{"title":"Pre-Orders for Release Date: 07\/17\/2026","description":"\u003cp\u003eNew Pre-order vinyl records are available in store on release day when you choose local pick up at check out.  All pre-order items will ship out ASAP!  \u003c\/p\u003e\n\u003cp\u003eA brand new item direct from the supplier, never played, in new condition. Notes: Pre-order items which are not limited editions or exclusive releases you may order as many as you like.  Pre-orders will be made available in store on release day for local pick up orders. Cancellation or returns of pre-order items will incur a 10% re-stocking fee.  Delays in shipment or supplier stock may result in a pre-order arriving later than expected.  This is not grounds for cancellation or return of an item unless the delay is greater than 10 days.  In the event the delay is from the label or artist (release is pushed back) the new release date will be used.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eLimited edition and exclusive releases: Pre-orders will be fulfilled in the order they were received.  In the event a release is sold out or not able to be fulfilled you will be refunded 100% of your total purchase price including all tax and shipping. \u003cbr\u003eDiscounts: Pre-order items are excluded for any and all discounts.  \u003cbr\u003e\u003c\/p\u003e","products":[{"product_id":"pre-order-dj-shadow-mo-wax-singles-1993-1997-box-remastered","title":"DJ Shadow - Mo' Wax Singles 1993-1997 (Box) [Remastered]","description":"\u003cp\u003eThe Mo'Wax Singles 1993-1997 is an eight piece vinyl set collecting all of DJ Shadow's original single releases for Mo'Wax. 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The quintessential nature of Le sacre is pianistically conceived - those pounding chords and unpredictable accents that fit under the fingers - and Stravinsky no less than Beethoven is a composer who self-evidently both thinks and writes at the piano. Yet Stravinsky's solo output for the instrument is relatively modest - surveyed here by Emanuele Delucchi within 50 minutes. Even here, Delucchi finds space for a real rarity, an arrangement of a section from the Symphonies for Wind instruments which, in the ineluctable progression of it's heavy and dense chords, once more reveals it's keyboard roots in this transcription. For the rest, the original piano music focuses piece by piece on familiar tropes: neoclassicism in the Sonata and Serenade; popular and vernacular styles in the Piano-Rag Music and Tango. Stravinsky used unconventional harmonies and rhythmic patterns, and often incorporated elements of folk music and jazz into his pieces. 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In New York captures the moody prince of cool stepping into the East Coast hard bop ring - and holding his own with charm, tone, and those impossibly lyrical lines that seem to float above the beat like cigarette smoke in a club basement.Chet Baker didn't play the trumpet. He seduced it. His tone? So velvety, you might try spreading it on toast. His solos? Like a conversation with someone who never raises their voice - but always gets the last word. On In New York, Chet proves that his famously fragile persona belied a rock-solid sense of melody, timing, and understated swagger.Chet may be the name on the cover, but he came to town with some serious firepower. Johnny Griffin (tenor sax), known as the 'Little Giant' brings a big sound and a bebop bite, pushing Chet into edgier territory - and yes, it works. Al Haig (piano), is bebop royalty. Cool, crisp, and a perfect harmonic foil for Baker's phrasing. Paul Chambers (bass), is from Miles' first-call list. 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Working on Haydn's Op. 77 and Shaw's Entr'acte felt like stepping through Alice's looking glass, where past and present meet. Performing both works on gut strings and classical bows created a shared expressive language across centuries. Shaw's piece, inspired by Haydn's sudden shift to D-flat major, plays with surreal transitions and rich, woody textures. Haydn's quartets, though few in number, reveal clarity, lyricism, and daring rhythmic exploration. Historical editions opened new interpretive possibilities, reminding us that each performance captures only one moment in an evolving tradition. Together, these works form portals into contrasting eras, emotions, and perspectivesPreparing a quartet transforms notes and structures from something abstract into a vivid, living form. As we shaped Haydn's String Quartets Op. 77 and Caroline Shaw's Entr'acte, Alice's Looking Glass became a fitting metaphor-a portal through which past and present coexist. As a historically informed quartet, we study how older works first resonated with audiences while approaching new compositions with the same curiosity. Playing both Haydn and Shaw on gut strings and classical bows allows a shared expressive language across centuries.Shaw's Entr'acte was directly inspired by Haydn's Op. 77 No. 2, especially it's unexpected shift to D-flat major. Structured like a minuet and trio, her piece explores playful, surreal transitions that feel like stepping through the looking glass. We relished discovering how harmonics, extended techniques, and historical bows create woody, textured colors unique to gut strings. The constantly shifting meters and the pavane-like middle section offered further opportunities for imaginative shaping.Haydn's Op. 77, though influential, is his shortest quartet collection. Commissioned as six quartets, only two were completed. We open Wait Till the Clouds Roll By with the second quartet in F major. It's first movement balances clarity with a misty, exploratory development. The Menuet feels rhythmically unstable before dissolving into the dreamy Trio. The Andante's serene theme and variations momentarily suspend time before the Finale jolts us awake. In working with historical editions-full of contradictions-we embrace the interpretive possibilities they offer, knowing a recording captures only one moment in an evolving tradition.In the G major quartet, a static yet expectant opening gives way to fragmented, lively exchanges. The Adagio offers spaciousness and sublime calm. Haydn's virtuosic Presto movements inspired us to experiment with tempo, including the daring 1854 metronome markings by Karol Lipinski.Wait Till the Clouds Roll By reflects our belief that music, like Alice's journey, helps us navigate a world of beauty, confusion, humor, and transformation. Through Haydn and Shaw, we experience portals between eras, emotions, and perspectives.The Butter Quartet consists of four musicians brought together by their mutual love of vibrant historically-informed performance of string quartets. They first formed during their studies at the Royal Conservatory of The Hague, but soon developed a passion and dynamic that extended beyond their conservatory years. They released their debut album 'Scintilla' in July 2024 with Brilliant Classics. The Butter Quartet enjoys integrating their research on late 18th- and early 19th-century performance practice into powerful performances. 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Yet his reputation as a composer rests not only on orchestral color but also on a deep historical awareness and a refined command of chamber music. Trained in Bologna and later influenced by his studies with Rimsky-Korsakov in Russia, Respighi combined Italian lyricism with contrapuntal discipline and a fascination with musical antiquity.Respighi's chamber works reveal a more intimate side of his artistry, where structure and thematic development take precedence over orchestral spectacle. Among these, the Piano Quintet (1902) stands as one of his earliest substantial achievements. The quintet shows strong Romantic influences, particularly from Brahms and late German chamber traditions. It's expansive first movement, expressive slow movement, and vigorous finale demonstrate Respighi's early confidence in handling large forms and dense textures, while hints of his later harmonic individuality already emerge.The Double Quartet (1904), scored for two string quartets, reflects Respighi's interest in contrapuntal clarity and ensemble dialogue. Rather than treating the eight instruments as a single mass, he often sets the two quartets in conversation or opposition, creating spatial and textural contrasts. This work illustrates his growing fascination with polyphony and balance, qualities that would later underpin his neoclassical tendencies. The Doric Quartet (1924) represents Respighi's mature style and his engagement with ancient musical modes. Inspired by the Doric mode, the work aligns with his broader interest in early music, evident also in pieces like Ancient Airs and Dances. Here, Respighi adopts a restrained, almost austere language, favoring modal harmony, transparent textures, and rhythmic clarity. The quartet avoids overt Romantic excess, instead projecting a timeless, classical serenity.The DaVinci Ensemble is formed by outstanding Italian musicians, with the aim of making Italian chamber music known throughout the world.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5063758973793\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brilliant Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.5.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Da Vinci Ensemble","offers":[{"title":"Default Title","offer_id":51578379764008,"sku":"135379676","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0745\/0155\/4472\/files\/4503240-3553317.jpg?v=1774331152"},{"product_id":"pre-order-luigi-magistrelli-mozart-trio-kegelstatt-clarinet-trios-by-stiehl-cd","title":"Luigi Magistrelli - Mozart: Trio Kegelstatt \u0026 Clarinet Trios By Stiehl [CD]","description":"\u003cp\u003eMusic for clarinet, viola, and piano in the first half of the nineteenth century occupies a distinctive but relatively rare corner of the chamber repertoire. While the Classical period had established mixed ensembles involving winds, strings, and piano-most famously in Mozart and Beethoven-the exact combination of clarinet, viola, and piano did not yet become standardized. Instead, composers of the early Romantic era approached this grouping with flexibility, often through ad hoc works, alternative scorings, or arrangements shaped by available performers.This period was marked by expanding expressive ambitions and rapid developments in instrument design. The clarinet gained a wider range and greater agility, the viola benefited from improved projection and a more soloistic role, and the piano evolved into a powerful yet nuanced partner. Together, these instruments offered composers a rich palette of timbres: the clarinet's lyrical warmth, the viola's dark middle register, and the piano's harmonic breadth.This new recording starts off with the first work written for the combination of clarinet, viola and piano: the famous Kegelstatt Trio by Wolfgang Amadeus Mozart. Following are works by Johann Stiehl (1800-1872), Josef Triebensee (1772-1846) and Robert Schumann (1810-1856), whose Marchenerzahlungen is the embodiment of Romantic expression and storytelling. Played by Italian clarinetist Luigi Magistrelli, Matteo Fedeli and Carlo Balzaretti. Magistrelli made numerous recordings for Brilliant Classics with works by C.P.E. Bach (95307), Giuliani (95541), Kummer (94472), Archduke Rudolph (94952), Rebay (94171) and Fuchs (96305). 'Luigi Magistrelli is a skilled artist, with the fingers and the enthusiasm for Weber.' Gramophone.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5063758975315\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Brilliant Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.5.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Luigi Magistrelli","offers":[{"title":"Default Title","offer_id":51578382418216,"sku":"135457500","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0745\/0155\/4472\/files\/4503241-3553318.jpg?v=1774331163"},{"product_id":"pre-order-tyler-hay-field-pno-sons-variations-rondo-waltz-cd","title":"Tyler Hay - Field: Pno Sons Variations Rondo Waltz [CD]","description":"\u003cp\u003eThe Irish-born composer John Field is still celebrated today as 'the father of the nocturne' for his creation of a genre which went on to inspire Chopin and generations of Romantic-era composers for the piano. Field's own talents at the piano were recognised early, when the boy was just nine years old, and further nurtured by Muzio Clementi when the Italian-born, London-resident composer and publisher took him on as a pupil. Thus although the first three of Field's sonatas date from 1801, when he was still a teenager, they are the fruit of a decade-long devotion to the art and craft of music. Unpretentious in form and melodic profile, each of these two-movement sonatas opens with a sonata movement sounding near to Beethoven in one of his milder moods, though No.2 presents a theme which strikingly anticipates one of Schubert's late impromptus. The musing character of these movements is then answered by a toe-tapping minuet, as if to banish all care. While sharing the proportions of these Op.1 pieces, Sonata No.4 is a standalone work dating from 16 years later, once Field was installed in St Petersburg as a high-living pianist to the Imperial Court. The passing of time might account for the gentler nature and richer harmony of the Fourth Sonata's second movement. These neglected pieces only came to wider attention during the 1970s, when they were first recorded, and the discovery of them will still delight any collector of early-Romantic pianism. On this new recording, Tyler Hay prefaces each Sonata with a shorter piece demonstrating the range of Field's talents and expressive palette. There is the Rondo on Del Caro's Hornpipe; a Yearning Waltz; a set of Variations on a Russian Folksong; and finally a ruminative Andante inedit in E flat which, like the best of his work, looks forward to the era of Chopin and Schumann in asserting the stature of the pianist as a poet of the keyboard. \"Tyler Hay has brilliantly mastered and assimilated these often elusive scores.\" Gramophone, July 2018 (on the piano works of John Ogdon, for Piano Classics)\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5063758103596\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Piano Classics\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.5.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Tyler Hay","offers":[{"title":"Default Title","offer_id":51578382876968,"sku":"135439800","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0745\/0155\/4472\/files\/4503313-3553314.jpg?v=1774331166"},{"product_id":"pre-order-rie-kimura-dandrieu-complete-vn-trio-sons-les-trois-livres-cd","title":"Rie Kimura - Dandrieu: Complete Vn \u0026 Trio Sons Les Trois Livres [CD]","description":"\u003cp\u003eWorld-premiere recordings of chamber-music collections by an overlooked master of the French Baroque.With two previous collections for Brilliant Classics - the Premier livre de pièces d'orgue on 2CDs and Trois Livres de Pieces de Clavecin on 4CDs - Pieter-Jan Belder has become the pre-eminent modern exponent of Jean-Francois Dandrieu, as reflected by the enthusiastic welcome in Fanfare for the organ volume: 'The playing here... is simply terrific. [Belder] has completely absorbed the French Baroque idiom as a native musical tongue and speaks it with absolute fluency... For anyone who loves the organ repertoire of the French Baroque, this is an essential purchase; highly recommended.'In this latest collection, Belder invites the listener to delve further into the output of this Parisian musician, who left behind precious few examples of his art on his death in 1739, but who won the admiration of both fellow musicians and royal patrons, most notably Louis XV. Published as Opus 1 in 1705 and Opus 2 around five years later, these collections of trio sonatas and violin sonatas represent a thorough and skilful assimilation of 'modern' Italian grammar - and most notably the influence of Corelli - into French gesture and style. Opus 1 represents a remarkably mature and purposeful integration of styles: at just 23, Dandrieu confidently asserts a distinct voice by seamlessly integrating the expressive nuances of the French harpsichord school into this Italian framework. Dandrieu's Op.2 sonatas do not merely reflect Italian influence; they actively transform it: in their formal clarity and expressive depth they embody both the elegance of Versailles and the vitality of Rome.To complete this volume, Pieter-Jan Belder plays three books of harpsichord pieces from Dandrieu's accomplished youth: most of them very brief dances, no more than a minute long, deftly sketching an idea for the equal enjoyment of performer and listener. 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We would assume that he'd bristle at the idea being, if not humble, then properly reserved, but the truth is in the story and, to a large extent, in the songs contained in Days Without Names, Sweet Undertow's sophomore album set for release in on July 17, 2026. The album is a cinematic document of a wide-eyed quest for something universal yet tantalizingly undefined, channeled through authentic, bluesy Americana. Recorded at the all-analog studio of producer John Vanderslice (Death Cab for Cutie, Deerhoof, Spoon etc.), it was wrapped up literally the day before the 2020 lockdown shuttered the world. The idea that Days Without Names poses, in it's roundabout way, is that in this meaningless void in which we float- it matters. It matters how you treat people. It matters to be kind. It matters that you try and love. Each layer from the unfathomably vast to the unfathomably tiny is real and matters to itself. People exist; joy and despair are real; you have the power to increase or decrease these in others and yourself. It matters to try and live, to be kind, to temper suffering and to love.\"When asked what feeling he'd like the listener to be left with after the stylus comes up, Eddy simply says, \"That there is hope, even for people.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHit Me Like a Memory\u003c\/li\u003e\n\u003cli\u003eJessie Lee\u003c\/li\u003e\n\u003cli\u003eDropping Helicopters\u003c\/li\u003e\n\u003cli\u003eStep Lightly\u003c\/li\u003e\n\u003cli\u003eCountry Blues\u003c\/li\u003e\n\u003cli\u003eMy Hands They Hunger\u003c\/li\u003e\n\u003cli\u003eFree Whiskey\u003c\/li\u003e\n\u003cli\u003eLittle Great Depression\u003c\/li\u003e\n\u003cli\u003eOh! 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Born in Budapest in 1979 to a violinist mother and cellist father, he spent much of his childhood in Venezuela, where by the age of eight he was already appearing as a soloist with major orchestras. His formative studies took him back to Hungary at the Franz Liszt Academy of Music and later to Paris, where he studied with Eduard Wulfson-a pupil of legends such as Yehudi Menuhin, Nathan Milstein and Henryk Szeryng. Barati's artistry is defined by a compelling blend of technical precision and poetic expressivity. Critics have praised his \"vast expressive range and impeccable technique,\" as well as his ability to let the music shine above all. He performs on the exquisite 1703 \"Lady Harmsworth\" Stradivarius, a tool of rare power and beauty, loaned to him by the Stradivari Society of Chicago. In recognition of his contributions, he was awarded Hungary's highest cultural honour, the Kossuth Prize, in 2014. While Barati's discography is impressively broad (encompassing Bach, Ysaÿe, Paganini, Mozart, Korngold and more), his relationship with Beethoven is especially noteworthy. Although his recorded output emphasizes the violin-and-piano sonatas (with Klara Wurtz) rather than only the concerto, his mastery of Beethoven's voice carries over beautifully into his concerto performances. His interpretation of Beethoven's concerto is marked by clarity of line, purity of tone, and a sense of respectful freedom. In the Allegro ma non troppo he finds an elegant balance between classical poise and Romantic impetus; in the Larghetto he offers a deeply lyrical calm; and in the Rondo he embraces spirited vitality without ever sacrificing musical integrity. Reviews of his performances emphasize how Barati \"treats music with the greatest respect... knowing his instrument very well so that he can give himself as much freedom as he would want.\" For listeners seeking a fresh take on this cornerstone of the violin repertoire, Barati brings an interpretation that is both grounded and revelatory: one rooted in tradition, yet vividly alive for today's audiences. 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A remarkable compilation spanning more than five decades of musical exploration. The album brings together 7 performances from 1968 to 2025, offering a rare glimpse into some alternative, improvisational currents that have defined Matthiessen's career.From the early energy of the Poul Ehlers Quartet in 1968, featuring the rare collaboration with free-jazz drummer Bo de Richelieu and a young Jesper Zeuthen, to his contributions in Erling Kroner's Quintet in 1970, Matthiessen's pianism has always blended melodic sensitivity with a restless curiosity. The album also includes the electrifying Turkish-inspired jazz of Atilla Engin Group in 1981, where Matthiessen fuses complex rhythms with the swinging spirit of jazz, as well as boundary-pushing improvisations with Global Units in 2011, incorporating electronics and experimental textures.Later recordings, such as Testmann Jazz in 2023, highlight Matthiessen's lyrical side, paying homage to Ben Webster while demonstrating his enduring command of ensemble interplay. Framing the album are two solo improvisations, Subcurrent 1 and Subcurrent 2, recorded in 2025 at The Village Studio, capturing the pianist at his most spontaneous, exploring sound, touch, and flow in real time with no rehearsals or retakes.Subcurrents is more than a retrospective. It is a journey through the subtle undercurrents of jazz, and the threads connecting tradition, experimentation, and collaboration across decades. Produced, remastered, and annotated by Matthiessen himself, the album presents both longtime fans and new listeners with an intimate portrait of a musician whose adventurous spirit remains undiminished at 80.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 717101437122\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Storyville Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.19.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Ole Matthiessen","offers":[{"title":"Default Title","offer_id":51631893905704,"sku":"150597691","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0745\/0155\/4472\/files\/4507258-3562876.jpg?v=1775532880"},{"product_id":"pre-order-hannah-cho-viennese-violin-sons-cd","title":"Hannah Cho - Viennese Violin Sons [CD]","description":"\u003cp\u003eThe debut album of violinist Hannah Cho, born in South Korea and member of the Vienna Philharmonic, is shaped by the idea of paying tribute to her adopted home of Vienna through sonatas by Mozart, Schubert, and Brahms-composers who are closely associated with this city. Although their lifespans (born in 1756 in Salzburg, in 1797 in Vienna-Himmelpfortgrund, and in 1833 in Hamburg, respectively) by a thin margin don't overlap, they can be described as bearers of a relay baton, their connection found in the tradition of Viennese Classicism. Together with pianist Srebra Gelleva, Hannah Cho presents Sonata No. 21 in E minor, K. 304\/300c by W. A. Mozart, Sonata in A major, Op. Posth. 162, D 574 by Franz Schubert, and Sonata No. 3 in D minor, Op. 108 by Johannes Brahms. This selection offers a cross-section of the historical development of the violin sonata genre, which experiences an early flourishing with Mozart, was almost naturally incorporated into Schubert's oeuvre, and finds a peak of maturity in the Romantic era with Brahms.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 9003643993730\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Gramola\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.19.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Hannah Cho","offers":[{"title":"Default Title","offer_id":51631896559912,"sku":"150652330","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0745\/0155\/4472\/files\/4507209-3562951.jpg?v=1775532909"}],"url":"https:\/\/soldoutvinylrecords.com\/collections\/pre-orders-for-release-date-07-10-2026-copy.oembed?page=12","provider":"soldoutvinylrecords","version":"1.0","type":"link"}