On her album Naiades, the young Korean concert organist Hyelin Lee presents a representative cross-section of French organ music from the late Romantic period. Interestingly, she enriches her program with organ arrangements of piano works by Gabriel Faure, as the composer actually left behind not a single work for organ, even though he served as organist at the Madeleine in Paris for nine years. For lovers of French organ music, this album is particularly appealing because it features the Cavaille-Coll organ of the Basilica of Sainte-Anne-d'Auray, an important instrument by the renowned French organ builder, of which there has been no official recording to date.

Born in Manchester in 1953, Peter Donohoe studied at Chetham's School of Music for seven years, graduated in music from Leeds University, and went on to study at the Royal Northern College of Music with Derek Wyndham, and then in Paris with Olivier Messiaen and Yvonne Loriod. He is acclaimed as one of the foremost pianists of our time, for his musicianship, stylistic versatility, and commanding technique, a critic concluding in Musical Opinion that 'I cannot imagine a living pianist capable of improving upon Donohoe's outstanding artistry'. Following his previous volume of Grieg's Lyric Pieces (CHAN 20254), this double-album presents the remaining 39 pieces, alongside the Ballade, Op.24. Born in Bergen in 1843, Grieg is widely regarded as Norway's 'National Composer'. Grieg wrote for the piano throughout his career, but eschewed the German Sonata in favour of miniatures, which he named Lyriske stykker (Lyric pieces). Often influenced by the folk-music of his native Norway, these works were published in 10 volumes. Rather than recording them sequentially, Peter Donohoe has arranged the pieces in an order of his own choosing.

On 21 August 2026, Divine Art is thrilled to release the world premiere recording of Piedra de sol (Sunstone), acclaimed composer Joby Talbot's stunning choral setting of Mexican poet Octavio Paz's epic masterpiece, performed by GRAMMY Award-winning choir Conspirare and Artistic Director Craig Hella Johnson. Drawing on the symbolism of the Aztec calendar stone, Octavio Paz's poem Piedra de sol (1957) is like no other. It uses techniques of modern poetry, particularly surrealist imagery, to meditate on cyclical time and the possibility of breaking it's grip through poetry and love, as explained by Adela Pineda Franco of the University of Texas at Austin in her excellent booklet article. The poem had a profound emotional impact on Joby Talbot: '..the hugeness of the poet's vision; the cosmic immensity of the imagery; the febrile surrealistic intensity of a sensory journey through space and time from reality to fantasy and back again; the sudden moments of heartfelt intimacy that never fail to surprise.' The seventy-minute-long musical structure mirrors the poem's narrative journey from ecstatic vision, through deep despair, to eventual enlightenment. It features a wide range of vocal textures, extended passages of complex rhythmic interplay, exposed solo passages for a single voice, and episodes where slabs of sound reflect the poem's terrifying images. Colouring much of the music is the marimba (superbly played by Thomas Burritt), which anchors the harmonies and rhythm and contributes to the otherworldly character of the musical palette. Piedra de sol invites listeners and performers alike on a journey of infinite dimensions - a voyage whose course bends, advances, recedes, comes full circle, and arrives forever. London-born Joby Talbot is a leading composer for concert, stage, and screen. He has written widely for voice and choir, setting poetry, sacred, and historical texts for varying ensembles. Prominent within Talbot's catalogue are his works for stage and screen. His operas Everest (2014) and The Diving Bell and the Butterfly (2020) both explore themes of despair and endurance, while his collaboration with leading choreographer Christopher Wheeldon has produced original full-length narrative ballet adaptations of Alice's Adventures in Wonderland (2010), The Winter's Tale (2013), Like Water for Chocolate (2021), and the life of Oscar Wilde (Oscar, 2024). Talbot has also scored major feature films The Hitchhiker's Guide to the Galaxy (2005), Sing (2016), Sing 2 (2021), and Wonka (2023). Conspirare is a professional choral organization under the leadership of Artistic Director Craig Hella Johnson. Inspired by the power of music to change lives, this ensemble engages singers from around the world who join voices to deliver world-class, extraordinary live musical experiences and recordings. Their discography includes 17 commercial albums and 20 self-produced live albums. Hella Johnson and Conspirare were awarded a 2015 GRAMMY for Best Choral Performance for The Sacred Spirit of Russia, and their recordings have received 12 total nominations, including for advena: liturgies for a broken world: music of Mark Buller, released in 2025 on Divine Art. Conspirare has also been recognized with the Preis der deutschen Schallplattenkrtik for it's Path of Miracles album (2015) and the Edison Award in the Choral Music category (2010). Conspirare has performed throughout the United States and internationally. On this recording, the choir includes tenor Haitham Haidar (whose recently released debut album Zaytoun on Athene was nominated for a JUNO Award), Savannah Porter of Voces8, early music specialists Jonathan Woody and Dann Coakwell, and the incredible Basso Profundo Glenn Miller.

History teaches us that we should be wary of attaching such absolute labels as "inventor of " or "father or mother of ' with the blanks to be filled in with every conceivable phenomenon from the string quartet to film. For time and again, deeper research necessitates revisions - as in the case here, where suddenly two new fathers of Russian music relegate the younger Mikhail Glinka and the mighty handful to the back seats. Bohemian Ernst Wanczura (pronounced Van-CHUR-a), born ten years before Mozart, ended up in St Petersburg and was possibly the first composer to use folk songs in his delightful Symphonies Op. 1 and Op. 2. His colleague Fomin, fifteen years his junior, with the beautiful first name Yevstigney Ipat'yevich, a pupil of the famous Bolognese Padre Martini at the state's expense, was particularly successful with stage works. His melodramas and operas are veritable parabolic mirrors in which Italian, Russian and Western stylistic features coalesce into a distinctive expression that could undoubtedly have become a significant force had Fomin been granted a longer life.

In the days before recorded sound, people usually learned their orchestral music at home, playing it in piaIn the days before recorded sound, people usually learned their orchestral music at home, playing it in piano transcriptions for two or four hands. Two German-Jewish composers took that idea a stage further: Ignaz Moscheles, protege of Beethoven, wrote a symphony for four hands at a single keyboard, and Ferdinand Hiller, friend of Berlioz, Chopin and Liszt, went a step further, following Moscheles' symphony without an orchestra with an opera without singers - both works bold genre-busters well before the term had even been invented. No transcriptions for two or four hands. Two German-Jewish composers took that idea a stage further: Ignaz Moscheles, protege of Beethoven, wrote a symphony for four hands at a single keyboard, and Ferdinand Hiller, friend of Berlioz, Chopin and Liszt, went a step further, following Moscheles' symphony without an orchestra with an opera without singers - both works bold genre-busters well before the term had even been invented.

With this remastered edition of Richard Wagner's Tristan und Isolde from the 1952 Bayreuth Festival, Note One label launches it's new series Note One Heritage, which makes important historical recordings in music history accessible again. The legendary performance on 23 July 1952 at the Bayreuth Festival Theatre is considered one of the most striking documents of the early post-war years and the artistic renewal of the festival in the era of the so-called New Bayreuth. At the podium is Herbert von Karajan, whose conducting steadily intensifies the dramatic tension of the score, ultimately culminating in an almost ethereal Liebestod. At the centre are two extraordinary singers: Martha Modl, one of the most dominant dramatic voices of her time, and Ramon Vinay, whose powerful, passionate Tristan ranks among the greatest interpretations of this role. Their encounter unites two contrasting temperaments in an electrifying musical dramaturgy - from eruptive passion to meditative introspection. The cast is complemented by outstanding Bayreuth forces such as Hans Hotter as Kurwenal, Ludwig Weber as King Marke and Ira Malaniuk as Brangane. The Bavarian Radio recording - long out of print and now remastered - reveals the atmosphere of a performance whose intensity and immediacy were celebrated as extraordinary even at the time. Note One Heritage's first release invites listeners to rediscover a pivotal moment in the history of opera and the festival.

For so many, coming out is framed as a kind of reckoning-a threshold one must cross, as if queerness begins in secrecy and only later earns the right to be spoken aloud. That narrative suggests burden before freedom, fear before love. But why should love require courage simply to exist? Such is the world we've inherited. For centuries, desire that fell outside society's narrow definitions was forced underground, met with shame, exile, or silence. In that silence, letters became a refuge: fragile but fearless vessels for truths that could not be safely expressed aloud. The Secret Letter re-imagines a program of the same name performed by Cantus in the spring of 2025, weaving music together with excerpts from letters by Marcus Aurelius, Oscar Wilde, Walt Whitman, Emily Dickinson, and others. These interludes offer fleeting access to private moments of longing, devotion, and vulnerability, while the surrounding music expands and amplifies their emotional terrain, carrying forward their tension, tenderness, restraint, and release. Letters are remarkable things. They are both private and exposed, meant for a single reader yet capable of outliving both the writer and recipient. Passed between trembling hands, they hold confessions, desires, and love stories told in ink rather than whispers. The Secret Letter bears witness and celebrates queer love that has always existed-persistent, imaginative, and worthy of song-and that even in secrecy, has found ways to speak, to sing, and to survive.

Paul Smith had previously recorded two albums of my solo guitar music, so with more than enough new pieces ready, a third album seemed destined. He also kindly introduced me to Ekaterina Skliar, who has joined him for two works, playing mandolin and domra. This latter instrument comes from Russia. It has three strings tuned in fourths, and it's sound resembles both the balalaika and the mandolin. David Loeb

Mezzo-soprano Daniela Mack presents a deeply personal exploration with Sur, an album shaped by memory, identity, and the enduring pull of home. Inspired by a vivid childhood recollection - listening from the back seat of her father's car - Mack traces her first encounter with the electrifying sound world of Astor Piazzolla. His music, brimming with colour, grit, and intensity, left an indelible mark, one that continues to resonate in her artistry today. Known for her versatility across the operatic spectrum, Mack finds in Piazzolla's reimagined tango a natural meeting point between classical discipline and expressive freedom, bringing to these songs both technical finesse and emotional immediacy. As an Argentine artist living abroad, Mack reconnects with the spirit of Buenos Aires through music that invites vivid storytelling. Each piece unfolds as an intimate vignette, enriched by arrangements of her collaborator JP, whose work honours Piazzolla's legacy while adding a distinctive, personal voice - including his tender Dulce suenos. Together, they create a sound world that is at once nostalgic and immediate, rooted in tradition yet alive with reinvention - an invitation to experience music that, in it's depth and universality, speaks to all. This album marks Daniela Mack's debut on PENTATONE.

The end of life is a defining aspect of all itinerant journeys. Death serves as a poignant throughline for the album, as each piece chronicles a magnificent, nostalgic, surreal, or horrific journey, leading to death in some way. The interrelationship between humankind and nature-or gross manipulation of it in the case of Poison Mushroom-creates an expressive arc and subtheme.

Louise Farrenc won the admiration of her contemporaries as one of the most respected pianists, composers and pedagogues in 19th-century Paris. She was acclaimed as a performer of Beethoven's music, and her graceful Melodie in A flat major was included in an 1846 anthology of works by an array of composers inspired by the music of Beethoven. Farrenc's Impromptu in B minor appeared in another publication, Vogt's Musical Album of Autographs, alongside compositions by 62 other musicians including Berlioz, Gounod and Liszt. The Fugues were never published in Farrenc's lifetime and are heard here in a world premiere recording. '[Stratigou] has a full mastery of Farrenc's romantic style and a technique to match' (American Record Guide on Volume 3, GP942).

This first volume of Joseph Marx's chamber music charts a period of 30 years from the cello works of 1913-14 to the Violin Sonata No. 2, written in 1944, shortly before he ceased all composition. The Pastorale is characteristically subtle with impressionistic devices harnessed to ever-changing variations. The Suite in F major, for which the Pastorale was originally intended, balances a rural idyll with more sombre elements, informed by a noble Classical design. Violin Sonata No. 2, subtitled Fruhlingssonate ('Spring Sonata'), consciously re-uses material from earlier works to form a lyrical dance-like work irradiated by ingenious harmonic twists.

Regarded as the father of Czech music Bedrich Smetana was a pioneer in developing a national style that culminated in his popular symphonic cycle Ma vlast. Composed after he had become deaf the Czech Dances are Smetana's last major piano works. Sparkling with distinctive character and inventiveness Book 1 elevates the humble polka to the level Chopin achieved with his mazurkas, while Book 2 was inspired by the old Moravian and Bohemian dances played to Smetana by his neighbour, a local amateur violinist. Coloured with Lisztian harmonic richness, the Piano Sonata in G minor combines Romantic expressiveness with puckish good humour.

LEGENDS: Rebellion is the next installment in a series of recordings celebrating women as storytellers and bearers of cultural memory. Featuring world-premiere recordings, Grammy-nominated, long-time collaborative duo soprano Laura Strickling and pianist Joy Schreier return to add to the evolving legend of modern art song in an album exploring rebellion in many forms: political, emotional, erotic, maternal, and spiritual. From Afghan women's landay poetry composed in defiance of oppression, to mythic heroines reclaiming their own narratives, to an unflinching portrayal of new motherhood and a powerful meditation on love as resistance. Pushing against conventional expectations of what art song 'should' be, this album offers a kaleidoscopic array of harmonic and rhythmic languages alongside compelling, deeply human texts; a program that fascinates, challenges, informs, and delights - inviting both devoted listeners of art song and those less familiar with the genre into a richly expressive sonic world celebrating contemporary song as a space for courage, vulnerability, witness, and transformation.

I have walked out of the body and into the mountain. I am a manifestation of it's total life, as is the starry saxifrage or the white-winged ptarmigan.' Plain Air is a musical response to one of the most extraordinary and celebrated works of nature writing in English, The Living Mountain by the Scottish writer Nan Shepherd. This 53-minute work places Shepherd's stunning, crystalline prose within an expansive and elemental musical landscape. Pianist Siwan Rhys (GBSR Duo) creates an environment of spacious stillness, surrounded by a halo of electronic tone, while singer Lucy Goddard (EXAUDI) retraces Shepherd's path, reciting her text simply as she goes deeper into the mountain world and into herself. Plain Air's slow unfolding across almost an hour of music creates a deeply immersive listening experience in which Shepherd's unique poetic voice, and the transcendental beauty and mystery of the Cairngorms, are vividly brought to life.

Anders Hillborg is Sweden's leading composer: born in 1959, he has devoted himself entirely to composition since 1982, and his music is performed by the world's leading orchestras and conductors. This release on Alpha is part of the partnership between the label and the Gothenburg Symphony Orchestra. It features three works by the composer. Through Lost Landscapes (premiered in 2020) illustrates the richness of his musical world: spectacular sound textures, moments of extreme tension, and the interplay of light and shadow. 'When I compose, especially for orchestra, says Hillborg, I like very much to create sounds that you can't really identify.' The use of rare instruments and the influence of electronic music punctuate Sound Atlas, premiered in 2019, which is also reminiscent of the world of Sibelius. These two works, conducted by Pekka Kuusisto for the first and by Brad Lubman for the second, are recorded here for the first time. In 2013, at the request of Renee Fleming, he wrote The Strand Settings, based on texts by the Canadian poet Mark Strand Swedish soprano Ida Falk Winland delivers an inspired performance of it, again under the direction of Pekka Kuusisto.

Following our exploration of violin sonatas by Finger (CHAN 0824), immersing ourselves in the music of his London contemporaries was a logical next step. Although not wholly unknown nowadays, both Matteis Senior and his son lack the full recognition that they deserve, being overlooked in their countries of origin because they emigrated, and in their new homelands because they were foreign. Determined to put this to rights, we spent innumerable hours exploring their music, spellbound by their vibrant and ever-varying musical worlds. It was a struggle to choose which pieces to record, and plenty more remain, which we sadly had to leave aside. Violin playing today has it's roots in the Italian style of players such as Matteis, and we take it for granted that the violin can move us with abundant expressive colours and effects. The situation in Restoration London was different. Musical style was largely French and no one had heard playing like that of Matteis Senior before. The first significant Italian violinist to arrive in England, he must have seemed like a musical visitor from outer space. His influence, through his performing, teaching, and publications, cannot be overestimated. Violin playing and musical taste shifted wholeheartedly towards the Italian style, and in [Roger] North's words, which inspired the title of this recording, 'nothing in towne had a relish without a spice of Itally'. - Hazel Brooks / Duo Dorado

Active as a composer since the mid-1960s, Daniel Bortz is widely regarded today as one of the most important composers in Swedish musical history. His music has always been characterised by it's simplicity and precision, which highlight the power of his emotionally charged messages. The three works presented here share a common thread of a personal kind: the collaboration with violinist and violist Malin Broman. She has been a direct source of inspiration for all three works; First as a member of the Kungsbacka Piano Trio, later as artistic director of the string orchestra Musica Vitae, and finally as soloist in Double Concerto for One. In her various roles, she has functioned both as an interpreter and a catalyst. About Double Concerto for One, Broman said: 'An incredibly beautiful and dramatic work. Daniel's music is close to song; it feels as though you are singing when you play.' The concerto is followed by Sinfonia 14, written for string orchestra alone. This large-scale, emotionally intense work features volcanic outbursts alongside moments of stillness. The Piano Trio concludes the program with a powerful, driving opening, a deeply emotional slow middle movement, and a finale of irresistible energy.

This program offers a generous and varied selection of arias by three of the greatest composers of the Baroque: Henry Purcell, Johann Sebastian Bach and George Frideric Handel. Presented are dramatic and moving arias from Handel's Theodora, Jephta and Acis & Galatea, Purcell's King Arthur, Oedipus and Diocletian, and Bach's St. John and St. Matthew Passion. This recording is a vocal showcase of two of the most prominent young vocalists of today: tenor Guy Cutting and baritone Alvar Tiisler. Guy Cutting is recognised internationally for his compelling performances and refined musicianship, with a particular reputation in the music of J.S. Bach. A regular soloist with Collegium Vocale Gent and Philippe Herreweghe, he has performed across Europe's leading concert halls and festivals including La Scala Milan, the BBC Proms, The Philharmonie Berlin, Tonhalle Zurich, Elbphilharmonie Hamburg and the Concertgebouw Amsterdam. He has collaborated with many of the world's foremost period conductors such as Philippe Herreweghe, Sir John Eliot Gardiner, Maasaki Suzuki, John Butt, Paul McCreesh, Jos van Veldhoven and Marcus Creed. Baritone Alvar Tiisler has performed with orchestras such as the Estonian National Symphony Orchestra, the Tallinn Chamber Orchestra, the Israeli Chamber Orchestra, the Israel Camerata, the Sinfonietta Riga, the Klaipeda Chamber Orchestra, the Barrocade Ensemble, and the Estonian Sinfonietta. Ensemble Floridante is an Estonian Early Music ensemble founded in Tallinn in 2014. It is anchored by two core members: harpsichordist Saale Fischer and viola da gamba and cello player Villu Vihermae. The ensemble brings together several dozen professional Estonian musicians united by their passion for Early Music.

According to his first biographer Johann Nikolaus Forkel, Bach possessed an extraordinary ability to combine organ stops in a wholly unusual manner, astonishing the organists and organ builders of his time. However, very few accounts survive of how he actually made these timbral choices. A valuable source of information is the Harmonische Seelenlust by Georg Friedrich Kauffmann (1733-36), a large collection of chorale preludes that displays striking points of contact with the third part of the Clavier-ubung (1739) - to the point of appearing almost as a model for it - and includes registrations so original and bold as to recall the style described by Forkel. Having already distinguished himself with the award-winning Bach Mirrored (Preis der Deutschen Schallplattenkritik), organist Maurizio Croci draws on the timbral resources of the historic Treutmann organ at Grauhof (1737) to offer us a fresh reading of Bach's masterpiece which, taking inspiration from Kauffmann's registrations, places registration at the centre of expressive interpretation and proposes a renewed listening perspective.

Nur zwei Mal hat der japanische Dirigent Seiji Ozawa (1935-2024) das Symphonieorchester Des Bayerischen Rundfunks in Munchner Konzerten geleitet - doch beide Male wurde nichts weniger als Musikgeschichte geschrieben! I'm Juli 1983 dirigierte Ozawa i'm Herkulessaal der Munchner Residenz Strawinskys Le sacre du printemps und Beethovens Egmont-Ouverture sowie dessen Erstes Klavierkonzert mit Martha Argerich als Solistin, das als CD bereits erschienen ist (CD 900701). Und i'm Januar 1990 prasentierte er sich in der Philharmonie i'm Gasteig mit dem hier erstmals auf CD vorgelegten Programm - mit beispiellos beeindruckenden Interpretationen von Beethovens Funfter Symphonie und Strauss' Tondichtung Ein Heldenleben. In Beethovens funfter Symphonie bestaunte bereits der erste Rezensent E. T. A. Hoffmann das in jener Musik zum Ausdruck gebrachte dramatische Ringen des Menschen durch Nacht zum Licht', das auf rein musikalische Weise gestaltet ist, in struktureller Dichte und auerster Stringenz. Erst in der zweiten Halfte des 19. Jahrhunderts wurde das Werk dann zur Schicksalssymphonie', i'm Sinne jenes heroischen Bildes des Menschen und Kunstlers Ludwig van Beethoven, das sich mittlerweile eingeburgert hatte. Demnach sollte die Symphonie das Leiden und uberwinden des titanisch mit dem Schicksal ringenden Beethoven, insbesondere mit dem personlichen Schicksal seiner Ertaubung behandeln. Eine romantische Anschauung vom Kunstler als leidendem Auenseiter wurde nachtraglich dem Leben und Werk Beethovens aufgepfropft, vor allem seiner funften Symphonie. Um das Leben eines Helden geht es auch in Richard Strauss' Tondichtung, die entstand, als er das Amt des Berliner Hofkapellmeisters antrat. Auch mit diesem Werk wollte er (wie etliche seiner Zeitgenossen) an Beethoven oder die von jenem geschaffene musikalische Ausdruckskraft anknupfen - mit den Mitteln seiner Zeit. Die Tondichtung Ein. Heldenleben, die ihre Urauffuhrung am 3. Marz 1899 in Frankfurt am Main erlebte, liee sich einem Brief Strauss' zufolge als moderne Variante der Eroica deuten, die auch formal auf die klassische Sonatenhauptsatzform zuruckgreift. In der Partitur fehlen die programmatischen Erlauterungen; die uberschriften der sechs Abschnitte wurden erst unmittelbar vor der Urauffuhrung formuliert - vermutlich nicht einmal von Strauss. Trotzdem machte man dem Komponisten, den man als Personalunion seines Helden' sah, den Vorwurf tonender Selbstdarstellung.

Turandot / Tosca / Love Duets - Sonya Yoncheva & Vittorio Grigolo Turandot: 'Netrebko does not merely sing it: she interprets it. What emerges is a character much more human and ultimately truer than usual' (La Stampa) Tosca: 'spectacle of monumental opulence' (Online Merker). 'A Tosca to relish!' (Artesnews. It) "standing ovation Tosca at the Arena di Verona" (Operalife). Love Duets - Sonya Yoncheva & Vittorio Grigolo: 'A concert evening about love, lust and passion. Sonya Yoncheva has the full and vibrant timbre of a true lyrical soprano' (L'Arena) 'Vittorio Grigolo is undoubtedly a charismatic artist and always attentive to the interpretation of the characters' (operclick)

Whether as a phone ringtone, in hotel lobbies, or in commercials for luxury goods, Antonio Vivaldi's Four Seasons have achieved a presence in everyday life today that the composer could not have imagined 300 years ago. However, it would be a shame to overlook the innovative testament to Baroque inventiveness that these violin concertos are, given their enormous popularity. With this recording, the Berliner Barock Solisten and Daishin Kashimoto invite listeners to rediscover the atmospheric nuances of The Four Seasons - and to listen to it with fresh ears.

No Prisoner Be, a groundbreaking new album based on the poems of Emily Dickinson, is set for physical release on July 3. It is an electrifying artistic collaboration from multi-GRAMMY Award-winning singing icon Joyce DiDonato and the genre-defying string trio of Nicolas Kendall, Ranaan Meyer, and Charles Yang from Time for Three. The album was composed by Pulitzer Prize winner Kevin Puts. Emily-No Prisoner Be is a theatrical song cycle that sets Emily Dickinson's best-known poems alongside some of her lesser-known gems to music that moves from deeply intimate to absolutely electrifying virtuosity. It blends classical mastery with rock energy in a vivid reimagining of Dickinson's poetic universe.

Strange Loops presents clarinettist Mark Van de Wiel with colleagues from the Philharmonia Orchestra in three works spanning over two centuries of chamber music. The album centres on the first recording of Anna Clyne's Strange Loops, written in 2020 and exploring repeating and transforming musical patterns. It is paired with Ruth Gipps's Rhapsody, a single-movement work highlighting the clarinet's lyrical and colouristic qualities, and Carl Maria von Weber's virtuosic Clarinet Quintet, composed for Heinrich Baermann. Recorded at Garsington Studios in 2024, the programme reflects van de Wiel's longstanding commitment to both contemporary and established clarinet repertoire.