Vocal secular music in 17th century Spain began to be studied when Francisco Asenjo Barbieri and Felipe Pedrell showed interest for the issue at the end of the 19th century. Everything pointed to an exponential increase in those studies with the arrival of the 21st century, but it was not the case. Once the first years of the new millennium were over, in which the studies by Gerardo Arriaga, Lola Josa and a few others were published, the research drastically decreased. This album aims to rekindle that preservation. The works here are sung pieces, in verse and vernacular language, known in that period as human tones (or just tones) when they were profane, and divine tones when they were religious. Those composed in the first half of the 17th century were mostly polyphonic, which reveals that, in this period, polyphony was still thought to be highest. The Book of Human Tones, preserved at present at the National Library of Spain under the signature M 1262, constitutes, with its 222 works, a privileged sample of all the aspects. Who might be interested in these works has now the possibility to listen to them in a retrained performance on four voices with harp accompaniment, one of the instruments used in this repertoire. If, on the one hand, the vocal quartet shows that the “grace notes” (“quiebros”) and voice effects do not constitute an impediment for the care of tuning, on the other hand the harp adds to the score beautiful introductory and transition passages based on the features of passacaglias and 17th century dances.

The relationship between composers and performers has been a key element in musical creation. This is the case of the Spanish composer Joaqu�n Rodrigo (Sagunto, Valencia, 1901 - Madrid, 1999), who was acquainted with many prominent guitarists of his time (e.g. Emilio Pujol, Andr�s Segovia, Narciso Yepes, Regino Sainz de la Maza, Pepe Romero, to name but a few). As a result of these interactions, one of the most internationally known solo guitar repertoires was created, thus making the guitar thoroughly accepted as a solo instrument with orchestra, with his C oncierto de Aranjuez (1939), Fantas�a para un gentilhombre (1954), and Concierto madrigal (1966) being some of the best known. These works for guitar and orchestra are the most well-known of his catalogue and Joaqu�n Rodrigo owes his fame to them. However, in this album, the protagonists are other works, which, despite being less well-known, are no less relevant and have equally exalted the Spanish guitar repertoire.

“Somewhere I read that Luis Buñuel, at the premiere of his film L’ GE D’OR went up to the stage and said: “this is my film L’ GE D’OR, if you think it’s strange, life is much more strange”. "Music for a Liquid Theater" (2018) As in many other works of mine, musical space is developed as an important aspect of composition; when performed in a concert hall, some instruments have a special disposition, violin is in the left corner and violoncello in the right corner of the stage, while flute and clarinet play from the other corners behind the audience. Abreviaturas (1999), is a very special work for me, with no dynamics –the whole work in pianissimo-, no effects, almost no timbre, only duration and pitch (rhythms and notes). "Música para contemplar la evolución de una ola a cámara lenta" (2012), as strange as it may seem, the title -Music for contemplating the evolution of a wave in slow motion- came to me as I was watching a documentary on tv; there was a fantastic image of a wave from the inside moving in slow motion, like a living sculpture made of soft glass. "La Memoria del Agua" (1995), On the days I was working on both pieces, I remember the deep impression that I received from the Ives Klein retrospective at the Reina Sofía Museum in Madrid.” (César Camarero)

In Cantus Horn, the language used is made up of octophone modes made of various structures, which are filtered by the compositional system proposed by Edmond Costere. Introducció i Galop, Op. 148 is an eminently virtuosic composition for the horn player, but also full of interesting dialogues with the pianist; the Introducció is slow, based on a dodecaphonic melody from the start and Galop is fast and virtuosistic. Tientos de la trompa alada (Tientos of the Winged Horn) is inspired by the next to the last verse of the poem by Góngora A Don Francisco de Padilla, castellano de Milán, where there appears a winged horn. Mar sin Luna, In memoriam Javier Bonet Silvestre, this piece, composed as a tribute to Javier Bonet Silvestre, speaks about the tragic theme of suicide. Juegos sobre ‘Tocatico-tocatá’, Games on “Tocatico-tocatá”. Homage to Carles Santos was born. It is a brief chamber work, in which song-like elements of Carles Santos’ work come into play, joined to other suitable ones that are melodic, harmonic and polyphonic. Elegía ponders a narrative that expresses in a cyclical form contrasting thematic sounds and sketches that represent antagonistic situations and states of mind. Consolación is a single movement piece which alternates highly contrasting sections that show the multiple resources that this ensemble can afford. These go from lyrical to energetic, going through rhythmical and scherzando episodes. A piece of great difficulty, in accordance with the technical capabilities of the intended performers.

Bambú Ensemble was expressly created as a string octet and its players are trained in the careful cultivation of the distinguishing features of their literature – from Mendelssohn or Gade to more contemporary offerings. On this album, therefore, they demonstrate an intuitive and eloquent ability to deliver not only the cyclical-thematic density of the massive symphonic structure in nine interconnected themes that is the magnificent Octet composed by a precocious and utterly inspired Enescu, but also the exceptional academic exercise in counterpoint that displays the skill and brilliance of the young Shostakovich, and the nocturnal garden of multiple textures woven around a single motif created by Javier Martínez Campos, transferring the concept of counterpoint from the thematic or motivic to the terrain of experimentation in timbre and sound. Listening to their album, therefore, is an adventure which will undoubtedly open up the map of any music-lover’s imagination – come aboard the good ship Bambú and, like Marco Polo on his travels, embark on a voyage of marvels upon the ocean of music.

In many ways it was Joaquín Rodrigo’s own work that eclipsed the vast majority of what he composed. The international success of Concierto de Aranjuez has meant that much of the rest of his work remains relatively unknown. With this in mind, it is interesting to note that Rodrigo is one of the twentieth century’s most prolific Spanish composers, with a huge opus of around 170 works awaiting rediscovery. He is, therefore, much more than just the composer of the Concierto de Aranjuez. This album is a step along the path to bringing the composer’s other music to the public’s attention. Rodrigo had very close ties with the European Neoclassicism of the nineteen thirties which sought inspiration in the classical musical tradition. In this sense, although folkloric elements are certainly present in his music, what differentiates the composer is his ability to focus his attention on the tradition of Spanish classical music. It is this which marks him out so significantly from the generations of earlier composers who tended to seek inspiration in popular music. The Orquestra de la Comunitat Valenciana (OCV), leading orchestra at Palau de les Arts Reina Sofía, comprises international musicians, personally selected by the founder music director, Lorin Maazel, who has been leading the orchestra from 2006 to 2011. Joan Lluna has performed as a conductor-soloist with orchestras as the Manchester Camerata, Luzerne Festival Strings, Covent Garden Chamber Orchestra, Orquesta de Valencia, ADDA simfònica, etc.

The present release is a fascinating journey through the music that unites Debussy with Spanish composers. Places are sounds- and this music is Granada. The city was a recurring source of inspiration for Debussy, and yet the composer never visited it; his knowledge of it was gained only indirectly through literary accounts, images, and musical sources heard in Paris. All of these materials served to unleash his imagination in regard to its sound, which according to Falla represented ‘the truth without authenticity, as not a single note is borrowed from Spanish folklore and yet, even in its smallest details, it wonderfully expresses Spain’. A common element links all the composers in the present program: the city of Paris. From the end of the nineteenth to the early twentieth century, the French capital was a fundamental goal for many Spanish composers, who at some point in their lives went there for study or work purposes. Born in Tokyo, Japan, Azumi Nishizawa is considered one of the finest Japanese pianists of her generation. She studied with Michiko Okamoto and Ikuyo Kamiya at the Toho Gakuen Conservatory of Music in Tokyo, and was subsequently selected as an outstanding pupil by the famous French pianist and instructor Dominique Merlet at the Geneva Conservatory where she won first prize for virtuosity.

The composer of the Stabat Mater presented in this sound recording was musically educated in Malaga Cathedral at the end of the first third of the 19th century. The musical chapel of the citys first tempo had already suffered the onslaught of the yellow fever of 1803 and the French invasion during the Napoleonic invasion (1808\-1814), and had yet to receive the lethal blows of the successive disentailment measures of Mendizábal (1836), Espartero (1841) and Madoz (1854). However, what seemed to put an end to the stable ensemble to solemnise cathedral liturgies was paradoxically giving way to a paradigm shift. The everyday music of the cathedrals would be reduced to a minimum thanks to the resources established in the Concordat of 1851 signed between Pope Pius IX and Queen Elizabeth II. Hence, the drastic mutilation of the stable staffs in the cathedrals favoured what would quickly become a common and frequent practice, i.e. the ex profeso hiring of instrumental and vocal troops for certain solemnities and festivities, among which those related to Holy Week and its natural period of spiritual preparation, namely Lent, were particularly noteworthy.

The Opera-Oratorio 'Passio Christi' narrates the events of the Lord’s Passion from the Last Supper to the dawn of Resurrection. The story is told through the feelings and emotions of some of the characters who took part in it in various ways: Peter, Judas, the Virgin Mary, Mary Magdalene, the Cyrenean, the soldier Longinus and the Angels. Each character sings the verses of the saints and poets of the world in a different language (Italian, English, French, Russian, Spanish, Latin and ancient Greek) to represent the whole world before the mystery of human suffering. The dramatic structure of the Opera follows the ancient structure of the Sacred Representations: in fact, its original form is designed for dramatization and scenic action. The events of the Gospel are interspersed with the arias of the various characters, which constitute a sort of cinematographic 'still image'.

The composer of the Stabat Mater presented in this sound recording was musically educated in Malaga Cathedral at the end of the first third of the 19th century. The musical chapel of the city’s first tempo had already suffered the onslaught of the yellow fever of 1803 and the French invasion during the Napoleonic invasion (1808-1814), and had yet to receive the lethal blows of the successive disentailment measures of Mendizábal (1836), Espartero (1841) and Madoz (1854). However, what seemed to put an end to the stable ensemble to solemnise cathedral liturgies was paradoxically giving way to a paradigm shift. The 'everyday' music of the cathedrals would be reduced to a minimum thanks to the resources established in the Concordat of 1851 signed between Pope Pius IX and Queen Elizabeth II. Hence, the drastic mutilation of the stable staffs in the cathedrals favoured what would quickly become a common and frequent practice, i.e. the ex profeso hiring of instrumental and vocal troops for certain solemnities and festivities, among which those related to Holy Week and its natural period of spiritual preparation, namely Lent, were particularly noteworthy.

“I compose music because I love it. I love melodies, I love singing. And I have found out with pleasure that there is a public out there who is very interested in my music whenever I publish it. That’s fantastic! I refuse to just compose music designed to be discovered and understood by future generations.” With these words Carlos Guastavino (Santa Fe, 1912 - Buenos Aires, 2000) expressed himself, aware that his art belonged to those who wanted to hear and sing it, reneging on the customary exercise of the composer who seeks to be recognized by the umpteenth harmonic discovery never before tried out. Guastavino enriched the young voice of the Argentine people with his music, giving it a unique and identifiable tone, supporting the tip of his feet in a folklore to which he gave wings to surpass himself. “Cinco canciones argentinas” (Five Argentinean songs), Op. 10. This work exemplarily shows the most characteristic features of what has come to be known as Ginastera’s period of objective nationalism. Namely, the use of folkloric elements and tonal techniques together with other techniques which are typical of atonalism, especially in piano accompaniment.

The recording of such a complex and ambitious work as Gustav Mahler's Fifth Symphony by the Malaga Philharmonic Orchestra (OFM in Spanish) is a demonstration of the determination and enthusiasm with which the group is facing his 30th anniversary. Highly artistic work, Mahler's Fifth Symphony is of great extension and expressive intensity; it is full of deep symbolism and evident spirituality. It is a musical and intellectual monument testing the quality of an orchestra and it's conductor. It is a challenge that, in a market full of references to the Austrian composer's masterpiece, the OFM faces with all the potential the work demands. In his first four symphonies, Gustav Mahler tried to identify with four ideas: the first, the power of will against destiny; the second, hope in the resurrection; in the third a certain "Nietzschean" pantheism, and the fourth is a musical manifesto about innocence. There is in all of them that kind of youthful lyricism which it's first songs have, a style that is nipped in the bud in his Fifth Symphony, completed in 1902 and premiered in Cologne by the G�rzenich Orchestra on 18 October 1904 under the direction of the author. The language he uses in his Fifth Symphony seems to be anticipating the future, in a kind of progressive tonality tending towards a certain harmonic instability and reinforcing the words of the composer himself who, sure of his technical mastery, goes so far as to say: "There will be no romantic or mystical elements in my work; it will simply be the expression of an unparalleled power of the activity of a man in the light of the sun, who has reached his vital climax".

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.

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.

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."

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.

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.

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 Toldr� 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.

This recording dedicated to Mirentxu by Jesus Guridi is a continuation of the project to publish the dramatic works promoted by the Bilbao Choral Society and initiated with the recordings of Maitena by Charles Colin (2021) and Lide ta Ixidor by Santos Inchausti (2022). The work, whose success and repercussion was outstanding at the time, and after a good number of premieres and performances, lacked a complete recording, which is why the present recording represents a challenge both at the production and artistic level that we should celebrate. The Sociedad Coral de Bilbao together with the BOS - Bilbao Orkestra Sinfonikoa and a carefully selected cast of soloists have been entrusted with this task, recalling the Society's active role in the premiere of the work held at the Teatro Campos Eliseos on 31 May 1910.

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.

Emiliana de Zubeldia's musical legacy includes works for piano, guitar, harp, chamber ensembles; songs for two voices a cappella, voice and piano, voice, piano and woods; works and arrangements for choir for 4 and up to 8 equal and mixed voices; a choral mass, concerts, symphonies, and symphonic poems. Some of her works reflect her passage through practice of the impressionist and avant-garde music of Paris in the 1920s. Her respect for the traditional harmony in some works contrasts with a great freedom in the application of Novaro's system in many others. This recording contains the second and last part of all her compositions for voice and piano known up to now and that had mostly been stored away in the archives of the University of Sonora without being recorded or edited. Four blocks that give faith of Emilianas vast interest in diverse literary gender are presented, the first one approaches eight fables for children, six by Tomas de Iriarte and two by Felix Maria de Samaniego. In these works the author captures the lyricism of the fable.

Rachmaninoff and Prokofiev open two different paths toward the summit of pianism: one, a spiritual, profound, and tragic journey; the other, a macabre dance between irony and despair. Both, in their own way, are Everests that only a few manage to reach, but whose summit, once attained, transforms the one who plays. Playing the Third Concerto is, without a doubt, an epic journey, not only for it's technical difficulty but for the emotional depth it demands. Every time I perform it, I feel that I am drawing closer to that unfathomable mystery that is Rachmaninoff's music, a music that seems to contain within it all the pain and all the beauty of the world. Playing the Second Concerto is not only a challenge but an immersion into the perception of what music can or should be. Prokofiev mocks expectations, leads us to the edge of chaos, and then leaves us hanging, without a clear answer, as if telling us that in life, in the end, all that remains is the empty echo of applause. Josu de Solaun, praised by critics such as Nikolaus Frey of Fuldaer Zeitung for his "poetic sense of sound, bold artistic vision, and virtuosity," has won the International Classical Music Awards twice-2021 for chamber music and 2023 as Best Soloist. The ICMA jury recognized him as "one of the most impressive discoveries of the past decade," noting his boundless interpretive imagination and technical mastery.

In this 1720 score, Johann Sebastian Bach laid the foundation that would shape the future of the violin in Western music. While building on the contributions of earlier composers, his meticulous craftsmanship-a true compendium of the instrument's virtues-and his vision in terms of musical conception and performance render these Six Sonatas and Partitas for solo violin a cornerstone. No self-respecting violinist can ignore them, as they serve both as a fundamental study and a lofty aspiration. There is no separation between the performer and the music; their expressive power and technical demands require a lifelong dedication. This is exactly what the excellent violinist Gisella Curtolo tells us: In Spanish, grabar means to leave a mark on a surface, on stone... on a CD. It is something lasting, like a "sculpture of sounds." It is a way to communicate the culmination of our journey, akin to scaling a mountain and reaching the summit, achieving something "epic" that we have been carefully preparing and envisioning year after year. There comes a moment in musicians' life when they feel like the right time to "record" what they have been playing, teaching, and perfecting for many years. This is how I felt as I approached the recording of this immense masterpiece, one of the pillars of the repertoire for violinists of the past, present, and surely the future.