Terra Infirma was directly inspired by the experiences of it's creative team. Reena Esmail, who resides in the Los Angeles neighborhood of Altadena, was forced to evacuate her home during the catastrophic fires of January 2025. Kondonassis, a committed advocate for the environment, is founder and director of the non-profit organization Earth at Heart; her initiatives include the widely-praised commissioning project FIVE MINUTES for Earth. Terra Infirma reflects not only the environmental passion and advocacy of both artists, but also their inspiration to innovate and expand the concerto form. In this bold new work, with a title taken from a poem by Robert Walters, the harp symbolizes the protagonist Earth, both fragile and powerful. The towering instrument is moved choreographically by Kondonassis across the stage as she journeys through various arrays of suspended percussion. In the composer's words, the work is "part virtuoso concerto, part performance art, and part theater." Esmail, who is Indian-American, has drawn on her extensive studies of Hindustani music in composing Terra Infirma. Her compositional voice is at once arresting, lyrical, haunting, and fierce. The work, which includes a defining movement titled "Immolation," incorporates elements of Raag Deepak, an ancient collection of pitches believed to invoke fire. Kondonassis, known for "a range of colour that's breathtaking," (Gramophone), brings the work to life with colorful authenticity. Says Esmail, "Terra Infirma sits somewhere between a harp/percussion concerto and a monodrama - Yolanda leads us through the trajectory of a wildfire, starting with the eerie moments before the first spark, and ending with the hope of new growth. The work explores our human relationship to fire - a force that can be at once devastating and illuminating. It has been a dream to work so closely with Yolanda, who has reinvented the role of the harp over and over again throughout her career. We have built the DNA of this piece together over so many years - experimenting in percussion studios, mapping stage plots, pushing our imaginations to the limit. I am so excited to share this work with the world." States Kondonassis, "The personal and musical resonance that I feel with Reena has resulted in a work that's deeply personal, uniquely colorful, and ground-breaking in so many ways. The harp is a highly visual instrument, and Terra Infirma utilizes that element to the fullest. In this work, the harp is actually a character in the musical drama onstage, and that gives me the chance to portray an enormous range of artistic emotion." The new concerto forms the heart of The Terra Infirma Project, a multi-year initiative of the Interlochen Center for the Arts, which boasts Kondonassis as an alumna (class of '82). The Interlochen Orchestra is featured along with Kondonassis and conductor Andrew Grams on the world-premiere recording, released in April 2026 on the Grammy-winning Azica label. The entire process, from initial workshops to the world-premiere and recording, has been captured by the award-winning film crew, Fulvew Productions, for an upcoming documentary to be released for airing on PBS Television in August 2026. The Terra Infirma Project is generously supported by the Allen B. Cutting Foundation.

FLORENCE B. PRICE. A composer advocates for the exchange of different traditions and cultures. Florence B. Price's works combine a fascinating spectrum of intense emotion, buoyant lightness, and playful charm, which captivated me from the very first moment. In particular, her songs, which bear witness to great sensitivity and melodic ingenuity, have made a lasting impression on me in terms of their expressiveness and complexity. However, it is not only her music that touches me; I also feel profoundly moved by her life story. Florence B. Price was a single mother of two children after separating from her husband. Tragically, she had to cope with the loss of one of her children at an early age-a fate that is sure to have shaped her life profoundly. As an African-American artist, she also had to assert herself in an era characterised by deep-seated racism, and in a world where women in classical music rarely found recognition. Astonishingly, her works have not yet been fully published or featured in the standard repertoire. Her music, culturally rich, full of history, and brimming with emotion, deserves to be elevated to it's rightful rank due to it's artistic quality. The apparent lack of widespread recognition of Price's oeuvre cannot be explained by a lack of compositional quality, but rather by socio-historical circumstances that marginalised artists like her. It is very surprising that her works have not yet been published in their entirety...(Excerpt from the liner notes by Sascha EL Mouissi)

From the early days of the twentieth century until the Anschluss forced him into American exile, Richard Stohr (1874-1967) was one of the more prominent personalities in Viennese musical life, as composer, teacher and author. Earlier releases in this series of recordings revealed him to have an individual voice, somewhere between Bruckner, Mahler, Korngold and Strauss. It can be heard in it's full glory in his Chamber Symphony of 1912, a sunlit score modest in it's orchestral demands but expansive in it's ambit and generous in it's ceaseless flow of gorgeous melody.

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.

Die Kunst der Fuge (The Art of Fugue) is the fifth album in the Bach series by Jorg Halubek and his ensemble il Gusto Barocco - the think tank for the music baroque master Johann Sebastian Bach. The new recording is led by Jorg Halubek, who plays the historic German Silbermann Organ from 1737. Together with the Early Music ensemble il Gusto Barocco, they present a unique interpretation of the world famous Bach composition "The Art of Fugue".

The two composers heard on this album, Giovanni Gabrieli (1553-1612) and Giovanni Bonato (born in 1961) have more in common than their first names: both hail from the Veneto in north-east Italy - there is no documentation of Gabrieli's birth, but he was probably Venetian, and Bonato was born in nearby Schio. Their music, too, is conceived in terms of it's sound in space, with Gabrieli using the cori spezzati that sang from the opposing galleries of St Mark's Basilica in Venice, and Bonato employing cori spazzializati to build a spatial dimension into the music itself. Juxtaposed, their styles offer a striking contrast, with Gabrieli's bold declamations set against Bonato's shifting, timeless suspensions.

A unique collection of both piano solo and concertante pieces by the Boulanger sisters, inspiringly brought to life by the Dutch pianist Duco Burgers. Despite her tragically early demise from tuberculosis in 1918, aged just 25, Lili Boulanger has become almost a household name in classical music during the last generation, through her slender but exquisitely crafted works for choral, orchestral and chamber forces above all, exemplified by her Psalm settings and her tone-poems such as D'un soir triste. Her music for solo piano is less well known, but still distinctive, as Duco Burgers persuasively demonstrates in these new recordings of the Prelude in D, the Trois Morceaux and the Theme and Variations. The Prelude is a work of her prodigious teenage years, while the Trois Morceaux belong to the happiest period in her short life, while she was staying at the Villa Medici in Rome, having won the prestigious Prix de Rome. The Fantaisie affords a fascinating window on to the aesthetic ambitions of the 25-year-old Nadia Boulanger as a creator in her own right, years before she became the renowned facilitator of others' creativity as a teacher of composition, theory and technique. The model of Franck's Symphonic Variations may be evident in the form and scale of the 20-minute work, dating from 1912, but Nadia presents her own, high contrasts of tragic nobility and free-flowing fantasy within the piece. Darker still is Vers une vie nouvelle, a solo piece from 1918, brooding and powerful out of all proportion to it's brevity. In his booklet essay, Duco Burgers weaves together commentary on the life and work of the sisters, entwined but distinct threads of energy, creativity and tragedy shaped by the world around them.

Ben van Oosten is the superstar of symphonic organ music. His multiple award-winning recordings of almost the entire French Romantic organ repertoire are highly acclaimed worldwide. With this dedication to the German Romantic repertoire with masterpieces spanning from Mendelssohn to Reger, van Oosten takes listeners on a sonorous journey through a century of music history that is inspiring in every way.

Spiegel i'm Spiegel Celebrating Arvo Part at 90 This album, titled after one of Arvo Part's most beloved works, is a meditative tribute marking the composer's 90th birthday on September 11, 2025. On Spiegel i'm Spiegel, music becomes a mirror: between composers, across centuries, and within the listener. At it's heart are three works by Part-Fratres, Da pacem, and Spiegel i'm Spiegel-each embodying his signature language of stillness and spiritual clarity. They are framed by pieces that resonate with his sensibility: Olivier Messiaen's contemplative Louanges, Johann Sebastian Bach's luminous Sonata for Viola da Gamba, and Alfred Schnittke's brooding Cello Sonata. Performed by Onute Grazinyte and Edward King, with the Aidija Chamber Choir led by Romualdas Grazinis, this collection invites deep listening. From Bach's elegant counterpoint to Messiaen's timeless devotion, each work reflects a shared search for the eternal. A sonic meditation on peace, prayer, and presence-this is music that mirrors the soul. Recorded at Studio Residence Paliesius, May 2025

A Tree Is a Song presents first recordings of a collection of recent secular choral works by Cecilia McDowall, performed by The Rodolfus Choir under Ralph Allwood and Elinor Cooper. Written between 2012 and 2024, the programme sets texts by poets including Heather Lane, Seán Street, Kate Wakeling, Sheila Bryer, Virginia Woolf, and Shakespeare. Several works feature obbligato cello played by Leo Popplewell. The pieces respond to a wide range of subjects, from nature and community to remembrance and the COVID-19 pandemic. Recorded in London in 2024, the album documents McDowall's distinctive approach to text setting, choral texture, and contemporary vocal writing.

The French composer and organist Thierry Escaich composed his Te Deum pour Notre-Dame for the reopening of Notre-Dame Cathedral in Paris; a hymn to the Cathedral's resurrection, it is a large-scale work for children's choir, two mixed choirs and orchestra. One hundred and eighty singers and instrumentalists gave the work it's first performance and recorded it in the prestigious building on 12 June 2025. Thierry Escaich was inspired by the Cathedral's thousand-year-old history and drew on many sources, beginning with the Bible but also including prestigious authors who had written about Notre-Dame such as Victor Hugo and Charles Peguy. According to Escaich himself, "this Te Deum is a journey from the destructive flames of the conflagration to the fire of redemption". Escaich, who has been a co-titular organist of the Cathedral since 2024, also presents examples of his famous art of improvisation on the Cathedral's organ between each movement of the Te Deum. The work won universal acclaim at it's first performance, with some journalists describing it as "the great French oratorio that we have been awaiting since the beginning of the 21st century" (Le Figaro).

'When I'm composing, not only have I to create music, I must also search for the best way of putting it across. It means being on the alert the whole time; writing - then criticizing what I've written - and if it won't do, scrap it and start again - more criticism - and so on until I've done everything within my power to make the music live and flow naturally'. These insights from Grace Williams into her approach to the compositional process show her strong desire to communicate fluently and sincerely with her listeners. Also evident from this quotation is her professionalism, technical integrity and formidable capacity for self-criticism. She held herself and her art to the highest standards, withdrawing and destroying scores which failed to live up to her ideals. It can be inferred from this that she regarded the works which survived elimination as worthy of her musical legacy.

There are moments in music when time seems to pause, and with Arcangelo Corelli's music, I have experienced that enchanted stillness-where each note is not just heard but felt deeply. His music, elegant and radiant, is the gentle whisper of a bygone era, yet it breathes timeless warmth and light. Corelli's art is a delicate conversation between violin and continuo, a living breath of harmony and counterpoint that dances with noble grace. Each phrase unfolds like a tender story, where voices seek, answer, and embrace one another-like cherished friends sharing secrets across the ages. It was through my mentor, Ryo Terakado, and his luminous recording of the Violin Sonatas, Op. 5 that I first stepped into this radiant world. Since then, Corelli's melodies have been a constant companion-like a soft glow in the twilight, a source of inspiration and solace. Corelli's influence extends far beyond my own story. His style shaped the musical language of generations-admired openly by Francois Couperin, absorbed deeply into the work of Jean-Marie Leclair, and echoed, even centuries later, by virtuosi such as Pablo Sarasate and Niccolo Paganini. His music is both spiritual and earthly-a beacon of simplicity and profound beauty. I am deeply grateful to Ryo Terakado for guiding me to this wellspring of grace, to Kaori Uemura and Francois Guerrier for their artistry, and to our magical producer Guido Tichelman and the Byucksan Corporation for nurturing this project. - Eun-Shik Kim

EVERYTHING CHANGED ON JANUARY 7, 2025 I never imagined we would evacuate our home in the Palisades-a place alive with laughter, music, and the joyful chaos of my husband, our two young daughters, and crazy rescue dog-never to return. So many dear friends lost everything: cherished family heirlooms, photographs, instruments, and music libraries that had taken a lifetime to build-all vanished in moments. That evening, from our hotel window, I watched the fires rage through the beautiful Santa Monica Mountains and sobbed, completely helpless. Yet from the ash and destruction, something profoundly beautiful emerged-much like the glowing fairy at the end of Fantasia, rising from Stravinsky's Firebird Suite. I commissioned Eric Whitacre to write a new work for violin and orchestra, and as the world changed, so did his composition. Little did I know that The Pacific Has No Memory would be born from these epic tragedies. This music has become salve for the soul-a warm, healing embrace for my broken heart. Tender and profound, it radiates love, hope, and renewal. I am eternally grateful to Eric Whitacre for creating this musical prayer and to the Orpheus Chamber Orchestra for breathing life into it together. This recording is dedicated to all who were affected by the Los Angeles fires, and to the brave first responders who risked everything to save lives. - Anne Akiko Meyers

This thoughtfully conceived, beautifully executed, and boldly multi-idiomatic new album is a state-of-the-art insight into the unique soundworld of the contemporary marimba. It is also a portrait of the imaginative virtuosity of one of the instrument's finest practitioners engaging in the worlds of both contemporary classical music and jazz with equal devotion and insight. Her choices on this project display the creative boldness that has defi ned her entire career.

Led by it's Director Matthew Martin, The Choir of Gonville & Caius College, Cambridge, joins forces with the Academy of Ancient Music in Michael Haydn's rarely heard masterpieces: the Requiem and Missa Sancti Hieronymi. The four soloists are all ex-choral scholars of Caius Choir, showcasing the distinguished musical tradition of this student group. Unjustly neglected, Joseph Haydn's younger brother was a talented composer in his own right. Written after the death of his infant daughter and his patron, the deeply emotional Requiem is a masterpiece that combines complex colourful textures and forms with imaginative orchestration and vocal writing. Mozart was a great admirer and it is thought that Haydn's Requiem formed the prototype for his own better known masterpiece. In contrast, the later Missa Sancti Hieronymi is lighter and more optimistic. Unusually scored for oboes, bassoons, trombones and continuo (with no upper strings), it exudes transparency and joyful energy. This recording will undoubtedly put these neglected works back into mainstream repertoire.

Giya Kancheli, one of Georgia's most eminent composers, became increasingly famous after the advent of glasnost in the Soviet Union, when his works, not least his seven symphonies, were heard internationally. Around the year 2000 Kancheli shifted away from the opulence of these pieces and moved towards a more restrained, introspective vein, which is exemplified by the three works on this album. Elements of folk and traditional music can be glimpsed in the abstract Ex contrario, while Middelheim is striking for it's overlapping succession of episodes. Tsutisopeli was Kancheli's final score.

Encounter brings together two towering works of contemporary chamber music that speak across cultures, histories, and inner worlds. Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind and Peteris Vasks' String Quartet No. 6 arise from profoundly different traditions-Jewish mysticism and Baltic spirituality-yet meet in a shared search for truth, memory, and transcendence. Both works are intensely personal, rooted in lived experience and belief, and animated by music's power to give voice to what lies beyond words: longing, suffering, hope, and illumination. In this recording, these worlds do not merely coexist; they listen to, reflect, and transform one another. Performed by the Arethusa Quartet with clarinetist Chen Halevi, Encounter is also a meeting of artistic journeys. Golijov's ecstatic, ritual-like score unfolds as a spiritual ascent through dreams, prayers, and blindness-understood as deeper inner vision-while Vasks' Sixth Quartet traces a life's arc from farewell and remembrance to a final, hushed encounter with transcendence, illuminated by echoes of Beethoven. Across both works, vulnerability and intensity are balanced by stillness and song, darkness by light. What emerges is an album that feels at once intimate and universal: an affirmation of shared humanity, and a reminder of music's enduring ability to connect past and present, earth and spirit, performer and listener. = Curiosa is conceived as a personal "cabinet of curiosities" by violinist Jorge Jiménez, bringing together music that entered his life through years of travel, collaboration, and discovery. The album spans laments, dances, preludes, fugues, and songs from both renowned and anonymous sources, ranging from the Middle Ages to the Baroque and beyond. Each piece is selected for it's emotional depth, strangeness, and expressive power, forming a living repertoire shaped in rehearsals, late-night conversations, concerts, and recording sessions. Central to the project is Jiménez's fascination with unaccompanied music and historical instruments, particularly the baroque violin and vielle, whose raw and earthy sound transports the listener into earlier sound worlds. Throughout Curiosa, Jiménez weaves together personal heritage, musical memory, and imaginative storytelling. His own arrangements connect Bach, Dowland, Strozzi, Gaspar Sanz, and traditional tunes with vivid images. Joined by Joy Smith on early harps and Daniel Garay on historical percussion, and performing with his ensemble Tercia Realidad, Jiménez blends historical insight with spontaneity and improvisation. The result is an album that feels both intimate and expansive-music passed "between hands, ears, and hearts," constantly transforming while remaining deeply rooted in shared curiosity and human connection. Jorge Jiménez: "These pieces entered my life through the extraordinary musicians and ensembles I've been fortunate to work with across Europe. They form a living repertoire shaped in rehearsal rooms, late-night conversations, recording sessions, and concerts." = During the darkest of the lockdowns, I took my daughter to an open field near our home. In a time when the world felt shuttered and small, walking was our only escape from the suffocating stillness. As we reached the field, a sudden sensation washed over me-a quiet awakening. It wasn't just the spring breeze or the scent of the grass; it was a sudden reminder of what being alive meant. I felt I had been touched by Zephyr, the Greek god of the west wind, sparking a renewed wish to create and perform for the world once more. Liberte´: A piece exploring and searching for emotional freedom. Zephyr: Named after the gentle west wind, this track served as the primary source of inspiration for the entire album. Fushigi no Kuni: Translating to "Wonderland" in Japanese, this piece was inspired by Alice's Adventures in Wonderland written by Lewis Carroll. A Troubadour in the Moonlight: A composition and improvisation depicting a minstrel serenading a loved one beneath the moon. For Misato: A heartfelt dedication to Misato-san, my dear friend who departed too young. The five songs above are composed by Yukari. Eurus, Suibokuga, Pandora's Box, Don't Follow the Piper, and Au crépuscule are collective improvisations. = "We can imagine some eyebrows being raised at the description of Dora Pejacevic as a contemporary of Brahms; the two composers were born more than fifty years apart, and their lives only overlapped by twelve years. Yet both works by Pejacevic are unmistakably from the same compositional lineage as that by Brahms; and both are works written early on in Pejacevic's remarkable (and, sadly, all-too-short) life. Both pieces belong clearly to the romantic tradition, displaying no hint of the more modernist directions which her later works would take. We were immediately intoxicated by the passionate sweep of Pejacevic's Piano Quartet, but also the tenderness of it's slow movement, and felt it would make the perfect bedfellow for the First Piano Quartet of Brahms, a piece to which Tom has felt particularly close since student days. Brahms's Piano Quartet is justly one of the best-loved of all chamber works, and few works are more exhilarating to perform: the first movement offers an abundance of glorious themes; the second takes us to a mysterious dreamworld; the third luxuriates in expansive lyricism; then the fiery virtuosity of the gypsy finale sends us headlong to the finish line. This album brings us to the end of our recorded journey through Brahms's three piano quartets, and it has been the greatest privilege and joy to record these works, alongside three major piano quartets by composers who deserve to be far better known. However, we are pleased to say that the series does not end here: looking beyond the piano quartets, we have further albums in preparation, pairing Brahms with his brilliant and lesser-played contemporaries." -Kaleidoscope Chamber Collective

With Hail! Bright Cecilia, Henry Purcell, herald of the British Baroque, pays tribute to the patron saint of music through a score widely regarded as one of his masterpieces. Composed in 1692, this ode reflects both the artistic effervescence of 17th-century England and the central role of music in society at the time. Vincent Dumestre and Le Poeme Harmonique reveal the full expressive richness of Purcell's writing in a performance where jubilant brilliance, lyrical delicacy, and dramatic contrasts unfold with infectious vitality. Alternating between recitatives, solo arias, and sumptuous choruses, the score showcases Purcell's mastery of musical dramaturgy, balancing orchestral refinement with controlled theatricality.