This is the definitive collection of Charles Mackerras's Mozart recordings for Linn, with the Scottish Chamber Orchestra. Comprising nine symphonies plus the Requiem, this boxed set exemplifies why Mackerras was acclaimed as one of the world's greatest Mozartians and the SCO is internationally recognised as one of the world's finest chamber orchestras. Mackerras's recording of Mozart's four late symphonies (Nos. 38-41) won multiple awards: the 2009 Classical BRITs Critics' Award and the 2009 BBC Music Magazine Disc of the Year and Orchestral Awards, whilst his recording of symphonies Nos. 29, 31 ('Paris'), 32, 35 ('Haffner') & 36 ('Linz') was named Symphonic Recording of the Year at the 2011 ECHO Klassik Awards. Completing the collection is Mackerras's recording of the Mozart Requiem, boasting stellar soloists led by soprano Susan Gritton and mezzo Catherine Wyn-Rogers. The score, prepared by the renowned American academic Robert Levin, aims for a more historically authentic performance of the choral masterpiece. It was named a benchmark recording by BBC Music Magazine amongst other accolades.

Argentina has been a very prosperous nation specially in the first half of the XX Century when in Argentina there was an excellent standard of life even better than Europe where two world wars were fought. Consequentially even the the guitar studies and culture have benefited of these period of prosperity and great cultural vitality. It was in the historical phase that lots of important guitarist reached international success. IDIS release, the seventh of the serie Master of guitar " present an accurate selection of these performers many of these are nowadays rare and very difficult to find. In our anthology are present and stand out some female guitarists among them the greatest of all Maria Luisa Anido 1907 -1996 and with her there others may be less known but lot talented as Maria Angelica Funes 1916-1998 and Nelly Ezcaray 1920-1975. Roberto Lara worked not only as performer but also as as arranger and duo made by Graciela Pomponio 1927-2007 and Jorge Mart�nez Zarate 1923-1993 can be considered as a different and valid otion to the one formed by Ida Presti and Alexandre Lagoya.

Ei paesi di lingua tedesca, la musica per flauto solo ha una lunghissima tradizione, che ha il suo capostipite nella celeberrima Partita in La minore BWV 1013 di Johann Sebastian Bach, capolavoro inarrivabile e, in un certo senso, mai pi� eguagliato. All'epoca in cui Bach scriveva la sua Partita in La minore, intorno al 1720, il flauto traversiere (che gli inglesi all'epoca chiamavano anche German Flute) era praticamente all'inizio della sua travolgente carriera, che ne avrebbe fatto, nel volgere di poco tempo, uno degli strumenti pi� popolari al mondo. Era fatto quasi esclusivamente di legno, ed era uno strumento molto diverso da quello odierno, costruito in metallo prezioso (argento o, meglio ancora, oro), Relativamente facile da suonare, il flauto traverso si e arricchito nel tempo di una copiosa letteratura e ha avuto i suoi eccellenti virtuosi che ne hanno incrementato la popolarit� (nel secondo Novecento, per citare solo alcuni dei pi� noti, Jean-Pierre Rampal, James Galway e, in Italia, Severino Gazzelloni) e hanno direttamente o indirettamente sollecitato gli autori a scrivere per loro. La letteratura per flauto e effettivamente sterminata. Il nostro album ci offre una scelta di sei composizioni per flauto solo, scritte da cinque autori diversi, appartenenti in larga maggioranza all'area musicale di lingua tedesca; la sola eccezione e costituita dall'olandese Rudolf Escher, mentre Willy Burkhard era svizzero-tedesco. Gli altri tre, Karg-Elert, Paul Hindemith e Gunter Raphael, erano tedeschi.

The song cycle A Screenshot of Now is a new work by guitarist and composer Giacomo Susani on words by the poet, lyricist, author, and physician Chinwe D. John. Receiving it's premiere recording on this album, the collection is a series of 14 poems in which Susani's music-for voice and guitar-aims to act as a conduit of the lyrics' deepest symbolic meanings, in such a way that sounds and words become indivisible. Each poem reflects on various aspects of modern life: the corrupting nature of global politics, family dysfunction, freedom, the beauty and seduction of nature, romance amid chaos, escape from tyranny, and satire of modern 'pirates'. The cycle concludes with a reminder that simple pleasures still hold meaning despite technological change. Three leading voices share the spotlight: Alexander Chance, Tim Mead, and Daniel Norman, with Giacomo Susani accompanying on the guitar.

Following critical acclaim from The New York Times, Gramophone, and BBC Music Magazine for his album Forgotten Sounds, clarinetist Graeme Steele Johnson returns to Delos with Windsync. "A major force in the American chamber music landscape," the wind quintet has performed throughout the United States and abroad, presenting largely self-generated repertoire - commissioned by the group or arranged in-house. On this album, the musicians trace the stylistic diversity of American music back to a single source: not a founding father but a French mademoiselle, Nadia Boulanger. The composer, conductor, music theorist, and legendary composition pedagogue wielded immense influence over American music and musicians. The formidable roster of Boulanger students featured on this album bear witness to this: Philip Glass, Elliott Carter, Quincy Jones, and Marion Bauer, whose Woodwind Quintet has been revived and recorded here for the first time. On Nadia, Windsync hopes to humanize Mademoiselle, as she was known by her pupils, by telling her story through a century's worth of music written by teacher and students - a legacy of dizzyingly varied American music that reverberates to this day.

Mithras Trio' second album for Linn showcases early works by Shostakovich, Korngold and Lisney, continuing the 'intriguing and eclectic' programming The Guardian praised on it's first album Eros. Fountain of Youth highlights the surprising number of piano trios written by composers at the very start of their careers and features the world premiere recording of Petrichor by cellist Joy Lisney. Commissioned by Mithras Trio and premiered at Wigmore Hall in January 2023, this evocatively titled work is named after the earthy scent produced when rain falls on dry soil. Two youthful works by Shostakovich and Korngold complete the album: in Shostakovich's First Piano Trio we find hints of the composer's mature style, where grotesque and late-Romantic moments mingle in a single-movement trio, and in Korngold's first published work, the Piano Trio, Op. 1, the influences of Mahler, Strauss and Puccini do not detract from the young composer's already unique voice and exceptional maturity.

Songs and Chamber Music brings together two powerful musical voices separated by generations yet united by emotional depth and lyrical intensity. Roman Ryterband's rarely heard works trace a life marked by exile, loss, and cultural memory-from intimate Hebrew songs and elegiac chamber pieces to German Lieder and American-inspired songs shaped by war, displacement, and longing. His music blends late-Romantic richness with Jewish musical echoes, revealing a composer of striking melodic invention and human sensitivity. Alongside Ryterband's rediscovered legacy, Wojciech Stepien offers contemporary reflections on solitude, love, and memory. Drawn from his opera A Single Man and song cycles inspired by James Joyce, Stepien's works evoke California landscapes, inner monologues, and haunting emotional shadows. Together, these recordings form a moving dialogue between past and present-music that speaks quietly, intensely, and with enduring relevance.

North and South The Golden Age of the Dutch Republic, the 17th century, may have been full of splendour in the fields of trade, painting and literature, but in music the situation was far from rosy. The epicentre of musical innovation lay in Italy, whose composers were admired as supreme across Europe. While this will have hurt the pride of composers in Northern Europe and elsewhere, who disputed this supremacy publicly, in private most of them sought to benefit from their Mediterranean contemporaries, studying the latest Italian music or apprenticing themselves to Italian masters. In the Netherlands, the style of Monteverdi and other Italian composers had a profound influence on the music of Jan Baptist Verrijt, who was probably born around 1600 in Oirschot and died in Rotterdam in 1650. Together with Jan Pieterszoon Sweelinck, Verrijt is perhaps the most important Dutch composer of the 17th century, an assessment based his only surviving opus: the Flammae divinae, Op.5. It consists of 6 two-part and 12 three-part motets along with 2 three-part Mass settings. The work is believed to have been intended for use both in Roman Catholic churches in the Southern Netherlands and in clandestine Roman Catholic churches in the predominantly protestant Republic. The high level of vocal technique demanded by Verrijt would seem at first to exclude the possibility of performance by non-professional singers. However, it's known that Verrijt's Opp. 4 & 5 could be found in the library of Groningen's collegium musicum, a group consisting almost entirely of amateur musicians. In the Flammae divinae Verrijt displays consummate mastery in combining the liveliness of the new, Italian stile concertato with the polyphonic techniques of the old Franco-Flemish school. The music sounds imaginative and dramatic, but is simultaneously balanced and controlled. Like Claudio Monteverdi and Alessandro Grandi, for example, Verrijt enlivens his complex multi-part church music with techniques borrowed from the madrigal and from opera. For this reason, Verrijt's Opus 5 is not only of interest as an unusual expression of Roman Catholic culture in the northern Netherlands, but also as a musically intriguing opus on an international level. Other information: - Recorded May 2000, Rotterdam - Trilingual Booklet in English, Dutch and German contains liner notes by Kees Vlaardingerbroek - Jan Baptist Verrijt was, together with Jan Pieterszoon Sweelinck, perhaps the most important Dutch composer of the seventeenth century. His most important surviving work, Flammae divinae, Opus 5, consists of six two-part and twelve three-part motets along with two three-part settings for Mass, and was published in the period when Verrijt was employed as an organist by the Great Church of St Laurens in Rotterdam (1644-50). - In this work Verrijt displays consummate mastery in combining the liveliness of the new Italian stile concertato with the polyphonic techniques of the old Franco-Flemish school. The music sounds imaginative and dramatic, but is simultaneously balanced and controlled. Like Claudia Monteverdi Verrijt enlivens his complex multi-part church music with techniques borrowed from the madrigal and from opera, employing the old imitative techniques in a new way to achieve a strong emotional effect. - Performed by one of the most prominent and pioneering Early Music vocal ensembles of the 20-th century, The Consort of Musicke, featuring Emma Kirkby, and directed by Anthony Rooley. - A reissue from the NM Classics label, the label for music from The Netherlands.

According to The Telegraph 'Ingrid Fliter was born to play Chopin', such is her profound musicianship and affinity with the Polish composer. Here, the Gilmore Artist Award winner continues her highly acclaimed Chopin odyssey, which began over a decade ago, with the complete mazurkas. This, the first of two volumes to be released on Linn, includes the early Opp. 6 and 7, the Op. 24 as well as the later sets, Opp. 50, 59 and 63. The programme reflects on the composer's evolving style, from simple folk-inspired dances to brilliantly sophisticated, intimate works whose intricate counterpoint and harmonies often push the boundaries of the form and serve as a benchmark for the genre. Also included are some posthumous mazurkas which transverse Chopin's entire compositional career.

Camille Saint-Saens was only fifteen years old when he composed his first symphony in 1850, which is known as his Symphony No. 0 - his official Symphony No. 1 would not arrive for another three years. Gounod was thirty-seven years old when his La nonne sanglante was removed from the repertoire of the Paris Opera by a new director; he swiftly restored his spirits by composing a symphony for the Societe des Jeunes Artistes in March 1855. Bizet, aged seventeen, began work on his Symphony in C major that same year. Gounod's symphony clearly influenced Bizet's work, as Bizet had just completed a transcription of it for piano four hands. This recording marks the beginning of a collaboration between the Alpha Classics label, the Orchestre Philharmonique de Monte-Carlo and it's music director Kazuki Yamada, a great lover of the French symphonic repertoire and also music director of the Birmingham Symphony Orchestra and principal guest conductor of the Yomiuri Nippon Symphony Orchestra and the Seiji Ozawa International Academy.

Following his recent heroic Met debut as Hermann in Tchaikovsky's The Queen of Spades, Arsen Soghomonyan makes his solo recording debut for Delos. A fast-rising figure in the dramatic repertoire, the Armenian tenor has enjoyed success at major opera houses such as Bayerische Staatsoper, Teatro di San Carlo, Bolshoi Theatre and Staatsoper Wien. In his album Bridges of Voice and Soul, Arsen lends his powerful voice to some of the greatest Italian arias; "Nessun dorma" and "E lucevan le stelle" by Puccini, Verdi's "Niun mi tema" and "Vesti la giubba" by Leoncavallo are some of the delights that comprise this operatic feast, enlivened by the Kaunas City Symphony Orchestra and conductor Constantine Orbelian.

Castor et Pollux is Rameau's third opera and is packed with arias that show off the soloists to their best advantage: Tristes appr�ts for Telaire, Nature, Amour for Pollux, Sejour de l'eternelle paix for Castor, and Soulevons tous les dieux for Phebe. In this new recording Judith van Wanroij, Reinoud Van Mechelen, Tassis Christoyannis and Veronique Gens are the outstanding performers, alongside the Purcell Choir and the Orfeo Orchestra conducted by Gyorgy Vashegyi, in a new edition of Rameau's work prepared under the aegis of the Centre de musique baroque de Versailles. Research that was begun several years ago on questions of performance practice has now been complemented by their intensive work on the score and the division of roles, respecting what we now know about performance practice at the Paris Opera in Rameau's day.

The fourth volume of this diverse and instructive series presents itself as a "group portrait with a lady". In this installment, Douglas Bostock and the Southwest German Chamber Orchestra Pforzheim continue their exploration of British string music history. Representing the "fairer sex" among her colleagues is Imogen Holst, daughter of the renowned composer of The Planets. Of all the composers featured, she employs the most advanced musical language. Nevertheless, they are all united by a shared artistic ethos: they creatively follow in the footsteps of the old masters, devising various ways to bridge the spirit of past centuries with their own time. This may take shape as variations or as a musical monument, but more often than not, it unfolds "en suite" - with refined taste and that distinctly British sense of conservatism.

Delos is thrilled to welcome Avery Fisher Career Grant-winning violinist and composer Tim Fain. A unique voice on the music scene, Tim is at the forefront of technology, and has produced boundary-pushing projects in collaboration with Google, Samsung, Facebook, BBC, and TEDx, among many others. He can also be heard on the soundtracks to many acclaimed films, including Black Swan, 12 Years a Slave, and Don't Look Up. His first album for Delos, Unraveling, was born from a time of profound uncertainty. Conceived against a backdrop of pandemic, political upheaval, climate crisis, and rising mental health struggles among the youth population, this collection of works is not a surrender to despair, but a search for meaning, resilience, and hope. Featuring powerful works by John Corigliano, Bryce Dessner, Esa-Pekka Salonen, Philip Glass, and Meredith Monk - alongside Tim's own deeply personal composition, Unraveling - this album is a journey through disintegration and renewal.

Winner of the 2009 ARD International Music Competition, violinist Hyeyoon Park has made a name for herself as a soloist and chamber musician, performing with the likes of Symphonieorchester des Bayerischen Rundfunks, London Philharmonic Orchestra, NHK Symphony Orchestra, Kian Soltani, Timothy Ridout and Benjamin Grosvenor. On her first album for Linn, Silenced, she partners Gergely Madaras and WDR Sinfonieorchester in a beautiful programme that showcases two composers who were at odds with the system in place. Shostakovich's First Violin Concerto was banned for it's 'formalist distortions' and only premiered in 1955 after Stalin's death. Refusing to join the Nazi-aligned Kultuurkamer, Dutch composer Henriette Bosmans' work was banned. Her Concert Piece for Violin and Orchestra, composed in grief, is introspective and bitter in tone. A youthful academic exercise, Shostakovich's Variations Op. 3 brings the album to a rumbustious end.

How did Mozart hear his own music at home in Salzburg? This recording provides the answer, as it was made not only in the house in which he lived but also with the clavichord that he used to compose Die Zauberflote, La clemenza di Tito and the Requiem. While it's keyboard has the same five-octave range as the fortepianos that Mozart used for concerts, the clavichord's weaker sound limited it to domestic use, to be heard by family members who happened to be present or collaborators. Baritone Georg Nigl and early keyboard specialist Alexander Gergelyfi have devised an intimate programme of arias, overtures, cantatas, Lieder, fantasias, rondos and even the poignant Lacrimosa from the Requiem. This unique album let's us enter Mozart's own house in Salzburg, where we can sit next to an instrument he himself played and listen to two exceptional performers, both of whom are irrevocably smitten with the genius loci.

For his tenth Avie release, Daniel-Ben Pienaar advocates for the little-known French composer Gaspard Le Roux, by re-imagining his exquisite "Piece de clavessin" from 1705 (his only publication) for it's first ever recording on the modern piano. By turns pleasing, witty, brilliant and affecting, the complete collection makes for a diverting and balanced recital. For his tenth Avie release, Daniel-Ben Pienaar advocates for the little-known French composer Gaspard Le Roux, by re-imagining his exquisite "Piece de clavessin" from 1705 (his only publication) for it's first ever recording on the modern piano. By turns pleasing, witty, brilliant and affecting, the complete collection makes for a diverting and balanced recital.

In the second instalment of the Consone Quartet's cycle, the foursome continues it's exploration of Felix Mendelssohn's string quartets, simultaneously delving into the work of his sister Fanny, with her only work in the genre. Despite it's turbulent character, Felix's String Quartet in E minor, Op. 44 No. 2, was written three months after the composer's marriage, during a period of stability and creativity. In contrast, the String Quartet in F minor, Op. 80, was composed while he was recovering from shock, following Fanny's premature death. It is a work of striking bitterness and agitation, an unambiguous reflection of his distraught mental state. Fanny's String Quartet in E flat major is an attractive and well-crafted work, which, due to her family discouraging her pursuit of a career in composition, remained unpublished until 1988. It is given a vibrant performance here by the Consone Quartet, the first period instrument quartet to be selected as BBC New Generation Artists.

The admired Schumann authority, Jean-Pierre Armengaud, presents this second volume of Clara Schumann's solo piano music, which focuses on the transcriptions she made of works by her husband, Robert. Clara evokes orchestral density in the overture to Robert Schumann's only opera Genoveva, and also in the complex Bach-inspired Studies for Pedal Piano. Above all, the song transcriptions see her engaged in acts of complex creative union while also revealing the independence of her musical vision. Volume 1 in this series is on GP930.

Bauer's song cycle Afterimages. A progression for voice and piano takes up Schoeck's cycle Nachhall, op. 70 and transfers it to the present day. Immediately after each song by Othmar Schoeck follows the corresponding progression by Michael Emanuel Bauer. Bauer's adaptation does not stop at the texts by Matthias Claudius and Nikolaus Lenau. In the tradition of Raymond Queneau and the Oulipo group, the texts are deconstructed in a formal-lettristic manner and reassembled.