Albums

5339 albums sorted by Date: from newest to oldest and filtered by Chamber Music
£7.99

Chamber Music - To be released October 19, 2018 | Centrediscs

£7.99

Chamber Music - To be released August 31, 2018 | Champs Hill Records

£4.79

Chamber Music - To be released July 13, 2018 | Naxos

Booklet
£4.79

Chamber Music - To be released July 13, 2018 | Naxos

Booklet
£4.79

Chamber Music - To be released July 13, 2018 | Naxos

Booklet
£4.79

Chamber Music - To be released July 13, 2018 | Naxos

Booklet
£7.99

Chamber Music - To be released July 6, 2018 | Urania Records

£7.99

Chamber Music - To be released July 6, 2018 | Albany

Booklet
£7.99

Chamber Music - To be released July 6, 2018 | CPO

Booklet
£7.99

Chamber Music - To be released July 6, 2018 | Toccata Classics

Booklet
£7.99

Chamber Music - To be released July 6, 2018 | IBS Classical

Booklet
£15.98

Chamber Music - To be released July 6, 2018 | GAIA Recordings

£17.99
£11.99

Chamber Music - To be released July 6, 2018 | Signum Records

Hi-Res Booklet
While his twelve fantasias for solo flute and solo piano, all published in the 1730s, have been revised many times and spread all over Europe – so that a number of scores have always been available – Telemann's twelve fantasias for solo viola da gamba, published around the same time, seem to have been lost until 2000: no edition, no copy, no manuscript... Nothing. But then one fine day, the substantial contents of the library of a stately home near Osnabrück were presented to the German National Library, and after years of evaluation, miraculously, it was discovered that amongst the treasures there lay the one and only extant copy of these fantasias for viola da gamba. Twelve "new" works by Telemann, a godsend for viola da gamba players! Ten of them were written in three movements; the first only has two, and the second, by way of balance, perhaps, has four. Telemann runs through different keys fairly haphazardly: after the first four, which move from C to F, the others zigzag around somewhat. The formats of these fantasias are all fairly analogous to one another: the movements last two or three minutes. But it is in writing technique that Telemann is really adventurous. The keys which are "easier" for the instrumentalist, that is, those that contain the most open chords, make use of a lot of polyphony, while pieces in the rarer tonalities develop a deliciously melodic language. Viola da gamba player Richard Boothby, a student of Harnoncourt, made a solid name for himself in the baroque milieu when he founded the Purcell Quartet in 1984, and then the Fretwork ensemble the following year, with whom he has recorded a very well-regarded version of the Goldberg Variations. © SM/Qobuz
£23.98
£15.98

Chamber Music - To be released July 6, 2018 | Chandos

Hi-Res Booklet
£11.99
£7.99

Chamber Music - To be released July 6, 2018 | BIS

Hi-Res Booklet
£5.76

Chamber Music - To be released June 29, 2018 | Champs Hill Records

£11.99
£7.99

Chamber Music - To be released June 29, 2018 | Resonus Classics

Hi-Res
£11.99
£7.99

Chamber Music - To be released June 22, 2018 | Glossa

Hi-Res Booklet
If, usually, we associate Paganini to his twenty-four Caprices and the devilish virtuosity they demand of the violinist, you will see him here in a completely new light: the works for violin and guitar, much closer to Haydn and Mozart than to the devil’s hand that guided them for the Caprices. Written at the very beginning of the 19th century for some, and in the 1830s for the ones of the collections known as Centone di sonate, these works give prominence both to the violin and the guitar—we will remind you here that Paganini was also a phenomenal guitarist. As for the term “Centone”, it evokes a collection of pieces composed of elements reused from one or many other works; some kind of patchwork, in a way, and indeed the composer integrated there a bit of everything that was in fashion at the time, from the waltz to the polonaise, the pastoral to the march—we don’t necessarily know from whom or from where he took it, or if he just used the term to characterize the medley aspect of the thing. Fabio Biondi on violin and Giangiacomo Pinardi on Romantic guitar (an instrument from 1825) have a field day, and prove us that Paganini could be something other than a simple dispenser of virtuosity. © SM/Qobuz

Genre

Chamber Music in the magazine