This is the second album of the Saint-Saens series, with young talents?. All recordings were made with the ORF Radio-Symphonieorchester Wien, conducted by Howard Griffiths. The repertoire inludes: Concerto for Piano and Orchestra No. 2 in G minor op. 22, Morceau de Concert in F minor op. 94, Romance in F major op. 36, Romance in E major op. 67 and Suite for Violoncello and Orchestra op. 16b?

Bologna, Italy based American composer and pianist David Salvage releases�Dreams of Love and Travel,�works he composed for solo piano that engage with journeys physical, literary, and symbolic. A seven movement suite inspired by Marcel Proust's�In Search of Lost Time�occupies a central role in the collection, representing the large structural gesture on the album as it is surrounded by shorter character pieces.

Composer Kay Rhie releases�Cereus,��a portrait album of chamber works, two including voice, featuring soprano Leela Subramaniam, Winsor Music and the Aperture Duo. Rhie's music draws on her experience as a South Korean born artist living in Los Angeles, responding to the lived environment in outward ways through text setting and thematic context, as well as inward impacts on her compositional process.

Composer Daniel Strong Godfrey's�Toward Light�presents three quintets for string quartet and piano, guitar, and cello respectively, showcasing his expressive, finely crafted chamber music. Featuring performances by the Cassatt Quartet with guests pianist Ursula Oppens, guitarist Eliot Fisk, and cellist Nicole Johnson, the works on�Toward Light�are elegantly balanced compositions, cohesive conceptions that are deeply felt.

Fratres is the new album of and first artistical cooperation by reclaimed pianist Kai Schumacher and cellist Benedict Kloeckner. The artists embark on a search for the mystical and minimalist in the current music scene and thus also encounter the pioneers of this musical style. The album contains works Arvo Part ("Fratres"), Olivier Messiaen ("Louange"), Gavin Bryars ("The South Downs"), Christopher Cerrone ("The Pleasure at Being the Cause"), Valentin Silvestrov ("Postludium"), Sophia Jani ("Sororibus" - World Premiere Recording) as well as by Kai Schumacher, J.S. Bach, Philip Glass, Georges Gurdjieff, and Franz Liszt.

Scott Wollschleger wrote�Lost Anthems�as part of The 20/19 project, violist Leilehua Lanzilotti's commissioning enterprise. The twenty five minute work is divided into fifteen discrete sections, what Wollschleger describes as "a melodic, song-like structure in search of itself." By titling the works "anthems," Wollschleger invokes a music that is inherently communal and symbolic of something larger than itself; by presenting music that is often introspective, he subverts the bombastic underpinnings of many anthems.

Cellist Louise Dubin's new collection of French cello works include pieces by masters Debussy, Faure and Koechlin, side by side with rarities by the lesser known Auguste Franchomme (1808-1884), and contemporary composer Philippe Hersant (b. 1948). Ms. Dubin's last award-winning album was devoted to the compositions of Franchomme. This new recording features both Franchomme's arrangements and original compositions.

The Concerto Koln goes on a journey of discovery and contrasts the famous Johann Sebastian Bach with the now unknown Johann Adolf Scheibe?. The ensemble is accompanied by the excellent soprano Marie Sophie Pollak. Together they present the two rivaling composers in a way, where instrumental and vocal composition by Bach and Scheibe alternate on the album?.

On Lines and Traces of Desire, composer Mischa-Salkind Pearl collaborates with cimbalom artist Nicholas Tolle on this collection of solo, duo, and ensemble works for the beguiling stringed percussion instrument. These mystical, reflective pieces celebrate the cimbalom's resonant qualities, and honor the eminent composer Gyorgy Kurtag, whose music provided Tolle the inspiration to dedicate himself to the instrument.

The 21st Century Orchestra�is a celebration of the evolution of symphonic writing into our current era through the lens of the work of four composers on faculty at Brown University: Wang Lu, Anthony Cheung, Joseph Butch Rovan, and Eric Nathan. Despite their diverse stylistic approaches, they share a decidedly contemporary approach to writing for individual instruments and for contextualizing the modern orchestra, heard in expert performances by one of the premiere symphonies devoted to modern music in the United States, the Boston Modern Orchestra Project, led by Gil Rose.

The Silver-Garburg Piano Duo has been successfully performing together for over 20 years and touring in more than 70 countries. Their new album on Berlin Classics, "Great Fugue, " is set to be released on June 27, 2025, and features a unique combination of works by Beethoven as well as newly written and arranged workds by Austrian composer Richard Dunser. The piano duo is accompanied on the recording by the renowned Artis Quartet. The album offers an exciting juxtaposition of Beethoven's versions of the Great Fugue for string quartet and four-hand piano, as well as pieces by Schubert and Dunser, bridging tradition and contemporary music. With "Great Fugue, " Silver-Garburg deliver a powerful statement full of passion and artistic precision.

Composer Per Bloland newest releaase,�Shadows of the Electric Moon,�highlights his reliance on fiction as an impetus for compositional inspiration as well as his integration of custom designed electronic software into his work. Featuring Unheard-of//Ensemble, Wild Rumpus, Keith Kirschoff, Bill Solomon, and Stephen Marotto, Bloland's music captures his inventive spirit and keen ear for highlighting subtletlies of instrumental characteristics and developing them within the narrative of a composition.

The German star pianist Matthias Kirschnereitdedicates this album entirely to the piano cosmos of Richard Wagner?. Wagner himself wrote few works for solo piano, but he influenced many of his contemporaries and musical heirs with his work?. Matthias Kirschnereit presents a wide range of repertoire - Wagner: Sonata for the album M.W., Lied ohne Worte E major for Eduard Reitz, In das Album der Furstin M., Zurcher Vielliebchen Walzer, Polka, Notenbrief fur Mathilde Wesendonck, Ankunft bei den Schwarzen Schwanen; Wagner/Stradal: Schmerzen; Wagner/Rubinstein: Musikalische Bilder aus Siegfried; Liszt: Am Grabe Richard Wagners; Bizet: Premier Nocturne D Dur; Duparc: Aux etoiles; Langgaard: Stambogsblad; Bulow: Innocence; Bruckner: Erinnerung; Mendelssohn: Lied ohne Worte E Dur op.38/3?

Duo Gelland was founded in 1994 by the spouses Cecilia Gelland and Martin Gelland, bringing their individual perspectives on contemporary and early repertoire to the ensemble. This recording of their interpretations of four Vivaldi's Sonatas for Two Violins celebrates the Red Priest's physical, virtuosic approach to the instrument. Duo Gelland fills their performances with daring, lithe ornamentation and expressive subtlety and variation not often heard in contemporary readings of these works.

Concerto Copenhagen's musicians present six new "Brandenburg Concertos" - based on Bach's organ trio sonatas?. J.S. Bach's six organ trio sonatas represent some of his most imaginative and attractive music - by transforming the format through an orchestration inspired by the original Brandenburg Concertos, Concerto Copenhagen is offering a unique new orchestral repertoire. Oboist Antoine Torunczyk has created these six new Brandenburg Concertos with special focus on varying instrumental mixes and sizes - including flute, recorder, oboe d'amore, oboe da caccia, viola d'amore, natural horn, violoncello da spalla, bassoon.

Including many world-premiere recordings, the first-ever album dedicated to the music of a 16th-century lutenist-composer from Padova: a sequence of virtuosic, restlessly inventive fantasias and dances. The music on this album is drawn from a 1582 collection, Novae tabulae musicae testudinariae hexachordae et heptachordae. The frontispiece shows a figure, likely Barbetta himself, casting a broken lute into the fire, beneath which reads a defiant inscription: 'I shall never willingly entrust the lute to the ignorant or the envious, but to one born of flame shall I commit it - for neither ignorance nor envy shall ever be able to achieve what he can.' Beyond the collection itself, little is known about it's author, Cecilio Cesare Barbetta (c. 1540-c. 1623). Living and working in the university city of Padova, Barbetta was evidently exposed to German cultural models through the members of the German nobility who passed through the city. Many of his 14 Fantasias are intricate four-part contrapuntal works, requiring both technical mastery and a deep understanding of musical structure from the performer. By contrast, Barbetta also wrote (or elaborated) not only traditional Italian dances like the Saltarello but also pieces with exotic character, such as the Moresca, a traditional Moorish dance from North Africa. This album has been a labour of love for the Japanese lutenist Mikiya Kaisho, whose booklet essay details his work in transcribing Barbetta's music from facsimiles of the original tablatures. 'My hope was to craft a musical narrative,' he writes, 'carefully designed to allow anyone to enjoy the lute's delicate and intimate resonance in daily life, on a journey through a vibrant and multifaceted sound world.'

Music as a timeless connection-this is the essence of Ground. Tamar Halperin's latest album bridges centuries, blending Baroque masterpieces with contemporary compositions, harpsichord with synthesizers, and tradition with reinvention. Featuring works by Bach, Buxtehude, Francesco Tristano, Michael Wollny, Idan Raichel, and more, Ground explores the invisible thread that links musical eras and styles. Through bold reinterpretations and fresh compositions, Halperin transforms historical influences into a deeply personal, yet universally resonant, listening experience. A celebration of music, friendship, and cultural continuity- Ground is where past and present converge in harmony.

Amanda Ginsburg & Andy Fite

Born just months before his father's early death, Franz Xaver Mozart represented the great hope of his mother, Constanze, who envisioned the continuation of the musical lineage in the younger of her two surviving sons. She, therefore, ensured that he received a first-class education, and he strove with all his might to prove himself worthy of the trust placed in him. He became a distinguished and recognized pianist, while over the years he created a small but refined body of work dominated by intimate ensembles ranging from lieder to chamber music. His character, as revealed through his compositions, is not unlike that of his father: behind the classically elegant and occasionally humorous language lies a quiet, touching melancholy, which in his piano quartet presses stormily into the world of the Romantics.

The history of large-scale works for clarinet, cello and piano began with the two trios composed by Ludwig van Beethoven in 1797 and 1803. Soon after Beethoven's trios were published, several of his contemporaries were also inspired to compose trios for these instruments. Adalbert Gyrowetz (1763-1850), a prolific Bohemian composer active in Vienna, wrote chamber music that aligned with the elegant, balanced style of the Classical period. His clarinet trios often follow the model popularized by Beethoven and others: clarinet, cello, and piano. They highlight the clarinet's lyrical qualities while maintaining a conversational equality among the three instruments. Gyrowetz's music tends to favor charm and clarity over dramatic intensity, providing insight into the salon culture of early nineteenth-century Vienna. Johann Heinrich Volckmar (1770-1840), though less widely remembered, contributed to the clarinet trio genre with works that blend Classical formality with touches of early Romantic color. His trios display a clear sense of melody, often assigning the clarinet bright, song-like lines while the piano provides both harmonic support and moments of virtuosity. Volckmar's writing exemplifies how regional composers outside the central canon engaged with the clarinet's expressive potential, even if their works remained on the periphery of mainstream concert life. Ferdinand Ries (1784-1838), a student and close associate of Beethoven, represents a later stage in the trio tradition. His clarinet trios show a more Romantic sensibility, with broader structures, heightened contrasts, and more demanding instrumental writing. Ries imbues his works with dramatic flair and lyrical warmth, reflecting both Beethoven's influence and his own individual voice. Together, the trios of Gyrowetz, Volckmar, and Ries trace the clarinet's evolution from Classical elegance to Romantic expressivity within the chamber music setting. Played on period instruments by the Trio Origo. Trio Origo was formed for a performance of Beethoven's Trio Op.11 in 2004 when it's members were students of the Sibelius Academy. The trio has since then focused on performing Classical and Romantic works on period instruments. Trio Origo's recording of two trios by Beethoven was released in 2020 on Brilliant Classics (BC, 96215).