For the past two centuries or so, making music has largely been a public business, with paying audiences listening to professional musicians. But for most of western history, outside of formal and religious occasions and local festivities, music-making was largely a domestic affair, with individuals playing for their own pleasure. Most of the music written for the drawing room has long been lost from sight, and it's composers forgotten, the two heard here - the Austrian Cajetan Wutky and German-English John Henry (n� Justus Heinrich) Griesbach - being cases in point. Their Haydnesque string duos, only recently rescued from obscurity in modern publications, hint at the pleasure their first patrons would have found in performing them.

Hailed by the magazine BBC Music for it's 'generous and warm-hearted, utterly beguiling playing', the GRAMMY�-nominated Neave Trio has emerged as one of the finest young ensembles of it's generation. For this, their eighth album, they have once again selected a programme of works by female composers. Written in 1846, the Piano Trio of Clara Schumann was considered a great success by her friends and supporters (notably by Brahms) but her lack of self-confidence clouded her own view of the piece. Intellectually curious and a voracious reader from an early age, Dora Pejacevic was largely self-taught as a composer. She composed her first piano trio (in D major) in 1905 (when she was twenty) and the second followed in 1910, by which time Pejacevic's musical language had already evolved into it's distinctive late-romantic style. Chaminade's Piano Trio No. 2 in A minor was published 1887, with a dedication to the great French cellist Jules Delsart. The successful premiere had been given at the Salle �rard on 4 February 1886. Chaminade went on to play the A minor Trio regularly during the 1890s, to substantial critical acclaim.

Semper Fidelis - The United States Marine Corps at 250

Anna Clyne, described as a 'composer of uncommon gifts and unusual methods' by The New York Times, is one of the most in-demand composers today, working with orchestras, choreographers, filmmakers and visual artists around the world. Clyne's unique voice combines tradition with postmodern techniques, giving her listeners a sense of musical adventure that is grounded in the past. From the beautiful elegy Within Her Arms to the defiant power of Restless Oceans, Anna Clyne's music strikes a positive and resilient tone.

Both these violin concertos have been long-neglected for the same reason: their composers were much better-known for their achievements in musical theatre rather than for their works for the concert-hall. Robert Russell Bennett studied composition in Paris with Nadia Boulanger, and his output includes seven symphonies. He also orchestrated some of the highest-profile musicals in Broadway history, including works by George Gershwin, Cole Porter, and Rodgers and Hammerstein. (Richard Rodgers modestly claimed that Bennett's skills in instrumentation had made his music 'sound better than it was'). Vladimir Alexandrovich Dukelsky changed his name to Vernon Duke at the suggestion of his friend Jacob Gershovitz - better known as George Gershwin. Duke received a rigorous training in classical music at the Kyiv Conservatory; was friends with Prokofiev and composed ballet scores for Sergei Diaghilev's Ballets Russes in Paris, as well as three symphonies. He remains better known as the creator of hit shows, such as Cabin in the Sky, and as the composer of numerous songs that became jazz standards, including 'April in Paris'. Chloe Hanslip, Andrew Litton, and the Singapore Symphony Orchestra perform both concertos with aplomb, and Andrew Litton also takes the role of pianist in Bennett's Hexapoda.

Pablo de Sarasate was born in Pamplona, Spain, and became an acclaimed virtuoso of the violin by the tender age of twelve. The child prodigy was sent away to study at the Paris Conservatoire, and Sarasate spent the rest of his life in Paris. In demand nationally and internationally as a soloist, he was the dedicatee of a large number of important concertos by composers ranging from Max Bruch to Henryk Wieniawski. Lalo's Symphonie espagnole was composed for Sarasate, who gave the Paris premiere, in 1875. The work is laid out in five movements and bristles with Spanish themes, rhythms, and influences, which were very much the vogue in France at that time. Also composed for Sarasate, Saint-Saens' Third Violin Concerto was composed in 1880. Written in his usual clear, refined, almost classical style, the work has endured as the most played of his three violin concertos. The album is completed with Sarasate's own fantasia on Bizet's Carmen - a virtuosic tour de force for the soloist, brilliantly played here by James Ehnes.

William Shield rose from relatively humble beginnings to become the 'house' composer to Covent Garden, for which he wrote stage works full of panache and tunefulness. He met and befriended Haydn who was to prove a lasting influence. In 1782 Shield published his Six String Quartets, Op. 3, some of the most richly rewarding works of their type in 18th-century England. The transparency of parts, use of imitation, infusion of Sturm und Drang elements as well as the bucolic and folkloric writing, all demonstrate Shield's art, as does the progressive writing of the last of the six, in C minor.

This album, which Denis Kozhukhin dedicates in memory of his parents, is very special and deeply personal to him. It brings together the innocence of Tchaikovsky's Children's Album, the playful yet technically demanding Music for Children by Prokofiev, and Alexey Shor's emotionally rich Piano Sonata No. 2. Tchaikovsky's pieces evoke childhood wonder and the fragility of life, while Prokofiev's "easy" works cleverly disguise technical challenges with mischievous charm. Shor's Sonata, filled with bold contrasts and introspective melodies, takes the listener on a journey of emotional discovery and resilience. Together, these works transcend their individual stories to offer a profound exploration of human experience - from the simplicity of childhood to the complexities of adulthood - all brought to life with Kozhukhin's masterful artistry. A prize-winner in prestigious competitions, including the Leeds International Piano Competition (2006) and the Queen Elizabeth Competition (2010), Denis Kozhukhin, has established himself as one of the greatest and most acclaimed pianists, with worldwide success. He now presents another chapter to his exclusive collaboration with PENTATONE, enriching the already extensive discography, after albums Grieg and Tchaikovsky's piano concertos (2016) which received a Gramophone Editor's Choice, Brahms' Ballades and Fantasies (2017) which was awarded 5 stars in Diapason, piano concertos by Ravel and Gershwin, Richard Strauss' Burleske (both 2018), Grieg: Lyric Pieces & Mendelssohn: Lieder ohne Worte (2019) which was selected as Gramophone's Recording of the Month, as well as the Cesar Franck's Symphonic Variations for piano and orchestra (2020).

Orlando Gibbons was a genius. We can probably all agree that this term is massively anachronistic. However, justified, I think, in order to establish his music on the same elevated niveau as Purcell or Beethoven or Schubert. While it is difficult to make such analogies when his music is still relatively rarely performed by comparison with these more illustrious names, but Gibbons' fecundity of imagination, his masterly handling of his material, his emotional depth and maturity, the exquisite turns of phrase, his harmonic assurance, his contrapuntal ease and mastery - all this puts him in the first rank of composers - Richard Boothby. "My Days is a ritualised memory piece about Orlando Gibbons (1583-1625) written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork, and vocalists to sing like the Hilliard Ensemble, so it was with enormous pleasure that I composed this piece." - Nico Muhly

Daniel Ottensamer presents Brahms' two legendary clarinet sonatas, reworked for clarinet and orchestra by Stephan Koncz, who also conducts the Deutsches Symphonie-Orchester Berlin on this recording. Koncz' orchestrations bring these masterful pieces out of the limited space of chamber music, presenting them in a new symphonic light. The idea to create this very personal album has accompanied them both since their student days, and now the time to turn this vision into reality has finally come. Brahms' well-known works are accompanied by a hidden gem, Walter Rabl's clarinet quartet, which won first prize in a prestigious competition, of which Brahms himself served as the head of jury. Pianist Christoph Traxler and Berlin Philharmonic's first concertmaster Noah Bendix-Balgley join Ottensamer in this performance, while Koncz exchanges his baton for the cello. Combining Brahms and Rabl gives the listener a fascinating view on the rich musical landscape of late nineteenth-century Vienna. Daniel Ottensamer has been hailed as one of the prominent clarinettists of today and is enjoying a multi-faceted career as soloist, chamber musician and principal clarinettist of the Vienna Philharmonic. Stephan Koncz is a cellist of the Berlin Philharmonic, and divides his time between composing/arranging, conducting, and various chamber music groups, often together with Ottensamer, pianist Traxler, violinist Bendix-Balgley and their Vienna Berlin Music Club - namely "Philharmonix". The Deutsches Symphonie-Orchester Berlin (DSO) emanates into the world from renowned Berliner Philharmonie, while remaining societally relevant at all times, close to people and keeping pace with the times. All performers make their PENTATONE debut.

Between Lise de la Salle and Franz Liszt, is an affinity, one could say a love story, that has lasted for more than twenty years. For her second album, recorded in 2005 when she was only seventeen, she had him paired with Bach (V5006). Six years later (V5267, 2011), she recorded her first all-Liszt album, a rather dark disc, where the tragic and relentless Funerailles and Apres une lecture du Dante rubbed shoulders with the heartbreaking nudity of Nuages gris and Lacrymosa. Unrolling this Ariadne's thread once again, the French pianist now defends two of the greatest masterpieces, surprisingly complementary, of the most cosmopolitan composer of European Romanticism. A summing up of Lisztian art, the Sonata in B minor, reserved for pianists with wrists of steel and hearts of gold, shines with a particular glow in the piano repertoire of the 19th century. Sensitive to the myriad nuances of this splendid fresco structured as an uninterrupted movement, Lise de la Salle balances here with astonishing ease the dramatic impact of Goethe's Faust and the contemplative lyricism present in the tonal landscapes of the Annees de pelerinage. The assiduous frequentation of the Lisztian universe will have facilitated the in-depth analysis of the Sonata, which quickly became for the pianist an integral part of her artistic persona?and yet, what a maelstrom of sounds! The final part of the Harmonies poetiques et religieuses, the Cantique d'amour, played here as an escape towards the light, introduces the Reminiscences de Don Juan, a fantasy in the form of variations which, through it's overwhelming emotional power, works as an answer to the Sonata. A great admirer of Mozart's Don Giovanni, Lise de la Salle restores the nobility of this now rarely performed work. Liszt takes up famous motifs from Mozart's opera, in an aesthetic full of passion, in which he magnifies his striking art of contrasts and his dazzling virtuoso writing. By placing these Reminiscences as a mirror of the Sonata, Lise de la Salle gets as close as possible to Lisztian genius at the same time as she refines her art of dark atmospheres.

Fazil Say's gifts as a ground-breaking pianist are allied to the breadth of his compositions. The Violin Concerto No. 2 was composed in the midst of the Covid-19 lockdown during which Say was enchanted by the colours and textures of sunrises while walking on the beach, inspiring this atmospheric work. Leopards is a vivid piece for string sextet that utilises Say's unique melodies and rhythms. The Sonata for Solo Violin is an expressive tribute to the noted Turkish violist, Rusen Gunes, while String Quartet 'Divorce' relates the experience of separation and the failure of a relationship with the language of music.

The second album from the Choir of St John's with their new music director - Christopher Gray. At the centre of the programme are the atmospheric Quatre Motets pour le temps de Noel by Francis Poulenc, and the heartfelt Three Carol-Anthems by Herbert Howells who directed the Choir here at St John's during the Second World War. Other items include the beautiful carol John Rutter wrote for the Choir in 1985, There is a flower, and the haunting Peace on earth by Master of the King's Music, Errollyn Wallen. "My aim with this album has not been to break new ground with repertoire, but to ensure that classics remain fresh for the current generation" - Christopher Gray

Marcello: 6 Cello Sonatas

Introducing Leia Zhu, a remarkable wunderkind on the violin, in her highly anticipated first release of an 8-album series dedicated to the captivating solo concertos of Saint-Saens. This album is a celebration of talent and artistry, showcasing the extraordinary capabilities of one of today's most promising young musicians. Delve into the virtuosic and challenging repertoire of Saint-Saens, featuring his Violin Concertos No. 1 & 2, along with the enchanting Introduction et Rondo Capriccioso, Op. 28 and the lively Havanaise, Op. 83. Leia Zhu's interpretations bring a fresh perspective to these masterpieces, blending technical prowess with emotional depth. Join us as we embark on this exciting musical journey through Saint-Saens' works, and witness the emergence of a new star in the classical music world.

Volume 65 in the Liszt Complete Piano Music series features works based on Hungarian themes, including the famous Rakoczi March, heard here in two contrasting versions. Pianist Christopher Williams has previously recorded Brahms and Mendelssohn for Naxos, as well as a series of Barmotin's piano music for Grand Piano.

Until 20 years ago, the figure of Antonio Salieri seemed destined to remain under a cloud of widespread disrepute, in the shadow of his complex relationship with Mozart and unsubstantiated criminal allegations that have come down to us through a thread that runs from Aleksandr Pushkin's poetic drama Mozart and Salieri (1830), later set to music by Nikolai Rimsky-Korsakov (1897), to Milos Forman's famous film Amadeus (1984). In reality, Salieri, in late 18th-century Vienna, enjoyed a stature that Wolfgang could only dream of: court composer, conductor of the Italian opera and, above all, maestro di cappella of the imperial court - in other words organiser and manager of the Hapsburgs' entire musical life. An esteemed teacher and founder of the Vienna Conservatory, he had among his pupils Beethoven, Hummel, Schubert, Liszt, Meyerbeer and Czerny, and in the course of a long compositional career he created more than 40 works for musical theatre, numerous sacred and vocal compositions, as well as a smaller number of symphonic and chamber works. The best-known section of Salieri's instrumental production consists of the six concertos for one or more soloists, among them the two for keyboard included here; these are works that the composer did not see fit to print, and the manuscripts are preserved in the Austrian National Library. The Concertos in C and B flat were written by the 23-year-old composer in 1773 for solo 'cembalo' and an orchestra consisting of two oboes, two horns, strings and basso continuo. As Danilo Prefumo, author of valuable writings on Salieri's instrumental works, warns, 'for Italian musicians, the term cembalo could at the time indifferently indicate harpsichord and fortepiano'. Listening to and analysing these two works reveals a balance pursued and achieved between a typically Viennese sense of measure and attention to structure, and bursts of whimsy, ornamentality and gallantry akin to the expressivity of the London (Johann Christian) Bach. The solo writing never makes truly virtuosic demands, although it does require agility and a crisp, pronounced timbre. The Sonata in C for harpsichord is the only composition of it's kind, as far as we know, in Salieri's legacy, and it is given here in it's first recording. It is unusually subdivided into six concise movements, all set in the same key and characterized by an elementary harmonic progression. The linearity of the language, the transparency of the melodic line and the ease of execution indicate a score that might have been a keyboard sketch of the embryo of a Serenata or Cassazione, two genres that are often attested in the composer's catalogue. Other information: - Recorded September 2024 in Sacile (Italy) - The Sonata in C appears in it's first-ever recording - Catena plays a Fazioli F278 piano - Booklet in English contains liner notes by Umberto Berti and profiles of the soloist, ensemble and conductor - Italian liner notes available at brilliantclassics. Com - Antonio Salieri (1750-1825) was an Italian composer and conductor, famous in his time for his operas and sacred music, but less known today for his instrumental works. His reputation has been clouded by rumors of rivalry with Mozart, which modern scholarship largely discredits. Salieri was a highly respected court composer in Vienna, and while he was primarily recognized for his vocal music, he also composed several instrumental pieces, including piano concertos. - Salieri's piano concertos, though not as numerous or as widely celebrated as those by contemporaries like Mozart, offer insight into the classical style of the late 18th century. His Piano Concerto in B-flat major, composed in the 1770s, is one of his few surviving works for keyboard and orchestra. It reflects the elegance and balance typical of the Classical era, with clear melodic lines and a restrained yet expressive use of harmony. - Unlike Mozart's more virtuosic concertos, Salieri's piano concertos focus on lyrical expression rather than technical display. His concertos often feature a dialogue between the soloist and orchestra, emphasizing melodic beauty over complexity. - Played by Italian pianist Costantino Catena with the Accademia D'Archi Arrigoni, conducted by Giulio Arnolfi. In Luca Ciammarughi's book on pianists Catena is credited with 'combining virtuoso chiselling with a cantabile of absolute sonorous beauty. "

This third instalment in Brilliant Classics' French Cello Sonatas series features the phenomenal composer Louise Farrenc (1804-1875), who is enjoying a much deserved revival amid contemporary focus on women composers, and the enigmatic and formidable Charles-Valentin Alkan (1813-1888), renowned for his complex compositional language and extreme piano virtuosity. Farrenc was a French composer, virtuoso pianist and a teacher of the Romantic period. Her compositions include three symphonies, a few choral works, numerous chamber pieces and a wide variety of piano music. Her Cello Sonata in B-flat, Op.46, in three movements, was one of her last compositions (1859). The treatment of the two instruments, especially the piano, with it's extensive use of tremolo, broken octaves and scale passages, indicates inspiration taken from Beethoven's cello sonatas as a model. The opening movement, Allegro moderato, glides along effortlessly. A lovely Andante sostenuto, full of ornamentation serves as the middle movement. The finale is a lively Allegro. The work of French composer and virtuoso pianist Charles-Valentin Alkan possesses a unique blend of complexity, innovation and emotional depth, positioning him as one of the most distinctive Romantic composers. Known for his formidable technique and reclusive nature, Alkan's compositions were marked by their technical demands and unorthodox structures, attracting both admiration and mystique. His Cello Sonata in E, Op.47 stands out as an example of his flair for blending instrumental colour and thematic development. Composed in 1856 (three years before Farrenc's), this piece is an intriguing exploration of the cello's expressive range, juxtaposed with the piano's virtuosic potential. It is structured in four movements, each showcasing the composer's penchant for unexpected turns and rich harmonies. The first movement introduces a lyrical yet intricate dialogue between cello and piano, establishing an interplay that continues throughout the sonata. The third movement, marked Adagio, highlights Alkan's capacity for profound, almost spiritual expressiveness, contrasting the vigorous and playful nature of the final Allegretto. This combination of heartfelt emotion and formidable technical demands makes the work a true test for performers. Though not as frequently performed as mainstream Romantic sonatas, Alkan's Cello Sonata has been rediscovered for it's inventive composition and serves as a testament to his ingenuity and the depth of his often-overlooked musical legacy. Other information: - Recorded 2024 in Moscow - Booklet in English contains liner notes and profiles of the artists - This third CD in a unique series of "French Cello Sonatas" presents two works from the Romantic period, the cello sonatas by Louise Farrenc and Charles-Valentin Alkan. - The sonata by Alkan is a bold, substantial work in rich romantic idiom. Alkan's superhuman pianism is reflected in the challenging piano part. The works of female composer Louise Farrenc receive more and more recognition nowadays. Her Cello Sonata is a full blooded romantic work, a gem in the genre. - Marina Tarasova is one of the most renowned cellists of today: 'Her playing is generous in tone, full-blooded in expression, passionate and confident, evidently fired by love for and commitment to the music.' Gramophone. She is winner of international competitions in Prague, Florence, Paris, and a laureate of the Tchaikovsky competition in Moscow. She began playing the cello at the age of six and studied at the Gnessin School with Alexander Fedorchenko and at the Moscow Conservatoire with Natalia Shakhovskaya. Her vast repertoire spans the 17th century to the present day. She has worked with many renowned musicians, such as Mikhail Pletnev, Mariss Jansons, Gennady Rozhdestvensky, Kurt Masur, Eduard Grach and Yuri Bashmet. - Marina Tarasova's piano partner is the excellent Ivan Sokolov. - The first volume of French Cello Sonatas (BC96566) presented works by Gabriel Piernei (1863-1937), Eidouard Lalo (1823-1892) and Charles Koechlin (1867-1959); the second volume... Vincent D'Indy (1851-1931), Leon Boellmann (1862-1897) and Charles-Marie Widor (1844-1937) (BC 96821).

Born in 1984, Krzysztof Meisinger is one of the most fascinating and charismatic classical guitar players of our time, his artistic development having benefited from the profound influence of such teachers and music authorities as Aniello Desiderio (Italy) and Christopher Parkening (USA). His talent compared to that of the pianist Piotr Anderszewski and fellow guitarist Pepe Romero, he has performed all over the globe. Nigel Simeone notes: 'Ranging from traditional songs to one of the leading flamenco composers of the present day, through music inspired by the sights and sounds of Spain from the 1700s to the early 1900s, Meisinger: The Spanish Album presents the guitar as the main protagonist in a programme of arrangements accompanied by strings and percussion: reworkings that are perhaps no more surprising than the music itself, much of it filtered through the creative imaginations of composers from Boccherini to Falla. The string accompaniments on this recording add warmth, colour, and sustaining harmonies to support the guitar, and to these have been added improvised percussion parts - from red-blooded castanets to the delicate, atmospheric sounds of bar chimes. Through all this, the guitar is the eloquent soloist, and the musical embodiment of Spain.'

This recording of Mahler's Fifth Symphony by the Tonhalle-Orchester Zurich under it's Music Director Paavo Jarvi, is the first in a complete cycle of Mahler symphonies. Jarvi has of course conducted Mahler's works many times in his career, but has waited for the right moment to record the complete cycle in the studio: the right moment not only in his life as a musician but also in his relationship with the Tonhalle-Orchester Zurich; the maturity and power revealed in the orchestra's recordings for Alpha Classics have been hailed by the music press since 2019. "Mahler truly opened up a new universe with the Fifth, in which he initiated an incredibly personal style of music-making." says Paavo Jarvi. "It is the very nature of it's opening - a military funeral - and of it's tragedy, in conjunction with the very idea of beginning a symphony in this way, which signals that something completely different is in store for us".

Ferdinand Ries occupies a remarkable place in the history of music. He was famously a friend and pupil of Beethoven and a virtuoso pianist. His extensive oeuvre opened up the musical aesthetics of Viennese Classicism to Romanticism. Completed in 1826, the Piano Trio in C minor, Op. 143 features two lively, fast movements surrounding a poetic Adagio, reminiscent of the era's finest opera arias. Very different is the Grand Trio in F minor, WoO 86. It features four thematically interwoven movements that traverse emotions from despair to passion and eventual peace.

From ancient theatre to lyric tragedy, the character of Medea has withstood the test of time. A quintessential tragic heroine, she embodies a soul torn apart by betrayal, whose pain turns into devastating madness. Following Charpentier and Corneille's opera (1693), Abb� Simon-Joseph Pellegrin's avant-garde libretto offers a liberated interpretation of the classical myth, in which Medea masters her magic and her destiny. Salomon's score responds with sumptuous writing, borrowing from the tradition of Lully while foreshadowing the genius of Rameau. By unearthing this missing link between two eras, Reinoud Van Mechelen offers us a spectacular lyric tragedy, revealing the superb complexity of a woman equally powerful and tormented.

New York-based early music ensemble Concordian Dawn presents Veni Redemptor Gentium, a joyful and introspective musical celebration of the Christmas season centred around songs spanning the thirteenth through the fifteenth centuries. The album includes beautiful and rarely heard repertoire from the medieval holidays alongside seasonal and traditional jewels, plus two world-premiere recordings of works by Australian-born composer David Yardley, whose music has been described as “transcendent medieval-inspired music for modern times.” The resplendent sound world of Veni Redemptor Gentium offers moments of peace, reflection, and enjoyment throughout the holiday season and beyond.

Paavo Jarvi and the Estonian Festival Orchestra pay tribute to Arvo Part, who celebrates his 90th birthday in 2025. The Estonian composer has been part of Paavo Jarvi's life since childhood: "Arvo was my sister's and my father's supercool friend. He wore a baseball cap, jeans and a denim jacket". The history of the Jarvi family is intimately linked to Part's work, since it was the now legendary concert in which Neeme Jarvi - Paavo's father - conducted Part's Credo in 1968 that caused the Soviet regime to blacklist the Jarvi family and precipitate their departure from Estonia. Credo is also included in this vast programme that covers 45 years of composing. What lies behind this music's simplicity and depth? One answer possibly lies in a remark that Part made in London during a rehearsal with Paavo: "I have the impression that the orchestra doesn't like this chord enough". The transformation that then occurred was incredible; the same notes, when played "with love", sounded completely different.

Maurice Ravel and Gabriel Faure each contributed a single string quartet to the chamber music repertoire, but both works are masterful reflections of their distinct musical voices and the broader evolution of French music in the early 20th century. Ravel's String Quartet in F major, composed in 1903, stands as a defining work of French impressionism in music. Influenced by his teacher Faure and Debussy's quartet from 1893, Ravel's quartet is nevertheless strikingly original. The piece follows the traditional four-movement structure, but with bold harmonic language, refined orchestration for strings, and rhythmic innovation. The first movement is lyrical and elegant, while the second features pizzicato and dynamic contrasts that create a vibrant, almost playful texture. The third movement offers deep introspection, and the final movement reintroduces themes in a whirling, virtuosic conclusion. In contrast, Gabriel Faure's String Quartet in E minor, Op.121 is a late work, completed in 1924, shortly before his death. It was his only string quartet, and it reflects a more introspective, spiritual tone. Faure, already nearly deaf and physically weakened, poured into the music a sense of serenity and resignation. The three-movement structure (unusual for a quartet) avoids virtuosic display in favor of subtle textures and modal harmonies. The work unfolds slowly, with long, flowing lines and a remarkable economy of means, demonstrating his mature mastery of form and expression. Together, Ravel's and Faure's quartets represent two ends of a stylistic spectrum: Ravel's vibrant, youthful exploration of sound and structure contrasts with Faure's meditative farewell. Both works, however, reveal the expressive depth and refinement that define French chamber music at it's finest. As an important and substantial bonus to this recording we hear Ravel's Introduction & Allegro for flute, harp, clarinet and string quartet, a highly original and attractive work. Played by the Quartetto Nous, the Italian string quartet also engaged in the recording of the complete Shostakovich string quartets for Brilliant Classics, to great critical acclaim.