Dirk Altmann is a master of French clarinet. The release of this music seems to point to the artist’s love for the French capital, as each track in this recital-like compilation has a connection to Paris. In his artistic manner, Altmann expresses his love for the city of love. He has even arranged some of these works himself for this combination of instruments. He is joined by a virtuosic ensemble of colleagues, which include pianist Mako Okamoto, violinist Gesa Jenne, bassist Ryutoaro hei, and accordionist Anne-Maria Holscher.

Ferdinand? Is that the man with the violin? No, that is Adrian Adlam. He is peace-loving, just like the protagonist of the eponymous piece - a bull, who doesn't want to enter the bullring. The children's book behind it was written during the Spanish Civil War and was banned by Mussolini and Hitler because of its cleverly packaged criticism. To stand on stage alone with the violin, is reminiscent of the ancient tradition of storytelling: the narrator, too, had only his own voice which he used to captivate people. Adrian Adlam possess the exceptional gift of conveying a story on several different levels at once. He speaks an dplays at teh same time, thus bringing both adutls and children under his spell. And so the artistic director of the International Freden Music Festival once again displays his versatile virtuosity, as he does throughout the whole album: Ridout stands alongside Nielsen, who stands alongside Bach. All lone heros!

This release is a good example of the way centuries-old music inspires people of today to make something new. J. S. Bach took the theme he was given by the Prussian king Frederick the Great as an opportunity for a compositional logical game. One line of notes is enough to build - together with the king theme - a whole piece of 2, 3 or 4 voices. The mathematical strength of this task and the timeless beautiful solution by J. S. Bach fascinates until today. The German composer Sebastian Gottschick arranged the pieces, added pizzicati to the slow movement of the trio sonata, he created two new pieces with the material of Bach and combined the pieces to a contemporary concert. Ariadne Daskalakis and her Ensemble Vintage Cologne present the modern concert version by Sebastian Gottschick as well as the missing original versions by Bach. The musicians adapt perfectly to the particular stylistic context, and they play originally and emotionally.

Managing to convey the Adagio and Allegro Op. 70 by Robert Schumann clearly on the double bass with piano makes huge demands on the interpreter. Capturing the wit and rhythmic charm, but also the plaintiveness without lamentation in the Double Bass Sonata by Karel Reiner is a challenge on this weighty instrument, which even for the smallest sound requires the greatest physical effort. The same applies to the solo piece "Reincarnation" by Yumiko Nishida. After all, this premiere recording of a rebirth shouldn't be a tough or cumbersome event! The Brahms sonata on the other hand, which everyone has in their head in the original version for cello, must not create the impression that something is lost in the transfer from the cello to the double bass. Instead, it needs to add something new to the appeal of an old friend. And that scourge Giovanni Bottesini, who ultimately strikes fear and dread into the heart of every bass player: or almost every bass player. Ryutaro Hei masters every task with bravura, not least thanks to his congenial partner at the piano, Yu Kosuge.

• J.S. Bach's Six Cello Suites occupy a very special place in the history of western music. Dozens of recordings exist, many more have certainly be made and many more will surely come. • Claus Kanngiesser, who studued with Pablo Casals, has now undertaken a recording of these pieces for Edition EigenArt at TACET. • With a distinctive and personal way of playing, he questions interpretative rituals and taboos of playing technique, supplying information on these matters in the accompanying booklet.

Due to the Jewish origin of his father, Wolfgang Jacobi (1894 - 1972) was appointed professor at the Musikhochschule Munich only after the war. Different than some other younger artists, who made brilliant careers after the war, persecuted people as Jacobi first had to overcome the stigma of missing success which often did not work completely. Jacobi chose his own, very original way, with works for accordion. This instrument struggled to maintain recognition for other reasons. Complex harmonies and unconventional rhythms combined with polyphonic use of the whole accordion are challenging for every player. Daniela Grenz masters the task perfectly and elegantly and works out many joyful musical details like dance elements. The instrument of Daniela Grenz is a single-unit production by Massimo Pigini made for her in 1995. It has no linked chords like a common accordion. The single tone left manual enables polyphonic playing of both hands.