This recording is a small token of appreciation and a tribute to E.M. Timakin, my first teacher, who taught me how to play piano and helped to set the course of my musical journey that is still unfolding. He was very fond of Grieg's piano works and gave it to all of his young students to study. More than sixty years have passed since that time, but the experience of studying Grieg's Lyrical Pieces with him is still vivid in my grateful memory. For generations of young pianists Grieg's Lyric Pieces have been one of the first encounters with real music, alongside the works of Schumann and Tchaikovsky written for children. At the beginning of their training young musicians and children must dedicate plenty of time and efforts to the development and mastering of the basic technical skills such as playing scale, arpeggios and other exercises that do not carry real artistic values. Because of that the first encounters with real music are extremely important for children and could have a defining impact on their future development and growth. It is good fortune for many youngsters to be introduced to real music through these works of Grieg.

Bruce Heim was the Horn Professor at the University of Louisville from 1999-2021. He is an active recitalist, soloist, chamber musician, orchestral musician, and pedagogue. He has performed in Mexico, Venezuela, Poland, Belgium, Japan, Brazil, Taiwan, and throughout the United States.

Gianandrea Noseda is clearly one of those conductors who 'are equally at home in both genres', as the 'Neue Zurcher Zeitung' put it in 2021 on the occasion of his debut as General Music Director at Zurich Opera House. 'In hindsight, one cannot even judge whether he is the better opera or symphony conductor.' In his concert performances in Zurich, Noseda focused on the works of Johannes Brahms. Following a highly acclaimed performance of the 'German Requiem', he also conducted the Zurich Opera Orchestra in performances of Brahms's symphonies. The four symphonies by Johannes Brahms were completed between 1876 and 1885 and are regarded as milestones in the Romantic orchestral repertoire. Under the baton of Gianandrea Noseda, they were recorded live at the Zurich Opera House during various concerts and can now be heard together on this album.

The Doric String Quartet continues it's cycle of Beethoven quartets with this third volume, featuring a mixture of works from the composer's early, middle, and late periods. Notable for the piano start of each of it's four movements, Op. 18 No. 3 also displays a more even distribution of thematic material among the four instruments than is normal for that time. Op. 59 No. 3 is the last of Beethoven's second set of quartets, dedicated to Count Razumovsky, the Russian ambassador to the Viennese court, and also a fine violinist. Op. 74 is famous for the pizzicato, arpeggio passages in the first movement, giving rise to it's nickname - the 'Harp' Quartet. The final two quartets in this CD set, Op. 132 and Op. 135, date from Beethoven's late period. The late quartets are widely acknowledged as some of the most extraordinary music Beethoven wrote. Misunderstood and confusing to their first audiences, they have gone on to inspire countless composers and musicians, and are considered some of the greatest music ever written. As with the previous issues in the series, this double album is sold at two CDs for the price of one.

TYRANNIDE was conceived from the desire to explore the theme of cante jondo as a universal expressive archetype, not confined to the Spanish tradition but deeply rooted in human nature. It's primordial character - often expressed through the insistence of the semitone and microtonal inflections - becomes a symbol of the human condition, forced to confront suffering, death, and their inexorable musical reflection. A tyranny, indeed: that of a lament that does not belong to a single people or era, but which runs through the history of music, re-emerging in the form of appoggiaturas, suspended tensions, and melodic lines filled with longing. Cante jondo, originally connected with Andalusian flamenco, thus becomes, in the programme of this recording, a universal musical principle, capable of manifesting itself even in languages far removed from the Spanish tradition. The programme includes two works never previously recorded: Cantar de mio Cid by the French composer Jean-Dominique Krynen and the Concerto Trois Graphiques by Maurice Ohana in it's original arrangement for guitar and piano. Around these two central works unfolds a musical journey that places cante jondo in dialogue with different historical and stylistic contexts, revealing it's surprising expressive continuity.

While listening to the profoundly perceptive performance by the pianist Jurgis Karnavicius of the entire cycle of 20 etudes, we move together through a shimmering, gentle landscape of changing light: there is a special peace in his playing that does not mean stagnation; rather, it is a slow, deep process, similar to the movement of light through the space of a room when morning is just breaking. This music creates the impression that the pianist becomes a mediator between two silences - the silence that was before the first note, and the silence that will remain after it fades. Thus, the etudes here take on not only the form of sound, but also a slow, plastic movement that continues long after the hands lift from the keys. Some etudes fly with an inexorable driving force, their rhythms echoing human steps, heartbeats, a kind of internal engine. Others unfold like meditations, stretching time until it almost evaporates. A portrait of Philip Glass emerges, not just as a minimalist icon or a composer of large-scale works, but as an artist who understands the true value of simplicity, and invites us to listen with openness and wonder. And perhaps the etudes on this lovingly realised recording will become, for someone, that unforgettable, life-transforming encounter with Philip Glass's music. -Laura Karnaviciute

More than 60 composers have set Metastasio's libretto to music, including Caldara, Vivaldi, Hasse, Leo, Scarlatti, Piccinni, Paisiello, Cherubini and, of course, Pergolesi, who presented his Olimpiade at the Teatro Tordinona in Rome for the Carnival season of 1735. It was to be his last opera seria, as the composer died the very next year, just after he turned twenty-six. His version is considered by many to be the most inspired of all, characterised by a musical originality as ingenious as it is refined, brimming with joyful freshness. Following the rediscovery of the previously unpublished Mass in D major, Giulio Prandi and his Orchestra Ghislieri return to Pergolesi with a recording of his operatic masterpiece made in the 18th-century theatre of Jesi, his hometown: an initiative of the Pergolesi Spontini Foundation, which has been promoting the composer's legacy for many years.

Joseph Haydn not only liked surprising his audiences, he also enjoyed a laugh, writes Christian Moritz-Bauer in the introduction to this sixteenth volume of the Haydn2032 complete recording of the symphonies. Take, for instance, the false conclusion of Symphony No. 90, composed in 1788: the music seems to have reached the last chord but, after a pause, the movement resumes to end with a powerful coda. Another example of Haydn's mischievous wit is the famous Andante "with the drumstroke" that forms the "surprise" of Symphony No. 94, a fortissimo chord designed to wake up audiences who dozed off towards the end of his concerts. In this volume focused on humour, Giovanni Antonini pays tribute to a great admirer of Haydn, Gioachino Rossini, by recording the sparkling opening Sinfonia of La scala di seta (The Silken Ladder), a one-act opera written in 1812.

REFERENCE RECORDINGS proudly presents a landmark recording, the first commercial project to feature Joel Thompson's music exclusively, which brings together this ascendant composer and the Kansas City Symphony led by Michael Stern. The career of composer Joel Thompson has seen a meteoric rise since the premiere of his breakout choral work Seven Last Words of the Unarmed in 2015. Each of it's seven movements sets to music the last words of an unarmed Black man before he was killed. Joining them are some of the most important performers of today focused on the same crucial topics: cellist Yo-Yo Ma, mezzo-soprano Joyce DiDonato, and the Sphinx Organization's vocal ensemble Exigence, led by Eugene Rogers. This is powerful music of profound insight and uncompromising conviction, brought to life by the passion and artistry of eminently skilled collaborators.

The Holy Liftoff (2024) is the 11th installation of Claire Chase's 24-year Density 2036 project, an initiative to create a bold new repertory for the flute by the 100th anniversary of Edgard Varèse's seminal 1936 flute solo, Density 21.5. Density 2036 has been called "one of the great musical undertakings of our time" by The New York Times, and "a quarter-century journey that has little precedent" by The New Yorker. Terry Riley began composing The Holy Liftoff in 2022 as an open score sketchbook brimming with colorful drawings that were intended to be played by Chase with any number of collaborating musicians. Over the following two years, the sketches evolved into a multidimensional work that now combines extensive through-composed material as well as graphic notation, evocative artwork, and Riley's signature open-form scoring that can be freely interpreted by the performers in variable durations and ensemble formations. Samuel Clay Birmaher's 60-minute realization of the work, which he composed in close collaboration with Riley and the performers, is scored for multiple flutes and string quartet. "When I improvised the first 16 bars of 'The Holy Liftoff' the melody and the chords whispered it's name while simultaneously urging me to make drawings of the experience. The drawings had angels and flying creatures and all the energies were rising up into a surrealistic skyscape... This piece could only have been written for Claire Chase." -Terry Riley

Folklore takes the listener on a musical journey throughout 19th- and 20th-century France, Georgia, Hungary, and Spain. Through different styles and soundscapes, the compositions are united by the spirit of folk traditions and national character, as well as personal memories of the performers-Swiss-French cellist Christoph Croisé and Georgian pianist Ana Bakradze. Works originally conceived for their instrumental combination sit alongside transcriptions that fit their sound world like a glove, a testament to the popularity of all the music on this album. Siete Canciones Populares Españolas, a set of seven traditional Spanish songs by Manuel de Falla, is his most-arranged composition and among his most popular. Béla Bartók's Six Romanian Folk Dances, originally composed for solo piano, were drawn from melodies the composer recorded of folk musicians singing in the countryside of his Hungarian homeland. Hungarian influences infuse Pablo de Sarasate's Zigeunerweisen (Gypsy Airs), originally scored for violin and orchestra. Sulkhan Tsintsadze's Five Pieces on Georgian Folk Themes evoke childhood memories for pianist Ana, especially the fourth, a lullaby that her mother used to sing to her. The most substantial work on the album, Robert Schumann's Fünf Stücke i'm Volkston (Five Pieces in Folk Style), conjures the harmonies and rhythms of folk music. French national character imbues Nadia Boulanger's Trois pièces (Three Pieces) and works by her teacher Gabriel Fauré: his elegant Sicilienne-originally penned for orchestra but frequently adapted for cello and piano-and his ever-popular miniature "Après un rêve" (After a Dream) from his Trois Mélodies (Three Melodies). When asked about their own connections to this music and what they wish for the listener, Christoph and Ana agree: "Above all, joy! We share a love for the roots in these pieces and the inspiration they provided to the composers. For this album, we've selected our favourite miniatures. Some are well known, others are more personal, but they all connect to the spirit of folk traditions in some way. It's about the lasting pleasure of connecting through music we love."

Brouhaha: Shaped by Fire is a recording and performance project, combining music with anthropology to highlight our connections to our nature and origins. From noisy social gatherings around fires 800,000 years ago to virtual meetings over Zoom today, we humans have created and solved an amazing array of problems. Even as we shape the world in unprecedented ways, we remain an integral part of nature, intertwined with it's rhythms and cycles. Project founder and violinist Maiani da Silva has commissioned six stylistically eclectic composers to write for solo violin based on what intrigues them about our human nature and our place in the ecosystem. In addition, Maiani and the composers have collaborated with world-renowned scientists to gain insights on their chosen theme. What results is an imaginative collection of works that both transcends stylistic labels and embraces intellectual inquiry, while highlighting an important duality: "our ability to work with or against our environment, [which] has been with us from the beginning" (Ian Gottlieb, composer of Shaped by Fire). The drive to express and understand are both deeply human. Brouhaha combines two cultural pillars-art and science-to further ask: What separates and also connects us to the delicate web of nature, our environment, other species, and one another?

We clarinetists are profoundly grateful to Johannes Brahms for these four late works, composed near the end of his life. They stand as some of his most intimate and deeply felt music. We also owe thanks to the clarinetist Richard Mühlfeld, whose artistry moved Brahms so greatly that it inspired him to compose again. Mühlfeld's playing unlocked a new, quieter world for Brahms. Instead of writing large, dramatic works, Brahms started composing more personal and emotional music that highlighted the clarinet's warm and gentle sound. I was a young man when I first got to know these works, and in retrospect, I believe that my long engagement with these four compositions has shaped my approach to music-making more profoundly than any other repertoire, extending even to my interpretations of contemporary music. There are certain compositions that simply refuse to let go. Often, after performing them, one assumes it will be the final time, yet that is seldom the reality. This has certainly been my experience with the works of Brahms. His music is a constant source of inspiration. Every time I set the music on the stand, something opens up - a new interpretative idea or a deeper understanding of the music. And then that feeling comes up that every musician recognizes: I have to play this again! This is music that demands stillness and focus, and for me, it serves as an escape from the speed and noise of modern life. We are inviting the audience into a space where time stands still, where we are allowed to be sincere and reflective. It is both a privilege and a responsibility to keep these compositions present through performance and recording. After our recital in 2017 where we played all four works, the idea emerged to record them together. I hope you will find as much enjoyment in listening as we found in bringing this music to life. - Rúnar

The Swiss-Franco-American virtuoso, Céleste-Marie Roy, elevates the sonorous splendour of the bassoon to vibrant new heights with her flexible tone, technical finesse, and striking interpretation of melodious and highly virtuosic works from the 20th and 21st centuries.

For their Preziosa series, MDG revives one of the most remarkable organ composers of the late Romantic period, Carl Sattler. The uniqueness of his works and the absolute richness of his musical ideas are expertly captured by Reinhard Kluth on the Klais organ at Himmerod Abbey. Still residing at the abbey was a former student of Sattler's, the elderly Father Raimund, whose contributions add a greater degree of authenticity to the interpretation.

Frank Martin's chamber music oeuvre may not take up much space on the shelf, yet it spans an entire artistic life. Together with pianist Ilona Timchenko; the Utrecht String Quartet dedicate themselves to three key works that impressively bring together tradition and modernity in the 20th century. His early piano quartet from 1919 clearly echoes influences from Bach to Franck, as well as folk melodies he had heard whilst stationed in the Savoy countryside during the First World War, though it is repeatedly enriched by dissonances that hint at more advanced harmonic ambitions. Martin quickly reached the limits of the traditional major-minor system, although he felt that music without tonality would be like architecture ignoring gravity. He combined Schoenberg's twelve-tone technique with a fine sense of sound and harmonic sophistication, particularly evident in the two outer movements. It was not until the age of 75 that Martin turned to the supreme genre of chamber music: the string quartet. Combining his inspirations from a long artistic career, his unique voice can be recognised in the chord progressions, musical flow and vivid rhythms, which the Utrecht String Quartet bring to life with natural ease.

The young talent Michal Balas has recorded Prokofiev's Sinfonia Concertante together with the Pilsen Philharmonic Orchestra. This album will follow his well received debut release on Berlin Classic, which featured hte Haydn Cello Concertos. Balas was recognized as "Classic FM 30 under 30 rising stars" and won the first prizes at "Classic String Competition" in Dubai as well as many other competitions.

Famous horn player Felix Klieser presents Italian arias on his instrument, the follow-up project to the Pop Chart award-winning album "Baroque Arias for Horn". He is joined by the Italian orchestra I Solisti di Pavia, recorded in the famous Teatro Fraschini at Pavia. The album contains well-known opera arias from Rossini, Verdi, Puccini and Italian songs like O Sole Mio and the Nino Rota's film music from "The Godfather". All tracks have been newly arranged for Felix Klieser and the ensemble.

Christus der Erloser concludes Friedrich Schneider's (1786-1853) monumental Christ trilogy. In the 1820s, the Dessau court conductor had planned to depict the life of Jesus in a series of four oratorios - a project he did not complete, but which nevertheless resulted in three complete works: Christ the Child (published in 2022), Christ the Master (published in 2023), and Christ the Redeemer, in which Schneider turns his attention to the Passion of Christ. The work testifies to Schneider's great dramatic sensibility, his deep religious conviction, and his mastery of choir and orchestra.