Fazil Say's gifts as a ground-breaking pianist are allied to the breadth of his compositions. The Violin Concerto No. 2 was composed in the midst of the Covid-19 lockdown during which Say was enchanted by the colours and textures of sunrises while walking on the beach, inspiring this atmospheric work. Leopards is a vivid piece for string sextet that utilises Say's unique melodies and rhythms. The Sonata for Solo Violin is an expressive tribute to the noted Turkish violist, Rusen Gunes, while String Quartet 'Divorce' relates the experience of separation and the failure of a relationship with the language of music.

The six piano sonatas by Brazilian composer Claudio Santoro document the evolution of his creative and formal development, from twelve-tone technique to Brazilian nationalism. The sonatas are performed by the composer's son, Alessandro Santoro.

With 37 confirmed trio sonatas to his credit, Giuseppe Tartini is the most important Italian composer of his generation for this type of repertoire. It may seem odd therefore that these works have been so sorely neglected; indeed, as of 2022 only around 20 per cent of the repertoire had been recorded and a critical edition had yet to be published. This state of affairs was largely due to confusion regarding sources, with many divergent interpretations and uncertainties regarding the dates of the handwritten scores. Some order has been brought to this originally chaotic situation by the research carried out by Juan Mariano Porta from 2018 to 2022 as part of his doctoral studies, the result of which was the inclusion of the trio sonatas in the upcoming publications of the Edizione Nazionale delle Opere di Giuseppe Tartini, with advance materials made available to the Il Demetrio ensemble for recording. Giuseppe Tartini dedicated almost all his energy to his chosen instrument, the violin. His established corpus of works currently numbers 200 sonatas for violin and bass, 150 violin concertos, 37 trio sonatas, a handful of concertos for other instruments, and a small number of quartet sonatas and vocal compositions. Production of the trio sonatas began in the composer's late-mature years, and their style would seem to correspond to Tartini's final compositional period, described as a Drang nach absoluter Musik [urge for absolute music], which began around 1750 without a clear line of demarcation from what came before and continued until the composer's death. The trend was towards simplicity, partly deriving from Tartini's desire to put his theoretical speculations into practice. The trio sonatas no longer feature the virtuoso passages of earlier works. They present a binary form with regular phrasing. Their harmonic rhythm is slow, with the violins mainly proceeding in parallel triplets. The function of the bass is relegated one of harmonic support. This recording contains the sonatas G1, D1, d1 A1, A2, A3, A6, and a1, which date to Tartini's final compositional sub-period. They are little-known pieces, most of them hitherto unpublished.

Florentine, born Francesco Maria Veracini (1690-1786), was considered one of the greatest violin virtuosos of his day. Periods of residence in London, Dusseldorf, Venice, and Dresden brought the eccentric musician international fame. Amongst his extensive output,  his Sonate Accademiche Op. 2 (London/Florence 1744) for violin and basso continuo are the best known today. The character of the Sonate Accademiche is defined by a peculiar combination of the intellectual, the virtuosic, and the highly expressive. Despite the technically demanding writing for the violin, Veracini's masterfully idiomatic approach to his own instrument means the virtuosity flows with a natural ease and playfulness.

Every five years the Soviet Union celebrated the anniversary of the October 1917 Revolution with large-scale public events, to which the country’s leading artists were expected to contribute. Mieczyslaw Weinberg, like his friend Shostakovich, enjoyed mixed fortunes with his efforts. The symphonic poem Dawn (Zarya), Op. 60, dedicated to the fortieth anniversary of the Revolution, seems to have remained unperformed during his lifetime, despite its ideologically irreproachable content. Its première was finally given in the BBC studios in Manchester, on 15 May 2019, by the BBC Philharmonic under John Storgårds.

When Shostakovich died, on 9 August 1975, it had been five years since Weinberg composed his last symphony. To commemorate his friend and mentor (whom he regarded as the greatest symphonist of his age) Weinberg decided on a full-scale, four movement, non-programmatic work as his personal tribute. Symphony No. 12, written between December 1975 and February 1976 is the longest of Weinberg’s purely instrumental symphonies. Kirill Kondrashin was due to conduct the première, but his last-minute insistence on large-scale cuts and changes to the score was taken by Weinberg as a great insult, and ended their relationship. The first performance was finally given as a radio broadcast on 13 October 1979, (probably) by the USSR TV and Radio Symphony Orchestra under Maxim Shostakovich.

The title "Awaking" carries a double significance. On the one hand, it refers to the musical awakening that marks my artistic journey; on the other, it reflects the collective awakening that marked the end of the Corona pandemic. I hope that "Awaking" reflects not just the sound of my music, but my appreciation of all the people who have shared this creative path with me.

Stratus is the stunning new quartet album from violinist Zach Brock and pianist Phil Markowitz, joined by Finnish jazz standouts Jaska Lukkarinen and Ville Herrala. Recorded in the peaceful setting of Sipoo, Finland, the album blends lyrical improvisation, intricate composition, and intuitive interplay into a cohesive, deeply expressive whole. From lush ballads to dynamic rhythmic journeys, Stratus showcases the quartet's chamber-like sensitivity and jazz-rooted spontaneity. Brock and Markowitz, building on their earlier collaboration Perpetuity, offer a seamless musical conversation elevated by a rhythm section that listens and leads in equal measure. A rich, genre-blurring project, Stratus is both intimate and expansive an exploration of sound grounded in trust, nuance, and shared vision.

The accordion surely is an evocative instrument, its mere timbre conjuring mellow images of the Italian Riviera or cobbled Parisian streets. One would expect it to be quite out of place in the relatively formal environment of the classical concert hall – and be sorely mistaken, as far as Richard Galliano is concerned. The versatile French composer and accordion virtuoso sets out to elegantly shatter expectations – and his new album MADREPERLA proves him right.

MADREPERLA’s brilliance stems not only from the sheer audacity of juxtaposing the accordion with a full orchestra, nor from the fact that it succeeds spectacularly in doing so. What’s most intoxicating is Galliano’s fusion of symphonic writing with eclectic styles of dance – the pavane, the mazurka, the milonga, the forro, the waltz – whose particular zest, allure and elan pour forth torrentially from these compositions. A triumph.

Quatuor Diotima celebrates Pierre Boulez' centenary with a recording of his Livre pour quatuor, containing the world-premiere of the piece's fourth movement, which the composer conceived in close cooperation with the members of Diotima, and was completed by Philippe Manoury after his death. This recording adds a fascinating chapter to Boulez's "work in progress", and is a fitting successor to the quartet's acclaimed Ligeti recording from 2023. Quatuor Diotima is one of the most in-demand chamber ensembles in the world today, and has worked in close collaboration with several of the greatest composers of the late twentieth century. Reflected in the mirror of today's music, the quartet projects a new light onto the masterpieces of the 19th and 20th centuries. The quartet returns to PENTATONE after their acclaimed Metamorphosis Ligeti (2023) and Bruckner & Klose String Quartets (2024), which was awarded a Jahrespreis der Schallplattenkritik.

Leonard Bernstein conducted regularly in Munich from the 1980s onwards. It was then that he learned to appreciate and love the Bavarian Radio Symphony Orchestra in particular. In October 1976, Bernstein appeared with an all-Beethoven programme, and in 1983 he began a series of annual concerts with the orchestra. In November of that year, he rehearsed Robert Schumann's Second Symphony and his own Divertimento (1980), which were performed in the Herkulessaal of the Munich Residenz. This BR-KLASSIK CD presents the live recording of that concert event. Bernstein commendably championed Robert Schumann's Second Symphony - a work from 1845 that was repeatedly perceived as still immature and in need of improvement, and which Schumann himself confessed to having written in poor health. The critic Joachim Kaiser picked up on both facts in his concert review for the Suddeutsche Zeitung: "So what did Bernstein do differently to silence this scholarly talk, at least for all those who were lucky enough to listen to his Schumann? (...) Bernstein believed not only in Schumann's melodies - not difficult in itself - but also, and fervently, in the work's great symphonic developmental arcs. And because he was able to inspire the musicians of the superbly organised Bavarian Radio Symphony Orchestra in such a natural, free and yet highly differentiated way, the power of Schumann emerged!" Bernstein's Divertimento, composed in 1980 for the 100th anniversary of the Boston Symphony Orchestra, consists of eight miniatures developed from the semitone B-C. It begins with a fanfare and progresses through a waltz, a mazurka, a samba and a blues to a Radetzky-like march. The music is jazz-like, full of happy syncopation, unusual time signatures and dance-like verve. Bernstein also draws on memories of his first concerts - popular programmes that he attended as a child with his father in Boston's Symphony Hall.

John Wilson brings us a double helping of Wild’s exquisite solo piano distillations following the Gershwin–Wild Virtuoso Etudes that featured on his AVIE Records debut (AV2458): ‘This album gives listeners a chance to hear singing – an art form at once simple and complex – carried in a different; very deftly crafted musical vehicle; that of Earl Wild’s skill as a transcriber.’

REVIEWS:

If the second solo album by young American pianist John Wilson had a title, it might well be “Virtuoso,” for that description permeates his musical selections as well as his dynamic interpretations. Wilson follows in the footsteps of previous pianistic giants Sergei Rachmaninoff, George Gershwin, and Earl Wild, all of whom have contributions on this new release – indeed the pedigree of these composer–arranger–pianists runs through Wilson’s musical DNA. Wild’s renowned re–workings of Gershwin’s music for the stage is represented here by the Fantasy on Porgy and Bess, alongside Gershwin’s own Three Preludes for solo piano. Wild also turned his hand to solo piano arrangements of Rachmaninoff’s soulful songs for which Wilson feels a close affinity thanks to his frequent collaborations with singers.

-- WFMT

Referring to a musical work of the century such as George Gershwin's popular opera "Porgy and Bess" entails enormous risks. This is especially the case when this popular work has spawned many ubiquitous song classics. Hans Ludemann also believes: "You have to have a good reason to tackle this" and, of course, a coherent concept for a new, own approach. This has succeeded brilliantly with "Porgy's Dream". The very personal homage of Ludemann and trumpeter Reiner Winterschladen is not content with competent interpretations in the usual jazz style. The duo is based on selected themes and unfolds an intense atmosphere in it's freely interpreted pieces, which thoroughly lives up to the original work.

Schuberts Divertissement sur des motifs originaux francais D 823 und Moscheles' Sonate in h-Moll fur Klavier vierhandig - sind anspruchsvolle vierhandige Klavierkompositionen, die virtuose Elemente mit melodischem Reichtum verbinden. Zudem zeigen sie eine Affinitat zur franzosischen Musiktradition.

Leading British critic Stephen Johnson called Poul Ruders "The Richard Strauss of the computer-aged orchestra", and indeed the Ruders six symphonies, collected here for the first time, sparkle with vivid color and brilliant orchestral virtuosity. Ruders is best known for his score to the opera "The Handmaid's Tale", based on Margaret Atwood's dystopian American tale, produced by opera companies throughout Europe and North America.

Spanish pianists Juan Lago and Belén Navarro present in this album a repertoire that has featured prominently in their concerts over the past decade: works by non-Spanish composers inspired by Spanish popular music. Thanks to the piano-a truly universal instrument-Debussy, Ravel, Chabrier, and Rimsky-Korsakov not only developed their early compositional voices, but also found a vehicle through which their orchestral masterpieces could be adapted and performed beyond the concert hall. Through their own arrangements or those by trusted collaborators, these works have reached intimate settings and private homes around the world. The keyboard's orchestral richness-especially in four-hand performance-and it's ability to imitate or evoke the timbral variety of an orchestra allow the Lago-Navarro Duo to showcase their artistry and technical command in a beloved and familiar repertoire, deeply ingrained in the collective musical memory of the Spanish people. In this album, Ibéria, Rapsodie espagnole, España, and Capriccio espagnol are brought together in a fresh concert format, allowing the musical echoes of Spain to resound with renewed brilliance. Belén Navarro & Juan Lago Piano Duo The well-established Lago-Navarro piano duo-formed in 1997 by Spanish pianists Juan Lago and Belén Navarro-presents in this album a repertoire that has featured prominently in their concerts over the past decade: works by non-Spanish composers inspired by Spanish popular music.

A vibrant collection of chamber works spanning different periods of Alberto Ginastera's career, written for piano with strings or voice. Rooted in the rhythms and colors of traditional Argentine music yet infused with the bold spirit of cosmopolitan modernism, these pieces strike a compelling balance between heritage and innovation. Inspired by the lifelong passion of acclaimed Kraków pianist Andrzej Pikul for Argentina's most celebrated composer, this album highlights the expressive range, technical brilliance, and imaginative power of Ginastera's music, offering each performer a chance to shine with virtuosity and creative flair.

Movses Pogossian and his colleagues in the Armenian Music Project continue their tireless advocacy for the music of Armenia with this ambitious 4-CD collection, Stanzas in August. At the heart of the release are two sub-collections devoted entirely to the music of Ashot Zohrabyan and Koharik Gazarossian, two consequential composers who shaped Armenian music far beyond their own oeuvres. The other discs include lesser-known works by Aram Khachaturian, Tigran Mansurian, and Ghazaros Saryan, as well as premieres of piano miniatures by Artur Avanesov, and premieres by Vahram Sargsyan and Aram Hovhannisyan.

The theme of the album "The Lovers" by the Duo Edlbauer Kuzo (Andrea Edlbauer, saxophone and Oksana Kuzo, piano) revolves around love, lovers, and the relationships between people-the states in which we live together and alone. The music transports listeners into various emotional moods and allows them to experience a diversity of feelings and forms of expression. This album features a combination of works already cherished by connoisseurs of the saxophone-piano repertoire, such as Robert Muczynski's sonata or Astor Piazzolla's "Grand Tango" in an arrangement for saxophone and piano, as well as completely new pieces composed for the duo. These new works are characterized by a musical language that touches immediately and captures listeners' hearts, such as "The Moment You Lost Your Love" by the young Austrian composer Viola Hammer, the atmospheric music "Monody" by Austria-based composer Theodor Burkali, and the passionate, temperamental, and multifaceted title work "The Lovers" by American composer Steve Bryant. Also featured are the Three Bagatelles for Piano by Ukrainian composer Valentin Silvestrov and the Cantilena by Theodor Burkali.