Shaped by fragments and moments of improvisation, the Noctunes are the personal take on the tradition of the Nocturnes?. This album contains a series of pieces dedicated to the quiet hours of the night?. Composer and pianist Clemens Christian Poetzsch is recognized for his unique blend of modern classical, jazz, and electronic music. He studied piano at the Hochschule fur Musik Carl Maria von Weber Dresden, earning his artistic diploma in 2010, followed by composition studies under Thomas Zoller.

The Grammy Award-winning Phoenix Chorale's Promised Land, led by Artistic Director Christopher Gabbitas, surveys two and a half centuries of American choral music, from African American spirituals and Shaker hymns to works by Eric Whitacre, Caroline Shaw, and Frank Ticheli. Arrangements by Alice Parker, Shawn Kirchner, Moses Hogan and others sit alongside original compositions, unified by themes of freedom, longing, and collective resilience. Voices long overlooked by history, among them Shaker eldress Hannah Cohoon and nineteenth-century songwriter Matilda Durham, are restored to the concert repertoire in this rich and purposefully programmed celebration of America's choral heritage in it's 250th anniversary year.

Through a large repertoire spanning from the 18th century to their own compositions, Jean-Francois Dutertre, Jean Ribouillault and Christophe Toussaint (key figures in the folk revival of the 1970s) display here the profound expressive richness of the epinette of the Vosges. The type of dulcimer called epinette des Vosges is a box zither which is commonly found in a few valleys of the Vosges, in Franche-Comte and Lorraine. It serves both as an accompaniment to dancing or singing, and as music for entertainment. This dulcimer belongs to a family of box zithers which is wide-spread throughout Northern and Central Europe (this European family of instruments is also related to certain Asian zithers). In Europe, the use of dulcimers seems to have remained popular for the most part, except in the context of religious ceremonies. It's main characteristic is the presence of frets under part of the strings, which distinguishes two groups: melody strings or chanterelles, and accompaniment strings, or drones, which produce a fixed, invariable chord.

A halo is something like an aura. Cologne-based singer Anette Von Eichel certainly doesn't want to put a halo on her new album, but a halo is also a luminous phenomenon, such as a moonlit ring or a wreath of light, as often seen in nature and everyday life, and which can be interpreted as a revelation of whatever nature. This title couldn't be more fitting for Anette Von Eichel's collection of songs on her new album, and in more ways than one. All of these songs share a nocturnal quality, in which light emerges from the darkness. In the sequence of her songs, we experience a dreamlike journey of a resurrection of the morning twilight from the night.   In a metaphorical sense, it makes a huge difference whether you listen to the album for the first, second, or third time, because an impressive process of transcendence takes place. What at first simply sounds like a series of clearly defined songs in their respective forms gradually transforms into a kind of vocal and musical mass of light, which acts as a parallel phenomenon to reality. This spectral shift culminates in a halo of light that dissolves all forms and contours, a concept perfectly captured by the album title. "When I write a song, it's a conscious process, but the subconscious naturally plays a major role," Anette Von Eichel explains, describing this transformation from her perspective. "With this album in particular, I hope to give people the opportunity to take a step back from their everyday lives and experience a similar transformation while listening."   Listening to the album, regardless of the lyrics, inevitably evokes the feeling that someone is telling a story. From the osmosis of voice and music emerges a flow that inescapably draws the ear into it's vortex. Pianist Sebastian Sternal, bassist Henning Sieverts, and drummer Jonas Burgwinkel become the material and metaphysical vehicles of these stories, which Anette Von Eichel brings to the stage of her song theater with breathtaking versatility. She starts with the lyrics when writing and tries to discover the sound hidden behind the words. "The word enters into a symbiosis with the interaction of our band," the composer explains, describing this phenomenon of the text dissolving into sound. The songs possess a great flexibility, expressed through nuanced improvisation, which allows the songs to grow not only with each performance but, as already mentioned, with each listen.   "Halo" is the third album Anette Von Eichel has recorded with Sternal, Sieverts, and Burgwinkel in six years. The ease of their interplay, the constant negotiation between collective density and individual detachment, and the spontaneous use of open sections reach a new peak here. Eichel's signature style, unmistakable in it's trinity of classic jazz vocals a la Carmen McRae and Betty Carter, singer-songwriter influences in the tradition of Joni Mitchell, and the timbre of French chansons, sounds like standards that have been in the air for decades. They may feature strong melodies and complex rhythms, but the song as a whole always takes center stage, with which the individual elements must harmonize.   There aren't many singers whose voices, both spoken and sung, exhibit such a striking difference as Anette Von Eichel's. When she sings, she doesn't simply slip into a different persona; she confronts hidden inner worlds that couldn't manifest in her everyday use of her voice. This creates an immediate magic, where the sound of her voice is inextricably linked to the specific emotions of the song. "I'm interested in drawing out all the emotions hidden within my voice," says Anette Von Eichel. "When I sing, I delve much deeper into myself and can uncover far more nuances." Which brings us back to the interplay of light and shadow. She slips into roles, often shifting perspectives even within a single song, employing unconventional vocal techniques like sighs or creaks, and using breath as a creative element.   "Halo" is built from light, and yet this album, like few others, creates a pressure equalization that is transmitted from the four musicians to the listener in an almost hypnotic way. The more one embarks on this journey into the twilight and the nuances of human experience, the more liberating the effect. "Halo" is a passionate declaration of the poetic clarity of ambiguity. Let us refrain at this point from pathos-laden phrases like healing, spirituality, or the pulse of life, and instead take the album objectively and soberly for what it is: precisely the right statement for our time. by Wolf Kampmann

Athene is proud to present Cantata (re)mixed for four hands, an exciting album of J.S. Bach's Cantatas arranged/re-composed by Chiahu Lee and Gyorgy Kurtag, and performed by piano Duo Vershinina-Lee (Chiahu Lee and Yulia Vershinina-Mukhopadhyay). This follows their acclaimed Diversions release in 2024 (re)inventions a deux pianos (DDV 24172), a complete recomposition for two pianos of J.S. Bach's 15 two-part inventions, praised by BBC Music Magazine as 'an invigorating and beguiling spring clean for the ears.' Yulia Vershinina first encountered Kurtag's transcription of the Sonatina from J.S. Bach's Cantata Gottes Zeit ist die allerbeste Zeit ten years ago, and drawn to it's intimacy, the Duo have longed to record it. It's included on the album alongside six new four-hand reimaginings of J.S. Bach cantata sections composed by Chiahu Lee, and in doing so the duo have formed an imagined cantata of their own, bringing Bach's vocal world into the shared space of one piano, embodying the joy, spontaneity, and trust of their unique partnership. The album opens with the exhilarating and joyful arrangement of Sinfonia 'Wir danken dir, Gott, wir danken dir' (BWV 29), followed by the Chorale 'Wachet auf, ruft uns die Stimme' (BWV 140), both bringing to mind the layered textures of electronic music. The Chorale Prelude 'Nun freut euch, lieben Christen g'mein' (BWV 734) successfully manages the tricky task of translating the various different instrumental colours into one shared keyboard. Chorale Prelude 'Ich ruf zu dir, Herr Jesu Christ' (BWV 639) was inspired in part by Kurtag's transcription style: intimate, spare, and intensely concentrated, and is followed by his long-awaited arrangement of the Sonatina 'Gottes Zeit ist die allerbeste Zeit' (BWV 106). Chia- Chia has waited since childhood to play Aria 'Alles, was von Gott geboren' (BWV 80), and to bring this beloved vocal moment into the shared space of four hands. The final Chorale 'Alle Menschen mussen sterben' (BWV 262) was inspired by string instruments - Lee found ways to allow the piano to replicate their resonance and to suggest bowed sound. Chiahu-Lu Lee says 'Bach himself was a master of transcription: he arranged music by other composers and reworked his own. Seen in that light, the desire to carry Bach's vocal worlds into the hands of pianists felt less like an intrusion and more of a continuation - a way of entering a tradition rather than stepping outside of it.' Pianists Yulia Vershinina-Mukhopadhyay and Chiahu 'Chia-Chia' Lee met at the Royal Northern College of Music in Manchester, where a lasting friendship grew into an enduring musical partnership. United by a shared curiosity for reinvention and lesser-known repertoire, the duo explores music across centuries through performance, arrangement, and creative reimagining, with projects ranging from Baroque reinventions to works by contemporary women composers.

This volume explores the more intimate side of Eugene Zador's compositions, where his heartfelt creativity is at it's most personal. The Ode to Peace was written for the 17th anniversary of the United Nations and was premiered at the time of the Cuban missile crisis. The beauties of nature fail to compensate for lost love in his nostalgic song cycle From the Lonely Wayfarer, and in the Four Selected Songs grief, as well as love, is a constant companion. Both the Suite for Woodwind Quintet and the Brass Quintet show his mastery of characterisation and zesty rhythms.

(summary) Laura Lootens' deeply sensitive tribute to music of Romantic essence ranges from Frederic Chopin, in transcriptions by guitarists Jerzy Koenig and Tariq Harb, to La Chanson des vieux amants as sung by Jacques Brel and the sumptuous lyricism of Agustin Barrios Mangore. (complete blurb) As a teenager, Laura Lootens discovered a song by Sting that deeply moved her. From the 1993 album Ten Summoner's Tales, Shape of My Heart has remained her favourite song, to this day. She includes it as an epilogue on her second album for Naive, which she conceived as a heartfelt tribute to music of Romantic essence. At it's core lies Frederic Chopin-the epitome of Romanticism-who with his Waltzes, Mazurkas and Nocturnes delighted the salon society of the nineteenth century, those refined spaces that straddled aristocracy and bourgeoisie. He remains the ultimate embodiment of a Romanticism both profound and exquisitely elegant. Gone, then, is the demonic spirit that haunted the German guitarist's first album, 'Diabolico' (2025, V 8672), which was steeped in mysterious narratives where pacts with the devil and ghostly apparitions abounded. Yet Laura Lootens's playing retains the same poetic incisiveness in this new journey between France and the Americas. From music by Frederic Chopin, presented in subtle arrangements by her seniors, Jerzy Koenig (b. 1956), Tariq Harb (b. 1981) and Agustin Barrios 'Mangore' (1885-1944)-the latter an absolute legend among guitarists, often dubbed the 'Chopin of Latin America', in whom the refined elegance of the Polish composer lives on amid daring harmonies and richly spiced rhythms-the young Lootens, female musician and First Prize winner of the Andres Segovia Competition in 2022, offers a complete map of romantic sensibility, leading all the way to more recent times. She then traces the influence of the 'master of the mazurka', right up to the modern French chanson, including the timeless Hymne a l'amour by edith Piaf and La Chanson des vieux amants by Jacques Brel and Gerard Jouannest, and extends it further into a different aesthetic realm with one of the 24 Preludios Chopinianos (undoubtedly a 'homage') by Brazilian guitarist Sergio Assad (b. 1952). She then also includes the Assad's transcription of the Notturno by John Field, the early-nineteenth-century Irish composer who himself inspired Frederic Chopin in the development of the nocturne as a genre. A gem of the guitar repertoire, the expansive Elegie by Johann Kaspar Mertz (1806-1856), which is imbued with lyricism as haunting as it is intense, marks the culmination of a journey that boldly affirms it's guiding credo. Within these enduring resonances of Romanticism, Laura Lootens communicates a style that alternates between restraint and incandescent intensity, making this album the ideal companion for autumn evenings by a crackling fire.

Basically, I only have two symphonies: the Fourth and the Eighth.' Shostakovich is said to have remarked. Yevgeny Mravinsky, to whom Symphony No. 8 is dedicated, wrote in his diary: 'I spent the whole evening reflecting on and sketching out the form and dramatic arc of Shostakovich's Eighth. It moves me ever more deeply each time. Especially the "Great Terror" section of the first movement!!'. The themes of martyrdom and the transformation of the human being into a manipulable puppet run through this unsettling and monumental work. This recording constitutes the second volume of the complete Shostakovich symphonies by the Frankfurt Radio Symphony Orchestra, conducted by it's music director, Alain Altinoglu.

Spanning 1816 to 1827, Schubert's works for violin and piano trace a remarkable evolution in his musical voice, though their reception has often obscured their true significance. Revisiting them today reveals a composer whose imagination for the violin was far richer than assumed, from the Classical elegance of the early sonatas to the expansive virtuosity of the Fantasy. Formed in 2022 at the Accademia Chigiana in Siena, the duo of Ilya Gringolts and Anton Gerzenberg stands out for the ease with which they approach both the classical and romantic repertoire on period instruments, through a historically informed approach, and twentieth-century and contemporary music, without stylistic preclusions. This recording, Ilya Gringolts's second album for Arcana, immediately stands out for the exceptional quality of the instruments used - Gringolts's precious 'ex-Prove' Stradivarius violin, strung with gut strings and a McNulty copy of a Conrad Graf fortepiano (Vienna, c. 1819) - as well as the extensive use of ornamentation and improvisation in the reprises: a bold and unusual choice that the two musicians apply not only to the early Sonatas but also to the later Fantasy.

Victor Julien-Laferriere and Consuelo continue their complete recording of Ludwig van Beethoven's symphonies with a triumphant double bill: the 'Eroica' Symphony, a grand epic that has left it's mark on the history of music, and the whirlwind Seventh, which Richard Wagner would go on to describe as 'the apotheosis of dance'.

Taking it's title from a legendary 1728 encounter between violinists Pietro Locatelli and Jean-Marie Leclair, whose contrasting styles were memorably described as angelic and diabolical, Hell's Angels traces the cross-pollination of French and Italian baroque technique through sonatas by Vivaldi, Leclair, Guillemain, Marcello and Mascitti. At the heart of the programme is Vivaldi's rarely heard early Sonata RV 820, it's final movement completed by Adrian Chandler following the loss of the original manuscript. Two-time Gramophone Award winners La Serenissima bring their characteristic authority to over 80 minutes of music spanning some of the most demanding chamber writing of the period.

Michele Carafa was a student of Cherubini and formed a lifelong friendship with Rossini based on mutual admiration. Carafa established a career in Paris through his association with the Opera Comique, which is where he presented his masterpiece Masaniello. Uniquely, Carafa was a descendant of characters in his own opera, which was based on real revolutionary events that took place in Naples in the 17th century. The result is a well-paced historical drama, closer to French operatic models with limited reliance on bel canto and the influence of Rossini.

Lyric Opera of Chicago, under the leadership of General Director John Mangum and the baton of Music Director Enrique Mazzola, presents the world premiere recording of The Listeners, a striking new opera by Missy Mazzoli and librettist Royce Vavrek, based on an original story by Jordan Tannahill. Drawing on distinctly American preoccupations, the work unfolds within a community bound together by circumstance and belief, shaped by the unsettling presence of an unexplained 'hum' that blurs perception and reality. Through Mazzoli's richly textured orchestral writing and Vavrek's incisive dramaturgy, the opera becomes a powerful reflection on vulnerability, tenderness, rage and hope, all sung into existence with a haunting sense of optimism. At it's centre is Claire Devon, a high school math teacher portrayed with remarkable intensity by Nicole Heaston, whose collaboration with the composer shapes a character defined by curiosity, precision and uncompromising emotional depth. Her journey from isolation to reluctant authority exposes the human need for connection in a world where listening becomes both consolation and control, and where belief can quickly harden into collective illusion. Mazzoli's expansive score, driven by large orchestral forces and a distinctive electronic 'hum,' creates an immersive sonic landscape in which inner psychology and external reality continuously intersect, building towards a devastating reckoning in which voices reshape reality itself. Missy Mazzoli previously appeared on PENTATONE with Proving Up (2020); Lyric Opera of Chicago appeared with The Three Queens (2022) and Puccini: Heroines (2026), together with Enrique Mazzola.

At 77 years young, Danish composer Poul Ruders continues to delight and surprise with a seemingly endless flow of masterworks. He can be gloriously, explosively extrovert one minute-withdrawn, haunted, intently inward-looking the next. Super-abundant high spirits alternate with pained, almost expressionistic lyricism; simplicity and directness with astringent irony, all of which can be heard in this program of three new concertos for three very OLD instruments. Transfigurations: A Double Portrait for Recorders and String Orchestra (2022) features Michal Petri on a musical journey in which she takes us on a 'relay run' of the various recorders, from tenor to soprano to alto to sopranino and back again. A Moveable Concerto: Five Short Pieces for Positive Organ and Strings (2023), written at the suggestion of Peter Navarro-Alonso, organist and choir master at the big baroque Copenhagen Church Vor Frelsers Kirke (Our Savior's Church) is a stylistic romp that switches from baroque minimalistic noodling and Dutch barrel organ antics to more contemporary displays. The heart of the work however is the stunning Largo legatissimo where the sounds hang near motionless in the air. The program concludes with the Concerto for Harpsichord and Orchestra (2019) written for Mahan Esfahani and performed by him and the late Leif Segerstam, a work already recognized as one of this century's most important contributions to harpsichord literature. All of the musicians on these recordings are among the most respected in their field: Michala Petri is internationally recognized as one of the most extraordinary musicians of her generation and has played a decisive role in transforming the recorder from a historical and educational instrument into a respected voice on the world's concert stages. Danish-Spanish organist and composer Peter Navarro-Alonso is recognized as one of the most versatile and innovative musicians on the Scandinavian music scene. Renowned both for his exceptional artistry as an organist and as a visionary composer and Mahan Esfahani, widely regarded as one of the most innovative and intellectually adventurous musicians of our time, whose extraordinary artistry has redefined the role of the harpsichord in modern concert life. An essential recording for all fans of Ruders' music and aficionados of contemporary concertos for unusual instruments.

Jean-Efflam Bavouzet continues his survey of works by Beethoven's contemporaries with this second volume featuring works by Hummel., Clementi, Berger, and Czerny. The pianist comments: 'The deeper I delve into the universe of composers contemporaneous with Beethoven, the clearer I perceive the nature of his originality and the power of his genius, that which he was able to take from others, or that which inspired them. Would this series, The Beethoven Connection, then, not have any further aims than to magnify the genius of Beethoven? Of course it does! If I may make a geographical analogy, a great mountain never rises isolated in the landscape. It is always surrounded by other mountains, perhaps not so great but in the absence of which it would not appear so impressive! We had better climb all of them for from each summit we are offered a different view of the others! It is with great enthusiasm that I have prepared this programme, conceived, like that of the first volume, on the counsel of that eminent specialist on this period, my friend Marc Vignal - an enthusiasm which rests on the incontestable qualities of this music and the joy of the opportunity to rediscover it!'

In his compositions Joachim Raff balanced the traditional lineage of Mendelssohn and Schumann with the progressive elements found in the music of Liszt and Wagner. His fondness for the piano suite gave him a suitable canvas to blend and resolve past with present, as he does in the melodically captivating Suite No. 2 in C major. Similarly, he fuses Baroque influences with hints of Lisztian Romantic bravura in his pianistic masterpiece, the Suite No. 4 in D minor. '[Raff] could ask for no better advocate than pianist Hyelim Kim' (Fanfare on Volume 1 in this series).

Antwerp's collegiate church of Our Lady developed into one of the most important musical centres in the Low Countries over the course of the 15th and 16th centuries. This recording traces the lineage of the directors of music and the singers associated with the church, the later cathedral. Their music illustrates how polyphony evolved from it's late mediaeval roots into the early Baroque period. Gregorian chants from the Antwerp tradition are included with the polyphonic works as a reminder of the daily services and their music: there was always singing in the chancel, in the chapels and at the services of brotherhoods and guilds that were spread throughout the day. The name and image of the Virgin Mary were present everywhere, not only in the church's liturgy but also in the daily life of the city. That same connection remains visible today in the many statues of Mary on facades and street corners - even on the facade of the Town Hall - and in the celebration of Mother's Day on the Feast of the Assumption. The programme concludes with the early Baroque period, the era in which Peter Paul Rubens was also active. Peter Philips' Assumpta est Maria shares the same artistic context as Rubens' monumental Assumption of the Virgin in it's place above the high altar of the cathedral of Antwerp.

John Wilson and Sinfonia of London continue their series of complete recordings of shows from the golden age of Broadway with Frank Loesser's Guys and Dolls. The show opened in 1950, ran for 1,200 performances, and won the Tony Award for Best Musical. The book is based on short stories by Damon Runyon, written in the 1920s and 1930s. These stories concerned gangsters, gamblers, and other characters of the New York underworld. Runyon was known for the unique comic dialect he employed in his stories; mixing highly formal language, without contractions, and colourful slang. As in all previous issues in this series, John Wilson has gone back to the original orchestrations of the show's opening night, and the recording includes every note. In the case of Guys and Dolls, these originals were lost (subsequent productions had used a simplified orchestration calling for fewer players), but have been painstakingly reconstructed by Larry Moore. Wilson says of his soloists: 'Casting is so important, choosing singers who not only perform the role but who can make an impression on a record. I keep my eyes peeled and, on every recording, you see new additions, but at the core there is a group of artists who I know can turn up on a Monday morning for the recording and deliver the goods. That extends right through the ensemble which is a collection of the brightest stars in London.' The notable additions for this recording are Damien Humbley as Nicely-Nicely Johnson and Sir Thomas Allen (persuaded by John to come out of retirement!) in the role of Arvide Abernathy.

Estonian conductor Neeme Jarvi was born in 1937 in Tallin, where he studied music before moving to Leningrad to study at the conservatory under Yevgeny Mravinsky. He returned to Tallinn and held posts with the Estonian Radio and Television Symphony Orchestra, Estonian National Symphony Orchestra, and Estonian National Opera, before emigrating to the United States in 1980. For twenty-two years, he held the post of Principal Conductor of the Gothenburg Symphony Orchestra, where he is now Principal Conductor Emeritus. His long career has included tenures at many other orchestras, including the Detroit Symphony Orchestra, Estonian National Symphony Orchestra, and Residentie Orchestra of the Hague. Jarvi was Principal Conductor of the then Scottish National Orchestra from 1984 to 1988, and named Conductor Laureate of the Orchestra in 2006. He has recorded more than 500 albums, almost 300 of those with Chandos Records, which released his latest recording (Alfven and Rautavaara) in February 2026. His recorded legacy with the RSNO includes Prokofiev and Dvorak symphony cycles, Richard Strauss's tone poems and symphonies, and the Shostakovich recordings presented in this collection, recorded between 1984 and 1988.

Swiss-French pianist and theatre artist Maren Gamper presents her first solo album dedicated to the work of Swiss writer, journalist and poet Annemarie Schwarzenbach (1908-1942). The album is an improvised reflection on Schwarzenbach's text "Erdenschwere" ("eartly heaviness"). The concept of 'earthly heaviness' is a central theme in the literary work of the Swiss author. It describes existential melancholy, a sense of rootlessness, and the deep inner conflict between a longing for freedom and the weight of one's own life. In her intense, masterful, and captivating performance, Maren Gamper brings to life the emotions and deeper layers of meaning in this text-a performance that will leave no listener unmoved. Recorded on a 1919 Bluther piano in a quiet studio on the Baltic Sea, far from the noise and distractions of everyday life, this album offers a profound meditation and an inner journey through the pain, doubt, and, ultimately, the light and love of human existence.