- Series of award-winning recordings by the Finnish Radio Symphony Orchestra and conductor Nicholas Collon continue with a new album of orchestral works by Richard Strauss (1864-1949). This release includes Strauss' longest and final major orchestral work, the Alpine Symphony together with Four Songs, Op. 27 sung by soprano Louise Alder, one of the most in demand singers today.

Carlo Mannelli (Rome, 1640-1697) spent the major part of his life in Rome where he also worked during the opera performances and religious events. As a violinist nicknamed Carlo del Violino and Carluccio di Pamfili, he played the first violin in the most famous Roman musical ensembles of the period. Arcangelo Corelli, who often played under Mannelli, described him as one of his most influential teachers. For several years, Mannelli was leader of the famous Congregetione di S. Cecilia. The Trio Sonatas Op. 2 consists of 14 Sonatas. They are in 4, 5 or 6 movements. They display a freshness of melodic invention and sometimes daring harmonic surprises, a great tonal richness and unexpected, highly expressive chromatic phrases. The Ensemble Giardino Di Delizie is a Roman female Baroque group, founded in 2014 by the violinist Ewa Anna Augustynowicz, researching and performing forgotten treasures from the Italian and Polish Baroque. They played in such ensembles as Europa Galante, Les Elements, Quatuor Mosa�ques and others. Their previous recordings of instrumental works by Lonati, Stradella, Colista and Leonarda met with enthusiast critical acclaim in the international press: 'The performance sounds completely natural, full of spontaneity and bursting energy. It's clear the group really likes this music and does not merely try and lecture it. ' (Lonati, 95590 theclassicreview. Com). 'Giardino di Delizie... take an energetic and imaginative approach to this fine music... playing with sensitivity and considerable musicality. ' (Colista, 96033, earlymusicreview. Com). 'A garden of delights, sensitively and beautifully performed, perfect for any lover of the Baroque. ' (Gems of the Polish Baroque, 95955, MusicWeb International) Critical praise for Giardino di Delizie: 'Ewa Anna Augustynowicz and her plaintive Baroque violin are the stars here. Nevertheless, she is in like-minded and similarly capable company. ' Fanfare (Stradella, 96079) 'Wonderfully engaging, especially when played with such imaginative musicality as it is here. ' Early Music Review (Stradella, 96079)

No wonder the stellar team of pianists Eric Zuber and Boris Slutsky found Rachmaninoff's works for two pianos irresistible. The two had a shared history: Mr. Slutsky was Mr. Zuber's piano teacher beginning when the latter was a mere 11. Here, instructor and student have now become equal partners with a shared aesthetic. "Like many pianists (and listeners), I've always felt deeply connected to Rachmaninoff's music," says Eric Zuber. "Precisely identifying what makes it resonate so profoundly with so many people is challenging, but for me, it's his sincerity of expression, emotional honesty, and exceptional craftsmanship in writing for the piano. Through his distinctive musical language, Rachmaninoff captures the complexities of human emotion-our joys, loves, and sorrows-in ways words alone cannot fully express.

The award-winning vibraphonist Pascal Schumacher and the internationally acclaimed pianist Danae Dorken present their new album 'Glass Two' - an impressive musical homage to one of the most influential composers of our time: Philip Glass. Their unusual instrumentation for piano and vibraphone creates an unrivaled sound world that brings Glass' minimalist worksto life in a new and refreshing way. At the heart of the album are original interpretations of Glass' compositions, complemented by Schumacher's own works. These pieces, inspired by personalities who influenced the American composer, such as the poet Allen Ginsberg or the sculptor Richard Serra, form a unique fusion of two musical worlds. This fusion creates a profound and multifaceted, yet reduced and clear atmosphere. Pascal Schumacher and Danae Dorken impressively demonstrate that less is sometimes more: Their artfully crafted arrangements are characterised by a fascinating transparency that captures the essence of minimalist music. The result is a captivating listening experience that allows the colors and textures of Glass' works to shine in a new light and interact harmoniously with Schumacher's own compositions. The album will be released on the Neue Meister label on CD and vinyl on 8 November 2024 and is an indispensable discovery for all lovers of modern classical music. Immerse yourself in the soundscapes of 'Glass Two' and experience a musical journey that inspires both in it's reduction and diversity

Fernando Sor (1778-1839) was a Spanish guitarist and composer often regarded as the "Beethoven of the guitar" for the refinement and expressive range of his music. Trained in Barcelona, Sor first pursued a broader career in opera and instrumental music before turning decisively to the guitar, an instrument that, during his lifetime, was gaining recognition in concert halls and private salons alike. After political upheaval forced him into exile, Sor settled in Paris and later London, where he became one of the most respected guitarists and teachers of his era. His works display a mastery of classical form, elegance of melody, and a distinctive clarity that continues to captivate audiences and players today. Among his many works for guitar, the Pieces de societe hold a special place. Published in 1830 in Paris, this collection was conceived not only for professional musicians but also for the flourishing amateur market. The title itself-literally "pieces for society"-reflects their social function: short, charming works intended to be played in intimate gatherings, where the guitar was often a centerpiece of musical entertainment. The pieces range from graceful minuets and waltzes to lyrical romances, each showcasing Sor's gift for combining accessible textures with subtle sophistication. While technically approachable, the Pieces de societe still embody Sor's characteristic elegance: balanced phrasing, inventive harmonic progressions, and refined voice leading. They illustrate how Sor adapted his art to the tastes of the salon without compromising musical quality. Today, these works provide valuable insight into nineteenth-century guitar culture and remain staples in the repertoire of students and professionals alike. Played by Leonardo de Marchi, one of the foremost guitar players of Italy.

In the discussion on women and classical music, perhaps no other instrument draws such a strong association with feminine stereotypes as the harp. Once the instrument of choice for respectable young ladies, it was considered suitable for the domestic sphere and the world of private salons. And yet, as the harp made it's way out of the home and into the concert hall, it's publicity was championed by male performers, playing the music of male composers. Often overlooked are the women-performers and composers alike-who revolutionized the instrument and gave it a solo voice. Birds of Paradise celebrates the artistic voices of women as both performers and creators. This album showcases living composers Reena Esmail and Angelica Negron and legendary harpist and composer Henriette Renie. Featured works include Renie's Trio, the first major work written for this combination of instruments, alongside the world premiere recording of Negron's Ave del paraiso and the first recording of Esmail's Saans as arranged for harp, violin, and cello. Listeners are invited to experience this dynamic sound world, full of color and warmth, created and performed by women.

Barbara Strozzi, a Venetian singer and composer who lived between 1619 and 1677, stands out as a rare jewel in the musical landscape of the Italian Seicento. The adoptive (and perhaps natural) daughter of Giulio Strozzi, a man of letters belonging to the illustrious Florentine family, she rejected the alternative prospects of matrimony or life in a convent in order to devote herself entirely to her one true passion: music. Moreover, she aimed to assert herself not merely as a performer, but also as a composer, thereby transgressing the strict rules of the period. Over the course of twenty years she published over a hundred and twenty cantatas and other works for solo voice, a number unequalled by any of her contemporaries. In her most significant works she combines the absolute originality of her formal structures with extraordinarily intense and exuberant poetics of the "affects." In these respects her vocal writing is comparable only with that of the century's greatest Italian composer, Claudio Monteverdi. After five successful albums with Giuliano Carmignola and Mario Brunello, the Accademia dell'Annunciata, conducted by Riccardo Doni, offers us a portrait of this extraordinary artist, arguably the greatest Italian composer of all time. In an era when the music scene was almost exclusively male, Barbara Strozzi managed to carve out a unique place for herself, becoming one of the most fascinating personalities of 17th-century music, a figure that is today given voice by soprano Laura Catrani.

This album features 20th-century compositions where the flute plays the leading role. Eldin Burton's Sonatina, one of his few works, has become a staple of the flute repertoire. The outer movements are marked by a playful, joyful character, contrasted with the serene, subdued middle movement. The Sonata by Srul Irving Glick, making it's Polish premiere on this album, incorporates elements of traditional Jewish music, enhanced by rich melodies and harmonies based on frequent modulations. This is a hallmark of the Canadian composer's style. The final piece is Three Watercolors by the French flutist and composer Philippe Gaubert. These miniature works, for flute, piano, and bassoon, combine influences from Impressionism, program music, and Iberian traditions. The performers on this album are award-winning soloists, teachers, and outstanding chamber musicians, which is reflected in their nuanced and light interpretations.

Francesco Saverio Geminiani (1687-1762), born in Lucca, 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. In 1760 he settled in Dublin, dying there in somewhat impoverished circumstances in 1762. Geminiani's playing was distinguished by it's great expressiveness, richness of dynamic coloring, extraordinary liveliness, and a strong temperament. Tartini tellingly called Geminiani "il furibondo" - the furious one! Among his most significant contributions to the Baroque concerto repertoire are his Concerti grossi Opp. 2 and 3, published in 1732 and 1733 respectively. These sets each consist of six concertos and follow the model established by Corelli, particularly his Concerti grossi Op.6. However, Geminiani's works are more expansive and harmonically adventurous. They often feature intricate contrapuntal writing and dramatic contrasts between the concertino (the group of solo instruments) and the ripieno (full ensemble), a hallmark of the concerto grosso form. Op.2 is notable for it's lyrical elegance and refined structure, while Op.3 reveals a bolder, more expressive style, perhaps reflecting Geminiani's growing independence from Corelli's shadow. These works were not only designed for public concert performance but also for teaching and domestic music-making, showing Geminiani's skill in balancing artistic depth with accessibility. Geminiani's Concerti Grossi were well-received in his time and continued to be admired for their rich textures and expressive power. They exemplify the late Baroque ideal of merging virtuosity with emotional intensity. Today, they remain a staple of early music ensembles, highlighting Geminiani's role as a key figure in transmitting and transforming the Italian Baroque tradition for an international audience. Played by the Italian elite group L'Archicembalo, who previously recorded, to great critical acclaim, the String Concertos by Vivaldi for Brilliant Classics.

Cangiasi: Scherzi forastieri

In a century that saw many illustrious French and German composers write for two flutes, the six sonatas of Wilhelm Friedemann Bach stand out as the most significant, complex and technically demanding of this repertoire. Ever since they were rediscovered and published almost a century ago, they have become a stable part of the flute catalogue, appreciated and performed on both historic and modern instruments. Viewing it as the quintessential work of Friedemann's creative output, the specialist Peter Wollny even sees it as a summa of his entire production, full of quotations and reminiscences of his previous works. After the album devoted to the sonatas of C.P.E. Bach (A 537, Diapason d'or), Manuel Granatiero, accompanied by the Italo-Croatian flautist Eleonora Biscevic, now turns his attention to this masterpiece by Johann Sebastian Bach's eldest son. Arriving some thirty-five years after the first, and only, recorded version on period instruments (by Barthold Kuijken and Marc Hantai), this new recording offers a fresh perspective on music of extraordinary brilliance, passion and virtuosity.

With the new GENUIN album featuring Atsuko Koga, Georgiy Lomakov, and Marianne Le Mentec, we soar across time and space. At the heart of this recording are works by Claude Debussy for flute, cello, and harp, which adorn the nymphs, naiads, and nature gods of ancient Greece in twentieth-century musical attire. This unusually configured ensemble constructs a temporal bridge spanning from antiquity through Impressionism to the present day - featuring works by Andre Caplet, Claude Debussy, and Toru Takemitsu and culminating in the premiere recording of Fuminori Tanada's Trio.

Christlieb Siegmund Binder (1723-1789) was a German composer, organist, and harpsichordist active in Dresden during the mid-18th century. He belonged to the musical circle surrounding the Saxon court, which at the time was a major cultural hub, closely tied to both German and Italian traditions. Though not as widely remembered as his contemporaries Carl Philipp Emanuel Bach or Johann Adolf Hasse, Binder's works reflect the stylistic shift from the late Baroque to the empfindsamer Stil and early Classicism. Among his surviving works, the Six Harpsichord Sonatas stand out as his most notable contribution to the keyboard repertoire. These pieces display a balance between contrapuntal craftsmanship and a more galant, expressive style. Unlike the ornate fugues and suites of the earlier Baroque, Binder's sonatas emphasize clear melodic lines, graceful ornamentation, and a lighter texture, qualities that aligned with the taste of Dresden's aristocratic audiences. Each sonata reveals Binder's sensitivity to expressive nuance. The slow movements often highlight a singing quality, echoing the influence of opera, while the faster movements showcase rhythmic vitality and elegant figurations well suited to the harpsichord's brilliance. Though less technically demanding than some of Domenico Scarlatti's sonatas, they nevertheless require finesse and attention to articulation, as the musical interest lies in subtle contrasts of mood and character. Binder's sonatas also provide a window into the transitional aesthetic of the 1740s and 1750s. They combine traces of learned counterpoint-expected from a Dresden organist trained in the Lutheran tradition-with the charm and immediacy of the galant style. In this sense, his music bridges the world of J.S. Bach with the more modern sensibilities of Haydn and Mozart. Played on a Mascheroni harpsichord by P. Taskin, 1769, by Paolo Gazzola. Born in Piacenza in 1992 he obtained a Master of arts in music performance in Organ at the Conservatorio della Svizzera italiana with Stefano Molardi.

This album portrait of Carlos Simon grew out of a commission, The Best Cuisine, which was funded by a grant from Chamber Music America and composed during the COVID-19 pandemic. The artists on this album presented the work's premiere in Washington, DC in 2022. At it's core is a spirit of collaboration - a coming together of art song and culinary flair, musical styles, and friendships - during a time that was otherwise quite solitary. It's text, written by baritone Carl DuPont, celebrates the craft of cooking that both he and Simon honed during the pandemic. With newfound inspiration drawn from the multifacetedness of Simon's compositional voice, DuPont and violinist Domenic Salerni, cellist Carrie Bean Stute, and pianist Efi Hackmey returned to Chiarina's longtime venue, the historic St. Mark's Church in Capitol Hill, to record The Best Cuisine and additional works for combinations of violin, cello, piano, and baritone. While Simon has more recently become known for his large-scale works, Chiarina seeks to highlight Simon's versatility and poignancy in works for more intimate performing forces.

When film composers turn to classical music, they shed a straitjacket rather than lose a safety net. In his Metamorfosi di Violetta, Ennio Morricone dissects the unravelling of La Traviata's heroine with filmic acuity. Tigran Mansurian's Agnus Dei oscillates between chant and dissonance to evoke unresolved grief. John Corigliano's Soliloquy turns inward even further, transforming private loss into quiet radiance. Bernard Herrmann never sought classical abstraction, yet Hitchcock's musical alter ego-the composer of the Psycho and Vertigo scores-provides this programme's pi�ce de r�sistance: Souvenir du voyage, a nostalgic gem with profound cinematic sensibility.

In the heart of Baroque Rome, the basilica of Santa Maria Maggiore is the principal Marian sanctuary of the Eternal City. For centuries it has guarded not only the relics of Jesus's cradle and swaddling-clothes, but also the celebrated marble Nativity Scene by Arnolfo di Cambio (1291), the first of it's kind in the history of art, thus earning it the title of "Bethlehem of the West". Here, in 1707, Alessandro Scarlatti was employed as maestro di cappella. Though a brief appointment - it lasted little more than a year - it was long enough to leave a deep impression, above all on the repertoire for Christmas, which was celebrated in the basilica with particular solemnity. For the 300th anniversary of the composer's death, Giulio Prandi and Coro e Orchestra Ghislieri dedicate their fifth album for Arcana to Scarlatti's unique, splendid music for a Roman Christmas.

Andras Schiff has been closely associated with Lucerne Festival for 35 years. These live recordings from 1998/99, now released for the first time, present him interpreting two masters of the miniature: Schiff performs the short pieces with a love of risk, a great art of characterisation and a tremendous sense of sound.

Ex Nihilo brings together a diverse palette of music into one continuous flow. Ligeti's Musica Ricercata forms the spine of the programme, interwoven with 20th-century works that resonate with it and new interludes by Brecht Valckenaers. Together, they trace a lineage of invention-exploring how composers reimagine their musical language and the piano itself ex nihilo, "from nothing."

Johann Sebastian Bach, though largely unaffected by the trends of his time, reimagined many older forms with striking originality, shaping the course of Western music. Among his innovations is the sonata for a melodic instrument (such as the viola da gamba) and obbligato harpsichord, where both parts engage in equal dialogue-a model later expanded by his sons and composers like Haydn, Mozart and Beethoven. Following their acclaimed first album dedicated to Corelli's Sonatas Op. 5, Teodoro Bau and Andrea Buccarella now present their second duo recording: the Sonatas for viola da gamba and harpsichord by J.S. Bach, each revealing a unique stylistic approach within a unified form.

Manuel Blancafort's music has a concise tonal directness that draws on his fondness for French composers. His Cancons are not simply evocative but embody an increasing use of the Noucentist aesthetic: the Catalan cultural movement of the early 20th century that was a reaction against Modernisme. Blancafort rejected the Romanticism and Wagnerian pathos of the modernist Lied in favour of Classicism and beauty - sentiments he shared with his Catalan contemporaries Toldra, Gerhard and Mompou. Intimate, sensitive and playful, his Catalan songs connect both to his country's past and also to a wider European musical culture.