Radio With/Out Voice�is a provocative new album which reanimates John Cage's enduring fascination with the medium of radio. Performed by Clare and David Lesser-two of contemporary music's most versatile interpreters-this recording explores Cage's radiophonic works through performance, composition, and critical engagement. Far from being a nostalgic reconstruction, the Lessers' approach is both scholarly and boldly creative, situating Cage's use of radio not merely as a historical curiosity, but as a radical act of decentralisation: of authorship, temporality, and musical expectation. This is Cage as theorist of transmission and static, prophet of sonic ephemerality, and architect of what Mark Fisher called "a time out of joint." Spanning works such as�Radio Music�and�One�to the rarely heard�Sculptures Musicales, this album presents the radio not only as a sonic instrument but as a philosophical site-an invisible architecture in which Cage staged his most audacious dismantling of musical norms. Static and fragmentation become expressive forces in themselves, mediated by the performers' acute sense of form and freedom. Drawing on deep knowledge of Cage's methods, including his application of the I Ching and his subversive use of silence and structure, Clare and David Lesser illuminate the vibrancy of Cage's late and lesser-known works. These performances embrace the medium's inherent unpredictability-it's "crackle" and drift-and in doing so, reaffirm Cage's commitment to sound as process, possibility, and play. This is an album for critics, scholars, and listeners attuned to the intersections of philosophy, sonic experimentation, and media archaeology. It speaks to the ever-shifting boundary between sound and signal, listening and hearing.

This album presents three large and undoubtedly genuine compositions. In addition, it presents some of Bach's doubtful and spurious works, which were already attributed to him in the late 18th and early 19th centuries. By using an original organ (Mueller, 1734, in the Waalse Kerk, Amsterdam) and a performance asesthetic based on historically informed choices of registration, touch, articulation and ornamentation - all magical details of Bach's music shine through.

We begin with one of Shostakovich's earliest chamber works, the Cello Sonata, originally premiered by cellist Viktor Kubatsky with the composer at the piano. Kubatsky later transcribed the cello part for the viola with Shostakovich's approval. His version, along with subsequent transcriptions by Evgeny Strakov and Annette Bartholdy, adapted certain passages to suit the viola. For this recording, I chose to remain as faithful as possible to the original cello version, raising some passages by an octave to accommodate the viola's range. This is followed by Shostakovich's Impromptu, a brief but captivating piece discovered in 2017. The album concludes with Shostakovich's Viola Sonata, which stands as one of the cornerstones of the viola repertoire. Not only is it his final composition, but it's also one of his most profound. In this work, Shostakovich seems to bid a poignant farewell, weaving in quotations from his earlier pieces and even paying tribute to Beethoven in the final movement.

Renowned Russian jazz pianist Ivan Farmakovskiy makes his highly anticipated debut on SteepleChase Records with a stunning new album. Blending his signature hard-bop style with modern jazz sensibilities, Farmakovskiy delivers a masterful performance that bridges tradition and innovation with American rhythm section of Christian McBride and Jack DeJohnette. Ivan won the 1994 bi-annual Russia Jazz Competition, the biggest contest for young Russian performers and he won another prize at the 1997 Europe Jazz Contest in Belgium.

Bruckner: Symphony No. 7

Tracks: "Wicked Twisted Road," "Break My Heart Tonight Stick Around," "Rider in the Rain," "Set Me Free" and more.

Copland, Menotti: Piano Concerti

Violinist Robert McDuffie has earned a reputation as one of his generation's finest players. Here he performs selections from Lehar, Kreisler and Strauss with the help of Erich Kunzel and the Cincinnati Pops Orchestra.

The Wind That Shakes The Barley: Hammer Dulcimer

Guitarist David Russell and the Naples Philharmonic Orchestra record two of Joaquin Rodrigo's concertos based on 17th-century dance forms. Featuring conductor Erich Dunzel.

Sky Music

Hovhaness: Celestial Gate

Play Ball!

Claudia Schmidt

Sing We All Merrily - A Colonial Christmas