With Charlotte! Adieu!, guitarist Philipp Schmidt dedicates his album to the young musician Charlotte Beslay (nee Levavasseur), a student of Fernando Sor and a talented pianist whose playing is said to have impressed even Rossini. Her early death in 1835 - she died at the age of only about twenty while giving birth to her son - left a deep impression on Sor. In moving memory of her, he composed the Fantaisie elegiaque, Op. 59, whose conclusion bears the words 'Charlotte! Adieu!': a musical farewell full of sincerity and sorrow. In addition to this central work, the album presents selected etudes, lecons, and character pieces from Op. 6, Op. 29, Op. 31, and Op. 35, as well as the meditative miniature Le Calme, Op. 50, and the virtuoso Variations on a Theme by Mozart, Op. 9. On a historical Romantic guitar, Philipp Schmidt allows Sor's music to shine anew in it's original clarity, warmth, and poetic expressiveness.

Regarded as one of Europe's leading horn players, Martin Owen appears as a soloist and chamber musician all around the world. He currently holds the position of principal horn at the BBC Symphony Orchestra, Britten Sinfonia, and Haffner Wind Ensemble, having served as principal horn of the Royal Philharmonic Orchestra and, on a temporary contract, as solo horn of the Berliner Philharmoniker. Mozart composed all of these pieces for the virtuoso horn player Joseph Leutgeb (or Leitgeb) (1732 - 1811). Leutgeb was born in Vienna and established his reputation as a soloist there before working in Salzburg, where Mozart made his acquaintance. Martin Owen writes: 'In this recording, we have attempted to portray a more youthful vigour in the earlier works (indeed, of Joseph Leutgeb himself, for whom they were written) compared to the Concerto in D, in many ways a swan song for both soloist and composer, in which I hope our performance shows more depth of tone and a higher level of maturity. I was intrigued by the fact that in 1990, sixty bars of music were uncovered in a Sotheby's auction, which were later confirmed as belonging to the concert Rondeau, KV 371 - when I was young, I only knew the work without these bars and always felt that there was too abrupt a change into the next section! Now it makes complete sense.'

The title stands for the idea of re-coloring - for consciously questioning listeners' expectations and musical attributions, between tradition and new beginnings. What happens when classical forms, harmonic contrasts, and contemporary musical languages collide? The rare combination of harp, clarinet, and cello in the Trianima ensemble creates a delicate, transparent soundscape that opens up space for nuances and subtleties.

For this second volume of their complete Beethoven piano trios, the Busch Trio illustrates the great variety that the composer was able to draw from an ensemble of just three instruments. The Trio in G Major, begun in 1793, is the second of three published in Vienna as Opus 1. The Trio in E Flat, WoO 38, was written in 1790-1791 in Bonn: it is unusual in that it has three movements in the same key and no slow movement. The charming Allegretto in E Flat was written by a young Beethoven experimenting. The Allegretto in B Flat, WoO 39, takes us back to 1812, the era of the famous 'Archduke Trio'. Finally, the Variations in E Flat Major, Op. 44, are a series of variations on arias from a little-known opera by Carl Ditters von Dittersdorf. 'When practising, rehearsing, and performing Beethoven's works, it is impossible not to be overcome by the joy, courage, the love for life and humanity,' conclude the musicians of the Busch Trio.

Sarah Fox: Mozart Concert Arias

After last year's acclaimed triple album Liszt: Années de Pèlerinage, IBS Classical reunites with pianist Miriam Gómez-Morán for a new recording dedicated to three of Beethoven's most iconic piano sonatas: Pathétique, Moonlight, and Waldstein. Recorded at the Auditorio Manuel de Falla in Granada, this album showcases Gómez-Morán's blend of scholarly insight and expressive depth. Her interpretation highlights the dramatic contrasts, structural clarity, and spiritual dimension that define Beethoven's pianistic universe. From the powerful rhetoric of the Pathétique to the atmospheric mystery of the Moonlight and the radiant virtuosity of the Waldstein, Gómez-Morán offers a reading that is both profound and compelling.

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Zuzana Ferjencíková presents Colors and Shadows, the second double SACD in her complete recording of Jean Guillou's organ works. This second volume was also recorded on organs on which Jean Guillou played for many years: the Kleuker organ at the Church of Notre-Dame de Grâce du Chant d'Oiseau in Brussels and the Danion-Gonzalez organ (1966) at the Cathedral of Notre-Dame de la Treille in Lille. A special feature of this recording is the numerous world premiere recordings of organ works by Jean Guillou, which were previously only available in manuscript form and are currently being prepared for publication. The recording was produced in stereo and 5.1 multichannel surround sound.

SOMM Recordings continues it's long collaboration with pianist Leon McCawley, named "one of today's most impeccably musical pianists" by International Piano. His past recordings for SOMM include much-admired releases of piano music by Chopin; Barber (Critics' Choice in Gramophone); Brahms (Classic FM CD of the Week); Schumann; Rachmaninoff Complete Preludes; Haydn Sonatas and Variations (awarded a Diapason d'Or); Schubert; three further volumes of Haydn Sonatas; and the 2024 release Natural Connection, about which Gramophone wrote: "This scintillatingly varied recital combines sensuous virtuosity, compelling charm and musical probity. Highly recommended." In this recital McCawley presents some of his old favourites by composer-pianists Liszt, Beethoven, Chopin, and Franck. While the recital focuses on 19th century composers, the programme begins and ends with a nod to J.S. Bach. Among Bach's works that Franz Liszt revered were his six organ preludes and fugues. In transcribing them for piano, Liszt became a major influence on later arrangers. Heard here is the first in the set, Prelude and Fugue in A minor. The Piano Sonata in C major, Op. 53, "The Waldstein," by Beethoven-dedicated to his friend and patron, Count Ferdinand von Waldstein-comes from his aptly named "Heroic" period. It was written in 1804, two years after the watershed moment of his Heiligenstadt Testament, when he had contemplated suicide because of his encroaching deafness, but instead made the profound choice to channel his despair into a bold new musical style. The "Waldstein" Sonata is a vivid expression of this newfound path and of Beethoven's ability to transcend personal adversity to create ground-breaking works of deep complexity. One of the renowned "out-takes" of musical history is Beethoven's Andante favori. He originally intended it as the slow movement of his "Waldstein" Sonata, but he substituted it with a shorter adagio labelled "Introduzione." He had formed an attachment to the piece, though, and he published it as a stand-alone work, including it frequently in subsequent recitals. In an engaging piece of programming, Leon McCawley pairs it here with the "Waldstein" Sonata. Two introspective works by Chopin follow. The Berceuse is a series of continuous contemplations on a simple, nocturne-like theme. In the Barcarolle, Chopin's affinity to the bel canto operatic style is strongly apparent, especially in the beautiful, florid figurations in the right hand. Leon McCawley closes his beautifully curated recital with the Prélude, Choral et Fugue for solo piano by César Franck. Franck was trained as a pianist, but he served as an organist at Paris's Sainte-Clotilde Church from 1858 until his death in 1890. Inspired by the rich, orchestral sound of the Cavaillé-Coll organ there, he developed a grandiose, improvisatory style of keyboard writing that was harmonically influenced by Bach but thoroughly romantic in expression.

PIANO DUOS

VIRTUOSO: BEETHOVEN - TRIPLE CONCERTO CHORAL

JUPITER PROJECT / VARIOUS

A few years after a complete recording of Mozart’s solo piano works that has gradually come to be regarded as a benchmark, Kristian Bezuidenhout has taken all the time he needed to tackle Haydn, the other towering figure of the Viennese Classical keyboard repertory: “Preparing for this recording has been a vivid reminder that it is remarkably difficult to play Haydn’s music well, but that with enough care, and attention to detail, his music has the potential to come jumping from the page. It would be hubris to suggest that I am even close to unlocking any of its secrets, but I am so humbled by the sheer beauty, humanity, wit and delightful irony of this music, that the desire to continue is irresistible.”

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REVIEW:

The listener is drawn in by the myriad subtleties of Bezuidenhout’s playing and by the glorious sounds he draws from his instrument. Soon you’re hanging on every note of this sequence that seems to travel from darkness to darkness. Most important, though, is Bezuidenhout’s playing itself. Technique is obviously not an issue. Decoration, too, is sparing rather than trowelled on. This is the very opposite of ‘look-at me’ pianism.

– Gramophone

Stephen Kovacevich TITLE: Beethoven: The 32 Piano Sonatas, Bagatelles (9CD) "Nobody plays this music more authoritatively and eloquently," wrote London's Sunday Times of Stephen Kovacevich in Beethoven. "He is in his element, responding wholeheartedly to the extreme physicality that Beethoven brought to music... but the wit and delicacy of the playing are also remarkable."Kovacevich himself has spoken of his love for the "fun and virtuosity" of the composer's early sonatas, while in the often challenging later works he sees a "subtext of radiance and some sort of inherent faith in life."

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Kvapil is considered the finest exponent of Czech piano music.. a performer with such a specialized repertoire is often unfairly 'tagged' with the erroneous reputation of not playing anything else, and Kapil's present release of three Beethoven piano sonatas will certainly correct that idea.

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The violinist Midori has been a celebrated performer for more than 35 years, this recording of Beethoven's Violin Concerto, complemented by his two Romances for violin and orchestra, marks the composer's 250th birthday in December 2020. Midori plays with the Lucerne Festival Strings in a recording made in Switzerland shortly after the COVID-19 pandemic had caused the cancellation of a planned concert performance and international tour. "Beethoven guided my colleagues and me," says Midori, "his work focusing and inspiring us, our concentrations heightened, enveloped together in our musical efforts... I am reminded that he was a man of strong beliefs... who took firm stands on many major issues of his day... Beethoven's determination still provides a model for humankind."

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Dating from the years between 1928 and 1948, the recordings in this collection were all made during the lifetime of Jean Sibelius (1865-1957). They can be credited with playing a substantial role in propagating his works around the world and in cementing his international reputation as one of the towering figures of 20th century music. The seven CDs constitute a wide-ranging survey of the composer's music. Rightly, the seven symphonies are at the heart of the collection. Symphonies No.s 1, 2, 3 and 5 are conducted by the Finn Robert Kajanus, whom Sibelius described in 1934 as "the best conductor my music ever had... he worked and studied and sought unceasingly to play my works exactly as I wanted them to sound." Kajanus was Creating a biographical panorama of his career, the British tenor Ian Bostridge has personally selected each track in this 7CD Autograph collection. With a focus on both song (in German and English) and opera (from Monteverdi to Ades by way of Handel, Mozart and Britten), it demonstrates just why he is recognized as one of today's most distinctive, intelligent and compelling singers. The tenor also complements his performances with an exclusive and illuminating audio interview. This is the fourth release in the Autograph series, launched earlier in 2015 with collections devoted to Angela Gheorghiu, Thomas Hampson and Jose van Dam. Each box focuses on a single artist, providing a biographical panorama of his or her career through a series of thematically programmed CDs and fascinating documentation. Each collection is devised in collaboration with the featured artist and includes a newly-recorded exclusive interview, Illustrated with musical extracts and conducted by the distinguished journalist and broadcaster Jon Tolansky, discussing his or her life and work. Bostridge, a former Oxford academic who has written three books and has been described as "something of a polymath" by the New York Times, can be relied upon to provide articulate and stimulating opinions on his career and the music he performs. Bostridge is a highly distinctive artist, an interpreter of exceptional intensity who uses his fundamentally lyrical voice to powerful dramatic effect. When he appeared in recital at Carnegie Hall in 2011 the New York Times wrote: "... this was a Dichterliebe in which an insightful vocal artist had a compelling idea about the words and music of every phrase." [Schumann's song cycle Dichterliebe appears on CD6 of this collection.] Bostridge expressed his philosophy as a performer to the Financial Times in an interview in 2013: "It may not be obvious at first why such music is enjoyable but it is consciousness-raising. It makes you think about what is valuable in life - the things music ultimately wants to address... Art is part of the good life but it's also part of what it means to be a human being... Art has transcendent value and if you live in a democratic society, you want to bring it to as many as possible."