The performing team of Piers Lane and the Goldner String Quartet has won many plaudits for their enlightening interpretations of the obscurer piano quintet repertoire. Now they turn to a composer who triumphed in the genre. Dvorvák’s two piano quintets were written at different stages of the composer’s career: the first during a period of poverty and uncertainty, the second when the composer was approaching the zenith of his international fame. The two quintets make a fascinating pairing here. Dvorvák originally tore up his manuscript of the first; luckily the pianist at the premiere kept a copy. It is clearly a youthful work, showing something of the discursiveness of the early string quartets, a point noted by a critic at the premiere, but there is no doubting the confidence with which Dvorvák handles the combination of piano and strings (doubly impressive since he did not possess a piano at this time), which in many places anticipates the instrumentation in the famous second piano quintet. Dvorvák’s second Piano Quintet was an immediate popular success at its first performance and has remained one of the best-loved examples of the genre. The premiere was given by four of the finest Czech string players of the day and the promising conductor and composer Karel Kovarovic at the piano. The celebrated ‘Dumka’ movement, the lyrical heart of the work, demonstrates the extraordinary command of melody that characterizes the composer’s symphonies. Performances of technical polish and expressive power, sensitively recorded, combine to make this a chamber disc to treasure.

• Wykonawca Lane Piers , Goldner String Quartet
• Data premiery 2010-01-01
• Nośnik CD

Tracklista:1. The Seer of Cosmic Visions2. How Wet Is Ur Box3. Space Is the Place4. Letters from the Edge5. A Genre Sonique6. The Human Experience7. 134340 Pluto8. Calling Planet Earth9. Strange Signs in the Sky

• Wykonawca Hieroglyphic Being
• Data premiery 2014-10-06
• Nośnik CD / Album

Just as the seventeenth century saw the rise of the trio sonata to its position as the most important chamber music form, so the eighteenth century saw its decline and eventual demise. The seventh and penultimate disc in London Baroque’s highly acclaimed survey of the genre through the two centuries lets us sample these later developments in Italy, the nation where the genre had evolved some 100 years earlier. We do so through works by composers who are well-known (Vivaldi), unknown (Bonporti), known for the wrong reasons (Albinoni never composed the famous – or infamous – Adagio) and ignored by mistake (the trio sonata that inspired Stravinsky to compose Pulcinella was by Domenico Gallo and not by Pergolesi, as was long believed). Among our Italians are Locatelli and Tartini, two of the great violinist-composers of the period, as well as a trio largely active in musical centres outside of Italy: Bononcini, Sammartini and Porpora, who taught the young Haydn in Vienna in the 1750’s. Together their compositions come to form a mosaic, where proud traditions from Corelli and earlier (as seen in Vivaldi’s Folia and Albinoni’s dance suite) are gradually superseded by rococo traits.

• Wykonawca London Baroque
• Data premiery 2013-03-01
• Nośnik CD

Tracklista: 1. 25 Études De Genre 2. Op. 38

• Wykonawca Giuliani Claudio
• Data premiery 2017-12-01
• Nośnik CD

In this recording, the guitarist Roberto Lemma, who studied guitar, but also composition and literature in Italy and Basel, presents four solo sonatas whose genesis could not be more different. Niccolò Paganini’s Grand Sonata a Chittarra sola Con’Accompagnamento di Violino is a work that has been adopted by the soloist repertoire for the guitar. The compositional oeuvre of Joaquín Turina and Manuel María Ponce, so significant for the genre of guitar literature, is closely linked to their acquaintance with the great Spanish virtuoso Andrés Segovia, whereas Alberto Ginastera contributed merely one sonata to this genre. These four compositions quintessentially reveal different approaches to uniting originally European influences from classical music, in particular morphology, with elements of the traditional folk musical way of playing the guitar in cultures under Spanish and Latin American influence.

• Wykonawca Lemma Roberto
• Data premiery 2010-11-01
• Nośnik CD

Tracklista:Concerto per mandolino1. I. Allegro2. II. Largo3. III. Allegro4. Diana Placata: Si vedra quel nome altero (Aria)5. L'Astianatte: Io non vi credo (Aria)6. Il Gioseffo: Bramo un core che impari dal mio (Aria)7. Griselda: Non so se più mi piace per fede o per beltà (Aria)8. Il giuoco del quadriglio: Ah se tocasse a me (Aria)Concerto per mandolino9. I. Allegro10. II. Largo11. III. Allegro12. Alexander Balus, HWV 65: Hark! Hark! He Strikes the Golden Lyre (Aria)13. Lucio Vero: Dolce sembiante nel tuo rigore (Aria)14. Eracleo: Dopo i nembi e le procelle (Aria)Cantate à voix seule et symphonie dans le genre Italien15. I. Dans mon joli réduit (Amoroso con moto)16. II. Ce fut dans cet instant (Moderato)17. III. Guidé par la beauté (Piacevole)18. IV. Chaque instant dans mon âme (Gustoso)19. Komm, liebe Zither, K. 35120. Die Zufriedenheit, K. 34921. Il barbiere di Siviglia: Rien ne peut calmer ma peine (Air de Rosine)

• Wykonawca Rial Nuria
• Data premiery 2015-03-27
• Nośnik CD

Tracklista:1. I. Allegro Spiritoso2. II. Adagio Non Troppo3. III. Presto4. Fugue No. 1 in F Minor5. No. 7 in E Minor6. No. 17 in E-flat Major7. No. 19 in F Major8. No. 37 in G Major9. No. 26 in G Major10. No. 28 in E Major13. No. 66 in C Major11. No. 55 in F Minor12. No. 65 in E-flat Minor14. No. 104 in G-sharp Minor15. No. 106 in E Major16. No. 107 in D Major17. Theme Varie Dans Le Genre Moderne

• Data premiery 2017-01-27
• Nośnik CD / Album

It is not known when or for whom William Byrd wrote his monumental ‘Great Service’, but we can be sure that he would approve of this new recording from Westminster Abbey.The second half of the sixteenth century was a heady time for the post-Reformation Church of England. Out of the ashes of the Catholic tradition a new—and decidedly Anglican—musical enthusiasm arose, and with it three distinct styles for settings of the Canticles, so central to Cranmer’s vision for the liturgy: ‘short’ services presented their texts efficiently and simply, while ‘verse’ services complicated proceedings with the addition of soloists and more intricate textures; ‘great’, or ‘full’, services extended this development to create musical structures of astonishing diversity, and at the very peak of the genre comes William Byrd’s masterpiece, widely regarded as the finest unaccompanied setting of the service ever made.The ‘Great’ Service is here presented in its correct liturgical order (with the inclusion of the frequently omitted Kyrie) and is complemented by six of Byrd’s finest anthems and two organ voluntaries from My Lady Nevells Booke, a collection of Byrd’s keyboard music put together in 1591.

• Wykonawca O'Donnell James , Quinney Robert
• Data premiery 2006-03-07
• Nośnik CD

As a young and aspiring composer, Handel spent 1706-1710 in Italy. These were years that would prove decisive for him, as he met with excellent opportunities to expand and perfect his skills, especially in the genre of vocal music. Based in Rome, where opera was banned by papal decree, Handel only composed two works in this most Italian of genres during his stay. Instead, following the example of other composers in the Holy City, he opted for another genre which incorporated similar dramatic and expressive qualities – the cantata. During his Italian years, it is believed that Handel may have written as many as 150 such works, including a number of so-called cantate con stromenti for one or more solo voices plus additional instruments. The four cantatas on this disc feature the standard combination for such works: soprano, two violins and basso continuo. Thematically, they can be grouped in pairs: Notte placida e cheta (Calm and Placid Night) and Un’ alma innamorata (A Soul in Love) tell of unhappy love and contain elements from Classical mythology against a pastoral backdrop. By contrast, Figlio d’alte speranze (Son of High Hopes) and Agrippina condotta a morire (Agrippina Led to Her Death) tell tales of power, and of its use and abuse. Each cantata presents a small drama in its own right, and can be seen as a preliminary study in the field of opera, in which Handel thoroughly explores the best ways of using the expressive means at his disposal.This exciting programme is presented by Emma Kirkby and London Baroque, household names in the sphere of ‘early music’ and beyond, and certainly no new-comers to the works of Handel. Indeed, when they last joined forces in a Handel programme (BIS-CD-1065) the website MusicWeb International called the performances ones that ‘make one wish that all Handel music making could be of this order’, while the reviewer in BBC Music Magazine wrote ‘I've seldom been as moved by a recording, both music and performance’.

• Wykonawca London Baroque , Kirkby Emma
• Data premiery 2008-06-01
• Nośnik SACD