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Pièce De Concert        09:34\u003cbr\u003e16    Moonlight Scherzo, Op. 250        07:43\u003cbr\u003e17    Deo Gratias, Op. 107        02:37\u003cbr\u003e18    Prelude On Coronation, Op. 137        03:34\u003cbr\u003e19    Chant Des Bergers, Op. 212        02:17\u003cbr\u003e20    Prière Des Mages, Op. 212        05:27\u003cbr\u003e21    Cinq Soleils, Op. 218: I. Soleil I [Matin]        12:58\u003cbr\u003e22    Cinq Soleils, Op. 218: II. Soleil II [Midi]        10:04\u003cbr\u003e23    Cinq Soleils, Op. 218: III. Soleil III [Soir]        10:25\u003cbr\u003e24    Cinq Soleils, Op. 218: IV. Soleil IV [Étoiles]        09:28\u003cbr\u003e25    Cinq Soleils, Op. 218: V. Soleil V [France]        05:5\u003c\/p\u003e","brand":"MUSICAL HERITAGE SOCIETY","offers":[{"title":"Default Title","offer_id":48818825134388,"sku":"199350649141","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/c7884a68895d4206977874fe9d7b71fa_f8b338cf_3a58_474d_9b36_4b9ba8f866a9.jpg?v=1754658901"},{"product_id":"stamitz-orchestral-quartets-vienna-chamber-orchestra","title":"Stamitz: Orchestral Quartets - Vienna Chamber Orchestra","description":"\u003cp class=\"cvGsUA direction-ltr align-justify para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e\"Stamitz climbed gradually -- following a dramatic plan not drawn up by every \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eKapellmeister\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e -- from the ears into the heart, as though from Allegros into Adagios; this great composer sweeps in narrower and narrower circles about the breast that holds a heart until he finally reaches it and in ecstasy embraces it. . . With silent tears whose flowing no one saw, Horion abandoned his battered heart to the lofty Adagios, which spread themselves with warm eider-down wings over all his wounds.\" With these words, the novelist Jean Paul described a \"Garden Concert by Stamitz,\" which he attended in August, 1792, although the quotation is from a chapter of his novel \"Hesperus,\" which he was writing at the time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA direction-ltr align-justify para-style-body\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA direction-ltr align-justify para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eAnother, pithier, and somewhat less flattering picture of Karl Stamitz, and his younger brother Anton, was written by Mozart to his father on July 9, 1778: \"Of the two Stamitz brothers, only the younger one is here, the elder (the real composer à la Hafeneder*) is in London. They indeed are two wretched scribblers, gamblers, swillers and adulterers -- not the kind of people for me.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48869882757428,"sku":"024791e0-309b-4e54-88ca-447e3e72fa55","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkd5e9a31d-09b0-4913-b6ba-dea35570cfb7-LARGE.jpg?v=1770842287"},{"product_id":"haydn-flute-trios","title":"Haydn: Flute Trios","description":"","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48880255861044,"sku":"dbe6cfc0-c8be-4240-aa22-c0e7ac07573f","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkfc11f1bb-8599-496e-822d-4661a1b8bcad-LARGE_54194efb-a43f-430a-926f-19cdf071a90d.jpg?v=1756732791"},{"product_id":"graun-graupner-pez-baroque-wind-concertos","title":"Baroque Concertos for Wind Instruments (Graun, Graupner, Pez) - Austrian Tonkunstler Orchestra","description":"\u003cp\u003eHILDE LANGFORT, harpsichord \u003cbr\u003eAUSTRIAN T0NKUENSTLER ORCHESTRA, VIENNA \u003cbr\u003eZLATKO TOPOLSKI, conductor\u003c\/p\u003e\n\u003cp\u003eHANS MARIA KNEIHS \u0026amp;\u003cbr\u003eELISABETH TONCOURT, recorders\u003c\/p\u003e\n\u003cp\u003eALFRED HERTEL, oboe d'amore \u003c\/p\u003e\n\u003cp\u003eHERMANN STIEDL, bassoon\u003c\/p\u003e\n\u003cp\u003eThe three baroque concertos recorded here have one thing in common: in all of them, the solo instruments are pitted against an orchestral body. \u003cbr\u003e  \u003cbr\u003eThe oldest of the three concertos is the one by Johann Christoph Pez (or Petz), who was probably a pupil of Kerll. He was employed as singer and violinist successively at St. Peter's, Munich (the city of his birth), Liege, Bonn, and Stuttgart. In Stuttgart he finally became Court Conductor to the Duke of Wurttemberg, and it was in this city that he died. \u003c\/p\u003e\n\u003cp\u003eHis F major Concerto is still in the old style. Though concertante elements alternate with orchestral ones in the usual concerto manner, structurally the seven movements point to the suite form rather than to that of the concerto. The large Passacaglia near the end is a formal device which was especially dear to Couperin. The performance recorded here is based on the edition of the original score first printed in the Denkmaler der Tonkunst in Bavaria in 1928.\u003c\/p\u003e\n\u003cp\u003eThe Graun concerto, later in date, is in the regular three-movement concerto form. Johann  Gottlieb  Graun   studied  the   violin first with Pisendel and later in Italy with Tartini. His first post was as a violinist in the Dresden Court Orchestra. Later he became concertmaster at Merseburg, where he was the teacher of Wilhelm Friedemann Bach. Finally he went to Berlin, and he stayed there till his death, filling the post of conductor of Frederick the Great' s Royal Orchestra. Graun's two brothers, August Friedrich and Karl Heinrich, were also well-known composers. This recording of his D major Concerto is based on the instrumental parts in the Library of the Swedish Music Academy. \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48880804692276,"sku":"a8240101-2c70-4a34-854a-dff075510631","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork985e0378-78ff-44df-994b-fc0aa7b28cc1.jpg?v=1770394249"},{"product_id":"weber-the-four-piano-sonatas-janine-decosta","title":"Weber: The Four Piano Sonatas - Janine Decosta","description":"\u003cp\u003eThe Webers were a family of musicians not unlike the Bachs and Mozarts. Wolfgang Mozart, in fact, fell in love with one of the Weber girls and eventually married her sister, thereby becoming a cousin by marriage of the future composer of Der Freischutz, Oberon and the four piano sonatas on these records. \u003c\/p\u003e\n\u003cp\u003eWeber's sonatas are not as well-known as they should be. In the words of Kathleen Dale they \u003cem\u003e\"occupy a midway position between the classical and the romantic. They combine something of the rhythmic urge of Beethoven with the virtuosity of Clementi and Dussek and the lyricism of Schubert. They anticipate to no small degree the vivid coloring of Schumann, the sensuousness of Chopin and the rhetoric of Liszt. To play them is to be transported to a glowing world of sound, in which immediacy of expression counts for more than formal balance and the systematic development of thematic material.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48880874029364,"sku":"71cce206-0585-4282-819f-6b58f2c1b0a3","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork04151131-9c55-4d2c-9c69-c0fe89e66e25-LARGE.jpg?v=1772721725"},{"product_id":"the-sound-of-keyboard-instruments","title":"The Sound of Keyboard Instruments","description":"\u003cp\u003eThe development of keyboard music is essentially the development of chamber music. Keyboard instruments were originally used in the home as a means of accompanying vocal music and for playing dances. In this respect the relationship between early keyboard music and the heritage of lute songs and dances and fantasias is easy to understand, since the early keyboard pieces are little more than transcriptions or adaptations from the original lute tablature. Interest in keyboard music for the virtuoso was slow to develop, but once begun, it continued until it reached its height in the Romantic era. This recording is an attempt to demonstrate some of the different keyboard instruments commonly used in the home and some of the music composed for them between the 16th and 18th centuries. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHILDE LANGFORT, Virginal and Harpsichord\u003c\/p\u003e\n\u003cp\u003eJOSEF NEBOIS, Positive Organ\u003c\/p\u003e\n\u003cp\u003eHANS KANN, Clavichord, Hammerklavier and Piano\u003c\/p\u003e\n\u003cp\u003eJAN PIETERSZOON SWEELINCK (1562-1621) VARIATIONS on \"EST-CE MARS\" (No. 58) - Positive Organ \u003c\/p\u003e\n\u003cp\u003eANTONIO DE CABEZON (1510-1566) DUUIENSELA (Variations) - Virginal \u003c\/p\u003e\n\u003cp\u003eJOHANN JAKOB FROBERGER (1616-1667) TOCCATA No. 16 in C MAJOR - Harpsichord\u003c\/p\u003e\n\u003cp\u003eCARL PHILIPP EMANUEL BACH (1714-1788) ABSCHIED VON MEINEM SILBERMANNISCHEN CLAVIERE, Rondo in E minor, Wq. 66: Poco andante e sostenuto ( Farewell to my Silbermann Clavichord) - Clavichord\u003c\/p\u003e\n\u003cp\u003eJOSEPH HAYDN (1732-1809) FANTASIA in C MAJOR, H. XVII:4 - Hammerklavier\u003c\/p\u003e\n\u003cp\u003eAnonymous (English) PAVANNE ANGLOISE in A - Clavichord\u003c\/p\u003e\n\u003cp\u003eANTONIO DE CABEZON TIENTO del QUINTO TONO - Positive Organ\u003c\/p\u003e\n\u003cp\u003eWILHELM FRIEDEMANN BACH (1710-1784) POLONAISE in D MINOR, F. 12, No. 4 - Clavichord\u003c\/p\u003e\n\u003cp\u003e PIETRO DOMENICO PARADISI (1707-1791) SONATA in A MAJOR\u003c\/p\u003e\n\u003cp\u003eI. Comodo\u003c\/p\u003e\n\u003cp\u003eII. Allegro\u003c\/p\u003e\n\u003cp\u003eHarpsichord \u003c\/p\u003e\n\u003cp\u003eMUZIO CLEMENTI (1752-1832) SONATA in D MAJOR, Op. 26, No. 3\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePresto 2. Un poco Andante 3. Rondo: Assai allegro - Pianoforte\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48881435214132,"sku":"b5ecf21c-b03e-4653-b507-e3870fcf6442","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork7cae8e68-bbd7-4407-b1c2-d686335f2ada-LARGE_b8e96c16-a1f6-4a3c-8122-234a8851faa8.jpg?v=1756916073"},{"product_id":"langlais-complete-organ-works-vol-13-ann-labounsky-organ","title":"Langlais: Complete Organ Works, Vol. 13 - Ann Labounsky, organ","description":"\u003cp\u003e1    Rosace [Rose Window], Op. 211: I. Pour Une Célébration        05:36\u003cbr\u003e2    Rosace [Rose Window], Op. 211: II. Introduction Et Marche        06:34\u003cbr\u003e3    Rosace [Rose Window], Op. 211: III. Croquis        07:47\u003cbr\u003e4    Rosace [Rose Window], Op. 211: IV. 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Repeated Notes        01:57\u003cbr\u003e19    Six Petites Pièces, Op. 189: III. Staccato        01:23\u003cbr\u003e20    Six Petites Pièces, Op. 189: IV. Legato        02:15\u003cbr\u003e21    Six Petites Pièces, Op. 189: V. Chords        02:28\u003cbr\u003e22    Six Petites Pièces, Op. 189: VI. Rhythm        01:33\u003cbr\u003e23    Essai, Op. 128        10:49\u003cbr\u003e24    Trois Paraphrases Grégoriens, Op. 5: I. Ave Maria, Ave Maris Stella        07:02\u003cbr\u003e25    Trois Paraphrases Grégoriens, Op. 5: II. Mors Et Resurrectio        05:26\u003cbr\u003e26    Trois Paraphrases Grégoriens, Op. 5: III. Hymne D'Action De Grâces 'Te Deum'        05:03\u003cbr\u003e27    Poèmes Évangéliques, Op. 7: I. L'Annonciation        08:14\u003cbr\u003e28    Poèmes Évangéliques, Op. 7: II. La Nativité        06:12\u003cbr\u003e29    Poèmes Évangéliques, Op. 7: III. 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