Andres Gabetta (violin & direction), Veronica Cangemi, Mario Stefano Pietrodarchi (bandoneon and accordion), and the Gabetta Consort present From Venice to Buenos Aires, a remarkable journey from 18th-century Venice to the streets of Buenos Aires. Anchored by Vivaldi's dazzling concertos and the fiery passion of Astor Piazzolla's Maria de Buenos Aires, the album traces Italian music across centuries and continents. Luca Salvadori's inventive compositions, including the commissioned Overture: Tango-Baroque and Mater Maria, weave Baroque structures with Nuevo Tango rhythms, creating a breathtaking dialogue between old and new. The album is a tribute to women, with Maria as a common thread. From the violin concerto dedicated to Anna Maria, to Piazzolla's arias written for female voices, to the evocative works by Salvadori, the album celebrates feminine presence, strength, and artistry across time and styles. The recording also features operatic gems by Bononcini and Vinci, alongside Piazzolla's expressive arias, from the defiant "Yo soy Maria" to a tender Ave Maria arranged for violin, bandoneon, and soprano. From Venice to Buenos Aires is a vibrant, immersive exploration of music's power to tell stories across worlds - where sacred and secular, past and present meet in melodies both timeless and exhilarating.

With 'An American Dream?', Barbara Hannigan explores the concept of The American Dream. "I grew up in awe of America. I am still in awe, but largely in a nostalgic way. With this repertoire, I want to express my admiration for the incredible creativity and tenacity of composers who shaped a musical language that was truly their own." The Canadian conductor and soprano collaborates with her long-term partners, the Gothenburg Symphony Orchestra, on this programme of works by American composers. With 'the fair' as a recurring theme across the repertoire, the image on the cover shows a carousel horse that is at a standstill. A pretty, painted object - but the floor is cracked and half the lights are burned out. Nostalgia and memory are mixed with underlying darkness and destruction. From George Gershwin's masterpiece Porgy and Bess - an opera about love, addiction, racism, and hope - Robert Russell Bennett's iconic arrangement of A Symphonic Picture is featured. Inspired by watching the silent film Nosferatu, Aaron Copland composed the vibrant Dance Symphony. The Carousel Waltz (arr. Don Walker) is the overture to the Broadway musical Carousel by Richard Rodgers. For the grand finale, Barbara Hannigan reunites with American composer and arranger Bill Elliott in their joint creation, At the Fair, a suite which includes a multitude of American songs and themes, including Have I Stayed Too Long at the Fair? and Jule Styne's famous hit Don't Rain on my Parade.

Igor Stravinsky is renowned for his legacy of glittering fairy tales in treasured favourites such as Petrushka and The Firebird. Another favourite is the ballet Pulcinella, a lovable melange of Baroque theatricality, heard here in it's concert suite form. The other works in this programme are surprisingly less known: the luminous and symphonic Song of the Nightingale, and The Fairy's Kiss based on Tchaikovsky's music, are both derived from stories by Hans Christian Andersen. An astonishing rarity, The Faun and the Shepherdess is an ancient Greek tale that was Stravinsky's romantically sensual gift to his young bride.

Barry Douglas CBE has established a major international career since winning the Gold Medal at the 1986 Tchaikovsky International Piano Competition, in Moscow. In demand as a soloist and as a recitalist and chamber musician, he has performed with most of the world's leading orchestras. He celebrates his Irish heritage as Artistic Director of Camerata Ireland, the only all-Ireland orchestra, and of the Clandeboye Festival. Celtic Nocturne combines nocturns by John Field, traditional Irish melodies, and three compositions by Barry Douglas, all of which share the lyrical, melodic nature characteristic of Irish music. Born in Dublin in 1782, John Field moved to London in 1793 and continued his studies with Muzio Clementi. Following an extensive European tour with Clementi in 1802, Field finally settled in Russia. His Nocturnes combine classical structure with romantic expressiveness.

'Generally labelled as a Baroque instrument and thought to have disappeared with the French Revolution, the harpsichord flourished again in the first third of the 20th century and inspired original compositions': Justin Taylor offers us a 'personal' overview of the harpsichord in the 20th century. He has structured this album around four major concertos (Falla, Poulenc, Francaix, Gorecki) which are linked by pieces for solo harpsichord: Bartok, who, in his preface to Mikrokosmos, from which this Hommage to Bach is taken, suggests playing certain pieces on the harpsichord, Martinu and a new work by Stephane Gassot in reference to Ligeti... The programme concludes with a nod to Scott Joplin and his famous ragtimes. Always attentive and passionate about instruments, Justin Taylor chose to record the entire programme on a single instrument, a harpsichord built in the 1970s by Anthony Sidey, a hybrid model between Pleyel instruments and historical harpsichord making, which "gives a wide and highly varied range of colours". With this album, he follows in the footsteps of Wanda Landowska and Elisabeth Chojnacka, two pioneers who promoted the harpsichord in all it's modernity.

This 19th volume of Haydn's complete symphonies coincides with the 40th anniversary of Il Giardino Armonico, the ensemble created and conducted by Giovanni Antonini, artistic director of the Haydn 2032 series. Il Giardino has made it's mark on the baroque world with it's revolutionary approach to Vivaldi, but Haydn has long been part of the Italian group's history, and Symphony No. 44, featured in this volume, was the first work by Haydn performed by the ensemble and Antonini. The title of this symphony, known as the "Funeral Symphony", inspired the inclusion in this programme of Scheidt's Paduana Dolorosa, published in 1621 at the beginning of the bloody Thirty Years' War, and Arvo Part's Da pacem Domine, dedicated to the memory of the victims of the 2004 Madrid train bombings: 'It's contemplative fixity and the sad Paduana dolorosa take on an almost cathartic function which, in my opinion, shows a perfect integration between music that is so stylistically and chronologically distant,' says Antonini, who also conducts Symphonies Nos. 108 (1762) and 52 (1771).

The anonymous L'homme armé tune was widely used in 15th- and 16th-century Europe as structural and melodic inspiration for composers to base their masses on. The reason for it's enduring appeal is not really understood, but it's catchy melody and evocative martial theme were clearly appreciated by composers from Dufay to Carissimi. de Profundis continues it's Morales Project with two very different but equally exquisite Masses on this melody, alongside his spectacular Magnificat secundi toni. De Profundis is a hand-picked vocal ensemble that performs continental Renaissance sacred music at the original low pitch, using the all-adult-male forces appropriate to the period. Conducted alternately by Robert Hollingworth and Eamonn Dougan, the group will release 10 albums on CORO over the next decade, completing their exploration of Morales' work.

Featuring 13 premiere recordings, With Eys Lift Up is a new collection of works written by American composer Nico Muhly for - and the majority commissioned by - the Choir of Magdalen College, Oxford. Comprising settings of the mass and canticles alongside anthems for Advent, Christmas, Epiphany, Easter, Ascensiontide, Trinity Sunday and Remembrance, the collection sets a number of little-known texts, casting new light on familiar seasons of the church year.

Regarded as one of Europe's leading horn players, Martin Owen appears as a soloist and chamber musician all around the world. He currently holds the position of principal horn at the BBC Symphony Orchestra, Britten Sinfonia, and Haffner Wind Ensemble, having served as principal horn of the Royal Philharmonic Orchestra and, on a temporary contract, as solo horn of the Berliner Philharmoniker. Mozart composed all of these pieces for the virtuoso horn player Joseph Leutgeb (or Leitgeb) (1732 - 1811). Leutgeb was born in Vienna and established his reputation as a soloist there before working in Salzburg, where Mozart made his acquaintance. Martin Owen writes: 'In this recording, we have attempted to portray a more youthful vigour in the earlier works (indeed, of Joseph Leutgeb himself, for whom they were written) compared to the Concerto in D, in many ways a swan song for both soloist and composer, in which I hope our performance shows more depth of tone and a higher level of maturity. I was intrigued by the fact that in 1990, sixty bars of music were uncovered in a Sotheby's auction, which were later confirmed as belonging to the concert Rondeau, KV 371 - when I was young, I only knew the work without these bars and always felt that there was too abrupt a change into the next section! Now it makes complete sense.'

The Dallas Symphony Orchestra and Music Director Fabio Luisi release a landmark live recording of Richard Wagner's Der Ring des Nibelungen, captured over several concerts at the Morton H. Meyerson Symphony Center, Dallas in 2024. Representing a rare undertaking for an American orchestra, this historic project is released in 2026, during the Dallas Symphony Orchestra's 125th anniversary season, which falls 150 years after the first performance of the complete "Ring" cycle at the Bayreuth Festival in 1876. Recorded by GRAMMY winning producer Dirk Sobotka, it launches a new partnership between Delos and the Dallas Symphony Orchestra. "The Ring cycle is one of the deepest and most complex musical works ever written. Across the entirety of the story, you are transformed at the end," says Maestro Luisi. Issued worldwide by Delos both digitally and as a 13CD box set, this release marks a major addition to the recorded legacy of Wagner's epic masterpiece; a significant achievement for the Dallas Symphony Orchestra and the history of American orchestras.

The German composer Johanna Senfter was a student of Max Reger, who recognized her musical talent and encouraged her to pursue advanced studies in his composition class in Leipzig, which she completed with distinction in 1909. In 1910, she was awarded the Arthur Nikisch Prize for the best student composition of the year. Born into a well-to-do industrial family, she was financially independent and able to devote herself entirely to her creative work throughout her life. In addition to numerous chamber music pieces, she left behind nine symphonies. From the youthful Sturm und Drang of her first symphony (1914) to the thoughtfully moving ninth (1949), composed after two world wars, the development of her musical language can be discovered here with this world premiere recording.

This valuable revival of the piano music by Cesar Cui began with a 2CD volume played by Marco Rapetti (PCL10211), surveying the composer's early output from 1877 to 1888. Born in what is now Vilnius, capital of modern-day Lithuania, Cui began to learn the piano as a child, initially from his elder sister. His first and last compositions were written for the piano, and he produced 29 opus numbers for the instrument (the total opus catalogue reaches 106). The Australian pianist Paul Rickard-Ford now moves the project on with a chronological survey from the Quatre Morceaux Op. 22 of 1883 to the Theme and Variations Op. 61, from 1901. Dedicated respectively to Theodore Leschitzky and to Josef Hofmann, these pieces show how admired Cui was in his day, even if he is now generally treated as the forgotten member of the 'Mighty Handful' group of Russian composers. One of Liszt's final works was a piano transcription of Cui's orchestral Tarantelle Op. 12. Other collections on the album are dedicated to Anton Rubinstein (the two Polonaises Op. 30) and to Hans von Bülow (three Impromptus Op. 35), as well as a charming pair of Bluettes Op. 29 dedicated to the Countess de Mercy-Argenteau, who was Cui's generous patron and indefatigable supporter outside Russia. Many of the pieces here are receiving their world-premiere recordings, such as the four pieces composed in 1900-01 and collected as Op. 60. They include a Polka, a Novelette, a Mazurka, and a Polonaise: all familiar genres, which Cui inflected with his individual brand of Russian-accented lyricism, ultimately drawing on an early-Romantic lexicon of expression formulated by Chopin and Schumann. Thus all the music here belongs to the salon, designed first and foremost to charm and to entertain. Paul Rickard-Ford has been on the staff of the Sydney Conservatorium for more than thirty years and was Chair of the Piano Unit from 2006 to 2016. His discography includes the Années de pèlerinage of Liszt, as well as recitals of Chopin and Schumann.

She was Igor Stravinsky's piano teacher and studied herself with Anton Rubinstein. But to this day, her compositions have remained in the shadow of the great male masters-a fate that many women of this era share with her. Although her oeuvre is nowhere near as comprehensive as that of her composing colleagues, these few works still demonstrate incredible talent, mature skill, and a deeply romantic Russian sound language that is so typical of this time.

This two-album Signum Classics release presents Ludwig van Beethoven's five cello sonatas, performed by cellist Paul Watkins and pianist Alessio Bax. The works were composed over a wide period and illustrate Beethoven's early, middle and late styles, from the Op. 5 sonatas written during his 1796 Berlin visit, through the A major Sonata Op. 69 from the period of the Fifth and Sixth Symphonies, to the Op. 102 sonatas marking the beginning of his final creative phase. Recorded in December 2024 at Cedars Hall, Wells, the set reflects close collaboration between cello and piano and Beethoven's evolving formal and expressive concerns.

Captured live at Ann Arbor, Michigan’s renowned jazz club Blue Llama in June 2024, David Janeway presents himself at the height of his powers, joined by the world class rhythm team of Robert Hurst III and Billy Hart. A Detroit bred musician with a deep lineage in that city’s storied jazz tradition, Janeway channels decades of mentorship, swing, and blues rooted expression into a set that is both powerfully modern and historically grounded. The trio’s telepathic interplay fuels inventive takes on standards, luminous ballads, and Janeway’s distinctive originals, all delivered with the group’s tightly converging sound and emotional depth that define his artistry. Following acclaimed SteepleChase releases with Hart and Cameron Brown, this live recording stands as Janeway’s most vibrant statement yet—an inspired document of three master musicians creating in the moment. “It is no small feat to say that not only is Janeway’s playing sparkling but so is his ability to write tuneful compositions.” Michael P. Gladstone, All About Jazz Review

Celebrating its legacy from the 1976 LP and 1990 CD release, Stable Mable returns in May 2026 as a newly remastered 180g audiophile edition (G1040). Captured in Copenhagen just weeks after Dexter Gordon’s ambitious orchestral project SCCD 31030 More Than You Know, this session strips the setting back to its purest form: a no frills blowing date where Gordon’s imagination, authority, and melodic wit shine without disguise. Joined by Horace Parlan, Niels Henning Ørsted Pedersen, and Tony Inzalaco, Gordon navigates standards like Just Friends, Misty, Red Cross, and So What with a mix of relaxed confidence and fiery invention. His soprano reading of In a Sentimental Mood adds a rare, reflective touch. Remastered from the original tapes, this edition highlights the quartet’s clarity, swing, and interplay—an essential snapshot of Gordon’s Copenhagen years and a definitive statement of his enduring mastery. “...Dexter plays brilliantly on every track ...beautifully recorded..”(Jazz Journal 1976)

With Plucked Bach III, Alon Sariel deepens his acclaimed Bach cycle, shaping a sound world marked by exceptional refinement and inward focus. This final volume enriches the series with new colours: a further relative of the lute family-the Ottoman baglama-and a rare Tuscan-type mandola, whose octave-lower tuning lends Bach's Third Cello Suite a dark, velvety resonance. The archlute, heard at the album's opening and close, frames the programme with quiet elegance, while Sariel's touch reveals Bach's writing to be both architecturally precise and profoundly tactile. The album unfolds as a sequence of finely balanced reflections rather than a single dramatic arc. Bach's works-such as the Prelude from The Well-Tempered Clavier, the Musette from the Notebook for Anna Magdalena, and the Second Violin Partita with it's monumental Chaconne-appear in subtly transformed light, their rhythmic pulse and harmonic gravity brought into sharp relief by the intimacy of the plucked strings. Familiar pieces from the keyboard, violin, and cello repertoire are set alongside rarer works, including those of Westhoff and Matteis, creating a listening experience that glides effortlessly between contemplation, memory, and resonance. Even in it's most expansive moments, the music maintains a sense of poise, allowing space, silence, and timbre to speak with equal eloquence. Plucked Bach III continues Alon Sariel's collaboration with PENTATONE. Beyond the Plucked Bach trilogy, this partnership also includes Vienna Mandolin Stories (2025) and the EP Schubert's Mandolin (2024), affirming Sariel as an exceptional artist whose work consistently reimagines the expressive possibilities of plucked instruments-and particularly of the mandolin-with rare depth and imagination.

Largely forgotten today, the composer Charles Silver was one of the most promising students of Jules Massenet, whose elegant style and effective dramatic gestures he fully mastered. His opera La Belle au bois dormant (Sleeping Beauty), based on Perrault's tale, testifies to these skills with it's colourful, lively and surprisingly modern music: the influence of Puccini is evident. The libretto enriches the original story with delightful comic touches from the characters of Jacotte and Barnabe, who provide a light-hearted counterpoint to the fairytale plot. Although it enjoyed a successful first run in Marseille in 1902, the opera unfortunately never received a Parisian premiere, which hindered it's wider dissemination despite an acclaimed revival at the Theâtre de la Monnaie in Brussels. Accessible, refined and treating a universal theme, this score deserves a second chance that just might - who knows? - earn it a place on the international operatic stage.

Paavo Järvi and the Tonhalle-Orchester Zürich continue their recording of Mahler's complete symphonies with the Seventh, considered one of his most complex and challenging symphonies: "The Mahler we encounter in Symphony No. 7 is more complex, darker, and more philosophical than the Mahler we know from his earlier works," says Paavo Järvi. Mahler, who was extremely busy in his role as director of the Vienna Opera, composed this symphony on the shores of Lake Wörthersee in Austria during the summers of 1904 and 1905. Also known as Song of the Night, this symphony is characterized by rich instrumentation (including a guitar and mandolin in the fourth movement) and spectacular orchestral effects: "Here, nature roars," Mahler said of the tenor horn solo at the beginning of the work.

Violinist Cristina Prats Costa makes her solo recording debut with Spiritillo Mediterraneo, a vibrant portrait of the sound world of 17th- and early 18th-century music shaped by the cultures of the Mediterranean. Inspired by Andrea Falconieri's Il Spiritillo Brando, the album takes the spiritillo-a mischievous, animating sprite-as a metaphor for the Baroque imagination: a realm of invention, improvisation, and richly ornamented dialogue. The Mediterranean emerges here not as a boundary but as a crossroads, where Italian virtuosity, Spanish rhythmic fire, and French elegance converge. Music by Falconieri, Matteis, Sanz, Murcia, Nebra, Biber, Rebel, and Vivaldi reflects these exchanges, vividly coloured by the use of castanets, which add an unmistakable Iberian rhythmic vitality. The Spanish pieces appear in Cristina Prats Costa's own arrangements, further personalising the album's musical journey. Deeply personal in conception, Spiritillo Mediterraneo also reflects Cristina Prats Costa's own artistic journey. Rooted in her Spanish heritage and shaped by years of performing across Europe, North and South America, and Asia, the album places ornamentation at it's expressive core-not as decoration, but as storytelling. Drawing on Italian brilliance, French refinement, and the earthy pulse of Spanish dance and guitar traditions, these interpretations balance historical insight with an individual voice. The result is a recording of rhythmic energy, intimacy, and colour, guided by a spirit that is curious, agile, and alive.