{"title":"One-Day Sale | September 16th, 2026","description":"\u003cp class=\"isSelectedEnd\" style=\"text-align: left;\"\u003e\u003cspan\u003eFor \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eone day only\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, save on more than \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e500 handpicked titles\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e from some of the biggest names in classical music! Explore outstanding recordings from \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eChandos, Sony Masterworks, Brilliant Classics, BIS Records, Naxos DVD\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and more.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\" style=\"text-align: left;\"\u003e\u003cspan\u003eFrom celebrated performances and essential repertoire to hidden gems and must-have additions to your collection, there’s something for every classical music lover!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cstrong\u003e\u003cspan\u003eShop now—these savings disappear Thursday, September 17th at 9:00am!\u003c\/span\u003e\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":"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":"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":"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":"mercadante-music-for-solo-flute","title":"Mercadante: Music For Solo Flute","description":"\u003cp\u003eOperatic, early-Romantic fantasias for solo flute by one of the great names of Italian opera. Laura Trapani’s previous album for Brilliant Classics brought wider renown for the sparkling flute-writing of Beethoven’s pupil Ferdinand Ries (96132). 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. Laura Trapani thus restores to the catalogue a shining example of early Romantic instrumental virtuosity.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907813986584,"sku":"5028421965116","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412842-3337379_169d5ddb-8e9a-4bb1-9633-2f5e881f3a35.jpg?v=1777628634"},{"product_id":"dauprat-music-for-horn-fliri-brunner-966088","title":"Music For Horn","description":"\u003cp\u003eLouis-François Dauprat was a French horn player, horn teacher and composer. He was born in Paris in 1781 and died there in 1868. As a child he was a chorister at Notre Dame Cathedral in Paris. From 1794 he was taught to play the horn by Philip Kenn, a cor basse (low horn); first at the Institut National de Musique and later in the first horn class of the Conservatoire. In 1797 he was the first horn player to be awarded the premier prix. (Brilliant)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907814052120,"sku":"5028421964805","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4018048-2777868.jpg?v=1777744890"},{"product_id":"j-s-bach-trio-sonatas-bwv-525-530","title":"J.S. Bach: Trio Sonatas Bwv 525-530","description":"\u003cp\u003eHighpoints of virtuosity in Bach’s output and the Baroque organ repertoire, in new recordings by an organist with a rich catalogue of success on Brilliant Classics to his credit. As well as a host of obscure composers, Manuel Tomadin has recorded many central figures in the organ repertoire, from Buxtehude to Rheinberger. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907814084888,"sku":"5028421964386","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4211065-2989219.jpg?v=1777605451"},{"product_id":"schubert-4-sonatas-for-violin-piano-948763","title":"4 Sonatas For Violin \u0026 Piano","description":"\u003cp\u003eThe Bulgarian violinist Zefira Valova graduated from the National Music Academy of her native Sofia, Bulgaria, before specializing in Baroque violin studies with Lucy van Dael. 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. However, all three of these ‘sonatinas’ are somewhat overshadowed by the Sonata D574 from the summer of the following year, 1817, which ranks among the most inspired productions of even Schubert’s prodigious youth.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907814150424,"sku":"5028421964232","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4007928-2774023.jpg?v=1777810625"},{"product_id":"cirri-sonatas-duos-for-cello","title":"Cirri: Sonatas \u0026 Duos For Cello","description":"\u003cp\u003eAll cellists of an adventurous disposition will accordingly be drawn to this new collection, which contains work dating from after Giovanni Cilli's return to Italy in 1780. (Brilliant Classics)\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907814969624,"sku":"5028421964164","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4063814-2828417.jpg?v=1777718206"},{"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":"rosetta-music-for-guitar","title":"Rosetta: Music For Guitar","description":"\u003cp\u003eGiuseppe Rosetta (1901-1985) studied in Rome under Respighi but soon returned to his Piedmontese birthplace of Vercelli. There he remained, leading and enriching the local musical culture as an organist, choir conductor and music teacher. He spurned fame and dedicated himself to his vocation and to God. His beautifully crafted music is accordingly modest in expressive ambition: elegant, reflective, at times melancholic, generally characterized by introspective, meditative qualities – nothing brilliant or demonstrative. Very little of it has been recorded, making this new album a valuable contribution to a wider appreciation of postwar Italian music. Rosetta taught composition to Angelo Gilardino, who eventually encouraged him to write guitar music, resulting in the Preludi per GIlardino of 1970. These are beautifully and idiomatically written for the instrument after close consultation with the guitarist. Also from 1970, the Canti della Pianura (Songs of the Plain) is a personal evocation of the countryside of the Po Valley where Rosetta lived and worked. The four movements correspond to times of day: the dawn (Mattutino), the afternoon (Meridiana), the evening (Vespertina) and the night (Serenata). The Fantasia dates from 1979, but Rosetta’s conservative idiom recalls the language of his teacher Respighi and contemporaries such as Casella and Pizzetti: he wrote out of time, vividly evoking a lost era of Romanticism on an instrument that sings naturally of nostalgia and regret. As a student of Gilardino, Gian Luca Barbero has become intimately familiar with the private musical world of Giuseppe Rosetta, and is himself a guitar teacher of renown in Italy. The present release marks his debut on Brilliant Classics within the label’s ever-growing library of guitar music.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907831583000,"sku":"5028421961873","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3856710-2632670.jpg?v=1777736621"},{"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":13.99,"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":"wagner-wesendonck-lieder-angius-orchestra-di-942712","title":"Wagner: Wesendonck-Lieder","description":"\u003cp\u003eRichard Wagner began composing his Wesendonck Lieder during a stay in Zurich between November and December 1857. Originally conceived for female voice and piano alone, the five songs were later orchestrated, first by the Austrian conductor and composer Felix Mottl in 1893, and then later in 1976 by the German composer Hans Werner Henze, in a chamber setting. In fact Wagner had already orchestrated a version of \"Träume” to be performed by chamber orchestra (with violin playing the voice part) on the occasion of his wife Minna’s birthday in 1857. Later, in 1870, for his second wife Cosima’s 33rd birthday, he enacted a similar gesture. Mixing new motifs with themes from his Ring cycle, he composed the Siegfried Idyll and had it performed by a small orchestra as a birthday surprise. Hanz Werner Henze’s orchestration of Wagner’s Wesendonck Lieder highlights the relationship between the words and the sounds. The agile yet intense scoring for ten wind instruments, harp and small string ensemble appears to be Henze’s way of finding an alternative to the original piano without taking the cycle outside the realm of chamber music or altering the lieder’s original image. Siegfried and Brünnhilde sing from the depths of their hearts returns here with the grace of a child’s nursery. Salvatore Sciarrino’s Languire a Palermo (Languishing in Palermo), composed in 2018, is predominantly built around the melody Tempo di Porazzi, a fragment composed by Wagner during a visit to Sicily in late 1881 and early 1882. Sciarrino describes the ‘allure of a distant unaccompanied melody, played by someone for their own benefit and entrusted to the wind’ and hypothesizes that it may correspond ‘to the sounds in Sicily that stimulate and amaze the ears...Mediterranean charm gushes from the throat of every street vendor.’\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46907857109272,"sku":"5028421961194","price":7.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3992003-2740939.jpg?v=1777797570"},{"product_id":"bartok-kodaly-ligeti-hungarian-songs","title":"Bartok, Kodaly \u0026 Ligeti: Hungarian Songs","description":"\u003cp\u003eOnly one year and a half after their first meeting in Budapest in early 1905, Bartók and Kodály were eager to jointly publish their first settings of Hungarian folk songs. In their foreword to the volume Magyar népdalok (Hungarian Folk Songs), they declare their goal thus: “ … to get the general public to know and appreciate folk songs.” The Ten Hungarian Folk Songs from 1906 (BB 43), Bartók’s earliest and still quite rudimentary but imaginative and very sensitive folk-song arrangements, were collected by the 25-year-old himself mostly in three regions of the Hungarian countryside: near Budapest, Békéscsaba, and the lake Balaton. This set, from which we can listen to four arrangements on this cd, has never been offered by Bartók to be published. Having collected peasant music from regions of the Hungarian Kingdom where significant Romanian and Slovak minorities lived, Bartók immediately became intrigued by the peculiarities – and from his point of view, musical freshness – of both nations’ songs and instrumental dances. His reverence for the folklore of the Slovaks can be felt in the five arrangements of the Falún (Village Scenes) series (BB 87a), composed in 1924 and based on folk songs from the Zólyom (in Slovakian: Zvolenská) region of what was then Upper Hungary (now Slovakia) he collected in 1917 from village women. These arrangements of bursting energy, enchantingly deep emotionality and transcendence also bear testimony to Bartók’s discovery of Stravinsky’s music which he was galvanised by in the early 1920s. The texts are sung by Katalin Károlyi in Hungarian here, not in their original Slovak-language version. Before leaving Hungary for Austria and West Germany after the fall of the 1956 revolution, György Ligeti (1923–2006) not only collected folk music in his native Transylvania but also worked for the Institute for Folklore in Bucharest and Kolozsvár in the late 1940s. Thus, in his twenties and thirties, he followed the footsteps of his idols, Bartók and Kodály. In the last months of 1952, Ligeti set to music five poems by János Arany, a leading figure of 19th-century Hungarian poetry. Both text and music are deeply rooted in Hungarian folk songs; indeed, most of Ligeti’s melodies, or parts thereof, could be actual folk songs, just like Arany’s texts from almost a century earlier could be folk-song texts. The last piece is an exception, being a daring musical setting of Arany’s 1868 Hungarian translation of Robert Burns’ humorous song The Deil’s Awa Wi’ Th’ Exciseman (1792).\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908050506008,"sku":"5028421969268","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4223206-3130273.jpg?v=1777628702"},{"product_id":"boulanger-camus-bonis-bertrand-sancan-jolivet-revelat","title":"Boulanger, Camus, Bonis, Bertrand, Sancan \u0026 Jolivet: Revelat","description":"\u003cp\u003eOver a century of captivating French music for the flute, from Mélanie Bonis (1858-1937) to Élise Bertrand (b.2000), including a premiere on disc. From the shepherds-pipe dances of Lully to the pan-flute of Debussy’s faun and beyond, French music has always had a special affinity with the flute. Anna Wierer explores some lesser-known byways of this rich repertoire. 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An article by Williams’s father, Len, in The Classic Guitar Journal (January–April 1956) informed readers that ‘Duarte is already at work’ on what became the Concertante Quartet Op.22, a substantial work in four movements. The 1st movement, in a Neo-Baroque style, is in Sonata form with a substantial guitar cadenza. The sharp-eared listener may hear a reference to the folk song ‘Barbara Allen’. The 2nd movement is a lovely lilting siciliana, and the opening theme is first a guitar solo, then for violin with a guitar descant in the style of Renaissance divisions. The 3rd movement, also arranged as a guitar duet for the Presti\/Lagoya duo in 1964 under the title Badinerie, also suggests baroque origins. In 2021 the composer’s son, Christopher Duarte, discovered some folk songs arranged for guitar and small orchestra among his father’s manuscripts. There is no mention of these arrangements in his list of works and no correspondence relating to their creation, but from the composer’s handwriting these probably date from the mid-late 1950s and may have been written for John Williams to play with fellow RCM students. Next Market Day, scored for piccolo, snare drum and strings, is an energetic rendering of an Irish love song which Duarte revisited several times. The Coolin of Rùm (or, The Rùm Cuillin), scored for flute, oboe and strings, is a tune from the Isle of Rùm, one of the small islands near the Isle of Skye in the Hebrides. Cuillin is the name for a range of mountains in this area and Duarte may have been alluding to the name of a previous owner of Rùm, Maclean of Duart. Duarte began work on what became A Tudor Fancy in early 1967, at the suggestion of the great French guitarist, Ida Presti. The composer wrote: ‘The 1st movement is based on Tower Hill by Giles Farnaby, named after the area outside the Tower of London where executions used to take place. The 2nd movement is based on The Fall of the Leafe by Martin Peerson.’ Following A Tudor Fancy, a concerto in all but name, nearly 15 years would pass before Duarte began work on another concerto. In 1985 he received a commission from Alfonso Montes and Irina Kircher, a Venezuelan\/German Duo. The orchestration of the resulting Concierto alegre Op.101 (1986) is deliberately light in woodwind (2 flutes, one each of the rest), a trumpet, strings, but with a battery of percussion, including two vibraphones. As with A Tudor Fancy, the music proceeds in a variety of ‘conversations’, with the orchestration kept deliberately light when the guitars are playing. As a nod to the Venezuelan origins of the duo’s Alfonso Montes, Duarte included a reference to the opening of Antonio Lauro’s waltz, La Negra, in the 1st movement. The \"cheerful\" (alegre) aspect of the concerto’s title is immediately apparent with flutes and guitars duetting. The 2nd movement is in a lilting 6\/8, the use of the vibraphone(s) and the often piquant and surprising harmonies provide much interest when the instrumentation changes. The last movement is overtly joyous and maybe a little stylised, with bongos and claves setting up a base for the stepwise theme in the guitars and flutes.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908056207640,"sku":"5028421965109","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4412841-3337378.jpg?v=1777536058"},{"product_id":"medtner-wandrers-nachtlied-complete-songs-vol-4","title":"Medtner: Wandrers Nachtlied - Complete Songs, Vol. 4","description":"\u003cp\u003eNew recordings of Goethe and Heine settings by a master Russian song-writer, by performers thoroughly versed in the composer’s complex harmony and heritage. On this album, recorded in 2022, Ekaterina Levental and Frank Peters couple the Opp 6, 15 and 18 settings of Goethe with the three Op 12 settings of Heine: a unique but natural pairing on record. 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These interpretations of the sonatas for flute and piano highlight the constant dialogue between the two instruments; in fact there is a continuous thematic exchange, which the artists found interesting to discover and highlight. The synergy is perceived above all in choppy tempos, while in every Adagio or Andante the flute assumes the role of the solo instrument, and the piano accompanies and responds. The themes in the slow movements are sweet and moving, and the composer manages to evoke emotions that are always different from each other, thus bringing out his predisposition for this type of tempo, present even in the most brilliant movements: in fact in every allegro, even in the one characterized by the greatest energy, there is a moment of tranquility in which the composer takes the time to make performers and listeners ponder.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908155691288,"sku":"5028421963297","price":8.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3992007-2741385.jpg?v=1777804204"},{"product_id":"yon-complete-organ-music-vol-2","title":"Yon: Complete Organ Music, Vol. 2","description":"\u003cp\u003eAmong Pietro Yon's most popular works was a Concerto Gregoriano for organ and orchestra, later rearranged for organ and piano and then solo organ, in which version Tommaso Mazzoletti performs it here. 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The tablature book of 1659 is the only extant collection dedicated to his work, comprising ten sets of variations on Psalm melodies from the Genevan Psalter, and six fantasias. Psalm 24 stands out for its vibrant originality as a masterpiece of improvisation, but all the pieces in the collection demonstrate what a formidable organist Van Noordt must have been, as well as requiring the same flair and invention from a modern performer. Choice of instrument in this repertoire is crucial, and for the latest volume in his adventurous journey through the organ music of northern and central Europe in the 17th and 18th centuries, Manuel Tomadin has selected a superbly preserved original example dating from 1637 in the Jakobikirche of Lübeck. The booklet gives a full specification of the organ as well as the stop list chosen by Tomadin for each individual track, as well as a substantial essay by the organist which discusses the life and music of Van Noordt. Tomadin’s highly colored, rhythmically flexible performances pay respect to the essentially improvisational nature of Van Noordt’s language without undervaluing the influence of Sweelinck, the dominant voice in northern-European organ music of the time, on his style.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908161589528,"sku":"5028421958958","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4007923-2774010.jpg?v=1777801271"},{"product_id":"britten-complete-music-with-guitar-voice-948757","title":"Complete Guitar \u0026 Voice","description":"\u003cp\u003eThe “Songs from the Chinese”, a cycle of six songs on poems translated from the original Chinese by Arthur Waley (1889–1966), were written in 1957 and premiered the following year by the duo of Pears and Bream. By the late 50s Bream was a lutenist and guitarist of great renown and had accompanied Pears in works by Dowland and other early music of the British Isles, concerts that inspired Britten to write for the duo some music of his own. His cycle naturally invited comparison with another great set of songs from the Chinese, Mahler’s “Das Lied von der Erde”, and the reception at the time was favourable: “as a whole, they make a statement about life (and particularly the transience of youth and beauty) as poignant and personal as Mahler’s” (critic Jeremy Noble in Tempo,1959). The sixth instalment of Britten’s lifelong project of folksong arrangements was published in November of 1961 in a second wave along with volumes four and five, which followed some 12 years after the first three volumes were issued in the 1940s. Volume Six contains six English folksongs and is the only one of the sets that he scored for voice and guitar. These folksong arrangements are as much a product of Britten’s admiration for Bream as are the “Songs from the Chinese”. In fact, when Pears and Bream premiered Britten’s song cycle at the Aldeburgh Festival (17 June 1958), they performed three of these folksongs on the same concert. Britten wrote the guitar solo “Nocturnal” after John Dowland in 1963 for Bream, who premiered it the following year (12 June 1964). The nine movements of the work are a “variations \u0026amp; theme”, progressing opposite to the usual order of a theme and variations. The model, “Come, Heavy Sleep” from the First Book of Songs by John Dowland (1563–1626), is only revealed at the end, with the variations leading up to it hinting at the song with treatments of various thematic fragments. Marcello Nardis and Duilio Meucci complete this album with three additional works by Dowland including the original “Come, Heavy Sleep” on which Britten based his Nocturnal, another well-known song, “Flow my tears”, and the lute solo “A Dream”.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908162179352,"sku":"5028421957371","price":8.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4007922-2774009.jpg?v=1777773928"},{"product_id":"petrali-organ-music","title":"Petrali: Organ Music","description":"\u003cp\u003eVincenzo Petrali (1830-1889) was an organist-composer active in the north of Italy. Acclaimed in his own time as a master improviser, the equal in this regard to French contemporaries such as Guilmant and Widor, he left a small, beautifully crafted body of original work for ecclesiastical use, around a third of it presented on this new album. He wrote two organ Masses in the tradition of 17th-century Venetian school composers such as Merula and Merulo, in which each verse of the text and its associated Gregorian chant inspires an instrumental meditation: Paolo Bottini has recorded the lesser-known F major Mass, which includes an especially dramatic, march-like Sonata for the Offertory and an ebullient final Allegro festoso. He belonged to the Cecilian movement, exemplified by the sacred works of Mendelssohn, which sought to establish a new and distinctive idiom for church composition, which is heard to best effect in a quartet of Communion pieces at the end of the first album, which fully exploit the size and array of tone-colors available to him on the newly built instruments of the time. In this spirit Petrali also composed 71 studies ‘for the modern organ’, collected in two volumes, and Paolo Bottini presents almost half of them on album 2. While composed with didactic purposes in mind, training pedal technique, introspection or melancholy but often rhythmic precision, sensitivity and imagination in handling different registers and stops and the like, the studies are delightful character pieces in their own right, not much given to surprisingly sunny in character.\u003c\/p\u003e","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46908162343192,"sku":"5028421956138","price":8.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3867524-2632393.jpg?v=1777804974"},{"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. 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