Charles-Marie Widor (1844-1937), one of the most influential French organists of the late 19th and early 20th centuries, jokingly referred to himself as the substitute organist of the church of St. Sulpice, Paris, despite his 64-year tenure there. While best known for his ten organ symphonies, Widor composed in a wide variety of sacred and secular genres: chamber music, orchestral works, ballet, operatic music, works for piano, and most importantly for this recording, melodies. In his day, Widor won respect as a composer, organist, professor, and cultural ambassador of France. In 1890 he became Cesar Franck's immediate successor as Professor of Organ at the Paris Conservatoire, and, in 1896, he succeeded Theodore Dubois as Conservatoire Professor of Composition. Widor's students in organ and composition included such distinguished names as Marcel Dupre, Louis Vierne, Charles Tournemire, Darius Milhaud, Albert Schweitzer, and Edgard Varese. Widor composed over 100 songs which have been overshadowed by his immensely popular organ works. His genius with melody, comprehensive piano writing, and discerning poetic text settings distinguish him as a gifted song composer unusually sensitive to the capabilities of the voice. Throughout his extensive career, Widor was concerned with achieving the best possible musical result in his compositions and continually developed, revised, and republished his works. A publishing custom of the time was to group sets of six songs in a single opus number; however, the songs of each of Widor's sets are not necessarily related by poet or theme. The songs were not intended to be presented as a cohesive cycle. With that in mind, the songs in this recording are not presented by chronological opus numbers. Widor's melodies exhibit a wide variety of musical influences, from the works of the German lieder composers to French vocal genres, such as the bergerette and opera lyrique. His songs range from straight-forward strophic settings to intricate through-composed forms. Widor's harmonic language can find beauty in purely diatonic sonorities while others take advantage of the more remote modulations. Elements of Orientalism, popular in his day, color the exotic musical language and mood of several songs. Widor's songs represent his quest for a perfect marriage of music and text. His melodies feature the poetry of such beloved and respected literary figures as Victor Hugo, Theodore de Banville, Rene-Francois Sully-Prudhomme, Paul Bourget, and Pierre-Jules Theophile Gautier. Unlike many of his contemporaries, Widor - thrillingly - was inspired to include poems by women whose work he admired among his song settings. Some of them are contained in this album's offerings. To quote Widor biographer John Near, "We experience very great charm when happy fortune permits us to hear a page of Mr. Widor, harmoniously vying with Victor Hugo, Sully Prudhomme, or Paul Bourget."

What makes Ysaye's solo sonatas so extraordinary is the richness of their harmonies, offering endless possibilities to explore a vast spectrum of contrasts in sound projection and violinistic effects each time you engage with them. To me, these works are like a boundless ocean, where every dive reveals something new, enveloping you in an infinite palette of colors and emotions. The experience of both playing and listening to them is nothing short of breathtaking, as they invite you into a world of perpetual discovery, where the music seems to breathe and transform with every interpretation. Elvin Hoxha Ganiyev The Belgian violinist and composer Eugene Ysaye (1858-1931) created Six Sonatas for Solo Violin, Op. 27 in 1923. His intention was to leave a legacy for future generations that would testify to the performance techniques of his time, with particular emphasis on the evolution of musical language since the era of Johann Sebastian Bach. As he wrote: Indeed, the Six Sonatas are dedicated to violinists of European origin, in order: Hungarian, French, Romanian, Austrian, Belgian, and Spanish. However, Ysaye's project was essentially detached from national or Eurocentric concerns, as the dedications were meant to commemorate the greatest musicians of the younger generation. The structure of the collection and the number of works reference Bach's Sonatas (three pieces) and Partitas for Solo Violin (three works), which Ysaye and his contemporaries regarded as a significant point of reference in violin literature. References to Bach, so evident both in the entire collection and in the individual sonatas, are not, however, the only ones that can be found in Op. 27. There are also notable influences from romantic song and mid-19th-century operatic arias, interwoven with references to medieval sequences and the virtuosic style of Niccol� Paganini. When composing the Op. 27 Sonatas, Ysaye was withdrawing from concert life. Therefore, this collection serves as a unique kind of musical testament, commenting on the performance achievements of his era while also anticipating the further development of violin literature. Particularly striking are the recurring motifs of warning and disruption, provocatively foreshadowing changes in the musical language of the second half of the 20th century.

The debut album by the young Trio Contrasti takes us on a journey through time with a mosaic of sounds in which epochs and cultures enter into dialogue. Romanticism gave the art world a new paradigm of thought. Music took the leading position among the arts; the freedom of formal design, initiated by the content, unfolded. The quest for national self-identification and the rapid development of national styles in art began. Romanticism opened the way for a dialogue between epochs and cultures that continued into the 20th century. Three works that have no direct connection to each other are nevertheless in a common context. When viewed through the prism of a romantic paradigm, they can be seen as milestones on the path through epochs and cultures.

Most of the chamber music of Robert Simpson (1921-97) was recorded by Hyperion in the 1980s and '90s, but there remained some gaps in that discography. The Robert Simpson Society has sponsored two albums to plug them, this first one including an early string quartet and two songs that came to light only after the composer's death. In later life Simpson used to say that poems good enough to set to music didn't need it - but these two youthful essays prove that he was already a master. Simpson wrote the D major string quartet as a student at Durham; an examiner described it as 'fearless'. The two mature works - vintage Simpson - bring his sense of symphonic momentum into the clarinet repertoire.

Written through the lens of an immaginari girl named Margie, So We Speak Explorer teme of vulnerabilit�, resiliente, and strength. A story of transformation unfolds as Margie dedicatesherself to following Nati (Korean for butterfly) and learn to adapt, indur, and await her time to flyer. So we Speaf emerge from a process of reflection on my identity as musician, woman, and human in this franti world. In one sense, this album serves as a current self-portrait of the moment I am living in. Buy it's also a deliberate declaration of hope for those of us who challenge norma, blend culture, and voice our truths. This album is not just about a female artist - it's about my journey of sorpassino expectations and reshaping the narrative of what it means to be a strong, multifaceted artist today. -Eugenia Choe

In her new album, Maria Lettberg takes a musical journey through the countries of the European Union. She has curated a selected work for piano from each of the respective countries, regardless of the period or style. All the major styles of classical music are represented in this collection: from the Renaissance, Baroque and Viennese classical periods to Romanticism, Late Romanticism, Impressionism, 20th-century music, minimalism and neoclassicism. Each piece from the 27 countries has it's own fascinating characteristics, and together they paint a multi-layered picture of the European Union.

As pianist, conductor and composer, Jean Louis Nicode (1853-1919) was one of the most highly respected musicians of his day. Born in Posen in Prussia (Poznan in presentday Poland), he became a stalwart of musical life in Dresden in the closing years of the nineteenth century. Today his name is as good as unknown, with his music suffering the same fate as his reputation as a performer - although he was a highly accomplished composer. His piano music has hints of Chopin, Liszt and Schumann, and the spirit of dance is never far from the surface, but his expansive, and only, piano sonata has a visionary quality with it's origins in late Beethoven.

Academy of Ancient Music (AAM) and Cambridge Handel Opera Company (CHOC) follow their Gramophone-nominated recording of Eccles' Semele with a world-premiere recording of John Weldon's masque The Judgment of Paris. In 1700 the Earl of Halifax decided England needed all- sung opera. He offered a 'Musick Prize' of �210 for the best setting of the libretto of The Judgement of Paris by William Congreve, with entries by composers like John Eccles and Daniel Purcell. Weldon's setting, which won the competition but was never published, is recorded here for the first time. Released as a hardback mediabook, the CD is accompanied by a host of fascinating essays written specially by historians, musicologists and other experts - finally giving this winning masque the attention it deserves.

Joining forces again for their second album on Signum Classics, duo JULIAN BLISS And JAMES BAILLIEU perform works by composer giants Clara & Robert Schumann. Many of the tracks on this recording are new arrangements by Bliss himself, and world premiere record- ings.

A child prodigy on tour: Instead of bringing home holiday snapshots, Wolfgang Amadeus Mozart returned with brilliant compositions, transforming the music and experiences he encountered on his travels into something uniquely his own. The Folkwang Chamber Orchestra Essen, under the vibrant direction of Johannes Klumpp, now brings Mozart's symphonic travel memories to life for us. This thrilling new GENUIN release is the fifth instalment in a series of highly praised Mozart recordings. Critics consistently highlight the ensemble's "outstanding technical skill" and praise "the conductor and orchestra as ideal interpreters of Mozart"!

The last album with the current line-up, The King's Singers present a new album of choral music from the early 20th century, with a feature from sopranos Grace Davidson and Victoria Meteryard. "Such stuff as dreams are made on is an exploration of European choral music from the early 20th century (and a bit either side), much of it shaped and scarred by the spectre of conflicts that dominated the continent in that period. For us, the album has been a chance to develop and exercise new and different colours in our singing, to dive deeply into text-centric interpretations and historical context, to savour and cherish the four languages in which we sing here, and - in one instance - even to expand our forces a little. " - The King's Singers PRAISE FOR SIGCD912 CLOSE HARMONY 5 stars "The current line-up of King's Singers demonstrates their continued pre-eminence with these outstanding recordings of often very difficult arrangements. The Singers deliver with their usual mix of charm and skill" - Choir & Organ

Composing for voice is a passion for me, and as a result the largest part of my catalogue is music for voice. The human voice - possibly the most subtle, complex, and fragile yet forceful carrier of musical ideas and meanings - has always been an inspiration for my musical thinking. I strive for craft, clarity, and passion. The carefully sculpted music and poems of Far Past War develop a labyrinth of musical interrelationships and connections that showcase the choir and musicians in a virtuosic display of their emotional palette, strength, clarity, and majesty. The opportunity to collaborate with my sister, Cammy Thomas, has been a highlight of my life. Music's eternal quality is it's capacity for transformation and renewal. Together, we have created a work that celebrates the unsurpassed power of nature, and it's potential to move us toward peace.

NY's venerable veteran bassist Ron McClure's new release is a case of "Lost and Found". The recording was made 32 years ago at Manhattan's upper Eastside nightclub Danshaku (Baron in Japanese). McClure was hired to play a gig and formed a trio with pianist Don Friedman (1925-2016) and guitarist Vic Juris (1953-2019). The gig was privately recorded but the tape was lost. Long story short, the missing tape was found last year in a NY apartment and it's sound has been restored meticulously for us to experience a fabulous night of NY jazz scene three decades ago. "McClure is recognized for inventive improvising, creative compositions in a wide variety of settings and immaculate tone." (Ken Dryden - NYCJR on 31935 Night Quest)

Benjamin Schmid has long been considered one of the most versatile violin virtuosos of our time, being equally at home in the classical as well as in the jazz genre. Following his album with Jazz Violin Concertos, Schmid doubles down with the Salzburg Wind Philharmonic under the direction of conducted by Hansjorg Angerer with works by Friedrich Gulda and Kurt Weill. Gulda opened up a new era of musical freedom with his "Concerto for Violoncello and wind orchestra" (here in a version for violin) at it's world premiere in 1981 at the Vienna Konzerthaus in 1981. The zest of pop music, yodeling themes, brass bands from the Salzkammergut, brass music on Kirtag, swing, funk and free-jazz borrowings all come together to create a rousing whole that leaves not a dry eye in the house - with cheerfulness and joie de vivre. With the Violin Concerto op. 12, which was premiered in 1925, Kurt Weill's breakthrough. In Weill's oeuvre this work represents the peak of his avant-garde tendencies: The harmony tells of his admiration of Arnold Schoenberg, the formal characteristics of the influence of Busoni, the often motoric rhythm of the knowledge of Paul Hindemith. Two works for solo violin - "For Fritz" (dedicated to Fritz Kreisler) by Benjamin Schmid and "Youkali" by Kurt Weill - complement this brilliant performance.

J.S. Bach's first Clavier-ubung - the Partitas - is an important work which holds a particular status: it is the first major publication by a great musician at the height of his maturity - he was 46 - and already a living legend. A large part of the challenge it poses can be found in this contradiction; that a hurdle must give the impression of ease. Art must conceal art itself. My intention was to play them as I would wish to hear them, such as I thought they might be heard: here then is a proposal. And if this proposal incites a desire to delve further, my goal will have been achieved.