Serendipia Ensemble, Rita Rógar, and Moisés Maroto, together with their ensemble of musicians—Darío Tamayo on the harpsichord, Calia Álvarez on the viola da gamba, José Arsenio Rueda on the baroque bassoon, and Jon Wasserman exchanging his plucked string instruments (theorbo and baroque guitar)—have recorded the complete sonatas. Premiering worldwide with the record label IBS Classical.

With this large continuo group, Serendipia Ensemble seeks a unique musical approach to the concept of the triosonata, finding the common ground between the concerto form conceived by Corelli and the sonata form arranged by Schickhardt. We are now able to hear, with layering of different instruments, the triosonatas approach the concerti in sections such as the tutti-soli that we appreciate in the Corellian originals.

Robert Horton; the 2022 First Prize Winner in the American Guild of Organists' National Competition in Organ Improvisation (NCOI); presents a program of organ improvisations modeled after a variety of musical forms; in addition to his adaptations of music of Bach and Mendelssohn for solo pipe organ; on the new Pasi Opus 28 pipe organ at St. George's Episcopal Church; Arlington; Virginia USA.

In this recording, you will find a dialogue between two of the most essential funerary musical works of the German Baroque.

In 2022, we celebrated Heinrich Schütz, a central figure of the album, on the 350th anniversary of his death. As a culmination of a series of projects around his person and work, this recording wants to serve as a tribute to an extraordinary musical legacy that found in Johann Sebastian Bach, its greatest supporter. The manifest bond between both composers here is seen in the way in which death is shaken and beaten for later, collected from within our soul, be restored and sublimated by two artistic personalities capable of transcending a rich amalgamation of religious, cultural, and musical aspects around the ars moriendi of his time. Schütz’s Musikalische Exequien and Bach’s Actus Tragicus stem from a creative attitude toward death that is very close to home one from the other. Thus, it is not by chance that with their listening, both works fill us with peace and the deep sense of rest with which they do it.

Winners of the First Prize at the inaugural Birmingham International Piano Chamber Music Competition, violinist Usha Kapoor and pianist Edward Leung present an album of violin sonatas by American composers Amy Beach and John Corigliano. The album features Beach’s large-scale chamber work of 1896, the Sonata for Violin and Piano Op. 34, and her earlier Romance for Violin and Piano, Op. 23 from 1893, together with Corigliano’s Sonata for Violin and Piano. Completed in 1963, this work was originally called ‘Duo’ and is very much intended for two equal musical partners.

Recognizing the centenary of the Anglo-Irish composer Charles Villiers Stanford's death, this new album from The Sixteen includes a number of premiere recordings of his Irish Folksongs and Partsongs.

Stanford is celebrated both nationally and internationally as a composer of great diversity. He composed a substantial number of concert works, including seven symphonies, but he is best-remembered for his choral works. Stanford's writing for voices is exquisite and his imaginative storytelling is ever-present in his Irish Folksongs where he captures everything from fiery revenge to passionate love with equal effectiveness.

Stanford's dedication to the poetry of Mary Elizabeth Coleridge also stands out-he was drawn to the lyricism of her poetry and the imagery she conjures up-something that is clearly heard in his Opus 127 settings. Much of her poetry is marked by a sense of loss and change, nowhere better portrayed than in The Guest with its unsettling narrative.

The cellist Roger Morelló has intercalated three sarabands from the Suites for Cello Solo by Johann Sebastian Bach. The first is the one included in the Suite No. 1, whose prelude served as primary material for the work by Marc Migó. The second saraband that appears is the one from the Suite No. 2, which is in the key of D minor, and the third is the E flat major saraband. Along with these pieces, we encounter the Suite for Cello Solo by Gaspar Cassadó – a renowned Casals pupil and one of the most legendary violoncellists of the twentieth century as well as a composer. Along with this piece, Morelló has added his cello arrangement of an original work for viola da gamba from Les voix humaines by Marin Marais, which is the piece that lends this album its title. Side by side with these historical references that have become timeless, Roger Morelló includes two contemporary works. One of them is formed by the Variations on the name of Casals by Marc Migó, a work commissioned by Morelló himself, to whom it is also dedicated. The other contemporary composition that Morelló wanted to include on this album is a work that he commissioned from Elisenda Fábregas, who in turn dedicated it to him. It has Catalan dances as its title and consists of four dances.

Louise Farrenc has emerged in the last decade as a major figure among French composers of the early-Romantic era, whose neglect in previous eras can only be understood in the context of her gender, revealed in both live performances and studio recordings.

Robert Schumann lavished praise on Farrenc’s early published work, and it is easy to hear why from these two piano trios and Cello Sonata, all of which belong to the mainstream of lyrical Romanticism in its early flowering.

The pianist Linda di Carlo has already been the constant presence in two previous albums of Farrenc’s chamber music on Brilliant Classics, and she brings a deep understanding and experience of the idiom to these new recordings.