Anyone who has survived the cursed seventh year may hope for a rosy future. The Orelon Trio, founded in Cologne in 2018, has just crossed this significant threshold-though it's members Judith Stapf, Arnau Rovira i Bascompte, and Marco Sanna never had to find their footing together: within a short time, these "meteoric risers" made a name for themselves, quickly guest-performing at renowned venues; high-caliber competition successes followed naturally (ARD, Melbourne, Graz), their first recordings and enthusiastic response from professional circles were not long in coming. How could it be otherwise, when the three musicians' "oreloj" (Esperanto for: ears) are so excellently attuned that they can perceive unheard-of things even in familiar repertoire. This first cpo release by the Orelon Trio leaves no doubt about that.

Under the motto "Dancing Organ," Czech organist Michael Bartek has compiled a varied program of dance pieces from different eras, including original compositions and some virtuoso transcriptions. In addition to popular works, there are also a few surprises to discover. This is performed on "his" Kuhn organ in the Richterswil Church near Zurich. For this SACD, the sound has been optimally captured in stereo and 5.1 surround sound. Unter dem Motto "Dancing Organ" hat der tchechische Organist Michael Bartek ein vielseitiges Programm von Tanzstucken verschiedener Epochen - Originalkompositionen und teils virtuose Transkriptionen - zusammengestellt. Neben popularen Werken gibt es auch so manche uberraschung zu entdecken. Als Instrument dient ihm "seine" Kuhn-Orgel in der Richterswiler Kirche, nahe Zurich. Fur diese SACD wurde der Klang optimal als Stereo- und auch als 5.1 Surround-Aufnahme eingefangen.

Leading performers of 17th-century music the Magdalena Consort, Fretwork and His Majestys Sagbutts and Cornetts combine forces under the artistic direction of William Hunt for the box set of their series 'In Chains of Gold'. "In Chains of Gold is a high-quality musical collective project that sheds light on these unknown masterpieces." - Sonograma Praise for Vol. 1 ? - "Subtle, seductively supple and sinuous singing and playing... Volume 2 from this dream-team will be eagerly awaited" - Choir and Organ Praise for Vol. 2 ? Performance ? Recording "An ear-tingling fulsomeness that guarantees the disc a splendiferous climax... It sets a marker for all that follows as 'chains of gold' are spun with disarming felicity" - BBC Music Magazine Praise for Vol. 3 "Nicolson's anthem stands as the epitome of all that is best in Bill Hunt's triumphantly successful project." - Early Music Review

With works by Franz Schubert and Robert Schumann, this CD is dedicated entirely to the magic of musical romanticism. Two composers, two worlds of sound - united by emotional depth, imagination and a love of the piano. Lei Meng interprets Schumann's filigree Arabesque op. 18 and his passionate C major Fantasy op. 17, a musical confession full of inner drama. Schubert will perform the intimate Allegretto in C minor D 915 and the powerful, visionary Wanderer Fantasy D 760 - an orchestral masterpiece for piano. Lei Meng, born in 1991 in Harbin (China), studied at the Mozarteum Salzburg and the CNSMD in Paris, among others. She has won prizes at international competitions and has performed in Europe, China, Brazil and the USA. She has been Professor of Piano and Piano Didactics at the Mozarteum Salzburg since 2024. Her artistic versatility is reflected in numerous solo and chamber music projects. Pure romanticism - full of longing, melancholy and expressiveness. An invitation to listen and dream.

The first and upcoming album by Levi. Sct aka Levi Schechtmann on the Neue Meister label presents a distinctive fusion of classical piano and modern hip-hop elements?. The album seamlessly blends classical piano compositions with contemporary hip-hop rhythms, showcasing Schechtmann's unique approach to music?. This release marks a significant milestone in Schechtmann's career, reflecting his growth as a composer and pianist who transcends traditional genre boundaries?. Levi. Sct is a piano influencer with more than 1. 8 Mio followers on his social media channels?

Although Israel in Egypt was first performed on 4 April 1739 in tripartite form, Handel probably first composed this oratorio without a complete text. Herve Niquet has chosen to record the version in two parts that Berlioz and the whole of the 19th century considered definitive, these being the Exodus and the Song of Moses. Produced just after the Covid pandemic, this recording also shows the joy of Le Concert Spirituel's singers and instrumentalists at making music together again: Herve Niquet says the final chorus "is a cry of happiness in unison" and sees an "almost palpable drama in these works: the two choruses face each other on either side of the orchestra and respond to each other in violent retaliations and monumental unisons. Their interweaving in diabolical movements is like a theatrical staging before our very eyes."

Mozart Piano Concertos, Vol. 3. The concept behind our present undertaking, the Mozart Piano Concertos CD trilogy, is to present a range of concertos from Mozart's various compositional and performing periods, styles, techniques and instrumentations. Our endeavour is also linked with an encore-like single work on each CD, namely a Rondo. The additional connecting link between these six piano concertos is the Cadenzas & Lead-ins which Lazic�has composed himself. Here he was inspired by the common practice of the composer's day.

In the 20th century, composers Erik Satie, Francis Poulenc, and John Cage each created a pause in music-a caesura-by exploring life's contrasts: the noise of the outside world and the quiet of inner reflection. Satie balanced cabaret flair with meditative stillness. Poulenc exposed the cabaret's charm and underlying despair before turning to sacred music. Cage broke with tradition, using experimental simplicity to draw listeners inward and awaken deeper listening. A journey inward-a Room for Listening

Time slipping away, procrastination, nostalgia, resistance to the now, glimpses of the future, and the acceptance of mortality - these are the emotional and conceptual undercurrents that shape Borrowed Time, the new album by Dutch electronica artist Endorphins. Through oddly timed rhythms, bent melodies, fractured breakbeats, and immersive ambient passages, Thomas Heijmans crafts a soundscape that meditates on the elasticity of time and the tension between chaos and stillness.� Borrowed Time is both a reflection and a release - a journey that resists linearity and embraces impermanence.

While no pianist himself, Nielsen wrote for the instrument throughout his career, and this recorded survey ranges from early and vividly detailed miniatures to adventurous explorations of rhythm and harmony in some of his boldest late works. According to the composer and Nielsen expert Robert Simpson, the pianist Arne Skjold Rasmussen was 'by far the greatest interpreter of Nielsen in any medium.' He made both broadcast and commercial recordings of Nielsen's piano music during the 1950s and 60s, but his 1960 survey had long been presumed lost. This new transfer of those sessions for the BBC is made from tapes of the original broadcast, in excellent sound for the period.

The motet for solo voice and two dessus, usually two violins, and the cantata with instrumental accompaniment originated in Italy at the dawn of the 17th century. The genre was introduced to France by Marc-Antoine Charpentier and by travelling Italian musicians and rapidly became one of the key showpieces of Italian taste and style. The genre was deployed superbly in the early 18th century by two magnificent composers who were practically contemporaries: Andre Campra and Nicolas Bernier. Campra's natural attraction to Italian music is easily explained, as he was the son of an Italian doctor living in Aix-en-Provence and was also a pupil of the great Poitevin in the same city. Bernier, if we are to believe certain sources, was a pupil in Rome of the Venetian Antonio Caldara, one of the most important composers of his time.

Toivo Kuula (1883-1918) is one of the many composers who died at a tragically young age - 34 in his case: he was hit by a bullet fired after a brawl at a victory celebration at the end of the Finnish Civil War. The immediacy of the music he wrote during his short life points to the immensity of the loss not only to Finnish culture but to music more generally - as this second album of two, presenting his entire output of songs for solo voice and piano, makes abundantly clear. The range of moods captured here is striking; the most passionate of these songs generate an operatic intensity in their short span, in a style that balances directness of expression and rich late-Romantic harmonies.

Violinist Sylvia Huang has drawn inspiration from nature since her childhood, marvelling at it's beauty, it's cycles and it's subtle harmony. Her Ode to Mother Nature project is designed to raise awareness of the fragility of all living things. Pianist Boris Kusnezow partners Sylvia on this musical journey, which celebrates the cycle of the seasons with works by Gabriel Dupont, Lili Boulanger, Dora Pejacevic, Edvard Grieg, Einojuhani Rautavaara, Camille Pepin and Eugene Ysaye. Each piece highlights an aspect of one of the seasons, as well as the deep connection between music and nature. Through this music Sylvia invites us to appreciate the deep bond that unites humanity to it's environment, and the urgent need to protect it.

Preludes, dances, nocturnes and vibrant miniatures for guitar from the composer of the Concierto de Aranjuez. In the modern era, no single work embodies Spain in music more than the Concierto de Aranjuez, as Miles Davis effectively acknowledged by making his own version of it the centrepiece of his iconic Sketches of Spain album. However, Rodrigo wrote a good deal more for guitar than this ever-popular concerto. There are four more concertos, and over 20 solo works. The solo works span the entire breadth of his long career, from the Zarabanda lejana of 1926 to Dos pequen�as fantasias (Two Little Fantasies of 1987. Rodrigo always drew on history and heritage rather than rejecting them, and many of these pieces take their inspiration from the lute and vihuela compositions of the Spanish renaissance. There is often a self-consciously antique flavour to both the gestures and harmonies. Yet many other pieces belong unmistakably to their time - such as the gripping and virtuosic Toccata of 1933, which remained hidden among the papers of the guitarist Regino Sainz de la Maza until 1997, when it was performed for the first time. Rodrigo's period of high maturity as a composer fell in the 50s and 60s, and from this period date the high points of his solo-guitar catalogue, such as the Tres piezas espa�olas, dedicated to Segovia, the haunting Junto al Generalife, the complex Triptico, and most of all the Invocacion y danza (homenaje a Manuel de Falla), which rapidly became a repertoire piece for guitarists after Rodrigo wrote it in 1961 for a composition competition organised by French radio. The Italian guitarist Giulio Tampalini has made several acclaimed albums for Brilliant Classics, such as a collection of the complete guitar music by Respighi and Mozzani. 'If you have ever had even the slightest inclination towards the guitar, you have to hear this this album. It is simply breathtaking. This is a guitar album for the ages, and I hope that Tampalini and Brilliant Classics will see fit to give us more.' (Fanfare, September 2017)

L'Appel du Cor / The Call of the Horn (Works for Horn and Piano) - Beyond Stereotypes. The stereotype of the French is well known, it is a man with a beret on his head and a baguette under his arm. The stereotypical image of the horn is the hunting horn, the only vision that the general public has of an instrument that they hear nearly every day but that they know so little. So why does horn player Herve Joulain title his new CD "L'Appel du Cor" (The Call of the Horn), why go into the field of cliche? First of all, the hunting horn is part of the history of the horn and it does not deny it. Then composers made this past, these origins, a source of musical inspiration. Whether rustic, thunderous, or poetic, they have made the softened, the 'tayaute', also the 'debuche de la plaine' and the famous 'halali' the material of their musical writing for the modern horn. Some of the pieces performed by Herve Joulain could be wrongly described as minor works, specific to the 'conservatory end-of-year competitions'. Here the horn player's playing shows us that they are far from it and deserve to be played and listened to. Thus, from Busser to Bozza, from Pugno to Planel, Herve Joulain's horn takes us on a journey among dreams and lullabies, legends and whims, right up to the feminine vision that composer Elsa Barraine has for the horn in her brass band. The horn player Herve Joulain and the pianist Fanny Azzuro interpret these works - some of which can be heard as premiere recordings - in a wonderfully musical way. - - - L'Appel du Cor (Werke fur Horn und Klavier) - Jenseits von Stereotypen. Das Klischee uber die Franzosen ist allseits bekannt - ein Mann mit Baskenmutze auf dem Kopf und einem Baguette unter dem Arm. Das stereotype Bild des Horns ist das des Jagdhorns - die einzige Vorstellung, die die breite offentlichkeit von einem Instrument hat welches sie beinahe taglich hort, das sie aber doch so wenig kennt. Warum also betitelt der Hornist Herve Joulain seine neue CD "L'Appel du Cor" (Der Ruf des Horns), warum begibt er sich ins Feld der Klischees? Zunachst einmal ist das Jagdhorn Teil der Geschichte der Horner ansich, und dies soll auch keinsfalls verleugnet werden. Dann gestalteten die Komponisten genau diese Vergangenheit, diese Ursprunge zu einer neuen Quelle musikalischer Inspiration. Ob rustikal, donnernd oder poetisch, sie haben das Weiche, das "Tayaute", auch das "Debuche de la plaine" und das beruhmte "Halali" zum Material ihrer musikalischen Komposition fur das moderne Horn gemacht. Einige der von Herve Joulain aufgefuhrten Stucke konnten falschlicherweise als "kleinere" Werke bezeichnet werden, die spezifisch fur Vorspielabende an Musikschulen zum Jahresende sind. Hier zeigt uns das Spiel des Hornisten, dass diese Musik weit davon entfernt ist und es verdient, gespielt und gehort zu werden. So nimmt uns das Horn mit den Komponisten von Busser bis Bozza, von Pugno bis Planel mit auf eine Reise zwischen Traumen und Schlafliedern, Legenden und Launen, bis hin zu der "weiblichen Vision", die die Komponistin Elsa Barraine fur das Horn in ihrer Blaskapelle hat. Der Hornist Herve Joulain und die Pianistin Fanny Azzuro interpretieren diese - teils als Ersteinspielungen zu horenden Werke - in wunderbar musikalischer Art und Weise.