Lars Vogt (1970-2022) early recordings collected here provide a document of an artist who always remained authentic, both to himself and to music. Lars Vogt never sought absolute truth, but truthfulness instead meant all the more to him. The man and the artist were always very close, never currying favour and never detached from the world. He was, instead, open and natural. "It's incredibly gratifying when you notice that you can perhaps light a little spark, a little flame for music in people, and when music helps you to find the path to your own soul."

The Camerata Salzburg begins a collaboration with Channel Classics and, with it's leader Giovanni Guzzo, presents it's first recording entitled Muses. The album includes three neoclassical masterpieces for chamber orchestra by Igor Stravinsky. The Concerto in E-flat "Dumbarton Oaks" is a small concerto in the style of the Brandenburg Concertos. Apollon musag�te pays homage to Apollo, and to the Muses of mime, poetry and dance, with beautiful, harmonically pure and melodically perfect music. The Concerto in D employs every conceivable kind of string sound and technique, creating a combination of pure melodic and rhythmic drive and wonderful cantabile passages. In these three works, Camerata Salzburg delves deeply into sound, a quest made possible by each musician's individual commitment to the ensemble, uniting the muses of chamber music, concert and orchestra.

Soulima Stravinsky was the third child of Igor and Yekaterina Stravinsky. His career in music encompassed performing as a recitalist and concerto soloist, particularly noted for interpretations of his father's music, musicology, education, and composition. Soulima's performing career was slowly expanded with achievements as a transcriber, editor, author, and composer, although in the later endeavour his work was inevitably overshadowed by his father's towering reputation. Soulima had a particular gift for composing music for children. He made two visits to the Nimbus Studios, in 1975 to record these performances of his father's music, and in 1977 to record his own music for children. This is the first release of these fine performances, fascinating not least for their specific historic significance. � Adrian Farmer

Cappella Amsterdam, it's celebrated chief conductor Daniel Reuss, and the Noord Nederlands Orkest present a recording of Igor Stravinsky's late works, showcasing the composer's remarkable transformation. Embracing the twelve-tone technique in his later years, Stravinsky reshaped his contrapuntal voice and produced works of rigorous structure, spiritual depth, and emotional intensity. These late compositions, from In Memoriam Dylan Thomas to Requiem Canticles, reveal a composer who fused intellectual precision with ritualistic power, creating music that is as moving as it is masterful. Featuring an exceptional lineup of soloists - Berit Norbakken, Marianne Beate Kielland, Guy Cutting, Thomas Walker, Tobias Berndt, and Stephan MacLeod - together with harmonium players Dirk Luijmes and Martin Logar, this recording unites compelling interpreters of vocal and choral music. Under Daniel Reuss's artistic direction of over thirty years, Cappella Amsterdam, together with the Noord Nederlands Orkest, bring these masterpieces to life with unmatched clarity and devotion. The choir has garnered numerous accolades, including an Edison Klassiek Award for In Umbra Mortis (2021), and has continued it's acclaimed recording journey with David Lang: the writings (2022), Schnittke: Psalms of Repentance (2023), Tales of Song and Sadness (2024), and Lassus: Penitential Psalms (2025).

Stravinsky: The Firebird - Bartók: The Miraculous Mandarin S

RITE OF SPRING

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STRAVINSKY: APOLLON MUSAGËTE,

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2019 release. Beatrice Rana, in the words of the New York Times, is a pianist who "has ferocious technique but is distinguished by her musical intelligence." Here she plays virtuosic, poetic works that evoke the creative ferment of Paris in the transitional early years of the 20th century: piano transcriptions of Stravinsky's iridescent ballet scores The Firebird and Petrushka, and Ravel's Miroirs and La Valse.

Includes work(s) by various composers. Ensemble: Woody Herman & His Orchestra. Conductor: Richard Stoltzman. Soloist: Richard Stoltzman.

STRAVINSKY: RITE OF SPRING ZU

STRAVINSKY: APOLLON MUSAGËTE,

Stravinsky: Symphony of Psalms, Concerto for Piano and Wind

Finally, we have Stravinsky's opera The Rake's Progress with Alexander Young a splendid Rake and the rest of the cast, including Judith Raskin, John Reardon and Regina Sarfaty, giving animated support. All project admirably, so that the words are remarkably clear. The Sadler's Wells Chorus is first rate too, while the recording has just the right combination of clarity and atmosphere, matching the composer's approach, which is both incisive and warmly flexible. The CD transfer is admirably fresh.

-- Gramophone [8/1992]

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I...love Stravinsky's own recording, particularly on account of [Alexander] Young, also for the composer's infectious enthusiasm and sheer rhythmic zest...

-- Gramophone [8/1996]

STRAVINSKY: PETROUCHKA, FIREBI

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Stravinsky: Der Feuervogel - Scherzo fantastique

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This is a DSD (Direct Stream Digital) recording

PETROUCHKA SEASONS

This is a DSD (Direct Stream Digital) recording

Acclaimed by audiences and critics alike, the Israeli artists Sivan Silver and her partner Gil Garburg set new standards in the high art, often too little appreciated, of the duo on one or two pianos. + Their new recording, consisting of two highly virtuosic works by Igor Stravinsky, “Le sacre du printemps” and “Petrushka”, finds the duo debuting as exclusive artists on the Berlin Classics label. + Stravinsky arranged his ballet music, some of the most revolutionary works of the 20th c., both for orchestra and for four hands, making great demands of his pianists both technically and comparatively. + Ms. Silver and Mr. Garburg were well on the way to promising solo careers when they paired up first privately and then at the piano. + They relish the constant contrast between recitals as a duo and orchestral concerts, between intimate pieces that call upon them as a unity, works conceived as dialogue, and those in which they sit at two pianos and summon up the massed power of a full orchestra.

The piano reductions for four hands of Stravinsky's ballets Petrushka and The Rite of Spring are not mere arrangements, but the original source out of which the orchestral scores were fashioned. Here, they are played winningly by Katya Apekisheva and Charles Owen.

Classical Music