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Image 20CD-BOX: Complete Concertos & Sonatas Op. 1-12
Federico Guglielmo, solo violin & concert master
L'Arte dell'Arco

For the first time Vivaldi's complete Op. 1-12 in one set!

Already during his lifetime Vivaldi was a popular and successful composer, and, possessing a keen commercial talent, he published his own works. The works published during his lifetime are contained in his Opus 1-12, featuring such popular cycles as the Four Seasons, L'Estro Armonico, La Stravaganza, the flute concertos, and several sets of trio sonatas. These are by far to most popular works by the Venetian priest, and today they sound as fresh and sensational as when they were composed.

Newly recorded and based on the new Critical Edition by Alessandro Borin, Istituto Italiano Antonio Vivaldi, Fondazione Giorgio Cini, Venice.

Performed by the Italian Early Music group L'Arte dell'Arco, led by violinist (and soloist) Federico Guglielmo. French magazine Diapason wrote about them: "they understand the secret language of and generous instrumental textures envelop the expressive lines of the solo violin...". All the previous separate issues have met with great critical acclaim, resulting in many 5 star reviews in the international press.

Included as a bonus CD, the new recording of the Cello Sonatas. Although without opus number they were certainly published during Vivaldi's lifetime.

kr. 599,75
Image 20th Century Italian Piano Music, Vol. 1 (20 CD)
This release is a substantial anthology of piano music written by Italian composers in the twentieth century. In an era dominated by opera, several Italian composers chose a radically different path, concentrating on purely instrumental music, influenced by widely varying sources such as Wagner, Impressionism, Neo-Classicism and Dodecaphony. This set offers a fascinating overview of piano works by Martucci, Cilea, Busoni, Sinigaglia, Caetani, Fano, Respighi, Pizzetti, Casella, Castelnuovo-Tedesco, Dallapiccola, Rota, Malipiero, Castiglioni, and Einaudi. Only the leading Italian pianists perform on this release, including Sandro Ivo Bartoli, Michaelangelo Carbonara, Pietro de Maria, Alessandra Ammara, and more.

kr. 499,75
Image Hummel Edition (20 CD)
Johann Nepomuk Hummel (1778–1837) was a pupil of Mozart, a protégé of Haydn, a friendly rival of Beethoven, and renowned throughout Europe as one of the greatest pianists of his day, a sought-after teacher who instructed some of the most distinguished 19th-century virtuosi, the author of an influential treatise on the art of pianism, and himself the composer of over three hundred works covering all musical genres (apart from the symphony). This 20CD Edition provides a cross-section of Hummel’s excellent, prolific and unjustly neglected output, with a large section of solo piano music including the complete sonatas and etudes and a rich selection of chamber music featuring violin, viola, cello, flute, and guitar with piano, as well as larger ensembles from piano trios to septets. Though not a symphonist (perhaps not wishing to compete in that arena with the undoubted genius of his contemporary Beethoven), Hummel had great skill with the orchestra, as this set proves with his many concertante works, all rivalling the well-known Trumpet Concerto, among them concertos for piano, piano and violin, bassoon, mandolin, violin (unfinished, completed by conductor–composer Gregory Rose) and the Introduction, Theme and Variations Op.102 for oboe and orchestra. Haydn’s recommendation of Hummel for the post of Konzertmeister at the court of Prince Esterhazy was the beginning of eight turbulent years at Eisenstadt. Fiercely independent, Hummel found fitting in with the manners and politics of the court difficult, and yet this was a very productive time. All his sacred music – represented on this set by a Te Deum, a Solemn Mass, the offertory Alma Virgo and the oratorio Der Durchzug durchs rote Meer for soloists, choir and orchestra – and several dramatic works including the opera Mathilde von Guise were composed during this period. The first and most comprehensive collection of works by Hummel! A long awaited tribute to a great composer with a strong appeal to a wide musical audience! A child prodigy he was taken in the household of Wolfgang Amadeus Mozart, who taught him. This Edition contains a generous selection of his works: the complete piano sonatas and other piano works, several piano concertos, violin concerto, bassoon concerto, trumpet concerto, mandolin concerto, violin/piano concerto, chamber music, masses, an oratorio and the opera Mathilde. Played by leading musicians of our time: fortepianists Costantino Mastroprimiano and Alessandro Commellato, Solamente Naturali conducted by Hummel-specialist Didier Talpain, and many others.

kr. 599,75
Image Bach Transcriptions (20CD)
This fascinating set provides a refreshing window onto a much studied, much idolized, and oft performed master of composition, allowing many of his familiar works to appear in a new light, recognizable and yet transformed. Bach’s music is often described as indestructible, in the sense that no matter how it is performed, or in whichever arrangement, its essential spirit survives. Many of the transcriptions included here represent the work of contemporary, world-class performers bringing Bach’s masterpieces into the repertoire of their own instruments or ensembles, thereby giving new timbres to the genius of Bach’s contrapuntal lines. The much-loved Goldberg Variations, for example, are given not one, but two new arrangements, as the interwoven voices for keyboard are divided between the members of a string trio and a recorder quintet. Others are scholarly reconstructions of concertos for what might well have been Bach’s originally intended instruments – versions that were subsequently lost to future generations. From 1729 Bach directed the Leipzig Collegium Musicum, an association consisting of students and musical citizens, and for his performances with them Bach needed to provide secular works. But his time was largely absorbed with writing sacred music for St Thomas’s Church in his role as Kantor. So Bach devised harpsichord concertos by adapting concertos he had originally written for other instruments. Musicologists believe that the seven works known today as Bach’s concertos for solo harpsichord were initially composed as violin or oboe concertos. A third category included here might be called Bach transcriptions by 20th-century “giants”. The great Dutch harpsichordist Gustav Leonhardt arranged for the harpsichord various major works by Bach – five from solo violin works, three from solo cello suites and two movements from a partita for solo flute and a suite for solo lute respectively. These are classics of the arranger’s art, refined and thoroughly idiomatic.

kr. 425,00
Image 19CD-BOX: Schütz Edition
Although often overshadowed by his better-known Italian contemporary Claudio Monteverdi, as well as his successor in Lutheran music J.S. Bach, Heinrich Schütz's contributions to 17th-century sacred music were nevertheless significant. With a career that spanned an era of great musical developments, his scared compositions reveal a rich array of influences and were to prove inspirational to future generations of composers.

This 19-disc box set is the result of four volumes of recordings made by Cappella Augustana and Matteo Messori for Brilliant Classics between 2003 and 2010, collected together for the first time. Featuring Schütz's most important compositions (mostly large-scale works in multiple volumes), Cappella Augustana's selection surveys the German's lengthy career and his changing style. While the early Cantiones sacrae reflect his attempts to push boundaries as a young composer, a subtle shift towards a more simple and considered style can be witnessed in later works -- notably the Kleine geistliche Concerte and Geistliche Chor-Music, a set of inventive and carefully-crafted German motets. The crowning achievement of Schütz's career was surely his Passion settings, works that are controlled and refined yet retained a sense of drama and beauty.

The only project of its kind and the most comprehensive Schütz collection on the market, this box set benefits from authoritative performances, informed by a thorough study of the music, sources and contemporary performance issues. Focused on the most influential German composer of the 17th century, it is an essential volume for anyone interested in sacred choral music.

kr. 499,75
Image 17CD-BOX: Complete Edition
This 17CD set is the third Chopin Edition by Brilliant Classics, an all?time favourite of one of the most popular and universally loved composers of all times. The piano works of the Polish master touch the heart chords of every listener and music lover around the world, they speak the universal language of beauty, melancholy, tenderness and passion.This third Edition is also the best: it contains no less than 7 new recordings and several new licensed recordings. New recordings are: Etudes (Alessandro Deljavan, one of the most extraordinary performances ever recorded), Waltzes (Alessandro Deljavan), Piano Sonatas 2 & 3, Preludes, Ballades, Impromptus (Wolfram Schmitt?Leonardy, wonderfully idiomatic, 'Fanciful, illuminating, stimulating and compelling' Classics today), Mazurkas (Rem Urasin). The piano concertos are played by Ewa Kupiec, the other works for piano and orchestra by Abbey Simon. The Nocturnes are played by Earl Wild ('silvery, deeply felt'), the Scherzi by Ivan Moravec, one of the best Chopin recordings by the Czech master.An important and high quality set, not to be missed at bargain price!

kr. 450,00
Image French Baroque Flute Edition (17 CD)
The predecessor to the modern flute is known as the flauto traverso. The recorder meanwhile was at the time considered to be another type of flute, and was identified using various terms including flauto dolce, flauto diritto and Blockflöte. The varying terminology has proved confusing for modern performers, who have often forgone the traverso or recorder in favor of the modern flute. The early music revival of the 20th century has led to a renewed effort to perform music on the composer’s intended instruments. This collection follows in the same vein, as the performers here strive to recreate the pieces and remain faithful to how the composer envisioned them. The set opens with a selection of pieces by François Couperin (1668–1733), who rejected nationalism in his music in favor of cross-cultural European integration. Le Parnasse, ou L’Apothéose de Corelli and Les Nations are unique in their blending of French and Italian styles. As well as better-known figures such as Visée and Boismortier, this set introduces us to composers outside the mainstream. This release features new recordings of the overlooked composer Jean-Daniel Braun from award-winning performer and conductor Jed Wentz and his ensemble Musica ad Rhenum. Little is known of Braun, except that he was likely a member of the court orchestra in Paris. His musical expertise is reflected in highly technical and precise writing, and he brings out the characteristic gentle and lyrical sound of the traverso with sweet and expressive melody writing. The flute music of instrument-maker Jacques-Martin Hotteterre (1674–1763) is also a standout contribution to this set, and the prelude from L’Art de préluder Op.7 has a haunting and melancholy opening. Meanwhile, the 3rd and 5th suites were left without preludes, so the flautist Guillermo Penalver has composed one for Suite No.3, while Tony Millán has made composed a Rameau-style movement to begin the Suite No.5 followed by arranged themes from a Couperin prelude.

kr. 339,95
Image 16CD-BOX: Complete Piano Music
Jolanda Violante, Bart van Oort, Ursula Dütschler, Stanley Hoogland, Yoshiko Kojima, Riko Fukuda

Several assets set this box apart from its competitors in the market, and not just the price-point for which Brilliant Classics is well known. It is the most complete set of Haydn's piano works available: there are others of the solo works, which exclude the spirited keyboard concertos (only those which he wrote for the fortepiano are included here; there are others for harpsichord and organ which can be found in Brilliant Classics compendious Haydn Edition, BC93782). Other 'complete' box sets omit the version of the Seven Last Words which Haydn may not have arranged himself, but which still powerfully conveys the pathos of his orchestral original.

Then there are the many 'miscellaneous' variation sets, single movements and solo arrangements of pieces from larger-scale works such as the symphonies, operas and string quartets, which Bart van Oort diligently researched and recorded a few years ago on a fine modern reproduction of a fortepiano by Walter, a maker esteemed by Haydn and Beethoven. Several of these smaller works are not otherwise available. No less valuably, all the recordings are made on fortepianos on the scale that the composer himself played and composed for: with a lighter and more capricious touch than todays pianos, enabling him to write fast movements of complementary brilliance which can sound heavy or clangorous on modern instruments. Likewise all the pianists here are historically informed fortepianists by inclination, who have made most of their recordings in music of this era.

The sonata recordings, which constitute the bulk of the set, and indeed of Haydn's pioneering work for the instrument, have received consistently fine reviews since they were released. Now gathered up with the Klavierstucke and concertos, they made an attractive proposition to any listener with an ear for Haydn's eternally fresh spirit.

This 16CD set contains all of Haydns works for piano: the piano concertos, the complete piano sonatas and the complete Klavierstücke. All performances are on fortepiano, historical instruments which Haydn knew and on which he developed his own personal keyboard style, perfect examples of the classical Viennese keyboard writing, but all bearing the stamp of Haydn particular genius, revelling in witticisms, unexpected turns and twists and a genuine expression of sincere feelings, eschewing operatic drama, but all the more keenly felt. Pianists are Bart van Oort, Jolande Violante, Stanley Hoogland, Riko Fukuda, Yoshiko Kojima and Ursula Dütschler, artists specialised in the handling of historic instruments and the appropriate style of authentic performance practice.

kr. 319,00
Image Frescobaldi: Complete Edition
The CD's in this edition are all newly recorded, by the foremost scholar/musicians of Italy, using period instruments

Frescobaldi was the most influential composer for keyboard in Italy prior to Domenico Scarlatti. Bach copied out Frescobaldi's Fiori Musicali, and he was also a strong influence on Fux and Buxtehude. His reputation has been slow to gain its rightful status over the past century or so.

This edition provides a superb opportunity to discover this neglected master of the Baroque. The project is masterminded by the harpsichordist and organist Roberto Loreggian, and previous individual volumes of the series have been well received. This is the first ever complete edition of Frescobaldi's music to be issued: a landmark on record, sure to be widely noticed by the musical press.

kr. 439,95
Image Russian Piano Concertos (15 CD)
This fascinating survey of the Russian (and Polish!) piano concerto in 15 CDs includes the masterworks of Pyotr Ilyich Tchaikovsky and Rachmaninov – beloved examples at the pinnacle of both Russian music and the piano concerto genre – along with more- and lesser-known yet all eminently worthy works by composers from both Imperial and Soviet Russia and those by Paderewski, Scharwenka and Moszkowski, who were born in what today is Poland. Though the piano concerto is now inextricably linked in modern minds to the Russian repertoire, the area’s isolation meant that it would take some time for the genre to take hold there, but that it would grow into a unique, characteristic and varied expression. The accompanying essay by David Moncur leads interested readers logically along the timeline of the genre’s development in the east of Europe, exploring the generational and stylistic interconnections between fellow-composers and musician colleagues who were teachers, mentors, supporters and dedicatees. There is a special quality to Russian Piano Concertos: apart from their jaw-dropping virtuosity and orchestral brilliance they share that common Slavonic flavor, an undefinable mixture of melancholy and passion, whether smouldering or blazing. This set contains the famous concertos by Tchaikovsky, Rachmaninoff, Shostakovich and Prokofiev, but also lesser known composers: Anton Rubinstein, Medtner, Glazunov, Kabalevsky, Scriabin, Khatchaturian, Arensky, Balakirev, Lyapunov, Bortkiewicz and Khrennikov. Adding extra spice to the set are the concertos by Scharwenka and Moszkowski, Polish by birth but Slavic in spirit. Excellent performances by Michael Ponti, Boris Giltburg, Yevgeny Kissin, Stefan Doniga and others. Newly written liner notes are included in the booklet.

kr. 319,00
Image The Great Piano Works (15 CD)
Franz Liszt is universally celebrated as one of the greatest-ever virtuoso performers on the modern piano. Contemporary accounts describe his seemingly superhuman technical abilities and equally striking charisma and stage presence. Yet Liszt was a formidable composer, and his expansion of pianistic possibilities was achieved as much through innovation in his own great piano works as through his astonishing performance on the instrument, if not more. Like many child virtuosos thrust early into busy concert careers (Liszt’s began at the age of nine) he retired early, weary of the spotlight, turning his back on the stage at the remarkably early age of 35. Since he lived to the likewise remarkable old age of 75, much more than the latter half of his life was devoted solely to composition, and having been a pianist of his calibre, the works he created for his own instrument were indeed groundbreaking. Showcasing the demanding pieces in this set – from the thundering of Liszt’s virtuoso side to the mysticism of his deeply spiritual side – are 15 renowned pianists on recordings dating from 1994–2016. Liszt’s piano works may be divided into several diverse categories. These include the virtuoso showpieces based on themes from operas (Isoldens Liebestod Alexander Gavrylyuk, Wagner Transcriptions François Dumont, Bellini and Donizetti Transcriptions Mark Viner, Verdi and Beethoven Transcriptions Michele Campanella); religious-inspired or devotional works (Bénédiction de Dieu dans la solitude and 2 Légendes Irene Russo) the spare, enigmatic pieces from his last years (Trübe Wolken, En rêve, Bagatelle sans tonalité Philipp Kopachevsky and La lugubre gondola Misha Dacic); a ground-breaking sonata regarded as an iconic work of the repertoire (Sonata in B minor Philipp Kopachevsky); and numerous piano transcriptions of other composers’ non-operatic works (Grandes études de Paganini Goran Filipec, Beethoven Symphony No.6 in F Op.68 Pastorale’ Michele Campanella). The set concludes with a grand gesture, as Nelson Freire is joined by the Dresdner Philharmonie under Michel Plasson for Liszt’s two well-loved piano concertos.

kr. 319,00
Image Cello Concertos (15 CD)
This set brings together outstanding performances of landmark works from the full range of the cello concerto’s relatively short history, from the Baroque to the end of the last century. Before 1800 few important cello concertos were written – with the exception of works by composers of stature such as C.P.E. Bach, Haydn, Boccherini and Vivaldi. The latter’s typically inventive and diverse cello concertos with eloquent slow movements are almost certainly the very first composed for this instrument. That most of the great cello concertos were composed after the Baroque or Classical period is rather ironic, since the ever-larger orchestral forces of the 19th century and beyond required much more care from the composer to avoid overwhelming the solo cellist in the lower register. Dvorák scored his magnificent cello concerto (1894–5) for a weighty orchestration, containing three trombones and tuba, but his experience enabled him to judiciously manage the solo/orchestra balance. The result is an epic work brimming with melodies and embracing a wide range of emotions. Alongside Dvorák, Schumann and Saint-Saëns brought full recognition to cello concertos. In 1850, Schumann’s cello concerto became the first major concerto for this instrument since Boccherini’s examples from 1780. 20th-century composers have made the cello a standard concerto instrument. Among the most notable from the first half of the century is Elgar’s, composed in 1919, in which the English composer explores introspective and meditative expression. Polish composer Witold Lutoslawski, one of the outstanding musical minds of the latter half of the 20th century, employs avant-garde techniques in his concerto (1969–70) along with the typical drama of soloist/orchestra confrontation. This CD set offers an extensive anthology of the Cello Concerto on 15 CDs. The deep resonant and eloquent sound of the cello is able to express the widest spectrum of human emotions, from intimately whispering, mournfully lamenting to passionately singing. The first cello concertos were written in the Baroque, when the instrument shed its modest role as part of the continuo group to take its place as solo instrument in a concerto setting. During the Classical and Romantic era surprisingly few concertos were written, while the 20th century yielded some of the greatest masterworks in the genre. The set contains concertos by Vivaldi, Platti, Porpora, Monn, C.P.E. Bach, Haydn, Boccherini, Leo, Schumann, Saint-Saëns, Dvorak, Elgar, Tchaikovsky, Finzi, Lalo, Bruch, Fauré, Bloch, Ginastera, Kabalevsky, Khachaturian, Lutoslawski. Excellent performers, including Francesco Galligioni, Adriano Maria Fazio, Stefano Veggetti, Enrico Bronzi, Jan Vogler, Maria Kliegel, Alexander Rudin, Raphael Wallfisch, Julius Berger, Zara Nelsova, István Várdai, Alexander Kniazev, Tim Hugh, Timora Rosler and Dmitri Yablonsky.

kr. 319,00
Image 14CD-BOX: Complete Music for Solo Guitar 1965-2013
Cristiano Porqueddu, guitar

Angelo Gilardino is one of the most important guitar composers of the last half century. His unique style is a blend of the old and new, folk art and contemporary music, from Mozart to Messiaen, all his works are illuminated by a warm and mediterranean glow, a feeling of humanity and love for life.

Included are all the works he wrote for guitar solo & guitar and orchestra. Included are his famous 60 Trancendental Studies.

The set includes many world premieres. No better advocate and interpreter could be wished than guitarist Cristiano Porqueddu, a lifelong pupil and friend of the composer, sharing the same musical passions.

Italian composer and guitarist Angelo Gilardino has been at the forefront of contemporary classical guitar music for over 40 years. His legacy is fittingly recognised by Cristiano Porqueddu, himself already firmly established as one of Italy's leading guitarists, who pays tribute to the composer with this integral release of Gilardino's works.

Recorded in chronological order, starting with compositions from the mid 1960s and ending with works written just a few years ago, Porqueddu delves in to the astonishing variety of music Gilardino has produced. From the 'dreamy' works of his early period - including Estrellas para Estarellas, Abreuana and Trepidazione per Thebit - a more formal style began to take hold from the 1980s, with the composer writing his first series of 12 studies (Studi di virtuosità e di trascendenza) in 1981. He followed up this success by adding another 48 to the collection, and since the 2000s the 60 Studies have become a central part of Gilardino's oeuvre, having entered the concert programmes of several prominent guitarists.

Constantly striving to create a new type of dialogue between the guitar and accompanying instruments, Gilardino composed his first concerto for guitar and orchestra in 1996, sealing his reputation as an accomplished orchestral composer with an additional 16 concertos thereafter. During the 2000s, Gilardino returned to writing for the solo guitar, skilfully bridging the divide between atonal chromatic and diatonic modal music.

Gilardino's compositions are inspired by music from all areas and epochs; from Mozart, Ravel and Messiaen to Scottish folk tunes and the beauty of the Mediterranean, there are few elements that are not represented in some shape or form in the composer's works. Porqueddu studied under Gilardino at the 'Lorenzo Perosi' Academy in Biella, and under the composer's guidance his compositions have won him international plaudits in his own right.

kr. 450,00
Image Handel in Italy: Cantatas, Arias & Serenata (14 CD
This 14-CD set showcases works from Handel's short but astonishingly productive time in Italy in his twenties, just before he settled in London. His travels around the country provided him with the opportunity to meet a number of influential contemporaries, and the results of this compositional flourishing are wide-ranging, from opera via instrumental music to secular cantatas. This release focuses particularly on the latter, affording the listener a fascinating glimpse into the first appearance of many melodic ideas which would later resurface in Handel's mature dramatic works.

Indeed, listeners might well feel as though they are listening to scenes from operas – cantatas were a means, at the time, of circumventing the ban on opera in Rome. The familiar theme of the joys and sorrows of love pervades much of the music, but the pieces are richly varied, particularly in their scoring: we hear flutes, recorders, oboes, bassoons, trumpets and the full contingent of strings, including viola da gamba, in numerous different combinations. Often, the orchestral forces for a particular piece are modest, but the emotional depth that Handel draws out is always striking.

A high-calibre, international roster of soloists and ensembles performs the works, with many of the compositions for soprano sung by Stefanie True, whose "vocal agility, accurate intonation and stylish ornamentation are spot-on in this repertoire" (Music Web International). Meanwhile, early music specialists Contrasto Armonico bring "soft and warm sonorities" to the set (Gramophone).

This set presents an extensive collection of works which George Frideric Handel wrote during his short but astoundingly fruitful stay in Italy. Here he met the great composers of the day, imbuing the rich Italian style, full of drama, cantabile and instrumental brilliance. The set’s focus is on the secular Cantatas, all of them mini-operas in scale and substance, dealing with human emotions of love, jealousy, hope and despair. The influence of Handel’s stay in Italy can be found in many of his great operas and oratorios he later wrote in London. Apart from the Cantatas the set includes a selection of Italian Duets, and the Serenata Aci, Galatea & Polifemo. Excellent performances in Historically Informed Performance Practice, by Contrasto Armonico, Musica Perduta and specialist vocal soloists.

Recorded between 1988 and 2014.
Contains liner notes written by Philip Borg-Wheeler.

kr. 385,50
Image Clarinet Concertos (14 CD)
Many of the composers in this set wrote for the clarinet at times when the orchestral status and design of the instrument were still in transition: the 18th century saw the gradual establishment of the clarinet as a more-or-less standard orchestral feature, its range being continually expanded in parallel. Of course, nobody was more aware of these evolutions than clarinettists themselves, who are represented here by two instrumentalist–composers, the Swedish-Finnish Bernhard Crusell, whose three concertos make use of the clarinet’s full range, and Heinrich Baermann, the dedicatee of Weber’s works blessed with a wonderful personal idiom. Other names which may be less familiar to listeners include Charles Villiers Stanford, a leading figure in the late-19th-century renaissance of British music who is often overshadowed by Elgar and Vaughan Williams, and Julius Rietz, most closely associated with Mendelssohn, both of whom contribute concertos with clear influences (Brahms and Mendelssohn respectively) that still retain their individuality. Mendelssohn himself is not often associated with the clarinet, but features here via his Concert Pieces for clarinet, basset horn and piano, alongside other unexpected figures such as Rossini and Mercadante (both better known for their operas) and Franz Anton Hoffmeister, most famous as a music publisher. The other multiple-soloist compositions come from the pen of Carl Stamitz, a prolific composer who contributed more than ten concertos featuring the clarinet. Equally prolific was Franz Krommer, whose concertos are among the most unpredictable and imaginative in the set. Also notable for its innovative style is Copland’s concerto, influenced by jazz and written in response to a commission from famous jazz clarinettist Goodman. By contrast, Bruch, despite living through the diverse innovations of the late 18th and early 19th century, remained steadfast and consistent in his compositional approach. The history of the Clarinet concertos goes back to the middle of the 18th century, when the instrument got its prominent solo place in the orchestra. The present-day form of the clarinet is derived from the Chalumeau, a folk instrument played by shepherds. Technical improvements by Denner, Boehm and Klose gave it its modern form. Ever since its multi faced timbre, from soothingly murmuring to nervously chattering, has won a large popularity and has inspired many composers to write extensively for it. This 14-disc set encompasses the full spectrum of concertante clarinet writing: an extensive collection of Clarinet Concertos, from the very first concertos by Molter, the most famous one by Mozart, Hoffmeister, Baermann, Stamitz, Krommer, Crusell, Mercadante, Rietz, Rossini, Bruch, Weber, Stanford, and well into the 20th century with Hindemith, Busoni, Finzi, Copland and Tansman. Played by world renowned clarinetist like Dieter Klocker, Sharon Kam, Kalman Berkes, Davide Bandieri, Maria du Toit and Giovanni Punzi. Another treasure trove in the successful series of Brilliant Classics instrument Boxes! Previous boxes featured the oboe, trumpet, flute and horn.

kr. 450,00
Image Magnificat (14 CD)
From the celebrated classics to the rare recordings, this set brings together 600 years of the Magnificat. Short for Magnificat anima mea Dominum (My soul doth magnify the Lord), it’s also known as The Song of Mary and The Canticle of Mary and makes up part of the Catholic liturgy and Anglican canticles. The Magnificat comes from Luke I: 46-55 and conveys the Virgin Mary’s elation after the revelation that she is carrying the son of God. Throughout the centuries composers have tried their hand at setting this passage to music. This set takes the listener on a trip through time as we begin in the Medieval and Renaissance eras with Josquin, Gibbons and Dowland, passing via Bach, Mozart and Liszt, before arriving at present day interpretations of the sacred text. The wide time-span and geographies of the composers in this release provide some interesting comparisons. The set opens with a selection of early music composers, the pioneers of choral music, among them Giovanni Legrenzi who was enormously influential in the development of the Italian Baroque style and counted Vivaldi among his students, the latter also featuring on this set. Other influential figures include Gombert, a Franco-Flemish composer who employs double counterpoint, a technique later beloved by Bach, while Dutch composer Adrian Willaert, active during the same era as Gombert, based himself in Venice and was a pioneer in the use of antiphonal effects. Composers from across Europe came to learn from Willaert and took his teachings back to their native countries. Nourished by cross-cultural exchanges, musical in Europe flourished, and in the rest of the release we hear evidence of the ripple effect generated by these early music trail blazers. The contributions to the Magnificat by 18th- and 19th-century composers such as Mendelssohn, Schubert and Liszt have often been overlooked in favour of their better-known piano works, but they are given due attention here. From an early age Mendelssohn was heavily influenced by Bach, and he composed his own Magnificat at the age of 13. From among the modern composers to have experimented with setting music for the Magnificat, Arvo Part is notable for employing his distinctive and meditative compositional procedure, which he calls ‘tintinnabuli’, inspired by the sound of bells. Like Part, Kenneth Leighton is also famous for his religious music. His desire to expand his ‘narrowlyBritish’ background and subsequent study under Goffredo Petrassi in Rome makes his music an exciting melting pot of European influences. This exquisite collection traces the development of choral music through the lens of the Magnificat. Composers able to move and work freely in Europe built on the ideas of their contemporaries blended with those from their native home, while future composers would take their teachings further and adjust them to suit their own ideals. These composers are separated by geography and time, but are unified in their musical quest for divine perfection. “My Soul magnifies the Lord”, these are the first words of the Magnificat, the earliest known Maria Hymn, incorporated in the Vespers of the Latin Liturgy. It is a song of praise of Maria, thanking the Lord for his mercy in elevating her humble state into the blissful state of pregnancy, through which all future generations will be blessed. Through all centuries composers have been inspired by the hopeful and gloriousmessage of the Magnificat. This extensive set presents Magnificat setting be a staggering number of 66 composers, from Flemish School Renaissance composers Josquin, Gombert, Fairfax, Tallis, Tomkins, Mundy to Baroque masters Monteverdi, Gabrieli, Vivaldi, Telemann, Bach, to the Romantic Era with Mendelssohn, Schubert, Liszt, Bruckner into the 20th century composers Distler, Penderecki, Tavener, Finzi, and many others. Another inspiring set of Sacred Music by Brilliant Classics, previous sets having presented the Requiem and Stabat Mater.

kr. 425,00
Image Alkan Edition (13 CD)
Reclusive and eccentric, the French pianist– composer Charles-Valentin Alkan was also undoubtedly one of the greatest pianists who ever lived, and a composer who, like his friend and fellowvirtuoso Liszt, pushed the boundaries of what his instrument, and human pianism, could achieve. Again like Liszt, he composed music that was not merely flashy and difficult to play – it tapped a deep comprehension of music history and theory, a flair for the lyrical and the dramatic and of course a vast imagination. Tackling these formidable pieces are eight pianists and one organist, along with the Trio Alkan piano trio and the Orchestra di Padova e del Veneto under Roberto Fores-Veses, on recordings dating from 1989–2017. Alkan’s great cycles for the piano — the Études in all the minor keys (Vincenzo Maltempo), in all the major keys (Mark Viner), the Preludes in every key (Laurent Martin) – feature along side other large-scale works like the Grandes Études for hands separate and together (Alessandro Deljavan) and the Nocturnes (Alan Weiss, Costantino Mastroprimiano), as well as characterful miniatures like the Chants and Les Mois (Stanley Hoogland). Organist Kevin Bowyer demonstrates that Alkan was as much an organ prodigy as anything else, with performances of the Prieres and Little Plainchant Preludes, as well as music for Alkan’s beloved pedal-piano transcribed for the organ.

kr. 375,00
Image Complete Keyboard Music (13 CD)
During his lifetime, Johann Pachelbel (1653–1706) was best known as an organ composer. He wrote more than two hundred pieces for the instrument, both liturgical and secular, and explored most of the genres that existed at the time. He is considered to be the apex of the 17th century’s south German organ school and generally one of the most important composers of the middle Baroque. His sphere of activity included central and southern Germany (modern Bavaria, Thuringia and Stuttgart), as well as important formative years in Vienna in his early 20s, during which he absorbed the Habsburg Empire’s dominant Italian and south German influences. The southern organ-builders’ emphasis on manual divisions is also apparent in much of Pachelbel’s liturgical organ music, which is relatively simple and written for manuals only. With this 13-disc set covering Pachelbel’s pivotal contributions to the chorale prelude, fugue and variation forms, internationally acclaimed organist Simone Stella adds another milestone to his already prolific discography of baroque keyboard music surveys on Brilliant Classics (Dieterich Buxtehude, BC94312 4CD & BC94422 6CD: Georg Bo¨hm, BC94612 4CD; Johann Adam Reincken, BC94606 3CD; Johann Gottfried Walther, BC94730 12CD; Johann Jakob Froberger, BC94740 16CD). Johann Pachelbel (1653-1706) was one of the most important organist/composers of the South German Organ School in the 17th century. A child prodigy he soon became a professional organist and he held important posts at several German courts before finally settling in Nuremberg, where he was organist and sought-after teacher. Pachelbel’s music enjoyed enormous popularity during his lifetime. His style was influenced by Froberger and Kerll, as well as by Italian composers Frescobaldi and Carissimi. He employed a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity over virtuosity and dense complexity. His keyboard works include Toccatas, Fugues, Fantasias, Chaconnes, Preludes and Chorale Preludes and the Hexachordum Apollinis, a series of 6 Arias and Variations. Simone Stella is one of the foremost keyboard players of today. He has a substantial discography to his name, including the complete keyboard works by Buxtehude, Walther, Froberger, Reincken and Böhm, a colossal achievement! His playing is fed by a deep understanding of the style and technique: free, joyous and always full of character and affect. The extensive liner notes in the booklet are written by the artist.

kr. 425,00
Image Theodore Kuchar: Dvorák, Shostakovich, Smetana, Ni
The complete Brilliant Classics recordings of a masterful modern maestro with a touch of genius in little-known repertoire. In the extensive booklet interview, the conductor Theodore Kuchar recalls how, as a boy growing up outside Cleveland to Ukrainian-born parents, he learnt his music at the feet of Lorin Maazel, sitting in the cheap seats every week. Sound training and determination took him to Helsinki as violist and part-time conductor for the Finnish Opera, thence to Brisbane for his first musical directorship in charge of the Queensland Philharmonic. But it was in 1992 that Kuchar discovered his roots and began to establish an international reputation when he took over the National Symphony Orchestra of the Ukraine. Together they have given lengthy tours worldwide, hundreds of concerts and made many recordings for several labels. The theatre music by Shostakovich was particularly successful and holds a treasured place in Kuchar’s heart: ‘The Bolt is absolute genius. I’ve done it with every orchestra I’ve had a long relationship with, and every time it knocks an audience sideways.’ In the early 2000s Kuchar also worked regularly with the Janácek Philharmonic Orchestra based in Ostrava, formerly known as the Czech Radio Orchestra. Together they recorded the major – and most of the minor – orchestral works by Smetana, the best-known tone-poems of Dvorák and even the complete symphonies of Carl Nielsen, which became a critical hit. Since then Kuchar has conducted orchestras throughout Europe, Asia and the Americas. As music director of the Orquesta Sinfónica Venezuela he led a vibrantly colourful collection of Latin-American orchestral classics (by Ginastera, Moncayo and Revueltas among others) for the last disc on this retrospective, recorded in 2011. ‘Theodore Kuchar is one of today's most dynamic, most successful young conductors… every instrumental effect comes through beautifully… Tempos are generally rapid and spirits high… this is a lot of fine Dvorák for a very low price.’ (Fanfare) ‘This is a recording of very high worth by a conductor of genius. Each and every minute of every piece on this three-CD [Smetana] set is emotionally committed, tautly controlled, propulsive, and stunning. I haven’t heard a Má vlast or Bartered Bride Overture this good on records in eons.’ (Fanfare) ‘These performances [of Latin-American classics] are very slick. The tightness of ensemble in Moncayo’s Huapango shows up the sloppiness of most other versions. Kuchar sets and maintains a perfect tempo here and elsewhere. The recording quality is sharp-edged and bright, adding to the excitement. (Fanfare) ‘Theodore Kuchar leads what is without question the most exciting complete Nielsen symphony cycle available, making this the set to get for Nielsen newcomers.’ (Classics Today) This set brings together the recordings conductor Theodore Kuchar made for Brilliant Classics: the complete symphonies by Carl Nielsen, the Symphonic Poems by Dvorák, the orchestral works by Smetana, ballet suites by Shostakovich and a recording of Latin American classics. All these recording have met with enthusiastic critical acclaim: “10/10: first recommendation in this repertoire..terrific sonics..irresistable package..”(Classicstoday on Shostakovich), “Theodore Kuchar is an extremely exciting and talented conductor..thrilling, with uninhibited abandon”(Classicstoday on Dvorák), “Theodore Kuchar leads what is without question the most exciting complete Nielsen symphony cycle available, 9/9”(Classicstoday on Nielsen), “with plenty of enthusiasm and vigor..hard to of the best versions available..”(Classicstoday on Smetana). The Latin-American program was nominated for a Latin Grammy. Theodore Kuchar (1963) was born in New York. He studied the viola and conducting, and was for a period principal violist of the Cleveland Orchestra. He is one of the most sought-after conductors of his time, active with the Symphony Orchestra of the Ukraine, Janacek SO, Venezuelan SO and others.

kr. 425,00
Image The Complete London Manuscript (12CD)
Almost an exact contemporary of Bach, Silvius Leopold Weiss (16871750) was renowned in his day as one of the most proficient lutenists in Europe. Born in Grottkau, now part of Poland, he soon established himself in the service of Prince Elector of Saxony August the Strong, based in Dresden, where he eventually became the highest paid musician of the court. Over his lifetime he composed over 200 sonatas, and, remarkably, many of them remain conserved and unplayed to this day. The manuscripts can be found in various libraries scattered across Europe, and the London Manuscript, held in the British Library since 1877, contains a staggering 26 solo sonatas as well as other individual and ensemble works with flute. The sonatas are not like the typical Classical sonatas that would appear in Mozarts time; they are structured more like a Baroque suite, normally comprising six individual movements, lively gigues and courantes as well as allemandes and slow sarabandes. Although Weisss lute music has been compared to that of J.S. Bach, there is a wealth of originality here that is not always found in Bachs works, due to Weisss deep understanding of the instrument. Weiss utilised unusually sophisticated harmonies, particularly in the later works, where he frequently employed diminished seventh chords and bold enharmonic changes. His ensemble works for flute and lute add a striking new voice, leading to lively interplay between the two instruments.

kr. 375,00
Image 12CD-BOX: Complete Organ Music
Simone Stella, organ

The most famous composer of chorale settings must surely be the great Johann Sebastian Bach, who wrote over 500 works of this type, still widely performed and recorded today. In his time, however, the German composer was given a run for his money by his contemporary Johann Gottfried Walther. Born one year before Bach, Walther struck up a friendship with Bach - his second cousin - in 1708, a friendship that inspired him to set over 130 chorale preludes and variations on Lutheran chorale melodies. In addition, the composer transcribed numerous concertos by his contemporaries, among them Telemann, Vivaldi and Torelli, arranging the melodies for the organ in a highly innovative and original way. Walther's most lasting testament is his Musicalisches Lexicon, one of the most valuable sources for the studyof Baroque music today, which solidifies the composer's reputation as a scholar as well as an accomplished performer and composer.

Italian performer Simone Stella has ensured that this 12CD box set includes all of Walther's currently ascertainable free organ works, chorale settings and concerto transcriptions in their entirety. This is an ideal way for any lover of Baroque organ music to explore outside the realms of Johann Sebastian Bach, with a vast treasure trove of exciting chorale preludes and organ settings that offer a new glimpse into the fascinating north German style.

kr. 375,00
Image Complete Madrigals (12 CD)
A project 10 years in the making, now issued complete for the first time: a landmark in Monteverdi performance. The Dutch musician Krijn Koetsveld has often conducted Bach, and he was founder-director of The Netherlands Bach Ensemble. However, it is the name of Claudio Monteverdi with which he is indelibly associated: he first encountered the composer’s music in 1972, and describes it as ‘love at first sight, which never passed’. This relationship matured over time into the foundation of a soloistic vocal group, Le Nuove Musiche, with the technical skills, the scholarly understanding and the musical sensitivities to do justice to the highly intimate, sophisticated genre of Renaissance madrigal, of which the nine books by Monteverdi represent its summit and fullest flowering. Recording all nine books, and several other mini-dramas and vocal chamber works which fall within the genre but outside the books themselves, began in 2004 and was only completed in 2018. Koetsveld contributes a lively and authoritative introduction to the whole project in the booklet. He remarks: ‘Nine books of madrigals, all of them unique, contributing to the transition from the Renaissance to the baroque, a musical history in sound.’ As the series has been released, its importance has been widely recognised in the critical press. In 2017, Fanfare observed: ‘Il Combattimento di Tancredi e Clorinda is representative of Koetsveld’s approach. The harmonic outline of the continuo is restrained and precise, the tutti playing of the strings articulated clearly. Both instrumental and concerted textures are so transparent one could take dictation to the recording. In a luminous performance as the narrator, Falco van Loon is focused and crystalline; Wendy Roobol is a clean, nimble Clorinda. Arnout Lems is the most dramatic of the soloists, voicing Tancredi in a rich but gentle baritone.’ More from Fanfare: ‘Decidedly expert performances [make Koetsveld’s Monteverdi an] eminently valuable reference recording.’ ‘The budget price cannot be overlooked, but it is not a measure of the exceptional value of Koetsveld’s accomplishment.’

kr. 375,00
Image French Piano Concertos (12 CD)
This gorgeous set is dedicated to piano concertante works from the pens of French composers – infinitely varied compositions that nevertheless each bear the unmistakeable flavour of their native idiom. The French piano concerto was a late arrival on the European stage, and even then many French composers would opt to combine piano and orchestra outside the confines of strict concerto form. This 12-CD set homes in on the genre’s heyday – the century or so spanning Saint-Saëns’s pioneering First Piano Concerto (1858) to Françaix’s nostalgic Concerto for 2 Pianos (1965) – along with two precursors: a two-movement Concerto in F (1792) by the ‘French Mozart’ Boieldieu and the early Concerti da camera Op.10 (1832–38) by the maverick genius Alkan. The set begins with the five piano concertos that traverse Saint-Saëns’s career, along with concertante pieces he composed in the 1880s during a 20-year hiatus between his Fourth (1875) and Fifth (1896). The ’80s were fertile for Saint-Saëns’s contemporary Franck, as well, who returned to the piano after decades focusing on the organ and on choral music to create such piano concertante masterworks as Les Djinns and the Variations symphoniques. The latter work was an influence on Claude Debussy’s Fantaisie, in terms of the roles assigned to the orchestra and solo piano and the work’s structure, and like Franck before him, Debussy would disown this youthful work to move in a new direction – surprising given the warm reception enjoyed today by the early works of both composers. The influence of Saint-Saëns and Franck would extend to several of Debussy’s contemporaries, as well. Some would rebel against concerto form – Gabriel Fauré with his episodic Ballade Op.19, Cécile Chaminade with her single-movement Concertstück Op.40 and Vincent D’Indy with his three-movement Symphony on a French Mountain Air –?while others would embrace it – the Concerto in C minor Op.12 of Gabriel Pierné emulating Saint-Saëns’s Second yet foreshadowing Rachmaninov, and the epic Concerto in F minor by Édouard Lalo harking back to Liszt. Jules Massenet’s Concerto in E flat, begun in his early twenties, but only finished at the turn of the century after his many successful operas, arrived too late for the shifting tastes of the time, which had turned their back on romantic virtuosity in favour of the impressionistic and neo-classical. The group known as ‘Les Six’ (The Six) represented the next generation of French composers exploring these new directions in the wake of the First World War. Three of their number figure on this set: Francis Poulenc and the charm and wit of his Concertos for one and for two Pianos, Germaine Tailleferre and the impressionistic orientalism of her Ballade, and the prolific Darius Milhaud who contributes no less than five piano concertos and four other concertante pieces. Their younger colleague Jean Françaix was among the many great names to have studied with seminal French composition teacher Nadia Boulanger. She is represented here by her forward-looking 1912 Fantaisie, while her student Françaix, like Poulenc, offers Concertos for one (1936) and for two (1965) pianos, the former dedicated to his teacher and the latter looking back to Poulenc. Albert Roussel and Reynaldo Hahn, though older than the members of ‘Les Six’, would only come to write piano concertos in their 50s, well into the inter-war period. Hahn’s concerto is featured here in a very special remastered historic recording from 1937, with the composer at the podium and the renowned Brazilian pianist Magda Tagliaferro as soloist. Maurice Ravel likewise came late to the piano concerto, but then wrote two simultaneously, one for piano two hands and one for the left hand alone, on commissions from Serge Koussevitzky and Paul Wittgenstein, respectively. Both were given their premieres within a few weeks of each other in 1932. As a worthy successor to the highly successful set of Russian Piano Concertos (BC95520) Brilliant Classics is happy to issue this set of French Piano Concertos on 12 CD’s. Beginning with the (Early) Romantic concertos by Boieldieu and Alkan, and ending with concertos by Françaix and Milhaud they represent everything which is quintessentially French: a lightness of touch, charming, witty, sometimes tongue-in-cheek, colourful and bubbling with brilliant virtuosity. Played by excellent pianists such as Magda Tagliaferro, Romain Descharmes, Gabriel Tacchino, Francois-Joël Thiollier, Michael Korstick, Florian Uhlig and Klára Würtz. The booklet contains a newly written essay by David Moncur.

kr. 375,00
Image Mozart Operas (12 CD)
Complete for the first time, the critically acclaimed Mozart opera recordings made by a leading light of ‘period’ performance. The scion of a Dutch family deeply involved in the historically informed performance movement for the past 70 years, Sigiswald Kuijken made his name as a violinist. The combination of scholarly diligence, performing flair and unwavering determination – ‘I’ve always been fanatical about doing things the way they were done in their day,’ as he remarked in an interview – produced recordings of solo, chamber and concerted Bach as deeply considered as they were imbued with rhythmic vitality. In 1972 he gathered like-minded friends and colleagues to form La Petite Bande as a recording ensemble; led from the first desk by Kuijken himself, the ensemble quickly gained renown through performances and tours, and their repertoire evolved naturally over time until they began a project to record Mozart’s major operas in 1992 with Don Giovanni (completing it 12 years later with Die Zauberflöte). Kuijken’s approach was characteristically definitive: ‘These pieces are immortal, they don’t need arranging. If you sayyou’re playing Don Giovanni and it’s a piece of modern theatre with music by Mozart, it’s not the same piece.’ Thus he made no apologies for casting singers who were often young, and more experienced in early-music idioms than in treading the boards of the world’s great opera houses; or for putting them in stagings which Mozart and da Ponte would have recognised. At the same time, Kuijken always sought to uncover the spiritual dimension of music that explores the farthest reaches of human emotion. ‘There is something strange that Bach shares with Mozart,’ he said. ‘It appears that their music has a deeper source. I know it’s a romantic idea to say that, but I’m not ashamed to do so and in fact I feel it increasingly.’ Critics responded warmly from the beginning to this ‘informed Romanticism’, which was caught on the wing in live recordings. The booklet to this set contains detailed synopses of each opera. ‘Everything ticks like fine-tuned clockwork and there is abundant energy throughout… I hear none of that horrid glassy tone that so often betokens the “original instrument” approach. But otherwise the overall sound has the brightness and airiness that differentiates period performance (at its most pleasing to the untutored ear) from twentieth-century symphonism.’ (Fanfare, Mar/Apr 1994, Così). ‘Interpretations of Mozart's 18th-century music should place an emphasis on gracefulness and elegance. Sigiswald Kuijken’s conducting obviously shares that view.’ (Fanfare, May/June 2003, Figaro). ‘This overlooked 2004 recording has a lot going for it… Kuijken’s leadership is fleet and comic, the period instruments are well and expressively played, the recording itself is vivid and bright. The singers are the lightest on CD.’ (Classics Today) This 12CD set brings together Mozart’s greatest mature operas: Cosí Fan Tutte, Le Nozze di Figaro, Don Giovanni and Die Zauberflöte. The performances are conducted by Sigiswald Kuijken, pioneer and veteran of the Historically Informed Performance Practice and a passionate and committed musician. The orchestra is La Petite Bande and the soloists include such celebrities as Monica Groop, Huub Claessens, Nancy Argenta, Christina Högman, Soile Isokoski, Harry van de Kamp, Per Vollestad, Stephan Genz, Suzie LeBlanc and many more. Complete libretti of the operas are available on the Brilliant Classics Website.

kr. 375,00
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