Dimitar Nenov (1901-1953), a pianist-composer of extraordinary depth, Nenov's music remains largely unknown beyond Bulgaria-where he is still rarely programmed-despite his towering influence on 20th-century Eastern European music. His works, blending architectural precision with boundless imagination, are at once intellectually rigorous and emotionally profound. This album, performed by the brilliant Veneta Neynska, offers a rare opportunity to experience Nenov's unique musical language through the artistry of his present-day champion. From the lush harmonies of his Meditation to the virtuosic brilliance of the Toccata, this collection reveals a composer who was not only a master of the piano but also a visionary in sound. We are thrilled to present this album as part of our commitment to bringing hidden gems to light, ensuring Nenov's remarkable legacy is heard, appreciated, and celebrated worldwide. -Emma Pauncefort & Tom Pauncefort, Directors

In the 'glory days' of the 1970s recording industry (and, incidentally, the time of CRD Records' foundation), there was a rush to record the classical canon. Naturally, as a pioneering label, CRD was at the forefront of this trend and had the privilege to work with Paul on the complete piano works of Faure and Ravel, amongst others. Today, hidden corners of classical continue to be unearthed and we are encouraged to rethink genre boundaries as we elevate long-disregarded voices. Meanwhile, there is another important venture at play: the careful curation of a composer's works. This is the bent of this release. Frederic Mompou's piano works have been well-covered, not least by the maestro himself in his own performances recorded in Barcelona in 1974. So why record this repertoire again 50 years later? From our perspective, it is a fitting choice as we celebrate 50 years as a label championing classical repertoire through the performances of world-class artists. But there has to be something more than that. Such is the accessibility of music today and the desire to reach virality that we seem to have forgotten how, for it's originator, it could be a definitively private and intimate exploit. Paul invites us to listen to Mompou's' rehearsal of own'. He encourages us, as Mompou did from the outset, to listen for the silences and peer deeply into the shadows. In a world in which our attention is constantly divided, perhaps now more than ever such albums are needed. Emma Pauncefort & Tom Pauncefort

Letters from Scandinavia is, I hope, an adventure... It certainly has been for me in creating it. It began with a chance stumbling on Mary Wollstonecraft's Letters Written During a Short Residence in Sweden, Norway & Denmark, written on the cusp of the nineteenth century, at a time when most of the rest of Europe was almost entirely ignorant of the 'wild north'. I soon discovered a treasure trove of historic travel writing about Scandinavia, which I duly devoured. It has grown into something between a song recital and a historical audio travel guide, I suppose. A weaving together of music and text as it follows in the footsteps of women journeying to nineteenth-century Nordic countries for the ?rst time. The music is drawn from a rich vein of song by composers and interwoven between the songs are new texts inspired by colourful and evocative nineteenth-century travel writing. I've had the huge pleasure of working with composer Peter Facer to bring these texts to life with new music to underscore the spoken word. I'm grateful that my fellow traveller is pianist Sholto Kynoch, who first introduced me to Backer Grondahl's works a few years ago, and who plays this repertoire so beautifully. Letters from Scandinavia is above all a love letter to all things Nordic. I very much hope you enjoy it. (Best served with a cinnamon bun...) Joanna Harries

As Bath Abbey Boys' Choir marks it's 150th anniversary, we are delighted to present this album. I hope you will enjoy this varied collection, which has been designed to showcase the very best of our boys' choral singing. One of the highlights of this project has been welcoming our alumni to sing again in Bath Abbey as part of the recording. Seeing the joy of our former choristers at being back in the Abbey, some of whom left the choir over 50 years ago, demonstrates the lasting mark that their time as a chorister has made on their lives. We know how important these choirs are for training future musicians. However, I believe we often underestimate the impact that being part of a choir can have on the choristers who pursue other careers; the discipline, teamwork and concentration skills that will support them throughout their lives, helping to build the leaders and team players of the future. This recording has been made to celebrate the 150th anniversary of the introduction of the Boys and Lay Clerks (formally Men's choir) in 1875. At a time when boys' choirs are decreasing due to mixing the treble line with boys and girls, we are lucky that, despite there being no choir school at the Abbey, we can maintain our independent boys' choir. For part of this recording, we have invited our girls and lay clerk alumni to join us for two items as we celebrate the history and tradition that helped many singers to find their voice. � Huw Williams

The Living Fire is a celebration of choral music written for or associated with Jesus College, Cambridge. Featuring several premiere recordings of contemporary choral works by emerging composers, this album highlights the artistry within the College whilst honouring it's rich musical legacy. At the same time, it looks forward: the impetus behind this project was to provide a platform for emerging artists from within the College community to showcase their work. This project holds particular significance for several Choir members since, among the lyricists and composers, are former ensemble members. Their deep connection to the group has allowed for the creation of choral works uniquely suited to individual voices and our corporate strengths, making these world premieres all the more fitting. Many of the other contemporary works on this album are staples of Choral Evensong, beloved by the Choir and heard in Chapel services for many years. This album is a celebration of the bright future of music at Jesus College, the Choir's integral role in this special community, and it's broader contribution to the development and enjoyment of choral music globally. � Benjamin Sheen

The Eton Choirbook is recognised as one of the UK's national treasures - an extraordinary survival of the religious iconoclasm which swept away so many choral institutions and musical manuscripts as well as a great deal of beautiful art, architecture, sculpture, stone carving, stained glass, and embroidery from the colourful, pre-Reformation world. The Eton Choirbook originally contained ninety-three works by twenty-five composers who hailed variously from Eton, Windsor, Eton's sister foundation at King's College, Cambridge, Oxford, and the Royal Court. It was compiled, with great care and no expense spared, and completed around 1504/5. But what makes the Eton Choirbook so special for both listener and performer is that the music it contains is hauntingly beautiful. There really is nothing like it in continental music of the time which the 'Eton' works surpass in scale (some last over fifteen minutes), number of voice parts, and use of wide vocal ranges - as well as the high degree of melodic invention and rhythmic complexity which places them beyond the reach of most choirs nowadays. � Russell Blacker

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We are Karolina and Iwo, and we are thrilled to have you with us on a journey through A Different History of Music which we feel is Imagique - a little word play that we came up with by combining 'imagine' and 'magic'. This intriguing word Imagique best captures, we think, the emotions behind our album and what we are aiming to do as modern classical musicians. In 2013 we decided to create a duo combining two classical instruments from vastly different worlds: one of the oldest and most oft-used by composers throughout history - the violin - and one of the youngest - the classical accordion. This combination soon turned out to have a lot to offer for us as performers, and for our growing global audience. All the pieces here have been arranged by ourselves and worked and reworked to achieve a specific kind of amalgamated sound deriving from a combination of instruments that can blend surprisingly well when put together. This is due to their sound similarities; the violin as a bowed string instrument and the accordion as a wind instrument share the possibility of shaping the sound dynamically after the note has been played, unlike percussive instruments where the sound abruptly or more gradually fades after the note has been struck. By moving beyond percussive keyboard instruments such as the piano or harpsichord, the violin's original partner for all the pieces on this album, our versions give the opportunity to present this music from a completely new perspective. � Karolina Mikolajczyk & Iwo Jedynecki

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