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When the idea of recording the Dvorák concerto first came up, it was a great surprise to me that he had composed such a huge piece with such monumental proportions, and it was especially interesting to enter into his musical world, which I had only explored up until now by way of the chamber music. In the case of Schumann, of course, it was entirely different. \u003c!-- pagebreak --\u003eAs a pianist embarking on this composition, you cannot avoid a feeling of great responsibility, because you are traveling a road that so many others have traveled before you. Indeed, it was a great privilege to be allowed to under take this project, and to discover how all of my excitement began to give way, more and more, to the pleasure of devoting myself to such wonderful music. 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It requires skilful counterpoint allied to harmonic facility in order to create a satisfying whole from the fugues restrictive formal demands. Indeed, for many universities and conservatoires the writing of a fugue has long been regarded as the greatest test of contrapuntal and harmonic ability. \u003c!-- pagebreak --\u003e\u003c\/p\u003e\n\u003cp\u003eEven into the 20th century, the Paris Conservatoire locked students away individually with only a pen, paper and fugue subject for company in order to test their technical skill. Such revered status was not acquired overnight, however, and the roots of the fugue are to be found back in the 14th-century....\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738287681860,"sku":"19403-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738287714628,"sku":"19403-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738287747396,"sku":"19403-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738287780164,"sku":"19403-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738287812932,"sku":"19403-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738287845700,"sku":"19403-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307748532548,"sku":"19403-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334317482308,"sku":"19403S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334317515076,"sku":"19403S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334317547844,"sku":"19403S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/19403-16.jpg?v=1790114142"},{"product_id":"19503-vivaldi-la-stravaganza-12-violin-concertos","title":"Vivaldi: La Stravaganza 12 Violin Concertos","description":"\u003cp\u003eImmersing myself in the 12 Concertos of ‘La Stravaganza’ was an intense and exhilarating experience, and one which has left me full of wonder at Vivaldi’s seemingly endless capacity for invention. Having had many opportunities to get to know his music ever since I started playing the violin (the well-loved A minor Concerto from L’estro Armonico is one of the set pieces in Suzuki’s violin method and played by most 6-10 year olds!), \u003cimg src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" data-mce-resize=\"false\"\u003ethe Seasons and L’estro featuring strongly in baroque concert programmes, it was with interest but also a number of pre-conceptions that I approached these relatively obscure concertos. I rather arrogantly assumed I’d have to put my mind to making them sound as different from each other as possible, as they probably wouldn’t assert their own character within the set by themselves. I’m ashamed of that thought now, since I quickly realised that I wasn’t dealing with ‘samey’ music at all, but with extreme inventiveness within a definite framework. Vivaldi uses melodic figurations in so many remarkable ways. It’s as though he likes to experiment with every possible variant and push the players beyond expectation of what might be coming next.\u003c\/p\u003e\n\u003cp\u003eHaving said that, the most predictable comment about his music is that his music is predictable! But listen, for example, to the last movement of Concerto no.1, where we see him first setting up a simple phrase, experimenting with the opening figure (first 2 bars) in minimal ways, taking us unexpectedly (unpredictably!) into a new key just when we expect the solo part to take charge. For 111 bars he lets his imagination run riot with this very simple opening figure, transforming it and avoiding any obvious phrasing that the listener might assume. This way, he creates a wonderful spirit of exploration in the music. Fragments of figurations are often thrown from one part to the next in the orchestra, later making up a whole phrase. Vivaldi also uses very simple tools by, for instance, making the tune leap across the two violin parts: there is an ascending triadic figure which goes to-and-fro between the fiddles as a variation on a similar tune heard earlier in a single part within the orchestra (Concerto no.3, first movement). His citing of a tune, repeating it twice note-by-note and then changing it at the last minute is often both witty and clever (like in Concerto no.5, first movement, during the 4th tutti section).\u003c\/p\u003e\n\u003cp\u003eVivaldi conveys so much variety and character; it feels easy to perform as the language is so direct and the expression within looks candidly at you from the page. The sublime slow movements (such as in Concertos nos. 1 and 11) recall descriptions or paintings of paradise where you literally feel like you’re hovering on a cloud for the duration of the movement… and the demon-like moments in Concerto no.8 (first movement) make you believe you’re being devoured by hungry tigers. I want to thank all the members of Arte dei Suonatori for helping to make this recording such an exciting project and for being so good-natured in putting up with all my experiments in the sessions. And I’d like to thank Jared Sacks, Jonathan Freeman-Attwood, Cezary Zych and Tim Cronin without whom this recording would not have been possible.\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738288435524,"sku":"19503-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738288468292,"sku":"19503-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738288501060,"sku":"19503-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738288533828,"sku":"19503-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738288566596,"sku":"19503-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56738288599364,"sku":"19503-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56738288632132,"sku":"19503-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738288664900,"sku":"19503-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56738288697668,"sku":"19503-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56738288730436,"sku":"19503-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56738288763204,"sku":"19503-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307755348292,"sku":"19503-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334317842756,"sku":"19503S1417","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334317875524,"sku":"19503S1517","price":33.49,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334317908292,"sku":"19503S1617","price":37.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334317941060,"sku":"19503S69","price":29.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334317973828,"sku":"19503S710","price":28.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/19503-19.jpg?v=1790114185"},{"product_id":"19603-haydn-london-symphonies-arr-salomon","title":"Haydn - London Symphonies Arr. Salomon","description":"\"Mr. Salomon having taken a journey to Vienna purposely to engage the celebrated Haydn, Chapel-Master to his present Highness Prince Esterhzy, to come to England, most respectfully aquaints the Nobility and the Gentry that he has actually signed an agreement with Mr. Haydn. (They) hope to be in London before the end of December, when Mr. Salomon will have the honour of submitting to the Publick a Plan of a Subscription Concert, which he flatters himself will meet with its Approbation and Encouragement.\" (Morning Chronicle, Dec. 29th 1790) \u003cimg src=\"image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\"\u003e\r\n\r\nThis announcement heralded one of history's most successful musical coups. The violinist, composer and impresario Johann Peter Salomon (1745-1815) managed to secure a visit to London from one of Europe's most revered composers. The arrangement promised gain to all involved: Haydn was to receive the princely sum of 1200 pounds (far exceeding any of his previous earnings); Salomon was to put on an eagerly awaited series of concerts in the Hannover Square Rooms featuring Haydn's latest works; and the public was to be presented with the pinnacle of Haydn's symphonic oeuvre - the 12 London Symphonies.\r\n\r\nSalomons timing in securing this accord was impeccable. Haydns patron of 29 years, Prince Nicolaus von Exterhzy had died earlier in the year, and his less artistically inclined son, Anton, duly sacked the court orchestra, pensioning off the 58 year old Kapelmeister. In contrast \"Haydn is quite extraordinarily popular here. His Ouvertures and Symphonies are constantly performed\" wrote the London correspondent of the German Journal des Luxus und der Moden...\r\n\r\n \r\n\r\n ","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738289942852,"sku":"19603-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738289975620,"sku":"19603-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738290008388,"sku":"19603-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738290041156,"sku":"19603-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738290073924,"sku":"19603-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738290106692,"sku":"19603-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307765702980,"sku":"19603-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334318694724,"sku":"19603S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334318727492,"sku":"19603S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334318760260,"sku":"19603S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/19603-14.jpg?v=1790114230"},{"product_id":"19903-splendore-di-roma","title":"Splendore di Roma","description":"\u003cp\u003eDuring the pontificate of Urban VIII (1623-1644), the arts in Rome enjoyed a period of unprecedented splendor. In the context of the Counterreformation, they were part of the propaganda arsenal of papal might. The architecture of Bernini and Borromini, as well as the musiche of Mazzocchi and Rossi, echoing in the private apartments of the cardinals and the accademie, where the elite of Rome congregated to enjoy music and poetry, bear witness to this trend.\u003c\/p\u003e\n\u003cp\u003eThe texts set in this music were often deliberately vague as to whether their content was secular or religious. The primary intent was to express of the power of the words and their affect, by using the richest possible harmonic support. Composers like Landi and Michi both sang and accompanied themselves; the instruments which were considered most suitable for this purpose were the theorbo and the harp, which could accommodate to the voice at nearly every dynamic level. Mazzocchi, in his compositions, even provides indications of changes to tempo and dynamics. He sometimes gives the accompaniment an independent part in order to emphasize the text.\u003c\/p\u003e\n\u003cp\u003eFor example, in ‘Spoglie’, the theorbo follows the text \"passerà l'ombra mia la ripa avara\" in a literally shadow-like way. The most important virtuoso theorbo player of 17th century Rome was Johann Hieronymus Kapsberger, Il Tedesco della Tiorba (the German Theorbist). In addition to solo compositions for theorbo and lute, his publications include collections of motets, villanelle, and ‘arie’, some of which have a fully written-out accompaniment in tablature, such as ‘Già risi’, recorded on this cd.....\u003c\/p\u003e\n\nhttps:\/\/www.youtube.com\/watch?v=ivL1S0N8zg8","brand":"Channel Classics","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738295120196,"sku":"19903-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738295152964,"sku":"19903-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738295185732,"sku":"19903-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738295218500,"sku":"19903-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738295251268,"sku":"19903-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57307773239620,"sku":"19903-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334320038212,"sku":"19903S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334320070980,"sku":"19903S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334320103748,"sku":"19903S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/19903-16.jpg?v=1790114278"},{"product_id":"20003-shostakovich-prokofiev-britten-sonatas-for-cello-and-piano","title":"Shostakovich, Prokofiev, Britten - Sonatas For Cello And Piano","description":"\u003cp\u003eThe Wolf, the Rolls Royce and the Unicorn To each of us cellists these works belong to the great gifts of the twentieth century. Pieces to get one's teeth into, to live in, bulging with character and individuality. Dramatic and meaningful music with plenty of suspense and theatrics. Inevitably they differ considerably, as far as style, cast of characters and the situations those characters have to face are concerned. \u003c!-- pagebreak --\u003e\u003c\/p\u003e\n\u003cp\u003eAfter all we are dealing with three unique artists and with compositions written over a period of almost three decades. The Shostakovich sonata feels like a kafkasque story, whereas the Prokofjev has characteristics of a grotesque fable and Britten of a magic-realistic allegory. Each pair nonetheless shows similarities. The sonatas of Shostakovich and Prokofjev have in common a combination of an almost conventional, tasty, juicy cello part with a remarkably unruly and drier piano part, the Prokofjev and Britten sonatas are written for Rostropovich and therefore truly for the concert stage and finally the Britten and Shostakovich both have the qualities of a self portrait, much more than the Prokofjev sonata that almost seems to be a portrait of Rostropovich.....\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738296037700,"sku":"20003-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738296070468,"sku":"20003-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738296103236,"sku":"20003-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738296136004,"sku":"20003-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738296168772,"sku":"20003-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738296201540,"sku":"20003-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307773272388,"sku":"20003-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334320300356,"sku":"20003S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334320333124,"sku":"20003S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334320365892,"sku":"20003S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/20003-18.jpg?v=1790114316"},{"product_id":"20604-paris-quartets","title":"Paris Quartets","description":"\u003cp\u003eTelemann Paris Quartets In Telemanns correspondence in 1717 with the great German composer, theorist and music journalist Mattheson, he admits that he is \"a great amateur of French music\". Yet the reality was that like any self-respecting German composer of his time, Georg Phillip Telemann was thoroughly conversant with the stylistic conventions of other European countries and, notably, those of the great rivals from Italy and France. \u003c!-- pagebreak --\u003e\u003c\/p\u003e\n\u003cp\u003eBy the early 1720s Telemann had already displayed a thorough working knowledge of the Italian style of composition in his numerous sonatas and concerti, a style that was to be heard all over Europe. However, until this time the French had managed to maintain certain characteristics of their music; namely the overture and suite together with its wide array of dances. Unlike the Italians who preferred overt displays of virtuosity in chamber music, the French developed the original form of the Sonate en Quatuor with its four closely-knit parts. These were quartets in the real sense of the word, in contrast to the trio sonatas Telemann had been writing until then for the same combination of instruments.\u003c\/p\u003e\n\u003cp\u003eTelemann had demonstrated his exceptional grasp of this form when he published his first set of Paris Quartets in Hamburg in 1730. These were reprinted by Le Clerc in Paris in 1736, and while they were inspired by the French style, the structure of the compositions are more Italian; two concerti, two balletti and two sonatas. Perhaps it was because of the Parisian success of these Quartets that Telemann decided to make a visit to Paris in 1737. He stayed for eight months and whilst there heard a number of his works performed at the public concerts of the Concert Spirituel and met some of the most famous musicians of the day. He heard his first set of quartets performed by the flautist Blavet, violinist Guignon, gambist Forqueray (the Younger) and cellist Edouard. These works became extremely popular and were performed with such extraordinary success in Paris that Telemann was inspired to write a further six Nouveaux Quatuors in 1738. \u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738296496452,"sku":"20604-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738296529220,"sku":"20604-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738296561988,"sku":"20604-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738296594756,"sku":"20604-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738296627524,"sku":"20604-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57307773665604,"sku":"20604-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334320496964,"sku":"20604S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334320529732,"sku":"20604S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334320562500,"sku":"20604S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/20604-16.jpg?v=1790114354"},{"product_id":"20804-death-devotion","title":"Death \u0026 Devotion","description":"\u003cp\u003eDeath and Devotion Cantatas by Tunder, Weckmann, Buxtehude, and Ritter It is a remarkable fact that the most expressive and original vocal church music composed in Northern Germany during the latter half of the seventeenth century was the work not of cantors, but of organists. Some of this is due to the exceptional status which had been achieved by organists in cities like Hamburg and Lbeck in the course of the century; they had become both virtuosi par excellence, and at the same time learned composers. The foundation had been laid by the teachings of Jan Pieterszoon Sweelinck (1562-1621), who had brought an entire generation of North German organists to this exalted level. But at the same time as this generation, typified by Jacob Praetorius, Heinrich Scheidemann, Melchior Schildt, and others, concentrated primarily on the organ as a medium for performance and composition, their students, in turn, took things a step further. They assembled a group (usually a small one) of singers and instrumentalists around the organ for the performance of refined, erudite vocal music, strongly inspired by concertante church music from Italy. Freed from the confines of liturgical requirements, they therefore chose texts, both Latin and German, which offered numerous opportunities for expressive composition: specially chosen excerpts from the Bible (strikingly often those dealing with suffering and death) and devotional texts, many of which were strongly mystic or pietistic in tone. The most important member of this second generation was Dietrich Buxtehude (1637-1707), who was most probably a student of Scheidemann, and who succeeded Franz Tunder in the post of organist at the Marienkirche of Lbeck from 1668 until his death. His surviving compositions include not only a large quantity of organ and harpsichord works, but also a number of string sonatas and some 120 cantatas. The enormous range of texts, compositional techniques, and settings - from intimate solo cantatas to large-scale works - suggests that he enjoyed a good deal of artistic freedom. \u003cbr\u003e\u003cbr\u003eA good example of this is provided by Buxtehudes setting, BuxWV 38, of the Psalm text Herr, wenn ich nur dich habe [Lord, when I have but Thee] (Psalm 73, verse 25-26), a beloved funerary text in seventeenth-century Germany, usually set as a solemn motet. In contrast, Buxtehudes setting is a fashionable, graceful Ciacona, with a repeated six-note bass motive - a compositional technique which originated in Italian secular music. Above this unchanging bass line, the soprano engages in lively exchanges with the two violins, including much word-painting, e.g. the swaying triplets at meines Herzens Trost (the comfort of my heart). This Ciacona was written in the 1670s; in contrast, the Dialogus inter Christum et fidelem animam, Wo ist doch mein Freund geblieben? [Where for is my friend departed] (BuxWV 111) is a late work of the 1690s. This dialogue between Christ and the faithful soul, sung respectively by bass and soprano, is based on a paraphrase of a familiar text from the Song of Songs, referring to the lost beloved (Christ in this context). The text is strophic, but Buxtehude only sets the beginning, the monologue of the searching soul, as a song with uncomplicated alternation between the soprano, accompanied only by the continuo, and the strings. After the Beloved has been found, a freely composed dialogue arises between the two voices, an operatic love duet which is crowned by the ecstatic 6\/8 meter of the conclusion So lieben die Seele und Jesus zusammenSie brennen und stehen in lieblichen Flammen. [Thus the Soul and Christ mingle their loveThey live and burn in the flames of love]. O Gottes Stadt [O city of God] (Bux WV 87) is also based on a strophic song text, in this case drawn from the Himmlische Lieder of 1642 by Johann Rist, a poet who was both a familiar figure in organist circles in Hamburg as well as a friend to Buxtehudes presumed teacher, Scheidemann. Buxtehude uses only the first and last verses of Rists song text, which speaks of longing for the eternal heavenly Jerusalem. Rists text is made to order for a simple strophic aria (and in the 1642 collection, it is indeed set in this way by the Hamburg violinist Johann Schop), but it has inspired Buxtehude to compose a compelling, broadly proportioned concertante version in which the strings function as an emotional sounding board for the soprano another example of freely written organists music. The first verse is set as an expansive sarabande with strikingly realistic illustration of the believers sighs. The second verse begins in a hesitant, searching four quarter time, and Buxtehude also lets the words break off (wenn ich aus diesem Leben) [when from this life I]. But he returns to the ecstatic, dancing 3\/4 meter, and the reason can be found in the continuation of the text (zu dir spring in dein Reich hinein) [leap up to Thy glorious kingdom]. The works climax comes with the elaborate setting of the rejoicing Zion with showy coloratura writing for the soprano. Buxtehude must have drawn much inspiration from the music of Franz Tunder (1614-1667), his predecessor in the office of Lbeck organist. Tunder was in close contact with the Sweelinck-based school of Hamburg organists. Buxtehude married Tunders daughter and in this way became the direct heir to his music. \u003cbr\u003e\u003cbr\u003eTunders compositions, of which disappointingly few have survived, are distinguished by their unusual richness of harmony and polyphonic writing. An Wasserflen Babylon [By the waters of Babylon], a much-loved chorale in North German organists circles, was composed by Tunder as a type of polyphonic motet for soprano (taking the chorale melody) and five stringed instruments. Tunder set the first lines of this hymn, known as the Lament of Zion very expressively, culminating in the chromaticism of the line da weinten wir [there we wept]. From this point onwards, the setting relaxes into a more homophonic, simpler idiom for the remaining lines of the hymn. Far different is Tunders Ach Herr, la deine lieben Engelein [O lord, let Thy dear angels] - a text which is widely known from the closing chorale of Bachs St. John Passion. This is the third verse of Martin Schallings 1571 hymn Herzlich lieb hab ich dich, o Herr [Great is my love for Thee, o Lord]; the chorale melody usually associated with it is completely missing here, however. Instead, Tunder, like his son-in-law Buxtehude some years later in O Gottes Stadt, has written a concertante aria on the text. After a speaking sinfonia, the soprano sings the first half of the text in continuous dialogue with the strings; the last line, ruhen bis am jngsten Tage [to rest until the final day] is then illustrated in a static instrumental interlude. The change of affect afterwards, with Alsdenn vom Tode erwecke michin ewiger Freud [so then Thou shalt awaken me from death.in eternal joy], in rapid triple time, could not be greater. Tunder made a close study of the vocal church music composed by Monteverdi and his successors, as can be clearly seen in the German composers reworking of a motet by Giovanni Rovetta. But Tunders other Latin settings also draw their inspiration from the south, as is surely the case for O Jesu dulcissime, a solo motet for bass on a seventeenth-century devotional text. Matthias Weckmann (1616\/9-1674) a student of both Heinrich Schtz and Jacob Praetorius, and organist at the Hamburg St. Jacobi from 1655, also wrote unmistakeable organists music. In 1663, Hamburg suffered a serious epidemic of the plague, which killed many citizens including several of the most important musicians, among them Scheidemann and the city cantor, Thomas Selle. This catastrophe inspired the large-scale dialogue Wie liegt die Stadt so wste [How the city doth lie desolate], completed by Weckmann on October 14th 1663. Here again we have an unmistakably liberated composer at work: the verses from the Lamentations of Jeremiah have been carefully selected and reshuffled in such a way as to allow them to be set as a soprano-bass dialogue. With the exception of the closing segment, the voices only sing separately: the soprano assumes the role of narrator, and symbolizes the mourning widow at the opening of the piece, whereas the bass takes the part of the somber, sinful prophet himself. The structure of the dialogue is underlined instrumentally by the sopranos accompaniment being limited to the continuo, while the bass is accompanied by the full string ensemble. This basic contrast, as well as the inspired alternation of recitative and aria styles from segment to segment, has produced a poignant setting of this Old Testament prophecy of doom. Particularly impressive are the desolate opening, the sighing Ciacona for bass, Man hrets wohl [Well dost thou hear] (because of the Italianate technique, just as in Buxtehude accompanied only by two violins and continuo), and the closing segment: here the two voices join together in a compelling cry for help (Ach Herr, siehe an mein Elend) [Ah Lord, behold Thou my wretchedness]. \u003cbr\u003e\u003cbr\u003eThe organist Christian Ritter (1645\/8-1717\/25) was of Saxon origin and probably received his education in Dresden as a student of Schtz and other teachers. Later he worked alternately in Stockholm, Dresden, and Hamburg. His 22 surviving vocal works are of high quality and diversity - yet another example of organists music. Both in Stockholm and Dresden he attained the rank of assistant leader of court music. Cantatas, particularly those by Buxtehude and other North German composers, were familiar and beloved in the Swedish capital, while in Dresden, after the death of Schtz, the Italian style ruled the day. O amantissime sponse Jesu, a Latin devotional text, has the rhythmic power and vocal refinement (particularly in the recitatives) of the best Italian church music of the period, but the heavy five-part string accompaniment and the innovative dissonance of the harmonies are both unmistakably North German - nowhere as clearly as in the tension-filled opening, where the soprano declaims the motto of this cantata, surrounded by rich harmonies. The score, preserved in the Berlin library, was already published in a modern edition at the beginning of the 20th century, and in 1959 in the Netherlands, a famous, widely distributed recording of the piece was made by the singer Aafje Heynis, conducted by Anthon van der Horst - who was for more than 30 years the artistic director of The Netherlands Bach Society. 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Born in 1931 in Tatarstan, the composer studied piano and composition at the Kazan conservatory, and later continued in composition with Nikolai Peiko and Vissarion Shebalin at the Moscow conservatory. \u003c\/p\u003e\n\u003cp\u003eUntil 1992 she lived in Moscow; nowadays she lives in her house in the country, in Appen, near Hamburg. Valery Gergiev gave the world premiere of Gubaydulina’s St. John Passion, a major work for soloists, choir, organ, and orchestra, composed for the 250th anniversary of Bach’s death, and dedicated to Gergiev and the chorus and orchestra of the Mariinski Theatre of St. Petersburg. Since then he has repeated the work a number of times, including a performance in 2002 in his capacity as principal conductor of the Rotterdam Philharmonic. Working for many years in complete isolation and without much official recognition, Gubaydulina produced an extensive and avant-garde instrumental oeuvre for the most unusual instrumental combinations. Since her move to Germany, she has composed one surpassingly inspired work after another. \u003c\/p\u003e\n\u003cp\u003eOne of them is ‘The canticle of the sun’ (1997), a cello concerto which is actually a hybrid between cello concerto and choral music, and in fact even more than that: the piece is based on ‘Il cantico frate sole’, the Hymn to Brother Sun of Francis of Assisi, a song of praise dedicated to God, to the sun, to all of creation, but also to death ‘da la quale nullo homo vivente può scappare’ (from which no man can escape). Gubaydulina composed ‘The canticle of the sun’ for the 70th birthday of a man who was, in her words, \"the greatest cellist of the 20th century\", \"Slava\" or Mstistlav Rostropovich, a musician \"with a sun-drenched personality\". The work lasts a bit less than 40 minutes and consists of four movements. The first is dedicated to the Creator of the sun and moon, the second to the Creator of the four elements, the third to life, and the fourth to death. In order not to compromise the character of St Francis, holy in the eyes of the composer, she has limited the contribution of the chamber choir and kept it somewhat enigmatic, and delegated the most powerful expression to the cello part and the percussion section. In this way the choir’s contribution has a fragmentary and coloristic effect. In the course of the piece, the cellist has to play at a lower and lower pitch until he reaches the bottom of his range. After that he must still bring forth some scraping sounds by playing below the bridge, rattling a drum, and playing a flexatone with a double bass bow. \u003c\/p\u003e\n\nhttps:\/\/www.youtube.com\/watch?v=cmbKI68hlUs","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738300985668,"sku":"20904-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738301018436,"sku":"20904-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738301051204,"sku":"20904-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738301083972,"sku":"20904-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738301116740,"sku":"20904-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738301149508,"sku":"20904-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307774091588,"sku":"20904-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334321250628,"sku":"20904S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334321283396,"sku":"20904S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334321316164,"sku":"20904S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/20904-16_7a50f64b-000d-4e34-8bba-a6865ae1571a.jpg?v=1790114426"},{"product_id":"21204-musickes-sweetest-joyes","title":"Musickes Sweetest Joyes","description":"\u003cp\u003eMusickes sweetest joyes 'For now my soule delights in heavenly noyse of musickes sweetest joyes'* Because of the gentle melancholy which underlies the instruments sound, the viola da gamba was the instrument par excellence for the music which became fashionable in 17th-century England,.\u003c\/p\u003e\n\u003cp\u003eSadness was the prevailing tone in compositions of the period, as can be heard not only in many of the song texts (Go nightly cares, Like hermit poor) but also in the stately beauty of instrumental works like the Pavins. Fortunately, not all of the music of this period is gloomy or melancholy; many of the suites, with their light-footed dance movements, as well as folk song settings or grounds, provide a welcome contrast.\u003c\/p\u003e\n\u003cp\u003eAs you study the English repertoire, you are quickly overwhelmed by the vast quantity of glorious music written for the viola da gamba, and curiosity spurs you on to continue reading through new pieces. In England, the gamba was used in various ways and in all sorts of different combinations, so that the instrument's possibilities and possibilities for tone color were put to their best use......\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738302067012,"sku":"21204-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738302099780,"sku":"21204-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738302132548,"sku":"21204-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738302165316,"sku":"21204-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738302198084,"sku":"21204-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57307774255428,"sku":"21204-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334322069828,"sku":"21204S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334322102596,"sku":"21204S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334322135364,"sku":"21204S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/21204-15.jpg?v=1790114464"},{"product_id":"21604-rachmaninov-symphony-no2","title":"Rachmaninov - Symphony no.2","description":"\u003cp\u003eSergey Rachmaninov (1873-1943) - Symphony nr. 2 in e op. 27 (1907) .......In 1907 Rachmaninov had withdrawn with his family to Dresden in order to work in complete isolation. This is where the Second Symphony was created. It had its highly successful premiere in the Marinsky Theatre of St. Petersburg in January of 1908. Like his other symphonies, the work begins with a motto-like theme reminiscent of Russian Orthodox liturgical music. Out of this a long-spun, mournful melody develops and serves as a constant motive throughout the first movement. The second movement is a lively scherzo, but there is a hint of menace in the horns introductory Dies Irae motive. Half way through the movement, the dizzying fugato is momentarily silenced for an episode of passionate romanticism. The Adagio is the most famous movement, and the most consistently described with superlatives. It is a miracle of melodic invention. The beautiful clarinet melody seems endless and appears to grope forward in a kind of trance, searching for words to express its love. Is it entirely fortuitous that the atmosphere is that of the love scene in Rachmaninovs opera, \"Francesca da Rimini\"? 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She worshipped Tchaikovski from afar and initiated a correspondence which, over the years, would amount to some 1200 letters. Madame Von Meck became Tchaikovskis patroness and granted him a generous yearly allowance. In this way it became possible for Pyotr Ilyitch to resign his detested job as a professor at the Moscow conservatory, concentrate on composing, and travel, preferably abroad. The two agreed that they would never meet, in order to avoid any emotional complications which might arise. Thanks to the extensive correspondence, we are well informed about numerous details of Tchaikovskis life, including the background to his Fourth Symphony in f, op. 36, from 1877. Around this time, Tchaikovski had unexpectedly rushed into a marriage in order to avoid revealing his homosexuality. After a week with his bride, the composer suffered a nervous breakdown and made an attempt at suicide, after which the marriage was dissolved on medical advice. 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I feel Mozart’s music is aimed at the heart. Approaching his music instinctively comes mostnaturally to me: it seems so effortlessly composed, and communicates to us directly. After all, why do children react so positively to this music of the heart? And yet I alsofound my experience of performing Baroque music helped me find a way of understanding and appreciating Mozart’s style.The inclusion of early, middle and late Sonatas on this disc conveys a balanced survey of Mozart’s music for violin and keyboard. Each Sonata stands out clearly in it’s ownright, revealing a snapshot in time of his developing personality. This is an ongoing voyage of discovery for me, and I feel I am only at the beginningRachel Podger\u003c\/p\u003e\n\nhttps:\/\/www.youtube.com\/watch?v=6eDblLetNlo","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738303869252,"sku":"21804-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738303902020,"sku":"21804-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738303934788,"sku":"21804-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738303967556,"sku":"21804-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738304000324,"sku":"21804-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738304033092,"sku":"21804-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307778056516,"sku":"21804-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334324658500,"sku":"21804S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334324691268,"sku":"21804S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334324724036,"sku":"21804S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/21804-14.jpg?v=1790114576"},{"product_id":"21904-a-life-of-tango","title":"A Life of Tango","description":"\u003cp\u003eIn 1984 I saw him for the first time. I had just discovered the bandoneon. With his right hand he was playing a virtuoso piece, with his left hand, at the same time, he very calmly straightened his glasses. It was marvellous, the audience was in stitches. It was one of the most important tango concerts that I have ever seen. The ease, the humour with which he played on his instrument, and with such virtuosity. As soon as Carel Kraayenhof begins to speak about his master, Alfredo Marcucci, its hard to stop him. After the Dutch bandoneon player had seen Marcucci perform several times in the mid 1980s, he tried to get in touch with the Argentinian. A lively correspondence began. Alfredo sent me tips and pieces of music, pieces by Julio De Caro and Adios Nonino by Piazzolla. In 1986, Kraayenhof attended a weeklong very inspiring workshop given by Marcucci. No one in the Netherlands played the bandoneon, becoming a real bandoneon player seemed so unattainable. And then all of a sudden you encounter an incredibly sweet older man like this, a great figure in the tango world: Just sit down, my boy, Ill show you how. Alfredo was a musical father for me in those days, says Kraayenhof. 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European, native South American and Creole (Spaniards born in South America) composers and musicians created a uniquely South American Renaissance and Baroque repertoire, comparable in its magnitude and originality to the musical innovations of the outstanding European musical centres of that time. To date two important collections of South American missionary music have been preserved. The first can be found in Concepcin, Bolivia, at the Library of the Vicariato Apostlico de Nuflo de Chvez.\u003c\/p\u003e\n\u003cp\u003eThis collection comes from the missionary churches of San Rafael and Santa Ana. The other, discovered and organised more recently, belongs to the collection of music manuscripts of the former Jesuit Mission of the Moxos Indians, in Bolivia. Copies of the latter were still being produced up to the 1990s. Several vocal works with accompaniment can be found in both collections, as well as a truly exceptional group of instrumental pieces within the Latin American repertoire, which usually consists only of a vocal and choral repertoire and not an instrumental one.\u003c\/p\u003e\n\u003cp\u003eAlthough a big part of the composition is of Indian authorship (with texts in native languages: Chiquitana, Baure, Moxa, Canichana, Guarani), the manuscripts include also six Masses of Giovanni Battista Bassani (1657-1716), two motets by Johann Joseph Ignaz Brentner (1689-1720) and 14 compositions by Domenico Zipolli (1688-1726), which have been used as models for the music teaching which was disseminated at the missions. 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The Requiem is Maurice Duruflè greatest and most imposing work. He received the commission for it from his publisher while he was still at work on a Suite for organ.\r\n\r\nThe movements of this suite were based on Gregorian melodies and were ideally suited for further expansion and transformation into a Requiem Mass of respectable dimensions. The Requiem of Gabriel Faur undoubtedly served as a model for this work. The choice of texts is identical (largely consisting of portions of the Liturgia Defunctorum), but Durufl introduces a break between the Introit and Kyrie, and also between the Lux Aeterna and Libera me.\r\n\r\nThe result is a Requiem in nine movements, whereas with Faur there are no more than seven. ..... Messe cum Jubilo Op. 11 (1966) dedicated to his wife, Marie-Madeleine Durufl. Interest in Gregorian chant underwent a real renaissance during Durufls youth-- the activities at and surrounding the abbey of Saint Pierre de Solesmes played an essential part in this, but that is another story-- and this interest can be sensed, as it can in the Requiem, in the Messe cum Jubilo. The indication cum iubilo is the subtitle of the 9th Kyriale of the Mass ordinary as it can be found to this day in the Graduale Triplex (Solesmes 1979).\r\n\r\nIn contrast to the Requiem, the powerful melodic line of this mass is left unaltered in each of the five movements, in the sense that the harmony, which seems to spring effortlessly from the modal character of the melodic progression, is left completely to the orchestra or organ.\r\n\r\nhttps:\/\/www.youtube.com\/watch?v=QaI4XJ-1M08","brand":"Channel Classics","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738306130244,"sku":"22405-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738306163012,"sku":"22405-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738306195780,"sku":"22405-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738306228548,"sku":"22405-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56738306261316,"sku":"22405-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56738306294084,"sku":"22405-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738306326852,"sku":"22405-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56738306359620,"sku":"22405-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57307778679108,"sku":"22405-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334326853956,"sku":"22405S1417","price":27.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334326886724,"sku":"22405S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334326919492,"sku":"22405S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/22405-15.jpg?v=1790114743"},{"product_id":"22805-mozart-complete-sonatas-for-keyboard-and-violin-vol-2","title":"Mozart - Complete Sonatas For Keyboard And Violin Vol. 2","description":"\u003cp\u003eRachel \u0026amp; I feel that, by using a fortepiano throughout, we present a sort of musical 'level playing field' with regard to our choice of Mozart's sonatas included on this disc - spanning as it does such a huge portion of the composer's life \u0026amp; musical development. While K.6 may at first appear to the listener as amiable juvenilia, sitting as it does alongside a sonata of such undoubted breadth \u0026amp; maturity as K.481, we firmly believe that allowing Mozart's early - and outstanding - ventures into this genre to speak for themselves by using using the same instruments throughout, we hope to draw attention to his early work in the best way - in a way that is not only so suggestive of what would in time follow, but also seeks to demonstrate the eight year old's already fecund imagination and uncanny sense of musical line. Gary Cooper\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738306720068,"sku":"22805-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738306752836,"sku":"22805-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738306785604,"sku":"22805-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738306818372,"sku":"22805-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738306851140,"sku":"22805-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738306883908,"sku":"22805-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307778777412,"sku":"22805-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334327312708,"sku":"22805S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334327345476,"sku":"22805S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334327378244,"sku":"22805S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/22805-15.jpg?v=1790114790"},{"product_id":"22905-mahler-symphony-no-6-in-a-minor","title":"Mahler - Symphony No. 6 in A-Minor","description":"\u003cp\u003eAfter the dress rehearsal, Mahler paced back and forth in the greenroom, wringing his hands and sobbing. He was beside himself. In the last movement he had let his 'hero' be killed by three violent blows of fate, a sort of Old Testament prophecy of the destruction of humanity by a higher power. In the score he symbolically notated three dull thuds made by a hammer on a wooden box which he had had especially built. But after the premiere he removed the third blow in measure 783. And as a symbol of the last remains of earthly existence he brought in the characteristic sound of cowbells, the last sounds which echo from the valleys and meadows on the highest summits of the world. They were meant to sum up the whole of human experience, from childlike innocence and wonder to fury, despair, and destruction. 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Sir William Walton's Sonata for Strings is a piece that the Amsterdam Sinfonietta has performed with great success both at home and abroad. For this reason we felt that a recording of this work was an obvious choice. It is a powerful composition which gives a string orchestra the opportunity to display all of its discipline, virtuosity, and tone-color. We chose Beethoven's string quartet op. 135 as a companion piece for this recording because of our admiration for the greatness of this final string quartet. The only other recording of this work to date is the Vienna Philharmonic's legendary recording of op. 135 in an arrangement for string orchestra, conducted by Leonard Bernstein. In this earlier recording, the work is performed with a very large group of strings, and Beethoven's composition is realized on a symphonic scale. One important characteristic of the Amsterdam Sinfonietta is that the orchestra is conceived in terms of a string quintet, i.e. a small- scale setting. The orchestra has deliberately remained small in size for the exact purpose of preserving the intimate character of works such as those by Walton or Beethoven. In this way we are able to perform with a maximum of flexibility and articulation. During the recording sessions, attention was devoted not only to the dynamic levels in the score but an effort was also made to give different colors to the various motives. The Amsterdam Sinfonietta strives for the greatest possible expression in this way. 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For a long time, we have wanted to design concert programs with just a few large scale works, each of which developed its ideas fully. Now the repertoire is growing, and we are on the brink of something new. All three of these pieces draw on various styles of music available to today's listener, from free improvisation in a densely notated art-rock setting to evocations of African vocal polyphony, from oblique references to 1970's television themes to the rhythms and intonations of a sermonizing preacher. Yet each piece creates its own unique style and language. 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Ten horns, eight trumpets, two harps, organ, five percussionists, two vocal soloists (soprano and alto), as well as a large mixed chorus, fill the podium. And behind all this, invisible, is a 'Fernorchester' (distant orchestra) as a symbol of 'the resurrection'.\r\n\r\nThe work lasts for some 80 to 85 minutes, twice as long as Brahms's Fourth or the Franck and D' Indy symphonies of the same period. And relative to a Haydn or Mozart symphony, there is a tripling in size. Only Bruckner approaches it in the length department with his Fifth and Eighth, each lasting about 75 minutes.\r\n\r\nBut then Mahler, in this symphony, is dealing with the themes of life, death, and resurrection, and he took whatever space he felt that he needed. There is a strangely sharp contrast between the untroubled key of C major and the dark and turbulent contents of the work. It has been suggested that the theme of life, death, and resurrection was borne in on Mahler on the occasion of the funeral of the great conductor Hans von Bülow in 1894.\r\n\r\nIn any case, the words of Klopstock that were read on that occasion are the same ones that Mahler used that year for the apotheosis (last movement) of his Second Symphony: “Aufersteh'n, ja aufersteh'n wirst du, mein Staub, nach kurzer Ruh unsterblich Leben wird der dich rief gegeben.” (Thou shalt arise, yes, arise, my dust, after a brief slumber, thou shalt be called to immortal life). And Mahler expanded the text further with his own words: “O glaube, mein Herz. Es geht dir nichts verloren. Dein ist was du gesehnt. Dein, was du geliebt, was du gestritten. O glaube: Du wardst nicht umsonst geboren. Hast nicht umsonst gelebt, gelitten.” (O have faith, my heart. Nothing shall be lost to thee. What thou hast longed for is thine. Thine remains, what thou hast loved, what thou hast battled for. 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Thou hast not suffered in vain.)\r\n\r\n\u003cstrong\u003eIvan Fischer, Conductor\u003c\/strong\u003e\r\n\u003cstrong\u003eBudapest Festival Orchestra\u003c\/strong\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738309210436,"sku":"23506-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738309243204,"sku":"23506-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738309275972,"sku":"23506-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738309308740,"sku":"23506-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738309341508,"sku":"23506-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56738309374276,"sku":"23506-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56738309407044,"sku":"23506-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738309439812,"sku":"23506-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56738309472580,"sku":"23506-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307780088132,"sku":"23506-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334329573700,"sku":"23506S1417","price":30.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334329606468,"sku":"23506S69","price":29.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334329639236,"sku":"23506S710","price":28.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/Mahler-2-23506-No-Logo.jpg?v=1790114973"},{"product_id":"23606-mozart-complete-sonatas-for-keyboard-and-violin-vol-3","title":"Mozart - Complete Sonatas For Keyboard And Violin Vol. 3","description":"\u003cp\u003eAnyone thinking of Mozart as a performer probably imagines him at a harpsichord or fortepiano. And that is an accurate picture. Mozart was a gifted keyboard player, but not a showman of the keyboard. He detested empty virtuosity. Wolfgang, however, had been trained from his earliest years by his father Leopold as a double talent. He played both harpsichord and violin. The popularity of his sonatas, variation sets, and concerti for the piano has tended to overshadow his violin compositions, but the first sounds that his baby ears received probably came from his father's violin. Wolfgang heard him tuning the instrument, saw him putting on new strings now and then, playing, rehearsing. And of course he heard Leopold praising his violin and commenting on the music. 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Most of these were written for the Ospedale della Piet, a kind of orphanage which was home for the female offspring of noblemen and their mistresses. Even after leaving Venice he supplied concertos and directed performances for this Institute, where the musical standards were the highest in Venice. After listening to many of these works we soon realized that the guitar concertos, originally written for mandolin and lute, are amongst Vivaldis best. Besides the double concerto for two mandolins we decided to arrange two solo concertos, originally written for lute and mandolin. In these arrangements the second guitar takes the role of the continuo, which would usually be played on the harpsichord. When listening to the mandolin and guitar versions, we found that the same piece played on the mandolin sounds a lot clearer. This is not only due to the fact that the register of the mandolin lays an octave higher than the guitars. Arpeggio-like formations sound harp-like on the guitar but not on the mandolin. Traditionally guitarists play these figurations by holding all the notes of the chord with the left hand, producing this harp like sound. These formations played on the mandolin, violin or on wind instruments would sound a lot more like melodies, where notes do not overlap and you can hear the jump between the notes. It is possible to achieve the same on the guitar by lifting the fingers of the left hand just like other instrumentalist would do. Once we listened to this clearer sound we nearly always preferred this technique. We also tried to play as much as possible with rest stroke, (a guitarist technique of the right hand) as it sounds louder and fuller, which is useful specially when playing with or against other instruments......\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738310160708,"sku":"23707-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738310193476,"sku":"23707-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738310226244,"sku":"23707-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738310259012,"sku":"23707-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738310291780,"sku":"23707-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57307783921988,"sku":"23707-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334330392900,"sku":"23707S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334330425668,"sku":"23707S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334330458436,"sku":"23707S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/23707-2.jpg?v=1790426803"},{"product_id":"23807-bach-cantatas","title":"Bach Cantatas","description":"\u003cp\u003eIn 1737, at the peak of his career, Bach received a devastating public critique of his work by his former pupil, Adolph Scheibe. According to Scheibe, a son of the Enlightenment, Bachs music was confused and turgid to the extent that this excess of art bordered on the unapproachable. It seems incredible today that any such criticisms could be levelled at the greatest composer of all. And yet, given the highly-crafted art music of the Second Suite dances, the tightly structured figural density of Sinfonia BWV146, or the extreme penitentiality of Cantatas BWV199 and 82a, it is interesting that Bach remains one of the most widely popular of all classical composers. 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But on that memorable day when I turned 13, it turned out to be something very different- a 45-rpm record, with a touching family portrait of Wolfgang, Nannerl, and Papa Leopold on the cover of the pretty little square case. The contents of that case were even more impressive: Mozart's Oboe Quartet! What wonderful music that was for me, and how beautiful the oboe sounded: open, warm, expressive, and piercing. It went straight to my childish soul. That was when I decided to start playing the oboe, and that's what I'm still doing today. Remarkable, really, that Mozart: he only lived for 35 years and he wasn't someone who immediately made an unforgettable impression when he walked into a room. In his day he was respected, in a sense he was famous. But there were composers who had more successful careers. He composed a staggering quantity of music, all of it in a style that you could describe as being of its time. Some 250 years later, it's a period in history that might or might not appeal to you. The appeal of a world of lace, periwigs, and Meissen porcelain. But the strange thing is that when you hear Mozart's voice 250 years later, that appeal becomes quite powerful, 250 years. Back then, as a 13 year old, I was hooked, and I'm not the only one: at the very moment that I'm writing this, we are all celebrating Mozart's 250th birthday. All you have to do is turn on the radio and you can hear Mozart. Either there's a wonderful opera, or one of his 41 symphonies, 27 string quartets, serenades, piano sonatas, incidental stage works, contradances, whatever. 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And if you happen to be expecting music about gallant Knights hastening to the rescue of noble Damsels, then you're in for a disappointment. In true Rossinian fashion, not one of these pieces has anything to do with castles or other medieval tableaux. Rossini, here as in his other albums, seems to be thumbing his nose at the musical establishment. It may well have been a kind of ironic wink to the publishers, who were more interested in the title of a composition than in its content because of the potential effect on sales. Fortunately for Rossini, who was ageing and well-to-do by this time, he could afford to ignore such priorities. The CD begins with a 'Prlude Prtentieux' (Pretentious Prelude); pretentious not only in character but also in its polyphonic structure. Here Rossini has written a genuine fugue, using the form to show his reverence for Bach. Then comes the 'Spcimen de Mon Temps' (Specimen of my Times). This work is the second of a trilogy, the first of which can be heard on the sixth Rossini CD and the last of which closes the present recording. Judging by the work's jolly character, Rossini seems to be quite pleased with current developments. The 'Valse Anti-Dansante' (Anti-dancing Waltz) is, as indicated by the title, a crooked waltz suitable for anything but dancing! The pastoral character of the 'Prlude Semipastorale' (Semi-pastoral Prelude) is sliced in half, not to say completely destroyed, in its playful and virtuosic second section. The following 'Tarantelle Pur Sang (avec Traverse de la Procession)' (Full-blooded Tarantella (with the Procession Crossing Through)) is in safe hands with Rossini. This famously wild Italian folk dance has inspired numerous composers including Liszt and Paganini. 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It was Dowland who effectively created the English lute-song, imaginatively drawing together elements from the broadside ballad, dance music, consort song and madrigal. He is famous for his passionate and almost obsessive melancholy which is never far away in his music, with sleep and death being sought as a release from earthly woes. Although clearly an affectation of the time, it was one which drew an acutely personal response from Dowland. He produced four marvelous books of songs and ayres, as well as over 100 solo pieces. The solos include virtually every form used by lutenists at the time: fantasies, dance movements (most notably, pavans and galliards) ballad tunes and sets of variations. In our own day, Dowland's music is very much thought of as being fresh and inventive, yet in his preface to A Pilgrime's Solace (1612) he mentions that his contemporaries thought otherwise. Although his music was admired throughout Europe for its tunefulness, dark melancholy and chromaticism, Dowland was still using older forms of composition, rather than the more fashionable lighter dances which were in vogue at the time. His pavans are written in an imitative style, found in consort music, which is so very different from the bass-driven harmonic textures of the younger generation such as Robert Johnson and Daniel Bacheler. Of the six pieces which begin this record, 'Lachrimae Pavin' and 'The Earl of Essex Galliard' also appear in Dowland's books of songs: Lachrimae Pavin as the song, 'Flow my teares' (Book Two, 1600), and the Earl of Essex Galliard as 'Can she excuse my wrongs' (Book One, 1597). (...) from liner notes (Mathhew Wadsworth)\u003c\/p\u003e\n\nhttps:\/\/www.youtube.com\/watch?v=De9BaWJzKIQ","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738311995716,"sku":"24206-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738312028484,"sku":"24206-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738312061252,"sku":"24206-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738312094020,"sku":"24206-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738312126788,"sku":"24206-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738312159556,"sku":"24206-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307784249668,"sku":"24206-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334336356676,"sku":"24206S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334336389444,"sku":"24206S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334336422212,"sku":"24206S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/24206-2.jpg?v=1790427032"},{"product_id":"24307-lesprit-galant","title":"L'Esprit Galant","description":"\u003cp\u003eL’Esprit Galant (Airs by) Boësset, Lambert, Le Camus, and Charpentier Pièces de théorbe by Gautier, Pinel, Hotman, and De Visée. The short and succinct Air sérieux experienced a great flowering in the second half of the 17th century. The audiences of the time loved variety and novelty, in the theatre, the dance, and in music as well. The poetry on which the Air sérieux was based bore the general name of galanterie. ‘Delicate’, ‘cheerful’, ‘sweet’, and ‘light-footed’ (1) were the words associated with galant poets around 1670. The music was similarly referred to: Un air doux et galant En parlant, trouve souvent L’heureux secret de plaire (Jean Sicard, 1679) (2) The characteristics described above, however, apply not only to the text and music, but to the performing style as well. The importance of diction in singing is an important topic in Bénigne de Bacilly’s ‘Remarques curieuses sur l’art de bien chanter’ (1668): he devotes no fewer than 186 pages to the subject. The language used in singing is different than that used in speaking. In order to be expressive, a singer, according to Bacilly, cannot neglect a single syllable. Bacilly uses the term style galant when he speaks of the relationship between expression and lightness. To illustrate this, he makes reference, among others, to the Airs of Michel Lambert, the most important composer of the Air sérieux at that time. Lambert’s Airs, some 330 of them, formed the core of the précieux literary Salons in Paris, inseparably associated with the Esprit Galant which set the tone there. He dedicated the Airs and Doubles (decorated second verses) in his first collection (1660) to Pierre de Niert, ‘Premier valet de Chambre du Roy’, in homage to the latter’s gifts as a singer. Niert owed his belle manière de chanter to a stay in Rome in 1663. The art of singing, as practised in Rome (cf. our CD Splendore di Roma, CCS SA 19903), greatly inspired both Niert and, at a later date, Lambert. Unfortunately, none of Niert’s compositions has survived. Lambert was undoubtedly familiar with the Airs de Cour of Antoine Boësset, a contemporary of De Niert’s, and Louis XIII’s Sur intendant de la Musique. Boësset was fond of the familiar Italian technique of emphasizing the emotional content of certain words by the use of affekt-laden intervals. In 1640, ‘Me veux-tu voir mourir’ won a competition between the rational and the instinctive methods, as applied to the composition of the most expressive possible Air. The ‘Jury’ included the Dutch poet and musician Constantijn Huygens and the French scholar Marin Mersenne, who wrote about Boësset: ‘...ses airs ont je ne sçay quoi de grand et d’heroïque...’ (1640 (3)...\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738312585540,"sku":"24307-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738312618308,"sku":"24307-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738312651076,"sku":"24307-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738312683844,"sku":"24307-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738312716612,"sku":"24307-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57307784446276,"sku":"24307-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334337208644,"sku":"24307S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334337241412,"sku":"24307S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334337274180,"sku":"24307S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/24307-2.jpg?v=1790427090"},{"product_id":"24409-dvorak-haas-schulhoff-the-bohemian-album","title":"Dvorak, Haas, Schulhoff - The Bohemian Album","description":"\u003cp\u003eThe Bohemian AlbumAmsterdam Sinfonietta has combined aromantic masterpiece of the string orchestrarepertoire with two wild compositions from theinter-war period. Dvo?ák, Haas, and Schulhoffhardly make a conventional mixture, but allthree of these composers had their roots in aregion which was known for many centuriesas “Bohemia.” One can hear this commonground in the rhythmic diversity, the influenceof folk music, and the melodic inventivenessthat characterizes their music. Haas andSchulhoff were part of a very promising groupof composers whose music was proclaimed“entartet” [degraded] at the end of the 1930s.Fortunately, their music has been rediscoveredand performed in recent decades. Themusic of Haas and Schulhoff is refreshinglyrebellious and original, and forms a contrastwith Dvo?ák’s romantic Serenade. Marijn vanProoijen wrote out a beautiful double-basspart for the works of Haas and Schulhoff,which were originally conceived for stringquartet.\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738312978756,"sku":"24409-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738313011524,"sku":"24409-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738313044292,"sku":"24409-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738313077060,"sku":"24409-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738313109828,"sku":"24409-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738313142596,"sku":"24409-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307785462084,"sku":"24409-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334338322756,"sku":"24409S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334338355524,"sku":"24409S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334338388292,"sku":"24409S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/24409-2.jpg?v=1790427145"},{"product_id":"24607-mozart-complete-sonatas-for-keyboard-and-violin-vol-4","title":"Mozart - Complete Sonatas For Keyboard And Violin Vol. 4","description":"\u003cp\u003eOn 18 November 1763, Leopold Mozart, his wife, and his two children arrived at the first station on the grand European tour which they had started in Salzburg on 9 June of that year. Their support and refuge in the French capital was Baron Friedrich Melchior Grimm (1723-1807), a Regensburg-born diplomat and litterateur who was employed in Paris as secretary to the Duke d'Orléans. Grimm turned out to be Mozart's staunchest advocate in Paris, not only on the occasion of this first visit but again in 1766, and to a lesser extent in 1778. Together with several friends from the Encyclopédistes, Grimm published a biweekly bulletin Correspondance Littéraire, devoted to cultural and particularly to literary matters, which he sent to a number of the seats of the nobility in Germany and Northern Europe. In this bulletin, Grimm also reported on the spectacular appearances of Salzburg's wunderkind, Wolfgang Amadé Mozart.\u003c\/p\u003e\n\u003cp\u003eWhen he arrived in Paris, Leopold Mozart only had a couple of simple piano compositions to show to Grimm; Leopold himself had written them down in a notebook belonging to his daughter Nannerl (1751-1829). But only two months later, the first printed works by Wolfgang would make their appearance. On 1 February 1764, Leopold, bursting with pride, wrote to the wife of his friend Lorenz Hagenauer in Salzburg: “At this very moment, four of Mr. Wolfgang Mozart's sonatas are being engraved for printing. You can well imagine the excitement which will be occasioned in the world by these sonatas, when people see on the title page that they are the work of a child of seven.” (1) As early as 1 December 1763, or less than two weeks after the family's arrival, Grimm was filling his bulletin with praise for Wolfgang's talent in improvisation and composition: “What is truly unbelievable, is to see him play without any music before him for a full hour at a time, and to surrender himself completely to the inspiration of his genius, and to a wealth of enchanting inventions, which he can link together with perfect taste and without any confusion.\u003c\/p\u003e\n\u003cp\u003eThe most seasoned Capellmeister could not have any more profound understanding of harmony and the modulations, with which he can travel the most unfrequented routes, always with the greatest correctness. He writes and composes with wondrous ease, without needing a harpsichord to work out his chords.” .....\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738313470276,"sku":"24607-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738313503044,"sku":"24607-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738313535812,"sku":"24607-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738313568580,"sku":"24607-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738313601348,"sku":"24607-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738313634116,"sku":"24607-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307787034948,"sku":"24607-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334339109188,"sku":"24607S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334339141956,"sku":"24607S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334339174724,"sku":"24607S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/24607-2.jpg?v=1790427199"},{"product_id":"24707-sonatas-for-piano-and-cello","title":"Sonatas for Piano and Cello","description":"Stately young, exuberantly mature and rebelliously old\r\n\r\nAn early, a middle and a late Brahms? Yes and no. I could also say a novel, a letter and an epigram or Goethe, Thomas Mann and Schopenhauer; a symphony, a string quintet and a Lied or a beech, oleander and a bramble bush.\r\n\r\nDescribing and characterizing is a hazardous business, descriptions can never be totally appropriate, clich's even less so. The pieces are simply too good, they even defy the young, middle and late stigmas. The diversity between the works is too complex and on top of that their inner diversities make any sort of labelling impossible. But they might become just a bit less elusive when placed in each others context. Acting as prisms in a play of emissions and reflections they might reveal some characteristics.\r\n\r\nSo back to young, middle and late. The 'young' Brahms lets the first movement of his sonata soberly stroll along, patiently work up to climaxes and in grand and profound style sing out to its conclusion, resulting in a coda that evokes the twilight of a life.\r\n\r\nSticking to first movements, in the opening movement of Opus 78 its one inspired melody after another, a real sequence of emotions. Its all superbly structured (as is all Brahms) but somehow the intimacy, tenderness, vulnerability and passion are not too unsimilar to the sentiments of an overwhelming first love experience.\r\n\r\nThe style of the Allegro appassionato of Opus 120 is compact and on a motivic level everything is strictly organized. There is an 'Ernster Gesang' feeling, man dies as beasts, but that fatalism isn't dominant. A more exhilarating 'Ich grolle nicht' melody like the first cello line is hard to imagine, except for the Schumann original. And the many lyrical moments that follow are truly heartwarming.","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738314649924,"sku":"24707-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738314682692,"sku":"24707-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738314715460,"sku":"24707-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738314748228,"sku":"24707-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738314780996,"sku":"24707-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738314813764,"sku":"24707-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307788378436,"sku":"24707-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334342287684,"sku":"24707S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334342320452,"sku":"24707S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334342353220,"sku":"24707S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/24707-2.jpg?v=1790427257"},{"product_id":"24806-bolivian-baroque-vol-2","title":"Bolivian Baroque vol. 2","description":"The instrumental music repertory kept in the music archives of Chiquitos (Archivo Musical de Chiquitos) consist of two major collections: a) music for an instrumental ensemble; b) keyboard music. Each of these contains approximately 200 works of music (either fragmentary or complete works). It is difficult to maintain that such a large number of works was to be found in each of the Jesuit settlements. It is possible that the musical libraries of the guaran settlements were even larger. Since these documents have disappeared altogether, we can neither confirm nor deny their existence. On the other hand, in the archives of the missionary post in Moxos, where 4000 sheets of music are kept, the instrumental works do not exceed 20 and are generally fragments of sonatas, concertos and dances. No instrumental music has been found, not even fragments. In among the quartets, dances, partitas, concertos, symphonies and sonatas belonging to the music collection of Chiquitos, the latter, numbering approximately 110 compositions, are the best known. In most cases, the copyist left no details regarding the composer. The ones of which the composer is mentioned or recognized by the musicologists that have studied the music collection of Chiquitos, were written by Arcangelo Corelli, Antonio Vivaldi, Niccol Jommelli, Ignazio Balbi, Pietro Locatelli, Giovanni Battista Sammartini, Nicola Calandro and Domingo Poretti. Ten sonatas that were attributed to Arcangelo Corelli make him the most popular and prolific composer of instrumental music in the ancient Jesuit missionary posts. On the other hand, no instrumental music has ever been found that could prove beyond any doubt that the composer.","brand":"Channel Classics","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738314977604,"sku":"24806-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738315010372,"sku":"24806-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738315043140,"sku":"24806-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738315075908,"sku":"24806-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738315108676,"sku":"24806-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57307789164868,"sku":"24806-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334348906820,"sku":"24806S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334348939588,"sku":"24806S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334348972356,"sku":"24806S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/24806-2.jpg?v=1790427309"},{"product_id":"24907-complete-works-for-piano-vol-8","title":"Complete Works For Piano Vol. 8","description":"\u003cp\u003eRossini was a musical genious, a bon vivant, and last but not least, a true gourmet. And so I thought that it would be a good idea to give the eighth and last CD in this series a pronounced culinary atmosphere. We open with Quatre Hors d'Oeuvres (Four appetizers), four musical odes devoted in succession to Les Radis (Radishes), Les Anchois (Anchovies), Les Cornichons (Pickles) and Le Beurre (Butter). Then we abandon the table and proceed to the Prlude for piano solo from Musique Anodine (Blameless Music). Musique Anodine consists of the Prlude and the six following songs for voice and piano. The group is dedicated to Rossini's wife in thanks for her support after a long illness. Anodine, in this case, could also be understood as 'soothing'. Then come some calisthenics for singers in the form of Ritournelle Gothique (Gothic Refrain) Encore un peu de Blague (A little more Silliness), and Tourniquet sur la Gamme Chromatique, Ascendante et Descendante (Chromatic Merry-go-round, Rising and Falling). Rossini, in fact, dedicated this last piece to his friend Auguste Panseron, composer and singing teacher at the Paris Conservatory. After this harmonic exercise, we celebrate enthusiastically in Une Rjouissance (a Party), we take a gondola ride in Canzonetta: la Venitienne (Venetian song), and take a walk through all the different keys in (the environs of) Paris in Petite Promenade de Passy Courbevoie (A little walk from Passy to Courbevoie). At last we go back to the table to be served a dessert consisting of Quatre Mendiants (Four Mendicant Orders). This somewhat austere dessert, still served nowadays, consists of four ingredients, each of which represents a religious order because of its color which is like that of the respective order's habit. Les Figues Sches (dried Figs) represent the Franciscans, Les Amandes (the Almonds) the Carmelites, Les Raisins (the Raisins) the Dominicans, and Les Noisettes (the Hazelnuts) the Augustines. In addition, a genuine French military song is featured in Les Raisins. Nevertheless, Rossini dedicated it to his little parakeet. Les Noisettes is dedicated to his beloved little dog Nini. \u003c\/p\u003e\n\nhttps:\/\/www.youtube.com\/watch?v=cvOhaZKzQtE","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738315501892,"sku":"24907-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738315534660,"sku":"24907-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738315567428,"sku":"24907-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738315600196,"sku":"24907-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738315632964,"sku":"24907-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738315665732,"sku":"24907-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307790115140,"sku":"24907-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334356312388,"sku":"24907S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334356345156,"sku":"24907S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334356377924,"sku":"24907S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/24907-2.jpg?v=1790427364"},{"product_id":"25207-beethoven-symphony-no-7","title":"Beethoven - Symphony No. 7","description":"\u003cp\u003eWhat would it have been like to hear Beethoven’s seventh symphony at the first performance? How did listeners react to hearing the endless repetition of the first movement’s dotted rhythm? Would they have been shocked to hear the melody of the second movement which repeats the same note twelve times? How did they respond to the finale’s obsessive rhythmical drive which must have seemed like the rock music of the nineteenth century? It's ‘exciting’ to hear this well known symphony together with contemporary works which may have been performed in the same year. Wilhelm Wilms followed the classical tradition of Haydn and Mozart with some innovative moments. His 5th symphony, composed a few years earlier had been published during the time when Beethoven worked on his masterpiece. The most popular composer of the day was undoubtedly Rossini. He created a completely new vocal style that influenced many other musicians. The slow movement of Weber’s clarinet concerto for example sounds more operatic than instrumental in character. This was the environment in which Beethoven developed his strikingly original ideas. It must have been quite an ‘ear opener’ to hear a symphony start with gentle wind chamber music supported by massive accents of the rest of the orchestra. What a contrast! Iván Fischer On 8 and 12 December 1813, two charity concerts took place in Vienna during which Ludwig von Beethoven conducted some new orchestral works. In the fall of that year the combined Austrian and Bavarian troops had beaten the French troops in the decisive battle at Hanau, ringing in a long expected beginning of the end of the Napoleontic wars. It had been a terribly bloody battle with many victims on both sides. The proceeds of the two concerts accrued to the widows and orphans of the fallen Austrian soldiers. It is understandable that in the euphoria of that moment, the Austrian victory on the French, Beethoven’s works that were performed were considered victory music. For one of the pieces, the Symphony nr.7 in A-major, that is an apt description. 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Britten had admired the music of Dmitri Shostakovich (1906-1975) since the 1930s, and since that time he had been influenced by it. This was the area of Shostakovich's best known and most often performer symphony, the Fifth, written in 1937. It was composed amidst the worst terror of the Stalinist regime, the paranoia, the culture of spying and betrayal, the pogroms and mass executions. Strangely enough, both the public and the Soviet government considered this symphony a mystery. Shostakovich is working with double meanings in this work: behind a charming smile, a hideous tragedy is taking place. 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The CD is a travelogue of sorts, containing music we picked up on tour around Latin and South America and in the US. Several of the pieces on this disc were commissioned for our visit to the Subtropics Festival in Miami a city that is a great crossroads of Latin culture in 1997. Other pieces we collected in foreign places or from friends we made in those places. We have brought all this music to our home base, New York, another cross-cultural gathering place. And now to listeners wherever they may be. Timbrando is Portuguese for making a tone or sounding (it is related to the word timbre). Special thanks to Ambassador Donald Easum for his support over the years, and for his help in making this disc possible. Ocho por Radio Silvestre Revueltas (1899-1940), arr. Jon Nelson Written in 1933, Ocho por Radio contains all the hallmarks of Revueltas compositional style: rhythmic vigor, a Stravinskian harmonic language, and a distinctly Mexican folk flavor. The title translates roughly as Eight on the Radio, and was originally written for eight players (yes, for a radio performance). In our version the forces are reduced to six players, yet the flavor of Mexico is still vital and ever-present. Daniel Grabois Oblivion Astor Piazzolla (1921-1992), arr. Raymond Stewart Astor Piazzolla was undoubtedly the greatest tango composer of all time. A virtuoso bandoneon player, he single-handedly transformed traditional tango dance music into nuevo tango, a mix of the traditional style with classical music and jazz. Oblivion was originally written for the soundtrack of the 1984 movie Enrico IV (Henry IV), but it has taken on a life of its own as a tremendously popular and beautiful Argentine ballad. 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The equilibrium between them should not be seen as a static and still element, but as something continuously moving. This point of poise is the living heart of my work. Rather than as a ‘physical’ place within the work, it can be perceived as the meeting point of freedom and necessity. The first shaped idea for a composition is a free action, a lively bunch of notes. From there on, an exploration of all the possibilities inherent in this first element starts. Whilst the original action is in itself completely free, it is then necessarily followed by a group of consequences. Together, this might be enough to create the work, but on the other hand, a piece might require a new free action which, related to the foregone consequences of the first idea, stirs up a new group of consequences. Put as a basic formula: Few actions, many consequences. As in geometry: Few axioms, many theorems and corollaries. Generally, I am not interested in working continuously; but rather in studying the impact of my initial actions. What particularly intrigues me is that zone where music is not a ‘wish’ but a ‘need’. To illustrate this with another example from the field of geometry: An equilateral triangle only really exists in the mind of those who understand it out of its abstract substance, since it is in fact only possible to draw an equilateral triangle approximately. It thus exists in a place where the ethical inner nature of a person knows to be right or not, to be true or false. The music I write aims to originate and live from there. Life, as well as music, is constantly searching a point of poise. My connection with the recorder dates from many years ago. 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Writing in the influential, Leipzig-based Allgemeine musikalische Zeitung in 1801, Johann Karl Friedrich Triest explains: all the composers of symphonies and quartets lag behind the man who has plied his craft for almost an entire half century with ever new, inexhaustible, genuinely amazing power, and became the greatest benefactor of German instrumental music. Johann Ferdinand Ritter von Schnfeld, author of A Yearbook of the Music of Vienna and Prague in 1796, holds Haydn in similarly high esteem, waxing lyrical about his string quartets: [they] are full of bewitching harmonies, and have this special quality of immediately attracting ones attention, holding it and moving on, as in a labyrinth, through flowering meadows, past babbling brooks, alongside roaring streams.\u003c\/p\u003e","brand":"Channel Classics","offers":[{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":56738318025028,"sku":"25907-6","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56738318057796,"sku":"25907-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56738318090564,"sku":"25907-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56738318123332,"sku":"25907-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56738318156100,"sku":"25907-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56738318188868,"sku":"25907-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"WAV 192 kHz \/ 2ch Stereo","offer_id":57307798307140,"sku":"25907-3","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334380396868,"sku":"25907S1417","price":28.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334380429636,"sku":"25907S69","price":26.49,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 2ch Stereo \u0026 5ch Surround","offer_id":57334380462404,"sku":"25907S710","price":25.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/25907-2.jpg?v=1790427649"},{"product_id":"26007-shostakovich-string-quartets-24","title":"Shostakovich - String Quartets 2\u00264","description":"\u003cp\u003eString quartet nr. 2 in A On 2 September 1944, Shostakovich wrote the last note of his second string quartet in a country house near Ivanovo. Two months later, the Beethoven-quartet played the première. The second string quartet was created after the famous second piano trio and was written at a terrific pace. Shostakovich dedicated this work to his good friend Vissarion Shebalin, the director of the Moscow Conservatory at that time. Like his great example Beethoven, Shostakovich did not publish his first string quartet until he was thirty. In the preceding years, he thoroughly studied the string quartets by Beethoven, Mozart and Haydn. According to his students, he could effortlessly quote from this classic literature. The piece opens with an energetic Ouverture that in its form and counterpoint has been entirely fashioned after the forementioned classic examples. This quartet is primarily exceptional because of the longest and slow movement of the piece. The movement consists of a Romance enclosed by two recitatives. These long and grievous episodes of the solo violin in recitative form are accompanied by static, low chords. One can directly associate this movement with sacred music, in which the recitative technique is so common. In the Waltz, a soft legato theme develops, first in the celli and later in the violins, over a waltz pattern to a turbulent percussion part full of changes of pace. The movement concludes in pianissimo with the return to a clear three-four time in which the altos ‘turn off the light’. The last movement, Theme with variations, starts from an adagio. Per variation, both the tempo and the drama increase. The theme ultimately simmers down in an adagio in E flat. String quartet nr. 4 in D In 1949 Shostakovich finished his fourth string quartet, although the première of this piece was not heard until 1953. 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The earliest works, small-scale rococo trifles in which the violin played a subsidiary part and the keyboard (virtually certain to be a harpsichord at that date) was the star performer, date from the time of his first major tour through Europe. Leopold Mozart had four of these early sonatas published in Paris in 1764, two as opus 1 and two as opus 2. In the following year, he had another series of six sonatas published in London as opus 3. Yet another series of six sonatas, opus 4, written in the Hague by Wolfgang (and possibly by Leopold?) in 1766, appeared that same year, both there and in Amsterdam. Then Mozart's production of violin and piano sonatas was interrupted by a twelve-year silence. Not until his stay in Mannheim in 1777 and 1778 would he complete four new sonatas, in which the violin's role had grown considerably, offering a genuine partnership to the piano. In the summer of 1778, Mozart added two more new sonatas to the series of six Paris sonatas, and published the set there as Opus 1, as if he intended his mature oeuvre to begin at this point. Then, after another interval of three years, came the six sonatas published in 1781 as Opus 2 by Artaria in Vienna, Mozart's new and ultimate place of residence. One of the pieces had been composed in Mannheim, and another presumably dated back to Salzburg. Mozart composed the other four sonatas in the summer of 1781 in Vienna. 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