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Gliere: Piano Music

Gliere: Piano Music


Glière:

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.

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Brilliant Classics - 95296BR

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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.

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Monteverdi: Madrigali Libri I & II

Monteverdi: Madrigali Libri I & II


Monteverdi:

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.

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Muczynski: Chamber Music

Muczynski: Chamber Music


Muczynski:

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.

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Brilliant Classics - 95433BR

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JM Bach, JC Bach: Complete Organ Music

JM Bach, JC Bach: Complete Organ Music


Bach, J C'ph:

Prelude & Fugue in E flat

Ach Herr, mich armen Sünder

Chorale Preludes

Aria Eberliniana pro dormente camillo

Aria variata in A minor

Sarabanda variata in G major

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.

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Paganini: Chamber Music for Strings

Paganini: Chamber Music for Strings


Paganini:

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.

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Brilliant Classics - 95031BR

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Farrenc: Wind Sextet And Trios

Farrenc: Wind Sextet And Trios


Farrenc:

Sextet, Op. 40 in C minor for Piano, Flute, Oboe, Clarinet, Horn & Bassoon

Trio for clarinet, cello & piano in E flat major, Op. 44

Piano Trio in E minor, Op. 45


Linda di Carlo (piano)

OperaEnsemble

Louise Farrenc was born in 1804 into an artistic family of painters and sculptors, living in a “commune” near the Sorbonne in her native Paris. At an early age she was admitted to the Paris Conservatoire, where she studied composition and piano, and where she met her future husband, the flautist Aristide Farrenc.

Farrenc’ s early compositions were in cultivated Salon style, her later works however are of a more ambitious nature, she composed large scale chamber music and even symphonies.

The clarinet and flute trios and the wind sextet on this new recording are written in the Classical/Early Romantic style of Weber, Hummel and Clementi, music of fresh imagination, charm and scintillating instrumental virtuosity.

Played with brio and zest by I Solisti del Teatro Dell’Opera di Roma, an elite group led by pianist Linda di Carlo, who already successfully recorded an earlier Farrenc CD (BC94815).

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Brilliant Classics - 95319BR

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Bononcini: Stabat Mater

Bononcini: Stabat Mater


Bononcini, A M:

Stabat Mater

Dio e la Vergine


Alessandro Stradella Consort, Estévan Velardi

This CD contains the Stabat Mater by Antonio Maria Bononcini (1677‐1726), one of the earliest and most famous works in this genre, on a par with the Stabat Mater by Pergolesi.

In this work, in the tragic key of C minor, Bononcini reaches a noble purity of expression of the deep human feelings of the lamenting Mother. The polyphony is strong but never overwhelming, the melodic lines have a powerful simplicity and serenity, breathing a devotional piety and sincerity throughout the whole work.

Also presented on this CD is the Sacred Cantata Dio e la Vergine, for two soloists and ensemble.

Estévan Velardi is an Italian conductor and musicologist, specialised in the research, publication and (first) performance of musical scores from the Italian Baroque, notably the works of Stradella and Alessandro Scarlatti.

The booklet contains liner notes and sung texts.

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Brilliant Classics - 95486BR

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Caldara: Missa Dolorosa

Caldara: Missa Dolorosa


Caldara:

Missa Dolorosa (1735)

Crucifixus a 16 voci

Motetti for 2 voices & for 3 voices

Ciaccona (Largo) in si bemolle maggiore per due violini e basso continuo

Ravenscroft, J:

Suonata da chiesa in B minor


Ensemble La Silva, Nanneke Schaap

Antonio Caldara (1670‐1736) was an Italian Baroque composer. Born in Venice he was a chorister in the famous San Marco, where Legrenzi was his teacher. He soon spread his wings across Europe and held several important posts in Mantua, the Spanish court in Barcelona, Rome and eventually the post of Kapellmeister at the Imperial Court in Vienna.

Caldara left a substantial oeuvre, consisting of instrumental music in the tradition of Corelli, sacred music and operas.

This new recording presents several sacred choral works of great beauty and intensity. Caldara’s innate feeling for drama is reflected in the highly expressive vocal lines, as expected from a composer famous for his operas and oratorios.

Ensemble La Silva was established in 1984 by Nanneke Schaap, it consists of Dutch and Italian musicians well schooled in the Historically Informed Performance Practice.

The booklet contains scholarly written liner notes by a musicologist, as well as the sung texts and their English translation.

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Paisiello: Flute Quartets (6), Op. 23

Paisiello: Flute Quartets (6), Op. 23


Ensemble Il Demetrio: Gabriele Formenti (flute), Elisa Bestetti (violin), Maurizio Schiavo (viola) & Antonio Papetti (cello)

Giovanni Paisiello (1740-1816) is one of the key composers of the Neapolitan School, primarily famous for his vast amount of operas written when in the service of Ferdinand IV of Naples.

Paisiello’s instrumental output is also substantial, and it was written for the ever growing bourgeoisie, for domestic use by advanced amateurs. His 6 Flute Quartets are delightful works, full of charming, sunny melodies and sparkling virtuosity, in the true tradition of the Neapolitan School, as comparable with Cimarosa and Guglielmi.

The Italian ensemble Il Demetrio specialises in Baroque and Early Classical music, playing on authentic instruments.

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Brilliant Classics - 95268BR

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