Giordani's activity was indeed fashionable, having success both with operas and with instrumental music. The composition of these flute concertos dates back to an unspecified period of the 18th century, but their structure is unquestionably within the golden classical principles of the sonata form, allowing us to place them temporally between 1765 and 1775. The concertos offer the listener a realistic glimpse of the flute technique of the time that would soon see the Romantic Era blossom. In this recording, the instrument used is a copy of a mid-eighteenth-century C. Palanca, with a diapason of about 420 hz.

This set brings together twelve French-trained pianists performing thirteen French works for piano and orchestra of which ten are premiere recordings. Most of the performers knew the composers and worked with them and four works are performed by their composers. It's hard to imagine a more definitive view of this repertoire, recorded at a time when French pianism still had a very distinctive personal voice, and as such, these recordings, many little known, are a permanent legacy of their time.

This collection of music inspired by English folksongs by Clive Osgood continues a centuries-old tradition of music handed down through the generations, each one beautifully reimagined in a fresh and modern realisation. Holding a vital part in our cultural heritage, these English folksongs are rooted in the nation's maritime history, and also explore the melodies that have been adopted by the church and become timeless favourites as part of the rich repertoire of sacred hymnody.

With�Marimba, David Moliner presents an extraordinary album that places this unique instrument and it's manifold colors and sounds at it's core. Moliner's masterful arrangements and two original works composed specifically for the instrument take listeners on a sonic journey through the centuries, combining both technical skill and creative expression. The album brings together works from various epochs and styles. Particularly notable is his arrangement of Johann Sebastian Bach's Cello Suites, which he transforms into new, polyphonic textures using his four Marimba mallets. Moliner successfully combines Bach's rhythmic pulse and musical complexity with the Marimba's unique tonal color. In addition to the Baroque works, the album also features pieces by Claude Debussy and Franz Schubert. Moliner brings a new dimension to Debussy's impressionistic�Arabesques, allowing the Marimba to bloom in a delicate, almost pictorial soundscape. Schubert's romantic�Impromptu, transcribed by Moliner for Marimba, unfolds in it's poetic beauty and gains expressive depth through the instrument's distinct timbre. Another highlight is the composition�Jalak Suren�by contemporary composer Alexander Liebermann, inspired by the bird songs of Indonesia. Moliner brings the subtle melodies and rhythmic structures of this music to life, allowing the Marimba to shine as a sensitive storyteller of a musical nature portrait. The album concludes with Moliner's own Marimba composition, making a powerful statement: the Marimba is not just an exotic instrument but a full-fledged member of the classical music scene, capable of interpreting the entire spectrum of the repertoire from Baroque to Modern. A must for lovers of sophisticated percussion and for all those who want to experience classical music in a new, captivating sonic dimension. Recorded at Kloster Lankwitz, Berlin October 2024

The reputation of Havergal Brian (1876-1972) as a late-blossoming symphonist obscures the fact that he was an early-blossoming composer of choral music for the huge market of amateur choirs thriving in Edwardian England. His choral songs range from simple unison settings for children's or women's voices to harmonically complex essays intended to tax the ability of groups taking part in the choral competitions once popular in many parts of Britain.

Storyville Records is proud to present Danish pianist and composer Carsten Dahl's new album, In the Middle of Nothing - to Palle Mikkelborg, on April 11, 2025. In the Middle of Nothing is a deeply personal tribute to one of Scandinavian jazz's most visionary figures. This recording is both a celebration and a meditation, honoring the legendary Palle Mikkelborg, trumpeter, composer, arranger, and spiritual guide to generations of jazz musicians. The album consists of 7 tracks, all arranged and composed by Carsten Dahl. Mikkelborg's influence spans decades, transcending borders and genres. His sound is otherworldly, his approach both intimate and expansive. He has spent a lifetime exploring the space between sound and silence - seeking, as Dahl describes, "the sublime sound of nothing in everything and the sound of everything in nothing." With In the Middle of Nothing, Carsten Dahl channels this philosophy into a deeply atmospheric and immersive listening experience. The album carries a special dimension, as Mikkelborg himself participates alongside his wife, the renowned harpist Helen Davies. Together, they join Carsten Dahl Ensemble in a sonic exploration where the boundaries between composition and improvisation dissolve, creating a musical universe that is at once ethereal and profoundly grounded. The album also features contributions from a slew of prominent names in Scandinavian jazz, including saxophonist Fredrik Lundin, bassist Nils Bo Davidsen, drummer Thomas Pasborg, a string sextet, and BBC Children's Choir. Palle Mikkelborg's trumpet playing is deeply rooted in both jazz tradition and Nordic storytelling, drawing as much from American pioneers like Miles Davis and Louis Armstrong as from the legacy of Carl Nielsen, H.C. Andersen, and Soren Kierkegaard. His music is elusive, poetic, and rich with mystery, never adhering strictly to genre but instead embracing time, space, and silence as integral elements of musical expression. Carsten Dahl, one of Denmark's most innovative and adventurous musicians, is known for his boundless imagination and fearless exploration of sound. With an unparalleled sense of improvisation, he bridges the worlds of jazz, classical, and avantgarde, constantly searching for new expressions and emotional depth. In the Middle of Nothing - to Palle Mikkelborg is a testament to the power of listening, of presence, and of music's ability to transcend the tangible world. It's an album for those who seek music that exists beyond boundaries, where jazz meets folklore, and where silence meets sound.

Elena Denisova is recognised as one of the most charismatic personalities of the international violin elite and sees herself as an ambassador of the magic of sound. She realises this as a passionate motto in all her interpretations of classical and 21st century works. It also applies to Bach's three sonatas for solo violin, which she performs here entirely in this spirit.

The Katok Ensemble was formed in 2019 by Paul Serri. For their first album "Le Temps suspendu" (Suspended Time), they have taken up the challenge of bringing together on a double CD Beethoven's String Quartet No 15 and Schubert's Quintet for Two Cellos. These two works complement each other in so many respects and heralded the Romantic Era which would follow. The recording made at the Katok Festival in Ardeche enables us to hear them from a fresh perspective.

Second instalment in the ongoing symphonic cycle Scriabin/Ono. The grandiose and particularly colourful Third Symphony by Alexander Scriabin in an opulent and gorgeous account by Kazushi Ono conducting the Brussels Philharmonic. This music demands the highest possible degree of sheer beauty of tone by the orchestra. Here it is achieved thanks to the musicians and the conductor, but also thanks to the avantgarde Dolby Atmos/Immersive recording by MotorMusic studio. EPRC 0061, Scriabin: Symphony no.2 was 2024 Critic's Choice by American Record Guide. Classic Voice (ITA): "The outcome is no less than overwhelming." BBC Music Magazine (UK): "The Brussels Philharmonic strings relish Scriabin's ardent and sensuous melodies."

Ehmann and the Westfalische Kantorei were among the pioneers in the field of historically informed performance practice. In particular, they brought the work of Heinrich Schutz back into public awareness.

The Hecker Helmchen duo is renowned for the high standard of their performances, which is reflected in their recordings. The German cellist Marie-Elisabeth Hecker caused a sensation by winning both the First Prize and two Special Prizes at the eighth Rostropovich Competition twenty years ago, whilst Martin Helmchen has also been performing on the most prestigious international stages for two decades. They are partners both on and off the concert platform and are passionate advocates of chamber music. This anthology of Russian music for cello and piano is a journey through the most beautiful and intense pieces of the 20th century and will undoubtedly find a special place in the discography.

For All We Know is the pure document of a magical concert evening in the LOFT in Cologne: without cuts and without any subsequent embellishment.�A piano trio that plays standards, including ubiquitous ones such as "Stella By Starlight" and "Body and Soul": a case of decent, basic jazz? By no means! "We're really creating weird stuff," pianist Thomas Ruckert said. Weird, because it is completely detached from the usual conventions of standard interpretation.

Plain Songs: 'Love Comes Quietly' (after Robert Creeley) is composer Peter Garland's haunting seven-movement work for pipe organ, performed by acclaimed organist Carson Cooman on the Fisk organ at Harvard Memorial Church. Garland writes about "Plain Songs": "I wanted to write a piece for organ that would be intimate and mostly quiet, emphasizing the nature of the organ as a wind instrument capable of long, sustained tones. I wanted the musical textures to be open and transparent, rather than dense and massive. I also had in mind smaller historical organs and their music. The reference to the poet Robert Creeley is relevant to the above-mentioned goals. I greatly admire the simplicity and clarity of his poetic language; it's lucidity and how it rarely strays from the directness of popular, vernacular speech. I wanted to emulate those qualities in my music to the extent it was possible: to transfer the music of his poetry into the language of my music." Peter Garland is a composer, world traveler, musicologist, and writer whose music is informed by his well-traveled ear and strong sense of personal vision. He studied with Harold Budd and James Tenney and maintained long friendships with Lou Harrison, Conlon Nancarrow, Paul Bowles, and Dane Rudhyar. As a musicologist, he has focused on Native American, Mexican, and Southwestern American musics and 20th-century experimental composers of the Americas, championing the work of Revueltas, Partch, and Nancarrow long before their music became fashionable and regularly programmed. Since the early 1970s, Garland's music has been marked by a return to a "radical consonance" and simplification of formal structure influenced by Cage, Harrison, early minimalism, and a great variety of world musics. His unique and highly engaging pieces have been played around the world by such noted performers as pianists Aki Takahashi, Herbert Henck, and Sarah Cahill; percussionist William Winant; accordionist Guy Klucevsek; and the Kronos Quartet and released on the Cold Blue, Tzadik, New Albion, Mode, Avant, Toshiba-EMI/Angel, New World, and other labels. "Garland's music seems to be about the sheer expressive power of sound itself.... I feel he is one of our true originals." (Robert Carl, Fanfare magazine) "Garland is... a composer of mesmerizing music." (Kyle Gann, Chamber Music magazine) "A marvelous artist." (Harold Budd) Carson Cooman is an acclaimed concert organist who specializes in the performance of contemporary music-and more than 300 compositions by over 100 composers have been written for him by such composers as Kyle Gann, Jennifer Higdon, Jo Kondo, Robert Moran, Howard Skempton, and Linda Catlin Smith. His organ performances can be heard on a numerous of recordings. And as a composer, Cooman has written hundreds of works that have been performed around the world. He is currently Research Associate in Music and Composer in Residence at Harvard's Memorial Church. "Carson Cooman is one of the most versatile and active musicians of our time. Pianist, organist, composer, and improviser, he is excellent in every field." (Music and Vision) "Cooman's success as a composer for the organ is due in large part to his innate understanding of the instrument as a performer." (American Record Guide) "Carson Cooman is a nimble, nuanced, and eloquent advocate." (Choir & Organ)

The search for our true home is a perennial quest no matter what our historical or cultural background might be. The goal of the journey is not a return to a certain place on the map, or the recovery of lost memories, but to discover within ourselves the true home from which we all came and to which we shall return. It is a search for the meaning of our existence, a search for beauty. The works collected in this album have for a long time been good companions in my search for beauty, in my "journey home". They brought plenty of joy and precious moments of discovery and recognition for which I am grateful. I hope that you who listen to this album will share with me an admiration for these works, a special feeling of intimacy and tenderness, and will be inspired and reassured on your own journey home, your own search for beauty. Happy sailing! � Vladimir Feltsman (The tracks on this release are all taken from Vladimir Feltsman's extensive discography on Nimbus Alliance)

Emanuel Moor (1863-1931) was the son of an opera singer and cantor from Kecskemet, Hungary. He studied in Budapest with Robert Volkmann and then in Vienna with Anton Bruckner and the pianist Anton Door. And there is no doubt that the city on the Danube left it's musical mark on his work, as the three piano trios presented here reveal. However, the point of departure for this trilogy does not start with his composition teachers, but with another famous counterpart, Johannes Brahms, who inspired not only Moor but also many of his younger compatriots. The chamber music of Bela Bartok and Erno Dohnanyi also led him down a path to produce a wide spiral of unique structures and modes of expression with the piano always to the fore. The composer's brilliant mastery of this instrument is combined with the two string instruments to create exciting constructions.