Fourteenth disc by Ars Antiqua Austria and Gunar Lezbor for Challenge Classics. World Premiere Recordings of three Cantatas for countertenor and violins. Alois Muhlbacher is one of most sought-after countertenors today: in 2023 has engagement with Minkowski (Alcina), Haselboeck (Bach) and tours with a Farinelli arias recital… Bononcini’s Cantatas look like a Trilogy on the theme of longing for a distant love. They were perceived in their time as innovative and progressive, directed towards the future.

We are proud to present the fifth disc by Nino Gvetadze on Challenge Classics. After Chopin, Scott, Schumann and Beethoven, we get to Brahms. Nino has selected three masterpieces from three different periods of Brahms's life. Schumann's disc (CC 72855): BBC Music Magazine:"This is, quite simply, gorgeous." Gramophone:"Gvetadze's sensitivity to Schumann's vaunted 'inner voices' is unsurpassed"

The year 1860 represented a turning-point in Brahms's life: he issued a 'Manifesto' in which he distanced himself from the Romanticism of the 'New German School' epitomised by Liszt and their association with Wagner's music-dramas. This aesthetic change of heart placed an emphasis on hard work and craftsmanship rather than the more Romantic conception of inspiration, with Brahms taking a particular pride in being both German and a self-made man. This ethos is reflected in the Variations and Fugue on a Theme by Handel, Op. 24. Brahms's two Rhapsodies, Op. 79 were composed in 1879 and were dedicated to his friend Elisabet von Herzogenberg. The title may lull the listener into a false sense of whimsy, when in reality these pieces are founded on clear structural designs. Three Intermezzos Op. 117: Brahms wrote of these three Intermezzos to his friend Rudolf von der Leyen, describing them as 'Wiegenlieder meiner Schmerzen': 'lullabies of my sorrow'. Each has the character of a soliloquy or introspective personal reflection.

Nino Gvetadze about this album:"Throughout his life, Brahms was influenced by those he admired: the musicians he idolized, and the women with whom he formed powerful bonds. Clara Schumann represented both, and Nino Gvetadze explores their fascinating dynamic in The Muse. Brahms's Two Rhapsodies Op. 79 were dedicated to Elisabet von Herzogenberg, whose loss he mourned in the Intermezzos Op. 117; and he was inspired by Handel to write a phenomenal set of Variations dedicated to Clara Schumann – whose Op. 21 Romances date from a time that neither she nor Brahms would ever forget."

L’Echo du Danube is the poetic title given by Johann Schenck to his collection of pieces for viola da gamba, first published around 1703/04 as Opus 9 in Amsterdam by Estienne Roger — the most important music printer at the time. L’Echo du Danube is Schenk’s last complete work to survive, a fact that gives these pieces the weight of a musical testament. It comprises six sonatas for solo viol: the first two sonatas with basso continuo accompaniment, the next two also with basso continuo but this time ad libitum (optional), and the two last ones for viola da gamba without any accompaniment. Although Marin Marais already had published his first book of Pièces de Viole in 1686 and the flourishing English viol tradition was well known in Northern Europe, Schenk’s approach to the instrument is an important step in the process of creating an independent repertoire, specifically written for the viol by composers who were themselves performers and masters of its idiomatic idiosyncrasies. Although Schenck fully explores the potential of the viol as a melodic instrument, he clearly favoured, its possibilities of playing chords, in a manner strongly influenced by lute playing and repertoire: he sought to show the viol as an instrument that is harmonically independent, appropriate for polyphonic writing besides its talent for melodic singing. Hence his writing in such a distinctive way: abundantly using chords and double stops; continually alternating between the bass and the high register; and striving for an effective combination of luxurious harmony and depth of sound, without losing sight of the delicately cantabile voice of the viola.

This disc is devoted to the Dutch music for recorder during the Baroque era. The music is highly original, although we can feel a strong influence by contemporary Italian composers like Corelli. Teun Wisse plays different period instruments, each fitting the single Sonata. The strictly historical approach is accomplished by the recording venue, a Dutch 18th Century church, whose acoustic perfectly fits the music.

Klaus Mertens had long been wanting to record the ‘Geistliche Lieder’ by Johann Sebastian Bach from Schemelli’s Musicalisches Gesangbuch (1736). Ton Koopman had been looking for the right program to showcase the beautiful Teschemacher chamber organ in Oosterland and realised it would actually be an ideal match with the program his friend Klaus Mertens had in mind. So in early 2023 Mertens and Koopman spent some (rather cold but) inspired days in Oosterland to record this selection of 24 songs, interspersed with six organ works.

Despite the very large number of recordings already made of this musical corpus, Minnaar and de Vriend have proved that they have something new and totally their own to say about this collection of masterpieces. And it is indeed the peculiar blend of sheer energy and esprit de finesse that can be identified as the distinctive brand or these recordings. Gramophone: "a Beethoven cycle [which] is a bold move, but one that pays off in all sorts of ways"

With the present programme we want to explore the history of the German Lied throughout a period spanning some 800 years, from that first light of dawn represented by the earliest music scored with modern notation - courtly love songs by Walther von der Vogelweide (1170-1230) and Oswald von Wolkenstein (1377-1445) - down to such present-day emissaries of the Lied tradition as Aribert Reimann and Wolfgang Rihm. In between we find: J.S. Bach, Haydn, Mozart, Schubert, Mendelssohn, Hensel, Wolf, Berg, and Eisler.

A new, great project by Challenge Classics and Jan Willem de Vriend. A new, inspiring collaboration with a first-rate pianist, Dejan Lazić, and one of European best orchestras, the Bergen Philharmonic. This is the first of three CDs devoted to Mozart’s Piano Concertos. The project aims to display Mozart’s different styles and technique. All Cadenzas and Lead-Ins are composed by Dejan Lazic himself.

Reissue. Originally released in 2014. The audio clip below associated with this release is from the original issuance of this title. - ArkivMusic

An account that reflects the latest information and researches on 'period instruments' practice. A 'one to a part' standard - for both voices and instruments.

The Christmas Oratorio is actually not an ‘oratorio’ in the mold of, for instance, Bach’s Ascension Oratorio or Handel’s Messiah. It is a series of 6 separate cantatas, collectively relating the story from Christmas through to Twelfth Night. Bach wrote the work in Leipzig in 1734 and 1735 for Christmas Day (I), Boxing day (II), the third day of Christmas (III), New Year (IV), the Sunday after New Year (V), and Twelfth Night (VI).

As with the Passions, the texts here are drawn from three sources: (1) the evangelical texts (primarily Luke and Matthew) intoned by the Evangelist (tenor) as recitatives, (2) chorales from the Lutheran tradition and (3) free texts for arias and some choral passages, written by the poet Picander.

A 50 years old birthday hommage to one of today leading composers: Lera Auerbach. The disc is focused on two Piano Trios in world premiere recordings. The monumental Third Piano Trio is dedicated to the Delta Trio. Delta Trio were already much acclaimed for their first recording on Challenge Classics. Gramophone on their previous CC 72901 called Origin: With its superb sound and perceptive notes, the present release can be warmly recommended.

Second and last volume of Krongold’s complete String Quartets survey by the Alma Quartets. The disc contains the First Quartet (composed in 1923) and the Piano Quintet (1921). Music from Vienna raging Twenties in flawless performances by one of today leading string quartets. Ideal match between Alma Quartet and a specialist pianist as Severin von Eckardstein. Ritmo (SP) on first volume (CC 72869): The recording offered by Alma Quartet is the best available of these works for its understanding of the expressive world of Korngold; is perfect intonation and reading of these difficult works.

A live recording of van Wassenaer’s Concerti Armonici by the well established Dutch ensemble La Sfera Armoniosa. These are beautiful Concerti in the Italian style (until the 80s the work was actually attributed to Pergolesi). This is the third instalment in La Sfera Armoniosa survey of most important Baroque orchestral works from the Netherlands. Previous releases were devoted to De Fesch (CC 72829 – There is much to enjoy in this excellent disc (Scherzo – SP) and to Hellendaal (CC 72911)

Here is a unique disc devoted to cello Galant music composed mid-18th Century in the areas of Mannheim and Berlin. Played on four-string cello piccolo by one of latest generation most interesting and investigative Baroque cellists, the Canadian Octavie Dostaler-Lalonde. Most of the repertoire is recorded and released for the first time. The variery of the atmosphere is guaranteed by the presence of works for cello obbligato, where the fortepiano acquires a leading role. A disc of discoveries: music, sound colours and musicians.

After our Bruckner/Haitink (CC 72895), we are very proud to present the result of a new collaboration with the Netherlands Radio Philharmonic Orchestra and its prestigious Saturday Matinée series. This disc contains two major orchestral works by Reinbert de Leeuw, composed respectively in 1974 and in 2013. While Abschied is a stormy and compact piece, Der nächtliche Wanderer is an enormous work suffused with resonant memories. Both are world premiere releases and this CD is a significant addition to the contemporary music record repertoire.

Challenge Classics violinist Rudolf Koelman pays a tribute to his teacher Jascha Heifetz. Two late romantic Concertos, full of pathos, rarely performed today. MusicWeb on CC 72736 Prokofiev Violin Concertos with Rudolf Koelman: … these performances are very fine indeed… the more you listen, the better it gets.