Marking 70 years since Enescu's death, celebrated violinist Charlie Siem returns to Signum Classics performing the Brahms Violin Concerto, and works by George Enescu with previous collaborators, conductor Oleg Caetani and the Philharmonia Orchestra. This release features a world premiere recording of the Brahms Violin Concerto cadenza written by George Enescu. PRAISE for Siem, Caetani and Philharmonia on Signum Classics: "Terrific performance there from Charlie Siem and the Philharmonia Orchestra and conductor, Oleg Caetani"� - Classic FM Album of the Week

Two metaphors intertwine in the Roseti del mare (Rose gardens of the sea). The rose garden is the shared place, the multifaceted, multicoloured, thorny and delicate project that well embodies the evolutionary drive of the young performers of Polimnia. The enigmatic vastness of the sea provides the setting in the consolidated repertoire of many great composers. It's presence is manifest in Robert Schumann's Romanzen fur Frauenstimmen (Meerfey, Der Wassermann, In Meeres Mitten), and it recurs in the choices of numerous French composers (for example, in C. Debussy's La Mer), a trait that clearly re-sonates in the fluid and elegant writing of Gabriel Faure featured here. Across it's surface, the sea incarnates the spontaneity, luminosity, and immediacy of Faure's invention, while in it's depths resides the Schumannian style, introspective and severe, directing it's gaze towards Reflection and the layering of Thought. With the Polimnia vocal ensemble, I chose to work on a challenging project, far removed from easy transcriptions or more straightforward choral adaptations. For all of us, it was like going out into the open sea, with no footholds or furrows of well-trodden routes. A treacherous journey, devoid of certainties yet full of opportunities for a totally shared research into the meanings and sounds expressed by the young performers already rich in their own time, ranging from 17 to 25 years of age. The fact that young is not an adjective to be equated with superficial is the conviction I have matured in my long experience as director of the children's choir from which the Polimnia Ensemble almost entirely originates. The result we have achieved is the impetus that moves us towards new challenges, new future projects. Claudio Fenoglio

R-O-R refers to the chemical compound ether, when two elements come together to create entirely different matter. This ethereal compound also gives it's name to the collaboration between Icelandic musicians Gy�a Valt�sdottir and �lfur Hansson, whose new album AUGA brings together the two musicians in a unique new work of cosmic alchemy. On AUGA the two musicians combine like electrons to create an expansive sound-world that feels like entering the landscape of a dream. The elements here are both earthly and alchemical: evocations of rain, geology, wind entangle with the oneiric and celestial. �lfur's self-made synthesiser soars and segues with sparkling harmonic threads of Gy�a's cello, creating a tapestry in which matter entwines with a luminous sense of the spectral. AUGA is a new direction borne from a long history of collaboration between the two. Both have worked on each other's previous solo projects, with Gy�a playing cello on �lfur�s album Arborescens, and �lfur working on arrangements and production for Gy�a's albums Evolution and Ox. A deeper collaboration began, however, when Gy�a and �lfur created the Icelandic Music Award nominated track 'Morphogenesis' for Gy�a's album Epicycle II. Partly created out of improvisation and partly composed in writing, and appropriately named 'Morphogenesis' for the biological process that causes an organism to develop it's shape, this explorative collaborative process set the path for the deeply symbiotic creation of AUGA. The resulting album is an elemental dreamscape of long-form music informed by the astral and eternal. The music made between the two has the quality of a kind of primordial plasma, with contours of melodies arising from thin air and swiftly shapeshifting into whorls of formlessness. On 'Petrichor', a track named for the scent of falling rain, a dew-drop string melody merges with the geological bedrock drones of �lfur's synthesizer. Elsewhere, the chemical evocations of tracks like 'Esters' and 'Onium Ion' take us on a spectral atomic journey through hydrogen and halogen, and the deep tremors of 'Vacuum' transport us through a sense of expansive geological deep-time. Speaking about the collaboration, Gy�a says; ROR is a realm which I love entering. When me and �lfur improvised for the first time together many years ago, we immediately went to this place, which was so clear, strong and familiar; like it had always been there, right behind the veil, and we were simply finding it again. I could never go there by myself, but when our tones met, we went there instantly. I love this realm, it is timeless, colourful and textural - a poetry of pure vibration. The music of R-O-R is a hologram made from two different beams of expression, forming a whole where sometimes neither instrument can be differentiated from the other. Carbon, silicon, horse hair and wood melt into one projection; a wormhole where both image and form, emptiness and void emerge in a dance of opposites. Gestures echoing into one another. AUGA is an ever evolving nebula of sound.

The Welshman John Thomas (1826-1913), harpist to Queen Victoria, wrote prolifically for his own instrument, both for solo harp and for duos of two harps or harp and piano - a combination where the different sounds of the two instruments enhance the clarity of the texture. Thomas' original works use the elegant Romantic style of his own day, but he often drew on Welsh folksong for his inspiration and left a generous legacy of transcriptions, especially of operatic favourites. Although some of his music was intended for the Victorian drawing room, other pieces require a virtuoso technique - and all of it has a thoroughly engaging melodic appeal.�[Volumes 1-5: TOCC 0561, 0566, 0578, 0582, 0711]

This album comprises seven solo, chamber, and orchestral pieces composed over almost forty years. It does not include any compositions for Japanese instruments or for early instruments which are well-represented in other albums by David Loeb. All of the pieces were written specifically for the performers who have played them here.

The first 12 songs of the 15 in I canti dell'esilio - originally written for voice and small orchestra - were composed in the early months of 1945 before the Allied forces' arrival in Venice in April at the end of the War. They are a clear reflection of an ideological choice that guided Ennio Porrino: selecting texts linked to a 'tradition' and crafting a musical language retaining the clarity of melody, in harmony with the prosody of the text. This was supported by harmonies both modal and chromatic, within the boundaries set by Debussy and his influence. All 15 of the Canti dell'esilio follow this structure, but especially the first 12, where the classical sources (Greek poets, newly translated in Salvatore Quasimodo's now-famous versions) and the pseudo-troubadour medieval sources (in old French, German and Spanish) intersect with Italy's poetic heritage. Organized according to a historical principle, these works suggest that Porrino intended to create a cycle representing different epochs of Italian literature. The first part of the collection comprises the three Greek songs, the three troubadour songs, and the three ancient Italian songs (from the 13th to 15th centuries). These stand out for their liveliness and charm, though simple modal processes occasionally hint at melancholy. The second part opens with the Italian songs from the 16th and 18th centuries, where a vital, extroverted energy prevails in movement, sound and gestures that border on the theatrical. Then the last three songs revisit the theme of 'exile' in their titles. While in the overall title of the collection the word 'exile' might imply the solace sought by the exiled and found through poetry, in this final subset of three it assumes a more personal meaning of nostalgia and sorrow, inevitably evoking the composer's own fate in that tragic spring of 1945. The texts are by Porrino himself and are deeply expressive of personal despair. The other collection on this recording, the Canti di stagione (Songs of the Seasons), belongs to a more joyful period in Porrino's life in his early 20s. Composed in 1934, this work coincided with his attendance at Respighi's advanced composition course and with the emergence of Francesco Santoliquido's chamber songs, whose tragic influence would deeply shape Porrino's later choices. The collection opens with Notte d'inverno (Winter Night), set with dark and sombre tones and heavy ostinatos supporting dramatic declamation. In stark contrast, Mattino d'aprile nel bosco (April Morning in the Woods) is a light, sunny dance. The third piece, Afa (Heat), conveys the exhaustion of summer's oppressive heat through a monotonous, heavy rhythm. The fourth piece, Autunnale (Autumnal), is broad and complex, it's rhythm vibrant and engaging. Other information: - Recorded June 2024 in Rome, Italy - Bilingual booklet in English and Italian contains liner notes by the composer's daughter, Stefania Porrino - The sung texts are available at www. Brilliantclassics. com - Ennio Porrino (1910-1959) was an Italian composer known for his deep connection to Sardinian musical traditions and his ability to blend them with modern compositional techniques. Born in Cagliari, Sardinia, Porrino studied composition under Ottorino Respighi, which influenced his rich and evocative orchestration. His works often reflected the landscapes, folklore, and cultural identity of Sardinia, making him a significant figure in 20th-century Italian music. - One of his notable compositions is I canti dell'esilio (Songs of Exile), written in 1945. This work, composed at the end of World War II, is deeply emotional and reflects themes of longing, displacement, and nostalgia. The title itself suggests a sense of exile-possibly symbolic of the broader displacement caused by the war or a more personal reflection on isolation and identity. The piece is characterized by expressive melodies, poignant harmonies, and an underlying sense of melancholy. - Performed by Angela Nisi (soprano) and Enrica Ruggiero (piano).

Although he had famous students (i.e. Szymanowski) and teachers (Moniuszko), few listeners know much, if anything, about Zygmunt Noskowski. And yet, for most of the 19th century, he was the primary exponent of modern symphonic music in Poland. His Third Symphony and his symphonic poem Steppe, Op. 66 blend sweeping Romanticism with Polish folk spirit. The symphony's seasonal journey is lush and lyrical, starting with spring and ending with the optimistic outlook to the next. Steppe evokes Poland's vast landscapes with Borodinesque colors. Under Antoni Wit, these overlooked gems shine anew and make for intriguing listening for lovers of melodic symphonic music.

Around the same time that Michael Korstick caused a sensation with the first and, to date, only recording of all Beethoven piano concertos (555 447-2), these recordings were also made. They shed light on the life of the "Titan" from the opposing perspectives of fashionable accessories and clever miniatures. These two aspects interweave in reverse chronological order: the Variations in C Minor from 1806 serve as the prelude, while the 24 variations on Righini's�Venni Amore�from 1791 conclude the portrait. In between, musical snapshots of the Bagatelles Op. 33 (1802) and Op. 119 (1822) frame the variations on an original theme, Op. 76 (1809), which would later become the�Turkish March.�In every piece, from the smallest vignette to the most intricate keyboard trick, the boundless imagination of one who set out to instill fear is at work.

On August 15, 1684, the Sun King's war against Emperor Leopold I and King Charles II of Spain reached a temporary end. Louis XIV had secured the advantage, and so several influential gentlemen sought to delight His Majesty with extravagant tributes. One of them was the Marquis de Seignelay, who spent the staggering sum of 100, 000 livres on illuminations, lavish banquets, and a concert at his Ch�teau de Sceaux on a summer evening. In doing so, he sparked a sensation that echoed for years: the Idylle sur la Paix (Idyll on Peace), featuring music by the court composer Lully and poetry by the court poet Racine. The Duke of Richelieu (the great-nephew of the legendary Cardinal) could only remain in second place. He, too, had planned a grand f�te at his estate, with music by Marc-Antoine Charpentier and the unveiling of an equestrian statue of the king. But the devil lurked in the details, and the F�te never came to pass. Now, 340 years later, the Boston Early Music Festival brings this long-lost vision to life.

The organ works of Axel Ruoff, born in Stuttgart in 1957, constitute one of the most important contributions to the literature for the instrument by any composer since Messiaen. Stylistically, his music unites the French cathedral tradition of composers like Langlais, Dupre and Guillou with the concern with counterpoint and logic heard in Reger and later German figures. Ruoff uses the unparalleled resources of the modern symphonic organ not produce music of freewheeling energy and uncompromising power. (Volumes 1-5, TOCC 0567, 0596, 0610, 0672, 0709)

Sir Andrew Davis was a talented keyboard player as a child and teenager, and after study with Peter Hurford, at St Albans, he spent four years at the University of Cambridge as organ scholar at King's College, under Sir David Willcocks. It was this period of his life that sparked his love for and appreciation of the organ works of J.S. Bach, which remained a lifelong passion. Sir Andrew made all the transcriptions on this album for the BBC Philharmonic, and four of them were recorded in November 2023. Sadly, Sir Andrew died before the final recording sessions for the album could take place (September 2024): we are immensely grateful that he completed the arrangements, and very thankful to Martyn Brabbins for completing the recording with the sense of style, love, and affection that Sir Andrew would have admired.

Julius Otto Grimm was born in the Estonian port city of Parnu, studied at the Leipzig Conservatory, and, after several stops, arrived in Munster, where he played such an outstanding role until his death in 1903 that the city's symphony orchestra could not deny him the recognition he deserved in anticipation of his 200th birthday (2027). This recording showcases two of the most significant works from Grimm's concise catalog: the youthful, passionate Symphony composed in Leipzig in 1852, paired with the second Canonical Suite from 1870, which the composer dedicated to his lifelong friend Johannes Brahms. This miniature masterpiece forms a bridge back to Johann Sebastian Bach, who undoubtedly inspired the refined contrapuntal artistry without ever relegating the self-avowed Romantic Grimm to the background.

MDG's multi-award-winning Les Six anthology series showcases the entire spectrum of an epoch. This installment is dedicated to Louis Durey, the eccentric outsider of Le groupe des Six. Holger Falk's incredibly agile baritone and tremendous tonal range accompanied by Steffen Schleiermacher's sensitivity, verve and virtuosity on the piano yet again take the benchmark up a notch in art song excellence.

Born just months before his father's early death, Franz Xaver Mozart represented the great hope of his mother, Constanze, who envisioned the continuation of the musical lineage in the younger of her two surviving sons. She, therefore, ensured that he received a first-class education, and he strove with all his might to prove himself worthy of the trust placed in him. He became a distinguished and recognized pianist, while over the years he created a small but refined body of work dominated by intimate ensembles ranging from lieder to chamber music. His character, as revealed through his compositions, is not unlike that of his father: behind the classically elegant and occasionally humorous language lies a quiet, touching melancholy, which in his piano quartet presses stormily into the world of the Romantics.

When several of the greatest minds in modern music join forces, the result is a genre-defying masterpiece. MEMORY OF TOMORROW brings together the virtuosic talents of marimbist Mika Stoltzman, bassist Eddie Gomez, pianists Geoffrey Keezer and Anders Wihk, vibraphonist Mike Mainieri, clarinetist Richard Stoltzman, and drummer Steve Gadd, who doubles as the producer of this all-star album. From the soulful melody of Eric Clapton's Layla to the infectious groove of Gadd's The Duke, the ensemble reimagines iconic works by several of modern history's most celebrated artists, from Sting to Chick Corea and more. A stunning blend of jazz, classical, and contemporary influences, this album is a celebration of virtuosity at it's finest.