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Image Grieg Edition (25CD)
It’s easy to dismiss Edvard Grieg because of the familiarity of the Peer Gynt Suite and the Piano Concerto in A minor, but to listen to just those works is only scratching the surface of a diverse repertoire. Grieg’s works drew international attention to Norway and, for a while, the composer succeeded Mendelssohn as Britain’s most popular living composer. This set is an immersive experience, as we delve into the lush green landscapes of Grieg’s homeland. The collection opens with In Autumn, an arrangement of a traditional Reapers’ Song, followed by his celebrated Piano concerto in A minor Op.16, which Franz Liszt enjoyed playing. Grieg’s more impressionist works such as Klokkeklang (Bell-ringing), published in 1891, where tonal ambiguities arise from shifting fifths and liberal use of the pedal, sound remarkably similar to Debussy’s works published in the years that followed. What makes Grieg’s music special is his connection to nature and the wilderness: the rolling hills, lofty mountain peaks, the thick dark forests which hide the giants, faeries and elves of folklore. Along with the well-known works, this release also sheds light on the hidden gems in Grieg’s repertoire including his vocal works, which are seldom performed or recorded due to their vocal complexity and the unfamiliarity of the language. The songs are often settings of folk stories, such as Den Bergtekne (‘The Mountain Thrall’). The old Norse poem is arranged for baritone voice with instrumental accompaniment and tells the story of a young man lost deep in the forest who is bewitched by the Elvin-King’s daughter. His Lyric Pieces for solo piano have also been sorely overlooked. In Book X Op.71, ‘Skogstillhet’ (Peace in the Woods) is a standout piece. It recalls the mystery and tranquility of a forest, from the sunlight filtering through the trees with its soft opening chords to the rolling bass in the middle section evoking the secrets hidden in its darkest depths. For Grieg, his surroundings were a source of inspiration and he recognized the natural landscape as a fundamental and irreplaceable part of his homeland. In today’s rapidly developing world, where expansion is often prioritized over preservation, Grieg’s music has a pressing relevance.

51,97 € (79,95 €)
Image Bach Family: Complete Organ Music (24 CD)
The extensive Bach family was a dynasty unusually rich in musical talent, counting among its ranks numerous composer–organists active in the Northern European Baroque tradition. This remarkable set gathers together not only the monumental corpus of J.S. Bach's incredibly sophisticated organ music, but also that of the most noted (and best-known to today's musicologists) of four generations of his relatives, from great uncles and uncles to cousins and sons. The collection offers a rewarding opportunity to follow the stylistic evolution of organ music from the decades before J.S. Bach's birth through to the creative years of his sons and their younger distant cousin, Johann Ernst, each of whom witnessed the decline of Baroque complexity in favour of Classical balance and grace and conformed to this new trend to varying degrees. The other strand that can be traced in this set is the musical 'DNA' of a clan, whose members were taught by family elders, inherited compositions from them, and who studied and copied the works of their cousin contemporaries, creating a family school of impressive quality. Internal musical borrowing between the Bachs was such that musicologists are still unraveling the mystery of some works' true authorship, as well as identifying pieces by other composers, who borrowed the Bach name in hopes of attaining a share of their glory. This unique set brings together the complete organ works of the many members of the Bach family! The genius of Johann Sebastian Bach didn’t emerge from nowhere: he was actually a scion of a highly musical family, a branch of the rich, ornate and fruit bearing tree called Bach. This set presents organ music by uncles, nephews and children of Johann Sebastian: Heinrich, Johann Christoph, Johann Bernhard, Johann Friedrich, Johann Lorenz, Wilhelm Friedemann, Carl Philipp Emanuel and Johann Ernst. A fascinating anthology of family talent and genius! Played by leading organists specialized in the performance practice of the Baroque: Stefano Molardi, Filippo Turri and Luca Scandali, playing a variety of organs, among which many magnificent historic instruments by Silbermann, Volckland, Trost, Thielemann and Hildebrandt. The extensive liner notes in English were written by Philip Borg-Wheeler Booklet cover features an illustrated Bach family tree.

45,47 € (69,95 €)
Image Virtuoso Piano Etudes (22 CD)
This monumental set dedicated to the Virtuoso Piano Étude offers a rewarding opportunity to witness two centuries in the evolution of masterpieces for the study of the piano. Composers have been challenging pianists with études for a long time. The practice of writing studies for the perfection of a particular pianistic technique developed in the 15th century, but the name ‘study’ or ‘étude’ only really came into its own in the 19th century with the rise in popularity of the piano as a domestic instrument. Works of particular importance were Clementi’s Gradus ad Parnassum, Moscheles’s Opus 70 Studies, Czerny’s Art of Finger Dexterity and Liszt’s Transcendental Studies, the latter even more extensive and complex than Chopin’s Études Opp. 10 and 25, which transformed the humble piano exercise into concert-worthy material. While each of Liszt’s and Chopin’s études examines a particular aspect of technique, these magnificent works never feel like drills. They remain amongst the most popular works written for piano, regularly recorded and performed in concert. In the 20th century, studies gradually evolved into compositions that were music first, only secondarily exploiting a specific technical challenge for the pianist. Notable composers were Claude Debussy, Sergei Rachmaninov, Alexander Scriabin and Leopold Godowsky. Godowsky’s Chopin Studies push fingers and feet, mind and imagination, physicality and finesse, fitness, to the outer limits of possibility. By mid-century composers had almost completely abandoned the old tradition. Olivier Messiaen’s 4 Études de rhythme are not didactic compositions but experiments with dynamics, figurations, pitches, etc. – exercises in composition rather than performance. Friedrich Gulda intended his Play Piano Play as exercises in learning the jazz style and improvisation, contrasting traditional neo-Baroque with various jazz traditions. Philip Glass abandoned bar lines to convey his concept of the flow of rhythm, and John Cage’s Études Boreales, initially deemed unplayable because of the wholly unorthodox techniques they explore, require the performer to play, beat or generate sound on various parts of the instrument. These studies represent some of the most innovative and imaginative writing in the modern and contemporary piano repertoire, exploring to the fullest extent what the instrument is capable of.

43,52 € (66,95 €)
Image 19CD-BOX: Schütz Edition
Although often overshadowed by his better-known Italian contemporary Claudio Monteverdi, as well as his successor in Lutheran music J.S. Bach, Heinrich Schütz's contributions to 17th-century sacred music were nevertheless significant. With a career that spanned an era of great musical developments, his scared compositions reveal a rich array of influences and were to prove inspirational to future generations of composers.

This 19-disc box set is the result of four volumes of recordings made by Cappella Augustana and Matteo Messori for Brilliant Classics between 2003 and 2010, collected together for the first time. Featuring Schütz's most important compositions (mostly large-scale works in multiple volumes), Cappella Augustana's selection surveys the German's lengthy career and his changing style. While the early Cantiones sacrae reflect his attempts to push boundaries as a young composer, a subtle shift towards a more simple and considered style can be witnessed in later works -- notably the Kleine geistliche Concerte and Geistliche Chor-Music, a set of inventive and carefully-crafted German motets. The crowning achievement of Schütz's career was surely his Passion settings, works that are controlled and refined yet retained a sense of drama and beauty.

The only project of its kind and the most comprehensive Schütz collection on the market, this box set benefits from authoritative performances, informed by a thorough study of the music, sources and contemporary performance issues. Focused on the most influential German composer of the 17th century, it is an essential volume for anyone interested in sacred choral music.



43,52 € (66,95 €)
Image The Great Piano Works (15 CD)
Franz Liszt is universally celebrated as one of the greatest-ever virtuoso performers on the modern piano. Contemporary accounts describe his seemingly superhuman technical abilities and equally striking charisma and stage presence. Yet Liszt was a formidable composer, and his expansion of pianistic possibilities was achieved as much through innovation in his own great piano works as through his astonishing performance on the instrument, if not more. Like many child virtuosos thrust early into busy concert careers (Liszt’s began at the age of nine) he retired early, weary of the spotlight, turning his back on the stage at the remarkably early age of 35. Since he lived to the likewise remarkable old age of 75, much more than the latter half of his life was devoted solely to composition, and having been a pianist of his calibre, the works he created for his own instrument were indeed groundbreaking. Showcasing the demanding pieces in this set – from the thundering of Liszt’s virtuoso side to the mysticism of his deeply spiritual side – are 15 renowned pianists on recordings dating from 1994–2016. Liszt’s piano works may be divided into several diverse categories. These include the virtuoso showpieces based on themes from operas (Isoldens Liebestod Alexander Gavrylyuk, Wagner Transcriptions François Dumont, Bellini and Donizetti Transcriptions Mark Viner, Verdi and Beethoven Transcriptions Michele Campanella); religious-inspired or devotional works (Bénédiction de Dieu dans la solitude and 2 Légendes Irene Russo) the spare, enigmatic pieces from his last years (Trübe Wolken, En rêve, Bagatelle sans tonalité Philipp Kopachevsky and La lugubre gondola Misha Dacic); a ground-breaking sonata regarded as an iconic work of the repertoire (Sonata in B minor Philipp Kopachevsky); and numerous piano transcriptions of other composers’ non-operatic works (Grandes études de Paganini Goran Filipec, Beethoven Symphony No.6 in F Op.68 Pastorale’ Michele Campanella). The set concludes with a grand gesture, as Nelson Freire is joined by the Dresdner Philharmonie under Michel Plasson for Liszt’s two well-loved piano concertos.

38,97 € (59,95 €)
Image Cello Concertos (15 CD)
This set brings together outstanding performances of landmark works from the full range of the cello concerto’s relatively short history, from the Baroque to the end of the last century. Before 1800 few important cello concertos were written – with the exception of works by composers of stature such as C.P.E. Bach, Haydn, Boccherini and Vivaldi. The latter’s typically inventive and diverse cello concertos with eloquent slow movements are almost certainly the very first composed for this instrument. That most of the great cello concertos were composed after the Baroque or Classical period is rather ironic, since the ever-larger orchestral forces of the 19th century and beyond required much more care from the composer to avoid overwhelming the solo cellist in the lower register. Dvorák scored his magnificent cello concerto (1894–5) for a weighty orchestration, containing three trombones and tuba, but his experience enabled him to judiciously manage the solo/orchestra balance. The result is an epic work brimming with melodies and embracing a wide range of emotions. Alongside Dvorák, Schumann and Saint-Saëns brought full recognition to cello concertos. In 1850, Schumann’s cello concerto became the first major concerto for this instrument since Boccherini’s examples from 1780. 20th-century composers have made the cello a standard concerto instrument. Among the most notable from the first half of the century is Elgar’s, composed in 1919, in which the English composer explores introspective and meditative expression. Polish composer Witold Lutoslawski, one of the outstanding musical minds of the latter half of the 20th century, employs avant-garde techniques in his concerto (1969–70) along with the typical drama of soloist/orchestra confrontation. This CD set offers an extensive anthology of the Cello Concerto on 15 CDs. The deep resonant and eloquent sound of the cello is able to express the widest spectrum of human emotions, from intimately whispering, mournfully lamenting to passionately singing. The first cello concertos were written in the Baroque, when the instrument shed its modest role as part of the continuo group to take its place as solo instrument in a concerto setting. During the Classical and Romantic era surprisingly few concertos were written, while the 20th century yielded some of the greatest masterworks in the genre. The set contains concertos by Vivaldi, Platti, Porpora, Monn, C.P.E. Bach, Haydn, Boccherini, Leo, Schumann, Saint-Saëns, Dvorak, Elgar, Tchaikovsky, Finzi, Lalo, Bruch, Fauré, Bloch, Ginastera, Kabalevsky, Khachaturian, Lutoslawski. Excellent performers, including Francesco Galligioni, Adriano Maria Fazio, Stefano Veggetti, Enrico Bronzi, Jan Vogler, Maria Kliegel, Alexander Rudin, Raphael Wallfisch, Julius Berger, Zara Nelsova, István Várdai, Alexander Kniazev, Tim Hugh, Timora Rosler and Dmitri Yablonsky.

38,97 € (59,95 €)
Image 14CD-BOX: Complete Music for Solo Guitar 1965-2013
Cristiano Porqueddu, guitar

Angelo Gilardino is one of the most important guitar composers of the last half century. His unique style is a blend of the old and new, folk art and contemporary music, from Mozart to Messiaen, all his works are illuminated by a warm and mediterranean glow, a feeling of humanity and love for life.

Included are all the works he wrote for guitar solo & guitar and orchestra. Included are his famous 60 Trancendental Studies.

The set includes many world premieres. No better advocate and interpreter could be wished than guitarist Cristiano Porqueddu, a lifelong pupil and friend of the composer, sharing the same musical passions.

Italian composer and guitarist Angelo Gilardino has been at the forefront of contemporary classical guitar music for over 40 years. His legacy is fittingly recognised by Cristiano Porqueddu, himself already firmly established as one of Italy's leading guitarists, who pays tribute to the composer with this integral release of Gilardino's works.

Recorded in chronological order, starting with compositions from the mid 1960s and ending with works written just a few years ago, Porqueddu delves in to the astonishing variety of music Gilardino has produced. From the 'dreamy' works of his early period - including Estrellas para Estarellas, Abreuana and Trepidazione per Thebit - a more formal style began to take hold from the 1980s, with the composer writing his first series of 12 studies (Studi di virtuosità e di trascendenza) in 1981. He followed up this success by adding another 48 to the collection, and since the 2000s the 60 Studies have become a central part of Gilardino's oeuvre, having entered the concert programmes of several prominent guitarists.

Constantly striving to create a new type of dialogue between the guitar and accompanying instruments, Gilardino composed his first concerto for guitar and orchestra in 1996, sealing his reputation as an accomplished orchestral composer with an additional 16 concertos thereafter. During the 2000s, Gilardino returned to writing for the solo guitar, skilfully bridging the divide between atonal chromatic and diatonic modal music.

Gilardino's compositions are inspired by music from all areas and epochs; from Mozart, Ravel and Messiaen to Scottish folk tunes and the beauty of the Mediterranean, there are few elements that are not represented in some shape or form in the composer's works. Porqueddu studied under Gilardino at the 'Lorenzo Perosi' Academy in Biella, and under the composer's guidance his compositions have won him international plaudits in his own right.


36,08 € (55,50 €)
Image Magnificat (14 CD)
From the celebrated classics to the rare recordings, this set brings together 600 years of the Magnificat. Short for Magnificat anima mea Dominum (My soul doth magnify the Lord), it’s also known as The Song of Mary and The Canticle of Mary and makes up part of the Catholic liturgy and Anglican canticles. The Magnificat comes from Luke I: 46-55 and conveys the Virgin Mary’s elation after the revelation that she is carrying the son of God. Throughout the centuries composers have tried their hand at setting this passage to music. This set takes the listener on a trip through time as we begin in the Medieval and Renaissance eras with Josquin, Gibbons and Dowland, passing via Bach, Mozart and Liszt, before arriving at present day interpretations of the sacred text. The wide time-span and geographies of the composers in this release provide some interesting comparisons. The set opens with a selection of early music composers, the pioneers of choral music, among them Giovanni Legrenzi who was enormously influential in the development of the Italian Baroque style and counted Vivaldi among his students, the latter also featuring on this set. Other influential figures include Gombert, a Franco-Flemish composer who employs double counterpoint, a technique later beloved by Bach, while Dutch composer Adrian Willaert, active during the same era as Gombert, based himself in Venice and was a pioneer in the use of antiphonal effects. Composers from across Europe came to learn from Willaert and took his teachings back to their native countries. Nourished by cross-cultural exchanges, musical in Europe flourished, and in the rest of the release we hear evidence of the ripple effect generated by these early music trail blazers. The contributions to the Magnificat by 18th- and 19th-century composers such as Mendelssohn, Schubert and Liszt have often been overlooked in favour of their better-known piano works, but they are given due attention here. From an early age Mendelssohn was heavily influenced by Bach, and he composed his own Magnificat at the age of 13. From among the modern composers to have experimented with setting music for the Magnificat, Arvo Part is notable for employing his distinctive and meditative compositional procedure, which he calls ‘tintinnabuli’, inspired by the sound of bells. Like Part, Kenneth Leighton is also famous for his religious music. His desire to expand his ‘narrowlyBritish’ background and subsequent study under Goffredo Petrassi in Rome makes his music an exciting melting pot of European influences. This exquisite collection traces the development of choral music through the lens of the Magnificat. Composers able to move and work freely in Europe built on the ideas of their contemporaries blended with those from their native home, while future composers would take their teachings further and adjust them to suit their own ideals. These composers are separated by geography and time, but are unified in their musical quest for divine perfection. “My Soul magnifies the Lord”, these are the first words of the Magnificat, the earliest known Maria Hymn, incorporated in the Vespers of the Latin Liturgy. It is a song of praise of Maria, thanking the Lord for his mercy in elevating her humble state into the blissful state of pregnancy, through which all future generations will be blessed. Through all centuries composers have been inspired by the hopeful and gloriousmessage of the Magnificat. This extensive set presents Magnificat setting be a staggering number of 66 composers, from Flemish School Renaissance composers Josquin, Gombert, Fairfax, Tallis, Tomkins, Mundy to Baroque masters Monteverdi, Gabrieli, Vivaldi, Telemann, Bach, to the Romantic Era with Mendelssohn, Schubert, Liszt, Bruckner into the 20th century composers Distler, Penderecki, Tavener, Finzi, and many others. Another inspiring set of Sacred Music by Brilliant Classics, previous sets having presented the Requiem and Stabat Mater.

35,72 € (54,95 €)
Image Handel in Italy: Cantatas, Arias & Serenata (14 CD
This 14-CD set showcases works from Handel's short but astonishingly productive time in Italy in his twenties, just before he settled in London. His travels around the country provided him with the opportunity to meet a number of influential contemporaries, and the results of this compositional flourishing are wide-ranging, from opera via instrumental music to secular cantatas. This release focuses particularly on the latter, affording the listener a fascinating glimpse into the first appearance of many melodic ideas which would later resurface in Handel's mature dramatic works.

Indeed, listeners might well feel as though they are listening to scenes from operas – cantatas were a means, at the time, of circumventing the ban on opera in Rome. The familiar theme of the joys and sorrows of love pervades much of the music, but the pieces are richly varied, particularly in their scoring: we hear flutes, recorders, oboes, bassoons, trumpets and the full contingent of strings, including viola da gamba, in numerous different combinations. Often, the orchestral forces for a particular piece are modest, but the emotional depth that Handel draws out is always striking.

A high-calibre, international roster of soloists and ensembles performs the works, with many of the compositions for soprano sung by Stefanie True, whose "vocal agility, accurate intonation and stylish ornamentation are spot-on in this repertoire" (Music Web International). Meanwhile, early music specialists Contrasto Armonico bring "soft and warm sonorities" to the set (Gramophone).

This set presents an extensive collection of works which George Frideric Handel wrote during his short but astoundingly fruitful stay in Italy. Here he met the great composers of the day, imbuing the rich Italian style, full of drama, cantabile and instrumental brilliance. The set’s focus is on the secular Cantatas, all of them mini-operas in scale and substance, dealing with human emotions of love, jealousy, hope and despair. The influence of Handel’s stay in Italy can be found in many of his great operas and oratorios he later wrote in London. Apart from the Cantatas the set includes a selection of Italian Duets, and the Serenata Aci, Galatea & Polifemo. Excellent performances in Historically Informed Performance Practice, by Contrasto Armonico, Musica Perduta and specialist vocal soloists.

Recorded between 1988 and 2014.
Contains liner notes written by Philip Borg-Wheeler.

34,42 € (52,95 €)
Image Canto Ostinato XL (12CD)
Simeon ten Holt's unmistakable minimalist style is the driving force behind Canto Ostinato, one of the composer's most famous works. Canto Ostinato is the best-loved Dutch piano composition of the 20th century, with its mesmerising melodies never failing to soothe the mind.

The instruments and number of performers for the piece are unspecified; written 'for keyboard instruments', the work has been recorded many times with piano, but this unique set brings together 12 arrangements of the work - for piano, as well as for organ, marimba and synthesizer. With a variety of recording venues ranging from throughout The Netherlands to Canada, this compilation is a must-have addition to any classical music collection.

Jeroen van Veen is a leading light in modern piano performance, as well as a successful composer. Chairman of the Simeon ten Holt Foundation, he has won critical acclaim with ensembles such as The International Piano Quartet, DJ Piano and Jeroen van Veen & Friends.




34,42 € (52,95 €)
Image Mozart Operas (12 CD)
Complete for the first time, the critically acclaimed Mozart opera recordings made by a leading light of ‘period’ performance. The scion of a Dutch family deeply involved in the historically informed performance movement for the past 70 years, Sigiswald Kuijken made his name as a violinist. The combination of scholarly diligence, performing flair and unwavering determination – ‘I’ve always been fanatical about doing things the way they were done in their day,’ as he remarked in an interview – produced recordings of solo, chamber and concerted Bach as deeply considered as they were imbued with rhythmic vitality. In 1972 he gathered like-minded friends and colleagues to form La Petite Bande as a recording ensemble; led from the first desk by Kuijken himself, the ensemble quickly gained renown through performances and tours, and their repertoire evolved naturally over time until they began a project to record Mozart’s major operas in 1992 with Don Giovanni (completing it 12 years later with Die Zauberflöte). Kuijken’s approach was characteristically definitive: ‘These pieces are immortal, they don’t need arranging. If you sayyou’re playing Don Giovanni and it’s a piece of modern theatre with music by Mozart, it’s not the same piece.’ Thus he made no apologies for casting singers who were often young, and more experienced in early-music idioms than in treading the boards of the world’s great opera houses; or for putting them in stagings which Mozart and da Ponte would have recognised. At the same time, Kuijken always sought to uncover the spiritual dimension of music that explores the farthest reaches of human emotion. ‘There is something strange that Bach shares with Mozart,’ he said. ‘It appears that their music has a deeper source. I know it’s a romantic idea to say that, but I’m not ashamed to do so and in fact I feel it increasingly.’ Critics responded warmly from the beginning to this ‘informed Romanticism’, which was caught on the wing in live recordings. The booklet to this set contains detailed synopses of each opera. ‘Everything ticks like fine-tuned clockwork and there is abundant energy throughout… I hear none of that horrid glassy tone that so often betokens the “original instrument” approach. But otherwise the overall sound has the brightness and airiness that differentiates period performance (at its most pleasing to the untutored ear) from twentieth-century symphonism.’ (Fanfare, Mar/Apr 1994, Così). ‘Interpretations of Mozart's 18th-century music should place an emphasis on gracefulness and elegance. Sigiswald Kuijken’s conducting obviously shares that view.’ (Fanfare, May/June 2003, Figaro). ‘This overlooked 2004 recording has a lot going for it… Kuijken’s leadership is fleet and comic, the period instruments are well and expressively played, the recording itself is vivid and bright. The singers are the lightest on CD.’ (Classics Today) This 12CD set brings together Mozart’s greatest mature operas: Cosí Fan Tutte, Le Nozze di Figaro, Don Giovanni and Die Zauberflöte. The performances are conducted by Sigiswald Kuijken, pioneer and veteran of the Historically Informed Performance Practice and a passionate and committed musician. The orchestra is La Petite Bande and the soloists include such celebrities as Monica Groop, Huub Claessens, Nancy Argenta, Christina Högman, Soile Isokoski, Harry van de Kamp, Per Vollestad, Stephan Genz, Suzie LeBlanc and many more. Complete libretti of the operas are available on the Brilliant Classics Website.

31,82 € (48,95 €)
Image Piano Music Vol. 2 (7 CD)
A cornucopia of catchy melodies and hypnotic music from the king of minimalist piano. Jeroen van Veen has won international success with albums of Satie, Part, Glass and Riley. These are only some of the most significant composers whose work he has recorded for Brilliant Classics in building a library on record of minimalist piano music. Simplicity, repetition and appealing melody are the qualities shared by all the composers who subscribe to this aesthetic, and they underlie van Veen’s own compositions. Although subtitled Volume 2, this is the third album to focus exclusively on the pianist as composer. Books 1 and 2 of his Minimal Piano Preludes were reissued on a 2CD set (BC95383) in 2016, and won high praise from MusicWeb International: ‘Both spectacular and simple, these pieces all have bags of content and an underlying surge of joy in creation and performance that is irresistible.’ Further preludes feature in a 5CD box of his piano music (BC9454) and this sequel takes us up to Minimal Prelude No.60, a ‘tango for organ’. ‘All my music is about time and space,’ says van Veen in a booklet essay. ‘The duration of music is an essential part of the concept in my music. The concept of music, specifically my minimal oriented music, only can exist in time. The slow progression, building of the material, the motifs and the search for new sounds is audible in this new box.’ All the works featured here were composed between 2010 and 2018. Continuum (CD1) is a concertante work for piano and flute octet. Incanto (CD2) is another CD-length piece, entirely composed in an unusual 11/8 time signature. Ripalmania (CD3) is written for six pianos, a scoring which creates an entrancing effect. In Velvet Piano (CD6) van Veen explores the timbral possibilities of pianos prepared with objects after the style of John Cage, though without the American composer’s aim of disconcerting the listener. The final disc is a celebration of minimalist jazz, in which the border between composition and improvisation almost vanishes. Jeroen van Veen about his own piano music: “All my music is about time and space. The duration of music is an essential part of the concept in my music. Time goes by so quickly in these modern times that it has become an exclusive privilege to people. The concept of music, specifically my minimal oriented music, only can exist in time. The slow progression, the building of the material, the motifs and the search for new sounds is audible in this new box”. This set contains music ranging from one piano, two pianos, piano and keyboards, organ, up till 6 pianos. Jeroen van Veen established himself as “The leading exponent of minimalism today” (Fanfare), “Jeroen van Veen has been a powerhouse in the piano world” (Musicweb). His numerous recordings for Brilliant Classics include works by Glass, Reich, Ten Holt, Part, Satie, Tiersen, Einaudi, Preisner and many others.

24,02 € (36,95 €)
Image The Complete Recordings (6CD)
22,72 € (34,95 €)
Image Minimal Piano Collection Volume XXI-XXVIII (8 CD)
Who is the true father of Minimalism? When the movement originated in the early 1960s, it sprang up organically – some composers played by the rules (even if they were rules of their own invention), while others experimented freely, unaware or unconcerned about how music 'should' be composed. One of those young mavericks was Dennis Johnson, who has now faded into almost complete obscurity after he gave up his musical ambitions for a career in mathematics. But his 1959 composition November can be considered one of the first, if not the first, properly minimalist work. It later went on to inspire La Monte Young (Johnson's class mate at UCLA) to write his prolific Well-Tuned Piano. Complete recordings are few and far between, and this new recording by Jeroen van Veen is the perfect introduction for anyone looking to get back to the roots of Minimalism. Jeroen van Veen is one of the Netherlands' most prominent recording artists. This collection of Minimal Piano Music follows two previous successful albums, available on Brilliant Classics (BC8551 and BC9171). The last album provided a snapshot into the extensive scene of minimalist music today; this one takes us back to how it all began. Featuring several famous pieces from the original minimalist canon – including Philip Glass's Music in Contrary Motion and Terry Riley's Keyboard Studies – there are hours of beautifully relaxing and inspiring music here to enjoy. This 8CD set bring the listener back to the roots of Minimalism, all works were written in the seventies of the 20th century, a time when the new aesthetics and perception of music, sound, repetition and time experience were creating a new chapter in music history. The longest piece is the 5 hour “November” by Dennis Johnson, a work in which the player is free to build the intervals and chords according to his own timing and spacing. The other composers in this set are Philip Glass, Tom Johnson, Peter Garland, Terry Riley, Harold Budd and La Monte Young. Recorded in his own studio by the most important protagonist of Minimalism today, Dutch pianist Jeroen van Veen. Van Veen has a myriad of recordings to his name, notably the multi CD boxes Minimal Piano Collection 1 and 2, complete Satie, Einaudi, Tiersen, Jacob ter Veldhuis, Simeon ten Holt and many more. Van Veen wrote his own personal and illuminating liner notes for this set.

22,07 € (33,95 €)
Image Complete Music for Solo Guitar (7 CD)
Guitar music from Schubert’s Vienna: Sonatas, serenades, variations and fantasies full of good tunes and light spirits. After wide-ranging surveys of guitar music in Spain and the Americas, Brilliant Classics has uncovered a largely forgotten but flourishing guitar culture in central Europe at the turn of the 19th century. A recent album dedicated to Johann Kaspar Mertz (BC95722) shone the spotlight on an early-Romantic figure writing tone-poems for the guitar just as Schumann was doing the same for the piano. His models and forbears had included Mauro Giuliani (featured on many Brilliant Classics releases) and the indefatigable Anton Diabelli. Their lesser-known contemporaries included Simon Molitor and the subject of this newly recorded compendium, Wenzeslaus Thomas Matiegka (1773-1830). Bohemian in origin, and born into a musical family, he studied music within the family before moving to Prague in the year of Mozart’s death, 1791. Having graduated with a law degree, however, he moved to Vienna, studied composition more assiduously and encountered the fashionable guitar, which soon became his favourite instrument. By 1806 he was described (by Molitor) as among the main exponents of ‘the new Viennese guitar school’. In that capacity Matiegka established for himself a successful career as a teacher, performer and composer, until his death from consumption at the age of 57. The works presented here illustrate his all-round gifts, satisfying as they do the varied purposes of teaching, entertainment, display and serious contemplation. The pair of ‘grandes sonates’ on CD1 of this set certainly fulfil the requirements of the last aim, with a Schubertian breadth of phrase and contentment. CD2 is occupied by a set of Six Sonatas Op.31 which are cast in a lighter vein but still within the Classical structures formed and perfected by Haydn. Virtuoso brilliance is the order of the day on CD3, with its 12 Menuets Brillants, and a fantasia and variation set based on popular melodies. CD4 includes both a Sonata facile and Sonate progressive aimed at students, as well as several more variation sets. Matiegka’s work as a pedagogue also dominates CDs 5 and 6 in the form of a progressive guitar method Op.24, and the collection comes to a delightful close with the composer’s Opus 1 – a set of 12 Leichte Ländler – and more variations, including an Op.12 set based on Mozart’s Don Giovanni. Among his substantial discography for Brilliant Classics, Giulio Tampalini’s complete recordings of the guitar music by Llobet (BC94335) and Tarrega (BC94336) have met with particular praise. ‘A quite outstanding Recuerdos de la Alhambra that would be hard to beat under any circumstances’ (MusicWeb International). First recording of the complete solo guitar music by Matiegka. Wenzeslaus Matiegka (1773-1830) was born in a small town in Bohemia, at that time part of the Habsburg Monarchy. He studied music with Abbé Gelinek and showed an extraordinary talent for the fortepiano, while at the same time studying law. He became a legal employee at the court of Count Kinsky, an early sponsor of Beethoven. Later he moved to Vienna and became a well known composer, teacher, fortepianist and guitarist. He was highly respected by Beethoven and above all Schubert, who wrote several works for the guitar as well. Matiegka wrote in the Classical Viennese style of his time: Sonatas, Dances (Menuets and Ländlers), sets of Variations on popular themes, as well as a substantial amount of educational works for teaching purposes: charming and highly melodious music for “Kenner und Liebhaber”. Played by one of today’s best guitarists, Giulio Tampalini, specialist in this repertoire, having recorded for Brilliant Classics works by Mozzani, Llobet, Tarrega, Paganini and Castelnuovo-Tedesco.

19,47 € (29,95 €)
Image Complete Sacred Choral Music (7 CD)
Unrivalled in the catalogue, this box brings together all the works in a genre for which Dvorák has been undervalued. The composer was himself a lifelong Catholic, a man of uncomplicated faith and not prey to spiritual torments in the manner of his contemporary Bruckner. Dvorák wrote religious music throughout his career, though his first substantial contribution was the Stabat mater of 1876-7. This large-scale setting burns with a restrained pathos likely intensified during the period of composition by the deaths of his children. One of the most personal of all his major works, the Stabat mater sets the tone for the equally large-scale St Ludmila oratorio of 1886 and the Requiem of 1890: not for Dvorák the hellfire and damnation so vividly evoked by Berlioz and Verdi in their settings of the text: sorrow andconsolation are the Requiem’s key-signatures, just as devout belief infuses the Czech legend of St Ludmila. The Mass in D was originally composed in 1887 with organ accompaniment, but the carefully integrated nature of his setting is in the spirit of the late Masses by Haydn and Schubert, as he recognised by orchestrating it a few years later. His final sacred work is the elementally exuberant Te Deum of 1892, which looks back in spirit to his robust and festive setting of Psalm 149. The recordings in this box are all modern, made during the last 20 years by ensembles in Cologne, Navarra, Warsaw and Washington, and masterminded by noted choral conductors including Gerd Albrecht (St Ludmila), Robert Shafer (Stabat mater, Psalm 149) and Antoni Wit (Requiem, Mass in D, Te Deum). An extended essay on Dvorák’s sacred output is printed within the booklet, and sung texts are available at www.brilliantclassics.com. The complete Sacred Choral music by the most popular Czech composer, Antonin Dvorák, counting among the greatest Romantic Sacred music of the 19th century. Contains the Requiem, Stabat Mater, the Mass, Te Deum and the seldom heard oratorio Svata Ludmila (Saint Ludmilla). Performers include the Warsaw Philharmonic Orchestra with Antoni Wit, and the WDR Symphony Orchestra conducted by Marc Albrecht.

19,47 € (29,95 €)
Image Complete Sacred Choral Music (7 CD)
Unrivalled in the catalogue, this box brings together all the works in a genre for which Dvorák has been undervalued. The composer was himself a lifelong Catholic, a man of uncomplicated faith and not prey to spiritual torments in the manner of his contemporary Bruckner. Dvorák wrote religious music throughout his career, though his first substantial contribution was the Stabat mater of 1876-7. This large-scale setting burns with a restrained pathos likely intensified during the period of composition by the deaths of his children. One of the most personal of all his major works, the Stabat mater sets the tone for the equally large-scale St Ludmila oratorio of 1886 and the Requiem of 1890: not for Dvorák the hellfire and damnation so vividly evoked by Berlioz and Verdi in their settings of the text: sorrow andconsolation are the Requiem’s key-signatures, just as devout belief infuses the Czech legend of St Ludmila. The Mass in D was originally composed in 1887 with organ accompaniment, but the carefully integrated nature of his setting is in the spirit of the late Masses by Haydn and Schubert, as he recognised by orchestrating it a few years later. His final sacred work is the elementally exuberant Te Deum of 1892, which looks back in spirit to his robust and festive setting of Psalm 149. The recordings in this box are all modern, made during the last 20 years by ensembles in Cologne, Navarra, Warsaw and Washington, and masterminded by noted choral conductors including Gerd Albrecht (St Ludmila), Robert Shafer (Stabat mater, Psalm 149) and Antoni Wit (Requiem, Mass in D, Te Deum). An extended essay on Dvorák’s sacred output is printed within the booklet, and sung texts are available at www.brilliantclassics.com. The complete Sacred Choral music by the most popular Czech composer, Antonin Dvorák, counting among the greatest Romantic Sacred music of the 19th century. Contains the Requiem, Stabat Mater, the Mass, Te Deum and the seldom heard oratorio Svata Ludmila (Saint Ludmilla). Performers include the Warsaw Philharmonic Orchestra with Antoni Wit, and the WDR Symphony Orchestra conducted by Marc Albrecht.

19,47 € (29,95 €)
Image Johannes Passion
Having enjoyed great success with the Christmas Oratorio and the B minor Mass, the Chamber Choir and ensemble frauenkirche dresden under the direction of Frauenkirche music director Matthias Grünert now continue their series of great works by Johann Sebastian Bach. Their St John Passion live from Dresden’s Frauenkirche enthralled audience and critics alike at Passiontide 2017. Release on a double CD not only makes this great work readily accessible at home, it transports you directly into an unforgettable evening of drama. Matthias Grünert, the Frauenkirche’s Erster Kantor since the church’s rededication, is the seasoned Bach expert who leads the Chamber Choir and ensemble frauenkirche dresden through the Passion. These experienced musical partners are complemented by a group of internationally renowned soloists: Camilla Nylund (soprano) and Andreas Scheibner (bass), both Kammersänger of the Land of Saxony, Nicole Pieper (alto), Falko Hönisch (Vox Christi) – and at their head Tilman Lichdi (Evangelist), one of the great recitative tenors of our day. Bach’s Passio secundum Johannem is the later of the two Passions of his that have come down to us complete. It portrays the dramatic turns of events and fateful inevitability of the last hours of Jesus, the Christ, “intensely, and altogether with genius, notably in the choruses,” or so Robert Schumann concluded. Amazingly, the St John Passion is the only one of Bach’s oratorical works that never received final form at his hands, as he was revising it and changing its conceptual approach over the course of his entire life. Although Bach and particularly his vocal oeuvre is often associated with Leipzig, he and his music are just as well suited to Dresden, the Florence of the Elbe – where for years on end he had petitioned the Elector for the title of “Court Composer”. The city’s Frauenkirche provides the perfect backdrop to the intense drama of the Passion music, having a direct link to Bach: it was in this church, in the year 1736, that the great Thomaskantor played the newly dedicated organ in that sacred place where his “Passion according to John” was to be enacted almost three hundred years later.

17,52 € (26,95 €)
Image Russian Orthodox Choral Music (6CD)
During the past century Russian Orthodox vocal music has experienced two periods of rebirth. The first, which began in the last years of the 19th century, consisted of a return to the popular sources of religious chant in the znamenny chant tradition passed down from its origins in ancient Byzantine chant and maintained by churches and choirs across Russia until the 17th century, when rulers such as Catherine the Great began to look westwards for cultural identity. Composers such as Kastalsky, Chesnokov and Grechaninov repudiated the Italian and French influences which had shaped the work of Classical and Romantic-era composers such as the Sacred Concertos of Bortniansky. repudiated the Italian and French influences which had shaped the work of Classical and Romantic-era composers such as the Sacred Concertos of Bortniansky. This renaissance was foreshadowed by Tchaikovsky’s setting of the Liturgy of St John Chrysostom in 1878 – in its time a controversial work, rejected by the Church – and reached its zenith with the two sacred cycles by Rachmaninoff: another setting of the Liturgy and then his religious masterpiece, the Vespers (All Night Vigil) of 1915. Once more suppressed by the 1917 Revolution, an authentic strain of Russian sacred music had to wait until the era of glasnost in the late 1980s and early 90s Rybin Male Choir could once more be formed to sing and record the repertoire that is their country’s musical inheritance, and most of these recordings date from the early 90s, first released on the ‘Saison Russe’ imprint for its renewal. Ensembles such as the of the Chant du Monde label, long unavailable and now reissued here for the first time.

16,22 € (24,95 €)
Image 6CD-BOX: Choral Works
Brahms's choral music ranges from the severe magnificence of the Fest- und Gedenk-sprüche to the ravishing opulence of the Op.17 Songs for female voices, horns and harp. Brahms conducted amateur choirs throughout his professional life, both as a useful source of income and because he enjoyed his contact with enthusiastic, amateur music-makers, not least the ladies in his various choirs. It also gave him a chance to explore music of former eras, by Bach, Schütz, Buxtehude and more, which Brahms considered a vital part of his musical heritage and which, practically speaking, he was bringing back to life in a culture that barely knew its own history. We may with some justice speak of Brahms the period-instrument pioneer.

These splendid modern performances come from a choir of a similar size to the one Brahms would have recognised, and are directed by the experienced choral trainer Nicol Matt.

Other information
- CD-ROM with notes and texts


16,22 € (24,95 €)
Image 6CD-BOX: Complete Concerti Grossi
Ensemble Violini Capricciosi / Igor Ruhadze, solo violin & leader

Virtuosity, showy improvisation and stratospherically high violin playing are the characteristics of Baroque composer Pietro Antonio Locatelli's theatrical concerti grossi for soloists and ripieno. While concerti grossi from this time could usually be divided into two types, 'da camera' and 'da chiesa' - with the former containing more dance movements - Locatelli went down his own distinct path, creating a new model more like that of Torelli. His ripieno section was larger than the traditional accompanying group, and his slow movements contained drawn-out notes over which the first violinist or harpsichordist was free to improvise. Indeed, one harpsichord passage in Op.7 is so extraordinarily virtuosic that Locatelli labelled it 'ad libitum', presumably to avoid frightening the amateur musician.

The Concerto Grosso is a popular Baroque form, in which two instrumental groups complete against each other: a small group of soloists and the tutti of the orchestral group. It is the forerunner of the solo concerto form, which features only one solo instrument.

This set present the complete Concerti Grossi by Pietro Antonio Locatelli, modelled on the popular concerti grossi of his teacher Corelli. The writing, as might be expected from Locatelli the devil violinist, is highly virtuosic and brilliant, inventive in harmony and counterpoint, written to impress and entertain.


16,22 € (24,95 €)
Image 6CD-BOX: Choral Works
Brahms's choral music ranges from the severe magnificence of the Fest- und Gedenk-sprüche to the ravishing opulence of the Op.17 Songs for female voices, horns and harp. Brahms conducted amateur choirs throughout his professional life, both as a useful source of income and because he enjoyed his contact with enthusiastic, amateur music-makers, not least the ladies in his various choirs. It also gave him a chance to explore music of former eras, by Bach, Schütz, Buxtehude and more, which Brahms considered a vital part of his musical heritage and which, practically speaking, he was bringing back to life in a culture that barely knew its own history. We may with some justice speak of Brahms the period-instrument pioneer.

These splendid modern performances come from a choir of a similar size to the one Brahms would have recognised, and are directed by the experienced choral trainer Nicol Matt.

Other information
- CD-ROM with notes and texts


16,22 € (24,95 €)
Image Complete Piano Music (3 CD)
First recordings galore on a comprehensive survey of a major 20th-century Ukrainian composer. Born in Kiev in 1925, Igor Shamo studied with the elder statesman of modern Ukrainian art music, Boris Lyatoshinsky. Schumann, Mussorgsky and Rachmaninov were the giants of the past who seized the young Shamo’s attention, and traces of their impassioned, lyrically centred idioms may be discerned throughout the early works on CD1 of this new recording such as the Ukrainian Suite, Classical Suite and Shamo’s own take on Pictures at an Exhibition in his suite of Pictures by Russian Painters. The second CD is occupied by two more substantial cycles, of 12 Preludes from 1962 and six impressionistic Aquarelles from a decade later – both the appreciation and execution of painting was important to Shamo throughout his life. The final CD gathers up piano pieces throughout Shamo’s career, from the Marche fantastique, which so impressed the professors of the Kiev Conservatoire when the composer elected at the last minute to play it for his entrance exam, to three dances composed in 1972 and inspired by the folk culture of nearby Soviet republics, Armenia, Azerbaijan and Uzbekistan. A counterpoint to their uncomplicated charms may be found in the three Songs of Friendship from 1954, in which Shamo treats melodies from Poland, Romania and what was then Czechoslovakia. Though jazz and minimalist techniques periodically surface in Shamo’s music, it bears the stamp of its Soviet times in its generally sunny character and clearly laid-out forms – though the serenity of the Ninth Prelude is answered by the machine-gun-fire Tenth, and Bartók casts a shadow over this music almost as often as Prokofiev. Dmitri Tchesnokov is, like Shamo, a native of Kiev, born in 1982 and long resident in France, where he pursues a career as both composer and pianist, as well as founding a directing a well-established festival of contemporary piano music in Paris. Igor Shamo (1925-1982) was born in Kiev, Ukraine, where his composition teacher at the national Conservatory was the famous composer Boris Lyatoshinsky. Attached to his home land he declined an invitation to move to Moscow, and he stayed the rest of his life in his native Kiev, where he became a highly respected composer and teacher. Shamo wrote orchestral works, chamber music, songs and works for film and theatre. His piano works however form the core of his oeuvre. His musical language is tonal and based on classical principles (his favourite composer was J.S. Bach). The melodies have a strong narrative character, the harmonies are based on classical and popular modes, enriched by chromaticism and jazz. All his works are rooted in the rich folklore of his native country Ukraine, the moods alternating between melancholic sadness and gloom and dance-inspired frenzy. Dimitri Tchesnokov is an excellent pianist and an important composers himself as well. His works are increasingly noted, especially his haunting and mystical choral works. He wrote the extensive liner notes for this set himself, in English and French.

16,22 € (24,95 €)
Image 5CD-BOX: Choral Classics from Cambridge
This set of 5 CDs showcases the celebrated choral music tradition that is at the heart of Cambridge's Clare College, King's College and St John's College. Featuring a collection of popular choral favourites from composers such as Mozart, Elgar, Mendelssohn, Brahms and Purcell, and an in-depth exploration of Renaissance lamentations, this set also features a recording of Evensong and Vespers at King's, evoking the college's tradition of daily choral singing.


15,28 € (23,50 €)
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