Head Space: Candlelight is the first EP in The King's Singers' Head Space series, aiming to connect choral music with calmness and reflection. Inspired by compline, the Catholic night service, it features plainchant, including "In manus tuas Domine" and "Salva nos Domine vigilantes," emphasizing breath-led pacing. The album also includes wordless Orlando Gibbons "Songs," contemporary pieces by Anna Thorvaldsdottir, Judith Bingham, and Arvo Part, and the experimental "4'33" by John Cage, concluding with Robert Parsons' "Ave Maria" and Edvard Grieg's "Ave Maris Stella," all designed to create a contemplative atmosphere.

Francesco Saverio Geminiani (1687-1762), born in Lucca, began his study at an early age with his father, but his most important lessons followed in his years with the great Roman Master, Arcangelo Corelli. Composition lessons with Alessandro Scarlatti helped inspire and solidify his craft. In 1714 Geminiani settled in London, where he quickly gained fame as an ensemble player, concert violinist, and teacher. Here he became friends with Handel and led the orchestra during many performances together. Geminiani enjoyed great success not only in London, but also in Ireland where he spent a considerable amount of time. In 1760 he settled in Dublin, dying there in somewhat impoverished circumstances in 1762. Geminiani's playing was distinguished by it's great expressiveness, richness of dynamic coloring, extraordinary liveliness, and a strong temperament. Tartini tellingly called Geminiani "il furibondo" - the furious one! Among his most significant contributions to the Baroque concerto repertoire are his Concerti grossi Opp. 2 and 3, published in 1732 and 1733 respectively. These sets each consist of six concertos and follow the model established by Corelli, particularly his Concerti grossi Op.6. However, Geminiani's works are more expansive and harmonically adventurous. They often feature intricate contrapuntal writing and dramatic contrasts between the concertino (the group of solo instruments) and the ripieno (full ensemble), a hallmark of the concerto grosso form. Op.2 is notable for it's lyrical elegance and refined structure, while Op.3 reveals a bolder, more expressive style, perhaps reflecting Geminiani's growing independence from Corelli's shadow. These works were not only designed for public concert performance but also for teaching and domestic music-making, showing Geminiani's skill in balancing artistic depth with accessibility. Geminiani's Concerti Grossi were well-received in his time and continued to be admired for their rich textures and expressive power. They exemplify the late Baroque ideal of merging virtuosity with emotional intensity. Today, they remain a staple of early music ensembles, highlighting Geminiani's role as a key figure in transmitting and transforming the Italian Baroque tradition for an international audience. Played by the Italian elite group L'Archicembalo, who previously recorded, to great critical acclaim, the String Concertos by Vivaldi for Brilliant Classics.

In June 2015, the Berliner Philharmoniker elected Kirill Petrenko as chief conductor, and he took up office in 2019. Our exclusive vinyl edition presents key recordings of this phase of anticipation and new beginnings. Performances of works by Beethoven, Tchaikovsky, Franz Schmidt, and Rudi Stephan reveal not only the first important programme directions, but also the exciting, intensive music-making in this partnership.

In July 1884, MacDowell and his wife, Marian, spent their honeymoon in England, and were both captivated by performances of Shakespeare plays at London's Lyceum Theatre. The young composer started immediately on sketches based on six characters, but completed only two, Hamlet and Ophelia, which were published the following year. MacDowell recycled some of the music from his sketch for Benedick, from Much Ado about Nothing, as the second movement of his Second Piano Concerto. Having lived in Germany from 1885 to 1888, the couple returned to America and Edward reactivated his career as a concert pianist. The Second Concerto was the perfect vehicle to display his virtuosity, and he gave the first performance in New York in 1889. Composed during the same period as the Second Concerto, the Romanze for Cello and Orchestra was written at Wiesbaden in 1887, and MacDowell dedicated it to the virtuoso Bohemian cellist and composer David Popper. The Suite in A minor was the first work MacDowell composed after the couple's move to Boston, and reflects his lifelong love of nature. Set in five movements, it received it's first performance in 1895 by the Boston Symphony Orchestra under the direction of Emil Paur.

Franz Schubert's chamber music occupies a vital place in the Western classical canon, demonstrating both his lyrical genius and emotional depth. Though he is widely known for his lieder and symphonies, his chamber works represent some of the most profound and innovative compositions of the early Romantic era. The String Quintet in C major, D. 956, written just weeks before Schubert's death in 1828, stands as one of the towering achievements in chamber music. Scored for two cellos instead of the more common two violas, the work is known for it's rich, warm textures and emotional contrasts. The slow movement, in particular, is a masterclass in stillness and poignancy, often cited as one of the most sublime moments in all of chamber music. Schubert's string quartets trace his compositional development and deepening expressiveness. The Death and the Maiden quartet (D. 810) is especially significant, combining dramatic intensity with variations on his earlier song of the same name. The juxtaposition of lyrical beauty with stark fatalism reflects Schubert's own grappling with mortality and human vulnerability. His piano trios blend lyricism and formal sophistication. The trios are notable for their expansive melodies, rich harmonic language, and a sense of narrative continuity that hints at the symphonic. The violin sonatas (often referred to as "sonatinas") are earlier works, more modest in scope but filled with charm and grace. While not as emotionally profound as his later chamber works, they already display Schubert's melodic gift and innate sense of dialogue between instruments. The Trout Quintet (D. 667) is perhaps Schubert's most popular chamber work. It's unusual instrumentation featuring piano, violin, viola, cello, and double bass and the famous set of variations on his song "Die Forelle" make it instantly appealing. Yet beyond it's surface charm, the work demonstrates Schubert's brilliance in crafting color and contrast, blending joy and depth seamlessly. Altogether, Schubert's chamber music reveals a composer capable of exploring the most intimate corners of the human soul. These works remain essential listening, offering profound insight into the expressive potential of small ensembles. Excellent performances by the Diogenes Quartet, the Amsterdam Piano Trio and the Berlin Philharmonic Octet.

Paavo Jarvi and the Estonian Festival Orchestra pay tribute to Arvo Part, who celebrates his 90th birthday in 2025. The Estonian composer has been part of Paavo Jarvi's life since childhood: "Arvo was my sister's and my father's supercool friend. He wore a baseball cap, jeans and a denim jacket". The history of the Jarvi family is intimately linked to Part's work, since it was the now legendary concert in which Neeme Jarvi - Paavo's father - conducted Part's Credo in 1968 that caused the Soviet regime to blacklist the Jarvi family and precipitate their departure from Estonia. Credo is also included in this vast programme that covers 45 years of composing. What lies behind this music's simplicity and depth? One answer possibly lies in a remark that Part made in London during a rehearsal with Paavo: "I have the impression that the orchestra doesn't like this chord enough". The transformation that then occurred was incredible; the same notes, when played "with love", sounded completely different.

The lute played a central role in the music of the 16th and a greater part of the 17th centuries. Whereas the organ occupied a leading position in the realm of church music, the lute was the most important solo instrument for secular music written at that time. Leaving the organ out of discussion, the lute was the most prestigious of 16th century instruments, eventually eclipsed in popularity and use by the harpsichord at the end of the 17th century. Nicolas Vallet, a Frenchman who lived in Amsterdam proclaimed it "the lute, rightfully called the King of all lnstruments." Lute-players during the 16th and 17th centuries fell into two categories. The first one was occupied by well-to-do amateurs who look to lute playing as an elegant hobby; and professional lute players occupied the second place, sharing their middle-class status with other craftsmen, like painters and furniture makers. The lute repertory of the 16th and 17th centuries covers a broad area of musical farms including: Arrangements of secular and non-secular songs from all West European countries either written for lute solo or with lute accompaniment. Arrangements of existing dances and new compositions for dances, such as: pavanes, gaillardes, passemezzi and allemandes. Arrangements and imitations of polyphonic instrumental music: fantasies and ricercares. Programmatic compositions such as portrayals of pitched battles (batailles) and carillon ringing (carillons). Compositions usually referred to as preludes intended to show the instrument in all it's technical glory. This rich selection of lute music composed in The Netherlands includes the composers Sweelinck, Adriaensen, Van Den Hove, Huwet, Valerius and Vallet. Played by one of the most distinguished lutenists of this time, Toyohiko Satoh. Reissue of a 1990 recording, originally issued on the NM Classics label.

Manfred holds a special place in Tchaikovsky's oeuvre, as it is unique: a symphony composed on an extremely large scale around a wide-ranging literary programme. Manfred is the embodiment of several facets of Tchaikovsky's individuality: it presents both Russian and European features, Tchaikovsky's own talents as a psychologist and a shrewd judge of character, his abilities as a writer for the theatre, and his mastery in creating orchestral colours. The score itself dazzles with it's variety of images and sounds - from airy to grandiose and powerful, from pastoral and peaceful to dense and dark. The dramatic concept of the work as a whole, it's psychological portrayal of the protagonists and the vivid expression in their development all come to reveal the characteristic style of Tchaikovsky's late works. What is more, Manfred remains fascinating thanks to the fact that it emerged at the crossroads of various literary, philosophical and musical trends during 19th century. The album was recorded on the eve of the 185th anniversary of Tchaikovsky's birth.

His First Symphony famously took Brahms twenty-one years from conception to first performance - a marker of both his own highly self-critical assessment of his output, combined with the expectation of everyone around him that his symphonic output would naturally pick up where Beethoven had left off. Astonishingly, his Second Symphony was begun in June 1877 and received it's first performance just six months later, by the Vienna Philharmonic and Hans Richter. It's cheerful nature and pastoral mood are also a stark contrast to the first symphony. Following a gap of some six years, Brahms returned to the form in 1883, and composed his third and then fourth symphonies in quick succession. Begun in 1884, the Fourth Symphony was premièred by Brahms and the Meiningen court orchestra in October 1885. The work is especially notable for it's last movement, which takes the form of a passacaglia (an extremely rare occurrence) and is the only one of Brahms's symphonies to end in a minor key.

Sony Masterworks Broadway is proud to announce the release of the Original Cast Recording of Stereophonic. Direct from it's smash hit world premiere at Playwrights Horizon, Stereophonic opens on Broadway on April 19. With original songs by Academy Award nominee Will Butler, formerly of Arcade Fire, Stereophonic is written by David Adjimi, directed by Daniel Aukin and stars Will Brill as Reg, Andrew R. Butler as Charlie, Juliana Canfield as Holly, Eli Gelb as Grover, Tom Pecinka as Peter, Sarah Pidgeon as Diana, and Chris Stack as Simon reprising their highly lauded performances. The album features Butler's music from the show including the hit song and act one closer, "Masquerade." - Dominating the "Best Theater of 2023" lists, Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976. Here, an up-and-coming rock band recording a new album finds itself suddenly on the cusp of superstardom. The ensuing pressures could spark their breakup - or their breakthrough. In Stereophonic, Adjmi invites the audience to immerse themselves-with fly-on-the-wall intimacy-in the powder keg process of a band on the brink of blowing up.

Enrique Granados was one of the leading figures of the late-19th-century Spanish nationalist and impressionist school of musicians. The much-loved Danzas espanolas is a collection of piano pieces that represents Granados's refined blend of Romantic lyricism and Spanish folk imagery. This charming and charismatic journey through Spain is presented here in a colourful transcription for two guitars. Fabio Rizza's 2024 arrangement of the evocative Capricho espanol completes the programme.

Inspired by the idea of 'music of the spheres' and the interaction between space and men, the album reflects Sumino's multi-faceted artistry and melts old and new music into one unique listening experience. The album includes an intriguing variety of music recorded on concert grant and upright piano and ranges from Baroque to Romanticism (Bach, Purcell, Chopin, Ravel, Debussy); includes iconic film and contemporary composers such as Hans Zimmer and Ryuichi Sakamoto, plus Hayato's own arrangements of popular works such as Ravel's "Bolero" and Mozart's "Twinkle, Twinkle, Little Star. Five of Hayato's own unique compositions appear, including melodic and relaxing solo piano tracks, perfect for streaming and playlisting. "Human Universe" musically explores the idea of "Music of the Spheres", a concept that traces back to the ancient Greeks, who believed that celestial bodies in the universe emitted sound bringing music and harmony.

As a concept musical, Love Life was a real trailblazer, inspiring musical theatre favourites of the 1960s, 70s and beyond from Cabaret and Chicago (originally subtitled 'A Musical Vaudeville') to Sondheim's Company (told through a series of vignettes). It is "one of Weill's best scores" (conductor Jim Holmes), a masterpiece of putting different musical styles together, "a compendium of American musical idioms, cunningly chosen so that they suit the dramatic material". Kurt Weill and Alan Jay Lerner teamed up in 1947, both riding high on recent successes (Street Scene for Weill, Brigadoon for Lerner) and looking for new projects. When Love Life premiered on Broadway in 1948, Weill called it "an entirely new form of theatre." Stephen Sondheim denoted it as "a useful influence on my own work."

'No!' exclaims Nunciata, the stubborn Corsican grandmother, when she is begged to put an end to the vendetta between her family, the Fabiani, and their enemies, the Pietra Nera clan. Set against a backdrop of tragic deaths, voracious lust for vengeance and passionate love at the height of the Napoleonic Wars, this 'lyric drama' composed by Saint-Saens in 1906 was premiered at the Opera de Monte-Carlo and dedicated to Prince Albert I, who had commissioned it. Saint-Saens demonstrates here the full range of his style, interweaving Debussyan chords, melodic lines a la Massenet and aggressive rhythms worthy of Prokofiev. Above all, he displays a feel for the theatre eminently characteristic of French opera, and one can only imagine how successful this score would be if it found it's way back onto the stage. It was not without reason that after it's triumphant premiere in Monte Carlo, L'Ancetre was staged in several cities in France, Belgium, Switzerland and Germany, as well as Algiers (February 1911) and Cairo (February 1912), before two further performances in March 1915 in the theatre where it had come into existence.

The First Symphony was largely inspired by the composer's tempestuous love affair with the widowed Baroness Imma von Doernberg, whom Walton met in 1929 and with whom he was living on the Continent in the early 1930s. Although the work was long in gestation, with a particular delay in the composition of the finale, the result was universally acclaimed as an outstanding success, with John Ireland commenting "unlike any other English symphony, this is in the real line of symphonic tradition. It is simply colossal, grand, original, and moving to the emotions to the most extreme degree... It has established you as the most vital and original genius in Europe". Walton's star was in the descendent through the 1950's, with a poor reception to his opera Troilus & Cressida, and equally negative comments for his Cello Concerto, which was widely considered to be embarrassingly old-fashioned in it's essentially neo-romantic idiom. Commissioned by Gregor Piatigorsky (at the suggestion of Heifetz), the work was first performed in Boston under Charles Munch in January 1957, with the UK premiere under Sir Malcolm Sargent following a month later. Walton was unable to attend that concert as he was hospitalised following a car accident on the journey to London from his home in Italy. Now widely perceived as one of Walton's most important late scores, the work is performed here by Sinfonia of London's principal cellist Jonathan Aasgaard.

Paavo Jarvi and the Tonhalle-Orchester Zurich present the second volume of their complete Mahler Symphonies, with his First Symphony, known as the "Titan" in reference to the eponymous novel by the poet Jean-Paul that Mahler greatly admired. Although he abandoned this title three years after the symphony's premiere in 1893, the symphony has, like many of Mahler's works, "a clearly programmatic character" according to Paavo Jarvi: "Mahler was a composer who was truly able to explore the inner world of human beings and to question what goes on inside us."

Gabriela Lena Frank's Conquest Requiem brings to life the complexities of colonisation, identity and survival through the story of Malinche, a Nahua woman from the Gulf Coast of Mexico who was given to the Spaniards as a young slave. Using a fusion of Western liturgical traditions, indigenous Nahua poetry and Latin influences, this powerful work deals with the fundamental question of how to reconcile a legacy of historical violence that continues to shape modern issues. Antonio Estevez's wildly popular Cantata Criolla - considered one of the greatest choral pieces of the 20th century in Latin America - is the composer's most celebrated work.

The Pacifica Quartet presents The Korngold Collection, a landmark recording of Erich Wolfgang Korngold's complete string quartets and rarely heard chamber works tracing the composer's extraordinary evolution from prodigy of post-imperial Vienna to pioneering film composer in Hollywood. Described by The Daily Telegraph as "nothing short of phenomenal," the multiple Grammy Award-winning Pacifica Quartet brings more than three decades of acclaimed artistry to this sweeping portrait of Korngold's chamber music. The three string quartets, written between 1923 and 1945, chart Korngold's artistic journey: the First Quartet pulses with adventurous harmony; the Second, composed just before his emigration from Austria, overflows with lush melody; and the Third, finalized after WWII, draws on themes from his iconic film scores, including The Sea Hawk and Between Two Worlds. Complementing the quartets are two early chamber gems: the radiant Piano Quintet in E major (1920), written in the wake of his operatic triumph, Die tote Stadt and performed with pianist Orion Weiss; and the vibrant String Sextet in D major (1914), a youthful work that helped establish Korngold's early reputation, featuring violist Milena Pájaro-van de Stadt and cellist Eric Kim. Praised for their "remarkable expressive range and tonal beauty" (The New York Times), the Pacifica Quartet has distinguished itself through a deep commitment to complete composer cycles, including The Soviet Experience, their celebrated survey of Shostakovich's 15 string quartets, plus quartets by his contemporaries.

Baroque giants La Serenissima return with VIVALDI 8 - VOLUME 2, following their previous instalment in February 2025 of Vivaldi 8 Volume 1. Recognised for 'whipping up a storm with Vivaldi', La Serenissima is 'one of Britain's best-loved chamber orchestras' (The Telegraph) known for their outstanding performances, championing a host of neglected Italian baroque composers. Uniquely, the group's entire repertoire is edited from source material by founder and violinist, Adrian Chandler OSI. Praise for Vivaldi recordings by La Serenissima: 5 stars "After being obsessed by the composer and his music world for more than 30 years, Chandler by now is Vivaldi incarnate" - The Times

“...Witchdoctor’s Son contains the most infectious, buoyant, gleeful music...the interaction between Pukwana and Tchicai’s vastly differing phrase sensibilities is one of the joys of this recording...” (Lange, Down Beat) “...from Dyani’s most consistently inventive period...” (The Penguin Guide To JAZZ) The timeless brilliance of jazz with the remastered edition of Johnny Dyani's Witchdoctor's Son, originally recorded in 1978 brings together musicians from South Africa, Denmark, and Brazil, blending their unique styles with the rich heritage of American jazz. The presence of John Tchicai, a stalwart of the New York jazz scene, adds depth to this remarkable record. The music is deeply rooted in South African traditions, with themes composed by Johnny Dyani and Dudu Pukwana, and traditional tunes arranged by them. The spirit of Africa, especially the Xhosa world, is a constant presence throughout the album.