On 14 August 2026, Divine Art is delighted to present The Complete Piano Music of Anthony Hedges (1931-2019) Vol 1, the first of three albums from British pianist Adam Davies presenting the entirety of this prolific composer's concert music for piano. This first volume documents a thirty-year maturation showcasing the full breadth and diversity of Hedges' creative output, starting with the earliest of the published piano pieces, the Five Preludes of 1959, fresh with youthful energy and verve, and ending with the bright and evocative Five Aphorisms of 1990. Between these sit two weighty centrepieces marking important stylistic departures: Four Short Pieces, his gritty foray into serialism, and the bold intensity of the First Sonata. Interspersed with these are delightful miniatures written for budding pianists, reflecting the composer's pianistic skill and facility in writing for younger musicians. This music is colourful, rich in it's allusions, and expertly crafted. Many of these works are being recorded for the first time. Adam Davies first encountered the music of Anthony Hedges in his youth and saw the composer himself in performance, as he grew up in Beverley, East Yorkshire, also by then Hedges' home. He rediscovered the composer during COVID after finding his own long-neglected score of Ten Bagatelles Op.156, gifted from his boyhood singing teacher, and was reminded of the quality and accessibility of the writing. Such was his enjoyment of these pieces, and his surprise at the relative lack of recordings of Hedges' music, that he resolved to record the complete piano music. Anthony Hedges' daughter Fiona provided the scores and private recordings of many of these works by the composer himself: 'Listening to these works proved to be a liberating experience he played like a composer: perhaps not with note-perfect Polish, but with crystal-clear imagination, purpose, character, and expression permeating every note and phrase.I have tried to convey something of his essence in these recordings, which I hope will serve to bring wider attention to this richly deserving repertoire.' The album is financially supported by the Ida Carroll Trust. Composer, pianist, conductor, teacher and critic Anthony Hedges was born in the town of Bicester and educated at Oxford, where his broad musical activity included singing in the Oxford Bach Choir under the batons of such luminaries as Vaughan Williams and Constant Lambert. During his National Service (1955-57), he worked as pianist and arranger for the Royal Signals Band. He taught at the Royal Scottish Conservatoire in Glasgow and later at Hull University, where he became a Reader and earned his Honorary Doctorate, also during that time meeting poet Philip Larkin and setting his words to music. As well as a weekly column for the Glasgow Herald, he contributed reviews and interviews for the Guardian, the Scotsman, and other publications. His expansive output covers all genres, including popular and frequently broadcasted lighter works for brass band and orchestra. Pianist Adam Davies was born in Manchester and raised in Beverley, East Yorkshire, where he had the opportunity to hear Anthony Hedges at the piano several times. Davies was educated at the Royal Northern College of Music, where his teachers were John Gough and Dr. Murray McLachlan. Adam performs throughout the UK as a recital and concerto soloist and teaches at Chetham's School of Music, Manchester. In 2019, he commissioned and gave the world premiere of Tom Harrold's Crux, and he has performed as duo partner with Kathryn Stott.

The opulent Second Symphony of Sergei Rachmaninoff in the compelling guise of a piano concerto: the only available recording, now available as a single CD. Rachmaninoff achieved a breakthrough, both for himself and in the genre of the Russian symphony, with the completion of the Second in 1908. This is music of a positively Brucknerian scale and paragraphing which needs space and breadth to unfold and climax. However, the symphony gained popularity through heavily cut performances and recordings, and it was only in 1973, with the recordings conducted by Ormandy and Previn, that the strength of the original, uncut Second revealed itself to new audiences. Rachmaninoff himself was hardly averse to making radical cuts and alterations both to his own music and the scores of his predecessors. Thus Alexander Warenberg followed suit in a long and distinguished Romantic tradition, when he transformed the symphony into a piano concerto. As completed in 2007, and recorded shortly afterwards by these musicians, this concerto can be compared to a cinematic adaptation of a great novel, as Ates Orga remarks in his booklet essay, 'with the main personalities, scenes and action retained, but subsidiary figures, incidents and detail omitted.' Thus the symphony's four movements are ingeniously condensed into the concerto's conventional three, with the central slow movement enclosing both the Symphony's Adagio, with it's unforgettably lugubrious opening clarinet melody, and the scherzo, as an interlude. With the symphonic argument shared between soloist and orchestra, Warenberg achieves a remarkably smooth idiomatic transition between the genres. The performance itself is driven and passionate in the best Rachmaninoff tradition, as the work of musicians entirely at home in the composer's world. Wolfram Schmitt-Leonardy has made many fine recordings for Piano Classics, attracting lavish critical praise. 'Schmitt-Leonardy's collection of the three Chopin piano sonatas is the best single-disc version I have ever heard' (Fanfare). On his album of Schumann, the Etudes symphoniques 'have a formal integrity and sense of connectedness often missing in the hands of lesser artists' (Fanfare).

This set is the second instalment of an ambitious project: the recording of the complete codex of Las Huelgas, one of the most important sources of music of the High Middle Ages, an anthology of songs from the 13th century representative of the Ars Antiqua. The manuscript was written in the Cistercian monastery of Santa Maria la Real de Las Huelgas in Burgos, with the authorisation of Alfonso VIII King of Castile. The manuscript contains 45 monophonic pieces (20 sequences, 5 conductus, 10 Benedicamus tropes) and 141 polyphonic compositions. Most of the music dates from the late 13th century, with some music from the first half of the 13th century (Notre Dame repertory), and a few later additions from the first quarter of the 14th century. Many of the pieces are not found in any other manuscripts. This second volume contains two CDs with performances by the Gruppo Vocale Armoniosoincanto and the Gruppo Vocale Garda Trentino. We find two tonally different types of performance: the young voices of Garda Trentino offer a luminosity and rhythmic precision, always expressive and communicative. Armoniosoincanto presents a more reflective and controlled interpretation, strongly linked to the texts. The instrumental ensemble includes medieval harp and portative organ.

These first recordings galore on a comprehensive survey of a major 20th-century Ukrainian composer. Born in Kiev in 1925, Igor Shamo studied with the elder statesman of modern Ukrainian art music, Boris Lyatoshinsky. Schumann, Mussorgsky and Rachmaninov were the giants of the past who seized the young Shamo's attention, and traces of their impassioned, lyrically centred idioms may be discerned throughout the early works on CD1 of this new recording such as the Ukrainian Suite, Classical Suite and Shamo's own take on Pictures at an Exhibition in his suite of Pictures by Russian Painters. The second CD is occupied by two more substantial cycles, of 12 Preludes from 1962 and six impressionistic Aquarelles from a decade later - both the appreciation and execution of painting was important to Shamo throughout his life. The final CD gathers up piano pieces throughout Shamo's career, from the Marche fantastique, which so impressed the professors of the Kiev Conservatoire when the composer elected at the last minute to play it for his entrance exam, to three dances composed in 1972 and inspired by the folk culture of nearby Soviet republics, Armenia, Azerbaijan and Uzbekistan. A counterpoint to their uncomplicated charms may be found in the three Songs of Friendship from 1954, in which Shamo treats melodies from Poland, Romania and what was then Czechoslovakia. Though jazz and minimalist techniques periodically surface in Shamo's music, it bears the stamp of it's Soviet times in it's generally sunny character and clearly laid-out forms - though the serenity of the Ninth Prelude is answered by the machine-gun-fire Tenth, and Bartok casts a shadow over this music almost as often as Prokofiev. Dmitri Tchesnokov is, like Shamo, a native of Kiev, born in 1982 and long resident in France, where he pursues a career as both composer and pianist, as well as founding a directing a well-established festival of contemporary piano music in Paris. - Igor Shamo (1925-1982) was born in Kiev, Ukraine, where his composition teacher at the national Conservatory was the famous composer Boris Lyatoshinsky. Attached to his home land he declined an invitation to move to Moscow, and he stayed the rest of his life in his native Kiev, where he became a highly respected composer and teacher. - Shamo wrote orchestral works, chamber music, songs and works for film and theatre. His piano works however form the core of his oeuvre. His musical language is tonal and based on classical principles (his favourite composer was J.S. Bach). The melodies have a strong narrative character, the harmonies are based on classical and popular modes, enriched by chromaticism and jazz. All his works are rooted in the rich folklore of his native country Ukraine, the moods alternating between melancholic sadness and gloom and dance-inspired frenzy. - Dimitri Tchesnokov is an excellent pianist and an important composers himself as well. His works are increasingly noted, especially his haunting and mystical choral works. He wrote the extensive liner notes for this set himself, in English and French.

Among those composers contemporary to Mozart and Beethoven, Jan Ladislaus Dussek counts as the most original, imaginative and often extreme. His life, as turbulent and eventful as his music, took him across Europe, from Bohemia to Paris to London, winning along the way a reputation as a dazzling keyboard virtuoso at a time when the piano itself was undergoing rapid evolution. His own music, written to exploit that virtuosity but also to appeal to the expanding market among Europe's middle-class for domestic music-making, mirrors the temper of his times - not least in his violin sonatas, which Julia Huber and Miriam Altmann have been documenting in this ground-breaking cycle on Brilliant Classics. Volume 5 of the cycle opens with the Sonatas Op.5 Nos. 1 and 2, which Dussek completed in 1788 and dedicated to the aristocratic French pianist Helene de Montgeroult, who went on to survive the Revolution and become the first female teacher of piano at the Paris Conservatoire. Her own compositions are now belatedly winning justified admiration, and their originality may owe something to Dussek's example. These sonatas do not follow the convention for the time of compliant violin writing as an accompaniment to flashy keyboard fireworks: rather they are composed with the two instruments as equals: a balance which can be appreciated all the more satisfyingly when played, as here, on the instruments of Dussek's own time. While dating from two years later, published in 1790, the Op.12 sonatas are less ambitious in scale: two movements each, and dedicated to one of Dussek's wealthy patrons in London, Maria Cosway. The B-flat major Sonata Op.12 No.2 is particularly appealing with it's variation set on 'God Save the King', which Beethoven would soon treat as the subject for piano variations with similarly shrewd commercial motives in mind. Anyone following the series will be eager to collect the latest volume, but newcomers to the fascinating world of Dussek can start here, secure in the expectation of rich entertainment.

Published in 1739, Johann Sebastian Bach's Dritter Teil der Clavierubung (Third Part of the Keyboard Practice) is one of the most profound monuments of organ literature. Conceived as a theological and musical summa, this cycle of chorale preludes framed by a majestic Prelude and Fugue reflects Bach's deep Lutheran faith and his consummate mastery of counterpoint. Intended 'for amateurs and especially for connoisseurs for the recreation of the spirit,' it invites us into a world where intellect and devotion meet in perfect harmony. This collection is not merely a set of organ pieces-it is a spiritual architecture in sound. Every element, from it's opening tri-thematic Prelude to it's closing five-voice Fugue, is imbued with symbolism, theological meaning, and artistic grandeur. For Bach, music was never just ornament; it was a language of faith, capable of expressing the mysteries of doctrine with clarity and beauty. Bach's models for this work were inspired from two great traditions: Italian Liturgical Collections - Above all, Girolamo Frescobaldi's Fiori Musicali (1635), which provided organ music for the Catholic Mass. Frescobaldi's influence is evident in the structural parallels: preludes before the service, organ verses alternating with chant, and pieces for specific liturgical moments. The other influence is the French Baroque Livres d'Orgue - Especially Nicolas de Grigny's Premier Livre d'Orgue (1699), which Bach copied in his youth, and Francois Couperin's organ masses. These works introduced Bach to the elegance of French ornamentation, the grandeur of the plein jeu, and the expressive possibilities of contrasting registrations. Bach absorbed these influences and reimagined them within the Lutheran framework, creating a cycle that parallels the structure of the Mass but substitutes chorales central to Reformed doctrine. In doing so, he forged a synthesis of Italian rhetorical expressiveness, French coloristic refinement, and German contrapuntal rigor. Played with intense devotion and understanding by Sergio Vartolo. Sergio Vartolo is an Italian organist, harpsichordist, and conductor known for his expertise in early music, especially the works of Baroque composers. Born in Bologna in 1944, he studied organ, composition, and musicology, developing a deep interest in historically informed performance. Vartolo has performed widely across Europe and recorded extensively, bringing renewed attention to lesser-known Italian composers. His interpretations combine scholarly research with expressive musicianship, making him an influential figure in the early music movement.

Carl Friedrich Abel (1723-1787) was a German composer and virtuoso of the viola da gamba, remembered as one of the last great exponents of the instrument. Born in Kothen, he was the son of Christian Ferdinand Abel, a musician in the court orchestra once directed by J.S. Bach. Abel's early exposure to music within this distinguished environment shaped his refined style and command of counterpoint, while his career later flourished in London, where he became a prominent figure in the city's cultural life. Abel is best known for his partnership with Johann Christian Bach in organizing the famous Bach-Abel Concerts (1765-1781), the first subscription concerts in London, which greatly influenced the city's musical culture. These gatherings introduced audiences to both established and contemporary works, laying foundations for the public concert tradition. Abel's music reflects the elegance and clarity of the galant style, bridging the late Baroque and early Classical periods. His compositions emphasize lyrical melody, balanced phrasing, and transparent textures, qualities that made them appealing to both connoisseurs and amateur performers. This 3CD set offers reissues of successful Brilliant Classics recordings with works by Abel: works for flute and orchestra, a symphony, concertos for harpsichord, viola da gamba and orchestra, trio sonatas and sonatas for viola da gamba and B.C. Performers include Nordic Affect (Georgia Brown), La Spagna Baroque Orchestra (Alejandro Marias) and viola da gamba player Marco Casonato and Massimo Marchese (Theorbo). 'Affectionate explorations of seldom performed pieces by mid-18th century composer' (BBC Music Magazine about Nordic Affect).

With Volume 22, the Leipzig Quartet brings their acclaimed complete recording of Joseph Haydn's quartets to a decisive and resonant close. This final installment crowns a project of extraordinary scope and artistic consistency, with Op. 76 revealing Haydn at his most expansive and imaginative. The result feels less like an ending than a culmination of decades of interpretative insight into the classical quartet repertoire.

Gianandrea Noseda is clearly one of those conductors who 'are equally at home in both genres', as the 'Neue Zurcher Zeitung' put it in 2021 on the occasion of his debut as General Music Director at Zurich Opera House. 'In hindsight, one cannot even judge whether he is the better opera or symphony conductor.' In his concert performances in Zurich, Noseda focused on the works of Johannes Brahms. Following a highly acclaimed performance of the 'German Requiem', he also conducted the Zurich Opera Orchestra in performances of Brahms's symphonies. The four symphonies by Johannes Brahms were completed between 1876 and 1885 and are regarded as milestones in the Romantic orchestral repertoire. Under the baton of Gianandrea Noseda, they were recorded live at the Zurich Opera House during various concerts and can now be heard together on this album.

Don Quixote' and 'Ein Heldenleben' are two large-scale tone-poems that Richard Strauss composed in Munich and Berlin during the final years of the 19th century. Whilst the first work was inspired by Cervantes' tragicomic novel hero, in the second work he effectively stylised himself as a successful (artistic) hero. Similar characters make an appearance in the two other works on this album: Shakespeare's tragic hero 'MacBeth' in an early overture, and another domestic Strauss hero (named 'Stork') in the opera 'Intermezzo', from which four symphonic interludes are featured here. As General Music Director of the Zurich Opera Orchestra, Gianandrea Noseda has conducted these compositions by Strauss, some of which feature a huge orchestra. They are now released together on this album.

The Doric String Quartet continues it's cycle of Beethoven quartets with this third volume, featuring a mixture of works from the composer's early, middle, and late periods. Notable for the piano start of each of it's four movements, Op. 18 No. 3 also displays a more even distribution of thematic material among the four instruments than is normal for that time. Op. 59 No. 3 is the last of Beethoven's second set of quartets, dedicated to Count Razumovsky, the Russian ambassador to the Viennese court, and also a fine violinist. Op. 74 is famous for the pizzicato, arpeggio passages in the first movement, giving rise to it's nickname - the 'Harp' Quartet. The final two quartets in this CD set, Op. 132 and Op. 135, date from Beethoven's late period. The late quartets are widely acknowledged as some of the most extraordinary music Beethoven wrote. Misunderstood and confusing to their first audiences, they have gone on to inspire countless composers and musicians, and are considered some of the greatest music ever written. As with the previous issues in the series, this double album is sold at two CDs for the price of one.

Soprano Laura Catrani's highly personal journey into the world of solo voice writing continues with a new, singular project. After the widespread acclaim for Vox in Bestia, a Dante-inspired project born in 2021, Vox in femina is now released again by Stradivarius. The album, with the exception of the famous Sequenza III for female voice by Luciano Berio and Stripsody by Cathy Berberian, which respectively open and close the listening experience, brings together a range of pieces by contemporary Italian composers written especially for her. In particular, the album features original works by Leonardo Marino, Alessandro Solbiati, Matteo Franceschini, Federico Gardella, Paolo Marchettini, Fabrizio de Rossi Re, and Daniela Fantechi. A listening journey that suggests new points of interest and becomes a surprising exploration of contemporary production dedicated to vocality, accompanied by the personal interpretation of Laura Catrani, an artist who has undertaken important research and is considered by critics to be a reference voice for chamber music, twentieth-century, and contemporary repertoire.

Joly Braga Santos (1924-88) was one of the most important composers in twentieth-century Portugal. In his early works his fondness for modal harmony, absorbed from the Portuguese masters of the Renaissance, and his busy counterpoint combine to make him sound surprisingly close to such particularly English composers as Vaughan Williams and Moeran. Although his harmonic language became more astringent with time, it retained a burly sense of humour and a powerful charge of energy, often infused with the spirit of Portuguese folk-dance. [Volumes 1-3: TOCC 0207, 0428, 0588]

In this album Bach's famous Goldberg Variations are newly arranged for Saxophone, Cello and Accordion. With Asya Fateyeva and Eckart Runge two renowned Berlin Classics artists get together, joined by accordionist Andreas Borregaard. Asya Fateyeva has brought the saxophone into the spotlight through her excellent recordings, new arrangements and concerts for her instrument as well as impressive media attention (including her own TV documentary on ARTE). Eckart Runge was founding member of the Artemis Quartet; he is also an acclaimed soloist and has already released several solo albums on Berlin Classics.

Luis Berra is a pianist and composer with roots in Nicaragua, Argentina, and Italy, which makes his music bridging cultures. The album A Piano Won't Fix Your Tormented Soul presents a refined mix of neoclassical piano, jazz influences, and cinematic depth, where Berra's compositions embody timeless elegance with improvisational spontaneity.

Famous horn player Felix Klieser presents Italian arias on his instrument, the follow-up project to the Pop Chart award-winning album "Baroque Arias for Horn". He is joined by the Italian orchestra I Solisti di Pavia, recorded in the famous Teatro Fraschini at Pavia. The album contains well-known opera arias from Rossini, Verdi, Puccini and Italian songs like O Sole Mio and the Nino Rota's film music from "The Godfather". All tracks have been newly arranged for Felix Klieser and the ensemble.