There are moments in music when time seems to pause, and with Arcangelo Corelli's music, I have experienced that enchanted stillness-where each note is not just heard but felt deeply. His music, elegant and radiant, is the gentle whisper of a bygone era, yet it breathes timeless warmth and light. Corelli's art is a delicate conversation between violin and continuo, a living breath of harmony and counterpoint that dances with noble grace. Each phrase unfolds like a tender story, where voices seek, answer, and embrace one another-like cherished friends sharing secrets across the ages. It was through my mentor, Ryo Terakado, and his luminous recording of the Violin Sonatas, Op. 5 that I first stepped into this radiant world. Since then, Corelli's melodies have been a constant companion-like a soft glow in the twilight, a source of inspiration and solace. Corelli's influence extends far beyond my own story. His style shaped the musical language of generations-admired openly by Francois Couperin, absorbed deeply into the work of Jean-Marie Leclair, and echoed, even centuries later, by virtuosi such as Pablo Sarasate and Niccolo Paganini. His music is both spiritual and earthly-a beacon of simplicity and profound beauty. I am deeply grateful to Ryo Terakado for guiding me to this wellspring of grace, to Kaori Uemura and Francois Guerrier for their artistry, and to our magical producer Guido Tichelman and the Byucksan Corporation for nurturing this project. -�Eun-Shik Kim

Few conductors of Klaus Tennstedt's generation demonstrated such complete mastery of the Classical and Romantic repertoire from Beethoven to Mahler and Strauss, coupled with an intensity in live performance that was palpable. He was among the finest German conductors to emerge after the Second World War and was in constant demand with such orchestras as the New York Philharmonic the Boston Symphony, the Berlin Philharmonic and the London Philharmonic. Doremi's 7th volume of live recordings of Klaus Tennstedt feature 3 works by Shostakovich: the Piano Concerto No.1, the Violin Concerto No. 1 and the Symphony No. 9 - with a performance from Tokyo of Schubert's Unfinished Symphony, Barber's Adagio for Strings and Mozart's Overture to Don Giovanni.

REFERENCE RECORDINGS� proudly presents the beloved Requiem of Wolfgang Amadeus Mozart, in a very special interpretation. Academy Award� and Golden Globe� winning film and Broadway star F. Murray Abraham joins Manfred Honeck, the Pittsburgh Symphony Orchestra, the Mendelssohn Choir of Pittsburgh and the Westminster Choir for Honeck's dramatic conception of "Requiem: Mozart's Death in Words and Music." This album was recorded live in 2023 in beautiful and historic Heinz Hall, home of the Pittsburgh Symphony Orchestra, in superb audiophile sound.

The new album of saxophonist Asya Fateyeva, with the Staatsphilharmonie Rheinland-Pfalz, presents a brand-new version of the hit 'Nutcracker' by Tchaikovsky, arranged by composer Wolf Kerschek. The recording is complemented by Christmas music arranged for saxophone and the vocal ensemble Niniwe Vocal Art.

First Flight marks the debut album of saxophonist and composer George Kontomichalis. Rooted in jazz traditions like post-bop, hard bop, and modal jazz, it blends classic influences with modern improvisation and introspection. The album reflects the collective creativity of the ensemble, highlighting interplay, rhythm, and spontaneous exploration. With six original compositions and one standard, the record serves as a personal journey and an invitation for listeners to experience both energy and reflection

Dans cet ouvrage, l'islamologue Boumediene Benyahia nous presente la pensee de quatre figures majeures de l'histoire intellectuelle de l'islam : Avicenne, Al-Ghazali, Averroes et Ibn Arabi. Apres avoir retrace la genese de l'islam au VIIe siecle en Arabie et la formation des grandes ecoles de droit musulman aux VIIIe et IXe siecles, l'auteur met en lumiere l'influence de la philosophie grecque sur la pensee islamique et la maniere don't ces penseurs ont faconne un dialogue entre theologie, droit et metaphysique. � travers une analyse rigoureuse et accessible, il revisite les debats et controverses qui ont oppose ces figures intellectuelles et marque l'histoire de la pensee islamique. L'ouvrage souligne le r�le essentiel de ces penseurs dans la transmission et la circulation des idees entre l'Orient et l'Occident au Moyen �ge, temoignant de la richesse et de la complexite de cette tradition philosophique et spirituelle. Par cette approche historique et analytique, l'auteur offre aux lecteurs des cles pour mieux comprendre les dynamiques intellectuelles qui ont structure la pensee islamique et leur place dans l'histoire des idees. Claude COLOMBINI FReMEAUX In this work, Islamologist Boumediene Benyahia presents the thinking of four major figures in the intellectual history of Islam: Avicenna, Al-Ghazali, Averroes and Ibn Arabi. After tracing the origins of Islam in 7th-century Arabia and the formation of the great schools of Muslim law in the 8th and 9th centuries, the author highlights the influence of Greek philosophy on Islamic thought and how these thinkers shaped a dialogue between theology, law and metaphysics. Through rigorous and accessible analysis, he revisits the debates and controversies that divided these intellectual figures and marked the history of Islamic thought. The book highlights the essential role of these thinkers in the transmission and circulation of ideas between East and West in the Middle Ages, testifying to the richness and complexity of this philosophical and spiritual tradition. Through this historical and analytical approach, the author offers readers keys to better understanding the intellectual dynamics that structured Islamic thought and their place in the history of ideas. Audiobook, in French. Claude COLOMBINI FReMEAUX CD1 - LA GENeSE DE L'ISLAM : MOTS ET CONCEPTS DE L'ISLAM - L'ARABIE ET LA MECQUE AU VIIE SIeCLE - L'ENFANCE DE MUHAMMAD - L'HeGIRE ET LA PRISE DE LA MECQUE - LES QUATRE eCOLES JURIDIQUES SUNNITES - DROIT ET eMERGENCE DE LA PHILOSOPHIE - LA FEMME ET L'ISLAM. CD 2 - AVICENNE, AL-GHAZALI ET IBN ARABI : LA VIE D'AVICENNE - AVICENNE ET L'APPROCHE RATIONNELLE DE L'ISLAM - AL-GHAZALI, PHILOSOPHE, THeOLOGIEN ET JURISTE PERSE MUSULMAN - AL-GHAZALI, IBN ARABI ET LA QUESTION DE LA ReSURRECTION DES �MES. CD3 : AVERROeS : SON OEUVRE - IBN ARABI : SA RENCONTRE AVEC AVERROeS - SUR LA QUESTION DE L'�ME - LES DIMENSIONS DU NOBLE CORAN - SUR LA CROYANCE ET LA FOI - LE STATUT DE LA FEMME - LA RELIGION DE L'AMOUR - CONCLUSION : LE LEGS DES PENSEURS DE L'ISLAM. COLLECTION ISLAM DES LUMIeRES DIRECTION COLLECTION : CLAUDE COLOMBINI FReMEAUX EN PARTENARIAT AVEC LA GRANDE MOSQUeE DE PARIS

Of Paganini's fifteen quartets with guitar only six were published during his lifetime. They represent his finest body of chamber compositions as can be heard in the three quartets for violin, viola, guitar and cello, Op. 4. Of them, No. 3 in A major is a masterpiece, with French-styled inspiration, rich lyricism and piquant invention, while the virtuosic, almost concerto-like No. 8 in A major embodies his quatuor brillant writing, with it's Rossinian resonances. No. 12 in A minor is the most 'symphonic' of the three, containing formal originality, one of the most moving of Paganini's slow movements, and his most serious-minded finale.

Close your eyes and surrender to Hypnos, god of sleep. Zefiro Torna pours a hallucinatory elixir of dreams, solitude, secret fantasies, and soothing whispers. Baroque masters like Kapsberger, Dowland, Moulinie�, and Huygens drew inspiration from night and sleep. The enchanting voice of Lore Binon pierces the darkness, carried by Jurgen de bruyn's theorbo and lute. Lean back and drift away into... Somnia.

With my second album, "All Things Will Clear Up, Eventually", I want to encourage people to pause-to take a moment to truly feel the struggles in their lives, reflect on themselves, and engage in introspection. It's like lying on your back and gazing at the clouds, watching them appear, shift, and eventually dissolve. You begin to see shapes and patterns-new things you wouldn't have noticed if you hadn't taken the time to look a little longer. I believe that pausing and "gazing at the clouds" is essential for our mental well-being. It keeps us from fleeing into the rush of daily life and ignoring the difficult parts. Instead, it invites us to slow down and attentively observe what surfaces and moves within and around us. And I believe that pausing gives hope. These are the moments when, even in the midst of difficulty, we slowly begin to notice new possibilities and beauty-the blue sky between the clouds, the childlike images hidden in the darker ones. I believe my music can play a comforting and empowering role in this process.

The currently hottest German brass ensemble with great concept albums presents Christmas classics in completely new arrangements for the first time?. All-time classics like "Driving Home for Christmas", "It's beginning to look like Christmas", "Santa Claus is coming to town", "All I want for Christmas", "Let it snow", "White Christmas", "Frosty the Snowman" give this Christmas album a unique sound?

Music without remembrance is not possible, affirms pianist Sophie Pacini, and "Rimembranza" is the title she has chosen for her 6th solo album. Here, the music deals with hope and doubt, pain and deliverance, bitter loss and - most of all - memory. At the album's core she has placed two works she finds strongly connected with pain, transience, and death: Mozart's Sonata in A minor K.310 and Schubert's Sonata in A minor D 784. Mozart's mother died in Paris shortly before he wrote his sonata. His twelve variations on the French folk song "Ah, vous dirai-je, Maman!" thus already bear the seed of the Sonata in A minor in themselves. "They are Mozart's rimembranza addressed to himself", she suggests. With their plaintive title harking back to the past, these variations open the curtain on Sophie Pacini's album. Before it falls again, we hear Schubert's two Impromptus Op. 90: sounding like excerpts from his sonatas, they "brush against our memory like two bittersweet rimembranzas from the past", she muses. The last act is introduced by Schubert's "Standchen" on a love poem by Ludwig Rellstab. The subject of love likewise closes the album; from the film "Cinema Paradiso", we hear the love theme composed by the recently departed Ennio Morricone and his son Andrea - a tribute track to Sophie Pacini's second homeland, Italy.

Franz Liszt (1811-1886), though primarily known for his groundbreaking work as a pianist and composer, had an indirect but meaningful relationship with the harp. While he did not compose extensively for the instrument, he recognized it's expressive capabilities and occasionally incorporated it into his orchestral and vocal works. His appreciation for the harp's unique timbre is especially evident in pieces like the Dante Symphony and Les Preludes, where the harp adds a celestial or ethereal texture that complements his dramatic musical narratives. Liszt's circle of influence also brought him into contact with harpists of his time, and he occasionally arranged pieces that could be adapted for the harp. His transcription of Schubert's Ave Maria, for instance, has become a popular work among harpists. Though he never wrote solo harp compositions, the lyrical and arpeggiated nature of his piano writing shares similarities with harp technique, suggesting an understanding of the instrument's expressive qualities. This beautiful program presents arrangements of works by Liszt which are especially suitable for performance on the harp: Ave Maria, Schubert's Standchen, 6 Consolations, 3 Liebestraume, Angelus. The harp arrangements are by several famous harp players and composers from the end of the 19th century. Beautifully played by Anna Pasetti, one of the leading harp players of today. As a musicologist, she is the author of about 300 publications on the history of the harp and it's repertoire (including 5 monographs), but she also has numerous recordings to her credit, mostly dedicated to the unknown harp repertoire that she herself rediscovered.

The viola da gamba is not dead, despite a claim to the contrary in the Dictionary of Musicians by German composer, organist and cellist Ernst Ludwig Gerber (1746-1819). From the 16th century to the end of the 18th, the viola da gamba experienced a true apotheosis, becoming the favoured instrument for bourgeois entertainment, particularly in Germany, France, Italy and England, even if the instrument's origins lie in the Spanish Renaissance. Because of these associations with the aristocracy, but also because of advances in musical style that demanded more from the role of the lower member of the string family, the gamba lost ground to the newer cello during the French Revolution. Limited interest in the instrument persisted through the 19th century, until a rebirth occurred thanks to German cellists Christian Dobereiner (1874-1961) and Paul Grummer (1879-1965), and later the Austrian Karl Maria Schwamberger (1905-1967) and Swiss cellist August Wenzinger (1905-1996), a pupil of Grummer's and a founder, in 1925, of one of Germany's first early music ensembles. Wenzinger was appointed cello and viola da gamba teacher at Basle's new Schola Cantorum Basiliensis, where Giacomo Nones (1929-2017) and Jordi Savall (b.1941) would become his pupils. Dobereiner was one of the most important pioneers at the dawn of modern research into historical performance practice, considered to have revived both the viola da gamba and the baryton from obscurity. From his Sarabande, in Handelian style, only the solo part has survived, and the basso continuo has been reconstructed by Matteo Malagoli. Alexander Tcherepnin (1899-1977) was an important Russian pianist and composer. He invented his own harmonic language, combining major and minor hexachords in a pentatonic scale that blended old Russian patterns and Georgian (Caucasian) harmonies. During a stay in France he became friends with Paul Grummer and in 1969 published a lovely Sonata da chiesa for viola da gamba and organ dedicated to Grummer and his daughter Sylvia. Giuseppe Selmi (1912-1987) was a gifted concert cellist, performing both with orchestra and piano. As a composer, he wrote several works for solo cello, with piano and with harp (he played in a duo with his wife Maria Dongellini). Following the gift of a viola da gamba (built by Paolo Leonori in 1952) from his wife in the 1970s, he became a passionate advocate for the instrument, writing works for it with harp or solo. Giacomo Nones (1929-2017) dedicated himself from a young age to classical music and the popular music from his native Trentino, studying violin, organ and viola da gamba, as well as musicology and organology. He has edited transcriptions and publications of Renaissance and Baroque music and has collaborated with various early music ensembles. Passionate about contemporary music, in particular 'computer music', he wrote his 10 small Algorithms for two viols with the use of a computer according to theories by the Russian mathematician Rudolf Zaripov. His only other viola da gamba works are the very different Partitas on the Lutheran chorale Was Gott tut, das ist wohlgetan for gamba and organ, and the Fantasia for solo viol on the Kyrie of the Gregorian 'Orbis factor' Mass. Riccardo Giavina (1937-2019) was a Piedmontese pianist and composer, later a teacher and headmaster at the 'Bonporti' Conservatory of Trento and Riva del Garda. A friend of Giacomo Nones, in April 1977 he dedicated his three short pieces for three viols (soprano, tenor and bass) to the other composer. Written in late Renaissance style, they are aimed at extending the original literature for viola da gamba into the 20th century. - Recorded April 2022 in Silvelle; July, August & December 2023 in Ponte nelle Alpi; and January 2024 in Trento (Italy) - Booklet in English contains liner notes and a profile of each of the composers - Matteo Malagoli plays a viola da gamba by Marco Salerno (Rome - Barcelona, 2004) - Cristina Centa plays a Salvi harp - Stefano Rattini plays a harpsichord by Fabrizio Acanfora (Naples, 1997) and at the Carlo Vegezzi-Bossi organ (1907; restored Mascioni, 2000) of the Trento Philharmonic Society

A prevailing feature of music of the 16th century and earlier was a split between the deployment of voices and instruments: occasionally replacing each other, or used in alternation - a more concerted effort in writing dedicated instrumental music with increasing degrees of complexity and virtuosity was taking place. The penchant for writing stories about love in it's many forms continued, finding a new home in the developing operatic works as well as the ever-popular madrigal genre, as composers continued to find ways to describe the joy, grief, despair and ecstasy of the human experience of love. Cupid's Ground Bass is a celebration of these developing musical aesthetics of early 17th century Italy, focusing particularly on the composers' language of love in all it's forms.

Emanuel Gruber and Arnon Erez's classic account of Beethoven's music for cello and piano has been remastered for this 2-CD release. The Jerusalem Post called Gruber "one of our great artists" citing "his extraordinary capacity for projecting the deepest meaning of the music". Gruber was awarded the Pablo Casals prize by the Israel Philharmonic Orchestra. Arnon Erez has been the head of the Chamber Music Department at the Buchmann-Mehta School of Music at Tel Aviv University for nearly two decades. With Emanuel Gruber, Erez has recorded the complete cello and piano Sonatas by Beethoven, Mendelssohn, and Brahms.