Winter - from First Frost to Carnival Festivity A sparkling musical panorama of winter - harking back to the legendary Great Frost of 1708/09. From the beginning of the season over Christmas to a festive carnival: songs, opera scenes, instrumental as well as traditional pieces from France, Germany, and Great Britain. Music by Jean-Baptiste Lully, Marc-Antoine Charpentier, Michael Praetorius, William Byrd, among others.

BEST OF LANG LANG

A collection of the very best of Bartoli's treasured recordings of musical delights and discoveries of the 17th and 18th century. Featuring two previously unreleased world premiere recordings of forgotten jewels by Leonardo Vinci and Agostino Steffani. With guest appearances from Philippe Jaroussky, June Anderson, Franco Fagioli and Sol Gabetta.

L'APOTHEOSE DE LULLY / LECONS DE TENEBRES

Maxim Emelyanychev's affinity with Mozart is well known, especially when it comes to piano works. In 2018, the conductor and keyboardist treated us to a recording that not only displayed his virtuosity and musicianship, but also revealed his remarkably close understanding of the composer's music. Today, the symphonies are the focus of his first long-term project with Il Pomo d'Oro, an ensemble he has been working with as it's conductor since 2013. As he points out, this project, aiming eventually to provide a complete set of the Mozart symphonies, is unlike anything he has recorded with the ensemble hitherto on period instruments. The approach here is original: each volume will feature an early symphony by Mozart, together with one of his great mature symphonies, which will enable the listener to perceive his many facets, revealed in the course of his development. Each volume will also include a bonus work, featuring a special guest. Inaugurating the series, Maxim Emelyanychev himself provides the hors d'œuvre with Concerto o.23 K.488, played on a fortepiano, before going on to conduct Mozart's Symphonies Nos.1 and 41.

Well established in the field of historically informed performance, the Italian ensemble Il Pomo d'Oro has recently expanded: it now includes a choir, and this is it's first solo recording. Conducted by Giuseppe Maletto, the ensemble presents here Gesualdo's fascinating first book of Sacræ Cantiones. Less well known than his madrigals, the nineteen five-part motets that make up this work explore the theme of repentance through the Liturgy of Penance and the figure of the Virgin Mary. The painfully voluptuous chromaticism and the expressive intensity and refinement of the lines make this work one of the most singular of that period. Gesualdo's interpretation of the liturgical text is intensely dramatic and highly personal. Il Pomo d'Oro renders perfectly the mysterious beauty of this music.

PIANO SOLO 1

SCHWEIZER-CYRILLE

DOUBLE TROUBLE TWO

WILLISAU TAKTLOS

FIRST CHOICE

PORTRAITS

ITHACA

FREE MANDELA

HEXENSABBAT

INSCAPE: TABLEAUX

STUDIO LIVE BIRDS BLADES

LIVE AT THE RHINEFALLS

MANY & ONE DIRECTION

TO WHOM MAY CONCERN

SCHWEIZERSOMMER

PORTRAIT

DOUBLE TROUBLE

LES DIABOLIQUES

STRINGER; STUDY

WHERE'S AFRICA

CHICAGO PIANO SOLO

3 PIECES FOR ORCHESTRA

STORMING WINTER PALACE

Modern: Designating the most innovative forms of art in a given period, particularly those of the 20th century. This definition from the French Larousse Dictionary explains the performers' choice of title 'Moderniste' for this new anthology of music for wind instruments: what draws the attention in these works - in different ways at different times and in different fields - are their innovative, progressive and adventurous qualities. Four of the composers featured on this album can legitimately be associated with what is very broadly known as Modernism, referring to the general proliferation of new ideas and new musical aesthetics at the turn of the 20th century and beyond. As for the two works by Philippe Hersant and Thierry Escaich, they call on us to reflect on what modernity means to us today. And, while it is easy to set Modernism in opposition to traditionalism, it is also interesting to distinguish between a composer's personality and his or her approach to composing.