For All We Know is the pure document of a magical concert evening in the LOFT in Cologne: without cuts and without any subsequent embellishment.�A piano trio that plays standards, including ubiquitous ones such as "Stella By Starlight" and "Body and Soul": a case of decent, basic jazz? By no means! "We're really creating weird stuff," pianist Thomas Ruckert said. Weird, because it is completely detached from the usual conventions of standard interpretation.

The present box will be released on the occasion of the 25th anniversary of the label SWRmusic. It contains re-releases of important recordings from the SWR archives, starting with 1952 and ending with 2018.

Daniel Ottensamer presents Brahms' two legendary clarinet sonatas, reworked for clarinet and orchestra by Stephan Koncz, who also conducts the Deutsches Symphonie-Orchester Berlin on this recording. Koncz' orchestrations bring these masterful pieces out of the limited space of chamber music, presenting them in a new symphonic light. The idea to create this very personal album has accompanied them both since their student days, and now the time to turn this vision into reality has finally come. Brahms' well-known works are accompanied by a hidden gem, Walter Rabl's clarinet quartet, which won first prize in a prestigious competition, of which Brahms himself served as the head of jury. Pianist Christoph Traxler and Berlin Philharmonic's first concertmaster Noah Bendix-Balgley join Ottensamer in this performance, while Koncz exchanges his baton for the cello. Combining Brahms and Rabl gives the listener a fascinating view on the rich musical landscape of late nineteenth-century Vienna. Daniel Ottensamer has been hailed as one of the prominent clarinettists of today and is enjoying a multi-faceted career as soloist, chamber musician and principal clarinettist of the Vienna Philharmonic. Stephan Koncz is a cellist of the Berlin Philharmonic, and divides his time between composing/arranging, conducting, and various chamber music groups, often together with Ottensamer, pianist Traxler, violinist Bendix-Balgley and their Vienna Berlin Music Club - namely "Philharmonix". The Deutsches Symphonie-Orchester Berlin (DSO) emanates into the world from renowned Berliner Philharmonie, while remaining societally relevant at all times, close to people and keeping pace with the times. All performers make their PENTATONE debut.

The enduring appeal of opera in the 19th century found a new and intimate expression in the realm of solo piano music. This recording reveals how the grandeur and expressive range of operas by Bellini and Verdi was brought from the theatre into private parlours and salons. The composers featured on this album preserve the spirit of the original works while reimagining the famous melodies and dramatic scenes as paraphrases, fantasies and variations. Awardwinning Italian pianist, Ruben Micieli, performs these dazzling pieces in his own unique way, making musical and structural adjustments to each transcription after studying the scores by Bellini and Verdi.

Mozart provided a steady output of Masses during his time at the court in Salzburg. The fine Missa brevis in G major was composed in 1768 when Mozart was just twelve years old. The theatrical and inventive 'Credo' Mass in C major, from 1776, is regarded as one of Mozart's finest achievements from this period. The profound key of D minor for the Missa brevis, K. 65 reflects it's use at a 40-hour vigil, while the affectionate nickname 'Spatzenmesse' ('Sparrow Mass') for the Missa brevis in C major refers to the chirping nature of the Sanctus.

Few can predict the impact a composer may have, but those who experience the vision and tutelage of a true musical inspiration surely know it. American composer Allen Sapp left such a mark on artistic culture, and LIVE PIANO WORKS pays tribute to his legacy with recordings from the Ohio State University Music & Dance Library's Allen Sapp Collection. Each piece on the two-volume collection highlights a studied and academic approach to composition, with deep, expert exploration of idioms and techniques. This album features performances by Sapp's wife, Norma Bertolami Sapp, recorded live over a period spanning three decades at the Patricia Corbett Theatre at University of Cincinnati College - Conservatory of Music, and a historic recording of Sapp himself from 1961.

A fascinating instrument, with a warm and intimate timbre, the viola began relatively late to arouse the interest of composers and musicians. Long the recipient of accompaniment lines within orchestral ensembles, it was only in the classical period that the viola took it's first steps in the instrument repertoire for soloist with orchestra as well as for solo instrument. Although some masterpieces still widely performed today stand out (think of Mozart's famous Sinfonia Concertante), this type of repertoire remains meagre and at times unexplored. The two compositions offered here for the first recording are precisely among these hidden treasures to be rediscovered: the Musica Ridotta BI. 316-322 and the Six Idylls, composed for solo viola respectively by Alessandro Rolla and his son Antonio. Not only do these pieces bring out the melodic and cantabile peculiarities of the instrument, but they also deepen it's technical virtuosic aspect. The discographic project thus seeks to restore due consideration to these composers and appreciated violists of European fame at the time, who contributed to the development and emancipation of an instrument of extraordinary beauty.

Tommaso Traetta was 39 years old when he was appointed choirmaster of the Venetian Ospedaletto dei Derelitti in 1766, which was one of those "homes" for orphan girls in which music played a central role. At that time, this Bari native had enjoyed an international reputation for his opere serie. In his new post, which he was to hold for around ten years, he was able to increase his own renown and that of his patrons - particularly with the oratorio recorded here and it's subject of King Solomon and his worship of the Ark of the Covenant in the temple. Traetta based the sacred work on a Latin text on the legendary ruler of the Israelites, in which the Queen of Sheba, Zadok the priest and Adon, the Lord of the Ammonites, play the leading roles so elegantly that the work takes on the melodious grace of an Italian singspiel. The success was noticeable and, thanks to this recording, remains true to King Solomon.

Le 19 avril 1980, une foule immense, silencieuse, accompagne le convoi funebre de Sartre jusqu'au cimetiere du Montparnasse, � Paris. Derriere Simone de Beauvoir, en tete de cortege, plus de cinquante mille personnes sont venues rendre un dernier hommage au penseur francais le plus celebre au monde. Comment expliquer sa notoriete, comment mesurer aujourd'hui l'impact de la pensee et de l'ecriture de Sartre dans la societe actuelle ? Considere comme le "dernier des classiques" pour les uns, celebre comme le "premier des modernes" par les autres, Sartre intrigue, fascine autant qu'il derange et perturbe. Aliocha Wald LASOWSKI Jean-Paul Sartre, figure de l'existentialisme et de la litterature du XXe siecle, fascine par son esprit revolutionnaire et sa quete de liberte. Son parcours, entre philosophie, politique et culture, le consacre comme ecrivain et intellectuel engage, marque par ses combats pour la justice. Ses idees demeurent une source de reflexion et d'influence dans le contexte intellectuel contemporain. Aliocha Wald Lasowski propose cette biographie critique et contextualisee de celui qui a domine la pensee du XXe siecle. Claude COLOMBINI FReMEAUX et Patrick FReMEAUX Jean-Paul Sartre, a leading figure in existentialism and twentieth-century literature, fascinates with his revolutionary spirit and his quest for freedom. His journey through philosophy, politics and culture established him as a committed writer and intellectual, marked by his fight for justice. His ideas remain a source of reflection and influence in the contemporary intellectual context. Alyosha Wald Lasowski offers this critical and contextualised biography of the man who dominated twentieth-century thought. Claude COLOMBINI FReMEAUX and Patrick FReMEAUX CD1 - L'eCRIVAIN-STAR DE L'EXISTENTIALISME : L'ENFANCE & LA JEUNESSE - SIMONE - LA PHeNOMeNOLOGIE - LA GUERRE ET LE NeANT - L'EXISTENTIALISME - LA NAUSeE - LES SALAUDS. CD2 - LE PENSEUR ENGAGe SUR LES FRONTS DE LA POLITIQUE : LA LITTeRATURE ENGAGeE - LE BASCULEMENT DE LA GUERRE - LES TEMPS MODERNES - LA VIOLENCE ET LA ReVOLTE - L'eCRIVAIN VEDETTE - LA MOUVANCE GAUCHISTE - CONCILIER L'INDIVIDU ET LE COLLECTIF. CD 3 - LE DeBATTEUR HORS-PAIR CURIEUX DU MONDE : LE THe�TRE - LA PEINTURE ET LA MUSIQUE - LA CReATION PICTURALE - L'eCRIVAIN CINeASTE - CAMUS, UNE AMITIe PUISSANTE - ARON, LE RELATIF CONTRE LE RADICAL - LE ReVEUR INSAISISSABLE. DIRECTION ARTISTIQUE : CLAUDE COLOMBINI ET PATRICK FReMEAUX

1. A Pierre. Dell'azzurro silenzio, inquietum (1985) for contrabass ?ute in G, contrabass clarinet in B ?at and live electronics 2. Das atmende Klarsein, fragmente (1980/87) for bass flute, magnetic tape and live electronics 3. Musiche per Manz� (1969) for magnetic tape (acousmatic version) 4. Roberto Fabbriciani: A "Omaggio a Luigi Nono" (2006) for piccolo, tape and live electronics Roberto Fabbriciani, flutes, piccolo (1, 2, 4) Ulrich Krieger, double-bass clarinet (1) Alvise Vidolin, live electronics, sound direction Alessandro Fiordelmondo, live electronics assistant Luigi Nono (1924 -1990) was a great innovator in the use of spatialization of sound and experimentation with performance space, non-linear time and the collapsing between sound and silence. Beginning in 1959, he distanced himself from serial orthodoxy and the Ferienkurse compositional scene. His new works reflected a concern in political and cultural events and introduced the use of tape and electroacoustic technology. His compositional process was increasingly involved with specific performers, whom he chose for their tone and expressive characteristics. This trust reflects on Nono's interest in collaboration, developing the idea that traditional musical notation is limited and cannot reproduce the complexity of performance he reached with every performer. This recording represents one of Nono's most fruitful collaborations, the one he developed with flutist Roberto Fabbriciani during the 1980s. The track list presented here - selected by Fabbriciani and Alvise Vidolin - explores Nono's music as it is defined by space (and/or the acoustic space) rather than time - the auditory impression of a labyrinthine acoustic environment in which the works seem to ?oat on the threshold of sound and silence and seem to fluctuate from one place to another. The creative process of A Pierre. Dell'azzurro silenzio, inquietum (1985) took place during rehearsals for the ?rst performance of Prometeo. Tragedia dell'ascolto (Venice, 1984). Fabbriciani recalls suggesting to Nono that he should write a work, based on section VIII of Io, frammento dal Prometeo because he felt that the live electronic potential explored in that work had not been completely exploited. The interplay between flute, clarinet and live electronics and their timbral fusion or a continuum of timbre, are at the core of the compositional process. Once the live electronic manipulation of sound moves above the threshold of silence, the listener should no longer be able to detect whether a given sound heard was produced by one of the two performers or reproduced by electronic/digital equipment. Das Atmende Klarsein, fragmente is a reduced version of Nono's work for small choir, bass flute soloist and live electronics. It is the first composition of the 1980s which led to Prometeo and the first outcome of the intense collaboration between Fabbriciani and Nono. In the original piece, Nono composed two distinct worlds, one of choir, the other of bass flute. As they never perform together, the bass flute part later became a solo piece after undergoing changes, cuts and transformations with the various performances by Fabbriciani (this is typical of Nono's work in progress). Musiche per Manz�, for magnetic tape (1969), was created for a short documentary that shows the work that Italian sculptor Giacomo Manz� did to realize the bronze doors of St. Francis church in Rotterdam. Space and spatialization are only illusory in the original version of the work, which antedates Nono's live electronics research. But space is so deliberate here that this piece is suitable to live electronics interpretations. Alvise Vidolin re-interprets Musiche per Manz� using the original mono version published by Ricordi, with a multichannel 5.1 surround sound system. A "Omaggio a Luigi Nono"is Fabbriciani's tribute to his collaboration and friendship with Luigi Nono. The tape part has been recorded by Fabbriciani at the Experimental Studio of the Heinrich-Strobel Stiftung in Freiburg, the same studio where he worked with Nono in his important sound research for a decade. It contains the natural acoustic sounds of the piccolo. It explores this instrument and reflects Fabbriciani's research on extended yet simple sounds. A "Omaggio a Luigi Nono"is also an homage to the last years of their friendship, which culminated in the piece Post-praeludium n. 3 "BAAB-ARR". "We got as far as the Post-praeludium n. 3 "BAAB-ARR", structured on a single note with all it's possible universes. After the performance in the Kammersaal of the Berlin Philharmonie on 4th September 1988 Gigi [Luigi] smiled and said to me, "the next time I'll write less!" (Fabbriciani, 1999). The score is so non-existent and deprived of any meaningful indications to any flutists but Fabbriciani that the Committee for the Edition of the Works of Luigi Nono set up by Casa Ricordi has decided to withdraw it from the catalogue. A "Omaggio a Luigi Nono"by Fabbriciani reflects both his own research on extended techniques, and Nono's reduction to the essential nature of sound and music. The acoustic part interacts with the tape part made with prerecorded piccolo sounds. The assembling, mixing and spatialization of the recorded sounds is conceived by Alvise Vidolin. Liner notes by Laura Zattra.

Giordani's activity was indeed fashionable, having success both with operas and with instrumental music. The composition of these flute concertos dates back to an unspecified period of the 18th century, but their structure is unquestionably within the golden classical principles of the sonata form, allowing us to place them temporally between 1765 and 1775. The concertos offer the listener a realistic glimpse of the flute technique of the time that would soon see the Romantic Era blossom. In this recording, the instrument used is a copy of a mid-eighteenth-century C. Palanca, with a diapason of about 420 hz.

The new Philharmonix VOL 4 album "Baltic" is dedicated in a special way to the music of the Baltic States. Sebastian Gurtler, composer of the entire Philharmonix repertoire alongside Stephan Koncz, was inspired by melodies, folk songs, and children's tune

Alois Haba has gone down in the history of 20th-century music as an experimenter. He studied in Vienna and Berlin under Franz Schreker, studied the tonal principles of non-European music, and developed his own theory of micro-intervallic music. However, his enthusiasm for microtonal music narrowed the perception of his creative legacy solely to it's experimental component, although more than half of his works are compositions in the usual system of semitones. As he himself said, he was trying "to find the path from non-traditional training to artistically independent creative work with strongly altered harmony and melody in order to arrive at a personal means of expression following the line leading from Bach to Schumann and on to Reger." He achieved this goal in the Sonata, Op. 3, for which he received much praise from Schreker, while Vitezslav Novak "with condescending humour called it a 'sonata for three hands'". Erwin Schulhoff premiered the Two Grotesque Pieces in 1922 in Berlin alongside compositions by Satie, Casella, and Stravinsky, and according to a critic, "Haba's compositions made a far more authentic impression than much that surrounded them." After the Toccata quasi una fantasia (1931), Haba returned to writing piano music one last time 40 years later at the end of his life with his Six Moods. As a student in Vienna and Ghent, the pianist Miroslav Beinhauer focused on music of the 20th and 21st centuries. He was introduced to Haba through his compositions for sixth-tone harmonium (Beinhauer is the only player of this instrument, created by Haba), and he went on to study Haba's complete works for "ordinary" piano as well. These works are little known and worthy of attention. The first complete recording of Haba's works for "ordinary" piano. Haba surprisingly without micro-intervals

The settings heard on this disc meld together the talents of two outstanding creative artists, the composer Paul Honey and the poet Gregory Warren Wilson, producing a collection in which the inner life of the listener is both confronted and empowered. Warren Wilson's metaphysically-infused set of haiku, Earth's Imagined Corners, derives it's title from the seventh of John Donne's Divine Meditations, in an evocative setting for sixteen unaccompanied voices and solo cello. It was conceived as a sequence of four individual movements (Willows, Leatherback, Fireflies, Pomegranates), three of which invoke the fundamental elemental forces at work on our planet - water, earth, and fire. The final constant explored here is time, that boundless exponential continuum within which the human experience itself unfolds.

Cassandra is an opera about knowing what lies ahead yet not being able to do anything to prevent it, about sensing impending disaster, but not being heard. It's an opera about today. Two main characters, prophets in their time, are heralds of the world to come. Cassandra, daughter of King Priam of Troy, warns against the doom facing her people during the Trojan War. Her warnings go unheeded and the world, as it was then known, comes to an end. Sandra, a young modern-day climatologist and PhD candidate, has turned to comedy as a language through which she hopes to communicate her research on climate change and global warming, to no avail. Finally, the two meet: Cassandra from time immemorial, Sandra battling with the complexities of today. Perhaps it will be Cassandra's turn to make Sandra laugh