BRITTEN WAR REQUIEM

Decca signed an exclusive contract with the Wiener Oktett (Vienna Octet) in the summer of 1948 as a commercially motivated move: a sweetener to the deal that also poached the Philharmonic Orchestra from EMI. The ensemble had been formed only a year or so previously around the Boskovsky brothers, violinist Willi and clarinetist Alfred. Soon enough, audiences at home as well as in concert were enjoying the sound of a quintessentially Viennese ensemble, it's members drawn from the ranks of the Philharmonic, in Classical-era music that could have been written for them, starting with the Septet by Beethoven and the Octet by Schubert. The sweet, silvery tone of the Octet and the easy give-and-go of it's phrasing established the Octet as the latest in a line of distinguished Viennese chamber ensembles, from the Ros� Quartet of Mahler's era to the Barylli Quartet documented by the Westminster label. The Vienna Octet enjoyed the advantage of Decca's top-of-the-range engineering, and they continued to set down classic interpretations of Mozart, Beethoven and Schubert through the course of the 1950s, for the new LP format and then for stereo. In 1956 their Decca albums began to reflect the diversity of their concert programs, with the Octet written for them by the Belgian composer Marcel Poot. While they continued to enjoy free-spirited partnerships on record with the likes of Clifford Curzon and the Viennese pianist Walter Panhofer in Schubert's 'Trout' Quintet, they also recorded lesser-known Romantics such as Spohr, Kreutzer and Berwald, and modern repertoire by Britten, Hindemith and Egon Wellesz. By the time of the Vienna Octet's final recording in November 1972, only two members of it's original lineup were left, including clarinetist Alfred Boskovsky, but critics and record buyers had continued to recognize that, especially in the central repertoire, an unselfconscious authenticity set the ensemble apart from it's rivals.

Apocalyptic walls of sound cascade around the Gothic vaults of Saint-Eustache in Paris as Stephen Layton and David Briggs unleash, respectively, the full power of a top-notch Trinity Choir and the mighty van den Heuvel organ of 1989.

EDEN ROC

Osmo Tapio R�ih�l�: Zensolence - Various / Zensolence embodies the auditory canvas of Osmo Tapio R�ih�l�, a synaesthetic composer who transforms the visual into the musical. For R�ih�l�, art forms transcend their mediums and speak a universal language through diverse expressions. His experience of colours, shapes and textures in music is reflected in this eclectic album, where the traditional meets the innovative. R�ih�l� draws inspiration from the abstract and translates it into a musical lexicon that is as diverse as it is distinctive. From chamber music with modern instrumentation to pieces that combine vocal narrative with electronic sounds, this album is a testament to artistic freedom and a refusal to be limited.

Chad Lawson - "Where We Are" / With Where We Are, Chad Lawson draws inspiration from the conversations and shared vulnerabilities of countless individuals who have found solace in his music and podcast during their most challenging times. The album represents a journey from solitude to solidarity - from individual experiences to shared realities. These songs form a musical sanctuary, crafted to meet you wherever you are in life and offer a gentle reprieve. Where We Are is more than an album; it's a call to unite, heal, and inspire a sense of community through music.

Daniel Hope's latest album, Irish Roots, embodies his deep connection to Ireland, inherited from his paternal great-grandfather who left Waterford for South Africa in the 1890s. Although never residing in Ireland, Hope's fascination with it's culture led to the creation of the documentary, Celtic Dreams: Daniel Hope's Hidden Irish History. LP

Double vinyl LP pressing.

LIGHT & DARKNESS: WORKS FOR SAXOPHONE

RAFAL ZAPALA: FUTILITY

This is the fourth Romantic Piano Concerto album from Simon Callaghan, and that combination of talents which made his first three so successful- not least a flair for exploring the neglected byways of the Romantic repertoire, and the technique and musicianship to do them justice-proves just as compelling here.

One of the twentieth century's best-loved choral works, Durufl�'s Requiem-a magical synthesis of the old (plainsong) and the new (a harmonic language appropriate to it's time and place) - continues to cast it's potent spell over performers and listeners alike. This new recording from Stephen Layton and his Trinity forces fully deserves to be regarded as 'definitive'.

As a conductor, philosopher, mathematician and composer, Ernest Ansermet occupied an exceptional position in the world of music. At the frontier of modernity, he offered up recordings of music by several composers whom he counted among his friends: Debussy, Ravel, Roussel and Stravinsky but also Honegger, Frank Martin, Bart�k and Prokofiev - all of whom are represented in this collection of recordings made for Decca between 1929 and 1955. The collection opens with a recording of six of Handel's Op. 6 Concerti Grossi made with a specially formed band of London musicians, the 'Decca String Orchestra' in 1929, the year in which the label was founded. Ansermet returned to the studio to record for the label from 1946 and from then on became one of it's most frequently recorded conductors. Fortunately, the music of his friend Igor Stravinsky is strongly represented in this collection. Of other composers Ansermet knew personally, several landmark recordings of works by Maurice Ravel are significant. 1952 was a particularly busy year for the conductor and his Orchestre de la Suisse Romande - with recordings of Handel, Prokofiev as well as his famous interpretation of Debussy's "Pell�as et M�lisande". An orchestral version of Mussorgsky's two-minute "Gopak" was recorded as the last work in this collection. The stereo recording from 1955 was only available as a test pressing - this box presents it as a veritable world premiere.

The 'heavenly lengths' Schumann loved in late Schubert are as much in evidence in the sublime G major quartet as in the other large-scale works of Schubert's final years. The Takács Quartet's earlier Hyperion recordings of Schubert were hailed as 'near ideal' and 'superlative' and this new release is every bit as fine.

Lang Lang presents with this album a treasure trove of musical discoveries. Saint-Sa�ns's Piano Concerto No. 2 was recorded with a stellar cast, the Gewandhausorchester and Andris Nelsons and is for Lang Lang a true romantic masterpiece that rivals the greats like Rachmaninoff or Tchaikovsky.

Arditti Quartet & Alberto Rosado - Jos� Manuel L�pez L�pez: Infinita Domenica - For Jos� Manuel L�pez L�pez it is essential to approach the works on this album with an open mind and to explore other forms of instrumental expressivity and sonic emotionality. He draws significant conclusions from these seemingly fragile figures, gestures and minimal elements, which evolve and multiply to achieve a great expressive and formal perspective. All this affirms a hallmark that reveals a great continuity and coherence among the works included on this album.

MIRROR MUSIC

IN A TIME LAPSE (REIMAGINED)

The album is inspired by the poetry of William Butler Yeats, in particular his work Sailing to Byzantium. The main composition, which features five recorder sizes from tenor to garklein, explores themes of time and transcendence, depicting a journey to an imaginary Byzantium where the poet is transformed into a golden bird. The four movements correspond to stanzas in Yeats' poem, with recurring elements such as a lyrical refrain and a gyre reflecting the poet's themes. The trajectory of the piece rises, mirroring the poetic theme, and integrates both old and new forms, incorporating extended techniques and exploring microtones. The �tudes de concert, written separately but complementary, serve as a sonic precursor to the Byzantium piece, showcasing conventional and extended recorder techniques within various musical forms. The two electronic pieces act as interludes between the main works, offering a diverse musical experience that blends ancient traditions with modern sensibilities. Created in collaboration with experimental musician Scott Taylor, the album reflects a fusion of musical styles and approaches.

VIVALDI: THE FOUR SEASONS (THE DECCA COLLECTION)

MICHAEL NYMAN SONGBOOK

The nine Beethoven Symphonies are considered to be one of the greatest musical testaments of all time and are a key staple in every conductor's repertoire. Simon Rattle performed the complete cycle with the Wiener Philharmoniker in live concerts, recorded for EMI between 29 April and 17 May 2002 at the historic Musikverein in Vienna. 'These are not interpretations set in stone, deeply as Rattle has obviously thought them through; and his encouragement of the brilliant VPO woodwind and horn soloists to challenge each other in imagination and individuality adds to the impression of joyful discovery.' - GRAMOPHONE

Julius Asal - "Scriabin - Scarlatti" / Scriabin - Scarlatti creates a dreamlike meditation in which the boundaries between pieces, eras and states of mind fade away. Julius Asal's full performance of the Sonata is framed by a selection of Scriabin's etudes and preludes, six sonatas by Scarlatti and two improvisatory Transitions by the pianist himself.

Chinese pianist Yuja Wang, who won the Grammy Award for the first time in 2024, held a recital in Vienna in 2022, opening an eclectic repertoire and demonstrating incredible His broad repertoire and performance techniques have been highly praised. / Yuja Wang believes that all tracks should have a life of their own and reflect my current feelings. She demonstrated her fiery virtuosity in little-known works by Ligueti and Kapustin; highlighted her mature musicianship in masterpieces by Beethoven and Scriabin; and composed in Spain Master Albanese's Iberian selections demonstrate timbral control and imagination. The four splendid encore pieces are American Grass, Mexican Aquiz, Romantic Era Brahms and early classical Gluck, which is like a small keyboard music history. - This set of seemingly random mash-up styles of music selections from different eras turns out to be highly cohesive after actual listening. The theme of one piece may express tension, which may awaken or hint at the music content that follows. Like an art curator with a rich knowledge background, displaying paintings by different artists in a museum requires careful consideration of the venue, size of the paintings, background of the paintings, style, etc. Yuja Wang is able to push the limits of dynamics without losing emotion and delicate interpretation. Miriam Damev, a well-known European art journalist, summed up this wonderful recital in just a few words in the Austrian Standard newspaper - "This concert hall is crazy."

Global cello sensation Hauser is back with Classic II, an all-new selection of his favorites among the most beautiful melodies in classical music, following up on the success of his 2020 album Classic. - For Classic II, Hauser reunites with the London Symphony Orchestra, conducted by Robert Ziegler, and arranger/orchestrator Robin Smith, with whom the cellist worked closely in featuring the cello in the arrangement of each track. - Classic II reimagines instantly recognizable, song-like melodies by Bach, Beethoven, Brahms, Chopin, Donizetti, Dvor�k, Mahler, Mozart, Rachmaninoff and Schubert, most of them written for solo instruments, voices or an entire orchestra and never before adapted for the "voice" of the cello. Hauser also brings his singing style to two beloved melodies in the Baroque style - the Albinoni "Adagio" and the Adagio from Alessandro Marcello's famous Oboe Concerto - as well as a pair of contemporary pieces, Michel Colombier's "Emmanuel" and composer/pianist Yurima's "Kiss the Rain."