The Antegnatis were a family of organ builders who produced some of the best-known instruments of the 16th century, many of which can be found in churches across northern Italy. In total, they constructed an estimated 400 organs. Costanzo Antegnati was perhaps the most influential member of the family, and his set of 12 ricercars – the centrepiece of this recording – was published alongside his treatise on organ tuning and registration. The compositions were of such high quality and popularity that they were subsequently included in the Intavolatura d’organo tedesca, the most extensive manuscript source of keyboard works known today, containing a good 1,770 pieces by composers from Italy and Northern Europe. Interwoven between Antegnati's pieces are works by other composers of the same period. Notable among these is Anton Holzer's three canzoni, of which this is the first complete recording, and Agostino Soderini's Canzon La Ducalina, a fascinating short piece in which the keyboard writing closely follows the pronunciation of a virtual text and at times sounds like poetry being recited. Federico Del Sordo is a renowned continuo player who has devoted himself for more than 15 years to the study of the alternatim repertoire. For this recording, he performs primarily on a 17th-century organ installed in a Brescia church by Graziadio Antegnati III; variety is added to the set by the inclusion of harpsichord and clavichord performances.

In this new Chaconne release, Trio Goya offers unique accounts of Beethoven’s early piano trios, revealing on period instruments and in the magical acoustic of the Britten-Pears Auditorium at Aldeburgh’s Snape Maltings the extraordinary range of colors and narratives that these pieces suggest. Beethoven’s Opus 1 features amongst Trio Goya’s central repertoire, played regularly in the UK’s most prestigious venues and beyond. After a recent Wigmore Hall concert, Early Music Today wrote that “Trio Goya sent us home spinning on the delights and laughter of early Beethoven. His piano trio opus 1 No. 1 frothed and bubbled down the finale's theme, the musicians swept along by their own hell-for-leather, immaculately kept tempo.” These pieces mark a kind of beginning in Beethoven’s career. They were indeed planned and executed, over a period of two years, with unprecedented care and skill; they mark the start of a new creative period for the young genius, which is distinct from the younger Bonn years and is fully deserving of the label ‘first maturity’ conferred by the musicologist Lewis Lockwood.

Carl Philipp Emanuel Bach published the first collection in his series 'for Connaisseurs and Amateurs' in 1779, at the age of 65, and the sixth and final in 1787, a year before his death. Throughout the series he continues to develop the three genres which are featured in it – sonata, rondo and fantasia. In the sixth collection, the fantasias and rondos continue to resemble each other in structure and in stylistic features: abrupt tempo changes, disruptive rhythms, and constant harmonic non sequiturs. Bach gives them ample dimensions, but as in previous collections he continues to reduce the length of the sonatas, to the point that Sonata No. 1 is the shortest work of the collection, although it is in three distinct movements. On this amply-filled album, Miklós Spányi also includes four other works from Carl Philipp's last decade which in various ways underline the composer's boundless curiosity. The Sonata in G major, Wq 65/48 was composed for an experimental keyboard instrument with a bowing device coupled to it – a 'Bogenclavier' – while Bach in the set of variations Wq 118/9 gives us his own take on La Folia, the harmonic scheme that almost a century earlier had inspired composers such as Corelli, Marin Marais and Vivaldi, as well as his own father, in the famous ‘Peasant Cantata’.

Harpists Eva Tebbe and Ekaterina Levental remark that Debussy makes the invisible visible and turns the unspeakable into a musical world full of mysticism, layers of ambiguity and evocative meanings. A century after his death, he is being celebrated across the world in 2018, and this album promises to make a special contribution on record with arrangements of works, most of them relatively unfamiliar, which particularly lend themselves to the ethereal and exquisite combination of voice and harps. Much of the music here was written while Debussy was composing his only opera Pelléas et Mélisande, a Symbolist drama based on the play by Maurice Maeterlinck, who recognized that in many ways Debussy had not only set his play to music but even outstripped and further enriched his original. There is the early and peaceful Ballade from 1890, then the Proses lyriques from 1892-3 and the seductive Trois Chansons de Bilitis (1897), from which this musical partnership takes its name. Bilitis is the fictional poet of Classical antiquity invented by Pierre Louÿs, writing in an erotic, symbolist vein after the fashion of Sappho: and when in 1900 Debussy came to use the texts of Louÿs again for the Musique de Scène pour les chansons de Bilitis, the music accompanied a tableau vivant in pre-Raphaelite style of winsome and scantily clothed young women. The recital is completed by the Danse sacrée et danse profane – originally composed for harp and orchestra in 1904, here with the orchestral parts arranged for a second harp – and the six Epigraphes Antiques from 1914, which return to the musical material of the Bilitis works but in the composer’s more allusive late style which would lead to his final masterpiece written for Serge Diaghilev, Jeux.

With this second volume of Tosti’s songs, Brilliant Classics takes listeners just half-way through a prodigious, career-long output, in which the key-notes are unfailingly memorable melody, lively charm and a gift for story-telling that rivals the very greatest song-writers past and present, from Schubert to Dylan. Many of his songs have never been recorded, so this set makes a unique contribution to the catalogue. There are a few French songs on Vol 2, reflecting Tosti’s great popularity in Paris, but most of the texts here are by Italian poets, mostly contemporaries such as D’Annunzio and Panzacchi. The album works chronologically through the decade 1886-1895, during which time he was singing teacher to the English royal family. Perhaps in deference to his pupils, there are songs by the likes of Longfellow and Weatherly: the release concludes with his delicately wistful setting of In the Hush of the Night. The first volume of this extraordinary project on Brilliant Classics won wide critical praise. ‘All the singers are careful over nuances,’ remarked MusicWeb International. ’Tosti’s songs have, through the years, been bawled out of recognition by leather-lunged tenors, and it is a blessing to hear so many beautiful pianissimos and diminuendos in this repertoire. The accompaniments are discreet and the recording is well-balanced and natural-sounding.’ This release will be an essential acquisition for all lovers of art-song.

The Philadelphia-based baroque orchestra Tempesta di Mare here reveals an unparalleled musical legacy, presenting long forgotten works by the German baroque composer Johann Gottlieb Janitsch, confined for centuries to unexamined archives. The works formed part of an enormous music collection which belonged to Sara Levy, the great-aunt of Felix Mendelssohn. She was a distinguished harpsichordist, collector, and influential figure in the musical life of late-eighteenth- and early-nineteenth-century Berlin. Removed from the Berlin Sing-Akademie towards the end of World War II, her musical library was for many decades considered lost or destroyed. It was unearthed in Kiev only in 1999 and returned to Germany in 2001, where it is now again accessible to the public. While there can be no doubt that the instrumental oeuvre of Janitsch matched the diversity of that of some of his more prominent Berlin colleagues, the emphasis of his compositional output lay on chamber music, especially Quadros, four of which are featured here. The typical, prevailing dialogic structure of the Ouverture grosso highlights the influence which thematic play had on the rest of his work.

Louis Lortie’s Chopin series is achieving landmark status, as confirmed by the increasingly enthusiastic reviews of progressive volumes. This fifth one sumptuously highlights the Polish influences in Chopin’s music, offering gems from among the mazurkas and polonaises. Relatively brief in duration and simple in structure, the mazurkas reveal other aspect of Chopin’s music: quirky melodies, strangely chromatic harmonies, oddly accented rhythms, irregular phrase lengths, and wildly contrasting keyboard textures. They represent a fascinating part of Chopin’s output, for audiences and pianists alike. The vigour of the polonaises featured here, including the first two to be published, confirms Chopin as a radical, yet idiomatic transformer of the genre. The Allegro de concert, which Chopin was said to have kept for his projected return to ‘a free Warsaw’, is another link to his beloved country.

The specialist early-music ensemble Da Camera marks the 250th anniversary of Telemann’s death with this unique recording of original trio sonatas involving recorder and viol. These are among the greatest pieces Telemann ever composed. As he wrote in 1740: ‘how could I possibly remember everything I composed for strings and winds? I particularly devoted myself to the composing of trios… People even flattered me as having done my best work here.’ The musicians of Da Camera heartily agree. The ingenuity and variety of music, structures, and instrumental ensemble, combined with fascinating notes by the recorder player Emma Murphy, make this album a must-have for everyone, from Telemann’s many enthusiasts to those curious about early music.