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See Terms & Conditions for p&p rates. | |  | Baroque Voices 31: Bach: Aria
plus: Aria "ach herr ! was ist ein menschenkind?" (Kantate BWV 110) Aria "kreuz und krone sind verbunden" (Kantate BWV 12) Aria "gott versorget alles leben" (Kantate BWV 187) Aria "ach bleib bei uns herr jesu christ" (Kantate BWV 6)
Heloïse Gaillard (recorder, oboe, oboe d’amore), Violaine Cochard (harpsichord, organ), Ophélie Gaillard (cello, piccolo cello), Anne-Marie Lasla (viola da gamba), Maîtrise De Colmar, Arlette Steyer, Antoine Walter & Bertrand Domenichini Ensemble Amarillis Voluptuousness of sound, the pleasure of a curved line, in its most carnal, most sensitive and most gentle essence of human expression, because Bach the man loved the voice passionately. | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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| |  | Arturo Benedetti Michelangeli, Vol. 11941-1948
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| |  | JS Bach: Goldberg Variations, Italian Concerto & Chromatic Fantasia and Fugue
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| |  | Bach: Well-Tempered Clavier, Book 1
Anthony Newman (harpsichord) | |
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| |  | Miku Nishimoto-Neubert plays Bach
Miku Nishimoto-Neubert (piano) | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Bach: Italian ConcertoOrgan arrangements by Hansjörg Albrecht
Hansjörg Albrecht (Mühleisen Organ in the Church of St. Paul, Harsewinkel, Germany) Hansjörg Albrecht’s series of arrangements for organ have been a success with organ aficianados and wider audiences. The programme is complemented by other Bach compositions including the Passaglia in C minor for organ and the famous Chaconne in D minor for solo violin, arranged by Landmann. | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | JS Bach - Clavier-Übung II
Pascal Dubreuil (harpsichord) Pascal Dubreuil’s recording of the Bach Partitas has been highly acclaimed in the international press and has received, among other awards, the Preis der deutschen Schallplattenkritic. | | | (also available to download from $10.50) | Usually despatched in 4 - 5 working days. (Available now to download.) |
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| |  | Bach - Clavierübung II
Alexander Weimann (harpsichord) Alexander Weimann is one of the most sought-after and respected ensemble directors, soloists and chamber music partners of his generation. His CD of harpsichord works by Scarlatti on ATMA was well reviewed. Here he turns his attention to the works of Bach including the French Overture BWV 831 and the Italian Concerto BWV 971. | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Walter Gieseking plays Bach & Beethoven
Bach, J S: | Italian Concerto, BWV971 Recorded in January 1940, Berlin Partita No. 1 in B flat major, BWV825 (excerpts) Recorded in January 1939, in Berlin and August 1934, in Vienna Partita No. 5 in G major, BWV829 Recorded on 5th April 1939, in New York Partita No. 6 in E minor, BWV830 Recorded on 28th February 1939, in New York French Suite No. 5 in G major, BWV816 (excerpts) (Gigue) Recorded on 5th April 1939, in New York Cantata BWV147 'Herz und Mund und Tat und Leben': Jesu, bleibet meine Freude (arr. M. Hess) Recorded on 5th April 1939, in New York | Beethoven: | Piano Sonata No. 17 in D minor, Op. 31 No. 2 'Tempest' Recorded on 13th March 1931, in Westminster Central Hall, London Bagatelle in E flat major, Op. 33 No. 1 Recorded on 11th August 1938, in Westminster Central Hall, London |
Walter Gieseking’s interpretations of Bach in the early years of his career gained him laurels for “his control over shades of tone, especially over infinite gradations in the range between piano and pianissimo, the clear definition of his agile finger-work, and the firm outlines of his rhythm and phrasing… This style, so lucid and so rhythmical, is the perfect vehicle for Bach’s keyboard music”. Gieseking’s 1931 account of Beethoven’s ‘Tempest’ Sonata also won him contemporary critical accolades: “Perfect playing matched with perfect recording. I know of no better interpretation of this sonata… a splendid achievement, one of the high water marks of piano recording”. “…Gieseking's Bach… has a peerless lightness, grace and natural beauty… In the Fifth Partita… Gieseking shows the most subtle virtuosity and is no less convincing in the Sixth Partita's more strenuous and concentrated demands.” Gramophone Magazine, January 2010 | | | (also available to download from $9.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Michelangeli - The Early Recordings Volume 1
Albéniz: | Recuerdos de Viaje, Op. 71: No. 6 - Rumores de la caleta Recorded in Milan, c. December 1941–February 1942 | Bach, J S: | Italian Concerto, BWV971 Recorded in Milan, 22nd January 1943 Partita for solo violin No. 2 in D minor, BWV1004: Chaconne (arr. Busoni) Recorded in London, 27th October 1948 | Brahms: | Variations on a theme by Paganini in A minor, Op. 35 Recorded in London, 26th October 1948 | Galuppi: | Presto in B flat Recorded in London, 27th October 1948 | Granados: | Danza española, Op. 37 No. 5 'Andaluza' Recorded in Milan, c. November–December 1939 | Marescotti: | Fantasque Recorded in Milan, c. November–December 1939 | Mompou: | Cancion y danza No. 1 Recorded in Milan, c. December 1941–February 1942 | Scarlatti, D: | Keyboard Sonata K96 in D major Recorded in Milan, 1941-1943 Keyboard Sonata K27 in B minor Recorded in Milan, 1941-1943 Keyboard Sonata K11 in C minor Recorded in Milan, 1941-1943 Keyboard Sonata K9 in D minor Recorded in Milan, 1941-1943 | Tomeoni, P: | Allegro in G Recorded in Milan, 22nd January 1943 |
Michelangeli’s first recordings were made for HMV in Milan in 1939, following his win at the Geneva International Piano Competition. In Granados’s Andaluza Michelangeli uses a soulful singing tone to great advantage, while his phenomenal virtuoso technique can be heard in Marescotti’s Fantasque, one of the test pieces for the Geneva Competition. These and the 1948 recordings of Bach, Galuppi and Brahms demonstrate that as a young man Michelangeli was already a consummate artist. As a critic wrote about the recording of the Brahms Paganini Variations: “What a pianist! Technically, the playing is astonishing: interpretatively, here is a very great musician…altogether this is the most exciting piano performance and recording I have heard for many a long day.” “Apollonian stance and awe-inspiring control….. The dynamic range reinforces the Lisztian patina of Michelangeli's conception….[a] ravishing, multi-layered sound world.” Classics Today “Was Michelangeli's best playing his earliest? Here's a remarkable artist - overwhelmingly masterful in Brahms's Paganini Variations, engaging in Bach, poetic in Scarlatti, impulsive and haunting in Granados and Albéniz.” BBC Music Magazine, February 2009 ***** “Michelangeli ranks among the grandest of all musical autocrats. And when his transcendent mastery is complemented by warmth, wit and charm, such additions are beyond price. Early in his career he possessed a Romantic as well as magisterial charisma, and listening to his performance of Bach's Italian Concerto with its wealth of colour, nuance and resilience is to be reminded that a human heart beat beneath that legendary froideur. What sparkle, too, in Tomeoni's G major Allegro and how he plays the arch-seducer to the manner born in Albé- niz's Malagueña. Granados's Andaluza is heavily but irresistibly personalised, all fun and fancyfree; hardly for lovers of a more 'correct' Spanish style, while Marescotti's Fantasque is spun off with a virtuosity as life-enhancing as it is thrilling.
Michelangeli's reordering of the Brahms Paganini Variations is odd, but his performance remains of classic status. So, too, does his way with the Bach/Busoni Chaconne with his rapid tempi and lean, not-an-ounce-of-fat way with Busoni's maestoso instruction. This is an issue that all lovers of great artistry will pounce on, particularly when so enticingly offered on Naxos's bargain label.” Gramophone Classical Music Guide, 2010 “Michelangeli ranks among the grandest of all musical autocrats. And when his transcendent mastery is complemented by warmth, wit and charm, such additions are beyond price. This is an issue that all lovers of great artistry will pounce on…” Gramophone Magazine, March 2009 | | | (also available to download from $9.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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