Nothing short of phenomenal' (Fanfare), British-American clarinetist Jean Johnson makes her Linn debut with her partner and husband, pianist Steven Osborne. A keen chamber musician who has performed in some of the world's finest venues, Jean has assembled a programme of luscious Romantic works. Albeit not included in this recital-Brahms serves as the link to all four works. Gustav Jenner was his only long-term pupil; the teacher's stylistic shadow can be sensed in Jenner's Clarinet Sonata, an ambitious work showcasing the instrument's innate mellifluousness. Robert and Clara Schumann were Brahms's friends and mentors, and Jean has recorded arrangements of their beautiful Romances. Weber aptly closes the recital-Brahms delayed his retirement after hearing his clarinet concerto-with the Grand Duo Concertant.

The first album of Postcards from Ukraine gave a potted history of Ukrainian music in the form of a series of miniatures for piano and violin, and the second presented four outstanding chamber works by important Ukrainian composers. This third instalment brings six new arrangements of Ukrainian folksongs, for violin and piano, by Markiyan Melnychenko, integrating them into a programme of folksong- and dance arrangements by some of his best-known virtuoso predecessors.

This album by pianist Reinis Zarins and the Trio Palladio is a special personal tribute to composer Arvo Part (b. 1935), one of the most influential composers of our time. This album includes Part's timeless piano works together with a selection of his chamber works, including the famous Fur Alina, Fratres and Spiegel i'm Spiegel alongside his early works. The programme also includes two special dedications by two Latvian composers, Georgs Pelecis and Andrejs Selickis, who both as composers have been greatly influenced by Arvo Part's example and ideas. These two works, written in 2025 for Arvo Part's 90th birthday, receive their first recordings.

Born in Budapest in 1975 and based in Germany, composer M�rton Ill�s studied with Detlev M�ller-Siemens and Wolfgang Rihm. In 2020, he composed the violin concerto Vont-t�r for Patricia Kopatchinskaja, a long-time partner who performs his music with total commitment. "She gives the impression that music can be tactile, truly three-dimensional, to the point that you could almost touch it, that each gesture has it's own colour, temperature, smell, taste," says Ill�s. S�rt-t�r, "space filled with tears," is a cello concerto: "I make it moan, scream or even roar hysterically in order to draw out the vocal qualities capable of communicating human pain." In Nicolas Altstaedt, "I found the ideal performer, who grasps the dark drama of this subject with existential intuition and makes it resonate with primitive force." Rajzok I consists of tuning the strings of 24 instruments to different quarter-tone intervals. A very unusual and fascinating total scordatura. In Three Sketches, electronic music blends with the sound of the violin, multiplying the sensations and sound textures. Fascinated by the human psyche and the processes that take place in the human body, Ill�s develops music that lives, speaks, and breathes.

This album presents orchestral works by three French composers who saw Spain as a paradise of warmth, fragrance and colour, whether real or imagined. From the vivid evocations of Debussy's Images and Ibert's Escales, to the dances and landscapes that inspired Ravel's Rapsodie espagnole, these masterpieces of Impressionism show the considerable impact Spanish culture had on French composers in the early 20th century.

Dan�el Bjarnason is a hub-like figure in the group of composers who could be said to constitute a First Icelandic School. But he also stands slightly apart from his peers. As the nation's foremost conductor, he has premiered and recorded works by it's central protagonists including J�hann J�hannsson, Anna Thorvaldsdottir, Mar�a Huld Markan Sigf�sd�ttir and others (notably on the Sono Luminus series Emergence, Recurrence and Occurrence). But Bjarnason's own music has long sprawled beyond the borders of the school's distinct aesthetic and incorporated non-abstract forms such as opera, dance and film scores. While some Icelandic orchestral music enacts a gradual transformation on a vaporous orchestra, akin to the shifting shape and colour of a North Atlantic cloud, Bjarnason's formative orchestral works often cleave to a solid, defined musical object which might be distorted or obscured before emerging again intact. His music has never shied away from the slow, drone-lagged music of Icelandic archetype but it has also used more varied tempi and more urgent rhythmic profiles. It has also deployed different time scales in parallel - notably in works such as Emergence and From Space I Saw the Earth, in which planes of music operating at different speeds momentarily sync. This brings to his music a sense of what the late Danish composer Per N�rg�rd described as 'the timeless forces of existence - nature in the broadest sense.' Those works had their roots in breakthrough concertos for cello and piano, Bow to String and Processions, both of which thrive on the process of expanding strong, fertile material by zooming deep in or stretching wide out - a more thematic, less spectral approach than that of Icelandic fashion but one that still sees Bjarnason reveling in the properties of sound itself. - Andrew Mellor

Helmut Lachenmann, who celebrates his 90th birthday in the music year of 2025, has composed several milestones in contemporary classical music. Sir Simon Rattle and the Bavarian Radio Symphony Orchestra are dedicating themselves to some of these exceptional works. In his tuba concerto Harmonica, Helmut Lachenmann explores the limits of sound - with music that oscillates between eruption and silence, by means of "strictly constructed denial" (Lachenmann) and by deliberately disrupting the familiar, and eludes socially preformed listening expectations. This appeal to the audience's self-awareness remains as relevant as ever. The soloist is Stefan Tischler, principal tuba player of the Bavarian Radio Symphony Orchestra, and the live recording with the BRSO conducted by Sir Simon Rattle was made on March 22, 2025. Klangschatten - mein Saitenspiel by Helmut Lachenmann deals with the "verso" of sound, it's suppressed and "unwelcome" components. The spectrum here ranges from toneless or muffled sounds to differently coloured noise and clear tones. Lachenmann himself described the piece as " an offer of expressive intensity that reflects the bourgeois longing for beauty and seeks to fulfil it, that is, to overcome it." The work was performed by the Bavarian Radio Symphony Orchestra under the baton of Matthias Herrmann on May 23, 2025 in the Herkulessaal of the Munich Residenz. Helmut Lachenmann, born in Stuttgart in 1935, is one of the most renowned German composers of contemporary music. He studied piano, music theory and counterpoint in Stuttgart and composition with Luigi Nono in Venice. The first public performances of his works took place in 1962 at the Venice Biennale and at the Darmstadt Summer Courses for New Music. He taught composition in Hanover (1976-1981) and in Stuttgart (1981-1999), and has given numerous master classes in Germany and abroad. His works are performed by internationally renowned players and orchestras all over the world. Helmut Lachenmann has received numerous awards, including the German Music Authors' Prize of GEMA (2015) for his lifetime achievements and, most recently, for his compositional work, the 'President of the French Republic Prize' from the Academie Charles Cros (2025).

Miloslav Kabelac ranks among the most significant Czech composers of the 20th century. Alongside Antonin Dvorak and Bohuslav Martinu, he is recognized as one of the greatest Czech symphonists, and his work represents a cornerstone of Czech musical heritage. His work encompasses nearly all musical genres except opera, but at it's core are eight symphonies, each with a unique orchestration. With the czech conductor Jakub Hrusa the ORF Radio Symphony Orchestra had a welcome expert for this recording, as he examines carefully these rich orchestrated scores of this still underrated music and composer.

Danish Dynamite! The Danish Quartet, established in the 1930s, enjoyed fame for over two decades in Denmark and abroad. Many composers wrote music for their nontraditional setting, including Niels Viggo Bentzon, Fini Henriques, Herman D. Koppel, Otto Mortensen, and Knud�ge Riisager. With one exception (Riisager), all pieces on this album are world premiere recordings performed by today's highly ranked and award-winning Swedish-Danish musicians: Janne Thomsen (flute), Cecilia Zilliacus (violin), Andreas Brantelid (cello), and Bengt Forsberg (piano).

Four years ago, G�nther Groissb�ck, celebrated bassist at the world's most prestigious opera stages, surprised music lovers with a recording of popular Viennese songs. There was hope and expectation that a follow-up would come. Now he returns with a journey through time in the genre, from the Biedermeier period to the present day. While his 2021 album Gemischter Satz featured the Philharmonia Schrammeln, this time it's the Neue Wiener Concert Schrammeln who define the Viennese sound of the CD. It includes songs from the pen of Viennese song poet Andr� Heller, such as "Es is allas unhamlich leicht" (Everything is incredibly easy) or the title track "Annageln kannst es net, die Zeit" (You can't nail down time), as well as classics like Hermann Leopoldi's "In einem kleinen Caf� in Hernals" (In a small caf� in Hernals), Karl Hodina's "Herrgott aus Sta'" (Stony God), or traditional Viennese songs like "Wann i amal stirb" (When I once die) and "I hab die sch�nen Maderln net erfunden" (I can't take credit for the pretty girls). Instrumental contributions from the Neue Wiener Concert Schrammeln, including original compositions by two of it's members - "Hopp Hopp Galopp" (Helmut Thomas Stippich) and "Leopoldina & Pedro or: How Haydn's student Sigismund von Neukomm may have seen Brazil" (Peter Havlicek) - round off this new album.

This recording takes the listener deep into the heart of late-seventeenth-century Naples, where brothers Rocco and Gaetano Greco were central figures in the city's thriving musical life. Their works, grounded in the practice of partimento - an improvisational method built around a given bass line - showcase the cello's emancipation from a purely accompanying role into a fully expressive solo voice. Through vivid dialogues between lower string instruments and harpsichord, I Mastricelli revives a forgotten musical language in which virtuosity, counterpoint, and improvisation converge. The result is a rare glimpse into the creative processes that shaped the Neapolitan cello school and it's lasting influence across Europe. The second part of the programme focuses on Gaetano Greco's pedagogical legacy, presenting short dances, toccatas, and improvisations drawn from early-eighteenth-century student notebooks, alongside music by Francesco Mancini. I Mastricelli highlights the diversity of Neapolitan musical culture - from the earthy energy of the tarantella to the refined contrapuntal art of the keyboard. The ensemble's instrumentation - including cellos, bass viols, bass violins, theorbo, lute, guitar, and harpsichord - evokes the rich timbral world of Baroque Naples. Combining scholarly research with living performance, this debut album offers both an artistic rediscovery and a celebration of the improvisatory freedom at the core of the partimento tradition.

It is, quite simply, excellent, rich in the most beautiful 'affects', wonderfully transparent in sound, with a slight touch of swing in the fast movements that really allows this music to blossom, lively in the allegro, and wonderfully sentimental (but by no means saccharine) in the slow movements. This is what a reviewer wrote to us in his evaluation of this recording before it's release. Indeed, these concertos, recorded here for the first time on period instruments, possess a distinctive beauty that makes them "worth the fuss". In these virtuoso and weightless creations, their composer Joseph Umstatt (1711-1762) proves himself a connoisseur and master of the gallant style that took the entire music world by storm at the time - how else could he have spent the last decade of his life as court composer and kapellmeister to the Prince-Bishop of Bamberg?

As the founding father of Finnish music, Jean Sibelius is the measure of all things to such an extent that an outside observer may easily miss the abundance of talented masters who also practiced the art of composition quite successfully in the land of a thousand lakes. One of them was Erkki Melartin. Not ten years younger than the composer of Finlandia, he also left us a significant oeuvre that repeatedly begs a comparison to his older colleague - of course, it is a comparison whose results are subject to debate. To be fair, we can discover a phrase here or there that reminds us of Sibelius; occasionally, some of Mahler's vocabulary may have sneaked in as well; but the persona whose legacy is six mighty symphonies has blazed his own independent trail away from the Romantic tradition, leading us relentlessly to an unheard cosmos.

These are works by Makkonen, Bartok, Bach, Semionov, Lukes, Kovac Galliano, Hermosa, Messiaen inspired by dance and folk music performed by Anna Paulova and Jiri Lukes

Since 2017, violinist Emmanuelle Dauvin plays whilst accompanying herself on the organ pedalboard - recalling the musical technique of Nicolaus Bruhns at the end of the seventeenth century. This is OVNI Baroque : a spectacular yet forgotten musical practice. Alongside soprano Heather Newhouse, she created Cantata a 2 : a concert programme of arias and instrumental pieces, for soprano, violin and bass, by J.S. Bach, presented here in an innovative arrangement. The arias bring a consolidating balance to the sonata trio in which the text unfolds from the vocal line. From the purity of the trio by two, emerges a bounteous expression.

The two most important concertos for two pianos and orchestra in the entire repertoire. Performed by the famous Duo del Valle, winners of the ARD Prize in Munich. DUO DEL VALLE: Since they won Top Prize and Special Audience Prize in the 54th ARD International Music Competition (Munich, 2005), Victor and Luis del Valle (Velez-Malaga, Spain) have soon been acclaimed as one of Europe's most distinguished chamber music ensembles. They have also been awarded the Silver Medal in the "Primer Palau programme" (Palau de la Musica de Cataluna. Barcelona, 2005). They have been Winners in the "Musiques d"Ensemble 2008" Competition (Paris), "Special Audience Prize" in the XI Dranoff International Two Piano Competition (Miami) and Winners and Special Prize to the best Mozart performance in the IV International Piano Duo Competition of Bialystok (Poland, 2008). In April 2011, they have been awarded the Audience Prize in the XXI Central European Music Festival (Zilina, Slovakia), where most of the winners of outstanding music competitions took part (Queen Elisabeth Competiton, Tchaikovsky Competition, ARD...).

Mixing iconic choral works with music by some of today's most exciting composers, this varied programme is centred around themes of rest. Joel Thompson's virtuosic new work is a particular highlight: written in 15 parts, A Prayer for Deliverance perfectly showcases Tenebrae's core values of passion and precision. The second half features Herbert Howells' Requiem - surely one of the most moving works in the English choral repertoire. Associated with the untimely death of Howells' young son Michael, the work remained unknown until it was finally published just three years before Howells' own death in 1983.

Valentin Silvestrov was forced to leave his native Ukraine after the Russian invasion of 2022. His music has a prescient quality that unerringly seems to express the fate of his homeland. The intimate Violin Concerto and the heartfelt, single-span Eighth Symphony are notable for their economy of expression and emphasis on beauty, depth and harmony. This is music that hovers on the edge of silence in an uplifting homage to love and humanity, hope and renewal.

When the Arts Council's Welsh Committee approached Grace Williams in the summer of 1959 with the offer of a commission to write a one-act opera, this was an opportunity to realise a long-cherished ambition. For her libretto, the composer turned to the French satirist Guy de Maupassant's savagely funny short story en Famille in which the apparent demise of a cantankerous matriarch uncovers the greed of family members. She wrote her own libretto for The Parlour, embellishing and refining Maupassant's story for dramatic purposes and transferring the setting from the banks of the Seine in France to the living room of a house in a Victorian seaside town. Structured in two scenes framing a brief interlude, the drama unfolds during a summer's day in 1870. The Parlour reveals Grace Williams as a natural composer for the theatre, with a flair for character delineation and development. The fast pace means there is no time for a formal overture and the drama begins without preamble. The compact arias, ensembles, recitatives and choruses arise naturally from the music, which is continuous, and there are no long numbers to inhibit the flow of the narrative. As the composer admitted, 'There's quite a lot to say in a short time. So whatever else I'll be accused of, I hardly think anyone could say that the opera drags'. At it's first performance, The Parlour was given a sustained ovation by an enthusiastic audience and there were some very good press notices. Writing in The Sunday Times, Felix Aprahamian was profuse in his admiration, describing The Parlour as 'hilarious' and 'an undoubted hit', going on to remark that 'the piece progresses with perfect clarity and a fine sense of musical contrast'. He concluded his observations by commenting that 'Miss Williams shows a remarkable feeling for musical proportion in her very first operatic essay'. � Paul Conway

This production is dedicated to the works of two American composers, of whom Morten Lauridsen is certainly the better known in Germany. His choral work O magnum mysterium (1994) in particular has become one of the hits of contemporary choral literature in recent years. Lauridsen (born 1943) grew up in Portland, Oregon, the son of Danish immigrants. The songs of Jerome Kern, Cole Porter and Richard Rodgers were very present in his home. He initially studied English and history and worked as a fireman. He then turned his attention entirely to music and moved to the University of Southern California, where, after graduating, he taught music theory and later became a professor of composition. As a creator of primarily vocal music he received many awards, including the National Medal of Arts in 2007. From 1994 to 2001, he was composer in residence with the Los Angeles Master Chorale, one of the leading professional choirs in the USA, which also premiered his Lux aeterna. All five movements of this cycle refer to the "Eternal Light". While Lauridsen was setting the underlying liturgical texts to music, his mother was dying - but the words about light as a universal symbol of all-encompassing enlightenment gave him consolation. Jake Runestad is one of the latest additions to the list of great American composers and is in the process of securing his place in US music history. Born in 1986 in Rockford, Illinois, he grew up in a family that sang a lot. There was also a piano, and during his primary school years he began to play little melodies on it - also teaching himself Scott Joplin's The Entertainer. From 2009 to 2011, he studied at the Peabody Conservatory of Johns Hopkins University, after which he quickly gained recognition, especially in the field of choral music. However, his catalogue of works also includes operas, orchestral pieces and chamber music. He has received commissions from the Washington National Opera, the vocal ensemble VOCES8 and the Swedish Radio Symphony Orchestra, among others. His first album, The Hope of Loving, was immediately nominated for a Grammy Award. A keen mountaineer and camper, Runestad finds nature a great source of inspiration. In his Earth Symphony, Mother Earth herself is given a voice; the five interrelated sections deal with her destruction, her sorrow, her healing, and also her hope for humanity.

Le Secret, Music for Cello & Harp

Rodney Lister's Choral Works: A Journey Through Text, Harmony, and Expression Rodney Lister's choral compositions represent a remarkable synthesis of literary sensitivity, harmonic sophistication, and an abiding commitment to vocal expressivity. This recording offers a collection of Lister's works composed over several decades for the chorus of Greenwood Music Camp, a summer program with which he has been deeply involved as a composer, pianist, and mentor. The repertoire featured here provides a rare and illuminating perspective on the evolution of his choral writing, spanning from early diatonic and modal explorations to later works of greater harmonic intricacy. Lister's deep engagement with text is evident throughout this collection. Drawing upon poets such as Wallace Stevens, Gertrude Stein, and others, his settings bring out the rhythm, colour, and nuance of the language in ways that feel both natural and revelatory. Early works embrace clarity and directness, allowing the shape and syntax of the poetry to guide musical decisions, while later pieces exhibit a denser harmonic language that reflects his affinity for figures like Virgil Thomson and even the chromatic daring of composers such as Gesualdo. Throughout, his choral textures remain vibrant and varied, capable of both luminous transparency and rich complexity. A defining characteristic of Lister's music is his ability to balance tradition and innovation. He employs familiar harmonic structures yet subtly subverts expectations, allowing triadic formations to shift and realign in ways that create an ever-changing sense of musical space. The result is music that feels both grounded and pleasingly unpredictable, continually engaging the listener in an unfolding dialogue between stability and transformation. His approach to choral writing is informed by his experience as both a composer and pianist, ensuring that every line is singable, every phrase thoughtfully shaped, and every harmonic progression imbued with a keen sense of dramatic pacing. This recording not only highlights Lister's distinctive compositional voice but also captures his deep personal investment in the choral medium. His long-standing association with Greenwood Music Camp and other ensembles has allowed him to refine his craft in a setting that fosters both artistic rigor and communal engagement. The performances here reflect that intimate understanding between composer and ensemble, bringing his works to life with clarity, warmth, and expressive depth. For those interested in contemporary choral music that bridges past and present, intellect and emotion, structure and spontaneity, Lister's choral works offer a rewarding experience.

August Fryderyk Duranowski (1770-1834) and Antonio Lolli (ca. 1725-1802) were both important violinists and composers of the 18th century. Duranowski was strongly supported by the Polish noble family of the Oginski, who financed his training with the famous violinist Giovanni Battista Viotti in Paris. Despite the temporal overlaps and stylistic similarities, there are no known direct connections between the Duranowski and Lolli, but interesting similarities and possible influences can be identified, such as the fact that both were outstanding virtuosos of their time. Antonio Lolli was known for his technical skills and his innovative contributions to violin playing technique, which laid the foundations for the modern violin style. Duranowski was also a brilliant virtuoso whose playing and compositions significantly influenced the development of violin music. His works are even said to have inspired Niccolo Paganini.

The Early Recordings Vol. 2 features a number of Langgaard pioneers who presented piano, organ and vocal works in the period 1963-1974. In 1970, Noe�l Lee recorded the first LP of piano music by Langgaard; it is reissued here for the first time on CD. Organist Jorgen Ernst Hansen can be heard on Langgaard's Ribe Cathedral organ (1970). In the 1960s, Royal Theatre soloist, Bonna Sondberg recorded several songs and major vocal works for Danmarks Radio, a selection of which are released here for the first time. The album contains examples of the wide range of expression in Langgaard's music from 1909 to 1951.

Recently awarded the prestigious Brahms Prize of the Schleswig-Holstein Brahms Society, Kent Nagano and the Hamburg Philharmonic State Orchestra, of which he was principal conductor from 2015 until 2025, perform the last two symphonies by the Hamburg-born composer, recorded in concert. The most personal of Johannes Brahms's four symphonies, the Third is both heroic and deeply troubled; moreover, all four movements end quietly. After the heroism of the First Symphony and the pastoral flavours of the Second, the Third Symphony reveals Brahms at a crossroads: the youthful impulses are now reined in and the mood is more one of profound reflection on life and death. The theme of the slow movement has been adapted many times and even sung by Frank Sinatra under the title of 'Take My Love'. The Fourth Symphony might be described as the most classical of Brahms's symphonies, not least because of it's chaconne finale, a variation form inherited from the baroque era. Described as an 'autumn symphony' or 'elegiac', it's mood is sometimes tormented and fiery, sometimes harsh and solitary. The culmination of a genre that cost him so much effort, the Fourth is the last word of Brahms the symphonist; he would never compose another work of this kind.