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First Posting to the Toccata Blog: Opening-up Classical Music
Welcome to the first posting on my new blog. Quick introduction for those who don’t know me: I run the CD label Toccata Classics and…
John Mauceri, New Patron of Toccata Classics
We are delighted to announce that Toccata Classics has a new patron, the distinguished American conductor John Mauceri. He joins a panel of esteemed names:…
Tully Potter on the Tully Potter Collection
Tully Potter is not only the author of the massive Toccata Press biography of Adolf Busch (currently out of print but undergoing preparation for a…
Farewell, Sasha
This morning news came through of the death, yesterday evening, 31 January, of Alexander Ivashkin, scholar, academic, conductor and, above all, wonderful cellist. Word got…
Holiday Collection
Register for the Toccata Newsletter and get a download of our Season’s Greetings Compilation for FREE! On the Compilation Judith Bingham: Christmas Past, Christmas Present…
Bachs, Benda and Brönnimann
Four of the composers on this recording met in real life – in Potsdam, in spring 1747. In this album they are reunited, joined by the flautist-composer who brings their encounter to life once more, the Swiss-born Markus Brönnimann. The stylistic contrasts between works three centuries apart serve to accentuate their strengths, the formal elegance of the earlier pieces underlining the expressive liberty of the recent ones. Brönnimann combines the two worlds with his luminous arrangement of one of the best-known of all classical compositions.
Markus Brönnimann, flute
Jean Halsdorf, cello (Tracks 1–3, 7–9, 11–13, 15–18)
Léon Berben, harpsichord (Tracks 1–3, 7–9, 11–13, 15–18)
Ensemble Pyramide (Tracks 4–6, 10)
Markus Brönnimann, flute Barbara Tillmann, oboe
Ulrike Jacoby, violin
Muriel Schweizer, viola
Anita Jehli, cello
Marie Trottmann, harp
A Century of American Viola Sonatas
These five works – four sonatas and a sonatina – chronicle a century of American writing for the viola and are linked by a concern for directness of musical language. But they also reflect diversity in their origins and inspirations, the Ulysses Kay pieces being written by a pioneering African American, Libby Larsen’s by a successful female freelance composer, Eric Ewazen’s animated by a particularly American lyricism and energy, and the sonata by David Tcimpidis commemorating the ‘9/11’ terrorist attack on the World Trade Center, which Tcimpidis heard unfolding.
Basil Vendryes, viola
William David, piano
Teenage Truths
Professional involvement in an activity has its dangers: you can become so pre-occupied with the detail of the building you’re examining that you fail to…
Einojuhani Rautavaara, Symphonist
THE FINNISH COMPOSER TALKS TO MARTIN ANDERSON In the light of the death of the Finnish composer Einojuhani Rautavaara, on 27 July 2016, in a…
Exploring Stephen Dodgson’s Chamber Music
It is very exciting for me, as Stephen Dodgson’s widow, to report that Toccata Classics will be releasing a series of recordings of his chamber…
Robert Crowe Guest Blog on The Opera Stage
Explore Toccata artist Robert Crowe has penned a guest-blog for the site, The Opera Stage. Read the excerpt below, and continue reading on TheOperaStage.com and…
Toccata e due CD: Rediscovering Early Martinů – Part I
In April 2013, Toccata Classics released a recording entitled Bohuslav Martinů – Early Orchestral Works, Volume 1, launching what is hoped will be a series…
Steve Elcock Orchestral Music IndieGoGo
Help to make the first recording of Steve Elcock’s Orchestral Music a public release by funding the IndieGoGo campaign: After writing music for over 25…
Cloches et Carillons
The piano is perhaps better suited than any other instrument to evoke the sound of bells – evening bells, bells of farewell and of joy, funereal bells, bells with spiritual overtones – and late-Romantic and twentieth-century French and Russian composers in particular have responded to the challenge of capturing those sonorities at the keyboard. This recital explores three centuries of pianistic tintinnabulation, and its ability to capture atmosphere and emotion.
Irmela Roelcke, piano
Portuguese Tributes to Beethoven
These three compositions by three Portuguese composers pay direct and indirect tribute to the music of Beethoven. The Piano Quintet by João Domingos Bomtempo was written in the style of the Viennese Classical mainstream even as Beethoven was changing its direction. The two works by César Viana and Jaime Reis both have distant roots in Beethoven but pay their homage in very different styles, one using relatively traditional language and the other more radical – as was Beethoven himself, of course.
Quarteto Lopes-Graça (Tracks 1–8)
Eliot Lawson and Luís Pacheco Cunha, violins
Isabel Pimentel, viola
Catherine Strynckx, cello
Katharine Rawdon, flute (Track 9)
Paulo Gaspar, clarinet (Track 9)
Luís Pacheco Cunha, violin (Track 9)
Taíssa Poliakova Cunha, piano
Orlando Jacinto García — A Project Realized: Three Orchestral Works on Toccata Classics
My new Toccata Classics CD is a labor of love and, as with many such projects, came together through the support of a number of…