Various Artists – Pianissimo – Music for Quiet Moments (1998)

FrontCover1Only in the silence can music touch a chord within us, and create a distant echo. And it is through the silence that the piano can open and blossom with it incomporable voice, and the vibration of its strings melt into melody. Since the invention of the modern pianoforte in the 18th century, composers have again and again been inspired by its special sensibilities, and the capacity of this instrument to encompass the slightest expressive nuances and translate them into sound.

On this CD you will find a collection of the loveliest piano melodies in musical history: whether the “Adagio Sostenuto” from Beethovens Moonlight Sonata, or the “Largo” from his Piano Concerto, whether Liszt´s “Liebestraum” or Schumann´s “Träumerei”, the “Adagio” from Grieg´s Piano Concerto, or Chopin´s “Nocturen”, all show this instrument has struck a chord in these sompoers (taken form the original linernotes)

A great album for contemplation and solitude.


01. Alfredo Perl: Adagio Sostenuto (Mondscheinsonate) (Beethoven) 6.07
02. Lisa Smirnova & Jena Philharmonic Orchestra (David Montgomery): Largo Piano Concerto No 1 Op. 15 Beethoven) 10.44
03. Ricardo Castro: Adagio Piano Sonata KV 332 (Mozart) 4.17
04. Carmen Piazzini: Adagio Piano Sonata No 27 Hob. XVI (Haydn) 5.03
05. Nadja Rubanenko: Sehr langsam – Kreisleriana Op. 16 (Schumann) 4.16
06. Alfredo Perl & Orquesta Filarmónica De Gran Canaria (Adrian Leaper): Adagio – Piano Concerto Op. 16 (Grieg) 6.56
07. Carmen Piazzini: Danza del moza donosa (Ginastera) 3.30
08. Carmen Piazzini: Cancion de las Venusinas (Piazzolla) 2.10
09. Arkady Sevidov: Barcarolle The Seasons Op. 37b (Tchaikovsky) 5.20
10. Ricardo Castro: Nocturne #1 In B Flat Minor, Op. 9-1 (Chopin) 5.39
11. Michael Krücker: Liebestraum Op. 62 No. 3 (Liszt) 4.43
12. Andreas Bach: Träumerei  (Schumann) 2.20
13. Vladimir Mishtchuk & Russian Philharmonic Orchestra (Samuel Friedmann):  Adagio sostenuto Piano Concerto No. 2 Op. 18 (Rachmaninov) 11.37





Various Artists – Mozart For Meditation (2004)

FrontCover1The youngest child and only surviving son of Leopold Mozart, Wolfgang Amadeus was born in Salzburg in 1756, the publication year of his father’s influential treatise on violin playing. He showed early precocity both as a keyboard player and violinist, and soon turned his hand to composition. His obvious gifts were developed, along with those of his elder sister, under his father’s tutelage, and the family, through the indulgence of their then patron, the Archbishop of Salzburg, was able to travel abroad—specifically between 1763 and 1766, to Paris and to London. A series of other journeys followed, with important operatic commissions in Italy between 1771 and 1773. The following period proved disappointing to both father and son as the young Mozart grew to manhood and was irked by the lack of opportunity and lack of appreciation for his gifts in Salzburg, where a new archbishop was less sympathetic.


A visit to Munich, Mannheim and Paris in 1777 and 1778 brought no substantial offer of other employment and by early 1779 Mozart was reinstated in Salzburg, now as court organist. Early in 1781 he had a commissioned opera, Idomeneo, staged in Munich for the Elector of Bavaria, and dissatisfaction after being summoned to attend his patron the Archbishop in Vienna led to his dismissal. Mozart spent the last 10 years of his life in precarious independence in Vienna, his material situation not improved by a marriage imprudent for one in his circumstances. Initial success with German and then Italian opera and a series of subscription concerts were followed by financial difficulties. In 1791 things seemed to have taken a turn for the better, despite a lack of interest from the successor to the Emperor Joseph II, who had died in 1790. In late November, however, Mozart became seriously ill and died in the small hours of 5 December. Mozart’s compositions were catalogued in the 19th century by Köchel, and they are now generally distinguished by the K. numbering from this catalogue. (


And here´s a real pretty good compilation …

It´s time to discover the one and only Wolfgang Amadeus Mozart again !


Janos Balint (flute), Nora Mercz (harp):
01. Andante in C major, K315 for flute and orchestra 6.19

Jenö Jandó (piano) & Concentus Hungaricus (Matyas Antal):
02. Piano Concerto No. 23 in A Major, K. 488: II. Adagio 7.15

Priti Coles (soprano). Kosice Teachers’ Choir & Camerata Cassovia (Johannes Wildner):
03. Vesperae solennes de confessore, K. 339: Laudate Dominum 4.56

Cappella Istropolitana (Harald Nerat):
04. Divertimento No. 15 in B-Flat Major, K. 287, “Lodron Night Music No. 2”: IV. Adagio 8.11

German Wind Soloists:
05. Serenade No. 10 in B-Flat Major, K. 361, “Gran Partita”: IV. Adagio 5.57

Kosice Teachers’ Choir, Camerata Cassovia (Johannes Wildner):
06. Ave Verum Corpus, K. 618  2.43

Jenö Jandó (piano) & Concentus Hungaricus (Andras Ligeti):
07. Adagio in E Major, K. 261 6.34

Jean Claude Gerard (flute) & Villa Musica Ensemble:
08. Flute Quartet No. 1 in D Major, K. 285: II. Adagio 2.42

Takako Nishizaki (violin) & Cappella Istropolitana (Stephen Gunzenhauser).
09. Violin Concerto No. 3 in G Major, K. 216: II. Adagio 8.24

 Cappella Istropolitana (Harald Nerat):
10. Divertimento No. 2 in D Major, K. 131: II. Adagio 5.58

Music Wolfang Amadeus Mozart



Liner Notes02

More from Wolfang Amadeus Mozart:


London Classical Players (Roger Norrington) – Mozart- Symphonies 39 & 41 (1991)

FrontCover1Sir Roger Arthur Carver Norrington CBE (born 16 March 1934) is a British conductor. He is the son of Sir Arthur Norrington and his brother is Humphrey Thomas Norrington.

Norrington studied at The Royal Conservatory of Music in Toronto, Dragon School, Oxford, Westminster School, Clare College, Cambridge and the Royal College of Music under Adrian Boult among others. Norrington played the violin, and worked as a tenor through the 1960s, and in 1962 founded the Schütz Choir (later the Schütz Choir of London).
Conductor in Britain and US

From 1969 to 1984, Norrington was music director of Kent Opera. In 1978, he founded the London Classical Players and remained their musical director until 1997. From 1985 to 1989, he was principal conductor of the Bournemouth Sinfonietta. He is also president of the Oxford Bach Choir. In the US, from 1990 to 1994, he was music director of the Orchestra of St. Luke’s.

With his wife, the choreographer Kay Lawrence, he formed in 1984 the Early Opera Project to complement his concert work in period-style opera, beginning with Claudio Monteverdi’s L’Orfeo at the Maggio Musicale Fiorentino that year, and touring Britain in 1986.

Roger Norrington01

In Europe, he was principal conductor of the Camerata Salzburg from 1997 to 2006, and principal conductor of the Stuttgart Radio Symphony Orchestra from 1998 to 2011.[2] On 28 July 2016, he conducted the final concert of the Stuttgart Radio Symphony Orchestra in London at the Royal Albert Hall as part of The Proms, before its scheduled merger with the SWR Sinfonieorchester Baden-Baden und Freiburg.

He was artistic advisor of the Boston Handel and Haydn Society from 2006 to 2009. He was principal guest conductor of the Orchestre de chambre de Paris and the Deutsche Kammerphilharmonie Bremen. He was principal conductor of the Zurich Chamber Orchestra from 2011 to 2016. He has conducted over 50 world premieres, and has appeared regularly with the Berlin Philharmonic, the Vienna Philharmonic, and major orchestras throughout the world.

Norrington is best known for historically informed performances of Baroque, Classical and Romantic music. He is a member of the historically informed performance movement. Norrington has advocated a limited or no use of vibrato in orchestral performances, which has brought him both positive and adverse criticism. He has strictly followed Beethoven’s original metronome markings in his symphonies, despite critical comment that these markings were “miscalculated”.

Roger Norrington02

He has conducted recordings of Haydn, Mozart, Beethoven, Schubert, Berlioz, Brahms, Tchaikovsky, Dvorak, Bruckner, and Mahler on period and modern instruments. In particular, Norrington makes very sparse use of the vibrato, often uses very fast tempos, and varies the placement of the instruments on stage. Especially with the Stuttgart Radio Symphony Orchestra Norrington has developed a very individual sound, which is often dubbed by the trade press as Stuttgart Sound. This refers to the synthesis of historically informed music making with the means of a modern and flexible orchestra. Symphonic cycles which Norrington interpreted in recent years with the Stuttgart Radio Symphony Orchestra have received worldwide acclaim. However, Norrington’s performance practice is not without critics among other musicians; for example, the violist of the Melos Quartet, Hermann Voss, drew two tough caricatures to Norrington’s vibrato-free string sound in 2005, adding: “Except for the Stuttgart Feuilleton, the New Stuttgart Style finds only contempt and scorn.”

In August 2008, Norrington appeared in the reality TV talent show-themed television series, Maestro on BBC Two, when he led the judging panel. He conducted the First Night of the Proms in 2006 and the Last Night of The Proms on 13 September 2008.

Norrington has been married twice. He and his second wife, Kay Lawrence, have a son, Tom.

He was appointed OBE in 1980, CBE in 1990 and Knight Bachelor in 1997. He is a patron of Bampton Classical Opera and the Orchestra of St Paul’s. He is an honorary fellow of Clare College Cambridge and holds honorary degrees from the Universities of York and Kent and an honorary doctorate from the Royal College of Music.

Roger Norrington03

The London Classical Players (LCP) was a British orchestra that specialized in music following historically informed performance (HIP) practices and orchestral performances on period musical instruments. Sir Roger Norrington founded the LCP in 1978. From 1978 to 1992, the concertmaster of the London Classical Players was baroque violinist John Holloway. The LCP made a variety of recordings for EMI Classics. Many of the players in the LCP overlapped with four other major HIP orchestral ensembles, the Academy of Ancient Music, the English Concert, the Orchestra of the Age of Enlightenment, and the English Baroque Soloists.


Among their famous concert series was “The Beethoven Experience” in 1987,[3] and “The Berlioz Experience” in 1988. In 1996, the LCP was invited to open the Prague Spring Festival in the traditional opening festival concert of Bedrich Smetana’s Ma Vlast, a controversial decision at the time.

In 1997, the LCP formally dissolved as an organization, and its work was absorbed into the Orchestra of the Age of Enlightenment. (by wikipedia)

And here are two really nice Mozart Symphonies:

The Symphony No. 39 is the first of a set of three (his last symphonies) that Mozart composed in rapid succession during the summer of 1788. No. 40 was completed on 25 July and No. 41 on 10 August. Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 39 has a grand introduction (in the manner of an overture) but no coda.

Around the time that he composed the three symphonies, Mozart was writing his piano trios in E major and C major (K. 542 and K. 548), his sonata facile (K. 545), and a violin Mozart01sonatina (K. 547). Mozart biographer Alfred Einstein has suggested that Mozart took Michael Haydn’s Symphony No. 26, in the same key, as a model.

Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. The longest and last symphony that he composed, it is regarded by many critics as among the greatest symphonies in classical music.

The work is nicknamed the Jupiter Symphony, the name showing that for people of the time, this was a really big work, in all senses. This name stems not from Mozart but rather was likely coined by the impresario Johann Peter Salomon.

It is not known whether Symphony No. 41 was ever performed in the composer’s lifetime. According to Otto Erich Deutsch, around this time Mozart was preparing to hold a series of “Concerts in the Casino” in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael Puchberg. But it seems impossible to determine whether the concert series was held, or was cancelled for lack of interest (by wikpedia)


London Classical Players conducteted by Roger Norrington



Symphony No. 39 In E Flat, K.543:
01. Adagio – Allegro 9.51
02. Andante Con Moto 6.43
03. Menuetto (Allegretto) & Trio 4.18
04. Finale: Allegro 8.18

Symphony No. 41 In C, K.551, “Jupiter”:
05. Allegro Vivace 11.18
06. Andante Cantabile 8.31
07. Menuetto (Allegretto) & Trio 5.14
08. IV. Finale: Molto Allegro 11.48

Composed by Wolfgang Amadeus Mozart



Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791)

Laurence Perkins, Douglas Boyd + Manchester Camerata – Bassoon Concertos (2002)

FrontCover1.jpgIn 1932 Sacheverell Sitwell wrote ‘No composer has ever understood the qualities of individual instruments as did Mozart … with the bassoon, it is like a Sea-god speaking’. And yet Mozart was just eighteen years of age when he wrote this highly imaginative concerto, and it is the only one of three he composed for bassoon to survive. M. Haydn’s Concertino further explores the instrument’s lyrical qualities, and Stamitz displays a gift for melodic charm and inventiveness, of which his Concerto in F major is a good example, relying more on melody than virtuosic display. Weber’s Op 35 began life as a viola solo with orchestra and is Hungarian in flavour, and his Concerto in F major is unerringly cheerful throughout.

This highly enjoyable disc ebbs and flows through a medley of melodies, interspersed with moments of calm tranquility and utmost beauty, giving Laurence Perkins the opportunity to prove he is master of the Sea-God of the instrument world. (promotion text)

A delightful and generous collection’ (Gramophone)

‘Dazzling. Hyperion’s perceptive talent-spotting has produced a charming disc from performers virtually new to the catalogue – unreservedly recommended’ (BBC Music Magazine)

‘The performances are all sophisticated … a pleasure to listen to’ (American Record Guide)

‘A recording of airy clarity … a most recommendable disc, with much to enjoy’ (International Record Review)

‘Perkins brings out the fun in much of the inspiration as well as the lyrical beauty, warmly accompanied by the Camerata’ (The Guardian)

‘Dynamic and expressive contrasts are carefully and adroitly created and the orchestra meticulously managed. The result is a lovely and technically superior recording, not to mention another star in the crown of the folks at Hyperion’ (Fanfare, USA)

‘The playing of the Manchester Camerata (on modern instruments) is excellent throughout … They and their oboist conductor support their principal bassoonist with such care and attention that it is fair to call this a labour of love all round. Enjoy’ (MusicWeb International)

And I lovge the sound of a bassoon … so here you will hear delightful music from the past …

Recorded in the Concert Hall of the Royal Northern College of Music
Manchester, on 11 & 12 April 2001.


Laurence Perkins (bassoon)
The Manchester Camerata conducted by Douglas Boyd

Laurence Perkins

Wolfgang Amadeus Mozart: Concerto In B Flat Major, K191 (18.25)
01. Allegro 7.23
02. Andante Ma Adagio 6.34
03. Rondo, Tempo Di Menuetto 4:25

Michael Haydn:
04. Concertino In B Flat Major, Perger 52/5 7.18

Carl Stamitz: Concerto In F Major:
05. Allegro Maestoso 7.30
06. Adagio Molto 5.08
07. Poco Presto 4,23

Carl Maria von Weber: Andante E Rondo Ungarese, Op 35:
08. Andante 4.56
09. Rondo 6.01

Carl Maria von Weber: Concerto In F Major, Op 75 (18.02)
10. Allegro Ma Non Troppo 8.41
11. Adagio 4:34
12. Rondo – Allegro 4.45



Manchester Camerata

Manchester Camerata

Various Artists – Pianissimo – Music For Quiet Moments (1998)

frontcover1Only in the silence can music touch a chord within us, and create a distant echo. And it is through the silence that the piano can open and blossom with it incomparable voice, and the vibration of it strings melt into melody.

Since the invention of the modern Pianoforte in the 18th century, composers have again and again been inspired by its special sensibilities, and the capacity of this Instrument to encompass the slightest expressive nuances and translate them into Sound.

On this album you will find a collection of the loveliest piano melodies in musical history: Whether the Adagio sosenuto from Beethoven´s Moonlight Sonata, or the Largo from his Piano Concerto, whether Listz´s Liebestraum, or Schumann´s Träumerei, the Adagio from Grieg´s  Piano Concerto or Chopin´s Nocturne, all show how this instrument has struck a chord in these Composers (Georg Stänzel; taken from the original liner notes)

Enjoy the sounds of silence !


01. Alfredo Perl: Adagio Sostenuto (Beethoven)  6.02
02. Jena Philharmonic Orchestra: Largo (Beethoven) 10.41
03. Ricardo Castro: Adagio (Mozart) 4.14
04. Carmen Piazzini: Adagio (Haydn) 5.00
05. Nadja Rubanenko: Sehr langsam (Schumann) 4.13
06. Alfredo Perl: Adagio (Grieg) 6.52
07. Carmen Piazzini:  Danza Del Moza Donosa (Ginastera) 3.26
08. Carmen Piazzini:  Cancion De Las Venusinas (Piazolla) 3.26
09. Arkady Sevidov: Barcarolle (Tchaikovsky) 5.16
10. Ricardo Castro: Nocturne No. 1 Op. 9/1 (Chopin)  5.35
11. Michael Krücker: Liebestraum Op. 62 No. 3/Poco Allegretto Con Affetto (Liszt) 4.40
12. Andreas Bach: Träumerei (Schumann) 2.17
13. Russian Philharmonic Orchestra + Vladimir Mishtchuk: Adagio Sostenuto (Rachmaninov) 11.38



Another quiet moment
(I shoot this picture near Berchtesgaden (Bavarian Alps) in october 2009)

Various Artists – Romantic Harp Concertos (2001)

FrontCover1The harp is a stringed musical instrument which has a number of individual strings running at an angle to its soundboard, which are plucked with the fingers. Harps have been known since antiquity in Asia, Africa, and Europe, dating back at least as early as 3500 BC. The instrument had great popularity in Europe during the Middle Ages and Renaissance, where it evolved into a wide variety of variants with new technologies, and was disseminated to Europe’s colonies, finding particular popularity in Latin America. While some ancient members of the harp family died out in the Near East and South Asia, descendants of early harps are still played in Burma and in Sub-Saharan Africa, while other defunct variants in Europe and Asia have been revived by musicians in the modern era.

Harp01Harps vary globally in many ways. In terms of size, many smaller harps can be played on the lap, while larger harps are quite heavy and rest on the floor. Different harps may use strings of catgut or nylon, or of metal, or some combination. While all harps have a neck, resonator, and strings, “frame harps” have a pillar at their long end to support the strings, while “open harps”, such as arch or bow harps, do not. Modern harps also vary in techniques used to extend the range and chromaticity of the strings, such as adjusting a string’s note mid-performance with levers or pedals which modify the pitch. (by wikipedia)

And her you can hear this beautiful instrument in classical concerts from famous composers like George Frederick Händel, Wolfgang Amadeus Mozart. and from more or less unknown composers like Karl Ditters von Dittersdorf, Johann Georg Albrechtsberger and Georg Christoph Wagenseil.

Enjoy the magic sound of a harp !


George Frederick Händel: Harp Concerto in B flat major:
Maria Grafova (harp)
Janáčkova filharmonie Ostrava conducted by Hartmut Haenchen

Wolfgang Amadeus Mozart: Concerto in C major, for flute, harp & orchestra, K. 299
Beata Kaminska (harp)
Joanna Kontowicz (flute)
Łódzka Orkiestra Kameralna conducted by Zdzisław Szostak

Johann Karl Krumpholz: Harp Concerto in B flat major:
Klara Novakova (harp)
Slovak Radio Symphony Orchestra conducted by Oliver von Dohnányi

Karl Ditters von Dittersdorf: Harp Concerto in A major:
Johann Georg Albrechtsberger: Harp Concerto in C major:
Johann Georg Albrechtsberger: Partita in F major:
Georg Christoph Wagenseil: Concerto in G major, for harp, 2 violins, cello & orchestra:
Jana Boušková (harp)
Südwestdeutsches Kammerorchester Pforzheim conducted by Vladislav Czarneck



CD 1:

George Frederick Händel: Harp Concerto in B flat major:
01. Allegro moderato 6.02
02. Larghetto 5.08
03. Allegro moderato 2.47

Wolfgang Amadeus Mozart: Concerto in C major, for flute, harp & orchestra, K. 299: 04. Allegro 10.33
05. Andantino 7.44
06. Rondeau 10.12

Johann Karl Krumpholz: Harp Concerto in B flat major:
07. Allegro moderato 12.29
08. Andante con variazioni 5.41
09. Rondo, allegro 5:57

CD 2:

Karl Ditters von Dittersdorf: Harp Concerto in A major:
01. Allegro molto 6.37
02. Adagio 9.10
03. Rondeau, larghetto 3.33

Johann Georg Albrechtsberger: Harp Concerto in C major:
04. Allegro moderato 6.28
05. Adagio 9.45
06. Allegro 3.15

Johann Georg Albrechtsberger: Partita in F major:
07. Presto 3.49
08. Adagio 7.02
09. Menuetto 2.43
10. Finale, allegro 4.05

Georg Christoph Wagenseil: Concerto in G major, for harp, 2 violins, cello & orchestra:
11. Allegro 3.50
12. Andante 4.37
13, Vivace 5.11


Various Artists – Royal Clown Classic – The Sampler (1989)

FrontCover1The Pilz Media Group (founded by Reiner E. Pilz) was a small German record label for classic music (not to be confused with Pilz Records, the legendary label for German Krautrock music.

They were first marketed in the USA in a gigantic mail order package of 100 CDs at a cost of about $5 per disk, offering the “Vienna Master Series” of major symphonic, chamber, and piano repertoire. Lately they have been turning up on single disks and even in double disk sets at the cost of only $3.99 or even less for 2 CDs, or $1 to $2 per single disk, at dealers like Blockbuster Music.

They released at the end of the Eighties this sampler with music from their Catalog.

Booklet01AAnd so you can hear some of the finest pieces of classical musc. The booklet is their catalog for the years 1989/90 … (black + white pictures only !)

Unfortunately they didn´t give us any informations about the musicians and orchestras we can hear on this beautiful record.

But … even this mistake … it´s a sampler with very fine examples of classic music, including “Vltava (The Moldau) ” (one of my favorite classic composition)


Franz von Suppé:
01. Ouvertüre “Dichter Und Bauer” 9.34

Johann Strauss:
02. Wiener Blut Op. 354 9.26

Frederic Chopin:
03. Walzer Cis-moll Op. 64/2 3.31

Wolfgang Amadeus Mozart:
04. Symphonie Nr. 40 G-moll Kv 550, Molto Allegro 6.35

Antonio Vivaldi:
05. Concerto Grosso A-moll Allegro 3.57

Johann Sebastian Bach:
06. Toccata und Fuge D-moll  8.28

Pyotr Ilyich Tchaikovsky:
07. Swan-Lake Suite 3.10

Bedřich Smetana:
08. Vltava (The Moldau)  12.52

Richard Wagner:
09. Ouvertüre zu Tannhäuser 14.39




Hughes De Courson – Mozart In Egypt (1997)

FrontCover1Mozart in Egypt is a 1997 album by various artists, and arranged by French musician Hughes de Courson. It represents a fusion of Mozart’s work with the sounds, rhythms and instruments typical of contemporary Egyptian music.The album saw considerable success in continental Europe, especially France, but had only limited success elsewhere. In August 2005 a second volume was released in Europe only, entitled Mozart in Egypt 2. (by wikipedia)

There are problems, of course, in trying to marry Mozart and Egypt. Western music takes pride in the vertical arts of harmony and counterpoint. Arabic music is linear, one event following another. The result then is what the producers describe as a “crazy diagonal.” And yet it works. Mozart sounds just fine on the oud [ancestor of the lute], and its way of decorating a melodic line is not at all dissimilar to the Western approach. Best of all is hearing the piano and oud together, when one player takes the melodic line, the other harmony. (The Los Angeles Times)

Henri Agnel (0ud)
Mario Angelov (piano)
Alain Aubin (vocals)
Mustafa Abdel Aziz (arghoul)
Jim Cuomo (clarinet)
Nasredine Dalil (transverse flute, vocals
Rabah Dalil (darbouka, riqq)
Nabil Diab (tabla)
Samira Donya (vocals)
Mamdouh el Gebaly (oud)
Hassan el Meghannawaty (vocals)
Ashraf Essam (riqq)
Hazem (vocals)
Sheikh Mohammed el Helbany (vocals)
Vanina Ivanova (vocals)
George Kyrillos (oud)
Mohamed Moustafa (lute, rabab)
Namek (vocals)
Mahmoud Osman (viola)
Rosen Ovtcharov (clarinet)
Ivan Péev (violin)
Ragab Sadek (daff, sagat)
Ibrahim Shahin (kavala)
Reda Shiha (vocals)
Sarwat Soureur (tabla)
Dimiter Stankov (viola)
Elka Zaharieva (cello)
Bulgarian Symphony Orchestra conducted by Milen Natchev
Children’s Choir of Radio Sofia (children’s chorus)
Groupe David (vocal ensemble)

01. Ikhtitaf Fi Assaraya (Die Entführung aus dem Serail)     6:39
02. Double Quartet In F, K. 496  5.32
03. Lamma Bada Yatathenna/Symphony No. 40 4.48
04. Mahdiyat (Lullabies) 2.10
05. Concerto For Oud & Piano No. 23 7.21
06. Hamilu Lhawa Tahibou/Papageno’s Aria 3.25
07. Yaman Hawa/Thamos, King Of Egypt 4.49
08. Mawwall 5.04
09. Double Quartet In E Flat, K. 374 7.23
10. Ouazat Al Kahira (L’Oca Del Cairo) 3.01
11. Egyptian Symphony No. 25 6.42
12. Dhikr/Requiem/Golgotha 11.02

Music: Wolfgang Amadeus Mozart & Nasredine Dalil

CD1* (coming soon)


Academy Of St. Martin-in-the-Fields / Sir Neville Marriner ‎– Amadeus (W.A. Mozart) (Special Edition For Montblanc) (2003)

FrontCover1 What better way to be introduced to the wonders of Classical Music than to listen to this superb selection of mostly Mozart works?
The film Amadeus does very well in capturing emotions expressed by Mozart’s diverse compositions. This soundtrack in turn succeeds in making the listener conjure up scenes from Amadeus as well as images of 18th century Vienna.
From melancholic to playful and romantic to firey, it will be difficult to match the prefection with which Sir Neville Mariner and The Academy of St Martin-In-The-Fields have assembled this compilation. (by Nikaeigo)

The Soundtrack of “Amadeus” presents the whole genius, master work of the great composer of all time. It is hard to say which music is the best, but all we can say is that it is music to listen, love, and appreciate forever, during your entire life. And the next, and the next, and the next! A truly pleasure to listen to.(by an amazon customer)

MoviePic02This is a slection from the original soundtrack recording  and it´s a special edition for Montblanc:
Montblanc International GmbH  is a German manufacturer of writing instruments, watches, jewellery and leather goods, often identified by their “White Star” logo.

Founded by the stationer Claus-Johannes Voss, the banker Alfred Nehemias and the engineer August Eberstein in 1906, the company began as the Simplo Filler Pen company producing up-market pens in the Schanzen district of Hamburg. Their first model was the Rouge et Noir in 1909 followed in 1910 by the pen that was later to give the company its new name, Montblanc. The Meisterstück name (English: “Masterpiece”, the name used for export) was used for the first time in 1924, for the top lines of fountain pens. Today, the Montblanc brand is on other goods besides pens, including watches, jewellery, fragrances, leather goods and eyewear.

The company was acquired by Dunhill in 1977, following which lower price pens were dropped and the brand was used on a wide range of luxury goods other than pens.[2]

Today Montblanc forms part of the Richemont group. Its sister companies include luxury brands Cartier, Van Cleef & Arpels, Chloé, and Baume et Mercier. Montblanc is owned, through Richemont, by the South African Rupert Family.

MontblancA trademark identified with Montblanc is the white stylised six-pointed star with rounded edges, representative of the Mont Blanc snowcap from above, the symbol being adopted in 1913. The number “4810,” the mountain’s height in metres, is also a commonly recurring theme.

The CD has a thick booklet with a picture of 4 Montblanc pens on the inside cover. Other than that the rest of the booklet is made up of stills from the movie and detailed text about each track on the CD


Academy Of St. Martin-in-the-Fields + Academy Chorus  conducted by Sir Neville Marriner
Ambrosian Opera Chorus (background vocals on 02.)
Imogen Cooper (piano on 04.)
Louisa Kennedy (soprano pn 09.)
Felicity Lott (soprano) on 03.)
Ecco la Marcia (piano on 05.)
Ivan Morravec (piano on 05.)
Suzanne Murphy (soprano on 02.)
Anne Queffelec (piano on 04.)
Christian Zaccharias (piano on 08.)

01. Eine Kleine Nachtmusik (Serenade), K. 525: 1st Movement 5.37
02. The Abduction From The Seraglio, K.384; Turkish Finale 1.24
03. Mass In C Minor, K. 427; Kyrie 6.24
04. Concerto For Two Pianos, K. 365; 3rd Movement 7.09
05. Piano Concerto In E-Flat, K. 482; 3rd Movement 11.04
06. Le Nozze Di Figaro (The Marriage Of Figaro), K. 492; Act III, Ecco La Marcia 2.28
07. Don Giovanni, K. 527; Act II, Commendatore Scene 6.55
08. Piano Concerto In D Minor, K. 466; 1st Movement  12.15
09. The Magic Flute, K. 620); Aria (No. 14), “Queen Of The Night” 2.54
10. Requiem, K. 626; Lacrimosa (Mournful Day) 3.46

composed by Wolfgang Amadeus Mozart



Donald Runnicles – Grand Teton Music Festival (2010)

FrontCover1The Grand Teton Music Festival (GTMF) is known for orchestral performances equaling the grandeur of our Teton Mountain setting. Hailing from great orchestras, musicians return to the Tetons each summer to perform challenging repertoire.

Maestro Donald Runnicles has led the Grand Teton Music Festival as its Music Director since 2006. Runnicles is concurrently the Music Director of the Deutsche Oper Berlin, the BBC Scottish Symphony Orchestra and Principal Guest Conductor of the Atlanta Symphony.

The Grand Teton Music Festival began in 1962. Concerts in the early years took place in a canvas tent at the base of Rendezvous Mountain. Through the years the Festival has grown into one of the nation’s finest, and now takes place in acoustically-acclaimed Walk Festival Hall.

Donald Runnicles is concurrently the General Music Director of the Deutsche Oper Berlin; Chief Conductor of BBC Scottish Symphony Orchestra; Principal Guest Conductor of the Atlanta Symphony Orchestra; and Music Director of the Grand Teton Music Festival. Maestro Runnicles’ career can be characterized by high quality of performances strongly centered in grand romantic opera and symphonic repertoire of the late 19th and 20th centuries.

DonaldRunniclesAs General Music Director of the Deutsche Oper Berlin, Mr. Runnicles has primary responsibility for the musical forces of this historic company which produces, on average, twenty five productions per season. This season, Mr. Runnicles conducted Don Carlo, Otello, Tristan und Isolde, Billy Budd, and Werther among others.

Born and raised in Edinburgh, Mr. Runnicles literally returned home to take up the post as Chief Conductor of the BBC Scottish Symphony Orchestra (BBC SSO). He conducts five of the BBC SSO’s main series programs in the orchestra’s Glasgow home and leads this orchestra in two programs at the London Proms each summer.

Maestro Runnicles has been Music Director of the Grand Teton Music Festival (GTMF) since 2006 and recently renewed his commitment through 2019. At GTMF he designs the repertoire; conducts four weeks; and participates as a pianist in a number of chamber concerts.

Runnicles’ commercial recording of Wagner arias with Jonas Kaufmann and the Deutsche Oper Berlin won the 2013 Gramophone prize for best vocal recording.

In March of 2015 he will, once again, conduct at the Berlin Philharmonic. Then in June of 2015 he returns to the San Francisco Opera (where he conducted for seventeen years) for a new production of Berlioz Les Troyens.

TetonVillage02Christmas time in Teton Village

And this is a very special CD:
“This recording is not for sale or broadcast. For promotional use only.”

All pieces recorded live by the Grand Teton Music Festival Orchestra in Walk Festival Hall, Teton Village, Wyoming durch the 2010 Summer Season (it was the 49th Summer Season: June 30 – August 14, 2010 !)

All you have to do is to listen and enjoy these rare recordings with wonderful compositions by classic composers like Beethoven, Ravel, Brahms, Mozart …

The Grand Teton Music Festival Orchestra conducted by Donald Runnicles


Ludwig van Beethoven:
01. Symphony No. 5 in C minor, op. 67 – Allegro con brio 7.41

John Adams:
02. Slominsky´s Earbox 7.43

Wolfgang Amadeus Mozart:
03. Symphony No. 40 in G minor, K. 550 – Molto allegro 9.33

Johannes Brahms:
04. Piano Concerto No. 1 in D minor, op. 15 – Adagio 12.41

Edward Elgar:
05. Introduction & Allegro for Strings 13.55

Maurice Ravel:
La Valse 12.25



TetonVillage01Founded in the early 1960’s, Teton Village was modeled after European-style villages and has continued to evolve and progress into a mature, year-round, family-friendly retreat. Teton Village is located just 12 miles from the town of Jackson (Jackson Hole) at the base of Rendezvous Peak. Jackson Hole is a high mountain valley located along the western border of the state of Wyoming. The name “hole” derives from language used by early trappers (or mountain men) to describe a valley surrounded by mountains. These valleys contain rivers and streams which are  good habitat for beaver and other fur-bearing animals the trappers were seeking.

Jackson Hole is surrounded by the Teton mountain range on the west and the Gros Ventre mountain range on the east. With foothills and jagged peaks, the Tetons are commonly associated with Jackson Hole and are a popular sightseeing attraction for many visitors. The Gros Ventre Range contrastingly is geologically older than the Tetons and has a much broader width, encompassing huge expanses of wilderness.