Saint-Saëns' First Cello Concerto was composed in 1873; Lalo's in 1876, meaning that they are both products of late French romanticism and, not by chance, both in minor keys. Maja Bogdanovic's interpretation is imbued with her Slavic background, emphasising the passionate and tragic character of both works. Thanks to the perfect chemistry between her and the Serbian conductor and orchestra, the result is a dazzling and unique performance, providing a brand new insight into two famous works and, most importantly, the feeling of attending a live concert.

The pandemic in 2020-21 brought little to dispel the gloom among performing musicians. But these months also proved to be a time of reflection and artistic rebirth for many, the arts became a breeding ground for spiritual offspring, and so it proved for me; the genesis of the work you can hear on this album. Finally, there was plenty of time to spend many hours every day working on the project against a background of calm, which made Bach's music all the more comforting!

Read our exclusive interview with Sigiswald, Marie, and Sara Kuijken!

Magnificent and transparent, a recording of the famous masterpiece by J.S. Bach by La Petite Bande and Sigiswald Kuijken. The ensemble has a worldwide reputation of aiming for the most authentic sound possible. Again Kuijken and his group of musicians and vocalists have achieved this the most sublime way! By using authentic instruments and the original way of playing them, both in interpretation and sound quality, La Petite Bande strives to revive baroque music as faithfully as possible without lapsing into rigid academics.

In his second disc of Mozart Concertos for Challenge Classics, Ben Kim confronts two great concertos like Nos. 24 and 25, both composed in Vienna in 1786. Both works are numbered among the masterpieces of the genre. The album reflects Mozart's artistic development and how it alienated his listeners, but also of the artist's own journey of finding confidence in vulnerability. His previous CC 72816 (Concertos Nos. 17 & 23) was welcomed by Gramophone: “his debut with Challenge reveals a sensitive touch … [his] performances give pleasure in their delivery of Mozart’s indelible melodic writing” and by BBC Music Magazine: “ … a recording that offers considerable rewards.”

Cappella Pratensis has been building an impressive discography at Challenge Classics. Their previous releases include the three first volumes of Den Bosch Choirbook (CC 72877, 72878, 72879) and the Hieronymus Bosch-inspired album Visions of Joy, anchored in the luminous music of Pierre de la Rue (CC 72710). All these records have received a wide critical acclaim and specialized media awards. So, it is not by surprise that now they confront one of the highest peaks of Renaissance polyphony: Jacob Obrecht’s Missa Maria zart. And once more Cappella Pratensis, under the guide of Stratton Bull, achieve highest standards, setting a new reference account for this polyphonic masterpiece.

Here is the second volume of Bach’s Sonatas for violin and obbligato harpsichord. Terakado and Bonizzoni offer a thoroughly distinctive account of these famous masterpieces. Their approach combines a deep musical and philosophical insight with a conversational vibe.

Here is a totally original disc with a song repertoire seldom if ever recorded. Accompanied by two specialists playing on period instruments (fortepiano and guitar), the tenor Markus Miesenberg delivers a programme of proto-romantic love songs from Vienna. Besides the remarkable musicological research that lies at the basis of this project, the quality of the performance is linked to the genuine and spontaneous approach of the musicians.

A stunning debut by 24 years old Chinese pianist Yang Yang Cai. For her first disc she carefully selected six very diversified works by Liszt, in order to convey all her pianistic qualities: prowess and virtuosity, but also philosophical insight and colouristic finesse. Her craftsmanship, musicality and fine taste are perfectly in balance.

Another exceptional debut on Challenge Classics: 28 years old Latvian pianist Georg Kjurdian presents a throroughly mature recital of music by the Three Great B’s. It is really noteworthy the way these over-recorded pieces by Bach, Beethoven and Brahms sound fresh and new under the fingers of Kjurdian His pianism is characterized by a deep knowledge and understanding of the works, a flawless technique, a genuinly natural phrasing, a gift for the melody, an impressive sound power and a subtle capacity of conveying the score nuances.

After Trio 258 record (CC 72920) with the immense Second Piano Trio, here is Challenge Classics second tribute to Rachmaninov, celebrating his 150th Anniversary. Young cellist Ella van Poucke offers the monumental Cello Sonata, two very early short pieces and the First Piano Trio. As a bonus, she adds a piece dedicated to her by Ukrainian composer Maxim Shalygin. This is the much awaited follow-up to Ella’s Schumann debut (CC 72871), that was acclaimed by the worldwide press. Gramophone: "this is an impressive album from a soloists whose performances I look forward to hearing more of in the future."

Challenge Classics celebrates the Rachmaninov anniversary (150 years from his birth) with two noteworthy releases. The first one is a stunning debut recording by a young piano trio with strong, original and much thought-out ideas. Their account of Rachmaninov gigantic Second Piano Trio takes the listener back to the ‘period’ playing of the composer’s contemporaries. Not only – and not just – gut strings, but: more liberty and agility in tempo, rhythm and phrasing, in the quest for the ‘human voice’, which was the romantic basic principle of interpretation. This philological venture is anything but a cold ‘case study’. Just listen and get seduced by the warmth and passion of the music and its performance.

Renowned Russian cellist Marina Tarasova makes her debut on Challenge Classics. Her disc is centred on two great Sonatas: Kabalevsky’s (composed in 1962) and Shebalin’s (composed in 1960). In between, Prokofiev’s Concertino works as a lyrical intermezzo. Kabalevsky’s Sonata is probably the most beautiful Russian 20th Century work for cello and piano. Shebalin’s Sonata is a world premiere recording and a work of remarkable architectural complexity. In such repertoire few living cellists can compete with Tarasova’s textual and spiritual insight.

Alfred Schnittke and Arvo Pärt have both called the Ukrainian Valentyn Silvestrov "one of the greatest composers of our time”. He is also one of its true originals; though a leading figure in the former Soviet Union’s avant-garde in the 1960s, he subsequently came to realize that "the most important lesson of the avant-garde was to be free of all preconceived ideas – particularly those of the avant-garde. Over time, Silvestrov’s compositional practice evolved into what he would come to call his “metaphorical style” or “meta-music”. The composer wishes his works to be seen as “codas” to musical history: “I do not write new music. My music is a response to and an echo of what already exists.”Valentyn Silvestrov: Music is still song, even if one cannot literally sing it: it is not a philosophy, not a world-view. It is, above all, a chant, a song theworld sings about itself, it is the musical testimony to life.

Daniel Rowland: I do not know of another composer who writes with this degree of intimacy - his timeless melodies, often barely a whisper, are consoling, haunting, full of nostalgia and mystery.

Borys Fedorov: To escape from the oppressive bustle, to immerse yourself in the magical world of silence, like a highly sensitive antenna picking up the subtlest vibrations of the universe, which immediately resonate in the soul, giving renewal and enlightenment. Such unique possibilities are opened up in music by Valentyn Silvestrov, a great artist and a great humanist! Playing his music requires a special filigree and jewel-like precision, as well as spirituality and freedom...