REFERENCE RECORDINGS proudly presents a landmark recording, the first commercial project to feature Joel Thompson's music exclusively, which brings together this ascendant composer and the Kansas City Symphony led by Michael Stern. The career of composer Joel Thompson has seen a meteoric rise since the premiere of his breakout choral work Seven Last Words of the Unarmed in 2015. Each of it's seven movements sets to music the last words of an unarmed Black man before he was killed. Joining them are some of the most important performers of today focused on the same crucial topics: cellist Yo-Yo Ma, mezzo-soprano Joyce DiDonato, and the Sphinx Organization's vocal ensemble Exigence, led by Eugene Rogers. This is powerful music of profound insight and uncompromising conviction, brought to life by the passion and artistry of eminently skilled collaborators.

The Holy Liftoff (2024) is the 11th installation of Claire Chase's 24-year Density 2036 project, an initiative to create a bold new repertory for the flute by the 100th anniversary of Edgard Varèse's seminal 1936 flute solo, Density 21.5. Density 2036 has been called "one of the great musical undertakings of our time" by The New York Times, and "a quarter-century journey that has little precedent" by The New Yorker. Terry Riley began composing The Holy Liftoff in 2022 as an open score sketchbook brimming with colorful drawings that were intended to be played by Chase with any number of collaborating musicians. Over the following two years, the sketches evolved into a multidimensional work that now combines extensive through-composed material as well as graphic notation, evocative artwork, and Riley's signature open-form scoring that can be freely interpreted by the performers in variable durations and ensemble formations. Samuel Clay Birmaher's 60-minute realization of the work, which he composed in close collaboration with Riley and the performers, is scored for multiple flutes and string quartet. "When I improvised the first 16 bars of 'The Holy Liftoff' the melody and the chords whispered it's name while simultaneously urging me to make drawings of the experience. The drawings had angels and flying creatures and all the energies were rising up into a surrealistic skyscape... This piece could only have been written for Claire Chase." -Terry Riley

Folklore takes the listener on a musical journey throughout 19th- and 20th-century France, Georgia, Hungary, and Spain. Through different styles and soundscapes, the compositions are united by the spirit of folk traditions and national character, as well as personal memories of the performers-Swiss-French cellist Christoph Croisé and Georgian pianist Ana Bakradze. Works originally conceived for their instrumental combination sit alongside transcriptions that fit their sound world like a glove, a testament to the popularity of all the music on this album. Siete Canciones Populares Españolas, a set of seven traditional Spanish songs by Manuel de Falla, is his most-arranged composition and among his most popular. Béla Bartók's Six Romanian Folk Dances, originally composed for solo piano, were drawn from melodies the composer recorded of folk musicians singing in the countryside of his Hungarian homeland. Hungarian influences infuse Pablo de Sarasate's Zigeunerweisen (Gypsy Airs), originally scored for violin and orchestra. Sulkhan Tsintsadze's Five Pieces on Georgian Folk Themes evoke childhood memories for pianist Ana, especially the fourth, a lullaby that her mother used to sing to her. The most substantial work on the album, Robert Schumann's Fünf Stücke i'm Volkston (Five Pieces in Folk Style), conjures the harmonies and rhythms of folk music. French national character imbues Nadia Boulanger's Trois pièces (Three Pieces) and works by her teacher Gabriel Fauré: his elegant Sicilienne-originally penned for orchestra but frequently adapted for cello and piano-and his ever-popular miniature "Après un rêve" (After a Dream) from his Trois Mélodies (Three Melodies). When asked about their own connections to this music and what they wish for the listener, Christoph and Ana agree: "Above all, joy! We share a love for the roots in these pieces and the inspiration they provided to the composers. For this album, we've selected our favourite miniatures. Some are well known, others are more personal, but they all connect to the spirit of folk traditions in some way. It's about the lasting pleasure of connecting through music we love."

French Cello Sonatas, Vol. 4 - Magnard & Vierne

Brouhaha: Shaped by Fire is a recording and performance project, combining music with anthropology to highlight our connections to our nature and origins. From noisy social gatherings around fires 800,000 years ago to virtual meetings over Zoom today, we humans have created and solved an amazing array of problems. Even as we shape the world in unprecedented ways, we remain an integral part of nature, intertwined with it's rhythms and cycles. Project founder and violinist Maiani da Silva has commissioned six stylistically eclectic composers to write for solo violin based on what intrigues them about our human nature and our place in the ecosystem. In addition, Maiani and the composers have collaborated with world-renowned scientists to gain insights on their chosen theme. What results is an imaginative collection of works that both transcends stylistic labels and embraces intellectual inquiry, while highlighting an important duality: "our ability to work with or against our environment, [which] has been with us from the beginning" (Ian Gottlieb, composer of Shaped by Fire). The drive to express and understand are both deeply human. Brouhaha combines two cultural pillars-art and science-to further ask: What separates and also connects us to the delicate web of nature, our environment, other species, and one another?

Bach's 15 two-part Inventions and the 15 three-part Sinfonias played an important role in Bach's teaching. These pieces, although today mainly associated with basic keyboard training, are not at all easy and in fact are sophisticated, small-scale masterpieces. They were not composed simply to provide technical training in keyboard playing but, perhaps more important, to teach keyboard players how to compose. In 1720, Bach's oldest son Wilhelm Friedemann (1710-84) was already of an age appropriate for introducing him into the family trade of musician. So Bach started for him a music notebook: a Clavierbüchlein which included these Inventions and Sinfonias. In learning and playing these works, Bach affirmed, a diligent student would be taught "a clear manner for playing not only in two voices but also in three obbligato parts and, furthermore, not only how to invent good musical ideas [inventiones] but also how to develop these well. And above all, how to achieve a cantabile manner of playing, and additionally to obtain a strong foretaste of Composition. " Wolfgang Rübsam is internationally known as an authoritative Bach interpreter, from recordings of the organ and harpsichord on several different labels. This new recording is played on a lute-harpsichord, an instrument that Bach would have had at home for both music-making in the family and for teaching. The touch required and the sonority produced is delicate, subtly shaded, and closely related in it's effect to the music of Bach's French contemporaries, whose music he knew well, such as François Couperin, Jean-Philippe Rameau, and Louis Marchand. The sound is warmer, as it has gut strings and no dampers. "These lovely performances memorably showcase Rübsam's sensitive and poetic side. Recommended. Performance: 9," wrote Jed Distler of ClassicsToday. Com about the earlier issue of Rübsam's recording of Bach's French Suites (BC 96227).

Saxophonist Clio Theodoridis and pianist Jonathan Nemtanu present their debut album, Nostos, named after the ancient Greek word for "return" or "homecoming." The album traces a musical and personal odyssey shaped by movement between cultures, places, and musical traditions. From Suite hellenique by Pedro Iturralde, rooted in Greek heritage and Mediterranean colour, to Recit et Lied, Op. 31 by Canadian composer Mathieu Lussier, the program reflects a life lived between past and present, departure and arrival. Works by Fazil Say, Suite for Saxophone and Piano, Op. 55, and Alexis Ciesla, Ocres rouges, further occupy musical crossroads between East and West, tradition and innovation, forming a cohesive program that highlights the expressive range of the saxophone-piano duo. Born in Athens and now based in Quebec, Clio Theodoridis is recognized for the finesse and depth of her playing across the classical saxophone repertoire. Pianist Jonathan Nemtanu combines an active career as a chamber musician with cultural leadership, and is noted for his musical dialogue and artistic vision. Together, they perform as Duo Aster.

Under Italian skies, the young Handel chiselled the human soul into music, providing Roman palaces with secular cantatas of incandescent virtuosity. This theatre of passions explores the thousand faces of love: from the torments of the dizzying Il delirio amoroso, to the lightness of Sans y penser, through to the chains of Un'alma innamorata and the lamentations of Crudel tiranno amor. Soprano Marie Lys lends her exquisite voice to the heroines of the "dear Saxon". Under the baton of Gaétan Jarry, the Orchestre de l'Opéra Royal revives this baroque ardour with supreme elegance.

Now recognised as one of the pioneers of microtonal music and performed throughout the world, Ivan Wyschnegradsky nevertheless composed pieces for solo piano, an instrument he particularly loved, throughout his life. This recording is unique: it brings together the composer's complete works for solo piano, known as 'normal' piano. Most of these pieces, previously unpublished, are being released for the first time. The programme offers a journey backwards in time, from his mature years to his early compositions: from the etude sur le carre magique sonore, Op. 40, to the preludes of his youth written in Petrograd (Saint Petersburg) in 1916, shortly before he left Russia for good to settle in Paris, where he lived until 1979. The pianist Martine Joste, who knew the composer well, premiered many of his works in his presence. Ivan Wyschnegradsky particularly appreciated her dynamic and sensitive playing. In 1983, she founded the Ivan Wyschnegradsky Association with Claude Ballif to raise awareness of this major figure of the 20th century. This disc sheds light on a lesser-known aspect of the composer's personality and highlights his creative journey. The disc, co-produced with the Ivan Wyschnegradsky Association, with the support of the Francis and Mica Salabert Foundation, is released on the Shiiin label, accompanied by a 33-page booklet published in French and English.

This new volume in the 'Next Generation Mozart Soloists' series features Mozart's very first piano concerto (K. 37), composed when he was just 11 years old, and his very last, the Concerto K. 595, finished on 5 January 1791, exactly 11 months before his death. "The combination of the naive and youthful first concerto with the mature last concerto and it's reflection of how much Bach's music had affected him shows just how extraordinarily his brilliant mind had developed", says pianist Mishka Rushdie Momen, who performs them under the baton of Howard Griffiths. She studied with Joan Havill, Imogen Cooper, Richard Goode and Andras Schiff at the Kronberg Academy. Blaž sparovec, principal clarinettist of the Gurzenich Orchestra in Cologne, takes on one of Mozart's very last works, the famous Clarinet Concerto K. 622, "a concerto that can only be compared to an opera in which the basset clarinet plays all the roles", says sparovec.

We clarinetists are profoundly grateful to Johannes Brahms for these four late works, composed near the end of his life. They stand as some of his most intimate and deeply felt music. We also owe thanks to the clarinetist Richard Mühlfeld, whose artistry moved Brahms so greatly that it inspired him to compose again. Mühlfeld's playing unlocked a new, quieter world for Brahms. Instead of writing large, dramatic works, Brahms started composing more personal and emotional music that highlighted the clarinet's warm and gentle sound. I was a young man when I first got to know these works, and in retrospect, I believe that my long engagement with these four compositions has shaped my approach to music-making more profoundly than any other repertoire, extending even to my interpretations of contemporary music. There are certain compositions that simply refuse to let go. Often, after performing them, one assumes it will be the final time, yet that is seldom the reality. This has certainly been my experience with the works of Brahms. His music is a constant source of inspiration. Every time I set the music on the stand, something opens up - a new interpretative idea or a deeper understanding of the music. And then that feeling comes up that every musician recognizes: I have to play this again! This is music that demands stillness and focus, and for me, it serves as an escape from the speed and noise of modern life. We are inviting the audience into a space where time stands still, where we are allowed to be sincere and reflective. It is both a privilege and a responsibility to keep these compositions present through performance and recording. After our recital in 2017 where we played all four works, the idea emerged to record them together. I hope you will find as much enjoyment in listening as we found in bringing this music to life. - Rúnar

One of the world's leading experts on Marcel Dupré, Tobias Frank, joins forces with his ensemble Vox ad hoc to reveal a previously undiscovered facet of the French composer: vocal works for soloist or choir, with piano or organ accompaniment or purely a cappella. Until recently, these outstanding pieces had remained quietly overlooked in the archives of the Bibliothèque nationale de France.

Pianist Mathieu Gaudet presents the final instalment of his Complete Schubert Sonatas and Major Piano Works recording series. This final volume, The Testament, showcases the very last Sonata by Schubert in B flat major D. 960, a work with a unique sound environment, at once lush but modest, passionate but patient, opening a door to a world of extreme sensitivity. Also on this album is the Sonata in E minor D. 566, written by a romantic 20 year-old man, full of fun ideas and strokes of genius.

IBS Classical presents a new monographic release dedicated to Roberto Sierra, the Grammy-nominated and Latin Grammy-winning Puerto Rican composer whose music is regularly performed by leading orchestras and ensembles worldwide. This album features Piano Sonatas Nos. 13 and 14 alongside the Transcendental Etudes (after a reading of Liszt), performed by American pianist Matthew Bengtson, a long-standing artistic collaborator of Sierra and one of today's most compelling interpreters of his piano works. Sonata No. 13 offers a bold "fragmented sonata," a mosaic-like structure that reimagines Beethoven's legacy through a distinctly contemporary lens. Sonata No. 14, inspired by the Moonlight Sonata, explores musical memory as a sonic specter, where fragments appear, dissolve, and transform. The Transcendental Etudes pay homage to Liszt while remaining unmistakably Sierra: virtuosic, rhythmically vibrant, infused with Afro-Caribbean energy, and rich in harmonic color and pedal resonance. Critically acclaimed as a "musician's pianist," Matthew Bengtson enjoys an international career as soloist, chamber musician, scholar, and educator. Widely recognized for his interpretations of Scriabin and Szymanowski, he has performed throughout Europe and the United States, including appearances at Carnegie Hall. A dedicated advocate of contemporary music, he has premiered numerous works and maintains a particularly close artistic partnership with Roberto Sierra. Bengtson is Associate Professor of Piano Literature at the University of Michigan and a Steinway Artist.

For their Preziosa series, MDG revives one of the most remarkable organ composers of the late Romantic period, Carl Sattler. The uniqueness of his works and the absolute richness of his musical ideas are expertly captured by Reinhard Kluth on the Klais organ at Himmerod Abbey. Still residing at the abbey was a former student of Sattler's, the elderly Father Raimund, whose contributions add a greater degree of authenticity to the interpretation.

Violinist Ning Feng performs the Complete Mozart Violin Concertos with the Kammerakademie Potsdam on Channel Classics Records. These 5 concertos were written because Mozart's father, Leopold, was frustrated at the thought of Wolfgang, on his travels, neglecting the violin as a possible source of income, as Mozart could himself play the violin beautifully, and he wrote brilliantly for the instrument. Composed mainly in 1775, these concertos display the theatrical twists and turns that were by now second nature to the 19-year-old composer, with his thoughts and dreams perpetually fixed on opera and the drama.

Pianist Lukas Geniusas pays tribute to the fantasy, a form synonymous with freedom, dear to the Romantics. Schubert sets the figure of the wanderer to music in his Lied Der Wanderer, which, a few years later, would give rise to a large-scale instrumental work: the Fantasy in C major, D. 760 (1822), later known as the "Wanderer" Fantasy. It's four-part structure could be that of a four-movement sonata cycle, but these sections follow one another without interruption in a continuous process, like an uninterrupted journey. Fascinated by this work, Liszt wrote his transcription for piano and orchestra in 1851, two years before his famous Sonata in B minor, which is also monothematic and unfolds as a single, vast movement. More in line with the classicists, Tchaikovsky cultivates virtuosity and instrumental brilliance in his Concert Fantasy of 1884. With the Sinfonieorchester St. Gallen, conducted by Modestas Pitrenas, Geniusas offers a rare (if not unprecedented) pairing of these two fantasies, separated by just over six decades.

Powerful Anna Pikulska unleashes the full might of the historic 1607 Villanueva de Huerva organ, revealing it's sonorous depth and dramatic character. Thunderous Batallas, blazing trumpets en chamade, and even drum effects created within the instrument itself make this recording an electrifying experience. Magnificent This colourful programme spans Spain's golden organ tradition with inspired excursions to Italy and the Netherlands. Works by Correa de Arauxo, Aguilera de Heredia, Sweelinck, and Frescobaldi, amongst others, shine in performances rich with contrast, virtuosity, and stylistic flair. Angelic Delicate flute stops, finely shaded voices, and refined colours float through the wonderful acoustic of Nuestra Señora de los Ángeles in Aragón. The built-in echo effects, captured in immersive 3D sound on Super Audio CD, surround the listener with a sense of space and serenity. Vivid With new additions to the repertoire and countless sonic surprises, this recording celebrates the long, distinctive tradition of Spanish organ music. Pikulska's keen ear for detail and joyful musicianship make these rarely heard masterpieces come alive in all their splendour.

Frank Martin's chamber music oeuvre may not take up much space on the shelf, yet it spans an entire artistic life. Together with pianist Ilona Timchenko; the Utrecht String Quartet dedicate themselves to three key works that impressively bring together tradition and modernity in the 20th century. His early piano quartet from 1919 clearly echoes influences from Bach to Franck, as well as folk melodies he had heard whilst stationed in the Savoy countryside during the First World War, though it is repeatedly enriched by dissonances that hint at more advanced harmonic ambitions. Martin quickly reached the limits of the traditional major-minor system, although he felt that music without tonality would be like architecture ignoring gravity. He combined Schoenberg's twelve-tone technique with a fine sense of sound and harmonic sophistication, particularly evident in the two outer movements. It was not until the age of 75 that Martin turned to the supreme genre of chamber music: the string quartet. Combining his inspirations from a long artistic career, his unique voice can be recognised in the chord progressions, musical flow and vivid rhythms, which the Utrecht String Quartet bring to life with natural ease.

The young talent Michal Balas has recorded Prokofiev's Sinfonia Concertante together with the Pilsen Philharmonic Orchestra. This album will follow his well received debut release on Berlin Classic, which featured hte Haydn Cello Concertos. Balas was recognized as "Classic FM 30 under 30 rising stars" and won the first prizes at "Classic String Competition" in Dubai as well as many other competitions.

Christus der Erloser concludes Friedrich Schneider's (1786-1853) monumental Christ trilogy. In the 1820s, the Dessau court conductor had planned to depict the life of Jesus in a series of four oratorios - a project he did not complete, but which nevertheless resulted in three complete works: Christ the Child (published in 2022), Christ the Master (published in 2023), and Christ the Redeemer, in which Schneider turns his attention to the Passion of Christ. The work testifies to Schneider's great dramatic sensibility, his deep religious conviction, and his mastery of choir and orchestra.

SEAMUS (Society for Electro-Acoustic Music in the United States) releases Volume 36, the 2026 iteration of it's long running series featuring new works by it's member composers. Featuring music by Alex Christie, Simon Hutchinson, Yao Hsiao, Margaret Ann Schedel, Connor Scroggins, and Marcin Paczkowski, the SEAMUS composers continue to push the boundaries of genre, showcasing the aesthetic possibilities of emerging and existing technologies.