Barrie Kosky, one of the most innovative opera directors of our time, creates a new interpretation of Mozart's Le nozze di Figaro at the Vienna State Opera with a very young ensemble: Andre Schuen and Hanna-Elisabeth Muller in the roles of Count and Countess Almaviva, Peter Kellner as Figaro, Patricia Nolz as Cherubino. Susanna's role is interpreted by both Ying Fang (acting) and Maria Nazarova (singing), as Ying Fang could not sing due to a vocal cord illness. Philippe Jordan conducts the Orchestra of the Wiener Staatsoper and together they "deliver an ideal mixture of elegant lyricism and concentrated expression - each and every one" (Wiener Zeitung) // "Beauty and pointedness are combined in the noblest way. " (Der Standard) // "A triumph of Barrie Kosky's directorial brilliance - hilarious yet deeply engaging and thought-provoking. " (klassik-begeistert. De)

A secret society, a clandestine community, mythical rituals in dark temples. The image of the Freemasons is surrounded by the mystic mists of the unknown. When it comes to their music, one should by no means think of Hans Zimmer's epochmaking soundtracks to the Hollywood movies based on Dan Brown's novels! Vocal Concert Dresden has turned to the authentic music of Freemasonry. The exclusivity and selfimposed isolation of the movement fed the legend of the "Royal Art" that grew up about the fascinating mysteries of the Freemasons. What really took place in the inner confines of their temple remained hidden from view. The development of their mythical, symbolic use of formulae, objects and rituals went hand in hand with a cultivation of specific music. This album offers a whole programme of music that covers both overt and subliminal examples of musical pointers to the lodge brethren's symbols and values: threefold repetition for example will symbolise the three ranks of St John Masonry and the three ideals (wisdom, strength and beauty); pounding note repeats represent the masons' hammer blows, while the alternation between soloist and tutti represents the teacher-apprentice relationship between the individual ranks. Schiller's "Ode to Joy" won favour in more than 100 different settings and gained immortal status as the culmination of Ludwig van Beethoven's Ninth Symphony. The widespread view that it was commissioned as an original poem for the masons is simply untrue. Long before Beethoven took possession of the poem, a number of composers in Leipzig and Dresden had set the words to music. Four of those first settings laid the foundations for it's popularity and they are featured here on this album. Accompanied by a comprehensive booklet, this release by Vocal Concert Dresden under the direction of Peter Kopp aims to demonstrate the importance of music, not only to the freemason movement. Masonic music-making made a huge contribution to the development of middle-class and non-sacred music. Recorded in Dresden's "Institute of Freemasonry", a school building sponsored for more than 150 years by the movement, this album featuring numerous works never recorded until now offers a truly fascinating view into a world seldom seen or heard.

Until recently, Bronsart von Schellendorf's career as a composer has been almost completely overlooked. But Liszt was aware of Bronsart's prowess, referring to his orchestral work Fruhlings-Fantasie as "beautiful and invaluable" and later declaring, "I value him as a character and a musician." Even a cursory listen to the Piano Concerto reveals a composer working in ambitious dimensions and an extrovert musical language. Rich in melodic and emotional content, Bronsart's piano writing gives ample opportunity for virtuoso display while delivering Bronsart's musical arguments with power and precision. Bronsart's good friend Hans von Bulow, another pupil of Liszt, had toured the work from 1870 onwards. He took the concerto abroad, giving a concert in Manchester under the baton of Charles Halle in 1877, by which time the work had secured a temporary foothold in the repertory.

Anyone who has survived the cursed seventh year may hope for a rosy future. The Orelon Trio, founded in Cologne in 2018, has just crossed this significant threshold-though it's members Judith Stapf, Arnau Rovira i Bascompte, and Marco Sanna never had to find their footing together: within a short time, these "meteoric risers" made a name for themselves, quickly guest-performing at renowned venues; high-caliber competition successes followed naturally (ARD, Melbourne, Graz), their first recordings and enthusiastic response from professional circles were not long in coming. How could it be otherwise, when the three musicians' "oreloj" (Esperanto for: ears) are so excellently attuned that they can perceive unheard-of things even in familiar repertoire. This first cpo release by the Orelon Trio leaves no doubt about that.

The new album "Asiago" by the creative soloist Julius Berger is a clever application and further development of a very pleasing, strong new trend in musical life: imaginative explorations of new repertoire fields by opening up new music to the vast areas of other cultures. In the case of the violoncello, this development seems almost provoked by it's technical and traditional repertoire boundaries. Julius Berger demonstrates how - even in a landscape such as the Alps, which seems to be closely interwoven with classical music as the homeland of well-known traditional folk music history - a closer look can reveal highly exciting and completely different ethno-potentials. He has developed a well-rounded CD program of newly written music from the precious find of the small ethnic group of the Cimbri, who came from the north and settled in what is now northern Italy, centuries ago, and still live there today with their own language. Most of this music was first performed at the annual Asiago Festival, which has been existing for 25 years now, and in various combinations - solo, in duet, with prepared piano and with cello ensemble and chamber orchestra - he has created a large, suggestive and meditative new repertoire for the low string instrument.

Leading performers of 17th-century music the Magdalena Consort, Fretwork and His Majestys Sagbutts and Cornetts combine forces under the artistic direction of William Hunt for the box set of their series 'In Chains of Gold'. "In Chains of Gold is a high-quality musical collective project that sheds light on these unknown masterpieces." - Sonograma Praise for Vol. 1 ? - "Subtle, seductively supple and sinuous singing and playing... Volume 2 from this dream-team will be eagerly awaited" - Choir and Organ Praise for Vol. 2 ? Performance ? Recording "An ear-tingling fulsomeness that guarantees the disc a splendiferous climax... It sets a marker for all that follows as 'chains of gold' are spun with disarming felicity" - BBC Music Magazine Praise for Vol. 3 "Nicolson's anthem stands as the epitome of all that is best in Bill Hunt's triumphantly successful project." - Early Music Review

With works by Franz Schubert and Robert Schumann, this CD is dedicated entirely to the magic of musical romanticism. Two composers, two worlds of sound - united by emotional depth, imagination and a love of the piano. Lei Meng interprets Schumann's filigree Arabesque op. 18 and his passionate C major Fantasy op. 17, a musical confession full of inner drama. Schubert will perform the intimate Allegretto in C minor D 915 and the powerful, visionary Wanderer Fantasy D 760 - an orchestral masterpiece for piano. Lei Meng, born in 1991 in Harbin (China), studied at the Mozarteum Salzburg and the CNSMD in Paris, among others. She has won prizes at international competitions and has performed in Europe, China, Brazil and the USA. She has been Professor of Piano and Piano Didactics at the Mozarteum Salzburg since 2024. Her artistic versatility is reflected in numerous solo and chamber music projects. Pure romanticism - full of longing, melancholy and expressiveness. An invitation to listen and dream.

Barrie Kosky, one of the most innovative opera directors of our time, creates a new interpretation of Mozart's Le nozze di Figaro at the Vienna State Opera with a very young ensemble: Andre Schuen and Hanna-Elisabeth Muller in the roles of Count and Countess Almaviva, Peter Kellner as Figaro, Patricia Nolz as Cherubino. Susanna's role is interpreted by both Ying Fang (acting) and Maria Nazarova (singing), as Ying Fang could not sing due to a vocal cord illness. Philippe Jordan conducts the Orchestra of the Wiener Staatsoper and together they "deliver an ideal mixture of elegant lyricism and concentrated expression - each and every one" (Wiener Zeitung) // "Beauty and pointedness are combined in the noblest way. " (Der Standard) // "A triumph of Barrie Kosky's directorial brilliance - hilarious yet deeply engaging and thought-provoking. " (klassik-begeistert. De)

While no pianist himself, Nielsen wrote for the instrument throughout his career, and this recorded survey ranges from early and vividly detailed miniatures to adventurous explorations of rhythm and harmony in some of his boldest late works. According to the composer and Nielsen expert Robert Simpson, the pianist Arne Skjold Rasmussen was 'by far the greatest interpreter of Nielsen in any medium.' He made both broadcast and commercial recordings of Nielsen's piano music during the 1950s and 60s, but his 1960 survey had long been presumed lost. This new transfer of those sessions for the BBC is made from tapes of the original broadcast, in excellent sound for the period.

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.

From the outset, Sir Simon Rattle's conducting career has been marked by a spirit of innovation and renewal - and contemporary music in all it's facets continues to play a significant role in his work. So it was only natural that, upon taking up his post as chief conductor of the Bavarian Radio Chorus and Symphony Orchestra, he should dedicate a concert to musica viva. The programme featured the world premiere of Vito �uraj's "Automatones" as well as Luciano Berio's "Coro". Sir Simon Rattle has conducted the latter piece several times before, but this performance marks the first recording under his baton. This is due to the unique demands that the composition places on recording technology: choir singers and orchestra musicians are positioned in pairs on the podium to overcome the visual and acoustic separation of choir and orchestra voices. This presented a particular challenge to the Bavarian Radio recording team, but they rose to it successfully, as can be heard on the new CD from BR-KLASSIK. Composed between 1975 and 1976, Luciano Berio's "Coro", for forty voices and orchestra, takes anonymous folk poems by the Sioux, the Navajo and the Zuni, as well as song texts from Polynesia, Peru, Croatia, Venice, Piedmont, Chile, and the Song of Solomon - all of them reflecting the deeply human urge for freedom - and combines them with the moving poetry of Pablo Neruda, whose death coincided with the bloody suppression of the Allende democracy in Chile by Augusto Pinochet in September 1973.

Composer Helge Burggrabe presents his release entitled HAGIOS as an album for reverie and reflection. The musical spectrum of this collection of songs ranges from devout silence to powerful songs of jubilation. Memories of Romantic songs are often recalled when the Elbcanto vocal ensemble and the pianist Christoff Fankhauser sensitively immerse themselves in the compositions, some of which are in canon form. With a lightness that summons the music of the spheres, the musicians open up an imaginary space, a sonorous prayer that encourages pause for thought, reflection and participation. "My personal memories all lead back to the voice of my mother. The songs she sang me in the evenings when I went to bed, and as I fell asleep, gave me comfort and a sense of audible security," recalls Burggrabe. His HAGIOS song collection is meant to convey precisely that "audible security"; moments of personal devotion that are perceived as sacred and curative. With those childhood memories in mind, Burggrabe went in search of the secret power of song for his HAGIOS album. What he has found are melodies that in some cases are centuries old: monks of all faiths have always cloaked themselves in song in order to find peace and quiet. Consequently, for HAGIOS Burggrabe has arranged Gregorian chant alongside Taize hymns, as well as the eponymous Hagios ho Theos (Holy is God) from the Orthodox liturgy. Helge Burggrabe was born in Magstadt in 1973 and sang to his heart's content as a child. After studying in Hamburg, he quickly established himself throughout Europe as a composer of contemporary church music. He achieved his career breakthrough in 2006 with the oratorio to the Virgin Mary Stella Maris to mark the millennium celebrations for the cathedral at Chartres. His work Lux in Tenebris, a commissioned work to mark the 1200th anniversary of the diocese of Hildesheim, was premiered very recently.

In German usage, it has become customary to refer to older compositions for keyboard instruments-unless explicitly written for harpsichord or organ-as "Clavierwerke" (keyboard works). Since the boundaries were fluid, these sonatas for a pedalless "Clavier" can certainly be interpreted on a suitable pipe organ. The organ at St. Cyriakus Church in Duderstadt offers just such possibilities, despite various modernizations: Created by Johannes Creutzburg between 1733 and 1735, the instrument belongs to precisely the same period when young Johann Ludwig Krebs completed his training with Leipzig's Thomaskantor, Johann Sebastian Bach. In these six sonatas-rediscovered only in 2009-the student speaks a distinctly different language from his teacher: playful, carefree, occasionally "dallying", and always galant are these pieces from his hand.

Peter Schreier is one of the legendary tenors of the twentieth century. The foundation for his exceptional 60-year career is his intensive involvement with Protestant church music, whether as a boy alto of the Dresden Kreuzchor at a young age, or later as an outstanding evangelist. The music of Johann Sebastian Bach is the linchpin of his career. The tenor is accompanied by the Leipzig Gewandhaus Orchestra conducted by Erhard Mauersberger, Johann Sebastian Bach's 14th successor as cantor of the Thomaskirche in Leipzig. For the first time, this album is now released on CD.

Joseph Swensen offers an intimate and cosmic symphonic fresco in the form of the Saga Trilogy, captured on this b-records disc. Composed in the wake of the pandemic, this trilogy explores the composer's inner world like an ancestral legend waiting to be discovered. Performed by the Orchestre National Bordeaux Aquitaine, the music draws on reminiscences of Messiaen and the poetic spirit of Hafiz. From the cosmic pulsation of Primordial Cosmos to the mythological clamour of the SAGA concerto and the spiritual light of Song of Infinity, allow yourself to be swept away by this vibrant and deeply rooted work, which exists on the border between the visible and the invisible.