Carl Orff Carmina Burana Orfeon Pamplones Escolania de Nuestra Senora de los Desamparados Orquesta de Valencia Alexander Liebreich Sara Blanch, soprano Joaquin Asiain, tenor Andre Baleiro, baritone They are one of the most famous and frequently performed works of classical music: Carl Orff's "Carmina Burana". The Latin title refers to a collection of songs from Benediktbeuren dating from the 11th and 12th centuries with texts written in Middle Latin, Old French and Middle High German. Orff chose 24 of these songs, their topics ranging widely from the volatility of happiness and prosperity to the fleeting nature of life, from the joy of the return of spring to the pleasures and dangers of drunkenness, gluttony, gambling, and lust. In June 2024, at the Palau de la M�sica in Valencia, the Orquestra de Valencia, one of the great Spanish symphony orchestras, together with the leading local boys' choir as well as one of Spain's oldest choirs, Orfeon Pamplones, performed this epic work under the musical direction of Alexander Liebreich. They were joined by soloists Sara Blanch, Joaquin Asiain, and Andre Baleiro. The live recording of this lively and captivating concert evening is now available. Recorded live at the Palau de la M�sica, Valencia June 2024

INVISIBLE LIGHT presents six compositions, each representing a different facet of the compositional work of David Evan Jones (b. 1946). Four of the six compositions are scored for traditional Korean instruments and two for Western instruments.

John Ireland is widely regarded as one of the greatest British composers of the twentieth century. His contribution to the piano solo repertoire is of great significance. This album, performed by award-winning pianist Rebeca Omordia, is an exploration of John Ireland's piano music composed over a period of almost forty years. His distinctly English yet individualistic musical style is reflected in works bearing evocative titles that reveal Ireland's deep connection to landscapes and literature, creating a unique sound world. The release includes Decorations, published in 1915, as the earliest pieces; the substantial Piano Sonata in E minor (1920), described by Lisa Hardy in her book as "the outstanding example of all British piano sonatas"; the large-scale Sarnia: An Island Sequence (1940-41); and Columbine, the last piano piece he wrote, from 1951.

With�Marimba, David Moliner presents an extraordinary album that places this unique instrument and it's manifold colors and sounds at it's core. Moliner's masterful arrangements and two original works composed specifically for the instrument take listeners on a sonic journey through the centuries, combining both technical skill and creative expression. The album brings together works from various epochs and styles. Particularly notable is his arrangement of Johann Sebastian Bach's Cello Suites, which he transforms into new, polyphonic textures using his four Marimba mallets. Moliner successfully combines Bach's rhythmic pulse and musical complexity with the Marimba's unique tonal color. In addition to the Baroque works, the album also features pieces by Claude Debussy and Franz Schubert. Moliner brings a new dimension to Debussy's impressionistic�Arabesques, allowing the Marimba to bloom in a delicate, almost pictorial soundscape. Schubert's romantic�Impromptu, transcribed by Moliner for Marimba, unfolds in it's poetic beauty and gains expressive depth through the instrument's distinct timbre. Another highlight is the composition�Jalak Suren�by contemporary composer Alexander Liebermann, inspired by the bird songs of Indonesia. Moliner brings the subtle melodies and rhythmic structures of this music to life, allowing the Marimba to shine as a sensitive storyteller of a musical nature portrait. The album concludes with Moliner's own Marimba composition, making a powerful statement: the Marimba is not just an exotic instrument but a full-fledged member of the classical music scene, capable of interpreting the entire spectrum of the repertoire from Baroque to Modern. A must for lovers of sophisticated percussion and for all those who want to experience classical music in a new, captivating sonic dimension. Recorded at Kloster Lankwitz, Berlin October 2024

It has been a good while since I heard electronics quite this intriguing. So naturalistic, so alive like in the branches of a tree, much might be said here about the excellence of the technology employed. In each piece on this album, it constitutes a remarkable asset, while at the same time being wholly integrated with expression. The viola part, for it's share, is seamless, it's presence so closely interwoven with the electronics that the boundary fades away. It contributes gesture, impulse, and energy. Likewise, the entire catalogue of viola techniques serves the purpose of expression. - Krzysztof Komendarek-Tymendorf

The six duos for violin and viola on this recording were composed between July and October 1783. A biographical sketch by Michael Haydn, published in 1808, two years after his death, recounts this in detail. "Michael Haydn was ordered by superiors to write duets for violin and alto. However, he was unable to deliver them by the appointed time because he was struck by a severe illness, which subsequently rendered him incapable of any work for longer than anyone expected; for the great man was incapable of giving a quid pro quo. He was threatened with the withdrawal of his salary if he delayed, because the master was presumably too little informed about Haydn's circumstances, or perhaps even deceived by false reports. Mozart, who visited him daily, learned of this, sat down, and wrote for his afflicted friend with such unceasing restlessness that the duets were completed in a few days and submitted under Michael Haydn's name. We often delighted ourselves later on with this excellently executed work of love, which our master also preserved in the original as a sanctuary, always honoring Mozart's immortal memory. Holy genius of friendship!"

Music is a river fed by many streams. Try as one might to capture it and attach tidy labels - classical in this bottle, jazz in that, minimalism in the other - the river flows on, enriched by each tributary as it goes.

This debut album presents a vivid reinterpretation of Ravel's Miroirs, illuminating the work's resonances within the wider piano repertoire by placing it in conversation with lesser-known miniatures from around the world. From luminous and atmospheric bell textures to incisive dance rhythms, we are guided through a narrative exploring the themes of nature, spirituality, memory, and self-discovery. A compelling artistic statement from a distinctive new voice in classical piano.

This is a first-rate album of contemporary American piano works for the left hand, performed by Nariaki Sugiura.

All the compositions on this album are original works, created during a period of personal growth and artistic exploration. Each piece represents a chapter in a larger story - one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning. The opening track, "Wu Wei," sets the tone. A central concept in Taoist philosophy, Wu Wei translates to "non-action" - not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create without forcing, to live and express from a place of presence. "One" speaks to the longing for unity in a divided world. Despite conflict, disagreement, and disconnection, there is always a deeper thread that binds us together - a shared humanity that transcends our differences. "Home" represents the need for belonging, safety, and grounding. For some, home is a physical place; for others, it's something they must find or create. But for all of us, the feeling of home is essential to live a fulfilled life. "Reflections in the Water" is an introspective piece - a reminder of where we come from and who we are at our core. Influenced by classical and impressionistic traditions, it pays homage to the great composers who have shaped music history and continue to inspire me. "Seven Virtues, Seven Sins" explores the dualities of human nature - the push and pull between good and evil, right and wrong, light and shadow. It's a reflection on the moral questions we all face and the deeper quest for inner truth and balance. In "Samsara," the cyclic nature of existence is made audible: life, death, and rebirth - endlessly repeating. It reminds us that every end carries the seed of a new beginning. "Blues for Sadako" is a tribute to Sadako Sasaki, a young girl who became a symbol of peace after the atomic bombing of Hiroshima in 1945. Her story, and the thousands of paper cranes she folded, speak of hope, remembrance, and the resilience of the human spirit. This piece is dedicated to her and to all victims of war. The final track, "Healing," is a hymn for humanity. In times of pain and turmoil, sometimes what the world needs most is a moment of collective healing - a return to compassion, empathy, and wholeness. Throughout this album, I've tried to express something honest - something that reflects the complexity of being alive. We live in a world full of goals, distractions, and expectations. Often, we chase success or run from discomfort, forgetting to be present in the moment. But life is not a race to the finish line. It is a process of becoming, of unfolding - just like a flower grows, slowly and naturally, in it's own time. You cannot force growth. You cannot force mastery. The moment you think you've arrived, life will humble you. There is no final destination - only the ongoing path. Obstacles will come. Resistance will arise. But perhaps the key is not to fight or flee, but to accept - to let go, and to allow life to unfold. This is the essence of Wu Wei. To move in harmony with the world, to follow your inner voice, to grow in all directions like a tree, to live fully in the present - this is not just a philosophy, but a way of life. This album is an invitation to listen - not just to the music, but to yourself. - Aseo Friesacher

For many decades, students of Domenico Scarlatti, including me, have been debating about the relationship between most of Scarlatti's Sonatas and Flamenco dance. Silvia Rambaldi and Andreina Di Girolamo deserve our praise for presenting a practical demonstration that moves beyond the boundary of words, uniting dance and harpsichord performance, by means of the collaboration of the dancer Rita Marchesini, who is an expert on both Baroque and Flamenco dance. And since very often within certain Sonatas there is an alternation between the Andalusian style and the Italian one, the dancer, with her performance, demonstrates that it is possible to "play" with both styles appropriately. (Emilia Fadini) This interesting production on the harpsichord sonatas "encrypted" by Domenico Scarlatti is accompanied by a DVD rom containing the video of the sonatas for two harpsichords filmed in the performance "La festa dorata dell'anima", in which Rita Marchesini (historical dance and flamenco) and Alberto Rodriguez (Andalusian guitarist) join the harpsichordists Andreina di Girolamo and Silvia Rambaldi in this "field demonstration" of the influence of Italian and Spanish dance on the works of the great composer. The comments in the interview with the late Emilia Fadini are not to be missed.

This CD features works whose first editions or manuscripts are preserved in libraries north of the Alps, particularly in present-day Germany. Of particular interest is that these are primarily works for wind instruments, especially oboes, but also trumpets. Another important aspect is the transcription and arrangement of Albinoni's works and themes from the pen of two famous German composers, Johann Sebastian Bach and Johann Gottfried Walther. Albinoni was already very famous during his lifetime and admired by princes and fellow musicians, even north of the Alps!

At the heart of this album from the Gould Piano Trio is Schubert's Piano Trio in E-flat major, D. 929, a late masterpiece of emotional depth and formal ingenuity. Heard here in it's complete version, the finale restores the haunting B minor passage, it's circling piano figures echoing Der Leiermann, while the Andante's cello theme weaves through the work like a recurring memory. Alongside it is the youthful Piano Trio in B-flat major, D. 28 - fresh, lyrical, and full of promise, whilst Schubert Dances - a charming new suite of waltzes, Landler and Deutscher arranged for piano trio by Brian Newbould, completes the programme and showcases Schubert's lighter side. Together, these works chart a compelling path from teenage inspiration to late-style mastery.

This album comprises nine solo and chamber compositions written over a span of more than fifty years. Although none of these pieces uses any Asian instruments, most of them contain some kind of Asian cultural references. All of them were composed for the performers who have recorded them. __ David Loeb

All the compositions on this album are original works, created during a period of personal growth and artistic exploration. Each piece represents a chapter in a larger story - one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning. The opening track, "Wu Wei," sets the tone. A central concept in Taoist philosophy, Wu Wei translates to "non-action" - not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create without forcing, to live and express from a place of presence. "One" speaks to the longing for unity in a divided world. Despite conflict, disagreement, and disconnection, there is always a deeper thread that binds us together - a shared humanity that transcends our differences. "Home" represents the need for belonging, safety, and grounding. For some, home is a physical place; for others, it's something they must find or create. But for all of us, the feeling of home is essential to live a fulfilled life. "Reflections in the Water" is an introspective piece - a reminder of where we come from and who we are at our core. Influenced by classical and impressionistic traditions, it pays homage to the great composers who have shaped music history and continue to inspire me. "Seven Virtues, Seven Sins" explores the dualities of human nature - the push and pull between good and evil, right and wrong, light and shadow. It's a reflection on the moral questions we all face and the deeper quest for inner truth and balance. In "Samsara," the cyclic nature of existence is made audible: life, death, and rebirth - endlessly repeating. It reminds us that every end carries the seed of a new beginning. "Blues for Sadako" is a tribute to Sadako Sasaki, a young girl who became a symbol of peace after the atomic bombing of Hiroshima in 1945. Her story, and the thousands of paper cranes she folded, speak of hope, remembrance, and the resilience of the human spirit. This piece is dedicated to her and to all victims of war. The final track, "Healing," is a hymn for humanity. In times of pain and turmoil, sometimes what the world needs most is a moment of collective healing - a return to compassion, empathy, and wholeness. Throughout this album, I've tried to express something honest - something that reflects the complexity of being alive. We live in a world full of goals, distractions, and expectations. Often, we chase success or run from discomfort, forgetting to be present in the moment. But life is not a race to the finish line. It is a process of becoming, of unfolding - just like a flower grows, slowly and naturally, in it's own time. You cannot force growth. You cannot force mastery. The moment you think you've arrived, life will humble you. There is no final destination - only the ongoing path. Obstacles will come. Resistance will arise. But perhaps the key is not to fight or flee, but to accept - to let go, and to allow life to unfold. This is the essence of Wu Wei. To move in harmony with the world, to follow your inner voice, to grow in all directions like a tree, to live fully in the present - this is not just a philosophy, but a way of life. This album is an invitation to listen - not just to the music, but to yourself. - Aseo Friesacher

Pleyel was primarily a composer of instrumental works and cultivated most of the major genres of his time. As Haydn's star pupil he naturally composed symphonies and string quartets and indeed his first published set of quartets won the admiration of no less a figure than Mozart. All of the works on this recording demonstrate a similar level of compositional mastery and a freshness and vitality comparable to the works of his early career. In some respects these duos represent Pleyel's farewell to the eighteenth century.

Widor is a composer best known for writing the thunderous organ symphonies that echoed throughout the Church of Saint-Sulpice in Paris, where Widor was organist for over 60 years. His famous Toccata for organ continues to be a favorite piece at weddings and concert halls around the world. We share this album in order to shine a light on a quieter, more intimate side of Widor, as a composer of French solo songs and duets for voice and piano. In these songs, Widor let's go of the grandiose sounds of the cathedral organ and offers delicate, expressive meditations on human emotion, poetry, and connection. In this spirit, we invite you to join us in hearing these rarely performed and little-known works: Six duos-six duets for soprano and contralto, and Soirs d'�t�-eight solo songs set to the poetry of Paul Bourget.

After the warm reception of their first collaborative album, pianist Bruno Bavota and vocalist/composer Chantal Acda felt a quiet but undeniable pull to continue the journey they had begun together. What started as a spontaneous musical dialogue has grown into a deeper partnership; one rooted in trust, intuition, and a shared devotion to the emotional core of sound. For this new chapter, the duo stepped into the studio together for the first time, choosing to shape the music side by side rather than far apart, as was the case with their first album. They invited legendary engineer Phill Brown, renowned for his work with Talk Talk, Mark Hollis and a constellation of other boundary-pushing artists, to help capture the fragility, space and raw honesty that define their collaboration. Brown's unmistakable sensitivity to atmosphere became an essential part of the album's sonic architecture. To expand their palette even further, Bavota and Acda opened the doors to a small circle of like-minded musicians whose voices naturally complement their own: Adam Wiltzie (A Winged Victory for the Sullen, Stars of the Lid), Gerd Van Mulders, Beatrijs de Klerck and Niels Van Heertum. Their contributions move gently through the record: brass, strings, textures and drones that never overwhelm, but instead illuminate the quiet spaces where Bavota and Acda's music breathes. The result is an album that feels both intimate and expansive, grounded in the delicate interplay of piano and voice yet broadened by the subtle orchestration surrounding them. It is a record about presence: two artists meeting in the same room, listening deeply and allowing others to join their conversation. Released by Challenge Records, the album Safer Places marks a meaningful evolution in Bavota and Acda's collaboration. An album that resonates with the beauty of connection, the weight of silence and the courage to let sound unfold in it's own time.

With this highly virtuosic program, Volker Hemken demonstrates a wide spectrum of tonal possibilities for the bass clarinet and contrabass clarinet, as well as a great stylistic diversity in the works, almost all of which are composed for the soloist.

A famous Beethoven work and a Reicha premiere in the hands of exceptional performers. Just like the well-known drama of Beethoven's life, the biography of Anton Reicha would also make an exciting film, but this recording mainly shows us the friendship of the two great composers at the turn of the 18th and 19th centuries. They were born the same year, and from their first encounter as 15-year-olds in the Bonn court orchestra, they became close friends. They studied together at the university in Bonn, and they both became friends of Haydn. Their music also shared similarities mainly during Reicha's period in Vienna. It was while Reicha was in Vienna that he wrote his only piano concerto and that Beethoven wrote his fifth and most famous work in the genre. Both concertos are in the "heroic" key of E flat major. While Beethoven's "Emperor Concerto" is a mainstay of the piano literature, this is the first complete recording of Reicha's concerto. Missing pages from the solo part were first discovered in 2018. Jan Bartos is a highly acclaimed interpreter of Beethoven, and here he is following in the tradition of his teachers Ivan Moravec and Alfred Brendl. The wonderful playing of the Vienna Symphony Orchestra, which has Beethoven's blood in it's veins, gives the live recording from the Prague Spring Festival the hallmark of authenticity. Playing the meticulously detailed accompaniment in the studio recording of Reicha's concerto is the Prague Radio Symphony Orchestra. Bartos's partner at the helm of both orchestras is Petr Popelka, today undisputedly a world-class conductor who has the rare ability to breathe meaning and life into every note. The friends Beethoven and Reicha are symbolically reunited after more than two centuries on a single album in special musical company.