Over the past century or so, composers have tended to see themselves as either traditionalists or modernists. The music of Joel Feigin (born in New York in 1951) bridges both worlds, combining the resources of tonality and atonality with equal relish, naturally extending the styles of the recent past. It's freewheeling energy is often tempered by an elegant restraint, sometimes revealing the warm, humanist impulse behind his sound-world. This first volume of his piano and chamber music follows a lusty piano trio and a moving tribute to a much-missed teacher with four sets of variations, three by Feigin and one an arrangement of Bach, the composer who Feigin says is the root of all his music.

The new CD Time is breathing by the Sbaffi Campi Duo is released on Stradivarius, with Leonardo Sbaffi on saxophones and Cristina Campi on piano. A singular musical journey between present and past that develops, with a free and passionate approach, a listening journey characterized by contamination, in the wake of musical solutions that broaden horizons and outline stories, images and emotions, in an eclectic meeting between the classical and contemporary repertoire. The album opens with two medleys, the result of elaborations by the Duo: Discontinuous Vibrations and Cellular Armonies, with songs by G. I. Gurdjieff, Claudio Monteverdi, G. F. Handel, Arcangelo Corelli, J. S. Bach. "The CD - declares the Duo - is nothing other than our reading of what we live, of what happens and of what happens to us. The work is conceived as a fractal, the individual pieces are entities having their own structure which then go on to constitute another, larger but identical one. This is the purpose of the two medleys, where centuries-old songs intertwine and overlap to form a single work. "Vibrazioni Discontinuous and Armonie Cellulari are followed by Paul Hindemith's Sonata and the first ever recording of Last Cloud by Alberto Napolitano, a piece which, states the composer, "finds it's expressive modernity in memory". To complete the programming of the CD, the Debussy's Rhapsody, an integral part of the work which can be downloaded by connecting to the website stradivarius. It. The booklet of the album is enriched by images, texts and poems in an enthralling meeting of the arts.

Lovers and Mourners: Variations and Sonatas from 17th-century Germany, offers a comprehensive glimpse into the lives of virtuoso composer-performers Johann Jakob Walther, Heinrich Biber, and Johann Georg Pisendel. The Composers featured on Lovers and Mourners drew upon the “stylus phantasticus,” a 17th-century Italian idiom whose features were marked by jagged shifts of affect and intended to display the player’s technical command and expressive abilities.

Bandy nimbly guides the listener through a labyrinth of variation sets and themes, simultaneously reproducing faithful interpretations of the music while injecting his own unique touch. Lovers and Mourners boasts a brief, yet intense survey of one of the richest chapters in the history of the virtuoso composer-performer.

The collection of toccatas Apparatus musico-organisticus, published in 1690, immediately established Georg Muffat as one of the greatest organists of his century. A veritable reference in the organ repertoire, appreciated for it's stylistic diversity, this work testifies to Muffat's ambition to blend European styles while exploring the expressive possibilities of the Baroque organ. Bernard Foccroulle deploys a range of emotions that underline the breadth and harmonic richness of the toccatas, performed on an organ emblematic of the French style that suits them so well, to which is added the delicate Sonata a violino solo, executed with brio by Marie Rouquie.

Christopher O'Riley's THE WELL-TEMPERED CLAVIER BOOK II continues the pianist's exploration of Bach's masterpiece. A true expedition into the second set's finest of details, O'Riley delves beyond the notes themselves and into the spaces between them, sifting through the silence for every last possibility of rhythmic flexibility and potential for expression. With preludes and fugues more intricate and complex than those of the first, the second book provides an even richer opportunity for the discovery of texture, articulation, and hidden meaning within the music.

After Piazzolla Reflections, (ALPHA664), Latvian accordionist Ksenija Sidorova devotes this new recording to Bach and compositions influenced by his music - starting with the famous Concerto BWV 1052, which has inspired so many adaptations for piano, violin and even heavy metal guitar, "so I don't think a version for an instrument with two keyboards will surprise anyone!" says Ksenija. The programme also includes Sergey Akhunov, a composer who featured on her previous album, with a work inspired by Bach's Chaconne BWV1004; Beyond Bach by Gabriela Montero, the Venezuelan pianist and composer famous for her improvisations; and Horizons by the Anglo-Bulgarian composer Dobrinka Tabakova. The programme is completed by Bach's Chorale Prelude Ich ruf zu dir, which has accompanied Ksenija since childhood: 'I think this organ piece works particularly well on the accordion. Both instruments use bellows, but the accordion offers a much more flexible dynamic range. You can really let the music breathe.'

Francesco Tropea plays the Sonatas BWV 963 - BWV 970 by Johann Sebastian Bach. Recorded on a Steinway B Grand Piano.

The motivations behind a choice The basic question we asked ourselves in taking on this work was whether it was practicable and interesting on an artistic level to study and perform these trio sonatas by Bach using musical instruments that he had not originally envisaged, but which nevertheless belonged to his era and musical environment. We are now convinced that the answer is affirmative, and not only that, but that this kind of experience of study and listening can lead to the discovery of details and expressive resources that are fully inherent to the music that Bach composed. On the other hand, it is well known that reworking, "accommodation", as it was then often referred to, was a daily and natural practice in the Baroque era, both at the compositional level and at the performance level tout court (the distinction, with the consequent value judgement, between an "original" and it's adaptations, belongs to a more modern sensibility): the motivation for such operations, which were considered entirely legitimate, often derived from marketing requirements (think, for example, of the numerous title pages of printed works explicitly designated for various different instruments in order to attract more buyers: "[...] for a German flute, Violin, Hautbois or Harpsichord [...]" etc.) and the intended use for teaching purposes and the study of composition, as well as from the availability, in a given court environment, of instruments and virtuosos of particular ability, or even simply the need to have ready-made musical material, one's own or that of others, to be adapted to other ensembles and other functions. What was and is important to us is the survival of the original idea of the work. Indeed, if respected, this is revived and communicated to the listener in all it's potential thanks to the different timbres, the different dynamics and the various "pronunciations" in the emission and articulation of sound that characterise each chosen instrument. A fascinating operation because it can enhance the richness already inherent in the work, in this case of Bach, sometimes revealing it's most hidden and otherwise neglected aspects. While it is true that the musical idea often (but not always) develops in a composer at the moment in which he also imagines it's instrumental destination, and is therefore influenced by it, one could also speculate, precisely on account of what we have described as the very nature of composition and performance in the Baroque era, that the work (the idea) is conceived to a large extent even before it takes on a specific instrumental voice and therefore remains in a certain sense available to be communicated through different means.

Philippe Herreweghe and Collegium Vocale Gent have made a lasting impression on the Bach discography with their many recordings devoted to the Kantor. They have also explored other sacred repertoires by Beethoven, Haydn, Dvorák and Bruckner, to which they have brought all their excellence and sensitivity. Here they are together for the first time in a boxed set of 11 CDs.

The young organist Mona Hartmann (*1994) is currently enjoying a stellar career and has already won numerous national and international competitions. For Chaconne 1927, the musician chose the Walcker organ built in 1927 in St. Antonius in Papenburg. The form of the chaconne runs through the entire album as a leitmotif: It's principle of variation, like that of the passacaglia, allows the Walcker organ with it's 89 stops to be presented in countless, ever-changing sound combinations like no other genre.

Our debut album tells of creative connections spanning centuries and of the curiosity and passion that keep music relevant and alive today. We move playfully between rarely heard and well-known masterworks of the Baroque, presenting both ensemble and solo works to create a richly textured soundscape. Many of the composers featured on this album were linked through personal or artistic exchange. Telemann, Handel, Corelli, and the mysterious Mrs. Philarmonica were not only connected stylistically, but also crossed paths in the musical centers of Europe such as London, Hamburg, and Rome.

Between the new and the familiar, the accordion is a young instrument. This is precisely why I believe it lends itself almost naturally, or rather vocationally, to experimentation. At the same time, its place in the collective imagination, its wide diffusion in popular and folkloric cultures, also make it a “familiar”, “domestic” instrument. This combination of “familiarity” and experimentation is, then, the inspiration behind the entire “Fly. Electronic Music for Accordion” project. New works for accordion and electronics aimed precisely at enhancing such duplicity: the feeling of familiarity and the disconcerting activation of the new. For this purpose, I involved some of the Italian composers among those I most respect, with whom I could establish a creative relationship that could lead to the development of particularly significant works featuring this instrument. At least in my ambitions and intentions. What the outcome will be is not for me to say. The fact remains that when a new work is born, especially one with some compositional weight, we are always faced with an event, the opening up of a world, which, however bewildering, or perhaps precisely because of this, proves capable of putting us in relation with ourselves and with the contemporaneity in which we live. Besides this, the choice of alternating the electroacoustic works with “small” pieces (in terms of duration) taken from the historical, classical literature to which we belong, is also intended to promote precisely the coexistence between familiarity and experimentation. A piece of “easy” listening, “familiar”, a prelude or postlude, as it were, in order to “cleanse” the ear, in some way to prepare it for a different kind of listening, that of electroacoustic music, which is complex and full of novel information, not “familiar”. Fragments of history, therefore, that intervene in the rhythm of listening, supposing a linear path, almost like recollections that assail the involuntary memory, to try to undergo an experience that allows us to achieve a relationship between reminiscence and the new.
Germano Scurti

No one has surpassed Marais: only one has equalled him, and that is the famous Forqueray: with these words, in 1752, a contemporary praised one of the last great virtuosos of the viola da gamba. Known for his formidably difficult and technical musical style, Forqueray's world is nonetheless immensely rich: through the works of the father Antoine, his son Jean-Baptiste and his nephew Nicolas-Gilles, an august lineage emerges whose grace and genius never ceased to inspire. At times proud, even bellicose, at other times deeply tender, the viol pieces by this Forqueray family plunge us into a flight of expressions of passions whose vivacity is equalled only by their intensity. Myriam Rignol, as a distant granddaughter, accompanied by her exquisite Timbres, delivers in this complete work a powerful homage to these 18th-century chamber music icons who, in their image, could never be anything other than virtuoso.

The Bremen-born painter and sculptor Hugo Körtzinger (1892 - 1967) was a close friend of his much more famous colleague Ernst Barlach. Both were in the favor of the well-known Hamburg art patron Hermann F. Reemtsma. In 1937, Reemtsma financed a new workshop for Hugo Körtzinger in the small town of Schnega (Wendland), where he saved sculptures of his friend Barlach, which were considered "degenerate art", from being melted during the Nazi era. In 1937, Germany's most important organ-building company at that time, E.F. Walcker, built a new 3-manual instrument for Körtzinger's studio as their Opus 2576 - at the request of the customer with many unusual timbres. The instrument was continuously extended in individual construction steps until 1947.

A few years ago, the studio and the organ, which had been completely unplayable for many decades, were renovated thanks to the support of the Hermann F. Reemtsma Foundation. Martin Schmeding presents the instrument on a double SACD with music by baroque composers, played in the style of the 1930s aesthetic, as well as with original works from the time the instrument was built. This program gives an impression of the works that may have been played in the Körtzinger atelier between 1937 and 1967. The program is supplemented by Schmeding's improvisations on sculptures by Ernst Barlach.

USP: the first recording of an organ that is probably one of the largest private organs in Germany. Very comprehensive booklet (48 pages) with many illustrations and descriptions of Körtzinger and the recorded music. Double SACD in stereo and 5.1 surround sound. Rarely heard works from the 1930s and 1940s.

Music has its own language. Its beauty immediately discloses emotions but sometimes also conceals its meanings. The musician is compelled by this dualism to make choices, which are not always painless. To enhance one of them entails attenuating what is immediately perceptible, in order to highlight what, although existing, is not. This peculiarity makes both studying and performing a piece difficult, and must always be taken into account. This often occurs in Johann Sebastian Bach. He is always searching for some kind of absolute truth. However, we are not given to grasp it in its entirety and in its incomparable complexity: only through continuous research and assiduous work we are able to comprehend a small part of it. The art of music resembles an extraordinary journey encompassing infinite dimensions; the most important aspect is treasuring what we experience and discover along the way, not just reaching the destination, because even then we would realize that the journey is far from over. As Bach suggests in his Musical Offering, there is only one road: quaerendo invenietis, seeking you will find; this is what I have tried to accomplish in this new recording project dedicated to the genius from Eisenach. The anthological choice of this CD stems from the need to provide a significant overview of this interpretative philosophy, which allows us to shed new light on the kaleidoscopic world of Bach. My previous recording project “Domenico Scarlatti alio modo” followed this same criterion, albeit on different bases.

With György Kurtág (born 1926); György Ligeti (1923-2006) and Péter Eötvös (born 1944); Hungary has produced three of the most important and internationally successful composers of the post-war era. This recording brings together piano works by Kurtág and Ligeti. It shows that the four-hand piano character piece also has musical expressiveness and genre-technical justification in contemporary musical art. Ani and Nia Sulkhanishvili were born as twins in Tbilisi / Georgia in 1988. At the age of 6 they received their first piano lessons from Svetlana Arakelova. The highlight of their career so far was the 2nd prize at the "64th ARD International Music Competition" in Munich in 2015. This was the start of an international career with performances in Europe, America and China. The piano duo has mastered a large repertoire spanning the epochs from classical to modern.

American Record Guide:�The music is melodious and the playing and sound exemplary.

For me, whenever I play the Bach suites, all of a sudden I find myself visualising Giacometti's hands incessantly moulding the earthen clay until a face appears. Getting to grips with the Bach suites is very closely related to that sense. You have to dig deeply into the string to give birth to the phrase, to make sure it breathes correctly: a phrase that is perpetually becoming, endlessly making and remaking itself. I waited a long time before recording these suites. Then one day, or rather one night, I began. Then there was my meeting with Sarah Moon. When I first felt my longing to record the Bach suites, I dreamt constantly of her images; because whenever I look at them I think of the creation of the world, the separation of the waters, the earth appearing, all before the beginning of history. Sonia Wieder-Atherton

Since the Baroque revival of the late 1980s, Iphigenie en Aulide is Gluck's only French opera to have remained unrecorded on period instruments. To celebrate it's 250th anniversary in 2024, Julien Chauvin, Le Concert de la Loge, Les Chantres du Centre de musique baroque de Versailles and a top-flight cast led by Judith van Wanroij, Stephanie d'Oustrac, Cyrille Dubois, Tassis Christoyannis, Jean-Sebastien Bou and David Witczak have filled that gap with a new recording of the work which revolutionised the aesthetics of French opera. It is underpinned by in-depth musicological and stylistic research carried out by the Centre de Musique Baroque de Versailles in collaboration with Julien Chauvin, in this, his first operatic recording.

One hundred years of Romanticism, about sixty years of postromanticism and another sixty of filologic research and adhesion to "original versions" of past musical compositions got used to us badly.
Romanticism conditioned us to think that what was written by the hand of a composer has to be untouchable, a sacred document that's perfect like it is; postromanticism convinced us that this idea had to be applied to any artwork, even the ones that were written before the '800s; lastly, the meritorious and sacrosanct philologic enforcement to the research of the 'original text' have definitely forced us to believe that the only 'original version' of a composition is the one that reproduces exactly the text, recovered with all the tricks modern and performed with instruments as close as possible to the 'original' instruments of the time in which the composition was, in fact, composed.
These three elements, put together, even if they seem contradictory to each other, actually go to form a perfect storm, a kind of explosive mixture that makes people look askance artistic achievements such as the one proposed by the program of this CD.
But fortunately, for some, very little indeed, time, we have awakened from these paths so tremendously binding, starting right from the end, from the last step. And so 'historically informed' executions, those in which, that is, the performers tell you “I know very well that I am playing with a modern instrument an ancient music, but I also know that…”.
Music has always been there, especially chamber music, which is done at home, among friends with the mere pleasure of playing together, is written for variable organics. And even if we find the name of one or more instruments on the title page of the critical edition, the author is actually giving the eventual executor only an 'executive suggestion', as if he was telling us: “check the range of your instrument, and if with it you can play the notes that are written, this song is for you”. Be it melodies or accompaniment chords. This has always been the meaning of chamber music. Making music together for someone to listen to, or just for the pleasure of making it.
Maria Chiara Mazzi

In September 2020 Florian Berner travelled to Tuscany. Playing in the local church, and initially just for himself, he recorded the first three of Bach’s six suites for solo cello. By early 2023 he completed the cycle in Köthen, where Bach was Capellmeister from 1717-1722. The two separate experiences captured performances of unique intuition and power.

Finnish cellist Max Lilja, one of the founders of Apocalyptica, takes us on an immersive journey across Johann Sebastian Bach’s life. Through merging the iconic Cello Suites with an ambient composition, Lilja enlightens the space around the solitary voice.

To emphasize the continuous transcendence of a life, Lilja builds a solid sense of identity for each suite. The cello is embraced by the sonic world like an individual by the universe. Lilja’s playing has influences from the span of 300 years of existence of the suites, evolving from the simplicity of the 1st suite to almost Romantic in the 6th. His interpretation is inspired by Bach’s rhythmical ideas that expand suite by suite and, as life throughout the years, become more complex and multilayered.

After years of pioneering cello artistry in rock and electronic music, as well as composing for various projects, Lilja returns to his classical roots. With "Six Shades of Bach," he presents a first-of-a-kind crossover work, contributing to dialogues about the cello suites and the survival of classical music.

Max Lilja makes his Pentatone debut.

The Concerto Koln goes on a journey of discovery and contrasts the famous Johann Sebastian Bach with the now unknown Johann Adolf Scheibe?. The ensemble is accompanied by the excellent soprano Marie Sophie Pollak. Together they present the two rivaling composers in a way, where instrumental and vocal composition by Bach and Scheibe alternate on the album?.

Finnish harpsichordist Aapo H�kkinen plays Book I of Bach's Well-Tempered Clavier on the Christian Vater harpsichord preserved in Nuremberg and on an equally historic clavichord. Two of the 24 pairs of Preludes and Fugues are even presented in an alternative instrumentation on the historic North German organ of Backemoor. Aapo H�kkinen, not least through his acclaimed AEOLUS recordings of Bach's harpsichord concertos, continues to reveal the richness and expressive possibilities of these masterpieces.

The centerpiece of the Bach collection is a 2015 recording of The Well-Tempered Clavier, the so- called old testament of piano music, a series of 48 preludes and fugues in all of the piano's possible keys. A look at that monumental collection's recorded history could serve as a compendium of piano performance styles through the last 120 years. Unsurprisingly, Biret conforms to none, and perhaps the best way to describe her interpretations is orchestral. As the historically informed Baroque practitioners prescribe, each prelude and fugue certainly has a distinct character, but those long lines emerge with the definition of strings, brass or winds, lush and strident by turn. Trills are mellow and exquisitely shaped, and a wealth of detail is present but never exaggerated. Biret's Bach is a cliff wall to be scaled, a peak to be reached and an aspiration to be achieved.

Concerto Copenhagen's musicians present six new "Brandenburg Concertos" - based on Bach's organ trio sonatas?. J.S. Bach's six organ trio sonatas represent some of his most imaginative and attractive music - by transforming the format through an orchestration inspired by the original Brandenburg Concertos, Concerto Copenhagen is offering a unique new orchestral repertoire. Oboist Antoine Torunczyk has created these six new Brandenburg Concertos with special focus on varying instrumental mixes and sizes - including flute, recorder, oboe d'amore, oboe da caccia, viola d'amore, natural horn, violoncello da spalla, bassoon.

The powerful Catholic Archbishop of Salzburg, renowned for the extraordinary religious ceremonies held at his cathedral, received a splendid festival mass from Muffat. Muffat was a true European: he studied music in Paris with Lully, was an organist in Alsace, and had positions in Vienna, Prague, and Salzburg. He was a man who fused Italian, French and German styles, adding his extravagant verve, especially for this 1690 Pentecost. The music is written for twenty-four different voices and has to be distributed through the space by five choirs, along with impressive effects from the trumpets and percussion. The Royal Chapel allows this “immense” music to be set in space as it deserves. Le Banquet Céleste (Damien Guillon) and La Guilde des Mercenaires (Adrien Mabire) rise to the challenge of performing this work of exceptional proportions!

The instrument used for this recording stands in the focus. It's the Scherer-Bunting-organ in the St Nicolai Church in Molln, northern Germany. Presented with an interesting program of baroque and late baroque music

Music as a timeless connection-this is the essence of Ground. Tamar Halperin's latest album bridges centuries, blending Baroque masterpieces with contemporary compositions, harpsichord with synthesizers, and tradition with reinvention. Featuring works by Bach, Buxtehude, Francesco Tristano, Michael Wollny, Idan Raichel, and more, Ground explores the invisible thread that links musical eras and styles. Through bold reinterpretations and fresh compositions, Halperin transforms historical influences into a deeply personal, yet universally resonant, listening experience. A celebration of music, friendship, and cultural continuity- Ground is where past and present converge in harmony.

The Franco-American cellist Sonia Wieder-Atherton has always sought to make music a language open to the world. A prizewinner in the Rostropovich Competition at the age of twenty-five, she is the interpreter of choice for many contemporary composers, among them Pascal Dusapin and Wolfgang Rihm, and has collaborated with actresses such as Fanny Ardant and Charlotte Rampling, as well as the film director Chantal Akerman. Sonia Wieder-Atherton's partnership with Alpha Classics comprises three recordings of Bach's Cello Suites, beginning with this recording of Suites Nos. 1 and 2. This and the following two volumes (Suites 3 to 6) feature photos by the great Sarah Moon: "For me, playing Bach's Suites is always at some point or another seeing the image of Giacometti's hands tirelessly moulding clay until a face appears. (...) To get to grips with the Bach Suites is an experience very close to that. It's a question of digging into the string until the phrase is born, as well as the right way to breathe it. (...) And then came the encounter with Sarah Moon. When my desire to record the Bach Suites was born I dreamt of her images. Because, when I look at them, I imagine the creation of the world, the separation of the waters, the appearance of the earth, before history begins."