This integral represents a great journey through the artistic career of the distinguished Andalusian composer Joaquín Turina. From the romantic flavor of the Trio in F, a youthful work, but it already shows a commendable panache. The Trio no.1, dedicated to Her Royal Highness the Infanta Dña. Isabel de Borbón, awarded at the Spanish National Music Competition. The Trio No. 2 was composed in 1933. Its premiere took place on November 17, 1933 at the University of Groningen (The Netherlands) by the Dutch Trio. And the last, Trio Círculo, a work that has always conquered both the public and the performers: it describes the evolution of the day from dawn to twilight. The players are international soloists, as well as members of RTVE Orchestra, professor in Conservatory Superior of Sevilla and Musikene.

It should come as no surprise that an instrument with the horn’s peculiar sound potential and its attractive combination with two such devices as the violin and the piano has seduced classical composers such as Brahms or Ligeti. In this context, it is necessary and tremendously opportune that Escauriaza, Colom and Pascal have asked Sierra for a new work that updates the genre and enhances the virtuosity and expressiveness of the trio from today’s perspective. Thus, this disc proposes a journey from the past to the present through the last three centuries and by means of three works linked by history.

Ligeti refers to Brahms, and Sierra to both: three essential and inseparable links. Miguel Colom is concertmaster violinist in the National Orchestra of Spain. Manuel Escauriaza is hornist in the National Opera Orchestra of Paris. Denis Pascal is a famous international pianist, professor in Conservatory Superior of Paris.

Charles Koechlin had a very personal style and was inspired by a wide variety of motifs, as nature, the mysterious Orient, French folk songs ... Sometimes, he came close to musical Impressionism, as in Au Loin. Hindemith’s composed the Sonata for the english horn in 1941, by which time he had moved to the United States, where he was teaching at Yale University. The Sonata for cor anglais and piano of Dirk Michael Kirsch is a very intimate homage to the composer’s homeland (Westerland/Sylt, Germany), in which he musically evokes colourful images of landscapes and souls. The work of Ander Perrino combines several ideas that I wanted to try out and that has a very strong connection to popular music. Following the initial idea, each movement is independent as if it were a story, hence the name of Five short stories. Maria Lindo collaborated with symphony and opera orchestras such as the Kammerakademie Potsdam, the Deutsches Symphonie-Orchester, the Deutsche Oper Berlin, the Mahler Chamber Orchestra, the WDR Rundfunkorchester Köln, the Deutsche Oper Berlin, the Budapest Festival Orchestra. María is the artistic director of the company Linien Soundkraft, which realises projects fusing music with other art forms.

In a world like today’s, in which everything moves but almost nothing changes, and in which music, in particular -both in its different aesthetic lines and in the programmes in which it is presented- has long seemed to be at a standstill, finding a driving force as intense and genuine as the figure of Fabián Panisello (Buenos Aires, 1963) is a rare occurrence. His miscellaneous profile as a composer, conductor, teacher and prolific entrepreneur of all kinds of musical projects, both in Spain and abroad, reveals such a dynamism characterising him so strongly that, if one had to say something which could encompass him and his work in all these areas, indeed it could be his fundamental trait: being always on the move, pulling forward, favouring movement at all times.

Mahler’s 4th Symphony and the lieder of Des knaben Wunderhorn are symphonic scores with a hue similar to that which can be found in chamber music. This is due to the fact that Mahler’s orchestration is not too dense. Domínguez-Nieto’s conception of the work, recorded here for the first time, exploits, with utmost respect for the composer’s original orchestration, its chamber music overtones to its maximum. Gustav Mahler’s 4th Symphony, as well as the song cycle Des Knaben Wunderhorn (The Boy’s Magic Horn), is based on Arnim and Brentano’s collection of children’s stories of the same name. The fantasy that emanates from this piece of literature finds in Mahler a natural catalyst, who manages, with each musical impulse, articulation, nuance, glissando, harmonic or any other of the myriad of details that inhabit his scores, to transport us to the dreamy and magical world of children’s stories, thus developing a fragile balance between utter fiction and overwhelming reality. With his 4th Symphony, Mahler brings to an end his so-called Wunderhorn period, marked by the reverie and imagination which can be found in such tales.

This album allows us to appreciate the versatility of the young performer Anna Urpina, whose goal has been to approach each score from a historically informed perspective. The compositions of c. XVII and XVIII (Castello, Biber, Corelli and Telemann) are recorded with Baroque violin (with gut strings) and bow next to the harpsichord. In addition, the tuning is half a tone lower (415 Hz) than is usually used in the current repertoire (442 Hz). Period techniques have also been put into practice, as well as Baroque flexibility in ornamentation and improvisation. Summoning a single key instrument to give life to the basso continuo allows us to compare in a more direct way the works belonging to the two historical periods, since the scores of c. XX and XXI (Webern, Pärt, José Luis Turina and Guix) are performed with modern violin and piano. In fact, following this idea of highlighting to the maximum the contrasts and constants that relate the eight compositions, the pieces have been ordered by combining one of each period instead of following a chronological order, thus generating quite a stimulating hybrid narration. An original proposal which highlights the sophisticated sound and artistic potential of the “four-chord lyre”, as Biber used to call the violin.

A student of Ligeti, Roberto Sierra is the most prominent Latin American composer on the international scene. If the Piezas Íntimas were for me the concentrated version of Roberto’s language, the Aphorisms are 28 fragments that live up to their name, each of them being a short sentence proposing what for me are Roberto’s compositional principles in their purest and most concise version - each of them exploring the dynamic and sonic range of the instrument in a matter of seconds. His Sonatas, as I began to study them, opened me up to a world full of completely fresh sonorities, structures and approaches. The Sonatas span a world from Central Europe, where their structure strengthens in the second half of the 18th century, to the region of Latin America and the Caribbean in the 20th and 21st centuries, where sonata movements contained Afro-Caribbean elements linked to sudden appearances of elements as different from each other as flamenco, salsa, pasodoble or tango, followed by slow movements that seem like improvisations (despite the exactness with which they have been written), filled with nocturnal music, an aria da capo that loses its original rhythm and becomes “out of balance”.

The conception of Lide ta Ixidor did not follow the usual characteristics of lyrical theatre close to the nationalist ideology: the allusion to lost freedoms, love of the Basque language, a legendary common past, an idyllic rural setting and the value of religion, which were relegated to the present work; although as an exception, it is set in a farmhouse near the Biscayan palace of Zubialdea and includes the birth of Jesus and the arrival of the Three Wise Men. At the premiere on 24 May 1910, the press, chroniclers and music critics included all kinds of laudatory adjectives.

The Estudios rítmicos y sonoros (Studies in Rhythms and Sonorities) of Roberto Sierra, harken back to the grand virtuoso tradition of piano pieces by Chopin and Liszt. Without question, the Estudios continue to push the envelope of technical demands for the performer, as important Etude composers had always done in the past. They demand the utmost not only in a player’s physical technique, courage, and sheer velocity, but also in their intellectual capacity. One must internalize the cross rhythms like a jazz drummer accurately enough to reveal the idealistic conception of the notation. The mysterious landscapes of the Piezas Líricas serve as a foil to the bustling excitement of the Estudios. The resonance and clarity of the acoustic in Auditorio Manuel de Falla offers the perfect ambience for these pieces, lending them the spiritual breadth they require. The inspiration of the Alhambra seems even to lend them a special aura of timelessness and mysticism. Album for the Young offers a striking contrast to both the turbo-charged virtuosity of the Estudios and the high-art sophistication of Piezas Líricas. The Album offers directness, charm, and even naïveté. The musical material represents scenes and ideas of childhood or family life, with folk-like simplicity. Unlike the well-known models, it is derived primarily from Latin-American musical elements. Critically acclaimed as a “musician’s pianist,” Matthew Bengtson has a unique combination of musical talents ranging from extraordinary pianist, to composer, analyst, and scholar of performance practice, and thus is in demand as both soloist and collaborator. An advocate of both contemporary and rarely performed music, he commands a diverse repertoire, ranging from William Byrd to György Ligeti and numerous contemporary composers.

This is the second volume of Franz Schubert’s Sonatas for Fortepiano in which Yasuyo Yano chooses two of the greatest sonatas: No. 19 in C Minor and No. 7 in E-flat Major. The Sonata in C minor, D. 958 is characteristic of Schubert’s feeling of retreat. Towards the end, the movement rushes ever more quietly towards silence, before two brute final chords conclude this grandiose sonata. The Sonata in E-flat major, D. 568, begins with a thoughtfully cautious Unsiono. This rapturous mood is soon interrupted by a brisk transition, only to culminate in a swaying waltz-sweetness composed with supple chromaticism. The themes and their lively interplay always reveal a melancholy mood. 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 should be seen in that manner: as a beginning, a solo recording debut by Alejandro Algarra in which he confronts two colossi of the instrument. It is quite a recording milestone to tackle these two essentials. A real challenge both for him as a performer and for IBS Classical as a record label. So please do not be deceived by the apparent simplicity and unpretentiousness of the term prelude. Quite the opposite, in fact. Nor should a prelude be understood in this case as a prolegomenon to a major piece (“Preludes to what?”, as André Gide wondered in his famous Notes sur Chopin), but as individual works which, taken as a whole, represent a major technical and interpretative challenge; undoubtedly one of the all-time highs of piano literature.

The album Falla 1915 offers us the opportunity to experience a composer reborn through two of his masterpieces. In Siete canciones populares espanolas, the orchestral imagination of composer Francisco Dominguez enriches the original piano accompaniment without losing any folkloric substance. The first version of El amor brujo rediscovers a title that was created to be much more jondo [deeper], rawer and with more gypsy soul than the ballet it later became. Passion and spirit, sensuality and color come together to highlight what Falla loved and defended most: the preservation of our memory and our cultural heritage.

Fr�hling is also a project that decisively sheds light on the figure of Andr�s Isasi (1890-1940), one of the most singular and underrepresented composers of early 20th-century Spain. At the heart of the album, Goikoetxea and Fern�ndez 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, Fr�hling, 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 Fern�ndez Aguirre stand out for their elegance, their textual insight, and their ability to convey the emotional universe-at times na�ve, 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-Gr�ndahl, MacDowell, Sgambatti, and Castelnuovo-Tedesco, composers who, like Isasi, were captivated by the emotional depth and symbolic power of the German poet.

�caro 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 Joaqu�n 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 Llu�s 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 Cassad�'s celebrated Requiebros, dedicated to Pau Casals and performed here with remarkable freedom and character. �caro 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.

Pianist Miguel �ngel 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 Jes�s Torres, Jos� Manuel L�pez L�pez, Jos� Mar�a S�nchez-Verd�, and Francisco Dom�nguez, 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 vol�til, through the sonic gardens of S�nchez-Verd� and Dom�nguez'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 P�rez presents the first complete recording of Felipe Lib�n'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, Lib�n was born in C�diz 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, Lib�n combined the grace of the Classical style with a technical brilliance that anticipated Paganini. With both intellectual rigor and musical sensitivity, Mario P�rez-Associate Principal in the Spanish National Orchestra and member of the Tr�o Musicalis-revives Lib�n'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 Bel�n 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, Ib�ria, Rapsodie espagnole, Espa�a, and Capriccio espagnol are brought together in a fresh concert format, allowing the musical echoes of Spain to resound with renewed brilliance. Bel�n Navarro & Juan Lago Piano Duo The well-established Lago-Navarro piano duo-formed in 1997 by Spanish pianists Juan Lago and Bel�n 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: Ann�es de P�lerinage, IBS Classical reunites with pianist Miriam G�mez-Mor�n for a new recording dedicated to three of Beethoven's most iconic piano sonatas: Path�tique, Moonlight, and Waldstein. Recorded at the Auditorio Manuel de Falla in Granada, this album showcases G�mez-Mor�n'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 Path�tique to the atmospheric mystery of the Moonlight and the radiant virtuosity of the Waldstein, G�mez-Mor�n 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 D�az Pestano, Dori D�az Jerez, Gustavo D�az Jerez, Jos� Luis Perdig�n de Paz, Laura Vega, Juan Manuel Ruiz, Leandro Mart�n, 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.

�ternum marks the impressive debut recording of the Tempus Trio, presenting four contemporary works written expressly for the ensemble by leading composers Helena C�novas, Marc Mig�, 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 C�novas'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 Mig�'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, �ternum showcases the refined musicianship of Maria Ti� (violin), Ferran Bardolet (cello), and Ricard Rovirosa (piano), establishing the Tempus Trio as a compelling new voice in contemporary chamber music.

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.

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 Paraskeva�dis, Gonzalo de Olavide, Enrique Raxach, Jes�s 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 Fr�o (Book of Cold), a major work by composer Jos� Mar�a S�nchez-Verd�, 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 Fr�o is an immersive sound architecture conceived for the Cathedral of Le�n, 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 �scar Candendo at the organ and the Orquesta Sinf�nica de Galicia, under the composer's direction. Drawing on the deep musicality of Gamoneda's verse, S�nchez-Verd� creates a unique dialogue between word, space, and sound. His composition unfolds as a seven-part cycle-with interludes and the final organ work L�mina-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 Mu�oz, the C�rdoba Orchestra and the C�rdoba Opera Chorus deliver a performance full of energy, colour, and stylistic authenticity. They are joined by two highly charismatic soloists, soprano Luc�a 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 D�a 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.