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.

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.

Since it's foundation in 2013, the Berlin Opera Group has made a name for itself with Berlin premieres such as Donizetti's Deux Hommes et une Femme and Betly, and other operatic rarities. This album is a Deutschlandfunk Kultur recording of the 2021 performance of Pietro Mascagni's Zanetto from the Konzerthaus Berlin. Yajie Zhang was also heard in the role of Ugo d'Asti (OC989). The orchestra of the Berlin Opera Group plays under the direction of Felix Krieger.

Spain's Siglo de Oro, the Age of Gold, gave rise to some of the greatest sacred choral music of the Renaissance. Lead, Kindly Light is devoted to the music of two outstanding Spanish composers, exploring majestic works by Cristóbal de Morales, famed throughout Europe and in the New World, and the exquisite polyphony of Sebastián de Vivanco, whose intricately crafted counterpoint adorned services at the cathedrals of Ávila and Salamanca during the late 1500s. Contrasting and complementing these 16th-century masterpieces are spellbinding settings of words by Saint John Henry Newman: Sir James MacMillan's Nothing in Vain for soloists and double choir, and the world premiere of Kerensa Briggs' Lead, kindly light, specially commissioned for this album.

Alessandro Scarlatti's Il trionfo dell'onore (The Triumph of Honour) - his only comic opera - was first performed in Naples in 1718. With it's distinctive recitatives and expressive arias, and a cast including four pairs of lovers, it can be considered one of the forerunners of opera buffa. The central character is the unrepentant seducer Riccardo Albenori, a Don Giovanni-like figure though without the villainous aura. In this opera, Scarlatti ensures not only perceptive psychology but a rich variety of arias, duets and quartets that generate the work's pathos as well as it's humour and eroticism.

Christmas simply wouldn't be Christmas without the iconic voices of The Sixteen providing a soundtrack to the season. Celebrated for collections that provide an alternative to the customary festive offerings, this new album from the world-renown choir is no exception. No other festival in the Christian year has inspired so many composers and such a variety of musical styles as Christmas. The Wise Men and the Star features a veritable cornucopia of yuletide music from the premieres of three new works to traditional carols including Away in a manger and In the bleak midwinter, and modern classics such as Eric Whitacre's Lux aurumque and Mykola Leontovich's Carol of the bells. This new album promises something for everyone.

Four years ago, Günther Groissböck, celebrated bassist at the world's most prestigious opera stages, surprised music lovers with a recording of popular Viennese songs. There was hope and expectation that a follow-up would come. Now he returns with a journey through time in the genre, from the Biedermeier period to the present day. While his 2021 album Gemischter Satz featured the Philharmonia Schrammeln, this time it's the Neue Wiener Concert Schrammeln who define the Viennese sound of the CD. It includes songs from the pen of Viennese song poet André Heller, such as "Es is allas unhamlich leicht" (Everything is incredibly easy) or the title track "Annageln kannst es net, die Zeit" (You can't nail down time), as well as classics like Hermann Leopoldi's "In einem kleinen Café in Hernals" (In a small café in Hernals), Karl Hodina's "Herrgott aus Sta'" (Stony God), or traditional Viennese songs like "Wann i amal stirb" (When I once die) and "I hab die schönen Maderln net erfunden" (I can't take credit for the pretty girls). Instrumental contributions from the Neue Wiener Concert Schrammeln, including original compositions by two of it's members - "Hopp Hopp Galopp" (Helmut Thomas Stippich) and "Leopoldina & Pedro or: How Haydn's student Sigismund von Neukomm may have seen Brazil" (Peter Havlicek) - round off this new album.

Rossini's Adina is a one-act farsa sentimentale or semiseria set in a seraglio in Baghdad where we find the Caliph determined to marry Adina who is also loved by Selimo. To this standard story Rossini brought an unexpected psychological depth, augmented by coloratura arias and male choruses of richness and daring. However, for unknown reasons he omitted a vital Terzetto, which has made the work problematic to fully realise in performance. This recording employs the Terzetto from Giovanni Pacini's opera La schiava in Bagdad, a solution first proposed in 1861, much to the benefit of the opera's pacing.

Domenico Cimarosa, one of the last great exponents of the Neapolitan School, was also one of the most-performed opera composers before the arrival of Rossini. He composed over 60 such works and was esteemed from Venice to St Petersburg, where he was appointed to the Russian Court. L'Italiana in Londra ('The Italian Girl in London') is a charming and sophisticated intermezzo that displays an incredible understanding of comic situations and characters, satirising different cultural stereotypes that are as identifiable today as they were in the 18th century. Humour and wit abound in this acclaimed production.

Puccini is renowned as one of the greatest opera composers of all time, and his early works - before Manon Lescaut catapulted him to international fame - offer a fascinating insight into his development as a composer. John Wilson and Sinfonia of London explore this repertoire with characteristic style and commitment, leading us on a journey through student compositions and orchestral extracts from his earliest operas. Studying under Amilcare Ponchielli at the Milan Conservatory from 1880 to 1883, he created the Preludio sinfonico (loosely based on Wagner's Prelude to Lohengrin), the Scherzo, Trio, and Adagetto, and Capriccio sinfonico, his graduation piece, which famously pre-echoes the opening of La bohème by a decade. The one-act opera Le villi was composed for a competition launched by the publisher Sonzogno (Puccini didn't win), whilst themes from the contemporaneous Tre minuetti and Crisantemi (both for string quartet) were subsequently re-cycled in Manon Lescaut. Verdi's publisher, Ricordi, bought the rights to Le villi, and commissioned a new work at the same time: Edgar, which, largely owing to the absurd plot, is arguably Puccini's only failure, despite some fully mature music easily the match of the more celebrated scores.

Jean Langlais was born on February 15, 1907, in La Fontenelle, Brittany, France. He became blind from the age of two. Sent to the Paris National Institute for the Blind Youth in 1918, he studied piano, violin, harmony and organ with great blind teachers (among others Albert Mahaut and Andre Marchal). Later on, he entered the Paris National Conservatory of Music in the Marcel Dupre's organ class, obtaining a First Prize in 1930. In 1931, after studying improvisation with Charles Tournemire, he received the "Grand Prix d'Execution et Improvisation des Amis de l'Orgue". He completed his studies obtaining a Composition Prize in Paul Dukas' class at the Paris Conservatory in 1934. In 1945, he became the successor to Cesar Franck and Charles Tournemire at the prestigious organ tribune of Sainte-Clotilde in Paris. He gave countless concerts worldwide, and was a prolific composer. He died on May 8th, 1991 in Paris. Langlais' distinctive style combined traditional harmonies with contemporary techniques. His compositions often feature intricate organ textures and colourful harmonies, influenced by his background as a church musician. Langlais was also known for his use of modes and complex rhythms, which added to the unique character of his music. His works often have a strong emotional intensity and sense of drama, with frequent shifts in mood and dynamics. This is the third volume of the complete organ works includes sonatas, suites, Noels, the Symphony "Alla Webern", and many miscellaneous shorter works. Played by 3 excellent Italian organists: Giorgio Benati, Fausto Caporali and Alessandro Perin. The extensive booklet includes information on the organs used on this album.

Fritz Kauffmann was a composer who never fully realised his natural potential because he "suffered" from so many different talents. Specifically, this son of a Berlin businessman, after completing his studies and spending some time as a private tutor, worked to reform musical life in Magdeburg from 1889 onwards, performing there as a conductor and pianist while neglecting his own creative work. The regret expressed by some contemporaries is easy to understand when listening to the two piano trios from the 1880s recorded here. He was a powerful romantic who expressed subtle originality within familiar forms. His expression and creativity range from dramatic force to subtle humour, and - as can be heard in the "Barcaruola" from Opus 20 - he was not above the use of catchy tunes.

Maurice Ravel and Gabriel Faure each contributed a single string quartet to the chamber music repertoire, but both works are masterful reflections of their distinct musical voices and the broader evolution of French music in the early 20th century. Ravel's String Quartet in F major, composed in 1903, stands as a defining work of French impressionism in music. Influenced by his teacher Faure and Debussy's quartet from 1893, Ravel's quartet is nevertheless strikingly original. The piece follows the traditional four-movement structure, but with bold harmonic language, refined orchestration for strings, and rhythmic innovation. The first movement is lyrical and elegant, while the second features pizzicato and dynamic contrasts that create a vibrant, almost playful texture. The third movement offers deep introspection, and the final movement reintroduces themes in a whirling, virtuosic conclusion. In contrast, Gabriel Faure's String Quartet in E minor, Op.121 is a late work, completed in 1924, shortly before his death. It was his only string quartet, and it reflects a more introspective, spiritual tone. Faure, already nearly deaf and physically weakened, poured into the music a sense of serenity and resignation. The three-movement structure (unusual for a quartet) avoids virtuosic display in favor of subtle textures and modal harmonies. The work unfolds slowly, with long, flowing lines and a remarkable economy of means, demonstrating his mature mastery of form and expression. Together, Ravel's and Faure's quartets represent two ends of a stylistic spectrum: Ravel's vibrant, youthful exploration of sound and structure contrasts with Faure's meditative farewell. Both works, however, reveal the expressive depth and refinement that define French chamber music at it's finest. As an important and substantial bonus to this recording we hear Ravel's Introduction & Allegro for flute, harp, clarinet and string quartet, a highly original and attractive work. Played by the Quartetto Nous, the Italian string quartet also engaged in the recording of the complete Shostakovich string quartets for Brilliant Classics, to great critical acclaim.

Both these violin concertos have been long-neglected for the same reason: their composers were much better-known for their achievements in musical theatre rather than for their works for the concert-hall. Robert Russell Bennett studied composition in Paris with Nadia Boulanger, and his output includes seven symphonies. He also orchestrated some of the highest-profile musicals in Broadway history, including works by George Gershwin, Cole Porter, and Rodgers and Hammerstein. (Richard Rodgers modestly claimed that Bennett's skills in instrumentation had made his music 'sound better than it was'). Vladimir Alexandrovich Dukelsky changed his name to Vernon Duke at the suggestion of his friend Jacob Gershovitz - better known as George Gershwin. Duke received a rigorous training in classical music at the Kyiv Conservatory; was friends with Prokofiev and composed ballet scores for Sergei Diaghilev's Ballets Russes in Paris, as well as three symphonies. He remains better known as the creator of hit shows, such as Cabin in the Sky, and as the composer of numerous songs that became jazz standards, including 'April in Paris'. Chloe Hanslip, Andrew Litton, and the Singapore Symphony Orchestra perform both concertos with aplomb, and Andrew Litton also takes the role of pianist in Bennett's Hexapoda.

Maurice Durufle (1902-1986) was a French composer, organist, and teacher renowned for his meticulous craftsmanship and deeply spiritual music. A student of Charles Tournemire and Louis Vierne, Durufle inherited the rich French symphonic organ tradition, which he blended with Gregorian chant and impressionist harmony to create a unique and transcendent style. Durufle's complete organ music is limited in quantity but monumental in quality. His small output includes only six published organ works, yet each piece reveals an extraordinary depth of expression and technical mastery. Chief among them is the Suite, Op.5 (1932), which consists of three movements: Prelude, Sicilienne, and Toccata. The Toccata, while virtuosic and brilliant, is famously considered one of the most difficult in the repertoire and is sometimes omitted in performance due to it's formidable demands. The Prelude, Adagio et Choral varie sur le thème du "Veni Creator", Op.4, exemplifies his affinity for Gregorian chant, a hallmark of his style. The Fugue sur le thème du Carillon des Heures de la Cathedrale de Soissons, Op.12, demonstrates Durufle's love for musical architecture and his capacity for blending modern harmonic language with traditional forms. The Meditation, a posthumously published piece, reveals a more intimate and reflective side of his writing, while the Scherzo, Op.2, composed during his student years, shows early signs of his technical prowess and inventive use of the organ's color palette. Durufle's organ works, though few, have become central to the instrument's repertoire. Their combination of liturgical solemnity, compositional rigor, and sensuous beauty ensure that they continue to resonate with performers and audiences alike. They stand as a testament to a perfectionist who preferred quality over quantity, and whose music remains timeless. Played by Roberto Marini at the magnificent Stahlhuth-Jann organ of St Martin, Dudelange, Luxembourg, the specifications of which are included in the booklet. Roberto Marini made an authoritative recording of the complete organ works by Max Reger on 17 CDs, published on Brilliant Classics.

American Tapestry by the Calidore String Quartet weaves together a panoramic portrait of American musical expression across the 20th and 21st centuries. The programme spans Samuel Barber's lyrical String Quartet No. 1, featuring the iconic Adagio; Wynton Marsalis's jazz-inflected At the Octoroon Balls; and John Williams's With Malice Toward None-here in it's world premiere string quartet version. The album concludes with Erich Korngold's radiant String Quartet No. 3 in D Major, written in postwar Los Angeles. Together, these works reveal a vibrant continuum of American artistry-a sound world both richly diverse and deeply unified in spirit.

It is no exaggeration to call Fritz Kreisler (1875-1962) one of the two or three most significant Austrian violinists in music history. Decades after his passing, his name remains a vibrant touchstone for music lovers worldwide. Viennese pianist Andrea Linsbauer, who has long immersed herself in Kreisler's enduring legacy, now unveils a singular project with the album "Fritz Kreisler's Heirs". Here, she gathers five of Austria's most celebrated violin virtuosos today Benjamin Schmid, Ekaterina Frolova, Leonhard Baumgartner, Christian Altenburger and Daniel Auner to offer their deeply personal interpretations of Kreisler's miniature masterworks. That these artists have been Andrea Linsbauer's recurring duo partners for years is evident in every note: each performance resonates with the intimacy of shared musical dialogue, honoring Kreisler's own spirit of reinvention.

Francesco Geminiani (1687-1762), son of the violinist Giuliano Geminiani. After a season at the Teatro dei Fiorentini in Naples and a two-year spell at the Cappella Palatina in Lucca, Francesco left his homeland for good in 1714 to pursue a career in London, Dublin and Paris. The flourishing public concert life and optimal publishing conditions in London were attracting a great many Italian musicians, who were adored by the English public, achieving cult-like status - Arcangelo Corelli most of all. As a pupil of Corelli's, Geminiani inherited that legacy, while at the same time promoting an independent development in violin playing. Geminiani not only skilfully used the cult of Corelli and his own privileged position as an Italian musician to market himself; he also cultivated close contacts with powerful patrons, made a name for himself as an event organiser and painting dealer, and published several treatises. Among those, his The Art of Playing on the Violin, which he published at his own expense in 1751, was pioneering. He was responding to a pronounced culture of violin enthusiasts, whose great demand caused a proliferation of amateur schools and rudimentary music compendiums in England. Geminiani's treatise, however, was one of the first in Europe meeting professional standards. It differs significantly in scope and conception from other treatises of the mid-18th century from German-speaking countries, focusing intently on seeking the true nature of musical expression as the highest purpose of music. This is also reflected in the term 'Ornaments of Expression' coined by Geminiani to describe ornaments. He lists a rich selection of ornaments in another method, Treatise of good taste in the Art of Musick, published in 1749, designed to help the musician practise the art of ornamentation and variation. This treatise, along with his Rules for Playing in a true Taste published in 1746, include arrangements and variations based on well-known Scots tunes. The fashion of choosing simple folk songs as the basis for compositions was also utilised by other Italian composers in order to meet the needs and preferences of the English public. Geminiani's variations uniquely combine the Italian art of variation, inspired by the example of Arcangelo Corelli, with the simple grace of Scottish folk songs and ornamentation techniques developed under the influence of many years spent in Paris. The compositions contained in Geminiani's treatises go far beyond mere didactic use. His skilful, idiosyncratic use of harmony, rhythm and ornamentation tells the story of a highly trained, experimental and unconventional artist moving between nations and compositional styles. Other information: - Recorded April 2021 in Gartensaal, Germany - Bilingual booklet in English and German contains liner notes and profiles of the musicians - Francesco Saverio Geminiani was born in Lucca. He began his study at an early age with his father, but his most important lessons followed in his years with the great Roman Master, Arcangelo Corelli. Composition lessons with Alessandro Scarlatti helped inspire and solidify his craft. In 1714 Geminiani settled in London, where he quickly gained fame as an ensemble player, concert violinist, and teacher. Here he became friends with Handel and led the orchestra during many performances together. Geminiani enjoyed great success not only in London, but also in Ireland where he spent a considerable amount of time, settling in Dublin in 1760. - Geminiani's playing was distinguished by it's great expressiveness, richness of dynamic coloring, extraordinary liveliness, and a strong temperament. Tartini called Geminiani "il furibondo" - the furious one! - One of Geminiani's most enduring legacies is his treatise The Art of Playing on the Violin, published in 1751. This influential work is one of the earliest comprehensive guides on violin technique and interpretation. Unlike previous violin tutors, which often focused on basic fingering and bowing, Geminiani's treatise provided detailed insights into expressive playing, ornamentation, and the subtleties of articulation. It reflects the evolving style of violin playing in the 18th century, emphasizing musicality over mere technical proficiency. It covers topics such as bowing techniques, left-hand positioning, and vibrato, offering exercises to develop precision and expressiveness. He also stresses the importance of dynamic contrast and phrasing, essential elements in Baroque performance practice. - Played on period instruments by Anna Kaiser (violin), Johannes Berger (cello) and Solrun Franzdottir Wechner (harpsichord).

Henriette Bosmans' mother was a pianist and her father played principal cello in Amsterdam's Concertgebouw Orchestra, so it is no wonder that both of these instruments were lasting influences on her musical thinking and sensibilities. Her friendship with cellists Marix Loevensohn and Frieda Belinfante did the rest to guide this Dutch composer's imagination towards the expressive possibilities of the "little violone". In addition to various pieces of chamber music, the somewhat Iberian-spiced Poeme as well as two concertos were written in the early 1920s. Despite their relative proximity in time, Henriette Bosmans succeeded in not repeating herself. The works are marked by imaginative forms, wildly varied tasks demanded of the soloist and a sophisticated treatment of the orchestra. Despite these works' success, they had disappeared into the annals of history for far too long.

Take time in the summer to think about the winter, country folk would say. That is just as true of CD albums compiled to celebrate the happiest days of the year. In this record-breaking sultry summer, Ludwig Guttler has been giving some thought to how to celebrate the 200th anniversary in 2018 of this global song appropriately. "It is one of the first carols I learned to play on the accordion, a present I was given for Christmas after my fifth birthday," recalls Ludwig Guttler, who remembers that when he was a child, everybody sang along. In fact it took him a long time to understand how anybody sitting in church could stay still to the sound of "Stille Nacht". In addition to the best recordings from his gigantic catalogue, there are also recordings that have not yet been publihed: Guttler has arranged "Silent Night, Holy Night!" for his brass ensemble, clad each of the six verses in an instrumental garb of it's own and recorded it in the summer in Zwettl in Austria.