Benjamin Britten's three Cello Suites rank among the most important solo works for the instrument since Bach. Written for Mstislav Rostropovich, they unite references to early music traditions with a distinctly modern voice, combining formal mastery, dramatic imagination and profound emotional depth. In this recording, Pieter Wispelwey brings his new reading of a 45 year long engagement with these remarkable works for cello solo.

Lise is the only daughter of Widow Simone, the owner of a prosperous farm. She is in love with the young farmer Colas, but her mother has higher ambitions for her, hoping to marry her off to Alain, the son of the wealthy proprietor Thomas. Desperate to marry Colas rather than Alain, Lise contrives to outwit her mother's plans. When La Fille mal gardee premiered in Covent Garden on 28 January 1960, it instantly won all hearts. Inspired by Jean Dauberval's French ballet, Ashton's version combines exuberant good humour and an affectionate portrayal of village life. The Royal Ballet's Founder Choreographer, Frederick Ashton, hoped to capture the 'leafy pastoral of perpetual sunshine... The suspended stillness of a Constable landscape of my beloved Suffolk, luminous and calm'. Osbert Lancaster's colourful designs bring the charm of the countryside to life.

To speak of Franz Liszt is to enter a world in which categories collapse. Virtuoso, visionary, reformer, celebrity, mystic - none of these labels is sufficient, and yet each illuminates a facet of a musician whose creative presence reshaped 19th-century musical life. He inhabited his age with a rare duality: outwardly the most electrifying pianist Europe had ever known, inwardly a thinker preoccupied with the ethical, spiritual and imaginative potential of art. That tension - between public spectacle and private enquiry - lies at the heart of an oeuvre whose range and unpredictability remain without parallel. Liszt's early fame rested on a pianistic style that expanded the technical and expressive boundaries of the instrument. His performances were not merely demonstrations of dexterity but events that altered the nature of concert listening itself, whether in orchestral appearances or in the solo recital format he effectively established. However, virtuosity was never an end in itself. From the 1830s onward, Liszt's compositions increasingly acknowledged poetic, literary and philosophical impulses, often signaled through titles, epigraphs or extra-musical associations. This stimulus would later crystallise in his codification of the symphonic poem, but it was equally present in his keyboard music, where narrative, argument and symbolism frequently replace abstract formal logic. A central expression of this aesthetic is Liszt's lifelong engagement with the march - a genre that might seem, on the surface, to withstand the kind of reflective complexity he prized. The march offered something irresistible: a form already laden with public meaning, ripe for reinterpretation. In his hands, it's regulated tread becomes a medium for ambiguity, it's grand gestures inflected with harmonic adventurousness, it's civic pronouncements quietly complicated by covert sensibility. The same impulse that drove him to revisit and rework earlier compositions in the light of new understanding shaped his relationship to the genre as a whole: returning to it across decades, he treated it not as a fixed form but as an evolving channel for dramatic, national and personal expression.

A manifesto of Italian romanticism, Donizetti's Lucia di Lammermoor is a tale of dark atmosphere and turbulent love. Teatro alla Scala presents it's new production under the signature of stage director Yannis Kokkos, whose sober vision remains faithful to the libretto with elegance, emotion and the expression of passions over any gesture of modernity. Conductor Riccardo Chailly leads a splendid vocal cast: Lisette Oropesa delivers a compelling Lucia of vocal refinement and emotional depth, while Juan Diego Florez brings elegance and lyrical intensity to Edgardo. The Orchestra and Chorus give an exceptional interpretation, creating a 'beautiful, rich, ominous sound' (Bachtrack). 'Riveting. Florez and Oropesa did not disappoint on the opening night... The chemistry between them is electrifying from the opening duet. (FINANCIAL TIMES)

A manifesto of Italian romanticism, Donizetti's Lucia di Lammermoor is a tale of dark atmosphere and turbulent love. Teatro alla Scala presents it's new production under the signature of stage director Yannis Kokkos, whose sober vision remains faithful to the libretto with elegance, emotion and the expression of passions over any gesture of modernity. Conductor Riccardo Chailly leads a splendid vocal cast: Lisette Oropesa delivers a compelling Lucia of vocal refinement and emotional depth, while Juan Diego Florez brings elegance and lyrical intensity to Edgardo. The Orchestra and Chorus give an exceptional interpretation, creating a 'beautiful, rich, ominous sound' (Bachtrack). 'Riveting. Florez and Oropesa did not disappoint on the opening night... The chemistry between them is electrifying from the opening duet. (FINANCIAL TIMES)

Among the most powerful works by Gustav Mahler and one of the longest symphonies of the Romantic period, the Symphony No. 3 is performed by Andris Nelsons and the Wiener Philharmoniker as part of their Mahler cycle. The composer's intention to create a musical reflection of the world is perfectly caught by Nelsons, who shapes the work's immense forces into a compelling narrative, from primordial darkness to transcendent affirmation. With Violeta Urmana as soloist, the Chor des Bayerischen Rundfunks and Salzburger Festspiele und Theater Kinderchor, the performance unfolds with luminous transparency and emotional depth. 'A melancholic giant, unleashed' (Der Standard) Program: Gustav Mahler: Symphony No. 3

Among the most powerful works by Gustav Mahler and one of the longest symphonies of the Romantic period, the Symphony No. 3 is performed by Andris Nelsons and the Wiener Philharmoniker as part of their Mahler cycle. The composer's intention to create a musical reflection of the world is perfectly caught by Nelsons, who shapes the work's immense forces into a compelling narrative, from primordial darkness to transcendent affirmation. With Violeta Urmana as soloist, the Chor des Bayerischen Rundfunks and Salzburger Festspiele und Theater Kinderchor, the performance unfolds with luminous transparency and emotional depth. 'A melancholic giant, unleashed' (Der Standard) Program: Gustav Mahler: Symphony No. 3

This new recording by pianist Matthieu Idmtal shines a fresh light on the piano sonatas of Joseph Haydn, revealing a composer of boundless imagination, wit, warmth and emotional depth. Far from the often predictable image of Classical elegance, these works unfold as vibrant musical conversations filled with surprise, humour, tenderness and dramatic intensity. Especially in the hands of Idmtal who is a refined piano poet! Drawn to Haydn's music during a deeply personal and reflective period, he discovered in these sonatas a source of comfort and renewal - 'a balm for the soul, an antidote to melancholy.' Through four carefully chosen sonatas, he invites listeners into Haydn's endlessly inventive world. Recorded at the outstanding Westvest90 studio in Schiedam, The Netherlands - renowned for it's exceptional acoustics and warm, natural sound - this album captures both the intimacy and theatrical energy of Haydn's music with remarkable clarity and depth. Idmtal's sensitive and deeply personal interpretations bring new life to these masterpieces, from the sparkling wit of the late sonatas to the darker, near-Beethovenian intensity of the Sonata in B minor. The result is a recording that not only celebrates Haydn's genius, but also reaffirms the timeless joy, humanity and emotional richness at the heart of his music.

Francois Couperin's Pieces de violes comes alive in this deeply expressive new recording by La Bellemont, revealing the viola da gamba at the height of it's emotional and rhetorical power. Written in 1728, these works are among Couperin's final publications and blend the refinement of the French Baroque with striking intimacy, elegance, and imagination. Through two contrasting suites - from the tender melancholy of the E minor Prelude and Sarabande to the radiant brilliance of the A major suite - the album explores a world of subtle emotion, poetic silence, and richly colored harmony, where every phrase speaks with the nuance of the human voice.  Performed with exceptional sensitivity by La Bellemont, this recording highlights the ensemble's celebrated warmth, precision, and expressive depth. The musicians illuminate Couperin's unique ability to move beyond virtuosity in search of something more profound and human, - music that, in Couperin's own words, 'touches rather than surprises.' With it's refined interplay of viola da gamba, theorbo, baroque guitar and harpsichord, the album offers an immersive journey into one of the most beautiful and sophisticated sound worlds of the French Baroque.

This album brings together piano sonatas by Mendelssohn, Beethoven, and Schumann that reflect a specifically German approach to the form, distinct from the Viennese Classical tradition. Pianist Tianxu An explores works composed within a 26-year span, a period in which composers redefined the sonata through structural experimentation and greater performative expression. Central to the recording is a focus on the composers' detailed markings, including dynamics, pedalling, and phrasing, and how these shape interpretation in performance. Recorded in 2024, the release presents An's considered engagement with this repertoire and his interest in it's intellectual rigour and expressive breadth.

The internationally renowned pianist Yulianna Avdeeva presents Metanoia, a profound exploration of the late piano works of Franz Liszt, tracing his radical transformation from virtuoso to visionary. Liszt's late works mark a decisive break with traditional musical language and form, opening the door to 20th-century modernism through bold harmonic experimentation, compressed structures, and strikingly dissonant sonorities. Stripped of conventional melodic development, these brief but intense works convey deep existential reflection, touching on themes of faith, mortality, and the human condition. Initially met with resistance, they would later become a major influence on composers such as Bartok, Scriabin, Debussy, and Ravel. The album unfolds in reverse chronology, culminating in Liszt's Sonata in B Minor and Legende No. 2. The Sonata in B Minor stands as one of the most important works in the piano repertoire: a single-movement structure of extraordinary dramatic and philosophical scope, where contrasting themes emerge, collide, and transform into a journey from darkness to transcendence. For Avdeeva, Liszt's music is never purely virtuosic, but an existential inquiry into the deepest aspects of human experience - light and darkness, faith and doubt, life and death - revealing a composer who continually expanded the possibilities of musical thought and expression. Yulianna Avdeeva returns to PENTATONE after a string of critically acclaimed releases: her label debut Resilience (2023), followed by Chopin: Voyage (2024) and Shostakovich: 24 Preludes and Fugues Op. 87 (2025). Together, these recordings have garnered international awards and widespread acclaim across the globe.

Lise is the only daughter of Widow Simone, the owner of a prosperous farm. She is in love with the young farmer Colas, but her mother has higher ambitions for her, hoping to marry her off to Alain, the son of the wealthy proprietor Thomas. Desperate to marry Colas rather than Alain, Lise contrives to outwit her mother's plans. When La Fille mal gardee premiered in Covent Garden on 28 January 1960, it instantly won all hearts. Inspired by Jean Dauberval's French ballet, Ashton's version combines exuberant good humour and an affectionate portrayal of village life. The Royal Ballet's Founder Choreographer, Frederick Ashton, hoped to capture the 'leafy pastoral of perpetual sunshine... The suspended stillness of a Constable landscape of my beloved Suffolk, luminous and calm'. Osbert Lancaster's colourful designs bring the charm of the countryside to life.

Ludvig Norman Strings are back, this time featuring pianist Kiyo Wada and accordionist Minna Weurlander in Ylva Skog's captivating chamber music. Ylva Skog (born 1963) is inspired by many genres, such as jazz, latin, and pop music, but melts everything down to her own, special music pot. The title track, Trote, for string quartet and accordion is followed by Skog's piano quintet, piano sextet, and her two, short string quartets. Not to be missed if you are interested in enjoyable contemporary music!

Having different backgrounds is an asset. Growing up in a multilingual environment fosters cognitive flexibility I was fortunate enough to live between Romania and Germany,' says Konstantin Krimmel. Together with his longtime musical partner Ammiel Bushakevitz, who also has 'mixed roots', he sought to bring together the composers Johannes Brahms (1833-1897) and Eusebius Mandyczewski (1857-1929), who met in Vienna in the late 1870s and maintained a close friendship: on the one hand, the established composer from faraway Hamburg, author of nearly 200 Lieder and vocal works; on the other, the young student from distant Bukovina, son of an Orthodox priest, who grew up immersed in the Romanian of his mother's side and the Ukrainian of his father's, a pupil of a Mendelssohn's disciple. His eighteen Romanian Songs were published in 1885 in a bilingual Romanian-German edition, based on texts by Vasile Alecsandri (1821-1890), 'a magnificent poet who wrote in a highly evocative style and in close connection with nature. A nature that I love and from which I draw inspiration as a source of interpretation for every recital,' says Krimmel. They are recorded here for the first time in their original language, Romanian. The two composers share a love of Schubert-Mandyczewski was the first publisher of his complete works-a fascination with folk songs, and a taste for melancholy, which is felt throughout this program.

The viola da gamba enjoyed a degree of popularity in Germany during the 17th century. Not only was it often paired with the violin in compositions in which the two instruments engaged in a dialogue, but it also had it's own repertoire. Johann Michael Nicolai spent most of his life in the service of the court of Stuttgart and left several compositions for ensembles of two or three violas da gamba. Here, L'Acheron presents the complete sonatas and suites, in which the spirit of the Italian sonata is combined with the French suite.

The art of composition attained a wholly new quality and a totally new aesthetic status with the works of Joseph Haydn and Wolfgang Amadeus Mozart, an art that their contemporaries already described as Classical. The standards these two masters set through their creations continue to shape our perceptions and criteria of evaluation to this day, yet we rarely think of the virtuosos who brought them to life and to whose outstanding skill they frequently owe their very existence. The Italian violinist Niccolo Mestrino was one such virtuoso. After several engagements with various orchestras in Italy he was appointed by Joseph Haydn as concertmaster of Prince Esterhazy's famous court orchestra in Eisenstadt. Later he became the leader of the orchestra of the Theâtre de Monsieur opera house in Paris. The works that are recorded here for the first time demonstrate that Mestrino was not only an extraordinary violinist but also an accomplished composer.

Having made numerous recordings for BIS both as a clarinettist and as a conductor, Michael Collins had yet to offer us one of the masterpieces of the clarinet chamber repertoire: Johannes Brahms' Clarinet Quintet. Here he performs alongside the Escher Quartet, whose latest recording devoted to Janacek's quartets (BIS-2670) has earned critical acclaim. While the combination of clarinet and string quartet offers rich potential, Mozart's glorious clarinet quintet cast a long shadow that few composers dared to enter. Composed at the twilight of his career, Brahms's quintet is an elegiac masterpiece. It radiates aching nostalgia and a poignant sense of lost love, ultimately settling into a melancholy serenity. It's emotional directness is occasionally surprising yet never sacrifices subtlety. Max Reger modelled his own Clarinet Quintet on those by Mozart and Brahms. In this final composition before his untimely death, Reger pushes tonal limits without compromising structure. Seamlessly integrating the clarinet, he creates a beautifully balanced ensemble capable of both powerful outbursts and delicate textures. Straddling the dawn of the 20th century, Reger's remarkably rich work pays profound homage to the past.

It was during his stay in Mannheim between October 1777 and March 1778 that Mozart received commissions for two string quartets with flute (K. 285 and K. 285a), an instrument that was in vogue at the time, likely because Prince-Elector Karl Theodor of Bavaria played the flute as an amateur in the capital of the Palatinate. A graphological study indicates that the quartet K. 285b was likely composed in 1786-87 in Vienna These works hold a special place in Anna Besson's heart, as the flutist performed them during one of her very first concerts on tour at the age of fifteen She was keen to include Hoffmeister's arrangement of sonata K311 'for the beauty of it's central movement and the extreme delicacy with which the publisher, a great friend of Mozart's, took the two hands of the keyboard and gracefully redistributed them between the flute and the strings.'

On 18 March 1860, Vienna witnessed a genuine political sensation at the second concert of Euterpe, a young orchestra society. The programme began with several pieces by Ernst II, Duke of Saxe-Coburg and Gotha, which were received with great applause for the composer, who was present. Equally successful was Fantasia symphonica on themes by Ernst II, for which the Kapellmeister of the Theater an der Wien was responsible - none other than Franz von Suppe, who had succeeded in weaving several themes by his blue-blooded "colleague" into a rousing, impressive symphony. Once again, Suppe's classical training had paid off. Although he achieved immortality as the composer of Die schone Galathee and, above all, Boccaccio, he made a significant contribution with a number of serious works (such as the Requiem cpo 777 842-2). The "symphonic fantasy" is paired with Twelve Spanish Dances, a spirited collection of delightful miniatures from which the famous Jota rears it's head time and again

Of Love and Life' brings together a selection of songs and song cycles by Hans Christian Detlefsen. His work combines influences from the European avant-garde with non-European soundscapes. Encounters with composers such as Karlheinz Stockhausen and Gyorgy Ligeti, as well as his study of Javanese gamelan music, shaped his musical language. This is characterised by flexible rhythms and harmonies influenced by Olivier Messiaen. The selected cycles bring together texts from different eras and linguistic regions. French poetry by Charles Baudelaire and Paul Verlaine is paired with Spanish poetry by Luis de Gongora, Federico Garcia Lorca, and St John of the Cross, as well as English-language works by Walt Whitman, Emily Dickinson, Edward Lear, and E. E. Cummings. The settings consistently follow the linguistic structure, unfolding a distinct musical dramaturgy from it that oscillates between intimacy, expressiveness and tonal colour. The featured vocalists are Anna Sophia Theil, Feride Buyukdenktas, Zacharias Galaviz-Guerra, Vincent Kusters and Ulf Bastlein. As the driving force behind the project, Bastlein once again demonstrates his talent for rare song repertoire. They represent a new generation of song interpreters who devote themselves with particular intensity to the contemporary repertoire. The piano accompaniment was provided by Charlie Bo Meijering, Martijn van Sas, Clara Sophia Murnig and Hedayet Jonas Djeddikar.