MOTHERLOAD

THERE'S A YEARNIN'

Colors of Bach

THE SOUNDTRACK

Tenor saxophonist Rich Perry returns with Dream, his 28th release on SteepleChase, reaffirming his place as one of the most introspective and lyrical voices in modern jazz. Joined by his long-standing quartet—Gary Versace (piano), Jay Anderson (bass), and John Riley (drums)—Perry crafts a set that is both timeless and deeply personal reflecting his evolving artistry and minimalist elegance. Critics have long praised Perry’s “impeccable taste” and “subtle articulation” (JazzTimes), his “adventurous yet highly listenable” approach (All About Jazz), and his ability to “imbue each tune with intense feeling.” Perry summarizes Dream as “a document of where I’m at right now…. this is the kind of album I like to listen to.

Sony Masterworks Broadway is proud to announce the release of the Original Cast Recording of Stereophonic. Direct from it's smash hit world premiere at Playwrights Horizon, Stereophonic opens on Broadway on April 19. With original songs by Academy Award nominee Will Butler, formerly of Arcade Fire, Stereophonic is written by David Adjimi, directed by Daniel Aukin and stars Will Brill as Reg, Andrew R. Butler as Charlie, Juliana Canfield as Holly, Eli Gelb as Grover, Tom Pecinka as Peter, Sarah Pidgeon as Diana, and Chris Stack as Simon reprising their highly lauded performances. The album features Butler's music from the show including the hit song and act one closer, "Masquerade." - Dominating the "Best Theater of 2023" lists, Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976. Here, an up-and-coming rock band recording a new album finds itself suddenly on the cusp of superstardom. The ensuing pressures could spark their breakup - or their breakthrough. In Stereophonic, Adjmi invites the audience to immerse themselves-with fly-on-the-wall intimacy-in the powder keg process of a band on the brink of blowing up.

The largest collection of piano nocturnes on CD, celebrating the art of the romantic piano song without words. Over a century of repertoire in all modern recordings, plus a new booklet essay exploring the history and context of the nocturne. Composers of the 18th century such as Haydn and Mozart wrote notturnos as serenades to be sung and played at night time, both on an operatic stage and as independent pieces for entertainment. The early 19th century saw a rapid evolution in the technological, the cultural and the musical development of the piano - as an instrument of longer sustaining power and greater volume than before, offering a broader palette of tone-colours, presenting composers with the potential to write quasi-orchestrally for a single instrument, as Baroque composers had done for the organ. At the same time, musical forms were becoming looser, more shaped by extra-musical inspirations in literature, poetry and the natural world. The Irish composer John Field was the first to publish nocturnes for the solo piano as standalone works, rather than as poetic interludes within larger pieces such as suites or sonatas. Having inherited the form from Field, Frederic Chopin then raised the nocturne to new heights of inward expression. As much as the salon became a place for pianistic display of technique, it also became a space for quiet soliloquy through the course of the 19th century, accessible to the rapidly expanding bourgeoisie with access to an instrument at home and to the education required to play it. Thus publishers commissioned nocturnes from both greater and lesser composers to satisfy an ever-growing market. The nocturnes in this box cover all the great names of Romantic-era piano writing, and many lesser-known ones too. Many of the performances are played on instruments of the period, enabling listeners to immerse themselves into a 19th-century world of softer and more gentle colours and expression. This new box also features an essay by Peter Quantrill outlining the history of the nocturne and it's lasting hold upon our affections and imaginations.

Once upon a time. To walk with Klaus Huber along the path of creation for more than two decades is a singular experience. It's always in the present tense, because his friend's human imprint is indelible, and his music is one of those whose line and density transcend time. The political and musical projects carried out in their time with talent, and each in their own style, by the great musical figures of the twentieth century, including Luigi Nono, Pierre Boulez, Iannis Xenakis, Klaus Huber and others, reveal by contrast an abysmal contemporary void. Maintaining a confusion between entertainment and culture, subject to the diktats of the quantifiable, the marketable and the "accessible," our leaders now navigate by relying on a deregulated sextant: vagueness, ignorance, mediocrity and the secondary triumph. In this chaos, Klaus Huber's mission to give music the ability to shake people's consciences has taken on an imperative, not to say quasi-revolutionary, character. However, let there be no misapprehension: Klaus Huber's revolution is not that of those critics whose appetite for tabula rasa is merely the mirror image of their fascination for a conservatism even more outrageous than the one they claim to oppose. History is full of these false noses. His is in a completely different vein. It is personal, authentic and uncompromising, astronomical in the sense of a backward-looking movement, and a demanding but also benevolent introspection. His weapon? Music, which demands of both performer and listener a disposition that transcends and emancipates us in the sharing of an active spiritual communion of listening. Like the vigorous flame of utopia preserved from the mortifying Soviet glacis by the poet Ossip Mandelstam, a literary source, among others, where Klaus Huber drank, the flame in the form of a legacy that Klaus transmits to us, at a time when we are celebrating the centenary of his birth, radiates our chaotic and suffering contemporary horizon with it's invigorating and regenerating fires. Jean-Luc Menet

With this vinyl edition, the Xenakis Trio refocuses on two major pillars of it's repertoire: Iannis Xenakis and Steve Reich. Two distinct visions of contemporary percussion, brought together in a dialogue of materials, rhythms and resonances. Taken from their first album Alliages, these works take on a new dimension here: the warmth of vinyl restores all the density of the instrumental gesture, the grain of the timbre, the raw pulsation of the percussive sound. This edition is a field of resonance - a space where the tectonic forces of twentieth-century music combine with the artistic demands of a trio in search of the limits of sound.

All the works on this CD share a constant feature: the musical "gesture," which is at the origin of each piece. This "gesture" may appear in several ways. It may be brief and concise, as in the opening of ".a riveder le stelle," or more complex and extensive, as in the beginning of "Mosaico." In all cases, however, the "gesture" creates a "figure" and a "situation" that sets off a process of transformation. As in a theatrical scene, even a short one, the instrument is like a character who acts through this or that "gesture," expressing speech through articulated transforming figures. Just like a monologue or, in other cases, like a dialogue. A guitar, a violin, a harp, or a cello are not just musical instruments. They are "characters" with their own personality and a story to tell. Furthermore, each piece is a story where several situations occur and memories from the past return. "Narration" is another basic element of my way of composing. It can take different routes, reaching different destinations. The last part of "Youth," written for harp, rediscovers the vague memory of a 70s song that I loved when I was a teenager. The end of ".a riveder le stelle" and "Mosaico" are concluding moments of a journey where many things had happened, and where now, looking back, we can understand the sense of them and the sense of the journey itself. At no point are the direction and the destination set at the beginning. They are "found" along the way, for what is important is the journey. Simone Fontanelli

The Isabella Scelsi Foundation promotes the production of contemporary music in a broad and wide-ranging manner, with particular attention to the work of it's founder, Giacinto Scelsi. This is the direction taken in the Scelsi Collection, a series of recordings produced in close collaboration with the Stradivarius label, which presents the Maestro's works performed by leading musicians and renowned vocal and instrumental ensembles. We are pleased to present this new CD, which further enhances the collection and encompasses many features of extraordinary interest. Fabrizio Ottaviucci, the distinguished pianist who, through his contact with Giacinto Scelsi, had the opportunity to deepen his interpretation of the great composer's piano music. Here he presents large-scale work, previously unpublished, rediscovered thanks to the research carried out on the Foundation's Historical Archive, as described in detail in the CD presentation. A further point of interest is undoubtedly the fact that the CD is the result of a live recording, allowing listeners to immerse themselves and enjoy that unique and unrepeatable moment experienced during the performance, which took place in a concert organized by Area Sismica, a noteworthy association for the promotion of new music. Gianni Trovalusci President Fondazione Isabella Scelsi

This new b�records album sees the unclassifiable Jocelyn Mienniel (composer) and Fiona Monbet (musical director) collaborate on a resolutely hybrid reinterpretation of Gustav Mahler's Das Lied von der Erde, created during a residency at the Royaumont Foundation. Based on an original text by Olivier Cadiot, the creation combines a chamber orchestra, a jazz ensemble, traditional Chinese instruments, electronic music, a children's choir, and vocals, drawing on improvisation and literary cut-up techniques. This transfiguration reveals Das Lied von der Erde as a resolutely modern work, whose humanism unfolds with renewed intensity.

� With his ability, precision and sensitivity, this pupil of the celebrated Herr Mozart exceeds all expectations� (Berlinsche Nachrichten von Staats, 21 May 1789). In a letter to Eckermann in 1829, Goethe compares his playing to Napoleon's domination of the world �both feats appear amazing to us; they escape our comprehension, yet occur nonetheless - and these marvels unfold before our very eyes�. And according to Mozart himself, the young man was destined to reach the same heights with the pianoforte as Raffaello had in the world of Art.

Peter Beets' latest recording announces itself with unbridled authority: a vivid, hard-swinging statement, powered by a first-rate horn section anchored by three standout American voices of the new jazz vanguard, and propelled by a rhythm section of luminaries including Reuben Rogers and Willie Jones III-artists whose resumes include collaborations with legends such as Herbie Hancock, Dianne Reeves, and Roy Hargrove. Under Beets' assured direction, his New York Sextet shapes each work with commanding finesse. In reimagining a canon of Spanish compositions, Beets refracts Spain's musical heritage through a fresh and strikingly modern jazz lens. The album surges with vitality, it's swing taut and irresistible. While echoes of the flamenco idiom surface throughout, they are situated within a broader, architecturally ambitious musical landscape built upon works by Spain's most esteemed composers-Albeniz, de Falla, and Granados. These enduring and powerfully expressive pieces hold their own beside the legacies of Chopin, Gershwin, Rachmaninoff, and Tchaikovsky-composers whose works Beets has similarly reimagined in his inimitable style-yet remain unmistakably and proudly Spanish. Beets and his ensemble weave these traditions into a seamless dialogue with uncompromising, straight-ahead jazz, executed at the highest artistic level. The result is a singular fusion of virtuosity, cultural depth, and ensemble brilliance.� Once again, pure Peter Beets.

Franz Schubert's chamber music occupies a vital place in the Western classical canon, demonstrating both his lyrical genius and emotional depth. Though he is widely known for his lieder and symphonies, his chamber works represent some of the most profound and innovative compositions of the early Romantic era. The String Quintet in C major, D. 956, written just weeks before Schubert's death in 1828, stands as one of the towering achievements in chamber music. Scored for two cellos instead of the more common two violas, the work is known for it's rich, warm textures and emotional contrasts. The slow movement, in particular, is a masterclass in stillness and poignancy, often cited as one of the most sublime moments in all of chamber music. Schubert's string quartets trace his compositional development and deepening expressiveness. The Death and the Maiden quartet (D. 810) is especially significant, combining dramatic intensity with variations on his earlier song of the same name. The juxtaposition of lyrical beauty with stark fatalism reflects Schubert's own grappling with mortality and human vulnerability. His piano trios blend lyricism and formal sophistication. The trios are notable for their expansive melodies, rich harmonic language, and a sense of narrative continuity that hints at the symphonic. The violin sonatas (often referred to as "sonatinas") are earlier works, more modest in scope but filled with charm and grace. While not as emotionally profound as his later chamber works, they already display Schubert's melodic gift and innate sense of dialogue between instruments. The Trout Quintet (D. 667) is perhaps Schubert's most popular chamber work. It's unusual instrumentation featuring piano, violin, viola, cello, and double bass and the famous set of variations on his song "Die Forelle" make it instantly appealing. Yet beyond it's surface charm, the work demonstrates Schubert's brilliance in crafting color and contrast, blending joy and depth seamlessly. Altogether, Schubert's chamber music reveals a composer capable of exploring the most intimate corners of the human soul. These works remain essential listening, offering profound insight into the expressive potential of small ensembles. Excellent performances by the Diogenes Quartet, the Amsterdam Piano Trio and the Berlin Philharmonic Octet.

What's missing in Verdi's vast discography is a production dedicated to ballet music. This box set contains complete recordings of Philips sources from the 1970s. The high audio quality combined with a less explored repertoire, and in some cases less-known, are the ingredients of a product that can still stand in a Verdi discography without the aftertaste of dej� vu.

Strangers is pianist Alexander Wienand's bold new statement - a celebration of curiosity, discovery, and the creative spark that emerges when artists step into the unknown together. The album's concept grew from a simple but powerful idea: that unfamiliarity can be one of the greatest sources of inspiration. Whether it's an untested rhythm, a new musical partner, or an idea outside of music entirely, these moments of uncertainty challenge musicians to respond - and it is within these reactions that true creativity is born. The title track Strangers embodies this philosophy. Two contrasting themes evolve through improvisation until they merge into a single, unified musical narrative - a metaphor for encounter, tension, and transformation.

Quality Time in NYC is a vocal jazz project by Erik Leuthauser, recorded in New York with esteemed collaborators such as Alan Broadbent, Ken Peplowski, Allen Farnham, Steve LaSpina, and Rich DeRosa. The album features 19 tracks, including standards, rare gems, and one bonus track with Erik's original German lyric to Miles Davis's "Little Willie Leaps"

First Flight marks the debut album of saxophonist and composer George Kontomichalis. Rooted in jazz traditions like post-bop, hard bop, and modal jazz, it blends classic influences with modern improvisation and introspection. The album reflects the collective creativity of the ensemble, highlighting interplay, rhythm, and spontaneous exploration. With six original compositions and one standard, the record serves as a personal journey and an invitation for listeners to experience both energy and reflection

With it's new Dvorak recording, the Merel Quartet presents a vivid and insightful portrait of a composer who remains one of music's great humanists. Antonin Dvorak's chamber works combine direct melodic appeal, harmonic ingenuity, and an unmistakable warmth that speaks across generations. This album brings together key works from his late creative period, complemented by two rare gems in compelling arrangements for string quartet. Mary Ellen Woodside and Edouard Matzener (violins), Alessandro D'Amico, and Rafael Rosenfeld have long been central figures in the Swiss and international chamber music landscape. Their Dvooak interpretations are marked by refined timbre, structural insight, and an ensemble cohesion grounded in deep musical rapport.