{"title":"Brilliant Classics Sale 2026","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eBig works. Big collections. Brilliant savings.\u003c\/strong\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor the next two weeks, save \u003cstrong\u003e25% on over 300 Brilliant Classics titles\u003c\/strong\u003e, including an incredible selection of \u003cstrong\u003eiconic box sets\u003c\/strong\u003e perfect for building—or expanding—your classical collection.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eExplore music from some of the world’s most celebrated composers, including \u003cstrong\u003eHandel, Mozart, Haydn, Bach, and many more, all at a price worth making room on the shelf for.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eShop now before the sale ends Wednesday, October 7th, 2026 at 9:00AM!\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"fiorillo-36-caprices-op-3-for-violin-transcribed-for-vio","title":"Fiorillo: 36 Caprices, Op. 3 For Violin, Transcribed For Vio","description":"\u003cp\u003eDespite his name, Federigo Fiorillo (1755-1823) was German by birth, the third son of a violinist who had studied in Naples with Francesco Durante and Leonardo Leo. Federigo followed in his father’s footsteps as an instrumental virtuoso, both on violin and mandolin; the 19th-century musicologist Fétis praised him as ‘one of the most remarkable violinists of his time’ in the Biographie universelle des musiciens. Having toured Europe, Fiorillo moved by 1788 to London, where he played for the impresario Salomon (who went on to bring Haydn to the English capital), notably as the violist in Salomon’s quartet. He is principally remembered now as a composer, and in particular the author of a set of solo Caprices which formed a method of which formed a method of instruction for every advanced violinist. Until now, however, they have never been recorded on Fiorillo’s ‘second’ instrument of the viola; and indeed complete recordings of the set, even on violin, are very few. With this new recording, Marco Misciagna demonstrates that these 36 pieces have much more than pedagogic interest to them. While they systematically address technical issues in the bow arm and fingering, testing the player’s technique for playing octaves, multiple stopping, passagework, chromatic scales and so on, Fiorillo was a Italianate melodist who naturally wrote and thought in long, cantabile lines which are as grateful to hear as they are to play. Born in 1984, Marco Misciagna studied in Bari and Rome and then with Salvatore Accardo; he now lives and works in Spain. Among his previous recordings is a Brilliant Classics album of a similar undertaking, the 41 Capricci for viola by Bartolomeo Campagnoli (1751–1827).\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907804057880,"sku":"5028421970189","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4230667-3141842.jpg?v=1777536255"},{"product_id":"vacchi-complete-music-for-guitar","title":"Vacchi: Complete Music For Guitar","description":"\u003cp\u003eBorn in 1949, Fabio Vacchi stands among the pre-eminent Italian composers of his generation. Vacchi’s instrumental pieces have attracted similar high-profile performances. His chamber cycle Luoghi Immaginari (1987-1992), has been given across the world. Any listener with an ear for the Italian postwar avant-garde will find this newly recorded album full of delight and discovery. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907804156184,"sku":"5028421969763","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4223209-3130276.jpg?v=1777628705"},{"product_id":"ponchielli-piano-music","title":"Ponchielli: Piano Music","description":"\u003cp\u003eCharming salon miniatures and a grand funeral march by the verismo composer of La Gioconda. Ponchielli’s career developed during a rapidly evolving era in Italian musical culture that posterity squeezed him between Verdi on the one hand and his own students, Mascagni and Puccini on the other, though he hardly lacked for popular or academic recognition in his own time. Born in 1834, Ponchielli had written a symphony by the age of 10 and started out as a bandmaster for the wind ensembles which were centres of amateur music-making in Italian towns comparable to the choirs in the UK and Germany. While Ponchielli belatedly won wider fame with I promessi sposi in 1874, his death from pneumonia in 1886 cut him off in his prime with only one acknowledged operatic masterpiece to his name: La Gioconda, Boito’s adaptation of a Victor Hugo story. However, he continued to write instrumental pieces at the height of his fame. Most of the pieces issued here were published in the 1870s and 1880s, and some of them are far more substantial than mere album-leaves. Yet they are hardly known at all; Riccardo Muti recorded an orchestration of the sombre and touching Elegia funebre from 1881, but Ester Fusar Poli’s new recording is the only available version of the piano original. Even more imposing in scale is the 16-minute Funeral March which Ponchielli wrote late in 1872 to honour the passingof the publisher Francesco Lucca. However, no Ponchielli album would be complete without a version of the ‘Dance of the Hours’ immortalised by Walt Disney’s hippos in Fantasia. Between these two poles of Ponchielli’s output, Ester Fusar Poli presents a beguiling sequence of elegies, nocturnes, polkas and tone-poems, demonstrating the composer’s expressive range and deft piano writing. An extensive essay by Gabriele Galleggiante Crisafulli considers Ponchielli’s piano output in the context of his career as a whole, making this album an important contribution to our understanding of a figure who was much more than a ‘one-work composer’.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907804188952,"sku":"5028421969695","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4230665-3141835.jpg?v=1777536097"},{"product_id":"pietro-prospero-castrucci-sonatas-for-violin-b-c","title":"Pietro \u0026 Prospero Castrucci: Sonatas For Violin \u0026 B.C.","description":"\u003cp\u003eElegant Baroque sonatas for violin and basso continuo by a pair of little-known brothers, Pietro and Prospero, who belonged to Handel’s circle of talents in 18th-century London. Pietro (1679-1752) and Prospero (1690-1760) Castrucci belong to the generation of virtuosos who connected the development of violin playing from Corelli to Tartini, and took the Italian style abroad. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907805630744,"sku":"5028421969459","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4223207-3130274.jpg?v=1777628733"},{"product_id":"ries-clarinet-trio-sonatas","title":"Ries: Clarinet Trio \u0026 Sonatas","description":"\u003cp\u003eFerdinand Ries may still be known almost exclusively to the musical world as Beethoven’s friend, pupil, secretary and first biographer, but Brilliant Classics have done much to broaden our understanding of this significant figure in the Vienna of the early 19th century with albums of his own compositions, notably his sonatas for violin, cello and flute and his Piano Quintet. In fact the Op.28 Clarinet Trio is one of Ries’s best-known pieces, as well it might be for the mellifluous appeal of its writing for all three instruments. While the top line may also be taken by violin, it belongs most harmoniously to the clarinet’s singing register and hardly suffers by comparison with Beethoven’s Op.11 Trio for the same combination ofinstruments. As grateful as the clarinet writing is the rippling piano part, which supports the other instruments with unfailingly genial warmth before coming to the fore in the finale with some virtuosic passagework as if to demonstrate that the pianist-composer could turn a trick or two himself. The two sonatas for clarinet and piano are much more Romantic-sounding, atmospherically evocative and forward-looking pieces. The Op.29 work begins with a passionately pleading slow introduction, which segues masterfully into a main Allegro of positively Schubertian vitality. After a brief but deeply felt slow movement, the finale mirrors the first movement’s form and intensifies the tempestuous, troubled expression of the sonata as a whole. The E flat major Sonata Op.129 is all sunshine compared to Op.29’s storm and thunder: a delight from start to finish, inflected by the kind of Italianate drama and cantabile that began to make its mark on German and Austrian composers in the 1810s and 20s, most notably in the clarinet writing of Carl Maria von Weber. As one of Belgium’s foremost clarinettists, Vlad Weverbergh has his own big band and klezmer group, but he is also a member of I Solisti del Vento, the wind ensemble uniting the finest Belgian wind players. He has made a speciality of reviving, performing and recording lesser-known treasures of the clarinet repertoire, as well as collecting and playing instruments from the rich history of the clarinet, such as the unusual clarinetto d’amore which he uses on this recording.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907805860120,"sku":"5028421969039","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4230664-3141821.jpg?v=1777536081"},{"product_id":"mison-the-five-sevillian-flute-sonatas","title":"Mison: The Five Sevillian Flute Sonatas","description":"\u003cp\u003eRecent scholarship on Luis Misón (Mataró, 1727–Madrid, 1766) demonstrates the growing interest among the musicological community in studying the life and work of one who is an essential composer in the history of Spanish music. Musical historiography has extolled Misón's contribution to the genre of the tonadilla escénica, a genre widely appreciated in his time and which must have had a notable influence on his instrumental music, about which less is known. His talent as a flautist was appreciated within the noble circle of the House of Alba, where musical academies were held in which Misón actively participated and for which he composed 12 sonatas for transverse flute and bass dedicated to the Duke of Alba. These pieces were located in the archives of the House of Alba and described in 1927 by José Subirá (1882–1980), but unfortunately they disappeared during the Spanish Civil War (1936–39). The discovery of the five hitherto unknown Sonatas for Flute and Bass by Misón represents a substantial contribution to the Spanish chamber music repertoire of the second third of the 18th century for this instrument, given the scarcity of pieces written by Hispanic composers contemporary to Misón in which the flute is definitely the real protagonist. Moreover, they are sonatas which, from a technical point of view, pose interesting challenges to the flautist, something that highlights Misón's mastery of the flute, in accordance with surviving documentation of the period. Ortega explains that José Teixidor (c.1751–c.1811), vice-master of the Royal Chapel from 1778, considered his works to be no lesser than those of the best-known foreign composers and said of him that he was an unequalled performer on the transverse flute. The sonatas are found in five musical manuscripts preserved in the Lebrija Palace in Seville, a stately home dating from the 16th century, which in 1901 became the property of Regla Manjón y Mergelina (1851–1938), Countess of Lebrija. With regard to the sources, it seems unlikely that any of the five are autograph. (Although up to five different copyists have been identified, there is nothing to suggest that any of them could be Misón, himself.) Generally speaking, the sonatas are characterised by the importance of melody, regular phrases and steady rhythms, as can be seen in the elaborate seisillos of the Allegro moderato of the Sonata [No.3] in G major. Overall, the basso continuo line is simple – excepting the B section of the Allegro of the Sonata [No.4] in G major (undated) – allowing the role of the flute to stand out prominently. This recording is the culmination of a long process of recovery of Spanish 18th-century musical heritage that deserves to be disseminated, studied and enhanced. After more than two centuries of silence, Misón's music is heard again.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907807564056,"sku":"5028421968582","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4223203-3130269.jpg?v=1777628659"},{"product_id":"pleyel-clarinet-chamber-music","title":"Pleyel: Clarinet Chamber Music","description":"\u003cp\u003eIgnaz Pleyel (1757–1831) was one of the most multifaceted artists of all time, being active in various fields as a composer, performer, publisher and piano builder. Born in Lower Austria, he became the pupil of Joseph Haydn in Eisenstadt, who considered him to be a superb student. In 1791, due to the French Revolution, musical performances in churches and public concerts were abolished, so Pleyel travelled to London searching for a better place to work. Pleyel was a quite prolific composer, writing at least 42 symphonies, 70 string quartets and several operas. Recent scholarship has suggested that the theme for the St. Anthony Variations Op.56a by Johannes Brahms was probably composed not by Haydn but by Ignaz Pleyel. The beautiful and cheerful Quintet in C for piano and winds is in a pleasant, early-classical Viennese style, reminding us of the previous masterpieces for the same medium by Mozart and Beethoven. An arrangement for Wind Octet of this work is preserved at the Fürstlich Fürstenbergische Hofbibliothek Donaueschingen in Germany. The manuscript of the Due Duetti for clarinet and viola has so far never been published. The Trio Op.20 No.1 for two clarinets and bassoon is an arrangement from one of Pleyel’s flute and string trios. The two short songs Behind yon Hills and The smiling Morn, from the Original Scottish Airs, are originally for soprano and piano, but the clarinet replaces the singer with a similarly expressive and beautiful result. The Variations in F on a Theme of Pleyel is a piece arranged for three clarinets by Antonín Myslík, taken from the Quartet in F by Franz Krommer (1759–1831). Mozart praised Pleyel’s compositions in a letter written to his father.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907807596824,"sku":"5028421968490","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4164100-3141814.jpg?v=1777722798"},{"product_id":"dastorga-serquiera-torres-spanish-secular-cantatas","title":"D'Astorga, Serquiera \u0026 Torres: Spanish Secular Cantatas","description":"\u003cp\u003eSongs of love and loss by a trio of early 18th century Spanish composers, showcasing the vocal art of a distinguished early-music soprano. For her latest album, Cristina Bayón Álvarez turns to 18th-century Spain, presenting for the first time on record a sequence of newly edited secular cantatas. These are all brief pieces, taking amorous and pastoral themes for their subjects. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907807662360,"sku":"5028421968247","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4211070-2989367.jpg?v=1777605028"},{"product_id":"jollage-premier-livre-de-pieces-de-clavecin","title":"Jollage: Premier Livre De Pieces De Clavecin","description":"\u003cp\u003eA world-premiere recording of elegant, courtly French harpsichord suites by a forgotten name of the early 18th century. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907807793432,"sku":"5028421967738","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4211069-2989361.jpg?v=1777604158"},{"product_id":"de-murcia-guitar-music","title":"De Murcia: Guitar Music","description":"\u003cp\u003eThis album incorporates works that come from one of the most fascinating collections of popular music of the 18th century. By interspersing a pasacalle with a cumbee, a fandango with a zarambeque, this recording invites you to stroll along the streets of an imaginary 18th-century Novo Hispanic city and listen to its music. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907807826200,"sku":"5028421967684","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4211068-2989355.jpg?v=1777605587"},{"product_id":"schneider-kirnberger-organ-music","title":"Schneider \u0026 Kirnberger: Organ Music","description":"\u003cp\u003eJohann Schneider was a German organist, violinist and composer (1702, Lautertal–1788, Leipzig). He wrote only a handful of pages for organ: a few sporadic preludes to chorales, the eight fugues for organ or harpsichord and a 'Clavierfuge mit dem Contrapunct in der Oktava'. His figure is thus summed up as in that of a person careful to pass on the inheritance he received. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907807891736,"sku":"5028421967523","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4202375-3141808.jpg?v=1777604209"},{"product_id":"colbran-duchambge-garcia-malibran-mendelssohn-schumann","title":"Colbran, Duchambge, Garcia, Malibran, Mendelssohn \u0026 Schumann","description":"\u003cp\u003eAiming to recreate the musical atmosphere of a 19th-century salon, this recording revolves around two fundamental objectives. The first, to perform music by women who, as composers, performers and hostesses, were absolute cornerstones of these spaces. Second, to perform the songs, originally accompanied by piano, with newly made guitar arrangements. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907808022808,"sku":"5028421967295","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4169752-3141804.jpg?v=1777725254"},{"product_id":"arias-for-anna-renzi-the-first-opera-diva-5028421967165","title":"Arias For Anna Renzi, The First Opera Diva","description":"\u003cp\u003eAs the most celebrated singer in Venice during the 1640s, Anna Renzi created roles in operas by the great dramatists of the day including Ottavia in L’incoronazione di Poppea. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907808121112,"sku":"5028421967165","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4144473-3141801_02109b73-1871-4da6-b9a2-740e59c499d3.jpg?v=1777724507"},{"product_id":"beethoven-9th-symphony-op-125-transcription-for-violin","title":"Beethoven: 9Th Symphony, Op. 125 - Transcription For Violin","description":"\u003cp\u003eHans Sitt (1850–1928) was an extremely important personality in the transition between the 19th and 20th centuries, and was also a remarkably prolific composer. Astonishing in his catalogue, however, is the enormous number (and weight) of his transcriptions of the most important 19th-century symphonic works for the duo of violin and piano. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907808252184,"sku":"5028421967110","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4211067-2989347.jpg?v=1777605530"},{"product_id":"corsi-bass-cantatas","title":"Corsi: Bass Cantatas","description":"\u003cp\u003eGiuseppe Corsi (c.1631\/1691), known as Celani, was one of the most important composers of the Roman school active in the second half of the 17th century. Corsi's catalogue of works includes around 23 secular compositions including Cantatas for one voice and basso continuo. The protagonist of the cantata Dalle balze sicane is the mythological Enceladus who, having been plunged into the bowels of Mount Etna by the goddess Athena, invokes Jupiter to placate the outrage against him. The character’s 'misfortunes' and 'sorrows' of love in Cruda legge del mio fato find analogies with those experienced by the composer. The first aria in this cantata is rich in complex enharmonics, greatly expanded and varied in the repeat, when the voice is engaged in difficult bravura passages. The cantata Abbandonato e solo begins with a veritable monologue from Roman emperor Nero, tormented by his past ghosts. The cantata on this album by Giacomo Antonio Perti (1661–1756), Pompe, voi che ascondete, although attributed to Corsi’s favourite pupil, is in fact still of unproven authorship. It is possible that Giuseppe Corsi met Giovanni Battista Vitali (1632–1692). The two composers in 1685 took part in the famous dispute over parallel fifths in Arcangelo Corelli's Sonata Op.2 No.3. The bass of the violin family, of which Vitali was a virtuoso, was widespread thanks to the Este patronage of Duke Francesco I. In his cantatas, Corsi repeatedly insists on the B flat grave, a characteristic of violin bass tuning, and the numerous semiquaver passages are particularly agile on the violone, so it is not unlikely that the composer from Marsica had this instrument in mind. It is also for this reason that Corsi's compositions have been joined by some movements from the Partite sopra diverse sonatas for the violone by Vitali that are particularly pleasing.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907809726744,"sku":"5028421966939","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4164097-2961076.jpg?v=1777718893"},{"product_id":"m-haydn-pro-festo-innocentium-masses-vesper-5028421966885","title":"M. Haydn: Pro Festo Innocentium Masses \u0026 Vesper","description":"\u003cp\u003eThe final nine pieces in Vitali's Artificii are an eclectic collection of balletti, capricci, a passagallo, and 2 violin sonatas, representative of the main forms of instrumental music at the end of the 17th century. Although Artificii was originally written for violin and bass, Andrea Coen performs here on a harpsichord, and furthermore a harpsichord in equal temperament. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907811135768,"sku":"5028421966885","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4148208-3141794.jpg?v=1777731876"},{"product_id":"j-s-bach-transcriptions-for-guitar","title":"J.S. Bach: Transcriptions For Guitar","description":"\u003cp\u003eIn recent decades, Johann Sebastian Bach's (1685–1750) works have undergone numerous transcriptions and adaptations. This album includes some famous works, among them the preludes from the French Suite No.3 and Johann Peter Kellner’s collection. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907811201304,"sku":"5028421966878","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4169750-3141793.jpg?v=1777709978"},{"product_id":"j-s-bach-graun-handel-torelli-vivaldi-from-venice-to","title":"J.S. 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There he ruffled feathers by overhauling traditions and rejuvenating the ensemble of musicians and singers. In his own music, Cazzati likewise bent the rules to serve his purpose, or invented new ones. ‘Know therefore, O Reader, that the rules of Music are not Divine precepts,’ he once wrote, ‘but human opinions and diverse ones at that.’ It has been said before now that his instrumental music was more inspired than his sacred-vocal work, but this album demonstrates otherwise with a sequence of motets which evolves from the more liberal style of the 1640s to the more severe style of the late 17th century. He was among the pioneers of the instrumentally accompanied motet in which violin lines are skilfully woven around the sung text. On the other hand, the two solo motets show a stark contrast, with the intimate Salvum me fac against the virtuoso war-like Qui bella geritis. Three organ sonatas are also included, two of which were written by Cazzati’s own organists in Bologna: Giovanni Paolo Colonn, and Cazzati’s great enemy Giulio Cesare Arresti. A sonata by Bernardo Pasquini affords further contrast with the mostly grave devotions of the motets. All four performers here have extensive experience in the revival of little-known composers from the Baroque, and their stylish performances demand a reappraisal of Cazzati in the round.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907811627288,"sku":"5028421966632","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4230663-3141791.jpg?v=1777536062"},{"product_id":"castelnuovo-tedesco-complete-italian-solo-guitar-music-5028421966625","title":"Castelnuovo-Tedesco: Complete Italian Solo Guitar Music","description":"\u003cp\u003eMario Castelnuovo-Tedesco was first drawn to the guitar after meeting Andres Segovia in Venice in 1932. The Variations á travers les siècles Op.71 followed almost immediately. Over the course of the next seven years, Castelnuovo-Tedesco produced a string of equally successful pieces for the instrument. Most substantial is the four movement Guitar Sonata subtitled as a ‘Homage to Boccherini’: an elegant essay in neoclassicism which evokes the courtly elegance of Boccherini’s Guitar Quintets while sounding entirely true to Castelnuovo-Tedesco’s own language. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907811725592,"sku":"5028421966625","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4164095-3141790.jpg?v=1777722792"},{"product_id":"vivaldi-la-stravaganza-op-4-transcriptions-for-organ","title":"Vivaldi: La Stravaganza, Op. 4 - Transcriptions For Organ","description":"\u003cp\u003eThe concerto played a leading role in the evolution of the language and style of instrumental music from the late 17th century onwards, with its popularity and importance continuing to grow throughout the 18th century. 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Lalo’s Cello Sonata in A minor is relatively unknown, despite its obvious beauty and clear Schumannesque qualities. Charles Koechlin (1867–1950) studied composition at the Paris Conservatoire with Jules Massenet and Fauré. He composed frequently, producing a huge opus of well over 200 works, and in a fluent style distinguished above all by its melodic invention, with supple and eloquent melodic themes. In that regard, the spirit of Fauré is never far away in the Cello Sonata Op.66 – allusive, imbued with a retrospective spirit which unfolds into a kind of accompanied recitative, quintessentially cellistic. Koechlin wrote the Sonata in October 1917 in a flurry of chamber-music activity. Gabriel Pierné (1863–1937), also an alumnus of the Paris Conservatoire, was a successful musician and won the coveted Prix de Rome in 1882. Pierné became one of the most influential musicians in Paris, more at the time through his conducting than his composing. 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Now the Ferrara-based flautist turns her attention south to another overlooked figure of the early 19th century, Saverio Mercadante. Mercadante learnt the flute as a child and became a virtuoso on the instrument during his training in Naples while learning the craft of an opera composer which would bring him fame across Europe. One of his earliest successes for the stage was a ballet based on the legend of a magic flute - unrelated to Mozart’s masonic tale - and from the 1820s onwards, audiences flocked to Mercadante’s lyric dramas for their pacy drama, memorable tunes and arias that displayed the great singers of the age to best advantage. His Capricci also date from this early stage of his career. Comparable to the more celebrated caprices for violin by his elder contemporary Paganini, they are technical studies which stretch the technique of the most accomplished flautists, and they dazzle the ear with their lightning runs, filigree figurations and flourishes. The Capricci have received recordings from celebrated flautists, whereas the later Arie Variate have been relatively overlooked, and this release marks only their second recording, and the first to be made for CD. They are fantasies on popular operatic arias in the style of the piano pot-pourris and paraphrases which would be raised to an art-form by Franz Liszt a generation later. The chosen themes are mostly drawn from operas of the late 1810s such as Rossini’s Armida and Elisabetta, Regina d’Inghilterra, but they range from Mozart’s Don Giovanni to Mercadante’s own Gabriella di Vergy of 1828. 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While still based in her homeland, having founded Bulgaria’s only annual early-music festival (Sofia Baroque Arts Festival) she is a frequent soloist with and guest leader of the Helsinki Baroque Orchestra under its founder-director Aapo Häkkinen, who swaps the conductor’s platform on this occasion for a seat at a gentle, plangent-sounding fortepiano from 1820 of Viennese manufacture – ideally suited to the repertoire at hand. Together they make a lively and sympathetic partnership, informed by playing these youthful works in concert. Franz Schubert (1797-1828) was just 19 years old when he wrote a trio of sonatas in the spring of 1816, but he already had four symphonies under his belt as well as masterpieces of song such as Gretchen am Spinnrade and Erlkönig. Like so much of his music, they were only published after his death, when they were given both a misleading opus number (Op.137) and even title, for the diminutive ‘sonatina’ nomenclature shows little respect for both the scale of Schubert’s imagination and handling of form. On a technical level, the trio of pieces lies within the ambit of amateur players of both instruments, though more demanding for the pianist. This relative ease of execution need not obscure the rapturous melodies of the second work in the collection, D385, or its deeply felt harmonies, which culminate in an elegiac finale. Cast in the turbulent Erlkönig key of G minor, D408 turns the listener’s ear towards Beethoven, though the concise opening melody clearly speaks with Schubert’s voice. 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Aged 32, however, he moved to Paris, and established his name there, teaching at the conservatoire and composing for many French publishers with an eye to the fast-developing market for attractive music for winds, especially the clarinet, accessible to amateurs. His experience as a working musician in the French National Guard prompted him to produce Harmoniemusik – wind-band music – for various combinations of such instruments, without string accompaniment, as the duos and trios found on this album. There is also a brief Pot Pourri on arias of Paisiello conceived for the unusual combination four clarinets, two horns and two bassoons. Between 1803 and 1805 he produced six trios for three clarinets, and Luigi Magistrelli has chosen to record three of them, along with Fuchs’s ingenious arrangements of six arias from Mozart’s Magic Flute, which weave melody and accompaniment between the two instruments, producing pieces satisfying to both play and listen to on their own terms. As a clarinetist and ensemble leader, Luigi Magistrelli has built up a considerable Brilliant Classics discography of lesser-known repertoire from the Classical and early Romantic eras. 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In an important 1926 article in the O¨sterreichische Gitarre-Zeitschrift (a journal published by Ortner) Rebay boldly intervened in the debate over the languishing guitar repertoire: ‘I set out to write duets for individual wind instruments with guitar accompaniment, delighted to discover that the mixture of oboe or clarinet with the guitar sounds much more appealing than the mixture of these wind instruments with piano’. For the first time in the history of the guitar, a composer – not a guitarist! – had identified chamber rather than solo music as the most suitable means for the creation and promotion of the instrument’s identity. 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This is the only album dedicated to his music: new recordings made by a young contemporary music ensemble, who are joined by the composer’s son, Giovanni Sollima, a cellist and composer in his own right who has made several previous albums for Brilliant Classics. Sollima studied piano with Arturo Benedetti Michelangeli, and he wrote for his instrument with a thorough grasp of its range as a Romantic instrument – Italian TV broadcasts preserve some unfussily accomplished performances of Liszt – which courses through his best-known piece, the Toccata of 1951. However, his idiom embraced a Bartokian toughness of rhythm, most vividly demonstrated here by the three movements for piano trio (for which Sollima received compliments from Isaac Stern). In 1968 he wrote a powerful concerto for string orchestra in memory of Bobby Kennedy, and the tortured harmonies of this piece carry over into both the contemporaneous piano trio and the later ‘Evoluziona No.5’ for violin and piano. 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In the preface, Caccini exhorts the performers to honour the primacy of speech and speech rhythm. Balconi explains: ‘Monody is more about words and metre than singing, focusing on the declamation of the semantic, rhetorical and prosodic elements of the poetic text rather than constructing a melody.’ This was a departure from the combined voices of Renaissance counterpoint, a move towards solo poetic recitation with the nuance of music in service of the meaning. Caccini lays out guidelines for the retrained and appropriate use of the improvised ornamentation that was the vogue in his day but which he considered too often gratuitous and overly virtuosic at the expense of the music. He stresses these should be used judiciously so that the singer can ‘almost speak in harmony’, in other words recite the text more or less normally using music. In adhering assiduously to Caccini’s compositional concept, Balconi and Fantazyas create an authentic and powerfully moving document of the birth of monody, which not only inspired the invention of opera but changed the entire course of music history.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907826733336,"sku":"5028421962542","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3968211-2741384.jpg?v=1777803880"},{"product_id":"cherubini-six-sonatas-for-fortepiano","title":"Cherubini: Six Sonatas For Fortepiano","description":"\u003cp\u003eIn the second half of 18th century, keyboard music in Tuscany was flourishing. The piano, a new instrument, was highly favoured by the new Tuscan court, and the potential of this new instrument was sought out with keen interest by composers. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907826766104,"sku":"5028421962467","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4169744-3141743.jpg?v=1777712736"},{"product_id":"amorose-faville","title":"Amorose Faville","description":"\u003cp\u003eGaspare Torelli (1572–c.1613) was born to a family of officials and intellectuals, and as a young man he embarked on a religious career in his home town of Sansepolcro, becoming a monsignor in 1602. He was a music teacher, composer and poet and, with a thorough knowledge of Latin, he also penned a treatise on Italian grammar. The Amorose faville are the last in the series of extant musical works published by Torelli. The collection of 22 canzonettas dates from 1608, when it was published by Amadino of Venice. A single complete copy survives in the Kassel University Library, upon which Carolina Calabresi has based her modern edition published in Città di Castello in 2018. The canzonetta genre emerged between the second half of the 16th and the first decades of the 17th centuries. These are short polyphonic compositions, the earliest of which were not very elaborate but which over the course of time began to take on some features typical of the madrigal, including a more refined compositional technique and the use of imitation and syllabic declamation. The subject matter also grew broader, with bucolic and pastoral themes in the style of Petrarch added to the original stock of amorous tales. Also among the canzonetta composers was Claudio Monteverdi, who published his Canzonette a tre voci in 1584, at the age of 17. Torelli’s Amorose faville have a number of features in common with Monteverdi’s canzonettas including madrigal-like text painting. Here is the beginning of a style aimed at stirring the listener’s emotions and conveying musically the poetic imagery, an expressive urgency that would later lead Monteverdi to break the strict rules of traditional harmony and champion the theories of the revolutionary seconda prattica.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907828666648,"sku":"5028421962405","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3945395-3141741.jpg?v=1777803925"},{"product_id":"rozsa-herrmann-music-for-string-quartet","title":"Rózsa \u0026 Herrmann: Music For String Quartet","description":"\u003cp\u003eWhile producing a string of hit scores for MGM such as the Oscar-winning Ben Hur, Miklós Rózsa (1907-1995) continued to add to his distinguished catalogue of works in classical forms, often writing in a more abstract and severe style than his late-Romantic music for the movies. Rózsa himself remarked that ‘in 1948, a new style began to appear in my Piano Sonata—more percussive, contrapuntal, aggressive. The String Quartet [No.1, 1950] continued in this vein. Maybe it was an inner protest against the excessive amount of conventional music I had had to write for conventional pictures.’ In terms of influence, the tone of the Quartet (dedicated to Peter Ustinov) is closer to his teacher Kodály than that of Bartók even in the driven second movement, though even the intense lyricism of the third movement scarcely contains an angry mood which is finally resolved by the exhilarating finale. The more conventionally Romantic strains of the String Trio date from Rózsa’s student days at the Leipzig Conservatoire in 1927, assimilating Brahms as well as the edgier work of his Hungarian elders. Breitkopf \u0026amp; Härtel published the work in 1929 as Op.1, but in 1974, the composer made major revisions to the original score, including numerous cuts, for its first recording. The String Trio, as presented here, is the world premiere recording of the work as it was originally composed by. Breitkopf \u0026amp; Härtel published the work in 1929 as Op.1. In 1974, Rózsa made major cuts to the original score for its first recording. The ensemble merian presents the full, original version of the trio.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907830337816,"sku":"5028421962306","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3958954-2728071.jpg?v=1777806746"},{"product_id":"dohnanyi-complete-music-for-cello-and-piano-945090","title":"Complete Music Cello \u0026 Piano","description":"\u003cp\u003eBrahms was so impressed by 18-year-old Erno Dohnányi that he promoted his music in Vienna. Just two years later the elder composer passed away, but he might have remarked similarly about Dohnaìny’s Cello Sonata in B flat of 1899. This magnificent composition sounds undeniably like an affectionate homage to him. In 1902, Dohnányi performed the Cello Sonata in Frankfurt with cellist Hugo Becker. (Brilliant)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907830436120,"sku":"5028421962252","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3998662-2741382.jpg?v=1777805234"},{"product_id":"dal-barba-requiem-other-sacred-music-5028421961897","title":"Dal Barba: Requiem \u0026 Other Sacred Music","description":"\u003cp\u003eDaniel Pio Dal Barba (1715–1801) was Maestro di Cappella at Verona Cathedral, a position he took up in 1762. Before this, he taught at the Accademia Filarmonica in Verona where, on 9 January 1770, he met Wolfgang Amadeus Mozart, who was visiting the city. There are also numerous references to his work at other theatres in the Veneto and Trentino regions, where he was both a composer and male soprano. (Brilliant)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907831320856,"sku":"5028421961897","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4136054-2903147.jpg?v=1777724428"},{"product_id":"aguilera-de-heredia-organ-music","title":"Aguilera De Heredia: Organ Music","description":"\u003cp\u003eDespite only his book of ‘Magnificats’ and these 18 compositions for organ having come down to us today, Sebastiaìn Aguilera de Heredia (1561–1627) is noted in the history of Spanish music as one of the great figures in the transition from the Renaissance to the Baroque, comparable to his Dutch contemporary Sweelinck. His style reflects the polyphonic tradition of the Spanish Renaissance along with the elements of an incipient Baroque, bridging that of Cabezoìn (Renaissance) and Correa (Baroque). Unlike Italian composers (Frescobaldi in particular) whose music broke substantially with the aesthetics of the Renaissance, paving the way for the composers of Central and Northern Europe, the transition of Spanish organists to the new style was a gradual one. They continued to base compositions on the Renaissance tradition of four-voice vocal polyphony and counterpoint, yet began to elevate one soloistic voice above others serving as something akin to Baroque basso continuo. Aguilera’s compositions display a style uniting the counterpoint, elegance and seriousness of vocal polyphony, a genre in which he was an accomplished master, with music that is more aligned with popular tastes and with dance, achieving an astounding result: works full of life, capable of conveying passions and affects, yet clearer and more comprehensible to the ears and tastes of all.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907831615768,"sku":"5028421961804","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3958952-2728068.jpg?v=1777805060"},{"product_id":"marcello-psalm-42-50","title":"Marcello: Psalm 42 \u0026 50","description":"\u003cp\u003eThe catalogue boasts no shortage of fine recordings of the cello sonatas and other chamber music by the Venetian nobleman Benedetto Marcello (1686-1739). However, his sacred vocal output, for which he was most highly esteemed in his own time, remains almost unknown. Several musicians are gradually redressing the balance; none more experienced in realising music of the period with flair and authenticity than Alberto Turco, whose extensive discography includes two critically acclaimed albums on Brilliant Classics, of sacred music by Giovanni Battista Fasolo (95512) and organ masses by Claudio Merulo (95145). As on those albums, Turco takes a lively, chamber-scaled approach to Marcello which is true to the spirit as well as the letter of these scores. For the listener curious to explore the riches of 18th-century Venetian music, there are treasures galore to be found in the settings of Psalms 1-50 which Marcello composed to vernacular paraphrases of the original texts by Girolamo Ascanio Giustiniani. The complete set was published in eight opulently appointed volumes between 1724 and 1726. Each Psalm is a spiritual cantata, not intended for liturgical use but setting the verses in madrigalian fashion for solo voices with a simple continuo accompaniment, generally abstaining from complex counterpoint and subtly moulded to the meaning of the text for maximum clarity. The Psalms were first performed in the Cavallerizza building, directed by the composer. One of the singers was Rosanna Scalfi, whom Marcello married on 20 May 1728, much to the disapproval of his family, especially his brother Alessandro.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907831943448,"sku":"5028421961354","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3958950-2728066.jpg?v=1777794951"},{"product_id":"elgar-cello-concerto-arlia-sollima-orchestra-948759","title":"Cello Concerto","description":"\u003cp\u003eFrom Arturo Toscanini and Sir John Barbirolli to Riccardo Muti and Antonio Pappano in our own time, Italian-heritage performers have often brought special qualities of sympathy and understanding to Edward Elgar’s (1857-1934) music. Now comes a new recording made in the ‘boot’ of southern Italy, lending Mediterranean warmth and passion to a trio of Elgarian masterpieces. The Sicilian-born cellist Giovanni Sollima has made well-received albums for Brilliant Classics of music by Offenbach (94475) and by his father Eliodoro Sollima (96287). His latest recording, made at the Teatro Politeama in the one-time ‘lace capital’ of Europe, Catanzaro, illuminates one of the core works of the cello literature with an affecting sense of line and sensitivity to the melancholy introversion which colors every bar of the Concerto composed by Elgar in the wake of the First World War. Twenty years earlier, Elgar’s reputation was secured with audiences across Europe and America through the whirlwind success of his “Enigma” Variations. The stoic beauty of ‘Nimrod’, the gentle wit of ‘Dorabella’ and the nervous excitement and pride of the autobiographical finale spoke directly to listeners who would never know the composer or his ‘friends pictured within’. The agitated, impassioned voice of Elgar in the Variations belonged to its end-of-Empire time and place, orchestrated with a mastery which would soon draw the admiration of Richard Strauss and many more musicians on the other side of the English Channel. Even that quintessential expression of Englishness, the first of five marches which Elgar collected under the Shakesperean banner of “Pomp and Circumstance” and later repurposed to set ‘Land of Hope and Glory’ for the finale of his Coronation Ode, won the composer standing ovations when he conducted it in concerts across mainland Europe. Under the affectionate baton of their music director Filippo Arlia, the Orchestra Filarmonica della Calabria interpret Elgar’s music with a sensitivity and extroversion worthy of the composer.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907837972760,"sku":"5028421960395","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4007924-2774012.jpg?v=1777804062"},{"product_id":"kraus-complete-piano-music","title":"Kraus: Complete Piano Music","description":"\u003cp\u003eJoseph Martin Kraus, regarded in his lifetime (1756–1792) as one of the world’s six most formidable composers, has like many other contemporaries since languished in the historical shadow of Mozart. Kraus was hailed by none other than Joseph Haydn as Mozart’s equal in terms of creativity and genius but had a career more like Haydn’s and was more of a polymath. Born in central Germany, he studied composition in Mannheim, Mainz, Erfurt and Göttingen. In 1778 he decided on a career in music and emigrated to Sweden, where he became Vice-Kapellmeister at the court of Gustav III in 1781 and Kapellmeister in Stockholm in 1788. Trained as a violinist (who, like Mozart, preferred the viola), he nonetheless was a talented pianist. Francisco de Miranda, a nobleman on a grand tour in 1787, described Kraus playing the fortepiano ‘like an angel’. Sadly, the composer left relatively few works for the keyboard. This disc provides a thorough exploration of these works, from the satirical to the sublime, the expansive to the perfunctory, with the real tours de force being the two fortepiano sonatas, both issued in 1788 by Swedish publisher Olof Ålström. Though limited in number, these works for solo keyboard (almost certainly composed for the fortepiano) represent the variety and originality that are among Kraus’s musical trademarks. The two sonatas in particular challenge the technical limits of the instrument, requiring both dexterity and interpretive ability and often foreshadowing the piano music of thirty years hence in content and scope.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907848196376,"sku":"5028421959764","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3968209-2740933.jpg?v=1777720183"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/collections\/3_950c21ea-4177-4bfb-8145-8e91b09a72b9.png?v=1790177455","url":"https:\/\/hbdirect.com\/collections\/brilliant-classics-sale-2026.oembed?page=20","provider":"HBDirect","version":"1.0","type":"link"}