{"title":"THIS MONTH'S MEMBERS FREE SELECTIONS","description":"\u003cp\u003eMembers - choose any 5 of these titles as part of your Members Choice membership perk! These selections are valid from October 25 through November 24.\u003c\/p\u003e","products":[{"product_id":"tchaikovsky-the-nutcracker-utah-symphony-orchestra-maurice-abravanel","title":"Tchaikovsky: The Nutcracker - Utah Symphony Orchestra, Maurice Abravanel","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48371221463348,"sku":"17e4cdb1-b51b-466f-883e-879e2c8afc7c","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworke666e076-3174-469f-94d3-187d823f7a49.jpg?v=1792779720"},{"product_id":"bach-art-of-fugue-bwv-1081","title":"Bach: Art of Fugue, BWV 1080 - Vladimir Feltsman, piano","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48436995326260,"sku":"884385521820","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkc5b80a88-a583-4cd1-a6a5-42991729c006-LARGE_c56b93e9-5f7c-4b9f-858d-fd9c0e493061.jpg?v=1737487901"},{"product_id":"baroque-transcriptions-for-guitar-eliot-fisk","title":"BAROQUE TRANSCRIPTIONS for GUITAR - 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Shlomo Mintz, Israel Chamber Orchestra","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48461377143092,"sku":"884385525224","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork7ce59870-3bc8-45b4-85a6-23ac40f30d76-LARGE_8db1bf64-aa50-40a5-9291-9986b4a009e2.jpg?v=1739129629"},{"product_id":"haydn-keyboard-sonatas-no-52-32-31-46-anton-nel","title":"Haydn: Keyboard Sonatas No. 52, 32, 31, 46 - Anton Nel","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48488745599284,"sku":"016126702322","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworka0bb4422-e504-4c2f-b09a-41eedf209153-LARGE_439b349f-85c8-43b2-9493-9f2ce783dc5b.jpg?v=1741017958"},{"product_id":"saint-saens-piano-works-anton-nel","title":"Saint-Saens: Piano Works - Anton Nel","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48488751497524,"sku":"884385037062","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworke1734fcf-0d08-4e6a-9fad-66c9e06499cf.jpg?v=1792448657"},{"product_id":"galuppi-concerti-a-quattro-trio-sonata-in-g-major","title":"Galuppi: Concerti A Quattro, Trio Sonata in G Major","description":"","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48592715678004,"sku":"e313662c-de38-4085-bf94-823534eebe95","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/MHS974galuppinew.jpg?v=1771992859"},{"product_id":"boyce-trio-sonatas","title":"Boyce: Trio Sonatas","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49050367426868,"sku":"0395ae76-1c45-4c73-a20d-57faf3eacd7e","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork584a0d65-ddaf-4517-987b-1279e4f3c780-LARGE_f6f9e7ce-854a-4045-836d-5442cfed78a3.jpg?v=1771989262"},{"product_id":"ockeghem-josquin-des-prez-masses-capella-alamire","title":"Ockeghem \u0026 Josquin des Prez: Masses - Capella Alamire","description":"\u003cp\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eThe early music 'movement\" of the last efforts of instrument builders and players; however, most of the music written before 1600 was primarily vocal in conception. As a result, in the 1960s and '70s, early music ensembles tended to use a great variety of instruments -- sackbuts, shawms, recorders cornetti, and even crumhorns -- in their performances of sacred music of the Renaissance. The old \"a cappella” ideal, the norm for the performance of sacred music by Palestrina and Lassus since its revival in the 19th century, was reversed for Franco Flemish composers such as Josquin, Ockeghem, and Obrecht. More recently, there has been a swing back to the a cappella ideal; musicology has been at work, dispelling the idea that the panoply of Renaissance instruments took part in church services at all. The swing continues today, as even the notion of the choir is being questioned in favor of soloists. \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 white-space-prewrap\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003ePerhaps the swing away from instrumental use has gone too far, since there are many pieces from the 15th century in which one line of the texture seems well-suited for instrumental performance, or simply ill-suited for vocal performance. Cantus firmus construction abounds in 15th-century music in which one voice stands out from the rest, generally quoting a preexisting melody, often in slower note values. In the L’homme armé Mass by Ockeghem, the notes of the tenor, the cantus firmus-bearing voice, are so few in number that it is not possible to fit the entire text if it were sung. Alejandro Planchart (1981) suggested that the organ and slide trumpet were used in the court of Savoy for such lines in Masses by Dufay and Ockeghem. For our recording of Ockeghem's Mass, we have chosen to use a sackbut, a relative of the modern trombone and a late 15th-century advance on the slide trumpet.\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \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 white-space-prewrap\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49272964677940,"sku":"f5bfef7b-d0c1-4968-84ae-7970fbff8aff","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork9db5cf62-408f-4171-a96d-eb5e22ee4a8a-LARGE.jpg?v=1788212564"},{"product_id":"the-trumpet-resounding-music-from-the-italian-baroque","title":"The Trumpet Resounding: Music from the Italian Baroque","description":"\u003cp\u003eFrom the 1670s through the 1730s, the Northern Italian sonata\/concerto for solo and multiple trumpets with string ensemble could be heard resounding in the courts and cathedrals across Europe. Originating in Bologna and brought to glory in Venice, these instrumental works con tromba and per tromba laid the harmonic and stylistic foundations for the concerto as a whole. A confluence of trends toward functional, triadic harmony and formal clarity found a happy meeting ground in the harmonic and melodic characteristics of the natural trumpet. The works on this recording span the whole period when both the concerto as a form and the trumpet, as much a style as an instrument were ascendant. \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49273772146996,"sku":"df752ac4-2754-40a9-b717-9923df4fdb4b","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork87d83098-d207-4d11-83ba-f15fee578812-LARGE.jpg?v=1788272584"},{"product_id":"mozart-divertimenti-for-oboe-octophorus","title":"Mozart: Divertimenti for Oboe - Octophorus","description":"\u003cp\u003eOCTOPHOROS\u003c\/p\u003e\n\u003cp\u003ePaul Dombrecht, Marcel Ponseele, Oboes \u003c\/p\u003e\n\u003cp\u003eClaude Maury, Piet Dombrecht, Horns \u003c\/p\u003e\n\u003cp\u003eDanny Bond, Donna Agrell, Bassoons\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBetween July 1775 and January 1777 Wolfgang Amadeus Mozart composed five divertimenti for two oboes, two horns, and two bassoons: K. 213, 240, 252, 253, and 270. The manuscripts of these works had been preserved in a single volume in the Preussischen Staatsbibliothek in Berlin. At the end of the Second World War they were thought to have been lost, but they reappeared in the Biblioteka Jagiellonska in Krakow. Leopold Mozart had added a date and a Roman numeral to all these manuscripts, with the exception of K. 252. It is an open question whether K. 289, as mentioned by Köchel, should be considered as complementary to the above divertimenti; in fact, if one follows the chamber music conventions of the time these divertimenti could have been published as a six-part cycle. This supposition appears to be confirmed by the fact that the six compositions share a common instrumentation. Indeed, one can divide them into two groups in which the identical keys follow the same order, that is to say F major -B-flat major -E-flat major -F major -B-flat major -E-flat major. \u003c\/p\u003e\n\u003cp\u003eRelying on considerations of style, some authors nevertheless think that the authenticity of K. 289 is doubtful. Unfortunately,  the autograph  manuscript of the work, which could resolve the matter, has not yet been found. We have to rely on copies, which occasionally display wide differences. \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49280555483444,"sku":"67fb5dd2-0a23-48b5-a63c-2285f81d9a53","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork93914e50-3fb1-4a45-9968-27d246a08c4b-LARGE.jpg?v=1788837215"},{"product_id":"beethoven-chamber-works-st-lukes-chamber-ensemble","title":"Beethoven: Chamber Works - St. Luke's Chamber Ensemble","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49280983269684,"sku":"d3bc5094-f451-45d0-9907-dc6def99fd64","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkf7b7a784-679e-443c-80d7-5f748e7bdfff.jpg?v=1788888374"},{"product_id":"honor-to-our-soldiers-music-of-the-civil-war","title":"Honor to Our Soldiers: Music of the Civil War","description":"\u003cp\u003eThe American Civil War was a time of great heroics, celebration, suffering, and tenderness. Although much can be learned by studying this great conflict, it is through the music of this period that one may feel the emotions of the 1860s. In this recording, the Classical Brass presents music of the Civil War performed on original brass instruments dating from that time.\u003c\/p\u003e\n\u003cp\u003eThe instruments used in this recording are from the John H. Elrod Memorial Collection. Mark Elrod, the owner of the collection, was most helpful in the production of this recording. The two soprano instruments date from 1864 and were manufactured by E.G. Wright in Boston, Massachusetts. They include an E-flat valved bugle and a B-flat cornet. The three low brass instruments are over-the-shoulder sax horns (alto, tenor, and bass) pitched in E-flat, B-flat, and E-flat, respectively. These instruments were found in Reading, Pennsylvania, but bear the markings, \"Klemm Bro., Philadelphia\" as the manufacturer. All five instruments have string-linkage rotary valves.\u003c\/p\u003e\n\u003cp\u003eOver-the shoulder brass instruments are an American phenomenon. The idea was for the band of a particular regiment to march in front of the troops with the bells of the instruments  pointing   backwards   so   they could be heard. This practice fell out of use shortly atter the Civil War.\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49281026457908,"sku":"7553cc94-deaf-43eb-b30a-a71732abf15a","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork3be35c56-a186-498e-abc9-6f423f749d33-LARGE.jpg?v=1788886697"},{"product_id":"dvorak-complete-piano-trios-concordia-trio","title":"Dvorak: Complete Piano Trios - Concordia Trio","description":"\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Four Piano Trios\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNo. 1 in B-flat Major, Op. 21\u003c\/p\u003e\n\u003cp\u003eNo. 2 in G Minor, Op. 26\u003c\/p\u003e\n\u003cp\u003eNo. 3 in F Minor, Op. 65\u003c\/p\u003e\n\u003cp\u003eNo. 4 in E Minor, Op. 90, \"Dumky\"\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eConcordia Trio\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eAlbert MARKOV, Violin\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eAlbert CATELL, Cello\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eMilton KAYE, Piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eChamber music occupies a prominent place among the compositions of many nineteenth century composers, and Dvorak's appealing works of consistently high quality for strings or strings and piano are no exception. The four works that comprise Dvorak's contribution to the piano trio literature are actually the last four out of a total of six trios, the first two of which were probably destroyed by the composer himself. Although Western European music influenced Dvorak in his compositional discipline and choice of traditional forms and musical genres to express his musical ideas, his uniqueness lies in the outward expression of his thoroughly Slavic\/Czechish soul in his melodies, rhythms, color, and overall musical personality. Continuing the strong nationalistic musical expression begun by his compatriot Bedrich Smetana (1824-1884), Dvorak and his successors -- in particular Leos Janacek -- remined the world of the rich musical tradition that produced Gluck, Fux, Dussek, the Stamitz family and the Benda brothers. \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49287212532020,"sku":"28a02032-f75b-4909-9366-2e82b2ca37f9","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork485100c1-bf77-48cb-92c6-9cee7d672056-LARGE.jpg?v=1789481959"},{"product_id":"romantic-russian-trios","title":"Romantic Russian Trios (Arensky \u0026 Gretchaninov) - Andreas Trio","description":"\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eANTON ARENSKY (1861-1906)\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eTrio in D Minor, Op. 32\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e1. Allegro moderato\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e2. Scherzo\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e3. Elegia\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e4. Finale\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eALEXANDER GRETCHANINOV (1864-1956)\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eTrio in C Minor, Op. 38\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e1. Allegro passionato\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e2. Lento assai\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e3. Finale [Allegro vivace]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg white-space-prewrap font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e \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\"\u003eANDREAS TRIO\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eEugene DRUCKER, Violin\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eAlbert CATELL, Cello\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eMilton KAYE, Piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eRussian music has always been an affair of the people. The minstrels of the pagan era sang of and for the masses. Even official opposition under the Byzantine influence left native music potently smoldering. As an empire under the Romanoffs, Russia nourished its folk art stimulated its poets to mold into prose and prosody the epics of its legendary cycles. And a massive body of native material suitable for musical settings was created. As a student of Rimsky-Korsakoff, Anton Stepanovitch Arensky entered that realm at the St. Petersburg Conservatory. But after graduation with honors, he was appointed professor of harmony and counterpoint at the Moscow Conservatory and joined the opposition: Tchaikovsky. His intimacy with both factions seems to have encouraged the wrath of all concerned, for no one has had much of a kind word to say about him since.\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eAlexander Gretchaninov is not quite as well known. He studied in Moscow with Safonov and Arensky and later in St. Petersburg with Rimsky-Korsakov. After a period of teaching in Russia he moved to Paris and then to New York,\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003ein 1939.\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49299868123444,"sku":"1c2c2609-dd49-47ae-a9a7-9a111e464e3a","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkf91529db-5a66-4e4f-a794-228c0fdcc765-LARGE.jpg?v=1790179949"},{"product_id":"rachmaninoff-trio-elegiaque-no-2-op-9-andreas-trio","title":"Rachmaninoff: Trio Elegiaque, No. 2, Op. 9 - Andreas Trio","description":"\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eTRIO ELEGIAQUE No. 2, Op. 9\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e1. Moderato\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e2. Quasi variazione\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e3. Allegro risoluto\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eANDREAS TRIO\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eEugene Drucker, Violin\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eAlbert Catell, Cello\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eMilton Kaye, Piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eThe Trio Elegiaque, \"In memory of a great artist,\" is one of the most soulful compositions of Rachmaninoff's early creative period. The young composer was deeply moved by the death of P. I. Tchaikovsky, musical genius, who proved to be a great influence on Rachmaninoff's work. He started composing the trio the very same day when the sad news reached him on October 25, 1893. Rachmaninoff expressed in his music the depth and tragedy of the great composer.\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eIn less than two months the work was finished and on January 31, 1894 its first performance took place at the Small Hall of the Noble Assembly in Moscow. Rachmaninoff himself played the piano, Y. E. Koniusa, the violin and A. A. Brandukov, the cello.\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49299874644276,"sku":"44d651b3-c255-4c1e-ae39-f363ff86bec3","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkaa5d374b-affa-4120-8d5d-90b9dbb9f684-LARGE.jpg?v=1790181283"},{"product_id":"three-generations-of-mozart-leopold-wolfgang-amadeus-franx-xavier-wolfgang-amadeus","title":"Three Generations of Mozart: Leopold, Wolfgang Amadeus \u0026 Franx Xavier Wolfgang Mozart","description":"\u003cp\u003eLeopold \u0026amp; Wolfgang Amadeus Mozart:\u003c\/p\u003e\n\u003cp\u003eAUSTRIAN TONKUNSTLER ORCHESTRA, VIENNA\u003cbr\u003eHILDE LANGFORT, Harpsichord\u003cbr\u003eERNST MAERZENDORFER, Conductor\u003c\/p\u003e\n\u003cp\u003eFranz Xaver Wolfgang Mozart:\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eCHRISTL GENSER, Violin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eKARL STIERHOOF, Viola\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eEWALD WINKLER, Cello\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 white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eERIKA GENSER, Piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAlthough we are by now quite familiar with music by the various composing members of the Bach family, knowledge of the Mozart family is generally confined to the music of Wolfgang Amadeus and to a few works by his father, Leopold. This record introduces the listener to a third member of the family. In tracing the musical line from grandfather Leopold (1719-1787) through Wolfgang Amadeus (1756-1791) to Franz Xaver Wolfgang Mozart (1791-1844), we are practically following music history from early Rococo through late Rococo to Classicism.\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49320410284340,"sku":"a49deac1-0eb7-458c-85f9-86bc3ab017b3","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork59e4a33c-a8ab-4c2c-b329-9cf2cf08674f.jpg?v=1791305568"},{"product_id":"mozart-piano-sonatas-menahem-pressler","title":"Mozart: Piano Sonatas - Menahem Pressler","description":"\u003cp\u003eMozart was a pianist all his life. Although he played the organ, violin and viola very well, it was as a pianist that he generally made his public appearances and performed his own works. As a child he learned to play the harpsichord and clavichord, and he retained a fondness for the latter instrument all his life, but he rarely performed on it in public. His earliest compositions are for a keyboard instrument (harpsichord or clavichord) and among the many compositions of his last few months are a piano sonata, a piano concerto, a piano trio and a set of variations for the piano. His interest in the piano didn't stop with writing music for it, and there are several letters to his family in which he mentions trying out the new pianos of various friends. In an oft-quoted letter to his father (October 17-18, 1777) he describes his favorite brand of piano and tells why he likes it: \u003c\/p\u003e\n\u003cp\u003e\"This time I shall begin at once with Stein's pianofortes… In whatever way I touch the keys, the tone is always even… It never jars, it is never stronger or weaker or entirely absent; in a word, it is always even His instruments have this special advantage over others that they are made with escape action. Only one maker in a hundred bothers about this. But without an escapement it is impossible  to  avoid  jangling  and  vibration after the note is struck. When you touch the keys, the hammers fall back again the moment after they have struck the strings, whether you hold down the keys or release them.\" \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49322607804724,"sku":"885288813708","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork3300c473-08cf-4a05-ae76-949a04a787f3-LARGE.jpg?v=1791496209"},{"product_id":"boccherini-string-quintets","title":"Boccherini: String Quintets","description":"\u003cp\u003eThe Italian musical conquest of Spain in the last half of the 18th century is one of the more interesting developments of European musical history. A number of Italy's outstanding musicians, including the famed Domenico Scarlatti, traveled to Madrid, and eventually became the dominant force in the musical world at the Spanish capital. The influence of these cultural emissaries was to be felt there for over a hundred years, as the character of musical composition became less Spanish and increasingly Italian in nature.\u003c\/p\u003e\n\u003cp\u003eBorn in Lucca in 1743, Luigi Boccherini became a virtuoso of the violoncello at an early age. He gave concerts throughout Italy and France, and it was after one of his extended tours that he was invited to Madrid by the Infante Don Luis de Borbon, brother of King Carlos III of Spain. Here he was to remain, except for a short term in the service of Friedrich Wilhelm II of Prussia, until his death in 1805. His career in Madrid was not entirely successful, as he lacked the grace and finesse necessary to remain in a position of favor with his patrons. His unwillingness to conform to the standards of court protocol led to his eventual disgrace, and he was forced to seek refuge under the patronage of Lucien Buonaparte, Ambassador to the Spanish Court from France.   In return for the Ambassador's kindness, he was required to compose at least six quintets a year. It was during this period that a large number of his nearly one hundred quintets was produced.\u003c\/p\u003e\n\u003cp\u003eBoccherini possessed the finest technique among the 'cellists of his day, and his writing for the 'cello reflects his intimate knowledge and command of the instrument. The bass parts of his quintets and quartets display rich flowing melodies and intricate harmonies unknown in the works of his contemporaries. For the first time in musical history, the violoncello is given not only an accompaniment role but a solo role as well. The melodic line in his chamber works is alternately placed with the violin, viola, and the 'cello, making for a variety of color lacking until then. His writing for strings is at once bold, masterly, and elegant.\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49326603108660,"sku":"885288811032","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork9a4bced3-6c8c-49e3-843c-9383b4c36f35-LARGE.jpg?v=1791573263"},{"product_id":"bach-arias-with-instrumental-obbligato-the-bach-aria-group","title":"Bach: Arias with Instrumental Obbligato - The Bach Aria Group, Samuel Baron","description":"\u003cp\u003eThe Bach Aria Group\u003c\/p\u003e\n\u003cp\u003eSamuel Baron, Flute, Music Director \u003cbr\u003eDaniel Phillips, Violin \u003cbr\u003eRonald Roseman, Oboe\u003cbr\u003eTimothy Eddy, Cello\u003cbr\u003eYehudi Wyner, Organ, harpsichord \u003cbr\u003eCarol Webber, Soprano \u003cbr\u003eD'Anna Fortunato, Alto\u003cbr\u003eJon Humphrey, Tenor\u003cbr\u003eRuud Van der Meer, Bass-baritone\u003cbr\u003ePaige Morgan, Assisting oboe in 146\/6 and 83\/1\u003cbr\u003eDouglas Myers, Franz Streitwieser, Horns in 83\/1\u003cbr\u003eLisa Terry, Viola da gamba in 4l\/4\u003cbr\u003eSandra Boysen-Freese, Virginia Sublett, Roberta Veazey Melissa Baber. Sopranos in 158\/2\u003cbr\u003eSamuel Baron, Conductor in 83\/1, 33\/3, 146\/6\u003c\/p\u003e\n\u003cp\u003eFestival Orchestra of the Bach Aria Festival and Institute \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBach arias constitute a unique portion of our treasury of great music. Many baroque masters composed cantatas (Telemann, for example, composed more than 1,000), and many composed operas, In both these genres the arias were the musical high points, the moments when the emotions of the text were explored most fully. The arias were also the moments when the singers had their greatest opportunity for display. But no baroque master, not even the great Handel, achieved the concentrated intensity and imagination that Johann Sebastian Bach did in his arias. Indeed, the Bach arias stand out even against all other music by Bach as a special blend of vocal and instrumental display -- texted music and untexted obbligato playing combining to expound words and concrete verbal ideas (mostly religious concepts) in a highly developed concerto form.\u003c\/p\u003e\n\u003cp\u003eOne of the astonishing features of Bach arias is the way in which Bach converts the texts into musical images. Many people have said thạt the texts are not worthy of the music, that they are made up of routinely dogmatic Lutheran theology, that Bach's function as cantor was simply to underline the same basic concepts week after week to his fellow congregants, that he was in effect a preacher in music. But these viewpoints do not come close to explaining the glorious colors of Bach's music, they give no clue to the tremendous emotional power of the compositions, and they certainly do not account for the broad, one might say universalist, appeal of this music.\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49328735093044,"sku":"885288848168","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork9c601541-1983-4b83-9382-de82f4622aa7-LARGE.jpg?v=1791831651"},{"product_id":"des-pres-fayrfax-masses","title":"Des Prez \u0026 Fayrfax: Masses","description":"\u003cp\u003eOf all the Franco-Flemish composers of the high Renaissance, only Josquin des Prez has begun to make an impression on today's wider listening public. Yet despite fame in his time and ours, his biography is very sketchy indeed; and the style of the music, outside of two or three \"standards” is not well understood Experts cannot reliably distinguish Josquin’s music from that of his contemporaries, nor can we discover where, when, or why he created most of his music without a more secure life history. Josquin traveled south to earn his living at the rich courts and churches of Italy as did many Flemish musicians of the time. After holding positions in Milan he joined the papal choir in Rome. Around 1500, his whereabouts are uncertain; but it is likely that he worked for the French royal court After a brief stay in Ferrara he ended up in a small town in northern France near nis birthplace for the last decade of his life.\u003c\/p\u003e\n\u003cp\u003eIn contrast with this Flemish Mass, we are also presenting a large-scale votive antiphon by the English contemporary of Josquin, Robert Fayrfax a member of the Chapels Royal of Henry VII and Henry VIII. It is often stated that English composition of this period was quite insulated from continental influences and had developed its own late medieval style distinct from the Renaissance spirit of Josquin and contemporaries.\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49330605719860,"sku":"885288862768","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork5c9f7d07-14be-43cd-9cb5-46b8f9d166c1-LARGE.jpg?v=1791916852"},{"product_id":"schubert-octet-in-f-major-d-803","title":"Schubert: Octet in F Major, D. 803","description":"\u003cp\u003eCTET IN F MAJOR for Two Violins, Viola, Cello, Double bass, Clarinet, \u003cbr\u003eFrench Horn and Bassoon, D. 803\u003c\/p\u003e\n\u003cp\u003e1. Adagio. Allegro \u003cbr\u003e2. Adagio \u003cbr\u003e3. Allegro vivace \u003cbr\u003e4. Andante \u003cbr\u003e5. Menuetto: Allegretto \u003cbr\u003e6. Andante molto. Allegro \u003c\/p\u003e\n\u003cp\u003e James Buswell, First violin \u003cbr\u003eSyoko Aki, Second violin* \u003cbr\u003eWalter Trampler, Viola \u003cbr\u003eLeslie Parnas, Cello \u003cbr\u003eAlvin Brehm, Double bass* \u003cbr\u003eRichard Stoltzman, Clarinet* \u003cbr\u003eRobert Routch, French horn* \u003cbr\u003eLoren Glickman, Bassoon \u003cbr\u003e*Guest Artist\u003c\/p\u003e\n\u003cp\u003eIn the spring of 1818 Schubert declared his independence from his parents and his job as a schoolteacher once and for all by moving out of his family's dwelling. He spent the summer as the music master to the family of Count Johann Esterhazy in Hungary before moving in with his friend Johann Mayrhofer, who had an apartment in the center of Vienna. Schubert refused to take on music students as a means of income, insisting that he had to be free to devote himself to composition. As a result, the young composer was more or less financially dependent upon the generosity of his friends. \u003c\/p\u003e\n\u003cp\u003eThe Octet, D. 803, along with the String Quartets in A minor, D. 804, and D minor, D. 810- all written early in 1824 -- would appear to be among the first fruits of Schubert's new resolve and indeed these works signal a new direction in his instrumental output. The title page of the composer's autograph of the Octet is dated February 1824 and at the very end of the score stands the remark \"finished on the first of March 1824,\" providing an accurate guide to the date of the work. There is otherwise little contemporary information about the composition. \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49345039073588,"sku":"885288856965","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkd5e1dfae-b72c-4d09-a36b-2318ba3d3088-LARGE.jpg?v=1792791251"},{"product_id":"schumann-piano-quartet-in-e-flat-major-op-47-schubert-variations-for-flute-and-piano-d-802","title":"Schumann: Piano Quartet in E-Flat Major, Op. 47; Schubert: Variations for Flute and Piano, D. 802","description":"\u003cp\u003eROBERT SCHUMANN (1810-1856) \u003c\/p\u003e\n\u003cp\u003eQuartet for Piano and Strings in E-Flat Major, Op. 47 \u003cbr\u003e1. Sostenuto assai. Allegro ma non troppo \u003cbr\u003e2. Scherzo: Molto vivace \u003cbr\u003e3. Andante cantabile \u003cbr\u003e4. Finale: Vivace \u003c\/p\u003e\n\u003cp\u003eJaime Laredo, Violin \u003cbr\u003eWalter Trampler, Viola \u003cbr\u003eLeslie Parnas, Violoncello \u003cbr\u003eRichard Goode, Piano \u003c\/p\u003e\n\u003cp\u003eFRANZ SCHUBERT (1797-1828) \u003cbr\u003eVariations for Flute and Piano, D. 802 \u003cbr\u003e(On \"Trockne Blumen\" from Die schone Mullerin, D. 795) \u003c\/p\u003e\n\u003cp\u003ePaula Robison, Flute \u003cbr\u003eRichard Goode, Piano\u003c\/p\u003e\n\u003cp\u003eIn 1842, Schumann turned his attention to the composition of chamber music. By June of that year he had completed three string quartets -- the Quartet in A Minor, Op.41, No. 1; the Quartet in F Major, Op. 41, No. 2; and the Quartet in A Major, Op. 41, No. 3 -- which he dedicated to Mendelssohn. In September and October he worked on the Piano Quintet in E-flat Major, Op. 44. Clara Schumann was the pianist at the first performance and it is to her that the composition is dedicated. \u003c\/p\u003e\n\u003cp\u003eOn October 24, work was begun on the Quartet for Piano and Strings in E-flat Major. Schumann labored over his last piece of chamber music from 1842 for about a month. The first public performance of the work took place at the Gewandhaus in Leipzig on December 8, 1844, with Clara at the piano. During the following year the quartet was published as Schumann's Opus 47. \u003c\/p\u003e\n\u003cp\u003eAside from Schubert's artistic desire to write instrumental music in preparation for a \"grand symphony,\"   several  performers  may have influenced Schubert’s choice of medium. The great violinist, Ignaz Schuppanzigh, probably encouraged Schubert to write string quartets, for his group gave the first performance of the A minor Quartet on March 14. The Octet was commissioned by Count Troyer, who played the clarinet part in the first performance of the work. Finally, it has been assumed that Ferdinand Bogner, a virtuoso flutist and an acquaintance of Schubert, requested a composition for the flute. \u003c\/p\u003e\n\u003cp\u003eThe Variations for Flute and Piano, D. 802 are based on Schubert's song \"Trockne Blumen\" from the cycle Die schone Mullerin, D. 795. The cycle had been composed during the fall of the previous year and was published in five volumes during the course of 1824 -- \"Trockne Blumen” was included in the last volume, which appeared in August. \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49345045004596,"sku":"885288846980","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworke49946e6-e005-4a28-99fd-6149a5b124b6-LARGE.jpg?v=1792791396"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/collections\/MEMBERS_CHOICE_icon_37901533-01f9-4c2b-972a-8fa4c83e8ebc.png?v=1792951268","url":"https:\/\/themusicalheritagesociety.com\/collections\/october-november-2026-members-free-selections.oembed?page=2","provider":"The Musical Heritage Society","version":"1.0","type":"link"}