Delos is thrilled to welcome Avery Fisher Career Grant-winning violinist and composer Tim Fain. A unique voice on the music scene, Tim is at the forefront of technology, and has produced boundary-pushing projects in collaboration with Google, Samsung, Facebook, BBC, and TEDx, among many others. He can also be heard on the soundtracks to many acclaimed films, including Black Swan, 12 Years a Slave, and Don't Look Up. His first album for Delos, Unraveling, was born from a time of profound uncertainty. Conceived against a backdrop of pandemic, political upheaval, climate crisis, and rising mental health struggles among the youth population, this collection of works is not a surrender to despair, but a search for meaning, resilience, and hope. Featuring powerful works by John Corigliano, Bryce Dessner, Esa-Pekka Salonen, Philip Glass, and Meredith Monk - alongside Tim's own deeply personal composition, Unraveling - this album is a journey through disintegration and renewal.

What does it mean for Schumann's Kreisleriana to be Romantic? Is it the violent contrasts, the mercurial shifts in mood, the fragmentary architecture, the raw and unfiltered expression? Is it the breathtaking lyricism? Or is it the spectre of the tormented kapellmeister Kreisler haunting this work that dissolves the boundaries between music, literature, and psychological portraiture? Acclaimed virtuoso Paolo Giacometti brings both poetry and psychoanalysis to Kreisleriana and Kinderszenen, performing them on a resplendent 1838 E�rard born in the very year these works first saw the light.

An award-winning English composer of international standing, and one of the leading composers of his generation, whose music has been performed, recorded, and broadcast in many countries, Edward Gregson celebrates his eightieth birthday in 2025. He continues to compose and perform as actively as ever. This album presents three major concertos, interspersed with two shorter works for piano and orchestra. A Song for Bram was written in memory of his great friend and advocate, the conductor Bramwell Tovey. A Song for Sue, re-working the central Nocturne from his Concertante for Piano and Brass Band (1966), is a 2024 tribute to his wife. One of the most performed of all his works, the Tuba Concerto was written for John Fletcher, who gave the first performance in 1977. Gregson's Concerto for Viola and String Orchestra 'Three Goddesses' was given it's first performance in 2023 by Rachel Roberts. The goddesses depicted in the three movements are Morrigan (Celtic warrior queen and earth mother), Aphrodite (Greek goddess of love and beauty), and Diana (Roman goddess of the hunt). First performed by these forces in 2020, the Oboe Concerto 'A Vision in a Dream' is inspired by Samuel Taylor Coleridge's poem Kubla Khan. In following the narrative, Gregson comes closest in his series of concertos to producing a descriptive symphonic poem.

Claudio Santoro's late works are marked by great concision and considerable emotional density. The music on this album was written in the last months of his life. The Viola Concerto and the Concerto for Chamber Orchestra juxtapose restless energy and expansive - if at times desolate - lyricism. The powerful Symphony No. 13 shows Santoro's mastery of orchestration and form at it's peak, and the compact Symphony No. 14 was to be the last in a cycle widely acclaimed as the most significant of it's kind ever composed in Brazil.

This compelling debut album from composer Lucy Walker showcases one of the UK's most exciting emerging voices in choral composition. Written during her residency with St Martin's Voices, the works trace a journey of artistic growth and spiritual depth, from the hopeful intimacy of Today to the shimmering expansiveness of I saw eternity. Walker's music is deeply rooted in the choral tradition, yet distinctly contemporary her harmonic language radiant and text-driven, her textures luminous and finely woven. Under the sensitive direction of Andrew Earis, St Martin's Voices bring remarkable nuance and warmth to these performances, revealing the emotional resonance and craftsmanship in each piece. Whether drawing on plainsong, part-song or contrapuntal dance, Walker's voice is unmistakably her own lyrical, thoughtful, and full of light. This album is both a celebration of collaboration and a moving portrait of a composer whose music speaks with clarity, heart and vision.

According to The Telegraph 'Ingrid Fliter was born to play Chopin', such is her profound musicianship and affinity with the Polish composer. Here, the Gilmore Artist Award winner continues her highly acclaimed Chopin odyssey, which began over a decade ago, with the complete mazurkas. This, the first of two volumes to be released on Linn, includes the early Opp. 6 and 7, the Op. 24 as well as the later sets, Opp. 50, 59 and 63. The programme reflects on the composer's evolving style, from simple folk-inspired dances to brilliantly sophisticated, intimate works whose intricate counterpoint and harmonies often push the boundaries of the form and serve as a benchmark for the genre. Also included are some posthumous mazurkas which transverse Chopin's entire compositional career.

'When I'm composing, not only have I to create music, I must also search for the best way of putting it across. It means being on the alert the whole time; writing - then criticizing what I've written - and if it won't do, scrap it and start again - more criticism - and so on until I've done everything within my power to make the music live and flow naturally'. These insights from Grace Williams into her approach to the compositional process show her strong desire to communicate fluently and sincerely with her listeners. Also evident from this quotation is her professionalism, technical integrity and formidable capacity for self-criticism. She held herself and her art to the highest standards, withdrawing and destroying scores which failed to live up to her ideals. It can be inferred from this that she regarded the works which survived elimination as worthy of her musical legacy.

As a symphonist, the British composer, pianist, conductor, and pedagogue Philip Cipriani Hambly Potter works at the height of his era. He employs an opulent orchestra, drawing his colors from it's palette with a remarkably bold brushstroke: Where heavy brass just now steered through breaking waves, delicate flutes and tender strings sound forth the next moment; through dreamy scenes suddenly marches heavy footwork, and when it comes to bringing works to an applause-worthy conclusion, all participants must push to the limits of endurance... This attitude is as fascinating as it is entertaining-precisely the right middle ground between symphonic earnestness and nonchalant playfulness, a welcome facet of early Romantic literature, much like the spirited concert piece that tastefully separates the two symphonies.

The New Winter Songbook is a collection of twenty-one songs by a diverse range of composers, featuring contemporary musical settings and lyrical responses to the winter season. Whilst more traditional winter themes do recur within the songs - those of cold, loss, stillness, grief and darkness - those of belief, faith, and hope, offer an emotional counterbalance. Each individual composer approaches and explores these themes from their own perspective, lending their voice to a musical tapestry, expressing what it means to reflect upon and celebrate the season of winter today.

This third release marks the end of the recording of all the orchestral works written by Polish composer Grazyna Bacewicz over the course of her not exactly long life. And once again, the WDR Symphony Orchestra under Lukasz Borowicz unfolds a representative range that extends from the phenomenal artist's early neoclassical works to her late phase, in which tonal innovations were at the forefront of her creative work, without losing the indispensable communication with the audience. As a world premiere recording, this album contains the composer's first symphony, while the early Polish Overture and the late In una parte, with which Grazyna Bacewicz created a final "sonoristic" marvel in 1967, two years before her death, can also be heard as concert hall rarities.

'Beautiful playing on a lovely, mellow-sounding guitar by master guitarist Enea Leone' (Fanfare). The Italian guitarist Enea Leone has made several, critically acclaimed recordings for Brilliant Classics, in repertoire ranging from first complete recordings of the studies by Mario Castelnuovo-Tedesco and Fernando Sor, to more popular repertoire, from Argentina and from the catalogue of Sergio Leone, with the Leone album attracting an LP reissue. For his latest album, Leone stays in the popular vein, with classic tracks by Astor Piazzolla, in solo guitar arrangements mostly made by Leone himself. Adios Nonino, Milonga del Angel, Oblivion and Libertango - these are just some of the tangos featured on the new album, which makes a perfect introduction to the melancholy art of Piazzolla, as balladeer and musical poet of 20th-century Argentina. The sound of the modern tango is defined by the bandoneon, an instrument brought to Buenos Aires at the beginning of the 20th century by German immigrants, possibly sailors. The instrument invested the existing genre with a new potential for expressing deep, passionate feelings. In 1950 a brilliant young bandoneon player called Astor Piazzolla left Buenos Aires for Paris, where he went to study classical composition with Nadia Boulanger. Having also grown up in the US, he mixed elements of Tango with both jazz and with forms and harmonies borrowed from the sphere of classical music, thereby creating what he called Tango Nuevo. Argentinean musicians and audiences were slow to embrace Piazzolla's new idiom, which caught on much more rapidly abroad. The emotional and technical complexity of these tangos made them easier to listen than to dance to. However, once Tango Nuevo became almost ubiquitous elsewhere, Piazzolla was feted back at home as a master of Argentinean music. The strength of his melodies has outlived him, most especially in their suitability for transcription to other instruments, such as violin and guitar. Leone has made these transcriptions specifically for the new album, which should win new fans both for him and for the subtle art of Piazzolla. - Astor Piazzolla (1921-1992), Argentina's most famous composer, was the grandson of Italian immigrants, and the melancholy for an abandoned and lost country lends a sweetly poignant note to his music. He was unique in the way he was able to weave the "sweet noises of life" into pure melody and harmony in his works, showing a deep familiarity with every secret of the Tango, Argentina's iconic dance. - In this new recording Enea Leone traces the evolutionary stages of the Buenos Aires composer's music with the guitar. The CD features Piazzolla's most famous and representative pieces: Milonga Del Angel, Muerte del Angel, Adios Nonino, Escualo up to the most famous Oblivion and Libertango. - All the arrangements, with the exception of Revirado and Yo Soy Maria arranged by composer Fabrizio Volpi, were created especially for this CD by Enea Leone. - Enea Leone plays on a Rinaldo Vacca spruce guitar with D'Addario Carbon Normal Tension strings. - Enea Leone successfully recorded for Brilliant Classics works by Fernando Sor, Castelnuovo-Tedesco and guitar arrangements by Ennio Morricone.

Following her acclaimed debut Diaries, pianist Tiffany Poon returns with Nature, an album that explores the evocative power of French music in capturing the beauty of the natural world from the delicate shimmer of water to the quiet mysteries of the forest and the animals found within. Nature, which Tiffany recorded at legendary Provence recording studio Miraval Studios (Pink Floyd, Sade, Nick Cave and the Bad Seeds) with producer Damien Quintard, brings together works by French composers across centuries, united by an instinctual admiration for the world around them. Guided by intuition and deep personal connection, Tiffany's curated selection featuring pieces by Ravel, Debussy, Rameau and Daquin, moves beyond the structured rigor of Germanic tradition into the fluid, sensuous soundscapes of the French repertoire. Inspired by Rameau's belief that music is rooted in nature itself, she curates a program reflecting her love of animals, woods, and water - translating them into vivid musical expressions. Nature is a testament to music's ability to mirror the natural world, inviting listeners to embrace it's beauty with instinct and abandon.

The famous Rarities of Piano Music from Husum: When Peter Froundjian conceived a festival devoted exclusively to unknown and rarely played piano music, some might have thought the idea too ambitious or even foolhardy. It proved to be a stroke of genius, and since 1987 the strong support of audiences from many countries has been consistent. It has kept it's intimate atmosphere, with a maximum of 130 listeners in the Rittersaal of Husum castle, and 40 more beyond an open door, with a TV screen to keep in touch. It's influence around the world has been considerable, with more ambitious concert programmes in evidence and record companies willing to take on a wider repertoire. This disc contains a particularly large number of short pieces by fourteen different composers. However, the producers have arranged them thoughtfully into groups and sequences which should make for a coherent listening experience. If these examples encourage listeners to seek out other examples of music by the composers, then they have surely served their purpose. As usual Peter Froundjian made the initial choice of music, with the agreement of the performers. His co-producer Jesper Buhl and the team at Danacord took care of the technicalside, including the final order of tracks and the maximum duration to suit most CD players - about 80 minutes these days. The recordings are all taken from live performances with no editing. If the very occasional "noises off" can be heard, they only serve to show how quiet and concentrated the Husum audie ces are most of the time.

Marches and other patriotic music frequently occupied the final place in Liszt's recitals, often emphasising the Hungarian cause, which Liszt supported. They also could have contributed to the previously mentioned mood of Lisztomania. It is therefore unsurprising that marches are to be found in Liszt's compositions and arrangements throughout his lifetime. They are represented here with works from around 1830 to 1879, all arrangements of other composers' music, which, in Liszt's hands, achieve artistic heights only found infrequently elsewhere. Given the common practice of the era for performer-composers to play their own music, Liszt could, through the inclusion of an arrangement of a well-known march, acknowledge others' music, and also pay respect to the culture of wherever the concert was taking place. In an era when recordings were not possible, piano arrangements of orchestral and vocal works were commonplace. Liszt cultivated this medium particularly successfully, creating arrangements of, for example, Beethoven symphonies and paraphrases of stage works by Russian composers such as Glinka. Arrangements heard here of marches by Beethoven, Giuseppe Donizetti, Glinka, Massenet, Meyerbeer, Rossini, Schubert and Szechenyi, indicate the breadth of Liszt's programming for his time.

Four strings, three trombones, an organ, and a small four-part choir from which solo voices occasionally emerge-these modest forces were all Johann Caspar Ferdinand Fischer needed to shape the litanies, psalms, and hymns assembled here in liturgical order. Their deeply devotional beauty quickly prompts the question: why has he not long been counted among the foremost international masters of the Baroque? True, his keyboard works are moderately well known, and his influence on Bach, Handel, and others has long been acknowledged as historical fact. Yet the full scope and artistry of this Bohemian composer, who first served in Schlackenwerth (now Ostrov) and later in Rastatt, remain far from receiving the recognition they merit. Pioneering efforts such as this recording are likely to spark renewed interest-and with it, more first-rate interpretations.