Jan Von Busch and Johann Blanchard have compiled true highlights from the modest repertoire for the once-so-popular pairing of organ and piano. Recorded exclusively for MDG on the historic Wäldner organ from 1874, the restored instrument harmonises perfectly with the magnificent Bechstein grand piano. The organ's small size creates the possibility of truly balanced music-making with the piano in respect of dynamics, allowing a natural reproduction of French concert halls and salons of the 19th century - a programme of rare value!

This elegant, long-awaited CD by the elder statesman of cabaret is a very personal tribute to the late, great Stephen Sondheim, sampling his songs from 1954 through 1990. Ross calls this collection "a challenge and a privilege," and James Gavin, author of the definitive book on cabaret, notes that the album is "a role model for anyone who aspires to be smarter, worldlier and more stylish than the rest."

D O W L N D R A K E merges the worlds of soprano Annelies Van Gramberen and singer-songwriter Sim Van Thienen to create a bold sonic universe. Together, they weave the melancholic songs of the English troubadours John Dowland (1563-1626) and Nick Drake (1948-1974) into a layered tapestry of loops, electronics, and guitars, with Annelies' voice as a shining guide through the shadowy paths of the human soul.

Five years younger than Johann Sebastian Bach, who survived him by all of eight months, Gottfried Heinrich Stölzel was among those Central German musicians who made a name for themselves beyond their regional sphere of influence. It is no coincidence that the sacred works of Gotha's long-serving court conductor in particular have now found a suitable home in our catalogue. The passions, oratorios, and cantatas that have already been released are now joined by five pieces of Protestant sacred music in which the extensive Catholic liturgy is reduced to Kyrie and Gloria. The missae breves selected here confirm once again that their author was 'one of the most reasonable, learned and great composers' to whom Johann Mattheson rightly accorded a place of honour in his Ehrenpforte of 1740. All should know.

This album, Throwback to Dance, explores how composers turn to dance forms to carve out new paths: predominantly court dances, folk dances but also the more 'modern' waltz. The album is inspired by the charming meeting between Ravel and Grieg back in 1894, and looks at Grieg's influence on Ravel, seldom documented, as well as that on Pejacevic and Chaminade.

Luigi Gordigiani was a prominent figure in 19th-century Florence who became known as the "Italian Schubert." Like his Viennese counterpart, Gordigiani's creativity found it's best expression in songs for voice and piano that earned him international renown in a period when opera reigned supreme in Italy. Gordigiani's style found a balance between brilliant, almost operatic drawing-room writing, and a deliberately regional vernacular language that gave his songs an honest and innocent character. All of his songs are graceful and delightful, and at the heart of his output are the Popular Tuscan Songs, which captivated the likes of Rossini, Meyerbeer, and Chopin.

Mystics & Cynics is a mesmerizing journey through the sacred and the subversive, the ecstatic and the irreverent. Featuring the world premiere of Taumelnd von Glut (Reeling in the Light)-a stunning new song cycle by composer Boris Bergmann, setting the passionate poetry of Otto Braun to music for the first time. Braun's youthful idealism and later disillusionment echo through Bergmann's evocative score, creating a deeply moving meditation on love, war, and loss. This striking new work is woven into a tapestry of mystical and iconoclastic masterpieces: the luminous chant of Hildegard von Bingen, the playful defiance of Erik Satie, and the radical vision of John Cage. Mystics & Cynics invites listeners on a journey through war-torn poetry, cabaret whimsy, and transcendental meditation-where every note is both a question and an answer. An essential release for adventurous ears.

The protagonist of these recordings owed his posthumous fame to an error. The Jena Symphony, discovered in the city's university library in 1909, was thoroughly studied, discussed, and even recorded as a supposed early work by Beethoven. However, since 1968 it has been established that the composition is by no means the titan's "zero" symphony, but rather the 14th of 23 symphonies that Friedrich Witt wrote in Niederstetten, Baden-Württemberg, many of which were also published. A full five weeks older than his colleague from Bonn, whom he outlived by nine years, he had been court conductor in Würzburg since 1802, where his symphonic output took an astonishing turn and was apparently renumbered. The three symphonies recorded here, Nos. 1 to 3, were written a few years earlier than their much-praised cousin, but consistently display uncompromising quality.

Composer Michael Hersch adapts the tragedy of Medea from Ovid's Metamorphoses in his new opera for soprano Sarah Maria Sun, the vocal ensemble Schola Heidelberg, and Ensemble Musikfabrik. With librettist Stephanie Fleischmann. Hersch's setting underscores the profound psychological trauma at the heart of the tale with a characteristically powerful, bracing score.

When composer Jeffrey Brooks premiered The Memory Palace at Bang on a Can's summer festival at MASS MoCA in July 2023, he'd perfected the presentation of what we now know as the Stein-o-caster - a new form of prepared piano, fitted with pickups, that he conceived and designed the previous year with electronics engineer Greg Lee. As a featured instrument on two pieces from this new recording, the Stein-o-caster sets the tone for the aural atmospherics and soundscapes that transport the music into fresh dimensions of space and time. An artist of wide-ranging musical tastes, Brooks has also held a lifelong affinity for the electric guitar (Jimi Hendrix is a personal hero), so in the context of The Memory Palace, it made sense to approach longtime collaborator Mark Stewart - in-house guitarist for the Bang on a Can All-Stars, and musical director for Paul Simon's touring band - for a specially commissioned piece. This became "Santuario," scored for double-neck electric guitar, and a mini-epic of sonic exploration in it's own right.

Irma Neumuller & Seth Sjostrom are two Swedish jazz musicians and composers based in Berlin. Their collaboration began as early as 2020 at Skurups Folk High School, where they quickly connected through their shared love of jazz and improvisation. In this project, they come together in an intimate duo setting, interpreting jazz standards, original compositions, and selected favorites from the Swedish pop and folk music repertoire. The contrasts between Irma and Seth-both as musicians and as individuals-are explored. The result is a unique and intimate sound that sheds new light on both the compositions and themselves. Over the past few years, Irma and Seth have performed in various ensembles across Sweden and the rest of Northern Europe, and both have made a name for themselves on the Nordic jazz scene.

It's the Viking era. The hero Angantyr has fallen. In his grave, he has taken with him the magical sword Tirfing, a sword that never misses to kill the enemy. His daughter Hervor needs the sword to protect herself from the cruel world of the Vikings. From his grave, Angantyr, who had no sons, demands that his daughter forever must appear as a man in order to retrieve and use the sword. Hervor dresses as the warrior Hervardur, receives the sword, which makes him/her an always unbeatable hero on the battlefields. However, the disguise will eventually prove to be her undoing. A love triangle develops between Hervardur and Vidar, "his" brother-in-arms who, in his way, is in love with Hervor/Hervardur, and Vidar's sister Gullväg, who has fallen in love with the hero Hervardur, not knowing that he, in fact, is a woman. Gullväg is courted by the three kings Gestur, Svasur, and Harald. Encouraged by her father, King Gudmundur, Gullväg asks three riddles to be solved by the courting cavaliers. She will marry the one who can solve them all. But she is, in fact, in love with Hervardur, who succeeds in solving the riddles to Gullväg's joy. However, Hervardur must (for obvious reasons) reject Gullväg, which makes Vidar furious, meaning that this is an unforgivable insult to his family. He therefore challenges Hervardur to a duel, whereupon he is killed by the invincible sword Tirfing. Hervardur is proclaimed an outlaw by King Gudmundur. Brokenhearted, Hervardur tells Gullväg of her true origin and once again seeks out her father's grave, returns the sword Tirfing, and dies.

A long-awaited release that features the late guitar master at his most lyrical and inventive was recorded in January 2017 but held back until now. This session led by vibraphonist Tony Miceli is a poignant tribute to Vic Juris’s boundless musicality and deep connection to the jazz tradition. Inspired by the spirit of Django Reinhardt and the Hot Club legacy, the quartet reimagines classic French repertoire with fresh arrangements and modern interplay. The interpretations of “Nuages” and “La Vie En Rose” are especially moving, revealing a depth of emotion that resonates even more powerfully in light of his passing. Miceli, who spearheaded the project, recalls Juris’s uncanny ability to absorb and reproduce any tune—“like an iPod with soul.” This recording, lovingly restored by SteepleChase producer Nils Winther, transforms what was once a shelved session into a sonic gem. It stands as both a celebration of Vic Juris’s artistry and a testament to the enduring power of collaboration. Incidentally Miceli’s witty and heartfelt liner notes reads as an ode to Vic the stellar artist.

Brazilian songstress Rosàlia de Souza joins forces with pianist Peter Rosendal (Denmark), bassist Craig Earle (Canada), and drummer Jonas Johansen (Denmark) to form Rosàlia de Souza Quarteto 55º, presenting their self-titled debut album of twelve tracks, set for release on November 14, 2025, on Storyville Records. This vibrant ensemble blends Brazilian, North American, and Scandinavian musical traditions into a fresh, irresistible sound. After three years of sold-out concerts, the album promises a musical experience that radiates energy, sophistication, and joy. The album balances original compositions with Brazilian classics, brought vividly to life with guest appearances. Hans Ulrik's saxophone enriches the opening Samba Do Amor Que Não Existe, the classic O Negócio É Amar, and the reflective Dormilhão, while Flemming Agerskov contributes flugelhorn on Maria and trumpet on Sugar Reef. Tracks such as Choro Sambado and Dorme, Dorme Meu Menino showcase the quartet's fluid interplay and Rosàlia's agile phrasing, highlighting a unique blend of bossa nova elegance and jazz spontaneity. Named after Copenhagen's latitude, 55º reflects the group's geographical and cultural meeting point, where diverse traditions converge. Born in Rio de Janeiro in 1966, Rosàlia de Souza is recognized worldwide as one of the most compelling interpreters of samba, bossa nova, and Brazilian music traditions. With thirteen albums to her name, she has collaborated with icons such as Marcos Valle and Roberto Menescal, bringing the essence and refinement of 1960s Rio into the present. Her performances are infused with silk-smooth vocals, precise control, and a modern sensibility, bridging deep-rooted Brazilian tradition with explorations into jazz. The trio supporting Rosàlia adds distinctive character and depth. Peter Rosendal blends folk, world, and jazz influences, enriched by his extensive experience living and recording in Brazil. Craig Earle anchors the group with a warm, agile, and virtuosic bass sound. Jonas Johansen, whose career spans more than four decades and over 200 albums, brings orchestral precision and a truly global perspective to the music. After years of international performances, Rosàlia de Souza Quarteto 55º is ready to bring their unique sound to the global stage, inviting audiences everywhere to experience Brazilian jazz reimagined through cross-cultural collaboration.

A re-release of Beethoven's Sonatas Nos. 3 & 9 (Kreutzer) from celebrated violinist Viktoria Mullova and her duo partner for this recording, Kristian Bezuidenhout. The pair bring a tension-filled account of these works, displaying their energetic and spontaneous take on what's considered one of Beethoven's most challenging works.

Ken Ueno's creative approach to composition shares an affinity with the percussion world; there is an underlying spirit of exprimentation, problem solving, and deconstruction as a path to innovation that guides them. This clear eyed perspective on the materials of sound and their possibilities makes percussion music an ideal forum to hear Ueno's work. The works on this recording share an interest in microtonality. Transformation of noise timbres into pitched material, and an investigation of instrumental possibilities.

Reaching number one on both the Billboard and Amazon charts, The Wexford Carols stars celebrated Irish singer Caitriona O'Leary alongside Grammy winners Sir Tom Jones, Rosanne Cash, and Rhiannon Giddens, backed by an all-star band. Produced by four-time Grammy winner Joe Henry, the album presents Ireland's greatest Christmas music-much of it recorded for the very first time-through a magical blend of traditional Irish, Americana, Blues, and Gospel. With lyrics by Luke Waddinge and William Devereux set to popular 17th- and 18th-century tunes, these musically sublime, spiritually rich, and emotionally powerful carols offer listeners a fresh and compelling way to experience the story of Christmas. Reaching number one on both the Billboard and Amazon charts, The Wexford Carols stars celebrated Irish singer Caitriona O'Leary alongside Grammy winners Sir Tom Jones, Rosanne Cash, and Rhiannon Giddens, backed by an all-star band. Produced by four-time Grammy winner Joe Henry, the album presents Ireland's greatest Christmas music-much of it recorded for the very first time-through a magical blend of traditional Irish, Americana, Blues, and Gospel. With lyrics by Luke Waddinge and William Devereux set to popular 17th- and 18th-century tunes, these musically sublime, spiritually rich, and emotionally powerful carols offer listeners a fresh and compelling way to experience the story of Christmas.

The third collaboration between mezzo-soprano Olivia Vermeulen and Jan Philip Schulze (piano/synthesizer), In Heaven follows their earlier themed albums Dirty Minds and Hello Darkness, albums which were highly rated and won, for instance, an Edison Award and a Preis der Deutschen Schallplattenkritik. While the first two albums explored earthly themes of eroticism and mortality, this programme turns upward toward the heavens. The concept imagines a cosmic odyssey, blending art song, contemporary music, pop, and psychedelic classics into a voyage through utopian visions, distant planets, and the eternal human fascination with space. Interspersed with NASA sound recordings, the album situates the listener between heaven and earth, fantasy and reality, intoxication and transcendence. The repertoire is strikingly eclectic: David Bowie's Life on Mars opens with real Martian storm sounds, while George Crumb, Brahms, Schubert, and Wolf provide lyrical reflections on stars, dreams, and transcendence. The programme flows seamlessly into Augusta Holmès's exuberant drinking song Le vin, Rebecca Clarke's opium-tinged Lethe, and Grace Slick's psychedelic anthem White Rabbit. French and German masters like Saint-Saëns, Mahler, and Messiaen appear alongside Stockhausen's Tierkreis, Monty Python's satirical Galaxy Song, and Pink Martini's Una notte a Napoli. The album closes with Robert Schumann's radiant Abendlied, underscoring the dialogue between the infinite cosmos and human longing. Together, Vermeulen and Schulze create a soundscape that is at once virtuosic, witty, and deeply imaginative. Supported by percussion and bass in selected tracks, their performances draw on colour, theatricality, and stylistic versatility to transform familiar works into cosmic meditations. In Heaven ultimately reflects on humanity's dreams of escape, intoxication, and utopia while acknowledging the grounding reality of earthbound existence. The result is a kaleidoscopic journey-playful yet profound, rooted in classical artistry yet open to pop culture-that challenges boundaries and offers listeners a musical mission into space.

Sarah Saviet and Joseph Houston formed their duo in 2019 through a mutual devotion to an intimate, powerful, and transcendental sound language created by the violin and piano. In this album, the Saviet/Houston Duo trace a path through a shifting landscape of melodic contour, with duos by Michael Finnissy, Enno Poppe/Rebecca Saunders, Lawrence Dunn, Iannis Xenakis, and their own collaborative composition. Each work reflects in different ways the intricate contradictions and the powerful complexity of contemporary life.

Peter, Marc, Roland, and I came together for the first time in 2015 to start working on my ideas for this new quartet. Over the past ten years, we four became more and more familiar, both musically and personally. Even if something unexpected happens while playing, we usually find a good way to handle it. There is no fear-but trust. In my opinion, this is the most important foundation for developing musical expression and an individual band sound. Discovery of Lightness is our third album. But despite what you might associate with the album title, this seems to be the most challenging stuff we've worked on so far.

This album brings together Johannes Brahms' two masterful sonatas for cello and piano, works often regarded as "veiled symphonies" for their symphonic breadth within the chamber music form. Written over two decades apart, these sonatas showcase Brahms' profound love for the cello-an instrument he studied in his youth-and his deep engagement with musical traditions stretching from Bach to Beethoven. The E minor Sonata, Op. 38, conceived as an homage to Bach, unfolds with striking intensity, combining Romantic expressiveness with contrapuntal rigor. It's expansive first movement, dance-inspired minuet, and fugal finale embody Brahms' ability to blend historical influences with fresh emotional resonance. The F major Sonata, Op. 99, composed during a highly fertile summer by Lake Thun in 1886, reveals a very different Brahms: fiery, impassioned, and boldly lyrical. Written for cellist Robert Hausmann, the work opens with stormy piano tremolandi and soaring cello lines before moving into a tender, hymn-like slow movement. A dramatic scherzo brimming with rhythmic energy and a playful yet triumphant finale close the sonata, capturing both Brahms' intellectual depth and his more exuberant side. Contemporary critics may have disagreed on it's merits, but the F major Sonata has since stood as a cornerstone of the cello repertoire. In this recording, cellist Livia Stanese and pianist Wenjiao Wang bring their artistry and international experience to Brahms' sonatas, illuminating their balance of structural mastery and heartfelt intensity. Their interpretation underlines the works' timeless appeal: music that is both deeply rooted in the traditions of the past and unceasingly alive in the present.

Carlo Gesualdo da Venosa (c.1561-1613) was a Renaissance composer known for both his groundbreaking music and the infamous murder of his wife and her lover. While historical records about his personality are limited and contradictory, his music-especially his 104 madrigals-is notable for it's bold harmonic experimentation, centuries ahead of it's time. Composer Peter Navarro-Alonso, long fascinated by Gesualdo, created the hour-long piece In flagrante delicto in collaboration with violinist Christina Åstrand and conductor Paul Hillier. The composition explores the darkness of Gesualdo's psyche through musical quotations and has been performed and recorded by Ensemble Stralo and Theatre of Voices. Peter Navarro-Alonso is a composer focused on drama, sound, and the human mind, known for exploring timbre and the concept of hope. He has written vocal, chamber, orchestral, and electroacoustic works, and received Denmark's top music honor in 2023. Paul Hillier is a renowned singer, conductor, composer, and writer, known for founding the Hilliard Ensemble and Theatre of Voices. With nearly 200 acclaimed recordings, multiple awards, and honors from both the British and Danish monarchs, he has led major chamber choirs across Europe and is especially noted for his collaborations with composers Arvo Pärt and Steve Reich. Ensemble Stralo, founded in 2016 by four Danish soloists and chamber musicians, combines strings, winds, and keyboard to create a unique and flexible sound. They perform music from the Renaissance to contemporary works, offering distinctive and engaging concert experiences. Recorded November 16-18, 2024, in Garnisonskirken, Copenhagen, by producer Preben Iwan in HD audio format (96 kHz / 32-bit). Available in Dolby Atmos format.

This album features a unique recording of Die schöne Müllerin (The Beautiful Maid of the Mill), one that stands apart from most interpretations. It is the first performance of this song cycle in Poland-and one of the first worldwide-by a countertenor, accompanied by a historical piano. The high register of the countertenor amplifies the sense of innocence and the intensity of the protagonist's emotions-a young miller tragically in love. Written by the 26-year-old Franz Schubert, Die schöne Müllerin is now regarded as one of the pinnacles of the Romantic lieder tradition. The music is not merely an accompaniment to the text, but a complete entity in itself, responding to the subtlest shifts in the character's emotions while masterfully painting the backdrop for the unfolding drama. Although the love story does not have a happy ending, the overall tone of the work remains surprisingly light-hearted, perhaps reflecting the bittersweet nature of the narrative. It is in this delicate balance that the secret to the enduring popularity of Die schöne Müllerin lies. The cycle offers a brief escape, allowing listeners and performers alike to immerse themselves in a world that no longer exists, yet still moves the imagination with equal power.

Among the few Brahmsian chamber pieces that also include wind instruments are the two Sonatas for clarinet and piano op. 120. In these works, however, there is an optionality between clarinet and viola, and in today's concert scene, it is almost more common to hear them in the viola than in the clarinet version. The 'Scherzo' from the F.A.E. Sonata was part of a Sonata for violin and piano composed as a collective homage to Joachim by Albert Dietrich (author of the first movement), Robert Schumann (Intermezzo and Finale) and Brahms (Scherzo). The abbreviation F. A. E. refers to Joachim's personal motto frei, aber einsam (free, but alone), but also corresponds to three musical notes and the motif thus derived is naturally used as a theme in various parts of the Sonata.

This is an album of first-rate contemporary works for clarinet and piano.