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The Classical Music Playlist - Keep Calm & Focus On... Classical

Info: http://onclassical.com/artists/forte/chopin-waltzes/

Chopin, Waltzes (AE18056)

Chopin: Waltzes, Op. 64 - I. Waltz/Valse in D-flat major, 'Minute Waltz'

Info: http://onclassical.com/artists/grittani-zaccaria/schubert/

Schubert, Music for flute and piano (AE18054)

Schubert: Gute Nacht. Lieder from 'Winterreise', Op. 89, D. 911 (No. 1) - Duo Grittani-Zaccaria

Info: http://onclassical.com/artists/dumont/nocturnes/

From the forward-thinking pianism and sublime originality displayed by the early Op. 9 (1830-31) to the filigreed arabesques that grace the middle-register melodies in the more imposing structures of Op. 62 (1846), it is the nocturnes that allow us to trace Chopin’s aesthetic evolution. Indeed, his intention to create a new era in art is here in full display, not only in the magical sonorities he managed to evoke from the instrument, but also in his revolutionary lyricism, present from the onset, in which operatic archetypes unite with completely new pianistic intuitions. Chopin’s nocturnes were the works of an inspired soul; in turn, they inspired future generations of composers.
A prize winner in the XVI International Chopin Piano Competition in Warsaw, French pianist François Dumont presents a double album featuring Chopin’s complete nocturnes. Dumont brings years of life experience in this performance, playing with refinement and inspiration. In addition to the nocturnes that Chopin published during his lifetime, the present recording includes the Nocturne in E Minor, possibly written in Warsaw in 1827 and published posthumously in 1855 as part of Op. 72; the Nocturne in C Minor, B. 108, written in 1837 but published only in 1938; and a piece inscribed “Largo con gran espressione,” a work Chopin composed for his sister in 1830 as she studied his Second Piano Concerto (thematic material from the Concerto in F Minor is recognizable throughout the piece). The latter is perhaps one of Chopin’s most celebrated works, and was titled “nocturne” only upon its publication in 1875.
Mr. Dumont’s recording of Chopin’s complete nocturnes took place on February 2017 and is recorded with 3 microphones stereo pair.

Chopin: Nocturne in C-sharp Minor, P 1 No. 16 'Lento con gran espressione' - François Dumont

Info: http://onclassical.com/

In the early 19th century and earlier, the instrumental sonata for ensemble that included piano was usually called "piano sonata with instrumental accompaniment". Beethoven's first violin sonatas, for instance, were published as "sonatas for piano with violin accompaniment."
While most sonatas with cello from the 18th century were written for continuo, with the left hand of the keyboard part often doubling the cello, Beethoven is credited for composing some of the first works in the genre that featured a written-out piano part.

The first two cello sonatas that Beethoven composed were published as Op. 5 in 1796, and were dedicated to Friedrich Wilhelm II. They are thought to have been written with the celebrated cellist Jean-Louis Duport in mind. As the chronicles of the era report, they were played several times at court. The two Sonatas, Op. 5 are monumental in intentions, even if they are structured in two movements (in both compositions, the opening movement presents a lengthy introduction followed by a fast-paced movement in sonata form, which alludes to the presence of a third movement).*

The third cello sonata, in the key of A Major and published as Op. 69, was written in 1808, and generally proposes more balanced and transparent writing than the previous sonatas. "Greater compositional technique allowed Beethoven the possibility of using fewer notes with confidence," wrote violinist Mark Kaplan. Cellist Steven Isserlis describes it as the first cello sonata in history to give the two instruments equal importance.

The two Sonatas, Op. 102 (Nos. 4 and 5) were composed between the end of 1812 and 1817. During that time, Beethoven was challenged by all sorts of difficulties, and experienced a period of literal and figurative silence. As his deafness became overwhelmingly profound, his productivity diminished. Following the A Major Sonata by seven years, the complexity of their composition and their visionary character marks (alongside the Piano Sonata in A Major, Op 101, written at the same time) the start of what is generally described as Beethoven’s “third period.”

The Duo Sinossi, with Marianna Sinagra at the cello and Lorenzo Cossi at the piano, offers a reading of the five compositions, plus the three sets of variations, that underscores the richness of contrapuntal textures and instrumental brilliance.

The recording was made with two pairs of Sennheiser microphones.

Beethoven: Variations in G Major, B. 157, Woo 45 - Variation VII - Duo Sinossi

Info: http://www.onclassical.com/artists/sokolovskaya/janacek/

Janacek, Piano Works (OC18060C)

Janacek - In the Mists, JW. 8, 22 - I. Andante - Natalia Sokolovskaya

Info: http://onclassical.com/artists/luisi/french-suites/

J.S.Bach, French Suites (OC18050B)

J.S. Bach: French Suite No. 1 in D Minor, BWV 812 - VII. Gigue - Gianluca Luisi

Info: http://www.onclassical.com/artists/cammarano-deljavan/grieg/

Grieg: Violin Sonata No. 2 In G Major, Op. 13 - III. Allegro Animato - Duo Cammarano-Deljavan

Info: http://www.onclassical.com/artists/zaccaria/beethoven-i/

Beethoven’s Opus 2, published in Wien in March 1796, is the first work in which the composer’s strong personality is declared.

Accordingly to Carli Ballola, Piano Sonatas Op. 2 are the manifesto of the style that the composer achieved in the early XVIII century and that will be characterizing of the following years: this is, according to Lenz, the so-called "Early Beethovenian period".

Important aspects affect the form: the Sonatas are now - differently from Haydn, Clementi and Mozart’s Sonatas - structured in four movements. For the first time, Beethoven starts an expansion and a development of the forma-sonata, concerning to the structure of dynamics and rhythm, and to the dialectic of transitions; it follows that the treatment of the pianistic matter turns out to be more psychological than reminding to a frivolous style.

About Maurizio Zaccaria (AE17032 Gerhswin, G.: Complete Published Piano Works; AE15003 Massenet, J.: Complete Piano Works; OC18011B Beethoven, L. Van: Piano Sonatas Opp. 26, 28, 49, 90) renowned pianist Aldo Ciccolini wrote "he is a pianist endowed with rare technical and musical means."

The recording has been made using a pair of Brüel & Kjær microphones combined with Prism Sound equipment, and a brand-new Steinway D-274.

Beethoven: Piano Sonata in A-flat Major, Op. 26 - II. Scherzo - Maurizio Zaccaria

Info: http://www.onclassical.com/artists/ghidoni/ysaye/

"I'd never heard a violinist play so in tune before hearing Ysaÿe," claimed Pablo Casals. The expression "in tune" should not, however, be relegated to the mere (so to speak) precise intonation of the violinist, because Sarasate, Kreisler, and Enesco (whom Casals knew) were themselves great violinists, whose Sonatas cannot be underestimated.
Perhaps Casals was referring to the harmonic union that Ysaÿe, as a performer, was able to create between precision and expressiveness of intonation: the so-called "expressive intonation" that transcends the static tuning of keyboard instruments (piano), and highlights a sense of "modernity" which is particular to the great Belgian violinist.
In these Sonatas this aspect is made palpable by the use of characteristic intervals (major sixths, minor seconds, etc.). And, if each Sonata may seem a world apart, it is when we play them in one go that we become aware of a long singular journey, representing a fresco and a passionate and panoramic voyage in the early 20th century society.
Paolo Ghidoni exhibits a solid preparation, an excellent control and a rare poetic sense, whilst managing to emphasize the contrapuntal streak and romantic mood of the Sonatas.
He plays a copy of a "Pietro Guarnieri" (Mantua 1704), built by luthiers Gian Luca Zanetti and Alessandro Gambarin, who for years have been specializing in the making of instruments according to classical method of the historical Mantovana luthiers.
The recording is originally @ 176.4 kHz * 24 bits, captured in real-stereo technique inside the historic Pieve of Bassano del Grappa, without *any* post-production.

Eugene Ysaÿe: 6 Sonatas, Op. 27 [No. 5] - I. Obsession. Prelude. Poco Vivace - Paolo Ghidoni

Info: http://www.onclassical.com/artists/deljavan/favourites-i/

G. Gershwin: Three Preludes - II. Andante con moto e poco rubato - Alessandro Deljavan

Info: http://www.onclassical.com/artists/materassi/quintets/

Johannes Brahms' String Quintet No. 1 in F major, op. 88, was composed in 1882. Brahms described the quintet to his friend Clara Schumann as "one of [his] finest works" and told Simrock, "You have never before had such a beautiful work from me." String Quintet No. 2 in G major, Opus 111 was published in 1890. It is known as the Prater Quintet. Brahms intended it to be his last piece of music.
Quartetto Sandro Materassi - for this occasion with notable violist Danilo Rossi - is one of the main string ensemble in Italy.
A natural recording by Michele Gaggia remastered at 24-bits by Alessandro Simonetto.

Brahms: String Quintet No. 2 in G Major, Op. 111 - II. Adagio - Quartetto Sandro Materassi

Info: http://www.onclassical.com/artists/luisi/partitas-ii/Gianluca Luisi is the winner of the International Bach piano contest. Luisi's performance revealed a technique characterised by a remarkable independence and control of the fingers. An economic use of pedalling and half-pedalling, mostly to accompany single notes, enhanced the overall effect without exaggerating the dynamics. This was warm-hearted and spirited playing, completely free from rhetoric, very appealing and which took the audience immediately to the heart of the music. (The Sunday Times, October 7, 2001)

J.S. Bach: Partita No. 3 In A Minor - I. Fantasia - Gianluca Luisi

Info: http://onclassical.com/artists/poli/chopin/

Full album content:
Chopin, F.: Prelude in C-sharp minor, Op. 45
Chopin, F.: Mazurkas Op. 63 [3]
Chopin, F.: Barcarolle in F-sharp minor, Op. 60
Chopin, F.: Cantabile in B-flat major, Op. posth.
Chopin, F.: Feuille d'album in E major, Op. posth.
Chopin, F.: Largo in E-flat major, Op. posth.
Chopin, F.: Ballades [4]
Chopin, F.: Souvenir de Paganini in A-flat major, Op. posth.
Chopin, F.: Nocturnes Op. 62 [2]
Chopin, F.: Fantasie in F minor, Op. 49
Chopin, F.: Polonaise-Fantasie in A flat major, Op 61
Chopin, F.: Mazurkas Op. 59 [3]
Chopin, F.: Valses Op. 64 [3]
Chopin, F.: Berceuse in D-flat major, Op. 57
Chopin, F.: Sonata No. 3 in B minor, Op. 58
Chopin, F.: Mazurkas Op. 50
Chopin, F.: Impromptu No. 3 in G-flat major, Op. 51
Chopin, F.: Polonaise in A-flat major, Op. 53
Chopin, F.: Valses Op. 34 [3]
Chopin, F.: Nocturnes Op. 32 [2]
Chopin, F.: Mazurkas Op. 30 [4]
Chopin, F.: Sonata No. 2 in B-flat minor, Op. 35

Chopin: Mazurka in C-Sharp Minor, Op. 63 No. 3 - Roberto Poli

Info: http://onclassical.com/artists/stuani/chopin/

Within these very small frames, Chopin captures a universe of feeling and mood. There is a prelude for each major and minor key; many of them demand high virtuosity. James Friskin writes: "Perhaps no other collection of piano pieces contains within such a small compass so much that is at the same time musically and technically valuable". Schumann thought them "eagle's feathers, all strangely intermingled. But in every piece we find his own hand-Frederic Chopin wrote it. One recognizes him in his pauses, in his impetuous respiration. He is the boldest, the proudest, poet-soul of his time". Finck feels that "if all piano music in the world were to be destroyed, excepting one collection, my vote should be cast for Chopin's Preludes. There are among Chopin's preludes a few which breathe the spirit of contentment and grace, or of religious grandeur, but most of them are outbreaks of the wildest anguish and heart-rending pathos. If tears could be heard, they would sound like these preludes".

Chopin: Prelude No. 24 in D Minor, Allegro Appassionato - Giampaolo Stuani

Info: http://www.onclassical.com/artists/taverna/beethoven/

Beethoven was 30 y.o. when he wrote the Sonatas Op. 27 (1800-01). He had already made a name for himself in Vienna as pianist and composer and was beginning to explore alternatives to the classical-era compositional procedures that he had largely adhered to during the 18th century.
The second sonata is popularly known as the "Moonlight". That name comes from remarks made in 1832 by the German music critic and poet Ludwig Rellstab. Within the years, the sonata was universally known by that name, "Moonlight Sonata" or "Mondscheinsonate" in German. The composition, in particular the first mouvement, is one of the most popular of all time.
The Sonata Pathétique was written two-three years before (in 1798). Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate pathétique (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities. Prominent musicologists debate whether or not the Pathétique may have been inspired by Mozart's piano sonata K. 457.
The Variations and Fugue for Piano in E-flat major, Op. 35 are a set of fifteen variations for solo piano composed by Ludwig van Beethoven in 1802. They are commonly referred to as the Eroica Variations because variations on the same theme were used as the finale of his Symphony No. 3 "Eroica" composed the following year. Musicologists Leon Plantinga and Alexander Ringer claim that the inspiration for the "Eroica" theme may have come from Classical era composer Muzio Clementi's Piano Sonata in F minor, Op. 13, No. 6 (composed in 1784).
Alessandro Taverna, one of the best emerging Italian talents, makes an elegant and precise performance of the famous Beethoven's piano masterworks. In not few moments he recalls the musically perfect style of renowned pian Italian myth Arturo Benedetti Michelangeli to which he has been compared by the critics.
The recording has been done using Neumann small-capsule microphones (series 140) and natural reverberation. The piano is a Steinway D 274 (1986).

Beethoven: Sonata No. 8 in C Minor, Op. 13 'Pathétique' - II. Adagio Cantabile - Alessandro Taverna

Info: http://www.onclassical.com/artists/avos/mozart/

Mozart received a commission for three quartets in 1785 from the publisher Franz Anton Hoffmeister. Hofmeister's fear that the work was too difficult for amateurs so he released Mozart from the obligation of completing the set. Nine months later, Mozart composed a second quartet. Those are the Piano Quartets KV 478 in G minor and KV 493 in E-flat major.
At the time the piece was written, the harpsichord was still widely used. Although the piece was originally published with the title 'Quatuor pour le Clavecin ou Forte Piano, Violon, Tallie [sic] et Basse,' stylistic evidence suggests Mozart intended the piano part for 'the 'Viennese' fortepiano of the period' and that our modern piano is 'a perfectly acceptable alternative.'
The Saint-Saens album, released for renowned label Brilliant Classics, was internationally welcomed with reviews as well as the following: "I can't begin to describe what unanimity of voicing, romantic passion, and alertness and keenness of technical execution they bring to these scores. And the cherry on the top is a recording of transparency and sharp focus the likes of which I’ve rarely heard." (Fanfare); and kudos on the sound quality: "Technically and sonically perfect" (klassik.com).

W.A. Mozart: Piano Quartet In E-flat Major, K. 493 - III. Allegro - Quartetto Avos

Info: http://www.onclassical.com/artists/riva/blancrocher/

The logic behind the inclusion in the CD of the four tombeaux of Denis Gaultier, Froberger, Couperin, and Dufaut is revealed when we see to whom it is dedicated: the amateur lutist Charles Fleury de Blancrocher who died in 1652 from a fall down stairs. He was a friend and patron of the four musicians.
It is the modern guitar that brings us once again this music - once played on the lute of Gaultier and Dufaut and the keyboard of Froberger and Couperin - embellishing it with its own style and language.
According to French logic Pablo Lentini Riva also performs the second Suite of Bach for cello, adding a third instrument to change the music again. The feelings and emotions raised by the death of a friend are relived with expression and depth. The musician artfully uses all the instrument's possibilities to give tone and dynamism to the performance that fully adheres to the expressive logic of the era.
(Text added in February 2010) This new version of Le Tombeau De Mousieur Blancrocher, more ample, contains the only composition we know of this composer: the Allemande, L’Offrande. Other new tracks: the Suite No. 9 in d minor and La Plainte (Tombeau des Mesdemoiselles de Visée) by Robert de Visée and a piece by renaissance composer Robert Ballard.
This renovated album is an exhaustive collection of Tombeau's dedicated to Mr. Blancrocher.

J.S. Bach: Suite in D Minor, BWV 1008 - V. Menuet I & II - Pablo Lentini Riva

Info: http://www.onclassical.com/artists/mahugo/royer/

Born in Turin, Royer went to Paris in 1725, and in 1734 became maétre de musique des enfants de France, responsible for the musical education of the children of the king, Louis XV. All his music for harpsichord is contained in the only published book (1746). The suite contained therein is multifaceted, with pieces of intense poetry and meditation, and other rhythmic and virtuous, so rare to find in other suites written for this instrument (with the exception of Rameau and Couperin maybe).
The harpsichordist Yago Mahugo give us a fully emotional and virtuous rendition of the Royer's pages accompanied by the majestic sound of the stable harpsichord at the OnClassical recording studio.
This recording, licensed for renowned label Brilliant Classics, received the highest considerations from the major music magazines including Fanfare, Scherzo, Ritmo, Musica...
"The sound of the harpsichord is great, helped by a very good sound take made by the sound engineer and harpsichordist Alessandro Simonetto. It is hard to imagine a better introductory card for Mahugo" (Eduardo Torrico, Scherzo magazine).

Pancrace Royer: Marche des Scythes, Fièrement - Yago Mahugo

Info: http://www.onclassical.com/artists/deljavan/favourites-ii/

'An astonishing Piano Favourites compilation!' - Martin Guerber, Jamendo
This double-album includes some of the most celebrated piano music of all time: Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Schumann, Liszt, Brahms, Dvorak, Grieg, Sibelius, Moussorgsky, Satie, Debussy, Ravel, Albeniz, Gershwin are the composers.
The performer, the pianist Alessandro Deljavan, is one of the most talked-about talents of our days. His recent participation at the Van Cliburn contest was widely acclaimed by the press which coined the term 'Deljamania' for the overwhelming effect Deljavan made on public.
In this double-album Deljavan gives us a very refreshing version of the famous pages in an incredible sight-reading version! His personal style is very complex - but also very clear - full of nuances, details on secondary lines, and virtuosity. He has total control of the piano and makes music with the magic acoustic.
The recording, 100% natural, was made in a very suggestive medieval church in Tuscany during a relaxing holiday.
No doubt this album is a must have!

Chopin: Etude In E Major, Op. 10 No. 3 'Tristesse' - Alessandro Deljavan

Info: http://www.onclassical.com/artists/zaccaria/massenet/

Amongst the operas, the orchestral works and the songs, for which he is very well known, Jules Émile Frédéric Massenet (1842-1912) also wrote a piano concerto and various piano pieces. These include a cycle of Improvisations, Ten pieces "de genre" (Op. 10), 2 Valses, 2 Impressions, and some other separated pieces. It can be identified with relative ease the Melodie, alas 'Elégie', the famous song. The CD also include the recording of two transcriptions derived from famous Massenet's melodies: the Meditation from 'Thais', and the 'Aragonaise' from 'Le Cid'. The character of Massenet's music here is mostly cantabile with some virtuoso and fast pieces which give a great variety to the series.
Maurizio Zaccaria is a young talenet from Bari with a great technical ease and interpretive ability. Aldo Ciccolini wrote about him: "This evening I’ve had the great joy to play with young Maurizio Zaccaria performing Rachmaninoff’s Third piano concerto, which is really very difficult. I think that Maurizio Zaccaria is a pianist endowed with rare technical and musical means. His interpretation was moving! I wish him a brilliant carrier. He’s worth of it".
The recordings has been captured in the wonderful theatre of Atri, Teramo, using 6 microphones (Neumann and Sennheiser) and Prism Sound top-class equipment.

Jules Massenet: Melodie from 10 Pieces - Maurizio Zaccaria

100% genuine artists. 100% natural sound.

The Classical Music Playlist - Keep Calm & Focus On... Classical

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