Penguin Guide Rosette Winners

Composers - A-B

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CPE Bach: Cello Concertos Nos. 1-3

CPE Bach: Cello Concertos Nos. 1-3


Bach, C P E:

Cello Concerto No. 1 in A minor, Wq. 170 (H432)

Cello Concerto No. 2 in B flat major, Wq. 171 (H436)

Cello Concerto No. 3 in A major, Wq. 172 (H439)


“Why is it that cellists who bemoan their lack of concerto repertory continue to neglect CPE Bach's three essays in the genre? It's a mystery; they're excellent pieces, full of infectious nervous energy in their outer movements and tender lyricism in central ones. They aren't unknown to the recording catalogues, however, not least because they also exist in alternative versions which the composer made for flute and harpsichord.
Though there are times when the low-lying cello has difficulty making itself heard against the orchestra, Suzuki makes light of the matter with performances whose agility, lightness and textural clarity make those of Bylsma and the largersounding Orchestra of the Age of Enlightenment sound heavy-handed. But while Suzuki – thanks to a generally thinner sound – is the more successful in the way he transmits the surface excitement and energy of the quick movements, he can't match Bylsma's vocal inspiration in the eloquent poetry of the slow movement. Suzuki's, nevertheless, are refreshing, enlivening performances of attractive and substantial music.”
Gramophone Classical Music Guide, 2010

“These works show their fine composer at his most inventive. Hidemi Suzuki, who is soloist/director here, is another fine artist from this remarkably talented family, and he creates a dashing flow of energy in the orchestral ritornellos of outer movements; and the Bach Collegium play with great zest and commitment.” Penguin Guide, 2011 edition

Penguin Guide

Rosette Winner

BIS - 20% off

BIS - BISCD807

(CD)

Normally: $17.25

Special: $13.80

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

Albéniz: Iberia

Albéniz: Iberia


Albéniz:

Iberia, books 1-4 (complete)

Navarra

Granados:

Goyescas (piano suite)


“…robust and theatrical…” Gramophone Magazine, June 2010

“Alicia de Larrocha has been playing these works, the greatest in the repertoire of Spanish piano music, all her life. Complete technical assurance in these extremely demanding works has now become taken for granted, and Larrocha isn't unique in mastering their terrors; but though there have been other distinguished interpreters, her readings have consistently remained a touchstone.
She employs plenty of subtle rubato but possesses the ability to make it sound as natural as breathing. In the true sense of that much misused word, this is classical playing, free from any superimposed striving for effect but responding fully to the music's sense of colour; and even in the densest of textures she's able to control con- flicting tonal levels. Goyescas, which can tempt the unwary into exaggerated 'expressiveness', brings forth a wealth of poetic nuance, without losing shape. The recorded quality throughout always was good and here emerges as fresh as ever. Anyone who doesn't already possess these recordings should not hesitate to acquire them now – all the more since the two discs together cost the same as one full-price one.”
Gramophone Classical Music Guide, 2010

“Alicia de Larrocha has recorded Iberia three times with almost equal success, but her 1972 analogue version is rather special. She has a unique feeling for this repertoire, and plays with great character.” Penguin Guide, 2011 edition

Penguin Guide

Rosette Winner

Decca - Double Decca - 4481912

(CD - 2 discs)

$17.00

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Beethoven: Piano Sonatas Nos. 1-32 (Complete)

Beethoven: Piano Sonatas Nos. 1-32 (Complete)

(Recorded 1951-56)


“Wilhelm Kempff was the most inspirational of Beethoven pianists. Those who have cherished his earlier stereo cycle for its magical spontaneity will find Kempff's qualities even more intensely conveyed in this mono set, recorded between 1951 and 1956. Amazingly the sound has more body and warmth than the stereo, with Kempff's unmatched transparency and clarity of articulation even more vividly caught, both in sparkling Allegros and in deeply dedicated slow movements. If in places he's even more personal, some might say wilful, regularly surprising you with a new revelation, the magnetism is even more intense, as in the great Adagio of the Hammerklavier or the final variations of Op-111, at once more rapt and more impulsive, flowing more freely. The bonus disc, entitled 'An All-Round Musician', celebrates Kempff's achievement in words and music, on the organ in Bach, on the piano in Brahms and Chopin as well as in a Bachian improvisation, all sounding exceptionally transparent and lyrical. Fascinatingly, his pre-war recordings of the Beethoven sonatas on 78s are represented too. Here we have his 1936 recording of the Pathétique, with the central Adagio markedly broader and more heavily pointed than in the mono LP version of 20 years later.” Gramophone Classical Music Guide, 2010

Penguin Guide

Rosette Winner

DG Collectors Edition - 4479662

(CD - 8 discs)

$69.50

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Bach, J S: St John Passion, BWV245

Bach, J S: St John Passion, BWV245

Sung in English


“Britten characteristically refuses to follow any set tradition, whether Baroque, Victorian or whatever, and, with greater extremes of tempo than is common (often strikingly fast), the result makes one listen afresh...A superb bargain.” Penguin Guide, 2010 ***

Penguin Guide

Rosette Winner

Decca - Double Decca - 4438592

(CD - 2 discs)

$17.00

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C.P.E. Bach - Sanguineus and Melanchilicus

C.P.E. Bach - Sanguineus and Melanchilicus


includes

Bach, C P E:

Quartet (Trio) for Flute, Viola, Cello and Keyboard in D major, Wq. 94 (H538)

Trio Sonata in G minor for viola da gamba and keyboard, Wq.88, H.510: Larghetto

Trio Sonata in C Minor 'Sanguineus & Melancholicus', Wq. 161/2 (H578)

Oboe Sonata in A minor, Wq. 132 (H562)


“More than half a century separates the earliest and the latest of the works here. The C major Trio Sonata was one of Bach's earliest compositions, written at the age of 17 more or less under his father's supervision, and the D major Quartet was composed in the last year of his life, while he was Music Director in Hamburg. The remaining items date from his time at the court of Frederick the Great. The C minor Sonata is extraordinary, a programmatic work 'portraying a conversation between a Sanguineus and a Melancholicus' who disagree throughout the first two movements, but the former's outlook prevails in the finale. The talented Florilegium players bring out to the full the bewilderingly diverse character of this sonata.
If the Sonata for unaccompanied flute was written for Frederick, as seems likely, he must have been quite skilled, able to cope with some virtuoso passagework. Ashley Solomon's performance is most persuasive. How far Carl Philipp developed is shown by the late quartet, an attractive composition which, besides promoting the keyboard (fortepiano here) from a mere continuo to prominent solo status, is already in the style of the Viennese classics in form, and links the first two movements. The whole disc is strongly recommended.”
Gramophone Classical Music Guide, 2010

Penguin Guide

Rosette Winner

Building a Library

Highly Recommended - September 2005

Channel - CCS11197

(CD)

$17.25

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Bach, C P E: Sonata and Rondos

Bach, C P E: Sonata and Rondos


GGramophone Magazine

Editor's Choice - February 2002

Penguin Guide

Rosette Winner

DG - E4596142

(CD)

$17.25

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Bach, J S: Violin Concertos

Bach, J S: Violin Concertos


Bach, J S:

Violin Concerto No. 1 in A minor, BWV1041

Arthur Grumiaux (violin)

Les Solistes Romands, Arpad Gerecz

Violin Concerto No. 2 in E major, BWV1042

Arthur Grumiaux (violin)

Les Solistes Romands, Arpad Gerecz

Concerto for Two Violins in D minor, BWV1043

Arthur Grumiaux, Herman Krebbers (violins)

Les Solistes Romands, Arpad Gerecz

Concerto for Oboe & Violin in D minor, BWV1060

Arthur Grumiaux (violin), Heinz Holliger (oboe)

New Philharmonia Orchestra, Edo de Waart


Penguin Guide

Rosette Winner

Building a Library

First Choice - October 2012

Decca - 4207002

(CD)

$12.50

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Bach - Complete Violin Sonatas

Bach - Complete Violin Sonatas


Bach, J S:

Sonatas for Violin & Harpsichord Nos. 1-6, BWV1014-1019

Sonata for Violin & Harpsichord No. 6 in G major, BWV1019a

Violin Sonata in G minor, BWV1020

Violin Sonata in G major, BWV1021

Violin Sonata in F major, BWV1022

Violin Sonata in E minor, BWV1023


Arthur Grumiaux (violin), Christiane Jaccottet (harpsichord), Philippe Mermoud (cello)

Penguin Guide

Rosette Winner

Decca Duo - 4540112

(CD - 2 discs)

$17.00

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Bach, J S: The Well-Tempered Clavier, Book 1

Bach, J S: The Well-Tempered Clavier, Book 1


Here is Book 1 of Bach's immortal 'Forty-eight' played by Canadian pianist Angela Hewitt of whose recording of the Partitas Australia's Soundscapes magazine said: 'Only superlatives will do. My appreciation of this Canadian pianist is enormous; I classify her among the top performers of our time.' And Gramophone said of the same set: 'Hardline purists who baulk at the thought of Bach on the piano should put aside their convictions long enough to hear Angela Hewitt.' Angela Hewitt's '48' (Book 2 will be issued next year) is destined to join the small list of the very greatest recordings of Bach's incomparable masterpiece. The set is graced by her own absorbing and perceptive notes on each of the Preludes and Fugues, the subjects of which are all printed in the CD booklet.

'The first recorded performances by a pianist of Book I that have made me want to hear them many times over. Strongly recommended' (Gramophone)

“Admirers of Canadian pianist Angela Hewitt's lightly articulated and elegantly phrased Bach playing won't be disappointed by this recording.
These qualities characterise the playing of each and every one of these profoundly didactic yet sublimely poetic pieces. Her restrained use of the sustaining pedal, her consequently clearly spoken articulation, and the resultant lucidity of musical thought, bring to mind the recorded performances of Edwin Fischer. Hewitt certainly sounds more comfortable in a studio than Fischer ever did, and her technique is more consistently disciplined than his was under these circumstances. Her reflective view of the more inward-looking fugues, such as the lyrical one in E flat minor, is most attractive. Taut, but with a suppleness that's entirely devoid of stiffness, this is indeed cogent and gracefully beautiful playing of a high order. You may sense, from time to time, an overtly intense element of subjective thought in her understanding of the music, a quality which seems to be endorsed by occasional references in her lively, illuminating and detailed introduction, to Bach's 'sense of inner peace', and so on. However, to conclude on a thoroughly positive and enthusiastic note, these are performances of Book 1 that you'll want to hear many times over. The recording and instrument sound well, too.
Hewitt's Book 2 is a delight to both ear and mind. Everything is in the best taste and free of exhibitionism. There are subtle tonal nuances, natural rises and falls of dynamics, well-defined differentiation of contrapuntal lines and appreciation of the expressive implications of Bach's chromaticisms. Throughout her playing of these preludes and fugues – several longer, more mature and more demanding than those of Book 1 – there's a sense of unhurried poise, with flowing rhythm. The air of tranquillity is underlined by her frequent adoption of very quiet openings, many of which then take on a warmer tone towards the end – even the E major Fugue, which Landowska labelled 'combative', is handled quietly, yet she's able to sound contemplative (as in the E major Fugue) without lapsing into Tureckian reverentiality.
Just occasionally Bach's more intense movements tempt her into emotional rubatos which, though musically affecting, take Bach out of his century, and not everyone will care for the big allargandos she makes at the ends of some of the earlier movements. Otherwise these are musicianly and imaginative performances.”
Gramophone Classical Music Guide, 2010

Penguin Guide

Rosette Winner

Hyperion - Angela Hewitt Bach - CDA67301/2

(CD - 2 discs)

$34.50

In stock - usually despatched within 1 working day.

Bach, J S: The Well-Tempered Clavier, Book 2

Bach, J S: The Well-Tempered Clavier, Book 2


This is the fifth release in Angela Hewitt's universally acclaimed series of Bach's keyboard music which is fast being seen as the definitive modern recording of this repertoire on the piano. Bach's Well-tempered Clavier ('The 48') consists of two books of 24 Preludes and Fugues in all the major and minor keys, and has been described as the pianist's 'Old Testament'. For over two hundred years these pieces have been the foundation of every pianist's repertoire.

'A delight to both ear and mind. I have nothing but enthusiasm for Angela Hewitt's musicianly and imaginative performances' (Gramophone)

“Admirers of Canadian pianist Angela Hewitt's lightly articulated and elegantly phrased Bach playing won't be disappointed by this recording.
These qualities characterise the playing of each and every one of these profoundly didactic yet sublimely poetic pieces. Her restrained use of the sustaining pedal, her consequently clearly spoken articulation, and the resultant lucidity of musical thought, bring to mind the recorded performances of Edwin Fischer. Hewitt certainly sounds more comfortable in a studio than Fischer ever did, and her technique is more consistently disciplined than his was under these circumstances. Her reflective view of the more inward-looking fugues, such as the lyrical one in E flat minor, is most attractive. Taut, but with a suppleness that's entirely devoid of stiffness, this is indeed cogent and gracefully beautiful playing of a high order. You may sense, from time to time, an overtly intense element of subjective thought in her understanding of the music, a quality which seems to be endorsed by occasional references in her lively, illuminating and detailed introduction, to Bach's 'sense of inner peace', and so on. However, to conclude on a thoroughly positive and enthusiastic note, these are performances of Book 1 that you'll want to hear many times over. The recording and instrument sound well, too.
Hewitt's Book 2 is a delight to both ear and mind. Everything is in the best taste and free of exhibitionism. There are subtle tonal nuances, natural rises and falls of dynamics, well-defined differentiation of contrapuntal lines and appreciation of the expressive implications of Bach's chromaticisms. Throughout her playing of these preludes and fugues – several longer, more mature and more demanding than those of Book 1 – there's a sense of unhurried poise, with flowing rhythm. The air of tranquillity is underlined by her frequent adoption of very quiet openings, many of which then take on a warmer tone towards the end – even the E major Fugue, which Landowska labelled 'combative', is handled quietly, yet she's able to sound contemplative (as in the E major Fugue) without lapsing into Tureckian reverentiality.
Just occasionally Bach's more intense movements tempt her into emotional rubatos which, though musically affecting, take Bach out of his century, and not everyone will care for the big allargandos she makes at the ends of some of the earlier movements. Otherwise these are musicianly and imaginative performances.”
Gramophone Classical Music Guide, 2010

Penguin Guide

Rosette Winner

Hyperion - Angela Hewitt Bach - CDA67303/4

(CD - 2 discs)

$34.50

In stock - usually despatched within 1 working day.

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