{"title":"08\/07\/2026","description":null,"products":[{"product_id":"pre-order-sergei-prokofiev-complete-pno-sons-cd","title":"Pre-Order: Sergei Prokofiev: Complete Pno Sons [CD]","description":"\u003cp\u003eSergei Prokofiev's nine piano sonatas, composed between 1909 and 1951, are a monumental body of work that showcases the composer's stylistic evolution through a turbulent period of history. Renowned for their virtuosictechnical demands and psychological depth, the sonatas are considered a cornerstone of the 20th-century piano repertoire. The famous \"War Sonatas\" (Nos. 6, 7, and 8) are among his most significant and powerful works.Acclaimed pianist Carlo Grante is celebrated for his vast repertoire, commanding technique, and scholarly interpretations. A prolific recording artist, he is particularly renowned for making the first-ever complete recordingof Domenico Scarlatti's keyboard sonatas performed by a single pianist. 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Composed for the unusual combination of two cellos, these pieces showcase Boccherini's versatility, moving from Mediterranean warmth to the elegance of Viennese classicism. 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The uniqueness of his works and the absolute richness of his musical ideas are expertly captured by Reinhard Kluth on the Klais organ at Himmerod Abbey. 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Largo\u003c\/li\u003e\n\u003cli\u003eTriple Concerto in C Major, Op. 56: III. Rondo Alla Polacca\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D Major, Op. 77: I. Allegro Non Troppo (Cadenza By J. Joachim)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D Major, Op. 77: II. Adagio\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D Major, Op. 77: III. Allegro Giocoso, Ma Non Troppo Vivace\u003c\/li\u003e\n\u003cli\u003eDouble Concerto for Violin and Cello in a Minor, Op. 102: I. Allegro\u003c\/li\u003e\n\u003cli\u003eDouble Concerto for Violin and Cello in a Minor, Op. 102: II. Andante\u003c\/li\u003e\n\u003cli\u003eDouble Concerto for Violin and Cello in a Minor, Op. 102: III. Vivace Non Troppo\u003c\/li\u003e\n\u003cli\u003eAdagio for Violin and Orchestra in E Major, K. 261\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D minor, Op. 47: I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D minor, Op. 47: II. Adagio Di Molto\u003c\/li\u003e\n\u003cli\u003eViolin Concerto in D minor, Op. 47: III. Allegro Ma Non Tanto\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: I. Allegro Ma Non Troppo\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: II. Scherzando\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: III. Intermezzo\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: IV. Andante\u003c\/li\u003e\n\u003cli\u003eSymphonie Espagnole in D minor, Op. 21: V. Rondo\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in D Major, K. 211: I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in D Major, K. 211: II. Andante\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in D Major, K. 211: III. Rondeau. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in G minor, Op. 26: I. Vorspiel. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in G minor, Op. 26: II. Adagio\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in G minor, Op. 26: III. Finale. Allegro Energico\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in B-Flat Major, K. 207: I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in B-Flat Major, K. 207: II. Adagio\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in B-Flat Major, K. 207: III. Presto\u003c\/li\u003e\n\u003cli\u003eSinfonia Concertante for Violin and Viola in E-Flat Major, K. 364: I. Allegro Maestoso\u003c\/li\u003e\n\u003cli\u003eSinfonia Concertante for Violin and Viola in E-Flat Major, K. 364: II. Andante\u003c\/li\u003e\n\u003cli\u003eSinfonia Concertante for Violin and Viola in E-Flat Major, K. 364: III. Presto\u003c\/li\u003e\n\u003cli\u003eRondo for Violin and Orchestra in B-Flat Major, K. 269\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 3 in G Major, K. 216: I. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 3 in G Major, K. 216: II. Adagio\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 3 in G Major, K. 216: III. Rondeau. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 4 in D Major, K. 218: I. Allegro (Cadenza By F. David)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 4 in D Major, K. 218: II. Andante Cantabile (Cadenza By F. David)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 4 in D Major, K. 218: III. Rondeau - Andantino Grazioso - Allegro Ma Non Troppo (Cadenza By F. David)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 5 in a Major, K. 219 \"Turkish\": I. Allegro Aperto (Cadenza By Joachim)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 5 in a Major, K. 219 \"Turkish\": II. Adagio (Cadenza By Joachim)\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 5 in a Major, K. 219 \"Turkish\": III. Rondeau. Tempo Di Menuetto - Allegro (Cadenza By Joachim)\u003c\/li\u003e\n\u003cli\u003eRondo for Violin and Orchestra in C Major, K. 373\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in D Major, Op. 19: I. Andantino\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in D Major, Op. 19: II. Scherzo. Vivacissimo\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in D Major, Op. 19: III. Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in G minor, Op. 63: I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in G minor, Op. 63: II. Andante Assai\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 2 in G minor, Op. 63: III. Allegro Ben Marcato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in a Minor, Op. 99: I. Nocturne. Moderato\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in a Minor, Op. 99: II. Scherzo. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Concerto No. 1 in a Minor, Op. 99: III. Passacaglia. 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In 2013, John Speight wrote his Soliloquy (track 7 and 8) at my request. Two more recent commissions are on the album, both from composers who play the violin: Fragile Stillness by Lilja Maria asmundsdottir and Aria by Maria Huld Markan. Iceland has a long tradition of violin playing and according to folklore every farmer in certain valleys up north was a fiddler. Ea Fantasia (track 4), my own composition, is inspired by the opening track Alia Fantasia by Nicola Matteis Jr. He was the London-born son of the Italian composer Nicola Matteis, who wrote Ayers and Grounds. Nicola Junior was a violinist like his father and lived in Vienna, where he composed numerous ballets for the imperial opera. His bariolage (arpeggios over four strings) remind me of the opening of Fratres by Arvo Part and Bach's Chaconne-key works in the violin repertoire-both of which have been a great inspiration to me. In Fragile Stillness (track 2), Lilja Maria asmundsdottir experiments with textures. Or as she puts it: \"The piece is inspired by a weather condition called froststillur. It is characterized by an intense calmness where there is no wind and a crisp, frozen atmosphere.Karolina wrote Meditation (track 3) in 1996 for violinist Hlif Sigurjonsdottir, who premiered the piece in June 1997. Meditation is in one movement, built on ideas which change and develop, and the composer describes it as \"variations without a theme.Aria (track 5) by Maria Huld Markan was written for me in 2023. Her solo piece is written under the influence of Maria Callas and her romanticism and lontano as she sings Puccini. Maria is reflecting on the concept of the genius, and motifs are flowing from all the fountains contemplating the romantic violin repertoire. On his Adagio (track 6), composer Tryggvi Baldvinsson writes: \"This small Adagio can be seen as a short play in which three distinct characters appear. Each has it's own traits, it's own personality. 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Above the door there was a painting by Helgi which inspired Sveinn Ludvik deeply; he had the sense it was very somber in it's mood-a naked woman with her back turned. Moved by the scene he wrote Tranquility. Later, when discussing the piece with Helgi and admiring the tragic impact of the naked woman in the picture, Sveinn was shocked to discover that the painting, in fact, was of bananas and oranges.Veronique Vaka Jacques, a Canadian-Icelandic composer and trained classical cellist, grounds her work in the geology and topography of Iceland. In Ofdune (track 9), a map of North Iceland serves as groundwork, with the geographical details of a descending river abstractly translated into the work's time progression, using the river's path through hills and valleys as a loose blueprint. This concept of descent is echoed in the title, Ofdune, which is derived from the Old English meaning \"downwards\" or \"off the hill\".Jon Nordal's Hvert orstutt spor (Each Tiny Step, track 11) is from the play Silfurtunglid by Icelandic Nobel Prize-winning author Halldor Laxness. This is a famous Icelandic song, here in my gospel music influenced arrangement for solo violin. 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After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. The World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there, the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite-featured hit, \"Miku\"), and later develop the intricately soundscaped compositions displayed across their second album, [USA], but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases. This process would eventually lead to Peter and Luke-alongside guitarist Ary Warnaar and bassist James DeVito-flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's acclaimed Anyway. That album marked another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim. As Anamanaguchi's work has continued to develop since their initial collaboration within the Scott Pilgrim universe, the cultural footprint of Scott Pilgrim has evolved as well. Moving from something akin to a cult classic niche comic into a widespread coming of age story for multiple generations across movies, anime, TV, and video games, the story rides the line of being crucially important to it's core fanbase while simultaneously existing as a widespread franchise known to the masses. 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There are some subtle inflections to the Karajan-Berlin sound here: we hear the Philharmoniker's usual silken texture, wonderfully enveloping and accomplished, but here it is more luminous, less sombre and untamed than in the DG recordings. This is nonetheless a fully symphonic Mozart, not deprived of urgency, but with a serious-minded and dignified radiance. Supple and organic, the phrases are steeped in the legato for which Karajan was famed. His introductions are solemn and noble (Nos. 36 and 39), his Andantes and Adagios take a metaphysical turn, and his Menuettos are envisaged almost as interludes - to astonishing effect in Symphony No. 36 - but it is in the finales (the 'Haffner', G minor and 'Jupiter') that Karajan is at his most irresistible. 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Through different styles and soundscapes, the compositions are united by the spirit of folk traditions and national character, as well as personal memories of the performers - Swiss-French cellist Christoph Croise and Georgian pianist Ana Bakradze. Works originally conceived for their instrumental combination sit alongside transcriptions that fit their sound world like a glove, a testament to the popularity of all the music on this album.Siete Canciones populares Españolas, a set of seven traditional Spanish songs by Manuel de Falla, is his most-arranged composition and among his most popular. Bela Bartok's Six Romanian Folk Dances, originally composed for solo piano, were drawn from melodies the composer recorded of folk musicians singing in the countryside of his Hungarian homeland. Hungarian influences infuse Pablo de Sarasate's Zigeunerweisen (Gypsy Airs), originally scored for violin and orchestra. Sulkhan Tsintsadze's Five Pieces on Georgian Folk Themes evoke childhood memories for pianist Ana, especially the fourth, a lullaby that her mother used to sing to her.The most substantial work on the album, Robert Schumann's Funf Stucke i'm Volkston (Five Pieces in Folk Style) conjures the harmonies and rhythms of folk music.French national character imbues Nadia Boulanger's Trois pièces (Three Pieces) and works by her teacher Gabriel Faure: his elegant Sicilienne - originally penned for orchestra but frequently adapted for cello and piano - and his ever-popular miniature 'Après un rêve' (After a dream) from his Trois Melodies (Three Melodies).When asked about their own connections to this music and what they wish for the listener, Christoph and Ana agree, \"Above all, joy! We share a love for the roots in these pieces and the inspiration they provided to the composers. For this album, we've selected our favourite miniatures. 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