Featuring 13 premiere recordings, With Eys Lift Up is a new collection of works written by American composer Nico Muhly for - and the majority commissioned by - the Choir of Magdalen College, Oxford. Comprising settings of the mass and canticles alongside anthems for Advent, Christmas, Epiphany, Easter, Ascensiontide, Trinity Sunday and Remembrance, the collection sets a number of little-known texts, casting new light on familiar seasons of the church year.

Regarded as one of Europe's leading horn players, Martin Owen appears as a soloist and chamber musician all around the world. He currently holds the position of principal horn at the BBC Symphony Orchestra, Britten Sinfonia, and Haffner Wind Ensemble, having served as principal horn of the Royal Philharmonic Orchestra and, on a temporary contract, as solo horn of the Berliner Philharmoniker. Mozart composed all of these pieces for the virtuoso horn player Joseph Leutgeb (or Leitgeb) (1732 - 1811). Leutgeb was born in Vienna and established his reputation as a soloist there before working in Salzburg, where Mozart made his acquaintance. Martin Owen writes: 'In this recording, we have attempted to portray a more youthful vigour in the earlier works (indeed, of Joseph Leutgeb himself, for whom they were written) compared to the Concerto in D, in many ways a swan song for both soloist and composer, in which I hope our performance shows more depth of tone and a higher level of maturity. I was intrigued by the fact that in 1990, sixty bars of music were uncovered in a Sotheby's auction, which were later confirmed as belonging to the concert Rondeau, KV 371 - when I was young, I only knew the work without these bars and always felt that there was too abrupt a change into the next section! Now it makes complete sense.'

With Plucked Bach III, Alon Sariel deepens his acclaimed Bach cycle, shaping a sound world marked by exceptional refinement and inward focus. This final volume enriches the series with new colours: a further relative of the lute family-the Ottoman baglama-and a rare Tuscan-type mandola, whose octave-lower tuning lends Bach's Third Cello Suite a dark, velvety resonance. The archlute, heard at the album's opening and close, frames the programme with quiet elegance, while Sariel's touch reveals Bach's writing to be both architecturally precise and profoundly tactile. The album unfolds as a sequence of finely balanced reflections rather than a single dramatic arc. Bach's works-such as the Prelude from The Well-Tempered Clavier, the Musette from the Notebook for Anna Magdalena, and the Second Violin Partita with it's monumental Chaconne-appear in subtly transformed light, their rhythmic pulse and harmonic gravity brought into sharp relief by the intimacy of the plucked strings. Familiar pieces from the keyboard, violin, and cello repertoire are set alongside rarer works, including those of Westhoff and Matteis, creating a listening experience that glides effortlessly between contemplation, memory, and resonance. Even in it's most expansive moments, the music maintains a sense of poise, allowing space, silence, and timbre to speak with equal eloquence. Plucked Bach III continues Alon Sariel's collaboration with PENTATONE. Beyond the Plucked Bach trilogy, this partnership also includes Vienna Mandolin Stories (2025) and the EP Schubert's Mandolin (2024), affirming Sariel as an exceptional artist whose work consistently reimagines the expressive possibilities of plucked instruments-and particularly of the mandolin-with rare depth and imagination.

Behzod Abduraimov's performances combine great musical depth with phenomenal technique: 'He has a magical touch,' wrote The Times. This recital is yet another illustration of his many talents: it begins with variations by Carl Czerny, a pupil of Beethoven and a teacher of Liszt. Next, the famous Apr�s une lecture de Dante (whose title is borrowed from a poem by Victor Hugo) represents Liszt's Ann�e de p�lerinage en Italie (1846-1849). The title is borrowed from a poem by Victor Hugo... Another era, another poetic inspiration (Verlaine), with the Suite Bergamasque, an allusion to the festivals of the Lombard commedia dell'arte, which Debussy composed between 1890 and 1905... Still celebrating, this time in Saint Petersburg, with 'it's crowds, it's shacks and it's small traditional theatre, the character of the magician and conjurer... and the animation of the dolls, Petrushka, his rival, and the ballerina', notes Stravinsky, who in 1921 wrote a piano transcription of his ballet Petrushka, composed ten years earlier. Brahms and a peaceful Intermezzo from his Klavierst�cke Op. 119 conclude this infernal programme.

Since relaunching Sinfonia of London in 2018, John Wilson's hand-picked orchestra has attracted the highest critical acclaim from both national and international press, performed at the BBC Proms every year since 2021 (their live d�but), and made their international d�but at the Concertgebouw, Amsterdam in 2025. Regularly touring in the UK, they have also released 25 albums (this is the 26th), covering a wide range of repertoire, including works by Korngold, Respighi, Ravel, Strauss, Rachmaninoff, Britten, Walton, Bliss, and Rodgers & Hammerstein. The album opens with Dukas' The Sorcerer's Apprentice, followed by Debussy's Clair de lune (orchestrated by John Wilson). Chabrier's Joyeuse Marche and Ravel's Une Barque sur l'oc�an (orchestrated by their composers) are followed by Saint-Sa�ns' symphonic poem Danse macabre. The programme ends with all of the movements from Bizet's two Carmen Suites, but in John Wilson's preferred order!

The German composer Johanna Senfter was a student of Max Reger, who recognized her musical talent and encouraged her to pursue advanced studies in his composition class in Leipzig, which she completed with distinction in 1909. In 1910, she was awarded the Arthur Nikisch Prize for the best student composition of the year. Born into a well-to-do industrial family, she was financially independent and able to devote herself entirely to her creative work throughout her life. In addition to numerous chamber music pieces, she left behind nine symphonies. From the youthful Sturm und Drang of her first symphony (1914) to the thoughtfully moving ninth (1949), composed after two world wars, the development of her musical language can be discovered here with this world premiere recording.

Composer, flautist, and producer Allison Loggins-Hull's genre-defying style is vibrantly brought to life on Patchwork, an album of six new chamber works celebrating the culmination of her three seasons as a Composing Fellow with the Cleveland Orchestra.

Giya Kancheli, one of Georgia's most eminent composers, became increasingly famous after the advent of glasnost in the Soviet Union, when his works, not least his seven symphonies, were heard internationally. Around the year 2000 Kancheli shifted away from the opulence of these pieces and moved towards a more restrained, introspective vein, which is exemplified by the three works on this album. Elements of folk and traditional music can be glimpsed in the abstract Ex contrario, while Middelheim is striking for it's overlapping succession of episodes. Tsutisopeli was Kancheli's final score.

As chief conductor of the Gothenburg Symphony Orchestra, Santtu-Matias Rouvali has spent five years recording Sibelius' symphonies and symphonic poems for Alpha Classics, landmarks of the discography which have received numerous awards worldwide. He wanted to continue this cycle with the famous violin concerto, for which he chose the young Swedish violinist Ava Bahari, artist in residence at the Gothenburg Symphony and ECHO Rising Star for 2026/2027... Together, they form a close-knit duo and share the same passion for the music of the Finnish composer who, heartbroken at not having realised his dream of becoming a virtuoso violinist, composed a concerto that would become an essential work in the history of music, in which soloist and orchestra merge... Rouvali and the GSO also recorded another work that demonstrates Sibelius' innovative symphonic thinking: the cycle of Four Legends of Lemminkainen, first heard in Helsinki on 13 April 1896.

Horizon is sublimely beautiful, evocative music written for and recorded by the celebrated Australian Chamber Orchestra. Adams writes:?"There are two horizons. The visible horizon. And the true horizon.... As we scan the horizon we measure not only space, but also time. How long might it take us to traverse that distance, from where we are to as far as we can see? And what lies beyond that edge of the known?." Composer John Luther Adams' music has won a Pulitzer Prize and a Grammy Award (and a number or Grammy nominations) and has been performed by such prominent ensembles as the New York Philharmonic, the Chicago Symphony, the Los Angeles Philharmonic, the Seattle Symphony, and the JACK?Quartet. "John Luther Adams... one of the most original musical thinkers of the new century." (Alex Ross, The New Yorker) "His music becomes more than a metaphor for natural forces: it is an elemental experience in it's own right." (Tom Service, The Guardian) "His music perfectly echoes the landscape he loves: impersonal, relentless, larger than human scale, yet gorgeous." (Kyle Gann, Chamber Music Magazine) The Australian Chamber Orchestra (ACO) is a unique, highly lauded string orchestra led by Richard Tognetti. It tours the world, performing works from all periods of Western classical music, and has recordings on ABC Classics, BIS, Hyperion, Chandos, Sony, and other labels.. "ACO... invigorating and highly cultivated-a breath of fresh cultural air" (Gramophone) "This terrific string ensemble... seems to shine at anything it undertakes." (San Francisco Chronicle) "ACO... The finest chamber orchestra on Earth (The Telegraph, UK) "An orchestra that, by any standards, is one of the wonders of the musical world today." (The Guardian)

Sean Shibe's fifth PENTATONE album, Vesper, presents a striking collection of contemporary guitar works by the late Harrison Birtwistle, James Dillon, and Thomas Ades, all composed by musicians who do not play the instrument themselves. Recorded here for the first time, these recent miniatures explore the guitar's expressive range in profoundly different ways: ritualistic and evocative in Birtwistle, elemental in Dillon, and allusive in Ades. Shibe's interpretations reveal the instrument's extraordinary colour, subtlety, and capacity for transformation, bringing each work to life with imagination and nuance. For some of Birtwistle's pieces, Shibe performs on Sylvette (2021), a guitar made by luthier Simon Ambridge in collaboration with French-British artist Lydia Corbett. A muse to Pablo Picasso - who was himself an important influence for several of Birtwistle's works on this album - Corbett also inspired Picasso's celebrated Sylvette series. Modelled on the small, responsive instruments of the Andalusian luthier Antonio de Torres, the guitar features Corbett's artwork on it's body, adding a visual and symbolic layer to the performance. Shibe is a former BBC New Generation Artist, a Borletti-Buitoni Trust Fellowship 2012 winner, a Royal Philharmonic Society 2018 Young Artist Award winner, a multi-GRAMMY nominee, and the recipient of the 2022 Leonard Bernstein Award. His recordings have won BBC Music Magazine and Gramophone Awards.

The four symphonies of Arvo Part were composed over a span of forty-five years, and bear little or no relationship with one another - four individual pieces that represent his output at separate parts of his creative journey. The First Symphony was composed in 1963, shortly after Part had graduated from the Tallinn Conservatory. It's two-movement structure looks to the baroque - Canons and a Prelude and Fugue - but the harmonic language is extremely advanced, giving off a distinct whiff of twelve-tone serialism. The Second Symphony, from 1966, in three movements, again employs a combination of serialism and textures hinting at Penderecki and the Polish school. Also in three movements, the Third Symphony (1971) reflects the time Part spent in the late 1960s studying chant and mediaeval music. Symphony No. 4 'Los Angeles' came much later (in 2007 - 08) and now the style is directly inspired by sacred music. Part took as his models two great litanies of the Orthodox Church: the Canon of Repentance, and the Canon to the Holy Guardian Angel. Unusually scored for strings, harp, timpani, and percussion, this final work is also cast in three movements. With her elegant, expressive body language, natural stage presence, and infectious musicality, Eva Ollikainen is one of the leading conductors of our time. This former student of Leif Segerstam and Jorma Panula has been Chief Conductor and Artistic Director of the Iceland Symphony Orchestra since 2020.

Swedish soprano Malin Bystrom, hailed as one of today's leading singing actors, presents a captivating journey through her celebrated German repertoire. Renowned for her perfect vocal technique, Bystrom brings to life arias and scenes that have enthralled audiences on stage and in concert, accompanied by the Royal Stockholm Philharmonic Orchestra under Thomas Sondergard. The album features excerpts from two 19th-century German operas among her favorites: Beethoven's Fidelio and Carl Maria von Weber's Der Freischutz. It also spotlights Erich Wolfgang Korngold's Die Tote Stadt, a lushly orchestrated work that, despite today's relative obscurity, was one of the greatest hits of the 1920s. However, it is Richard Strauss who takes center stage, a composer whose genius for the female voice is unmatched. Bystrom's voice, described by critics as "radiant," "sparkling," and "silvery," soars through the opulence of Die agyptische Helena, the timeless lyricism of Capriccio, and the dramatic intensity of Salome's final scene. This album is a testament to her artistry, showcasing her mastery across the breadth of German operatic tradition.

Kip Winger is a genre-bridging composer with a long and successful career in rock music. His celebrated ballet score Conversations with Nijinsky led conductor Giancarlo Guerrero to commission the two works on this album. Weaving four floriographical meanings into the musical arc, In the Language of Flowers is a violin concerto that celebrates a love story "no words could adequately express." Symphony of the Returning Light sits in the tradition of autobiographical fantasies stretching back to Berlioz. The symphony incorporates the use of Morse code rhythms and is centered around the theme of atonement.

PENTATONE's release of the Czech Philharmonic's complete Mahler Cycle under Bychkov brings together one of Europe's most historically resonant orchestras with a conductor internationally recognised for his structural command and interpretive integrity. The orchestra occupies a distinctive place within Mahler's geographical and cultural landscape - Mahler was born and brought up in Bohemia and completed his First Symphony shortly after spending a year in Prague. Mahler symphonies have been central to Bychkov's programming with the Czech Philharmonic since 2018, when he opened his tenure as Chief Conductor and Music Director with performances of Mahler Symphony No. 2. Symphonies Nos. 1-5, released by PENTATONE beginning in April 2022, have received universal acclaim. The recordings have been selected as Gramophone Editor's Choice and BBC Music Magazine Recording of the Month. As The Sunday Times writes, "This is turning out to be one of the truly great Mahler sets."

After exploring lesser-known works for light lyric tenor from the op�ra-comique repertoire with the multi-award-winning So Romantique ! (ALPHA924), this new recording focuses on a unique genre: French m�lodie with orchestra. "Deeply attuned to the chamber dimension of music, I was naturally drawn to this form, which is rarely programmed today. Attention to tone colour is essential here, particularly in the interpretation of such brief pieces, an exercise at the very heart of my approach as a m�lodiste," says Dubois. Designed by the researchers and editors of the Palazzetto Bru Zane, this programme allows us to rediscover lost treasures of French heritage: refinement, the art of suggestion, delicacy, nobility of expression - everything here is so poetic!

Commissioned by the Propaganda Department of the Soviet State Music Publishing House to celebrate the tenth anniversary of the October Revolution, the Symphonic Dedication to October eventually became Shostakovich's Second Symphony, and was first performed, in Leningrad, in 1927. It is a short, through-composed work of around twenty minutes, it's structure involving four sections. It opens with a Largo meant to portray the primordial chaos from which order emerged, and ends with a choral setting of To October, a poem by Alexander Bezymensky, praising Lenin and the October Revolution. The symphony shows a marked departure in style from Shostakovich's first symphony, and is far more modernist and avant-garde. The Second Symphony made little impression, in Russia or the West, and is rarely performed. In contrast, the Fifth Symphony received a standing ovation at it's premi�re, one that lasted for over half an hour, and was acclaimed both by state officials (for delivering everything that they had asked of Shostakovich) and by the public (who heard it as an expression of the suffering to which it had been subjected by Stalin). The Fifth Symphony is one of Shostakovich's best-known and most performed works, and has become standard repertoire for orchestras around the globe.