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Grumiaux Trio Recital 1966

Grumiaux Trio Recital 1966


Beethoven:

String Trio in G major, Op. 9 No. 1

Mozart:

Divertimento in E flat major, K563

Duo for violin & viola in G major, K423


Grumiaux Trio: Arthur Grumiaux (violin), Georges Janzer (viola), Eva Czako (cello)

The three musicians Arthur Grumiaux, Georges Janzer and Eve Czako met on June 8, 1966 at Schwetzingen Castle. The result was a memorable concert from the Belgian-Hungarian Grumiaux Trio. The Belgian violinist Arthur Grumiaux and his two chamber music partners selected one of Beethoven's String Trios, Op.9 and the extensive E flat Major Divertimento by Wolfgang Amadeus Mozart. However, instead of a third trio, the ensemble selected a duo for violin and viola by Mozart.

A native of the Belgian Villers-Perwin, Arthur Grumiaux (1921-1986) was the authoritative personality of this trio. As one of the leading (and last) representatives of the Franco-Belgian violin school (Eugène Ysaye and Henri Vieuxtemps were the founders), Grumiaux was a highly regarded soloist and chamber musician. Together with violist Georges Janzer - a member of the famous Hungarian Végh Quartet - and his wife, the Hungarian cellist Eva Czako, Arthur Grumiaux has drawn together a flexible and sinuous chamber music Trinity.

In this concert, the thematic and motivic characteristics of all the musical voices are vividly present; the lively, tuneful, flowery, and sometimes elegiac trajectories of Beethoven’s G Major trio unfolds and blossoms, the voices forming an organic network of melodic veins in which the music pulses and flows, pausing only briefly to lapse into a reverie. Mozart's String Trio K563 was no doubt Beethoven’s model, and triumphs with the light transparency of its dancing and singing figures.

In a word, this a most memorable concert that will welcome repeated listening.

“This intriguing coupling of early Beethoven with Mozart reveals both kinship and individual styles. Recorded in a single concert, the Grumiaux Trio's performances are of burnished tone and aria-like expressiveness.” BBC Music Magazine, August 2015 ****

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Hänssler - HAEN93727

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Schumann und die Sonate II

Schumann und die Sonate II


Schumann:

Allegro in B minor, Op. 8

Piano Sonata No. 1 in F sharp minor, Op. 11

Piano Sonata No. 2 in G minor, Op. 22


Released or re-released in last 6 months

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Hänssler Florian Uhlig Schumann Complete Piano Works - HC16081

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Mozart: Violin Concertos Nos 2 & 5 and Sinfonia Concertante

Mozart: Violin Concertos Nos 2 & 5 and Sinfonia Concertante


Mozart:

Violin Concerto No. 2 in D major, K211

Violin Concerto No. 5 in A major, K219 'Turkish'

Sinfonia Concertante for Violin, Viola & Orchestra in E flat major, K364

Antoine Tamestit (viola)


Frank Peter Zimmermann (violin)

Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks, Radoslaw Szulc

“[The performance], with Frank Peter Zimmermann and Antoine Tamestit as the eloquent soloists, is immensely enjoyable…Zimmermann again gives beautifully refined performances, with tasteful cadenzas and lead-ins. Szulc and the orchestra provide appropriately stamping rhythms in the famous ‘Turkish’ episode of the A major Concerto’s finale” BBC Music Magazine, September 2016 *****

“These new performances are brisk and no-nonsense in the current fashion, devoid of romantic lingering or interventionist point-making…[they] sound just as youthful as Zimmermann’s earlier recordings…the Turkish episode in the Fifth Concerto’s finale is flavoured with a pinch of paprika, but not drowned in it” Gramophone Magazine, July 2016

“These are superb performances, which I consider the equal of the much admired and evergreen Grumiaux accounts.” MusicWeb International, 27th January 2017

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Hänssler - HC15042

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Late Stravinsky Masterworks

Late Stravinsky Masterworks


Stravinsky:

Canticum Sacrum

Christian Elsner (tenor), Rudolf Rosen (baritone)

Agon ‘Ballet for Twelve Dancers’

Requiem Canticles

Stella Doufexis (mezzo), Rudolf Rosen (baritone)


Vocal Ensemble Stuttgart & SWR SO Baden-Baden, Michael Gielen

Michael Gielen proves once again that he is one of the masters of the 20th century repertoire. Both orchestra and conductor have established themselves among the most fluid and sensitive interpreters of 20th century music and here they are joined by the astonishingly virtuoso Vocal Ensemble Stuttgart in definitive performances of Stravinsky’s late choral works.

“Pungent and absorbing performances of three late Stravinsky scores. I can't recall ever having enjoyed a recording of the late, gnomic Requiem Canticles quite as much as this one: certainly no performance in my experience has sounded as fluent… Agon is pure aural sculpture, angular and uncompromising... but in a performance such as this that focuses its every pungent detail makes for an alluring and stimulating listen.” Gramophone Magazine, April 2009

“The biggest challenge is surmounted in Canticum Sacrum, a work conceived for the ample acoustics of St Marks Church in Venice. In this performance its austere beauty and grandeur really come to life, aided by the outstanding choral contribution from the SWR Vocal Ensemble and an atmospheric recording. The most immediately accessible piece here is undoubtedly the ballet Agon. ...Gielen's subtle balancing of textures and his impeccable pacing of the contrasting movements, not to mention the responsive playing of the orchestra, brings immense rewards.” BBC Music Magazine, June 2009 *****

“Rarely has late, gnomic Requiem Canticles sounded so fluent, from the extraordinary prelude (a fast, nervous pulsing with string lines crossing each other), through the taut drama of the 'Dies irae' to the second interlude (so reminiscent of the Symphonies of Wind Instruments) and the chiming finale, where ritual bells are enacted by celesta, glockenspiel and vibraphone, a distant recollection of Les noces. This was Stravinsky's last major composition and although it plays for barely a quarter of an hour seems fully to justify that dodecaphonic route that so many at the time had criticised him for taking.
The marginally more expansive and noticeably more austere Canticum sacrum marked the composer's return to the Russian Orthodox faith and calls on the unique combination (unique to Stravinsky that is) of flute, three oboes and bassoons, four trumpets and trombones, harp, violas, basses and organ, in addition to the voices.
Again Michael Gielen drives a confident course through a work that brooks no compromise and culminates in a harshly oratorical 'Illi autem profectae', one of the most striking episodes in all late Stravinsky.
The ballet Agon post-dates Canticum sacrum, just, and employs an even wider array of instruments, all of them used with the greatest economy and expressive force, the distinctive and rhythmically alluring interlude/prelude, a recurring motif, connecting a series of brief but terse and mostly outspoken dance movements...The recordings are both airy and admirably clear.”
Gramophone Classical Music Guide, 2010

“Agon provides a wonderful contrast, with its appropriation of baroque dance forms, generous rhythmic and melodic invention, and constantly varied orchestration, all of which Michael Gielen and his Freiburg-based orchestra audibly relish. All three are very fine performances, and provide as good an introduction to the world of late Stravinsky as any currently available on disc.” The Guardian, 17th October 2008 ****

BBC Music Magazine Awards 2010

Choral Finalist

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Hänssler - HAEN93226

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Richard Strauss: Tone Poems, Vol. 3

Richard Strauss: Tone Poems, Vol. 3


Strauss, R:

Also sprach Zarathustra, Op. 30

Aus Italien, Op. 16


Sinfonieorchester des Südwestrundfunks, Francois-Xavier Roth

With “Aus Italien” Richard Strauss began his decisive journey into the musical form that would come to define his orchestral output, the tone poem, sketched while on a tour of Italy suggested to the young composer by Brahms, Strauss‘ mastery is already evident.

François-Xavier Roth couples this work on his third volume of the complete Strauss tone poems with the monumental “Also sprach Zarathustra” – inspired by Nietzsche's book philosophic prose poem. Two great works presented in fiery performances in honor of the Richard Strauss sesquicentennial.

“Roth ladles on vitality and belief [in Aus Italien], shaping and phrasing with wholehearted spontaneity...the pleasure here lies in the elegance and energy of the performance...But that energy is channelled to far greater purpose in a quite splendid account of what by comparison is an unqualified masterpiece - Also sprach Zarathustra...It feels totally, philosophically, organic...This must be one of the most satisfying Zarathustras around.” Gramophone Magazine, December 2014

“The unobtrusive star of the show is the Freiburg Concert Hall recording, so spacious and natural. Apart from an occasional lack of warmth in the strings, the orchestra sounds first-rate. Roth knows how to mould the crucial climaxes without hitting too hard and letting the brass underline richer textures without dominating.” BBC Music Magazine, January 2015 ***

“From the pregnant low-register growling that opens Also sprach Zarathustra to the exuberant end of Aus Italien - here as swinging and scintillating as you like - this is an impressive third volume of François-Xavier Roth's survey of Richard Strauss's symphonic poems…Roth and his orchestra revel in the music's twists and turns and enjoy the copious amount of colour. Recommended!” International Record Review, March 2015

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Hänssler Richard Strauss Tone Poems - HAEN93320

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CPE Bach: Complete Works for Piano Solo

CPE Bach: Complete Works for Piano Solo


includes

Bach, C P E:

Keyboard Sonata in A minor, Wq. 49/1 (H30) 'Württemberg Sonata No. 1'

Keyboard Sonata in A flat major, Wq. 49/2 (H31) 'Württemberg Sonata No. 2'

Keyboard Sonata in E minor, Wq. 49/3 (H33) 'Württemberg Sonata No. 3'

Keyboard Sonata in B flat major, Wq. 49/4 (H32) 'Württemberg Sonata No. 4'

Keyboard Sonata in E flat major, Wq. 49/5 (H34) 'Württemberg Sonata No. 5'

Keyboard Sonata in B minor, Wq. 49/6 (H36) 'Württemberg Sonata No. 6'

Keyboard Sonata in F major, Wq. 50/1 (H136)

Keyboard Sonata in G major, Wq. 50/2 (H137)

Keyboard Sonata in A minor, Wq. 50/3 (H138)

Keyboard Sonata in D minor, Wq. 50/4 (H139)

Keyboard Sonata in B flat major, Wq. 50/5 (H126)

Keyboard Sonata in C minor, Wq. 50/6 (H140)

Keyboard Sonata in E flat major, Wq. 52/1 (H50)

Keyboard Sonata in D minor, Wq. 52/2 (H142)

Keyboard Sonata in G minor, Wq. 53/3 (H158)

Keyboard Sonata in F sharp minor, Wq. 52/4 (H37)

Keyboard Sonata in E major, Wq. 52/5 (H161)

Keyboard Sonata in E minor, Wq. 52/6 (H129)

Keyboard Sonata in C major, Wq. 53/1 (H162)

Keyboard Sonata in B flat major, Wq. 53/2 (H180)

Keyboard Sonata in A minor, Wq. 53/3 (H181)

Keyboard Sonata in B minor, Wq. 53/4 (H182)

Keyboard Sonata in C major, Wq. 53/5 (H163)

Keyboard Sonata in F major, Wq. 53/6 (H183)


Ana-Marija Markovina (piano)

- 300th Birthday of Carl Philipp Emanuel Bach on March 8th, 2014

- First recording of the complete piano works by CPE Bach

- During his lifetime, CPE Bach was more famous than his father, Johann Sebastian; it is time

to rediscover the incredible range and the quality of his once again

- Ana-Marija Markovina, the featured artist for these recordings, has been working for over ten

years with the music of CPE Bach and has developed her own intuitive approach to his style

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Hänssler - HAEN98003

(CD - 26 discs)

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Svjatoslav Richter: Piano Recital 1994

Svjatoslav Richter: Piano Recital 1994


Franck, C:

Prélude, Choral et Fugue, M21

Grieg:

Lyric Pieces Op. 62: No. 2 - Gratitude - Tak

Scherzo, Op. 54, No. 5

Lyric Pieces Op. 71: No. 3 - Puck

Lyric Pieces Op. 71: No. 4 - Peace in the woods

Ravel:

Valses nobles et sentimentales

Miroirs, 5 pieces for piano


Richter was one of the greatest exponents of the Russian Piano School and his Ravel and Grieg interpretations are considered among the finest ever made. He said of the performer “He shouldn’t dominate the music, but should dissolve into it.”

“As well as beguiling Grieg and purposeful Franck, Richter's compelling 1994 recital includes his only currently available recording of the complete Ravel Miroirs.” BBC Music Magazine, December 2011 *****

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Hänssler - HAEN93712

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Johanna Martzy Plays Mendelssohn & Brahms

Johanna Martzy Plays Mendelssohn & Brahms


Brahms:

Violin Concerto in D major, Op. 77

Mendelssohn:

Violin Concerto in E minor, Op. 64


Johanna Martzy (violin)

Stuttgart Radio Symphony Orchestra, Hans Muller-Kray, Gunter Wand

Johanna Martzy was one of the great violinists of the 20th Century. Her playing was always in the service of the composer’s intentions, avoiding extravagant displays as much as possible, instead performing with an unbridled swing, a soulful tone and flawlessly clear control as the focused medium of her musical energy. These two concerts show her talents at their most flawless. Johanna Martzy had played these works often and took her time before marking her studio recordings for EMI (with Paul Kletzki) – but in terms of creative power, these LIVE performances truly capture the spark of her genius.

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Hänssler Historic - HAEN94226

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Bach, J S: Organ Works (complete)

Bach, J S: Organ Works (complete)


Kay Johannsen, Andrea Marcon, Wolfgang Zerer, Martin Lücker, Peter Van Dijk & Bine Katrine Bryndorf (organ)

This release presents the complete organ works of J.S Bach in a single box, performed by outstanding artists, under the artistic direction of Helmuth Rilling.

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Hänssler - Edition Bachakademie - HAEN98020

(CD - 20 discs)

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Haydn: Mass, Hob. XXII:11 in D minor 'Nelsonmesse', etc.

Haydn:

Mass, Hob. XXII:11 in D minor 'Nelsonmesse'

Mass, Hob. XXII:13 in B flat major 'Schöpfungmesse'


Lothar Odinius (tenor), Roxana Constantinescu (alto), Markus Eiche (bass), Letizia Scherrer (soprano), Michael Nagy (bass), Maximilian Schmitt (tenor)

Oregon Bach Festival Chorus, Oregon Bach Festival Orchestra, Stuttgart Bach Collegium, Gächinger Kantorei Stuttgart, Helmuth Rilling

The so-called "Lord Nelson" Mass dates from 1798 when the composer was 66 and in the middle of an autumnal creative outburst that included "The Seasons", "The Creation" and the three great late Masses. Two stories explaining the origins of the popular nick-name for the dramatic Missa in angustiis (Mass in time of anguish) exist - one that the work was written at the time of the sea battle at Aboukir Bay, another that the great Admiral himself attended a performance in 1800. Haydn's Mass in B-flat Major, which he wrote in 1801 to celebrate the name day of Princess Maria Hermenegild Esterhazy whose husband, Prince Nikolaus Esterhazy, employed Haydn as his Kapellmeister. Written for orchestra, choir and soloists, this mass was nicknamed the "Creation Mass" because it quotes a few measures from Haydn's "The Creation" oratorio.

Building a Library

First Choice - March 2015

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Hänssler - HAEN98279

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