Fifteen years after his Nouvelles Suites de Pièces de Clavecin, Rameau once again turns his attention to an instrumental work, for what will be the last time, inspired by the new potential for chamber music glimpsed in the use of the concertante keyboard. The 1741 collection is the only new work he produced between 1740 and 1744, before returning to the musical theatre – to which he will dedicate the rest of his life. The most attractive aspect of the Pièces de Clavecin en Concerts, and the one which provides the most authentic reading of the work, is the multiplicity of possible combinations in performance between the instruments indicated in the score (harpsichord, violin/flute, viola da gamba/2nd violin ), following the detailed instructions that Rameau provides for each of them in the various Avis in the preface of the printed edition. The author’s intention was undoubtedly for the harpsichord and its virtuosic protagonism to be the backbone of the Pièces; however, the possibilities of alternative timbric arrangements are specifically contemplated by Rameau for this work. What was a widespread ad libitum performance practice, today becomes an extremely inviting challenge for modern performers in terms of tonal reinvention of the pieces. Thus, with each new reading the music may be reinvented, making in turn every new listening experience a rediscovery and a revelation.

Robert Müller-Hartmann was born in Hamburg, in 1884, the son of the piano teacher and clarinettist Josef Müller and his wife, Jenny. He studied in Berlin for four years, but then returned to Hamburg where he pursued a successful career combining teaching, composing, and writing. His works were widely performed by conductors such as Karl Muck, Carl Schuricht, Richard Strauss, Otto Klemperer, and Fritz Busch, and regularly played on German Radio. With the advent of National Socialism, in 1933, Müller-Hartmann was forced to resign from his teaching posts at the University and Conservatory. He continued to teach at Hamburg’s Jewish girls’ school, and was an active contributor to the Jüdischer Kulturbund (Jewish Cultural Federation).

In the mid 1930s, Eugenia and Jacob (Yanya) Hornstein, Hamburg friends of the Müller-Hartmanns, moved to the town of Dorking, some twenty-five miles south of London, and in 1937 the Müller-Hartmanns followed them. The thirteen years Robert spent in England saw the country scarred by the losses, destruction, and privations of war. There was very little time or opportunity for him to secure a place in his adoptive country’s musical life, and despite his considerable success in Germany during the 1920s and ’30s, his reputation had failed to cross the English Channel. A general antipathy to the inclusion of German musical exiles and his modest, rather retiring personality ensured that he would soon be forgotten.

This is an album that portrays an imaginary weird audition that took place in Leipzig in 1723. After Johann Kuhnau's death the Thomaskirche was in search of a new Kantor. For different reasons Telemann, Fasch and Graupner declined and the fourth choice happened to be Johann Sebastian Bach. Thomas Triesschijn and his ensemble imagine a dialogue among the four giants through their own compositions for recorder and orchestra. This recording is not only a showcase for a great virtuoso, but a fully enjoyable album with plenty of wonderful music. Triesschijn and Counterpoint previous (and first) release was awarded the Gramophone Editor's Choice: "This debut album is, hands down, some of the best recorded Telemann out there, and I am ready to go fist to fist with anyone who disagrees."

For his third album for Chandos, the saxophonist Marco Albonetti turns to the rich tradition of film music from his native Italy. Marco writes: ‘Film music has been described as the defining new genre of classical music in the twentieth century. It engages both the ear and the heart of an audience. The masterpieces composed by two Italian film composers in particular, Nino Rota and Ennio Morricone, embody the cultural identity of most Italians and they have become recognised and loved by audiences around the world. The film themes on this album capture the magical combination of romance, melancholy, friendship, and violence. The notes vibrate with such passion that the compositions continue to engage the listener, bringing the work of these great Italian composers to life wherever and whenever it is performed.

Film music is meant to be an accompaniment to the action on screen. However, the music of the great Italian composers is so powerful and enduring that these melodies can stand on their own merit, transporting us to another time and place, evoking memories of past experiences or introducing us to new worlds, places which we can only see in our imagination. This album is a tribute to the Italian spirit, to my spirit, expressed through a musical journey: it offers Postcards from Italy.’

Anne Warthmann, soprano is accompanied by Hyowon Chi, flute, Arthur Stockel, clarinet and Naji Hakim at the historic STAHLHUTH-JANN ORGAN at St. Martin’s Church, Dudelange , Grand-Duché de Luxembourg, in a program including the following world premiere recordings of Naji Hakim’s works : Abana for soprano and organ (2019) - Assalamu for soprano and organ (2019) - Our Lady's Minstrel (Prelude for clarinet and organ, Three poems for soprano and organ, Dance for clarinet and organ) (2013) - Adoration for soprano, flute and organ (2015) - Römisches Triptychon for soprano and organ (2010).

British born composer Lydia Kakabadse enjoys a multi-cultural heritage (Greek/Austrian mother and Georgian/Russian father) which deeply informs her musical output. Her new album, recorded in London, features an even more diverse range of music than her previous albums, incorporating ethnic instruments into Western music. Making much use of the 'alternative string quartet' (violin viola, cello and double bass), the title track Kefi also introduces the Greek Bouzouki and 'Greek oud' or politiko laout. While demonstrating a wide diversity of textures and styles, overall the music is coloured by use of the double harmonic scale. As well as a number of chamber works the highlight of the album is the choral work Thirty Steps commissioned by the Hellenic Institute at Royal Holloway whose choir, widely regarded as among the best mixed-voice choirs in Britain today, perform the work here. The other performers here are all experienced and very well regarded in their own fields. Lydia Kakabadse, celebrated for her diverse music, specialises in choral, chamber, and vocal compositions. Influenced by her multicultural background and upbringing in Greek and Russian Orthodox traditions, she draws inspiration from Orthodox Church music, medieval melodies, and Greek and Middle Eastern dance. Trained in piano and double bass from a young age, she pursued music studies at Royal Holloway, University of London. Her works, including string quartets, choral pieces, and concert requiems, have garnered critical acclaim and have been featured on recordings by labels such as Naxos and Divine Art. Notable commissions include "I Remember" for Forest Preparatory School and "Odyssey" for The Hellenic Institute. Her compositions have been performed internationally at festivals and by esteemed ensembles, and her string quartet "Russian Tableaux" has been broadcast on BBC Radio 3. Currently pursuing a PhD in ethnomusicology, Lydia continues to enrich the musical landscape with her distinctive and vibrant creations.

From the song cycle Die schone Mullerin, Op. 25, D. 795 ("The Fair Maid of the Mill"), the eighteenth lied titled Trockne Blumen ("Withered Flowers") served as inspiration for Schubert to compose Introduction and Variations, D. 802 for flute and piano. This piece was written in 1824 for Ferdinand Bogner, a flute professor at the Vienna Conservatory and one of Schubert's friends. Eventually, Bogner became head of the Gesellschaft der osterreichischen Musikfreunde (Austrian Philharmonic Society) and helped organize the premiere of several of Schubert's works. Deeply expressive and lyrical, the version for flute and string quintet in this recording was arranged by Rainer Schottstadt and is a technical tour de force for every flutist.

Dr. Joseph Sonnabend: A Musical Journey Reflecting a Life of Compassion and Innovation Renowned AIDS researcher and clinician Dr. Joseph Sonnabend, who was known for his groundbreaking work in HIV/AIDS research, had a hidden facet of his extraordinary life - as a composer. Despite his illustrious medical career, Joseph Sonnabend's passion for composition remained largely concealed from the public eye. However, with this album, we are invited into his world of instrumental and chamber works, showcasing his exceptional talent and profound musical sensibility. The collection of pieces featured on offers a glimpse into Dr. Sonnabend's rich musical landscape. From piano solos to chamber works, each composition bears the mark of his deep appreciation for chromatic melodies and harmony, influenced by composers such as Alban Berg and Arnold Schoenberg. Collaborator Dr Andrew Toovey, who played a pivotal role in bringing Dr. Sonnabend's compositions to life, reflects on the process: "Working with Joseph on his compositions was certainly a fascinating journey for both of us." Together, they meticulously curated a selection of works, refining unfinished pieces and even commissioning new ones, resulting in a cohesive representation of the Sonnabend soundworld. Listeners can expect to be delighted by the diverse range of compositions, each offering a unique musical experience. Highlights include the Piano Trio, which weaves a chromatic melodic line throughout it's entirety, and "Fluctuations," a mesmerizing solo violin piece that oscillates between reflective and virtuosic passages. In addition to instrumental works, the album features poignant vocal pieces such as the Three Songs for soprano and piano accompaniment, which set a collection of haiku poetry to melodic and emotive music, creating a deeply resonant listening experience. Reflecting on his late-in-life debut as a composer, Dr. Sonnabend's journey comes full circle, encompassing a lifetime of compassion, innovation, and artistic expression. His compositions serve not only as a testament to his musical talent but also as a poignant reminder of his profound response to the HIV/AIDS pandemic, which he tirelessly battled throughout his career. This album is not only a celebration of Dr. Sonnabend's musical legacy but also a tribute to his unwavering commitment to humanity. As listeners embark on discovering this music, they are invited to experience the depth of emotion and the enduring legacy of a remarkable individual. Dr. Joseph Sonnabend (1933-2021) was a pioneering AIDS researcher and clinician, widely respected for his compassionate approach to patient care and his groundbreaking contributions to HIV/AIDS research. In addition to his medical career, Dr. Sonnabend was a prolific composer, whose debut album, "Thoughts and Programme Notes," offers a glimpse into his remarkable musical talent and creative vision.

The forgotten figure of a 17th-century Dutch recorder virtuoso, illuminated by a unique synthesis of art history, scholarship and modern musicianship.

Der Fluyten Lust-hof (The Flute's Pleasure Garden, or Garden of Delights) is the largest collection of music for a single wind instrument ever published by a single composer, and has supplied recorder players, amateurs and professionals, with music for reflection and entertainment ever since the publication of its initial volume in 1644.

An overlooked detail is the dedication of the first volume, to one Adriana vanden Bergh. Who was she? This book and CD tells the full and fascinating story, shedding light along the way on many aspects of culture, religion and everyday life in Amsterdam during the 17th century. As both a musicologist and art historian, Thiemo Wind is uniquely placed to tell this story. He has identified Adriana as the subject of a famous painting by Jacob Adriaensz Backer (1608/09–1651), hitherto anonymous but considered one of the most beautiful portraits of the Dutch Golden Age.

Through original research, Thiemo Wind has assembled an eventful biography, which moves in short and lively chapters, each of them illustrated with a telling image, from her family background to her birth in 1631, her complex religious inheritance of both Protestant and Catholic observance, her apparently rapid mastery of the recorder, her participation in Amsterdam’s lively performing culture and her status as a musical celebrity even as a teenager, to her marriage in 1650, which probably occasioned the commission of Backer’s portrait. Thereafter the story turns darker, with a tale of bankruptcy, child-birth and -death, family splits and reconciliations, obscurity and ultimately Adriana’s death in 1668, having given birth to her ninth child.

The accompanying CD takes its cue from Der Fluyten Lust-hof, and from the music publications featured in Backer’s portrait, to present new recordings of music with which Adriana would have delighted audiences in her time. Performed by the internationally renowned virtuoso Erik Bosgraaf, in company with his Cordevento ensemble, the recording complements Thiemo Wind’s scholarship to present Adriana’s life and music in the round."

Cellist Gerald Peregrine and pianist Antony Ingham are joined by violinist Lynda O’Connor for more poetic 20th-century and traditional miniatures from the British Isles. Includes works that Peregrine presented during his more than 2,000 ‘Covid Care Concerts’ performed at health care settings during the pandemic. Volume 1 can be heard on 8.574035.

With his song cycle, Die schöne Müllerin op. 25, published in Vienna in August 1824, Franz Schubert created one of the first song cycles in music history. It is a real cycle, not just a loose collection, because all the poems united in it hang firmly on a narrative thread: a narrated story, presented in 20 individual songs. It is clear that the most appropriate instrument for Die Schöne Müllerin is not the modern concert grand piano, but rather the fortepiano of Schubert's time, with its delicate, transparent sound and enormous richness of color. This makes for a completely different listening experience. But the arrangement that Tom Randle wrote for the ALINDE Quartet in 2022 can also open one's ears in a completely new way.

Pastoral Reflections is a contemporary exploration on what the concept of ‘Pastoral’ means to us in this time of climate crisis. It features classical string sextet alongside field recordings, electronic bass & angular beats, centered around Gabriel Prokofiev’s contemporary response to Beethoven's 250 year old Pastoral Symphony.

The Album opens with the original first movement of Beethoven’s famous symphony (arranged for sextet) - reminding listeners of our less troubled relationship with nature 250 years ago - before moving on to the modern beats of Prokofiev’s recent composition Breaking Screens, which explores ideas of consumerism, digital life and impending crisis. The programme climaxes with 5 movement 'Pastoral Reflections' which echoes Beethoven’s symphonic narrative, but from a contemporary perspective.

The is the fourth volume of orchestral works by Toshio Hosokawa, Japan's leading living composer. These world premiere recordings were recorded in the presence of the composer. Featuring soloists violinist Paul Huang and Belgian trumpeter Jeroen Berwaerts, with the Residentie Orkest The Hague conducted by Jun Markl.

In June 1878 Johannes Brahms wrote to Clara Schumann: "The A minor Concerto by Viotti is my very special passion. It is a splendid piece with a remarkable freedom of invention: it sounds as if he were fantasizing, and everything has been designed and executed with such mastery …" Already during his lifetime Viotti was regarded as one of the most brilliant violin virtuosos, and his violin concertos also enjoyed special renown. As a composer Viotti brings in the schemes of the Italian School but also weaves in romantic motifs far ahaead of their times.

There is still much we do not know about the veritable mandolin-mania of late 18th-century Europe, particularly Vienna, which in that period was home to the three greatest musicians of the Classical period: Haydn, Mozart and Beethoven. The instrument certainly enjoyed dazzling success in Viennese musical circles, embraced by the cultured aristocrats who resided in the Habsburg capital, and its meteoric rise was supported by some extraordinary virtuosos who helped promote its high-quality and fast-growing repertoire.
Giovanni Hoffmann’s refined chamber music featuring the mandolin was warmly received among the Viennese elite, making him one of the foremost figures behind the burgeoning mandolin repertoire of late 18th-century Vienna. Very little is known about his life; the Italianate first name alongside a clearly central-European surname adds to the mystery shrouding his birthplace and sphere of education.
Hoffmann was both a mandolin virtuoso and an esteemed composer. In 1799, the music merchant Johann Traeg advertised a list of the mandolin scores available to purchase from his shop on Vienna’s Singerstraße. It included a Trio for mandolin & bass by Hoffmann, and that same year, the composer released a further number of manuscript works through Traeg including his Quartets for mandolin, violin, viola & cello and
Serenatas for mandolin & viola. Hoffmann’s work is recorded again in Austria in the early decades of the 19th century, but – like his birth – the place and date of his death have not yet come to light. His music, however, lives on, a testament to his talent for composing delightful music in a Classical style evoking the fascinating gatherings of the Viennese literati.

Mosaic Voices are the Resident Choir at the New West End Synagogue, in London. The synagogue, designed in 1877 by the Scottish architect George Audsley, is a masterpiece of Victorian architecture, known for its beautiful choral acoustic. A great deal of the material on this album is therefore music sung by Mosaic Voices, in Hebrew, during religious services and festivals, of which this music forms a functional element. Ochila la’El, El Melech Yoshev, and Avinu Malkeinu are key musical works that form part of the New Year festival liturgy. Shomer Yisrael is sung during the little-known, but beautiful, midnight service of Selichot, which is part of the penitential prayers of the Hebrew month of Elul leading up to the New Year. Tree of Life, Generation to Generation, Yis’mechu, Ein Keloheinu, Uv’nucho Yomar, and Veh’al Kulam are pieces that the ensemble regularly sings at weekly Shabbat services, and form part of the liturgy for those services. The Musical Director, Michael Etherton, writes: ‘Exactly eighty years ago, my great grandmother Kamilla wrote a letter to her children. It was 1942. Fortunately, her children had escaped Nazi-occupied Austria, but Kamilla had not been so lucky. She endured four terrifying years of brutality and unimaginable suffering. The letter to her children was the last thing she wrote before being sent to Auschwitz, where she died. She did not know if her letter would ever reach her children. Eighty years later, my vocal ensemble, Mosaic Voices, is writing back to her in the form of an album of Jewish songs. We want Kamilla to know that, although she, her husband, and her sister, Minka, lost their lives in the Holocaust, all her children survived, and lived their lives successfully and happily in Britain, as proud Jewish people. Hitler’s mission failed. Her touching letter, which Kamilla wrote in German, has been set to music as one of the songs on this album (Letter from Kamilla). The other tracks that we have chosen to record celebrate the diversity, mysticism, and beauty of the music that Jewish people have brought to the world over time.’

Their second Christmas album on Signum Records, Armonico Consort and Christopher Monks return with a new album featuring a collection of carols both old and new. They have created the perfect soundtrack for those who love an atmosphere at Christmas. Featuring world premiere recordings by Composer Toby Young and the first ever recording of ‘Star Song’ by Jonathan Dove on a Christmas album, there are also exquisitely sublime versions from ‘Silent Night’ to ‘Away in a Manger’.

"It is ten years since our last carols recording, and we have collected some incredible works we have been so keen to record, including several commissioned from our composer in residence. Christmas somehow manages to inspire composers to write the most imaginative, both in terms of creativity and melodiousness, and Toby is an expert at making Christmas music sound just as we want it to be!" -- Christopher Monks

Marco Albonetti writes: ‘”Amarcord” signifies memory, the nostalgic re-enactment of the past. Here, it evokes the idea of joining two instruments, the saxophone and the bandoneón, both of which were invented in the middle of the nineteenth century. The bandoneón, created as a more agile substitute for the organ in the world of sacred music in Germany, was brought by German immigrants to Buenos Aires, where it became central to the tango, a music enlivened by rhythmic ideas from Africa and inextricably linked to dance. The saxophone – the central character of an adventure story which originated in Belgium, from which the instrument travelled to America where it discovered its promised land – executes the mellow melodies of the tango with a lightness, a pliancy, and a tone that further intensify the feelings running through them. Amarcord d’un Tango was created to offer the listener a brief journey through the history of the tango. Composed in 1903, Villoldo’s El choclo is one of the oldest examples of the genre. The well-known melodic tangos "Por una cabeza" and "Sus ojos se cerraron" are by the great singer Carlos Gardel, who died tragically in a plane accident, in 1935. I include a homage to Astor Piazzolla, on the thirtieth anniversary of his death. The album opens with his Triunfal, the piece that, thanks to Nadia Boulanger, created awareness and spurred the metamorphosis of Piazzolla’s “nuevo tango”. It represents the ideal point of embarkation.’

THE TRAVELLER for choir, children’s choir, orchestra, tenor, violin and speaker. The Traveller was the third in a series of four major works with words by Vikram Seth and music by Alec Roth, commissioned jointly over four years by the Salisbury, Chelsea and Lichfield Festivals (2006-09). Each work featured the violinist Philippe Honoré as soloist, and each took a different geographical/cultural area as its starting point.

EARTH AND SKY for children’s choir and piano (with optional percussion). Earth and Sky was commissioned by the BBC for the Proms 2000 season. In keeping with the millennial theme, a work presenting a vision of the future was requested. Trying to be helpful, the BBC provided me with a video containing the predictions of various experts, but their ideas seemed dizzyingly contradictory.

-Alec Roth

Ex Cathedra has performed Alec’s music in over 200 concerts since 2007. There have been large-scale commissions and recordings and many short ‘gems’. It is of consistently high quality with moments of absolute genius. The relationship continues to flourish.

About the album; Andrew Nethsingha says: “Contemporary music and Commissioning have been central features of the last fifteen years at St John’s. It’s been a joy to work with talented student composers; singers and instrumental- ists; my own musicianship has been greatly enriched by their creativity and energy... After a 30-month break from sessions during the pandemic; we were very pleased to be able to record again in 2022. The material on this album comes from various times of year; whilst we were also continuing our Magnificat series. For the final sessions in December the outdoor temperature was forty degrees colder than it had been for the previous recording in July! The personnel of the lower voices had also largely changed; but I hope you will hear a successful continuity of sound- world. All the composers are alive today but; at the suggestion of one of them; we have omitted dates of birth so as not to intrude on their privacy. I’ve curated a sequence of music which aims to celebrate some of the broad range of styles in 21st-century choral writing. The premiere of Iain Farrington’s Nova Nova was the final piece in my last St John’s broadcast - I have often enjoyed pushing the boundaries of the Anglican choral tradition!”