Maurice Durufle (1902-1986) was a French composer, organist, and teacher renowned for his meticulous craftsmanship and deeply spiritual music. A student of Charles Tournemire and Louis Vierne, Durufle inherited the rich French symphonic organ tradition, which he blended with Gregorian chant and impressionist harmony to create a unique and transcendent style. Durufle's complete organ music is limited in quantity but monumental in quality. His small output includes only six published organ works, yet each piece reveals an extraordinary depth of expression and technical mastery. Chief among them is the Suite, Op.5 (1932), which consists of three movements: Prelude, Sicilienne, and Toccata. The Toccata, while virtuosic and brilliant, is famously considered one of the most difficult in the repertoire and is sometimes omitted in performance due to it's formidable demands. The Prelude, Adagio et Choral varie sur le thème du "Veni Creator", Op.4, exemplifies his affinity for Gregorian chant, a hallmark of his style. The Fugue sur le thème du Carillon des Heures de la Cathedrale de Soissons, Op.12, demonstrates Durufle's love for musical architecture and his capacity for blending modern harmonic language with traditional forms. The Meditation, a posthumously published piece, reveals a more intimate and reflective side of his writing, while the Scherzo, Op.2, composed during his student years, shows early signs of his technical prowess and inventive use of the organ's color palette. Durufle's organ works, though few, have become central to the instrument's repertoire. Their combination of liturgical solemnity, compositional rigor, and sensuous beauty ensure that they continue to resonate with performers and audiences alike. They stand as a testament to a perfectionist who preferred quality over quantity, and whose music remains timeless. Played by Roberto Marini at the magnificent Stahlhuth-Jann organ of St Martin, Dudelange, Luxembourg, the specifications of which are included in the booklet. Roberto Marini made an authoritative recording of the complete organ works by Max Reger on 17 CDs, published on Brilliant Classics.

American Tapestry by the Calidore String Quartet weaves together a panoramic portrait of American musical expression across the 20th and 21st centuries. The programme spans Samuel Barber's lyrical String Quartet No. 1, featuring the iconic Adagio; Wynton Marsalis's jazz-inflected At the Octoroon Balls; and John Williams's With Malice Toward None-here in it's world premiere string quartet version. The album concludes with Erich Korngold's radiant String Quartet No. 3 in D Major, written in postwar Los Angeles. Together, these works reveal a vibrant continuum of American artistry-a sound world both richly diverse and deeply unified in spirit.

It is no exaggeration to call Fritz Kreisler (1875-1962) one of the two or three most significant Austrian violinists in music history. Decades after his passing, his name remains a vibrant touchstone for music lovers worldwide. Viennese pianist Andrea Linsbauer, who has long immersed herself in Kreisler's enduring legacy, now unveils a singular project with the album "Fritz Kreisler's Heirs". Here, she gathers five of Austria's most celebrated violin virtuosos today Benjamin Schmid, Ekaterina Frolova, Leonhard Baumgartner, Christian Altenburger and Daniel Auner to offer their deeply personal interpretations of Kreisler's miniature masterworks. That these artists have been Andrea Linsbauer's recurring duo partners for years is evident in every note: each performance resonates with the intimacy of shared musical dialogue, honoring Kreisler's own spirit of reinvention.

Francesco Geminiani (1687-1762), son of the violinist Giuliano Geminiani. After a season at the Teatro dei Fiorentini in Naples and a two-year spell at the Cappella Palatina in Lucca, Francesco left his homeland for good in 1714 to pursue a career in London, Dublin and Paris. The flourishing public concert life and optimal publishing conditions in London were attracting a great many Italian musicians, who were adored by the English public, achieving cult-like status - Arcangelo Corelli most of all. As a pupil of Corelli's, Geminiani inherited that legacy, while at the same time promoting an independent development in violin playing. Geminiani not only skilfully used the cult of Corelli and his own privileged position as an Italian musician to market himself; he also cultivated close contacts with powerful patrons, made a name for himself as an event organiser and painting dealer, and published several treatises. Among those, his The Art of Playing on the Violin, which he published at his own expense in 1751, was pioneering. He was responding to a pronounced culture of violin enthusiasts, whose great demand caused a proliferation of amateur schools and rudimentary music compendiums in England. Geminiani's treatise, however, was one of the first in Europe meeting professional standards. It differs significantly in scope and conception from other treatises of the mid-18th century from German-speaking countries, focusing intently on seeking the true nature of musical expression as the highest purpose of music. This is also reflected in the term 'Ornaments of Expression' coined by Geminiani to describe ornaments. He lists a rich selection of ornaments in another method, Treatise of good taste in the Art of Musick, published in 1749, designed to help the musician practise the art of ornamentation and variation. This treatise, along with his Rules for Playing in a true Taste published in 1746, include arrangements and variations based on well-known Scots tunes. The fashion of choosing simple folk songs as the basis for compositions was also utilised by other Italian composers in order to meet the needs and preferences of the English public. Geminiani's variations uniquely combine the Italian art of variation, inspired by the example of Arcangelo Corelli, with the simple grace of Scottish folk songs and ornamentation techniques developed under the influence of many years spent in Paris. The compositions contained in Geminiani's treatises go far beyond mere didactic use. His skilful, idiosyncratic use of harmony, rhythm and ornamentation tells the story of a highly trained, experimental and unconventional artist moving between nations and compositional styles. Other information: - Recorded April 2021 in Gartensaal, Germany - Bilingual booklet in English and German contains liner notes and profiles of the musicians - Francesco Saverio Geminiani was born in Lucca. He began his study at an early age with his father, but his most important lessons followed in his years with the great Roman Master, Arcangelo Corelli. Composition lessons with Alessandro Scarlatti helped inspire and solidify his craft. In 1714 Geminiani settled in London, where he quickly gained fame as an ensemble player, concert violinist, and teacher. Here he became friends with Handel and led the orchestra during many performances together. Geminiani enjoyed great success not only in London, but also in Ireland where he spent a considerable amount of time, settling in Dublin in 1760. - Geminiani's playing was distinguished by it's great expressiveness, richness of dynamic coloring, extraordinary liveliness, and a strong temperament. Tartini called Geminiani "il furibondo" - the furious one! - One of Geminiani's most enduring legacies is his treatise The Art of Playing on the Violin, published in 1751. This influential work is one of the earliest comprehensive guides on violin technique and interpretation. Unlike previous violin tutors, which often focused on basic fingering and bowing, Geminiani's treatise provided detailed insights into expressive playing, ornamentation, and the subtleties of articulation. It reflects the evolving style of violin playing in the 18th century, emphasizing musicality over mere technical proficiency. It covers topics such as bowing techniques, left-hand positioning, and vibrato, offering exercises to develop precision and expressiveness. He also stresses the importance of dynamic contrast and phrasing, essential elements in Baroque performance practice. - Played on period instruments by Anna Kaiser (violin), Johannes Berger (cello) and Solrun Franzdottir Wechner (harpsichord).

Henriette Bosmans' mother was a pianist and her father played principal cello in Amsterdam's Concertgebouw Orchestra, so it is no wonder that both of these instruments were lasting influences on her musical thinking and sensibilities. Her friendship with cellists Marix Loevensohn and Frieda Belinfante did the rest to guide this Dutch composer's imagination towards the expressive possibilities of the "little violone". In addition to various pieces of chamber music, the somewhat Iberian-spiced Poeme as well as two concertos were written in the early 1920s. Despite their relative proximity in time, Henriette Bosmans succeeded in not repeating herself. The works are marked by imaginative forms, wildly varied tasks demanded of the soloist and a sophisticated treatment of the orchestra. Despite these works' success, they had disappeared into the annals of history for far too long.

Georges Onslow's reputation as the 'French Beethoven' was earned in the field of chamber music. His 34 string quintets build on a form perfected by Mozart, and are enhanced through Onslow's suggested use of a double bass instead of a second cello, as heard in this recording. The String Quintet No. 14 in F major has an attractively genial quality, with distinctive themes contrasting with warmly emotive lyricism; String Quintet No. 24 in D major shows the influence of Beethoven in it's theatrically dramatic moods.

The troubled life of English composer Ernest John Moeran (1894 - 1950) ended 75 years ago, when he fell into the water at Kenmare in Ireland, and his death was officially recorded as a cerebral haemorrhage. To honour the life of E J Moeran, SOMM Recordings is releasing broadcasts that were privately recorded by Lionel Hill, author of Lonely Waters - the diary of a friendship with E J Moeran. This commemorative release, with outstanding audio restoration by Lani Spahr, includes Moeran's Symphony in G minor conducted by Sir Adrian Boult and his Violin Concerto with the incomparable Albert Sammons as soloist. Additionally, Moeran's Cello Concerto, written for his wife Peers Coetmore, is available as a download. E J Moeran was born to an Irish Protestant priest and a Norfolk-born mother, and the duality of his nationality finds expression in his music. He wrote of his Symphony in G minor that it "may be said to owe it's inspiration to the natural surroundings in which it was planned and written. The greater part of the work was carried out among the mountains and seaboard of Co. Kerry, but the material of the second movement was conceived around the sand-dunes and marshes of East Norfolk." On 9 February, 1949, Moeran and his friend Lionel Hill attended a performance of the symphony at the Royal Albert Hall, with Adrian Boult conducting the BBC Symphony Orchestra. That is the performance heard on this CD. The first movement of Moeran's Violin Concerto, written in Co. Kerry, was similarly inspired by the calm of Kenmare Bay in fine weather, while the Lento last movement reflected a period of seasonal colour and beauty along the Kenmare River. The second movement Rondo is unmistakably imbued with the spirit of Kerry fairs and Irish fiddlers. Moeran wrote that "Albert Sammons is the only living violinist I would like to have interpret it." This recording, a BBC Home Service broadcast from Norfolk on 28 April 1946, is Sammons' last public concerto performance. One cannot overemphasise the importance of this recording; it is, as far as we know, Sammons' only known live recording. In December 1943, eighteen months before their marriage, Moeran wrote to the Irish cellist Peers Coetmore, "Please write and tell me you would like me to write a concerto especially for you, and I give you my promise that I will put my whole heart into it." The result is a work of considerable beauty, especially memorable for the typically Irish tune that introduces the slow movement. Following the premiere in Dublin, Coetmore gave it's first London performance in April 1946-available here as a download-with Adrian Boult conducting the BBC Symphony Orchestra.

Baroque giants La Serenissima return with VIVALDI 8 - VOLUME 2, following their previous instalment in February 2025 of Vivaldi 8 Volume 1. Recognised for 'whipping up a storm with Vivaldi', La Serenissima is 'one of Britain's best-loved chamber orchestras' (The Telegraph) known for their outstanding performances, championing a host of neglected Italian baroque composers. Uniquely, the group's entire repertoire is edited from source material by founder and violinist, Adrian Chandler OSI. Praise for Vivaldi recordings by La Serenissima: 5 stars "After being obsessed by the composer and his music world for more than 30 years, Chandler by now is Vivaldi incarnate" - The Times

Castelnuovo-Tedesco's chamber works were composed early and late in his career. He considered the Piano Quintet No. 1 in F major from 1932 to be the best of all his chamber works from that period. It exudes Romantic candour and contrapuntal richness, full of lively themes and with a colourful atmosphere. The beautiful Piano Quintet No. 2, composed in 1951, draws on the composer's memories of a serene and rustic Tuscany. Quartetto Adorno's 'reference-worthy performance' (Classicstoday. Com) of the complete string quartets is on 8. 574580.

Nikolay Roslavets was one of the great musical innovators of the 1920s, described by Stravinsky as "the most interesting Russian composer of the 20th century," but vilified by the Soviet regime on account of his constant experimentation. His Piano Trio No. 4 is notable for it's romantic and passionate spirit and complex polyphony. Shostakovich's Piano Trio No. 2 is one of the most harrowing and revered of all his chamber works. The Piano Trio No. 1, a remarkable composition for a 16-year-old student, is a work of romantic intensity cast in a musical language recognisably that of Shostakovich.

Berlin is the focus of this eighth volume of the History of the Russian Piano Trio, which features two Russian composers who lived in the city. Nikolai Lopatnikoff's symphonies were premiered by Bruno Walter and Serge Koussevitzky, and he was once ranked alongside Stravinsky. Lopatnikoff's Piano Trio in A minor is an archetypal example of Russian modernism, unparalleled in it's use of allusions, tonalities and form. Paul Juon's Suite in C major is full of elegant and vivid theatrical imagery, while his Piano Trio No. 1 in A minor employs charming stylised folk material influenced by Brahms.

If Massenet is best-known as the champion of French opera, his contribution to the genre of the mélodie merits reassessment - as is demonstrated by this programme of exquisitely orchestrated songs, all of which have remained in manuscript form. The Expressions lyriques form the pinnacle of these experiments, blending speech and song. The cycle Chansons des bois d'Amaranthe is also notable for the originality of it's scoring: a quartet of singers in dialogue with an orchestra animated by a voluble piano part.

Heinrich Marschner was the leading German operatic composer between Weber and the rise of Wagner, but he also wrote prolifically for chamber forces. His Piano Trios No. 2 and No. 6 share similar qualities: both are in a minor key, they are rich in agitated melodies, and are full of inventive interplay between the three instruments. In contrast to the earlier light-hearted Trio No. 1 (available on 8.574612), No. 2 is a darker, more tension-filled work, albeit with Mendelssohnian grace. No. 6 also embodies elements of mid-19th-century Romanticism conveyed in music that ranges from the turbulent to the spectral.

It is, quite simply, excellent, rich in the most beautiful 'affects', wonderfully transparent in sound, with a slight touch of swing in the fast movements that really allows this music to blossom, lively in the allegro, and wonderfully sentimental (but by no means saccharine) in the slow movements. This is what a reviewer wrote to us in his evaluation of this recording before it's release. Indeed, these concertos, recorded here for the first time on period instruments, possess a distinctive beauty that makes them "worth the fuss". In these virtuoso and weightless creations, their composer Joseph Umstatt (1711-1762) proves himself a connoisseur and master of the gallant style that took the entire music world by storm at the time - how else could he have spent the last decade of his life as court composer and kapellmeister to the Prince-Bishop of Bamberg?

According to current knowledge, the St. Aegidius organ in Berne has the world's only surviving pipes by the Brabant organ builder Reinhard Lampeler van Mill (1596); it also possesses a significant amount of historical substance from Harmen Kröger (1643) and Christian Vater (1714). This organ is an important historical document of North German organ building prior to Arp Schnitger-an instrument full of power, intensity, tone color, and "sweet sharpness." The aim of this recording is not to invent a new instrument for Buxtehude's organ works, but rather to show how the sound of the late 16th and early 17th century Berne organ influences our hearing of Buxtehude's music-his instrument in Lübeck also had registers that dated back to this period. The use of pure meantone temperament, registrations based on 16th and 17th century sources, as well as ornamentation and diminutions, also play an essential role here. The meantone temperament also necessitated the transposition of some pieces, a practice also practice also to be found in works by Johann Sebastian Bach.

Johann Sebastian Bach: Sonaten und Partiten Vol. 1 (BWV 1003, 1004) Denis Goldfeld, violin Johann Sebastian Bach's sonatas and partitas for solo violin are among the most important works in the violin literature. Probably composed in Kothen around 1720, they combine profound musical expressiveness with technical brilliance. The collection consists of three sonatas in the traditional church form (four movements: slow-fast-slow-fast) and three partitas, which vary the dance movements. The Chaconne from Partita No. 2 in D minor is particularly well-known, a monumental work that is considered the pinnacle of Baroque solo violin art. In these compositions, Bach demonstrates a masterful combination of polyphony, structure and emotional depth - on an instrument that seems barely capable of polyphony.

Both as a soloist and as a Lied pianist, Ammiel Bushakevitz has a close relationship with the music of Franz Schubert. Together with Hanssler Classics and the Athenaeum Foundation, the pianist is developing a long-term project to record Schubert's complete solo piano works. Vol. 3 includes last works of the composer.

At the Festival Hall, on 24 April, 1960, an 80-year-old Sir Thomas Beecham gave what would turn out to be the final concert he conducted with the Royal Philharmonic Orchestra in London. SOMM Recordings is releasing the last work on that historic programme as part of it's continuing Beecham Collection of live recordings-the Bacchanale from the opera Samson et Dalila by Camille Saint-Saens. Unbeknownst to them, the audience's tumultuous reception of this performance proved to be a farewell to Beecham on the London concert platform. In June 1960, he suffered a cerebral thrombosis and never conducted again; he died on 8 March 1961. Jon Tolansky, a former musician at the Royal Opera House who has since specialised in making documentary features on composers and performers, recalls hearing this programme as an 11-year-old. "I had never heard anything remotely like it," he says, "as Sir Thomas, now standing fully upright on the podium, became a generator of electric lightning and as the Royal Festival Hall seemed to be shaking, most especially in the last two minutes or so, in a catastrophic earthquake." This historic release also includes live recordings of Saint-Saens's First Cello Concerto and Nikolai Rimsky-Korsakov's Scheherazade. Once again, audio restoration is by the renowned audio recording engineer Lani Spahr, whose work has recently been honoured with four Gramophone Magazine Editor's Choice Awards-for Bruckner from the Archives Vols I and IV and, more recently, Bliss, the Composer Conducts and E.J. Moeran's music conducted by Sir Adrian Boult. Beecham was always what The Times called "a quietly persistent advocate for Saint-Saens," and he offers attentive support to the 1958 reading of Saint-Saens's First Cello Concerto by Ukrainian-born soloist Mischel Cherniavsky. The concerto is in one continuous movement with three tightly structured sections sharing interrelated ideas. Cherniavsky came from a family of nine musically gifted children, and he played in the Cherniavsky Trio with two of his brothers from 1901 until 1934, after which he was mostly based in London and France. The live performance of Rimsky-Korsakov's Scheherazade on this release was given at the Royal Festival Hall on 21 March, 1957. This fell right in the middle of recording sessions when the orchestra was immersed in the piece for three days, which goes some way to explaining the glorious quality of the playing in the concert. What Rimsky-Korsakov described as the "various fairy-tale wonders" he had in mind when composing the work come across in Beecham's live performance with a freshness and brilliance that make for an unforgettable experience. A 24-year-old Steven Staryk became leader of the RPO shortly before these recordings, earning the title "king of concertmasters" from The Strad magazine. About his performance on this concert The Times wrote "the solo playing of the new leader, Mr Steven Staryk, must have due acknowledgment."

Celebrated clarinettist Julian Bliss is joined by conductor Taavi Oramo and the BBC Scottish Symphony Orchestra to perform concertos by Magnus Lindberg and Kalevi Aho. "In my opinion, the Lindberg and Aho clarinet concertos are two of the greatest of the 21st century. These works demand everything from the performer-one moment navigating passages of extreme virtuosity and precision, the next exploring the most beautiful and breath-taking writing. They require total commitment; there's no holding back, making them both thrilling to perform. Recording these concertos with the incredible BBC Scottish Symphony Orchestra and the brilliant Taavi Oramo was an absolute privilege" - Julian Bliss

A good year younger than Max Reger and five months older than Arnold Schonberg, Vienna's Julius Bittner (1874-1939) earned his livelihood as a lawyer for many years. Even before he gave up this profession in 1922, he was already one of the most frequently performed opera composers in Austria. In particular, his one-act opera Das hollisch Gold (Hellish Gold), which premiered in 1916, was highly acclaimed, and several of his instrumental works were also well received - even though (or perhaps because) he was anything but a "pioneer composer". His music was rooted in melody. He had broken free from Wagner's influence and became interested in folk music as exemplified by his two string quartets (1913 and 1917) with their "pastoral" flair. The former especially seems like the "Mahler of chamber music" in several passages, possibly a posthumous homage to his one-time supporter who guided Bittner's talent in the right direction.