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Schubert: Symphonies Nos. 1-8

Schubert: Symphonies Nos. 1-8


Schubert:

Symphony No. 1 in D major, D82

Symphony No. 2 in B flat major, D125

Symphony No. 3 in D major, D200

Symphony No. 4 in C minor, D417 'Tragic'

Symphony No. 5 in B flat major, D485

Symphony No. 6 in C major, D589

Symphony No. 8 in B minor, D759 'Unfinished'

Symphony No. 9 in C major, D944 'The Great'


In 2015, our Schubert Edition with the Berliner Philharmoniker and Nikolaus Harnoncourt received high praise from critics all over the world. The BBC Music Magazine celebrated the recordings as a “feast of Schubert”, and in France they were awarded the prestigious Diapason d’Or. The edition is now being released in a budget version. It presents the composer’s eight symphonies on five CDs/SACDs which can be played on any CD/SACD player. The edition includes a top-quality slipcase and a comprehensive booklet. The qualities of the performances which were recorded between 2003 and 2006 are also revealed in the CD/SACD edition. This Schubert is colourful and dramatic – and represents a unique synthesis in which the famous sound of the Berliner Philharmoniker is as evident as Nikolaus Harnoncourt’s familiarity with the transparency and sound speech of historical performance practice.

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Super Audio CD

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Berliner Philharmoniker - BPHR150063

(SACD - 5 discs)

$35.25

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Grandissima Gravita

Grandissima Gravita

Music by Pisenel, Tartini, Verachini & Vivaldi


Pisendel:

Sonata for Violin and harpsichord in C

Tartini:

Sonata for Violin and continuo in A minor, Op. 2 No. 5

Veracini:

Sonata for violin and continuo in G minor, Op. 2 No. 5

Sonata accademica in D minor, Op. 2 No. 12

Vivaldi:

Violin Sonata, Op. 2 No. 2 in A major, RV 31


This CD brings together the compositions by four violinist-composers.

United by a reverence for Arcangelo Corelli (1653-1713), and in particular his Opus 5, these works explore the imagination of form that was the Sonata for violin and continuo.

Weaving together stylised dances and the preludic tradition, we are transported to a world of musical alchemy - the violinist creating ex nihilo textures and melodies that entrance and amaze.

Rachel Podger: “The four composers’ connections read like a popular comedy! Violin virtuosos Francesco Maria Verachini andJohann Georg Pisendel had an argument which resulted in Veracini flying into a rage and throwing himself from first floor a balcony, damaging his foot and limping forever after. Verachini amazed Giuseppe Tartini with his astonishingly smooth bowing technique, whereupon Tartini locked himself away to practice. Pisendel studied with Tartini and Antonio Vivaldi...”

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Channel - CCSSA39217

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Beethoven: Symphonies Nos. 1 & 4

Beethoven: Symphonies Nos. 1 & 4


Beethoven:

Symphony No. 1 in C major, Op. 21

London Symphony Orchestra

Symphony No. 4 in B flat major, Op. 60

Israel Philharmonic Orchestra


The latest release in the Remastered Classics series is Rafael Kubelik's sprited and acclaimed reading from the 1970s of Beethoven's first and fourth symphonies, performed with the London Symphony Orchestra and the Israel Philharmonic Orchestra.

Delightful, infectious and witty, the opening Adagio which starts in the wrong key and the final movement which struggles to get started at all.

Beethoven's cheerful and optimistic fourth has been described as a "wolf in sheep's clothing" for its mix of engaging melodies, lurching rhythms, pungent dissonances and its vigorous orchestral writing.

Rafael Kubelik recorded his acclaimed cycle of Beethoven symphonies in the 1970s for Deutsche Grammophon, each with a different orchestra to dazzling effect. Using state of the art technology which avoids the need for re-mixing, PENTATONE's engineers have remastered the original studio tapes to bring the performances to life as originally intended: in compelling and pristine multi-channel sound.

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Pentatone Remastered Classics - PTC5186248

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Strauss: Also Sprach Zarathustra & Mahler: Totenfeier

Strauss: Also Sprach Zarathustra & Mahler: Totenfeier


Bruckner:

Symphonisches Präludium, WAB deest

Mahler:

Totenfeier

Strauss, R:

Also sprach Zarathustra, Op. 30


Vladimir Jurowski and the Rundfunk-Sinfonieorchester Berlin excel in these new recordings of Richard Strauss's electrifying Also Sprach Zarathustra and Mahler's Totenfeier.

Released to coincide with the Russian maestro taking up office as Chief Conductor and Artistic Director of the orchestra.

Strauss's bold and passionate tone poem Also Sprach Zarathustra is a riveting work, famous for its startlingly atmospheric opening. With a thrilling and florid orchestral score, it's a work which Jurowski observes "...launches the whole idea of 20th century music”

It is paired with Mahler's no less gripping Totenfeier which is an early version of the first movement of his Symphony No 2 "Resurrection".

Jurowski is one of today's most sought-after conductors and has made several critically acclaimed recordings for PENTATONE.

The Rundfunk-Sinfonieorchester Berlin is one of the leading orchestras in Berlin. Under former artistic director and chief conductor Marek Janowski, it has made numerous classic recordings with PENTATONE, including a critically acclaimed cycle of 10 Wagner operas.

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Pentatone - PTC5186597

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Serenade

Serenade


Bizet:

Pastorale

La Coccinelle

La chanson du fou

Chabrier:

Villanelle des petits canards

Chausson:

Le Chevalier Malheur

Cantique à l'épouse, Op. 36 No. 1 (Jounet)

Le temps des lilas

Gounod:

Sérénade

O ma belle rebelle

La chanson du pecheur

Magnard:

Les roses de l'amour

Massenet:

Les Yeux clos

Heure vécue

Meyerbeer:

Fleurs qu'adore la beauté (Sicilienne)

Saint-Saëns:

Le Pas d'armes du Roi Jean (Hugo)

Danse macabre (song)

Si Vous N'avez Rien A Me Dire


Thomas Hampson (baritone) & Maciej Pikulski (piano)

Thomas Hampson's "Serenade," his first album exclusively dedicated to French song.

Critically acclaimed and lauded, Hampson has starred in the title roles of Chausson's Le roi Arthus at Opera National de Paris; Massenet's Werther (baritone version) at The Metropolitan Opera and Theatre National du Chatelet; Massenet's Thais (Athanael) at Lyric Opera of Chicago and The Metropolitan Opera; Offenbach's Les Contes d'Hoffmann (Four Villains) at the Royal Opera House - Covent Garden; and Thomas' Hamlet at the Theatre National du Chatelet.

Mr. Hampson carries the title of Commandeur dans l'Ordre des Arts et des Lettres of the Republic of France.

Curated with the French Literature scholar Sylvain Fort and in a first collaboration with the Polish pianist Maciej Pikulski, the track listing includes romantic and introspective as well as humorous selections by Bizet, Chabrier, Chausson, Gounod, Magnard, Massenet, and Saint-Satins, featuring texts written by some of France's most revered writers including Victor Hugo, Paul Verlaine, Rosemonde Gerard, and others.

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Pentatone - PTC5186681

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Bach, J S: Sonatas & Partitas for solo violin, BWV1001-1006

Bach, J S: Sonatas & Partitas for solo violin, BWV1001-1006


Julia Fischer (violin)

Bach's astonishing and unsurpassed works for solo violin are glowingly realised in award-winning performances by Julia Fisher in this re-issue from PENTATONE. Bach's remarkable Sonatas and Partitas for solo violin are revered for their boundless inventiveness, technical ingenuity and emotional depth. With their brilliant preludes, stately dances and complex four-part fugues, the demands on the performer are enormous - from rapid scale passages, double stopping and arpeggios, to the skill and concentration required to create the illusion of separately moving and interweaving voices.

The set is full of surprises. Sonata No. 3 contains a colossal fugue of increasing complexity and difficulty (and at over 350 bars, one of his longest). Partita No. 3 is one of Bach's sunniest works, with the virtuoso Prelude and the charming Gavotte being regularly performed as encore pieces. Most famous of all is the legendary Chaconne from Partita No. 2, a kaleidoscopic series of variations as deeply felt and cathartic as anything Bach wrote and an incontestable milestone in classical music. Julia Fischer's recording for PENTATONE was showered with praise upon its first release in 2005. "Classic accounts by Milstein and Grumiaux have been usurped by this extraordinarily gifted newcomer" enthused BBC Music Magazine.

"Her mastery is beyond question," affirmed Gramophone magazine "her ability to trace a smooth, even line a source of pleasure itself." It also achieved the rare distinction of garnering three of France's most prestigious awards: the Diapason d'Or from Diapason; the CHOC from Le Monde de la Musique; and the highest rating from Classica-Repertoire. Julia Fischer's extensive recordings for PENTATONE have earned major recognition and awards. This reissue is launched simultaneously with an exquisitely designed LP edition. Julia Fischer plays on an Italian violin made by Giovanni Battista Guadagnini, dating from 1742. www.pentatonemusic.com

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Pentatone - PTC5186682

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Lost Is My Quiet

Lost Is My Quiet


Mendelssohn:

Ich wollt' meine Lieb' ergösse sich, Op. 63. No. 1

Gruss, Op. 63 No. 3

Volkslied, Op. 63 No. 5

Maiglöckchen und die Blümelein, Op. 63 No. 6

Scheidend, Op. 9 No. 6

Neue Liebe, Op. 19a No. 4

Duets (3), Op. 77

Purcell:

Sound the trumpet, beat the drum, Z335

Lost is my quiet for ever, Z502

If music be the food of love, third version, Z379C

Music for a while, Z583

No, resistance is but vain (from The Maid's Last Prayer or Any Rather Than Fail, Z601)

Oroonoko: Celemene, pray tell me, Z584

realised by Benjamin Britten

Quilter:

It was a lover and his lass

Weep ye no more, sad fountains

Music, when soft voices die, Op. 25 No. 5 (Shelley)

Drink to me only

Love's Philosophy, Op. 3 No. 1 (Shelley)

Love calls through the summer night

Schumann:

Drei Duette Op. 43

Nachtlied, Op. 96 No. 1

Stille Liebe, Op. 35 No. 8

Der Einsiedler, Op. 83 No. 3

Aufträge, Op. 77 No. 5

So wahr die Sonne scheinet, Op. 37, No. 12


Carolyn Sampson (soprano), Iestyn Davies (countertenor), Joseph Middleton (piano)

Carolyn Sampson and Iestyn Davies have collaborated on many occasions in the field of Baroque opera and oratorio, but on this occasion they venture into a somewhat different territory. In the company of Joseph Middleton, they have been exploring the Lieder for one and two voices of Mendelssohn and Schumann, combining them with songs and duets by Roger Quilter.

And even though the disc actually opens with a set of Purcell songs – repertoire which both singers have previously made their mark in – they are here performed with the piano accompaniments realized by Benjamin Britten, turning them into something quite new and different.

‘Creamy’, ‘luminous’ and ‘supple’ are words that often appear in reviews about both Carolyn Sampson and Iestyn Davies, and in these duets they achieve a

marvellous blend as well as the utmost precision. They are aided in this by Joseph Middleton, described in The Telegraph (UK) as an ‘unfailingly sensitive accompanist’.

“Carolyn Sampson’s soprano sparkles and Iestyn Davies’s countertenor glides through the air in this compilation, individually and in duet. They sing together with an enjoyment of the music’s ebb and flow that is clearly shared by their pianist, Joseph Middleton...what’s on offer here is beautifully judged, the two voices playing off each other and sharing nuanced expression” The Guardian, 7th September 2017 *****

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BIS - BIS2279

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Liszt: Sonata In B Minor & Schumann: Kinderszenen

Liszt: Sonata In B Minor & Schumann: Kinderszenen


Liszt:

Piano Sonata in B minor, S178

Schumann:

Kinderszenen, Op. 15


Joseph-Maurice Weder (piano)

A debut could not contain two greater contrasts: Liszt’s inscrutable Sonata in B minor and Schumann’s enchanting Kinderszenen in performances by the young Swiss pianist Joseph-Maurice Weder. A bold program – since recordings of these two works are not in short supply. Weder nonetheless repeatedly discovers new things in these frequently performed works – with important support from the legendary “Manfred Bürki” Steinway concert grand piano of 1901, an instrument with a brilliant treble shining its supernatural light over the profound bass.

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MDG - MDG9042042

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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.

“this is luxury playing. Honeck plays the scherzo as a Mahlerian ländler, applying touches of very Viennese rubato. It works.” The Arts Desk, September 2017

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Reference Recordings - FR724

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Debussy – Jeux

Debussy – Jeux


Debussy:

Jeux - Poème dansé

Khamma

La Boite A Joujoux


Several works by Claude Debussy have become ballets ‘after the fact’, so to speak – as early as 1912, Nijinsky and the Ballets Russes used his Prélude à l'après-midi d'un faune, and later choreographers have created ballets based on scores like Printemps, Gigues (from Images) and Nuages and Fêtes (from Nocturnes). Debussy only conceived three works as ballets, however, and those are gathered on this present disc from the Singapore Symphony Orchestra and Lan Shui. All three were written between 1911–1913, during a period when the composer was under some financial pressure, and in the case of Khamma, Debussy himself admitted that ‘considerations of domestic finances’ contributed to him undertaking the commission for this ‘danced legend’ about an Egyptian dancer struck down by the sun-god Amun-Ra. Having finished the piano score, Debussy asked Charles Kœchlin to complete the orchestration under his supervision. He was more enthusiastic about a commission from the highly fashionable Ballets Russes, and did indeed complete Jeux himself – but only two weeks after the first performance, the company’s première of Stravinsky’s Rite of Spring completely eclipsed Debussy’s new work. Jeux had to wait until the 1950s for full recognition, championed not least by Pierre Boulez, who regarded it as one of the most prophetic works of the twentieth century. Of the three works on the disc, it is probably the children’s ballet La Boîte à joujoux (The Toybox) that gave its creator the greatest pleasure. He finished a version for solo piano in 1913 and dedicated it to his daughter Emma. The music includes children’s songs, bugle calls and imitations of musical boxes as well as parodies of well-known operas and quotations from his own and other works.

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BIS - BIS2162

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