For his Cabinet of Delights, lutenist Eduardo Egüez has compiled a collection of French lute music centred on the composer Franz Philipp Le Sage de Richee. Virtually nothing is known about his life, except that he presumably had to flee France and subsequently found employment in Breslau. However, he occupies a central position in lute music because he brings together various styles and trends of French lute music and already foreshadows the later international style of composers such as Sylvius Leopold Weiss, Corelli, or Handel. His music survives only in his collection Cabinet der Lauten from 1695, from which Egüez performs a suite in B minor. In his preface to this collection, Le Sage de Richee states that he was a pupil of Charles Mouton and acknowledges the influence that the famous masters François Dufaut, Denis Gaultier, and Jan Antonin Losy von Losinthal had on his work. Egüez has also compiled a suite from each of these four French lute masters, thereby offering the listener a wonderful panorama of 17th-century French lute music.

Between longing and farewell, memory and transformation, Viktor Ullmann's songs unfold as a universe of remarkable poetic intensity. Hard It Is to Leave Beauty Behind offers a richly faceted portrait of a composer whose voice resonates with particular urgency today: rooted in late Romanticism, sharpened by modernism, and indelibly marked by the upheavals of the twentieth century. Soprano Aurea Marston approaches this repertoire with acute textual sensitivity and a voice that balances radiance and fragility. At her side, Cornelia Lenzin shapes the piano part not as mere accompaniment but as an equal partner. The result is a recording that presents Ullmann's songs not simply as historical testimony, but as living art of timeless relevance-music that seeks to preserve beauty, even in the knowledge of it's transience.

Active in the musical milieu of the mid-eighteenth century, Christoph Schaffrath belonged to the circle of composers who shaped the distinctive artistic profile of the Prussian court under Frederick the Great. A highly regarded keyboard virtuoso, Schaffrath served for many years as harpsichordist to Princess Anna Amalia, Frederick's sister and an important musical patron in her own right. His music reflects the stylistic transition of the mid-eighteenth century: while grounded in the structural clarity and contrapuntal discipline of the late Baroque, it increasingly embraces the melodic immediacy, expressive contrasts, and rhetorical gestures characteristic of the Empfindsamer Stil. In this recording, the Polish harpsichordist Anna Firlus joins forces with the period-instrument ensemble {oh} Orkiestra Historyczna, directed by Martyna Pastuszka. Their historically informed interpretation illuminates the elegance, expressive nuance, and vibrant musical imagination that characterize Schaffrath's contribution to the eighteenth-century harpsichord concerto.

Friedrich Kleinhapl writes in the booklet accompanying this CD: For me personally, Ennio Morricone is a discovery. His ability to move listeners through simplicity and restraint, his story-perhaps because it reminds me of my own younger years and the reception of Friedrich Gulda's Cello Concerto-ranges from initial criticism, asking how anyone could lend themselves to such a thing, to enthusiastic acclaim a few years later. Following Pasión Tango, Gulda meets Shostakovich, and Gran Pasión Tango, this album is yet another look beyond the familiar boundaries that enriches my approach to classical music.

Kristian Bezuidenhout and the Freiburger Barockorchester pursue their lively exploration of Mozart's concertos. From the early impulses of the Concerto No.5 K.175 to the incandescent drama of the Concerto No.20 K.466, via the daring formal novelties of the Concerto No.14 K.449, these works reveal a myriad facets of Mozart's genius, always wondrously inventive, theatrical and profoundly modern.

These recordings, originally released in the early 1980s, are foundation stones for the rediscovery of Marc-Antoine Charpentier's sacred works that was set in motion by William Christie et Les Arts Florissants. For the most part devoted to Christmas music, these pieces radiate all Charpentier's fervor, freshness and elegance, showing him to be truly French, yet nurtured by the sunlight of Italy.

Emilie Mayer's works bear witness to an indomitable personality, despite having languished for so long in the shadow of her male peers. The musicians of the Akademie fur Alte Musik Berlin have resolved to do her justice with this revelatory symphonic triptych of recordings. They begin with two of her most remarkable works played on period instruments, including a wondrous Bluthner piano handpicked by the soloist here, Alexander Melnikov.

The album 'out into the open', featuring four works composed for Trio Accanto by Brice Pauset, Rebecca Saunders, Misato Mochizuki and Beat Furrer, documents a collective journey into the unknown and, at the same time, marks the conclusion of an intense triangular relationship that has bound Nicolas Hodges, Marcus Weiss and Christian Dierstein together over the course of twelve years. Before Nicolas Hodges left the trio in 2024, the three went into the studio for a final recording session: with four works that span even more than just their time together. Brice Pauset's 'Adagio dialettico' was already part of their core repertoire when Nicolas Hodges replaced pianist Yukiko Sugawara in 2012. And it featured in his Accanto debut concert in Prague on 1 November 2013. The three more recent compositions - by Rebecca Saunders, Beat Furrer and Misato Mochizuki - were all written for the trio of Weiss, Dierstein and Hodges. The composers play with this unique constellation from a wide variety of perspectives, whilst composing for three distinctive musical personalities: contemplative, virtuosic, sensuous and experimental. And more than once, with this trio as exemplar, they raise the question of the compatibility of individuality and society, of freedom and community spirit.

In September 2026, Metier Records presents an outstanding contemporary release - the complete acknowledged output for solo piano by Romanian composer Horatiu Radulescu, performed by premier Metier artist Ian Pace, a world-renowned interpreter of new music. Pace knew and worked closely with Radulescu for two decades and gave the world premiere of the Piano Sonata No. 6, specially written for him. The 2-CD set includes authoritative recordings of all six piano sonatas plus Omaggio a Domenico Scarlatti (1967) and The Origin p (1999), and an excellent, extensive article on these works by Ian Pace in the booklet notes. Horatiu Radulescu was the leading figure in the field of Romanian spectral music, which derives massive, overwhelming sound masses from the very basics of harmonic spectra. In the second half of his career, he combined this with Romanian folk music and Byzantine chant, often in startling contrapuntal combinations employing techniques developed during the European Renaissance. The first Piano Sonata 'Wiege an den Abgrunden/Cradle to Abysses' (1968) from his early student days in Bucharest alludes to Liszt's final Symphonic Poem and features dramatic and austere music evoking a multitude of 'Abysses'. The remaining five are all closely linked and collectively known as the Lao Tzu Sonatas, inspired by the Taoist philosopher. Their chant-like or folk-derived materials are continually juxtaposed with more abstract spectral harmonies, derived in part from Radulescu's earlier idiom. They retain traces of song, ritual, and dance, but they are also transformed into something larger: continuous bodies of resonance, rhythm, and colour. The Second Sonata, 'being and non-being create each other' (1991), composed 23 years after the first, is viewed as ushering in Radulescu's 'second period'. The Third Sonata, 'you will endure forever' (1992, rev. 1999), the largest of the six, is the first of Radulescu's piano works to draw explicitly upon pre-existing musical materials, specifically Byzantine chant. In the Fourth Sonata, 'like a well older than God' (1993), Radulescu makes prominent use of three different Romanian Christmas carols, all originally collected and set by Bartok. The Fifth Sonata, 'settle your dust, this is the primal identity' (2003) employs a wide range of Romanian folk melodies. The Sixth Sonata, 'return to the source of light' (2007), was Radulescu's last completed work, and premiered by Ian Pace. Omaggio a Domenico Scarlatti (1967) from the composer's student days in Bucharest displays many aspects of post-war modernism and connects to the scale and performing features of Scarlatti's keyboard music. The piano piece The Origin p (1999) is Radulescu at his most uncompromising with what he calls 'spectral resonance' created by metal bars holding down all black notes and most white ones. Radulescu was born in Bucharest and studied violin with Enescu pupil Nina Alexandrescu at the Bucharest Academy. During this period, a shift came about from the dominant neo-classical style towards a greater engagement with European modernism. Radulescu graduated in 1969 and went to Paris, taking French citizenship in 1974. After this, like other emigre Romanian composers, his music was barely played at all during the remainder of the communist era.

This album is built around a remarkable instrument: the Guarneri del Gesù 'Sainton Betti' violin, once played by Prosper Sainton. More than a solo voice, the violin shapes both the repertoire and the narrative of the project. From this starting point a journey through the golden age of the Romantic violin unfolds. Works by Niccolo Paganini, Gioachino Rossini, Hector Berlioz and Richard Strauss reflect the musical world Sainton inhabited, while bringing renewed attention to this fascinating yet overlooked figure. At the heart of the project, violinist Dmitry Smirnov reveals the instrument's full expressive range, joined by Victor Jacob and the Kammerorchester Basel. Together, they create a vivid dialogue between soloist and orchestra. A programme that connects repertoire, instrument and history into a single, coherent musical narrative.

Ivan Fischer and Channel Classics release a recording of Mozart's Don Giovanni with the Budapest Festival Orchestra. Recorded live in October 2025 at the spectacular Teatro Olimpico in Vicenza, this is the first volume of a Mozart trilogy, with The Magic Flute and The Marriage of Figaro to follow in the coming years. With a dream duo (Andre Schuen as Don Giovanni and Luca Pisaroni as Leporello) and a first-rate cast, Ivan Fischer presents his vision of Mozart's masterpiece: 'In a nutshell the first two bars of this opera describe the story: the fight between order and rebellion. The basses repeat their constant bottom note three times, finally overpowering the revolutionary syncopations of the violins. The energetic, defiant violin notes represent Don Giovanni, the man, who doesn't accept any rules, who doesn't know limits. He follows his own instincts, uses and misuses his power, his wealth, his servant, to follow one goal only: his passion. On this journey he kills, he hurts, damages others, without any remorse or even second thoughts. He is perfectly free, happy, liberated from inner doubts and outer control, from all the regulations of what we call morality.'

For over four decades, Mogens Christensen (b. 1955) has crafted a unique musical world where the fluidity of dreams meets an aphoristic, crystalline concision. His works often draw on tangible inspirations - natural phenomena, Nordic myths, or literary echoes - guiding the listener through landscapes of intense atmospheric depth. From the 'friendly apparitions' of "Nordic Summer Ghosts" to the subterranean rivers of the monumental "Flumina mortis," this release showcases a composer who perfectly balances Arcadian poetry with a modern, functional clarity.

Musical sound waves circulate through space. From which is derived that seductive, yet also elusive, unstable, phenomenon, known as music.' Thus wrote Vladimir Jankelevitch in his essay La Presence lointaine (Distant Presence), exploring the mobility of musical sound through a comparative reflection on the works of Isaac Albeniz, Deodat de Severac, and Federico Mompou. These three composers shared the art of expressing the ineffable and transfiguring reality through the use of distinctive harmonies, colours, and resonances. They succeeded in conjuring up landscapes of profound poetry, from which Wilhem Latchoumia has drawn inspiration to imagine a fascinating and deeply moving voyage between France and Spain.

Eskil Roos, born in 2001 in Lund, is a Swedish pianist and composer based in Malmö. He has distinguished himself through a lyrical touch and a dreamlike musical expression that carries both stillness and drive. In the autumn of 2026, he releases his debut album Mystery of the Mind on Prophone - Naxos Sweden. Mystery of the Mind turns it's gaze inward, toward the processes behind our decisions: how the mind perceives, hesitates, reacts, and is shaped by experiences we do not always fully understand. Rather than seeking clear answers, the music lingers in a state of wonder, where direction sometimes emerges through intuition and awareness rather than control. The album explores the theme of the many choices we are faced with and how our desire to make the most of our time can become overwhelming. When we realize how limited time truly is, each decision gains greater weight. What is not chosen falls away, and what remains is filled with meaning. The music moves between Nordic jazz, classical, and folk. Through the album, the listener is invited to pause within an otherwise hectic society and enter a musical landscape where each composition is carefully shaped to tell a story.

On 25 September 2026, Divine Art is proud to present Eduard Tubin's powerful Requiem for Fallen Soldiers and other major choral works by the composer, performed by the Estonian National Male Choir, conductor Mikk Üleoja. The soloists are Iris Oja (mezzo-soprano), Indrek Vau (trumpet), Madis Metsamart and Anto Õnnis (percussion), and Piret Aidulo (organ). The album is released to tie in with the sixth annual Tubin Festival from 28 September to 4 October 2026 in Tartu and Tallinn, Estonia. Artistic Director of the Festival Mihhail Gerts has written an excellent article about these choral works for the booklet notes. Eduard Tubin (1905-1982) is recognized as one of Estonia's greatest composers. He had to flee the country during World War II and spent his later decades in Sweden, but he drew strength from his national heritage and often incorporated Estonian folk music into his works. He was a devoted choral conductor throughout his entire creative career, and men's choir music held a particularly special place in his heart. The album includes all his choral songs written during his homeland period, some from the early years of his exile to Sweden, and two major works influenced by the tragedies of World War II: 'Reekviem langenud sõduritele' (Requiem for Fallen Soldiers) and 'Taganejate sõdurite laul' (Song of the Retreating Soldiers). He composed all of his choral songs from his homeland period for the men's choir of the Tartu Men's Singing Society and remained associated with the group until his escape from Estonia in 1944. The songs include 'Karjase laul' (The Shepherd's Song), written to a folk text, as well as 'Igatsus' (Longing), 'Randaja õhtulaul' (The Wanderer's Evening Song), and 'Noore kotka laul' (Song of the Young Eagle), all set in the 1930s to texts by one of the composer's favourite poets, Ernst Enno. His rich musical landscapes often depict memories of his youth as a shepherd. Mihhail Gerts says, 'These miniatures, characterized by a wide dynamic range and a wealth of tonal colors, transport the listener to the meadows along the shores of Lake Peipus near the composer's birthplace, where the young music enthusiast spent his summer months.'

Friendship Survival Guide brings together the evocative talents of Adam Wiltzie and the late Johann Johannsson in a deeply atmospheric and emotionally resonant collaboration. Combining ambient drones, cinematic textures, and minimalist beauty, the album creates an immersive listening experience that reflects both artists' shared gift for crafting expansive and moving soundscapes.

OLIVER COATES / HISTORY SOUND - O.S.T Decca presents the soundtrack to the 2025 film, The History of Sound. Composed and produced by cellist Oliver Coates, the 27-track album features traditional American roots music with vocal and musical contributions from folk artist Sam Amidon and lead actors Paul Mescal and Josh O'Connor.

Adolf Reichel, born in 1816 in Tursnitz, was a prominent pianist, composer, and conductor who followed in the footsteps of Beethoven, Mendelssohn, and Siegfried Dehn. After studying in Dresden and Berlin, he spent several years in Paris, where he began a lifelong friendship with the anarchist Mikhail Bakunin. After stints in Meiningen and again in Berlin, he was appointed to Bern, where he assumed all leadership roles for the orchestra, various choirs, and the conservatory. Both symphonies were premiered in Bern (1869 and 1870). Elegance and contrapuntal virtuosity are complemented by original thematic development and a fundamental commitment to classical aesthetics. The Bern Symphony Orchestra performs the two symphonies by it's first chief conductor in a world-premiere recording under the baton of Christoph-Mathias Mueller.

Clara Haberkamp does not like to be categorized and describes herself as a genre-open pianist and composer. Hailed as 'one of the most distinctive pianists on the German jazz scene' (radio DLF), she has recently made waves internationally with her latest record, Plateaux (TYXart, TXA24184). Blending jazz, classical music, and New Music, her sound is direct, intimate, and unmistakably her own. Occasionally, she adds her voice as another color in her musical palette, speaking directly to the listener. Clara Haberkamp's solo piano album LOVE MAPS (including also two vocal tracks) is a masterpiece of musical navigation-a beautifully crafted sonic map bridging jazz, classical music, and multifaceted improvisation. Familiar pieces and original compositions are transformed through her unique artistic sensibility.