CARISSIMI; GABRIELI Label: COVIELLO SACD 20602 Our Price: $24.75 Quantity in Basket: none
GIACOMO CARISSIMI (1605 – 1674): Jonas; Dixit Dominus; Magnificat; Judicium Extremum; GIOVANNI GABRIELI (1557 – 1612): Sonata for 8 Instruments in two Choirs from “Canzoni e sonate per sonar con ogni sorte de Instromenti”, Venedig 1615 Lautten Compagney; Capella Angelica; Wolfgang Katschner, conductor
	GIUSEPPE VERDI: Missa da Requiem Label: COVIELLO SACD 30512 Our Price: $24.75 Quantity in Basket: none
Melba Ramos, soprano; Gabriele May, alto; Michael Ende, tenor; Martin Blasius, bass Choir of the “vocapella” Symphony Orchestra Aachen/Marcus Bosch, Live Recording There are similarities of excess in both the enthusiasts ’high praise of Verdi’s Requiem and the critics’ condemnation of the work as sentimental and theatrical. George Bernard Shaw called the Messa da Requiem ‘Verdi’s greatest opera’, a judgement not so far a field from conductor and Wagnerian Hans von Bülow, who branded it an ‘opera in sacred clothing'. That Verdi was a consummate man of the theatre – he once seriously applied this term to himself instead of the designation ‘composer’ – is apparent throughout the score of the Requiem. Verdi displays the mastery of the great dramatic musician in the simple beauty of the folk tune or Gregorian chant derived melody of the ‘Agnus Dei’ that delves deeper with every new variation, the weave of the motifs served by the surprising colors of the orchestra, and the varied use of harmony. Performance directions like ‘as quietly as possible’, ‘plaintively', ‘gloomily’, ‘dolcissimo morendo’, and even ‘weepingly’ show that Verdi was aiming to recreate the realism that he achieved in his operas by illustrating the tension and conflict of the protagonists with their fellow humans and with society. It is this insistence on realism that truly sets the Requiem alongside Verdi’s operatic creations.
	WOLFGANG AMDEUS MOZART (1756 - 1791) - SACRED WORKS Label: COVIELLO SACD 30607 Our Price: $24.75 Quantity in Basket: none
Coronation Mass KV 317; Exsultate Jubilate KV 165; Vesperae Solemnes de Confessore KV 339; Ave Verum Corpus KV 618 Dorothee Mields, soprano; Mélanie Forgeron, mezzo-soprano; Christoph Wittman, tenor; Martin Berne, bass Choir of the “vocapella” Symphony Orchestra Aachen/Marcus Bosch Mozart's Coronation Mass was so called since it was performed for the coronation of Kaiser Leopold II, in Frankfurt 1790. However, like most sacral compositions, the mass was written during Mozart's time in Salzburg and was first performed in Salzburg cathedral on Easter Sunday 1779. This most important of days for the church explains the grand instrumentation, with oboes, horns, trumpets and timpani. Mozart also fulfilled his duties to Salzburg's Archbishop in a brilliant way with Vesperae solemnes de confessore and Exsultate jubilate. His motet, Ave verum corpus, from the year of his death, 1791, and probably his most popular choral work today, achieves highest perfection on the smallest of scales, combining simple expression with complex modulation. Marcus Bosch, the Aachen Symphony Orchestra and the choir “vocapella” perform Mozart's sacral works in the acoustically imposing Aachen cathedral on this hybrid SACD.
	JOHANNES BRAHMS (1833 – 1897) Label: COVIELLO SACD 30704 Our Price: $24.75 Quantity in Basket: none
Symphony No. 1 in C minor, Op. 68; Symphony No. 4 in E minor, Op. 98 Symphony Orchestra Aachen/Marcus Bosch (Live recordings) The symphony has been considered the pinnacle of composing since Beethoven's time, known by some as a "speech to humanity". A heavy burden for later composers, among whom few suffered as much as Johannes Brahms. He wanted his first symphony to live up to these huge expectations, to stick to Beethoven’s model, yet at the same time renew it- hardly any other work in the history of music had such lofty goals. 14 years of doubt and alterations passed between the first draft and Brahms ultimate decision to publish the work. For all its individuality, the reference to Beethoven is clear. A mere nine years later, Brahms drew an emphatic line under his symphonic work with the publication of his fourth symphony. With this confrontation of first and fourth symphonies, Coviello Classics continues its award- winning live recording collaboration with the Aachen Symphony Orchestra under Markus Bosch.
	RICHARD STRAUSS: Eine Alpensinfonie, Op. 64 Label: COVIELLO SACD 30705 Our Price: $24.75 Quantity in Basket: none
Staatsorchester Braunschweig/Jonas Alber Live Recording
	SIMPLE GIFTS Label: COVIELLO SACD 40611 Our Price: $24.75 Quantity in Basket: none
AARON COPLAND (1900 – 1990): Simple Gifts (A Shaker melody) for women’s choir; The Old American Songs (The Boatmen’s Dance; The Dodger & I bought me a cat); BENJAMIN BRITTEN (1913 – 1976): Hymn to St. Cecilia, Op. 27; Three Folksong Arrangements (The Bonnie Earl o’Moray; The Salley Gardens; Oliver Cromwell); MICHAEL TIPPETT (1905 – 1998): Five Negro Spirituals from “A Child of our Time” (Steal away; Nobody knows; Go down, Moses; By and by; Deep river); SAMUEL BARBER (1910 – 1981): Agnus Dei, Op. 11; A Stopwatch and an Ordnance Map; RANDALL THOMPSON (1899 – 1984): Alleluia Rundfunkchor Berlin/Simon Halsey Phillip Mayers, piano; Tobias Schweda, percussion
	W.A.MOZART - HARMONIEMUSICK FROM HIS LATE OPERAS Label: COVIELLO SACD 50712 Our Price: $24.75 Quantity in Basket: none
Cosi fan tutte (arr. Tarkmann): Overture; Terzettino: Soave sia il vento; Aria: Un aura amorosa Don Giovanni (arr. Triebensee/Tarkmann): Overture; Duettino: La ci darem la mano; Canzonetta: Deh vieni alla finestra; Finale und Höllenfahrt: Ah signor – per carita Le nozze di Figaro (arr. Wendt/Tarkmann): Overture; Aria: Porgi amor; Cherubin-Arietta: Voi che sapete; Finale Scena ultima La Clemenza di Tito (arr. Tarkmann): Overture; Ara Sextus: Parto, parto; Rondo Vitellia: Non piu di fiori Die Zuaberflote (arr. Heidenreich/Tarkmann): Overture; Arie: Alles fühlt der Liebe Freuden; Arie: Der Hölle Rache; Finale Wind Soloist of the Deutschen Kammerphilharmonie Bremen For almost two hundred years, one could hardly ever hear them, in Mozart's time, harmony musicians were a popular substitute for large complicated works, particularly opera, when the spatial and financial requirements for a "proper" performance couldn't be met. Arrangements for wind ensemble were particularly popular and made then contemporary music available to a wider audience- hearing live opera and symphonies was only possible for a small number of people. In the 19th century, harmony musicians were derided as an emergency solution and were slowly forgotten. Unfairly, as we know today, and as this new SACD from the wind principals of the Bremen Kammerphilharmonie clearly demonstrates. The drama of a large Mozart opera "en miniature" focuses on the fundamental, yet is no less fascinating than the original.
	RODION SHCHEDRIN (*1932) Label: COVIELLO SACD 60504 Our Price: $24.75 Quantity in Basket: none
”the sealed angel”, Russian liturgical music based on Nikolay Leskov Sophie Klußmann, soprano; Judith Simonis, alto; René Vosskühler, tenor; Lorenz Wüsthof & Richard Schwennicke, boys The Berlin Radio Choir; Gergely Bodoky, flute; Stefan Parkman, conductor Rodion Shchedrins’s Russian liturgy “The Sealed Angel” for mixed choir a capella, soloists and flute was composed in 1988 for the occasion of the Millennium of the Christianisation of Russo. It was first performed on the 18th of June 1988 by the Moscow Chamber Choir under the National Choir of Academies of the USSR under Wladimir Minin. Rodion Shchedrin, was born in 1932 in Moscow and become world-famous for his ballet music composed for his wife, the Russian prima ballerina Maya Plissezkaja (Carmen Suite, 1987; Anna Karenina, 1971; The Gull, 1979 amongst others). He came from a religious background. His grandfather was a priest. He received his first musical education between the age of 12 and 18 at the Moscow Choir School, where the pupils were introduced to the treat liturgies and vespers of the 18th and 19th Centuries with worldly versions of the tests. It had long been his wish to compose a piece, which would resume the tradition of Russian orthodox music that had been interrupted by the October Revolution. In the face of the Perestroika in the mid 1980s the time seemed right. However, the complications surrounding the premiere of his Stichira for the millennium of the Christianisation of Russia in March 1988 taught him otherwise. With his following work he therefore resorted to a tried and tested trick of Soviet times: Rather than calling the score Russian Liturgy as he had intended, he gave it the rather more harmless title “The stamped Angel” after a popular narrative by the great Russian realist Nikolai Leskow (1831-1895).
	CABINET MUSIC FOR CARL THEODOR (1724 - 1799) Label: COVIELLO SACD 20608 Our Price: $24.75 Quantity in Basket: none
CARLO GIUSEPPE TOESCHI (1731 - 1788): Quartet in D major, Op. 5 No. 1; MATTHIAS FRANCISCUS CANNABICH (1690 - 1753): Sonata in E minor; JOHANN BAPTIST WENDLING (1723 - 1797): Quartet in G major, Op. 10 No. 5; CHRISTIAN CANNABICH (1731 - 1798): Quartet in F major, Op. 1 No. 5; IGANZ HOLZBAUER (1711 - 1783): Quintet in G major; FRANZ XAVER RICHTER (1709 - 1789): Sonata No. 1 in G major: Six Sonates á de flutes traversiéres Neue Düsseldorfer Hofmusik The famous Mannheim Court Orchestra, considered one of the world's best orchestras around 1750, resided for a short while in Düsseldorf. The Electoral Prince, Carl Theodor, commissioned numerous chamber music works for his own enjoyment- members of his orchestra also performed in smaller ensembles together with the prince, and many of them were also leading composers of the time. Rediscovering the rich legacy is the goal of the Neue Düsseldorfer Hofmusik, which has established itself in recent years as one of the top ensembles for early music. Carl Theodor was a particular fan of the traverse flute, and thus the instrument plays a central role in this recording of his so-called “cabinet music”, where various masters of the “Mannheim School” show that they were much more the simple effects.
	BRITISH VIOLA CONCERTOS Label: COVIELLO SACD 30507 Our Price: $24.75 Quantity in Basket: none
WILLIAM WALTON (1902 – 1983): Concerto for Viola & Orchestra (1962) SALLY BEAMISH (*1956): Concerto for Viola & Orchestra No. 1 (1995) BENJAMIN BRITTEN (1913- 1976): “Lachrymae” (on a Dowland song) Tatjana Masurenko, viola NDR Radiophilharmonie (Philharmonic Orchestra of the Northern German Radio) Garry Walker, conductor On this hybrid SACD the well-known violist Tatjana Masurenko demonstrates more facets of her wide-ranging musical and virtuosic qualities by performing three twentieth-century British works for viola and orchestra. The compositions, recorded with the NDR Radio Philharmonia of Hanover under Garry Walker, form an arch from the late Romantic era to the modern day: William Walton's Viola Concerto, written in its original version in 1928/29, experienced an erratic editorial history before finally being published in its final form in 2002. In her Viola Concerto of 1995 Sally Beamish has movingly set the story of Peter's denial of Christ from the New Testament. The source of inspiration for Benjamin Britten was a retrospective look at the late Renaissance: he took John Dowland's song of lamentation If my Complaints could passions move in 1950 as the basis for a complex series of variations.
	ANTON BRUCKNER (1824 – 1896) Label: COVIELLO SACD 30509 Our Price: $24.75 Quantity in Basket: none
Symphony No. 5 in B flat major Aachen Symphony Orchestra/Marcus Bosch (Live recording) In its final shape the Fifth Symphony can be viewed as an attempt by Anton Bruckner to demonstrate his technical abilities in a largely conceived form. So it was that Bruckner referred to the work as "my contrapuntal master-piece. Still, he was never to hear the work performed. At first glance it is evident that Bruckner employed the classical four movement form for his Fifth Symphony. Unusually the introduction does not serve to prepare thematic material to come; instead the material of the introduction appears often in the course of the movement. A peculiar restraint is evident in the first three movements of the symphony, and the tonal emphasis is weaker than in comparable movements of other Bruckner symphonies. As in the example of Mozart’s "Jupiter", the whole work revolves around the last movement, the longest of the piece, the luminosity of which is not allowed to be undermined by reaching the high point too soon. Bruckner begins this Finale with a short reprise of the themes from the slow introduction and the first and second movements, following the model of Beethoven’s Ninth Symphony. Then a broadly conceived fugue unfolds, the theme of which was previously played by the clarinet interwoven with the themes of the first movement. Bruckner's mastery goes beyond combining both fugues into a double fugue and the trumping of the Mozart model in complexity and enormity. More important is that the contrapuntal arts, as masterfully as they are applied, never become merely a goal in themselves, but serve to reveal the musical meaning of the first movement themes only at their reappearance in the Finale. All is here tied together, each musical idea pervades the others, and the beginning is seen retrospectively in a whole new light. Bruckner binds and unbinds themes and motifs within and between all four movements with a degree of rigour that even he never managed to achieve again.
	“CI DIVERTIAMO” Label: COVIELLO SACD 30603 Our Price: $24.75 Quantity in Basket: none
WOLFGANG AMADEUS MOZART (1756 – 1791): Divertimenti KV 136 - 138; W.A. MOZART/arr. SIGISMUND NEUKOMM (1778 – 1858): Cosi fan tutte Overture; La Clemenza di Tito Oveture; LEOPOLD MOZART (1719 – 1787): Sinfonia in B flat major Salzburg Chamber Soloists/Lavard Skou-Larsen A new recording of the Divertimenti K136-138, written in 1772 in Mozart's home city and often referred to as the " Salzburg Symphonies", is complemented by works from his environment: father Leopold's Sinfonia in B flat is included, as well as arrangements of Mozart's works by the almost forgotten Sigismund Neukomm. Born in Salzburg in 1778, Neukomm was a successful organist and composer who championed the publication and performance of Mozart's works worldwide. He competently arranged the child genius's famous works for various instrumental groupings, such as the overtures to Così fan tutte and La Clemenza di Tito for chamber orchestra to be heard here. On this hybrid SACD, under the confident and lively direction of Lavard Skou-Larsen, the ensemble presents a detailed picture of musical life in Salzburg in Mozart's day.
	MIKIS THEODORAKIS (*1925) Label: COVIELLO SACD 30612 Our Price: $24.75 Quantity in Basket: none
Rhapsody for Violoncello & Orchestra; Suite de “Les amants de Téruel” Johannes Moser, cello Symphony Orchestra Aachen/Marcus Bosch In November 2005, the Greek composer Mikis Theodorakis was honored in Aachen with the IMCUNESCO Music Prize, recognized worldwide as one of the most important distinctions in the field of music. The criteria for its conferment include efforts on behalf of peace and understanding between nations and the conservation of traditional cultural assets. Following the ceremony, the symphony orchestra of Aachen performed works by the evening’s prizewinner in a special concert. The live recording of that event is contained on the present Hybrid-SACD. In the ballet Les Amants de Téruel, Theodorakis finds new ways of combining European modernism with traditional melodies; in the Rhapsody for Cello and Orchestra, Johannes Moser, who has attained worldwide renown, finds abundant opportunities to demonstrate his formidable lyrical and virtuosic powers.
	ANTON BRUCKNER: Symphony No. 3 in D minor Label: COVIELLO SACD 30614 Our Price: $24.75 Quantity in Basket: none
Symphony Orchestra Aachen/Marcus Bosch (Live Recording) “Mr. Bruckner kills father and mother under the conviction it would have to be that way.” Anton Bruckner often had to listen to similar slander like this one from the review of his Third Symphony by the Vienna newspaper Wiener Abendpost. During its debut performance in December 1877, the disgusted audience left the hall in droves. It was said to be too bulky and that the confronted sound blocks worked against all listening habits. In this concert, a revised version was played according to Bruckner's not entirely correct idea of the audience's taste. The original version from 1874 he never was to hear at all. The radicalness of his Third Symphony, though, becomes especially clear in its original version that follows in the series of internationally reputed Bruckner interpretations played by the Symphony Orchestra Aachen and conducted by Marcus Bosch.
	SHOSTAKOVICH; JUON Label: COVIELLO SACD 50502 Our Price: $24.75 Quantity in Basket: none
DMITRI SHOSTAKOVICH (1905 – 1975): Piano Trios No. 1, Op. 8 & No. 2, Op. 67; PAUL JUON (1872 – 1940): Piano Trio, Op. 17 & “Trio Miniatures” Trio Paian: Carl-Magnus Helling, violin; Marin Smesnoi, cello; Alexandra Neumann, piano Probably the best known Russian composer of the twentieth century, Shostakovich only composed two piano trios, but he always judged them among his most important works, and posterity has judged them in the same way. Shostakovich was only 17 years old when he composed Piano Trio op. 8; it was one of his very first works and it was performed in 1925 at a public concert in Moscow. The second trio, written in 1944, is one of his emotionally most intensive compositions: the sudden death of his friend Ivan Sollertinsky had dealt him a devastating blow. While Shostakovich is a household name almost everywhere, most people would ask "who?" when confronted with the name Paul Juon - there are no similarities of either a biographical or stylistic nature between these two composers. Juon was the son of a Swiss family who immigrated to Moscow, where Paul grew up, and as a composer it is difficult to pigeonhole him. On this hybrid SACD, Trio Paian presents his piano trios in a charming and highly informative contrast to Shostakovich's two trios.