There are moments in music when time seems to pause, and with Arcangelo Corelli's music, I have experienced that enchanted stillness-where each note is not just heard but felt deeply. His music, elegant and radiant, is the gentle whisper of a bygone era, yet it breathes timeless warmth and light. Corelli's art is a delicate conversation between violin and continuo, a living breath of harmony and counterpoint that dances with noble grace. Each phrase unfolds like a tender story, where voices seek, answer, and embrace one another-like cherished friends sharing secrets across the ages. It was through my mentor, Ryo Terakado, and his luminous recording of the Violin Sonatas, Op. 5 that I first stepped into this radiant world. Since then, Corelli's melodies have been a constant companion-like a soft glow in the twilight, a source of inspiration and solace. Corelli's influence extends far beyond my own story. His style shaped the musical language of generations-admired openly by Francois Couperin, absorbed deeply into the work of Jean-Marie Leclair, and echoed, even centuries later, by virtuosi such as Pablo Sarasate and Niccolo Paganini. His music is both spiritual and earthly-a beacon of simplicity and profound beauty. I am deeply grateful to Ryo Terakado for guiding me to this wellspring of grace, to Kaori Uemura and Francois Guerrier for their artistry, and to our magical producer Guido Tichelman and the Byucksan Corporation for nurturing this project. -�Eun-Shik Kim

Mozart Piano Concertos, Vol. 3. The concept behind our present undertaking, the Mozart Piano Concertos CD trilogy, is to present a range of concertos from Mozart's various compositional and performing periods, styles, techniques and instrumentations. Our endeavour is also linked with an encore-like single work on each CD, namely a Rondo. The additional connecting link between these six piano concertos is the Cadenzas & Lead-ins which Lazic�has composed himself. Here he was inspired by the common practice of the composer's day.

Nino Gvetadze:�Some music stays with you for a lifetime not just in your memory, but in your hands, your ears, your way of feeling the world. For me, that music began in Tbilisi, Georgia, where I was born and raised, and where these sounds first took root.�Recording this album felt less like performing and more like remembering. The music flowed naturally, as if something long held inside was finally f inding it's voice. It felt like writing a diary in sound one filled with affection, gratitude and quiet moments of awe.�Melodies are warm, wit, poetic and melancholic.

This album presents two exceptional chamber works by French composer George Onslow (1784-1853): the String Quintets Op. 72 in G minor and Op. 61 in F minor. Though celebrated in his time and often called the "French Beethoven," Onslow's music fell into obscurity until recent decades. These quintets, from the height of his career, reveal his gift for melodic invention, structural clarity, and expressive depth. The Op. 61 Quintet appears here in it's world premiere recording, following Ensemble Tamuz's discovery of the original manuscript in a private collection linked to the 19th-century cellist Adrien-Francois Servais. Ensemble Tamuz performs on period instruments and brings a historically informed yet vividly expressive approach to Onslow's music. With insight drawn from 19th-century performance practices, they illuminate the subtle freedoms ornamentation, rubato, melodic nuance that bring Romantic chamber music to life. This recording offers a fresh and compelling encounter with two masterful yet underappreciated works of the Romantic repertoire.

When was the last time you were really furious? With baroque orchestra La Sfera Armoniosa led by Mike Fentross, soprano Channa Malkin explores the raw power of anger through the intense and heart-wrenching music of Antonio Vivaldi. From hidden operatic gems to the fierce�In furore iustissimae irae, this album channels rage into beauty. Inspired by Channa's journey as a woman and mother, it reveals how moving through intense emotion can open the door to compassion, clarity, and catharsis.

For a long time, the fact that three of J.S. Bach's harpsichord concertos are arrangements of earlier violin concertos led scholars to suspect that the remaining concertos were also adaptations of lost works for strings or winds, prompting several musicologists to attempt reconstructions. However, recent research has shown that they are more likely arrangements of earlier keyboard works. But what would Bach have done if he had to perform one of these pieces again and wished to showcase a different solo instrument? Ensemble Odyssee explores this question with three brand-new arrangements, presented alongside Bach's own arrangement of his Fourth Brandenburg Concerto, each piece showcasing the virtuosity of the ensemble's four core members.

The unearthing of Telemann's Fantaisies pour la Basse de Viole in 2015 has been the most important discovery for the repertoire of viola da gamba in recent times. The compositions are a compendium of how Italian and French influences permeated the purely German language to create a specific style. Using the genre Fantasia, Telemann shows us a portrait full of audacity, freshness and compositional freedom hitherto unknown. Sara Ruiz plays on an anonymous viola da gamba dated around 1700. She�chooses�to emphasize the rotundness and the beauty of the tone, while her technical skills allow her to create a real drama. She does not hesitate to make use of a nice legato where a pleasant melody is encountered: she makes her instrument sing almost like a cello, i.e. a voice. With her, each Fantasia tells a story, every time a particular and thrilling one.

Please, enjoy one of the most appealing and thought-provoking Baroque discs of the year. It contains a selection of the sonatas drawn from Pisendel's library, the best of Italian and German violin schools. This is the debut album of an outstanding baroque violinist coming from the renowned Schola Cantorum Basiliensis. The recording is the fruit of an in-depth scholar work, of a virtuoso violinist accompanied by a raising star of the harpsichord - to which the expertise of a top sound engineer and producer is added.

First volume of a complete survey of Brahms' music with viola. It includes the Sonatas op.120 anf the Trio op.40. There is a special connection between Brahms's musical world and the sonority of the viola.�Acclaimed and experienced violist Mikhail Zemtsov can count on the collaboration of two distinguished soloists as Hanna Shybayeva and Daniel Rowland. A version of Brahms' chamber music masterpieces infused with Russian ardour and drive.

This album presents three large and undoubtedly genuine compositions. In addition, it presents some of Bach's doubtful and spurious works, which were already attributed to him in the late 18th and early 19th centuries. By using an original organ (Mueller, 1734, in the Waalse Kerk, Amsterdam) and a performance asesthetic based on historically informed choices of registration, touch, articulation and ornamentation - all magical details of Bach's music shine through.

Florentine, born Francesco Maria Veracini (1690-1786), was considered one of the greatest violin virtuosos of his day. Periods of residence in London, Dusseldorf, Venice, and Dresden brought the eccentric musician international fame. Amongst his extensive output,� his Sonate Accademiche Op. 2 (London/Florence 1744) for violin and basso continuo are the best known today.�The character of the Sonate Accademiche is defined by a peculiar combination of the intellectual, the virtuosic, and the highly expressive.�Despite the technically demanding writing for the violin, Veracini's masterfully idiomatic approach to his own instrument means the virtuosity flows with a natural ease and playfulness.

The ferment of the Enlightenment, the early signs of the Revolution and the intellectual debate on colonialism fuel this French odyssey. During the Age of Exploration, France experienced an unprecedented cultural fervor. Trade routes and distant cultures enriched it's identity. Exotic sounds and rhythms shaped both noble salons and concert halls. In this quest for new sonorities, by the mid-18th century, the cello finally gained prominence in France, replacing the viola da gamba, which had dominated European music for centuries. The emphasis on deep sonorities is the culmination of this recording, featuring compositions by Louis-Francois-Joseph Patouart and Martin Bertin. The latter's story is particularly significant, embodying the spirit of �the recording: he founded the French cello school, despite having started �his career with the viola da gamba

Reflections Op. 28: Mallorca preludes marks the debut album of classical concert pianist Egle Andrejevaite. In 2016, the Chopin Festival of Valldemossa commissioned 24 esteemed contemporary Spanish composers to create responses to Chopin's 24 preludes. The strength of this recording project lies in reconnecting the essence of �these "sublime" and intense inspirations within the contemporary context.�The goal was to foster a�rigorous comparison between historical inspiration and modern creativity.? ?

This disc contains a selection of beautiful and very individual music for violin and harpsichord by Carl Philipp Emanuel Bach. The performers are two among the most distinguished musicians of the Baroque on HIP (Historical Informed Practice). The music is mostly surprising, as always with CPE Bach. Especially the starting Fantasia is a piece of great freedom that clearly foreshadows the Romanticism. Ryo Terakado and Fabio Bonizzoni already recorded on Challenge Classics the Complete Sonatas for violin and harpsichord by J. S. Bach. Artalinna (FR):�So here we have the new major complete recording of these Sonatas, a landmark achievement because everything about it seems both obvious and moving.

A refined Lieder recital focused on the fascinating figure of Alma Mahler. All main composers of Vienna at the outset of the 20th century are represented. An unprecedented flourishing of musical and artistic talents concentrated at that time in the Austro-Hungarian empire capital. Third recording on Challenge Classics by raising star baritone Raoul Steffani. Previous releases: CC 72865 with Magdalena Kozena. Classica (FR): Raoul Steffani demonstrates a style and a diction always impeccable. He vocally masters all these lieder which often seek the top of the register and bring a lot of colors. CC 72785, American Record Guide (USA): This is an exceptionally fine debut recording for an already well-developed singer.