The short individual pieces on this recording, the Valsas, Improvisos and Momentos show the sweeter side of Guarnieri's musical language. The Waltz is a format in which every Brazilian composer has expressed his national character, making it almost a new distinctive format. Guarnieri's Valsas share a minor key, and typically present internal melodies shared between the hands, and wreathed in chromatic modulations and decorations. Their mood is one of longing, now almost completely shorn of it's dance character. The effect of all these pieces, many of them extreme miniatures, is of gentle nostalgia. � Adrian Farmer

Phoenix Rising featuring violinist Angel Wang with the Phoenix Orchestra, conducted by Claudio Vena presents a cornucopia of Chinese and Western classical music that transcends borders. The album includes Alice Ping Yee Ho's commissioned work Phoenix Rising, the beloved Butterfly Lovers' Concerto by He Zhanhao and Chen Gang, alongside traditional Chinese songs like "Jasmine Flower" and "Galloping Horses," offering a captivating blend of contemporary and traditional music. Phoenix Rising opens with the Butterfly Lovers' Concerto by He and Gang, a violin concerto that blends Chinese and Western compositional techniques, depicting two young lovers transformed into butterflies after their deaths. Followed by traditional Chinese songs: Songs of Four Seasons from China's Qinghai province; Dance of the Yao People, inspired by southern China's drum dance; Mayila, a Kazakh song about a young girl's beautiful voice; Galloping Horses depicting the sounds of horses whinnying and racing across the Mongolian grasslands; and the famous Jasmine Flower from the Qing dynasty, which tells of a virtuous woman captivated by the flower's fragrance and pure beauty. The album closes with it's title piece, Phoenix Rising by Alice Ping Yee Ho, a single-movement tone poem for solo violin and orchestra, encapsulating the timeless idea of the Phoenix rising from it's ashes, symbolizing hope and rebirth.

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.

Words that leap to mind when I think of the sun include universal, energy, qi, ripples, vitality, life, spirituality, hope, renewal, radiance, and braids of light. "Plaits", "bridges", and "links" all function both as nouns and verbs. The dimensional meanings and images of the combination of the four words propelled the spiraling invention and creation of Sun Plaits - Bridges and Links. Across a 5-minute duration, the composition unfolds a labyrinth of musical interrelationships and connections that showcase the soloist in a joyous, virtuosic display of rhythmic agility, double-stops (playing 2 notes at once), counterpoint, energy, dynamic range, timbre, clarity, and majesty. Throughout the kaleidoscopic journey, the work passes through several lively and lyrical episodes, never losing it's sense of radiance, effervescence, and expressiveness. The abundance of double-stops symbolizes "links" while the sparkling, fast-moving lines, which reach in all directions, fly out across the piece like "bridges." Musical materials are braided in dimensional ways like "sun plaits." � Augusta Read Thomas

Hans Gal (1890-1987) wrote extensively for the viola, first as a major composer in the German-speaking world in the 1920s and '30s, and then as a leading cultural figure in post-War Edinburgh, where he had taken refuge after the Nazis seized power in his native Austria. This second volume of his music for viola spans four decades, with four trios from before and after that dislocation, each with it's own background, sound-world and personality, although they are unified by Gal's gift for melody, counterpoint and poised, elegant chamber writing.

The Living Fire is a celebration of choral music written for or associated with Jesus College, Cambridge. Featuring several premiere recordings of contemporary choral works by emerging composers, this album highlights the artistry within the College whilst honouring it's rich musical legacy. At the same time, it looks forward: the impetus behind this project was to provide a platform for emerging artists from within the College community to showcase their work. This project holds particular significance for several Choir members since, among the lyricists and composers, are former ensemble members. Their deep connection to the group has allowed for the creation of choral works uniquely suited to individual voices and our corporate strengths, making these world premieres all the more fitting. Many of the other contemporary works on this album are staples of Choral Evensong, beloved by the Choir and heard in Chapel services for many years. This album is a celebration of the bright future of music at Jesus College, the Choir's integral role in this special community, and it's broader contribution to the development and enjoyment of choral music globally. � Benjamin Sheen

From Renaissance Spain to 21st century Denmark, On a Ground is a musical journey across time and traditions, centered around one of music's most universal elements: the ground bass. Celebrated recorder virtuosa Michala Petri and renowned Japanese baroque harpist Marie Nishiyama unite to explore the expressive power of this timeless form. Recorded, after a concerttour i Japan, including Suntory Hall, and just before the global lockdown at Chichibu Muse Park in Japan, the album presents intimate and evocative interpretations of works by Diego Ortiz, Alessandro Marcello, J.S. Bach, Erik Satie, and contemporary Danish composer Lars Hannibal, among others. The duo's collaboration reveals the meditative beauty and subtle intricacies of their ancient instruments. From the iconic Greensleeves and baroque gems to lyrical modern compositions, On a Ground is a graceful, immersive listening experience rooted in shared artistry and a deep respect for musical heritage. Recorded December 2019, Chichibu Muse Park, Japan in the DXD format by Hironori Kosaka (OMF).

This album combines Japanese and European art songs - two seemingly distant cultural spheres revealing often impressive affinities, whereby in the direct comparison the respective characteristic profiles of the Western and Far Eastern style traditions are certainly preserved, perhaps even more apparent. All in all, a musical round dance is created through the highs and lows of human emotions and experiences - and regardless of the permanent back and forth between East and West, an invisible bond leads us to the brilliant rising of the Far Eastern sun in the last song of "A magnificent morning" by Yoshinao Nakada. Wonderfully interpreted by Misaki Kobayashi and Matthias Veit.

A collection of solo piano music conjuring soundscapes of changing timbres and tonal hues conveying the beauty of Baltic culture. The Latvian Lucija Garuta (1902-1977) and the Estonian Ester Magi (1922-2021) are two of the most important pianist composers of their generation. Exploring their similarities and differences is an album of virtuosic pianism that encapsulates the essence of Baltic song, a deep connection to nature and the mysterious world of Baltic folklore.

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 music of Artur Lemba has been strangely neglected, even in his native Estonia - although during his lifetime (1885-1963) he was held in high regard as a pianist and teacher. That oversight is all the more surprising in view of the expansive lyricism of his writing - listeners who enjoy the music of Tchaikovsky and Rachmaninov are likely to find Lemba's appealing. This first release in a pioneering series discovering his chamber music is accompanied by two historical recordings, one with the composer himself at the piano, and the other, almost a century old, of the one Lemba miniature to achieve some degree of popularity.

Baritone Benjamin Appl pays tribute to his mentor, Dietrich Fischer-Dieskau, whose centenary we celebrate in 2025. "The first time I heard his voice was at school when I was twelve. In 2009, I applied for his master class at the Schubertiade in Schwarzenberg which was the start of a long and transformative relationship. I was fortunate to work with him on my entire repertoire over countless hours in his homes in Berlin and Berg." This album, a CD-book of 140 pages with personal text written by Appl alongside numerous previously unpublished photos and letters, offers us a glimpse into who Fischer-Dieskau was as a person, outside of his obvious public successes and accolades. The repertoire in this touching recording is structured to reflect the major stages of his life and includes compositions by family members Albert and Klaus Fischer-Dieskau, repertoire he sang as a soldier during WW2 and as a POW in Italy, commissions composed especially for him through to favourite Lieder by Schubert.

Suffering in an unhappy marriage, Woman yearns for a world beyond the boundaries of flesh and an existence outside of the conventions of human society. A secret young Lover's desire instigates an explosive metamorphosis, and Woman finds perfect release as a tree. Sivan Eldar composes with Like Flesh her first opera on a libretto by Cordelia Lynn, a poetic saga inspired by Ovid's Metamorphoses. A new eco-feminist myth about our broken relationship with an environment in crisis, interpreted by Maxime Pascal and Le Balcon, and recorded by b records at Opera de Lille.

In the summer of 1717, after performing his Water Music during a royal cruise on the Thames, Handel began composing for James Brydges (1674-1744), who became the first Duke of Chandos and created the Cannons Concert at his estate in Cannons (near Edgware), with ten instrumentalists and three singers. Handel composed eleven anthems and a Te Deum for him from August 1717 onwards, as well as transposing and revising As pants the hart (HWV 251b). O sing unto the Lord a new song (HWV 249b) is an adaptation of an anthem written three years earlier for the Chapel Royal. The anthem Have mercy upon me, O God (HWV 248) was composed in 1717 and is a paraphrase of the Miserere. The Alleluia of Let God arise (HWV 256a) prefigures the famous Hallelujah chorus from Messiah (1741). Arcangelo and Jonathan Cohen now revive these four Chandos anthems composed for Cannons with eight singers and eleven excellent instrumentalists.

With sounds that whistle deep blue and remind you of the blues - the origins of jazz? - in his new composition Robin Verheyen takes colors from Jean Fouquet's 'Madonna' and assigns them to his tenor and soprano, the three musicians of the Goeyvaerts String Trio and the 88 keys of Marc Copland's piano.