IBS Classical presents a new monographic release dedicated to Roberto Sierra, the Grammy-nominated and Latin Grammy-winning Puerto Rican composer whose music is regularly performed by leading orchestras and ensembles worldwide. This album features Piano Sonatas Nos. 13 and 14 alongside the Transcendental Etudes (after a reading of Liszt), performed by American pianist Matthew Bengtson, a long-standing artistic collaborator of Sierra and one of today's most compelling interpreters of his piano works. Sonata No. 13 offers a bold "fragmented sonata," a mosaic-like structure that reimagines Beethoven's legacy through a distinctly contemporary lens. Sonata No. 14, inspired by the Moonlight Sonata, explores musical memory as a sonic specter, where fragments appear, dissolve, and transform. The Transcendental Etudes pay homage to Liszt while remaining unmistakably Sierra: virtuosic, rhythmically vibrant, infused with Afro-Caribbean energy, and rich in harmonic color and pedal resonance. Critically acclaimed as a "musician's pianist," Matthew Bengtson enjoys an international career as soloist, chamber musician, scholar, and educator. Widely recognized for his interpretations of Scriabin and Szymanowski, he has performed throughout Europe and the United States, including appearances at Carnegie Hall. A dedicated advocate of contemporary music, he has premiered numerous works and maintains a particularly close artistic partnership with Roberto Sierra. Bengtson is Associate Professor of Piano Literature at the University of Michigan and a Steinway Artist.

Kammersymphonie presents a compelling journey through the fractured soundscape of early 20th-century Europe, brought to life by the acclaimed ensemble Fin du Temps. This release brings together three landmark chamber works by Arnold Schoenberg, Hanns Eisler, and Paul Hindemith, composers who each responded in radically different ways to a period of intense artistic, political, and social upheaval. At the heart of the programme lies Schoenberg's Kammersymphonie, Op. 9, heard here in Anton Webern's refined chamber arrangement-a masterpiece that condenses symphonic thinking into a single, highly concentrated movement and marks a decisive step toward musical modernism. Eisler's Vierzehn Arten den Regen zu beschreiben, Op. 70, conceived originally for experimental cinema, offers fourteen sharply etched miniatures of striking expressive power, balancing lyricism, irony, and political awareness. Completing the disc, Hindemith's Quartet for clarinet, violin, cello, and piano reveals a contrasting aesthetic: rigorously constructed, communicative, and rooted in an expanded sense of tonality. Recorded at the Auditorio Manuel de Falla in Granada, this album combines intellectual depth with exceptional sonic clarity and interpretative authority. Kammersymphonie is an essential release for listeners interested in modern chamber music, historical context, and performances of the highest artistic calibre.

ELEMENTUAK marks the debut album of Expressio Duo, the Basque accordion partnership of Maria Zubimendi and Garazi Navas. Conceived as a journey across three centuries of music, the programme explores the art of transcription as a creative dialogue between past and present, revealing the extraordinary expressive range of the modern accordion. From the refined elegance of the French Baroque to the evocative sound world of early 20th-century Basque nationalism, ELEMENTUAK highlights the instrument's versatility in repertoire originally conceived for orchestra and keyboard. Works by Jean-Baptiste Lully and Jean-Philippe Rameau unfold with clarity, colour and rhythmic vitality, while Jean-Fery Rebel's visionary Le Cahos from Les elemens acquires striking modern intensity through the duo's rich harmonic textures and dynamic control. The programme concludes with music rooted in Basque identity. Aita Donostia's Acuarelas Vascas evoke landscapes and traditional dances with impressionistic delicacy, and excerpts from Jesus Guridi's El Caserio and Amaya celebrate folkloric energy transformed into symphonic brilliance. Recorded at the Manuel de Falla Auditorium in Granada, this release affirms Expressio Duo's artistic depth and positions the accordion as a powerful mediator between tradition and reinvention in today's classical landscape.

Metaludios vol. III marks a major new chapter in the acclaimed Metaludios cycle by Spanish pianist and composer Gustavo Díaz-Jerez, one of the most original voices in contemporary piano music. Bringing together Books VI and VII, this album continues Díaz-Jerez's exploration of the intersection between music, science, technology, and imagination, confirming the series as a reference point in 21st-century repertoire. Each work is rooted in a precise conceptual process: artificial intelligence models trained exclusively on the composer's own music, sonifications of natural and cosmic phenomena, image-to-sound transformations, mathematical sequences, and algorithmic structures. These materials are shaped through a highly personal musical language that balances structural rigor with expressive depth and poetic resonance. Highlights include Long Short-Term Memory, created using Google's Magenta AI framework; Fuzzball, derived from a mathematical sequence of 10,000 data points; and Perseus' Lament, based on NASA's sonification of pressure waves emitted by a supermassive black hole. Other works draw inspiration from visual art, historical memory, spoken language, and physical phenomena such as Schumann resonances. Recorded at the Auditorio Manuel de Falla and released by IBS Classical, Metaludios III offers distributors a distinctive catalogue title that appeals to contemporary music audiences, technologically curious listeners, and piano specialists alike, while reinforcing Gustavo Díaz-Jerez's international profile as both composer and performer, one of Spain's leading pianists and composers, internationally acclaimed for his performances of contemporary and core repertoire. He has appeared worldwide and premiered major works with orchestras such as the London Philharmonic and Royal Philharmonic Orchestra.

AMETSAK places the listener at the heart of an intense and highly evocative listening experience. Devoted to the music of Gabriel Erkoreka, one of the most respected voices in contemporary Spanish composition, the album offers a journey through the realms of the mind, memory, and the perception of time, articulated through a musical language that is both sophisticated and immediately engaging. Performed by Zahir Ensemble under the direction of Juan García Rodríguez, AMETSAK brings together seven works composed between 2001 and 2023. At it's core lies the Ametsak cycle, inspired by the dream state, in which sound becomes a flexible substance and time is experienced as a subjective dimension. This approach results in an immersive and emotionally resonant listening experience that appeals not only to contemporary-music specialists but also to curious listeners seeking new sonic perspectives. The programme combines landmark works such as Trance with pieces of strong symbolic and narrative character (Izaro, Orreaga, Tomba del tuffatore), creating a coherent and varied album with clear artistic identity. Recorded in Seville in 2024, AMETSAK stands out for it's artistic depth, sonic clarity, and communicative power, making it a strong and attractive release for audiences interested in meaningful, exploratory contemporary music.

Ícaro is a compelling recital for cello and piano that brings together four luminous works rooted in early-20th-century Spanish musical nationalism, enriched by Catalan folk colour and French Impressionist refinement. Cellist Alex Olmedo Duynslaeger and pianist Fiona Mato present a carefully curated programme that combines rediscovery with repertoire favourites, offering strong appeal to both specialists and a broader classical audience. The album opens with Joaquín Nin de Castellanos's Spanish Suite for cello and piano, a vivid journey through regional dances and melodies shaped by the Franco-Spanish aesthetic of Paris between the wars. A major highlight is the world-premiere recording of the Sonata in A major by Lluís Benejam, rescued from the archives of the Barcelona Conservatory: an elegant, finely crafted work that blends Impressionist sonorities, rhythmic vitality, and lyrical depth. Manuel Oltra's mature Sonata for Cello and Piano follows, notable for it's dynamic dialogue, structural clarity, and expressive intensity, before the programme closes with Gaspar Cassadó's celebrated Requiebros, dedicated to Pau Casals and performed here with remarkable freedom and character. Ícaro is both an artistic statement and a discovery album: ideal for distributors seeking high-quality repertoire with premiere value, strong interpretative personalities, and a narrative that connects myth, heritage, and modern performance in a highly attractive commercial package.

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.

Pianist Miguel Ángel Acebo presents Scriabin Notebook, a new album released by IBS Classical, bridging the visionary world of Alexander Scriabin with contemporary Spanish musical creation. Recorded at the Auditorio Manuel de Falla in Granada, the album features works by Jesús Torres, José Manuel López López, José María Sánchez-Verdú, and Francisco Domínguez, alongside emblematic pieces by the Russian composer. The project traces an aesthetic and spiritual journey that connects Scriabin's mysticism with the sensitivity of four generations of Spanish composers. In this kaleidoscopic reading, Acebo explores fire, resonance, and contemplation as metaphors for sound and inner transformation. From the introspection of Laberinto de silencios to the spectral expansion of Lo fijo y lo volátil, through the sonic gardens of Sánchez-Verdú and Domínguez's new work Approaching Mysterium, the album forms a constellation of perspectives on Scriabin's legacy, understood as a living myth: art as a path to revelation. Recorded at the Auditorio Manuel de Falla (Granada) and released by IBS Classical in November 2025, Scriabin Notebook stands as a landmark of contemporary piano creation-a meeting point between identity, exploration, and transcendence.

Violinist Mario Pérez presents the first complete recording of Felipe Libón's 30 Caprices (1775-1838), released by IBS Classical. This extraordinary project, recorded at the Auditorio Manuel de Falla and produced by Paco Moya, stands as a brilliant example of artistic research through performance-a dialogue between past and present that restores to the repertoire one of Spain's most fascinating yet overlooked violinists. A disciple of Giovanni Battista Viotti, Libón was born in Cádiz into a French family and became one of the most refined violinists of his generation. Active in the courts of Lisbon, Madrid, and Paris, he was admired for his elegance, precision, and expressive warmth. Performing on a Stradivari violin and pioneering the use of the modern Tourte bow, Libón combined the grace of the Classical style with a technical brilliance that anticipated Paganini. With both intellectual rigor and musical sensitivity, Mario Pérez-Associate Principal in the Spanish National Orchestra and member of the Trío Musicalis-revives Libón's forgotten masterpiece using his Andrea Castagneri (1696-1747) violin, whose rich and luminous tone connects the listener to the sound world of the early nineteenth century. Each of the thirty Caprices focuses on a distinct technical or expressive aspect, forming a complete and vivid compendium of violin technique and artistry.

Spanish pianists Juan Lago and Belén Navarro present in this album a repertoire that has featured prominently in their concerts over the past decade: works by non-Spanish composers inspired by Spanish popular music. Thanks to the piano-a truly universal instrument-Debussy, Ravel, Chabrier, and Rimsky-Korsakov not only developed their early compositional voices, but also found a vehicle through which their orchestral masterpieces could be adapted and performed beyond the concert hall. Through their own arrangements or those by trusted collaborators, these works have reached intimate settings and private homes around the world. The keyboard's orchestral richness-especially in four-hand performance-and it's ability to imitate or evoke the timbral variety of an orchestra allow the Lago-Navarro Duo to showcase their artistry and technical command in a beloved and familiar repertoire, deeply ingrained in the collective musical memory of the Spanish people. In this album, Ibéria, Rapsodie espagnole, España, and Capriccio espagnol are brought together in a fresh concert format, allowing the musical echoes of Spain to resound with renewed brilliance. Belén Navarro & Juan Lago Piano Duo The well-established Lago-Navarro piano duo-formed in 1997 by Spanish pianists Juan Lago and Belén Navarro-presents in this album a repertoire that has featured prominently in their concerts over the past decade: works by non-Spanish composers inspired by Spanish popular music.

After last year's acclaimed triple album Liszt: Années de Pèlerinage, IBS Classical reunites with pianist Miriam Gómez-Morán for a new recording dedicated to three of Beethoven's most iconic piano sonatas: Pathétique, Moonlight, and Waldstein. Recorded at the Auditorio Manuel de Falla in Granada, this album showcases Gómez-Morán's blend of scholarly insight and expressive depth. Her interpretation highlights the dramatic contrasts, structural clarity, and spiritual dimension that define Beethoven's pianistic universe. From the powerful rhetoric of the Pathétique to the atmospheric mystery of the Moonlight and the radiant virtuosity of the Waldstein, Gómez-Morán offers a reading that is both profound and compelling.

The new album 8 CANARIAN COMPOSERS, performed by the acclaimed Phace ensemble under the direction of Nacho de Paz, offers a unique journey through contemporary composition linked to the Canary Islands. Eight composers-Cecilia Díaz Pestano, Dori Díaz Jerez, Gustavo Díaz Jerez, José Luis Perdigón de Paz, Laura Vega, Juan Manuel Ruiz, Leandro Martín, and Rubens Askenar-present a kaleidoscope of musical languages that reveal the vitality and diversity of today's creation. Far from regional or stylistic labels, the project invites us to listen to how territory, memory, and personal experience continue to resonate in contemporary sound. The works, inspired by motherhood, the sea, science, folklore, and spirituality, showcase multiple ways of inhabiting and reimagining music from the islands. With Phace-resident ensemble at the Wiener Konzerthaus-delivering extraordinary precision and artistry, and Nacho de Paz, one of Spain's leading conductors of new music, shaping it's expressive landscape, 8 CANARIAN COMPOSERS becomes both a portrait of a living scene and a reflection on the creative power of place.

Philip Cashian (born Manchester, 1963) is one of the most distinctive voices in contemporary British music, widely recognised for a style that combines rhythmic urgency with luminous harmonic writing. His music has been described as "an uncompromising reflection of the modern world," characterised by tightly worked motivic ideas, striking instrumental colour, and a constant tension between propulsion and stillness. Trained at the Guildhall School of Music and Drama with Oliver Knussen and Simon Bainbridge, and later with Lukas Foss at Tanglewood, Cashian has developed a language that is both intellectually rigorous and immediately physical in it's impact. This recording brings together key chamber and concertante works spanning nearly three decades, framed by the two Chamber Concertos (1995 and 2024), written twenty-nine years apart. Both pieces explore the rich possibilities of instrumental combination within a chamber ensemble, giving prominence to extended solo lines and concertante groupings. Between them appear two more intimate works: Dances and Nocturnes (2020), a single-movement piano quartet alternating kinetic rhythmic energy with reflective, nocturnal stillness, and The Distance of Night (2022), a restrained and deeply expressive solo piano work written in memory of Simon Bainbridge. Throughout the programme, Cashian's music reveals a fascination with visual art-particularly mid-20th-century British abstraction-as well as a highly refined sense of form and drama. The result is a compelling portrait of a composer whose music is at once rigorous, vivid, and emotionally direct.

Æternum marks the impressive debut recording of the Tempus Trio, presenting four contemporary works written expressly for the ensemble by leading composers Helena Cánovas, Marc Migó, Miquel Oliu, and Albert Guinovart. The album offers a uniquely coherent yet stylistically diverse journey through today's chamber music, unified by a central exploration of musical time-it's suspension, fragmentation, and expressive expansion. The programme opens with Helena Cánovas's tanta llunyania no ha estat un error (2025), a single-movement work built from contrasting sonic "states," where fragile harmonies, atmospheric textures, and sudden transformations create a poetic sense of distance and expectation. Marc Migó's GEM(S)TONE (2022) continues the journey with a vivid triptych inspired by three gemstones-Onyx, Ruby, and Diamond-each transformed into symbolic sound worlds that highlight the ensemble's dynamic range and technical finesse. Miquel Oliu's Un simple aleteig... (2023) offers a delicate, introspective reflection inspired by the proverb of the butterfly effect. Through natural harmonics, oscillating tremolos, and transparent textures, Oliu crafts a meditative work that pays subtle tribute to Kaija Saariaho. The album concludes with Albert Guinovart's expansive Trio Celebration (2025), a four-movement composition that draws from the great Romantic trio tradition while incorporating personal gestures and a final homage to Purcell's The Cold Song. Recorded at the Auditorio Manuel de Falla in Granada, Æternum showcases the refined musicianship of Maria Tió (violin), Ferran Bardolet (cello), and Ricard Rovirosa (piano), establishing the Tempus Trio as a compelling new voice in contemporary chamber music.

Con silencio vibrante presents a compelling portrait of the Spanish and Latin American musical avant-garde during one of it's most creative and transformative periods. Performed by the acclaimed ensemble Taller Sonoro, the album brings together eight chamber works composed between 1963 and 1976, offering a rare and illuminating perspective on a repertoire that remains insufficiently documented. The recording traces a dense network of aesthetic ideas, personal connections, and transatlantic exchanges that shaped mid-20th-century contemporary music. Serial rigor, controlled chance, graphic notation, literary inspiration, and refined timbral exploration coexist in works by Mario Lavista, Joan Guinjoan, Aurelio de la Vega, Graciela Paraskevaídis, Gonzalo de Olavide, Enrique Raxach, Jesús Villa-Rojo, and Luis de Pablo-several of them presented here in world-premiere recordings. From the fragile, poetic resonance of Lavista's Quotations to the architectural clarity of de Pablo's Cesuras, the album reveals a shared search for new expressive territories, while preserving the distinct voices of each composer. Silence, texture, rhythm, and space become structural elements in a music that balances intellectual rigor with striking expressive power. Recorded in Seville and produced by IBS Classical, Con silencio vibrante confirms Taller Sonoro as one of today's leading interpreters of contemporary repertoire and stands as an essential release for listeners interested in the avant-garde heritage of the 20th century.

The Spanish label IBS Classical releases Libro del Frío (Book of Cold), a major work by composer José María Sánchez-Verdú, based on the celebrated poetry collection by Antonio Gamoneda, one of Spain's most influential contemporary poets and winner of the Cervantes Prize. Written for countertenor, organ, orchestra, and five spatialized instrumental groups, Libro del Frío is an immersive sound architecture conceived for the Cathedral of León, where it was premiered in 2008 on the occasion of the 25th International Organ Festival. In this recording, the haunting voice of Carlos Mena finds it's perfect echo in the vast resonances of the sacred space, joined by Óscar Candendo at the organ and the Orquesta Sinfónica de Galicia, under the composer's direction. Drawing on the deep musicality of Gamoneda's verse, Sánchez-Verdú creates a unique dialogue between word, space, and sound. His composition unfolds as a seven-part cycle-with interludes and the final organ work Límina-where silence and light become structural elements of the music. The result is an experience that blurs the boundaries between liturgy and abstraction, between human voice and cathedral architecture.

Zarzuela Viva is a vibrant, direct, and deeply engaging celebration of Spain's most beloved lyric genre. This album brings together a carefully curated selection of the most popular and instantly recognisable zarzuela numbers, designed to connect immediately with a wide audience while fully preserving artistic and musical excellence. Under the direction of Alejandro Muñoz, the Córdoba Orchestra and the Córdoba Opera Chorus deliver a performance full of energy, colour, and stylistic authenticity. They are joined by two highly charismatic soloists, soprano Lucía Tavira and baritone Javier Povedano, whose voices add warmth, expressiveness, and brilliance to each piece. The programme spans zarzuela's golden age, from the late nineteenth century to the early decades of the twentieth, featuring romanzas, choruses, and orchestral interludes that form part of Spain's collective musical memory. Love, humour, passion, jealousy, and popular life unfold in a lively and accessible recording, ideal both for seasoned listeners and for newcomers discovering zarzuela for the first time. Zarzuela Viva is not only a tribute to this national genre, but also an invitation to enjoy it today with freshness, rhythmic vitality, and genuine emotion-making this album an especially attractive and highly commercial title for a broad international audience.

Mort au Printemps is a compelling journey through some of the most powerful musical visions of death from the early twentieth century, explored through the intense and versatile language of the piano duo. In this album, the Anton & Maite Piano Duo bring together three works that are deeply connected by aesthetic affinities, personal links between their composers, and a shared creative response to the tragic. At the heart of the programme lies Igor Stravinsky's The Rite of Spring, presented in the composer's own four-hand piano transcription. Far from being a reduction, this version retains all the work's primal energy, revealing with striking clarity it's rhythmic drive, structural ingenuity, and ritualistic character rooted in archaic and ancestral imagery. Alongside it stands El Día y la Muerte by Fernando Remacha, a two-piano work that remained hidden for decades. Inspired by the tragic death of the composer's grandson, the piece unfolds in a sombre, deeply moving musical language situated between Impressionism and Expressionism, marked by tension, dark colours, and emotional intensity. The album is completed by Claude Debussy's en blanc et noir, one of the most distinctive works of his final period, permeated by the oppressive atmosphere of World War I despite the composer's reluctance to make explicit references. Mort au Printemps powerfully reclaims the expressive depth of the piano duo repertoire, offering a recording of exceptional intensity, precision, and artistic vision.

This album brings together three landmark works for string orchestra from the 20th century by Béla Bartók, Paul Hindemith, and Manuel Castillo, performed by Camerata Gala under the direction of Alejandro Muñoz. The programme offers a compelling and well-balanced journey through three highly individual and stylistically "unclassifiable" voices, each representing a distinct historical and aesthetic context while remaining firmly outside rigid compositional schools. Bartók's Divertimento for Strings, one of his last works composed in Europe, blends neoclassical clarity with the rhythmic vitality and modal language of Hungarian folk music, resulting in a score of striking energy, expressive depth, and technical brilliance. Hindemith's Fünf Stücke, Op. 44 No. 4, written within the framework of Gebrauchsmusik, stands out for it's formal precision, contrapuntal craftsmanship, and pedagogical intent, while maintaining a strong and unmistakable musical personality. The programme concludes with Cuatro cuadros de Murillo by Manuel Castillo, a work of profound spirituality and refined orchestral colour, inspired by the religious iconography of the Sevillian painter and a cornerstone of the Spanish repertoire for string orchestra. Recorded at the Auditorio del Rectorado of the University of Córdoba, this release presents a thoughtfully curated programme of major interest to general audiences, specialists, programmers, and advocates of 20th-century string repertoire.

IBS Classical presents a distinguished new release featuring violinist Valerie Steenken and pianist Ricardo Alí Álvarez, performing three major violin sonatas by Richard Strauss, Ottorino Respighi, and Manuel M. Ponce. Conceived as a journey across German, Italian, and Mexican traditions, the programme bridges late-Romantic lyricism and early-twentieth-century modern expressivity. Strauss's youthful Sonata in E-flat major, Op. 18, combines soaring melodic invention with symphonic breadth, while Respighi's Sonata in B minor unfolds as a grand, rhetorically charged architecture culminating in a majestic Passacaglia. Ponce's Sonata breve, written in Paris in 1930, distills neoclassical elegance and Mexican lyricism into a concise yet refined statement of style. In this recording, Valerie Steenken (Concertmaster of Spanish National Orchestra) and Ricardo Alí Álvarez (Professor at Reina Sofía School) offer performances of exceptional unity and insight. Steenken's luminous tone, phrasing of great naturalness, and expressive precision find in Álvarez's pianism an ideal counterpart-sensitive, detailed, and dynamically sculpted. Their dialogue reveals a profound understanding of structure and sound, bringing each work's emotional core vividly to life. Through this project, IBS Classical reaffirms it's dedication to artistic excellence and to the renewal of essential chamber repertoire for violin and piano, presented here in a performance of rare coherence and expressive depth.

Wind Piano Trios brings together four outstanding works for oboe, bassoon, and piano, performed by the Trío Ausiàs March, one of Spain's most active chamber ensembles for contemporary and 20th-century repertoire. This release offers a compelling journey through nearly a century of music, from the neoclassical elegance of Francis Poulenc and Jean Françaix to the stylistic openness of André Previn and the vibrant contemporary voice of Jorge Santos. At the heart of the programme stands Poulenc's Trio FP 43 (1926), a cornerstone of the repertoire, combining wit, lyricism, and refined harmonic colour. Françaix's late Trio (1994) displays his unmistakable blend of clarity, humour, and rhythmic vitality, while Previn's Trio (1994) introduces jazz-inflected rhythms and cinematic lyricism, reflecting his unique crossover between classical, jazz, and film music. The programme concludes with Jorge Santos's Trio (2001), a work that fuses contemporary techniques with Latin and jazz influences, adding a distinctive modern perspective. Recorded at the Auditorio Manuel de Falla in Granada, this album combines artistic excellence with outstanding sound quality. Wind Piano Trios is an attractive release for distributors seeking high-level chamber music, strong repertoire value, and a balance between established masterpieces and contemporary works.

The Spanish Suites is inspired by a different palo of flamenco, which the composer transforms in unique ways. Some movements incorporate elements such as bitonality or atonal diatonicism-techniques used to create contrast or convey a particular effect-without becoming the predominant compositional resource. Gines Martinez Vera, is a distinguished educator and an expert in orchestral arrangement, Martinez Vera presents here new compositions that are not only impeccably crafted but also deeply rewarding in performance, rich in analysis, and thoroughly enjoyable to the ear. These are works unafraid to delight-modern in their folkloric inspiration, brimming with rhythmic vitality and orchestral colour, evoking the celebrated Huapango of Moncayo. A student of Copland who, in turn, studied under Nadia Boulanger, Moncayo embodies that powerful Franco-American model, brilliantly adapted to a Hispanic symphonic language-one that merges Albeniz-like lyricism with jazz inflections and flamenco flourishes. It is within this lineage that the music of Martinez Vera finds it's voice. His is a bold artistic vision in a world of high art music still dominated by the experimental. But, fortunately, Gines Martinez Vera writes beautiful music. And beauty is not the privilege of the elite-it is a necessary sustenance for all.

The album you hold in your hands charts a journey that is, in more than one sense, the cartography of a life. Not only does it span both the first and one of the last piano works of Johannes Brahms, but beneath it's design lies a deeper meditation on the nature of time. The young Italian pianist Elia Cecino does not merely confront the pianistic and expressive challenges of these works; he assumes the role of a narrator, shaping, through the poetry of sound, a tale of fullness and nostalgia, of youth and age, of promises and memories dissolving into the ether. The Sonata No. 1, written in the ardor of youth, still resounds with echoes of Beethoven-it opens with a direct citation from the Hammerklavier-revealing a Brahms who raises his voice with impassioned fervor, boldly claiming the great classical legacy with the audacity of one who knows he has something to say. At the heart of the program, the Variations on a Theme by Schumann dwell in a space of reverence and sorrow, where a more mature Brahms converses with his friend and mentor in a gesture of tribute and love, of confidences and affinities, of encounters and brotherhood. Finally, the Pieces, Op. 119 transport us to a realm where the urgency of performance and virtuosity has given way to the most intimate contemplation, a kind of personal, confessional journal, in which every note is almost a whisper, a thought suspended in time. Through these three great works, Elia traces the arc of a life and, in doing so, invites us to share in the experience of an entire existence in each listening-to traverse, in little more than an hour, the distance that separates youth from twilight, certainty from doubt, fullness from farewell.

As Janacek can be considered the most important Czech operatic composers of his time, Febel represents without doubt one of the most influential contemporary opera composers in the German-speaking countries. The fil rouge of this CD reveals itself in the mere choice of the pieces: all of them are compositions for piano and ensemble which try to construct the literal Hyperklavier Febel mentions in his title, a sound conglomerate that extends the semantic possibilities of a solo piano through the employment of different instruments. Many more, however, are the common points that bind the contemporary Febel to the historic Janacek. A further, more interesting parallelism, however, has to do with stylistic coordinates: as Janacek can be considered the most important Czech operatic composers of his time (we will just remember the titles Jenufa, Kata Kabanova and Vec Makropulos), Febel represents without doubt one of the most influential contemporary opera composers in the German-speaking countries. With performances at the Bayerische Staatsoper, Oper Bonn, Landestheater Linz (among others), he has confronted himself with the most various themes and figures, so for example Euridice, Frida (Kahlo) and Benjamin Button. This interest in opera could be a subterrain reason for their similar rethinking of piano solo with instrumental ensemble: by avoiding the classical, dualistic "question-answer" rhetoric, they are able to carve an all-round figure - in other words a character - out of the piano. Through a particular employment of the ensemble, the keyboard gathers a new three-dimensional plasticity, like a singer immersed in a scenography and illuminated by multicoloured reflectors.

Third volume of Franz Schubert's complete piano sonatas, performed by Japanese fortepianist Yasuyo Yano, professor at Lucerne University of Applied Sciences. Recorder in Swizerland with a Christopher Clarke fortepiano. Yasuyo Yano, was born in Tokyo. Her teachers were Midori Matsubara, then Sergio Perticaroli and Carla Giudici at the Academia Nazionale di Santa Cecilia in Rome. Yasuyo Yano has also received precious advice from other famous pianists, such as Jacques Rouvier, Dang Thai Son and Paul Badura-Skoda. Yasuyo Yano now lives in Switzerland where she teaches the piano, Fortepiano and chamber music at the Lucerne University of Applied Sciences and Arts. She gives solo recitals and is also a chamber music performer, both on the Fortepiano and the modern piano. Yasuyo Yano tells of her encounter with the Fortepiano: "In Venice, in 2001, I played the complete Mozart sonatas for violin and piano together with the violinist Giuliano Carmignola. Andrea Marcon, another eminent Italian musician, told me after one of these concerts that I should consider playing Fortepiano. I took his advice and I am today still thankful for it, because working with the Fortepiano has opened up entirely new dimensions for me. On the one hand, the Fortepiano enables me to imagine and hear how the music must have sounded back in those days, and on the other hand, the Fortepiano is quite different to modern pianos, offering a large spectrum for creative leeway with a rich palette of sound colors, a wide range of dynamics and the delicate response of the keyboard to touch. I had not expected all of this! But it was quite a long journey to master the instrument so that I was able to reveal these characteristics - a journey with a wonderful reward as it has lead me to Schubert."

This recording presents a selection of arias and instrumental pieces taken from Handel's operas, from the early Agrippina (1709) to the late Imeneo (1740), including also an example from the mythological oratorio Hercules (1745). L'Apotheose: From the classrooms of a conservatory to winning a dozen of high profile international prizes and becoming artists in residence of the biggest classical music institution in Spain. That is the unique story of L'Apotheose. The Spanish baroque ensemble has become the newest reference in historicist interpretation in the European music scene. L'Apotheose proudly counts with honours that includes the First Prize, EUBO Development Trust prize and the Friends of York Early Music Festival Prize at the 2019 York Early Music International Young Artists Competition (United Kingdom), Second Prize at the prestigious Internationaal Van Wassenaer Competition 2018 within the Oude Muziek festival in Utrecht (Netherlands), First Prize at the Gottingen Handel Competition 2017 (Germany), and the Second Prize at the Concours International de Musique Ancienne de Val de Loire 2017 (France) chaired by William Christie. Lucia Caihuela, mezzosoprano Born in Madrid, Lucia grew up surrounded by music, singing at home with her mother and grandmother, covering everything from The Sound of Music and El Barberillo de Lavapies to the Beatles and West Side Story. At 19, she decided to pursue a career in singing, completing her first degree at the Arturo Soria Conservatory in Madrid. She then moved to the Netherlands, where she graduated cum laude in historical singing from the Conservatorium van Amsterdam under the guidance of Xenia Meijer. Lucia frequently collaborates with ensembles such as The Netherlands Bach Society, Collegium 1704, L'Apotheose, Al Ayre Espanol, El Afecto Ilustrado, and La Guirlande, among others.

The two most important concertos for two pianos and orchestra in the entire repertoire. Performed by the famous Duo del Valle, winners of the ARD Prize in Munich. DUO DEL VALLE: Since they won Top Prize and Special Audience Prize in the 54th ARD International Music Competition (Munich, 2005), Victor and Luis del Valle (Velez-Malaga, Spain) have soon been acclaimed as one of Europe's most distinguished chamber music ensembles. They have also been awarded the Silver Medal in the "Primer Palau programme" (Palau de la Musica de Cataluna. Barcelona, 2005). They have been Winners in the "Musiques d"Ensemble 2008" Competition (Paris), "Special Audience Prize" in the XI Dranoff International Two Piano Competition (Miami) and Winners and Special Prize to the best Mozart performance in the IV International Piano Duo Competition of Bialystok (Poland, 2008). In April 2011, they have been awarded the Audience Prize in the XXI Central European Music Festival (Zilina, Slovakia), where most of the winners of outstanding music competitions took part (Queen Elisabeth Competiton, Tchaikovsky Competition, ARD...).

This CD illustrates how present-day musicians can arrange Bach's compositions in accordance to his teachings, beyond the narrow limits set by the ideal of fidelity to the score. With good criteria, Il Maniatico Ensemble has arranged the six sonatas BWV 525 to 530, originally intended for organ, adapting them to an ensemble consisting of oboe, keyboard (harpsichord or organ), and cello. Johann Sebastian Bach himself is a good example of this conception of the musical work, far from the conceptual changes introduced by Romantic aesthetics. His arrangements of pieces by others and by himself are well known. He arranged concertos by Vivaldi, Marcello, and Telemann for organ; he turned oboe and violin concertos into harpsichord concertos; he transformed movements of concertos into cantata choruses; he reused and adapted vocal compositions in order to include them in other vocal compositions, etc. The present recording includes one of these arrangements by Bach himself. It is a version of the BWV 1030 sonata in B minor for flute and obbligato harpsichord, a work that is central to the flute players' repertoire canon. An autograph score by Bach himself of the sonata BVW 1030 for flute and harpsichord is preserved, and presumably he wrote it around 1736/37, during Bach's last years as conductor of the Collegium Musicum in Leipzig.

This album, Galdosiana, not only compiles three of the most significant orchestral works by Gran Canarian composer Laura Vega, but it also highlights female interpretation with the esteemed conductor Lucia Marin from Jaen leading the Navarra Symphony Orchestra, alongside the prestigious Spanish soloists Maria Esther Guzman on guitar and Marta Zabaleta on piano. Four women spearheading the recording of three musical creations can be classified as a "trilogy" characterised by programmatic and interdisciplinary elements: the bright dawn of Caelum in terra, the mature and reflective sophistication of Galdosiana, and the mystical elevation found in Luz, Amor y extasis. Born in Gran Canaria, Laura Vega studied under composers such as Daniel Roca, Xavier Zoghbi, Jose Luis de Delas, and Jose Maria Sanchez Verdu. From 2008 to 2011, she served as President of the Las Palmas Association of Composers, Promuscan. Between 2003 and 2021, she was a professor in the Composition Department at the Canary Islands Higher Conservatory of Music, and in 2016, she earned her doctorate in Art History and Philosophy from the University of La Laguna. Since 2011, she has been a full member of the Royal Canarian Academy of Fine Arts, and in 2023, she began teaching at the Professional Conservatory of Music of Las Palmas de Gran Canaria.

The emerging quartet Gaman Ensemble shows in this album the evolution and cross-influences of that strong Spanish presence in the French capital over the last century. It's four members (Jesus Reneses -soprano saxophone-, Carlos Zaragoza -alto saxophone-, Daniel Sanchez-Manjavacas -tenor saxophone- and Luis Maria Gonzalez -baritone saxophone-) have studied in Paris, allowing themselves to be nourished musically and intellectually by the cultural life of the city. So did the five composers who make up the disc: Joaquin Nin, Jesus Guridi, Enrique Granados, Eduard Toldrà and Felix Ibarrondo. Gaman Ensemble records for the first time their own versions for saxophone quartet of the pieces by Nin and Guridi, originals for piano or string quartet, as well as the arrangement of the dance by Granados and the work commissioned by themselves to Ibarrondo. From these five scores, the versatile and rigorous Gaman Ensemble aims to illustrate the fruitful and long-lived sound encounter between Spain and France without losing sight of the musical regionalisms that were forged in the final stages of Romanticism. Basque, Andalusian and Catalan popular references emerge more or less explicitly in the languages of the five composers. On the other hand, as well as showing it's commitment to contemporary creation through Ibarrondo's work, Gaman Ensemble wants to contribute to the revaluation of the production and legacy of composers not yet sufficiently recognised, such as Nin or Guridi. And all this, through the original and suggestive formation of the saxophone quartet, a mirror of contemporaneity.