The three short movements in "Aspects of Snow" are united by the theme of snowy landscapes depicted in the poems and also share concentrated musical material. The piece was written in 2012 and premiered the same year by the Malmo Academy of Music Chamber Choir under the direction of Mats Paulsson. Else Lasker-Schuler (1869-1945) was one of the leading German writers in the decades after the turn of the century. She became famous for her expressionist poetry and her colorful performances. After the Nazis took power, she was persecuted and abused but managed to escape via Switzerland to Jerusalem, where she settled for the rest of her life. The short poem "Die Dammerung holt die Sichel" can here surround the prose sketch "Nachtregen" ("The Night Rain"). The work is written for choir a cappella and solo viola, which functions as a wordless voice in the vocal folds. The work was composed in 2018 and is dedicated to Erik Westberg and his vocal ensemble. The suite "Seelenherbst" ("Autumn of the Soul") for mixed choir and percussion was composed in 2021-22 and is based on a selection of poems by Luise Buchner (1821-1877). During her time, Buchner was a noted author of novels, short stories, and poetry. However, she probably became best known for her debate book "Die Frauen und ihr Beruf", which was printed in several editions during her lifetime. She also worked to ensure that the works of her late older brother Georg Buchner, including "Wozzeck", would be published. Luise Buchner's poetry has a personal romantic- symbolist touch where nature, special places, and environments reflect and relate to people's inner experiences and changing moods. Sometimes the picture expands with questions about the individual's place in the universe. The chosen poems form a suite of five movements, where the two outer move ments that frame the work depict a jour ney from winter to autumn, while the three middle movements are evening and night moods of different characters. This work is also written for and dedicated to Erik West berg and his vocal ensemble. "L�ngt i forsvunna tider" ("Far in By gone Times") takes it's starting point from three songs by Wilhelm Sten hammar, "Stjarnoga", "Flickan knyter i Johannesnatten" and "Vore jag ett litet barn". I selected these songs because they were more open to new musical angles due to their close connec tion to the Swedish folk song. Stenhammar 4 is here himself both freer in his use of har mony and in his part-writing, something I have underlined and partly reinforced. I have also placed the songs in surround ing wordless material as contrast and musi cal reflection, and here and there gaps also open up inside the songs when new material is used as contrast. Swedish Radio commis sioned the work for the 150th anniversary of Wilhelm Stenhammar in 2021 and the Swedish Radio Choir premiered it under the direction of Erik Westberg. / Staffan Storm

'Although the three selected piano sonatas were all composed in the first half of the 20th century, they convey very different musical impressions. Rachmaninoff, Shostakovich and Kabalevsky - these are three composers, each with their own personalities and distinctive compositional styles. This diversity opens up three unique musical worlds for us. But through the common genre of the piano sonata, we also gain an insight into the musical and cultural development of Russia and the Soviet Union between 1908 and 1946. Dramaturgically, these works take us through the uncertain and turbulent period between revolutions and the First World War, through the tragedies of the Second World War to a hopeful outlook on a 'bright future' in more peaceful times. For me, all three works are among the hidden treasures of the pianistic repertoire.' Anastasia Yasko

Under the title ODYSSEY, the French-Dutch violinist Cosima Soulez Lariviere and the Austrian pianist Philipp Scheucher lead us through a legendary world, as it were, beginning with Karol Szymanowski's "Myths" op. 30. The three movements "Arethusa", "Narcissus", "Dryads and Pan", which are strongly influenced by Impressionism, refer to motifs from Greek mythology and are considered a milestone in the duo repertoire for violin and piano due to their various innovative playing techniques. The following two-movement Sonata in E-flat major op. 11 No. 1 by Paul Hindemith is also influenced by Impressionism, although Hindemith's very specific, simple and "classical" musical language clearly shines through at all times. The Sonata for Violin and Piano by the American composer John Corigliano from 1962/63 captivates with it's diverse moods, which are underlined by impressively virtuoso as well as lyrical or complex rhythmic elements. The final piece is the breathtaking "Aria" by his compatriot Kevin Puts, described as a "master of polystyle", who has enjoyed great success in recent years with his latest opera "The Hours".

Tomasz Ostrowski : EMOTIKON

The Background Our planet houses over 8 billion humans at the moment, and we move around an awful lot. Migration is not new. It's been going on for millennia. The reasons may be geological, climate based, oppressive, work related or voluntary. This album focuses on one small aspect of migration, the eviction and subsequent migration of farmers and crofters from the Scottish highlands during the Clearances. The Album Internationally renowned harp and electronica duo FitkinWall follow threads of migration, loss and longing in their new album Uist. Composer Graham Fitkin has produced new work based on old Gaelic songs and Highland tunes. Scottish harpist Ruth Wall performs on concert, electro and wire-strung harps with Fitkin conjuring up mesmerising soundworlds with electronics, samples and loops. Ruth and Graham combine the very old with the very new placing ancient instruments in unusual contexts. The Music The music is constructed with care, precision and space to breathe - eery melodic fragments, pulsating patterns, sumptuous harmonies - drawn together in a beguiling but understated synthesis. Allusions can be drawn to new-classical, folk, even ambient and systems music, with hints of artists such as Steve Reich, Philip Glass, Lau or Haushka somewhere in the ether. FitkinWall Ruth Wall performs on wildly different harps - Gaelic wire-strung, Bray, Concert and Electro harps. Graham Fitkin uses a Moog Voyager, Ableton and various FX modules. Their work combines the very old with the very new. They provide unusual contexts for these ancient instruments. Their previous albums Still Warm and Lost, toured with live VJ, through the UK and Europe, before heading out to Japan. Uist has toured in the UK in 2024 and will tour mainland Europe in 2025 with a light installation from artist Peter Freeman. Both artists work independently too. Ruth has worked with Goldfrapp, Kathryn Tickell, RLPO, BBC Orchestras and film composers John Lunn and Clint Mansell. She tours extensively in venues from Radio City New York and Glastonbury Mainstage to Sydney Opera House and Roskilde Fest. Graham's music has been performed by artists such as Tokyo Symphony Orchestra, New York City Ballet, BBC Philharmonic, Yo-Yo Ma, Will Gregory, choreographer Wayne McGregor and artist Shezad Dawood. His music has been released by Decca, Sony, BIS, Naxos and many others. He has won three BASCA Composer Awards, an International Grand Prix Dance Music Award and the Royal Philharmonic Society Composer Award

Even their genesis seems mysterious: manuscripts of Johann Sebastian Bach's toccatas have not survived. However, it is assumed that the works were composed in the years of his Arnstadt and early Weimar period, when Bach was gradually working his way up to become a renowned organist. And it is no wonder that he chose the toccata as the playground for his development: since the days of the Roman Girolamo Frescobaldi, the toccata was a kind of musical laboratory in which one could try out anything with impunity. There are virtuosic, glittering improvisations next to strict but extremely energetic fugues, expressive arias next to lively, folksy dances. Bach has thus compiled entertaining suites and potpourris with great freedom, but always allowing them to breathe under great dramatic arcs. Jonathan Ferrucci is certain that the toccatas are among Bach's most interesting piano works. 'He is bubbling over with ideas and always creates abrupt contrasts when you least expect them. There is this wild, youthful energy with which he explores all the affects and formal possibilities of the music of the time. And when I play, I feel as if I'm composing the music together with Bach in the moment - that's because of this incredible spontaneity and his delight in invention.' Born in Florence to Italian-Australian parents, Ferrucci's childhood was already characterised by the glorious history of the Renaissance and Baroque periods and the vast Australian landscape.

For the first time in modern history, the colour and beauty of music written by Joannis de Lublin in the 16th century comes to life. Sophisticated multi-channel technology creates a spectacular sound image: the church space stretches out around the listener and the music unfolds with impressive transparency and striking naturalness.

In their latest GENUIN album, the Eliot Quartett pays homage to one of the 20th century's greatest composers. Shostakovich's String Quartets Nos. 3 and 8 are paired with "Au-dela d'une absence" by Krzysztof Meyer, a poignant tribute from a composer who personally knew the Russian master. The Eliot Quartett, one of the leading ensembles on the international stage, is dedicating itself to an in-depth exploration of Shostakovich's oeuvre in commemoration of the 50th anniversary of his passing. Their album, performed with the highest artistry, stands as a powerful testament to this endeavor: playing that is clear, transparent, and yet profoundly intense, bringing both Shostakovich's originals and Meyer's touching and personal homage to life.

Featuring truly a 'who's who' of late 60s British jazz, this professionally recorded concert, recorded April 18, 1969 in Germany, has never before been released. At the time of the recording of this show, Surman had just finished recording his second album as a leader, How Many Clouds Can You See, so this is a unique chance to get an expanded view of his formative work as a leader and also at the early work of his musical compatriots who appear here with him. Surman states that "choice of material was up to me... and I wrote several pieces especially for the workshop-but it was customary to invite a few participants to bring a piece of their own if they wanted to; hence the pieces from Kenny, Erich, and Fritz."

TIPPIN

Art Blakey & The Jazz Messengers - "Like Someone In Love (Blue Note Classic Vinyl Edition)" - The 1960 edition of the Art Blakey & The Jazz Messengers was one of the band's greatest line-ups with the drummer joined by trumpeter Lee Morgan, saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt. Opening with a sublimely swinging version of the title track, the rest of Like Someone In Love presented originals by Morgan and Shorter. Capitol Music Group; Blue Note; Jazz; Catalog Special Pkg:180g Heavy Vinyl. This Blue Note Classic Vinyl Edition

In this thoughtful collection of chamber music, Ian Stephens' work reveals a rare balance of melodic clarity and inventive disruption, qualities that have drawn artists like Cate Le Bon, Ian Broudie, and OMD to his arranging talents. Here, Stephens' signature rhythmic vigour, theatrical subtlety, and knack for weaving unexpected moments define each piece, creating a body of work that intrigues as much as it soothes. Celtic Elegy for clarinet and cello sets the tone with a gentle homage to Celtic traditions. Initially inspired by the Irish air She Moved Through the Fair, the piece unfolds it's own melody through understated layers, mirroring the drones and ornamentation of Scottish bagpipes. This composition showcases Stephens' sensitivity to the soul of folk music while remaining efficient in form. Springhead Echoes and the Clarinet Quintet, two works linked by memory and place, extend Stephens' nuanced approach to melody and rhythm. Commissioned in memory of Rosalind and Brian Richards, they explore themes rooted in friendship and place. Springhead Echoes for string quartet channels Brahms with themes that emerge in delicate counterpoint, invoking the charm of Rosalind's lifelong connection to her home in Dorset. Meanwhile, the Clarinet Quintet subtly references Beethoven's opera Fidelio, blending nostalgic elements with Stephens' penchant for inventive structure. In North Country for string quartet, Stephens deftly reinterprets the folk tune The Oak and the Ash, transforming it across three movements: Lilting, Heartfelt, and With Abandon. The tune surfaces and recedes, guiding listeners through a series of evolving textures. From the reflective openness of the first movement to the vibrant, Latin-inspired rhythms of the finale, Stephens showcases his ability to shift seamlessly between tradition and innovation. Finally, the Oboe Quintet offers a poignant tribute to two amateur musicians of the Liverpool music scene. Here, Stephens emphasizes the oboe's natural expressiveness through long phrases and joyful rhythmic interjections, balancing lyrical intimacy with structured dance-like sequences. The Passacaglia, inspired by Bach, builds through symmetrical chords and shifting time signatures, adding depth to the piece's intricate framework. These chamber works not only illustrate Ian Stephens' gift for melody and recontextualization but also his acute attention to instrumental character. Each piece encourages reflection, embodying both the intellect and spontaneity that mark Stephens as a contemporary voice with a profound respect for musical lineage. Ian Stephens, composer: Raised in Devon as a cellist and singer, Stephens studied at the University of Bristol and later worked with the Royal Liverpool Philharmonic Orchestra. He now teaches at Chetham's School of Music in Manchester. His works, including Ella's Big Chance: A Jazz Age Cinderella and Pinocchio, demonstrate his skill in elevating melody with strong rhythmic profiles and theatrical clarity. His Celtic Elegy showcases his ability to blend soul and efficiency, earning him work as an arranger for artists like Cate Le Bon and Ian Broudie.

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The fact that Timothy Ridout has recorded a whole album of music for unaccompanied viola before the age of thirty is a telling indication of the meteoric rise of this prodigious, boundary-pushing artist. As is his choice of contrasting the Baroque era (Telemann and Bach) with two figures of modern music, in Britten's rarely heard Elegy and Caroline Shaw's in manus tuas. This program is a breathtaking ode to the viola over the centuries, played with all the fire of youth.

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