Label: ACCENT SACD 25309
Our Price: $24.25
Quantity in Basket: none
JOHANN SEBASTIAN BACH (1685 – 1750) - CANTATAS FOR THE COMPLETE LITURGICALYEAR, VOLUME 9
Cantata BWV 61 “Nun komm, der Heiden Heiland” – 1st Sunday of Advent
Cantata BWV 36 “Schwing freudig euch empor” – 2nd Sunday of Advent
Cantata BWV 62 “Nun komm der Heiden Heiland” – 3rd Sunday of Advent
Cantata BWV 132 “Bereitet die Webe, bereitet die Bahn” – 4th Sunday of Advent

Gerlinde Sämann, soprano; Petra Noskaiová, alto; Christoph Genz, tenor; Jan Van der Crabben, bass

La Petite Bande/Sigiswald Kuijken
In the beginning there was great scepticism towards the thesis that Bach’s sacred vocal works were originally written for solo voices. Now this interpretation is establishing itself more and more.
With this edition of one cantata for each Sunday and the great feasts of the ecclesiastical year Sigiswald Kuijken and La Petite Bande want to strengthen this new approach and prove it right by their excellent performances.
This Vol. 9 of the edition contains cantatas for first Sunday of Advent (BWV 36, 61 & 62), as well as for the fourth Sunday of Advent (BWV 132).

Label: ACCENT SACD 25310
Our Price: $24.25
Quantity in Basket: none
JOHANN SEBASTIAN BACH (1685 – 1750) – CANTATAS FOR THE COMPLETE LITURGICAL YEAR, VOLUME 10
Cantata “Es ist euch gut, dass ich hingehe” BWV 108
Cantata “Wahrlich, wahrlich, ich sage euch” BWV 86
Cantata “Lobet Gott in seinen Reichen” BWV 11
Cantata “Sie werden euch in den Bann tun” BWV 44

Sigi Thornbill, soprano; Petra Noskaiová, alto; Christoph Genz, tenor; Jan Van der Crabben, bass

La Petite Bande/Sigiswald Kuijken
In the beginning there was great skepticism towards the thesis that Bach’s sacred vocal works were originally written for solo voices. Now this interpretation is establishing itself more and more.
With this edition of one cantata for each Sunday and the great feasts of the ecclesiastical year Sigiswald Kuijken and La Petite Bande want to strengthen this new approach and prove it right by their excellent performances.
This Vol. 10 of the edition contains cantatas for the forth till sixth Sunday after Easter (BWV 108, 86, 44), as well as the so-called “Himmelfahrts-Oratorium” (BWV 111).

Label: ACCENT SACD 25311
Our Price: $19.00
Quantity in Basket: none
CANTATA BWV 67 “HALT IN GEDÄCHTNIS JESUM CHRIST”
CANTATA BWV 85 “ICH BIN EIN GUTTER HIRT”
CANTATA BWV 12 “WEINEN, KLAGEN, SORGEN, ZAGEN”

LA PETITE BANDE; SIGISWALD KUIJKEN, DIRECTOR
GERLINDE SÄMANN, SOPRANO; PETRA NOSKAIOVÁ, ALTO; CHRISTOPH GENZ, TENOR; JAN VAN DER CRABBEN, BASS

In the beginning there was great scepticism towards the thesis that Bach’s sacred vocal works were originally written for solo voices. Now this interpretation is establishing itself more and more. With this Edition of one cantata for each Sunday and the great feasts of the ecclesiastical year Sigiswald Kuijken and La Petite Bande want to strengthen this new approach and prove it right by their excellent performances. This Vol. 11 of the edition contains the Cantatas for “Quasimodo-geniti”, “Misericordias Domini” and “Jubilate” Sundays; these are the three Sundays after Easter.

Label: ACCENT SACD 25312
Our Price: $24.25
Quantity in Basket: none
Cantata “Wer weiß, wie nah emir Ende”, BWV 27; Cantata “Wer sich selbst erhöhet, der soll erniedrigt werden”, BWV 47; Cantata “Warum bertrübst du dich, mein Herz”, BWV 138; Cantata “Her Christ, der einge Gottessohn”, BWV 96

Gerlinde Sämann, soprano; Petra Noskaiová, alto; Christoff Genz, tenor; Jan Van der Crabben, bass
La Petite Bande / Sigiswald Kuijken, conductor

Label: ACCENT SACD 25313
Our Price: $24.25
Quantity in Basket: none
Oster-Oratorium, BWV 249; Cantata “Bleib bei uns, denn es will abend werden” BWV 6

Artists:
Yeree Suh, soprano; Petra Noskaiová, alto; Christoph Genz, tenor; Jan Van der Crabben, bass
La Petite Bande, Sigiswald Kuijken, director.

With this edition of one cantata for each Sunday and the great feasts of the ecclesiastical year Sigiswald Kuijken and La Petite Bande want to strengthen this new approach and prove it right by their excellent performances. This Vol. 13 of the edition contains the Oster-Oratorium BWV 249 and the Cantata for Easter Monday BWV 6.

“Among current cantata series Sigiswald Kuijken’s has a distinctive place, his one-to-a-part voices and few instruments achieving striking delicacy. His vocal soloists sing with disarming simplicity and ease in arias, and blend superbly in ensemble. A rare treat, Kuijken – and Bach – at their very best.” – BBC Music Magazine, vol. 9 March 2010.

Label: AMATI SACD 2205
Our Price: $19.00
Quantity in Basket: none
WOLFGANG AMADEUS MOZART: Concerto for Harpsichord & Orchestra in D major KV 107/1; Concerto for Harpsichord & Orchestra in G major KV 107/2; Concerto for Harpsichord & Orchestra in E flat major KV 107/3
JOHANN CHRISTIAN BACH: Quintet in D major for Transverse flute, Oboe, Violin, Cello & Obligate harpsichord, Op. 22; Sonata in C minor for harpsichord, Op. 17/2

Tatjana Vorobjova, harpsichord
Le Parnasse Musical: Eva Morsbach, recorder & transverse flute; Ina Stock, baroque oboe; Gabriel Nußberger & Martina Theobald, violin; Martin Burkhardt, cello; Tatjana Vorobjova, harpsichord

Label: AMATI SACD 2301/3
Our Price: $57.00
Quantity in Basket: none
“Singspiel” in Two Acts in the Original 1791 Version Vienna

Isolde Siebert (Königin der Nacht); Suzy Le Blanc (Pamina); Christoph Genz (Tamino); Cornelius Hauptmann (Sarastro); Stephan Genz (Papageno); Marie Kuijken (Papagena)
Knaben des Tölzer Knabenchors
Chor und Orchester La Petite Bande/Sigiswald Kuijken

Without doubt this work is not simply a popular opera with a touch of fairy tale but at the same time an “initiation opera”. It breathes the spirit of Mozart’s and Schikaneder’s active participation in the Freemasonry in Vienna of the last decennium of the 18th century. But it is more than a “documentation” where the spectator is offered the chance to be a witness. It seems to me that if we position ourselves enough “blanco-naiv” and without prejudices (as if we really experience the work for the first time) there is the possibility to live through a kind of baptizing, a dawning of consciousness of higher spiritual spheres. (3 CDs)

Label: ARS PROD. SACD 38081
Our Price: $48.50
Quantity in Basket: none
ARTISTS: Sibylla Rubens, soprano; Jan Kobow, tenor; Hanno Müller-Brachmann, baritone; Tölzer Knabenchor; Cappella Coloniensis; Bruno Weil, director. Bruno Weil is considered as one of the world‟s leading interpreters of Haydn‟s music. Haydn is represented in many of his 22 recordings released on the Sony Classical label. His recording with the Canadian ensemble Tafelmusik of the “Paris” Symphonies by Haydn won the MIDEM Cannes Classical award in 1996. Weil and Tafelmusik have also been awarded the German Echo Klassik Award as Orchestra of the Year in 1996 for their recording of Haydn‟s Missa Sancti Bernardi (Heiligmesse), and in 1997 Weil himself won the Echo Klassik Award as Conductor of the Year. Capella Colonienses, founded in 1954, was the first orchestra in the world to make music according to historical performance practices. Amongst the important conductors that have stood in front of the orchestra are Ferdinand Leitner, William Christie, and John Eliot Gardiner, to name only a few. In 2003 the musicians of Cappella Coloniensis chose Bruno Weil as their artistic director. The present recording of Haydn‟s Seasons arises out of a concert performance given in the Philharmonie Essen in 2010.

Label: ARS PRODUCTION SACD 38068
Our Price: $24.25
Quantity in Basket: none
CHRISTIAN ERNST GRAF (1723 – 1804): Sinfonia I & III; Cello ConcertoNo. 1 in D major; Cello Concerto No. 2 in C major
CARL FRIEDRICH ABEL (1723 – 1787): Cello Concerto in C major

ARTISTS: Klaus-Dieter Brandt, cello; L’arpa Festante

The life and work of Christian Ernst Graf (1723-1804) remains largely unexplored – a striking fact given the outstanding quality of the works that have been re-discovered and recorded. Little is known about Christian Ernst’s life in his birth town Rudolstadt before he moved to the Netherlands. In the 1750s, he became a composer at the court of Princess Anna van Hannover (1709–1759), widow of stadtholder Willem IV (1711–1751), and at the Court of His Royal Highness the Prince of Orange. Graf’s compositional idiom is characterized by an almost modern sensibility and inventiveness, both expressive and brilliant in style – qualities that are apparent in the two violoncello concertos presented on this SACD. Like Marin Marais in his viola da gamba pieces, Graf explored the virtuosic possibilities of the violoncello to its limits.

Label: ARS PRODUKTION SACD 38001
Our Price: $24.25
Quantity in Basket: none
La Baviera, Festserenata (1726)
La Publica Felicità, Componimento poetico per musica per introdurre et accompagnare un Carosello Zur Hochzeit von Karl Albrecht mit Maria Amalia (1722)
Egloga Pastorale, Serenata per Musica in Applauso del Glorioso Nome dell´ Altezza Serenissima Elettorale di Carlo Alberto (1726)

Susanne Bernhard, soprano; Heidi Meier, soprano; Martin Oro, alto; Tom Allen, tenor; Martin Bruns, baritone

Neue Hofkapelle München/Christoph Hammer
“Pomp and Ceremony” was the title of an exhibition of the Bavarian Department for State Palaces during 2002. The exhibition was accompanied by a thematically related concert series highlighting works of Bavarian court composers active during the 17th and 18th centuries. Many works performed in this series were heard for the first time since their premieres several hundred years ago. The opening concert took place on September 7, 2002 in the Kaiser Hall of the Munich Residence, featuring works paying homage to Elector Karl Albrecht. This CD is a live recording of that concert.
The allegorical serenade La Baviera by Pietro Torri praises the skill of the new Elector Karl Albrecht and his future fame through the baroque figures Fama, the Isar river, and the personification of Bavaria: Viva Carlo. La pubica felicità had already been written as tournament music in 1722 for the wedding of Karl Albrecht and Maria Amalia, daughter of the Kaiser in Vienna. Torri had composed an opera for this festive occasion as well. The attribution of Egloga pastorale from 1726 is not entirely certain; its handwriting makes it likely to be a work of kapellmeister Bernabei which was commissioned by Princess Maria Amalia for Karl Albrecht’s name day. These works have also been edited and performed using autographs from the Bavarian State Library.

Label: ARS PRODUKTION SACD 38002
Our Price: $24.25
Quantity in Basket: none
CAMILLE SAINT-SAENS (1835 – 1921): Cello Concerto in A minor, Op. 33
VICTOR ANTOINE EDOUARD LALO (1823 – 1892): Cello Concerto in D minor
PABLO DE SARASATE (1844 - 1908): Zigeunerweisen, Op. 20 (first recording for cello and orchestra)

Kerstin Feltz, cello

Vogtland Philharmonie Greiz, Reichenbach/Doron Salomon

Label: ARS PRODUKTION SACD 38003
Our Price: $24.25
Quantity in Basket: none
Sonata for Violoncello & Piano Op.40
Sonata for Viola & Piano Op.147 (Version for Cello & Piano)

Friedrich Kleinhapl, violoncello

Andreas Woyke, piano
Because of my emotional relationship to music and cello-playing, with a particular stress an beauty of sound, I always felt at home with the romantic style. But working an Bach’s Solo Suites showed me the limits of this relationship, as Bach’s music requires a more analytical approach.
Through the encounter with Claudia Abbado in the Gustav Mahler Orchestra I started to give my attention to twentieth-century music. This music represented far me a totally new made of expression which was emotionally incomprehensible and required mare technical thinking.
Eventually, my conceptions of sound and aesthetic also reached their limits. Because of the ever increasing offers to play new works by contemporary composers, new techniques were needed, which totally contradicted my ideas of what a cello should sound like. And I felt their effects.
The result of all these efforts and develo0pments was an increasing interest far the new and the other and the wish far expressiveness and richness of colour.
Dmitry Shostakovich’s music appears to me to combine all these energies. For me, the overflowing richness of his expressive world is a reflection of the whole spectrum of the mental components that make man what he is: from absolute ecstasy to complete apathy, from extreme fear of death to wild exuberance, from humour and irony to sarcasm and from deep tenderness to brutality. - Friedrich Kleinhapl

Label: ARS PRODUKTION SACD 38004
Our Price: $24.25
Quantity in Basket: none
From Holberg-Suite, Op. 40: Praludium, Sarabande, Gavotte, Air & Rigaudon
From “Lyric Pieces”: Abend im Hochgebirge, Op. 68/4; Zug der Zwerge, Op. 54/3; Hochzeitstag auf Troldhaugen, Op. 65/6 & An der Wiege, Op. 68/5
Sonata in E minor, Op. 7
Peer-Gynt-Suite No. 1, Op. 46

Martin Schmeding, organ
Few composers attained during their lifetime a popularity comparable to that of Edvard Grieg. Numerous arrangements of his most famous works, for example the “Peer Gynt Suite” or the “Lyric Pieces”, have made his music accessible to a large audience. Despite this general recognition Grieg was plagued throughout his life by self-doubts. He found it difficult to accept that his genius and creativity lay in small forms, written in a classical-romantic musical language coloured by Norwegian influences and skilfully exploited, rather than in symphonic dimensions. On top of these musical difficulties came problems with his health and his private life. Moulded by a conservative bourgeois family and a conventional musical education at the Leipzig Conservatory, Grieg rejected a revolutionary attitude to musical development, such as can be found for example in the compositions of his contemporary Richard Strauss. He nevertheless found in his central works his very own formal and sonorous solutions. Grieg saw himself – contrary to great masters like Bach, Mozart and Beethoven – as a composer of his time writing for the contemporary audience. The constant popularity of some of his works surely testifies with hindsight to the quality of his inspiration and lets the epithet “Master of the Miniature” appear in a positive light. Because of the secular content of most of the works by Edvard Grieg, an arrangement for organ does not at first suggest itself. Nevertheless the musical structure and extremely varied coloration of numerous pieces make them adequately portrayable, with great technical and sonorous charm, by the “King of the instruments”. - Martin Schmeding

Label: ARS PRODUKTION SACD 38005
Our Price: $24.25
Quantity in Basket: none
GIOVANNI PIERLUIGI DA PALESTRINA (1525 – 1594): O Rex gloriae, Chorsatz für stimmig gemischten Chor
FRANZ LISZT (1811 – 1866): Salve Regina, Motet
EDVARD GRIEG (1843 – 1907): Ave, maris stella, Motet
FRANCESCO PAOLO NEGLIA (1874 – 1932): Ave Maria, Motette für 4-8 stimmig gemischten Chor
ANTONIN DVORAK (1841 – 1904): Mass in D major for Choir and Organ, Op. 86
OSKAR GOTTLIEB BLARR (*1926): Der Aaronitsche Segen für 4-5 stimmig gemischtne chor

Jugendkantorei Hösel/Toralf Hildebrandt

Norbert Düchtel, organ

Label: ARS PRODUKTION SACD 38007
Our Price: $24.25
Quantity in Basket: none
WILLIAM CHRISTOPHER HANDY (1873 – 1958): St. Louis Blues
HAROLD ARLEN (1905 – 1986): Somewhere Over The Rainbow
PERCY MAYFIELD (1920 -1984): Hit The Road, Jack
DUKE ELLINGTON (1899 – 1974): It Don't Mean A Thing
JOSEPH EASTBURN (1837 – 1918): Little Brown Jug
THEO MACKEBEN (1897 – 1953): Nur nicht aus Liebe weinen
ENNIO MORRICONE (*1928)/JOHAN DE MEY: A Moment for Morricone
ENRIQUE FRANCINI (1916 – 1978): La vi llegar
FRIEDRICH HOLLAENDER (1896 – 1976): Guck doch nicht immer nach dem Tangogeiger hin
FREDERICK LOEWE (1901 – 1988): I Could Have Danced All Night
WERNER RICHARD HEYMANN (1896 – 1961): Liebling, mein Herz lässt Dich grüßen
HARRO STEFFEN (*1920): Tanz mal wieder Bossa-Nova
LEONELLO CASUCCI (1885 – 1975): Schöner Gigolo, Armer Gigolo
ANTON PROFES (1896 – 1976): Am Sonntag will mein Süßer mit mir Segeln geh'n
SCOTT JOPLIN (1868 – 1917): Wall Street Rag
CHARLES CHAPLIN (1889 – 1977): Bathtub Nonsense
HERBERT GRONEMEYER (*1976): Mambo
GEORGE GERSHWIN (1898 – 1937): The Man I love; Embraceable you; I Got Rhythm
EMMERICH KALMAN (1882 – 1953): Weißt Du es noch
NIKOLAUS BRODSZKY (1905 – 1958): Be My Love
TRADITION: Loch Lomond; Irish Blessing

Berliner Cellharmoniker: David Drost, Alexander Kahl, Andreas Kipp, Rouven Schirmer
Since its founding in 1994, Berliner Cellharmoniker has been able to successfully establish itself in the international music-scene. The ensemble has won various competi¬tions including the “Charles Hennen” Chamber Music Competition (the Netherlands) and the Violoncello Ensemble Competition in Beauvais (France) – and has also been distinguished with the EMCY (European Union of Music Competi¬tions for Youth) special prize “Dancing Angel”, the special prize from the city of Beauvais as well as the European Foundation for Culture’s promising young artist prize “Pro Europa”. This success has led to several radio and television appearances in addition to numerous guest performances at renowned concerts or well-known music festivals, such as the Rheingau Music Festival, the Schleswig-Holstein Music Festival and the Sommets Musicaux de Gstaad.
Berliner Celiharmoniker’s extensive re¬pertoire ranges from classical works and virtuoso pieces to Avantgarde and uniquely interpreted own arrangements from film scores, easy listening, pop and jazz of which the latter can be heard on this CD. The quarte¬t’s special attention to contemporary music has inspired several composers to compose their own pieces especially for the ensemble.
To give you the feeling that you are u part ofthe ensemble and completely surrounded by the four Cellharmoniker, this CD has been re¬corded in the SACD (Super Audio CD) format for play back on a SACD-compatible device. When playing back on a conventional CD player, the music will be reproduced in high-quality stereo sound.