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Volume 11 of the 'Next Generation Mozart Soloists' series presents Violin Concerto No. 5 in A Major along with Piano Concertos KV 40 and KV 449. The Piano Concerto No. 3 is a very early work, derived from works by other composers, whereas No. 14 was written in 1784 by a fully mature Mozart, who was moving away from functional music towards expressing his ideas in a more dramatic structure. What links the two, says Swiss-Canadian pianist Teo Gheorghiu, is that they are both "concertos mainly joyful and optimistic in expression". French violinist David Castro-Balbi says "of Mozart's violin concertos, No. 5 has the strongest operatic character". These two soloists are accompanied by the Mozarteumorchester Salzburg under the baton of Howard Griffiths.

Building a new organ is always an exciting journey for an organ builder. What should a new organ look like, how should it sound, how should it fit into the church interior, what traditional reference points are there, what should be played on this new organ in addition to the important church music, how historical, how modern may the action, wind system and finally the entire pipework be built. In the Church of the Four Evangelists in the Protestant parish of Berlin-Pankow, the requirements were clear. An organ by the famous Berlin organ builder Carl August Buchholz (1796 - 1884) no longer existed in the church. Is it possible to rebuild a Buchholz organ in such a way that it seems possible that C.A. Buchholz would have built this new organ in exactly the same way in 1840, for example? We organ builders at the Wegscheider organ workshop set ourselves this special task, having already restored and reconstructed several Buchholz organs, visited and examined other surviving Buchholz organs and were very familiar with this particular organ sound language of the first half of the 19th century in the Prussian lands. A suitable specification with 27 stops was created, an early Schwellwerk with side doors (entirely in the Buchholz style) was designed, the metal and wooden pipes as well as the reed stops were built according to the models and the voicing was adapted to the church interior in terms of response, sound volume and dynamics. Particular emphasis was placed on the feel of the keys, which must harmonise with what the player hears. The aim was not to build a particularly light action, but rather one that harmonised with the early romantic sound. The historical keyboard aesthetics with the stop action, the music desk, the swell lever, the historical proportions between the manual pianos and the pedal keyboard also serve to immerse the performer completely in the early romantic tonal spirit. Kristian Wegscheider, master organ builder Dresden, Henry Fairs, Professor of Artistic Organ Playing at the Berlin University of the Arts, plays the complete works for organ by Robert Schumann.

Following the success of Prokofiev Milestones Vol. 1, SOMM Recordings is pleased to announce the release of the second volume of Prokofiev Milestones featuring the Slovenian violinist Lana Trotovsek and Spanish pianist Maria Canyigueral. For Russian composers born in the last decades of the nineteenth-century, the October Revolution of 1917 was cataclysmic. Sergei Prokofiev (1891 - 1953) was born in Ukraine, known at that time as 'Little Russia,' and he sought exile in the United States in 1918. By 1924, he had appeared as soloist in his first three piano concertos in London. But the pull of his homeland remained strong, and in the mid 1930s he decided to return. The initial works that Prokofiev produced in the Soviet Union-the film score for Lieutenant Kije, the children's tale Peter and the Wolf, and the ballet Romeo and Juliet-enjoyed wide public success. It was against this backdrop that Prokofiev began work on his First Violin Sonata, Op. 80, one of his most serious works with a singular depth of expression. The second sonata on this release was commissioned by the Soviet Committee of Arts Affairs. The Sonata for Solo Violin, Op. 115 is a remarkably approachable work in neo-classical style. It wasn't publicly performed until six years after Prokofiev's death due to a decree in 1948 condemning the 'formalism' of much contemporary Soviet music. This recording also includes four transcriptions. During his first visit to America in 1918, Prokofiev composed a short suite for solo piano, Tales of an Old Grandmother. The second tale, an evocative piece with a nostalgic character, was later transcribed by the�Russian-born violinist, Nathan Milstein. While in California, Prokofiev composed a set of songs without words, Five Melodies for soprano vocalise and piano. Five years later, in 1925, he arranged the pieces for violin and piano. After his return to the Soviet Union, and following the success of Romeo and Juliet, Prokofiev produced another highly successful ballet, Cinderella. Five pieces from the ballet were transcribed by the Soviet violinist Mikhail Fichtenholz for recital repertoire. In 1939, Jascha Heifetz published his transcription of the March from Prokofiev's 1921 opera, The Love of Three Oranges, which won praise from the composer himself. Prokofiev's instrument was the piano. This fact makes his lasting contributions to the violin repertoire, and his deep understanding of the inherent nature of the instrument, all the more remarkable. Of Vol 1: "a real coup for die-hard fans of my grandfather" Gabriel Prokofiev "This is an intriguing start to a series by imaginative and sensitive musicians."� "... both Boris Bizjak (flute) and Lana Trotovsek (violin) advocate for their respective versions with great affection and sympathy for the style. The well-balanced contribution of pianist Maria Canyigueral allows both flute and violin to take flight over a broad palette of timbres." Gramophone�(Maria Frolova-Walker) "Sterling performances. Certainly, Prokofiev is in good hands." Textura

Boasting a musical partnership of over 15 years, during which they have played in concerts throughout the world (recently at the Wigmore Hall in London and the Suntory Hall in Tokyo), the violinist Sayaka Shoji and the pianist Gianluca Cascioli have already recorded the complete violin and piano sonatas by Beethoven on modern instruments (Deutsche Grammophon, 4CDs, 2010-15). After adopting a "historically informed" outlook that has matured through long study and important collaborations, they now tackle the Mozart sonatas with an approach that begins with their choice of instruments: the extraordinary Stradivarius 'Recamier' mounted with gut strings and a Paul McNulty fortepiano (copy of Anton Walter) already used by Cascioli on his recent Beethoven recital ("Simply some of the most effervescent, creative and invigorating piano-playing I have heard in a long time." - International Piano). This release, which initiates a four-album cycle, marks the beginning of Shoji's collaboration with Arcana.

After Salve Reginas, Pastorellen, the C minor Requiem, masses and motets, audite now presents the fourth part of the excursion into the work of Haydn's predecessor. The recording, a multi-faceted compendium of fugue, explores the musical connections between Antonio Caldara and his pupil Gregor Joseph Werner. It culminates in the Requiem in G minor, a retrospective by the composer before his death. Werner used madrigals by Caldara and thus reflects his own artistic career as well as the influence of his teacher, the Venetian vice-chapelmaster Antonio Caldara.

It is the story of a rebirth. The music of Jan Dismas Zelenka, long completely forgotten, has regained it's place in concert life in recent decades thanks to new editions of sheet music and enthusiastic performers. Born in Bohemia, trained as a musician in Prague and matured into a master in Dresden, Zelenka developed his special personal style from the trends of the time, which earned him admiration even during his lifetime. Frieder Bernius is someone who has long since discovered Zelenka for himself and performs him time and again. At the centre of his recording is the festive Missa gratias agimus tibi from 1730 with trumpets and timpani. 17 short movements of this missa are examples of Zelenka's ingenuity and compositional artistry. The Stuttgart Chamber Choir, the Stuttgart Baroque Orchestra and soloists Hannah Morrison, Franziska Bobe, David Allsopp, Thomas Hobbs and Jonathan Sells will perform under the direction of Frieder Bernius.

The Kreutzer Quartet has long been at the forefront of contemporary classical music, known for their enduring collaborations with a diverse range of composers. This album, Something So Transporting Bright, exemplifies their deep engagement with composers of multiple generations, from the late Gloria Coates, who began working with the quartet in 1992, to emerging voices like Tom Metcalf and Joel Jarventausta, both in their twenties. The four featured works capture a profound sense of artistic exchange, reflecting the quartet's unique position as both interpreters and collaborators. The music presented here emerged during a time of unprecedented global disruption. The pandemic heightened the value of creative partnerships, particularly in the realm of performance and recording. This album includes three works that were developed under lockdown conditions, where the act of collaboration became a source of resilience and renewal. Themes of water and the river flow through the compositions of Jarventausta and Metcalf, while Sadie Harrison's contributions were shaped by a profound response to the social upheaval following George Floyd's murder, reframing her ongoing work with the River Thames as a backdrop. The Kreutzer Quartet's long-standing relationship with Metier Records is central to their role within the contemporary music landscape. As a trusted ensemble for composers like Hans Werner Henze, Judith Weir, and David Matthews, they continue to push boundaries with each recording and performance. Gloria Coates' final work, performed live at her last birthday celebration, marks a poignant close to the quartet's decades-long collaboration with the composer, whose death in 2023 gives this album a reflective resonance. Something So Transporting Bright is a testament to the quartet's sustained commitment to new music, capturing the intensity and vitality of these compositions while showcasing the ongoing dialogue between past, present, and future in contemporary classical music.

Musici Ireland: Earthrise Musici Ireland, led by violist Beth McNinch, has established itself as a pioneering force in Irish chamber music since it's formation in 2012. Known for commissioning and premiering contemporary works, the ensemble is distinguished by it's commitment to Irish and female composers, pushing the boundaries of modern chamber music with an interdisciplinary and socially engaged approach. "Earthrise," recorded at Grouse Lodge Studios, captures the ensemble at the height of it's artistic prowess. Produced by Jonathan Allen (Abbey Road Studios) and engineered by Alex Borwick, this album presents a collection of striking new works by leading Irish composers. Each piece offers a distinct perspective, contributing to the evolving landscape of Irish music. Deirdre Gribbin's Before the Moon Shattered and Shone Again explores cyclical time, inspired by Celtic mythology and the constant presence of the moon. The string quartet echoes nature's cycles, symbolizing life's waxing, waning, and renewal, a fitting response to the stillness and disruption brought on by the pandemic. Deirdre McKay's Mr Shah draws inspiration from the quietude of space, contemplating the stark contrast between the near silence of the cosmos and the richness of sound on Earth. It reflects on the solitude of an astrophotographer's nightly exploration of the universe, staring into the vast, soundless expanse. Ian Wilson's Her Charms Invited (String Quartet No. 12) reimagines the intricate ornamentation of traditional Irish sean-nos singing within a contemporary musical framework. The work offers a modern interpretation of ancient melodies, weaving fragments of Irish song into a contemporary context. Linda Buckley's Fiol (for String Trio) treats the ensemble as a twelve-stringed "meta-instrument," evoking the resonances of the Norwegian Hardanger fiddle. The interplay of sympathetic vibrations between instruments creates a rich, layered texture reminiscent of Baroque traditions. The title track, Liam Bates' Earthrise, commissioned by Musici Ireland, draws inspiration from the imagery of our planet in it's natural ascent. Featuring Beth McNinch on viola, the piece captures the viola's soulful resonance, evoking a wandering observer participating in the Earth's evolving rhythms and harmonies. With a strong focus on artistic excellence and cultural storytelling, Earthrise represents Musici Ireland's commitment to new music, offering a thoughtful contribution to Ireland's contemporary chamber music scene.

Brett Dean was the London Philharmonic Orchestra's Composer-in-Residence from 2020-2023; this release brings together seven works recorded live in concert during his tenure. Together with five leading conductors and five outstanding soloists, the LPO skilfully navigates the diverse facets of Dean's orchestral writing, from the vivid soundscapes and virtuosity of the Viola and Cello Concertos, to the drama of In spe contra spem - quoting letters and speeches by Queen Elizabeth I and Mary, Queen of Scots - and the theatrical accordion work The Players, which revisits scenes from Dean's award-winning 2017 opera Hamlet.

Mozart's tireless creative drive and the universal power of his music "With this fifth and final CD of my complete recording of Mozart's piano sonatas, I conclude a musical cycle that has been particularly meaningful to me. It has been a truly enriching journey to explore Mozart's development as a composer and pianist through these works, and I am delighted to be able to share this journey with you in it's entirety. The piano sonatas on this recording reflect Mozart's tireless creative drive and the universal aspirations of his music. Each of these works uniquely demonstrates his unrivalled mastery and sense of form, expression and emotional depth." Jean Muller

Throughout it's Golden Age, England cultivated the masque, an elite entertainment featuring dialogue, song, and dance. As part of these spectacles, courtiers-and at times even the queen herself-often graced the dance floor. But it was hired professionals who provided the musical heart of these productions. Lutenists in particular were especially adept at creating music for any occasion. The dances, variations on popular songs, and fantasias they composed are full of versatility and virtuosity. This recording features lute works by the foremost composers of the Elizabethan-Jacobean era, with music by Dowland, Holborne, Bacheler, Ferrabosco, and other contemporaries who participated in The Queenes Maskes. For many years Elisa La Marca has been much sought after by leading specialist ensembles (Il Giardino Armonico, Il Pomo d'Oro, Les Musiciens du Prince, Zefiro etc.), with which she appears in prestigious locations, the mostly recent being the Teatro alla Scala in Milan. Here she presents her first solo album, devoted to one of her favourite repertoires.

In the planning phase of this CD, which evolved together with the talented performer Miriam Garagnani playing the acoustic part of compositions on the piano with great virtuosity, it was decided to create a musical path that included the double version of two previous compositions of mine: Achernar (2014) for piano and orchestra and Nan (2019) for solo piano. It is the new interpretation of two particularly relevant songs which can best summarize my musical poetics, experimentation and research work as well in the years 20142019, especially on the piano - but not only it, together with several masterful performers. Nan (2019), for example, is a composition created for pianist and researcher Giusy Caruso, a performer mostly committed to playing music of the present day. That composition is proposed on the CD both in the original 2019 version for solo piano and in the 2024 version for spatialized piano, while Achernar (2014), originally composed for piano and orchestra, is presented in two recent 2024 versions, the first one for spatialized piano and the second one for piano and 'imaginary orchestra.' The second version has been a chiseled work in which we wanted to recreate a sort of electronic orchestra starting from the acoustic sound of prerecorded and electronically processed piano. With the aim of achieving that particular sound result, we worked on modifying the previously recorded audio material with the help of various sophisticated audio editing tools.

The Christian tradition's liturgical repertoire prominently features Masses and Offices commemorating the life of Christ and feast days of saints. Alongside this, another significant repertoire revolves around Christ and the saints through their relics, which are venerated as physical representations of divine presence. These relics vary in significance, with those tied directly to Christ holding the highest status, followed by those connected to the Virgin Mary, John the Baptist, Apostles, and holy martyrs. A notable private collection of relics belonged to the Byzantine Emperor until 1204, when it was mostly acquired by Louis IX of France, who constructed the Sainte-Chapelle in Paris to house them. Similarly, in the Kingdom of Aragon, relics were venerated in a royal context, with a collection established during the reign of Martin I. This collection included fragments of the Holy Cross, the Holy Grail, and relics of Saint George, which were later deposited in the cathedral of Valencia. This presentation of relics was not only a spiritual practice but also integrated into religious ceremonies, often accompanied by hymns and prayers. Many of these relic-based traditions have been preserved in manuscripts that reflect medieval spirituality, offering a glimpse into the deep connection between relics, music, and devotion. The music associated with these relics, though little known today, is a rich part of the medieval cultural and religious legacy.

Monika Abel is a versatile soprano, and her great passion is classical singing. Together with pianist Kathrin Isabelle Klein she creates and presents a distinctive repertoire in which she juxtaposes works from the Romantic period and classical modernism alongside pieces of contemporary music. Her debut album 'Zwischen Himmel und Erde' (Between Heaven and Earth) is also a project close to her heart, a work that emphasises her preference for 20th-century music and which is particularly suited to her warm, lyrical voice.