Opus 55

Arcangelo Corelli is a remarkable figure in music history. He belongs to the most famous composers of the baroque era, but his oeuvre is very small in comparison with that of his peers, such as Handel or Telemann: just six collections published with an opus number and some pieces which have been preserved in manuscript. Most composers of his time contributed to more than one genre: vocal music - sacred or secular -, chamber music, orchestral works and keyboard music. Corelli confined himself to chamber music and one set of 'orchestral' music, although that term is probably not the most appropriate to characterise his concerti grossi.

The twenty sonatas on this recording show Handel writing for the professional musicians of his London opera orchestra; they demand considerable skill and stamina both from the soloist and the continuo. Prominent bass parts give the sonatas a contrapuntal strength and vitality, and Handel keeps the elements of display and purely musical argument in admirable balance in these works. For this reason, they are among the most attractive Baroque solo sonatas and deserve their lasting popularity.

Keith Jarrett - Dmitri Shostakovich: 24 Preludes and Fugues Opus 87 (1992) {2CD Set ECM New Series 1469/70}
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© 1992 ECM Records | ECM New Series 1469/70
Classical / Contemporary Classical / Piano Solo

The pairing of music and musician in this exquisite recording is so serendipitous, it is almost as if Keith Jarrett were playing one of his sweeping improvisations. He is not, of course; this is Shostakovich's unmistakable voice, and it is speaks in wide-ranging profundity. Each listening takes me deeper, and exposes things I had not heard before: one of my all-time favorite recordings.

“Several years ago I presented a recording of all piano works with opus numbers by Alexander Scriabin. I rehearsed, played in concerts and then recorded eight CDs, 207 works, and eight hours of music”, notes pianist Maria Lettberg. “Scriabin’s music becomes accessible via a roundabout route but then it gets under your skin and intoxicates you like a drug, makes you euphoric, addicted and…happy.” With the present recording of the early works without opus numbers, she happily completes her mammoth survey of Scriabin.