In keeping with the fascinating rediscoveries of French music made by the Palazzetto Bru Zane, this programme of sacred music presents works by well-known composers such as Saint-Saens and Faure as well as lesser-known works such as the Kyrie by Clemence de Grandval and Charlotte Sohy, the Ave Maria by Leon Boellmann and Fernand de La Tombelle, and a Cantique de Jean Racine composed by the deeply religious Mel Bonis to a different text from that chosen by Faure, in memory of her deceased son edouard. Instruments were added ad libitum for performances in the most prestigious religious buildings to encourage performances of the said works in other places as well. Faure's Tantum ergo, for example, with organ, piano or harp and double bass, could be played in church, in concert, or at home. These discoveries are what make this programme so interesting, bringing the Choeur de Radio France together with vocal and instrumental soloists of the highest calibre under the expert direction of Christophe Grapperon.

The 'American dream' is the thread that connects these three works. Amy Beach was born in New Hampshire in 1867 and composed more than three hundred works, including a monumental suite for two pianos inspired by the Romantic tradition and based on ancient Irish melodies. Nadine Dana Suesse nicknamed the "Gershwin Girl" was born in Kansas City in 1909. She played her own compositions on the radio from the age of thirteen and composed hit songs, notably for Bing Crosby. She refused the attractions of Hollywood and studied with Nadia Boulanger in Paris. Her works disappeared from the repertory after her death, although the Berlinskaya Ancelle duo are keen to revive her music with this 1943 concerto, described as "romantic, but mixed with modern harmonies and chords straight from jazz". Victor Babin was born in Moscow in 1908 and emigrated to the United States with his wife Viktoria Vronskaya in 1937. Their piano duo was very successful there: they gave the first performance of Babin's virtuosic Second Concerto under the direction of George SzelI in Cleveland in 1957.

After a first album (Because, Alpha 936) devoted to Afro-American spirituals that won several awards (Opus Klassik, Edison Klassiek, GRAMMY� Award nomination), the American countertenor Reginald Mobley devotes this new recording to English repertoire with a simple combination of primarily voice, lute, and viola da gamba. Solitude opens with Henry Purcell's moving 'Tis Nature's Voice and other famous Purcell melodies, sails through John Dowland's deeply melancholy waves, and also reveals the declamatory charm of the 17th-century English composers who surrounded Samuel Pepys. We then travel to America, where contemporary composers Jonathan Woody and Douglas Balliett explore "the indomitable resilience contained in the tale of a runaway slave" as told by the brilliant African-American haiku poet Crystal Simone Smith. With Brandon Acker on lute, theorbo and baroque guitar and Douglas Balliett on viola da gamba and double bass, Reggie completes this intimate journey with songs arranged in the 19th century by the black American guitarist, composer and abolitionist Justin Holland.

Born of a friendship formed at London's Royal College of Music over 10 years ago and boasting a discography of seven recordings, the Busch Trio takes it's name from the legendary Adolf Busch, whose G.B. Guadagnini violin Mathieu van Bellen has the honour of playing. Van Bellen and the Epstein brothers Omri on piano and Ori on cello now launch their ambitious project of recording the complete Beethoven piano trios. The first instalment contains the Op. 1 trios (Nos. 1 and 3), the first compositions by the young Beethoven who had left his native Bonn to study with Haydn in Vienna in 1792. Although Beethoven did not write a concerto for a wind instrument, he did compose a great deal of chamber music for them, including the Trio in B flat for piano, clarinet and cello (1798), although designing it so that the clarinet part could also be performed on the violin. The playful theme of the variations in the finale earned the trio it's nickname, "Gassenhauer"; (street or folk song).

Nelson Goerner has always dreamed of recording these two masterpieces of the concerto repertoire. With Kazuki Yamada, he has found the ideal partner to approach Ravel's two piano concertos with the sensitivity and poetry for which he is universally renowned. The two works, composed at the same time and both performed for the first time in 1932, are nevertheless very different: premiered in Vienna, the Concerto for the Left Hand was commissioned by the pianist Paul Wittgenstein who had lost his right arm in 1914; premiered in Paris, the Concerto in G is renowned for it's verve and it's famous pianistic interpolations. Ravel had composed the Pavane pour une infante defunte, a famous miniature of exquisite nostalgia, some 33 years earlier. The programme is completed by the Valses nobles et sentimentales; Marguerite Long, who gave the first performance of the Concerto in G, saw these eight linked pieces as a "stylistic panorama of the waltz".

Since the creation of their ensemble La Nereide in 2019, the three sopranos Camille Allerat, Julie Roset and Ana Vieira Leite have wanted to tell stories about women, women who are courageous, vulnerable, passionate, powerful, secretive - and sometimes all of these at once. Le Coeur et la Raison imagines the fate of a young noblewoman sent to the Demoiselles de Saint-Cyr, where she received a meticulous education, particularly in music; she took part in services and sang works by it's organist Louis-Nicolas Clerambault (1676-1749) - including his magnificent Miserere - and by Jean-Francois Lalouette (1651-1728), a pupil of Lully. When she returned to her family, however, she sang the melodies of fashionable court airs, which she then shared with her fellow students at Saint-Cyr, to the great disapproval of the religious authorities. She and her colleagues then rewrote the song texts transforming the declarations of love into statements of faith. Today, these three friends and artists present an emotionally charged programme, accompanied by a first-rate instrumental trio.

Joseph Swensen conducts Beethoven's Ninth Symphony with an inner fire that grips all those who have attended one of his concerts; for him it is Beethoven's ultimate achievement, a celebration of humanity -not the romantic hero, but the truly ordinary individual, musically represented by the chorus. Beethoven begins his epic symphony in the darkness of primordial chaos. The first and second movements are visions of the universe before humanity. The third movement is a celestial dream. The beginning of the finale is our awakening. Beethoven wanted Ode to Joy to be a melody that all can sing. This chorus, a realisation in sound of the ideals of the 18th-century Enlightenment, is neither transcendent, divine, perfect nor impeccable. It is humanity singing of it's joy!

Accordionist Theo Ould describes this new album as "my most personal�-�I had never allowed myself to feature the music of Astor Piazzolla. I wanted to raise the accordion above the cliches to concentrate on more classical repertoire". Theo's vocation became evident, however, when he heard Piazzolla's Libertango at the age of 6. Now, 20 years later, this Frenchman from Marseille tackles this music with fervour and exaltation through tailor-made arrangements performed alongside the Bilitis quartet and the double bass player Blanche Stromboni, as well as mezzo-soprano Marina Viotti, who appears in a beautiful and heart-warming rendition of Balada para un loco, Piazzolla's setting of a poem by Horacio Ferrer. Theo Ould is passionate about this music, inviting us to share in his enthusiasm by joining in Ferrer's Balada: "Climb up into my madman's tenderness, Put a wig of larks on your head, Fly with me now! Come! Fly! Come!"

Paavo Jarvi and the Estonian Festival Orchestra pay tribute to Arvo Part, who celebrates his 90th birthday in 2025. The Estonian composer has been part of Paavo Jarvi's life since childhood: "Arvo was my sister's and my father's supercool friend. He wore a baseball cap, jeans and a denim jacket". The history of the Jarvi family is intimately linked to Part's work, since it was the now legendary concert in which Neeme Jarvi - Paavo's father - conducted Part's Credo in 1968 that caused the Soviet regime to blacklist the Jarvi family and precipitate their departure from Estonia. Credo is also included in this vast programme that covers 45 years of composing. What lies behind this music's simplicity and depth? One answer possibly lies in a remark that Part made in London during a rehearsal with Paavo: "I have the impression that the orchestra doesn't like this chord enough". The transformation that then occurred was incredible; the same notes, when played "with love", sounded completely different.

Spunicunifait is the curious name adopted by a group of five musicians, all of whom have a great deal of experience in chamber music as well as in prestigious orchestras such as the Chamber Orchestra of Europe; they have founded this ensemble to be able to devote themselves to the in-depth study and period instrument performance of Mozart's six string quintets. Their choice of a name is also a trifle facetious, copying the example set by Mozart in a letter to his cousin Maria Anna Thekla Mozart in which he wrote the three mysterious words "Spuni Cuni fait"; these could mean spun or woven / coney or rabbit / and "made," the past participle of the French verb faire: to make: something woven from rabbit skin, like the shawl his beloved cousin Basle wore in a self-portrait.

For the 13th volume in the 'Next Generation Mozart Soloists' series, Georgian pianist Giorgi Gigashvili, who has already released a highly acclaimed debut album (Alpha 930), has agreed to tackle the early piano concertos of the very young Mozart: "these works already reveal his brilliance in melody, elegance and charm. Paradoxically, the main difficulty for the performer lies in the transparency of these works: every single note is exposed, which requires absolute clarity and precision". Another interesting feature of this recording is the concertante repertoire for several solo instruments, specifically the Concertone in C major for two violins and orchestra from 1774, performed here by violinists (and sisters) Veriko and Sofiko Tchumburidze, who emphasise the work's chamber music character. Pascal Deuber (the new principal horn of the Tonhalle-Orchester Zurich) highlights the unceasing lyricism and fluidity of Mozart's third horn concerto, the opening work in this new journey of discovery, conducted by Howard Griffiths.

Sandrine Piau admits that she has always been fascinated not only by Schubert's music but also by the genre of the string quartet. "The endless quest for the pure gesture in which we lose ourselves in order to become one with each other reminds me of the aquatic ballets in old-fashioned musicals, when female swimmers formed images of perfect flowers". Thanks to the Psophos Quartet, her dream has now been realised; together they present a magnificent programme of transcriptions. "Between the hair of the bows and the texture of the voice, our instruments blend and form an imaginary Schubert quintet".

Castor et Pollux is Rameau's third opera and is packed with arias that show off the soloists to their best advantage: Tristes appr�ts for Telaire, Nature, Amour for Pollux, Sejour de l'eternelle paix for Castor, and Soulevons tous les dieux for Phebe. In this new recording Judith van Wanroij, Reinoud Van Mechelen, Tassis Christoyannis and Veronique Gens are the outstanding performers, alongside the Purcell Choir and the Orfeo Orchestra conducted by Gyorgy Vashegyi, in a new edition of Rameau's work prepared under the aegis of the Centre de musique baroque de Versailles. Research that was begun several years ago on questions of performance practice has now been complemented by their intensive work on the score and the division of roles, respecting what we now know about performance practice at the Paris Opera in Rameau's day.

For her second recital with piano, mezzo-soprano Adele Charvet reunites with Florian Caroubi, who has been her regular duo partner since 2015. Together they celebrate the belle epoque of the great French melodists (Massenet, Debussy, Faure) and their proteges,�including Chausson, Hahn, Koechlin, Aubert, Caplet, Messager, Enesco, Albeniz, Madeleine Dubois and Nadia Boulanger, as well as the much less known�Xavier Leroux and Ernest Moret. This is a programme about lines of descent and musical transmission, energised by the texts of great poets such as Verlaine, Mallarme, Maeterlinck, Banville, Leconte de Lisle, Lou�s and Toussaint.

In 1777, Mozart met the wealthy Ferdinand Dejean, an amateur flautist and retired surgeon of the Dutch East India Company. Dejean commissioned a handful of works from the young composer, who termed them 'some simple, short little concertinos'. Nevertheless, these pieces, which actually demand great virtuosity from the soloist, as well as a sensitivity to tonal nuances, have continued to be popular favourites ever since. A short while later, during his stay in Paris, Mozart wrote a further concerto, this time for a flute-playing aristocrat and his harpist daughter to perform as a duo of soloists - both of them 'admirable musicians' according to Mozart. Unlike Dejean, this noble virtuoso had an up-to-date instrument with eight keys, allowing the flute to reach down to middle C, and to play in the - hitherto impractical - key of C. Supported by A Nocte Temporis, the ensemble that she founded in 2016 with Reinoud Van Mechelen, flautist Anna Besson, now one of the most acclaimed instrumentalists of her generation, has recorded these evergreen works, with solo harpist extraordinaire Clara Izambert joining her in the Concerto for Flute and Harp.