Hille Perl is one of the world's finest viola da gamba players specializing in music of the 17th and 18th centuries. Her recordings at deutsche harmonia mundi have been awarded numerous prizes and received great acclaim. "Ballads within a dream" is the new album of Hille Perl with Andreas Arend, theorbo player. Together with soprano Clare Wilkinson and violinist Veronika Skuplik they recorded a magical, sentimental and entertaining panorama of "dreamlike" English baroque music: with folk songs and ballads by Blow, Purcell, Johnson and Pilkington as well as solo improvisations for theorbo on traditionals (such as the famous "Greensleeves") and three pieces for strings by Eccles, Simpson and Finger. The pieces have been concepted and partially arranged by Andreas Arend, who has released highly praised recordings for Sony Classical including the recording with violist Nils Mönkemeyer.

"Ballads within a dream" features songs from Henry Purcell (1658/9–1695) including his well-known ballad "Music for a While" and also other often slightly melancholic songs such as "Have you seen the white lily grow?" by Robert Johnson (c. 1583–1633) and "Rest, sweet nymphs" by Francis Pilkington (c. 1565–1683). The album opens with a graceful "Love Song" by John Blow (1649–1708), who was probably the teacher of Henry Purcell. There are also some traditional melodies (Out of this wood & Come wait upon him), the lyrics of which are based on William Shakespeare's famous play "A Midsummer Night's Dream". In addition to several folk songs such as "I will give my love an apple" or "Drink to me only with thine eyes" and the world-famous traditional "Greensleeves", the musicians have recorded brilliant chamber music, including a violin sonata by Henry Eccles (c. 1680–1740) (with Veronika Skuplik on the baroque violin) and a trio sonata by Godfrey Finger (c. 1655–1730).

The young Swiss violinist David Nebel recorded under the direction of Kristjan Järvi exceptional works by two of the most important and influential composers of the 20th century: The rarely recorded Violin Concerto No.1 by American minimalist composer Philip Glass and Igor Stravinsky's neoclassical Violin Concerto in D.

When Glass (*1937) was a boy, the first instrument of his own that he had was a violin. However, Glass did not write his Violin Concerto No. 1 until his fiftieth year. It was his very first large-scale orchestral work, premiered in New York City on 5 April 1987. Glass composed the work for his father Ben Glass, as a piece that he thought his father might have liked had he lived to be able to hear it. The piece quickly became very popular with its exclamatory and exciting first movement, a sumptuous and brilliantly patient second movement and a thrilling third movement with perhaps the most captivating coda that Glass has ever written.

The Violin Concerto in D with four movements instead of the usual three was composed in Stravinsky’s (1882–1971) Neoclassical period in 1931. In this work Stravinsky explored the forms of Baroque music, especially the concerto grosso principle, and gave solo passages to the orchestral musicians in many places, where individual instruments are involved in charming dialogues with the solo violin.

Stravinsky’s Violin Concerto was recorded with the Baltic Sea Philharmonic, and Glass’s Violin Concerto No. 1 with the London Symphony Orchestra.

Rarely has the existence and work of a painter been so imbued and influenced by music. ANDY lived IN and THROUGH music. Eclectic, he appreciated the popular music of his time as much as the great composers and performers of the Italian Opera. A visitor to the Factory, leaving the "brouhaha" of New York streets, would suddenly discover a mind-blowing musical atmosphere: the radio broadcasting the hits of the time (DONOVAN, BOBBY VEE, IKE AND TINA TURNER), rock & roll but also genuine pop music and "street music" (found thanks to JEAN-MICHEL BASQUIAT), while the Master, miraculously disconnected from this tumult, worked by feasting on CALLAS' albums. It was a surprising and eclectic playlist. Very early on, ANDY got into the world of music records. During his life, he designed many album covers: classical ones at his beginning (for RCA), then crazier with time (for the ROLLING STONES). He completed this cycle in a masterful way with the covers to the soundtrack of FASSBINDER's QUERELLE. He also got involved in record production with the VELVET UNDERGROUND. Though the VELVET UNDERGROUND album was not a success when it released, today the album is considered an iconic masterpiece, even beyond the banana on it's cover. ANDY didn't pursue this direction depressed with the haunting ego questions inherent in any musical group. We are especially struck by his loyal friendships with musicians who we find throughout this album (LOU REED, MICK JAGGER). His friendly feelings were often expressed in a Polaroid session that he generously offered to translated into a portrait. Several of his muses, his «superstars», were also accomplished musicians such as DEBBIE HARRY and ULTRA VIOLET. In conclusion, from this journey into ANDY's musical universe emerges the coherence of his musical tastes with his pictorial production, which was not burdened with any prejudices and approached countless shores with strength. We can't help but think of KARL LAGERFELD too. Both of them were passionate about the artistic manifestations of their contemporaries, both jealous of their immutable characters and both, each in their own field, were persevering smugglers, almost magically integrating the pure essence of the society in which they live into their respective creations.

A moody "silence" album with the famous Largo from Bach's Harpsichord Concerto in F minor, Albéniz ' irresistible Asturias, Pärt's Spiegel i'm Spiegel and more in arrangement for marimba. "He took up position at a marimba and coaxed from it sounds of rapturous fragility." (New York Times) "... this most questing of younger percussionists." (Grammophone) These are only a few examples that show how Christoph Sietzen has been praised by the media as an outstanding talent - a refreshingly natural musician notable for his technical mastery and powerful stage presence. Christoph Sietzen has just been awarded an Opus Klassik as the "Young Artist of the Year" for his first album with Sony Classical, "Incantations". For his new album, Sietzen recorded fascinating works by Bach, Albéniz, Piazzolla, Glass, Francisco Tárrega and Arvo Pärt. In this highly personal selection, Sietzen chose works in which he encounters silence. The album begins with "Opening" from Glassworks by minimal-music-composer Philip Glass, which draws it's special strength from slight changes and has much to do with silence for Sietzen. Asturias by Isaac Albéniz and Recuerdos de la Alhambra by Francisco Tárrega are both essential to this album as well, conveying something tangible and immediate. Sietzen finds it particularly enticing to contrast the movements Sarabande, Bourrée and Gigue from the E minor Lute Suite by Johann Sebastian Bach, with the other works on this album rather than playing them in succession as a self-contained form. A quite different and catchier world of sound is found in Romántico and Verano porteño by Astor Piazzolla. Arvo Pärt's Spiegel i'm Spiegel is the only piece on this recording in which Sietzen plays other instruments besides the marimba and also the only piece for which he did not adopt the text of the original edition one-to-one - a practice he considered very important in the other works. The album comes to an end with the famous second movement, Largo, from Bach's F minor Harpsichord Concerto which is beautiful in it's simplicity, the ornamented melody seeming to sway in two directions like a pendulum. With "Silence", Luxembourgish-Austrian percussionist shows once again his "awesome technique, unrelenting intensity, tremendous power, breath-taking speed, idiosyncratic presence and a profound musicality" (Pizzicato Magazine).

Mireille Mathieu, the French singer who sold 200 Million records worldwide in 54 years of career, reveals "Cinema" on October 4th, 2019.

In this 40-track double album, Mireille sings the greatest films movie composed by Ennio Morricone, Francis Lai, Michel Legrand, George Gershwin, Charlie Chaplin, Maurice Jarre, Cole Porter, Burt Bacharach, Vangelis...

This is a collection of the most famous movie themes from the greatest French and English speaking films of modern era. Among these 40 standards, there are no less than 17 unreleased and rare tracks, including a duet with famous French composer Francis Lai on "Un homme et une femme" from Claude Lelouch's eponymous movie, also "New York, New York", "Un regard d'amour" on the powerful theme of Chariots of Fire, or "C'est mieux comme ça" on The Godfather’s theme.

‘Cinema’ includes also some of the most popular movie themes of all time sung by Mireille: "Over the Rainbow" from the movie The Wizard of Oz, " Les yeux de l’amour (The Look of Love)" from the movie James Bond/ Casino Royale, "Paris en colère" from the movie Is Paris Burning ?, "Une histoire d'amour" from the movie Love Story, "L'amour viendra" from the movie "Gone with the Wind", and « Un jour tu reviendras » from the movie Once Upon a Time in the West…

Austrian symphonist Bruckner was long denied the recognition that he deserved - which was a situation that almost endured until towards the end of his life. However, he owed his significant breakthrough as a composer to the premiere of his Seventh Symphony in Leipzig in 1884. With the famous Adagio, this work was an enormous success during Bruckner's lifetime and is still considered one of the most famous and beautiful works of romantic symphonic repertoire. Even Johann Strauss, Jr. was amazed by the symphony: "Am deeply moved. It was the musical experience of my life." For the present album, this deeply moving symphony is recently recorded in one of the most famous concert halls in the world, Elbphilharmonie Hamburg, by its Orchestra in Residence NDR Elbphilharmonie Orchestra under their new Chief Conductor Alan Gilbert. With this recording, one will experience Bruckner’s breathtaking Seventh Symphony in the spectacular big concert hall of Elbphilharmonie Hamburg.

Pianist Yaara Tal celebrates with her new album "Love? Homage to Clara Schumann" the 200th birthday (September 13th 2019) of the composer and piano virtuoso Clara Schumann (1819 – 1896). Clara Schumann was one of the most important musicians of the 19th century. In her honor, Yaara Tal recorded with her musician friends works by Clara Schumann, Theodor Kirchner (1823-1903), Johannes Brahms (1833-1897) and Julie von Webenau (1813-1887).

Among the piano works are Trois Romances op. 11 by Clara Schumann, which she had dedicated to her fiance Robert Schumann in 1839. Musically as well as personally Robert and Clara Schumann were the most harmonious of couples. The genesis of Trois Romances was accompanied by a lively exchange of ideas between the couple. Deep feelings of love, affection and friendship resonate with these romances, but also with the selected solo piano works by Theodor Kirchner and Julie von Webenau. L'Adieu et le Retour op. 25. Morceaux de Fantaisie by the forgotten composer Julie von Webenau appear as a world premiere recording on this album. Julie von Webenau was twenty-two years old when Robert Schumann met her and her teacher, Franz Xaver Wolfgang Mozart. She began to correspond with Schumann, initially sending him some studies and enclosing with them a letter to Clara Wieck, whose triumphant appearances in Vienna she had heard about. She proved uncommonly sympathetic to Robert Schumann. Indeed, he even spoke of love and passion on her part in a letter to Clara Schumann. L'Adieu et le Retour op. 25 is a work that Julie von Webenau dedicated to Robert Schumann. Also Clara Schumann received many dedications from her contemporaries in the course of her career, but only the dedications from Robert Schumann, Johannes Brahms and Theodor Kirchner fell into a different category. The good friend Theodor Kirchner, who had briefly been Robert Schumann's student at the Leipzig Conservatory and then piano partner of Clara Schumann, dedicated his Op. 9 to Clara in 1859, from which three Preludes appear on this album. The three pieces chosen by Yaara Tal – nos. 10, 11 and 13 – are genuine character-pieces. Clara told their composer that they reminded her of her husband. Another connected work to the family Schumann is Alt-Rhapsodie by Johannes Brahms. This piece was however especially connected with Julie Schumann, the third daugther of the couple. Brahm's composition on a fragment from Goethe’s “Harzreise im Winter” op. 53 seems to be related to Brahms' disappointed love for Julie Schumann.

Yaara Tal was keen to lighten the distinctly sombre mood of the original piece and suggested an arrangement for tenor, female choir and piano. Thus, she teamed with the tenor Julian Prégardien, the women's choir of Bayerischer Rundfunk conducted by Yuval Weinberg. This arrangement forms the basis of the album and appears as a world premiere recording as well. On the album Yaara Tal also plays together with her longtime piano duo partner Andreas Groethuysen. The outstanding piano duo has recorded the "Variations on a Theme by Robert Schumann" for four-hand piano, which Brahms also dedicated to Julie Schumann in 1861.

Sony Music Masterworks is delighted to announce the release of the Original London Cast Recording of Sue Townsend's 'The Secret Diary of Adrian Mole aged 13¾' - The Musical. This eagerly-anticipated album with it's infectious score showcases aspects of the life of Britain's best-loved, luckless teenager. It features the original London cast with book and lyrics by Jake Brunger and music and lyrics by Pippa Cleary, all under the musical direction of Alex Parker. The cast includes Benjamin Lewis as Adrian Mole, Kelly Price as Pauline Mole, Gay Soper as Grandma Mole, Dean Chisnall as George Mole, Lara Wollington as Pandora, John Hopkins as Mr Lucas/Mr Scruton, Lara Denning as Doreen Slater/Miss Elf, Connor Davies as Barry and Max Robson as Nigel. Following two highly acclaimed runs at Leicester's Curve theatre in 2015 and the Menier Chocolate Factory in 2017, the musical will open for a limited season from 15 June until 12 October 2019 at the Ambassadors Theatre, London, with a Gala Night on Tuesday 2 July. It is directed by Luke Sheppard. Set in the 1980s in Leicester, this adaptation of Sue Townsend's best-selling book is a timeless tale of teenage angst, family struggles and unrequited love, told through the eyes of tortured poet and misunderstood intellectual, Adrian Mole. One of the most enduring comedy characters of all time, he is the hapless, hilarious, spotty teenager who captured the zeitgeist of 1980s Britain. This critically acclaimed production brings Adrian's story to life for a new generation of theatregoers. The Townsend family noted: "Sue loved West End theatre and she loved working with Jake and Pippa on the creation of this show. We're very happy for her and Mole that thirty years after his last appearance, a new generation has brought him back." Sarah Thwaites, UK Label Head commented: "It's incredibly exciting to see the nation's beloved novel by Sue Townsend 'The Secret Diary of Adrian Mole Aged 13 ¾' come to life on the big stage and it's a real honour for Sony Music Masterworks to release the Original London Cast Recording of this critically acclaimed and delightfully British production". 'The Secret Diary of Adrian Mole Aged 13¾' was Townsend's first novel, originally published in 1982 by Methuen and now published by Penguin Books. It has sold over 20 million copies worldwide, been translated into 30 languages and spawned seven sequel Adrian Mole novels. The novels have previously been adapted for the stage, radio and television.

Classically trained with a flair for powerful, melodic orchestral writing, Inon Zur's rich portfolio spans across film, television and video games. Making a name for himself within the world of epic action/adventure games and ethereal fantasy franchises, Zur's scoring work for Bethesda Games Studios' hugely-popular FALLOUT series, namely the FALLOUT 3 and FALLOUT 4 installments, have amassed millions of fans, two BAFTA Award nominations and nods from The PlayStation Awards, The Game Awards, Spike TV, FACT Magazine, Paste, Classic FM and more. Zur's lengthy catalogue of scores also include multiple entries in the PRINCE OF PERSIA series, THE LORD OF THE RINGS: THE WAR IN THE NORTH, DRAGON AGE: ORIGINS and DRAGON AGE 2. Zur's music has been performed in concerts across the globe by world-class orchestras including the London Philharmonic Orchestra, and Zur himself has collaborated with international recording artists including Florence + The Machine and Idan Raichel. Later this year, Zur is also set to release

The Berlin Radio Choir sings major choral works by Johannes Brahms

There was no point in his life when Johannes Brahms did not take an active interest in choral music. It was an interest that he evinced not only as a choral conductor in Detmold, Hamburg and Vienna but also as a composer who bequeathed to posterity a vast number of secular and sacred choral works. Among his principal compositions for chorus and orchestra were not only his German Requiem but also his Song of Destiny op. 54 (1871) for mixed chorus and orchestra. This was arguably the most significant of all Romantic settings of a poem by Friedrich Hölderlin and has now been selected by the Berlin Radio Choir for a CD that explores the whole vast range of Brahms’s choral writing. Under the direction of Gijs Leenaars, the Choir – heard here in various formations – is joined in some of these works by the Deutsches Symphonie-Orchester of Berlin. The Drei Gesänge op. 42, for example, are scored for mixed unaccompanied chorus, while Nänie op. 82 was written for chorus and orchestra. “All of the pieces that are featured on this CD show how well Brahms was able to write for the human voice,” says Gijs Leenaars, “and this is true of both their compositional textures and the impact of the sonorities that he uses.” At the same time Leenaars notes that the present programme is an ideal showcase for the Choir’s versatility. The Choir, he goes on, is a “great vehicle for choral works with orchestra, in which the right balance between orchestra and voices is a challenge”, while in the a cappella repertory the singers impress with the delicate textures of their voices.

The texts that Brahms has set in this selection of pieces all raise existential questions about our lives as human beings. The Song of Destiny is taken from Hölderlin’s epistolary novel Hyperion and draws on the world of classical mythology, contrasting the carefree lives of the gods on Mount Olympus with the toilsome existence of mortals on earth. Nänie for chorus and orchestra was written in 1881 in memory of the painter Anselm Feuerbach, who had died the previous year. The motet “Warum ist das Licht gegeben dem Mühseligen?” (Wherefore is light given to him that is in misery?) op. 74 no. 1 revolves around the question of why an almighty God allows to us suffer. “Es tönt ein voller Harfenklang” (The sounds of a full-toned harp ring forth) comes from the Vier Gesänge op. 17, which Brahms wrote in 1860 for the women’s choir that he had founded in Hamburg the previous year. And the Geistliches Lied (Sacred Song) op. 30 for four-part mixed chorus and strings invites its listeners to be steadfast and take comfort in their faith in the face of suffering and death.

Mychael Danna is an Academy Award-winning film composer recognized for his evocative blending of non-western traditions with orchestral and electronic music. His highly awarded works include the Oscar and Golden Globe-winning score for Ang Lee's Life of Pi, following his collaborations with Lee on The Ice Storm (1997) and Ride with the Devil (1999). Among his other awards are the Emmy for Outstanding Composition for the mini-series World Without End (2013), the Frederick Loewe Award for Film Composing (2013), the World Soundtrack Awards for Film Composer of the Year, and Best Score of the Year (both 2013), and the Hollywood Film Award for Composer of the Year (2016). Danna says his approach is to "making music an integral part of the storytelling, not simply repeating what is happening onscreen, but adding unexpected dimension and insight that enrich the experience of the director's vision." His passion for presenting complex ideas in a musically accessible way began as Danna learned his craft at the University of Toronto. There, he was exposed to early- and world-music that later influenced his style. Danna earned the school's inaugural Glenn Gould Composition Award in 1985 and also began scoring for student theatre groups, as he launched his artistic partnership with filmmaker Atom Egoyan. Danna has scored all of Egoyan's films since 1987's Family Viewing. Danna's credits also include the Oscar-winning Little Miss Sunshine (2006), for which he shared a Grammy Award nomination for Best Compilation Soundtrack Album; Marc Webb's acclaimed romantic comedy (500) Days of Summer (2009); and James Mangold's Oscar-winning film, Girl, Interrupted (1999). Mychael also scored the Oscar-nominated Pixar short preceding the film, Sanjay's Super Team. Other celebrated collaborations include those with Bennett Miller on his Oscar-nominee Moneyball (2011) and his Oscar-winning drama Capote (2005); with Terry Gilliam on his oscar nominated The Imaginarium of Doctor Parnassus (2009) and Tideland (2005). "The most gratifying filmmaking experiences are ones that take effort to unpeel the layers surrounding the heart of the story, and to find the best musical expression of that heart, " says Danna. "Those are always the film scores that I am most proud of."

After David Kim (John Cho)'s 16-year-old daughter goes missing, a local investigation is opened and a detective is assigned to the case. But 37 hours later and without a single lead, David decides to search the one place no one has looked yet, where all secrets are kept today: his daughter's laptop. In a hyper-modern thriller told via the technology devices we use every day to communicate, David must trace his daughter's digital footprints before she disappears forever.

As one of the top 10 highest-grossing film composers of all time, Brian Tyler has an impressive resume that includes The Avengers, Furious 7, Truth, Iron Man 3 and more, and is credited with scoring 3 out of 10 of the highest-grossing films of all time in global box office sales. On his musical contribution to Yellowstone, Brian Tyler says, "It has been incredible working with amazing director Taylor Sheridan on this project. His artistic vision encouraged an unbounded approach to composition. The visual canvas and thematic narrative of Yellowstone inspired me to create music that is intimate, tragic, and impressionistic in ways I have never before thought possible. I worked with so many phenomenal musicians from around the world ranging from the London Philharmonia Orchestra to superb soloists on viola, cello, and fiddle to capture the human soul behind the story. I strove for composing music that would support the complexity of the story and it's characters. The tone of the music needed to reflect melancholy, joy, regret, intensity, revenge, love, tragedy, and beauty all at the same time. The music echoes tones throughout by use of thematic melody that feels it is at the heart of an epic yet intimate saga, while at times creating atmosphere that pushes the boundary of where music and sound converge. Taylor created a magnificent world and music was a central part of his overall vision to give Yellowstone a unique identity. It was a true challenge, and one that I am eternally grateful to be a part of."

In February 1993, the eyes of the world converged on Mount Carmel, a small religious community located just outside of Waco, TX. The Bureau of Alcohol, Tobacco, and Firearms (ATF) conducted a raid on leader David Koresh and his devoted followers, known as the Branch Davidians. After what became the longest gun battle in U.S. law enforcement history, four ATF agents and six civilians were dead, and dozens more were wounded. A 51-day standoff ensued, and the conflict ended after an FBI siege led to a fire that engulfed the entire Mount Carmel compound, killing 76 men, women, and children Taylor Kitsch is starring as Koresh. The cast also includes Oscar® and Golden Globe® nominee Michael Shannon, Andrea Riseborough, John Leguizamo, Melissa Benoist, Paul Sparks, Shea Whigham, Rory Culkin, Julia Garner and Camryn Manheim.

GET SHORTYOriginal Television SoundtrackMusic by Grammy Award Winner Antonio Sánchez (Birdman)Epix' best series is a charming, addictive adaptation of the Elmore Leonard’s 1990 New York Times bestselling novel, and 1995 filmTRACKLIST1. Beginning​​​​​​​2. Owen Runs3. Sealed Fate4. Breezy5. Second Thoughts6. Just Hanging 17. Break In8. Pensive9. Watching Us10. Final Steps11. Loose to Fast12. Bad Omen13. Unsettling14. 7 Steps15. Pensive 216. Just Hanging 217. 6:8 Medium18. Hold On19. Desert Highway20. No Way21. Just Hanging 322. Intense23. They're Coming24. Move25. Remembering26. A to B27. Condo Love28. Bad Ways29. Unsettling 230. Be Careful31. Granular32. A to C33. Not So Easy34. Unsettling 335. Car Ride36. A to D37. A to E38. Big Deal

Call Me by Your Name (Original Motion Picture Soundtrack) Music is vital to director Luca Guadagnino's films, but he normally doesn't hire composers, and instead makes selections from pre-existing music. While the soundtrack for CALL ME BY YOUR NAME is a compilation of tracks by numerous musicians, Guadagnino decided he wanted to approach American singer-songwriter Sufjan Stevens to create a song especially for the film. "An artist for whom I have enormous admiration is Sufjan. His voice is fantastic and angelic, and his lyrics are so sharp and deep and full of sorrow and beauty. The music is so haunting. All these elements were the ones I wanted to envision in the film." - The soundtrack for CALL ME BY YOUR NAME also includes tracks by John Adams and Ryuichi Sakamoto as well as pieces written by Erik Satie, Maurice Ravel and Johann Sebastian Bach. As the film is set in the 1980s, Guadagnino chose period Italian pop music (including Giorgio Moroder & Joe Esposito's "Lady Lady Lady") for the radio, but particularly spotlights The Psychedelic Furs' anthem "Love My Way". "I love The Psychedelic Furs," says Guadagnino. "It's kind of autobiographical, because I remember listening to that song when I was seventeen and being completely affected by it. I wanted to pay homage to myself then." - CALL ME BY YOUR NAME is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman, written by Oscar® nominee James Ivory and starring Armie Hammer (The Social Network) and Timothée Chalamet (Interstellar, Homeland).

REVIEW:

Set to a rich orchestral score, JANE the film offers an unprecedented, intimate portrait of Jane Goodall — a trailblazer who defied the odds to become one of the world’s most admired conservationists.

“Serengeti,” one of the score's most joyful cues, is a celebration of optimism, the piano rolls and the flute and horn section carrying it even higher. It’s a spectacular piece that shows the endless imagination of the composer.

– Soundtrack Dreams