SKU: AP.36-A793402

UPC: 659359748073. English.

The six CONCERTI ARMONICI was long thought to be the work of the violinist-impresario Carlo Ricciotti or composer Giovanni Battista Pergolesi, but more recent research has revealed the composer to be Unico Wilhelm van Wassenauer (1692-1766). Born into a wealthy Dutch family, the diplomat and composer founded a Collegium musicum in The Hague under the oversight of Ricciotti. Composed between 1725 and 1740, the six concertos have been falsely attributed to a variety of contemporaries, Ricciotti and Pergolesi amongst them, since its anonymous publication. Wassenauer's aristocratic background was the reason for his secretiveness. The sentiment of the time ordained that musicians belong to the lower classes. This edition of CONCERTINO No. 2 (also CONCERTO ARMONICO in G Major, CONCERTO IV, or just CONCERTINO in G), drawing from the CONCERTO ARMONICO in G Major, IUW 3, was edited by 20th century Baroque expert Fritz Rikko. Rikko spuriously attributes the work to Pergolesi. Despite Wassenauer's authorship having since been confirmed, Rikko's original editorial notes have been retained. Instrumentation: Str (4 Vn parts [2.2.2.2].3.2.2): Harpsichord Continuo in score.

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SKU: FG.042-06882-3

ISBN 979-0-042-06882-3.

Although the general dedication to the memory of a great artist does not mention any particular figure by name, the fourth symphony is known to have been motivated by the news of Shostakovich's death and his influence is clearly to be heard. The work opens in a style reminiscent of an Italianate baroque suite. Tolling of bells and clicking of col legno strings during the second movement (Tempus fugit) reminds us of the brevity of existence, while the nostalgia of the work's title characterises the third movement. The dualistic last movement starts in airy mood but is overtaken by a dark and reflective epilogue.

SKU: FG.042-08467-0

ISBN 979-0-042-08467-0.

The Cantos are one-movement works which have accumulated into a cycle over many years. They are personal, even autobiographical statements (snapshots from life's album) concentrating on separate moods in the manner of Pound's cycle of poems from which the title is borrowed. Canto IV dates from 1992 and reflects the composer's efforts at developing tight, logical forms through organic rather than architectural processes.