This selection of transcriptions celebrates childhood in a variety of ways, featuring popular works – Schubert’s Erlkönig, Granados’s atmospheric Tales of Youth, Mozart’s elegant Sonata facile, Schumann’s Scenes of Childhood and Debussy’s Children’s Corner – presented in a totally natural and idiomatic manner within the guitar’s distinctly expressive soundworld.

This volume concludes the complete Sibelius symphonies performed by the Gothenburg Symphony Orchestra under Santtu-Matias Rouvali. This series has already won numerous awards around the world and reaches it's climax here with three of Sibelius' greatest symphonies: Andrew Mellor writes in his introductory text that "we hear music carried by forms of gravitational energy reminiscent of those that govern the course of a river". Rouvali has also chosen to record eight extracts from Sibelius' incidental music for Shakespeare's The Tempest. First performed in March 1926, it is one of Sibelius's final orchestral works and is certainly his most fascinating composition for the theatre.

Dr. Graham Griffiths writes: “Every recording of Stravinsky’s ‘complete works for solo piano’ is a considerable achievement. However, this latest 5-album cycle with Russian pianist Alexey Zuev is a cause for special celebration for it also includes all of Stravinsky’s piano transcriptions and arrangements, many of which have never before been recorded – indeed, until now, some have remained completely unknown. This project, therefore, represents a significant milestone in Stravinsky recording history. Alexey Zuev and Outhere Music are to be congratulated for bringing every corner of Stravinsky’s pianistic catalogue into the wider musical conversation, and for making the case most convincingly that all of this solo repertoire, whether original or transcribed, deserves to be performed and appreciated as part of this great composer’s innovative canon of piano works.”

Organised Delirium is pianist Tamara Stefanovich' personal exploration of the sonata form, centred around Boulez' Piano Sonata No. 2 which she studied in close collaboration with the composer, reigniting her passion as a performer. Boulez' Piano Sonata No. 2 represents a restructuring of music after it's destruction during World War II. Boulez' iconoclast piece is paired with twentieth-century sonatas by Eisler, Bartok and Shostakovich, each questioning the use of the term 'sonata', while the programme closes with a return the sonata's origins by way of Domenico Scarlatti. Appearing in the context of Boulez' centenary, this adventurous album reveals a strong kinship to Stefanovich' PENTATONE debut Influences (2019), and deepens our understanding of the sonata, it's history and it's many shapes. The New York Times lauded Tamara's recent concert performance of Boulez' Piano Sonata No. 2, stating that "Ms. Stefanovich's performance was staggeringly brilliant". Praised by The Guardian as "fearless, dazzling, exceptional", Tamara Stefanovich is one of today's most adventurous and sought-after pianists. After Influences (2019), Visions (2022) and Nicolaou: Etudes & Frames (2023), she now releases her fourth PENTATONE album.

In November 2021, even before taking up his post as chief conductor of the Bavarian Radio Symphony Orchestra, Simon Rattle began a cycle of Mahler symphonies with a performance of the Ninth (BR-KLASSIK 900205). The Sixth followed in September 2023 (BR-KLASSIK 900217), and the conductor is now tackling the composer’s Seventh Symphony. This cycle marks the beginning of a new chapter in Mahler interpretation, as Rattle is just as passionate a Mahler admirer at the helm of the orchestra as his predecessors Jansons, Maazel, and Kubelík.

Simon Rattle gained his international reputation during his 18 years as Principal Conductor of the City of Birmingham Symphony Orchestra (1980–1998), which he made world famous. In 2002 he was appointed to succeed Claudio Abbado as Chief Conductor of the Berlin Philharmonic, a position he retained until June 2018. In March 2015 the London Symphony Orchestra elected him as their new Chief Conductor for the 2017-2018 season, a position he retained until summer 2023. Simon Rattle also maintains close ties with the Los Angeles Philharmonic, Boston Symphony, and Philadelphia Orchestras, as well as the Vienna Philharmonic.

This recording of Mahler's Fifth Symphony by the Tonhalle-Orchester Zurich under it's Music Director Paavo Jarvi, is the first in a complete cycle of Mahler symphonies. Jarvi has of course conducted Mahler's works many times in his career, but has waited for the right moment to record the complete cycle in the studio: the right moment not only in his life as a musician but also in his relationship with the Tonhalle-Orchester Zurich; the maturity and power revealed in the orchestra's recordings for Alpha Classics have been hailed by the music press since 2019. "Mahler truly opened up a new universe with the Fifth, in which he initiated an incredibly personal style of music-making." says Paavo Jarvi. "It is the very nature of it's opening - a military funeral - and of it's tragedy, in conjunction with the very idea of beginning a symphony in this way, which signals that something completely different is in store for us".

St�phane T�treault/Olivier H�bert-Bouchard - "Claude Debussy: Images retrouv�es" / St�phane T�treault and Olivier H�bert-Bouchard present Images retrouv�es, the second volume of works by Claude Debussy transcribed for cello and piano. The series was inaugurated in 2023 with the first volume, Images oubli�es. Images retrouv�es takes us back to Debussy's immense contribution to the piano repertoire and delves deeper into the composer's identity - patriotic, amorous, curious, thoughtful, and intrigued by novelty.

Paul Hindemith's Der Schwanendreher (literally 'the swan turner') is a viola concerto based on medieval German folk songs. While the 'swan turner' was literally someone who turned the spit of a roasting swan, metaphorically it referred to an itinerant minstrel whose street organ or hurdy-gurdy was cranked via a swan's-neck handle. He composed the work between September and October 1935, and it was premiered at the Concertgebouw in Amsterdam, with the composer (a virtuoso violist who did much to elevate the instrument's status) serving as soloist. In it, Hindemith creates a musical 'structure' that enhances the solo viola by contrasting it with a uniquely scored tutti ensemble of winds with four cellos and three double basses. After the slow introduction to the first movement comes a section in classic sonata form with orchestration evoking the world and art of minstrelsy. The second movement opens with a sad dialogue between the viola and harp, inspired by an ancient song on lost love; this is followed by a contrasting fugato in which the sadness of the cuckoo (an omen of doom) is alleviated by the musical writing. The third movement features seven variations on the titular 'Schwanendreher' song, whose jovial, light character is skilfully rendered with iridescent rhythmic articulation. A prolific and versatile composer, Hindemith was initially drawn to expressionism and atonal harmony before embracing a neo-Baroque style along his journey towards abstract objectivism. By the end of the first quarter of the 20th century, Hindemith had become one of the leading exponents of Gebrauchsmusik ('Utility Music'), a musical approach designed to respond to societal needs as opposed to individual abstract aesthetic feelings. It saw the creation of much music aimed at amateurs, though with no compromise on quality. It was in this context that Hindemith composed the set of Schulwerk fur Instrumental-Zusammenspiel (Educational Music for Instrumental Ensembles) between March and April 1927. Designed for a youth orchestra, the music is by no means uninteresting or technically simple. It's fourth section is made up of the Funf Stucke (Five Pieces) scored for a five-part string orchestra with an additional solo violin introduced in the fifth piece. While the writing remains within certain technical bounds, the score is brimming with expressive variety, rhythmic dynamism, harmonic freedom and timbral sensitivity, all of which can be recognized as hallmarks of this period in Hindemith's compositional career. They showcase the composer's contrapuntal expertise, a quality particularly pronounced in the third piece, Lebhaft, with it's direct connection to Johann Sebastian Bach. In these 'teaching works' Hindemith's meticulous attention to detail reveals a distinctly German penchant for musical craftsmanship meeting the expectations of even 'professional' musicians. - Recorded March 2023, Sala Bianca, Foggia, Italy - Bilingual booklet in English and Italian contains liner notes by Alberto Mammarella - Paul Hindemith (1895-1963) was one of the most important and influential composers of 20th century Germany. His eclectic style incorporates diverse influences such as expressionism, neo-classicism and even jazz. His music is energetic, rhythmically vibrant, witty and joyous, but also able to express deeper and tragic feelings. - Der Schwanendreher is a viola concerto composed by Paul Hindemith in 1935. The title translates to "The Swan Turner, " referring to a medieval kitchen servant who turned roasting spits. The piece is based on old German folk songs, giving it a unique blend of the modern and traditional. Hindemith, himself a violist, premiered it with the Concertgebouw Orchestra Amsterdam, conducted by Willem Mengelberg. The work is admired for it's inventive orchestration, lyrical themes, and balance between historical charm and contemporary technique. - Performed by Luca Ranieri and the orchestra Ico Suoni Del Sud, conducted by Mario Moresco. Luca Ranieri successfully recorded the Suites for viola solo by Hindemith for Brilliant Classics.

Many people have been waiting for Behzod Abduraimov's performance of Prokofiev's second piano concerto - that powerful work which caused a scandal when it was first performed near St Petersburg in 1913 because it was considered too futuristic. The work that we hear today is a version that Prokofiev himself reconstructed and reworked in 1923, as his first version was burnt on his departure from Russia. Abduraimov gives a dazzling performance of the work with the Royal Philharmonic Orchestra and it's conductor Vasily Petrenko. The Prokofiev stands in stark contrast to Alexey Shor's Piano Concerto No. 1, which was composed and first performed in 2023. Abduraimov embraces the juxtaposition of the two works: "the depth and complexity of Prokofiev's universe is set against Shor's more lyrical and accessible art: each work reflects different facets of the human experience, and I think it's good to share this diversity of feelings, textures and moods".

Navona Records presents SHOSTAKOVICH / RACHMANINOFF: SONATAS FOR CELLO AND PIANO, an album that highlights the musical expression and virtuosity of these renowned works.

Acclaimed award-winning soloist Carmine Miranda and GRAMMY-nominated Nashville Symphony pianist Robert Marler combine their virtuosity with the legendary three-time GRAMMY-nominated producer Alan Shacklock and celebrated mastering engineer Tommy Dorsey (Berlin Philharmonic – Deutsche Grammophon) to deliver the highest quality performances of these works.

Deeply expressive with interplay and virtuosic passages, these two sonatas are held to high regard by pianists and cellists alike. Once turning points in the lives of Shostakovich and Rachmaninoff, these works have stood the test of time, rewarded with commanding performances by cellist Carmine Miranda and pianist Robert Marler.

REVIEWS:

These two well-known sonatas are treated to handsome performances. The Shostakovich is perhaps a touch too Romantic, with prominent cello slides, yet a wonderful sense of buoyancy. The Rachmaninoff is passionate and delicate as the mood demands, and never indulgent.

-- BBC Music Magazine

The first thing to be said about their version of the Shostakovich D minor (1934) is its pace – this is one of the swiftest accounts I have encountered, full of vim and vigor in the three fast movements, ardent in its lyricism in the Largo. The sonata was written at a time of emotional upheaval in the composer’s personal life, during his brief divorce from his first wife, Nina. Miranda and Marler catch the music’s mercurial, passionate nature as well as any pair have done.

There is a similar thrust to their account of the Rachmaninoff Sonata, too, full of impulsion in the quicker movements. This permits them to relish the lyrical moments (the opening Allegro’s second subject, for instance, and the Andante third movement) without wallowing in what can sometimes seem like an over-ripe style. Praise to Robert Marler’s accompaniment: a fiendishly difficult part that can easily overwhelm the cello but played here with a lightness of touch that would not be amiss in Schubert.

-- Gramophone

It is a rather widespread opinion that the genesis of musical compositions intended to positively impress the listener's soul is often connected to an initial illumination that expands within a creative process that is per se rather ordinary. It is that creative spark constituting the generating principle which, as it unfolds, gives form and narrative cohesion to the sound archetype. This is the premise underlying the album by the duo Cardinali-Redorici, the realisation of a project that presents itself as a refined exploration of soundscapes delineated by the poietic encounter between viola and piano, through a dialogue aimed at capturing the most varied emotional nuances. In the panorama of string instruments, the viola is characterised by a highly suggestive timbral eloquence stemming from the range of frequencies within which it moves - an extension that makes it possible to perceive, at opposite extremes, sensations of both a lyrical luminosity typical of the violin and dark tones attributable to the gravitas of the cello. This contributes to making this medium ideal for translating into sound an expressiveness of musical thought drawing it's quintessence from a persistent search for intimacy, oscillating between lightness and depth. In this sense, the listener of InCanto Notturno is projected into an intense and exciting sound journey - ranging from the exploration of affections ascribable to a certain romantic lyricism to the stylistic refinement typical of Impressionism -, also reaching suggestive incursions into less beaten territories of the repertoire with the proposal of rarely performed compositions.

A celebration of the masterful artistry of Frederick Ashton, this collection presents three defining works from the Founder Choreographer of The Royal Ballet. A pioneer of 20th-century dance, Ashton brought elegance, innovation and emotional depth to the stage, shaping the identity of British ballet for generations. Scenes de ballet distils classical technique into a striking study of form and symmetry. Ashton gracefully reimagines Turgenev's play A Month in the Country as a one-act ballet where all the drama unfolds in the family's living room upon the arrival of a dashing young tutor. Rhapsody, created for Mikhail Baryshnikov and Lesley Collier, blends virtuosic movement with lyrical beauty, set to Rachmaninoff's sweeping score. Together, these works offer a vivid portrait of Ashton's genius.

Matthias Goerne, the Orchestre Philharmonique de Radio France and Mikko Franck continue their series of recordings of Shostakovich's symphonic works with baritone with the Suite on Verses of Michelangelo Buonarroti (1974), and the symphonic poem October (1967). These are two very different works: the first is one of Shostakovich's most deeply personal creations and has no connection to the ideological issues of Soviet power. The second was commissioned by the Soviet authorities to glorify the 1917 Revolution and is filled with irony. Goerne is the perfect interpreter for Shostakovich's great cycle of settings of verses by Michelangelo, in which intimate moments where the voice is almost a cappella alternate with powerfully dramatic passages with full orchestra.

Prokofiev : Sonates pour flûte et piano

Symphonic in scale and ambition, the incidental music to Shakespeare’s play The Tempest was among the last orchestral works Sibelius composed before entering the mysterious ‘silence of Järvenpää’ that lasted until his death. Commissioned by leading Danish theatre producer Johannes Poulsen in 1925, the wide expressive demands of the play saw Sibelius calling on large musical forces. From the terrifying tone picture of the opening shipwreck via ethereal songs, boisterous character portraits and remarkable evocations of nature, Sibelius took full advantage of being set free to convert the themes of Shakespeare’s magical world into his own unique sound.

Cinema enthusiasts all over the world will have no difficulty recalling some of the wonderfully circus-like melodies of Federico Fellini's films. The suggestive power of this music is irresistible, and made its composer Nino Rota (1911-1979) an instant classic. But Rota not only left his mark on the soundtrack of over one hundred and fifty films, he also left behind a multitude of other pieces: Operas, symphonies, concertos for orchestra and various solo instruments, and chamber music - all of the highest quality. A never-ending wealth of ideas and deep emotionality can be regarded as the common denominator in Rota's highly individual work.

The many Rota interpretations and arrangements are joined by a very special line-up in this recording. The musicians David Sautter (arrangements, guitar) and Murat Cevik (flute) have put together 23 little-known pieces and "gutter hits". Rota's compositions appear to only have been waiting for the congenial performance of these two instrumentalists: the feather-light, sparkling, sometimes darker playing of Murat's flute, and David's guitar, which sets the beat and suddenly starts swinging. The excerpts from the "15 preludi per Pianoforte" form the enchanting prelude - flute and guitar in dialogue, dancing on the high wire -, followed by a musical bouquet in all its colorful facets until the concluding "Notti di Cabiria"; here the duo casually lives out its jazz affinity and harmoniously rounds off the homage.

The inspiring new album Shapes of Water by renowned pianist Carmen Stefanescu takes listeners on a captivating musical journey. Following her successful debut album with Prospero Classical, The Voice of Piano, the pianist has recorded pieces based on the theme of water for her new release. Water has always fascinated artists as a theme and symbol - it stands for purity and renewal, but also for mystery, movement and the transience of time. In her new album Shapes of Water, pianist Carmen Stefanescu transports her audience into a world of sound in which water itself becomes music: it trickles, glitters, flows - and always comes to rest.

Mort au Printemps is a compelling journey through some of the most powerful musical visions of death from the early twentieth century, explored through the intense and versatile language of the piano duo. In this album, the Anton & Maite Piano Duo bring together three works that are deeply connected by aesthetic affinities, personal links between their composers, and a shared creative response to the tragic. At the heart of the programme lies Igor Stravinsky's The Rite of Spring, presented in the composer's own four-hand piano transcription. Far from being a reduction, this version retains all the work's primal energy, revealing with striking clarity it's rhythmic drive, structural ingenuity, and ritualistic character rooted in archaic and ancestral imagery. Alongside it stands El D�a y la Muerte by Fernando Remacha, a two-piano work that remained hidden for decades. Inspired by the tragic death of the composer's grandson, the piece unfolds in a sombre, deeply moving musical language situated between Impressionism and Expressionism, marked by tension, dark colours, and emotional intensity. The album is completed by Claude Debussy's en blanc et noir, one of the most distinctive works of his final period, permeated by the oppressive atmosphere of World War I despite the composer's reluctance to make explicit references. Mort au Printemps powerfully reclaims the expressive depth of the piano duo repertoire, offering a recording of exceptional intensity, precision, and artistic vision.

This album brings together three landmark works for string orchestra from the 20th century by B�la Bart�k, Paul Hindemith, and Manuel Castillo, performed by Camerata Gala under the direction of Alejandro Mu�oz. The programme offers a compelling and well-balanced journey through three highly individual and stylistically "unclassifiable" voices, each representing a distinct historical and aesthetic context while remaining firmly outside rigid compositional schools. Bart�k's Divertimento for Strings, one of his last works composed in Europe, blends neoclassical clarity with the rhythmic vitality and modal language of Hungarian folk music, resulting in a score of striking energy, expressive depth, and technical brilliance. Hindemith's F�nf St�cke, Op. 44 No. 4, written within the framework of Gebrauchsmusik, stands out for it's formal precision, contrapuntal craftsmanship, and pedagogical intent, while maintaining a strong and unmistakable musical personality. The programme concludes with Cuatro cuadros de Murillo by Manuel Castillo, a work of profound spirituality and refined orchestral colour, inspired by the religious iconography of the Sevillian painter and a cornerstone of the Spanish repertoire for string orchestra. Recorded at the Auditorio del Rectorado of the University of C�rdoba, this release presents a thoughtfully curated programme of major interest to general audiences, specialists, programmers, and advocates of 20th-century string repertoire.

Shostakovich's Sixth and Ninth Symphonies stand as sharply contrasting yet deeply connected reflections of a century scarred by violence, fear, and forced optimism. The Sixth Symphony, composed in 1939 at the height of Stalin's Great Terror, opens with a vast, searing Largo that unfolds like a requiem for a silenced society-mourning lost friends, broken lives, and collective suffering. It's bleak introspection is followed by movements of icy detachment and grotesque parody, where frantic energy and empty cheer mask a profound spiritual void. Through this unsettling trajectory, Shostakovich speaks with "secret freedom," revealing a truth that words could not safely express: a tragic meditation on human dignity under oppression. Written in 1945, the Ninth Symphony defies expectations of monumental victory music. Instead of triumphal bombast, Shostakovich offers a compact, ironic, and life-affirming work, brimming with wit, clarity, and subtle defiance. Beneath it's Haydnesque lightness and carnival spirit linger shadows of war, grief, and memory-solemn brass rituals, elegiac melodies, and moments of fragile reflection. In this recording, the Jan�cek Philharmonic Orchestra and Daniel Raiskin illuminate the symphonies' dual nature: tragedy entwined with irony, joy haunted by loss. Together, these works form a powerful portrait of resilience, humanity, and artistic truth in the face of history's darkest pressures.

Stradivarius is pleased to present Premi�re by Julija Sadaunykait�, Lithuanian pianist and winner of the Grand Prix at the Malta Valletta International Piano Competition. This album, marking Julija Sadaunykait�'s recording debut, takes listeners on an intimate journey into the musical world of this pianist, celebrated for her expressive depth and refined artistry. A listening journey through different creative worlds unfolds through celebrated pages of piano literature, with the performer intent on delving into the depths of the scores and capturing their extraordinary compositional textures. The album opens with Maurice Ravel's Miroirs No. 5: La vall�e des cloches, the last movement of the Miroirs cycle, a five-movement suite for piano composed between 1904 and 1905. The opening piece, which Ravel dedicated to the French pianist and composer Maurice Delage, is followed by Olivier Messiaen's Premi�re communion de la Vierge from Vingt Regards sur l'Enfant-J�sus, one of the most famous works for solo piano in the contemporary repertoire, and Robert Schumann's Sonata No. 1 in F-sharp minor, Op. 11, composed between 1833 and 1836 and dedicated to Clara Wieck. This intense journey into the musical world of Julija Sadaunykait� concludes with Sonata No. 1 by Australian composer Carl Vine, born in 1954. According to the first printed edition, the work was composed for the Sydney Dance Company and is characterized by energetic rhythms, unusual harmonic shifts, abrupt tempo changes, dynamic contrasts, and rich textures, all of which allow performers to fully explore their technical and emotional range.

A companion and friend of Dmitri Shostakovich. 1919-1996. "The unique magic of Mieczyslaw Weinberg's music is not easy to describe. Closely interwoven with his biography, which bore the painful marks of the upheavals of the 20th century, his compositions emerged as a musical reflection of his life. And yet, they resist clear-cut interpretations: Weinberg's music is too complex and ambiguous, as technically demanding as it is fascinating. At times, contradictions become audible-for instance, when Weinberg, in his darkest hours, finds a musical language that expresses lightness and joy. Such is the case in his Concertino Op. 42, composed in the summer of 1948, when the ever-growing antisemitism of the Stalinist regime, clearly palpable since the end of the war, began to affect Weinberg's life directly. At the same time, in the spring of 1948, the music scene came under the grip of government censorship as part of a propaganda campaign. At it's center stood Weinberg's close friend Dmitri Shostakovich... In March 1948, in an attempt to deflect suspicion, Weinberg wrote one of the obligatory and painful self-denunciations, acknowledging his "mistakes" and pledging to adapt his style to official expectations. As if to underscore these statements, he composed his Sinfonietta No. 1 Op. 41 around the same time-a work that stands out in Weinberg's oeuvre for it's straightforwardness and simplicity. Yet only a few months later, in June 1948, Weinberg composed the Concertino, Op. 42. Unlike the Sinfonietta, however, this composition can by no means be called a strategic work of political calculation..." (Excerpt from the liner notes by Verena Mogl)

For his solo recording debut, Ivan Moshchuk explores the bond between Medtner and Rachmaninoff. Their distinct piano cycles-Forgotten Melodies and �tudes-Tableaux-were conceived on the threshold of a violent epoch. Grounded in noble sensibilities, the sets reveal a portal to the idea of the Vergessene Weisen: the ideals of a veiled world. Here, the music becomes a lens for memory as a path that endures despite the relentless march of time.

This debut joint album by a married duo of distinguished pianists captures two artists at the height of their international careers, delivering masterful interpretations that affirm their virtuosity and artistic maturity. Both works reflect turbulent chapters in their composers' lives, tracing themes of transformation, memory, irony, intimacy, and emotional honesty. The result is music that invites deep reflection on both artistic and personal truth, while also immersing the listener in moments of pure beauty-shaped by the fleeting, atmospheric spirit of the North.

A compelling collection of works for oboe and piano composed by Polish composers during the first decade after World War II. Neoclassicism-marked by clarity of form, inventive harmonies, economical means of expression, and frequent folk-inspired elements-meets virtuosity, wit, touches of the grotesque, and moments of neo-romantic lyricism. In most of these pieces, the piano stands as an equal partner to the oboe, engaging in a brilliant, dynamic dialogue. This interplay comes vividly to life in the performances of Justyna Stanek, principal oboist of the NFM Orchestra, and Monika Kruk-outstanding chamber musicians affiliated with the Wroclaw Academy of Music.

This album pays tribute to composer Benjamin Britten, who will be commemorated in 2026, the 50th anniversary of his death. It was conceived by conductor Lawrence Foster who, with Monte Carlo Philharmonic Orchestra, showcases the British composer's impressionism tinged with post-Romanticism. The programme includes his sublime Illuminations, based on Rimbaud's poem, often performed by tenors but originally created by a soprano in 1940. Here, the young and very promising French soprano Julie Roset is the soloist, giving a very engaging performance. Another famous piece by Britten, Young Person's Guide to the Orchestra, commissioned by the British Ministry of Education in 1945, is a set of variations on a theme by Purcell that showcases each family of instruments in the orchestra. Although the Sinfonia da requiem (1940) was commissioned by the Japanese government to celebrate the 2600th anniversary of the Mikado dynasty, Britten dedicated it to the memory of his parents. Finally, the Choral dances from Gloriana are taken from the opera-tribute to the Queen of England, who was crowned six days before the premiere on 8 June 1953.

The name of Louis Vierne (1870-1937) will be associated with organ music immediately. Like a few other 19th century organists/composers he used the instrument as a means to perform 'symphonic' music. The scope in this respect was greatly enhanced by the new organs built at the time, for instance by Aristide Cavaille-Coll. The blend of styles in this music for organ is unique. It contains aspects of Romanticism combined with an impressionistic 'pastel-like' quality. Like many of his contemporary colleagues Vierne felt a strong fascination with Wagnerian chromaticism. An admirer and pupil of Cesar Franck at thirty, the virtually blind Vierne was appointed organist at the Paris Notre Dame. Among many other pieces for organ he wrote six (five movement) symphonies, which became standard organ repertoire. Franck inspired him in the use of cyclical elements and harmonic refinement, whereas Widor's influence is clear in the use of the organ and the classical forms. Louis Vierne's 24 Pieces en style libre Op.31 (1913), is a landmark collection in the French organ repertoire. Written for either organ or harmonium, these pieces demonstrate Vierne's gift for expressive lyricism and refined harmonic color. Unlike his larger symphonic works, the Pieces en style libre are concise, intimate, and accessible, designed for both liturgical use and concert performance. Each piece explores a distinct mood or character, from serene meditations like "Communion" and "elevation" to more animated works such as "Cortege" and "Postlude." Vierne's rich harmonic language, rooted in late Romanticism yet tinged with Impressionist nuance, reveals his deep sensitivity to tonal atmosphere. Played by Carlo Mazzone on the magnificent 1999 "Andrea Zeni" organ of the Parish Church of San Michele Arcangelo, Salgarede (TV), Italy. This instrument aimed to create a fully suited instrument for the performance of the organ repertoire of the second half of the 19th century in France. It is inspired by late-Romantic aesthetics, and endowed with all the stylistic and sonic prerequisites essential to the organ literature of the period.

Max Reger (1873-1916) was a German composer, pianist, and conductor whose music bridged the late Romantic and early modern eras. Deeply influenced by J.S. Bach, Beethoven, and Brahms, Reger was known for his contrapuntal mastery and harmonic richness. Though his reputation has often rested on his organ and chamber music, his output for piano four-hands offers a revealing glimpse into his compositional personality - both his intellectual rigor and his warmth of expression. Reger's four-hand works display his more lyrical and accessible side. These miniatures reveal his gift for melody and his subtle harmonic colorings, offering a contrast to the density often associated with his larger compositions. Across his four-hand output, Reger uses the medium not only as a vehicle for technical exploration but also as a form of musical conversation - a dialogue between two pianists that mirrors his complex yet humanistic musical voice. The works included are: Walzercapricen Op, 9, Deutsche Tanze Op.10, 6 Walzer Op.22, Cinq pieces pittoresques Op.34, Sechs Burlesken Op.58 and 6 Stucke Op.94. Of the Sechs Burlesken Reger himself wrote: "In order to give my 'harmonic' mood the freedom it deserves, I will [...] soon write Scenes burlesques pour piano � quatre mains, but I am already 'warning' all academies etc. About them; it will be a crazy thing, harmonically exuberant! Oh, there are still many, many 'north and south poles in harmonics'!". Played by Davide and Daniele Trivella, twins brothers, internationally known as one of the most interesting piano duos and winners in Miami of the most important competition for piano duo "Murray Dranoff". Their extraordinary performances have impressed juries of the most important national and international piano duet competitions.

Kurt Weill (1900-1950) was a German-born composer whose work bridged the worlds of classical music, cabaret, and theater. Renowned for his collaborations with playwright Bertolt Brecht, Weill became a defining voice of the Weimar Republic, crafting a musical language that fused biting social commentary with popular idioms such as jazz, tango, and dance-band rhythms. His songs are remarkable for their wit, directness, and deep humanity - qualities that make them as relevant today as they were in the politically charged 1920s and 1930s. Weill's complete songs for voice and piano reveal the breadth of his artistic vision. Early works show his roots in late-Romanticism and his training under Ferruccio Busoni. However, it was through his partnership with Brecht that Weill found his distinctive style. His Songs blend satirical text with deceptively simple melodies, creating unforgettable portraits of urban life and moral ambiguity. Similarly, Mahagonny-Songspiel (1927), Aufstieg und Fall der Stadt Mahagonny (1930) and Die Dreigroschenoper offer songs of ironic beauty that expose the corruption and absurdity of modern society. After emigrating to the United States in 1935, Weill reinvented himself once again, writing in English and embracing Broadway while retaining his sharp social awareness. American songs such as "September Song" (Knickerbocker Holiday, 1938), "Speak Low" (One Touch of Venus, 1943), display a haunting lyricism and emotional clarity that transcend genre. Collectively, Weill's songs for voice and piano form a rich and multifaceted body of work -at once sophisticated and accessible, European and American, classical and popular- embodying the restless creativity of one of the twentieth century's most original musical voices. Greek soprano Eleni Lydia Stamellou was Prize Winner at the Ferruccio Tagliavini Competition in Austria, with Dame Joan Sutherland as the president of the jury. She subsequently attended masterclasses given by Teresa Berganza, Edda Moser and Christa Ludwig. She sang in opera productions with MusicAeterna conducted by Teodor Currentzis. Her specialization is Renaissance/Baroque and Contemporary Music. She sang in productions of Berio and Hersant. Her excellent piano partner is Alexandra Listova.

Rachmaninoff in the hands of Marek Kozak - mastery without ostentation To this day, Rachmaninoff's four concertos remain a touchstone for pianists around the world. His piano transcriptions of music by other composers (and of two of his own songs) do not attract so much attention, but what they tell us about the composer and his life is just as interesting. His arrangements place him alongside Liszt and Busoni, masters of the genre, whose transcriptions are both tributes to the originals and unique creations with a sonic aesthetic of their own. Rachmaninoff wrote most of his transcriptions between 1921 and 1929, when he was busily performing concerts and making recordings. On the concert stage, they allowed him to demonstrate his phenomenal technique. Among the supreme examples of his transcriptions are Mendelssohn's popular Scherzo from the incidental music to A Midsummer Night's Dream and three movements from Bach's Partita in E major for solo violin, BWV 1006. The 1941 arrangement of Tchaikovsky's Lullaby from the cycle Six Romances brings Rachmaninoff's entire oeuvre to a symbolic conclusion as a remembrance of his revered teacher and of an extraordinary human being. Each transcription bears witness to the humility and profound integrity of the composer's approach to such arrangements. Virtuosity, integrity, and humility are no less characteristic of the performer on this recording. Following his successful debut album featuring neglected Czech piano concertos (Kovarovic, Borkovec, Kapralova - Supraphon 2024), Marek Kozak demonstrates his mastery even in this - only seemingly - unassuming genre.