In the first half of the 20th century, we encounter a number of luminaries who in a peculiar way are reincarnations of late medieval architects - although the compositional fabric they created is completely different from solid matter. Paul Hindemith was one such guild member, as was his Austrian contemporary Johann Nepomuk David. This recording of David's symphonies works is a further step in producing a first complete recordings of his symphonic works. The Third of eight symphonies from 1940-41 as well as the Seventh, completed in 1956 are on the program. The artist's virtues are obvious. Sometimes they are like painted woodcarvings, sometimes like neat blueprints of motivic connections, using folk song elements even in the most advanced structures. These fascinating works invite the listener to sit down to this compelling music.

Recorded in the middle of a European tour in December 2024, this release marks the Monteverdi Choir and English Baroque Soloists debut of acclaimed French conductor Christophe Rousset. Rousset brings his Gallic elegance and refinement to Charpentier's Baroque Christmas music - the motet In Nativitatem and the Messe de minuit pout Noel, along with the instrumental noels, or Christmas carols, that form the basis of Charpentier's unique mass.

Paul Hindemith is among the most significant German composers of the 20th century. The Sonata for Trombone and Piano - one of a multitude of sonatas he composed for various instruments - is a lively tour de force, performed here with an additional Ruhig movement from a sonata left unfinished before he was forced to emigrate. Hindemith's songs lean towards the refined simplicity of the French melodie and are connected here with Poulenc's lyrical Oboe Sonata, Koechlin's brooding Trois Pieces, and selections by Ravel and Debussy, all specially arranged to display trombonist Guilhem Kusnierek's expert musicianship.

PROGRAM SYNOPSIS: Hesterian Ballet-dramatic Operetta Mother Nature dislikes disruptive delays and lack of organic empathy. Saturn is and karmic imprint within our DNA as the result of individually and collectively evolved experiences. It represents challenges carried from past incarnations from which we learn and master destiny. Thus, Saturn Return is a period and time of reckoning where we take responsibility for entire life cycles. It is a period of great transformation and inhanced awareness of who we are and our inherent goals.

The Athens State Orchestra, the oldest symphonic ensemble in Greece, pays tribute on it's new GENUIN release to one of the country's most significant 20th-century composers: Yorgo Sicilianos. The program presents large-scale, dramatically charged orchestral works spanning three decades: Sicilianos' Symphony No. 2, dedicated to the memory of the great Dmitri Mitropoulos; "Antiphona" for brass, strings, and timpani; and the symphonic poem "Daimon", inspired by Thomas Mann's seminal novel Dr. Faustus. With Ilias Voudouris - a central figure in Greek musical life - on the podium, the orchestra brings Sicilianos' colourful and intricately crafted sound world vividly to life, with passion and striking attention to detail.

Forgotten Danish Romantic Piano Composer The composer Carl Schwarz (1803-1834) is a puzzling figure in Danish music. There are only a few composers about whom we know less. He is not mentioned in any reference book on the history of Danish music, nor in Grove's Dictionary of Music and Musicians. The all-inclusive German Musik in Geschichte und Gegenwart also has nothing to say about him. It is, however, certain that he was born in Kiel, the capital of the Danish-owned duchy Holstein, in 1803. There was a considerable and fruitful exchange of knowledge between the universities in Copenhagen and Kiel, so it is hardly surprising that Carl Schwarz arrived in Copenhagen and became a pupil of Kuhlau: he and Weyse were the leading Danish composers at the beginning of the 19th century. Unfortunately, we do not know when Schwarz began to receive tuition, but given that his year of birth was 1803, it is hardly unrealistic to assume that it happened around 1820.

Shostakovich: String Quartets, Vol. 4

The Athens State Orchestra is the oldest symphony orchestra in Greece. On the occasion of Mikis Theodorakis' 100th birthday, GENUIN evokes the spirits of his homeland and of classical antiquity in three symphonic works by Greece's most famous composer-works that played an important role toward the end of his life: from the early "Sinfonietta" in a new version, through the folk-inspired "Rhapsody for Guitar and Orchestra," to the equally moving nine-part "Rhapsody for Cello and Orchestra," Theodorakis's last orchestral work. The young, rising Kornilios Michailidis leads Greece's premier orchestra with verve, while the album's soloists contribute at the highest standard of playing to these remarkable recordings!

Gramophone considered Oleg Marshev's first album of Prokofiev on Danacord (DACOCD391) as featuring 'one of the most authoritative and impassioned performances [of the First Sonata] on disc so far'. His interpretation of the 'War' Sonata trilogy was awarded a 'Classic CD Choice' and compared with pillars of the gramophone such as Richter, Berman, and Ashkenazy. Born in Baku, Azerbaijan, Oleg Marshev trained with Valentina Aristova at the Gnessin State Musical College and with Mikhail Voskresensky at the Moscow Conservatoire. He is numbered among the fifth generation of Russian pianism since Liszt, through the lineage of Alexander Siloti, Konstantin Igumnov, and Voskresensky's teacher, Lev Oborin. Resident in Italy since 1991, Marshev received awards in several international piano competitions in Canada, Italy, Portugal, Spain, and the USA, including four first prizes. He is now widely acknowledged as one of the most talented Russian pianists of his generation.

In 2009, a large collection of guitar music from the Gitarristische Vereinigung Munchen ('Munich Guitar Society') was rediscovered in an attic in Munich. The collection included many significant works for guitar that have been hidden from view for decades. Many of these works are by neglected composers whose names are deserving of exploration and revival. Wilhelm Schmoelzl's Introduction und Variationen exists on the threshold between Classicism and Romanticism, while Adam Darr's perfectly realised Sonata is notable for it's striking use of Alpine folk music. The programme concludes with Carl Kamberger's witty and surprising Grand Fantasy, with it's multitude of quoted themes and unconventional techniques.

In the realm of music, where creativity knows no bounds, composer Kaan Bulak and trumpeter Simon Hofele join forces to unveil a mesmerizing sonic tapestry in their latest collaborative album, No Clouds in Haraz. " This musical odyssey is not merely an assortment of tracks but a profound homage to faraway places and a shared love for the simple yet profound pleasure of coffee. As the needle drops onto the vinyl or the digital waves fill the air, listeners are transported to distant worlds, guided by the evocative melodies and innovative compositions of Bulak. The album's title, a nod to the majestic mountains of Haraz in Yemen, sets the stage for a journey that goes beyond geographical boundaries. At the heart of this musical endeavor is a celebration of diversity-both in landscapes and musical influences. The harmonious blend of trumpet, synths, beats, and experimental sounds creates a sonic landscape that mirrors the intricate tapestry of our global cultural heritage. Each note resonates with the essence of places unseen, inviting the audience to experience a rich tapestry of sound. The trumpet takes center stage, it's resonant tones weaving seamlessly with electronic enchantments, giving rise to a sound that is both timeless and contemporary. The result is a musical fusion that not only captivates the soul but also paints a vivid picture of the evolving nature of our interconnected world. Bulak and Hofele's collaboration goes beyond the conventional boundaries of genre, offering a view of the world that is both respectful and modern. The music becomes a bridge that connects distant landscapes and shared passions, mirroring the ever-changing clouds on the horizon. "No Clouds in Haraz" is a celebration of artistic collaboration and a testament to the boundless possibilities that arise when diverse influences converge. As you embark on this extraordinary musical journey, let the notes guide you through landscapes unknown, and savor the richness of a cultural mosaic brought to life through the universal language of music. In every melody and beat, discover the magic of a world where there are truly "No Clouds in Haraz.

In the realm of music, where creativity knows no bounds, composer Kaan Bulak and trumpeter Simon Hofele join forces to unveil a mesmerizing sonic tapestry in their latest collaborative album, "No Clouds in Haraz. " This musical odyssey is not merely an assortment of tracks but a profound homage to faraway places and a shared love for the simple yet profound pleasure of coffee. As the needle drops onto the vinyl or the digital waves fill the air, listeners are transported to distant worlds, guided by the evocative melodies and innovative compositions of Bulak. The album's title, a nod to the majestic mountains of Haraz in Yemen, sets the stage for a journey that goes beyond geographical boundaries. At the heart of this musical endeavor is a celebration of diversity-both in landscapes and musical influences. The harmonious blend of trumpet, synths, beats, and experimental sounds creates a sonic landscape that mirrors the intricate tapestry of our global cultural heritage. Each note resonates with the essence of places unseen, inviting the audience to experience a rich tapestry of sound. The trumpet takes center stage, it's resonant tones weaving seamlessly with electronic enchantments, giving rise to a sound that is both timeless and contemporary. The result is a musical fusion that not only captivates the soul but also paints a vivid picture of the evolving nature of our interconnected world. Bulak and Hofele's collaboration goes beyond the conventional boundaries of genre, offering a view of the world that is both respectful and modern. The music becomes a bridge that connects distant landscapes and shared passions, mirroring the ever-changing clouds on the horizon. "No Clouds in Haraz" is a celebration of artistic collaboration and a testament to the boundless possibilities that arise when diverse influences converge. As you embark on this extraordinary musical journey, let the notes guide you through landscapes unknown, and savor the richness of a cultural mosaic brought to life through the universal language of music. In every melody and beat, discover the magic of a world where there are truly "No Clouds in Haraz.

Two multi-choir Masses from mid-17th-century Rome (one for Easter, the other based on Palestrina's motet for Pentecost) complete I Fagiolini's dazzling series exploring the 'Colossal Baroque' and paying tribute to the 'lost' music of Orazio Benevoli. Maestro of the Cappella Giulia at St Peter's, Rome, Benevoli's mastery of surround-sound is clear in these very different works. The sheer quality of his music shines through and, sung by a group at the height of it's powers, changes our view of 17th-century multi-choir music. All the Masses in I Fagiolini's Benevoli series are premiere recordings.

Spanning 500 years from the exquisite simplicity of Thomas Tallis' perfect miniature O nata lux through Britten's jubilant Festival Te Deum to Cheryl Frances-Hoad's majestic O come let us sing unto the Lord, this album celebrates the hope and anticipation that comes with the beginning of a new day. Arise my love perfectly complements Magdalen's first album on CORO, Peace I leave with you, which celebrates music written for the end of the day.

Recorded live at Boston's magnificent Symphony Hall, CORO brings together on one album the Handel and Haydn Society's recordings of Haydn's early Symphonies Nos. 6, 7 & 8. Known as Le matin, Le midi and Le soir, the three works, written shortly after Haydn joined the court of Prince Paul Anton Esterhazy, are amongst the most striking of the composer's early symphonies. Characterised by unusual virtuoso writing across the orchestral ensemble, all three works feature extensive solo passages for the wind, horn and strings, including rare solo writing for the�double bass�and�bassoon, and demonstrate Haydn's emerging skill as a master of symphonic writing.

Bittersweet - Sophie Pacini's own collection of encouraging masterpieces that feels like a gentle embrace in the midst of crises and challenges. In a world often dominated by uncertainty and stress, the music on this album offers a powerful solace - a reminder that beauty, pain and hope are mysteriously intertwined. Inspired by an intimate, moving concert in a women's shelter in Munich, the ECHOKlassik Award winner was passionate about giving hope and light to many otherpeople in dark hours with a compilation of her personal heartfelt pieces. It is probably the most personal album project to date by the Munich-born artist, who -unintentionally dubbed a "wunderkind" - had to fight against discrimination, exclusion and resentment from an early age and always drew all her strength from her music. Each piece on "bittersweet" is a little encouragement, a reminder that even in themost bittersweet moments of life, the beauty of music can lead to new strength. Sophie Pacini's interpretation, between virtuosity and sensitivity, opens doors to aworld that provides encouragement in difficult times - and shows that true strengthlies especially in fragility.

Music without remembrance is not possible, affirms pianist Sophie Pacini, and "Rimembranza" is the title she has chosen for her 6th solo album. Here, the music deals with hope and doubt, pain and deliverance, bitter loss and - most of all - memory. At the album's core she has placed two works she finds strongly connected with pain, transience, and death: Mozart's Sonata in A minor K.310 and Schubert's Sonata in A minor D 784. Mozart's mother died in Paris shortly before he wrote his sonata. His twelve variations on the French folk song "Ah, vous dirai-je, Maman!" thus already bear the seed of the Sonata in A minor in themselves. "They are Mozart's rimembranza addressed to himself", she suggests. With their plaintive title harking back to the past, these variations open the curtain on Sophie Pacini's album. Before it falls again, we hear Schubert's two Impromptus Op. 90: sounding like excerpts from his sonatas, they "brush against our memory like two bittersweet rimembranzas from the past", she muses. The last act is introduced by Schubert's "Standchen" on a love poem by Ludwig Rellstab. The subject of love likewise closes the album; from the film "Cinema Paradiso", we hear the love theme composed by the recently departed Ennio Morricone and his son Andrea - a tribute track to Sophie Pacini's second homeland, Italy.

With his eighth album MORLA, ECHO award winner Tim Allhoff shows curiosity, self confidence and a stylistic diversity that reflects his various musical influences. For many years he has been one of the most important pianists on the German scene. The magazine JAZZTHING calls him the "Piano Shooting Star of the Republic" and the SuDDEUTSCHE congratulates him, with this release, on his "ascent to the top class of solo pianists". In his new Album MORLA, Allhoff takes the opportunity to reflect on the origins and course of his artistic work as a pianist and composer; the resulting collection of compositions evokes a variety of contrasting moods, reminiscent of a photo album - an album that exhibits different stages of his artistic career and the melting pot of the musical genres that is Tim Allhoff.

Mezzo-soprano Anna Lucia Richter interprets Gustav Mahler's Wunderhorn Lieder and Kindertotenliederwith great emotional depth and subtle creative power - two cycles that illuminate human fate in all itsfacets like few others. In the Wunderhorn Lieder we encounter tender childhood memories and bizarre stories - a worldbetween irony, folk song and deep melancholy. The harrowing contrast is provided by theKindertotenlieder, in which Mahler sets the pain of the loss of a child to music with poignant clarity andtouching restraint. Together with the Gurzenich Orchestra Cologne under the baton of Jordan de Souza, Anna Lucia Richtergives these songs a new, very personal dimension with her highly nuanced voice.

Joachim Raff moved in circles that included Franz Liszt and Robert Schumann, and he ultimately became one of the best-known German composers of his day. Of Raff's six stage works, Dame Kobold ('The Phantom Lady') was the first of a series of comic operas that anticipated later trends, moving away from Wagnerian pathos and looking back to the levity of Rossini. Admired for it's utterly gorgeous musical setting, the opera is notable for a disarmingly simple yet fast-paced plot, bewitching solos and elegantly flowing melodies, and a deftly responsive marriage of language and music.