{"title":"One-Day Sale | October 28th, 2026","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003e\u003cspan\u003eONE DAY ONLY — 700+ Titles at 50% OFF!\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e24 HOURS ONLY!\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Our Halloween Week One-Day Sale is here, bringing you \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eover 700 titles at 50% OFF\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for one day only! Don't miss this limited-time opportunity to shop standout releases from top-performing labels including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSony Masterworks, C Major Entertainment, Brilliant Classics, Chandos, and more\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExplore acclaimed performances from the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSinfonia of London, Helsinki Philharmonic Orchestra, The Litton Duo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and many more, alongside works by legendary composers including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBartók, Beethoven, Satie\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and beyond.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith hundreds of titles at half price and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eonly 24 hours to shop\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, now is the perfect time to discover something new or add a longtime favorite to your collection!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHurry! Shop the One-Day Sale now before it ends Thursday, October 29th at 9:00 AM CDT!\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":"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":"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":"music-inspired-by-the-film-rom","title":"Music Inspired By The Film Roma","description":"\u003cp\u003eSony Music announces the release of MUSIC INSPIRED BY THE FILM ROMA, an album of music inspired by Alfonso Cuarón’s award winning film. The film was nominated for 10 Academy Awards including Best Picture.  The album features songs from BECK, BILLIE EILISH, EL-P, IBEYI, JESSIE REYEZ, LAURA MARLING, PATTI SMITH, UNKLE and more, recorded exclusively for this project.  Included is BECK’s first musical offering of 2019, entitled “Tarantula”.  Beck’s radical reimagining of “Tarantula,\" a 1982 B-Side by 4AD artists Colourbox, replaces the minimalist groove of the original with an epic arrangement by Beck in collaboration with his father, David Campbell. Produced by Beck and mixed by Tom Elmhirst, the track features a riveting Beck vocal performance at its centerpiece with the backing of a 24-piece ensemble.After completing work on ROMA, director Alfonso Cuarón was struck with the notion of having his favorite musical artists create songs inspired by the film.  Interested in hearing what the film might inspire in artists across the globe, Cuarón and his music supervisor Lynn Fainchtein began exploring possibilities with the help of their friend Randall Poster.  They approached artists of all genres and backgrounds, inviting them to contribute either an original piece of music or a cover of one of the songs heard in the film.  For some, ROMA inspired new originals, including Billie Eilish’s “WHEN I WAS OLDER”.  Like most of the original songs contributed to the collection, it incorporates various sound elements from ROMA’s dense audio tracks.  From shouts of student protests to barkings of Borras to the grinding of knives, artists drew inspiration from the sonic landscape meticulously crafted by ROMA, imbuing their compositions with the day-to-day soundtrack of the streets of Mexico City.  16-year-old Bu Cuarón makes her musical debut with her contribution “PSYCHO,” opening with a dramatic audio clip from ROMA before descending into a synth-heavy, electro-pop gem.  Elsewhere, British singer-songwriter Laura Marling covers the Mary Hopkin original “Those Were The Days,” which is heard in the film as a cover by Ray Conniff \u0026amp; The Singers.  The legendary Patti Smith records a new version of her 1996 track “Wing,” while French musical duo Ibeyi draws inspiration from the character of Cleo and her story.  From hip-hop’s El-P to R\u0026amp;B breakout Jessie Reyez and electronic producers UNKLE and DJ Shadow, the remainder of the collection is a diverse tapestry that transcends genre, geography and age.  From Sonido Gallo Negro and Quique Rangel’s Mexico City roots to singer-songwriter Asaf Avidan’s native Israel, and with artists belonging to five different generations, Music Inspired by the Film ROMA is a contemporary touchstone that further reiterates the film’s ability to connect with audiences of all ages across the globe.  Music Inspired by The Film ROMA is the latest addition to the sonic universe of Alfonso Cuarón’s semi-autobiographical film, following the release of ROMA (Official Motion Picture Soundtrack).  Delivering a sonic portrait of Mexico in the 1970s, the soundtrack presents a mosaic of sounds that further encapsulate the sociopolitical transitions of the era.   TRACKLISTING1.      Tepeji 21 (The Sounds of ROMA) - Ciudad de México2.      Wing - Patti Smith3.      Tarantula – Beck4.      WHEN I WAS OLDER - Billie Eilish5.      PSYCHO - Bu Cuarón (Musical debut of director Alfonso Cuarón’s daughter)6.      On My Knees - UNKLE featuring Michael Kiwanaku7.      Con El Viento - Jessie Reyez8.      Marooned - El-P \u0026amp; Wilder Zoby9.      Cumbia del Borras - Sonido Gallo Negro10.     La Hora Exacta -  Quique Rangel11.     Cleo Who Takes Care Of You -  Ibeyi12.     We Are Always Alone - DJ Shadow13.     Between These Hands - Asaf Avidan14.     Those Were The Days - Laura Marling15.     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Yellowstone stars Kevin Costner, Kelly Reilly, and Wes Bentley.\u003c\/p\u003e","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46907878572312,"sku":"190758886022","price":5.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3819433.jpg?v=1777613665"},{"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. 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The compositional style of the sonatas featured in this recording perfectly identifies with that of his contemporaries, while showing some differences in content; the structure of the sonatas is that of the classical period, but the use of melodic themes and harmony looks to the romantic period. 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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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. 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