Catalog

VIOLA FANTASIES from virtuoso Misha Galaganov presents the groundbreaking solo works Fantasies for Bass Viol (1735) by Baroque composer Georg Philipp Telemann. These compositions are the only known solo works from a major Baroque composer to almost ideally complement the modern viola’s range and tonal characteristics. In this album, Galaganov uses natural gut strings and modern tuning to interpret Telemann’s beautiful melodies, inventive polyphony, and dance rhythms. Galaganov uses his scholastic research, knowledge, experience, and musical instincts to inform each performance regarding dynamics, tempi, ornamentation, and other aspects of interpretation. Essential and pleasant listening for all audiences, these works also offer a study in polyphony, ornamentation, bow technique, and more.

Edwin Barker’s playing is described as “timeless,” “vibrant,” and “compelling,” three descriptors that could not be better suited for his recording of J.S. Bach’s Suite No. 5 in C minor, BWV 1011 and Mieczyslaw Weinberg’s Sonata Op. 108 for solo double bass. Elegantly capturing Bach’s suite in his arrangement for double bass, Barker navigates the challenging and unwieldy passages of the Prelude’s fugue with the same measured and tolerant musicality innate to the immortal tenderness of the Sarabande. Despite a grand leap in time and place, he inspires equal personality — and often spouts of well-placed capriciousness — in Weinberg’s Sonata, honoring the high technical demands of the work while carving out a unique appreciation for Weinberg’s stylistic traditions. BASSO PROFUNDO is a prime example of a master at work, a recording that will surely inspire another extensive list of descriptors risen in Barker’s praise.

Christopher O'Riley's THE WELL-TEMPERED CLAVIER BOOK I delves into the subtle intricacies of Bach's famous masterwork, revealing the composer's nuanced craftsmanship through an exploration of the spaces between notes. Inspired by Bach's profound lyricism and informed by historical insights, O'Riley's interpretation transcends conventional keyboard traditions. Embracing the expressive potential of articulation and texture, he illuminates counterpoint with dynamic contrast, unveiling hidden dialogues within Bach's compositions. Through meticulous attention to intonation and rhythmic flexibility, O'Riley uncovers layers of meaning, echoing the Japanese concept of “Ma” — the significance of space and silence. This album invites listeners to immerse themselves in Bach's universe, where every pause resonates with depth and possibility.

With its innumerable recordings by the greatest pianists in history, one would think the book has been written on Johann Sebastian Bach's timeless pianistic masterpiece, The Well-Tempered Clavier. Renowned Swedish-Ukrainian pianist Natalya Pasichnyk now adds her name and interpretation to this illustrious list with RETHINKING THE WELL-TEMPERED CLAVIER. Her intellectual yet spiritual take on the matter is likely to be exactly what the composer envisioned. Guided by Bach's assertion that music's ultimate purpose is to glorify God and rejuvenate the spirit, Pasichnyk explores the intersection between divine inspiration and human existence. The result is a veritable tour de force of strength and sensitivity; of rational perspicuity, yet with the most tender sentiment; of surging vigor and might, but also of nonchalant lightness. A triumph.

Ivory keys worn by two centuries of passionate musicians tell a story of musical evolution on SCARLATTI SONATAS, an album of solo harpsichord sonatas by Domenico Scarlatti, Antonio Soler, and an unidentified composer. Performed today by pianist Charles Metz, these works were first adapted for performance on the pianoforte in 1791 by Muzio Clementi, who breathed new life into Scarlatti’s timeless work with marked dynamics, articulations, and more. While Metz’s choice of repertoire holds ample historical significance, so does the instrument he employs to perform them — an 1806 square piano built by Clementi himself.

Good pianists are a dime a dozen, great pianists are one in a million. American virtuoso Bryan Wallick proves that he firmly belongs to the latter category on VIRTUOSIC FUGUE, a dazzling curation of music's strictest and most challenging form, executed with a buttery, singing tone and ravishing technical bravura. These fugues by J.S. Bach, Beethoven, Mendelssohn, and Shostakovich challenge the pianist with the age-old dilemma of the form by performing them with a mesmerizingly light, precise touch, sparingly adding accent pedaling in highly strategic places. The result isn't just a masterclass in expressive virtuosity; it's also a mentally restorative, profoundly enjoyable listening experience.

Navona Records presents FRENCH CONNECTIONS, a new album of French works for harpsichord performed by Jonathan Rhodes Lee. The pieces selected for this collection celebrate the small, tight-knit pantheon of 17th-century French harpsichordists who helped shape the instrument’s repertoire. While the total output of these composers would make for countless hours of listening, FRENCH CONNECTIONS offers a taste of this expansive body of work. Music by Louis Couperin (c. 1626-1661), François Couperin (1668-1733) and Antoine Forqueray (1672-1745) comes alive through masterful performances by Lee, with recordings engineered and mastered by multiple GRAMMY-winning classical music producer Brad Michel.

No other musical form allows the composer as much liberty as the musical fantasy, or fantasia. Ukrainian-born pianist Pavel Gintov iconoclastically blends emotion and reason in his selection of PIANO FANTASIES ranging from the Baroque through to the late Romantic era.

Pondering the Baroque violin repertoire, one would be forgiven to think of Johann Sebastian Bach’s works and little else. Acclaimed English violinist Thomas Bowes courageously sets out to change this preconceived notion with TELEMANN FANTASIAS, a rare and remarkable full performance of all of Georg Philipp Telemann’s solo violin fantasias.

THREE CELLO SUITES from clarinetist Joshua Ranz and Navona Records is a truly groundbreaking take on Bach’s legendary works; In this album, for the first time ever, listeners may enjoy three unabridged cello suites by Bach arranged for the bass clarinet. Ranz selected Suites 1, 4, and 2 for this recording because, together, they form a cohesive and dynamic whole.

ÆTERNUM is a tribute to music's infallible steadfastness against the mundane adversity of human existence. Brazilian-born pianist Eliane Rodrigues convinces with her forceful, furious interpretations of keyboard works by Johann Sebastian Bach and Ludwig van Beethoven – among them the latter's Fifth Symphony, grippingly arranged by Rodrigues herself.

Thomas Bowes' SEI SOLO shines the spotlight on the sonatas and partitas for solo violin composed by Johann Sebastian Bach in 1720. Bowes believes that these six stand-alone compositions, while each individually offering insight into Bach's genius reveal more when taken as one epic work - and especially when set against the tragedy in Bach’s life in the year of composition.

Although we've all heard countless variations of J.S. Bach's ubiquitous Well-Tempered Clavier, from a subtle grace note added to Prelude and fugue in D minor to a dramatic rest added to Prelude and fugue in A major, composer and pianist Don Freund takes Book 1 of Bach's masterpiece and offers analysis with "A Composer's Approach," a unique, critical eye for a series of miniatures that are typically viewed through the lens of a performer.