The Isabelle van Keulen Ensemble was initiated in 2011 by the internationally well established violinist and violist Isabelle van Keulen, following her Carte Blanche concert series in the Concertgebouw Haarlem, the Netherlands, with the purpose to perform Astor Piazzolla’s Tango Nuevo masterworks to the highest technical and musical standards.

Together with bandoneonist Christian Gerber, he himself one of the leading performers of his generation, and winner of several prizes such as the Deutsche Schallplattenpreis, pianist Ulrike Payer, well known for her versatility and sensibility in all musical genres and double bass player Rüdiger Ludwig, a charismatic musician and Co-Principal of the NDR Orchestra Hanover, they overwhelmed their audience on their first appearance. The present release features Piazzolla’s Variations on Buenos Aires, in collaboration with dkn, the Deutsches Kammerakademie Neuss, van Keulen's string orchestra.

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For the Dutch violinist Isabelle van Keulen, this recording, released by Berlin Classics, is a matter of the heart: in 2011, together with the bandoneonist Christian Gerber, the double bassist Rüdiger Ludwig and the pianist Ulrike Payer, she founded the Isabelle van Keulen Ensemble, with which she focused on tango nuevo and, above all, music by Astor Piazzolla. The classically trained violinist had always enjoyed crossing supposed genre boundaries, thus leaving the comfort zone of a classically trained and renowned violinist, at home on the concert stages of the world. Since 2019, she has also been artistic director of the German Chamber Academy Neuss, where she combines solo playing and direction from the concertmaster's podium.

So now a little homage to Astor Piazzolla. On the CD, “Piazzolla: Variations on Buenos Aires” she brings her two ensembles together. It is easy to imagine that this is not easy to implement - especially for classical musicians - since tango is not exactly part of the repertoire of orchestral musicians in training and everyday practice. But here the musicians of the German Chamber Academy Neuss surprise, or are simply strongly influenced by their artistic director. With the combination of a typical tango ensemble and a classical string orchestra, van Keulen shows through the line-up what was also typical of Astor Piazzolla and his music: although influenced by the tango from birth, the composer felt deeply attracted by so-called Western classical music. These references can also be heard in the pieces recorded here: Tres minutos con la realidad reveals echoes of Stravinsky, and his suite Silfo y Ondina shows his admiration for Bach.

The arrangements that can be heard here were created by bandoneonist Christian Gerber, taking into account the special requirements of the larger line-up. So he sometimes distributes the music only to the extended voices, or to added opposing voices; he even precedes the very well-known Oblivion with a bandoneon introduction. With this type of editing, Gerber and thus this recording are entirely in the tradition of Piazzolla, who in turn repeatedly adapted his own works to suit possible changing needs.

The selection of Piazzolla's pieces ranges from relatively unknown ones such as the above-mentioned Bach-like suite, but also such catchy tunes as Oblivion or the touching Adiós Nonino can be found on the CD. The successful collaboration of Isabelle van Keulen's two ensembles creates a successful combination between classical music and tango - something that Piazzolla always strived for. Thanks to the brilliant playing of the typical tango ensemble, this slightly different version of the works loses nothing of the typical tango sound.

-- Klassik Heute

Introducing the enchanting sounds of lutenist David Bergmüller. Immerse yourself in a musical journey with his captivating solo recital. With a repertoire carefully handpicked, David's music unveils a realm of intricate melodies and serene tones that resonate close to silence. Each note carries a meditative character that transcends time. This album's music acts as a soothing antidote in a world constantly bombarded with stimulation. It effortlessly captivates our senses, offering a peaceful sanctuary amidst the chaos. Drawing from the rich tradition of French lute music, David Bergmüller adds his unique touch with skillful arrangements that breathe new life into the compositions. Experience the magic of this exceptional collaboration, where centuries-old melodies blend seamlessly with David's artistic vision. Prepare to be spellbound by the beauty of this repertoire that continues to fascinate and provide a much-needed counterpoint to our overstimulated lives.

After the successful release of "Odyssey," pianist Danae Dörken presents her second album on Berlin Classics. Together with her sister - Kiveli Dörken - she invites the listener to embark on an emotional and psychological journey through a very personal selection of music that characterizes the Greek gods Apollo and Dionysus. This unique journey aims to become aware of the characteristics represented in each of us and create a balance between them. The technical brilliance present in their playing and the insightful, sensitive interpretations already make this album a highlight. Their deep personal connection and the decades of playing together at the piano are audible in every moment of these recordings and set this album apart.

Founded in 1841 under the participation of Constanze Mozart, the Mozarteumorchester Salzburg today enjoys the highest reputation worldwide for its lively and style-conscious Mozart interpretations. In numerous ways, it connects the Viennese Classical period to the music of the 19th/20th, and 21st centuries. The orchestras' constant preoccupation with his core repertoire also shapes its approach to the music of later periods. Thus chamber-musical transparency, articulatory clarity, and nuanced sonority are a trademark that makes the Mozarteum Orchestra special and recognizable, also when playing the music of other composers. This CD is the first release of a series, which begins at the orchestras' programmatical core: Mozart, and ventures onto Richard Strauss, Anton Bruckner and Hans Werner Henze.

Introducing the latest recording with Luisa Imorde and the Bremer Philharmoniker, featuring two great romantic Piano Concertos from Clara Schumann and Carl Maria von Weber. Following the success of her previous albums dedicated to Beethoven/Wölfl, Bach/Kapustin, and Couperin/Messiaen, the pianist now presents her latest recording that explores the romantic repertoire with orchestra. This album features two Piano Concertos that beautifully capture the essence of the romantic era, complemented by solo piano pieces by Robert and Clara Schumann and C.M. von Weber. Weber's departure from the classical to the romantic era and Schumann's legacy as a female composer bear witness to the mastery of both in Luisa Imorde's outstanding interpretation.

On the Shoulders of Giants is the latest album from the renowned cellist Claudio Bohórquez, with works ranging from Schumann to Webern, from Schubert to Messiaen, this album is a journey on the shoulders of musical giants, both in the compositions and in the interpretations. Accompanied by the legendary conductor and pianist Christoph Eschenbach, Bohórquez delivers an extraordinary performance that is a treat for the ears and soul. With his exceptional skill and technique, he explores the depths of the cello's sound, bringing out the unique beauty and emotion of each piece. The album features Schumann's Adagio & Allegro op. 70, a powerful and expressive work that showcases Bohórquez's impeccable bowing and phrasing. The 2 Pieces for Cello and Piano by A. v. Webern are a masterclass in modernist composition, with Bohórquez and Eschenbach expertly navigating the intricate and complex melodies. Schubert's Sonata (Arpeggione) is a true gem of the cello repertoire. Finally, O. Messiaen's Louange à l‘Éternité de Jésus is a beautiful and moving work that showcases the cello's ability to convey deep spiritual emotions.

That (these recordings) are now available at budget price is a cultural achievement by [Berlin Classics]. Seize the opportunity. -- MusicWeb International

The fusion of lyricism and music in the Lied style, a form in which Schumann succeeded so subtly, finds a particular parallel in the interpretations of Schumann’s work by Peter Schreier and Norman Shetler. Their recordings, dating back half a century, are still regarded as reference works for their calmness and composure, as well as their warmth and intimacy. These works are presented with the same care and devotion as the music itself in these liner notes, as we are invited to experience the personal struggles and triumphs of one of the most famous composers of the Romantic era.

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I don’t think I exaggerate if I state that Peter Schreier, among tenors, was the pre-eminent interpreter of German Lieder during the second half of the twentieth century...his verbal acuity, his ability to adjust the colour of the tone in order to express feelings and atmosphere and his sense for nuance set him apart from almost any other singer during that period.

Is Schreier dragging [tempi, compared to other singers]? No - that is not my feeling. His deep involvement and the hushed intensity in his declamation invest the text and music with such importance that any criticism is silenced.

This Dichterliebe should satisfy even the most discriminating connoisseur. This also goes for the other two cycles, Liederkreis Op. 24 and Op. 39. Besides the 37 songs that constitute the three cycles there are another 75 from various groups that Schreier for some reason preferred not to record in their entirety. These 75 are just as idiomatically performed. I am full of admiration for the consistency of Schreier’s singing – consistency in this case means that he treats each song according to its contents.

For those who are only familiar with the most well-known of his songs there will be revelations aplenty. Some of the “new” songs may need a couple of hearings to reveal their greatness, for instance the four Lieder aus dem Schenkenbuch im Divan. More immediate are perhaps the Fünf Lieder Op. 40, even though the second of them, Muttertraum, is uncommonly chromatic for Schumann. Der Soldat and Der Spielmann are charming and Verratene Liebe is quite irresistible. Here also is one of Schumann’s most touching songs, the Rückert setting Der Himmel hat eine Träne geweint, followed by Ich hab’ in mich gezogen and don’t miss Zum Schluss.

On CD 4 there are more gems. Zwölf Gedichte von Justinus Kerner Op. 35 is a longstanding favorite. I thought nobody would ever outdo Thomas Hampson, but Schreier is possibly even more involved. No. 2, Stirb, Lied’ und Freund’! is heart-rending in Schreier’s hands, Auf das Trinkglas eines verstorbenen Freundes (No. 6) is magical and Stille Tränen is so exquisitely interpreted. At first hearing this group of songs — it isn’t really a song-cycle — may seem rather alien to those who only know the “usual” Schumann. They are more akin to Brahms’ late songs. Give them a chance and they will open up and Schreier is the best possible guide into this new world.

Also lend an ear to the inwardly sung Schneeglöcken (CD 4 tr. 14). Finally Schreier takes us to the realm of darkness in Sechs Gedichte von Nikolaus Lenau und Requiem...Schreier is great here.

These recordings were originally produced by VEB Deutsche Schallplatten, which was the only record company in the German Democratic Republic. In the West they were also available on Deutsche Grammophon through a license agreement. That they now are available at budget price is a cultural achievement by Brilliant. Seize the opportunity.

--MusicWeb International (Göran Forsling)

Insomnia is a persistent or recurrent sleeplessness. When we sleep fitfully or lie awake night after night, we conjure up all manner of images, fantasies and feelings, which in the hours of darkness or twilight mostly seem confused, larger than life and very existential. That is how it is with our choice of Lieder. The pieces examine the great feelings and issues like love, death, hate, yearning, under the magnifying glass of nocturnal sensitivity. Worlds arise in which one no longer knows what is true and what is not. And that is what is special about our Insomnia: everything is possible, and everything is to be found in the ears and the eyes of the listener.

One of the most versatile trumpeters in the classical world, Simon Höfele, releases a new album “Nobody Knows” together with the BBC Symphony Orchestra under Geoffrey Paterson and Ilan Volkov. On his 4th album on Berlin Classics, he plays the trumpet concertos by Bernd Alois Zimmermann, Christian Jost, and Toshio Hosokawa, spanning an arc from the 20th to the 21st century. He proves once again that the trumpet can do more than just "shine". “These three works are really important to me. I have played all three before, and I was always fascinated by their darkness.”, he explains his choice of repertoire. “This is heavy, almost depressive music, and that applies to all three of these works. This is heavy music in two respects: loaded with gloom, and also not at all easy to play. This is a definitive political message to “Nobody Knows de Trouble I see”, which makes it even more fascinating.

Introducing the latest album from the Goldmund Quartet - a world-renowned classical music ensemble known for its exceptional performances. This album features a collection of timeless works, including Schubert's hauntingly beautiful "Erlking," the melancholic yet powerful "Death and the Maiden," and the stunningly ethereal "Swan Song." With their masterful use of phrasing and tonal quality, the quartet brings out the beauty of each piece, capturing the essence of Schubert's original compositions. And, as a special treat, the album also includes a breathtaking rendition of Schubert's "Ave Maria," showcasing the quartet's ability to evoke emotion and captivate audiences with their nuanced and emotional interpretation. Immerse yourself in the sublime artistry of the Goldmund Quartet with this extraordinary album.

The new album "Oceanic" by Iveta Apkalna is a collection of two expansive organ works and two orchestral interludes with maritime connotations, showcasing Apkalna's special relationship with the sea as a musician who grew up on the Baltic. The album features Bernd Richard Deutsch's "Okeanos," which Iveta Apkalna describes as the best contemporary organ concerto. It also includes Maurice Ravel's "Une barque sur l'océan," a key work of musical Impressionism, and Jean Sibelius's "The Oceanides," a personal "Rondo of the Waves" along similar lines to Debussy's "La mer."

- Under the direction of violin virtuoso Midori Seiler, this album presents a very lively musical portrait of the former Köthener Hofkapelle, now revived as Köthener BachCollektiv
- With exceptional virtuosos and composers, Bach went to the limits of what was then playable and experimented with instruments, scorings, sounds and musical forms
- New reconstructions of Bach Concertos BWV 1056R & 1064R by Midori Seiler
- Musical treasures and world premiere recordings by A. R. Stricker (Sonata D major), J. Spiess (Concerto E minor) and G. Linike (Suite D major)

Under the title My Rachmaninoff, Alexander Krichel will release his new album on Berlin Classics on March 24, 2023, and with it a very personal tribute to the Russian pianist and composer, whose birthday will be celebrated for the 150th time just a few days later. For his eighth album, Alexander Krichel has selected works that have shaped his strong connection to Rachmaninoff. From the world-famous Prélude Op. 3 No. 2 in C-sharp minor to the virtuosic Corelli Variations and Études-Tableaux, some of the most difficult repertoire written for piano, to the concluding Vocalise, Krichel invites listeners to discover Rachmaninoff's biography musically. He wants to inspire his audience with the music of this great composer in the same way that it once captivated him. 2023 is the year of Rachmaninoff anniversaries: April 1 would have marked the 150th birthday of the Russian composer, pianist and conductor, and March 28 marks the 80th anniversary of his death.

High time for Alexander Krichel, after the great success of his first Rachmaninoff album in 2015 on Sony Classical, to dedicate himself once again to the composer who has always accompanied and shaped his playing and his career. With two of the greatest contemporary Russian pianists as teachers - Alexander Krichel was Vladimir Krainev's last student in Hanover and studied at the Royal College of Music with Dmitri Alexeev - the exceptional Hamburg-born artist developed a strong connection to the Russian piano school. This is noticeable in his playing - he combines risk-taking keyboard thunder with a highly sensitive feeling for sound. Alexander Krichel had his first encounter with Rachmaninoff when he was nine years old at a youth piano competition, where an older competitor entered the Prélude in C-sharp minor. "I was just talking to my piano teacher, and although I only heard the music in the background, the first three dramatic notes grabbed me right away and wouldn't let go," the pianist said. In order to expose his audience directly to the captivating effect of Rachmaninoff, Alexander Krichel opens his album with precisely this piece, which is also biographically one of Rachmaninoff's first works.

Together with the Prélude Op. 23 No. 5 in G minor and the Prélude Op. 32 No. 12 in G-sharp minor, the works quite literally form a prelude to the journey through Rachmaninoff's musical biography. With the Études-Tableaux op. 39, Alexander Krichel places one of Rachmaninoff's pianistic highlights at the center of his album, which, with great successes in South America and Asia, became a door opener for him personally to the stages of the world. The composer described the nine highly virtuosic etudes as musical "paintings" that always place the strong emotional message above the challenging technical background. The final work, composed by Rachmaninoff for solo piano 15 years after his emigration to the United States, is the Corelli Variations, miniatures that range from jazzy to classically virtuosic and are so individual that each could stand alone as a composition.

The album culminates with one of Rachmaninoff's most famous works: the Vocalise. With it, Alexander Krichel closes the circle and returns to the key of the first composition: C-sharp minor, a key for which Rachmaninoff was so well known that he was even called "Mr. C Sharp Minor" in the USA. "Whether I'm soaring high or saddened to death, I feel a special connection to Rachmaninoff; we share a very similar intense emotionality," is how Krichel describes his relationship with Sergei Rachmaninoff. "Especially in difficult or deeply sad moments, his music shows me that I am neither alone with my feeling of melancholy, nor that it is wrong to give in to it. In his compositions I don't look for consolation, but I find a friend who understands me and with whom I can share every feeling." "My Rachmaninoff" will be released on CD and 2 LP on March 24, 2023 by Berlin Classics as well as all known streaming services.

Experience the rich and vibrant sounds of Europe's Romantic tradition with our latest CD featuring music by four talented composers. Discover the little-known talent of Sigurd Lie, a highly skilled violinist and composer from Norway who studied with leading teachers in Leipzig and Berlin. Immerse yourself in the enchanting folk tale inspiration of Lie's "Huldra aa'n Elland" for violin and orchestra and be captivated by the playful and seductive solo violin performed by the renowned violinist Ragnhild Hemsing. Follow in the footsteps of Lie's compatriot, Johan Svendsen, a famous violinist and composer who studied in Leipzig and Paris and is best remembered for his Romance for Violin and Orchestra, Op. 26. Svendsen's work was admired by Belgian violinist and composer Eugène Ysaÿe and was reprinted 65 times. This CD is a must-have for any lover of the Romantic era, the diverse sounds of Norway and Europe, and the virtuosic performances of Hemsing.

Introducing Il Gusto Barocco's latest album, a new approach to Baroque music. Each ensemble member is given a platform to showcase their talents as a soloist, choosing their own program and interpreting the selected works in a very special way. Director Jörg Halubek believes in the concept of "extended chamber music," where players must always think and perform as soloists while still valuing the importance of ensemble playing.

The members of Il Gusto Barocco all studied at the Schola Cantorum Basiliensis, which has led to a shared aesthetic background. The ensemble's goal is to bring the music to life and not impose their own personal listening habits on the audience. Flautist Claire Genewein performs Johann Sebastian Bach's Flute Partita in A minor on the album, playing it without bass accompaniment, as Bach most likely intended. This recording offers a unique interpretation, especially regarding playing speeds, that sets it apart from others. Il Gusto Barocco's latest album is a must-listen for fans of Baroque music looking for a fresh take on the genre.