SOMM Recordings is proud to extend it's celebration of the 150th anniversary of Gustav Holst (1874�- 1934). The label was one of the few to mark the anniversary with it's double CD release last September of Holst: Savitri, Choral Hymns from Rig Veda, 4 Songs, The Evening Watch, Hammersmith, The Perfect Fool Suite & The Planets, ARIADNE 5030-2. These never-before-released live recordings from the 40s, 50s, and 60s were issued in meticulous restorations by long-time SOMM collaborators Lani Spahr and�Paul Baily. Now, SOMM continues it's outstanding mission of issuing lesser-known music of interest with a pair of gems to enrich the catalogue of historic performances:�a stereo recording of Holst's three-movement suite Beni Mora (the fictional name for Biskra, Algeria) and a live performance of the Choral Symphony. Both are played by the BBC Symphony Orchestra and conducted by Sir Malcolm Sargent, who brought a personal acquaintance and a deep understanding of the composer's inspiration to the works. Once again, the suburb audio restoration is by Lani Spahr. Holst's The Planets is a justifiably well-known suite, but the great originality and skill in his writing is still largely under-appreciated. He lived a retiring life playing trombone in theatre orchestras as a younger man and teaching for much of his career at the St Paul's Girls' School in London. Yet, his abiding interest in cultures of North Africa, the Levant, and India were reflected in his rare musical expression. While spending time in Algiers in 1908, Holst heard an indigenous musician playing the same phrase repeatedly for two hours on a bamboo flute. This melody became the basis for the final movement of Beni Mora, where Holst repeats the eight-note tune 163 times in a manner foreshadowing minimalism. The first two movements of the suite evoke the mysticism, lively rhythms, and exoticism of the Arab world, juxtaposed with more reflective moments. Following the success of The Planets, Holst received a commission from the 1925 Leeds Triennial Festival, and he used the opportunity to revise the draft of his Choral Symphony. The work consists of a Prelude and four movements, in keeping with an idea of conventional symphonic structure. Holst's inspiration came from a widely diverse collection of poetry by John Keats-ranging from the famous Ode to a Grecian Urn to lines scribbled on the flyleaf of a book of plays. The response to the Choral Symphony was not initially favourable. Even Holst's lifelong friend, Ralph Vaughan Williams, admitted that he felt only a "cold admiration" for it. But within months of the first performance Holst wrote, "I think the work as a whole is the best thing I have ever written." This recording is evidence of that belief.

Transcending the barriers of time, two 20-th century composers dialogue with a genius who lived centuries earlier. An immense painter, sculptor, architect, Michelangelo (1475-1564) wrote poetry expressing turmoil, restlessness, personal and professional anger, written in an energetic and passionate language. Both Dimitri Shostakovich and Benjamin Britten found inspiration in his texts, and by setting them to music they show their own feelings in a highly personal and characteristic way. - This new recording presents the "7 Sonnets Op. 22" by Benjamin Britten, and the Michelangelo Suite Op. 145 by Dimitri Shostakovich, both intensely expressive and dramatic, each in his own unique musical language. - Sung by Mark Milhofer and Mirco Palazzi, Marco Scolastra is their piano partner. Mark Milhofer's recording of the Folk Songs by Britten for Brilliant Classics received many excellent reviews, including a "Recommended Recording of the Month" on Musicweb.

In it's latest release, SOMM Recordings focuses on Ivor Gurney, Arthur Bliss, and Gerald Finzi who, each in their own distinct way, played a pivotal role in the rapid transformation of English pastoralism in early twentieth-century British Music. Ian Venables' music, also included on this disc, draws on a lineage that includes Gurney, Bliss, and Finzi, yet it incorporates modernist elements, creating a style that is uniquely his own. The seven works for violin and piano by Ivor Gurney-appearing here for the first time-come from 1908-1909, pre-dating his studies in London with Sir Charles Villiers Stanford. They include the poignant Elgarian Chanson Triste; In September and In August; a Romance; a Legende; a melodic Folk Tale; and a rare attempt at a lighter mood with a Humoreske. Arthur Bliss was wounded in the Battle of the Somme, and his single-movement Violin Sonata marks a transition in his musical style in response to the emotional and cultural upheaval of the War. Bridging the pastoral warmth of his early influences with the bold innovations that would soon define his voice, the sonata captures the last traces of English pastoral romanticism in Bliss's output. The Elegy for Violin and Piano by Gerald Finzi exudes a pastoral tranquillity, but beneath it's serene surface lies a complex emotional landscape shaped by the personal grief of losing his three brothers and his beloved teacher, Ernest Farrar, in World War I. This present performance also emphasises the Elegy's contrapuntal texture and rhythmic precision, which show the influence of Bach, a cornerstone of Finzi's musical inspiration. The recital opens and closes with works by Ian Venables, widely regarded as one of Britain's most accomplished living composers. His two-movement Sonata from 1989 begins with a melancholic dialogue of introspective lyricism between the violin and piano. By contrast, the second movement exhibits a virtuosic interplay of the instruments. The Three Pieces for Violin and Piano come from 1986, shortly after Venables moved to Worcester, and they capture his response to the Severn Valley landscape. The opening Pastorale conveys a tranquil yet expressive simplicity; the Romance is more reflective and introspective; while the final Dance showcases Venables's ability to inject energy and playfulness into his music. The award-winning Taiwanese violinist Joe Chu-Yu Yang, whose career in Britain is beginning to flourish, is a passionate advocate for British music and founder of the British Music Festival in Taiwan. He performs in recital as a duo with Eric McElroy, described by Musical Opinion as "one of the leading composer-pianists of his generation." Eric's debut CD, Tongues of Fire, featuring his own works for piano and tenor, was released on SOMMCD 0665.

- The 20th century saw an immense and revolutionary development in musical styles and language, some radically parting from the fundamental musical traditions. This CD presents works for flute and piano by composers who adhered to their own, personal musical language, expressing only their own feelings of beauty, emotion and esthetics, without following current trends or theories. - Presented are the following composers: Rhene Baton, Francis Poulenc, Albert Roussel, Darius Milhaud, Ernst Krenek, Paul Hoffer, Samuel Barber, Ferenc Farkas, Franco Margola, Giuseppe Mule, Jean Michel Damase, Luciano Michelini: a very diverse selection of accessible, highly enjoyable music. - Gian-Luca Petrucci has been first flute in several of the top orchestras of Italy. He was professor at the Santa Cecilia Conservatory in Rome. As a scholar he published monographs on several (Italian) composers: Mercadante, Briccialdi, Gazzelloni, de Lorenzo and Mozart. His previous recordings for Brilliant Classics include works by Frederick The Great (BC 96538), Bohm (96862) and Mercadante (BC 96152).

Regarded today as the embodiment of classical music at it's most lyrical and poetic, composers have entrusted the cello with some of the loveliest melodies every penned. Yet, when it came to writing cello concertos, for most composers it was a "one and done" proposition. One of the major musi-cal monuments in the cello literature is the Schumann Concerto, composed as Schumann himself said because "there are so few works for this lovely instrument." In contrast, Soviet composer Dmitry Kabalevsky is one of the exceptions to the "one and done" rule. For a long time dismissed in the west as a mediocre apparatchik, a more evenhand-ed appraisal of Kabalevsky's work reveals a consummate craftsman with a natural gift for folk-inspired melodies and vivid orchestrations. The Cello Concerto No.2 in C minor, Op.77, owes an obvious debt to his colleague and one-time neighbor Dmitri Shostakovich and is fully deserving of be-ing more frequently played and programmed. This album marks the recording debut of the young Norwegian cellist, Theodor Lyngstad. Following studies at the Royal Danish Academy of Music with Morten Zeuthen, Lars Anders Tomter and David Geber at the Manhat-tan School of Music in New York, Theodor has been extremely active as a chamber musician as well as earning more than a few regional and national awards along the way, most signi?cantly, the Leonie Sonning Talent Prize. In 2019, Lyngstad was appointed solo cellist in the Copenhagen Phil., the youngest musicians to attain that honor. Lyngstad is accompanied by the rising conductorial star Eva Ollikainen and the innovative Copenhagen Phil. Producer is the award-winning Daniel Davidsen.

Classical Spanish sonatas in the mould of Scarlatti, infused with colour and drama by a native pianist. Born in Madrid in 1750, Manuel Blasco de Nebra died at the age of 34. He wrote around 170 keyboard works, only 30 of which survive. Some were published in his lifetime. Others are preserved in manuscript in the monasteries of Montserrat and La Encarnacion (Osuna), amounting to twenty-four sonatas and six pastorelas. The sonatas are all one- or two-movement works, quick pieces with or without a slow introduction. Pablo Piquero compares this music to innovative pop albums of our own time, 'albums that have taken a decisive step forwards, but which nobody has followed; albums with no sequels. Blasco breaks a new path in Spain, like Carl Philipp Emanuel Bach in Germany, but it has no continuity. He sets out as a precursor to the Sturm und Drang movement, a pre-Romantic, astonishingly original for his time.' Piquero made these recordings - the only complete survey of Blasco de Nebra's keyboard music in 2008-2010. They are reissued in a single set for the first time with the present issue, accompanied by an essay on the life and work of the composer by the scholar Roberto Montes. The pianist's efforts on behalf of Blasco de Nebra have elicited enthusiastic praise from international critics. The Melomano reviewer remarked: 'This young musician surpasses himself, not least in the bipartite form of each sonata, evoking a contrast between the meditative calm of the slow first movement and the gentle revelry of the second. Piquero caresses the piano with the same humility with which Manuel Blasco de Nebra imbued these intimate pieces, apparently ethereal in texture, fragile or delicate, yet well-constructed. He plays with intuitive and unpretentious subtlety, and conjures up, as if through a time-machine, the worlds of Mompou, Debussy, Carl Philipp Emanuel Bach, Scarlatti, Beethoven or Clementi.' - Manuel Blasco de Nebra was a Spanish composer and virtuoso pianist whose keyboard music remains a hidden gem of the Classical era. Born in Seville, Blasco de Nebra was deeply influenced by the rich musical heritage of Spain, blending it's lyrical and expressive traditions with the emerging classical styles of the late 18th century. His surviving piano works, though limited in number, show a combination of technical brilliance, harmonic sophistication, and emotional depth. These compositions, primarily intended for harpsichord or fortepiano, consist of sonatas and pastorellas. They are characterized by elegant melodic lines, intricate ornamentation, and an innovative use of texture that foreshadowed Romantic tendencies. - Blasco de Nebra's music often features sudden dynamic contrasts, suspensions, and a poignant lyrical quality, reflecting the influence of Domenico Scarlatti and the Spanish folk tradition. The Sonatas are especially notable for their emotional range, moving seamlessly between introspection and exuberance. Meanwhile, the Pastorellas, with their pastoral character and light-hearted charm, offer a glimpse into his ability to create vivid and evocative atmospheres. - Although he passed away tragically young, Blasco de Nebra's work provides a valuable bridge between the Baroque and Classical eras, with a distinctively Spanish flavor. - Played with intense concentration, eloquence and charm by Spanish pianist Pedro Piquero. Born in Seville in 1976, he received his musical training in Spain with Esteban Sanchez and in the United States with Caio Pagano. The pianist Maria Jo�o Pires invited him in in 2002 to reside in the Belgais Center for Arts in Portugal. He has won several awards and the following has been written of him: �Piquero exceeds himself... a glorious blend of Glenn Gould and Carlos Kleiber� (Melomano); �this is a genuine recording landmark... The very highest quality� (El Pais). Pedro Piquero is also a Soto Zen Buddhist monk, disciple of the Japanese Master Gudo Wafu Nishijima.

Multiple Grammy-winning Third Coast Percussion (TCP), praised by NPR for championing "borderless music" and "blurring musical boundaries, " celebrates it's 20th anniversary in 2025 with Standard Stoppages, an album inspired by pioneering conceptual artist Marcel Duchamp's idea of twisting standardized units, with works that redefine rhythmic structures and sonic possibilities. Reflecting on two decades-or a "score"-of music-making, the anniversary gives TCP the space to reflect on their many milestones, collaborations, and steps along the journey that have shaped their work over the years, inspiring the group to commission new works for the occasion. This diverse set of commissions makes for a colorful sonic palette of percussive ensemble works, ranging from Zakir Hussain's traditional Hindustani influence to Musekiwa Chingodza's Zimbabwean song to Jessie Montgomery's western contemporary approach. This project brings together both new and past collaborators; with commissioned works from Jlin and Zakir Hussain, alongside fresh contributions from Jessie Montgomery and Tigran Hamasyan. The late Zakir Hussain and the rich Hindustani and tabla traditions were strong sources of inspiration for Third Coast Percussion, most notably through the commissioned work Murmurs in Time. His unexpected passing between the album's recording and release moved TCP to dedicate this project to his memory and enduring legacy. Drawing from Duchamp's Three Standard Stoppages, TCP's 7th recording for Cedille Records invites reflection on the varying paths that lead to unique creative expressions, both for themselves and their collaborators. Standard Stoppages was produced and engineered by Judith Sherman, Colin Campbell, and Bill Maylone. Tracks 1-4 and 7-10 were recorded November 4-8, 2024, and tracks 5-6 October 1-2, 2024, at Narwhal Studios, Chicago, IL; Track 11 was recorded November 15, 2024, at Rax Trax, Chicago, IL.

Aaron Pilsan completes his recording of the Well-Tempered Clavier, five years after the first volume was praised by critics for it's ardent, accurate and fluid interpretation. Twenty years lie between the two volumes; whilst the first is better known, 'the second book is more playful, but also more accomplished. It goes further harmonically and also demonstrates extraordinary harmonic invention with original and often exotic harmonies. The best example of what differentiates the two books is the fugue in D sharp minor in the second book, a piece whose boldness and harmonic originality never ceases to enthral and astonish me,' says the Austrian pianist, who again demonstrates his fascination for the composer: 'What I love most about Bach's music is that he expresses everything that goes to make up our lives, but in perfect order.'

Ronaldo Miranda is a multi-award-winning Brazilian composer with works commissioned by leading artists and institutions. His music is regularly performed in prestigious venues in Brazil and around the world. Miranda's Piano Concerto is an exciting virtuoso blend of atonality alongside hints of Bartok, contrasting with the flowing scales and delicate patterns found in the Concertino. The prize-winning Horizontes is a symphonic poem that tells the story of Christopher Columbus's voyage to the New World, while Variacoes Temporais (Beethoven Revisitado) is an inventive set of variations on some of Beethoven's most famous motifs and themes.

The masterpiece 'beyond Time' that is the Quatuor pour la fin du Temps first saw the light of day in Barrack 27 of the World War II prisoner-of-war camp Stalag VIII-A in Gorlitz, Silesia, performed by it's composer Olivier Messiaen on piano along with fellow prisoners Jean Le Boulaire on violin, Henri Akoka on clarinet and etienne Pasquier on cello. The unusual ensemble forces were dictated by what musicians were available in that environment of deprivation, and the prisoners' coping mechanisms in response to it played a part: Akoka's clarinet and the singing of birds during dawn watches with Pasquier inspired the 3rd movement, Ab�me des oiseaux for solo clarinet. As Messiaen himself explained before the concert, it is the first six verses of the Book of Revelation Chapter 10 that inform the piece as a whole. Starvation in the camp had provoked in him vivid, colourful dreams of the Angel's Rainbow, and the End of Time represented eternity in the face of the mortality confronting the internees. The sensory deprivation he experienced while imprisoned caused (or exacerbated) his synaesthesia, such that his hearing of harmonies and his vision of colours became blended in his mind. The work's difficulty is well known; in Gorlitz, from musicians already unbalanced by Messiaen's unconventional rhythms, the composer demanded extreme and unusual instrumental effects: dynamic extremes, unheard-of force and maximum precision. Clarinettist Akoka complained about overly high notes and long phrases; violinist Le Boulaire about wide, inhumanly slow string melodies. But Messiaen's serenity at the piano instilled confidence, making the impossible possible and raising everything to a higher level. On a formal level, the eight movements of the Quatuor, linked by symbolic correspondences, reflect the biblical perfection of the number seven: the six days of Creation followed by the day of Rest, which is prolonged into Eternity becoming an eighth of indefectible light and unalterable peace. 'I composed this quartet to escape from snow, from war, from imprisonment and from myself,' Messiaen said. But the religious silence that enveloped the premiere demonstrated the Quatuor's ability to raise everyone in it's first audience along with him, above the barbarity, hunger and cold. Today, hearing this music that is 'alien to earthly beauty and pervaded by the idea of God', we perceive it's essence 'beyond Time', imbued with faith and religiosity. Other information: - Recorded February 2018, February 2019 and December 2023 in Perugia - Booklet in English contains liner notes by Donatella Meneghini and biographical information on the artists - Italian liner notes available at brilliantclassics. Com - Olivier Messiaen (1908-1992) composed his Quatuor pour le fin du temps" (Quartet for the End of Time) 1940-41. The work was written during Messiaen's internment at Stalag VIII-A, a German prisoner-of-war camp, where he was held during World War II. Despite the harsh conditions, Messiaen composed this eight-movement piece for a unique ensemble: clarinet, violin, cello, and piano, which were the instruments available in the camp. - Inspired by the biblical Book of Revelation, particularly the angel's proclamation of the end of time, the Quatuor explores themes of eternity, divine grace, and apocalyptic vision. Messiaen, a devout Catholic, saw time as transcended by divine love, and the piece reflects his fascination with spiritual and mystical concepts. - The music is known for it's otherworldly beauty, complex rhythms, and innovative use of modes of limited transposition, which create a timeless, suspended feeling. The movements range from intense, fiery expressions of divine might to serene, meditative reflections on eternity. Premiered within the camp before an audience of prisoners and guards, Quatuor pour le fin du temps remains one of the most important and profound chamber works of the 20th century. - Played by Davide Bandieri, Francois Sochard, Joel Marosi and Maria-Liisa Marosi. - Davide Bandieri has already successfully released numerous recordings for Brilliant Classics, including the Complete Chamber Music Works for Clarinet by Von Weber (BC 95531) and, together with Joel Marosi and Maria-Liisa Marosi, Clarinet Trios by Fruhling and Zemlinsky (BC 95394).

Many masterpieces have been composed over the centuries for the cello, that member of the string family whose timbre is said to most closely resemble the human voice. Scores of monumental works, both in the chamber and concerto genres, have been created for this attractive instrument: from Bach to Bloch, Boccherini to Britten. Dutch composers have also shown interest in the instrument, especially in the 20th century, composing works that feature not only the cello but also the abilities of virtuoso cellists they admired, whose playing breathes life into the Dutch music of this century, adding it's melodious voice to the music history of all nations. Henriette Bosmans (1895-1952) at first studied piano with her mother, only taking up composing at the age of 17. She sharpened her abilities in this art through lessons with Cornelis Dopper and Willem Pijper. Bosmans performed in various chamber music ensembles, appeared as a soloist and gave lessons, and as a pianist she championed contemporary music. She is particularly remembered for her art songs, chamber music and concertos. Her work evolved along her career from a Germanic style to one influenced by French impressionism, her Poeme for cello and orchestra being a fine example of the latter. The work is dedicated to Marix Loevensohn, principal cellist of the Concertgebouw Orchestra, with whom she often performed. Willem Pijper (1894-1947) studied composition with Johann Wagenaar, and his progress was astounding: within a few years (from 1918 to 1922) he became one of the most advanced composers in Europe, each successive composition of his going a step further. Although considered a proponent of atonality, Pijper's harmonic complexity is always in service of musical expression. His Cello Concerto is also dedicated to Marix Loevensohn, who performed it at his own retirement concert as principal cellist of the Concertgebouw Orchestra. Feeling that the orchestra overshadowed the soloist at times, Pijper revised the Concerto's orchestration in 1947. The pianist and composer Leo Smit (1900-1943) studied composition at the Amsterdam Conservatory with Bernard Zweers and Sem Dresden. He taught analysis and harmony at the Amsterdam Conservatory from 1924 to 1927, after which he resided in Paris until 1933. There he came under Darius Milhaud's influence, which introduced a French aesthetic to his music, and he was exposed as well to Igor Stravinsky's neoclassicism. He returned to Amsterdam in 1937, establishing himself as a music pedagogue, and remained there until he was deported to Auschwitz in 1943, where he perished. His lucid, intelligent and subdued style is most clearly apparent in his chamber music. Smit also composed several orchestral works and concertos for various instruments, among them his Concertino for cello and orchestra. Hans Kox (1930-2019) studied piano with Jaap Spaanderman and composition with Henk Badings. His debut as a composer came in 1953, and he went on to receive numerous commissions from the Netherlands and abroad, with many of his works appearing on CD. He taught at the Conservatory in Utrecht. His Cello Concerto (1969) was commissioned by the Eper Muziekkring (the erstwhile Music Society of the eastern Dutch municipality of Epe) in honour of it's fifth anniversary. Other information: - Recorded December 1993 at the Concertgebouw Haarlem - Trilingual booklet in English, German and Dutch contains liner notes on the composers and the works - The Cello concertos by 20th-century Dutch composers reflect the dynamic evolution of classical music during this period, marked by a blend of modernism, neoclassicism, and unique national character. - This CD presents 4 Cello Concertos by Dutch composers: the late romantic language of Henriette Bosmans (1895-1952), the Neo-classical and sometimes jazzy idiom of Willem Pijper (1894-1947), the vibrant Concertino by Leo Smit (1900-1943), who tragically died in 1943 in the Sobibor extermination camp, and the Cello Concerto by Hans Kox (1930-2019). - Played by 4 outstanding cellists: Heinrich Schiff, Quirine Viersen, Pieter Wispelwey and Dmitri Ferschtman. The Netherlands Radio Chamber Orchestra is conducted by Ed Spanjaard. Another gem from the NM Classics catalogue, the label of music from The Netherlands.

Although Jan Pieterszoon Sweelinck (1562-1621) is now best known for his keyboard music, it was his vocal works that were published during his lifetime. Perhaps his greatest achievement ass a composer was the polyphonic settings for between four and eight voices of all 153 psalms based on the French metrical Psalter of Clement Marot and Theodore de Beze. Published in four volumes between 1604 and 1621, this huge work is one of the great monuments of Protestant sacred polyphony. This 3CD selection from the psalms makes an ideal introduction to them, being performed by a professional Dutch choir, experts in early music and in Renaissance Dutch style in particular, and directed by a number of illustrious names including Paul van Nevel, Philippe Herreweghe, William Christie, Ton Koopman and Peter Philips. The Netherlands Chamber Choir were pioneers in their field, at a time when choirs were behind the pace of instrumental ensembles in terms of taking on a modern understanding of how to perform this repertoire, with smaller forces, tight intonation, pure tone and dynamic thrust of phrase. The selection illustrates the variety and ingenuity to be found in Sweelinck's vocal output as a whole. There is robust, Venetian-style polyphony; elegantly fluid counterpoint; and straightforward, hymn-like simplicity of gesture. Sweelinck shapes and manipulates his original psalm melodies with an imaginative freedom worthy of Bach in his chorale settings. Like Bach, he is a master word-painter, whether evoking concepts of life and death or down-to-earth images of flora and fauna. Recorded in the late 80s at churches in Amsterdam and Haarlem, these performance attracted critical praise when first released, for the 'first-class' vocal ensemble and engineering. This reissue includes full annotations on Sweelinck and the psalm settings included. - Jan Pieterszoon Sweelinck was a highly influential Dutch composer, organist, and teacher of the late Renaissance and early Baroque periods. Among his most notable works are his settings of the Psalms, which show his mastery in both vocal and instrumental music. Sweelinck's Psalms are based on the Genevan Psalter, a collection of psalm settings originally developed by the Protestant reformers, particularly for congregational singing in Reformed churches. - Sweelinck's versions of the Psalms elevate these simple melodies with intricate polyphonic settings, blending Renaissance counterpoint with early Baroque elements. His innovative use of harmony, counterpoint, and expressive text setting reflects his ability to bridge the two eras of music. The Psalms are notable for their emotional depth and variety, capturing the moods of the texts - ranging from joy and praise to lamentation and supplication. - These recordings of a selection from the in total 150 Psalms were made in the 1980s and 1990s, by the famous Netherlands Chamber Choir, conducted by the most notable Early Music conductors of the time: William Christie, Ton Koopman, Peter Phillips, Jan Boeke, Philippe Herreweghe and Paul van Nevel. The choir is supported by a rich instrumental ensemble. - Truly legendary recordings of timeless Choral treasures from the Netherlands! Originally issued by NM Classics.

Taking it's title, Nessun Dorma, from the greatest tenor hit of them all, Pene Pati's second album balances favourite numbers with operatic rarities - two of them in world premiere recordings. In addition to Puccini, the Italian composers are Verdi, Donizetti, Mascagni and Mercadante, while the French school is represented by Berlioz, Meyerbeer, Gounod, Massenet, Hal�vy and Guiraud. Joining the Samoan tenor on the album are his soprano wife, Amina Edris, his tenor brother Amitai Pati, conductor Emmanuel Villaume, the Orchestre National Bordeaux Aquitaine and the Choeur de l'Op�ra National de Bordeaux. In the words of the Telegraph, Pene Pati possesses an "extraordinary gift for producing a golden thread of sound that can swell without strain to magnificence," while Opera magazine has lauded his "distinctively clear, marvellously sunny timbre, innate musicality and exceptionally vivid textual projection". For the tenor himself, Nessun Dorma "showcases my love of the art of storytelling and the emotions it can elicit... As you listen to the album, I hope it takes you on an emotional journey."

Musical fireworks flare and dazzle in this New Year's concert! This live recording of the 2024 New Year's concert is Philzuid's seventh album - and it's a very different New Year's concert with Latin rhythms and American dance in the foreground. Chief conductor Duncan Ward takes us from Gershwin's lively Overture from Strike Up the Band to a radiant Adriana Bignagni Lesca in Montsalvage's Cinco canciones negras. The dancing continues with Bernstein's On the Town: Three Dance Episodes and ends with a premiere: the first recording of the swinging Cuban Suite by young composer Jenny Pena Campo.

Andr� Rieu's latest album "The Sound of Heaven" (CD + DVD) presents a selection of the most beautiful and romantic pieces of music of all time. Once again, the world-renowned violinist and orchestra conductor takes his listeners on a musical journey full of emotion and passion with truly "heavenly sounds". "The Sound of Heaven" combines a wonderful selection of classical masterpieces, romantic melodies and timeless evergreens, masterfully interpreted by Rieu and his famous Johann Strauss Orchestra. From G.F. Handel to Andrew Lloyd Webber, from Giacomo Puccini to ABBA, from Charles Gounod to John Williams - Andr� Rieu proves once again that music knows no boundaries. The new album delights with melodies from musicals such as The Phantom of the Opera, The Sound of Music or West Side Story, film music from Star Wars and Titanic, as well as popular and contemplative classical titles such as the Benedictus by Gounod and Jenkins and the famous Canon in D by Pachelbel. Of course, the dreamlike Hijo de la luna and Handel's joyful Hallelujah from the Messiah are not to be missed. As a special gift to his fans, the album also includes a brand new DVD. You can look forward to touching interpretations of classics such as "You Raise me Up" and "Amen" as well as joyful and moving performances of pieces such as "A little night music" and "The Lonely Shepherd". Rieu's unique interpretations and his charismatic presence on stage make this DVD the ideal complement to "The Sound of Heaven".