Francesco Saverio Geminiani (1687-1762), born in Lucca, began his study at an early age with his father, but his most important lessons followed in his years with the great Roman Master, Arcangelo Corelli. Composition lessons with Alessandro Scarlatti helped inspire and solidify his craft. In 1714 Geminiani settled in London, where he quickly gained fame as an ensemble player, concert violinist, and teacher. Here he became friends with Handel and led the orchestra during many performances together. Geminiani enjoyed great success not only in London, but also in Ireland where he spent a considerable amount of time. In 1760 he settled in Dublin, dying there in somewhat impoverished circumstances in 1762. Geminiani's playing was distinguished by it's great expressiveness, richness of dynamic coloring, extraordinary liveliness, and a strong temperament. Tartini tellingly called Geminiani "il furibondo" - the furious one! Among his most significant contributions to the Baroque concerto repertoire are his Concerti grossi Opp. 2 and 3, published in 1732 and 1733 respectively. These sets each consist of six concertos and follow the model established by Corelli, particularly his Concerti grossi Op.6. However, Geminiani's works are more expansive and harmonically adventurous. They often feature intricate contrapuntal writing and dramatic contrasts between the concertino (the group of solo instruments) and the ripieno (full ensemble), a hallmark of the concerto grosso form. Op.2 is notable for it's lyrical elegance and refined structure, while Op.3 reveals a bolder, more expressive style, perhaps reflecting Geminiani's growing independence from Corelli's shadow. These works were not only designed for public concert performance but also for teaching and domestic music-making, showing Geminiani's skill in balancing artistic depth with accessibility. Geminiani's Concerti Grossi were well-received in his time and continued to be admired for their rich textures and expressive power. They exemplify the late Baroque ideal of merging virtuosity with emotional intensity. Today, they remain a staple of early music ensembles, highlighting Geminiani's role as a key figure in transmitting and transforming the Italian Baroque tradition for an international audience. Played by the Italian elite group L'Archicembalo, who previously recorded, to great critical acclaim, the String Concertos by Vivaldi for Brilliant Classics.

During the reign of Le Roi Soleil Louis XIV, music played the fundamental role of defining and consolidating the centrality of power, both in the sphere of sacred music with the grand motets and in the sphere of opera with the comedies-ballets, tragedies-lyricas and operas-ballets by Lully, Charpentier, Delalande and Campra: music had to represent the grandeur and divine nature of the sovereign, the power and splendor of the French crown. This is the cultural and musical context of Francois D'Agincour. Born in Rouen in 1684, he studied in his home town until the age of 17 with Notre-Dame organist Jacques Boyvin. He continued his training probably with Lebegue in Paris, where he was employed as organist at Sainte Madeleine-en-la-Cite for five years. Appreciated and very prominent, in 1714 he became one of the four organists of the Chapelle royal at Versailles, replacing Louis Marchand. He then also took up the post at Saint Jean in Rouen in 1726 and spent the last thirty years of his life between Versailles and Rouen. The only printed collection published by him in 1733 contains 4 ordres for harpsichord, inspired by the descriptive nature of the titles and compositional style by those of Francois Couperin. Next to the dance forms of the suite emerge the pieces de caractere, most of which are rondeaux. The descriptive titles refer to single portraits (e.g., L'Empressee, La Pressante Angelique), double portraits, natural scenes, genre scenes, and places. Played on two different harpsichords, copies of a Hemsch and Dulcken instrument, by Marco Borghetto, who won First Prize at the Wanda Landowska Harpsichord Competition 2023.

Franz Schubert's chamber music occupies a vital place in the Western classical canon, demonstrating both his lyrical genius and emotional depth. Though he is widely known for his lieder and symphonies, his chamber works represent some of the most profound and innovative compositions of the early Romantic era. The String Quintet in C major, D. 956, written just weeks before Schubert's death in 1828, stands as one of the towering achievements in chamber music. Scored for two cellos instead of the more common two violas, the work is known for it's rich, warm textures and emotional contrasts. The slow movement, in particular, is a masterclass in stillness and poignancy, often cited as one of the most sublime moments in all of chamber music. Schubert's string quartets trace his compositional development and deepening expressiveness. The Death and the Maiden quartet (D. 810) is especially significant, combining dramatic intensity with variations on his earlier song of the same name. The juxtaposition of lyrical beauty with stark fatalism reflects Schubert's own grappling with mortality and human vulnerability. His piano trios blend lyricism and formal sophistication. The trios are notable for their expansive melodies, rich harmonic language, and a sense of narrative continuity that hints at the symphonic. The violin sonatas (often referred to as "sonatinas") are earlier works, more modest in scope but filled with charm and grace. While not as emotionally profound as his later chamber works, they already display Schubert's melodic gift and innate sense of dialogue between instruments. The Trout Quintet (D. 667) is perhaps Schubert's most popular chamber work. It's unusual instrumentation featuring piano, violin, viola, cello, and double bass and the famous set of variations on his song "Die Forelle" make it instantly appealing. Yet beyond it's surface charm, the work demonstrates Schubert's brilliance in crafting color and contrast, blending joy and depth seamlessly. Altogether, Schubert's chamber music reveals a composer capable of exploring the most intimate corners of the human soul. These works remain essential listening, offering profound insight into the expressive potential of small ensembles. Excellent performances by the Diogenes Quartet, the Amsterdam Piano Trio and the Berlin Philharmonic Octet.

This substantial set dedicated to the vocal music of Claudio Monteverdi (1567–1643) features the great cycle undertaken (to date) by Krijn Koetsveld and the singers of Le Nuove Musiche: all nine books of madrigals, the music in Monteverdi collections such as the Selva Morale e Spirituale (1641) and the posthumous Messa a quattro voci ed salmi (1650), and the individual works by Monteverdi that were compiled in the collections of others, the so-called Fragments. To this is joined the cycle of operas directed by Sergio Vartolo and sung by casts of Italian early music specialists, including the first recording of the five-act version of Il ritorno d’Ulisse in patria. These thoroughly researched, historically informed interpretations demonstrate Monteverdi’s pioneering and transformative role in the emergence and development of staged, dramatic vocal music. Also featured are the grand Vespers – sacred music in the Gregorian plainchant tradition but on an operatic scale – in a fantastic recording with fine Italian soloists and authentic period instruments including the early brass of La Pifarescha. Federico Bardazzi and Ensemble Felice make scrupulous interpretative decisions about the order of movements, interpolating the choral motets within the prescribed sequence of psalms to great effect. Finally, there are Monteverdi’s youthful three-part canzonettas, written when the composer was 17. They are rather simpler than the madrigals, both to sing and to appreciate, but their musical worth is amply demonstrated by the largely female voices of Armoniosoincanto joined by a mixed period-instrument ensemble of flutes, violas, theorbo and harpsichord. They impart just the right light-hearted mood and dramatic impact to the playful, folkloric secular strophic poetry. Genius innovator - inspiring past and present! Claudio Monteverdi lived in Italy during a very turbulent time and was one of the great designers of the new style in music. As a young man, he learned the ancient laws of composing, especially from Marcantonio Ingegneri. Under his inspiration, he wrote his first book of madrigals. We can follow his life closely through the final 9 books of madrigals. Each book is a new moment in his development as a composer. Ultimately, he gets his dream job in Venice as maestro di cappella, but he writes operas and other musical spectacles for other courts, including Mantua, Milan, Turin, and Parma. He enjoyed the recognition that finally came for that little boy from insignificant Cremona. The book consists of 9 chapters, one per madrigal book, and has 128 pages in total. Looking from Monteverdi’s perspective, and also from the perspective of the performer, the contemporary enthusiast. Mesmerized by the beautiful courtly poetry, but also intrigued by the innovator Monteverdi, who is always looking for other ways to express emotion in music in a special way. Each chapter focuses on one characteristic madrigal. The book comes with a CD so you can listen to all the wonderful works.

Maurice Durufle (1902-1986) was a French composer, organist, and teacher renowned for his meticulous craftsmanship and deeply spiritual music. A student of Charles Tournemire and Louis Vierne, Durufle inherited the rich French symphonic organ tradition, which he blended with Gregorian chant and impressionist harmony to create a unique and transcendent style. Durufle's complete organ music is limited in quantity but monumental in quality. His small output includes only six published organ works, yet each piece reveals an extraordinary depth of expression and technical mastery. Chief among them is the Suite, Op.5 (1932), which consists of three movements: Prelude, Sicilienne, and Toccata. The Toccata, while virtuosic and brilliant, is famously considered one of the most difficult in the repertoire and is sometimes omitted in performance due to it's formidable demands. The Prelude, Adagio et Choral varie sur le th�me du "Veni Creator", Op.4, exemplifies his affinity for Gregorian chant, a hallmark of his style. The Fugue sur le th�me du Carillon des Heures de la Cathedrale de Soissons, Op.12, demonstrates Durufle's love for musical architecture and his capacity for blending modern harmonic language with traditional forms. The Meditation, a posthumously published piece, reveals a more intimate and reflective side of his writing, while the Scherzo, Op.2, composed during his student years, shows early signs of his technical prowess and inventive use of the organ's color palette. Durufle's organ works, though few, have become central to the instrument's repertoire. Their combination of liturgical solemnity, compositional rigor, and sensuous beauty ensure that they continue to resonate with performers and audiences alike. They stand as a testament to a perfectionist who preferred quality over quantity, and whose music remains timeless. Played by Roberto Marini at the magnificent Stahlhuth-Jann organ of St Martin, Dudelange, Luxembourg, the specifications of which are included in the booklet. Roberto Marini made an authoritative recording of the complete organ works by Max Reger on 17 CDs, published on Brilliant Classics.

Joseph Bodin de Boismortier (1689-1755) was a prolific French composer of the Baroque era, known for his accessible and elegant music. He played a significant role in the development of chamber music in France and published music without the traditional patronage system, making him one of the first composers to live comfortably off music sales alone. His output includes operas, cantatas, concertos, and a wide range of instrumental works that were often geared toward amateur musicians and the expanding market of domestic music-making. Recorded here is the entire Op.34 of Boismortier's catalogue, consisting of a collection of six sonatas for 4 parts (three sopranos and basso continuo) published in Paris in 1731. The three soprano parts are completely equal to each other, while the performance practice of the time allows the interchangeability of instruments, so that they may be played by either the violin, the flute or the recorder. The sonatas are characterized by graceful melodies, rich harmonic textures, and conversational interplay between the two instruments. Each sonata typically follows a multi-movement structure, alternating between lively dance movements and expressive slow sections. Performed with grace and spirit by the Italian Ensemble Labirinto Armonico, featuring 3 violins, flute, viola da gamba, archlute and spinet. They play on period instruments.

This LP features Christmas music for the piano in a timeless journey through the decades and centuries. These songs have been through a remarkable evolution over the course of several centuries, with the changes they have undergone reflecting the shifting musical styles and cultural influences that prevailed in various times. The development in popularity of the piano as a household instrument in the 19th century contributed to the spread of traditional Christmas carols and tunes. Christmas songs were made more approachable to a wider audience because of the attractive piano arrangements that composers such as Felix Mendelssohn and Franz Liszt devised for them. Then, throughout the 20th century, Christmas songs were composed in a wide variety of musical styles. Jazz, blues, and popular music were all significant influences on composers during this period. Composers such as Irving Berlin created Christmas songs centred around the piano that went on to become instant classics. An example that epitomizes this era is Irving Berlin's 'White Christmas'. The growth of Christmas carols arranged for piano is a monument to the everlasting spirit of the Christmas holiday as well as the development of musical styles throughout the course of history. For this LP, Jeroen van Veen has collected both well-known and lesser-known Christmas songs from all over the world and arranged many of them for his own piano performance. The programme is freely, alternating slow with up-tempo and virtuosic with intimate songs. Some of the tracks are medleys combining two or more songs. Highlights include the 'Christmas Fantasy' by Alexander Rosenblatt, a virtuoso piece that combines several tunes, and the Fred Oldenburg version of 'Silent Night', written in answer to a challenge from some of the jazz teachers at the Enschede conservatory to use the strangest chords to harmonise the well-known song. Dutch pianist, pioneer and champion of Minimalism Jeroen van Veen plays the piano in his inimitable way: focused, serene and hypnotizing. Praise for Jeroen van Veen on Brilliant Classics: 'Van Veen is quite brilliant in the quirky fourth [Philip Glass Etude] and his reading of the exquisite, valedictory 20th is excellent.' Gramophone. 'Jeroen van Veen's recording can stand alongside the best from any source, and this [Arvo Part] set is worthy of high praise in every regard.' MusicWeb International. 'Van Veen is a supremely eloquent performer of his own music. His touch is remarkably varied, carrying none of the hammered urgency of, for example, Michael Nyman's performances of Nyman.' Fanfare.

Carl Friedrich Abel was known in 18th-century London as the greatest gamba player of his day. Having been taught in Leipzig by JS Bach, Abel later worked closely with 'the London Bach', Johann Christian, and his own music shares a quality of liminal fantasy with that of his friend, poised as they were (in retrospect) on the threshold of the Baroque and Classical eras. Having moved to London for good in 1759, Abel soon attracted the admiration of the greatest English portraitist of the day, Thomas Gainsborough. The artist painted the composer, and played the gamba himself. It may well be that Abel wrote this collection of quasi-improvised solo works towards the end of his life with Gainsborough in mind. At any rate, the 'Drexel' nomenclature arose only once the manuscript of the pieces found it's way into the hands of the philanthropist Joseph William Drexel in 1877. As Alejandro Marias remarks in his booklet essay for this remarkable new recording, the manuscript asks more questions than it supplies answers. 'Why did he compile them, for whom, why in that order, did he ever play any of these scores, or was it an attempt to capture what inspiration had led him to improvise the night before?' For Marias, the collection is nonetheless 'one of the most important works in viola da gamba literature. It represents the last great viola da gamba player's most intimate moments, where he found the formal and stylistic freedom to express his deepest emotions, using his virtuosity to put it at the service of the music and not to make a mere technical display, however difficult some of these pieces may be. Recording it is one of the greatest challenges a viola da gamba player can face.' This album of the Drexel Manuscript makes a fine sequel to the previous collection of Abel's music led by Marias on Brilliant Classics, 'Between Two Worlds' (97437), which attracted great critical enthusiasm: 'The gamba playing by Alejandro Marias is superb, with a clear tone and sonorous depth... There is surely more to come, and I for one will look forward to further releases.' (Fanfare)

This 28-CD set commemorates the 50th anniversary of the death of Dimitri Shostakovich, presenting his symphonies, chamber symphonies, concertos, chamber music, string quartets, Jazz Ballet & Film music, 24 Preludes & Fugues. Dimitri Shostakovich (1906-1975) is without doubt one of the most famous and influential composers of 20th century Russia. He lived in a time of Soviet repression and, though outwardly a loyal communist, he resented the restrictions imposed by the regime on his creativity. This led to a fascinating duality between conformism and the expression of his most innermost feelings, fears and anger. Shostakovich's 15 symphonies chart a remarkable artistic journey. The Fifth Symphony, often considered his response to political censorship, balances grandeur with emotional depth. Later symphonies, such as the Eighth and Fourteenth, delve into themes of war and death, using stark textures and powerful contrasts to convey their messages. His concertos, particularly for piano, violin, and cello, showcase both virtuosity and lyrical intensity. The First Cello Concerto, written for Mstislav Rostropovich, is notable for it's bold structure and expressive range. Similarly, his Piano Concerto No. 1 stands out for it's wit and originality, blending classical form with jazz-like energy. Shostakovich's 15 string quartets form a deeply personal body of work. Unlike his public-facing symphonies, the quartets are introspective, often revealing his inner turmoil. The Eighth Quartet is especially poignant, widely interpreted as a self-portrait filled with coded references and bleak emotional content. In ballet, Shostakovich contributed scores such as The Golden Age and The Bolt, works that combine satire, modernist flair, and Soviet themes. These compositions often clashed with official ideology but are now appreciated for their rhythmic vitality and sharp characterizations. The Jazz suites show his playful, satirical side. They feature catchy dance rhythms and unconventional instrumentation, such as the saxophone and banjo. These works blend classical technique with popular idioms, reflecting Shostakovich's versatility and wit. Shostakovich's legacy lies in his ability to navigate artistic expression under a repressive regime, creating music that speaks both to his time and to universal human experiences. Excellent performances by Rudolf Barshai (who worked closely together with the composer), National Symphony Orchestra of Ukraine/Theodore Kuchar (both received a 10/10 rating on Classicstoday. Com), and many others.

Luigi Boccherini composed just a single set of sonatas, Op.5, specifically for violin and piano. However, his commercial celebrity and his artistic reputation at the time, as a composer considered in the same breath as Mozart and Haydn, encouraged publishers to commission arrangements of other works. Such arrangements include this set of Sonatas published in London in 1780, made by Thomas Billington but admitted to the catalogue of Boccherini's works as G34-39. Igor Ruhadze and Alexandra Nepomnyashchaya have made the first ever complete recording of this set as a sequel to their 5CD set of Boccherini sonatas (96612) issued by Brilliant Classics in 2023. 'Looking forward to the sequel!' concluded the review in Diapason of that set, after praising the stylish spirit of musicianship and authenticity in the playing of both artists. Compared to their rivals on record, remarked the reviewer, 'the seduction is more demonstrative, the contrasts more accentuated, the sensuality and the feeling more showy.' Today, as Rudolf Rasch's booklet note remarks, we may prefer original works over arranged works; in the 18th century, such a preference was unknown. No one looked down on them. In fact, they made a composer's music accessible for those who could not perform them in their original format. There was hardly a format more accessible for music-making among friends than the violin sonata, in which the piano would take the lion's share of the harmony from the original work, with the principal melody line assigned to the violin. As well as these violin sonatas, Thomas Billington arranged Corelli's concerti grossi for solo keyboard, and composed a good deal of his own music. In these sonatas, he drew from Boccherini's Trios Op.4 and Op.6, Quartets Op.8 and Quintets Op.10. He was in any case emulating the example of Boccherini himself, who made several such arrangements. As always with Boccherini, there is no shortage of attractive melodies and upbeat, galant invention to contrast with the lyrical beauty of the slow movements. - Luigi Boccherini was born in the Italian city of Lucca in Tuscany, on 19 February 1743, the son of Leopoldo Boccherini, a cellist and double-bass player. The young Luigi received his first music lessons from his father and at the Seminario di San Giovanni in Lucca. The cello was to become his instrument. At the age of ten, he was apparently already so advanced that his father sent him to Rome for further studies at the end of 1753, where he possibly remained until 1756. Apart from a brief period in Vienna around 1760, he was in Lucca until he set out to Paris (perhaps the major musical centre of the time) in the spring of 1768. Later that year he would go to Spain, where he would remain for the rest of his life until his death on 28 May 1805. - This new recording is the second volume of the complete violin sonatas, works in which the pianoforte plays a significant role next to the solo violin. - Critical praise for violinist Igor Ruhadze and pianist Alexandra Nepomnyashchaya: 'The early-music world needs more performers like Igor Ruhadze... This is some of the most accomplished historically informed violin playing I have heard in a long time.' Fanfare (Geminiani, 96524). 'Nepomnyashchaya provides a lesson in how one may realize such sonata bass lines. Her accompaniment is varied in texture and detail, balancing right-hand countermelodies with arpeggiated chordal washes of sound and heavy block chords at cadences. Like Ruhadze, she is a consummate specialist in Baroque style and practice.' - 'These musicians make a strong case for the violin-keyboard duo as an artistic medium. 'Strongly recommended for the music itself and for the dedicated, exciting performances.' Fanfare (Locatelli, 94376).

The music featured on this CD has a unique origin. Hildegard von Bingen (1098-1179), a mystic, theologian, and German composer, claims to have heard these melodies during supernatural experiences. While other visionaries may lose touch with reality and fall into ecstasy, Hildegard experiences her visions while remaining completely alert. She later conveys what she has seen and heard through imagery, writings, and music. The title of this CD, Vox Aeternitatis, refers to the divine voice that instructs the mystic to write down her revelations. These compositions are drawn from the Symphonia harmoniae caelestium revelationum, Hildegard's most important musical work. The title reflects the celestial origin of these pieces, which include seventy-seven items such as Psalms, Hymns, Sequences, and Antiphons. For this performance the artists chose to include musical instruments linked to the environment of medieval monasticism, such as the psaltery, symphonia, cymbals, vielle, percussion, flute, and monochord. Only two voices are featured: one female, ideally representing Hildegard herself, and one male, the monk Volmar, her secretary, responsible for transcribing the content of the visions. Hildegard's melodies sometimes surpass the compositional conventions of the time, particularly in terms of vocal range and the expansion of melismas elements that are occasionally pushed to the limits of performability. Her style is remarkably personal and unmistakable, evident in the modal settings that align perfectly with the texts, and in the highly distinctive and recurring melodic formulas that are intimately connected to the spiritual and expressive nature of the lyrics. Performed with great respect and commitment by Schola Romana Ensemble, founded in 2000 by flautist and conductor Stefano Sabene, a group that specializes in both early and contemporary music. The ensemble presents multidisciplinary musical productions that often engage in dialogue with various art forms, such as theater, dance, architecture, visual arts, literature, and film. Their commitment to musicological research and experimentation drives the ensemble to explore an extensive repertoire, ranging from the music of ancient Rome to medieval Europe. In this context, they have especially focused on the performance practice of "a cappella" polyphony, rediscovering the so-called "just intonation."

Another discovery unearthed by Brilliant Classics, and another name to add to the library of French-Baroque masters, from the voraciously inquisitive mind and virtuoso hands of Fernando de Luca. Who was Hubert Renotte (1704-1745)? He was born and died in the Belgian city of Liege, and for the last decade of his life served as the titular organist of the cathedral there. Accordingly he wrote a good deal of church music, which remains as overlooked as his output for keyboard. This in itself encompasses not only organ music but the distinctively Franco-Italian style of the harpsichord pieces presented for the first time on record in the present album. The C major Suite is launched in dazzling style with 'Les Roulades et Harpeggio', living up to it's title with cascades of sequences up and down the keyboard. Renotte must have been quite the technician, as well as a composer of great taste and refinement. Perhaps he had a sense of humour, too, to judge from the third movement of the suite: 'Les Bagatelles Ou Les Folies de Liege & Menuet en Suite Des Bagatelles'. Again, true to the title, Renotte presents a series of sharply etched, fantastical sketches, which we might now hear as proto-Beethovenian in their oblique and disconcerting wit. The Suite concludes with, literally, 'Le Torrent', another sparkling cataract of notes. Whether or not Renotte ever intended them to be played in sequence this way - the music survives in manuscript, and there is no sign that they were published - the other pieces are also gathered up by key signature. There are 17 such pieces in D major, including a 'Pastorella' whose charming character belongs to the association of the key with country manners. On this new recording, Fernando de Luca plays a modern copy by Claudio Capone of a Blanchet harpsichord from 1754. While Jos van Immerseel recorded an LP-length selection of Renotte's works, this is the first time that the composer's surviving keyboard music has been recorded complete. The album represents another feather in the cap for a musician who has done a great deal to revive forgotten names from 18th-century music with complete surveys of their music on Brilliant Classics, among them Dufour, Foucquet, Jollage and Siret. '[De Luca] thinks outside of the box, and he clearly is a man with discerning tastes. These extend to his playing, which is clear-headed and disciplined, but never rigid. "Charm" is such an overused word, but I cannot think of a better one to describe this music and these performances.' (Fanfare on the Jollage album, January 2024)

A striking portrait of Rebecca Clarke through the prism of her chamber music, covering the powerful Viola Sonata as well as a diverse sequence of miniatures and tone-pictures. After decades of neglect, the music of Rebecca Clarke is now receiving it's due attention, revealing her individuality as one of the most distinctive of English composers in the generation after Elgar. In her booklet essay, the pianist Margherita Santi recalls her introduction to Clarke and how it immediately sparked 'deep admiration and wonder': she finds the roots of Clarke's style in the music of Franck and Ravel but also the German tradition, paying tribute to the composer's uncompromisingly individual language. The Viola Sonata is one of Clarke's major works, which she wrote in 1918-19 while on tour between Honolulu and Detroit, and for herself to perform. The Sonata has since entered the repertoire of solo violists with an ardent vein of expression and gritty harmony, balancing pastoralism with an unsentimental toughness which makes it's occasional windows of visionary mysticism all the more effective. As Margherita Santi remarks, the Sonata evokes 'a melancholic sensitivity: the gaze of someone who, observing the world, perceives and understands what is unseen, yet chooses not to intervene.' The other works here are hardly less substantial, despite their smaller scale. Named after the Greek god of sleep, Morpheus (1917) inhabits a world of heavy-lidded r�verie which decorates the viola line with Szymanowskian tracery from the piano. A pair of Lullabies, harmonically simpler, are no less effective and even lovelier; a pair of folk-song settings, one Scottish, the other English, are moving in their simple restraint. Likewise based on an English folk tune, the Passacaglia returns to the shadowy and stormy world of the Viola Sonata. Midsummer Moon (for violin and piano) is perhaps the closest Clarke came to writing in a popular salon style. Finally, the trio of instruments joins forces in a nostalgic Dumka: a masterful fusion of Czech dance style with Clarke's own, more forward-looking perspective. This studio recording, made in Milan in 2024, makes an ideal introduction to the world of Rebecca Clarke, presenting her in the round, through cultivated performances by musicians who feel an affinity for the composer's trail-blazing and fearless spirit.

World-premiere recordings of six attractive concertos by a Neapolitan flautist-composer celebrated in 18th-century Dublin and London. Tommaso Giordani (1730-1806) arrived on the northern shore of the English Channel in 1753, as one of the youngest members of a conspicuously talented musical family, and found good reason never to return southwards. In Dublin he gave lessons to the boy John Field, who would later much surpass the fame of his teacher by creating the genre of the piano nocturne. Meanwhile Giordani had returned to the English capital, where he wrote most of his surviving compositions - such as this set of flute concertos, dating from 1775-9 and dedicated to a flute-playing baronet. Each concerto follows a familiar formal pattern: a sonata-form first movement, an introspective second, often rising to a considerable peak of intensity, and a sparkling rondo-finale. Within this pattern, Giordani finds space for continual variety: the form does not constrain his invention but (in classic Baroque practice) rather supplies an elegant vessel for it. As much as the good baronet, he was clearly writing with himself in mind as a soloist, and this is music written for display and delight, and played here in that spirit by a period-instrument ensemble of musicians based in Turin, led by the Italian flautist Giovanni Miszczyszyn. The recording was made in 2024 at the Chiesa della Santa Spirito in Turin where the musicians give a regular concert series. It is infused with not only a spirit of Giordani's age but with a chamber-music sense of collaborative enterprise.

Maria de Buenos Aires is a tango operita (little opera) composed by Astor Piazzolla (1921-1992) with a libretto by poet Horacio Ferrer. Premiering in 1968, the piece is one of Piazzolla's most ambitious and innovative works, blending tango, classical music, and surrealist poetry. It represents a major departure from traditional tango, showcasing Piazzolla's distinctive nuevo tango style-complex, dramatic, and infused with elements of jazz and avant-garde music. -The operita tells the symbolic and enigmatic story of Maria, a woman born "one day when God was drunk" in the slums of Buenos Aires. She becomes a tango singer and a symbol of sensuality and suffering. After her death, Maria's shadow wanders through the underworld of the city, encountering surreal characters such as the Duende (a goblin-like narrator) and a chorus of psychoanalysts, construction workers, and thieves. The narrative is abstract, filled with metaphors and mystical elements, portraying Maria both as a real woman and an allegory for Buenos Aires itself, particularly it's tango culture. Musically, Maria de Buenos Aires is richly textured, featuring bandoneon (a type of concertina essential in tango music), piano, violin, and voice. Piazzolla's score breaks traditional tango rhythms and harmonies, pushing the genre into new emotional and intellectual territory. The work is often interpreted as a meditation on identity, femininity, urban life, and rebirth. Despite it's initial mixed reception, it has gained recognition as a groundbreaking piece in 20th-century music and a key work in Piazzolla's oeuvre. Maria de Buenos Aires remains a vivid, haunting exploration of the soul of Buenos Aires, where tango is not just a dance or music form, but a poetic expression of passion, loss, and resilience. Performed by Ce Suarez Paz (soprano Maria), Cesare Chiacchiaretta (bandoneon), soloists and the Orchestra Filarmonica della Calabria, conducted by Filippo Arlia.