Sonata For Keyboard In D Minor, K. 32, Domenico Scarlatti 2

Chopin: 12 Études, Opp. 10 & 25 - Trois Nouvelles Études

12 Études, Op.10: No. 3 in E Major, Tristesse

14-track album from Allegro String Ensemble, featuring classical string quartets composed by Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven.

All tracks can be licensed for use in your own media productions such as videos, film, advertising, online / social media, podcasts, audiobooks, games and apps. etc. To purchase a license to use any of these music tracks in your own project, visit our website: https://www.Shockwave-Sound.com

Haydn, Mozart & Beethoven String Quartets

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Haydn String Quartet in C Major, Hob.III:6 ; Op. 1 No. 6: 3. Adagio

Adam Stadnicki debut concert the 23rd April 2014 live, Encore
Cello: Adam Stadnicki
Piano: Alexander Mckenzie
Royal Danish academy of music concert hall

Après un rêve Op. 7 No. 1 (Gabriel Fauré), live concert the 23rd April 2014

Cellist Péter Somodari and pianist Nicolas Costantinou present Hedra, an album that takes the listener through key repertoire for cello and piano, from sonatas by Beethoven and Debussy and individual pieces by Fauré to a world-premiere recording of the Cello Sonata No. 1 by contemporary Greek Cypriot composer Contantinou Y. Stylianou. 

The word ‘hedra’ (Greek: ἕδρα) refers to any side or face of a three-dimensional geometric shape. Any given face is not only connected to its neighbours, but together they contribute to and are part of the final shape. Similarly, every musical masterpiece is interconnected with those that follow, as it inevitably contributed to their formation, and this is reflected in the relationship between the works gathered together on this release. Beethoven pioneered the modern cello sonata, and from first to last his five cello sonatas chart a huge development in the genre. The Fourth, as recorded on this album, spans dark chromaticism, improvisatory freedom and extrovert exuberance in a manner that paved the way for later composers. 

Fauré’s amiable Sicilienne was composed as part of the incidental music for Molière's play, Le Bourgeois gentilhomme, while his Élégie was originally conceived as the slow movement of an abandoned cello sonata. The Élégie was described by composer Patrick Castillo as honouring “grief as a multifaceted thing”, relating it to this album’s theme. Written late in his life while he struggled with illness and the impact of the First World War, Debussy’s Cello Sonata is founded on principles inherited from Beethoven and his contemporaries; Debussy said that his sonatas were composed “in the old supple forms (without the bombast of modern sonatas)”, and that the Cello Sonata is “almost Classical in the best sense of the word”.  

Stylianou’s Sonata for Cello and Piano in C major is a further continuation of the question of the sonata form and whether it is still relevant today. The work was composed during spring 2020 and in the words of the composer: “I decided to channel all the fear and frustration of the pandemic in creating a work that deals with those aforementioned questions but in a personal way. It would be impossible to avoid feelings of that period seeping into the work, but at the same time, I wanted it to be a creation in pursuit of inner balance, which is after all what the sonata form is meant to be. Whatever the opposition of two musical ideas (or more) might be, in the end, it must find a resolution of some sort.”

Péter Somodari and Nicolas Costantinou have been performing together since their student days. Currently serving as the principal cellist of both the Vienna State Opera and the Vienna Philharmonic Orchestra, Péter Somodari has collaborated with such artists as Leonidas Kavakos, Patricia Kopatchinskaja, Alexei Lubimov, Truls Mørk, Miklós Perényi, Boris Pergamenschikow, Christian Tetzlaff, Tabea Zimmermann, composer György Kurtág, and the Toyota Orchestra. He is currently a visiting professor at the University of Music and Performing Arts in Vienna

A regular collaborator with Odradek Records, Steinway Artist Nicolas Costantinou has a doctorate from the Royal College of Music in London and is renowned for impressing audiences with his daring selection of repertoire old and new. Costantinou has previously recorded the music of Constantinos Y. Stylianou on the Odradek releases Metavasis and Past Forward. Stylianou studied and now lives in London, and his music has been performed by the Philharmonia, Bruckner Symphony Orchestra, Oxford Philharmonic Orchestra, Jeunesses Musicales World Orchestra and the Cyprus Symphony Orchestra, in prestigious venues such as Wigmore Hall in London, the King’s Theatre in Edinburgh, St David's Hall in Cardiff, Teatro La Fenice in Venice, Beethoven-Haus in Bonn, ORF concert hall in Vienna, Megaron Concert Hall in Athens, the UNESCO Headquarters and the Cathédrale Saint-Louis des Invalides in Paris.

Gabriel Faure - Sicilienne, Op. 78

Requiem, Op. 48 - Pie Jesu

Gabriel Fauré, composer
Ryan Dodge, arranger
Trevor Nuckols, horn
David Ball, organ

When Gabriel Fauré sat down to write what he at first called his Petit Requiem in 1887, he could not have helped but think of settings by three of the nineteenth century’s most illustrious composers: Hector Berlioz (1837), Giuseppe Verdi (1874), and Johannes Brahms (1868). Two of these – by Berlioz and Verdi – are on an enormous scale and pack overwhelming dramatic punch. The kinder, gentler Deutsches Requiem by Brahms, composed following the death of his mother, is an outlier, avoiding altogether the Latin liturgical texts with its images of hell and eternal damnation and focusing more on the notions of release from suffering and eternal life.

Fauré’s approach is something of a hybrid, freely excerpting texts from the Requiem Mass and other liturgies according to his own aesthetic. In a 1902 interview, Fauré, who spent his career as an organist, said his goal was “to stray from the established path after all those years accompanying funerals! I’d had them up to here. I wanted to do something different.”

First performed in Paris’s Madeleine Church at the 1888 funeral of architect Joseph Lesoufaché, Fauré’s Petit Requiem initially used only the tender closing section, Pie Jesu, from the predominantly “fire and brimstone” Sequence (Dies irae, dies illa…) which evokes the “day of wrath, day of doom,” the “righteous Judge of vengeance” and “all of nature quaking” at the blast of the trumpet.

“Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest,” Faure said, shortly after completing the first of several versions he would write over a fifteen-year period.

Fauré’s original version, from 1888, was scored for a choir of about 40, accompanied by a small orchestra of solo violin, divided violas, divided cellos and basses, harp, timpani and organ. The use of lower strings with no brass was clearly intended to emphasize the gentle, comforting nature of the piece. When Fauré got around to preparing the score for publication in 1893, he made several revisions, adding portions from the liturgical Offertoire and the Libera me, which had begun life several years earlier as a separate work for baritone solo. He also added parts for two bassoons, four horns and two trumpets.

In the late 1890s Fauré’s publisher convinced the composer to expand the orchestration further to include full symphony orchestra. Although it seems to have rubbed against the grain, Fauré agreed and issued a third version, published in 1901, that was popular for much of the 20th century. However, in the 1970s and 1980s several Fauré scholars along with the English composer/conductor John Rutter worked to reconstruct Fauré’s original 1893 orchestration. This version is considered by many to be closest to Fauré’s original intent, although Fauré himself never renounced the larger version for full orchestra, stating that it was appropriate for certain “concert” situations.

Gabriel Fauré: Requiem, Op. 48 - Pie Jesu, arr. Ryan Dodge｜Trevor Nuckols, David Ball (Live)

Nocturne No. 1 in E-flat Major

Nocturne No. 1 in E-flat Major (Part One)

Henry Purcell - Oedipus_ Musick for a While, Z. 583

First Worldversion on Feltpiano. Listen to the Track on Amazon Music to trigger the Algorithm. Thank you so much.

Gustav Mahler - Adagietto from Symphony No. 5 cSharp - Minor. Feltpiano - Version by Jürgen Reimann

Sultasto. Virtuose Musik aus Barock, Klassik und Romantik. Mit Gerhard Koschel (Akkordeon) und Gerald Meißner (Violine).

Sonata For Keyboard In D Minor, K. 32, Domenico Scarlatti 2

Raanan Robertson