One is inclined to speak of soulmates after hearing Simon Höfele and Elisabeth Brauss play as a duo and after getting to know them both personally. It is like two people connecting with one another in music and in conversation when they either know each other very well or have forged a special bond for some other reason. The latter is sure to be true this album is their first joint recording venture. With his album Standards, a testament to his time as a BBC Radio 3 New Generation Artist and in collaboration with two BBC orchestras, he devoted himself to the core repertoire of trumpet and orchestra and the great trumpet concertos by Haydn, Hummel, Copland and Arutiunian. Spearheading a young, go-getting generation of artists and awarded an Opus Klassik, he now takes a look at the New Standards the 20th century chamber music for trumpet. Together with pianist Elisabeth Brauß, he interprets works by Arthur Honegger, Karl Pilss, Georges Enescu, Paul Hindemith, Jean Françaix and Alexander Arutiunian, which illustrate the mutability of his instrument in an astonishing way: The trumpet repertoire contains works by many unfamiliar composers, works which really hardly anybody knows, there are nowhere near as many as there are for violin, and we have no Beethoven or Brahms its very much of a niche thing, and yet its our standard repertoire and really great, wonderful music. The album is a kind of Best-Of of the chamber music literature for trumpet, its a good selection and shows off the many facets of this repertoire, says Simon Höfele.

Teach me! The students of Nadia Boulanger is the Boulanger Trio's first album on the Berlin Classics label, an album dedicated to the trio's eponymous heroine. The three musicians present music by Bernstein, Piazzolla and Françaix alongside Quincy Jones, Aaron Copland and Philip Glass. The works are very varied in style, yet a common bond unites their composers: they were all students of Nadia Boulanger. Boulanger's special personality as a teacher and her charismatic engagement as a source of inspiration for composers from all over the world lie at the heart of this album. Would Piazzolla have ever discovered Tango nuevo without Nadia Boulanger? What form would Philip Glass's repetitive structures have taken, and would West Side Story have turned out as we know it today? Generations of music-makers were influenced by Nadia Boulanger, who supported them in their quest to evolve their own personal style. She composed no works of note, nor did she write a guide to composition or harmony. Her work focused on her relationship with her students, on exchange of ideas with them and conversations with them. The repertoire of this album is wide-ranging and imaginative. The Trio pour violon, violoncelle et piano (1986) by Jean Françaix rubs shoulders with the well-known Cuatros Estaciones Porteñas by Astor Piazzolla. The melodious love song Maria from Leonard Bernstein's celebrated musical West Side Story is side by side with Philip Glass's repetitive Head On. Other musical excursions whirl listeners away to the avant-garde with Aaron Copland's Vitebsk - Study on a Jewish Theme (1929) before landing them in film music with the main title theme to the film The Color Purple by Quincy Jones.

Sophie Dervaux’s debut album on Berlin Classics is very much in the French tradition. Together with her French colleague, pianist Sélim Mazari, the bassoonist presents works on this concept album Impressions that are by composers of various eras, including Debussy, Saint-Saëns, Ravel, Fauré and Koechlin. The bassoon – unusually – takes the stage as a soloist and so fulfils the purpose that the Vienna Phil bassoonist had in mind: to present the unique singing sound of the instrument and enrich the world of the bassoon in the process. “A lot of people think of the bassoon as an amusing instrument. But it can be more than just the jolly clown. I wanted to show that it can sound wonderful and sing wonderfully too.” There is no doubt that Dervaux has proved her point on Impressions. Her repertoire brings together familiar and seldom heard pieces, and at times ushers its audience into a dream world. Among those pieces are Debussy’s Clair de Lune and Beau Soir, illustrating the tonal compass of the bassoon. Sophie Dervaux also presents the Sonata for bassoon and piano in G major, op. 168, written by Camille Saint-Saëns, in his old age. Great phrases and lines flow from Dervaux’s instrument in Fauré’s Après un rêve, and a piece she arranged herself, Pièce en forme d’habanera by Ravel, brings out the almost human voice of the instrument. These Impressionists are joined by theorist and composer Charles Koechlin with his Sonata, op.71. Going a step further, Reynaldo Hahn’s A Cloris and Roger Boutry’s Interferénces bridge the gap between old and new and introduce jazz influences. With her new album Impressions, Sophie Dervaux aims to show her audience what is special about the bassoon: its sound, and its virtuosity too.

"Transformation" is the debut album of Austrian cellist Jeremias Fliedl, laureate of the Queen Elisabeth Competition who is at the beginning of an international career. On this album, he presents works such as Tchaikovsky's famous Rococo Variations and Villa-Lobos' Bachianas Brasileiras No. 5 in a version for 9 cellos, with all parts recorded and produced by him. Jeremias Fliedl plays the famous "ex-Gendron" Stradivarius from 1693.

"After Hours" is the new concept album by the Faure Quartett. The world famous piano quartet consists of the same for members since íts founding in 1995. They present an album full of encores from composers such as Debussy, Strauss and Dvorak. These pieces are lined by original compositions dedicated to the ensemble by composer friends such as Jarkko Riihimaki. Two other friends, clarinettist Matthias Schorn and soprano Annette Dasch, make appearences as soloists. Encores defy the convention and have the potential to be surprising and engage the listeners in a special way and exactly that is what this album does.

Introducing the enchanting sounds of lutenist David Bergmüller. Immerse yourself in a musical journey with his captivating solo recital. With a repertoire carefully handpicked, David's music unveils a realm of intricate melodies and serene tones that resonate close to silence. Each note carries a meditative character that transcends time. This album's music acts as a soothing antidote in a world constantly bombarded with stimulation. It effortlessly captivates our senses, offering a peaceful sanctuary amidst the chaos. Drawing from the rich tradition of French lute music, David Bergmüller adds his unique touch with skillful arrangements that breathe new life into the compositions. Experience the magic of this exceptional collaboration, where centuries-old melodies blend seamlessly with David's artistic vision. Prepare to be spellbound by the beauty of this repertoire that continues to fascinate and provide a much-needed counterpoint to our overstimulated lives.

After the successful release of "Odyssey," pianist Danae Dörken presents her second album on Berlin Classics. Together with her sister - Kiveli Dörken - she invites the listener to embark on an emotional and psychological journey through a very personal selection of music that characterizes the Greek gods Apollo and Dionysus. This unique journey aims to become aware of the characteristics represented in each of us and create a balance between them. The technical brilliance present in their playing and the insightful, sensitive interpretations already make this album a highlight. Their deep personal connection and the decades of playing together at the piano are audible in every moment of these recordings and set this album apart.

The Schumann Quartet dedicates its latest studio production "1923" to that year in which new musical paths were sought, found, or questioned, and at the same time, the birth of radio heralded a new age for composers and the dissemination of their works. The CD program combines selected quartet music by Paul Hindemith, Alban Berg, Erwin Schulhoff, and Leoš Janácek.

For her 10th anniversary with Berlin Classics, the US pianist Claire Huangci presents herself and her label with a weighty recording project, Schubert's late sonatas D 894, D 958, D 959, and D 960, as well as the Three Piano Pieces D 946 and a selection of songs from Schwanengesang. She accompanies the baritone Thomas E. Bauer in four of the songs and plays two in an arrangement by Franz Liszt. To be heard in a box with three albums under the title META.

META stands for the importance of Schubert's music in Claire Huangci's personal and musical life. Schubert's compositions, which she has played since her earliest youth, "show my development, that reflects unconscious emotions," as she writes in the booklet. Schubert's music is "the music I would like to take with me to a desert island...Schubert has accompanied me through all times", especially the late sonatas, which are at the center of the META box.

Introducing the latest recording with Luisa Imorde and the Bremer Philharmoniker, featuring two great romantic Piano Concertos from Clara Schumann and Carl Maria von Weber. Following the success of her previous albums dedicated to Beethoven/Wölfl, Bach/Kapustin, and Couperin/Messiaen, the pianist now presents her latest recording that explores the romantic repertoire with orchestra. This album features two Piano Concertos that beautifully capture the essence of the romantic era, complemented by solo piano pieces by Robert and Clara Schumann and C.M. von Weber. Weber's departure from the classical to the romantic era and Schumann's legacy as a female composer bear witness to the mastery of both in Luisa Imorde's outstanding interpretation.

On the Shoulders of Giants is the latest album from the renowned cellist Claudio Bohórquez, with works ranging from Schumann to Webern, from Schubert to Messiaen, this album is a journey on the shoulders of musical giants, both in the compositions and in the interpretations. Accompanied by the legendary conductor and pianist Christoph Eschenbach, Bohórquez delivers an extraordinary performance that is a treat for the ears and soul. With his exceptional skill and technique, he explores the depths of the cello's sound, bringing out the unique beauty and emotion of each piece. The album features Schumann's Adagio & Allegro op. 70, a powerful and expressive work that showcases Bohórquez's impeccable bowing and phrasing. The 2 Pieces for Cello and Piano by A. v. Webern are a masterclass in modernist composition, with Bohórquez and Eschenbach expertly navigating the intricate and complex melodies. Schubert's Sonata (Arpeggione) is a true gem of the cello repertoire. Finally, O. Messiaen's Louange à l‘Éternité de Jésus is a beautiful and moving work that showcases the cello's ability to convey deep spiritual emotions.