Forgotten Treasures of Polish Violin Music

This recording explores the musical world of the confraternities of the laudesi - active in the Venice region around 1500 - and their rich repertoire of devotional songs in Italian. These works often celebrate the Virgin Mary and Christ's Passion and bear witness to an aesthetic deeply rooted in popular fervour, frequently combining homophonic writing with a direct expressiveness aimed at the common folk and influenced by Franco-Flemish songs. Le Miroir de Musique take their inspiration from the musicians of the Scuole Grandi of the Venetian Renaissance and recreate a sound world that lay at the crossroads of spirituality and nascent humanism.

This CD brings together five works by Eckart Beinke that open sonic spaces where intuition, fragility and heightened awareness intertwine. Rejecting any form of surface brilliance, Beinke turns toward the subtle and unresolved - those delicate resonances in which emotion, memory and thought merge. Each piece unfolds it's own sound-topography: at times an exploration of beginnings, at times a politically alert reflection, at times a sonic mapping of nature, chance or the subconscious. Boundaries blur between noise and pitch, structure and freedom, personal gesture and social vigilance. This CD invites the listener to experience sound as a realm of thinking - a space where perception expands and listening itself becomes a quiet act of intensity and presence.

Variation means change - a creative impulse that has driven composers for centuries. Among the great variation cycles in music history, one rises like an eight-thousander: Ludwig van Beethoven's 33 Variations on a Waltz by Anton Diabelli, op. 120. On her new recording, pianist Lei Meng places this monumental late work at the centre and invites listeners on an ascent into Beethoven's most imaginative terrain. Lei Meng pairs this towering cycle with a work from Beethoven's early years: the energetic, sharply profiled c-minor Bagatelle WoO 52 from 1795. Here we already encounter the composer who would make the key of C minor his signature - with scherzo-like wit, driving force and a softly glowing trio in C major.

Franz Schubert, who hardly ever owned a violin of his own, created music of wonderful inwardness for this instrument. Not a virtuoso in the conventional sense, he was a master of emotional sound speech. Like his piano works, his pieces for violin and piano also open up that sphere of the 'there' in which the earthly merges into transcendence. In their dialogue, the opposing worlds of the violin - the 'torn tone' - and the piano - the 'bound melody' - meet to form a lyrical unity that does not 'represent' anything, but simply 'is'. Ingolf Turban and Tomoko Sawallisch are the ideal performers for these works!

Clarinettist Peter Cigleris is adding another gem to the SOMM catalogue less than a year after the release of his Clarinet Concertos (with symphonic band) [SOMMCD 0705, October 2025], which featured two world-premiere recordings and was roundly praised by Gramophone's Guy Rickards: "Cigleris is possessed of a beautifully mellifluous tone. A hugely varied, enjoyable programme, then, superbly played and recorded; enjoy!" For this release, Cigleris again offers concertante works, and again two first-ever recordings, but here the tutti forces, rather than winds, are the luminous strings of the London Mozart Players led by John Andrews. The trio of composers is British, and along with Gerald Finzi, whose Clarinet Concerto is justly beloved, come two others keenly deserving of the light this recording sheds on their music. The three works, all composed in the late 40s, are bound together by the common thread of the eminent English clarinettist Frederick Thurston (1901-1953). Denis ApIvor (1916-2004), born in Ireland to Welsh parents, was a chorister at Christ Church, Oxford and then at Hereford Cathedral, where he also studied clarinet, piano and organ. As a teenaged medical student he heard the English premiere of Wozzeck under Sir Adrian Boult and his musical inspiration was renewed, leading to private composition lessons with Patrick Hadley and Alan Rawsthorne. While there is a later version of his Concertante for clarinet orchestrated for an ensemble featuring full strings, harp and celesta, Peter Cigleris opens this album with ApIvor's original chamber version for piano and two percussionists (one on timpani). This early work was conceived during the composer's wartime posting to India, and the premiere (with Frederick Thurston) was given in London after two years of peace, a repeat performance going out live on the BBC Third Programme on 27 January 1948. This recording, the work's first, shows an already impressive thread of musical argument and masterly writing from a 30-year old ApIvor, who would reach the peak of his success some eight years later with his score for the Royal Ballet's Lorca-inspired Blood Wedding. Many who know the name Freda Swain (1902-1985) will think of pedagogical piano solos and be surprised to learn of the Portsmouth native's catalogue of 450 or so serious works including large-scale operatic, orchestral and concertante music as well as varied chamber pieces, all regrettably neglected for too long. Presented here in it's premiere recording, Swain's "Lumine naturi" Concertino for Clarinet is an expressive work in language that draws on tonality yet is highly individual and sweepingly melodic. The genre-title's Italian diminutive belies concerto-worthy length (24 mins) and thematic substance. Each movement bears an epigraph by Algernon Blackwood evoking an ultra-vivid natural scene, hence the Latin epithet: "By the Light of Nature". Though Swain never published the work, it is likely that the tutti of string orchestra anchored by a lone horn accompanies a clarinet part intended for Frederick Thurston, a frequent collaborator and the dedicatee of her Rhapsody for clarinet and piano. Thurston did play the premiere of Gerald Finzi's (1901-1956) Concerto for Clarinet and Strings at the Hereford Three Choirs Festival on 9�September 1949, and the masterpiece has deservedly become the composer's most frequently heard concert work.

In May 2026 Metier Records is proud to present Michael Hersch's monumental chamber work Zwischen Leben und Tod (Between Life and Death) performed by violinist Peter Sheppard Skaerved and pianist Roderick Chadwick, marking the label debut of one of the most gifted composers of his generation. Hersch's music has been described by The New York Times as "viscerally gripping and emotionally transformative music.claustrophobic and exhilarating at once, with moments of sublime beauty nestled inside thickets of dark virtuosity". In January this year he was selected as the inaugural recipient of the�John Hopkins University Affiliated Fellowship at the American Academy in Rome. Zwischen Leben und Tod is a startling yet moving 22-movement cycle for violin and piano written in inspiration of paintings by the surrealist German artist, writer and filmmaker Peter Weiss, each movement corresponding to a particular image. It's duration of 100 minutes makes it one of the longest works for violin and piano. Peter Weiss was best known as a playwright of searing and often disturbing stage dramas, including Marat/Sade which features the assassination of French revolutionary Jean-Paul Marat in an asylum-set play by the Marquis de Sade. Weiss's little-known paintings and drawings share many of the same characteristics, featuring loneliness, violence and grief (themes of asylums, war, prisons, cannibalism) but also deeply meditative imagery (a string quartet, a garden concert, a boy in the grounds of a country house). Hersch found Weiss's spectrum of colour and motion, of proportion and spacing, particularly musical, and Zwischen Leben und Tod makes a deep and visceral engagement with these same explorations. The result is a complex, rich and multi-layered work featuring extremes of tempi, dynamics and technique making enormous physical demands on the performers, while being hugely rewarding. Much of the music is disturbing and raw, but the overall effect is affecting, offering the listener moments of solace. In David Hackbridge Johnson's fabulous booklet notes he says "The little modal chord figures, the open strings that plaintively grate over them, the wisps of folk song, the lullaby figures - all these are a welcome balm to sooth the sores of an atrocity exhibition.�What tenderness amid the haunted landscapes!.. Despite these scenes of peril, after over 90 minutes between living and dying in Hersch and Weiss's world, a curiously cathartic sense is achieved; a procession of bleak images in sound that somehow resist despair."� Violinist Peter Sheppard Skaerved has known and collaborated closely with Michael Hersch for over twenty years, and this is their first recording together. His performance here alongside that of pianist Roderick Chadwick is hugely expressive, displaying extraordinary virtuosity. Michael Hersch is professor of composition at the Peabody Institute and is a composer of "uncompromising brilliance" (The Washington Post). His output includes opera, theatre, chamber, vocal and orchestral works, performed across Europe and the US, including UK premieres at the Aldeburgh Festival and with the BBC Symphony Orchestra. He is the recipient of many prizes and awards including a Guggenheim Fellowship in Composition, both the Berlin Prize and Rome Prize, the Charles Ives Scholarship from the American Academy of Arts & Letters, and the President's Frontier Award from the John Hopkins University.

If you happen to come to Frankfurt, especially in the first half of winter, please let me know. I would also come, either inviting Muhlfeld or bringing a viola part - for two clarinet sonatas that I would like Mrs. Schumann to hear. The unpretentious pieces would not disturb our comfort - but it would be nice! This is what the 61-year-old Johannes Brahms wrote to his friend, the violin virtuoso Joseph Joachim, on October 14, 1894. Even this brief note indicates the composer's early intention to have his two sonatas, Op. 120, performed alternatively by a wind instrument or the viola. Proving that these works are much more than 'unpretentious', Salzburg violinist and violist Thomas Albertus Irnberger, together with his long-standing piano partner Michael Korstick present a late new focus of Brahms's. The subsequent "Marchenbilder", Op. 113, by Robert Schumann mark another pinnacle of the viola-piano repertoire.

Extending the Range is the result of several years of collaboration between Allmanna Sangen and the Malva Quartet. Our two ensembles are driven by a shared desire to explore new music and to promote music by female composers. Both aspects are reflected in this album of music for choir and string quartet, written by some of the most exciting Swedish and American composers of our time.

In 1938 the Moravian-born Hugo Kauder (1888-1972) became one of the many Jewish musicians forced to flee Vienna into exile in the United States. Kauder's music reflects his Viennese heritage, with his generous output of chamber music in particular continuing the tradition of Brahms, not least in it's depth of feeling and dignity of manner. These four sonatas, early works balancing youthful passion and mature emotion, launch a series intended to recover the work of a composer who himself might fairly be classed as another Viennese master.

The inspiring new album Shapes of Water by renowned pianist Carmen Stefanescu takes listeners on a captivating musical journey. Following her successful debut album with Prospero Classical, The Voice of Piano, the pianist has recorded pieces based on the theme of water for her new release. Water has always fascinated artists as a theme and symbol - it stands for purity and renewal, but also for mystery, movement and the transience of time. In her new album Shapes of Water, pianist Carmen Stefanescu transports her audience into a world of sound in which water itself becomes music: it trickles, glitters, flows - and always comes to rest.

For Joseph Haas (1879-1960), meeting Max Reger, whom he followed to Leipzig, was a life-changing experience. He soon began to enjoy success as a composer, which led to his appointment as a teacher of composition at the conservatory in Stuttgart in 1911 and to the Academy of Music in Munich in 1921. The second episode contains a representative selection of Joseph Haas' piano works, which convey the diversity and uniqueness of his compositional style. Pianist Gerit Mense more than does justice to Joseph Haas' work with her colorful, emphatic playing!

Italia Mia by Ensemble Micrologus is not merely a collection of pieces but a musical journey that invites listeners to explore the vivid and diverse soundscape of Italy's past. Through their dedicated performance, Micrologus offers a window into the past, allowing modern audiences to experience the beauty and complexity of early Italian music. This live-recording stands as a testament to the enduring appeal of these works and the ensemble's commitment to preserving and celebrating the rich tapestry of Italy's musical heritage.

The distinguished Swedish conductor Herbert Blomstedt, long associated with the Bavarian Radio Symphony Orchestra as a regular guest, conducted Johannes Brahms' Variations in B-flat major on a Theme by Joseph Haydn, Op. 56a, in concerts on February 13 and 14, 2014 in the Herkulessaal of the Munich Residenz. This new BR-KLASSIK CD presents not only the live recording of this compelling interpretation but also a live orchestral rehearsal recording from February 10, 2014. The latter forms part of BR-KLASSIK's acclaimed series Conductors at Rehearsal, offering a glimpse into their artistic work with the orchestra. Brahms composed the Variations on a Theme by Haydn in Tutzing during the summer of 1873. The work was premiered on November 2, 1873 in Vienna, conducted by the composer himself. A short while later, Brahms introduced an alternative version for two pianos (Op. 56b), which premiered in 1874, also in Vienna. The Variations are based on the melody of the so-called "Chorale St. Antoni, " taken from the second movement of a Divertimento in B flat major (Hob. II:46) that was most likely mistakenly attributed to Joseph Haydn. The chorale may not even have been written by the composer of the Divertimento and could originally have been a pilgrimage song honouring St. Anthony of Padua in western Hungary (present-day Burgenland). Regardless of their origins, Brahms' Variations (theme with nine variations and finale) stand as one of the composer's most important and most celebrated orchestral works, and remain a cornerstone of the Romantic repertoire. The detailed rehearsal recordings on the CD provide a deeper insight into this magnificent work. Listeners can experience first-hand how the conductor's wishes, ideas and instructions are implemented, how his explanations and his temperament change the resulting sound, and what thoughts lie behind the interpretation of the work. Thanks to this series, which is now also available on CD, the unique artistic partnership between Herbert Blomstedt and the Bavarian Radio Symphony Orchestra can be documented. Blomstedt's seemingly inexhaustible source of energy - music itself - is palpable in every word and every bar. ? Herbert Blomstedt conducts the Bavarian Radio Symphony Orchestra in concerts on February 13 and 14, 2014 ? Live recording of Johannes Brahms' famous Variations on a Theme by Haydn, Op. 56a ? Includes "Conductors at Rehearsal": live recording of the orchestra rehearsal on February 10, 2014 for the Munich concerts ? Electrifying live atmosphere from the Herkulessaal of the Munich Residenz

Like gazing into a kaleidoscope, this double-CD album brings a treasure-trove of musical miniatures tracing the sweeping panorama and historic perspective of 10 centuries. A mirage-like journey through 1000 years - from the 11th Century until present day - introduces evanescent encounters with a dizzying array of epochs, genres and styles: from otherworldly chants half-whispered beyond ancient monastery walls, to the traditions of Indian Raga, Bulgarian folk tunes and Mongolian throat-singing, to rustic bagpipes and medieval troubadours, to the Baroque splendor of Bach, Handel and Rameau, to Mozart and Schubert, to Italian and French opera, flamenco and tango, jazz and blues, Stravinsky and Shostakovich, Piazzolla, Duke Ellington, Erroll Garner and David Bowie. This charismatic retrospective is a fascinating collection, brimming with world-premiere recordings (50 out of 51 tracks) and presenting a stunning variety of compositions - some original, some arranged by the performing artists - violinist Elmira Darvarova (first and to date still only ever, woman-concertmaster of the Metropolitan Opera Orchestra) and hornist Howard Wall (a former long-time member of two of the world's greatest orchestras - the New York Philharmonic, and the Philadelphia Orchestra). 17 nations from 5 continents are represented, including by ten women composers (one of whom composed operas in the 17th C. and had her works performed for the likes of Galileo). The meticulous album notes cover the multi-dimensional, serendipitous and cross-pollinating nature of essential events and legacies, which endure and continue to fascinate and transport us.

Chopin sans Chopin is Adam Golka's highly personal tribute to Frederic Chopin, featuring works inspired by Chopin instead of music by the master himself. The album includes a plethora of international composers of the 19th and 20th centuries, including choices inspired by Golka's Polish-American background and unique family history. The album includes a world premiere recording of the 1894 Mazurka in E minor by Natalia Janotha (1856-1932). This is Golka's fourth solo album on FHR.

L'infinito is Giacomo Leopardi's famous and emblematic poem. The choice of this poem as the sole textual material for the composition of this set of vocal pieces was dictated as much by the evident musicality of Leopardi's verses as by the immense dreamlike openness of his imagination. The musicality of this language, the tonic accents specific to Italian, of course, but also the rhythm provided by the particular scansion of these fifteen verses. The multiplicity and diversity of the themes addressed by Leopardi, in only 15 verses, offer the composer a range of perspectives, paths to follow, and characters to explore, such that the challenge required diversity in the vocal treatment as well (since this is only a question of song, without instrumental intervention). This also justified the formal division into several pieces, each treating an aspect of the poem, sometimes fragmented, in a particular mode of vocal expression. After exploring registers ranging from simple declamation to the greatest vocal virtuosity, from the extremely low to the very high, from one single voice to several, the work concludes with nothing but the singers' respiration (breathing) recorded in an anechoic chamber the body's own rustling, now voiceless, expressing itself solely through breath. This music was originally written for the choreographic performance entitled 'Sanguine,' choreographed by Nadine Hernu. P.M.

Baseball, Bach, a disused railway line and the misuse of music in Iraqi prisons might be unexpected inspirations behind the work of a composer who is an Oxford professor by day. But the piano music of Martyn Harry - born in Crawley, West Sussex, in 1964 - proves to be a wild, kaleidoscopic mix of just such unlikely influences: Satie, Sorabji, American minimalism, Prokofiev, Silvestrov and more, all intended to exercise the technique of his good friend, the fireball pianist Jonathan Powell, whose early death in December 2025 shocked the musical world. There is a gleeful, almost manic quality to much of this music that found a counterpart in the unflagging energy of Powell's playing. A song-cycle setting six early Anna Akhmatova poems likewise taps into the tension she found in intimacy, releasing a surprising degree of passion.

This two-album Signum Classics release presents Ludwig van Beethoven's five cello sonatas, performed by cellist Paul Watkins and pianist Alessio Bax. The works were composed over a wide period and illustrate Beethoven's early, middle and late styles, from the Op. 5 sonatas written during his 1796 Berlin visit, through the A major Sonata Op. 69 from the period of the Fifth and Sixth Symphonies, to the Op. 102 sonatas marking the beginning of his final creative phase. Recorded in December 2024 at Cedars Hall, Wells, the set reflects close collaboration between cello and piano and Beethoven's evolving formal and expressive concerns.

With Charlotte! Adieu!, guitarist Philipp Schmidt dedicates his album to the young musician Charlotte Beslay (nee Levavasseur), a student of Fernando Sor and a talented pianist whose playing is said to have impressed even Rossini. Her early death in 1835 - she died at the age of only about twenty while giving birth to her son - left a deep impression on Sor. In moving memory of her, he composed the Fantaisie elegiaque, Op. 59, whose conclusion bears the words 'Charlotte! Adieu!': a musical farewell full of sincerity and sorrow. In addition to this central work, the album presents selected etudes, lecons, and character pieces from Op. 6, Op. 29, Op. 31, and Op. 35, as well as the meditative miniature Le Calme, Op. 50, and the virtuoso Variations on a Theme by Mozart, Op. 9. On a historical Romantic guitar, Philipp Schmidt allows Sor's music to shine anew in it's original clarity, warmth, and poetic expressiveness.