![Florian Uhlig – Schumann: Complete Works for Piano, Vol. 15 – Early Works in Second Editions II (2021) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/02/03/hih6xhzg4egnb_600.md.jpg)
Florian Uhlig – Schumann: Complete Works for Piano, Vol. 15 – Early Works in Second Editions II (2021) [FLAC 24 bit, 96 kHz]
The first true complete recording of Robert Schumann’s works for piano solo on 17 albums (in 15 volumes), played by Florian Uhlig, seeks for the first time to offer imaginative compilations on album (e.g. “Robert Schumann and the Sonata”, “The Young Piano Virtuoso”, “Schumann in Vienna”, “Schumann and Counterpoint”, “Variations”) containing all original works for pianoforte written between 1830 (Abegg Variations op. 1) and 1854 (Ghost Variations) according to the newest critical editions and/or first editions. Several of these albums include premiere recordings. The booklets by Joachim Draheim, who discovered and/or edited a number of the works, shed light on the biographical and musicological background to the works thus coupled.
![Florian Feilmair – Beethoven: Piano Works (2020) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/02/03/r9c6yjulr6y6b_600.md.jpg)
Florian Feilmair – Beethoven: Piano Works (2020) [FLAC 24 bit, 96 kHz]
“From Beethoven’s extensive oeuvre of variations, I have selected four works ranging from the first to the last composition for solo piano for which Beethoven created variations on an original theme. Thus the wide-ranging Eroica Variations Op. 35 find their place alongside the compressed and downscaled Variations in C minor WoO 80 and the Variations in G major WoO 77 which were created as a piece of occasional music. The recording closes with Sonata Op. 111, whose second movement is one of the longest and most complex variation settings of the Viennese School and represents the homogeneous integration of the variation as a form within multi-movement works in Beethoven’s piano literature. Each of these four works possesses its own semantics and shows a Beethoven sparkling with creativity, wit, deep expressiveness and consummate mastery of forms, confronting the pianist with a multiplicity of technical, but also interpretative challenges.” (Florian Feilmair)
![Florian Uhlig – Schumann: Complete Piano Works, Vol. 14 (2020) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/02/03/cj75egroomvcb_600.md.jpg)
Florian Uhlig – Schumann: Complete Piano Works, Vol. 14 (2020) [FLAC 24 bit, 96 kHz]
Florian Uhlig’s epochal project of a real complete recording of Schumann’s piano work for two hands is approaching its Finale. Volume 14 is dedicated to a special aspect – the form of variation with which Schumann has dealt intensively throughout his life and which was a central genre, especially of piano music, in the 19th century.
![Floris Mijnders, Roland Glassl, Nina Karmon, Daniel Giglberger – Frühling: Piano Quintet in F-Sharp Minor, Op. 30 & Piano Quartet in D Major, Op. 35 (2022) [FLAC 24bit, 48 kHz]](https://imghd.xyz/images/2022/04/06/xobxwh69zfkib_600.md.jpg)
Floris Mijnders, Roland Glassl, Nina Karmon, Daniel Giglberger – Frühling: Piano Quintet in F-Sharp Minor, Op. 30 & Piano Quartet in D Major, Op. 35 (2022) [FLAC 24bit, 48 kHz]
It is frankly little short of a miracle that the name of Carl Frühling is still remembered today, since we know next to nothing about him. Scant biographical notes provide a few reference points rather than an orderly “résumé” of his life, and a mere handful of the hundred or more works he is thought to have composed is extant today. The main reason for his relegation to oblivion is a fact that Frühling kept secret; a fact that nevertheless had to be declared on official documents: he was Jewish. Even before the Nazis took power his religion had caused him problems, making it difficult for him to pursue a career as a composer. As a result, Frühling understandably tried to conceal his religious adherence. In 1907 he converted to Protestantism and in his CV of 1929 he stated that he was born in Vienna. The truth is however that he actually came from Lviv (the Germans called it Lemberg, and today, the city is in Ukraine), then a predominantly Jewish city, where he was born on November 28, 1868.
![Eloïse Bella Kohn – J.S. Bach: The Art of Fugue, BWV 1080 (2021) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/01/06/dbz5lue4g84ja_600.md.jpg)
Eloïse Bella Kohn – J.S. Bach: The Art of Fugue, BWV 1080 (2021) [FLAC 24 bit, 96 kHz]
After several decades of debate, it is now firmly established that The Art of Fugue was composed for harpsichord. The notation on four staves could lead to confusion and wrongly suggest that the work was intended for an ensemble of four instruments. But this scheme of notation for a keyboard instrument was not uncommon in the past (e.g. it was used by the Italian Girolamo Frescobaldi in his Fiori Musicali), as it facilitates the visualization and grasp of each individual voice’s progression and beauty.
![Dora Deliyska – Chopin, Debussy, Ligeti & Kapustin: Ètudes & Préludes (2023) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/03/01/pffyq85m8qota_600.md.jpg)
Dora Deliyska – Chopin, Debussy, Ligeti & Kapustin: Ètudes & Préludes (2023) [FLAC 24 bit, 96 kHz]
“It was an exciting and challenging process to record the complex structure of 24 Etudes & Preludes. Some of the Etudes are among the most difficult pieces in the piano literature, and the Preludes have great musical potential. I decided to record the pieces in a short period of time to preserve the spontaneity of the interpretation. I am very grateful to the Teldex team (René Möller and Jakob Bötcher) and piano technician Gerd Finkenstein for sharing this musical experience together and creating an exciting recording.”
![Duo Rosa – American Soul from Broadway to Paris (2019) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2022/12/23/hztatl1tjcntc_600.md.jpg)
Duo Rosa – American Soul from Broadway to Paris (2019) [FLAC 24 bit, 96 kHz]
AMERICAN SOUL: …from Broadway to Paris is the title of Duo Rosa’s second opus, featuring art songs, Broadway melodies and cabaret tunes. In this new project, the two musicians maintain a concept that was one of the keys to the previous album’s success: a blend of classical and popular music in a varied, accessible programme that pleases audiences of all ages, regardless of whether they are classical music lovers or not. To grasp the audience’s attention and hold them spellbound, the duo has selected a series of highly popular songs combined with less well-known classical melodies.
![Diana Tomsche, Esther Valentin, Heidelberger Sinfoniker, Timo Jouko Herrmann – Strictly Private (2020) [FLAC 24 bit, 48 kHz]](https://imghd.xyz/images/2022/12/19/wt9wqm9861urb_600.md.jpg)
Diana Tomsche, Esther Valentin, Heidelberger Sinfoniker, Timo Jouko Herrmann – Strictly Private (2020) [FLAC 24 bit, 48 kHz]
Very little is known today about the personal life of composer Antonio Salieri, if only because he left very few private documents to posterity. An autobiography of the composer, presented to the Gesellschaft der Musikfreunde among other papers by his grandson Eduard Rumfeld in 1865, is lost. To learn more of Salieri, then, it is necessary to refer to sources such as diaries and letters by close friends. One rewarding source has proved to be the diary of Joseph Rosenbaum, who married the daughter of Salieris teacher Florian Leopold Gassmann and was on friendly terms with the artist for many years. This recording seeks to bring us closer to Salieri the man with works that he composed for performance among friends. They show the composer in quite a different light from the operatic works that he wrote to enhance the prestige of the Viennese court.
![Alexander Korsantia, Stuttgarter Philharmoniker, Dan Ettinger – Tchaikovsky & Rachmaninoff: Orchestral Works (2020) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2022/12/03/p8fcio8d3kkqc_600.md.jpg)
Alexander Korsantia, Stuttgarter Philharmoniker, Dan Ettinger – Tchaikovsky & Rachmaninoff: Orchestral Works (2020) [FLAC 24 bit, 96 kHz]
The Stuttgart Philharmonic, founded in 1924, is in its 6th year under the busy Israeli conductor Dan Ettinger. His regular work at almost all of the leading opera houses in the world makes his approach to the melodies of Tchaikovsky and Rachmaninoff just about perfect.” (American Record Guide)
The present album is a showstopping production of Tchaikovsky’s Fourth Symphony paired with Rachmaninoff’s Piano Concerto No. 2. The featured soloist in the concerto is Alexander Korsantia, one of the leading pianists of our time. He has been praised for “piano technique where difficulties simply do not exist.” (Calgary Sun). His recordings of works by Beethoven, Prokofiev, Rachmaninoff, and Copland have won multiple awards.
![Dorothea Seel, Christoph Hammer – Fascination Opera: A Virtuoso Firework of Fantasies & Variations (2020) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2022/11/30/i6m0e6clz5bvc_600.md.jpg)
Dorothea Seel, Christoph Hammer – Fascination Opera: A Virtuoso Firework of Fantasies & Variations (2020) [FLAC 24 bit, 96 kHz]
“Nineteenth-century opera arrangements for flute and piano have been extraordinary popular. Unfortunately the have so far received little attention in the annals of music history. Even in concerts you may hardly find them on the programmes. Therefore the present recording provides exciting music to rediscover with works by Briccialdi, Herman, Popp, Galli, Kuhlau, FUrstenau, Boehm and Andersen. Dorothea Seel used three different flutes to reproduce the flute sound of the time in alI its diversity. This demands specific playing techniques, which can be determined from the h istor ical source texts. Christoph Ham mer played an original pianoforte from the collection of the Tyrolean regional museum in Innsbruck. The woody tone, rich in harmonics, is a perfect foil for the flutes.”
![Daniel Kurganov, Constantine Finehouse – The Brahms Age (2023) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/08/16/er6tik5lkx6ia_600.md.jpg)
Daniel Kurganov, Constantine Finehouse – The Brahms Age (2023) [FLAC 24 bit, 96 kHz]
The vision for this project was to build a cohesive and comprehensive collaboration between artists, craftsmen, historians and curators, each with a singular degree of knowledge and lifelong immersion in their respective fields. In grappling with endless array of subtleties and complexities of this Guarneri instrument and authentic raw gut strings, I find myself closer to reconciling the secrets of the past with faithfulness to my inevitably modern identity. For me, Brahms is vulnerability and the utmost unified expression, and the Sonatas in particular are tapestries woven of heart and mind. The equipment of the era mirrors these qualities metaphorically and physically, and the culture was such that evenness, projection, broadness of sound were not the highest values. One’s first attempt to play an authentic D-string from the era (which is quite thick) makes the point clearly. The insights gained from this endeavor, personally speaking, travel with me as I continue to play this life-affirming music in various contexts.
![Berliner Barock Solisten, Reinhard Goebel – Symphonies of the Bach Familiy (2022) [FLAC 24bit, 48 kHz]](https://imghd.xyz/images/2022/03/08/ixvitfi9x1nza_600.md.jpg)
Berliner Barock Solisten, Reinhard Goebel – Symphonies of the Bach Familiy (2022) [FLAC 24bit, 48 kHz]
Every generation creates its own forms of expression. Often, this happens in abrupt rejection of what has gone before. And not infrequently, the provocative gestures in which a new attitude to life is articulated disappear again just as quickly as they appeared. Such thoughts may also have moved Johann Sebastian Bach when, in the early 1740s, his two eldest sons took up the genre of the symphony, which had come from Italy and was accompanied by a novel treatment of the orchestra and compositional technique. Together with their generational peers, they created an independent line of tradition that was later referred to by music historians as the “symphony of the North German school.” The fact that the symphony did not remain a short-lived fashion, favored by a handful of young savages, but advanced to become a genre that was soon considered the “acknowledged paramount form of instrumental music”, was one of the most significant and momentous musical achievements of the 18th century.
![Benjamin Bruns, Karola Theill – Schubert: Winterreise, Op. 89, D. 911 (2021) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/08/31/xo809wq4mnpob_600.md.jpg)
Benjamin Bruns, Karola Theill – Schubert: Winterreise, Op. 89, D. 911 (2021) [FLAC 24bit, 96 kHz]
Benjamin Bruns´ professional journey took him via the Dresden State Opera to the Vienna State Opera, where he remained a member of the ensemble until July 2020. His musical roster contains Mozart roles such as Belmonte (Die Entführung aus dem Serail), Tamino (Die Zauberflöte) and Don Ottavio (Don Giovanni) but also other important repertoire like Fenton (Falstaff), Camille de Rosillon (The merry Widow), Lysander (Britten: A Midsummer Night’s Dream), Don Ramiro (La Cenerentola), or the Italian Tenor in the Strauss operas Capriccio and Der Rosenkavalier. With Wagner roles like Lohengrin, Loge (The Rhinegold) and Erik (The flying Dutchman) or Matteo in Strauss Arabella he made his first steps into the light dramatic repertoire. In spring 2020 he had his debut as Florestan in Beethovens Fidelio (1804) at the Vienna State Opera. Oratorio and lieder form an important counterweight to Benjamin Brunss stage work. At the heart of his extensive concert repertoire are the great sacred works by Bach, Handel, Haydn, Mozart, Schubert and Mendelssohn. He has sung with such renowned ensembles as the Berlin Philharmonics, the Sächsische Staatskapelle Dresden, the Boston Symphony Orchestra, the Munich Philharmonics, the Gewandhausorchester Leipzig, the Bach Collegium Japan, the WDR Symphony Orchestra as well as Choir and Orchestra of the Accademia di Santa Cecilia in Rome or the Akademie für Alte Musik Berlin. This most recent release is a recording of Schuberts Winterreise.
![Benjamin Appl, Berliner Barock Solisten, Reinhard Goebel – Cantatas of the Bach Family (2020) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/08/30/t73wj3vkr1izb_600.md.jpg)
Benjamin Appl, Berliner Barock Solisten, Reinhard Goebel – Cantatas of the Bach Family (2020) [FLAC 24bit, 96 kHz]
As we reflect on Johann Sebastian Bach and his sons, we are all too likely to overlook the fact that there were six sons from two marriages who inclined towards Music. True, Maria Barbaras third son Johann Gottfried Bernhard, born in Weimar in 1715, more or less disappeared from view in 1737, and it is plain that Anna Magdalenas first son Gottfried Heinrich, born in 1724, was mentally handicapped: A great Genius, which however was never developed, wrote his half-brother Carl Philipp Emanuel in the family chronicle. For thirty years, making and writing music, he had been the musical front-runner in Saxony and Thuringia: the vanguard was located wherever he was, in his hands and at his writing-desk. Increasingly, twenty-year-olds and a few late starters in their thirties were coming on to the market and showing Bach a new way forward: the galant style, spreading north from Naples ever since 1715, and the flamboyant, ever more richly ornamented music of the late Baroque, constantly threatening to break down under the weight of emblematic connotation and religious symbolism, in contrast to that simpler form, written by mortals for mortals, distinguished by its slow, easily comprehensible harmony and its truly singable melodies in what was at most an expanded two-part structure.
![Bettina Pahn, Christine Schornsheim – O, wie Beseligend (2022) [FLAC 24 bit, 44,1 kHz]](https://imghd.xyz/images/2022/10/07/t8etrraki3ika_600.md.jpg)
Bettina Pahn, Christine Schornsheim – O, wie Beseligend (2022) [FLAC 24 bit, 44,1 kHz]
While Robert is committed to bringing his wife’s works into print, Felix Mendelssohn writes to his mother: “Fanny has neither the desire nor the profession to be an author … – she is too much of a woman for that, as it is right.” As a result, his sister Fanny Hensel remains trapped in the domestic context as a composer. In the bourgeois culture of the 19th century, as a non-professional musician, she is credited with the piano piece and the song, even if she certainly explored her limits with the composition of choral and orchestral values for family celebrations. Both composers, both the professional musician Clara Schumann and Fanny Hensel, imprisoned in bourgeois conventions, corresponded primarily as interpreters of the works of other, usually male composers, entirely to the image of women of their time.
![Berliner Barock Solisten, Michael Rische – C.P.E. Bach: Piano Concertos (2022) [FLAC 24 bit, 44,1 kHz]](https://imghd.xyz/images/2022/10/01/c2ydmtyng3k8b_600.md.jpg)
Berliner Barock Solisten, Michael Rische – C.P.E. Bach: Piano Concertos (2022) [FLAC 24 bit, 44,1 kHz]
Michael Rische belongs to the small group of musicians, even internationally, who consistently enrich musical life with authoritative discoveries. After Michael Rische presented a recording of compositions on the notes b-a-c-h by Johann Sebastian Bach up to the present in the Bach Year 2000, he is working with growing success to re-establish the almost forgotten piano concertos of his son Carl Philipp Emanuel in musical life. With his recordings to date, he has received extensive international attention right from the start. Leipzig 1733: a significant date for a musical genre that has been an integral part of our musical life for more than two hundred years – the piano concerto. In this year Johann Sebastian Bach wrote his great Concerto in D minor BWV 1052 and his second eldest son Carl Philipp Emanuel, at the age of 19, his first piano concerto, the Concerto Wq 1 in A minor. If one listens to the concertos in direct comparison, one hardly wants to believe that both were composed at the same time and in the same place. The Concerto in D major Wq 45 was written in Hamburg in 1778, with two horns added to the orchestral sound. Of all his piano concertos, the Concerto in E minor Wq 15 (1745) is by far the most experimental.
![Avita Duo – Auerbach: Works for Violin & Piano (2022) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/03/18/f344314j4ud0a_600.md.jpg)
Avita Duo – Auerbach: Works for Violin & Piano (2022) [FLAC 24bit, 96 kHz]
A renaissance artist for modern times, Lera Auerbach is a widely recognized conductor, pianist, and composer. She is also a published poet and an exhibited visual artist. All of her work is interconnected as part of a cohesive and comprehensive artistic worldview. Born in the Russian city of Chelyabinsk in the Ural Mountains at the gateway of Siberia, Lera Auerbach has become one of today’s most sought after and exciting creative voices. Her performances and music are featured in the world’s leading stages – from Vienna’s Musikverein and London’s Royal Albert Hall to New York’s Carnegie Hall and Washington D.C.’s Kennedy Center. Auerbach’s exquisitely crafted, emotional, and boldly imaginative music reaches to global audiences. Orchestral collaborations include the New York Philharmonic, Philadelphia Orchestra, National Symphony, Oslo Philharmonic, Munich’s Bayerisches Staatsorchester, Staatskapelle Dresden, and Vienna’s ORF Radio-Symphonieorchester, among many others. Auerbach’s works for orchestra are performed by the world’s leading conductors, including Christoph Eschenbach, Alan Gilbert, Vladimir Fedoseyev, Neeme Järvi, Vladimir Jurowski, Charles Dutoit, Andris Nelsons, Osmo Vänskä, Hannu Lintu, and Marin Alsop, to mention only a few.
![Antoaneta Emanuilova – Johanna Müller-Hermann: Piano Quintet Op.31 / Violin Sonata Op.5 (2023) [FLAC 24 bit, 44,1 kHz]](https://imghd.xyz/images/2023/05/05/cqg2cwbrvmvxc_600.md.jpg)
Antoaneta Emanuilova – Johanna Müller-Hermann: Piano Quintet Op.31 / Violin Sonata Op.5 (2023) [FLAC 24 bit, 44,1 kHz]
The chamber music of Johanna Muller-Hermann is distinguished by its focus on pure melody, which often gives the music a lyrical character, but which she is quite willing to interrupt with stringent use of rhythm and contrast.
![Ann-Helena Schlüter – J.S. Bach: Fantasias & Duets (2019) [FLAC 24bit, 44,1 kHz]](https://imghd.xyz/images/2022/06/28/myj3o8xslxnfa_600.md.jpg)
Ann-Helena Schlüter – J.S. Bach: Fantasias & Duets (2019) [FLAC 24bit, 44,1 kHz]
My own music is influenced by the music of Bach. Having studied in the ‘Bach city’ of Leipzig, fallen in love with his fugues as a child and won with his Preludes in the Jugend musiziert competition, achieved my first Bach cycle with the Goldberg Variations, then I was moved more and more deeply by the Credo, the inner conviction, in Bach’s music. My imaginative powers, my musical energy (timbres, sounds, creativity, and poetry) must be imbued with this richness. New music looks quite different from what it was in Bach’s day (some even say it is all philosophy now, no melodies, notes or harmonies required). If modern music is still to be music, even today, and if it is still to enrich people’s lives, a thing of value that they can and will remember, then Bach’s store of wealth can always come to the aid of us composers. And so it is that J.S. Bach, who never left Germany and spent so long in Leipzig for want of a better position, today more than ever embraces the whole world with a web of his music, in all the places he never travelled to, whether Spain, Franconia, Hesse, Sweden, or far beyond Europe. (Ann-Helena Schlüter)
![Anke Dill – An Evening with Brahms – Soirée mit Brahms (2023) [FLAC 24 bit, 48 kHz]](https://imghd.xyz/images/2023/06/30/mmsu5v2edy9lb_600.md.jpg)
Anke Dill – An Evening with Brahms – Soirée mit Brahms (2023) [FLAC 24 bit, 48 kHz]
In 19th-century Vienna (where Brahms spent much of his profession al life), the practice of writing “music for the home” (which should in no way be pejoratively construed as a retreat into carefree seclusion) experienced a boom that reached as far as the imperial court of Franz Joseph I. The music-making in many Viennese households was on a par with public performances and boasted enormous variety. Special reference to this recording: on the evening of May 11, 1895, Johannes Brahms played this very CD-programme at the Vienna home of the culture-loving Fellinger family, with whom he was very well acquainted, having received from Simrock the galley proofs of the rearranged versions of the op. 120 sonatas for violin and piano. His partner for this soiree was the violin virtuoso Marie Soldat-Roeger, who was one of the eminent female musical figures of the 19th century, on a par with the likes of Clara Schumann, Fanny Mendelssohn, Pauline Viardot-Garcia and others. Soldat-Roeger was the first Austrian woman to gain prominence in European concert halls. So Brahms had made just the right choice for the domestic context of this soiree, as have the two performers on this release: in making this recording, they have brought a piece of historical performance practice from the salons of the 19th century into the l iving rooms of our time.