This new album from pianist Peter Jablonski and the Polish National Radio Symphony Orchestra under Lukasz Borowicz, includes the world premiere recording of pianist-composer Andre Tchaikowsky's (1935-1982) 1st Piano Concerto and the first studio recording of the composer's 2nd Piano Concerto together with the Piano Sonata.

Magnificent sacred music with trumpets and timpani, crowns and concludes the five-part series dedicated to the music of Gregor Joseph Werner. The album unites four multifaceted world premiere recordings that present Haydn's predecessor at Esterh�zy Palace as a forward-looking master of his time.

David Amram's career as a versatile composer, conductor and multi-instrumentalist has spanned more than 70 years. Recorded here in it's world premiere, Voyages for Solo Violin in three movements evokes ancient Egypt, Native American and African roots music and, in the words of the composer, "the tradition of the fiddler as a keeper of the flame." Ranging from prayer-like melodies to blues and polyrhythms, the Piano Sonata is one of the most jazz-influenced of any 20th-century work in this genre, while the Violin Sonata brings classical and jazz idioms together in music that inspired a collaboration with the writer Jack Kerouac.

What is the likelihood of happening upon an oasis in the heart of Europe? In this debut album, the Trio BECEL seeks to evoke just such an extraordinary curiosity. With their unfamiliar constellation of instruments, the trio reveals hidden treasures of Belgium's musical landscape from the 20th & 21st centuries. You will encounter harmonies from the Old Continent intermingled with the rhythms of America, Hungarian bells responding to Japanese poetry or even a soul on a tightrope - dancing

This recording with AZICA Records marks the first modern-day capture of the music of Julia Lazarevna Weissberg Rimsky-Korsakov (1878-1942). During her lifetime, Weissberg ascended the heights of cultural life in Russia's "Silver Age", only to be relegated to obscurity in the subsequent era of socialist realism. A prominent composer, critic, and public figure, she was particularly celebrated for her art songs, symphonic poems, and children's operas. Her works, known for their harmonic ingenuity, were widely published and performed during her lifetime in both Russia and Germany. Born to a prominent Jewish family in Orenburg, Weissberg was a composition student of Nikolai Rimsky-Korsakov at the St. Petersburg Conservatory and continued her studies in Berlin with Max Reger and Englebert Humperdink. While in Germany, she saw the premieres of many of her songs for voice and orchestra, which received reviews across Germany, France, England, and Russia. By the time of her return to St. Petersburg in 1912, she was a widely-published composer, publishing under the name Julie Weissberg. She subsequently married musicologist Andrey Rimsky-Korsakov, Nikolai's son. The couple founded the first Russian music magazine Muz�kal'n�y sovremennik (Contemporary Music) for which Weissberg served on the editorial board and was one of the main reviewers. In her lifetime, Weissberg published more than 75 works, including art songs, symphonic poems, symphonies, chamber works, folk songs, and operas for children. Contemporary Russian composer Mikhail Gnesin referred to her as "the first professional female composer in the history of Russian musical art of the 20th century," and contemporary critic Leonid Sabanayeff claimed that she was "a master in the full sense of the word" for her extraordinary musical and text setting abilities. Many of her art songs feature texts by prominent contemporary women creatives from across the globe, including Indian activist Sarajini Naidu (1879-1949), Polish author and activist Maria Knopnicka (1842-1910), German children's author Paula Dehmel (1862-1918), and her close collaborator Sophia Parnok (1885-1933), later known as the 'Russian Sappho'. Weissberg was a leader in the contemporary music community, championing the creation of new works. She died in 1942 with her son Vsevolod Rimsky-Korsakov in the Nazi siege of Leningrad. Soprano Sarah Moulton Faux, an Opera America and America Prize winner, first saw mention of Julie Weissberg's work while researching the art songs of Nikolai Rimsky-Korsakov. Intrigued, Sarah began a two year research project into Weissberg's catalogue with the assistance of musicologist Dr. Olga Panteleeva. Together, they found a treasure trove of Weissberg's published manuscripts in the Russian State Library in Moscow. Panteleeva also discovered a doctoral dissertation by Mazur Marina Moiseeva from the St. Petersburg Conservatory, Composer Julie Weissberg: Personality and Creative Heritage (According to the Materials of the Archives of St. Petersburg), which proved to be an invaluable resource. Fifteen songs for voice and piano handpicked from that treasure trove comprise this album, featuring Sarah Moulton Faux and internationally acclaimed pianist and composer Konstantin Soukhovetski. Seven-time Grammy-winner for Classical Music Producer of the Year Judith Sherman is the lead producer and sound engineer.

Step into a world of musical elegance with this release featuring solo piano interpretations of the most famous compositions by J.S. Bach. This album is a celebration of Bach's genius, showcasing the intricate beauty and emotional power of his work through the expressive medium of solo piano. Performed by Tim Allhoff who has collaborated with an impressive array of musicians and ensembles, including Larry Grenadier, Jeff Ballard, Robbie Williams, Jules Buckley, Vision String Quartet, and many more, this collection promises to deliver a rich listening experience that bridges tradition and innovation. Each piece is thoughtfully crafted to highlight the depth and complexity of Bach's compositions, making them accessible and captivating for both seasoned listeners and newcomers alike.

With my second album, "All Things Will Clear Up, Eventually", I want to encourage people to pause-to take a moment to truly feel the struggles in their lives, reflect on themselves, and engage in introspection. It's like lying on your back and gazing at the clouds, watching them appear, shift, and eventually dissolve. You begin to see shapes and patterns-new things you wouldn't have noticed if you hadn't taken the time to look a little longer. I believe that pausing and "gazing at the clouds" is essential for our mental well-being. It keeps us from fleeing into the rush of daily life and ignoring the difficult parts. Instead, it invites us to slow down and attentively observe what surfaces and moves within and around us. And I believe that pausing gives hope. These are the moments when, even in the midst of difficulty, we slowly begin to notice new possibilities and beauty-the blue sky between the clouds, the childlike images hidden in the darker ones. I believe my music can play a comforting and empowering role in this process.

Michelangelo Rossi (1602-1656) was an Italian composer, violinist, and organist of the early Baroque period, known for his highly expressive and often daring keyboard music. Born in Genoa, Rossi was a pupil of Girolamo Frescobaldi, one of the greatest keyboard composers of the time, whose influence is evident in Rossi's intricate counterpoint and rich harmonic language. Rossi later served as a musician in Rome, including at the court of Cardinal Maurizio of Savoy and at St. Peter's Basilica. There he earned recognition both as a virtuoso performer and as a composer. Rossi's surviving keyboard works include a collection of Toccatas and Correntes, which are remarkable examples of early 17th-century Italian keyboard style. His Toccatas follow the model established by Frescobaldi but push it's expressive boundaries even further. They are characterized by rapid contrasts of tempo, rhythm, and affect, alternating between improvisatory, rhapsodic passages and tightly structured contrapuntal sections. Rossi's harmonic language is unusually bold for it's time, often featuring unexpected chromaticism and dissonant progressions that create moments of intense emotional tension. These daring harmonic experiments make his music stand out even among the avant-garde tendencies of early Baroque Italy. The Correntes, by contrast, are more rhythmically regular and dance-like, reflecting the growing importance of stylized dance forms in instrumental music. Yet even within these seemingly simple pieces, Rossi introduces subtle variations and expressive harmonic turns that elevate them beyond mere functional dance music. Played on organ and harpsichord: Organ G.B. Gavinelli (17th century at the S. Anna Church in Bellinzago Novarese, harpsichord from G.B. Giusti 1681 by Andrea di Maio (2006). Manuel Tomadin is one of the foremost Italian organists of today, a scholar and passionate musician, with an impressive discography to his name: Husumer Organ Book, Alberti's Complete Keyboard Works, Van Noordt, Krebs, L�beck, Hassler, Martini, Erbach and other North German organ masters.

When Anton Bruckner premiered his Te Deum at the Vienna Musikverein in 1886, he later referred to it as the "pride of my life." This rare display of self-assurance is striking, given that Bruckner was otherwise known for his artistic self-doubt and frequently revised his compositions. But in this case, he was certain-and the critics agreed: the Te Deum became one of his greatest successes, surpassing even many of his symphonies in public acclaim. The story of the Mass in F minor unfolded rather differently. Commissioned by the Imperial Court Chapel in Vienna (Wiener Hofmusikkappelle), it was composed nearly two decades before the Te Deum. Bruckner subjected the work to multiple revisions up until 1893-a creative process typical of him. He conducted the premiere himself and even covered the considerable costs, after the Hofkappelle had initially dismissed the Mass as "unsingable." Only gradually did the work establish itself in the repertoire. The recordings on this album were made in 2024 and 2025, bringing together an outstanding cast of internationally acclaimed singers under the direction of a conductor of international standing.

Explore the cutting-edge fusion of tradition and technology with Preludes Tableaux, the latest album by visionary composer Johannes Motschmann. In this groundbreaking work, Motschmann collaborates with a custom-built AI, uniquely designed and meticulously trained to understand and replicate his distinctive compositional style. This is no ordinary AI; it was created specifically for this project, using a vast dataset of Motschmann's previous works to shape it's creative output. Each track on the album is the result of a dynamic interaction between Motschmann's human intuition and the AI's computational creativity, blurring the lines between human and machine-made music. The result is a compelling blend of organic and synthetic artistry that redefines musical collaboration. To enhance the sonic depth, the album was recorded using iconic analog instruments such as the Steinway D, Yamaha CP 70, Rhodes, and Wurlitzer, creating an immersive and rich soundscape. Alongside Motschmann's original compositions, the album features faithful, original renditions of classical works by Bach, Schonberg, Skrjabin, and Alain, offering a journey that bridges the gap between the historical and the contemporary.

This new album by Gavle Symphony Orchestra and conductor Jaime Martin includes two perhaps finest orchestral works by Max Reger (1873-1916) written towards the end of his life, the Four Tone Poems after Bocklin and the Romantic Suite, both sensous and poetic works suggesting a loose connection with Debussy. Reger's 150th anniversary of birth was celebrated in 2023. Yet, much of Reger's music appears on concert programmes only very occasionally. During his own lifetime Reger was highly admired: Paul Hindemith described Reger as "the last giant of music," and when Schoenberg founded his Society for Private Musical Performances in 1918, Max Reger, along with Debussy and Bartok, was one of the most frequently performed composers. Admiring Reger as an important innovator, Schoenberg promoted his music because "he still remains unfamiliar" and "I consider him a genius". Reger's Four Tone Poems after Bocklin and the Romantic Suite are sufficient to prove that Schoenberg was totally right.

This anthology of sacred works - all of which could be used in the liturgies of the Christmas festivities - features some of the leading musicians active in Venice in the 16th and 17th centuries. They range from the earliest, Andrea Gabrieli, who died in 1585, to the most recent, Francesco Cavalli, who died almost a century later, in 1676. At the centre of this broad chronological span we encounter not only veritable giants like Giovanni Gabrieli and Claudio Monteverdi, but also prominent musicians connected to them, such as the Saxon composer Heinrich Schu�tz, Giovanni Bassano and Alessandro Grandi. After three successful albums on Arcana, Natale veneziano inaugurates a new series by Il Pomo d'Oro. This recording shines a spotlight on the choir of Il Pomo d'Oro, which has accompanied the orchestra's activities under the direction of specialist Giuseppe Maletto since 2021.

Debut album by a young talented Russian guitarist. Well constructed programme based on Leo Brouwer and Agustin Barrios. An engaging listening from start to end, thanks to the Kurenchakova's prowess and eloquence and to the warmly resonant recording.�"Lux Amoris Aeterni" ("The Radiance of Eternal Love") is an album about divine love in the language of music, expressed through the gentle timbre of the classical guitar.

Explore the cutting-edge fusion of tradition and technology with Preludes Tableaux, the latest album by visionary composer Johannes Motschmann. In this groundbreaking work, Motschmann collaborates with a custom-built AI, uniquely designed and meticulously trained to understand and replicate his distinctive compositional style. This is no ordinary AI; it was created specifically for this project, using a vast dataset of Motschmann's previous works to shape it's creative output. Each track on the album is the result of a dynamic interaction between Motschmann's human intuition and the AI's computational creativity, blurring the lines between human and machine-made music. The result is a compelling blend of organic and synthetic artistry that redefines musical collaboration. To enhance the sonic depth, the album was recorded using iconic analog instruments such as the Steinway D, Yamaha CP 70, Rhodes, and Wurlitzer, creating an immersive and rich soundscape. Alongside Motschmann's original compositions, the album features faithful, original renditions of classical works by Bach, Schonberg, Skrjabin, and Alain, offering a journey that bridges the gap between the historical and the contemporary.

The Aalborg Symphony Orchestra under Henrik Vagn Christensen presents Royal Danish Concertos for Brass by Thorvald Hansen (1847-1915), Mogens Andresen (*1945) and an arrangement of a flute sonata by Morten Raehs (1702- 1766) in the style of Maurice Andre. Outstanding soloists make the presented works shine and guarantee a truly royal pleasure!

PH16063 Bruckner 9, Vol. 54 Edition Staatskapelle Dresden. Christian Thielemann, Staatskapelle Dresden, Live Aufnahme der Saison 2014/2015 aus der Semperoper �Ich mag die Neunte gar nicht anfangen, ich traue mich nicht, denn auch Beethoven machte mit der Neunten den Abschluss seines Lebens!� Anton Bruckner

Bernhard Lang's Monadology XXXVI is a radical "meta-composition". It deconstructs Chopin's Op. 10 �tudes through granular analysis, loops, and virtual remixing-destroying and reassembling the score into new sonic textures. The cycle consists of 12 Et�den. The last three are dedicated to Daan Vandewalle, the internationally acclaimed pianist renowned for his mastery of 20th- and 21st-century repertoire, who now brings them to this album.

On one side, Francesco Corti, one of the most internationally acclaimed harpsichordists and protagonist of five acclaimed albums released by the Arcana label. On the other, Ilya Gringolts, making his debut for the same label: a violinist of extraordinary versatility, committed to contemporary music but also animated by a deep passion for the Baroque repertoire and historically informed performance. Proof of this is his recording of Locatelli's Il labirinto armonico (2021), which was awarded the Diapason d'Or and selected as Editor's Choice by Gramophone. Two artistically different but complementary personalities, united for years in a successful partnership, tackle a milestone of chamber music: the first great example of concertante sonatas for keyboard and melodic instrument. Completing the programme is Tertia deficiens, a piece by contemporary composer and Baroque violinist Andrew McIntosh (Grammy nominee), commissioned specifically for this project with the aim of creating an evocative bridge between past and present.

Michel Corrette (1707-1795) was born in a musical family, his father was organist, his grandfather dancing master. He was a famous composer, teacher and organist, his long lifetime seeing the cultural change from the Baroque to the Classical era. The album contains suites of dances and character pieces in the French manner, following the model established by Francois Couperin and Jean-Philippe Rameau. Typical movements include allemandes, courantes, sarabandes, and gigues, alongside more descriptive works with evocative titles. These pieces reflect the French fondness for portraying moods, personalities, or even humorous caricatures through music. At the same time, Corrette demonstrates a flair for lively rhythms and bright textures that hint at the Italianate energy fashionable in Paris during the 1730s. Unlike Couperin, who sought refinement and subtle elegance, Corrette often favored a more direct and accessible style. His Premier livre was intended not only for professional musicians but also for skilled amateurs, aligning with his lifelong mission to make music approachable. Historically, the collection occupies an interesting position: it came at a moment when the harpsichord was at the height of it's prestige in France but just before the emerging galant style began to dominate keyboard writing. As such, Corrette's first book of harpsichord pieces serves as both a continuation of the French clavecin tradition and an early sign of stylistic transition. Today, it stands as a testament to Corrette's versatility and his role in bridging established Baroque forms with the new musical aesthetics of the mid-18th century. Agustin Alvarez, trained in the Caracas Conservatory and the Royal Superior Music Conservatory of Madrid, studied harpsichord and basso continuo with Tony Millan. He has received lessons from great maestros such as Christophe Rousset, Elisabeth Joye, Jacques Ogg, Guido Morini, Luc Beausejour, Beatrice Martin, Enrico Baiano and Nicolau de Figueiredo. He has recorded for Brilliant Classics 11 suites for solo harpsichord by Nicolas Lebegue wich received excellent reviews: "impeccable interpretation, exquisite harpsichordist" Ritmo magazine, "of the highest interpretations, very elegant, technically impeccable, with great knowledge of style" Scherzo magazine.

The music of Alan Hovhaness, one of America's most prolific composers, enchants with his signature synthesis of East and West. Influenced by his Armenian heritage and a fascination with nature and spirituality Hovhaness sought to create music "for all people, music which is beautiful and healing." This collection of works featuring the violin includes several premiere recordings. Concerto No. 2, one of a series of ten concertos for various instruments, requires the soloist and ensemble to play using distinctive effects including tone clusters, melisma, and playing without strict measure. Evocations of Armenian liturgy contrasted with dizzying Scottish jigs can be heard in the Violin Sonata.