In their second volume exploring lost American violin sonatas, Solomia Soroka, Phillip Silver, and Arthur Greene survey a half-century of music-making, from the buoyant High Romanticism of the Bostonian Clara Rogers via the impassioned early Impressionism of the New York-based Albert Stoessel, to the explicitly Jewish sounds of Julius Chajes, who settled in Detroit, one of the many refugees from Nazism who added a new flavour to American music. All three works testify to the rich heritage of forgotten American music awaiting rediscovery by alert and curious musicians and listeners.

Jinhyung Park, winner of the 2023 Jaén Prize International Piano Competition, explores the multifaceted nature of his instrument in this meeting of three 19th-century masters. Brahms' Handel Variations - a birthday gift to Clara Schumann - employs an infinite variety of pianistic and motivic devices, while Granados' Los requiebros is a dazzling interpretation of the Spanish jota folk dance. Dvorák's formidable Second Piano Quintet is swept along by an enveloping lyricism that distils the very spirit of the composer.

The first and upcoming album by Levi. Sct aka Levi Schechtmann on the Neue Meister label presents a distinctive fusion of classical piano and modern hip-hop elements?. The album seamlessly blends classical piano compositions with contemporary hip-hop rhythms, showcasing Schechtmann's unique approach to music?. This release marks a significant milestone in Schechtmann's career, reflecting his growth as a composer and pianist who transcends traditional genre boundaries?. Levi. Sct is a piano influencer with more than 1. 8 Mio followers on his social media channels?

Strange Wonders, The Wexford Carols, Vol. II is the follow-up to the #1 Billboard and Amazon charting The Wexford Carols (2014), hailed by The Irish Times as "The Wexford Carols as they have never been heard before." Produced by celebrated Grammy-winning producer Ethan Johns (Paul McCartney, Kings of Leon, Ray LaMontagne) and led by renowned Irish singer/arranger Caitriona O'Leary, this new recording offers an intimate, spiritual, and mystical journey through eleven rarely-heard carols from Ireland's cherished Christmas tradition. The album features a world-class ensemble, including Alison Balsom (trumpet), Stile Antico (choir), Seth Lakeman, Clara Sanabras, John Smith, Olov Johansson, Simone Collavechi, Deirdre O'Leary, Mel Mercier, John Hearne, and Ethan Johns himself. Drawing on 17th-18th century Wexford carol traditions and blending early music, folk, and classical styles, Strange Wonders illuminates familiar moments of the Christmas story alongside rarely sung carols to saints of the Twelve Days. This moving collection brings Ireland's greatest Christmas music to life for today's audiences in a timeless new way.

Once upon a time. To walk with Klaus Huber along the path of creation for more than two decades is a singular experience. It's always in the present tense, because his friend's human imprint is indelible, and his music is one of those whose line and density transcend time. The political and musical projects carried out in their time with talent, and each in their own style, by the great musical figures of the twentieth century, including Luigi Nono, Pierre Boulez, Iannis Xenakis, Klaus Huber and others, reveal by contrast an abysmal contemporary void. Maintaining a confusion between entertainment and culture, subject to the diktats of the quantifiable, the marketable and the "accessible," our leaders now navigate by relying on a deregulated sextant: vagueness, ignorance, mediocrity and the secondary triumph. In this chaos, Klaus Huber's mission to give music the ability to shake people's consciences has taken on an imperative, not to say quasi-revolutionary, character. However, let there be no misapprehension: Klaus Huber's revolution is not that of those critics whose appetite for tabula rasa is merely the mirror image of their fascination for a conservatism even more outrageous than the one they claim to oppose. History is full of these false noses. His is in a completely different vein. It is personal, authentic and uncompromising, astronomical in the sense of a backward-looking movement, and a demanding but also benevolent introspection. His weapon? Music, which demands of both performer and listener a disposition that transcends and emancipates us in the sharing of an active spiritual communion of listening. Like the vigorous flame of utopia preserved from the mortifying Soviet glacis by the poet Ossip Mandelstam, a literary source, among others, where Klaus Huber drank, the flame in the form of a legacy that Klaus transmits to us, at a time when we are celebrating the centenary of his birth, radiates our chaotic and suffering contemporary horizon with it's invigorating and regenerating fires. Jean-Luc Menet

With this vinyl edition, the Xenakis Trio refocuses on two major pillars of it's repertoire: Iannis Xenakis and Steve Reich. Two distinct visions of contemporary percussion, brought together in a dialogue of materials, rhythms and resonances. Taken from their first album Alliages, these works take on a new dimension here: the warmth of vinyl restores all the density of the instrumental gesture, the grain of the timbre, the raw pulsation of the percussive sound. This edition is a field of resonance - a space where the tectonic forces of twentieth-century music combine with the artistic demands of a trio in search of the limits of sound.

All the works on this CD share a constant feature: the musical "gesture," which is at the origin of each piece. This "gesture" may appear in several ways. It may be brief and concise, as in the opening of ".a riveder le stelle," or more complex and extensive, as in the beginning of "Mosaico." In all cases, however, the "gesture" creates a "figure" and a "situation" that sets off a process of transformation. As in a theatrical scene, even a short one, the instrument is like a character who acts through this or that "gesture," expressing speech through articulated transforming figures. Just like a monologue or, in other cases, like a dialogue. A guitar, a violin, a harp, or a cello are not just musical instruments. They are "characters" with their own personality and a story to tell. Furthermore, each piece is a story where several situations occur and memories from the past return. "Narration" is another basic element of my way of composing. It can take different routes, reaching different destinations. The last part of "Youth," written for harp, rediscovers the vague memory of a 70s song that I loved when I was a teenager. The end of ".a riveder le stelle" and "Mosaico" are concluding moments of a journey where many things had happened, and where now, looking back, we can understand the sense of them and the sense of the journey itself. At no point are the direction and the destination set at the beginning. They are "found" along the way, for what is important is the journey. Simone Fontanelli

The Isabella Scelsi Foundation promotes the production of contemporary music in a broad and wide-ranging manner, with particular attention to the work of it's founder, Giacinto Scelsi. This is the direction taken in the Scelsi Collection, a series of recordings produced in close collaboration with the Stradivarius label, which presents the Maestro's works performed by leading musicians and renowned vocal and instrumental ensembles. We are pleased to present this new CD, which further enhances the collection and encompasses many features of extraordinary interest. Fabrizio Ottaviucci, the distinguished pianist who, through his contact with Giacinto Scelsi, had the opportunity to deepen his interpretation of the great composer's piano music. Here he presents large-scale work, previously unpublished, rediscovered thanks to the research carried out on the Foundation's Historical Archive, as described in detail in the CD presentation. A further point of interest is undoubtedly the fact that the CD is the result of a live recording, allowing listeners to immerse themselves and enjoy that unique and unrepeatable moment experienced during the performance, which took place in a concert organized by Area Sismica, a noteworthy association for the promotion of new music. Gianni Trovalusci President Fondazione Isabella Scelsi

Strangers is pianist Alexander Wienand's bold new statement - a celebration of curiosity, discovery, and the creative spark that emerges when artists step into the unknown together. The album's concept grew from a simple but powerful idea: that unfamiliarity can be one of the greatest sources of inspiration. Whether it's an untested rhythm, a new musical partner, or an idea outside of music entirely, these moments of uncertainty challenge musicians to respond - and it is within these reactions that true creativity is born. The title track Strangers embodies this philosophy. Two contrasting themes evolve through improvisation until they merge into a single, unified musical narrative - a metaphor for encounter, tension, and transformation.

Widely regarded among the most important chamber works of the 20th century, Olivier Messiaen's Quatuor pour la fin du temps is a world within itself, a profound rumination on the concept of eternity - and, owing to it's legendary and mythical stature as a work of resistance, an integral part of the European classical standard repertoire for several generations. As such, the Quatuor is still the oldest piece in the repertoire of New York's Anzû Quartet, whose members - Olivia de Prato (violin), Ashley Bathgate (cello), Ken Thomson (clarinet), and Karl Larson (piano) - view the work as a catalyst for much of the contemporary music they perform today. Inspired by the lauded 1976 recording by the TASHI quartet, the group follows in some giant footsteps while digging deep into the original score with a renewed sense of rhythmic vitality, seeking to render Messiaen's pivotal work as powerful today as it was when he first composed it as a prisoner of war in 1940-41.

Pour le premier album de son Klezmer Ensemble, Marc Crofts reunit des musiciens de tous horizons (Suisse, France, Pologne ou Bulgarie) qui ont chacun des influences musicales differentes : musiques klezmer, balkaniques ou tziganes, mais aussi jazz et classique. Le violoniste a puise dans un repertoire folklorique perdu, qu'il a rearrange de facon totalement inedite en faisant dialoguer les codes traditionnels avec ses propres experiences musicales et celles de chacun de ses acolytes. Entre tradition et modernite, Urban Myths propose une relecture subtile et jubilatoire de la musique klezmer, interpretee par des musiciens virtuoses qui communiquent une precieuse complicite. Augustin BONDOUX / Patrick FReMEAUX For his first Klezmer album, Marc Crofts has gathered musicians from many horizons (Switzerland, France, Poland, Bulgaria). Each of them brings in a different musical influence, whether from Klezmer, the Balkans or gypsy traditions, but also jazz and classical music. The violinist draws from a lost folk repertoire which he has rearranged in a totally novel way, constructing a dialogue between traditional codes and personal musical experiences that belong only to his companions and himself. Navigating old traditions and inventive modernity, "Urban Myths" offers a jubilant and subtle new interpretation of klezmer music played by virtuoso musicians who share a precious and communicative complicity. Augustin BONDOUX / Patrick FReMEAUX UKRAINIAN MEDLEY - FARMER'S ZOK - BELORUSSIAN SKOTCHNE - VEN IKH ZOL HOBN - VOLEKH - VOLYNSK NIGN - THE POET'S NIGUN - PAPIR IZ VAYS - ROZMARIN NIGN - WEAVER FROM JELAL - ANONYMOUS NIGN - ZAY GEZUNT - PERELMAN'S TISH-NIGN - SAKHINOVSKI SKOTCHNE. MARC CROFTS : VIOLON, VOIX & ARRANGEMENTS - ATANAS MARINOV : CLARINETTE - SERAPHIM VON WERRA : ACCORDeON - PIOTR WEGROWSKI : CONTREBASSE. PRODUCTION : NOMADIM PROD.

French soprano Julie Roset is one of the rising stars of the younger generation. Winner of both the Operalia First Prize in 2023 and the Metropolitan Opera Laffont Competition in 2022, Julie Roset was nominated for the Victoires de la Musique Classique in the Revelation Lyrique category in 2025. This is her first recital and the start of a multi-project collaboration with the Alpha Classics label. With pianist Susan Manoff, she has devised a highly personal programme of French melodies that showcase her vocal qualities as a coloratura soprano and her mischievous, sparkling personality. It includes well-known melodists such as Debussy and Poulenc, as well as works by rarer composers such as Isabelle Aboulker, Mel Bonis and Louis Beydts.

Rachmaninov, considered by academics to be a late romantic, often draws on Baroque models: an eclecticism of languages. He experiences music as a memory of affection, and in few places, as here, his insatiable Faustian aspiration to 'stop the moment' reaches a similar intensity. Op. 19 breathes a sense of a return to life and the otherworldly cello calls shatter according to a principle of hallucinatory suspension which is already the Rachmaninov of the Symphonic Dances op. 45. Piano Sonata No. 2 in E-flat minor, Op. 36 had a complex gestation, culminating in a 1931 revision in which the Maestro reduced a certain 'pleasant storytelling' in the style of Liszt, moving closer to the neoclassical matrix, but 'Russian-style', of his later works. As an ideal encore, the programme also features the Danse orientale Op. 2, No. 2, the adolescent Sergei's homage to that narrative of exotic landscapes, musical scales infused with chromatic enchantments.

Over the course of the last 15 years, David Lang and The Crossing, the Grammy-winning chamber choir conducted by Donald Nally, have crafted a body of work that stands apart from the rest for it's profound spiritual connection to our shared sense of humanity-through our stories, our myths, our beliefs, and our dreams. The sense of senses is a milestone that celebrates this connection, across time and space, to deliver a message that music can be a benevolent force for change if we only take the time to listen. "This album is a collection of works that capture the intimate side of The Crossing's relationship with David Lang," Nally explains. "Only two were written for us, yet the others reflect a shared world view, a common idea about sound and community, and a collective focus on our reason for singing. David's thoroughly considered thoughts on 'why we do this' have influenced The Crossing's perpetually reexamined thoughts on that question: how to communicate deep feelings, absent of ego."

Brother of the more known, Giovanni Battista, oboe and flute virtuoso, He was judged to be an ingenious composer on a par with Corelli and Geminiani. The success of these Sonatas, was largely due to their particular instrumental use, at a time when the 'flauto traversiere' was becoming increasingly fashionable; the flute performance of this CD fully adheres to the canons of articulatory practice (bisyllabic phonetics) of the first half of 18th century Europe.

The record Interplay: Duet for One and for the Other brings together two albums for piano and Disklavier-Diagram and Projection and Spring Scenes-which engaged me as pianist, composer, and producer throughout 2024 and 2025, and which were conceived as an artistic inquiry into the shifting boundaries between human agency and machine autonomy in the contemporary world. This project was carried out as part of the SecondLevel Master's in Piano "Play & Rec", directed by Maestro Roberto Prosseda, with the support of Bösendorfer Klavierfabrik GmbH. The two suites form a unique project worldwide that places Disklavier technology at the very center of both composition and performance-not as separate stages, but as synchronous and interdependent acts within a single creative process. Indeed, until now the Disklavier has been employed as a medium-for performance, recording, or composition-but never as the core of an aesthetic in which all these phases are integrated and mutually influence one another by virtue of it. I chose to regard the aesthetic framework as the common thread linking both suites, while at the same time expressing it in different ways in each project.

Her first inspiration was Charlotte Bienaime´'s 'Un podcast a' soi', which discusses fundamental questions of gender and feminism. "More often than not in history, 'Anonymous' was a woman"-this sentence by Virginia Woolf, epigraph to the famous radio podcast, has found an echo in Julie Campiche. Giving a voice to women, but in a distinct way: this is the common thread running through the album. Rather than a feminist manifesto, UNSPOKEN seeks to celebrate feminine strength, nourished by commitment and openness. She addresses the fragile balance of women in shadow and light of society. "Female strength is what makes the world go round. 80% of household chores are done by women for free and anonymously. I want to celebrate exceptional women, but also give a place to this everyday strength." Among the figures who inspire her and whose voices and actions she evokes are the Swiss artist and prostitute Grise´lidis Re´al, or Las Patronas, the Mexican guardian angels who throw food and water to those who have decided to migrate and illegally board freight trains bound for the USA.

Chaque album du trio Kuhn/Humair/Jenny-Clark est une promesse de perfection. Enregistre au cours de la tournee internationale 1992-1993, ce live est un temoin inespere de l'apogee de ce trio legendaire et de l'alchimie incandescente qui unissait ces trois maitres. La virtuosite est organique, la puissance inalterable et l'elegance regne en majeste. L'age d'or du jazz en Europe. Augustin BONDOUX / Patrick FReMEAUX Each album by the trio Kuhn/Humair/Jenny-Clark already promises perfection. And this unexpected live recording made in the course of an international tour in 1992-1993 proves at least three things: the trio was at it's zenith; it had already become a legend; and the alchemy that bound these three masters together was incandescent. Here their virtuosity is no less than organic, the trio's power is unshakeable, and the elegance that reigns throughout is majestic. This is a demonstration of the Golden Age of jazz in Europe. Augustin Bondoux / Patrick Fremeaux INDIA (JOHN COLTRANE) - HEAVY HANGING (Joachim Kuhn) - GUYLeNE (DANIEL HUMAIR / Joachim Kuhn) - FROM TIME TO TIME FREE (DANIEL HUMAIR / Joachim Kuhn) - SUMMERTIME (GEORGES GERSHWIN). Joachim Kuhn PIANO - DANIEL HUMAIR DRUMS - JEAN-FRANcOIS JENNY-CLARK BASS

This album captures the live premiere of a concert performance of the opera, marking it's first-ever recording. The work is based on the libretto of the 18th-century poet and monk, Pietro Metastasio. Azione sacra is a genre closely related to oratorio, but with a distinct emphasis on drama-this is not a static, contemplative work, but rather a mini-opera in two acts. The composer, Lukaszewski, draws partially from a Polish translation while also returning to the original text. He describes Joasza as a sacra rappresentazione, making it the second such work in his compositional legacy. Musically, Lukaszewski stays true to his own distinctive style, which is rooted in tonality and features a rich, varied texture-from intimate recitatives to powerful, dynamic choral segments. The work's intricate structure allows listeners to follow the plot through memorable musical motifs assigned to different characters and storylines. The choir plays a pivotal role, commenting on the action, while instrumental intermezzos add depth and emotional nuance. The recording features a stellar lineup of soloists, whose voices blend seamlessly with the dramatic intensity of the piece, creating an unforgettable listening experience.

Hans Koessler is a composer whose name is well known, even if his work is not widely familiar. In this case, his partial renown is due to the fact that this Bavarian composer taught the next generation of Hungarian musicians-including Bartók, Kodály, and Dohnányi-in Budapest and was ultimately awarded the noble title "von." Although some students complained behind his back about his professorial stringency, Koessler's own works tell a different story. The great creative power, poetic sensitivity, and tonal confidence of his B minor symphony are complemented in the violin concerto by remarkable formal originality-there are probably few works of this genre that unfold their eloquence as a powerful passacaglia.

This landmark recording is the first album devoted entirely to the music of Avril Coleridge-Taylor (1903-1998). A composer, conductor, pianist and singer of remarkable versatility, she long remained in the shadow of her father, Samuel Coleridge-Taylor. Here, at last, her artistry takes centre stage. Featuring world-premiere recordings of some of her most significant orchestral works, the album reveals a distinctive musical voice - eloquent, assured, and deeply personal. Together, these performances stand as a powerful testament to her creativity and resilience, illuminating the experiences of a woman of colour in twentieth-century Britain.

Astro Cats is a virtuosic and colourful piano cycle in which each movement is inspired by a different breed of cat (domestic, wild, and even one imaginary). Given that the world often seems divided between dog and cat lovers, following the release of Carbon's work Astro Dogs, many people suggested the idea of a cat cycle. The composer has had both dogs and cats over the years, and as with the previous work, the pairing of each breed with a zodiac sign meant that the composer took inspiration from close friends and family who shared the sign. The moods of the pieces vary widely, and John Carbon has taken strong inspiration from the kinetic behaviour of cats, with their pouncing, crouching, sprinting, as well as elements of the hunt and their mysterious, crafty nature. The result is a rich musical exploration of the feline world, projected through the full possibilities of the piano.

To the singer of the valley is etched on a memorial stone for the composer Johann Gottlieb Naumann. It would be hard to pay him a more fitting tribute. Three dozen operas; nearly two dozen masses; Italian oratorios; a wealth of German sacred music; as well as a fair amount of chamber music - the man from Blasewitz near Dresden, who enjoyed success at the Royal Swedish Opera before settling permanently in his hometown, knew more than just how to sing on stage and in church. His collections of songs for voice and piano are full of little gems that any of the muses would have fought over. Marie Luise Werneburg and her accompanist Sebastian Knebel have compiled just such a programme here: tastefully interwoven with three small-scale quartets, the songs transport the listener to intimate salons where domestic music-making grew into an increasingly powerful medium.

The new album of saxophonist Asya Fateyeva, with the Staatsphilharmonie Rheinland-Pfalz, presents a brand-new version of the hit 'Nutcracker' by Tchaikovsky, arranged by composer Wolf Kerschek. The recording is complemented by Christmas music arranged for saxophone and the vocal ensemble Niniwe Vocal Art.

Göteborg Baroque is pleased to announce the release of Johan Helmich Roman's Then Svenska Messan, one of the most significant and beloved works in Swedish music history. Roman was a pioneer who was far ahead of his time, and today we see him as the founder