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Elegia is an English label operating mainly in Italy, which until now devoted his activity to Organ repertoire, with some of the most interesting Italian soloists. In the next future Elegia will open his horizons to other musical fields, starting new collaborations with early music festivals and opening a new series based on unknown work of the authors of the Neapolitan School of 17th and 18th Centuries.

Die Veröffentlichungen des Labels "Elegia Classics"

150° dell'Unità d'Italia
Best.-Nr.: 8051770160137

4 CDs (!)
Orgelwerke aus dem Risorgimento, der Pre-Renaissance an der Wende des neunzehnten und zwanzigsten Jahrhunderts in Italien

Inhalt CD 1 (Gesamtspielzeit: 48’54)
Roberto Cognazzo, organo

  • Michele Novaro (1818-1885) Il canto degli Italiani
  • Giuseppe Verdi (1813-1901) Sinfonia dall’opera Nabucodonosor (9 marzo 1842)
  • Saverio Mercadante (1795-1870) Coro Chi per la patria muor dall’opera Donna Caritea (21 febbraio 1826)     
  • Vincenzo Bellini (1801-1835) Duetto Suoni la tromba intrepido dall’opera I Puritani (24 gennaio 1835)
  • Gioachino Rossini (1792-1868) Coro dei Bardi (poi Inno popolare a Pio IX) da La donna del lago (1819)
  • Giuseppe Verdi Congiura e Finale atto III dall’opera Ernani (11 febbraio 1844)     8’08”     
  • Giuseppe Gabetti (1796-1862) Fanfara e Marcia d’ordinanza delle Armate di S.M.Sarda (1831)     
  • Giovanni Gonella Hymnu Sardu Nationali (20 febbraio 1844)
  • Jacopo Foroni (1821-1858) Su, Lombardi all’armi
  • Alessio Olivieri (1830-1867) Inno di Garibaldi (31 dicembre 1858)
  • Giuseppe Verdi Sinfonia dall’opera La battaglia di Legnano (27 gennaio 1849)

Inhalt CD 2 (Gesamtspielzeit: 58’22)
GIUSEPPE GHERARDESCHI (1759-1815) Opere per organo
Andrea Vannucchi, organo

LIMITE SULL'ARNO (organo G. Agati, 1820)         

  • Per Offertorio [in re maggiore] P. I, 4,         
  • Per Elevazione [in re maggiore] P. I, 5,     
  • Per il Postcomunio [in re maggiore] P. I,6,

Tre Versetti concertati:         

  • Allegro P. VI, 15,     
  • Andantino affettuoso P. VI, 17,      
  • Allegretto P. VI, 12,
  • Offertorio [in do maggiore] P. I, 7,     

VIGNOLE DI QUARRATA (organo P. Agati, 1797)         

  • Elevazione [in do maggiore] P. I, 8,     
  • Postcomunio [in do maggiore] P. I, 9,     
  • Rondò [in sol maggiore] P. IV, I,     

Tre Versetti concertati:         
Cantabile per il Traverso solo con Clarone nei bassi P. IV, 3,
Postcomunio. Rondò P. IV, 2,     
Elevazione [in Elafà] P. X,
GAVINANA(organo P. Agati, 1776, G. e N. Agati, 1824, L. e C. Tronci, 1856)         

  • Offertorio [in Bfà] P. IX,

Tre Versetti per il Gloria (dalla Messa in Elafà):         

  • Allegro,     
  • Larghetto,
  • Allegro moderato,     
  • Andantino per Benedizione P. VII, 22,
  • [Fuga] P. XIII,
  • Avanti il Tantum Ergo P. I, 3,
  • Sonata per organo a guisa di banda militare che suona una marcia P. III,

Inhalt CD 3 (Gesamtspielzeit: 74’18)
Felice Moretti (1791-1863) Padre Davide da Bergamo
Luca Scandali, organo

  • Sinfonia col tanto applaudito inno popolare
  • Preghiera con voce umana, indi con corno inglese
  • Sinfonia in Re Magg.
  • Suonatina in Fa Magg. - Per Offertorio e Postcomunio
  • Elevazione in re min.
  • Concertino in Do Magg. - Obbligato alla fluta con viola d’accompagnamento
  • Fantasia in Mi b Magg. - Per organo pieno senza istromenti
  • Sinfonia in Do Magg.
  • La vera piva montanara - Pastorale per organo ad imitazione del baghetto
  • Le sanguinose giornate di Marzo ossia La rivoluzione di Milano

Inhalt CD 4 (Gesamtspielzeit: 79’07)
Andrea Macinanti, organo

Trois Pièces d’Orgue op. 16 [1896-97]         

  • Prélude Choral
  • Intermezzo     
  • Marche Grave sur le Thème grégorien de Vexilla
  • Six Versets d’Orgue pour l’hymne Ave Maris Stella op. 16 n. 4 [1897]
  • Comunione op. 16 n. 5 [1897-98]

Sonata per Organo dal Corale Herzliebster Jesu della Matthäus Passion di G.S. Bach op. 26 [1901-04]         

  • Allegro sostenuto     
  • Adagio     
  • Intermezzo
  • Finale / Fugato con Corale
  • Meditazione op. 22 n. 4 [1905-08]
  • Benedico te Pater

Corale per Grande Organo ex op. 43 [1930]

Bach "Christmas Organ Music"
Best.-Nr.: 8051770160267

Around the birth of 'the saviour' Bach composed a variety of musical themes with different flavours and functions, often coming back to the same chorale scheme, sometimes creating completely original pages.
Throughout such a great diversity of textures and colours stand out as constants the emotions of joy and astonishment surrounding the mystery of Jesus Christ's birth . Pipe-organ teacher from Alessandria conservatory “A. Vivaldi” Letizia Romiti offers in this CD some of the best known pages from memorables Bach's Christmas compositions.


  • Preludio e Fuga in Do maggiore BWV 531     
  • Nun komm, der Heiden Heiland [Vieni, Salvatore delle genti] BWV 659
  • In dulci jubilo BWV 729
  • Pastorale in Fa (Pastorella) BWV 590     
  • Das alte Jahre vergangen ist [Il vecchio anno è passato] BWV 614
  • In dir ist Freude [In te è la gioia] BWV 615
  • Variazioni Canoniche “Vom Himmel Hoch, da komm ‘ich her” [“Io vengo dall’alto dei cieli“] BWV 769

British Christmas Music for Children Choir
Best.-Nr.: 8051770160243


Born within the early middle-age liturgical environment, the white vocals choir will remain for a long time in the most important European musical centres. His peculiarity had always been not to distinguish between the pedagogical and the musical aspects. It’s well known that often was choir director’s responsibility to provide education and sustenance to his pupils. The great tradition of the cantor child within England’s cathedrals formed few of the greatest composers of their times as they begin their apprenticeship as singers in white vocals choirs. Names like W. Byrd, member of royal chapel for 5 years, O. Gibbons, C. Tye, P. Phillips, cantors of St. Paul’s cathedral in London. After Puritans decline cathedrals choirs reflourished in 1660 with Charles the 2nd restoration and peaked with Purcell and Handel. This tradition is still alive nowadays and as happened at the time lots of great composer now still move their first steps into music trough white vocals choirs, following the example of Orlando di Lasso, J. S. Bach, J. Haydn.
The unique timbre of white vocals has surely seduced the imagination of lots of 20th century composers. It’s not anymore a mere substitution of female vocals but the use of an instrument with different timbre and dynamics. Musicians as the eclectic Benjamin Britten consecrated to them well-know pages as the Ceremony of Carols, another homage to the English culture, till the majestic War Requiem, witnessing a tradition that trough the centuries never lost prestige and cultural value.

Benjamin Britten (1913-1976)
CEREMONY OF CAROLS OP. 28 for Children choir and harp

1. Procession (Hodie)    
2. Wolkum yole    
3. There is no Rose    
4. That yonge Child
5. Balulalow    
6. As dew in Aprille    
7. This little Babe
8. Interlude (for harp)    
9. In freezing winter night    
10. Spring Carol
11. Deo Gracias    
12. Recession (Hodie)    

MISSA BREVIS OP. 63 for Children choir and organ

13. Kyrie
14. Gloria
15. Sanctus - Benedictus
16. Agnus Dei    
17. Prelude and Fugue on a theme of Vittoria for organ

John Rutter (1945)

18. The Lord bless you and keep you    
19. Star Carol for Children choir and organ    
20. Toccata in Seven for organ
21. In Dulci Jubilo for Children choir
22. Angelus and Virginem    
23. Coventry Carol
24. Personent Hodie for Children choir and harp

Sir David Valentine Willcocks (1919)

25. The first Nowell for Children choir and organ

Best.-Nr.: 8051770160328


  • Deux Arabesques (1890-91)
  • Children’s Corner (1906-08)
  • da Préludes / Premier livre (1909-10)
  • dal Quartetto per archi (1892-93)    
  • da L’enfant prodigue (1884)    
  • da La damoiselle élue (1887-88)
  • Petite suite (1888-89)

Dieterich Buxtehude - Baroque Organ Music
Best.-Nr.: 8051770160250

Denmark composer and organist Dieterich Buxtehude (1637-1707) was a man of broad culture (his hometown Latin school was one of the most prestigious of his times and he came from an highly educated family). Generous and beloved from acquaintances both in his homeland and abroad, Buxtehude lived in several cities in Germany before settle down permanently in Lubecca, where he became extremely popular. His astonishing musical style is mixing bravery and consistency in an alternation between sharp architectures and oasis of peacefulness. Today his style might be seen as tragic, elusive almost barbaric. This is particularly true for his pipe-organ productions, also thanks to his direct experience in crafting organs. In truth Buxtehude’s music is a clear portrait of his times, connecting Sweelinck’s Dutch style with Weckmann’s Italian taste. Buxtehude made use of these different languages with a smart and independent attitude, is the so called ‘Stylus Phantasticus’ or in other words a way of composing well theorised at the time that prescribes not to stick to any particular rule with the only intention of raising emotional participation in the listeners. What makes great Buxtehude’s productions is the extraordinary control on such a wide diversity of sonic materials. The illusory impression of ‘disorder’ and magmatic extroversion in his music is nothing else than a pradoxical but conscious way of expression.


  • Toccata in F BuxWV 157    
  • Passacaglia in D BuxWV 161
  • Fantasia sul corale “Gelobet seist du, Jesu Christ” BuxWV 188    
  • Praeludium in Fis, trasposto in G BuxWV 146    
  • Fuga in C BuxWV 174
  • Preludio al Corale “Nun komm der Heiden Heiland” BuxWV 211    
  • Canzona in C BuxWV 166
  • Praeludium in D BuxWV 140    
  • Preludio al Corale “Der Tag, der ist so Freudenreich” BuxWV 182
  • Magnificat primi toni BuxWV 203    
  • Preludio al corale “Ein feste Burg ist unser Gott” BuxWV 184
  • Praeludium, fuga und Ciaccona in C BuxWV 137

German Romantic Composers
Best.-Nr.: 8051770160366

This CD opens with Mendelessohn's (1809-1847) prelude and fuga in C minor Op. 37. The severity in the fuga reveals the solid counterpoints skills owned who managed to bring back to apogee J.S. Bach's music. This is forerun by emphasised violins hints within the moving prelude. The fervent farewell to J. Brahms's (1833-1897) life and music is here portrayed from well-known 'preludio al corale' 'Herzlich tut mich verlangen' N.10, from choral preludes 122, written in the very last years of Hamburg composer's life. Shuman's “Symphony Sketches” (1810-1856) draw inspiration from the “piano with foot pedals” instrument used to practice by pipeorgans players at thath time. The pleasant results of these preconditions descend clearly from piano frameworks, which find complete fulfilment in the "king of musical instruments", great variety of tones and textures.
Liechtenstein born Josef Gabriel Rheinberger (1839-1901) was a highly prolific composer. Nowadays he is remembered mostly for his remarkable pipe-organ works and in particular for his twenty “Sonate”.
From the 11th sonata is drawn the mellow Cantilène, sweet melody entrusted to oboe tones. Sigfrid Karg-Elert (1877-1933) was active both as performer and teacher and he developed a well pronounced impressionist musical style. His appellative “pipe-organ Debussy” hail from his music seductive shades and courageous modulations. The powerful and triumphal march “Nun danket alle Gott” op. 65 is one of his most famous and well achieved compositions. The conclusion of this collection, consecrated to German Romanticism, couldn't miss to homage the great Max Reger (1873-1916) here represented from the sinuous and stunning Melodia op.59 N. 11 and from the powerful Improvisation from Sonata opera 60 in D minor.


  • F. Mendelssohn (1809–1847): Preludio e Fuga in Do minore op.37
  • J. Brahms (1833–1897): Preludio al corale “Herzlich tut mich verlangen” op.122 n.10
  • J. Brahms (1833–1897): Preludio e Fuga in La minore WoO9
  • R. Schumann (1810–1856): Schizzi Sinfonici op.58
  • J. Rheinberger (1839–1901): Cantilène (dalla Sonata n.11)
  • S. Karg-Elert (1877–1903): Marcia trionfale sopra “Nun danket alle Gott” op.65
  • M. Reger (1873 – 1916): Melodia op.59 n.11
  • M. Reger (1873 – 1916): Improvisation (dalla Sonata op.60 in Re minore)

Girolamo Frescobaldi - Fiori Musicali - 2 CDs
Best.-Nr.: 8051770160175

One of the most relevant collections on Frescobaldi’s works, with Sunday mass, Apostles’ mass and Virgin Mary’s mass recorded on three historical pipe-organs among the oldest within Turin’s region. The musical flowers are nowadays considered as the best work of Frescobaldi, in a certain way the successful completion to his career as a composer. In truth their release in 1635 is surrounded by several other masterpieces appeared almost in the same period. In the same year a fully renewed version of instrumental songs of 1628 and in 1637 the last reissue of the most famous two books of Toccate (1615 and 1627), with the addiction in the first book of ‘le cento partite sopra Passacagli’ a monument for harpsichord music. By this time Frescobaldi must have started working on his posthumous play, eleven songs for keyboard (1645), remained uncompleted and published after his death from Alessandro Vincenti. The Flowers are the only composition by Frescobaldi explicitly conceived for pipe‐organ and the only one that present pieces strictly bounded to his function of liturgical organist. This is clearly the occasion for Frescobaldi to compose the most inspired composition of his career and so to raise the Flowers to the level of most paradigmatic composition on European scale.


> [Introitus]

1. Toccata Prima (1627)    
2. Canzona Prima (1627)  

> [Messa della Domenica]

3. Tocata avanti la Messa della Domenica    
4. Kyrie della Domenica    
5. Kyrie    
6. Christe    
7. Christe, alio modo    
8. Christe, alio modo    
9. Christe, alio modo
10. Kyrie
11. Kyrie, alio modo    
12. Kyrie, alio modo
13. Kyrie ultimo    
14. Kyrie, alio modo    
15. Kyrie, alio modo    
16. Canzon dopo la Pistola    
17. Recercar dopo il Credo    
18. Alio modo, si placet    
19. Tocata cromaticha per le Levatione    
20. Canzon post il commune   

> [Intermedio I]

Aria detto Balletto (1627)
21. Prima Parte    
22. Seconda Parte    
23. Terza Parte    
24. Quarta Parte    
25. Quinta Parte    
26. Sesta Parte    
27. Settima Parte    
28. Ottava et ultima Parte

> [Messa delli Apostoli]

29. Tocata avanti la Messa delli Apostoli    01’32”    
30. Kyrie delli Apostoli    
31. Kyrie    
32. Kyrie    
33. Christe    
34. Christe    
35. Kyrie    
36. Kyrie    
37. Kyrie    
38. Canzon dopo la Pistola

CD 2

1. Tocata, avanti il ricercar
2. Recercar cromaticho post il Credo    
3. Altro Recercar    
4. Tocata per le Levatione
5. Recercar con obligo del basso come appare    
6. Canzon quarti toni dopo il post Comune

> [Intermedio II] Hinno Ave Maris Stella (1627) [alternatim]

7. Primo Verso [Ave maris stella]
8. Sumens illud ave (Monteverdi, 1610)    
9. Secondo Verso [Solve vincla reis]    
10. Monstra te esse matrem (Monteverdi, 1610)
11. Terzo Verso [Virgo singularis]    
12. Vitam præsta puram (Monteverdi, 1610)    
13. Quarto Verso [Sit laus Deo Patri]

> [Messa della Madonna]

14. Tocata avanti la Messa della Madonna    01’06”    
15. Kyrie della Madonna    
16. Kyrie    
17. Christe    
18. Christe    
19. Kyrie
20. Kyrie    
21. Canzon dopo la Pistola
22. Recercar dopo il Credo    
23. Tocata avanti il ricercar    
24. Recercar con obligo di cantare la Quinta Parte senza toccarla    
25. Tocata per le Levatione    
26. Bergamasca

> [Exitus]

27. Capriccio sopra la Girolmeta

Giuseppe Gherardeschi - Complete organ music
Best.-Nr.: 0754436592454

Giuseppe Gherardeschi was born in Pistoia November 3rd, 1759. He was baptized the day after in the baptistery of his own Cathedral, where his father was maestro di cappella at least since 1775 and where he was appointed organist from 1755 to 1771. Giuseppe learnt the first principle of music from his own father and from his uncle Filippo Maria, pupil of Padre Martini in Bologna. This background was completed in Naples at the famous Conservatorio della Pietà detta de’ Turchini as a student of its director school Nicola Sala (1713-1801), a pupil of Leonardo Leo and renowned teacher with pupils like Giacomo Tritto and Gaspare Spontini. Back in Pistoia, Giuseppe was appointed organist at Madonna dell’Umiltà church where, in 1783, probably during his duty, the organbuilders Tronci built an organ inside a monumental six-seventeenth case. In 1785 he was admitted as first soprano in the Cathedral chapel and, at the same time, as a substitute of his father, who was the director, but suffered from physical impotence. With his father’s death, in 1800, he became the holder maestro di cappella until he passed away. He died in Pistoia August 6th, 1815.


Organo G. Agati (1820), Limite sull'Arno (FI)

  • Per Offertorio [in re maggiore] P. I, 4
  • Per Elevazione [in re maggiore] P. I, 5
  • Per il Postcomunio [in re maggiore] P. I, 6
  • Tre Versetti solenni
  • Offertorio [in do maggiore] P. I, 7

Organo P. Agati (1797), Vignole di Quarrata (PT)

  • Elevazione [in do maggiore] P. I, 8
  • Postcomunio [in do maggiore] P. I, 9
  • Rondò [in sol maggiore] P. IV, I
  • Tre Versetti concertati
  • Cantabile per il Traverso solo con Clarone nei bassi P. IV, 3
  • Postcomunio. Rondò P. IV, 2
  • Elevazione [in Elafà] P. X

Organo P. Agati (1789), Bargi (BO)

  • Pastorale [I] P. XII, 1
  • Pastorale [II] P. XII, 2
  • Per Benedizione P. I, 2
  • Per Benedizione P. I, 1

Organo C. Romani, 1587; P. Agati, 1776; G. e N. Agati, 1824; L. e C. Tronci, 1856, Gavinana (PT)

  • Offertorio [in Bfà] P. IX
  • Tre Versetti per il Gloria (dalla Messa in Elafà)
  • Andantino per Benedizione P. VII, 22
  • [Fuga] P. XIII
  • Avanti il Tantum Ergo P. I, 3
  • Sonata per organo a guisa di banda militare che suona una marcia P. III

Giuseppe Verdi
Best.-Nr.: 8051770160229

Among the great Italian opera composers, actives between the first part of the nineteenth century and the first one of the twentieth, two had a serious relationship with organ: Verdi and Puccini. It is good to underline, in order to distinguish the position, that Puccini played this instrument close to the gradual exhaustion of the striking coexistence between melodrama and liturgy, while Verdi, not only learnt to play on the small organ of Roncole, but he also had to deal with pipes and choirs since his debut at La Scala in 1839 with Oberto conte di San Bonifacio. This coexistence was so natural for us during almost the nineteenth century. Even if we do not have direct documents, we can consider that Verdi played his own music and these of others (padre Davide lived near Busseto), built on theatrical scheme, a deep transcription repertoire in order to embellish sacred services with the latest opera newness.

Inhalt: (jew. Ausschnitte)

  • Da Il finto Stanislao
  • Da Giovanna d’Arco
  • Da Attila
  • Da I masnadieri
  • Da Luisa Miller
  • Da I Vespri Siciliani
  • Da La forza del destino

Nur noch Restbestände vorhanden

Giuseppe Verdi. Preludes, Arias and Ballet music
Best.-Nr.: 0754220362126


  • Da Ernani (1844) * Atto III - Congiura e finale
  • Da Giovanna d’Arco (1845) Atto II - Gran Marcia Trionfale
  • Da Attila (1846) - Preludio
  • Da I Masnadieri (1847) - Preludio
  • Da I Masnadieri (1847) - Aria Tu del mio Carlo al seno
  • Da Luisa Miller (1849) Atto III - Quando le sere al placido    
  • Da I Vespri Siciliani (1855) Atto III - Balletto Le quattro stagioni (selezione)         
  • Da I Vespri Siciliani (1855) Atto V - Siciliana Mercè, dilette amiche
  • Da La forza del destino (1862) - Tarantella e rataplan
  • Da Aida (1871) ** - Ballabile nel finale II

J.S. Bach - Complete Italian Organ Concertos Vol. 1
Best.-Nr.: 0754436592560

During his youth, Johann Sebastian Bach studied with passion the great Italian composers’ works, that were at that time style models both for their perfection about their harmonic architecture both for the brilliant vitality about their melodic vein. In order to capture the secrets of the Italian style, the young composer realized a series of transcriptions for organ from orchestra pieces, in which it is possible to see the future genius.

The programme of this CD includes five works based on famous concerts by Vivaldi (four from Estro Armonico op. 3 and one from Stravaganza op. 4) and a transcription from a piece by Alessandro Marcello, who is today almost forgotten but very appreciated at Bach’s time, as his younger brother Benedetto. Those works were proposed thanks to the great performance by Luca Scandali, organ player of magnificent talent, who for Elegia has already recorded many CDs of great interest, among which stand out the two volumes of the symphonies by Padre Davide da Bergamo. A Cd that deserves to be considered even for Dell’Orto & Lanzini’s beautiful sounding palette inside the church of Santa Maria Assunta in Vigliano Biellese and for the excellent quality of the recording.


  • Concerto in La minore BWV 593
  • Concerto in Do Maggiore BWV 976
  • Concerto in Fa Maggiore BWV 978
  • Concerto in Re minore BWV 974
  • Concerto in Sol minore BWV 975
  • Concerto in Re minore BWV 596

J.S. Bach - Transcriptions for saxophone and organ
Best.-Nr.: 0714573228005

Since the 19th century Bach’s music has been source for endless interpretations, transcriptions and adaptations: Bach’s perfect proportions and counterpoints have been played trough years on all kinds of instruments. The project “Riverberi” is giving his particular contribution on this compact disc, exploring Bach’s repertoire from an unusual point of view: the sax soprano (an instrument that Bach couldn’t know because invented later on) .


  • Concerto in Fa maggiore BWV 978 (trascrizione da Vivaldi, Op. 3, N. 3, RV 310)     
  • Preludio al corale «Wachet auf, ruft uns die Stimme» BWV 645
  • Variazioni Goldberg  BWV 988
  • Aria «Qui sedes» (dalla Messa in Si minore BWV 232)
  • Trio Sonata I BWV 525
  • Largo ma non tanto (dal Concerto in Re minore BWV 1043)
  • Aria «Mein gläubiges Herze» (dalla Cantata «Also hat Gott die Welt geliebt» BWV 68)
  • Sinfonia 7 in Mi minore BWV 793
  • Toccata e fuga in Re minore BWV 565 (organ solo)
  • Corale «Jesus bleibet meine Freude» (dalla Cantata «Herz und Mund und Tat und Leben» BWV 147)
  • Preludio al corale «Liebster Jesu, wir sind hier» BWV 731

L’Organo Jaquot della Cattedrale di Catania
Best.-Nr.: 0754436592478

Elegia opens, with this amazing and beautiful CD, a new collection dedicated to the Italian organs, that will allow to discover some of the most interesting instruments of our country, thanks to a repertoire thought for emphasize its technique and expressive resources. For the first volume the choice was the huge Jaquot organ of Catania Cathedral, a massive instrument built in 1877 and restored in 2014. Diego Cannizzaro, organ player who performed Office Divin by Filippo Capocci and two volumes of the complete collection about Pietro Alessandro Yon, selected a fascinating anthology of French and Italian authors, combining Sonata op.56 n.3 by Alexandre Guilmant and two suites of the unknown Nicolas Couturier to a series of pages by Marco Enrico Bossi, king of the Italian organ between the end of the XIX and the beginning of the XX century, Capocci and Pietro Branchina, making homage to Vincenzo Bellini, immortal glory of Catania. A CD that will conquer both the passionate and the connoisseurs.


  • Alexandre Guilmant (1837-1911) - Sonata op. 56 n.3
  • Nicolas Couturier (1840-1911) - Suite de trois pièce
  • Nicolas Couturier (1840-1911) - Suite de quatre pièces
  • Gaston Belier (1863-1938) - Toccata
  • Vincenzo Bellini (1801-1835) - Canone
  • Filippo Capocci (1840-1911) - Scherzo sinfonico
  • Marco Enrico Bossi (1861-1925) - Dafne e Cloe
  • Marco Enrico Bossi (1861-1925) - Resurrection
  • Pietro Branchina (1876-1953) - Capriccio per organo

Organ Music around via Æmilia
Best.-Nr.: 8051770160168

Among the common musical  instruments, the organ is the  only one to have a particular  status,  deriving from its own  handmade nature: it is an  immovable instrument. It is  true that there are also smaller  models, the positivi and the  portativi, but we don’t think  about them when we talk  about organ and, without  diminishing their importance,  these smaller models haven’t  had a central role in the long  history of the instrument and  of its literature. For this reason, if for a string instrument,  for example, we refer to some  of its owners (“The Stradivari  Contessa of Polignac”,  “The Guarnieri ex- Vieux-temps”), for an organ we refer  to the place – church, auditorium or city - that hosts it  (“The Cavaillé-Coll in  Daint-Ouen”, “The Gabler in  Weingarten”)

This harmony between place  and instrument is not only  something emotional, but it  has an higher value: organ  building traditions, the features of the single instruments,  the availability of some organ  stops deeply influence deeply  the way of thinking the writing  of the musician who, with  that instrument, trains himself  and works. What would be possible with an eighteenth  century German instrument, won’t be always possible with  a coeval French organ, and so  on, in every point of view.
The  organ of Santa Maria delle Assi  Church in Modena adds to  these geographical peculiar-ity the interest of a particular  historical stratification of  sound material: if the definitive  order is the one by Alessio  Verati (1859) who came from  Bologna, it is the rearrangement of an instrument built  by Agostino Traeri (Modena,  1763) that embodies valuable materials by Paolo Cipri from  Ferrara (from the original 1584  organ, most of the pipes of Ripieno (Principal chorus) and  Flauto in VIII are preserved:  they make this instrument  suitable for the performance of  repertoire of the padan area)
In what we had said up to this point, it is implicitly explained the meaning of a listening trip  which is organised not in a chronological order but with a  geographical structure: it will  begin in Ferrara and, through Ravenna, it will return on  the Via Emilia to go up again from Forlì until Piacenza. Its  conclusion will be also, it is at  least allowed to hope that, a  new beginning


  • Girolamo Frescobaldi (1583 – 1643) - Quinta Toccata sopra i pedali per l’organo, e senza (Secondo Libro di Toccate, 1637)
  • Arcangelo Corelli (1653 – 1750) - Concerto X (Concerto Grosso n. 10, op. 6, trascrizione di Thomas Billington, 1790 ca.)
  • Ignazio Cirri (1711 – 1787) - Sonata I (Dodici Sonate per Organo, op. 1, 1763 ca.)
  • Giuseppe Sarti (1729 – 1802) - Sinfonia per organo         
  • Girolamo Cavazzoni (1525 – post 1577) - Canzon sopra “I le bel e bon”
  • Adriano Banchieri (1568 – 1634) - Sonata Ottava, in aria francese
  • Adriano Banchieri (1568 – 1634) - Seconda Canzone Italiana
  • Giovanni Battista Martini (1706 – 1784) - Andante (Pieni per l’Organo)
  • Giovanni Battista Martini (1706 – 1784) - Toccata (Versetti in D la sol re 3.a Magg.re 6° tuono)         
  • Anonimo bolognese (sec. XVIII) - Elevazione
  • Jacopo Fogliano (1468 - 1548) - Recerchare
  • Giulio Segni (1498 – 1561) - Ricercar III (Musica Nova, 1540)     
  • Martino de Leonardis (secc. XVII – XVIII) - Toccata per Organo (1713)
  • Ferdinando Provesi (1770 – 1823) - Sinfonia
  • Giuseppe Verdi (1813 – 1901) - Consumazione (dall’opera Rigoletto, trascr. di Paolo Sperati)     
  • P. Davide da Bergamo (1791 – 1863) - Sonatina per Offertorio o Postcomunio
  • P. Davide da Bergamo (1791 – 1863) - Suonata
  • Massimo Berzolla (1963) - Piccolo Requiem per un’anima gentile (2000)

Padre Davide da Bergamo - Organ symphonies vol.1
Best.-Nr.: 0754220362119

Within Italian’s organ tradition, symphonic music represents a way out from the classic liturgical context opening the gates to concert use. Giovanni Morandi (1777-1856) brought symphonies to their greatest formal point with his several organ compositions, but he always remained a step behind from Padre Davide regarding the orchestral use of the organ. In fact he was still bounded to 18th century small organs while Padre Davide deeply knew the new “modern” instruments crafted by his fellow citizens Bossi and Serassi. Padre Davide composed a number of symphonies, most of them printed in the two major collections 15 Pezzi and 12 Sonate, the first composed for the inauguration of S. Maria di Campagna’s organ in Piacenza and the second published by G. Canti in 1845. Others were published posthumous by Vismara in 1865-67. This CD offers a significant glimpse of Padre Davide’s symphonies, all taken from the Vismara’s collection. Among the others the Gran Sinfonia in C minor stands out for its particular structure: the slow introduction usually limited to few bars here is extended in a big section with three movements (allegro-larghetto-allegro); moreover the second theme, usually cantabile, here is allegro, so not in contrast with the previous one.


  • Gran Sinfonia in do min
  • Sinfonia in Do Magg
  • Sinfonia in Do Magg
  • Sinfonia in Si bemolle Magg
  • Sinfonia in Re Magg. Largo
  • Sinfonia marziale in Re Magg
  • Sinfonia in Re Magg. / re min

Padre Davide da Bergamo - Organ symphonies vol.2
Best.-Nr.: 0754436592492


  • Sinfonia in Re Maggiore
  • Sinfonia in Re Maggiore
  • Sinfonia in Re Maggiore
  • Sinfonia in Mi Maggiore
  • Sinfonia in Do minore
  • Sinfonia in Re Maggiore
  • Gran Sinfonia in Re Maggiore

Pietro Alessandro Yon - Complete organ music vol. 1
Best.-Nr.: 0754220362089

Pietro Alessandro Yon born close to Turin in Settimo Vittone on August the 8th 1866. In spring 1907 he moved to United States where he soon become one of the most famous organists; in 1920 he contributed with Courboin and whit the well known director Leopold Stokowski to a memorable concert on Philadelphia’s pipe-organ, presenting his ‘Gregorian Concert’ for organ and orchestra.

Yon gained American citizenship in 1921 and in 1926 he become organ assistant by St. Patrick Cathedral in New York and in 1928 he got nominated responsible for the music. In United States Yon found very different aesthetic inputs and more importantly pipe-organs that he could have just dreamed about in Europe. Therefore he managed to successfully adapt his skills as player and composer to the magniloquent and spectacular American taste. For this reason Yon is considered one of the most influential “American” composers of the 20th century along with Barber, Parker and Sowerby.

The Gregorian Concert is one of his masterpieces. Conceived for organ and orchestra was later on published for organ solo and organ with piano. Was firstly released in 1920 from J. Fisher & Brothers in New York.

During his stay in United States, Yon got in contact with the copious Sicilian community of New York and for them he composed pieces like: Il Natale in Sicilia (Christmas in Sicily) and Cornamusa Siciliana. These two compositions transfigure Sicilian musical forms in a modern key. Compositions like Gesù Bambino and Marche Pastorale also recall themes from Sicilian tradition, even if in a less-explicit way.

Lastly the American Rhapsody is the homage to the land that housed Yon and made his fortune.


  • Concerto Gregoriano    Introduzione e Allegro
  • Christmas in Sicily
  • Gesù Bambino    
  • Marche Pastorale    
  • Cornamusa siciliana (Sicilian Bagpipe)    
  • American Rhapsody

Pietro Alessandro Yon - Complete organ music vol. 2
Best.-Nr.: 0754220362102

Pietro Alessandro Yon (Settimo Vittone, 1886 – Huntington, 1943) belongs to that group of organ players that contributed to free this instrument from its own habit of liturgical tool, but also making it with full rights a concert instrument. This thanks to the possibilities that late ‘800 America offered (and offers nowadays) both in economical term, sizes and instrumental versatility.

The American organ is a synthesis of the different European school, technologically advanced and most of all conceived to entertained. Exactly from the half of the XIX century spreads the American virtuosic school, most of all thanks to the popular and didactic activity of European organ players – Guilmant, Bonnet, Lemare, Middleschulte – that exported the “modern” language. Thanks to their large number of American students and to the organ players that, from the old world migrated in search of job and success, America became a center of attraction for the organ music lovers, most of all for the numerous transcriptions from the most famous symphonic and chamber pages. In this context emerges the figure of Yon, who, from his native Piedmont, passing through Rome, where he was the Vatican organ player, arrives in America to become the first organ player of St. Patrick Cathedral in New York.

This organ is currently one of the biggest in the world and it already was one of the most important of the new world. The entire organ production by Yon is practically conceived for these huge electric traction instruments, rich in effects and colors and it is always turned to a virtuosity much more musical than technical: the pieces proposed in this CD link the American entertainment to the singing themes (often so popular).


  • Hymn of Glory
  • Prelude-Pastorale "Dies est Laetitie"    
  • Concert Study    
  • Second Concert Study
  • Concerto Gregoriano - Introduzione e Allegro
  • Concerto Gregoriano - Adagio (Andante religioso)
  • Concerto Gregoriano - Scherzo (Allegro vivace)
  • Concerto Gregoriano - Finale (Allegro giusto)

Pietro Alessandro Yon - Complete organ music vol. 3
Best.-Nr.: 0754436592409

In the previous volume of this complete collection of Pietro Alessandro Yon’s organ music (Settimo Vittone, 1886 – Huntington, 1943) we have proposed a musical production purely dedicated to concert performances, made of virtuosic compositions rich in spectacular sound and technical effects. If the organ used in the other recording retraces the American organ aesthetic, the chosen instrument for this third volume is the historic Mascioni of 1948, placed in the Basilica of San Gaudenzio in Novara, with the typical Italian sounds. This is due to the characteristics of the repertoire here proposed, no longer strictly virtuosic, but with a major attention to the typical colors and sounds of the Italian instruments, built in the first half of the XX century.

Here is therefore a medley of heterogeneous works that practically concern all the styles: Toccata, Suite, Divertimento, Nocturne, March, Pastorale, all written in Yon’s American period and published between 1912 and 1943. Toccata in Re maggiore is dedicated to Remigio Renzi, Yon’s teacher and professor at Accademia di Santa Cecilia in Rome, from whose Toccata in Mi maggiore he gets his own inspiration, retracing broadly the structure.

A collection of descriptive pieces is 12 Divertimenti, almost a sort of symphonic poem in miniature, each of them with their own characteristics and so executable even separately. Toccatina and Rapsodia italiana are nowadays present in the concert programs, while the other pieces are, unfortunately, forgotten.
Published in 1943 Advent, First Religious Suite for Organ is about Gregorian and Christmas themes. Already in France, between XIX and XX century, composers as Ch. M. Widor, Paul de Malingreau, Léonce de Saint-Martin have written religious symphonies for organ, based on specific ecclesiastical melodies. Yon uses the musical material in a very personal way, far from the French style very popular at the time. Canto Elegiaco and Sheperd’s March are two pieces published in 1937 and 1942. The first is a dramatic and introspective nocturne for organ, while the second is a joyful pastoral march on free themes. Dedicated to the beloved Mario and published in 1921, La Concertina is a very brief suite in three movements, in which the traditional organ pipe plays as a Wurlitzer, a kind of theatre and cinema organ, used in the days of silent cinema to reproduce the most varied sounds (train, wind, rainstorm) with the typical thrilled and shrilled sound.
Christ Triumphant is at first a composition for Soli Coro ed Organo, here proposed in the organ transcription of the same Yon. Based on the Easter hymn Aurora Coelum Purpurat, it is a magnificent and solemn piece, in which the register Campane is used for the first time in this CD.


  • Toccata    
  • 12 DIVERTIMENTI FOR ORGAN              
  • Advent “First Religious Suite for Organ”         
  • Canto Elegiaco (Elegy)    
  • Shepherds’March    
  • “La Concertina”    Suite Umoresca
  • Christ triumphant

Pietro Alessandro Yon - Complete organ music vol. 4
Best.-Nr.: 0754436592430

Organ Sonatas by Pietro Alessandro Yon (Settimo Vittone, 1866 – Huntington, 1943) are the most cultured compositions among his entire organ corpus.


  • Sonata Prima
  • Sonata cromatica (seconda)
  • Sonata romantica (terza)

Richard Wagner - Organ Masterpieces
Best.-Nr.: 0754436592485

This CD presents five transcriptions by Lemare, from the ouverture of Der fliegende Holländer to the pilgrims choir of Tannhäuser, thanks to Massimo Gabba’s performance at the keyboard of the great Mascioni organ of San Giovanni Evangelista (Alessandria), an instrument that has huge technical and expressive resources, perfect for this repertoire. The program is completed by other brilliant transcriptions by William Jo - seph Westbrook, Herbert Brewer and Théodore Dubois. A compelling vortex of organ emotions!


  • Der fliegende Holländer - Overture
  • Tristan und Isolde - Prelude     
  • Die Meistersinger von Nürnberg - Overture
  • Tannhäuser - Pilgrim's Chorus
  • Tannhäuser - March 
  • Lohengrin - Elsa's Procession
  • Lohengrin - Prelude III Act and Bridal March
  • Rienzi  - Overture

Spanish Organ Fantasy
Best.-Nr.: 0754436592447

And nobody could be so mad not to pay his fantasies to the genius of Antonio de Cabezón. He was understood in this way not only in Spain, but also in Flanders and Italy, places where he lived, serving and following the catholic king Don Felipe our Sir, by whom he was deeply loved and highly considered than any other man of such quality could be by any other king.”
 Proemio to Obras de música (Madrid, 1578)


  • Antonio de Cabezón (1510-1566): Tiento IX de quinto tono
  • Antonio de Cabezón: Beata viscera Mariae Virginis
  • Antonio de Cabezón: Diferencias sobre la Pavana Italiana
  • Antonio de Cabezón: Pavana con su Glosa
  • Antonio de Cabezón: D'où vient cela
  • Antonio de Cabezón: Diferencias sobre el «Canto del Cavallero»
  • Antonio de Cabezón: Otras diferencias de Vacas
  • Juan de Cabezón (1515-1566): Pues a mi, desconsolado
  • Hernando de Cabezón (1541-1602): Doulce memoriae (Chançon de Pierre Sandrin)
  • Antonio Carreira (1529/30-1587/97): Cançao a Quatro glosada
  • Manuel Rodrigues Coelho (1555-1635): Primeira Susana glosada a 4 sobre a de 5
  • Francisco Correa de Arauxo (1584-1654): Tercero Tiento de Quarto Tono
  • Francisco Correa de Arauxo: Quinto Tiento de medio registro de tiple de Séptimo Tono
  • Francisco Correa de Arauxo: Tiento de Décimo Tono
  • Juan Bautista Cabanilles: Xácara

The Italian Baroque Trumpet - Concertos and Sonatas
Best.-Nr.: 0754436592416

Although it roots back in ancient times, since the beginning of the XVII century the trumpet was used most of all in military groups, in which it was associated with drums and fifes and with the bombarde beside the dancing: two fields that did not use written parts and of which nothing has come to us. The official debut of the trumpet beside the organ took place in 1634, year in which Girolamo Fantini played in Rome with Frescobaldi a series of short sonatas, that he would published four years later in his Modo per imparare a suonare la tromba. It can be considered the first performing method dedicated to this instrument.

He was followed, forty years later, by Giovanni Buonaventura Viviani, a Tuscan composer who came out in Innsbruck, before going back to Italy, also passing for Venice and Rome. Among the most famous works by Viviani two sonatas for organ and trumpet stand out, published in 1678 as an appendix to Capricci armonici da chiesa e da camera op.ð4. Compared to the pieces by Fantini, where the trumpet is an absolute protagonist, in Viviani’s works the two instruments talk together with a pleasant alternation of short and slow movements to fast ones.

In the same period the musical panorama in Bologna came to high level of glory, thanks to a group of composers of great talent, among which stand out Domenico Gabrielli and Giuseppe Torelli. Also known as Mingéin dal viulunzèl for the virtuosity whereby he played the cello, Gabrielli would have probably entered the Italian music empyrean of the XVII century, if he had not passed away at 31. His career developed quickly when he was only 17, so that in 1676 he was accepted in the prestigious Accademia Filarmonica di Bologna both for his cello technique and his innovative style in composition, that emerge from his beautiful Sonata for organ and trumpet. Giuseppe Torelli dedicated great attention to the trumpet, for which he wrote a real masterpiece, Concerto in re maggiore, a work divided in three movements with a contrasting character, in which the soloist instrument gives free outburst to its technique and expressive resources. During his staying in Rome, Alessandro Scarlatti always had high regard for the trumpet, that he placed both in his oratories and in his serenades. Among them emerges Il Giardino di Amore, a wide work focused on the story of Venus and Adonis, that is introduced by a pleasant symphony of gentle Arcadian tones, whose character stands out very well in a transcription for organ and trumpet, offering to this one the chance to show off surprisingly smooth sounds. In the first years of the XVIII century the concert knew a great development so that it became the most widespread orchestral genre allover Europe. Besides, Antonio Vivaldi and Tomaso Albinoni also gave this genre a great contribution. In order to allow the performance, many concerts were adjusted for organ and sometimes for other instruments, often obtaining very good results, as we can see in Concerto op.ð9 n° 2 di Albinoni, originally conceived for oboe. Instead, the Sonata No.1 by Pietro Baldassare was written expressly for the trumpet. He was a Roman composer who had settled down in Brescia when he was young. There became director of the vocal and instrumental ensemble of San Filippo Church. This work, with a solide tripartite structure, reaches in the central Grave an unusual lyricism, which stands in sharp contrast to the other more extrovert movements. The program ends at the sunset of Baroque with the transcription of Concerto in re maggiore by Giuseppe Tartini, composer known for his unbridled virtuosity, that finds full expression in the brilliant vitality of the last movement, a piece of cleverness that it cannot help winning the audience’s applause.


  • Giovanni Buonaventura Viviani (1638-1693) - Sonata prima per tromba e organo
  • Giuseppe Torelli (1658-1709) - Concerto per tromba in Re maggiore
  • Domenico Gabrielli (1651-1690) - Sonata N.5 in Re maggiore per tromba e organo    
  • Alessandro Scarlatti (1660-1725) - Sinfonia da “Il Giardino di Amore”
  • Pietro Baldassare (1683-1768) - Sonata N.1 in Fa
  • Tomaso Albinoni (1671-1751) - Concerto per tromba Op.9, No.2    
  • Giuseppe Tartini (1692-1770) - Concerto in Re maggiore

Vivaldi - Concerti con Organo obligato
Best.-Nr.: 0754436592423

The rediscovery of the Pre-Romantic repertoire, occurred during the last decades, has brought back the Vivaldi’s production under the spotlight, but, despite this, much still remains to be discovered. One of the more unknown field is that of the concerts that see the organ free its role of basso continuo in order to take on an unpublished soloist garment for the time in front of a huge strings group. The programme of this CD presents six works characterized by the melodic vein of the Red Priest, in which the organ shows off both its virtuosic potential and its extended melodiousness. These works were presented in the reliable performance of Gianluca Cagnani, in the double garment of soloist and director of the Turin Baroque Orchestra. An unusual and beautiful Vivaldi.

  • Concerto  in Re minore  RV 541
  • Concerto in Fa maggiore RV 542
  • Concerto in Do maggiore RV 554a
  • Concerto in Do minore RV 766    
  • Concerto in Fa maggiore RV 767    
  • Sonata RV 779    Andante


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