Your basket is empty

Categories :

Albums

CD$20.99

Chamber Music - Released March 6, 2020 | Pan Classics

Booklet
HI-RES$31.49
CD$20.99

Chamber Music - Released September 25, 2015 | Pan Classics

Hi-Res Booklet Distinctions 5 de Diapason
CD$20.99

Chamber Music - Released February 17, 2017 | Pan Classics

Booklet
CD$20.99

Chamber Music - Released January 29, 2013 | Pan Classics

Booklet
CD$14.99

Classical - Released October 4, 2011 | Pan Classics

Booklet Distinctions 5 de Diapason
CD$14.99

Chamber Music - Released November 19, 2001 | Pan Classics

Distinctions Recommandé par Répertoire
In a time when national affiliation was necessarily written in stone, Henricus Albicastro was a genuine multi-national. Born in Bavaria to Swiss parents, Albicastro was what was then called a dilettante, not an unfocused dabbler but a musician whose day job was in another field, and in Albicastro's case that living was made astride a horse; he was a captain of the cavalry in the Dutch Republican Army in the War of the Spanish Succession. He also served as an orchestra leader at the University of Leiden in the 1680s, and as such, he is identified as "Viennensis Musicus adcademiae" in contemporary documents, suggesting his musical education occurred in Vienna. A tendency toward the use of oddball harmonic devices and especially florid violin writing indicates possible contact with the school of Biber and Muffat, but that element is miniscule compared to the influence of Arcangelo Corelli and the Italian model. Nevertheless, there are ways in which these concerti do not behave typically; there is an emphasis on tutti writing, and solo passages are sparingly used. Pan Classics' Henrico Albicastro: 12 concerti a Quattro Op. 7 is the first opus of Albicastro recorded complete and the first substantive program of Albicastro to appear on disc since 1990. It features two combined groups, Collegium Marianum and Collegium 1704, led by harpsichordist Václav Luks and featuring violin soloist Riccardo Masahide Minasi; both ensembles hail from Prague. This recording, in fact, was made in the Rudolfinum in Prague, but in 2000; it did not come out on Pan until 2007. Seven years is a heck of a long time for anything to sit in the can, so long that since then Minasi has left Collegium 1704 and joined Il Giardino Armonico. Admittedly, it is a good, though not great recording; the combined ensembles lack cohesion. Allegros tend to be a little wilted and underpowered; slow movements fare better. However, quite a bit of Albicastro's music is highly extraordinary; witness the fall sequences in the finale of the Concerto I in F, the proto-minimalistic texture of the movement marked Tremolo, Spiccato, Adagio in the Concerto III in C, and the sweet, pop-like harmonies in the oboe-driven Adagio of Concerto IV in C minor. Therefore, there is reason to want to seek out Pan Classics' Henrico Albicastro: 12 concerti a Quattro, Op. 7, especially if Baroque instrumental music is one's bag; hopefully this won't be the last we hear from the musical Cavalier of Leiden. © TiVo
CD$79.99

Chamber Music - Released January 27, 2015 | Pan Classics

Booklet
CD$20.99

Classical - Released February 7, 2020 | Pan Classics

Booklet
CD$20.99

Film Soundtracks - Released January 19, 2018 | Pan Classics

Booklet
Directed by the Munich conductor Frank Strobel (who also oversaw the mixing), the re-recording of the Metropolis soundtrack took place on the occasion of the restoration of this Fritz Lang classic, 83 years after its release. In 1927, the composer Gottfried Huppertz (1887-1937) was already a recognised film composer. Most notably, he gave the world the music for Nibelungen by the same Fritz Lang, in 1924. With Metropolis, he helped to establish film music as a respected form, at a time when the "genre" was in its infancy. Beyond the precision with which the score is written in terms of its correspondence with the images of a futuristic city, we find several fundamentals which would shape the golden age of a certain aesthetic in film music, in Germany, but also in Hollywood. First of all, it is composed in a tonal mode, epic and neo-romantic; it takes in many leitmotifs which describe both the characters and the themes of the film (love, rebellion, etc.) and finally, in spite of the general classicism, the Huppertz score is also a music of its time, Huppertz not hesitating to call in jazz harmonies and syncopated rhythms. And so this music contains all the elements which will be present across many of the film productions that would follow, including the Star Wars saga! ©NM/Qobuz
CD$14.99

Full Operas - Released June 24, 2016 | Pan Classics

Booklet
The listener may be forgiven for not knowing that any Debussy "Edgar Allan Poe Operas" existed, for neither of the works recorded here was ever completed. Moreover, and you don't learn this unless you read the notes or have investigated for yourself, one of them was hardly begun. After the success of Pelléas et Mélisande in New York, Debussy was encouraged to adapt a pair of Poe's short stories for a new American production. Debussy needed little encouragement and quickly produced a pair of scenarios, but other projects intervened, and the operas were never finished. The more complete one is La chute de la maison Usher (The Fall of the House of Usher), for which there are substantial sketches and several full realizations including the one here by "creative musicologist" Robert Orledge. Le diable dans le beffroi is almost entirely Orledge's work, and he seems to have diverged substantially from what Debussy planned (he has solo voices where Debussy apparently intended a choral work). This puts the whole project here firmly in the speculative realm, especially inasmuch as the operas seem to have been planned as a kind of pair, with Le diable dans le beffroi as the comic counterpart to the familiar moody tale of the House of Usher. But the music, especially in the Usher work (the patchwork of parody and quotation Orledge puts together for Le diable makes the question of whether it's Debussyan less relevant), sounds like Debussy, and although the graphics credit only the Göttinger Symphonie Orchester under Christoph-Matias Mueller, there are some fine solo singers here, most of all William Dazeley as Roderick Usher. Sample the climactic final tracks of this opera for the effect. Those interested in how Debussy saw Poe, as manifested in his adaptations, will be pleased to find complete texts in English, French, and German in the booklet (Debussy worked from Baudelaire's translations). Recommended for Debussy buffs. © TiVo
CD$19.99

Classical - Released September 25, 2015 | Pan Classics

Booklet
CD$20.99

Classical - Released April 28, 2015 | Pan Classics

Booklet
CD$20.99

Classical - Released April 1, 2014 | Pan Classics

Booklet
HI-RES$31.49
CD$20.99

Classical - Released October 2, 2020 | Pan Classics

Hi-Res Booklet
Johannes Brahms wrote well over 300 lieder, including his arrangements of German folk songs, partsongs and choral lieder. Considering how long he carried a song around in his head before writing and publishing the final version, this is an astonishing amount. This set presents a selection from Brahms’ huge lied repertoire, which not only gives an impression of his importance to music history up to the present day and what a perfect lied composer he was, but also reveals what a cheerful, young-at-heart and humorous person he must have been. The selection of songs and duets is arranged chronologically (1853-1896) and includes all phases of his life in which the lied played a central role, thus allowing the development of the German-language song in the time after Beethoven, Schubert and Schumann to be clearly traced. The pianist Jan Schultsz plays on a wonderful original J.B. Streicher fortepiano from 1871, a model on which Brahms also preferred to play. The singers are Rachel Harnisch, Marina Viotti and Yannick Debus - young singers who have already celebrated successes in concert and in major opera houses. © Pan Classics
CD$14.99

Classical - Released July 5, 2011 | Pan Classics

Booklet
Heinrich Ignaz Franz von Biber wrote violin music in an experimental style he shared with a few other German and Austrian composers of the late 17th century, oriented toward dramatic surprises, striking effects, and unusual pictorial devices rather than toward sheer difficulty. Quasi-contrapuntal passages and multiple-stopping of the violin are comparatively rare, but rapid runs ending unexpectedly on the seventh scale degree or some other unstable location are common in the 1681 set of sonatas recorded here. The eight individual sonatas in the set consist of dances, variations, and untitled movements with as many as eight short sections in contrasting tempos; it is in these that violinist Gunar Letzbor gets to show his technical chops, using a copy of a period violin. Hearing these pieces back to back, certainly not how they were intended to be performed, is of more interest to Biber enthusiasts than to the general listener, but the best is saved for last: the eighth sonata has an ingeniously written "trio sonata" texture with two violin parts that are playable by a single violinist. Better still is the Sonata "Representativa," with the varying continuo instruments of Ars Antiqua Austria deployed to produce entertaining depictions of a hen, a frog, a cat, a nightingale, and so forth. In its way this is as daring as Biber's Rosary Sonatas, which remains better known than any of the music on this album. Letzbor's performances were originally issued in 1994, which still didn't join an abundance of recordings of this music, making a sensible place to go for those initially attracted to Biber by the Rosary Sonatas. © TiVo
CD$14.99

Classical - Released February 7, 2012 | Pan Classics

Booklet Distinctions 5 de Diapason
CD$14.99

Full Operas - Released June 28, 2007 | Pan Classics

Distinctions 5 de Diapason - 10 de Classica-Répertoire - 4 étoiles Classica
Francesco Cavalli (1602-1676) was a worthy successor to Monteverdi on the Venetian musical scene, and while his operas may not sustain the level of exalted musical inspiration and psychological depth of Monteverdi's, they come close enough to fully deserve the recognition they are beginning to receive. Like Monteverdi, Cavalli was a master dramatist, and his operas bristle with theatrical energy and vivid musical characterizations. L'Ormindo (1644), the first of his operas to be rediscovered (by Raymond Leppard, who conducted it at Glyndebourne in 1967), was written just two years after L'incoronazione di Poppea, and shares some of its attributes, most notably a remarkably expressive use of recitative, intriguing characters, and a dramatically arresting intermingling of comic and serious elements. The plot, unlike Monteverdi's clear and compact narrative, involves the complexity of mistaken identities, convoluted relationships, and improbable resolutions that would come to characterize later Baroque opera. The characters, however, are emotionally believable, for the most part, and are dramatically engaging, making it easier to overlook the absurdity of the plot. L'Ormindo receives a splendid performance by the French ensemble Les Paladins, conducted by Jérôme Correas. Correas' flexibility allows the singers to deliver the recitatives with convincing naturalism, but he never lets the musical momentum sag. There's not a weak link among the large cast, all of whom negotiate the early Baroque idiom as if it were second nature, and with persuasive dramatic vigor. The singers sound like a tight comedic troupe, and their interactions have a wonderful spontaneity. Pan's acoustic is clean and resonant, with excellent, natural-sounding balance. The performance would make an excellent introduction to the neglected world of early Baroque opera, and to Cavalli's genius as a dramatic composer. © TiVo
CD$20.99

Chamber Music - Released June 26, 2020 | Pan Classics

CD$14.99

Classical - Released October 6, 2011 | Pan Classics

Booklet
CD$20.99

Classical - Released October 19, 2018 | Pan Classics

Booklet