This recording is dedicated to two recent concertos by Kalevi Aho, one of Finland's foremost contemporary composers. The author of a body of work as important as it is varied, Aho enjoys collaborating with exceptional soloists, for whom he composes works that highlight their musical qualities, inventiveness and personality. The Concerto for Alto Flute and Strings features an instrument with a soft tone, well suited as a soloist with a small orchestra of strings alone. The work is in six movements played without interruption, and the soloist, Sharon Bezaly, sometimes switches to the bass flute, which brings a mystical feel to the music. The St Michel Strings and their conductor, Erkki Lasonpalo, contribute to the mysterious atmosphere in which lyrical and dramatic episodes abound. The Double Concerto for Viola, Percussion and Orchestra, entitled 'Moonlight Concerto', was composed at the initiative of a Berlin-based musician couple, violist Hiyoli Togawa and percussionist Alexej Gerassimez. Here we are immersed in a Japanese atmosphere that reveals echoes of the 1,000-year-old tradition of ritualistic gagaku music. In this work, the percussionist plays instruments that are not usually heard in orchestral concerts, such as the moon gong, the waterphone, a hang drum and nine Thai gongs. The Lahti Symphony Orchestra, conducted by Anja Bihlmaier, provides the rich orchestral commentary.

With works by Ludwig van Beethoven, Franz Schubert and Fritz Kreisler, the Amadeus Trio presents a multifaceted programme that combines Viennese chamber music tradition, lyrical depth and virtuoso esprit. Beethoven's famous 'Gassenhauer Trio' captivates with it's wit and elegance, Schubert's first piano trio with it's formal breadth and poetic expressiveness, while Fritz Kreisler's miniatures bring the unmistakable Viennese charm into the modern age with a wink. Founded in 2020, the Amadeus Trio brings together three internationally renowned soloists who share a passion for chamber music and intense dialogue with each other - and with the audience. The members of the trio have already performed with leading orchestras such as the Royal Philharmonic Orchestra London, the Vienna Symphony Orchestra and the Vienna Chamber Orchestra, and have appeared in major concert halls such as Carnegie Hall New York, Wigmore Hall London, Suntory Hall Tokyo, Tonhalle Zurich, the Vienna Musikverein and the Konzerthaus. The Amadeus Trio performs internationally in Europe and Asia and received standing ovations at it's debut in the sold-out Vienna Konzerthaus. Today, the ensemble stands for lively, high-class chamber music that draws inspiration from tradition and brings it into the present with fresh energy and immediate expressiveness.

Soprano Ruby Hughes, celebrated for the profound "understanding and stylishness" (Gramophone) she brings to her artistry, has a distinguished discography of recitals showcasing the exquisite beauty of her voice. She is particularly known for her carefully curated programs that weave together works from diverse eras. In Amidst the Shades, Hughes reunites with gambist Mime Yamahiro Brinkmann and lutenist Jonas Nordberg. The same inspiring sonic constellation contributed to the success of Heroines of Love and Loss (BIS-2248). This new recital explores their shared passion for Elizabethan music, which served as the catalyst for the program's creation. The contemplative and melancholic songs of John Dowland form the foundation, leading to works by Robert Johnson and John Danyel, interwoven with Purcell's intimate vocal pieces. Seeking to further enrich the repertoire for lute and voice, Hughes commissioned new works from Errollyn Wallen and Deborah Pritchard, setting texts by William Shakespeare. She also obtained permission from Cheryl Frances-Hoad to arrange one of her existing compositions for this unique ensemble. Amidst the Shades promises a recital brimming with nuanced expression and delicate sonic colors.

The four symphonies of Arvo Part were composed over a span of forty-five years, and bear little or no relationship with one another - four individual pieces that represent his output at separate parts of his creative journey. The First Symphony was composed in 1963, shortly after Part had graduated from the Tallinn Conservatory. It's two-movement structure looks to the baroque - Canons and a Prelude and Fugue - but the harmonic language is extremely advanced, giving off a distinct whiff of twelve-tone serialism. The Second Symphony, from 1966, in three movements, again employs a combination of serialism and textures hinting at Penderecki and the Polish school. Also in three movements, the Third Symphony (1971) reflects the time Part spent in the late 1960s studying chant and mediaeval music. Symphony No. 4 'Los Angeles' came much later (in 2007 - 08) and now the style is directly inspired by sacred music. Part took as his models two great litanies of the Orthodox Church: the Canon of Repentance, and the Canon to the Holy Guardian Angel. Unusually scored for strings, harp, timpani, and percussion, this final work is also cast in three movements. With her elegant, expressive body language, natural stage presence, and infectious musicality, Eva Ollikainen is one of the leading conductors of our time. This former student of Leif Segerstam and Jorma Panula has been Chief Conductor and Artistic Director of the Iceland Symphony Orchestra since 2020.

Hakan Hardenberger and Roland Pontinen have enjoyed a fruitful artistic relationship for over forty years. They have played, toured and recorded together and have devoted much time and energy to repertoire ideas. 'For us to create a new programme is an exciting, stimulating and fun process', says Pontinen. 'A process that often mirrors our mutual interest in jazz, film and other art forms. The idea of juxtaposing works of contrasting characters, or composed centuries apart, can often shed new light on the music itself.' We are treated here to recently composed works, arrangements, favourites of both musicians and standards from the Great American Songbook. The centrepiece of the programme is Three Autumns by Staffan Storm, atmospherically connected to Anna Akhmatova's poetry, a reflection on elegiac autumn moods. Among contemporary composers, Mark-Anthony Turnage and HK Gruber, who have provided Hardenberger with more works than any other composers, are also represented. Roland Pontinen contributes two pieces, one of them a meditative work inspired by the simplicity and mood of Thomas Newman's masterful film scores. Legende by George Enescu reflects the impressionistic style of the composer's teachers. The recital is also interspersed with shorter pieces, arrangements and reinterpretations of classic American songs, and includes legendary jazzman Ornette Coleman's Chanting, a favourite encore in Hardenberger/Pontinen programmes - always improvised, every time different.

For her first solo album with BIS Records, Alina Ibragimova, together with Cedric Tiberghien, embarks on recording of Beethoven's entire violin sonatas. As one might expect, the first violinist of the Chiaroscuro Quartet presents these chamber music masterpieces on period instruments. While she plays a gut-stringed instrument, Tiberghien plays a fortepiano, a copy of a Viennese instrument from 1794. This new interpretation of Beethoven's violin sonatas brings us as close as possible to the soundscape that listeners present at the première of these works would have heard at the turn of the 19th century. This first volume contains the three violin sonatas Opus 12, the first that Beethoven published in Vienna, where he had already established himself as Mozart's successor. As was customary at the time, they are written 'for harpsichord or fortepiano, with the accompaniment of a violin', but following Mozart's example, they are truly for both instruments in equal measure. The disc concludes with the 'Spring' Sonata, the most popular and probably the most poetic of the violin sonatas. We look forward to continuing this undoubtedly landmark recording series, with a second and third instalment soon to come.

His First Symphony famously took Brahms twenty-one years from conception to first performance - a marker of both his own highly self-critical assessment of his output, combined with the expectation of everyone around him that his symphonic output would naturally pick up where Beethoven had left off. Astonishingly, his Second Symphony was begun in June 1877 and received it's first performance just six months later, by the Vienna Philharmonic and Hans Richter. It's cheerful nature and pastoral mood are also a stark contrast to the first symphony. Following a gap of some six years, Brahms returned to the form in 1883, and composed his third and then fourth symphonies in quick succession. Begun in 1884, the Fourth Symphony was premièred by Brahms and the Meiningen court orchestra in October 1885. The work is especially notable for it's last movement, which takes the form of a passacaglia (an extremely rare occurrence) and is the only one of Brahms's symphonies to end in a minor key.

Two years ago, the Arte dei Suonatori ensemble and it's dynamic conductor and harpsichordist Marcin Swiatkiewicz presented C.P.E. Bach's 'Hamburg' Symphonies (BIS-2459) - highly expressive and personal works. Nervous, full of unexpected twists and turns, surprises, contrasts and 'affects', they are, in a word, marked by Empfindsamkeit (heightened emotionality). This time, Arte dei Suonatori and Marcin Swiatkiewicz present six 'Berlin' Symphonies, composed between 1755 and 1758, that is, before the 'Hamburg' Symphonies. Arte dei Suonatori and it's conductor chose the original versions for strings alone with harpsichord continuo, making this recording the first to offer all these works together in their original forms without the wind parts, which were added later. The chamber-like aspect of the writing is highlighted here by the ensemble's compact instrumental force, where each musician participates on an equal footing and everyone is heard. Swiatkiewicz also points out that their interpretation, resting on historically oriented performance practices, is "grounded in a constant search for analogies between music and poetry, alongside a close attention to prosody and dance forms", ensuring that they will undoubtedly delight music lovers of the 21st century.

Poetry Chopin's piano concertos are the perfect fusion of virtuosity and heartfelt expression. In this edition, Christian Zacharias brings every intimate and exuberant moment to life with unparalleled sensitivity. Listeners will be captivated by the lyrical depth and poetic nuance of each movement. Clarity Recorded in the historic Salle Metropole with MDG's signature audiophile approach, this release delivers an immersive, natural sound. Newly remixed and mastered for Super Audio CD, every note resonates with clarity, depth, and spatial precision. The result is a listening experience that feels both immediate and timeless. Synergy Zacharias' long-standing partnership with the Orchestre de Chambre de Lausanne shines throughout these performances. The orchestra provides an attentive, finely balanced accompaniment, allowing the pianist's interpretation to flourish. This synergy transforms every passage into a vivid, emotionally engaging musical dialogue. Legacy Originally recorded in 2003, this edition preserves the freshness and brilliance of the original sessions. It is a milestone in MDG's Preziosa series, offering a rare combination of historical insight, artistic excellence, and technical mastery. A must-have for collectors, audiophiles, and classical music enthusiasts alike.

Baroque bad boy Francesc Valls shook the music world by not conforming to standard practice and using unconventional harmonies and gratuitous dissonance. Ensemble Bachwerkvokal led by Gordon Safari take this controversial Catalan composer from the time of Bach out of the archives and present his extraordinary works for the first time in this world premiere recording.

Under the motto "Dancing Organ," Czech organist Michael Bartek has compiled a varied program of dance pieces from different eras, including original compositions and some virtuoso transcriptions. In addition to popular works, there are also a few surprises to discover. This is performed on "his" Kuhn organ in the Richterswil Church near Zurich. For this SACD, the sound has been optimally captured in stereo and 5.1 surround sound. Unter dem Motto "Dancing Organ" hat der tchechische Organist Michael Bartek ein vielseitiges Programm von Tanzstucken verschiedener Epochen - Originalkompositionen und teils virtuose Transkriptionen - zusammengestellt. Neben popularen Werken gibt es auch so manche uberraschung zu entdecken. Als Instrument dient ihm "seine" Kuhn-Orgel in der Richterswiler Kirche, nahe Zurich. Fur diese SACD wurde der Klang optimal als Stereo- und auch als 5.1 Surround-Aufnahme eingefangen.

Since relaunching Sinfonia of London in 2018, John Wilson's hand-picked orchestra has attracted the highest critical acclaim from both national and international press, performed at the BBC Proms every year since 2021 (their live début), and made their international début at the Concertgebouw, Amsterdam in 2025. Regularly touring in the UK, they have also released 25 albums (this is the 26th), covering a wide range of repertoire, including works by Korngold, Respighi, Ravel, Strauss, Rachmaninoff, Britten, Walton, Bliss, and Rodgers & Hammerstein. The album opens with Dukas' The Sorcerer's Apprentice, followed by Debussy's Clair de lune (orchestrated by John Wilson). Chabrier's Joyeuse Marche and Ravel's Une Barque sur l'océan (orchestrated by their composers) are followed by Saint-Saëns' symphonic poem Danse macabre. The programme ends with all of the movements from Bizet's two Carmen Suites, but in John Wilson's preferred order!

Powerful Anna Pikulska unleashes the full might of the historic 1607 Villanueva de Huerva organ, revealing it's sonorous depth and dramatic character. Thunderous Batallas, blazing trumpets en chamade, and even drum effects created within the instrument itself make this recording an electrifying experience. Magnificent This colourful programme spans Spain's golden organ tradition with inspired excursions to Italy and the Netherlands. Works by Correa de Arauxo, Aguilera de Heredia, Sweelinck, and Frescobaldi, amongst others, shine in performances rich with contrast, virtuosity, and stylistic flair. Angelic Delicate flute stops, finely shaded voices, and refined colours float through the wonderful acoustic of Nuestra Señora de los Ángeles in Aragón. The built-in echo effects, captured in immersive 3D sound on Super Audio CD, surround the listener with a sense of space and serenity. Vivid With new additions to the repertoire and countless sonic surprises, this recording celebrates the long, distinctive tradition of Spanish organ music. Pikulska's keen ear for detail and joyful musicianship make these rarely heard masterpieces come alive in all their splendour.

Finnish Kaija Saariaho and Estonian Helena Tulve, two composers with highly individual voices, both explore instrumental color as a core element of their work. Saariaho's vocal works particularly reveal the full expressive richness of her music. Early pieces like Suomenkielinen sekakuorokappale and Nej och inte established her unique grammar of disintegrating sonic and semantic units; later works such as Lumen valosta and Kesapaiva further develop this approach with extended vocal techniques. Tulve's music "grows out from simple primary impulses, being influenced by natural patterns, organics and synchronicity." I Am a River, based on verses by the 13th-century Persian scholar, poet and mystic Rumi, explores the connection between choral music in resonant church acoustics and sensorial mysticism. Nachtliche Gesange, based on texts by exiled German-speaking Jewish poets, draws it's sonic material from the phonetic properties of the German language. These works of unusual beauty are entrusted to the expert voices of the Helsinki Chamber Choir under Nils Schweckendiek. This GRAMMY-awarded collaboration, previously heralded for their Saariaho album Renaissance (BIS-2662), promises a profound interpretation of these contemporary works for choir.

Austrian mezzo-soprano Sophie Rennert, accompanied by expert pianist Joseph Middleton, presents a selection of Schubert lieder blending beloved masterpieces with lesser-known gems. Sophie Rennert's extensive operatic repertoire spans Baroque to contemporary works, encompassing Purcell, Rameau, Handel and Vivaldi, through Mozart and operetta - numerous recordings with leading figures in the early music scene further highlight the quality of her voice. Hailed by critic David Nice as "a mezzo of many colours, subtlety, dramatic intelligence and a crucially brilliant top", it was only a matter of time before she lent her voice to Schubert's highly dramatic songs. The title of this recital, Irrlichter (will-o'-the-wisp), her first for BIS Records, comes from Rennert's favourite song, "Des Fischers Liebesgluck". And much like a will-o'-the-wisp, the composer leaves us in a state of uncertainty. Is the song a memory or just a deep, unfulfilled longing? This feeling, which permeates all of Schubert's music, is in a sense the thread that runs through this collection of songs with their twilight atmosphere. Every single one of these Schubert settings depicts a different dream, a different longing to be discovered.

Shimmering timbres, vibrant rhythms and colourful harmonies complement ragas from the Indian subcontinent. Walter Kaufmann fled Nazi Germany in 1934 to research Indian classical music and combined these influences with Western traditions in his compositions. The Regensburg Philharmonic Orchestra under the baton of Stefan Veselka present four works from Kaufmann's most productive creative phase during his time in exile, taking the listener on a voyage through the region's fascinating musical landscape.

Following his acclaimed recording of Kurt Weill's symphonies 1 and 2 and excerpts from The Silver Lake (BIS-2579), HK Gruber and his congenial partner, the Swedish Chamber Orchestra, present three more works by the famous musical theatre composer, this time featuring sopranos Wallis Giunta and Jennifer France and violinists Katerina Andresson and Benjamin Herzl. This release opens with the ballet-chante satire The Seven Deadly Sins, a scathing critique of capitalist society that highlights the perpetual struggle between money and morality. Anna, a young girl, is sent away from her family with the mission of bringing back enough money to build a house on the Mississippi. The cantata The New Orpheus, which blends the very different styles of aria and song, tells the sad story of the singer who sets out to conquer the dreary walls of modern cities to save Eurydice, and with her, all of humanity. Finally, the Concerto for Violin and Wind Orchestra, a central work from Weill's early creative period, displays a theatricality that heralds the stage works to come. An exciting programme showcasing Weill's inimitable language of mixing the sophisticated and the popular, the melodic and the dissonant, the complex and the streetwise.