{"title":"Brilliant Classics Box Set Sale","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\" style=\"text-align: left;\"\u003eOver \u003cstrong\u003e70 Brilliant Classics Box Sets\u003c\/strong\u003e are on sale now at \u003cem\u003eHBDirect\u003c\/em\u003e!\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\" style=\"text-align: left;\"\u003eExplore complete editions of \u003cstrong\u003eBeethoven, Mozart, Bach, Handel\u003c\/strong\u003e, and more in beautifully curated collections that celebrate the world's greatest composers. Whether you're building your library or revisiting timeless masterworks, these comprehensive box sets offer exceptional performances and incredible value—all in one place!\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\" style=\"text-align: left;\"\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003cspan\u003eShop the sale before it ends at \u003cstrong\u003e9:00am, Wednesday, August 12th, 2026\u003c\/strong\u003e.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"eben-velvet-revolution-complete-organ-music-vol-1-5028421963129","title":"Eben: Velvet Revolution, Complete Organ Music, Vol.1","description":"\u003cp\u003eOver more than half a century Petr Eben produced music in diverse genres. He wrote numerous vocal, choral, symphonic, piano, and chamber works, but it was organ music which remained his greatest love and in which he was most prolific.Janette Fishell is Professor of Organ and Chair of the Organ Department at the Jacobs School of Music, Indiana University. (Brilliant)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908157755672,"sku":"5028421963129","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4136056-2911321.jpg?v=1777724411"},{"product_id":"j-s-bach-miscellaneous-pieces-for-harpsichord-5028421960654","title":"J.S. Bach: Miscellaneous Pieces For Harpsichord","description":"\u003cp\u003eOver a career spanning more than 30 years, the Dutch harpsichordist and conductor Pieter-Jan Belder has become renowned as a Bach interpreter. On this new album, recorded in 2020 and 2021 on a modern Titus Crijnen copy of a Ruckers model, Pieter-Jan Belder turns to the overlooked corners of Bach’s early writing for the harpsichord. (Brilliant)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908158476568,"sku":"5028421960654","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4136053-2904722.jpg?v=1777724423"},{"product_id":"byrd-my-ladye-nevells-booke","title":"Byrd: My Ladye Nevells Booke","description":"\u003cp\u003eThe only complete available recording of a landmark in Elizabethan keyboard music. With a huge catalogue of Brilliant Classics recordings to his credit, Pieter-Jan Belder has won particular praise for his ambitious project to record the complete Fitzwilliam Virginal Book (95915), a treasury of English keyboard music from the late Elizabethan and early Jacobean era. Now he focuses his attention on the greatest English composer of that age, with a volume dedicated to William Byrd, and to his largest single collection of music for the keyboard. Byrd's vocal works would have assured him a place in history as the greatest English composer of his generation. Yet he was also arguably the outstanding composer of his time in the realm of instrumental music - probably the first musician to achieve supreme stature simultaneously in music for voices, for instrumental consort, and for solo keyboard instruments. Though it has passed through the hands of many celebrated figures such as Elizabeth I herself, My Lady Nevells Booke has belonged continuously tomembers of the Nevill family since 1830, and has been kept at the family seat near Tunbridge Wells in Kent. When Christopher Hogwood made the first complete recording of its contents, he wrote that it 'occupies a unique and privileged position from the musical, musicological, chronological and calligraphic points of view.' The copying of the pieces was undertaken and completed in September 1591 by John Baldwin, a clerk at St George’s Chapel, Windsor, and Lady Nevell’s name was incorporated into the design of the cover as well as the pieces dedicated to her opening each of the volume’s three main sections. The Lady Nevell in question was a generous, capable and cultivated woman who endowed a charitable school and an Oxford college. Like The Fitzwilliam Virginal Book, My Ladye Nevells Booke embraces the most popular genres of its day. Its contents are typical fare for English Renaissance composers: dances, variation sets, marches, contrapuntal fantasies andprogrammatic pieces, and the repertory comes from a period beginning in the mid 1560s. Byrd makes each of these genres his own with consummate ingenuity; the variety and the beauty of the collection as a whole rewards players and listeners alike. The CD booklet contains an extensive essay on My Ladye Nevells Booke by Jon Baxendale, who is co-editor of the latest edition of the score\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908260679960,"sku":"5028421968872","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4223204-3039393_61846366-0d1a-46d8-8b3c-60f9fd153f00.jpg?v=1777628676"},{"product_id":"paganini-complete-quartets-for-string-trio-guitar-vol-1","title":"Paganini: Complete Quartets For String Trio \u0026 Guitar, Vol. 1","description":"\u003cp\u003eThis release is a source of pride for guitarist Alberto Mesirca. The Quartets in this 3-CD set are not in chronological or catalogue order because the full cycle of 15 Quartets will be realized with a second upcoming release (also 3 CDs), and Mesirca decided instead to create a common thread with the tonalities and musical development among the quartets. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908260712728,"sku":"5028421968728","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4202376-3141818.jpg?v=1777604130"},{"product_id":"godowsky-complete-studies-on-chopin-passacaglia-transcri","title":"Godowsky: Complete Studies On Chopin - Passacaglia, Transcri","description":"\u003cp\u003eGodowsky employs various forms in his Studies on Chopin, including variations on the études, transcriptions for the left hand, free transcriptions, cantus firmus, and metamorphoses. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908260745496,"sku":"5028421967066","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4164098-3141796.jpg?v=1777735958"},{"product_id":"wild-complete-piano-music-5028421967059","title":"Wild: Complete Piano Music","description":"\u003cp\u003eBorn in 1915, the American pianist Earl Wild was known to most listeners as a specialist in the line of Romantic pianist-composers from Chopin to Rachmaninov. Recorded between 2013 and 2018, this is the first and so far only complete collection of Wild’s piano music. It opens with deeply affectionate transcriptions of poetic slow movements from Marcello to Fauré. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908260811032,"sku":"5028421967059","price":18.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4148209-2920433.jpg?v=1722622433"},{"product_id":"handel-organ-concertos-op-4-op-7-transcribed-for-organ-solo-by-clemente-loret-5028421965475","title":"Handel: Organ Concertos Op. 4 \u0026 Op. 7, Transcribed For Organ","description":"\u003cp\u003eThe Organ Concertos Op.4 and Op.7 by George Frideric Handel (1685–1759) were originally composed as musical interludes to be performed during the intervals of the Oratorios. Handel chose to write for the organ, an instrument hitherto relegated to the liturgical service, to emancipate it and have it take on a new character, more brilliant and appealing to the public. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908260876568,"sku":"5028421965475","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4169746-3141770.jpg?v=1777725254"},{"product_id":"barber-complete-songs","title":"Barber: Complete Songs","description":"\u003cp\u003eThe songs of Samuel Barber offer the beauty of his output in microcosm. ‘Complete’ in this context used to mean the 47 songs gathered in a Deutsche Grammophon 2-CD set from 1994, but there are 65 songs here, making it the most complete survey yet recorded. Most of the lesser-known and unpublished songs on CD3 date back to Barber’s student years. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908261105944,"sku":"5028421965147","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4182386-3141766.jpg?v=1777728095"},{"product_id":"beethoven-complete-chamber-music-with-flute","title":"Beethoven: Complete Chamber Music With Flute","description":"\u003cp\u003eShowpiece variations, folksongs, little-known trios and an early masterpiece: an unrivalled survey of Beethoven’s flute writing in new recordings by experienced Italian chamber musicians. These new recordings are led by the flautist Ginevra Petrucci, who is now based in New York as a performer, editor and author of several volumes on the flute, and a specialist in new music. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908261237016,"sku":"5028421964942","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412840-3337377.jpg?v=1777536110"},{"product_id":"de-montgeroult-complete-piano-sonatas","title":"De Montgeroult: Complete Piano Sonatas","description":"\u003cp\u003eMadame Hélène de Montgeroult (1764–1836) lived in a time when significant historical events were shaping France and Europe. Montgeroult's musical oeuvre is distinguished by its interpretive versatility. The collection of nine sonatas presented here spans from 1795 to 1811. The three sonatas that make up her Opus 1 are three distinct pieces, each with its own mood. The set is strikingly well-versed in the musical style of the time, with the first two sonatas in particular sharing many similarities with the work of Louis Adam and Jean-Frédéric Edelmann. The Sonata in F major, Op.1 No.1, is a cheerful and light-hearted piece in two movements. The Sonata in E flat major, Op.1 No.2, is very similar to the first sonata in terms of overall mood and structure, featuring two fast movements but with less emphasis on virtuosity. The Sonata in F minor, Op.1 No.3, features an uncommon element for its time: syncopation between the two hands throughout the entire piece. The set concludes with a stormy, rhythmically percussive Allegro agitato. The Op.2 set was engraved in Paris in 1800, with reprints issued in the ensuing years testament to its success at the time. It can be seen as an expansion of Op.1's stylistic language, sharing the same compositional features, but greater in length. The Op.2 No.1 is the shortest of any of Montgeroult’s sonatas, consisting of just two fast movements, the final Presto being a brilliant toccata in two sections. Op.2 No.2 is the first to include a central slower movement, an Andantino quasi Allegretto in G minor. The Sonata in A minor, Op.2 No.3, includes a separate violin accompaniment, not performed in this recording, which follows the ad libitum fashion of the time. With the last three sonatas, Op.5, published by Érard in 1811, Montgeroult rose to mastery. These sonatas are considerably longer and more complex in their formal structure than their predecessors. The central movements seem deeper than those in Op.2. Op.5 No.1 is possibly the most innovative piece in the collection, with an aesthetical point of view that might have something in common with early Schubert. Op.5 No.1 is also the only one to include a Scherzo. Op.5 No.2 is in F minor, and Op.5 No.3 is in F sharp minor. Overall, the three sonatas in the Opus 5 set expand the form while retaining a Classical-like structure, comparable to later Clementi sonatas or those of other composers of the time, and forecasting the later experimentations of the Romantic generation.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908261368088,"sku":"5028421962474","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412834-3337370.jpg?v=1777536085"},{"product_id":"franck-organ-music-5028421962207","title":"Franck: Organ Music","description":"\u003cp\u003eWork began on the basilica of Saint-Clotilde in 1846, and only three years later, construction of the organ began under the supervision of the doyen of French organ builders, Aristide Cavaillé-Coll. The instrument as it comes down to us is one of the most magnificent surviving examples of his art and craft. 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(Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908449947928,"sku":"5028421966120","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4196583-2969827.jpg?v=1777605539"},{"product_id":"merulo-organ-music-il-primo-libro-de-945088","title":"Il Primo Libro","description":"\u003cp\u003eBrilliant Classics presents a three-disc colleciton of organ works from Claudio Merulo (1533-1604). According to fellow organist and composer Costanzo Antegnati (1549–1624), Merulo was famous for ‘the sweet way he played’. In the 16th century the term ‘sweetness’ was mainly related to the practice of ‘diminution’, or ornamentation, and a ‘judicious breaking up of the figures’, so that the application of the coloratura might confer a personal and lively chiaroscuro effect. (Brilliant)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908449980696,"sku":"5028421962047","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3998660-2740946.jpg?v=1777805226"},{"product_id":"cavazzoni-complete-organ-music-sordo-turco-942713","title":"Cavazzoni: Complete Organ Music","description":"\u003cp\u003eBorn in northern Italy around the turn of the 16th century – no more precise data is available – Girolamo Cavazzoni became organist of the cathedral in Mantova in 1621 and soon after entered the service of the Gonzaga family whose lavish artistic patronage sponsored and encouraged many of the finest Italian composers of the day. During his Mantuan years Cavazzoni taught the organ to Costanzo Antegnati (1549–1624), son of the organ builder at S Barbara, Graziadio Antegnati. Costanzo's L'arte organica (Brescia, 1608) recalls Cavazzoni as ‘Hieronimo d'Urbino già mio honorato maestro’. In 1565–6 he supervised the building of the organ in the church of S Barbara, Mantua, and also played the organ there at Mass. This is the very instrument played by Federico Del Sordo, lending his recording a unique authenticity and powerful sense of place and time. The restoration of the single-manual Santa Barbara organ (1995-2006) was undertaken by Giorgio Carli with the aim of returning the instrument to its original pristine state as far as possible, rather than extending or ‘improving’ it, and thus the colors of the instrument closely resemble those with which Cavazzoni was familiar. Much of the music here was written for liturgical performance in the alternatim fashion, whereby verses of the Mass text, the Magnificat or an antiphon are alternatively played and embroidered by the organ and then chanted by a choir. Federico Del Sordo draws on two original volumes, printed in Venice in the 1540s, plus a pair of ricercars to be found in multi-authored collections of the time. Together they build a portrait of a composer as stylish as he was pragmatic.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908451029272,"sku":"5028421961927","price":21.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3992004-2728087.jpg?v=1722622463"},{"product_id":"vivaldi-complete-sonatas-for-2-violins-and-945086","title":"Complete Sonatas For 2 Violins","description":"\u003cp\u003eAntonín Vivaldi (1678-1741) was 27 years old when his Opus 1 collection of 12 sonatas first appeared in print in 1705. Whether or not they represent his earliest acknowledged compositions, they certainly mark the start of a glittering career, bearing already identifiable Vivaldian fingerprints while also drawing on a heritage of Italianate chamber music exemplified by the trio sonatas of Corelli. The form of these early works resembles a suite rather than the three- and four-movement pieces determined by tempo marking which soon became standard practice for the sonatas and concertos composed by Vivaldi in such profusion. In all but three of the Opus 1 Sonatas, a freely developed prelude introduces a sequence of three dance movements such as sarabandes, gigues and gavottes. Solemnity and lively intimacy sit side by side, in an ingenious synthesis of church and chamber modes of expression. Vivaldi’s Opus 1 reaches a grand climax with a free-standing set of variations on the most popular melody in 18th century Italy, ‘La Folia’. This grave and antique chord-sequence of Spanish origin inspired the 20-something composer to handle the familiar instrumental line-up in a bold new way, liberating the bass line from a supporting role and giving some especially brilliant canonical dialogues to the two violins. The sonata demonstrates the degree to which vocal writing inspired Vivaldi’s slow movements and paved the way for his future ventures in opera. The album is completed by two sonatas from the Opus 5 collection published in 1716, and six more sonatas without an opus number (RV 60, 68, 71, 71, 74 and 77 in the Vivaldi catalogue), all scored for the same combination of instruments.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908451127576,"sku":"5028421961880","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3998658-2740942.jpg?v=1777807276"},{"product_id":"rebay-complete-music-for-violin-guitar","title":"Rebay: Complete Music For Violin \u0026 Guitar","description":"\u003cp\u003eIt was Jakob Ortner, one of the composer’s colleagues at the academy in Vienna, who piqued Rebay’s interest in the guitar. The enthusiasm and skill Ortner and his pupils displayed convinced Rebay that the guitar could handle any harmonic construction thrown at it, far beyond the clichéd writing for the instrument of the late 19th century. The 12 Deutsche Tänze von Beethoven (1939, from the WoO8 cycle) and the Tema con Variazioni aus Op.12 No.1 von L. van Beethoven (1952) display a great passion for the German composer; Rebay also arranged Beethoven’s Sonatas Op.79 and Op.90 for ensembles including a guitar. Rebay often opted for a simple style to make his arrangements accessible to a wide range of performers. This is true of certain (unfortunately undated) transcriptions for violin and guitar: a gavotte in D minor by Jean-Baptiste Lully; a minuet in F major by George Frideric Handel; the Andante from the Italian Concerto BWV971 and the prelude in E major from the first book of The Well-Tempered Clavier by Johann Sebastian Bach. This probably indicates a revision of the violin part, and shows the esteem the composer enjoyed on the Viennese music scene. Rebay returned to the violin and guitar pairing on multiple occasions for a favourite genre of his: the theme and variations. The writing here is more demanding and stands out for the equal weighting given to the two instruments and the use of keys unrelated to the theme for the individual variations, producing a concertato effect with numerous subtle expressive twists. All the cycles of variations on this recording are based on folk themes, with the exception of those based on “Heidenröslein” (1953, from the Lied of the same name by Franz Schubert) and “Und der Hans schleicht umher” (undated), which some scholars, contrary to Rebay’s title, attribute to Franz von Woyna. Finally, Rebay wrote two sonatas for violin and guitar, both in 1942, in which he put his innovative concept of the guitar as a fully versatile harmonic instrument through its paces. They follow a similar expressive journey: a sombre yet assertive first movement leads to vibrant, lyrical playing in the theme and variations, before the tone gradually lightens over the course of the final two movements. Now that the guitar’s status is fully established, Rebay’s refined and dignified voice has made itself heard, thanks to the music’s solid craftsmanship but above all its sincerity. Its rediscovery dispels many clichés and reassures us that humble yet beautiful music is not necessarily destined to be unjustly forgotten.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908451160344,"sku":"5028421961767","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412831-3337366.jpg?v=1777536067"},{"product_id":"scriabin-mazurkas-poemes-impromptus-alexeev-397862","title":"Scriabin: Mazurkas, Poèmes \u0026 Impromtus","description":"\u003cp\u003eThis multi-album set of piano works by Scriabin is the fourth and final installment in Dmitri Alexeev’s monumental endeavor to record Scriabin’s entire oeuvre for the piano on Brilliant Classics, an eight-album collection that includes the earlier Complete Preludes, Complete etudes and Complete Piano Sonatas. This set gathers all the works that do not belong to the uniform cycles of the previous three releases, and the title captures three interesting trends in this huge range of opus numbers spanning 25 years, without being overly prescriptive. The Mazurkas represent a youthful devotion to Chopin that matured into lifelong inspiration; the many Poemes (whether or not they bear that specific title) are emblematic of the imagery and emotional and spiritual content with which the works are imbued; and the Impromptus evoke Scriabin’s mold-breaking compositional freedom and the genius of his idiosyncratic stream of consciousness and individual pianism. There are other noteworthy genres here with an important place in his piano output, including sonata-form movements that ultimately would be stand-alone pieces, nocturnes, other dances, and a pair of album leaves. Many of these pieces provide this collection with valuable continuity, constituting bridges in the development of the composer’s art and pianism between the individual sonatas, etudes and preludes that feature in the previous volumes. Or they provide context: for example, the three pieces of Opus 51 given here are the companions to the Prelude Op.51 No.2 that featured alone in the previous prelude cycle. As such they are not a “catch all” but a worthy and indispensable final piece of the puzzle depicting this extraordinary creator.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908451258648,"sku":"5028421959313","price":21.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3897373-2668371.jpg?v=1777805051"},{"product_id":"beethoven-the-9-symphonies-transcribed-for-piano-by-liszt-5028421948638","title":"Beethoven: The 9 Symphonies, Transcribed For Piano By Liszt","description":"\u003cp\u003eThe symphonic world of Beethoven is not merely experienced as a distant echo but translated into the idiom of the virtuoso piano which swept across Europe during the latter half of the 19th century, led by Liszt and Clara Schumann. Thus in these performances, Giovanni Bellucci seeks a kind of fidelity to the Romantic age of the transcriptions rather than the Classical age of the original works. 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In this three-album set he tackles the sacred summit of the solo cello repertoire, rightly pointing out that the lack of original manuscripts for the Six Suites leaves them especially open to individual interpretation. Yet he takes a further step in making this recording his own, interpolating between each of the suites miniature compositions for solo cello that he commissioned from composers on six different continents under the motto “Sounds of Light”, thereby placing Bach’s Western European masterworks in dialogue with music from across the globe in our own time.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908461252888,"sku":"5028421964034","price":11.49,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4007927-2774020.jpg?v=1777804083"},{"product_id":"giuliani-complete-music-for-flute-guitar","title":"Giuliani: Complete Music For Flute \u0026 Guitar","description":"\u003cp\u003eMauro Giuliani (1781-1828) was a contemporary of Schubert, and many of his works are still popular today, firmly in the standard guitar repertoire. 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Meanwhile Willem de Fesch and Pieter Hellendaal moved to England and never returned to their homeland. Hellendaal’s ‘grand concertos’ are likewise Italian in style, though cast in a ripieno idiom whereas de Fesch’s concertos draw on his expertise as a solo violinist, rooted as much in the heritage of Vivaldi as Corelli. Most of the concertos on album 4 were composed by foreign arrivals: itinerant musicians such as the German-born Johann Christian Schickhardt and Anton Wilhelm Solnitz of Bohemian origins. The performances here, made in the 1990s and early 2000s and originally issued on the Dutch NM Classics label, enjoy a lively but not doctrinaire appreciation of historically informed style. Although the Combattimento Consort uses modern instruments, they play them implementing the techniques that van Wassenaer and Ricciotti would have known. The sound the players generate is therefore old and new, and should offend neither camp in the current round of period-instrument wars. 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His playing was superb, so inspired and technically impeccable.” It was Brüggen’s birthday, but that didn’t stop him attending. When soon afterwards Brüggen conducted Bach’s Actus tragicus (Cantata BWV106) in the Amsterdam Concertgebouw, he invited Bosgraaf to play the first recorder part. Erik Bosgraaf’s quick rise to fame is directly attributable to his debut on Brilliant Classics: a three-disc box devoted to Jacob van Eyck’s (1589\/90–1657) “Der Fluyten Lust-hof” (The Recorder’s Garden of Delight). Released in 2007 on the 350th anniversary of the Utrecht composer’s death, the recording was made at the request of the Van Eyck scholar Thiemo Wind who said he had never before come across a recorder player with so much understanding of this virtuoso solo repertoire and such a capacity for playing it: the sprezzatura, the casual ease and spontaneity this music, originating in improvisation, demands. The set was a worldwide hit, even winning over some diehard recorder haters. 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