{"title":"Brilliant Classics","description":"","products":[{"product_id":"mendelssohn-complete-piano-quartets","title":"Mendelssohn: Complete Piano Quartets","description":"\u003cp\u003eBy the time Felix Mendelssohn composed his first three opus-numbered works he had a substantial catalogue of chamber, vocal and orchestral works to his credit – all at the age of 15! This trio of piano quartets predates the miraculous Octet for strings, yet each of them holds its distinct appeal. A fluent grasp of form and voicing can be taken for granted in one already thoroughly schooled in compositional technique. Mendelssohn was still finding his own voice, melodically speaking, while emerging from the shadow of Mozart and Beethoven, but these are already pieces with his fingerprints alone.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907778171160,"sku":"5028421955322","price":12.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3846958-2601301.jpg?v=1722359081"},{"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":13.99,"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":13.99,"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":13.99,"currency_code":"USD","in_stock":false}],"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. 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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. 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Op.15 includes a witty minuet and what sounds like a homage to Mozart closing with a virtuosic Galop which tests the guitarist’s technique with its brilliant figuration. (Brilliant)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907823194392,"sku":"5028421963198","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3978751-2728074.jpg?v=1777720044"},{"product_id":"chelleri-6-sonate-di-galanteria-chiarizia-948761","title":"6 Sonate Di Galanteria","description":"\u003cp\u003eOrphaned at a young age, Fortunato Chelleri (1690–1757) was raised by his uncle Francesco Bazzani, the kapellmeister at Piacenza Cathedral, who taught him organ, harpsichord and composition. He rose to prominence first in Italy as a composer of opera seria but also wrote oratorios, cantatas, orchestral music, chamber music and keyboard music during his time as kapellmeister at Würzburg, a post he took in 1724. Unfortunately the majority of his work has been lost. The “6 Sonate di Galanteria” performed on this album were written in the early 1720s, a time when a new compositional style known as the galant was taking hold. (This was a departure from the baroque, with much less emphasis on polyphony and a preference for accompanied melody, making it a forerunner of the Classical period to come.) The 6 Sonate reflect this style with their typical alternation of slow and fast movements and monothematic, binary structure. Some of the movements are based on dance rhythms, including many minuets and some French-style allemandes. In the latter, Chelleri meticulously notates the “swing” or dotted rhythms that would have been implied, unwritten, according to the French notes inégales practice of the time, which suggests that Chelleri wanted to write in a way that players outside the French harpsichord tradition could understand. He therefore represents a synthesis of French, German and (the less well-known) Italian harpsichord music of his era in one composer who channelled all the compositional features he absorbed, embellished and reworked during his training in Europe in the early 18th century into the emerging galant style. This album was recorded on a Franco-Flemish two-manual harpsichord built by Michael Johnson in 2006, a copy of a 1637 Ruckers instrument, tuned at a pitch of a=415 in the Kirnberger III temperament, a common choice for mid-18th-century keyboard music.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907825094936,"sku":"5028421963082","price":13.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4007926-2774017_1e119c0e-c95d-429a-9cfb-c25a688e9426.jpg?v=1777804075"},{"product_id":"fuchs-clarinet-chamber-music-magistrelli-italian-942715","title":"Fuchs: Clarinet Chamber Music","description":"\u003cp\u003eWhere next after Mozart’s Clarinet Quintet? Try these duos and trios by Georg Friedrich Fuchs (1752-1821) in newly recorded period-instrument performances. Born in the German city of Mainz in 1752, Fuchs was a pupil of Haydn’s before becoming a wind-band leader and composer. 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. Most of his albums feature first recordings, and he is joined by Italian colleagues who have equally extensive experience in historically informed performances (using instruments of the time, often returning to the original manuscripts) of 18th- and 19th-century music.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907826471192,"sku":"5028421963051","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3992006-2728088.jpg?v=1777804100"},{"product_id":"rebay-music-for-viola-and-guitar","title":"Rebay: Music For Viola And Guitar","description":"\u003cp\u003eWhile Segovia's famous Paris recital of 7 April 1924 was no doubt a major turning point in 20th-century guitar music, inspiring composers like Albert Roussel, Georges Migot, Alexandre Tansman and many others, the city of Vienna was simultaneously the setting of a quieter, yet nonetheless important, revolution. What was likely the first ever conservatory programme for the guitar was inaugurated in 1923 at the Weiner Akademie under the tutelage of Jakob Ortner, and this class nurtured an interest in the classical guitar in composer Ferdinand Rebay (1880–1953) who served at the Weiner Akademie as a piano teacher from 1920–1944. Born to a family from Lake Como, Rebay studied theory with Robert Fuchs and piano with Josef Hofmann. After first emerging as a composer of lieder (a genre that remained central to his compositional output), he was encouraged by Fuchs to write both chamber and symphonic instrumental music. 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. Loyal to this idea, between 1924 and the early 50s Rebay composed more than 600 pieces for guitar, many of them chamber works, thus entering the ranks of one of the instrument's most prolific composers.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907826503960,"sku":"5028421963037","price":10.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3958956-2728073.jpg?v=1777803816"}],"url":"https:\/\/hbdirect.com\/collections\/brilliant-classics.oembed?page=15","provider":"HBDirect","version":"1.0","type":"link"}