From the outset, Sir Simon Rattle's conducting career has been marked by a spirit of innovation and renewal - and contemporary music in all it's facets continues to play a significant role in his work. So it was only natural that, upon taking up his post as chief conductor of the Bavarian Radio Chorus and Symphony Orchestra, he should dedicate a concert to musica viva. The programme featured the world premiere of Vito Žuraj's "Automatones" as well as Luciano Berio's "Coro". Sir Simon Rattle has conducted the latter piece several times before, but this performance marks the first recording under his baton. This is due to the unique demands that the composition places on recording technology: choir singers and orchestra musicians are positioned in pairs on the podium to overcome the visual and acoustic separation of choir and orchestra voices. This presented a particular challenge to the Bavarian Radio recording team, but they rose to it successfully, as can be heard on the new CD from BR-KLASSIK. Composed between 1975 and 1976, Luciano Berio's "Coro", for forty voices and orchestra, takes anonymous folk poems by the Sioux, the Navajo and the Zuni, as well as song texts from Polynesia, Peru, Croatia, Venice, Piedmont, Chile, and the Song of Solomon - all of them reflecting the deeply human urge for freedom - and combines them with the moving poetry of Pablo Neruda, whose death coincided with the bloody suppression of the Allende democracy in Chile by Augusto Pinochet in September 1973.

Engelbert Humperdinck's music for the pantomime of Karl Gustav Vollmoeller's arguably most important stage work impresses with it's deeply Romantic sound and large-scale choral scenes and had so far led an unforgivable shadowy existence in the composer's oeuvre. Premiered in London in 1911, none other than Max Reinhardt adapted this work for film (1912) and staged numerous performances with hundreds of actors, singers, and dancers - finally also at the Salzburg Festival in 1925. This recording represents the first complete recording of this deeply Romantic masterpiece.

This Signum Classics release presents four orchestral works by leading Chinese composer Xiaogang Ye, performed by the Royal Liverpool Philharmonic Orchestra, conducted by Dane Lam. Recorded in February 2024 at Liverpool Philharmonic Hall, the album features The Backyard of the Village alongside two concertante works: The Memories of Mount Jing Gang with violist Diyang Mei, and My Faraway Nanjing with cellist Guy Johnston, plus the overture The Loquat in Five Colors. Ye's music blends contemporary orchestral writing with Chinese history, landscape, and cultural memory, reflecting his distinctive international voice.

If the flamboyant guitarist who is Gaëlle Solal has grasped one truth above all, it is that some paths must wander before they arrive. Her devoted companionship with Brazilian musicians, whether in Rio or far beyond, has given her not only the language but also the effortless sway of the Carioca rhythms that have woven themselves into our musical imagination for more than a century. From Choro to Maxixe, these nostalgic or restless pieces carry us to a place on earth that never ceases to fascinate, precisely because it never ceases transforming. From the roots of Brejeiro to the Concerto of Heitor Villa-Lobos and through the luminous popular instinct of Chiquinha Gonzaga, Gaëlle Solal leads us toward an inspired celebration of the magical myth of the Saci. Here, through the voice of composer Clarice Assad, this mischievous spirit of Rio has become a Concerto for the sovereign instrument of a Brazil that we have long dreamed of hearing so closely.

Reinhard Goebel, the founder and director of Musica Antiqua Köln from 1973 to 2005 and a professor of performance practice at the Mozarteum Salzburg from 2010 to 2025, continues to work tirelessly on creating and developing "new" 18th-century repertoire. In May 2025, he once again turned his attention to the masterful arrangement of Mozart's Gran Partita, K. 361, made around 1800 by Munich composer Franz Gleissner. New performances as well as a modern recording were both desired and expected. Goebel performed the works featured on this CD with the Münchner Rundfunkorchester in May 2025 during their tour of royal residences and castles in Amberg, Ansbach, Dachau, and Oettingen, having recorded them in advance in Studio 1 at Bayerischer Rundfunk. Wolfgang Amadé Mozart composed the Gran Partita, K. 361, one of his most magnificent works, for the former Mannheim orchestra, which had relocated to Munich when the elector was forced to move there for dynastic reasons. This rarely heard work features an unusual instrumentation of twelve wind instruments and a double bass. When it was due for publication in 1800, the Munich composer Gleissner presented the music publisher with a masterful arrangement for a standard orchestra. Reinhard Goebel has repeatedly championed this outstanding arrangement, which was published under the title of "Sinfonia concertante" - and has now done so once again with the Münchner Rundfunkorchester. He writes: "How barren and empty a world without arrangements would be! Nothing speaks against arrangements, yet the reasons in favour of them can be manifold and complex."

This recording was made in December 1982 at a time when record label planning was dominated by the demand for new digital recordings of standard repertoire. It has rightly been described as a boom time, when orchestras, conductors, chamber groups and soloists spent the majority of their days in the studio revisiting the bread-and-butter favourites of the literature. Nimbus was therefore open to the suggestion from John Boyden that he record for us some Mozart Serenades with the ECO. The recording was released on LP in 1984 but was never released on CD. Looking back on that time I suppose that by 1984 we were putting all our energies behind our new, exclusive relationship with William Boughton and his English String Orchestra. In hindsight it is a pity that the refined playing of the UKs finest chamber orchestras at the height of it's prestige has been overlooked. © Adrian Farmer

This recording was made in June 1972, in the months after the construction of Nimbus Records first purpose built recording studio in Birmingham. The sessions included works by Mendelssohn and Brahms, both composers whose music Martin would go on to record for Nimbus in later years. Why the Poulenc was not released is a mystery. It was finished as a master for production less than a month after the recording, but has sat on the shelves for 53 years. Here is a joyful reminder of the youthful virtuosity of one of the UKs most highly regarded pianists. © Adrian Farmer

This recording explores the musical world of the confraternities of the laudesi - active in the Venice region around 1500 - and their rich repertoire of devotional songs in Italian. These works often celebrate the Virgin Mary and Christ's Passion and bear witness to an aesthetic deeply rooted in popular fervour, frequently combining homophonic writing with a direct expressiveness aimed at the common folk and influenced by Franco-Flemish songs. Le Miroir de Musique take their inspiration from the musicians of the Scuole Grandi of the Venetian Renaissance and recreate a sound world that lay at the crossroads of spirituality and nascent humanism.

Recorded with the Royal Philharmonic Orchestra under the baton of Long Yu, the repertoire is centered on Bernstein's Serenade (after Plato's Symposium). The album also features a chamber arrangement of the Adagietto from Mahler's Fifth Symphony, "Never Enough" from the film The Greatest Showman, and Vaughan Williams's The Lark Ascending.

Robert Alexander Schumann (June 8, 1810, Zwickau - July 29, 1856, Bonn) was one of the most significant composers of the 19th century and a pioneering music critic. His works represent some of the purest expressions of Romanticism in music. The son of a bookseller, Schumann was deeply influenced in his youth by German Romantic literature, particularly the writings of Jean Paul and E.T.A. Hoffmann.

Widor is a composer best known for writing the thunderous organ symphonies that echoed throughout the Church of Saint-Sulpice in Paris, where Widor was organist for over 60 years. His famous Toccata for organ continues to be a favorite piece at weddings and concert halls around the world. We share this album in order to shine a light on a quieter, more intimate side of Widor, as a composer of French solo songs and duets for voice and piano. In these songs, Widor let's go of the grandiose sounds of the cathedral organ and offers delicate, expressive meditations on human emotion, poetry, and connection. In this spirit, we invite you to join us in hearing these rarely performed and little-known works: Six duos-six duets for soprano and contralto, and Soirs d'été-eight solo songs set to the poetry of Paul Bourget.

What is the likelihood of happening upon an oasis in the heart of Europe? In this debut album, the Trio BECEL seeks to evoke just such an extraordinary curiosity. With their unfamiliar constellation of instruments, the trio reveals hidden treasures of Belgium's musical landscape from the 20th & 21st centuries. You will encounter harmonies from the Old Continent intermingled with the rhythms of America, Hungarian bells responding to Japanese poetry or even a soul on a tightrope - dancing

Masaaki Suzuki and the Bach Collegium Japan, renowned for their definitive interpretations of Bach's vocal music, have also garnered critical acclaim for their recordings of major choral and orchestral works, including Mozart's Requiem and the Mass in C minor, Beethoven's Missa Solemnis and Symphony No. 9, and Brahms's Ein deutsches Requiem. Their latest venture sees them turn their expertise to Felix Mendelssohn's symphony-cantata, Symphony No. 2 'Lobgesang' (Hymn of Praise). Scored for soloists, choir, and orchestra, the work comprises three symphonic movements and a final chorus-a design that clearly echoes Beethoven's Ninth Symphony. Yet Mendelssohn takes this concept further, with the concluding cantata section occupying two-thirds of the entire work's duration. It's text draws from biblical excerpts and specially commissioned poems. The initial symphonic movements, steeped in German Romanticism, deftly alternate with chorale-like passages, establishing a profound link to the ancient cantata tradition that defines the monumental finale. Premièred at St Thomas' Church in Leipzig (the same church where Mendelssohn's hero, Johann Sebastian Bach, once worked), the work celebrates the 400th anniversary of Gutenberg's invention of the printing press. It proved an immediate and resounding success, quickly becoming one of the most frequently performed works during Mendelssohn's lifetime.

On his latest album New Doors, internationally successful Viennese jazz violinist Rudi Berger connects the three worlds that have profoundly shaped him since his beginnings: the Vienna-Brazil-New York axis has provided the virtuoso with a multitude of musical companions, such as Brazilian guitarists Toninho Horta and Fabiano Chagas; fellow Brazilians Mauro Rodrigues (flute) and Oswaldo Amorim (bass); Austrians Bernhard Wiesinger (saxophone), Markus Pechmann (trumpet), and Clemens Hofer (trombone); New York pianist Peter Madsen; and British guitarist John Arman. These musicians and many more join Rudi Berger on original compositions like "I Remember Chick", "Other Side", "New Doors", and "Walk On Joe", as well as on well-known hits such as "Mercy, Mercy, Mercy", "Brigas Nunca Mais", and "Georgia On My Mind". They support him with groovy rhythms, swinging harmonies, unpretentious virtuosity, and maximum joy in playing.

The reconstruction of the compositional chronology of Georg Friedrich Handel's repertoire for flute is extremely complex. There are various reasons for this, stemming from two essential factors: on the one hand, the typical tendency for much of Handel's music to transmigrate from one instrument to another and the consequent impossibility, at times, of determining precisely which version of a particular piece is the original; on the other hand, the proliferation, at a time when no copyright regulations existed, of diverse printed editions. Many of these, unauthorised, generated different versions, errors or misinterpretations, which were possibly also passed on over time. For this CD recording, which features a substantial part of the complete corpus of the sonatas for recorder and transverse flute, we compared the two earliest printed versions containing sonatas for solo instrument by Handel. Both were published by the London publisher Walsh, although for a long time the first of the two editions was attributed to the Amsterdam publisher Roger, but then, thanks to the studies of Terence Best and David Lasocki, it turned out to be a 'pirate' publication by the same publisher Walsh (who probably had not yet obtained Handel's permission to publish).

Now that more than 40 years have passed since Mario del Monaco's death, and the venomous criticism of recent decades has dissipated, given his extensive and detailed discography, it can be established that the Italian tenor's voice was undoubtedly the most beautiful, powerful, and important of the last century, surpassing even that of Caruso or Pavarotti. These two CDs, which collect his most spectacular performances from his golden years, and meticulously recorded by Decca of London, are presented here in their entirety and in chronological order.

Indeed, Vienna is so rich in composers [...], that it is but just to allow it to be, among German cities, the imperial seat of music, as well as of power. Sir Charles Burney, the famous observer of European music, was quite correct. This city on the Danube was bubbling over with talents and masters who all made their livelihood there. This included Johann Baptist Wanhal, one of the innumerable Bohemians that tried their luck in the shadow of the court palace. He contributed many beautiful pieces to his preferred medium of instrumental music. The small selection of the present production alone well demonstrates that Wanhal was able to hold his own in the symphonic genre next to Joseph Haydn, who was seven years his senior. Subtle orchestral colours, a fine sense for dramatic events, especially in the minor keys, and striking melodies are characteristic of the creations that were enjoyed not only in the old imperial city.

A Timeless Form, Reimagined for Today With Ya Man Itha, Lebanese singer Rima Khcheich brings to life an album she has carried in her heart for decades. It is a deeply personal tribute to the late Egyptian composer Fouad Abdel Majeed, whose music shaped her artistic voice from an early age. In this recording, Rima revisits ten of Abdel Majeed's Muwashahat-classical Arabic vocal compositions often set to poetry and marked by intricate rhythms and modes-and places them in dialogue with the colors and sensibilities of French chanson. At first glance, chanson may seem far removed from the Arabic Muwashah, yet both traditions share a deep commitment to poetic expression, lyrical nuance, and the marriage of words and harmony. This cross-cultural resonance became the spark for the ensemble's refined arrangements, created by Maarten Ornstein, Tony Overwater, and Juan Rodriguez. A Living Conversation Between Heritage and the Present For Rima, Ya Man Itha is not just a tribute - it is the fulfillment of a promise made thirty years ago. As a young singer of 13, she traveled to Cairo in early 1994 to meet Fouad Abdel Majeed. They spoke of making an album together; he even composed new works for her. But just months later, he passed away, and that dream was never realized. Now, three decades on, Rima returns to his music with rare recordings and cherished memories as her guide. The result is a living, breathing conversation between memory and renewal, past and present. An Ensemble Bound by Trust Joining Rima are musicians with whom she has shared a profound artistic bond for over 25 years: Maarten Ornstein (clarinet), Tony Overwater (double bass), and Joost Lijbaart (drums). Their long collaboration has created a rare musical language rooted in trust, openness, and deep listening. For the first time, they are joined by Juan Rodriguez (piano), whose youthful sensitivity and energy infused the music with new colors. Together, the ensemble recorded the album live, preserving the immediacy of performance and the intimacy of shared breath. The Arrangements - three by Tony, five by Maarten, and two by Juan - reflect the spirit of this project: respectful of tradition, yet unafraid to step into new terrain. With Ya Man Itha, Kepera Records is honored to present an album that embodies timeless heritage while speaking directly to the present moment - a musical promise finally kept

This project is the result of musical research carried out in various fields. It includes original works for harp and violin in a variety of compositional styles. The choice of different historical periods aims to focus on pieces that are rarely performed or, in the case of contemporary pieces, world premieres. The sonorities used, ranging from the 1800s to the present day, aim to highlight the technical, instrumental and musical potential of the Duo Vieuxtemps. The final objective of our work is to be able to take the listener on a musical journey, a sonic trip that offers a kaleidoscope of sensations, shapes and colours, with the intent of halting the perception of the passing of time and letting oneself be carried away by the sound.

Soprano Ruby Hughes, celebrated for the profound "understanding and stylishness" (Gramophone) she brings to her artistry, has a distinguished discography of recitals showcasing the exquisite beauty of her voice. She is particularly known for her carefully curated programs that weave together works from diverse eras. In Amidst the Shades, Hughes reunites with gambist Mime Yamahiro Brinkmann and lutenist Jonas Nordberg. The same inspiring sonic constellation contributed to the success of Heroines of Love and Loss (BIS-2248). This new recital explores their shared passion for Elizabethan music, which served as the catalyst for the program's creation. The contemplative and melancholic songs of John Dowland form the foundation, leading to works by Robert Johnson and John Danyel, interwoven with Purcell's intimate vocal pieces. Seeking to further enrich the repertoire for lute and voice, Hughes commissioned new works from Errollyn Wallen and Deborah Pritchard, setting texts by William Shakespeare. She also obtained permission from Cheryl Frances-Hoad to arrange one of her existing compositions for this unique ensemble. Amidst the Shades promises a recital brimming with nuanced expression and delicate sonic colors.

From ancient theatre to lyric tragedy, the character of Medea has withstood the test of time. A quintessential tragic heroine, she embodies a soul torn apart by betrayal, whose pain turns into devastating madness. Following Charpentier and Corneille's opera (1693), Abbé Simon-Joseph Pellegrin's avant-garde libretto offers a liberated interpretation of the classical myth, in which Medea masters her magic and her destiny. Salomon's score responds with sumptuous writing, borrowing from the tradition of Lully while foreshadowing the genius of Rameau. By unearthing this missing link between two eras, Reinoud Van Mechelen offers us a spectacular lyric tragedy, revealing the superb complexity of a woman equally powerful and tormented.

Master drummer Stephane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf...) presents Kanda, a fresh and polymorphous trio with Lucia Pires (Steps, Edoardo Cimino, Tomorrow's Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stephane Galland & The Rhythm Hunters) on electric bass, samples and effects. Kanda refers to many different concepts. In Sanskrit, the word means "chapter" and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis. With these branching spiritual meanings, it's no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords.  Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. From it's conception, the trio immediately started developing it's unique essence. With this project, master of rhythm Stephane Galland aims to explore a new direction in his ever-evolving quest for fresh musical adventures.

Everything has an end sometime. Similarly, this chapter from the great book of Georg Philipp Telemann, which holds a significant place in our label's repertoire, is also noteworthy. After two decades, we have now recorded all the violin concertos that this artesian spring of music committed to paper with overflowing imagination throughout his lifetime. This presents more than three dozen entertaining works, some in expanded suite (overture) form, others in the standard three-movement structure-but always rich in subtle surprises and demanding solos involving up to four violins. This ninth and final volume is once again devoted to concertante duos and contains, as it were, as a bonus, "the" Viola Concerto in G major, which until our series appeared was widely regarded as Telemann's most "popular" contribution to the genre. Now, however, entirely new perspectives open up

This ceremony, which was recorded in 1975 and was performed by the first generation of Tibetan monks in exile in India with the current Dalai Lama, reproduces most faithfully the impressive vocal technique, fervour, and mystery of this very low-pitch Buddhist chant, with it's harmonics and accompaniment of horns, drums, and large cymbals. Thanks to the sound recording technique, the listener is immersed in the very heart of the event. As in all monasteries of the various schools, an important place is reserved for the memorisation and recitation of a large number of ritual texts. The liturgical practice of Gyütö is characterised by the use of a specific mode of singing, "the voice of the tantras"; this process consists of simultaneously emitting a very low sound and, by modifying the volume of the oral cavity, distinctly bringing out one of the harmonics of this sound. In Gyütö, the harmonic emphasised is the 10th harmonic, which is three octaves and one third above the fundamental. There are many examples of this on the various tracks selected for these CDs, particularly when the chant master gives the cue for a passage to begin.

It was in Stuttgart that Distler first discovered Eduard Morike. He was fascinated by the lyric poetry of the Swabian poet. In the foreword to the Choral Song Book, he emphasized that the "rhythmic power and freedom of movement", "the objectivity of the poetic content, suggestive of old folk song", but also the "ardent subjectivity and stead-fast/ self-reliant character" drew him to Morike. The present recording offers, in it's selection of movements for mixed choir, women's and men's choirs, a cross-section of all the various compositional techniques and stylistic devices which Distler was able to combine so brilliantly.