Con silencio vibrante presents a compelling portrait of the Spanish and Latin American musical avant-garde during one of it's most creative and transformative periods. Performed by the acclaimed ensemble Taller Sonoro, the album brings together eight chamber works composed between 1963 and 1976, offering a rare and illuminating perspective on a repertoire that remains insufficiently documented. The recording traces a dense network of aesthetic ideas, personal connections, and transatlantic exchanges that shaped mid-20th-century contemporary music. Serial rigor, controlled chance, graphic notation, literary inspiration, and refined timbral exploration coexist in works by Mario Lavista, Joan Guinjoan, Aurelio de la Vega, Graciela Paraskeva�dis, Gonzalo de Olavide, Enrique Raxach, Jes�s Villa-Rojo, and Luis de Pablo-several of them presented here in world-premiere recordings. From the fragile, poetic resonance of Lavista's Quotations to the architectural clarity of de Pablo's Cesuras, the album reveals a shared search for new expressive territories, while preserving the distinct voices of each composer. Silence, texture, rhythm, and space become structural elements in a music that balances intellectual rigor with striking expressive power. Recorded in Seville and produced by IBS Classical, Con silencio vibrante confirms Taller Sonoro as one of today's leading interpreters of contemporary repertoire and stands as an essential release for listeners interested in the avant-garde heritage of the 20th century.

This album presents four works by leading Polish composers, written especially for Sinfonietta Cracovia. Composed over the past five years and recorded here for the first time, these pieces showcase the remarkable breadth of today's Polish contemporary music. Spanning everything from bold tonal writing to daring microtonal textures, from driving, high-energy drama to immersive soundscapes enhanced by electronics, the album offers a vivid listening experience. Standout virtuoso performances by violinists Piotr Tarcholik and Maciej Lulek, along with the Krakow Wind Quintet, add star power and brilliance, inviting listeners to discover fresh, compelling voices of modern Polish music through the artistry of this acclaimed Krakow ensemble.

Zarzuela Viva is a vibrant, direct, and deeply engaging celebration of Spain's most beloved lyric genre. This album brings together a carefully curated selection of the most popular and instantly recognisable zarzuela numbers, designed to connect immediately with a wide audience while fully preserving artistic and musical excellence. Under the direction of Alejandro Mu�oz, the C�rdoba Orchestra and the C�rdoba Opera Chorus deliver a performance full of energy, colour, and stylistic authenticity. They are joined by two highly charismatic soloists, soprano Luc�a Tavira and baritone Javier Povedano, whose voices add warmth, expressiveness, and brilliance to each piece. The programme spans zarzuela's golden age, from the late nineteenth century to the early decades of the twentieth, featuring romanzas, choruses, and orchestral interludes that form part of Spain's collective musical memory. Love, humour, passion, jealousy, and popular life unfold in a lively and accessible recording, ideal both for seasoned listeners and for newcomers discovering zarzuela for the first time. Zarzuela Viva is not only a tribute to this national genre, but also an invitation to enjoy it today with freshness, rhythmic vitality, and genuine emotion-making this album an especially attractive and highly commercial title for a broad international audience.

Curiosa is conceived as a personal "cabinet of curiosities" by violinist Jorge Jim�nez, bringing together music that entered his life through years of travel, collaboration, and discovery. The album spans laments, dances, preludes, fugues, and songs from both renowned and anonymous sources, ranging from the Middle Ages to the Baroque and beyond. Each piece is selected for it's emotional depth, strangeness, and expressive power, forming a living repertoire shaped in rehearsals, late-night conversations, concerts, and recording sessions. Central to the project is Jim�nez's fascination with unaccompanied music and historical instruments, particularly the baroque violin and vielle, whose raw and earthy sound transports the listener into earlier sound worlds. Throughout Curiosa, Jim�nez weaves together personal heritage, musical memory, and imaginative storytelling. His own arrangements connect Bach, Dowland, Strozzi, Gaspar Sanz, and traditional tunes with vivid images. Joined by Joy Smith on early harps and Daniel Garay on historical percussion, and performing with his ensemble Tercia Realidad, Jim�nez blends historical insight with spontaneity and improvisation. The result is an album that feels both intimate and expansive-music passed "between hands, ears, and hearts," constantly transforming while remaining deeply rooted in shared curiosity and human connection. Jorge Jim�nez: "These pieces entered my life through the extraordinary musicians and ensembles I've been fortunate to work with across Europe. They form a living repertoire shaped in rehearsal rooms, late-night conversations, recording sessions, and concerts."

The album features a sonata written especially for Arto Noras, one of today's greatest cellists, presented as a gift for his 80th birthday. The violin sonata is likewise dedicated to it's performer-an exceptional Korean violinist held in high esteem by Krzysztof Penderecki, Ryu's mentor and artistic patron. The Korean composer's music speaks in a highly personal voice, blending echoes of Romanticism and Impressionism. Together, these two works invite listeners to savor the sheer beauty of sound and the dazzling virtuosity that define the artistry of all four performers.

Duos and quartets by Wojciech Chalupka-winner of the Tadeusz Baird Competition, composer and saxophonist, and member of the acclaimed Nemesis Quartet-go far beyond personal reflections on philosophical questions. These works represent chamber music at it's highest level, brought to life in outstanding performances, including a live recording by the legendary Arditti Quartet. Striking, unconventional instrumental pairings, boundless imagination, and an effortless command of diverse musical styles define Chalupka's distinctive and compelling compositional voice.

This two-disc album brings together archival recordings of works composed over a span of 43 years. Performed by outstanding artists, the collection invites listeners on a journey through the stylistic transformations of 20th- and 21st-century music as reflected in the output of one of Poland's most eminent composers-from early avant-garde, sonoristic experiments to a deeply personal renewal of traditional musical languages. Excerpts from symphonies, chamber works, piano and cello concertos, and songs offer just a glimpse into a rich creative legacy, in which refined form becomes a powerful vehicle for emotional expression.

This recording marks the first-ever release of works by composers whose lives and artistic legacies still await wider recognition. Written at the dawn of the 20th century, these pieces capture the final echoes of Romanticism while embracing emerging new directions-freer, impressionistic forms and unexpected harmonic relationships-yet they also reveal the enduring influence of great predecessors such as Chopin and Stojowski. Acclaimed soloist and chamber musician Ewa Skardowska brings these rarely heard works to life with insight, commitment, and a deep understanding of the rich musical culture of the fin de si�cle.

Hillborg: Orchestral and Concertante Works, Vol. 1

Mort au Printemps is a compelling journey through some of the most powerful musical visions of death from the early twentieth century, explored through the intense and versatile language of the piano duo. In this album, the Anton & Maite Piano Duo bring together three works that are deeply connected by aesthetic affinities, personal links between their composers, and a shared creative response to the tragic. At the heart of the programme lies Igor Stravinsky's The Rite of Spring, presented in the composer's own four-hand piano transcription. Far from being a reduction, this version retains all the work's primal energy, revealing with striking clarity it's rhythmic drive, structural ingenuity, and ritualistic character rooted in archaic and ancestral imagery. Alongside it stands El D�a y la Muerte by Fernando Remacha, a two-piano work that remained hidden for decades. Inspired by the tragic death of the composer's grandson, the piece unfolds in a sombre, deeply moving musical language situated between Impressionism and Expressionism, marked by tension, dark colours, and emotional intensity. The album is completed by Claude Debussy's en blanc et noir, one of the most distinctive works of his final period, permeated by the oppressive atmosphere of World War I despite the composer's reluctance to make explicit references. Mort au Printemps powerfully reclaims the expressive depth of the piano duo repertoire, offering a recording of exceptional intensity, precision, and artistic vision.

Bruckner 5 for Organ "Bruckner is most enthusiastic about the instruments built by Cavaill�-Coll. This enthusiasm is something I share without reservation. The impressively monumental sound, the vast colour spectrum and diversity of the stops and, what is more, the simply unlimited qualities of sound that distinguish the Cavaill�-Coll organs - all this enthralled Anton Bruckner then, and it is these same characteristics that fascinate me now. When you play on such an instrument, you revive the sound world of the 19th century." Gerd Schaller

Exquisite music between late Romanticism and Impressionism, which [...] definitely deserves to be heard." There is not much to add to the words of the reviewer who reported on the first part of these complete recordings for klassik-heute. Leopold van der Pals, the son of Danish-Dutch parents, grew up in Russia and spent his life searching for higher truths. His inspirations-Goethe the scientist and his spiritual successor Rudolf Steiner-and his own experiences led him to ever-new explorations of the possibilities of infinite metamorphosis to an all-encompassing state of being. The current release concludes his cycle of string quartets. A bonus track-the melodious, distinctive quintet for flute and strings, where the composer renounces all virtuoso pretensions in a particularly appealing way.

a�pe�ri�od�ic is a Chicago-based experimental music ensemble founded in 2010 and directed by Nomi Epstein, featuring post-Cagean notated experimental music. Their second release on New Focus features an album-length work by Magnus Granburg written for the ensemble, Aus der Nacht, von den Wehen, a forty-five-minute episodic work comprised of 71 distinct sections that explore subtle changes in attack, decay, resonance, and pitch, using an indeterminate notation to inject variability into it's performance.

A vibrant collection of chamber works spanning different periods of Alberto Ginastera's career, written for piano with strings or voice. Rooted in the rhythms and colors of traditional Argentine music yet infused with the bold spirit of cosmopolitan modernism, these pieces strike a compelling balance between heritage and innovation. Inspired by the lifelong passion of acclaimed Krak�w pianist Andrzej Pikul for Argentina's most celebrated composer, this album highlights the expressive range, technical brilliance, and imaginative power of Ginastera's music, offering each performer a chance to shine with virtuosity and creative flair.

This program, dedicated to the melodies of Ernest Chausson (1855-1899), celebrates the music of this worthy representative of the French m�lodie style. Cyril ACHARD (guitar and adaptations) and Kevin Norwood (vocals), two musicians with diverse influences (jazz, classical, early music, etc.), share a predilection for musical expression in it's purest and most unadorned form. Their passion for the beautiful melodies and harmonic soaring characteristic of this bygone musical movement led them to pay tribute to the most enigmatic and misunderstood of all "melodists." As jazz musicians who practice improvisation and readily engage in reinterpretation, they find this program an ideal playground. The unique character of this duo is based on a work of adaptation, even "reinvention" in places, interspersed with improvised sections, allowing the listener to oscillate between two musical universes. Nostalgie du Ciel offers a unique take on the composer's melodies through this original arrangement for guitar and vocals. The album, recorded in an Alpine church, strives to recreate the natural acoustics of the setting, allowing the listener to perceive the sound as it was generated at the source.

In Monteverdi's Lament, the Erik Westberg Vocal Ensemble presents two contemporary works that reimagine poetry and music connected to the legacy of Claudio Monteverdi. Drawing on 17th-century sources, these compositions set historical and contemporary choir music in dialogue with interactive technologies and the hyperorgan-an instrument enhanced with digital control functions that allow performance beyond the traditional keyboard. The result is an exploration of the creative tension between past and present, echoing the spirit of innovation that shaped Monteverdi's music in the early 1600s. Carl Unander-Scharin's Lamento � pi� takes inspiration from Ottavio Rinuccini's libretto for the lost opera Arianna, originally set by Monteverdi in 1607. Created in collaboration with choreographer �sa Unander-Scharin, this 2023 work expands the expressive potential of the 17th-century text through a dynamic interplay of choreography, choir, and hyperorgan.

The CD delves into the technique known as diminution, which flourished for several decades toward the end of the 16th century, primarily in Italy. As Peter S�derberg explains in the liner notes: "Diminution consists of subdividing the long note values of a vocal model into short ones in a solo instrumental part, laying the foundation for virtuosic ornamentation. Diminutions on a solo instrument were often performed in conjunction with the vocal piece, performed by an ensemble of singers or instrumentalists (colla parte). But the vocal model-usually a chanson, madrigal, or motet-could also be adapted for a solo instrument that allowed for polyphonic playing, usually a keyboard instrument or, as in this recording, a lute."

The recording, entrusted to award-winning pianist Massimiliano G�not (who previously spearheaded the rediscovery of composers Federico Bufaletti [tc 860290] and Giuseppe Unia [tc 812101]), focuses on the romantic piano sonata in nineteenth-century Italy. The theme is particularly interesting because 19th-century Italian piano compositions remain largely unknown today, partly due to the overwhelming preponderance of opera and theatre music of the time, which already overshadowed any other musical genre. Massimiliano G�not's passionate interpretation does justice to these important compositions, which deserve careful consideration within the European piano landscape of the time. The compositions of Giuseppe Unia, Carlo Rossaro, and Alessandro Longo represent a wide-ranging synthesis of Italian tradition and influences from beyond the Alps, in which solid compositional technique and typically Italian expressiveness blend in a manner that is both natural and masterful.

A world-premiere recording of string quintets by the long-forgotten composer Paul Caro, the final Wroclaw voice of the Neo-Romantic tradition. Known until now only through handwritten manuscripts, these newly rediscovered works impress with their clear formal design, lyrical melodic flow, and unmistakable echoes of the great masters-Bruckner, Reger, and Brahms. Performed by acclaimed chamber musicians from the Vienna and Krak�w music scenes, these vibrant interpretations bring to light the remarkable expressive power and artistic promise of a composer finally receiving his due.

The Canzonette by Paolo Rolli (1687-1765) were among the greatest lyrical successes of eighteenth-century Europe. The poet, renowned for his cantatas, his extraordinary Italian translation of Milton's Paradise Lost, and his opera libretti for Porpora and Handel, likely oversaw the musical settings of the Canzonette himself, often reworking compositions by Handel and popular tunes of the time, such as the dance Aimable Vainqueur. Simple yet delightful melodies accompany amorous skirmishes between nymphs and shepherds, while also celebrating wine and the pleasures of love. This collection offers a unique glimpse into the eighteenth-century Arcadian world through the original work of one of it's greatest poets.