Que sais-je? is a one-hour composition that explores the life and philosophy of composer Amos Elkana's father, Yehuda Elkana, through music, archival recordings, and visual media. Performed by the Meitar Ensemble, the piece integrates live instrumental performance with multichannel audio and video projections, surrounding the audience with a tapestry of sound and memory.

By modern standards, Thomas Muntzer might be described as a liberation theologian. A few years before his violent death, the ordained priest married a former nun (like Martin Luther), devoted himself to helping the needy, and ultimately became actively involved in the Peasants' War-actions that alienated him from both the secular authorities and Luther himself. Muntzer, an impassioned advocate for the oppressed, met his end on the executioner's block in 1525. On May 27, 2025, the 500th anniversary of his execution will be commemorated. To mark the occasion, the vocal ensemble Amarcord presents two works Muntzer created as part of his liturgical reforms: the first German-language Christmas Mass and the�Amt�(Office) and Matins for Easter. Muntzer translated the texts from Latin into German, aligning them with traditional chorale melodies. The result is a deeply contemplative experience, lasting over 75 minutes.

Tony Malaby,�Jozef Dumoulin�and�Samuel Ber�explore music made of flow, pulses, textures, angles, memory, rotations, distances, intentions, proliferations, territories, speeds, changes of scale, intervals. Their taste for playfulness pushes them to redefine the music at every moment.

This album is the second release in a series of three, that encompass the entire 32 Beethoven Piano Sonatas. Pianist Moritz Winkelmann is a Prize Winner at the International Beethoven Competition Bonn and also part of an exclusive educational linneage that can be traced back directly to Beethoven himself.

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.

Emmalisa Hallander, vocals Filip Ekestubbe, piano Niklas Fernqvist, bass Henrik Jaderberg, drums Daniel Migdal, violin 1 Jonna Simonsson, violin 2 Riikka Repo, viola Amalie Stalheim, cello Special guests Peter Asplund, trumpet & Per Texas Johansson, saxophone

Even today, there are those who want to hear the same "female Beethoven" in Emilie Mayer that contemporaries of the Prussian composer believed to recognise in her works. The label of course does not explain the artist's notable successes. She had a classically informed but romantically inspired temperament and was successful in negotiating the balance between both worlds. The blurring of boundaries she creates is not intrusive, but is hidden among other places in her individual treatment of the large orchestra she calls for. This was a very special challenge for the orchestrator Andreas N. Tarkmann when he reconstructed the lost score of the B minor Symphony from the piano reduction for this recording. A highly dramatic panorama that results is a convincing connection to the Symphony in E major written two years later, creating a further journey of discovery through the world of Emilie Mayer.

Telemann's practicality enabled him to recognize at a very early stage the cantors' desire for cantatas that are easy to perform. For this reason the collection entitled "Der Harmonische Gottesdienst" quickly became popular and no doubt earned him a handsome profit. The publication of this collection made him one of the most popular cantata composers of his time. In 1728 Mattheson referred to "Der Harmonische Gottesdienst" in his "Musicalischen Patrioten" as a standard work of valuable domestic music.

This is his third album, but he is only 23 years old. No question about it: Mathieu Clement, the drummer, composer and arranger from Luxembourg, goes his way unswervingly.�Stylistically, the drummer also moves with this septet on a tried-and-tested basis. The watchword is "straight ahead." Clement is basically oriented toward the achievements of those jazz currents that developed in the mid-1950s and resulted in mainstream varieties.

This album pays tribute to the singular world of Valentin Silvestrov, a composer whose music gently reaches out to the past while also resonating with the voices of such contemporaries as Leonid Hrabovsky, Alexander Knaifel, Arvo Part, and Andre Volkonsky. Curated and performed by pianist Alexei Lubimov, the recording unfolds like an intimate uninterrupted journey; a musical dialogue among friends and fellow spirits united by admiration and shared feelings. Silvestrov's�Bagatelles�form the heart of the album, not miniatures in the traditional sense, but fleeting moments of music. Each piece is open-ended, flowing into the next and forming a delicate chain that gradually reveals a shimmering, larger form. A deeply personal listening experience, this album invites the listener into a space where every sound feels like a whisper across time: thoughtful, luminous, and quietly profound.

Extraordinary works by British Women composers, brought to light by cellist Catherine Wilmers In A Cello Galaxy of British Women Composers, Catherine Wilmers brings to light an extraordinary collection of works by British women presenting us with twelve premiere recordings. Drawing on diligent research, Wilmers unearths strikingly original compositions presenting us with premiere recordings by Amy Elsie Horrocks, Ethel Barns, Elizabeth Poston, Joan Trimble, Dora Bright, Susan Spain Dunk, and Sarah Rodgers, whose Mountain Airs was written for the cellist. Some of these works lay forgotten in the archives of the Royal Academy of Music, their potential stifled by societal limitations rather than artistic merit. The album is more than a rediscovery-it is a testament to the resilience and artistry of these composers. The satisfyingly detailed liner notes reveal the challenges they faced, often in their own words or through the prejudices of their time. As late as the 1920s, the critic Cecil Gray echoed Dr Johnson's notorious remark: 'A woman's composing is like a dog walking on it's hind legs; it is not done well but you are surprised to see it done at all.' Such dismissals only fuel the need to champion these voices today. Wilmers' deep connection to this repertoire is evident in every performance, matched sensitively by accompanying pianist, Jill Morton. A former cellist with the London Philharmonic Orchestra, Catherine Wilmers has long questioned why so few works by women have entered the standard repertoire. This album is part of her answer-a luminous and long-overdue celebration of their music.

In London in 1736, the Baroque genius Handel celebrated the power of music with his oratorio about Alexander the Great, one of the greatest successes of his life. Covent Garden was never so full as on the evening of the premiere. For this original English version, Alfredo Bernardini unites the fantastic voices of the Arnold Schoenberg Choir with his lively Zefiro Baroque Orchestra. The three soloists Miriam Kutrowatz, Daniel Johannsen and Damien Gastl tell the ancient story of how the singer Timotheus was once able to change the mood of the great Alexander, evoking a whirlwind of diverse emotions, highlighting the power of music over politics and war.

The next album in their mixtape series, Light and Shadow is the new album from Orchestra of the Swan and artistic director David le Page. Featuring new arrangements of works by Peter Gabriel, Thomas Newman and Radiohead this latest instalment promises to take you on a compelling, imaginative journey - bridging musical genres such as jazz and electronics in their signature 'Swan' style. Praise for Earthcycle SIGCD789 "Superb recorded sound repays listening on headphones with some ravishing details. The curious-minded won't be disappointed." - Gramophone

This album, Galdosiana, not only compiles three of the most significant orchestral works by Gran Canarian composer Laura Vega, but it also highlights female interpretation with the esteemed conductor Lucia Marin from Jaen leading the Navarra Symphony Orchestra, alongside the prestigious Spanish soloists Maria Esther Guzman on guitar and Marta Zabaleta on piano. Four women spearheading the recording of three musical creations can be classified as a "trilogy" characterised by programmatic and interdisciplinary elements: the bright dawn of Caelum in terra, the mature and reflective sophistication of Galdosiana, and the mystical elevation found in Luz, Amor y extasis. Born in Gran Canaria, Laura Vega studied under composers such as Daniel Roca, Xavier Zoghbi, Jose Luis de Delas, and Jose Maria Sanchez Verdu. From 2008 to 2011, she served as President of the Las Palmas Association of Composers, Promuscan. Between 2003 and 2021, she was a professor in the Composition Department at the Canary Islands Higher Conservatory of Music, and in 2016, she earned her doctorate in Art History and Philosophy from the University of La Laguna. Since 2011, she has been a full member of the Royal Canarian Academy of Fine Arts, and in 2023, she began teaching at the Professional Conservatory of Music of Las Palmas de Gran Canaria.

Kristina Marinova, a classically trained European pianist, captures the sonic tapestry of the Grateful Dead's music spanning from their inception in 1966 to their award winning and critically acclaimed three album Live European Tour in 1972 with THE BUS CAME BY AND I GOT ON from Navona Records. The Grateful Dead, known for their eclectic style which fused elements of rock, folk, country, jazz, bluegrass, blues, rock and roll, gospel, reggae, world music, and psychedelia presents a unique challenge for an artist raised on Bach, Rachmaninoff, Mozart, and Scriabin. The intricate interweaving of Jerry Garcia's expressive lead guitar work along with Phil Lesh's unique and innovative bass lines melded with Bob Weir's unconventional rhythms (not to mention the Band's vocal harmonies) made for an attempt at capturing the "true sound" of the Grateful Dead on a sole piano, demanding and impossibly complicated. Nevertheless, the bus came by and, undaunted, Marinova got on.