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Howard Shelley continues his appraisal of a composer who in his lifetime was classed with Mozart and Beethoven, and enjoyed international fame and admiration. Shelley is a master of the Classical–Romantic style and in his hands the music of Spohr, heard very little today, reveals a freshness and excitement which is utterly beguiling.  Spohr’s Piano Sonata and Rondoletto are paired with works by George Onslow, Spohr’s exact contemporary. Both composers wrote very little piano music and this release comprises all their major works for the instrument. Again, music to charm and delight is rediscovered through Shelley’s expert performances.


  • Wykonawca Shelley Howard
  • Data premiery 2012-07-01
  • Nośnik CD
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During their first 200 years, Johann Sebastian Bach's solo suites for cello led a curiously obscure existence. By 1720, the time of their composition, suites of their kind were already beginning to seem slightly outdated, and many of the dances which in stylized form appear in them were going out of fashion. Furthermore, the cello was generally regarded as a continuo instrument, and pieces allowing it a more prominent role were few and far between. In consequence, the suites were rarely performed – especially in their entirety – and rather treated as more suited for teaching the instrument. They were also often regarded as incomplete, and the fact that Schumann, among others, attempted to provide them with piano accompaniments serves as an illustration of how foreign the concept of solo works for the cello remained. It is Pablo Casals who is credited with the rediscovery of the cello suites: encountering them in the 1890's, he first brought them to the concert hall around the turn of the century. Soon after, in 1916, came the first published edition of the suites arranged for the viola. But again they were mainly seen as learning aids for budding violists, and it is only during the past decades that they have become part of the concert and recording repertoire of international soloists on the instrument. The latest of these is the highly regarded Ukrainian-born violist Maxim Rysanov, named 2008 Young Artist of the Year by Gramophone. Rysanov's career has developed rapidly, with acclaimed recordings and high profile appearances, including the Last Night of the BBC Proms in 2010. For his first recording for BIS he has selected the first, fourth and fifth of Bach's suites – these works of which Casals once wrote: 'They are the very essence of Bach, and Bach is the essence of music.'


  • Wykonawca Rysanov Maxim
  • Data premiery 2010-07-01
  • Nośnik SACD
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This is Volume 4 in Jean-Efflam Bavouzet’s project to record the complete piano sonatas of Haydn. The last volume in the series (CHAN 10689) was a Critic’s Choice in Gramophone, an Instrumental Choice in the magazine BBC Music, Editor’s Choice in the magazine Classic FM, and Recording of the Month in MusicWeb International.In the words of Bavouzet himself: ‘Each volume of this ambitious, extended project will arrive over the years like a postcard, dispatched during my travels with scant respect for chronological considerations, but undertaken with the greatest passion for trying to convey as vividly as possible to twenty-first-century ears the boundless treasures of this sublime music.’He also notes: ‘We often forget how little information Haydn left us in the scores of his keyboard works: few indications of dynamics or of phrasing, and the briefest guides to tempo. This task is never anything other than absolutely fascinating, but for the performer it is also testing, and even risky. He must, even more than usual, create his own world, his own logic, left only to hope that, in the absence of tangible evidence, he will not distance himself too far from the composer’s intentions, which remain forever unknowable.’Jean-Efflam Bavouzet received a BBC Music Award in 2012 and a Gramophone Award in 2011 for his recording of works by Debussy and Ravel (with the BBC Symphony Orchestra and Yan Pascal Tortelier). His recording of Bartók’s Concertos (with Gianandrea Noseda and the BBC Philharmonic) was short-listed for a Gramophone Award, and he has won multiple awards for his recording of the complete works for solo piano by Debussy, including a BBC Music Magazine Award for Volume 3 and a Gramophone Award for Volume 4.


  • Wykonawca Bavouzet Jean-Efflam
  • Data premiery 2012-09-01
  • Nośnik CD
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In 2007-08, the Swiss cellist Christian Poltéra made his debut on BIS with a series of discs dedicated to three compatriots of his: the composers Othmar Schoeck, Arthur Honegger and Frank Martin. The unconventional programmes mixed chamber music and orchestral works centred on the cello, and were received with acclaim by the international music press. ‘An ideal introduction to Martin’s music’ enthused the reviewer in Gramophone, where that release was an Editor’s Choice, while the Schoeck anthology was described as ‘a beautifully-played collection that fills an important gap’ in American Record Guide, and the French magazine Diapason gave the Honegger disc its Diapason d’or, calling it ‘une pure merveille’. In reviews of all three discs, the orchestral support from the Malmö Symphony Orchestra and Tuomas Hannikainen was especially remarked upon, as were the respective virtues of the three concertos: ‘a nostalgic, dark-hued lyrical quality that makes for absorbing listening’ (Schoeck, International Record Review); ‘a typically suave, sophisticated score, boasting a surprisingly astringent but compellingly rhythmic Finale’ (Martin, BBC Music Magazine); ‘wonderful, jazzy tunes …, plenty of fireworks for the soloist, and it packs a huge amount of contrast into its quarter-hour of playing time’ (Honegger, ClassicsToday.com). These three works, composed between 1929 and 1966 and all too rarely heard today, have now been combined; an occasion not to be missed by anyone interested in exploring some highly individual 20 th-century cello scores, or in getting to know one of today’s most impressive young cellists.


  • Wykonawca Poltera Christian
  • Data premiery 2012-03-01
  • Nośnik CD
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This is another solid performance by Anton Kuerti of some of the classics in the piano repertoire. He is such a well-rounded musician, who understands the balance between structure and expression, which is particularly important in Brahms' larger works like the piano concertos here. Kuerti doesn't let the emotion become the be-all and end-all of the works, but he isn't giving a dry, academic reading either. Amid the yearning moments, the heroic moments, and the wistful moments, the listener can hear themes being broken apart, re-used, and transformed. A couple of things that make this all the clearer are Kuerti's tone and the quality of the recording. Kuerti never pounds at the keyboard, even in the loudest parts of the music, so that his rich tone blends extremely well with that of Brahms' deeply colored orchestra. The sound of the piano in these performances is much closer than many piano concerto recordings, allowing it and the orchestra to be more partners than adversaries. The last disc in the set...


  • Wykonawca Kuerti Anton
  • Data premiery 2008-11-01
  • Nośnik CD
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By departing in virtually every respect from the conventional model of the baroque trio sonata, Bach’s six Sonatas for harpsichord and violin let both instruments participate equally in the unfolding of the thematic-motivic material. They establish a genuine dialog between the two performers as Well and, thereby, actually pave the way for the classic duo sonata. The dialog between these two top musicians is equel and enchanting and the intimate nature of this recording draws the listener immediately in the music. Bach’s violin sonatas, more properly called Sonatas for harpsichord and violin, represent a closed set of six works and resemble in this way a number of similar instrumental work groups consisting of half a dozen pieces of the same kind. Take for example the six Sonatas and partitas for unaccompanied violin, the six suites for cello solo, the six English Suites, or the six Brandenburg Concertos—to mention only a few. The concept Bach pursues in these work groups, however, does not aim at a cycle in the sense of a specific sequence in which the pieces are to be performed; it rather follows the principle of systematically exploring the manifold musical possibilities that can be realized in one and the same category of composition. Hence, the single works happen to form a whole, that is, a more or less closed set. If published it would constitute an “opus”, as Bach called the printed edition of his six keyboard partitas of 1731. The most important feature of Bach’s violin Sonatas consisted in their innovative scoring, an absolute novelty at the time of their origin and in Many Ways the prototype, on which the classical violin-piano sonata of a Mozart and Beethoven would be based. Even though the traditional Elements of the Baroque trio sonata For Two treble instruments and basso continuo can still be found in a number of movements or sections of movements where the violin and the right hand of the harpsichord form a duo structure over a bass fundament, the prevailing texture of the harpsichord part transcends the trio convention. In the six Sonatas BWV 1014-19, the composer Bach single-handedly created a transformation of the genre of violin sonata.


  • Wykonawca Manson Catherine , Koopman Ton
  • Data premiery 2012-07-01
  • Nośnik CD
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Complete Works piano solo Piano Concertos Harpsichord Concertos Symphonies Cello Concerto Oboe Concertos Flute Concertos Wind Chamber Music Flute Sonatas Viola da Gamba Sonatas Hamburger Quartalsmusiken Hamburgische Festmusiken Magnificat Organ Works Chamber Music Sonatas for keyboard & violin Complete Organ Works


  • Wykonawca Leipziger Kammerorchester
  • Data premiery 2016-11-15
  • Nośnik CD
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