

“For me it has been a great joy to conceive and record the programme featured on this CD. The idea that inspired it was twofold: on the one hand, it is made up of variation cycles (with the exception of the Rondo brillante on a theme from Bellini’s opera ‘I Capuletti ed i Montecchi’). On the other hand, the

programme’s chronological order not only traces the fascinating evolution of Glinka’s composition technique, but also the manner in which his successors used what he had invented: the “Glinka-type variation” where the theme and/or structure are usually not modified, but the accompaniment is subjected to a great variety of transformations. Glinka was held in high regard as the “father of Russian music”. Many Russian composers made his variation technique their own and developed it further – for example, Tchaikovsky in the Finale of his 4th Symphony. I therefore decided to include two further

works that refer to Glinka: the Paraphrase on Glinka’s Song ‘The Lark’ by Mily Balakirev (1837-1910), and Variations on a Theme by Glinka by Anatoly Lyadov (1855-1914)………”

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Avi Music - AVI8553388



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Brahms: Frei aber einsam

Brahms: Frei aber einsam


Piano Sonata No. 3 in F minor, Op. 5

Sonatensatz (Scherzo from the F.A.E. sonata), WoO 2

Lena Neudauer (violin)

Piano Quintet in F minor, Op. 34

Amaryllis Quartett

“For me f. a. e. [frei, aber einsam – Free But Lonely) has remained a symbol, and it is in my gift, despite all, to invoke it.” Johannes Brahms to Joseph Joachim, March 5, 1888

Johannes Brahms sought solitude, in order to find freedom in music and in composition. In his new album “Frei aber einsam” pianist Matthias Kirschnereit brings Brahms’s timeless music into the present day. In the two “monoliths” – the F minor Sonata and the F minor Quintet – this motto takes musical form. The Scherzo from the eponymous Sonata for piano and violin was Brahms’s first musical involvement with this subject.. “He made it clear to his friends time and again that he wished to live wholly for music, wholly for his compositions” the pianist says. What can we learn from his works?. “perhaps that we need to focus, take time out and ask ourselves where we want to go. And we can best do that in a state of solitude in the most positive sense of the word”

Matthias Kirschnereit is currently one of the most exciting and successful German pianists of his generation. He has made his name at Berlin Classics and here presents his new album.

Romantic to the depths of its musical being, this recording wonderfully brings alive the (musical) motto that governed the life of Johannes Brahms. Added interest is won from the chamber-music coupling and his collaboration with the Amaryllis Quartett and violinist Lena Neudauer.

Released or re-released in last 6 months

Berlin Classics - 0300929BC

(CD - 2 discs)


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Robert Black (double bass)

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Cantaloupe - CA21134

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F X Richter: Sinfonias, Sonatas & Oboe Concerto

F X Richter: Sinfonias, Sonatas & Oboe Concerto

Richter, F X:

Symphony in B flat major

Sonata for 2 violins, cello & continuo in A minor, No 6, Op 4

Sinfonia con fuga in G minor (Boer 29)

Oboe Concerto

Xenia Löffler (oboe)

Trio sonata, Op. 3, No. 3

Sinfonia in G minor

Capricornus Consort Basel

The Capricornus Consort Basel, highly praised by critics for their sensible interpretations on their recordings of Erlebach, Graupner and Manfredini, now presents instrumental music of the early Classical period. Franz Xaver Richter 1709-1789 was one of the most important members of the so-called 'Mannheim School', based at the Mannheim court, the orchestra of which was said to be the best of its time. Prince-Elector Charles Theodore gathered the best singers and instrumentalists in his residencies in Mannheim and Schwetzingen. His generosity meant the Stamitz Family, Christian Cannabich, Charles Joseph Toeschi, Ignaz Holzbauer and Franz Xaver Richter all contributed to the development of the Mannheim style and thus exerted considerable influence.

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Christophorus - CHR77409



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Peter Ablinger: Verkündigung ("Annunciation")

Peter Ablinger: Verkündigung ("Annunciation")


Verkündigung (“Annunciation”)

studio recording 2001

Verkündigung (“Annunciation”)

live recording,1998

Verkündigung (“Annunciation”)

for 7 flutes, 7 saxophones, and 7 pianos (studio recording 2001)

Gisela Mashayekhi-Beer, Marcus Weiss & Hildegard Kleeb

Verkündigung (“Annunciation”) is one of the earliest works in Peter Ablinger's catalogue, and a cornerstone for connoisseurs of his work. Composed in 1990, in Verkündigung laid out the groundwork for his subsequent work. In exploring noise and densification, Ablinger thematises perception itself: raising awareness about listening and, through listening, about the listener.

“My work on Verkündigung began when Marcus Weiss urged me to come up with an improvisation piece. Around that time, I happened upon Domenico Veneziano's painting Verkündigung, and found my own musings reflected in that painting's stark opposition between symmetrical Renaissance architecture and the free “gestures” of the angel and the Virgin Mary. At some point, I began striving to dissolve this very opposition of architecture and gesture, aiming for a conception which could contain both elements at once, in every moment – and theoretically in every sound; where one might merge at any moment into the other, or where one may appear in the other’s place.” Peter Ablinger

"Peter Ablinger is one of the few artists today who uses noise without any kind of symbolism - not as a signifier for chaos, energy, entropy, disorder, or uproar; not for opposing something, or being disobedient or destructive; not for everything, for eternity, or for what-have-you. As in all these cases of music deliberately involving noise, noise is the case, but for Ablinger: this alone. Peter Ablinger has also come a long way in questioning the nature of sound, time, and space (the components usually thought central to music), and his findings have jeopardized and made dubious conventions usually thought irrefutable. These insights pertain to repetition and monotony, reduction and redundancy, density and entropy." (Christian Scheib, edited by Bill Dietz)

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Huddersfield Contemporary Records (HCR) - HCR014CD



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The Ayoub Sisters

The Ayoub Sisters

1. Melodies from Scotland

2. Billie Jean

3. Uptown Funk

4. Mother’s Pride

5. Pie Jesu

6. Call to Prayers

7. Greensleeves

8. Shostakovich Prelude

9. Misirlou

10. Csardas

11. Die Fledermaus Overture

12. Ashokan Farewell

The Ayoub Sisters

Multi-instrument playing sisters spotted by Mark Ronson bringing together classical with pop.

Spotted two years ago by Mark Ronson to record a cover of ‘Uptown Funk’ at Abbey Road. The talented sisters now return to Abbey Road to record their album with a full symphony orchestra.

Includes an upbeat and jazz-influenced full orchestral arrangement ‘Uptown Funk’

Mark Ronson said: “It was brilliant to bring together unique talents and produce a new cover of Uptown Funk. It’s an honour that such talented people are interested in my music...we created something special.”

Performing their own arrangements of classical and pop tracks.

Newly composed track ‘Call to Prayers’ brings together musical themes from Islam and Christianity. Will be released to coincide with International Peace Day on Thursday 21 September 2017.

Album announcement around National Sisters Day on August 4th 2017.

Album includes ‘Melodies from Scotland’, a medley of Scottish music previously released by the girls for Burns Night. This track soared to number 1 on the iTunes classical chart just 20 minutes after it’s first play on Classic FM.

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Decca - 4815780



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Piano Masters

Piano Masters

Celebrating the Greatest Pianists on Deutsche Grammophon

Bach, J S:

French Suite No. 5 in G major, BWV816: Gigue

Murray Perahia (piano)

Italian Concerto, BWV971 (1st Movement)

Walter Gieseking (piano)


Sonatina, BB 69, Sz. 55

Andor Foldes (piano)


Piano Sonata No. 3 in C major, Op. 2 No. 3 - Allegro assai

Special Pre-Release

Evgeny Kissin (piano)


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

Special Pre-Release

Daniil Trifonov (piano)

Andante spianato

Jan Lisiecki (piano)

Ballade No. 3 in A flat major, Op. 47

Seong-Jin Cho (piano)


Préludes - Book 1: No. 8, La fille aux cheveux de lin

Monique Haas (piano)


Ballade in F sharp major for solo piano or piano & orchestra, Op. 19

Yuja Wang (piano)

Glass, P:

Etude No. 9

Víkingur Ólafsson (piano)


Orfeo ed Euridice (Orphée et Euridice): Dance of the Blessed Spirits


Hélène Grimaud (piano)


Notturno from Lyric Suite, Op. 54

Alice Sara Ott (piano)

Hess, M:

Jesus bleibet meine Freude

Rafał Blechacz (piano)


Piano Sonatina in C major, Op. 13, No. 1: Presto

Daniel Barenboim (piano)


Les jeux d'eaux à la Villa d'Este (Années de pèlerinage III, S. 163 No. 4)

Pierre-Laurent Aimard (piano)


Toccata in D minor, Op. 11

Martha Argerich (piano)


Piano Concerto No. 1 in F sharp minor, Op. 1: Allegro vivace

Krystian Zimerman (piano)

Rhapsody on a Theme of Paganini - Variation 18

Lang Lang (piano)

Deutsche Grammophon is undoubtedly home to many of the greatest pianists on record – both past and present – with the piano repertoire occupying a central position in its long distinguished history. The Yellow Label presents a collection of outstanding performances from its unrivalled roster of pianists: from the greats – Argerich, Barenboim and Zimerman – to the younger generation – Seong-Jin Cho, Yuja Wang and Jan Lisiecki.

A perfect introduction to classical piano music while enthusiasts will enjoy listening to acclaimed and new recordings. Featuring outstanding pianists, past and present – artists such as Martha Argerich and Murray Perahia, as well as the younger generation of rising artists including Lang Lang and Rafał Blechacz.

Includes two never-before released tracks from forthcoming albums from Daniil Trifonov and Evgeny Kissin.

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DG - 4798174



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Bach: 6 Cello Suites, BWV 1007-1012

Bach: 6 Cello Suites, BWV 1007-1012

Richard Narroway (cello)

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Dorian Sono Luminus - SLE-70010

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Silvestrov: Hieroglyphen Der Nacht

Silvestrov: Hieroglyphen Der Nacht


Augenblicke der Stille und Traurigkeit


Walzer der Alpengöckchen


Stücke (3)

Agnès Vestermann (cello)

8.VI. 1810…zum Geburtstag R.A. Schumann

Agnès Vestermann (cello)

Serenaden (2)

Agnès Vestermann (cello)

25.X.1893…zum Andenken an P.I. Tschaikowskij

Agnès Vestermann (cello)

Anja Lechner (cello)

Released in time for the great Ukrainian composer’s 80th birthday on September 30, Hieroglyphen der Nacht features Valentin Silvestrov’s music for solo violoncello and for two cellos. German cellist Anja Lechner has had a long association with Silvestrov, first documented on the Grammy-nominated leggiero, pesante in 2001. Here she plays, alone, Augenblicke der Stille und Traurigkeit (of which she is the dedicatee), Lacrimosa, Walzer der Alpengöckchen, and Elegie (which calls for her to play both cello and tamtams). Lechner is joined by French cellist Agnès Vestermann, a frequent duo partner, to play Drei Stücke (dedicated to both musicians), 8.VI. 1810…zum Geburtstag R.A. Schumann, Zwei Serenaden, and 25.X.1893…zum Andenken an P.I. Tschaikowskij. As so often with Silvestrov, the compositions often take the form of metaphorical conversations with composers of the past and the present. Tchaikovsky and Schumann are amongst the composers referenced here, while Lacrimosa is a reaction to music of his friend Tigran Mansurian. “My own music is a response to and an echo of what already exists,” says Silvestrov, viewing his oeuvre as a series of “codas” to music history. Hieroglyphen der Nacht was recorded at Lugano’s Auditorio Stelio Molo RSI, and produced by Manfred Eicher.

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ECM - 4815692



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