Volume 7 of the Boris Bloch series contains live recordings of Scarlatti's sonatas for piano.

The Renner Ensemble has established themselves as one of the leading male choirs in the world since 1987. The ensemble is renowned for its versatility, a wide-ranging repertoire from early medieval to Renaissance to modern avant-garde. This release showcases the ensemble's talent as well as teh musicianship of all it's members. The lyricism of Liszt and textures from Verdi shine through this entire album.

The present album 'Braiding Chopin' by Andreas Woyke is a continuation of his solo debut 'Braiding Bach'. Compositions by the Polish piano grandmaster of the Romantic period interact with the pianist's own compositions and together form a dramaturgical total work of art: both expressive and contemplative - and thus also a mirror of the human soul! The German pianist, Andreas Woyke, had an education shaped by various international influences - the Argentine pianist Aldo Antognazzi taught him in Siegen. In Cologne and Vienna he studies with the Russian pianists Pavel Gililov and Rudolf Kehrer. That time he won a number of international prizes: 1st prize at Brahms-Competition Hamburg, 1st prize at Austro Mechana in Vienna and 2nd prize and recital prize at UNISA Transnet competition in Pretoria.

Eug�ne Ysaye completed four �tudes-Po�mes (study poems) between June 1900 and September 1901. Three of them were published after the composer's death by his grandson, Jacques Ysaye, but the �tude-Po�me in G minor, recorded here as a world premi�re, remained unpublished. Written in the summer of 1900 in the Belgian village of Sainte-Marie-Chevigny, soon after the �tudes-Po�mes in A major and E b minor, this work was given it's first performance by the composer himself and the French pianist Raoul Pugno on 17 October of the same year, in Copenhagen. For No� Inui, the sonatas have a fundamental meaning. The study and recording of the complete works is a gain and a challenge for him. The solo sonatas have accompanied him in his musical education since the age of fourteen.

In his work "The Seasons Op.37a", which is one of Tchaikovsky’s most popular compositions, he evokes the eternal cycle of growth and decay, a remembrance of the musical world of Robert Schumann and serves as a musical reminder of a bygone bourgeois era. Elena Margulina accompanies the cycle with the original version of the Sonata Op. 37. Pianist Elena Margulina enjoyed a highly distinguished musical education, graduating with a piano concert diploma from the St. Petersburg State Conservatory and, summa cum laude, from the University of Music in Detmold in 1996. She has won prizes at renowned piano and chamber music competitions, including First Prize at the Fifth International Schubert Piano Competition in Dortmund in 1995. She has taught at the University of Music, Media and Drama in Hanover and at the State University of Music and Performing Arts Stuttgart and offers master classes worldwide, including in Germany, Italy, South Korea, Canada, China, Albania, Russia, the Ukraine, Israel, and the United Kingdom. In 2014 Elena Margolina joined the faculty of the University of Music in Detmold as professor of piano.

Renata Pereira writes of this new release: "This album is entirely dedicated to the music of Brazil. It is very different from Falando Brasileiro (2014) because it is a Brazilian music sound photograph of the twentieth century. It is also very special work, because this photograph is unheard of! The repertoire on this album has never been recorded previously on recorders. We also present two original Brazilian compositions for the instrument, one of which was written in 2019 and is dedicated to the ensemble. It is an important part of our work to reveal Brazilian music and to promote the interest of Brazilian composers to write music for our instrument. As passionate as we are about the recorder's history and it's repertoire, to play our national music is to tell our musical story and not a foreign story."

After two productions with chamber music, Stefan Tarara now presents his debut album as a soloist on Ars Produktion. The young Heidelberg violinist interprets Eugène Ysaÿe's Six Sonatas Op.27 for violin solo on a Stradivari from 1721. Each of these pieces is dedicated to a certain famous violinist, e.g. George Enescu, Fritz Kreisler or Joseph Szigeti, and is composed in a corresponding style. Stefan Tarara was born into a musical family in Heidelberg, Germany in 1986 and made his stage debut at the age of four. After earning his baccalaureate in Heidelberg in 2006, Tarara completed his Diploma (2010), an MA in Specialized Music Performance (2012) and an MA in Pedagogy (2015) in the class of Zakhar Bron at the University of Arts in Zurich, Switzerland. Due to his successes at international music competitions, Tarara was named Musician of the Year in 2008 and 2010 by the German music journal Neue Musikzeitung. Tarara has a keen interest in contemporary music. In addition to performing numerous premieres, Tarara won the Interpretation Prize for his performance of Massimo Lauricella’s work “Kairos” at the International Premio Paganini Competition in 2010.

Beethoven - German identity, high culture, a myth. The crossover formation Uwaga! And the Folkwang Kammerorchester dedicate their second joint project to the composer. The musicians, united in curiosity and openness as well as the desire to try out new things, examine Beethoven's music; disassemble it in order to put it together in a completely new way. They explore the past and present of Beethoven's myth and bow to his music. With much love and respect, the Bonn native is confronted with the Balkans, the Orient, Swing and Rock. An album that consistently and creatively extends the boundaries of classical music.

Fedor Rudin writes of his new release: “We chose the title of this recording, REFLETS, for two reasons: firstly, because all works of art are connected in one way or another, make reference to each other in various ways or because they share a common tradition. Ravel, for example, was Faure’s composition pupil, who in turn was Lili Boulanger’s piano teacher; Catoire was influenced by Wagner, but when listening to his violin sonata, the first thought that comes to mind is: “This is the Sonata that Rachmaninoff should have written!” even though Rachmaninoff lived after Catoire. In that sense, art is a reflection of our past while pointing towards the future; the interpreter turns into the composer’s reflection during the performance. The second meaning is related to our personal histories, to the so called origin-based traditions and the reflections on culture that result from them, something I am most familiar with as someone who was born in Russia and brought up in France. These reflections had a considerable influence on our selection of Russian and French works on this recording: one sonata and two miniatures each, which belong together, as well as two separate pieces, one from Russia and one from France.” Franco-Russian violinist Fedor Rudin, a prize-winner of renowned international violin competitions including the Henri Marteau, Rodolfo Lipizer and the Aram Khachaturian competitions, is quickly establishing himself as one of the most exciting and gifted soloists of today. Born in 1992 into a family of musicians, Fedor Rudin is the grandson of Russian composer Edison Denisov. Fedor Rudin studied with Larissa Kolos, Miroslav Rusin, Svetlin Roussev, Zakhar Bron and Pierre Amoyal. He plays the 1680 Paganini-D’Annunzo Stradivarius, thanks to a generous loan from the Rin Collection in Singapore.

When the musicians of Duo Accordarra discovered the substantial difference in timbres between their own instruments, accordionist Krisztian Palagyi and guitarist Ivan Petricevic decided to create their own arrangements of some of their favorite music. True to the motto 'no risk no fun,' Palagyi and Petricevic left behind the 'comfort zone' of the concert soloist and immersed themselves into the fascinating world of arrangements of music with a Mediterranean flair. The title of the recording, Mas alla del sueno or Beyond the Dream, underlines the duo's intention to always think ahead with regards to musical development, to seek inspiration in the future and to remain open to new ideas and dreams. Duo Accordarra met while studying toward their Masters degrees at the University of Music and Dance in Cologne, Germany. The two highly accomplished soloists share similar musical tastes and a vigorous and passionate technique. Since very little music has been written for their combination of instruments, Duo Accordarra enjoy the exploration and study of a new and broader repertoire, so as to give room to the different timbres of both instruments and to present well known music in a new light.

This release is the third installment of the series “Taste The Best- Die Stars von morgen” (The stars of tomorrow) The young and promising quartet Fukio Ensemble presents itself here for the first time to a larger audience. The group performs works from Dvorak, Levy, Lago, Hoffman, and De Falla.

Aurelia Shimkus' debut CD on Ars Production is a technically sophisticate program with highbrow musical parts. Besides the Scherzo and Marsch by Liszt, she offers two sonatas by Beethoven and Schumann, tracing the piano scherzo development of the 19th century.

As the album title suggests, the repertoire on this collection is centered on the concepts of identity, both personal and national. Written between 1904 and 1927, a time that predates, includes then postscripts the WWI era, the diverse works on this collection examines four early 20th century pioneers: Claude Debussy, Leos Janacek, Erwin Schulhoff and Karol Szymanowski. The duo of No� Inui (violin) and Mario H�ring (piano) illustrate these composers' search for new sounds, tone colors and forms at a time of great foment and through the duo's nuanced thoughtful performances enable listeners to experience anew the many musical worlds that were created during that time.

When female composers created their many piano miniatures in the 19th and early 20th centuries, it was not because they were unable to express themselves in larger forms. Rather, it was one of the few genres to be granted to them by their male competitors. But they knew how to make a virtue out of necessity, as Viviane Goergen impressively shows here. "As rich in nuances as presented here by the Luxembourg-Swiss pianist Viviane Goergen, each of these miniatures becomes a treasure of it's own. A sense of inner calm characterizes these interpretations, which concentrate entirely on musical expression. Goergen finds in the miniatures the right colors and nuances to bring the distinctive moods of the music to be heard. With a fine, clear attack, differentiation of dynamics and transparency of musical structure, the pianist manages to keep the listener's interest through the whole program." (Remy Franck, Pizzicato)

After the solo album with works by Beethoven, Bulgarian pianist Donka Angatschewa plays works of Franz Liszt. She dedicates the recording to her friend and supporter Heinz Aeschlimann who gave her the initial idea to play Liszt’s B minor sonata and supported her over the years. A whirlwind at the piano, a sensitive musician with excellent technical skills and phenomenal pianistic expression — this is how the young pianist is celebrated both by critics of the Wiener Zeitung and Luzerner Zeitung as well as by renowned musicians such as the Artemis Quartet. Born in Plovdiv, Bulgaria, Donka Angatcheva Maraszto made her debut as a soloist with the Plovdiv Philharmonic Orchestra at the age of ten. A pupil of Maria and Diana Slavova as well as Milena Mollova (a student of Emil Gilels), Angatcheva won numerous awards at international piano competitions from an early age. She completed her studies with Heinz Medjimorec, a member of the Haydn Trio, at the University of Music and Performing Arts in Vienna. Angatcheva’s artistic development was heavily influenced by master classes with musicians such as Ludmil Angelov, Boris Romanov, Catherine Vickers, Peter Efler, Tiny Wirtz and Oxana Yablonskaya.