{"title":"New Classical Artists (CD)","description":"","products":[{"product_id":"pre-order-sinfonia-of-london-puccini-orchl-works-cd-mint-m","title":"Sinfonia Of London - Puccini: Orchl Works (CD) (New (N))","description":"\u003cp\u003ePuccini is renowned as one of the greatest opera composers of all time and his early works - before Manon Lescaut catapulted him to international fame - offer a fascinating insight into his development as a composer. John Wilson and Sinfonia of London explore this repertoire with characteristic style and commitment, leading us on a journey through student compositions and orchestral extracts from his earliest operas. Studying under Amilcare Ponchielli at the Milan Conservatory from 1880 to 1883, he created the Preludio sinfonico (loosely based on Wagner's Prelude to Lohengrin), the Scherzo, Trio, and Adagetto, and Capriccio sinfonico, his graduation piece, which famously pre-echoes the opening of La boheme by a decade. The one-act opera Le villi was composed for a competition launched by the publisher Sonzogno (Puccini didn't win), whilst themes from the contemporaneous Tre minuetti and Crisantemi (both for string quartet) were subsequently re-cycled in Manon Lescaut. 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Composed within a year of his First Symphony, it is one of his longest orchestral compositions and has the reputation of being one of the most difficult in the violin repertoire. He dedicated it to the noted violin master of his day, Fritz Kreisler, who gave the premiere performance in 1910 with Elgar conducting.Â The Hungarian violinist Tibor Varga (1921-2003) was 6 years old when he made his first public appearance, becoming one of the most prominent soloists of his generation. The Franz Liszt AcademyÂ appointed him an honorary professor-a rare distinction also awarded to Elgar, Emil Gilels, Richard Strauss, and Arturo Toscanini, amongst others.Â Varga moved to London in 1947, became a citizen, and lived in Britain for nine years. That experience is reflected in his fine, committed performance of Elgar's concerto. This recording, from 1957, is with the Dutch composer and conductorÂ Jan Koetsier and theÂ Bamberg Symphony Orchestra.Â Â Following the Great War, Lady Elgar noted that her husband's compositions were different in style and character. His four-movementÂ Cello Concerto, completed in 1919, is barely longer than the first movement of his Violin Concerto, and it is a contemplative, elegiac work with a heartfelt third-movementÂ adagioÂ that is a masterful example of controlled emotion. Yet the concerto ends on a positive note, as the declamatory opening returns in a valedictory form at the end of the finale.Â TheÂ renowned cellistÂ Andre NavarraÂ (1911-1988)Â graduated from the Paris Conservatoire at the age of fifteen, and he was later mentored by Pablo Casals. He toured extensively in the United States, Europe, Asia, and the Soviet Union, playing with the great conductors of the era, and he was one of a number of distinguished French cellists who embraced the Elgar concerto. He chose it for his first public performance in Britain at the 1950 Cheltenham Festival with John Barbirolli-with whom he recorded the concerto in 1957. 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The release includes the 11 Grands Preludes and Handel transcription Op. 66, the Petits Preludes sur les huit gammes du plainchant, and the Impromptu on Luther's \"Ein feste Burg\", Op. 69. The booklet outlines Alkan's background, his distinctive position in 19th-century French music, and the technical demands of these rarely recorded pieces. 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Allegretto Un Poco\u003c\/li\u003e\n\u003cli\u003eClarinet Concerto Op. 57: II. Poco Adagio\u003c\/li\u003e\n\u003cli\u003eClarinet Concerto, Op. 57: III. Allegro Non Troppo\u003c\/li\u003e\n\u003cli\u003eClarinet Concerto, Op. 57: IV. Allegro Vivace\u003c\/li\u003e\n\u003cli\u003eFlute Concerto: I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eFlute Concerto: II. 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The Estonian composer has been part of Paavo Jarvi's life since childhood: \"Arvo was my sister's and my father's supercool friend. He wore a baseball cap, jeans and a denim jacket\". The history of the Jarvi family is intimately linked to Part's work, since it was the now legendary concert in which Neeme Jarvi - Paavo's father - conducted Part's Credo in 1968 that caused the Soviet regime to blacklist the Jarvi family and precipitate their departure from Estonia. Credo is also included in this vast programme that covers 45 years of composing. What lies behind this music's simplicity and depth? One answer possibly lies in a remark that Part made in London during a rehearsal with Paavo: \"I have the impression that the orchestra doesn't like this chord enough\". 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The Expressions lyriques form the pinnacle of these experiments, blending speech and song. The cycle Chansons des bois d'Amaranthe is also notable for the originality of it's scoring: a quartet of singers in dialogue with an orchestra animated by a voluble piano part.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNoÃ«l paÃ¯en\u003c\/li\u003e\n\u003cli\u003eLarmes maternelles\u003c\/li\u003e\n\u003cli\u003eÃ‰lÃ©gie\u003c\/li\u003e\n\u003cli\u003eSainte ThÃ©rÃ¨se prie\u003c\/li\u003e\n\u003cli\u003eDon CÃ©sar de Bazan~Entracte-SÃ©villana\u003c\/li\u003e\n\u003cli\u003eChansons des Bois d'Amaranthe~I. O bon printemps\u003c\/li\u003e\n\u003cli\u003eChansons des Bois d'Amaranthe~II. Oiseau des bois\u003c\/li\u003e\n\u003cli\u003eChansons des Bois d'Amaranthe~III. ChÃ¨res fleurs\u003c\/li\u003e\n\u003cli\u003eChansons des Bois d'Amaranthe~IV. 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Following his acclaimed interpretation of Book I (released on Deutsche Grammophon in 2014), Aimard brings his signature clarity, insight, and depth to this second collection of 24 Preludes and Fugues, exploring Bach's extraordinary harmonic and contrapuntal imagination. With a lifelong dedication to both early and contemporary music, Aimard approaches the Well-Tempered Clavier, Book II not merely as a historical masterpiece but as a vibrant and endlessly inventive work. His performance highlights Bach's ability to blend expressive lyricism with intellectual rigor, creating a deeply engaging and illuminating listening experience.A renowned champion of twentieth-century music, Pierre-Laurent Aimard has released multiple acclaimed albums in his exclusive contract with PENTATONE, including Messiaen's Catalogue d'Oiseaux (2018) and Visions de l'Amen (2022), along with Beethoven's Hammerklavier Sonata \u0026amp; Eroica Variations (2021). He also joined Tamara Stefanovich in Etudes and Frames (2023), with music by Vassos Nicolaou, recorded Bartok's Piano Concertos with the San Francisco Symphony and Esa-Pekka Salonen (2023), Schubert: Landler (2024), and Kurtag: Jatekok (2025).\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWell-Tempered Clavier, Book 2~Prelude No. 1 in C Major, BWV 870\u003c\/li\u003e\n\u003cli\u003eWell-Tempered Clavier, Book 2~Fugue No. 1 in C Major, BWV 870\u003c\/li\u003e\n\u003cli\u003eWell-Tempered Clavier, Book 2~Prelude No. 2 in C Minor, BWV 871\u003c\/li\u003e\n\u003cli\u003eWell-Tempered Clavier, Book 2~Fugue No. 2 in C Minor, BWV 871\u003c\/li\u003e\n\u003cli\u003eWell-Tempered Clavier, Book 2~Prelude No. 3 in C-Sharp Major, BWV 872\u003c\/li\u003e\n\u003cli\u003eWell-Tempered Clavier, Book 2~Fugue No. 3 in C-Sharp Major, BWV 872\u003c\/li\u003e\n\u003cli\u003eWell-Tempered Clavier, 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'the sense of senses' is a milestone that celebrates this connection, across time and space, to deliver a message that music can be a benevolent force for change if we only take the time to listen.\"This album is a collection of works that capture the intimate side of The Crossing's relationship with David Lang,\" Nally explains. \"Only two were written for us, yet the others reflect a shared world view, a common idea about sound and community, and a collective focus on our reason for singing. 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His melancholic music, filled with deep emotional expression, perfectly captures the mood of the Elizabethan and Jacobean eras. His famous works include the Bookes of Songes or Ayres and Lachrimae, or Seaven Teares, featuring pieces like \"Flow my tears\" and \"Come heavy sleep\". Dowland's compositions are characterized by their exquisite balance between poignant vocal melodies and intricate lute accompaniments, as well as his virtuosic solo lute pieces, which are still staples in the repertoire today.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe First Booke of Songes: IX. Go Crystall Teares\u003c\/li\u003e\n\u003cli\u003eThe First Booke of Songes: XIX. Awake, Sweet Love\u003c\/li\u003e\n\u003cli\u003eThe First Booke of Songes: XVIII. His Golden Locks Time Hath to Silver Turn'd\u003c\/li\u003e\n\u003cli\u003eThe First Booke of Songes: VI. Now, O Now\u003c\/li\u003e\n\u003cli\u003eThe Second Booke of Songes: XVII. a Shepherd in a Shade Is Plaining Made\u003c\/li\u003e\n\u003cli\u003eThe Third Booke of Songs: IX. What If I Never Speede\u003c\/li\u003e\n\u003cli\u003eLamentatio Henrici Noel: The Lamentation of a Sinner\u003c\/li\u003e\n\u003cli\u003eLamentatio Henrici Noel: Domine Ne in Furore\u003c\/li\u003e\n\u003cli\u003eLamentatio Henrici Noel: Miserere Mei Deus\u003c\/li\u003e\n\u003cli\u003eLamentatio Henrici Noel: The Humble Sute of a Sinner\u003c\/li\u003e\n\u003cli\u003eLamentatio Henrici Noel: The Complaint of a Sinner\u003c\/li\u003e\n\u003cli\u003eLamentatio Henrici Noel: de Profundis\u003c\/li\u003e\n\u003cli\u003eLamentatio Henrici Noel: Domine Exaudi\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: Disdaine Me Still\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: Tell Me True Love\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: Thou Mighty God (The First Part)\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: When Davids Life By Saul (The Second Part)\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: When the Poore Criple (The Third Part)\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: Welcome Black Night\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: Cease These False Sports\u003c\/li\u003e\n\u003cli\u003eA Shepherd in a Shade\u003c\/li\u003e\n\u003cli\u003eWhere Sin Sore Wounding\u003c\/li\u003e\n\u003cli\u003eThe Third Booke of Songes: No. 7 Say, Love, If Ever Thou Didst Find\u003c\/li\u003e\n\u003cli\u003eThe Second Book of Songes: No. 12 Fine Knacks for Ladies\u003c\/li\u003e\n\u003cli\u003eThe Firste Booke of Songes: No. 17, Come Again Sweet Love\u003c\/li\u003e\n\u003cli\u003eThe Firste Booke of Songes: No. 17, Come Again, Sweet Love Doth Now Invite\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: No. 9, Goe Nightly Cares, the Enemy to Rest\u003c\/li\u003e\n\u003cli\u003eLa Mia Barbara, Pavan, P. 95\u003c\/li\u003e\n\u003cli\u003eThe Firste Booke of Songes: No. 4, If My Complaints Could Passions Move\u003c\/li\u003e\n\u003cli\u003eThe Firste Booke of Songes: No. 19, Awake, Sweet Love\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: No. 10, from Silent Night, True Register of Moanes\u003c\/li\u003e\n\u003cli\u003eThe Right Honourable Robert, Earl of Essex, His Galliard, P. 42, \"Can She Excuse\"\u003c\/li\u003e\n\u003cli\u003eLachrimae, or Seven Tears: No. 19, Mr. Bucton's Galliard\u003c\/li\u003e\n\u003cli\u003eLachrimae, or Seven Tears: No. 17, Mr. Thomas Collier His Galliard\u003c\/li\u003e\n\u003cli\u003eEnsemble a Musicall Banquet: X. in Darkness Let Me Dwell\u003c\/li\u003e\n\u003cli\u003eThe Second Book of Songes: No. 2, Flow My Tears\u003c\/li\u003e\n\u003cli\u003eThe Frog Galliard, P. 23\u003c\/li\u003e\n\u003cli\u003eLachrimae, or Seven Tears: No. 18, Captain Digorie Piper His Galliard\u003c\/li\u003e\n\u003cli\u003eThe Firste Booke of Songes: No. 11, Come Away, Come Sweet Love\u003c\/li\u003e\n\u003cli\u003eLord Strang's March, P. 65 (Arr. By Jacob Heringman)\u003c\/li\u003e\n\u003cli\u003eThe Second Book of Songes: No. 12, Fine Knacks for Ladies (Arr. Heringman)\u003c\/li\u003e\n\u003cli\u003eLachrimae, or Seven Tears: No. 20, Mistress Nichols Almand (Arr. Heringman)\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: No. 11, Lasso Vita Mia Mi Fa Morire\u003c\/li\u003e\n\u003cli\u003eThe Second Book of Songes: No. 3, Sorrow, Sorrow, Stay, Lend True Repentant Tears\u003c\/li\u003e\n\u003cli\u003eFantasia in G Major, P. 1\u003c\/li\u003e\n\u003cli\u003eThe Third Booke of Songes: No. 2, Time Stands Still\u003c\/li\u003e\n\u003cli\u003ePsalm C. \"Be Thou, O God, Exalted High\"\u003c\/li\u003e\n\u003cli\u003eLady Laiton's Almain, P. 48\u003c\/li\u003e\n\u003cli\u003eSecond Book of Songs: No. 22, Humor Say What Makst Thou Heere\u003c\/li\u003e\n\u003cli\u003eThe Most Sacred Queene Elizabeth Her Galliard, P. 41\u003c\/li\u003e\n\u003cli\u003eThird Book of Ayres: No. 7, Say, Love, If Ever Thou Didst Find\u003c\/li\u003e\n\u003cli\u003eGalliard, P. 24 \"Awake, Sweet Love\"\u003c\/li\u003e\n\u003cli\u003eFirst Book of Songs: No. 7, Come Away, Come Sweet Love\u003c\/li\u003e\n\u003cli\u003eFirst Book of Songs: No. 13, Sleep, Wayward Thoughts\u003c\/li\u003e\n\u003cli\u003eFirst Book of Songs: No. 20, Come, Heavy Sleep\u003c\/li\u003e\n\u003cli\u003eFirst Book of Songs: No. 4, If My Complaints Could Passions Move\u003c\/li\u003e\n\u003cli\u003ePavan a 4\u003c\/li\u003e\n\u003cli\u003eFirst Book of Songs: No. 5, Can She Excuse My Wrongs\u003c\/li\u003e\n\u003cli\u003eLady, If You So Spite Me\u003c\/li\u003e\n\u003cli\u003eFirst Book of Songs: No. 17, Come Again, Sweet Love Doth Now Invite\u003c\/li\u003e\n\u003cli\u003eFirst Book of Songs: No. 9, Go, Crystal Tears\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: No. 7, Stay, Time, Awhile Thy Flying\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: No. 13, If That a Sinner's Sighs\u003c\/li\u003e\n\u003cli\u003eThird Book of Songs: No. 15, Weep You No More, Sad Fountains\u003c\/li\u003e\n\u003cli\u003eLachrimae: No. 21, Mr. George Whitehead His Almand\u003c\/li\u003e\n\u003cli\u003eFirst Book of Songs: No. 15, with You, Unkind, Thus Reave Me\u003c\/li\u003e\n\u003cli\u003eTarletone's Riserrectione, P. 59\u003c\/li\u003e\n\u003cli\u003eFar from Triumphing Court\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: No. 11, Lasso Vita Mia\u003c\/li\u003e\n\u003cli\u003eThe Frog Galliard, P. 23\u003c\/li\u003e\n\u003cli\u003eFirst Book of Songs: No. 6, Now O Now I Needs Must Part\u003c\/li\u003e\n\u003cli\u003eThird Book of Songs: No. 14, Farewell Unkind, Farewell\u003c\/li\u003e\n\u003cli\u003eThe First Booke of Songes or Ayres: Awake, Sweet Love (The First Booke of Songes)\u003c\/li\u003e\n\u003cli\u003eCan She Excuse My Wrongs? (The First Booke of Songes or Ayres)\u003c\/li\u003e\n\u003cli\u003eAll Ye Whom Love or Fortune\u003c\/li\u003e\n\u003cli\u003eThe First Booke of Songs or Ayres: Dear, If You Change\u003c\/li\u003e\n\u003cli\u003eLachrimae, or Seaven Teares: Semper Dowland Semper Dolens\u003c\/li\u003e\n\u003cli\u003eMister Dowland's Midnight (Orpharion)\u003c\/li\u003e\n\u003cli\u003eThe Second Booke of Songs or Ayres: Sorrow, Stay!\u003c\/li\u003e\n\u003cli\u003eThe Second Booke of Songs or Ayres: Die Not Before Thy Day\u003c\/li\u003e\n\u003cli\u003eThe Second Booke of Songs or Ayres: Mourn! Mourn!\u003c\/li\u003e\n\u003cli\u003eWoeful Heart (The Second Booke of Songs or Ayres)\u003c\/li\u003e\n\u003cli\u003eNow Cease My Wand'ring Eyes\u003c\/li\u003e\n\u003cli\u003eThe Third and Last Booke of Songs or Ayres: Behold a Wonder Here\u003c\/li\u003e\n\u003cli\u003eThe Third and Last Booke of Songs or Ayres: The Lowest Trees\u003c\/li\u003e\n\u003cli\u003eMe, Me and None But Me (The Third and Last Booke of Songs or Aires)\u003c\/li\u003e\n\u003cli\u003eThe Third and Last Booke of Songs or Ayres: Farewell, Too Fair\u003c\/li\u003e\n\u003cli\u003eThe Third and Last Booke of Songs or Ayres: Earl of Derby His Galliard\u003c\/li\u003e\n\u003cli\u003eThe Third and Last Booke of Songs or Ayres: Mistress Winter's Jump\u003c\/li\u003e\n\u003cli\u003eA Pilgrim's Solace: Stay, Time\u003c\/li\u003e\n\u003cli\u003eA Pilgrim's Solace: Shall I Strive\u003c\/li\u003e\n\u003cli\u003eA Pilgrimes Solace: Thou Mighty God\u003c\/li\u003e\n\u003cli\u003eFine Knacks for Ladies\u003c\/li\u003e\n\u003cli\u003eIn Darkness Let Me Dwell\u003c\/li\u003e\n\u003cli\u003eFlow My Tears\u003c\/li\u003e\n\u003cli\u003eSorrow, Sorrow Stay\u003c\/li\u003e\n\u003cli\u003eSweete Stay a While, Why Will You? from a Pilgrimes Solace\u003c\/li\u003e\n\u003cli\u003eClear or Cloudy\u003c\/li\u003e\n\u003cli\u003eI Saw My Lady Weepe from the Second Booke of Songs or Ayres\u003c\/li\u003e\n\u003cli\u003eCome Away, Come Sweet Loue from the First Book of Songs or Ayres\u003c\/li\u003e\n\u003cli\u003eSemper Dowland Semper Dolens from Lachrimae, or Seaven Teares\u003c\/li\u003e\n\u003cli\u003eI Must Complain\u003c\/li\u003e\n\u003cli\u003eCharles Daniels\/Flow, My Tears (The Second Booke of Songs or Ayres)\u003c\/li\u003e\n\u003cli\u003eCharles Daniels\/Shall I Sue? (The Second Booke of Songs or Ayres)\u003c\/li\u003e\n\u003cli\u003eAll Ye Whom Love or Fortune\u003c\/li\u003e\n\u003cli\u003eWhat Poor Stronomers Are They\u003c\/li\u003e\n\u003cli\u003eThe Earle of Essex Galiard from Lachrimae, or Seaven Teares\u003c\/li\u003e\n\u003cli\u003eNow Cease My Wand'ring Eyes\u003c\/li\u003e\n\u003cli\u003eFlow Not So Fast Ye Fountains\u003c\/li\u003e\n\u003cli\u003eCharles Daniels\/Me, Me and None But Me (The Third and Last Booke of Songs or Aires)\u003c\/li\u003e\n\u003cli\u003eCome Heauy Sleepe from the First Book of Songs or Ayres\u003c\/li\u003e\n\u003cli\u003eA Fantasia P 1\u003c\/li\u003e\n\u003cli\u003eThou Mighty God from a Pilgrimes Solace\u003c\/li\u003e\n\u003cli\u003eWhen David's Life\u003c\/li\u003e\n\u003cli\u003eWhen the Poor Cripple\u003c\/li\u003e\n\u003cli\u003eSecond Book of Songs: No. 2, Flow My Tears\u003c\/li\u003e\n\u003cli\u003eA Musicall Banquet: No. 3, in Darkness Let Me Dwell\u003c\/li\u003e\n\u003cli\u003eThe Firste Booke of Songes: No. 17, Come Again! 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Composed in collaboration with Raoul Pugno and based on a libretto by Gabriele D'Annunzio, the work was originally planned for it's World Premiere in Paris in 1914, but the outbreak of World War I silenced it before it could be heard. Now, more than a century later, this long-buried score rises from obscurity, a revivified opera where forgotten desires return to life against the backdrop of ancient ruins.Set in the crumbling city of Mycenae, where buried passions mirror a decaying past, the opera unfolds through themes of obsession, betrayal, and blurred boundaries. It's rich emotional landscape is matched by impressionistic orchestral textures and intimate, arioso-style writing that nods to the styles of both Debussy and Wagner. In this evocative setting, Boulanger reveals a daring, expressive side that defies her reputation as the stern guardian of musical tradition.This landmark world premiere recording marks the PENTATONE debut of soprano Melissa Harvey, mezzo-soprano Laurie Rubin, tenor Joshua Dennis, baritone Jorell Williams, the Talea Ensemble, and conductor Neal Goren. The opera's orchestration, by Joseph Stillwell and Stephan Cwik under the supervision of David Conte, breathes new life into a long-silent score. A co-production between Catapult Opera and the Greek National Opera, La ville morte not only resurrects Boulanger's compositional brilliance but also claims a thrilling place in the modern operatic repertoire.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eville morte~Act I. Introduction\u003c\/li\u003e\n\u003cli\u003eville morte~Act I. Eros invaincu au combat\u003c\/li\u003e\n\u003cli\u003eville morte~Act I. Comme tu aimes le soleil ...\u003c\/li\u003e\n\u003cli\u003eville morte~Act I. D'oÃ¹ viens-tu, Alexandre?\u003c\/li\u003e\n\u003cli\u003eville morte~Act I. L'or, l'or... Une immensite d'or...\u003c\/li\u003e\n\u003cli\u003eville morte~Act I. Non, non, LÃ©onard ! Je t'en prie!\u003c\/li\u003e\n\u003cli\u003eville morte~Act II. Introduction\u003c\/li\u003e\n\u003cli\u003eville morte~Act II. Ah, vous Ãªtes seule...\u003c\/li\u003e\n\u003cli\u003eville morte~Act II. Ah! les spirales...\u003c\/li\u003e\n\u003cli\u003eville morte~Act II. Alexandre!... Me voici, Anne!\u003c\/li\u003e\n\u003cli\u003eville morte~Act II. Tu regardes les joyaux de Cassandre?\u003c\/li\u003e\n\u003cli\u003eville morte~Act II. Oui, je parlerai\u003c\/li\u003e\n\u003cli\u003eville morte~Act II. Tu la connais...\u003c\/li\u003e\n\u003cli\u003eville morte~Act III. Les Ã©toiles commencent Ã  paraÃ®tre?\u003c\/li\u003e\n\u003cli\u003eville morte~Act III. Vous appelez LÃ©onard?\u003c\/li\u003e\n\u003cli\u003eville morte~Act III. Non, non! Je ne veux pas!\u003c\/li\u003e\n\u003cli\u003eville morte~Act III. Vous me voyez, mes soeurs, voyez!\u003c\/li\u003e\n\u003cli\u003eville morte~Act IV. Prelude\u003c\/li\u003e\n\u003cli\u003eville morte~Act IV. Ne la touche pas!\u003c\/li\u003e\n\u003cli\u003eville morte~Act IV. Si elle se levait maintenant...\u003c\/li\u003e\n\u003cli\u003eville morte~Act IV. Un pas!\u003c\/li\u003e\n\u003cli\u003eville morte~Act IV. HÃ©bÃ©! 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Pianist Daan Vandewalle premiered the first two books of the Road and remained an artistic confidant throughout the creation of the remaining volumes of The Road. 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A keen chamber musician, who has performed in some of the world's finest venues, Jean has assembled a programme of luscious Romantic works. Albeit not included in this recital, Brahms serves as the link to all four works. Gustav Jenner was his only long-term pupil; the teacher's stylistic shadow can be sensed in Jenner's Clarinet Sonata, an ambitious work showcasing the instrument's innate mellifluousness. Robert and Clara Schumann were Brahms's friends and mentors, and Jean has recorded arrangements of their beautiful Romances. 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So what, then, did Winterreise mean to us?At the risk of stating the obvious: it was a journey - albeit a journey with no real destination. The depthof this Everest-like score offered new insights and fresh layers with every reading. Consequently, therewas never - and still isn't, despite years of preparation and live performances - a real sense of completion,no point at which we could say we were \"finished\" studying each lied.And perhaps the Wanderer's journey is also without destination. A physical trek through a cold andindifferent, if not openly hostile, nature, it is also a psychological path through the difficult phases ofprocessing loss - a process that, in truth, never completes. 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His music, elegant and radiant, is the gentle whisper of a bygone era, yet it breathes timeless warmth and light.Corelli's art is a delicate conversation between violin and continuo, a living breath of harmony and counterpoint that dances with noble grace. Each phrase unfolds like a tender story, where voices seek, answer, and embrace one another-like cherished friends sharing secrets across the ages. It was through my mentor, Ryo Terakado, and his luminous recording of the Violin Sonatas, Op. 5 that I first stepped into this radiant world. Since then, Corelli's melodies have been a constant companion-like a soft glow in the twilight, a source of inspiration and solace.Corelli's influence extends far beyond my own story. His style shaped the musical language of generations-admired openly by Francois Couperin, absorbed deeply into the work of Jean-Marie Leclair, and echoed, even centuries later, by virtuosi such as Pablo Sarasate and Niccolo Paganini.His music is both spiritual and earthly-a beacon of simplicity and profound beauty.I am deeply grateful to Ryo Terakado for guiding me to this wellspring of grace, to Kaori Uemura and Francois Guerrier for their artistry, and to our magical producer Guido Tichelman and the Byucksan Corporation for nurturing this project. -Â Eun-Shik Kim\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 608917200331\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Challenge Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Alliance Entertainment","offers":[{"title":"Default Title","offer_id":55366490980520,"sku":"18108810","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5456\/8872\/files\/4456836-3447381.jpg?v=1774553730"},{"product_id":"pre-order-leon-mccawley-leon-mccawley-pno-recital-cd-new-n","title":"Leon McCawley - Leon Mccawley: Pno Recital (CD) (New (N))","description":"\u003cp\u003eSOMM Recordings continues it's long collaboration with pianist Leon McCawley, named \"one of today's most impeccably musical pianists\" by International Piano. His past recordings for SOMM include much-admired releases of piano music by Chopin; Barber (Critics' Choice in Gramophone); Brahms (Classic FM CD of the Week); Schumann; Rachmaninoff Complete Preludes; Haydn Sonatas and Variations (awarded a Diapason d'Or); Schubert; three further volumes of Haydn Sonatas; and the 2024 release Natural Connection, about which Gramophone wrote \"This scintillatingly varied recital combines sensuous virtuosity, compelling charm and musical probity. Highly recommended.\" In this recital McCawley presents some of his old favourites by composer-pianists Liszt, Beethoven, Chopin, and Franck. While the recital focusses on 19th century composers, the programme begins and ends with a nod to J.S. Bach. Amongst Bach's works that Franz Liszt revered were his six organ preludes and fugues. In transcribing them for piano, Liszt became a major influence on later arrangers. Heard here is the first in the set, Prelude and Fugue in A minor.The Piano Sonata in C major, Op. 53, \"The Waldstein,\" by Beethoven-dedicated to his friend and patron, Count Ferdinand von Waldstein-comes from his aptly named \"Heroic\" period. It was written in 1804, two years after the watershed moment of his Heiligenstadt Testament, when he had contemplated suicide because of his encroaching deafness, but instead made the profound choice to channel his despair into a bold new musical style. The \"Waldstein\" Sonata is a vivid expression of this newfound path and of Beethoven's ability to transcend personal adversity to create ground-breaking works of deep complexity. One of the renowned \"out-takes\" of musical history is Beethoven's Andante favori. He originally intended it as the slow movement of his \"Waldstein\" Sonata, but he substituted it with a shorter adagio labelled \"Introduzione.\" He had formed an attachment to the piece, though, and he published it as a stand-alone work, including it frequently in subsequent recitals. In an engaging piece of programming, Leon McCawley pairs it here with the \"Waldstein\" Sonata.Two introspective works by Chopin follow. The Berceuse is a series of continuous contemplations on a simple, nocturne-like theme. In the Barcarolle, Chopin's affinity to the bel canto operatic style is strongly apparent, especially in the beautiful, florid figurations in the right hand.Leon McCawley closes his beautifully curated recital with the Prelude, Chorale and Fugue for solo piano by Cesar Franck. Franck was trained as a pianist, but he served as an organist at Paris's Sainte-Clotilde Church from 1858 until his death in 1890. 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There is also evidence of at least one trip to Hamburg during this time. The young Bach must have been impressed and inspired by the North German music scene with it's large organs and independent pedals, the diverse reed stops, the clear and \"sharp\" mixtures and, last but not least, his musical experiences in Hamburg's Gansemarkt Opera House.Bach's chorale partitas bear clear traces of the North German environment, for example in the operatic-ariose elaborations with French ornaments or in the very individual virtuoso arrangements of the variations, which suggest the text interpretations of individual song verses. In contrast to this is the Orgelbuchlein, composed in the somewhat later Weimar years, which forms the foundation for Bach's monothematic composition: Here, the sound of a chorale is formed using just one characteristic motif. The roots of this compositional aesthetic can be traced back to Bach's early encounter with Georg Bohm in Luneburg.The history of the large organ in St. Michael's, which can be traced back to the 15th century, is eventful: in 1708 the Schnitger pupil Matthias Dropa built a new organ and extended the existing instrument by Niehoff (1553) - the young Bach may have been able to follow the plans. After numerous alterations, the current specification corresponds to that of 1708, and a precise historical restoration is currently being planned. The tremendous richness of color and the tonal spirit of the Baroque period can be clearly heard despite the equal temperament. The Klapmeyer organ in Altenbruch (1730), on which Dropa also worked from 1697-1700, gives an authentic impression of the sound of this organ landscape in Luneburg thanks to the restoration by Jurgen Ahrend (2004). 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Their unusual instrumentation for piano and vibraphone creates an unrivaled sound world that brings Glass' minimalist worksto life in a new and refreshing way.At the heart of the album are original interpretations of Glass' compositions, complemented by Schumacher's own works. These pieces, inspired by personalities who influenced the American composer, such as the poet Allen Ginsberg or the sculptor Richard Serra, form a unique fusion of two musical worlds. This fusion creates a profound and multifaceted, yet reduced and clear atmosphere. Pascal Schumacher and Danae Dorken impressively demonstrate that less is sometimes more: Their artfully crafted arrangements are characterised by a fascinating transparency that captures the essence of minimalistmusic. The result is a captivating listening experience that allows the colors and textures of Glass' works to shine in a new light and interact harmoniously with Schumacher's own compositions. The album will be released on the Neue Meister label on CD and vinyl on 8 November 2024 and is an indispensable discovery for all lovers of modern classical music. 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The Ural Youth Symphony Orchestra and Alexander Rudin continue their project of reviving the composer's unheralded masterpieces: his early symphonic poem Alastor embodies the aspirations of a lonely romantic hero towards an unrealisable ideal; the Seventh Symphony is a mature artist's contemplation of a man and of the world; The Kremlin by Night cantata, composed late in his career, expresses Myaskovsky's love for his motherland and it's rich history. This is the first studio recording of the cantata. \"Myaskovsky's works are very close to me,\" says Alexander Rudin, \"his music is noble, darkened, philosophical and somewhat mysterious; much in it remains unknown. Deriving from Tchaikovsky, Myaskovsky also inherits Mussorgsky's tragic disposition and premonition of catastrophe. 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Both the conductor and orchestra havefond memories of Herbert Blomstedt's Dresden years, from 1975 to 1985. 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In 2020, he composed the violin concerto Vont-ter for Patricia Kopatchinskaja, a long-time partner who performs his music with total commitment: \"She gives the impression that music can be tactile, truly three-dimensional, to the point that you could almost touch it, that each gesture has it's own colour, temperature, smell, taste,\" says Illes. Sirt-ter, \"space filled with tears\", is a cello concerto: \"I make it moan, scream or even roar hysterically in order to draw out the vocal qualities capable of communicating human pain.\" In Nicolas Altstaedt, \"I found the ideal performer, who grasps the dark drama of this subject with existential intuition and makes it resonate with primitive force.\" Rajzok I consists of tuning the strings of 24 instruments to different quarter-tone intervals. A very unusual and fascinating total scordatura... In Three Sketches, electronic music blends with the sound of the violin, multiplying the sensations and sound textures. 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Since then, a plethora of performers on both instruments have explored - with varied outcomes - works composed for their ensemble, transcribed and adapted music written for other instruments, and encouraged composers to expand the repertoire. The duo Santi-Arlotti, already established by their concert fame, stands out for their meticulous research and the originality of their musical proposals, which have been appreciated since their first CD, released in 2017 for Tactus (TC850003). This album was entirely dedicated to variations on famous opera themes (Verdi, Rossini, Bellini, Donizetti, Dall'Argine) composed by Arban, Forestier, Zanichelli, Cacciamani, Rossari, and Spiga. 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In January 1776, Mozart composed his Piano Concerto No. 6, followed by the Eighth in April. Then aged 20, he did not want to shock the aristocracy of Salzburg and wrote simple music, but music that transports us 'to the calm gentleness of a paradise garden, in the manner of the Elysian Fields evoked by Gluck and Rameau', as Olivier Messiaen said. Completed on 30 September 1784, Concerto K 465 remains shrouded in mystery as to when it was first performed. It is thought that Mozart premiered it in February 1785 in Vienna in front of his father Leopold, who wrote to his daughter Maria Anna that Wolfgang had triumphed and that the emperor took off his hat and exclaimed 'bravo Mozart'! As with all her recordings, Olga Pashchenko has chosen appropriate instruments, a copy of an Anton Walter fortepiano (ca. 1792) by Paul McNulty and a copy of a Spath \u0026amp; Schmahl tangent piano, (Regensburg, 1794) by Chris Maene.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 3701624511992\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Alpha\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Alliance Entertainment","offers":[{"title":"Default Title","offer_id":55366493077672,"sku":"66259903","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5456\/8872\/files\/4474207-3493520.jpg?v=1774553756"},{"product_id":"pre-order-lehtola-konttori-gustafsson-axel-ruoff-complete-works-for-organ-vol-1-5-cd-new-n","title":"Lehtola \/ Konttori-Gustafsson - Axel Ruoff: Complete Works For Organ Vol. 1-5 (CD) (New (N))","description":"\u003cp\u003eThe organ works of Axel Ruoff, born in Stuttgart in 1957, constitute one of the most important contributions to the literature for the instrument by any composer since Messiaen. 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Husa went to Paris to study underNadia Boulanger and Arthur Honegger. After the communist putsch of February 1948, he decided to remain abroad, working at Cornell University in the USA most of his life. He never forgot his homeland, however. This can be heard, for example, in his colourfulSerenade for Wind Quintet, Strings, Xylophone and Harp, which draws upon material from his earlier Evocations de Slovaquie. In these works, the composer relived his difficult decision not to return to his homeland. About Recollections for wind quintet and piano, the composer said: \"Recollections are vivid, but not exactly precise. The way we remember things is a mix of accuracy and fancy... To accomplish all this, I wanted the composition to develop from simple tones and to return to them, all the while researching new combinations and sonorities in the quintet.\" Husa put his love of birds into his Five Poems for wind quintet, \"for these wonderful creatures, who embellish our lives so magically\"; he employs a wide range of musical resources including microtones and aleatory. 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Reviewers at journals including Gramophone, BBC Music Magazine, and Classica enthusiastically compared his Supraphon debut album of the complete sonatas for solo violin by Eugene Ysaye (2023) with recordings made by today's star violinists. It was clear that after that solo album, Matejca would soon return to the studio to record Shostakovich's First Concerto. The composer wrote it in 1947\/48 for David Oistrakh. Shostakovich, however, had been labelled a \"formalist\", and is prominent use of Jewish musical motifs was another obstacle under the antisemitic Soviet regime, so the premiere of this exciting work was postponed until after Stalin's death. Sergei Prokofiev worked on his First Violin Concerto intermittently between 1914 and 1917. Full of contrasting passages, the work differs sharply from Shostakovich's dramatic concerto. 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Chaos has always been perceived as a threat, but also as the foundation of life. Various creation stories explain how the world arose out of disorder, out of \"mayhem\". In like manner, it is anarchic spirits in particular that are credited with the ability to create masterpieces of creative art. This conception was perhaps most neatly expressed by Friedrich Nietzsche: \"You must have chaos within you, if you are to give birth to a dancing star.\" The present album is made up of works which, if you like, harbour the sound of chaos. Originally written for a wide variety of instruments, these pieces are arranged here for string quartet and are connected by improvised interludes - linking passages for which the Hungarian composer Samu Gryllus has provided the basis. The Chaos String Quartet emerged from the iconic violist joke: \"Well-established, world-famous string quartet looking for a new first violin, second violin... and cellist.\" That's exactly how it happened. On Cornwall's rugged coast, during a Prussia Cove masterclass, after an illuminating lesson, a sight-reading session, and a candlelit dinner, Sara invited Susanne to form a quartet. After that first conversation, it took some time to find two other brave musicians, both beyond their mid-twenties, who were willing to embark on the exciting, sometimes complex, and risky adventure that is a string quartet. Fortunately, Eszter and Bas joined soon after, with great enthusiasm. As usual, naming proved a challenge. Some suggested using the first violinist's surname; others, a Greek god. A few warned, \"Don't start with A - there are too many.\" Then came a provocative idea: why not call it Chaos? Furthermore, the quartet enjoys inspiring the next generation, sharing it's experience as Young Artists in Residence at Vienna's University of Music and Performing Arts, cheekily sparking a little chaos among the artists of tomorrow. Their recognition as BBC New Generation Artists (2023-2025) and regular appearances at venues like Wigmore Hall, Musikverein, and Concertgebouw illuminate a journey where unpredictability becomes inspiration-reminding us that from the origins of chaos can emerge music of unique order and profound beauty.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 4260123645526\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Solo Musica\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.3.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Alliance Entertainment","offers":[{"title":"Default Title","offer_id":55366498812072,"sku":"82452502","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5456\/8872\/files\/4484349-3505415.jpg?v=1774553850"},{"product_id":"pre-order-pamplones-orfeon-carl-orff-carmina-burana-cd-new-n","title":"Pamplones, Orfeon - Carl Orff: Carmina Burana (CD) (New (N))","description":"\u003cp\u003eCarl OrffCarmina BuranaOrfeon PamplonesEscolania de Nuestra Senora de los DesamparadosOrquesta de ValenciaAlexander LiebreichSara Blanch, sopranoJoaquin Asiain, tenorAndre Baleiro, baritoneThey are one of the most famous and frequently performed works of classical music: Carl Orff's \"Carmina Burana\". The Latin title refers to a collection of songs from Benediktbeuren dating from the 11th and 12th centuries with texts written in Middle Latin, Old French and Middle High German. Orff chose 24 of these songs, their topics ranging widely from the volatility of happiness and prosperity to the fleeting nature of life, from the joy of the return of spring to the pleasures and dangers of drunkenness, gluttony, gambling, and lust.In June 2024, at the Palau de la MÃºsica in Valencia, the Orquestra de Valencia, one of the great Spanish symphony orchestras, together with the leading local boys' choir as well as one of Spain's oldest choirs, Orfeon Pamplones, performed this epic work under the musical direction of Alexander Liebreich. They were joined by soloists Sara Blanch, Joaquin Asiain, and Andre Baleiro. The live recording of this lively and captivating concert evening is now available. 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The centerpieces are Beethoven's Grande Sonate Pathetique and Liszt's second legend of St. Francis, as well as Ferjencikova's fascinating arrangement of the aria \"Tristis est anima mea\" from his oratorio \"Christus.\" The Seifert instrument used for the recording is at the heart of the numerous musical activities of \"Orgelwelten Ratingen\" and, thanks to it's tonal diversity, is extremely versatile. The new SACD (stereo and 5.1 multichannel surround) reproduces the sound of the instrument, distributed in several locations in the room, in all it's multidimensionality with remarkable plasticity.Die international gefragte Konzertorganistin Zuzana Ferjencikova, die bei AEOLUS an einer Gesamtaufnahme der Orgelwerke von Jean Guillou arbeitet, ist auf ihrem neuen Album \"Legendes\" mit ihren eignenen Transkriptionen von Werken Beethovens, Mozarts, Schumanns und Liszts zu horen. I'm Zentrum stehen dabei vor Beethovens Grande Sonate Pathetique und Liszts zweite Franziskuslegende sowie Ferjencikovas faszinierende Bearbeitung der Arie \"Tristis est anima mea\" aus dessen Oratorium \"Christus\". Das fur die Aufnahme verwendete Instrument der Firma Seifert steht i'm Zentrum der zahlreichen musikalischen Aktivitaten der \"Orgelwelten Ratingen\" und ist Dank seiner Klangfarbenvielfalt extrem vielseitig einsetzbar. Die neue SACD (Stereo und 5.1 Multichannel Surround) gibt den Klang des an mehreren Orten i'm Raum verteilten Instrumentes in seiner Mehrdimensionalitat auÃŸerst plastisch wieder.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 4026798114718\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Aeolus\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.24.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Alliance Entertainment","offers":[{"title":"Default Title","offer_id":55366498910376,"sku":"13346786","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5456\/8872\/files\/4454870-3445129.jpg?v=1774553852"},{"product_id":"pre-order-ensemble-la-ninfea-winter-from-first-frost-to-carnival-festivity-cd-new-n","title":"Ensemble La Ninfea - Winter - From First Frost To Carnival Festivity (CD) (New (N))","description":"\u003cp\u003eWinter - from First Frost to Carnival FestivityA sparkling musical panorama of winter - harking back to the legendary Great Frost of 1708\/09. From the beginning of the season over Christmas to a festive carnival: songs, opera scenes, instrumental as well as traditional pieces from France, Germany, and Great Britain.Music by Jean-Baptiste Lully, Marc-Antoine Charpentier, Michael Praetorius, William Byrd, among others.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 719279934205\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Perfect Noise\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.24.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Alliance Entertainment","offers":[{"title":"Default Title","offer_id":55366499336360,"sku":"18311308","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5456\/8872\/files\/4456889-3456095.jpg?v=1774553859"},{"product_id":"pre-order-boris-bloch-chopin-cd-new-n","title":"Boris Bloch - Chopin (CD) (New (N))","description":"\u003cp\u003eFor the pianist and opera conductor Boris Bloch, who hails from Odessa in present-day Ukraine, the works of Frederic Chopin represent the epitome of poetry in music. Chopin's primary means of expression-the language with which he expressed everything he wanted to say-was his melody: the most beautiful kind known to man. For Chopin, however, this melody was more than that; it was a reflection of reality, behind which lay a real image or event. Heinrich Neuhaus pointed out the autobiographical character of Chopin's oeuvre. And it is precisely this autobiographical character that has helped countless people find themselves in their own biographies. This explains the immense popularity and universal appeal of his works, which are cherished all over the world. On this double CD, Boris Bloch presents a selection of Mazurkas, etudes, Impromptus, the four Ballades, and the second Piano Sonata, Op. 35.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 9003643993617\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Gramola\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.24.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Alliance Entertainment","offers":[{"title":"Default Title","offer_id":55366499401896,"sku":"18207378","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5456\/8872\/files\/4456861-3447437.jpg?v=1774553859"},{"product_id":"pre-order-ilaria-sinicropi-martucci-son-op-34-works-op-31-mazurka-op-35-cd-new-n","title":"Ilaria Sinicropi - Martucci: Son Op. 34 Works Op. 31 \u0026 Mazurka Op. 35 (CD) (New (N))","description":"\u003cp\u003eNew recordings of neglected but compelling piano works from the spring of Giuseppe Martucci's career.Martucci composed all the pieces on this album during the year 1876. As Ilaria Sinicropi observes in her booklet essay, Martucci was 'a composer in the making', in the first flush of his talent. In finding his own voice for instrumental composition, he looked naturally northwards, to the other side of the Alps, and in particular to Schumann and to Brahms, with their strong narrative arcs, their expansion of traditional models such as sonata form and their richly chromatic but disciplined harmony. The more adventurous language of the Capriccio e Serenata Op.57 was yet to come. Yet the first movement of the Piano Sonata - mysteriously neglected by pianists until now, with no other recordings in the current catalogue - already shows Martucci stretching his wings, and adapting the fantasy-style of Schumann to the ends of his own lyrical style. Sinicropi hears within it a powerful evocation of nature in the mould of Grieg's Lyric Pieces, and it prefigures the imposing intensity of expression in the third-movement Andante, with a scintillating Scherzo to serve as intermezzo and a Lisztian finale which synthesizes elements of chorale, fugue and rondo. The suite of Four Pieces Op.31 do not venture into the Sonata's ambitious terrain, cast by and large in a vein of gentle introspection, but they too reward close listening (which again is only now possible with Ilaria Sinicropi's recording). In fact the opening Nocturne is the most developed piece of the quartet, belying it's title with fiery outbursts and unexpected pauses. The following barcarolle and Romance may be heard as songs without words in a stylish emulation of Mendelssohn, before a final 'Dolce Ricardo's (Sweet Memory) returns to the tripartite but eventful form of the Nocturne. Finally, the Mazurka Op.35 makes a graceful encore, 'deeply rooted in the Italian tradition and the expressive style typical of mannerism,' according to Ilaria Sinicropi. 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