Carl Philipp Emanuel Bach (1714-1788) was regarded as one of the greatest theoretical and practical musicians of his time even during his lifetime; arguably the most famous son of Johann Sebastian Bach, he broke new ground in the concerto genre between the Baroque and Classical periods. His flute concerti are not only technically exceptionally demanding but are particularly challenging "in the art of expression", to quote one of his contemporaries. In this new recording of C.P.E. Bach's flute concertos in A minor (Wq 166 / H. 431), G major (Wq 169 / H. 445) and D minor (Wq 22 / H. 425) the Georgian Chamber Orchestra Ingolstadt and Ariel Zuckermann (solo flute and conductor) invoke the zartliche Empfindungen, the tender sentiments that the composer considered essential in order to reveal new aspects of music.

Medinea Session is a unique ensemble of 23 talented musicians, the majority of whom are from the Mediterranean. The group's particular character stems both from it's individual mix of instruments and it's innovative musical ideas; each player is not only a composer but also a soloist of the highest calibre, a combination that gives the ensemble's music an unparalleled richness and diversity. The players' cultural heritages range from jazz to Gnawa via Turkish, Arabic, and Balkan musical traditions, all of which are blended seamlessly into the ensemble's repertoire. The distinctive sound of Medinea Session conjures up emotions that range from the deepest melancholy to the most joyful exaltation, a reflection not only of the great migrations of souls that have marked the history of the Mediterranean but also of the luminous strength of hope. Whilst these talented young players embody the vitality of this region, they also pay homage to it's traditions and it's challenges.

This collaboration between a consort of viols and the Greek lyra takes John Dowland's Lachrim� or Seaven Teares as it's point of departure; together they paint a transverse and stateless picture of melancholy, although this is set against the joyful hope of a shining future that appears in these improvisations and timeless Anglo-Byzantine dances. Greek musician Sokratis Sinopoulos is a contemporary master of the lyra, a bowed instrument that dates back to the Byzantine era. His playing is delicate and nuanced yet highly expressive, and his proficiency on the instrument has been widely acclaimed. Sinopoulos has collaborated with numerous musicians throughout the world. He's equally comfortable crossing genre boundaries into jazz and classical, as he is to staying true to folk traditions of Greece and Eastern Mediterranean.

The viol player and Hathor Consort director Romina Lischka, a specialist in early European music, and the Tunisian singer, dancer, poet and actress Ghalia Benali, ambassador of Arab music, join forces in this fascinating project in order to explore the intersection of their musical cultures. In combining for instance music by Marin Marais with classical Arab maqams on Arab poetry and with classical Indian Dhrupad ragas, they reveal the universal truth in music and poetry of different cultural and historical contexts and grasp their common spirit. A dialogue that takes the soul on a journey back to the first prayer that ascended... Coming from totally different backgrounds, Romina’s and Ghalia’s experience of common ground and mutual understanding underlines the connecting elements in different cultures – a powerful message in our day. The harmony emanating from their musical venture deeply touches concert audiences of all cultures, and has now finally been recorded.

Classical Music

Reflecting the traditions of the 17th and 18th centuries, the musicians, Le Jardin Secret and Elizabeth dobbin, have included improvised passages in their performance of these airs and in particular, chosen to accompany the voice with two theorbos and viola da gamba. Jean-Baptiste de Bousset claimed to be the indisputed leader of the genre.

Ever since the memorable Václav Talich recording in the Fifties, Josef Suk's (1874-1935) Asraël symphony has never really benefited from a reference recording. Yet this symphony, of a dimension worthy of Mahler, written a century ago by a man crucified by pain, is slowly finding its way into the limelight. Walter Weller grew up between Vienna and Prague, at a time when Talich was still active, and has known Czech music since the cradle. With the Belgian National Orchestra, he leads us into an intimate comprehension of this partition, written after the death of Suk's father-in-law - Dvorák - and for part of the work, struck by the death of his young wife, Otilie. Asraël (Angel of Death) is a unique reflection upon death, where sadness, anger, resignation and the overcoming of pain form an extraordinary storyline, a combination of intimacy and remarkable fullness of sound. Extremely rare in discography, the complementary work will be of interest to all the amateurs of Czech music and of works inspired by the war: Legend of the Dead Victors is Suk's tribute to the Czech soldiers who died during World War I; an extraordinary short piece suggesting another vision of how to overcome death.

The works recorded here are by Maximilian Steinberg and Dmitry Shostakovich, the first is the teacher of the second, and both are representatives of different generations in Russian music of the 20th century. Written at almost the same time, their works are very different in their genres, their way of thinking and their imagery. Steinberg's symphony, a fully mature work, remains faithful to the traditions of Russian and European cultures and is set apart by it's conceptualisation of the theme "Personality and the World". Performed in Russia and abroad only during the 1930s, it is recorded here for the first time; a new discovery for lovers of symphonic music undoubtedly awaits. The young Shostakovich, unlike his mentor, grew up in the atmosphere of the avant-garde and the demolition of tradition. In his early ballet The Bolt he paid tribute to the era of socialist industrialisation and created a light-hearted, divertimento-like work, although it does not lack a certain daring. It's theatricality and satirical nature are perfectly suited to the Ural Youth Symphony Orchestra, whose musicians are around the same age as Shostakovich when he composed the ballet.

This recording is the first time I have immersed myself in the world of Sergei Prokofiev, a composer who has always held a special place in my life and in my repertoire. His Sixth and Seventh Piano Sonatas were written almost simultaneously at the start of the Second World War and are very similar in form and content. The conflict between man and machine, the individual and the collective, complexity and simplicity lies at the heart of their narrative. The music combines philosophical symbolism and almost orchestral polyphonic writing with brilliant piano technique and vibrant colouristic effects, making this pair perhaps Prokofiev's two most frequently performed works for solo piano. My connection with both sonatas began many years ago, so I was very interested in taking a quick snapshot of how this music resonates with me today, in the midst of these troubled times. Sergei Redkin

What does the German word Heimat mean? The place of one's birth, a place of initial socialisation, or a feeling of security and belonging? Many composers made the city of Vienna their Heimat. Beethoven, Schubert, Ernst, Vorisek and Mozart - all represented on this recording - were shaped by it's rich traditions and contributed to the style that we now call Viennese Classicism. The Austrian capital has always been a centre for the arts, and music in particular. It attracts creative minds and artists and is the embodiment of a bridge between tradition and modernity. This recording aims to take the listener on a journey of discovery through a pivotal period around the year 1800, in the form of a spontaneous and intimate chamber music concert. It combines masterpieces of the duo repertoire for violin and piano with little-known gems such as Vorisek's Sonata in G major.

The Time of Our Singing, Kris Defoort's fourth opera, after The Woman Who Walked into Doors (2001), House of the Sleeping Beauties (2009) and Daral Shaga (2014), is the climax and culmination of twenty years of operatic composition. Richard Powers' novel contains themes that have always been important to the composer and gave him the opportunity to explore the history of Western music and jazz. It is fascinating to see how Power's poignant characters have found their musical and scenic incarnation in this work. Each of Kris Defoort's operas is an infinitely valuable account of our times and of the human condition today. Each of his works is a joyful, profound and intense combination of music and life. Bernard Foccroulle

Classical Music

Kaleidoscope. That single word encapsulates Elsa Grether's aim in her new album: to illustrate the full expressive range of her violin by exploring its repertory in all its stylistic diversity. From Bach's famous Chaconne to Ton That Tiet's contemporary idiom in Metal Terre Eau, by way of Eugene Ysaye, Aram Khachaturian, Arthur Honegger and Isaac Albeniz, the violinist's third release for Fuga Libera offers a cocktail of colours and timbres. She charms her listeners with an invariably elegant sound and firmly sculpted lines as she invites us to explore this multifaceted instrument. A voyage of discovery across time, space and aesthetics that will appeal to the widest audience.

Classical Music

Classical Music