Jean-Joseph Cassanéa de Mondonville was greatly admired in his day. His opera Titon et l’Aurore was one of his most popular works, being held up as a triumph over the rival Italian style during the Parisian Querelle des Bouffons in the 1750s. The narrative of this spectacular opéra-ballet follows the tumultuous and seemingly unbreakable liaison between the goddess L’Aurore and her lover the shepherd Titon. Jealous gods and goddesses try to interfere through murderous intent and dramatic abduction, but true love ultimately conquers all in stage director Basil Twist’s acclaimed feast for the senses.

REVIEWS:

This is a remarkably interesting production on several fronts. The music is a rarity, the composer almost unknown, the staging as close to the original as can be achieved, the period performance very fine and the history of the piece of unusual cultural significance.

The superb orchestra and chorus of Les Arts Florissants play and sing as if unaware of the lack of any audience and the presence of COVID masks in the pit—not the stage! This was all done in the middle of our pandemic. What a treat this would have been for an audience…

…This disc has to be given a strong recommendation. The picture is appropriately bright and sparkling, the sound is absolutely clear and clean with enough ambience to give it the feeling of being there.

-- MusicWeb International (Dave Billinge)

Highly rewarding for both the staging and the musical accomplishments – it should be at the very top of one’s shopping list.

The cast that was selected for this first production in modern times is a knockout one in every respect. William Christie and Les Arts Florissants are in crisp energetic form. Whenever the camera focuses on Christie it is obvious that he is enjoying himself every bit as much as his singers. Perfect picture and sound engineering guarantee that every fleecy moment is preserved with distinction.

-- MusicWeb International (Mike Parr)

Recorded at the Opéra-Comique last year, although without an audience, this recording of Mondonville’s Titon et l’Aurore is another triumph from William Christie.

-- Gramophone

Feted for his Savoy operas with librettist W.S. Gilbert, Sir Arthur Sullivan also regularly produced music for important royal or national occasions. In 1897, to celebrate Queen Victoria’s Diamond Jubilee, he was commissioned to write a ballet for the Alhambra Theatre in London. Conforming closely to the theatre’s established style, this single-act ballet was a spectacular pageant, featuring ‘specialty’ dances, startling dramatic effects and grand tableaux, notably military ones. Significant research and reconstruction of the score has made this recording possible.

Gottlieb Muffat was the most important Viennese harpsichord composer of the 18th century. He inherited and developed a compound style that fused high Italian Baroque with the lightness of the French school. From his father, Georg – one of the greatest organ and orchestral composers of his own generation – Gottlieb absorbed a gift for ballet movements. This is the third and final volume in Naoko Akutagawa’s critically acclaimed series of Muffat’s Harpsichord Suites.

"Hansel and Gretel" is a Fairy Tale Opera, which Engelbert Humperdinck brilliantly composed in 1892. The charming melodies make it an opera that children enjoy. However, its wonderful music is for everyone. The Salzburg Marionette Theatre created a fascinating production with renowned singers and highly skilled puppeteers.

Beethoven’s genius may have had a dominant presence in early 19th-century Vienna, but the 18-year-old Schubert composed a Sonata in E major, D.157 in 1815 that already encapsulated elements of his own genius in the Lied-like perfection of its second movement. His first true piano masterpiece followed in the Sonata in A major, D.664, with an intimacy, lyricism and perfection of form that set him apart from his contemporaries. Composed five years later, the Sonata in D major, D.850 is marked by extrovert, virtuosic writing, memorable themes and an almost improvisatory flair.

Linda di Chamounix is a pretty country girl who is in love with Carlo, who she believes is a penniless artist. Her honor is threatened by the local squire and she escapes to Paris in search of fortune. This is a tale of courage and madness, in which we discover and experience the strength and suffering of a woman torn apart by estrangement from family and love. Donizetti reaped full and long-lasting success with Linda di Chamounix, and it became one of his most modern, appreciated and long-lived works. Jessica Pratt leads an all-star cast in this acclaimed production from the Teatro del Maggio Musicale Fiorentino.

Despite his young age, Emmanuel Tjeknavorian is already one of the great artists of his generation. The Austrian, born in 1995, inspires audiences and critics with his depth, his technical brilliance and his great versatility. He has made a name for himself both as a violinist and as a conductor – he is simply "an exceptional talent," as the Tagesspiegel attested. Radio Klassik Stephansdom recognized Tjeknavorian's strengths as an eloquent music communicator early on; since 2017, he has been hosting his own show there, "Der Klassik-Tjek." Tjeknavorian's musical family heritage is also of note: as the son of composer and conductor Loris Tjeknavorian, Emmanuel has been making music from an early age and combines musical as well as cultural worlds in his art. On this release, he presents a program of works by Brahms.

For countless people over several generations, the celebration of the Advent-Christmas-Epiphany season begins with the annual St. Olaf Christmas Festival, a century-old tradition of the college. The first festival was a musical program for the college community planned and directed by F. Melius Christiansen, founder of the St. Olaf Music Department. The festival continues as an outgrowth of Christian conviction and an expression of the rich musical heritage at St. Olaf, a college of the Evangelical Lutheran Church in America. The 2021 St. Olaf Christmas Festival features the St. Olaf Orchestra, St. Olaf Choir, St. Olaf Cantorei, St. Olaf Chapel Choir, Manitou Singers, and Viking Chorus, performing as both individual groups and as a massed ensemble. In 1981, Steven Amundson joined the St. Olaf College faculty and became conductor of the St. Olaf Orchestra, a position he has held for 40 years. With Amundson set to retire this spring, St. Olaf College honors him for his years of service and dedication as he conducts his final St. Olaf Christmas Festival.

From the first few seconds of this new recording from Brian Jones and his Trinity Choir, you know it's Christmas. The flute and bell sounds, the dancing rhythm from the organ, the prodigiously joyful voices, and the catchy, unmistakably Rutter-esque melody combine to set off the sparks that promise a bright, happy, thoughtfully and lovingly compiled program. I say "lovingly" because this is the type of programming that, as usual with Jones, is not made with the "snooty" or "snobbish" in mind, but comes purely from the heart and from the experience of a director who knows and cares about the real listening tastes of his audience. (You've got to admire anyone who convincingly and with conviction programs "The Holy City" alongside works by Britten and Vaughan Williams, as he did on an earlier recording for Gothic Records.) And, as reflected here, those tastes, especially in Christmas music, cover a fairly wide range--from Rutter (three pieces) to Poulenc (O magnum mysterium) to Luboff (his well-loved arrangement of the Austrian carol Still, still, still).


The opening tune indeed is by John Rutter, a setting of the 15th-century text "Sing we to this merry company", and it's quickly followed by the Luboff arrangement, Gerald Near's setting of Ding! dong! merrily on high, and the well-known Pearsall version of In dulci jubilo. The combination of familiarity and audience-favorite continues throughout the rest of the 21 selections, with classics such as Rutter's all-time most-popular What sweeter music, Elizabeth Poston's Jesus Christ the apple tree, and Poulenc's motet O magnum mysterium. But mixed in among these revered gems are many less well-known pieces, including a snazzy, bluesy Noël nouvelet arranged by Stephen Jackson, Michael Head's charming and lovely The little road to Bethlehem, and of course a Charles Wood arrangement, Once as I remember (Wood is a Jones favorite).


The choir, one of North America's treasures, always is a treat to hear, displaying not only an enormous stylistic command but also uncommon technical range and interpretive sensitivity. I've said this before, but it's still true: The soprano section would be the envy of any choir. However, the entire ensemble manages a consistent cohesiveness and sonic refinement that's rare among amateur choirs in any part of the world. Even in small details, the choir shows extraordinary care and attention--for instance, in the perfectly rendered endings to the simple but so-often-troublesome "Gloria" line in Ding! dong! merrily on high. And for sheer strength and unity of sound, listen to the choir's rendition of Holst's On this day earth shall ring. Other highlights include Bob Chilcott's Mid-winter, a setting of the Christina Rossetti text "In the bleak mid-winter" that's become an instant favorite all over the world. Jones himself contributes a very effective arrangement of O little town of Bethlehem that joins the two "competing" tunes St. Louis and Forest Green. Although I would prefer a warmer, softer-edged sound in the Poulenc to really capture the "mysterium" in the work, and slightly better-tuned tenors in some places (What sweeter music, for example), this is a first rate recording that will satisfy all listeners looking for an ideal all-around Christmas choral collection. The sound, made in Boston's Trinity Church, captures the detail of choir, organ, and occasional percussion while faithfully capturing the fullness and resonance of the church's magnificent space.
--David Vernier, ClassicsToday.com

Since its inception in 1991, the Singer Pur ensemble have become one of the leading a cappella choirs in Germany. These former members of the Regensburger Domspatzen are known for their tireless international activity as musical Ambassadors from the city of Regensburg. In 2013 the group won the coveted Caeciliaprijs (Belgium) and the Bavarian State Prize for music.

With their brilliant Christmas CD Singer Pur sets new standards in the interpretation of traditional carols. A special 2 CD edition. - Oehms, (translated from German text.)

CD 1
1. We tell you to love Advent - Melody: Heinrich pipe 1954 | Set: Oliver Gies (born 1973), 201 33:22
2. Nun komm - Melody: Martin Luther, 1524 | Set: 1. verse: Melchior Vulpius, 1609 2nd verse: Andreas Raselius, 1599, 3rd stanza: Johann Eccard (1553-1611), 4th verse: Johann Hermann Schein (1586-1630), 5th verse: Michael Praetorius (1571-1621) 03:09
3. Übers mountains' Maria goes - melody and sentence: Johann Eccard, 1575 03:00
4. I ??broke three drought Reiselein - melody and phrase: Hugo Distler (1908-1942) 02:03
5. Us Let's be happy and cheerful - Melody: 19th century | Set: Bernhard Hofmann (* 1959) 2:45
6. Adventlied - Es kommt ein Schiff - Melody: Andernacher Hymns, 1608 | Set: Max Reger (1873-1916 ) 2:04
7. Power up the door - Melodie: Johann Anastasius Freylinghausen (1670-1739) Hall, 1704 - Set: William Hawley (* 1950) 3:00
8. Maria went through a thorn forest - Melody: folk song from Eichsfeld to Harthausen, Spiritual Songs, 1853 - record: Hugh Keyte | Andrew Parrott, 1992 02:07
9. O you quiet time - melody: Cesar Bresgen (1913-1988) | Sentence: Marcus Schmidl (* 1971), 2015 02:46
10. Morgenstern was dark night - Melody: Georg Joseph Vogler (1749-1814) | Set: Heinz-Walter Schmitz (1944) 2:32
11. Awake! ruft uns die Stimme - Melody: Philipp Nicolai by Hans Sachs, 1513 | Set: Johann Sebastian Bach (1685-1750 ) 1:50
12. O Heiland, the heavens tear on - Melody: Augsburg, 1666 | Set: Reiko Füting (* 1970), 2014 03:11
13 Es kommt ein Schiff - Melody: Andernacher Hymns, 1608 | Sentence: Marcus Schmidl (* 1971), 201 54:08
14. Now, dear soul, now it is time - set: Johann Eccard (1553-1611 ) 3:05
15. Come O, O come, Immanuel - melody: Dusseldorf, 1836, 4th verse: France (15th Century.) | Set: Florian Mayr (* 1962 ) 4:09
16 And our dear Lady Dream - Melody: Hymns of Nicolaus Beuttner, 1602 | Set: Max Reger (1873-1916 ) 2:11
17. Daughter of Zion, Rejoice - Melody: George Frederick Handel, 1747 | Sentence: Marcus Schmidl (* 1971), late 20th century .2: 01
18 The night has advanced - melody: John Petzold, 1939 | Set: 1st and 4th verse: Jürgen Essl (* 1961), 2nd and 3rd verse: Helmut Brand, 1991 03:48
19. How beautifully shines the morning star - Melody: Strasbourg, 1538 | Set: Johann Sebastian Bach (1685-1750) 02:43
20. Softly Falls the Snow - Melody: folk song | Set: Heike Beckmann, 2014 03:19
21. Hail, liaba Christ - melody and sentence: Fischbach Auer Liederbüch l1: 51
22. How should I receive you - Melodie: Johann Cruger, 1653 | Set: 1. verse: Friedrich Zipp (1914-1997), 2nd and 3rd verse: Johann Cruger 02:37
23 morning, children's will be what - Melody: Carl Gottlieb Hering, 1809 | Set: Samo Ivacic (* 1974 ) 2:40
24. Merry Christmas everywhere - Melody: since 1885 handed down | Set: Sören Sieg (* 1966) 3:14
Total: 2:07:44

CD 2

1. In dulci jubilo - Set: William Hawley | Text: Heinrich Suso, Peter of Dresden 03:31
2. Christnacht - melody and sentence: Florian Mayr | Text: Auguste vuz Egloffstein 2:12
3. Adventsruf - from Niederrhein | Set: Florian Mayr 03:50
4. Maria went through a 'thorn - Set: Reiko Füting 04:09
5. How a Ros - Set: Michael Praetorius 02:38
6. Come, you shepherds - from Bohemia | Sentence: Peter Wittrich | Text: Carl Riedel 2:15
7. The Savior is born - from Austria | : Hans Schanderl | Text from the county Glatz 02:52
8. Sleep well, you Himmelsknabe you - from Bavaria | Set: Hugh Keyte, Andrew Parrott, Clifford Bartlett, Text: Daniel Schubart: 02:53
9. It is scho Dumpa - from Tyrol | Sentence: Peter Wittrich 03:38
10. A child in the cradle - Set: David Overton 02:24
11. Sleep, my little baby - Set: Howard Arman 3:10
12. From the high heavens, their angels come * - Set: Claudia Reinhard 02:52
13. Still, still, still - from Salzburg | Set: Singer Pur by "Ars Musica" Vol. 2 2:00
14. O Jesus tenderly - Set: Samuel Scheidt 02:10
15. I was in deep night of death - sentence: Johann Eccard | Text: Paul Gerhardt 02:54
16. Lieb Nachtigall, wach auf - sentence: Marcus Schmidl 1:59
17. Three ships sailing I saw - from England | Sentence and translation: Wolfram Buchenberg 02:14
18. Do you remember how it happened? - Set: Marcus Schmidl | Melody: Christian Lahusen | Text: Hermann Claudius 02:54
19. Silent Night - Set: Marcus Schmidl | Melody: Franz Gruber | Text: Joseph Mohr 03:37
20. It is scho Dumpa (Dreigesang) - from Tyrol | traditional set 01:27
Total: 55:39

“I adore well-executed choral music for the holidays, and Gloriae Dei Cantores certainly fills the bill. Sing Noel is an outstanding. . . moving release of intensely lovely seasonal music.”
—Christmasreviews.com

“One of the finest crafted, best blended, and innately musical ensembles with which I have had the pleasure to work.”
— Keith Lockhart, Conductor, Boston Pops

Viol consort Fretwork and mezzo soprano Helen Charlston explore the more reflective and sombre Christmas celebrations of Elizabethan England, in a collection of works by William Byrd, Anthony Holborne, Orlando Gibbons and Martin Peerson. With celebrations confined strictly to the 12 days from Christmas Eve to Epiphany, the preceding Advent was regarded as a time of religious introspection, with music composed to mark both fasting and feasting. Byrd’s consort songs for voice and 5 viols encompass this range, from the joyous Out of the Orient Crystal Skies – ending with an exuberant ‘Falantidingdido’, a word whose meaning is lost to history – to his Lullaby, a ‘song of sadnes and pietie’ that became one of Byrd’s most enduringly famous songs.

In 2021, Fretwork celebrates its 35th anniversary. In the past three and a half decades they have explored the core repertory of great English consort music, from Taverner to Purcell, and made classic recordings against which others are judged. In addition to this, Fretwork have become known as pioneers of contemporary music for viols, having commissioned over 40 new works. Acclaimed for her musical interpretation, presence and “warmly distinctive tone” (The Telegraph), Helen Charlston is quickly cementing herself as a key performer in the next generation of British singers. Helen won first prize in the 2018 Handel Singing Competition and was a finalist in the Hurn Court Opera Competition, and the Grange Festival International Singing Competition.

A GUITAR FOR CHRISTMAS LIONA

Includes christmas carol(s) by various composers. Ensemble: Musica Ficta Vocal Ensemble Copenhagen. Conductor: Bo Holten.
Includes work(s) by Carl Nielsen (Composer), Niels Gade, Christoph Ernst F. Weyse, Johan Peter E. Hartmann, Peter E. Lange-Müller. Ensemble: Musica Ficta Vocal Ensemble Copenhagen. Conductor: Bo Holten.

The present release is a special live recording of the Staatskapelle Dresden's 1st symphony concert of the season in the Semperoper on September 1, 2017. Christian Thielemann’s engagement with the symphonic work of Anton Bruckner takes him in Vol. 52 to the composer’s early years. The carefree mood of the First Symphony’s last movement prompted the mature Bruckner to comment: “Never was I so bold and cheeky again.” The work was composed from January 1865 to April 14, 1866, in Linz, with the 2nd version adapted in Vienna from March 12, 1890 to April 18, 1891. It premiered on May 9, 1868, in the Redoutensaal in Linz, with the augmented opera orchestra conducted by the composer. The Vienna version was premiered in the Musikvereinssaal in Vienna on December 13, 1891, with Hans Richter conducting the Vienna Philharmonic.

ADESTE FIDELES! - CHRISTMAS DO

Choral music has always played a significant and central role at Belfast Cathedral, since its consecration in 1904. This strong choral tradition continues to this day with the recently formed all-adult, fully professional vocal ensemble. This ‘new’ cathedral choir brings together some of the finest singers in Northern Ireland who lead the liturgy and worship of Belfast Cathedral and are featured here in their debut album for Resonus Classics. Featuring a varied program of seasonal carols from composers including Elizabeth Poston, John Rutter and Philip Ledger, this album celebrates Christmas from Northern Ireland’s national cathedral.

"What a refreshing musical gift this is! Those familiar with the Gloriae Dei Cantores singers know what a sterling ensemble they are; they deliver all the goods here. Seagull Seven's jazzy arrangement of "Deck the Hall" really rocks! In these and all else, the singers exude joy and cheer through artful, infectious performances that are immaculate and engaging. The rich warmth of tone is balanced by vibrancy and energy. This is musical merriment that will bring great cheer at Christmas time–or any time!"
—James Hildreth, The American Organist

"Here's a joyful and beautifully sung album of seasonal specialties ......this ensemble can claim many choral strengths, but their most remarkable attribute is their spiritual intensity and sincerity. Sound quality is beyond reproach; notes and texts are laid out in a colorful and festive booklet."
—Lindsay Koob, American Record Guide

"The choral artistry for which Gloriae Dei Cantores has become known can be heard in each selection. The ageless and profound wonder of Christmas comes alive with the singing of each word and the playing of each note."
—Wallace Cheatham, Christianity and the Arts

For this recording project, the fearless French musical collective ensemble 0 (pronounced “zero”) began a new kind of collaboration with the Swiss percussion ensemble Eklekto and Gamelan Oksitan- this last the traditional Javanese ensemble of gongs and metallophones based in France. Their transcultural bridge has foundations that go back to Claude Debussy’s fascination with the radiant tones of gamelan music that he heard at the 1889 Paris Exposition. Yet neither Debussy nor many other sympathetic composers who followed actually composed for those instruments. They faced challenges of different tuning systems, intricacies of unfamiliar instruments, the weight of another classical tradition, but perhaps no obstacle greater than the cultural gulf of that colonial era. It was not until the 1970s that non-Indonesian composers began to bridge that divide, none more committed than the American composer Lou Harrison. Compositions by Harrison are paired here with works by Larry Polansky, Petar Klanac, Billy Martin, and Roland Dahinden. The diversity of approaches represented on this collection provides a glimpse towards a vibrant future, a future that Lou Harrison helped create.

The pieces on this album originate largely from the Christmette by Michael Praetorius. In addition, nativity hymns by a range of different composers from the same era have been compiled. In Lutheran style the compositions on this album include solo pieces, choir arrangements, double choral motets, instrumental pieces and of course the church organ repertoire. The listener can also hear pieces, which were not necessarily meant for Christmas, but fit the program very well. The function of some of the pieces is liturgical, like “Gloria,” “Our Father,” or the mighty Entrance-Prelude. Two other pieces are meditative moments about the name of Jesus. Many of the songs are well-known. However, the arrangements for soloists and/or choir from Praetorius and his contemporaries are rarely performed. The Early Music ensemble Margaretha Consort was founded in 2009. The ensemble is based in the Netherlands, but the singers and instrumentalists are from all over Europe.Over the years a very skilled team has been created, where knowledge, musicality, and congeniality go hand in hand.

A CHRISTMAS FESTIVAL is that rarity when it comes to holiday music: an album driven by more than the common theme of the music. While it does feature a host of seasonal favorites, the show stars remarkable performances, making it a joy any time of year.
The album has been digitally remastered from original recordings made in the late 1960s. The first half of the album features the organ of St. Michael's Church in New York City, played by E. Power Biggs. The majesty of the room can be felt in both the rich organ tones as well as in the chorus' delivery. The second half of the album features the vocals of soprano Phyllis Curtin. In contrast to the all-male vocals of the St. Michael's performances, Curtin gives the album a refreshing female presence. Even when singing with full orchestra, her voice gives intimacy to the music.

Elliott Carter makes his Naxos début with an ear-catching programme

It’s very good news that Naxos has added Elliott Carter to its American Classics series, beginning with a strong programme of rarely heard pieces, and juxtaposing Carter in early populist vein with Carter the 1960s’ avant-gardist in full cry.

The wartime muscularity of the Symphony No 1 (completed in 1942 but heard here in its 1954 revision) is clearest in passages which echo, or anticipate, Copland’s more extrovert orchestral scores of the same period. But that triumphalist spirit is most productively on show in Carter’s splendidly brash Holiday Overture (1944). The Symphony as a whole is less straightforward, more varied in style and character, and the slow movement in particular moves from hymnic meditation into more ambiguous regions of expression in a manner that might not be completely convincing. It is certainly distinctive, however, and fits well with the balance between restraint and exuberance that typifies the work as a whole.

By the mid-1960s, when the Piano Concerto was composed, Carter’s language had shed its tonal roots, and his forms were far more distant from those traditions that are still traceable in the Symphony. Textures are immensely elaborate, yet the music is uninhibitedly dramatic, depicting all kinds of conflicts and attempted reconciliations while subjecting the basic concept of the concerto to penetrating critical scrutiny.

The power of the drama emerging from the constantly fluctuating confrontations between soloist, main orchestra, and a mediating concertino-group of seven players is rather muted in this recording, which (I suspect) is not the result of a preparatory series of public performances. Ursula Oppens, with Michael Gielen, managed to convey rather more of the music’s inherent fire and tumult. But Mark Wait shows a finely gauged technical command, and although Kenneth Schermerhorn and his Nashville players are occasionally underpowered and inclined to play safe, the jubilant conclusion of the Holiday Overture sweeps any interpretative reservations aside. With the symphony not otherwise available, this disc is a thoroughly recommendable addition to the Naxos American canon.

-- Arnold Whittall, Gramophone [3/2004]

The Newberry Consort and EnsAmble Ad-Hoc present A MEXICAN CHRISTMAS, an album of 17th century traditional music for worship and celebration. The collection features pieces commonly heard in both liturgical service and in the streets, and evoke the solemnity and fanfare heard in Mexico City’s convents and plazas, with jubilant vocals and lively strings, guitars, and percussion. Organ, harp, bassoon, and a variety of Mexican traditional instruments bring this exuberant and diverse music to life.

Kinan Azmeh is an outstanding soloist and composer of our time. Hailed as “intensely soulful” and a “virtuoso” by The New York Times and “spellbinding” by The New Yorker, Winner of Opus Klassik award in 2019 clarinetist and composer Kinan Azmeh has gained international recognition for what the CBC has called his “incredibly rich sound” and his distinctive compositional voice across diverse musical genres. Originally from Damascus, Syria, Kinan Azmeh brings his music to all corners of the world as a soloist, composer and improviser. Notable appearances include the Opera Bastille, Paris; Tchaikovsky Grand Hall, Moscow; Carnegie Hall and the UN General Assembly, New York; the Royal Albert Hall, London; Teatro Colon, Buenos Aires; Philharmonie, Berlin; the Library of Congress, the Kennedy Center, Washington DC; the Mozarteum, Salzburg, Hamburg’s Elbphilharmonie; and in his native Syria at the opening concert of the Damascus Opera House. He has appeared as a soloist with the New York Philharmonic, the Seattle Symphony Orchestra, the Bavarian Radio Orchestra, the Duesseldorf Symphony Orchestra, the West- Eastern Divan Orchestra, the Qatar Philharmonic Orchestra and the Syrian Symphony Orchestra among others, and has shared the stage with such musical luminaries as Yo-Yo Ma, Daniel Barenboim, Marcel Khalife, John McLaughlin, Francois Rabbath Aynur and Jivan Gasparian. FLOW presents Kinan’s music in fantastic arrangements of Wolf Kerschek, played by the legendary NDR Bigband. The recording was one of the first studio recordings that took place after the first lockdown in 2020, followed by two successful concerts in Hamburg’s Elbphilharmonie.

Classical Music