The Opus13 Quartet was formed in 2014 and takes it's name from the String Quartet in A minor, Op. 13, by Felix Mendelssohn, a passionate early work and the first piece they ever played together. Comprising two Norwegians (violinists Sonoko Miriam Welde and Edvard Erdal) and two Swedes (Albin Uusijarvi on viola and Daniel Thorell on cello), Opus13 were keen to record Grieg's sublime Quartet No. 1 alongside Mendelssohn for their very first album. For them, it was important to connect with the raw power of this music and the Norwegian identity embodied in Grieg's music. First Prize winners at the Bordeaux International and Wigmore Hall International String Quartet Competitions in 2025, Opus13 received the Borletti-Buitoni Prize in 2026 and were selected as BBC New Generation Artists. Marked by pure and fragile emotions, this programme concludes with a transcription of the famous Solveig's Song, taken from the play Peer Gynt, written in 1867 by Henrik Ibsen and set to music by Edvard Grieg.

A generation before the now iconic Dinu Lipatti died of cancer at the age of 33, a much less remembered Polish pianist, Karol Szreter (1898-1933), died of the same disease at almost the same age. A pupil of Egon Petri, so of the Busoni school, his brief career began in central Europe and by the time of his death he was becoming acknowledged as a major figure in the pianistic world. His first recordings were made acoustically for VOX, where he recorded both as accompanist and soloist, and we have included one example. He was then taken up by the sister labels Parlophon and Odeon and the majority of these recordings are presented here. Of note is the first electrical recording of Beethoven's Piano Concerto No 4 and three further sonatas, and - reflecting a different side of his art - five brilliant Strauss transcriptions where he reveals his stupendous technique.

SOMM Recordings is delighted to release the next CD of it's ongoing, glowingly reviewed Beecham Collection. The label's initiative in issuing this collection is widely regarded by critics and music historians as a superb and invaluable endeavour. Focusing on live performances, radio broadcasts, and rare recordings-often featuring the Royal Philharmonic Orchestra-the series has been described as a "ground-breaking" enterprise that unearths "buried treasure" for enthusiasts of Sir Thomas Beecham. This 36th issue includes live performances from two of Beecham's last concerts in 1959 and 1960, as well as one from 1954. Once again, producer and audio restorer Lani Spahr 'has done wonders with the restoration,' to quote John Quinn, Music Web International. This release opens with two of Beecham's signature musical lollipops, which he described collectively as 'delightful little pieces.' By the River comes from the Florida Suite by Frederick Delius. Though written in Leipzig, the suite was inspired by Delius's sojourn on an orange plantation in Florida, where his father had sent him in a vain attempt to try to dissuade him from pursuing music. Beecham championed the suite, and this piece, recorded live at the Royal Festival Hall on 24 April 1960, is an especially poignant document, as it was taped at what turned out to be Beecham's last concert in London. The second of the four Symphonic Dances by Edvard Grieg is the earliest performance on this CD, recorded live at the Royal Festival Hall on 26 October 1954. Grieg noted on the title page of the autograph manuscript that the dances were 'based on Norwegian motifs,' and this second dance, marked Allegretto grazioso, was an especial favourite of Beecham. The works of Leonard Salzedo, an English composer of Spanish descent, include seventeen ballets, the most successful of which was The Witch Boy from 1956, based on the 'Ballad of Barbara Allan.' Beecham's exciting and clearly committed concert performance three years after the premiere was described on the programme as 'Scenes and Dances from the Ballet, The Witch Boy,' and this recording faithfully reproduces the section titles as they were printed in the original Royal Festival Hall programme on 14 November 1959. That performance also included the Symphony No. 3 by Pyotr Ilyich Tchaikovsky-his only completed symphony in a major key, and the only one with five movements instead of the traditional four. Nicknamed 'The Polish' after the Tempo di polacca marking of the fifth and last movement, it is a lighter work than his other symphonies and considered by some less masterful. Beecham never saw it that way, and he always made a persuasive case for the symphony. By the time of the present performance, he had been playing the 'Polish' symphony for decades, and his conducting reveals a deep engagement with the work.

Born in Manchester in 1953, Peter Donohoe studied at Chetham's School of Music for seven years, graduated in music from Leeds University, and went on to study at the Royal Northern College of Music with Derek Wyndham, and then in Paris with Olivier Messiaen and Yvonne Loriod. He is acclaimed as one of the foremost pianists of our time, for his musicianship, stylistic versatility, and commanding technique, a critic concluding in Musical Opinion that 'I cannot imagine a living pianist capable of improving upon Donohoe's outstanding artistry'. Following his previous volume of Grieg's Lyric Pieces (CHAN 20254), this double-album presents the remaining 39 pieces, alongside the Ballade, Op.24. Born in Bergen in 1843, Grieg is widely regarded as Norway's 'National Composer'. Grieg wrote for the piano throughout his career, but eschewed the German Sonata in favour of miniatures, which he named Lyriske stykker (Lyric pieces). Often influenced by the folk-music of his native Norway, these works were published in 10 volumes. Rather than recording them sequentially, Peter Donohoe has arranged the pieces in an order of his own choosing.

This recording is a small token of appreciation and a tribute to E.M. Timakin, my first teacher, who taught me how to play piano and helped to set the course of my musical journey that is still unfolding. He was very fond of Grieg's piano works and gave it to all of his young students to study. More than sixty years have passed since that time, but the experience of studying Grieg's Lyrical Pieces with him is still vivid in my grateful memory. For generations of young pianists Grieg's Lyric Pieces have been one of the first encounters with real music, alongside the works of Schumann and Tchaikovsky written for children. At the beginning of their training young musicians and children must dedicate plenty of time and efforts to the development and mastering of the basic technical skills such as playing scale, arpeggios and other exercises that do not carry real artistic values. Because of that the first encounters with real music are extremely important for children and could have a defining impact on their future development and growth. It is good fortune for many youngsters to be introduced to real music through these works of Grieg.

Three works, three worlds-yet united by a shared pursuit: the search for that moment when music transcends itself. César Franck's youthful Trio in F-sharp minor bursts with creative energy, filled with melodies of immediate emotional force and a sense of freedom that opens the space wide. Edvard Grieg's single movement for piano trio unfolds as a circle of light and motion: tentative, glowing, shimmering-a serious game that constantly reinvents itself. And the enigmatic A-major Trio, long attributed to Brahms, speaks in a warm, expansive voice that feels familiar yet stems from an unknown hand. Together, these works form a panorama of chamber music: bold and youthful, poetic and searching, deeply rooted and full of open questions. For the E.T.A. Trio, they become a reflection of the ensemble's own musical identity: three musicians who meet in alertness, curiosity, and a shared devotion to sound-always seeking the moment when their voices merge into a living, breathing dialogue. "SWR Kultur New Talent" is a support program dedicated to outstanding young classical musicians. Over the course of three years, exceptional artistic personalities are promoted through concerts, studio productions, and extensive media presence. Following Janina Ruh, Robert Neumann, and Lionel Martin, the E.T.A. Trio now presents it's debut CD within this series.

Today, it is a beacon in the world of music: a cappella choir culture at the highest technical and musical level. Clytus Gottwald had a decisive influence on this choir culture with his work, arranging solo songs for polyphonic choirs and thus enabling new, breathtaking sound experiences. In 2025, Gottwald would have turned 100 years old. The Stuttgart Chamber Choir, conducted by Frieder Bernius, has taken this anniversary as an opportunity to honor Gottwald's art with a special program. From Franz Schubert's Nacht und Träume (Night and Dreams) to Die Könige (The Kings) by Peter Cornelius to Solveig's Song by Edvard Grieg, the range of songs that Gottwald transformed into a cappella choral sound experiences through his transcriptions is vast. A vocal delight, not only in the anniversary year!

Ronald Stevenson (1928-2015) was perhaps the only virtuoso pianist-composer in the manner of Rachmaninov and Liszt to have Celtic origins, and so it is natural to find a Celtic flavour emerging in his music - his transcriptions as well as his original compositions. It also helps explain his affinity for fellow composers like Grieg and Grainger, whose creative efforts looked to the north. But Stevenson's openness of spirit put the whole world of music within his reach, and so piano rags can here rub shoulders with works more directly concerned to express his humanist impulse.

Frühling is also a project that decisively sheds light on the figure of Andrés Isasi (1890-1940), one of the most singular and underrepresented composers of early 20th-century Spain. At the heart of the album, Goikoetxea and Fernández Aguirre offer the world-premiere recording of the complete Lieder-Album op. 16, a cycle composed in Berlin in 1913 and virtually unknown until today. These fourteen songs reveal a cosmopolitan Isasi at a moment of full creative maturity, shaped by his Central European training with Engelbert Humperdinck and attuned to the late-Romantic and Jugendstil currents of his time. The cycle blends intimate lyricism, legendary evocations, decadent impulses, and a refined harmonic language of striking modernity. Works such as Ali Bey, Frühling, Die ungetreue Luise, or Vergiftet sind meine Lieder display a uniquely personal voice that bridges the German Lied tradition with Basque imagery and an advanced European sensibility that was unusual for it's time. Goikoetxea and Fernández Aguirre stand out for their elegance, their textual insight, and their ability to convey the emotional universe-at times naïve, at times shadowed, always intensely poetic-of a composer whose vocal output was long overdue for a first-rate artistic rediscovery. The programme is framed within a broader exploration of Heinrich Heine's profound impact on European music. The album is completed with lieder by Liszt, Grieg, Ives, Rubinstein, Boulanger, Backer-Grøndahl, MacDowell, Sgambatti, and Castelnuovo-Tedesco, composers who, like Isasi, were captivated by the emotional depth and symbolic power of the German poet.

Each composer on this album encounters the season differently: Schumann with rapture, Grieg with grace, Schubert with introspection, Suk with radiant yearning, Sinding with luminous vitality. In "Fruhlingsrauschen", Nareh Arghamanyan brings together these diverse voices to celebrate not one single vision of spring, but a dialogue of many: an unfolding of human feeling in harmony with the turning of the seasons. Lieder are at the centre of the album: from Schumann's Spring Night to songs about spring by Schubert, transcribed for solo piano by Liszt, Godowsky, Frederic Meinders, and Nareh herself.

Composers' conclave in Leipzig - chamber music by Edvard Grieg, Ethel Smyth and Amanda Maier "An expression of the deep friendship by Maier, Grieg and Smyth may be felt in the linking momentum of their composing: although each of these creative figures embodied their own personal style, each of them draws from the living waters of their country's folk music, which throbs through their works as it's primal impulse."

Head Space: Candlelight is the first EP in The King's Singers' Head Space series, aiming to connect choral music with calmness and reflection. Inspired by compline, the Catholic night service, it features plainchant, including "In manus tuas Domine" and "Salva nos Domine vigilantes," emphasizing breath-led pacing. The album also includes wordless Orlando Gibbons "Songs," contemporary pieces by Anna Thorvaldsdottir, Judith Bingham, and Arvo Part, and the experimental "4'33" by John Cage, concluding with Robert Parsons' "Ave Maria" and Edvard Grieg's "Ave Maris Stella," all designed to create a contemplative atmosphere.

Die Geigerin Natalia van der Mersch und die Pianistin Natalia Kovalzon spielen in dieser Aufnahme die drei Sonaten fur Violine und Klavier von Edvard Grieg bieten. Ihre Spielweise, brillant, dynamisch und zugleich der interpretativen Tradition verpflichtet, fuhrt dazu, die Eigenheiten und Starken dieser drei Sonaten neu zu entdecken, die sich in ihrer Sprache und in ihrer Aussagekraft sehr voneinander unterscheiden - mit Momenten lyrischer Abschweifung, aber auch mit Hohepunkten virtuoser Gestaltung, insbesondere in der dritten Sonate, einem charakteristischen Werk aus der vollen Reifezeit des Komponisten. Grieg schreibt: "Die drei Sonaten gehoren zu meinen besten Kompositionen und reprasentieren verschiedene Perioden meiner musikalischen Entwicklung: die erste ist naiv und ideenreich; die zweite ist von nationalem Schwung inspiriert; die dritte ist die mit dem weitesten Horizont."

This album, Throwback to Dance, explores how composers turn to dance forms to carve out new paths: predominantly court dances, folk dances but also the more 'modern' waltz. The album is inspired by the charming meeting between Ravel and Grieg back in 1894, and looks at Grieg's influence on Ravel, seldom documented, as well as that on Pejacevic and Chaminade.

Violinist Sylvia Huang has drawn inspiration from nature since her childhood, marvelling at it's beauty, it's cycles and it's subtle harmony. Her Ode to Mother Nature project is designed to raise awareness of the fragility of all living things. Pianist Boris Kusnezow partners Sylvia on this musical journey, which celebrates the cycle of the seasons with works by Gabriel Dupont, Lili Boulanger, Dora Pejacevic, Edvard Grieg, Einojuhani Rautavaara, Camille Pepin and Eugene Ysaye. Each piece highlights an aspect of one of the seasons, as well as the deep connection between music and nature. Through this music Sylvia invites us to appreciate the deep bond that unites humanity to it's environment, and the urgent need to protect it.

French-Hungarian pianist Suzana Bartal joins Sebastien Rouland and the Saarlandische Staatsorchester in this release of two warhorses of the Romantic repertoire, Grieg's Piano Concerto in A minor and Camille Saint-Saens' Piano Concerto No. 2 in G minor. Although not successful at it's premiere with the composer at the piano, Saint-Saens' 2nd went on to be beloved by the public, and is probably the most played of his 5 concertos for piano. Very few pieces of music are as iconic as the only concerto Grieg ever completed: his famous Piano Concerto in A minor. Liszt famously sight read and lavished praise on it when it was written in 1870, and it has been a perennial favourite since then.

Catalina Bertucci, Georg Poplutz, and Tatjana Dravenau don't just say it "between the flowers" on their new GENUIN album - they gather lieder from the 19th and 20th centuries that revolve around the theme of flowers and trees. Music and poetry speak directly and clearly of the associations between the language of love and the plant world - associations that were clear and unmistakable to people of the Romantic era, but which must be decoded anew for us today. These three remarkable artists uncover that hidden language in the most beautiful and sensuous way: through dreamlike interpretations of lieder from Schubert to Schonthal, Loewe to Faltis, and Kralik to Schumann.

The famous Rarities of Piano Music from Husum: When Peter Froundjian conceived a festival devoted exclusively to unknown and rarely played piano music, some might have thought the idea too ambitious or even foolhardy. It proved to be a stroke of genius, and since 1987 the strong support of audiences from many countries has been consistent. It has kept it's intimate atmosphere, with a maximum of 130 listeners in the Rittersaal of Husum castle, and 40 more beyond an open door, with a TV screen to keep in touch. It's influence around the world has been considerable, with more ambitious concert programmes in evidence and record companies willing to take on a wider repertoire. This disc contains a particularly large number of short pieces by fourteen different composers. However, the producers have arranged them thoughtfully into groups and sequences which should make for a coherent listening experience. If these examples encourage listeners to seek out other examples of music by the composers, then they have surely served their purpose. As usual Peter Froundjian made the initial choice of music, with the agreement of the performers. His co-producer Jesper Buhl and the team at Danacord took care of the technicalside, including the final order of tracks and the maximum duration to suit most CD players - about 80 minutes these days. The recordings are all taken from live performances with no editing. If the very occasional "noises off" can be heard, they only serve to show how quiet and concentrated the Husum audie ces are most of the time.

The guitar duo of Adam Cicchillitti and Steve Cowan presents a new album of their original arrangements of 19th and 20th century piano repertoire. Lyrique features the works of Edvard Grieg, Maurice Ravel, Erik Satie, Germaine Tailleferre, John Cage, and Federico Mompou. Though varied in style, these pieces invite listeners into a rich and multifaceted dialogue with the concept of 'lyrical' in instrumental music. The guitar's rich tonal palette and nuanced capacity for expression brings new life to these iconic works.

This album is inspired by the fantastic physicality and variety of dance forms in which composers from Granados to Shostakovich excelled. There are some hidden gems as well as pieces that will be familiar to all - and they have the novelty, as transcriptions, of all having been 'stolen' from the original. These arrangements are creative, fun and often virtuosic. -Includes Shostakovich's 'Three Fantastic Dances' released in the composer's 50th death anniversary year -Includes Ravel 'Piece en forme de habanera' released in the composer's 150th birth anniversary year

Nordic Treasures with Katharina Sames and Mari Inoue curates landmarks of the "Nordic" - musical "snapshots" with individual influencing factors that are excitingly linked by a network of common roots. Apparent opposites interweave to form organic sound languages and merge into a colorful mosaic.

This diverse programme of works for guitar trio is bound by the common thread of music inspired by stories from literature, stage or screen. With it's rhythmic exuberance and tragic beauty, Bernstein's West Side Story has never lost it's freshness and relevance. Ensemble member Luca Isolani's Note fuori campo is a homage to the versatile Italian composer Nino Rota, who, like Manos Hadjidakis, first shot to international fame with an Oscar-winning film score. Ravel's Ma Mere l'Oye evokes the poetry of childhood with a refined expressiveness that makes it as popular and unforgettable as Grieg's music for Peer Gynt.

Under the title "Kaleidoskop Europa", this CD presents a musical journey that encompasses the entirety of Europe. Central to the album is the concept of dance as a medium that both connects people via music and body language, and also motivates them to express themselves with one another, regardless of national origin, language, religion or culture. The album features dances from eleven different European countries, commencing and concluding the musical journey in Vienna-the home of both the ensemble and the painter Ferdinand Georg Waldmuller. By combining pieces of music from different countries, dance emerges as a symbol of the unity found within Europe's diverse cultures. All compositions are arranged for piano trio, with the exception of the opening march by Fritz Kreisler, which was originally composed for this instrumentation. Some arrangements were made by Martin Forst, the cellist of the trio, specifically for this production, thus leading to their premiere presentation on this CD. Through these adaptations, works originally composed for piano or orchestra take on a new form: the auditory experience is enhanced by numerous dimensions-particularly regarding color richness and transparency - revealing intriguing and novel facets of the compositions to listeners.

The Sonus Quintet is Germany's first reed quintet, consisting of clarinet, bass clarinet, saxophone, oboe, and bassoon. This unusual combination of woodwind instruments allows for imaginative and airy sounds beautifully showcased on the ensemble's GENUIN debut album. The program includes the quintet's own transcriptions and the original composition "Refraction" by David Biedenbinder from 2015. The album title "Light" is reflected in various ways in the works: Gershwin's "An American in Paris," Beethoven's "Moonlight Sonata," and Grieg's famous "Air" from the "Holberg Suite."

In her new album acclaimed pianist Tomono Kawamura invites listeners on a satisfying journey through classical piano music. Blending personal favourites with timeless masterpieces, Tomono's profound connection to the piano is evident in every piece. Her distinct poetic sensitivity and technical brilliance bring each composition to life, creating a deeply personal and immersive musical experience. The album opens with Tchaikovsky's Autumn Song, Op. 37a No. 10, from The Seasons. Tomono captures the reflective and nostalgic mood of October, emphasising the delicate interplay of light and shadow in this evocative work. The journey continues with Sibelius's "Edit," Op. 76 No. 2, where Tomono masterfully balances subdued elegance with quiet intensity, reflecting the stark beauty of the Finnish landscapes that inspired it. Brahms' Hungarian Dance adds a lively burst of energy, with Tomono navigating it's spirited rhythms and fiery folk influences with joyful intensity. Her deep affinity for Chopin shines through in her performances of six of his works, each chosen to highlight different facets of his genius. From the lyrical intimacy of his nocturnes to the virtuosic brilliance of his etudes, Tomono's interpretations resonate with the emotional depth central to Chopin's music. The album also explores diverse stylistic periods with selections from Scarlatti, Rachmaninoff, Debussy, and Grieg. Tomono's performances reflect a profound understanding of these great piano works, whether it's the crystalline precision of Scarlatti's sonatas, the sweeping passion of Rachmaninoff's preludes, the dreamlike textures of Debussy, or the rugged beauty of Grieg. A highlight of Reminiscence is Tomono's original composition, Variations, which bridges classical form with contemporary expression. This piece showcases her creativity and deep understanding of the classical tradition, offering a fresh voice while paying homage to the composers who have shaped her musical journey. Reminiscence is more than just a collection of piano works; it reflects Tomono Kawamura's lifelong devotion to music. Through her thoughtful interpretations and masterful technique, she offers listeners an experience that lingers long after the final notes fade. About Tomono Kawamura: Born in Japan, Tomono Kawamura began piano studies at three and made her orchestral debut at fifteen. After winning numerous competitions in Japan, she received a scholarship to study at the Royal Academy of Music in London, where she graduated with First Class Honours. Tomono has performed as a soloist across Asia, Europe, and the UK, including at Wigmore Hall. She is also a celebrated performer on luxury cruise ships worldwide. Tomono's rich career and dedication to her craft are evident in every note of Reminiscence, offering listeners a glimpse into the soul of a true artist.

Nikita Volov's new GENUIN album, "Out of Place", features vibrant, complex, and often outcast characters from famous novels. Volov's innovative program includes an imaginative arrangement of Edvard Grieg's "Peer Gynt" Suite, Erich Wolfgang Korngold's pieces about the mad idealist "Don Quixote", and Robert Schumann's "Kreisleriana", a portrayal of the tragicomic conductor Kreisler from E.T.A. Hoffmann's books. These unique "out of place" individuals continue to inspire the world. With masterful interpretation and deep understanding, Volov brings these fascinating characters to life, showcasing their timeless relevance.

Founded in 1987 the annual Rarities of Piano Music Festival in the North German town of Husum is a major event. Danacord is proud to release the recording from the Festival in 2023 featuring again rare piano music played by some of the leading pianists of today. This selection of highlights from the 2023 Rarities of Piano Music festival at Husum features composers both familiar and unknown, performed by six outstanding musicians. Recorded live in concert, these performances thrilled the festival audiences, and the spontaneity of the occasion is captured in this sequence of both short and substantial pieces. They range in scale from exquisite miniatures by Bortkiewicz and Menter to the expansive virtuosity of Liszt's rarely encounteres'Concert Solo'. NOTE: All the previous years are available: www. Danacord. com