Johann Kuhnau (1670-1722), Bach's eternal 'predecessor' as Leipzig's Thomaskantor, has only been rediscovered in recent years and his true greatness has not yet been truly recognised. He was highly respected by his contemporaries, however, and not just as a musician: he had a doctorate, worked as a lawyer, wrote satirical novels - a polymath... His musical oeuvre must have been extensive, much of it is lost. It is therefore all the more pleasing that his magnificent Christmas cantata "Frohlocket, ihr Volker, und jauchzet, ihr Heiden" ['Rejoice, ye nations, and shout for joy, ye heathen'] has been preserved. It opens the programme on this CD and, with it's instrumentation and duration of over 25 minutes, surpasses many a great cantata by his famous successor. The quality of his work is also evident in his second cantata "Uns ist ein Kind geboren" ['A child has been born to us']: it was long regarded as a work by Johann Sebastian Bach! Peter Gortner with the chamber choir of the Christuskirche Karlsruhe and the orchestra L'arpa festante complements these two Kuhnau cantatas with well-known movements by Michael Praetorius and Johannes Eccard to create a festive Christmas CD.

In our first CD 'Musical Pearls' (2022), we have opened the door wide to the amazing repertoire of the 20th century for flute and harp. Thanks to the unique compositions in each composer's oeuvre, this repertoire immediately gives an idea of how extensive the range of compositional techniques was throughout the 20th century. Works by Inghelbrecht, Liebermann, Maayani, Rorem and Lutoslawski could be discovered. This second CD opens the door a little wider and once again reveals the richness and diversity of this original repertoire. This time the following six composers are presented: Rohozinsky, Alwyn, Zbinden, Gotkowski, Feld and Holliger. These two CDs are part of a discographic project dedicated to this astonishing original repertoire for flute and harp of the 'post-Debussy era'. Our aim is to collect the most representative works from very different genres and to reconstruct this corpus, rich in style and colour, and free it from it's shadowy existence. We follow the many traces of this extensive repertoire, which has never before been compiled in this way, with the flute and harp duo showing a thousand different faces. Quite delicately and with winding melodic lines, the duo also unfolds a rhythmic and virtuoso extravagance in a different light. Different facets sometimes show a serious and austere character and at other times humour with sarcastic punchlines. This contrasting repertoire - with it's sensual, bold or rough lines, depending on the moment - amazes and captivates. The moods unfold without hesitation, asserting themselves, spreading out in the light and captivating us with a sometimes reserved, sometimes haunting emotion.

Nearly a century before Gluck, another opera called Iphigenie en Tauride - same plot, same protagonists - had immense success on the opera stage. This 'first' Iphigenie has rather a curious history. The opera was sketched out by composer Henri Desmarest around the year 1695, but he was then banished from France by Louis XIV for having married a young girl without her father's consent. The uncompleted score of Iphigenie was then entrusted to Andre Campra. The opera, since lost and forgotten, was rediscovered by Benoit Dratwicki, Director of the Centre de Musique Baroque de Versailles, who marvels at it's stylistic unity: 'Campra easily adopted Desmarest's style. He just added some virtuoso arias to the divertissements, as well as the tuneful choruses that were his speciality.' Iphigenie en Tauride had it's premiere on 6 May 1704, and was revived throughout Europe from 1711. Thanks to Herve Niquet, a top-flight team of singers, an orchestra well versed in French repertoire, and all their collaborative research into the practices and specific playing techniques of the early 18th century, Iphigenie sees the light of day once more.

This recording combines three of the most significant musicians belonging to the generation of the empfindsame or "sentimental" style. As a reaction to the late baroque of J.S. Bach and Handel, they systematically explored contrast and extreme juxtapositions in their compositions. This avant-garde style remained in fashion for only a short period, but anticipated many pre-eminent aspects of early romanticism. In this recording a harpsichord concerto by W.F. Bach (J.S. Bach's eldest son) is combined with two concertos by Bohemian composer G. Benda. They perfectly illustrate the empfindsame style, quickly oscillating between excitement and melancholy, furious frenzy and serene calm. The programme concludes with major solo harpsichord pieces by C.P.E. Bach and a beautiful Adagio and Fugue for orchestra by W.F. Bach - showcasing the composer's ability in the stile antico.

Although it is not known to which mysterious figures they were dedicated, Joseph de Boismortier's cantatas Les Quatre Saisons, published in 1724, resonate with the splendour of court festivities and the eloquence of the salons de conversation. The libretto, written by an anonymous but undoubtedly romantic hand, unfolds it's poetry through the seasons, and the composer seems to have enjoyed recreating all it's subtleties in his music. For her first recording as conductor, Chloe de Guillebon surrounded herself with young talent, accompanied by the skilful musicians of the Orchestre de l'Opera Royal de Versailles.

The award-winning duo of flautist Silvia Schiaffino and guitarist Renato Procopio present a musical travelogue ranging from Western to Eastern Europe before journeying further afield to Japan, Iran and Korea. As well as masterpieces such as Bartok's Romanian Folk Dances, and a rip-roaring Monti Csardas, this evocative selection includes the colourful and piquant, such as the music of Sakura, as well as Procopio's own vibrant arrangement of Korean folk songs.

Nine operas, around 70 symphonies, nearly four dozen string quartets alongside other works of chamber music, and a substantial number of concertos as well as vocal compositions, both sacred and secular: there's no doubt Franz Anton Hoffmeister, as a publisher, knew exactly what connoisseurs and lovers of music enjoyed playing. He was also never short on musical ideas of his own when it came to meeting the tastes of the late 18th century. Two years older than Mozart, Hoffmeister is widely regarded as one of the "most remarkable, skilled, and prolific composers of sophisticated, artful entertainment music" - a reputation clearly demonstrated in this production. It blends elegant and soulful hunting themes, virtuosic passages for two accomplished horn players, and smooth, pleasing orchestral sounds into classical delights.

Alessio Elia's (b.1979) compositions are inspired by the acoustic nature of the sounding universe, it's inner laws. Perhaps this is why, from the first moment of listening, these works feel organic natural and euphonic but also ordered, planned and clear. The composition Celestial Keys, which lends it's name to the whole album, does not claim to reveal universal truths in any sense, nor does it attempt to unlock a magic box containing deep secrets. As with the other works on the programme, Elia aims to demonstrate that the world is perhaps wider for perception than for reason. He reveals that each of these compositions represents 'an exploration of other dimensions. In Luminescences, we encounter the phenomenon of light; in Disappearing Rainbows, we explore the residual traces of colours. Dimensioni nascoste delves into the extra, hidden dimensions of string theory. Implicate Inklings unveils the implicate order of the holographic theory of the universe. Finally, Celestial keys transports us to the realm of angels and the supernatural.' Several of these works feature Elia's signature compositional approach: Polysystemism, which involves the simultaneous use of different tuning systems. Other information: Recordings date from August 2005 (Siena), September 2013, October 2015, May 2019 and November 2023 (Budapest). All works are given in their First Recordings. Booklet in English contains liner notes by Szabolcs Molnar, profiles of the composer, the conductors, the soloists, the orchestras and ensembles, as wel as the sung text for Celestial keys. - Alessio Elia is an Italian composer, born in 1979. Described as unicum in the compositional landscape of our times (Il Corriere Musicale) Alessio Elia has gained international recognition thanks to his Polysystemism, the simultaneous use of different tuning systems, discussed in many conferences and lectures, among them the one at "Centre de documentation de la musique contemporaine" of the Cite de la Musique in Paris. Articles and essays on Polysystemism have been published by von Bockel Verlag, l'Universite de Strasbourg, the Hungarian Academy of Arts, and the University of Prague. - Elia has received commissions from internationally renowned orchestras, ensembles, festivals, and institutions, such as I Solisti del Teatro alla Scala di Milano, Radio Bartok, Ligeti 100 Festival in Budapest, Oggimusica Festival, Chamber Ensemble UMZE, Antal Dorati International Conducting Competition, Stuttgart Kammerchor, Alter Ego Ensemble, and Festival di Nuova Consonanza. - His music has been performed, broadcasted and presented by illustrious institutions worldwide and published by Universal Edition Wien, and Universal Music Publishing - Editio Musica Budapest. - This new recording presents orchestral works by Alessio Elia: Disappearing Rainbows, Dimensioni Nascoste, a Clarinet Concerto, Luminescences and Celestial Keys: fascinating music of great beauty! - Performed by Concerto Budapest (Zoltan Racz), National Hungarian Radio Orchestra (Gergely Vajda), Concerto Budapest Ligeti Ensemble (Laszlo Tihanyi), and Chigiana Academy Ensemble (Mauro Bonifacio).

Music for Harpsichord

Handel's success with Italian-style opera in London had passed it's initial peak by 1729. Lotario - a tale of revenge and heroism based on events in the life of Holy Roman Empress Adelaide of Italy - was the first of a new series of works intended to revive interest and challenge society's new 'vile taste' for satire and light entertainment. Despite being one of Handel's least-known operas, it displays his renowned talent for writing convincing drama with melodically rich and emotionally charged arias. This live recording is performed on period instruments by the Handelfestspielorchester Halle.

Charles V was certainly the most powerful and charismatic of the Renaissance rulers. Exhausted and worn down by the challenges of imperial rule, he abdicated towards the end of his life and led a secluded existence in the monastery of Cuacos de Yuste in Castile under the motto 'Ecce elongavi fugiens et mansi in solitudine' ('I fled and remained in solitude'). The Utopia Ensemble seeks out the man behind the monarch and examines the duality of power and greatness as well as solitude. Pierre de Manchicourt - court composer to Charles's son and director of the famous Capilla Flamenca - could well have written his Requiem for one of the countless commemorations of Charles V. It radiates serenity and splendour and is juxtaposed here with chansons that moved the heart beneath Charles's imperial armour.

We know relatively little about the composer and church musician Paul Ignaz Liechtenauer. His father was an organ builder and organist in Vienna, and Liechtenauer himself served as Kapellmeister in Koblenz-Ehrenbreitstein until 1711. By 1715, he had taken up the position of organist at the Cathedral of Osnabruck, soon after assuming the title of "Capellmeister" and gaining a reputation for his liturgical music that was widely acclaimed. Four of the six masses he published in 1741 as Opus 2 are now featured on the latest CD by the Kolner Akademie, which, under the direction of it's founder, Michael Alexander Willens, once again astonishes us. There is a touch of local patriotism in this release: classic production osnabruck is located less than ten kilometers from the high church where the composer served for over 40 years.

The making of this CD is the result of several wishes. The organist and composer Benoit Mernier has been heavily involved since 2015 in the construction by Manufacture Thomas of this new instrument at Saint-Loup in Namur, one of the special features of which is to offer an original great organ inspired by two different styles (Central German and North German Baroque), in short the instrument that Bach undoubtedly dreamed of. The great organ of Saint-Loup thus provides an ideal opportunity to address the question of transmission by tracing the relationship between a master (Buxtehude) and two disciples, one very well known (Bach), the other less so (Bruhns). As well as celebrating the advent of this extraordinary new organ and revealing all it's facets, this recording also marks the performer's sixtieth birthday.

A genuine masterpiece inspires musicians to adopt, adapt, or transcribe it without losing any of it's greatness. Nevermind's four baroque aces, Anna Besson, Louis Creac'h, Robin Pharo and Jean Rondeau, have taken a creative look at Bach's famous Goldberg Variations and have made their own stylishly insightful 'variations' on the work. As they themselves explain: 'We needed only an informal rehearsal to grasp the incredible potential of a transcription for our ensemble. There have been other arrangements, but nobody has ever attempted this one before now, even though our instruments are among those most typically used in J.S. Bach's chamber music, in his many solo sonatas for flute, violin or gamba with bass continuo and obbligato harpsichord - and they also frequently feature in the arias of his cantatas and Passions.'

A sound alchemist, Maurice Ravel recreated his own works for piano in orchestral versions that soon brought them universal acclaim. Jean-Fran�ois Heisser, a disciple of Vlado Perlemuter, is now part of a Ravelian genealogy imbued with elegance and emotion. Conducted from the piano, in collusion with the musicians of the Orchestre de Chambre Nouvelle-Aquitaine (OCNA), the Piano Concerto in G major revives the Mozartean tradition so dear to the composer.