From Another World is more than an album title : it's an invitation to travel across centuries, continents, and emotions. At it's heart lies an encounter between two musical traditions: the elegance and architecture of European classical music and the expressive pulse of Argentine tango. Bridging these worlds is Guttman Tango Quintet, formed by musicians who draw naturally from both traditions under the direction of violinist Michael Guttman. In From Another World, tango is not nostalgia. It is evolution. Just as Astor Piazzolla once liberated tango from the dance hall into the concert hall, Guttman dialogues with the classics that shaped Western music. Each track on this album begins with a familiar theme (Beethoven, Mozart, Mahler, Dvorak, and others) and let's it wander into Buenos Aires. What emerges is neither parody nor pastiche, but a transformation. Recorded in January 2025 at the Queen Elisabeth Music Chapel, this debut album captures a moment of creative alchemy, an ensemble of classical virtuosos surrendering to the irresistible gravity of tango.
Coming off the immense success of the Billboard-charting Let me tell you — which received rave reviews from the New York Times, NPR, Washington Post, Boston Globe, Wall St. Journal, and many more — Barbara Hannigan turns her attention to the work of Erik Satie as the musical world celebrates his 150th birthday. The disc focuses on one of the minimalist composer’s few elaborate masterpieces: the almost-forgotten vocal piece “Socrate,” on three Plato dialogues in French translation.
In celebration of Satie's 150th birthday, the venerable label Winter & Winter recorded a selection of works with the world-famous soprano Barbara Hannigan and pianist Reinbert de Leeuw, known for his outstanding Satie interpretations. “Socrate” is the central focus of the album, heard alongside “Trois Mélodies” from 1886, “Trois Autres Mélodies” from 1886–1906, and “Hymne” from 1891. Barbara Hannigan and Reinbert de Leeuw are two of the most important representatives of the contemporary classical music world.
An homage to Erik Satie and Robert Desnos - A sensuous sound journey by the Ensemble European Music Project "Inside the Dream" evolved out of a live multimedia performance with a multichannel sound installation, voice, and an ensemble augmented by modern "club electronics." This CD presents the musical part of the performance. At it's center are several early songs by Erik Satie, along with his famous "Gnossiennes". Satie's compositions are flanked by Jürgen Grözinger's pieces, consciously written with a similar gesture, making the CD something of an homage to Satie, who was both a forefather of modern music and a close friend of the surrealists. Jürgen Görzinger is fascinated by the French surrealists and especially by Robert Desnos. "Inside the Dream" is an associative approach to and transformation of the atmosphere of longing, eroticism, passion, adventure, and melancholy which are presented in Desnos's poetry - all mixed with a touch of humor. The liner notes in German, English and French are illustrated with photographs by P.J. Boman from his book "Muse: Desire and Severance".
On the occasion of Erik Satie's 150th birthday, Fumio Yasuda embarks on a quest for hidden works of music and adapts rarely performed compositions for his piano trio: pieces that are well worth their discovery! Following a tour through Spain and France, Yasuda recorded this album in Bordeaux in October, 2016. In the early 20th century, Erik Satie was part of the Dadaist circle of artists in Paris. He worked with René Clair, Pablo Picasso, Georges Braque, Léonide Massine, Man Ray and, most importantly, Jean Cocteau. Fumio Yasuda selected Satie's music for René Clair's filme masterpieces "Entr'acte" as well as the works "Dance de travers" and "Airs à faire fuir" from "“Pièces froides" and several additional compositions to arrange and interpret them in a completely new style. Satie has an entirely different view from many of his colleagues: He is convinced that a composer has no right to waste the time his audience dedicates to him. And so he develops his idea of background music - and calls it "Musique d'ameublement" (which translates approximately as "Music as furniture", or "Musical furniture"). Music is meant to be in a room just like a table or a chair. Satie rejects finesse and virtuosity. "Everyone will tell you that I'm not a musician. And they're right." Satie has a very special place in the history of music. Without seeming obtrusive, Fumio Yasuda bows to Erik Satie and shows his respect fo rthe great master, who so often is little appreciated since his compositional style is misunderstood or his oeuvre reduced to a few popular pieces. For many listeners, some pieces will be a new discovery, thanks to Fumio Yasuda's selection.
On the present release, a jazz musician, pianist, and composer plays Erik Satie. Born in 1945, Ulrich Gumpert first began piano lessons with his father before going on to study in Weimar where he majored in French horn. Beginning in 1967 he performed in various bands with Klaus Lenz, and in 1971 co-founded the jazz rock group SOK. That same year he founded SYNOPSIS, from which the ZENTRALQUARTETT emerged in 1984. Ulrich Gumpert has developed an idiosyncratic personal style by using the experience of jazz and European music history in an original way. "Gumpert, who as a person never pushes himself to the fore, is also characterized by his modest reserve on his instrument. Without becoming particularly loud, particularly weird or particularly fast, he has found his very own tone: lyrical, warm, substantial, to the point. A quiet giant of German jazz." (Jazzclub Tonne)
Ogawa plays Erik Satie on an 1890 Erard Piano, Vol. 2
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SACD
$21.99Jun 02, 2017
Released in 2016 - the 150th anniversary of the birth of Erik Satie - the first volume of the series was warmly greeted by reviewers worldwide, who paised the clarity of Noriko Ogawa's interpretations as well as teh crystalline sound of her chosen instrument, an Erard grand piano from 1890. Like its predecessor, this second instalment takes in music from different phases of the composer's career, including the very early Three Sarabandes from 1887. A few years later Satie became involved with an esoteric society called ''The Catholic Rosy Cross of the Temple and the Grail'' for which he composed works such as the Sonneries de la Rose+Crois. Throughout his life, Satie identified strongly with children and famously said of himself that he ''came into the world very young, in an age that was very old''. In 1913, during what is often termed his ''humorous'' period he composed the four sets of children's pieces included on this album. Hailing from the same period are the two sets of ''Flabby preludes for a dog'' as well as the suite Sports et divertissements. Often regarded as one of the finest examples of Satie's art, this consists of a prelude and 20 musical snapshots depicting different sports and leisure activities, including golf, fishing and dancing. The suite was first published as a collector's album, accompanied by illustrations by Charles Martin and Satie's own prose poetry and calligraphy.
Eric Satie, known as a brilliant pianist and composer, was an integral part of the 20th century Parisian avant-garde. Included in this box of Satie piano works are the Ogives, inspired by the Notre Dame cathedral; the hauntingly beautiful works of Trois Nocturnes, and the calming Reverie du Pauvre. Satie's compositional brilliance, along with Kormendi's virtuosity will surely make this a treasured item for collectors and classical music loves alike.
On this release Scott Morris plays new arrangements of Erik Satie’s music for guitar with soprano and oboe. “Morris plays with considerable elegance and charm […]” (American Record Guide). Additional musicians include Grammy-winning Andrew York from the LA Guitar Quartet.
The largest collection of piano nocturnes on CD, celebrating the art of the romantic piano song without words. Over a century of repertoire in all modern recordings, plus a new booklet essay exploring the history and context of the nocturne. Composers of the 18th century such as Haydn and Mozart wrote notturnos as serenades to be sung and played at night time, both on an operatic stage and as independent pieces for entertainment. The early 19th century saw a rapid evolution in the technological, the cultural and the musical development of the piano - as an instrument of longer sustaining power and greater volume than before, offering a broader palette of tone-colours, presenting composers with the potential to write quasi-orchestrally for a single instrument, as Baroque composers had done for the organ. At the same time, musical forms were becoming looser, more shaped by extra-musical inspirations in literature, poetry and the natural world. The Irish composer John Field was the first to publish nocturnes for the solo piano as standalone works, rather than as poetic interludes within larger pieces such as suites or sonatas. Having inherited the form from Field, Frederic Chopin then raised the nocturne to new heights of inward expression. As much as the salon became a place for pianistic display of technique, it also became a space for quiet soliloquy through the course of the 19th century, accessible to the rapidly expanding bourgeoisie with access to an instrument at home and to the education required to play it. Thus publishers commissioned nocturnes from both greater and lesser composers to satisfy an ever-growing market. The nocturnes in this box cover all the great names of Romantic-era piano writing, and many lesser-known ones too. Many of the performances are played on instruments of the period, enabling listeners to immerse themselves into a 19th-century world of softer and more gentle colours and expression. This new box also features an essay by Peter Quantrill outlining the history of the nocturne and it's lasting hold upon our affections and imaginations.
With his concept album PEACE, renowned Austrian violinist and composer Yury Revich (-1991) invites listeners on a journey through the world to explore inner and universal peace through the voices of composers from different backgrounds and cultures. The consistently melodious program also includes compositions by Yury Revich himself: his Impressions - short, connecting pieces of music created especially for this project - as well as two original poems, act as conceptual bridges within the chapters of the album and shape PEACE into a coherent musical narrative. Sensitively interpreted by Yury Revich together with accordionist Basha Slavinska and pianists David Chen and Volodymyr Borodin, the album acquires a special artistic depth and coherence.
Shortly after Thomas Leleu moved to Berlin in 2017, he discovered Kurt Weill's music. In Leleu's eyes, Weill symbolizes both exile (to France and the USA) and the mixture of genres, cultures, the influence of jazz, cabaret and classical music. Kurt Weill is the cornerstone of this program, which revolves primarily around vocal works. This album shows Leleu's preference for different genres and how he feels comfortable in each of them. The international press described Leleu as "the world star of the tuba" (Europe 1), "the tuba prodigy" (La Crois), and "the tuba has found it's Paganini" (France Musique). The "absolute genius of the tuba" (La Nouvelle Republue) has forged an impressive career as a crossover artist, performing both classical as well as world and pop music. He deploys his astonishing musicality and versatility to dust off the traditional image of the tuba, while his wide-ranging interests and relaxed approach to concert life make him an ideal ambassador of his instrument.
This collection of piano works is a journey through the music that represents the years spanning the end of the 1800s and the first half of the 1900s. It is a varied itinerary, marked by that typically Parisian ésprit nouveau that captured the most diverse influences: popular music, jazz, exoticism, quotes from popular tradition, songs, circus exhibitions. At that time in fact the divide between cultured and light music came down as new forms of entertainment blossomed, different from those proposed by the great institutions. Cradles of this change were the artistic cabarets, the cafés-concerts, the music halls, the tabarins, but also bistrots, taverns, bookshops, and all the places where intellectuals and artists met. This release offers an historical playlist imbued with the mood of that time, alternating the energy and joie de vivre with more melancholic moods. For the centrality of his figure and the originality of his works, the fruit of a constant process of renewal, Erik Satie is present here with six works which represent several stages in his amazing creative parabola. Dario Müller has performed in concert for important institutions and has collaborated with Dynamic since 1984.
Satie’s personal eccentricities have never masked the fact that his music was both revolutionary and anticipatory of later artistic movements, principally Minimalism, Surrealism and Theatre of the Absurd. His piano music offers a perfect distillation of these elements. The Allegro is his earliest known work, offering his first use of quotations, a favored device. The extended pieces Le Fils des etoiles and uspud derive from incidental music, glorying in parodic and grotesque scenes, while his ‘humoristic’ phase of the 1910s is explored in Cinq Grimaces. Only Satie could attempt to fuse a fugue with a waltz, as he does in the Fugue-valse. Duanduan Hao was born in China in 1990. He began his piano lessons when he was four and by the age of six was already drawing attention to his precocious ability. He then studied in Shanghai and in Paris, going on to win many prizes in international piano competitions. He currently lives in New York and studies at The Juilliard School and Columbia University.
This new release is a showcase of French masterworks by composers including Debussy, Ravel, and more. Kathleen Karr is the Principal Flutist of the Louisville Orchestra and Flute Professor at the University of Louisville. In 2012, she was awarded the Distinguished Teaching Professor Award for the University of Louisville. At the University of Louisville, Kathleen teaches all applied flute students , flute ensemble, flute studio class, flute literature, flute pedagogy, chamber music coaching and performs with the faculty woodwind quintet. A frequent soloist with the Louisville Orchestra, Kathleen has most recently performed the Mozart G Major Flute Concerto with the Louisville Orchestra during the 2014-15 season. Kathleen has taught flute and chamber music at the Interlochen Arts Camp (Interlochen, Michigan), Bellarmine University, Centre College (Danville, Kentucky) and Indiana University Southeast. Dr. Denine LeBlanc teaches music in the Jefferson County Public School system where she has taught for over twenty-five years. From 1978 until its closure in the spring of 2020, she taught piano in the Community Music Program at the University of Louisville School of Music.
