Recorded, mixed and mastered by Gustav Davidsson at Studio Glasfageln Cover photos by Fabian Rosenberg

Franco Corelli, along with Mario Del Monaco and Carlo Bergonzi, is universally recognized as the greatest Italian tenor of the last century. This edition of his performances is based primarily on the early recordings he made for the Italian Cetra and includes a selection of great scenes from his repertoire, including a crucial, high-quality live version of Don Carlo, which Corelli never recorded in a studio.

Firedove

Her first inspiration was Charlotte Bienaime�'s 'Un podcast a' soi', which discusses fundamental questions of gender and feminism. "More often than not in history, 'Anonymous' was a woman"-this sentence by Virginia Woolf, epigraph to the famous radio podcast, has found an echo in Julie Campiche. Giving a voice to women, but in a distinct way: this is the common thread running through the album. Rather than a feminist manifesto, UNSPOKEN seeks to celebrate feminine strength, nourished by commitment and openness. She addresses the fragile balance of women in shadow and light of society. "Female strength is what makes the world go round. 80% of household chores are done by women for free and anonymously. I want to celebrate exceptional women, but also give a place to this everyday strength." Among the figures who inspire her and whose voices and actions she evokes are the Swiss artist and prostitute Grise�lidis Re�al, or Las Patronas, the Mexican guardian angels who throw food and water to those who have decided to migrate and illegally board freight trains bound for the USA.

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.

First Impression is the debut album by trumpeter and composer D!ma Loginov, a deeply personal statement shaped by memory, migration, and identity. Rooted in modern jazz and enriched with elements of Kazakh folk music, the album reflects Loginov's journey from his childhood in Kazakhstan to his artistic life in Amsterdam. Across eight tracks, he blends soulful melodies, bold improvisation, and spiritual intensity, creating music that speaks as much through feeling as through sound. The album draws inspiration from wide landscapes, first love, and the freedom found in improvisation. Traditional influences surface most clearly in Steppe Sons and a striking modal-jazz reimagining of the Kazakh folk song Yapurai, while moments of intimacy emerge in the a cappella trumpet solo Luiza and the lyrical title track First Impression, featuring vocalist Carolina Gemmell. Recorded with a close-knit group of international musicians, many of whom Loginov met after moving to the Netherlands, First Impression captures a sense of trust, vulnerability, and shared energy. It is an introduction not only to an emerging artistic voice, but to the emotional world that shapes it.

Composer and guitarist Marcus Klossek, long recognized as a distinctive voice on the Fender Telecaster, presents Blink 7, the latest chapter in a band whose sound has evolved steadily from his long-running Electric Trio. Rooted in clarity, dynamic contrast, and a deep sense of interaction, the project reflects more than fifteen years of close musical collaboration. At the core of the ensemble are Carsten Hein on bass and Derek Scherzer on drums, longtime partners with whom Klossek has refined a highly responsive and nuanced group language. With Blink 6, this foundation expanded into a sextet, joined by three prominent figures from Berlin's jazz scene: Nikolaus Neuser, Ignaz Dinne (tenor saxophone), and Anke Lucks. The enlarged group quickly developed a strong collective identity, equally at ease with precise structure and open improvisation. Blink 7 continues this collaboration and introduces a new and distinctive voice: Korean vocalist Chamin. Appearing on three tracks-Go Not, Another One Beyond, and Unexpected Return-she sings and partially speaks Korean lyrics written by herself. Her voice adds a new layer of texture and expression, expanding the ensemble's tonal range and interacting organically with the instrumental voices rather than standing apart from them. In contrast to Blink 6, which was composed before the musicians were chosen, all eight compositions on Blink 7 were written specifically for this lineup. Klossek shaped each piece around the individual strengths and musical personalities of the players. "I knew what everyone could bring to the music," he explains. "That allowed me to write more precisely for the sound of the band." The result is music that unites clear compositional intent with the intuitive understanding that comes from long-standing collaboration. The album opens with Violet Shift, a rhythmically intricate piece built from interlocking patterns that suggest mechanical precision while maintaining an organic flow. Go Not begins with Chamin's whispered voice, creating an atmosphere of quiet tension and ambiguity. Ephyra (Third Dance) unfolds with a restrained, melancholic beauty, while Half Past Never features one of Klossek's most unrestrained guitar solos-raw, spontaneous, and unpredictable. On Another One Beyond, Chamin's voice further broadens the ensemble's harmonic space, while Begin Again, Swift highlights the band's agility, moving fluidly between tightly woven rhythms and open, airy phrasing. Glass Bridges introduces otherworldly sounds from Carsten Hein, blending acoustic bass with electronic elements. The closing track, Unexpected Return, brings the album to an energetic conclusion, driven by rhythmic momentum as Chamin's voice merges seamlessly with the horn section. Blink 7 captures a band at a mature and confident stage, balancing detailed composition with freedom and collective improvisation-music shaped as much by individual voices as by the shared identity they have built together.

This first volume of The Complete Alkan Organ Works presents Joseph Nolan's recording of Charles-Valentin Alkan's major works for organ and pedal-piano, performed on the restored Stahlhuth-Jann organ of St Martin's Church, Dudelange. The release includes the 11 Grands Pr�ludes and Handel transcription Op. 66, the Petits Pr�ludes sur les huit gammes du plainchant, and the Impromptu on Luther's "Ein feste Burg", Op. 69. The booklet outlines Alkan's background, his distinctive position in 19th-century French music, and the technical demands of these rarely recorded pieces. It also documents the instrument's history and Nolan's long-term commitment to the project.

The dazzling Sardinian guitarist returns to the studios for a breathtaking compendium of variation sets, many of them never recorded before, by many of the most enduring names in guitar composition of the last century. Through the course of his long partnership with Brilliant Classics, Cristiano Porqueddu has attracted superlatives and enthusiasm from all corners of the critical press and listeners everywhere. There's no denying the ability of Cristiano Porqueddu,' wrote David Hurwitz in Classics Today, citing the guitarist's 'rich sound and dexterous handling of his instrument.' His colleague Jed Distler noted that Porqueddu's 'nuanced articulation allows him to sustain and spin out legato lines as if his fingers had bows.' Porqueddu's collection of 20th-century variation sets surveys a kaleidoscopic variety of styles and idioms, demonstrating in the process the guitarist's own breadth of vision as well as his virtuosic technique and insightful musicianship. He begins with a monster of the form: the 45-minute sequence of variations on a theme of Fernando Sor, by the US composer Mark Delpriora. Musician and listener are taken on an astonishing tour de force of invention, as Sor's melancholy tune becomes the raw text for vivid pastiches and parodies in the style of canon composers from Beethoven through to Schoenberg and Busoni. Characteristically, set the challenge to 'follow that', Porqueddu does just that, with a work of his own, which takes it's inspiration from Foucault's Pendulum. On the following discs, the withdrawn, lyrical chromaticism presents a compelling contrast with both the Russian romanticism of Boris Asafiev preceding him, and the implacable shadows of the Raighines by Ermanno Brignolo. This last work was composed for Porqueddu himself, while John Duarte's Variations on a Catalan Folksong were composed in 1956 at the suggestion of John Williams; and it is in this distinguished lineage that Porqueddu belongs. Some of the following works inspire wonder at their intricacy (both executive and compositional), such as the interwoven Variants on Two Themes of Bach by Reginald Smith-Brindle, while others major on charm, such as the first set of Mozartiana composed by Porqueddu's teacher, Angelo Gilardino. There's something for everyone.

With Organ Landscapes X (Leipzig), renowned organist and Baroque specialist J�rg Halubek concludes his acclaimed album series Organ Landscapes. The tenth and final chapter of a fascinating journey of discovery to Germany's great historic organs. The crowning finale takes us to what is probably the most important place in organ history: St. Thomas Church in Leipzig, where Johann Sebastian Bach worked and made music history. Here, the magnificent Sauer organ (1889/1908) resounds-an instrument of unique tonal depth, which Halubek brings to life with masterful sensitivity and Baroque expressiveness. This album is not only a musical highlight, but also a worthy conclusion to an ambitious project that celebrates the diversity and beauty of the German organ landscape.

Hans Koessler is a composer whose name is well known, even if his work is not widely familiar. In this case, his partial renown is due to the fact that this Bavarian composer taught the next generation of Hungarian musicians-including Bart�k, Kod�ly, and Dohn�nyi-in Budapest and was ultimately awarded the noble title "von." Although some students complained behind his back about his professorial stringency, Koessler's own works tell a different story. The great creative power, poetic sensitivity, and tonal confidence of his B minor symphony are complemented in the violin concerto by remarkable formal originality-there are probably few works of this genre that unfold their eloquence as a powerful passacaglia.

Astro Cats is a virtuosic and colourful piano cycle in which each movement is inspired by a different breed of cat (domestic, wild, and even one imaginary). Given that the world often seems divided between dog and cat lovers, following the release of Carbon's work Astro Dogs, many people suggested the idea of a cat cycle. The composer has had both dogs and cats over the years, and as with the previous work, the pairing of each breed with a zodiac sign meant that the composer took inspiration from close friends and family who shared the sign. The moods of the pieces vary widely, and John Carbon has taken strong inspiration from the kinetic behaviour of cats, with their pouncing, crouching, sprinting, as well as elements of the hunt and their mysterious, crafty nature. The result is a rich musical exploration of the feline world, projected through the full possibilities of the piano.

Celebrating the rich musical heritage of University College, Durham, this album brings together works by Edward Bairstow and Francis Jackson alongside a new commission by Ben Rowarth, and the first complete recording of Amy Beach's Four Canticles. In music of faith, remembrance and renewal, it honours alumnus David Knowles, and reflects the devotion and creativity that continue to shape Durham's choral tradition.

To the singer of the valley is etched on a memorial stone for the composer Johann Gottlieb Naumann. It would be hard to pay him a more fitting tribute. Three dozen operas; nearly two dozen masses; Italian oratorios; a wealth of German sacred music; as well as a fair amount of chamber music - the man from Blasewitz near Dresden, who enjoyed success at the Royal Swedish Opera before settling permanently in his hometown, knew more than just how to sing on stage and in church. His collections of songs for voice and piano are full of little gems that any of the muses would have fought over. Marie Luise Werneburg and her accompanist Sebastian Knebel have compiled just such a programme here: tastefully interwoven with three small-scale quartets, the songs transport the listener to intimate salons where domestic music-making grew into an increasingly powerful medium.

The new album of saxophonist Asya Fateyeva, with the Staatsphilharmonie Rheinland-Pfalz, presents a brand-new version of the hit 'Nutcracker' by Tchaikovsky, arranged by composer Wolf Kerschek. The recording is complemented by Christmas music arranged for saxophone and the vocal ensemble Niniwe Vocal Art.

The Peter Lehel Quartet, around the well-known German saxophonist Peter Lehel, offers a lively mixture of tradition and innovation that never fails to delight audiences with it's great artistry and exploration of musical boundaries. The new program, Paul Auster Jazz, is inspired by characters of the great writer Paul Auster from New York City.

Armenian piano virtuoso Tigran Hamasyan returns with Manifeste, out February 6, 2025-a powerful fusion of jazz, progressive rock, and Armenian folk. Recorded across five countries, the album blends rhythmic complexity, cinematic depth, and spiritual intensity, featuring longtime collaborators and the Yerevan State Chamber Choir. Manifeste is a bold declaration where the human, digital, and sacred unite in sound. Following The Bird of a Thousand Voices, Hamasyan continues his artistic exploration with Manifeste (2025)-a bold, multi-dimensional statement recorded between 2023 and 2025 across studios in Yerevan, Athens, Moscow, Los Angeles, and beyond. Entirely composed and produced by Hamasyan, Manifeste fuses his signature rhythmic complexity and spiritual depth with a more cinematic soundscape, where Armenian folk roots, progressive rock intensity, and choral mysticism intertwine. The album unfolds like a ritual sequence-from the meditative "Prelude for All Seekers" to the powerful "National Repentance Anthem. " Collaborators include longtime partners Marc Karapetian (bass) and drummers Arthur Hnatek, Arman Mnatsakanyan, Matt Garstka, and Nate Wood, alongside contributions from cellist Artyom Manukyan, trumpeter Daniel Melkonyan, guitarist Nick Llerandi, and the Yerevan State Chamber Choir conducted by Kristina Voskanyan. Each piece radiates Hamasyan's fascination with transcendence and transformation, whether through the fiery rhythmic drive of "Dardahan" and "Ultradance, " the haunting choral layers of "One Body, One Blood, " or the intimate dedications "Years Passing (For Akram)" and "A Window from One Heart to Another (For Rumi). " In Manifeste, Hamasyan brings together the human, digital, and sacred-a declaration of unity through sound, where modern technology meets ancient resonance. In addition to awards and critical acclaim, Hamasyan has built a dedicated following worldwide, as well as praise from Herbie Hancock, Brad Mehldau, and the late Chick Corea. "With startling combinations of jazz, minimalist, electronic, folk, and songwriterly elements. Hamasyan and his collaborators travel musical expanses marked with heavy grooves, ethereal voices, pristine piano playing and ancient melodies. You'll hear nothing else like this. " (NPR)

Following the success of Bach: Tenor Arias (2020), tenor Leif Aruhn-Sol�n and G�teborg Baroque under the direction of Magnus Kjellson return with a new recording: Bach: Tenor Arias, Vol. 2. This album presents twelve more tenor arias from Johann Sebastian Bach's vast cantata output-a repertoire rarely heard in concert halls. With these carefully curated selections, the recording sheds new light on Bach's extraordinary vocal writing for the tenor voice and highlights gems that, despite their brilliance, have long remained in the shadow of his more familiar works. For over 25 years, Leif Aruhn-Sol�n has been in demand internationally with a special focus on baroque repertoire, and G�teborg Baroque has established itself for more than 20 years as one of Sweden's leading baroque ensembles. Together they continue their exploration of Bach's endlessly rich musical universe.

Bach: Tenor Arias Johann Sebastian Bach wrote more than 200 cantatas. This recording explores a selection of 12 tenor arias from his cantatas, ranging in instrumentation from rich tutti orchestra to intimate obbligato instruments. Leif Aruhn-Sol�n has been in demand internationally as a tenor in the field of early music for over 20 years. He is an acclaimed Evangelist and tenor soloist in Bach's oratorios and cantatas with both modern symphony orchestras as well as some of the world's foremost baroque orchestras: the Camerata of St. John, Brisbane; the Netherland Bach Society; the City of Birmingham Symphony Orchestra; Concerto Copenhagen; the Oslo Philharmonic; New Trinity Baroque, Atlanta. G�teborg Baroque has established itself as one of the leading Scandinavian baroque ensembles. Founded in 2003 by it's artistic director Magnus Kjellson, who conducts the ensemble from the keyboard of an organ or a harpsichord in a historically informed way, the ensemble regularly performs important and well-known works as well as re-premiering works that have been ignored or forgotten for hundreds of years. The recording was made possible thanks to a generous donation by Alfred Hagen and through the joint generosity of more than 160 individuals in an unprecedented Swedish crowdfunding campaign for a classical music recording.

Heinrich Schutz (1585-1672), often regarded as the most important German composer before J.S. Bach, stands as a central figure in the early Baroque. His music blends the expressive intensity of the new Italian style -absorbed during his studies with Giovanni Gabrieli in Venice-with the rigorous counterpoint and textual clarity favored in Protestant Germany. Schutz devoted much of his long career to sacred music, serving as Kapellmeister in Dresden and producing works that profoundly shaped the development of German liturgical composition. Among his most significant contributions are his Passions. Today, three authenticated Passions by Schutz survive: the St. Matthew Passion (1666), the St. Luke Passion (1665), and the St. John Passion (1664). While no St. Mark Passion by Schutz has survived, the existing three form a coherent and deeply expressive trilogy. Schutz's Passions are notable for their austere, devotional character. Unlike later Baroque Passion settings, they contain no instrumental accompaniment beyond the continuo pitch support used for recitative; instead, Schutz employs unaccompanied choral textures to emphasize the solemnity of the narrative. The Evangelist's recitation is delivered in a chant-like, highly inflected recitative, carefully shaped to illuminate the nuances of Luther's German Bible. Turba (crowd) choruses, though similarly unaccompanied, provide dramatic contrast through sudden harmonic shifts, rhythmic intensity, and dynamic changes. The St. John Passion, the most concise, is often admired for it's emotional directness. The St. Luke is more restrained, reflecting that Gospel's narrative tone, while the St. Matthew stands out for it's broader scope and particularly poignant choral writing. Founded in 2000 by the harpsichordist, organist and conductor Matteo Messori, the ensemble Cappella Augustana -composed of excellent European historically-informed singers and instrumentalists -focuses on the relationships between the Italian and Northern European music from the late Renaissance, through the Baroque era up to the Romantic Period. The Evangelist in the recordings is the eminent Gerd Turk.