Lieder by Hanns Eisler, Rudi Stephan, Robert Kahn, Charles Ives "The album REMEMBRANCE is intended to convey the hope and desperate desire for peace - born of conscious memory and the lessons from the past. With this, my debut album, I want to encourage listeners to reflect and consciously remember the suffering and destruction of war and it's physical and psychological consequences. It should be a remembrance of those who fought for a better world, or dreamed of it. A memorial to all of those who innocently lost their lives far too early. The message of this music is today, unfortunately, more topical and relevant than ever. It challenges us to reflect on the human consequences of war and reminds us of the unceasing desire for peace and a better future." Marcel Brunner

Organised Delirium is pianist Tamara Stefanovich' personal exploration of the sonata form, centred around Boulez' Piano Sonata No. 2 which she studied in close collaboration with the composer, reigniting her passion as a performer. Boulez' Piano Sonata No. 2 represents a restructuring of music after it's destruction during World War II. Boulez' iconoclast piece is paired with twentieth-century sonatas by Eisler, Bartok and Shostakovich, each questioning the use of the term 'sonata', while the programme closes with a return the sonata's origins by way of Domenico Scarlatti. Appearing in the context of Boulez' centenary, this adventurous album reveals a strong kinship to Stefanovich' PENTATONE debut Influences (2019), and deepens our understanding of the sonata, it's history and it's many shapes. The New York Times lauded Tamara's recent concert performance of Boulez' Piano Sonata No. 2, stating that "Ms. Stefanovich's performance was staggeringly brilliant". Praised by The Guardian as "fearless, dazzling, exceptional", Tamara Stefanovich is one of today's most adventurous and sought-after pianists. After Influences (2019), Visions (2022) and Nicolaou: Etudes & Frames (2023), she now releases her fourth PENTATONE album.

Reflecting a society marked by profound upheaval, the music of 1920s-1940s Germany was caught between vitality and despair. The era featured a diverse blend of classical traditions, popular rhythms, and early jazz, yielding everything from energetic cabaret chansons to somber ballads. The period's signature sound, Berlin's own "Prussian swing", fused rigid marching rhythms with jazz syncopation, creating a uniquely austere yet light style that avoided authentic African-American influences. By masking melancholy and sharp political commentary behind cheerful melodies, these songs captured a nation's collective tension and rebellion. Acting as a cultural seismograph from the Weimar awakening to the collapse of the Third Reich, this music continues to resonate today as a testament to finding beauty and humor amid adversity. Renowned and versatile mezzo-soprano Anne Sofie von Otter, accompanied by the Salon Orchestra of the Komische Oper Berlin under the baton of Adam Benzwi, presents a recital featuring songs with plenty of lyricism, crazy nonsense, seriousness, beautiful melodies, and operetta numbers; a colourful mix enabling us to experience the underlying sadness beneath the glamour of beauty.