Brother of the more known, Giovanni Battista, oboe and flute virtuoso, He was judged to be an ingenious composer on a par with Corelli and Geminiani. The success of these Sonatas, was largely due to their particular instrumental use, at a time when the 'flauto traversiere' was becoming increasingly fashionable; the flute performance of this CD fully adheres to the canons of articulatory practice (bisyllabic phonetics) of the first half of 18th century Europe.

The first and upcoming album by Levi. Sct aka Levi Schechtmann on the Neue Meister label presents a distinctive fusion of classical piano and modern hip-hop elements?. The album seamlessly blends classical piano compositions with contemporary hip-hop rhythms, showcasing Schechtmann's unique approach to music?. This release marks a significant milestone in Schechtmann's career, reflecting his growth as a composer and pianist who transcends traditional genre boundaries?. Levi. Sct is a piano influencer with more than 1 Mio followers on his social media channels?

Alkan: Nocturnes, Impromptus & Zorcicos, Vol. 8

Anne-Sophie Mutter is launching her own series of recordings on Alpha Classics, ASM Forte Forward, devoted to the music of our time: it will exclusively feature contemporary works written for her. In 2026 and 2027, this exceptional artist is celebrating her jubilee: 50 years on stage, driven by curiosity, passion and commitment to the future of music. The first opus in this new series, East Meets West, includes works by four composers from diverse origins. The programme moves from solo violin, through duo and chamber repertoire, to concerto with orchestra. It opens with Likoo for solo violin by Iranian-Dutch composer Aftab Darvishi, followed by Gran Cadenza for two violins by Unsuk Chin, a South Korean composer living in Berlin, J�rg Widmann's String Quartet No. 6, entitled Studie �ber Beethoven; and concludes with Thomas Ad�s' concerto for violin and orchestra, Air-Homage to Sibelius, premiered in 2022 and recorded here with the London Symphony Orchestra, conducted by the British composer himself.

Zofia Neugebauer, born in Poland in 1994, played at the Karajan Academy of the Berlin Philharmonic. She was principal flutist in renowned orchestras such as the Lucerne and Basel Symphony Orchestras and performed with renowned conductors such as Sir Simon Rattle and Zubin Mehta. In 2018, the Mozart Society Dortmund accepted Neugebauer into it's scholarship program, where she discovered her love for Mozart. Together with the Folkwang Chamber Orchestra Essen, directed by Johannes Klumpp, she now presents Mozart's Flute Concertos and two newly written cadenzas on her album Il Vento non Scritto.

This landmark recording is the first album devoted entirely to the music of Avril Coleridge-Taylor (1903-1998). A composer, conductor, pianist and singer of remarkable versatility, she long remained in the shadow of her father, Samuel Coleridge-Taylor. Here, at last, her artistry takes centre stage. Featuring world-premiere recordings of some of her most significant orchestral works, the album reveals a distinctive musical voice - eloquent, assured, and deeply personal. Together, these performances stand as a powerful testament to her creativity and resilience, illuminating the experiences of a woman of colour in twentieth-century Britain.

The album features ten works by Ciurlionis, arranged for cello and piano by Lithuanian cellist Juozas Celkauskas. These arrangements open a new window for experiencing the piano works of Ciurlionis as chamber music, while his pictorially enhanced musical vision remains intact. In addition to the pieces by Ciurlionis, the album introduces three contemporary opuses composed especially for this project by Lithuanian composer �ibuokle Martinaityte, Latvian composer Arturs Maskats and Estonian composer Mihkel Kerem. Each of them, drawing personal inspiration from Ciurlionis, not only wrote a new composition for cello and piano, but also dedicated their creative efforts to the Ciurlionis' anniversary and this duo of performers, thus making this album not only a retrospective, but also a lively, creative dialogue between eras, cultures and personalities. This album is not merely a musical recording. It is a return to the source for the journey, during which the four bars of an unfinished work are transformed into a newly born world.

Ture Rangstrom's The Bridal Crown has proven to be one of the most durable Swedish operas, and has been performed in abundance in many different productions across the country. Located in Dalarna in the latter half of the 19th century, it is a kind of Romeo and Juliet story with two young lovers - Mats and Kersti - from families in enmity with each other. The drama itself cries out for music and there is even some melodies created by playwright August Strindberg himself. But then, it was released as an opera by the composer Rangstrom who created, as it would turn out, an eternally young music drama.

G�teborg Baroque is pleased to announce the release of Johan Helmich Roman's Then Svenska Messan, one of the most significant and beloved works in Swedish music history. Roman was a pioneer who was far ahead of his time, and today we see him as the founder

It was on American soil that Antonin Dvorak (1841-1904) began the composition of his Cello Concerto. Free of all prejudice, he had taken a keen interest in Amerindian and Afro-American cultures during his long stay in the United States of America. Moving himself between classical, jazz, improvisation, and world music as part of his trio or his duo with accordion, Raphael Jouan could not but be receptive to the open-mindedness of the Czech composer. And when, for his recording debut with orchestra, he decided to measure himself against this emblematic work, it was in order to live a collective adventure, under the sign of sharing, with musicians close to his heart.

This is the last release of a six-release album series presenting all violin concertos by Mozart. Together with the the Spanish violinist and conductor Robert Gonzales-Monjas, who is the chief conductor of the Mozarteumorchester Salzburg, the orchestra proves once again it's unrivaled position as interpreters of the Mozart stylistic. The album will be released during the Salzburg Mozartwoche in January 2026

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This collection of string music by Hugh Shrapnel is a powerful, humane response to poetry, history and social unrest. From the poetry-inspired lyricism of The Hazel Nut, through the turbulent, searching drama of Nascence, to the powerful narrative of Easter Rising, these works explore struggle, awakening and the possibility of peace.

Performed by Tanya Houghton, Jennifer Sturgeon, Jenny Bourke and Lynda Barrett, Sweet Chance is a lyrical journey for harp, flute and voice, inspired by artistic relationships forged through travel and chance encounters. From Parisian inspiration to a Belfast home, this recital programme ranges from Britten's Interlude to songs newly arranged with harp accompaniment, and Alwyn's virtuosic flute and harp duet, Naiades.

Recorded with the Royal Philharmonic Orchestra under the baton of Long Yu, the repertoire is centered on Bernstein's Serenade (after Plato's Symposium). The album also features a chamber arrangement of the Adagietto from Mahler's Fifth Symphony, "Never Enough" from the film The Greatest Showman, and Vaughan Williams's The Lark Ascending.

To acclaimed pianist Christopher O'Riley, experimentation and eclecticism are second nature. Known for his sensitive piano arrangements of alternative music, he returns with LOTUSLAND: a riveting collection of popular hits, imbued with classical profundity and romantic pianism. The selection is highly diverse. To name but a few, O'Riley rubs shoulders with John Coltrane, Erik Satie, Joni Mitchell, Duke Ellington, and even Radiohead - the latter being a particular favorite of the pianist, who made a name for himself with classical arrangements of the band's hits some 20 years ago. It's important to note that O'Riley's music transcends mere homage; rather, he effortlessly infuses the material with late Romantic grandeur and brilliance. O'Riley has taste, and the listener benefits: this is enrichment of the material, in the truest sense.

Much of Arlene Sierra's compositional output centers on the natural world, addressing the subjects of landscape, evolutionary biology, and the sounds, processes and behavior of birds and insects. Arranged into three books, Sierra's Birds and Insects comprises 15 movements composed across a twenty-year period. The three books are performed brilliantly here by pianists Steven Beck (Books 1 and 2) and Sarah Cahill (Book 3). The album is the fourth in Bridge's ongoing Arlene Sierra series.

Composer Adam Roberts'�Book of Flowers�is a celebration of the large scale collection of character pieces, participating in a tradition that traces from Schumann to Chopin to Debussy to Crumb. Performed by piano virtuoso Conrad Tao, Roberts explores an expansive range of expression and techniques on the keyboard, fashioning many short components into work of epic scope.

Swedish soprano Malin Bystrom, hailed as one of today's leading singing actors, presents a captivating journey through her celebrated German repertoire. Renowned for her perfect vocal technique, Bystrom brings to life arias and scenes that have enthralled audiences on stage and in concert, accompanied by the Royal Stockholm Philharmonic Orchestra under Thomas Sondergard. The album features excerpts from two 19th-century German operas among her favorites: Beethoven's Fidelio and Carl Maria von Weber's Der Freischutz. It also spotlights Erich Wolfgang Korngold's Die Tote Stadt, a lushly orchestrated work that, despite today's relative obscurity, was one of the greatest hits of the 1920s. However, it is Richard Strauss who takes center stage, a composer whose genius for the female voice is unmatched. Bystrom's voice, described by critics as "radiant," "sparkling," and "silvery," soars through the opulence of Die agyptische Helena, the timeless lyricism of Capriccio, and the dramatic intensity of Salome's final scene. This album is a testament to her artistry, showcasing her mastery across the breadth of German operatic tradition.

Christianity, in all it's forms, excels through it's high degree of adaptability. We encounter one of the more fascinating examples of adaptation in Latin American Catholicism that developed in the colonies of "New Spain." Not least did the veneration of Mary find an especially receptive genius loci here, whose musical disposition soon wedded to an artistic concept that was the non plus ultra for the rulers of the Old World. For some composers, the transatlantic regions thus had such appeal that they abandoned their traditional sphere of activity. One of them was the Italian Ignacio de Jerusalem, who worked at the cathedral in Mexico City; he was joined by the Mexican "home-grown talent" Manuel de Sumaya, as well as two Spanish musicians who were known and beloved in the land of the Aztecs only for their printed works. This yields a truly exquisite mix for Christmas.