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.

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.

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.

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.

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.

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.

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 Beethoven, Mendelssohn and Schubert, Jan Willem de Vriend starts a new symphonic cycle dedicated to Schumann. This is the first recording with Stavanger Symphony Orchestra both for the conductor and for Challenge Classics. More than ever through this new and exciting collaboration de Vriend gives a thoroughly original account of the first two symphonies. Just like the French critic Jean Charles Hoffelé puts it, de Vriend is always 'striking'.

Second and last instalment in Jan de Vriend and Stavanger Symphony Orchestra complete survey of Robert Schumann's symphonies. Such accomplished, high-class music-making makes the imminent follow-up with the Rhenish and Fourth Symphony en enticing prospect. Gramophone - UK (on CC 72958 - Symphonies nos. 1 & 2). de Vriend�strives for a balance between a magnificent orchestral sound and a transparent polyphony that also seeks to illuminate the complex inner life of Schumann's orchestral sound with brisk tempi. Rondo - DE (on CC 72958 - Symphonies nos. 1 & 2). Swagger and elegance. BBC Record Review�(on CC 72958 - Symphonies nos. 1 & 2)

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.

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)

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!

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.

We are proud to release the first disc of Baroque violinist Eva Saladin on Challenge Classics. For her debut on our label, Eva has chosen the scantly known sonatas by Pandolfi Mealli, an apparently marginal figure in the richest violin landscape of the 17th Century However Pandolfi Mealli was indeed a uique composer, the only one who was able to combine the Italian school of the first half of the century (Castello, Marini) with the later Austrian flowering (Biber, Schmelzer). The sonatas recorded here were published in 1660 and carry a wide range of characters and atmosphere, a diversity enhanced by the different combinations of continuo chosen by Eva Saladin.

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.

Second of three instalments in this�Lazic-de Vriend-Bergen Philharmonic unique project. Famous Concertos nos. 21 & 9 are alongside the Rondo K. 382. Once more all candenza and leads-in are inventive creations by�Lazic. Fanfare (USA):�I find Lazic and de Vriend's K 449 quite exhilarating and rate it an unmitigated success. Classica (FR):�In total: a record of quite astonishing eloquence. Luister (NL): Recommended.

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.

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.

Here is Challenge Classics fourth orchestral release of Robin de Raaf’s music. Robin de Raaf is counted amongst the contemporary leading composers in the Netherlands. His music is complex and much elaborated, but also approachable to the ear. On previous CC 72762 (Melodies unheard): The result is ultimately a very personal kind of expressionism that is never less than impressive and sometimes beautiful, sometimes overwhelmingly violent. (Records International)

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...

An extraordinary disc. Baritone Thilo Dahlmann couples the innocence and beauty of Brahms’ Volkslieder with the the despair and mourning of Glanzberg’s Holocaust Lieder. Glanzberg’s scantly known Lieder are imbued with a stunning melodic gift. Through the juxtaposition of these two masterworks, the musicians highlight one of the most tragic cultural ruptures in history.

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.

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.

World Premiere Recording of a sophisticated and elegant collection of gallant String Trios. Leopold Hofmann, pupil of Wagenseil, was a major figure in the late 18th Century Vienna. A new meaningful find by the ever investigating Musica Elegentia and its leader Matteo Cicchitti. Their previous release (CC 72896 – Wagenseil: Six Trios) was widely acclaimed by critic. 5 stars by Classica (FR): “A top-notch performance.” Musicweb (UK): “Well played and recorded, delightful music by a Viennese composer still too often overlooked.” 5 stars by Pizzicato (DE).