A performer of near-superhuman technical prowess (The New York Times), pianist Marc-Andre Hamelin is known worldwide for his unrivalled blend of consummate musicianship and brilliant technique in the great works of the established repertoire, as well as for his intrepid exploration of the rarities of the 19th, 20th and 21st centuries - in concert and on recordings - earning his place as a true icon of the piano. In 2023, the label released Hamelin's recording of Faure's Nocturnes & Barcarolles plus the four-hand Dolly suite, played with his wife Cathy Fuller. In 2022, Hyperion released a double album of C.P.E. Bach's Sonatas & Rondos, which received wide critical acclaim and chart success. Featuring nine original pieces, Hamelin's 2024 album, New Piano Works, is a survey of some of his own recent works, exhibiting his formidable skill as a composer-pianist whose music imaginatively taps into his musical forebears. Pressed on 180g vinyl.

Commemorating the 270th anniversary of Mozart's birth in 2026, the "MOZART COLORS 100" collection by Deutsche Grammophon and Decca is a masterful fusion of high-fidelity audio and innovative visual curation. By organizing 94 essential recordings and six genre-specific masterpieces into a spectrum of 12 thematic colors, the series transforms the act of listening into a mood-based experience, allowing the "jacket color" to guide the listener through Mozart's immense versatility-from his precocious childhood works to his universally beloved classics. The technical presentation is equally impressive, featuring the SHM-CD format for superior sound resolution housed in elegant, color-coordinated cardboard sleeves that appeal to tactile collectors. With insightful new commentary by Mai Takano and approachable branding by Toshiyuki Hirata, this 100-title series successfully modernizes a historical legacy, making the 2026 anniversary both a luxury for audiophiles and a welcoming entry point for new fans of the "Wunderkind."

Post-classical composer, sound artist, and curator Matthew Patton returns with his second album as Those Who Walk Away. Afterlife Requiem is an elegy to friend and collaborator Johann Johannsson. Drone, electroacoustics, and near-silences extracted from unfinished recordings on Johannsson hard drives, underpin two string quintets-Ghost Orchestra (Reykjavik) and Possible Orchestra (Winnipeg)-processed and erased in a doleful durational work. Patton also works again with Andy Rudolph (Guy Maddin) and Paul Corley (Sigur Ros, Ben Frost) on co-production and sound design, to forge a simmering physicality that juxtaposes roiling low-end with haunting movements of ghostly strings. Everything I have ever written is a Requiem. Everything an ending. Death is smeared all over this music. My work is about disappearance-of the present, the past, of everything. Afterlife Requiem gets slower and slower over it's duration, it is one huge ritardando, time is not just slowing down-it is disappearing. Without even thinking, two related tragedies occurred and came to the surface organically while I was writing, recording, and working: the death of my mother and the death of composer and friend Johann Johannsson. When I start writing, I am not thinking of anything in particular, I am just writing, composing, recording, and listening... but something always makes itself apparent or pushes itself through in an unforeseen way. After my mother's medically-assisted death, in clearing out her apartment, I realized that I was also erasing the physical manifestation of her world-and that I was doing the exact same thing with the music I was writing and recording. During this time, Johann's death also kept making itself apparent. For Afterlife Requiem I have taken short abandoned fragments from Johann Johannsson's hard drives and placed these disembodied audio ghosts in alternating sections within my own music, leaving them impure-and in the process blurring the distinction between making and un-making. After his death, I had been given these hard drives from Johannsson's Berlin studio to listen to. This music was abandoned, in various states of formation and dissolution: an index of decayed and dead memories, forgotten and now existing only within a series of interlocking mechanical parts which in time will themselves fail and disappear, like everything else. For months, I listened to these remains of Johann's music obsessively, trying to discover clues about Johann before he died. Many times I would find that he had left the recording device going long after the recorded music was over. He seemed to be unaware that the music had ceased or didn't register this was the end of the music or maybe he was distracted by something else. But I found these long silences profoundly emotional and touching.

Commemorating the 270th anniversary of Mozart's birth in 2026, the "MOZART COLORS 100" collection by Deutsche Grammophon and Decca is a masterful fusion of high-fidelity audio and innovative visual curation. By organizing 94 essential recordings and six genre-specific masterpieces into a spectrum of 12 thematic colors, the series transforms the act of listening into a mood-based experience, allowing the "jacket color" to guide the listener through Mozart's immense versatility-from his precocious childhood works to his universally beloved classics. The technical presentation is equally impressive, featuring the SHM-CD format for superior sound resolution housed in elegant, color-coordinated cardboard sleeves that appeal to tactile collectors. With insightful new commentary by Mai Takano and approachable branding by Toshiyuki Hirata, this 100-title series successfully modernizes a historical legacy, making the 2026 anniversary both a luxury for audiophiles and a welcoming entry point for new fans of the "Wunderkind."

Post-classical composer, sound artist, and curator Matthew Patton returns with his second album as Those Who Walk Away. Afterlife Requiem is an elegy to friend and collaborator Johann Johannsson. Drone, electroacoustics, and near-silences extracted from unfinished recordings on Johannsson hard drives, underpin two string quintets-Ghost Orchestra (Reykjavik) and Possible Orchestra (Winnipeg)-processed and erased in a doleful durational work. Patton also works again with Andy Rudolph (Guy Maddin) and Paul Corley (Sigur Ros, Ben Frost) on co-production and sound design, to forge a simmering physicality that juxtaposes roiling low-end with haunting movements of ghostly strings. Everything I have ever written is a Requiem. Everything an ending. Death is smeared all over this music. My work is about disappearance-of the present, the past, of everything. Afterlife Requiem gets slower and slower over it's duration, it is one huge ritardando, time is not just slowing down-it is disappearing. Without even thinking, two related tragedies occurred and came to the surface organically while I was writing, recording, and working: the death of my mother and the death of composer and friend Johann Johannsson. When I start writing, I am not thinking of anything in particular, I am just writing, composing, recording, and listening... but something always makes itself apparent or pushes itself through in an unforeseen way. After my mother's medically-assisted death, in clearing out her apartment, I realized that I was also erasing the physical manifestation of her world-and that I was doing the exact same thing with the music I was writing and recording. During this time, Johann's death also kept making itself apparent. For Afterlife Requiem I have taken short abandoned fragments from Johann Johannsson's hard drives and placed these disembodied audio ghosts in alternating sections within my own music, leaving them impure-and in the process blurring the distinction between making and un-making. After his death, I had been given these hard drives from Johannsson's Berlin studio to listen to. This music was abandoned, in various states of formation and dissolution: an index of decayed and dead memories, forgotten and now existing only within a series of interlocking mechanical parts which in time will themselves fail and disappear, like everything else. For months, I listened to these remains of Johann's music obsessively, trying to discover clues about Johann before he died. Many times I would find that he had left the recording device going long after the recorded music was over. He seemed to be unaware that the music had ceased or didn't register this was the end of the music or maybe he was distracted by something else. But I found these long silences profoundly emotional and touching.

Commemorating the 270th anniversary of Mozart's birth in 2026, the "MOZART COLORS 100" collection by Deutsche Grammophon and Decca is a masterful fusion of high-fidelity audio and innovative visual curation. By organizing 94 essential recordings and six genre-specific masterpieces into a spectrum of 12 thematic colors, the series transforms the act of listening into a mood-based experience, allowing the "jacket color" to guide the listener through Mozart's immense versatility-from his precocious childhood works to his universally beloved classics. The technical presentation is equally impressive, featuring the SHM-CD format for superior sound resolution housed in elegant, color-coordinated cardboard sleeves that appeal to tactile collectors. With insightful new commentary by Mai Takano and approachable branding by Toshiyuki Hirata, this 100-title series successfully modernizes a historical legacy, making the 2026 anniversary both a luxury for audiophiles and a welcoming entry point for new fans of the "Wunderkind."

LIMINAL

WATER NAMES

Midway through Martin Luther King, Jr.'s historic speech at the 1963 March on Washington, a voice rang out from behind him: "Tell them about the dream, Martin!" That voice belonged to Mahalia Jackson, King's close friend and one of the most revered gospel singers of the 20th century. Glorious Mahalia, a visionary tribute to Jackson's life by the internationally renowned Kronos Quartet, uses that moment as a springboard to explore the depth of Jackson's musical craft and it's impact on the Civil Rights Movement, including her relationship with Clarence Jones and Studs Terkel, other luminaries of the time. Featuring compositions by Stacy Garrop and Zachary James Watkins, a new arrangement of Jackson's astonishing version of the Antonio Haskell composition "God Shall Wipe All Tears Away," and archival audio of Jackson's voice, the album illuminates Jackson's historic artistry and advocacy.

LIMINAL

Isobel Waller-Bridge, composer and musician returns with Objects. Where her 2022 album VIII articulated a tormented mind's undoing, Objects is an act of radical stillness. It confers beauty on things the pace of our lives has taught us to ignore, inviting us to listen not as an objective experience, but as a personal and mysterious response to the world.

Midway through Martin Luther King, Jr.'s historic speech at the 1963 March on Washington, a voice rang out from behind him: "Tell them about the dream, Martin!" That voice belonged to Mahalia Jackson, King's close friend and one of the most revered gospel singers of the 20th century. Glorious Mahalia, a visionary tribute to Jackson's life by the internationally renowned Kronos Quartet, uses that moment as a springboard to explore the depth of Jackson's musical craft and it's impact on the Civil Rights Movement, including her relationship with Clarence Jones and Studs Terkel, other luminaries of the time. Featuring compositions by Stacy Garrop and Zachary James Watkins, a new arrangement of Jackson's astonishing version of the Antonio Haskell composition "God Shall Wipe All Tears Away," and archival audio of Jackson's voice, the album illuminates Jackson's historic artistry and advocacy.

Steven Isserlis -"Schumann & Moscheles: 1851 Cello Sonatas" "Prepare to be seduced," (Gramophone). Steven Isserlis's latest album takes inspiration from a single year: 1851, a year of invention, exhibition and creativity. Sonatas by Moscheles and Schumann (Violin Sonata No 2, specially arranged for cello by Isserlis) both date from that year. Also featuring four miniatures, including a Schumann song transcription and the famous Bach/Gounod "Ave Maria." The album centers around an 1851 Erard piano (played by Connie Shih) which won a Prize Medal at that year's Great Exhibition in London. The piano recorded here may well be one of the very instruments first showcased at the Great Exhibition Winner of 2 Gramophone Awards. Steven Isserlis CBE enjoys a global career as a cellist, author and broadcaster.

Celebrate the legacy of Ryuichi Sakamoto with Opus, a definitive 2-CD collection curated by the composer himself. Spanning decades of groundbreaking work, this anthology brings together iconic film scores, Yellow Magic Orchestra classics, and deeply personal compositions that reflect Sakamoto's singular musical voice. Featured tracks include Merry Christmas Mr. Lawrence, Andata, and Aqua, alongside never-before-recorded pieces such as for Johann (a tribute to Johann Johannsson), BB (dedicated to Bernardo Bertolucci), and 20180219 (featuring prepared piano). Presented in a deluxe six-panel digipak constructed from premium black stock with black foil stamping and silver text, the CD edition is wrapped in a custom eight-panel sleeve showcasing evocative black-and-white imagery of Sakamoto during the Opus performance. A collector's booklet offers liner notes and credits, providing deeper insight into the music and the artist's final reflections. Opus is more than a retrospective; it's a lasting tribute to one of the most influential composers of our time.

Experience the profound artistry of Ryuichi Sakamoto with Opus, a definitive vinyl collection curated by the composer himself. Spanning decades of groundbreaking work, this 4-LP set brings together iconic film scores, Yellow Magic Orchestra classics, and deeply personal compositions that reflect Sakamoto's singular musical voice. Highlights include Merry Christmas Mr. Lawrence, Andata, and Aqua, alongside never-before-recorded pieces such as for Johann (a tribute to Johann Johannsson), BB (dedicated to Bernardo Bertolucci), and 20180219 (featuring prepared piano). Pressed at 45RPM across four heavyweight LPs for exceptional audio fidelity, each disc is housed in it's own jacket with matching black paper dust sleeves. The set is encased in a hand-crafted textured slipcase with elegant black foil detailing and includes a collector's booklet with composition notes and credits. Opus is more than a retrospective; it's a final statement from one of the most influential composers of our time.

MOUNT ANALOGUE

MOUNT ANALOGUE

BERNHARD LANG: HERMETIKA IX

MADLI MARJE GILDEMANN: DREAM SEQUENCE OF AN

The album includes premier recordings of six Holliger compositions written between 2018 and 2020, as well as strongly contrasting pieces dedicated to him by fellow composers over the years. The earliest of these are Jurg Wyttenbach's Sonate (1961) and Jacques Wildberger's Rondeau (1962), and the most recent are Gyorgy Kurtag's aphoristic con slancio, largamente and Toshio Hosokawa's evocative Musubi (Knots), both written to celebrate Holliger's 80th birthday in 2019.

Sometime in 2020 I listened to Canto Ostinato for the first time, and my enthrallment with the piece had begun. I was transfixed by it's particular amalgam of harmony, repetition, and pacing. By the spring of 2023 I had constructed and released my own solo interpretation, and I assumed at that point my working relationship with the composition had run it's course. But I underestimated it's magnetism. The following year I was back in it's grips, having been invited by Metropolis Ensemble's Andrew Cyr to expand on the foundation I had laid with the piece. Soon I was in Brooklyn, on a team of six with Cyr and the members of Sandbox Percussion, humbled and thrilled to be helping architect a brand new large ensemble arrangement of Canto Ostinato for a summer solstice performance at the Brooklyn Botanic Garden. We did so, our cohort growing to include the students of The New School's Sandbox Percussion Summer Seminar, as well as composers David Leon, Ben Wallace, and Ledah Finck and the Bergamot Quartet. It was a day we will all remember-sweeping, dreamlike, and what felt like a quintessential culmination. But even then... The piece still beckoned, and it became clear this new orchestration called for the embarkment on a studio album. A permanent document of our now collective ardor. Refined over a year and recorded in New York, 2025, this performance recasts the piece anew in a towering framework of mallet percussion, woodwinds, strings, and piano. It is our truest attempt at conveying Canto's beauty and magnitude in all it's kaleidoscopic harmony, dynamism, tension, and release. I stand once again in awe of Simeon ten Holt's monumental creation; to be a thread in it's sonic fabric is one of the great honors of my musical life. I don't assume we might be so fortunate again... but who knows.

Wolfgang Kogert - Friedrich Cerha: Complete Works For Organ - Appearing in Cerha's jubilee year, this album pays tribute to an extraordinary late oeuvre by an extraordinary composer. / One of the central figures of European modernism, Friedrich Cerha is known for his monumental Spiegel cycle and his distinctive contribution to postwar music. This album presents his complete works for organ, composed between 2011 and 2020, marking a surprising late turn toward the instrument. Recorded by Wolfgang Kogert in close collaboration with the composer, these pieces reveal Cerha's characteristic clarity, concision, and expressive precision. Appearing in Cerha's jubilee year, this album pays tribute to an extraordinary late oeuvre by an extraordinary composer.

After 'Oylam' in 2010, Judith Berkson (mezzo-soprano, pianist, composer and improviser) returns with another unclassifiable, and strangely compelling, artistic statement. On 'Thee They Thy,' she leads a trio with Trevor Dunn and Gerald Cleaver through a radically changing program addressing new settings for prayer, original songs, vocal experimentation, improvised piano and more. 'Thee They Thy' was recorded at Oktavaen Audio Studio, Mt. Vernon, New York. The album was produced by Manfred Eicher.

Sometime in 2020 I listened to Canto Ostinato for the first time, and my enthrallment with the piece had begun. I was transfixed by it's particular amalgam of harmony, repetition, and pacing. By the spring of 2023 I had constructed and released my own solo interpretation, and I assumed at that point my working relationship with the composition had run it's course. But I underestimated it's magnetism. The following year I was back in it's grips, having been invited by Metropolis Ensemble's Andrew Cyr to expand on the foundation I had laid with the piece. Soon I was in Brooklyn, on a team of six with Cyr and the members of Sandbox Percussion, humbled and thrilled to be helping architect a brand new large ensemble arrangement of Canto Ostinato for a summer solstice performance at the Brooklyn Botanic Garden. We did so, our cohort growing to include the students of The New School's Sandbox Percussion Summer Seminar, as well as composers David Leon, Ben Wallace, and Ledah Finck and the Bergamot Quartet. It was a day we will all remember-sweeping, dreamlike, and what felt like a quintessential culmination. But even then... The piece still beckoned, and it became clear this new orchestration called for the embarkment on a studio album. A permanent document of our now collective ardor. Refined over a year and recorded in New York, 2025, this performance recasts the piece anew in a towering framework of mallet percussion, woodwinds, strings, and piano. It is our truest attempt at conveying Canto's beauty and magnitude in all it's kaleidoscopic harmony, dynamism, tension, and release. I stand once again in awe of Simeon ten Holt's monumental creation; to be a thread in it's sonic fabric is one of the great honors of my musical life. I don't assume we might be so fortunate again... but who knows.

GERSHWIN IN VIENNA